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CD/DVD Releases: Musea's November And December Releases Roundup

Posted on Sunday, December 28 @ 22:00:00 UTC by nightowl

So, as usual, Musea Records has been releasing, re-releasing, and distributing a mountain of titles. So, to recap the last two months' worth of musical marvels, here the data (in alpha order, and the blurbs, where present, are theirs):

Cos - Swiss Chalet: Usually regarded as the Belgian Zao, Cos develops an European type of chamber-rock, built on onomatopeic vocals or sung in French or German. The band displays beautiful themes interwined with complex orchestrated rhythms. Its music evokes the Canterbury School (Caravan, Hatfield and the North...), the anguished and dark music of King Crimson or Quiet Sun and Terje Rypdal's atmospheric jazz-rock. Pascale Son uses her high-pitched voice, able to perform the most incredible modulations, and this allows her to become one of the best singers in that style.

The leader Daniel Schell is a guitarist extraordinaire, and proves to develop ideas as original as Robert Fripp's. The Musea CD reissues of Postaeolian Train Robbery (1974) and Viva Boma (1976) include several unreleased tracks. Babel was initially published in the year 1978, and the seven tracks of the original album have been completed by a ballet music ("Pro Arte Gymnastica," directed by Jac Delsing in Anvers, March 3rd 1979.), as well as three tracks captured live two years later in Hannover (Germany). The latter are the product of a band reduced to a trio, made of Daniel Schell (using the Chapman Stick for the first time), Nicolas Fiszman (guitar) and Philippe Allaert (drums). The band's fourth album, Pasiones (1983), is a mini-opera based on the story of three soldiers during the Spanish Civil War. The lyrics are made of a mix between Spanish, French, English, German and Dutch. The music is a fine fusion of jazz, classic, rock and folk music, with top-notch instrumental work all around. The band uses complex arrangements and subtle instrumental combinations, with a great sense of humour and originality. This reissue includes more than 35 minutes of bonus music: a performance in Toulouse (France) in 1984, a rehearsal from 1981, and two tracks from the maxi-LP H&ocedil;tel Atlantic dated back from 1984. A great album! [ Swiss Chalet was originally released in 1979 -ed.]

Destillat - Parametric Sensation - Initiated in the early Nineties, the Destillat project strives to grind synthesizers and drum machines to constantly experiment and explore new musical horizons. This monoencephalic entity is nourished by influences as diverse as Kraftwerk, Jean-Michel Jarre, Alain Bashung, Serge Gainsbourg, Kas Produkt, Berurier Noir, Depeche Mode, Front 242, Trisomie 21 and a plethora of others. It developed its taste for electro with the findings of any independent electronic musical scene. In 2014, Destillat sign with the CosmXploreR label and release their first album, Parametric Sensation. It is a collection of tracks from previous work sounding electro-dark-vintage-techno which, although technology stocks, are melodic-intended, distilling emotions.

Dupont - Ladd - Diassè - Vox XL Here is an encounter between Mike Ladd's spoken word and a traditional Senegalese version, the "tassou," sung by Ibrahima Diassé. This vocal meeting is organized by Hubert Dupont, a musician and composer who knows how to deal with African musics without denying his own universe.



Peter Hammill - All That Might Have Been… and All That Might Have Been… (Special Edition) - Peter Hammill is unquestionably one of the "artists-cult" of the world of rock, just as musicians as various as David Bowie, Peter Gabriel, and Fish are cited as an influence or object of admiration. More than forty albums (of which more than half released by his own label Fie!, exclusively distributed by Musea in France), the eclectic poet-musician who integrated a prolific vision of the various currents of rock over the last thirty years, often before their time: progressive rock with Van Der Graaf Generator in 1967, punk before its hour with Nadir's Big Chance in 1974, the new-wave in 1980 with the K Group... He also succeeded to create a very special poetic universe, made of meditations and "visions" of an uncommon force. Albums of the late 1980s and the next decade are marked by a constant desire for renewal, although the choice of musicians who accompany him is often the same: David Jackson on saxophone and flutes, Stuart Gordon on the violin, Manny Elias on drums...

