On March 16th, Britain’s cult metallers Paradise Lost will release a remastered version of their legendary seventh studio album, ‘Host’ and a first-ever pressing of the songs on vinyl. Originally released in 1999, ‘Host’ earned Paradise Lost their reputation as West Yorkshire’s musical chameleon, as it saw the band moving further away from their previous death metal roots to a melancholic and catchier electropop sound.
Singer Nick Holmes comments: “With the ‘Host’ album we wanted to take the ‘One Second’ concept further and make a very dark album with even more subtlety. It was a bold leap from all our previous albums, a leap too far some would say, but for me, the new remastered version really shows it’s still one of the band’s strongest albums in terms of song writing, atmosphere and sheer misery.”
The album will be available as digipack and in three different vinyl colours (black, clear and mint) for the first time ever. Pre-order started yesterday, you can get your copy here:
The band’s latest doom metal monster ‘Medusa’ is now in stores and has been featured in a number of end of year lists for 2017 in the likes of Metal Hammer, Decibel and Rock Hard Italy.
On the heels of their critically acclaimed 2017 release ‘Malina,’ Leprous are excited to announce a US tour alongside progressive metal giants Between the Buried and Me. Also joining the tour are The Dear Hunter making this one of the highly anticipated tours in 2018.
The tour kicks off March 2nd in Chicago.
Pre-sale tickets go on sale now and general tickets go on sale Friday at 10 AM (local time).
3.2 – Chicago, IL – House of Blues
3.3 – Minneapolis, MN – First Ave
3.5 – Denver, CO – Ogden Theatre
3.6 – Salt Lake City, UT – The Complex
3.8 – Seattle, WA – Showbox
3.9 – Portland, OR – Wonder Ballroom
3.10 – San Francisco, CA – The Regency Ballroom
3.11 – Anaheim, CA – House of Blues
3.13 – Los Angeles, CA – Belasco Theater
3.15 – Las Vegas, NV – House of Blues
3.16 – Phoenix, AZ – Marquee
3.17 – Albuquerque, NM – Sunshine Theater
3.19 – Austin, TX – Come and Take It Live
3.20 – Dallas, TX – Canton Hall
3.21 – Houston, TX – Warehouse Ballroom
3.23 – Orlando, FL – The Beacham Theater
3.24 – Ft. Lauderdale, FL – Revolution
3.27 – Nashville, TN – Cannery Ballroom
3.28 – Asheville, NC – Orange Peel
3.30 – Pittsburgh, PA – Mr. Smalls
3.31 – Philadelphia, PA – Electric Factory
4.2 – Albany, NY – Upstate Concert Hall
4.3 – Boston, MA – Royale
4.4 – New York City, NY – Playstation Theater
4.5 – Silver Spring, MD – Fillmore Silver Spring
4.6 – Cleveland, OH – Agora Theatre
4.7 – Mount Clemens, MI – Emerald Theatre
Forgive the terrible pun but I’ve been listening to a song that has just brought back wonderfully wistful memories of the sepia tinged days of my youth. Hey, lets’s be honest, they weren’t always great times but I can now look at them with a kind of indulgent fondness.
So, what has me yearning for the days when vinyl was the only format and I used to wear my brother’s hand-me-downs and my Mum was West Hill’s most eminent knitter? The new single (single? remember them?) from East Yorkshire’s Sleeperman, that is the catalyst. Bleach Blonde Pharmacist comes in a superb cardboard 45rpm single style cover and the CD even looks like a 7″ single, replete with ‘B’ side!
The band will release a new single on the fourth of each month throughout 2018 culminating in theirChristmas single in December.
Bass player Steve Skinner, guitarist Neil Scott and singer/poet John Hilton, joined by new drummer Phil Sharp are from a generation brought up to pick the bones from a confusing diet of Clint Eastwood and Germaine Greer. They have a collective soft spot for a well-made sandwich and Nordic Noir and though sandals are not a compulsory item of their dress code they are fond of and cling to the notion of everyone getting along.
