Yes that are 4 names and thus four musicians. Mark Wingfield is an innovative guitar player who constantly is trying to create new sounds with his instrument. Markus Reuter plays TouchGuitars (put simple: 8 string guitar played like a stick) and is also a member of The Crimson ProjeKct and The Stick Men. Yaron Stavi plays fretless bass and Asaf Sirkis is the drummer in this collective. All are seasoned players with many years of experience.
And if Moonjune Records and or The Crimson ProjeKct rings any bells, you will already have a feeling about what you can expect from this album. Indeed there is a King Crimson influence floating around. Not the song aimed melodic KC, but the free floating soundscape version. Maybe with a little more guitar. Because these cats just set up shop in a studio and began improvising and recording. In that sense this is a 100% live album, resulting in 6 songs from 5 to 14 minutes each and a total playing time of an hour.
And while I applaud the stunning capabilities of these men, I also reckon this is not for everyone. It probably takes a certain level of listening experience to appreciate this. So for the adventurous a treat, others better listen in first.
Two years back The Aurora Project took a serious blow when rhythm guitarist and lyricist Marc Vooijs suddenly died. The band took a year off to decide on their future and the outcome is clear, the band continues, but without replacing Marc. This means their sound is now more rock than metal, with bass and keyboard filling the guitar gaps.
World Of Grey is a concept album based on an idea from Marc but this time Mox stepped in the writing shoes. It deals with the idea that the established world order is increasingly restricting the people and a grey blanket of control and repression descends over the world. How the album art fits in is not quite clear to me, but I guess that is artistic license.
While listening to the album (which does work as single songs by the way) I noticed it took the band a song or 2 to really find their own feet. Opener Expect Us sounds a bit like your regular neo prog band but from then on it is onwards and upwards. Stone Eagle is a great slow burning song, Deadly Embrace another song with catchy melodies and rather tasty guitar work. Okay, sometimes it still sounds a bit Marillionesque, but with more bite, so no problems there.
The band will resume live duties this year, so be on the lookout for that. The songs on this album will work, no doubts in my mind! If you like your prog melodic and with great playing, make sure to listen in.
Karisma Records are again bringing us an interesting new band from Norway. So let me introduce you to Shaman Elephant, a 4 piece from the Bergen region. With a style that is firmly rooted in seventies psychedelic and progressive hard rock. The colours on the front cover already hint at that psychedelic part, but let me tell you, a lot of groove is present in this band.
Opening with the title track, an 8+ minutes cracker, that showcases all you are to expect from the band. Cool riffs, vintage sounds and power. But also more moody parts, extended soloing on guitar and keyboards (Deep Purple anyone?) and convincing melodies. So what more could we ask for? Well, that might be tracks like Shaman In The Woods. That turns out to be filled to the brim with tasty melodies over a steady groove, but does that in less than 5 minutes, so might attract some airplay.
And you gotta love the bass riff opening I.A.B, with that little distorted sound. But in fact every song on offer (6 in total, running 45 minutes) brings something exciting to the table.
Yes it might be retro in parts and roots, but it also has a modern touch and does not sound outdated at all. The album is very expressive, fresh and convinces on all parts. I loved listening to it, so some addiction warning is in order here 🙂
And looking back, I think it is safe to say that anyone into melodic prog rock will fall for the opening sequence of Below Zero. Great guitar playing from main writer Douglas Ott and the voice of Ted Leonard does the rest. I can fully understand why Spock’s Beard asked him to join, although many moons later than this. But I do not want to forget to mention the rest of the band, Ed Platt on bass sometimes added a bit of funkiness, Paul Craddick on drums, keeping time whatever the signature and Mike Geimer tickling the ivories, played an equal part in impressing me. Over time the band improved on recording quality, and always delivered the goods. But as often is the case, nothing feels like the first time. So whether it is the melancholy of Fade 2 Grey, the almost singer songwriter opening to Pure, the tasty Broken or the a little influenced by Marillion sounds of Hostile World, this album is a perfect time machine. And more songs to follow of course.
The riffing, the melodic phrasing, flashy guitar interludes, the high vocals soaring, Enchant do just that.
Well, I guess this is for the ones who like their music trippy and psychedelic. The core of Belgian band Offworld are the trio of Peter Baart (bass and fx), Stijn van den Bossche (keyboards and fx) and Tom Tas (guitars). Guests are Rob Martin (drums), Pieter van den Broeck (keyboards) and guest solos from Joris van Daele (guitar) and Geert Roels (sax). And if you did not find a vocalist there, you are right, because this is an instrumental album.
And while the combination of psychedelic, trippy and instrumental may sound like something you would want to avoid, in this case you might be missing out on some rather tasty music. I suspect the the band members have some roots in progressive rock and metal music, because the songs have clear structures and are very varied in their arrangements. The guitar playing is of high calibre, both with riffs as with solos. But the fx and keyboards take care of all the moods you will encounter while listening to this. And also add some solos.
