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All posts for the month July, 2017

This news story was originally published here: http://theprogressiveaspect.net/blog/2017/07/31/steven-wilson-to-the-bone/

Having sailed H.M.S. Prog as far out from the shore as it could go, the only options were to either turn amidships and repeat himself forever and a day… hmmm, sounds familiar… or abandon the fast sinking lumbering hulk and ride a sprightly dolphin to the next shore. As you will know if you have followed the career of Steven Wilson for more than the last five years or so, he is always evolving, always changing, so it is really no surprise that the dolphin left him on the farthest flung beach of a vast continent labelled POP, a place he’d last visited at the dead of Gothic night for the Insurgentes album. This time it is daylight, and the subject matter is truth, how we twist it, perceive it, and turn it into anything we damn well please in this wonderful post-fact world.

If the fans have been paying attention, and judging from some comments it would appear that many have not, Mr Wilson’s love of certain strains of pop is well known, and their influence can be heard at various points throughout his career. If you check out this short list of five albums he says have been highly influential on him, you’ll see what I mean.

OK, this is pop, as a rather good band from Swindon once said, and indeed, a certain Mr Partridge has writing credits on the title track. Paul Draper, currently enjoying a solo resurgence many years after his stint with indie pop-proggers Mansun, plays on the title track, the dulcet tones of Ninet Tayeb are present and more than correct on a lot of this record, and guesting on guitar somewhere or maybe everywhere is boundary-pushing Slovakian plank spanker David Kollar of KoMaRa fame. Sorry if that sounded vague, but the bereft PR blurb us mere amateurs have been graced with contains less factual info than you will find in your average speech by the current occupant of the White House.

Perhaps the most obvious radio friendly song on the record is the charmingly poptastic Permanating, one of four songs previewed on YouTube prior to release, and three and half minutes of the frothiest choon I can ever recall our man in the no doubt expensive retro-NHS specs writing. You would have to be a deathly cynical beast not to at least smile to yourself as Permanating bounces by, but judging by the wailing and gnashing of teeth from predictable quarters, there does indeed seem to be plenty of joyless souls around. Everyone needs to give their furrowed brow a rest now and then or the creases become permanent. However, some do get it… “just a…song with good vibrations” said one enlightened soul, which is exactly right.

To be fair, Permanating is a throwaway tune that were it by anyone else the likes of you and me probably wouldn’t even notice it. Steven is obviously proud of it as he says “In my mind this is what ABBA and Electric Light Orchestra would sound like as produced by Daft Punk!”, a somewhat over-effusive description if you ask me, but then again it is his baby. Permanating is also rather the exception than the rule, and it sits in the middle of the album like a bridge and as such works just fine. Overall, To The Bone has an intelligent take on pop that Bowie, Prince, Peter Gabriel, Kate Bush, Abba, XTC, etc., would recognise, and if the musically myopic would give it a chance, there is actually quite enough here to satisfy those who demand more than the basics, and for those who blanche at the very idea of dancing. Hey! One song is over nine minutes long, doncha know, and despite all the gossip, it ain’t THAT different to what has gone before.

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We have now chewed right through to the bone of contention, so on with the job in hand. The album is bookended by two songs that could easily be Porcupine Tree numbers from just before they discovered riffing. Elsewhere the entry of massed Mellotrons on the back of Ninet Tayeb’s emoting three and a half minutes into Pariah is guaranteed to make the hairs on the back of your neck get all priapic.

As for guitar solos, Refuge goes all Prince on us, and even the proglodyte dwelling in the deepest cave would have to admit that David Kollar’s delightfully scripted flurry in Detonation, the nine-minute wonder I referred to above, is something to write home about. Simply by using David Kollar on the album, Wilson shows that he is still searching out those at the cutting edge to give added heft to his stylistically very readily identifiable songwriting style.

All in all, To The Bone is a decent album with all the expected outstanding production values. It won’t tip the world of its axis, but it will no doubt keep the fans debating whether or not it is “Prog” enough for weeks. As we know, “fan” is an abbreviation of fanatic, so you can leave me well out of that one.

