Formed around the nucleus of insanely talented guitarist Luke Machin, and bassist Dan Mash (both of whom have played with artists like The Tangent) their debut album ‘Rubidium’ was released in 2013, and in an unrelated interview with Andy Tillison; he told me that I needed to listen to that album. Now when Andy Tillison recommends something you listen to it, and you know what, it didn’t quite grab me initially where it should have done. Don’t get me wrong, it’s a great debut album and Maschine are an insanely talented group of young musicians, but, for whatever reason whilst I enjoyed it, I never ‘got’ it.
However, this, only their 2nd album (and by some of the music on here, and the intricate blends of sound, would make you think they have been playing together forever) got me from the start, (so much so that, time permitting, I will be revisiting ‘Rubidium‘).
This 5 piece, formed at the Brighton Institute of Music in 2008 feature, as mentioned earlier, the talents of Luke Machin on guitar & vocal, Dan Mash on bass, James Stewart on drums, Elliott Fuller on guitar and Marie-Eve De Gaultier on vocals, flute and keyboard.
With a diverse range of influences across the board, and playing styles throughout the band, their real skill is pouring all these un-distilled musical ingredients into their crucible and creating a striking and original sound.
The 6 tracks on here, (the shortest clocking in at over 5 minutes!) all relate to natural events and the interaction between nature and all it can throw at us. This isn’t a concept album as such, but more connected events around which the songs are allowed room to breath and develop.
Boy do they develop, the opening 11 minutes of Resistance, mixes in the beautiful guitar work that both Luke and Elliott bring to the branch, the whole gamut of musical styles and influences creatively held together, with more ideas to spare in these 11 minutes than a lot of bands have in 11 years. The most effective weapon Maschine have is the contrasting vocals of Luke and Marie-Eve, which works together in creating some beautiful harmonies and interesting, counterpoints. And that’s just in the first 11 minutes!!
One of my favourite songs on the album, Make Believe features some amazing vocals from Marie-Eve, with a wonderfully slow build up, whilst the keyboard textures and powerful drum and bass combo of Mash and Stewart hold the piece together allowing an astonishing solo from Machin to burst forward.
The other epic on the album, the closing 11-minute Megacyma recounts the story of the Japanese Tsunami of 2011 through one mans eyes. What a mighty storm of sound they create as the song builds to its climax. They pull out all the stops here, with hints of 70’s classic prog keyboards, heavy riffing and some intense electronic walls of sound, whilst the two voices combine to create a fantastic sound, and the symphonic edge to this mighty finale is absolute perfection.
Of the other tracks on the album, Night & Daywith it’s aural soundscapes and WWII story is contemporary prog storytelling at it’s finest. Hidden in Plain sight combines many disparate influences into the nearest they get to a pop song, with some fantastically funky drumming from Stewart and more of those wonderful vocals and Whilst A New Reality is Maschine’s sound in microcosm, featuring some wonderfully fluid guitar, fantastic symphonic keyboard work, and the sound of a band firing on all cylinders.
It’s absolutely fantastic that nearly 50 years into the genre we call prog that there are immensely talented creative musicians of this calibre who are prepared to take risks and imprint their musical vision on the genre instead of being held back by the genres self imposed limitations and sounds.
Maschine truly are the future, and this album will firmly cement their reputation as one of the finest bands in this (or any) genre.
A last minute ball over the line for album of the year? Got to be a contender…
Those familiar with the work of Steven Wilson or Fish will know the name John Wesley, a prolific and talented American guitarist and songwriter whose been on the road supporting artists like Marillion and Steven Wilson, whilst also touring as part of Porcupine Tree, and has built up a solid reputation as a go to guitarist.
This latest album, his 8th and first since 2014’s ‘Disconnect’ see’s him successfully bringing together both sides of his musical personality into a song cycle that echoes the short stories of Ernest Hemingway, the title track, a way you’ll never be is named after one of Hemingway’s more famous short stories and focuses, with it’s driving guitar and pounding choruses, on the current fascination for being an online expert on everything, without ever having actually done anything.
The album is far heavier than it’s predecessor and features some strident and aggressive guitar work from John, with the metronomic and Floydian guitar work on to outrun the light being one of the stand out tracks on the album.
