Home Winter Frost Snowman Couple 6 Salad 8 Blue 8" Plates 1 Limited price sale Chri

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Dealing full price reduction Home Winter Frost Snowman Couple 6 Salad 8 Blue 8

Home Winter Frost Snowman Couple 6 Salad Plates 8 1/8" Blue Chri

$29

Home Winter Frost Snowman Couple 6 Salad Plates 8 1/8" Blue Chri

Item specifics

Condition:
Used:
An item that has been used previously. The item may have some signs of cosmetic wear, but is fully operational and functions as intended. This item may be a floor model or store return that has been used. See the seller’s listing for full details and description of any imperfections.
Seller Notes:
“Excellent, clean condition...bright color”
Theme:
Snowman
Type:
Plate
Color:
Blue
Occasion:
Christmas
Brand:
Home




Home Winter Frost Snowman Couple 6 Salad Plates 8 1/8" Blue Chri

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Last 50 reviews
Studio Album, 2008
3.92 | 29 ratings

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DO5
Mahogany Frog Eclectic Prog

Review by Mellotron Storm
Prog Reviewer

This is album number five from Canada's best kept secret MAHOGANY FROG called "Do5". Still a four piece this 2008 release if anything is more powerful and heavy than what has gone before. I mean this is loud with layers of sound and feedback galore. They do contrast it with less in your face stuff but the heaviness is what stood out for me compared to the previous three albums I own. It helps that two of the members play pretty much the same instruments in guitar, trumpet, arp strings, korg, electric piano, farfisa organ, micromoog and more. Then the drummer adds synths and the bass player organ and percussion. They can actually play this amazing music in real time. The keyboards dominate this record. Love the picture in the liner notes of the farfisa and micromoog. This was recorded between October 2006 and May 2007. All of the music was apparently run through a collection of vintage tube amplifiers giving off this interesting in your face sound.

A top three would include the longest track "T-Tigers & Toasters" and post the album cover please. A sample of a conversation to start along with electronics then spacey synths take over. A beat before 1 1/2 minutes and sparse piano. An interesting soundscape that warms up at 2 1/2 minutes. How good does this sound. They start to amp it up after 4 minutes and this does turn powerful with heavy drums. It settles right down after 5 1/2 minutes but quickly they turn up the heat again and this is driving and hard music right here. So good! The final minute is a wall of sound.

I liked "Demon Jiggling Spoon" right from the first spin. Electronics swirl and pulse before what sounds like sequencers, maybe micromoog that create an electronic beat along with drums. A calm with guitar and atmosphere but not for long. Distorted keys before 3 minutes then drums come in booming. It kicks back in for the final minute. "Lady Xoc & Shield Jaguar" is my final top three and is the second longest at 9 minutes. Gentle guitar melodies to start and they begin to echo as drums and bass join in, synths too. Distorted organ as this plays out then some power at 2 1/2 minutes before it settles back again. The tempo shifts here often then an urgent rhythm after 4 minutes with organ over top. It settles with guitar before 7 minutes like earlier then some distorted organ again before 8 minutes and late.

I don't detect any Post Rock stuff here but some canterbury still because of the distorted organ. "Loveset" the closer features these cello-like sounds to open and close the song that are pretty cool. "Medicine Missle" is dark and experimental with some huge bass and guitar that lights it up later on. "I Am Not Your Sugar" is a drum show and powerful. "Your'e Meshugah!" opens with some great sounding organ, kind of nasty as active drums join in. Another solid album and this one is 4 stars in my books. Careful with that toaster Eugene.

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Studio Album, 2000
4.17 | 864 ratings

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V
Spock's Beard Symphonic Prog

Review by MaxnEmmy

ONE NOTE TIMELESS: this is the essence of the beard on V. The cover shows a man in the desert and that's essentially where the band was at this time. They wanted to be original and forge a new sound. Neil was the driving force and with the band he made a record for the age. This was Neo progressive rock and when it was released, it was novel and fresh. It made the band into what it is today. Without this album, they may not have reached the heights we see and Mike Portnoy may not have wanted to work with Neil to originate Transatlantic, we may never know, it's history and that's the way it is. Spock's beard is a great band and this is their best album. 4.5 stars.

