JETHRO TULL’s IAN ANDERSON Joins TERRY REID And MANCHESTER STRING QUARTET On An Epic New Version Of BADFINGER’s “DAY AFTER DAY!”

Los Angeles, CA - What do you get when add the woodwind talents of rock flutist Ian Anderson and the six-string skills of British guitarist Terry Reid to Badfinger’s unforgettable smash hit “Day After Day”? You get one of the most compelling and riveting reinventions of a classic song you’re likely to hear all year! Throw in a modern string quartet out of Manchester for good measure and now you’ve got one beautifully rendered, symphonic rock masterpiece! All of these elements combine flawlessly, as if the passage of time was merely waiting for them to coalesce around Joey Molland and company’s superb version of the song that originally appeared on Badfinger’s 1971 album Straight Up. Reid, whose ultra-melodic, soulful guitar playing earned him acclaim for his solo albums as well as session work for the likes of Bonnie Raitt, Jackson Browne and Don Henley, adds depth to the emotive string arrangements of the Manchester String Quartet with his subtle playing while Anderson’s flute adds unexpected flourishes that will give listener’s the feeling of hearing this song for the very first time again and again, day after day!

Anderson shares this about the track, “Like many of my contemporaries, I remember ‘The New Beatles,' as Badfinger were unfortunately dubbed by the UK press. Great songwriting and production by George Harrison. [This version is] brought to life here by the Manchester String Quartet, alumnis of the Northern Royal College Of Music. I tried to find a few harmonies and simple counterpoints to interject into their splendid performance. For me, an elegant and nostalgic experience.” 

Meanwhile, Reid had this to say, “It was great to go back and listen to this song again and get to play guitar on it as I’ve always loved the band and this song. I got to hang out with Joey back in the day and he’s a really great guy and a fine musician. Playing on this song brought back some great memories of a musical era that will never be forgotten by me and many others.” 

Stream the single: https://orcd.co/badfinger_day_after_day

Press inquiries: 
Glass Onyon PR
Billy James
PH: 828-350-8158
glassonyonpr@gmail.com


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UK Music Legends The Pretty Things Announce New Album “Bare As Bone, Bright As Blood” - The Final Recordings Of Phil May and Dick Taylor

photo credit: Judy Totton

Cult British band The Pretty Things have announced their new album “Bare As Bone, Bright As Blood” will be released on 25th September via Madfish Music. Please see below for a comment from the band’s management and the full album press release.

Mark St John, Manager of The Pretty Things: 

On May the 15th 2020, Phil May, the lead singer with “The Pretty Things” died…. Despite his well-documented ill-health, his death was unexpected and resulted from a tragic accident and not his embedded health condition. His is a catastrophic loss and has been felt and acknowledged across the world of music and the arts.

At the time of his death, he was hugely excited and enthused about the impending release of the first-ever, all-acoustic “Pretty Things” album, which had been completed before his death.

I wrote the press release below, on the 5th May, just nine days before he died. We have left it unchanged – it remains as relevant to the record - and particularly to Phil and his connection to it, as it was while he was still alive and looking forward to performing these dark songs live and walking a new tightrope of performance…..

They will now never be heard live with Phil’s voice, and maybe never at all, but that does not diminish this remarkable record which will stand as a final tribute to one of the most significant artists of his generation, and beyond.

photo credit Mark St John

THE PRETTY THINGS – “BARE AS BONE, BRIGHT AS BLOOD” – THE NEW ALBUM.

On December 13th, 2018, following a sold-out show at London’s O2 Indigo, The Pretty Things retired from live, electric performances, after 55 years of touring and recording, due to the ill-health of lead singer, Phil May.

This was not something that the band, or their fans, wanted, but it was unavoidable, given the circumstances. At the time, there was already a new, electric album well underway, but this was shelved as it was clear that the band would never be able to perform any of these recordings. At the time of the retirement, some sort of return, possibly in a stripped-down, acoustic format was not entirely discounted, but it was not expected, due to the health issues, surrounding Phil May and also to the general lack of appetite that the bands’ two principals - Phil May and Dick Taylor - had always shown for acoustic performance as a mainstay for their work.

However, during 2019 there was a significant sea change in attitude within the band and, early in the year, the band, together with manager and producer, Mark St. John, returned to the studio and took the first, tentative steps toward the making of a new album, this time in an entirely acoustic format. The album - now completed and entitled “Bare As Bone, Bright As Blood” – is a genuine first for a band that has been knocking down the walls with their aggressive and memorable, electric live performances for more than 55 years.

