Archives

All posts for the month October, 2017

This news story was originally published here: http://theprogressiveaspect.net/blog/2017/10/31/wingfield-reuter-sirkis-lighthouse/

Lighthouse is a companion album to the mighty fine The Stone House, released earlier in the year but actually recorded before it during a marathon session in 2016, from which three albums will eventually emerge blinking into the uncaring daylight. The absence of bassist Yaron Stavi from this session sees his lower register taken by Markus Reuter’s Touch Guitar, and for whatever reason, this improvised creature is more of a progressive-experimental rock beast than the jazz animal of The Stone House, but this is powerful and feral rock of a kind that is flung out on a limb, billions of miles from conventionality.

Zinc and Derecho are powered by Asif Sirkis’ thunderous rumble of insistent rhythms, and the combination of Markus Reuter’s Touch Guitar and Mark Wingfield’s more conventional (hah!) guitar playing recall similar territory explored by Mastelotto, Gunn, and Fripp in the ProjeKcts, although by the time the blistering opener climbs to its incendiary climax, any comparison to anything at all is moot as this scorched earth fire monster incinerates all before it. Possibly the most compelling and fearsome opening two tracks of any album I have heard this year.

Ghost Light narrates illogical lifeforms that live many leagues under the waves, making lairs next to bubbling sulphurous springs in near boiling water. Impossible calciform structures reaching ever upwards in impenetrable darkness are briefly illuminated by symphonic washes of otherworldy sound from the textural imagination of Markus Reuter, while Mark Wingfield howls into the void, or in total contrast, soothes the troubled soul.

The craft resurfaces during Magnetic to find increasingly turbulent seas in the thrall of an approaching mighty storm. The tension is palpable as skittering nervous beats steer the craft through increasingly troubled waters, the flotsam and jetsam being tossed every which way on breaking waves of howling guitars and mounting insistent drum clatter.

[embedded content]

A Hand In The Dark and Transverse Wave offer up a prayer and hear its response. Two extremely poetic pieces led by Mark’s fluid and elegiac improvisations, a keening incantation and commune with strange gods. The pounding excursion up and down and around dislocated scales that is Surge ends this exhausting album, one that has taken the listener on a journey into hitherto rarely explored dusty corners of the imagination. Together with The Stone House you will not hear two more essential or energetic albums of improvisation seat-of-the–pants playing this or any other year. Buy this now!

TRACK LISTING
01. Zinc (7:47)
02. Derecho (8:29)
03. Ghost Light (14:19)
04. Magnetic (11:13)
05. A Hand In The Dark (4:54)
06. Transverse Wave (5:19)
07. Surge (4:30)

Total Time – 56:15

MUSICIANS
Mark Wingfield – Guitar
Markus Reuter – Touch Guitar
Asaf Sirkis – Drums

ADDITIONAL INFO
Record Label: MoonJune Records
Catalogue#: MJR088
Date of Release: 11th September 2017

LINKS
Wingfield Reuter Sirkis – Bandcamp
Mark Wingfield – Website | Facebook
Markus Reuter – Website | Facebook
Asaf Sirkis – Website | Facebook

Tags: , , ,



Northern Star   26th Oct  2017

 

  1. Northern Star Pallas Theme
  2. Fats Domino – Ain’t That a shame RIP Fats
  3. Fish – Boston Tea party
  4. Deep Purple – Lazy
  5. Unto Us – Plan B
  6. Beneath My Sins – The beauty in the witch
  7. Birdeatsbaby – a part of me
  8. Jon & Vangelis – Far away in Baagad
  9. Playgrounded – Mute
  10. Adam Sandler – Werewolves of London
  11. BBT – The Underfall Yard
  12. Tiger Moth Tales – Hyyge
  13. Elton John – Lucy in the Sky with diamond
  14. Spiritualized – (Come together Live )
  15. The Fierce and The Dead  – Andy Fox
  16. Lesbian bed death – I use my powers for evil
  17. Dire straits – Telegraph Road
  18. Frozen Ocean – The Dyson Swarm
  19. Dave Gilmour – One of these days
  20. Genesis – Dance on a Volcano/Los Endos

