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Posted: October 06 2007 at 22:34

^ sounds friggin great, I'll look for it

Edited by Atavachron - October 06 2007 at 22:35

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Posted: October 06 2007 at 22:32

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).

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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Posted: October 06 2007 at 01:14

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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http://www.myspace.com/trettioarigakriget

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Posted: October 05 2007 at 21:33

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

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!

http://www.trettioarigakriget.com/

Edited by avestin - October 05 2007 at 21:34

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Posted: October 04 2007 at 12:21

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.

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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Posted: October 03 2007 at 17:35

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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Posted: October 03 2007 at 09:41

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.

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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Posted: October 02 2007 at 21:05

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.

Between the Buried and Me - Colors

Easily tops all their other outputs.

Edited by Drakk - October 02 2007 at 21:06

[QUOTE=darkshade] [QUOTE=Sckxyss]
I'm disappointed - neither of these players are avant-garde!

Al di Meola.

[/QUOTE]

haha i know. but the poll itself is avant-garde
[/QUOTE]

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Posted: October 02 2007 at 20:51

I recommend the last album of Dominici

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Posted: October 02 2007 at 19:29

SHINING - Grindstone

Review by avestin (Assaf Vestin)
[Special Collaborator Zeuhl/RIO/Avant Team]
Posted 12:52:34 PM EST, 9/30/2007

Layers, so many layers…

I had the pleasure to add Shining to Prog Archives and in the process I got to know the band and its history better. The band also helped with the addition, sending me information needed for it, and for that I thank them (not to mention my enthusiasm with their music). This album belongs to the band’s “second period” where they stray away from their “first period” where they released two albums and played acoustic jazz with improvisation and with a hardcore feel due to the recording manner. As they felt they no longer want to play within the constraints they set upon themselves, they moved on to their next stage in which Grindstone belongs. (Read the bio in their page to know more, and use the links there to visit their website and Myspace and listen to their music).

This is the story of a certain person listening for the first time to Shining and he chose Grindstone to begin with: “It starts with a bang.

I was struck straight in my brain auditory center.

Dazed, my brain recuperated, still dizzy and shaking from the wall of sound, unable to discern the notes apart, as they came on ceaselessly, mercilessly, attacking and charging over and over.

I then re-assembled my listening sense, told it to be courageous, raise its shields and try and absorb the audio assault.

Now, when I was all prepared and knowing my enemy I started again. And low and behold, the experience was amazing! With more and more listens, I came to realize the beauty behind the beast; the delicacy behind the “savagery”; the sophistication of the arrangements, the instrumentation, and the compositions all of which are built into layers. Their quirkiness and oddity and the beauty of those.”

Well I am over-dramatizing it, obviously, as I got into their music from first listen actually, but it is true that their music is a sort of “attack” on your senses and if unprepared or unaware, a track like “Winterrise” might repel you or simply stun you.

Variety, aggressiveness and quirkiness - The album’s nature is one of very high energy and even aggressiveness. While there are some intervals to breath somewhere in the middle (track 5 for instance “Moonchild Mindgames”), it is most of the time relentless. It is also “weird” or experimental as I prefer to see it. They opt for trying to create new sounds, new ways of creating melodies. They sure not like to conform and play it safe. Their varied sounds, are not made up of taking others music or style and re-hash it, but rather take from several sources to blend it, “bake” it, add their own ingredients and prepare a “musical cake” of their own. They can be weird like in “1:4:9” and yet this is to me at least (and I realize I am into these kind of things) a well thought-out experiment in constructing a melody from ingredients and an approach which would usually not be used to do so. This track is a dark passage into the final installment in this album, “Fight Dusk With Dawn”.

Layers - Shining’s music is built layers upon layers. At first it might seem like some cacophony, but you must concentrate and focus on it, identifying the main thread of the music, follow it and then will hear the other layers which can confuse and give the illusion or the appearance of chaos (maybe controlled chaos would be a good description). Take the two first tracks, where there are many instruments involved; improvised ones along with the usual rock instruments with their hard and rough edge and then others like the flute bringing in a softer side and then keyboards adding a majestic sound to top all of it. While listening, try to follow each instrument, one at a time (obviously you’ll need repeated listens) and see if you get what I mean.

