Scottish duo Midas Fall (Elizabeth Heaton and Rowan Burn) release their fourth album,‘Evaporate’, on 27 April.
“Bruise Pusher”, the opening track from the album, is a visceral display of ferocious beauty which alternates between Elizabeth Heaton’s delicate vocals and a savage cacophony of guitar, drums and synths, to create a disconcerting atmosphere.
“Bruise Pusher is about living in a volatile environment, constantly anticipating the underlying tension erupting into something hideous and unsettlingly familiar”, says Heaton. “The song started with just a simple piano melody, so to develop the track we used a lot of guitars with rumbling, saturated reverbs and gradually added heavy synths to create textured, expansive choruses.”
Produced and recorded by Elizabeth Heaton, ‘Evaporate’ shimmers with a dark, gothic grace, conjuring stunning soundscapes at every turn. The album will be released worldwide by Monotreme Records on April 27th on CD and digital formats, as well as a limited pressing of 500 LPs on 180-gram vinyl (200 black and 300 clear blue/black).
Thirteen years ago Kino opened the doors and eager fans flocked to the blockbuster ‘Picture’.
Starring a stalwart cast of Trewavas, Mitchell, Beck and Maitland, much was expected. Fans and critics alike gave the collaboration a warm reception and they toured venues with Spock’s Beard.
One may have expected to see this Super-group follow up their success with a ‘part 2’, or a ‘return of’, individual commitments permitting, but it all went quiet.
The projectors stopped rolling and the doors closed. Dust settled on the red velour seats, whilst spiders built webs across discarded popcorn containers and their remaining contents long since dried and adhered to the now moth eaten carpeted steps. The lights went out, the drinks machines dried up and a distinct musty hot dog scent drifted on the dust motes, floating across the sunbeams coming through the smeared window panes of the foyer.
Nothing in the last 13 years, barring a vinyl release of ‘Picture’, until, out of hibernation they emerge with new offering ‘Radio Voltaire’.
So what to expect, most of the original cast are back, starring John Mitchell (Lead Vocals/Guitar) and Pete Trewavas (Bass/Backing Vocals) with special guest appearance from John Beck (keyboards) along with a co-starring role for Craig Blundell on the drum stool, replacing Chris Maitland who had in reality already left the band before the release of ‘Picture’due to other commitments.
But this is a somewhat different affair to the first album and was a far shorter gestation period in the making, with the main driving forces being Trewavas and Mitchell (who also produced, coordinated and organised everything). Having been ready to start work on a further Lonely Robot album, it was suggested by Inside Out that Mitchell might consider the idea of a new Kino album and after a fruitful meeting with Trewavas unearthed the fact they both already had some material between them, they completed the writing process in August 2017. The recording process ran smoothly and was completed over the final two months of last year.
Will this album bring them back into the spotlights again and reintroduce the glitz and glamour of yesteryear to become another cinematic offering to great applause, or will it be confined to the bargain bins with lacklustre ‘B’ movies, as the ravages of time dealt their scorn and indifference?
With a striking album cover design from in demand artist Paul Tippet we’re off to a good start, let’s see. The lights go down, the curtain opens and the silent motion of the digital projection hits the screen…
A crackling German 1920’s radio announcement for Radio Voltaire the title track, preceding John Beck’s swirling keyboards before guitar punches from the gramophone speakers, settling into John Mitchell’s familiar voice building harmoniously on driving rhythms from Messrs Trewavas and Blundell, to epic guitar swashbuckling from Mitchell in his own inimitable style, as scene one fades in the echo of sonar.
Dusty German voices (must get the stylus cleaned) introduce the plunking keys of first single, The Dead Club, as heavy driving guitars and ‘spacey’ swirly knob/key twiddling projects into our ears as this scene races along, spewing PopProg fuel in it’s wake. Building into an edgy musical storm before the repeated track title from John 1 concludes with John 2 stabbing furiously at those terrified keys and we are blasted off track from a ray-gun synth. Kino are flying.
