Pangaea Ultima

Pangaea Ultima

BY Moore, Steve

(Customer Reviews)
$17.00
$ 10.20
SKU: SP032CD
Label:
Spectrum Spools
Category:
Electronic
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Latest solo album from the quite prolific keyboardist associated with Zombi and Titan.  This is heavily sequenced Berlin School electronics that owes a huge debt to 1980s Tangerine Dream.  There are some ocassional rhythmic beats that turn up but nothing too out of the realm of the genre.  Late night space music.  Bliss out!

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  • Second album from this outstanding new Italian band performing in the "Rock Progressivo Italiano" style.  Their debut La Crudelta Di Aprile blew me away and this new one is coming on like a sledgehammer.  The quartet is led by keyboardist Emanuele Tarasconi who pulls all kinds of vintage keys out of the closet.  Guitars figure a bit more prominently this time around and again there is a guest violinist.  The focal point tends to always drift back to Tarasconi's keys which have a style that reminds of Toni Pagliuca's work with Le Orme.  There are Italian vocals on the album but there are really long stretches of instrumental passages to the point that the vocals are inconsequential.  If you liked their first album you are going to love this one.  BUY OR DIE! 
    $16.00
  • RPWL are a popular German prog band. They began life as a Pink Floyd cover band. The vestiges of that sound are still apparent. It would probably be safer to say that the material bears some similarity to David Gilmour's recent solo work but there are other influences at play here as well - particularly Porcupine Tree's harder edge."12 years after the formation of one of Germany's most successful modern Prog/art rock bands, RPWL takes its first shot at a concept album. Beyond Man and Time is a musical journey through the world outside of Platon s cave. The basic idea is a so-called revaluation of value in terms of a new way of thinking. In this world beyond man and time there exists creatures of higher knowledge that the protagonist meets allegorically along his journey: the keeper of the cave, the willingly blind, the scientist, the ugliest human, the creator, the shadow, the wise man in the desert and the fisherman. These create the musical themes for the characters in Beyond Man And Time , and along with oriental percussion, expanded Moog-soli and Indian sitar, create a well placed, atmospheric and colorful adaptation of the theme. RPWL have always been about originality and experimentation and Beyond Man And Time is a vast sociological journey through the depths of man s psyche and a welcome addition to their catalogue of exceptional and creative releases."
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  • Disc 1, “Machine de plaisir”: The original tape of had the working title "Meditation 2" and this long track was also recorded in 1993 for the "Guttemplers”, same as “The Music Box” in LVE 12. The feeling for time is so basic for Klaus' work. His beat is as alive as his breathing. His rhythm is both, continually attentive and exceptionally well integrated, as you can hear in large parts of this track. There is a feeling of unhurriedness in his work and yet there is intensity underneath and through it all.Disc 2: “Arthur Stanley Jefferson” was recorded in February 1993 in KS' studio. Originally, it was the third free tape for the "Guttemplers”. “Himmel und Erde”, recorded by Klaus in January 1993, was first released on a Russian limited edition CD sampler in the same year, and seven years later I put it among the “Lone Tracks”, the last of the fifty CDs of The Ultimate Edition. Also from1993, “Vas Insigne Electionis” was especially done for a planned sampler, but not used then. One year later it was given for free to the Dutch KLEM organisation, who did a limited edition CD sampler for their members. Six years later I also added it to the “Lone Tracks” of The Ultimate Edition. The very short track “Tag des offenen Denkmals” (Heritage Open Days) was done as tv trailer for a tv documentary on account of the European Heritage Days. Klaus recorded it on the 21st of July 1993. This small piece was first included in our Jubilee Edition set in 1997.Disc 3: ”Borrowed Time” was played and recorded by Klaus in 1993 and completed and mixed in April 1994 at his studio. The reason for doing this long music was because of the work on the soundtrack for the American-Hungarian movie "Living on Borrowed Time”. Just a few minutes of the music were actually used in the film (as well as some special - shorter - cuts, released as “Angry Young Moog” in Jubilee Edition). Normally, Klaus is not a man for short tracks, so for “Borrowed Time” he started to play, and as so often, he got lost, forgetting completely about the movie and its need for short pieces. Luckily he had not just played but also recorded the whole thing, and then he mixed and stored it... and three years after I could use it in Jubilee Edition.
