Sway (Mini-LP Sleeve)

SKU: SCEB948CD
Label:
Schema Records
Category:
Kosmigroov
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Sometimes there are great albums that just float underneath everyone's radar.  Poor distribution, small label - or simply a band is just too far ahead of the curve for collector's to catch up.   Sooner or later they do.  That's just the nature of collecting music.  Such is the case of Sway.  Many years ago I stumbled across a copy of this obscure Italian album from 1973 and could not find any mention of it beyond one advanced collector mentioning "Oh yeah that's rare".  At the time there was little interest from the rock community in modal jazz, souljazz, space jazz, kosmigroov - whatever you want to call it.  Jazz collectors may well have been aware of the album but perhaps because the lineup consisted of relatively unknown (outside of Italy) musicians, no one really paid much attention to the album.  I did my fair share of turning friends and collectors on to the album.  Maybe it made a difference.  All I know is that finding a copy of the album now is next to impossible.

So what the hell am I exactly talking about?  Sway is a quintet led by noted jazz pianist Sante Palumbo (he's still going today!).  The rest of the lineup consists of journeymen session players: Hugo Heredia (alto/tenor sax, flute), Sergio Farina (guitar), Marco Ratti (acoustic/electric bass), and Lino Liguori (drums/percussion).  If you are a fan of electric Miles Davis or Weather Report you must hear this album.

Palumbo is the focal point of the band - his runs on acoustic and electric piano are breathtaking.  This guy can tear of the keys.  The music has that definite kosmigroov sound.  Electric piano plays off of wah-wah laced guitar, some nice skronking sax (and at times gorgeous, liquid flute) and a rock solid rhythmic foundation.  There are some parts to the album which have a slightly freer vibe but for the most part is quite accessible.  If you listen carefully you might hear strains of a sound that bears a kinship to Canterbury. 

New authorized reissue from Schema Records.  BUY OR DIE!

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  • "Recently Dutch symphonic metal outfit Epica celebrated their first decade as a band with a massive show and a release of a DVD and now they’re back with a brand new studio album, which may very well be their finest moment to date…On “The Quantum Enigma” Epica has grown far beyond their humble musical beginnings. The symphonic elements and the massive choirs are still very much in place, but the band has found a new sense of renewed vigour and focus. High paced scorchers like ‘The Second Stone’, ‘The Essence Of Silence’ and ‘Reverence – Living In The Heart’ are poignant examples of the aforementioned refound sense of urgency. The band isn’t afraid to incorporate elements from thrash, death and progressive metal in their musical fabric, which makes this album a tempting listening adventure for people who aren’t necessarily into female fronted/symphonic metal.Vocalist Simone Simons shines on tracks like ‘Omen – The Ghoulish Malady’ and ‘Canvas Of Life’, while Arien van Weesenbeek shows his drumming prowess in the aforementioned ‘The Second Stone’ and ‘Essence Of Silence’. A special mention should go to guitarist Isaac Delahaye. His tasteful leads and solos are the proverbial icing on the cake. Particularly the main guitar solo in ‘The Quantum Enigma – Kingdom Of Heaven part 2’ is simply mindboggling.Production-wise “The Quantum Enigma” is a true gem, thanks to the considerable talents of Joost van den Broek (ReVamp, MaYan) and Jacob Hansen (Volbeat, Pestilence). The direct and in-your-face production sound gives the album a definitive edge which is somewhat lacking on some of Epica’s earlier works.“The Quantum Enigma” is the sort of record where everything comes together. Great songs, great atmosphere and the band has finally managed to capture the energy of their live shows on a studio album. It’s still early in the year, but “The Quantum Enigma” is destined to become one of the musical highlights of 2014." - This Is Not A Scene
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  • The band gave Terry Brown the boot as producer. Peter Collins came in and kicked the band's ass a bit. The tunes are a bit more progressive sounding but radio fodder like "The Big Money" made these guys trillions.  Remastered edition.
