ZIO, former Karnataka drummer Jimmy Pallagrosi’s new outfit featuring Hayley Griffiths and Joe Payne on vocals, have released a stunning new music video for first single ‘X-Ray’, directed and produced by Crystal Spotlight and the single is mixed by Marco Casaluce of MARC&CHEESE
The full length version of the new single will be released on all digital platforms on the 21st October.
ZIO also features Franck Carducci keyboad player Olivier Castan, guitarist Marc Fascia and New Device bassist Liz Hayes. The band made their live debut at France’s Crescendo Festival this year and are working on their debut album.
Paul Draper’s 14-date Spring ’18 tour celebrated the 21st anniversary of one of the most favoured British albums from the late Britpop era – Attack of the Grey Lantern.
Recorded live at The Ritz, Manchester on Thursday 1st March 2018, this album captures Draper’s energetic stage presence, his incredible band and classic Mansun tracks such as “Wide Open Space“, “Taxloss” and “Disgusting“, performed to a fantastic Manchester audience.
Listen to the live version of “Taxloss” :
This 2LP Limited Edition Vinyl* is available for Black Friday 23rd November in your local indie retailer and all good record stores.
*Includes an mp3 download of the album.
A very limited quantity, signed by Paul will be available on his upcoming acoustic tour starting 14th Nov.
Australia’s leading international independent record label, Golden Robot Records continues to grow at an unprecedented pace. The label is absolutely thrilled to announce that globally revered, Billboard-charting rock icons KING’S X are now part of their ever-growing international roster. KING’S X recently signed a global deal with Golden Robot Records which will see their long-awaited forthcoming new album released worldwide in 2019 via Golden Robot Records’ partners in the U.S., Europe and Japan.
“I’m really excited to release the next KING’S X album with Mark, Derek and the crew at Golden Robot! May the groove be with us all,” says vocalist/bassist dUg Pinnick. Guitarist Ty Tabor adds, “I’m looking forward to working with Golden Robot Records!”
Drummer Jerry Gaskill adds, “It’s been a while since we’ve made a record. During that time, I’ve been thinking, when and if we make a new record, I want it to be the best we can do. I want to believe in it. I want to make it great, whatever it takes. I don’t want to just make another KING’S X record. I think and hope that we are in that place. I think and hope its time and I feel good about the team we’ll be working with at Golden Robot Records. I’m going do my best. Let’s do this thing.”
“When we started to talk to KING’S X about signing with Golden Robot in the U.S. and we met dUg in LA a few times, I knew 100% that we would end up working with them. I’m loving the fact they are still the original members and I really believe this new album will be there best yet! It’s incredible how many people inside the industry – and I’m talking about very well-known musicians – love these guys and can’t wait for a new album. We are all very excited indeed,” says Mark Alexander-Erber, Group Founder and President.
“I am delighted to finally be able to work with one the most respected, creative rock bands of the past 30+ years. KING’S X is not only a superb rock band with an ardent fan base, but are also a ‘musician musicians’ band. Golden Robot Records is determined to finally help KING’S X receive the worldwide recognition it fully deserves,” says Derek Shulman, Executive Chairman of Worldwide Expansion.
Since the release of their debut record, Out Of The Silent Planet, in 1988, KING’S X released a dozen albums that have seen them rightfully earn their place on the rock royalty family tree. Fusing progressive metal, funk and soul grooves with vocal arrangements rooted in blues, gospel and even the British Invasion era influences, KING’S X created a style all their own which continues to be an inspiration for bands to this day.
Featuring vocalist and bassist Doug Pinnick, guitarist Ty Tabor and drummer Jerry Gaskill, KING’S X have never changed their line-up, a rarity in the music world and a testament to the band and musicians and friends.
Critically acclaimed from the start, KING’S X are musician’s musicians, name-dropped by everyone from Anthrax and Suicidal Tendencies to Iron Maiden and Blue Murder for their instrumental prowess. Pearl Jam’s bassist Jeff Ament even declared that “KING’S X invented grunge”. They also enjoyed a long life via the David Letterman Show with their track, “We Were Born To Be Loved” (from 1990’s Faith Hope Love), also a favorite of the Paul Shaffer’s CBS Orchestra to play during commercial breaks.
