Bask

Bask

BY Bask

(Customer Reviews)
$8.00
SKU: NSD6036
Label:
NorthSide
Category:
World Music
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ONE OF A KIND TITLE FROM THE LASER'S EDGE ARCHIVE

"Bask consists of flautist Jonas Simonson, saxophonist/percussionist Sten Kallman and fiddler Hans Kennemark. This unique instrumentation brings a freshness to their self-titled debut album, which arranges original and traditional melodies originally intended for solo fiddle into acoustic trio pieces. Bask's deceptively simple counterpoints and harmonies make for enjoyable listening, as background music or with closer scrutiny." - ALLMUSIC

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  • I thought Felix Martin's debut was insane but he's taken it to the next level with this one...If you are unfamiliar with Felix Martin that will probalby change soon.  He plays a custom made 14(!!) string guitar.  His musical background has strong roots in jazz but its clear he's able to feel comfortable with different styles.  His approach to this unusual guitar includes tapping as well as legato runs.  If you have seen any videos of him playing live its really something to see.  The Scenic Album is a trio affair - Martin is supported by Nathan Navarro on bass and Chapman Stick, and the mighty Marco Minnemann is behind the drum kit (ex-Behold The Arctopus' Charlie Zeleny is on the last track).  I don't think anyone other than Marco could tackle this material.  Martin's music touches on so many different genres - metal, prog rock, latin and fusion - all within a single composition.  Prepare to have your jaw drop! 
    $12.00
  • "While other musicians mostly vary their repertoire with nuances, every Klaus Schulze performance is hard to predict. His former bandmate Edgar Froese (Tangerine Dream) once needed a nice image when describing his way of improvising on stage with electronic instruments, "This is like a parachute jump where one cannot be sure if the parachute will even open." This was particularly true during the time of the unpredictable, analog synthesizers- but Klaus kept this same work method throughout the years without making any changes. And with this he is one of the few musicians who saved this art of improvising, all during the transition from the analog to the digital era. This is also true according to Schulze's principle, "It is important that I do not have a clue when I should be going onstage." What appears to be a paradox or what smells like absolute randomness is quite the opposite; it is a reference to all factors of this deciding moment along with a full release as well as an arrival. The definite highest point however would be the Amsterdam concert. It may also be that it was the tour's third concert after Warsaw and Berlin and all those involved had perfectly played one after another. But this does not explain the magic and the breathtaking dramaturgy of the entire performance. The non-verbal and deeply emotional interaction between Klaus Schulze and Lisa Gerrard was seldom so homogenous, real union as it was here! - Vol. 2 of the series of 3 volumes "Big in Europe" - Electronic-pioneer Klaus Schulze meets Dead Can Dance-Singer Lisa Gerrard - Complex DigiPac contains 2 CDs and 2 DVDs, as well as a booklet with extended linernotes - "žA Moogumentary II", an exciting and fascinating documentary by french director James L.Frachon on DVD 2."
    $22.00
  • "Drummer Ian Wallace (King Crimson, Jackson Brown, Don Henley, Bonnie Raitt) is joined by Jody Nardone and Tim Landers, and special guest Mel Collins, on this masterful interpretation of Crimson classics which is sure to please King Crimson fans and jazz aficionados alike. Volume Two takes the CJ3 a step further in its interpretations of the King Crimson catalog.These songs represent the final recordings in this life by the extraordinary drummer Ian Wallace. They represent the culmination of a lifelong dream and years of study, devotion, hard work and passion for the drums. They honor his past and his love of the music made with, and made by, his brothers in King Crimson. They celebrate his love of jazz. They are a beautiful swan song from an incredible musician.Volume Two is a slight departure from CJ3's first release, finding the trio taking more liberties with the material. The listener will hear more experimentation in the playing as well as the arrangements. The recording features ex-Crimson saxophonist Mel Collins on two pieces and finds Jody Nardone lending his vocals to a track. Like Volume One, Volume Two is, as it was intended, more experiment than a tribute album. It stands alone as a beautiful, and perfectly performed jazz album, as well as a medium to experience Crimson in music's most improvisational art form."