Never one to stand still, or indeed make the second record twice, John is as interesting a lyricist as a guitarist, and his lyrics particularly on the silence in coffeeand the revolutionist stand out, the latter having some astonishing staccato call and effect guitar work with the drums pounding out a King Crimson esque beat, before some smoothly fluid guitar work shines out.
This album is all about John Wesley the guitarist, and fits more in line with some of the more intelligent stadium rock, and that is by no means lazy labelling or a criticism, this is an album full of mighty mighty sounds, and big ideas and concepts, some heartfelt, some scathing. The brilliant sole instrumental unsafe space is Johns take on the ‘pampered millenials’ or ‘snowflakes’ as they call them stateside, banning things from campus because they disagree with them and shutting down free speech. It is also a jarring thing of beauty, where John lets his guitar do all the talking for him.
This is an album that is as progressive as it gets in the truest sense of the word, an artist moving forwards, making records the way he wants to make them and taking the audience a long for the journey, it is also a success in the way it marries Johns well observed songwriting with his sublime guitar work.
“We are consciousness examining and expressing itself so that it can become increasingly aware of its infinite capacity for being and evolving.”
― Jay Woodman
On the 11th of December this year I shall return to The Bedford in Balham to attend the Masquerade one day festival. This will be the first time I have attended this music venue since the life-defining four days of the Resonance Festival in August. 2014.
Suffice to say those wonderful four days really were my epiphany when it came to the world of music that I now find myself deeply involved with and I will never forget the people I met over that weekend, many of whom have become very firm friends.
My musical tastes and my writing have definitely evolved and progressed since that time and it would be fair to say that the majority of musicians that performed at the festival have developed further and matured as artists as well. One musician I was keen to meet there, and one whose career I have followed before and after Resonance, is John Bassett, erstwhile driving force behind the band KingBathmat and the solo instrumental project Arcade Messiah.
It is the third album (imaginatively called ‘III’) from this solo project that I am reviewing today but, as ever, first we must have some background and history…
John Bassett is an English multi-instrumentalist and producer who currently resides in Sligo, Ireland. Primarily known for writing and producing the music for cult Hastings band KingBathmat, his most recent project Arcade Messiah blends Post Rock, Metal, Doom and Stoner rock into a heavy intoxicating instrumental brew.
All instruments on the Arcade Messiah albums are played by John alone and released through his own Stereohead Records label, making them very much independent DIY releases.
‘III’ is the third Arcade Messiah album in as many years to be released by John Bassett and he had this to say about the album;
“Arcade Messiah III has certainly been a labour of love for me, this is the most I have refined a record to the degree that I have done with this album, I incorporated many new production techniques and have learned a lot from the experience of putting this record together. I’m very excited to release this out into the wild and I hope you guys enjoy it.”
I reviewed Arcade Messiah‘II’ last year and had these words to say;
“A ‘Wall of Sound’ that makes Phil Spector’s look like a diminutive picket fence and it is quite possibly the best thing this highly talented musician has ever produced.”
John is going to have to go some with ‘III’ to improve on that…
Revolver powers in with an immediate blow to the solar plexus from a monstrous riff that just carries all before it. The cacophony of guitars and drums that follows is just deliciously intense and mad surging ahead on a humongous soundwave of monumental noise and then, hark, what is that? Vocals, yes vocals! but only for a short while and, once you’ve got over the shock, it’s back on the proverbial manically enjoyable hell ride of musical virtuosity. Such a dense and compact sound, it really does pack a powerful punch and the coruscating guitar breaks just add the final touch of demented class. There’s a short break of a more delicate variety but, as it all comes to a close, it’s all you can do to stay upright in the face of such a pleasurable sonic onslaught.
