Talk about a very modern band with a timeless sound, Murky Red are just that and much more. Murky Red are a band that takes the listener back to a time when rock have very little restrictions, radio DJ’s actually had a choice of what they wanted to air which allowed for some bands to make it on pure talent. Murky Red take you back to a time when music was not as fractured into a entire forest of sug genres and take the listener back to a time when rock was not only fun for the recording band or artist but fun for their audience as well.
Murky Red’s sound really stems out of the late 1960’s into the middle to latter part of the 1970’s. Some bands Murky Red have been compared to according to their sound are Pink Floyd, Black Sabbath, Led Zeppelin, Deep Purple, The Doors, Steppenwolf, Bad Company, Fleetwood Mac, Rival Sons, Gary Moore, Mark Knopfler, Snowy White, Nazareth, etc … They accomplish such a vintage sound while including some modern day elements such as progressive rock, stoner rock, light doom metal and psychedelic rock. Murky Red also are a band that has much more appeal to adults as many of their songs are more adult oriented in their lyrical subject matter. This is totally and completely evident with their very first release in 2012 Murky Red Time Doesn’t Matter from Melodic Revolution Records.
When Melodic Revolution Records CEO Nick Katona introduced me to Murky Red, I honestly did not know what to expect. Once I began to listen to it, I was instantly transported back to my earlier years of life mentally, spiritually and culturally. It was like I went back and started to raid my Baby Boomer parents’ vinyl collection and creep them off to my bedroom to my turntable. Murky Red’s sound truly embodies those earlier Led Zeppelin, The Who or even Deep Purple and Black Sabbath records I remember cutting my melodic teeth on as a child.
Before we take a more in depth look into Murky Red’s Time Doesn’t Matter I will say that this is the first of my Murky Red double presentation. Look forward to seeing a review also from their most recent 2015 release Murky Red No Pocus Without Hocus that will have a link to it at the end of this article. To some of you this review will be a revisit of Murky Red’s Time Doesn’t Matter, to others this will be a first time introduction. Now let’s enter the tranquility of fuzzy distorted guitars and bass, old school vintage Hammond organs and take a step back when rock was allowed to breathe within various styles without much discrimination.A look into music with a real sense of humour about it. Let’s look at some highlights from Murky Red’s Time Doesn’t Matter.
I Came A Long Way takes off in a unconventional up tempo rhythm and stringed passage. It still maintains the classic fuzzy distortion elements with many many progressions in step with the bass drum. The vocal is unusually alternative in nature almost in the vein of Steve Kilbey from The Churchof the 1980’s meets Paul Rogers of Bad Company. Lyrically the song can be taken as ones infatuation with a love interest. About the 3:11 mark the track goes into a heavy psychedelic passage with the Hammond organ styled keyboards. The guitar solo is brilliantly fuzzy yet ethereal.
On New Year’s Day begins with some wonderful synth atmospheres that are accented by semi electric atmospheric passages. The guitar comes in with a more crunchy distortion that is accompanied by a very tuned down rhythm section. The harmony between the instrumental and vocals is setup to not overwhelm the listener but to allow for the listener to be drawn into the band’s main focus and objective. The guitars and rhythm sections apply layers of atmospheres. Galadriel begins with a very dingy tuned down guitar that is almost a two fold passage of both rhythm and lead guitar. On a lyrical front the band display’s such a sense of humor in their message. This is more of a track in the vein of a stoner vibe. The female backing vocal adds a very unique and wonderful feminine quality to the song. The subtle drums within the solo is a very under rated progression on the track as well.
Cold Outside starts out in a more bluesy rhythmic chord progression. It even is so bluesy it almost has a Zydeco sound you would hear from New Orleans. The raunchy chord progressions remind me of a lot of earlier Stevie Ray Vaughn. This maintains all the atmospheric staples within the composition. The vocal is partially a melodic vocal and a semi spoken word vocal as if it is telling a story to the listener. There is also some very thought provoking subject matter lyrically. It also has a heavily psychedelic influence passage for the outro.
I Give You My Soul starts off with a very upbeat Neal Young vibe. The female vocal really takes a more progressive direction much like a Renata Knaupf of Amon Dull ii or even Annie Halsam from Renaissance with a little Joni Mitchell. Even in its modern form the track pays wonderful homage to vintage singer songwriting from the latter 1960’s . Saturn starts out with a very lush piano guitar stringed passage. This track demonstrates the band’s wide diverse talent to play a little of everything. The vocals are really soulful. The rhythm sections really take you are a true adventure within the confines of 5:20. The guitar solos layer many atmospheres to establish a well talented progression.
