California-based, Canadian multi-instrumentalist Lucas Lee releases a new record, featuring drumming icon Marco Minnemann (Joe Satriani, Steven Wilson, The Aristocrats, Mike Keneally). The 13-track instrumental rock fusion/ progressive rock full concept album is entitled, Acceptances of Gravitational Collapsing Manifestations.
After two previous records featuring virtuosic drumming by Pat Mastelotto and Tobias Ralph respectively, Lee’s new release continues that trend, this time, with Marco Minnemann behind the kit.
The story of the album is about a society where a powerful state’s appetite for power, along with the perpetual greed of mega-corporations, resulted in their continuous collaborations, forming multiple invasive rulings at the expense of citizens’ livelihoods. As unimaginable as some of the abusive trends were, most citizens lacked any willingness to resist, as they saw any action on their behalf involved changes in their addictive lifestyle behaviors. For the few that had the desire to act, they soon realized that there would be no escape.
Lucas: “I am most excited to be able to have Marco, who is widely seen by fans and peers as one of the most talented and creative drummers in the world, to take time out of his insanely busy schedule to play on my record. I think Marco’s signature energy and power really shine through in this one. As a concept album, there’s a definite flow and cohesion amongst the songs, but they were also written in a way to contain plenty of changes and areas for fun, angular grooves. I also wanted to explore areas of complex dense harmony, so there are elements on that front too. The overall process of putting this record together took plenty of time and effort personally, but the experience has been overwhelmingly positive. Hopefully, listeners will enjoy this record as much as the experience of putting it together!”
CD Track Listing
1. Intro: Dawn of the Black Sun
2. Prelude: The Oregon Trail Crow Invasion Incident 3. Two Eyes for an Eye: Dr. Kunto’s Demise
4. Zjeto’s Ascension
5. Millennial Awakening. Maybe.
6. Above the Law, Pt. 1
7. Preach to Deaf Ears, Pt. 1
8. Preach to Deaf Ears, Pt. 2 9. Gwydion’s Escape
10. 33 Thomas
11. Above the Law, Pt. 2
12. Coda: Kunto’s Qi
13. Outro: Sanctuary
Guitars, Bass, Keyboards/Piano, Violins: Lucas Lee
Drums: Marco Minnemann
CD Catalog: LLEEMQ-04
UPC: 845121016659
Street Date: November 8th, 2017
When Opeth returned in 2011 with the release of Heritage many believed that the death of true extreme progressive death metal had come to a end due to the lack of growls to balance out the cleaner vocals. Many people did not know where a suitable replacement or a new hero band would come from or if it was going to return at all. Little did people know that one of the answers to this very question would come from Opeths neighbouring country of Sweden, Finland. The band out of Finland would be Perihelion Ship.
Last year I discovered these guys and was totally mindblown by their strong independent debut titled A Rare Thunderstorm In Spring. With haunting Hammond Organ and Mellotron style keyboards over a traditional progressive death metal sound, Perihelion Ship would be one of those very bands that kept the progressive death metal sub genre alive and well. Not only are Perihelion Ship one of the answers to that void left by Opeth, they are very serious contenders to take the throne as the kings of that brand of progressive death metal which Opeth left vacant. This could not be more true with the bands second album and sophomoric effort To Paint A Bird Of Fire.
To Paint A Bird Of Fire sees Perihelion Ship mature quite quickly within under the year since they debuted with A Rare Thunderstorm In Spring. To Paint A Bird Of Fire builds upon the rock solid foundation laid with A Rare Thunderstorm In Spring. In some areas To Paint A Bird Of Fire is quite a bit more abrasive and aggressive than A Rare Thunderstorm In Spring, especially with the guttural growls. The growls are more a blackened death vocal this time around. This will be pointed out and highlighted as this review moves forward. To Paint A Bird Of Fire has 6 very unique tracks yet they all remain in a tightly and sometimes very unpredictable objective. It is book ended by New Sun and New Sun? leaving the listener either the illusion or appearance that this could be a two part epic broke up deliberately to conveying a unspoken point. Now a few highlights from the album with a track by track analysis.
New Sun starts out as a post modern extreme progressive doom style chord progression. This is met with haunting Hammond style organs creating a very dark atmosphere that allows the deep bass chord progression to explode. The song starts to assault the senses of the listener in a beautiful brutal passage. The band always has a very cunning ability to weave in 1970’s pure progressive concepts with the mellotron and Hammond styled organs with the various modern time signatures both in the rhythm section and the guitars. This song quickly demonstrates the bands uncompromising approach to pure progressive rock and to transcribe it through the filter of today’s modern progressive metal elements. The band certainly storms out of the gate with a very tight cohesive vision and execution of sound.
