Bon Scott is certainly one of the most individual and style-defining rock singers of the 20th century - even though his time with AC/DC only lasted a little more than half a decade. However, the hard rock shouter had already left his musical mark before joining the now legendary Australian outfit: After the breakup of The Valentines, he became the lead singer of the band Fraternity in 1971. The box set "Seasons Of Change - The Complete Recordings 1970-1974" now makes all their material available on three CDs for the first time.
Zoom calls are in and in Corona times one of the technical possibilities, so that you at least know what the other person looks like: Pablo van de Poel and his brother Luka, along with fellow Corona member Robin Piso, lounge on a sofa in their studio in Utrecht, Holland, looking a little pale, but the three, between their mid-20s and early 30s, rarely give their answers without a smug grin flitting across their faces. "We take the bizarre Corona circumstances as they are," they say in unison. "As long as we have each other and make music day after day, the virus can lick us anywhere else ..."
If Ian Anderson established the flute in rock, the same could apply to Volker Kuinke's recorder on Syrinx Call's albums. Their new, now third work goes one step further. More prog than before, less world music and new age. With no less than three musicians from the Eloy camp, including mastermind Frank Bornemann himself, they are also musically prepared for a highly sophisticated work about the evolutionary step of an artificial intelligence towards human empathy. Volker Kuinke (flutes, wind instruments), Jens Lueck (production, keyboards, drums, vocals) and Doris Packbiers (vocals, concept) provide information. In addition, the three Eloy musicians involved, Frank Bornemann, Hannes Arkona and Klaus-Peter Matziol, deliver enthusiastic statements in conclusion.
eclipsed: "Mirrorneuron" has become a genuine and highly ambitious concept album, similar to Jens Lueck's Single Celled Organism project. How did this approach and idea come about in general?
Two flute solos simultaneously, one from the right, one from the left stereo channel - this is how the 48-minute track "Huchen 55", spread over LP sides 3 and 4, begins on Out Of Focus' third album "Four Letters Monday Afternoon" (1972, released on the Kuckuck label). As I said, 48 minutes and 1972. That's a minute longer and a year earlier than Mike Oldfield's "Tubular Bells"!
To avoid misunderstandings: Apart from the stringing together of various musical themes, "Huchen 55" has stylistically nothing in common with Oldfield's masterpiece. Out Of Focus were Anglo-American influenced. The band allowed for slight psychedelic influences, but also relied primarily on jazzy, progressive elements and a jam character that was evident in the sprawling solos on guitar, organ, flute and saxophone.
Whenever Neal Morse, Mike Portnoy, Roine Stolt and Pete Trewavas get together for Transatlantic, you're quick to use superlatives. This time, however, the prog supergroup has taken it to the extreme once again. Because "The Absolute Universe" is nothing less than the wet dream of every prog fan: a concept album in three different versions
Transatlantic relations are no longer what they used to be, thanks to the Trump administration. In music, however, they still work splendidly. Separate yet united - we bring three of the four prog protagonists to the big eclipsed interview table for you. In our extensive title interview Neal Morse, Roine Stolt and Pete Trewavas talk about the different album versions and the genesis of "The Absolute Universe" as well as about visa problems, the Corona pandemic and good food. Plus: memories of the first sessions over 20 years ago!
In the course of his 30-year musical career, the British songwriter, singer and multi-instrumentalist Steven Wilson has constantly developed and tried out new things. His problem: part of his audience meets him with growing incomprehension. Yet the versatile musician has always remained himself, even if instruments and sounds have changed again and again. In the eclipsed interview he explains why he has no desire to live up to expectations
For his 50th anniversary as a professional musician, German guitarist extraordinaire MICHAEL SCHENKER is giving himself a present: The new album "Immortal", released on January 29, the first since 2011 to be released under the band name Michael Schenker Group (MSG), builds on his good albums of recent years and adds a few quality morsels on top. While he has once again brought various singers into the studio for the new work, as he did previously with his Michael Schenker Fest project, he intends to rely entirely on the current hard rock singer par excellence, Rainbow frontman Ronnie Romero, for the live presentation.
Seattle is known for raw and aggressive sounds. More than any other genre, the Northwest metropolis is associated with grunge. And yet folk also has a firm place in Seattle. Back in the late 1980s, the Walkabouts established their first psychedelic folk efforts on Sub Pop, the label of Mudhoney, Nirvana and Soundgarden. So it wasn't at all far-fetched that exactly three decades later, the Fleet Foxes also set off into the wondering world, at least in the US via Sub Pop. Unlike the Walkabouts, who were firmly rooted in the spirit of college rock, Robin Pecknold and his Fleet Foxes followed in the footsteps of sixties bands like The Byrds, Simon & Garfunkel or Crosby, Stills, Nash & Young. In 2008, their debut album "Fleet Foxes" thrilled listeners with such compact vocal harmonies as hadn't been heard in almost 50 years. And the melodies of their second album, "Helplessness Blues" (2011), also caressed the ear.