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  • First time on LP!  Gulaab is a German guitarist with connections to Peter Frohmader.  He's a bit of an enigmatic figure spending a number of years in Nepal.  Ritt Durch Den Hades was originally released on cassette back in 1979 and has built up a cult following over the years.Gulaab plays a variety of acoustic string instruments and percussion(he makes an emphatic point that there are no synthesizers involved).  The music has an obvious dark, mystical krautrock/folk vibe.  If you are a fan of Deuter and Popol Vuh you are going to burst a vein over this.  Had this been released on vinyl in 1973 you'd be paying $1000 for it.  Late night hookah music.  Highly recommended."Ultra-rare lost psychedelic Kraut-Folk from 1979. Taken from the original mastertapes! Gulaab means “rose” in Nepalese language. Gulaab is a German virtuoso on the acoustic guitar who has served three years as an after dinner musician in a luxury restaurant in Nepal to play for an amazing number of well known personalities of the 20th century during the early 70s. A strongly influential experience that shaped his musical expression big time but also let him become an open minded spirit. “Ritt durch den Hades” is the result of his experimentation with sounds, atmospheres and a multitude of styles in traditional music from Latin to Eastern Asian elements. It was first released in 1979, vanishing into obscurity soon after, waiting to be rediscovered by a more open minded generation of music lovers now. Traditionalists be forewarned : This mystic grail of 70s “kraut folk” stands far out from the average folk and singer / songwriter stuff combining guitar harmonies of the highest order with a cosmic drone that backs up the hypnotizing picking and trippy swirls of sounds. This album is in fact more like a musical journey than just a piece of music taking you from secret sacrificial altars in the Andes to the ceremonial places of the ancient Himalayan population with a short stopover for a little “joint venture” in the musical space centers of highly flown out German originators like ASH RA TEMPEL / Manuel Göttsching, POPUL VUH / Florian Fricke, WITTHÜSSER & WESTRUPP, BRÖSELMASCHINE, DOM or DEUTER. Now take a ride through Hades with GULAAB!"
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  • New reissue of this US prog rarity.  Even the CD reissue from a decade ago is long out of print!  Considered by many to be one of the best examples of US prog."An overlookied US band, formed in early-70's and led by guitarist/keyboardist/sax player Robert Williams aka Roberts Owen (R.I.P.).The original line-up featured also multi-instrumentalist James Larner, keyboardist Mark Knox, drummer Jim Miller, bassist Paul Klotzbier and Jeff McMullen on lead vocals/guitars.Maelstrom had a private press LP out in Canada, recorded in 1973 at Fort Walton Beach in Florida and very rare nowadays, originally released under the title ''On the gulf''.Why this band is so overlooked remains a huge mystery to me, as Maelstrom had one of the most eclectic and intricate sounds back in the days.Every track shows a different amount of influences and musical approaches, always played under a very complicated yet well-structured musicianship, offering a huge and dramatic sound like a cross between ETHOS, CATHEDRAL and YEZDA URFA.There are strong amounts of melodies and acoustic passages in the vein of GENESIS, huge sax-based more improvised sections in the vein of VAN DER GRAAF GENERATOR and SOFT MACHINE, smooth electric parts with delicate vocal harmonies as tribute to CARAVAN, complex interplays as GENTLE GIANT first ever presented and YES-like adventurous symphonic orchestrations with a superb atmosphere.Heavy loads of Mellotron and organ, jazzy-flavored sax atmospheres, dramatic orchestrations with good electric parts, instrumental battles and endless changing climates can be detected constantly, leaving the most demanding proghead satisfied.In 1997 Black Moon Records re-issued the album in CD format under the title ''Maelstrom'' and this work contains a couple of extra tracks recorded live by Maelstrom in 1980 at the ''Three Rivers Festival'' in Indiana with only Owen and Klotzbier from the original line-up along with keyboardist Kent Overholser and Rollin Wood on drums.''Opus one'' has a strong E.L.P. vibe with organs leading the way along with some dramatic synth work in a classic Symphonic Rock track, while the longer ''Genesis to geneva'' is a bit more of a loose instrumental composition again in a Symphonic Rock path but surrounded with some more Avant-Garde/Fusion atmospheres, where synths, organ and electric guitars are on the forefront.A fantastic discovery for all fans of adventurous Classic Prog.Interesting combination of Symphonic Rock, Cantebury Prog and Jazz-Rock, where so much is going on.Definitely among the finest releases of the time in the USA/Canada and highly recommended." - Prog Archives
