Tom McGuinness - Playing For Time

Bitrate: 320K/s
Year: 2017
Time: 71:26
Size: 163,8 MB
Label: Repertoire Records
Styles: Blues
Art: Front

Tracks Listing:
 1. Long Hard Road - 3:52
 2. That's The Blues - 3:31
 3. Momma Tried To Tell Me - 3:10
 4. I Got My Eye On You - 3:29
 5. I Got A Right To Sing The Blues - 3:15
 6. Sweet Temptation - 4:34
 7. Ain't It A Drag - 3:05
 8. Standing By My Window - 3:41
 9. The Line To Heaven - 2:54
10. Heading For A Breakdown - 4:03
11. Midnight - 4:10
12. Till I Fall Down - 2:24
13. The Wrong Woman - 3:51
14. How Lucky Can One Man Be - 3:23
15. Done Got Over You - 3:06
16. When Love Comes Calling - 3:23
17. Make Up Your Mind - 2:48
18. Odd Job Man - 3:44
19. Losing You Put The Blues In Me - 4:18
20. Laura Lee - 4:01
21. Long Gone - 0:35

When you start your career playing guitar in a band alongside another 18 year old guitarist called Eric Clapton, you could say you were going places.  Tom McGuinness may have left young Eric and that band, The Roosters, behind, but he joined Manfred Mann as a bass player at a crucial moment in 1964 - just as 5-4-3-2-1 began its meteoric dash up the charts.  He was with Manfred Mann on bass and then guitar right up until the disbanding in 1969, but success bred success - within a few months, he teamed up with ex John Mayall drummer, Hughie Flint, to form the highly successful McGuinness Flint, a talent-studded group which included the great songwriting team of Gallagher & Lyle.  When I'm Dead & Gone shot to number two in November 1970, with Malt & Barley Blues hot on its heels the following year.
Songwriter, author, record & TV producer, Tom McGuinness has retained and steadily enhanced his profile over the years.  In 1979, the same man who introduced him to the Manfreds, Paul Jones, called Tom with another proposition - The Blues Band.  It was an enjoyable and surprisingly durable return to their roots, which continues apace, but the reformation of the Manfreds for Tom's 50th birthday at London's The Town & Country Club in 1991 completed the circle - those Manfreds' songs were just too good to be left on a shelf marked 'nostalgia' ....
On his first solo album, Tom McGuinness, released October 2001:  "I'm always writing songs and over the years I've built up quite a stock-pile of un-recorded material. For some time I'd had the feeling that I'd like to record my own album and a couple of things came together to push me finally into doing it. Firstly, we were touring Australia a couple of years back with The Manfreds and a man came up to me after one of our gigs. After saying a couple of nice things about the show he then said, in that direct way they have down-under, "You're a good guitarist. It's about time you did a solo album". He made me feel really lazy. After all, I have spent nearly 40 years as a working musician without doing my own album. So that got me thinking. The second factor which got me enthused was working with Marcus Cliffe. He'd recently joined The Manfreds on bass and although there is a generation between us, we really hit it off musically. We went into his studio and just the two of us laid down the album. It took about 3 weeks from beginning to end and was a lot of fun. It was great to find that so many ideas I had on paper or in my head worked so well in the studio. I suspect I might never have got down to doing it if it hadn't been for Marcus. The only problem is that he is already nagging me to start the follow-up!"
The Lyle McGuinness Band
In the early 70s Tom had worked with Graham Lyle in the short-lived but successful band McGuinness Flint. Then in 1980 they got together again to write some songs for The Blues Band.  It soon became clear that a lot of the material wasn't right for the band so they decided to make an album.  Elise Elise was released first on Coolking Records, then a few years ago Roger Dopson put it out on Diamond Recordings.
It's a low key project, just Graham, Tom and a few old friends ... Hughie Flint on drums, Chrissie Stewart on bass and Alan Dunn on accordian, keyboards and tin-whistle.  Some of the songs have had a life of their own.  Christy Moore recorded Darling Man aka Sweet Music Roll On when Hughie brought it to his attention.  The Furys did Irish Eyes and in 1999 Don Williams recorded Elise.
Tom considers this album to be one of his all-time favourites.

Playing For Time

Edith - ...a space between ever & never...

Bitrate: 320K/s
Year: 1989
Time: 49:21
Size: 113,2 MB
Label: Progressive PRO 003
Styles: Progressive Rock/Neo Prog
Art: Front

Tracks Listing:
 1. Last Warning - 9:48
 2. Ever And Never - 7:01
 3. Be Yourself - 5:02
 4. Playtime - 9:16
 5. To Be You - 7:29
 6. Another Door - 5:01
 7. Long Way Of Power - 5:41

Musicians:
Mario Gulisano - vocals, tambourine;
Antonio Moschetto - electric guitar;
Giovanni Scaccianoce - bass;
Biagio Bisignani - drums, percussion.
With:
Salvo Fiorentino - keyboards, samples.

Edith is an obscure neo prog band from Italy formed around 1988. They release 3 studio albums and then gone into oblivion. The album title, A space between ever and never is more intristing then the music offered here. I like the voice of Mario Gulisano, very emeotional, yet not very distinctive in tone of voice. What is not so enjoyble at this release is te lack of diversity, the arrangements are most of the time same , but not bad. I can say is a good debute overall, but without hooks that make an album and specialy a neo prog album quite pleasent. No piece is particualry great, only ok, maybe opening trak Last warning is the most catchy tune, almost 10 min of good neo prog but quite pale in comparation with other albums from that time.

...a space between ever & never...

Innerspace - The Village

Bitrate: 320K/s
Year: 2012
Time: 54:59
Size: 127,0 MB
Label: Self Released
Styles: Progressive Rock/Crossover Prog
Art: Full

Tracks Listing:
 1. Intro -  1:31
 2. Land Of Hope -  3:24
 3. Wild Flower - 11:45
 4. Mister Mayor -  7:40
 5. Old Wreck -  5:23
 6. Slippery Case - Part - I -  8:23
 7. Slippery Case - Part II -  5:56
 8. Jack -  4:10
 9. On A Ride -  2:14
10. Land Of Reason -  4:29

Canadian quartet INNERSPACE was formed sometime around 2010, and currently consist of Phil Burton (vocals, guitars), Simon Arsenault (guitars), Paul Aubry (keyboards) and Thomas Sauvé (drums). They released their debut album The Village in the summer of 2012.
Innerspace is a progressive rock band from Canada formed in 2010. They introduced their debut album The Village to the prog rock world in the summer of 2012. They instantly have been thrown in at the deep end with this concept album, but it impressed me right from the start. The Village could be a concept album containing all kinds of stories. Though it's not explicit enough to get a good idea of what it's all about without the help of the booklet. On the one hand there seems to be a theme dealing with the individual versus institutions, a theme against which Pink Floyd wouldn't likely have objected. On the other hand it could also be that they refer to the movie with the same name. In this film the population of a small, isolated countryside village believe that the alliance with mysterious creatures inhabiting the forests around them is coming to an end. But even by using several sounds-capes like footsteps, closing doors and human voices − which provide the story of The Village an extra dimension - it's difficult to determine what the concept's all about.
Maybe the music on this CD isn't that original because throughout you can hear music that's particularly inspired by Pink Floyd. That didn't discourage me at all because music wise they have much to offer. However, Innerspace's interpretation of Pink Floyd's music is totally different if compared to other bands that regard Pink Floyd to be their major influence. The music on The Village is mostly tranquil and laid back. They have a dreamy approach to melodic rock which fits this band perfectly. Sometimes the music tends towards a band like Airbag, although the melodic Floydian guitar parts are the main ingredients of this band. Phil Burton's rich vocal tones remind me a lot of the way Dave Gilmour sings and that even applies to the sometimes hoarse vocals. In addition Paul Aubry's spacial keyboard sounds remind me of the late Richard Wright. Even the mellow rhythmic parts resemble Pink Floyd. Sure, the guitar solos hold a certain link with Gilmour, but not as much as you should expect from a band that's strongly influenced by this great British band. However, the use of female backing vocalists and a saxophone player increase the similarity with Floyd's music. Anyway, the musicians of Innerspace are capable performers otherwise you can't record an album that sounds so professional and mature.
To mention musical highlights isn't easy because most tracks are of an equally high level. Maybe Slippery Case, part I with a great synthesizer solo and the final track Land Of Reason with great bombastic keyboard parts slightly exceed the other ones. One thing's for sure! Innerspace recorded an outstanding debut album that will be loved by many Pink Floyd fans. The Village is a good starting point for their career. Hopefully they will develop a style of their own on their next release like so many other bands did that initially started by taking influences from their musical heroes. I'm sure this band is talented enough to record an original album that's hard to compare to other bands except for Innerspace!

The Village

Dave Kerzner - Static

Bitrate: 320K/s
Year: 2017
Time: 74:30
Size: 171,1 MB
Label: Self Released
Styles: Progressive Rock/Crossover Prog
Art: Front

Tracks Listing:
 1. Prelude -  0:39
 2. Hypocrites -  8:28
 3. Static -  5:18
 4. Reckless -  5:38
 5. Chain Reaction -  4:43
 6. Trust -  4:46
 7. Quiet Storm -  2:07
 8. Dirty Soap Box -  5:43
 9. The Truth Behind -  7:11
10. Right Back To The Start -  1:49
11. Statistic -  2:53
12. Millennium Man -  3:30
13. State of Innocence -  4:48
14. The Carnival of Modern Life - 16:52

"Static" is Dave Kerzner's follow up studio solo album to his acclaimed debut "New World". It's a progressive rock concept album and a "rock opera" about the distractions, chaos and clutter in everyday life and about navigating past this "static interference" in our heads toward clarity and happiness. The album features Kerzner on vocals, keyboards and guitars and he is joined by Steve Hackett (Genesis), Fernando Perdomo (Jakob Dylan), Randy McStine (The Fringe), Matt Dorsey (Sound of Contact), Nick D'Virgilio (Big Big Train), Derek Cintron, Durga McBroom (Pink Floyd), Alex Cromarty (Mostly Autumn), Stuart Fletcher (Sea Horses), Colin Edwin (Porcupine Tree) and more!  "Static" is a "rock opera" with dramatic twists and turns from dark moods to uplifting atmospheric pieces to rich nostalgic rock sounds to modern alt rock edge. The album is the length of a traditional double album on one jam packed CD (or 75+ minute album on CD or download). It features the songs "Hypocrites", "Static", "Reckless", "Trust", "Dirty Soap Box", "The Truth Behind", "Millennium Man", "The Carnival of Modern Life" and more!