Citadel, even the word conveys thoughts of a steadfast, immovable structure, one that has stood the test of time, war and destruction over a span of centuries and this track lives up to that definition. There is an age old primordial and primitive force at work here and this absolutely gigantic and rudimental riff feels like it has spanned the ages with its weighty and portentous feel. Now you know what Atlas felt like carrying the Earth on his shoulders, there is a supreme density and weight of knowledge at the core of this thunderous song. Almost a soundtrack to the age of Knights and siege engines, it pins you to the floor with its substantial tone. There’s a lull in the middle, like a break in the never ending battle between good and evil, before the dynamic drumming joins the compelling guitars and the hypnotic music powers on. To use a well known phrase from Queensryche’s‘Empire’, it really does ‘…hit you like a ten ton heavy thing…’
The longest track, coming in and just over ten minutes, Deliverance is, in my opinion, the best track that John has produced as Arcade Messiah. A slow burning, slightly hesitant opening of piquant guitar notes over shadowy keyboards gives an air of mystery and intrigue. The tempo increases with the jingling guitars leading the way, you almost feel like you are being taking on a journey, one where you have no idea of the destination. For those of a certain age, the title will bring thoughts of Burt Reynolds and hillbilly America and you do feel like you could be lost in the deep forest with all sorts of creatures watching your progress waiting to pounce and the tension increases when the riffs begin, aggressive and potent. There is an urgency to the guitars now, both more critical and serious as the overlaying vocal of the title rings out. It is a rush to find succor and shelter, to escape the unknown that lurks in the dark behind the trees and your heart beat increases to match the pace of the music. This song really does get you involved, placing you right in the middle of proceedings, the hunted trying to outwit the hunter, it is really clever how you find yourself as the centre of all that is happening, hanging on every sound and, as the last notes ring out, relief just washes over you.
The feel changes a bit with Life Clock, there is still that vitality and depth to the music but the monstrous, mountain toppling riffs take a back seat for once. A pensive, thoughtful tone exudes from the guitars and seems to soften the sharp edges of the tones coming forth. A feeling of treading water ensues, anticipation or meditation? who knows? I feel an expectation in the air, contemplation of what has gone before and, also, what is now to come. Like the ticking of a clock in a silent room, time still passes whether we are there to observe it or not and, while we live our lives, the days, months and years will continue to accumulate. It is only music, no words, but I get the feeling that we are being taught a lesson here, don’t let life pass you buy, live every moment with no regrets as we are a long time dead, the pugnacious riffing and energetic drumming that close out the track seem to imply that time is running out to do so…
Crunching riffs, immense in scope, lead in a towering tsunami of sound as Black Tree lurches in to view, like some vast mammoth of noise. It almost overwhelms you with its intensity yet you would die happy, like a man drowning in vat of the best malt whiskey. There are the odd interludes where the ferocity and tension lull for a short while but the potent fervor is soon ramped up again and the substantial music regains its impetus and momentum and rides roughshod over all that is unfortunate to get in its way, the unstoppable dominance there for all to see.
After the forceful intensity and enduring dominance of what has gone before, Sanctuaryis exactly what you need and it is delivered beautifully by the closing track to the album. A delightful blend of guitars, drums and keyboards that has a soothing effect on your bruised mind and soul. The elegant guitar tone still has a life and vibrancy to it but, this time, it is not trying to pound you into submission. The drums are composed and precise and add a cultured layer to the track and mean it is one that you can let wash over you and reinvigorate you, it is still, obviously, John’s distinctive sound but with a restrained and relaxed feel to it. Don’t get me wrong, I love the huge, continent crushing sound that this amazing musician can generate but this just ends the album on such a lovely, high note and works perfectly.
So does ‘III’ improve on ‘II’ or is it left trailing in its wake? There’s a subtle change of tack going on here as well, a more mature feel to the music, John Bassett can riff with the best of them but has added other strings to his bow in his continual quest to improve as a musician, he has evolved once again with this excellent release, he is really at the top of his game and making his ‘Wall of Sound’ become even more of a unique and elemental force. If I did ratings this would be 9/10 without any argument whatsoever.
The opening lurching guitar/organ riff sounds like the amplified machinery of a giant steamship; bellowing, relentless, ominous power. Then it morphs into a straight, almost funky propulsive groove with some very tasty organ comping while various synth and vocals effects weave in out of the background like a swirling mist.
The vocals of Stian Okland float in over the groove sounding not unlike a Satanic Jim Morrison, like a dark mirror image of The Soft Parade; simultaneously eerie and darkly comic. Saxophonist Benjamin Mekki Wideroe makes his entrance next with a frenzied atonal break. Underneath the vocal line the linear progression of the piece continues to build in intensity, the groove turning ominous, dissonant snatches of piano and sax riffs stab through creating a frenzied whirlpool.
A melodic organ & sax unison line enters and holds the arrangement together, keeping it from exploding into complete cacophony. Then it stops abruptly, giving the listener a split second to inhale, before a crushing doom riff hammers down…
That describes just the first four minutes of Lemma, the opening track of the joyously insane ‘Contrapasso’, the second full-length release from Seven Impale. This young sextet from Norway has hit upon a really potent recipe, an almost dizzying combination of influences they’ve managed to assimilate and combine in consistently surprising and effective ways.
