Arabs In Aspic - Syndenes Magi

Bitrate: 320K/s
Year: 2017
Time: 42:14
Size: 96,9 MB
Label: Apollon Records
Styles: Progressive Rock/Retro Prog
Art: Front

Tracks Listing:
 1. Syndenes Magi - 12:20
 2. Morket 2 -  9:34
 3. Morket 3 - 20:20

Musicians:
Jostein Smeby - guitars, vocals;
Stig Jorgensen - keyboards, vocals;
Erik Paulsen - bass, vocals;
Eskil Nyhus - drums.

"Syndenes magi" is the 6th release from Norwegian progressive rock band Arabs in Aspic. Focusing on an old-school sound, the use of Hammond organs, Mellotron, Rhodes, Space Echo, vintage guitars and tube amps shines through and colors the entire album. The songs on "Syndenes magi" are darker and heavier than the previous release, the lyrics are all in Norwegian and reflect the unstability of today’s world. With extensive vocal harmonies and dynamic compositions, this album will appeal to both old and young listeners, and no special musical prerequisite is required.

Syndenes Magi

Elbicho - Elbicho II

Bitrate: 320K/s
Year: 2005
Time: 68:11
Size: 157,1 MB
Label: DRO Atlantic
Styles: Progressive/Flamenco/Fusion
Art: Full

Tracks Listing:
 1. La Toba -  6:58
 2. De Rodillas -  4:03
 3. Zappatillas -  4:39
 4. Contigo -  3:56
 5. La Suite - 14:40
 6. Parque Triana -  3:58
 7. Pa' Cai -  7:39
 8. Mira -  4:22
 9. La Nina De La Cueva -  7:07
10. La Azotea -  6:56
11. El Tambalea -  3:51

Hoy en día, meter en un disco una suite instrumental de quince minutos de duración es toda una declaración de principios. Hacerlo después de haber llegado al disco de oro con tu debut es algo exclusivamente reservado a los más valientes. Si además estamos hablando de un grupo español, la hazaña alcanza tintes épicos. Que elbicho no era un grupo de fusión cualquiera ya quedó claro en aquella magnífica primera entrega de 2003. Lo que nadie podía predecir entonces es que estábamos ante el grupo español de fusión. “elbicho II” (DRO, 2005) es un auténtica orgía musical, un atropellado asalto al ideal coltraniano (de Coltrane) de la música pan-cultural. Pero empecemos por el principio. “La Toba”, el espectacular tema que abre el disco, comienza con una psicotrópica introducción del sitar de Dani Ibáñez (Möondo), que se explaya hasta que los vientos de Pepe Andreu (trompeta) y Juan Carlos Aracíl (flauta) llaman a rebato. Entonces hace acto de presencia el poderío de Miguel Campello, y la música empieza a deslizarse a ritmo de rumba hacia el rock progresivo setentero. Cuando Campello entona el desquiciado mantra “A ver si una vez / de una vez / sale el sol y la luna a la vez” sabemos que estamos ante algo grande. Esto es psicodelia y jazz, rock y flamenco, todo perfectamente destilado en un discurso tan homogéneo que nunca se sabe muy bien donde empieza lo uno y donde acaba lo otro. Hay que destacar aquí el soberbio trabajo de producción, que esta vez corre a cargo del propio grupo y de José Luis Garrido.
“De rodillas” son unos tanguillos con vocación orquestal, con un estribillo que entra a la primera. Campello canta con una fuerza poco habitual en el rock español, algo que también queda claro en la bellísima “Zappatillas”, tema en el que Dani Ibáñez nos deleita con el exótico sonido de la baglama, un instrumento turco de cuerda de la familia del laúd. El funk aflamencado de “Contigo” demuestra que uno puede colarse en las radiofórmulas sin renunciar a la dignidad de la buena música.
“La suite” es precisamente eso, una ambiciosa composición que se extiende hasta el cuarto de hora, sin que la intensidad baje en ningún momento. La primera parte de esta extraordinaria suite instrumental se construye sobre el juego contrastante de dos secciones bien diferenciadas: por una parte, unas bulerías progresivas en la tradición de Triana, y por otra, una sucesión de riffs  y de retórica rockera digna de los mismísimos Black Sabbath. En la parte central se cambia radicalmente de tercio: la guitarra de Víctor Iniesta enuncia una melodía sublime que más tarde recoge la trompeta de Pepe Andreu, en un crescendo sinfónico que parece sacado de la banda sonora de “El Bueno, el Feo y el Malo” (Sergio Leone, 1967), del gran Ennio Morricone. La tercera y última parte es una explosiva jam rumbera. Juan Carlos Aracil se luce con un electrizante solo de flauta, apoyado en la exuberancia de la percusión caribeña de David Cobo. Cuando la contemplativa coda de la guitarra de Iniesta pone fin a este festín musical el grupo ha conseguido dejarnos sin aliento.
Sólo unos músicos en estado de gracia pueden yuxtaponer como si tal cosa la ambición de un tema como “La suite” y la maestría dentro de la tradición de “Parque Triana”, una rumba con sabor a clásico, a calle, a Los Chichos, una rumba que duele, que ofrece el agridulce consuelo de la música, el redentor desplante de la alegría. Los coros de La Mari (Chambao) resultan aquí de lo más convincentes. Más impresionante aún es “Pa'Cai”, siete minutos y medio de pura y dura locura, algo así como un frenético zapping de músicas (africana, española, anglosajona), un apasionante desfile de estilos en modo centrifugado. “La estructura del tema es la antiestructura. No existe”, llegó aconfesar Carlos Tato (bajo) en una entrevista.
Luego llega “Mira” para confirmar lo que todos ya sabíamos: estos tipos también son unos virtuosos de la melodía. Por si fuera poco, esta música llega, conmueve de verdad. Campello convierte un texto tan elemental como “mira cómo se van las penas / cuando tú estás / y cómo vienen los llantos / cuando te vas” en algo trascendental. Pero este es un disco de contrastes: “La niña de la cueva” es el más jazz-rock de todos los temas del álbum, la jam definitiva. El nervio latino y rumbero del grupo remite aquí al mejor Santana y a una de las bandas más marcianas de los últimos años: The Mars Volta. Apabullante esa fiesta final de los vientos (¿Turquía?, ¿Balcanes?, ¿Magreb?), y la enésima exhibición de la batería de Antonio Mangas y la percusión de David Cobo. En “La azotea” seretoma el compás de los tanguillos gaditanos y en torno a él se edifica un demoledor crescendo que acaba conquistando la estratosfera. La guinda del álbum la pone “El tambalea”,la última genialidad de un trabajo lleno de genialidades: un emocionante pop por seguirillas que sirve para terminar de convencernos de que estamos ante un disco único en su especie. Sobre "elbicho II" se puede decir lo mismo que dijo Ethan Mordden a propósito de "El Mar", la fascinante obra orquestal de Debussy: "Si simplemente quieres recostarte a oírla, entonces bien. Pero si prefieres escucharla, preguntándote qué es, qué ocurre en ella, entonces tienes mucha tarea por delante."

