[Progarchy note: with apologies, we were about 1 week late with the last Burning Shed News. This one is only a couple of hours late! Enjoy–Brad]
Between The Silence is a specially priced 3CD set comprising three complete concerts by Theo Travis and Robert Fripp recorded in 2009 and 2010.
Evocative Soundscapes and inventive improvs collide in the most wondrous of ways.
Pre-order for 6th July release.
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Decapitated stands out within the pantheon of death metal Gods. They are simply one of those gatekeepers of this sub-genre — the one bridging the old with the new. The cross-over blend of old school death metal meets the newer 200 time-signatures-per-min technical brawl.
Recovering from a tumultuous past and successfully restructuring the sound is not trivial. Anticult is easily among the best illustrations of those stunning groovy prog elements within death.
Dimebag Darrell like riffing, downtuned uniquely melodic leads, and vocals bordering between screams to growls. Decapitated successfully integrates groove metal into their pristine Polish death terrain. Seamless switches between musical traits are numerous, and they span divergent eras — from Entombed like leads to Gojira like towering riffs. With everything layered on top of precision blast beats, these compositions are as sharp as a guillotine. Getting Decapitated has not been this blissful in a long time. The band has evolved from Vitek era tech death, but they are still absolutely about adapting old school structures to stunningly creative musical contexts.
By © Markus Felix (talk to me) [CC BY-SA 3.0], from Wikimedia Commons
Andy has always had a special affection for the music of the late 1960s and so when it came to making initial recordings in his newly upgraded studio he turned to favourites from that era, specifically, Syd Barrett’s “Apples & Oranges” and The Bonzo Dog Band’s “Humanoid Boogie”.
Exclusive to the APE store, here’s your chance to own those recordings on a very limited 10” vinyl EP with the songs in both stereo and mono housed in a groovy picture sleeve.
All orders come with a postcard signed by Mr Andy Partridge. Only 1396 copies are available.
Preorder now for when the moon’s in June (the 28th, to be precise)
Classic ‘Animals’ era image of David Gilmour with a Battersea Power Station& Flying Pig background.
These limited 24×36” screen prints are designed by Carl Glover and screen printed in various colours plus a gold, silver or rainbow foil.
– 24″ x 36″ print
– Each colour is a strictly limited edition and prices vary
– The most expensive prints include a bonus set of five 9×12” mini prints
Preorder opens at 4pm UK time on Friday 25th May (shipping 22nd June)
Reggie’s Rock Club and Music Joint has officially announced the line-up for Progtoberfest IV. Sponsored by InsideOut Music, the festival will be held on the south side of Chicago Friday through Sunday, October 19-21. Tickets go on sale Friday, June 1 Tuesday, June 5 at 12 noon CST at Ticketfly. Here’s the line-up, with event and band links included wherever possible:
Friday, October 19 – Reggie’s Rock Club:
Friday, October 19 — Reggie’s Music Joint:
Saturday, October 20 — Reggie’s Rock Club:
Saturday. October 20 — Reggie’s Music Joint:
Sunday, October 21 — Reggie’s Rock Club:
Sunday, October 21 — Reggie’s Music Joint:
Ticket prices are as follows:
I had a great time at Progtoberfest III last year, and I hope to make it to at least one day of this year’s festival. This time around, I’m especially impressed by the variety of genres represented (including a generous amount of jazz-rock fusion) and the healthy mix of national/international big names (getting Soft Machine is a genuine coup), local favorites and hungry young artists. See you there?
This just appeared on social media. I can’t recommend this album highly enough.
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Dear All,
Once again thanks to you all for being part of our pre-order campaign for
F E A R.
The album is now 18 months old and we are still surprised and overwhelmed by the positive reactions that we are still getting from you all.
The songs have been especially well received at our live shows and we thank you, as ever, for your continued support.
We are sending this message today as we have some leftover stock from the campaign which we have now decided to sell.
We are going to sell these at the same prices that were charged during the campaign.
CD (£12.00 plus postage) –
www.marillion.com/shop/albums/fearplcd85768947.htm
CD Signed (£18.00 plus postage) –
www.marillion.com/shop/albums/fearplcd53764589.htm
CD Special Edition (£30.00 plus postage) –
www.marillion.com/shop/albums/fearplcd68748927.htm
CD Special Edition Signed (£38.00 plus postage) – www.marillion.com/shop/albums/fearplcd21341265.htm
Best wishes
h, Ian, Mark, Pete and Steve
Sam Healy–while complying with Big Euro Brother laws, regulations, and microintrusions–offered a wonderful teaser/trailer for the forthcoming North Atlantic Oscillation album, coming sometime this year.