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  • When progressive rock icon Neal Morse was preparing to tour his highly acclaimed 2012 studio release, “Momentum,” he turned to YouTube to audition touring players to support his faithful duo of Mike Portnoy (drums) and Randy George (bass).He had high hopes, but the final players selected from more than 70 applicants dramatically surpassed his expectations. They hit the road for an 8-stop North American tour. And now that band’s epic New York performance is captured on the new “Live Momentum” 2DVD/3CD Box Set.Fortified by the energetic live contributions of Eric Gillette (keyboards, guitars, vocals), Bill Hubauer (keyboards, violin, sax, vocals) and Adson Sodré (guitar and vocals), Morse, Portnoy and George blazed through two lengthy sets that spanned Morse’s entire, highly-heralded catalog, with the exception of material from “Testimony 2,” which was previously captured in 2011’s “Testimony 2: Live in Los Angeles” box set.The setlist is mammoth. The players are virtuosic. Their performances are jaw-dropping. And this dynamic box set documents it all—including a special one-hour behind the scenes look at the tour.It’s a Morse tradition to go big, and this new release unquestionably extends his powerful legacy of merging musical madness with addictive melodies in epic compositions that showcase the masterful musicianship of every member on stage.“Live Momentum” reveals the exceptionally inspired nature of this unique band and leaves listeners andviewers mimicking those in the audience on this tour—shaking their heads and wondering, “How could they possibly top that?”This ENORMOUS 3 cd / 2 dvd set includes 4 hours of video, including and exclusive Tour Documentary and over 3 hours of audio.DVD 11) Momentum2) Weathering Sky3) Author Of Confusion4) The Distance To The Sun5) Testimony Suite (Sleeping Jesus, Prince Of The Power Of The Air, The Promise, Wasted Life)6) Thoughts Part 57) The Conflict (From Sola Scriptura)DVD 21) Question Mark Suite (The Temple Of The Living God, Another World, Entrance, Inside His Presence)2) Fly High3) World Without End4) Crazy Horses5) Sing It High6) King JesusBonus Feature: A Long Strange Journey – Tour Documentary (Edited By Randy George)CD 11) Momentum2) Weathering Sky3) Author Of Confusion4) The Distance To The Sun5) Testimony Suite (Sleeping Jesus, Prince Of The Power Of The Air, The Promise, Wasted Life)CD 21) Thoughts Part 52) The Conflict (From Sola Scriptura)3) Question Mark Suite (The Temple Of The Living God, Another World, Entrance, Inside His Presence)4) Fly High CD31) World Without End2) Crazy Horses3) Sing It High4) King Jesus   
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  • After all these years, Marillion guitarist Steve Rothery has finally released a solo album and frankly it isn't at all what I expected.  First off the album is all instrumental (not a bad thing frankly).  Don't expect insane shredding here.  Rothery presents a very refined symphonic rock album that, to these ears, owes a big debt to Pink Floyd.  Steve Hackett and Steven Wilson appear as guests and that is a nice plus but to be honest even without their contributions the album would satisfy anyway.  Rothery has put together a nice band, drawing musicians from British neoproggers Mr. So & So and Italian symphonic band Ranestrane.  Expect  mellow parts that meld with sections that have an electrified smoldering intensity.  As long as you don't expect an instrumental Clutching At Straws I think you'll find a lot to dig your teeth into here.  Highly recommended."Steve Rothery is best known as guitarist for those whipping boys of the mainstream press, the progressive rock band Marillion. For over 30 years, Marillion have surprised and delighted fans old and new with some truly outstanding music. Musical fashions have come and gone, governments have formed and fractured… and Marillion are still here, not just unbowed but positively revelling in their role as eternal underdogs, having now delivered more than 15 studio albums of tremendously well-wrought and highly emotive music. The cornerstone of Marillion’s music, perhaps, is Steve Rothery’s elegaic guitar. Influenced by players such as Pink Floyd’s David Gilmour and Camel’s Andrew Latimer but with a style all his own, Rothery – as the longest-serving member of the band – is in many ways the core of the band and one of its chief writers.Yet in all those 30-plus years, Rothery has never released a solo record. He has enjoyed a largely-acoustic based side project in the shape of The Wishing Tree, who have now released two albums (1996’s Carnival Of Souls and 2009’s Ostara), but has never released an album under his own name. Until now. A strikingly successful Kickstarter campaign – for a brief time, the Ghosts Of Pripyat pre-order was the most successful Kickstarter project in the world – has allowed Rothery the time and supporting talent to produce something very different to his day job; yet familiar enough to fans of Marillion to forge a strong link to Rothery’s work in that band.Whilst The Ghosts Of Pripyat is a solo album in name, Rothery has assembled a strong band to record it. A reflection of the strength