Now signed to Caroline International, a branch of Caroline Music which is ultimately owned by the ubiquitous Universal Music Group, it is either a coincidence or Wilson’s apparently shrewd business acumen that his new and potentially more commercial direction will have the backing of one of, if not the biggest musical conglomerate on the planet. I will leave you to make your own mind up on that one. Whatever, the man has worked hard for his success and the music he’s added to my creaking shelves by the barrow load over the last couple of decades and more means that as far as I’m concerned he deserves it, even if once more I appear to be losing interest in his journey. However, knowing me I’ll probably still buy the album. It’s a hard habit to break!

TRACK LISTING
01. To The Bone (6:42)
02. Nowhere Now (4:04)
03. Pariah (4:47)
04. The Same Asylum As Before (5:15)
05. Refuge (6:45)
06. Permanating (3:35)
07. Blank Tapes (2:09)
08. People Who Eat Darkness (6:03)
09. Song Of I (5:22)
10. Detonation (9:20)
11. Song of Unborn (5:56)

Total Time – 59:58

MUSICIANS
Steven Wilson – Guitars, Bass, Keyboards, Vocals, Programming, Mellotron M4000, Choir Arrangement (track 11) – sung by Synergy Vocals
Jeremy Stacey – Drums
Pete Eckford – Percussion
Adam Holzman – Piano, Hammond Organ, Clavinet, Wurlitzer Piano, Solina Strings, Fender Rhodes, Mini Moog
Mark Feltham – Harmonica
Ninet Tayeb – Vocals & Backing Vocals
Dave Kilminster – Backing Vocals
Dave Stewart – String Arrangements, performed by The London Session Orchestra
Jasmine Walkes – Voice (track 1)
Paul Draper – Oberheim Sequencer (track 1)
Craig Blundell – Drums (tracks 3,8 & 11)
Robin Mullarkey – Bass (tracks 4 & 9)
Necro Deathmort (I’ll bet that’s not on his birth certificate!) – Programming, Vocal Treatments (track 5)
Paul Stacey – Guitar solo (track 5)
Nick Beggs – Bass (track 6)
Sophie Hunger – Vocals (track 9)
David Kollar – Guitars (track 9), Guitar solo (track 10)

ADDITIONAL INFO
Record Label: Caroline International
Catalogue#: CAROL016CD
Date of Release: 18th August 2017

LINKS
Steven Wilson – Website | Facebook

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Edition 65 of THE PROG MILL – first broadcast on Progzilla Radio on Sunday 30th July, is now ready for you to stream anytime or download. Another two hours of superb melodic and symphonic progressive rock.

This weeks playlist:

1 The Inner Road – Temple of Forgiveness (Sanctuary)
2 The Ryszard Kramarski Project – The Little Prince (Music Inspired by the Little Prince)
3 La Bocca Della Verita – Avenoth (Avenoth)
4 The Addiction Dream – Magic (Essence)
5 Believe – Lay Down Forever (World is Round)
6 White Spirit – Fool for the Gods (White Spirit)
7 Drifting Sun – Soldiers (Twilight)
8 Lorian – What I Might See (Virginal Mind)
9 Kim Seviour – Recovery is Learning (Recovery is Learning)
10 Jackson Heights – I Could Be Your Orchestra (Bump ‘n Grind)
11 Anubis – Hitch Hiking to Byzantium (Hitch Hiking to Byzantium)
12 Inner Ear Brigade – Black and White Taste (Dromology)
13 Gregorian Rock – Ashes (Fire)
14 Dworniak Bone Lapsa – Funny Farm (Fingers Pointing at the Moon)
You can hear the Prog MIll on Progzilla at the following times:
Sundays 10pm – Midnight UK time (2100-2300 UTC) MAIN BROADCAST
Tuesdays 0400-0600 UK time (Mon 8pm in LA or 11pm in NYC)
Tuesdays 2300-0100 UK time (2200-0000 UTC)

The podcast is usual posted online Monday or Tuesday each week with links on social media and the Progzilla website.

Your suggestions for melodic/symphonic progressive rock are very welcome for the Prog Mill. Please email shaun@progzilla.com or message via twitter @shaunontheair or www.facebook.com/theprogmill
Back next Sunday at 10pm UK with more proggy sounds. See you there hopefully!

This news story was originally published here: http://theprogressiveaspect.net/blog/2017/07/30/crippled-black-phoenix-horrific-honorifics-ep/

The release of new music by Crippled Black Phoenix (CBP) always, in this listener’s opinion, peaks the interest. On this occasion we have an EP of what are essentially cover versions; the premise here though is that these are a celebration of songs that have influenced Justin Greaves and CBP either in music or life, or have been on the cover song short list. Justin puts it like this:

“These songs are ones I have wanted to record for some time, ones where I feel a connection and ones where I just wanted to have a go at doing our own version, out of respect for a good tune.”

