Iron Butterfly. Audio CD. Original Album Series. Heavy Mono. Fillmore East Next page. Customers who bought this item also bought. The Wall. Pink Floyd. The Dark Side of the Moon. Wish You Were Here.
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It also analyzes reviews to verify trustworthiness. Top reviews Most recent Top reviews. Top reviews from the United States. There was a problem filtering reviews right now. Please try again later. Verified Purchase. Anyway, the 60's was full of groups and music from Britain and the West Coast and the garage bands from all over the place. When I first heard the Irom ButterflyTheme, I said to myself, I would like to utilize that song for something, such as if I were a dj that could have been my trademark theme song at the opening of every gig.
Anyway, the rest of this disc is neat with all sorts of goodies. I really love the song called "The Unconcious Power" a sort of mystic song if I ever heard one and a rather great tune. I really really love the song titled "Stamped Ideas" , what a thumping song and quite powerful as well.
Lots of great stuff here and I love it all. I prefer their first album over inagaddadavida would also recommend Ball and Metamorphosis all three are overlooked gems from iron butterfly the rhino rocktober reissue vinyl sounds very good though worth mentioning some of the mixes are ever so slightly different than the original mixes though they are still worth getting.
I was at a concert in Sacramento's Memorial Auditorium just before they released In-A-Gadda-Da-Vida and was treated to a live version of that hit, but the "Heavy" album is the one that got me hooked. Iron Butterfly rocked the house In this world which is getting more and more closely interconnected we have to learn to tolerate each other, we have to learn to put up with the fact that some people say things that we don't like We must learn a kind of charity and a kind of tolerance which is absolutely vital to the continuation of human life on this planet Then, as the music takes the listener on a trip to the dark side of the moon, the reflective lyrics invite you to look in the mirror and search for something worth to live for After a short break, the CD version features an untitled ghost track that begins by the sound of the sea waves and a strummed acoustic guitar pattern.
It's a delicate, introspective ballad sung in Italian where the dreamy vocals evoke inner gods and the indefinite sound of immensity A good conclusion for an album that is really worth listening to! Mojave Plan is a great title but aside from a note of harmonica there's little to suggest the Mojave Desert or the Mojave people in the side-long track, but by this point Tangerine Dream track titles had become almost arbitrary: it's all about the atmosphere, and that's what they deliver here.
Don't expect the fuzzy, spacey trips of Zeit or Phaedra, but if you dig the neon, glassy sheen of s synthesisers this is pretty solid. The first CD is especially strong, in my opinion, really scratches my Transatlantic itch. The overture maybe could have been trimmed, but thereafter I just love every track; they're distinctive and engaging.
The second CD is a bit slower, but has many redeeming qualities, like when they reprise CD 1 tracks : In terms of songwriting, I think it's most closely related to Whirlwind the repeating lyrics about it really drives the message home, too Overall, I think it's the most consistent release since Bridge Across Forever. More like this please! The first almost half of it is very similar to Forevermore. A different name here and there, and a bit trimmed which is done well, actually.
Then it diverges when it transitions straight into Love Made a Way prelude. Otherwise, you're just not getting the full experience. If you're a fan of the band, why not more?! Review by Lewian Prog Reviewer. The Battlestations are listed as Post Rock because of their history but are for some time on a journey to progressive electronic, which on this album they have properly completed. Not only is the album electronic, it is excellent at that. It has the same experimental spirit that can be found in the early work of the pioneers of the genre, think of Tangerine Dream's masterpieces Zeit and Phaedra.
I mention these two because from Zeit to Phaedra TD introduced the rhythmic sequencer, and Battlestations here balance more ambient soundscapes and rhythmic, more structured parts in a masterful way. Post rock sensitivity can be heard to some extent in the relaxed approach and the pleasant tonal motifs that make the album more accessible than more radical experimental electronic work, still avoiding anything like clear melodies or a traditional song structure.
Splinters Vol. I is just a single piece of 43 minutes. Sound generation amd sampling of course is done using twenty-first century standards, distinguishing the album from early electronic work. It is an atmospheric, slow developing work that features sound experimentation, meditative parts, but also sequencer-like repetitive rhythms and some harmonic material. It is richer in ideas than much of this genre; although the music takes its time to transform from one part to the next, there is plenty to discover.
Something that sets this album apart is the musicality by which the different parts have been woven together; everything feels organic and smooth, but it is far from minimalism or drone. People may call it "ambient", but to listen to it like ambient music would mean missing much of what's going on.
