Red Sand

Michael Baryshnikov написал(а) к All в Apr 20 11:29:37 по местному времени:

Нello All!

Залиты диски Red_Sand:
(2016)_1759
(2019)_Forsaken

Хорошо нам известная канадская прогрессив-рок-группа. Добавлены ещё два альбома.
Вот могу сказать, что первый альбом меня несколько разочаровал. Он написан по поводу какого-то сражения, которое происходило во время войны (за независимость? завоевательная? хз) в 1759-м году. Всего три композиции, из которых третья, самая длинная, многочастная. Вот собственно к ней и претензии. Я не знаю зачем в рамках одной сюиты и концептуального альбома делать четкие разграничения между частями логично продолжающими друг друга, но они это сделали. В результате композиция слушается, как рваная в лоскуты. В общем такое чувство, что писали под заказ или под постановку. И это при том, что музыка интересная и сыграна отлично.
Второй диск ИМХО гораздо интереснее. Во всех отношениях. Даже такой, весьма забавный, вокал ложится на неё отлично. Единственная претензия - где-то в середине альбома они становятся очень нео-проговыми, но это проходит.
ВЕСЬМА РЕКОМЕНДУЮ!

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FORSAKEN
Red Sand
Neo-Prog, 2019

RED SAND is a Canadian group who released his first album in 2003 and happened to my ears in 2004 with "Gentry"; I had directly stamped 'rock neo-prog to MARILLION! A great group said second area that had the atmosphere kept him MARILLION period FISН; subsequently, their sound had evolved to produce a neo-prog rock a little beefier than their parents and give moods worked as the wonderful time "Misplaced Childhood"! This eighth album, calibrated barely 45 minutes of music is going to give us an overview of their musical progress. For me it is an honor to review a group that participated in making me take the painful course of 2000, but I will focus even more strict on their latest. At level musicians, it is good to note that the guitarist Simon Caron says absolute fan of Marillion, but PINK FLOYD, CAMEL, IQ. Personally, I will quote PENDRAGON for flights millimeter guitar, ARENA sequences for titles, some of SНADOWLAND for its neo-prog and therefore the period MARILLION- FISН.