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Studio Album, 2022
5.00 | 2 ratings

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Monsters from the Id
6800mAh SUN-INTE-152 1INR19/66-2 Replacement Battery for JBL Fli Crossover Prog

Review by Steve Conrad

Exceptional Symphonic Progressive Rock

Majestic, Grand, Epic, Profound

Australian mastermind Ben Craven hands us a masterful progressive rock tour de force with this, his third full-length release since 2005's debut, "Tunisia: Two False Idols".

I know, I know, there are various other albums in his discography- collections, single edits, live versions. However, these are his important artistic statements, and "Monsters From The Id" is outstanding. I think it'll stand up beside "Close to the Edge" for artistic merit, musicianship, scope, and composition.

Theologian

Ben may not appreciate this appellation, yet the icing on the cake of this mature, soaring, complex work, is the persistent impression he leaves that he is maneuvering in spiritual territory.

The two epic halves of "Monsters" suggest the epic and ferocious battle between Good and Evil, and the title itself draws us into contemplation of the creatures we humans are- the 'id', the unconscious boiling within urging us to go for what we want when we want it, consequences be damned.

Die Before You Wake

The first half of the album draws from cinematic music-making with opening industrial sounds, yet grows from this chaos into symphonic splendor. with mighty choral sounds, and featuring Ben's soaring, melodic guitar lines.

There are suggestions in the lyrics of that great spiritual battle, with ideas of darkness, hate, vengeance, and destruction. These are set within the framework of Ben's epic compositions, punchy bass guitar underneath, majestic keyboards and synths, subsiding into extended reveries with echoing reflective guitar work, and growing once again into grandeur.

There is imagery of baptismal waters, damnation, and salvation, never heavy-handed, and considered in fine poetic pictures.

Amnis Flows Aeternum

The second half of "Monsters From The Id" opens with clean acoustic guitar, brooding deep synth sounds and added keyboards, leading into a gentle symphonic passage.

I understand why his music is referred to as "cinematic" since it shows sparkle, drama, and depth. It underscores the gorgeous and graceful poetry of lyrics referring to the cry for aid in remaining open, not prejudiced; staying loving, not vengeful; joining the mighty flowing streams of Eternity rather than being selfishly bound to the id.

Here we have Ben's soaring, seething electric guitar leads over majestic symphonic grandeur, giving way to crisp, complex guitar/bass unison lines and developing into some sinuous twin-guitar melody.

There is a nightmarish passage that grows and develops into musical bedlam, which gives way to grand choral passages, which in turn devolve with tremolo guitar leading into a moody, ponderous passage.

Finale

The grand ending wraps up this exceptional work with a winding-down, that again gives way to re-emerging grand themes and Ben's sighing, soaring signature guitar work.

My Conclusion

There IS a way we die before we experience transcendence. Dying to self and self-seeking, then awakening. Ben's notes say he intends this work to suggest the transcendence, the hope, the vastness, and the grandeur that we humans too easily lose sight of in the day-to-day hurly-burly.

I appreciate the reminder, done so beautifully here by a surpassingly gifted composer/musician.

My rating- 5 Sparkling Stars, a masterpiece of progressive rock music.

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Studio Album, 1968
3.11 | 115 ratings

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The Cheerful Insanity Of Giles, Giles & Fripp
Giles Giles & Fripp Proto-Prog

Review by UMUR
Special Collaborator Honorary Collaborator

"The Cheerful Insanity of Giles, Giles and Fripp" is the debut full-length studio album by UK pop/rock act Giles, Giles and Fripp. The album was released through Deram Records in September 1968. The history of the band began in August 1967 when brothers Michael Giles (drums) and Peter Giles (bass) recruited guitarist Robert Fripp. Although the trio were clearly skilled composers and gifted musicians, they only managed to release a couple of singles and "The Cheerful Insanity Of Giles, Giles & Fripp", before disbanding as a consequence of a lack of commercial success. Maybe disbanding isn�t the correct word to use though as Giles, Giles and Fripp more or less just sequed into being King Crimson with the departure of Peter Giles and the addition of Ian McDonald (keyboards, reeds and woodwinds), Greg Lake (vocals, bass) and Peter Sinfield (lyrics, illumination).

Today most listeners probably seek out "The Cheerful Insanity of Giles, Giles and Fripp", because of 2/3 of the lineup subsequently becoming founding members of King Crimson and playing on the iconic debut album "In the Court of the Crimson King (1969)", but of course "The Cheerful Insanity of Giles, Giles and Fripp" deserves to be reviewed on its own merits and without comparisons to what some of the members would do a year down the line.

