Well its been a long road of daily diligence, and we’re proud to announce to our loyal listeners that Evership II will be released on October 19, 2018! What took 10 years has been done in 10 months! An exhausted but excited Shane is currently mastering an hour and five minutes of new Evership music before making the drop to the retail machinery the day before the band leaves for New Jersey to perform at ProgStock! The new album has the same stunning artwork style as the debut, by Philip Willis.
Cover art and illustrations by Philip Willis.
Track Listing:
1. The Serious Room (7:52)
2. Monomyth (10:42)
3. Real or Imagined (8:17)
4. Wanderer (7:39)
5. Isle of the Broken Tree (I. Castaway, II. Meadow of Shades, III. My Father’s Friend, IV. Hall of Visions, V. My Own Worst Enemy, VI. The Tree and the Door) (28:24)
Credits:
All words, music, arrangements, production, engineering, programming, recording, mixing, mastering and art concept by Shane Atkinson, with the exception of “Meadow of Shades”, with words and music by Shane Atkinson and Dan Bracken.
Musicians:
Beau West: Lead Vocals
Shane Atkinson: Keyboards, Drums and Percussion, Vocals
James Atkinson: Lead Guitars
John Rose: Rhythm Guitar, Lead Guitar, Classical Guitar and Slide Guitar
Ben Young: Bass and Chapman Stick
Joel Grumblatt performed a portion of drums on The Serious Room (Recorded live at RoSFest in 2017)
Jesse Hardin performed a portion of the guitar solo on The Serious Room (Recorded live at RoSFest in 2017)
With:
Additional Backing Vocals: Mike Priebe, Amelia West
Orchestra: Allison Cowan, Asa Graham Hartley, Nicelle Priebe, Gracie Staggenborg and Emily Walsh
Featuring the Charles Heimermann Chorale
THE TANGENT, the progressive rock group led by Andy Tillison, will release their 10th studio album ‘Proxy’ on November 16th, 2018. Recorded during the band’s tour with Karmakanic in 2017/18, which saw them with more chances than normal to work together on the record – hotel writing sessions, van discussions, soundcheck ideas – all of which have allowed the band to make an album that is as organic as they have ever achieved since their formation 15 years ago.
Now they are extremely pleased to launch the first single taken from the album. Listen to ‘A Case of Misplaced Optimism’ here:
Andy comments: “’A Case Of Misplaced Optimism’ is a song of two moods, one of defiant pride and another of wistful regret. It bounces between moody atmospheric grooves and big funky choruses. We wrote it especially, as if this were to be our 45 RPM, 7 inch single in times gone by – the prog rock attempt to have a “hit”. Lyrically it’s a song that looks back on personal life choices frowned upon, even criminalised, in the past – celebrating the changes in society that have made those choices more acceptable and expressing regret for those, who like Alan Turing never lived to see these vital freedoms granted.”
Watch a trailer for the album here, featuring some snippets of brand new music, here:
‘Proxy’ is now available to pre-order as limited CD digipak, 180g vinyl + CD (including several coloured vinyl versions) & as digital download here: https://the-tangent.lnk.to/Proxy
Andy Tillison comments: “Our belief is that Progressive Rock music is still a valid and viable musical form in 2018 and will continue to be so. Our band has always sought to take on board things from the present and add them to that magical mix. We don’t claim to be offering the FUTURE. We just claim to be offering one set of possibilities. Ours. Now.”
‘Proxy’ is a riot of juxtaposing styles, presented in a really direct manner and despite being firmly rooted in the stylistic traits of the Progressive Rock Genre takes some unexpected turnoffs and a major swerve. The albums kicks off with a trademark Tangent prog fantasia based around growling Hammonds, shrieking Synths, whirling guitars and sharp percussive bass – influences of ELP, Egg, Hatfield & the North, Caravan and Camel proudly worn on their sleeves. This 16-minute title track eventually becomes a protest song about the continuing wars that share their name with the song.
But this album features no overall concept. The second track is a sun-drenched Mediterranean fusion instrumental, more Chick Corea than Che Guevara. And the third track is referred to by the band as an attempt to find the missing link between Porcupine Tree and Jamiroquai. By the time we reach the centrepiece epic track ‘The Adulthood Lie’, the rulebook has been left behind and the band are trying to fix the car with whatever is at hand.
The Tangent came of age some time ago now. After 15 years with a constant presence on the periphery of the scene, this album is the next step on the road from a band who have painstakingly revered and recreated the past, with one eye on the future.