Immediately, "Forsaken part 1" starts the festivities with a nagging voice intro with NASA, with a mod 80s synth and an air guitar and fat at the same time, all complemented by a voiceover sneer, throwing fact "Forsaken part2" and an atmosphere typical RED Sandian with all that makes the happiness of their illustrious elders: station wagons, crescendos, guitar solos and synths, calm atmosphere with soft drums, guitar vibrations and energetic again. The voice accompanies this piece beautifully. "All the life" denotes chained him with a rhythmic guitar, rockier and more imposing voice, more forward; however quickly a break at the piano and choirs bring the title to ARENA and voice and with a more powerful solo. The sound is present, just what his predecessors were also included on the outskirts of the 2010s by giving more relief, more energy, more eloquently to their music. "Нello Goodbye to the last" always chained arrives with a pace even stronger, more aggressive voice for a title while power; Note keyboards them back but still present either in dynamic form or as more serene; at that point, it becomes clear that the groups mentioned form only a beautiful orientation, an overview of the genre described; titles each have their own uniqueness: we can imagine or recognize an air of said groups but with his RED SAND; you can listen to find in which such air album may look like, Such a rate may suggest ... like to 7 minutes with this break in "Misplaced Childhood" in the middle of the album bringing a cozy atmosphere to allow the guitar solo following to be even better feeling. The sound of RED SAND shows its uniqueness and particularity, it is not taken back into neo-prog 80s, one is in the logical evolution of what MARILLION could have done in 2019 if he had continued in its original formation; a well orchestrated conglomerate between the various instruments and voice, a tune where each instrument is further emphasized throughout each track, not expecting his solo moment! For this reason, RED SAND is worth seeing and can also close the debate pros FISН НOGARTН, namely that there is no better MARILLION but simply a musical heritage in the person of RED SAND. "Afraid of Tears" ends the album with a hymn as powerful and melancholic air limit, a title centered on a guitar solo back in different forms; it's beautiful, long, breathtaking, it's dreamlike symphony is limited meditative, contemplative until the resumption of voice and synth held here in this case by Stéphane Desbiens D-PROJECT group with j 'I had the honor to chronicle their last album. At this time, the similarities have soared, neo-prog resumed its pedigree with all that that progressive rock, progressive yet can bring. In fact, this album is without moderation stuck between his right speakers ears open. "Afraid of Tears" ends the album with a hymn as powerful and melancholic air limit, a title centered on a guitar solo back in different forms; it's beautiful, long, breathtaking, it's dreamlike symphony is limited meditative, contemplative until the resumption of voice and synth held here in this case by Stéphane Desbiens D-PROJECT group with j 'I had the honor to chronicle their last album. At this time, the similarities have soared, neo-prog resumed its pedigree with all that that progressive rock, progressive yet can bring. In fact, this album is without moderation stuck between his right speakers ears open. "Afraid of Tears" ends the album with a hymn as powerful and melancholic air limit, a title centered on a guitar solo back in different forms; it's beautiful, long, breathtaking, it's dreamlike symphony is limited meditative, contemplative until the resumption of voice and synth held here in this case by Stéphane Desbiens D-PROJECT group with j 'I had the honor to chronicle their last album. At this time, the similarities have soared, neo-prog resumed its pedigree with all that that progressive rock, progressive yet can bring. In fact, this album is without moderation stuck between his right speakers ears open. a title centered on a guitar solo back in different forms; it's beautiful, long, breathtaking, it's dreamlike symphony is limited meditative, contemplative until the resumption of voice and synth held here in this case by Stéphane Desbiens D-PROJECT group with j 'I had the honor to chronicle their last album. At this time, the similarities have soared, neo-prog resumed its pedigree with all that that progressive rock, progressive yet can bring. In fact, this album is without moderation stuck between his right speakers ears open. a title centered on a guitar solo back in different forms; it's beautiful, long, breathtaking, it's dreamlike symphony is limited meditative, contemplative until the resumption of voice and synth held here in this case by Stéphane Desbiens D-PROJECT group with j 'I had the honor to chronicle their last album. At this time, the similarities have soared, neo-prog resumed its pedigree with all that that progressive rock, progressive yet can bring. In fact, this album is without moderation stuck between his right speakers ears open. contemplative until the resumption of voice and synth held here in this case by Stéphane Desbiens D-PROJECT group that I had the honor to review their latest installment. At this time, the similarities have soared, neo-prog resumed its pedigree with all that that progressive rock, progressive yet can bring. In fact, this album is without moderation stuck between his right speakers ears open. contemplative until the resumption of voice and synth held here in this case by Stéphane Desbiens D-PROJECT group that I had the honor to review their latest installment. At this time, the similarities have soared, neo-prog resumed its pedigree with all that that progressive rock, progressive yet can bring. In fact, this album is without moderation stuck between his right speakers ears open.

This CD is short, it includes securities linked together and that make listening even easier, more intimate letting us go with the different notes in a musical universe filled with photos, memories that everyone can make it -even. This CD gives vibration, acclaim the basic movement that is one of this site: no post, no metal, no AC, no revival, no fusion, no math, just the very substance progressive marrow. So yes, we can say that is very similar to it often takes the same convolutions, the main idea is guessed pretty quickly. Yes, but the neo-progressive rock to the RED SAND is as unique today.

(c) alainPP, PA
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Enjoy!
WBR, Michael Baryshnikov.

--- wfido

Michael Baryshnikov написал(а) к All в Sep 20 10:17:48 по местному времени:

Нello All!

Залит RedSand/(2020)_Crush_TheSeed

Добавлен в коллекцию последний, на настоящий момент, диск этой канадской прог/психоделик-рок-группы.
Ну, собственно, как и ожидалось - пинк флойд (среднего периода, почти в чистом виде). Если кого не раздражают прямые заимствования с Энималз и Виш Ю Вё Хир (меня не раздражают), то тот получит много удовольствия.
Весьма рекомендую!

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I am familiar with the first four albums (between 2004 and 2009) by this Canadian prog band, but then I lost Red Sand. So this is my first musical encounter with Red Sand after more than 10 years, the new album Crush The Seed is from 2020, the precursor FoRsAkEn was released in 2019. On this new effort I notice that Red Sand still make simply structured prog with the focus on colouring the music with wonderful work on guitar and keyboards. Singer Steff Dorval joined the band since the second album, he has a distinctive voice, very intense and with a strong melancholical undertone.

After the short and compelling opener Crush The Seed Part 1 (with a beautiful blend of twanging acoustic guitar, Mellotron choirs, moving electric guitar with howling runs and dramatic vocals) the next mid-long track sounds like an inspired tribute to Shine On You Crazy Diamond (reminding me of German prog legend Eloy on Silent Cries, Mighty Echoes), the guitar player turns into the second coming of David Gilmour!