Elbicho II

Elbicho - Elbicho

Bitrate: 320K/s
Year: 2003
Time: 70:33
Size: 162,4 MB
Label: Dro East West S.A.
Styles: Progressive/Flamenco/Fusion
Art: Full

Tracks Listing:
 1. De colores, once farolas -  6:31
 2. Tanguillo Nuevo -  4:08
 3. De los malos -  4:46
 4. Pa' ti -  4:00
 5. Mama Dolores -  4:07
 6. Locura -  3:47
 7. Buleria del dia -  4:17
 8. Entiendo -  4:38
 9. Letras -  3:41
10. Y es la noche -  4:39
11. La bien paga -  3:52
12. Albadulake -  4:28
13. El cosmonauta - 17:32

Musicians:
Miguel Campello - voz;
Victor Iniesta - guitarra;
Carlos Tato - bajo elуctrico;
Toni Mangas - bateria;
David Amores - percusion;
Juan Carlos Aracil - flauta:
Pepe Andreu - trompeta.

Grupo forjado en las calles mas castizas de Madrid que con apenas dos anos y medio de existencia han roto todos los moldes; practicamente desde que ofrecieron sus primeros conciertos, en la calle y en pequenas salas, el boca a boca crecio y crecio... y en poco tiempo, practicamente sin maqueta y tan solo con su explosivo directo comenzaron a recibir ofertas de muchos grandes de la industria de la musica.

Elbico

Tala - Bleeps, Squeaks + Drones

Bitrate: 320K/s
Year: 2006
Time: 52:58
Size: 122,3 MB
Label: Xploit Records
Styles: Rock/Psychedelic Rock
Art: Front

Tracks Listing:
 1. Djello - 7:27
 2. Beside Bombay - 4:39
 3. Superhappylucky - 4:01
 4. Flute Flies - 5:29
 5. Off The Grid - 1:58
 6. Stuck On My Back - 6:27
 7. Lab Rat - 3:08
 8. Flute Flies (Reprise) - 1:10
 9. Bubble - 9:57
10. Untitled - 8:37

Tala's live show is a sonic cocktail of experimental rock, acid-funk, dub, East Indian and electronic music. By employing a combination of structure and improvisation, the band creates a union of styles seldom seen on the live circuit.

Bleeps, Squeaks + Drones

Tala - Tala

Bitrate: 320K/s
Year: 2002
Time: 63:47
Size: 149,1 MB
Label: Xploit Records
Styles: Rock/Psychedelic Rock
Art: Front

Tracks Listing:
 1. Yukiko - 5:13
 2. Cycles - 6:47
 3. Indigo - 5:41
 4. 7-11 - 5:47
 5. Weirder Than Me - 7:53
 6. 2:22 - 2:23
 7. Nexus - 6:30
 8. Fat Gat - 8:59
 9. Normal Format - 5:12
10. Here Again (Jay's Lounge) - 9:19

Tala's live show is a dynamic roller coaster ride of funk, acid jazz, reggae, East Indian and electronic music.
Created in 2000, Tala is a three piece improvisational organism that continuously tours from coast to coast maintaining a loyal and ever growing fan base. With their captivating live performances, they have been winning over crowds and gathering support from music lovers across Canada.
Tala's live show is a dynamic roller coaster ride of funk, acid jazz, reggae, East Indian and electronic music. By employing a combination of structure and improvisation, the band creates a union of styles seldom seen on the live circuit. While their originals are the forte of their repertoire, the band has also been known to resurrect obscure favorites with a uniquely modern interpretation. Add to this their consistent rhythmic grooves, and the final result is a performance that not only pleases the ears, but also makes for a captivating show to dance to.
The Montreal based trio consists of Steve Venkatarangam (guitar/sitar/keys) , Adrian Aitken (drums) and a rotation of bassists from in and around the Montreal area making each show unique. The band has been constantly touring Canada playing over 100 shows last year from Vancouver to Halifax. With the release of their self-titled CD in September 2002 Tala shows no signs of slowing down.

