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COLIN EDWIN AND JON DURANT

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Colin Edwin and Jon Durant biography
Project creations by musicians is a fact of life. Some of them appear as side ventures with a set project name, others appear as purebred collaborative releases that may or may not be one-off occasions. It would appear that this is the case for Colin EDWIN (Porcupine Tree, Ex-Wise Heads) and Jon DURANT , who suddenly appeared with the collaboration "Burnt Belief" at the very end of 2012. Whether or not they will continue making their self-described progressive ethno-ambient fusion music also in the future remains to be seen, but at least one album showcasing how the twosome combine their skills has been made.

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4.30 | 44 ratings
Burnt Belief
2012
3.51 | 5 ratings
Burnt Belief | Etymology
2014

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COLIN EDWIN AND JON DURANT Reviews


Showing last 10 reviews only
 Burnt Belief | Etymology by EDWIN AND JON DURANT, COLIN album cover Studio Album, 2014
3.51 | 5 ratings

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Burnt Belief | Etymology
Colin Edwin and Jon Durant Crossover Prog

Review by tszirmay
Special Collaborator Crossover Team

4 stars The danger with many experimental rock bands is often found in their lackluster desire to overdo their talent by eschewing structure and shove massive doses of technique down the gullet of unsuspecting fans in search of new horizons. The senseless noise can be quite unpleasant and somewhat masturbatory, pleasing only the perpetrators and their immediate family. That being said, there are modern instrumentalists who rely on their dedication to structure AND melody, doing virtuoso stuff while keeping their eyes on the prize. Bands like Herd of Instinct and Spoke of Shadows are inspirational examples of this new style and they represent a new dawn in progressive rock. The collaboration between guitarist Jon Durant and master bassist Colin Edwin has already yielded a thrilling debut that was universally acclaimed by both fans and critics, pushing sonic boundaries with exalting arrangements and explosive deliveries. "Burnt Belief" remains a sterling effort and perhaps a hard act to follow. Barely 2 years later, "Etymology" keeps the pulse going, predominantly propelled by ex-Porcupine Tree bassist Edwin, whose wobbly style shakes the foundations and abetted by a trio of guests drummers (Sabatino, McCormick and Duque) as well as No-Man's violinist Steve Bingham. Guitarist Jon Durant is a coloring specialist, very inspired to boldly go beyond the norm and add a slithering array of tones and textures to his playing.

There certainly is a smart formula at work here, a sensorial adventure that scours the outermost perspectives with Durant sounding like Andy Summers one moment and David Torn the next, with even a little Santana thrown in for good measure. But, for me and many others, this music's entire genius is anchored heavily in Colin Edwin's spirited playing, very upfront and natural, even bellicose when necessary. This is a bass player's manifesto, suggesting at such four strung maestros as the legendary Mick Karn (RIP), Jah Wobble (PIL) and Mister basso profundo himself, Tony Levin. He bends, pulls, throttles and caresses his strings with undeniable expression throughout this sophomore effort. At times, his sumptuous playing is like some king cobra with its prey in sight, ready to lunge. Yeah, deadly!

Many stellar tracks such as the opener "Chromatique", which sets the mood right from the start, the manic mathematics of "Dissemble", the spooky the Police-like eeriness of the dreamy "Convergence" but what the heck, the entire set list is first class experimental fusion/prog of the finest vintage. Things can get very morose and vaporous such as the brooding "White Keys", where there is a quasi-Weather Report feel, circa "Sweetnighter", opens the door even wider to fusion and jazz-rock aficionados. The colossus piece is the 11 minute+ megalith "Not Indifferent" which has all the trappings of a classic prog epic. A sensual but circuitous bassline really provides the sonic anaesthesia, Edwin meandering in full control, submerged in dense guitar atmospherics, as well as stupendous percussion work, creating a sonic jungle of twisted vines, lush underbrush and piercing rays of sunlight. Totally subjugating stuff as the second section kicks into life with thunderous abandon as if ruthless predators had just conquered the peaceful clearing, chasing away the frightened prey. On a track like "Hover", the serenity instills deep reflection and introspection, acoustic guitar in a near Al diMeola style, calmly reflective. Edwin's 'delicatesse' is in the gentle breath of his bass playing. Two 6 minute pieces finish off the recording, "Chimera" being bouncy and exotic, while the closer "Squall" retains a clever urban feel, sunglasses filtering the blistering gleams as they reflect off the glass and steel architecture, in contrast to the cover artwork's nighttime effect.