of the band is that two previous live albums that Rothery has released in the run up to the release of this, his first studio album, were billed as being by ‘The Steve Rothery Band’. The band form a next-generation progressive rock supergroup of sorts: Dave Foster (Mr. So & So, Panic Room) on guitars, Leon Parr (ex-Mr. So & So) on drums, Yatim Halimi (Panic Room) on bass and Riccardo Romano (Ranestrane) on keys & acoustic guitar. Throughout the album they add further colour and crunch to Rothery’s instrumental flights of fancy, giving it an appealing earthbound energy.The album opens in almost cinematic style with ‘Morpheus’. Marillion fans will delight in the way this track builds with an almost sensual slowness from barely audible ambient wash to a circling riff comprised of Rothery’s signature guitar sound, a crystalline chorused sustain that is powerfully evocative in its simplicity. ‘Morpheus’ is half over before the band puts its full weight behind Rothery’s playing, but this is one of this album’s strengths. It is not a ornate shred-fest, nor is it a somnolent none-more-authentic bore; the music – like Rothery’s playing – is effortlessly melodic and atmospheric, almost a film soundtrack without a film. It is here that Rothery’s fondness for the playing of Genesis guitarist Steve Hackett is most evident, and it’s entirely fitting that Hackett himself makes a guest appearance on this track. The two veteran guitarists trade off against each other beautifully, as if they’ve been playing together for years.Like any good soundtrack, each part of the album is very different in tone. Where ‘Morpheus’ was dreamy and reflective, ‘Kendris’ toys with a rolling, almost African-style drum pattern. Romano’s keys are especially important to this track, colouring in the backdrop to a musical safari whose shimmering heat haze makes for a warm, feelgood part of the album. This contrasts wonderfully with ‘The Old Man Of The Sea’, which is in many ways the centrepiece of the album. A near 12-minute track, it covers a range of moods very effectively. Opening with wave sounds, whale song and a mournful, lonely guitar fed through a Leslie effects pedal, it sounds beautifully Floydian – an effect only magnified when Rothery’s more familiar signature sound emerges to pick up the story. From these tentative but wonderfully evocative beginnings, the track gradually builds in intensity, musically and emotionally until it becomes as powerfully elemental as the sea that is its muse. The closing section in particular is one of the feistiest things that Rothery has committed to tape recently, featuring some forthright riffing built on top of a powerful performance by the assembled musicians, notably the muscular rhythm section of Halimi and Parr. In mood and subject matter, ‘The Old Man Of The Sea’ sits comfortably alongside Marillion’s epic ‘Ocean Cloud’. Steve Hackett makes another guest appearance at the end, as does progressive rock wunderkind Steven Wilson – with Rothery’s presence, there are essentially three generations of progressive rock’s finest all delivering some great playing; a rare treat.‘White Pass’ was inspired by a treacherous icy path used by prospectors during the American gold rush, and its steadily rising tension is perfectly matched to its subject matter. A chugging, almost metallic riff crunches in midway through the track, the ideal accompaniment to this immersive tale of survival in a hostile environment. You can almost taste the icy chill of the howling winter winds. ‘Yesterday’s Hero’ also builds slowly, although the mood is almost antithetical to ‘White Pass': the track – a remembrance of Rothery’s late stepfather, a World War II veteran – forms a delicate and deeply emotive elegy that displays some of the most restrained playing on the album. Here, more than anywhere else, Rothery evokes the feel of mid-period Dire Straits, the gentle washes of keys and E-bowed guitar building to an affectionate but achingly sad solo that Mark Knopfler would have been extremely pleased with. This is the essence of Rothery’s playing, bottled in concentrated form: less is most definitely more. The closing two minutes display another marked influence, as the band dial up the blissful introspection into a dynamic gallop, accompanied by some very Latimer-esque playing, as Rothery tips his hat to another formative influence. Perhaps understandably the most intensely moving track, this is very special indeed.The penultimate track, ‘Summer’s End’, is another slow-burner, building from a sleepy, bucolic opening into an organ-driven hard rock riff that powers along, with a number of solos built over it, as Rothery trades some intense workouts with Foster, both of them clearly egging the other on to greater and greater heights. The magnificent atmospherics of ‘The Old Man Of The Sea’ and the emotional intensity of ‘Yesterday’s Hero’ are hard to top, but if the restraint shown on the rest of the album leave you longing for heads-down rock and roll, here it is.The closing title track was inspired by photographs of the now deserted town of