Last Chance Hotel has almost a Johnny Cash storytelling vibe about it. Instrumentally it is a cross between Cream and Grand Funk Railroad with a twist of Chickenshack in it. The track is very heavy on the psychedelic and blues side while keeping a uptempo rhythm section to it.
Willow Tree is a very beautiful lush ballad on the album. The female vocal adds such a perfect feminine quality to it. This track has a very strong mass appeal that a little bit of every audio pallet is able to digest. The layers of atmospheres make this a very easy to follow track as well. Boots For Hire continues with the lush atmospheres. This starts out with subtle drum beats with a beautiful synth right in step with it. The lead guitar opens up with a solo right at the top along with the subtle start. The guitar soon takes a very Sabbath doom laden progression. Lyrically this is a song about military service in war. The rhythm sections are as if a march is going on. There are some nice breaks and interchanges featuring brief moments of every instrument isolated. Soon the track takes off like a steam train and soon kicks the listeners ass with blistering passages. It soon takes a drop and the instrumental becomes more subtle as the vocal continues the story. Heal My Bleeding Heart takes a very psychedelic direction with the opening passage. This reminds me a lot of Led Zeppelin meets Jefferson Airplane. It is a rocker, a bluesy track with the solo’s with the psychedelic atmospheres laced throughout the passages. Once again this one is heavy on solo’s that allow the listener a very relaxed listen. There is also some very subtle yet fine percussion work that lays back creating a soothing rhythmic passage.
Black Beast Rising starts out with some really heavy Floydian psychedelic influence with the guitar solos and vocal chants used more as instruments than actual vocals.The lead vocal finally comes into play as well as a very smooth rhythm progression. The guitar really takes on both a lead and rhythm based psychedelic vibe. This track is one of the more atmospheric and cleaner tracks that has of the lesser distorted fuzzy sections as the previous track.
As I was really allowing this to sink in, I felt transported back to rock’s past while still listening to a band and album that was just as modern and relevant as anything within the progressive, stoner and psychedelic rock communities. Murky Red may draw most inspiration from the past with their sound but make no mistake they absolutely do not sound dated. I appreciate and enjoy their modern approach. I also like the sense of humor they articulate lyrically within their music. I am giving Murky Red’s Time Doesn’t Matter a 4.5/5 .
For Part 2 Click Melodic Revolution Records Series 3.2 No Pocus Without Hocus
In the last installment of the Melodic Revolution Records series I covered Murky Red’s debut album Time Doesn’t Matter. This is part 2 of 2 of my Murky Red’s sophomoric offering No Pocus Without Hocus2015. Since we last left off the band has gone through some major industry growing pains and even some personnel changes. However still at the core of the band are Stefan and Yolanda Flaming and Marie Vancamp. This one is also mixed and mastered by Colin Tench (Corvus Stone, Karibow and Colin Tench Project). Joining the band this time around are Rene Martraeux – Drums,Patrick Dujardin – Guitars and Luke Lantin – Bass.
Murky Red’s No Pocus Without Hocus continues the progressive, psychedelic, stoner sounds of the latter part of the 1960’s to the middle 1970’s. Keep in mind although the band is heavily influenced from that time period they manage to present the music and compositions with a modern sound and flavour. The music is never dated whatsoever. Much like their debut Time Doesn’t Matter, No Pocus Without Hocus maintains a level of sense of humour with its lyrical content. The band present the music seriously without taking themselves serious at the same time. Considering what the band has had to go through and endure between albums I would say the sense of humour in the music was probably therapy for them in the writing, recording and production process. No Pocus Without Hocus is a much more melodic album. While many of the same fuzzy distorted elements have remained the melodies and vocal harmonies have both increased and matured since Time Doesn’t Matter. The guitar solos have a much cleaner sound to them but it still does not take away from the band’s unique signature sound. This album also has 11 tracks on it much like Time Doesn’t Matter did. Now a few highlights from each track on what is No Pocus Without Hocus.
Pixelated Friends begins with a thunderous almost brooding drum beat before the signature fuzzy distortion of stoner rock kicks in. This song is very tuned down and very methodical in its nature. It is as if it is stalking the senses of the listener. Lyrically it is about the contemporary subject of our lives online particularly in the area of social media. The guitars interchange between rhythmic to lead chord progression. The Hammond Organ gives this a very eerie and haunting quality to the music. The Hammond is very Jon Lord style in nature.
