Showing posts with label neo prog. Show all posts
Showing posts with label neo prog. Show all posts

14 July 2026: Arabs in Aspic, “Madness and Magic”; Andreas Tilliander, “Lava”. QD51

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                                               Arabs in Aspic. “Madness and Magic”


https://arabs.bandcamp.com/album/madness-and-magic


Collaborators/Experts Reviews

Review by TCat
SPECIAL COLLABORATOR Honorary Collaborator / Retired Admin
4 stars This is Arabs in Aspic's 6th full length album. "Madness and Magic" is really the perfect name for this album as, when I listen to it, it sounds like an excellent progressive sound (which is the Magic), yet it also sounds almost like it is going to fall apart at any time (the Madness). This combination makes for an intriguing listen, not only on the first listen, but also on subsequent listens. I recognize that saying something sounds like "it is going to fall apart at any time" might seem negative, but in this sense, it gives the music a feeling of unpredictability, which to me, is a great thing. But, along with this, the Magic side of the album is that it sounds authentically progressive, borrowing sounds and shades of classic progressive bands while still sound quite relevant and fresh. It is this mix that keeps me coming back to this excellent and well-constructed album. 

But, unfortunately, there are some issues here, which, from reading the previous reviewer's comments, is an issue that the band has had in the past. This problem stems with the odd lyrics that are sometimes embarrassingly bad. For those listeners that don't put a lot of weight on the lyrics, this might slip by unnoticed, but since lyrics and vocals are quite an important part of the band's music here, it is hard to imagine that the listener would just not notice that. Looking at past ratings for the band's previous albums, each one of them has managed to average at 4 stars. Honestly, this is the first time I have heard this band, though I have heard of them before. The fact that they haven't raised or lowered that score among fellow Archive raters, does concern me a bit, but listening to this album does make me want to explore deeper into their music.

The 6 songs on this album are all "fused" together, each one flowing into the next, almost making this entire endeavor sound like a suite. However, it's obviously not that as each song (except for the two part "Lullaby for Modern Kids") is it's own entity. But through these songs, one things remains constant, excellent composition and well-constructed progressive music, which flows along quite smoothly from drifting, psychedelic passages to melodic sections to heavy and solid riffs. The album definitely has something for everyone, but also seems focused to deliver high-quality music. But it is the instrumental portions of the album that are the best and that stand out the most in the first several listens, and the vocal complexities soon become a more appreciated part of the music as both your ear and mind adjust to the style. 

This is an album that will impress most progressive listeners right at the outset. Of course the track that will garner the most interest from the progressive crowd will be the 16+ minute "Heaven in Your Eye", which again is almost perfect, but seems to end a bit lackluster and abruptly, like the song is ready to move on to another section, but instead just quickly fades out. There are a few minor issues like that that seem to keep this album from reaching a 5 star status, but hopefully that doesn't keep anyone from at least giving this album a try. It's not a masterpiece, but it is still quite enjoyable and worthy of 4 stars.


Credits:
Music by Andreas Tilliander
Mastered by Alex at quiet details studios
Artwork by quiet details in collaboration with Andreas Tilliander
Design by quiet details
© quiet details 2026 all rights reserved

Extremely pleased to say that next in the quiet details series, with an interpretation of immense breadth, is the eminent Swedish producer, Andreas Tilliander, with Lava.

Andreas has been established in the highest echelons of electronica since the late nineties - amassing a vast discography across many leading labels and multiple aliases. Wide-ranging productions under his own name, Morika, TM404, Rechord and many more - on the likes of Kontra Musik, Mille Plateaux, Raster-Noton, Acid Test and his own Repeatle - has proven him time and again to be one of the most important and influential artists of recent years. Essential live performances have served to enforce this legacy.

Lava is Andreas Tilliander at his finest - endlessly experimental and wildly creative expressions, shaped into a sonic excursion of mind-expanding distinction.

As he says, this is “An exploration of southern Sweden - light, memory, and open landscapes.” And we can feel this from the very first second.

Deeply atmospheric from the start, submerged locational recordings intertwine with gradually evolving synths - creating an introduction that lays out the beginning of the path into this beautifully constructed album.

Trademark acidic pulses emerge through the clouds as the music continues on unabated, and from there we’re led by the hand through the emotions Andreas elicits from his surroundings.

His mastery of his machines is total - analogue richness, digital grunge - recordings from many sources manipulated into fascinating collages - all meld into a cohesive whole by the immense creative vision he possesses.

At times vivid and luminescent, and others dark and meditative - always profoundly reflective - this is an album of vast contemplation, perfectly executed by a master of his form.

As Andreas says:

Recorded primarily with samplers, some shitty synthesizers, field recordings from Hässleholm, old VHS tapes, and the quiet electricity of Skåne.

Special thanks to the fields and roads of Vinslöv, Vankiva, and Hässleholm. To the shores of Åhusfältet and the streets that shaped everything. Thank you for the crystal clarity, the glow, the light, and the stillness.

Street Wise. Vinslöv. Vankiva. Hässleholm.

I feel crystal clear.

Huge thanks to Andreas, a stunning addition to the series.

