Hello Everyone! It’s George Roldan and Beth Wilson, the people who bring you the Rites of Spring Festival, otherwise known as RoSfest, (North America’s premier art rock festival). As we approach RoSfest 2019 in May, we are asking for your support to help us expand our reach into the Florida market with critical ad and radio campaigns. We love Progressive Rock and would like to guarantee that RoSfest succeeds by reaching a larger audience.
About This Project:
As many of you may know, RoSfest, independently owned by Roldan Entertainment and self-financed without any concessions from the music industry, has been going strong now for 15 years and has been primarily located in the Northeast with a strong fan base. We recently moved it to the sunny state of Florida in the city of Sarasota in hopes of growing our Prog family and continuing the festival for many years to come.
We have promoted progressive rock bands both domestically and internationally. Our festival has always been about the music and the fans and we are asking for your help to contribute to our campaign and make it a success. The progressive rock community needs festivals like RoSfest to help our music and enable the artists to have a strong platform to expose their music to the world. There are only a handful of these great independent events left in the USA, let alone the world.
RoSfest, created in 2004, is now in its 16th year! We have put in countless hours of preparation which will lead up to a wonderful 3-day weekend of musical bliss for all who attend in May 2019. Spending a lot of our own money to keep RoSfest going year after year, we are now appealing to our RoSfest family to join us in support so we can expand our reach to a larger audience by using Radio and Magazines to advertise.
We appeal to you, the music lover, to help us put RoSfest and progressive rock bands into the media and into the mainstream. Our plan is to promote RoSfest through media including local radio as well as regional and national magazine ads. We will continue to use social media outlets such as Facebook and Twitter to help promote RoSfest, but that’s not enough to get the word out. Our goal is to raise $6,500.00 to support these efforts.
You can help in a number of ways by donating to this Indiegogo campaign. Your contribution will help RoSfest get the word out to people who have no idea that this wonderful awesome festival exists. When people listen to Progressive music, it really helps heal the soul! By donating, you will be helping the bands get the attention they deserve. Our bands this year have been very responsive by donating very special one-off items as well as signed CD’s, customized recordings, records and drum heads to support this fundraiser as well as many other perks.
Some people just can’t contribute, but that doesn’t mean you can’t help:
Other Ways You Can Help
The more people who are aware of our radio and print campaign, the better our chances of raising the necessary funds. By emailing your friends about RoSfest, posting a link to this page on Facebook, or spreading the word on Twitter, you will be giving us enormous support.
Thank you so much for joining in and becoming an active part of our RoSfest family!
Pledge! Our anticipated completion date for RoSfest Radio and Magazine Ads is November 31, 2019. Please help us raise the money we need to allow us to get the word out. All funds raised will go directly towards the media campaign which in turn helps RoSfest.
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
We are pleased to announce that Peruvian band Flor de Loto have been signed to ROSFest also for 2019.
Following a spectacular performance at last year’s RoSfest, we have decided to bring Peruvian band Flor de Loto back also for the 2019 edition of our festival. For a number of reasons: Their concert last year was brilliant, and many desired to see them again sooner rather than later. Some missed out on the show, and from what they heard from others they knew they had missed something good. Hence we see to it that this situation is resolved. And finally Flor de Loto have now signed with US label Melodic Revolution Records, a label that are longtime friends of RoSfest, and they are releasing Flor de Loto’s new album Eclipse.
As we stated last year: Progressive Rock is alive and well on the South American continent, and one of the most popular progressive rock bands in South America is Flor de Loto from Peru. They have built a steadily growing fan base all over the continent since they first appeared in 2005 with their self-titled debut album, with a solid presence as a live band for more than a decade and seven (soon eight) studio albums to their name cementing their reputation as a high-quality band.
Their take on progressive rock is one that resides somewhere in between Jethro Tull and Iron Maiden, incorporating elements from metal, Andean folk music and, chamber music into their compositions alongside nods towards hard rock and psychedelic rock. This results in a sound and style with a broad appeal: This is a band with fans also from outside of the progressive rock universe.
Alonso Herrera, Alejandro Jarrin, Pablo Alayza, Alvaro Escobar, Pierre Farfán and Gabriel Iwasaki are members of a band that has a reputation as a quality act on all levels. We are eagerly looking forward to being able to once again experience one of the top progressive rock bands from the South American continent performing live at ROSfest 2019.