Stylistically the core of the material is British 60s pop/psychadelic pop and of course contemporary The Beatles are an obvious reference. When that is said there is a quirky, silly, and at times even avant garde tinged edge to much of the material, which makes the title of the album very appropriate (and references to early naive Pink Floyd valid). It�s an extremely eclectic album featuring elements of both pop, jazz, proggy ideas, spoken work sections, and psychadelia.

The tracks feature mellow and pleasant vocals and pop orchestral backing (strings), but as mentioned above the album is quite eclectic, and the elements from other genres and musical styles pop up frequently. The tracks are well written and relatively memorable, but for all its genre blending and eclecticism, "The Cheerful Insanity of Giles, Giles and Fripp" ultimately doesn�t come off particularly unique. Sure some of the guitar chords and melodies used by Fripp are not standard fare on late 60s pop/rock albums, but it�s not so different from the experiments of other contemparies that it�s a standout album from that time.

It�s a well produced, very well performed, and cleverly composed light psychadelic pop/rock album though and it could well apppeal to a lot of listeners, who enjoy mellow and slightly psychadelic 60s pop/rock, with a few silly and quirky moments. It�s no wonder the band didn�t experience major commercial success with the release of this album though, as it probably was too mellow and pop oriented for the rock audience and maybe a bit too odd for the pop audience. Personally I find it a nice relaxing listen, which can be used for both background listening, but also for more in-depth listening sessions (there are definitely enough lefturn ideas for that). A 3.5 star (70%) rating is deserved.

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Studio Album, 2022
4.44 | 26 ratings

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Jonas Lindberg & The Other Side: Miles from Nowhere
Jonas Lindberg Crossover Prog

Review by rdtprog
Special Collaborator Heavy / RPI / Symphonic Prog Team

In this new project, Jonas Lindgren has taken more responsibility for the vocal duties and played more instruments because of the pandemic. The album opens with a catchy rock song with lush keyboard lines. We can enjoy the vocal lines. "Little Men" starts with a short folk intro and again shows some good work from the three vocalists. "Summer Queen" is an epic song with a long keyboard intro based on the 4 seasons. The acoustic guitar takes over with a female vocalist keeping the song at a slow pace before the intensity improves with some male vocals. There are some crunchy guitar riffs bringing another change with a cool break and some impressive keyboard lines that put this song to another level. The delicate female vocal in the Renaissance style brings back the calm in the song that will end in a Spock's Beard style. "Oceans of Time" is a cross between rock, and symphonic with some jazz parts. The music is accessible with some strong vocals melodies lines and another cool break in the middle. The next 2 songs are more made to calm things down and give us a little breather before the big 20 minutes epic of "Miles from Nowhere". In this song divided into 5 parts, you can hear again the Spock's Beard influence with some breathtaking guitar playing and majestic instrumental parts. The Roine Stolt guitar solo in the final part will give you gooses bump and is the perfect ending to this great album.

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Zero Acts 3&4
Laughing Stock Neo-Prog

Review by Mellotron Storm
Prog Reviewer

LAUGHING STOCK are a veteran trio out of Norway in fact two of the guys have known each other and been making music together since they were 12. Playing in different bands over the years this trio got together to release their first studio album under the name LAUGHING STOCK in 2018. It's been five albums in five years all about a boy named Zero who now at album number five has become a young man. On the back cover it says "Years have gone by, and Zero has become a young adult. But when you feel like a zero, invisible even to yourself, what does the future have in store for you? Society has no place for non-contributors, people who don't produce, create or communicate. Such people seem to inhabit a world of their own. A world mostly lived inside their own minds, surrounded by four walls and not much more. This is the world in which we find young Zero when the story continues."

The music is listed under Neo-Prog here which is fine but with a name like LAUGHING STOCK we do get a TALK TALK vibe with the music being spacey and drifting and the vocals mostly relaxed and laid back. Lots of atmosphere, this is dreamy. On my first listen I was actually caught off guard with how much I liked it especially that opener which thankfully is reprised as a bonus track to end the album. LIKE WENDY might be a good reference but this band employs more sounds along with several guests contributing as well. Nad Sylvan sings the vocals on "The Call" while we get some really good female vocals on "Familiar Eyes". Violin on a couple of tunes plus guest guitar on "Running Faster". I have a top four!