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  • "Klaus Schulze - the master of electronic music - will release with ""La Vie Electronique Vol. 14"" recordings from the years 1993 to 1999. In Klaus Schulze's music we each find what we're looking for. Today there is still the same intensity that first drew listeners in four decades ago. It's repetition without repetition and that is the art of what Schulze does, it's an arena in which he is second to none. His music continuing to strike a chord at the heart of what all the world's greatest music seeks to achieve, to uplift and affect the human soul. With the release of ""La Vie Electronique Vol. 14"" the widening collector community will be delighted again. We are coming to the end of a long journey - this series will end for the time being with the release of Vol. 15 in Spring 2014."
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  • "It only seems like a couple of weeks since Caravan announced in August 2013 that they were to record a new album that would be financed by money pledged by fans, and yet here it is already!What should have been a joyous time for the band and fans alike was sadly marred by the death of long-time drummer Richard Coughlan on December , however it is fitting that the digital download of the album was released to fans who had pledged on December 20, the day of Richard’s funeral!Musically this has classic Caravan stamped all over it. It is not, however, a hark back to the halcyon days of the 70′s and In the Land of Grey and Pink or For Girls Who Grow Plump in the Night, there are not anywhere near as many long instrumental sections in there for a start and the longest song I’ll Be There For You clocks in at a mere 6:14. What we do have here is a stripped down, and updated 2013 version of everything that Caravan fans look for. The classic songwriting is there, as is the excellent musicianship and whimsical lyrics, and let’s face it, with that instantly recognisable, trademark voice, Pye Hastings could re-record Never Mind The Bollocks and it would probably still sound like Caravan.All This Could Be Yours is a belter of an opener, and despite what I said above, this is one track that would not have been out of place on Grey and Pink or Girls Who Grow Plump! With an excellent, albeit short, viola solo from Geoffrey Richardson, and a great hook in the chorus, it skips along merrily in classic Caravan style.One of the ways of financing the album was to get people to pledge extra to go to the studio and get involved in the recording, I don’t want to pour cold water on anything but sadly I think this is where the band have shot themselves ever so slightly in the foot. Despite being a great song, I’m On My Way, has some awful, flat backing vocals in the chorus which almost ruin the song. The same applies to This Is What We Are where a slightly naff chorus comes close to ruining what is otherwise a very strong song, being slightly heavier than we are used to from Caravan including an infectious piano motif and an excellent, soaring guitar solo towards the end.The slower Dead Man Walking is the perfect pacer, leading into the very emotive Farewell My Old Friend. As an ode to the passing of a close friend, this song is made all the more poignant following the death of Richard Coughlan and brings a lump to the throat!In typical Caravan style, no-one is allowed to get too maudlin, as the next two songs Pain in the Arse with the vitriolic closing line ‘I don’t care if you sue me now, you are insane’, and Trust Me I Am A Doctor put the collective tongues firmly back in the cheek. Doctor takes an irreverent stab at a GP, who I’m quite sure, given the amount of names dropped in the song is a real person and should have no difficulty in identifying himself! But it is all done in good fun and I’m sure no umbrage will be taken!The album finishes on a mellow note with the wistful I’ll Be There For You and the title song Paradise Filter which kicks off  really slow and  melancholy with a late night jazz feel, before breaking out into a middle section that is very reminiscent of the instrumental break in The Dog, The Dog, He’s At It Again!Overall this is an excellent return for a band that has been absent from the recording studio for too long (it is ten years since the release of The Unauthorised Breakfast Item in 2003). Not that they have been resting on their laurels as they have still been playing live gigs, but it is nice to know that they can still cut it and write well crafted, catchy and extremely listenable songs.It also proves that the pledging route is a very viable way of financing studio time and album releases, sadly, however, I doubt very much that would work for new bands as you would have to have a name for yourself in order to create the initial interest. Maybe extensive gigging and as the old saying goes ‘paying your dues’ would help. Now there’s an idea (take note potential XFactor and The Voice contestants)!" - jonb52
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  • "This double CD documents the pre-Shub Niggurath era of the bands who joined forces to create Shub Niggurath.In the early 80s two bands (Apsara & Gorgonus), both from the southern suburbs of Paris, met & quickly became friends as they shared the same concern : their common Magma influence.After some time, the idea of merging the two combos into a big band emerged. Some of Apsara musicians rejected the idea & decided to continue on their own while Franck Fromy, Ann Stewart & Veronique Verdier from Apsara joined Gorgonus, which was then renamed Shub Niggurath.On the other side of the band divide, the remaining members of Apsara renamed the band Altaïs (with members of Eider Stellaire soon joining & supporting) and made a excellent 12" single shortly before disbanding.CD 1 contains the only studio track ever recorded by Apsara (clocking in at over 11 minutes) + 4 live tracks recorded in 1983 (43 minutes). The sound quality of the live tracks is mediocre but we thought that their historical importance justifies their official publishing.CD 2 is the first complete reissue of the Altaïs maxi single (3 tracks for a total of 14 minutes).All together, the complete set includes 68 minutes of music, of which 25' are professional, studio recordings and 43' are of decent bootleg quality. Each CD comes in an individual cardboard jacket, the Altaïs one being a repro of the original vinyl. Also included is a 12 page booklet with liner notes by Aymeric Leroy which tell the history of the bands (in French and English) and the whole thing is wrapped into a double sided plastic bag. Strictly limited edition of 500 copies."
