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All posts for the month October, 2019

This news story was originally published here: http://theprogressiveaspect.net/blog/2019/10/31/ava-waves/

By way of an introduction, AVA are violinist Anna Phoebe and pianist Aisling Brouwer who collectively released their stunning debut album, Waves, in July of this year. Although written against the farcical Brexit debacle, the music is neither chaotic or directionless, on the contrary, the album follows in a clear and precise path, and the outcome is more than satisfactory. So what Anna and Aisling have created here is not so much a comment on the situation, but a complete antithesis, a tranquil retreat from the madness.

From track one to track ten, the music transports the listener to a place of calm. To this end I deemed the overarching theme of the album to be that of water, or more specifically the sea, whether it be waves, after the album title, or by the numerous tracks that lay substance to this notion – Ocean, Voyager, Deep Blue and Underwater. So the delightful and ethereal Waves sets all in motion with Aisling’s deft piano and Anna’s sweepingly majestic violin depicting rising waves with sea birds floating effortlessly on the wind.

I imagined a similar setting to track two, In Motion, only to have my perceptions dashed by the official video for the track, which sees a young dancer moving gracefully through a series of rural and industrial locations. Ahh, don’t you just love the freedom of imagination afforded by instrumental music? The track itself is mesmerising, living up to its title with a constant driving motion, as it carries you on its journey.

Tranquil, free-spirited, peaceful, hypnotic, serene, haunting, cinematic, these are just a few of the words jotted down whilst compiling notes for this article. I began to sense the resultant track-by-track review being a somewhat tedious and repetitive affair, for it is one of the year’s most engaging albums, so a change of tack and let’s revisit the opening sentence which briefly introduced the AVA duo.

Violinist and composer Anna Phoebe is an in demand musician, covering a multitude of genres – classical, dance, film, solo and, of course, bands. I first came across her as a guest on Jethro Tull’s Acoustic Tour back in 2007 and then again with the full electric band. Anderson’s flute was, as always, exemplary, however it was Anna’s captivating violin and the interaction between Anderson and Phoebe that was truly captivating and a thing to behold.

On the other hand, and prior to this album, ambient classical composer, producer and pianist Aisling Brouwer was an unknown, to me I hasten to add. A classically trained musician who now specialises in music for visuals and has written pieces for film and TV, including the BBC and Channel 4, Aisling’s ambient, cinematic soundscaping is paramount to the album, offering subtle and absorbing textures across each of the tracks. However, it is the chemistry that Anna and Aisling have created collectively that is truly remarkable, at times breathtakingly so, as with the two current favourites pieces, the emotionally charged Ocean and submersive Underwater.

Before concluding, and so as not to paint too ambient a picture, the album does contain a couple of uptempo pieces, located in the middle section of the album, Resistance with its hauntingly familiar keyboard melody and bouncy Into The Deep. Looks like I got to use most of my jotted words after all 😉 .

AVA have also taken their music on the road and still have a number of live UK dates this year. From the evidence of this rather dimly lit footage, from their support slot with Anathema last year, they are more than capable of bringing across the beauty of their music in a live environment.

As always when the review is finished, there’s a natural curiosity to see if other reviewers share your thoughts. I was therefore a little surprised to find virtually no reviews of Waves on the Internet. Alas the vagaries of the music industry and music press! The lack of such reviews however should not deter you from seeking out this rather special album.

TRACK LISTING
01. Waves (4:26)
02. In Motion (4:04)
03. To Be Alone (3:40)
04. Ocean (4:51)
05. Voyager (3:58)
06. Resistance (4:10)
07. Into The Deep (3:27)
08. Deep Blue (6:08)
09. Mudholland (4:21)
10. Underwater (3:21)

Total Time – 42:26

MUSICIANS
Anna Phoebe – Violin
Aisling Brouwer – Piano
~ with:
Nicholas Holland – Cello (track 7)

ADDITIONAL INFO
Record Label: Little Indian Records
Country of Origin: U.K.
Date of Release: 12th July 2019

LINKS
AVA – Website | Facebook | Twitter | Bandcamp
Anna Phoebe – Website | Facebook | Twitter
Aisling Brouwer – Website | Facebook | Twitter

Proving that prog isn't just for dinosaurs!