This record has little in common with their past work, save that, like so many “Pretty Things” records and projects, it is wholly unique and an absolute first. Arguably, this record is as ground-breaking as the band’s seminal Rock Opera and psychedelic masterpiece – “S. F. Sorrow” – which is acknowledged as rock music’s first Rock Opera. The levels of inspiration, imagination, originality and musicality displayed are at an equivalent high; in many ways, perhaps, because the whole record is a totally exposed, stripped down, acoustic project, principally featuring only the two band members. For them, this was an arduous and unfamiliar task, relying solely on their fundamental talents and undertaken without the support, comfort and benefit of the thundering band that had underpinned their work for so many years.

This is work stripped bare and reflects the frailties and insecurities of gathering age, ill health, painful failure and memorable success. It is a reflection on two long, long lives in art and music that have always been at the cutting edge, and that have always worked as they did at the very start, in their teenage years. “Bare As Bone, Bright As Blood” does not allow for that luxury. This is not a pair of old rockers, still the oldest swingers in town. This is the work of two, old men, who are acting their age, maybe for the first time ever. If their health and energy is depleted, their skill, insight and experience is not, with the result that they have made a remarkable, exciting, unexpected and thought-provoking record, that is, against all the odds, another singular “first” for The Pretty Things.

It was a very sad day when we said an enforced goodbye to the astounding electric band that was The Pretty Things in December 2018. It is a very happy day to see them back, finally as the old men they truly are, and finally comfortable to release the young men that, for such a long, long time, they were. “Bare as Bone, Bright as Blood” – the remarkable and unexpected new album by The Pretty Things, still the tainted, dark royalty, banished from the rock establishment.

“Bare As Bone, Bright As Blood” will be released on CD, gatefold 2xLP on red vinyl and digitally and is available to pre-order now. (https://theprettythings.lnk.to/BareAsBoldBrightAsBlood)

The first singles to be taken from the new album are the double A-side of “The Devil Had A Hold On Me” & “To Build A Wall” and are available to stream now. (https://open.spotify.com/album/57gCumw0Pj2ih9ALzfa8Sc?si=2hoAw1IeTsShEG0BpMoIAw)



Track listing:
1. Can`t Be Satisfied [03:04]
2. Come Into My Kitchen [04:17]
3. Ain`t No Grave [03:58]
4. Faultline [04:22]
5. Redemption Day [05:22]
6. The Devil Had A Hold Of Me [04:16]
7. Bright As Blood [04:44]
8. Love In Vain[04:17]
9. Black Girl [02:37]
10. To Build A Wall[04:25]
11. Another World [03:56]
Bonus Track:
I`m Ready [03:43]

Press Quotes:

“Mr. May’s snarling vocals and rebellious persona helped make his band, the Pretty Things, an influential part of the 1960s British scene.” - The New York Times

“The man David Bowie listed as God in his address book stuck two fingers up at rules about music, sex and life itself – and made the most glorious noise doing it” - The Guardian

“May’s yowling vocals were as ferociously potent as anything recorded during the 1960s British beat boom.” - The Times

“Although the Pretty Things did not achieve the fame of many of their peers in the UK rock scene, they were beloved by musicians, including Aerosmith and, most famously, David Bowie” - Pitchfork


Links:
Facebook: https://www.facebook.com/The-Pretty-Things-115515605226
Website: http://www.theprettythings.com/
Label: https://www.madfishmusic.com/
For more hi-res images : www.madfishmusic.com/media/theprettythings

Press inquiries: Glass Onyon PR, PH: 1-828-350-8158, glassonyonpr@gmail.com

Rick Wakeman Releases New Digital Single “ASCRAEUS MONS” From His New Album 'The Red Planet'

Ascraeus Mons /əˈskriːəs ˈmɒnz/ is a large shield volcano located in the Tharsis region of the planet Mars.

CHECK OUT “ASCRAEUS MONS” HERE 

With the release of Rick Wakeman’s new studio album, The Red Planet due on August 28th 2020, described by BBC Radio 2’s Steve Wright as “King of the Prog rock keyboard .. one of our most successful and prolific musicians”, has released the first single to be taken from the album entitled “Ascraeus Mons”.

Inspired by 2021 being the anniversary of mans’ first expeditions to mars plus the fifty since including many landings Wakeman states “the incredible information discovered and of course some astonishing images. You just have to look at the photos online or in books to be inspired, the landscapes are fascinating and the volcanoes are huge …..bigger than anything on earth. It was the perfect subject for me to be inspired musically.”

He explains further “The main themes and ideas were all written on the piano, with photographs of Ascraeus Mons scattered around. I wanted the start of the album to be a statement and I always felt the church organ as an initial solo instrument said it all. This is certainly a track that screams out to be played live.....so I’d better get practising !!”

