Brownstone Inc. “Mind Tricks” 2018 Austria Hard Rock Blues Rock

Brownstone Inc. “Mind Tricks” 2018 Austria Hard Rock Blues Rock 

full vk

https://vk.com/wall312142499_10764

facebook

https://www.facebook.com/brownstoneincband/

Austria Hard Rock / Blues Rock / Alternative from Bruck. Powerful soul voice surrounded by two bluesy-scratchy guitars, mesmerizing bass riffs and drifty drums….~

Julia Schubatzky - Vocals 
Christian Spanring - Lead/Rhythm Guitars 
Angelo Hoier - Lead/Rhythm Guitars 
Konstantin Fellner - Bass 
Thomas Tempfer - Drums

01. Chains 
02. Ghost (In the Machine) 
03. Blues 
04. No Composition of Linearity 
05. Stumble, Fall, Realign 
06. Embers 
07. Labels 
08. Some Scars 
09. Let’s Play with Open Cards 

Read More

Robespierre ‘Hard Blood’’ 1980 Germany Private Prog Rock,Kraut Rock

Robespierre ‘Hard Blood’’ 1980 Germany Private Prog Rock,Kraut Rock

full vk

https://vk.com/wall312142499_10757

official website

http://www.robespierre-music.com/

Great album that somewhat resembles British glam rock of the early '70s, but also has a very progressive, heavily improvised side. I highly recommend the record, even if it’s not necessarily typical of the Kraut sound- a winner if you’re already into bands like T-Rex. Rare original on the private label Steyrer SD18 002….~

Robespierre was more of the name of singer/frontman Franz Mang rather than the name of a regular band.He was invited by studio owner Peter Steyrer to record an album and, not accidentally, he gathered a team of musicians, who worked at the time at the Steyrer Studios: Wolfgang Göhringer on guitars (Out of Focus, Gantenbein, Saffran), Bernhard Seidel on bass, Hilmar Binder on drums (Gantenbein, Saffran), Babs Mang on dulcimer/backing vocals.Franz Mang recent activities reveal his talent as a frontman with a theatrical stage presence and his music on the “Hard blood” album (1980, Steyrer Disco) was extremely heavily influenced by Jethro Tull to the point it plagiarized some of their mid- to late-70’s efforts.Despite the lack of a flute player the material is reminiscent of the British Prog/Folk Rock legends, relying much on acoustic and electric guitar, organ and acoustic piano with Mang sounding like Ian Anderson’s twin brother, his voice goes from trobadour-like choirs to more expressive and dynamic singing.Nothing sounds like early-80’s in this album, it’s a typical 70’s-sounding effort with analogue keyboards, beautiful, semi-folky melodies and some good energetic rockin’ passages with a few progressive touches.Robespierre is still performing more or less this kind of music with the same energy like he did decades ago….by…apps 79…~

Most reviews of this album note the uncanny similarity of Franz Mang’s vocals to Ian Anderson’s, and that resemblance is definitely the first thing that strikes you about Robespierre. However, they certainly weren’t Jethro Tull clones: this is pleasant, melodic song-based progressive with a folky touch and some good tunes and riffs. …~

Credits 
Acoustic Guitar, Electric Guitar, Percussion, Choir, Engineer – Wolfgang Göhringer 
Bass – Bernhard Seidel 
Drums, Percussion, Finger Cymbals, Triangle – Hali Binder* 
Dulcimer, Choir – Babs Mang 
Vocals, Choir, Written-By – Franz Mang


Tracklist 
A1 Lieutnant Of The LSU 5:22 
A2 The Abbot 6:21 
A3 Nights Of White Dressed Ladies 5:09 
A4 Harvest Is Over 5:01 
B1 The Puppet Player 9:42 
B2 Beggar Boy 6:28 
B3 A Drop From All The Heartblood 5:17 

Read More

Bacchus` Blues Band "Empty Bottles" 1976 Germany Private Blues Rock

Bacchus` Blues Band  "Empty Bottles" 1976 Germany Private Blues Rock

https://www.youtube.com/watch?v=JqXG_zyqnUo

Credits 
Bass Guitar – Gerd Neubeck 
Vocals, Blues Harp – Michel Roth* 
Vocals, Flute, Guitar – Karl May (3) 
Vocals, Guitar, Banjo – Michael Walaschek 
Vocals, Guitar, Piano – Jürgen Schubert 
Vocals, Saxophone, Clarinet – Friedel Rebstock