Granted, it’s only a full-eighteen seconds worth, but it’s eighteen more seconds then we had before. . .
Musically, the British are much better than us Americans at admitting the failures of modernity, especially as it relates to how we interact with each other as humans. Steven Wilson so brilliantly lamented the isolation of the city in his 2015 masterpiece Hand. Cannot. Erase. Before that, Andy Tillison of The Tangent masterfully critiqued the contemporary 9-5 lifestyle in 2013’s Le Sacre Du Travail. Long before either of these artists, however, The Moody Blues commented on typical modern life in their 1967 concept album, Days of Future Passed.
In part 1 of this series, I argued that King Crimson’s “21st Century Schizoid Man” started progressive rock as we came to know it. I still stand by that remark, but I’ll add that The Moody Blues were certainly an integral pioneering band in this genre. Looking back, Days of Future Passed is certainly a progressive rock album, but it is not prog as Yes, ELP, or Genesis later popularized the sub-genre. King Crimson sparked a very particular sound that The Moody Blues likely influenced but did not directly spark. What Black Sabbath did for heavy metal, King Crimson did for prog. With that said, Days of Future Passed deserves attention in this series. Specifically, I’m going to look at “Nights in White Satin,” the most well-known and probably most influential track on the album.
Continue reading “The Pillars of Prog, Part 2 – Nights in White Satin”
Fellow Progarchist Rick Krueger has already published a fine review of this young group, but here is my shout-out to Greta Van Fleet, up and coming rockers from the small town of Frankenmuth, Michigan. Inspired by Led Zeppelin, Eric Clapton, and other blues-based rockers, these boys (ranging in age from 19-22) are an emerging force to be reckoned with in the music world. Check out their live performance at Coachella from April of this year and try telling me that rock n roll has died…
Still not sure about GVF? See what Robert Plant had to say about them.
Believe it or not, the online version of Encyclopedia Britannica includes an article on surf music, which defines the genre’s core sound (invented by Dick Dale) this way : “a distinctive style of electric-guitar playing that fused Middle Eastern influences, staccato picking, and skillful exploitation of the reverb amplifier (which he helped Leo Fender develop) to create a pulsing, cascading sound that echoed the surfing experience.”
Fast forward to today, and surf music (like progressive rock) continues as a strong, if insular subculture — doubtless one in which debates on “is [insert band name] really surf music?” find fertile soil. In theory, The Madeira fit Britannica’s definition perfectly — at least as they describe themselves:
“The Madeira plays surf music born of screaming wind over the sand dunes of the Sahara Desert, deafening echoes of waves pounding the Gibraltar Rock, joyous late-night gypsy dances in the small towns of Andalucia, and exotic cacophony of the Marrakesh town square. It is the surf music of the millennia-old Mediterranean mysteries.”
And honestly, that’s exactly what the band’s new live album, Center of the Surf, sounds like. Whether on roiling, high-speed workouts like the title track, “Leviathan”, “Hail Poseidon” and “Dilmohammed” or slower-burning explorations like “Into the Deep,” the Madeira’s drive and intensity never flag. Ivan Pongracic’s scorching lead lines and Patrick O’Connor’s unflagging rhythm work serve up all the guitar you can stand and more, breaking through to surf nirvana; Todd Fortier on bass and Dane Carter on drums pump up the adrenaline, barreling through with unstoppable power and momentum.
And just when it seems Center of the Surf can’t get any more exciting, The Madeira are joined onstage by surf music historian/rhythm guitarist John Blair and Jonpaul Balak on second bass guitar. The results on “Tribal Fury”, “Sandstorm” and “Intruder” are even more immersive: the thickened texture, intensified groove, and vaulting solo lines both amp up the thrills and bring out the lush romanticism at the core of the band’s melodies.
The audience at Surf Guitar 101’s 2017 convention erupts with delighted applause and encouragement at every opportunity throughout the Madeira’s set — and their reaction’s on the money! Center of the Surf is music that bursts the boundaries of its genre; it’ll connect with anyone who loves rock composition and performance at its highest level. Recorded and mixed by Beach Boys go-to producer Mark Linnet, this is a gleaming, glorious winner of an album. Order it (and the rest of the band’s catalog) from Double Crown Records.
— Rick Krueger
Progarchy 
