Sunday, April 12, 2015

14 April 2015: iapetus Records Touch Guitar Compilation; Felt

  A themed compilation of tracks culled from the wider iapetus portfolio. All titles prominently feature Touch Guitars® instruments:


















In the second half of the show, we will be featuring instrumental compositions from the band, Felt.
Felt were an alternative rock band founded in Birmingham, England in 1979 and led by the mononymous Lawrence.[1] The band's name was inspired by Tom Verlaine's emphasis of the word "felt" in the Television song "Venus".[2] They existed for ten years, throughout the 1980s, during which time they released ten singles and ten albums.
Felt have been cited as an influence by Belle & Sebastian's Stuart Murdoch[3] and Tim Burgess of The Charlatans,[4] as well as by alternative rock bands Manic Street Preachers,[5] Girls,[6] and The Tyde.[

Monday, April 6, 2015

07 April 2015 Markus Reuter - Touch Guitar

Tonight we'll be featuring the superb touch guitarist, Markus Reuter with selections from a live recording, 6 Reflections, and, if time permits, his work in TUNER.

Markus Reuter (born Lippstadt, Germany, 1972[1]) is a German multi-disciplinary musician, composer, record producer and instrument designer. His work spans (and frequently fuses) art rock, loop music, contemporary classical music and alternative pop.
Reuter is a member of multiple ongoing bands and projects (including centrozoon, Tuner, Stick Men, The Crimson ProjeKct and Europa String Choir). Most recently, he has begun to establish himself as a contemporary classical composer via the performance and recording of his large-scale orchestral piece Todmorden 513.
A specialist in touch guitar playing, Reuter became known as a leading player of the Warr Guitar and Chapman Stick during the 1990s and 2000s before developing and marketing his own U8 and U10 Touch Guitar instruments. In collaboration with former King Crimson member Trey Gunn, he runs the Touch Guitar Circle, a teaching and support network for touch guitar players.
As well as further collaborations with artists including Tim Bowness, Lee Fletcher, Ian Boddy and Robert Rich, Reuter has produced records by numerous musicians and released several solo recordings as both performer and composer. He is also part of an artist-owned production consortium which encompasses Iapetus Media, Unsung Productions and Unsung Records.

Tuesday, March 31, 2015

31 March 2015: Gordon Giltrap & Daevid Allen

      A live performance for essentially a solo guitarist always raises the question of faithful sound reproduction. For instance, GORDON GILTRAP plays both electric and acoustic guitar very well. Does he go with an additional guitarist to complement or at least not cramp his style? What of other instrumentation like sax which he occasionally hires? Should vocals be introduced for variety?
      On "Live at Oxford" GILTRAP makes several brilliant choices - hiring a competent backing rock band, continuing to play all guitars himself, engaging a female vocalist, and utilizing keyboards and vocals to fill some of the additional guitar and brass sounds. How he implements these decisions results in a show and a resulting album that plays to his strengths while rendering his shortcomings moot.
In some sense this virtuoso's work is best suited to the live setting, since his primary talent is in playing and, to some extent, arranging, as opposed to composition. Luckily his skill is exposed in a measured fashion throughout. The main source of material is "Fear of the Dark", the most recent album at the time of the concert, and it would be hard to imagine that those tracks represented here are not more fully realized than the studio versions. This is especially the case for the epic "Visitation" and the suspenseful "Fear of the Dark", both of which benefit from the sultry expressive vocals of SHIRLEY RODEN. Still, the best example of this adaptive spirit and of Roden's power is in "The Deserter"; originally an instrumental on "Perilous Journey", it is re-invented as a spacey lyrical piece with Roden's vocals replacing sax and some pointed guitar leads. I had never heard of Roden so has to look her up, and found that her limited credits include several prog artists including MICHAEL MOORCOCK, MIKE OLDFIELD and DAVID GILMOUR.
         As is standard for Giltrap, none of the material or the performances are weak but here the energy of the live setting and the commitment to the team concept contribute equally to what could be the most suitable introduction to Gitrap for prog fans. I have not heard the prior three albums in their entirety but "Live at Oxford" seems to be cut from a different cloth.  (from

We continue our tribute to the late, great Daevid Allen with a selection of some of his greatest (and wackiest) music.

