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Review by mykel35 — First off, who in their right mind allows you to download their EP for free!?! That's right, The
Deadstation. does. So who was I to refuse free music (which I ended up liking it so much I bought a
hard copy anyway!)? I downloaded and hit play. Right away you are hit with "Hundred Foot Drop" that
sounds like it could come straight off a later day Pink Floyd cd, but don't get too comfortable because
it changes up fast and right in your face with "Subsistence Definded." The roller coaster ride continues
with "Like Peering Into the Deepest Abyss," "Drugs for the Pain Inside," and the narrated "August 4th."
That is something to note since a couple of songs have narration on them but it fits, it works
completely! "Anything But This...Anywhere But Here" bay be the most accessible song on the cd
which for Prog listeners isn't usually that much of an issue, but for non prog music listeners gives them
something to hang their hats on. "I Cannot Explain Myself Anymore" is another more accessible tune
while still staying true the progressive metal format. "Slowly, But Surely, I'm Drowing" is another
excellently narrative but the music behind it so haunting and fitting to what is being spoken that all it
does is expand the atmosphere this EP creates. The cd version has a bonus track, "Limitless, or So it
Seams" which helps make the cd purchase feel a little more justified although it is completely justified
without it and the track is more in line with more uptempo tracks like Anything But This...Anywhere But
Here." I must say, for a debut EP, the songs are excellently produced and mixed! No indie quality
here! The other great thing about The Deadstation. is how interactive they are with their fans! These
guys get it and seem to genuinely appreciate all the support and interaction they receive from their
fans which given the right avenue I believe will lead to much bigger things for these guys. The next
step for The Deadstation. is a full length cd and a tour, which will take some doing because these
guys are like Rush in more ways than just some influence on their music, they are a three member
band. It will be interesting to see what direction these guys take, they have the musicianship to go
anywhere and the creative ability too. At the very least, it will be worth your time to download their free
mp3 version of the music but I recommend getting the cd, but I may be just bias, my name is listed in
the liner notes, lol, they listed all the fans that responded to a FB post in their liner notes, so how cool
[Studio Album · 2014]
1. You're An Island (2:49)
2. Sweet Lily Rose (3:11)
3. In Your own Fine Way (2:56)
4. Lord Above (3:21)
5. Here in the Night (3:47)
6. Life's Life (2:04)
7. Bring Me Back (2:49)
8. Careless Man (3:47)
9. Must Be Going Crazy (4:01)
10. Hiding from the Light (3:35)
11. Just Wondering (4:12)
12. After the Fall (5:10)
Total Time 41:42
Review by Gatot — Genesis with King Crimson flavor ...
The chief reason of watching this performance is the existence of Bill Bruford at drum stool.
I love Bruford since I first listened to King Crimson's "Easy Money" In that track he played
uniquely especially with his tight snare drum that sounds differently from any other drummer
on planet earth and his nano-seconds advanced beat of his drumming style. That are
basically how I categorize the drumming style of Bruford. And I am not wrong at all as
throughout his career he kept playing like I describe. Look at his style in his solo album
"One of a Kind" or his style with Yes "Close To The Edge" as well as "Fragile". That's
basically his unique style and what he demonstrated during his tenure with King Crimson.
Watching Bruford plays Genesis tunes even though only during Tour and never had a studio
album with Genesis is an interesting joy for me. I can see his unique style was successfully
applied to Genesis during the tour. I really love the voice of "THAK" coming out from his
snare drums throughout the Genesis tunes featured in this DVD. Even from the Opening
that actually presents the stage erection process to the intro f I Know What I Like Bruford did
his role wonderfully and it's becoming main attraction to me. Even though he played
differently, the Genesis tracks becoming much more enjoyable compared to studio album.
The song moves seamlessly to the Fly on A Windshield until Broadway Melody of 1974
(without vocal line). He plays in duet with Phil Collins who also played drums excellently
using another style. Phil is very good in its varied stick hits at snare and toms of his drumset
while Bruford filled with powerful snare sound. The part two of Cinema Show is also
wonderful with Bruford as drummer - but most importantly the drum duets with Phil is really
great. This version of duo drums appeared also in Seconds Out album. I enjoy the dums
solo part even though it's very short. The peak of this live performance lies at the ending
track Los Endos. Every musician plays excellently throughout the song and it becomes a
very attractive part of the show.
