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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.

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This news story was originally published here:

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


This news story was originally published here:

Published on 21st November 2017

War Of The Worlds celebrates it’s 40th anniversary in 2018 and to mark the occasion Jeff Wayne’s Musical Version of The War of The Worlds – Alive on Stage announce a series of UK arena shows starting in November 2018.

“Conducted by Jeff Wayne, with the 9-piece Black Smoke Band and 36-piece ULLAdubULLA Strings, the most ambitious production yet will ‘break through the fourth wall’ to bring the action closer to the audience for a most captivating and immersive experience.”

40th Anniversary Arena Tour, UK – 2018
30/11/18: SSE Hydro Arena, Glasgow
01/12/18: Metro Radio Arena, Newcastle
02/12/18: Arena [MCR], Manchester
04/12/18: First Direct Arena [LDA], Leeds
05/12/18: Echo Arena, Liverpool
07/12/18: Motorpoint Arena, Nottingham
08/12/18: Genting Arena, Birmingham
09/12/18: Motorpoint Arena, Cardiff
10/12/18: Motorpoint Arena, Cardiff
12/12/18: International Centre [BIC], Bournemouth
13/12/18: International Centre [BIC], Bournemouth
15/12/18: The O2 Arena, London (Matinee)
15/12/18: The O2 Arena, London
16/12/18: The Brighton Centre, Brighton
17/12/18: The Brighton Centre, Brighton
*More dates to be added…

Visit the TPA Gig Guide for these UK dates and more from across the prog spectrum.

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This news story was originally published here:

Much celebrated mastermind Dan Britton has big plans for the future. The brain behind Cerebus Effect, Birds and Buildings and Deluge Grander has conceptualised a three-level, seven-album series, which was initiated with the 2014 release Heliotians. Oceanarium is the second instalment in this chronology and will most likely be immediately followed by Lunarians in 2018. The three albums are interlinked by thematic transformation, though unlike its predecessor and successor, Oceanarium remains purely instrumental. And rightfully so, considering the range of instrumentation at hand: cello, trumpet, bass clarinet, flute, saxophone, banjo, mandolin, to name only a few, join forces with a typical rock outfit to form a truly symphonic progressive rock orchestra.

Following the tracks of a “rat-man” explorer, Oceanarium is constructed as one continuous stream of themes, depicting different stages of the protagonists’ adventure. The compositions rarely take a moment to breathe – themes transitioning seamlessly from one to another in a broadly orchestrated bed of vintage and organic sounds.

The enigmaticallt titled opener, A Numbered Rat, a High Ledge, and a Maze of Horizons, doesn’t defer, but gets the trip started straight away. Much like a classical overture the piece introduces various themes over 12-minutes, the large number of instruments alternating in taking on the duty of the main voice. Mainly up-tempo, with the exception of a dynamic piano driven break halfway through, A Numbered Rat… explores many different moods and demonstrates Britton’s art of establishing complex conversations between guitar and the vast array of keyboard sounds. Acoustic guitar strokes constantly appear in the background, diffusing a cinematic feel throughout the song and the record as a whole, especially when joined by harmonica.

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Drifting Inner Skyline Space sees the orchestra taking a break from franticly blurring lines and concentrates on a more atmospheric mood. The beginning finds a quiet acoustic guitar taking the lead, only to end up in a choir of psychedelic synthesizer layers accompanied by a slide guitar. Again Mr Britton shows off a large palette of keyboard sounds, not giving the listener the time to dwell on any one element as the movement in arrangement and melody is overwhelming. Framed to a close, the acoustic guitar recurs with bossa-nova chops.

Not unlike the opener, The Blunt Sun and the Hardened Moon gets straight to the point. A galloping 9/8 rhythm moves from riff to riff, crossing an 8/8 section on the way to another staggering guitar hook in 7/8. After 2 minutes a dynamic break softens the mood in order to deconstruct and further develop the themes introduced before. The quarter hour piece moves through darker and lighter passages, the darker parts accentuated by deep blowing wind instruments, lighter and more positive themes being left to guitars. Building on this contrasting interplay, moods never seem to settle but are constantly pushed away and replaced by their counterpart. The simulation of a sitar sound on electric guitar calling and returning a short chorus led by saxophone in accompaniment of acoustic guitar strumming makes for a good example of this aspect.

