#Generation Prog Records

[go-go-devil]

Nothing like going to a record convention to kick off the new year, and holy hell did I have a successful hunt! In fact, this may very well be the BEST haul I've ever taken home in my history of vinyl hunting!

So many records that I'd been waiting literal years to find out in the wild were all found during my first 20 minutes at the place: Acquiring the Taste, Pawn Hearts, In Camera, Spirit of Eden, and even a reasonably priced copy of Wish You Were Here! About damn time too, it was painful going so long without the LAST Pink Floyd album I needed in my collection T_T

I even stumbled upon some rare, unexpected finds. I've known about Sally Oldfield's Water Bearer for close to a decade yet this is the first time I've ever seen anyone carry her. Same with the Gong and Steve Hillage record and especially Art Bears. As for the Stevie Wonder album, I grabbed it because it has "Higher Ground" which is one of my favorite songs of his, but I'm actually not familiar with the full record and am excited to check it out!

[nobodyexpectsthe]

okay i'm going to do a veilguard critical post and i want to start it with this post by david gaider that has lived rent free in my brain since i read it.

and i want to be clear as i begin this rant that i am critical of studio leadership. not the development team themselves, because god fucking knows they tried.

i cannot emphasize enough that the game we got is not the fault of individual writers, or game designers, or any creative team leads. the issue came from people way, way, way above their heads.

and that is extremely important to remember that veilguard's active retooling had only been in play for, what, a year? from 2022 to 2023? when the games industry decided it was time for record layoffs?

where like their entire QA team got shitcanned?

and devs had to fight to get more than two weeks fucking severance?

if veilguard had remained an always online multiplayer experience i think it's story would have been praised, because the story was not meant to be the main draw. the gameplay and character customization was. any story in an online game that isn't an mmorpg is generally praised - even if its a stupid mystery box story where you're just drip fed tiny details that will take actual years to pay off.

in a singleplayer experience in a franchise that people went to because of it's storytelling the whole thing just falls so short.

but for me the issues went so much deeper.

i like most of the character concepts. i like most of the ideas the game was built on, but the execution made me angry.

needing to constantly leave and come back to the lighthouse to pop new quests was frustrating. if they dropped me in the middle of the hub it wouldn't have been so frustrating, but to talk to lucanis i have to go from one end of the map to the other.

there was nothing to do at the lighthouse besides that and i guess upgrading my armor. i can't talk to my companions. i can't even like - prog conversations between them? why can't i use my caretaker points to build out areas for my companions to hang out in, drop some fucking items in there associated with them, and maybe get the conversations i want to hear instead of lucanis talking about fucking coffee for the sixteenth time?

there's a dining room. why can't i use that to get ambient banter conversations?

why am i at the fucking mercy of what the npcs want to do?

so much of the gameplay felt like a holdover from the multiplayer version. things that wouldn't have bothered me as part of a game that was meant to be played in realtime, with idk the conversations being daily login incentives,

but nothing stood out to me as bad as the quest recaps did. the quest recaps actively fucked with my ability to get immersed and stay immersed. they were either clearly a holdover from when there were meant to be huge real time gaps between content drops or an extremely poorly thought out addition that really only made the stop-starts of every quest that much worse.

and the little pop-ups that reminded me why a character did a thing or felt a certain way were infuriating. that just happened. literally at the start of this quest.

the companion quests don't change. they come to conclusions on their own, and even if you try to sway them in another path it doesn't ultimately change anything? i think emmrichs is the only one you can drastically affect the outcome of.

like yes, game, you are not terribly complicated. i have a handful of choices so if a character is doing something or saying something directly related to a choice i pushed them to make, i would assume that's why.

except i had no actual choices. i have replayed dragon age 2 & inquisition multiple times just to see how different scenarios play out depending on my choices. i have played BG3 to fucking death to see how little dialogue options get called back.

i am not talking the grand sweeping choices at the end of the game. i am not talking about the four different endings - which i actually did not enjoy at all.

an ending where everyone dies because you didn't amass enough political power and/or recruit all the party members would have fucked hard actually.

and see, one of my favorite rpgs of all time is tales of symphonia. that's a jrpg. that has a set plot, a set way things play out, you cannot change it except for one small detail - your interpersonal relationships.

i do not need to drastically change the ending of the game, i need to feel like the little stones i throw make little ripples. i need to see that my actions, the person my character is, has an influence on the people around them, their willingness to stand with them and follow their orders, and veilguard didn't give me that.

what i got instead was the illusion of a choice.

what if instead of rook assigning people to missions (THAT IT HOLDS YOUR HAND THROUGH TO PICK THE RIGHT CHOICES) it came down to a matter of trust? what if you gave an order and rather than following it, your teammate / the faction decided you knew jack shit actually and deviated from the plan?

or what if their unhealed personal trauma actually came up in the thing that gets them killed? what if instead of it being cinematics, it was something you had to play through ala DA2? where you have the option to try to salvage the relationship one last time before they either die or get themselves killed?

why was i a fucking spectator in this game that was supposedly built around the strong bonds the veilguard had? because like the whole ~hero of the veilguard~ thing falls flat to me if their fatal flaw isn't ultimately what destroys them.

an ending where i got fed up with the same boring repetitive sidequests & didn't go back and forth from the lighthouse often enough to get

the fact that the game auto-saves at key choice points too is indicative that they know this is not a replayable experience.

looking @ corinne bus.che's departure from bioware and her statements, i don't have a lot of hope for the company. i think that she's saying in the politest way that things are still bad and she's moving on to greener pastures and hopes that the studio can fix itself.

and i say this because i'm remembering the actual months of all hands meetings where execs said the same thing over and over again right before they dropped that projects were being scrapped, games were being sunset, and layoffs were imminent. and my boss, bless him, was trying to reassure me that my team was safe.

only for him to log in one day and find out that someone above his head had laid off team members without his say or input. and how this happened again, and again, until i was the one sending him a text message bc i'd been called into a meeting with someone above his head. my whole team was devastated, our already small size reduced even further, and the workload became that much more stressful to everyone left.

and it kept coming. the way the SLT undervalued anything that wasn't their own fucking jobs was disgusting. heaven forbid you don't lose your bonus. but sure, okay, hq needed that luxury spa the almost entirely remote team will never see.

i had to sign stuff saying i could never disparage the company so i could get my severance.

i remember sitting in allhands meetings with my team, watching the divide between the people who actually make the fucking game and engage with the audience & the people who call the shots grow bigger, and bigger, and bigger until we had a blowout during a meeting regarding our bonuses structure changing THREE DAYS after another project was cancelled AND THE COMPANY HIRED AN ADDITIONAL CEO.

i have been the person in meetings with an exhausted dev team, listening to the writer say they want to do more but the studio won't let them. i've seen the artists showing off work they know will never see the light of day because their project was doomed. i've seen the team lead with defeat in his eyes saying they desperately trying to explain to SLT (who had no knowledge or care about the IP what the project needed to succeed) only to be dismissed.

and like, that might not be her energy. that might be my disillusionment with the industry speaking, but it's so fucking sad. so fucking sad.

she's currently getting a lot of flack but like - it's not her fucking fault my dudes!!! the game was pushed out on a crazy timeline, there were layoffs, she inherited so many problems.

i hope she uses her title and experience to find a better studio to work at and has the chance to make the crpg she wanted to. i hope that studio understands that you can't just staple trends from other games & genres onto yours and make it a success, because bioware & EA sure don't.

i genuinely hope baldur's gate 3 and larian's entire approach to game design forces these grifting finance bros out of the industry and i wish so desperately the discourse would focus on how that is the fucking problem here. but i don't think it will.

i'm going to be so surprised if bioware isn't stripped and sold for parts after mass effect 4 drops. i've seen it too many times at this point.

ips are only as strong as the people making them. and if you have created an environment where these people are leaving in droves, or are constantly anxious for their job security, or you keep interrupting it and retooling it to chase a trend, you've fucked yourself and don't even understand why that trend is popular.

why in the fuck is someone going to pay for knockoff of a better game that's doing numbers with an active playerbase? do you seriously think that the dragon age skin you put over it does anything for that?

i am so tired of the conversations around this game centering on how 'wokeness' ruined it. it didn't. these have always been progressive games. the issues with vg came from people far removed from the writing, design & art process. i think a lot of the clunkiness of the game came from the fact that these stories had no fucking time to develop and grow naturally, they had to be shotgunned bc they had no time to do anything else.

when all is said and done, my honest impression of veilguard is that its a miracle it came out. it is. it genuinely is. few games get out of development hell after that long, let alone in a playable state with any redeeming qualities.

but that miracle isn't enough for me to forgive all of its faults. the slog that was act 2 damn near killed me. there was no narrative pacing with the companion quests. there was... no quests outside of the companion quests. it would have been one thing if i was doing a main story quest and then everybody had feelings related to that quest, but i think 99 percent of act 2 is purely fixing everyone's emotional problems so they don't die in the final battle.

anyway the last thing i'll say is i've seen a lot of people criticizing the team for fluffing the project up. and... man, i hate to tell you this, but they can't say anything about it right now. they just can't. and more than that, like... they are allowed to have pride in what they managed to pull together. the fact that game came out at all is, and it cannot be understated, a miracle.

if there are expirations on their NDAs & non-disparagement clauses, we're going to get some tea in 5 - 15 years.

[prontaentrega]

how to post songs as mp3 files and avoid copyright

a bunch of people were asking how to post music on tumblr so here's some kind of tutorial n_n there's probably a thousand better ways to do it out there but this is what i do and it works for me

Step 1: Acquiring music

Before you post any music you gotta have it as an mp3 file. Bunch of people mentioned mp3 converters but my favorite way has always been to just download discographies from blogs. You google "(band) complete discography free download" or something like that and something's bound to show up. If you've doing this for a while you'll skip this first part and go straight to the places you know will have it- here's some of my favorite blogspots for it - but they're all very specific to the stuff i listen to (mainly punk and latin american rock).