Gentle, haunting keys from the fingers of John Beck break the pace as John Mitchell pitches the emotional vocals and beautiful lyrics of Idlewild perfectly. Swelling gradually, it comfortingly fills all your instrumental emotions as you sit transfixed on the ballad playing out on the screen, dabbing at the corner of your eyes.
A pastiche of 70’s classic rock influences abound on track 4 which, without the guidance of our illustrious Director in Charge, Mr Mitchell could easily have fallen into a derivative mess. I Don’t Know Why anyone could possibly think this fabulously talented quartet wouldn’t pull it off, as they are all performing at the top of their game, adding just the right touches to keep it a refreshing, glittering smile and wink homage.
We are returned to a twenties, cobwebbed vocal/piano introduction (where is that needle brush?) which is suddenly robbed by a cheeky riff on The Who’s ‘Won’t Get Fooled Again’ from Mr Beck, as JM tells us I Won’t Break So Easily Any More. Blazing guitar work, throbbing bass and thundering drums between only slightly restrained verses, with a nod to a MMEB keyboard style, are all rolled into a perfect Kino energy bar.
A Baroque style, acoustic guitar and piano riff dance balletically round Temple Tudor castles, as the wistful lyrics are delivered with honest emotion, crafted beautifully.
The ticking clock with ringing alarm bell, breaks us from our reveries as we are rocked into a warning of our own mortality spanning genres and tempos as we are advised we are running Out Of Time. Pete Trewavas and Craig Blundell shine and glisten like polished glass, as they blend in and out of each other. The commanding bass rhythms are splashed with drops of time signatured percussion that leave you hanging on the edge of your seat wishing it would never end. Anyone who knows me is aware I am not a great lover of jazz, so believe me when I tell you this is a delicious feast for the ears.
Relax in hazy summer keys and soft wispy clouds of vocals as they float above us in the Warmth Of The Sunbasking in this soothing moment of relaxation.
Craig Blundell‘s percussive patterns navigate us back on board for the ride around Grey Shapes on Concrete Fieldschanging tempo and showcasing his phenomenal mastery with panache. Driven with keys, guitars and vocals on a race, hitting a breathless abrupt end, that comes all too soon for me. You just want tracks like this to never end.
If there is to be a ‘B’ movie actor on this award hunting album, it would be this track for me though I should Keep the Faith. There is nothing inherently wrong with the music or vocals, but it treads water after the fire of the previous track and the relaxing interlude before it. As the penultimate track it applies the brakes as we had just begun to press the accelerator down the finishing straight.
All is forgotten as the The Silent Fighter Pilot, flies into view for our final foray across the silver-screen, engines roaring defiance as it passes overhead. Telling the the story of a fighter pilot giving his life, through John Mitchell‘s embittered vocals with his raging guitar showering notes like bullets of vengeance. Struck by the futility of war, a fatal blow that sees the track spiral out of control to it’s tragic demise, in a haunting memory.
I’m struck silent for a minute and the Wow!
Wow! Wow! WOW!
‘Radio Voltaire’ is a must buy for anyone who liked ‘Picture’, who rate anything the band members have produced in the past, in fact all lovers of Prog music at it’s most sublime.
Everyone performs like their lives depend on it, with a joyous freedom to explore, whilst keeping the Kino sound they have built, but expanding the experience to ear busting IMAX levels.
I declare this cinema well and truly open for business and suggest getting your tickets booked, this could attract a full house, night after night.
2nd March 2018 – On 2nd April Marillion release ALL ONE TONIGHT the live DVD of their Royal Albert Hall Show filmed in October 2017. On 26th March, there will be screenings of the show in 6 Everyman Cinemas across the UK. Marillion will host the screening at the Kings Cross Everyman. Tickets available from:
On October 13 2017 Marillion played the Royal Albert Hall for the first time in their near forty year career. The show sold out in minutes, a full year before the band took to the stage at the iconic London venue. The audience, many of whom had travelled over oceans for the show, were treated to a Marillion show like no other.
In two parts, ‘All One Tonight’ firstly showcases the band’s acclaimed 2016 studio album ‘F E A R’ in full. Accompanied by an awe inspiring light show and films, Marillion perform their incisive and era defining zeitgeist with unparalleled passion and power.