I’m delighted to announce that the podcast for edition 313 of Live From Progzilla Towers is now available.

In this edition we heard the following music:

  • The Dear Hunter – Gloria
  • Bruce Soord – All This Will Be Yours
  • Tears For Fears – Memories Fade
  • Jordsjo – Til Våren
  • Koburg – We Could Be Angels (Transcendent Mix)
  • The Alan Parsons Project – A Dream Within A Dream
  • The Alan Parsons Project – The Raven
  • Moron Police – Captain Awkward
  • Oceanica – Overcome
  • Chasing The Monsoon – No Ordinary World
  • Big Big Train – Kingmaker (Live)
  • Big Big Train – Wind Distorted Pioneers (Live)
  • Big Big Train – The Transit Of Venus Across The Sun (Live)
  • Sweet Billy Pilgrim – Slingshot Grin
  • The Paradox Twin – Gravity Time Dilation
  • Pink Floyd – One Slip (2019 Remix)
  • Tinyfish – The Big Red Spark (Acoustic)
  • Quill – First Movement
  • Yuval Ron – The Discovery of Phoebe
  • Wish – Deep Wish
  • Bill Bressler – A Little Song (Before We Go)
  • Spock’s Beard – The Distance To The Sun

iTunes/iPod users*: Just search for ‘Progzilla’ or subscribe to: http://www.progzilla.com/media/podcasts/podcast.xml

Enjoy!

I’m doing another of my band family tree explorations on Prog-Watch this week and my subject is the British band IQ! I’ll be spinning a few brand new tunes from the band’s latest double album, Resistance, and exploring their roots and branches in the music of The Lens, Niadem’s Ghost, Jadis, and Martin Orford!

644: Shaking the Family Tree of IQ

 

This news story was originally published here: http://feedproxy.google.com/~r/ProgNewsProgarchives/~3/plpcOVkPFWE/forum_posts.asp

Hello PA,

Happy Halloween! My scary treat for those made of sterner stuff is a free download of my ‘Mondo Profondo’ album. Features on ‘On Those Cloudy Days’ (inspired by ‘I Am Legend’) and one of my gnarliest pieces ‘The Haunter Of the Dark’ (inspired by the story of the same name by H.P. Lovecraft). Also includes collabs with the hauntingly gifted Matt Baber, Kavus Torabi, Phil Mercy, Stu Rowe, Mohadev, Marco Bernard… Snag it now as only around for a short while!

Best wishes,

Richard

This news story was originally published here: http://theprogressiveaspect.net/blog/2019/10/30/alan-daveys-psychedelic-warlords-hall-of-the-mountain-grill-captain-lockheed-the-starfighters-live/

Here’s a really interesting ‘twofer’ from the extended Hawkwind universe. Recorded live in London in 2014, these two live discs take a trip down memory lane with Alan Davey, a member of Hawkwind from 1984 to 1996 and again from 2000 to 2007, as well as being part of the Hawklords for a short period.

In 2013 he formed his Psychedelic Warlords, with frontman Craig High, keyboard player Zoie Green, guitarist Simon Wilkins and former Motorhead drum tech Billy Fleming on drums, these two concerts being recorded the following year to celebrate the 40th Anniversary of Lemmy’s favourite Hawkwind album, the classic Hall of the Mountain Grill (which is, to my mind, alongside Warrior on the Edge of Time, their finest album), and Robert Calvert’s debut album, Captain Lockheed and the Starfighters, which had never been performed live in its entirety, and it’s wonderful to see these released on both limited edition coloured vinyl and CD.

What, I expect your average Hawkwind fan is asking, particularly due to the propensity of numerous ófficial bootlegs’, live albums, and compilations, is “why should I buy this?”, and I understand this completely. As a Hawkwind fan myself I got incredibly frustrated (until the Esoteric Atomhenge reissue programme) with the numerous different reconfigurations of Hawkwind albums (official or otherwise) that flooded the market, it seemed to cheapen the brand and muddy the waters.

There are several reasons to buy this package, one of which is Captain Lockheed in its entirety, a unique event that celebrates Calvert’s unique (and idiosyncratic) vision, and the fact that for Hall of the Mountain Grill Davey eschews the current Hawkwind ‘best of’ set list for something different.

