In 1974 the band Genesis released what many people consider to be the pinnacle of their musical works. This piece is called “The Lamb Lies Down on Broadway”. And it stands to this day as one of the finest examples of progressive concept music written in the last hundred years.

What is not commonly known is that within the gatefold of the original vinyl double album cover is the original “Lamb” story written by then Genesis vocalist Peter Gabriel. This is the story of the trials and tribulations of our hero Rael as told by ……. an ostrich.

Fast forward Forty Three years. The Lamb story is given a spoken word life by The PM Show via the creative and multi-talented Jason Dennington. Also recruited for this project are Jonathan Kruk as the voice of Rael and Rachel Flowers as the voice of Lily White Lillith.

Starting on Thursday November 30th The PM Show will present four special edition shows featuring each side of The Lamb Lies Down on Broadway. Each segment of the music will be proceeded by the spoken word story for the segment of music it describes.

It’s the radio event of 2017. You don’t want to miss it. So don’t be late!!

The PM Show airs on Progzilla Radio in the UK at 6pm (GMT) on Thursday and 3am (GMT) the following Tuesday at http://www.progzilla.com/listen

This news story was originally published here: http://theprogressiveaspect.net/blog/2017/12/16/emerson-lake-palmer-black-moon-in-the-hot-seat-2017-remasters/

I guess like many I was drawn to the music of Keith Emerson, Greg Lake and Carl Palmer in the early 1970s when I was in my youth, and especially to the Brain Salad Surgery and Pictures At An Exhibition albums. I followed the career of ELP with interest over the years but never got to see them live in that period at all. When the band split up after the Works orchestral tour in 1980 I thought that was it, game over, as it were, but then in 1992 word came of a full blown reunion along with two dates at the Royal Albert Hall (which were recorded for BBC Radio). I was overjoyed to hear this news and eagerly awaited the issue of Black Moon, their first new album in 12 years.

That was 25 years ago now and sadly we have lost both Greg and Keith in the last 12 months, leaving Carl Palmer as the last man standing. To be fair, Carl is in good health now and has recently undertaken a U.K. tour with his ELP Legacy, playing Emerson Lake & Palmer’s music in a trio format with guitarist Paul Bielatowicz playing Keith’s role in a very effective manner.

Over the years the ELP canon has been reissued several times by various labels, but when Sony acquired the catalogue they elected to release it all again in remastered versions with good bonus tracks across the albums, which brings us to these final two 1990s albums, Black Moon and In The Hot Seat. The former was well received, the latter was widely panned.

This is my attempt to give these two albums a more considered verdict, to see how they stand up today and whether they are worth your time and investment, or are they best forgotten?


Emerson, Lake and Palmer – Black Moon [2017 Remaster]

Black Moon was released in June 1992, originally by Victory Music (a label set up by Phil Carson, ex-U.K. head of Atlantic Records). This Remastered version certainly sounds good with a clear keyboard sounds and balanced bass and drums, as evidenced on the opening title track with Emerson’s synth in prominence with suitably thunderous drums from Palmer. Yes, they may have been older when this was cut but it is still a very strong performance by all, Lake’s voice is in a lower register than in the ’70s, but that’s age for you. Paper Blood is next, a song about the evils of money and the misery it brings to many. It opens with a typical Emerson organ flourish and he is on form throughout, with a nice keyboard solo in the middle and a mouth organ solo, presumably by Greg Lake, in the mix too.

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Affairs of the Heart is a more traditional Greg Lake ballad with acoustic guitar and sympathetic backing from Emerson and Palmer. It’s a song that still stands tall today, with an especially good synth outro. Then we are on to Romeo and Juliet, an arrangement of Sergei Prokofiev’s 1935 musical setting of the Shakespeare play. It’s a short piece but very effective as it fits well with earlier ELP interpretations of classical themes.

Farewell To Arms is a call for peace in a troubled world that still resonates today with its impassioned Lake vocal. Again, it’s a fine song of it’s kind, maybe not vintage ELP but certainly pretty good. The problem is that ELP had one hell of a legacy to live up to and this album, good and welcome as it was, could only hint at that greatness as there are no extended pieces on offer here, which kind of dilutes the impact somewhat.

