Afs Sand Testing

RED SAND, known personally in 2005 with'Gentry 'released their 10th album, more and more distant from neo to Marillion. Simon Caron, an absolute Rothery fan, had even slipped down nicely with the sound of Pink Floyd on their last album; reminiscences of Camel, IQ or Pendragon can be found there. We are dealing with a concept album based on the seven deadly sins, mixed by Michel St-Père (Mystery) on beautiful progressive rock melodies…

What strikes the listener is how "early-Marillion" the band sounds without seeming to imitate them. The compositional style, breaks and moods, the Rothery-like guitar play and the Nolan-like keyboard flights all contribute to this impression - even the albums' artwork bears that early Marillion touch; yet for some reason, it all sounds very much Red Sand. Well produced and expertly crafted, their music flows naturally and the themes blend into one another with remarkable ease. The lyrics never sound forced or imitative (the vocalist sings in English but doesn't sound at all like Fish). The band may not offer anything original in terms of style, but they do deliver first-rate neo prog that oozes charm, refinement and professionalism.

This is first rate neo prog, maybe not original, but well played and with intresting passages. The bass, drums are all over and is clear that they play with pleasure for neo prog music. People who enjoyed the band's first two releases and also fancy the early Marillion albums should check out Behind The Mask.

Red Sand was created by guitarist Simon Caron, a self-proclaimed David Gilmour, Andy Latimer, Steven Rothery, IQ, BB King and Albert Collins fan. What strikes the listener is how "early-Marillion" the band sounds without seeming to imitate them. The compositional style, breaks and moods, the Rothery-like guitar play and the Nolan-like keyboard flights all contribute to this impression - even the albums' artwork bears that early Marillion touch; yet for some reason, it all sounds very much Red Sand. Well produced and expertly crafted, their music flows naturally and the themes blend into one another with remarkable ease. The lyrics never sound forced or imitative (the vocalist sings in English but doesn't sound at all like Fish). The band may not offer anything original in terms of style, but they do deliver first-rate neo prog that oozes charm, refinement and professionalism.

Ce recueil de lettres lues s'organise en quatre séries : Paris 1833, Venise 1834, Paris et Baden 1834, Paris 1834-1835. Avec des vers d'A. de Musset. …

Ce recueil de lettres lues s'organise en quatre séries : Paris 1833, Venise 1834, Paris et Baden 1834, Paris 1834-1835. Avec des vers d'A. de Musset. …

A rare musical talent and a natural beauty with a radiant smile and golden red hair. With the gospel in her soul, pure gold in her voice and soul in her body and yet, she is from Sweden of all places. Born into a musical family, the father a singer at the Royal Opera in Stockholm and the mother a church musician, Ida has been surrounded by music and the love for it her whole life and you can certainly hear it in her performance.
These recordings show Ida Sand's full potential. Meet Me Around Midnight is an album by a singer who pays a lot of attention to the arrangement of each individual song. The arranging focuses on the groove, interpreted differently for each of the 13 songs by Ida and her excellent band. Dark and menacing in her original "Brutal Truth", or with ample blues feeling in the standard "One For My Baby"…