The opener I already mentioned and it will be one of my favourite tracks from 2022. "Wingless" and this is dreamy and atmospheric with vocals to match. Just an amazingly good song and it does kick in with some power after 1 1/2 minutes. There's that three track run to close out my top four with tracks 7 to 9. "Running Faster" is trippy with sad vocals. An emotional and uplifting tune. There's an interesting guitar solo from our guest then the vocals return. "Familiar Eyes" with those great female vocals. She does vocal melodies as well. Very dreamy once again. Beautiful song.

"Mother" is the longest at 10 1/2 minutes and man I just realized we're 5 minutes from Mother's day and my mom is in the hospital and it doesn't look good. Her mind is going quickly too complicating everything. The song starts out as this incredible rock track. Just so surprising to hear them go in this direction and do it so well. A dark and urgent start. A melancholic calm after 2 minutes and again a minute later but with piano as well. Soaring guitar before 5 minutes as the vocals step aside. A ton of atmosphere follows then it turn powerful before 6 1/2 minutes. It gets even heavier before turning light with some banjo late.

I gotta go 4 stars here. I just like their sound.

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Studio Album, 1972
4.05 | 413 ratings

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Neu!
Neu ! Krautrock

Review by CosmeFulanito

A krautrock essential, recommended for everyone who Is interested in it.

Review #3. NEW! was a two man band that inspired a lot of 90's bands and this is their first album so now is the time to listen to it and find out why it's so important.

Hallogallo: Instrumental that constantly repeats the same theme, it seems like it's not going anywhere, but it ends up being very enjoyable and makes you want to listen to it on a loop despite its length. 8.5

Sonderangebot: Mainly ambient soundscapes, nothing really remarkable, but it's not superfluous and serves as an interlude between the previous song and the next. 7

Weissensee: Something similar to the first one in terms of approach and structure, but different in style, quite pleasant. 8

Im Gluck: Ambient, space and psychedelic track. The sound of the water helps the atmosphere of this and is a nice piece. 7

Negativland: At first it feels similar to some previous songs, but with time it gets better, in fact it's the best track on the whole album. 9

Lieber Honig: The only song with vocals on the album, quite minimalist and ambient. The voice sounds agonized and it's hard for me to tell if Klaus Dinger is really singing or just whispering, plus Im Gluck's water sounds reappear and are until the end of the track and album. 7.5

On a scale of 1 to 10 this album deserves 8.8, so I'll give It 4 stars ****

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Studio Album, 2010
4.05 | 374 ratings

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Il Tempio delle Clessidre
Il Tempio Delle Clessidre Rock Progressivo Italiano

Review by VianaProghead
Prog Reviewer

Review N� 531

Il Tempio Delle Clessidre is an Italian progressive rock band founded in Genoa in 2006. The band intends to express ideas and music with the typical sound of the 70's progressive rock music. Elisa Montaldo, keyboardist and composer passionate by the progressive rock and Stefano 'Lupo' Galifi, the vocalist of the album 'Zarathustra', the progressive masterpiece of the famous Italian band Museo Rosenbach met in Genoa in 2006 and gave life to the project, which takes the evocative name 'Il Tempio Delle Clessidre', the final piece of the suite 'Zarathustra', then revised in meaning and concept. The band performs the entire album 'Zarathustra' live, so that Galifi's voice can return to the audience with its original strength and its typical blues nuance. The band begins to work on new ideas for their own compositions. The study, improvisation and sound research are crucial elements for the birth of their eponymous debut work from 2010.

So, 'Il Tempio Delle Clessidre' is the debut studio album of Il Tempio Delle Clessidre that was released in 2010. The line up on 'Il Tempio Delle Clessidre' is Stefano 'Lupo' Galifi (lead vocals), Giulio Canepa (guitars), Elisa Montaldo (vocals, piano, organ, keyboards and concertina), Fabio Gremo (bass guitar) and Paolo Tixi (drums). The album had also the participation of Antonio Fantinuoli (cello) and Max Manfredi (narration).

On 'Il Tempio Celle Clessidre' the compositions are tightly organized and strike the right balance between the melody and the complexity, without a second wasted and with enough changes of pace to make the most demanding prog fan happy. Although the singing is strongly emphasized, there is also a lot of room for the instrumentalists to display their considerable chops. Indeed, the pristine sound quality allows each of the musicians' performances to shine, and captures every nuance of Galifi's seasoned vocal delivery, honed in years of fronting blues-rock bands, while the melodic bent tempers the intensity of the lyrics and the esoteric symbolism of the cover art and booklet of the album.