Static

Wucan - Reap The Storm

Bitrate: 320K/s
Year: 2017
Time: 73:50
Size: 169,6 MB
Label: Self Released
Styles: Psychedelic Rock/Progressive Rock
Art: Front

Tracks Listing:
 1. Wie die Welt sich dreht -  9:59
 2. Ebb And Flute -  6:04
 3. Out Of Sight, Out Of Mind -  3:23
 4. I'm Gonna Leave You -  4:59
 5. The Rat Catcher -  5:24
 6. Falkenlied -  4:49
 7. Aging Ten Years In Two Seconds - 21:05
 8. Cosmic Guilt - 18:03

After we have spent months in the studios developing, recording and mixing the new record, we are beyond stoked to finally tell you that our 80 minutes Double LP ‘Reap The Storm’ will be out on Sep 29th 2017 via MIG music. Yup, it’s a lot of music we have coming up for you!
Francis: “With this record we took what musically developed and just became apparent on our first LP ‘Sow The Wind’ to the next level. ‘Reap The Storm’ is not just a snapshot of our own personal and emotional state at this point, but the logical follow up to all our previous work.”
And damn, we are excited for you to hear the outcome! This time we’ll have two German songs, one of them being an acoustic ballad, one a politically/ socially critical piece and two songs longer than 15 minutes, that’ll take you on an adventurous trip through the fields of Psychedelic and Progressive Rock. Plus the Heavy Flute Rock tunes that shaped our style in the past.

“Blood, sweat and tears, but our album is finally done.”
– Wucan, July 2017
With the release of their debut album in autumn 2015, WUCAN from Dresden crossed the magic threshold between an insider’s tip to a celebrated newcomer. “Sow The Wind” is an energetic heavy rock statement which despite all its directness is not above kraut rock extravaganza. Afterward, they went on tour. With each of the nearly 120 shows in Germany and Europe, the number of fans increased continuously.
The force of nature that Wucan brings to the stage shall also be reflected on their second album which is being recorded at the Berlin Big Snuff Studios. “Reap The Storm” will redeem even more what the band promises live: a massive rock sound, clear and organic at the same time, music for modern hippies and those who wish to become one.
The band is ready to reap the storm they have sowed and spill it lavishly over all those whose heart beats for good music.

Reap The Storm

Tommy Castro and the Painkillers - Stompin' Ground

Bitrate: 320K/s
Year: 2017
Time: 50:39
Size: 117,2 MB
Label: Alligator Records
Styles: Blues
Art: Front

Tracks Listing:
 1. Nonchalant - 3:55
 2. Blues All Around Me - 3:42
 3. Fear is the Enemy - 3:34
 4. My Old Neighborhood - 5:42
 5. Enough is Enough - 3:52
 6. Love is - 4:40
 7. Rock Bottom - 4:30
 8. Soul Shake - 3:59
 9. Further on Down the Road - 4:17
10. Them Changes - 4:47
11. Sticks and Stones - 3:07
12. Live Every Day - 4:28

Alligator Records has set a September 29 release date forStompin’ Ground, the blazing new album from soul-blues rockers Tommy Castro & The Painkillers. Guitarist, vocalist and songwriter Castro and the Painkillers – bassist Randy McDonald, keyboardist Michael Emerson and drummer Bowen Brown – have played hundreds of shows to thousands of music lovers, always leaving  audiences screaming for more. All of Castro’s albums are filled with original blues, soul and West Coast rock. Each song on Stompin’ Ground shows a slightly different side of his multifaceted musical personality. Billboard says the band plays “irresistible contemporary blues-rock” with “street-level grit and soul.”
On Stompin’ Ground (available on CD as well as 180g yellow vinyl), Castro, a native of San Jose, CA, opens windows both into his past and his always-evolving musical future. Produced by Castro and guitar wunderkind Kid Andersen and recorded at Andersen’s soon-to-be legendary Greaseland Studio in San Jose, Stompin’ Ground finds Castro letting loose on a set of 12 tracks featuring six originals and new versions of songs he learned and played as a young up-and-comer. He is simultaneously looking back with autobiographical originals and cover songs that inspired him, while forging a forward trail with modern lyrics atop blistering blues-rock.
In addition to the The Painkillers, Castro’s friends Charlie Musselwhite (harp and vocals on Live Every Day), Mike Zito (guitar and vocals on Rock Bottom), Danielle Nicole (vocals on Soul Shake) and Los Lobos’ David Hidalgo (guitar and vocals on Them Changes) add their talents to Stompin’ Ground. “I heard each one of my friends’ contributions on these songs in my head as I was working on them. Happily, when I reached out and actually asked, everyone said yes.”
Castro’s musical roots run deep. As he unleashes his high-energy music to fans all over the world, he is inspired by the sounds he absorbed while coming of age on the rough and tumble side of San Jose, California. During the late 1960s and early 1970s, this was Castro’s home turf – his stomping ground. It was a place where the street-tough Mexican Americans and the counter-culture hippies came together to drink, smoke, laugh, party and listen to tunes – the hippies with their blues and rock, the Mexicans with their soul music. Mixing the blues-rock he loved and the soul music he heard blasting out from the lowriders cruising the streets, along with the socially conscious message songs of the day, Tommy’s own sound was born. He honed his guitar playing to a razor’s edge on the city’s competitive bar scene, where he learned how to capture an audience with his intensely passionate vocals, stellar musicianship and dynamic performances. Almost every major rock and soul act, from Ike & Tina Turner to Janis Joplin to Elvin Bishop and Taj Mahal toured through the area, and Castro was at almost every show. He saw John Lee Hooker, Albert King and Buddy Guy & Junior Wells at the same local blues bar, JJ’s, where he often jammed, dreaming of one day busting out.
Castro began playing in a variety of Bay Area blues and soul bands in his early 20s. He joined Warner Brothers’ artists The Dynatones in the late 1980s, gigging all over the country. After forming the first Tommy Castro Band in 1991, Castro released a series of critically acclaimed CDs for Blind Pig, Telarc and 33rd Street Records, as well as one on his own Heart And Soul label. He signed with Alligator Records in 2009, releasing Hard Believer to massive acclaim. He won four of his six career Blues Music Awards including the coveted B.B. King Entertainer Of The Year Award (the very highest award a blues performer can receive). His relentless road-dog approach—gig after gig, night after night—has won him loyal, lifelong fans everywhere he plays. The Washington Post says Castro is “phenomenal and funky” with “soulful vocals and inspired blues-rock guitar.”
In 2012 Castro formed The Painkillers, creating a lean, mean four-piece lineup, capable of delivering soul-shaking, muscular music. The band released The Devil You Know in 2014 and Method To My Madness in 2015, with critics shouting praise and admirers cheering his every move. Castro had stripped his music down to its raw essence with the new, smaller band, sounding bigger than ever. On record and on stage, Tommy Castro & The Painkillers’ road-hardened, seemingly telepathic musicianship bring an unmatched passion to Castro’s blue-eyed California soul and hard-rocking, good-time songs.
With months of tour dates across the U.S. and Europe, Tommy Castro & The Painkillers will be bringing the songs from their new album directly to their fans. No Depression says, “Castro plays gritty, string bending blues like a runaway soul train…a glorious blend that rocks the soul and lifts the spirits.”  Blues Revue simply says, “Tommy Castro can do no wrong.” With Stompin’ Ground, he is clearly, once again, doing everything right.

Stompin' Ground

Rob Lutes - Walk in the Dark

Bitrate: 320K/s
Year: 2017
Time: 42:53
Size: 98,3 MB
Label: LBR
Styles: Americana
Art: Front

Tracks Listing:
 1. A Little Room - 4:31
 2. There's No Way to Tell You T.. - 3:43
 3. Pumping Love - 3:33
 4. I Am the Blues - 2:47
 5. Whistling Past the Graveyard - 3:17
 6. Walk in the Dark - 3:41
 7. Spence - 2:20
 8. Rocky Mountain Time - 3:40
 9. Bigger - 2:58
10. Rabbit - 3:13
11. Hardest Thing of All - 2:59
12. Believe in Something - 3:15
13. Better Past - 2:49

A la suite de l’aventure de Sussex avec le vibraphoniste Michael Emenau, l’auteur-compositeur montrealais Rob Lutes revient a son univers habituel. Lorsqu’il chante, c’est la vie qui s’ouvre, entre l’obscurite qu’il entrevoit, la liberte qu’il veut se donner et la lumiere qu’il cherche a travers l’etre cher. Son espace sonore, il le trouve entre le folk, le blues et, de facon plus generale, l’americana, mais sans completement se camper dans l’un ou dans l’autre. Des complices colorent superbement la musique : Rob MacDonald aux guitares slides qui resonnent, Joe Grass a la mandoline plus bluegrass, Josh Zubot au violon roots, Guy Belanger a l’harmonica, Bob Stagg au Wurlitzer et autres claviers. On sent parfois une touche funky ou une intro plus rag et quelques hommages sont offerts a James Cotton ou au regrette guitariste bahamien Joseph Spence. Avec Walk in the Dark, Rob Lutes confirme une fois de plus sa place au sein des grands fabricants de chansons.