The album will be available as a limited CD digipak, Vinyl LP + CD & as digital download. The full track-listing is as follows:
1.Proxy
2.The Melting Andalusian Skies
3.A Case of Misplaced Optimism
4.The Adulthood Lie
5.Supper’s Off
6.Excerpt From “Exo-Oceans” (Bonus Track)
The album features the following players:
Andy Tillison – Vocals, Lyrics, Keyboards, Composer
Jonas Reingold (The Sea Within, Steve Hackett Band) – Bass Guitar
Theo Travis (Soft Machine, Travis-Fripp) – Sax & Flute
Luke Machin (Maschine, Francis Dunnery Band) – Guitar
Steve Roberts (ex Magenta, Godsticks) – Drums
With special guest: Goran Edman (Karmakanic) – Vocals
‘Proxy’ follows the release of 2017’s ‘The Slow Rust of Forgotten Machinery’ which received fantastic reviews upon release:
“Eloquent, far-reaching prog” – Prog Magazine
“sophisticated and spot on” – Classic Rock
“This is essential listening” – Powerplay
“Beautiful acoustic textures… a deep, compelling listening experience.” – Guitar Player
Lowell. MA – From the quietly ambitious 4-CD box set debut, “Annals of My Glass House” (2011), through the expansive territory of “A Slight Departure” (2015), to the masterful new album, “Signs and Wonders” (2018), Birdsong At Morning has garnered rave reviews and airplay around the world.
Led by singer/songwriter Alan Williams, along with compatriots Darleen Wilson (guitar) and Greg Porter (bass), and a host of new and old collaborators, Birdsong At Morning spins elegant tapestries of sound, words, and music.
Produced by leader Alan Williams, the band’s new album contains 10 original compositions by Alan and an inventive (and timely) interpretation of Supertramp’s “The Logical Song.” Joining the core trio of Alan, Darleen and Greg, our drummer Ben Wittman (Sting, Paula Cole, Laurie Anderson) and guitarist Thomas Juliano (Seven Mary Three, Aimee Mann), along with a 20-piece string orchestra. Basics were recorded with David Minehan at Woolly Mammoth Sound, and the strings were recorded at WGBH, engineered by Antonio Oliart. The album was mastered by Grammy award winner Adam Ayan at Gateway Mastering, and the Blu-Ray was authored by Neil Wilkes of Opus Productions, the same folks behind the King Crimson, Yes, and XTC reissues.
Says Alan, “Just as the album art is a bold, full-color shift from our previous sepia-toned artwork, so the music inside represents a wider sonic spectrum, and musical pace. The general theme is that there is often hidden and overlooked beauty to be found in unexpected places. There are references to the natural environment in many of the songs, and some of these are contrasted with a more urban experience or interior mindset. To quote the title song, ‘take a look around.’”
“Signs and Wonders” is available for streaming and download on September 28, 2018, but will also be issued in a 2-disc CD/Blu-ray package, with 44.1/16 stereo mixes on the CD, and 96/24 vocal and instrumental mixes in stereo, LPCM 5.1 surround sound, and DTS-HD 5.1 surround sound, along with a 16-page lyric book.
Additionally, there are videos to accompany every song on the album. These videos are available on the Blu-ray and will be posted on YouTube throughout the year.
Watch Birdsong At Morning’s video for the lead track from the album, “Waterfall”:
Photo by Jude Porter – L-R: Darleen Wilson, Alan Williams, Greg Porter
Formed in 2008, Birdsong At Morning began as an exercise in resurrecting long-dormant musical energies. Williams and Porter had gone to the New England Conservatory of Music, then played together in several groups, notably the star-crossed folk-rock ensemble, Knots, and Crosses. Porter was a founding member of Talking To Animals, before playing for Aimee Mann and Patty Griffin, among others. Wilson established herself as a groundbreaking recording engineer in Boston, working with a broad spectrum of artists from punk (Salem 66), to pop (New Kids On The Block), before becoming the pre-eminent producer of New England singer/songwriters – Bill Morrissey, Patty Larkin, Catie Curtis, Chris Smither.
During the long period between the demise of Knots and Crosses – a demise precipitated by their calamitous signing with Island Records – and the formation of Birdsong At Morning, Williams embarked on parallel careers in music production and academia. He served as musical director for Dar Williams and engineered a number of records for Patty Larkin, while earning a PhD in Ethnomusicology from Brown University. He is currently Chair of the Department of Music at the University of Massachusetts Lowell, where he also serves as the Richard and Nancy Donahue Endowed Professor of the Arts, and has published a number of scholarly chapters and journal articles, all while maintaining a presence as a creative, performing musician. In his spare time, he is also a certified yoga instructor.