'Verso L'Alba' is an instrumental track, relatively short that immediately sets the high standard of the music. It sets the scene with the deep, Gothic sound of the organ. It immediately sounded to me as a fine Italian prog album of the 70's. 'Insolita Parte Di Me' is a piece with a lot of rhythm changes, alternating quieter passages with more dramatic ones, dominated keyboards. It's amazing how they manage to achieve the complexity of prog without sacrificing the melody. 'Boccadasse' is a more conventionally structured song with a great diversity. The instrumental parts are followed by the melodic vocal parts with beautiful melodies, catchy chorus and a beautiful melodic guitar solo. The end is great too. 'Le Due Met' Della Notte' is a splendid keyboard showcase that combines melody and intensity. It slowly builds featuring the piano, vocals and a rhythm section, to the full bombastic splendor of the best symphonic prog in its finale. 'La Stanza Nascosta' is a ballad largely acoustic in its nature. It's a very beautiful and delicate track with a lot of classical influences. The piano and the stunning vocals conjure a melancholic and meditative atmosphere. It's superb. 'Danza Esoterica Di Datura' features a varied array of sound images, abetted from a Shakespeare's extract of Macbeth recited by Elisa. It develops into a great prog track with great keyboard melodies combined with very complex rhythms. 'Faldistorium' is full of rhythm and wonderful parts full of keyboard strings. The story is spoken by guest Manfredi, reciting a short text in an emphatic, melodic yet slightly ominous, reinforced by the closing strains of a church organ. 'L'Attesa' is an up-tempo track, a rich and energetic keyboard fest. It's very much in the vein of classic Italian heavy prog acts of the 70's. It has jazzy bass, Hammond organ, Mellotron strings, romantic piano and the great voice of Galifi. 'Il Centro Sottile' is a solemnly melodic track where all the instruments strive to create a lush texture with romantic and classical piano parts, beautiful vocal lines, melodic guitar work always supported by tasteful keyboards. To complete, the fairground and firework sounds on the finale and can add emotionality to the listener. It's simply amazing. 'Antidoto Mentale' closes the album with the leading role for Galifi. This includes lots of vintage keyboards played pleasantly too.

Conclusion: Il Tempio Delle Clessidre deserves to be hailed by their debut. Blending the warmth and melodic flair of the Mediterranean musical tradition with the driving energy of rock and the artistic ambition of prog, the band released one of the best albums to have come out of Italy. While taking their cue from the prog music produced in the 70's the band manages to sound fresh and up-to-date, and not a mere exercise of nostalgia. Il Tempio Delle Clessidre delivered quite an achievement with an album that they can be very proud of. A flawlessly performed, lovingly presented effort, Il Tempio delle Clessidre will surely bring a lot of listening pleasure to the many fans of the Italian progressive rock style. It's highly recommended for people who enjoy the music of the 70's made by Genesis, Yes, Camel, Emerson, Lake & Palmer, Premiata Forneria Marconi, Banco Del Mutuo Soccorso and Le Orme. You should definitely invest in this band.

Prog is my Ferrari. Jem Godfrey (Frost*)

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Studio Album, 2022
4.91 | 3 ratings

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Daedalus
Daal Eclectic Prog

Review by tszirmay
Special Collaborator Honorary Collaborator

Unabashedly and unashamedly a huge fan of symphonic group DAAL, since its birth back in 2008 in the beautiful town of Bergamo (Citta Alta, wow!), I get goose bumps whenever my friend and master drummer Davide Guidoni (the DA in DAAL) sends me some new material to review. If one looks at the ratings on PA for the DAAL studio albums, the results should be quite convincing! Their style of symphonic and cinematographic prog has a quality edge that never seems to become dull, with massive dollops of luxuriant mellotron splashes spread throughout the lavish arrangements. Keyboardist Alfio Costa (the AL in DAAL) utilizes an arsenal of mostly vintage old-school ivories to elevate the proceedings to the loftiest heights. Both are fabulous musicians as well as clever composers. Their allies are the usual crew, Ettore Salati on guitars, Bobo Aiolfi on bass guitar and they also shine, being very familiar companions since pretty much the very beginning. Their seventh album is called "Daedalus", based on the famous Greek legend of Icarus and Daedalus, though this is not a concept album by any stretch. The striking purple cover artwork bodes well for the musical adventure to begin.