Tuesday, March 24, 2015

24 March 2015: Steven Wilson, Daevid Allen

The first half of tonight's show will be Steven Wilson's latest solo release:  Hand. Cannot. Erase.
The album has been critically acclaimed and is arguably his best work to date.
According to Wilson, the album is written from a female perspective, and the concept and story are inspired by the case of Joyce Carol Vincent, where a woman living in a large city dies in her apartment and no one misses her for three years, despite her having family and friends.[6] Wilson explained:
"The basic story, or concept of the record – it's about a woman growing up, who goes to live in the city, very isolated, and she disappears one day and no one notices. There's more to it than that. Now, what's really interesting about this story is that your initial reaction when you hear a story like that is, 'Ah, little old bag lady that no one notices, no one cares about.' [Vincent] wasn't [like that]. She was young, she was popular, she was attractive, she had many friends, she had family, but for whatever reason, nobody missed her for three years.

 In the second half of tonight's show, we will honor the memory of the original Pothead Pixie, Daevid Allen, who passed away on March 13. Christopher David Allen (13 January 1938 – 13 March 2015), better known as Daevid Allen, sometimes credited as Divided Alien, was an Australian poet, guitarist, singer, composer and performance artist. He was co-founder of psychedelic rock groups Soft Machine (in the UK, 1966) and Gong (in France, 1967).
We feature one of his best known releases with Gong, the classic You, Part Three of the "Radio Gnome Trilogy".  Between 1973 and 1974, Gong, now augmented by guitarist Steve Hillage, released their best-known work, the "Radio Gnome Trilogy", three records that expounded upon the (previously only hinted at) Gong mythology, Flying Teapot (1973), Angel's Egg (1973), and You (1974). For about two months at the end of 1974, Bill Bruford played drums with Gong.[3]

Monday, December 29, 2014

30 December 2014: Sadie Norkin, Theo, Yes

We'll begin the show with Sadie Norkin's recent 4 track EP release: "Creating New Life".
Sadie Norkin is a young guitarist, mulit-instrumentalist, singer, songwriter located in Southern California thriving on her love of progressive influences. After playing the violin for 4 years she started picking up the guitar at ten years old. Sadie has learned to take all of her various influences and combine them into her own uncompromising unique sound. I first discovered her playing covers of Porcupine Tree songs on YouTube.  She is a superb and creative musician.
You can find her on Bandcamp by clicking on her name above or find her on Facebook here:

Next we'll feature the brand new release from THEO:  The Game of Ouroborus
Formed by world reknown keyboardist Jim Alfredson (organissimo, Dirty Fingers, Janiva Magness, Greg Nagy Band, Root Doctor) THEO harkens back to the keyboard-centric superbands of the 1970s like Yes, Genesis, and Emerson Lake and Palmer, but with a distinctly modern and bold approach.
        THEO also represents a return to the concept of the keyboardist as a vital and irreplaceable part of the group, rather than a mere sideman.
        The intrepid and dynamic music is paired with auspicious lyrical themes of corporatization, consumerism, loss of innocence, exile, and the obsession with celebrity. Lead vocals are handled by Alfredson himself. Usually relegated to background duties, Alfredson's surprisingly flexible baritone voice shifts from soaring muscularity to intimate falsetto and everything between.
          The eponymous debut album features six tracks including an epic three song opening suite comprising 24 minutes. 
Track Listing:
1) The Game Of Ouroboros - 9:42
2) The Blood That Floats My Throne - 8:17
3) Creatures Of Our Comfort - 6:45
4) These Are The Simple Days - 8:03
5) Idle Worship - 13:27
6) Exile - 11:14
Jim Alfredson - keys, lead & backing vocals
Gary Davenport - bass, fretless bass, Chapman Stick
Kevin DePree - drums, percussion, backing vocals
Jake Reichbart - guitars
Special guests:
Greg Nagy - 12 string guitar on 'The Game Of Ouroboros', chunky rhythm guitar and backing vocals on 'Exile'
Zach Zunis - lead guitar on 'The Game Of Ouroboros'