The second half introduces In Praise of Folly and guests, a string quartet with flute and French horn that throughout the rest of the show inject an extra depth and emotion to some of Marillion’s best loved live material. Once again, with amazing lights and audience participation, Marillion steal the night, proving that they more than belong on the stage that has been trod by the most acclaimed musicians. Directed and edited by Tim Sidwell, recorded and mixed by Michael Hunter, ‘All One Tonight’ is a Racket Records and Toward Infinity production.
Marillion embark on their UK tour on 8th April.
FULL 2018 Tour Dates are:-
Date City Venue
Sun 8th April Belfast Ulster Hall NEW DATE
Mon 9th April Dublin Vicar Street NEW DATE
Wed 11th April Gateshead The Sage last few tickets available
Fri 13th April Cambridge Corn Exchange SOLD-OUT
Sat 14th April Birmingham Symphony Hall SOLD-OUT
Mon 16th April Brighton Dome last few tickets available
Tue 17th April Bristol Colston Hall SOLD-OUT
Thu 19th April Reading Hexagon SOLD-OUT
Fri 20th April Liverpool Philharmonic Hall SOLD-OUT
Sun 22nd April York Barbican NEW DATE
Tickets available from myticket.co.uk, seetickets.com & venue box offices.
Ex-Enid frontman, Joe Payne relaunches as soloist “That Joe Payne”, announced direct from his website, published Friday 1st December 2017. He states, “After months of hard work, writing and recording, I am delighted to announce my return to music after a long and much needed rest.” Referencing to his updated name, Payne explains “If you’re wondering where “that” came from… It’s a reminder to myself never to allow my anxiety to break me again.”
Payne is best known for his work as frontman of progressive rock outfit, The Enid (2011-2016). In April 2016, shortly after the release of their last album, Dust, Payne fell ill with depression and anxiety. Unable to work, he officially announced his departure from The Enid in September 2016. His personal achievements include being voted Best Male Vocalist for two years running in the Prog Magazine Readers’ Poll (2014 & 2015) and three Progressive Music Award Nominations.
The singer songwriter has launched pre-sales for his debut single, ‘I Need a Change’ via his online shop. He describes the song as “the most heartfelt thing I’ve ever done” and “8 minutes and 23 seconds of pure unadulterated me.”
The music, written and arranged entirely by Payne, was brought to life in the studio with the help of three other recently retired Enid members; Max Read (singer and producer), Nic Willes (drums and bass) and Duncan McLaughlan (guitar). Artwork and typography have also been credited to Louis Sidis and Martin Kielty.
The record will be released in sync with the artist’s first live performance in almost 2 years. A re-launch show in his hometown of Northampton, at a converted cinema called The Picturedrome. Payne tells his followers he’ll be performing “the best of my back catalogue” for this one-off event, including songs from The Enid and other collaborations.
Tickets on sale now at www.seetickets.com.
I Need a Change (Single)
Track List:
A: I Need a Change
B: Moonlit Love
Bonus Tracks (CD ONLY):
3. I Need a Change (45 Edit)
4. I Need a Change (Piano & Lead Vocals)
5. I Need a Change (String Quintet & Lead Vocals)
6. I Need a Change (Choir & Lead Vocals)
7. I Need a Change (Full Arrangement, no Lead Vocals)
Described by Prog magazine as sounding like “Queen having a barney with Dream Theater as Rush and Iron Maiden duke it out on the sidelines,” UK Prog Metallers HeKz have announced that their third album, “INVICTA”, will be released on Friday 20th April 2018 via BMH Audio.
Taken from the Latin word for “unconquered”, INVICTA is a celebration of perseverance and resilience. The ten songs come together to form a story of betrayal, loss, reconciliation and hope. Far from straying into the realms of fantasy, the songs are rooted in real experiences, reflecting the triumph and defeat that we all encounter on our journey through life and, in the case of the latter, how we can choose to be consumed by it, or fight on and emerge stronger.