Tala

No Name/The No Name Experience - Wonderland

Bitrate: 320K/s
Year: 2017
Time: 59:32
Size: 136,8 MB
Label: Progressive Promotion Records
Styles: Progressive Rock
Art: Front

Tracks Listing:
 1. My Childish Mind - 8:28
 2. Eye Of A Storm - 6:43
 3. Katrina Killed The Clown - 7:15
 4. Wonderland - 6:50
 5. Final Fantasy - 5:27
 6. Frozen In Time - 7:43
 7. Glittering Lights - 4:11
 8. Eight Weeks - 8:28
 9. Le Fil Du Temps - 4:23

Die Neoprog Legende aus Luxemburg ist 3 Jahre nach The Clock That Went Backwards mit einem gewaltigen Werk zurück. Mit Claudio Cordero (Cast) hat man den wohl besten Gitarristen der Gegenwart mit an Bord. Ein Wahnsinnsalbum, welches die Fans begeistern wird.

Wonderland

Fatal Fusion - Total Absence

Bitrate: 320K/s
Year: 2016
Time: 56:24
Size: 129,6 MB
Label: Karisma Records
Styles: Progressive Rock/Crossover Prog
Art: Full

Tracks Listing:
 1. Gates of Ishtar -  2:29
 2. Shadow of the King -  7:41
 3. Forgotten One -  6:10
 4. Astral Flight -  5:34
 5. The Emperor's Letter -  7:20
 6. Endless Ocean Blue - 11:36
 7. Total Absence - 15:30

Musicians:
Knut Erik Grontvedt – Vocals
Elend Engebretsen – Keyboards
Stig Selnes – Guitar
Lasse Lie – Bass
Audun Engebretsen – Drums

Fatal Fusion return for what is now their third album; hailing from Oslo in Norway they released their debut Land of the Sun in 2010, following that in 2013 with The Ancient Tale, both receiving great reviews.
Total Absence is a darker and more epic release, but they continue to pay homage to the progressive and classic rock bands of the seventies, blending different genres – from metal, blues, jazz and hard rock through to psychedelia – to create a unique sound. Indeed, they cite broad musical influences from ’60s and ’70s sources, including King Crimson, Rainbow, Camel, Pink Floyd, ELP, Yes, Led Zeppelin and Deep Purple, and also some ’80s and ’90s influences like Anekdoten, Spock’s Beard, IQ and Marillion. This is a long list and I cannot say that all of these influences can be heard in their music, which is a good thing as they have managed to develop a sound of their own. There is a clear Norwegian tone within the music, which borders on the heavy, more straight ahead rock, with progressive touches added. This is just my opinion and I am sure that others will hear things that I have not.
This is an impressive album which demonstrates Fatal Fusion’s continuing development. The album kicks off with the atmospheric Gates of Ishar, the keyboards giving an Arabic influence to proceedings while the drums adopt an almost military march style, a little reminiscent of Magma’s Christian Vander. This segues straight into the second track, Shadow of the King; here the influences are more obvious, the Arabic feel of the keyboards continuing before the song takes on a Zeppelin/Rainbow vibe. The instrumental Astral Flight shows a different side to the band, here Uriah Heep meets a kind of jazz/rock fusion with some great keyboard and guitar work as the track moves along at a good pace.
The band’s progressive chops are ably demonstrated on the closing two tracks, which are twelve and sixteen minutes long respectively. Endless Blue Ocean opens with guitar accompanied by atmospheric keyboards, slowly building until bass and vocals join in, with the drums making their presence felt. There is some excellent Hammond work here from Elend Engebretsen, towards the latter half of the song the Hammond accompanies just the vocals before the guitar returns for a great solo to drive the song to its conclusion, where it ends with some sound effects to segue into the title track. This song has the most progressive touches to it, a slow burner with a symphonic feel at times, a couple of keyboard solos and great guitar work towards the end.
This is an album that provides excellent songwriting and performances, the use of some vintage instruments gives it an almost nostalgic feel at times, but the production brings the overall feel right up to date. There is some great interplay between the keyboards and guitar, which are ably supported by the bass and drums throughout the album. I was not previously aware of Fatal Fusion’s music before this review, but what I have heard here makes me want to investigate further.

Total Absence

Rhythmus - Arp - Ensemble - Rhythmus - Arp - Ensemble

Bitrate: 320K/s
Year: 1983
Time: 38:40
Size: 88,5 MB
Label: NOL
Styles: Minimal
Art: Front
Source: Julian Ryan

Tracks Listing:
 1. Transition -  9:36
 2. Zu 2 stimmen - 12:17
 3. Raum fur 8 - 16:45

Because of the name one might conclude that there are Arps as artists here.  You can see on discogs the information relating to this.  In fact there are two: Professor Jochen Arp plays saxes, flute and clarinet normally, on this record only credited with the latter 2 of 3.  On the other hand, compositions and keyboards both are handled by presumed younger brother (born 1950) Klaus Arp, who was also conductor and professor.  What a shame they didn't make more records as their dynamic here is just exceptional.  It's obvious from the first listen (and to the last one too) that we are dealing with a Terry Riley influence hybridized with more electric keyboard fusion like recent Dane Finn Savery.  Or, taking away the guitar and more fusionary outpourings, you could say this sounds like Soft Machine 3's Out-Bloody-Rageous by Ratledge, of course, while strolling down Terry Riley Avenue.  With the addition of chamber instrumentation.  And let's not forget the wiener schniztel.  And potato salad, luckily this time with mayo.Notice that the compositions are from the period 1975-1976, which explains a lot.  How I wish they had made more, these 2 Arps...  Anyways, it's fantastic music, and there's not much more to add to that.