Tracklist 
A1 First Day Of Winter
A2 Marta
A3 Take My Harp
A4 Down And Out
A5 Take It On
A6 Up On A Hill
B1 No Use To Worry
B2 Tears To Shere
B3 Empty Bottles
B4 Changes
B5 See The Bird
B6 Lying Alone
B7 Don’t Feel Like Talking

Read More

Willow Child “Paradise & Nadir” 2018 Germany Psych,Hard,Blues Rock

Willow Child “Paradise & Nadir” 2018 Germany Psych,Hard,Blues Rock 

full vk

https://vk.com/wall-31153126_391870

https://vk.com/wall312142499_10538

https://vk.com/wall-8734396_139953

full bandcamp

https://willowchild.bandcamp.com/album/paradise-nadir

Willow Child - Starry Road (Official Video) 

https://www.youtube.com/watch?v=d2J3QdHXaDg

facebook

https://www.facebook.com/WillowChildOfficial/

Willow Child from Greater Erlangen / Bavaria (pardon: Franken) surfaced on the retro-rock scene last year with their debut EP. Framed by singer / guitarist Eva, the quintet is one of the more interesting new additions to the sector, complementing the traditional rock trademarks of recent decades with modern highlights. Already in the opener “Little Owl” two things stand out, which are here in the direct comparison with some genre colleagues a clear presence attached. The crystal-clear, unaffected voice of the singer and the booming, the typical retro touch-generating organ. You can do it the way you want, it’s actually the kind of music that would have been used in the 1970s to pull off any sausage (vegan cashew cheese today). At first glance I feel pleasantly reminiscent of middle-aged Deep Purple and early Graveyard. The offensively proggige “Eirene” shows the compositional and artisanal abilities of the band and captivates by a cool blues list page. Hymnic and sweeping, partly polyphonic songs, sometimes solo licks, but never too intrusive. Above all, the chorus finally rocks to the clearest accent of the song, which starts early to get stuck in the auditory canals. “Land Of Sloe” shines through a startling bass, the bluesy parts are expanded and enriched with soulful bonds. In order to be able to keep the singer’s voice in the foreground, the music has been reduced a little, which on the other hand also leads to slight pressure losses, but still in a hardly criticized area. 
What might just have been lacking in pressure, will immediately be made up for again with “Starry Road”! Here rules the astreins 70s-prog, which stands the Franken very well to face. The voice gains strength and liveliness and the whole package is suddenly much more transparent. The quality does not go down in “Beyond The Blue Fields” and “Red Wood”! Solid, sophisticated rock songs with great organ parts and varied, soulful and again rockier parts. Although there are no unique selling points in the music, that does not have to be the case. Ultimately, this is exactly what you expect when you buy a vintage rock album, and in good quality. “Mayflies” in turn is the absolute blast! An eternal Egret, progressive rock that would have been suspected right away in the seventh decade, most likely on the big European island. Memories of greats like King Crimson are awakening, slightly psychedelic Canterbury proportions flash, the atmosphere is dreary and certainly purplishly purple. The final “Unspoken” begins as a fine guitar ballad, with of course refined by fine vocals and is towards the end again to an official rocker……~

Willow Child establish a powerful symbiosis of vivid arrangements and intense lyrics. The quintet based around Nuremberg plays warm blues rock fueled by impelling hard rock riffs and psychedelic instrumental outbursts. Floating guitar licks, thrilling organ grooves and occult vibes are joined together by a rich songwriting. Willow Child’s debut album „Paradise & Nadir“ opens the door to a mystic cosmos!…..~