“Each time we start a new album, it feels like we learn a little bit more about the DNA of HeKz and, at the same time, find new elements to add to it,” says Matt Young (lead vocals/bass).
“I feel that INVICTA is a great reflection of that, as you’re going to hear all of the things you’d expect from us but with some flavours we’ve never explored before. We’ve drawn on new influences for some of the songs, some of which would seem like an odd combination with the sound we’re known for, but we’ve tackled them in our own way and it blends superbly with what we do to create for some exciting moments in the album.”
“I think that this experimentation comes from allowing ourselves a little bit more time to collaborate on the songs this time, and the results of that combined effort have really lifted the album. I can’t wait for everyone to hear it!”
INVICTA was recorded at Liscombe Park & Visconti Studios, and the band’s home studios in and around London, and was mixed by producer extraordinaire John Mitchell (Lonely Robot, Kino, It Bites, Frost*, Arena) at Outhouse Studios, UK.
The album is currently available for pre-order from www.hekztheband.com, and will be released worldwide on Friday 20 April 2018. Fans who pre-order before Friday 23rd March will receive their copy one month before the official release date.
INVICTA Tracklisting
1. Quetzlcoatl (6:08)
2. For Our Lives (4:13)
3. The Light Fantastic (4:44)
4. To The Lions (5:10)
5. Ultimatum (6:07)
6. Line in the Sand (9:42)
7. Trecena (4:49)
8. Pariah (4:12)
9. The Devil’s Coin (15:03)
10. Victorious (5:39)
HeKz will be performing a select number of live shows to launch the new album:
Friday 23rd March – Parkvilla Theater, Alphen a/d Rijn, Netherlands
Friday 27th April – Winter’s End Festival, Chepstow, UK w/ MYSTERY
To keep up to date with all of this and more, join the band on social media and subscribe to their newsletter at www.hekztheband.com.
Web links:
www.facebook.com/hekztheband
www.twitter.com/hekztheband
www.youtube.com/hekztheband
HeKz are: Matt Young – Lead Vocals, Bass Al Beveridge – Guitars, Backing Vocals Tom Smith – Guitars, Backing Vocals James Messenger – Keyboards Kirk Brandham – Drums
Legendary US progressive rockers Spock’s Beard have announced the release of their 13th studio album ‘Noise Floor’ for May 25th, 2018. As announced previously, for this album Ted Leonard, Alan Morse, Dave Meros & Ryo Okumoto are joined in the studio once again by drummer & original member Nick D’Virgilio.
Spock’s Beard is a band that is in a continual state of evolution, as is always the case with genuinely creative musicians. And their new album, ‘Noise Floor’, fits perfectly into this process.
We are always about evolution, not revolution. But what we have done this time is make the songs more melodic,” believes vocalist/guitarist Ted Leonard. “We still love our crazy prog, but now appreciate how important it is to grab people’s attention early on.”
As with all Spock’s Beard songs, most of the new album was written by the individual members, and then brought to the rest of the band as high quality demos. “We all do this type of thing in our home studios,” adds Leonard. “So, by the time they reach the stage where the entire band get to judge them, they are really developed, and therefore everyone can make a reasoned judgement.” Much of what you will listen to here is very much the product of fresh inspiration from the Californian band.
One key change on this album sees the return of drummer Nick D’Virgilio, who originally left in 2011. There are also two violinists, a cello player, a viola player and an English horn featured on the album, thereby giving the sound a slightly more evocative and persuasive twist.
The album was once again engineered by long-time collaborator Rich Mouser and will be released as a 2CD digipak (featuring an EP of material from the same sessions), gatefold 2LP + 2CD & as digital download.
The track-listing is as follows:
Disc 1 – Noise Floor
1. To Breathe Another Day
2. What Becomes of Me
3. Somebody’s Home
4. Have We All Gone Crazy Yet
5. So This Is Life
6. One So Wise
7. Box of Spiders
8. Beginnings
On 25th March prog icons, YES, will release a brand-new mix of their album Fly From Here –Return Trip, featuring the Drama line-up and new lead vocals by Trevor Horn, to coincide with their 50th Anniversary celebrations.