These type of sites tend to be genre-specific so if you're looking for, say, a prog rock band, maybe you'll have more luck searching for prog rock downloads websites. The older or more obscure the band, the easier it will be to find. And you'll find that a lot of these sites are not in english- you have to get comfortable visiting and downloading from sites in spanish, portuguese, russian or what have you and your life will get easier.

Don't limit yourself to blogs or music download-specific sites. Some people post album dl links on youtube. When i was in high school i downloaded The Black Parade from DeviantArt. The internet is far and wide and you can find stuff anywhere

But what if i can't find an album like this?

Alternative 1: Legally

Go find a record store and buy the album you want. You can also check the artist's bandcamp or any other website where you can buy their music and get it as a file on your pc (no streaming shit). Some albums are out there for free, legally! If you know an artist who uploads their music to tumblr you can just right click on their mp3 upload and download it directly :^)

Alternative 2: The classic

you can pretty much google youtube mp3 converter and click any link and it'll do the work. Here's a link from a safe piracy subreddit. You paste a youtube vid's link and hit convert/download etc.

I've also heard some people say Lucida is good (lets you download songs and albums by pasting the spotify/bandcamp/wtv link) but i can't say it has worked for me- always gives me a network error. But maybe it works for someone else.

Step 2: I got the music- now what?

Now you post it! Some songs (obscure or copyright-free enough) will just let you post them like that. Most songs won't. For a lot of them you'll have to add some silence or edit the metadata.

Adding silence to a song:

Option 1: Get audacity for free. Go to File > Open on the top bar and open the song you wanna add the silence to. Make sure you're at the start of the track (it says 00h00m00s at the bottom). Go to Generate > Silence... on the top bar also. Choose how long you want the silence to be, click "generate". You'll see a straight line appear at the start of the track- that means it worked. Go to File > Export > Export as MP3 to save it. You'll see a pop up where you can edit the metadata (things like artist, year, genre, etc.) i like having my audio files with metadata but for the purpose of tumblr posts you'll want to leave all that empty- if it's got that info erase it. Click "Ok". Done!

Option 2: Do it online on audiomass. Go to File > Load from Computer, open the song. Click on the white square with the S (insert silence button). Choose how long you want it to be, click "insert silence". You'll see a straight line appear at the start of the track- that means it worked. Go to File > Export/Download. Make sure it's mp3 format, i always save it as 256kbps but it's not neccessary. Click export. Done!

Some songs let you get away with only 5 or 8 seconds of silence. I try to have it be as short as possible, but most songs will need 10 seconds of silence. Sometimes even a little more, if even with the 10 seconds it doesn't let you post it try adding 0.25s more and checking.

I always play the file i just exported, to make sure everything's right.

Editing the metadata:

I'm gonna be honest i don't know how necessary this is but the audio post format works in mysterious ways so it's always better to be one step ahead. If you got it from youtube to mp3 or already added the silence then your file won't have any metadata, unless you didn't clear it when exporting from audacity. if you got it legally or pirated from any blogspot type site and didn't edit it at all it will probably have metadata. To edit it you have to right click the file > Properties, go to the "details" tab, and there you'll see things like title, author, year, genre, etc. You can just click on any section and change or erase it, then click "Ok".

As a last thing, it's generally better if the file is not saved as the song's name. Just name it anything else.

Compressing the file:

I almost forgot but there's also a size limit. I don't remember it at the moment because i've only had a problem with it once, but if you do just google "compress mp3 file" and go on any website to do it LOL

Step 3: Posting it

Now just go make a new audio post. Upload the file from your pc. If there's an error sometimes it'll tell you what it is (you don't own this song/the file is too heavy/etc) but sometimes it will just delete the audio post format and not tell you anything. If there's any error make sure you did everything (the silence, the metadata, the size, the file name). Maybe go back and add 0.5 or 1 more second of silence at the start. Sometimes tumblr just won't want you to post a song even with every step done right- nothing to do about that :( Sometimes you can try back after a while and it will let you post the song- sometimes it won't. There's no real logic to it tbh.

But if everything goes right it will upload correctly. Now you can add the song's title, artist and album info, and album art or whatever image you want n_n Hit post and done!

[clouds-of-wings]

Because Spotify doesn't really know that much about my listening habits and because I enjoyed writing this kind of post last year I'll once more make a post about my ACTUAL musical favourites this year. So here goes! Album time!

Grendels Sÿster: Abstieg in die Traumkammer (2024, heavy/folk metal) -- This was by far my favourite album of the year. It came out this August. First album by the band, and what a debut! The album has an English version too (which you can also find if you click the link), but I vastly prefer the German one. The lyrics are really excellent and they fit so, so well with the character of the German language. Musically I would say they sound like "early Týr with a female punk singer", the lyrics feature retellings and re-imaginings of various mythologies and mythological themes of the world, ranging from Norse to Greek to (on their EP) Hinduism or even Tolkien's Valar. They once called their genre NWONOEM (New Wave of Nerd-Oriented Epic Metal).

Other albums I liked, in no specific order:

Kornalyn: Intemporel III (2024, folk) -- Kornalyn has been at this for a few years. He's a French anarchist and folk musician who records modernized versions of traditional leftist & worker songs. He's versatile, he's talented, he's got spirit and a great voice. Worth checking out whether you're a comrade, a history enthusiast or a folk fan.

Alice Longyu Gao: Let's Hope Heteros Fail, Learn and Retire (2023, hyperpop) -- Okay, I'm versatile too. Or at least not so set in my ways that I can't appreciate different genres than I normally listen to. Alice's hyperpop songs have a chaotic artistic spirit that I find charming. In a way, some of her songs are pretty metal-ish too - they remind me a little of old SOAD songs. She's funny, she's innovative, she's a delight.

Stonefield: The Light of Lies (1990, prog rock) -- Some awesome prog rock from the 90s. The singer sounds like DIO. If you like the hammond organ, CLIK TEH LINK! If not, click it anyway, you may start to! When I tried to find out which year the album was from, I found their EP The Eyes of the Dawn (1989), which is also so fun.

Alvader: Hereniging (2024, folk metal) -- Hey you! Do you like Heidevolk? If you found this post through the folk metal tag I bet you do. In this case definitely listen to this band. It's made up of ex-members of Heidevolk and sounds a lot like the "original".

HammerFall: Avenge the Fallen (2024, power/heavy metal) -- What can I say about this one. It's HammerFall. It rules by default. It sounds like all their other albums. HammerFall are one of the few bands where that's a compliment.

molllust: In Deep Waters (2015, symphonic metal) -- There is no music I like better than symphonic metal that takes the "symphonic" part really, really seriously. molllust are one of the few bands that do. Between Janika Groß's gorgeous orchestrations and her operatic voice, this is one of the bands that give me hope for the genre. At first I actually found their older stuff too inaccessible, but after I listened to the newer and more straight-forward Mother Universe album a lot last year, In Deep Waters became a lot more approachable to me.

Wintersun: TIME II (2024, Extremely Delayed Technically Complete Symphonic Death Wish Metal) -- I still can't believe my eyes, or ears. Am I dreaming? Is this the real life? It's really out! And Nuclear Blast didn't even give it a digibook edition (I have the one of TIME I and thought I might have a matched set one day). Is this because their corporate overlords don't care about physical media or are they just so DONE with the album, and Jari in general, that they didn't make more of an effort out of spite?

Norrsinnt: Djupt inni skoga (2024, folk metal) -- Somewhere between heavy folk and very folky metal. A collection of songs the artist released individually over the past years, but the album only came out a short while ago. He fortunately seems to have decided against using an AI image as cover art in the end, so I don't feel bad listing this album here. Oh, there are albums that I found this year and liked musically which I'm not listing for this reason, definitely! I'm glad this one isn't among them, because I've known all these songs for years and I'm quite fond of them, and of the power and originality of the vision behind this project.

Nightwish: Yesterwynde (2024, symphonic metal) -- I didn't expect too much from this album, but ended up really liking it! My favourite parts are, of course, the orchestral passages. I like how Nightwish are still capable of evolution, new paths, instead of being stuck in the 2000s. And, after all, what could be a more fitting topic for music that's as larger than life as symphonic metal than just the totality of existence, the universe, the human equation, the meaning of it all?

Romuvos: Spirits (2024, folk) -- Pagan Folk, immersive, meditative, dark. I don't have much to say about this, other than that I have listened to it a lot this year.

KAMIJO: ??? (????, symphonic power metal) -- I usually only have albums on this list because I'm old-fashioned like that, but that's really unfair to Kamijo, who's my top artist of the year on Spotify and whose greatest songs are spread out across a multitude of single bonus tracks and short EPs. So I will link his song TEMPLE and say doumo arigato gozaimasu, vampire prince rockstar-san, nay, -sama!

---

I also continued my exploration of the world of opera. Since I think I'm beginning to know my taste, there were a lot of works I started and didn't finish, but some I liked very much. My favourite was L'elisir d'amore (1832), which I watched in two different versions and listened to all summer. It's a rather light-hearted one, but the music is nevertheless dramatic, it's fast, it's powerful and... somehow rich. And it's just pretty, I'm not immune to the charms of the easily lovable Italian opera, or of Rolando Villazon and his musical and comedic talent. I'd definitely recommend this recording even to people who have never watched an opera before.

I also really liked Eugene Onegin (1879, can't find the recording now) - much more tragic than the one above, few operas I've watched had a better plot, I read the novel it's based on afterwards - as well as a whimsical 1979 recording of L'incoronazione di Poppea (1643) and a gorgeous staging of Atys (1676, only French subs here, sry). Baroque opera is superior to the later stuff according to me. The beautiful music, the melancholic observations on life in the libretto, the way the operas always seem to reach for the divine, beyond the limits of mundane human existence - it strives for perfection, and my ears think it comes close.

