It is with great sadness that we announce that English singer-songwriter Judy Dyble passed away on 12th July 2020 following a long illness borne with great courage.
Judy Dyble was one of the pioneers of the English folk rock scene in the 1960s, most notably as a founding member of Fairport Convention and vocalist with cult band Trader Horne.
Judy largely withdrew from the music scene in the early 1970s to concentrate on her family before being invited back to the Fairport fold in 1997 for the 30th anniversary reunion at Cropredy. To Judy’s great relief, her worries, ahead of the event, disappeared as ‘suddenly the years fell away.’ Further Fairport anniversary appearances reassured Judy and showed that her passion for music had remained through the years and she made three albums with Marc Swordfish, of Astralasia, as she began a revival of her music career.
This included numerous guest appearances on albums by a host of artists including, in 2017, Big Big Train. Judy went on to form a close working relationship with Big Big Train’s multi-instrumentalist frontman David Longdon. Together they will release their album Between A Breath And A Breath on 25th September 2020, with Longdon providing the music for Judy’s poignant lyrics.
Two songs from the Dyble Longdon sessions which are not included on the album, Crossbones and The Daguerreotype, will be released by English Electric in the autumn subsequent to the release of Between A Breath And A Breath as a tribute to Judy Dyble via Bandcamp.
The lyrics for Judy’s final collection of songs are, at times, haunting and beautifully fragile, dark in tone but neither morbid nor desperate. Specifically, The Daguerreotype looks at how the Victorians dealt with death, turning it into an art form.
In accordance with Judy’s request, Crossbones and The Daguerreotype will be made available as free downloads, with listeners being encouraged to make a donation to Judy’s chosen charity, the Barley Greyhound Sanctuary (www.barleykennels.co.uk/) if they wish.
David Longdon says: “It is with great sadness that I write to say that my dear friend Judy Dyble passed away this morning. Judy and I became friends during the writing and making of this album. Along the way, there was much laughter and joy – but also challenging moments. She was a woman of a certain age and she wrote articulately and unflinchingly about the autumn phase of her life.”
“She dealt with her illness with incredible courage and fortitude. She suspected this album was her swan song and she gave it her all. Judy reassured me that she’d had a great life. Which indeed she did. And I will miss her greatly.”
We wish to express our deepest sympathies to Judy’s family, friends and many associates from her musical career at this time.
Judy’s family would like to thank her fans for their messages and good wishes on social media over the last few weeks, but at this time ask that they avoid contacting them for now as they would just like some quiet time.
World acclaimed keyboardist Derek Sherinian, (Sons of Apollo, Black Country Communion), one of the most significant keyboard players of the modern era, has signed to InsideOutMusic for the release of his new solo album ‘The Phoenix’ on the 18th September 2020, his first since 2011’s ‘Oceana’. Derek comments: “I truly feel that this is my best solo record to date. Simon and I put a lot of energy into the writing, and I am grateful to all of the great players that contributed to this recording.”
Once again, Sherinian has teamed up with drummer extraordinaire Simon Phillips, who not only plays drums but also co-produced and co-wrote the album: “It is always an amazing experience to be able to work with Simon. He’s been a hero of mine for ages, ever since I heard him playing on albums with Jeff Beck and Michael Schenker. And he is such an invaluable part of the way this new record has come out.”
There are a number of top line guests featured on ‘The Phoenix’, as has been the case in the past for Sherinian, on both guitar and bass. Some have become regular contributors to his solo sessions. People such as bassists Tony Franklin (“He’s been on all my albums to date”), Jimmy Johnson and Billy Sheehan (Sherinian’s bandmate in Sons Of Apollo). Plus guitarists Joe Bonamassa and Zakk Wylde. In addition, others are welcomed into the fold for the first time. For instance, there’s master guitarist Steve Vai. “Steve Vai has always been on my hit list. But it was when I played keyboards on the Generation Axe tour of Asia in 2017 that I asked him to play on my record, which he gladly accepted” Also present are Sons Of Apollo bandmate Ron ‘Bumblefoot’ Thal (Sons Of Apollo) and Kiko Loureiro (Megadeth).