 Finally, if time permits, we'll feature cuts from the brand new Steven Wilson stereo remix of the classic Yes album, Relayer.
From Wikipedia:
Relayer is the seventh studio album from the English progressive rock band Yes, released in November 1974 on Atlantic Records. It is their only studio album recorded with keyboardist Patrick Moraz in the band's line-up; he joined in August that year after Rick Wakeman left over differences regarding Tales from Topographic Oceans (1973) to pursue his solo career.
Relayer has a similar format as Close to the Edge (1972), with one track occupying the side one and two tracks situated on side two. The album saw Yes experiment with elements of jazz fusion.
Relayer was mostly well-received with music critics and its commercial success continued the band's popularity in the 1970s. The album peaked at number 4 in the UK and number 5 in the US. The closing section of "The Gates of Delirium", titled "Soon", was released as a single in January 1975. The album is certified Gold by the Recording Industry Association of America.

Track listing

All tracks written and arranged by Jon Anderson, Chris Squire, Steve Howe, Alan White and Patrick Moraz[nb 2], except where noted.
Side one
No. Title Length
1. "The Gates of Delirium"   21:55
Side two
No. Title Length
1. "Sound Chaser"   9:25
2. "To Be Over"   9:06


Additional personnel
  • Eddie Offord – engineer, production
  • Gennaro Rippo – tape operator
  • Roger Dean – sleeve design and illustration
  • Brian Lane – co-ordinator (band manager)
  • Jean Ristori – photography

Tuesday, December 2, 2014

2 December 2014: Blow Up Hollywood and Discipline: Live Releases

Over 12 years and 7 critically acclaimed albums, ambient pop-rock collective Blow Up Hollywood has created an expansive and adventurous body of work that manages to be both highly emotionally charged and majestically anonymous. Helmed by Steve Messina, and backed by trusted friends and collaborators, Blow Up Hollywood has put its distinct fingerprint on warped Americana, dark wave, post rock, noise, jazz, classical, freak folk, and any other music medium they felt like inhabiting. But when Messina’s personal life became painfully complex, he stepped out front and crafted the most direct and vulnerable album in Blow Up Hollywood’s career, the stunning, Blue Sky Blond.
“This one is from my heart. It’s more personal than any record I’ve made,” Steve Messina reveals. “While making it, I went through a time where I never felt more alone. Life was a big mystery, everything felt so uncertain. I didn’t even think I was going to make music anymore. I felt like someone took an eraser and wiped away the board with the intricate mathematical equation that was my life.”
Blow Up Hollywood was founded in 2001 as a middle finger to the music business and pop conformity. Restlessly creative, the band explored the musical equivalent of art house films and literary fiction with a chameleon-like tendency to authentically infiltrate a myriad of music idioms. The band’s debut was written during a freewheeling 3-week retreat with Messina and friends ensconced in a beach house in West Hampton, New York. The band went on to garner acclaim from indie tastemakers and a dedicated cult following. Blow Up Hollywood’s most popular release was the concept album The Diaries of Private Henry Hill. The record was based on the journal entries of a young, deceased soldier from the Iraq war. The album won the group high praise and greatly expanded its profile, culminating with a feature on NPR’s All Things Considered, and landing their song WMD on the compilation CD, Body of War, along side such artists as Neil Young, Pearl Jam, Roger Waters, and Bob Dylan.
Messina illustrated his eloquence with poignant confessional writing on The Diaries of Private Henry Hill. With Blue Sky Blond, he flips through his own diaries and offers a stark survey of his own battles. The album is rife with imagery of oceans and deserts, conveying a vastness and all-encompassing emptiness with titles like “Throw Me A Line,” “Desert Rose,” and “Waiting For My Ship To Come.” “Throw Me A Line” gracefully unfolds with subtle, breathtaking textures and a spacious propulsive quality that’s both comforting and disquieting. The airy, pastoral beauty of “Desert Rose” is in sweet contrast to its message of the fragility of life’s stability. “That song is about getting so caught up in our little world and then something else suddenly takes over and you lose your solid ground,” Messina says. The uplifting and soulfully cleansing “Shine” is an emotional life raft on the album, providing a gospel-like reassurance that everything will be okay.
As a powerful counterpoint to the shivery and lonely feelings Messina was wading through inside, the group of musicians around him gave a supportive and emotionally grounded environment for his songs. During the making of the album, he found his collective had become a band. “I felt support around me, it felt like they had my back,” Messina says. Blow Up Hollywood is officially Steve Messina, vocals, acoustic guitar; Thad Debrock, electric guitar, pedal steel, keyboards; Teddy Kumpel, electric guitar; Steve Bonacio, bass; Dave Diamond, drums; Harvey Jones, piano, keyboards; Nadia Ackerman, vocals; and Anthea White, vocals.
“I feel so much better now, the whole world looks different,” Messina says, assessing his emotional landscape in the wake of finishing Blue Sky Blond. “You know, Blow Up Hollywood is my sanctuary. I don’t think about money or my career; I do this because I have to do it, it’s a catharsis. This is who I am.
Discipline's style and genre has been variously described. The Detroit News describes them as an "alternative band."[17] However, the progressive rock website classifies Discipline as Symphonic prog.[18] Doug Levy in Detroit's South End newspaper writes of Discipline, "this is not some kind of over-the-top theatrical rock troupe of sorts as much as it is a welcome merging of both art and tightly-knit (hence the name) modern rock."[19] John Collinge, publisher of Progression Magazine, writes "Discipline’s music demands focused attention–preferably with headphones and lyric booklet, at least on the first spin. Once you’ve locked into Parmenter’s vibe, strong melodies and gloriously edgy accompaniment seal the deal.".[20][21] Mike Ostrich of ProgScape Radio says this about the band's musical style: "The band isn't interested in flashy solos, the song is the most important thing - not too much, not too little. There's not one band member who doesn't bring out the best in the others. Bouda's guitar playing enhances Kennedy's bass, which influences Dzendzel's drums, which only strengthens Parmenter's keyboards and vocals."

