Slivovitz – Bani Ahead

Not so long ago I fınished the first bottle of the plum brandy produced by this Napolitan fusion ensemble and 2011 brings another opus released through MoonJune Records called Bani Ahead. The passionate followers of Prog Sphere probably remember this band from the fourth edition of the Progstravaganza compilation series, in which we presented the band with the song Dammi Un Besh O. This is Slivovitz’s third full-length album and judging by the work shown on the record, Bani Ahead is less of a fusion release than its predecessor.

From the opening tacts of Egiziaca there is evident prudence threading throughout the album’s flow. Ethnic motifs are still the backbone of Slivovitz’s variant of fusion, but this particular segment is also significantly decreased when this questions pops up. The question arises “so what is it then that Slivovitz brings on Bani Ahead?“

The experimentation goes a different direction this time than was a case with Hubris. The septet’s will to broaden the borders of the genre by leaning towards a more rocking style is definitely positive. The decisive rhythm section on Cleopatra Through is like a hybrid of Return to Forever and King Crimson, two similar but still different enough giants. Villari’s violin and Di Perri’s harmonica together with Santagelo’s powerful saxwork makes this piece being the first highlight of the album.

Fat, by its atmosphere, dwells between alternative rock sound and fusion. It’s kind of an ambient piece establishing a coming-and-going feeling separated through the rhythm changes during the track’s playtime. Not mentioning Di Perri’s harmonica solo is cause for condemnation, as the man delivers very inspiring work. At the other side, Vascello is a type of songs which from the dull start develops into a real fusion-rocking epic (although lacking for minutes and with a sudden break around its middle) and that’s what we get here.

02-09 follows, bringing up very nice introductory melody accompanied by violin and sentient drumming of Salvatore Rainone. Opus Focus being the shortest song on the album mostly relies on classic jazz patterns in a combination with ambient walls. The title track is the closest the work from the previous album, but then again jazz rock comes forth to underline its significance on Bani Ahead. Pocho, with clear sound of saxophone and palms clapping is the closing piece and a point of wonder of Slivovitz’s streaming after this record.

Where does this album stand in the running discography? Time will tell, but it is certainly a nice addition and a good example of how jazz rock with a fusion backround sounds in 2011. Another bottle of this quality brandy is finished. I want more.

Tracklist:

01. Egiziaca
02. Cleopatra Through
03. Fat
04. Vascello
05. 02-09
06. Opus Focus
07. Bani Ahead
08. Pocho

Line-up:

* Domenico Angarano – bass guitar
* Derek Di Perri – harmoncia
* Marcello Giannini – guitar
* Salvatore Rainone – drums
* Ciro Riccardi – trumpet
* Pietro Santangelo – tenor and soprano sax
* Riccardo Villari – violin

Links:

www.slivovitz.net

Machine Mass Trio – As Real as Thinking

That making “best of” lists of a year knows how to be like a double-edged sword justifies the album we have in question here. During my odyssey through the land of Turks, my mailbox got overloaded with the sound carriers that much that I broke my scissors while cutting all those envelopes. Machine Mass Trio is the second of three releases coming from MoonJune Records I found in the mailbox. The one is Slivovitz’s Bani Ahead which I already reviewed and is processed HERE.

Machine Mass Trio is comprised of already known douBt’s Tony Bianco on drums & percussions and Michele Delville on guitar, bouzouki & electronic. Joined by Jordi Grognard, who is reposnsible for tenor sax, flute, bass clarinet and electronic tempura, Machine Mass Trio emerges to a sonic journey through various soundscapes, putting up together unusual  powerful improvisations which rely heavily on the band’s identifying genre of fusion jazz. Other elements in the construction of As Real as Thinking include somewhat surprising presence of psychedelia and space rock, enough to be mentioned.

As written in the press release, the CD sounds alternately groovy and meditative, trancy and punkish, what is telling enough which resources served as a template in putting As Real as Thinking together. Nothing is lacking on this record, a spontaneity followed by masterful performance of the trio pushes the album right to the top of progressive fusion for 2011, next to Planeta Imaginario’s Optical Delusions and Accordo Dei Contrari’s Kublai. With something more than 60 minutes, As Real as Thinking lights up the final trimester of 2011.

