up The Downsttair

Introducing the first new Secret Garden collection in 18 years. Secret Garden features Norwegian composer-keyboard artist Rolf Løvland and Irish violinist Fionnuala Sherry. The band first came to international prominence when they won the 1995 Eurovision Song Contest with the song ‘Nocturne’, which features on this collection.

Born in Montreal, Quebec, Canada, A Silver Mt. Zion (just one of its many names) came to life in 1999 as a project for Godspeed You! Black Emperor member Efrim Menuck in his attempt to learn to score music. The original idea was pushed aside, and the project would go on to become a group setting, and was more in touch with the idea of the organic growth and exploration of music than the heavily composed and arranged theoretical work of Godspeed. Inspired to record an album of the music that had been made, Menuck built up the first version of A Silver Mt. Zion, taking on violinist Sophie Trudeau and bassist Thierry Amar, both known as collaborators in the Godspeed family. The band made its live debut in 1999 and released its first album, He Has Left Us Alone But Shafts of Light Sometimes Grace the Corner of Our Rooms…, on Constellation in 2000. Still known as A Silver Mt. Zion, the band expanded its membership in 2000 – adding cellist Beckie Foon, guitarist Ian Ilavsky, and violinist Jessica Moss – which led to the first of many name changes.

The second half of the '90s was difficult for the Cranberries, not just because of changing fashions, but because the group embraced both a social consciousness and a prog rock infatuation, crystallized by the Storm Thorgerson cover of Bury the Hatchet. Thorgerson has been retained for their fifth effort, Wake Up and Smell the Coffee, but the group has hardly pursued the indulgent tendencies of their previous collaboration with him – instead, they've re-teamed with producer Stephen Street and come up with an album that's as reminiscent of their debut as anything they've done since. So, even if it's wrapped in new clothing, this is essentially a return to basics, and it's a welcome one, since it's melodic, stately, and somber – perhaps not with the post-Sundays grace of "Linger," but with a dogged sense of decorum that keeps not just the group's musical excesses in check, but also O'Riordan's political polemics (although she still sneaks in cringe-inducing lines like "Looks like we've screwed up the ozone layer/I wonder if the politicians care").

"The Boy Who Wouldn’t Grow Up” is a progressive rock concept album by bassist Marco Bernard (The Samurai Of Prog). It takes listeners on a musical journey through the mind of Peter Pan, the eternal boy who never grows up. The album explores themes of youth, hope, and the struggle to hold onto innocence in a world that demands maturity.
Featuring virtuosic bass playing and intricate compositions, "The Boy Who Wouldn’t Grow Up" is a powerful and emotive listen. In addition to drawing inspiration from the classic story of Peter Pan, it incorporates the bassist‘s own experience of growing up and navigating the challenges of adulthood. With influences ranging from 1970s prog rock to modern experimental music, "The Boy Who Wouldn’t Grow Up" is a unique album, taking listeners on a sonic journey through time, from the past to the present, and ultimately to a place where young hopes and dreams never have to be left behind…

"The road was our school. It gave us a sense of survival; it taught us everything we know and out of respect, we don't want to drive it into the ground…or maybe it's just superstition but the road has taken a lot of the great ones. It's a goddam impossible way of life" - Robbie Robertson, from the movie The Last Waltz, quoted in the box set…