The only lacking is the abridge version of some tracks like Fly on a Windshield, The Cinema
Show (Part two with , unfortunately, the appearance of comic film) and also last parts of
Supper's Ready. This is not good at all as I expect full version of each song. Keep on
Peace on earth and mercy mild - GW
[Studio Album · 2014]
1. Part One - Intro
2. Part Two - Core Trax
Review by Epignosis — The upbeat jazz rhythm and guitar tone are heavily reminiscent of Camel. In fact, if anyone liked
Camel but thought they could've rocked out more, he would find satisfaction in Finch's second album.
My greatest criticism is that the guitarist is too industrious, frequently erupting in a blitzkrieg
of high-pitched notes.
"A Passion Condensed" I found the initial synthesizer a bit rough, though the lead guitar is
satisfying and the rhythm section is in overdrive for much of the piece. The softer side of Finch
emerges midway through, perhaps to offer the listener a respite from the rapid jazzy rock that
filled the first eight minutes. The scathing guitar work is too busy, flying about like a
hummingbird on uppers over a chord progression identical to "Breathe" by Pink Floyd.
"Scars on the Ego" The second and shortest piece offers the keyboardist an opportunity to shine
through various sonic textures, and thankfully, the guitarist shows his more placid capabilities.
Though the electric guitar solo is still riddled with activity, it serves well as a crescendo
tapering off into the halcyon haze.
"Beyond the Bizarre" Gentle and melodic, this is perhaps the most solid of the three compositions,
because even when it becomes heavier, it is not perforated with rapid-fire guitar. Indeed, the lead
player infuses the piece with appropriate bends and phrases that accentuate the rhythmic shifts.
The smooth, happy-go-lucky keyboard runs are reminiscent of "Cinema Show" by Genesis.
Review by Aldebaran_Well —
I was not familiar with this German band, so I have to count them as one of the most
pleasant surprises of 2014, so far. Obviously, I cannot compare this album with the
previous four ones yet but having listened to ''Over'' several times, I confidently believe I can
comprehend their art well enough. Frequency Drift describe it as ''cinematic prog rock''.
While this is not a false description, it can easily misguide you. The songwriting is quite
straight and normal to be considered cinematic and prog elements are usually put very
discretely. To my ears, this is an atmospheric metal/rock band in the late 90's style,
reminding me in several moments of bands like The Gathering and The 3rd and the Mortal.
What really makes their music different and absolutely lifts its quality is the amazing,
delightful instrumentation. Rock, classical and ethnic instruments, along with digital and
electronic sounds are perfectly and harmonically combined, providing many layers of
musical enjoyment. From this aspect, every song hides its surprises and there is always
something new to hear.
The opening track ''Run'' will perfectly enter you in the world of ''Over''. The violin of the
intro softly gives its way to the very rhythmic and melodic basic verse. The female vocals of
Isa Fallenbacher are warm and dreamy. Though you may feel like you've heard this kind of
voice many times in the past, you won't mind because the melodies are sooo good! (I admit
that I imagined Gathering's Anneke singing this and lifting it up to the heavens!) Anyway, the
song's structure is great, there is a growing feeling and a beautiful crescendo that leads to
a mellow and well balanced prog metal finale. ''Once'' is full of effects and guitar sounds
quite similar to post rock aesthetics and when the fabulous solo part comes ? is this the
instrument dulcar??- you realize that the band dedicates all its imagination and creativity to
the arrangements, aiming to create a colorful musical palette. ''Adrift'' steps in with a darker
mood, the almost jazzy drumming is well stretched (brought to mind ''Tears laid in earth'' of
3rd and the Mortal) and by the middle of the song harp and flute take over, leading to a very
ethereal direction. The basic guitar part of ''Them'' is very prog-like, strings and samples
appear at some time, before the first truly classical moment of the album, the magnificent
and dramatic cello/violin theme that ends the song, leaving me thrilled. (I admit, I'm a
sucker for string quartet stuff!) ''Sagittarius A'' is a good song, a bit up tempo but too pop for
my taste. Pop orientation can be found elsewhere in the album ? no problem with that ? but
this also mainstream and I can't relate very much to it, sorry.