Changing States is another Emerson showcase with some hefty Hammond Organ playing and decent synth work that shows hints of the greatness of those days gone before, but even this isn’t enough to really make Black Moon a great album or totally essential. Burning Bridges, Close To Home and Better Days are all pleasant but not overly memorable pieces, however Footprints in the Snow is a fine ballad with very good lyrics and themes.

It seemed that ELP’s inventive well had run a bit dry and this album, despite being good, was not truly great. Very welcome as it meant a return to live work, but on this occasion it was sadly a case of diminishing returns.

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The Bonus tracks on this disc are a single edit of the title track, very edited versions of Affairs of the Heart, Paper Blood and a heavily truncated Romeo and Juliet. Disc 2 fares far better as it comprises the Live at The Albert Hall album in remastered form, recorded in London on 3rd October 1992 on the tour to support Black Moon (I saw the same show at Birmingham’s Symphony Hall on the 27th November 1992). Opening with a segment of Karn Evil 9 before a 9-minute version of Tarkus, the power and hunger of ELP were always at their best on stage where the real talents of this remarkable trio could be unleashed. This is a good version with Emerson playing those keyboards as if his life depended on it, Lake’s voice soaring above everything, again with real power and conviction.

Knife Edge follows, opening with synth, some fine percussion from Carl Palmer and Lake’s growling vocal before a Hammond organ line from Emerson. This is a brooding and menacing piece with a suitably dark mood. It’s a fine performance of a classic song from their 1970 debut album, and it still sounds good today. Paper Blood from the at that time new album is next, followed swiftly by Emerson’s take on Prokofiev’s Romeo and Juliet and his own Creole Dance, again excellent and a piece that shows him still to be one the finest piano players the U.K. has ever produced. Then its Greg’s solo spot with Still You Turn Me On from Brain Salad Surgery, and it’s a fine version that is well received.

Lucky Man follows, a chance for folks to sing along before that familiar Moog ending from Keith Emerson is unveiled to rapturous applause. Black Moon‘s muscular riff echoes around the Albert Hall as Palmer’s hefty drums propel the song along nicely. Then comes a moment that many have been waiting for, a 13-minute version of Pirates from Works Volume 1, the trio making this epic piece come alive again with great synth work, a grand vocal and Palmer’s ever solid drums. It’s a great number to close the main part of the set, stirring and well performed before the encores of Fanfare for the Common Man, America and Rondo, all together in a 15-minute medley, the striking opening chords resonating around the Hall. It’s a classic number in every way and shows ELP at their finest in a song that everyone knows and wants to hear played. The band don’t disappoint in a creative version fuelled by Palmer’s thundering drums and Emerson’s majestic keyboards before segueing into the staccato organ of America. With some great Moog soloing this is another fine version, bring this great show to a close.

So, the real question, is it all worth it?

Well the answer is mixed. If you like ELP then this is a nice package of a nearly great album and a well recorded reunion show bundled together with a decent remastering that frankly doesn’t make that huge a difference, but is still worth a listen. Personally I like it, but then I’m a big ELP fan and this tour was the one I saw so it brings back very happy memories. So, nice to have but not utterly essential.

TRACK LISTING
CD 1 – Black Moon (1992) Remastered

01. Black Moon (6:59)
02. Paper Blood (4:29)
03. Affairs Of The Heart (3:42)
04. Romeo And Juliet (3:42)
05. Farewell To Arms (5:10)
06. Changing States (6:04)
07. Burning Bridges (4:46)
08. Close To Home (4:29)
09. Better Days (5:36)
10. Footprints In The Snow (3:52)
~ Bonus Tracks:
11- Black Moon [single edit] (4:51)
12- Affairs Of The Heart [edit] (2:22)
13- Paper Blood [edit] (1:36)
14- Romeo And Juliet [edit] (1:37)

