Transgression

SKU: EANTCD1052
Label:
Esoteric Antenna
Category:
Jazz Rock
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"The Esoteric Antenna label is pleased to announce the release of the new album by internationally acclaimed British saxophone and flute player and composer Theo Travis 'Transgression' his first solo album in eight years, with his band 'Double Talk'. Theo Travis - who has worked with many artists in the Prog, Jazz and Rock worlds such as Gong, Soft Machine Legacy, The Tangent, Bill Nelson, Keith Tippett and with Robert Fripp in Travis & Fripp - has put together a band of progressive jazz stars for the record. Travis is well known for his collaborations with Steven Wilson, appearing on all four of his solo albums as well as recordings with Porcupine Tree and No Man and he has been touring internationally with the Steven Wilson Band from his first solo tour in 2011 up until the current tour. Transgression was recorded in January at Koolworld Studio and Steven Wilson applied his studio skills to the album as he mixed and mastered it in his own studio, just before launching his own 'Hand Cannot Erase' world tour. The album reflects many of Theo's inspirations, being instrumental and powerful bluesy progressive electric jazz with a strong 1970s influence. With influences of King Crimson, Mahavishnu Orchestra as well as late Talk Talk, and ECM artists such as Terje Rypdal and Palle Mikkelborg apparent, TRANSGRESSION is a unique album. The presence of musicians such as Nic France on drums (Steven Wilson's Grace For Drowning album, David Gilmour's Live At The Royal Festival Hall DVD and Kate Bush, Robert Wyatt, Alan Holdsworth, and Working Week), Mike Outram on guitar (Steven Wilson, Herbie Mann, Carleen Anderson, Jacqui Dankworth) and Pete Whittaker on Hammond organ (John Etheridge, Nigel Price, touring member of The Wonder Stuff and Catherine Wheel), ensures that TRANSGRESSION is a milestone in modern Progressive Jazz."

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  • "I know that an album is timeless when, after many years, I return to it and it still sounds fresh. This is what happen to me with ...and so we destroyed everything by Sleepmakeswaves. The instrumental post-rock four-piece band from Sydney is now back with another amazing album, Love Of Cartography, that, starting from the name itself and its fantastic album cover, proves the tendency the band has to map new creative directions within the instrumental rock framework.The new album was recorded in Byron Bay with producer Nick DiDia (Pearl Jam, Stone Temple Pilots, Rage Against The Machine) after fans – and me of course among them - helped to raise over $30,000 through a Pozible campaign. I listened to Love Of Cartography many times before writing about it and, even now, 'Emergent' is playing fulfilling my room with its melody and creating a somber climax.The first thing you'll notice listening to Love Of Cartography is how the Aussie band has moved towards a electro-rock sound that is gonna blow your mind. As masters of meticulous instrumental rock, apocalyptic guitar landscapes, they spoiled us delivering great music, and Love Of Cartography is gloriously no different.Kid, Otto, Alex and Tim, again wonderfully demonstrate their ability to swap pursuing rhythmic sections with soothing ambient segments without losing a step. Love Of Cartography is full of emotional passages that captivate the listener more than the most beautiful mermaids.The journey through the ten tracks of Love Of Cartography starts with 'Perfect Detonator' that launches the listener into the Sleepmakeswaves's space. 'Perfect Detonator' is a complete listening experience, peppered with sonic leitmotifs that fold back onto themselves once the final chords are drowned out by silence. The exploration of this instrumental rock world by the Aussie band continues: ‘Traced in Constellation' flits between glitchy synths and shimmering guitars, whilst the short 'Singularity' unfolds as an interlude and creates a beautiful tension that explodes in the brilliant 'Emergent' that incorporates both post-rocky and electronic elements and suggests that there’s room for the old and the new Sleepmakeswaves's styles to coexist.'Emergent' has a slow-burning introduction but the band doesn't hesitate to proves that they have lost none of their appetite for noise and pursuing rhythm. This track is a journey within a journey; simply awesome.There’s space, too, for the band to expand upon loud-quiet dynamics; 'Great Northern' has a great mix of those segments and listening to it is pure joy. 'The Stars Are Stigmata' is of a bit heavier ride instead that brings us back to the Sleepmakeswaves's style we already adore. This track is as engaging as it is dramatic and the balance between acoustic and electronic elements is a killer.Passing through the soft 'A Little Spark' that invites quiet contemplation, we land onto 'Something Like Avalanches' that is a perfect track with its amazing guitar riffs. The journey through Love Of Cartography ends with the beautiful 'Your Time Will come Again' that blends in it several music genres and the outcome is a beautiful, notable electro-rock ballad. 'Your Time Will come Again' is a credible substitute for nirvana, demanding you to set yourself free from all corporeal existence. Your mind will thank you later.Love Of Cartography ends here but its music won't leave you. The journey is one way." - Echoes And Dust
    $15.00
  • Pymlico is the studio project led by Norwegian multi-instrumentalist Arild Broter.   Guiding Light is his third album under this moniker.  He plays drums, keys, and guitar but he receives assistance from a multitude of musicians including 14 string shredder Felix Martin.  Guiding Light is all instrumental.  The music touches on a variety of genres - Scandinavian jazz, sountrack and world music - all underpinned with an obvious symphonic rock influence.  Its nicely produced with a spacious sound.  In places I'm reminded a bit of Mike Oldfield and Gandalf.  This is the good stuff.