    $17.00
  • Part 12 of the required series of rare tracks of the German electronics pioneer!!DISC 1: "Picasso..."  is Klaus' longest composition so far. Originally it were various 1992-'93 recordings for a film soundtrack, but the film producer could not pay for it and accordingly Klaus withdrew his collaboration and his music. For the Silver Edition release I put the music in logical order. It continues on the Disc 2.The denomination of "Picasso geht spazieren" was "Picture Music in Three Movements" due to the fact that twenty years earlier Klaus invented the term "Picture Music" for one of his earliest albums. This description and name did still fit in 1993 ...especially with the variety of sampling pictures you'll hear while dear old "Picasso Takes a Walk".DISC 2: In 1995, '96, '97, '98, '99 and also in the year 2000 the more than two and a half hours long (!) "Picasso geht spazieren" was elected by the members of "The KS Circle" among the top ten of the most popular of the many KS titles, the highest position was number 3 in 1997.Words from the booklet of the original release: In terms of time, the history of Electronic Music is essentially limited to the twentieth century -in terms of a successful work inside this genre just to a handful. In terms of struggle for the new and unknown to a few, if not to just one. Though Klaus Schulze may not have the trained piano playing craft that other players outside his genre have, he gives, I think, far more poignancy, tenderness, and feeling, yes I dare to say: Soul. The truth of an artist is as simple as that: He puts his soul into his work. DISC 3: The original tape of "The Music Box" had the working title "Meditation I" first. Klaus recorded it in 1993 and gave it for free to the "Guttemplers", an institution that helps alcoholics. For the first release in Silver Edition I had given it the full title "The Music Box -Tongemälde in fis-moll" (Sound picture in F sharp minor). PS: Of course I had the famous movie in mind when I invented the title "The Music Box", yes I speak of Laurel and Hardy's only Oscar winning epos (the one with the piano up (and down) the many many steps). I did put some other Laurel and Hardy titles and references in Silver Edition. Not just KS believes that the two (and also W.C. Fields) were true geniuses, they put their souls into their work.
