Flor de Loto is happy to announce that, after much effort, their new album Eclipse is finished and is ready for pre-order. The album will be released in many formats including CD and digital (Vinyl is coming soon) through Melodic Revolution Records on November 16th, in a private concert with limited seats in the CAFAE auditorium in San Isidro, Lima. The band is very proud of the final result and they hope that everyone will enjoy the most important album they have released to date. During the pre-order, there will be a limited amount of autographed Eclipse CDs
Tracklist:
01. El Cóndor pasa/Locomotive
02. Tempestad
03. Animal
04. Eclipse
05. Esclavitud de tu ser
06. Támesis
07. Paraíso
08. Almas Perdidas
09. Eterna Proyección
10. Líneas de Nazca
11. Bonus track: El Cóndor pasa/Locomotive (Live at Rosfest 2018)
Additional Album Information
Produced and Mixed by Roy Z (Bruce Dickinson, Halford, Judas Priest, Driver, Sebastian Bach, Helloween, W.A.S.P, etc) at Mountain View Studios, Los Ángeles CA
Pre-production by Roy Z
Mastered by Maor Appelbaum
Recorded by Roy Z and Eddie Plegue at Dragón Verde Studios, Perú.
Digital Editing by Caverao
Additional Recording by Kenneth Quiroz at Lunch Box Studios, Perú.
Album Cover and Booklet Artwork by Estefania Fernandez “Fania”
Band Photo: Soledad Cisneros
Mastered by Maor Appelbaum at Maor Appelbaum Mastering – California – USA www.maorappelbaum.com
Flor de Loto is:
Alonso Herrera: Vocals and guitar
Alejandro Jarrin: Bass
Sergio Checho Cuadros: Quena
Gabriel Iwasaki: Keyboards
Alvaro Escobar: Drums
Time Horizon will be performing a free live show Saturday June 10th 2017 at the Cornerstone Community Church in Manteca, CA. The band plans on performing new and yet unreleased music as well as music from their latest release “Transitions” and music from the debut album “Living Water”
This is the first show since releasing the album “Transitions” in late 2015. “Transitions” also features some very special guest by members of Yes, Michael W. Smith, Glass Hammer and Proto-Kaw. Time Horizon plans on filming live footage from the concert for a future release in one format or another. This show is also a kickoff introducing fans the two new members.
Time Horizon 2017
New Comer – David Bradley Mau: Lead Vocals.
New Comer – Roy Faria: Support Guitar Handling Rhythm Electric & Acoustic Guitars.
Allen White: 5 String Electric Fretted and Fretless Bass also Electric Upright Bass.
Bruce Gaetke: Drums, Backing & Lead vocals.
Dave Miller: Lead Guitar.
Ralph Otteson: Keyboards & Vocals
Show Details
Date: Saturday June 10th 2017
Time: 6 PM – 9 PM PDT
Venue: Cornerstone Community Church
Location: 17900 Comconex Rd, Manteca, CA 95336-8102
Cost: FREE
All Ages Welcome
Celebrate the release of Land of the Blind: a new Half Past Four album!
Date: September 17th 2016
Where: Hard Luck Bar
Location: 772a Dundas St W. Toronto, ON M6J 1V1 Cover: $1008:30PM – Doors
09:00PM – Chromatica
10:15PM – Half Past Four Set 1
11:30PM – Half Past Four Set 2
Progressive Hard Rock band Chromatica will open the night at 9PM, followed by two 50-minute sets from Half Past Four! This is a rare occasion to see Half Past Four deliver almost two hours of energetic, fiery prog that would please even the most snobbish prog connoisseur in the city!Half Past Four is one of the best progressive rock bands to have emerged from Canada. Over nearly two decades, they have developed a unique sound, employing traditional prog-rock music laiden with folk, country, jazz, heavy metal and classical genres, among others.
Half Past Four has been compared to early-80s King Crimson. Yet any comparisons can only truly function on a per-track basis. While one piece might sound reminiscent of late-70s Yes, listeners might feel the influence of early Pink Floyd in the next piece, followed by a piece that harkens Primus in the 1990s. Or Kate Bush in the mid-80s. Like the best of progressive rock music, the listener cannot predict where the band will take them next.
It is this shifting flow of sound and feeling that distinguishes Half Past Four. They are an aural tapestry, weaving 50+ years of musical influences into mellifluous melodies and rhythmic resonances that take their listeners on a journey to states that are both fresh and familiar.
For the better part of 17 years now Hammers of Misfortune have been one of progressive metal’s best kept secrets. Always carrying critical acclaim, the band continue to carve there own unique path within the progressive metal and metal community in general. No matter what label they have been on or promotion they have had behind them, Hammers of Misfortune have certainly never compromised their musical philosophy.
Hammers of Misfortune have created a very vintage progressive sound with all the elements of late 1960’s to early 1970’s progressive and stoner elements. They have done this by adding very modern and relevant metal elements and passages instrumentally. Lyrically they have ventured into conceptual realms of politics, war and even fantasy. This remains the case with their newest 2016 offering off Metal Blade Records titles Dead Revolution.
