Música de todos - Música para todos.
Rock, Punk Rock, Jazz, Fusion, Funk, MPB, Samba, Reggae, Regional, Progressivo, Música Universal e todas as combinações possíveis de ritmos e culturas...
The list of modern Polish Prog bands seems endless, as Arlon is a name you can add to it. This project was found in 2009 by drummer Pawel Zwirn, but it would be completed only two years later after an intense search for accomplished musicians. By 2011 the line-up of the band included also Maciej Napieraj on bass, Wieslaw Rutka on guitars and Jacek Szott on keyboards. The missing piece of the puzzle, singer Pawel Szykula, joins the group the following year and recordings of some previous ideas started immediately, most of which were compositions of Szott. The first songs of Arlon were warmly received by their fan base, followed by numerous live gigs, some of which included other significant names of the Polish Prog/Rock/Metal scene such as AnVision and After The Ice. In July 2013 the debut album of Arlon sees the light on Pronet Records under the title ''On The Edge'', followed by promotional concerts and the initial stages of rehearsals regarding the group's second album.
ABRAXAS was born on 29 October 1987 in Bydgoszcz when Adam Łassa (vocals) and Łukasz Święch (guitar) found the right name for their band. And as in Hermann Hesse's novel "Demian" Abraxas was the god of good and evil forces, penetrating each other, so it soon turned out that this dualism became the distinguishing mark of the band. Alternating moods, sudden rythm changes, controversial lyrics, very good arrangements and unique harmony are what characterised the style of ABRAXAS. They gave some concerts beside a couple of stars of those days like ZIYO or REZERWAT and started to dream about their own album and of course about fame. But deepening crisis within the band appeared and it broke up after two years of existence in 1989. Silence lasted two years.
In 1991 the band was resurrected with new members who were Mikołaj Matyska (drums), Krzysztof Pacholski (keyboards), Rafał Ratajczak (bass) and Radek Kamiński (guitar). In this period a great number of songs were composed many of which were to appear on the first album of ABRAXAS. However in October 1992 Łukasz Święch left the band and it ceased to exist once again. When on a rainy day in July 1993 Radosław Kamiński was killed in a car accident it seemed to be the definite end...
But the best times for ABRAXAS were yet to come! On Adam Łassa's initiative in 1994 the last trial to bring the band back to life was made. This way appeared the third incarnation of the band with the lineup consisting of Adam Łassa (vocals), Szymon Brzeziński (guitar), Marcin Mak (drums), Marcin Błaszczyk (keyboards) and Oleg Bałtaki (bas), who was soon replaced by Rafał Ratajczak.
The year 1995 was a year of intensive work. Finally in 1996 the band recorded their debut album titled "Abraxas... Cykl obraca się. Narodziny, dzieciństwo pełne duszy, uśmiechów niewinnych i zdrady..." and the best period for the band became a fact. They appeared on stage performing beside such internetional stars as Fish, Porcupine Tree or Robert Plant & Jimmy Page.
In 1998 they issued their very well received second album "Centurie" and it's english version called "Prophecies". Around the same time Szymon Brzeziński and Marcin Błaszczyk took part in recording of a solo album of Colin Bass followed by European tour summed up by a concert album "Colin Bass live at Polskie radio 3".
The year 1999 brought a new album titled... "Abraxas 99" (again in polish and english versions) and in 2000 the band issued a live album "Live in Memoriam". Nonetheless the same year ABRAXAS dissolved again and hasn't reactivated up to this day (only once in 2004 in Bydgoszcz to play before IQ)...
If there's a country where Neo Prog is the favorite sub-genre, we are talking about Poland; bands like Pendragon have the status of semi-gods, so it's not strange that we find a lot of followers.
ANNALIST was formed in Warsaw in 1992 by the multi instrumentalist Robert Srzednicki who plays guitar, piano and vocals, they have managed to keep the same lineup until their last release with the birth of the new millennium, completed by Krzysiek Wawrzak in the bass and backing vocals, Bartek Gotembnik in the keyboards and Artur Szolc in the drums.
Added to the obvious MARILLION and TWELFT NIGHT influences, we can find some KING CRIMSON touches but mainly a lot of Hard Rock and mainstream.
During their career they have released four albums in 1994 the strong debut called "Memories" which is extremely dark with clear KING CRIMSON reminiscences specially the epic "Lunacy" the strongest track, sadly the vocals of Srzednicki don't help too much.
