by Nick | Nov 11, 2016 | New Releases, News
Melodic Revolution Records and Murky Red are thrilled to announce that ‘No Pocus Without Hocus’ is now available for pre-order.
‘No Pocus Without Hocus’ will be housed in special packaging and will be a limited release of 100 copies, and features 3 never before released tracks as bonus material. Special pre-order price. $10 + Shipping.
Bonus Tracks:
I Came A Long Way is a never before released powerful live recording. Dromedaric Expantion is a brand new track. Galadriel Orchestral Version. Galadriel originally appeared on the bands highly acclaimed debut album ‘No More Time’ and has been a fan favorite, the band knew this track was special and had so much more to offer, so the band have reworked the song with Orchestration, proving that a good song can better with age.
The original version of ‘No Pocus Without Hocus’ featured 11 tracks and was originally released as a Digital only album on 10/26/2015
Special CD Edition Track Listing
- Pixelated Friends
- Stoned And Horny
- Sweet Dark Hypnosis
- She’s Crying Diamonds
- Nothing Can Go Wrong
- A Wooden Groove
- Collateral Damage (feat. Colin Tench on lead guitar)
- Bad Wolf Of The Pack
- Wild Flower
- Mermaids
- Elena
- I Came A Long Way (Live) Bonus Track
- Dromedaric Expantion (Brand New Track) Bonus Track
- Galadriel Orchestral Version (Brand New Version) Bonus Track
Music and lyrics by Stef Flaming
Recorded in the Murky Red Studios, Belgium
Mixing and mastering: Colin Tench, Stoned Bun Studios Sweden
© 2016 Murky Red Music
Murky Links
Official Website
Facebook
YouTube
Melodic Revolution Records Band Page
Media Contact
Murky Red:
Stef Flaming
http://www.murkyred.com/contact/
Label Contact:
Melodic Revolution Records
Nick Katona
[email protected]
by Nick | Oct 16, 2016 | New Releases
Colin Tench best known for his work with Corvus Stone to releases new album “Hair in a G-String (Unfinished but Sweet)” as a solo album under the name Colin Tench Project
Hair in a G-String (Unfinished but Sweet) is available for pre-order and the albums release date is November 30th
According to Tench
“Hair in a G-String” could be labeled Prog before there was Prog. Split this into the written piece “Hair in a G-String” (about 46 minutes) & “Songs not in G” (About 36 minutes) and you’d have a prog album and a melodic rock album I guess. We didn’t do that. We mixed it up. See it as musical interludes between the main action.
Hair in a G-String (Unfinished but Sweet) Track Listing
1. Hair in a G-String part 1 (The opening) 06:25
2. Can’t See it Any Other Way 04:36
3. Hair in a G-String part 2 (The Hairy Part) 06:04
5. The Sad Brazilian 07:19
7. Hair in a G-String part 3 (I’m Going Down) 10:09
8. Lisa waltzes back in with no G-String 03:53
9. Lisa’s Entrance Unplugged 03:09
10. Something Old, Something New, Something Borrowed, Something Screwed 07:32
11. La Palo Desperado 05:54
12. A Beautiful Feeling 05:58
13. Dnieper Summer Day 01:38
16. Bonus Track: Liza’s Waltz with full orchestral arrangements 04:23
Colin Tench Project
Colin Tench: Guitars, Piano, Synthesisers, Drum Programming (Corvus Stone, Coalition, The Minstrel’s Ghost, Andy John Bradford’s Oceans 5, BunChakeze, Odins of London)
Special Guests
Peter Jones: Vocals, Saxophone (Tiger Moth Tales)
Steve Gresswell: Piano, Keyboards, Percussion (Coalition)
Petri Lindström: Bass guitar (Progeland, Corvus Stone, Petri Lindström Project)
Stef Flaming: Percussion, Keyboards, Bass Guitar (Murky Red, Andy John Bradford’s Oceans 5)
Phil Naro: Vocals (DDRIVE, Unified Past, King Friday)
Oliver Rusing: Drums, Percussion (Karibow)
Stephen Speelman: Bass (Unified Past)