 

Tunein on http://tunein.com/radio/Progzilla-Radio-s242911/

The Google app or the Apple App

Repeat Shows Tuesdays 00.00am bst & 3.00pm bst

Podcasts of all the shows are available here

http://www.progzilla.com/category/podcast/northern-star/feed/

Subscribe to the show here

http://www.progzilla.com/shows/northern-star/

If you have an requests or ideas about shows

Or anything else for that matter?

Contact me on Emma@progzilla.com

These Curious Thoughts – Surrounded by Roses

It Bites – Underneath Your Pillow

Sanguine Hum – Bubble Trouble

Gazpacho – The Cage

Tee – City

Gerard – The Acts of the Apostles

Taken – 1985

Combination Head – Clover Road ABC

Unifaun – End-Or-Fin

Jethro Tull – Sparrow On The Schoolyard Wall

Argos – Nursed By Giants Pt1 and Pt5

DeeExpus – Marty and the Magic Moose

This news story was originally published here: https://www.prog-sphere.com/interviews/fabrizio-la-piana-interview/
Fabrizio La Piana

Guitarist and composer Fabrizio La Piana was born in Catania in Italy, but he lives in Amsterdam. The musician has recently completed work on his debut album titled ‘Almond and Coffee,’ and in an interview below he shares what was it like working on this record. He also tells us about his white Suhr stratocaster, gear, growing up in Catania, and more.

Almond and Coffee was recently released. How did it come about?

I wrote some of the songs during the course of time and i have refined the music by playing them with different people/settings. I booked the studio for one day only and my goal was to have the finished drums but things went well enough there for me to decide to keep the material as we playied as much as possible to have something that sounds a bit like a live in the studio. Then I just releaseD it through CDBaby, they would take care of distribution on the Internet but also physical copies if you ask for.

What was the vision that propelled Almond and Coffee and what made this the right time to pursue that vision?

I wrote this album in total freedom, not thinking of trying to please any particular type of audience. I wanted this album to be a picture of who I am and what are my musical tastes and influences at the moment.

Almond and Coffee

What was the creative chemistry for Almond and Coffee like?

Bassist Bernhard Hollinger and drummer Niels Voskuil are well rounded musicians. They learn songs incredibly fast and having a jazz background but being capable of playing in many different styles; they gave an amazing contribution to this album. Playing with them feels very easy and natural and i love the sound they have on their instrument.

Speaking of the album’s creative process, provide some insight into it.

I start by noodling around with the guitar, then if I find a sound or an intro riff that feels interesting to me I try to develop it further by jammng on it. Usually that leeds to a finished song that I write on a sheet paper and bring it to the musicians. When we play it the first time I listen to how they play it and how they feel about it. I am open to their suggestions and I am willing to try different grooves and forms. Once the songs are rehearsed I play them live and record them.

Do you have in plan to promote this music live; is there a tour planned down the road?

At the moment I am working on a couple of promotional gigs here in Amsterdam and I hope in the near future to be able to organize some other shows around. Italy would be nice…

Almond and Coffee is described as a blend of Progressive Rock and Jazz. What is it that in your opinion is necessary to make a record be progressive?

In my view “progressive” is a label that can include a lot of very different syles of music, just like the word “fusion.” When I call something progressive it could be anything in between Led Zeppelin and Dream Theater, and in the same time fusion for me could be Weather Report or Cynic. About my album, I think it’s jazz because of the improvised solos and some harmonies. It’s rock because of the sounds and riffs, but if people want to call it jazz rock or fusion or progressive, it is all fine for me. I don’t care too much about genre labelling. I actually like to cross these borders every time I feel the need to.