“Kiko and I have known one another for about 20 years. But this is the first time I’ve had the opportunity to play with him.”
The album features 8 tracks, including a cover of Buddy Miles ‘Them Changes’, and will be released as a Limited Edition Digipak CD, 180g LP + CD & as Digital Album. Find the full track-listing below:
1. The Phoenix
2. Empyrean Sky
3. Clouds of Ganymede
5. Temple of Helios
6. Them Changes
7. Octopus Pedigree
Derek Sherinian’s far ranging talents have been much in evidence through the music of Alice Cooper (who once called him “The Caligula of keyboards”), Dream Theater, Black Country Communion and current band Sons Of Apollo. Moreover, proving just how much he is demand to work with rock royalty, Sherinian has also toured and recorded extensively with KISS, and Billy Idol, proving his classic and hard rock pedigree, whilst also being voted #9 in Prog Magazines greatest keyboardists of all time.
Lonely Robot, the project masterminded by producer, guitarist and singer/songwriter John Mitchell (Kino, Frost*, Arena, It Bites), are set to release their fourth album ‘Feelings Are Good’ on the 17th July 2020. Now, a second track from this record has been released featuring an impressive video by Miles Skarin of Crystal Spotlight:
John Mitchell has the following to say about this song: “’Spiders’ is a song about a woman, nay wolf in sheep’s clothing, who chose a path of greed and wretchedness and exploited her position of trust at a time of weakness when she COULD have done the exact opposite. Long since gone but never forgotten for all the wrong reasons.”
‘Feelings Are Good’ marks sort of a fresh start following the conclusion of the ‘The Astronaut Trilogy’ as John explains: “‘Feelings Are Good’ is a bit of a departure from the first three Lonely Robot albums. On ‘Feelings Are Good’, I wanted to explore more personal themes and the songs are very much about individual experiences and narratives that I believe had been the cornerstones, good and bad, to my life. The long tall and short of it is that we’re back on planet Earth, and I have a personal lyrical axe to grind!”
‘Feelings Are Good’ is now available for pre-order and will be released as a Limited Edition CD Digipak, Gatefold 2LP+CD and as Digital Album in both 16 & 24 bit versions (all including 2 bonus tracks). Pre-order the album from a variety of partners here: https://lonelyrobot.lnk.to/Feelingsaregood
Lonely Robot will hit the road in December 2020 for some select headline dates, and you can find a list of those below:
Dec 13th Islington Assembly Hall, London, UK
Dec 16th Riff, Bochum, GER
Dec 17th Das Rind, Rüsselsheim, GER
Dec 18th Muziekgieterij, Maastricht, NL
Dec 20th De Boerderij, Zoetermeer, NL
John Mitchell is a man with a rich musical heritage and history – from musician and vocalist, to songwriter and producer. With bands like Arena, Frost*, Kino, It Bites and Lonely Robot, to name but a few, Mitchell has left his mark on the current progressive rock scene and has been involved in dozens of recordings. He is also a respected producer & mixer, running Outhouse Studios in the UK and working with artists as diverse as You Me At Six, Enter Shikari, Alter Bridge, Asia, Don Broco, Funeral For A Friend, McFly & much more.
Swedish multi-instrumentalist Rikard Sjöblom recently announced his new album under the Gungfly moniker, ‘Alone Together’. Set for release on the 4th September 2020, it followsan extremely productive past few years, whether it be working with English progressive rockers Big Big Train, or taking the lead with Gungfly.
