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All posts for the month April, 2018

The Flower Kings – The Road Back Home

Golden Earring – Lost and Found

Jethro Tull – Home

Gungfly – (Theme For) The Cyclone Man

KBB – Catastrophe

Big Country – Come Back To Me (live)

I Am The Manic Whale – Stand Up

Magenta – The Journey

Mike & The Mechanics – A Beggar On A Beach of Gold

The Gordon Midgley All-Stars – Tie A Yellow Ribbon

Focus – Hocus Pocus

This news story was originally published here: http://theprogressiveaspect.net/blog/2018/04/30/subsignal-la-muerta/

Beautiful and Monstrous, released in 2009, is a wonderful showcase for the restless and creative spirit which lies at the very heart of progressive rock. Soaring melodies which fondly linger in the memory are cradled in layers of delicious harmonies, built on the bedrock of a spellbinding musical and technical virtuosity which provides a compelling enthusiasm and energy. It also carries the unmistakable footprint of the Sieges Even project with which Arno Menses and Markus Stefan were previously involved; crunching foundations built on steely guitar driven textures and an uncompromising commitment to beautiful lyrics.

La Muerta is now the fifth studio album to join this fascinating journey from German band Subsignal and is a triumphant return to the clarity of vision, character and sparkling synergy of that original debut release. With it comes an almost irrepressible sense of spontaneity and an outpouring of exuberance which delights in having found a voice and a stage through which it can paint deeply personal and highly emotional musical vignettes.

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What strikes you most on hearing this album are the organic progressions and the natural transitions which bind the inventive song writing and intricate compositions together to form a seamless musical experience. The music feels instinctive, flowing with a natural dynamism and exhilarating passion that sweeps you along with its vibrancy and resonances. Arno Menses vocals are utterly bewitching, his voice perfectly nuanced in delivering spine tingling solos or weaving gorgeous cascading harmonies.

The vocal arrangements also provide the building blocks for some of the standout highlights of this album. There is a playful delight in experimenting with a series of contrasts; what you hear is almost as important as what you sometimes don’t hear. Intense musical passages abruptly fade away into tranquil interludes, lusciously filled soundscapes transitioning to silent backgrounds which frame a lone voice or instrument – carefully orchestrated and mesmerising in its effectiveness.

Yet this in turn unlocks another insight into what makes this album such a success. I fancy much greater prominence and importance has been afforded to the role of the keyboards, both as a lead instrument as well as the provider of the foundations on which the contrasts are being built. Listen carefully. There is a dazzling array in the way the keyboards are deployed. The glorious explosion of synths at the start of Every Able Hand segue to plucked harpsichord strings, replaced in turn by smouldering Hammond-esque backdrops.

But just as the keyboards threaten to hog the limelight, Markus Steffen unleashes the most jaw dropping guitar solo, precise in its staccato hitting of accentuated notes before cutting lose into a glorious riff which sets up the keyboards to take over again. This flurry of energy dissipates in a blink of an eye with Teardrops Will Rise In Source Of Origin, an exquisitely gentle acoustic guitar passage framed against a slightly echoed background, tender and delicate.

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The scale and diversity of the tracks we are offered is impressive. The Passage is an impressive combination of power riffing segments bookended with serene rippling piano. The Bells of Lyonesse is compelling in the anthemic refrain it unleashes, sumptuous in the powerful melodic arrangements which quickly settle in the mind. Even Though The Stars Don’t Shine is playful, inventive but with melancholic overtures. And Some Kind of Drowning is a tingling, emotional duet with Marjana Semkina of iamthemorning, a forlorn solo piano carrying haunting, heartbreaking lyrics.

The production is excellent; the sound is clean and crisp with a spacious separation in the mix which allows for a vivid articulation of each instrument. The overall effect is the creation of a remarkable album, bristling with imagination and suffused with a reflective spirit of lively musical adventure and discovery. After The Beacons of Somewhere Sometime (2015) it represents a significant evolution in the journey on which this band has embarked and feels like a welcome revitalising of the exciting, progressive and always enjoyable Subsignal spirit.