Fool's Mate is his first solo album, originally recorded in 1971. Following that, Chameleon In The Shadow Of The Night in 1973, and Over four years later. Released in 1988, In A Foreign Town is a collection of various songs, an album of transition but intensity always presents. Fireships shows an artist calm and serene, follower of loose sheets keyboards and melodies of great beauty. There Goes The Daylight, on the contrary, shows us in the concerts of the period 1993 to 1995, moments of raging electric fury and something indescribable. Recorded in 1992, the most excellent rock opera The Fall Of The House Of Usher (inspired by the famous work by Edgar Allan Poe) has been rearranged with happiness in 1999, and has a wide range guests (Lene Lovich, Herbert Grönemeyer...), a work of darkness and a lyricism out of the ordinary.

X My Heart, Roaring Forties, or the small last What, Now? (2001, excellent vintage!) show a gradual evolution toward ambitious, sometimes close parts by their arrangements and their intensity of the absolute reference Van Der Graaf Generator, sometimes more intimate and meditative ("None Of The Above"). In order to present a comprehensive panorama of his work, Peter Hammill suggests compiling The Thin Man Sings Ballads. This release contains twelve tracks covering the period 1982-2001, extracts of nine albums such as Fireships, Everyone You Hold, or the recent What, Now?.

Here's that Clutch (2002) landed on our turntables... A first observation: this is a work! Once more, would anyone be tempted to say otherwise? It again finds the former mentor of Van Der Graaf Generator equal to himself, only facing his acoustic guitar and his heartbreaking lyrics. In order to furnish the sound space, the artist has chosen to complete his instrumental palette by adding elegant parts of lute. You can also hear sound interventions of the faithful Stuart Gordon (violin) and David Jackson (saxophone & flute), with the turning of some beaches. There is no doubt about the fact that this major work will leave us once more speechless. Not surprisingly, facing one of the most moving voices of any music production these last three decades... Inconsistency (2004) includes a single eponymous track of 41 minutes (divided into fourteen cycles). It sees the participation of accomplices, Stuart Gordon (violin) and David Jackson (flute and saxophone). The music alternates between unbridled experimentation and scholarly orchestrations, intended to illustrate our communication difficulties, all with know-how and a really unique personality! [poorly translated from the original French using Bing - uncultured ed.]

[ All That Might Have Been… is the new studio album from Hammill. The special edition is a 3CD set, described by Burning Shed (who also have it available) thusly: "In addition to the cinematic, continuous play main album, the box set contains a 'songs' version and a 'retro' / instrumental works in progress version that offer very different perspectives on the work and music left off the main release.

"Two 16-page booklets provide full lyrics for each version and an explanatory essay runs across the back of the three individual CD booklets." -ed.]

Kaukasus - 'I' - Scandinavian Prog Rock legends Ketil Vestrum Einarsen (Jaga Jazzist, Motorpsycho), Rhys Marsh (The Autumn Ghost, Opium Cartel) & Mattias Olsson (Änglagård, White Willow) have joined forces as Kaukasus to record and release their outstanding debut album Kaukasus 'I' out on Autumsongs Records via Burning Shed on 05 May 2014. Starting life as an experiment into Krautrock style, the project morphed into a fully-fledged and modern sounding dark, Nordic, progressive rock album, with elements and excursions stylistically into krautrock, artOrock, and world music calling into mind such bands as Japan, Genesis, Can, Brian Eno and early Peter Gabriel. Kaukasus view themselves as a musical tripod -- its weight firmly in the middle, where the three musicians ideas and styles meet, each band member bringing their own signature to the music, from Olsson's supple and dynamic drumming and Mellotron textures, Marsh's impassioned vocals and guitar work, to the strange, snakelike and evocative woodwind and synth lines from Einarsen. Although based in different parts of Scandinavia, the trio trusted each other's instincts without question. In fact, as the album was written and recorded in a such a short amount of time -- only two weeks -- it sounds like they were not only in the same room, but in exactly the same places in their minds and in their lives -- the intensity and chemistry jumping from the speakers as the album begins. Einarsen: "I haven't had this much fun in years. I loved working with Mattias and Rhys, and playing with them just felt right. I found myself sending them my stuff, only to get back something very unexpected, unpredictable and wonderful." Olsson echoes this vibe: "When it comes to long distance recordings it's always a matter of trust. With Kaukasus I think we have found a great balance between form and chaos." Marsh adds, "In many respects, this is the album that I've always wanted to make. It was fast and impulsive, and has an energy that couldn't have been contrived. I was constantly surprised by the parts that Ketil and Mattias would send me."