It is basically a more friendly and warm version of experimental electronic which in other work can come over as quite intellectual and cold. Different motifs and structures come and go, held together by an overarching approach to sounds, always reminding us that happiness and sadness and all the often strange and unexpected but at some point familiar things in life are only a small and transient part of something bigger that was before we were and will still be after we have gone.
Approach with caution if you're not into electronic and experimental stuff, but I say 5 stars hands down. Trevor Rabin guitar works is really cool, both in sound exploration he uses many sound effects and solos.
The end section of 'Real Love' also features great guitar solo. This is written by Trevor Rabin as instrumental track but then include Jon Anderson voice in it.
A fine track that would fit to an ABWH album. Here are three of my favourite tracks : 'Endless Dream' - an epic minute track that for me is an excellent music. This is in my opinion on how a new YES should sound; the composition has great complexity and nicely matched with the modern rock-oriented sound. There are many experimental sound in this track.
The intro called 'Silent Spring' is a 2-minute short instrumental, mainly keyboard and guitar duet, with great complex rhythm. The second part 'Talk' is the main part. Started with backing vocals and Tony Kaye piano playing before the main theme and Jon Anderson lead vocal enters. There are several changes in mood and time signature that makes this track rich. The vocal harmony or almost a choir in some phrases , as a signature element of YES, throughout this track is fascinating.
From the striking guitar riff, the intro section is swiftly shifted to vocal harmony and acoustic guitar and after 2 verses, a nice chorus comes up. The guitar solo really awesome. Among the three albums performed by the same line up, I vote for this album as their best even it is very hard to pick between this and ''.
This album has a strong vocal arrangement, and all songs seem to very nicely fit to Jon Anderson voice. Life Has A Way 5. You Make It Real 3. Locked Down 6. There are also loads of more melodic moments, leads, and guitar solos, and also some atmospheric moments, so this is not a one-dimensional listen.
They are decent enough, but a real humam drummer would have made "Aberrations" a better release. The remaining part of the music is very well performed, and well produced too.
So the songwriting should be mentioned as an asset here. Upon conclusion "Aberrations" is a good quality debut album by Cosmophobe. The long opener "The Light Now" starts softly with a dreamy atmosphere, then sharp electric guitar riffs break in The music and lyrics try to describe that particular moment when a person is going to fall asleep, ready to forget the daily problems and the real world.
It's the moment when the doors of a deeper world open and something magic can happen, sudden and unexpected, when the dark wings of the night promise a sweet flight and everything starts to melt like colours on an enchanted canvas The melancholic "Shining Dreams" depicts regrets and fragile hopes crumbling like castles made of sand while the following "The Path Of Mirages" is a beautiful instrumental piece that conjures up far, mysterious lands and oriental flavours It leads to the caustic "Sand Man" that portrays a man who blindly follows fashions and habits without thinking, a man made of his own fears, a man threatened by the wind of change and that could be blown away by a simple breath of vitality Of his past there's nothing left but fragments of crystal dreams that now he tries to pick up and put together.
Here the music and the voice of Donatella Basilico every now and again remind me of Natalie Merchant It leads to the melodic ballad "Heart Of Time" that drives you in an inner emotional world where past, present and future melt together. Then it's the turn of the evocative instrumental "Edmondo", influenced by Astor Piazzolla and the sounds of accordion It starts by a delicate acoustic guitar arpeggio before taking off like a vague Bohemian rhapsody and tells us that sometimes regrets could become like haunting monsters creeping out from our nightmares and following us everywhere we go, even in the subway On the whole, a nice work that deserves a try!
Review by lazland Prog Reviewer. I do like it. It is clever conceptually regarding rampant commercialism and its use of technology Follower is a very clever commentary, as well as including a fantastic guitar riff. Musically, it is as tight as one would expect from a maestro musician. In terms of its sound, it is as polished as one would expect from the man most in demand for remixes on the planet.
And in the 10 or so listens thus far, each time I find myself foot-tapping and head-nodding in appreciation at what I am hearing, most definitively on the quite marvellous 12 Things I Forgot, which, perhaps deliberately, reminds one strongly of my favourite Porcupine Tree track, Lazarus. The passage where he reels out the list of items is a dreamy sequence in stark contrast to the relentlessly upbeat opening themes, and this continues before the corporate electronica reasserts itself. Most of the music here is beat driven and electronically upbeat, and certainly a massive contrast to the relentless, if brilliant, gloom of Hand.
Erase, although there are a couple of tracks which can be identified as natural progressions from that album in their melancholy, namely Man of the People and Count of Unease. All in all, I admire this album and the driving force behind it. Wilson is progressing, and taking his musical vision to places he wants them to go, rather than the somewhat obsessive minority who demand a repeat of In Absentia every time he records something.