Stoned & Horny is a tale about being out late at the party all night and being both blasted and having to have another desire met. The band perform this is a very comical and funny way to remove any serious stigmata from the title subject matter. The keyboards are more like Ray Manzerek from The Doors with songs like Love Her Madly and When The Music Over. The guitar solo is very bluesy in its nature. This song is a very laid back composition to allow the listener to breathe and come into the atmosphere created instead of being overwhelmed by it. The rhythm section really serves as the spine of the track.
Sweet Dark Hypnosis is the typical stoner rock song with heavy distorted fuzzy rhythm guitars and a very laid back atmosphere in the drum/bass rhythm section. The Hammond style keyboard keep this in a vintage passage. This track is a lighter side of Black Sabbath’s Sweetleaf meets Deep Purple’s Child In Time. The drum almost has a double blast beat appeal towards the end. She’s Crying Diamonds is a subtle track that opens with a very low mellow chord progression of bass drum and snare along with a subtle piano atmosphere carrying the instrumental while the vocal is very clearly telling a story. This track does not have any typical 4/4 going on. There are various time signatures that make up this composition that really qualify it as a progressive track. Almost elements of Camel.
Nothing Can Go Wrong starts out with a very heavy doom rock vibe with a brooding yet deliberate bass/rhythm section. The rhythm section has jazz elements present through the filter of a doom style of metal like Trouble and Black Sabbath. The lead guitar even ventures into a slightly sleaze area much in the vein of Jimmy Paigeof Led Zeppelin. The psychedelic chord progressions remind me a lot of what Paul Kantnerwould write and orchestrate within Jefferson Airplanecompositions.
A Wooden Grove reminds me a lot of Black Sabbath with tracks like Black Sabbath and Iron Man yet with slight jazz and psychedelic elements. The bass has some slight elements of what Jaco Pastorios would do solo and with Weather Report. Towards the middle to the end it takes a very uncanny NWOBHM galloping style towards the outro.
Collateral Damage (ft. Colin Tench) is a very bluesy oriented track. Colin Tench adds his own unique flavour to the piece without taking away from Murky Red’s own individual unique and distinctive sound. The fuzzy distorted rhythm based guitar and drum/bass sections are all still in place but with a more straight away classic rock progression.
Bad Wolf Of The Pack begins with a lush heavy psychedelic atmosphere created by the a combination of drums, bass, guitar and keyboards. This starts out very much like a Bad Company or Free track with slight jazz melodic elements. The unsung hero in this track is the underlying percussion section done so well by Marie Vancamp. The percussion almost has a island flavour to it and even a slight reggae element to it.
Wildflower starts off with a very haunting piano passage that give the listener the illusion that the piano is being played in a very open warehouse space. It is very subtle and allows for the listener space to breathe in its presentation. It has a very heavy psychedelic element attached to it. The vocals are warm much like a ballad. This is a love story of sadness yet comforting due to the clean atmospheres and cleaner guitar melodies. This is a potential gateway track that can easily be a single if released as one. The drums also in a strange way add to the warmth of the composition as well. Even the lead guitar solos have such a depth of warmth to them.
Mermaids starts with some serious psychedelic elements both instrumentally and lyrically. The drum/bass rhythm section deeply anchors this track while the warm vocals and guitars add beautiful layers to the song. Depending on how the listener interprets the lyrical content it can be seen as a song of escape or a hallucination
Elena starts out as a church style pipe organ for the intro and remains as one of the anchoring instruments throughout the song. This track has a very heavy Sgt Pepper vibe about it from the start. From their the subtle atmospheres and relaxed piano and acoustics provide for a perfect cool down for the listener to digest the album they just listened to. This track has some heavy classical elements perfect for the acoustics of a intimate setting such as a theater. The drums and percussion serve much like they would as part of a symphony orchestra. The track does pick up quite a bit into a more straight away rock track however with heavy psychedelic and progressive elements lying on top of it.
No Pocus Without Hocus is a much more melodic and orchestral album by nature. It really displays the band’s willingness to venture into more melodic and harmonious territory. It also shows the huge step of maturity towards the writing process. This album has a sense of humour while telling 11 very different stories. Murky Red are certain to find an audience of people who appreciate older more traditional psychedelic, progressive stoner style rock meanwhile attracting a much younger audience with all the modern elements they incorporate into their music. I give Murky Red’s No Pocus Without Hocus a 4.5/5.
