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CaincelaOreinim View Drop Down
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Points: 395 		Post Options Post Options   Thanks (0) Thanks(0)   Quote CaincelaOreinim Quote  Post ReplyReply Direct Link To This Post Posted: October 03 2007 at 09:41
Originally posted by Drakk Drakk wrote:

Goodness avestin, you never fail to impress me, I rarely find bands you recommend I dont' like.  Kudos.  Though it would help if they all weren't so incredibly obscure. Wink
 
Between the Buried and Me - Colors
 
Easily tops all their other outputs.


Ugh, I listened to this the other night...and I just simply don't get it; perhaps this is premature on one listen but I feel it warrants my reactions.  Yes I'm hijacking a thread of recommendations, I have three at the end I promise, to give my two cents. 

There's a review of the new one up at prp.com and everything that they say there I have to disagree with.  The disparate country stomps, Latin stops, Mr. Bungle-esque interpolations do absolutely nothing for their OVERTLY metal leanings other than present a BADLY self-conscious (for there is a difference if your music is kind of jocoserious to begin with see: John Zorn, Estradasphere, Lye By Mistake, Mr. Bungle, Secret Chiefs etc.) "look what we can do ma!" flair.  It seems to me it's solely for those impressed with style over substance..."Wow they threw in a Latin feel, awesome!"  Right, but does it work, is it tasteful, or fit?  Hardly, I find.   However I will say that the rhythm section of this band are quite, quite good.  Guitar players are typically Dream Theater, paint by the numbers prog-metallers though...Then again, who am I to judge, if you like it, more power to ye!

Now for my recommendations, look into the new Lazuli album called En Avante Doute...French band with very cool stick stuff and great tasteful songs.  Plus the new Tuner album (Pat Mastelotto and Markus Reuter) has some very interesting grooving spoken word material on it.  I also listened to a jazz pianist by the name of Abdullah Ibrahim last night, very good flowing stuff.  That is all!
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Zypressen is/was a Japanese chamber music quintet with ties to fellow countrymen Lacrymosa. Their music is more in the lighter side of things and they can be compared at times to Univers Zero (not to say they sound like them, but as a point of reference) and it slides into Zeuhl territories at times. While the lineup consists of an electric guitar, drums & percussions, the dominant instruments in their tracks are the classical instruments such as cello, violin viola, piano, flute and clarinet. Their s/t album from 1996 is hard to track and supposed to be out of print, but can found occasionally at online stores or auctions. In any case, well worth the trouble of locating it, as the album manages to keep a good flow of interchanging sounds/themes and electric vs. acoustic tracks.
 
Zypressen
 

ZYPRESSEN — Zypressen

Review by chamberry (Ruben Dario)
SPECIAL COLLABORATOR Psychedelic Prog & Post RockTeams

4%20stars You would think that a band labeled avant-prog wouldn't be soft, warm and gentle to the touch, but Zypressen are just that. While still retaining certain outlandish qualities Zypressen's music sounds elegant, fine and graceful even in their angular moments. Whether you're listening to the dynamic and slightly sinister "Prelude" (they're too lighthearted and innocent to make a menacing song) or the delicate "HANA", every song is made with finesse and charm that Zypressen has mastered over the course of one album(!). Half of the songs present here have a strong sense of melody and harmony that many people would never think a group labeled as such would commonly have and that is probably the best quality Zypressen has. With these ear-friendly songs they smooth out the rough edges (which aren't all that rough to begin with) that the other more adventurous songs present in the album have. This well balanced mixed is critical to the enjoyment of this album and also gives it an interesting dynamic and some well needed balance while still sounding cohesive. While the melodic songs are made mostly with classical instruments like piano, clarinet, cello, violin and flute, the adventurous songs are mostly dominated by rock instruments, but the classical instruments also play a role in them.

The album comes off as one of the most accessible releases from a chamber rock or avant-prog band. The combination of beautiful classical tinged compositions with avant-garde ones is something that many fans will enjoy listening to. Newcomers to this kind of music will have an enjoyable first experience listening to Zypressen, they aren't too "weird" or "out there" for people getting into chamber rock. A great album with little flaws. Highly recommended for fans of chamber rock and newcomers alike.

Posted Saturday, August 11, 2007, 20:17 EST | Permanent link

ZYPRESSEN — Zypressen

Review by avestin (Assaf Vestin)
SPECIAL COLLABORATOR Zeuhl/RIO/Avant Team

4%20stars Diversity – is too much good or bad?

Having seen this album for sale on the Wayside website saying it is a fine chamber-rock release and since it’s out of print there will be no re-stocking of it, I asked my friends from the ZART if I should get it and Claire (Listennow801) told me that I will most certainly like it. What do you know, she was right! Thanks, Claire.

A look at the lineup and instruments lets you know that indeed this is something special as aside from the rock instruments, there are others such as marimba, xylophone, glockenspiel, flute, violin, viola, cell and piano. In the booklet there are liner notes in Japanese by a member of Lacrymosa, the band’s “relatives”, however those are in Japanese and so I can’t understand a thing, which is too bad as it could have shed some light on this relatively unknown band.

Like I wrote in their bio here in PA, early Univers Zero might be point of reference, but not exactly sound-alike and they are not as dark sounding. They do reside in the chamber music/rock and also draw influence from Zeuhl (Point Of Compass). I will mention other bands further on in the review.

In their music they have a main theme around which they revolve, coming up with other developments of it as the track goes, then changing again to another route but they will not stay away from the main theme too long or drift away. They stick to it, develop ideas that come from it and in general remain “loyal” to that initiating melody.

They have tracks in which they sound denser, harsh and severe, emphasized by the bass and drums (again Point Of Compass is a good example). In others yet, they sound not as heavy feeling (as in STR (Against The Wind)) where the string instruments lead the way giving the music its lighter feel.

They also show a penchant for the more uplifting side of music, as can be heard in the relatively (to this album) happy sounding Tangent, where the percussions add to the jolliness (not to be mistaken with silliness as they never do that; it’s just a more good spirit feel).

With Etude it seems we have switched to a RIO attitude, with the guitars playing semi-nervous tones backed by well played percussions. It goes on further leaving that guitar-lead RIO sound for a short time to give the wind-keyboards the lead returning only to combine the tunes these two parts made. This track contrasts the uplifting atmosphere left by the previous one, with its somber and tense feeling. This track brought to my mind the 5UU’s for some reason.

Hana continues the style of Tangent, with its melodious rather cheerful (or perhaps optimistic sounding is a better description) tune and the lead string instruments. Hana has a wonderful and fabulous melodic line somewhere towards its end, which is one of those goosebumps moments when listening to music.

With Prelude we veer into a more frenzied version of Zypressen. Starting with the strings going on for almost a minute, we then are introduced to a melody which reminds me of Dune’s album Eros, especially with the flute being brought in here. But then it goes on covering more musical grounds and this is probably the most diverse track on the album with the broadest scope of styles represented in it.

To contrast the aggressiveness of Prelude, the piano opening track 7 (its name is in Japanese) is relaxing and is followed by the strings and flute to enhance the calm “imposed” on us by the graceful playing. This sounds quite different than everything else here, as if taken from a classical ensemble album, and not from this type of group. Beautiful and pacifying piece, which some might not like to be in here as they may argue it doesn’t fit. But I actually fit it is not too alienated from the rest of the album, though somewhat peculiar.

Seemingly continuing this “trend”, track 8 (also a Japanese name) opens as if it’s going to sound the same with the piano opening. But then joins the whole band with a groovy rhythm, also bringing to mind a Zeuhl sounding rhythm. This alternates between a rhythm-less part and back again and after a while drift into calm waters where the rhythm goes on more peacefully and then again gets agitated. They continue to develop it, going into a somewhat jazzy ground (but only slightly so). As the music goes, the Zeuhl elements are more noticeable and Potemkine came to mind.

One thing can be said about this album and that it’s varied. Not only in the moods it creates and in the instruments employed but also in the attitude and approach of the musicians in the different tracks as I’ve described them above. Some might say it’s too varied to the point of being not focused enough to allow the listener to enjoy himself, and not deciding on their own sound. But then, why would not all of the styles represented here be their sound? You might think of it this way, each track represents a different facet of the band, a different sound they want to express themselves through. Though I don’t think it’s un-focused, I do think the potential listener needs to be aware of the diversity found in here. But if you’re into the bands or styles mentioned above, I don’t think that the music will turn you off or disappoint you; though the choice of mixture might confuse you. To me this is a very well played album, diverse and beautiful, complex and interesting.