Hall of the Mountain Grill, for so many people, is the pinnacle of the Hawkwind UA era, and it’s wonderful to hear it presented here in its entirety, with some superb performances from Davey and band. From the opener The Psychedelic Warlords (Disappear in Smoke) (from where the group got their name), which is full of power here, to tracks like the immense You’d Better Beleive It, and the absolute classic Lost Johnny, the band, led by Davey, are all over this, they absolutely nail these songs, and whether it’s a testament to the original composers or Davey’s Psychedelic Warlords, they don’t sound like 45-year old songs, they brim with vitality and life and sound as fresh as they’ve ever been.

Encores of the fantastic It’s So Easy and the banger that is Motorhead close the first disc off in style, I imagine that as a Hawkwind fan this was a superb gig to see, and it’s great that this event is now available on CD.

The second gig, which covers the late, great Robert Calvert’s debut album, is my favourite of the two. Having never heard Captain Lockheed and the Star Fighters (it’s on the bucket list, OK!) this live rendition is full of energy and takes the songs and spoken word interludes from Calvert’s satire and brings them to life on stage.

If you didn’t know, Calvert’s original album was a satirical take on the German Air Force’s purchase of the Lockheed F-104 Starfighter, known as ‘the Widowmaker’ (title of one of the tracks on here), quite an obscure comcept, but Calvert was never one for the obvious, and that’s what made him a unique performer.

Tracks like the aforementioned Widowmaker, Ejection, The Song of the Gremlin (Parts 1 & 2) and Catch a Falling Starfighter are performed with real verve and style by the band, and they take Calvert’s songs from the archives, dust them off and rip their way through them with complete respect for the source material, but sound like they’re having a blast playing them as they shine a light into one of the darker corners of the extended Hawkwind family album.

These two albums are an absolute delight from start to finish. Bringing ‘lost’ Hawkwind and associated recordings to life in a contemporary setting is not an easy task to fulfil, and Alan Davey and his Psychedelic Warlords definitely don’t disappear in smoke, instead they embrace the band’s legacy and run with it, creating an exciting, vibrant and vital live collection from it.

Hawkwind fans, trust me on this one, these are two albums well worth adding to your collection.

TRACK LISTING
Hall of the Mountain Grill

01. The Psychedelic Warlords (Disappear in Smoke) (7:53)
02. Wind of Change (5:06)
03. D-Rider (6:51)
04. Web Weaver (4:41)
05. You’d Better Believe It (7:55)
06. Hall of the Mountain Grill (3:39)
07. Lost Johnny (4:31)
08. Paradox (7:42)
09. It’s So Easy (8:37)
10. Motörhead (4:51)

Time – 61:46

Captain Lockheed and the Starfighters
01. Franz Josef Strauss, Defence Minister, Reviews the Luftwaffe in 1958 Finding It Somewhat Lacking in Image Potential (1:16)
02. The Aerospaceage Inferno (4:02)
03. Aircraft Salesmen (A Door in the Foot) (1:42)
04. The Widow Maker (4:19)
05. Two Test Pilots Discuss (0:42)
06. The Right Stuff (5:04)
07. The Song of the Gremlin (Part 1) (5:20)
08. Hero with a Wing (4:28)
09. Ground Control to Pilot (0:50)
10. Ejection (5:00)
11. I Resign (0:39)
12. The Song of the Gremlin (Part 2) (5:38)
13. Bier Garten (0:17)
14. Catch a Falling Starfighter (2:46)

Time – 41:47

Total Time – 103:33

MUSICIANS
Alan Davey – Bass, Vocals
Craig High – Vocals
Zoie Green – Keyboards
Simon Wilkins – Guitars
Billy Fleming – Drums

ADDITIONAL INFO
Record Label: Purple Pyramid
Country of Origin: U.K.
Date of Release: 16th July 2019

LINKS
Alan Davey – Facebook | Bandcamp

This news story was originally published here: https://www.prog-sphere.com/interviews/terriculum-avium-interview/

Terriculum Avium is a Spanish instrumental prog rock/metal band active since 2018. The group released their debut EP entitled ‘NEST I‘ in May this year, and they were recently featured on our Progotronics compilation. Below is an interview with the band following that event.

Define the mission of Terriculum Avium.