The Red Planet features 8 newly composed pieces, especially for this project, and harks back to Wakeman's critically acclaimed debut album The Six Wives of Henry VIII where there were 6 heavy keyboard pieces based around a central subject matter. It is a serious return to “Wakeman Prog”...

“It’s all a grand musical gesture ... this record “sizzles” and “melts” with old-time vinyl prog passion” Somethingelsereviews.com

“Rick Wakeman himself is a true visionary, a maestro, and a storyteller that has brought The Red Planet to life.” Echoes And Dust

Rick has blown the dust off his favourite analogue keyboards and along with his with the latest keyboards, has used the same formula he devised when making his legendary albums The Six Wives of Henry VIII and Criminal Record.

Upon being asked about the expectations of his Prog Fans, that they are hoping he will have shoved the “Prog Fader” up to 11, he replied, “That could be a problem.... as it's already at 14!!!”

The album, produced by Rick Wakeman and Erik Jordan, has already garnered high praise and coverage in the worldwide media including Vanity Fair, Billboard, plus making the cover feature in the UK’s Prog Magazine and multiple interviews on BBC radio stations.



Madfish will be releasing worldwide to retail The Red Planet as a CD Digipack with 20 page booklet, a black vinyl 2LP in gatefold sleeve and digitally on 28th August 2020, these are available to pre-order HERE (https://rickwakemanmadfish.lnk.to/TheRedPlanet)

For a limited number of very lucky fans there is (covid-19 dependent) a special launch event to be held at the UK’s National Space Centre in Leicester on Saturday 22nd August – more details on tickets can be found HERE (https://www.musicglue.com/rick-wakeman-the-red-planet/products/star-vice-admiral-star-playback-event-at-the-national-space-centre-with-bag-of-goodies-signed-event-programme-and-signed-cd-slash-dvd)

The English Rock Ensemble (ERE) features:
Rick Wakeman - Keyboards
Dave Colquhoun- Guitars
Lee Pomeroy - Bass
Ash Soan - Drums

Rick Wakeman's official:
www.rwcc.com
@GrumpyOldRick
https://www.facebook.com/RickWakemanMusic

Press inquiries: Glass Onyon PR, Billy James, PH: 828-350-8158, glassonyonpr@gmail.com

Prog Duo Days Between Stations to Release New Album “GIANTS” Feat. Billy Sherwood, Colin Moulding and Durga McBroom!

Los Angeles - Prog duo Days Between Stations (DBS) is releasing their highly anticipated 3rd album titled “GIANTS” which features guest appearances by legendary XTC member Colin Moulding, Billy Sherwood of YES and backing vocalist for Pink Floyd Durga McBroom on Sept. 21, 2020!

Although firmly rooted in the progressive rock genre, the new DBS album “GIANTS” ventures into more rock-oriented material. Says guitarist Sepand Samzadeh, “'GIANTS' really brings the band through areas that we have not ventured before. Our debut album was instrumental, cinematic, atmospheric, experimental and more contemporary in vision and sound. The sophomore album had both elements with a classic prog sound. GIANTS is more aggressive, unabashed and raw. It is designed to sound as us as a 4 piece band. Billy had more creative and producer input and really pushed us to play better, faster, take more chances and recorded us in fluid/ unrepressed state of mind”

Says Sherwood, “I love the creativity of Sepand and Oscar. The new record speaks to that spirit of imagination they both share. I'm honored to be a part of it and explore new musical horizons with them and I'm very proud of the new record we've made... Days Between Stations is a musical force to be reckoned with indeed. I'm very excited for people to hear this new record… We worked very hard to push our own envelopes and try to come up with something very unique and adventurous!”

Founded in 2003 by guitarist Sepand Samzadeh and keyboardist Oscar Fuentes, the duo named themselves after the cult novel by Steve Erickson and have devoted themselves to, as they say, Art Rock and Post Prog - music that reflects their varied influences, as well as shared disregard for stylistic boundaries.

The genesis of Days Between Stations new album “GIANTS” came about when, “My father passed away shortly after we released the last album, 'In Extremis,'” Oscar explains. “He suffered from Alzheimer's. Around that time, I wrote a piece of music and put some words to it. It was called 'Giant' and the visual inspiration for the lyrics came from me picturing a young boy looking up at his father. I clearly remember looking up at my dad as a young kid…literally looking up at him, as he was a tall man, but also for me my father and my mother were like giants, figuratively, and even all those years later there was a sense of 'how can the world keep going on, without them?' They had held up the sky, after all. At least it seems that way, I'm sure, to many young kids all over the world. So the lyric dealt with this young boy sort of dealing with seeing this 'giant' falter: to see him lose his memories, to disease; to see him lose his wife. And to realize that, at some point, the boy is now the same height as the father, the 'giant.'”