And that's my musical breakdown of the year :)

[secret-unburnt-guitars]

Hi i don't know much abt styx aside from general prog fandom osmosis but kwh has always intrigued me a little bit. Can you explain it in excruciating detail? (genuinely i'm not being sarcastic)

*cracks knuckles*

on february 22, 1983, styx released their eleventh studio album Kilroy Was Here. it was a concept album/rock opera though dennis deyoung likes to call it more of a "rock theatrical experience" in recent interviews. they even made a minifilm they played before the concert!!!! you can find it and the rest of caught in the act on youtube

it was made partially as a response to the rise of the satanic panic in the early-mid 1980s. people started to believe that rock music was evil and hiding satanic messages. the band was targeted by the public when they were accused in particular by the government of arkansas (i think?) of putting backwards messages (called backmasking) in their song Snowblind (the line "i try so hard to make it so" sounded like "satan moves through our voices" to some people. i own a copy of paradise theatre, that track in particular is damaged.).

and then dennis deyoung had a GREAT IDEA!!!!!!!!

imagine a big ol lightbulb flashing over him while the rest of the members of styx watch in mortal dread

so basically the album follows a sort of loose and vague backstory that's somehow still solid enough for people to follow some sort of a plot in their head (which is slightly backed up by Caught In The Act, the designated KWH "concert," which i'll get to in a second). the basic synopsis (paraphrased but still in excruciating detail) is as such:

set in a futuristic chicago(?) rock and roll has been made illegal under code 672 (prohibits the playing and purveying of rock music). Dr. Everett Righteous (played by JY), who was responsible for this, is the leader of the majority for musical morality or the MMM for short. the MMM is one of the strongest organizations in this universe since you know. they literally convinced congress to criminalize an entire genre of music for the entire country. righteous also hosts a television show where he encourages the public to burn guitars and records in a huge bonfire during “nightly rallies”. he also projects himself onto a big triangle over the skyline which i think is fucking hilarious i haven’t been able to get over it

Robert Orin Charles Kilroy (played by Dennis DeYoung, of course he's the title character), was a prolific rock musician at the time of the ban. he was thrown in prison for breaking the law and after being framed of murder. they accused him of bashing an MMM crusader's head in (which he obviously didn't do) after they raided one of his concerts at the paradise theatre. he then goes to rot in prison and is subjected to attempts of brainwashing by the dr. righteous show with the other “rock n’ roll misfits” they’ve arrested. it doesn’t work lol. i don't understand how it would work BECAUSE IT'S NEVER EXPLAINED

the prison kilroy is rotting in is maintained/monitored by japanese import, mass produced robots dubbed the "robotos," hence the title track. ignore how racist they look, it was 1983, this is not my fault

i mildly dislike them but it sucks how they’re essential to the plot ANYWAYS

here comes Jonathan Chance, (played by Tommy Shaw, albeit reluctantly) who is a rebel that is part of a underground resistance (that's only really mentioned once). with his friend, he breaks into some unknown area that is most likely a recording studio and hijacks the live television recording of the dr. righteous show. he proceeds to namedrop himself and then run off

credit to @mccoys-killer-queen for the gifs!!

kilroy sees this happen, which inspires him to attempt to escape the prison. kilroy incapacitates a roboto that visits his prison cell and disguises himself as it so he can escape without being noticed (i do not like the way he does this)

after kilroy escapes, he goes throughout the city and leaves messages for jonathan, leading him back to the paradise theater which is now the Dr. Righteous Museum for Rock Pathology

it's got a bunch of shitty animatronics that include people like jimi hendrix and elvis presley, but at the very back is an animatronic of kilroy repeatedly bashing in someone's head

this is my favorite part of the minifilm which i've basically explained sorry. you see like what you think is another roboto emerge from the shadows, and then it takes off its mask AND IT'S THE ACTUAL KILROY!!!

(this is taken from the live show, the transition is so goddamn dope)

and then dennis deyoung prances around and has his little pick me theater main character moment and sings mr. roboto and dances and stuff it looks so stupid. the live version of mr. roboto is way funnier than the official music video i don't know. i posted it about here before but i love this part in particular

so that's how kilroy and jonathan meet and that's basically the plot of one of styx's most popular songs!! sorry i gave kind of a play by play of the minifilm

now here's the fun part !!!! (unfinished lore/controversy)

unfortunately the reception of this album was less than satisfactory for most people back in '83, since KWH was way far away from the brand that styx had made for themselves in the 70s. they made art rock and prog, but this was just straight up synthpop. some people liked it though. i read somewhere in an article that it "alienated their male audience" and honestly if you're alienated by a little bit of gay pick me theater bs from your favorite band, that's a you problem

caught in the act was the designated "kilroy concert" that styx did sometime in 1983. the concert, however, doesn't give any. depth. to any additional explanations of multiple plot holes present in the story. as much as i love and cherish dennis deyoung he didn't do a very good job at writing this.

caught in the act felt more like a compromise than a show, seeing as the banter after the performance of mr. roboto was very bare? kilroy explains to jonathan that he was framed for murder, and then he goes in depth on the night it happened. "the crowd was totally psyched," he says, and then it goes to JY performing a guitar solo, which leads into the rest of the concert. the entire concert was portrayed as a flashback and gives no real backstory to any of the established characters. and then at the tail end of the concert they get "raided" by the MMM and you watch as an MMM officer murders one of righteous' own followers with kilroy's guitar. they cut back to kilroy and jonathan, they sing haven't we been before, and then kilroy hands jonathan this sick ass glowing guitar, then they perform the world's worst finale. the dance party ending of caught in the act. it sucks. it's horrible. i hate it. also there is no dennis deyoung in the kilroy was here universe lmfao

i'm still grateful for the concert though don't get me wrong!!! amazing concert

if the rest of styx didn't want to rip dennis deyoung apart for making them do this (i recently learned from a manager that DDY made them turn down an opportunity to perform at one of the largest concerts of the 80s, because he was like "but muh kilroy"), i believe songs off the album like High Time and Double Life would have been performed at Caught in the Act. both extremely lore-heavy songs, especially double life. i really wish they played double life. but c'est la vie, i guess.

literally everyone in the band hated dennis' guts so much while they were making this (justified, he was a stubborn asshole during production) but god was it worth it. for me at least. i imagine one of the conversations about production went like

JY: dennis have you considered that maybe this is a bad idea Dennis: i'm gonna make you the villain of the story if you don't shut the FUCK UP

i still think that JY had a little bit of fun though. he was hamming it tf up as dr. righteous i'm sorry you need to watch the mv's which you can find on youtube as well

but unfortunately tommy shaw wasn't having a good time at all, he literally quit on stage and stormed off and styx split for a while bc of this album i mean LOOK AT HIM HE'S SO PISSED OFF

overall this album is both cheese AND corn, worst album i've ever listened to, and yet it's given me a purpose in life. i've written 7,000+ words in one document about this album just to try and fill in the blanks the lore has, it's got so many. it's a running joke on this blog, i really hope you check out the album, because i think it's wonderful and it's endearing regardless of the controversy, it's too late for me. save yourself

[bitterkarella]

Midnight Pals: Prog

Todd Keisling: submitted for the approval of the midnight society, i call the tale of the yellow kings Keisling: so there's this progressive rock band making an album based on the yellow king Keisling: with a cover by our greatest living artist roger dean Dean Koontz: hey! that's my name too! Keisling: that's no coincidence boy

Keisling: so there's this groupie Keisling: camilla Keisling: and she's got ideas for the band's music Keisling: horrifying apocalyptic ideas Keisling: she's going to have everyone take off their masks Robert W Chambers: i get it!

Keisling: they're going to cause an apocalypse with the power of progressive rock Dean Koontz: wow progressive rock sounds pretty dangerous Keisling: only in the wrong hands, dean Keisling: the power of progressive rock turned to evil, like Univers Zero or Van Der Graaf Generator, can be devastating Keisling: but turned to the light...

Keisling: take a look at this album, dean, pretty cool huh? Keisling: oh dean Keisling: prepare to have the doors of perception Keisling: blown right off their hinges

Kiesling: check this out dean, i think you'll really like this music Poe: whoa todd this might be a little advanced for dean Kiesling: no don't worry i'll start him off slow Kiesling: let's start you off with some Yes

Dean Koontz: Yes? Keisling: yeah i think you can handle it Koontz: why is there a scary zombie on the cover? Keisling: that's steve howe Keisling: actually dean on second thought Keisling: Yes might be a little much for your first time Keisling: let's start you with Yes Featuring Jon Anderson, Trevor Rabin, Rick Wakeman

Keisling: behold, my record collection! King: wow this is quite the collection todd! King: you know, you could save a lot of space if you went digital Keisling: yeah but Keisling: vinyl just has a warmer sound ya know?

Keisling: dean i think you're really going to like this band Keisling: it's called jethro tull Poe: whoa whoa dean is not ready for that Keisling: oh don't worry i'm not playing thick as a brick or anything Keisling: just bungle in the jungle Keisling: you'll like it dean it's about animals

Koontz: can i listen to this album? Keisling: Crack the Sky? no dean that's the ayahuasca of prog Keisling: you want the flintstones chewable vitamins of prog Keisling: here, try some tarkus

Dean Koontz: [vibrating while listening to headphones, blood gushing from nose] of course i understand it all Keisling: Dean! No! Keisling: Not Gentle Giant! Keisling: it's too much, too soon! Koontz: each day actually consists of four days occurring simultaneously

[dustedmagazine]

Listening Pest: The albums that disappointed, bored and infuriated us in 2024

We’re lovers, not haters, here at Dusted.  We’ll go to the mat for records you never heard of, records that you probably couldn’t find even with the old, functional Google Search, and a few records that, maybe, technically, legally, don’t actually exist.  We celebrate what’s good and mostly ignore what’s bad or mediocre, at least we do for all but one feature out of a year of them.

