This pair of 1963 studio sessions by Grant Green remained under wraps until issued as a part of Blue Note's limited edition Jazz Connoisseur series. The guitarist is in fine form, accompanied by organist John Patton and drummer Ben Dixon, starting with a brilliant bop rendition of the popular standard from the Broadway show Oklahoma!, "The Surrey with the Fringe on Top." The soft but intense "Don't Let the Sun Catch You Crying," and Ray Charles' gospel flavored "This Little Girl of Mine" (an obvious reworking of "This Little Light of Mine") are also highlights. Each member of the trio also contributed one original. The title track was written by the leader, a gritty blues originally recorded at the close of a Lou Donaldson session (which the saxophonist sat out)…
The Flight of Sleipnir sound has always been quite distinct, the first amongst it’s central tenets is a mid-fi approach. It’s not lo-fi and it’s not polished, it retains that little bit of scratch-and-pop, moderate-levels-of-production edge. This is still the case with “EoN”, and with the first distorted guitar tone that is not that distorted or fuzzed but still so, you know you’re treading familiar waters (if you’ve listened to “Lore”, that is.) That is a definite plus for The Flight of Sleipnir in general, that they have their identity grounded. One more thing: The Flight of Sleipnir has gone softer. Not soft, period, but noticeably softer: there are more acoustic songs, more clean vocals, more atmospheric/acoustic/soft passages.
"The Fall of Math" is a solid debut album from this UK band. 65daysofstatic is another side of Post-Rock. The machine syncopated drums, owing more to drum'n'bass and industrial than to Math-Rock, and the electronic textures, a brood Radiohead and Nine Inch Nails symbiosis, created both a impetuous background atmosphere where the band's dynamic Post-Rock inter-crusade of guitars, bass and piano moved along. The result is creative and intriguing, flowing with memorable instrumental passages and some solemn atmospheres, whilst the band preferring to move their music from contrast to contrast, between very balanced nuances, than using the genre's more traditional haunting crescendos. Plus, the music achieves to recreate emotionally their foreseen vision of a ideological catastrophe, elicited in the album's first track, being elegantly majestic or disturbing at incisive moments.
Ray Bonneville combines electric blues motifs, a light sense of humor, and a pop approach to song-making. On pieces like the opening "Don't Look Back," with electric piano from Richard Bell, this combination comes across as a sort of Memphis Randy Newman. Colin Linden here produces this unique, memorable Canadian songwriter on his third album. Linden provides slide, baritone, and other guitar work on the album. Like Linden, Bonneville is adept at incorporating blues styles into accessible pop gems. Recorded in Canada and Nashville, this album features mandolin maestro Tim O'Brien on "Canary Yellow Car" and the Band's Rick Bell playing keyboards on five selections. Like the album, Bonneville is a constantly moving dual citizen of Canada and the United States. This broad base of experience reflects in an album featuring North American themes of pop, rock, and blues.
After ten years and five albums of groundbreaking progressive death metal, Neurosis have managed to carve a highly original niche for themselves… coming off somewhat like a Tool for extremists. Yeah, you heard right. But while this Oakland bunch deserve great kudos for such unwavering commitment to their vision, they seem fated to remain confined to well-kept secret status for remaining so stubbornly inaccessible. 1999's Times of Grace adds another chapter to this ongoing dilemma by delving ever deeper into the group's hypnotic semi-industrial dirge. But whereas previous efforts tended to suffer from erratic songwriting and uneven pacing, many tracks taking painfully long to build towards their crescendos, this album offers the most seamless continuity of any album in the band's challenging discography…
The participants in this project are Jens Peschke and Andy Bloyce from Kubusschnitt. The first thing you hear on this album is a rumbling sequence which leaves you in no doubt that the territory to be explored is decidedly retro. There are Tangerine Dream references but they are mixed in equal part with Klaus Schulze and Ashra influences. The opening track title 'Klaus to the Edge' (!) makes the Schulze reference even more obvious. The guitar when used is very subtle giving colour rather than dominating as a lead instrument. The sequence provides the backbone but the accompanying atmospherics and effects are just as effective. This is a truly incredible CD mixing many different elements of the "golden era" of Electronic Music. Sequences are used for much of the time but they are never allowed to just run, they come and go and are constantly shape shifting…
Newly discovered unique prog/beat music from the 1970s! Day Of May was a progressive/avant-garde rock band from the very lively period 1971-1976, based in Nykobing Mors, Denmark. The lyrics are entirely Danish and are about life around us, about love, the universe and the adventure. For fans of Jethro Tull, Santana, Emerson, Lake and Palmer, Alrune Rod and Savage Rose.