Their unique blend of pithy, witty and often irreverent lyrics and excellent roots/folk/alternative music comes to the fore on the new track. Bleach Blonde Pharmacist opens with a driving bass and guitar riff, giving a sardonic, even laconic feel to the song. John delivers each line as if he he is biting off the words and it works brilliantly. It’s a song of real people in real situations, delivered with a tongue-in-cheek, off the wall wit. Imagine Northern humour mixed with an Americana vibe and you are on the right track,
“In the end you’ll have to pump up the tyres, pack tuna for a fortnight, take your Swiss Army knife and a whistle and head for the hills… You’ve got your family and your friends, your Transit and your bluetooth…”
And that’s just a smidgeon of the lyrical genius that Sleeperman impart, the wry observations come thick and fast, at all times backed by the stylish music.
The ‘B’ side (if we call it that) is a totally different beast, the flippancy is nowhere to be seen on as the opening notes to Sleep play out. Hilton’s vocal takes on a wistful tone and the music takes on a laid back sentiment. Laid back, relaxed and carefree, the nostalgia and humour have a much gentler air.
“And the ice cream van plays Greensleeves, when the sun goes down they’ll all leave…”
A bittersweet feeling piece of music that seems to yearn for times gone by, I nod my head in quiet appreciation as it comes to a close.
Following on from last year’s E.P. ‘Late Onset Optimism’, Sleeperman have once again delivered a wonderful eight minutes of music that delivers on a personal and honest level. You feel yourself sympathising with the characters in the songs because you know, if not for the grace of God, it could have been you. Surely that is what great songs are all about!
“If, like myself, you are a child of the 80’s and loved the great classic and prog rock bands of that era or, if you just want to hear some fantastic songwriting and music, then you could, and should, listen to ‘The River – Both Sides of the Story’.”
I wrote these words about Italian virtuoso multi-instrumentalist and producer Marco De Angelis’ first album ‘The River – Both Sides of the Story’. Released in 2013, it was one of my favourite releases of that year. When I heard that he was writing new songs for the follow up I eagerly followed any updates.
Well, fast-forward to December 2017 and that sophomore album was upon us. ‘Next Station’ consists of six songs all written, arranged and performed by Marco and is enriched by the collaboration of vocal heavyweights such as Nad Sylvan ( steve Hackett Band, solo), Robbie Wyckoff (Roger Waters Band) and Göran Edman (Yngwie Malmsteen, Karmakanic), percussion is courtesy of Cristiano Micalizzi, one of the most sought after drummers in Italy.
“Crazy dreamer, that’s the way they’re used to call you, ’cause your free will fills their life with fear..
Marco cites himself as being ‘Art Rock and Progressive Rock’ but I’d have to say there’s a huge dose of Classic Rock thrown in there as well, much like his debut release. Freewill has an involving introduction, all intricately ‘proggy’ before the velvet tones of Nad Sylvan give it a definitive authority. I love the elaborate instrumental fills, guitars, drums, bass and keys all making their presence felt but it is the cultured vocal that brings this song together. It’s catchy, edgy and quite jazzy in feel, as if Marco has been widening his musical horizons in a very good way. “Believing in them would make life easier, Though far more boring, Wouldn’t it Mr Captain.”
“Change alone is eternal, Perpetual, Immortal, Taking nothing for granted, It’s the only way to live…”
It’s a pretty impressive start to the album and things just get better with the blinding and bluesy Keep Going where Marco really lets rip with his elegant guitar technique on the slow burning opening to the song, the fiery solo is dynamic and soulful. This track has the most in common with that Floyd classic/hard rock vibe but has added layers of intensity and class thanks to Nad’s superb vocal delivery. Simona Rizzi and Cristiana Polegri give added shine with their ritzy backing vocals, especially on the great chorus. This track is six minutes of classy rock music, best listened to late at night with the lights down low and a glass of vintage red wine in your hand (other alcoholic and non-alcoholic beverages are available), it oozes sophistication, the cultured close a fine accompaniment to the blues-filled intro.