On the other hand, the 8 minutes long ''Suspended'' is one of the album's best tracks
and contains almost everything: a groovy progressive basic pattern, great chorus, super
dynamic changes with fast heavy parts, flute solos, a jamming attitude, excellent! Absolutely
a gem. ''Wave'' has a very delicate touch, harp is the protagonist and there is a '70's mood
in the synths, a classic prog touch. ''Wander'' with its heavy piano, strings and wavedrum
leads to seductive and a bit abstract composition, while ''Driven'' is all about drums! Tribal
grooves at the start and the middle, soft electronica sounds and a classical part at the end
which, very intelligently transforms the main vocal line into something completely different.
''Release'' is one of my favorites too, being dark and deep. There's a very atmospheric and
theatrical spoken word intro ? I believe in Greek ? and at some time the song explodes into
an eastern folk sonic journey which I found amazing. The 10 minutes long ''Memory'' is
probably the heart of the album, summing up all the elements of Frequency Drift's art. It
completely justifies the ''cinematic prog rock'' label, cannot be easily described and can
only be conceived as a small odyssey. The album concludes melodically with ''Disappear''
and, yes, it's been quite an experience.
''Over'' demands from the listener to sit back relaxed and peaceful, enjoy the music and
the emotions it has to offer. If you do that, you'll be delighted to lose yourself inside a truly
very good record, which is masterfully composed and arranged. Frequency Drift offers not
any great innovation or technical extremity but real music that is beautiful, creative and deep.
If you feel like a good quality music lover who appreciates cleverness and good taste in
music, expect a 4 star album. Andreas Hack and co can guarantee you the above, for sure.
The only things I could ask for future albums is less duration (not fond of 75 minutes long
cd's) and deeper dives into the sea of ethnic sounds. But anyway, thank you guys!
Review by BatBacon — "And the eyes of the world is watching now?"
To think of the surprise when his fans heard this album for the first time is really interesting, its a
long jump from preceding album. But the choice to leave the more rock oriented music for this
artpop is great, there seems to be a lot more room to experiment without ineffective guitar riffs
and drum fills. Its no wonder the album contains so many classics and favorites, it was a time of
doing something completely different, breaking some rules and borders. Good things usually
comes out of that way of thinking! And a lot of new fans as well!
The whole album got a new kind of suspense to it, all the songs are daring and adventurous with
a lot of atmosphere and drama. First track "Intruder" is a perfect example, a slowly creeping song
with Gabriel doing some of the best vocals he´s done since Genesis. With a simple but mighty
drumbeat, small noises, disharmonic piano and some screams it sets the perfect mood for this
unsettling song. It even ends with a spaghetti western whistling ala Sergio Leone.
To me it seems like most of the songs is about people with some kind of mental disorder. "No self
control" and "I don't remember" are both about people in absolute panic, "Games without
frontiers" is a study of human cruelty and "Family Snapshot" is a both beautiful and exciting story
about a killing (well?). Its kind of nice to settle this disturbing theme with the fantastically
relaxing and floaty "To lead a normal life". Some nice synthesizers and pianos, some interesting
rhythms and the listener is in dreamland.
After To lead a normal life comes the last song, the classic "Biko". A touching tribute to the south
african non violence activist Steve Biko, murdered for his beliefs and his fight against apartheid.
Its a great symbol, a fantastic tribute and a powerful song to finish the album with.
[Studio Album · 2014]
1. Legacy (14:07)
2. Deadlock (16:25)
3. Ground (33:24)
4. The Plague (14:18)
Review by SouthSideoftheSky — "A brutally honest first draft"
In 2003 two archival Trevor Rabin releases saw the light, both issued by the Voiceprint label. Someone
had dug into the archives and found some older recordings including a live recording from 1989 which
resulted in Live In LA and some demos and outtakes of material Rabin had written for Yes between 1981
and 1991 resulting in the present compilation. Out of these two the Live In LA album is the much
superior one, recorded on tour in support of the very good Can't Look Away (Rabin's first solo album since he had joined Yes).
The title and the artwork of 90124 obviously refers to the Yes album 90125, the first yes album that
Rabin had contributed to, though the unfinished songs included here were not all written for that album
but some for Big Generator, Union, and Talk. Most of the songs here will be familiar to Yes fans, but in
some cases only some parts of these songs were used by the band.
