In a posting on the bands facbook page reads;
Attention to all Wheeling area / Ohio Valley / Morgantown / Pittsburgh, etc folks. We are putting a band together to play the music of COLOURATURA live.
What we need is COMMITTED and SERIOUS players who can handle a consistent rehearsal schedule and a multitude of styles including (but not limited to) pop, rock, funk, progressive, metal, electronic and experimental music. This includes commitment to mastery of material that is in odd / changing time signatures.
Repertoire will consist of original COLOURATURA music, past, present and future, along with a variety of covers from the above genres. The idea is to be a WORKING BAND and we will be seeking paid gigs.
If this kinda life looks interesting to you, please get in contact with me by any means necessary. WE WILL HOLD AUDITIONS, so there will likely be written parts given out prior to the audition. TBA.
Liz and Bryan of Dark Beauty will be performing live electric and acoustic versions of songs from our first album Fall From Grace, as well as previews of songs from our upcoming second release and some surprises!
We’ve scheduled it so that friends from the US and Europe can all attend. It’s a free event and we hope to see you there!
About The Band
Dark Beauty plays symphonic gothic progressive rock, which combines elements of rock, opera, theater, symphonic, dance and world music into a true one-of-a-kind concept album experience. Their debut Fall From Grace and upcoming second release Labyrinth tell the story of The Dark Angel, her tragic fall, and adventures in the dark mysterious land of Markhum. Dark Beauty is currently working on bringing the majesty and epic scope of the tale of the Dark Angel to the stage.
Band Members
Liz Tapia – Lead Vocalist/Songwriter/Founder
Bryan Zeigler – Lead Guitarist
Warren Helms – Keyboardist
Dan Granda – Drums/Percussion
Gary Perkinson – Bass Player – Fall From Grace
Clive Smith – Bass Player – Spirits of a Dead Earth & Next Album Release
Roldan Entertainment are happy to announce the return of UK band KYROS to ROSfest 2017!
For those of you who don’t recognize the band name, they performed with us as Synaesthesia in 2015.
This young British band went down a storm when they played for us in 2015, both their music as well as their performance making them one of the standout bands of the festival. Not too long after their ROSfest appearance, the band chose to sever ties with their record label, subsequently releasing an EP that marked both their transition between band names as well as their first independently released production.
Come 2016, KYROS returned with the double album “Vox Humana,” opting to again release independently. Fans and critics alike have been heralding its superior quality, and when we had the chance to book them for ROSfest 2017 we jumped at the opportunity. We said that this was a band that would be going places when we booked them the first time around, and from what we can see and hear that prediction is as sound in 2017 as it was in 2015.
Adam Warne, Sam Higgins, Joey Frevola, Robin Johnson, and Peter Episcopo are a very talented group of young men that together form KYROS. We have selected them to play on the first slot on Friday, to open the festival in 2017.
I can still remember my first introduction to Triumph. It was at the US Festival at Devore California in 1983. My main listening at that time was the NWOBHMbands like Iron Maiden, Def Leppard, Saxon, Diamond Head and even some Ozzy Osbourne. So when I discovered I was going out to the US Festival with my parents to the Rock & Metal Day I had this preconceived idea that was going to watch and even listen to old geezer music. To my shock and surprise it was one of the very best concerts I have been to.
This was Day #2 and the following played on the bill that day. Judas Priest , Mötley Crüe, Ozzy Osbourne , Quiet Riot, Scorpions, Triumph, Van Halen. The one thing all this bands and artists had in common was in the vocals. The vocals on all this acts were up in the high rent district with towering soprano like styles. Besides Rob Halford in Judas Priest which was obvious of his insane range at the time, another one really stuck out at me. That being Triumph’s Rik Emmett. It was almost mandatory to have a vocal style like that in those days with this music.
Coming out of the same area about the same time as their contemporaries RUSH, Triumph would forge another path for Toronto, Ontario Canadian AOR/Arena Rock. What RUSH did to the progressive hard rock, Triumph would do for a new upcoming sub genre called Melodic Metal/AOR. Rik Emmett’s towering vocal style would also become both a mainstay on FM radio and the new medium of the day MTV. Like RUSH, Zebra and ZZ Top who were all three men outfits, Triumph would also find some satisfactory success on MTV. Songs like Lay It On The Line, Magic Power, Follow Your Heart and Fight The Good guaranteed that Triumph was much more than just the flavour of the month at the time. They were mainstays throughout the majority of the latter 1970’s through to the middle to latter part of the 1980’s.