Our main goals as a band are reflecting the music we like and which we enjoy, giving it our own personality and style, spreading progressive metal and contributing to this genre with a new vision based on our compositions and effort, especially in cultures where it is undervalued.

Tell me about the creative process that informed your recent release “Nest I.”

There was a great effort and enthusiasm in this project, starting to track NEST I since the very beginning in our rehearsal room, with our own recording equipment. We worked really hard on the songs in order to be well prepared for the recording sessions, and that allowed us to have them finished in three months, ready to be mixed.

The tracks of NEST I were already composed, since the three members of Terriculum Avium were part of the previous band Tuverías Smith. The problem was that the drummer did not work on the songs, therefore, by separating ourselves and creating the new formation, we composed the drums of these compositions, giving them another more appropriate approach to our musical orientation.

Although it’s instrumental, is there a certain message you are trying to give with “Nest I”? 

We want to let people know with our work, that there are different styles out there. We would like the public to investigate other types of music for their own interest, without being conditioned by social and media trends. More than a message to the world, it is a message to ourselves: we can make the music we love, and it can be done really well.

If we have to translate them into a written message, we would say that we find inspiration in the cosmic and universal harmony that surrounds us, although camouflaged with consumerism and extensive and improper globalization, as well as in some war conflicts and serious attack on human rights.

How did you document the music while it was being formulated?

During the composition process different ideas arise for each instrument and then those ideas are registered in their respective track in Guitar Pro, and that is when we can begin to practice the songs, focusing on our instrument and having as a reference the rest of the instruments, rhythms and melodies.

Is the dynamic flow of the pieces carefully architected?

Of course it is. Each part of the song is perfectly designed to cause different emotions in the listener, as if they were parts of a story, with the intention of applying a dynamism and change that identifies us, giving us our own personality.

Gods ’Orchestra is the most direct song and the one that defines our style the best. With Digital Generation, the dynamics initiated by the previous track continue aggressively, with an expressive final part revolving around guitar leads that cause a certain tension that will be resolved with the initial calm of Volumetric Theory, after which it returns to the exchange of protagonism between the instruments and culminating with an intertwining of guitar leads and backed by a very marked rhythmic accompaniment of the bass and drums. The E.P. ends with Maruta I, formerly a vocal track, in which (due to our curiosity and interest in history and war issues) we spoke about some of the horrors that were carried out by the Japanese in WW2. When we became an instrumental band, we removed the lyrics, but kept the title and as it was a long song, we split it into two parts, so that our future work NEST II will begin with Maruta II, giving the whole work a feeling of continuity and connection.

Describe the approach to recording the EP.

When we formed the band in November 2018, we were certain that we wanted to record in the short term. During November and December, we planned the election of the tracks of the E.P, since we think this format is more accessible to the public. We also made decisions regarding the composition of drums and metronomes, time signature changes, and the search of a mixing and mastering engineer (Carlos Arcay).

How long “Nest I” was in the making?

The recording of the guitars and bass of NEST I, took about three months of pleasant work in our rehearsal place with our own equipment, only on weekends due to our occupations, beginning on December 31, 2018 and ending in March 2019, also recording NEST II, coming soon. Once finished, the entire project was sent for mixing to Carlos Arcay’s studio with the drum MIDI files. It was in May when we began the distribution of the EP, both in physical and digital format.

Which bands or artists influenced your work on the release?

Dream Theater, Mattias IA Eklundh, Haken, Allegaeon, Andromeda, Freak Kitchen, Special Providence, Scale The Summit, Circus Maximus, Panzerballet, Pomegranate Tiger, Adagio, Animations, Leprous, Oni, Pink Floyd, Led Zeppelin, Judas Priest, Megadeth, Kreator, Kiss, Pantera, Annihilator.

What is your view on technology in music?

We are a clear example that technology in the musical world advances, and really fast. Proof of this is that we have been able to record all our songs successfully, composing and programming the drums, as we couldn’t count on an actual drummer. All of this allowed us to have a lot of independence and to take our own time without having to overcome additional obstacles to achieve our goal.

On the other hand, social media and the Internet give a lot of independence and freedom to record and disseminate music, which leads us to a high competition between bands, an excessive musical offer for a not so widespread demand, passing many of these bands unnoticed.