Jean LaPouge - Plein Air - In between Hauts Plateaux (Musea Parallèle, 1993) and his latest effort Temporäre (Great Winds, 2011) Jean LaPouge, the founder of Noëtra, played in a trio setting with Kent Carter (double-bass) and Jeff Boudreaux (drums) for nearly a decade. The band went into the studio three times over this period. The musical context, resolutely jazz, allowed the composer to explore new directions in his compositions and guitar playing, the latter reveling in newfound freedom. The rhythm section is, simply put, brilliant. Plaything (Great Winds, 1994-2002) compiles those recording sessions, bearing testimony to the three musicians' dedication to what counts: the music. Temporäre offers an unconventional instrumentation, based around guitar, vibraphone (Christian Paboeuf) and trombone (Christiane Bopp). One might even hear oboe on two tracks. Recorded in May 2009, the album reflects the band's live work. The accent here is on the tracks' simplicity and their inherent poetry... For the composer, the album strikes the delicate balance between composition and improvisation. Not unlike the releases in non-chronologigal order dear to his band Noëtra, Jean LaPouge likes to build his own discography as a puzzle. Des Enfants (Great Winds/Musea, 2012) gathers two recording sessions made by his trio, completed by Christiane Bopp and Christian Paboeuf, prior to Temporäre (Great Winds/Musea, 2011). The tracks have been performed in 2005 and 2007 in Kent Carter's studios. The musicians did record without rehearsing much back then, aiming at convincing tour-managers to hire them above all. This didn't work well for them anyway! Listening again to these compositions recently, Jean LaPouge found this urge to record, and liked the freshness that resulted. The next step was to publish the disc as it was. And here you are, for the pleasure of your ears!

[Plein Air is LaPouge's 2014 release -ed.]

Luz De Riada - Cuentos & Fabulas Vol 2 - Luz De Riada is a current instrumental Progressive jazz-rock band, definitely bordering ethnic and new musics. It came to life in July 2010 around veterans of the Mexican scene, who have previously worked with Cabezas De Cera, Saena, Enrique Nery, Nirgal Vallis and Santosotelos. Luz De Riada works around the idea that the future of music is the fusion of rhythms and ethnic styles with contemporary vivid language that, with the combination of unconventional instruments like the Wind Midi Controller, Duduk, Grand Stick and Handsonic, alongside traditional drums, electric guitar and saxophone, can evoke the imagery of living in another time and space. This album is the first part of a trilogy featuring the encounter between two approaches to music: free improvisation and prior composition. Not to be missed!

Rhys Marsh - Sentiment - Sentiment is a journey into the darker side of the soul, both musically & lyrically, and is by far the most personal statement that Marsh has produced. Sonically & texturally, this is a dense album, full of thick atmospheres & intense dynamics, with songs that will grip you & keep you on the edge of your seat. Following the success of Kaukasus' debut album earlier this year, Marsh has continued down the same road, mood-wise, but brought the dark atmospheres into a more song-based setting -- combining a similar intensity with more classic structures, leading to captivating & striking results. The album was written, performed & recorded by Marsh over a two year period, in his own Autumnsongs Recording Studio. From the outset, the urgency of Sentiment breaks through the speakers with the first alarm-like chords of "Calling In The Night," which will fight for your attention, and most likely win. The intensity runs straight through into the furiously-paced "Burn The Brightest Day," the folk-noir tones of "Pictures Of Ashes," and the ominous electronica-edged "The Seventh Face." It's only when we reach "The Ghost Ship" that we're allowed a moment to reflect -- the melancholy taking the forefront, giving us some room to breathe. It's here that most Autumn Ghost fans will find comfort, but that comfort doesn't last for long… The grandiose "In The Sand" sets off the second half, its sonic beauty hiding a much darker lyrical theme. "Last November" begins as a catchy, upbeat number, before taking a turn, leading us straight back into the maelstrom of harmonic chaos. The final two songs descend into the heaviest and darkest sounds that Marsh has released to date -- "Silver Light & Blackened Eyes," with its nightmarish chromatic patterns, and "Give Me (What You Need)," which pushes further and further towards the sun, before burning out in a wall of distortion and feedback. The feeling of Sentiment is urgent and intense. There's nowhere to hide in this music, wrapped in fuzz guitars, imposing bass synth, merciless rhythms and dissonant colourings. Its abrasive textures and unexpected turns -- mixed with the contrast of Marsh’s trademark beautiful melodies, twisted here to a new dimension -- will keep the comfort levels to the minimum.