RAE

Ludovico's Technique - Ludovico's Technique

Bitrate: 320K/s
Year: 1984
Time: 42:58
Size: 98,8 MB
Label: New Rose Records
Styles: Rock/Alternative Rock/Garage Rock
Art: Front

Tracks Listing:
 1. Hey, Protest, Hey - 3:37
 2. The, It Rains - 4:47
 3. Let's Kick Tommy Again - 3:40
 4. Dancing To The Problems Of The World - 4:17
 5. How Does It Feel To Feel - 3:41
 6. Ludovico's Technique - 4:49
 7. Waiting For The Shadows - 3:41
 8. My Friend Jack (feat.The Smoke) - 2:58
 9. Punishment For Passion - 4:20
10. Rw2w - 7:04

Ludovico's Technique is : Bob Casper: instruments, vocals / Ken Nessing: vocals, instruments
produced by Ludovico's Technique & A.C.Doback / recorded october-november 1984 at The Drone Palace, Naugatuck, CT; Rivet's studios, NYC; and River Street Studio, New Haven, CT.
http://www.limbos.org/newrose/
https://www.discogs.com/Ludovicos-Technique-Ludovicos-Technique/release/1815724
https://rateyourmusic.com/artist/ludovicos_technique

Ludovico's Technique

Izabella - In The West

Bitrate: 320K/s
Year: 2008
Time: 73:52
Size: 169,5 MB
Label: Self Released
Styles: Jam Band
Art: Front

Tracks Listing:
 1. The Sun and the Valley - 2:07
 2. In the West (Bus For 3 Days) - 4:03
 3. Heads Up - 5:01
 4. Inside - 6:34
 5. If We Could Do Anything - 5:33
 6. Raindrop - 5:35
 7. Float - 5:26
 8. Song Called Jah - 4:20
 9. Ganjaman - 3:40
10. Chunky Phunk - 7:57
11. Blues for the West - 9:44
12. Waterbed - 5:02
13. Highwire - 8:43

"Izabella is a band to keep your eyes on. Their Thursday [High Sierra] set ranged from Return To Forever-esque jamming to the sugary funk of Shuggie Otis’ ‘Strawberry Letter 23.’ For Izabella, ‘jam band’ means something positive but neither is it a straightjacket that demands every tune be stretched and bloated with improv. Their originals are dead solid with hooky lines. This is exultant, flowing music, and follows in the Bay Area tradition of great forebears like the Sons of Champlin. Plus, lead singer Brian Rogers sings with genuine soul, which is pretty bloody rare in this vocally challenged age."
Dennis Cook, Jambase.com
Izabella is a dance-inspired rock and soul band hailing from the Bay Area. This six-piece family of musical explorers is avowed for producing danceable, dynamic grooves. Izabella's live performances exude joy and inspiration for all in attendance. Their unique blend of fist-pumping guitar, funked-out keys, poly-rhythmic beats, and impassioned vocals is unparalleled in the genre.
Since its inception in Fall 2006, and after hitting the road full-time in 2008, Izabella has performed well over 200 gigs, including some key performances at summer festivals: High Sierra, 4 Peaks, Las Tortugas and Bobolink. This solid tour schedule combined with an elevated level of stage and light production has helped Izabella garner various accolades, including the Jambands.com title, “New Groove of the Month” back in August 2008.
Band members Sean Lehe (guitar, vocals), Brian Rogers (vocals, drums, guitar, bass), Murph (bass), Sam Phelps (keys, vocals), Jeff Coleman (keys), and Lucas Carlton (drums) are equally committed to evolving their sound in the studio as they are to achieving greatness on the stage. Oz Fritz, the Grammy award-winning engineer most noted for his work with Tom Waits and Les Claypool, is currently working on the band’s third album, “Drugs and Apple Pie.” Additionally, Izabella is thrilled to embark on its first East Coast tour this fall. As this musical collective continues to blaze their own trail, they remain in constant connection with their community of fans who ultimately make it all happen.

In The West

Lunatic Soul - Fractured

Bitrate: 320K/s
Year: 2017
Time: 55:38
Size: 127,7 MB
Label: Kscope
Styles: Progressive Rock/Crossover Prog
Art: Front

Tracks Listing:
 1. Blood On The Tightrope -  7:20
 2. Anymore -  4:37
 3. Crumbling Teeth And The Owl Eyes -  6:41
 4. Red Light Escape -  5:44
 5. Fractured -  4:36
 6. A Thousand Shards Of Heaven - 12:17
 7. Battlefield -  9:05
 8. Moving On -  5:14

Musicians:
Mariusz Duda (Riverside) - vocals, instruments;
With:
Marcin Odyniec - saxophone;
Sinfonietta Consonus Orchestra, conducted by Michal Mierzejewski (3,6).