Finding a Valley in a Gray Area on a Map serves as a short intermezzo, following the protagonist’s observations of the various happenings in a small village, the banjo having a strangely strong presence in an otherwise more oriental vibe, before Finding a Shipwreck in a Valley in an Ocean sees ocean soundscapes imitated with many types of percussion. Once again there are not only one or two themes being developed here – the restlessness of ever changing harmonic and melodic progressions continues. A short arpeggiated break by the piano in the middle serves as a fine climax.

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Tropical Detective Squadron is another long track, this time retelling the tales told so far. Fitting to the description found in the booklet (“Meanwhile, back at home, the story of his departure is dramatized but altered beyond recognition.”), this composition slows down toward the middle and stays in a dramatically slow groove, emphasized by Mellotron layers, the story telling then departing into, by now, typical ever-changing progressions.

Marooned and Torn Asunder is the first and only track of the album that doesn’t go everywhere. The guitar introduces the main hook and leads to a dramatic synthesizer progression. Britton is at his least ironic here, and gives space to breathtaking guitar work alternating with melancholic oboe lines – the guitar sound and technique being very reminiscent of Steve Howe.

Heavy piano chords in accompaniment of a full orchestra open the final chapter of this adventure, Water to Glass / The Ultimate Solution. Every instrument gets a final moment to shine in a mix of quieter interplays and more nervous passages. Harpsichord figurations appear throughout, emphasizing the heavy strokes of the other chordophones. The entire orchestra builds to a finale that still echoes long after reaching the end, which is partly due to the final progression ending with an interrupted cadence on the subdominant. No, this doesn’t sound like an end, there is definitely more to come…

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When a regular person goes on an endeavor to discover the world he is already overwhelmed by the vastness of space, culture and topographic phenomena, but how must a ‘rat-man’ feel, his steps being so much smaller and his surrounding environment to him majestically bigger? Soundtracks to the adventures of men have been put to music on plenty of occasions and have known various thematic treatments – the universe to a smaller creature though seems much bigger, which results in the music needing more themes, more sequences and more colors, a la Oceanarium. Consequently, the listener is presented with densely packed musical ideas, which doesn’t make this an easy oeuvre to digest. Themes appear and disappear again in a matter of seconds and reappear in an altered form, framed in a different harmonic and rhythmic context. These musical aspects in combination with the complex and wide instrumentation triggers a certain nervousness and feels overwhelming at times, begging the question whether an exercise in restraint would have helped to achieve a more compact and homogeneous product.

On the other hand, this record just needs time to let it sink in. The wide spectrum of influences is uncanny. The similarities to the likes of King Crimson, as also found on the Birds and Buildings releases, are evident. The more dramatic episodes giving space to prolonged melodies are reminiscent of Yes. But there is also more straight-forward jazz fusion spread over the entire journey. In combination with the orchestral instruments these influences melt to become Britton’s very own signature sound, embedded in a dynamically analog production.

It remains to be seen how Dan Britton is going to further develop the ideas presented here on the successor, and how many new ones he plans on adding – the level of suspense created is surely high!

01. A Numbered Rat, a High Ledge, and a Maze of Horizons (11:32)
02. Drifting Inner Skyline Space (8:28)
03. The Blunt Sun and the Hardened Moon (15:25)
04. Finding a Valley in a Gray Area on a Map (3:24)
05. Finding a Shipwreck in a Valley in an Ocean (6:20)
06. Tropical Detective Squadron (14:10)
07. Marooned and Torn Asunder (8:06)
08. Water to Glass / The Ultimate Solution (12:31)

