Wednesday, March 19, 2025

EXPERIENCE THE ENDURING LEGACY OF HORSLIPS WITH MADFISH’S NEW 5 DISC SET 'HORSLIPS – AT THE BBC'


4CD + DVD SET COMPRISING LIVE PERFORMANCES, BBC TV FOOTAGE AND RARE ARCHIVAL MATERIAL

Few bands have left as distinct a mark on the musical landscape as Horslips. Emerging in the early 1970s, they more or less created ‘Celtic Rock’, drawing from Irish traditional music and British/American rock, crafting a sound that was both timeless and radical.

The BBC captured the band in the 1970s and again during their unexpected Indian summer return in the 2010s. At The BBC gathers these vital recordings – spanning nearly 50 years – into one definitive collection.

WATCH THE HORSLIPS AT THE BBC TRAILER

PRE-ORDER HORSLIPS - AT THE BBC (30th May 2025)

Disc 1 (1973–74) – Live BBC performances from Radio 1 In Concert, Old Grey Whistle Test, and John Peel Show, capturing Horslips' early energy and innovation.

Disc 2 (1979–2019) – A 1979 Radio 1 In Concert set, a 2010 unplugged session, and their final 2019 recording, Sideways to the Sun.

Disc 3 (2011) – The BBC Radio Ulster mix of their orchestral concert with the Ulster Orchestra, featuring The Táin, The Book of Invasions, and I’ll Be Waiting.

Disc 4 (1979 Bonus Disc) – Unreleased Short Stories, Tall Tales studio mixes from Windmill Lane.

Disc 5 (DVD) – Old Grey Whistle Test clips, 1974 documentary footage & 2011 fan-shot concert videos.

Disc 1 begins the journey in 1973–74, landmark years in which Horslips took their fusion of mythology and musicianship to the airwaves and concert halls of Britain. Included are performances from Radio 1’s In Concert, The Old Grey Whistle Test, Radio 1’s Sounds of the 70s, 2nd House (BBC 2) and Radio 1’s John Peel Show, showcasing the group in full flight, brimming with invention and zeal.

By 1979, fresh from the inevitable hard slog of trying to conquer America, Horslips returned to Radio 1’s In Concert with a set that captured their ability to fit in with the times and the power of their live performances. Disc 2 continues with an unplugged ‘comeback’ session from 2010 and a BBC NI performance in 2019 of ‘Sideways to the Sun’ – written about magical Irish beings disappearing from mortal sight – which would, perhaps fittingly, prove to be their last official recording.

Disc 3 presents Horslips’ unique 2011 performance with the Ulster Orchestra at Belfast’s Waterfront Hall, in its previously unreleased BBC Radio Ulster broadcast mix. Including epic suites from classic albums The Táin and The Book of Invasions and fan favourites like the eight-minute ‘I’ll Be Waiting’, a showcase for late guitarist Johnny Fean (d. 2023), many – including band members – view this concert as Horslips’ finest hour (and a quarter).

Disc 4 is a bonus disc, comprising recently discovered 1979 ‘working mixes’ of the album Short Stories, Tall Tales, recorded at Dublin’s Windmill Lane. They offer an intimate glimpse into a band in transition, shifting from the US FM rock that had influenced recent albums towards the spikier, sharper British New Wave sound.

At The BBC is completed by a DVD bringing together clips from The Old Grey Whistle Test, 1974 documentary material and magical fan footage of two songs from the 2011 Waterfront Hall concert, synced to sparkling BBC audio.

Presented in a deluxe hardback book package with rare photographs and extensive liner notes by band biographer Mark Cunningham, legendary BBC producer Jeff Griffin and curator Colin Harper, At The BBC is a celebration of a band whose influence still echoes through the decades. The mastering is shared by Eroc in Germany and band associate Cormac O’Kane who mastered the acclaimed 2023 Horslips box set More Than You Can Chew.

Horslips – At The BBC will be released on Madfish on 30th May 2025. Pre-order here.


www.horslips.com
facebook.com/horslips


www.madfishmusic.com
facebook.com/madfishlabel

Press inquiries: Glass Onyon PR, PH: 828-350-8158 (USA), glassonyonpr@gmail.com

Friday, March 14, 2025

JON ANDERSON AND THE BAND GEEKS ANNOUNCE LEG TWO OF THEIR 2025 TOUR

ROUNDABOUT VIDEO PREMIERES TODAY

To celebrate today’s release of their live album, Jon Anderson and The Band Geeks announce the second leg of their 2025 U.S tour. The 11-show tour commences June 15th at the Warner Theater in Washington D.C and ends July 13th at The Factory in St. Louis, Missouri. These shows follow the previously announced 18 show leg that starts April 1st in Tucson, Arizona.  Both legs of the tour will feature an evening of YES classics as well as tracks from their critically acclaimed debut album TRUE released August 2024.