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

We see our music as a new alternative that the public can access instead of relying solely on the styles of music imposed by television, radio and current media. It is a new alternative to an open and interested public in new styles and bands, which does not conform to the trends and sensationalisms imposed by the means of our time.

What are your plans for the future?

Continue working hard on new compositions, practicing and having a great time, and soon publishing our second work “NEST II”, continuation of the work at hand, and which publication and broadcasting are imminent.

Follow Terriculum Avium on Facebook.

The post TERRICULUM AVIUM: New Vision appeared first on Prog Sphere.

This news story was originally published here: http://www.prog-sphere.com/interviews/terriculum-avium-interview/

Terriculum Avium is a Spanish instrumental prog rock/metal band active since 2018. The group released their debut EP entitled ‘NEST I‘ in May this year, and they were recently featured on our Progotronics compilation. Below is an interview with the band following that event.

Define the mission of Terriculum Avium.

Our main goals as a band are reflecting the music we like and which we enjoy, giving it our own personality and style, spreading progressive metal and contributing to this genre with a new vision based on our compositions and effort, especially in cultures where it is undervalued.

Tell me about the creative process that informed your recent release “Nest I.”

There was a great effort and enthusiasm in this project, starting to track NEST I since the very beginning in our rehearsal room, with our own recording equipment. We worked really hard on the songs in order to be well prepared for the recording sessions, and that allowed us to have them finished in three months, ready to be mixed.

The tracks of NEST I were already composed, since the three members of Terriculum Avium were part of the previous band Tuverías Smith. The problem was that the drummer did not work on the songs, therefore, by separating ourselves and creating the new formation, we composed the drums of these compositions, giving them another more appropriate approach to our musical orientation.

Although it’s instrumental, is there a certain message you are trying to give with “Nest I”? 

We want to let people know with our work, that there are different styles out there. We would like the public to investigate other types of music for their own interest, without being conditioned by social and media trends. More than a message to the world, it is a message to ourselves: we can make the music we love, and it can be done really well.

If we have to translate them into a written message, we would say that we find inspiration in the cosmic and universal harmony that surrounds us, although camouflaged with consumerism and extensive and improper globalization, as well as in some war conflicts and serious attack on human rights.

How did you document the music while it was being formulated?

During the composition process different ideas arise for each instrument and then those ideas are registered in their respective track in Guitar Pro, and that is when we can begin to practice the songs, focusing on our instrument and having as a reference the rest of the instruments, rhythms and melodies.

Is the dynamic flow of the pieces carefully architected?

Of course it is. Each part of the song is perfectly designed to cause different emotions in the listener, as if they were parts of a story, with the intention of applying a dynamism and change that identifies us, giving us our own personality.

Gods ’Orchestra is the most direct song and the one that defines our style the best. With Digital Generation, the dynamics initiated by the previous track continue aggressively, with an expressive final part revolving around guitar leads that cause a certain tension that will be resolved with the initial calm of Volumetric Theory, after which it returns to the exchange of protagonism between the instruments and culminating with an intertwining of guitar leads and backed by a very marked rhythmic accompaniment of the bass and drums. The E.P. ends with Maruta I, formerly a vocal track, in which (due to our curiosity and interest in history and war issues) we spoke about some of the horrors that were carried out by the Japanese in WW2. When we became an instrumental band, we removed the lyrics, but kept the title and as it was a long song, we split it into two parts, so that our future work NEST II will begin with Maruta II, giving the whole work a feeling of continuity and connection.

Describe the approach to recording the EP.

When we formed the band in November 2018, we were certain that we wanted to record in the short term. During November and December, we planned the election of the tracks of the E.P, since we think this format is more accessible to the public. We also made decisions regarding the composition of drums and metronomes, time signature changes, and the search of a mixing and mastering engineer (Carlos Arcay).

How long “Nest I” was in the making?

The recording of the guitars and bass of NEST I, took about three months of pleasant work in our rehearsal place with our own equipment, only on weekends due to our occupations, beginning on December 31, 2018 and ending in March 2019, also recording NEST II, coming soon. Once finished, the entire project was sent for mixing to Carlos Arcay’s studio with the drum MIDI files. It was in May when we began the distribution of the EP, both in physical and digital format.

Which bands or artists influenced your work on the release?

