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David Gilmour announce the release of Live at Pompeii, through Sony Music, on 26th September 2017 and will be available on 2-CD, Blu-ray, 2-DVD, 4-LP, deluxe Blu-ray box and download.

“The Blu-ray and DVDs include highlights from the concert performances of both shows, filmed in 4k by director Gavin Elder. The audio, available on CD and LP, was mixed by Andy Jackson and David Gilmour, assisted by Damon Iddins. The formats run to around 148 minutes each, with more than 2 additional hours of material included in the deluxe 4-disc Blu-ray / CD set.

The Pompeii concerts marked a return by David to the venue 45 years after Pink Floyd filmed in the legendary Roman Amphitheatre there, his two spectacular shows forming part of the year-long tour in support of the No.1 album Rattle That Lock. David’s performances were the first-ever rock concerts for an audience in the stone Roman amphitheatre, and, for two nights only, the 2,600-strong crowd stood exactly where gladiators would have fought in the first century AD.

The stellar performances are complemented by an audio-visual spectacle, featuring lasers, pyrotechnics and a trademark huge circular screen, but paramount is the music; the show includes songs from throughout David’s career, solo and with Pink Floyd, including One Of These Days, the only song that was also performed by the band there in 1971, and six songs from Rattle That Lock, as well as two from 2006’s On An Island.

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The release of Live At Pompeii will be preceded by a worldwide cinema screening… details can be found HERE


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The Tangent, the progressive rock group led by Andy Tillison, have released their new ninth studio album ‘The Slow Rust of Forgotten Machinery’ today! To celebrate, watch Andy discuss the making of the album in this new interview:

The album is available on limited digipak CD, gatefold 2LP + CD, and digital download here:

Andy comments: “This is our furthest reaching, most ambitious and genuinely heartfelt album since we began our career together. It is the result of our experiences, friendships, disasters and successes over 15 years. We believe in not just OUR music, but the ability of Progressive Rock to be a real life movement in today’s world. This album is our attempt to prove this philosophy true.”

The album has been receiving some fantastic reactions from press, you can find a few of them below:
“Eloquent, far-reaching prog” – Prog Magazine
“sophisticated and spot on” – Classic Rock
“This is essential listening” – Powerplay
“simply masterful…The Tangent are indeed back.” – The Prog Report
“one of the most unique-sounding and technically-impressive groups ever to come out of the British Isles” – Get Ready To Rock

Listen to an excerpt of the track ‘Slow Rust’ here:
Listen to the track ‘Two Rope Swings’ here:

The line-up for this album once again features Tillison on keyboards, vocals (and for the first time on a Tangent record – drums), Jonas Reingold on bass, Luke Machin on guitars and vocals, and Theo Travis on sax and flutes plus new member Marie-Eve de Gaultier on keys and vocals. There are also guest appearances from author/playwright and Chumbawamba founder Boff Whalley on vocals, and upcoming DJ/producer Matt Farrow.

The album sees The Tangent in political commentary mode once again – this time often focussing on the horrendous plight of refugees from war torn parts of the world – and the way in which they are treated by the West, and in particular by the tabloid press. The album laments the new trend in building walls and defending borders across the world yet takes time to look at the breakup of friendships and other more personal issues – along with a song about the fate of wildlife in the modern consumer world.

And it’s a Progressive Rock Record. Full of intricacies, long developed pieces, challenging arrangements and virtuoso playing from all members. New sounds and styles (the band have brought a DJ on board for some sections) – new voices and techniques (first female vocals in The Tangent since the “Not As Good As The Book” album 10 years ago). A new producer in the form of Luke Machin whose open and deep/clear sound is a major factor of this album, a new drummer in the form of Andy Tillison who decided at long last (after drumming for 30 years) to let his own performances guide the rest of the band rather than adding another musician later. And after 13 years of asking, Jonas finally agreed to play some double bass in a song where Luke also plays some Scat guitar and Andy does a full on drum solo.

“The Slow Rust Of Forgotten Machinery” also features stellar artwork from Marvel / DC Comics artist Mark Buckingham. The sleeve of the album is totally based on the music it contains and was especially created for this project.