Lunatic Soul is Mariusz Duda, the talented creator, singer and multi-instrumentalist behind some of the finest and most captivating progressive music coming from Europe, including his output on UK label Kscope and with Poland’s shooting stars Riverside. Duda is now releasing his fifth and long-awaited album Fractured – the follow up to 2014’s acclaimed Walking On A Flashlight Beam.  Fractured, has been described by Duda as an album of catharsis after a challenging year in his personal life. Mariusz explains further “the main theme of “Fractured” is coming back to life after a personal tragedy. It’s inspired by what happened in my life in 2016 and by everything that’s happening around us and what’s making us turn away from one another and divide into groups, for better and for worse. Musically it will be the most original album I have ever made as well as the most accessible and personal album in the Lunatic Soul discography.”

Fractured 

Carpe Diem - Circonvolutions

Bitrate: 320K/s
Year: 2015
Time: 49:50
Size: 114,7 MB
Label: Musea Records
Styles: Progressive Rock
Art: Full

Tracks Listing:
 1. Along the Great wall -  5:36
 2. Conte de Saxs -  3:23
 3. Tibetan Monument master -  5:14
 4. Circonvolutions -  7:51
 5. L'Imagerie Fantastique - 11:00
 6. Namire -  2:37
 7. Wedding day -  3:40
 8. Jardin de verre - 10:27

A legend is back! Remember: the famous Crypto label, created by Jean-Claude Pognant, contributed in discovering French bands as essential as Ange by the mid seventies. Among those was Carpe Diem. Led by Claude-Marius David (saxophone & flute), this band from Nice gave birth to two splendid albums: "En Regardant Passer Le Temps" (1975) and "Cueille Le Jour" (1976). All reissued by Musea on the CD form. Their refined progressive rock featured rare vocal parts (but was never boring or demonstrative), instrumental intensity, through sophisticated songwriting and structures. Fluid organ reworked sounds were beautifully combined with lyrical flute, sax, clarinet parts or airy guitars, to create a dreamlike rock evoking Ange, Caravan, Fruupp and King Crimson ('Starless') with a very slight jazz touch. Well, you'll find the charm of the past in 'Tibetan Moment' (those gorgeous keyboards!), the great circumvolutions structures in 'Circonvolutions' precisely. 'Wedding Day' recalls Sting's 'An Englishman in New Yrok' a bit by the instrumentation (!). And nostalgia fully operates with the superb 'Jardin de verre' and 'L'imagerie fantastique', both unpublished typical labyrinthine epics from 1978. Yes, a legend is back!

Circonvolutions

Kyle Yardley - Juke Joint Boogie

Bitrate: 320K/s
Year: 2017
Time: 34:02
Size: 78,0 MB
Label: Self Released
Styles: Blues/Harmonica Blues
Art: Front

Tracks Listing:
 1. Juke Joint Boogie - 2:18
 2. Long Brown Hair - 5:14
 3. Treat You Like a Queen - 5:24
 4. I Need Your Love - 4:26
 5. Fool For Loving You - 3:26
 6. High Maintenance Woman - 3:34
 7. Let's Get Drunk - 2:57
 8. You Were Crying When You Left Me - 6:39

Low down, Chicago blues. Dirty harmonica and greasy guitar will set the mood for any blues party!
The title of this album sets the tone for what you'd expect to find at a hole in the wall dive bar with a hot blues band cranking up on the stage....Juke Joint Boogie! Kyle Yardley with the lyrics of a bluesman who's paid his dues in life along with dirty blues harmonica leads the band. Texas guitar slinger, Elliot Sowell lends the raw, greasy guitar to accent every word of Kyle's stories of the blues. Jon Wilson on bass guitar, locked in with Bill Edwards on drums to form a solid rhythm section. St. Louis blues musician, Tom Maloney was called in to put some smooth rhythm guitar on the track "High Maintenance Woman". A well rounded, eight tracks of blues that will make anyone want to boogie until the sun comes up/

Juke Joint Boogie

Gerry Beckley - Van Go Gan

Bitrate: 320K/s
Year: 1995
Time: 48:19
Size: 110,7 MB
Label: PolyStar
Styles: Soft Rock
Art: Full

Tracks Listing:
 1. Emma - 3:58
 2. Van Go Gan - 4:24
 3. House of Cards - 3:22
 4. Sunrise Sunset - 3:56
 5. Goodbye Highway - 4:14
 6. One Day's Duning - 2:17
 7. Only a Kid at Heart - 3:09
 8. Playing God - 3:34
 9. International - 4:12
10. What Happened - 1:27
11. I Need You - 3:31
12. Now Sue - 3:21
13. Kiss of Life - 4:55
14. Hard to Sleep - 1:52