In 1992, KING’S X signed to Atlantic Records/Megaforce Records, released three albums and toured with bands as diverse as Scorpions, Type O Negative and Pearl Jam. In the early 2000’s, KING’S X released three studio albums and their first official live album via Metal Blade Records. In 2005, the band signed to German-based progressive music specialty label, InsideOut Music, and released Ogre Tones, an album described as a return to the bands classic sound. KING’S X forged ahead with new albums, DVD’s and tours up until 2012, when drummer Jerry Gaskill suffered a major heart attack. The band then quickly compiled an exclusive live release from their archives entitled, Burning Down Boston. The proceeds of which went directly to assisting Gaskill with his medical expenses. They rolled on for two more years until Jerry suffered another heart attack, which resulted in him having a double bypass operation and ultimately led to the band taking an indefinite hiatus.
This break didn’t last long, as they were back on the road in mid-2015, shortly afterward announcing they would begin work on a new studio album. This would be the band’s first since 2008’s XV. KING’S X began meetings with Golden Robot Records management in Los Angeles in early 2017, eventually signing a global deal in October 2018.
While it’s been a decade since KING’S X have released a new record, the wait has definitely been worth it! Watch this space for news on the forthcoming album in the very near future.
Human Corporate Machineit’s a preview of the currently recorded ‘Perfectly Flawed’ album – the first longplay of the Warsaw based prog rockers. Although this track will not be present on the physical release of the album it will be available as a bonus track for everyone who buys the CD directly from the band’s label or purchases a digital version of the album on Bandcamp. The track will
be also released as a seperate single on Bandcamp and will be available on various streaming services including: Spotify, Apple Music and Google Play.
Pinn Dropp was founded by guitarist and composer Piotr Sym. In December 2017 the bandreleased their critically acclaimed debut digital EP ‘Re: Verse, Re: Treat, Re: Unite’.
Rikard Sjöblom’s Gungfly recently announced the release of ‘Friendship’, their brand new studio album, due out on November 9th, 2018. Following the release of 2017’s ‘On Her Journey To The Sun’, as well as 2018’s retrospective 5CD collection ‘Rumbling Box’, the band masterminded by former Beardfish frontman & current Big Big Train member Rikard Sjöblom.
Today a video for the track ‘Ghost of Vanity’ has been launched and you can watch that here:
Rikard comments: ”A song that really just came to me all at once while I was strumming away on my guitar one day, lyrics and all. I kept singing ‘I don’t want no part in this’ over and over at first and then started partake in. Well, vanity is something I’ve never been a big fan of but one way or another we’re all slaves to it. I think most people, especially teenagers and young adults strive to live up to unrealistic expectations from TV-commercials or the superficial parts of showbiz. I remember when I was a kid and thought everything they said on TV was true, or at least didn’t reflect too much about whether thinking about what it was I didn’t want to it was real or not. No matter how much we try to not care about how cool or pretty or rich we are, I think it gets to us. The ghost of vanity is always present and I guess it takes a lot of reflecting over your own identity and a lot of courage to try to be yourself. I admire those who truly are.”
The album will be available as a limited CD Digipak & gatefold 2LP + CD (both including 3 bonus tracks) as well as digital download. Pre-order now here: https://Gungfly.lnk.to/Friendship
The full track-listing is as follows:
1.Ghost of Vanity
4.A Treehouse in a Glade
6.If You Fall, Pt. 2
7.Crown of Leaves
8.Slow Dancer (Bonus Track)
9.Past Generation (Bonus Track)
10.Friendship (Utopian Radio Edit) (Bonus Track)
Rikard comments of the musical direction: “Musically, what can I say? This is prog rock, but I want to be free to move in whatever direction the music wants to go and I happily go exploring where it wants to take me. Even though there are a few softer songs and sections, most of the album turned out to be a rocker; a collection of hard rock songs with lots of tricky parts, some heavier moments and some downright jazzy elements too!”
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 most recent studio album ‘The Second Brightest Star’ as well as the new live album ‘Merchants of Light’.