It’s fiery, intense music, but it’s so much fun that it’s accessible despite the artfully schizophrenic arrangements. From an instrumental standpoint Seven Impale employs a mostly analog approach; Hammond organ, vintage synth and guitar sounds, saxophone, and they occasionally sneak in some more modern touches. But this is not a retro band; this is a young adventurous group that’s unafraid to be daring, to experiment and most importantly to have fun doing it.
A key factor with their sound is how the saxophone is employed. While I’ve heard saxophone featured in a few progressive rock albums this year (Knifeworld, Thank You Scientist, etc) it’s primarily fairly straight-ahead in approach. Seven Impale is one of the few newer bands I’ve heard that gravitate more toward the avant-garde jazz albums of the late 1960s for inspiration.
For the most part it’s not completely outside, but more in line with players like Archie Shepp or Pharoah Sanders. The jazz quotient on ‘Contrapasso’ is intrinsic to the success of these compositions. The majority of these songs aren’t based on traditional verse/chorus structure, but the saxophone is often used in conjunction with the keyboards to carry the melodic thrust of the song, while the vocals provide commentary.
When you combine those elements with the 500 ton weight of the guitar sound (a vicious combination of King Crimson and Anekdoten) it’s a beautiful noise. It hits the sweet spot where the saxophone fuels the experimental portion while the guitars keep it primal and firmly rooted in rock.
The album is not without its catchy moments. Inertia grooves along on a heavy guitar/sax unison riff that would probably sound fantastic in a live setting and the brief chorus is infectious. The mid-section is a fiery jam and guitar solo feature, which tips a hat to Fripp & Co. After a return to the main theme it slides into an effectively trippy psychedelic section that features some lovely keyboard & vocal harmonies before seguing into an appropriately epic, melodic conclusion.
The remainder of the album unfolds along similarly complex and intriguing lines. Like a puzzle that keeps revealing more and more levels of complexity it’s an album that takes some effort. But what I love about albums this dense is that each time you play them some new moment jumps out.
I love the whole record, but there are a couple tracks that really stood out to me.The first is Langour, which brilliantly captures the juxtaposition between the beautiful sax & cello melody and the crushing metallic guitar riff, it’s a perfect demonstration of the power this group can wield. The other is the mind-bending Helix. It’s built off the simplest of structures, a repeated keyboard riff that is methodically augmented with other instrumental voicings and increases in intensity like a storm building before the deluge. If the description sounds dramatic that’s because the music does as well.
It has been awhile since a new band has really hit me with the audacity of their approach and how effortless it seems. Seven Impale is the kind of band that reminds me that experimentation, even if it’s experimentations within existing sonic frameworks is not impossible. There are still fresh avenues to explore within the progressive rock realm, I hope Seven Impale continues the search for a long time to come.
Iconic Eye unveiled their new line up to the public at noon on Saturday, November 19th, 2016, via Facebook.
The band has replaced Tim Dawkes with Jane Gillard. The band wanted a singer who has a passion for their live performance. As the new front woman of the band, Jane will be leading all Iconic Eye interviews, which can be requested at http://www.iconiceyemusic.com/contact/
The band has also replaced Neil Fraser with Robin Mitchard. At only 22 years of age Robin brings bounce and youth to the band, together with a playing ability that belies his age. Both Jane and Robin will both be involved in song writing for the 2nd album, together with all existing members.
The band will have re-recorded “All she needed” and “Let it rain down” with the two new members and videos for both tracks can be seen below.
Beer and music have enjoyed a long history together. Now they’re taking the next step in their relationship.
The Lights Out, a music and light project that takes people on a journey through parallel worlds, and Aeronaut Brewing Co. have collaborated to create ‘T.R.I.P.’, a sci-fi album and an adventure beer.
The album explores the idea that our observable universe is one of many — a multiverse — where everything possible exists somewhere. It was inspired by the theory that each of us has infinite reflections of ourselves, living alternate lives. Each song on the album was written as a report back from another reality visited by The Lights Out.
The beer is an Imperial Session IPA – a paradox in a can – representing the full range of possibilities, brought together in a supremely drinkable offering by the intrepid brewers at Aeronaut.
This fall, drinkers who purchase cans of T.R.I.P. beer will find instructions on the label to obtain a copy of the ‘T.R.I.P.’ album, by taking an action on social media.
