Bloated Stomach After Hernia Operation

ZAFRETH HELLO FRIENDS, LES SALUDA Cesar Mendoza.

Here is a choice of self-gift for this holiday season 2007. This is the Norwegian group ONSÉGEN ENSEMBLE, a power-trio progressive farmer of a powerful and forceful style, mixing zheul (as a style somewhere between Happy Family and Kultivator) Anekdoten pre-"Gravity" and space-rock, with some elements jazz-rock stuck out there at times.

From their website, located at the address http://www.uleaborg.com/onsegen/ , you can download the songs from their two EPs, "Hiukkavaara Session" of 2005, and "HottoïzzoH" in 2007. This is all what they have in the market for now, a mini with two songs and others with three. On the other hand, they can be seen on YouTube at the following links: 'Soleil' ( http://www.youtube.com/watch?v=ZgI-WfGKGXQ ); " Hottoïzzoh '(long version) ( http://www.youtube.com/watch?v=Z7iIgFErOB4 ),' Kuuhanka '( http://www .youtube.com / watch? v = 8Je8F-AZxbs ).

Here's my personal opinion of the EP "Hiukkavaara Session" .-

'Pod' begins with a muscular performance of rock beats that are in a hybrid of Anekdoten and Happy Family but without being as disturbing as the latter - there's even a driving pop-rock hues, thanks to the presence of guest vocalist Alisa Saila. The interlude between the middle and final sections sung is an interesting jam full of tense moments agglutinated, but just how rare this song is that the more warlike aspect of the group is just an add in the development of the composition and not the very essence of it. In short, things take a channel more in line with standard energy complex in the second theme, 'Kuuhanka'. Beginning and ending with a pattern of under-funky rock, where the bass lines operate creatively alongside the guitar riffs and ornaments, we have a splendid interlude consisting of a jam zheul typically dynamic shear. The guitar playing keeps a family resemblance to Belew and Nicklas Berg (Anekdoten), while the rhythm duo holds the basic cadence of its variants through an environment. There are some songs that emulate tenors evoking a kind of religious Ruins exhibiting a resemblance in tone sarcastic, not Dadaist dementia.

And now, my appreciation of "HottoïzzoH" .-

"HottoïzzoH" just start with part of the same name. As seen on YouTube ( http://www.youtube.com/watch?v=Z7iIgFErOB4 ), this issue can be expanded to a space of 9 minutes in live performance, but this studio version only reaches a length of almost 5. True that this restriction on the duration implies a restriction on the development potential of the atmosphere inherent in the central motif, but mostly it is positive - it is a muscular piece and cosmic time, with a strong and consistently supported environments on shoulders of the guitar riffs and the dynamic rhythm duo, with special reference to the robust sounds Juujärvi extracted four strings. 'OUSIOS MI MOSA' moves a little psychedelic stoner and delves into folk-prog tones within the framework zheul: this piece sounds like a hybrid between Hoyry-Kone (at his most aggressive) and Pochakaite Malko, due to the ingenious management of exotic East European rhythms in an atmosphere of ritual crushing (not oppressive). 'VTG' closes this mini-CD with all the luxury exploited. This is the part with further development as a composer, but still behaves Ensemble Onségen faithful to the prevalence of neurotic cadence and power. Compared with the first issue, the strongest parts carry a higher dose of flexibility, in addition, there is a magnificent semi-crimsoniano interlude where layers of mellotron (or a synthesizer programmed to sound as such) and sax flourishes provide a magic at once tortured and captivating. It is a pity that none of these pieces go beyond the 4 minutes and peak time, but hopefully this strong display of progressive avant-garde is the anticipation of future work hopefully longer. In any case, it is clear that Onségen Ensemble is a name to be considered part of the progheads individuals inclined toward the darkest corners of the genre. A simple message for all: to download these three themes of the group's website!

This message will also cover for the two EPs: the rest is a simple matter to download it from the website above. I hope the music will please you all.

César Inca Mendoza Loyola .

Uses Of Drinking Coconut Milk

Sleepytime Gorilla Museum "Of Natural History" (2004)

HOLA AMIGOS, LES SALUDA Cesar Mendoza.

On the Internet I have found this link http://www.mp3fiesta.com/of_natural_history_album84029/ , to download the second disc of Sleepytime Gorilla Museum "Of Natural History. This is a concept album (or almost) as theme deals with a critique of contemporary technological society. It is in this record that EMS leads to full maturity its proposal to combine the experimental metal, the chamber-rock, death, concrete music and gothic, all built in an amalgam bizarrely disturbing and strangely mesmerizing.