In closing, I might also add that this album reminds me quite a bit of that period in the early 's when every "proper" Genesis fan decried the commerciality of ATTWT and Duke, and wanted Collins strung up after the massive success of Face Value.
Let me tell you something. There are a great many people about now who love a lot of the music we hold dear on this site because of the accessibility of those albums, and others such as They listened, and thought, "this ain't half bad", and explored further. And you know what? As much of a masterpiece I regard aforementioned Hand Easy to listen to, but still oozing intelligence in every note and word.
That will do for me. Review by progpositivity Prog Reviewer. Composer and keyboard virtuoso Patrick Moraz stumbled across drummer Greg Alban during the 80's at a random gig in California. He was so impressed that he hired him to perform on a few tracks on his "Time Code" album.
Since then, the two of them have stayed in touch and gotten together to jam whenever Moraz was on the west coast. As an accomplished session musician, Alban had no shortage of professional opportunities to perform, but he developed a yearning to record something that represented his own style and taste. Naturally, he immediately sought to recruit the best keyboardist and composer he knew to participate in the project! Moraz ended up composing the majority of the music for this CD.
Arrangement, recording and performance decisions were all collaborative. The opening tune "Jungle ALIENS" sets a medium heavy groove, effectively sending us the signal that this will be essentially and foremost a rock fusion project. Next up, "Strictly Organic" ups the energy ante a notch, featuring Lenny Castro on congas. When Moraz first played "Canyon Afternoon" for Alban, he immediately envisioned the spirited saxophone of college friend Dave Van Such. A few phone calls later, he was in the studio turning this into one of the highlights of the project.
His sax sings and soars, bringing an inspired and very human element to the forefront. Jumpy, and imbued with an energy that sometimes borders on what might be called "frenetic", it is almost impossible to sit still listening to this song! The rhythms are complex yet these players are so well versed in the material and so professional, everything works together with a perfection that sounds almost effortless.
Then again, perhaps they just recorded multiple takes until they got it right! Either way, "get it right" they most certainly did indeed! This is a great piece! Alban describes "The Drum Also Solo" as perhaps the most "fun" to play. From the sound of it, "fun" seems to provide an apt descripton of the entire album. Now is probably a good time to mention that there is no shortage of drum fills on any of the songs I've heard so far.
That said, "The Drum Also Solo" certainly does offer plenty of fun drum fills and thrills especially toward the middle of the tune! The Real Feel slows things down to provide a breather and a change of pace. Some of the fills toward the middle and the end are unexpectedly playful and delightful. Ex-Oingo Boingo bassist John Avila's interplay steps to the forefront on this piece.
Alien Intelligence returns to what Alban appears to love most: powerful, driving, upbeat, infectiously optimistic jazz rock fusion! The spotlight shines even more brightly on Avila's bass guitar. It ends on a high note. Although it is energetic and bouncy, it tends to sit on one chord and groove for an extended period of time. The closer "Alien Species" continues in the vein of meditative single chord explorations of tone and timbre.
To this impatient listener, Alban's busy stickwork and cymbal washes are the one thing that rescued this song from the "next" button. NE ZHDALI formed in by high school buddies Soybelman, Ilja Komarov and Andrei Kulagin and in a couple years became a sensation in the Soviet underground by adopting the extreme unpredictable complexities of bands like Henry Cow that were blended into funk rhythms, various folk musical scales and punk infused guitar heft.
The band featured Soybelman guitars, vocals , Ilja Komarov bass , Vadim Veeremaa trumpet, alto horn, back vocals , Oleg Davidovitch trombone, guitar, bells, back vocals , Vitaly Redchits drums, percussion , Avi Nedzvetsky steinbach piano and lead vocalist Andrei Kulgin aka Victor Bitlovsky.
Featuring a talented selection of virtuoso musicians, this allowed NE ZHDALI to experiment with more playful technical workouts while maintaining strong interconnected grooves that somewhat kept in the spirit of Soviet rock bands. After experiencing a rising popularity the band made a trip to Amsterdam where they were allowed to record this debut album that was released in two different forms.
Both were featured on the ADM label but the album was released once again two years later on the French label Ayaa with a yet a different peacock cover. Sounding something like a mix of avant-punk styles in the vein of the Dutch band The Ex with avant-prog weirdness of both Frank Zappa and Henry Cow with oft celebratory sounds in the vein of Samla Mammas Manna, the album ranges from playful funk guitar fueled tracks with a brass section to more homegrown folk sounds especially when the band belts out the vocal segments which pop out of the blue and don't really occur too often on this debut.
