‘Pale Season’ melds a haunted mix of alt, progressive and post-Rock, neo-gothic Metal, doom and subtle psychedelia into an assured set of hook-strewn songs that find peace in the depths of inner turmoil.Media/Samples
This Winter Machine are developing into fine exponents of a pleasing brand of great rock songs with an eye for memorable melodies and hooks. They wear their influences proudly on their musical sleeves, but they do not slavishly copy other bands and are not afraid to meld together unusual mixtures of styles, such as Symmetry And Light. This Winter Machine do not do ‘avant garde’ or experimental music (which is fine for other bands!), they focus on writing and performing high quality crafting catchy melodic rock songs (which is no mean feat). Whilst they are not breaking new musical frontiers (a rare occurrence for any artists in reality) they are very skilled in expressing their musical and lyrical ideas with flair and imagination.
Erth’s music is difficult to describe in all its lush glory. It is certainly experimental, but I’m not so sure “rock” captures the overall tone. It has jazz fusion moments, but some sections rely more on electronica. Most importantly, the band uses all three of those genres in a flowing, groovy fashion that feels seamless and purposeful. So, while you will hear guitar work with the deliberation of Plini, you will also hear colorful guitar synth, funk, jazzy time signatures, and completely indescribable moments that all come together into one progressive and highly successfully package.Read the full review by Jason Spencer at theprogmind.com
Musically, this album marks a return to the more melodic metal style for Tate and showcases a fine collection of songs highlighting the great talents of Mularoni and his cast of musicians.Media/Samples
"Our Own Sad Fate" is an album that has been in development for around a decade, and I understand members have both come and gone in that period. Which may be a reason for the diversity of the music on this album. But all the songs play out well, and maintains interest easily throughout. While perhaps not a finely polished gem it is still a solid jewel this one, and a production that merits a check by those with an equally strong passion for 70's era symphonic progressive rock and mid 80's neo-progressive rock.Read the full review by Olav Martin Bjørnsen at progressor.net's facebook
The album, divided into two parts – one that bears the album title and consists of a long suite, and a second entitled “Ognuno da lande diverse” (each one from a different land), consisting of seven shorter compositions – presents itself in a beautiful way, thanks to the marvellous artwork made by artist Tiziano Crisanti.Media/Samples
In the words of the musicians themselves, “Hieros Gamos” is the attempt to conjugate (wedding) the past with the present, the old and new generations, the different styles, the dead spirits and those still incarnate into living people, in the awareness that nothing can pulsate without this union of profound empathy (sacred). The title-track is a 22-minute suite composed by pianist Maurizio Pancotti that once again sees Paolo Carelli and his iconic reciting voice: here, the references to the original absent musicians are the starting point for revitalizing musical and non-musical messages, that Pholas Dactylus (more intended as an energetic force than a group of people) does not want to disperse.
“Ognuno da lande diverse” is instead a collection of short individual compositions, signed by the three original musicians that are still operative today (Maurizio Pancotti, Paolo Carelli, Rinaldo Linati) who, since the dissolution of the group in 1973 until the present day, have followed completely different and isolated paths, without any professional or private contact: an attempt to show how dissimilar and heterogeneous itineraries contain sparks that can eventually bring to unexpected conjunctions.
Though usually referred to by touchstones such as "math-rock" or "post-rock," LITE has developed an uncanny ability to fuse their influences into their own unmistakable dialect that defies generic genre classification.
At times, Multiple’s compositions can place listeners at the junction of unlikely stylistic intersections. Conversating funk riffs will interweave with challenging rhythmic phrasing, blurring the lines between lead sections, obscuring where passages begin and end. LITE's distinct voice is emphasized in tracks such as "Double" and "4mg Warmth," where melodies meander incessantly, constantly taking the listener to new territory.
While many LITE songs unfold at breakneck pace, others entertain entirely different worlds altogether. In songs "Ring" and "Blizzard," the band tests the limits of their abilities with slowed-down, genre-bending forays into hip-hop and dub. On "Ring," LITE collaborated with rapper Maco Marets and singer Utena Kobayashi, where the latter's talents were also tapped for the song's ethereal steelpan section. As LITE has shown over nearly two decades, there exists no style that they cannot master or otherwise weave into their designs.
God Street Wine's first full length studio album in over 20 years, featuring reimagined versions of eight songs from the band's 1990s touring heyday.