Walk in the Dark

Luke de Held & the Lucky Band - The Redland Son

Bitrate: 320K/s
Year: 2017
Time: 53:48
Size: 123,3 MB
Label: Redland Records
Styles: Blues/Blues Rock/Southern Rock
Art: Front

Tracks Listing:
 1. Dreams - 5:18
 2. Just Me and My Guitar Part II - 5:06
 3. Since You've Been Gone (feat. Luciano Leaes) - 7:10
 4. Big Fat Mama (feat. Luciano Leaes and Tiago Galelli) - 3:50
 5. Thank You Lord - 4:01
 6. Brother Well - 5:53
 7. The Redland Son (feat. Luciano Leaes) - 6:55
 8. I'll Play My Blues - 4:00
 9. A New Age is Coming - 5:26
10. The Brightest Star in ehe Sky (feat. Luciano Leaes) - 6:05

Quando o Luke de Held me falou que ia lançar um novo álbum em 2017, esperava algo totalmente diferente, mais na linha do álbum "Blues From Redland" (2015), algo majoritariamente elétrico, mas fui surpreendido por músicas com uma levada mais calma e letras cheias de sentimentos, e letras muito bem escritas.
"Dreams", faixa que abre o álbum, é uma declaração de amor a sua esposa e filha; "Since You've Been Gone" fala sobre solidão; e "The Brightest Star in the Sky" é a joia desse álbum, a faixa é uma homenagem Luzia Orlandi Mendes, madrinha da sua filha que morreu alguns anos atrás. A letra da música é carregada de sentimento, que letra linda.
Já escutei muitos álbuns lançados no Brasil, mas em poucos encontrei composições tão simples e boas como em "The Redland Son", mas o álbum não se resumo só a boas composições, a banda que acompanha o Luke, a The Lucky Band, faz um trabalho impecável.

The Redland Son

Hidden Lands - Halcyon

Bitrate: 320K/s
Year: 2017
Time: 56:23
Size: 129,2 MB
Label: Progress Records (PRCD 064)
Styles: Progressive Rock/Neo Prog
Art: Front

Tracks Listing:
 1. The Prince of Goofs -  6:38
 2. Water Spirit - 10:07
 3. Ulleraker -  4:08
 4. No One Is In This For Love -  6:02
 5. The Silent Service - 10:09
 6. Songbirds -  6:42
 7. Octavius -  3:23
 8. Rooftop Farewell -  9:10

Musicians:
Bruno Edling (Violent Silence) - vocals;
Hannes Ljunghall (Violent Silence) - keyboards and guitars;
Philipp Bastin - bass;
Gustav Nyberg - drums.

In terms of niveau and style HIDDEN LANDS are acting similar to Sanguine Hum, Iluvator and maybe Nice Beaver somehow. All are representing a sort of remoulded modernized prog orientation, while flirting with some pop and art rock appeal too here and there. This quartet is hailing from Uppsala, Sweden, the musicians are experienced, singer Bruno Edling and Hannes Ljunghall (keyboards, guitar) for instance are deriving from a predecessor unit named Violent Silence.
Meanwhile 'Halcyon' is their third production actually, promises diversity, and some real prog pearls are emerging sooner or later, this counting the album opener in for sure. The Prince Of Goofs bears a rather tricky execution, though also runs in a catchy manner anyhow. Or let me also emphasize the (partially) uptempo No One Is In This For Love, which won't let me go anymore, inviting to sing along on top of that. Besides the electric piano Ljunghall caters for a somewhat quirky synthesizer within. This may annoy one or two, but definitely not me. A perfect tune! Ulleraker on the other hand appears like something I normally would expect from an avant band.
Or by way of variation with The Silent Service we also have an extended charming (quasi pop) ballad at hand. Not my preference basically, but this is really really well done. So finally I take the risk to claim, this is something for connoisseurs. No filler, and melodic compositions overall, though challenging, not straightened in any case. Bruno Edling delivers a very good singing voice, the focus is on the instrumental expansion anyhow, including enough room for solos like on the closing Rooftop Farewell.

Halcyon

Johannes Luley - Qitara

Bitrate: 320K/s
Year: 2017
Time: 46:51
Size: 108,3 MB
Label: Self Released
Styles: Progressive Rock/JRF/Crossover prog
Art: Front

Tracks Listing:
 1. The Doer - 5:01
 2. Upness - 6:27
 3. Seconds - 1:29
 4. Sister Six - 5:22
 5. Soliloquist - 2:57
 6. Moonlight Mesa - 4:42
 7. Red and Orange - 5:25
 8. Faces in Reflection - 3:34
 9. Hot Sands - 3:36
10. The White City - 3:23
11. Agni Rahasya - 4:49

Musicians:
Johannes Luley - electric guitars, acoustic guitars (3,4,10,11), fretless guitar (4), bass (1,5,6,8,11), synth bass (9), mellotron (1), organ (1,4,7), vocals (9), synthesizer (1,2,3,5,6,7,8,9), drone synth (10), sound effects (1), vocoder (2), string arrangement (3), santur (4), moog bass (4), percussion (4), sound FX (4), piano (6,11), shaker (6)
Edoardo Talent - drums (1-7,9-11)
Dicki Fliszar - drums (8)
Katisse Buckingham - soprano sax (1)
Jesse Nason - space bubbles (1), lift off effect (6)
Jason Lobell - upright bass (2)
Morten Kier - vocals (2,8), fender rhodes (8)
Ryan Downe - vocals (3)
Robin Hathaway - vocals (9)
Michael Hunter - flugelhorn (2)
Otmaro Ruiz - yamaha C7 grand piano (2)
Scott Kinsey - organ (7), synth solos (7)
Christian Hammer - vienna dimension brass (11)

QITARA, the new solo album by Perfect Beings guitarist and producer Johannes Luley has arrived.
Featuring Katisse Buckingham (Herbie Hancock), Michael Hunter (Lenny Kravitz) and Otmaro Ruiz (John McLaughlin). Special guest: Ryan Downe (Moth Vellum).
US composer and musician Johannes LULEY is probably best known as the driving force of US band Moth Vellum, who released a highly heralded debut album in 2008 and then more or less disappeared. The band formally disbanded in 2010, and since then Johannes has been hard at work contuning his musical escapades as a solo artist.

Qitara

Laurence Jones - The Truth

Bitrate: 320K/s
Year: 2017
Time: 33:45
Size: 77,5 MB
Label: TSM
Styles: Blues/Blues Rock/Rock
Art: Front

Tracks Listing:
 1. What Would You Do - 4:15
 2. Don't You Let Me Go - 3:09
 3. Hold Me Close - 3:36
 4. Keep Me up at Night - 3:04
 5. Give Me Your Time - 3:53
 6. The Truth - 2:59
 7. Take Me - 3:22
 8. Gone Away - 3:14
 9. Can't Go on Without You - 2:27
10. Never Good Enough - 3:42

Laurence was handed the award for "Young Artist of the Year," at the 2014 British Blues Awards ceremony held at the Great British RnB Festival in Colne, Lancashire.
Laurence Jones Is 22 years old and is already making a big name for himself. "Laurence is like a young Robin Trower, exciting and full of energy" - BBC Radio 2
The young gunslinger of the blues Laurence Jones has sensationally signed a deal with "Ruf Records". His Debut album for the label and 2nd album for Laurence was recorded at the Legendary Dockside Studio in Louisiana where artists such as B.B King and Derek trucks have recorded. A catalogue of big names appear on the album including Walter Trout, Aynsley Lister, Yonrico Scott, Charlie Wooton and producer Mike Zito.
Walter Trout invited the band to support them on his 2013 U.K tour "Laurence is a cross between Eric Clapton & Buddy Guy he is a genius" - "Walter Trout"
A Buzz has been building rapidly around Laurence Jones, starting well before the release of his 2012 "Thunder In The Sky". Since then Laurence has clocked up some serious road miles from touring through out the U.K and Europe.
"Classic Rock - Blues Magazine" - Call him the "Future of the blues" and the "next big thing".. with 2nd album "Temptation" british band leader Laurence Jones has turned his hot-tip potentil into fully formed brilliance, and officially graduated from boy wonder to main man. The future of British blues? On the strength of this album, don't bet against it
"Blues & Soul" - The brand new album on Ruf Records "Temptation" will scoop awards and put Laurence firmly on the map.
Get ready to Rock Magazine gave the debut album "Thunder In The Sky" a 5/5***** rating “Laurence Jones is a wise musical head on young shoulders and ‘Thunder in the Sky’ is an excellent debut album, its worth five stars”.
Classic Rock magazine quoted Laurence as "Blues Rocks youngest Talent" and was featured on the "Blues Fury C.D along with Joe Bonamassa, Kenny Wayne Shepherd, Popa Chubby and many more.
Laurence is influenced by, Walter Trout Eric Clapton, Gary Moore, Rory Gallagher, Albert Collins…

The Truth

Jinetes Negros - Definitiva Mente

Bitrate: 320K/s
Year: 2017
Time: 61:16
Size: 140,6 MB
Label: VIAJERO INMOVIL Records - JINEG071VIR
Styles: Progressive Rock/Progressive Metal
Art: Front

Tracks Listing:
 1. El Tunel Del Destino - 5:19
 2. Las Puertas de La Voluntad - 4:38
 3. Dos Caras - 5:46
 4. Decidir - 5:53
 5. El Cuerpo de La Angustia - 4:11
 6. Laberinto Del Deseo - 5:13
 7. 07. Jinetes Negros - El Divan de La Culpa.mp3 -   
 8. El Parque de La Euforia - 5:40
 9. Molino de Locura - 4:25
10. Retrato del Amor - 4:15
11. La Ultima Cabalgata - 5:06
12. Memorias del Camino - 2:19
13. El Altar del Tiempo - 5:10
14. Redencion - 3:14

Musicians:
Marcelo Ezcurra - vocals, guitar
Pablo Robotti - guitars
Hipólito Courvoisier - bass and vocals
Octavio Stampalia - keyboards, backing vocals
Ricardo Penney - drums, backing vocals
With:
Christian Colaizzo - drums
Marcelo Vaccaro - bass
Guido Stampalia - bass
Gabriel di Mario - sax
Maxi Trusso - vocals
Charly Moreno - vocals
Lucas Pagano - vocals
Miguel Zabaleta - vocals

La última cabalgata de los Jinetes Negros llega a su fin en este quinto y último álbum. Un trabajo conceptual pleno de canciones emotivas bajo la clásica estética musical de la banda, donde se destacan los arreglos, tanto instrumentales como vocales, acompañados por destacados músicos invitados en distintos temas.