That does sum it up very well; there are songs here with thought provoking, evocative and maybe inspirational lyrics, depending on your interpretation of course. CBP are no stranger to the cover song, indeed throughout their recording history they have appeared as extra or hidden tracks, or on albums such as I Vigilante and more recently, the track Turn to Stone on latest album Bronze.

Recorded at Chapel Studios in Lincolnshire during May 2017 by Sam Harper with the assistance of Luke Farnell, it was mixed and mastered at Tri-lamb Studio, Stockholm by Karl Daniel Liden. There are six tracks included with a total running time of 32 minutes.

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The set kicks off with False Spring by American alternative band Arbouretum; not being familiar with this band I checked the original track out, and although it is somewhat lighter here CBP have used some edgier guitar to add their unique style to it. This is followed by Swans track The Golden Boy Swallowed by the Sea; this is much closer to the original with its evocative lyrics. Will-O-The Wisp by Magnolia Electric Co is given a different touch by adding Belinda Kordic’s wonderful vocals, beautiful and at times delicate on a song that appears to suit the CBP treatment so well.

The track that initially caught my interest on this release is a cover of Victory by Nomeansno (NMN) from Canada, a hugely underrated band of whom I have been a fan for some time. Of all the tracks on Horrific Honorifics, this is the one that is most different from the original, but it is still easily recognisable, CBP giving the song a fuller sound with the addition of keyboards compared to NMN powerful trio set up, all the while retaining the menace and power of the original. I really like what they have done to enhance this song, and hope it will encourage more listeners to investigate Nomeansno.

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Following The God Machine’s In Bad Dreams we are treated to CBP’s take on The Faith Healer by The Sensational Alex Harvey band. It’s a brave move to cover an iconic song from such a revered and extensive canon, but boy do they pull it off; the guitar captures the sharp, stabbing lines of Zal Cleminson, while the keyboards pay perfect homage to Hugh McKenna’s contributions. The vocals offer a different aspect to the delivery of the lyrics from Alex Harvey’s original, going some way to stamp CBP’s own take on it. On discussing this album with a friend he described this track as CBP playing Faith Healer as the Sisters of Mercy – I am not familiar with that band, so he may be right.

This is a great collection of interesting songs which gives some insight into the influences and mindset that has gone into creating this excellent band. Crippled Black Phoenix have a worthy addition to their catalogue here, and perhaps your collection, although as a big fan of their work I could be just a touch biased. The sound quality is very good, clear and precise even at higher volumes. Give it a listen and hopefully buy it in either of the two available formats, CD and digital download.

TRACK LISTING
01. False Spring (6:06)
02. The Golden Boy Swallowed by the Sea (5:34)
03. Will-O-The-Wisp (3:59)
04. Victory (8:00)
05. In Bad Dreams (3:08)
06. The Faith Healer (5:58)

Total time – 32:45

MUSICIANS
Justin Greaves – Drums, Percussion, Lead & Rhythm Guitar
Daniel Änghede – Vocals
Mark Furnevall – Synths, Bass
~ With:
Belinda Kordic – Vocals, Lead Vocal (track 3)
Helen Stanley – Piano, Harmonium, Backing Vocals
Jonas Stålhammar – Added Guitar
Eric Mansfield – Vocals (track 6)
Chrissie Caufield – Violin (tracks 2 & 3)
Robert – Mandola (track 3)
Daisy Chapman – Backing Vocals (tracks 1 & 5)

ADDITIONAL INFO
Record Label: Artists Musicians Outlaws
Country of Origin: U.K.
Date of Release: 6th July 2017

LINKS
Crippled Black Phoenix – Website | Facebook | Bandcamp

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This news story was originally published here: http://theprogressiveaspect.net/blog/2017/07/29/clear-blue-sky-clear-blue-sky/

Another release from rock’s lesser known back pages by Esoteric Recordings, and another raid on my Vertigo spiral collection gives me a chance to wax lyrical over the self-titled album by Clear Blue Sky, which was another of those cut out bin records I lived for back in another era when life was simpler and people were shorter and lived by the water. Possibly.