Today sees the launch of the first single ‘Happy Somewhere In Between’ and you can watch the video here:
Rikard comments: “I wanted to write an upbeat prog-rocker about a subject I was reading about, and got intrigued by: the dynamics in a relationship – how one person can be needy and the other one avoidant. These personality traits sometimes attract each other but then things get problematic when one needs a lot of attention and the other one tends to feel trapped by it. It’s also about mixing things up in general and pretty much a fun song about serious stuff.”
Rikard comments: “I started writing these songs about a year ago but then it took some time to get started with the production because I had two tours lined up, one with Big Big Train in November and then opening solo for The Flower Kings on their European tour in December. After that my focus shifted back to Gungfly and it felt really nice so it all came together pretty fast!”
‘Alone Together’ saw Gungfly recording as a trio, with brothers and previous collaborators Petter and Rasmus Diamant on drums and bass respectively. “It was a lot of fun playing both keyboards and guitar because I had come up with a lot of nice parts but I knew early on that I wanted to make the album with the brothers on drums and bass – luckily they were very up for it!” This ‘power-trio’ have focussed on the rock this time, and you can hear that loud and clear: “I didn’t want to smother the production with layers upon layers of keyboards and bells and whistles but instead tried to keep it prog rock with the focus on ROCK. I wanted every instrument to mean something in the mix.” This is evident on tracks like ‘Happy Somewhere In Between’ and the 13-minute epic ‘Traveler’, where Gungfly have never hit harder.
The album cover features a painting by American artist Kevin Sloan (The Flower Kings). Rikard comments of the piece: “I had just written lyrics for the song ‘From Afar’ and was looking at Kevin’s paintings when I came across this one and I couldn’t believe the connection, particularly the lyric “A million eyes watching glimpses of each other’s lives””.
The full track-listing for the album is as follows:
2. Happy Somewhere In Between
3. Clean as a Whistle
4. Alone Together
5. From Afar
6. On The Shoulders Of Giants
7. Grove Thoughts (Bonus Track)
8. Shoulder Variations (Bonus Track)
The bandwill come to the UK for 3 select live dates in October 2021. The band will play London & Manchester, co-headlining alongside the Robin Armstrong-led Cosmograf, before continuing on to Summer’s End Festival.
The dates are as follows and are on sale now:
Friday 1st October – Dingwalls, London
Saturday 2nd October – Academy 3, Manchester
Sunday 3rd October – Summer’s End Festival, Chepstow
Rikard Sjöblom is perhaps best known as the multi-instrumentalist frontman of Beardfish, who established themselves as one of the most consistently brilliant modern-day progressive rock bands over the course of eight studio albums. In recent years, he has also become known for his work with English progressive collective Big Big Train, playing live with them as well as performing on their recent studio albums.
On August 28th, 2020, Tim Bowness will release his sixth solo album, “Late Night Laments”, on InsideOutMusic. The album offers a collection of lush, atmospheric songs with a wide lyrical scope marking the most intimate yet universal of Bowness’s solo releases. As a first track, Tim Bowness decided to release the unsettling yet accessible ‘I’m Better Now’ (which presents an intriguing stylistic departure for Bowness).
‘In some ways ‘I’m Better Now’ represents the flipside of the title song from my previous album, “Flowers At The Scene”.
‘Flowers At The Scene’ focused on the repercussions of a violent crime (the impact on the victim’s family and friends), while ‘I’m Better Now’ is written from the perspective of a perpetrator of a hate crime.
For a variety of reasons, society has seemingly become increasingly polarised over the last half-decade and along with an rise in intolerance, there’s been a real sense of more and more people becoming disaffected and feeling ‘left behind’ or invisible. Sometimes, the consequences of that can be ugly.’
Peter Chilvers – who’s previously created visuals for Brian Eno – is responsible for the abstract video that superbly evokes the ominous and chilly mood of the lyric. The clip can be viewed here:
Musically, the track includes contributions from Knifeworld’s Kavus Torabi and Melanie Woods. Bowness says, ‘Kavus’s biting and twisting solo is a particular highlight of the song for me.’