 
 
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BELL ORCHESTRE - Recording A Tape The Colour Of The Light
 
Their PA bio:
Yes, yes, yet another post-rock band coming from Canada ... But what separates Bell Orchestre from all the others, is their rather unconventional approach to music. The band was formed by two Arcade Fire members, Richard Reed Parry and Sarah Neufeld in 1999. However, they were forced to put Bell Orchestre on hold as The Arcade Fire became increasingly popular, thus leaving no time for their other project. This definitely explains why it took them six years to release their debut.

While Bell Orchestre's style is not entirely original, it's what they do with the style that makes them so special. They are quite wild in some strange way, and are able to surprise you with their music quite often. They manage to sound "epic" without using any cliches of the genre (the quiet-loud-quiet-loud style). While their music can occasionally remind you of other bands (GY!BE, A SILVER MT. ZION, RACHEL'S, perhaps?), most of the time they only sound like themselves. A wide base of instruments (lots of horns, bells, strings etc.) definitely adds to the atmosphere, and some wild trumpet & violin duels can be heard.

It's fairly difficult to try to describe their music, but their name is actually a very good indicator. They play some sort of orchestral "chamber-prog" music, with an enthusiastic and energetic mood. While it's a commonly known fact that post-rock is hardly the happiest-sounding music genre, Bell Orchestre just might be the exception to this rule. Admittedly, there are a couple of disturbing and dark moments in their only album up to date "Recording A Tape The Colour Of The Light", but for the most part, it's a rather happy and light-sounding album IMO. It's not overtly dramatic, but there's a sense of experimentation and melody going on throughout the album, that seems to be quite rare nowadays.

Bell Orchestre is a band that can be recommended to anyone with an appreciation for good music. It is not required to be a post-rock fan in order to appreciate their majestic and beautiful melodies.

 
http://www.bellorchestre.com/
 
 
Review by avestin (Assaf Vestin)
SPECIAL COLLABORATOR Zeuhl/RIO/Avant Team

4%20stars Elation

Not an ecstasy but a sort of delight, excitement and jubilation; those are all sensations which arise in me while listening to this album and after it ends. It is a comforting album; the music tends to calm me down, even at its most dynamic; its sound resonates in my ears, removing all worries away, grabbing me into its world, leaving reality behind and on to a soothing and cheerful musical journey.

This album took me by surprise. I was not expecting this kind of upbeat music at all. What I mean is that I was expecting some brooding and mostly melancholic music and what I got is a rather dynamic and mostly optimistic sound that makes for a rather cheerful mood and not the ordinary depressive or pensive disposition.

This is an instrumental album and what makes it special is the lack of guitars and the presence of a violin, trumpet (two dominant instruments here), French horn, melodica, keyboards and drums and percussions. Therefore, while the music is as engaging as any other rock music, it sounds different, obviously, which is part of the magic of this album.



The album starts out quietly with “Recording A Tunnel” (This theme will return throughout the album), sneaking up as some thief in the night trying not to be noticed. A trumpet and some more wind instruments of sorts lurking with hesitation, not sure whether it is yet safe to come out. This goes into the next track. There you have the bass giving a basis for the other instruments to align to. The wind instruments and xylophone are gradually getting more confident and get louder and in joins the violin and together they play a nice slightly melancholic, but still optimistic sounding tune. They add more layers by adding more instruments into the musical weave. There is a sort of interplay between the trumpet and violin, each one taking the lead now and again and when not in lead, they provide the backing sounds. This might sound sad to some people, but I find this tune to be filled with hopefulness. It ends with a return to the trumpet and percussions playing stochastically about as it began in the previous track.

In the next track the volume rises all of a sudden to reveal a wonder – violins accompanied by bass, drums and percussions playing together a tune that conveys an encouraging feel, as if trying to cheer up the listener and make him reevaluate his current status in a more positive perspective. Sounds that to me depict a person that has just now found a new interest in life. I usually tend to prefer gloomy, dark and even depressing music, but in tracks like this, Bell Orchestre show that it is possible to create a different kind of music; one that stems out of the dark origin of music and veers off to the more high spirited side of it. It is as if they use the means by which you create dark, brooding music to create the opposite. It’s not straightforward happy music, not at all. It is simply the feel of positivism and content that is expressed in their compositions. It ends on a mellow note, letting you ponder on what you just heard.

The next track too is an energetic one that for some reason reminded me at first of Irish fiddlers playing. But this is not a lasting impression. Again the violin play a quick equivalent of a guitar riff and the trumpet plays its main role while the drums and percussions have fun in the background (or should I say the foreground, as they are very well heard but not shadowing the music). In this track I sense the power of the music of Bell Orchestre; the dynamics of their compositions.

After that we return again to the “Recording A Tunnel” theme. A trumpet calls us to stay vigilant and ready for the next part.

And what is next is a track that begins as a composition that GY!BE might do, only that when the drumming begin it strays off from that sound and you receive the usual BO’s sound again. A simplistic drum beat, but an effective one to emphasize the violin part in the role of the rhythm section while the horn plays some abstract sounds. This ends abruptly, only leaving the violin behind as a remnant.

The Bells Play the Band is another short track with what I think is a glockenspiel playing a simple few notes.

Recording a Tape has a typewriter playing in it along with the tapping of the string instruments.



What I also like about this group, apart from all the things I said in the beginning of this review, is the swapping of the roles of instruments; their violin replaces the guitars and the trumpet replaces the vocals. A possible downside for some listeners might be the blurry parts where it’s sure what is going on and where the music is it headed, if at all. It might be perceived as not being focused and trying to achieve too much. On the other hand you might say those parts enhance the overall experience one has while listening to the album. So it’s up to you. As for me, it changes every time I listen to the album, depending on my mood, but for the most part, I am comfortable with those, while a small proportion does feel not focused.

To sum it up, for a beautiful, instrumental and optimistic sounding album, with a special sound due to the instruments used, Bell Orchestre’s album is one I recommend without hesitation.

Posted Monday, October 01, 2007, 16:11 EST | Permanent link

 
 
 

BELL ORCHESTRE — Recording A Tape The Colour Of The Light

Review by chamberry (Ruben Dario)
SPECIAL COLLABORATOR Psychedelic Prog & Post RockTeams

4%20stars Bell Orchestre is a new band from Canada that plays your not so average band from the genre. They play a different type of post-rock using classical instruments more than the usual rock instrumentations bands normally have. You won't find any guitars here. Instead you'll get horns (!) a violin player and a drummer. It's a very interesting line-up, but is it good? Let's see what this chamber (post) rock band has to offer.

The album starts softly without making much noise. The first and second song on the album are soft and calming with the brass instrumentations playing softly with the other instruments backing them up. By the middle of Les Lumieres Pt. 1 you'll notice the epic feel of the album. Les Lumieres Pt. 2 starts out with a bang and it doesn't let you go until the very end with the brass instruments taking the lead while the violin, drums and lap steel guitar (the only one you'll find in the whole album) set nice and energetic melody for the song. Their sounds is rather happy and innocent maybe that's why there are sometimes when the band sounds like a marching band, but you could only wish that the ones you hear at your university or school were as good as this.

One of the good thing about this band is that, apart from having a strange line-up, they are also unconventional with their style of post-rock as well. They avoid almost all of the clichés of the genre so you can rest assured that you'll be having a breath of fresh air with this one. Most of the songs of this album tend to vary from soft and delicate beautiful songs to very energetic ones. It also has a nice balance of both soft and hard songs so it feels perfect on that matter. Again, I have to emphasize on the epic feel of the album since it's part of makes this album so great. There are songs like The Upwards March that one feels lifted by their full and orchestrated sound. They'll make you think there's really an orchestra behind their sound and their only a four piece band. This may sound like a GY!BE description, but rest assured they sound nothing like them. The softer songs on the album also carry that same feel, but in a more calming way like in the song Nuevo which is a beautiful song that brings images of places that can only be reached by ones imagination. Beautiful landscapes that often look like the art cover.

If you're looking for something to break out of the ordinary and still be accessible and melodic then give this band a try. It isn't limited to fans of the genre either. People that enjoy other genres and don't particularly like post-rock won't have any problem getting into them. Warm, optimistic, energetic and epic. Go and get it!