Fabrizio La Piana

I’ve seen on your promo photos that you are playing Suhr guitars. What in particular made you gravitate towards this brand?

I am into strats for a long time, and I have owned many of them. Suhr guitars are generally well balanced all around instruments; they stay in tune pretty well and the white one I have used for this album is my favourite guitar ever.

Tell me about the gear that you used to record this album.

As mentioned, I have used the white Suhr on all songs, a Maxon overdrive pedal and a Fender Hot Rod Deluxe into a Palmer PDI03 to the studio console desk. Reverbs and delys were added later in the mix.

Did growing up in Catania in any way have impact on you to being a musician?

In Catania there are cafes/pubs or events where bands can perform. Back when I was a kid, club owners were pretty open to any style of music. My friends and bandmates back then were into prog metal and we were able to perform our original songs at quite a few events. That has been my first band and have had a huge inpact on me willing to do become a musician.

Visit Fabrizio’s website here where you can order your copy of ‘Almond and Coffee.’

[embedded content]

This news story was originally published here: http://www.prog-sphere.com/interviews/fabrizio-la-piana-interview/
Fabrizio La Piana

Guitarist and composer Fabrizio La Piana was born in Catania in Italy, but he lives in Amsterdam. The musician has recently completed work on his debut album titled ‘Almond and Coffee,’ and in an interview below he shares what was it like working on this record. He also tells us about his white Suhr stratocaster, gear, growing up in Catania, and more.

Almond and Coffee was recently released. How did it come about?

I wrote some of the songs during the course of time and i have refined the music by playing them with different people/settings. I booked the studio for one day only and my goal was to have the finished drums but things went well enough there for me to decide to keep the material as we playied as much as possible to have something that sounds a bit like a live in the studio. Then I just releaseD it through CDBaby, they would take care of distribution on the Internet but also physical copies if you ask for.

What was the vision that propelled Almond and Coffee and what made this the right time to pursue that vision?

I wrote this album in total freedom, not thinking of trying to please any particular type of audience. I wanted this album to be a picture of who I am and what are my musical tastes and influences at the moment.

Almond and Coffee

What was the creative chemistry for Almond and Coffee like?

Bassist Bernhard Hollinger and drummer Niels Voskuil are well rounded musicians. They learn songs incredibly fast and having a jazz background but being capable of playing in many different styles; they gave an amazing contribution to this album. Playing with them feels very easy and natural and i love the sound they have on their instrument.

Speaking of the album’s creative process, provide some insight into it.

I start by noodling around with the guitar, then if I find a sound or an intro riff that feels interesting to me I try to develop it further by jammng on it. Usually that leeds to a finished song that I write on a sheet paper and bring it to the musicians. When we play it the first time I listen to how they play it and how they feel about it. I am open to their suggestions and I am willing to try different grooves and forms. Once the songs are rehearsed I play them live and record them.

Do you have in plan to promote this music live; is there a tour planned down the road?

At the moment I am working on a couple of promotional gigs here in Amsterdam and I hope in the near future to be able to organize some other shows around. Italy would be nice…

Almond and Coffee is described as a blend of Progressive Rock and Jazz. What is it that in your opinion is necessary to make a record be progressive?

In my view “progressive” is a label that can include a lot of very different syles of music, just like the word “fusion.” When I call something progressive it could be anything in between Led Zeppelin and Dream Theater, and in the same time fusion for me could be Weather Report or Cynic. About my album, I think it’s jazz because of the improvised solos and some harmonies. It’s rock because of the sounds and riffs, but if people want to call it jazz rock or fusion or progressive, it is all fine for me. I don’t care too much about genre labelling. I actually like to cross these borders every time I feel the need to.

Fabrizio La Piana

I’ve seen on your promo photos that you are playing Suhr guitars. What in particular made you gravitate towards this brand?

I am into strats for a long time, and I have owned many of them. Suhr guitars are generally well balanced all around instruments; they stay in tune pretty well and the white one I have used for this album is my favourite guitar ever.