The album opens with Hold On which here consists of two different demo recordings stuck together into
one. Other songs from these 1981 sessions include Changes and Owner Of A Lonely Heart, all of which
would end up on 90125. These versions add little of interest to the finished versions. Moving In is a track
that was not recorded by Yes, though some parts of the track were incorporated into the finished version
of Hold On. The track that is here mislabelled Cinema is actually an alternate, early version of Make It
Easy, a track that was written and recorded by Yes in the early 80's but was not included on any Yes
album. It was subsequently released in 1991 as part of the YesYears box set and also as a single
around the same time to promote that box set. Rabin often used to play part of this song live as an
introduction to Owner Of A Lonely Heart. Would You Feel My Love is yet another track written by Rabin
for 90125 but was not used. I can understand why!
From the Big Generator writing sessions we get Love Will Find A Way. This version is rather similar to
the finished version and adds nothing of interest. Miracle Of Life is an excellent song that Rabin wrote
for Union. Again, this demo version adds little of interest and I much prefer the finished album version.
Finally, Talk is represented by two tracks here in Walls and Where Will You be. The former features Roger Hodgson of Supertramp on backing vocals and the latter is here presented in an all instrumental version. I enjoy this instrumental version but it can hardly be said to be essential. Promenade is a guitar version of the Classical piece by Mussorgsky (popularised by Emerson Lake & Palmer in the early 70's; Rabin was probably inspired by them). It is unclear to me why it is included here as it doesn't have anything to do with Yes.
If you have 90125 (especially the remastered CD version with bonus tracks), Big Generator, Union, and
Talk, this compilation adds little of interest to your collection. It is interesting only as a historical
document and it has very little listening value. It is only recommended for hard core fans of 80's Yes and
Trevor Rabin's contribution to that era of the band in particular. Rabin himself has expressed scepticism
about this release and called it "a brutally honest first draft" which is exactly what it is.
Review by Sean Trane — After the demise of the second incarnation of Mountain (West, Bruce & Laing) and also billed as
Cream 3, JB came back shortly to his solo career but this time he worked with his friends from the
extensive touring of WB&L across the USA. Though he'd also signed an album with John Surman and Jon
Hiseman, the previous year; this time there is very little jazz in Out Of The Storm, because the
people he plays with are definitely of the rock crowds: indeed drummer Keltner and Gordon were
typical session men, while Steve Hunter (from Alice Cooper's band) on guitar handles the six
strings. Don't get me wrong, this is still a typical JB album (but it's not particularly a good
one), where he sings, plays bass and keyboards and there is some kind of continuity with his
previous Harmony Row (though the song lengths almost doubled on average), but don't look too much
for WB&L and Cream - though it's evident there is the JB links. The lyrics are again from Pete
Brown, except for one track coming from Jack's wife.
Opening surprisingly of the near-falsetto Bruce voice over a harmonium in Pieces Of Mind, the usual
JB solo sonics return, with a generally "too-busy" bass line. The slow following Golden Days feature
some female vocals to enhance Bruce's ambitious project, but the whole thing sounds forced to me.
Bruce goes one further with the next Running Through Our Hands song, and he clearly overstretches
himself, despite an interesting starting idea and lyrics from his wife. The A-side unravels
uneventfully with the album-shortest Keep On Wondering, which has indeed got us so (wondering) but
we've got an "iffy" harmonica break in the middle.
The Cream-esque Keep It Down gives you a breath of fresh air with some good Hunter guitars. The
would-be title track returns to the weirdness of the A-side, while the longer One is one of better
songs, but the album-wide competition is relatively weak. The album closes with its main highlight
album-lengthiest Timeslip (an obvious call to his Cream days), but it's clearly the manic mainly
instrumental second half that drives it home, especially that Hunter delivers a killer guitar solo?
too bad it ends in a fade-out, though.
It's a little sad that the person I consider mainly responsible for 50% of Cream's greatness was
never able to confirm this out of the trio's gatefold, and that the more he tried (too hard, IMHO),
the sadder it got? But then again, the same observation applies for both Ginger and Eric as well.
Despite some valiant tries during the 70's (including a collab with Ex-Procol Harum man Robin
Trower), it seems that Jack was more a man of the 60's, rather than the following decades.
Review by kev rowland — July 2013 saw the 12th studio album from Jump, one in many ways that they have been working
towards throughout their career. Steve 'Ronnie' Rundle has taken on the bass role in addition to
his normal duties, and the only guest this time is Alice Atkinson with violin on a couple of the
songs (she also played on the last album). But this time Mo is also contributing accordion as well
as keyboards and the two Steves have gone acoustic while Andy isn't as prominent as is usual.