    $12.00
  • San Francisco's Orchid has been kicking around a bit, jumping around a bunch of small labels.  A buzz has been developing around the band so it was only a matter of time before they stepped up to the big time - they got snatched up by Nuclear Blast.  I would say that NB scored a major coup here.  Orchid's reputation has been built upon a doom metal sound that draws heavily from the early Black Sabbath canon.  Plain and simple.  These guys have the retro sound down pat and the look as well.  If you are into doom its not going to come any better than this.  Highly recommended. 
    $13.00
  • THIS NORTHERN VIRGINIA BASED BAND is a three-piece at heart, musically rooted in the raw energy and rhythmic interplay of RUSH and KING’S X. Fans of dark, guitar-driven rock bands from ALICE IN CHAINS, DEFTONES to the contemporary metal riffing of LAMB OF GOD and PANTERA, will connect to the heavy core of IRIS DIVINE’s sound. Add to that progressive complexity and moody synths inspired by DREAM THEATER and PORCUPINE TREE, and a liberal dose of memorable hooks and melodies, to understand some elements of IRIS DIVINE’s sound. And yet, the band has a distinct identity, not quite sounding like any of the aforementioned bands, and with an emotional urgency that pulls subtly from alternative and other influences.KARMA SOWN IS A TRIUMPH OF A DEBUT ALBUM, immediate and memorable but revealing layers and depth upon repeated listens."Progressive metal is in a rough period right now. The old guard are either releasing sub-standard albums that only make it more obvious how far they have fallen, or they are drastically uncool with anyone who didn't become a fan when progressive metal was first being created. Progressive today tends to mean djent, a style that has sapped all the life and humanity out of music, turning metal into a math equation of time signatures, and not songs that anyone can actually remember. There was a time when progressive metal remembered the ultimate goal of music; to have listeners enjoy the songs so much they would return to them again and again. Today, progressive metal is mostly the sort of music that could pass for muzak, if you don't turn the volume up too loud.Iris Divine wants to change that. They set out with the mission of writing progressive metal that is intricate and challenging, but still produces the kind of songs that listeners who don't have an advanced degree can love and sing along to. It's a challenge, and it goes against the tide, but it's a desperately needed revolution if progressive metal is going to flourish anytime in the near future.I knew from hearing the pre-release track “A Suicide Aware” that Iris Divide was special, and the full album reinforces the point. “The Everlasting Sea” comes out of the gates with plenty of tricky riffing and unusual rhythms, but they lead into big melodies with strong hooks and vocals. Their progressive playing isn't meant for show, it's a tool used to set a tone that juxtaposes with the more melodic moments. Finding the proper balance between these elements is not easy, and many a band have failed miserably trying to do so, but Iris Divine doesn't. On their debut record, they show a skill some bands have spent their entire careers failing to learn.What I love most about the record is that it can be seen in many different lights. If you like straight-ahead metal, there is plenty of heavy riffing and pounding drumming here to keep you satisfied. If you like progressive music, these songs have twists and turns, and Rush-like keyboards, in enough quantity to match the djent crowd. And if you're a fan of old-school radio rock, the choruses in these songs will be music to your ears. Keeping all three of these in mind at the same time can be tricky, but it's worth the effort.For being a trio, “Karma Sown” is a massive sounding record. The production is flawless, big and clear, without ever sounding too polished. The heavy parts are heavy, the vocals are up front, and you would never believe this was a self-produced record that was crowd-funded. I can put it up against many, many of the big label releases, and it would win the fight.In fact, I can think of a dozen so-called progressive metal bands that should immediately hand over their label contracts to Iris Divine, because it's a crime that a band that is advancing progressive metal in the right direction doesn't have the backing of one of the labels. Not to name names, but this album would be bigger than half of the progressive metal released this year if it had the media push behind it.In case you haven't noticed, what I'm saying is that “Karma Sown” is a fantastic debut, and the future of progressive metal. Iris Divine isn't a Dream Theater clone, and they're not djent. What they have done is integrate all the strains of progressive metal into a singular sound, one that could set the standard moving forward. If every band sounded this good, progressive metal wouldn't need to be underground. “Karma Sown” is the best progressive metal album of the year, bar none." - Bloody Good Horror
    $13.00