I know it’s not exactly unheard of, but I think it’s interesting that what first brought German classic-style, organ-inclusive heavy rockers Willow Child together wasn’t the impulse to immediately create something of their own, but to pay homage to their heroes of the late ’60s and early ’70s. They were a cover band. A lot of people slag off tribute acts — not me. If you can get together with your friends for a night, play songs you love in some bar that’s probably going to give you at least like $300 for the effort? I’ve been on the other end of that — playing original material to nobody for no money — and it’s not exactly always a blast. That romance? It fades. So yeah, cover bands. I get it. 
Something tells me, however, that even playing original material, Willow Child aren’t going to have any trouble drawing an audience. The five-piece released their debut EP, Trip Down Memory Lane, last year and you’ll find it streaming at the bottom of this post. Later in 2018, they’ll follow up with their first long-player, Paradise and Nadir, which will be out thanks to the estimable tastes of StoneFree Records, who announced the alliance thusly:
StoneFree Records is more than proud to announce the signing of Willow Child. 
After listening to their very promising „Trip Down Memory Lane EP“ in February 2017 we kept in touch and forged out plans concerning a future release. 
Now the time has come! BIG TIME! 
Willow Child recorded their debut album „Paradise & Nadir“ with Richard Behrens at Big Snuff Studio Berlin in January 2018. The result sounds stunning and will go places for sure. We’ll keep you posted about the release details pretty soon! 
Willow Child establish a powerful symbiosis of vivid arrangements and intense lyrics. The quintet based around Nuremberg plays warm blues rock fueled by impelling hard rock riffs and psychedelic instrumental outbursts. Floating guitar licks, thrilling organ grooves and occult vibes are joined together by a rich songwriting. 
The band was started 2014 under the name of “Trip Down Memory Lane” and firstly covered old classics from Led Zeppelin, Deep Purple, The Doors and many more. But in late 2015 they began to write their own songs and somehow got stuck with it. 
Willow Child’s debut album „Paradise & Nadir“ opens the door to a mystic cosmos….the obelisk….~

“ Paradise & Nadir ” is a title with the widest possible connotation. After the six-song EP “Trip Down Memory Lane” WILLOW CHILD from Bavaria, however, submit a very homogeneous first album on their own, with which they suddenly place themselves in the upper third of the (German) vintage rock scene. 
The Nürnberger stand out not a few international competitors, both scribal and playful. Apart from the fact that the rhythm section in straightforward as tricky moments perfectly “delivers”, Flo Ryan (Limestone Whale, also on the shopping list, please) proves once again as imaginative as finger-ready lead-clapper, the events often together with organist Jonas Hartmann dominated. So what’s so wonderful that the epic ‘Beyond The Blue Fields’ is less reminiscent of 'Out In The Fields’ by Gary Moore than reminiscent of a midtempo number from Deep Purple’s 'Fireball’, especially because of his extravagant improvisational part? 
The sibling company - singer Eva Kohl’s brother David swings an often very “blue” Rhythmusklampfe - sounds in all traditional love but not anachronistic, because song structures like those of the proggy 'Mayflies’ radiate something quite contemporary by their noticeable goal-directedness. WILLOW CHILD do not muddle along disoriented, but come to the point in a comprehensible way, albeit occasionally in a roundabout way. 
This proves even before all the other songs of the album the rattling video track 'Starry Road’, which in its zockenden kind actually think of a journey into the distance, whereas the longest piece 'Little Owl’ can be understood as a contrast point to it. 
The quintet, thanks to producer Richard Behrens (Heat, ex-Samsara Blues Experiment), wows in a wonderfully warm, well-balanced sound, which brings out the many small details that the members came up with, be it subtle reef variations or softly played single tones subtly subordinate the song motifs. 
In short: “ Paradise & Nadir ” is material for the Freak Valley, Desert Fest and what they are called…..by…..Andreas Schiffmann….~

Can a record be like a good book? - Willow Child succeeds in her debut “Paradise & Nadir” a natural combination of exciting arrangements with metaphor-rich lyrics. The musical basis of the quintet around singer Eva Kohl is warm and psychedelic Blues Rock, which is colored by the sometimes melancholy dreamy, partly euphorically driven basic moods of the songs again and again. With their debut album “Paradise & Nadir”, Willow Child open the door to a mystical cosmos, in which the listener not only thematically, but also due to the rousing and catchy song structures can be found. 
Lizardmen - The murky Lower Saxony produces its own musical drugs - a cocktail of sadness and pent-up anger, bedded in rock music, whose rhythms you can only escape if you cut off your ears. Their intros lurk like carnivores in the undergrowth, you never know when the attack will come. 
Midnight Steamer - A 4-headed Rock 'n Roll combo from Nuremberg, strongly influenced by the golden era of classic rock - but more than a cold retro infusion at the same time. - Midnight steamer bring energy, playfulness and a warm, honest sound. ….~

Eva Kohl - vocals, guitar 
Flo Ryan Kiss - guitar, backing vocals 
Jonas Hartmann - organ 
Javier Zulauf - bass 
David Kohl - drums, backing vocals