Definitiva Mente

Carl Verheyen - Essential Blues

Bitrate: 320K/s
Year: 2017
Time: 39:26
Size: 90,4 MB
Label: Cranktone Entertainment
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. I Take what I Want - 3:37
 2. Someday After a While - 4:29
 3. Stealing Gasoline - 4:31
 4. Dodging the Blues - 4:20
 5. Good Morning Judge - 3:21
 6. You Don't Love Me - 5:01
 7. Stardust Blues - 4:02
 8. I May Be Wrong, But I Won't be Wrong Always/Closing Time Jazz - 3:27
 9. Oh Well - 3:20
10. Hard Times - 3:14

Carl Verheyen Essential Blues brings together four world-class musicians for a rare showcase of all things blues. Named one of the World's Top Ten Guitarists by Guitar Magazine and One of the 100 Greatest Guitarists of All Time by Classic Rock Magazine, Carl now has 14 albums to his credit and is widely known as Supertramp's lead guitarist. For the first time in Seattle, Carl is bringing a four-piece band to Highway 99. Carl will be joined by longtime bassist Dave Marotta (Phil Collins, Neil Diamond, Bruce Hornsby, Manhattan Transfer) and the original CVB drummer John Ferraro (Boz Skaggs, Aaron Neville, Linda Ronstadt, Eddie Van Halen). Added to the mix is keyboard master Jim Cox, who has toured recently with James Taylor, Lyle Lovett, and Mark Knopfler. As Carl puts it, "Exploring the deep and wondrous avenues of the blues with this band is a very special experience for me."
Another brand new CD (street date is September 15) for all guitarists comes from Carl Verheyen. It’s called “Essential Blues” and is obviously a Blues album.
Blues is especially for us guitar players a genre which we like to listen to and also include in our playing. I think the guitar is the blues instrument par excellence.
Carl Verheyen plays what I would call intelligent blues, like Robben Ford or Eric Clapton do. Carl is one of the big names in the LA studio scene, he is member of the rock group “Supertramp” since 1985 and he has basically played everything possible (TV shows, movies, recording and performing with rock and pop superstars in the last 30 years).
But he has this love with the blues and this album is like a kaleidoscope of contemporary blues. We find songs from Peter Green, Alvin Lee, Ray Charles, Willie Cobbs and also originals from Carl Verheyen plus one traditional, all arranged differently in style and sound.
There are songs very straight played like “I Take What I Want”  or “Stealing Gasoline”, some blues-rock in “Oh Well” or slow blues tunes like “Someday After A While”.
“Dodging The Blues” is a slow moll instrumental blues composed by Carl with an amazing guitar sound (reminds me a little bit of Pink Floyd).
My favorite song of the album is the Alvin Lee tune “I May Be Wrong” played with very jazzy intro.
The album closes with the Ray Charles song “Hard Times” with just guitar, bass, tambourine and vocals, also very beautiful.
The album was recorded live in three days in February 2017 and according to Carl, the “self inflicted parameters were: I would play just 2 guitars, 2 amps, do no overdubs and everything must be played and sung live in the room with bass, drums and keyboards. “. The result of these three days is a great spontaneous album, very compact but also very precise. A perfect example that it is all about the music itself, or as Carl said: I abandoned all the self doubt and just “went for it.”
Carl plays typically a Fender Stratocaster (this guitar is also the star on the CD cover) which has this sometimes a little bit thin but very distinctive sound.
As said, this is blues guitar album, it shows the different styles of blues that exist today all played in perfection. Obviously Carl Verheyen gets a chance to play great guitar solos but also Jim Cox on keyboards (piano and organ) shines as a soloist. This album gets a clear recommendation from me.
The other good news is that he will be in Europe in October and November this year, he visits Poland, Germany and the Netherlands. Details can be found on Carl’s website: https://www.carlverheyen.com/tour-dates/

Essential Blues

Ten Years After - Live from London

Bitrate: 320K/s
Year: 2016
Time: 54:19
Size: 124,5 MB
Label: Cherry Red
Styles: Blues
Art: Front

Tracks Listing:
 1. Love Like A Man -  5:17
 2. I May Be Wrong (But Won't Be Wrong Always) -  6:20
 3. Good Morning Little School Girl -  6:33
 4. Help Me - 10:54
 5. Woodchoppers Ball -  4:38
 6. Slow Blues -  6:51
 7. Goin' Home - 13:44

British blues-rock quartet Ten Years After originally consisted of Alvin Lee (born December 19, 1944, died March 6, 2013), guitar and vocals; Chick Churchill (born January 2, 1949), keyboards; Leo Lyons (born November 30, 1944) bass; and Ric Lee (born October 20, 1945), drums. The group was formed in 1967 and signed to Decca in England. Their first album was not a success, but their second, the live Undead (1968) containing "I'm Going Home," a six-minute blues workout by the fleet-fingered Alvin, hit the charts on both sides of the Atlantic. Stonedhenge (1969) hit the U.K. Top Ten in early 1969. Ten Years After's U.S. breakthrough came as a result of their appearance at Woodstock, at which they played a nine-minute version of "I'm Going Home." Their next album, Ssssh, reached the U.S. Top 20, and Cricklewood Green, containing the hit single "Love Like a Man," reached number four. Watt completed the group's Decca contract, after which they signed with Columbia and moved in a more mainstream pop direction, typified by the gold-selling 1971 album A Space in Time and its Top 40 single, "I'd Love to Change the World."
Subsequent efforts in that direction were less successful, however, and Ten Years After split up after the release of Positive Vibrations in 1974. They reunited in 1988 for concerts in Europe and recorded their first new album in 15 years, About Time, in 1989 before disbanding once again. In 2001, Ric Lee was preparing the back catalog for re-release when he discovered the Live at the Fillmore East 1970 tapes. He approached Alvin Lee about getting back together to promote the lost album, but Alvin declined. The rest of the band was up for it, though, and together with guitarist Joe Gooch, Ten Years After started touring again. In addition to touring the world, this new incarnation recorded its first new material in about a decade and a half and released Now in 2004, adding the live double-CD set Roadworks in 2005. Alvin Lee died on March 6, 2013 at the age of 68 due to complications from a routine surgery. Ten Years After continued to tour after Alvin's death with a lineup featuring Chick Churchill and Ric Lee plus two new members: guitarist/vocalist Marcus Bonfanti and bassist Colin Hodgkinson. This incarnation released its first studio album, A Sting in the Tale, in 2017. ~ William Ruhlmann

Live from London

Nau Aletheia - Los Misterios de Eleusis

Bitrate: 320K/s
Year: 2017
Time: 52:35
Size: 120,6 MB
Label: Viajero Inmovil Records
Styles: Progressive Rock
Art: Full

Tracks Listing:
 1. Nordenskjold - 6:28
 2. Infancia Diamantina - 4:28
 3. Fotofobia - 7:18
 4. La Semana - 5:54
 5. Octaedro - 4:12
 6. Interludio - 0:44
 7. Mates - 4:34
 8. Y el Verano Dejo una Brisa - 3:53
 9. Sangre de Estatua - 4:30
10. Infancia Diamantina (Reprise) - 1:28
11. Menocchio (a Domenico Scandella) - 9:02

Musicians:
Line-up:
Alvar Llusá-Damiani — acoustic/electric guitars, violin
Gabriel Herrera — keyboards, sequencer; guitar (3)
Juan Pablo Gonzalez — electric/fretless basses
Ezequiel Bonani — drums
Guests:
Natalia Abate — flute (1, 7)
Lucas Zampi — saxophone (1, 3, 4, 9)
Emilio Ariza — flute (2)
Camila González — flute (3, 11)
Adrián Foppiano — percussion (4, 9)
Lucas Misael Cuadra — oboe (8, 11)
Nicolás Ruggiero — clarinet (8, 11)
Tiziana Rocca — chorus (10)
Ítalo Antúnez — bassoon (11)
Guadalupe Hidalgo — voice (11)