Sepand adds, “We left the concept loose enough in order to have some wonderful collaboration again. Oscar and I were excited to approach Paul Whitehead to discuss the conceptual design. Paul took the idea and drew a proof, which was what you see on the final cover design. I remember that I took Paul's proof and made a large copy of it, shortly after, when we began recording - Billy Sherwood, Oscar and I - inspired by Paul's painting, used the paintings images and philosophy and developed songs and lyrics. Once we were done and needed more material, we met with Paul and hoped to inspire him with our sonic development. We would go back and forth several times inspiring one another and until the completion of the music and cover art.”

So what IS Giants?

You can find Greek Mythological figures such as Sisyphus, who inspired the song “Another Day.” Perception plays such a deafening role in our lives, in how we live, how we feel, how we see, think, and react and so on. Sisyphus was condemned for eternity by Zeus. He had to roll a giant boulder up a steep hill and before reaching the top, Zeus would enchant the stone to roll back down. If we look at this philosophically, Sisyphus, has really two options, be miserable for eternity or really enjoy the labor of love of rolling the rock up the hill, then watching it roll back down.

Besides Sisyphus, you can spot Atlas in the upper right corner who was condemned to hold the sky. Yet in the cover art one can see, with an all-knowing seer in the facade, which the sky and horizon is peeling off, all while Atlas is holding the peeled image while he is sinking. This was used as a lyric, also that is how Oscar felt about the demise of his father's image as a Giant and his health sinking him to the ground.

Oscar explains, “I hesitate to explain the 'plot' too much, but I think you could say that a pretty epic story is told here. Between the lyrics and Paul’s artwork and of course what the music conveys, I think a pretty complete picture is painted.”

This time around Billy Sherwood sat in the produce chair, and helped the band write and arrange the songs and lyrics. He even wrote a song for the album titled “The Common Thread.” Sepand recalls, “I love how Billy captured us. Some of our final takes were us rehearsing parts while the tracks were armed or at most when playing a first or second take. It is pure, instinctual and unabashed playing with minimal post production effects. It's raw. I think we have our bearing and confidence now to stand on our legs. I feel now that we know the rules and next round we can break them” Oscar adds, “I would say Billy was a lot more involved with the writing of this album, in general. He really brought a different type of energy to DBS, a more rock and roll energy.”

Sepand continues, “With 'In Extremis' we had the honor of playing with some of our icons, this time we kept it local with one exception, Colin. So Billy, whom we consider the third station, re-joined us. He recorded drums, vocals and bass. Durga McBroom who recorded her vocals on 'Witness the End of the World,' and of course - our cousin across the pond - Colin Moulding can be heard on 'Goes by Gravity.'”

Says Colin Moulding, “I was contacted by Billy Sherwood to sing on this track 'Goes by Gravity.' And because I was given a free reign, I re-wrote the lyrics somewhat to make the track more pointed...I think it turned out good in the end.” Durga adds, “Working on this project has been amazing. From Lebanon to the San Fernando Valley, we mixed our essences together. DBS's magical music, Billy's meticulous production, and my humble vocal offerings make a heady combo. I had a blast!”

In closing Sepand has this to impart, “Currently, we just finished scoring for a short film. We are discussing putting a live video/audio album together and performing in 2021. Live shows are now being discussed. Lastly, I am very excited to begin work on the fourth album, as well as a side project with Billy Sherwood.

Watch the promotional video at The Prog Report: https://progreport.com/prog-duo-days-between-stations-to-release-new-album-giants-feat-billy-sherwood-colin-moulding-and-durga-mcbroom/

To pre-order CD & Vinyl: https://www.daysbetweenstations.com/store/

For more information: http://daysbetweenstations.com

Press inquiries: Glass Onyon PR, Billy James, PH: 828-350-8158, glassonyonpr@gmail.com

NYC Power Trio OGD To Release First Single From Forthcoming Debut Album "The Big Game" Produced By Drum Legend Jerry Marotta

“Young Love” is the first single from NYC based power trio OGD from their forthcoming debut album “The Big Game” produced by master drummer Jerry Marotta (Peter Gabriel, Paul McCartney, John Mayer). The band features Derek Olivero (Guitar, Lead Vocals), Bobby Gavin (Drums, Vocals), and Dave De Ranieri (Bass, Vocals). The band recorded the album in upstate New York at Dreamland Recording Studios. Famed album cover designer Hugh Syme (Rush, Aerosmith, Dream Theater) was recruited to create a package for the CD and vinyl harking back to the pre-digital days of rock-n-roll including a 20-page booklet of Hugh’s art.