Clear Blue Sky was led by guitarist John Simms, who with his former schoolmates Ken White on drums and bassist Mark Sheather made up a power trio of 18 year-olds whose youthful energy shines through on this charmingly naïve yet powerful record. Discovered by musician and Vertigo A&R man Patrick Campbell-Lyons, the lads recorded this set of Simms’ compositions during a hectic 24 hours or so in the studio spread over two or three days. Campbell-Lyons allegedly booked the studio for longer, and Simms reckons he used the excess time for his own musical project, very possibly the Local Anaesthetic album, more on which in a soon come review. He also produced this album and judging by its rather harsh tone it was something of a rollercoaster of a learning curve behind the console.

The album was originally intended to be called Play It Loud, and indeed this title is there on the spine of the original gatefold, hastily and only partly obscured by red marker. The reason for the last minute alteration was that the title had already been taken by Ambrose Slade, whose first LP under their soon to be shortened name, to coincide with their shorter hair, braces, and boots, was scheduled for release just previous to Clear Blue Sky.

Compared to earlier CD issues of this album, the sound fair leaps out of the speakers at you, and while not a remix as such, this is one of those rare examples of a remaster being a radical improvement on past releases.

The first side of the LP is a suite of three songs under the title Journey To The Inside Of The Sun depicting a journey out into space and back again. Simms complains in the interview in the liner notes that not enough time was spent developing the sound given the rushed nature of the recording, and it shows, particularly on this opening suite, which starts with a decent if somewhat prosaic instrumental jam with the hardly original title of Sweet Leaf. Clearly influenced by Cream and the Groundhogs, Clear Blue Sky’s sound sits somewhere within a sphere of influence dominated by bluesy power trios and psych-rock, and what it occasionally lacks in originality it more than makes up for with its youthful brio. This is highlighted on the second part, Rocket Ride, which sounds very Hogs to these ears. That Simms was a clearly talented guitarist, even at this tender age, marks out the record with its own individual stamp, which rescues the more obvious lifts one can spot rather easily.

Luckily, mentally flipping the record over reveals a much improved ‘Side Two’, which commences with the hard hitting You Mystify, almost eight minutes of psychedelically hued Groundhogs blues rock swagger – derivative, sure, but fun. Tools Of My Trade varies the pace and shows that as young as they were, the band could still put together a decent arrangement, with some simple time and key changes used to good effect.

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The last two songs are the best on the record. My Heaven is a hypnotic and swirling tune with some interesting drum patterns, engendering an effect much like staring at the Vertigo label in the centre of the original LP for any length of time. The album closes with Birdcatcher where I suspect Patrick Campbell-Lyons learning curve behind the mixing desk was at its most vertiginous. The tune itself recalls Taste, and it charges along in fine fettle before ending rather suddenly and being replaced by lazily stoned handclaps, quiet guitar doodling, percussion, and flute from Jade Warrior’s Jon Field, only for the main riff to suddenly reappear for a few bars before being cut off abruptly. Very odd indeed, it sounds like someone tripped over the mains lead and pulled the plug out, although it was apparently intentional. Incidentally, this is the first issue of this album on CD that fully restores that madcap ending.

The rock trio template is fleshed out with piano on Sweet Leaf and Hammond organ on Tools Of My Trade, the former presumably played by Campbell-Lyons, and the latter is by a session player with connections to Tom Jones, but unfortunately no-one can remember his name!

The cover of the original album was one of, or possibly the first gatefold design by one Roger Dean, and looking at my pristine copy, a lovely thing it is too, Dean’s inimitable and soon to be instantly recognisable style is applied to menacing sentient mechanical flying war birds in full action, soaring over a subdued mythical landscape in pastel hues.

This trio disintegrated soon after their record sank without trace, and Clear Blue Sky soldiered on for a few years with differing rhythm sections before calling it a day in 1975. Many years later Simms reformed the band with a different line up, the second album Destiny appearing in 1990, his vision for the band now encompassing hard rock with a spacey vibe. The band are still making albums, the last being 2013’s Don’t Mention Rock’N’Roll. He is also currently spanking his plank for various projects within Tim Jones’ Census of Hallucinations empire, all of which are well worth checking out.