Time – 59:02

CD 2 – Live At The Royal Albert Hall
01. Karn Evil 9, 1st impressions, part 2 (1:53)
02. Tarkus (Eruption, Stones Of tears, Iconoclast) (9:25)
03. Knife Edge (5:28)
04. Paper Blood (4:00)
05. Romeo And Juliet (3:41)
06. Creole Dance (3:20)
07. Still…You Turn Me On (3:14)
08. Lucky Man (4:39)
09. Black Moon (6:33)
10. Pirates (13:23)
11. Finale: Fanfare For The Common Man/America/Rondo (14:41)

Time – 70:27

Total Time – 129:29


Emerson, Lake and Palmer – In the Hot Seat [2017 Remaster]

This brings us to the final release from BMG/Sony’s ELP remastered reissue schedule, and the final album from ELP, 1994’s In the Hot Seat, an album made under difficult conditions and one that is, quite frankly, somewhat lacking.

As well as being remastered, this version adds bonus tracks taken from European dates on the 1997/1998 Now Tour, which go a long way towards making this a worthwhile release. But first I must address the mess that is In the Hot Seat itself.

Many People quite rightly deride ELP’s Love Beach from 1978 as their worst album, with its ‘Bee Gees’ cover and lacklustre song choices. Well this album is at least on a par for badness, run of the mill material and a lack of decent songs severely reining in the talents of all three members. They brought in a ‘hot’ producer in Keith Olsen to work his magic (he failed) and this is really just sad and not a fitting way to draw the band’s career to a close.

Keith Emerson was having issues with his playing by then and that was already causing problems within the band, the final insult being that uncredited session men were brought in to play on certain tracks, so much so that Carl Palmer can’t recall playing on much of the album and Greg Lake could not remember certain tracks at all. Plus the three weren’t in the same room to make the album either, all of which adds up to a pretty sorry mess that even a studio recording of Pictures At An Exhibition can’t salvage.

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Opener Hand of Truth is the strongest piece here, along with Daddy and possibly Man in the Long Black Coat (a co-write with Bob Dylan) is passable, but everything else is dire, well below par, which is very sad. Also, the label was in financial trouble due to the failure of Yes’ Big Generator and Bowie’s Tin Machine project, and thus coerced ELP into making an untypical album.

Disc two however, along with the two live tracks at the end of the first disc, do sound very good. The band were on good form and played a strong set of old classics and a few choice cuts from Black Moon alongside great versions of Fanfare for the Common Man/Rondo and 21st Century Schizoid Man/America, amongst others. The sound quality is good throughout and the remaster cleans this up even more, but even so there is still a lot of reliance on musical references to pad out the improvisations, although as said, Emerson was playing below his normal level of skill due to an arm injury. As a document of their last tour this is an adequate reminder of why ELP matter and why they were so widely admired. This is made even more poignant by the deaths of both Keith Emerson and Greg Lake in 2016, robbing the music world of two of its longest serving and affable musicians, both of whom are sadly missed, partly for the missed opportunities they can no longer fulfil but also for their loss as people.

In summary, a dreadful album is redeemed somewhat by a sprightly live collection on the second disc.

TRACK LISTING
CD 1 – In The Hot Seat (1994) Remastered

01. Hand Of Truth (5:25)
02. Daddy (4:44)
03. One By One (5:08)
04. Heart On Ice (4:21)
05. Thin Line (4:48)
06. Man In The Long Black Coat (4:14)
07. Change (4:45)
08. Give Me A Reason To Stay (4:16)
09. Gone Too Soon (4:13)
10. Street War (4:25)
~ Bonus Tracks:
10. Pictures At An Exhibition (15:30)
– Promande
– The Gnome
– Promande
– The Sage
– The Hut Of Baba Yaga
– The Great Gates Of Kiev
11. A Time And A Place (4:04)
12. Piano Concerto No 1: Third Movement Toccata Con Fuoco (4:51)