Readers, you have arrived at this feature. 

Here, Dusted writers reflect on the music that pissed them off, the songs that, when they turned up on “best of” lists, made us clap our foreheads in consternation, the albums that should have been so much better.  We recognize that these are personal views, and we sincerely hope not to hurt the feelings of people who love and esteem these records.  But we also relish the chance to let loose, for once.  The writing in this feature is some of the best you’ll read all year.  It’s my favorite thing to edit—not sure what that says about me, but there you go. 

Not everyone participated (see paragraph one), but Jonathan Shaw, Patrick Masterson, Jennifer Kelly, Bryon Hayes and Ian Mathers did.    

Blood Incantation — Absolute Elsewhere (Century Media)

A slab of maximalist prog and irritatingly supercilious “heavy” music, Absolute Elsewhere pulls off a notable trick. Blood Incantation has conjured (the better word here is likely “produced”) a variety of death metal that’s utterly bloodless, duller than dirt displaced from the grave. Perhaps I shouldn’t be so literal. Death metal doesn’t really have to be malodorous, moldy or mutilated — but it doesn’t hurt. But that suggests a more significant point: the best death metal hurts. It’s full of disgust, dreadful drama and rage at the human condition, which is always doomed to death. Blood Incantation seems to have zero interest in feelings of doom and diminishing concern with the fate of bodies and their meaty materiality. The band would rather get smoked out and gaze into the heavens, spinning Wish You Were Here (check out the near-quotations from “Shine On You Crazy Diamond” in “The Message [Tablet III]”) and paging through a pile of Orson Scott Card novels with sticky fingers. Whatever. You do you. But the concepts — a word the record’s arch sensibility just about insists on — are risible, and the music’s preening theatricals have all the charm of Rick Wakeman’s gold lamé cape ‘n’ cowl set. It’s death metal primed for an extended gig at the Las Vegas Sphere, and that might explain why Absolute Elsewhere has ended up on so many highly visible EOY lists: Pitchfork, The Needle Drop, NPR(yep, NPR…). It’s got spectacle, and there are a couple parts where it gets loud, but ultimately, it’s a safe bet.

Jonathan Shaw

Sabrina Carpenter — Short n’ Sweet (Island)

Truth be told, this should really go to Lake Street Dive for me, but I somehow managed to avoid actually listening to them for most of the year. Sabrina Carpenter, though, was much like Chappell Roan and Charli XCX in being unavoidable for several months during the summer. It didn’t matter what kind of place it was, if I stayed long enough, I’d inevitably hear “Espresso.” I couldn’t tell you when it first hit me because, unlike a good shot of the stuff, Carpenter’s sub-Ariana Grande pipes and the casual acoustic guitar plucks do anything but “hit,” the equivalent of aural wallpaper. I’m listening to this record again right now, repeatedly forgetting it’s on, and nothing has swayed my opinion — this is an album and a moment for people really going through it to the point that they can’t hear how boring the vindictiveness is. I’m not even talking about the “everyone except privileged white men” moment, either; I’m talking about your longtime girlfriend cheating on you with your barber and now you’re posting one-star Yelp reviews to get back at them. If that’s not you, if you’re just wallowing in the general malaise of being alive, you don’t count. Also, not for nothing, but I wrote all of this, and I still haven’t gotten to “Slim Pickins” yet. The longest 12 songs and 36 minutes of the year by a comfortable margin (and if Lake Street Dive put a record out, please don’t make me test that theory).

Patrick Masterson

Kim Deal — Nobody Loves You More (4AD)               

Kim Deal is responsible for some of the most monumental—and at the same time minimal—of all rock bass lines, from the ominous pulse of the Pixies “Gigantic” to the anarchic bounce of The Breeders’ “Cannonball.” Her first-ever solo album is very much NOT like that. Instead, it swathes fragile melodies in full-to-overtipping arrangements, with orchestras of strings, Hawaiian slack key guitars, and mariachi bands worth of brass, a lushness that only highlights the ordinariness of her voice and songs. Let’s put some more whipped cream on that turd, how about it?

Jennifer Kelly

Fontaines DC — Romance (XL)

The Dublin five-some swings wide on this fourth full-length, appealing to the masses with pastel colored choruses and limp indie flourishes. It works on a commercial level — after all, this is the disc that got them Grammy nominations, endless “best of” love and a slot on Obama’s play list — but excises everything that made Fontaines DC exciting. What if we took out the dank broody bits and fell in love? What if we ditched the Irish-ness and took a stab at Coldplay? What if we chewed down Fontaines DC’s dark magic into pablum, something so soft and ingratiating that even the Spotify addled masses could get it down? Rarely have I been so excited to listen and so quickly, bitterly disillusioned. One good song comes right at the end in “Death Kink” but that is NOT enough.

Jennifer Kelly

Mercury Rev — Born Horses (Bella Union)

I was so looking forward to this record, the first Mercury Rev album after an almost ten-year gap. I love both the harried brilliance of the band’s early records and the lush psychedelia born of their marriage with David Fridmann. My synapses were short circuiting in anticipation of Born Horses. This fact amplifies my disappointment with the record. Between Jonathan Donahue’s spoken-word delivery, which comes across as a hushed ASMR-inducing purr, and the band’s milquetoast reading of their once-grandiose chamber-psychedelia, I feel the bile rising in the back of my throat and I get choked up whenever I try to play the record. I get it: Donahue and Sean "Grasshopper" Mackowiak are looking for new directions to take their sound after decades of exploratory music making, and they’re lacking Fridmann’s guidance, but I’d rather experience another See You on the Other Side than this weak-limbed attempt at chamber-beat poetry. Let’s hope this is a mere meander away from the otherwise eclectic and intriguing trajectory traveled by these upstate New York weirdos.

Bryon Hayes

Jessica Pratt — Here in the Pitch (Mexican Summer)

In personal relationships, saying “it’s not you, it’s me” is commonly regarded as the mark of a cad and/or liar, a convenient excuse at best. But here, I swear I am being both sincere and (as far as I can tell) accurate. I know I first heard of Jessica Pratt around the time her second record, 2015’s On Your Own Love Again, came out and I’d been idly meaning to check out her work ever since then. She seemed to be having a real moment this year with Here in the Pitch, she seems like a cool person, and looking at her discography I deeply respect her commitment to the sub-32 minute LP (an underrated length). But after I hit play and quite enjoy the instrumental intro to “Life Is,” Pratt starts singing… and it just hits my ears wrong. I can’t explain it. I don’t at all think she has a bad voice (arguably I like several other singers that have various things in common with her, vocally). I realize, seeing Here in the Pitch show up on more and more year-end lists (including Dusted ones!), that I am in the minority here, and honestly, I think that’s good! But seeing comment after comment praising the singing here specifically is just a stark reminder that sometimes, people just hear things differently. I wish I did like Pratt’s voice; I suspect I’d enjoy this album quite a bit, maybe enough for it to make my own list. And to be clear, unlike some other acts I don’t enjoy, there’s no part of me that irrationally feels like everyone else is ‘wrong’; if anything, I feel frustratingly close to getting the appeal! But I just can’t seem to get past viscerally not getting her singing. I went back to the LP months after my first try, figuring maybe I just had to get used to it, but no. Really, truly: it’s not Pratt, it’s me.

Ian Mathers

Vampire Weekend — Only God Was Above Us (Columbia)

The arguments over Vampire Weekend’s class tourism and cultural adventurisms are old and tired, but the band keeps making gestures that churn up the discourse. See the video for “Gen-X Cops,” which features Vampire Weekend riding a battered, tagged-up subway train, likely making the run to the Bronx — note the several moments at which the train rises into sunlight, onto Upper West Side elevated tracks. The graffitied car conjures a historical NYC, all grainy celluloid footage, lurid spray paint and flashes of urban spaces and experiences now lost to multiple forces: gentrification, trauma, mortality. The video rolls on, unbothered, and briefly Vampire Weekend’s three members sit facing us, having scored seats; the camera presents a further imaginary provocation, as Koenig (still baby faced, ever belying the impression that he should know better by now), Baio and Tomson suddenly wear NYC cop uniforms. The visual metaphor seems to ask: Who has the right to police culture? Whose cops work the history beat? Koenig sings, “It wasn’t built for me / It’s your academy.” The vaguely anti-institutional bent of the lyric is complicated by the video’s closing images: a crowd exiting the subway train in the density of a morning commute. It’s the masses. The camera shifts to a perspective that hovers over them as they make for the exits. One wonders if an additional metaphorical resonance were intended by that vantage: the band’s desire for a place above the press of humanity, observing its struggle but not in it. That’s on the nose for Vampire Weekend, a band that has never made music for those people, has never indicated any sort of an interest in them. Promo chatter about Only God Was Above Us talked up the record’s “grit,” but I can’t discern any. The songs provide the usual gloss and gleam, distractingly slick surfaces and irritatingly bright tones. It’s mostly blithe, here and there preciously mopey, full of snide winks at “Prep School Gangsters” and love letters to uber-hip Soho gallery owners. Whose academy is that? The best Koenig can do by way of answer is in the chorus to “Pravda”: “Your consciousness is not my problem.” OK. Then please stop cluttering it with your effete quietism and get off the A Train. It’s public space, in which everybody’s consciousness is everybody’s problem.

Jonathan Shaw

[esotericae-apropos]

I saw a really really good Madoka theory post, and it got me thinking about an idea; related to the 3 King Crimson 80's albums. Bare with my cringe ramblings for a moment.

The general basis of the concept is this: Every story has 3 sides. One person's side, which they believe is correct. Another person's side, that which the second person believes is correct. And finally, a one, objective truthful side. This results in the idea of 'Three of a Perfect Pair'. I think that, maybe, this is a concept you could apply to meduka and hummus.