“Heir to Despair” is the 11th studio album by Sigh set for release on 16th November (Candlelight Records).
While the previous album “Graveward” (2015) was rather symphonic orchestral stuff, “Heir to Despair” is pointing at the completely opposite direction. Heavily inspired by old crazy progressive bands like Brainticket, Embryo, Agitation Free, Between, Gentle Giant, Os Mutantes, Modulo 1000, Black Widow, etc.,”Heir to Despair” turned out to be a heavy, psychedelic and exotic album filled with vintage keyboards and flute.
“Homo Homini Lupus” is the first track to be shared from the record featuring guest vocals from Phil Anselmo. Vocalist Mirai Kawashima comments,
“Homo Homini Lupus” is one of the fastest and the simplest tracks on “Heir to Despair”. Don’t expect other songs to sound like this. “Homo Homini Lupus” means “Man is wolf to man” in Latin. Thomas Hobbes referred to this verb to describe how men would act in the state of nature before we were civilized. The world shown in “The Walking Dead” series should be the best example of what we truly are. Men become wolves, or should I say men are wolves in their real nature. Look what our ancestors did during the wartime! Look what our ancestors did during famine! We have own wolves inside.”
Mirai met Phil 20 years ago when they were both in US death metal band, Necrophagia adding, “it is a great honor for us to finally have him on our album! He added a great atmosphere to the song with his very deep voices! It should be VERY easy for you to tell which parts were sung by Phil”.
What the band describes with this album is the world through the eyes of madness. Yes, the album is about insanity. Music on the album is varied as a mad man’s thoughts. It starts with psychedelic and exotic “Aletheia” but the following “Homo Homini Lupus” is rather a straightforward thrashy song with the typical Sigh twist. “In Memories Delusional” is a brutal tune with heavy Asian touches, which must be an new experience for everybody, while “Heresy Trilogy” is the representation of pure madness and insanity with lots of crazy stuff going on, which has nothing to do with metal at all. The album ends with the title track, which is a 10 minutes long progressive epic song.
It should be nothing surprising for Sigh fans, but the album got everything from extreme metal, 60’s / 70’s rock, jazz, classical, world music, dub, and noise. The music styles it covers are as wide as the world through the eyes of madness.
Also “Heir to Despair” can be taken as Sigh’s first attempt to intentionally take in Japanese / Asian musical feel. Mirai used some Japanese traditional singing techniques and the ex-Estradasphere Shamisen (the Japanese traditional instrument) master, Kevin Kmetz is featured on several songs. Moreover, 90% of the lyrics are in Japanese, which never happened on the past Sigh albums.
The album was mixed by a Canadian engineer, Phil Anderson, and mastered by Maor Appelbaum, who has worked with a lot of great artists such as Faith No More, Yes and Yngwie Malmsteen to name a few. Phil and Maor have a perfect combination and they have worked together on many projects. Thanks to them, “Heir to Despair” turned out the heaviest Sigh album.
The cover artwork, which exactly fits the concept of the album, was again drawn by Eliran Kantor. Eliran did the artworks for the past Sigh albums such as “Scenes from Hell” (2010) and “In Somniphobia” (2012).
Mirai adds, “I just suggested to Eliran that the album is about insanity and gave him some Japanese psychotropic drug advertisement from the 60s / 70s, which I love, to show him what kind of artwork I wanted. The result was perfect. The woman on the artwork looks ostensibly happy but the plant she’s watering is withering, and her room looks like a mess. This is what true insanity is about. This is what true horror is about. These days people are trying to pretend to be as happy as possible on SNS, but what kind of darkness do they have in their mind? You cannot draw the line between sanity and insanity any more.”
The conflict and correlation between dark and light is a universal theme with a historically rich history. Musically, perhaps no band in the 21st Century has mined that relationship more consistently or effectively than Japan’s MONO.