Fast forward now to 2016. I am still discovering new depths and different sides to Rik Emmett. He returns with a powerful, knity grity style of stripped down almost blues hard rock AOR with Rik Emmett & RESolution9 – RES9. If you think for a moment this is just another Triumph style big arena rock/AOR/Melodic Metal sound you are in for somewhat of a shock, but a good shock nevertheless. Rik Emmett explores many sounds and depths of guitar oriented rock with this new album. Rik Emmett has also tapped into the rich Canadian rock pedigree to enlist the likes of Dream Theater’s James Labrie, RUSH’s Alex Lifeson, Dave Dunlop , etc … for Rik Emmett & RESolution9 – RES9.
On Rik Emmett & RESolution9 – RES9, we see Rik Emmett really strip down to bare bones straight up bluesy AOR rock. It is also amazing to see how he employed two people more known for their prog rock prowess in Alex Lifeson and James Labrie on a very fundamental straight away blues rock and how their individual talents totally fall in line with great precision on both time and range. Now a little breakdown of Rik Emmett & RESolution9 – RES9.
Stand Still begins with a very straight forward stripped down blues chord progression. It is almost that Texas southern fried rock made better known by ZZ Top. Lyrically it tells the story of all sorts of characters. The rhythm section is partially blues with light jazz elements you would find in a Zydeco joint in New Orleans. The guitar solo’s are nasty in nostalgia yet with a wonderful modern elemental sound. This track is the perfect setup for the bluesy buffet ahead.
Human Race (feat. Alex Lifeson) begins with a very familiar opening passage on guitar by Alex Lifeson. This is the very sound a riff playing we have come to know Alex in RUSH. This time it is acclimated more towards a bluesy passage more than a progressive one. Rik has totally built a Toronto Ontario, bloodline throughout this album and it starts on this track.
I Sing (feat: James Labrie) Lyrically this is a classic tale of the life of a working musician going in and out of the trials and tribulations of life. James Labrie comes in quite subtly on vocals and takes over in certain parts. Both Rik and James do a great job playing of the rhythm section. Particularly the drum/bass rhythm section. This track also features another side to James Labrie many do not see in Dream Theater, that being a ‘Classic Rock Vocalist’.
My Cathedral is a very introspective track of people making proclamations of what faith and life mean. Is it God, music, whatever people find peace of mind and spirit in. This is really has some American southern fried roots in the chord progressions. Rik allows both the lyrical and instrumental narrative to carry this track into the middle and more experimental tracks of the album.
The Ghost Of Shadow Town starts off with thunderous drums to set the rhythmic tone with a almost steel guitar vibe. The guitar solos throughout this track add more of a accent to the rhythm section narrative. Rik also employs more of a semi spoken word semi melodic vocal to tell the story.
When You Were My Baby starts out much in a Southern Texas Stevie Ray Vaughn style guitar passage. There are some nice isolated elements throughout to showcase both the instrumental and lyrical portions of the song. This is almost sounds like he and his band did this one live in studio and went back and did vocals later. The guitar solos are organically nasty and fluently blues.
Sweet Tooth is a little love ballad that is done in a 2:12 time frame. Kind of short and sweet , no pun intended. It is almost has a later 1960’s blues soul vibe about it. The lyrical content is how the individual listener receives it.
Heads Up starts out with with a straight away rock passage. This track is probably the closest the traditional Triumph fan will enjoy. This is probably the most AOR track on the album in its anthemic nature.
Rest Of My Life begins with a smooth acoustic guitar passage along with a very harmonic vocal melody. Rik cuts in with a solo vocal isolation in the middle of the beautiful vocal harmony. This track has very rolling guitar oriented rock chord progressions. A lot of Rik Emmett’s vocal register over the last 40 years really flourishes in this one.
End Of The Line (feat: Alex Lifeson & James Labrie) displays the full Canadian rock element over the last half a century. Rik has written towards the strengths of both Alex Lifeson & James Labrie while maintaining the original blues objective he has for the album. This track is very heavy on the Classic Rock and AOR elements. This is the essential song that is very appropriate for both sub genres. There is a beautiful nastiness in the guitar passages throughout the track. The solos are big and so are the rhythmic elements. The solo’s are huge and you can hear both Rik Emmett’s signature style and Alex Lifeson’s signature style within the context of the main narrative.
Grand Parade (feat: Gil Moore & Mike Levine) {Bonus Track} sees Rik Emmett reunited with his Triumph band mates. This is a very subtle track. The guitars and vocal harmonies progress towards an apex where the the track takes some subtle drops and begins to build in between passages. It also does not depend on the verse/bridge/chorus format in the lyrical narrative.
I will say this about Rik Emmett & RESolution9 RES9, this was a very unexpected gift to music in 2016. In a year plagued by many losses in the music world this is one of those albums that brings home what traditional ‘classic rock’ and AOR are about. It also continues to solidify Rik Emmett’s legacy as one of the best Canadian songwriters and musicians of our time.This album also has confirmed in me the maturity and appreciation for music outside my heavy metal and folk rock and progressive rock/metal roots. Rik Emmett & RESolution9 RES9 gets a 4.75/5.
iNFiNiEN has just released the single ‘Off the Tracks’ as a Free Download from their upcoming album ‘Light at the Endless Tunnel’ to be released tomorrow.