1995 Solo Disc from the Member of 70's Supergroup America. America's Dewey Bunnell Joins Him on 'sunrise Sunset'. Beach Boy Carl Wilson and Chicago's Robert Lamm Guest on 'kiss of Life'. Other Guests Include Mark Isham, Jason Scheff (Chicago), Timothy B Schmit (Eagles) and More.includes A New Version of the Classic America Hit 'i Need You'. This CD Will Please Any Fans of the Classic Mellow Acoustic Flavored Seventies California Sound.
Gerry Beckley is a gifted singer/songwriter best known as a founding member of the classic soft rock outfit America. Alongside bandmates Dewey Bunnell and Dan Peek, Beckley first gained recognition for such America hits as 1971's "Horse with No Name," 1972's "Ventura Highway," 1975's "Sister Golden Hair," and others. Though he and Bunnell continue to perform as America, since the mid-'90s he has also recorded under his own name.
Born in Fort Worth, Texas in 1952, Beckley grew up in Virginia, the son of an American air force officer and a British mother. Interested in music from a young age, he began playing piano at age three and later added guitar. By the time he was ten, Beckley was a promising musician playing in the surf rock band the Vanguards. He had also come under the sway of the Beatles and other British Invasion-era bands as a side effect of spending his summer vacations in England.
In 1967, Beckley moved with his family to London after his father took over as commander at the United States Air Force base at West Ruislip, Middlesex. It was while attending London Central High School in Bushey, Hertfordshire, that he befriended classmates Bunnell and Peek. They quickly formed a band and began performing at a local all-ages club, playing covers by Crosby, Stills & Nash, Neil Young, and others.
The fledgling trio eventually caught the attention of local promoter Jeff Dexter and producer Ian Samwell, who recorded them and helped them get signed to Warner Bros. Released in 1971, the Samwell-produced America showcased the band's warm, harmonized vocals on a set of folky, melodic originals heralded by the Neil Young-ish leadoff single, "A Horse with No Name." A hit on both sides of the Atlantic, the single propelled the band to early success. With America, Beckley enjoyed decades of popularity, releasing over 20 albums, touring globally, and penning numerous songs that helped to define both the soft rock and adult contemporary radio formats.
Despite, or perhaps because of, his success with America, Beckley did not release any proper solo material until 1995's Van Go Gan. A cheeky conflation of the names of painters Vincent Van Gogh and Paul Gauguin, the album featured Beckley backed by a bevy of longtime friends and collaborators, including Bunnell, trumpeter Mark Isham, the Eagles' Timothy B. Schmit, and others. The album was followed by the companion remix album Go Man Go. Away from America, Beckley next delivered 2000's Like a Brother, his collaboration with Chicago singer/keyboardist Robert Lamm and the Beach Boys' Carl Wilson, who died from lung cancer after completing the album in 1998. The album featured a mix of originals from each member, as well as a cover of Harry Nilsson's "Without Her."
In 2006, Beckley returned with his third solo album, Horizontal Fall. A year later, he was back with Bunnell for the America album Here & Now, which featured production from Fountains of Wayne's Adam Schlesinger and former Smashing Pumpkins guitarist James Iha. The compilation album Happy Hour appeared in 2009. Two years later, Beckley was back to his solo work with the studio album Unfortunate Casino. Also in 2011, he paired with Bunnell for another America album, Back Pages, which included guest appearances from Mark Knopfler and Van Dyke Parks. America's 18th studio album, Lost and Found, followed in 2013. In 2016, Beckley released his fourth full-length solo album, Carousel, featuring "No Way I'm Gonna Lose You," a collaboration with Semisonic's Dan Wilson. ~ Matt Collar

Van Go Gan

Mother's Cake - Creation's Finest

Bitrate: 320K/s
Year: 2012
Time: 56:40
Size: 130,9 MB
Label: GAB Music
Styles: Progressive Rock/Crossover prog
Art: Front

Tracks Listing:
 1. Creation's Finest - 5:33
 2. The Road - 2:49
 3. Runaway - 8:10
 4. Night And Day - 4:53
 5. A Path Down Under - 1:25
 6. Realitricked Me - 7:31
 7. Nobody - 5:10
 8. I Like It - 3:53
 9. Pan's Requiem - 1:17
10. Lazy - 4:30
11. Soulprison Part I - 3:52
12. Soul Prison Part II - 7:31

Musicians
Yves Krismer - guitars, vocals;
Benedict Trenkwalder - bass;
Jan Haussels - drums.