Mizmar - Mixit - Mizmar is the name of a project by Rodrigue Lecoque, the keyboards player of Amethyst. Their first album represents the original soundtrack of Contes De La Main Gauche (Tales Of The Left Hand), an anthology written by Guillaume Lecoque. It was realized during the autumn and winter 2001-2002, and relates to the Arabian Nights. The inspiration for these tales comes from photographs captured in Yemen by Guillaume. The music is between electroworld (close to Anokha, Asian Dub Foundation…), trip-hop (Massive Attack, Air...) and Progressive rock, through the symphonic aspect of certain pieces. The artist used samples specially captured in Yemen and enabling a blend of occidental and oriental music. Influences such as that of Yann Tiersen are also sensible. Through that album, Rodrigue Lecoque drifts somewhat from the jazz-rock fusion music of his band Amethyst, in order to realize a more personal and intimate opus. This is a way for him to share the whole scope of his musical world. Since 2012, Mizmar become the electro jazz oriental trio with Nabil Ghannouchi on Oud and Nay (Tunisian traditional flute) and Agata Nowak on drums and percussions. The new line-up revisits few pieces of the initial project and creates new songs more acoustical. The second album performed by the Mizmar trio is released in 2014 and named Mixit.

Narrow Pass - A New Day - Narrow Pass is the name of the project of Italian multi-instrumentalist Mauro Montobbio, a resurgence of an eponymous project initiated at the end of the Eighties, gone without any trace. Here is eventually the first album, A Room Of Fairy Queens, released in 2006 by the Musea label. Our man, whose favourite instruments are guitars and keyboards, was surrounded by a pleiad of outstanding musicians for the rhythm section, vocals (featuring the extraordinaire Alessandro Corvaglia from La Maschera Di Cera) and wind instruments. The latter ones were played by Edmondo Romano, former member of the legendary Eris Pluvia, in company of the female vocalist Valeria Caucino. It is no surprise if Narrow Pass sometimes evokes the excellent Rings Of Earthly Light, a little masterpiece from the early Nineties: a strong sensitivity, melodies with a diaphanous purity, airborne flute parts, a strong influence close to Camel… This music should also be able to charm the Pink Floyd lovers as well as the nostalgic ones of Marillion-kind of lyrical guitar soli. Under no account should you miss this gem! In This World And Beyond (Musea, 2009) is in a similar musical vein, mixing celtic influences with Progressive rock ones, acoustic and electric sequences, instrumental moments and sung parts. Several guests perform here vocals (Alessandro Corvaglia again!), bass, drums, saxophone, flute, piano or violin, and help in creating a refined brand of Progressive rock music, influenced by the Anglo-Saxon masters of the Seventies. Let's also notice an acoustic and Celtic touch, that brings the band near Iona or the first album by XII Alfonso, and even Enya in some parts. Here's a melodious, suggestive and dreamy music, full of grace and softness, like Valeria Caucino's fragile and delicate voice. A must-have!

[A New Day is the band's 2014 release, and features special guest John Hackett -ed.]

Nektar - Live At The Patriots Theater - Nektar is undoubtedly the most German of the Seventies British bands, a reputation owes much to his city training (Hamburg) and to their stylistic approach (assimilated to Krautrock). The group was formed in 1969 by Allan Freeman (keyboards & vocals), Roye Albrighton (guitar & vocals), Derek Moore (bass, Mellotron and vocals) and Ron Howden (drums) have met in Hamburg the previous year, in the manner of the Beatles, almost a decade earlier. This is also their common passion, for rock n 'roll performed by the quartet from Liverpool, which brought them around a common musical project. But it is above all the great winds of renewal that influenced the innovative approach and the sound of it, sometimes likened to the experimental and typically German school Krautrock. The 70s were an opportunity for the band to issue some masterpieces the likes of A Tab In The Ocean (1973) and Remember The Future (1973). As the name suggests clearly, the double-album The Dream Nebula - The Best Of 1971-1975 brings together the best songs of the period. Enjoying this essential document, you believe you to go to paradise!

