Ibrido Hot Six - Ibrido Hot Six Plays Acquiring The Taste (2010 Italy) [ProgProg] @320

Considered – with Genesis and King Crimson – the most creative group of the seventies, capable to create resonant worlds on horseback between ancient music and contemporary, classic and rock, the Gentle Giant contributed to define a type, the progressive rock, that has given to the some light between the most important works of the popular music of all of the times.  The Gentle Giant, inspiring itself all plot of motive cultured and popular of the renaissance saga of Rabelais, has distinguished thanks all symphonic approach of the poly istrumentism and to the refined songwriting of masterpieces what Funny Ways and Pantagruel's Nativity. 

Studied from a musician of large pertaining to perspective openings like Antonio Apuzzo, the Gentle Giant there come returned from this in all book their artistic parable, leaving from the primordi of fine sixties until the masterpieces of Seventy and to the last, recent apparitions of the group Three Friends, born from the union of three historical components of the band (two of which collaborated to this hover releasing a interview). The analysis of all of the pieces of their repertory offers a indispensable leader all listening, and to the deep understanding, the ambitious aesthetics and fascinating of Gentle Giant.

The cd cited, Hybrid Hot Six Plays Acquiring The Taste, proposes the rereading in instrumental key of eight unforgettable compositions of the second album of the Gentle Giant. The faithful approach to the original material surprises for the exaltation of its matrix chamber and the transparency timbrica of the ensemble, formed from two basses, oboe, flutes, fails and reeds. 

Saxophone player, clarinet player, composer and teacher of music, Antonio Apuzzo is profitable since 1975 nell' àmbito of the jazz and of the contemporary music.  Besides to realize numerous record engravings (on everything, those with the trio Orselli Apuzzo Lalla) has composed (with Mauro Thistles) the opera Luz for trio jazz and settetto from room, produced from Italian broadcasting corporation RAI Radio3, and finalist was all' International Songwriting Competition 2007.  Before this hover it wrote, in collaboration with Luigi you Honor, The jazz in the afroamerican tradition. 


01. Pantagruel's Nativity
02. Edge Of Twilight
03. Giant Links: Echoes
04. The House, The Street, The Room
05. Giant Links: The City
06. Acquiring The Taste
07. Giant Links: Before The Wreck
08. Wreck
09. The Moon Is Down
10. Black Cat
11. Giant Links: Blues For Martin
12. Plain Truth

Antonio Apuzzo - Tenor and alto sax, clarinet and bass clarinet, descant recorder
Pino Capomolla - flute, tenor recorder
Francesco Fratini - trumpet
Gianni Di Ruzza - oboe
Gianluca Taddei - bass
Sandro Lalla - bass

Skywhale - The World At Mind’s End (1977 England) [ProgRock] @320

A true obscured gem
(vinyl rip)

Skywhale was formed in 1974 by Steve Robshaw in Bristol UK, in order to play an eclectic blend of soaring optimistic melodic music. This seven piece band created a new and uplifting style of instrumental music, fusing jazz, rock, funk, orchestral and celtic styles. Considered to be a masterpiece, the re-release of this album has been eagerley awaited by fans world wide.
Their album has digitally remastered in Nov 2006 and is available through CD Baby and their Myspace.

This was their only album and it's a melodic blend of entirely instrumental music comprising six tracks in total, all but one of which exceed the seven-minute mark. In addition to the ubiquitous guitar, keys, bass and drums Skywhale featured an additional percussionist and two wind players so there's always plenty going on and the music has something of a Latin feel. There's no real need to try to describe the music further so I'll just let it speak for itself.