Little Owl (6:25) 
Eirene (3:58) 
Land of Sloe (5:28) 
Starry Road (4:32) 
Beyond the Blue Fields (7:00) 
Red Wood (4:22) 
Mayflies (5:34) 
Unspoken (3:56)

Read More

Earth Flight "Riverdragons & Elephant Dreams" 2018 Germany Heavy Prog

Earth Flight  "Riverdragons & Elephant Dreams" 2018 Germany Heavy Prog 

full bandcamp

https://earthflight.bandcamp.com/album/riverdragons-elephant-dreams

full vk

https://vk.com/wall312142499_10513

https://vk.com/wall-105507655_5194

https://vk.com/wall-64705959_44527

https://vk.com/wall-42429577_67220

https://vk.com/wall-20918031_4599

https://vk.com/wall150047581_22231

https://vk.com/wall-66566998_38711

https://vk.com/wall406173680_21052

full spotify

https://open.spotify.com/album/0c9ehYHp6m2AXDp5vlu5w9

facebook

https://www.facebook.com/earthflight/

official webpage

https://earth-flight.de/

2018 album by this German progrock band. This is totally amazing songwriting combined with grand superior vocals that gives a very own note to all the songs. Listening to this record you have the feeling that the complex multilayered songs are incessantly scratching the throne of the genre tycoons…..~

EARTH FLIGHT sound brighter and warmer in 2018 than ever. The sound is playful, but not twisted - with a natural hardness that does not matter or settle for a second. The band surprises with elegant dinghies in the direction of pop and psychedelica and even with electronic flashes of color, but without losing sight of the direction even for a moment. Confident in style, the song is always the focus…..~

EARTH FLIGHT is a heavy progressive rock band formed during 2004 in Nuremberg, Germany by bassist Martin STULLEIN, drummer Sebastian ENGELHARDT, guitarist Andreas BLENDINGER and vocalist Tobias BRUNNER. Deriving their name from a song by American doom metal act Pentagram, the group debuted with their self-titled EP in 2005 which displayed this foursome’s unique blend of doom metal, 70s hard rock and psych. They went on to release a live album the following year as well as a first full-length studio album (also self-titled) in 2007. 

After the first album, founding member STULLEIN left the band and EARTH FLIGHT recruited Benjamin MULLER on bass. In 2008, a second EP simply titled ‘Demo 2008’ came out and in 2009 founding drummer ENGELHARDT left to be replaced by Michale “dudu” TUTTOR. Finally in 2011, the follow-up album 'Blue Hour Confessions’ was released and EARTH FLIGHT played over 60 shows in 8 European countries continuing to progress in their fresh sound. ….~

One is an integral part of the Nuremberg Progressive Rock Combo Earth Flight ! Namely the enormous ladle sadness and melancholy. Of course, you dear readers could believe right now, what fickle material does the reviewer want to rub under your nose? None, yet the component of the melancholy within the album is a very solid one. Nevertheless, the troop never dares step into the too depressive area. The color shade is like a filter of pastel colors. The perfect bliss is not this. Rather, a progressive entertainment, which draws relish their protestant tracks. 

The sound experiments are not clearly attributable to an age and this, although many scene colleagues build on a concept that is anchored in the 70s. The present troupe refuses this, at least clearly classified sound. Certain cornerstones may be present, only the bandtross is able to combine a wide range of sound elements from all eras into a successful progressive rock experiment. The mosaic pieces are rich and at no time does the band overrun you with a spell of complexity. 

Balance and lots of inventiveness are all around with this band and their music. Successful bracing can be heard loud and the interest was skilfully increased. BLACK SABBATH, EMERSON, LAKE AND PALMER meet a modern version of DREAM THEATER . Exactly this mention of such a mixture comes in my opinion most likely when it comes to comparing the band with their music with anyone. Probably because of this, unequivocal time ranking is not possible because the band, with their own innovation, has managed to nourish their material from a wide period of progressive rock. 

Many tonalities in their band catacomb make for a captivating sound that has been wonderfully enriched with many echoing games. All these gimmicks were mixed into a concept that was easy to pick up, so the Proggie did not need a long time to travel to the Nuernberg sound universe. 

Conclusion: A considerable amount of own integrity and many subtleties make up the sound concept of “Riverdragons & Elephant Dreams” ….by…by: Robert….~

Is EARTH FLIGHT now flying over the ground for a flight? Or rather for the escape of the same? Anyway, escapism can definitely be done with the new album “Riverdragons & Elephant Dreams”. 