Mixed by his longtime partner in no-man, Steven Wilson, and mastered by Calum Malcolm (The Blue Nile, Prefab Sprout), the album – co-produced by Bowness and Brian Hulse – combines electronic soundscapes, acoustic instrumentation and unexpected rhythms in a tightly focused and emotionally charged opus. The artwork is once again by Jarrod Gosling.
“Late Night Laments” will be released as Limited Edition 2CD digipak including five additional studio recordings, as Gatefold LP plus CD, and digital album.
Tim Bowness is primarily known as vocalist/co-writer with the band no-man, a long-running collaboration with Steven Wilson.
In addition to releasing seven studio albums and a documentary DVD with no-man, Tim has worked with popular Italian artist Alice (on her Italian Top 20 album “Viaggio In Italia”), Mercury Prize nominated Banco De Gaia, Robert Fripp, Peter Hammill, Roxy Music’s Phil Manzanera and many others.
Tim recorded the album “Flame” (1994) with Richard Barbieri (Porcupine Tree/ex-Japan), co-produced/co-wrote the acclaimed “Talking With Strangers” (2009) for Judy Dyble (ex-Fairport Convention), and has had a long-term collaborative partnership with Peter Chilvers (Brian Eno/Karl Hyde).
Tim’s recent quartet of solo releases on InsideOutMusic/Sony have entered the official UK Top 5 Rock, Progressive, and Vinyl charts, as well as the official Scottish charts. Along with Steven Wilson, he is also the co-host of “The Album Years”, which has reached the Top 5 Music Podcast charts in over 25 countries (#1 in 10).
For nearly twenty years, Gazpacho have reigned as the kings of atmospheric and affective art rock. That’s certainly no small feat, as the subgenre is full of wonderfully moody, ornate, and emotional artists; yet, none of them manage to achieve the same level of exquisite baroque resonance and hypnotically introspective weight as the Norwegian sextet. As a result, they never fail to provide awe-inspiring examinations of the human condition, and their latest observation, Fireworker, is no exception. It is undoubtedly among their greatest achievements, as well as one of the most profound pieces of music you’ll hear in 2020.
Conceptually, the album follows the band’s tradition of blending grand philosophical quandaries, stimulating literary leanings, and haunting personal turmoil. In a way, it acts as the culmination of the themes and techniques that’ve decorated earlier collections, combining the fatalistic isolation of Night and Missa Atropos; the ill-fated narrative drama of Tick Tock and Soyuz; and the hefty theological/scientific contemplations of Demon and Molok. Beyond that, its central premise (that humanity has always been controlled by an infallible and omniscient creature determined to propagate at any cost) means that Fireworker comes across like the overarching umbrella under which all of its predecessors occur.
Keyboardist Thomas Andersen elucidates: “There’s an instinctual part of you that lives inside your mind, separate from your consciousness. I call it the ‘Fireworker’ or the ‘Lizard’ or the ‘Space Cowboy.’ It’s an eternal and unbroken lifeforce that’s survived every generation, with a new version in each of us. It’s evolved alongside our consciousness, and it can override us and control all of our actions.”
In order to get us to do what it wants, he clarifies, the “Fireworker” will silence the parts of our mind that feel disgust or remorse so that we’re unable to stop it. The conscious part of our mind, Andersen notes, will actually “rationalize and legitimize” those thoughts and actions so that we never discover the beast behind-the-scenes. No matter how we feel about ourselves in terms of identity, accomplishments, and value, we’re all just vessels—or “Sapiens”—that the creature uses until it no longer needs us.“If you play along,” Andersen explains, “It’ll reward you like a puppy and let you feel fantastic; if you don’t, it’ll punish you severely.”
