Dull Knife - 1971 - Electric Indian

Genre:Krautrock

Country:Germany

Size: 77,1 MB

Bitrate: 256mp3

Studio Album

Released in 1971

Artwork Included

No password

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Dull Knife were a German band who attempted to combine Deep Purple-influenced hard rock with some soul in the vein of Joe Cocker. To be honest, I think their first and only album "Electric Indian" is mostly forgettable. There's nothing wrong with the technical abilities of the group. They played heavy and powerful, with lots of good guitar, organ and drumming. The problem is mainly the mediocre material that fails to impress me very much. The opener "Plastic People" (absolutely nothing to do with Birth Control's excellent song and album of the same name) has lots of heavy riffs, sudden breaks and lengthy solos, but it never evolves into anything that really grabs me. The same can be said about "Tumberlin' Down" and "Walk Along the Muddy Road". The riffs and melodies are simply too average and unoriginal. But far worse are the more soul-inflected songs, such as "Go Down to the River", "Lonely is the Mankind (Without Love)" and "Song of a Slave". All of these ones are boring beyond belief. The closer "Day of Wrath" is the only song on the LP that really tries to fuse the two different styles, but the tedious songwriting again spoils something that could have been a bit original and unusual after all. There is also some distorted effect on the vocals that becomes a bit annoying after a while, especially as it goes on for most of the album.
Getting scare German hardrock blaster with the same vibes as Hairy Chapter . Completely great sounding. Reissue on CD by the heavy German psychedelic rock band Electric Indian originally released in 1971. Engineered by Dieter Dierks it is an essential item of the German underground hard rock scene with heavy riffs and treated vocals on tracks like "Plastic People" and "Song of a Slave".

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Songs / Tracks Listing

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1. Plastic people (6:40)

2. Go down to the river (4:39)

3. Lonely is the man kind (3:35)

4. Walk along the muddy road (4:38)

5. Tumberlin down (4:18)

6. Song of a slave (3:32)

7. Feeling like a queen (5:35)

8. Day of wrath (6:15)

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Line-up / Musicians

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- Martin Hesse / bass guitar

- Christian Holik / guitar

-Janko Gottfried / keyboards

- Claus Zaake / drums, percussions

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Enjoy!

Empyrium_ - 1999 - _Where At Night The Wood Grouse Plays

Genre : Neofolk, Folk Metal, Folk, Doom Metal

Country : Germany

Format : MP3 192 Kbps

Size : 40036 KB

Released: 1999

No password

Covers included

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There are some albums that are meant to be experienced, while walking alone somewhere, out away from the sounds and lights of the city. In a certain sense alone on the roadside as the passing lights of cars, fade and are beckoned by the urban air of modern life. While this is certainly nostalgic statement and possibly even a romanticized viewpoint, I can honestly see it, as ideal circumstances for listening to “Where at night the wood grouse plays”. Call me a sucker for the songs of bards and lutes and flutes, but this album gets a hundred points for being simply beautiful music.I can’t get the whole image of the medieval bard out of my head, singing at a festival in some European country, recalling stories of the distant past. While this is certainly not a metal album by any means, for the past three years I’ve owned my copy, it’s always had the same becalming effect. For any music lover it’s an album I recommend dearly, and without much further ado, I’ll get to why it’s so simplistically effective. Empyrium however, sadly no longer exist to create the beautiful atmosphere present on this albumAs mentioned by the prior reviews the album is entirely acoustic in it’s performance, this is with the inclusion of lutes and flutes in the titletrack and “Many moons ago”. The entire pace of the album is noticeably very slow and melancholic, with the dissonant male vocals singing in a low pitch in the background. “The Shepherd and the Maiden ghost” best illustrates the effect of both vocalists, with the deeper vocalist whispering amid the acoustic picking. While the main complaint happens to be the lower pitched male vocalist, I can’t say he did any harm in my experience. The choral vocals in the background add for a very haunting effect, such as in “Wehmut” where the vocals chant and the lute faithfully chimes in with it’s light-hearted tone. I can certainly understand the frustration with the choral vocals, “When shadows grow longer” is probably the best example, but as mentioned, it is my opinion they only add to the somberness of the music.The natural elements of the album such as the wind on the titletrack, and the various lute interludes, make the album surreal. I cannot imagine the album without any of the elements subtracted from the equation, even the removal of the vocalists, would make the album less than it is. For standout tracks I recall “The Sad song of the wind”, the titletrack, and “Many moons ago” as being the most memorable. The other tracks are beautiful in their own right, with “A pastoral theme” being the most uplifting track mentioned.Empyrium orchestrates a very nostalgic and wistful atmosphere on this album, one that I have only recently experienced again in listening to the work of Drudkh. While it may not appease those craving extremity, it will certainly calm those who want an album to listen to, while wandering about in their respective country. I recommend it to anyone that adores acoustic music; or anyone that just wants to listen to something different.