Yes, Jump have moved far more into the realms of acoustic folk, although to be honest the
overall sound isn't as far removed from their normal sound as one might expect. As I have said
before, I have always viewed Jump as an 'English' band as opposed to progressive, and with this
album they have shown that they have much in common with the mighty Show of Hands, another
band who have always stuck to their own agenda, playing hundreds of gigs and producing one
wonderful album after another.
There is purity to this album that is hard to define, with one great song after another, full of
emotion and wonderful music, while JDJ shows yet again why he is so highly regarded as a
singer. Whatever song I am playing is my favourite, and I have found myself returning to this
album time and again as it is such a delight from the start to the very end. Beautiful songs,
extremely well constructed with great arrangements, careful thought being given to the amount of
space required between the instruments and between the notes, with room for John to add to the
magic. Back in 1991 Jump released their wonderful debut, 'The Winds of Change', and some 22
years later and countless gigs four of the six people who performed on that album are still there.
Over the years their music has changed, and they have changed with it, but unlike many they
have continued to grow and with this, in many ways their simplest and most roots-based album,
they have created the finest of their career. Indispensible. www.jumprock.co.uk
Review by kev rowland — One of the very few downsides of living on the other side of the world is that I am unable to see
Jump in concert. Easily one of the hardest working bands around, they must have played
thousands of gigs by now and always used to be prolific in their releases. However, it took five
years from the release of 'Faithful Faithless' in 2005 for them to return with this at the beginning
of 2010. The core line-up is basically the same, with the one and only John Dexter Jones on
vocals, Steve 'Ronnie Rundle' on guitars/vocals, Steve Hayes guitars/vocals, Andy Barker drums
and Mo on keyboards. But, bassist Andy Faulkner has been replaced by Phil Mayhew, and there
are a few guests on strings and sax.
Jump have always had a very hard sound to define, progressive but not really, neo but not really,
crossover but not really. In fact, the only way to think of them in my mind is as a band that plays
English rock (a statement guaranteed to upset the very passionate Welshman who is the
frontman). They really are one of the undiscovered joys of British music, a band that always out
their all into their gigs and who consistently produce wonderful albums. I have been lucky
enough to hear all of these, and to my ears they generally deserve at least a 4* rating, and with
this their eleventh studio album in nineteen years they have yet again delivered the goods. "On
Bended Knee" is a wonderful song, and is a fine example of the album, with guitars restrained
yet full, with everyone working hard to ensure that the vocals are accompanied perfectly,
complex yet with simplicity. Jump concentrate on producing well crafted songs, small stories with
the perfect backing, and here are another 11 that are going to gain them new fans and please
the old. For more details visit their website at www.jumprock.co.uk
Review by tarkus1980 — Simply put, the 80s annihilated Sparks. After Ron and Russell's backing band abandoned
them after Music That You Can Dance To , they picked up a new guitarist and a
couple of assorted other people, and proceeded to self-produce the blandest and most
faceless album of their career. There are some brief glimpses of the Mael lyrical wit of old,
but they're only glimpses, and much of the music sounds like it could have come from one
of a thousand different synth pop bands at the time. After this album, the band ended up
taking a break for six years, and it desperately needed that time off.
There are some songs that stand out from the morass of hopelessly tacky keyboards and
general 80s sludge. "The Toughest Girl in Town" and "Let's Make Love" have horrendous
arrangements, of course, but I somehow find them kinda touching, and I quite like the silly
way Russell makes use of his falsetto when singing "I feel it in my HEART! I feel it in my
SOUL!" in the latter. At the same time, I can't make much of a reasonable justification for
liking these tracks more than finding them pleasant in comparison to what's all around
them. Let's hear it for lowered expectations!
Another song that stands out, though hardly in a way that allows me to call it "good" by any
stretch, is the closing "Madonna," which is also done in three other languages in the bonus
tracks. Ok, yes, I kinda like the simple-but-stupid chorus that pops up from time to time, but I
just have a difficult time understanding why this track has to exist. I guess it's kind of a
successor to "Change," in that it mostly features Russell talking over a series of repetitive
keyboard meanderings, but "Change" had more interesting lyrics, more varied background
and a better chorus. The story Russell tells, of having a one-night-stand with somebody
he's pretty sure is Madonna, leaves me feeling more confused than anything else. Is this
supposed to be some kind of rip by Ron on somebody who probably had no idea Ron even
existed? Is it a fantasy? A satire? Meh.