“Sitting on a bus, here I am, Old memories in my ears, They saw me growing up, It looks like I’m home to me, here I am, Redolent streets my mind has already walked through, I almost recognize them…”
It may have a bit of an unwieldy, cliche filled title but A Proggy Night In London certainly delivers. By a country mile, the most progressive song on the album, split into five sections, it is a totally engrossing listen with Nad’s voice almost narrating events as the music meanders across your mind, an involving and ever changing soundscape. I have to say that Nad Sylvan gives one of the best (if not THE best) vocal performances I have ever heard by this great frontman, he really seems to be performing right at the top of his game and leads this track along its lengthy, nostalgic feeling journey. Marco performs all the other instrumental duties (Bar the drums) and seems to be everywhere at once, delivering guitar, chapman stick, bass and keyboards wherever they are needed. It is a musical tour-de-force as each section ends and segues perfectly into the next and it is one that you must listen to while still enjoying that glass of wine, this is music that tells engrossing stories and ones that you absolutely have to hear.
“Dream on, /dream on/, worn out heart of mine, Don’t let the darkness hide away our sun again, Wait for that glimmer of light on the horizon, Sometimes the light can be so hard to find…”
Laid back, bluesy and soulful, Back Again introduces Robbie Wyckoff to the vocal duties and his touching delivery matches the music perfectly. There’s an intimate atmosphere to this song, as if you’re sat in a small downtown bar, one of a handful of lucky people to hear such a personal performance. Marco fires off yet another incredibly impassioned guitar solo, all too brief to my ears and the soothing backing vocals from Simona and Cristiana just emphasise the intimate feel that this track engenders. The emphatic and electrifying guitar playing that helps to close out the song just makes the hairs on the back of your neck rise in utter appreciation.
“We all search for happiness, It’s what we always do, From the first breath that we take, ’till the last tear we’ll cry…”
Funky and edgy with cool, hard rock inspired riff, title track Next Station explodes onto the scene ready to take on all comers before realising it has no competition and taking a metaphorical step back to chill out with the rest of us in a funky progressive style. Robbie delivers a subtly powerful vocal performance, stylish on the verse and then forceful on the chorus, aided and abetted, once more, by Simona and Cristiana, “New day, New Life, New Pain, Next station on my road…”
Marco delves deep into his musical box of tricks to deliver a sublime instrumental section in the middle of the track and Cristiana lends her beautifully impassioned saxophone to the melting pot to add some real spirit and fervor. A wonderfully evocative smorgasbord of influences and themes is laid before you on this inventive nostalgic musical pilgrimage through Marco’s musical life to date.
“Some red wispy clouds, slipping over a light blue sky, a blazing sunset is about to be staged, A new night, a new day, A face on the wall to fly me away from here…”
Moments of near perfection like the utterly addictive and captivating guitar motif that opens Last Train are what makes music so incredibly appealing to me and why I still listen to hundreds of new albums a year to seek them out. I’m a huge fan of Göran Edman, his expansive vocal performances with Karmakanic are amazing but we hear a much more chilled and relaxed version here and it is magical, his link up with the backing vocals is sublime. The music transfixes you from one note to the next, a song that is calm, classy elegance personified, the vocals hypnotise and mesmerise and Marco’s guitar seems to have a wistful, almost intangible life of its own. What a way to close out the album!
I’l cut straight to the chase here, you’d best open that bottle of red you were saving for a special occasion as ‘Next Station’ is it. A collection of songs that are more than that, it’s a captivating and involving musical journey led by a musician at the absolute zenith of his career. I think Marco De Angelis, joined by a stellar cast of musical guests, has just delivered the performance of his life!