Once again shaken by the major changes affecting the company, the group publishes their last record before parting: Man In The Moon (1980). Co-produced by known Rupert Hine (easily recognizable here), this album features eleven tracks, much more consensual than in the past. Since then, we had more of Roye Albrighton, Allan Freeman and others. Also, what was the excitement when it was announced that the original line-up, author of a very good The Prodigal Son a year before, would give a unique show at NEARFest 2002: the gold tickets admission to the Patriot Theatre (New Jersey) were sold out in three quarters of an hour! The Classic Rock Legends label give Musea now the unique privilege to watch the event live on the screen of our television, thanks to the magic and clear DVD. The bulk of the book is redone to improve the quality from the original [or so I interpret, as from what I can tell, this is a 2014 re-issue… -ed.]. Keyboardist Larry Fast (Synergy) is quite amazing, as well as the only "liquid light show" conceived at the time specifically for the band, and orchestrated here by its author Mick Brockett. The film combines rare archival footage, images taken behind the scenes, interviews and other documentaries. In the end, we get the successful testimony of one of the most beautiful and unexpected comebacks in the history of Progressive rock…

The Oneira - Hyperconscious - Progressive rock band The Oneira has been formed in Italy by composer-guitarist and bass player Filippos Gougoumis in the year 2010. The current bandmembers are Erik Spedicato on drums, GiamPaolo Begnoni on keyboards and Vincent King as guest vocalist. The debut album Natural Prestige (Musea Parallèle, 2011) contains ten songs, out of which four are instrumentals. The songs come with deep emotional lyrics, dealing with goals to achieve in life, adventures in space, or the beauty of nature and the peace of the sea. For the making of the album Filippos Gougoumis teamed up with producer Oliver Philippe (Everon) and sound engineer Christian Moos (Spacelab Studio). The first named also arranged the songs and appeared as special guest (keyboards, guitars & vocals). The style of the music is Progressive rock, with the focus on melodies and atmospheres, not on technical wizzardry. It may be best compared to the earlier works of bands such as Genesis or Yes, but may as well appeal to people who like bands like Rush, Styx or Journey. To be discovered! [Hyperconcious is the band's second release, which came out in November 2014 -ed.]

Phi - Now The Waves Of Sound Remain - That everything has somehow been done before one way or another? Everybody knows that. That not getting trapped artistically is paramount in today’s music industry? We already know that, too. That a vast variety of despicable abominations are done to art these days? We already know that. How to maneuver around all those traps elegantly? Where mere sounds and thoughts amalgamate and become art? That is what three guys from Austria's Styria are here to show you. Ladies and Gentlemen, this is: Now The Waves Of Sound Remain by Phi. After being formed in 2006 and achieving first respectable successes in 2008, Phi have since released their critically acclaimed album Years Of Breathing and consequently toured the stages of Austria, Germany, Switzerland, Hungary, Romania and Lithuania. By means of their brand new album Now The Waves Of Sound Remain, the power trio now presents the fascinating result of the artistic vision that the band likes to call "double bottom." Finding the formula for how to reach the perfect mixture of raw power and deep emotion; how to fuse a love of elements of the past with the natural curiosity of one’s own artistic evolution, without compromising the very own distinct voice; finding that sweet spot where inexorable force coexists with big feelings in perfect harmony -- despite enormous complexity. That is the approach that Markus Bratusa (vocals, guitar, programming), Arthur Darnhofer-Demár (bass, vocals) and Gabe Cresnar (drums), all established in the vicinity of Vienna's legendary Hallucination Company, have been following and have now brought to an impressive conclusion through the release of Now The Waves Of Sound Remain. On this record the mighty walls of Tool's guitar sound meet the driving rhythms of Rush and gently merge with sophisticated arrangements that resemble the delicacy of Porcupine Tree. The Jeff Buckley-esque jazzy elegance provides the music with the final ingredient that completes the fused aesthetic of the old and the new. In order to make this album the comprehensive experience that it has ultimately become, Phi have created and implemented a textual concept in which the discourse on music’s role, its significance, its drift into banality and the corresponding deterioration in value in today’s society functions as a backdrop for a both detailed as well as cynical analysis of major issues. The enormously powerful message of this album lies in the fusion of emotion and the coolness of the intellectual: art is so much more than only a mere product. Now The Waves Of Sound Remain challenges the boundaries: this is music with a "double bottom." To give this record the scope that it deserves Phi joined forces with Gentle Art Of Music, the label owned by RPWL-duo Yogi Lang and Kalle Wallner. Furthermore, the final touch of the Album's sound was provided by none other than Jon Astley, whose earlier accomplishments include works of Led Zeppelin, The Who, Tori Amos and Anathema. Phi are real artists -- thanks to the "double bottom."