The rest of the album is gross. I guess I feel a slight admiration for the construction of the
various pieces of the opening "So Important," but even that one has such terrible
arrangements that I can't imagine ever wanting to seek it out. The rest is full of overdone
fake big drama in the keyboards crossed with faux-tough stretches (like in "Love-O-Rama"),
and the thought of listening to this album one more time just makes me ill. There's also a
two-minute instrumental in the bonus tracks called "The Big Brass Ring," but it's just a
bunch of keyboard wanks piled on top of each other over booming drums, and it's no better
than the typical material of the rest of the album. I'll probably turn back to the couple of good
tracks from time to time, but I'll be glad to be rid of this album for good. Don't buy this before
you've bought any other Sparks albums.
PS: For some reason, this received a reissue in 2001 under the name Just Got Back
from Heaven . Don't buy that thinking you've uncovered some collection of rarities or
anything like that.
Review by kenethlevine — DUN AENGHUS is a collaboration of good friends separated by time and space but united by a
love of music, specifically progressive and Celtic rock. Presumably they all spent time on the
Aran Islands of western Ireland which inspired this work.
The music herein is largely instrumental, something between the ambiance of a 1980s MARK
KNOPFLER soundtrack and the majesty of a RUNRIG production, with some MIKE OLDFIELD thrown in here and there ("Inis Mor") via ultra
melodic and languid soloing. Warning and spoiler: pipes abound. Initially, a more nebulous almost new age creature envelopes us but not cloyingly so,
A more progressive beast asserts itself gradually over the course of the relatively short
recording and not so much wins out as energizes the symbiosis "Journey" in particular
includes rare vocals and some classic prog aspects like washes of organ and assertive bass lines.
"Elders Tale of Aran Part 2" is an uplifting jewel propelled by sparkling lead guitar and
Whatever obstacles the members of DUN AENGHUS may have faced to achieve this unlikely
result , they should know that it has not fallen on deaf ears. Let's have some more tales.
Review by Gatot — As you might know that I am actually not a big fan of Saga ...but I occasionally spin the CD as
I have some of their albums. It's quite funny to me that I love the band from their live album
"In Transit" that I consider as one of the best live album in rock history especially with songs
like Humble Stance that really explode my adrenalin. Based on the experience with the live
album I then started purchasing their studio album CDs and like some of them. I also loved
their live album titled as Detours. ANd now I have this Heads and Tales Live album released
in 2011 and it performed the Heads and Tales album originally released in 1983 in its
entirety. It's another funny thing again as I write this review I have never heard the original
version. It's quite awkward isn't it? Never mind ....the reason I am wrting is not to compare
with the original studio album as I really like this live version even though basically i don't
quite like the songs performed.
And the next question is why am I writing this review? Simple, I am blown away by the live
vibes and anergy demonstrated by the band in this live record: it's fantastic. Well .. I am not
familiar with each individual song but as I play the music I am really tuned into it deeply. I
love the voice quality of Rob Moratti. I think he sings wonderfully in this album as he can
perform consistently from start to end of the album. Second, I love the guitar work performed
during the performance - they are all stunning really! And ...it's rocking as well! Third, I love
the keyboard work as well.
It starts off nicely with an ambient live vibe through what is titled as Intro (1:43) which sets the
overall tone of the performance; it continues nicely to the opening track The Flyer (4:03) with
full energy vocal-wise and music-wise. As the music moves I enjoy all the transition pieces
with guitar as well as keyboard - and ...yeah ...the stunning guitar solo which is quite unique.
Cat Walk (4:21) starts nicely with repetitive keyboard sound accompanied by heavy guitar
work accentuated with keyboard ...oh it's so rocking man! The Sound Of Strangers (3:55)
enters in with another style of riffs with sort of blues-influenced rhythm section. And again the
combined guitar and keyboard work sounds wonderfully to accompany vocal. The music
flows nicely from track to track The Writing (4:06), Intermission (6:14) and into the straight
rocker Social Orphan (3:27). All sound really nice to my ears and also the remaining tracks
The Vendetta (Still Helpless) (1:56), Scratching The Surface (5:17) and it concludes with The
Pitchman (7:03). Only at the last track that there is a very nice solo combining guitar and
keyboard that sounds very unique.