Total Time – 79:56

Dan Britton – Keyboards, Guitars, other instruments (tracks 1-8)
Dave Berggren – Electric & Compositional Contributions (track 6)
Neil Brown – Trumpet (track 8)
Steve Churchill – Oboe (tracks 1 & 7)
Brett d’Anon – Bass & Guitars (tracks 1-8)
Brian Falkowski – Saxophone (track 3), Flute (tracks 4 & 5) & Clarinet (track 8)
Patrick Gaffney – Compositional Contributions (tracks 1 & 6)
Denis Malloy – Bass Clarinet (tracks 1,2,3 & 8)
Corey Sansolo – Trombone (track 1)
Natalie Spehar – Cello (tracks 2,4,5 & 8)
Zack Stachowski – Violin (track 4 & 5)
Christopher West- Compositional Contributions (track 6 & 7)

Label: Emkog Records
Country of Origin: U.S.A.
Date of Release: 15th November 2017

Deluge Grander – Facebook


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This news story was originally published here:

Kino – the band formed by John Mitchell (Lonely Robot, Frost*), Pete Trewavas (Marillion), John Beck (It Bites) & Chris Maitland (ex-Porcupine Tree), released their much-loved debut album ‘Picture’ back in 2005. Now the album has been remastered by John Mitchell, and will be issued on vinyl for the very first time on the 17th November 2017, as well as returning to digital and streaming services.

Mitchell had this to say: “The Kino ‘Picture’ album has been unavailable for a while but a lot of people have been asking about it so it’s clearly got a place in a lot of people’s hearts which is wonderful. It was never released on vinyl previously so it’s great that Inside Out have made that happen. A lot of people have also asked whether there will be a new Kino album one day….that’s a good question and one day it may be answered.”   

‘Picture’ is available on Gatefold 180g black 2LP, including the CD as bonus, as well as digital download. Pre-order your copy here: 

John Mitchell has most recently been seen with his Lonely Robot project, who released their second album ‘The Big Dream’, to much acclaim earlier in 2017. You can watch the video for the track ‘In Floral Green’ here: 

Pick up the album ‘The Big Dream’ here:


The Progressive Tracks Show #236 (Under The Radar), originally broadcast on Friday, November 17, 2017, is now available to download or listen to anytime you desire.

An abundance of talent doesn’t always equate to wide recognition; the artists on this show are great examples of ‘talent flying under the radar’.   And while I can’t guarantee that all will be new to you, I can guarantee that you’ll find some new music to love.  So take a listen… and more importantly, support them!


  • The Knells – “First Song” from Knells II on New Amsterdam
  • Herd of Instinct – “Drone Priest” from Drone Priest on Firepool Records
  • Spoke of Shadows – “Strata” from ii on Firepool Records
  • Heldon – “Perspective II (Baader-Meinhof Blues)” from Heldon IV: Agneta Nilsson on Cuneiform Records
  • Exovex – “Seeker’s Prayer” from Radio Silence on Innerlogue
  • The Knells – “Poltergeist” from Knells II on New Amsterdam
  • Joe Deninzon & Stratospheerius – “Soul Food” from Guilty Of Innocence on MRR
  • Spoke of Shadows – “The Creature’s Gaze” from ii on Firepool Records
  • Exovex – “Dead Reckoning” from Radio Silence on Innerlogue
  • Joe Deninzon & Stratospheerius – “Dream Diary Cadenza” from Guilty Of Innocence on MRR
  • Herd of Instinct – “Cosmos” from Drone Priest on Firepool Records
  • Amplifier – “Interstellar” from The Octopus on Independent

If you have comments (always welcome), or suggestions for show topics/music, feel free to contact me anytime via email:

But first… enjoy the show!

Mike “ProgTracks” Pollack

This news story was originally published here:

Islington Assembly Hall, London
Wednesday, 15th November 2017

Islington, long since gentrified by incremental Hipster Creep, is the sort of place where, if so inclined, Tarquin and Jemima could waste their ludicrous salaries from Perfect Curve* in sundry branches of I Saw You Coming* on hand carved salt cellars chiselled exclusively from old Welsh Methodist church pews by ex-miners’ wives, or maybe on sewing thimbles crafted from lacquered Mongolian yak fur, or on sundry other daft fare on offer at stupid prices in the locality.