Posted Tuesday, November 14, 2006, 16:48 EST | Permanent link

BELL ORCHESTRE — Recording A Tape The Colour Of The Light

Review by Ricochet ("Philip Desmond Halloway")
SPECIAL COLLABORATOR Electronic Prog & Art Rock Specialist

4%20stars There are, right now, three or four bands that have only one album and a lot other more who didn’t made more than two or three such accomplishments (this detail being a regrettable insufficiency for some, a stereotype conformation for others). The post rock/experimental genre is relatively recent, maybe the improper one as well, and its most brilliant expression can come to be seen, without much surprise, at their existence roots or at low activity – or, why not to think it this way, the current’s whole swing is one of a slow essentially concentrated one. Thus being the image, here’s one top notch genre expression as I’ve felt and as it seems to me entirely, with part to which I could not find other word than original and with senses totally familiar, but making a different intention, with subjective and very appreciable sensations. Everything by one album and by not even one hour…



As personal as possible, I consider the detail of a long work process (apparently between the first motion and the debut one there was a considerable suspense) being materialized in a “one-off” frame only gladdening, no other lamenting. As for the perspective, 2005 says nothing yet. If we’re not dealing with tragic colors, for the in-future relation I can only wish and wait their next creation. Bell Orchestre would not necessarily have the long time rewarding talent, still a more special sense would be held.



What can be addressed to Bell Orchestre? They’re so typical and affluent that you can take grunge for that. If the case is for insufficiencies or improvements to be brought up front, the album’s doing pretty well; some moments a la humaine superlatif, a unwiring consistency that sells in decadent fashion and little motifs for which the unessential (and the rest all together) to be despised. In the perspective’s album, respectively in the album’s perspective there is no new and neither is the old prominent, no captivating or scatter, only some style to remember and few tunes to hum. Captivating it is still, I rectify myself, if musicality says more than the rest of the formula for you and if the impression stagnates either in small wonders, or dazzle shouts far from veridical. After all, the esthetic of a much reduced ampleness than the usual phonic grobianism is what enchanted me; gazed in finesse and musical attention from the composition, the execution and the symbol dream; made in one, not apathies in pieces – something of a not common feature given the whatever whenever experimental.



References or allusions are not the strong point, but you do think of something when you notice the common aspects. It wouldn’t work to say Godspeed, because the intention would be to visualize things that are not: climaxes, sound isolations, unstable temper, dominating view, instead of seeing the few tangent: the violin’s access/excess/incest, the approach acuity. Sparks mark Explosions In The Sky come in through concerning the “bell” fashion (commas are used because the accent is actually too much on “Orchestre), but neither is this thing representative enough. What can it be then? In a rush, I denied a little the project’s originality, happening however for Bell Orchestre to say a proper style in just unlikely to change patterns. Value expresses itself differently.



And value catches life in: the fabulous chemistry, the feeling matched pleasure and the groove of its own word. The ambient isn’t like a syrup and nor harmfully acoustic, fitting the general touch of slow-motion or (more rarely) the dramatic. Bell Orchestre, as I’ve said, is of a pushed orchestral, first in the ensemble, then in music; the traditional is the concise shape of experimental play (violin included!), but the big chance is the horizon widening towards “not that plastic” and “not that nailed” or “rock-redundant” – from wind instruments to the typewriter. No point of being an accessory. Contrast visible, maybe even perfect: slow mimic with charm, complex atmosphere; emotional rise by the contrary dynamic; rockish and effective. Melodies go from free stand or continuous development, just like imagination’s portrayed. Last thing that Bell Orchestre considers is the collage of sounds; and by last I mean the final, in which intermittences and disputations don’t care anymore of what was likely beautiful till then, and take the entire material to its complete essence.



Les Lumieres parts are exceptional, and the detail of being the most colorful doesn’t stop them from ascensions quality and ambiance preciousness. Very charismatic violin play around the middle of things; maximum caliber. The Upwards March yet a strong point, if not stronger. Typewriter Duet’s rather open to flaws, but eccentricity isn’t bad. Nuevo and Salvador Amado are either agasant tensions, either cutting climaxes.



Recording A Tape… is a provisory success of technique and a strength in emotion and image. Soul-ed music in her short meaning, ample sonority of interior scale, large specter of piaster and picturesque. A language which would have worked better minimalist, but works even better through natural sound character and energy abundant themes. Terribly simple album, shining though exultingly. Colors, what colors!



For the genre’s standards, this creation is splendid. Moments from the beauty fresco, from the surreal one and finally from the absurd one too. If this balanced move will continue with Bell Orchestre, excellent. If not, it ain’t an “anonimousity”. Minutes like these complement in a rare way, so it’s for your pleasure entirely. Quite recommended.

Posted Sunday, December 17, 2006, 16:07 EST | Permanent link

BELL ORCHESTRE — Recording A Tape The Colour Of The Light

Review by Prog-jester (Igor Sidorenko)
PROG REVIEWER

4%20stars BELL ORCHESTRE offers us unconventional Post-Rock. Gone are SILVER MT. ZION moans or SIGUR ROS whines; no GYBEish walls of sound or freaky TORTOISE beats; you won't find anything from this in BO’s music. They offer almost experimental chamber stuff in DAAU’s vein (young Belgian formation) or even related to French neo-classic movement. Horns, pipes, some violas and cellos, soloing typewriters and yes – bells. Bells are everywhere, any kinds of bells, from hardly-noticeable to ear-hurting…The album becomes even better closer to the end, with such wonderful playful tracks as “Nuevo” and “Salvatore Amato”. Highly recommended, especially if you’re tired of “intro/ louder/climax/outro” Post-Rock style.

Posted Thursday, May 17, 2007, 15:11 EST | Permanent link

 
 
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TRETTIOÅRIGA KRIGET - I Början Och Slutet
 
I like this album more and more with each listen.
 
Review by avestin (Assaf Vestin)
[Special Collaborator Zeuhl/RIO/Avant Team]
Posted 5:05:53 PM EST, 8/22/2007

4%20stars I am fairly new to this band, and I stumbled upon them for the first time through their Myspace page, where I heard several songs from their 2004 album Elden Av År and got hooked by the sound. I then proceeded to hunt down their earlier albums and managed to get hold of their first two albums which I am still getting to know, so I will not comment much on how similar or different than those, this current release is. I was contacted by Stefan Fredin (bass guitar, rhythm guitar, vocals) about adding this current title to their discography here in PA and he was kind enough to offer to send me this release as a promotional cd for review. I must say, I am glad he did so. If you don’t feel like reading on, let me tell you just this – I find this to be a solid, enjoyable and overall very good album.

This is rock that, even though it has that particular 70’s rock sound, sounds fresh and well produced. There is a very good flow to the album as most tracks are either a direct continuation of one another or connected in another way so that the music or sound never cease. The album has a clean sound, every instrument is clearly heard (For instance, follow the bass playing in the instrumental tracks). I like the sound of the Swedish language and the vocals (shared between Robert Zima and Stefan Fredin) are pleasant and suit the music (the booklet contains the lyrics in both Swedish and English); I love the lush and fabulous mellotron, and even though the guitar leads and solos are not terribly creative, they are well played, add groove and dynamic rhythm to the songs and overall fit the music. The melodies are beautiful and the songs well crafted, alternating between crunchy and frisky rock lead by the guitar and the atmospheric and more majestic sounding part lead by the mellotron. There is a musical motif in the album, a connecting thread throughout the album that is very distinct in several tracks (I Krigets Tid I, Ryttaren) and this serves as a good cohesive musical “glue” in this ongoing gush of sounds. This is best described as the sound of Trettioåriga Kriget.

I’d like to mention one track in particular; the title track “I Början Och Slutet” (“In The Beginning And The End”), is a superb song: moving (the mellotron adds much to the song) beautiful, powerful and engaging (in terms of sound, vocals and playing). The only thing wrong with it is that it’s too short… I feel there’s much more to explore in there, but I guess that Stefan Frdein felt he doesn’t like to dwell too long or experiment in one particular song and to move on to the next part and “investigate” other musical ideas. And indeed, the next track, the instrumental close up to the album, is another highlight in this most entertaining album. This is not to say those are the only two good songs in the album, not at all. But as I am not going to go over the individual tracks, I’ll only say that the various tracks are quite uniform in quality (I already said it’s a coherent release, didn’t I?).

To sum up: imagine good solid rock, not too complex but with enough variety (in instrumentation and musical ideas) to keep things interesting and captivating and with a good dose of lush mellotron; resulting in a beautiful and diverse sounding album. This album is best appreciated (as are many others) while listened to on headphones at high volume to get the full experience of this melodic journey. Give it your full attention, and the rewarding experience will be yours. I’ll be returning to this album for more listens!
 