Madoka believes, with her whole heart, what she's done is the correct option. Her belief in this is strong to the point where she no longer exists and simply is that in which she believes to be true. She is one side of the concept.

Homura believes (debatably? I'm not too certain, someone correct me on this if it's stated somewhere) that her course of action is best. Nothing shakes her from this goal, not mental work, not time and futility, not the truth that she's only putting madoka in more and more danger over this. She wants her vision to come to fruition, her and madoka together. She is a second side to this concept.

As a third, objective truth of a side, I couldn't tell you for certain what I'd put it to as something that's 'objectively true'. Maybe Kyubey, for the knowledge of witches forming is more beneficial for another species than it is negative for humans? Maybe Walpurgisnacht (wally), for the inevitability of destruction and an end? Maybe Kyoko for eating the funny apple ??? I'm not certain, but I know that the concept of a third objective side can be matched.

Back to the albums; the three King Crimson albums of the 80s are an undoubtable trio. Similarly designed covers, similar concepts (except the loser Beat), and most importantly for this: interlinked musical genres.

The first of the group, Discipline, is a very experimental prog/art rock album, sort of exploring what the band is capable of with their 80s lineup. Outside of this, a track or two (Primarily Matte Kudesai) is rather accessible and low-concept. The back cover also contains the quote 'Discipline is never an end itself, only a means to an end.' (Homura directly negatively impacting Madoka as a means to an end when the two are together, anyone?) It's one side of the three. And my favorite but that's irrelevant. ok.

The second, Beat, is a much more accessible and less experimental album, an entirely different yet oddly comparable feel to Discipline. It's got it's higher-concept moments, mainly with the Frippertronics on Requiem, but it's doubtlessly a much easier listen than Discipline. It makes a second side of the three.

This album also coincidentally has a 'two/three sided' story to it, albeit unintentionally. The album was incredibly divisive within the band during creation, to the point where one of the members (Robert Fripp) broke apart from the band after the final track recording (Requiem) due to difference in vision of how they wanted it to turn out. This resulted in another 'pair'; an album Fripp enjoyed and one he thought was a miserable disregarding of the bands vision.

Third (and doubtlessly, most importantly to the concept), is the album titled after the concept: Three of a Perfect Pair. It's an album with two sounds split to each side: the A side has much more accessible, almost surpassing that of Beat. The second half, the B side, has a far more industrial experimental feel, surpassing that of Discipline. It's far less concerned with being coherent than the other two albums. It represents a third, final, and objectively truthful side.

The album explores a incredibly relevant topic to a Madoka discussion: a profane-sacred dichotomy, and a perfect mixture of the two into a third side. The profane world is the one that we live in: one of physicality, desires, and human need, one of Homura. Her wishes focus on another person, her goals are related to another person, but they're all for her own personal gain, even at said persons loss. She's willing to use anything for a means to an end.

The sacred world is one of unknowable external forms, one of collective benefit rather than individual gain. Despite it's unknowability, who would be better to know the unknowable sacred except for Homura, who is in essence the Profane? This is reflected in the concept of Madoka, sacrificing all personal gain for collective benefit, becoming the Law of Cycles. Her wish results in her destruction of being a person/human/magical girl, she is (and provides) an end in itself.

Notably this does not indicate either side is good or bad/right or wrong, either side could be correct or incorrect. While to any outside viewer, it's obvious that Madoka is portrayed in the correct light and Homura in the incorrect one, if it were so obvious, there wouldn't be as many people as there are defending Homura's actions.

After both of the sacred and profane worlds, is a presumable third: a true world, one that ties the two concepts into being one. Without it, they would be fully separate, one not knowledgeable of the other. But something ties them together, there's something that lets them exist at the same time: a harmony of sorts. An inevitability. In Madoka Magica, perhaps that's the fate that a Magical Girl's wish will result in an equal amount of woe in their life. Perhaps a representation to the tie between these two worlds is Madoka's ribbon she gives Homura, a tie between the sacred and profane.

[black-arcana]

EPICA's SIMONE SIMONS Releases Music Video For Second Solo Single 'In Love We Rust'

EPICA singer Simone Simons has released the official music video for her second solo single, "In Love We Rust". The track is taken from her debut solo album, "Vermillion", which will be made available on August 23 via Nuclear Blast Records.

Simone, who has been a pioneering force within the world of metal for over two decades as part of EPICA, worked on "Vermillion" with her musical partner and longtime collaborator Arjen Lucassen (AYREON).

Arjen is no stranger to Simone's soaring operatic voice, one that can stir even a gargoyle's stone heart to tears. Together they have crafted a sonic universe that befits the influential figure she is. "Vermillion" emerges as a gargantuan goose-bump generator, a universally touching, stellar tour de force.

Simone and Arjen state about "In Love We Rust": "The video was filmed in just one take to keep it as pure and raw as possible. We opted to keep it in black and white so as not to distract from the song or the performance.

"'In Love We Rust' is quite different from our first single 'Aeterna', which shows how diverse this album is. This is one of our favorite songs. We hope you love this as much as we do."

For more than 20 years, ever since she was a teenager, Simons has been carving her own path as a woman within the world of metal. As a lead singer, icon, and role model for a whole generation of female metalheads, the EPICA lead singer remains one of the most prominent key figures in all things metal. After eight albums and countless global tours with her band, Simone Simons finally found the time to release her first solo album — a moment 15 years in the making. Her breathtaking debut "Vermillion" is a stunning feat chronicling her storied past as well as her rise to fame, and showcasing her many different influences ranging from prog rock to film scores to metal to electronic elements.

Of the timing for her eagerly awaited foray into the realms of a solo career, the Dutch singer says with a disarming grin: "EPICA has my priority and I always have the liberty to do other musical projects besides my career in EPICA. Yet I never had the time to dive into a project to this extent."

When "Aeterna" was first released a month ago, Simone and Arjen stated: "'Aeterna' is the big, epic opener of the album and it comes with this amazing video too, directed by Patric Ullaeus. It definitely sounds the closest to EPICA and AYREON, blending powerful Latin lyrics with a touch of an oriental feel. We've tried to strike a balance between the mighty, bombastic sounds and the more atmospheric parts. Since it's the first track people will hear from this album, it's super important to us and we're really excited for people to hear it!

"'Aeterna' takes the point of view of a star about to go supernova to explore how everything in the universe is interconnected, like a cosmic web made from stardust. It deals our deep emotions, consciousness and other mysteries of life that science still can't fully explain. Essentially it's a reflection on our place in the vast universe and the connections that bind us together, as we're all, to quote Carl Sagan, 'made of starstuff.'"

"Vermillion" track listing:

01. Aeterna 02. In Love We Rust 03. Cradle To The Grave (feat. Alissa White-Gluz) 04. Fight Or Flight 05. Weight Of My World 06. Vermillion Dreams 07. The Core 08. Dystopia 09. R.E.D. 10. Dark Night Of The Soul

This past March, Simone told Mexico's Summa Inferno that EPICA's follow-up to 2021's "Omega" album will likely be released in 2025.

"I love the songs so far that we've written," Simone said. "There's more [songs that have been written] than fit on the album. So it's gonna be cool. And we won't tour that much this year. So we are focusing on the EPICA album and the 'Symphonic Synergy' shows [where EPICA will play alongside an orchestra], which is a lot of work."

In November 2022, EPICA released "The Alchemy Project" through Atomic Fire Records. The EP was co-written and performed with diverse guests ranging from extremists like FLESHGOD APOCALYPSE, Niilo Sevänen (INSOMNIUM) and Björn "Speed" Strid (SOILWORK) along with melodic masters like Tommy Karevik (KAMELOT),keyboard legend Phil Lanzon (URIAH HEEP) and Roel Van Helden (POWERWOLF) to a once-in-a-lifetime song with Simons, Charlotte Wessels and Myrkur.

Just one day after the release of its anniversary reissues "We Still Take You With Us" and "Live At Paradiso", EPICA celebrated 20 years of existence live in September 2022 at 013 in Tilburg, Netherlands, the same place where they played their first show (supporting ANATHEMA) back in 2002.

EPICA was formed by guitarist/vocalist Mark Jansen after leaving AFTER FOREVER in 2002, and the band quickly gained attention outside their home country, taking big steps towards becoming the leading symphonic metal superpower they have long proven to be. After their ambitious debut "The Phantom Agony" (2002) and the surprisingly eclectic sophomore work "Consign To Oblivion" (2005),the road took them to new heights via their first concept masterpiece "The Divine Conspiracy" (2007) and their global breakthrough "Design Your Universe" (2009). 2012's opus "Requiem For The Indifferent", 2014's bedazzling "The Quantum Enigma" and "The Holographic Principle" (2016),cemented their reputation as not only one of the hardest-working metal bands in the business but also as one of the best. With "Omega", the final part of the metaphysical trilogy they began with "The Quantum Enigma", they reclaimed the throne without so much as the blink of an eye, amassing three million-plus streams during the first week of the album's release.