Gordon Bennett: Orchestra, Shaving String Section, Horns, Basses
Angelo Hulshout: Fretless Bass
Ian Beabout: Flute
David Knokey: Rhythm Guitar
Gary Derrick: Bass guitar (BunChakeze, Odins of London)
Marco Chiappini: Piano (Gandalf’s Project, Andy John Bradford’s Oceans 5)
Victor Tassone: Drums (Unified Past)
Jay Theodore McGurrin: Drums
Robert Wolff: Drums (Corvus Stone)
Pasi Koivu: Synthesisers, Organ (Corvus Stone)
Sean Filkins: Tamborine (formerly of Big Big Train)
Gary Hodges: Drums (Buckingham Nicks)
Kelly Brown: Keyboards (Ozark Mountain Daredevils)
Tina Sibley (Springfield Symphony)
Kirsten Weingartner (Springfield Symphony)
Ned Horner (Springfield Symphony)
Aleksis Zarins (Springfield Symphony)
LINKS:
by Robert 'Unlce Prog' Brady | Oct 9, 2016 | Reviews
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
Galadriel
Cold Outside
I Give You My Soul
Saturn
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
[youtube https://www.youtube.com/watch?v=sLnVI7oIWQQ]
Video Courtesy of (Murky Red Official YouTube Channel)
by Robert 'Unlce Prog' Brady | Oct 9, 2016 | Reviews
Melodic Revolution Records Series (#3.2)
Murky Red | No Pocus Without Hocus
Label: Melodic Revolution Records
Release Year: 2015
Country: Belgium
Genre: Progressive Stoner Rock
Band Members
Stef Flaming – Songwriting/Guitars & Vocals
Rene Martraux – Drums
Yolanda Flaming – Keyboards & Vocals
Patrick Dujardin – Guitars
Luke Lantin – Bass
Marie Vancamp – Backing Vocals & Percussion
Track Listing
Pixelated Friends
Stoned & Horny
Sweet Dark Hypnosis
She’s Crying Diamonds
Nothing Can Go Wrong
A Wooden Groove
Collateral Damage (ft. Colin Tench)
Bad Wolf Of The Pack
Wildflower
Mermaids
Elena
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
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 Hocus 2015. 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 Paige of Led Zeppelin. The psychedelic chord progressions remind me a lot of what Paul Kantner would write and orchestrate within Jefferson Airplane compositions.
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.
[youtube https://www.youtube.com/watch?v=oQRWmurYvPc]
Video Courtesy of (Murky Red Official YouTube Channel)
Written By: Robert ‘Uncle Prog’ Brady
by Nick | Oct 2, 2016 | New Releases, News, Uncategorized
Melodic Revolution Records is Celebrating its 10th year anniversary as a record label, and they have just released a press release called “A Celebration – 10 Years of Melodic Revolution Records” (Press Release) In the press release they thank music fans for supporting the labels artist. Thus the label have put together a whopper of a Digital Album and is offering it for a limited time as a Free Download it will only be available for seven days.
The digital album features 80 tracks which equates to over 7 hours of Music.
Featured artist include:
Echoes Landing, Laurie Larson, DDRIVE, J-Zohar, Alyshen, ifsounds, Scarlet Hollow, Cary Clouser, Vitriol, 24k, Jim Crean, Insites, When Friends Come Out to Play,Unified Past, Solstice Coil, Morre, MandalaBand, Aethellis, Don Mancuso,Capricia, Paul D’Adamo,The Minstrel’s Ghost, Kracked Earth,The Room, Halo, King Friday, Hellhaven, Corvus Stone,Anuryzm, Transcend, Oceans of Time, Roads to Damascus, Murky Red, Transport Aerian, Amadeus Awad, Andy John Bradford’s Oceans 5, Luigi Milanese, AzaZello, Sunshine & Bullets, Morpheus Rising, Thoughts Factory, Peter Matuchniak, Marco Ragni, Ellsworth Hall, Backhand, Leon Alvarado, Voice of the Enslaved, Progeland, Drastic Fall, Time Horizon, Kinetic Element, Gekko Projekt, Darrel Treece-Birch, Port Mahadia, Petri Lindström Project and Nth Ascension
Offer expires 10/09/2016
Download Link: bit.ly/2dC2TD7