Since 2003 Theocracy have worked to establish themselves as one of the premiere prog/power metal bands in the world. Started as a one man project by Matt Smith – Vocals, Theocracy began to gain both critical acclaim and started to grow its audience. As a result the band also grew to include Val Allen Wood – Lead Guitar, Jonathan Hinds – Guitar, Jared Oldham – Bass, Shawn Benson – Drums. Starting off with their first self titled release Theocracy in 2003 the band would gain such praise with its power progressive metal and positive lyrical message that it would even result in a performance at Prog/Power Festival USA in their own backyard in Atlanta, Georgia.
Throughout the years since they have released a powerful body of work to include 2011: As the World Bleeds – Ulterium Records 2008: Mirror of Souls – Ulterium Records , 2003: Theocracy -Metal Ages. Their success would even place a high demand on a reissue of their self titled 2003 release Theocracy which was reissued by Ulterium Records in 2013. On the heels of their last release in 2011 As The World Bleeds, Theocracy make a long awaited and anticipated return to the global prog/power metal stage with the soon to be released Ghostship in 2016.
With Ghostship the band has shortened things a bit in the length of their songs while maintaining the integrity and focus of the band’s signature sound. The compositions stand alone yet never lose the main objective nor focus the band has always aimed for with their fans. It is with the shorter more gritty and heavier compositions that will also have appeal to a listener that is a newcomer to the work and sound of Theocracy. With that all said let’s take a look at some highlights from Theocracy’s Ghostship.
Paper Tiger opens up with thunderous rhythm section that blisters the ears wonderfully. Soon Matt Smith comes in with a powerful vocal presence. This is full of rhythm based hooks and melodies that are matched perfectly with well timed vocal harmonies. This track is a very power metal based track much in the vein of a Blind Guardian or Gamma Ray. The guitar solos are a total shred fest and will appeal to those fans of virtuoso style playing. The guitar solo’s have some various different time signatures.
Ghostship the title track of the album once again continues the bands streamlined objective with thunderous rhythm riffs and sections. The vocals really maintain with the same intensity and muscle ans the instrumental melodies. The vocals also really maintain wonderful lead and backing harmonies that exchange in and out of one another. The double blast beats also reinforce the muscular melodies. The guitar solo’s also have the hallmarks of prog/power metals past and remind me much of Crimson Glory’s work.
The Wonder Of It All totally blisters into a monster rhythm section of big double drum blast beats matched by a thunderous bass that is utilized both as a melodic instrument and a percussive instrument. This track has some serious Iron Maiden style with the galloping rhythm based progressions. In the midst of the thunderous rhythm section there are some very beautiful vocal harmonies that accent this track. The band establishes more of a European sound than that of a American sound on this track.
Wishing Well begins with a nice keyboard passage that is soon met by a more traditional progressive metal rhythm passage. This track slows things down a bit and stays more progressively based with more time signatures and changes instrumentally. It is met perfectly by traditional progressive metal vocal harmonies. The vocals set wonderfully in sync with the double blast beats with the drums. The guitar solo’s go in and out from crunchy muscular rhythm based to atmospheric chord progressions.
Around The World And Back starts out with a music box effect. The clear vocal soon comes in with a warmth soulful presence. The vocal harmonies anchor this one to a more streamline somewhat commercial sound. This track is very appealing to most progressive/power metal audio pallets. It also reminds me a radio friendly track much like Dream Theaters Another Day from Images and Words. This track has potential to be a live set staple for the band going forward.
Stir The Embers returns to the bands main streamline focus on Ghostship with gritty strong muscular rhythm based sections. The guitars really add to the muscle of this track and stay in a more rhythmic fashion. The vocals stay in step with the rhythmic backbone to the album. The solo’s also continue to shred as well. at the 3:10 mark there is a nice break with isolated drum passage in harmony with the lead vocal.
Call To Arms starts out almost in a old school heavy metal fashion with just a isolated guitar met by a very intricate rhythm based time signature. There is some interchange in the entire rhythm section. The vocals are almost a anthem and call to arms. This has such vocal harmonies that it has potential to be sung by audiences in the band’s live sets. It is also confirmed by the lyrical content.
Currency In A Bankrupt World takes off with a very easy to follow passage of instrumental and vocal harmony balancing one another. The band has really established the interchange between the instrumental and vocal in harmony by this point. It has some nice breaks instrumentally to allow room for the lead vocal to have room to breathe so the listener can follow the lyrical message as well.