Instrumentation - What is great with Shining, apart from the sound that captures you in the middle of a ring of sound, is the instrumentation. I hear so many different sounding instruments there; some sound like some improvised Their cleverness is to me, expressed in the way the build their layers using their various instruments, combining subtlety with aggressiveness (for instance the flute vs. the bass and guitar in the first track); in the fact that they build their music however they like without confining themselves to one confined style or genre. In their music they mix their experimentalism with rock, electronics, jazz, metal but I can’t say that I heard anything quite like this. Not only they have their own particular sound(s), they have a varied one at that, not restricted to one path.

Melody - Now, you’d think that with all this that I talked about, there is no music actually being played, only gimmicks. Well, that is not the case at all. Take the first track, which is named like their previous album “In The Kingdom Of Kitsch You Will Be A Monster”; it has a very melodic line, a fantastic and catchy musical phrase. “Psalm” has a beautiful female vocals backed by backing vocals, along with the guitar and keyboards which start playing quietly behind, increasing in volume slowly, then suddenly all gives way to some experimentation with the sound, and then comes back at full volume of all participants – vocals and band, giving a captivating melodic line. The combination of the female powerful chanting vocals and the guitar riffs, the contrast of roughness and delicacy is a characteristic of their music I admire. They can also be quite amusing or entertaining, like in the two short tracks “The Red Room” with some jazz put in there and “Asa Nisi Masa” with its voice alteration.

Final words - While I don’t find all of the songs being of the same entertaining factor or of equal level, the end result is that I’ve been through a musical experience like which I am not experiencing frequently. And this is one of the things I am looking for when listening to music.

This is highly recommended if you’re looking for a special experience, a non-ordinary form of progressive music, an original take on creating sounds and melodies. Give this proper several listens before judging, though. Play it at times when you’re feeling adventurous and ready to be bombarded, caressed and intrigued.

http://www.myspace.com/gninihs

http://www.stylusmagazine.com/reviews/shining/grindstone.htm

http://www.progreviews.com/reviews/display.php?rev=shin-grind

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Posted: October 01 2007 at 22:58

I'd like to give a quick mention to a Brazilian jazz band Projeto B

LIsten to them here:

Here's what Steve Feigenbaum writes about them at Wayside - http://www.waysidemusic.com/Search.aspx?Keyword=Projeto+B

Projeto B are a 7 piece band from Sao Paulo, Brasil. This is their first album, and I think it's a real winner. Using guitar, 2 saxes/clarinet/flute, trumpet/cornet, piano/Fender Rhodes, bass and drums, this is somewhat heavier, less playful and more cerebral progressive/fusion album that what seems to normally come out of Brasil, although you can still hear traces of that as well. Most of the musicians have ties to the Santa Marcelina School of Music, which is where the musicians of Armazem came from, and their drummer is the drummer for Armazem! Their influenced include Henry Threadgill, Bill Frisell, John Zorn, Charles Ives (they do a great adaption of a piece on here) and Brasilian music as well. This can be found somewhere between the Knitting Factory and the legendary beaches of Brasil...

And this as well:

Projeto B are a very excellent Brasilian 'out' avant/progressive jazz/rock band. Consisting of Leonardo Muniz de Correa (alto sax & clarinet), Yvo Ursini (electric guitar) Vicente Falek (piano and Fender Rhodes piano), Amilcar Rodrigues (trumpet, cornet), Henrique Alves (bass) and Pedro Ito (drums). There's a pretty fantastic jazz/rock take on part of "The Rite of Spring" of all things, which gives you an idea of what we are dealing with here; pretty, happy-jazz this isn't. Recommended!