Fly From Here – Return Trip can be pre-ordered via Pledge Music here:
The original 2011 release of Fly From Here featured the band members who appeared on Drama: Chris Squire, Steve Howe, Alan White, Geoff Downes, plus Benoit David on lead vocals with Trevor Horn in the role of Producer.
The addition of Trevor’s lead vocals has produced a genuine sequel to Drama. Fly From Here – Return Trip was developed as a labour of love for all involved and the new vocals were recorded over the last two years amidst other commitments. Trevor began re-recording the lead vocals the day after he guested with YES at the Royal Albert Hall in 2016 and within 24 hours the rest of the band had joined him at his studio. Additional overdubs by other members have also been added.
In addition to remixing parts of the album, Trevor has added personal liner notes and the sleeve design features the painting by Roger Dean originally used on the inside of the 2011 edition.
Trevor Horn says: “I really enjoyed listening to Alan and Chris playing together again. Finishing off the album was a labour of love.”
Fly From Here – Return Trip also contains a previously unreleased song, ‘Don’t Take No for an Answer’ recorded in 2011, with Steve Howe on lead vocals. Additionally, the full-length version of ‘Hour of Need’ is included. This has previously only been included as a Japanese bonus track.
“It is great to have the original Drama line up playing Fly From Here plus several other songs Trevor had a big part in writing.” Comments Steve Howe.
Geoff Downes adds: “It’s quite amazing what Trevor has done with the album and the way it has turned out. It is most refreshing and adds a whole new dimension to the original recordings from 2011. I think the fans will appreciate it as a genuine sequel to the Drama album, and embrace it as a valuable part of our YES50 celebrations.”
Track Listing:-
Fly From Here – Overture
Fly From Here Pt 1 – We Can Fly
Fly From Here Pt 2 – Sad Night at the Airfield
Fly From Here Pt 3 – Madman at the Screens
Fly From Here Pt 4 – Bumpy Ride
Fly From Here Pt 5 – We Can Fly (Reprise)
The Man You Always Wanted Me to Be
Life on a Film Set
Hour of Need (full length version)
Solitaire
Don’t Take No for an Answer
Into the Storm
The album is a long-awaited treat for all YES fans and following Chris Squire’s passing in 2015, represents the last chance for fans to hear a follow-up to the classic YES release Drama which reached number 2 in the UK album charts in 1980.
The album is available to pre-order now exclusively via Pledge Music, plus some extra Roger Dean images and Pledge offers, and fans will be able to collect their orders, or buy direct for the first time, when YES attends the 50th Anniversary Fan Convention at the London Palladium on 25th March 2018 as part of their eagerly anticipated March 2018 UK tour. Trevor Horn will be guesting with Yes at the London Palladium [both shows] and Paris. Please see the tour dates below.
MARCH 2018 (UK & Europe)
Tues 13th Bristol Colston Hall
Wed 14th Sheffield City Hall
Fri 16th Glasgow SEC Armadillo
Sat 17th Manchester Bridgewater Hall
Sun 18th Gateshead Sage
Tues 20th Birmingham Symphony Hall
Wed 21st Brighton Centre
Fri 23rd Liverpool Philharmonic Hall
Sat 24th London Palladium
Sun 25th London Palladium
Tue 27th Tilburg 013
Wed 28th Antwerp De Roma
Fri 30th Paris Olympia
UK Tickets available from BookingsDirect.com 24hr Ticket Hotline 0844 249 2222 (subject to fees). Also available from venue box offices and select authorised ticket agencies.
Front row, Meet & Greet & VIP packages are available from YESWORLD.com
There is no support. Please see ticket for start time.
DBA (Downes Braide Association) release the second track from their recently released album Skyscraper Souls. Skin Deep featuring Marc Almond. The track is available now from iTunes or as part of the album.
Guests on Skyscraper Souls include Marc Almond, Andy Partridge (XTC), David Longdon (Big Big Train), Matthew Koma, Tim Bowness and Kate Pierson.