Time – 70:43

CD 2 – Live Now Tour 1997/1998
01. From The Beginning (4:14)
02. Karn Evil: First Impression Part 2 (5:25)
03. Tiger In A Spotlight (3:35)
04. Hoedown (4:55)
05. Touch And Go (4:12)
06. Knife Edge (6:13)
07. Bitches Crystal (4:30)
08. Honky Tonk Train Blues (3:42)
09. Take A Pebble (7:09)
10. Lucky Man (5:04)
11. Fanfare For The Common Man/Rondo (22:09)
12. 21st Century Schzoid Man/America (4:52)

Time – 76:07

Total Time – 146:50


MUSICIANS
Keith Emerson – Keyboards & Synthesizers
Greg Lake – Bass, Acoustic Guitar, Vocals
Carl Palmer – Drums & Percussion

ADDITIONAL INFO
Record Label: BMG
Catalogue#: Black Moon – BMGCAT2CD11, In The Hot Seat – BMGCAT2CD12
Date of Release: 28th July 2017

LINKS
Emerson Lake & Palmer – Website | Facebook

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This news story was originally published here: http://theprogressiveaspect.net/blog/2017/12/15/knekklectric-for-mange-melodia/

With For Mange Melodia Norwegian newcomers Knekklectric present an ambitious and sonically varied sophomore effort, displaying elements ranging from Indie-Rock, Post-Hardcore and Jazz to classic progressive rock. The Ålesund-based outfit successfully combines the above mentioned musical influences in an appealing manner, ultimately resulting in an intricate and simultaneously highly approachable record, that deserves much attention.

Jazzy guitar lines, complex polyrhythmic drumming and modern as well as vintage synthesizer sounds draw a thread through the otherwise very melodic approach to chorus and verse on the entire record, at times giving the record a classic progressive rock feel. Yet there is more to it…

The ‘Jazzy guitar lines’ aren’t just a show of highly virtuosic skills but explicitly serve the compositions. Straight from the start the first guitar motif on opening track Vi e Mindre proves this point by constructing the melodic groundwork of the song with sequencing arpeggios that gives way to a fuzzy bassline accompanying the verse. The chorus is of a more epic nature, attesting to the unquestionable Scandinavian background of the band.

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Omar Rodriguez Lopez and Cedric Bixlar, of At The Drive-In and The Mars Volta, could certainly have been involved in the writing process of the frantically banging verses of Hanska på. Vocalist Johannes Drablos Maaseide, who on the rest of the album convinces with clean singing and a singular falsetto, switches to a raw scream, accompanied by dirty distorting guitar strokes and hard hitting drum work. But even halfway through this short rocker the band builds in a break and reconstructs the punchy 8/8 with different rhythmic variations, giving synthesizer and guitar space for climaxing solos of a truly prodigious nature.

The majestically harmonic progression closing Prokrastinera igjen even suggests some ’70s Kaipa influences, Johannes’s scratchy vocals at this point being very reminiscent of Mats Löfgren’s outburst on Total Förvirring, from Kaipa’s 1978 album Solo.

By presenting such a wide pallet of influences over a half hour record there’s naturally always the danger of confusing and not emotionally engaging the audience, but on this level Knekklectric excel. The intricate and unique instrumental performances by all involved interlink the seven songs with a unique sonic concept, and in addition to the sincerely and at times eclectically delivered Norwegian vocals grab the listeners attention to the fullest – not understanding Norwegian in the slightest doesn’t stand in the way of that according to this listener.

The flawless production and mix further enhance the overall sonic experience by dynamically balancing the rougher and more atmospheric passages, shaping a final homogeneous whole. Don’t be discouraged from trying this record just because of the Norwegian vocals or the mentioning of the genre definitions like “indie-rock” in this review. This album is an accomplished engagement, appealing to all who enjoy top-notch musicianship, and just might convince a few prog heads to include it in their ‘best of’ lists for 2017. For Mange Melodia deserves to rocket to the top of this years releases.