Castaway starts out extremely blistering and is almost a power thrash metal intro. It is much in the vein of a Iced Earth rhythm section. This track is a straight away deliberate heavy track. The vocals even have more bite on them in both the lead and backing vocal. The band is able to accomplish this while staying on track with their main objective and focus. The guitar solo’s are totally insanely furious as well.
Easter sees the band somewhat return to the longer epic with its 10+ minute length. This starts out with a beautiful acoustic guitar that is subtly met with a electric guitar. Meanwhile in the midst of that passage the lead vocal takes a brief isolation before all instruments fire up on all cylinders. The track goes in and out of heavy power chord progressions with more slower balanced progressive passages. The vocals harmonies are absolutely stunning and really carry this track to the soul of the objective listener. The stringed section solo’s are obviously a little longer making the track a true journey to the inner audio portions on the listeners mind.
I believe Theocracy have certainly returned with a very powerful statement with Ghostship. This album will open more doors for the band to attract newer listeners and fans and reinforcing the fan base already in place. Although Ghostshipis their forth offering it will bring newer people to the fan base where they will go back and start to discover their previous albums. This album is also a testament that the band can make something different that will be more appealing on a bigger scale. I give Theocracy’s Ghostship a 4.5/5 .
If it can be written, or thought, it can be filmed – Stanley Kubrick
There is a lot of truth to that quote by the late great filmmaker Stanley Kubrick. This especially holds true with certain progressive rock conceptual albums as well. Marco Ragni’s Land Of Blue Echoes seems to paint a contemporary science fiction film in the theater and arena of the mind of the listener. Much like Mother From The Sun which we examined in the first installment of this Melodic Revolution Records series, Land Of Blue Echoes also is a very well written and well crafted conceptual album containing elements of traditional progressive rock, psychedelic rock, hard rock and classic rock.
Marco always seems to mix all the elements mentioned into his own distinct Italian flavor of progressive rock. Marco Ragni also seems to continue the rich Italian progressive rock that seems to not get enough credit ahead of its Prog Rock Britannia or German ‘Krautrock’ contemporaries. The major difference from Mother From The Sun and Land Of Blue Echoes is that Mother From The Sun was a more autobiographical concept album as compared to the lighter science fiction subject matter on Land Of Blue Echoes.
Land Of Blue Echoes is both a visual and audio delight that touches all the senses. It has more of a film score approach and display’s Marco’s ability to enter into the world of soundtracks. Marco manages to do all this with a unique perspective where it does not ever sound like what every other artist or band is doing. Marco’s style is totally distinct and you know it is him when you hear him. Now a little look at the Earth with its relationship to space in Land Of Blue Echoes. Between The Moon And Earth starts out this epic voyage into space with a spoken word effect as if it were right out of a science documentary. Soon a blend of psychedelic and progressive rock takes the track into more of a instrumental simulating a true voyage through space.
Horizons continues as an instrumental into interstellar space with wonderful fluid bass/drum rhythmic sections and neo progressive keyboards. Around the 2:30 mark the track takes a spoken word section that makes for what life is perceived as on earth. The beautiful lush isolated piano and fuzzy distortion on the guitar provide for a melodic sense of a desolate land around the subject. About the 8:00 mark the percussion adds for an additional effect that continues with the well executed layers Marco is known for. From there the track takes the listener on a melodic roller coaster of various time signature chord progressions in and out. The unpredictable twists and turns make for a highly interesting listen. The guitar solo around the 11:11 mark is one of remarkable psychedelia progression.
Land Of Blue Echoes the title track to the album instrumentally explores a more old school fuzzy distortion within the stringed section with the guitar. Lyrically it is a testament to just how well researched Marco Ragni is in the subject of astrophysics and science fiction. In the arrangement of the album it is a little epic within the album.
Money Doesn’t Think starts off in a funk style groove almost in the vein of a progressive Parliament Funkadelic and George Clinton of the latter 1970’s. It soon kicks in much like the era of Syd and psychedelic Floyd ala Meddle and Atom Heart Mother era. It soon takes on the predominant funk and groove laden fusion progression and passages. This is really a fun listen and could possibly be a gateway track for newer listeners discovering Marco Ragni for the first time.
Canto D’ Amore . starts out almost in the vein of a Dead Can Dance old world medieval 16th century renaissance with a modern psychedelic twist. It is very folk based in the stringed section. The track also takes a slight yet subtle romantic nuance about it with the emotional vocals of Marco himself.
Deep Night takes on a really strong and heavy ambient passage from the get go. This track also features the legendary Durga McBroom from legendary Pink Floyd albums as Darkside of The Moon. Her voice lends such beautiful soulful layers. It is a moving piece and one that will certainly have appeal with older progressive rock audiences. Lyrically it pulls on the heartstrings.