Across 10 albums in 20 years, MONO have convincingly reflected the quietest and most chaotic parts of life through their music. Their ever-expanding instrumental palette – which began in earnest in 1999 with the traditional guitar-bass-drums rock band setup – has evolved to include as many as 30 orchestral instruments. Now, on Nowhere Now Here, the band add electronics to their repertoire – perhaps inspired by guitarist/composer Takaakira ‘Taka’ Goto’s recent collaboration with John McEntire, the beguiling Behind the Shadow Drops. Nowhere Now Here also sees MONO’s first-ever lineup change, adding new drummer Dahm Majuri Cipolla (The Phantom Family Halo) to the core trio of Goto, Tamaki, and Yoda. Tamaki also makes her vocal debut here, singing into the shadows of vintage Nico on the poetically hazy “Breathe.”
The unlikely career of MONO has taken them to virtually every corner of the planet, several times over. Those corners have all left indelible marks on their music, as it drills deeper towards the sound of feeling not quite human and all too human – often at the same time.
MONO have also shared a collaborative short film, directed by French Director Julien Levy:
Recorded with producer Steve Albini, Nowhere Now Here is released on 25th January 2019 via Pelagic Records.
Since the release of her previous album ‘Five Incantations’ in 2016, internationally acclaimed composer and virtuoso cellist Jo Quail has been touring extensively across Europe performing alongside the likes of Boris, Amenra, Caspian, Myrkur and Winterfylleth. Festival performances this year include ArcTanGent, WGT, Dunk! and Tramlines Festival, and two separate concerts at the invitation of Robert Smith for his curation of the Southbank’s Meltdown Festival.
Jo’s new album ‘Exsolve’, recorded with Chris Fielding at Skyhammer Studios (Electric Wizard, Primordial, Witchsorrow, Conan), will be released on 2nd November. Watch the trailer with an excerpt of the track ‘Mandrel Cantus’ here:
The initial ideas for ‘Exsolve’ were formed following an invitation to perform at the Arp Museum in Bonn, to celebrate the Barbara Hepworth ‘Sculpture for a Modern World’ exhibition (previously at the Tate Modern). Jo comments, ‘as well as my standard concert repertoire from my previous three albums I wanted to write and perform something specifically to honour these beautiful works. I wrote a piece for solo cello called ‘Single Form’ which explored the cello physically, using the extensive pitch range and then creating a sonic ‘hole’ literally by handshape and position on the neck, mirroring the curves and spaces in Hepworth’s work.’
While ‘Single Form’ doesn’t appear on the new album, the writing process behind it went on to inform and help mould all the pieces on ‘Exsolve’. Jo adds, ‘there are many aspects of Barbara Hepworth’s life and works that inspired the early creative stage of this album. She talked of the left hand ‘seeing’ and the right hand then carving, and I found this analogy greatly inspiring. I wanted to explore what it actually feels like physically to play cello and at the same time I wanted to write something ambitious, brave and proud, something that pushes beyond what I had done before in terms of live looping, yet something that has the weight and certainty of a monolith for want of a better term!’
Since commencing her solo career in 2010, Jo has released three albums, three EPs and a live DVD. Following her 2015 European tour with post-rock giants Caspian Jo has embedded herself in the world of left-field and heavy music, whilst continuing to perform within the contemporary and avant-garde spheres. Not only did she open for black-metal artist Myrkur but Jo joined her on stage as part of her Folkesange project as well as collaborating with the likes of A-Sun Amissa, Mono’s Takaakira ‘Taka’ Goto, Eraldo Bernocchi and FM Einheit (Einsturzende Neubauten). Jo has performed several concerts of her works arranged for electric cello, orchestral ensembles and choirs both at home in the UK, in Europe and in Australia where she tours on a yearly basis.
“Exsolve’ is comprised of 3 tracks, with each one being broken down in to sections and movements across 45 minutes. Mastered by James Griffiths, himself a film composer, there is an almost symphonic quality to the album.
‘Exsolve’ has been an unique process in both writing and recording terms for Jo who states, ‘what made the writing process so different for me was the sense that every single note was being sculpted, created, forged by hand somehow. It was not a ‘struggle’ but it was a clear process with a lot of very detailed attention to individual sounds; in some cases the sounds themselves built the pieces rather than a melodic structure requiring an extra heft of percussion. For example the tribal toms at the end of ‘Causleen’s Wheel’ were created and set down before the front end of the piece was written…but as with my other pieces, the whole work relates back and forwards, and is built from the same motif throughout.’