Spiders & Snakes - Year Of The Snake - Hollywood’s underground glam-metal rockers Spiders & Snakes celebrate their 25th Anniversary with their 9th studio album – and first since 2008’s Melodrama (distributed by E1) -- full of 10 new original glitter-rock anthems and a gloriously campy remake of the 1977 Angel hit "I Ain’t Gonna Eat Out My Heart Anymore," featuring guest appearances from members of 80s L.A. Metal legends Steeler and Bitch. [So um… yes, not prog, we know… -ed.]. On Year Of The Snake, band founders Lizzie Grey (guitars/vocals) and Tim Yasui (drums/keys/vocals) are joined by Phil St. Vincent on bass/vocals and former Sweet Savage/ James Kottack lead guitarist/vocalist Chris Sheridan. The album shows off this lineup's songwriting depth as each band member shares their lead vocal chops and songwriting duties. Additional guest appearances by Angelo Moore (Fishbone), Billy Sherwood (Yes), Ryo Okumoto (John Payne’s Asia) and Dave Soble (The Freewheelers) "put the album above and beyond even our own expectations" says front man Lizzie Grey, who was recently put back in the spotlight after the re-release of the Penelope Spheeris classic film Decline Of Western Civilization: The Metal Years as the leader of the infamous Hollywood band London.

White Willow - Storm Season (Expanded Edition) - White Willow, a band that stems from the famous Scandinavian School, stands for one of the most essential initiators of the trend, and the leader of its most folk-influenced side. The first album Ignis Fatuus (1994) collects pieces that were recorded over a long period of time, featuring an evolving personnel. No less than nineteen musicians and an astounding number of instruments are to be heard there! The album includes consequently a great variety of sounds, staying in the very melodic Progressive rock field, with a sometimes quite baroque connotation, reminding of Gryphon's music. Flute, Mellotron or very classical female vocals parts increase the sophisticated and precious nature of this absolutely original music. The second album Ex-Tenebris (1998) proves to be more consistent, while reinforcing the dark side that was already perceptible in the first album. Also noteworthy was the arrival of Mattias Olsson, former drummer of Änglagård: a certain pledge of quality! Sacrament (2000) surely is the album that brought recognition to the band, showing still more maturity and attractiveness. The project manager Jacob Holm-Lupo had therefore to hit hard to achieve his fourth opus Storm Season (2004). Still published by the US label The Laser's Edge, this new album features the fragile and ethereal voice of Silvia Erichsen, close to that of Petronella Nettermalm (Paatos). The listener immerses within the typical misty and frosty atmospheres of large snowy expanses. No doubt that he (or she) won't get out unscathed from them! After a five years hiatus, White Willow comes back to claim its throne! And the Norwegian band has all needed to do so, with a sixth opus named Terminal Twilight (2011). That one is said to be as symphonic as Sacrament (2000), as dark as Storm Season (2004), and as pastoral as the first albums… With an experimental side added for good measure. That must be quite something! Let's not forget that, after having been the vehicle for Jacob Holm-Lupo alone, White Willow looks even more like a who's who of the Scandinavian School (and beyond): the band now includes drummer Mattias Olsson (Änglagård), Lars Fredrik Froislie (Wobbler), Ketil Einarsen (Jaga Jazzist) and singer Sylvia Erichsen. Not ever to mention the guest-appearances by Tim Bowness (No-Man), David Lundberg (Gosta Berlings Saga) and Michael S. Judge (The Nerve Institute). Needless to say more, really...

[Except this bio was written before this re-issue of Storm Season. On the WW website, we learn "[W]e are re-relasing our album Storm Season {…} The Laser's Edge's bestselling album. But more importantly it is an album that we know is very close to a lot of fans' hearts, and since it's been out of print for a long time we figure it's about time we made it available again. As per our usual reissue policy this is being released on Termo Records, is remastered (all analog remastering), features bonus tracks, and this edition even has liner notes by legendary rock writer Bryan Reesman, known for his liner notes for bands like Black Sabbath, Judas Priest and AC/DC. He also happens to be a White Willow fan." And gleaning bit more info from Wayside Music (where the CD is also available), "This digipack reissue includes an outtake from the sessions, as well as two demo versions of tracks!" -ed.