 
 
 
 
 


Edited by avestin - October 05 2007 at 21:34
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hey guys i would like to share something with this great comunity.. ive heard the nicest progressive music ever.. its from a band name mors.. this band is making news over here.. and i think that it is worth to share it with u guys.. hope u like it and u can download it from here... www.morsthink.com... let me know if u like it!
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NEXUS 
 
http://www.nexusarea.com.ar/
 
Perpetuum Karma 2006 4.05
Excellent%20addition%20to%20any%20prog%20music%20collection
(33 ratings) 		Studio Album
 
 
 
This Argentine quintet has its roots in the Seventies when a group of schoolboys from the capital Buenos Aires were impressed by the symphonic rock and soon NEXUS was born. Eventually a dream came true but not until the end of the Nineties when NEXUS eventually released their first album entitled “Detras Del Umbral” in ‘99. The impressive sound is very bombastic and loaded with great keyboards. The female vocals are strong and powerful and also give the music an emotional value in order to avoid ‘technical overkill’. Most obvious hints are from ELP (Hammond organ play), mid-GENESIS (lush symphonic sound) and MARILLION (synthesizer flights). A year later NEXUS performed on the annual USA prog rock festival Nearfest, this concert was captured on CD entitled “Live at Nearfest 2000”. NEXUS presented most of their first album, a keyboard-solo and the title track from their forthcoming album “Metanoia”. This more mature CD was released in 2001 and is one of the highlights of the current South-American prog rock. Worldwide prog rock fans are longing for the next album, they are already waiting for three years.

The album “Metanoia” is one of the best prog rock releases of the last five years! The sound is impressive with very lush and bombastic keyboards (with echoes from ELP, GENESIS and the Japanese prog rock) and due to the more dominant guitar play the sound of NEXUS often evokes IQ (the albums “Ever” and “Dark Matter”) but also early HACKETT solo and of course mid-GENESIS. The 24-carat symphonic rock compositions are compelling with lots of captivating changes of climate and splendid solos on keyboard (organ and synthesizers) and guitar. The powerful female Spanish vocals fit perfect to all atmospheres, what a great voice. In my opinion this album offers all the elements that makes symphonic rock so worth listening!

: : : Erik Neuteboom, The NETHERLANDS : : :
Fan & official Prog Archives collaborator

 
 
 

Track Listings

1. Mirar hacia el centro (17:28)
2. Perpetuum Karma (14:56)
3. Del abismo al sol (9:50)
4. Travesía (9:12)
5. Cruces y Sombras (14:00)
6. En ese viento (6:44)

Total Time 72:28

Line-up/Musicians

- Luis Nakamura / drums & percussion
- Carlos Lucena / electric & acoustic guitars, vocals
- Daniel Ianniruberto / bass guitars
- Lalo Huber / Hammond organ, church organ, mellotron, pianos and synthesizers, backing vocals
- Lito Marcello / vocals

Releases information

Label: RECORD RUNNER

 
 
All reviews can be read on the album page - http://www.progarchives.com/album.asp?id=13962
 
 
I'll quote here only one of those, which equilibrates the positive and negatives opinions about this album:
 

NEXUS — Perpetuum Karma

Review by el böthy (matias boettner)
PROG REVIEWER

3%20stars Nexus is by far Argentina´s most known prog act at the moment...yet the funny thing is, I had never heard of them before I found this site. Actually, Nexus has more fans and success in Europe, specially in Spain, than here in their homeland... what a pitty

Having seen Nexus live in 2005 I was really waiting for Perpetuum Karma´s release, for in that show they played three songs from it (Perpetuum Karma, Travesia and En ese viento I think...thought I might be wrong, but I really think thouse were the ones) and the fisr week it came out here, I bought it. Well, first of all I must tell you, if you ever get the chance to see Nexus live, go and see them, they are very good. Now, the album...

At fisrt I did not like this album, I thought all songs were too long, I hate the singing and I founded it just uninspired... but then you listen to it for a second time, and a third...and a fourth...and you see than you might have been wrong at first. Now I can say that I really like this album, it might not be as good as Metanoia, but it´s certainly a good album. And yes, the songs might be a bit too long for their own sake, but after a few spins this isn´t a problem anymore, and yes the singing might not be Nexus best part, at least not anymore, as Mariela Gonzalez left the band to form the band Atempo, so Carlos Lucena and Lalo Huber had to take over the singing and...well, as backing vocals they might be very good, but they are not lead singers...but after a while you also get used to their voices... but Nexus music is not uninspired!

Now, the music. Nexus has two strong points: the guitars and specially the keys. Lecena and Huber, although no virtuosos, are two fine players which really make Nexus stand out from the rest of some Argentinian bands, just like Crucis (Argentina´s most prolific and successful prog act from the ´70). But, they do have a weak point also: the drumming. Luis Nakamura is not up there with the rest of the band, as he is a very limitated drummer, but well, it´s not always that all musicians are masters of their instrument, so why should this be a problem, as long as Nakamura doesn´t play out of time? Well I tell you... Nakamura uses the smallest kit (and I don´t mean small cause there are not enough drums or no double bass-drum, I mean his kit is tiny, almoust from little children)...and one really must ask, why? I see no explanation, cause it´s not like he gets a different or better sound of it, in fact the sound of the drums are weak, there is no power... what a shame...

The songs go from very good to "so so", but there is no real bad song... but no masterpiece for that matter either. The best songs might be the epic "Mirar hacia el centro", with Huber and Lucena playing wonderful riffs and that very catchy kind of melancholic chorus, "Del abismo al sol" is a mellow track with gentle guitar works that, although being almoust 10 minutes long, passes very rapidly and "En ese viento", a sad song with a great acoustic riff and ...good vocals! Yes, thats cause the band asked someone else to sing here: Lito Marcello, and one says...why doesn´t he sing all the songs? Well, it´s fine the way it is anyway. The "worst" songs (which as I said aren´t really bad at all) are "Perpetuum Karma", maybe not that bad, but to name the album after this uneven track might make it a bit worst jejeje and "Cruces y sombras" an unnesesary long song (14 minutes) that could use more power than what it has (specially the drums and guitars).

This is a fine album, no masterpiece, not their best, but it´s great anyways, Highly recommended for thouse vintage keyboard lovers!

Posted Wednesday, February 21, 2007, 13:46 EST | Permanent link

 
 
 
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Another Argentinian band, but older.... Finally got the re-issued cd's after a long time I've been meaning to buy them.
 
 
Formed in the mid 70s, Independent Musicians Associated (MIA) was a group of musicians, technicians and drawers gathered together by Lito and Liliana Vitale's parents. They produced their own records and concerts in an independent way. Their music is a complex symphonic rock with definite Argentinean/latin folk influence with multiple corals and vocals beautifully contrasting with the keyboards and a great guitar sound upon a strong rhythmic section. They were highly influenced by symphonic music, more noteworthy by ELP, GENTLE GIANT and FOCUS.

Their debut was "Transparencias", an exquisite album of classical. Their second album was vocal oriented. Lead by Alberto Muñoz -author of the lyrics- this effort was a different approach, though still keeping the symphonic mood in the form of songs. On "Cornostipicum", MIA returned to the instrumental-symphonic rock with elaborated pieces such as "Crifana y Tamílstenes". This album is a highly recommended classic and certainly one of the best ever from Argentina. MIA's final release was a big project called "Conciertos", a 3-LP album comprising live recordings from the group's last set of shows. All of these come highly recommended, MIA were a unique musical ensemble with a definite progressive ethic.
 
 
The two that I have and also highly recommend are:
 
The two other albums also have high ratings to them as well, so I know I'll be getting those as well.
 
 
Just read the reviews to be persuaded.
 
 
 
 
 
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Mongol - Doppler 444
 
Non-stop high energy jazz-rock/heavy-rock/metal and unbelivable energy.
 
Their PA bio:
The Japanese quartet (keyboards, guitars, bass, drums) offers a loud and intense style of jazz-rock fusion. MONGOL created only one album and it is a masterpiece of the genre. Here they try an energetic, symphonic-ornamented fusion style rather similar to KENSO and AIN SOPH.