(This photo & cover picture by Erin Genett)
“The beer fuels your trip through the multiverse, and the album is the soundtrack to that journey,” said The Lights Out guitarist Adam Ritchie. “Aeronaut embraced the spirit of this album from the start, and was the perfect co-pilot to help us bring T.R.I.P. into this reality.”
“We designed this beer to pair with the album,” said Aeronaut CEO Ben Holmes. “It’s packed with galaxy hops, clocks in at 7.5% ABV and is refreshing to drink,” he said.
The beer’s artwork was created by Raul Gonzalez, and features the pandimensional pilot character from The Lights Out, and the band’s Color Machine – the vehicle that takes them between dimensions – flying through a wormhole.
“A fragmented and highly-competitive media landscape means bands need to come up with new ways to release material,” said Ulf Oesterle, chair of the Department of Music and Entertainment Industries at Syracuse University. “Most beer and brewery collaborations are with legacy acts like AC/DC, Kiss, IronMaiden and Queen,” he said. “None of them have used beer as a format to release a studio album. The Lights Out is venturing into new territory.”
Invention and performance are main ingredients of both The Lights Out and Aeronaut. For live performances of ‘T.R.I.P.’, The Lights Out pioneered a wearable light show, synchronized with the music, and Aeronaut is earning a reputation for its live music showcases as much as for its experimental brewing.
(Picture by Mary Bonaparte-Cerone)
It’s been a big year for both The Lights Out and Aeronaut. In addition to completing work on ‘T.R.I.P.’, The Lights Out opened for Andrew W.K. and members of Dream Theater, King’s X and the Dixie Dregs. Aeronaut organized a popular summer music series and won its first gold medal at the Great American Beer Festival.
The Lights Out blends genres and technology to reinvent the experience of seeing a live band. For music, tour dates and news, visit http://thelightsout.com.
(Album insert by Creative Outlaw)
Aeronaut is a craft brewery and foods hub under one roof. Its inspired team of brewers and scientists collaborates with farmers and food makers to drive the invention of craft beers and spur a renaissance of local victuals and industrial revitalization. To see where Aeronaut is carried, visit the beer finder at http://aeronautbrewing.com.
Nuclear Blast are pleased to announce the release of Black Star Riders third studio album, “Heavy Fire”, in February 2017. The band will support the album with a full UK and Eire tour in March 2017. New single When The Night Comes In lyric video available here:
The band’s previous album, “The Killer Instinct”, was released in 2015 to widespread critical acclaim and went on to score multiple radio playlists. A solid year of worldwide touring culminated in December 2015 in an UK arena tour alongside DefLeppard and Whitesnake.
2016 saw the band return to the studio with “The Killer Instinct’s” producer Nick Raskulinecz (Rush, The Foo Fighters, Mastodon), at his studio just outside Nashville. The resultant album is Black Star Riders most accomplished work to date. From the immediate riffs of album opener “Heavy Fire” to the instant hooks of first single “When The Night Comes In”, from the dirty bass groove of “Thinking About You Could Get Me Killed” to the familiar and trademark dual guitars of Gorham and Johnson on “Testify Or Say Goodbye”, this is an album that will further cement BSR’s reputation as one of the world premiere rock acts.
“Angst, passion, power, glory, love, truth, lies, loyalty, questions that begged to be answered. There’s a guitar army coming…and it’s bringing the ” Heavy Fire”” – Ricky Warwick (vocals), Black Star Riders.
“”Not many new bands get to record three albums these days. Without doubt this is BSR’S best album so far. We had a great time recording it and can’t wait to play the new songs live on tour in March.” – Scott Gorham(guitars), Black Star Riders
Following on from their critically acclaimed albums ‘All Hell Breaks Loose’ and ‘The Killer Instinct’ which have paved the way for Black Star Riders to be recognized as a power force in the modern day of Rock n’ Roll, ‘Heavy Fire’ will be once again released by Nuclear Blast Entertainment. The band have also brought in Pledgemusic, one of the most innovative and successful platforms of the modern music world, to give fans extra special product and experiences to go along with the album’s release.