TRACK LISTING
01. Vi e mindre (5:16)
02. Hanska på (3:40)
03. Prokrastinera igjen (6:09)
04. Stolpekontroll (4:14)
05. Vestkyst (3:53)
06. Ski no (7:35)

Total Time – 30:47

MUSICIANS
Johannes Maaseide – Vocals, Guitar
Edvard Brøther – Guitar, Backing Vocals
Hogne Aarflot – Rhodes, Hammond, Synths, Piano, Backing Vocals
Erlend Alm Lerstad – Bass Guitar
Jon Bolstad – Drums & Cymbals

ADDITIONAL INFO
Record Label: Tik Records | Apollon Records
Country of Origin: Norway
Date of Release: 17th January 2017

LINKS
Knekklectric – Facebook | Bandcamp

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This news story was originally published here: http://feedproxy.google.com/~r/ProgNewsProgarchives/~3/c90vMRF6ev4/forum_posts.asp

Hi everybody, I’m very happy to announce the imminent release of my eighth album with Inner Prospekt, “Seven ways to lose yourself”. This time I had the pleasure to have my dear friend and colleague Federico Tetti (guitarist in Mad Crayon) performing in three tracks of the album. He has also written the lyrics and sung the only non-instrumental song of the album “Rebirth”.


This work is the result of almost a entire year of work, and as usual I’ve tried to explore more and more ways to declinate my passion for the classic progressive rock of the seventies. I love long and complicated compositions: the ways the music takes you and makes you lose inside the labirynth, disorients you sometimes, surprises you when suddently returns in places you know. I use classic sounds indeed, but not only, because even with the use of the synths the music, this music, can surprise or disorient, guide or make you lose yourself. Like a big city. 

Inspired by my old trip in Tokyo I’ve composed seven tracks, six of which are instrumentals.

01 Free Walk (11.05)

02 The Fun District (7.24)

03 Down Deep (5.12)

04 Where They Live (13.15)

05 The Breath of the Red Lights (11.48)

06 Rebirth (7.42)

07 Down Deeper (9.36)

The Bandcamp download version will feature a special bonus track with an unplugged version of Rebirth, for about five minutes of music.

The total length will be over 70 minutes.

I’ve prepared some promos to present this long work, hope you enjoy.

The release date is set for the 18th January 2018.

Line up:

Alessandro Di Benedetti: keyboards, piano, drums and programming

Federico Tetti: guitars, vocas

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Edited by MadCrayon – 16 hours 20 minutes ago at 16:45

This news story was originally published here: http://www.prog-sphere.com/news/oceans-of-slumber-the-decay-of-disregard-video/
OCEANS OF SLUMBER Release Video for New Single "The Decay of Disregard"
Houston-based progressive metal outfit, Oceans of Slumber, have just released a video for their new single “The Decay Of Disregard,” taken off their upcoming album The Banished Heart, to be released on March 2, 2018! Watch it below.

The band comments, “The first statement of this record is one of realization and self-destruction. The peculiarities of life, the darkness it brings, and the inability we have to separate the heart from the mind. Something that can rot us from the inside and that most of us fight with everyday.”

“I feel something cruel within me. Calling out…
It calls my heart to wander, far from here…
It troubles my dreams, the thoughts of leaving.
It claws at me, to leave everything I’ve come to know and depend on…”
-The Decay of Disregard

The band further adds, “The video was shot in the country side of Big Creek, TX using the loft of a beautifully creepy 100 year old barn for the band performance and it’s surrounding acreage to capture Cammie’s transcendental and destructive episodes. Quite a fun undertaking and very cold.”

The Decay Of Disregard is available as a digital single on all download and streaming platforms and as an Instant Grat Track on iTunes and Amazon. Preorders for all physical formats are also available as of now.

Use the following link to direct you to selected download and streaming platforms or to preorder a physical copy of the album: https://OceansOfSlumber.lnk.to/TheBanishedHeart

The Banished Heart will be available as Jewelcase CD and Gatefold 2LP+CD.

