Queen — “We Will Rock You” (Fast version)


It’s been on live albums before, but here’s a version from Queen’s last BBC sessions of the 70s: “We Will Rock You” done faster than usual.

Queen on Air: The Complete BBC Sessions will be released on Nov. 4 in a double-disc CD edition, triple-disc vinyl, digital or a deluxe six-disc package with extra performances and interviews.

Session 1:
1. My Fairy King
2. Keep Yourself Alive
3. Doing All Right
4. Liar
Session 2:
5. See What A Fool I’ve Been
6. Keep Yourself Alive
7. Liar
8. Son And Daughter
Session 3:
9. Ogre Battle
10. Modern Times Rock’n’Roll
11. Great King Rat
12. Son And Daughter

CD 2
Session 4:
1. Modern Times Rock’n’Roll
2. Nevermore
3. White Queen (As It Began)
Session 5:
4. Now I’m Here
5. Stone Cold Crazy
6. Flick Of The Wrist
7. Tenement Funster
Session 6:
8. We Will Rock You
9. We Will Rock You (Fast)
10. Spread Your Wings
11. It’s Late
12. My Melancholy Blues

soundstreamsunday: “In the Wild Hills” by Red Temple Spirits


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lhasaFor years, LA’s Red Temple Spirits were a tease, a psych rock ghost that once got a short write-up in Rolling Stone, which gave an address to write to if you wanted the album, an address for an obscure label that never wrote back. It was the pre-internet treasure map to sacred recordings process that was our siren’s call.  Guesswork, album reviews, dudes in record stores who’d gone to see Hendrix and never really come back.  From the description I read, this band was for me.  But for about five years, every record store I walked into got the question: “Red Temple Spirits?” and I would receive a shake of the head back. Along with Television Personalities, in the late 80s and early 90s they were my grail, a band whose records couldn’t seem to be found for love or money, as if they wanted it that way, ached to be left alone. Around 1993 I finally and gratefully scored a cassette of their 1989 album If tomorrow I were leaving for Lhasa I wouldn’t stay a minute more… (possibly from Austin’s Waterloo records, who had hooked me up with Television Personalities a couple years earlier too) and discovered the small window of hype Rolling Stone gave them was deserved.  A rockier, psychier version of the Cure, Red Temple Spirits was everything I had wanted the Cult to become after their album Love.  Possessing in William Faircloth a vocalist who channeled Syd Barrett and Robert Smith through songs that showed a clear sense of identity and sound, the two albums the band released were post-punk goth psychedelic sendups that captured one strain of late ’80s/early ’90s indie rock across the country.  Every scene had their version of this band, but being on the west coast gave the Red Temple Spirits greater context as part of that region’s psychedelic revival — I can easily place them with Opal and Shiva Burlesque and Rain Parade, Camper Van Beethoven and Thin White Rope and Screaming Trees. If in their day their music was nearly impossible to find, it is now widely available, and can have the legacy it’s long deserved.  “In the Wild Hills” is a favorite, a thunderous, trippy, tribal fantasy that works because it’s all in. The spirits never sleep.

Red Temple Spirits on Amazon

soundstreamsunday archives and playlist

Review: Eden Shadow – Melodies for Maladies


As I’m writing this review, I’ve probably listened to this album dozens of times. This is the type of album that motivated me to start reviewing in the first place.  A band of this caliber not being signed or at least getting some exposure is ludicrous in every sense of the word. The band I’m talking about, of course, is Eden Shadow.

‘Melodies for Maladies’ is one of those albums that, musically, a person finds to be perfect in every way, but either the rest of the world doesn’t think so or the band just isn’t very lucky, because few others get to share that glory. In place of the archetype ‘Metal with some Prog Rock’ influence that most Progressive Metal bands use, this band actually plays something of an opposite, instead adding Metal influence to a very evident Progressive Rock structure.