(Music by iNFiNiEN & Justin Carney; Lyrics by Chrissie Loftus & Tom Cullen)
Track Listing
AYA (Music by Matt Hollenberg; Lyrics by Chrissie Loftus)
Oasis (Music and Lyrics by Chrissie Loftus)
Off the Tracks (Music by Matt Hollenberg, Lyrics by Chrissie Loftus)
Bottom of the Food Chain (Music by Jordan Berger and Chrissie Loftus, Lyrics by Chrissie Loftus)
Light at the Endless Tunnel (Music by Matt Hollenberg, Lyrics by Chrissie Loftus)
Love for Yourself (Music by iNFiNiEN, Lyrics by Chrissie Loftus)
Worth The Wait (Music and Lyrics by Chrissie Loftus)
If I Were A Song (Music and Lyrics by Chrissie Loftus)
If You Were A Song (Music by iNFiNiEN, Lyrics by Chrissie Loftus)
Existence (Music by Jordan Berger, Lyrics by Chrissie Loftus & Jordan Berger)
iNFiNiEN Is:
Jordan Berger: Electric and Upright Bass, Background Vocals, Additional Percussion
Tom Cullen: Drums and Percussion
Matt Hollenberg: Guitars, Bulbul Tarang, Tabla, Moog Minitaur
Chrissie Loftus: Vocals, Piano, Keyboards, Organ and Additional PercussionOrchestrations on “Brand New”,
“If I Were a Song” and “If You Were a Song” by Jon Salmon
iNFiNiEN Chamber Orchestra:
Mark Allen – flute, clarinet
Jordan Berger – double-bass
Mary Bryson – harp
Monique Canniere – violins
Maura Dwyer – violin, cello
Gloria Galante – harp
Christen Hooks – viola
Andriana Markano – viola, violin
Ben Mulholland – French horn
Bob Quaile – oboe
Rebecca Schlappich – violins
Andrew Weber – cello
Album Production Notes
Produced by Jay Levin
Mixed by Rob Shaffer
Recorded and Engineered by Rob Shaffer and Jeff Hiatt
Additional production by Matt Hollenberg and Rob Shaffer
Additional recording by Jay Levin and Sean Svadlenak
Mastered by Jeff Hiatt and Sean Svadlenak
Recorded and mixed at Turtle Studios, Philadelphia
About iNFiNiEN
Philadelphia based Experimental Progressive band. Exotic tonalities and thick chords mixed with Jazz, African, Balkan, Pop, Rock and Indian Music.
Biography
Philadelphia-born iNFiNiEN combines eclectic musical personalities into a visionary, unified force. Using rock, jazz, soul, world, and classical influences, the quartet plays intricately composed songs with a focus on improvisation. With two albums under their belt the band has found it’s niche as something truly unique within the Philly and National scenes. After playing, touring and writing together for six years, iNFiNiEN has developed their distinctive voice through their consistent dedication to powerful live shows and bold experimentation in the studio. Far from the typical rock band, they explore new territories of sound by using exotic scales, chords, and rhythms. The drums project driving tribal beats, mixing elements of hardcore, funk, and jazz as bass grooves move through a complex and fluidly changing web of pulse. The guitar and keyboard create a wash of texture, deep harmony and colorful melodies while fluid female vocals add a strong emotional element through soulful poetry and deliberatedynamics. Taking cues from all over the music world, their compositions borrow equally from romantic composers like Debussy and Faure; contemporary artists like Bjork, Tori Amos and Radiohead; world music like Indian Classical, African, Middle Eastern and Latin; and even adventurous avant-garde fusion like Mahavishnu Orchestra, John Coltrane and John Zorn. An entity unto itself, iNFiNiEN stirs listeners through a moving musical adventure.
What The Critics are saying about iNFiNiEN
“Calling it “fusion” isn’t even entirely correct, since that smacks of cocktail parties and easy-listening boredom. This is the sublimation of styles, a group of highly trained players sacrificing their training for the sake of something more exciting.”
– Philadelphia City Paper
“iNFiNiEN’s set is dynamic and energizing, with Loftus rolling her head and emoting like a languid seductress. The music is moody, jazzy, lounge-y and dramatic, with dissonant chords resolving into melody and tinkering Middle Eastern sounds. For most of their set, they’re joined by New Orleans saxophonist Kyle Cripps, whose jazzy playing adds another layer to their sonic creations. Their last track, “Perpetual Twilight,” is 10 minutes long, and devolves into a raucous, thrashing collage of sound. It’s the perfect end to a long evening, and I leave feeling like the possibilities for music are truly infinite.”
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In a posting on the bands facbook page reads;
