Musician with a broad taste who wants to encourage others to explore other good music too.
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Two not so typical Wishbone Ash albums have been released with the “remastered and definitive editions” treatment.
On Twin Barrels Burning (1982), we find Trevor Bolder (Spiders From Mars, Uriah Heep) on bass and vocals. This besides regulars Andy Powell, Laurie Wisefield (both guitar and vocals) and Steve Upton (drums). The regular album holds 3 bonus tracks, bringing the total up to 12 tracks. The second disc features the album, yet with the American remixes. Even when in my mind the original sounds much more American when compared to, say, Argus. 🙂 Since I never heard these albums before, I think they are a solid testament of their time. Still some great songs on it, especially Hold On.
Next one is Raw To The Bone from 1985. The original 10 songs got company from no less than 5 bonus songs, recorded in 1986! The second disc holds 2 live performances with 8 tracks in total, recorded by the BBC. On bass and lead vocals we now get Mervyn ‘Spam’ Spence, whose phenomenal range gives an even more commercial rock vibe to the songs. (The bonus tracks are with Brad Lang on bass and Phil Palmer instead of Wisefield on guitar).
Guess it is safe to say it were trying times for the band, but on their own the albums hold up pretty good in my opinion. Nothing shocking, but then again, I did not grow up with these (you cannot have all). It rocks, and you will always find at least a couple of songs that tickle your fancy…
The fact they are still around, is proof of their will to survive.
The Ted in this release is famed guitarist Ted Turner, whom you might know from his days in Wishbone Ash, or the couple of tracks he played on John Lennon’s Imagine album. Majella is not only his wife, but also a singer and together they invented a new genre called new age soul.
Well I will be honest as always, to me this sounds like a singer songwriter album with lots of pop sensibilities and with heartfelt guitar playing (imagine a bit more rocking version of Mark Knopfler). Yes, there is lots of soul present in the songs, but coming from inside, not akin to the musical genre. And I guess the new age bit refers to their look at the world we live in today. “Everything has a relationship, we are nature, and systems only exist through collaboration. And are bigger than us.”
Nothing wrong with that of course and despite my critique about the genre tagging, there is absolutely nothing wrong with the music. It might be more light-footed compared to the stuff I usually listen to, but everything, from the playing, to the sound, and to the delivery oozes class. Majella has a pleasant voice and her melodies work. The result of all this, is that the album radiates a passion. For life, for each other, and for nature.
So this is beautiful from start to finish and in my opinion suited for the majority of the people. Dreamy and sometimes intense!
XSyntax is the alter ego of fellow Dutchman and synth enthusiast Richard Aardenburg. Richard claims to be influenced by Rick Wakeman, Jean Michael Jarre and Tomita and describes his music as a mix of EDM, ambient, downtempo and urban. And this is his first release.
Alas I am not an expert in these genres. All I can say is that since most of the songs have beats in them, EDM seems closest, with a bit of ambient here and there. But maybe that’s just me.
For him, music is like water, so it can come in different modes and shapes. So where I was expecting songs around a theme of water, this is not the case here. Instead we get songs like the calm Dream On, the uptempo Technix V where sequencers and beats dominate, or the mid tempo Caravans In The Desert. There are 11 songs and a bonus track on the album, and most of the songs are around 3 minutes.
I think the ideas are there, but XSyntax needs to work a bit more on finding a good balance in the mix. In some tracks certain parts are so much louder, they drown out the rest. What is good is that he keeps trying to find new sounds to use. Also he always works with melodies, but could sometimes do with a bit more arrangement. A drum computer and a melody does not always give enough body to the songs. But again, that is just my opinion.
If you are into the genres mentioned, check for yourself!
Sometimes life as a reviewer is easy. And in this case it is. For those of you who do not know Darryl Way, he is one of the founding members of Curved Air where he delivers the violins. Curved Air recorded a track called Vivaldi some 50 odd years ago and this CD is essentially giving a bit of a rock treatment to the whole of the Four Seasons from the classical composer.