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Track Listing

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1. Where at night the wood grouse plays

2. Dying brokenhearted

3. The shepherd and the maiden ghost

4. The sad song of the wind

5. Wehmut

6. A pastoral theme

7. Abendrot

8. Many moons ago...

9. When shadows grow longer

Total Time 32:27

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The Band
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Ulf Theodor Schwadorf [Markus Stock] (vocals, acoustic guitar, bass, mellotron, drums, percussion),

Thomas Helm (vocals, piano, keyboards),

Andreas Bach (synthesizer)

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Enjoy!

Dies Irae - 1971 - First

Genre:Krautrock
Country:Germany
Size: 78,9 MB
Bitrate: 256mp3
Artwork Included
No password

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Dies Irae were a heavy progressive group who recorded their sole album 'First' for Pilz before the label fell into the hands of Rolf-Ulrich Kaiser. Dominated by blues, 'First' is a heavy progressive effort owing much to the heavy blues sound and occult nature of Black Sabbath's debut album. Song titles such as 'Lucifer', 'Harmagedon Dragonlove', and 'Witches Meeting' display the groups interest in the dark side. The standout track for krautrock fans is sure to be the seven-minute freak out 'Trip'. A spacey track, 'Trip' begins with an outstanding electronic collage which gives way to a peaceful free flowing jam containing acid-drenched celestial vocals.
Fans of the heavy progressive sound will find 'Lucifer' and 'Witches Meeting' to be the best cuts. 'Lucifer' contains an ultra aggressive guitar and harmonica riff slightly reminiscent of 'The Wizard' from 'Black Sabbath'. 'Witches Meeting', an extended track encompassing numerous musical sections, contains a rocking guitar solo and a furious ending. As a whole, the album is sure to please most fans with its heavy nature.

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Songs / Tracks Listing

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1. Lucifer

2. Salve Oimel

3. Another Room

4. Trip

5. Harmagedon Dragonlove

6. Tired

7. Witches Meeting

8. Red Lebanese

9. Run Off

10. The End

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Line-up / Musicians

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- Andreas F. Cornelius / drums

- Robert J. Schiff / bass

- Harald H.G. Thoma / guitar, vocals

- Cord Wahlmann / lead vocals, harmonica

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Enjoy!

Diabolus - 1971 - High Tones

Genre: Prog Related
Country:UK
Size: 90,5 MB
Bitrate: 256mp3
Artwork Included
No password

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Little known UK group who recorded this rare and only album in Germany 1971. Dark Progressive With Flutes, Occasional Saxes Etc. A Bit In The Vein Of Gravytrain With Some Folky Tunes In Their Music As Well. Going for high prices in auctions Recommended!!
Their only LP, "High Tones", was recorded in 1971, in London, produced by Hugh Murphy and Shel Talmy (THE WHO); but never released because of 'comercial' reasons. An unauthorized edition was released in Germany by Bellaphon. When the members found out about this, in the mid 1990's, they legally fought back property and re-released the album with Sunrise Records, Europe). Music runs from folk tunes to excessive instrumentation, including flute, sax and chorus sang by three of the members of the band, passing through jazz-fusion and complex time composing. GENTLE GIANT's choruses run similarly to DIABOLUS'; flute sound takes them close to JETHRO TULL. Sax prefigures later PINK FLOYD sound, but while in PF sax is "invited" in DIABOLUS it comes as part of the whole. Some of the tunes approach electric jazz through the use of broken times and an open drumming, with moments of total free improvisation.