Hammers Of Misfortune’s Dead Revolution carries a little piece of every album from their debut The Bastard until now. On Dead Revolution the band certainly gets to the point of their message both instrumentally and lyrically. Dead Revolution is just not well written it is well crafted paying attention to detail on melody and harmony, a signature that Hammers Of Misfortune have built a career out of. Now to some highlights from every track of Hammers of Misfortune’s Dead Revolution.
The Velvet Inquisition is the first track on the album. It starts as a straight away blistering prog metal delight in the galloping vein of early NWOBHM with progressive elements before settling into a more mellow progression on the opening verse. It opens with very warm harmonies that are soon joined with lush backing vocals. The solo’s and time signatures are wicked more in the vein of a bands like later Enslaved and Ulver. The band are real super tight on the rhythm section as if it comes second nature to them. The old school Hammond style synth is insanely tight with the rhythm section.
Dead Revolution the title namesake of the track stays right on course with the straight away tight rhythm section. It is another blistering track. This track is more on a progressive thrash level. The Hammond style synth takes it up to a whole other level with a very 1970’s style atmosphere with modern hooks and melodies. The harmonies are really smooth even to the most discriminating of audio pallets. The solo’s remind me a lot of early Iron Maiden meets Diamondhead with a twist of current Opeth, (post growls). There are some beautiful echo backing vocals as well as a perfect compliment to the main lead vocal.
Sea Of Heroes starts off with a really blistering rhythm guitar intro. This is followed by an thunderous bass/drum rhythmic section. This is a slower but far darker track on the album. The vocal harmonies are even presented in a more ghostly, yet haunting fashion. The band still remains on point with the main objective towards the vision for Dead Revolution. Towards the end the band employ almost a choral theme for the vocal harmony as if a mini choir is present in studio live while recording.
The Precipice ( Waiting For The Crash) opens up with a very thunderous drum solo that is quickly followed my the rhythms of bass and riffs of guitars with beautiful keyboard atmospheres to accent the intro. The track then takes a break and drop where a beautiful harmony of the lead vocal and keyboard set the table for the rest of the composition. The lead and backing vocals echoing in and out of one another keep the listener hooked and mesmerized at once. Their echoes beautifully exchange between one another. Instrumentally the time signatures are a perfect compliment with the complexity of the vocal structures. The guitar solo towards then end reminds me very much of the trade off between Dave Murray and Adrian Smith for Iron Maiden.
Here Comes The Sky begins with a subtle yet beautiful acoustic passage. The vocal harmonies sound more like a choir. This is one of the more symphonic and orchestral tracks off of Dead Revolution. The vocal harmonies play quite well to the drum section. The song takes a more progressive angle and continues to climb toward a climatic apex. The rhythm section of drums/bass and guitar are wicked and brooding. This contains a wonderful horned section towards the end on the outro.
Flying Alone rips into a progressive NWOBHM frenzy almost in the vein of Motorhead with a Rick Wakeman playing beautiful keyboard atmosphere. This track makes it quite clear that Hammers of Misfortune wanted to return with a straight up heavy progressive metal album after a 5 year absence since 2011’s 17th Street. The blistering assault continues on this one as well as the other tracks before it on Dead Revolution.
Days Of ‘ 49 ends Dead Revolution in a more stoner doom metal vibe. You can clearly hear bands like Trouble, Black Sabbath and Candlemass influence all over this track. The band still remains on its progressive metal mission however with a more tuned down melody instrumentally and lyrically. The keyboard turns towards a actual piano giving this track a even darker sound.
Hammers Of Misfortune have certainly returned with a total masterpiece. This is a band that has remained very criminally under rated their entire career. This is also a band that deserves European Summer Festival invitation and treatment and even acknowledgement for festivals such as Prog/Power USA and Prog/Power Europe and even Cruise To The Edge . They are one of the best progressive metal bands of the last 20 years and hopefully Dead Revolution will finally garner them the respect by both peers and industry promoters worldwide. I am giving Hammers Of Misfortune’s Dead Revolution a very solid 5/5. This is definitely in my top 10 if not top 5 for 2016 already.
Over the last 25 to 30 years Brazil has well established itself as a major hub for heavy metal, particularly power metal and progressive metal. To name a few progressive metal and/or power metal bands are Angra, Souslspell, Shadowside, Vandroya, and now Mr Ego. A month or so back I friend founder and bass player for Mr. Ego Paulo André . Paulo was generous enough to send me a physical and digital copy to Se7en, their latest most recent effort.
Mr. Ego’s sound is widely debated. Some called them Brazil’s Symphony X. I refuse to believe this and when you really listen to Se7en you begin to hear and see so much more. They are more Jorn Lande era Masterplan meets Allen/Lande with a twist of the Joe Lynn Turner fronted Sunstorm with light elements of early Dream Theater. On Se7en you get a little bit of all those bands I mentioned as a influence to Mr. Ego. You get the progressive heavy metal of Masterplan and Allen/Lande with the added spoken word element effects used by earlier Dream Theater. Se7en is one of those albums where people can relate a little bit with every track.
