|Foucault’s Pendulum (3rd Movement)
|Leaves of Yggdrasil
|Reverie / It Goes On
|Winter In Bloom
|Eric J. Confer
|Lost Sacred Things
|Gabriel Akhmad Marin
|Ruminate: Improvisations for Fretless Guitar and Dutar
Nickie Harte Kelly
Here we have progressive music, in what I think of as California style. The Lost Coast is a mostly undeveloped and wild region in Mendocino and Humboldt counties. The music here reflects the expansive, yet intimate feeling of experiencing it in person. There is a lovely balance between electric and acoustic instrumentation and the lyrics are a thoughtful reminiscence of journeying through that land and it’s history.
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This is a concept piece, a sort of journey through time with a message to the future, by a fictional author, with a mystery at the heart of it. The guitar work in particular, is precise and forceful, delicate when it’s called for, and the pieces are varied in instrumentation, skirting several styles adeptly. The complete chronicle is compelling, like a book you just can’t put down.appears in 72 other collections
Ruminate: Improvisations for Fretless Guitar and DutarNew Yorker known for playing progressive music, here he delves deeply into world music, plenty of exotic inspiration here from all over Europe and the Middle East. Every track is an improvisation and recorded live, no edits here, folks. Spine-tingling beautiful, at times rustic, and embued with the spirit of Sufism, some of the instrumentation becomes eerily like a human voice. This is just exquisite music, played by a master musician.
Imaginary Mountainsby Ghost RhythmsHere we have a sort of merging of progressive math rock, jazz and little bit of space thrown in for good measure. The music is instrumental and is more driving than space music, however. Band is primarily electric in sound with expert electric violin spicing it all up, as well as a plethora of other instrumentation such as accordion, cello, harpsichord, sax and flute.appears in 220 other collections
Eric’s latest release is a surprise, as for this one, he adds his vocals. He presents his signature guitar style, which is soaring and precise and plays all instruments. I hate to make comparisions to others, but his voice reminds me much of David Cousins at times. Reflective and thoughtful lyrics, and, as expected, his guitar leads are marvelous to the ears.appears in 2 other collections
Emerging from the black metal field, Amalie Bruun goes full Scandinavian folk here. Dreamy, dark music with pristine vocals that seem as if they are coming from somewhere out of time. Haunting instrumentation and mythological verse that is truly transporting, yet firmly rooted in the soil of the artist’s heritage. The bowed instrumentation is positively chill-inducing.appears in 3099 other collections
Grand progressive rock here, sometimes quite heavy. Robert, who plays guitars, keyboards and hand percussion, has a host of guests here, on drums and other percussion, fretted and fretless guitars and basses, Taurus bass pedals and Chapman stick. Expertly performed, this is a concept piece from start to finish and takes one on quite a journey, as well-crafted progressive music should do.appears in 25 other collections
Seattle denizen Peter Tutak has a solid grounding in classical music that shows, as he expresses in this primarily symphonic prog release. His principal instrument is bass, but he covers all of the other instruments and vocals along with guests playing acoustic and electric guitars. You will sometimes hear musical quotes of the likes of Debussy and Ravel. A promising debut from a talented composer.