    $15.00
  • "The legendary Marillion guitarist and founding member Steve Rothery has long been known for his unique playing style, and in the live setting the experience cannot be matched. ‘Live In Rome’ sees the Steve Rothery band captured over 2CD’s and 1 DVD at a magical sold out show in Italy on stage at the Cross Roads Live Club earlier this year. ‘Live In Rome’ sees his intricate musicianship and atmospheric soundscapes given the space they deserve.This brilliant live set sees Rothery airing tracks from his forthcoming solo album ‘The Ghosts of Pripyat, due out on the 22nd September. Financed by an incredibly successful Kickstarter campaign which reached its fifteen thousand pound target in the first 24 hours, it went on to raise almost sixty thousand pounds and cements the already rock solid relationship that he has built with his fans worldwide. At one point it was even the second most popular music project on Kickstarter in the world. The studio album not only sees him helped by his fans, but a raft of guest musicians too, including Steve Hackett, Don Airey and many more.‘Live In Rome’ also features some brilliant performances of classic material from the Marillion cannon, with Rothery’s chosen band proving a natural fit for the music despite it being just the second time this particular group of musicians had played together live. Joining him for the evening were Dave Foster (Mr. So & So) on guitar, Yatim Halimi (Panic Room) on bass & Leon Parr on drums, as well as guests Riccardo Romano (RanestRane) on keyboards and vocalists Manuela Milanese and Alessandro Carmassi. The former bringing her sweet tones to ‘Waiting To Happen’ and ‘Sugar Mice’, and the latter packing a punch on classics such as ‘Cinderella Search’ and ‘Easter’.With the interest in Steve Rothery’s solo career at an all-time high thanks to his successful crowd-funding campaign, ‘Live In Rome’ is a fantastic look into the progression of the forth-coming ‘The Ghost of Pripyat’ album and a brilliantly crafted document of what the man him-self called “an unforgettable experience.”"
    $16.00
  • "2013 five disc (three CDs + two DVDs) digipak. It takes a legend to bring a myth back to life. A unique treat for music fans worldwide, Steve Hackett's critically acclaimed live production 'Genesis Revisited' has so far triumphed in Europe, Japan and North America alike and is still going strong; on May 10th it celebrated its success at a sold out London's Hammersmith Apollo with an ecstatic audience. Genesis Revisited - Live at Hammersmith - a unique performance with guests including Nik Kershaw, John Wetton, Jakko Jakszyk, Steve Rothery and Amanda Lehmann. The pioneering guitarist comments: "The 5.1 DVD with stereo CD is a feast for all the senses. I was blown away by the fantastic response to those May UK gigs!""
    $22.00
  • Quite simply one of the greatest progressive rock albums of all time. This album is very dear to me and many of you will remember that some years ago we released the 3 SFF albums on a 2CD set. Its been out of print for many years and through the efforts of Esoteric Recordings they are back in print, as individual releases.Symphonic Pictures was recorded in 1975. The trio of Eduard Schicke (drums), Gerd Fuhrs (keyboards), and Heinz Frohling (bass/guitar) was formed from the remnants of Spektakel (another one of our out of print releases). The band was signed to Brain Records. Originally Frank Zappa was going to produce their debut but because of scheduling commitments he had to back out. Instead the band worked with Dieter Dierks who was the rising star producer at the time. The album is all instrumental. It consists of the four shorter tracks and then culminates in the side long epic "Pictures". This is one of the great Mellotron albums...ever. One can easily hear how deeply Anglagard was influenced by this album. Three virtuoso musicians creating amazing symphonic rock. It just doesn't get better than this one...or does it? Esoteric has included a bonus disc containing parts of an archival live recording from Papenburg, Germany in 1975. This features two tracks that are not on the album and clearly demonstrates that SFF could pull it off live as well. Perhaps I'm too close to this album but from my perspective its BUY OR DIE! Highest recommendation possible.