[diceriadelluntore]

Storia Di Musica #317 - Black Flag, Damaged, 1981

A me piace poco la musica punk. In primis, perchè nasce sotto aspetti che molto ipocriticamente non si prendono mai in causa (basta sentire quello che dice Malcom McLaren, il deus ex machina dei Sex Pistols in The Great Rock'n'Roll Swindle) rispetto alla vera natura del genere musicale; in secundis perchè si oppose con i suoi modi sguaiati e "puri" contro la grandezza tecnica del prog, soprattutto in Europa. Negli Stati Uniti fu invece un movimento molto più eterogeneo e diffuso, il cui obiettivo trasgressivo era soprattutto artistico (mentre da noi fu sprattutto estetico). Detto ciò, per i gruppi che hanno "black" nel titolo non potevo non parlarvi un po' di loro. Il loro nome, Black Flag, fu suggerito ai fondatori Greg Ginn e Keith Morris dal fratello del primo, Raymond, che aveva un nomignolo curioso, Pettibon: la bandiera nera è il simbolo del movimento anarchico, e lo stesso Raymond disegnò il logo della band, quattro righe spesse che davano la sensazione del movimento della bandiera stessa (e cosa importante, poteva essere facilmente riprodotta con le bombolette spray per i graffiti). Tutto nasce a Hermosa Beach, vicino Los Angeles, nel 1976: Greg Ginn e Keith Morris fondano un duo, che si chiama Panic. Quando scoprono che esiste già un altro gruppo dallo stesso nome, cambiano in Black Flag, come detto sopra. Con la prima formazione registrano 4 brani in un Ep dal titolo esplicativo, Nervous Breakdown, che viene stampato in 2000 copie, ma problemi con la piccola casa editrice che gli aveva pagato le registrazioni spingono Ginn a fondarne una propria: aggiunge infatti una "divisione" artistica alla sua Solid State Tuners, che è una piccola dittaq specializzata in riparazioni e costruzione di impianti per le registrazioni elettroniche, creando la SST Records, che oltre che i dischi dei Black Flag sarà una delle case discografiche indipendenti più importanti degli anni '80 per aver pubblicato Soundgarden, Meat Puppets, Minutemen, Hüsker Dü, Sonic Youth, Dinosaur Jr., Negativland tra gli altri. Cambiano nel frattempo due volte cantante: prima Morris se ne va, e viene sostituito da Ron Reyes: dura pochi mesi, registra comunque delle canzoni che verranno inserito nel secondo EP, Jealous Again, poi se ne va a Vancouver. Qui in un negozio di dischi trova l'EP in questione e legge nei crediti come cantante un certo Chavo Pederast, pensando che avessero trovato un nuovo cantante, ma ascoltandolo si accorge che è la sua voce, la band ha voluto omaggiare il suo abbandono con la prima di una serie sgangherata di azioni di satira nera per cui diventeranno proverbiali. Reyes viene sostituito da Dez Cadena. Durante un concerto a New York, un tizio sale sul palco e inizia a cantare con lui: piace a tutti gli altri, e prima viene ingaggiato come roadie, poi spostato a cantante perchè Cadena esprime il desiderio di suonare la chitarra. Il tizio si chiama Henry Garfield, ma per cantare sceglie il nome Henry Rollins. Nasce così la line up leggendaria che nell'ottobre 1981, messi sotto contratto dalla Unicorn, una sussidiaria della MCA, va negli studi a scrivere la pietra miliare dell'hardcore punk.

In copertina, Rollins che dà un pugno allo specchio (rotto con un martello, il finto sangue è un miscuglio di caffè e salsa di pomodoro). Damaged è uno degli album più estremi, nichilisti, sinceri e devastanti della storia della musica. È l'espressione, sincera, di esigenze che sono ancora oggi comuni denominatori della sofferenza generazionale giovanile. Si parte con la necessità di alzare la voce contro il muro di silenzio degli altri, nella storica Rise Above, in cerca di realizzazione: We are born with a chance\Rise above, we're gonna rise above\And I am gonna have my chance\Rise above, we're gonna rise above\We are tired of your abuse\Try to stop us, it's no use. L'adrenalina si sposta nei 33 secondi, deflagranti come una bomba, di Spray Paint, dedica al movimento dei writers tanto caro alla band. Rollins sputa parole e urla più che cantare, su un tappeto sonoro che sebbene sia "semplice" nella struttura (le canzoni hanno una loro struttura ricorrente e riconoscibile), dimostra al contempo che i nostri sanno suonare e ne sono esempio gli intricati assoli di Ginn e Cadena. Seguono in parte lo stile Ramones in Tv Party e Gimmie Gimmie Gimmie, ma è quando Rollins e compagni parlano di sofferenza, quando sputano rabbia e frustrazione, che mettono i bridivi: Room 13 è una disperata richiesta di aiuto (It's hard to survive\Don't know if I can do it\I need to belong\I need to hang on\I need, need) con la voce di Rollins al limite dello spasmo; No More inizia con il tamburo della batteria quasi a segnare un countdown, prima di esplodere nella furia della musica della band; c'è la rabbia politica contro le istituzioni, pienamente espresso in Police Story (Fucking city is run by pigs\They take the rights away from all the kids\Understand that we're fighting a war we can't win\They hate us, we hate them). Ma l'apoteosi dono le due Damaged: Damaged II è una sorta di delirio rabbioso, scandito dalle urla di Rollins (I'm confused, confused, don't wanna be confused), che è un misto tra una crisi di panico e la disperazione della solitudine, che si trasforma in ferite interne ed esterne. Ed è ancora più sconvolgente Damaged, che chiude il disco:

My name's Henry And you're here with me now My life It's a song, ah You're just, you won't even let it happen You won't You won't let Damaged, by attack

e continua con dei vocalizzi che assomigliano pericolosamente ad un delirio.

Il disco fu stampato il 25 mila copie dalla Unicorn, ma quando i boss della MCA sentirono il disco, ne bloccarono la distribuzione. Senza battere ciglio, i Black Flag lo pubblicarono per la SST, con un adesivo in copertina che diceva "Come genitore, credo che questo sia un album contro i genitori", parole pronunciate dal presidente della Unicorn. Questo fu preso alla lettera dalla Polizia, che non perse occasione per intervenire durante i concerti della band, in cui spesso ci saranno dei feriti. Tutta la questione finì in una causa intentata dalla Unicorn che portò al carcere, per pochi giorni, Greg Ginn. La band tra altri cambiamenti di formazione pubblicherà un altro album inno punk, My War (1982) per poi intraprendere, fino al 1986, un percorso davvero interessante in cui alla furia iconoclasta della loro musica aggiungano elementi hard rock, più melodie e persino elementi del free jazz, grande passione di Rollins. Dopo lo scioglimento, Rollins fonderà una propria band, la Henry Rollins Band in cui proseguirà questo cammino sperimentale. I Black Flag si riformeranno due volte, negli anni 2000, ma non sarà mai la stessa cosa: non era più possibile replicare il pugno in faccia che fu questo disco, la loro rabbia, la loro disperazione, che arriva qui a vette insuperate, divenendo il seme da cui negli anni a venire nascerà di tutto: dico solo che persino il rap campionerà tantissimo questo disco, soprattutto Rise Above che fa da base a inni del genere quali Buck Whylin' di Terminator X, And What You Give is What You Get dei Beastie Boys, Real Niggaz Don't Die degli NWA e Holy Rum Swig dell'X-Clan.

[asurrogateblog]

Cannibals, Pirates, and PhDs: How Did I Get Here?

I mentioned in some tags earlier that I’ve only actually been a real fan of Pink Floyd for under a year, and that the confluence of events that led up to it is pretty absurd. Some interest seemed to be taken in this, so I though I’d elaborate.

I didn’t know how to shorten this timeline and have it make any sense, so it’s... long. But idk, I think it’s pretty funny. If you’re nosy like I am this is for you.

My Backstory Timeline:

early childhood: my parents essentially mainline me and my little sister with The Beatles. I know almost no songs written past the 70’s until at least sixth grade. I develop a childhood crush on Paul McCartney, a joke that the universe really decides to play the long game on.

2014: my dad calls me over one night, and gravely tells me he’s been waiting to share something until I’m old enough. I brace myself to be told about sex or secret half-siblings. Instead, he tells me I need to listen to The Wall. Irritated at the idea of wasting an hour and half of my night, I nevertheless comply and go up to my room and put it on. I do not come back from this, clearly having inherited some sort of generational curse.

Around the same time, I am also secretly watching Hannibal every time my parents send me upstairs because Game of Thrones is “too gory”. This will trigger three important things: an interest in psychology, a love of horror media, and a classical music phase will train my attention span to last well past the three minute mark.

2014-2023: Over the intervening years, I become a casual fan of Pink Floyd, but make a deliberate point not to learn anything about the band. I like being able to imagine my own meanings for the songs. Also, I am motivated against this by a childhood memory of being deeply frightening by a picture of old Paul McCartney (LOL). I do not want that to ever happen again, so no learning.

Cut to April of 2023: I am finishing up my first year of my PhD program studying media psychology. I am in a bad place mentally, and am going through another horror movie phase to fill the hole. As a result, I get very into American Psycho. The main character, Patrick Bateman, is a fan of superficial 80’s pop music, particularly Genesis. I decide to start listening to Genesis to see if I agree with his tastes. While researching “best Genesis albums”, I come across The Lamb Lies Down on Broadway. I listen to it, and am blown away. I had no idea that the Phil Collins band made music like that. This sends me down the prog-rock rabbit hole. I still won't learn any lore.

Summer of 2023: MEANWHILE, I am also going through another pirate phase. I have a fairly encyclopedic knowledge of 18th century piracy (and am still quite active in the Black Sails fan community). Around this time, I get really obsessed with this one random guy named Dennis McCarthy who was hanged in 1718.

I decide to work poor Dennis into a science fiction story I’ve been working on. The premise is essentially that the universe is an abandoned simulation, and a ‘glitch in the matrix’ starts to, among other things, bring people from the wrong time periods back to life. The format of the story is vaguely monster-of-the-week, in which the characters have to solve various problems caused by mistakes in the code. I think, “hey, you know what would be perfect for this? that fanfic I wrote about The Wall in high school.” Said fic (which that stupid fucking beatles movie stole from me) is about a world in which Pink Floyd never existed, but a wannabe rock-star discovers a box full of their records and decides to copy them. While he is touring his plagiarized version of The Wall, he realizes that the events of the album are starting to happen to him in real life. By working this concept into my new story, I go through another one of my periodical The Wall phases. It's in full swing when fall rolls around.