In spite of its many qualities this album is probably destined to remain an obscurity and while it's never likely to challenge for a place in the top 100 prog albums it deserves at least some attention. Your first port of call should now be YouTube where you can listen to the album in its entirety (just ignore the vinyl crackles on the recordings), followed by a visit to Amazon where the MP3 is currently available to download for less than a five-spot. If you're a fan of Jazz Rock/Fusion you're in for a rare treat! 
-eventhsojourn  (Prog Archives)-


01 - Epicure
02 - Hydralic Fever
03 - Two Budda Garage
04 - The World At Mind's End
05 - Eternal Optimist (The Rat)
06 - Bogies

Steve Robshaw: guitars, violin, Roland guitar synthesizer
Stan Thewils: flute, tenor saxophone
Paul Todd: soprano saxophone, flute, penny whistle
Dougall Airmole: bass
Mick Avery: drums, percussion
Gwyo Zepix: keyboards, EMS & ARP Synthesizers
John Schofield: percussion

The New Percussion Group of Amsterdam (with Bill Bruford) - Go Between (1987 Nederland) [ProgRock] @320

Those who think of Bill Bruford only as art rock drummer for groups including Yes and King Crimson, fusion drummer with his late-1970s group Bruford, or even (finally, after all these years) a jazz drummer with his ongoing Earthworks projects and improvisation-heavy duets with Dutch pianist Michiel Borstlap, still don't know the whole story. Those familiar with his work in the collective World Drummers Ensemble know that this iconic British percussionist has a pervasive and encyclopedic interest in anything that can be hit with a stick, something made crystal clear on this reissue of The New Percussion Group of Amsterdam's 1986 release, Go Between.

Bruford only plays on one track, the fourteen-minute title composition by Group member Rudd Wiener that, alongside Bruford's acoustic kit and percussion, features xylophone, vibraphone, marimba and bass marimba. It's a complex and episodic piece that shifts from a rhythm-heavy art rock intro to a gentler, minimalist-informed middle section, propelled forward with multiple repetitive patterns that gradually shift, Steve Reich-like, giving the piece an evocative sense of forward motion. Bolstered occasionally by Bruford's more powerful tom-toms and tympani, the two concepts come together as the tuned percussion builds into a harmonic foundation for Bruford's mathematically precise kit work, only to drop into quiet once again before the piece's conclusion—a polyrhythmic and contrapuntal tour-de-force from everyone involved.


01. Go Between (14:26)
02. Redbone (6.39)
03. Marimba Spiritual (14.03)
04. Maenaden (13.41)

Bill Bruford: acoustic drums and percussion (1)
Rudd Weiner: xylophone (1), vibraphone (1), marimba (1), bass marimba (1), percussion (3)
Peter Prommel: xylophone (1), vibraphone (1), marimba (1, 4), bass marimba (1), log drum (2), peacock gongs (2), o-daiko (3), percussion (3)
Herman Rieken: xylophone (1), vibraphone (1), marimba (1), bass marimba (1, 4), log drum (2), peacock gongs (2), shimi-daiko (3), percussion (3, 4)
Steef van Oosterhout: log drum (2), percussion (2, 4), marimba (4)
Johan Faber: log drum (2), peacock gongs (2), percussion (4)
Toon Oomen: log drum (2), percussion (2)
Keiko Abe: marimba (3)
Jan Pustjens: conductor (3)

Eskalation - Different Music for Bassoon, Wind Synthesizer and Sampled Percussion (Germany 2001) [AvantProg] @320

"...outstanding music that will definitely appeal to those who love RIO, neo-classical chamber prog, Zeuhl, the likes of Univers Zero, Art Zoyd and Zappa and even straight-ahead progressive rock. Excellent."
PROGRESSION (USA), Spring 2002

"...full of inventive twists, unexpected arrangements and outstanding playing."
EXPOSÉ (USA), April 2002

"Definitely original. If you are able to imagine Happy the Man's Kit Watkins and Univers Zero's Daniel Denis to compose music together with Lars Hollmer and with Michel Berckmans on bassoon, I am pretty sure it would sound something like Stephan Koehr's Eskalation. This is an album deserving a large audience."
TARKUS (Norway), Summer 2002

"...intelligent rock music...terrific percussion programming...a miracle."
KEYBOARDS magazine (Germany) issue 11/01; CD of the month“