Tuesday, November 25, 2014

25 November 2014: New Releases from Pink Floyd and Big Lazy

 Instrumental guitar noir from the NYC trio's latest release: Don't Cross Myrtle.   The second half of the show will feature the latest (and last?) Pink Floyd album: The Endless River.

More on Big Lazy:
More on The Endless River:

Tuesday, September 9, 2014

09 September 2014 Goblin: "Suspiria" & Timothy Pure "Island of the Misfit Toys"

Goblin (also Back to the Goblin, New Goblin/Goblin Rebirth, the Goblin Keys and Simonetti's Goblin) is an Italian progressive rock band known for their soundtrack work. They frequently collaborate with Dario Argento, most notably creating soundtracks for Profondo Rosso in 1975 and Suspiria in 1977. CD re-releases of their soundtracks have performed well, especially in Germany and Japan. Goblin returned with a series of live concerts in Europe in 2009 and in North America in 2013.
Initially named Cherry Five, the band has been influenced by Genesis and King Crimson. Their early work spawned one eponymous progressive rock record, and they were then called in to compose the soundtrack for Profondo Rosso. The band changed their name to Goblin, rewriting most of the score, originally written by Giorgio Gaslini including the famous main theme. The 1975 soundtrack album was a huge hit.[where?] After a reshuffle in their line-up, and they put out an instrumental progressive rock album Roller, before working with Argento again for 1977's Suspiria. Other film soundtracks and a concept album (Il Fantastico Viaggio Del Bagarozzo Mark) followed, then the score for the European version of George A. Romero's 1978 Dawn of the Dead. Tracks 1, 2 and 5 from the European version are also in the American version of the album.
Despite their success, membership continued to be a revolving door, and the band also struggled to maintain their credibility. The remaining members continued to work on further soundtracks, and there was a partial reunification for Argento's Tenebrae (1982) (although each member of the band was credited separately, not as Goblin). The last collaboration with the director took place in 2000, with the film Non ho sonno (Sleepless).