TRACK LISTING
Journey To The Inside Of The Sun:

01. Sweet Leaf (8:02)
02. Rocket Ride (6:23)
03. I’m Coming Home (3:08)

04. You Mystify (7:49)
05. Tools Of My Trade (4:54)
06. My Heaven (5:02)
07. Birdcatcher (4:15)

Total Time – 39:34

MUSICIANS
John Simms – Guitar, Vocals
Ken White – Drums
Mark Sheather – Bass
~ With:
Jon Field – Flute (track 7)

ADDITIONAL INFO
Record Label: Esoteric Recordings
Catalogue#: ECLEC 2595
Year of Release: 2017

LINKS
Clear Blue Sky – Facebook | Cherry Red Product Page

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This news story was originally published here: http://www.prog-sphere.com/news/art-against-agony-coffee-for-the-queen-video/
ART AGAINST AGONY to Release “Russian Tales” EP on July 22; Available for Pre-Order Now

Germany-based collective Art Against Agony has released their new EP titled Russian Tales on July 22nd, available from Bandcamp (digital download) and Bigcartel (CD). The EP was composed during the group’s first Russian tour in Winter 2016, where the band travelled through Russia for 3 weeks, playing 20 shows from Saint Petersburg to Rostov-on-Don and from Kemerovo to Bryansk.

Art Against Agony have partnered with Pitcam.TV for a premiere of a video for the song “Coffee for the Queen.” See it below.

The band commented: “The song retell our impressions of the snowy Siberian tundra, endless dark forests south of Moscow or grassy plaines next to river Volga. The five tales on the EP share our emotions, our fears, our love, our anxiety and our pleasures while touring.

Along with the launch of a new video, Art Against Agony are heading on tour billed as “Against All Odds Tour 2017” which will see them promote the new EP in Russia  and Brazil. See below for dates.

Russian Tales EP Track Listing:

1. Königsberg Präludium
2. Nothing to declare?
3. Tea for the Dragon
4. Coffee for the Queen
5. Saratov Incident

Art Against Agony – “Against All Odds Tour 2017” dates:

29.07. Back Luny Festival, Russia
30.07. Kaluga, Russia
01.08. Yelets, Russia
02.08. Voronezh, Russia
03.08. Tula, Russia
04.08. Zelenograd, Russia
05.08. Saint Petersburg, Russia
08.08. Sao Paulo, Brazil
09.08. Sao Jose dos Campos, Brazil
10.08. Rio de Janeiro – Botafogo, Brazil
11.08. Petropolis, Brazil
12.08. Rio de Janeiro – Barra, Brazil
13.08. Sao Joao de Meriti, Brazil

Art Against Agony line-up:

the_sorcerer (lead_guitar, philosophy)

the_machinist (rhythm_guitar)

the_surgeon (piano)

the_heretic (bass)

the_malkavian (drums)

the_maximalist (mridangam)

the_architect (photography)

the_switch (live_visuals)

the_harlequin (merch)

the_glasses (japan_supervisor)

Art Against Agony online:

Official website

Facebook

Bigcartel

Bandcamp

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Art Against Agony - Russian Tales

This news story was originally published here: http://theprogressiveaspect.net/blog/2017/07/28/gentle-giant-to-release-three-piece-suite/

Following on from the The Power And The Glory and Octopus reissues comes Three Piece Suite, a selection of tracks taken from the band’s first three albums (Gentle Giant, Acquiring the Taste & Three Friends).

The album includes the songs Giant, Nothing At All and Why Not? from Giant; Pantagruel’s Nativity and The House, The Street, The Room from Acquiring The Taste; Schooldays, Peel the Paint, Mr. Class And Quality and Three Friends from Three Friends.

The band along with Steven Wilson are including the previously commercially unreleased track Freedom’s Child taken from the first recording sessions with Tony Visconti.

The liner notes contain an essay by noted journalist Anil Prasad, in which Gentle Giant’s members reflect upon the writing and recording sessions. Steven Wilson and Tony Visconti additionally share their observations about the early days of one of progressive rock’s most influential bands.

Steven Wilson and Tony Visconti share their incredible observations about the early days of this unique collection of timeless music from one of progressive rock’s most influential bands.

Tony Visconti explains: “I was a very optimistic young man in 1970…I thought music like theirs would save the world from mediocrity. I couldn’t wait to sink my teeth in it. I championed their cause by becoming sympathetic to the point where I temporarily joined the band for both albums. I modified their arrangements and pulled off some stunning audio effects that gave their sound more depth and immediacy. The band knew I was on their side. I remember there being a great feeling of camaraderie during the sessions.”