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  • "Welcome to Long Beach 1971, the latest album in earMUSIC’s Deep Purple reissue series that, over the last two years, has seen the release of rare live material from the band, including “Paris 1975”, “Copenhagen 1972”, “Stockholm 1970” and “Graz 1975”.Spanning over 70 minutes of music, “Long Beach 1971” has been remastered in 2014 and is going to be released on February 27th, 2015 on earMUSIC.Recorded at Long Beach Arena in Long Beach, California, on July 30, 1971, it was broadcast on radio (KUSC 91.5 FM), a showcase for a support performance to Rod Stewart and The Faces.An official release for a concert that has long been considered a landmark for the band, the set featured tracks (“Speed King” and “Child In Time”) from their fourth studio album, June 1970’s “In Rock”. This was a transitional release for the Mk II version of the band -  guitarist Ritchie Blackmore, frontman Ian Gillan, bassist Roger Glover, organ/keyboard player Jon Lord and drummer Ian Paice –, being their first hard rock affair as well as their commercial breakthrough as the third leading über-rock band of the day along with Black Sabbath and Led Zeppelin. Completing the set that day were a considerably extended version of “Mandrake Root” from their July 1968 debut album “Shades Of Deep Purple”, and “Strange Kind Of Woman”.Opening with an 11-minute long “Speed King”, the show actually starts off like a climax, with a frenzy of organ and batter of guitar and drums, before segueing into a fast and furious riff and some classic caterwauls from Ian Gillan. Next up is “Strange Kind Of Woman”. The piledriving central motif is a classic combination of rhythm and riff, the band hitting a bluesy, even funky, groove. Following is an impressive version of the Deep Purple classic “Child in Time”: it is 20 minutes of heavy action from Blackmore. If you’re not too exhausted by that, there is time for one more, and it’s a good - not to mention long - one: “Mandrake Root”, a 27-minute extrapolation of the debut album track and concert standby.All in all, the frenzy, powerful show is leaving the audience staggered, and not a little dazed, as they head towards the exit, into the warm California night, wondering what the hell just happened.Deep Purple live just happened."Tracklist1. Speed King2. Strange Kind Of Woman3. Child In Time4. Mandrake Root 
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  • Sanhedrin is an instrumental symphonic rock quintet from Israel. They started out as a Camel cover band (can't imagine that as a good career move). Their music definitely bears underpinnings of the Camel imprint but with Middle Eastern influences tossed in you are reminded more of Asia Minor. Flute dominates but keys and guitar have an early Genesis and Gentle Giant feel. Some of the spacier interludes evoke Eloy's Floating but this is much more grounded on land. Highly recommended.
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  • Steven Wilson's solo career apart from Porcupine Tree, is for this listener, far more interesting.  Whereas PTree currently skirts the line between rock and metal, his solo work fits squarely in the progressive rock arena.  The Raven That Refused To Sing (and other stories) is easily his magnum opus.  The musicianship is stellar - he recorded with his touring band: Nick Beggs (Stick), Guthrie Govan (guitar), Adam Holzman (keys), Marco Minnemann (drums), and Theo Travis (flute, sax).  Mr. Wilson has also dug two things out of mothballs - King Crimson's Mellotron and Alan Parsons.  It was Steven Wilson's wish to one day work with Alan Parsons, who came on board as engineer.  I can't tell you who is responsibile for what but I can tell you that the production is impeccable.  The opening epic "Luminol" drips with the holy 'tron sounding like a cross-generation blend of King Crimson eras.  And so it goes through out the album.  Some utterly fierce playing on this album.  From beginning to end a stunning effort.  BUY OR DIE!
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  • This sadly marked the end of the band's progressive era. The songs are a bit shorter than before but Di Giacomo's vocals are as brilliant as ever. Like Garafano Rosso a second tier effort from the band. Not a bad one but not a great one. 
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  • Yet another brilliant work from this Norwegian prog band.  The Greatest Show On Earth is the band's third effort.  While the first album Identity delved into alternative/prog realms bearing similarity to Radiohead, their second album All Rights Removed was full on Pink Floyd worship.  This latest effort carries on in similar fashion.  There are parts of the album that were written with tracing paper.  It evokes the mood and feel of Dark Side Of The Moon, Wish You Were Here, and maybe even a bit of The Wall.  This isn't to say the band doesn't inject any personality of their own - they do.  There are contemporary elements, its just that when they go into full on Pink Floyd mode its so apparent and so well executed that it blinds you to everything else that is going on.  What Bi Kyon Ran is to King Crimson or The Watch is to Genesis, Airbag is to Pink Floyd.  Original?  Truth be told not really.  It doesn't matter, its so well executed that you will just immerse yourself in the listening experience.  Highly recommended.
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  • Well Steve is done resucitating the Genesis catalogue and back to concentrating on fresh solo material.  The new album Wolflight is a bit of a loose concept album and I find it to be one of his strongest releases in years.  The album is filled with lots of guests (including Chris Squire) contributing exotic instruments to the mix adding an old world sound.  Steve's trademark sound is locked into place so if you are looking for the wailing guitar, liquid runs and acoustic delicacy you won't be disappointed.  His vocals has never been my favorite part of a Steve Hackett album but either I've mellowed in age or his voice has - not sure which.  Regardless it fits the music just fine.  Classic Hackett and nothing less.  BUY OR DIE!
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