Suspiria (pronounced [susˈpi.ri.a], Latin for "sighs") is a 1977 Italian horror film directed by Dario Argento, co-written by Argento and Daria Nicolodi, and co-produced by Claudio and Salvatore Argento. The film stars Jessica Harper as an American ballet student who transfers to a prestigious dance academy in Germany, which she discovers is controlled by a coven of witches. The film also features Stefania Casini, Flavio Bucci, Miguel Bosè, Alida Valli, Udo Kier, and Joan Bennett in her final film role.
Timothy Pure biography
American progressive rock band from Georgia has made 3 albums so far, two of them are concept albums. With a lush songwriting approach and a conceptual and highly symbolic perspective on lyrics, the band excels in building up structures of emotional richness that allow for an uninterrupted storyline immersed in drama and sharp social analysis. Their music is a mixture of sweet atmospheres and fine prog passages. Certainly influenced by PINK FLOYD, they manage to produce a typical dark and melodic sound with very strong lyrics.

"Blood Of The Berry" is a concept album that tells a story of love and sacrifice. The music features light and dark musical tones and flows which is what makes this American band so good. The last album "The Island Of The Misfit Toys" (2000) is something more than a prog album: music and words seem to tell us a story you never would be over. This album describes the problems and nightmares children and adolescents deal with nowadays (mainly because of war or child abuse). Matthew Still has a beautiful and emotional voice, the instruments are played in a very subtle way and the production is high standard. Fans of bombastic or overly complex music would be advised to look elsewhere. This is very emotional music which should appeal to fans of concept albums. A must!

02 September 2014 Back to School

Tonight's theme is "Back to School" featuring groups from Alice Cooper to the Kinks to Patti Smith and beyond.

Tuesday, August 26, 2014

26 August 2014: Jethro Tull and King Crimson

(from Wikipedia) Alongside Thick As A Brick, 1973′s A Passion Play is Jethro Tull’s most overtly Progressive and conceptual release, featuring a complex poetic narrative framed by the most adventurous music of the band’s career.
A #1 US hit on its release, the album offers dazzling virtuoso instrumental passages, evocative synthesiser sequences, and fuses Folk, Jazz and Rock influences in a strikingly unique, wholly Jethro Tull way.
A Passion Play (An Extended Performance) features new Steven Wilson mixes (stereo and 5.1) of the album, alongside Steven Wilson mixes of the infamous ‘Chateau Disaster’ recordings that preceded it.
A Passion Play (A new Steven Wilson stereo mix):
1. Lifebeats/Prelude
2. The Silver Cord
3. Re-Assuring Tune
4. Memory Bank
5. Best Friends
6. Critique Oblique
7. Forest Dance #1
8. The Story Of The Hare Who Lost His Spectacles
9. Forest Dance #2
10. The Foot Of Our Stairs (+ 2 extra verses found on end of multi-track reel)
11. Overseer Overture.
12. Flight From Lucifer
13. 10.08 to Paddington
14. Magus Perde
15. Epilogue






