t Rock

J.E.T.’s name is not only known to progressive Italian rock fans, but also to a wider audience, given that from their ashes, already in the mid-’70s, the soon-to-be-famous Matia Bazar were born: this new incarnation was able to rework J.E.T.’s last phase most ‘commercial’ hints, leading to a long successful career that still goes on today. Contrarily to what these words might suggest, J.E.T.’s only LP, originally published in 1972, is so far from the term ‘commercial’ as close to the Italian prog of the golden age: four long and complex tracks – plus the short ending “Sfogo” – with religion-themed lyrics, strong hard rock influences, a solid rhythmic section, keyboards always in evidence and beautiful vocal harmonies, sometimes reminiscent of the typical New Trolls’ falsetto. A timeless album, which still today leaves the listener astonished for its beauty and magniloquence, but also a bit disappointed by the fact that the band didn’t manage to release a follow-up to this masterpiece.

Known simply as "T", German multi-instrumentalist Thomas Thielen has been recording music as a one-man act since his time with the short-lived progressive rock act Scythe ended, and 2013's Psychoanorexia marks the project's fourth full-length album since its 2002 debut. Thielen's music can best be described as neo-progressive rock, albeit a rather unconventional approach to the style. Imagine a more experimental version of Brave-era Marillion, and you're halfway there - Psychoanorexia is a very atmospheric and ambient listen, but it still is 'busy' enough to scratch that prog itch. Although it only contains four tracks, Psychoanorexia clocks in at over an hour, as three of the songs here are around the twenty minute mark.

Known simply as "T", German multi-instrumentalist Thomas Thielen has been recording music as a one-man act since his time with the short-lived progressive rock act Scythe ended. This doesn't sound like a solo album, but much more like a group work, and one soon quickly moves away from the feel that this is the work of just one man to confronting the bleakness and darkness of this album. He is bringing in musical themes and influences such as modern Marillion, IQ, Radiohead, Peter Gabriel and Geoff Mann.

"Anti-Matter Poetry" may not be a creation that will inspire those in search of the new Yes or Genesis, but if you appreciate an artist using and utilizing modern stylistic details and taking cues from the current scene and applying them in an art rock setting this effort from German one man band T should be right up your alley. A fine and at times breathtaking album within this specific musical universe.

German project T is the creative vehicle of composer and musician Thomas Thielen, formerly of the German band Scythe, but now with a solo career that has been ongoing ever since he released his first album using the 'T' moniker in 2002. Thomas plays all the instruments, does the vocals, lyrics, engineering, producing and recording. The music is a mix between Steve Hogart-era MarillIon, No-Man, Pink Floyd and Radiohead. Some songs could've been taken from a Scyythe album but the most of them are too experimental for that band.

J.E.T.’s name is not only known to progressive Italian rock fans, but also to a wider audience, given that from their ashes, already in the mid-’70s, the soon-to-be-famous Matia Bazar were born: this new incarnation was able to rework J.E.T.’s last phase most ‘commercial’ hints, leading to a long successful career that still goes on today. Contrarily to what these words might suggest, J.E.T.’s only LP, originally published in 1972, is so far from the term ‘commercial’ as close to the Italian prog of the golden age: four long and complex tracks – plus the short ending “Sfogo” – with religion-themed lyrics, strong hard rock influences, a solid rhythmic section, keyboards always in evidence and beautiful vocal harmonies, sometimes reminiscent of the typical New Trolls’ falsetto. A timeless album, which still today leaves the listener astonished for its beauty and magniloquence, but also a bit disappointed by the fact that the band didn’t manage to release a follow-up to this masterpiece.

If you lived outside America during the 1950s, when rock & roll exploded across the world, the opportunities to see your idols in the flesh were few and far between. Even at home, in North America, Elvis Presley, Little Richard, Buddy Holly and Jerry Lee Lewis could only be in one place at a time when performing live. So the obvious marriage was made, between rock & roll and the movies. And back then, all the songs you hear spread over this comprehensive 3CD collection could be heard – and seen! – at the cinema.