Premiering today is a video for the YES classic Roundabout, taken from the CD/DVD/Blu-ray “Jon Anderson and The Band Geeks Live- Perpetual Change”. The video can be seen here: https://youtu.be/vQNKdGzuGMI

Dates for the 2025 tour are below:

April 1-Tucson AZ –The Rialto Theater
April 3-Anaheim CA-The Grove of Anaheim
April 5-Las Vegas NV-The Theater at Virgin Hotels Las Vegas
April 8-Oakland CA-Fox Theater
April 11-Sacramento CA- SAFE Credit Union Performing Arts Center
April 14-Seattle WA- Moore Theater
April 19-Rockford IL-Coronado Pac
April 23-Milwaukee WI-Pabst Theater
April 25-Des Plaines IL-Des Plaines Theater
April 27-St. Charles IL-The Arcada Theater
April 30-North Tonawanda NY-Riviera Theater
May 2-Cleveland OH-The Agora
May 4-Lancaster PA-American Music Theater
May 7-Wilmington DE-The Grand Opera House
May 10-Ridgefield CT –The Ridgefield Playhouse
May 12-Ridgefield CT-The Ridgefield Playhouse
May 16-Westbury NY-Flagstar at Westbury Music Fair
May 18-Carteret NJ- Carteret Performing Arts Center

June 15-Washington DC-Warner Theatre
June 18-Ocala FL-Circle Square Cultural Center
June 20-Clearwater FL-Ruth Eckerd Hall
June 23-Dallas TX-Moody Performance Hall
June 25-Austin TX-Paramount
June 27-San Antonio TX-Tobin Center
July 01-Macon GA-Auditorium
July 05-Farmington PA-Timber Rock Amphitheatre
July 07-Ocean City NJ-Ocean City Music Pier
July 11-Nashville IN-Brown County Music Center
July 13-St. Louis MO-The Factory

For more information:
Jon Anderson’s official website: www.JonAnderson.com
Band Geek official website: https://richiecastellano.com/bandgeek/
Jon Anderson YES Epics and Classics:
Website – http://jonandersonyesepicsandclassics.com/
Facebook – Jon Anderson YES Epics & Classics – https://www.facebook.com/jonandersonyesepicsandclassics/
Twitter – @JonYesEpic
Instagram – @jonandersonyesepicsandclassics
TikTok – @JonAndersonYESEpic
YouTube – Jon Anderson YES Epics & Classics – https://www.youtube.com/channel/UCIvSkw_3SAs1Yy2Ro68GzLw

Management:
Larry Mazer
Entertainment Services Unlimited
One Echelon Plaza, 227 Laurel Road, Suite 106
Voorhees, NJ 08043
P – 856.751.2223
C- 856-816-2820

Agent:
Steve Schenck | TKO
141 Halstead Avenue | 4th Fl.  Mamaroneck, NY 10543
PH: 914-346-8938
email: steveschenck@tkoco.com

Press inquiries: Glass Onyon PR, PH: 828-350-8158 (USA), glassonyonpr@gmail.com

Saturday, March 1, 2025

Progressive Metal Vinyl Review: Dream Theater-Parasomnia

Release Date: February 7, 2025

Label: Inside Out Music

Website


Parasomnias are a category of sleep disorders involving abnormal movements, behaviors, emotions, perceptions, and dreams that occur while falling asleep, sleeping, between sleep stages, or during arousal from sleep. They are dissociated sleep states that are partial arousals during the transitions between wakefulness, NREM sleep, and REM sleep and their combinations.

John Petrucci (Guitar), Mike Portnoy (drums), John Myung (Bass), James LaBrie (vocals), and Jordan Rudess (keyboards) are not just a supergroup but a tightly knit unit. Their other projects have also left a significant mark, but their collective synergy truly shines.

 

When Dream Theater announced their latest release, Parasomnia, centered around the concept of dreams, and with the return of founding member and drummer Mike Portnoy, the excitement was palpable. Fans and critics alike were buzzing with anticipation.

 

Parasomnia will quickly bring thoughts of the heaviness of Train of Thought, making many fans smile and enjoy this record as much as I did.