Recorded live in studio without any additional overdubbing, ARAT imposes the factor of spontaneity to the extent where it becomes a soundtrack to one’s fast and twisted everyday’s life. Dreamy at moments, intense and heavy when needed, the album splutters of many different ingredients, hard to predict but easy enough to catch and get in a flow. Crispy saxophones of young Grognard accompanied by ideologically driven to perfection drumwork of Bianco and always inspiring Delville define the Machine’s clock.

Tunes like Knowledge with kind of covert drumming , rocking vibe of Let Go or Eastern flavored Khajurao, with 18 minutes long centerpiece Falling Up are like a finesse to a work of exceptional beauty. I wouldn’t like to think that MMT is a first-round-knockout-like record, as there is proved potential and quality laying behind its walls. As real as Thinking appears to be just an impulse of the great creative energy, an impulse worth of thousands cranks.

Tracklist:

01. Cuckoo
02. Knowledge
03. Let Go
04. Khajuaro
05. Hero
06. UFO-RA
07. Falling Up
08. Palitana Mood

Line-up:

* Tony Bianco – drums, loops, percussions
* Michel Delville – electric guitar, bouzouki, electronics
* Jordi Grognard – tenor sax, bass clarinet, flute, bansuri, electronic tempura

Ayahuasca Dark Trip – The Unknown Trip At The Top Of The Mountain

AYAHUASCA DARK TRIP’s second trip for another Krautrock world, with dark ambient shower.

By the way, a fine expression for me that they have called their second album “The Unknown Trip At The Top Of The Mountain”. Wondering where they should try to go at a mountain whilst listening to this album, and it’s not easy to understand their fuzzily veiled mind. Drastically warped dark ambiance with rigid electronic knocks / scrubs might make their real mind depth more obscure and more mysterious. Infernal shouts with non-percussive complex structure can blow our brain and squeeze us into weird mind-altering catastrophe. Soon after a bit safe and sound comes to us in the latter part of Pt. I, dry and inorganic experimental / avantgarde side of view completely absorb our vitality, without moisturizing at all. This scene sounds like some Krautrock projects like Semool or Iskra … oh nope, more dreamy alongside of their psychedelia drenched in ethnic / tribal atmosphere that can be heard in the third track. Amazingly their noisy appearance  here and there cannot annoy us but pick us up to their dreamy sound shore.

The last two trips get more of experimentalism / avantgardiam / Krautism, with no stiffening but softening sound garden beneath our deep mind. Cannot call this creation as a simple stoner / psychedelic stuff really, they might have been reborn in this album I guess. So not recommended as a psychedelic progressive one but let me say we can enjoy their entire kaleidoscopic alteration without any suspicion.

Tracklist:

1. The Unknown Trip At The Top Of The Mountain, Pt. I (6:00)
2. The Unknown Trip At The Top Of The Mountain, Pt. II (6:50)
3. The Unknown Trip At The Top Of The Mountain, Pt. III (9:30)
4. The Unknown Trip At The Top Of The Mountain, Pt. IV (11:12)
5. The Unknown Trip At The Top Of The Mountain, Pt. V (12:04)

Total Time 39:36

Line-up:

* Brayan Buckt – guitar, effects
* Buddy Van Nieuwenhoven – bass, guitar
* Pedro Ivo Araujo – organ, drums, voices
* Jorge Ramos – bass (3)

Links:

http://ayahuascadarktrip.bandcamp.com/

Roger’s “2011 – A year in review”

That’s all folks! See you all in 2012, have a great New Year’s Eve….right, it’s off down the shops now to stock up on booze and the ingredients for a turkey curry.

Effloresce to release debut album „Coma Ghosts“, Mixed and Mastered by Dan Swanö!

It already became a routine for Effloresce camp to bring all good news. Latest are given in short in the title of this post, but to gain a full image, read below.

It has been a long journey for us to get here, but now we can proudly announce that we will release our first full-length record on 10 February 2012! Swedish producer-legend Dan Swanö (Edge of Sanity, Opeth, Bloodbath, Katatonia) fixed a killer sound for us, thanks dude!

We will celebrate the release by playing the album live in it’s entirety! So mark this in your calender:
10 February 2012, 7 p.m., MUZ-Club, Nuremberg. Support: Scurious!

Merry X-Mas to all of you!!

The teaser of the album is available in two variants (as shown below), so don’t hesitate to check it out and look forward for one of the most anticipated releases of 2012. Luckily, we will not wait for too long.