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Songs / Tracks Listing

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1. Lonely days (7:10)

2. Night Clouded moon (5:46)

3. 1002 Nights (4:48)

4. 3 pieces suite (7:05)

5. Lady of the moon (3:56)

6. Laura Sleeping (8:04)

7. Spontenuity (8:20)

8. Raven's call (6:18)

Total Time: 51:27

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Line-up / Musicians

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- John Hadfield / lead guitar & vocals

- Anthony Hadfied / bass, vocals

- Philip Howard / flute, keyboards, saxophone, organ, piano

- Ellwood Von Seibold / drums

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Enjoy!

Cosmos Factory - 1973 - An Old Castle Of Transylvania

Genre:Phychedelic/Space Rock

Country:JAPAN

Size: 81,6 MB

Bitrate: 256mp3

Artwork Included

No password

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The Japanese progrock band COSMOS FACTORY made a sery of albums in the Seventies with every time another sound. I prefer their debut-album "An Old Castle Of Transylvania" (1973). The long title track (around 20 minutes) is a mind blowing blend of psychedelia and progrock with great build ups and eruptions, very compelling with strong hints from early PINK FLOYD but the swirling movements also brings the long live tracks from URIAH HEEP, DEEP PURPLE, IRON BUTTERFLY, VANILLA FUDGE and Krautrock like early JANE and ELOY on my mind.
It contains sumptuous keyboard play including heavy floods of Hammond organ and Mellotron along biting guitar. The interplay between guitar and organ is like "Set the controls for the heart of the sun" from PINK FLOYD. The other songs are also loaded with Hammond and Mellotron, a real 'keyboard nirvana' for the fans of 'vintage keyboards'.
Formed in 1970, in the ugly industrial city of Nagoya, from the ruins of GS outfit The Silencer, this progressive rock band was courted by a local rock critic who took the band under his managerial wing. They played the local scene for a couple of years before gaining anything more than local success. Cosmos Factory took their marvellous name from a wholly cosmic misreading of Creedence Clearwater Revival’s LP COSMO’S FACTORY, which has unfortunately led many to believe that they were a space rock band. Instead, they were just a fairly bombastic bunch with a good line in titles. Their best LP is the debut AN OLD CASTLE IN TRANSYLVANNIA, but even this is keyboard heavy in an Italian progressive style, and only the epic title track that closes the album enters the realms of real experiment. Otherwise, their work dwells in the same areas as The Nice, Arzachel and early King Crimson. The band finally made its name as support for The Moody Blues and signed to Columbia Records in 1973, releasing the aforementioned debut that same year.
Thereafter, the band signed a better deal with Toshiba’s hip Express label, and embarked on the unusual policy of releasing EPs. First came FANTASTIC MIRROR, followed by THE INFINITE UNIVERSE OF YOUR MIND and DAYS IN THE PAST, each appearing throughout 1975. Their second LP A JOURNEY WITH COSMOS FACTORY was released the same year. Film soundtrack work altered their music somewhat, giving it a harder, more clinical edge, and the musical arrangements of their final LPs BLACKHOLE and METAL REFLECTION were more Spartan than the previously lush arrangements of earlier albums, and not heavy metal as the titles would suggest. Cosmos Factory’s name and fabulous album titles are the main reason for the band’s inclusion here.

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Songs / Tracks Listing

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1. Soundtrack 1984

2. Maybe

3. Soft focus

4. Fantastic mirror

5. Poltergeist

6. An old castle of Transylvania:

-I) Forest of the death

-II) The cursed

-III) Darkness of the world

-IV) An old castle of Transylvania

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Total Time: 40:26

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Line-up / Musicians

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- Tsutomu Izumi / keyboards, Mellotron, synthesizers, vocals

- Hirashi Mizutani / guitars, vocals

- Kazuo Okamoto / drums, percussion

- Toshikazu Taki / bass, vocals + Misao / violin (5)

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Enjoy!