And rounding out the releases with some biographical info, we have Zanov - Virtual Future - Zanov, one of the first French electronic music composers is back after a long silence, with this beautiful musical trip, exploring the universe of sounds. This album was originally composed and created in 1980 on analog synthesizers (VCS3, ARP 2600, ARP sequencer, RMI harmonic synthesizer, Korg PS-3300), digitized and completed on Arturia Origin synthesizer in 2014. This is a record, indeed a complete story, that has matured over 34 years and the result is superb! Zanov has a unique style, powered by his determination and capacity to create the totality of the sound matter which constitutes his musical compositions.

In addition, there are these re-issues or distributions: Ramon Goose - Blues And Spirituals (folk from Acoustic Music Records); from DCM, King Crimson - The Elements Of... - 2014 Tour Box (2CD + Book) and Yes - Relayer (Definitive Edition) (CD/DVD and CD/BR editions); from Planetwork, Fairport Convention and Sandy Denny - Ebbets Field 1974 and Grifter - The Return Of The Bearded Brethren; from Red River Imports, Assagai - Assagai, The Blues Project - Live At The Matrix 1966, Jackson Browne - Live At The Main Point 1975, Captain Beefheart - Live 1966-67, Ry Cooder - Acoustic Performance - Radio Ranch 1972, Creedence Clearwater Revival - The Fillmore West 1971, David Crosby - Live At The Matrix 1970, Flied Egg - Good Bye, The Flying Burrito Bros - Seattle Pop Festival 1969, Jerry Garcia - Live At The Record Plant, Sausalito 1973, Genesis - In The Beginning (but not that Genesis, a US group of that name), The Greatful Dead - WCUW WOrcester, Massachusetts 1988, Iron Butterfly - Live At The Galaxy 1967, Jefferson Airplane - Live At The Fillmore 1966 and Family Dog At The Great Highway, San Francisco 1969, Billy Joel - Greenvale New York 1977, Little Feat - Live At Ultrasonic Studios 1973, Mahavishnu Orchestra - Whiskey A Go-Go 1972, Midnight Sun - Midnight Sun, Steve Miller Band - Live At The Carousel Ballroom, San Francisco 1968, Moby Grape - Live At Stony Brook University 1968, Mystic Number National Band - Mystic Number National Band, Quicksilver Messenger Service - Live At The Fillmore West 1971, Lou Reed - Banging On My Drums, Santana - Rynearson Stadium, Ypsilanti 1975...

...Stephen Stills - Bread & Roses Festival 1978, Patti Smith Group - Jazz Workshop, Boston 1976, The Velvet Underground - The Boston Tea Party 1968, The Boston Tea Party 1969, La Cave 1968, Tom Waits - Nighthawks On The Radio, Frank Zappa & Captain Beefheart - Providence College 1975; and from Store For Music (some classifed as prog, but some are clearly not), Air Supply - It Was 30 Years Ago Today 1975-2005, Asia - Live In Nottingham, Marc Bolan T-Rex - Legacy, Canned Heat - A Spoonful Of, Gilby Clarke - Swag, Brian Connolly's Sweet - The Definitive Brian Connolly's Sweet, Meat Loaf - The Guilty Pleasure Tour, Iggy Pop & The Stooges - The Detroit Tapes, Various - Flying High Again Tribut - The World's Greatest Tribute To Ozzy Osbourne, Edgar & Johnny Winter - The Brothers Winter, Yes - Family Tree - Featuring Yes, Members & Friends, plus these tutorial DVDs: Max Milligan - Learn To Play The Jimi Hendrix Way, Learn To Play The Eric Clapton Way, Learn To Play Guitar The Jimmy Page Way, and Learn To Play The Keith Richards Way; and to conclude the round up - Dany Des Rues - Le Retour De Rémi Vinacci ("a typical French street poet, Dany Des Rues gives us the possibility to discover his complete popular repertoire on Le Retour De Rémei Vinacci.)

[Source: Musea Records (except as noted)]

Posted in Album Release News

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