    $15.00
  • "It’s been five years since their last album, Buried Alone: Tales Of Crushing Defeat, but in that time, the lord of Knifeworld, Kavus Torabi, has been very busy indeed. He’s been part of Gong and various other bands, hosted a prog radio show with snooker legend Steve Davis (who is in fact, more interesting than people might have ever suspected) and of course spent his time working on more Knifeworld material.Since his days with Monsoon Bassoon, Torabi has always been someone who writes dense yet strangely hookladen songs. With Knifeworld things are no different, if anything this album is about as ambitious as anything in Torabi’s long and extensive career to date. The Unravelling is an eight song cycle, is performed as an octet, and is nothing if not grandiose in its intensions. The idea of a song cycle might well sound pretentious, and perhaps it is, but what keeps The Unravelling from unravelling into a unwieldy mess is Torabi’s deft songwriting nous and keen ear for a hook. These songs might well form a cycle, but they are all quite capable of operating independently too.Opening track I Can Teach You How To Lose A Fight starts in muted fashion with delicate keyboards and strummed acoustic guitars complimenting Mel Woods’ beautiful but understated vocals. The whirring of clock parts and machinery in the background give a wonky Victorian feel, but also suggest that the cogs that drive the album are slowly clunking into life. Before long the full band has launched into a freakish prog-hymn, like a kind of feral Rick Wakeman freakout. “Why’d you grow those teeth in your heart?” asks Torabi sounding as if his has been chewed up and spat out by an evil Queen. It’s essentially the dialogue of a relationship winding down, but with its winding musical motifs, joyful honking sax parts mixing with solemn vocals and dramatic guitar stabs, the introduction to the album feels like a kind of synopsis of what’s to follow or an overture of sorts. There’s joy, threat, love, anger, fun and a fair bit of magic too.Send Him Seaworthy starts life as a kind of lurching boy’s own adventure, with nautical themes and a sense of wonder seeping into the orchestration, but come the telling conclusion it becomes tale of paranoid love. Don’t Land On Me meanwhile meanders along in a faintly jazzy way until a sharp stabbing rock riff cuts across its bows. Suddenly, it becomes a curious mix of swing, The Osmonds‘ Crazy Horses and Kenny Rogers‘ version of Condition. The Skulls We Buried Have Regrown Their Eyes meanwhile is a woozy old-school nursery rhyme that contains a requisite amount of grotesque imagery.Destroy The World We Love is the pop nugget around which the album truly revolves. It possesses a laid back lollop, a very deliberate hook with the line “secret in your hands” digging deep into the ears early on, but it quickly reveals itself to be an expansive and exquisite journey. Fans of Genesis (and naturally Cardiacs) will find plenty to appreciate here but as usual Knifeworld stop short of being self-indulgent and ensure that the song never disappears up its own firmament.If The Skulls We Buried hinted at something a little unsettling, then This Empty Room Was Once Alive confirms that there is something genuinely creepy lurking under the surface of this album and it just so happens to be in the form of a Victorian ghost story. Fortunately I’m Hiding Behind My Eyes quickly takes over and steers back towards folk inflected prog before things get to terrifying. Once again, the Octet are in fine form creating a bucolic world for the band to inhabit and explore.The key to this album is in its title. It is well written, and beautifully performed, but in order to get the most out of it, a certain amount of unravelling needs to be done. The five year wait has been worthwhile, and Torabi’s Knifeworld seems ready to begin creating its own universe. As strange and creepy as it seems at first, it is fun to spend time exploring." - MusicOMH 
    $15.00
  • Daevid Allen is back with a reconstituted version of Gong.  Part of the new lineup features Kavus Korabi (Knifeworld, Cardiacs) and Dave Sturt (Jade Warrior).  There is a great vibe to the album and it doesn't stray from the classic sound."The enduring legend that is Gong multi National, multi dimensional Psychedelic combo enters yet another new phase on their four decades plus journey with I See You, a brand new album to be released on the Madfish label.The current incarnation of Gong comprises vocalist / lyricist Daevid Allen, who, even at the age of seventy five, still radiates an incandescent creativity, the original anarchic vibe that was born out of counter culture revolution in the Paris commune in 1968. His co conspirators on I See You comprise Orlando Allen on drums, new guitarist Kavus Torabi (formerly of The Cardiacs) and the latest guitar incumbent in a band whose ranks have included the likes of Steve Hillage and Mark Hewins, horn player Ian East Wind , sinuous bass propulsion provided by Dave Sturt (the sonic manipulator), and Brazilian Fabio Golfetti who weaves his own lysergic patterns on guitar. This collective create an impressive, multi layered and irrepressible sound that creates its own world and then populates it with a series of dazzling musical gems, melodically rich, lyrically engaging and musically refreshed.I See You is both timeless and timely, a welcome antidote to an increasingly homogenised musical mainstream. Tracks such as This Revolution, a spoken piece which name checks Gil Scott Heron and picks up on the vibe of his The Revolution Will Not Be Televised, articulates the kind of concerns and theories that have always inspired Daevid Allen and informed the Gong worldview, contrasts with the ferocious inter stellar Funk of You See Me, which is sure to be a live favourite. Thank You is a heavy slab of Psychedelicised Blues, whilst Shakti Yoni Dingo Virgin is a moody, melodic instrumental piece that serves to illustrate the immense musical firepower and musical diversity that lurks within the current line up of Gong."
