News

This news story was originally published here: https://www.prog-sphere.com/specials/mikael-akerfeldt-about-touring/
Mikael Akerfeldt

Opeth mastermind Mikael Akerfeldt was asked by Overdrive about his recent comments on touring becoming increasingly difficult to him and whether he could see Opeth become “a band that releases music with the occasional live show,” to which he replied:

Honestly? I would love that.

I’ve been touring a lot of the last few decades and I have to say that I’ve lost my a desire for attention.

The attention whore in me has reached its quota and I’m just more interested in creating music in the studio.

If I could survive by just writing and creating music, with a little bit of feedback, I would probably be very happy indeed.

Mikael added:

I just like to write in a controlled environment, I’m not an improvised type of player and like to be in control of everything.

So I really love the studio environment because it’s a place where you can create something from nothing and that concept is really fascinating to me and it makes me feel like I’m actually good at something.

When I’m on stage, I spend most of my time thinking about how shit I am, so I really need that studio time to make me feel like I’m actually doing something. I need to feel like I’m creating something and not just shaking my ass up on stage cracking jokes.

Asked to single out the accomplishment he’s most proud of, Akerfeldt replied:

I would have to say, the longevity of the band. This business is not easy and it’s becoming increasingly more difficult as each year rolls by. We’ve had members come and go over the years and problems with the business side of things which makes me think sometimes, ‘How the hell did we get through that?’

I was a complete slacker when I was growing up. My grades were average and all I was interested in doing was playing music. I had no real interest in getting a job of any kind and just wanted to create and write music.

I guess I’m proud of myself for making the decision of wanted to be a musician and just going for it. I would have been happy with a tin of beans and a guitar if anything else, just as long as I was making music for a living.

From that decision I made 27 years ago to today, it’s hard not be proud of what I have achieved over the years with the band and I just want to keep doing what I love, which is making music that makes me happy and excited.

This news story was originally published here: http://www.prog-sphere.com/specials/mikael-akerfeldt-about-touring/
Mikael Akerfeldt

Opeth mastermind Mikael Akerfeldt was asked by Overdrive about his recent comments on touring becoming increasingly difficult to him and whether he could see Opeth become “a band that releases music with the occasional live show,” to which he replied:

Honestly? I would love that.

I’ve been touring a lot of the last few decades and I have to say that I’ve lost my a desire for attention.

The attention whore in me has reached its quota and I’m just more interested in creating music in the studio.

If I could survive by just writing and creating music, with a little bit of feedback, I would probably be very happy indeed.

Mikael added:

I just like to write in a controlled environment, I’m not an improvised type of player and like to be in control of everything.

So I really love the studio environment because it’s a place where you can create something from nothing and that concept is really fascinating to me and it makes me feel like I’m actually good at something.

When I’m on stage, I spend most of my time thinking about how shit I am, so I really need that studio time to make me feel like I’m actually doing something. I need to feel like I’m creating something and not just shaking my ass up on stage cracking jokes.

Asked to single out the accomplishment he’s most proud of, Akerfeldt replied:

I would have to say, the longevity of the band. This business is not easy and it’s becoming increasingly more difficult as each year rolls by. We’ve had members come and go over the years and problems with the business side of things which makes me think sometimes, ‘How the hell did we get through that?’

I was a complete slacker when I was growing up. My grades were average and all I was interested in doing was playing music. I had no real interest in getting a job of any kind and just wanted to create and write music.

I guess I’m proud of myself for making the decision of wanted to be a musician and just going for it. I would have been happy with a tin of beans and a guitar if anything else, just as long as I was making music for a living.

From that decision I made 27 years ago to today, it’s hard not be proud of what I have achieved over the years with the band and I just want to keep doing what I love, which is making music that makes me happy and excited.

This news story was originally published here: http://theprogressiveaspect.net/blog/2017/11/22/a-different-aspect-10-november-2017/


BIG|BRAVE – Ardor
Hadouk – Le Cinquième Fruit
KAMP – Clairvoyance
Chris Stark – Juxtaposition
Markus Stauss Art Genossen Companions – Treasures Of Light
House of Rabbits – Songs of Charivari

It’s getting chillier as we head into Car Scraping Season, so here are some warming and spicy items to raise the temparature, lovingly crafted into another ADA (TPA’s occasional ‘A Different Aspect’ series). Again, quite quickly on the heels of the last one, this is in danger of becoming a regular feature! This is where we sweep up some of the worthwhile releases (and one other…) that we might have missed in the main reviews section and which could have got away otherwise. Have a listen via the links provided and hopefully you’ll find some new sounds to investigate further. Enjoy!

