Melodic Revolution Records Series (#3.1) Murky Red | Time Doesn’t Matter 2012



Melodic Revolution Records Series (#3)

Murky Red | Time Doesn’t Matter


Label: Melodic Revolution Records

Release Year: 2012

Country: Belgium

Genre: Progressive Stoner Rock


Band Members

Stef Flaming – Songwriting/Guitars & Vocals

Joery Masson – Drums

Yolanda Flaming – Keyboards & Vocals

Patrick Dujardin – Guitars

Tom Kockelmans – Bass

Marie Vancamp – Backing Vocals


Track Listing

I Came A Long Way

On New Years Day


Cold Outside

I Give You My Soul


Last Chance Hotel

Willow Tree

Boots For Hire

Heal My Bleeding Heart

Black Beast Rising


Contact Links

Murky Red Official Website

Murky Red Official Melodic Revolution Records Profile

Murky Red Official Facebook Page

Murky Red Official Twitter

Murky Red Official YouTube Channel

Melodic Revolution Records Official Website

Melodic Revolution Records Official Store




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 Church of 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



Video Courtesy of (Murky Red Official YouTube Channel)

Melodic Revolution Records Series (#2) | Marco Ragni | Land Of Blue Echoes | 2016 Album Review



Melodic Revolution Records Series (#2) 

Marco Ragni | Land Of Blue Echoes | 2016 Album Review


Label Melodic Revolution Records

Release Year: 2016

Country: Italy/Multinational

Genre:Progressive/Psychedelic Space Rock


Band Members 


Marco Ragni – Vocals/Electric & Acoustic Guitars/Bass/Piano/Keyboards/Greek Bozouki

Durga McBroom – Vocals & Backing Vocals
Peter Matuchniak – Electric & Acoustic Guitars
Jeff Mack – Bass
Jacopo Ghirardini – Drums
Vance Gloster – Keyboards & Organ
Colin Tench – Electric Guitar
Hamlet – Keyboards & Bass


Track Listing

Between The Moon And Earth
Money Doesn’t Think
Canto D’ Amore
Deep Night
Nucleus parts 1-8
Queen Of Blue Fires


Contact Links 

Marco Ragni Official Website

Marco Ragni Official Melodic Revolution Records Profile

Marco Ragni Official Facebook Page

Marco Ragni Official Twitter

Marco Ragni Official YouTube Channel

Melodic Revolution Records Official Website

Melodic Revolution Records Official YouTube Channel

Melodic Revolution Records Official Store


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.


Video Courtesy of  (Marco Ragni Official YouTube Channel)

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 Britannia or 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.



Video Courtesy of  (Melodic Revolution Records Official YouTube Channel)

Writer:  Robert ‘Uncle Prog’ Brady