Cirkus - 1973 - Cirkus One

Genre:Symphonic/Eclectic Prog

Country:UK
Size: 112 MB
Bitrate: 256mp3
Artwork Included
No password

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Good early British soft progressive symphonic that will appeal to fans of Cressida, Moody Blues, Barclay James Harvest and Spring. The album varies between quite catchy numbers like "You Are", "April 73'" and "Brotherly Love" to more mellow and melancholic songs like "Seasons", "Song for Tavish" and "A Prayer". The latter seems to be a song about trans-sexuality! "Title Track" is a two-part track, and probably the most progressive song here. The arrangements are very nice and tasteful with organ, mellotron and real strings. No plastic crap. And the songwriting is very strong and inspired through the whole album. This is not complex progressive, but good old melody-based, British soft progressive that anyone who likes good melodies will enjoy.
The album is a significant collector's item among fans of progressive music. The Geordie band financed the album themselves and paid for 1,000 copies to be released. Musically it's competent progressive symphonic rock with mellotrons etc. very much in the mould of bands like Yes. The later reissue on Five Hours Back should be easier to obtain and will save you quite a lot of money. It retained the original gatefold sleeve and more recently the album has been issued on CD with bonus tracks. They also recorded a second album Future Shock (Shock 1) 1977.

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Track Listing

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1. You Are (3:20)

2. Seasons (3:37)

3. April '73 (5:04)

4. Song For Tavish (4:35)

5. A Prayer (5:37)

6. Brotherly Love (3:49)

7. Those Were The Days (3:54)

8. Jenny (4:09)

9. Title Track

. .a. Breach (4:19)

. .b. Ad Infinitum (3:12)

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Bonus Tracks from the remastered Audio Archives CD:

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10. Castles (2:51)

11. The Heaviest Stone (4:56)

12. Amsterdam (4:03)

13. Melissa (3:22)

14. Pickupaphone (3:26)

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Total Time: 60:33

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Tracks 1-9 recorded in 1973. Tracks 10 & 11 recorded in 1971. Tracks 12-14 recorded in 1976.

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Line-up / Musicians

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- Paul Robson / lead vocals

- John Taylor / bass

- Derek G. Miller / organ, piano, mellotron

- Stu McDade / drums, percussion, backing vocals

- Dogg / electric and acoustic guitars

- Alan Roadhouse (replaces Paul Robson on tracks 12 & 14) / lead vocals, saxophone

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Enjoy!

Colosseum - 1970 - Daughter of Time

Genre:Prog Jazz Rock/Fusion

Country:United Kingdom
Size: 89.9 MB
Bitrate: 256mp3
Artwork Included
No password