Pripyat in Chernobyl. After the nuclear accident there in 1986, the town was abandoned after radioactivity rendered the region uninhabitable. Reclaimed by nature, Pripyat makes for an eerie monument to those who died, and the displaced workers whose lives have never been the same. That same uncanny sense of loss and aftermath informs the track, which almost serves as an epilogue to the album. Rothery and Foster, joined by Romano on 12-string acoustic, build a slowly expanding web of limpid acoustic lines, almost like a musical round that becomes more ornate as it develops. The rest of the band arrive a few minutes later, developing the pattern of the round into a cyclical, almost Zeppelinesque riff. In five minutes the track goes from reverent near-silence into a muscular rocker, and you barely notice it happening; it feels effortless, utterly uncontrived.It’s striking, on an entirely instrumental album written and produced by a guitarist, how few solos there are on this album given its running time. Rothery’s economy is admirable in that it is never forced; this is just how he takes care of business. That in itself is one of the reasons he is so beloved as a guitarist: yes, he can be truly devastating when delivering a solo; yes, he can crank out a chunky riff with the best of them; but his playing is always in the service of the piece. His reliably deft hands deliver not riffs or solos so much as they paint with six strings. Here, freed from the constraints of delivering songs – as in Marillion and The Wishing Tree – those sound paintings are given centre stage 100% of the time, and it’s testament to Rothery’s abilities as a player and a writer that the results never fail to hold your attention.Those familiar with Rothery’s work in and out of Marillion have waited a long time for his first solo album, but it has most definitely been worth the wait. Richly atmospheric, dynamic, emotive and beautifully recorded and mixed, The Ghosts Of Pripyat is everything that those who waited for it with baited breath were hoping for. For everyone else, the album is a stunning showcase for one of the UK’s least-acknowledged guitar maestros; the perfect introduction to a talent whose indefatigable muse continues to serve up some truly extraordinary music." - Echoes & Dust
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  • "'You've got some new Momentum...you better keep on going,' Neal Morse declares in the exciting title track of his new album. After an amazing 2011 that included the release and subsequent world tour of 'Testimony 2', and the release of the five disc set of 'Testimony 2 Live in L.A.', what could Neal possibly do to follow that? 'That's about where I was in January of 2012; waiting and wondering what was next. Then, Mike (Portnoy) had an open window at the end of January, so I booked him and Randy (George) to come to Nashville to record. But I had no album! Fortunately, an explosion of creativity happened that far exceeded our expectations...'Featuring guitar work of six string legend Paul Gilbert, and of course, the stellar drumming of long time partner Mike Portnoy, 'Momentum' is a musical thrill ride that will leave you breathless! Everything you'd ever want in a Neal Morse album is here; going prog elements, hooky pop choruses, intricate vocal weaving, blistering musicianship and beautiful melodies are all present and accounted for. Highlights: 'Thoughts Pt 5', the perfect sequel to the earlier Spock's Beard classics, 'Weathering Sky', rock/pop brilliance and 'World Without End', clocking in at 33:51, this is the ultimate prog epic from the man who practically invented the term.Also featured on the album is Neal's newest find, Brazilian guitarist Adson Sodre and other members of Neal's new live band. With its surprising directness, depth and pure prog exhilaration, 'Momentum' is quite possibly the ultimate Neal Morse album."
    $9.00
  • This is another one of those classic Renaissance radio broadcasts that tape traders have circulated for years.  It gets an "official" release courtesy of Purple Pyramid.  It was recorded on the Turn Of The Cards tour at the Academy Of Music in NYC on May 17, 1974.  If you are fan and you don't have a cassette squirrelled away somewhere you need to own it.
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  • Mind blowing set from this early 70s German jazz rock band culled from the vaults of SWF radio.  Dzyan was formed by bassist Reinhard Karwatky but the emerging star was guitarist Eddy Marron.  The lineup for these sessions is a quintet consisting of guitar, sax, bass, drums, and percussion.  High energy jazz rock with a psychedelic undercurrent is the order of the day.  Think Mahavishnu Orchestra crossed with Guru Guru.  Percussionist Jochen Leuschner also handles the occassional vocal.  He's got a great soulful voice that fits in comfortably.  High level of musicianship throughout but I have to mention Marron again - his playing really blows my mind.  Typical superb job from Long Hair Music - previously unavaialbe photos and detailed liner notes.  BUY OR DIE!