If, like me in the early 90’s, all you knew about the Strawbs was the Hudson-Ford penned hit Part of the Union, upon discovering the album ‘Hero & Heroine’ in my parents record collector, it was hard to believe it was the same band, my love for the Strawbs grew as their albums were finally remastered and reissued (with some gems like ‘Deadlines’ being picked up at a Record Fair around 1994 on the original vinyl) and their transition from folk to rock (being placed in the prog bracket) a far more dramatic metamorphosis than that of Fairport Convention (who ironically went the other way, from psychedelic proto prog to the folk rock pioneers we know and love) with David Cousins unique vocals and lyrics, and Dave Lambert on electric guitar, and band members like Rick Wakeman, John Hawken, Blue Weaver, Chas Cronk and Tony Fernandez passing through the ranks in the 1970’s, they were a who’s who of top quality players. Through their reunions throughout the 80’s, their acoustic Strawbs and return of the full Electric band, and resurgence with albums like ‘Deja Fou’, ‘The Broken Hearted Bride’, as well as classic live albums and archive releases, the bands legacy is assured. If you ever catch them live both the full electric, and acoustic trio are musicians at the top of their game, putting together some fantastic shows.
Now 8 years after their last studio album ‘Dancing to the Devils Beat’, the Strawbs return with what is probably their finest record since their golden period of the 1970’s. Produced by the legendary Chris Tsangarides (who sadly died in January) and with the core line up of David Cousins, Dave Lambert, Chas Cronk (three of the five members who recorded the classic albums ‘Hero and Heroine’ and ‘Ghosts’) and long term drummer Tony Fernandez are joined by ‘new boy’ multi-instrumentalist Dave Bainbridge (currently touring in Lifesigns with former Strawbs keyboard player John Young – it’s such a small world isn’t it?), and whose work with Iona nicely dovetails with the original folk rock orientated sound of the Strawbs, and he fits perfectly in here, contributing considerably to the sound (on both guitar and keyboards) and songwriting with a writing credit on 5 of the 10 tracks on here.
Opening with the hauntingly wonderful symphonic In the Beginning, which segues nicely into The Nails from the Hands of Christ, where David Cousins is a lyrically sharp as ever and a subtle nod to older songs like the Man Who Called Himself Jesus.
In fact the band references themselves even more on the epic title track, a sequel to the equally magnificent The Vision of the Lady of the Lake from 1970’s ‘Dragonfly’ album.
It is of course one of the finest songs the Strawbs have done for many a year, echoing the original and rounding off the story superbly.
However that doesn’t mean that the band are merely relying on old glories and lazily retreading the past, that is absolutely not the case, as the classic Strawbs sound is there, along with the unmistakable vocals of David Cousins, but this is a contemporary Strawbs album. Musically the band are as tight as they have ever been, and Dave Bainbridge sounds like he’s been in the band forever, his keyboard work opening up the beautiful When the Spirit Moves has to be heard to be believed, whilst Dave Lambert’s caustically brilliantly bluesy The Ten Commandmentsshows he’s lost none of his edge either.
In fact the guitar work throughout this album is stunning, from the beautiful solos on The Familiarity of Old Lovers (with it’s lyrical twist being a contemporary classic piece of Cousins wordsmithery) to the closing We Have The Power, this is a band on top form.
With superb instrumentals like The Reckoning that leads into The Ferryman’s Curse, there is so much to love about this record. From the vocal contrasts between Cousins, whose voice is nicely maturing, Cronk and Lambert, a Strawbs trademark if ever there was one, to the sharpness of Cousins lyrics, showing the wit, the bite and the observation of human nature is still there, right through to the fact that this is a band who, despite being around in one form or another for over 50 years, are not going down the easy route of playing the nostalgia circuit.
The material on this album will more than fit into a set that showcases the best of the Strawbs, and proves that they still have plenty to say, plenty to play and on this album show bands that are much younger than them, how it is done.
Life, like glass, is a fragile thing. Blows to both cause them to crack and fracture, delicately hanging the shards together as fissures creep across the surface, threatening to shatter at any moment.