Hoy tenemos el enorme placer de presentar a la joven banda argentina de rock progresivo NAU ALETHEIA, por motivo de la reciente publicación de su primer trabajo de larga duración “Los Misterios De Eleusis”. Más exactamente, dicha publicación tuvo lugar en el pasado mes de marzo por vía del sello Viajero Inmóvil; el grupo ya había publicado previamente un EP homónimo en el año 2016, pero es ahora que se da el verdadero develamiento del grupo (y no olvidemos que aletheia significa verdad como develamiento en la tradición de la filosofía griega antigua). Los integrantes de NAU ALETHEIA son Álvar Llusá-Damiani [violín, guitarras eléctricas y acústicas], Gabriel Herrera [teclados, secuenciador y guitarra eléctrica ocasional], Juan Pablo González [bajos con y sin trastes] y Ezequiel Bonani [batería]. Su propuesta es ecléctica con una versátil apertura a lo sinfónico, lo Crimsoniano y lo fusionesco, abriéndose también a recursos pastorales, fusionescos y de cámara contemporánea con una gracilidad bien compacta. En el transcurso del repertorio contenido en “Los Misterios De Eleusis” – que desde ya calificamos como uno de los ítems progresivos más excelentes que han emergido del país argentino no solo en el presente año 2017 sino en lo que va del nuevo milenio –, el cuarteto protagónico cuenta con las ocasionales colaboraciones de una nutrida cantidad de cómplices de aventuras musicales: el saxofonista Lucas Zampi, los flautistas Emilio Ariza, Camila González y Natalia Abate, el percusionista Adrián Foppiano, el oboísta Lucas Misael Cuadra, el clarinetista Nicolás Ruggiero, el fagotista Ítalo Antúnez, además de los aportes vocales de Tiziana Rocca y Guadalupe Hidalgo. Como se puede anticipar, el grupo apuesta por articular una meticulosa ingeniería de sonoridades polícromas: revelemos ahora los misterios del repertorio de este disco para evaluar con mayor esmero los logros concretos de esta estrategia estética.
La dupla de ‘Nordenskjöld’ e ‘Infancia Diamantina’ ocupa los primeros 11 ¼ minutos del álbum tomando por asalto a nuestros sentidos y cautivándolos en una experiencia melómana pletórica. Las ilaciones multitemáticas están armadas con un espíritu valiente y un desparpajo osado, siempre mediando la inteligencia para que la espiral arquitectónica en curso pueda engranar todos los diversos recursos sonoros en una unidad. Definivitamente, en el caso de ‘Nordenskjöld’ se da una prioridad del factor oscurantista, la misma que sabe otorgar a la abrumadora densidad reinante un aura exquisita. Una vez plasmada esta espiritualidad inquietante, ‘Infancia Diamantina’ emerge en un viraje hacia un lirismo sereno de talante contemplativo, aunque cabe acotar que dicho viraje no es radical pues hay espacios momentáneos para nuevas manifestaciones de aguerrida musculatura; dichos espacios no son interrupciones sino matices refrescantes inesperados. Así las cosas, con la emergencia de ‘Fotofobia’ – que con sus poco más de 7 ¼ minutos de duración se erige en la pieza más extensa del disco – las cosas solo pueden ir engrandeciendo su majestuosidad esencial. La estructura general de esta pieza se centra en el predominio de un sinfonismo elástico y frondoso, situado a medio camino entre lo otoñal y lo siniestro pero manejado con una delicadeza tal que nunca llega a lo chocantemente tétrico. Con el empleo de un breve interludio en clave de hard rock y de una prestancia vitalista en el ceremonioso epílogo (curioso híbrido de GENESIS y PINK FLOYD), el grupo conquista un cénit decisivo del álbum. ‘La Semana’ sigue a continuación para explorar otras facetas más ágiles de la polivalente agenda musical de NAU ALETHEIA. Esta vez es el dinamismo propio del discurso jazz-rockero el que se encarga de asentar el sofisticado groove de la pieza (una de las mejores intervenciones de la dupla rítmica en todo el disco), siendo así que su diagrama melódico se beneficia con una refrescante vivacidad. Los fraseos del violín, que en los temas #1 y #3 se centraban en matices densos, ahora exhiben una plasticidad fulgurosa. El solo de saxo que entra a tallar en algún momento funciona como complemento perfecto para el violín.
‘Octaedro’ sigue en cierta medida la senda trazada por la pieza precedente pero con una robustez rockera más pronunciada y un groove un poco más directo, tanto en los pasajes aguerridos como en los más calmados. Se puede decir que aquí se notan tanto los legados del sinfonismo italiano (OSANNA, ALPHATAURUS) como las confluencias con el prog argentino contemporáneo (LÁQUESIS, ÜNDER LINDEN). Aunque dura más de 4 minutos, ojalá que hubiese durado un poco más porque a verdad es que ‘Octaedro’ goza de un gancho irresistible. Con el engarce de la miniatura ‘Interludio’ y ‘Mates’ tenemos un breve momento de placidez bajo la guía de la guitarra acústica antes de que el grupo vuelva a explorar los motivos más vibrantes de su eclecticismo. ‘Mates’ puede muy bien describirse como una inspirada síntesis de los temas #1, #3 y #5, con un cierto predominio de la aureola lírica del segundo de éstos. bajo el bello título de ‘Y El Verano DejóUna Brisa’ se muestra una bellísima pieza que nos remite al paradigma de ANTHONY PHILLIPS con etéreos añadidos que parecen inspirados en el discurso post-rockero, aunque con un matiz sinfónico inocultable. Una vez más, tenemos aquí una pieza cautivadora que nos deja deseando que se hubiese extendido un poco más, pero bueno, el disco tiene que seguir adelante y ahora llega el turno de ‘Sangre De Estatua’. Este tema tampoco está nada mal, y de hecho, nos parece que instaura otro momento cumbre con su gallardía melódica, la cual tiene mucho de Cameliana y Genesiana mientras se complace en manifestar su estilizada solidez sonora (hay afinidades con sus compatriotas de FOBOS así como con bandas italianas de peso como NOT A GOOD SIGN y PHOENIX AGAIN). El broche de oro de “Los Misterios De Eleusis” llega con la dupla de ‘Infancia Diamantina (Reprise)’ y ‘Menocchio (A Domenico Scandella)’: como es de esperar, la primera de estas piezas da un nuevo giro de tuerca a la faceta pastoral del grupo, mientras que la segunda nos brinda un épico ejercicio de restauración del legado de los inolvidables M.IA. en una ubérrima exhibición de exuberancia melódica. Hay ciertos lugares estratégicos para instalar alguno que otro truco extravagante; también están los arreglos de madera usados para enriquecer generosamente al solventemente afirmado núcleo temático. Un enorme cierre para el disco, sin duda.
Todo esto fue lo que nos brindó “Los Misterios De Eleusis” y la verdad es que no podemos sentirnos más dichosos. NAU ALETHEIA es un grupo que entra a las grandes ligas de la avanzada progresiva contemporánea de forma instantánea y por la puerta grande. Nos da la impresión de que cualquier elogio que podamos añadir o reiterar en esta parte final de la reseña puede sonar redundante o trivial, así que solo nos queda concluir que este disco es recomendado al 300% a todos los acérrimos amantes del rock artístico de todos los tiempos y lugares. Definitivamente, es un triunfo nada misterioso del rock progresivo argentino contemporáneo.

Los Misterios de Eleusis

El Circulo de Willis - Retales

Bitrate: 320K/s
Year: 2015
Time: 35:41
Size: 82,6 MB
Label: Self Released
Styles: Progressive Rock/Psychedelic/Jazz Rock-Fusion/Canterbury Scene
Art: Full

Tracks Listing:
 1. Puerta 186 - 18:51
 2. El hombre entre la multitud -  6:08
 3. Fractura -  2:39
 4. Nube 9 -  8:02

Un cuarteto formado por musicos curtidos en escenarios de diferentes salas y recintos de todo el estado dieron forma a El Circulo de Willis, un proyecto que ahora nos presenta su nueva referencia: Retales (2015), un disco autoproducido y conformado como un vinilo donde eliminan cualquier tipo de limite, fusionando su musica que es todo un viaje por diferentes estilos, donde el rock y el jazz dominaran entre estas composiciones composiciones que nos envuelven durante mas de media hora de musica. La Cara A de esta entrega esta ocupada en su totalidad por Puerta 186 (01), donde una melodia inicial en la flauta de Gonzalo Solas se retuerce, avanza, crece y gana energia, apoyada siempre en la solida base que Ivan Pozuelo (Bateria) genera. Aumenta la velocidad y entra el sonido del saxofon, quien poco despues dialoga con el bajo de Tomas Fernandez, siendo despues el turno de Sergio Segovia a los teclados, presentandose la banda en menos de seis minutos de los 18 que dura este track inicial. Sigue este viaje sonoro que nos envuelve y ya no hay pausa, genera ganas suficientes para escuchar todo el disco.
El hombre entre la multitud (02) inicia la Cara B, donde han contado con la colaboracion de Alvaro Espinosa (Pink Tones). El peso melodico sigue en el saxofon, siempre muy bien incluido dentro del resto de esta banda que demuestra sobradamente que no existen limites en sus composiciones. Sigue Fractura (03), que surge de la idea final del anterior tema, mostrando un inicio mas potente y siendo esta una buena entrega de sus capacidades tecnicas. Tan rapida y acelerada que cuando nos queremos dar cuenta han pasado sus mas de dos minutos y medio. Y como despedida queda Nube 9 (04), donde sigue dominando su sonoridad que mezcla sin limites sus diferentes intereses musicales. Toda una experiencia para los sentidos este Retales.