Dream Theater, Mattias IA Eklundh, Haken, Allegaeon, Andromeda, Freak Kitchen, Special Providence, Scale The Summit, Circus Maximus, Panzerballet, Pomegranate Tiger, Adagio, Animations, Leprous, Oni, Pink Floyd, Led Zeppelin, Judas Priest, Megadeth, Kreator, Kiss, Pantera, Annihilator.

What is your view on technology in music?

We are a clear example that technology in the musical world advances, and really fast. Proof of this is that we have been able to record all our songs successfully, composing and programming the drums, as we couldn’t count on an actual drummer. All of this allowed us to have a lot of independence and to take our own time without having to overcome additional obstacles to achieve our goal.

On the other hand, social media and the Internet give a lot of independence and freedom to record and disseminate music, which leads us to a high competition between bands, an excessive musical offer for a not so widespread demand, passing many of these bands unnoticed.

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

We see our music as a new alternative that the public can access instead of relying solely on the styles of music imposed by television, radio and current media. It is a new alternative to an open and interested public in new styles and bands, which does not conform to the trends and sensationalisms imposed by the means of our time.

What are your plans for the future?

Continue working hard on new compositions, practicing and having a great time, and soon publishing our second work “NEST II”, continuation of the work at hand, and which publication and broadcasting are imminent.

Follow Terriculum Avium on Facebook.

The post TERRICULUM AVIUM: New Vision appeared first on Prog Sphere.

This news story was originally published here: http://theprogressiveaspect.net/blog/2019/10/29/organic-noises-organic-noises/

Discovering new music is one of life’s great joys, and in my opinion, particularly when you hear something as interesting as Organic Noises. The group has been formed in Poland by young musicians, students and graduates of various jazz and classical music academies. Between them, they have won many notable achievements and awards, too many to name here, but a full list is available on their website.

Their music is a creative combination of eastern European and Armenian traditional themes, blended with jazz, fusion, rock and progressive ideas. A clash, if you will, of ethnic music, progressive rock and jazz improvisation, a heady mix that draws you into this wonderful musical world, all played with great skill and precision.

The album clocks in at forty-nine minutes, containing eight tracks, from the intro and outro at just over a minute each, to the longest at nine and a half minutes. The length of the tracks works well, giving them the room to expand and explore their unique musical palette.

The range of instruments is very interesting, from the usual guitar, bass, drums and keyboards through to an array of traditional instruments, including duduk, zurna, shvi and a didgeridoo, most of which I was not aware of and had to take to the Internet to find out more. The duduk, for example, is an ancient Armenian double-reed instrument, which in the modern era is made from apricot tree wood. These instruments add to the texture and overall sound and feel of the songs in a very positive way, increasing the interest and enjoyment levels.

The album begins with Intro, one of the two shorter tracks, setting the mood and tone with a gentle opening and moving straight into Yarkhustra. Here they up the tempo, but then it settles into a great wholesome catchy groove, again demonstrating what this band does so well throughout the album. The mix of rock, jazzy influences and the traditional sounds is seamless and thoroughly engaging.

Erghen Diado showcases this mix of influences well, a gentle start from piano, shortly afterwards the pace gets a little heavier, a driving bass with lighter drum accompaniment pushes the song along, the piano then morphing into a wonderful jazzy solo. Die Yarmen has a very atmospheric opening using the traditional instruments, this song contains some beautiful vocals full of emotion and feeling.

The longest track, Pozic Mamo Roz, is a mini-epic of everything this band do well, a much more up-front approach with a pounding rhythm section which easily shifts into more delicate touches to accompany the other instruments. There is some great violin here over the rhythm section, the piano taking over briefly before a traditional instrument takes over accompanied by didgeridoo. To take the song to its conclusion the violin makes a revival along with some interesting vocals to provide a varied and engaging track.

This is a thoroughly enjoyable album, full of ideas, played with great skill, truly a band that is enjoying creating their music, and this translates into what they have presented here. A release that I have engaged with and have played numerous times, for this review but also for the pure enjoyment of it.