The stylistic changes are often but the band maintained an even keel approach about how it rationed out these changes. This was just the beginning. The band would release several more albums before it went inactive after the release "Polio d'Oro" and Soybelman has become one of the top avant-rock guys in all of Europe after having relocated to Berlin.
NE ZHDALI exhibits on this debut a keen understanding of the world of avant-prog, post-punk, jazz and its local folk music heritage and weaves it all together to beautifully and creative that nothing else sounds like this.
There's not a bad track on this one however the closing "Bossa III The melody" comes off as a little weak in comparison to the wild and wacky procession of zaniness and technical workouts that precede. This band still lurks in the underground but for those who are seeking more of those punk fueled bands that mixed seasoned prog complexities into the mix then this is one not to be missed.
Growth are slightly more accessible than the two other mentioned acts though, and they even occasionally include clean vocals or maybe more correctly vocals which are sung and not growling vocals, because most of them are still pretty raw vocals and some melody. There is a post-metal touch to the music too in the way some of the tracks build towards climaxes.
The atmosphere is bleak and the lyrical content depressing. Growth are a very well playing unit and the performances are top notch on all posts. I still remember and know it surprisingly well 2. It's exceptionaly good album! I rate it higher now then I used to. The expectations were high and many fans considered this album a somewhat disapointing affair but I must say I'm not sure why. As far as I'm concerned, Camel delivered here.
I've always considered their style borderline Canterbury. Here they had made a firmly jump over the fence and caravanised their sound even more with unimitable Sinclair bass and voice. Mel's sax is very welcomed addition too. There is only one track slightly to poppy for my taste but this kind of aesthetic was excercised on some Caravan tracks too and I can perfectly live with it. The rest is flawless Cantenbury-ish and jazzy prog. I'll happily put it with my other Camel gems.
The album also debuted his mastery of electroacoustic as the sounds on this album originated from the guitar and piano and with a laptop were manipulated to craft some extremely atmospherically diverse sets of soundscapes. This style of music is almost impossible to convey in words because it has to be experienced with the right mindset to fully comprehend. While ambient glitch electronic music is hardly my bailiwick, i can instantly recognize music that is more intelligently designed as opposed to mere noise and although it's almost impossible to ascertain where an occulted sound originates from, something is recognizable on some level as to give it a deeper meaning.
Overall HECKER delivers these sounds in a beautiful post-rock format where the individual sound effects conspire to craft a larger listening experience. The rest are also ok most of the time.
Not much is known about this album in particular from his career, I mean no reviews or some opinions, only bands he is involved across the years. A nice album for me, more like 3. The damaging influence of the mother is explained then after the verse and Malcolm's voice drifts, the progressive doors open wide and send you to the stylized sounds of "Abacab" with changes in structure, rhythm and melody.
A 70's and 80's alliance with Jimmy's metal shells and Georg's slide guitar on the front and a very progressive track.
The title that ultimately stands out the most from its ancestors to give its own signature. This album is at the border of a tribute, a cover, an album halfway between remixed GENESIS and EYESBERG, a regressive bridge brought up to date, strange and singular, few headaches, just a moment of musical freshness; an album that will surely make you want to immerse yourself in those years when prog was revolutionizing, an album that is easily and pleasantly listened to, perhaps too much given the similarity.
It almost sounds like this band is ready to burrow through a wormhole and take on the soundtrack of another dimension entirely and is indeed the type of extreme metal madness that pleases avant-gardists such as myself while irritating many other metal purists like a swarm of stinging hornets.
The closest metal act i can compare this one to would be Azure Emote, especially the debut album "Chronicles Of An Aging Mammal" which is utterly bonkers and so is this really!
While this album is truly chaotic, the production is off the charts excellent with interesting juxtapositions of counterpoints which is quite fascinating. Perhaps the most insane track of all is the mondo-bizarro "A Sickening Display" which sounds like an industrial metal band has gotten stuck in an old vacuum tube with electrical shocks making intermittent high voltage sessions. When all is said and done, just look at the album cover and imagine a soundtrack to it only intensified by extreme deathened mathcore with industrial electronica, caffeinated classical elements and jittery A.
Whether you can tolerate this one or not, you can't help but be impressed by the musicianship and artistic statement being presented. This is not just avant-garde weirdness for its own sake.