    $8.00
  • One night of the band's two-week "Controlled By Radar" tour found Scott McGill, Michael Manring, and Vic Stevens booked into a jazz club in Boston. The fusion trio quickly adapted, adding some choice jazz standards to their set list…but with a twist. They performed these classsics their way – a mixture of straight up jazz, fusion and skronk. The crowd was blown away by the originality and the band's audacity. As the band continued their tour the list of standards in their set grew and the response was always overwhelming. It was decided that the band's third album would be a collection of contemporary jazz standards done the MMS way. These are three virtuoso musicians that had individually and collectively already made their mark in the world of fusion. Why not go back to their roots? If the band was going to cause a fissure in the fabric of the jazz community why not go all the way? Noted guitarist and texturalist producer David Torn (Jeff Beck, Kaki King) was asked to mix the album. The man behind the Splattercell project was given free reign to take the unmixed session tapes and "do his thing" and that is exactly what he did. The results defy all the standards of what a jazz album should sound like. It's a mutated soundscape that will make the trio villains to some and hopefully heroes to many. John Coltrane, Miles Davis, Bill Evans, Wayne Shorter, Herbie Hancock, and Sonny Rollins, among others, composed timeless classics that have been ingrained into the souls of jazz listeners for a generation. "What We Do" takes these compositions, breaks them down and reconstructs them both musically and sonically. It offers a unique and controversial interpretation of these tunes that is pure MMS. What We Do is a punk jazz manifesto for a new generation of jazz fans around the world.
    $7.00
  • "Poverty, disease, environmental destruction, deep-rooted corruption – there’s a lot going on in the world to freak out about. 65daysofstatic are out to prove that that even what seems hopeless can be uplifting it catches the light the right way. Paul Wolinski, Joe Shrewsbury, Rob Jones and Simon Wright have been a band just long enough to see the tragic complexity of the new millennium unfold in real time. And what better way to keep tabs on the misfortunes and malaises of our world than to provide soundtracks for them?As you might have surmised without listening, 65daysofstatic’s debut, The Fall of Math, was an album of guitar-driven post-rock. Each successive release has gradually nudged the Sheffield quartet closer to electronica, up to and including 2010’s We Were Exploding Anyway and 2011’s alternate soundtrack to the 1972 sci-fi film, Silent Running. Wild Light is their sixth studio release, and it’s most certainly their most computerized. Taking their body of work as one extensive artistic statement, it is also quite inarguably the zenith of their career.Released in mid-September in the UK and due stateside at the end of the month, Wild Light a towering achievement of vision, ambition and imagination. These lumbering sonic skyscrapers readily substitute the ethereal for the palpable, the fear-inducing for the exalting, seamlessly collating the drivers behind 65daysofstatic’s development as a band. It has a tendency to remind you of other post-rock acts without actually sounding all that much like them. There’s the Promethean grandeur of Godspeed You! Black Emperor, the physicality of Battles, and the earthbound patience of Explosions in the Sky or Lanterna.The imagery of Wild Light is nightmarish and audacious, but the thickly mantled compositions are often beautiful, surging towards some unobtainably lofty plane. Only a handful of tracks start out on modest terms. Listening to “Taipei” is like rewinding the tape on glowing embers and watching as they renew themselves into a massive bonfire; piano-focused “The Undertow” unfolds as an interlude, sequenced between two of Wild Light’s more intense offerings, “Prisms” and “Black Spots”.The particulars of what 65daysofstatic try to achieve with their sound are so abundantly realized as to be self-evident. They address their hefty subject matter without uttering a single word, electing instead to express themselves through physical movement. Wild Light is a fully intact listening experience, peppered with sonic leitmotifs that fold back onto themselves once the final chords are drowned out by silence.Along with cyclicality and recursion, 65daysofstatic seem fascinated with the (rather complimentary) concept of time. One of the more plausible theories for how our universe will die is that all of the energy that can be expended will be expended; we will reach maximum entropy and simply fade, which is a bit of a bummer. With its title in mind, the tireless grind of intro “Heat Death Infinity Splitter” illuminates the inevitability of our collective fate. The mechanistic synth lurches and doomed guitar bends that recall Swans track “Lunacy”, and it’s equally as dread-inducing.But if this all sounds a little too morbid, its tempered by the obvious joy and care with which 65daysofstatic approach their art. There are nods to the their past, with tracks like “Blackspots” recalling some of the aggression of their earliest releases. Elsewhere, they’re as mild as they’ve ever been. Sendoff “Safe Passage” features nearly no percussion, instead opting for iridescent washes of noise. “Prisms” begins as an experiment in atonality, smash cutting from black hole drone to ecstatic synth bombast before a pair of plush tremolo guitars take control; one last rave tune before end times.Everything reaches a breathless climax on “Unmake the Wild Light”. Its somber segments topple into one another, each a fluent extension of what came before it to create a magnificent collage of roving bass lines, Rorschach drum patterns and blurry power chords. Although to call it a climax is to downplay the impact found elsewhere. Every moment here is inspired. For anyone who can appreciate emotional breadth that music is capable of conveying, make Wild Light a part of your life. It may be the best instrumental album you hear this year." - Pretty Much Amazing
    $15.00
  • After a strange mis-step, Glass Hammer have returned to their progressive ways. There is a new lineup featuring Jon Anderson sound alike Jon Davison on vocals. When I say he sounds like Jon Anderson I mean you would think it was a young Jon Anderson on the mike. Fred and Steve are back in the swing of things - epic length tracks with lots of bombast and hard core keyboard freak outs that are the GH signature sound. New guitarist Alan Shikoh fits right in. To get to the heart of the matter, Glass Hammer have made the best Yes album I've heard in decades. Bob Katz mastered the album and added just the right amount of polish to the typical great sounding production we expect from these guys. Highly recommended.