Now a bit of a heads up; when I say rock, in this case that means that bass, drums, rhythm guitars and layers of synthesisers have been added to the movements. The original melodies are still played on violin with only some embellishment in the slower parts.
So what does this re-interpretation leave us with? Well, Way knows how to play and does the music justice. Is it very different? No. Does is rock hard? Again, no, don’t think that was the intention.
This is a well done version, with a bit of extra spice here and there. Nothing more and nothing less. If you like rock and enjoy classical music, this will work since you will be familiar with most of the melodies. If you hate either, avoid. I like this version for what it is.
Now here is a guy that has been making quite a name for himself in recent years. Touring and recording with Dave Kerzner, or playing with some of the biggest names in the biz is surely not a bad thing. Also the fact that Fernando played most of the instruments on this album himself, is only more testament of his talent.
So what do we have here? Out to Sea is a man showing his skills. But instead of showing off, he is translating that into songs. Songs with a capital S, where melodies galore, where the vocals are never missed. With light and dark, so they take you places. Even when I feel a bit equivocal about his tributes to for instance Peter Banks in The Architect, to Focus in De Boerderij or to Roye Albrighton in The Future According To Roye. This because these songs are so damn close to those artists, it’s almost hard to believe they are original. Yet in a way I guess that is a big compliment in itself! Still, for me, focussing on his own inspirations gives us more than enough tasteful songs. Prime examples being The Dream or the 16 plus minute epic Dreaming In Stereo Suite.
All in all a wonderful instrumental prog album that is firmly rooted in the Seventies, from a man blessed with a great sense of melody and the capability to shine on just about every instrument he touches. Go check it!
Well, since the stats on my blog tell me that this is review 1000 (98 classics and 902 regular), it makes me very happy that fate has it that this concerns the debut album from Souls Of Deaf! Do I hear you think Souls Of Deaf? Yes SoD are a new band from the (South of) the Netherlands, so chances are you have not yet met them.
Which is a shame because for me this is easy one of the highlights in the year so far. And not because founder Sander Stappers is a close friend. That would be cheap. No, I love this album because he managed to write 10 songs that offer a fresh take on hard rock and metal from the heydays, modernised it, and stayed far away from standard formulaic songs. And still the tracks have power, sound logical and show a diversity that is remarkable for a new band. The latter may be due to the fact that all the guys involved are no new kids on the heavy block but seasoned musicians, often active in several bands.
I am not gonna talk you through the album, this is one to discover for yourself. And mind you, I said diverse, so don’t go judging it on 1 or 2 songs or some quick sampling. No, this is an album to dig into, listen from start to finish and hit repeat. Only after a couple of spins you will understand the magic at work. The clear and heavy sound of the CD (thanks to Erwin Hermsen from Toneshed) will make enjoying it even more easy.
An amalgam of Guns ‘n Roses, to Rush to Dream Theater to Motörhead to Ozzy, this delivers a kick in the face that will leave you wanting more!
Another new name for me, but a band that was formed in 2009 and consists of Yuka Funakoshi (keyboards and vocal) with experienced session musicians Shuna Taguchi (bass), Takashi Miyazawa (guitars) and Ikko Tanaka (drums). This is album 4 for them.
The first 7 songs deal with the Greek mythology of Argo and special guest Sonja Kristina stars on the opening Tears Of The Figurehead. Which turns out to be a short and fairly mellow introduction. Because the next track The Ship Argos really sets loose a vibrant progressive work-out. Vocals are mainly used as instrument here, and there is some stellar guitar playing to admire along with some catchy hooks. Talking of catchy, what this band does really good, is writing themes that attract your ear. So even when much of the album is without actual singing words (8 of the 11 songs are instrumental), I never missed a singer there. Be it keyboards (hammond!) or guitar, they will find a way to send a convincing melody your way. So the story of Argo is told with a bunch of tracks that sit really well together and offer an exciting view of the qualities the band have to offer. The remaining 4 tracks are of the same high calibre. And 2 of those have some lyrics to enjoy (like I mentioned, the voice is used as an instrument in other parts). Even when Visible Light is in Japanese, (you get a nice English translation in the booklet) the performance just fits the music.