Retales

El Circulo de Willis - Fabulas

Bitrate: 320K/s
Year: 2012
Time: 52:56
Size: 121,6 MB
Label: Self Released
Styles: Progressive Rock/Psychedelic/Jazz Rock-Fusion/Canterbury Scene
Art: Full

Tracks Listing:
 1. Tu No Sabes Lo Que Has Hecho -  7:34
 2. El Banquete Canibal -  7:50
 3. La Historia De Los Trispis - 13:15
 4. La Batalla De Los Soldaditos De Plomo -  7:00
 5. Endodoncia -  8:23
 6. El Turbante Sin Cabeza -  8:51

Hoy nos toca hablar de un grupo espanol dedicado a las hibridaciones space-fusion-psicodelicas: EL CIRCULO DE WILLIS, ensamble madrileno que ya lleva una cierta cantidad de anos propugnando su peculiar vision musical progresiva, mas exactamente desde 1999. Desde el mes de junio esta disponible su mas reciente trabajo fonografico “Fabulas”, una sorpresa infinitamente agradable en la variopinta y siempre inquieta escena progresiva de la Peninsula Iberica. Hay una edicion especial en la que el disco, junto con un comic de 88 paginas (ilustrando graciosamente las tematicas de cinco temas de album) y una pegatina con la insignia del grupo, se guarda en una caja de madera: ?todo un item de coleccion!
A lo largo de los anos, EL CIRCULO DE WILLIS ha experimentado varios cambios de formacion, permaneciendo por ahora Sergio Segovia Hoya “Nino” (guitarra, organo Hammond, piano) e Ivan Guevo (bateria, percusiones) de la formacion original, mientras que Gustavo (flauta, saxos) esta en la banda desde 2002 y Tomi Noes (bajo, sin tetizadores) se incorpora despues de estar un tiempo colaborando en la parte audiovisual de los conciertos del grupo. Hasta antes del presente ano 2012, el grupo habia registrado un “Demo” de 2003 y el disco “Cuadrado” de 2005, ambos dispuestos para bajarse de la pagina web de la banda. En el ideario oficial del grupo, se lee que “en El CIRCULO DE WILLIS cabe la improvisacion, la locura musical, la repeticion, la variacion progresiva, los cambios imprevisibles, los cambios previsibles (no siempre se puede sorprender...), los juegos de luces, la distorsion, el ruido, el silencio, la tranquilidad, melodias bonitas, melodias disonantes, orden y caos... ”: asi pues, tenemos una declaracion de principios sobre la celebracion de lo eclectico y el impetu de recrear los colores del sonido.
El disco comienza con ‘Tu No Sabes Lo Que Has Hecho’, una gozada de 7? minutos donde el cuarteto se explaya a sus anchas con un vitalista ejercicio de psicodelia alimentada de dinamicas jazzeadas, algo que, en muchos aspectos, nos parece confluyente (aunque sea por casualidad) con lo hecho por bandas de otras periferias como STEREOKIMONO (ambos de Italia), MAR DE ROBLES (Chile) y MAHOGANY FROG (Canada). El climax final es rotundo con una robustez electrizante. El segundo tema es ‘El Banquete Canibal’, el cual realza mas notoriamente el factor fusionesco junto con el swing jazzero a cargo de la dupla ritmica. El manejo de cadencias y atmosferas exoticas responde coherentemente a las exigencias de ambientes trepidantes que el grupo programa para la ilacion compositiva de los diversos motivos en curso, aunque tambien hay un pasaje lento donde predomina la ceremoniosidad sinfonica, generando asi un momento estrategico para el contraste. Cerca del final, la guitarra emerge con un talante cuasi-metalero en medio de la vibracion general de la instrumentacion - ?otro climax perfectamente electrizante! Junto a los ultimos golpes de ‘El Banquete Canibal’ se engarza el tema mas largo del disco es el tercero: ‘La Historia De Los Trispis’, una manifestacion inapelable de las aristas mas furiosamente ambiciosas del ideario musical de EL CIRCULO DE WILLIS. El grupo aprovecha las proyecciones potenciales de la pieza en cuestion para expandirse en el gracil eclecticismo antes plasmado en ‘El Banquete Canibal’, a la par que matiza las dosis de vigor en la ilacion y elaboracion de los motivos. Uno de ellos ostenta un espiritu ludico circense, y tambien hay otro donde el grupo se anima a explorar cadencias electronicas de inspiracion nu-jazz con revestimientos de corte space-rockero. El pasaje final porta un lirismo envolvente manejado con impecable elegancia, algo intermedio entre las tradiciones de CAMEL y PFM.
‘La Batalla De Los Soldaditos De Plomo’ comienza en pleno con una coqueta exhibicion de colores traviesos bajo la guia de la flauta de Gustavo, y de hecho, en las ulteriores expansiones melodicas, la flauta seguira ocupando un rol protagonico. Tenemos en dichas expansiones melodicas pasajes de jazz-rock con tendencia heavy, interludios space-rockeros a lo OZRIC TENTACLES y un estupendo desarrollo tematico fusionesco que sirve como plataforma para la coda que replica el motivo inicial. Con ‘Endodoncia’, el ensamble vuelve en cierto modo a los senderos de ‘Tu No Sabes Lo Que Has Hecho’, aunque con la salvedad de que el aspecto psicodelico esta mas resaltado en muchas de las atmosferas creadas sobre el camino, lo cual implica la recepcion de un fuerte impacto de parte de las dos piezas precedentes. En fin, el disco se cierra con ‘El Turbante Sin Cabeza’, un tema con fuerte raigambre fusionesca donde el encuadre de flauta y piano dirige los desarrollos tematicos, mayormente encauzados por lo arabigo y lo aflamencado. En esta pieza especifica, el ensamble se focaliza en la priorizacion de la dimension mas refinada de su ideologia musical, aunque siempre hay espacio parta alguna extravagancia inesperada, la cual llega en el pasaje final donde el grupo elabora un robusto hibrido de GONG y HAWKWIND, reformulado bajo pautas mas contemporaneas (afines a lo que vienen haciendo bandas como DIAGONAL, ASTRA o los coterraneos de LUGER, por poner algunos ejemplos). Este recurso sirve para encauzar eficazmente un viraje “perverso” a la atmosfera predominante, logrando asi agudizar el momentum.
Como balance general solo queda concluir que “Fabulas” es un disco pletorico de ingenio, colorido y fuerza de caracter: vale la pena prestar a este grupo de una buena vez, y cuanto antes sea... ?mejor! Gracias a la gente de EL CIRCULO DE WILLIS por poner este sueno en nuestras manos.

Fabulas

Deep Limbic System - The Embryo (Extended Version)

Bitrate: 320K/s
Year: 2016
Time: 43:59
Size: 101,3 MB
Label: Self Released
Styles: Progressive Rock/Crossover prog
Art: Front

Tracks Listing:
 1. Amniotic - 1:57
 2. Dysania - 6:00
 3. Orison - 9:25
 4. Owls - 3:19
 5. Farewell - 7:46
 6. A Ceiling of Stars - 9:00
 7. Alicia's Ghost - 6:28

Musicians:
Sergio Sunga - Lead Vocals & Guitars;
Angel Daniel - Bass
Efrain Fraire - Guitars;
Carlos Barcenas - Keyboards
Pepe Armengol - Drums & Percussions
Feat.:
Beto Valtierra - Sax

DEEP LIMBIC SYSTEM is a band based in Juárez, México formed in late 2012 when Sergio SUNGA (vocals, guitar), Efraín FRAIRE (guitar), and Antonio ALVA (former bass player) left a Heavy Metal project they were playing in and joined José ARMENGOL (drums) and Carlos BARCENAS (Keyboards) to experiment on unknown musical paths. The band spent almost a year composing and rehearsing 'THE EMBRYO', their debut EP. Antonio later left the band, leaving the place to Angel DANIEL (bass). They are very influenced by all kinds of music and have developed an eclectic sound.
The band is in the quest to express the ideas they had stuck in their heads with past bands they've worked with, but including a new touch, open to different sounds and textures.
DLS converges in one belief, which consist in taking music as the main focus and not a particular genre, having in that way the freedom to work with emotion and every color it offers. Biography provided by the artist and used with permission/

The Embryo (Extended Version)

T. Nicks & Ken Eichler - Deep Water

Bitrate: 320K/s
Year: 2014
Time: 52:05
Size: 119,4 MB
Label: A.B. Franklin Productions
Styles: Blues/Americana/Roots Rock
Art: Front

Tracks Listing:
 1. Deep Water - 4:08
 2. Hold On - 3:55
 3. Come Back Baby - 3:35
 4. Workin' for the Union Wage - 3:35
 5. Dreams of Terez - 3:29
 6. Over and Over - 4:31
 7. Up River - 3:47
 8. Blue Seduction - 4:07
 9. Done with You - 4:17
10. Charlene - 3:36
11. Backwater - 3:58
12. Cold Train - 4:03
13. Catfish - 4:58

Rock & Roll, Americana and Blues find common ground in this great collection of finger-snapping tunes. Organically grown in the USA with no GMO, preservatives or additives, this music is sooo... good for you!
Album Notes
" Deep   Water " is the first recording collaboration between two long-time friends who first worked together during their college years in their popular local rock band, Skydog.  T .  Nicks  and  Ken   Eichler  share many common musical roots and while their music is fresh and original, you can still hear influences of the Rolling Stones, Beatles, Allmans, and many more classic artists throughout the cuts.
All of the guitar parts are played by  T .  Nicks  and  Ken   Eichler , lead vocal duties are shared by  T .  Nicks , Blues Brother Tommy McDonnell, Stephanie Harrison and Greg Mayo. Vito Luizzi provides the driving rhythms on twelve of the thirteen tunes with Vinnie Conigliaro (filling in for a touring Vito) on “Dreams Of Terez”. Paul Connors, keyboardist extraordinaire, provides a perfect counterbalance to the guitars and Larry Forrest lays down the bass in "Hold On" and "Workin' For The Union Wage".
T .  Nicks  - guitar, bass, vocals (Over And Over, Charlene, Backwater)
Ken   Eichler  - guitar, bass, background vocals, percussion
Tommy McDonnell – vocals ( Deep   Water , Workin’ For The Union Wage, Up River)
Stephanie Harrison – vocals (Hold On, Done With You)
Greg Mayo – vocals (Come Back Baby)
Vito Luizzi - drums
Paul Connors - keyboards
Larry Forrest - bass (Hold On, Workin' For The Union Wage)
Vinnie Conigliaro - drums (Dreams of Terez)

Recorded 2012-2014 at Sliding Door Studio, New Rochelle, NY
Produced and engineered by Kenneth F.  Eichler , A.B. Franklin Productions
www.kenstunes.com

Deep   Water

Mike ''Mudfoot'' McDonald - Play This (Tired of the Same Old Rut?)