 

I decided to pre-order the ultra-clear 2LP set, a special edition that offers a unique visual and auditory experience, and the box set, which includes exclusive bonus content. However, I will focus only on the 2LP set for this review.

 

Reflecting on the illustrious careers of these incredibly talented men, it's not just their music that boggles the mind but also their influence on the genre. From their documented covers of influences such as Iron Maiden, Metallica, Pink Floyd, and more, they've managed to carve a unique progressive metal sound that they alone command.

 

Parasomnia is a progressive metal classic, and Dream Theater has gone above and beyond to satisfy its fans again. They always do; however, in this case, they have recorded one of their finest albums to date. The album's dark subject matter, which delves into the complexities of the human mind and the experience of parasomnias, is reflected in the associated artwork and videos, creating a multimedia journey that will be remembered as some of their best work.

 

Dream One begins the dream state with the clock ticking on "In The Arms Of Morpheus," which is appropriate in many ways. Soft keys play as the guitar starts slowly and then goes into a full-on explosion of powerful riffs. Then, it all kicks in as you are listening. It grabs you, and then you never let go. You are part of the story now.

 

Things are now moving along at full speed when the keyboards make their grand entrance. The tempo changes suddenly (which happens frequently in every track) with sharp lead guitar licks, the classic Petrucci sound we all love and recognize. You can hear Portnoy's prolific playing behind the drum kit (welcome back, Mike!). Then, it all comes to a halt, some quiet, then another change. As you are listening carefully, all these tracks segue into each other.  

 

The first track is a 5:22 blockbuster before "Night Terror" kicks in, and the instrumental intro is as impressive as the first track, which is a commonality in nearly every track. A strong flow of powerful riffing continues through this track as well. The bass and drums follow with that intensity as the keys lend a bit of horror atmosphere to accentuate the words and make them realistic as you continue to live with the characters being created.

 

Dream Two starts with "A Broken Man" melting into "Dead Asleep" as the jarring instrumental intro gets things going in the right direction, setting it up for a frenetic pace of tempo changes. The guitar licks sound raw and edgy as the words are spoken, running for a quick minute. As the changes begin, James comes in with his vocals, which are as strong as ever.  There is some good rhythmic playing on the drums and bass and a nice touch from the keys for extra atmosphere. Their pace is incredibly rapid but works well with the lyrical content. A lovely solo on keys goes on for a while, then a switch over to the classic Hammond B3 sound and yet another change in sound. Within minutes, Jordan takes the listener through three keyboard sounds and styles. Then, a tasteful solo from Petrucci and back to the more brutal sound as things come full circle. The ending is excellent, with a whooshing sound, and then on to the next track.

 

A quiet start with soft guitar and violin sounds begins, and then boom! The hammer falls, and the audio jumps up several notches with a wailing guitar, pounding bass, and drums. An incredible sound from the guitar is happening (use of a flange, I would think), then a cutting lead, back to the primary chords, and a rolling keyboard to create more excitement. The vocals begin after the extensive instrumental blowout, and the drums come through well. The mix has been excellent, and nobody's instrument gets put on the backburner. The speedy, machine gun-like drum rolls just blew me away consistently throughout. The keys form a layer that floats over all the electricity being generated from the other instruments. James continues exceptionally as the powerful riffing on guitar and keys takes shape. The story continues to build and become cemented in your mind with the outright power and picturesque musical display.

 

Dream Three includes "Midnight Messiah," "Are We Dreaming?" and "Bend the Clock" in succession. You must pay close attention when one track moves on to the next; it's seamless and natural.

 

A soft introduction begins on this side of the vinyl as the dialogue enters and leaves quickly. Then, of course, there is a dramatic change in the tempo of the sound, which consistently provides the shock value and keeps the storyline moving in the right direction. This is one of the best tracks, with some melodic yet hard rocking to stay in the prog metal lane. The vocals, again, are superb. It is hard-driving music, at times moving at the speed of light. Some cool synth sounds arrive, and the rhythm section is chugging along like a well-oiled machine.  

 

Prog metal is on fire, moving from track to track with everything you would come to expect from this band. Jordan cuts loose, backed by Petrucci's rapid-fire licks. At the same time, Portnoy and Myung stay with the pace and simultaneously create the drive to this relentless musical machine—excellent work from all positions. The recipe for madness is completed as another sequence comes your way.