As an added bonus I would like to compliment the open and transparent, yet powerful sound of the album. Very good release that every prog rock fan must listen to!
Lots of prog releases and debuts have been arriving here at YMB HQ, and this one doubles as both qualities apply. Hillsphere are a new Dutch prog rock / metal band and Florescence is their way of saying hello to the world. The band are a 5 piece in a familiar prog band setting. Who have decided they’d like to start with a concept album. Bold move!
The album opens with the beautiful and melancholic title track on keyboards whose only problem is that I would have loved to hear more of it… Next track The Breeding Of Us gives us more insight in what we can expect. Modern synths, heavy guitars, dynamics, riffing and soloing. And a band that cares about melodies, even in instrumental pieces. Next up is Home, which is again instrumental, but like Florescence, it is short even when this time mainly based on ambient synths. On track 4, Our Physical Way Of Speaking, we hear vocals for the first time. And they are a combination of clean melodic singing and in part aggressive screaming. For me they could have been more prominent in the mix, but hey, that is a matter of personal taste. The song itself is again very dynamic, something the band proves to be very good at. Which is of course always a bonus as that opens up every album.
The album has 4 more tracks, with a special mention for closer Clairvoyance which I love to bits. The 8 tracks and almost 50 minutes of music have proven to be a pleasant listen. Lots of emotions, great playing, melody in abundance, job very well done! Congrats to the Layered Reality label.
Here the first album from Mile Marker Zero, at least the first one I have listened to, as this marks the album that made me aware of them. But as it turns out, they have been around since 2005 and already have released a couple of EP’s and a full length in 2009.
And maybe that bit of history explains why the band sounds so mature. Everything on the album has a thought behind it it seems, and the result is, simply put, quite mindblowing. Yes I can honestly say that the modern prog on offer is having a very positive effect on how I feel when I listen to it. Even when I am bad with comparisons, I regard it a mix of, say, Coheed & Cambria, 30 Seconds To Mars, a bit of Rush and Spocks Beard, and with the late Chris Squire playing bass. But the best thing is, they have managed to avoid sounding like any of them, and created their own identity. And the energy pouring from a track like The Architect is just awesome. The riffs and the melodies hook you in and refuse to let go. And then to end it with a bit of violin playing over a kind of film soundtrack, just great.
I could go on and on about how I love this CD, but my advice to you is: if you consider yourself to be serious about modern exponents of prog, then you MUST hear this album. Killer.
Ah, a French band. And with a female vocalist, should be interesting. Especially when the press sheet talks about a subtle (!) mix of rock, atmospheric prog and metal. Think Pink Floyd mixed with Tool with Anneke van Giersbergen singing.
Well I am not so sure about the name dropping, but what I am sure about is that the band did manage to pull off an interesting album that is indeed succeeding in mixing atmosphere and rock. With a message calling out to keep faith and hope in a world in conflict, as an added bonus.
In true progressive style, the album holds 3 parts of Time Of Awakening, a seperate track in Angel Dust and then 2 parts of Elea.. Together the 3 part title track clocks in at 20 minutes and is a showcase of the styles and talent present in the band. I am not sure about the history of the band, but it all sounds very mature. Lots of dynamics. And they can rock too, with the transparent voice of Laetitia Chaudemanche (who also wrote the lyrics and played keyboards) able to shine over anything the band throws at her. Talking of the band, Terence Nguyen Van has a crisp guitar sound and plays in service to the song, even when it becomes clear he is a gifted player. Bass is provided by Maxime Rami and Nathanaël Buis drummed and created the beautiful artwork. Together they lay down a solid foundation.
All in all a very pleasant surprise, a very moody and melodic album. Will be interesting to see how they develop!