TRACK LISTING
01. 271 Days (1:03)
02. La Muerta (6:00)
03. The Bells Of Lyonesse (4:59)
04. Every Able Hand (4:45)
05. Teardrops Will Rise In Source Of Origin (2:05)
06. The Approaches (4:52)
07. Even Though The Stars Don’t Shine (5:14)
08. The Passage (7:23)
09. When All The Trains Are Sleeping (5:27)
10. As Birds On Pinions Free (5:40)
11. Some Kind Of Drowning (5:34)

Total Time – 53:02

MUSICIANS
Dirk Brand – Drums
Markus Maichel – Keyboards
Arno Menses – Vocals
Ralf Schwager – Bass
Markus Steffen – Guitars
~ With:
Marjana Semkina (iamthemorning) – Vocals (track 11)
Markus Jehle (RPWL) – Piano (track 11)
Kalle Wallner (RPWL, Blind Ego) – Additional Guitars
Yogi Lang (RPWL) – Additional Keyboards

ADDITIONAL INFO
Record Label: Gentler Art of Music / Soulfood
Catalogue#: CD Digipak – GAOM058; Double Vinyl Gatefold – GAOM058LP
Country of Origin: Germany
Date of Release: 25th May 2018

LINKS
Subsignal – Website | Facebook | Soundcloud | Twitter | Youtube

Tags:



This news story was originally published here: http://www.insideoutmusic.com/newsdetailed.aspx?IdNews=22293&IdCompany=8

The Sea Within – the new art-rock collective comprising of Roine Stolt (Transatlantic, The Flower Kings), Daniel Gildenlöw (Pain of Salvation), Jonas Reingold (Steve Hackett, The Flower Kings, Karmakanic, The Tangent), Tom Brislin (Yes Symphonic, Renaissance, Spiraling, Deborah Harry) & Marco Minnemann (The Aristocrats, Steven Wilson, UK, Joe Satriani) – have announced that their debut self-titled album will be released 22nd June 2018. 


Now they are pleased to give fans a glimpse at the recording process for the album, as well as a very first taste of the music. Watch & listen to this studio teaser video here:
https://youtu.be/ytIZ5imgFlc 


Let’s get one thing straight from the start. The Sea Within is more of an amalgamation of some serious talents, than a regular “supergroup”. These musicians have come together to create a unique album.  Guitarist/vocalist Roine Stolt, bassist Jonas Reingold, keyboard player/vocalist Tom Brislin, drummer/vocalist Marco Minnemann and vocalist/guitarist Daniel Gildenlöw have a vast reservoir of experience. Look at the portmanteau of artists with who they’ve worked: The Flower Kings, Transatlantic, Jon Anderson, Steven Wilson,The Aristocrats, Joe Satriani, Yes, Steve Hackett, Renaissance, Pain Of Salvation, Deborah Harry, Meatloaf, Karmakanic … that of itself tells you this is something very special.

“I suppose it all began to take shape in the autumn of 2016,” explains Stolt. “I had a chat with Thomas Waber, the boss at InsideOut Music, about the idea of putting together a new band.  I wanted to move in a fresh direction with new collaborations. So Thomas gave me the ‘go ahead’ to seek musicians for a new project.”
First on-board was  The Flower Kings bass player Jonas Reingold.- “He is a long time bandmate and friend and we were also very keen to get keyboardist Tom (Brislin) involved – after seeing his synth pyrotechnics with legends Yes ‘Symphonic’ and with Camel. Then we have been a fans of ‘Aristocrats’ drummer Marco for a long time; I first heard of him 15 years ago and he is a brilliant drummer, unique energy. Then when we discussed ideas for singers, Daniel’s name came up, he has such a great range and dynamic voice and we’ve worked together on and off over the years.” Also added later to the bands line-up for live shows was vocalist & guitarist Casey McPherson of ‘Flying Colors’ & ‘Alpha Rev’, who also sings a couple of songs on the album. 

Initially the band went to Livingston Studios in London last September to begin the process of assembling all the material and recording it for the debut album.
“Most of the material you’ll hear are really band compositions. Of course, ideas were triggered by all of us. Sometimes Jonas would come up with a  part, chord sequence or tune  and  then I or Tom would write melody &  lyric and some new riff section and Marco enhancing  with further  musical metric twists and developments – then Daniel would add or  rewrite some of the lyrics, change or add  more  melodies. Overall, the vast majority of the tracks have been worked on and developed by all of us in one way or another.”


The entire recording situation took about six months, and the band also have some very special guests featured on the album.
“We have got Jordan Rudess from Dream Theater playing piano on one song. The legendary Jon Anderson sings on another track, while ‘wind ace’ Rob Townsend, who plays saxophone and flute with Steve Hackett, is also on the record. Each of them brings a different flavour to the music.”