"...beautiful and lively (...) and above all, authentic and personal."
TRAVERSES (France), Jan. 2002

"...a must for Univers Zero fans...speedy instrumental pieces...superb."
EURO ROCK PRESS (Japan) No.14, 2002


ESKALATION is Stephan Koehr's solo CD project of experimental rock music. In the 1970's and 80's Stephan has been playing woodwinds and keyboards in several avantgarde and jazz fusion bands, until he was appointed as a bassoon and contrabassoon player in a renowned german opera and symphony orchestra. His romance with wind controlled live electronics started 1979, when he played a pitch-following analog guitar synth module via a contact mike on the bassoon reed!
The CD contains ten distinct compositions, each with its own unique instrumentation, advanced harmonies and complex shifting rhythms and signatures, mixing avantgarde prog rock and world fusion. ESKALATION was composed and recorded using bassoons, keyboard and wind controlled synthesizers and samples, with guest performances on violin and trumpet. If you like alternative progressive music (e.g. National Health, Happy the Man, Univers Zero, Wendy Carlos, etc.).


01 - Prelude
02 - Mumien (Sonderpreis)
03 - Prozession (For Absent Friends)
04 - Böse Heiden
05 - A Crack In The Universe
06 - Sille Tanzt (Ostinato Con Variazioni I-Iv)
07 - Zwölf Uhr Fünf
08 - Folksong I
09 - Totes Mehr
10 - Vier Stufen

Stephan Koehr: bassoons, keyboard and wind controlled synthesizers and samples
Guests:
Sibylle Szymanski-Köhr: Violin (track 2,4,5)
Thomas Forstner: Trumpet (track 5)


Buy the CD:
http://www.cdbaby.com/cd/eskalation

Home Page:
http://www.eskalation-musik.de/english.html

Myspace:
http://www.myspace.com/eskalationmusik

Oaksenham - Conquest of the Pacific (Armenia 2006) [ProgRock] @320

Seems like a long time since we reviewed this Armenian band’s previous debut live release Woden’s Eve Live; in fact it was 2002, and since then the band has been diligently working on this, their ambitious studio follow-up. Again, the six-piece of acoustic and electric guitars, bass, drums, violin, keyboards and flute go the instrumental route, augmenting their already rich sound with guest players on string harp, english horn, bassoon, oboe, clarinet, cello, french horn, bagpipes and orchestral percussion, all track depending. These compositions stand strong as instrumentals, rich in melody and counterpoint, blazing with guitar, keyboard and violin solos, with plenty of twists, turns and complexities to keep them interesting from beginning to end. The warmth and range of emotions encompassed within the scope of their music is nothing short of stunning, and these are all exceptional players. Make no mistake though, even with all those orchestral instruments at work, these folks can and do rock with the best of them. Their spirited instrumental arrangements of two Gentle Giant classics back-to-back (“Talybont” and “On Reflection”) give away one of their apparent influences, though this writer is more often reminded of Red Queen era Gryphon in Oaksenham’s overall approach and instrumentation. The 26-minute five-part title suite closes the disc nicely, summarizing everything this band is about.
Fans of GG, Gryphon, Snow Goose era Camel, Mike Oldfield, and other ambitious progressive rock works will definitely find this disc to their liking.
-Peter Thelen-

01. Anthem: The Unseen Land
02. Water Spark
03. Elfy
04. The Way Back Home
05. Talybont
06. On Reflection
07. Time-Out
08. Jester’s Pipe
09. Merlin’s Jig
10. Across the Atlantic
11. Ocean ’s Web
12. Golden Hind

Vahagn Papayan: bass
Anna Adamyan: keyboards
Valery Tolstov: flute
Bobikyan: violin
Vardan Gasparyan: guitar
Ashot Korganyan: drums