The Nurembergers have made themselves comfortable in their niche somewhere between Progressive Rock and Stoner and take the inclined listener with them into their world, in which even elephants become light as a feather and river kites produce tidal waves from guitar walls, which carry everything with them. 

While “Ulysses” at the beginning is still rather undecided by slight sound formations, “Mirai” breaks the future - with a look back. Like “Sinus” and “Bedlam”, the piece takes a lot of time to expand its soundscapes, which could be mostly from the seventies. Wafting guitars, endless guitar solos and synth accompaniment are reminiscent of BLACK SABBATH, EMERSON, LAKE & PALMER and PINK FLOYD. But in between, even modern bonds sneak in: There you can hear the guitar playing of DREAM THEATER’s John Petrucci, somewhere else the vocals sound like MUSE (“Harbinger”). 

Nevertheless, the fiver on his third full-length album has created something unique and interwoven these influences so skillfully and the melancholy flair skilfully put into the modern age, that one drifts away again and again with the music. And with the beautiful artwork of the record offers a very valuable overall picture……by….Martin Storf….~

This is totally amazing songwriting combined with grand superior vocals that gives a very own note to all the songs. Listening to this record you have the feeling that the complex multilayered songs are incessantly scratching the throne of the genre tycoons. 
This is sounds to stick listen to! The whole picture is what is important, not the easy listening hook! Music for people who like to stand up and turn around! This album was made for vinyl!  ….~

The band Earth Flight spoke in an interview a little while ago (actually several years ago!), That it also makes progressive music, but one does not want to lose sight of the relaxation. That is the Franks eloquently succeeded with “Riverdragons & Elephant Dreams”. Sometimes calmly melancholic, sometimes poppy, sometimes hard rocking and then again easy to roam psychedelic realms without becoming fricky or the feeling that no degree was / could be found. This mix has not come to my ears in this form so far, the band has truly outdone it in the case and skin a light weight pound on the counters of record dealers, which I actually like better than vinyl because the matching atmospheres are getting anytime created. Here simply has “warm flair” ago. What ultimately does not change the overall quality, the current turner could push the band a few levels higher in Göttermusikgefilde, although it is hopefully perceived by enough music lovers. 

Conclusion: Earth Flight have just under 7 years after the last album finished a well thought-out album, which sounds not only varied but also very well produced. Whoever turned the knobs knew that a band can only work as a band and sound the same - with no exceptions for ego guitars, ego drums, ego vocals, ego bass and so on. Here the whole package works! And if that takes just 7 years, then I’m looking forward to the year 2025 … and until then I would like to be able to enjoy “Riverdragons & Elephant Dreams” not only as a vinyl edition but also live on stage. Definitely check … Drama is trump!….by…Thorsten Jünemann…~

What a beautiful cover! This must be pushed forward in any case, even if this of course does not diminish the musical performance of the Würzburg Quintet, which with “Riverdragons & Elephant Dreams” after seven years album break freshly strengthened and almost completely renewed attacks. 
“One PINK FLOYD memory solo after another”
The ex-Doomer are more versatile than on the predecessor “Blue Hour Confessions” and offer a colorful, versatile mixture of progressive rock that likes to dig in the 70s, Swedish melancholy, metallic paint, last doom shreds and alternative [MUSE sometimes greet], modern and retro at the same time. Guitarist Benjamin Rodigas is definitely an audible big fan of David Gilmour and takes out one PINK FLOYD memory solo after another. In general, Rodigas is the one who lends even more extra-soft songs, cool riffs and well-thought-out solos to the often overly long songs than they already have. Hear and admire, for example, the Wall Of Sound “Sinus”, the great moment of “Riverdragons & Elephant Dreams”. 
EARTH FLIGHT has succeeded with her third disc a pearl, as one may admire them in German lands both stylistically and qualitatively too infrequently. It would be really a shame if the band would let themselves go for another seven years for the next record…..by…Michael Siegl….~

Line-up: 
Tobias Brunner - Voals 
Benjamin Rodigas - Guitar 
Benjamin Müller - Bass 
Sebastian Hudl - Synth 
Markus Kühn - Drums, Keys (6)

Tracklist: 
1. Ulysses (1:52) 
2. Mirai (8:20) 
3. Harbinger (6:30) 
4. Sinus (8:50) 
5. Premonition (5:56) 
6. Tempter (7:46) 
7. Bedlam (9:28) 

Read More