  • "A Hauntingly Beautiful and Dark Sophomore Effort. Get it before the darkness comes...Anais Nin said "we don't see things as they are, we see them as we are".That is the absolute truth - in life and in great art, literature, and music. It speaks to you in a deeply personal way. The artist's specific intent, the story behind the story, matters not. What does matter is that when you interact with what the artist has wrought, you feel something. You feel as if it was created especially for you, about you, your life, your life experience. It speaks to you. It makes you stop in your tracks and forces you pay attention. It touches something deep in your soul."The Final Breath Before November" is that album. Edison's Children is that artist. Artists is more accurate. This masterwork showcases vocalists and multi-instrumentalists and Eric Blackwood and Pete Trewavas, drummer Henry Rogers, and backing vocalist Wendy Farrell-Pastore, who also designed the release's haunting artwork. The album was mixed by a virtual Who's Who of Progressive Rock including King Crimson's Jakko Jakszyk, Marillion's Mike Hunter, It Bites' John Mitchell, Robin Boult, and Pete Trewavas.Yes. It is a ghost story. But, that is the most simplistic view of what it is.It is a love story. It illustrates the power of love. It drives us to do crazy things. It endures after death. It endures across time and space. It reminds us that people never really leave you. They linger in the ether, in your heart, in your mind. Their essence stays behind to watch over you.It is also a cautionary tale. It is a warning not to act harshly or rashly. Don't do things that you can not come back from. Don't make mistakes you can not fix. Once things have been done (or said), you can never take them back. You can never get back to the place where you once were. You can never go home again. No matter how much you want to. No matter how hard you try. You just can't.It is a reminder that we have to let go of the pain, hurt, anger, regret and whatever else we have pent up inside ourselves. If we don't let go of all those things, we become stuck and can't move on. We remain in the same place all of our lives. The same physical place. The same emotional place. The same spiritual place. Stuck. Never growing. Never changing. Never becoming who or what we were supposed to be. We remain a shadow of ourselves, forever trapped in a darkness of our own making.It is a reminder that we have to face our demons. They will come at us over and over again until we do. If we don't, they will be back and they will try to pull us down to even darker places. Over and over again. We will be stuck in the mire for our lifetime, for eternity if we don't.What this album says to me is that love is a powerful thing. The most powerful thing in the Universe. But, in the end, you have to let go of those you love. People change. People die. Relationships change. Relationships end. If you keep holding onto someone who is no longer with you, then you can't move on. Not until you let go. You can't be truly happy. You can't feel the sunshine. You can't walk into the light. You destined to live in a hell (or a purgatory) of your own creation. Unless you let go." - ProgArchives.com
    $12.00
  • "Using the same line-up as their eponymous sophomore album, this weird but prophetically- named album W.W.W. is the very proud follow-up taking the same kind of psychey-jazz brass-rock and perfecting (if that was possible) it to reach a sort of perfection that is rather hard to achieve in this controversial style. With another weak artwork and a bizarre name, this album had better have good tracks on it.Obviously BRI was having time to tour England (this is sufficiently rare to mention as England was a bit of a impenetrable or closed market, due to strong musician union and enforced quotas) and they wrote this excellent track about their hotel in Croydon after a gig in Fairfield Hall (where Genesis and Caravan were regulars) where Menzer's flute resembles that of Traffic's Chris Wood. Some of the other sonic similarities that can be heard are reminiscent of the excellent German group Out Of Focus. The title track starts out dreamily as an oriental-desert psyched-out trip: you could almost see the early 70's hippies crossing Iran on their way to Kathmandu in their Combi VW while listening to this. Close to the best German groups such as Embryo, this track is a pure delight. With almost no transition we veer into Kaskelain (these guys were most likely smoking some dynamite stuff), which is definitely more dynamic and brilliantly played and ends up in motif that is exactly the one that the next track uses to pick up the pieces. Karsemore (give me their dealer's name, I must taste the stuff ;-), this tracks starts almost basic but soon veers into a demented jazz-psyched out rock. Cool stuff and BRI is on top of their game in this lengthy three-piece suite (mmmmmmmhhh!!!.. Not even going to touch that one ;-). After another stand out track Oblong Serenade is a phenomenal succession of blistering solos over a great rhythm and a fitting outro for the album.Traffic, Out Of Focus, Colosseum. Does it not make your mouth salivate better than a naked Mcpherson? Run for it guys!!! After their next album Miley Smiley, a live-in-the- studio album recorded in 8 hours, Karsten Vogel will leave the band to form one of the best Danish band Secret Oyster (after a track on their second eponymous album) and will enjoy a long solo career as a jazz muso." - ProgArchives