    $13.00
  • 2 DVD set documenting Klaus Schulze's collaboration with DCD vocalist Lisa Gerrard at the Night Of The Prog festival in Loreley on July 18, 2008. Disc One features the entire performance and the second disc is a documentary on Klaus Schulze and also includes an interview between Steven Wilson and Schulze.
    $16.00
  • New edition of the excellent debut CD from this Italian "band" who's musical stylings are heavily influenced by Steven Wilson's various projects - the most obvious one being Blackfield. Another band that comes to mind would be Blow Up Hollywood. Nosound is essentially the work of Giancarlo Erra, a multi-instrumentalist. The music has a lush, dreamy feel with underpinnings of synth and Mellotron. You can feel yourself drifiting away, lost in an obscure movie sountrack. A beautiful and intelligent work."The audio CD will feature completely new digitally restored and analogue mastered audio from the original 2005 album, plus three extra re-mastered tracks (clocking in at 78 minutes of music!).

 The DVD features a brand new 10 minute video for Sol29, plus the original three ambient/experimental audio video tracks included on The World Is Outside DVD-R. As an extra for fans who missed the first release, the Kscope edition will also include all the original mixes of Sol29 as they were released on 2005 album version. This will be the final and official Sol29 release, collecting all the Nosound early studio material in one single release."
    $14.00
  • "The first thing that came to my mind when I put on the new release Smorgasbord by Norway's The Brimstone Solar Radiation Band was just how much good music is out there that most people never get to hear. In a perfect world these guys would be massive and deserve to have their music heard. Smorgasbord is the band's third full length album. They also have an EP that is no longer available.Consisting of R. Edwards (vocals, guitar), Erling Halsne Juvik (guitar), Thomas Grønner (drums), Øyvind Grønner (keyboards) and Biff (bass), The Brimstone Solar Radiation Band make music that is sometimes hard to pigeonhole into a specific category. You will hear progressive moments to be sure and so many infectious melodies you will probably begin to lose track. If there is such a thing as ear candy this is it, however, this disc contains so much more than that.Musically the band has roots in the sixties and seventies but also employs a modern sound that prevents this from becoming a rehash of the past. These are all very talented musicians but special mention should be given to Thomas Grønner's drum work. His ability to change speed and tempo really form the backbone of these twelve songs.From the opening notes of the quirky pop/rock of "Medic" where an irresistible guitar melody in the form of choppy rhythms playfully mix with organ sounds having a distinct Doors feel, one just knows there is something special here. Folk music can be heard in the beautiful acoustic ballad "Godspeed Mother Earth" a pleading lament to our planet that really pulls on the heartstrings. The saxophone solo combined with lovely background vocals is a real treat. One of the highlights among many has to be the sheer pop delight of "Happy" and that is exactly how I feel after listening to this song. There is a subtle jazz influence heard amongst the light splashes of piano, but the main melody is pure pop with a heavy nod towards XTC, especially in the harmony vocals. The feel good pop/rock of "The Great Yeah" with its killer vocal harmonies and Beatlesque guitar work is another winner that also features a tasty organ solo.There are also unexpected surprises like "Animal Riot Hill" where heavier riffs of organ and guitar come together only to morph into the slow burn of saxophone and jazzy drum work making this one of the CDs defining progressive moments. Beatle's fans will have a real appreciation for the melodic "Strings To The Bow" featuring strings and lovely harmonies. The album's last song is the melancholic "A Hill Of Beans" where lovely acoustic guitar and strings create a breath of fresh air ending the CD in fine style.Smorgasbord will surely make my 'best of' list at the end of this year. With its eclectic mix of prog, pop and psychedelic inflected rock, The Brimstone Solar Radiation Band are a force to be reckoned with. Highly recommended!" - Sea Of Tranquility
    $6.00