1. Two Rope Swings
2. Doctor Livingstone (I Presume)
3. Slow Rust
4. The Sad Story of Lead and Astatine
5. A Few Steps Down the Wrong Road
6. Basildonxit

The band will head out on tour in support of the new record, once again joining forces with Sweden’s Karmakanic to present albums by both bands. The full list of dates is as follows:
Aug 26th 2017 – Bierkeller, Reichenbach, Germany
Sept 1st 2017 – 2 days of Prog +1 Festival, Veruno, Italy
Sept 9th 2017 – The Boerderij, Zoetermeer, Netherlands
Oct 8th 2017 – SUMMERS END Festival, Chepstow, UK
Oct 21st 2017 – Progtoberfest, Chicago, USA
Oct 22nd 2017 – Shank Hall, Milwaukee WI, USA
Oct 24th 2017 – Token Lounge, Westland MI, USA
Oct 26th 2017 – Roxy & Dukes, Dunellen NJ, USA
Oct 27th 2017 – The Regent Theatre, Arlington MA, USA

The Tangent online:


Visit the new Insideout Shop:

If you missed this week’s Prog-Watch you can still listen at! Just follow this link:

There’s been no shortage of great music released so far this year. So to keep you on top of all the great sounds out there, this week I am doing a 100% ALL NEW variety show! Every song will come from an album released in 2017. We’ll hear from Sky Architect, Big Big Train, Cosmograf, The Winter Tree, Steven Wilson, Anathema, The Samurai of Prog, Nad Sylvan, and Drifting Sun. Dr. Rob Fisher will also take us on another voyage of progressive discovery, with the latest album by Steve Hackett.

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The Fleece, Bristol
Wednesday 19th July 2017

Some gigs should never happen.

The obvious question here is – and with no disrespect at all to the venue – what on Earth is STANLEY CLARKE doing playing somewhere like The Fleece?! For four very rare U.K. shows outside London, an event that in all likelihood hasn’t happened since the ’70s, Clarke and his band of wonderful young musicians are playing in venues with capacities of a few hundred. That is just wrong!

Could it be that the smaller venues are an indication that the man, now 66 years old, is past his prime and playing wherever he can for change? Not a bit of it, from start to finish this was a blazing display, not only of raw talent and intuitive technique, but of musical understanding, it becoming obvious early on that this was to be a band performance, not simply a star with some side men. All of the players got their time in the spotlight, actively encouraged by Clarke who supported them strongly and was clearly getting a kick out of what they were doing.

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The word ‘legend’ is oft used, but couldn’t be more appropriate for a man of Stanley Clarke’s reputation. Innovative and hugely influential, his playing has been used as a yardstick for the bass guitar for more than 40 years now. I’ve had the good fortune off seeing some stunning bassists over the years but Clarke was a revelation, putting in a jaw-dropping turn with effortless ease. From slapping, strumming, harmonics and rhythmic percussive outbursts on the electric, he followed through to beautifully ornate and sophisticated jazz, his soloing always of the most melodic tone. It really didn’t matter what he played, and most of it was probably unknown to all but the fiercest SC die-hard, but there was a mighty cheer when the ubiquitous School Days made its expected appearance, a thrilling display of chops and tune that could never fail to get the people moving.

Stanley Clarke

The added improv skills of the ridiculously talented trio of additional players brought energy and inspiration off which Clarke fed. He has a history of developing young talent but in pianist Ruslan Sirota, keyboard player Caleb McCampbell and drummer Mike Mitchell he has one fiery group of musicians at his disposal. To put it in context, unbelievable as it may sound, the band were so good that I often forgot that Mr Clarke was also on the stage! Ruslan’s exquisite technique and dexterity were highlighted early on, his melodic flights taking the music to new and unexpected places. The two keyboardist set up is an unusual choice but it works a treat, McCampbell adding more sweeping synth lines whilst also soloing to magnificent effect. For brief passages he deployed a Vocoder-like piece of equipment to add treated vocals to the mix, including a snatch from Paul McCartney’s Yesterday at one point.