This is the kind of excellent live performance with little improvisation as I do not hear any
long guitar or keyboard solo except those embedded in each track which I believe it is
similar or the same with its original studio version. Highly recommended as the it's relatively
flawless. It's a very dynamic show and I hope I was there during the concert. Keep on
Peace on earth and mercy mild - GW
Review by Gatot — a very unique and excellent prog music ..
Well, yeah ... the first time I heard the music I kept laughing at it as the music turned out to be
unique and it's something that was very hard for me to describe. It's my bad habit tend to
categorize music into genre or subgenre that sometimes make me difficult to classify and at
the end, especially with this release, I gave up categorizing it ....as music is played to enjoy
and not to categorize or cataloguing them into certain type of genre or subgenre. As this was
originally recorded in 1972, the concept work by the British progressive rock group only
available one year due to the dispute with Marvel Comics. The Marvel World Of Icarus was a
concept work based around the Marvel Comics stable of superheroes. Taken from the
original master tapes, this first-ever official reissue (2007) - includes comprehensive liner
notes, band quotes and previously unpublished photos - tells the fascinating story behind
the album as well as documenting the wider adventures of Icarus during their 1968-72
Let's talk about the music. You might classify the music under regular classic rock type of
thing similar to Captain Beyond even though it's not really similar. Yes, the music is quite raw
and not clearly rock in nature but for sure it's a progressive one as I can find many time
signature changes as well as style changes. In my case, the music really astonishes me as it
blends various kind of music with sort of jazz, rock, pop as well as afro american style as
well. The recording style is raw as it was i think intended to be like this - it sounds really great
to my ears. The music moves nicely in relatively fast tempo with mostly upbeat style blending
stunning guitar, dynamic flutework as well as saxophone solo along many tracks featured.
The flute work I really love and it can be found many segments in the album. The basslines
are also very dynamic combined with excellent drumming. In terms of style changes the
band demonstrates it in various songs for example in Thor (8th track) where the music
suddenly changes its style into slow tempo one. I do not read the Marvel Comics but I am
very sure that the songs provided here were intended to represent the superheroes
characters as described in the comics.
Overall, this is a highly recommended album with full four-star rating as the music is unique,
rich in composition and textures, and most importantly it is cohesive as whole concept album
from the opening track into the concluding one. As this is based on comics, the musical style
heavily based on story-telling with powerful vocal work. This albu has become my regular
playlist for months as I really like the style. Do not think of any symphonic or eclectic or any
kind of neo prog music .....just enjoy listening the music - and I am sure you will find joy with
it. Keep on proggin' ...!
Peace on earth and mercy mild - GW
Review by epictetus — I have been a huge fan of Ian Anderson/Jethro Tull for over 40 years (yes, I'm that old) so what I'm
about to say feels a little like scolding your favorite child. Just my opinion, but Homo Erraticus seems
more like a necessary vehicle to have a reason for a 2014 tour, rather than something created out of
musical inspiration. Ian seems to have gotten a bit lazy and selfish. By "lazy" I mean he relies more
on a formula for producing music. There's nothing new...nothing is "out of the box". The same
instruments are used from album to album (I suppose orchestrations are too costly and can be
covered by the cheesy synthesizer sounds). By "selfish" I refer to Ian's tight reign on his band mates
(if you can even call them that). There is no room allowed for contribution or improvisation by the
other players, so the record sounds very similar to recent efforts and almost as if it was generated by
a computer program written by Ian. I'm not even sure you can call this work progressive. Is there
even one moment where you are surprised by the music? Sorry, but this effort seems more like a
business decision than a work of art. But I still love you Ian!
Review by Neu!mann — This oddly bifurcated live album presents an intriguing before-and-after portrait of an artist on
the brink of ascent, and in full flight shortly afterward. The initial three tracks are from the
July 1969 Newport Jazz Festival, when Miles Davis was still playing (mostly) unplugged Fusion
alongside the so-called Lost Quintet. The balance of the disc is reserved for his performance at the
legendary 1970 Isle of Wight Festival, where the erstwhile Jazz icon shared the marquee with Jimi
Hendrix, Joni Mitchell, Jim Morrison, Jethro Tull, ELP, and Tiny Tim (Hawkwind, not invited, played
free of charge outside the fence).