A worthy follow up to the amazing debut, "Etymology" is a fine piece of modern progressive rock.

4.5 Derivation of words

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 Burnt Belief | Etymology by EDWIN AND JON DURANT, COLIN album cover Studio Album, 2014
3.51 | 5 ratings

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Burnt Belief | Etymology
Colin Edwin and Jon Durant Crossover Prog

Review by admireArt
Collaborator PSIKE Team

3 stars Hanging hooks.

Been waiting the release of Burnt Belief's second project, , more than everything else due to their astounding "Burnt Belief", 2012 album, I, in the meantime listened to their solo projects.

Burnt Belief as you may know consist of Jon Durant and Colin Edwin, basically (there are more session musicians involved). Both are part of the ultimately trend-setting prog-band Porcupine Tree, alongside the highly appreciated as hated Steven Wilson. So, as I was telling , listened to Colin Edwin's masterpiece "PVZ", 2011, and to Jon Durant's quiet good "Dance Of The Shadow Planets" also released that same year.(unfortunately both musicians as solo artists have no space here in PA.)

Once you listen to these 3 minds apart, you kind of guess what a lucky kind of combination, PT actually is.

Anyway, "Etymology", 2014, opposite to their first project, shows more the hand of Jon Durant than the more daring and experimental, even electronic, Colin Edwin's one.

And in fact I underline daring, "Etymology", although perfectly conceived, achieved and performed is in the long run somehow too predictable.

Rooting most of its compositions in a strange, mild multinational focus, what eventually surfaces is a "Santana/Di Meola" kind of guitar hanging hooks, riffs and rhythms , which as you also may know are considered Fusion/Jazz with a "Latin" seasoning. And sadly the same as Al or Carlos, even their virtuoso skills, means s#%t, when it comes to songwriting.

Therefore if you are not that opposed to this "Latin" flavors you may get quiet a rush, but for me, I've have heard it before. Damn! So predictable!

Colin Edwin's "electronic environments" although scarce, and Durant's not "latin" acoustic moments, save this one a bit above the "good but not essential" category.

***3.5 PA stars. Damn!!!

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 Burnt Belief by EDWIN AND JON DURANT, COLIN album cover Studio Album, 2012
4.30 | 44 ratings

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Burnt Belief
Colin Edwin and Jon Durant Crossover Prog

Review by admireArt
Collaborator PSIKE Team

5 stars Creative and original music has always been my personal choice. In prog it is a must. But of course with so many interesting ( and uninteresing) music happening, sometimes (besides this page recommendations, kind of hit or miss) it all has to do with sheer luck!.. I have never cared much to find the personal biographies of the musicians I enjoy. To me MUSIC is the relevant matter and issue. So, I was really lucky to get this Masterpiece. And of course it is the kind of work I will highly recommend.

Personal, original, deep and quiet overlooked. (9, good but only 9 PA ratings?). This is the kind of project that goes beyond its PA category tagging and evolves toward the best of many worlds and still sounds like nobody else. Clean thought and executed, it never indulges into no fad or cliche. To try to make out a reference is undeserving, but could be quiet helpful, so its a bit ike "Jan Bang & Erik Honore - Uncommon Deities" and "Steve MacLean & Chris Cutler - The Year Of The Dragon", which by the way have become also personal favorites. So a bit like those and not at all like its "crossover" neighbors, lets say, Sound of Contact, Supertramp, M Oldfield or BBT. (close also, a bit, to Phideaux's and Steven Wilson's scope of action, neighbors also, of the crossover tagging)

The kind of project that makes me wonder if these guys could go even farther, so for now, 5***** "masterpiece" PA stars.

Dont miss this Jewel!!