Sharp edges and words cut deep red like blood and run with the dark crimson of passion. The reflections distort and twist our outlook on life.
Glittering and glistening in the light like fond memories slipping between the cracks into darkness, as we try to grasp what we had but see it slipping away and out of reach, things will never be the same.
We pick up the pieces to try and fit them back how they were, but there will always be a difference. How we deal with the changes makes us who we are, the person we evolve to be in the aftermath.
Travis Smith’s album design for ‘Fractured’ captures the essence of this album perfectly, a good start.
Pain can weigh heavy as we seek ways to lighten the load, allowing us to move forward. Not to dwell on Mariusz Duda’s own dramas that have befallen him of late, but the theme of this album under the Lunatic Soul guise, by his own admission is about coming back to life after personal tragedy. It’s inspired by what happened in his life in 2016 and by everything that’s happening around us and what’s making us turn away from one another and divide into groups, for better or for worse.
This catharsis involves him spreading his talents further from the paths run by his previous albums and taking a leaf out of the musical parchments of such luminaries as 80’s electronic masters Depeche Mode and others.
Mixing synth and programmed beats with loops of Duda’s voice, and adding his distinctive complex bass grooves, he creates what is probably his most commercially accessible and varied solo output to date.
From the throbbing beats and looped voice samples, almost aboriginal in tone, with synths and piano building in layers on the first track, Blood on the Tightropemarks a route through the jagged edges of doubt and indecisiveness, a fine balance without falling and edging forward to end on a determined note.
Baring his soul so honestly on this album, the music sometimes reflects a little uncomfortably. As in second track Anymorewhere sounds and notes flit in and out over the rhythms, jerking as if to remove some of the painful crystals buried in the exposed heart. There are also traces of Peter Gabriel buried in there somewhere.
Crumbling Teeth And The Owl Eyes may be the closest in sound to his Riverside roots on this album and is the first of two tracks on which the Sinfonietta Consonus Orchestra weave their magic nurturing the mood of the song. Mariusz’s struggles with his pain and the way he yearns for the age of childlike innocence to relieve him of this heartache, are hauntingly beautiful.
A darker feel as Red Light Escape scratches at anguish on track four. He explores the way people try to come to terms with tragedy. How some search for an emotional crutch to cling to rather than face their fears and slip back into dependency on things they find comforting, even if it is not necessarily a good thing and prevents them from dealing with the problem, so they can move on.
Title track Fracturedhas a sparser feel, with Mariusz’s signature bass pulsing as synth and other sounds inject like dark drugs into the grooves of unnerving beat pattern, that leaves you on edge and unsettled.
A hopeful ballad, A Thousand Shards Of Heaven is delicately ushered in with acoustic guitar and the emotional vocals from Mariusz then joined by the wonderful Sinfonietta Consonus Orchestra once more. It offers glimmers of hope amongst the sadness, as the silky saxophone of Marcin Odyniec floats into the mix and gentle ripples, torn into submission by Wawrzyniec Dramowicz’s syncopatic percussion, a feeling of calm bringing it to a close.
Synth bubbles on Battlefield awash with digital waves and electronica, in this slow burner that builds with rolling, rhythmic percussion. A cautionary warning of the dangers of holding things inside and letting them destroy you and a reflection of the inner fight he has faced and stood strong echoed in the assertive ending.
Moving Onwith it’s Depeche Mode influences worn on it’s musical sleeve, could easily have been a single. Melodic and catchy, Mariusz bares himself one last time for the listener, to let us know he is not going to let what has hurt him stop him moving forward, climaxing with a few positive notes from the saxophone.
It’s an awkward review, as this is so personal to Mariusz. As you look deeper into it you can feel a little voyeuristic and that you may be prying. But the attitude and bravery he shows in releasing this material is a testament to the man and those around him. He has put a positive spin on everything that has happened and fully embraces the adage ‘What doesn’t kill you makes you stronger’.