This definitely has a very strange twisted beauty to it and despite the comparison to Azure Emote that is only the closest other deranged band that i can come up with. This actually exists in its own little universe and all the better for it. Personally i find this engaging all the way through. It's one of those albums that succeeds in taking me somewhere completely new and unexpected and does a mighty fine job in the process.
This may explain why it gets a bit of a mixed reception; compared to pretty much any preceding album of theirs, it's certainly a significant musical shift. Nonetheless, I think they do a fine job of deriving a rich Tull-esque atmosphere out of the equipment.
Is it as groundbreaking as Aqualung or as solid as Songs From the Wood? No, but it's a damn good album despite that and more immediately interesting than, say, Stormwatch or War Child. Review by friso Prog Reviewer. I waited for something to happen, for songs to build up in a more epic sense but it does not happen.
Mellow feel goes trough out and I must say that the vocals just don't speak to me, they additionally add to the boring feel that this album, at least for me, delivers. If you listen to the first song on this album, Time of Your Life, you might think that this album is absolutely miles away from GodWeenSatan or the Pod. If you listen to the second song on this album, you might think that this album is absolutely miles away from Joe's Garage or We're Only in It for the Money.
Finally once you reach the song All I Want is Out of Here, you begin to understand where Banana Moon becomes relevant with all of the prior names. The album takes a complete into absurity and chaos. I don't know if this album was at all relevant or influential to any of the previously mentioned names, but I hear a very clear connection. It is self expression by being as absolutely chaotic as possible.
Or that he is secretly a genius composer songwriter. I think the dude just had so much fine while recording this. At the same time you could easily write this off as complete gibberish, there's a charm to some of the droning proto-noise rock tracks towards the end. And His Adventures in the Land of Flip is probably the highlight of this album for me. Some might find it unbearable, but unbearable psychedelia is what I thrive on sometimes. Most of all, how did this album get made?
Gong is pretty out there for the early 70s, but I feel like the distinct aura of some of these songs was only possible in a DIY environment. See: all of the above mentioned DIY albums. To end this review on a more serious tone, this album is really unbalanced.
The original issue sells the first side as more of an accessible post-soft machine collection of songs, which range from alright to really mediocre.
The second side is the freakout, which I think is the only consistent unit of energy on this record. I would absolutely come back to that side of Banana Moon, but as an album, I'm not sure if it's good. However, for the sheer daringness of Allen, I feel like this deserves to be counted as 3 stars. Now that we have other videos available including at least one from their prog peak, "Classic Rock Legends" has been somewhat downgraded by the public.
After all, this isn't really any of the "classic " lineups, even if Tony Hooper is back home. The keyboardist Chris Parren wouldn't make the top 5 of Strawbs keys men, and, though Hooper and Richard Hudson are both capable singers, Cousins has chosen to sing lead on all tracks. As to the material, it is heavily weighted on their "Bursting at the Seams" album, the one that yielded their only big hit singles in the UK, and completely eschews their best selling UK album "Grave New World" while barely glancing backwards from there.
Luckily, Brian Willoughby is a superb sensitive lead guitarist and Hooper does harmonize very well with Cousins. The tribute to Sandy Denny, "Ringing Down the Years" is particularly stirring, and "Hero and Heroine" is a well chosen and even better played encore. Surprisingly, Cousins turns in an enthusiastic vocal performance of "Part of the Union" which, although their biggest hit, was written and originally sung by John Ford, who is not in this lineup.
When you consider all the obstacles faced by this group for most of their career, particularly at the time of this show, this is actually an admirable performance that is at worst, absolutely professional and, at best, timelessly triumphant. The title track is almost 15 minutes long and divided into six parts as they all blend into each other.
It gets pretty crazy by the fourth part where it sounds like the sax and orchestration are trading off and even more insane on the next section and ends hard on part six. This needs to be heard to be believed. Nice bass as well. Sounds like "Shaft" before 2 minutes. Next we get a three part piece with violin and acoustic guitar starting us off then flute before an ethnic instrument making bass like sounds arrives.
The tempo picks up on the next section as violin plays over top. Flute replaces violin as the lead on the last part. It ends in a very ethnic way with "Youssoufia" as deep male vocals join in and atmosphere. Flute and percussions too. Very cool sounding. Is that oboe before 2 minutes? Check out all the sounds here. Retrieved July 5, Live Fillmore East Authority control MBRG : 5eadffabcb5.
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I'll have to give it a few more listens, but I doubt it will be a regular listen just like some of my other albums CD's. Your email address will not be published. Uncategorized Iron Butterfly — Heavy review May 8, Iron Butterfly — Heavy review. Debut album by legendary San Diego band Iron Butterfly was released in , two years after the band was formed.
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