Like Night, Fireworker is a single “trip” broken into five chapters but meant to be appreciated all at once. This time, however, Gazpacho’s recurring protagonist is investigating the labyrinthian hive of his own psyche to engage in a Bergman-esque confrontation with the “Fireworker.” This journey is even represented by the Wimmelbilder cover, which, as usual, was designed by collaborator Antonio Seijas and depicts “the billions of neurons that create the cave of the mind”.
Fireworker declares its mesmeric dominance right away via “Space Cowboy,” a side-long suite whose ominous lyricism (“The parasite / That lives in me / Murders words / From where I stop / And it breathes in / We’re biting our tail / The cycle begins”) is but one of many reasons why it’s among Gazpacho’s greatest compositions. From its heartbreakingly delicate first movement and chaotic centerpiece, to its mournfully symphonic penultimate phase and thunderous outro, it is a masterpiece onto itself, cementing how vivacious, evocative, and imaginative Gazpacho remain after all these years.
From there, the sequence remains just as seductively eccentric and beautiful. In particular, “Hourglass” is a gorgeous piano ballad that evokes March of Ghosts in its fusion of welcoming melodies and gentle orchestral flourishes. That then make way for the feisty layers and catchy hooks of the band’s first single and title track “Fireworker.” Fittingly, “Antique” takes over with angelic mystery and the album closer “Sapien,” echoes the dynamic range and epic scope of “Space Cowboy,” resulting in an awe-inspiring finale that envelops you in luscious arrangements and poignant existential realizations.
Naturally, Gazpacho’s career has been full of great performances and glowing praise. Outside of issuing three superb live LPs (2010’s A Night at the Loreley, 2011’s London, and 2015’s Night of the Demon), they’ve played festivals such as Be Prog! My Friend, Night of the Prog, Midsummer Prog Festival, and Cruise to the Edge, where they delighted audiences alongside exceptional brethren like iamthemorning, Anathema, Pain of Salvation, Caligula’s Horse, Riverside, The Neal Morse Band, and Steve Hackett.
Unsurprisingly, their records have been met with similarly enthusiastic reception; for instance, their previous statement, 2018’s Soyuz,earned superlative accolades from publications such as PROG, Echoes and Dust and Louder than War.
Fireworker is truly life-changing experience, so you would be wise to turn off all of the lights, clear your mind as best you can, and prepare to meet the Fireworker.
1. Space Cowboy [19:43]
2. Hourglass [04:15]
3. Fireworker [04:41]
4. Antique [06:24]
5. Sapien [15:22]
Fireworkerwill be released on Kscope on 18th September, on CD, a gatefold 2LP on 180g black vinyl (3 sides audio, 1 side art etching) and digitally (digital pre-orders receive the title track “Fireworker” as an instant download) and is available to pre-orderHERE
Sadly, due to the current covid-19 situation the band’s European and UK dates scheduled for October 2020 have been postponed to October 2021, but as the band didn’t want to disappoint their fans Gazpacho are planning to play Fireworker in its entirety via a livestream, alongside a Q&A about the concept plus will play a few favourites from their repertoire. Details of the streaming event and the rescheduled tour will follow soon.
In the meantime, they suggest, you should internalize the record as much as possible to eventually “research your own ‘Space Cowboy.’” Anderson adds: “It’s an attempt at a safe way of looking at something highly dangerous because the animal does not understand music or poetry. We’re trying to outsmart it by writing around it, as music can go places words can’t and there’s a magic to it all.”. Gazpacho are:
The Tangent, the progressive rock group led by Andy Tillison, recently announced the release of their 11th studio album ‘Auto Reconnaissance’ on the 21st August 2020. The follow-up to 2018’s ‘Proxy’, sees them continuing the band philosophy of celebrating the golden age of prog, whilst bringing it to the present and exploring new paths for the music to take in the future. On ‘Auto Reconnaissance’, they bend that philosophy to their will, taking in prog rock foot stomping, sublime Jazz, humour, narrative, a modern R&B love song, funk/soul and a 28 minute long emotional epic about the band’s home country of England.