Kauhukakara - Eläinten Fanfaari (Finland 2011) [AvantProg] @320K

Originally ripped by spAceLover

The second album of Kauhukakara leaps a huge step forward towards the realms of lovely fantasies. The passed three years have certainly guided the young musicians towards higher planes on the arts of their trade. As the most evident signs of development I would claim more advanced compositions, even tighter thematic appearance of the album, broader use of additional instruments and more extensive use of lyrics in the singing. The album shimmers with musical sophistication and good-hearted humour familiar from the debut album, and time has not changed the basic principles of the sound drastically.
-Eetu Pellonpää (Prog Archives)-


01. Fanfaari Eläimille - Fanfare for The Animals (4:19)
02. Kasinorppa - Casino-Seal (4:18)
03. Lehmilammen Valssi - Waltz Of The Cowpond (4:10)
04. Kierähtelevä Gaselli - The Spinning Gazelle (3:32)
05. Laiskiainen Stadissa - A Sloth in The City (3:31)
06. Dromedaarin Posetiivihurjastelut - Dromedary´s Hurdy-Gurdy Cruising (4:34)
07. Mäyränkummun Tragedia - The Tragedy of Badger Hill (3:37)
08. Pingviinien Marssi - March of The Penguins (6:03)
09. Majavan Soidintanssi - Beaver´s Mating Dance (5:57)
10. Oravan Elämää - Squirrel´s Life (3:19)

Joonas Kuusisto: acoustic bass, backing vocals
Pauli Lyytinen: tenor, soprano and bass saxophone,backing vocals
Anni Elif Egecioglu: vocals, cello
Tuomas A. Turunen: piano, backing vocals

Additional instruments by Kauhukakara: harmonium, prepared piano, balafon, kemence, mey, glockenspiel, percussive, analog synthesizers

Lars Hollmer - Tonöga (Sweden 1985) [AvantProg] @320

For 1985's Tonöga, Lars Hollmer brought a few friends into the Chickenhouse to help out here and there -- notably Zamlas guitarist Eino Haapala and drummer Hans Bruniusson, as well as trumpeter Kalle Eriksson and soprano saxophonist Ulf Wallander. The musical palette is even wider and deeper than the preceding Från Natt Idag, ranging from the full-on Zamla prog of "Slutet Pa Tangon" (sounding like a Familjesprickor outtake) to the gentle lullaby of "Höstvisa," the tick-tocking percussion experiment of "Klipp en Apa," and the nearly funky worldbeat of "Karlafrique."
Elsewhere, meters and harmonics are particularly adventurous in "Lilla Pas du Valse" and the title track, "Damernas Rumango" is a fairly straightforward prog tango, and "Arvevals" is an accordion waltz accented by a spectral flutelike melody. As the ever-changing program wraps up with "Simflageldans," a tune as engaging as anything dreamed up by Simon Jeffes at the Penguin Cafe, and the dramatic "Harmonium III," with an emphatic march-like cadence and dramatic crescendo, one could only guess what Hollmer might dream up next, and it turned out to be a leap into bandleading with the Looping Home Orchestra's 1987 release, Vendeltid. [Several selections from Tonöga were later included in the 1993 single-CD Hollmer comp entitled Lars Hollmer 80-88 (later re-released as The Siberian Circus), and in 1998 Resource Records included the entire album in the very worthwhile two-CD set Tonöga/Från Natt Idag/Vendeltid. Among the bonus tracks on this set is a hyper live version of "Lilla Pas du Valse," retitled "Alfa Beta Pas du Valse" and somewhat mysteriously presented as a bonus track to Vendeltid rather than Tonöga.
-Dave Lynch (All Music Guide)-

Another amazig solo album by Lars Hollmer of Samla Mammas Manna. The album features a lot of styles and emotions, all delivered with unique Lars Hollmer style. I would say the first part of the album is more experimental (Onk Kch Onk Kch being the example), the second part contains more melodical and traditional music which is a mixture of folk, prog, RIO, jazz, tango and God knows what else. There is a lot of accordion all over the album, my favorite tracks are Lilla Pas du Valse & Harmonium III, but the rest is also very solid. Having heard only 2 Hollmer solo albums (this and Vendeltid) I must admit that Vendeltid is a little bit omore consistent than Tonöga. 3.5 stars really but I like it very much so I give it 4.
-Yurkspb2 (Prog Archives)-