Tell me about the gear that you used to record this album.

As mentioned, I have used the white Suhr on all songs, a Maxon overdrive pedal and a Fender Hot Rod Deluxe into a Palmer PDI03 to the studio console desk. Reverbs and delys were added later in the mix.

Did growing up in Catania in any way have impact on you to being a musician?

In Catania there are cafes/pubs or events where bands can perform. Back when I was a kid, club owners were pretty open to any style of music. My friends and bandmates back then were into prog metal and we were able to perform our original songs at quite a few events. That has been my first band and have had a huge inpact on me willing to do become a musician.

Visit Fabrizio’s website here where you can order your copy of ‘Almond and Coffee.’

[embedded content]

This news story was originally published here: https://www.prog-sphere.com/reviews/perihelion-ship-to-paint-a-bird-of-fire-review/
Perihelion Ship

To Paint a Bird of Fire is the second full-length album by Finnish prog metallers Perihelion Ship, which not only tells a riveting story, but it also serves to accentuate the band’s gift as the omniscient storyteller. Both the arc of the narrative and the incredibly dynamic shifts in mood give Perihelion Ship the opportunity to take their sound into unanticipated directions. What really sets the group apart from other prog metal contemporaries is their idiosyncratic juxtaposition of the darkness and the light, the elegance in life and the unrelenting dread. PH‘s expansive songwriting paves the way for conflicting passages that reflect this dichotomy. Some passages involve harsh, growling vocals alongside pulse-pounding guitars and percussion and others embrace softer moments of desolation cloaked in acoustic guitars and mastermind Andreas Hammer’s voice.

This awe-inspiring balance brings a high level of unpredictability to the album. There is always light at the end of the tunnel, but even when the light seems to dominate the picture, there is always a skulking shadow. Right from the very beginning of this recording, the listener is immersed in the waters of instability, given that any moment of gentleness could give way to demonic outbursts and that any stretch of brutality could transform without warning to understated consolation. In a cathartic intro, “New Sun” opens with an uncanny ambience that is gracefully nudged by a soothing guitar. As the tension builds, the listener knows that collapse is imminent, but it is difficult to pinpoint when or how it will happen. Once the pummeling riff breaks down the door, the intensity reaches an apex of anxiety and angst. Most of these songs unfold over relatively long lengths, during which Perihelion Ship’s music drifts between clashing emotions of anger and sadness.

To Paint a Bird of Fire

Furthermore, the band explores various elements of progressive rock over the course of the album. One can hear faint traces of bands like Yes on the melodic interludes of tracks like “The Sad Mountain.” Also, Perihelion Ship rarely adhere to conventional song structure, instead allowing their songs to germinate of their own accord. Thus, the band ventures so far into the abyss of humanity that the songs themselves take on a life of their own, constantly encountering forks in the road and constantly developing. This forward momentum fuels heavy tracks like “Wind of No Echoes” and closing “New Sun?” On the closing piece, for example, the guitars seethe with ferocity and present a barrage of memorable solos. However, even this track takes a more delicate and reflective turn. From beginning to end, Perihelion Ship’s compositions are multifaceted and highly detailed to the point where each listen can lead to new discoveries whether it be Jari-Markus Kohijoki’s fevered drumming or Hammer’s vivid lyricism.

To Paint a Bird of Fire takes the time to explore the emotional depths of tortured souls. On the peaceful acoustic track “River’s Three,” the guitar reads like the love letter of a man haunted by his unforgiving environment who seeks to fulfill his most primal desire of unconditional love.

On this engrossing concept album, Perihelion Ship allow passion to guide their musical progression. Finding the charm buried within dour soundscapes, the band evoke imagery that is both poignant and indelible. Through and through, the album’s scale is nothing short of breathtaking.