These are seasoned pros, extremely confident in taking their time in elaborating a classy work of the highest order, so it comes as no surprise that the opus is bookended by the "Journey Through the Spiral Mind Parts 1 and 2", nearly 22 minutes in scope, with a 14-minute opener and an 8-minute closer. Sweeping atmospherics and shimmering cymbals introduce Alfio's unadorned piano motif, soon to be united with a similar crisp guitar line, a fretless bass loop and a deliberate expansion into mysterious realms, alternating the initial serene simplicity with rising crescendos of power streaks, an upward vortex of sound that is breathtaking. A spooky organ chills the atmosphere even further, while a forlorn piano warms the melody, ushering in a steady beat, only to be slain by a totally unexpected wall of glorious mellotron thunder that is triumphantly compelling. The finale is a return to the tranquil start. Magnificence incarnate.

The boisterous "Icarus Dream" explodes right from the get-go, a rifferama piece full of piss and vinegar, totally unanticipated, featuring a nice middle section where Davide gets to do his classic Bruford wallop, while Bobo plows forward, Ettore and Alfio supplying all the power one can hope for in this moody slice of classic prog. The mellotron is a huge part of the DAAL sound as many others have commented on, and there is no shrinkage here! In fact, possibly mellotron heaven as the great white beast just keeps on giving. This is nearly King Crimson territory and a killer track. Grandeur personified.

At first, the slightly dissonant, dreamy and melancholic "Painting Wings" invokes a slew of soothing keyboard and guitar motifs before the bruising Hammond organ shoves all the prettiness aside with a coarse blast, drums ablaze and no holds barred. The boys keep the listener on their toes as nothing here is predictable, where constant evolution, endless surprise and imaginative eloquence rule the roost. Of course, the finale ends in calmer pastures, almost experimental yet atmospheric. Power embodied.

Another epic 13-minute juggernaut "Labyrinth" carves out darker and more somber terrain, where gruesome organ and shuddering synths that almost hint at Hawkwind provide the angst, offering up a plodding muffled rhythm for a fair stretch before blooming into another unforeseen twist as the wicked drums come barging in as if in a frenzy, bopping bass leading the way, scouring the skies with mellotron squalls, liquid strips of flash and fury. This is exhilarating music, challenging yet comfortable, expertly played and delivered. Splendor exemplified.

Can this possibly continue on such a high note? Si is the answer. "In My Time of Shadow" may even be my favorite here, a gorgeous melody dripping with sadness and melancholia, elegantly draped with flickering guitar, soaring keyboards with robust bass and drum support. Ettore gets to show off some glimmering licks on his electric guitar, such a great musician in his own right. Once again, the band display high levels of creativity and sound exploration even though this is a simple arrangement. DAAL loves to blend these two elements into their craft, attention to detail is a great quality to have. Beauty in the flesh.

And yes, its time to close the book on this hour-long masterpiece and what a damn whack Part 2 is! Hot, hot, hot! No fiddling around here, the volcanic mellotron onslaught is positively fuming here, bold and overbearing, proud and loud. Davide pounds away like a madman on his kit (well, he is a little pazzo), much to our collective delight. Majesty epitomized.

Any fan of instrumental modern prog should have the honour and privilege to listen to how it's done by true masters of the genre, particularly fans of Goblin, King Crimson and symph prog in general. Just remember not to fly too close to the sun.

5 Waxed wings

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Studio Album, 1972
3.57 | 184 ratings