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  • "Stagnation, formula, expectations – these words have long been banned from the lexicon of LONG DISTANCE CALLING. It is this irreverent attitude that has fueled them to record three albums, play several tours throughout Europe, garner slots on renowned festivals such as Rock am Ring, Summer Breeze, Wave-Gotik-Treffen or Roadburn and even secured them an impressive #36 in the German Media Control Charts. But if you thought these successes would convince LONG DISTANCE CALLING to settle into form with their fourth album, “The Flood Inside”, the band instead attempted an even bolder metamorphosis.Flashback: In early April 2012, LONG DISTANCE CALLING amicably parted ways with founding member and electronic wizard, Reimut von Bonn. Von Bonn’s departure however opened up new possibilities for the remaining members. The band had previously worked with guest-singers such as John Bush (Armored Saint, Anthrax) or Jonas Renkse (Katatonia) and they felt the new material was shaping up differently and gravitating away from purely instrumental rock. “We just noticed that adding a voice simply made sense. Stagnation and special formulas are not our thing, so making the step was easy.” Since all members in LONG DISTANCE CALLING have diverse tastes in music it was easy for them to decide what they were NOT looking for: no screamers or a whiny shoegazers. Instead, a timeless rocking voice in the vein of Faith No More or Soundgarden: a role perfectly suited for Martin “Marsen” Fischer (Pigeon Toe, ex-Fear My Thoughts). “We met Marsen on tours we did together. Hence, we knew each other on a personal level and we were certain that we would match perfectly when it comes to the music. The fact that he is playing keyboards is a nice add-on, as he is also in charge of them live.”Despite the changes, “The Flood Inside” remains intrinsically LONG DISTANCE CALLING. “We questioned a lot and did a whole lot of fine tuning this time. A part is as long as it needs to be, but we took our time to discuss and revise every single one of them. Many ideas make many parts, but a good song always needs a certain flow. That was the overall aim.” The plan came together and resulted in countless parts that should cause the Serotonin to flow. The band further explains: “What really characterizes our sound is the combination of cool and heavy riffs with melodies that come without any kitsch.” The band had guest vocalists before, however this time you don’t just get one track with vocals, but three with the same vocalist.“It is always exciting to see what other people can do with your songs. We as artists as well as our music can only gain from the input. It is all about adding talent and an extra level. The genre is secondary. The range of the album should speak for itself.” Indeed, “The Flood Inside” features collaborations will names as varied as Vincent Cavanagh (Anathema), blues talent Henrik Freischlader and Jahcoozi-mastermind Robot Koch (known from his work with Casper, Max Mutzke or Marteria). Additionally, there is the Norwegian singer/songwriter Petter Carlsen, Tuneverse co-founder Alex Komlew and Mario Cullmann (formerly known as DJ Coolman for Fünf Sterne Deluxe). “We have never bowed down to any rules for what you may or may not do as an instrumental band. It is only us making the rules.”In art, rules exist to be broken. Atmosphere and diversity don’t always conform to the parameters of the 3:30 song structure. Yet “The Flood Inside” [produced by Martin Meinschäfer at Megaphon Tonstudios in Arnsberg, Germany] is a lot more focused and compact than any of its predecessors. “The past 12 months were emotionally draining: charts, splitting with a member, new album and new singer… The Flood Inside is a summary of everything and all the emotions around and within us. That is the not so simple idea behind the title. It shows the entire spectrum of life: joy, grief, euphoria, anger and everything in between. How to deal with emotions is a huge part of everyday life. Nevertheless a lot of things are happening in the grey areas – and we are trying to show those in our music.” "
    $12.00
  • JPL is the working name for Jean-Pierre Louveton, who you make be more familiar with as the leader of Nemo.  His solo albums differ a bit from Nemo in that he performs on all of the instruments as well as sings (a mix of French and English).  The music tends to be quite a bit more guitar driven which is a nice thing since he happens to be a hell of a guitarist - reminds me of David Gilmour a bit.  There is a symphonic element to the music but its toned down a bit."We are in 2014, and unfortunately man did not lose his taste for war, power and money. Times have changed, but poverty and wealth remain, and chains that divide people never broke. The kings and the villeins descendants coexist on their own side of the path, and the future seems as black as it was in the beginning.Upon this concept that connects middle-age and modern life, JPL music is sailing from an era to the other, mixing medieval themes and furious guitars, from-another-age melodies and heavy rhythms. The essence of Progressive Rock in short ! A musical trip as much as a reflection on our common destiny."
    $12.00