Tracklist:

1. New Sun 10:43
2. Bird of Fire 02:34
3. The Sad Mountain 07:54
4. River’s Three 02:37
5. Wind of No Echoes 06:59
6. New Sun? 11:56

Line-up:

* Andreas Hammer – guitar, vocals
* Jani Konttinen – Hammond organ, Mellotron, synths
* Jari-Markus Kohijoki – drums
* Jouko Lehtonen – bass guitar

Links:

Bandcamp

Facebook

SoundCloud

[embedded content]

This news story was originally published here: http://www.prog-sphere.com/reviews/perihelion-ship-to-paint-a-bird-of-fire-review/
Perihelion Ship

To Paint a Bird of Fire is the second full-length album by Finnish prog metallers Perihelion Ship, which not only tells a riveting story, but it also serves to accentuate the band’s gift as the omniscient storyteller. Both the arc of the narrative and the incredibly dynamic shifts in mood give Perihelion Ship the opportunity to take their sound into unanticipated directions. What really sets the group apart from other prog metal contemporaries is their idiosyncratic juxtaposition of the darkness and the light, the elegance in life and the unrelenting dread. PH‘s expansive songwriting paves the way for conflicting passages that reflect this dichotomy. Some passages involve harsh, growling vocals alongside pulse-pounding guitars and percussion and others embrace softer moments of desolation cloaked in acoustic guitars and mastermind Andreas Hammer’s voice.

This awe-inspiring balance brings a high level of unpredictability to the album. There is always light at the end of the tunnel, but even when the light seems to dominate the picture, there is always a skulking shadow. Right from the very beginning of this recording, the listener is immersed in the waters of instability, given that any moment of gentleness could give way to demonic outbursts and that any stretch of brutality could transform without warning to understated consolation. In a cathartic intro, “New Sun” opens with an uncanny ambience that is gracefully nudged by a soothing guitar. As the tension builds, the listener knows that collapse is imminent, but it is difficult to pinpoint when or how it will happen. Once the pummeling riff breaks down the door, the intensity reaches an apex of anxiety and angst. Most of these songs unfold over relatively long lengths, during which Perihelion Ship’s music drifts between clashing emotions of anger and sadness.

To Paint a Bird of Fire

Furthermore, the band explores various elements of progressive rock over the course of the album. One can hear faint traces of bands like Yes on the melodic interludes of tracks like “The Sad Mountain.” Also, Perihelion Ship rarely adhere to conventional song structure, instead allowing their songs to germinate of their own accord. Thus, the band ventures so far into the abyss of humanity that the songs themselves take on a life of their own, constantly encountering forks in the road and constantly developing. This forward momentum fuels heavy tracks like “Wind of No Echoes” and closing “New Sun?” On the closing piece, for example, the guitars seethe with ferocity and present a barrage of memorable solos. However, even this track takes a more delicate and reflective turn. From beginning to end, Perihelion Ship’s compositions are multifaceted and highly detailed to the point where each listen can lead to new discoveries whether it be Jari-Markus Kohijoki’s fevered drumming or Hammer’s vivid lyricism.

To Paint a Bird of Fire takes the time to explore the emotional depths of tortured souls. On the peaceful acoustic track “River’s Three,” the guitar reads like the love letter of a man haunted by his unforgiving environment who seeks to fulfill his most primal desire of unconditional love.

On this engrossing concept album, Perihelion Ship allow passion to guide their musical progression. Finding the charm buried within dour soundscapes, the band evoke imagery that is both poignant and indelible. Through and through, the album’s scale is nothing short of breathtaking.

Tracklist:

1. New Sun 10:43
2. Bird of Fire 02:34
3. The Sad Mountain 07:54
4. River’s Three 02:37
5. Wind of No Echoes 06:59
6. New Sun? 11:56

Line-up:

* Andreas Hammer – guitar, vocals
* Jani Konttinen – Hammond organ, Mellotron, synths
* Jari-Markus Kohijoki – drums
* Jouko Lehtonen – bass guitar

Links:

Bandcamp

Facebook

SoundCloud

[embedded content]