"Doppler 444" has been released in 1997 and it is today not easy to find it. This band is almost unknown and this should not be. The compositions by the keyboardist are finally powered by a dynamic and very energetic rhythms section. The fretless bass insures a jazzy tone while the drumming has more of a rock flavour. Solid performances, a rich production and a rock context that allows a jazzy touch (ex: U.K.) as well as a more heavier one (ex: DREAM THEATER).
 
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 ^ sounds friggin great, I'll look for it









Edited by Atavachron - October 06 2007 at 22:35
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NUOVA ERA - Il Passo Del Soldato
 
http://groups.msn.com/nuovaeraprogressive/nuovaeraenglish.msnw
 
I'll quote only 3 reviews, for the rest you can visit the album page:
 

NUOVA ERA — Il Passo Del Soldato

Review by Cesar Inca (César Inca Mendoza Loyola)
SPECIAL COLLABORATOR Symphonic Prog Specialist

5%20stars 'Il Passo del Soldato' is not only Nuova Era's most prominent work, but also one of the most outstanding masterpieces of 90s prog. Sadly, it also signalled Nuova Era's farewell... anyway, what a way to go! Now ensembled as a power trio since the band had lost its guitar player, the band manages to take the hardest side of itself out and explode in a colourful fire of colours. This fire is basically provided by Walter Pini's arsenal of keyboards (heavy presence of loud Hammond, thundering synths and dense mellotron layers), though it's also fair to note down the solid foundation laid by the undefatigable rhythm section, energetic and precise. Nuova Era displays its own voice by recycling dinamically the influences of Inferno-era Metamorfosi, Balletto di Bronzo, Darwin-era BMS, as well as ELP. Since the missing guitarist was also the lead singer, he had to be replaced by a vocalist, whose range is very similar to that of Biglietto's lead singer: a very appropiate thing, since the band's direction is decidedly harder. The fact that this album is conceptually construed around the destructive power of war is also a main factor for this hard rocking emphasis. The introductory marching drums and feet at the start of 'All'ombra di un Conflitto' set the overall mood right away, as a strategy of frontal assault: the strategy is fierily continued on bombastic tracks such as 'Lo Spettro dell'Agonia sul Campo' and the ambicious title track (the two actually being my fave numbers). 'La Parata dei Simboli' is less incandescent, based on an appealing baroque-like sequence of piano, mellotron and synth chord progressions and textures. After a reflective statement made in 'Riflessi di Pace', 'Epitaffio' concludes as a splendid reprise of motifs from tracks 1, 2 and 4. As a bonus track, we are given an instrumental piece from the band's old repertoire, recorded without the guitarist, of course. I wish this bonus would have been placed somewhere else, since the structure of 'Epitaffio' demanded that it were the exclusive closure. But this is a very very minor factor: the main thing is that this album is a masterpiece, that equals the top-notch creativity and intensity of such classics of Italian hard prog as Metamorfosi's 'Inferno', Balletto' 'Ys' and Museo Rosenbach's 'Zarathustra'.

Posted Thursday, June 10, 2004, 22:24 EST | Permanent link

NUOVA ERA — Il Passo Del Soldato

Review by Gatot (Gatot Widayanto)
SPECIAL COLLABORATOR Honorary Collaborator

5%20stars This is a TRUE MASTERPIECE prog album! Powerful songwriting and tight composition. The music is very complex but it produces excellent melody and harmony reminiscent of 70s prog music. Yes, the band is really SUCCESSFUL in bringing the 70s prog music alive in 90s! They really produce the sound and souls of 70s music. Their masterpiece is not only on their music but also in the creation of “nuances”. Oh my God … this album is really WONDERFUL! Two thumbs UP!

The musical structure of this album is in the vein of Early GENESIS (less Hackett; there is no guitar used in this album) with some passages reminiscing Early KING CRIMSON and ELP. Keyboards dominate almost all tracks - supported by dynamic bass line and drumming. Music-wise this is actually a three-piece band - Walter Pini (keyboards), Enrico Giordani (bass) and Gianluca Lavacchi (drums) plus a lead singer who does not play instrument: Claudio Guerrini and a lyricist: Ivan Pini (words ) who does not play. Ehm … it reminds me to Early King Crimson where Pete Sinfields played a role as lyricist as well.

The more I spin this album, my appreciation grows steadily. All tracks in this album were composed beautifully. SUPERB! Oh by the way, you will hear so many passages where the keyboard plays dual sounds each separated clearly in right and left channel of your stereo set.

“All'ombra di un Conflicto” intro reminds me to Genesis “The Battle of Epping Forest” especially on the way drum stools are played. Punchy keyboard sound reminds me to the style of Keith Emerson. I like the part where the voice line starts to enter the music. Excellent composition. Quality of vocal and backing vocals are excellent and I like the Italian lyrics (even though I don’t understand at all. IMHO, Italian language is best for prog music). The double keyboard sounds at the interlude of this track is really superb!

“Lo Spettro dell'Agonia sul Campo” starts with dual keyboard sound: organ at left channel and keyboard melody at right. It’s an excellent opening. Some passages of this song reminds me to “The Knife Edge” of ELP. This track is purely in the vein of ELP. Great melody, harmony and composition. The lead singer demonstrates his powerful vocal through high tone voice. Amazing voice! The interlude part with solo keyboard is really stunning! “La Parata dei Simboli” is a short song with a catchy piano touch and keyboard work. The keyboard sound reminds me to the work of ALFONSO VIDALES of CAST (Mexico). It’s a melodic instrumental song.

The classic-influence piano work at the opening of “Il Passo del Soldato” is really excellent. This is the longest track in the album. The lead singer voice has now changed into more theatrical way and sometime in operatic style. A great track with frequent tempo changes through smooth and catchy transition pieces in symphonic mood. The solo synthesizer throughout this track is wonderful.

For my personal taste, all tracks in this album are excellent! It’s really hard for me to identify any shortcoming of this album. You will be amazed by this album especially if you observe how stunning the keyboard / organ is. It’s a flawless album! Powerful songwriting, tight composition, great musicianship and flawless performance. Perfect! GW, Indonesia.

Posted Wednesday, December 15, 2004, 22:03 EST | Permanent link

NUOVA ERA — Il Passo Del Soldato

Review by Fitzcarraldo
SPECIAL COLLABORATOR Errors & Omissions Editor

4%20stars If you like Italian Progressive Rock it’s likely you’re going to love this concept album. NUOVA ERA was a band of the 1980s and 1990s that sounds as good as Italian Prog bands of the 1970s but without sounding stuck in the past. In fact there’s a hint of neo-Prog in the music too. There is no guitarist on this album, but the excellent keyboard player Walter Pini does such an amazing job that you don’t notice it. Pini uses piano, Hammond Suzuki with a Leslie and distorter, a Yamaha MS20 synthesizer, and a pair of Korg synthesizers to emulate the Mellotron sound. He uses all these keyboards to great effect. The singer is excellent (he reminds me of Alberto Piras of DEUS EX MACHINA), and the drummer and bass player do a fine job too. Pini’s brother wrote the lyrics, which are in Italian (thankfully). The music sounds like a fusion of DEUS EX MACHINA, METAMORFOSI, BANCO DEL MUTUO SOCCORSO, LE ORME and MUSEO ROSENBACH. It’s quite dark in places (not surprising, as the album’s concept is 'war') and reminds me quite a bit of the feel of the latter’s “Zarathustra”. I suppose I should mention Keith Emerson; yes, there are a few little reminders of the maestro, but I’m not reminded of ELP to be honest. All of the tracks are excellent and it’s difficult to single one out. I like the occasional sound effects that Pini has inserted. The tracks 'Il Passo Del Soldato' and 'Armicrazia' are even more impressive when you know that Pini composed them in 1978 when he was 17 years old. Easily 4 stars (Excellent addition to any Prog Rock collection).

Posted Thursday, December 16, 2004, 18:27 EST | Permanent link

 
 
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SECRET OYSTER - Laser's Edge have re-issued their 4 albums (and will be releasing live material later on).
If you go here - http://www.lasercd.com/Search.aspx?Keyword=secret+oyster
You'll see all four of them.
A great Danish jazz-rock/art-rock band, with great dynamics and melodies.
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PRAT, JEAN-PAUL - Masal
 
Background:

Jean-Paul Prat is a multi-instrumentalist and composer born in Grenoble, France on 27/9/1953. He began his musical path early on due to his mother’s love of music. At the age of 9 he began taking private classical piano lessons. At age 14 he had already learned to play guitar by himself and then the drums by age 15.
He would then be enthusiastic about English rock groups – The Beatles, The Moody Blues, and also with RnB bands for their rhythmic virtues and their use of brass instruments (which was presumably an influence for him for his recordings later on, as can be heard on Masal). At the age of 15, in 1968, he formed with a friend of his a dance orchestra. Prat was playing then the guitar and doing the vocals. As they expanded, he took on playing the organ and later on at the age of 18 switched to drumming and singing. This was an octet that was called Blackbirds, which played then-contemporary music. 18 years old, Prat decided then to study percussion at the conservatoire, but had gotten tired from it soon enough to return to playing music. This period finds him being thrilled with Chicago and Deep Purple.