Bitrate: 320K/s
Year: 2017
Time: 44:24
Size: 101,7 MB
Label: Self Released
Styles: Blues/Blues Rock
Art: Front

Tracks Listing:
 1. Tired Of The Same Old Rut - 5:26
 2. I Put a Spell on You - 4:27
 3. Whistle Blowin' - 5:36
 4. Valerie - 5:01
 5. Don't Wanna to Catch You - 3:55
 6. Lean on Me Mama - 4:13
 7. Hock's Groovin' Bar Cafe - 5:19
 8. Slide - 3:30
 9. Come on Baby - 3:10
10. Tired of the Same Old Rut? (Radio Mix) - 3:43

Well, he finally did it! Mike "Mudfoot" McDonald releases his debut album "Play This". Join the grand celebration with Mike featuring, Pat Rush, Guitar; Cory Turnbull, Bass; Randall Coryell, Drums. Veteran guitarist/singer Mike McDonald has been delighting audiences for over four decades.
A consummate performer, Mike has shared stages around the world with an “endless” list of musical icons from B.B. King, Three Dog Night, James Cotton, and Steppenwolf to spending a week in Kandahar playing for the troops - one of his proudest moments.
He’s also a very talented audio engineer/producer, who ran Toronto’s venerable Grossman’s Tavern Sunday Night Jam for 13 years using his music smarts to mentor hundreds of musicians at Toronto’s legendary “Home of the Blues” including Canadian mega talents like Jeff Healey, Allanah Myles, Micheal Pickett and Tony Springer. Mike’s also produced albums “Grossman’s Live 1” and “Grossman’s Live 2” featuring Jeff Healey and Pat Rush (Johnny Winters, Muddy Waters, Dr. John).
In the spirit of Grossman’s live music jams, he currently hosts Kitchener’s bi-weekly showcase Mike’s Monster Jam featuring the who’s who of music in Waterloo Region and beyond.
He’s also very adept at paying homage to the playlists of other bands and has been playing the role of John Fogerty in CCR Tribute Band, “Bayou Boys” for years and was the founding member of Green River. In 2012, he added Keith Richards to his guitar slinger’s repertoire in Rolling Stones songbook band The Beggar’s Banquet.

Play This (Tired of the Same Old Rut?)

Solomon King - Medicine

Bitrate: 320K/s
Year: 2011
Time: 28:34
Size: 67,8 MB
Label: Self Released
Styles: Blues
Art: Front

Tracks Listing:
 1. Medicine - 3:34
 2. Baby Does Me Good - 2:46
 3. Make You Mine - 2:02
 4. Little Wheel - 2:04
 5. Don't You Love Me No More - 2:58
 6. Closer - 3:02
 7. Cinnamon Rose - 2:04
 8. Bucket - 3:29
 9. Trouble - 3:33
10. Be My Baby - 2:56

American Blues man with a mean boogie. Solomon King is a Grammy nominated blues artist with style. Medicine is his second album, produced by Marvin Etzioni (Lone Justice). 10 tracks and back to the blues. Solomon King has got the right ingredients for a top album.Throughout the USA, Canada and Europe Solomon King has played on broadcast radio leaving his emotion, music and soul where ever he plays. Medicine has all the essentials for a great blues album. Boogie, Bo Diddley, and low down dirty blues.
Here’s what the pros are saying:
Over the course of the striking, stripped-down Medicine, former Detroit autoworker Solomon King returns to that moment when the blues moved inexorably away from the uplift that defined gospel music, and ultimately toward rock ‘n’ roll and then hip hop. The blues sought, at first, to define every-day concerns, but there were no easy answers. As with King’s efforts on this new project, it sought to render those things more real, to define them. That made the music, back in the days of Son House and Robert Johnson, more dangerous than danceable.
For more information please visit his official website: http://solomonkingmusic.com

Medicine

Amarok - Hunt

Bitrate: 320K/s
Year: 2017
Time: 61:56
Size: 141,8 MB
Label: Musicom
Styles: Progressive Rock
Art: Full

Tracks Listing:
 1. Anonymous -  6:42
 2. Idyll -  5:41
 3. Distorted Soul -  5:33
 4. Two Sides -  5:10
 5. Winding Stairs -  4:35
 6. In Closeness -  5:52
 7. Unreal -  4:40
 8. Nuke -  5:48
 9. Hunt - 17:51

Amarok is the prog project of Polish multi-instrumentalist Michal Wojtas. What caught my attention about this album was that Mariusz Duda of Riverside provides vocals on a track, “Idyll.” Needless to say, that track is worth the price of admission alone. It and the rest of “Hunt” sound a lot more like Lunatic Soul than Riverside.
The album has a lot of ambience to it. Whether it’s the cinematic instrumental “Two Sides” or the somewhat clanging of “Distorted Soul,” this is NOT about the quantity of notes but rather the quality of them. The album could certainly be confused with Lunatic Soul had Duda sang on more tracks. But Wojtas has a very strong voice which is on full display on tracks like “Winding Stairs.” In addition to Duda, Colin Bass guests on the track “Nuke” and does a fine job.
The one downside for me is the overabundance of programming of the percussion. The good thing about it is that it never tries to sound like drums, which is my pet peeve. Still, it can sound a tad sterile at times and even a little over done. The other issue is the spoken word to start off the epic title track. I am not a fan of spoken word as you all know and this actually sounds like an advertisement in tone and topic. The song itself sounds like something Mike Oldfield would have written which is a complement indeed.
It’s been 13 years since the last Amarok album and I was completely unaware of Wojtas’ work. After listening to “Hunt,” I am struck by the huge gap. This is a clearly talented man who should have a massive catalog. If you like atmospheric music, movie soundtracks or the work of the artists that I’ve listed above, you would do well to check out “Hunt.”

Hunt

Druckfarben - Druckfarben

Bitrate: 320K/s
Year: 2011
Time: 44:23
Size: 101,8 MB
Label: Self Released
Styles: Progressive Rock
Art: Front

Tracks Listing:
 1. ELPO - 2:35
 2. Influenza - 5:26
 3. Smaller Wooden Frog - 4:39
 4. Dead Play Awake - 6:47
 5. Walk Away - 3:05
 6. Seems So Real - 4:31
 7. Nat Nayah - 5:43
 8. Sons Of Anakim - 3:58
 9. Nonchalant - 7:34

Musicians:
Phil Naro- voice
Ed Bernard- guitars, voice, violin, mandolin
William Hare- keyboards
Peter Murray- bass, voice
Troy Feener- drums, percussion

Following in the footsteps of some classic progressive acts that have emerged from the city in earlier years, Druckfarben is a Canadian band based out of Toronto. Although they are a fairly new act, their sound recalls a different time in the history of rock music. For all sake, Druckfarben executes their upbeat brand of vintage prog quite well, but much like far too many new bands these days, they default upon emulation, rather than innovation.
Druckfarben is music made between old friends, and their sound does reflect this to an extent. The musicianship is admirable, a mix of harder rock and symphonic prog tendencies. It comes together sounding like a crossroads between Yes, Rush, and Kansas. William Hare's grasp of the rock organ is impressive, and Ed Bernhard's work with the guitars demonstrates a versatility, tackling both technical passages and solos with feeling. Musically speaking, no one could speak ill of any band members' skill. Each member plays their part nicely, and there's even a tight blanket of warm production to give the performance that extra shine. Druckfarben's sound is not their own, but there is no question that they are able to pull it off.
Although Yes is the primary influence I am hearing in Druckfarben's sound, what Toronto prog band could be complete without a helping of Rush? 'Walk Away' enjoys guitar work that sounds plucked out of 'Hemispheres'. The vocals are higher register, but do not sound like Geddy Lee at all. Instead, his vocals will more likely draw comparisons with Jon Anderson's (of Yes), but- of course- they are graced with that lovable Canadian accent. His voice works well with the upbeat feel of the band's music. In short, despite their lack of originality and innovation, Druckfarben execute their sound well, even in terms of the composition. Although none of these songs instantly locks itself in my head after a few listens, there is a strong arrangement that lets each band member strut their skills. It will be interesting to see where Druckfarben go with their music; they certainly have the ear for it, but right now, that ear is a little too filled with the sounds of others.

Druckfarben 

Druckfarben - Second Sound

Bitrate: 320K/s
Year: 2014
Time: 56:41
Size: 130,1 MB
Label: Self Released
Styles: Progressive Rock
Art: Full

Tracks Listing:
 1. An Answer Dreaming -  6:59
 2. In Disbelief -  3:29
 3. Dandelion -  5:07
 4. Liberated Dream -  4:26
 5. Long Walk Down -  5:03
 6. Surrounds Me -  7:23
 7. Another Day -  5:23
 8. Second Sound - 18:48

Musicians:
Phil Naro - voice;
Ed Bernard - guitars, voice;
Will Hare - keyboards;
Peter Murray - bass, voice;
Troy Feener - drums.

Druckfarben are a group of very talented and passionate Toronto based musicians who swim in the waters of modern progressive rock. This followup to their self-titled debut, really hits the sweet spot of challenging, intricate and yet strongly melodic and emotional music. All of the elements of vintage 70's prog are updated, distilled and put through a blender to produce something unique and satisfying, that they can call their own. It is amazing how well all of the instruments, including vocals, interlock and work together, complimenting each other and making the whole add up to way more than the sum of the parts. Each song is a carefully sculpted musical journey, full of twists and turns, drama, and hooks you can really sink your teeth into.Every track is strong and in addition to lots of instrumental prowess, there are some fantastic vocal harmonies sprinkled throughout. The sound pallette includes guitars/mandolin/violin/viola - Ed Bernard, keyboards - Will Hare, bass - Peter Murray, drums -Troy Feener, and it is all topped off nicely by the soaring tenor vocals of Phil Naro. Repeated spins offer many rewards, with each listen opening up new appreciation and enjoyment for a well-woven tapestry of sound. Recommended to anyone who is looking for adventurous, melodic, skillfully composed, quality music.