 Steven Wilson on Remixing King Crimson
In addition to his work on a solo album and the upcoming new album from Porcupine Tree The Incident, in stores Spetember 14th, Steven Wilson has also been working on 5.1 mixes of King Crimson's back catalogue (as mentioned in this previous interview). We asked Steven about his work on the albums and below you can read about what he calls, "a real labor of love"...
The reworking of King Crimson's back catalogue was a real labour of love for me. These are albums I grew up listening to, and their influence on my teenage self still forms a large part of my musical DNA. So to be able to actually go inside the music and hear how it was all put together was both an honour and an instruction. What made it even more enlightening was to have Robert Fripp in the room while I was doing it, recounting (mostly unrepeatable!) anecdotes about the recording process and the people who played on the records. Some of these memories still made it painful for him to hear the music, and often at the end of a session both of us left my small studio drained - he from reliving the music and the struggles involved in creating it, and me from wanting to do the legacy justice.
The job at hand was to create 5.1 surround sound mixes, make new stereo mixes where appropriate, and to mix any out-takes and unreleased material I found on the reels.
The first stage was to have the tapes transferred to digital files by a professional tape archiving company, then to recreate the stereo mixes as closely as possible. Being so familiar with the originals, I aimed to be as faithful as I could, so if you hear deviation from the original stereo mix it's probably because Robert didn't like it the way it was and took the opportunity to change it. The tapes were in various degrees of (dis)organization (and as I write some tapes are still completely missing for In the Wake of Poseidon, and Starless and Bible Black). The 80s albums were carefully recorded, compiled, and annotated, but for many of the earlier albums there were many reels of tracking sessions and alternate takes, so the trick was to find the version used, or which parts of which versions were used. Sometimes a track would be made up of small parts of different takes edited together, as with the title track of Lark’s Tongues In Aspic, which was recorded in about 10 short sections, with multiple takes of each.
For personal reasons one of the very first albums I wanted to revamp was Lizard, which is the one album in the catalogue that tends to divide the fans between those that love it and those that find it almost unlistenable. I’m one of those that adore it, and could make a pretty good case for it being one of the most adventurous rock albums ever made. But I also knew it could work better in 5.1, as it’s almost as if there is too much information bursting out of the tracks to be contained in mere stereo. This is not the case in surround sound, where everything has the space to breathe, and the genius of Lizard’s progressive avant-garde jazz rock experiment finally blossoms in all its glorious folly.
Although originally not part of the plan it become apparent that some of the albums could also be made to sound sonically better in stereo as a result of that tape transfer and remix too, and Lizard was definitely one of those. The debut album In the Court of the Crimson King also benefited from us being able to go back to the original multitrack slave reels – in those days the band were using 8 track recording, and so every time the 8 channels were filled up (say with drums, bass and guitars) it was necessary to bounce it down to a one or two tracks of a second tape in order to keep overdubbing the multiple mellotrons, or vocals. Sometimes this would happen 2 or 3 times before a track was ready to mix, so the instruments recorded first had by then become second or third generation copies, with all the problems that brings (tape hiss, reduced frequency range...etc..). We were able to go back to the very first session tracking tapes and synchronise them with the overdub reels, so for the first time in the new mixes of the In the Court every instrument heard is first generation.
We also found several fascinating out-takes and alternate versions which had never been mixed down before – most of these will appear as bonus tracks on the new editions, which will all be CD/DVD combinations (the DVDs will contain any available archive video forage from the appropriate era, as well as the 5.1 mixes and high resolution stereo).
What impressed me (among many things) about the way these albums were made was the economy of overdubbing - these days I'm used to mixing records where there might be guitars tracked 4 or 5 times, drums split out over 20 channels...etc... But often with King Crimson albums you are hearing what is essentially a live band in the studio, with little or no overdubbing. And yet even with only a guitar, bass, drums line up they still sounded huge. It’s a recording art that has been partly lost in the age of computer recording, where there is no limit to the amount of times that you can layer instruments to make them sound heavier. But sometimes it’s heavier without all the overdubbing – check out the new power trio mix of the title track of Red if you don’t believe me!

Saturday, May 25, 2013

28 May 2013: Blow Up Hollywood

         Blow Up Hollywood is an underground American rock band. Their eclectic sound, built over a decade of recording, incorporates many different styles, diverse as progressive rock, post-rock, experimental, pop, classical, jazz and ambient soundscapes. Founded by Steve Messina and Nik Chinboukas in 2001, the group has evolved into more of a collective than a band, as some of their members have changed over the years. Take Flight was released in 2010. 
        In 2006 the band released what would become their most popular CD, both nationally and internationally. With the debate over the war in Iraq raging, the band released another concept album, The Diaries of Private Henry Hill. Based on the journal entries of a young, deceased soldier from the Iraq war, Blow Up Hollywood takes us on Private Henry Hill's surreal journey as he joins the army out of necessity rather than patriotism.
      The band is currently raising money from fans for the release and promotion of its latest creation, blue sky blond.   You can help out here.

Monday, May 20, 2013

21 May 2013: The Doors featuring Ray Manzarek

In recognition of the passing of Ray Manzarek, Tuesday night's FreeForm will be selections from the first three Doors albums. Blow Up Hollywood will be featured next week.
Raymond Daniel Manczarek, Jr., known as Ray Manzarek (February 12, 1939 – May 20, 2013),[1] was an American musician, singer, producer, film director, writer, and co-founder and keyboardist of The Doors from 1965 to 1973, Nite City from 1977 to 1978 and Manzarek-Krieger from 2001 to his death. Manzarek died on May 20, 2013, of complications related to bile duct cancer.[2]