    $16.00
  • Now here's an album that kicks ass from start to finish. Easily going to be one of my favorite discs of the year. Venturia is a new French progressive metal band put together by guitarist Charly Sahona along with drummer Diego Rapacchietti. Charly found this incredible vocalist from New York named Marc Ferreira and paired him with Lydie Robin the band's female vocalist who primarily sings back up as well as the ocassional lead. Adagio's Kevin Codfert guests as the keyboardist. The New Kingdom is an impressive mix of phenomenal chops, infectious melodies and complexity. The closest comparison I can think of is Arabesque. A tune like "Words Of Silence" crushes but at the same time it's hook laden and will stay with you for days. Lydie Robin has a breathy gorgeous voice that works blends well with Ferreira. Venturia are to be applauded - they drew from a variety of different inspirations and put together something really fresh. Highest recommendation - I love this disc. Top 10 candidate.
    $14.00
  • "From Guapo’s origins as an artsy noise-rock duo in the 90s to their current standing as a quartet, founder and drummer Dave Smith has steered clear of cliché and compromise. Albums such as Five Suns (2004), Black Oni (2005) and Elixirs (2008) chronicled the trio incarnation of Guapo’s attempts to define and expand a musical vocabulary rooted in a stripped-back, somewhat aesthetic RIO-style chamber ensemble.Yet as striking as these albums were, in hindsight they were but a preamble to 2013’s The History Of The Visitation. This marked a significant line-up change that saw Smith and bassist James Sedwards joined by ex-Cardiacs man/future Gongster Kavus Torabi and Chrome Hoof keyboard player Emmett Elvin. It also saw Guapo embrace a more demonstrative, gutsy rock aesthetic.That boldness continues on Obscure Knowledge, a single, continuous, 43-minute suite. The band’s take-no-prisoners attitude is obvious from the word go. The album opens with a four-note bass motif ascending through a blizzard of cymbals and fractious, sustained keyboard tones. When soaring guitar and circuitous MC Escher-esque organ riffing erupts and takes flight, there are moments where we get the answer to that burning question: what would Mahavishnu Orchestra and Van der Graaf Generator have sounded like if they’d ever joined forces? The suite evolved from the band’s weekly rehearsals wherein each section was slowly accrued from a process of trial and error and selective pruning. This isn’t cerebral jazz-rock; more scarily belligerent minimalism.After the initial airburst of establishing themes across a Fender Rhodes morse code tapped out by Elvin, Kavus Torabi strikes one ominous guitar chord more than 60 times in the space of five minutes. Wilful and provocative, it’s like a musical dare to see who is going to blink first. With each of those tolling repetitions there comes a sense of escalating pressure and constriction, an expert raising of the temperature inexorably leading to bursting point.Breaking down and reassembling as each new segment in the piece is introduced, Guapo’s restlessness is only stilled in the midst of some teeth-scraping sonics over halfway through the album. Even here, the fierce drones fluctuating with La Monte Young-style sonic whispers offer little respite.Unflinchingly adventurous and every bit as brilliant as its predecessor, Obscure Knowledge not only consolidates Guapo’s progress but sets the benchmark by which others can be measured." - Prog
    $15.00
  • Follow up to 2011's Disobey once again finds this Scottish band clinging to the British neoprog sound that helped define the genre.  To their credit there is a bit more playing than most of their brethren.  I particularly like the ornate keyboard work.  Nothing wrong with some old school prog sounds to remind us how it should be done.
    $13.00
  • This one is a real mindblower.  One of Italy's best bands, La Maschera Di Cera, has created a musical sequel to Le Orme's Felona E Serona.  I can't recall any band ever doing something like this.  Like all of the band's work it remains faithful to the "Rock Progressivo Italiano" sound.  Apart from cleaner sounding sonics it could have easily pass for somethining recorded in 1974.  The music does in fact pick up on some of the core themes and melodices from FeS.  You want 'tron?  You got it!  You want flute?  You got it.  To wrap the whole package together the band licensed the cover art from Lanfranco, the artist responsible for the art for FeS.  So it really does feel like a sequel.  Please note there are actually two versions of the album.  This is the Italian language edition that will satisfy any RPI purist.  Highly recommended.