The depth of experience present in every aspect of the band’s work helps to explain the professional quality that exists in this totally DIY project. The group releases its own records, designs its packaging, and does much of the engineering and music production work. Of course, like many indie-minded endeavors, Birdsong At Morning is assisted by extraordinarily talented friends – long-time collaborative partner Ben Wittman (Paula Cole, Laurie Anderson, The Story) plays drums, Greg’s Talking to Animals compatriot Thomas Juliano frequently contributes guitar, and the band’s last two albums were recorded with David Minehan (The Neighborhoods, Paul Westerberg, Aerosmith) at his studio Woolly Mammoth Sound, and mastered by Grammy award winning engineer, Adam Ayan.
Here’s what the press has said about Birdsong at Morning:
“Sweeping strings, gorgeous sonics, and soulful singing, Birdsong at Morning is the greatest act you’ve never heard of.” – Electronic Musician
“Art music both unpretentious and ravishing” – The Boston Herald
“Birdsong at Morning’s creative intents find full fruition, making ‘A Slight Departure’ a fascinating point of embarkation. Lovely indeed.” – No Depression
“A sprawling collection of poignant beauty delivered through Williams’ keenly poetic eye. Simple and direct, carrying with it the breadth and depth of the kind of observation only an acute student of the world around him can deliver.” – BMI MusicWorld
“A remarkable convergence of lush, patient music and intriguing poeticism performed with conviction and grace.” – Songwriter’s Monthly
In closing Alan has this to impart, “I think our listeners pick up and respond to the attention to detail that is put into the songwriting, arrangements, and recording. Nothing is assembled like a factory; everything is meticulously crafted, even when captured as complete performance elements. We think repeated listenings should reward with new perspectives, new discoveries. This mirrors the concept of small wonders revealing themselves on closer inspection that can be found in many of the song lyrics. And woven throughout is a sensitivity to the political conditions of the moment, and an underlying call to value the humanity in each and every one of us.”
Esclavitud de tu ser was filmed more than 4000 meters above sea level, in the Marcahuasi Stone Forest, Andes Mountains, Perú with a lot of effort and with a lot of heart. We hope you like it and help us with imi diffusion. Buy your ticket to attend the presentation of new album eclipse on November 16th, at the cultural center cafae-SE. Sale to the inbox.
Esclavitud de tu ser was filmed more than 4000 meters above sea level, in the Marcahuasi Stone Forest, Andes Mountains, Perú.
Directed by Stuardo Huertas
Produced by no mercy productions
Production assistants: Julio Almeida “Ñaca” and Alfonso Chacón “ Pilón”
Taken from the new album “Eclipse”
Produced and mixed by Roy Z
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 Czech paintings: Quena
Gabriel Iwasaki: Keyboards
Alvaro Escobar: Drums
Although I have previously heard some albums in which Steve has been involved, most notably the awesome Bomber Goggles and their incredible album ‘Gyreland’ (if you haven’t already bought this then you need to), this is the first time I have come across one of his solo albums. Steve provides guitar, bass, keyboards, drums, and vocals, and is joined by Böhn (acoustic and electric guitars and backing vocals) and Bingo Brown (drums, percussion, and backing vocals). ‘Stargazer’ is a concept album, and is the nickname given to the hero of our story born into a dystopian future in which man’s neglect has made Earth no longer habitable. This is a similar theme to ‘Gyreland’ and the impact of humanity’s impact on the earth, and at this point, it is not possible to save the planet so people have to leave.
Steve has a knack of bringing together multiple musical themes and styles and bringing them together in a fashion that is best thought of as crossover progressive rock, with large elements of power pop styles. The songs are all short, with only a couple daring to break the five-minute barrier and are incredibly infectious. In fact, one can imagine quite a number of these being played on the radio to great effect. Take “Phoenix Rising” for example, here we have find Steve channeling Weezer while with “In The Darkness” it is much more like Nik Kershaw! The music is fluid, sonorous, and always with stacks of melody and hooks.
It is an incredibly accessible album, one that I knew I was going to enjoy from the very first note, as the title cut opens proceedings with layered harmony vocals. This is a poppy funky rocking number that shows inspiration from Utopia, and I defy anyone not to sing along with the chorus when it returns. Straight away I was smiling, grooving in my chair, knowing that this was yet another to add to my list of albums of the year – and given that ‘Gyreland’ is also in the Top Ten, Steve’s not doing badly. He has a real knack of producing catchy songs, giving them enough depth so that they have a real presence, but also showing restraint. There is the impression that ‘Stargazer’ could have been a lot heavier, it wouldn’t have taken much in the mix but it works great as it is. There are also little touches, like the bass slide up and down the frets in the chorus, which definitely add to the overall piece, and from that we go into the far more jagged “The Celestial Show” which has a very different attack both in terms of arrangement and vocals, yet is also another great number. This is quite some album, highly recommended. 10/10 Kev Rowland
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