TRACK LISTING
01. Intro (1:46)
02. Yarkhustra (7:39)
03. Hoondz (8:04)
04. Pozic Mamo Roz (9:30)
05. Erghen Diado (6:02)
06. Die Yarman (6:34)
07. Lorik (8:22)
08. Outro (1:20)

Total Time – 49:20

MUSICIANS
Zofia Trystuła-Hovhannisyan – Duduk, Oboe, Zurna, Shvi, Vocals
Joanna Chudyba – Violin, Electric Violin
Karolina Wiercioch – Keyboards
Robert Wiercioch – Guitar, Saz
Marcin Chatys – Bass, Double Bass, Moog
Jan Rusin – Drums, Percussion
~ With:
Susanna Jara – Vocal (track 4)
Roksanna Sadowska – Vocal (track 5)
Iwona Karez – Vocal (track 5)
Pawel Chlastawa – Didgeridoo (track 4)

ADDITIONAL INFO
Record Label: Lynx Music
Country of Origin: Poland
Date of Release: 28th July 2019

LINKS
Organic Noises – Website | Facebook | Soundcloud | Bandcamp

THE PROGRESSIVE TRACKS SHOW #336 
(The Best of Prog – 2018 Redux)

NOTE:  Life events have prevented me from airing a show this week.  But fear not… you can relive the best of 2018 with this music that’s worth listening to a second time.  I’ll be back with a new show next week… I promise!

—————————————————————————–

This is it!

The culmination of a great year in Progressive Rock: The Progressive Tracks Show Best of Prog for 2018.

Congratulations to all the artists for making such exceptional music for us ProgHeads.

We will Prog On hard this week!

Remember, you can access podcasts of any previous Progressive Tracks Show at: http://www.progzilla.com/?s=progressive+tracks (there are 132 now!).

PLAYLIST:

  • Far Corner – “Myopia” from Risk on Cuneiform Records
  • The Hypersonic Factor – “Speed Demon” from Inventions of Diffusion on Independent
  • Koenjihyakkei – “Palbeth Tissilaq” from Dhorimvishka on Skin Graft Records
  • Amgala Temple – “Fleet Ballistic Missile Submarine” from Invisible Airships on Pekula Records
  • Spiralmaze – “Holey” from Dunes of Dorlmeus on Independent
  • Ángel Ontalva & Vespero – “Giant Lobster Between the Orkneys and the Hebrides” from Carta Marina on VMS
  • Adam Holzman – “Are You High?” from Truth Decay on Big Fun Productions
  • El Tubo Elastico – “Impala” from Impala on Independent
  • SONAR with David Torn – “Red Shift” from Vortex on Rarenoise Records
  • All Traps On Earth – “All Traps On Earth” from A Drop Of Light on Independent

If you have comments or suggestions for show topics/ music (always welcome), feel free to contact me any time via email:  ProgTracks@KPTZ.org

But first… enjoy the show!

Mike “ProgTracks” Pollack

P.S.  You can skip looking for these posts each week by subscribing to the podcast below!

This news story was originally published here: http://feedproxy.google.com/~r/ProgNewsProgarchives/~3/1RKiDCswc1s/forum_posts.asp

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kirklott View Drop Down

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  Quote kirklottQuote  Post ReplyReply Direct Link To This Post Topic: Yes Released a New Album on Oct 25!
    Posted: 5 hours 12 minutes ago at 14:01

Yes unexpectedly released a new album/mini-box set on October 25, featuring about 26 minutes of unreleased studio music: https://burningshed.com/store/yes

The response to the single (which is a shorter edit of one album track) is generally enthusiastic https://www.youtube.com/watch?v=1SGliMLJ3eI

It features previously unreleased recordings with Chris Squire. The 4 studio tracks (including a 10-minute mini epic co-written by Squire/O. Wakeman) were recorded in 2010 by David/Howe/Squire/White/O Wakeman line up, before Trevor Horn took over the project, and it became the 2011 Yes album, “Fly From Here.”

The release also includes the complete “In the Present: Live from Lyon” album, which is currently only available as part of this mini box set.

The music is available *only* on CD and LP, and *only* from the Yes store on Burning Shed. Please vote for new music from Yes and ARW, by buying this new release.

Edited by kirklott – 4 hours 58 minutes ago at 14:15

“Progressive rock is the key to the continuance of human evolution.” – Charles Darwin

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  Quote AFlowerKingCrimsonQuote  Post ReplyReply Direct Link To This Post Posted: 5 hours 8 minutes ago at 14:05

Hey, it’s not April first. Smile

Nothing he’s got he really needs……Twenty first century schizoid man.