His next step would be starting to compose by himself in 1971, something that was driven by listening to Magma’s unique music. He wanted to form a band that would perform those compositions, and asked some of his fellow dance orchestra friends.
Joining him on his band in 1973, were his brother Richard Heritier on saxophone, Michel D’angelo on guitar and bass, Denis Borras on bass all of whom came from their previous dance orchestra. To complete this lineup, Prat recruited Georges Rolland on saxophone and Alain Tourral on piano. The chosen name for the band was Masal – Hebrew for luck, fortune or chance (and not as the booklet mistakenly says, it is not “star” which is Kochav).
The music of Masal at that time is described in the cd booklet like this: “Jean-Paul led the new band, handling vocals and wrote the bulk of the band's material in a frenetic vein akin to that popularised by MAGMA. propelled by drums and bass, accentuated by riffs from the brass instruments that exchanged solo roles with the keyboards.”

The band suffered from a changing lineup. August 1973 sees the departure of guitarist Michel D’angelo, but he is not replaced as Prat is content with the band switching to a brass dominated lineup without guitar. Denis Borras decided to be the band’s lighting technician and quit his playing. New bassist Gerard Betemps and keyboard player and vocalist Yves Ottino join Masal. And though he was content with no guitars, guitarist Philippe Christophe joined as well. Alain Tourral then left as well.
The band rehearsed quite a lot in places such as Isere and Les Avenieres and also performed in front of small audiences at places like Ruy, Lyon (with Magma and Spheroe and another one with Gong), Ecully (with Urantia, which was the precursor to Vortex and with Astarte which was later to become Eider Stellaire), Paris and Orleans (opening for Soft Machine) and other places as well; this extensive touring went on for quite some time. The music then was wholly instrumental and the vocals were used, similarly to Magma as another instrument in the lineup.

In 1976, the band took on a temporary break-up for each one to ponder about their musical paths and projects. This period sees Prat exploring other possibilities – playing in a dance band and traveling abroad for over a year. When he started playing music again, he went through playing with 4 different bands (punk and new wave). Prat continued to play and record (not under his name) during this time and for a more detailed version, you can read the liner notes in the Masal cd.

Moving on to 1981, Prat was approached by a concert agent with a proposal to reform Masal and play their music at a concert he was organizing. Prat got excited about this and went on to recruit musicians and form the band, which he wanted to be as big as possible. The lineup he got was made up of Herve Gourru on Bass; Jean-Jacques Willig on keyboards; Richard Heritier on saxophone; Georges Rolland on saxophone; Carlo Grassi on guitar; Norbert Galo on guitar; Viviane Galo on keyboards; Jacques Dessert on cello; Richard Negro on trumpet; Gilles Morard on trombone; Gerard Geoffroy on flutes.
The cd liner notes describe the current incarnation of Masal’s sound like this:
“Jean-Paul's music had undergone changes. Instead of the frenetic wildness of before, it distilled its power into a music of profound serenity and sensitivity. It had now become entirely instrumental, with dense interweaving of themes and counterpoint led by brass and guitar.”
The first show on December 5th 1981 at La Cote-Saint Andre was followed by another one in Isere on July 19th 1982 in which Jacques Dessert was absent and Eric Duval played on percussion. At this point, Prat wanted to record this material as an album. With the help of his family, he financed the project – he hired Venus studio at Longueville (50 km from Paris) for a month. For this album, Norbert Galo and he decided to use one 40 minute long suite for this album. This piece started its life as the song Aubergine, dating from the conservatoire days of Prat in 1972. This piece was later expanded, reworked, linked and integrated with other pieces, all done in various stages and was finally re-named to Masal, like the band name itself.
14 musicians were in the lineup that recorded Masal for the album in July 1982. the double tracking enabled the orchestral sound that the album has. On the vinyl record the piece was forced to be cut into two pieces, but on the cd version the piece can be listened in its entirety without any alterations.
In 1983, Prat finds a small label, Ere Force, who belongs to a larger company called Stand By, which agrees to distribute Masal. In 1986, Musea took charge of the distribution of the album, and in 1995, re-issued it on cd.

Despite a thinning lineup, the band kept on performing. During 1984, the band became the backup band for the Christian singer Alan Nol, for whom Prat was working as manager. Several of the musicians in the band decided to, as the liner notes in the cd say: “declared themselves converts to Christianity and henceforward decided to pledge the band to the glory of God.”
However, two members, Herve Gourru and Georges Rolland did not share those feelings and left the band. They were later on followed (as Prat’s faith and devotion increased) by Carlo Grassi and Jean-Jacques Willig. Now the band had veered into Christian oriented songs as written by Prat. In 1985 they recorded a cassette called "Sans Peur De T'appartenir". Three other tapes followed in the coming years, all with songs about praise of God and Christian nature. Prat, along with Richard Heritier, Alain Escure and Denis Borras have become members of a Christian community.

Music:
The scope of Masal is as extensive as Prat’s instruments he plays on.
The album Masal with its 42 minute long suite covers a lot of grounds – there are elements from zeuhl, symphonic-rock, jazz-rock, avant-rock; and while it is debatable which is the leading characteristic, each has an emphasized role in this orchestral piece and all are well represented throughout its run. It is this broad range of sound to be found here that has lead to this project being included in PA under the Eclectic tag, as this is truly an amalgam of styles, a fabulous mélange of genres and sounds.
While this blending of styles might sound forced, you’ll be surprised just how smoothly and naturally the mix sound and the shifting between parts are. The inclusion of brass instruments alongside the rock instrumentation gives this album, along with the composition style of Prat, its uniqueness, volume and rich sound.
This album will find its audience in the fans of all aforementioned genres. Its richness and compelling sound, its structure and instrumentation, all culminate in a wonderfully built and composed piece of varied music.

Adapted from the extensive biography to be found on the Masal cd re-issues by Musea in 1995 (FGBG 4155.AR).

 
 
 
 
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Their PA bio:
With only two albums in their curriculum vitae, released in a 2-year span, it’s incredible how the French power-trio XAAL managed to leave such a rich testimony for contemporary prog rock. Formed by guitarist Jad AYACHE, bassist Nicolas NEIMER and drummer/percussionist Patrick BOILEAU, XAAL offered an exciting, stylish mixture of KC-meets-CAMEL oriented sound (not unlike their legendary compatriots of SHYLOCK) and RIO at its least inscrutable (imagine PRESENT with a more patent dynamics and a bit less sinister), craftily seasoned with noticeable touches of jazz-rock. The trio decided to increase their sonic spectrum via the help of guests - on wind instruments mostly - for some extra colors, but all in all, the threesome were exclusively responsible for their own sound’s core.
 

XAAL — En Chemin

Review by sinkadotentree (john davie)
PROG REVIEWER

4%20stars XAAL were an all instrumental band from France who put out two great records in the nineties.There is a mixture of Rio,Zeuhl and Jazz in this their debut,and more than once i was reminded of both CAMEL and KING CRIMSON.This seems to be some sort of a concept album as there is a little written blurb with each song to read,but the concept is vague to say the least.The music though is crystal clear. "L'Enfant" has such wonderful sounding guitar melodies(Latimer-like) with light drums.As bass comes in 4 1/2 minutes in the song changes with uptempo,passionate passages coming and going.The drumming is fantastic! "Ballade" is a good uptempo song with the focus on the guitar and drums,with sax and trumpet adding some flavour. "Le Jardin" opens with the birds singing as an intricate guitar melody with bass comes in.Drums follow as the guitar gets more aggressive.I'm reminded of CAMEL a minute in. "En Chemin" is quite a ride as it opens with piano,bass,drums and guitar,the tempo changes often and the song gets intense 3 minutes in before changing completely 4 minutes in to a jazzy little number.Synth-guitar and light drums as the song builds after 5 minutes. "Talisman" opens with some beautiful sounding guitar as bass and light drums come for the ride.The guitar is more raw after 4 minutes. "Le Vieux Chasseur De Papillons" opens with lots of atmosphere that lasts for 2 minutes before some tasteful guitar comes in.Great sound 5 minutes in. "Ascension" has a dark and heavy intro with Fripp-like guitar that slowly grinds out angular melodies.The song stops completely 2 minutes in and restarts with a different guitar melody as the song continues to unfold.The wind is blowing to end it. "Byblos" is dominated by guitar and drums before a blistering guitar solo 3 1/2 minutes in.We get an atmospheric section 2 minutes later with some synth-guitar before a climate change 8 1/2 minutes in of horns and drums. The final track "Final" is less then a minute long.It sounds like someone breathing hard and then yelling as drums pound to a dramatic ending. Just an excellent release with amazing instrumental work that should satisfy Zeuhl,Rio and Jazz lovers alike.