Their second album "Artemis" is released in 1996, not as strong as the debut but still pretty good, with heavy atmospheres and still a darl mysterious touch,, the vocals are both in English and Polish.
The following two albums "Eon" (1997) and "Trial" (2000) don't have the same quality, specially the last one which shows a band that has apparently left their best years behind.
The name of the band derives from mythological Ananke, a figure from the Greek pantheon, the goddess and personification of destiny and necessity, inevitability...
Ananke originated in Bydgoszcz in January 2009 on a keyboard player Krzysztof Pacholski's and vocalist Adam Łassa's initiative. Only two months later, in March the same year, the band entered a recording studio to register their first songs. Positive atmosphere and good prospects for the future propelled the musicians so that in December 2009 full material for their first album was already at the band's disposal. The album, titled MALACHITY, has been issued in April 2010.
In the meantime Ananke played some concerts to promote the material. In that period, beside the aforementioned co-founders Krzysztof Pacholski and Adam Łassa, the line-up included also Karol Szolz on guitar, bassist Bartek Styś and drummer Wiktor Wyka (with a guest appearance of Łukasz Święch on 12-string acoustic guitar on MALACHITY).
MALACHITY met good reception by fans, both new ones as well as those following musicians' careers even before they founded Ananke, and gained many positive reviews. The album was also highly rated by the listeners of the Polish Radio Programme 3, reaching the 12th position in the chart (the highest among Polish language albums).
The year 2011 meant intensive work on recording the next album and changes in the band's line-up with the band's co-founders being joined by guitarist Michał Sokół and drummer Marcin Mak this time who contributed considerably to the sound, expression and arrangements. There were also two guest musicians engaged in the process: Wojciech Burghard on bass and Karol Oparka on acoustic guitars.
The sophomore creation of the band, titled SHANGRI-LA, saw the light of day in September 2012.
Although Ananke has existed for a fairly short time the musicians involved in it can be hardly considered debutants given that Adam Łassa was a co-founder of a legendary band Abraxas and in the same band the position of the keyboardist was occupied for a couple of years by Krzysztof Pacholski and Marcin Mak was the drummer.
They took part in many other projects as well, like ASSAL & ZENN, ANYWAY, Q, FORGOTTEN.
Now the time has come for Ananke.
Source: the band's official website.
Translation from Polish: Bartłomiej Ślązak (Tuzvihar)
LIZARD has a variety of influences. They intrigate Crimsonian influences with a spirit skin to that of their compatriots in COLLAGE. The vocals have a neo prog influence while the instrumental parts have an emphasis on the individual player's skill. The musicianship is intricate with complicated band interplay.
"W Galerii Czasu" reflects a strong influence of UK and ELP. The CD is produced really great ... no redundant effects and clear sound of all instruments. Now I'm convinced that this album is a masterpiece, a future classic of the Polish Art-Rock.
"Launching of the label Ziriguiboom, from the Belgian label Crammed, the same one that successfully released the album Tanto Tempo, by Bebel Gilberto, is a collection entitled Samba Soul 70! - Rare Groove Party, which, as the name suggests, brings pearls of the Brazilian samba-soul of the 70's. The repertoire, played by DJs Marcelinho Da Lua, Béco Dranoff and Marc Hollander, is a fine thing...
01. Cosa Nostra - Erlon Chaves
02. Nao Vem Que Nao Tem - Wilson Simonal
03. Homenagem A Mongo - Som Tres
04. A Vida Em Seus Metodos Diz Calma - Di Melo
05. Mane Joao - Wanderlea
06. Quanabara - Dom Salvador & Banda Abolicao
07. Fato Consumado - Milton Banana Trio
08. Bicho Do Mato - Elis Regina
09. Princesa Negra De Angola - Bebeto
10. Saltei De Banda - Elza Soares
11. Onde Anda O Meu Amor - Orlandivo
12. Nego Dito - Branca Di Neve
13. Maria Fumaca - Banda Black Rio
14. Jogaram O Caxanga - De Savoya Combo
15. Barato Total - Gal Costa
16. Que Nega E Essa - Trio Mocoto
Benny Soebardja is a musician and composer from Indonesia, considered a pioneer and one of the most important rock figures in the country. He was a member of local bands like Shark Move and Giant Step, releasing some solo albums in the second half of the 70s with his band The Lizard. In 2012 their albums were re-released by Strawberry Rain and a compilation released on 2 CDs, titled The Lizard Years.