There’s nothing more valuable than a good opener track; it starts the album off on the right foot and in many cases, can make or break a listener’s enjoyment.  While ‘Ventriloquist’ starts out a bit slow it’s certainly forgivable, because it picks up fairly quickly. During its ten-and-a-half minutes the song is changing moods, making it for an amazing experience, overall.

Probably one of the most standout factors of any Metal recording is the riff work. In many cases – more so with Progressive Metal than anything – the riff work is at the forefront of the music in a very obnoxious manner, and it overshadows the rest of the things going on in a song. With Eden Shadow this isn’t the case; as I said earlier, they seemingly take a Progressive Rock structure and blend it with elements of Metal to produce what I find the sound of Progressive Metal SHOULD be. In Eden Shadow’s case, the guitar is used pretty regularly, but it’s never obnoxiously placed at the forefront of the music, and instead falls into place with everything else that’s going on. Between the catchy riffs, melodious leads, and soothing acoustics (‘Edge of Insanity’), Eden Shadow’s riff work is definitely worthy of praise.

A couple other things that really stood out were the vocals and, quite surprisingly, the keyboards. All of them, including guitars, courtesy of Ryan Mark Elliott. There’s always been something about woodwind instruments that I’ve found organic, and the masterful use of the flute courtesy of renown Theo Travis on the epic “Introspect Part 2” gives the music that extra warmth that many of its contemporaries lack. In addition to the use of flute, the vocals found on much of the album are quite easy to digest, but at the same time are fairly unique and can be recalled quite easily.

In conclusion, this album is something that everybody who listens to Progressive Rock or Progressive Metal on ANY scale should listen to, hands down. I believe the term ‘the best band you’ve never heard of’ comes into play here, and with an album this good, it’s incredibly easy to say. In a scene where there are numerous clones and rehashes, this album is a breath of fresh air.

Buy “Melodies for Maladies” from Bandcamp.

Review: Kyros – Vox Humana


Although Kyros, formerly known as Synaesthesia, has been around for a few years now, the Londoners are gradually coming to accept their position in the vanguard of interesting British rock. In some ways Vox Humana is, naturally, the most explicitly progressive statement they’ve made since their inception.

What is significant here is that the self-imposed structure seems to have given the band a greater freedom in their craft. As if released from the weight of a requirement to create rational, self-contained songs, the pieces that make up Vox Humana feel much more freely creative than the group’s previous effort. Ideas flow between and through the tracks with wild abandon, and simple moments create a drama far beyond the sum of their parts.

First impressions of Vox Humana are of an album that would appeal both to newcomers and to those that are already familiar with the band’s work. Kyros is at the top of their game here; with such a rich heritage, brittle pop-prog and more, this band is a real tour-de-force and something to look for in the future.

Repeated listens of Vox Humana have just made it easier to fully understand the story and delve deep into this large chunk of material. The album is a culmination of the musical ideas present in the previous album but with unleashed avalanche of creativity. It is a pinnacle achievement, an album to be savoured, and one which begs the question – where next?

Pre-order ‘Vox Humana’ from Kyros’ BigCartel page.

Interview: Ryan Mark Elliott of EDEN SHADOW


Eden Shadow is an art / progressive rock project by led by young composer and multi-instrumentalist Ryan Mark Elliott, hailing from Cardiff in Wales. The new album, “Melodies for Maladies,” has just been released and it can be said that this record is one of the 2016’s hidden gems.

In an interview for Progarchy, Ryan tells us about the album and his future plans with the project.

Alright, first thing is first. Before we dive into all the music stuff, how’s life?

It is great thank you. Very musical, be it creating, performing or teaching music. That’s the way I like it to be!

Speaking of new music, you have an album. What can people expect from “Melodies for Maladies”?

Big dark riffs! It is a very riff driven album and significantly more metal than my previous records. Despite plenty of riffs, there is a lot of contrast with plenty of symphonic moments and space, which is why I suppose you would define it this record as a ‘progressive’ record. I love to write music with plenty of contrast in feel, dynamics and tempo.

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