The video was produced by Doug Hatley inspired by the album artwork from legendary artist Hugh Syme. Watch the video for “Young Love” here:

Hailing from the ashes of Outland, Olivero and DeRanieri joined forces with Gavin to form OGD creating modern day rock with shades of Rush, Kiss, and even Clutch. “The Big Game” features 10 original compositions co-written by Olivero, Gavin, DeRanieri. The album was mixed by Michael Cozzi who’s worked his sonic magic on releases from Phil Keaggy, Tony Levin, Deep Energy Orchestra, and Security Project, his band with Jerry, Trey Gunn and Happy Rhodes. The album was mastered by world-class mastering engineer Chris Athens with the vinyl cut by Chris Muth.

Get ready to join the game when the album drops on August 25 with a full vinyl package set to release later in the year.

“I was so impressed by the prog-level energy and complexity and how it coexists wonderfully with the accessible and ‘radio-friendly’ aspects of the song structure. ‘The Big Game’... some really big music ... great playing, arrangements, and lead vocal .... and a world class sound overall! And no wonder — with the masterful production by maestro Jerry Marotta and his team!” - Hugh Syme  

Says Derek, “Writing music for me is about a feeling or mood brought on by past or current life events. It could be from a memory, walking away from something or someone, a deserted highway, experiencing unknown, going into the wild, the universe and what is out there or a scene from a movie. Something that sticks out and strikes a chord in me. I'm always exploring and wondering where does the path lead. Most of the songs were written based on life experiences. The meaning is left up to the listeners interpretation. Always searching, The Journey continues with our first studio Album ‘The Big Game’ recorded at Dreamland studios NY. Produced by the legendary Jerry Marotta.”

Says Dave, “I’m thrilled with the OGD album. It was amazing to work with Jerry Marotta who I listened to and admired for so many years. We all did our best to do justice to these songs. I love albums you want to hear without skipping a song. I think we achieved that with ‘The Big Game.’ The album artwork is beautiful. The cover draws you in, and the images inside reflect each song. Hugh Syme did stellar work and that is yet another thrill, as I’ve been admiring his work on all my Rush album covers for years. Now he’s done our album!”

Says Bobby, “We all have added our mark on the music and it shows drive, passion, creativity and anything to anyone with an ear to listen too. There is something for everyone to enjoy and get down with the momentum and drive of OGD.”

The thing that always gets to me when I’m listening to music is sincerity. Neil Young has it. Bruce Springsteen has it. Otis Redding. Steely Dan, Aretha Franklin. Sinatra. The Band. The Beatles. You get it. As time goes by I find it harder and harder to buy into what music is selling these days. It’s fake, manufactured, constructed etc … When Derek Olivero, Bobby Gavin and Dave De Ranieri contacted me looking for a space upstate to set up and jam I sold them on Dreamland Studios which I’ve been running for about 12 years. Large Church built in the late 1800’s. Big sound. Big acoustics. I greet them at the Church entrance and say hi. Okay … he’s gotta be from Brooklyn. This ones gotta be from the Bronx and the 3rd guy sounds either Queens or Brooklyn. They set themselves up. Bobby Gavins drums sound like cannons! Derek’s guitar is screaming at me. Slapping me in the face. Daring me to utter a single sound. Dave Da Ranieri's Bass is enabling me to forego my next colonoscopy. Okay, these guys know how their instruments are supposed to sound. Check. I’m all ears now. They start rocking it. I hear lyrics like ‘Innocence Ran’ next up ‘The Word’ The freaking Word!!! How brazen is that! Does Derek Olivero actually think he knows what ‘The Word’ is? That’s badass if you ask me. Then ‘Setting Sun’ ‘Out In The West’ ‘Scary Night’ ‘Unknown’ and finally … ‘Young Love’ I get my engineer to start rolling tape. Let’s record some of this stuff and listen back later to see if I wasn’t imagining what I’d heard. In the end I told them they had to let me make the record for them and we had to record it at Dreamland with a few guitar overdubs done at Jersville Studios. My studio in my house.

 I love the record we made. I love these maniacs. We are now lifelong friends and the record is finally about to hit the airwaves. ‘The Big Game’  watch for the videos. Seek out the music. I mean what I say …

Sincerely,
Jerry Marotta



OGD:
Derek Olivero - Guitar, Lead Vocals
Bobby Gavin - Drums, Vocals
Dave De Ranieri - Bass, Vocals

“Young Love”
Written by Olivero, Gavin, DeRanieri
Audio Produced by Jerry Marotta
Video Production and Animation by Doug Hatley
Band Video by Jerry Marotta
Album Cover Artwork, Direction, and Illustrations by Hugh Syme
Audio Recorded at Dreamland Recording Studios in West Hurley, NY
Additional Recording at Jersville Studios in Woodstock, NY
Audio Engineer - Ken Helmlinger
Assistant Engineer - Ariel Shafir
Mixed by Michael Cozzi at Moscozzi Studio in Seattle, Washington
Mastered by Chris Athens for Chris Athens Masters in Austin, Texas
Band Photography - Natalie De Gennaro & Francis X DeGennaro
Strategic Liaison - A.J. Chippero