    $18.00
  • Third album from a band that is essentially a mash up of members from Sieges Even, Sun Caged and Dreamscape.  Their music carries on very much in the style of the later Sieges Even albums.  In other words progressive rock that leans towards the heavier side of the spectrum.  Rush, Rabin-era Yes, Saga, and Dream Theater come to mind as influences.  Quite melodic and if you are so inclined you'll hear some incredible chops from guitarist Markus Steffen.  The band corraled Stream Of Passion's Marcela Bovio for a guest vocal appearance, dueting with Arno Menses.
    $17.00
  • Fifth studio album from this always interesting Polish prog band.  Lizard's music always has a dark quality to it.  At times there is a noir quality that reminds of King Crimson but there is a strong symphonic rock component that dominates their music.  Master & M is a conceptual album based around Mikhail Bulgakov's "The Master & Margarita" novel.  It consists of five long chapters with some intense instrumental passages.  Vocals are excellent but the problem with Lizard is that band leader Damian Bydlinski sings in Polish.  Highly recommended.
    $15.00
  • "Tellus Requiem was formed back in 2007 by guitarist Stig Nergård. In 2010 Tellus Requiem released a self-titled debut album digitally. This album opened up some doors for the band, and resulted in some live concert supporting acts like Keep of Kalessin, Edenbridge, and Pagan's Mind. “Invictus” was mixed and mastered by Tommy Hansen (Jailhouse Studios, Jorn, TNT, Helloween) with the cover art done by Thomas Ewerhard (Symphony X, Theater).According to the band’s biography, the main theme of the band’s writing is about worlds shattering to pieces. This can either be global or personal experience, fictional or literary. Tellus Requiem means; the earths death mass. Tellus being Latin for The Earth, Requiem being the last composition a composer writes before they die. Listening to the ten tracks featured on “Invictus”, it’s obvious that the band is comprised of five very talented musicians with a love for melodic progressive metal in the style of Symphony X and Dream Theater with flourishes of Eastern Folk and the big sound of a motion picture film score (as is evident on the opening instrumental song “Ab Aeterno”). “Red Horizon” kicks in with a vengeance and is highlighted by very Symphony x-like keyboard work by Anders Sundbø (whose frenzied playing style steals the show on this song) and heavy guitar crunch by Nergård.  Vocalist Ben Rodgers has a unique and impressive style and range without resorting to sounding like peers such as James Labrie or Russell Allen.Drummer Vidar Lehmann shows off his considerable chops and fast feet on the middle-eastern tinged “Eden Burns”. A beautiful acoustic guitar passage introduces “Reflection Remains” which leads into a melodic and majestic vocal performance by Rodgers accented by soaring harmonies and a soulful yet blistering guitar solo by Nergård.  The heavy melodic prog metal of “Twilight Hour” has plenty of melody, groove, instrumental chops, and odd time signatures to satisfy the most jaded prog metal fan.  “Sands of Gold” is a complex and chaotic attack of progressive drum patterns, middle-eastern melodies, heavy guitar and keyboard wizardry with Rodgers voice providing the melodic anchor holding it all together. The appropriately titled “Tranquility” is a slower, peaceful and introspective song with Rodgers showing his emotional side as well as his considerable range to great effect. “Redemption” starts off with an impressive Spanish style guitar playing and kicks into a heavy guitar rhythm and aggressive lead vocals and beautiful harmony vocals courtesy of a vocal choir. The heavy prog of “Invictus” is a fast paced and the vocals and musicianship are razor sharp here.  The final song is “Dies Irae” which is the “day of wrath” and was an old Medieval poem sung during the Mass of the Dead ceremony, is a short and sweet outro track and a fine way to end this musical journey. For such a young band, Tellus Requiem has created a stunning and impressive progressive metal feast that fans of Symphony X and Dream Theater will find quite enjoyable. " - The Metal Pit
    $12.00
  • Tenth studio album from the reconstituted verison of Focus led by Thijs van Leer.  Returning is original drummer Pierre van der Linden.  Bobby Jacobs handles bass and Menno Gootjes lead guitar.  X doesn't break any new ground.  This sounds just like classic Focus - van Leer concentrates on flute and Hammond organ and vocals.  Pure prog with strong jazzy overtones in places.  Neat cover art and logo courtesy of Roger Dean.  Highly recommended.
    $16.00