Effloresce – Coma Ghosts (Teaser) by Effloresceonline

Fourteen Twentysix new single+video

That’s right! The Dutch alternative / ambient / electronic outfit put out the first single off their upcoming album called In Halflight Our Soul Glows (due for release in February 2011). The single is available as a free download in high quality, including a fantastic stop-motion music video by UK director Ruth Barrett and art package.

http://fourteentwentysix.bandcamp.com
http://www.fourteentwentysix.com

Lebowski – Cinematic

Since the moment where I received the album and found a paper boat (just like the boat in the cover art) I knew this album would be magical, and when I listened to it for the first time, I knew my feelings were right, and loved it since the very first moment. I dare say this is the album I’ve listened to the most in the last month. The reasons, I could create my own inexistent film in my head, thanks to these ten compositions.

So be prepared, because here you will have 66 minutes of excellent, well-composed, wonderfully arranged music. It starts with “Trip to Doha”, a colorful composition with a soft start but with a wonderful progression. I love the guitars and the prominent synthesizer that really knows how to create the most accurate atmospheres. Worth (and necessary) mentioning that this is an instrumental track, but with some vocals which are actually taken from different films. This is a great introductory track that gives an idea of how a single track can create hundreds of images.

“137 sec.” has in moments a dark atmosphere that creates a sensation of tension, even drama. You can close your eyes and let the music and the female vocals take you to their realm, and become an actor of their film. It is up to you. “Cinematic”, the track, has a wonderful development and a brilliant structure. I really like how they are adding different elements while the seconds pass, they don’t limit themselves and surprises us with new chords, atmospheres, figures and rhythm, creating a challenging track that may describe everyone’s day; just use your imagination and you will pass through several and quite different passages.

Probably my favorite combo comes next, first with “Old British Spy Movie” and later with “Iceland”. The first one really suggests what the title says, however, one can modify it and use it for another kind of film, for instance, at first with the piano I imagine a lonely person lying in a bed and thinking, and when guitars and the other elements appear, that same person is having some flashbacks or flashforwards, imagining the life before and after. An additional element here is the violin, which adds pure beauty to the music, changing the mood and putting an atmosphere of hope and charm. What a wonderful track! The second one starts with guitar and synth, along with some vocals in a language I ignore; then the track little by little progresses, with a structure which may not be that complex, but that is once again full of elements such as colors, nuances and textures. Here the combination between music and words is amazing, no matter you don’t understand the language, you can create your own images and stories thanks to the emotional tone.

“Encore” has an obvious French connection due to the accordion-like that softly sounds after a minute, and of course due to the vocals. The music is a carrousel that shares diverse emotions, from uncertainty or drama, to beauty and tranquility. It is incredible how Lebowsky manages to gather so many emotions and sounds in a few minutes, which demonstrates their skills as composers and performers. “Aperitif for Breakfast (O.M.R.J.) starts with a piano that reminds me of some old horror films, but it only lasts for some seconds until the song changes. And then its structure is being built, with a great use of guitars, rhythm and solo; soft drums and the always accurate and elegant keyboard and synth player.

“Spiritual Machine” may be one of those tracks hard to forget, evidently because of the machine speaking, but also because of the music itself. Holy shit, I really love how it is catching you little by little, involving you until you are completely trapped under its charm, hypnotized by its powers. Another positive point is that the song (actually all the songs) is not repetitive, it is always morphing and adding elements over and over, like real life; so this may be our soundtrack after all.

“The Storyteller (Svensson)” starts with soft piano and a dreamy atmosphere that later will be joined by vocals (film), bass and the other instruments. This may be the softest track of the album at least for the first four minutes, because later keyboards and drums appear and give it a stronger feeling which is complemented by the mighty electric guitar; this passage is not that long, it last for a minute until a kind of alarm sounds and the music just fades out. The album finishes with “Human Error” , which is another cool track that softly starts but becomes more intense seconds later. Here the guitar plays an important role, while drums constantly sound and piano leaves its mark here and there. After three minutes the band surprises us once again with a short section with percussion, creating a totally different sound, then it returns to form and completes the track.

What a wonderful album, I highly recommend it, so please give it a chance, get it, open your mind and create your own images. It is worth it, believe me.

Enjoy it!