Posted Wednesday, September 19, 2007, 16:51 EST | Permanent link

XAAL — Seconde Ere

Review by Yukorin

4%20stars Sensational follow-up from this mysterious power trio. 'Though unsatisfyingly short in length it's a dizzying object lesson in RIO, zeuhl, and jazz. All instrumental, with a great flair for melody and tension this is, to my mind, real progressive metal. Similar to Japan's Happy Family.

 
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The new album by Dutch band Trion (abbreviation from trio and Mellotron) entitled Pilgrim. It contains lush 24-carat symphonic prog with echoes from Seventies Camel, Focus and Genesis and also warm play on the acoustic guitar and Grand piano. In comparison with their debut album Tortoise this new effort sounds more dynamic and varied but still the focus is on vintage keyboards (from Mellotron and Hammond to church organ) Thumbs%20Up
 
 
                           Also recommended: Italian band Mass Media:
 
 
MASS MEDIA "Criptoidea"
 

From the record label:

Second album from Mass Media, historical band from the '70s
that reunited in 2005, in order to record this splendid new
album, a live in studio with a very impressive "groove"!
This band displays perfectly the classic '70s style compositions, always rich in new ideas but with definite individualities showing, too; for sure the album belongs to Prog (Acqua Fragile, PFM, Yes, ELP...)
even more than their previous one "Dark Opacity" but in the DNA of this band you may also find excellent
jazz-rock bits (Arti & Mestieri, Mahavishnu Orchestra, Brand X... )!
The CD culminates in the splendid "Suite del ringraziamento (Thanksgiving suite)" dedicated
to their all time influences... Bach, Beethoven,
Mozart, Bernstein, Copland, Emerson, Wakeman and more.
Planned and composed for live concerts, the suite was recorded as a live in studio, like the other tracks, to keep the "groove" and the energetic feeling intact.


Piero Dondi - Keyboards
Armando Pozzo - Guitars - Vocals
Tiberio Boido - Guitars - Vocals
Alberto Rinaldi - Bass

 
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Edited by erik neuteboom - October 09 2007 at 13:04
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Ok perhaps not prog at all but you won't be dissapointed with the work of Christopher O'Riley featuring Radiohead's stuff on piano! Simply an amazing player, and an interesting selection of songs, in both tribute albums he has done: "True Love Waits" & "Hold Me To This" / Christopher O'Riley plays Radiohead. Outstanding work! Listening to it right now......
The best you can is good enough...
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D.F.A. - Duty Free Area (1999)
 
http://digilander.iol.it/dfa/
 
PA bio:
"Another intricate Prog band from Italy, with some psychedelic moods among their orchestrated and improvised music. The music is mostly instrumental, but some vocals in italian are present too.

"Duty Free Area" (1999) probably ranks among the very finest Italian releases of the 90s. In all, DFA is a great jazzy symphonic group that surely stands apart from the pack of the modern prog scene. Highly recommended to fans of intricate / elaborate prog music. "
 
 
 

Collaborators Reviews

D.F.A. — Duty Free Area

Review by Sean Trane (Hugues Chantraine)
SPECIAL COLLABORATOR Prog-Folk Specialist

4%20stars Probably one of the better Italian Jazz rock band to appear on the scene lately, I saw this band in Verviers along with another italian band . I went to see DFA and on the strenght of this album alone and I was pleased to have seen them as they reproduce the songs fairly closely. I called this Jazz rock but I might say Jazz prog as these fairly long numbers/songs have delicate ambiances and have very subtle vocals. The previous album , i have only heard small samples but sounded quite different to me.

Posted Tuesday, June 08, 2004, 11:04 EST | Permanent link

Guests Reviews

D.F.A. — Duty Free Area

Review by kiky_dini

4%20stars Another fine prog band from Italy in the scene of 90’s progressive rock. DFA or Duty Free Area is a four piece band. The band displays their ability and strong sense of prog in their 2nd album which was taken by its name itself. I own their three albums only i.e. Lavori in Corso, DFA and a live performance album Work in Progress, being recording of their performance in NEARfest 2000.

After listening to their music I would like to say that the drummer Alberto de Grandis and keyboard player Alberto Bonomi are the key persons of the band. In this recording, these two guys had composed all materials. The drum playing of de Grandis is the most attractive parts in the band. As to the music, DFA can be described as a fusion prog which combines with elements of spacey psychedelic, jazzy and symphonic (but not much).

Let’s go to the details, 1st track ESCHER, s spacey psychedelic instrumental song, with medium tempo. This song displays how superb the drum playing from de Grandis.

2nd track, CALEIDOSCOPIO, a Gentle Giantish typical song, started with a mellow sound of keyboard but surely after that the tension gets higher.. along with the male vocal from de Grandis.

3rd track, ESPERANTO, a jazz rock typical song but sounds very progressive, a male vocal contributed by Alberto Piras, the frontman of DEUS EX MACHINA. An acrobatic opera typical vocal……. This is an interesting piece.

4th track, ASCENDENTE SCORPIONE, an instrumental track, the sound similar to 1st track.

5th track RAGNO, still an instrumental song, but now opened with the kinda sound of symphonic with keyboard parts take important roles. This the longest track in this album, repetitive style is the main color of this track. Bonomi shows his virtuosity in keyboards playing.

Last track, MALIA, can be described as a prog ballad, using the female vocal from Giorgia Gallo. One of the finest typical of female vocal I love very much that performed in this beautiful song

I don’t think I can find the weakness point in terms of music, song compositions and arrangements. One of the weakness, I think the bass playing which was played in this album by Luca Baldassari. He was supposed to be mach more attractive, even tighter that what he was. I think it would be wonderful, if he could play in the way of Jonas Reingold of Flower Kings way….. ;-) But anyway, this is a good stuff, worth to buy and Highly recommended……

Anto Sulistianto – Indonesia Prog Lover

Posted Friday, January 28, 2005, 05:34 EST | Permanent link

 
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This is something I posted about in another thread but I thought I'd repeat it here:
 
Here's an excerpt from a message I got from Dan Britton from Deluge Grander, Birds & Buildings and Cerebus Effect.
 
"
just wanting to let you know Birds & Buildings is almost done with our album.  
We put up some samples on a myspace page if you want to hear them.  We'll probably have the album done around November/December, but I think I'm just gonna say
it's released in 2008 so that it will seem "new" for longer.  The samples are at:
www.myspace.com/birdsandbuildings333

Feel free to tell anyone who you think might be interested about this. 

Thanks for all your good words about the Deluge Grander album.  That band is actually working on a new album too, which I think will be better than the first one.
 
There are also two other projects I'm working on- so in all, I
hope to release at least 3 albums in 2008.

Best wishes
Dan
"
 
Links to the bands in PA:
 
 
 
 
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That's good news Avestin and how pleasant that the band got in touch with you, I am sure they are very grateful for your support, these new but lesser known bands need it so much Thumbs%20Up
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Originally posted by erik neuteboom erik neuteboom wrote:

That's good news Avestin and how pleasant that the band got in touch with you, I am sure they are very grateful for your support, these new but lesser known bands need it so much Thumbs%20Up
 
Thanks Erik,
 
Dan is a nice guy and I love the music he makes and so I want to help as much as I can to promote it.
 
 
 
Here's my latest recommendation:
 
 
PA bio:
An original mix of soft progressive and avantgarde atmospheres is the distinctive sound of PIERROT LUNAIRE, highly regarded among foreign collectors though not particularly representative. Still, over the course of their two albums, this band draw from a broad set of influences as diverse as FAUST, PFM and DEBUSSY for their eclectic, unpredictable sound.