Drummer Mitchell is a full-on force of nature who deserved his time to shine, playing with time signatures and massaging tempos whilst smashing his kit to matchwood one minute, adding the most deft and delicate touches the next and grinning like a man possessed throughout the whole near two hour set. Some commented afterwards that three drum solos was a bit much, and that may be true, but with almost psychic talents of this magnitude, when Mike goes off on one Clarke is shrewd and professional enough to let him get on with it.

All of the performances brought incredulous shakes of the head from the audience, people turning to each other in disbelief as the band eloquently showed why the best jazz musicians are the best musicians there are. After humorously introducing himself as Louis Armstrong, on Clarke’s part the set was split in two, the first focusing on the electric bass whilst the second resulted in some mesmerising double bass work, Stanley showing his equally magnificent technique on the upright, belying the unruly nature of the massive instrument and making it sing and dance, bright harmonics skittering off in all directions, sometimes coupled with Clark beating out rhythms on the shell. Sounds appeared that I’d never thought could come out of an acoustic bass and his playing was frequently outrageous and audacious, a majestic and enthralling performance throughout. Legend? You betcha, and on numerous moments tonight, Stanley Clark was the coolest dude alive.

Stanley Clarke

Having overrun the curfew, the band returned for a brief and funky encore, Clarke returning to his electric. I was hoping for more of this towards the end of the show but that was not to be and it is clear that the double bass is where Clarke’s heart lies these days, so it was nice to see it getting so much attention, despite my drooling anticipation of more slapping fireworks.

A complete honour to witness such a masterful display, a masterclass of technique, control and unadulterated enthusiasm for what they do, not a dry and empty experience built on technique alone but a complete performance to be savoured and enjoyed. Whoever decided that this was a show for The Fleece should be applauded as to see skills of this magnitude in such a compact environment was a thrill not to be missed, despite the comfort and sighting issues associated with standing venues.

Stanley Clarke

If you missed this, there’s still a couple of chances to catch this magical band in intimate surroundings in Glasgow and Leeds on 24th and 25th July. If you’re able, you know what to do.

And that was that. Having driven home I sat quietly, looking at my own trusty bass guitar, thinking of the hideous sounds I manage to wrench from it and dreaming what it might be like to play like Stanley Clarke. Realising the inevitable I took a hammer to it. And then cut my fingers off and fed them to the cat.

[With thanks to Mel Allen for the photos and video.]

Other than School Days, no idea!

Stanley Clarke – Electric Bass, Double Bass
Ruslan Sirota – Piano, Keyboards
Caleb McCampbell – Keyboards, Vocals
Mike Mitchell – Drums

Stanley Clarke – Website | Facebook


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Roger Waters releases a video for Wait for Her, a track taken his new album Is This the Life We Really Want?.

“The video features Waters and his band performing the song in the studio juxtaposed with emotional footage of a scarred flamenco dancer preparing for a performance as painful memories anguish her. Azzura, who previously appeared in Waters’ harrowing “The Last Refugee” video, plays the dancer.”

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“We met Azzura, the actress/dancer, while doing a casting for the part in ‘The Last Refugee,’” Waters’ Film and Creative Director Sean Evans tells Rolling Stone.

“That part called for a woman who was an experienced flamenco dancer and who could convincingly have a mother/daughter interaction with a child actress. Azzura was perfect: she’s a trained dancer and when not dancing, she works with kids. She did such a fantastic job during the filming of ‘The Last Refugee,’ that Roger and I wanted to include her in ‘Wait for Her.’ The song has a yearning that we felt a band performance alone wouldn’t quite address.”

The lyrics to “Wait for Her” were inspired by the late Palestinian poet Mahmoud Darwish’s “Lesson From the Kama Sutra (Wait for Her),” which also informed the video. “When Roger wrote this song, his adaptation of the poem took on a sensual yet melancholy tone, and the video needed to represent that,” Evans said. “It needed to show femininity and sexuality but also needed to have an air of loss and pain, and longing for a time that was.”

As for the dancer’s scar in the video, Evans said, “That mark was important to the video – it is a symbol of the physical torment refugees endure.” The scar, like the lyrics on Is This the Life We Really Want?, is symbolic of the tragic death of three-year-old Syrian boy Alan Kurdi, a refugee whose body washed up on a Turkey shore in September 2015, as well as the work of German photographer Kai Wiedenhöfer.