September of 2023: This semester, I take a grad-level narrative theory class in the English department. I decide it would be helpful to follow along with a specific example, so I choose The Wall. Using the terminology I am learning in the class, I start to realize that The Wall is…. incredibly narratologically fucked up. To help orient me, I watch the bootleg concert recordings, and the trick with the surrogate band sends me so out of my mind that I decide I must break my rule about never learning band lore.

This is where the two plot-lines converge. I don’t remember which came first, but around this same time, I think to myself “hey, if Genesis was hiding such an incredible album under the 80’s pop, what must Pink Floyd be hiding?” On that whim, I put on Piper at the Gates of Dawn, which equally sends me so out of my mind that I decide I must break my rule about never learning band lore. I needed to know what the fuck happened to get them from Piper to The Wall.

September-November: In the two months between the onset of this and finally making another sideblog, I dedicate all of my free time to learning as much about Pink Floyd as humanely possible (and writing a 20 page essay for that narrative theory class). As you can imagine, this is a lot to unpack all at once for someone who didn’t even know who Roger or Syd or any of the rest of them were. Luckily, I am over-educated enough to be a very fast learner. Aside from the band lore itself, I of course also fall in love with the rest of Pink Floyd's discography musically-speaking. Having this interest to latch onto genuinely pulls me out of my depression.

Cut to February 2024: I am really enjoying myself, and want to keep this going as long as possible, but I am starting to scrape the bottom of the barrel on Pink Floyd lore. I decide I need to feed the fire by supplementing with lore from another band. The Beatles seem to have a strong fan presence on tumblr, why not revisit a childhood favorite? The universe laughs at my expense.

That about brings us up to date. I have gone through so much character development over the last eight months, it’s crazy. Pink Floyd is definitely one of those things that is less of a “phase” and more of a permanent part of my mindscape. Weirdly enough, since I am studying media psychology, all of this has also been really good for my career? I never took an interest in -real- media figures (as opposed to fictional characters) before, and I feel like I have a much clearer sense of things now. It's definitely influenced my research, so whatever domino effect this has on my future is bound to get even funnier.

Anyway, that’s my backstory!

[go-go-devil]

Hmmmm... Y'know, the sheer ease it was to upload those live recordings of Live onto this bitch-ass copyright worshipping website is making me realize that I should try uploading more bootleg song posts.

And you all are not prepared for the sheer quantity of Genesis bootlegs I can gift you beautiful listeners >:-)

[renard-dartigue]

A Guide to Sleep Token

This will be a post for new fans looking to learn some basic/surface level information about the band Sleep Token. 

*Cracks typing knuckles*

So basically, Sleep Token is an “atl-prog-blackened shoegaze”(what it sounds like to me) band from Britain. People mostly associate them with heavy metal (myself included) But in reality, no one really knows what genre they are and I think the band likes it that way. 

(cont.)

The Bands Symbol

Lore / Terms to Know

Their lore goes that the lead singer had a dream where he encountered an elder God called "Sleep" (its actual name is impossible for the human tongue to speak) thus, he created the band to make music in worship to the God.

They call their songs "offerings", presumably to Sleep.

Concerts are called "rituals".

When you buy merchandise, you are "consuming" it.

The term "worship" is used by the band and fans as a form of acknowledgement.

The band has a total of 7 members and are known as "vessels". All are anonymous, using masks, body paint, and robes to hide themselves. It is said they do this because their music is more important than their identities.

Band Members

4 of them are at the front and are identified with Roman numerals:

I / Vessel

(I) Also known as Vessel (V or Vess) is the lead singer/vocalist of the band and wears a sculpted mask with an exposed mouth. His mask changes based on the album. His vocal range is like no other, at one point singing like an angel before immediately shifting gear into a black metal scream.

II

(II) is the drummer. A fantastic one at that. His solos are godly, very reminiscent of jazz or gospel. (I believe he started the band alongside Vessel) Check out “An Offering from II” on YouTube to see him go crazy.

Recently he did an interview with Drumeo on YouTube where he talks about his influences and does drum playthroughs of a few songs that demonstrate his drumming prowess.

III

(III) is the bassist, or the "bassy boy" as many fans call him. He is quite the character on stage. His energy is unmatched. You'll often find him prancing on the right side of the stage or laying on his back trying to get Vessel's attention (and Vessel does)

IV

(IV) is the guitarist, often has a covert/cool energy to him but he can be just as captivating as III. Over time he's developed a bit of a flirtatious side toward the crowd. Fuckboy energy(affectionate). He also provides sub vocals, raw screaming certain parts when Vessel is busy singing his heart out lol.

Vesselettes

Then there are the 3 last members, the choir or vessellettes. They are the three cloaked figures in the back who provide sub-vocals/harmonies. They may not be too audible on certain recorded tracks, but live they sound absolutely heavenly, making songs go from amazing to spectacular!

Music

Song structure-wise, the best way I can call it is measured emotional chaos. Fans are still trying to decipher their meanings here and on Reddit. 

But what seems to be the theme is toxic relationships, unhealthy coping, romantic trauma, bitter sweat endings, and eventual closure. It's really gripping stuff I'll tell ya. You gotta hear it for yourself to really understand.

There is ALOT more but that's about a general rundown.

They have 2 EPs called "One" and "Two". These are the band's earliest work but they are still fantastic.

They've only got 3 albums out as of writing this. "Sundowning", "This Place Will Become Your Tomb", and "Take Me Back to Eden"(the one released this year)

Songs I recommend as a launch point:

Jaws

The Offering

Higher

Hypnosis

Alkaline

The Love You Want

The Summoning

My personal favorites :)

All of "One"

All of "Two"

Dark Signs

High Water

Ascensionism

Vore

Take Me Back to Eden

They also have Instagram for the band and their personas. But please avoid trying to uncover their identities, They wish to remain anonymous.

https://www.instagram.com/sleep_token/

https://www.instagram.com/ii_sleeptoken/

https://www.instagram.com/iii_sleeptoken/

https://www.instagram.com/iv_sleeptoken/

Hope you like these spooky goobers.

Other fans are free to comment and/or reblog with additional information or fun facts I missed. 

Worship.

[leonorhunty]

Oh my goodness... is this another one of Leon's Late-Night Music Recommendations? Why, I do believe it is.

Remember when years ago there was the funny Jojo "To Be Continued" meme that had that one rock song with the funky bass and the guitar chords with harmonics? Roundabout?

YES (the band I mean).

That dumb meme was the introduction to not only one of my favorite prog-rock bands of all time but also my introduction to prog-rock in general (and I haven't had a girlfriend since...). I've maybe heard one or two Yes songs on the radio before and didn't think much of them then (probably I've Seen All Good People and Owner Of A Lonely Heart), but this song really did something it me.

Then I found a record of Yes's Fragile. Other than the song Roundabout, I went in blind. That was an experience...

Roundabout - Ah hell yeah. A fuggin jam.

Cans and Brahms - Is this... classical music?

We Have Heaven - No idea what's going on but I vibe with it.

South Side of The Sky - Another long song? At least it goes hard.

Five Per Cent For Nothing - What is even happeni- oh, and it's done.

Long Distance Runaround - What is this dude even singing about?

The Fish - *bass going brr* PRAISE THE SCIENTIFIC FISH NAME

Heart of The Sunrise - What's with this group and long son- *CALLBACK JUMPSCARE*

And after all that: "I guess I love Yes now".

[theprogrockbstheorist]

HAPPY 70th BIRTHDAY GEDDY!!!!

(meme credit to u/rtphokie on reddit)

OH, AND WHAT’S THAT?!?! IT’S ALSO THE 49th ANNIVERSARY OF NEIL PEART JOINING RUSH?!?!

In order to celebrate these wondrous occasions, I have compiled 70 reasons why I love Rush (especially Geddy):

70. They don't have any unlistenable albums. I can put on any Rush album and at the very least enjoy it, which is saying a lot!

69. ANDDDD they have 19 studio albums!!! 167 songs!!!

68. Alex's iconic Hall of Fame induction speech.

67. The movie I Love You, Man. The main plot of that is just two guys geeking out about Rush and then going to see them in concert.

66. The Bb5 in "Cygnus X-1 Book 1: The Voyage". For the record, the other famous Bb5 sung by a male singer in rock is the high note in "Bohemian Rhapsody", sung by Roger Taylor.

65. Geddy's range in general. Say what you will about his voice, but he had range.

64. Their pre-concert videos.

63. "Hey baby it's 7:45 and I need to go to bed soon, let's fuck"- In the Mood. The debut album was something else, man.

62. They wrote songs during soundcheck when they were on tour. This includes songs like "Tom Sawyer" and "Chemistry".

61. They went to a Yes concert while recording Caress of Steel, and almost quit making the album. I, for one, am very glad they didn't!

60. The "rap" in "Roll the Bones". Sit back, relax, get busy with the facts...

59. Gene Simmons thought they weren't into women because they didn't want to party with KISS. True story!

58. They listed their baseball positions in the liner notes for Signals.

57. Neil wrote lyrics to a song using only anagrams. The song is called "Anagram (For Mongo)", and is on the album Presto.

56. They thanked themselves in the liner notes for Hemispheres. Listed as Dirk, Lerxst, and Pratt, ofc!

55. They would challenge themselves to write last-minute songs. Results of this experiment include "Hand Over Fist" from Presto, and "Malignant Narcissism" from Snakes and Arrows.

54. The mere existence of "A Passage to Bangkok". I wonder what their thought process was to put a song about smoking weed around the world after a 20-minute long dystopian prog rock epic...

53. "La Villa Strangiato". Just... everything about it.