To purchase:
https://ogdband.bandcamp.com

For more information:
https://ogdband.com/home
https://www.facebook.com/ogdband
https://www.instagram.com/ogdmusic/
https://twitter.com/ogdmusic
https://www.youtube.com/channel/UCmrYE5i3fcjNuIGtO5vra3Q

Press inquiries: Glass Onyon PR, PH: 1-828-350-8158 (US), glassonyonpr@gmail.com

Rock Review: Mandoki Soulmates-Living in the Gap + Hungarian Pictures

Release Date: June 19, 2020

Label: 2020 Purple Pyramid Records

Website 

Mandoki Soulmates debuted in 1991. The band consists of many members but, the founding three are Ian Anderson, Jack Bruce, and Al Di Meola; along with Leslie Mandoki. Often coined as a ‘supergroup,’ Soulmates present themselves as a unified front. They direct the band as one whole unit, rather than several different bodies and voices just up on a stage. While most artists and bands either remain on one side or the other of the political aisle or keep their personal politics out of their artistry, Mandoki Soulmates lightly sprinkles political undertones throughout their music, especially on the newest released album Living in the Gap + Hungarian Pictures.

Now let’s get down to the business of the music. “Living in the Gap” starts the album with a big-band/jazz, funk-fusion that is quite fitting for such a time as this. The group sings of unity and bridging the ‘gap’ to where we separate from others intentionally on almost every subject nowadays. It also hints of a thought that there is no “right and wrong” rather, it’s a matter of collective agreement or disagreement.

“Young Rebels” is a shout to how all different young individuals, each with varying backgrounds and experiences are trying to get through each day of this world and possible change in a peaceful but ever-so-nonchalant manner. In the same way, they cannot decide whether they are trying to bring about some old ideals as a youth, or much older but with youth mindsets and hopes. “Turn the Wind” takes a bluegrass-like spin in the record. It comes down to simply a relaxed tune, but, it does beg the question within, “can we stop anything, anymore, at all?” Or, is it a lost cause in trying to make a big change? “Where We Belong” sings of this back and forth between feel-good moments and some that dig in a little deeper in pain or sorrow.

What I might call the ‘anthem song,’ “Let the Music Show You the Way” is a bright and uplifting tune to bring anyone out of their funk. Completely void of any particular signaling or message, it simply enlightens the listener that music is the universal peacekeeper as it allows us to align our feelings to any song we choose. “Too Much Pride” belts out a trumpeted jazz message of an overwhelming sense of pride, unable to move out of our own way to see more clearly, other individuals and how they see and feel through life.

“Old Rebels” is a continuation of “Young Rebels” but, carries the same message from before with a wiser, somewhat opposing perspective. “Welcome to Real Life” eerily fits well with today’s political and human climate. Between the unrest of all of us being quarantined and innocent individuals dying all across the country, the lyrics ring too true, wherever your viewpoints may fall. “Hottest Queen of Cool” invokes a sexy, sleek, jazzy number to a woman who absolutely dominates what seems to be the entertainment lifestyle, almost emulating a Hollywood starlet, turning everything before her, about her.

“Wake Up” is a call-out type of song to all who will listen to change the things we see going on in the world before it might be too late, according to the band at least. Singing of “dark hearts and free minds,” one can imagine, the song is to be about making the world as bright and light as can be. “Mother Europe” follows with a song seemingly of a love of the European continent as though they are defending the nation. “I’m Not Your Enemy” begins with a 2-minute and fifty-second instrumental, cool and mellow guitar-turned-keyboard-turned trumpet solo. Afterward, the singer comes in calm and peacefully proclaiming how she and another do not have the same mindset of anger and resentment. Instead, she speaks of how she will always remain by the other’s side. Another minute and a half instrumental solo takes place before the chorus chimes back in.

A stroke of a piano keyboard twinkles the next song, “Sessions in the Village.” While the singer sings of what sounds to be a very poetically structured verse, the song then cuts from her to a synthesizer party, including a trumpet at times;  making waves in this piece to make it seem like it is a village celebration. “Utopia for Realists” brings back a male vocalist to explain how the band sees modern awareness of the world’s happenings as a glimpse of the utopia beyond. “Transylvanian Dances” is a piece of periodic verses and an overall somber tone. At the 12:22 mark, it begins to speed up for about a minute and eight minutes, turning into an all-out rock fest. Then, ending it out, it slows back down to a man singing of his son being pointed towards open roads.