Highbury & Islington also happens to have perhaps the highest concentration of decent small to mid-sized music venues in a square mile anywhere in the capital, one of which is the splendidly appointed Islington Assembly Hall, so it ain’t all bad. After a pre-gig meet up with a couple of friends in the pub opposite the venue, we eventually trooped over the road and into the hall a few minutes into Stian Westerhus’s set. Just his oddly angelic voice in stark contrast with the howls, barks, and moans he extracted from his guitar, it was certainly left-field but enjoyable. My mate Pete was unconvinced, although he did admit that Stian had a good voice. Me, I knew what to expect having reviewed his Amputation album roughly a year ago.

Stian Westerhus 1 - photo by Dominic Hatton

As the last death gasp of Stian’s guitar faded into electronic ambience provided by Tore Ylwizaker, the rest of Ulver took up their positions on stage, and the wash of sound morphed into Nemoralia, and the Norse longship set off on its Viking raid into the drinking hall of our temporary Valhalla here in N1. Playing the entirety of the new album, the perversely typical dark synth-pop curveball that is The Assassination Of Julius Caesar, but in a different order, with altered sections and lengthy improvised instrumental passages, Ulver turn the place into a laser-lit dance floor for the varied audience present. The venue has a capacity of 890, and I would guess it was almost full. We were certainly at the older end of the age spectrum present, hence our “dancing” was limited to a bit of jigging about and head nodding.

The light show was superb, with highly creative use of lasers and backdrops. Credit is due to whoever designed it. Being backlit, the band cut mysterious shadowy figures in black on the stage. Kristoffer Rygg’s between song audience interaction was limited to the occasional “Thank you”, or sometimes just silence and a humble prayer-bow. Wearing a hoodie, he looked like a monk on the deck of a spacecraft up there on the stage, crammed as it was with all sorts of electronica and exotic audio ephemera.

Ulver 8 - photo by Chris Parkins

Although the sound tonight largely originated from synths and keyboards, the human element supplied by the muscular rhythms of drummer Anders Møller and percussionist Ivar Thormodsæter leant proceedings the necessary organic feel that can so often be lacking in this kind of music. It took me a while to get into the groove, and the band too seemed to warm up as the set progressed. A highlight was the long improvised section in the much extended Coming Home, played over a nailed down back beat that turned the song into an entranced dark beast of great power.

Ulver 6 - photo by Veronika FrydlovaUlver also played the “leftovers” EP Sic Transit Gloria Mundi, and another highlight was the song Bring Out Your Dead, the dance groove weirdly set off by the song title sung in the chorus. As soon as I heard their version of Frankie’s The Power Of Love a few days before the gig, I thought to myself that it had “encore” written all over it. I was not disappointed. A collective smile was raised when Krystoffer introduced it with “And now, we will play a proper song”. The gig promptly over at the 10:30pm curfew, the audience leave, tired and elated.

Ulver are a band that never repeats itself, and no two albums are the same. Their younger audience seems far more receptive to constant change and, dare I say it, progression, than the older crowd attracted to the endless recycling of well-worn tropes from the ’70s offered by other bands that ally themselves with the “P” word. Despite their longevity, Ulver are at the vanguard of true progressive music making and some of their contemporaries could do worse than take a lesson or two from their ever questing muse.

[*Non-UK readers, these are Brit TV references – Google them and you will understand!]

[With photos by Dominic Hatton, Veronika Frydlova, Chris Parkins and Roger Trenwith, all used with kind permission.]

Southern Gothic
So Falls the World
Rolling Stone
Angelus Novus
Coming Home
Echo Chamber (Room of Tears)
Bring Out Your Dead
~ Encore:
The Power of Love

Kristoffer Rygg – Vocals, Drum Pads, Programming
Jørn H. Sværen – Programming, Electronica
Tore Ylwizaker – Keyboards, Programming, Electronica
~ With:
Stian Westerhus – Guitar
Anders Møller – Percussion
Ivar Thormodsæter – Drums

Ulver – Website | Facebook | Bandcamp
Stian Westerhus – Website | Facebook | Bandcamp

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