The CDs contain 30 tracks that mix typical psychedelic and progressive rock, ranging between nervous / hard and other more acoustic and calm. Great arrangements and instrumental "entrosado", with passages and certain organ solos, distorted guitar, drums and bass, counting still with flute in few songs. The lyrics are all in English. Overall, a very solid collection full of killer tracks!
Pearl highly recommended for fans of progressive and psychedelic rock.
Compilation released on 2 CDs in 2012 of the Indonesian musician Benny Soebardja, bringing together 30 songs from his solo career. The Lizard Years brings a typical mixture of progressive and psychedelic rock, with great arrangements and killer organ, heavy guitar and flute. Overall, a very solid collection, full of great tracks! Pearl highly recommended for fans of progressive and psychedelic rock.
When Gizelle Smith stormed from relative obscurity onto the funk scene in 2008 as the front woman of Hamburg-based band The Mighty Mocambos, critics and music lovers alike immediately hailed her as “the golden girl of funk”. Mention the name Gizelle Smith in funk-knowing circles and ears will immediately prick up with curiosity and tangible excitement, eagerly ready to hear more.
Born and raised in Manchester, the love child of a Seychellois mother and an Afro-American father who was a band member of legendary Motown group The Four Tops, Gizelle has a multicultural upbringing steeped in soulful music. Gizelle‘s first single “Working Woman” with The Mighty Mocambos became an overnight smash and a prime-time club favorite of funk & soul DJs worldwide, leading legendary producer and Grammy nominee Kenny Dope (Masters at Work / Bucketheads) to remix the song for his own Kay Dee Records. The album that followed, “This is Gizelle Smith and the Mighty Mocambos” on Mocambo, Légère and Soulbeats was released in 2009 and sold nearly 10,000 copies in spite of the ongoing music industry crisis. Follow-up solo singles “June” released on Record Kicks in 2009 and “Johnny” on Mocambo in 2012 sold-out in record time and are now both highly collectible 45s.
In the wake of her breakthrough releases Gizelle has enjoyed extensive radioplay on national stations such as BBC 2 and BBC 6 (UK), Radio Nova (FR), Radio 3 (SP), Rai 2 (IT) and more, and has performed far and wide, from London to Manchester, Paris to Marseille, Frankfurt to Berlin, Milan to Oslo, solidifying her reputation as a highly energetic, dynamic and incredibly charming performer. After a hiatus from gigging to work on her debut solo album, in February 2017 the London funk scene was raving about Gizelle Smith‘s performance on stage with the mighty LeRoy Hutson, and once again tongues were ablaze with excited talks of her vocal talent and upcoming projects, setting the scene for the launch of what will no doubt be Gizelle Smith‘s most significant work to date: her debut solo album “Ruthless Day”.
Incredible album from a (for the most part) unknown group of highly talented kids. Front to back is packed with wicked instros. I had no idea what this was at the time, but I found and bought the mono pressing at a goodwill for a dollar (lucky me!). It quickly became one of my favorite albums. And all the stereo tracks are on youtube. Those are fantastic mixes, great separation. Here's a link to them: https://www.youtube.com/channel/UCE4PZBm9eEg7ZYCZu3XkAdw/videos
In the late 90s, Bacchus Archives was put in touch with surf legend Norman Knowles, member of THE REVELS and writer of the surf classic 'Church Key' as Norman produced the classic but totally obscure LP that was originally released on the budget Sutton label in 1963, with no liner notes, no inner sleeve, and no distribution beyond the dollar rack at local grocery stores! It was rumored that there were some unreleased tracks and as it turned out, Norman had them! The tracks were taken from the best sources possible with many in stereo. The Surf Teens were from the central coast town of Atascadero, California and at the time consisted of Jeff Hammond, 16 years old, lead guitar, John Hammon, 13 years old, drums, Greg Smith, 16, rhythm guitar, Tony Johnson, 20, bass - their ages at the time of recording Surf Mania prove indeed that they were Surf Teens!
New German Psychedelic feature The Cosmic Gardeners:
Certainly indebted to the free spirit of Krautrock, but musically spreading their wings wider. Their FORTUNE BELLS & MAGIC CANDLES (Stono Records St 110 500 023) from 1996 inhabits that world of psychedelia and trippy folk music, similar to Fit+Limo, though with a much more home-made post new-wave feel, with occasional diversions into pure experimentation.
by Alan Freeman in Audion magazine 52 (2006).