Chris Braide has worked with a multitude of artists including Marc Almond (featured on this track), Lana del Ray, Paloma Faith,
David Guetta, Beyonce & Sia the list is endless.
Geoff Downes has played keyboards with The Buggles, Asia and YES.
Let’s keep music alive. There have been many posts on social media about venues shutting down and sparse audiences for many live gigs but, if Magnum’s gig as guests of Saxon at Hull City Hall last Sunday is anything to go by then the older generation are happy to go out and support live music in their hundreds (if not thousands!).
Now I was there on a press pass to review the Magnum gig so you’ll not hear too much about the other artists here but, suffice to say, it was varied enough to suit all rock music tastes and while Rock Goddess sounded good from the bar (I was in the bar, not the band), Diamond Head were consummate performers with a drummer who was a dead ringer for Matt Sorum of Guns n’ Roses fame. However the vocalist just didn’t gel for me, not to say he didn’t have a good voice, it just wasn’t one for me.
As for Saxon well, they put on a hell of a show, a very LOUD show which the packed crowd absolutely loved. There was a bit of argy bargy in the mosh pit at the front but a few well aimed expletives from a resplendently attired Biff Byford soon calmed that down. What a voice he has got too, you’d never guess he was nearly 70, he hit every note with power and glory. For me it was a shame that new material from ‘Thunderbolt’ just seemed to blend into one but the classic tracks like 747 (Strangers In The Night) actually threatened to bring the house down!
For me Magnum were the definite highlight of the evening and put on one hell of a live show, Bob Catley wanders the stage like your favourite uncle nowadays but, boy, does he still have one hell of a voice. Opening the set with crowd pleaser When We Were Younger from ‘Princess Alice and the Broken Arrow’, the band never hit a duff note and silent assassin Tony Clarkin showed just what a genius he is on the guitar, orchestrating the band’s every move with precision. A powerful version of Sacred Blood, Divine Lies(from the album of the same name)had the crowd in rapture as Bob’s partner in crime Al Barrow provided a bassline powerful enough to knock over mountains. It has to be said that Hull City Hall doesn’t have the best acoustics but the guys were on top form so it hardly seemed to matter, Tony firing off a wicked solo and the applause threatening to drown out the sound.
Next came the first (and title) track from the new album and Rick Benton’s first chance to really shine on the keyboards, I have a feeling Lost on the Road to Eternity is going to become a firm fan favourite at live gigs and seemed to fit the setlist perfectly. A wild rock ride with Bob leading the way, there were middle-aged (and older) people rocking away in front of me and it was great to see more than a smattering of young faces joining the fun. The slow burning intro of Crazy Old Mothers ramps up the anticipation of this anthemic track. Bob had the crowd in the palm of his hand on the emotive verse before Lee Morris leads in the mighty chorus with his thunderous drums. A song and atmosphere that just had you riding the crest of a wave with a ridiculous grin on your face.
We return to the new album for the balls out rocker Peaches and Cream with Tony’s hard rocking riffing and the energetic drumming from Lee leading the way. It’s hard to believe Bob and Tony are both over 70 as they can rock with the rest of them and, boy, can they write a banging tune! The crowd are starting to jump and wave in the air and the energy can be felt throughout the hall, Mr Catley still has huge lungs, his vocal power is amazing and his voice has lost none of its whiskey soaked edge. We head back to the 1980’s and the wonderfully evocative Les Mortes Dansant from the band’s classic album ‘On A Storyteller’s Night’ and what a spine tingling version it is, Bob’s voice and Rick’s keyboards have the hairs on the back of your neck rising. I’m surprised there were no lighters lifted up (or is it iPhones nowadays?). An emotional and truly stirring rendition with a compelling vocal and mighty guitar, wonderful stuff!
The new album has some excellent rock standards on it, as well as the already played Peaches and Cream there’s the excellent Show Me Your Hands where guitar and keyboard lead us on a rollercoaster ride of hard rock and Bob has virtually the whole audience raising their hands and swinging them from side to side. I swear the applause, cheering and whistling gets louder after each song. Another classic from On A Storyteller’s Night’ follows and it’s a track I’ve not heard much, the hard rocking All England’s Eyes is accorded a great welcome from the knowledgeable crowd and the band proceed to give us a dynamic and forceful version of the song that, once again, has us all dancing and singing along. To my eyes (and ears) the guys are really enjoying themselves and are on top form tonight.