OCEANS OF SLUMBER live: 

02.03.2018 Houston, TX (USA) – White Oak Music Hall (album release show)
03.03.2018 Brooklyn, NY (USA) – Saint Vitus Bar (album release show)
06.04.2018 Nottingham (UK) – Rock City
07.04.2018 Glasgow (UK) – ABC1
08.04.2018 Bristol (UK) – O2 Academy
10.04.2018 Dublin (Ireland) – Tivoli
12.04.2018 Manchester (UK) – O2 Ritz
13.04.2018 London (UK) – O2 Forum

OCEANS OF SLUMBER is: 
Cammie Gilbert – Vocals
Anthony Contreras – Guitar
Sean Gary – Guitar
Keegan Kelly – Bass
Dobber Beverly – Drums

OCEANS OF SLUMBER online: 
http://www.oceansofslumber.com   
https://www.facebook.com/oceansofslumber
https://twitter.com/oceansofslumber
https://instagram.com/oceansofslumber

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This news story was originally published here: http://www.prog-sphere.com/specials/opeth-albums-ranked-by-prog-sphere/

With the release of new album in August 2014, Opeth have confirmed that they have been on the progressive streak ever since the release of the debut Orchid in 1995. Pale Communion is the release that is slightly their most rounded (in terms of quality) record since the release of 2005′s Ghost Reveries.

Although it feels really awkward to tag an Opeth album as worst, Prog Sphere have made a choice and ranked the band’s albums in an order that we think showcases the band’s quality from the least to the most.

12. Orchid (1995)

As far as Orchid goes, it’s clear that Opeth was still trying to work out some kinks in their act, and while this debut is impressive and gives a good idea of what the band is about, the compositions (and eventually, the production) would be cleared up to make way for some of the best heavy music ever written. A great album for riffs and some really inspired sections, but not quite as good as some of the real gems Opeth has to offer in their repertoire. (Conor Fynes)

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This week’s Prog-Watch is our semi-annual collaboration with some of the merry reviewers at The Progressive Aspect, bringing you some of the best Prog Rock releases this year! We’ll hear short reviews and sample music from ten of the best albums of 2017, as suggested by Mel Allen, Tony Colvill, Shawn Dudley, Rob Fisher, Jez Rowden, Roger Trenwith, and Leo Trimming. I’ll also pick a favorite of my own, and run down the whole list of albums which were nominated, but not represented on the show. (We do only have 90 minutes, and more than 30 albums were suggested!) So join me this week for a year-end round-up of some of the best new music released this year in our favorite genre!

450: Some Of The Best Of 2017

This news story was originally published here: http://theprogressiveaspect.net/blog/2017/12/14/no-man-returning-jesus/

Suffering from a surfeit of weltschmerz recently? What you need is to give it a no-man soundtrack, then everything becomes clear, and by transposing your suffering and crushing ennui onto the surprisingly strong shoulders of the deceptively elfin-like Tim Bowness, you will feel uplifted. Maybe not quite happy, but heck, you can’t have everything.

Much like the wide open vistas of the Norfolk landscape familiar to Tim Bowness, Returning Jesus is a vast, slowly unfolding, and seemingly unchanging thing. But, if you look closely, you will see a windmill on the horizon, or a tractor creeping across a field in the middle distance, then a swan might fly across the criss-cross of far up vapour trails. In this manner a guitar line will appear then fade, or a lonely trumpet will call. Again in similarity, the topography of this music and its hinterland are contemplative, undisturbed by the headlong rush of modern life which remains at a remove. All that despite this album being recorded in the rather less romantic setting of Steven Wilson’s culture bunker in commuter belt Hemel Hempstead. Oh well, you can’t win ’em all!

Featuring some stellar guest appearances supporting the core duo of Tim and Steven, whose increasing profile with Porcupine Tree had brought no-man to a wider audience at the time of its original 2001 release, Returning Jesus is a classy production from beginning to end. Mixing art-pop, jazz inflections, ambience and electronica with Tim’s aching lyrics, the album is a sumptuous listening experience.

Kicking off with Only Rain, the music washes in and out again as a creeping slow tidal submergence and retreat over a flat landscape, stretching for miles inside Tim and Steven’s imagination. Featuring the gorgeous understated trumpet playing of Ian Carr, the father of British jazz fusion, an early indication of the sheer class of this record, the opening tune sets the tone of the rest of the album.