PIERROT LUNAIRE's first album contains really beautiful instrumentation. The second ("Gudrun") is one of the most adventurous records of Italian progressive, and it is one of my favourite albums of all time too. "Gudrun" is one of those masterpieces where only one classification seems appropriate: extraordinary music. In any case, PIERROT LUNAIRE's two albums are a must for adventurous listeners.
 
 
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Two Zeuhl albums today, which I believe I have already mentioned before, but it doesn't hurt to mention again, and plus there are the reviews of my good friend sinkadotentree (john davie)  who has an exquisite taste
 
 
 

UPPSALA — Uppsala

Review by sinkadotentree (john davie)
PROG REVIEWER

4%20stars This record took longer than most do for me to really get into.I think part of the reason for that is the fact that this is not like any of the Zeuhl i've heard so far.This is lighter, with mostly slower to mid-paced songs.A lot of acoustic guitar as well,and the electric guitar is very well done i might add.Also this band is a trio instead of the usual "many" members that make up a lot of Zeuhl bands.UPPSALA played over 40 concerts before finally recording their first(and so far only) album in 1983.They had a terrible car accident in Belgium in 1979 in which the bass player lost the use of both his legs, and the drummer was seriously injured.Fortunately the main man Philippe Cauvin the guitarist/vocalist was unscathed.Dany Marcombe the bass player bravely returned, even though he would play bass in a wheelchair. My cd has three bonus live tracks on it that were all recorded in 1995 when they reunited to open for a band called FUSION, that consisted of Christian Vander,Janik Top,Didier Lockwood and Benoit Widermann.Nice. "Algarade" has an island feel to it at times.Vocal melodies,bass,drums and guitar lead the way until a minute in when the song calms down.Vocals are back before 3 minutes,and the guitar is great. "Coste And Jukka" is named after two Swedish guitarists they met while vacationing.Actually they named the band after the Swedish town(Uppsala) that these two guitarists are from.It opens with the band having some fun as they are carrying on.There are some spoken words that come and go while we get some singing a minute in that turns into dual vocals.Some higher pitched vocals later.This is a very good tune. "Les Nouvelles" has a RUSH vibe to the guitar sounds.This song has such a relaxing melody with vocals after 5 minutes. "Boucle Aux Oiseaux D'en Face" is another highlight with the acoustic guitar,vocal melodies,bass and drums. "Coup De Folie" has a good beat along with some steller vocals.This reminds me a little of THE TALKING HEADS.Some scorching guitar 2 minutes in. "Etude N 1" has some great guitar and bass work.The vocals are getting close to theatrical. "Uppsala" is the longest track.It is mid-paced,as they just jam for over 12 minutes.The three live bonus songs also feature a guest trumpet and synth player named Freddy Buzon. "Antrada" has some serious atmosphere in the beginning before giving way to a nice acoustic guitar melody that is RUSH-like.Trumpet comes in after 4 minutes as the song becomes jazzy until bass and guitar take over followed by the drums 7 1/2 minutes in. "Chant De Nuit" has some strange vocals with not much in the way of a melody. "Entrechocs" has an impressive drum solo for 2 1/2 minutes that is followed by the crowd cheering.The guitar and bass then share the spotlight, with the guitarist playing a few bars from the happy birthday song. This has grown into a 4 star record for me, but just barely.I really think all Zeuhl fans should own this bands take on Zeuhl music, as it is both refreshing and very well played.Well done!

Posted Wednesday, October 10, 2007, 01:13 EST | Permanent link

 
 
Their PA bio:
Uppsala stands as yet another Zeuhl contingency hailing from France. The band was formed in 1969 by Philippe Cauvin (guitar), Didier Lamarque (drums, percussion) and Dany Marcombe (bass guitar), under the name Absinthe. By the second half of the Seventies the band was to take a new name in the namesake of the Swedish city Uppsala (Home of guitarists Coste Apetrea (of Samla Mammas Manna) and Kukka Tolonen, whom Uppsala met while vacationing in 1978). Amazingly for a band that has been touring over the past 30 years, they only boast one album under their belts. Tragically in 1979, Cauvin befell a car crash where he lost both his legs; this no doubt set the band back substantially in their musical plights. Over the passing year it has been rumoured the band is concentrating on devising a second album; but we will have to be patient and see what time will bring us.

Their Self Titled album was released in 1983; taking a very Art rock approach to the Zeuhl ideals. While the rhythm section besets the framework for the album (the famous ‘throbbing bass’), it finds itself revolving around the masterful hand of Philippe Cauvin. We are to be graced with complex interplay between both electric and acoustic guitar. At other times taking full advantage of utilising dubbing effects to produce a likely guitar synth sound. Rather than perusing lyrical themes the album is littered with rough vocalised Zeuhl chants to the high-pitched feminine ranges; all performed by Cauvin. The album is highly diverse encompassing a wide variety of tones and moods, while keeping the audience on their toes with the vast array of sound effects noises.

Uppsala is recommend to those who like their music with the guitar at the forefront. At treat for fans of Djam Karet and King Crimson (80’s – 90’s) with and extra favour of Zeuhl.
 
 
 
 
 
 
PSEU - Pseu 
 
No PA bio (if you'd like to write one, you're welcome)
 

PSEU — Pseu

Review by sinkadotentree (john davie)
PROG REVIEWER

5%20stars PSEU were a band from Bordeaux France who existed from 1979-1983.Their music is very much in the MAGMA school of things with male French vocals.His vocals are often theatrical,sometimes tortured,and you could add strange and bizarre to those descriptions as well.He often sings melodies without words, and sometimes mimics an instrument that has just played ahead of him.He's great.There is a definite Rio flavour at times,and talk about complex arrangments and instrumental work! This music is for the adventerous who are up for a challenge, but who also enjoy catchy rhythms and wonderful solos.Yes i am blown away by this obscure release,much as i was with Francois Thollot's album "Contact".The tempos change often as do the moods, from bright and sunny, to dark and sinister.This is a trip.This is brilliant. "Biguine" hits the ground running with relentless bass and pounding drums.The guitar and keys both come and go.The vocal melodies are great and mimic the instruments at times.There is some screeching guitar that's hard on the ears before the song starts to slow down as it ends. "Satno Danse" has a good beat of bass and drums,as the guitar adds to the sound.Vocal melodies 1 1/2 minutes in.This song seems simple enough but it works to perfection.Keys comes in after 3 minutes.This is fantastic! Some nice jazzy guitar to end it. "La Ronde Du Jardinier(Simulacre/ Part 1)" opens with what sounds like xylophone,but the bass is dominating.This has such a great soundscape with plenty of tempo changes.Check out the sound 3 1/2 minutes in,the keys and drums shine. "Rencontre Avec Les Devas(Simulacre/Part 2)" has a darker sound with some eerie guitar that is slowly played.Cymbals clash in the background slowly as well.This one is more like chamber music. Now we get to the final three songs, which happen to be the longest three tracks as well. "Vidange" opens with the drums pounding away as the angular guitar melodies come in.The vocal melodies join in,and then he starts to speak words,he's very theatrical.Ok he's starting to act a little weird now 4 minutees in as he's laughing,speaking, and just carrying on really.The soundscape is wonderful and the guitar is incredible 6 minutes in.The song slows right down after 8 minutes,but it's brief.It picks right back up with vocals returning 10 minutes in to close it out. "Miroir" is my favourite song on this record.The vocals are a little crazy,operatic actually, and the sound is plain amazing.The guitar grinds away as drums pound and bass throbs.3 minutes in the vocals are even stranger as the guitar turns dark and the cymbals clash.More angular guitar 5 minutes in.Nice.The vocals at this point are tortured and deranged.This guy needs help.The song slows right down and out of that calm a light appears in the form of an uptempo,bright soundscape with some scorching guitar and vocal melodies.This is great! The final song is called "Demascarade".We get some light drums and keys with some Latimer-like soaring guitar.Well not quite soaring but it's getting there.The song speeds up with vocals 3 minutes in.There is a long hypnotic section of drums and bass as the guitar and vocals show off.After 8 minutes we get some blistering guitar with keys and vocal melodies.And i mean blistering guitar! Thankyou so much Avestin for bringing another great recording to my attention.The vocals took a little time to digest,but they're really avant/garde on only a couple of tracks.It's the instrumental music that really took my breath away.This is a masterpiece.

Posted Thursday, September 20, 2007, 23:21 EST | Permanent link

 
 
 
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