Tracklist:

1. Trip To Doha (5:42)
2. 137 sec. (7:12)
3. Cinematic (7:42)
4. Old British Spy Movie (5:11)
5. Iceland (7:12)
6. Encore (6:07)
7. Apertif For Breakfast (O.M.R.) (6:07)
8. Spiritual Machine (6:56)
9. The Storyteller (Svensson) (6:38)
10. Human Error (7:58)

Line-up:

* Marcin Luczaj – keyboards, synths
* Marcin Grzegorczyk – guitars, samplers
* Marek Zak – bass
* Krzysztof Pakula – drums
* Katarzyna Dziubak – vocal, violin (guest appearance)

Aurea Hybride – Elementario

Who says mexican prog rock is dead?

It is wonderful to discover every year new bands from your country, but it is better to know that those bands are actually great bands, with talented musicians who are willing to create music of high quality. Aurea Hybride is a young project from Zacatecas, Mexico, which was introduced to me a month ago, and whose music I have really enjoyed ever since. They surely have a bright future. Now, I hope we, the listeners, reviewers, producers, help them to spread the word and make them noticed, because their music is worth it.

Their debut album is entitled “Elementario” and was self-released as a digital album (I hope they get the support to release it as CD, I would love to own one), it comprises five songs that make a total time of 39 minutes, so as you can imagine, you will not really find short tracks here. Their music is a blend of progressive rock, with post-rock and metal (post-metal, maybe), so if you feel attracted to those genres, then I recommend you to listen to it.

“Minimal Signo” is the song that opens the album. It starts with mellow guitar with an obvious post-rock sound, but half a minute later the metal side of Aurea Hybride appears with other guitars, and makes a wonderful contrast between calm and anger. Just before the second minute, the calm side vanishes and the metal-like sound prevails. Here the game of the guitars is pretty cool, each and every of the guitars produce a different sound, and a different emotion. After three minutes a new structure is being built with a softer mood, but only for some seconds, because the heavier stuff later returns. So this is an example of what some would call post-metal.

“Drama & Caos” is the longest track, with ten minutes of good music. It opens with a soft and dreamy sound which is slowly progressing, the guitars do their work, while drums create wonderful rhythms, and bass put also some good lines and notes. The charm of the beginning is once again contrasted by the energy of the metal-oriented guitars, which little by little enter to the track until they turn it into a post-metal song again.  There are some good guitar riffs here and there, which are not that pompous, but made and placed. This is a complex and challenging track, though it is not my favorite.

“Biogénesis de un sueño” follows practically the same line as the previous tracks, I mean, it starts with a dreamy and post-rockish sound, morphed a minute later into a post-metal one. And it is this heavier side which actually continues and sentences the music’s destiny at least for the first four minutes. There is like an interlude in which a spacey synth appears making a kind of dreamy and futuristic atmosphere. Later the song uses some electronic samples, the atmosphere continues but now with an addictive guitar. Later there is a nice bass sound, and even acoustic guitar that adds a different nuance. Pretty good track!

“Máquinas híbridas” is probably the song I enjoy the least, mostly due to its first part, which is the heaviest of the album. The first minutes became a bit boring to me due to its repetitiveness, but later when the softer sound enters it becomes more interesting (obviously, this is mere subjectivity). The introduction of the piano after four minutes gives it a very different face, and even a jazzy touch; this part is by far the best of the track, and one of the finest of the whole album.

And the album finishes with “Balance elemental” which shows repetitive and heavy guitars, lead and rhythm, with a cool bass and great drums. The difference from the previous tracks is that here I did not feel bored, but interested in the other hand. The structure is very well-thought, with several changes and a diversity of elements and figures in the guitar. The last two minutes are softer, with a dramatic, yet enchanting sound.

This is a very good debut from Aurea Hybride, a band I really wish the best in the future, and hope to see on stage soon.

Enjoy it!

Tracklist:

1. Minimal Signo
2. Drama & Caos
3. Biogénesis De Un Sueño
4. Maquinas Híbridas (Esperanzas)
5. Balance Elemental

Line-up:

* Rubén Medina – bass
* Alejandro Sánchez – drums, acoustic guitar
* Isack González – guitar, samplers
* Carlos Ortega-  guitar

ProgSphere’s AwesomeCast: Episode 11 – 2011 Year in Review: Psyched Out, Thru Space

The time has come for another one of the series of ProgSphere’s December AwesomeCasts. This time we give you another 20 bands, all from the genre of psychedelic/space rock. The songs included are all part of albums that delivered something new and different in the understanding of these great genres in 2011.