BUY
Irrlicht
Klaus Schulze Progressive Electronic

Review by Glaessel

During the second half of the 1960s Germany lived with a music scene heavily influenced by American and English references. The records came with labels indicating the positions obtained in the charts of those countries and this was enough to attract the attention of the general public. � �In the underground scene, the scene was quite different, several groups sought their own non-commercial musical identity and were influenced by artists and innovative scenes from other countries, such as the minimalism (repetition, variation of phrases, sequences) of the Americans Morton Subotnik, Terry Riley and Steve Reich or the emergence of the electroacoustic music of Pierre Schauffer, Edgar Var�se, Karlheinz Stockhausen and John Cage, based on the sound manipulation of magnetic tapes, natural or industrial noises, also influenced by the atonalism of the late 19th century, which ended up unfolding in two movements: Musique Concr�te in France and Elektronische Musik in Germany.
� �Within this scenario, several experimental groups were formed incorporating minimalist, electroacoustic, experimental, and lysergic references, since in rock, groups and musicians incorporated these references, such as the Beatles, Pink Floyd, and Frank Zappa. 
� �Klaus Schulze begins his musical experiments in groups like Psy Free between 67-69, then Tangerine Dream between 69-70 and finally Ash Ra Tempel between 70-71, but very quickly loses interest because of the difficulties and endless discussions about the directions, concepts and future approaches of the music of each group. � �Irrlicht has great affinity with the concepts of the French Musique Concr�te. It was composed using random recordings made by Klaus during rehearsals for the Colloquium Musica Orchestra and a modified organ, which, according to Klaus himself, broke down soon after the recordings. For its release, it ended up taking advantage of Edgar Froese's relationship with Rolf-Ulrich Kaiser, who was an executive at Ohr and a big betting enthusiast for experimental music artists, and who had released Tangerine Dream's Electronic Meditation on the label. � �Irrlicht, in German, has the same meaning as will-o-the-wisp, jack-the-lantern, ignis fatuus, or in Portuguese fogo f�tuo, which is that phenomenon of combustion of decomposition gases that occurs in places like swamps, marshes, garbage dumps, and even cemeteries, usually visible only at night. � �Having said all this above, it is not so difficult to imagine the sound of the album, lots of organ, many recording effects, reverberation effects, orchestral insertions, and all permeated by a dark and highly dramatic ambience that develops throughout the tracks. 
� �Guaranteed trip.

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EVERSHIP

Hailed as "...the new face of American Prog" (ProgRadar) Nashville-based Rock band Evership blends Progressive rock composition with Classic Rock production to deliver a powerful and approachable 70s-style sound. Lauded by PROG magazine as "Glorious retro prog confections.." (#97), fans of Led Zeppelin, Kansas and Styx, to Genesis, Yes, King Crimson and Rush will find a familiar yet unique experience.

Their solid and impactful eponymous release (2016) was one of the best received modern rock debuts according to many prominent prog outlets. The sophomore effort "Evership II" (2018), with the award-winning "The Serious Room", catapulted them to the forefront of the prog rock world and to mainstage festivals such as RosFest and Progstock. Their latest release "The Uncrowned King - Act I" (2021), an ambitious Rock Opera, made scores of 'Best of 2021' lists, and Progressive rock 'Song of the Year' with "Wait" (TheFireNote). The anticipated Act II is to be released in 2022.

Evership is the conceptualization of composer, multi-instrumentalist and producer/engineer Shane Atkinson who, after a decade in the Nashville music scene, left to raise a family. Years later he returned to music and began recording what had lay dormant over the years of hiatus. In 2013 Shane met Beau West, the lead vocalist, through a mutual friend and they formed Evership.


John Wenlock Smith / Progradar.orgEvership are, if you do not already know, the new face of American Prog, their music is a graceful and enticing mix of lots of classic US Prog and Pomp Rock bands like Kansas, Styx and Starcastle, to name just three. This, along with their love of European progressive rock like Genesis, Yes, Gentle Giant and PFM (and romantic classical music) makes for a heady mix of sounds and textures. They are most definitely a band to watch in the next few years...full review

omphaloskepsis / Progarchives.comStunning symphonic ear candy. The Uncrowned King is the first Act of a two album quest for truth. The music evokes Kansas's Leftoverture/Point of No Return sails alongside Styx Castle Walls. Beau West's soaring lead vocals and mastermind/keyboardist Shane Atkinson are guilty as charged... full review

Squonk19 / Progarchives.comAmerican progressive rock band, EVERSHIP plunge us back into the pomp/prog-rock era of the 70s with their third album and a concept one at that - the first half of an allegoric journey in search of truth, full of symphonic rock anthems, instrumental flourishes, quality vocals and melodic passages to please any fans of classic retro-prog...full review

Scott Medina / Sonic PerspectivesOver fifty years after the British Invasion, American progressive rock bands are still relatively few and far between compared to those hailing from other shores. Those originating in Tennessee even less. However, Evership's new "The Uncrowned King" does have more than one thing in common with another Tennessee-based artist: a concept double-album of symphonic prog along the lines of Pilgrim's Progress..full review



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