The most interesting detail in Hammill's new album may be that he will not choose whether its title means crying or a rip in time. In the interview, he says Heavy Weather and Tabula Rasa began as experimental instrumentals years before they became songs. In, he identifies the final And When He Ran with his dog Bentley. Does leaving the title open change how you read the ending?

Album: Eiliff
Engineered by Conny Plank. I would recommend Eiliff''s LPs to fans of all that's heavy who would like to explore the possibilities of jazz prog

🔥CONCERT REVIEW🔥 My thoughts on a memorable evening in Aylesbury courtesy of Steve Hackett.

The practical advice for a first album is easy to understand. Nowadays people just say arrive quickly, put the clearest song first and give the listener several ways out. I made a record that closes most of those doors.

Dead Reckoning... The Last Known Location lasts about fifty-six minutes because its final acoustic morning means very little without the rooms that came before it. The first chapter diagnoses a man through data. The middle of the album traps him inside surveillance, rehearsed calm and an audit whose second chair remains empty. A contract clause gives him 224 unseen seconds. The later music has to learn freedom more slowly than the plot does.

This is not one composition divided into tracks. Each chapter has its own musical argument, yet several sounds return with altered duties. Progressive rock holds the larger architecture. Metal and industrial sections make the measured world physical; psychedelic movement appears after the escape; fingerstyle guitar receives the last word because the ending had finally become small enough for it.

The album master and brief chapter notes are on Bandcamp. Please use headphones for the fixed binaural field:

https://socialtreble.bandcamp.com/album/dead-reckoning-the-last-known-location-binaural-audio-48-khz-24-bit

The companion film supplies the spoken story before each complete track:

https://www.youtube.com/watch?v=FlMoKN1cky4

I am curious about the demand this form makes now. Does a debut album still earn the right to ask for one uninterrupted sitting, or must the record first prove itself in smaller pieces before a listener owes it that kind of attention? Or did I just make it too complicated?

🔥ALBUM REVIEW🔥 My in-depth exploration of Return to The Red Planet by progressive rock legend Rick Wakeman.

This is not my favorite KC album by any stretch of the imagination, and to be honest I considered skipping it at first. However, my cohost Jonathan talked some good-natured sense into me and I decided to give it another go.

I'm happy to report, the Atmos mix is a HUGE upgrade over the 2010 5.1 edition. Perhaps the biggest KC catalog leap from 5.1 to Atmos yet, with greatly strengthened bass and drums providing a nice "thump" to the bottom end. Islands is no longer the mellow cousin to Lizard, its now a driving free jazz / rock record with some enchanting passages. It's also an incredibly creative, involving mix that invests me in every nuance - the standout track being "Sailor's Tale" with the multilayered banjo-guitar solo gracing almost all of my speaker array.

Listening to the Summit Studios 1972 quad mix, its clear that's what Islands should've been all along - as this presents the "free jazz" Crimson at high intensity. It's a pity the mix itself is rather conservative and non-involving (if there's any back channel activity at all, it seems to be audience mics to my ears) - but its worth a listen on the basis of the performance alone.

The Elemental Mixes offer something unique here. "Formentera Lady" is completely reinvented as a folk / jazz tune with greater prominence given to the strings and brass. While not all of the Elemental stuff works for me, "Formentera Lady" is a clear standout and it might eclipse the original mix for me. The rest I can take or leave, but be your own judge on this.

I didn't spend 4 1/2 hours going thru the session materials, but I did spot check them. The mastering is a bit loud but its still a fascinating way to deconstruct the album. Check out the early uptempo takes of "Ladies of the Road" for a fascinating glimpse into what might've been, or the boogie warmup jam that precede the "Sailor's Tale" sessions.

Overall, I highly recommend this Complete Recording Sessions / Dolby Atmos Edition of Islands. Its still not my favorite KC record by any means, but I feel I now have a deeper appreciation for this period and where it sits (in between two absolute classics, imo) in the Crimson chronology and Fripp's development as a player. At its core, this release offers "immersion" into this period of KC beyond even what an Atmos mix provides.

Further thoughts in the provocatively titled video!

Nosferatu hailed from Frankfurt. One self-titled album was released in 1970, recorded at Rhenus studio in Köln and Conny engineered it. In their early days they were fronted by guitarist & vocalist Michael Winzkowski (who went on to Orange Peel and Epsilon) and wind player Christian Felke who guested later with Epsilon.

English band founded in the 1960's by Colin Cooper. Originally known as The Climax Chicago Blues Band, the Climax Blues Band has always focused on its roots, a unique combination of jazz and blues.

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This is a collection of hand picked songs by Pink Floyd and other great bands that have a very similar vibe.

Hi everyone, We’re Empty Palace, an alternative/progressive rock band from the UK. Here’s a live performance of one of our songs. Our music combines atmospheric and darker elements with progressive rock, with a strong focus on dynamics, texture and songwriting. We’d love to hear what you think of the performance — especially from fellow prog fans. Thanks for listening!

🔥RANKING🔥 My article ranking and discussing the solo albums of David Gilmour.

I have to write something here, or else I get automoderated