 

A whispering is going on as the track begins with some sweet notes on the guitar as the vocals start. James is skilled in singing a ballad or bringing his range up several notches when called upon to drive home the lyrics. There is some melodicism, and kicking it down a few levels allows listeners to hear the tasteful music they can provide. Some nice guitar work follows as all the moving parts are synced up and merging beautifully. The extended guitar solo takes the spotlight towards the end. It is flawless and precise, then a fade out to end the side.

 

Dream Four is the entire side of the vinyl, with the epic "The Shadow Man Incident" clocking in at 19:32. Dream Theater is firing on all cylinders like a sleek, aerodynamic racing car crossing the finish line. And what a way to finish.

 

The music box plays the lullaby, but don't be fooled. All hell breaks loose, which you anticipate. A dark and demonic guitar sound arrives for this grand finale as the epic drums and keys begin to play, setting the stage for all the drama and fear. Directly after a sudden shift into a faster tempo, all instruments are like loaded guns firing off as the following change comes to a more defined guitar sound in between some keystrokes. Then, there is another complete slowdown as the vocals begin.

 

The music lures the character to a frozen, terrified state. The shadow man is 7 feet tall, staring at you. You hear the disguised devilish voice say, "Embrace the shadow."  It becomes more than a terrifying dream. The music goes to the next level of speed as the storyline develops. The pace continues as James sings, "Endless nights."  The easy-to-understand words are helpful as the music moves and changes, like the second hand on a watch. With that, everything becomes more lifelike. The musical transitions to the lyrics are both terrifying and beautiful simultaneously.

 

The final session is extraordinary, as the keys sound like a classical drama unfolding, and the rest of the band pushes their way through with determination and absolute authority. Between all of that, you have some tremendous solo guitar work followed by every instrument in excellent form from start to finish. As it winds down with a classic keyboard run to end the show, James finishes the story in his way, making it another Dream Theater classic that will become a live performance favorite.

 

There are so many moving parts; how this band gets better with time is impressive. When you think they have completed their best work, they take it all to the next level. And that is precisely what has made them successful and the best at their craft.

 

Parasomnia gets an A+ as a highly inspired and creative recording that the progressive metal community will appreciate.

Keith “MuzikMan” Hannaleck-PMR Reviews Founder

March 1, 2025

Tracks

Dream One:

A1. In The Arms Of Morpheus-5:22

A2. Night Terror-9:55

Dream Two:

B1. A Broken Man-8:30

B2. Dead Asleep-11:06

Dream Three:

C1. Midnight Messiah-7:58

C2. Are We Dreaming?-1:28

C3. Bend the Clock-7:24

Dream Four:

D1-The Shadow Man Incident-19:32


Wednesday, February 26, 2025

Prog Duo Days Between Stations Updates on “Being” & “Perpetual Motion Machines (Music for a Film)”

The Days Between Stations music video collaboration with Durga McBroom is called “Being.” The band and Durga are available for interviews on both video and the new Days Between Stations’ album, “Perpetual Motion Machines (Music for a Film).”

The group’s manager and video producer Erik Nielsen created the video from concept to final editing. “He’s produced all of our music videos,” guitarist Sepand Samzadeh says. “This is our third video shoot with Erik, he has a minimalist approach to matching visuals to the music. He has a great sense of style, creativity, strong leadership qualities, and extensive knowledge of technology.” Erik and his Supposable Productions have worked with the classic rock and prog community for a variety of video productions—such as streaming the ProgStock Festival, video production for Las Vegas’ hit show “Raiding the Rock Vault,” and music videos for many artists—notably Dave Kerzner, Asia Featuring John Payne and hard rock band “Last in Line” on Frontiers Records.

Through the years prog greats including Yes’s Billy Sherwood, Peter Banks, and Rick Wakeman, plus XTC’s Colin Moulding have collaborated with Days Between Stations. Then there’s Durga McBroom, known for her phenomenal musical and theatrical background, including singing for Pink Floyd from 1987-1994, acting and dancing as the character “Heels” in the movie “Flashdance,” and hitting number 1 on the Billboard dance charts and on Top of the Pops with the song “(Can You) Feel the Passion.” Now along with her sister Lorelei, she’s in the Australian Pink Floyd Show and recent starring role in the satire movie, “Sammy-Gate.”

Billy Sherwood produced Durga with keyboardist Oscar Fuentes Bills and Sepand for a song and music video “Witness the End of the World” on the album “Giants,” released in 2020 and voted track of the week by Prog magazine readers.