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What should I do when I'm waiting for my daughter, Dian, going back from school activity? Oh I'd better go to the coffee shop, open my laptop and write a review on Colosseum's "Daughter of Time" album. Well, it seems the album title fits with the situation I'm currently having: waiting (something to do with "time") for my "daughter" finishing the school activity. Hope I can finish this review just before a call from her. Hm. So sorry, it's just an introduction - nothing to do with the music of Colosseum at all. It's just an indication how prog rules my life. Yeah - I live, I breathe, I work with prog music .
This album was actually not recommended by my colleague proggers because according to them, this one is not as powerful as Valentyne Suite or Live albums. But for the sake of having a complete set of Colosseum album, I bought it anyway. To my surprise, the music of this album is truly meeting my taste and I can see that the musical quality of this album is at par excellent as the band's Valentyne Suite. In general, the music is so classic where I can hear may styles of seventies sounds blending the classic rock style, jazz, as well as blues. It's really a gem for me. So many organ sounds that remind me to old days sound like those played by Brian Auger, Ekseption, etc.
Track 1 "Three Score And Ten, Amen" (5:36) has an intro that gives an impression of somewhat KING CRIMSON's music of "In The Court of Crimson King" album especially on the nuance created by mellotron-like sound. But it's not truly King Crimson as when the vocal enters the scene it gives an impression of the like of CHASE, CHICAGO Transit Authority or Blood Sweat & Tears. Of course they don't sound exactly the same but the style is similar. The tight bass lines by Mark Clarke seems like bringing the beat of the song combined with excellent brass section and powerful vocal line by Chris Farlowe, which sometimes sings in high register notes. The style and tempo changes have formed the music in cohesive way.
"Time Lament" (6:04) starts off with a string orchestra in relatively complex arrangements with excellent combination of brass section wonderfully played by Dick-Heckstall Smith and Barbara Thompson. Well, who doesn't know Barbara Thompson and Dick-Heckstall Smith? They are both excellent brass instruments players. When vocal enters the song, it seems very obvious how the music has shifted into a blues-based music with powerful vocal line. The rest of the track shows great combination of brass section and dynamic drum-work by Jon Hiseman. Excellent track!
Track 3 "Take Me Back To Doomsday" (4:26) starts with piano exploration by Dave Greenslade in a jazzy mode. The electric guitar played by Clem Clempson brings the music in faster tempo followed with duo vocals. "Take me back . take me back .". The album title "The Daughter Of Time" (3:30) starts somewhat complex with circus-like music followed with distorted guitar solo and brass section that slashes afterwards. The vocal enters in classic style backed with rhythm section which comprises combination of powerful brass section and organ. I do enjoy the combined work of guitar solo and brass section. It's really excellent.
"Theme For An Imaginary Western" (4:05) opens with vocal line in relatively high register note augmented with acoustic guitar and organ sound that reminds me to the music of Procol Harum. Oh yeah, this tune sounds like PROCOL HARUM's. It's cool, especially when I hear the organ sound and electric guitar fills. Oh my God . I like this track very much.
"Bring Out Your Dead" (4:25) opens with keyboard / organ sounds that remind me to the music of The NICE. The organ work is really stunning, combined with dynamic drumming by Jon Hiseman and electric guitar. Vibes take its part during transition pieces. It's an excellent instrumental track. "Downhill And Shadows" (6:11) enters with sax solo in relatively long duration (1 minute) followed with drum, bass and guitar that form a truly great blues music. The vocal line enters with a lyric of "From now on ." oh . this is really great!!!! Yeah man, it's one of my favorites blues music especially with the use of brass section to accentuate the music and stunning guitar fills and solo. Oh I'd better sip my coffee now commemorating the wonderful blues beats this track offers. It's really awesome!!! And . the guitar solo is fantastic. Clem Clempson rules!!! The vocal is also powerful.
"The Time Machine" (8:12) is a live track that concludes the album. As usual, it's performed with high energy and it's very dynamic. Look at how the drum set is played wonderfully by Jon Hiseman. Well, I'm sure Jon is one of the best rock drummers that I have ever known. He has a lot of variations in how he combines the snare, bass drum as well as tom tam. It's really great and very enjoyable.
Folks, what can I say about this legendary album after I have been listening to it many times and written long review? Of course, it's a HIGHLY RECOMMENDED prog album that you must have. Don't miss it. As for the sonic quality, this is the seventies record so don't expect something really good coming out of this record. But with this kind of sound I really have an emotional bound with the album because it casts the memorable time of the glory days of rock music during my childhood. Keep on proggin' ..!

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Track Listing

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01."Three Score and Ten, Amen" (Clem Clempson, Dave Greenslade, Jon Hiseman) – 5:38

02."Time Lament" (Greenslade) – 6:13

03."Take Me Back to Doomsday" (Clempson, Greenslade, Hiseman) – 4:25

04."The Daughter of Time" (Dennan, Greenslade, Dick Heckstall-Smith) – 3:33

05."Theme for an Imaginary Western" (Pete Brown, Jack Bruce) – 4:07

06."Bring Out Your Dead" (Clempson, Hiseman) – 4:20

07."Downhill and Shadows" (Clempson, Hiseman, Tony Reeves) – 6:13

08."The Time Machine" (Hiseman) – 8:11 (live)

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Line-up / Musicians

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- Jon Hiseman / drums

- Dick-Heckstall-Smith / saxes

- Dave Greenslade / organ, piano, vibes

- Clem Clempson / guitar, vocals

- Mark Clarke / bass

- Chris Farlowe / vocals

+ Barbara Thompson / flute, saxes

- Louis Cennamo / bass

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Enjoy!