“People have asked me how I would describe what we have done, and it is almost impossible. I would have to say it sounds like…us, ‘The Sea Within’. Our tastes are very eclectic – from prog to jazz to classical, to heavy rock, folk, punk, electronica and pop. We all come from a different background – so here everything goes.
This has been about putting those diverse influences into the music. I feel you will hear all that’s good about pop – with great melodies and hooks – plus the rawness of metal, improvisations, symphonic and movie soundtracks. We also left room for each of us to take off on flights of instrumental jamming. That was the basic idea, anyway. But until we all got together, we had no idea where it would lead or if it would actually work.”
The band have ended up recording close to two hours of music, and will be releasing it all in June on what will be a self-titled album. 


The Sea Within as a music collective have plans to perform live, and will make their stage debut at ‘Night Of The Prog’ in Loreley, Germany which happens from July 13-15 and will bring special guests for that evening.
“As far as I am concerned, we will try do as much touring as possible. We have a great band, great label and our agent Rob Palmen on-board.  We have great artwork by Marcela Bolivar, all looks bright.  However Daniel will not be able to join us for touring now, as he has commitments with main band Pain Of Salvation. With Casey taking the vocal spot, now with us live, we can go out on the road and play this album and beyond and grow as a band. We have so much to offer musically, on record and on stage and I am sure we will develop a lot over the next few years.   But ‘The Sea Within’ album is a great start. I am excited for everyone to hear what we have done and am now thrilled to start working on the songs for the live show.”


The album will be available as a special edition 2CD digipak, gatefold 2LP vinyl + 2CD & as digital download. You can find the full track listing below:


Disc 1:



  1. Ashes of Dawn
  2. They Know My Name
  3. The Void
  4. An Eye for an Eye for an Eye
  5. Goodbye
  6. Sea Without
  7. Broken Cord
  8. The Hiding of the Truth


Disc 2:



  1. The Roaring Silence
  2. Where Are You Going?
  3. Time
  4. Denise


As mentioned, The Sea Within has recently announced their first confirmed live date, taking to the stage at Night of the Prog Festival 2018 at Loreley, Germany on the weekend of 13-15th July 2018. Tickets are available now here:
http://www.nightoftheprogfestival.com/en/home-2/ 



THE SEA WITHIN online:
www.facebook.com/theseawithin1
www.twitter.com/theseawithin1 
www.instagram.com/theseawithin1
www.theseawithin.net 


INSIDEOUTMUSIC ONLINE:
www.insideoutmusic.com
www.youtube.com/InsideOutMusicTV
www.facebook.com/InsideOutMusic
www.twitter.com/insideouteu

Edition 104 of THE PROG MILL – first broadcast on Progzilla Radio on Sunday 29th April, is now available to stream anytime or download. Your weekly request show for old and new melodic and symphonic progressive rock.

On this weeks show…

1 Burntfield – Sub Zero (Hereafter)
2 Pinn Drop – Cyclothymia (Re:verse Re:Treat Re:unite)
3 Il Sentiero Di Taus – Era Moderna (Macrocosmosi)
4 Moonshine Blast – Cutting The Rope (Reality Fear)
5 Crescent Moon – The Thin Red Line (Dissonance)
6 The Bridge – Remorse (Reunion)
7 Din Within – Song For Life (Awaken The Man)
8 Emerson Lake and Palmer – From The Beginning (Trilogy)
9 John Wetton – You’re Not The Only One (Voice Mail)
10 Jadis – Listen to Me (No Fear of Looking Down)
11 Bo Hansson – The Black Riders/Flight to the Ford (Music Inspired by the Lord of the Rings)
12 Ben Craven feat William Shatner – Spy in the Sky Pt 3 (The Single Edits)
13 10CC – Feel The Benefit (Deceptive Bends)
14 IQ – Awake and Nervous (Tales from the Lush Attic 2013 Remix)
15 ESP 2.0 – Smiling Forever (22 Layers of Sunlight)

You can hear the Prog Mill at these times on Progzilla Radio. Online at www.progzilla.com/listen, via the tune in radio app on your mobile or tablet and on internet radio platforms:

Sundays 10pm – Midnight UK (2100UTC) – MAIN BROADCAST
Tuesdays 3-5am UK (For North America – Mon 7pm Pacific/10pm eastern)
Tuesdays 11pm-1am UK (2200UTC)
Saturdays 6-8pm UK (Teatime family friendly repeat)

Your melodic and symphonic progressive rock suggestions for the show, old or new, are very welcome. Just email shaun@progzilla.com or message via twitter @shaunontheair or facebook.com/theprogmill

Back next week to do it all over again!