Clearly his best solo output to date, ‘Fractured’ is in some ways a huge departure from previous works, a progression and isn’t that what this album is all about. A tremendous album that I believe everyone should have a copy of, certainly one of the best releases of 2017. Fans may have been concerned for his welfare after what befell him, but Mariusz has reassured us all that he is stepping into the light and the future looks bright.
Released 6th October 2017
Order ‘Fractured’ in all formats from the Kscope store:
Neal Morse will be releasing his latest solo album, ‘Life and Times’, February 16 on Radiant Records via Metal Blade Records/SONY on all digital outlets, as well as CD and vinyl.
Premiered in Germany last week, here is the second video clip for the song Livin’ Lightly:
Born in 1960 to a musical Californian family, Morse played in many bands during his youth. He learned and mastered several instruments along the way. In 1995, he wrote and recorded ‘The Light’ with his new band, Spock’s Beard. It was an album grounded strongly in the then-unfashionable progressive rock genre. The album and title song became modern prog classics, and began to bring Morse and the band global recognition. In 2000, he also joined forces with Mike Portnoy (ex-Dream Theater), Pete Trewavas (Marillion) and Roine Stolt (The Flower Kings) to form Transatlantic.
Neal Morse’s solo work has focused almost entirely on music with a strong message of redemption, beginning with 2003’s ‘Testimony’ – a two-disc musical account of his spiritual journey–and most recently with The Neal Morse Band’s ‘The Similitude of a Dream’ , based on John Bunyan’s classic allegory ‘The Pilgrim’s Progress.
Haunting and Melancholic are two words that can definitely be used to describe the songs that Norwegian musician Bjørn Riis has delivered on his last two solo releases, ‘Lullabies In A Car Crash’ and ‘Forever Comes To An End’. There is a fragile beauty and poignancy to Bjørn’s songwriting that gives it a captivating, hypnotic attraction.
Airbag co-founder, songwriter and lead guitarist, Bjørn will release his new mini album titled ‘Coming Home’ next month on Karisma Records. His unique guitar playing has a centre role, with soaring leads and beautiful textures.
“I’ve always felt that the guitar is an extension of me and a more comfortable and natural way of expressing myself musically” – Bjørn explains.
“I’m really happy and proud of the vocals this time and the duet with me and (Norwegian singer) Sichelle on Drowning is very emotional” – Bjørn continues.
Lyrically, ‘Coming Home’ deals with the fear and insecurity of being forgotten by the people around you. You imagine all these dramatic scenes and wonder if you’ll ever be missed if something really was to happen.
‘Coming Home’ also features a newly recorded semi-acoustic version of the title track of Bjørn’s 2014 solo debut, ‘Lullabies in a Car Crash’ (Karisma Records). “Lullabies just fit right into the mood and theme of this album. It’s almost become a new song. It’s very honest and moving” – Bjørn explains. The track features Airbag and Bjørn Riis Band touring guitarist Ole Michael Bjørndal on lead guitar.
‘Coming Home’ is almost like a story where the scene is set by the brooding and darkly hued opening instrumental track Daybreak. A real slow burner, it takes a while to get moving with just a building sound that reminds you of a bleak and windswept vista before the deliberate, musing guitar fills the soundscape with a contemplative feel.
A sparse acoustic guitar washes over at the start of title track Coming Home, Bjørn’s slightly faltering vocal is full of emotion as this elegant track continues to gently lull you with its charms. A more laid back feel than the previous album emanates from every note and word as the music seems to meander towards an unseen destination. There’s a slight pause before Bjørn delivers a superb, note perfect guitar solo filled with passion and longing, one that soars high and free as a bird. As the song comes to a close I feel some kind of nostalgic yearning that I just can’t explain.