After 2010’s debut, My Brother the Wind recorded another gem of psychedelic music, but they do not try to alter their efforts to deepen their sound towards a more progressive pattern. Causa Sui and Øresund Space Collective came up with two and three albums, respectively and it was really hard to pick up a single piece for this podcast. Temple of the Smoke, The Re-Stoned , The :Egocentrics, led by Croatian Seven That Spells showed that psychedelic rock mixed with a variety of other elements (especially Temple of the Smoke) is not a long-forgotten term in Eastern Europe. A real refreshment comes into the shape of Bordeaux’s Mars Red Sky, whose juxtaposition of psychedelia and stoner made a real boom on the scene.

Anyway, I am sure the choice made here is good and that everyone might find something interesting for their own pleasure. So don’t hesitate to hit play on the player above. Next episode of the ProgSphere’s AwesomeCast comes on 29th December and is titled “xCeptional“. Stay tuned!

Tracklist:

01. The Psychic Paramount – RW (taken from II)
02. My Brother the Wind – Fire! Fire!! (taken from I Wash My Soul in the Stream of Infinity)
03. Tia Carrera – Sand, Stone and Pearl (taken from Cosmic Priestess)
04. Grails – Future Primitive (taken from Deep Politics)
05. Sungrazer – Mirador (taken from Mirador)
06. Monkey3 – Through the Desert (taken from Beyond the Black Sky)
07. White Hills – No Other Way (taken from H-p1)
08. Lunar Dunes – Eastern Promise (taken from Galaxsea)
09. Mars Red Sky – Way to Rome (taken from Mars Red Sky)
10. Seven That Spells – AUM (taken from The Death and Resurrection of Krautrock: AUM)
11. Karma to Burn – Forty Eight (taken from V)
12. Temple of the Smoke – Autumn World (taken from …Against Human Race)
13. Across Tundras – Shunka Sapa (taken from Sage)
14. The :Egocentrics – Off the Center (taken from Center of the Cyclone)
15. Tephra – City Immersed in Dust (taken from Tempel)
16. The Cosmic Dead – Infinite Death of The Godhead (taken from Cozmic Tape I)
17. The Re-Stoned – Analog (taken from Analog)
18. Samsara Blues Experiment – Hangin’ on the Wire (taken from Revelation & Mystery)
19. Causa Sui – Pewt’r Wozniacki (taken from Pewt’r Sessions I)
20. Øresund Space Collective – Space Jazz 2.2 (taken from Dead Man in Space)

Ponamero Sundown

Oliver (bass):

Artist: Chris Connelly
Album: Artificial Madness

I´ve been stuck in a “post punk” period for quite some time now, listening to all the great music that developed out of the British punk scene in the late 70´s. This album definitely nods (According to me anyway) at this era with its relentless rhythm section and great chaotic guitar layers (Less traditional riffing), building a huge wall around the songs to Chris Connelly´s vocals that somehow float between spoken word and concrete singing. It´s an awesome album!

Anders (guitar):

So this is supposed to some sort of a closure of the music year of 2011. It got me thinking a bit of what I’ve acctually been listening to during the year. I guess that these five records are the ones that have made the biggest impression on me, but perhaps more as a music fan than as a musician though.

Graveyard – Hisingen Blues

I heard the record and saw one of their release party gigs on the same day. And then everything really made sence. All those things that perhaps doesn’t really reach out on the record does sound totally natural live. One huge record…

J Mascis - Several Shades of Why

Mellow, laidback and J is delivering as only J can. Some really nice acoustic playing and J seems to be pourings his heart out through the 10 songs of the album.

Dropkick Murphys - Going Out in Style

My ”going to work” record of the year. If the mood is down just throw on Hang ´em high and you´re ready to conquer the world. Basically nothing new but the Boston lads sound more engaging than they have done for years.

Mastodon - The Hunter

What can you say? Impressing stuff as usual. By now you´re almost getting used to the band always reinventing themselves so it’s kind of neat with the sometime more straight forward approach on this album.

PJ Harvey - Let England Shake

Dark, moody, engaging and really beautiful… Polly Jean has a voice like nobody else.

Nicke (vocals):

I dont really listen to whole albums nowadays with spotify and grooveshark and what not but here it is… Not necessarily in this order.

Noah Gundersen - Family

Michael Dean Damron - Plea from a ghost

Joe Bonamassa - Dust Bowl

Motorjesus - Dirty pounding gasoline

Machine Head - Unto the locust

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