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ESP biography
Founded in Wendover, UK in 2015

ESP are a temporary (maybe one-off) collaboration rock project with musicians from King Crimson, Van der Graaf Generator, Procol Harum, GTR, Landmarq, Lifesigns and more ... advocated by Tony LOWE (guitars, voices) and Mark BRZEZICKI (drums, percussion, voices) in 2015. The other collaborators are as follows; David JACKSON (saxophones, flutes), David CROSS (violin), Steve GEE (bass), Phil SPALDING (bass), John YOUNG (keyboards), John BEAGLEY (voices), Pat ORCHARD (guitars), Alison FLEMING (voices), and Yumi HARA (electric harp). Such a gigantic rock commune have finally launched a creation titled "Invisible Din" in the following year.

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Lost & SpacedLost & Spaced
Extra tracks
Zain Japan 1999
$48.82 (used)
Eureka (Koch) 1999
$36.67 (used)
Esp 2019
$16.47 (used)

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ESP discography

Ordered by release date | Showing ratings (top albums) | Help to complete the discography and add albums

ESP top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.10 | 29 ratings
Invisible Din
3.84 | 48 ratings
22 Layers Of Sunlight
3.78 | 9 ratings
The Rising

ESP Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

ESP Videos (DVD, Blu-ray, VHS etc)

ESP Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

ESP Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

5.00 | 1 ratings
Cloud Distortion (Radio Edit)
5.00 | 1 ratings
Riding the Thermal (Radio Edit)
4.50 | 2 ratings
22 Layers of Sunlight
3.00 | 1 ratings
Gunshot Lips (Entropy Mix)
4.00 | 1 ratings
22 Layers of Sunlight (Dream Mix)
3.34 | 10 ratings

ESP Reviews

Showing last 10 reviews only
 Three by ESP album cover Singles/EPs/Fan Club/Promo, 2019
3.34 | 10 ratings

ESP Crossover Prog

Review by TCat
Collaborator Eclectic Team

3 stars ESP is a musical project started by Tony Lowe, who has played in the past for "Fripp & Cross", "Simon Townsend", and "Bram Stoker". He has released 2 LPs and several EPs since 2015 with differing band lineups, or guests. This time around, he has released a 4 track EP that has a duration of just over 30 minutes. Each track lasts around 7 - 8 minutes. Tony has said this EP is released in advance of a new album that will be released hopefully this autumn (2019). Joining Tony, who plays keyboards and guitars, is vocalist Damien Child, Greg Pringle on drums, and bassist Pete Clark.

"Before the Fall" starts off the EP with some lush keyboards and a nice mid-tempo song. Damien's vocals start quickly, and he has a full, emotional voice which reminds me a little bit of Tim Bowness from "No-man". The keyboards are quite prominent on this track supported with guitars adding atmosphere. There is a symphonic edge to the music. Later, a passage led by guitars give things a slight Floydian feel.

"All the Way to Heaven" feels a bit darker, but continues with the overall lushness of the first track. The chorus is a bit brighter and more solid feeling and this alternates with the soft, darkness of the verses. A nice bass break leads the way for a atmospheric guitar solo followed by fluttering synths. But, even at 7 minutes, nothing really stands out.

"Wings to Fly" has that Alan Parsons vibe to it, pop/progressive, but the melody doesn't lend itself to anything catchy or emotional until it gets to the bridge at which point it starts to soar and is followed up with a much better guitar solo, but things don't build off of that as it loses it's steam with a somewhat meaningless section that goes nowhere other than to add time to the track. Even when things slow and the drums and bass drop off signaling what could have been an emotional guitar solo, we only get a substandard solo and then more pointless wandering. The guitar acts like it wants to go somewhere, but it doesn't.

"Coming Back" is the last track, and it has a heavy plodding beat with solidness in both the guitar and keys. Damien returns to the Tim Bowness feel again and you get a more emotional delivery here. There is a longer instrumental break here, with some guitar passages that seem to want to rise above the overall average-ness of the songs, but nothing really pays off here. It's all stuff we've heard many times before.

The songs here pretty much come across as being mostly average. Many times they threaten to become something greater, but seem to be restrained keeping them from advancing to being what they aspire to be. Everytime you think you are building up to something, nothing much happens. The music is pleasant enough, but doesn't really rise above anything other than being symphonic-lite, making sure it stays accessible and mediocre.

 22 Layers Of Sunlight by ESP album cover Studio Album, 2018
3.84 | 48 ratings

22 Layers Of Sunlight
ESP Crossover Prog

Review by Agnenrecords

4 stars I am a big fan of the original Tony Lowe ? Mark Brzezicki ESP collaboration and after the launch of the debut album Invisible Din (2016) I pronounced that I wanted to hear more from them. A year and a half later 22 Layers of Sunlight is the product of a more settled outfit, with Lowe and Brzezicki being joined by Peter Coyle (ex-Lotus Eaters) on vocals plus bassist Pete Clark and keyboard player Richard Smith; ESP Invisible Din was more of a collective which though showcasing the talents of a variety of guest musicians including David Cross and David Jackson (whose collaboration CD Another Day coincidentally arrived on my doormat the same day as 22 Layers) and vocalist John Beagley, would have been a nightmare to organise as a touring entity.