01. Onk Kch Onk Kch (3:44)
02. Slutet På Tangqn (3:25)
03. Höstvisa (Autumn Song) (3:28)
04. Klipp en Apa (2:53)
05. Karlafrigue (3:55)
06. Lilla Pas du Valse (2:26)
07. Tonöga (3:02)
08. Damernas Rumango (3:25)
09. Arvevals (2:42)
10. Skiss M. Brest O Segosero (1:48)
11. Annu Ingen Pelle (1:56)
12. Rindatröst (3:52)
13. Simfågeldans (3:44)
14. Harmonium III (5:27)
15. Originalexperiment (Bonus) (1:19)

Lars Hollmer: accordion, keyboards, vocals
Guest musicians:
Alva Strand Hollmer: vocals
Eino Haapala: guitar, mandolin
Gabriel Strand Hollm: vocals
Hasse Bruniusson: drums
Kalle Eriksson: trumpet, congas
Mattias Jonsson: vocals
Ulf Wallander: soprano saxophone

DISCOGRAPHY:

Solo albums:
XII Sibiriska Cyklar (1981)
Vill Du Höra Mer (1982)
Från Natt Idag (1983)
Joggingcharleston Singel (1984)
Tonöga (1985)
Vendeltid (1987)
The Siberian Circus (compilation, 1992)
Vandelmässa (1993)
Andetag (1998)
Utsikter (2000)
Autokomp A(nd)more (2001)
SOLA: Lars Hollmer's Global Home Project (2002)
Viandra (2007)

With Samla Mammas Manna:
Samla Mammas Manna (1971)
Måltid (1973)
Klossa Knapitatet (1974)
Snorungarnas Symfoni (1975)
Kaka (1999)
Dear Mamma (2002)

With Zamla Mammaz Manna:
Schlagerns Mystik / För Äldre Nybegynnare (1978)
Familjesprickor (1980)

With von Zamla:
Zamlaranamma (1982)
No Make Up (1983)
1983 (1999, rec. live 1983)  

With Ramlösa Kvällar:
Ramlösa Kvällar (Nights Without Frames) (1977)

With Fem Söker En Skatt:
Fem Söker En Skatt (1995)

With Looping Home Orchestra:
Vendeltid (1987)
Door Floor Something Window (live, 1993)

With Accordion Tribe:
Accordion Tribe (live, 1998)
Sea of Reeds (2002)
Lunghorn Twist (2006)

With Fanfare Pourpour:
Karusell musik (2007)