Beltane is really heavily folky sounding with a almost Celtic style of the Greek Bouzouki. Marcos voice conveys spot on emotion in harmony with the lush acoustical and semi electric guitar layers in the stringed section. Marco’s vocals are also executed with such conviction you are drawn in subtly into a melodic paradise of modern progressive bliss. The guitar solos are some of the best in all of prog today. They are very atmospheric and allow the listener to get accustomed to the layers.
Nucleus Parts 1-8 starts out with a heavy space rock vibe before the crunchy distortion of the guitar comes in and takes it to a straight away progressive hard rock area. Once again Durga McBroom adds a feminine yet soulful presence in the vocals with chants. Durga has a very uncanny ability to convey such deep emotional conviction within her voice. Marco comes in with just as equal emotion in his vocals. Between the fine instrumental musicianship in harmony with the soulful vocals, this track takes on a mini album/ep within a album. The fact that it is a 22:46 track gives the listener and even newcomer to Marco’s music a little example of a lot of his world class songwriting and musicianship. It is a intelligent expression of art through the filter of music. The vocals harmonies could even move the so called non traditional progressive listener with just their classic rock quality added to them. Nucleus parts 1-8 is also like a mini melodic novel lyrically. Peter Matuchiniak really adds a exclamation point on the lead guitar with layers and atmospheres appealing to the classic and progressive purists. This track really has a little bit for everyone with its journey.
Queen Of Blue Fires is a track based around introspection and one who is isolated. The character in it seems content with his or her view from where he or she is. In its isolated lyrically content it is perfectly complemented and offset with a very upbeat and uptempo instrumental portion that is beautifully accented with a nice vintage Hammond organ style anchoring it. It certainly seems that Marco Ragni always changes gears and is able to provide a different album yet under his own distinctive sound with every release. He continues a rich yet highly underrated Italian progressive lineage that rivals anything coming out of the United Kingdom with Prog Rock Britanniaor Germany with Krautrock. His ability to attract other world class guest musicians also serves as a testament to his great talent. Much like with Mother From The Sun, Land Of Blue Echoes has once again impressed. I give this a 5/5 for sheer originality and careful attention to melody and harmony.
Label : Inner Wound Records Release Year : 2016 Country: International Genre: Progressive/Power Metal
Band Members
Elina Laivera – Vocals Henrik Bath – [Darkwater] – Vocals Michael Alexander – Guitars/Growls Alex Landenburg – [Luca Turilli’s Rhapsody, Octane 21] – Drums
Guest Musicians
Nils K Rue [Pagan’s Mind] – Vocals on “Bargain of Lost Souls” Mark Jansen [Epica, Mayan] – Growls on “Anthem For Freedom”, “Truth” and “Dreamstate” Charlie Dominici [ex. Dream Theater] – Vocals on “The Jaguar Priest” Diego Valdez [Helker] – Vocals on “Awakened By The Light” and “Seven” Alessandro Bissa [Vision Divine] – Drums on “Dreamstate”, “Anthem For Freedom”, “Awakened By The Light”, “Bargain Of Lost Souls” and “Truth” Mike LePond [Symphony X] – Bass on “Truth” and “The Force Of Our Creation” Emanuele Casali [DGM] – Keyboards on all tracks Johan Reinholz [Andromeda]- Guitar solo on “The Force Of Our Creation” 07:08-07:30
Track listing:
01. Anthem For Freedom 02. Truth 03. The Bargain Of Lost Souls 04. Dreamstate 05. Awakened By The Light (Universal Mind) 06. A World That Burns 07. Seven 08. The Jaguar Priest 09. The Force Of Our Creation 10. Xibalba
Ever since I heard about the Universal Mind Project back in 2013 my anticipation has been nothing short than exciting. The anticipation and wait were well worth it. The Universal Mind Project is very well appropriately named. The core of Elina Laivera , Michael Alexander , Henrik Bath and Alex Landberg carefully selected the right talent as guest musicians on Universal Mind Project The Jaguar Priest. Considering the line up of vocalists as Nils K Rue [Pagan’s Mind] – Vocals on “Bargain of Lost Souls” , Mark Jansen [Epica, Mayan] – Growls on “Anthem For Freedom”, “Truth” and “Dreamstate” , Charlie Dominici [ex. Dream Theater] – Vocals on “The Jaguar Priest” , Diego Valdez [Helker] – Vocals on “Awakened By The Light” and “Seven” and on the instrumentalists side, Alessandro Bissa [Vision Divine] – Drums on “Dreamstate”, “Anthem For Freedom”, “Awakened By The Light”, “Bargain Of Lost Souls” and “Truth” , Mike LePond [Symphony X] – Bass on “Truth” and “The Force Of Our Creation” , Emanuele Casali [DGM] – Keyboards on all tracks , Johan Reinholz [Andromeda]- Guitar solo on “The Force Of Our Creation” 07:08-07:30. It makes for the perfect tools for the canvas of such masterpiece.