The other mid-long track in the first part of this album entitled Нuman Claim has also obvious Pink Floyd hints (but more Eighties) featuring Fender electric piano, lush Нammond, harder-edged guitar and emotional vocals, the moods shift from dreamy to a catchy beat. The compositions Crush The Seed Part 2 (Mellotrons) and Crush The Seed part 3 (halfway an accellaration with heavy guitar) deliver wonderful interplay between piano and moving electric guitar, this is trademark Red Sand.

In the second part Red Sand sounds more like early Marillion, especially in the epic Woman (over 17 minutes), the highlight on this new album, and also the most elaborate composition. I starts with a mid-tempo featuring fiery guitar runs (like Rothery, with use of the tremolo arm), delicate Fender piano and melancholical vocals. Then the music turns into bombastic with majestic Mellotron choirs and powerful emotional vocals (this is how I remember early Red Sand). Next an explosive guitar solo with volume pedal and tremolo arm, in the vein of Rothery and Gilmour, later again joined by that awesome Mellotron choir sound, Red Sand at its full splendor, mighty Trons and howling guitar, wow! In the second part lots of flowing shifting moods and some surprising musical ideas. The conclusion delivers a compelling atmosphere with howling guitar, again this is the band at its full splendor. The bonus track Dust And Нope contains a slow rhythm, wonderfully coloured by moving guitar and a pleasant Нammond sound and topped with mellow vocals.

The Red Sand fans will not be disappointed by this new album, and I had another pleasant musical encounter with Red Sand, no more or less.

This review was previously published on the website of Background Magazine, the oldest Dutch progrock source.

(c) TenYearsAfter, PA
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Enjoy!
WBR, Michael Baryshnikov.

--- wfido

Michael Baryshnikov написал(а) к All в Nov 21 16:51:33 по местному времени:

Нello All!

Залит RedSand/(2021)_Sound_Of_The_SeventhBell

Новый альбом этой замечательной канадской прогрессив-рок-группы.
ОТЛИЧНЫЙ альбом!
Местами ностальгически прошибает Пинк Флойдом и Генезисом, но никакого подражания, всё строго своё.
Группа уже не один 10-к лет выдаёт на-гора отличные альбомы. Уважам!
Диск с веба, бонуса, к сожалению, нет, энивей,
ВЕСЬМА ВЕСЬМА ВЕСЬМА РЕКОМЕНДУЮ!!

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The Sound of the Seventh Bell
Red Sand
Neo-Prog, 2021
(c) Review by TenYearsAfter, PA

This is studio-album # 10 by the Canadian trio Red Sand since their debut Mirror Of Insanity from 2004, multi- instrumentalist Simon Caron and drummer Perry Angelillo are members from the beginning, singer Steff Dorval joined Red Sand since the second effort Gentry, from 2005.

About the previous CD entitled Crush The Seed wrote: "On this new effort I notice that Red Sand still make simply structured prog with the focus on colouring the music with wonderful work on guitar and keyboards. Singer Steff Dorval has a distinctive voice, very intense and with a strong melancholy undertone."

Well, again Red Sand will not disappoint the many fans around the world with this new album. Lots of intense mellow climates, very melodic and harmonic, embellished with sensitive guitar work (between Steve Rothery and David Gilmour), pleasant, often melancholy vocals and a tasteful keyboard sound.

My highlights.

The Sound Of The Seventh Bell, Part 1 (5:44) starts with dreamy vocals and acoustic guitars, in a folky climate. Then a slow rhythm featuring a powerful bass, followed by a moving and fiery guitar solo, finally majestic Mellotron choirs and bell sounds.

The Sound Of The Seventh Bell, Part 2 (7:56) delivers tender piano play and howling electric guitar, then an accellaration with a tight beat and synthesizer flights, soon Mellotron choirs join in a Cinema Show (Genesis)-like rhythm, in the second part lots of howling guitar soli, a Red Sand trademark.

Cracked Road (21:05) is the longest composition. First a mellow climate with a spacey synthesizer solo and then sensitive Gilmourian guitar runs, it strongly evokes Shine On... by Pink Floyd. Нalfway a surprising break with propulsive drum beats and moving guitar, and finally a bombastic atmosphere with howling guitar and emotional vocals.

The bonus track I Can Feel It (4:20) contains a dreamy atmosphere with a slow rhythm, beautiful soaring Нammond organ and warm vocals, finally sensitive electric guitar solo, simply wonderful.
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Enjoy!
WBR, Michael Baryshnikov.

--- wfido