So the good thing is, the band never just dabble on, they have a clear vision of what they want the song to bring to the table and they stick to it. In any case, I never once got bored listening to this and they rarely go over the top.
So square or not, I liked listening to this! You might do to if you give them a try. Start with Alien Vocal Chord Trauma and Shaman’s Garden and work your way from there.
I think a lot of people do not want to listen to instrumental music. And I suppose the main reason for that will be that they expect it to be overly self-indulgent, masses of notes from someone trying to prove how good they are at their instrument of choice.
So for those, and for the ones that do listen to non vocal music, here is the band Pymlico to prove you wrong. For those who are familiar with the name, yes the project from drummer and composer Arild Broter has grown into a full fledged band now. Previous albums already were very good (read for instance this post) but it seems the mix of fusion and progressive rock on this fourth album has never sounded so mature and exciting.
Mixing elements from bands like Pink Floyd, Toto, Joe Satriani, Porcupine Tree and Tears For Fears (and more) this album is a showcase of groove, melody and class. And because of the melodies, these songs speak loud and clear to anybody who wants to listen. Still, the musicians amongst us will still find enough challenge to admire the players.
Speaking for myself, I have found this album to be a serious addiction risk. I think it is absolutely fabulous and I want to encourage every reader to have a listen, this will not disappoint!
Don’t know about you, but to me, the name of the band and the album cover just about screamed death metal. Okay, only with the gushes of blood and unreadable text missing. Must be a brain malfunction, because it couldn’t be farther from the truth. This has turned out to be a rather exciting progressive rock album, mixed with some jazz influences. The latter being caused by the use of sax and such. Because let’s face it, complexity is no longer strictly the domain of free spirits…
So the 9 songs on this second album by the band, are a daring display of energy, experiments, dramatics, atmosphere, contrasting rhythms and melody. The latter taking care of you wanting to hear it again, which of course ought to be mandatory hahaha.
Anyway, I liked what I was hearing. It has a rather unique vibe but it is also strangely addictive. Like you know that sweets are not good for you, but still you crave eating one more. The same thing happens here. You frown your eyebrows, thinking about what the !#@#$ is happening, and when the 67 minutes have flown by, you reach out to hit play again. So no matter how you look at it, the band are doing something right here.
In the end the obvious conclusion is that prog heads should really dive in, chances are you fall in love with this…
The fourth album from this Norwegian band, but I think the first time for me writing about them. This band prides themselves in tying together lyrical themes and music. And this time the content is dealing with alienation between the individual and society.
So, while that sounds like a pretty heavy theme, the 6 songs and 60 minutes of music come across much lighter as to what you might expect. In fact, the overall pace is modest at best. Okay, the soaring guitar leads over the lush soundscapes are a perfect counterpoint for the vocals. But they never let it rip. Which leads to the obvious conclusion that this band is indeed heavily influenced by Pink Floyd.
There is no doubt in my mind that this is a beautiful album. Great songs and arrangements, very thoughtful and passionate. But there is that little devil inside me that would like to hear them explode once in a while. Just to shake everything loose and step out of the somewhat formulaic experience.
But never mind me, lots of people lap this up like birthday cake. And it is a perfect backdrop for an evening with friends, talking about the good old days…
Alas I did not get any information from Karisma Records concerning this album. So at first I will just assume that this is a Scandinavian band. When looking for the website that was confirmed, Norway is the land of origin.
On my computer the player labels it as avant garde. Mhm, what to expect?
Well, after a couple of listens I think I get that label. To my ears this sounds like a cross between eighties gothic wave from for instance Sisters Of Mercy, coupled with the inventive rhythmic structures and fairly clean guitar sounds of German prog band Sieges Even. The 6 songs, with a total playing time of 45 minutes, go all over the place and yet, somehow my attention stays with the music and is not wandering off to far away lands. They have managed to make it all work!
So while I can imagine this will not be everybody’s cup of tea, I admire the musicianship and the unique identity of this band. The result is as intriguing as the artwork. Die hard prog lovers (of the truly discovering kind) need to check this out!
When I tell you that Robby Valentine plays piano on one track, and that Valensia is named as one of the biggest influences of Joost Maglev, does that give you an idea of what to expect? Probably does, and you know what, you are right!
Other guests are long time friend Sebas Honing (check his latest album here) and a couple of names that did not ring a bell, sorry for that. Joost Maglev has been a bass player in bands like Galanor and Equisa, and this sees him exploring his prog roots. And meanwhile bringing to life his prowess on various instruments! Other references to the music are Yes, Genesis, Queen and Japanese music from the likes of Yoko Kanno and Vienna.
But do not think Maglev is a carbon copy of said artists. No this is the melodic and dramatic and proggy best of them. And truth be told, not something I expected when I took a look at the cover. But this album is great from start to finish. The 5 songs (all eight to almost thirteen minutes) are entertaining for every second. If you, like me, are a sucker for vocal harmonies in the vein of, well, Valensia and Valentine ( 🙂 ), you sure are in for a treat.
I find myself being highly impressed!