Coyle brought the concept with him, an original, cautionary tale of global tech-monopolies and AI that has increasing relevance in modern society. It was good to hear the instrumental layers are all still there, with the opening track God of Denial and its subsection The Code shifting seamlessly from angular post-rock guitar riffs to a couple of bars of lead synthesizer that wouldn't be out of place on a proggy Steven Wilson album and then to orchestrated soundscape, all neatly tied together by Coyle's clever lyrics.

Algorithm contains some post-Hackett Genesis drum sounds and a dual vocal passage that strongly reminds me of Sigur Rós, then the title track has a cinematic orchestrated movement that gives way to a quality prog workout before reprising the chorus and main melody, though overlain with some gorgeous guitar soloing.

Ride through Reality allows the players to let rip, it's an instrumental with a little vocalising, partly jazzy but also reminiscent of Lamb Lies Down-era Genesis instrumental blows, brief but not short on quality. Smiling Forever is another post-rock composition, laden with Mellotron string patches before it also goes full-Floyd with beautiful, tasteful slowburn guitar and after a vocal reprise blends into the laid-back Don't Let Go section of the longest track on the CD Butterfly Suite with flute Mellotron patches. Traveling Light is the excellent instrumental part of this track, harking back to the sounds and complex rhythms of Genesis circa 1973 with some great synthesizer and organ work and more tasteful guitar, which eventually resolves into a very Hackett-like, disturbing riff before Sensual Earth continues with similar sounding themes, alternating analogue synthesizer lines and expressive guitar.

Gunshot Lips is a more modern-sounding track, its urgency dissolving into trance grooves before the driving beat resurfaces, though it retains the multiple layers of the more cinematic and prog pieces. When he introducing the song at a gig at the Half Moon in London, Coyle confessed he didn't know why it was called 'Gunshot Lips'. Final track Ballad of Broken Hearts is an orchestrated, melodic piece with a deceptively pop-y structure overlain with harmonic splashes of guitar and lead synth. It's quite optimistic sounding until about three quarters of the way through when it slows and becomes more proggy and reflective as Coyle sings 'is this all I can hope for?'

You can tell it's an ESP album ? there are certain similarities in quality of voice between Coyle and his Invisible Din predecessor Beagley ? with the same degree of originality and a greater feeling of consistency on 22 Layers, though there are probably more excursions away from the undeniably symphonic prog feel of Invisible Din. It's certainly a worthy sophomore effort, expertly crafted with excellent writing and musicianship, impeccable production and once again, a beautiful presentation.

I think of ESP Invisible Din as a Lowe/Brzezicki band but after seeing ESP 2.0 live, where Coyle may have played the part of front man, the group appeared to be more democratically organised than its predecessor. Invisible Din would get an easy 4 stars from me because it's something I played quite a lot shortly after its release. 22 Layers of Sunlight still gets 4 stars although I think it's less proggy than Invisible Din

 Invisible Din by ESP album cover Studio Album, 2016
4.10 | 29 ratings

Invisible Din
ESP Crossover Prog

Review by kev rowland
Special Collaborator Crossover Team

4 stars

On the cover the album is credited to Tony Lowe and Mark Brzezicki (Big Country, Procol Harum) and special guests, and on closer inspection, it can be seen that these guests comprise David Cross (King Crimson), David Jackson (Van der Graaf Generator), Phil Spalding (Steve Hackett, Mike Oldfield), Steve Gee (Landmarq), John Young (Lifesigns), Pat Orchard, Alison Fleming (Tony Lowe), John Beagley and electric harp from Yumi Hara (Daevid Allen, Hugh Hopper). So, quite special indeed. David Cross only adds his violin to a couple of songs, but David Jackson is there with a sax and flute for five, but while the guests do add to the overall album, this very much the work of Tony (guitar, keyboards, vocals) and Mark (drums, vocals).

The best way to describe this album is to think of the more laid-back prog of the Seventies, as many of those bands had an impact here. Imagine if you will 'Octoberon' era Barclay James Harvest combined with Alan Parsons Project, Steve Hackett, and possibly just a touch of Pink Floyd. It is a delicious delight, perfect for late nights, and for drifting away on. There are layers upon layers, and it is all about the arrangements: it is exactly the type of music that punk was supposed to get rid of, and failed. Symphonic prog, which has managed to stay on just the right side of being produced to death, so that each instrument can be clearly discerned and the complexity of the music can be appreciated, yet always it seems almost simple in its beauty and approach. Highly accessible, this is a wonderful progressive rock album that will delight many fans of the genre.

Thanks to Formentera Lady & dAmOxT7942 for the artist addition. and to Quinino for the last updates

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