Christopher - 1970 - Christopher

Genre:Hardrock

Country:USA

Size: 76.4 MB

Bitrate: 256mp3

Artwork Included

No password

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From the psychedelic tribal blues opener "Dark Road" through to the end of the album, Christopher shows just how strong the second-level psychedelia of the late '60s could be. There was no shortage of great musicians hailing from Texas during the era, and the ones that remained in the state were forming some of the most idiosyncratic bands of the swirling, inventive times: top-flight bands such as Thirteenth Floor Elevators, Lost & Found, the Golden Dawn, and Christopher. Christopher, though, cannot exactly be lumped together with those peers. They had to leave Texas for California to make their mark, and indeed, Christopher owes a good deal to the music of that state — songs such as "Magic Cycles" and "In Your Time" are informed by the dreamier qualities of the San Francisco sound, especially the extended atmospherics of Jefferson Airplane and the Grateful Dead. There are also hints of fellow Los Angeles bands the Doors and Spirit throughout the album, and like the best music coming out of California, the songs on Christopher sound somehow revolutionary and foreboding, as if there is something dark lurking just beneath the surface of the music. Occasionally Christopher occupied similar musical territory as Cream.
They were not unfamiliar with the blues, and, like the British supergroup, they were an absurdly powerful three-piece with an abundance of ability in both instrumental and songwriting proficiency. In addition, Doug Walden's vocals are a dead ringer for Jack Bruce. With that said, the album actually sounds quite different from Cream. Christopher are somehow both more mystical and earthy. "Dark Road" starts out with a loping, jazzy blues groove before being propelled forward by a tempo change and some brilliant, musical drumming. "Wilbur Lite" seems grounded by some slashing chording by Richard Avitts, but then an open-ended melody and upward bass progression raise the song up off its legs.
"Queen Mary" rolls along on top of a choppy drum beat and bass groove until Waldren's phenomenal spine-tingling vocals soar above the music, uncontainable. The music itself, however, never spins out of restraint. The songs are all relatively succinct, never growing excessive or dull, and Avitts' guitar playing is economical. The lyrics can get a bit pretentious here and there, but that doesn't even really qualify as a minor flaw since it is a product of ambitiousness and the era. Christopher is one of the finer albums to have fallen completely through the cracks of the '60s, and Christopher one of the era's best forgotten bands. One wishes that they had stuck around long enough to create more music.

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Track Listing

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01. Dark Road

02. Magic Cycles

03. Wilbur Lite

04. In Your Time

05. Beautiful Lady

06. Lies

07. Disaster

08. Wind

09. Queen Mary

10. Burns Decision

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The Band

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Doug Tull (drums),

Doug Walden (bass, vocals),

Richard Avitts (guitar, vocals),

Leon Rudnicki (bass),

Terence Hand (drums),

Ron Kramer (percussion),

John Simpson (drums)

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Enjoy!

Empyrium_-_1997 - Songs of Moors Misty Fields

Genre : Neofolk, Folk Metal, Folk, Doom Metal
Country : Germany
Format : MP3 160 and 192 Kbps
KbpsSize : 65855 KB
Released: 1997
No password
Covers included

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This is the second album by the German band Empyrium.
Elaborating on their previous full-length album, A Wintersunset... released a year before, with Songs of Moors... Empyrium delve into a more sophisticated intricacy of what is sometimes called "romantic metal", offering a complicated mix of percussion, flutes, bass guitars and synths, together with its will-be trademark deep baritone male vocals performed by Schwadorf himself (who also plays virtually all the instrument parties, except for keyboards).
The album contains some of Empyrium's longest tracks (e.g. Track 3), presenting a more epic-like musical texture. By many the album is deemed as a true masterpiece of melancholic, dramatical metal.

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"This is music that effects a precipitous ambiance of vast landscapes of natural beauty that always brings sentimental sadness and haunting impressions to the beholder. It speaks of the frigid desperation of experiential anguish and delicate yet crushing weight of emotional affectations and lamentations, and aches for the uncultivatable essence of nature. Empyrium have crafted a divine work of emotional and absolutely invigorating musical art." [Review at Encyclopedia Metallum]

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Track listing
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1."When Shadows Grow Longer" 1:26
2."The Blue Mists of Night" 6:24
3."Mourners" 9:15
4."Ode To Melancholy" 8:44
5."Lover's Grief" 9:08
6."The Ensemble of Silence" 9:52

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The Band

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Ulf Theodor Schwadorf [Markus Stock] (vocals, acoustic guitar, bass, mellotron, drums, percussion),
Thomas Helm (vocals, piano, keyboards),
Andreas Bach (synthesizer)

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Enjoy!