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Posted: October 01 2007 at 08:25

Hmmm.. this may be silly.. But I want to recommend my own (!) band here.. If you are interested in psychedelic prog from Sweden (60's, 70's) you will like what you hear.
All the songs from the latest album "Rymdkupa" can be downloaded from this website: http://mots.cjb.net

Another band I´d like to recommend is the Swedish psychedelic prog band "Älgarnas trädgård". It is a band who played in the early 70's in Sweden. Their first album "Framtiden är ett svävande skepp förankrat i forntiden". I believe that it is possible to listen to some of their totally spaced out recordings at: http://www.myspace.com/algarnastradgard

According to me it is one of the greatest psychedelic, progressive music ever made.

Money doesn't grow on trees but babies comes from ladies

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Posted: September 30 2007 at 19:17

Finally, after many a months of inability to write the review for this album, which I adore, I've been able today to write the review which I hope it deserves.

U TOTEM - U Totem

Review by avestin (Assaf Vestin)
[Special Collaborator Zeuhl/RIO/Avant Team]
Posted 3:52:07 PM EST, 9/30/2007

A Revelation.

Ever had one of those?

I had a few during my life; most occurred during dark, depressing or desperate times; others happened while listening to specific albums.

One such album was this one.

This revelation consists of the understanding that imagination and daring to explore are one of the great human traits; Understanding that music, at its most beautiful, whether complex or simple, can be a healer, a comforting friend, a motivator; Understanding that music can be a reason to live for, a purpose in life, a cause to get up in the morning and keep on living despite hardship.

Musicians from 5UU’s and Motor Totemist Guild came together to create this masterpiece of an album and joined by other session musicians to complete the sound. I am having hard time expressing just how wonderful and special I find this album to be. It is one of those albums I feel a sort of catharsis while listening to it and want to start it over again when it ends. However, I feel un-equipped and not knowledgeable enough to write about this, but since I love this album so much, I’ll give it a try and please forgive any mistake or nonsense I might write.

Instrumentation – Abundant and varied instrumentation makes this album a delight to listen to; so rich and smooth is the sound, along with Emily Hay’s vocals. Saxophones, flute, piccolo, bassoon, contrabassoon, sitar, piano, vibraphone, guitar, bass, drums, percussion and the use of tape recordings – all those play the music, making it lively and special. Not only the type of music, the influences on composition, but the type of instruments are a look back at their influences which are I would guess 20 century composers (I am not an expert on this at all, but having read about and listened to some I would assume this is the case; Stravinsky would probably be one) and previous chamber rock groups.

The music has been said to be a mélange of 20th century classical music, avant-garde, rock, chamber music all mixed to an end result that is the special sound of U Totem. Well, yes but how to translate the greatness of this album into words? Complex, very well played, sophisticated and compelling, the music never ceases to amaze me. Just listen to “Both Your Houses” and how all the instruments combine together while the rhythm goes on. Not only shown by the complexity, the progressiveness of the music is shown also in how they ornament the songs with the instruments; in the intervals which are filled with the occasional “odd” sounds, atonal parts or “experiments”; they drift away with each song from the main theme to explore the grounds. Each song is cleverly orchestrated, maneuvered through the gushing waters, from one part where the classical instruments lead the way, into other parts, where the more “modern” rock instruments take over. With all this going about, the beauty is kept, the connecting musical thread is always there and the magic is never lost. The repetitive part in “Both Your Houses” around the fourth minute (before and after Emily screams her heart out in the background) is a fantastic example of how to play the same theme and make it sound great by changing the instruments and using whatever comes to mind (and using slightly different scales to create a seeming disharmony). Brilliant!

Take for instance “One Nail Draws Another” with its almost 15 minutes. It goes through so many different parts, uses so many elements of their influences, and yet there is not one boring moment, there is continuous movement, and constant progression while going back to visit the same themes as the song goes. Emily’s vocals and the male opera-like vocals joining in the middle add to the richness already found in this song.

“Two Looks At One End” and Yellow Umbrella Gallery show their more modern influences, their avant-garde and quirky side (as if it wasn’t enough as it is) and their use of the tape recordings and manipulation of the keyboards. Engaging and dynamic, weird and sometimes disharmonic, these pieces are enriched with the seemingly random use of the recorded sounds and voices and Emily’s vocals (on that first track of the two).