Just when you thought things couldn’t get any better the band launched into a rocking version of the classic Vigilante (from the album of the same name) and it gets the audience bouncing even more, as soon as the highly recognisable riff begins they are off. Just like Bob actually, he is really on it tonight, his voice and presence commanding the stage and hall, everyone in the crowd are in the zone and enjoying every note. The mountain crushing rhythm section of Lee and Al go into overdrive on this song and you can feel it right in your solar plexus, I’m singing along to the chorus as if I was 19 again! Too soon it is time for the show to come to an end but Magnum go out with a bang with one of my favourite tracks of theirs. ‘Wings of Heaven’ was the band’s biggest album, released in the late 1980’s and spawned a few hit songs but it also contained the lengthy Don’t Wake The Lion (Too Old To Die Young), ten minutes of almost progressive tinged hard rock and we are treated to a superb version this night. Bob prowls the stage like the leader of the pride and the crowd are in rapt attention as Rick delivers the slow burning keyboard section. You can feel the tension rising in the hall as the music plays, Bob’s vocal building up to the compelling chorus and the crowd finally bursts out along with Bob to sing, “Too old to die young, too big to cry, too old to die young, say goodbye…”. I went along with some friends who didn’t really know much about Magnum and they were absolutely blown away, especially by this track and it surely took me back many a decade but that’s what music does, isn’t it? When a night is as good as this, it’s always a shame for it to come to a close but the guys finished to rapturous applause, cheers and whistles and a see of happy faces.
A fantastic evening of music and a wonderful performance from one of my favourite bands, music, for me, is fantastic and life affirming and live, like tonight, it just doesn’t get any better.
“Sisyphus” was originally released in Europe in early 2017 as a digital-only release by Ten Jinn, however, there has been a large demand for a CD release and even a vinyl release. The CD is set for an early spring (2018) release.
About The Album
Sisyphus is an eight-part programmatic work that tells the story of the founder and King of Corinth after whom it is named. Because of affronts to the gods while alive, Sisyphus was condemned in death to spend eternity in Hades rolling a boulder to the top of a mountain, only to have it roll back down each time he completed the task; this also speaks to the essay, “The Myth of Sisyphus,” by Albert Camus, who used the myth as a means to comment on the senseless, repetitive drudgery of modern life.
Originally written as a classical work (a symphonic poem for string orchestra and piano) the Ten Jinn production involved reworking the piece to include the addition of rock instrumentation. We got the idea to add vocals to make it more consistent with earlier Ten Jinn albums, and the plan was then to fill out the record with other new material; however, at one point during the process we decided to do an instrumental mix and use it as a “flip-side,” instead, because we wanted to include a version that was representative of the original idea, which had its own unique “flavor.”
John Paul Strauss: Lead and backing vocals, Keyboards
Mark Wickliffe: Drums, Bass & backing vocals
Ken Skoglund: Guitars & backing vocals
Mike Matier: Guitars
A Statement from John Strauss
I have known about Nick Katona of Melodic Revolution Records for a while now, having seen him at RosFest for several years in a row (donning his signature top hat with a classy presentation of product second to none). However, it was only during the 2017 iteration that I finally had a chance to speak with him at great length. What I found was a passionate, intelligent man; a kindred spirit in attitude towards life in general, and music in particular.
I went to his website and checked out a number of the artists on his label. What I found was an eclectic offering of artists all with one thing in common – superior musical talent. Along with a laid-back, yet serious, approach to getting this music heard, I thought that his label would be the perfect partner for Ten Jinn. So, I handed him a promo copy our new record Sisyphus, we spoke again a while later and decided to work together. I speak for myself, and rest of the band, when I say that I am very excited about our upcoming CD release of Sisyphus on MRR, and hope this will be the first of many more to come.