Bird Of Fire begins with a very eerie dark Hammond Organ chord progression that forms a very dark atmosphere. Soon that recedes and a full all out assault of all instruments forms a deep thunderous melodic rhythm section with the clean vocal first. Thereafter the band takes the listener through a roller coaster of various time signatures and chord progressions before the death growls come in and change the complexion of the track.
The Sad Mountain opens up with thunderous blast beats that are soon met with the melancholic atmosphere created by the synths. The rhythm section goes to further and darker areas of melody in harmony with the clean yet somber vocals. The band have a uncanny ability to use the bass both as a melodic and percussive instrument. Jouko Lehtonen – Bass Guitaris gradually establishing himself as one of modern progressive metal’s best bass players. This also sees the growth and maturation of Andreas Hammer – Guitar, Vocals starting to come into his own as a powerhouse progressive metal frontman. He is also a firm reminder of a younger Mikael Akerfeldt of Opeth or Jonas Renske of Katatonia. Perihelion Ship definitely remain on point and objective this far into the album.
River’s Three opens up with a beautifully played acoustical guitar that creates a dark and once again yet somber atmosphere. Jani Konttinen’s – Hammond Organ, Mellotron orchestration of simulated wind instruments is a delightful brainstorm that yields a beautiful melody alongside the beautiful acoustic guitar. This track is a great track that it allows the listener to breathe and begin to digest the album.
Wind Of No Echoes continues to demonstrate the bands atmospheric side. Once again semi acoustic guitars alongside the beautiful keyboards give the album a particular sound signature where it is starting to become part and parcel to the brand of the band. That melancholic vibe before a wall of extreme bliss seems to be how the band likes to approach things at times. This is also accompanied with heavy rhythm section provided by the bass and drum. Then without notice the band changes up the atmosphere briefly yet with taste as not to disturb the listening experience. Through all the heavy passages there is a spoken word section that is met with some of the most venomous and sinister blackened death vocals I have heard in quite sometime. The sheer anger in the vocals is perfectly matched with the instrumental half of the track.
New Sun? This track goes well into the world of extreme progressive metal with some equally as heavy psychedelic elements to it. This is also the longest track on the album. It really explodes out of the gate with a heavy progressive and melodic unity within all the instruments. The deep rhythm sections are still in play as well as the intricate guitar chord progressions. The clean vocals are very strong on this one and are articulated quite well. If this is a continuation of the first song New Sun there are not any reprisal areas that lead the listener that way. The death growls certainly kick in perfect harmony with the deep double blast beats of the drums. The psychedelic portion comes with a wicked and sinister laugh that reminds me a lot of Porcupines Tree’s Voyage 34 when the main character Brian goes on that bad LSD trip. The mellotron style keyboards lend a heavy psychedelic vibe to those laughing spots. With this being the final track on the album it finishes very tight, professional and strong.
Last year I went on record and called Perihelion Ship’s A Rare Thunderstorm In Spring the best extreme progressive metal’s strongest debut album of all time. I also remember giving such praise to the pioneering independent spirit to that album. For a band to return just little under a year like Perihelion Ship has now done with To Paint A Bird Of Fire is another lofty feat in of itself. To Paint A Bird Of Fire is yet another full length album and it demonstrates the band’s ability to mature a lot in such little time since their debut A Rare Thunderstorm In Spring. Due to the band’s quick maturity and non inhibition of exploration I am giving Perihelion Ship’s To Pain A Bird Of Fire a strong 5/5. This could possibly be my progressive metal album of the year.
The idea behind this release was not only to help raise funds and help for friends, neighbors and the families of Texas, Right on the heals Harvey we saw more devastating hurricanes both Irma and Maria were also Catagory 5 Hurricanes that created havoc killed people and displaced 1,000’s more. There were a few other very devastating incidents including Typhoon Noru and two earthquakes in Mexico City. Our goal with this project is not only raising as much money as possible for the victims and families but to also maintain focus on all those devastated by the recent catastrophic events with this release long after the media moves its focus onto another sound bite.
There are two ways you can help and in return for your help you will receive a digital copy of “A Lack of Empathy: The American Dream”.
Option 1.
You can donate how every much (There is, however, a Minumum) you want for any track or full album from the There Is Hope Records Bandcamp Store, all money from sales minus Bandcamp/PayPal service charges go directly to Music For Relief.
Option 2.
We will give out a free copy A Lack of Empathy: The American Dream to anyone that sends us proof of helping those in need whether it be a donation receipt to a local charity/charity of their choice or a photo of them on the ground helping out in some way.
From all of us involved in this project thank you! Please share this
Kansas have streamed a new live version of their biggest hit Carry On Wayward Son. The song, which reached No. 11 in the US Billboard chart in 1976, was originally taken from the band’s Leftoverture album. The new version is taken from the band’s forthcoming new live album Leftoverture: Live And Beyond.