This news story was originally published here: https://www.prog-sphere.com/interviews/forest-god-interview/
Peter Kiel Jørgensen

Forest God is a progressive rock/metal project by Peter Kiel Jørgensen from Aalborg in Denmark, who recently released a second EP titled ‘Back to the Forest,’ a follow-up to the 2016 debut EP ‘The Boy Who Flew Away.’ In an interview for Prog Sphere, Peter introduces his project, talks about the new EP, inspiration and influences, and more.

Define the mission of Forest God.

The main mission is to make music. It seems as a matter of course. But I mean music where there is time to sit back and close your eyes while listening. Music where “when the music is not playing” is as important as when there is a lot of stuff going on. As a kind of contrast so to speak.

Tell me about the creative process that informed your new EP Back to the Forest and the themes it captures.

I started writing the songs for Back to the Forest very shortly after releasing the first EP The Boy Who Flew Away back in 2016.

For me it is very important to keep all doors open. In the beginning I did not really try to be “prog” or what you would call it. I just started writing some songs and did what I felt suited the song best.

I’ve always played mostly electric guitar and I’ve played a lot of metal through the years but in Forest god my main instrument and the supporting element in the music is the acoustic guitar. To be creative on a different instrument, I mean it’s still a guitar but you know what I mean, is a very fun but challenging way to write music and I can definitely recommend it.

I work as a teacher and a lot of my inspiration comes from the children I meet in connection with my work. Shortly said: The world from a child’s perspective.

What is the message you are trying to give with Back to the Forest

Have patience and remember to sometimes close your eyes and just drift away.

When I was a child I loved to imagine all sorts of stuff, I could run around with a toy and fight huge battles in my mind, I would stay for hours in the forest near our house, build treehouses with my friends and play all sorts of roles from movies, books etc.

FG

Is the dynamic flow of the pieces carefully architected?

The dynamics are very important. If you listen to the whole thing, which isn’t very long, you will definitely be able to feel the culmination. I hope so.

Describe the approach to recording the EP.

It has been a long process. Like I mentioned earlier I started writing the songs shortly after the release of the first EP in the summer 2016. But… Then a wonderful thing happened, I became a dad to a little girl.

That obviously was a huge change in my life. Luckily I’m able to record a lot of stuff in our apartment, and in Denmark we are very fortunate to have maternity conditions, so when our girl was sleeping in the stroller I had some time to sit down to either record or arrange some things.

Forest god is what you would call a solo project but on the EP you will be able to hear a lot of fantastic musicians, and to not receive any advice from them in connection with either the songwriting or the arrangement would be just plain stupid.

I love writing pieces where there is space for the other guys to try different things out. As an example you will hear like a one-minute drum solo in the middle of the song “The Long Night” played by the awesome Martin Haumann (Myrkur, Essence and Mother of All).

How long Back to the Forest was in the making?

Too long but I think it has turned out pretty good

Which bands or artists influenced your work on the release?

Here are some great albums that I love and really inspired me writing Back to the Forest:

  1. Aqualung by Jethro Tull
  2. Selling England by the Pound by Genesis
  3. Pale Communion by Opeth
  4. Interstellar by Hans Zimmer
  5. No Balance Palace by Kashmir

What is your view on technology in music?

I love recording, mixing and mastering and even though I’m still a newbie on the field I try to do as much as I can myself, as long as I get the desired result.

Personally, I think that way too much music is overproduced. Technology has done a lot of great things for us, but as a romantic I think there was something great about recording the old fashion way, without all the quantizing and stuff. I use it myself, everybody does, but I try to control myself.

Do you see your music as serving a purpose beyond music?

I don’t know. Most of my students don’t like it! [laughs]

Actually I have some pupils who follows me on YouTube, Spotify etc. They’re kind of interested in the whole creative process and loves to ask questions about being in a band and stuff. But…

I’m just a teacher from Denmark who loves playing music.

One can only hope that someday people will pay more attention to different impressions. That is in my opinion one of the most infuriating things about the whole streaming thing today. A lot of people will never get the full experience.

I have seen kids just shuffling around on Netflix, and after like 30 minutes, they still haven’t decided what movie to watch. Instead they’ve watch like 5-10 different beginnings of different movies.

What are your plans for the future?

Practice, play and record more music and hopefully do a small national tour. That would be a lot of fun.

Besides that I play bass guitar in a “Dark Country”- band called SuperScum and right now we’re recording some new songs and planning some shows for the summer.

For more information about Forest God visit the project’s website.