On Universal Mind Project The Jaguar Priest,Elina Laivera has clearly established herself as a force to be reckoned with as a vocalist, songwriter and lyricist. It is also good to see Elina Laivera find a home and outlet for her genius and talent. Her partner in crime in the songwriting department Michael Alexander has definitely set himself up as well to be a force in progressive metal or metal music in general. What I appreciate the most about the writing team of Laivera/Alexander is their uncanny genius and ability to write towards the strengths of their guest vocalists.
They write towards the strengths of the guest musicians so much that it is as if the guest vocalists and instrumentalists are playing totally on point in their own element as if they are performing with their primary bands or outfits. That was something that really impressed me as I was listening to this. Elina Laivera and Michael Alexander tailored every passage and progression where the guests players could be distinguished. They appear to have a intricate knowledge of talent and just how to display it perfectly on the canvas that is The Jaguar Priest.
In the tracks Anthem For Freedom, Truth and Dreamstate the listener can clearly distinguish Mark Jansen’s legendary growls that he has used in After Forever, Epica and Maya. Even throughout Anthem For Freedom and the rest of the album Emanuele Casali [DGM] – Keyboards’ . The instrumental portion is stellar and matches the talent perfectly. On Bargain Of Lost Souls, Nils. K Rue really turns it loose. I almost feel for a brief second I am listening to Pagans Mind however I am not. That is another testament of the great songwriting that carefully went into consideration on this album.
On the title track The Jaguar Priest I have a appreciation of the writing democracy they band had allowing Charlie Dominci to write the lyrics . Without giving too much away Universal Mind Project The Jaguar Priest is thematic concept. Every song represents a story that all 10 tracks tie into a common story. Universal Mind Project The Jaguar Priest is one of the finest and well written albums of artistic expression since I first heard Ayreon’s Into The Electric Castle in 1998. It has the appeal of a rock/metal opera yet with so much more conviction. This album will be a album talked about for many decades to come. I declined to do a track by track analysis on his album because it needs to have the listener’s entire attention without preconceived scrutiny.
The hooks and melodies and harmonies are world class and some of the very best in the world. I hope they consider a follow up to The Jaguar Priest. I also believe The Jaguar Priest is part of the further posterity and life of progressive metal and metal in general.In a year where we have lost so many Icons of rock already, I believe Universal Mind Project’s The Jaguar Priest and all its participants are poised to carry the torches left by those Icons. This album gets a 5/5 and is potential Album Of The Year 2016material.
The Mute Gods | Do Nothing Till You Hear From Me 2016
Label : InsideOut Music Release Year : 2016 Country : International Genre : Progressive Alternative Rock
Band Members
Nick Beggs – Bass/Chapman Stick/Guitars/Keyboards/Vocals/Programming Roger King – Keyboards, Guitars/Backing Vocals/Programming/Production Marco Minnemann – Drums/Percussion/Guitars/Sound Design
Nick Beggs has been a true tour de force in music for the better part of 35 to 40 years now. In recent years he has shed his pop rock wings in the 1980’s for a more progressive flight in his musical and creative journey into the 21st century. He has had a dream resume playing with the likes of IONA, Steven Wilson and Steve Hackett to name a few. However up to this point he had never done anything of his own accord. Finally Tomas Waber at Inside Out Records brought the idea to Nick Beggs himself. A period of thought and consideration finally resulted in the name The Mute Gods.
After settling on The Mute Gods for a name, Nick Beggs would proceed to to hunt band members to share his musical and creative vision. On drums he did not have to search too long. He would enlist his Steven Wilson bandmate Marco Minnemann. To round out the band he would enlist the services of world renowned musician known for his work with Steve Hackett, Roger King – Keyboards, Guitars/Backing Vocals/Programming/Production . The Mute Gods were set.