Today they launch the first track, titled ‘Life On Hold’, and you can listen now here:
Andy comments: “‘Life On Hold is the cheerful up-tempo Prog Rock foot-stomper we chose to kick off our album. It sits alongside pieces we’ve done in the past like ‘GPS Culture’ and ‘Spark In The Aether’, ‘Crisis In Midlife’ etc and it’s a flavour we do like to return to now and then. This one is influenced by things like that first Asia album, stuff like Kansas and Boston, and the kind of thing that Transatlantic might bang out at you. It’s part of our genetic makeup, but of course only one part. Although there’s a fair amount of accessible tunes on the new album, there’s some seriously deep water around too. And no, ‘Life On Hold’ has nothing to do with Lockdowns. It mentions Jean Paul Sartre, which is not normal in foot-stompers. Get it ON!! Bang, and the dirt is gone!”
Andy comments: “I utterly refuse to accept that Progressive Rock Music is some kind of museum piece. It is actually a living and breathing movement that has a past, a present and above all, a future. It once had an album-chart-topping golden age, but the genre was never about that. It has subtly and virally kept itself alive for decades where many new musical genres have risen to glory and faded away.”
For this release, Andy is once again joined by long-time collaborators Jonas Reingold, Luke Machin (who co-produced the album with Andy), Theo Travis, and Steve Roberts. Together they bring to life an album that has been influenced by the likes of ELP, The Isley Brothers, Steely Dan, Aphex Twin, National Health, Rose Royce, Squarepusher and Return To Forever amongst others.
Andy comments of the current line-up: “In the past 6 years the line-up of The Tangent has become more stable than at the beginning. I think that the identity of the Tangent as a “Group” rather than a “Project” started to come together on the album ‘A Spark In The Aether’ in 2014. Essentially Luke, Jonas, Theo and myself have appeared on the last four albums, and we added Steve Roberts for the tour that supported ‘Slow Rust’ in 2017 and we’ve settled on this line-up. I hope for a while because I find this unit to be productive, in tune with the band’s purpose and manifesto and a lot of fun to boot. The new album ‘Auto Reconnaissance’ is the first time that the core band has been identical in structure to its predecessor. For the first time I feel that everyone is totally onboard with the fusion of Jazz, Prog, Punkishness and electronica that The Tangent likes to cook up. We are a good group of friends and although we don’t meet up often, it’s a real blast when we do. I’ve always considered Ed Unitsky the cover artist to have been a recurring member of the cast – his artwork has been a huge part of our story and although we move away, we always return.”
‘Auto Reconnaissance’ will be available as Limited CD Digipak (incl. bonus track), Gatefold 2LP + CD + LP booklet & as Digital Album, all featuring the artwork of Ed Untisky, whose visuals have not been seen on a Tangent album since 2014’s ‘A Spark In The Aether’. The full track-listing can be found below:
1. Life On Hold
2. Jinxed In Jersey
3. Under Your Spell
4. The Tower Of Babel
5. Lie Back & Think Of England
6. The Midas Touch
7. Proxima (Bonus Track)
The Tangent are the following players:
Andy Tillison – Vocals, Lyrics, Keyboards, Composer
Jonas Reingold (The Sea Within, Steve Hackett Band) – Bass Guitar
Theo Travis (Soft Machine, David Gilmour, Travis-Fripp) – Sax & Flute
Luke Machin (Maschine, Francis Dunnery Band) – Guitar
Steve Roberts (David Cross Band, ex Magenta, Godsticks) – Drums
Firmly at the forefront of the progressive rock and metal scenes for nearly three decades now and one of modern rock’s most acclaimed live acts, Sweden’s Pain of Salvation return with a new studio album entitled “PANTHER”, due out August 28th, 2020 worldwide via InsideOutMusic.