“You’ll Find Me in the Mirror” is the singer looking back and reflecting on what might have been of him and now he longs for that same trust and security back that he once had. Then comes in “Return to Budapest,” and it’s exactly what you’d expect from that title. It’s a soothing, alluring song of tradition and simplicity. “Barbaro” does give off the initial impression of barbarianism with its rush of drums. When the trumpet kicks in, it turns into more of a jam session of beautifully blending instrumental families. With the piano, it kind of throws a bit of a side curveball but keeps the dramatization of the piece going, sounding like the song is growing faster and faster; thus, more exciting. Ending out the entire album, “The Torch” sings of empowerment and strength to those who come after the singers, in relaxed, chant-like fashion.

Key Tracks include: “Living in the Gap,” “Too Much Pride,” Barbaro,” and “I’m Not Your Enemy”

Gregg Keniston - MuzikMan.net Staff
July 15, 2020

Track Listing:
01.   Living in the Gap
02.   Young Rebels
03.   Turn the Wind
04.   Where We Belong
05.   Let the Music Show You the Way
06.   Too Much Pride
07.   Old Rebels
08.   Welcome to Real Life
09.   Hottest Queen of Cool
10.   Wake Up
11.   Mother Europe
12.   I’m Not Your Enemy
13.   Sessions in the Village
14.   Utopia for Realists
15.   Transylvanian Dances
16.   You’ll Find Me in Your Mirror
17.   Return to Budapest
18.   Barbaro
19.   The Torch

Drummer Dave Schoepke To Release Second Solo Drum Album "Tessellated Resonance" Aug 5, 2020

“Dave is a wonderful musician, extremely diligent and caring. He is musical, sympathetic to others around him and he listens!!!” -Martin Barre

Drummer Dave Schoepke, best known for his work with Jethro Tull legend Martin Barre, as well as The Willy Porter Band, will be releasing his second solo drum album “Tessellated Resonance” on August 5, 2020. The album comes on the heels of his critically acclaimed debut album from last year “Drums On Low.”

Dave Schoepke discusses “Tessellated Resonance”:

The prep for this album was driven by the quest to find my rhythmic connection to the environment, devoid of the trappings of my modern-day musical influences.

The story behind this album is not how I was able to connect those dots but rather how at this time the answer I was searching for ultimately eluded me. Instead, I found a greater sense of how I want my music to evolve, but right now that content isn’t informed by what I hoped it would be. I discovered new ways to approach my instrument and have a better concept of how to shape my music going forward than when I started this process. So, what didn’t I find?

I logged over thirty hours of field recordings of nature, traffic and other sounds from the environment in an attempt to capture content both natural and manmade, but not directly musical per se. In that regard, are there connections we are missing when we create music today? Are the modes of approach so inhibiting that we miss things that are more innate or are these just my perceptions and am I overthinking it?

Through this adventure I searched for sounds that spoke to me rhythmically and what I hoped would inspire new directions and concepts of approach. I was inspired by much of what I had recorded, and it brought forth higher degrees of introspection I had not tapped into the way that I envisioned I would.

The next element of sounds I was striving for came from recording my six-month-old son’s first syllabic attempts and rhythmic strikes with his hands and feet. I was curious to see if he would land upon any rhythmic patterns or cycles that might be settled in his DNA. While I wasn’t able to mine that content directly for this album, I still feel there is a way to get there and that the limitations are on my end…can I find a way to make a connection that can be reflected in a logical, musical way? That question still remains.

My attempts to record rhythmic connections to the environment became much more challenging than expected. I noticed that whenever I tried to get a recording of nature unimpeded without human intrusions, I was unsuccessful every time. I found it very difficult to get away from humans or human-made sounds, even with recording in a rural area. Unfortunately, I had finished recording the album when the Covid 19 Pandemic started, but I was able to stand outside and listen to nature with no humans or traffic sounds interfering. However, it was early March and still very cold in the upper Midwest, which in turn kept nature pretty quiet so I still couldn’t get any decent field recordings! The realization that it took a pandemic to bring down the din of humanity was pretty alarming to me. Even with my failed attempts, I still feel that through my research and exploration, I was inspired in other ways; I found some new ideas rhythmically, melodically, and thematically. All of which are a progression from where I was with “Drums On Low.”

I recorded over forty pieces of music on a diverse array of percussive setups ranging from a full range of just Roto Toms, to an expanded 1970’s Ludwig Vistalite kit, and traditional wood four and five-piece configurations. I also created some extreme kit setups made entirely of frame drums and micro percussion. However, the most unique variation was a bass drum with six snare drum ensemble. For this album, I spent a considerable amount of time shaping the melodic structure of the pieces and also searching for different combinations. Different tuning combinations set the pieces apart from one another while maintaining some unity.