Kansas, who cancelled their prog stage headline slot at this year’s Ramblin’ Man Fair citing security concerns, have instead been touring the US celebrating the 40th Anniversary of the 1976 album which reached No. 5 in the US album charts, from which the new live album has been recorded. “When we saw how much our fans enjoyed the Leftoverture 40th Anniversary Tour shows, we knew we had to record a live album,” drummer, Phil Ehart said in a interview.
“When it came to finding someone to produce it, we thought the best possible person would be the guy that produced Leftoverture forty years ago. So, we called Jeff Glixman!”
Leftoverture: Live And Beyond will be released through InsideOut Records on November 3. The album will be available as a double CD digipak, four 180 Gram Vinyl boxed set, and digitally.
Stay tuned to Power Of Prog for continued news related to this new live album from Kansas as it becomes available.
Released on Melodic Revolution Records, a leading progressive rock label based in the U.S., GUILTY OF INNOCENCE features 10 tracks. Most of the album’s songs fuse lyrical and sonic elements heard in Tool, Tom Morello, Jack Bruce, and Jean-Luc Ponty. “Dream Diary Cadenza” is an instrumental solo piece from Joe’s “DREAM DIARY” Concerto for Orchestra and Electric Violin, which he debuted with the Muncie Symphony Orchestra in 2015. The album’s closing song is an epic 12 -minute piece which has Joe singing, “If music be the food of love, play on.” The song features Testament/TSO/Metal Allegiance guitarist Alex Skolnick, Renaissance’s keyboardist Rave Tesar, and the Fringe’s Randy McStine.
STRATOSPHEERIUS members include French guitarist Aurelien Budynek (Cindy Blackman, Vernon Reid), bassist Jamie Bishop (The Syn, Francis Dunnery), and drummer Lucianna Padmore, praised by Modern Drummer Magazine for her “Deep grooves and serious fusion chops.” Lucianna wrote “Affluenza,” on the album, and Joe wrote everything else except for “Hysteria,” a reimagined, Queen-esque version of the hit by the UK band Muse.
Joe produced the album. Engineers on the album are Rave Tesar, Alex Salzman, Tom Tedesco, and Joe. Mixed by Alex Salzman. Nic Hard, and Joe Deninzon. Mastered by Rave Tesar.
Reviews of GUILTY OF INNOCENCE have been exciting.
Zachary Nathanson’s MUSIC FROM THE OTHER SIDE OF THE ROOM blog states, “While Joe’s vocal arrangements are brilliant, alongside his electric violin comparing to Curved Air’s Darryl Way, Mahavishnu Orchestra’s Jerry Goodman, and Frank Zappa alumni Jean-Luc Ponty, they take inspirations between Zappa, King Crimson, Yes, and Muse…Guilty of Innocence is not only great but one of the most hectic and heart-stopping albums I’ve listened to.”
Writes Haydn Seek at SkeletonPete.com: “Deninzon and company’s virtuosity is undeniable, but their arrangements smartly favor the integrity of the song. Like the best heavy rock tunes of the past, soloing is integral to structure rather than presented for the sake of blowing. It’s progressive music that’s not afraid of a catchy chorus. Even the 12-minute closing track “Soul Food” is a well-crafted multi-tempo road trip. It ventures into magnum opus territory where ’70s rockers Kansas were at home, and features guest artist guitarist Alex Skolnick.”
Warlock Asylum International News loves Joe’s cover of Muse’s “Hysteria.” “Deninzon’s perfect vocal delivery and skills as a violinist. Stratospheerius is as tight as ever and really create a strong organic melody comparable to the original. Bravo! This is music!”
Joe Deninzon & Stratospheerius has showcased their “frenzied melange of progressive rock, jazz fusion, and funkabilly” at colleges, festivals, and clubs throughout the US and has opened for Tim Reynolds, Mickey Hart (Grateful Dead), Martin Barre (Jethro Tull), Mike Stern, Project Object, and John Scofield. The group was a winner of the John Lennon International Songwriting Competition and the Musicians Atlas Independent Music Awards, and Joe is a repeat recipient of a BMI Jazz composers award. A favorite among violinists everywhere and an active clinician, Joe is the author of the Mel Bay-published book, ”Plugging In: A Guide to Gear and New Techniques for the 21st Century.”
Band Members
Joe Deninzon : Electric Violin, Lead Vocals & Mandolin
Aurelien Budynek : Guitar & Backup Vocals
Jamie Bishop : Bass & Backup Vocals
Lucianna Padmore : Drums
Along with the album’s release, Deninzon is touring actively this fall with Stratospheerius, as well as his Latin jazz String Quartet Sweet Plantain (who also will be part of classic rock group Renaissance’s concerts for the recording of their upcoming Symphonic Album. Joe is soloing on electric violin for the performances, as well).
Joe Deninzon & Stratospheerius Tour Dates
Oct 19th Noon, 12 PM with Stratospheerius at Sweetwater. Ft. Wayne, IN
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