“PANTHER”, the follow-up release to 2017’s “In The Passing Light Of Day” album, was recorded, mixed and produced by Daniel Gildenlöw with Daniel Bergstrand (In Flames, Meshuggah, Devin Townsend) and comes with a comprehensive artwork-theme with illustrations made by André Meister (Frontcover to be seen above!).
Here is the track-listing for the standard edition of the album:
Pain of Salvation – “PANTHER”:
3. RESTLESS BOY
5. KEEN TO A FAULT
Pain of Salvation’s Daniel Gildenlöw checked in with the following comment about “PANTHER”:
“The making of ‘PANTHER’ has taken over 2 years. I have felt the need to push boundaries, both musically and sonically. Approaching the music from more diverse angles, yet without losing the core identity of the band. Lyrically it coincidently fits more than ever into current times. When I look at the great artwork drawings that went into the concept, I can only say that I am extremely happy how everything turned out. I can’t wait to share this album with everybody.”
More details about the various formats for “PANTHER”, its pre-order start as well as the launch of a first single/video will be shared on July 3rd, 2020. Mark your calendars!
A first sneak preview with one of the songs off “PANTHER” is in the album trailer clip here:
Pain of Salvation’s previous album “In the Passing Light of Day” entered the official sales charts of various countries upon release as follows: Germany: # 28, France: # 70, The Netherlands: # 86, Italy: # 56, Switzerland: # 28, Austria # 39, Belgium (Flemish charts): # 82, Belgium (Wallonian charts): # 79, Finland: # 32, Italy: # 56, Spain: # 88, Sweden: # 94, Sweden (Physical album charts): # 15, Sweden (Vinyl charts): # 8 and USA (Billboard Heatseekers Chart): # 9.
Look out for more news about Pain of Salvation’s upcoming album “PANTHER” soon…Pain of Salvation line-up: Daniel Gildenlöw – lead vocals and lots of stuffJohan Hallgren – guitar and vocalsLéo Margarit – drums and vocalsDaniel Karlsson – keyboards, guitars and vocalsGustaf Hielm – bass and vocals
“We had the idea to do a ‘lockdown’ version of Made Again for you all.
Unbeknownst to us, our manager Lucy made a call (via social media) to ask fans to send in videos of themselves, in the hope of replicating the ‘Made Again Stage Invasion’ (at our Marillion Weekend in 2013) to surprise us!
Lucy and Tim Sidwell (from Toward Infinity), then came clean to us of their plan and added our ‘at home’ videos and recordings into the mix.
So here is a beautiful video of hope from around the world.
A better way of life? For sure. We hope you all enjoy it.“
We will be making announcements about our Marillion Weekends that are due in 2021 at some point next week.
In the meantime, stay safe and healthy.
“Like a bright new morning, Like a bright new day, I woke up from a deep sleep,
I woke up from a bad dream, To a brand new morning,
To a brand new day, Like the whole world has been made again”
h, Ian, Mark, Pete and Steve Made Again will be released as a Charity Single over the next few weeks.
With FROST*’s latest album, “Falling Satellites”, dating back to 2016, it was about time, mastermind Jem Godfrey teamed up with Nathan King and John Mitchell to continue forging daring and dynamic progressive music.
Completed already back in 2019, FROST* now announce the release of the stunning 32 minutes long “Others – EP”. Jem Godfrey states:
“Others” is a 6 track EP containing 6 songs that were written at the time of the “Falling Satellites” album. Initially the idea was that “Falling Satellites” would be a double album, but it felt more focused and concise as a single album by the time we’d finished making it, so these half completed songs were put to one side. Now finished and mixed, they are ready to see the light of day!”
The EP will be released digitally on June 5, 2020 and will be released as part of the limited “13 Winters” anthology-artbook physically later this year.
A first track from the “Others – EP” will be released on May 22!
The track-list is below:
3. Exhibit A
Furthermore, FROST* are putting finishing touches to their highly anticipated new studio album which is tentatively scheduled for a September release through InsideOutMusic.