Tuesday, May 14, 2013

14 May 2013: Also Eden "Think of the Children!" and King Crimson "In the Wake of Poseidon"

   Also Eden is a British Rock band, formed in 2005, when vocalist Huw Lloyd-Jones and keyboardist/vocalist Ian Hodson, who had been working on material together up to that point, invited Simon Rogers to join them.[1] As of 2012 the band have released three studio albums and an EP, and have toured the United Kingdom and Europe since the mid-2000s, including four appearances at Summers End UK, and slots at Night Of The Prog at Loreley in Germany and The Cambridge Rock Festival (2011).[2] Also Eden's third studio album, Think of the Children!, was released in October 2011 via F2 Records and received an 8/10 review from Geoff Barton in Classic Rock (magazine)
     The band's sound draws influences from classic progressive rock artists such as Yes, Genesis, Marillion and Rush, as well as inspiration from the “metal, fusion, classical and classic rock genres".[3] The band has also cited contemporary bands such as Porcupine Tree and The Flower Kings as influences. 
The tracks:

  1- Think Of The Children - I(6:59)
  2- Hiding In Plain Sight(3:53)
  3- Oversight(6:28)
  4- Cijfers(3:22)
  5- The Greater Game(9:28)
  6- Stealth(5:40)
  7- Dream Without a Dream(6:50)
  8- 1949(9:57)
  9- Think Of The Children - II(9:02)

In the Wake of Poseidon is the second studio album by the progressive rock group King Crimson. By the time this album was released, the band had already undergone their first change in line-up, however they still maintained much of the style of their first album, In the Court of the Crimson King. Also like their first album, the mood of this album often changes from serene to chaotic.
All songs written by Robert Fripp and Peter Sinfield, unless otherwise indicated.
Side one
No. Title Length
1. "Peace – A Beginning"   0:49
2. "Pictures of a City" (including "42nd at Treadmill") 8:03
3. "Cadence and Cascade"   4:37
4. "In the Wake of Poseidon" (including "Libra's Theme") 7:56
Side two
No. Title Length
5. "Peace – A Theme" (instrumental)  (Fripp) 1:15
6. "Cat Food" (Fripp, Sinfield, Ian McDonald) 4:54
7. "The Devil's Triangle" (instrumental)  (Fripp, McDonald)
  • I. "Merday Morn"
  • II. "Hand of Sceiron"
  • III. "Garden of Worm"  
8."Peace – An End"  1:53

Monday, May 6, 2013

07 May 2013: Ian Boddy Din 42 "Liverdelphia" + KRAAN

DiN42 | Ian Boddy | Liverdelphia 
  Limited to 555 copies

In the autumn of 2012, Ian Boddy played two concerts on opposite sides of the Atlantic Ocean. The first was his fourth solo appearance at the Gatherings, hosted by Chuck van Zyl, in Philadelphia, USA. Four weeks later he then played at the Capstone Theatre in Liverpool, UK. There might have been over 5,000 kilometres separating the two gigs but Boddy played the same set at each and both his performances were multi-track recorded.
Back in his studio Boddy then proceeded to edit the audio down to a single CD length and to merge the two shows to create a composite concert. Nothing additional was added, but rather, a careful mix was made of the best sections from each performance to create a unique album that was true to the spirit of the original concerts.
In the field of electronic music, Boddy has played live more times than most. He is currently clocking in at around 150+ concerts and the effortless way he manipulates his music in a live setting is a testament to this experience. The music rises and falls in a series of organic, analogue soundscapes. Beautiful moments of musical tenderness are contrasted with large, grandiose orchestrations. The sequencer sections crackle and sparkle with pent up analogue power, with Boddy weaving a web of intricate Moog solo lines and mellotron chords.

The album is released in a strictly limited edition run of 555 copies, in a beautifully designed digipak, featuring the "pumpkin synth" design by Chuck van Zyl for the posters of the Philadelphia show. Thus "Liverdelphia" is a perfect showcase for the unique style of live electronic music created by this well respected UK musician.