The artwork was made as always influenced by the music and idea behind the album - originating from a photo from Andreas which was then captured with analogue photography and processed here at quiet details studios.

As usual, the album is presented on the physical edition, a custom six-panel digipack with a separate fine art print too.

The CD also has a special long-form continuous mix of the album, unique and representing the music in its purest form.

repeatle.bandcamp.com
 

credits

released July 1, 2026

ambientsweden

23 October 2018: Geph, Tamarisk, David Cross




GEPH is an instrumental progressive jazz metal trio riding the very cutting edge of contemporary music. With Josh Goldbergand John Tyler Kent on Chapman Stick, and Josh Merhar on drums, the three of them sound as big as a five-piece, and work to expand the modern conceptions of arranging and composing in a heavy, intense and still succinctly musical format.   


APOPHENIA

1. 07:41

2.


3.
02:40


4.


5.
06:23


6.
08:51


7.

about

Apophenia (/æpoʊˈfiːniə/) is the tendency to perceive connections and meaning between unrelated things.

credits

released July 6, 2018

Josh Goldberg - Chapman Stick
John Tyler Kent - Chapman Stick
Josh Merhar - Drums

All songs written and performed by GEPH with the exception of "Little Guy" which was written and performed by John Tyler Kent

Produced, recorded and mixed by Bryan Fennelly at Plaid Dog Recording
Mastered by Mike Davidson at Plaid Dog Recording

Album artwork by Josh Goldberg
Layout/design by John Tyler Kent
Back cover photography by Jen Derosiers
Interior photography by Caitlin Kling 

Coming from the Northeastern part of London, Tamarisk evolved around 1982 from the ashes of Chemical Alice (Mark Kelly of Marillion fame had spent time with this group). Originally founded by Steve Leigh on keyboards, Andy Grant on vocals and Richard Crichton on drums, they secured a solid line-up only when Crichton was replaced by Richard Harris along with Peter Munday on guitars and Mark Orbell on bass. The group went on to produce two very rare cassette E.P.'s, a self-titled in 1982 and ''Lost properties'' ta year later. Shortly after a line-up change occurred with Nick May taking over the bass duties and Brian Roberts being the drummer. In 1985 Tamarisk briefly performed as a trio of Leigh, Grant and May under the name of ''Corrupted by Toys'', before disbanding for good.

Leigh spent some time with Quasar before forming Landmarq, while May had a nice career, initially joining Dagaband, then for a short time Jadis, appeared for a while with The Enid, while his latest collaboration was with Karnataka around 2005. Almost 30 years after Tamarisk's demise the compilation album ''Frozen in time'' was released, containing the material of both the early E.P.'s of the group, thus giving the chance to prog fans to taste the band's unpolished, raw and underground Neo Prog sound.

Live recording of Tamarisk's first show in over 30 years. Recorded at Chinnerys in Southend -On-Sea on Saturday 3rd March 2018
credits
released June 9, 2018 

Andy Grant - Voice 
Steve Leigh - Keyboards 
Chris Davies - Bass 
Luke Rayner - Guitar 
Marc Cecil - Drums 

Dave Denby - Photography





David Cross

David Cross
Born23 April 1949 (age 69)
Plymouth, England
OriginElectric violinist
InstrumentsViolin, viola, keyboards, flute
Years active1973–present
LabelsNoisy Records
Associated actsKing Crimson, Radius, Electric Chamber Music, David Cross Band
Websitewww.david-cross.com
David Cross (born 23 April 1949 in Turnchapel near Plymouth, England) is an English electric violinist, best known for playing with progressive rock band King Crimson during the 1970s[1] (particularly on Larks' Tongues in Aspic and Starless and Bible Black). He also plays keyboards.[2]
After King Crimson, Cross formed a jazzy improvising band called They Came from Plymouth.[3] With Keith Tippett (piano), Dan Maurer (drums) and Jim Juhn (guitar, bass, percussion), he formed a short-lived project in 1987 called Low Flying Aircraft. In 1998, he was invited by Geoff Serle to join Radius. Besides Cross and Serle (keyboards, electronics, samples), Radius included Sheila Malony (on keyboards), Maxine Braham and Carlo Lucius Asciutti (vocals).
Since the mid-1980s, he has also led his own band, the earlier incarnations of which featured American drummer Dan Maurer, English keyboard player Sheila Maloney and the Liverpool bassist/vocalist John Dillon. Former and current King Crimson members John Wetton, Robert Fripp, and Peter Sinfield, as well as guest lyricist Richard Palmer-James, have all guested on his solo projects.

Cross has also worked in theatre both musically and as an actor. In 1999, he formed Noisy Records.

David Cross ‎– Memos From Purgatory

Label:
Red Hot Records (5) ‎– CDR 103
Format:
CD, Album
Country:
Released:
Genre:
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Tracklist Hide Credits

1 Poppies
Bass – Tim Carter
3:57
2 Meantime 9:40
3 The First Policeman 5:33
4 Animal 6:27
5 New Dawn 6:19
6 Postscript 4:52
7 Bizarre Bazaar 4:04
8 Basking In The Blue
Engineer – Guy CampbellProducer – David Cross, Guy Campbell, Sheila Maloney
3:10

Credits