ROSfest 2019 will take place on May 3rd through 5th 2019 at the Sarasota Opera House, Florida. The final line-up and schedule for the festival are still TBA. Confirmed bands to appear so far are: Riverside (headliner), Karmamoi, Cryptic Vision, Prideaux, Martin Barre (performing 50 Years of Jethro Tull), Edge of Reality, Entransient, and Traverser
“Playing with Tone was one of the most illuminating musical experiences of my career. Yes, he’s that good.” – Graham Parker
NYC – The singing sustain of multiple razor-edged electric guitars, the monster rock backbeat of Jethro Tull drummer Doane Perry and The Moonlight Sonata? Yes, This mash-up is the concept behind Tone Masseve’s album “Amp L’étude.” Classical pieces? Yes, but these are not the dry, conventional versions we’ve all heard before. The album vividly brings these compositions to life with a new and powerful sound.
Tone said, “In my childhood, I was exposed to many different musical styles and genres. Although I am really a blues player, I also love the music of Bach, Beethoven, Tchaikovsky, Schubert, Chopin and Debussy. I wanted to play their classical pieces with a rock sound and attitude.” He used the feedback, bends, shakes, falls and dives of his guitar heroes; Jeff Beck, Jimi Hendrix, early Eric Clapton, Robert Fripp, Brian May, Joe Satriani and George Harrison to do just that.
Tone’s dynamic playing combined with Doane’s great rock feel, give this music of the masters an entirely new presentation. Some of the sound and production techniques of this record are drawn from famous rock tracks such as; “Whiter Shade of Pale,” “The Hill of the Skull,” “God Save the Queen,” “Wind on Water,” “She’s so Heavy” & “Girl,” and, “1983… (A Merman I Should Turn to Be).”
Every now and then a brilliant and fully developed artist arrives on the scene. Such is the case of Tone Masseve’s enigmatic emergence out of the shadows. His sonic identity, unique voice and concept and his blending of seemingly disparate styles simply amazed and surprised me. Tone’s inspired and highly original take on some of the most hallowed and iconic classical music ever composed is eloquently orchestrated, passionately and precisely executed and a wholly satisfying aural experience! I believe any of the great composers represented would be honored and thrilled to hear their music so creatively reimagined and lovingly brought to life within such a modern and innovative context.
One of the most powerful elements in his music is the thick, sonorous and clear voice which he elicits from his “Guitorchestra”. Speaking as one who participated in this exciting project, I found the rich harmonic blend and counterpoint combined with the strength and subtlety of his parts, compelling and utterly inspiring to play off of … and was astonished to think so much of this was coming through the head, hands and heart of a single musician. And I never even met him. I don’t know how he did it but that is one of the delightful musical riddles which does not need solving.
Joyful, biting, menacing, muscular, melancholy and euphoric are apt descriptions which are summoned to mind when I listen to his music. All of those elements provided a powerful catalyst for my own contributions. I am honored to have worked with this gifted artist and to have been a part of such an original musical adventure … and I would like to think the mysterious and hugely talented Tone Massive will not remain unknown for much longer.
Doane Perry
Tone started playing the guitar at age 6 and performing live at age 15. By the time he was 18 he was doing session work in NYC. Legendary Graham Parker saw him playing with a band called Robazz Bowtime, and asked him to play a few gigs. Graham said, “I didn’t play with Tone for a great deal of time, but it was one of the most illuminating musical experiences of my career. Yes, he’s that good.”
The recording started in 1995 and took more than 20 years to complete. The guitar parts alone took more than two years to record. In 1997, while still working on Amp L’étude, tragically, Tone got pneumonia and died.
In 2016 a wonderful and talented group of musicians came together to finish his long-lost album. The first was Doane Perry who added his hard-hitting rock drumming to six tracks. Doane was the drummer for the legendary, Grammy-winning rock band, Jethro Tull, for twenty-seven years. He also played with Lou Reed, Todd Rundgren, and many, many others.
Next was Garry Kvistad who is a Grammy award-winning master percussionist. He is a member of the four-man percussion group Nexus. The New York Times called Nexus “the high priests of the percussion world.” Steve Reich said, “They are probably the most acclaimed percussion group on earth.” Garry added orchestral percussion; tympani, large gong, orchestral bass drum, glockenspiel, orchestral chimes, and symphonic crash cymbals to two of the pieces
Then members of the vocal group Prana added their voices to a couple of tracks. They gave one piece, “Maria, (She’s so) Ave” a decidedly Liverpudlian sound. Finally Maria Todaro was brought in to conduct the choir for “O Fortuna.” Maria is not only an internationally renowned opera singer, stage director, and conductor, but also the general director of The International Festival of the Voice. For this recording, with her deep understanding of the voice as an expressive instrument, she evoked an impassioned performance from the choir.
In closing Tone had this to impart, “Music has no boundaries. If you play it with all of your heart it doesn’t matter what style it is, the feeling will come through.”
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