Kraan is a German band based in Ulm and formed in 1970. It had several minor hits through the 1970s and 1980s. After a break of ten years, the group reunited in 2000. Their early style can be described as Krautrock that turned later to fusion, combining elements of both rock and jazz.
 From Wikipedia, the free encyclopedia
Kraan (Wiesbaden 2008-05-25).jpg

Kraan in Wiesbaden (25. May 2008)
Background information
Origin Ulm, Baden-Württemberg, Germany
Genres Krautrock
Jazz fusion
Years active 1970–1990;2000–present
Labels Spiegelei/Intercord, EMI, Wintrup Music

Members Peter Wolbrandt
Hellmut Hattler
Jan Fride

Past members Ingo Bischof
Johannes „Alto“ Pappert
Udo Dahmen
Joo Kraus
Gerry Brown
Eef Albers
Mark McMillen
Tommy Goldschmidt

Monday, April 22, 2013

23 April 2013: Steve Hillage et al "Cyberwar" Soundtrack and Area, Italian jazz fusion

        Cyberwar, a video game loosely based on Lawnmower Man, consists of three discs but also includes a CD with the soundtrack featured in the game. The soundtrack includes a number of tracks scored and played by Steve Hillage of Gong and System 7.   Copies of the soundtrack are very rare and difficult to come by as the CD itself was never available as a separate release.
        The game was briefly popular in the 1990s:  The player is assigned the role of Dr. Angelo, sent in to Virtual Reality to defeat Jobe, who, in the film was born simple but increased his brain capacity by 400% using Virtual Reality. He eventually leaves his physical body and enters VR permanently. The various gameplay elements are based on the Virtual Reality segments seen in the original film. For instance, one of the levels has the player flying through tunnels avoiding multiple objects, much like one of the games in the film.
       The game did not have multiple lives, but just one - if the player missed any part of any challenge, he would be sent to the "cyber-hell" where he would die. This proved brutal to many who played this game, but the puzzles were colorful and innovative - at least one required the player to remember a code from the first disc to be used in a room on the second disc. If the player entered the wrong code, he would die. 
      This game is now very rare but can sometimes be found on auction sites.

           Arbeit macht frei is the debut album of the Jazz fusion band Area. It is notable for featuring Patrick Djivas (which is now known better for his work with Premiata Forneria Marconi) on bass and Eddie Busnello on saxophone, which parted after the release of the album. According to the booklet the lyrics were written by Frankestein (which is an alias for Gianni Sassi), and the music was written by Patrizio Fariselli. "Luglio, Agosto, Settembre (nero)" became Area's first hit (even if most of the 7" censored the word "nero", which was a reference to Black September). It was only released as a juke box only item, and the b-side was the song "Miña" by Italian prog band Aktuala. On the posthumous live release "Concerto Teatro Uomo", Demetrio Stratos says that "L'abbattimento dello Zeppelin" was composed after a pub on which they were playing asked them to perform "Whole Lotta Love". They didn't know the song and played that one instead, and they got fired. Guitarist Paolo Tofani can be heard quoting the main riff during his solo. "L'abbattimento dello Zeppelin" was also released as a 7", backed by the title track of the album, but failed to hit any charts.
           "Arbeit macht frei" (German pronunciation: [ˈaɐ̯baɪt ˈmaxt ˈfʁaɪ]) is a German phrase meaning "labour makes (you) free".[1] The slogan is known for having been placed over the entrances to a number of Nazi concentration camps during World War II, including most infamously Auschwitz I, where it was made by prisoners with metalwork skills and erected by order of the Nazis in June 1940.

Track listing 

Side one

  1. "Luglio, Agosto, Settembre (nero)" – 4:27
  2. "Arbeit macht frei" – 7:56
  3. "Consapevolezza" – 6:06

Side two

  1. "Le labbra del tempo" – 6:00
  2. "240 chilometri da Smirne" – 5:10
  3. "L’abbattimento dello Zeppelin" – 6:45


  • Eddie Busnello - Saxophone
  • Giulio Capiozzo - Drums, Percussion
  • Patrick Djivas - Bass, Double Bass
  • Patrizio Fariselli - Piano
  • Demetrio Stratos - Vocals, Organ, Steel Drums
  • Giampaolo Tofani - Guitar, Synthesizer
  • Ria Gaetano - Engineering