Austrian trio MOTHER*S CAKE was formed in 2008 by Yves Krismer, Benedikt Trenkwalder and Jan Hau?els. The threesome aims to combine the 70's spirit of revolution with contemporary tendencies, and the first document of this process appeared as their debut album "Creation's Finest" in 2012.
Searching for a good and new funk rock band isn't exactly the easiest thing to do today. At least a hard hitting one at that. Mother's Cake is here for your wants and needs. Hailing from Austria and having won in the Local Heroes Austria Contest back in 2010 and coming in second in the European finals in Hungary. After leaving all those contests with just an EP, I'm sure audiences were killing for a full length album. You have been a good boy. You have been eating all your vegetables, getting a good amount of protein with every meal, watching your calorie intake, and now it is time to spoil yourself with the dessert.
You can hear quite a large intake of influence just from hearing the first track, the title track of Creation's Finest. You have Red Hot Chili Peppers like bass lines, reminiscent The Mars Volta structures, and a sky high and meaningful vocal delivery, in which you can hear just a tad of a Robert Plant vibe on certain songs. They definitely have a good taste in influence.
Songs like "The Road", "Runaway", and "I Like it" showcase the more, 'in your face', and hard rock feels. "Runaway", which I feel to be the album's key track, has a blazing intro of fast guitar picking and in comes a fast bass smacking line to help prepare the verses and giving the guitar some time to slow down. Vocalist and guitarist, Yves Krismer, delivers a yelling like, yet sweet performance on the verses, in which he can quickly calm down and change moods into a soft and subtle voice. Later in the track, after a variety of structure switch ups, the track starts to get smoother and mellow, while lurking in the back is an incoming funky guitar solo that finally leads to a frantic and chaotic ending with the sounds of keyboard being quickly tapped. It is quite the majestic track on the album, giving every side of Mother's Cake arsenal into the song.
Other songs such as, "Night and Day" and "Soul Prison (Part 1)" offer a more relaxing vibe. On both of these songs, lyrically, they are full of inspiration and contrast appropriately. "Night and Day" with a feeling of 'there is hope at the end of the tunnel' and "Soul Prison's" darker sound, yet with more of an 'uprising' lyrical motive.
Two short interludes are present in the very middle of the album and although short, they are talented instrumentals. The first interlude, "A Path Down Under" just taking a look at the title and reading 'Down Under' is exactly what it feels like, a, how should I say this...a very funky Australian groove. Also while "Pan's Requiem" is beautiful in its short own right, it feels out of place on an album such as this. Not sure if it gave a sense of fresh air or diversity, or if it was just thrown in there to be in there.
If there's one thing I believe Mother's Cake is extraordinary about, is that there longer and epic songs are more ear catching than their short, fast, and to the point songs. One gripe however, is that on very long tracks, you would think with fast changing structures in the song would keep the song and groove interesting. Often the repetition may get a little dull, and I feel that if these songs had a slightly bigger hook, they could keep your attention more for such greatly venturing songs.
Their vocalist though, he has something in him. An evil spirit perhaps? Who knows, but whatever is in him I hope never goes away. A lot of funk rock bands have the tendency to do something like "speed talk" or don't like to hold high notes and really sing, now that may sound a little over exaggerated, and probably is, but Yves Krismer doesn't hold back, his strength and reach in his voice is amazing. You may be looking at a very famous frontman in the near future. Not only this, but with good lyrics (not too deep, but not shallow) does Yves present. Very slightly his high pitch takes can become annoying, and he doesn't show very many other pitches, but what he is doing on the album is great. Drummer Jan Hau?els and bassist Benedikt Trenkwalder both play their part very well. While the drumming is nothing out of the ordinary, he is a solid drummer, there is nothing really to complain about him, although a lack of interesting drum fills could be a desire in some minds. Thick and recognizable bass lines do exactly what you want them to, and they sound great, and they could have shown up on some of the more chaotic parts of songs to still refrain from getting on the track too far.  Though a few nitpicks that keep the album from being a classic in the funk rock genre, Creation's Finest is a fantastic debut album that anyone who likes progressive and funk rock should seek interest in listening. Just like your mom's cake, Creation's Finest is delicious and will leave you full and on a sugar high.

Creation's Finest

Unreal City - Il Paese del Tramonto

Bitrate: 320K/s
Year: 2015
Time: 70:20
Size: 161,1 MB
Label: AMS Records
Styles: Progressive Rock/RPI
Art: Front

Tracks Listing:
 1. Ouverture: Obscurus Fio -  5:01
 2. Oniromanzia (Il Paese del Tramonto) -  9:01
 3. Caligari - 10:05
 4. La Meccanica dell'Ombra -  9:16
 5. Il Nome di Lei -  8:25
 6. Lo Schermo di Pietra -  7:54
 7. Ex Tenebrae Lux - 20:34

Recently, among my fellow Mexican prog friends, the name of Unreal City has been mentioned several times and always with positive comments about them. Now, after some weeks I've been listening to them, I have to thank them for bringing this band to my ears, and thank the band itself for creating such wonderful RPI gems that any fan of the classic Italian prog would love. After their incredible debut, entitled "La Crudelta di Aprile", this 2015 the band comes with their second child, named "Il Paese del Tramonto", whose first class music will satisfy us.
It features 7 tracks that make a total time of 69 minutes that provide a feast of retro prog with the undeniable modern touch, so go figure. The album opens with "Ouverture", a 5-minute introductory track which happens to be the shortest one. Some voices or noises at the beginning, later piano in a classical way and then the other instruments enter and begin to create a structure; of course, the keyboard work stands out in some moments, while strings create nice somber atmospheres. It is an instrumental track with some great inner changes.
The second track "Oniromanzia" opens with the increasing sound of keyboards, which remind me of Anglagard in some way. It is strange, but in moments while listening to them, not only RPI bands come to my mind, also Swedish and even Japanese, so they sum up different prog cultures and styles in a few minutes. After two minutes, male vocals appear for the first time in the album, you will immediately notice the 70s resemblance, however, it is important to mention these guys are young musicians, but tremendously talented. In this second track I love how they pass from smooth passages to tense and fast moments, and so on. After 6 minutes there is a moment where a flute appears, adding a pastoral touch, but it lasts some seconds and later voice and a rockier sound come.
"Caligari" is a 10-minute track that really brings the modern sound of RPI, though of course the retro elements prevail in some moments, but I think here it is more evident this fresh and new sound. The quantity of nuances they create through the minutes is impressive, so their talent is evident in both, composition and performance. The voice is great, and thankfully they sing in Italian, which is a lovely language. What I like a lot is that all the musicians are equally important, the music would not be the same without one of them, I mean, they complement each other really well, and know where to emphasize keys, bass, guitars and drums.
"La Meccanica dell'ombra" is a fabulous track whose sound might be something like "modern gothic", if that exists. The composition is very well crafted, nice tense atmospheres, fast passages contrasting with some faster moments, great piano in the right time, etc. It is impossible not to praise them, and not to be surprised by their inner changes in time and mood. After four minutes the voice enters and adds that soft and gentle sound. Great song! Later, "Il Nome di Lei" is another wonderful track where their musicianship floats, and where no matter how many retro prog elements they bring, the sound is totally modern. I hope you get me, but well, I perceive it. Unreal City might actually have two different sounds: with and without voice, because when Tarasconi's vocals appear, the sound immediately becomes mellower, beautiful, calmer.
"Lo Schermo di Pietra (Kenosis)" is a great bombastic track that brings more energy and power than the previous ones, the rock is evident here, perfectly suited by keyboards, strings and drums. But well, it shows the two faces again, because the instrumental introduction is the faster and passionate, and later when voices enter, it brings the emotional but calmer sound. But wait, after minute three, both sides are combined, so we listen to a fast and exciting song with vocals included. Great track without a doubt!
Finally, the long 20-minute suite "Ex Tenebrae Lux" which simply shows how competent they are in compositional terms, they are young exquisite musicians that have much more to offer in this progressive rock realm, this sole song is enough to realize about that. This epic song is amazing, they combine space rock (first moments) with a gothic sound, with even funk in some brief passages, with jazzy tunes and of course, a splendid progressive rock predominance. The addition of some non-conventional elements such as the violin, is always welcome because it brings new textures. But well, it would take me another page to describe all the moments of this song, but I will sum it up in this line: a magnificent salad of progressive sounds gathered in the cage of life.
Unreal City really rock, I am happy to listen, review and recommend them. So do not hesitate and get this album (and their debut one, which is as wonderful as this one) soon. In Mexico the album will be distributed by Sol & Deneb records, so if you are from my country, you know where to buy it.
Enjoy it!