When it came time to find a singer for “Being,” the only song with lyrics on “Perpetual Motion Machines,” the band knew Durga was a perfect fit. The “Being” music video ( www.youtube.com/watch?v=m6UNQsUpAxs ) makes use of colors, light, and  people!

Erik wanted to first showcase Durga’s amazing stage presence and present the band in a stylized performance setting, “and use some simple visual effects to suggest different aspects of the concept of ‘Being.’”  Oscar based the song’s lyrics around the general concept of existence and trying to interject what artist Jean-Paul Bourdier’s art “inspired us to do, and we let the music speak for itself.” (“Perpetual Motion Machines” initially was intended to be a film soundtrack for a documentary on the artist.)

“Seeds,” the first video ( www.youtube.com/watch?v=5kmLDoapIkg ) in “Perpetual Motion Machines” won track of the week by Prog UK readers. ProgRock.com cites “Being” as one of the best epic songs of 2024.  MusikReviews.de praises everyone’s work, citing Durga closing “the all-round emotionally cinematic and moving album with a quiet song that gives the entire album an unusual (vocal) twist.” Echoes and Dust praises Durga for her “angelic, soulful voice” and makes comparisons throughout the review to a range of classic treats including music by Alan Parsons and David Bowie!  

The band sees Durga as a force like a Jedi! Sepand says, “She has so much experience and talent and her confidence just glides in with her energy.  She is a true professional.” One of Sepand’s fondest memories is playing, and when she started singing, “It feels like thunder struck my back. I looked over to Oscar and we telepathically spoke with each other... the message was if we died that day, we were grateful for this moment, we experienced brilliance at its best.”

Likewise, Durga loves collaborating, which allows her to “add my brand of art to that of others, thereby creating something totally new and different. I would urge people to find other artists to collaborate with. You learn a lot, and it can push you out of your comfort zone.” Durga feels much respect for Oscar’s lyric writing, “I learned how to make his vision come alive by making it personal.”

Sepand relates, “When you are surrounded by so much love, talent and creativity everyone elevates you to your new best.

Formed 20 years ago in Los Angeles, Sepand and Oscar named the band after Steve Erickson’s novel “Days Between Stations.” The Pineapple Thief’s Bruce Soord inspired the band to work on their music after he used some of Sepand and Oscar’s musical experiments as the basis for “Saturday” on The Pineapple Thief’s “12 Stories Down” album. The duo continued to work with a range of musicians on what became their first release, “Days Between Stations,” in 2007. Their 2012 recording “In Extremis” was produced by Yes’ Billy Sherwood. In 2020 they released “Giants.”

Watch “Being” at www.youtube.com/watch?v=m6UNQsUpAxs

For more information: DaysBetweenStations.com

Order the CD or vinyl at http://www.daysbetweenstations.com/product-category/perpetual-motion-machines/

Management: erik@daysbetweenstations.com

Publicity:
Anne Leighton: + 1 718-881-8183, texting only 707-637-6070, LeightonMedia@aol.com, Anne@AnneLeighton.com
Glass Onyon PR, PH: 828-350-8158 (USA), glassonyonpr@gmail.com

Downloadable photos start at www.flickr.com/photos/8320698@N05/54054269174/in/album-72157611847817960

***Please note: Meta Social Platforms will violate posters that use the actual album cover for Days Between Stations’ “Perpetual Motion Machines (Music For a Film).” We offer these alternatives for posting:
Music videos for both “Being” and “Seeds”

UK Guitar Legend Gordon Giltrap’s To Release New Album “Starfield” Feb 28, 2025

This product is on pre-order and will be released Feb 28th!

Despite facing challenges in the ever-changing music industry, Gordon Giltrap has remained a steadfast figure in the world of acoustic guitar music. His dedication to his craft and his ability to connect with audiences through his music have cemented his status as a beloved and influential artist. In recent years, he has continued to perform, record, and inspire new generations of guitarists. Giltrap's enduring legacy lies not only in his technical mastery but also in his ability to convey profound emotion and storytelling through his instrument, making him a true icon of British guitar music.

The best person to tell you about Gordons new album, Starfield, is the man himself, here it is track by track

STARFIELD (VOCAL)

I shared a dream about my late wife Hilary with my friend, the poet and song writer Rhona Dickson. She was deeply moved by the story and felt compelled to write some words and a melody line over the top of her favourite Gordon Giltrap tune ‘Starfield.’ On first hearing I knew there was something deep, special and haunting about it. I had been working with the superb Welsh singer songwriter Susy Wall at the time and asked if she would like to add her lovely voice to the track. The end result is what you are hearing now!