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  Quote SouthSideoftheSkyQuote  Post ReplyReply Direct Link To This Post Posted: 5 hours 8 minutes ago at 14:05

The song From the Turn of a Card was included on the Oliver Wakeman & Gordon Giltrap album Ravens & Lullabyes. Anyone know if it is the same recording?

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Back to Top kirklott View Drop Down

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  Quote kirklottQuote  Post ReplyReply Direct Link To This Post Posted: 5 hours 6 minutes ago at 14:07

It’s not April 1st. And Yes released a new album. Seriously.

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  Quote kirklottQuote  Post ReplyReply Direct Link To This Post Posted: 5 hours 5 minutes ago at 14:08

https://www.blabbermouth.net/news/yes-reveals-four-previously-unreleased-2010-recordings-on-the-new-from-a-page-mini-box-set/

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  Quote kirklottQuote  Post ReplyReply Direct Link To This Post Posted: 5 hours 4 minutes ago at 14:09

Originally posted by SouthSideoftheSkySouthSideoftheSky wrote:

The song From the Turn of a Card was included on the Oliver Wakeman & Gordon Giltrap album Ravens & Lullabyes. Anyone know if it is the same recording?

It’s the same song, but different recording. This version features David/Howe/Squire/O. Wakeman/White line up of Yes.

“Progressive rock is the key to the continuance of human evolution.” – Charles Darwin

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  Quote kirklottQuote  Post ReplyReply Direct Link To This Post Posted: 5 hours 3 minutes ago at 14:10

Originally posted by AFlowerKingCrimsonAFlowerKingCrimson wrote:

Hey, it’s not April first. Smile

https://www.blabbermouth.net/news/yes-reveals-four-previously-unreleased-2010-recordings-on-the-new-from-a-page-mini-box-set/

“Progressive rock is the key to the continuance of human evolution.” – Charles Darwin

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  Quote AFlowerKingCrimsonQuote  Post ReplyReply Direct Link To This Post Posted: 4 hours 59 minutes ago at 14:14

Interesting that “aliens” isn’t one of them. I guess they never recorded that one in the studio.

Nothing he’s got he really needs……Twenty first century schizoid man.

Back to Top kirklott View Drop Down

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  Quote kirklottQuote  Post ReplyReply Direct Link To This Post Posted: 4 hours 56 minutes ago at 14:17

Originally posted by AFlowerKingCrimsonAFlowerKingCrimson wrote:

Interesting that “aliens” isn’t one of them. I guess they never recorded that one in the studio.

Thank God! “Aliens” was not the best Yes moment!

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  Quote AFlowerKingCrimsonQuote  Post ReplyReply Direct Link To This Post Posted: 4 hours 51 minutes ago at 14:22

Originally posted by kirklottkirklott wrote:

Originally posted by AFlowerKingCrimsonAFlowerKingCrimson wrote:

Interesting that “aliens” isn’t one of them. I guess they never recorded that one in the studio.

Thank God! “Aliens” was not the best Yes moment!

Apparently it turned up on the Squackett album anyway(possibly where it belongs).  I know it from hearing live recordings. While I wasn’t a big fan of it either at least it was new music at the time.

Nothing he’s got he really needs……Twenty first century schizoid man.

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  Quote ManuelQuote  Post ReplyReply Direct Link To This Post Posted: 3 hours 18 minutes ago at 15:55

I notice the advertisement for it and I’m curious. Hopefully is worth adding it to my collection.

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  Quote twostevesQuote  Post ReplyReply Direct Link To This Post Posted: 29 minutes ago at 18:44

They don’t release it in the USA which sucks—I heard the single and it is very good—especially Benoit vocals—he was so good–its a shame he quit as the new singer is annoying as hell—Benoit did a great job on Fly from here and on the newly released music. Think this was the last decent Yes line-up—which is a lot to say when Jon Anderson isn’t in the band.

Edited by twosteves – 23 minutes ago at 18:50

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  Quote twostevesQuote  Post ReplyReply Direct Link To This Post Posted: 21 minutes ago at 18:52

has any American ordered from this company in England –and how long did it take to get the music?

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