It is not to say definitive , when the Cosmic Gardeners started it´s musical experiences ,
as it was an endless moving ....coming from the band The Twist to form The Cosmic Gardeners.
The first line up of autumn 1989 is as followed:
Riff:words + songs, vocals, el.guitars and synthesizerprogramms;
Bela : vocals, synthebass, organ and synthesizers ;
Carolina Rain are all about harmony. On its debut album for Clint Black's label, the country trio spends considerably more time in harmony than out of it, and, well, you would too if your voice blended as purely with those of your pals. There's no pretense here: Carolina Rain aren't a rock band hidden behind cowboy hats. Their backgrounds are in bluegrass, gospel, and mainstream country, and their chosen instruments are acoustic guitar, mandolin, and banjo. That's not to imply that they are unflappable purists, however. "I Ain't Scared," with its solid drum/bass backbone, has a funky kick to it, and "That's Alright with Me," layered with full band instrumentation, won't feel unfamiliar to a fan of the early Eagles or Neil Young. But Carolina Rain are at their most effective when they keep it all close, pickin' their acoustic instruments and bringing those voices together. The rich textures of "Who Needs the Sun," the exquisite album closer, remind as much of the Beach Boys' sunny harmonies as anything Nashville has to offer, and on "Get Outta My Way," the only track on the album not written at least partially by a bandmember (it's credited to the album's producer, Robert Ellis Orrall, and Curtis Wright) finds the trio so seamlessly entwined that the individual voices simply fuse into one. Lead vocalist and guitarist Rhean Boyer -- the others are Jeremy Baxter, tenor harmony and mandolin, and Marvin Evatt, low harmony, guitar, and banjo -- holds his own commendably when called upon to take charge, but Carolina Rain don't truly show their strength until all three come together and find their rightful place within a song.
Originally issued in June 1970,pressing Philips (PHS 600-340) - US, at a time when rock music was beginning to embrace ecological themes,sole album was produced by Kim Fowley. Touching on rock, psychedelia and sunshine pop, it boasts fine vocal harmonies throughout, and makes is (by some estimates ) genuine pearl period of dawn psychedelic rock . The sounds of tracks on the album, reproduced perfectly and clearly bring to mind the best moments of creative collaboration such classics as Curt Boettcher psychedelia ( especially his voice) and Gary Usher .
Main Earth People's Park , with its symphonic moments of the rhythm , like the heartbeat , a bit like Brian Wilson's performance , as well as some more complex Ride The Universe. Also noteworthy strong and smooth vocals, often even in choral singing , visible in most songs and fundamental intertwining harmonies that not all the performers at the time managed to get so easily . In addition to these songs on the album yet to be noted and This Island Earth, which, together with them is the main theme of full length , one might even say , a certain concept . In general , if someone prefer to enjoy the music of the psychedelic light style 60 - ies of the last century, with hints of early pop music and progressive,that this album should be strongly recommended .
As any good album should do, the opening tracks are winners. "Earth People's Park" takes a little of Brian Wilson's pocket symphony idea to heart with it's multiple sections, as does the somewhat harder rocking "Ride the Universe." Forsaking straight up lead vocals, most of the songs rely on a weave of harmonies that compare favorably with just about anyone else. The first bump in the road is probably with "This Island Earth," where the band unfortunately takes on the opportunity to sing the title in a ludicrously rising chorus. It might just be that images of the wonderfully cheesy movie of the same name are filtering through my head. Things get back on track with the ever-so-slightly morose "Doomsday Afternoon" (I'd expect something a little more hardcore with that title). Highlights later on the disc include the entertaining hippie nightmare, "Mother Earth Is a Beautiful Lover," which spins through both waltz time and a chilled version of a garage rock . Earth Island manages that tinge of melancholy that really takes the music to a higher level.
French production duo Bost & Bim have for the past 15 years continuously put out new and exciting reggae music. They have managed to gain respect from all around the world and collaborated with top-notch singers and deejays like Sizzla, Capleton, Chronixx, Gentleman and Alborosie.
Bost & Bim have never been huge fans of genres and they have put an effort into blending organic rootsy riddims with digital dancehall-fused reggae, hip-hop and soul. Sometimes sophisticated and grand, at other times minimalist and hard. They have also been pioneering reggae mash-ups with their acclaimed Yankees a Yard mixtapes, on which they give new life to well-known hip-hop and R&B by transforming them into groovy reggae.
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