Il Pаеse Del Trаmоnto

Hasse Froberg & Musical Companion - HFMC

Bitrate: 320K/s
Year: 2015
Time: 63:14
Size: 144,8 MB
Label: Glassville Records
Styles: Progressive Rock/Crossover prog
Art: Full

Tracks Listing:
 1. Seconds -  1:47
 2. Can`t Stop The Clock -  7:24
 3. Everything Can Change -  5:15
 4. Pages - 15:22
 5. Genius -  5:48
 6. In The Warmth Of The Evening - 10:42
 7. Something Worth Dying For -  5:32
 8. Someone Else's Fault - 10:13
 9. Minutes -  1:07

Remember your adolescence when you walked everywhere with an LP tucked under your arm to show anyone who was interested just how cool and hip you were?
Back then it was ‘The Yes Album’, ‘In The Court Of The Crimson King’, ‘Meddle’ or any suchlike that displayed your ‘prog’ credentials.
Alas, in the age of the CD, this is a pleasure denied – but if such halcyon days were ever to return, then Hasse Froberg And Musical Companion would, without a shadow of a doubt, be on full display: it’s just one of those retro, feel-good albums that give nostalgia a good name.
For those not in the know, Hasse Froberg is singer/guitarist with Sweden’s fabulous The Flower Kings – a position he has held since 1997.
When in 2008 the ‘Kings decided to take a few years off, Froberg formed his own band releasing two albums – ‘FuturePast’ in 2010 and ‘Powerplay’ in 2012.
Both had their merits but lacked a certain consistency with ‘wow’ moments often dogged by ‘whoah’ moments.
Safe to say that inconsistency has been blown away by this third album.
There is no doubt that keeping the same band together for five years has resulted in a more ‘together’ sound and, concurrently, that Froberg’s compositional skills have developed immensely  outside the confines of his day-job band.
The album is bookended by an old ticking clock on the tracks ‘Seconds’ and ‘Minutes’ which, with the exception of a few soaring keys on the opener are, if you’ll forgive this, a waste of time…
However, it’s what’s in between that counts and Froberg has put together, as mentioned earlier, a retro progressive rock album that has an exemplary contemporary sheen, yet ticks all the boxes from days of yore – guaranteed to whet the appetites of even the fiercest naysayer who believes no decent prog has been recorded since 1974.
What’s more, the sheer diversity of what’s on offer on HFMC is, at times, overwhelming – with heavy riffing, chiming arpeggios and delicate piano figures rubbing up alongside some tasty jazz guitar, classic Hammond swells and even a pinch of Supertramp and Queen to keep you on your toes.
The overwhelming influence however – mostly due to Froberg’s voice being in the same register as Jon Anderson – is Yes, circa. ‘Yes Album/Close To The Edge/Fragile’.
This is no bad thing for progressive rock purists of course who will also be delighted to hear that three tracks clock in at over ten minutes apiece with one fifteen minute ‘epic’.
This ‘epic’, ‘Pages’ is the highpoint of the album, with its lovely guitar arpeggios and flute sounding like a cut from Steve Hackett’s ‘Please Don’t Touch’ and progressing via some great Hammond work to a piece of incendiary fretwork from Froberg and/or fellow plank spanker Anton Lindsjo – absolute progressive nirvana.
Hasse Froberg has come up with an absolute gem of an album with ‘HFMC’.
It is everything a good progressive rock album should be – derivative perhaps, retro definitely but there’s nothing wrong with a little nostalgia, especially when, paradoxically, it sounds completely of its time.
I’m just going out for a walk with it under my arm.

HFMC

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