With recording ‘Exsolve’ Jo decided to try something different and set out working with Chris Fielding, known more for his work with metal bands such as Conan, Electric Wizard and Witchsorrow at Sky Hammer Studio. Jo describes this as, ‘an incredible experience. Chris is really on it as a producer, and had no issue with my method of writing from a loop perspective, and dealing with all the various motifs that appear and withdraw throughout the compositions. Pretty much everything was reamped live, which brings the depth to the sound. Chris is very patient and equally very creative, so we were able to take my existing sounds and make them somehow 3 dimensional for the record. In places where I was less convinced of my sound choices Chris was able to advise and to bring different factors in too, experimenting with different heads and amps for reamping, or suggesting various techniques he employs in other genres of music to help to realise what I had in my head.’
Having had special guests on her albums in the past Jo brought in Dan Capp (Winterfylleth), Nik Sampson guitar (Devilment, Prolapse A.D.) and Lucie Dehli to contribute and collaborate on this record adding, ‘they are all very good friends of mine and all musicians I admire so greatly, so it was a pleasure to give the tracks to them and see where they went. I gave them no direction, just the tracks as they were, and this is the result. I wanted to create a sound world that my guests could come and place their sculptures on, to continue the analogy.’
‘Exsolve’ is a snapshot in time of these 3 pieces and with every live performance Jo looks to develop them further. As Jo concludes ‘For me, the final record is usually only the starting point of the journey and over time and with each performance the music will morph and be reshaped – composing and performing is a collaborative process between me, the space and the audience’.
1) Forge – Of Two Forms
2) Mandrel Cantus
3) Causleen’s Wheel
Pre-orders will be announced soon and a vinyl version of the album with an additional track will follow early next year.
Jo Quail will be heading out on two European tours to support the release opening for Mono and A Storm of Light in October followed by Myrkur in December.
European tour w/ Mono & A Storm of Light
01 Oct: Bristol, UK, The Fleece
02 Oct: Norwich, UK, Arts Centre
03 Oct: Glasgow, UK, Classic Grand
04 Oct: Newcastle, UK, The Cluny
05 Oct: Leeds, UK, Left Bank
06 Oct: Ghent, BE, De Central
07 Oct: Utrecht, NL, Tivoli De Helling
08 Oct: Bremen, DE, Tower
09 Oct: Dresden, DE, Beatpol
10 Oct: Wiesbaden, DE, Schlachtof
11 Oct: Aarau, CH, Kiff
12 Oct: Lyon, FR, CCO
13 Oct: Barcelona, ES, Aloud Music Festival
14 Oct: Toulouse, FR, Le Rex
15 Oct: Bordeaux, FR, Krakatoa
16 Oct: Orleans, FR, Astrolabe
17 Oct: Heerlen, NL, Nieuwe Nor
18 Oct: Oberhausen, DE, Drucklufthaus
19 Oct: Leeuwarden, NL, Into The Void
20 Oct: Athens, GR, Fuzz Club
22 Oct: St. Petersburg, RU, Zal
23 Oct: Moscow, RU, Zil
European tour w/ Myrkur
03 Dec: SE Stockholm, Vasateatern04/12 – NO Oslo, John Dee
The Franck Carducci team is proud to announce that we will release a music video for our new song “Slave to Rock ‘n’ Roll” on November-15 2018
We will hold a release party at Boston-Cafe in Lyon, FR on November-14 where the video will be displayed on the big screens while the band plays a short special concert.
The video was produced by La Koloc Production and stars our new fictional character: “Arion Superstar”
Statement from Franck:
“I don’t want to reveal too much about this song already, all I can say for now is that it’s a humoristic tune , full of self-derision,
in the pure tradition of the 70’s classic rock hits. We had a great time shooting a funny video full of glam to go with it, and we sure hope the viewers will be entertained”
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.
Watch a trailer for the album here, featuring some snippets of brand new music
‘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:
2.The Melting Andalusian Skies
3.A Case of Misplaced Optimism
4.The Adulthood Lie
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