Formats: Limited Edition Digibook CD (inc bonus track), CD, Vinyl, Vinyl Pic Disc, Digital Album
Mail order: Limited Orange & Clear Vinyl
Tracklistings below:
CD
1. Heavy Fire
2. When The Night Comes In
3. Dancing With The Wrong Girl
4. Who Rides The Tiger
5. Cold War Love
6. Testify Or Say Goodbye
7. Thinking About You Could Get Me Killed
8. True Blue Kid
9. Ticket To Rise
10. Letting Go Of Me
The Limited Edition Digibook CD will have above Tracklisting plus
Bonus Track
11. Fade
Limited Edition Gatefold Vinyl
Limited Edition Picture Disc Side One
1. Heavy Fire
2. When The Night Comes In
3. Dancing With The Wrong Girl
4. Who Rides The Tiger
5. Cold War Love Side Two
1. Testify Or Say Goodbye
2. Thinking About You Could Get Me Killed
3. True Blue Kid
4. Ticket To Rise
5. Letting Go Of Me
Digital Album @ iTunes – pre-order now and get the track ‘When The Night Comes In’ instantly: http://nblast.de/BSRHeavyFireIT
After a full year off the road, Black Star Riders (Ricky Warwick, Scott Gorham, Damon Johnson, Robert Crane and Jimmy DeGrasso) are back with a 16 date UK & Ireland run, joined on the first five dates by Scottish rockers Gun and The Amorettes and then Sweden’s own Backyard Babies with Gun on the remaining 11 shows.
Dates for Black Star Riders 2017 UK & Ireland Tour are:
W/ Gun and The Amorettes (below)
Thursday 2nd March Tramshed, Cardiff
Friday 3rd March William Aston Hall, Wrexham
Saturday 4th March Academy, Dublin
Sunday 5th March Limelight, Belfast
Tuesday 7th March Ironworks, Inverness W/ Backyard Babies and Gun (below)
Wednesday 8th March O2 ABC, Glasgow (Co-Headline Show with Gun)*
Thursday 9th March O2 ABC, Glasgow (Co-Headline Show with Gun)*
Friday 10th March O2 Academy, Newcastle*
Saturday 11th March O2 Academy, Leeds*
Sunday 12th March O2 Ritz, Manchester*
Tuesday 14th March Rock City, Nottingham
Wednesday 15th March UEA, Norwich
Thursday 16th March O2 Academy Bristol*
Friday 17th March O2 Kentish Town Forum, London*
Saturday 18th March O2 Institute, Birmingham*
Sunday 19th March O2 Academy, Bournemouth*
Modern music visionary Vangelis has announced the release on 3rd February of a new 13-disc box set entitled “Delectus,” featuringa chosen selection of his early discographic work. The mammoth collection will include all of his albums on Vertigo and Polydor, recently signed by Universal and remastered for the first time ever under the legendary composer’s own supervision.
Presented in a lavish box with an essay and a plethora of rare photographs, the discs are housed in two die-cut, gatefold disc holders within a rigid 242mm square slipcase, and accompanied by a 64-page book illustrating a period of his prolific career of the iconic Maestro.
“I always welcome remastering my old work for two basic reasons” – explains Vangelis – “firstly, I get the opportunity to bring the sounds to today’s standards, secondly, it gives me the chance to go through the experiences and memories of the time.”
“Delectus” gathers together Vangelis’ seminal albums “Earth”, “L’Apocalypse Des Animaux”, “China”, “See You Later”, “Antarctica”, “Mask”, “Opera Sauvage”,“Chariots of Fire”, “Soil Festivities” and “Invisible Connections”, plus his collaborative recordings with Jon Anderson as ‘Jon & Vangelis’ – “Short Stories”, “The Friends of Mister Cairo” & “Private Collection”. The remastered originals will be complemented with rare B-sides and 4 previously unreleased tracks.
Vangelis is regarded a pioneer in the evolution of modern music. In his lustrous discographic career he has composed and performed numerous albums covering the most diverse assortment of genres. He is most popular for his movie scores including Antarctica, Blade Runner, Missing, 1492: Conquest of Paradise, Alexander and the 1981 Academy Award-winning soundtrack for Chariots of Fire. ‘Titles’, the theme for ‘Chariots of Fire’, was later chosen as background to the 2012 Olympics winners’ medal presentation ceremonies.
Six years after turning down the opportunity to join Yes, Vangelis joined forces with Jon Anderson in 1981 and the duo released 3 albums under the Jon & Vangelis moniker to critical acclaim. “The Friends of Mr Cairo” included celebrated single “State of Independence”, which also reached chart success with its 1982 cover by Donna Summer and again in 1992 with a Moodswings version featuring Chrissie Hynde released as “Spiritual High (State of Independence) Pt. II”.