Another thing to praise here is that each song is easily identifiable and different than the others. I don’t sense a repetitiveness and yet the collection of songs and tracks fit very well together; each song brings its own approach (however slightly or not-so- slightly different than the others), making this collection of 7 songs feel as a whole – meaning, this feels like an album, and not like a collection put together.

This album might lead you to the US side of avant-rock/chamber-rock, if you haven’t “visited” these realms already. Both the “donating” bands to U Totem are obvious bands to explore (although I much prefer this group or project), as well as Thinking Plague, whose In Extremis I think draws somewhat of an influence from this album.

To sum up, this is one of my all-time favourites. An album as rich in sound as it is special, complex, intriguing, thrilling, stimulating, exciting and whatever other adjectives you may want to add to it. Their sound mingling together music by 20th century composers, chamber rock and avant-garde is one that I treasure, and find beautiful, compelling. It was a revelation the first time I heard it; being struck by the combination of complexity, oddity and beauty, realizing how fantastic music can be when musicians take it to a ride through their wild imaginations and perform for us their vision.

Honestly, my words cannot do justice enough to this fabulous album and these fine musicians and composers. Reading this, I feel I have failed to pass on what goes through my mind when listening to this and more importantly what the music actually sounds like and how great it is. So I’ll simply say that if you are a follower of this type of music, this is a must have album. If you are interested in checking this type of music, but don’t yet feel comfortable enough in it or are new entirely, I would start elsewhere, and save this to later on when you can appreciate it fully and without trying to adjust to this type of music. It might take the pleasure of the album. But this is a mandatory stop station in your excursions throughout the avant-rock/chamber-rock (or whatever you want to call it) realm.

For PA rating purposes: 4.5-4.9 stars. A must have!

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Posted: September 29 2007 at 18:24

Very good Folk-prog (Armenie) : OAKSENHAM

Edited by asturias - September 29 2007 at 18:26

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Posted: September 29 2007 at 10:53

This is a very special recommendation.

The Mint Chicks are a band from my own country New Zealand. In fact they're the best NZ has to offer, and I predict they will become pretty massive in the indie scene.

So they're not prog but I feel the great people of these forums will appreciate any art even if they don't like it. And The Mint Chicks are extremely artistic, as proven by their music videos.

I tried to find a song that would be appealing to the people of ProgArchives, and it also happens to be a favourite of mine. It's really erratic sounding, more so than their other singles up on youtube.

It's only a few minutes of your time and if you enjoy the video there's plenty more, in fact I'll post a few.

The Mint Chicks - If My Arm Was A Mic Stand Would You Hold My Hand

http://www.youtube.com/watch?v=qnpRRXRLgEo

The Mint Chicks - I Don't Want To Grow Old

http://www.youtube.com/watch?v=DbfKA7ZQbqw

The Mint Chicks - Licking Letters

http://www.youtube.com/watch?v=VsDcfFikKQ4

There's also a few more.

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Posted: September 28 2007 at 20:39

A fantastic album has come into my possesion and has possessed me...

I've added the musician responsible for this album here:

Prat, Jean-Paul

His album Masal, is a fantastic suite made up of elements of zeuhl, fusion, symphonic rock and avant elements. Rich in sound, and well executed, a true gem in all senses.

You must get this!

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Posted: September 19 2007 at 21:54

Kosmos - s/t

This is a new signed band to the famous The End Records and here's what their Myspace bio says (disregard the usual nonesense promotional language):

From Montreal and born in 2005-2006, KOSMOS is ready to take over the universe!

Jetphil (Paradise), Michel away Langevin (Voivod), Alex Crow (Tricky Woo) and Vincent Peake (Grim Skunk) got together to prove that prog-rock-avant-garde-kraut-post-punk is not dead!!!

Got a deal with none other than THE END RECORDS in early 2007! The KOSMOS album is ready!

Produced by Adrian Popovich (Tricky Woo) and mastered by Glen Robinson (Voivod-Gwar).The end records will release our first record on september 4 2007. For more informations theendrecords.com ------- Kosmos

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