THE DODO'S DREAM This version is the work of my friend Paul White. My contribution to the track was to play the acoustic sections, Paul did the rest, adding sonic soundscapes and his soulful blues guitar.

12 TOWERS AT DAWN This track was inspired by the work of the fantasy artist Rodney Matthews and his image ‘12 Towers At Dawn.’ The piece is one of my medieval flavoured tunes that had been around for a while. When my friend, the brilliant Italian progressive rock musician, Alessandro Corvaglia was writing material for his new album, I offered the tune as a gift to be included, he kindly responded in the affirmative and produced this stunning version, which in my opinion, took it to another level, far beyond just solo guitar!

THE FOX AT DAWN My thanks to Mark Guyatt for his keyboard arrangements, capturing the feel of a misty dawn morning, and to Mark and Jane Day for the inspiration behind the piece.

SMALL POCKETS OF JOY I thought it only fitting to include a solo guitar tune for this release. I had Pete Townshend’s ‘Substitute’ in mind as the building block for this tune. STARFIELD (INSTRUMENTAL) Composed 2019 on a budget Fender guitar. The whole thing took 20 minutes to write, but slightly longer to record!

Gordon Giltrap 2025

GORDON HAS GENEROUSLY AGREED TO DONATE ALL HIS ROYALTIES TO THE TEENAGE CANCER TRUST

TRACKLIST

Starfield (Vocal) The Dodo’s Dream 12 Towers at Dawn The Fox at Dawn Small Pockets of Joy Starfield (Instrumental)

To purchase: https://www.musicglue.com/gordon-giltrap-official-shop/products/gordon-giltrap-starfield

Press inquiries: Glass Onyon PR, PH: 828-350-8158 (USA), glassonyonpr@gmail.com

Tuesday, February 4, 2025

Andy Summers and Robert Fripp “The Complete Recordings 1981 - 1984” 3CD/1Blu-ray & “I Advance Masked” 2024 Mix 200gm vinyl Available March 28th, 2025

Andy Summers and Robert Fripp “The Complete Recordings 1981 - 1984” 3CD/1 x Blu-ray

• 4-disc set of all the Summers/Fripp material on 3CD/1Blu-ray.
• CDs include the original albums ‘I Advance Masked’, ‘Bewitched’ and a 3rd album ‘Mother Hold the Candle Steady’ compiled from previously unreleased / unheard material newly mixed and assembled by David Singleton plus an alternative take of “Maquillage” and an early slower version of “Parade”
•Blu-ray includes:
Both original albums and the new 3rd album - newly mixed by David Singleton in 5.1 DTS-HD MA surround & 24/96 hi-res stereo
Both original albums – the original stereo mixes, newly mastered in 24/96 hi-res stereo
A ‘fly on the wall’ audio documentary – ‘Can We Record Tony?’ – taken from Robert Fripp’s own archive cassettes of the 2 guitarists’ original improvisations and conversations, also in 24/96 hi-res
• Presented in a 10-panel book-sized digi-sleeve with 16-page booklet including photos & sleeve-notes from new interviews with Andy Summers and Robert Fripp by King Crimson biographer Sid Smith.
• Plus a fascinating ‘Tale of the Tapes’ page by David Singleton on how / where the previously unreleased material was recently discovered / sourced.

The most exquisite moments in music are when you connect with the other players, when you fly, when you touch the spirit and the audience is there with you.” - Andy Summers, One Train Later

Having crossed paths briefly in the ’60s in Bournemouth where Fripp took over Andy’s guitar chair in the band at Bournemouth’s Majestic Hotel, it wasn’t until 1981 - when Summers wrote to Fripp - that the two guitarists would work together.

With King Crimson fresh from recording the now classic album ‘Discipline’ after a considerable break, Fripp was immediate in his response to Summers’s suggestion of working together. And though The Police were busy with the recording and touring of ‘Ghost in the Machine’, the two guitarists somehow managed to find time to experiment, develop and record the first of their two albums.

Whilst “I Advance Masked” showcased the skill and differing guitar techniques of the two players with heavy influence of Fripp’s multi-rhythmic playing evident, their second 1984 album ‘Bewitched’ was a more melodic affair with the inclusion of additional personnel including bassist Chris Childs and Sara Lee, and as Fripp put it, “the album is a lot more Andrew than it is me”.