Vangelis’ pioneering work is recognised beyond record sales and music awards. In 1992, the Maestro was nominated Chevalier de L’ordre des Arts et des Lettres, and in 2001 Chevalier de la Légion d’Honneur from the President of French Republic. He was the recipient of a Public Service Medal from NASA in 2003 and had a star named after him by the International Astronomical Union’s Minor Planet Center at the Smithsonian Astrophysical Observatory for the international impact and appreciation of his work as well as his rapport with the Universe. In 2008 Vangelis received the America Hellenic Institute “Hellenic Heritage Achievement Award” for his exceptional musical achievements and lifelong dedication to the promotion of Hellenism through the arts. The same year he also received an honorary doctorate at the University of Athens – Faculty of Primary Education and in 2009 he received the University of Patras Greece Honorary Doctor/Professor Emeritus of the Faculty of Physics.
Both old and new fans who enjoyed Vangelis’s space-centered album “Rosetta” – won’t miss the opportunity to own some of the Maestro’s most groundbreaking work, remastered from the original first generation master tapes, all in an attractive and informative package. “Delectus” is out on 3rd February through all usual retailers.
Legendary New York thrashers ANTHRAX this year celebrated their 35th anniversary and released their new album ‘For All Kings’ to widespread critical acclaim. In February 2017 the band will be back on UK soil for their first full UK headline tour in over a decade! These UK dates will see the band perform classic 1987 album ‘Among The Living’ in its entirety alongside fan favourites.
Scott Ian commented: “Finally! We’ve been looking forward to headlining in the U.K. for so long!!! We have a killer set planned, new stuff, old faves, deep tracks and Among front to back. You’d better start getting in shape now for the epic wardance! See you soon my friends.
Cheers,
Scott”
These special shows will mark 30 years of the iconic album, with support from up and coming British metallers The Raven Age.
Dates as follows:
Thursday 9th February – Birmingham O2 Institute
Friday 10th February – London O2 Forum Kentish Town
Saturday 11th February – Bristol O2 Academy
Monday 13th February – Nottingham Rock City
Tuesday 14th February – Manchester Academy
Wednesday 15th February – Glasgow Barrowlands
Thursday 16th February – Newcastle Northumbria University
Friday 17th February – Norwich UEA
Anthrax has sold in excess of 10-million units, received multiple Gold and Platinum certifications, six Grammy nominations and a host of other accolades from the media, industry and fans. In 1991, their music helped break down race and genre barriers when they collaborated with Public Enemy on “Bring The Noise.” And, of course, along with Metallica, Slayer and Megadeth, Anthrax helped pioneer the thrash/metal genre as a member of The Big Four.
Beatrix Players have released a video of their debut single Lady Of The Lake, released on November 25th and taken from their debut album ‘Magnified’, which is scheduled for release in 2017.
Lady of The Lake is the stunning first single to be taken from Beatrix Players debut album, with the single launch being held at the Green Note in Camden on Tuesday 22nd November. This first release tells a story of disconnect, difference of opinion and the demise of a relationship.
“In the video we used a mystical figure to portray how the male perceives the female in the relationship,” explains lead vocalist Amy Birks. “She is seen as seductive and somewhat dismissive in character, although the lyrics are written sympathetically towards her”. The powerful chorus tells of torment “although the man knows it’s over, he is still drawn to her qualities” explains pianist and co-writer Jess Kennedy. The listener is taken on a journey through the powerful & emotive expression of the music, whilst the delicate, almost hypnotic vocal counter melodies add to the unearthly and ethereal sound of the track.
Through their enchantingly dark and evocative melodies, expansive
arrangements and empowered orchestral sound BEATRIX PLAYERS tell stories of real life and fantasy. Citing influences as diverse as Michael Nyman and Regina Spektor and drawing comparisons to the likes of Kate Bush and Einaudi Ludovico; this London-based, all female trio combine elements of Folk, Jazz, Progressive and Classical music. In 2015 the band (Amy Birks, Jess Kennedy and Amanda Alvarez) took their unique sound – a beautiful combination of vocals, piano and cello – into the studio to record their self-produced debut album, which has been mixed by two-time BBC Folk Award winner, Jim Moray.