BIG|BRAVE are a young trio from Montreal who make a huge racket belying their unassuming appearance. Kevin Shields’ styled guitar howl buried beneath lumbering monster riffs created by downtuned six strings – there is no bass guitar on this record – result in a thunderous bass rumble that together with crashing cymbals establish the Sound. Most surprising is the impassioned yelp of frontwoman Robin Wattie. Where the easy route would have been industry standard indecipherable razor wire gargling from a musclebound, tattooed and no doubt hirsute male “singer”, instead BIG|BRAVE play their ace card, and Robin’s piercing intonations make for a fetching combination.

Lull is just that to begin with, but there is nothing particularly soothing about this as the monster lurks, waiting to pounce, the atmosphere is very dark, brooding, and edgy. Pounce it does, as another lurching riff accompanies the wake from disturbed slumber. Borer invites metaphors concerning giant drill bits with diamond teeth remorselessly eviscerating solid granite, and it comes and goes like a suffocating smog cloud, occasionally cleared by the anguished pleas of Robin.

This is post-rock from the MBV school of intense and feral noise, put through a Sunn O))) filter, and channelled into long form art rock on an atramentous canvas. There is nothing particularly groundbreaking to be found here, but if you are in the mood for some cathartic headbanging of the real or imagined kind, Ardor will not let you down.


Hadouk – Le Cinquième Fruit
by Kevan Furbank

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It has been 20 years since Gong’s sax and flute blower, Didier Malherbe, joined forces with multi-instrumentalist Loy Erhlich to create Hadouk – named after the hajouj African bass and the doudouk Armenian oboe. Now a quartet with percussionist Jean Luc Di Fraya and guitarist Eric Lohrer, Hadouk offer up another slice of gentle, hypnotic multi-ethnic jazz-folk that washes over you like a warm wind carrying scents from the four corners of the world.

If you love the simple yet hypnotic swirl of their music, the sound of a North African bazaar in which all the customers are completely stoned, and the almost childlike humour in Didier’s wistful, expressive playing then Le Cinquième Fruit hits the spot. But it’s not all just music to meditate to – there’s a gentle bass-driven funkiness in Tidzi, Eastern influenced psychedelia in So Gong, while the title track at times sounds like the soundtrack to a gentle 1960s French movie comedy.

If you own any of their previous albums then you know pretty much what to expect, with a few surprises. If your collection is bereft of Hadouk then you need to rectify that pretty smartly, and this is a tasty little offering for starters.


KAMP – Clairvoyance
by Jez Rowden

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The solo project of John Kampouropoulos, ex-lead singer of the Greek alternative rock band Closer, Clairvoyance is his second album under the KAMP name.

John certainly has a rich and impressive voice and the songs on Clairvoyance, guitar led and fairly straight ahead but with interesting textures, are a good showcase for his talents. The ‘indie’ feel is there but shot through with some classic rock and anaologue ’70s textures. Despite the basic guitar/bass/drums instrumentation, the variety is present and John’s voice has the quality to carry the album along. It’s sometimes edgy, at times positive and upbeat, occasionally funky, but all of the songs are well put together, with a more experimental approach than he has tried previously in 14 self-written songs about Galileo, the Greek financial crisis and the problems facing refugees.


Chris Stark – Juxtaposition
by John Wenlock-Smith

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Chris Stark is a guitarist living in Hawaii who is influenced by Steve Vai and Joe Satriani, and whilst he can certainly twiddle with the best there is also a melodic sensibility on display here, and actually very little “Fretwank”, which makes this both an unusual and also more pleasurable album to listen to.

Very strong melodies and harmonies are also on display during Surfing The Jetstream, with the effective piano motif and background making it especially memorable. A nice clean tone on Highway One also impresses and proves that it’s not all about how many effects one can employ at any one time.

This is a very good instrumental album and I’d certainly like to hear more of his work as his talent continues to evolve. I really enjoyed this one, and admirers of the aforesaid Satriani or Vai will find much to relish here.


Markus Stauss Art Genossen Companions – Treasures Of Light
by Bob Mulvey

Swiss born saxophonist Markus Stauss occupies a rather unique place within the musical spectrum, impossible to categorise, but one thing is certain – he is never going to form a tranquil backdrop or sit quietly in the background. Throughout his many solo, collaborative and side projects, Markus is a free spirit, left to roam the darkest recesses of free-form experimental jazz.