The wistful, contemplative tone continues with the fantastic Drowning, a song filled with feelings of loss and recrimination but one that still has a sense of wonder about it. The calm and serenity of the guitar and Bjørn’s vocal that open the track can’t shake an underlying aura of foreboding. Sichelle’s vocals add a fragile grace to the harmonies and the music gains added intensity, the guitar giving urgency and desperation to proceedings until it breaks like waves on immovable rocks. Sichelle takes us towards the end with a voice full of regret, the guitar adding a somber accompaniment as we come to a close.
Tonight’s The Night is a haunting (there you go, I told you!) instrumental that has you on the edge of your seat from the first note with its insistent piano and tense , ill at ease mood. There is no let up from beginning to end and I found myself visibly relaxing as the song came to an end.
The acoustic version of ‘Lullabies in a Car Crash’ unsurprisingly has a lighter tone to the other songs, a sepia-tinged piece of music underpinned by a wonderful acoustic guitar. The vocals are gossamer light giving the whole song a 70’s carefree spirit before a subtly powerful guitar solo gets under your skin and takes you to a place of utmost calm and reflection, without a care in the world. A remarkably honest reworking of the original track, it really is like a completely new song.
‘Coming Home’ feels like a very personal collection of songs, full of emotion, haunting and charismatic yet sparser and darker than Bjørn’s previous solo releases. Like all the best music, it needs to be listened to with little or no distractions to enjoy it in all its highly impressive glory. Bjørn Riis is one of those musicians who just gets better and better with each release, highly recommended.
Prolific musician John Bassett has announced that pre-orders for the latest album from his 80’s Synthwave / Synthpop side project Sacred Ape will open this Friday, 19/1/18.
Following on from last year’s self-titled debut, ‘Electric Mountain’ promises to deliver more of those retro 80’s sounds that the first album delivered in spades.
John said, “I think, its kind of like a progressive 80’s electronic horror soundtrack, sort of? but that just might be me? I feel this is the closest I’ve got to the sound and style I was hoping to achieve when I first started this project.”
Listen to the title track here:
https://www.youtube.com/watch?v=j8nzS-BEpno
Originally from Hastings, John now resides in Sligo, Ireland. John Bassett is better known for his work in Metal & Rock with Arcade Messiah & KingBathmat.
Aviv Geffen, the Israeli singer/songwriter as one half of the rock duo Blackfield with prolific British musician Steven Wilson, is taking their critically acclaimed studio album ‘V’ on a new 9-date European tour in January 2018. Following the successful Spring 2017 tour, which saw a surprise appearance from Steven Wilson on the UK dates, European shows with Biffy Clyro and shows with Jake Bugg, Aviv Geffen has answered the many fan requests for more live performances.
Blackfield’s beloved music was recently celebrated with reissues of their classic first two albums on vinyl and CD, with the second also being remastered by Steven Wilson.
Their latest album ‘Blackfield V’, was written and recorded over 18 months in both Israel and England, and contains 13 linked songs that form a flowing 45 minute ocean themed song cycle. The duo expertly handle the vocals, guitars, and keyboards, with Tomer Z from the Blackfield band on drums, Eran Mitelman on keys, and string arrangements performed by the London Session Orchestra. ‘Blackfield V’ is a powerful journey through catchy melodies, lush arrangements, and stunning production, with legendary producer / engineer Alan Parsons working on three of the album’s key tracks.
The pair make for a formidable musical force; Geffen has worked with legendary producers Tony Visconti and Trevor Horn, has played live with U2 and Placebo, and is currently a judge on the Israeli TV show The Voice. Wilson, after a long tenure as the leader of the hugely influential band Porcupine Tree, has since embarked on a highly successful solo career, achieving 3 UK top 40 albums (the most recent also making the top 3 in Germany, and The Netherlands), and 4 Grammy nominations.
For the release of their latest album ‘V’,Blackfield revealed two music videos, created by long time collaborator Lasse Hoile (www.lassehoile.com), for the Wilson-penned “From 44 to 48” and for “Lonely Soul”.