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No Defence is a blues within a pop song, the protagonist reminding himself there is “no disgrace to close your eyes and quit the chase”. Tim’s familiar lyrical themes are present and correct, in the place where seemingly overpowering ennui and romantic disillusion are never quite allowed to triumph. Carolina Skeletons sees the song’s subject giving up as “She loses sight in the velvet night, drops a tin can by the chair”, but eventually facing the future with a defiant “She dreams of flight in the velvet night, throws a tin can in the air”. Weltschmerz will not win!

The unhurried nature of the album witnesses the title track, over a minimal Oriental sounding percussive background and some liquid guitar lines from Steven, imploring “Slow it all down…it always moves so fast”. There is no little irony in that line, at least from a musical perspective, as the pace rarely rises above languid, not that you’d want it to.

Of course, the real reason to buy this reissue is the bonus disc, which features EP tracks, demos, and alternate versions of songs covering a period from 1994 to 2003. A highlight of the original album for me was Lighthouse, a song of expansive minimalism if such a thing can exist, and one of no-man’s more well known songs. It has two alternate takes on the bonus disc, so I am a happy bunny! The First Demo version, a full two minutes longer than the regular album version, is a rare example of Steven’s music taking precedence over Tim’s presence, and wears the musician’s love of Talk Talk on its carelessly laundered sleeve.

Elsewhere on the bonus disc there are plenty of divergences from the finished album versions and enough other treats and surprises to keep the fan happy, and Steven’s remaster of the main album is a treat, as you would expect it to be.

Is it still true that no-one has heard of no-man as was certainly the case when Returning Jesus originally came out? With Mr Wilson’s inescapable bestriding of the prog pond these days I somehow doubt it, and that can only be a good thing, as this band epitomise the spirit of art pop/rock experimentation to a tee, to a degree even more so than Wilson’s own solo career or his work with Porcupine Tree. Ah… I’m beginning to see why the band that started while Porcupine Tree was still a solo project with guests remained a best kept secret for so long.

TRACK LISTING
CD 1 – Returning Jesus (2001)

01. Only Rain (7:24)
02. No Defence (5:20)
03. Close Your Eyes (8:25)
04. Carolina Skeletons (5:08)
05. Outside The Machine (5:46)
06. Returning Jesus (5:19)
07. Slow It All Down (3:42)
08. Lighthouse (8:12)
09. All That You Are (4:44)

Total Time – 54:03

CD 2 – EP Tracks/Demos/Alternate Versions (1994-2003)
01. Something Falls (3:34)
02. Close Your Eyes – 1998 EP version (7:47)
03. Carolina Reprise (3:00)
04. Until Tomorrow – Hi-Fi (2:59)
05. Chelsea Cap (5:25)
06. Darkroom (3:52)
07. Until Tomorrow – Lo-Fi (3:15)
08. Song About The Heart (2:48)
09. Lighthouse – First Demo (10:27)
10. Darkroom – Alternate Version (5:35)
11. Like A Child (4:10)
12. Chelsea Cap – Alternate Version (6:50)
13. Lighthouse – Second Demo (8:58)
14. Slow It All Down – Long Version (5:13)
15. All That You Are – Demo (4:36)

Total Time – 76:33

MUSICIANS
Tim Bowness – Vocals & Lyrics
Steven Wilson – Instruments
~ with:
Ben Christophers – Acoustic Guitar (tracks 1 & 7)
David Kosten – Synthesizer & Cymbal (track 1), Co-Producer (track 1)
Ian Carr – Trumpet (track 1)
Ian Dixon – Trumpet (track 2), Flugelhorn (tracks 3,7 & 22)
Theo Travis – Saxophone (tracks 7 & 22), Flute (tracks 8,14,19 & 20)
Colin Edwin – Bass & Double Bass (tracks 1 & 8)
Steve Jansen – Drums
Rick Edwards – Percussion (tracks 3,12 & 19)

ADDITIONAL INFO
Record Label: Kscope
Catalogue#: KSCOPE496
Year of Release: 2001/2017

LINKS
no-man – Website | Facebook | Kscope no-man Page

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