“It is sort of a continuation and also sort of a prelude,” Evans said of “The Last Refugee” and “Wait for Her.” “They are companion pieces, but are not meant to live in linear time with each other. Both were intentionally created that way and are meant to be open to interpretation.” Evans added that he and Waters have ideas for further chapters in the story.

SOURCE: Rolling Stone


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You know that thing where Henry Cow gatecrash a Randy Newman song? No? Well it happens on the opening track to Putting Off Death, the 18th(!) album from redoubtable Chicagoan avant rockers CHEER-ACCIDENT, and their third for Cuneiform Records. They are a band who have skirted the edge of my musical minefield for a long time, but I’d never really taken any notice until now, and boy, what was I thinking? I should have invited them in for a cup of tax-free tea many turns of the moon ago.

That opening track is entitled Language Is and through the eleven and a half minutes of its length we are treated to ruminative piano ballad, spiky avant rock, massed horns, all underpinned by an unobvious time signature jostled about twixt piano and drum. The thing breaks down in a white boy funk strop that will invert your kneecaps and have you punching out the walls in angsty frustration, after being told “Don’t. Don’t wait up. Don’t waste your time.” Marvellous!

Yes, my coracle is made as buoyant as a pea in a pan of boiling water by this joyously adventurous album, that melds together disparate styles and takes chances, simply because it can. When the core of a band has been together for almost 30 years, as have Thymme Jones and Jeff Libersher, what comes out the other end of a recording console should be exactly what the creators wanted to do, regardless of fashion or commercial considerations. That is most definitely the case here, and as a result the somewhat dourly titled Putting Off Death is a musically fun ride, and this dozy phantom is certainly enjoying his time on the ghost train provoking the ghouls and timorous beasties that leap out of the speakers at the thoroughly entertained listener. The man with the scythe ain’t coming for us yet, “there’s still something to prove”, as Jones says in the PR blurb.

Comparisons are odious, but admittedly useful, and here you will find references to all the classic pop and avant rock bands aplenty. I won’t bother listing who I consider CHEER-ACCIDENT bear sonic familiarities to, as you can find that out for yourself by listening to the music writhing away under the various links in this missive. Suffice to say that a band that has been ploughing its own furrow for as long as this would have to be pretty unimaginative not to have developed their own sound, and CHEER-ACCIDENT do not disappoint in that respect.

Having come through adversity in their 30-year trip, not least the sudden death of guitarist Phil Bonnet from a brain aneurysm in 1999, the core duo arrive in the here and now a strong unit that has the intention of hanging around as long as it is feasible. “It’s a till I die kind of thing” said Libersher back in 1999 as a statement of future intent after tragedy. Here they are aided by an expanded cast who provide crafty and skilful backing to their wonky but perfect constructs.

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The lyrics dance with semantics and metaphor in interesting combinations, and four of the songs were co-written with Scott Rutledge, who has been the group’s chief lyricist for over 25 years now. One of those songs is Immanence which contains the album title in its alluring prose, beckoning us outside to explore new frontiers, leaving decay behind. Jauntily bouncy and optimistic in the face of “rust and erosion”, and sung by Carmen Armillas in a defiantly matter-of-fact fashion, the abstractions of “A catalog of sounds, a prosphetic leg” and other offhand observations juxtapose neatly with the direct hit of the music.

Some of the most eerily psychedelic music appears on the following song Wishful Breathing, which has a Wyatt-esque surreality to it. This ticks more than a few of my irregularly shaped boxes, I can tell you.

The various reeds and brass instruments come together in the wonderfully musically melancholic Hymn, which closes the album. This tune also contains more of the clever wordplay, which as with most of Putting Off Death leaves an impressionistic air for one to ponder over.

“Like the weightless economy
distance not the same proximity
what naivete
airborne allergy
always something to be in pain for
not the wind, it’s the train horn.”

Repeated listens reveal different interpretations, and this is an album where the lyrics are an integral part of the whole and should be listened to properly. This is why they are reproduced in full in the CD booklet, after all.