The earlier era has been documented more completely in the 2013 "Live in Europe 1969" boxed set. But
the abbreviated Newport concert (24-minutes in all) is more exciting, and sounds better, than
anything in the later compilation. The incomplete tape is a source of frustration; it opens in the
middle of "Miles Runs the Voodoo Down", a much livelier, more dynamic reading than the version later
recorded for the "Bitches Brew" album. But the novelty of hearing the quintet playing as an
accidental foursome (Saxophonist Wayne Shorter missed the gig, stuck in Rhode Island traffic) makes
it a worthwhile footnote to the unfolding narrative of electric Miles Davis.
Fast forward to late August, 1970: thirteen short months later but a world away in musical terms.
The quintet has been expanded to a much louder septet, adding Airto Moreira on percussive allsorts
and Keith Jarrett on the second keyboard (with Shorter replaced by Gary Bartz). The cross-fade on
disc from the enthusiastic applause at Newport to the sound of over 600,000 festival-goers is a
dramatic indication of changing times; the half-hour medley that follows is even more so.
The audio alone can't compare to the full visual experience of the same gig captured on the '05
"Miles Electric" DVD. But it's fascinating to hear the trumpet player leading his band with subtle
music cues, setting up a tempo here, suggesting a new theme there, and daring the other players to
keep up. The ferocious jam in "Spanish Key" is the obvious highlight, ebbing and flowing with
relentless energy, more so than the equally thrilling studio version heard on the "Brew" album.
Like so many other posthumous Miles Davis live albums the CD imposes artificial order on the set
list, with indexed track titles that didn't exist at the time. On stage in the 1970s Davis never
paused for individual songs, and when asked after the gig about the name of the piece, he famously
responded, "Call it anything".
Maybe that should have been the title of the album itself. "Bitches Brew Live" is a disingenuous
name for this somewhat forced juxtaposition of two orphaned recordings not long enough by themselves
to fill a compact disc (and besides, there's a lot of music here unrelated to the 1970 LP). Consider
it an extended sampler of sorts, hastily organized and incorrectly annotated (Led Zeppelin did not
play at the Isle of Wight), but rewarding as a candid snapshot of an innovative artist approaching
his musical zenith.
Review by DamoXt7942 — What a fantastic gig with lots of pleasure.
This live album "Under Trucks" was recorded upon November 10, 2013 in an Osakan live
venue called Nakatsu Vi-Code (on the stage another Heavy Prog outfit The Brown appeared
... sadly I could not attend though). And one of highly important matters is that this live album
was the debut one for a female trumpeter and the specialty Sayaka KAWADA, actually. As
Masaharu NAKAKITA (bass) always says, they play much pleasantly and delightfully "for the
audience", naturally as artists. This gig got started, with lively audience's voices around the
artists. Various gemmy essence of their brilliant sound can be heard here and there
although their performance on stage sounds not perfect. Surprisingly mixing this album is
splendid, as though we would join this gig and Djamrers would play in front of us. Very
Sayaka's trumpet sounds relaxed and stretched ... it's obviously natural because she's been
a member of Djamra for almost 3 years (she says she's always got strained on stage even
now lol). Her instrumental battles with Shinji KITAMURA (alto saxophone) are worth
listening to every time really. These battles should make us smile fully, along with her safe
and sound appearance. However her play is always exciting, of course in this live lively
The tracks, except the fourth "Phantom Thief Naitoh-san (Kaitoh Naitoh-san)", are well-
known for us who usually attend their gigs. All of them sound very vivid and speedy as well,
and we cannot avoid feeling their strong intention as professional musicians. They would
have shouted on stage "We play and you listen, enjoy!". That's it. Oh don't forget about the
fourth (newer) track titled "Phantom Thief Naitoh-san" ... this song is played as the title track
of a midnight TV theatre "not on the air yet (lol)" about a phantom thief only midnight (and a
taxi driver in the daytime). Kaleidoscopic developments in this song proclaim his activity as
a hermit obscurity. The audience would get immersed in such a colourful theatrical draw.
In conclusion, we should go to a venue and listen to their gig directly if we can. But this live
album should be one of strategies for some fans who cannot join the gig. Without any
suspicion we can consider it's a fantastic album, recommended.
Hey Masaharu, do hope you will distribute worldwide, not only in live venues.
[Live Album · 2014]
1. Pierrot's Foot Goes Into Convulsions (7:28)
2. Dictator (5:38)
3. Neo Skin (6:00)
4. Phantom Thief Naitoh-san (8:31)
5. Kamihitoe (6:50)
6. Komurakaeri (6:26)
Total Time 40:53