Almost 40 years later - during plans to reissue the original albums and searching for the original tapes - Summers came across four new tapes in a Los Angeles vault. Not only was most of the original material on those tapes, but a treasure trove of previously unreleased material, early versions, alternative versions of tracks were unearthed.

From that, eleven unreleased tracks were arranged/edited and newly mixed and, along with an alternative take of “Maquillage” and an early slower version of “Parade”, a third mini album titled ‘Mother Hold the Candle Steady’ was created. More previously unreleased tracks such as Balinese and Brainstorm and delights such as an early mix of New Marimba were also discovered by David Singleton in the process of collating and mixing this collection.

In addition, this package includes an audio documentary titled ‘Can We Record Tony?’ which is from a series of cassettes Fripp kept, containing their original exploratory improvisations.

CD 1 - I ADVANCE MASKED

I ADVANCE MASKED
UNDER BRIDGES OF SILENCE
CHINA - YELLOW LEADER
IN THE CLOUD FOREST
NEW MARIMBA
GIRL ON A SWING
HARDY COUNTRY
THE TRUTH OF SKIES
PAINTING AND DANCE
STILL POINT
LAKELAND / AQUARELLE
SEVEN ON SEVEN
STULTIFIED

ADDITIONAL MATERIAL:
BRAINSTORM
NEW MARIMBA (EARLY MIX)
BALINESE
SEVEN ON SEVEN (REPRISE)

CD 2 - BEWITCHED

PARADE
WHAT KIND OF MAN READS PLAYBOY
BEGIN THE DAY
TRAIN
BEWITCHED
TRIBE
MAQUILLAGE
GUIDE
FORGOTTEN STEPS
IMAGE AND LIKENESS

ADDITIONAL MATERIAL:
TRIBE (ORIGINAL VERSION)
MAQUILLAGE (ALT ORIGINAL MIX)

CD 3 - MOTHER HOLD THE CANDLE STEADY (Previously Unreleased)

IMPUDENT PRELUDE
BRAINSTORM
TREMORS
TURKISH KITCHEN
SKYLINE
FOI UM OPTIMO DIA
SAN ANTONIO BLUES
MOTHER HOLD THE CANDLE STEADY
ENTROPY PULSE
NINJA ACID DANCE
STEP N’ FETCHIT
MAQUILLAGE II
PARADE II
CAN WE RECORD TONY? (EDIT)

BLU-RAY (All content in 24/96 Hi-Res)

I ADVANCE MASKED
As CD including:
NEW MIXES STEREO
NEW MIXES SURROUND (Also in DTS-HD MA 5.1 Surround)
ORIGINAL MIXES

BEWITCHED
AS CD including:
NEW MIXES STEREO
NEW MIXES SURROUND (also in DTS-HD MA 5.1 Surround)
ORIGINAL MIXES

MOTHER HOLD THE CANDLE STEADY
STEREO
SURROUND (also in DTS-HD MA 5.1 Surround)
CAN WE RECORD TONY? (COMPLETE)

Andy Summers and Robert Fripp “I Advance Masked” (2024 David Singleton Mix) 200gm vinyl

• 200-gram audiophile vinyl of Andy Summers and Robert Fripp’s 1982 album.
• New 2024 stereo mix by David Singleton
• Cut by Jason Mitchell at Loud Mastering
• Includes 2 previously unreleased tracks ‘Skyline’ and ‘Entropy Pulse’

With a very different sounding 1980s King Crimson lineup on tour and The Police’s status as one of the biggest acts in the world, it’s unsurprising that an album of guitar duets from Summers/Fripp – despite being as far apart from the concept of ‘guitar hero’ playing as possible to imagine, proved intriguing enough to spend several weeks in the US Billboard 200 charts.

On the multitrack tapes for both “I Advance Masked” and “Bewitched”, there were many unfinished tracks. With ‘Skyline’ and ‘Entropy Pulse’, Fripp (on ‘Skyline’) and Summers (on ‘Entropy Pulse’) had played numerous part-complete solos. According to Singleton, this left him “with the wonderful task, now very simple in a digital world, of making a coherent backing and then combining and switching between the various solos to create the “duets” that you now hear”.