Lars Hollmer - Andetag (Sweden 1997) [AvantProg] @320K

All the depth, beauty, charm, and wonder of Lars Hollmer's music can be found in 1997's Andetag, recipient of a well-deserved award from the Swedish equivalent of the Grammys. Although one can hear many musical elements throughout the CD, it is a disservice to Hollmer to describe him merely as a synthesist of diverse genres and styles into some form of pastiche. His compositional sense is too strong for that, matched by his ability to tug at the emotions with the dramatic buildup, the warm textures, and of course the lovely melodies.
Listeners unacquainted with the Swedish composer/ keyboardist might conceivably be put off by the initial moments of the first track, "Stråk", with its dirgelike tempo and orchestral keyboard overlays, which, if dragged out too long, could indeed have been quite a dose of prog-minded heaviosity. But even here, the touches of accordion, bells, and violin leaven any tendencies toward majestic overload and, like so much of Hollmer's music, impart a light touch. And this is merely an opening vignette for a long and varied journey, ranging from the floating multi-tracked vocal piece "Kvar Om Igen", with an intimate flavor and melody reminiscent of Robert Wyatt (on a tune like Shleep's "Maryan", for example) and "Asianet" (which, as you might guess from the title, melds Hollmer's keyboard drone, pulsing accordion, and a clip-clopping rhythm to a strong Asian folk-flavored melody — perhaps foreshadowing his future work with SOLA in Japan) to "Cirkus I," sort of a demented speedy fanfare-polka on steroids.
Yet the longer multi-sectioned pieces that smoothly shift gears following their initial thematic statements into new areas of melody, harmony, and rhythm are the true standouts, and make the case that Hollmer should be considered a composer in the league of Piazzolla (or at least what might've happened if the Argentinean tango master had somehow wandered into Univers Zero's Ceux du Dehors session at Etienne Conod's studio in Switzerland and begun ordering the group to lighten up just a tad).
There is a compositional integrity to pieces like "Now", "Aska", and the moody closing "Videpiano", with the listener brought to unexpected yet somehow familiar territory. And to top it all off, there are those melodies that nag at the memory — you've heard them before, but where? Certainly never in music quite like this, with the drive of rock and the evocativeness of European folk, along with a seasoning of classical music's sophistication (but not its seriousness).
Andetag is somewhat less quirky than some of Hollmer's previous solo works — there is a richly consistent sound throughout the album (which includes instrumental contributions from bassist Wolfgang Salomon, violinist Santiago Jimenez, Samlas drummer Hans Bruniusson, and UZ/Von Zamla bassoonist/oboist Michel Berkmanns) and the whimsy is kept in check, and it doesn't sound as if he reached for the closest kitchen implement within reach to use as a percussive device.
One might argue, then, that Andetag is somewhat less "fun" than Tonöga, for example, but this also represents what Hollmer can achieve when his vision is at its most cohesive: music that is truly unified from start to finish despite 16 individual pieces (from one to no longer than seven minutes in length) and the composer's globetrotting sense of genre and style. With the typically paradoxical mix of power and understatement, Andetag is pure Lars Hollmer, and an indispensable part of his catalog.
-by Dave Lynch-


01. Stråk
02. Kvar Om Igen
03. Now
04. Asianet
05. Tot Brass
06. Cirkus I
07. Cirkus II
08. Försök
09. Flyg O Forget
10. Aska
11. Nya Tag
12. Zwei Kneipe
13. Ovnuserg I+II
14. Samma Dag
15. Teknoloo
16. Videpiano

Lars Hollmer: Arcordion,Percussion, Keyboards, Vocals
Wolfgang Salomon: Bass, Bass Kalimba, Cymbal
Santiago Jiminez: Violin
Hans Bruniusson: Drums
Michel Berkmanns: Oboe
Alba and Rinda Strand Hollmer: Choir

DISCOGRAPHY:

Solo albums:
XII Sibiriska Cyklar (1981)
Vill Du Höra Mer (1982)
Från Natt Idag (1983)
Joggingcharleston Singel (1984)
Tonöga (1985)
Vendeltid (1987)
The Siberian Circus (compilation, 1992)
Vandelmässa (1993)
Andetag (1998)
Utsikter (2000)
Autokomp A(nd)more (2001)
SOLA: Lars Hollmer's Global Home Project (2002)
Viandra (2007)

With Samla Mammas Manna:
Samla Mammas Manna (1971)
Måltid (1973)
Klossa Knapitatet (1974)
Snorungarnas Symfoni (1975)
Kaka (1999)
Dear Mamma (2002)

With Zamla Mammaz Manna:
Schlagerns Mystik / För Äldre Nybegynnare (1978)
Familjesprickor (1980)

With von Zamla:
Zamlaranamma (1982)
No Make Up (1983)
1983 (1999, rec. live 1983)  

With Ramlösa Kvällar:
Ramlösa Kvällar (Nights Without Frames) (1977)

With Fem Söker En Skatt:
Fem Söker En Skatt (1995)

With Looping Home Orchestra:
Vendeltid (1987)
Door Floor Something Window (live, 1993)