52. The kimonos. You know the ones!

51. Their nicknames for each other!! (see above)

50. They had the second-longest stable line up in rock music! The only ones with a longer stable line up was ZZ Top.

49. They had a 40-year career! Even longer if you include pre-Neil and their adventures since the R40 tour.

48. The synth era. I unapologetically love 80s Rush, especially Grace Under Pressure and Power Windows.

47. "The Necromancer" basically being self-insert Tolkien fanfic. I wonder who the "three travelers" are supposed to be... OH WAIT!

46. They're giant nerds. All prog bands are, but they are especially nerdy.

45. Hugh Syme's awesome album covers. He did every single one from Caress of Steel onwards, barring the front cover for Snakes and Arrows.

44. The 7/8 section in "Tom Sawyer". That was my first intermediate bass line! Thanks, Geddy!

43. They're Canadian icons. Unironically, they're the first thing that comes to mind when someone mentions "Canada" to me.

42. The horribly cheesy, terrible, but also really funny music video for "Time Stand Still". That song, btw, might be my favorite 80s Rush song, and is probably in my Top 5.

41. The triple-entendre pun of Moving Pictures. They're filming a movie (moving picture) of people moving paintings (moving pictures), while someone is getting moved by the scene (moving...pictures...).

40. They quote the 1812 Overture in the overture for "2112".

39. Geddy taught Les Claypool how to properly play "YYZ".

38. The Permanent Waves era glasses!

37. The opening of "Xanadu".

36. The weird stuff Geddy would have on his side of stage after he stopped using amps. This includes rotisserie chickens, washing machines, dryers, and popcorn machines.

35. "Music by Lee and Lifeson, Lyrics by Peart" on almost every single Rush song.

34. The ending of "Spirit of Radio". OF SALESMEN!!!

33. Their inside jokes. Example: The Bag.

32. They took French classes together, and began announcing their songs in French in Quebec.

31. The progressiveness of Counterparts. What other 40-year old rockstars were talking about healthy relationship boundaries and openly supporting gay people in 1993?

30. Their vaults are practically empty because they scrapped songs that weren't up to their standards. This is why we have no sub-par Rush material!

29. Choosing to end their careers with grace.

28. Ending the last show of their career with "Working Man", the song that got everything started.

27. "Dreamline"--"Learning that we're only immortal / For a limited time".

26. Geddy and Alex inducting Yes into the Rock and Roll Hall of Fame in 2017.

25. Then, of course, Geddy playing "Roundabout" with Yes during their induction! (Unfortunately, he did not play his Rickenbacker :( )

24. No decisions were made regarding the band without it being unanimous.

23. "Closer to the Heart". To me, that song is like a musical representation of their friendship, and it always leaves me with a warm, fuzzy feeling after listening to it.

22. Neil's books. Ghost Rider, in particular helped me get through a rough time earlier this year.

21. Geddy's Big Beautiful Book of Bass. I love that thing, and I am looking forward to his memoir in November!!!

20. That incredible Rickenbacker. I know it hasn't been his main bass since the early 80s but...

19. All their other creative projects. Geddy and Alex have a solo album each, Alex is involved with Envy of None rn, and Neil had his blog.

18. All their other stage interactions.

17. "ATTENTION ALL PLANETS OF THE SOLAR FEDERATION! WE HAVE ASSUMED CONTROL!" -"2112". Just... all of "2112".

16. They got me into prog. I wouldn't have this blog right now if it weren't for Rush.

15. The Lifeson chord. The F#7add11 voicing that you can hear in so many of their songs (it's the opening to "Cygnus X-1 Book II: Hemispheres").

14. Neil's drumming. They call him The Professor for a reason!

13. Geddy's bass playing. And his singing. And playing keys. And... yeah, we would be here all day!

12. The Dinner with Rush video. I make daily references to this that no one notices...

11. "The measure of a life / is a measure of love and respect"- "The Garden". The final song on their final album, and possibly the most amazing closer of all time.

10. Their charity work. IIRC, this includes giving away the aforementioned rotisserie chickens, as well as various fundraisers.

9. Their constant strive to improve themselves. Including Geddy working with a vocal coach, Neil working with Freddie Gruber, and of course, disavowing that Ayn Rand shit.

8. They give me something to strive towards, both as a musician and as a person. If I could make records half as good as Rush, and handle the fame with half the grace that they did, I would consider myself well-accomplished.

7. Neil's lyrics inspired me to get back into writing.

6. They inspired me to become a musician, and to pursue a career in music. If it wasn't for them, I wouldn't have stayed in choir or picked up bass, and I would've never considered a career in audio technology.

5. Their music helped me bond with my dad.

4. Geddy talking about his family's story of survival during the Holocaust. I think that's really important to talk about.

3. Other Rush fans. Well, okay, some of them like to brag about how many concerts they've been to, or tend to be a little gate-keep, but most of them are really chill people.

2. Their music helped me get through the toughest times in my life. Without getting too personal, I even credit them with saving my life on multiple occasions.

However, what I admire about Rush, above all else...

1. Their friendship with each other.

Once again, happy birthday Geddy! Your music has inspired me in so many ways, and I wouldn’t be the person I am today without it.

[johnkatsmc5]

Rainbow Generator "Dance Of The Spheres"1978 Private + Krozier & The Generator "Tranceformer" 1982 double LP Australia  Psych,Ambient,Experimental,Space Rock,Spoken World,Electronic,Synth Prog

full spotify

https://open.spotify.com/album/6b1iMRNaVFy24mcmEjWb1p

https://open.spotify.com/album/2fxxtqnwQn6w1P4jBZDZaQ

Rainbow Generator "Dance Of The Spheres"1978

Official reissue of a record originally privately pressed and released in Australia in 1981. Tracks on this album were selected from recordings of live shows and rehearsals conducted at Fission Chips studio between the dates of January 7th and 26th 1981, these being the last performances by the group prior to Geoffrey´s death. These tracks were originally recorded on a four-track TEAC and were subsequently transferred to an Otari eight-track, when they were overdubbed by David and Keith, and were then mixed and mastered at Fission Chips. Dedicated to the memory of Geofrey Crozier 1947 - 1981.....~ Rainbow Generator are Australia’s first true experimental electronic music group. Consisting of David Labuschagne AKA Mojo, and Rob Greaves AKA Ras. Starting in the mid-70’s, the pair took it upon themselves to begin exploring the possibilities of the sonic dimension and with an ‘open mind’ began investigating the interface between psyche and sound. In 1976 David established the ‘Lectric Loo’ studio in Woolloomooloo, Sydney. Known to the ‘heads’ as simply the “Loo”, the 3-story building was owned by the Department of Main Roads, and slated for demolition. So, it was that the entire block became a haven for squatters, and while Mojo had the main 3-story building to himself, the rest of the buildings were taken by a hotch-potch of people that included Anarchists, a Clown School and a collection of other random squatters. Recording in the ‘Lectric Loo’ provided them the ability to record freely. In 1975 they began to experiment, putting Mojo’s Fender Strat through effects pedals, playing with sounds while manipulating shortwave radio stations and also challenging convention by playing the insides of instruments. By 1976 they had built a kit synthesizer and shortly after purchased a full Roland 100 Synthesiser set-up and were on their way. In 1978, with little resources, or any form of distribution they released their sole LP ‘Dance of the Spheres’. As Mojo puts it, “we were intent on making music with whatever we could beg, borrow, buy, and liberate. Albeit with scant regard for the rules or conventions or niceties of the game. Ultimately, it was all an act of love, of joy. Not just an adventure; it was a musical odyssey”. This odyssey continued their exploration of the interface between psyche and sound. Fusing genres and boundaries, Dance of the Spheres incorporates elements of 70’s psych and folk with spoken-word and of course the emerging sounds of the synthesizer and drum machines. Furthermore, the addition of traditional instruments such as the didgeridoo and the classical Indian instrumentation technique of a Raga add a timeless layer, all seamlessly complementing the other elements and launching the album to another dimension....~ Line-up / Musicians - Rob "Ras" Greaves / All keyboards and all other instrumentation - David "Mojo" Labuschagne / Guitar and all other instrumentation Guests: - Damien Burnett - Didjeridu (track 3) - Naomi Lego - Vocals (on Essence and Rainbow Raga) - Tor Davis - Vocals (on City of the Sun) Tracklist Polyploid Spex Quiblings Query Wandjina Asymptote Embryonic Eye Essence Shockwave Rider City Of The Sun D.Lirium Rainbow Raga 'Ssence

Krozier & The Generator  "Tranceformer" 1982 double LP

One of the rarest Australian synth post-prog vinyl artefacts. Combining shamanic spoken word with nodding kosmische instrumentation fuelled by Australian synth technology....~ Credits Guitar, Synthesizer, Drum Machine [Rhythm-Machine] – David Mow Liner Notes [On sticker] – Anton Newcombe Percussion – Keith Casey* Producer [Reissue] – Andy Votel, Doug Shipton, James Pianta Remastered By – Gareth Mallinson Synthesizer, Drum Machine [Rhythm-Machine] – Robert Greaves Vocals – Geoff Krozier Tracklist House Of The Sun 2:33 Khan-Khallili Razaar 3:18 The Devil May Care 8:01 Slave Traders 2:33 Land Of Unclean Spirits 3:54 Perhaps Reincarnation 2:02 House Of The Joker 8:15 Take A Look 4:42 Temple Of Exotic Delights 14:23 Feed You To The Sharks 1:43 Lapis-Lazuli 6:35 I´ll Be A Sphinx For You 1:30 Doubting Thomas 1:30 Paid Your Money 7:18

Rainbow Generator "Dance Of The Spheres"1978 Private + Krozier & The Generator "Tranceformer" 1982 double LP Australia  Psych,Ambient,Experimental,Space Rock,Spoken World,Electronic,Synth Prog

https://johnkatsmc5.blogspot.com/2025/02/rainbow-generator-dance-of-spheres1978.html?view=magazine

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