Opening Se7en is the beautifully used choir intro 16:2. It also has some background effects with children playing and helicopters a a buzzing before exploding into the next track Fall On Our Knees.
Fall On Our Knees begins with a blistering distorted rhythmic section with bass/drum and rhythm guitar with a clean keyboard. This track does not waste the listener’s time hooking them into Se7en. The vocals are a fine blend of Jorn Lande, Russel Allen and Joe Lynn Turner. It has a killer hook and melody in the solo. The keyboard converts to a hammond old style in the vein of Deep Purple on steroids. This track ends with a Dream Theater style spoken word excerpt edit from President Regan’s speech in front of the Berlin Wall where he says, “Mr Gorbachev tear down this wall.” Thus using it as a nice bridge segue to the next track Broken Walls.
Broken Walls explodes with some vicious rhythm progressions and time signatures that are not for the faint of heart. The hooks and melodies may sound like traditional heavy metal however far from it. There are still some serious time signatures and breaks especially in the stringed portion between guitar and keyboards. Iuri Nogueira – Guitar executes his playing so well and it is so well produced it gives the listener the appearance there are more than one guitar playing at a time.
1917 starts out with a proto thrash element in the way of Pantera yet with a cleaner more progressive sound. Some other elements that come to mind here are elements of progressive metal band Watchtower with the intricate time signatures going in and out. The vocals and backing vocals really balance well in harmony here and it seems the band is starting to to melt like a fine cohesive weld. The solo’s are thunderous as well as the double blast beats in the drums.
Deceived opens straight up with a blistering ear splitting rhythm guitar riff that commands the listeners attention. The first 1:00 or so is a all out sonic assault on the senses. This track also has a special guest feature. It is Symphony X’s Mike LePond. The guitar riffs have some very tasteful breaks allowing for the drum to be the backbone to this track. The vocals appear to feel more like Jorn Lande again yet on the Avantasia projects. The keyboards ride the razors edge between hammond and mellotron style instead of the typical cliche glossy keyboards. The keyboards also sound more like a additional guitar on the song.
For The Last Time is a very dark and brooding segue. The piano has a sound of dark chamber music. There in the background are some more spoken word effects as if a news cast is happening.
Injustice starts out with a heavy clean bottom rhythm section between the guitar and bass before the passage takes a serious bass affair with a nice isolated vocal leading it. This track displays the bands willingness to slow a track down and give something different to to the audience. It continues to get increasingly heavier in the riffs as the track progresses. Vocally this one is of the ‘most harmonic and melodic ‘ on the album.
Black Gold is another really blistering track both vocally and instrumentally. This track displays the higher end and range of André Ferrari Anheiser -Vocals. The rhythm riffs totally remind me of Iced Earth’s Days Of Purgatory meets Angra. This track is white hot from start to finish.
End Of Times opens up like early 1980’s Armored Saint in many ways yet with 21st century riffs of Dream Theater meets At Vance. The riffs are not a blistering power metal style. The hooks and melodies are more a progressive metal based. They have that time signature and rhythm change up. At the 3:00 mark appears another spoken word effect within the song as the vocal softens up with warmth before exploding into the guitar solo.
Tears Of An Angel is a ballad on Se7en. It is a more piano/keyboard and rum driven track. The guitar’s and bass are not on a shred fest here. The instrumental side of this is a very easy listen to every metal fan out there. Once again the spoken word effect appears to be a simulated news cast in the background.
Silence Of The Lambs Pt.1 Future Of Illusions opens up a 12 minute multi tracked epic. Part 1Future Of Illusions starts it off in a ballad style with just piano and vocals. The keyboards serve more like a orchestral instrument portraying a stringed section from a symphony much like a violin it drops before moving on to Silence Of The Lambs Pt.2 Chain Of Events.
Silence Of The Lambs Pt.2 Chain Of Events really explodes into a progressive and melodic metal frenzy. With steady riffs and steady progressions Silence Of The Lambs Pt.2 Chain Of Events takes you on a really journey with the riffs and vocal harmonies. It also makes Silence Of The Lambs into a mini epic especially when Pt. 3 7063 RM kicks in. Especially much in the vein of Dream Theater’s Learning To Live meets Symphony X’s Church and The Machine of Twilight of Olympus.
Silence Of The Lambs Pt.3 7063 RM closes out the trilogy and the album with with great melodic and harmony savvy progressions and passages.
After listening to this and digesting this as long as I did, I am confident when I say the Mr. Ego are NOT Brazilian Symphony X clones. When approached with a open mind and objective ear, Mr. Ego do have their very own sound. This band also solidifies Brazil as a major global hub for heavy progressive power metal. I give this a 4/5 for a well written and self produced effort.
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