With Accordion Tribe:
Accordion Tribe (live, 1998)
Sea of Reeds (2002)
Lunghorn Twist (2006)

With Fanfare Pourpour:
Karusell musik (2007)

Pokerface - Transeo (Sweden 2011) [Avant-Prog] {Free Group Promotion}

FREE GROUP PROMOTION

Pokerface was formed in 1996 by Stefan Heidevik and Michael Horvath as an experimental hip-hop-outfit. Heidevik drew upon his multitude of influences to create odd sounding soundscapes to which Horvath contributed vocals. The duo released a demo in -97 and shortly after, Horvath left to work on other projects. Heidevik continued producing material and in -99 he released the EP "Bedtimestories" in January and the album "Bedtimestories of weird science" in December. The album expanded on the material of the EP and gave hints of Heideviks chaotic and atonal signature-sound, which would dominate later releases.

The latest album, "Transeo", features both studio material as well as live-recordings and the music merges elements of electronica, jazz-fusion and progressive rock. Transeo features guest-perfomances from jazz guitarist Bryan Baker (Steps Ahead, Yellow Jackets) and free jazz trumpet player Mike Lloyd (Freddie Wadling) amongst many others. The album was met by positive reviews from the press with one reviewer stating: "Achieving this type of experimental and truly progressive music requires courage and vision and it seems that Pokerface have both ingredients in abundance".
(Patrik Stigsson - Kulturbloggen.com)

Heidevik is currently working on new material that feature further collaborations with Baker as well as drummer Morgan Ågren (Mats/Morgan Band, Zappas Universe, Fredrik Thordendahl [of Meshuggah]).


01. Hypocrites 5:06
02. Krtek Ve Snu 5:02
03. Buildings featuring Mike Lloyd 6:30
04. Beginnings and Endings 7:18
05. Quicksand-Concrete - Live 4:17
06. Like Love - Live 4:36
07. Miss You - Live 4:14
08. Really Real Reality featuring Michael Horvath - Live 3:37
09. For Those Who Have Fallen - Live 3:56
10. Spider featuring Bryan Baker 6:26


Stefan Heidevik - Synthesizer, programming, glockenspiel, percussion, vox, production
Additional musicians:
Olle Prim - Drums
Mattis Karlsson - Guitar
Per Eriksson - Saxophone, clarinet
Bryan Baker - Guitar
Anna Sahlin - Cello
Karin Svensson Nordberg - Violin
Mike Lloyd - Trumpet
Michael Horvath - Vox

Mastering:
Tracks 1-9 Andreas Karlsson - Studio Nonolith.
Track 10 Stefan Heidevik - Red Room

Co-producer:
Andreas Karlsson - Studio Nonolith

Soundengineers:
Stefan Heidevik and Andreas Karlsson tracks 1-10
Pontus Olofsson - Live audio - tracks 5-9
Gustav Brandén - Recording - tracks 5-9

Coverdesign:
Tobias Solem

Album Preview

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Listen (and buy) the music here! (Facebook)
or buy directly here in Bandcamp


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Asturias - Legend of Gold Wind (Japan 2011) [ProgRock] @320

Just over four years on from their last album, Marching Grass On The Hill, the internationally-celebrated Acoustic Asturias return with their third full-length release. The album's themes are the earth and the wind, through which the group express the cultural influences that have blown from Asia and Europe to faraway Japan over 12 stunning tracks; organic, dramatic and graceful, this is a powerful release that takes the listener on a real musical journey.



01 - Legend
02 - Dance In Gold Highland
03 - Betta Splendens
04 - Frozen Memories
05 - Perpetual Motion
06 - Juhannus
07 - Kaikoh
08 - Gren-Bosatsu
09 - Luca In Grass Wave
10 - Luca & Stella Into The Dark
11 - Kingdom Of Wind
12 - Kagerou


Tei Sena: violin
Kaori Tsutsui: clarinet, recorder
Yoshihiro Kawagoe: piano
Yoh Ohyama: guitar