This news story was originally published here: http://www.prog-sphere.com/interviews/forest-god-interview/
Peter Kiel Jørgensen

Forest God is a progressive rock/metal project by Peter Kiel Jørgensen from Aalborg in Denmark, who recently released a second EP titled ‘Back to the Forest,’ a follow-up to the 2016 debut EP ‘The Boy Who Flew Away.’ In an interview for Prog Sphere, Peter introduces his project, talks about the new EP, inspiration and influences, and more.

Define the mission of Forest God.

The main mission is to make music. It seems as a matter of course. But I mean music where there is time to sit back and close your eyes while listening. Music where “when the music is not playing” is as important as when there is a lot of stuff going on. As a kind of contrast so to speak.

Tell me about the creative process that informed your new EP Back to the Forest and the themes it captures.

I started writing the songs for Back to the Forest very shortly after releasing the first EP The Boy Who Flew Away back in 2016.

For me it is very important to keep all doors open. In the beginning I did not really try to be “prog” or what you would call it. I just started writing some songs and did what I felt suited the song best.

I’ve always played mostly electric guitar and I’ve played a lot of metal through the years but in Forest god my main instrument and the supporting element in the music is the acoustic guitar. To be creative on a different instrument, I mean it’s still a guitar but you know what I mean, is a very fun but challenging way to write music and I can definitely recommend it.

I work as a teacher and a lot of my inspiration comes from the children I meet in connection with my work. Shortly said: The world from a child’s perspective.

What is the message you are trying to give with Back to the Forest

Have patience and remember to sometimes close your eyes and just drift away.

When I was a child I loved to imagine all sorts of stuff, I could run around with a toy and fight huge battles in my mind, I would stay for hours in the forest near our house, build treehouses with my friends and play all sorts of roles from movies, books etc.

FG

Is the dynamic flow of the pieces carefully architected?

The dynamics are very important. If you listen to the whole thing, which isn’t very long, you will definitely be able to feel the culmination. I hope so.

Describe the approach to recording the EP.

It has been a long process. Like I mentioned earlier I started writing the songs shortly after the release of the first EP in the summer 2016. But… Then a wonderful thing happened, I became a dad to a little girl.

That obviously was a huge change in my life. Luckily I’m able to record a lot of stuff in our apartment, and in Denmark we are very fortunate to have maternity conditions, so when our girl was sleeping in the stroller I had some time to sit down to either record or arrange some things.

Forest god is what you would call a solo project but on the EP you will be able to hear a lot of fantastic musicians, and to not receive any advice from them in connection with either the songwriting or the arrangement would be just plain stupid.

I love writing pieces where there is space for the other guys to try different things out. As an example you will hear like a one-minute drum solo in the middle of the song “The Long Night” played by the awesome Martin Haumann (Myrkur, Essence and Mother of All).

How long Back to the Forest was in the making?

Too long but I think it has turned out pretty good

Which bands or artists influenced your work on the release?

Here are some great albums that I love and really inspired me writing Back to the Forest:

  1. Aqualung by Jethro Tull
  2. Selling England by the Pound by Genesis
  3. Pale Communion by Opeth
  4. Interstellar by Hans Zimmer
  5. No Balance Palace by Kashmir

What is your view on technology in music?

I love recording, mixing and mastering and even though I’m still a newbie on the field I try to do as much as I can myself, as long as I get the desired result.

Personally, I think that way too much music is overproduced. Technology has done a lot of great things for us, but as a romantic I think there was something great about recording the old fashion way, without all the quantizing and stuff. I use it myself, everybody does, but I try to control myself.

Do you see your music as serving a purpose beyond music?

I don’t know. Most of my students don’t like it! [laughs]

Actually I have some pupils who follows me on YouTube, Spotify etc. They’re kind of interested in the whole creative process and loves to ask questions about being in a band and stuff. But…

I’m just a teacher from Denmark who loves playing music.

One can only hope that someday people will pay more attention to different impressions. That is in my opinion one of the most infuriating things about the whole streaming thing today. A lot of people will never get the full experience.

I have seen kids just shuffling around on Netflix, and after like 30 minutes, they still haven’t decided what movie to watch. Instead they’ve watch like 5-10 different beginnings of different movies.

What are your plans for the future?

Practice, play and record more music and hopefully do a small national tour. That would be a lot of fun.

Besides that I play bass guitar in a “Dark Country”- band called SuperScum and right now we’re recording some new songs and planning some shows for the summer.

For more information about Forest God visit the project’s website.