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 Burnt Belief by EDWIN AND JON DURANT, COLIN album cover Studio Album, 2012
4.30 | 44 ratings

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Burnt Belief
Colin Edwin and Jon Durant Crossover Prog

Review by tszirmay
Special Collaborator Crossover Team

5 stars

I am proud to be among the first reviewers to do this masterpiece justice as PA took its sweet time getting these 2 lads included and I have been salivating at the prospect of discussing this album's merit with the prog community. So let me get to the straight and narrow, Burnt Belief is a complete stunner that will blow your feeble mind to smithereens. Colin Edwin needs no introduction, having knowledgeably manned the bass spotlight with powerhouse Porcupine Tree, a true disciple of recently departed fretless bass genius Mick Karn. He brings his famous beret and his legendary smirk with him on this glorious sonic voyage where his bass is up front and center, driving the mood and the pace. Jon Durant was unknown to me previously but not after a dozen or so spins of this colossus. He seems to be closer in style to Dave Torn or Michael Brook in proposing a multitude of tonal techniques with massive abilities in setting emotional ornaments to the arrangements. This is not an aggressive album at all, quite soporific in fact, preferring to address the subtlety of assorted sounds and their judicious placement among the pleasure nodes of the modern ear. Lush yet minimalist, a strange harmonious contradiction that works wonders on the mind. This is experimental prog at its apex, a surreal recording that has a different appeal according to the time of day or the mood the listener might be temporarily in. The tracks are complex yet simple, challenging albeit accessible and that, proggers and progettes, is a rare achievement!

From the opening thrill of "Altitude", especially if you let yourself be guided by that maddening bass rumble, the luxuriant atmospheres are intoxicating to the utmost. Highly cinematographic, the tortuous bass carves masterfully deep and majestic furrows, flute ornamentation providing sensuality along with a tragic violin. There are times when they veer into transcendental space rock, suddenly becoming ambient but in a most melodious fashion like on the stellar "Impossible Senses", which perhaps suggests a clever appreciation for Phil Manzanera's critical track "Impossible Guitar" off the "Primitive Guitars" album. What a whopping melody though! Edwin does a lovely job on the 4 string monster, very close in style to both Karn and fretless guru Percy Jones but its Durant that steals the show with a memorable series of guitar melodies. The percussion work is intricate and stimulating. This is a classic track that will stand the test of time and has become an immediate addition to my main playlist. Sexy ladies beware, this is very sensually inspiring. "Prism" has a different feel altogether, a shorter piece that exudes more ambient formulas that quantify the experimental tag of the disc, an ominous mixture of sonic mechanics and lavish jungle soundscapes that are spellbinding. "Balthasar's Key" is another 7minute+ bass-led killer track, frosted with urban cool and slithering aural sculptures of steel and glass, a platform for Geoff Leigh to unleash some savage flute runs that serve as a foil to Durant's darker side, sounding more like Fripp or Manzanera. There is a slight Middle Eastern vibe mostly due to the caravanserai of percussives and the cobra-like flute, evoking images of shifting dunes and palm trees caught in a "haboob" (sandstorm). "Coiled" is the epic centerpiece, a 12 minute rant that kicks off sweet and gentle, slowly transforming into a swirl of sonic meditation, where a surprisingly forlorn piano takes the lead. The mood progresses inexorably like a reptile in defiance mode, interspersed with pagoda tones and a intoxicating Great Wall of China sound. Edwin's "slowhand" style pushes hard on the strings, adding dramatic effect and purpose to the flow. Towards the end, Durant finally "uncoils" his solo, fitting nicely into the groove. "Semazen" has, as the title may imply, a Zen feel, being another meditative selection that winks curtly at Oriental traditions, experimental once again in a more hypnotic sense perhaps. Edwin does a playful tweak on the senses, slick little bass licks combining with Jon' searing touch guitar phrasings. "The Weight of Gravity" creeps along insidiously, slow and gentle, sentimental until Durant explodes with astringent notes closer to maestro Robert Fripp's severe noodling , pitter-patter percussion and the burden of Newton on the spirit, emanating from the 4 stringed gurgling beast. "Arcing Towards Morning" mercifully outs this beautiful disc to rest, a contemplative reverie that hankers to jazzier horizons, spiritually closer to guru John MacLaughlin on acoustic guitar, twinkling piano heightening the splendor. Of course Edwin provides ethereal low- end, anchoring the spiritual pleasure.

One of 2012's album of the year because of its essential purity, its bold artistic audacity and an unashamed reverence to truly spiritual philosophies. Edwin otherwise stamps his seemingly overlooked talent with the highest marks for creativity and loyalty to the power of the low-end. Ideally, a great late night chill music suggestion. A 4.5 rating for most progfans but if you are a bass fetishist like me, we have to go the full Monty

5 scalded convictions

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