Second Sound

Chris Daniels and The Kings (with. Freddi Gowdy) - Blues with Horns, Vol. 1

Bitrate: 320K/s
Year: 2017
Time: 41:44
Size: 96,1 MB
Label: Moon Voyage Records
Styles: Blues/Funky Blues
Art: Front

Tracks Listing:
 1. Sweet Memphis - 3:46
 2. Fried Food/Hard Liquor - 5:01
 3. Get up off the Funk - 4:19
 4. Soothe Me Baby - 3:45
 5. Wouldn't Treat a Dog (The Way You Treated Me) - 4:06
 6. Baby's In Love with the Radio - 3:42
 7. Can't Even Do Wrong Right - 3:39
 8. You Can Stay but That Noise Must Go - 4:29
 9. Them Changes - 3:44
10. Rain Check - 5:07

Celebrating 33 successful years of entertaining blues, funk and jazz fans throughout the US and Europe, Chris Daniels and the Kings with Freddi Gowdy are proud to announce the release of the Kings’ 15th album, Blues with Horns (Moon Voyage Records), on September 15, 2017.
Described as “John Hiatt meets Tower of Power” and “Keb Mo with horns,” the seven-piece band presents their latest collection of horn-driven blues, R&B, funk, and rock n’ roll in this new 10-track body of work that includes both originals and some of the best horn-drenched classics from the likes of Johnny “Guitar” Watson, Walter “Wolfman” Washington and Bobby Blue Bland.
Since playing his first Kings show in 1984, Grammy-nominee and Colorado Music Hall of Famer Chris Daniels has led his seven-piece band through three decades of commercial and international success. The band has performed for millions of fans across the US and Europe and has been featured on Dutch national radio TROS 3 Live, Paris MTV, and Brussels 1. Other international TV appearances include Much Music/Canada, Nippon TV/Japan, and Swing TV in Buenos Aires.
After signing with the blues/rock Netherlands label, Provogue Records (who also house Joe Bonamassa and Gov’t Mule), the band toured Europe 21 times, headlining many European festivals, including Europe’s famous Parkpop Rock Festival for 450,000 and for the Queen of Holland at the 50th Year VE Day Celebration. Their music hit number one on Holland’s popular rock show, Countdown Café, and they were featured on the covers of De Telegraphand De Standard in Amsterdam and Brussels. They continued to headline international festivals, like the Ribs & Blues Festival, Marktrock, Berchem Blues, and the Lokeren festivals in Belgium. The Kings have also served as the back-up band for Garth Brooks, Vince Gill & Amy Grant, John Oates, Sonny Landreth, Bo Diddley, Dutch guitarist Jan Rijbroek, Bonnie Raitt and members of Little Feat.
In the US, Chris Daniels and the Kings have shared stages with the likes of Cracker, B.B. King, Uncle Cracker, Blues Traveler, The Neville Brothers, Sheryl Crow, Bonnie Raitt, Ziggy Marley, and The Fixx. Starting in 2012, Daniels was joined by Freddi Gowdy (former Reprise recording artist and lead singer of the Freddi Henchi Band). In 2015, Chris produced their first collaboration album Funky to the Bone. Today, Daniels and The Kings continue to play 100+ festivals and concert dates per year, most recently being The Down Home Blues Festival in South Carolina.

Blues with Horns, Vol. 1

Giba Byblos - Tomorrow

Bitrate: 320K/s
Year: 2015
Time: 47:06
Size: 108,0 MB
Label: Sensashun Music
Styles: Blues
Art: Front

Tracks Listing:
 1. Tomorrow - 4:35
 2. Lord Have Mercy on Me - 3:55
 3. Heap See - 4:07
 4. Earn a Dime - 4:33
 5. She Put the Whammy on Me - 4:35
 6. Up for No Good - 5:14
 7. Riverside - 4:10
 8. 17 Years - 5:37
 9. Wrong Place, Wrong Time - 6:59
10. Catch You on the Flipside - 3:17

Musicians:
Giba Byblos - Guitar & Vocals;
Fabio Basili - Bass;
Dada Tristao - Keyboards;
Jimmy Johnson - Guitar;
Clayton Silva - Saxophone;
Miqueias Nascimento - Trumpet;
Adriana Grineberg - Hammond B-3;
Mauricia Sahady - Guitar;
Paulinha Sarrisa - Drums.

Based in Sao Paulo, Brazil, Giba “Guitar” Byblos is no stranger to straight-ahead Chicago blues, and he delivers it in heaping helpings on this self-produced CD, the second in his brief, but extremely tasty catalog.
In addition to being a string-bender and vocalist who delivers his lyrics in almost totally unaccented English, he’s also a music promoter who’s worked closely with some of the best musicians the Windy City has to offer, including guitarists Jimmy Johnson, aka the Barroom Preacher, rising superstar Toronzo Cannon  and Jon McDonald, a longtime fixture with Magic Slim, and drummer Merle Perkins, a 40-year veteran timekeeper and bandleader whose resume includes long service time with James Cotton, Lonnie Brooks,  Freddy and Albert King, John Littlejohn and Son Seals, just to name a few.
The second disc in Byblos’ catalog, Tomorrow is a follow-up to the 2011 release, My Duty. It came about after a conversation with Johnson at the conclusion of a Brazilian tour three years ago. The pair were stuck in traffic and Giba, the driver, was feeling anxious. Johnson tried to calm him, drawing from 60 years on the road. “Listen to me,” he said. “Yesterday have came and gone. Tomorrow is unknown.”
That kernel of wisdom evolved into a song on which Byblos and Johnson share writing credits as well as this album, which includes eight other Giba originals and three covers. Johnson joins Byblos in the studio on rhythm and lead for a cover of his classic tune, “Heap See.” Rounding out the sound are a collection of several top Brazilian musicians, including Fabio Basili (bass), Paulinha Sarriso (drums), Dada Tristao and Adriana Grineberg (keyboards), Mauricio Sahady (guitar), Clayton Silva (sax) and Miqueias Nascimento (trumpet). Edu Gomes, who produced the disc, adds tambourine and shakers.
It doesn’t take more than a few seconds of listening to “Tomorrow,” the title cut, which opens the album, to realize that, which being totally current, Byblos’ attack on the strings is a throwback to the clean approach that was popular in the Windy City from the ‘60s onward, but is quickly becoming a dying art. Like Johnson, Giba’s notes fly off of the fretboard through the amp and into the soundboard in their natural state, virtually free of the many effects than contemporaries rely on today. His voice is as powerful and clear as his single-note guitar runs.
Up next, Byblos takes Junior Kimbrough’s “Lord Have Mercy On Me” out of the Hill Country and makes it his own with a contemporary Chicago feel before a horn-fueled cover of Johnson’s “Heap See,” on which the Windy City octogenarian lends a hand himself. “Earn A Dime” delivers the thoughts of a heavy drinker who thinks the only way he can make any money is by shooting dice. Unfortunately, he realizes that all of his efforts are in vain as he struggles without a penny in his pocket. Giba’s guitar solo cries out to reveal his pain.
Another sweeping guitar solo kicks off an updated version of Freddy King’s “She Put A Whammy On Me,” which tells the story of falling for an unforgettable woman who’s cast such a spell on him that he’s left in misery. A block of five more originals follow. “Up For No Good” is a medium-paced shuffle with more fine work on the strings about a woman who’s playing kiss-and-tell, while “Riverside” recounts Byblos’ journey through the Mississippi Delta and a stay at Clarksdale’s legendary Riverside Hotel, which served as a home to dozens of top musicians before integration and where Bessie Smith died. “17 Years” is an expression of lasting love after a long separation while “Wrong Place, Wrong Time” is a slow blues lament about the end of a love affair before the uptempo instrumental “Catch You On The Flipside” brings the album to a close.

Tomorrow

Cellar Noise - Alight

Bitrate: 320K/s
Year: 2017
Time: 50:33
Size: 116,8 MB
Label: AMS Records
Styles: Progressive Rock/Symphonic Prog
Art: Full

Tracks Listing:
 1. Dive With Me - 9:32
 2. Underground Ride - 8:02
 3. Embankment - 6:28
 4. Temple - 8:24
 5. Blackfriars - 3:27
 6. Move The Stone - 5:44
 7. Monument - 8:52

Musicians:
Francesco Lovari - lead and backing vocals, percussion;
Alessandro Palmisano - lead and rhythm electric guitar, acoustic guitar;
Loris Bersan - bass guitar, classical guitar;
Niccolo Gallani - grand piano, electric piano, organ, Mellotron, synthesizer;
Eric Bersan - drums, percussion.
With:
Chiara Alberti - cello;
Luca Tarantino - oboe;
Giulia Zanardo - flute.

Cellar Noise was born in Milan in 2013, from the meeting between Niccolo GALLANI and Alessandro PALMISANO. The two, united by the passion for progressive rock, decide to join forces and their compositional talents to give birth to an original project, respectful of the "classics" of the 1970s but at the same time projected to more modern sounds. The main core of the group completes when the keyboardist and guitar player adds Francesco LOVARI, singer, who will give his personal contribution writing the lyrics.
After several line-up changes, in 2015 the rhythm section of the BERSAN brothers, Loris at the bass and a young Eric on the drums are composed. The line-up is finally complete.
Cellar Noise continues the writing of the songs, which they propose during the concerts, receiving positive comments and getting the victory in a band contest between their city. In 2016, the band met Fabio ZUFFANTI, who, fascinated by their music, decided to offer themselves as an artistic director and to follow the creation of their first record, recorded in Genoa, released for AMS Records February 10, 2017.

Alight