SIDE A:

I ADVANCE MASKED
UNDER BRIDGES OF SILENCE
CHINA - YELLOW LEADER
IN THE CLOUD FOREST
NEW MARIMBA
GIRL ON A SWING

SIDE B:

HARDY COUNTRY
THE TRUTH OF SKIES
PAINTING AND DANCE
STILL POINT
LAKELAND / AQUARELLE
SEVEN ON SEVEN
STULTIFIED
ENTROPY PULSE (Previously unreleased)^
SKYLINE (Previously unreleased)*

*Skyline will be available as a digital single on all DSPs from 31st January 2025
^Entropy Pulse will be available as a digital single on all DSPs from 28th February 2025

For further information, please contact: info@panegyric.net

Press inquiries: Glass Onyon PR, PH: 828-350-8158 (USA), glassonyonpr@gmail.com


Thursday, January 30, 2025

Progressive Rock-Ambient Review: Perpetual Motion Machines (Music for a Film)

Days Between Station's latest offering, Perpetual Motion Machines (Music for a Film), lives up to its title with its unique blend of ambient and progressive music. The ever-shifting synth, piano, guitars, bass, and percussion elements within each track give it a distinct progressive sound, making it a must-listen for music enthusiasts.

Oscar Fuentes Bills and Sepand Samzadeh, the creative minds behind this music, draw inspiration from Steve Erikson's novel to find the band’s name. Their ability to see imagination and inspiration through literature, a characteristic of prog-rock bands, is truly inspiring.

While striking and different, the cover art may not be immediately understandable. This element of surprise and intrigue adds another layer of engagement to the album.

"Seeds" starts with an orchestral sound, then the piano forms an ambient-like layer. The synth added is quite different, and we're off and running!

"Stones Faces" begins with rhythmic piano keys and a synth, providing a dreamy sequence. Then, it starts to pick up in pace with the drums added. A guitar's subtlety makes its presence known. Then, there is another shift in sound with a more prominent guitar and bass; the keys also add the bass sound. Suddenly, it all stops, and the track is over.

"Ascend" has an inviting piano introduction, as the keys melt into the air most pleasingly. The music gets higher in volume and sounds classical. It is theatrical and colored with emotion, and the piano is always so good at conveying that to a listener. It is solo piano at its best.

"UnEarth" continues with the piano's continuity and a guitar that sounds like a sitar is added. The piano is once again taking the lead, sounding like a continuation of the last track's premise, and there are interesting guitar sounds as well.

Intermission 4 is a quickie at 54 seconds and sounds very Tangerine Dream-like!

Side B begins with "Waltz for the Dead," which sounds like the title and runs for under two minutes. 

It sounds like an entirely different album now, with an accordion sound and a carnival atmosphere. The bass is steady as wordless vocals come in, sounding like a lady's choir. Drums take prominence suddenly, and things get more interesting. You could compare it to a New Orleans funeral march without the horns.

"Proof Of Life" starts with a continuous synth sound on top of one another, like a focus point for meditation. It is very purposeful, and the guitar is off in the background, but you know it's there. The drums and bass pick up the speed, and the keys follow. A noticeable guitar enters with some stinging Pink Floyd-like riffs. Wordless vocals towards the end close it out. This is an outstanding track and my favorite—reminding me of ambient new age and contemporary instrumentals.

"Paradigm Lost" has a pulsating synth and rhythms with some guitar effects. The piano provides a nice touch during the track run. 

"Being" seamlessly is segued from the previous track, giving the listener an anthology of sounds and some lyrics for the first time. The vocals are understated, and the music sometimes overtakes them, making them difficult to understand. However, the music is fabulous as the drums kick in and the track's pace steps up. The bass sounds more potent than ever, and then an echoing jangly guitar adds to the mix—yet another aspect that was not present before.

It all slows down as the piano takes the lead, and the drums are present yet subtle. The tone of the vocals gets in sync with the instrumentation. Then, a strong lead guitar arrives with the best solo on the album. It lasts for a few minutes, and it's terrific. Very tasteful playing on the six-string highlights the track coming closer to a close, and then the piano starts again with a backing synth as the curtain closes.

Perpetual Motion Machines (Music for a Film) is well done and a great listen. Most of the tracks feature eclectic musical styles. It is progressive, ambient, ambitious, and ultimately successful.

Keith “MuzikMan” Hannaleck-TFOV Founder

January 30, 2025


Tracks:

Side A:

1. Seeds 2:39

2. Stones Faces 3:16

3. Ascend 3:16

4. UnEarth 4:04

5. Intermission 4 0:54

Side B:

1. Waltz For The Dead 1:51

2. Proof Of Life 2:42

3. Paradigm Lost 6:32

4. Being (Featuring – Durga McBroom) 8:59