I am happy to report that Treasures of Light is no exception, so intermingled within the tuneful ensemble passages are sections that would test the patience of Job. If we take it as read that all the musicians here are hugely gifted, then what this, recorded live in the studio, double CD represents is free expression in its truest form.

I love this from Markus’ site where Edgar Varèse begs the question: “But is this Music?” Later offering the term “organised sound”. Yeah, I can go for that! Crazy, wonderful, exasperating, brilliant – Fortune favours the brave…


House of Rabbits – Songs of Charivari
by Tony Colvill

Discordant, lacking melody and direction, described as hardcore vaudeville art-rock, it is a mess, to my ears unlistenable.

I hate being negative but I cannot find any positives. I am sure there are some somewhere, possibly in a room with soft walls, and there is some people who may enjoy this, but not I.

Given the proclivities of Leporidae creatures, please, please, don’t let them breed. A definite no from me. Any redeeming features you may ask? It’s over.


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This news story was originally published here: http://www.prog-sphere.com/news/barry-weinberg-come-out-and-play-single/
South Florida Prog Rock Songwriter BARRY WEINBERG Launches “Beyond the Astral Sky” Single

As previously announced, South Florida-based musician Barry Weinberg is set to launches his debut album Samsarana in January 2018, a release which takes on an expanded sound that seeks to “blow up” musician’s personal experiences. After the debut single “Beyond the Astral Sky,” Weinberg are dropping a new single today, for the song “Come Out and Play.” Listen to it below.

Commented Weinberg: “The idea of ‘Come Out and Play’ came to me when I was driving by myself 14 hours from the mountains of Western North Carolina to South Florida. My mind was wondering and I started reminiscing back to when I was starting high school. At that time, like most pubescent male teens, all I could think about was music and girls. I’m driving and all of a sudden the main guitar riff popped into my head and I started singing to it. I wrote the lyrics down as I sang and ‘Come Out and Play’ was born. The lyrics are basically about a teenage kid wanting to say and do all the right things to ask a girl out… and it coming out all wrong?

He continues: “One of the main themes of ‘Samsarana’ is the polarity/duality of life’s experiences. ‘Come Out and Play’ is a fun, upbeat song about teenage crushes. The song that follows on the album is called ‘A Passage of Time’ and is a love song I wrote to my wife at our engagement. It expresses the true eternal heart connection we experience when we fall in love with somebody… in contrast to the teenage angst we feel as a kid.

Described as a fun upbeat neo-Punk song about teenage angst and high school crushes, “Come Out and Play” rides on defiant guitars and a relentless rhythm. The tune is available for streaming on Soundcloud.

For more info visit Barry Weinberg’s official website.

Other links:

YouTube

Soundcloud

ReverbNation

Facebook

This news story was originally published here: https://www.prog-sphere.com/news/barry-weinberg-come-out-and-play-single/
South Florida Prog Rock Songwriter BARRY WEINBERG Launches “Beyond the Astral Sky” Single

As previously announced, South Florida-based musician Barry Weinberg is set to launches his debut album Samsarana in January 2018, a release which takes on an expanded sound that seeks to “blow up” musician’s personal experiences. After the debut single “Beyond the Astral Sky,” Weinberg are dropping a new single today, for the song “Come Out and Play.” Listen to it below.

Commented Weinberg: “The idea of ‘Come Out and Play’ came to me when I was driving by myself 14 hours from the mountains of Western North Carolina to South Florida. My mind was wondering and I started reminiscing back to when I was starting high school. At that time, like most pubescent male teens, all I could think about was music and girls. I’m driving and all of a sudden the main guitar riff popped into my head and I started singing to it. I wrote the lyrics down as I sang and ‘Come Out and Play’ was born. The lyrics are basically about a teenage kid wanting to say and do all the right things to ask a girl out… and it coming out all wrong?

He continues: “One of the main themes of ‘Samsarana’ is the polarity/duality of life’s experiences. ‘Come Out and Play’ is a fun, upbeat song about teenage crushes. The song that follows on the album is called ‘A Passage of Time’ and is a love song I wrote to my wife at our engagement. It expresses the true eternal heart connection we experience when we fall in love with somebody… in contrast to the teenage angst we feel as a kid.

Described as a fun upbeat neo-Punk song about teenage angst and high school crushes, “Come Out and Play” rides on defiant guitars and a relentless rhythm. The tune is available for streaming on Soundcloud.

