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2005 LIVE

Cold Fairyland

Neo-Prog


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Cold Fairyland 2005 Live album cover
3.92 | 7 ratings | 1 reviews | 0% 5 stars

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Live, released in 2006

Songs / Tracks Listing

1. Mirror Theater (6:32)
2. The Dead Children in the Newspapers (5:19)
3. Mula-Shabel War (5:33)
4. Puzzle (4:16)
5. Dance of Seduction (3:38)
6. The Flood (4:51)
7. Assassination (4:27)
8. The Cat from Paris (4:49)
9. The Glass Cutter (4:32)
10. Seeds on the Ground (4:23)
11. Holding the Flower of Despair (4:37)
12. Waiting for the Farewell (7:41)

Total Time 60:38

Line-up / Musicians

- Lin Di / vocals, keyboards, pipa, ruan
- Su Yong / bass, vocals
- Zhou Shengan / cello, vocals
- Li Jia / drums, vocals
- Song Jian Feng / guitars, vocals

Thanks to windhawk for the addition
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Cold Fairyland 2008 Finland TourCold Fairyland 2008 Finland Tour
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COLD FAIRYLAND 2005 Live ratings distribution


3.92
(7 ratings)
Essential: a masterpiece of progressive rock music(0%)
0%
Excellent addition to any prog rock music collection(71%)
71%
Good, but non-essential (29%)
29%
Collectors/fans only (0%)
0%
Poor. Only for completionists (0%)
0%

COLD FAIRYLAND 2005 Live reviews


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Collaborators/Experts Reviews

Review by Windhawk
SPECIAL COLLABORATOR Honorary Collaborator
4 stars This third album by Chinese band Cold Fairyland contains a few surprises; with tunes from the past, present and the future.

There's a mix of tunes here with great variety in style and manner. Haunting, atmospheric and at times gritty tunes in a distinct neo-progressive vein is the first of two dominating kinds of tunes here, with the only elements revealing their origin being the Chinese vocals. More folk inspired compositions, with ruan and pipa included in the instrumentation, makes up for the other style having a dominating place on this CD. A few numbers mixing these styles can be found as well, and there's also songs with funk and jazz influences in here. Rather eclectic in other words.

Cello and synths are both given prominent roles in these tunes, especially the cello - as this instrument is used throughout the album. The synths aren't everpresent; but when used they paint emotional, often majestic sonic tapestries. The drum sound is big, the bass probably sounds more dominant than it's supposed to in this live recording, and the guitar is used in acoustic, clean electric and distorted electric style - depending on style.

Good songs with good drive in these live recordings - the recording quality is so and so though, not extremely raw but fuzzy and indistinct in places. Which is probably the only negative aspect of this one.

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