In 2015 and throughout portions of touring with both Steven Wilson and Steven Hackett the respective members would come up with the debut album The Mute Gods Do Nothing Till You Hear From Me. The thematic concept of the album is basically the world view of Nick Beggs. While some listeners may come to the conclusion that the project is a list of conspiracy theories out of the strange, I see it as the creativity of a true modern musical genius with a lot to say. Another thing I appreciate and respect with this album is Nick Beggs refuses to be pigeonholed in to genre stereotyping. For the true progressive fan or fan of great music in general, there is a lot going on through the duration of Do Nothing Till You Hear From Me. Lets look a little at The Mute Gods Do Nothing Till You Hear From Me.
Do Nothing Till You Hear From Me opens with a special effects passage that mirrors and appears as someone is tuning in a radio or television set. It contains a great fluid rhythm section that is in a very heavy post progressive rock element. For a band whose members are more accepted for their instrumental prowess, their is some really tight harmony happening within the vocal structure and the relationship of the vocal and instrumental as well.
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Praying To A Mute God has a nice fluid rhythm opening section. The bottom rhythmic passage is very heavy. Not in metal heavy, but in heavy prog. The chorus and verses have a very clean pop sensibility without losing any purpose to those listening for progressive rock reasons. Roger King’s Hammond organ reinforces the heavy rhythmic passages and elements. The track takes a wicked off time signature solo about the 3:38 mark. The rest of it is a straight away progressive rock track.
Nightschool For Idiots is one of those tracks that is melancholic instrumentally but full of life lyrically. On many levels both as a musician and just a individual the listener can identify with the track. Lush keyboard atmospheres meet with heavy rhythm elements throughout the duration of the song. The vocals may be soft however serve the greater purpose of the story being told.
Feed The Troll begins as something out of science fiction with certain keyboard generated effects before exploding with the main backbone passage. That main backbone passage is one of a thunderous bass/stick oriented rock met with more synth atmospheres. Science fiction effects and elements move in and out with grace throughout the track and arrangement. About the 2:25 mark the track presents some wicked effects as one breathing through the vacum in interstellar cyber space. The story is very much of that of cyber stalking on all levels.
Your Dark Ideals starts in a heavy prog rhythmic sensibility. It relies more on the verse /chorus /verse in a straight up progressive rock track. There is some great harmony and melodies happening all through the track. There are some perfect back harmonies playing off the main harmony vocally.
Last Man on Earth opens as a ballad. It has a basic song structure of opening verse to bridge that builds towards the chorus. The story can be construed in a few ways. The track is very easy to listen to , even to those unfamiliar with progressive rock or the bands members and their work. Last Man On Earth serves as a great gateway track.
In The Crosshairs is a really heavy prog laden track. This opens with a towering thunderous rhythm section with a sleek keyboard running side by side in harmony with the main rhythm section. It is the only instrumental on the album. It is very well crafted.
Strange Relationship starts out with a almost jazz drum passage before the bass , keyboards and vocals come in. It is also a bit of classical fusion blended smoothly with the jazz drumming of Marco Minnemann. If you listening closely it is almost two songs going on at once, however not loosing the attention of the listener. At about the 3:30 mark the keyboard gives it a great fusion style atmosphere.
Swimming Horses starts with a almost space rock vibe on the keyboards. It soon picks up with a more eclectic passage of stick pumped through a bass processor. About the 1:50 mark the vocals take on a chant before the chorus kicks in. This is a track that builds upon every passage. The vocal harmonies are lush and beautiful. The echoes compliment the main vocals perfectly. The solo in this takes a very late 1960′ to early 1970’s appeal.
Marvo Capelo starts out with a simple semi acoustic guitar and vocal harmony. Then it totally explodes with rhythmic atmospheres and and keyboards that carry a vintage prog sound with a modern sensibility. There are several atmospheric passages and elements that all come together under a perfect melodic banner. This track even has small hints and elements of metal at certain points. The tracks’ towering rhythms really carry the track through.
Father Daughter is a tender song , almost ballad, about a father and daughter communicating through the melodic filter of song. It is a song about regret and reconciliation. To some listeners this could be a real tear jerker of a track. Lula Beggs , the daughter of Nick Beggs has a stellar performance on the Chapman stick and complimenting the male vocal done by her father.
What I liked about The Mute Gods Do Nothing Till You Hear From Me is that you can not compare the tracks or passages to anything out there. It is one of the most original albums to come down the pipeline over the last 30 years. The album is so well written and produced you can not even place the title of ‘Supergroup’ on the band as well. There are individual stories that really capture the vision Nick Beggs articulated on the album. I give this a 5/5 on the above mentioned alone.
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