For more info visit Barry Weinberg’s official website.

Other links:

YouTube

Soundcloud

ReverbNation

Facebook

This news story was originally published here: https://www.prog-sphere.com/news/barry-weinberg-come-out-and-play-single/
South Florida Prog Rock Songwriter BARRY WEINBERG Launches “Beyond the Astral Sky” Single

As previously announced, South Florida-based musician Barry Weinberg is set to launches his debut album Samsarana in January 2018, a release which takes on an expanded sound that seeks to “blow up” musician’s personal experiences. After the debut single “Beyond the Astral Sky,” Weinberg are dropping a new single today, for the song “Come Out and Play.” Listen to it below.

Commented Weinberg: “The idea of ‘Come Out and Play’ came to me when I was driving by myself 14 hours from the mountains of Western North Carolina to South Florida. My mind was wondering and I started reminiscing back to when I was starting high school. At that time, like most pubescent male teens, all I could think about was music and girls. I’m driving and all of a sudden the main guitar riff popped into my head and I started singing to it. I wrote the lyrics down as I sang and ‘Come Out and Play’ was born. The lyrics are basically about a teenage kid wanting to say and do all the right things to ask a girl out… and it coming out all wrong?

He continues: “One of the main themes of ‘Samsarana’ is the polarity/duality of life’s experiences. ‘Come Out and Play’ is a fun, upbeat song about teenage crushes. The song that follows on the album is called ‘A Passage of Time’ and is a love song I wrote to my wife at our engagement. It expresses the true eternal heart connection we experience when we fall in love with somebody… in contrast to the teenage angst we feel as a kid.

Described as a fun upbeat neo-Punk song about teenage angst and high school crushes, “Come Out and Play” rides on defiant guitars and a relentless rhythm. The tune is available for streaming on Soundcloud.

For more info visit Barry Weinberg’s official website.

Other links:

YouTube

Soundcloud

ReverbNation

Facebook

This news story was originally published here: http://theprogressiveaspect.net/blog/2017/11/22/king-crimson-announce-european-tour-2018/
Featured

Published on 22nd November 2017

Although we live in uncertain times King Crimson will be out on the road in Europe during 2018.

In addition to the regular tickets the band will be offering two packages – The Royal Package (as before) and a new Courtiers Package to try and prevent mass scalping of the best tickets. These will be available from DGMLive on the Tour page of the website and via the promoters in the UK and Germany.

As on previous occasions the touring is split into two sections.

European Summer Dates
13/06/18: Earth Hall, Poznan, Poland
14/06/18: Earth Hall, Poznan, Poland
16/06/18: ICE Congress Hall, Krakow, Poland
17/06/18: ICE Congress Hall, Krakow, Poland
18/06/18: ICE Congress Hall, Krakow, Poland
20/06/18: Lichtburg, Essen, Germany
23/06/18: Stadthalle, Vienna, Austria
24/06/18: Stadthalle, Vienna, Austria
26/06/18: Forum Karlin, Prague, Czech Republic
27/06/18: Forum Karlin, Prague, Czech Republic
01/07/18: Admiralspalast, Berlin, Germany
05/07/18: Cirkus, Stockholm, Sweden
06/07/18: Cirkus, Stockholm, Sweden
08/07/18: Sentrum Scene, Oslo, Norway
09/07/18: Sentrum Scene, Oslo, Norway
10/07/18: Sentrum Scene, Oslo, Norway
13/07/18: Concertgebouw, Amsterdam, Netherlands
16/07/18: Philharmonie, Munich Germany
19/07/18: Teatro Grande, Pompeii, Greece
20/07/18: Teatro Grande, Pompeii, Greece
22/07/18: Auditorium Cavea, Rome, Italy
23/07/18: Auditorium Cavea, Rome, Italy
25/07/18: Piazza Napoleone, Luccai, Italy
27/07/18: Teatro La Fenice, Venice, Italy
28/07/18: Teatro La Fenice, Venice, Italy

UK & European Autumn Dates
29/10/18: Pavilion Theatre, Bournemouth, UK
31/10/18: St David’s Hall, Cardiff, UK
02/11/18: Palladium Theatre, London, UK
06/11/18: Symphony Hall, Birmingham, UK
09/11/18: Bridgewater Hall, Manchester, UK
12/11/18: Royal Concert Hall, Glasgow, UK
15/11/18: L’Olympia, Paris, France
16/11/18: L’Olympia, Paris, France

SOURCE: DGMLive