All of the songs were recorded live with a modest recording setup with minimal mic’ing. For the recording, only seven channels were used, and no overdubbing or editing is done on the album. Songs like ‘Earth Calls,’ ‘Shorn,’ and ‘Voices Welcome’ show the diversity and drama that Roto Toms can project when interesting intervals are discovered. The six-snare drum array on the song ‘Currents,’ deploys a preponderance of snare content but maintaining a strong melodically driven concept. Other pieces like ‘Loomfixer’ and ‘Beyond The Slanting Surfaces,’ utilize traditional drum set pieces but focus on a centered melodic theme. ‘Nemophilist’ deploys a subtle melody subservient to the gorgeous interplay of birds from deep in the woods and devoid of human intrusion. (Finally!)

In the end, the release of ‘Tessellated Resonance’ marks the continuation of the ongoing dream to create solo drum music. I feel like through continued introspection, research and study, I will be able to follow the path that I am firmly set upon to connect to the world around me.

Dave Schoepke



Bio

Dave Schoepke is an accomplished drummer from the Greater Milwaukee area. He has been the drummer for The Willy Porter Band since 2002 with three acclaimed albums with Willy. In addition to recording and touring he has numerous television and radio appearances.

Dave has had the pleasure of working with the Legendary Jethro Tull guitarist Martin Barre. Dave toured with Martin’s band in 2017 and briefly in 2018. He appears on his “Live At The Factory Underground” album released in 2019.

His project, “Drums On Low,” has received acclaimed reviews from Modern Drummer, Recording Magazine, and numerous global on-line music critics. The 400th issue of Recording Magazine includes a multi-page feature of Dave’s process of writing and recording “Drums On Low.”

Dave is currently a full-time member and songwriter of the Milwaukee based Soul-Blues group Tweed. The band’s original take on the genre has made a strong impact internationally with numerous tours in Europe and consistent tour dates in the U.S. with strong radio airplay in the US and Europe.

Dave also heads up the improvisational recording project, Blank Radio, and is the chief engineer and curator of hundreds of sessions with musicians that help emphasize the energy to create free flowing music in real time. Additionally, he is an extremely busy session musician with over 50 albums to his credit. These albums cut across all genres of music. He has also done dozens of instructional CD’s for the Hal Leonard Corporation.

Dave has done dozens of clinics and educational based symposiums with legendary artists Ed Thigpen, Paul Wertico, Dom Famularo, Greg Bissonette, Ernie Adams, and Carmine Appice. He maintains a busy schedule of teaching, touring, clinics, and sessions, and is always striving to evolve in every facet of his music making.

Here’s what the press has said about Dave Schoepke’s debut album “Drums On Low”:

“This percussive music possesses and honesty and immediacy that emphasize the full resonant tones of the drums. Each piece explores its own set of ideas and themes, developing and building a sound world while providing both continuity and diversity.” - Martin Patmos, Modern Drummer March 2020

“‘Drums On Low’ is a drums-only affair that runs a spectrum from hypnotic tribalism to musique concrete and the avant-garde, with nods to modern jazz, rock, and orchestral moments in between. Many of the tracks have a distinct melodic voice highlighting the harmonic richness and depth of each drum” - Paul Vnuk, Recording Magazine Jan 2020

“Often as mysterious as a contemporary classical record that looks to push the boundaries, there have been some solo bass and solo sax records that intrigue and infuriate, sometimes both at the same time but this just drums along with an amazing amount of variety coming from a solo drum set. For the real purist.” - The Midwest Record July 2019

“Dave Schoepke continues to bring in international praise for his recent solo release ‘Drums On Low.’ I recommend this album for initiates to drum / percussion sounds or anyone looking to discover this through a particular and calm album. It is quite pleasant and relaxing to listen to.” -Music In Belgium May 2020

What’s next…

In support of “Tessellated Resonance,” Dave will be performing ongoing Facebook Live and YouTube shows showcasing the new and old music and when the pandemic eases up US Midwest and East Coast tours are planned as well as Europe. In November Dave will be releasing downloadable bonus tracks and bundles with the album through the German label Djummi Records http://www.djummi-records.de/

To purchase: www.daveschoepke.com



For more information:
www.daveschoepke.com
https://www.facebook.com/daveschoepkemusic/
https://www.youtube.com/channel/UCvVkqTMVgF6NG2mzxtGNanw
https://www.instagram.com/drumsonlow/
https://twitter.com/daveschoepke?lang=en

Press inquiries: Glass Onyon PR, PH: 828-350-8158, glassonyonpr@gmail.com