Putting Off Death contains adventurous but accessible music made by a band that displays an easy confidence and a wilful stoicism to go its own way in the face of an increasingly inward and backward looking prog world. If, like me, you yearn for the genuinely progressive and the different this is most certainly for you.

01. Language Is (11:24)
02. Immanence (4:13)
03. Wishful Breathing (3:45)
04. Falling World (3:40)
05. More And Less (3:01)
06. Lifetime Guarantee (6:59)
07. Hymn (5:12)

Total Time – 38:18

Jeff Libersher – Guitar, Trumpet, Vocals, Keyboards
Dante Kester – Bass, Keyboards
Thymme Jones – Drums, Vocals, Piano, Trumpet, Keyboards, Acoustic & Electric Guitars, Moog, Noise
Carmen Armillas – Vocals
Mike Hagedorn – Trombone
Teria Gartelos – Vocals
Sacha Mullin – Vocals
Cory Bengtsen – Baritone Sax
Beth Yates – Flute
Julie Pomerleau – Violin
Joan Morrone – French Horn
Ross Feller – Tenor Sax
Rob Plesher – Tuba
Todd Fackler – Tuba

Record Label: Cuneiform Records
Catalogue#: Cuneiform Rune 446
Date of Release: 12th May 2017

CHEER-ACCIDENT – Website | Facebook | Bandcamp


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BMG’s comprehensive Emerson, Lake & Palmer release series continues with Fanfare: Emerson, Lake & Palmer 1970-1997 which will be officially released on 29th September 2017.

“The Fanfare box set offers a wealth of ELP treasure for their ever increasing fanbase: All of ELP’s remastered 11 albums; 5 previously unreleased CDs of never issued recordings; a never before issued triple vinyl set (‘Live In Italy, May 1973’); 1 x Surround Sound Blu Ray audio, plus some high quality memorabilia including a 40-page hardback book with rare band photos, as well as tour programmes and a must-have repro 7” of ‘Fanfare For The Common Man’. An expansive set befitting for one of rock’s great super groups.”

ELP - Fanfare Box Set

FANFARE 1970-1994: BOX SET

The remastered 11 classic original ELP albums (1970-94), on CD, with original sleeve artwork reproduced:
– Emerson, Lake & Palmer (1970)
– Tarkus (1971)
– Trilogy (1972)
– Pictures At An Exhibition (1971)
– Brain Salad Surgery (1973)
– Welcome Back, My Friends, To The Show That Never Ends (1974)
– Works Volume 1 (1977)
– Works Volume 2 (1977)
– Love Beach (1978)
– Black Moon (1992)
– In The Hot Seat (1994)

• Previously unreleased, gatefold, triple vinyl LP album:
– Live At Velodromo Viorelli, Milan, Italy [4th May 1973]
– Live At Flaminio, Rome, Italy [2nd May 1973]

• Previously unreleased CD albums, mastered by the internationally celebrated studio engineering team of Andy Pearce and Matt Wortham::
– Live At Pocono International Raceway, Long Pond, US [9th July 1972]
– Live At Waterloo Concert Field, Stanhop New Jersey, US [13th August 1992]
– Live At Birmingham Symphony Hall, UK [27th November 1992]
– On The BBC: The Old Grey Whistle Test [1979]
– Live Ar Elysee Montmartre, Paris, France [2nd July 1997]

• Audio Blu-Ray, containing the stereo 5:1 and surround sound mixes of the albums:
– Emerson, Lake & Palmer (Steven Wilson – 2012)
– Tarkus (Steven Wilson – 2012)
– Trilogy (Jakko Jakszyk – 2012)
– Brain Salad Surgery (Jakko Jakszyk – 2014)

• Remastered 7” singles with reproduced original sleeve artwork:
– Lucky Man / Knife Edge (1970)
– Fanfare For The Common Man/Brain Salad Surgery (1977)

• Deluxe, hardback 12” book with band photos and extensive notes from acclaimed journalist Chris Welch, featuring quotes from Keith Emerson, Greg Lake & Carl Palmer

Reprinted original 1970 promo poster, 1972 promo brochure, 1974 and 1992 tour programmes

Metal & enamel ELP logo pin badge

SOURCE: Hall Or Nothing PR

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