Steven Wilson explains: “To create the new mixes, I used Logic as the software and Universal Audio plug-ins, which provide emulations of classic analog outboard effects, channel strips and old mixing desks… I used these tools to clean things up and bring out some more clarity, detail and definition in some of the instrumental interplay. There was never a question of trying to outdo the original mixes, but offer different perspectives on them.”

TRACK LISTING
01. Giant
02. Nothing At All
03. Why Not
04. Pantagruel’s Nativity
05. The House, The Street, The Room
06. Schooldays
07. Peel the Paint
08. Mr. Class And Quality
09. Three Friends
10. Freedom’s Child*
11. Nothing At All (Steven Wilson 7″ Edit)
*Previously unreleased pre-debut album song

Three Piece Suite will be released on 29th September 2017 and available in several formats: CD/Blu-ray, Vinyl, CD and digital formats.

SOURCE: Anne Leighton Media

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This news story was originally published here: http://theprogressiveaspect.net/blog/2017/07/28/tim-blake-the-tide-of-the-century/

Tim Blake is back! Or at least he was at the turn of the millennium. In fact, besides 1991’s Magick, Blake’s discography had been dormant ever since 1978’s Blake’s New Jerusalem. Nevertheless, it’s not uncommon to see older prog artists come out of retirement to cobble together something to please the fans, and while The Tide of the Century doesn’t blow the listener away, there are a few moments that shine on the album.

Nature ‘L’ gives the album an uneasy start. Clearly, Blake is still fond of his synthesizers, but do they translate into a more modern setting? His modulated voice in the track seems to yearn for a bygone era. The title track is the first of three longer tracks on the album; this one follows a melancholy theme and blends synthesizers and piano sounds. While there is a contrast of dynamics in the song, including the guitar-like solo near the centre, the plodding pace doesn’t help the listener digest this track.

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St. Dolay feels like an opportunity wasted. Changing the dynamics yet again, there is no percussion in this piece, only piano and vocals, with a soupçon of synthesizer for the instrumental. The piano is played very simply, to highlight the emotion of the piece, although it feels as if more power in the instrumental – the introduction of a full band, for example – could have resulted in a more fulfilling song. As it is, it feels like something’s waiting to happen, but never does.

Crystal Island is dreadful, a dawdling mess of a track with weak melodies and little structure. At over eight minutes, it long outstays its welcome. Byzantium Dancing mercifully brings some quality to the album, a punchy instrumental with good rhythm and effects. At over nine minutes, it is by far the longest and best song on the album. I’d love if somebody could tell me the name of the dull-sounding guitar effect sample used repeatedly throughout the track.

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One of my favourite holidays was in the Bosnian capital city, but Sarajevo (Remember) simply makes me shudder. As a commemoration of the Bosnian War, it is simply dreadful, from the tacky marching drums to the cheesy synthesizers. All in all, it sounds like a Tangent reject. But the atrocities haven’t finished; the final track Tribulations features Blake’s cack-handed attempt at reggae, featuring “rap vocals” by Loys Kerhoas. Need I say any more?

As there is only one decent track on this album, I certainly wouldn’t recommend it to readers of this website. I’m rather glad I received this album after the first two as I’ve been able to process the two experiences separately. Although Esoteric have diligently reissued this album with full artwork and interview, you need not be as diligent in purchasing it.

TRACK LISTING
01. Nature ‘L’ (3:30)
02. The Tide of the Century (8:09)
03. St. Dolay (5:17)
04. Crystal Island (8:19)
05. Byzantium Dancing (9:18)
06. Sarajevo (Remember) (5:16)
07. Tribulations (4:01)

Total Time – 43:45

MUSICIANS
Tim Blake – Synthesisers, Piano, Vocals
~ featuring:
Christiane Vitard – Vocals (tracks 4 & 7)
Marie-Anne Vitard – Vocals (track 7)
Min Tse Chou – Guitar (tracks 5 & 7)
‘Stof’ Kovaks – Analog Synthesizer (track 5)
Loys Kerhoas – Rap Vocals (track 7)

ADDITIONAL INFO
Record Label: Esoteric Recordings
Catalogue#: ECLEC 2591
Date of Release: 25th May 2017

LINKS
Tim Blake – Website | Facebook | Bandcamp
The Tide of the Century – Cherry Red Product Page

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