This really tastes like Halloween, with high doses of Dadaism and psychiatric hospital.

keep in touch.

Can You Get Herpes From Sharing Jeans

Cup of Wonder

Friends

recommend this page analysis of the letters Jethro Tull and Ian Anderson solo albums is a comprehensive website so I urge you to come and read. Security when you hear these songs of Jethro Tull that all we like we will in a very different greetings

Link: http://www.cupofwonder.com/index2.html

Heart Beats Fast Light Headed Hard

The Great Labyrinth Project - review of the CD

HOLA AMIGOS, LES SALUDA Cesar Mendoza.

With this let them know about THE GREAT LABYRINTH PROJECT, the project led by guitarist Peruvian living in the U.S. Ricardo Rodríguez. Assuming further the roles on bass, keyboards and rhythm programming, as well using midi guitar, Rodriguez has to get supply on sale on CD debut of THE GREAT LABYRINTH PROJECT, the same is available through their MySpace blog: www.myspace.com / thegreatlabyrinthproject Although This project is purely instrumental, this album has come out with titles in English and English, respectively: "From the Center of the Labyrinth" and "From the Center of the Labyrinth." Can find four songs on the album in this blog, but can also find two great musician in his blog ( www.musicazo.com.gruposlist / gruposlist.php ), looking at the section of progressive rock. What is noticed is that the input style embodied in this project is based on a sample energetic and colorful dyes eminent symphonic rock hard rock and psychedelic space-rock type, even some flirtations with jazz, modern rock, not because they so frequently fail to take noted. The main references in the compositions are RUSH, the standard symphonic yessera of roots, the ambiance of the era PINK FLOYD 73-75, waves and exotic dream OZIC Tentacles in heavier side and a stylized affectation SATRIANI .

The code is: Intro / Roller Coaster / Photography / ALGDGADU / The Awakening of the Dragon / Beautiful Sunrise / Apprentice / Time Traveler / The Princess Eskurtu / Outro

With 'Intro' We have an attractive alternate with passages cosmic curtains strong, almost prog-metal, seven eighths: this alternation works as a manifestation of something that is about to break. And the outbreak is true, indeed, with the next piece, 'Roller Coaster', from its input riffs and effervescent variants that are taking place in development. Without being a tremendously complex piece, it does convey an aura of sophistication through its successive environments, allowing round the slaughter of a cohesive composition and hook. 'Photograph' is more complex in the resolution variants that are happening, from an ethereal introductory passage to a first ground warm and melancholy, and then reach a section where cadences alternate trend most dynamic blues with others, the arrival in a brief reprise of the first ground mark an effective conclusion. Later, 'The Awakening of the Dragon "takes a step beyond the rock polenta that is crucial to the musical vision of Rodriguez, with a rhythmic foundation that is aimed more toward the realm of funky jazz-rock to give it a especially the guitar riffs. Between the photo and the dragon is located 'ALGDGADU', an issue where exotic air Middle Eastern inspiration is reflected with energy and spirit stiff, as if we were witnessing a ritual of outgoing and sober mood at a time. "Beautiful Dawn" carries a well-run lyrical simplicity, avoiding the cloying thanks to the effective use of both the ethereal sounds of guitar solos on the keyboard orchestrations. Lyrical but also more extroverted in the environment and pace, 'Apprentice' (one of the first songs that came to light in the first stage of this project) shows the facet above stylized repertoire, even I feel a slight tenebrism atmospheric density that makes an appearance somewhere in the medium. Items 8 and 9 are those which may be more successful reflected the ideology of progressive complexity. 'Time Traveler' makes a good hybrid of YES and RUSH, including passages with unusual rhythms and harmonic twists where dramatic contrasts are working smoothly. 'The Princess of Eskurtu' is not as well integrated as the previous piece, but also displayed ingenuity in its handling of the logic of the ambitious change of pace, purpose and environment: there are certain specific moments where the beauty of a single or a series chord especially shines. The minute and a half that takes 'Outro' is a resumption of the rock section of 'Intro' a good seal for a witty and entertaining album.

sincerely believe that this is a very interesting item in the contemporary progressive scene, and already I recommend the acquisition. César Inca Mendoza

Confirmation Id Us Visa Interview

RUBEN D'HERS "Everything is at Rest" - review and link

RUBEN D'HERS "Everything is at Rest" (2004)

Topics
1. Lower portions
2. Moths
3. Low Cloud
4. The Vigil and the Pearl
5. Silky peaking
6. First inexpressive Handbook
7. Lunch
8. My Broken Arm
9. The True God
10. Three Things I Incessant
11. Incessant II
Three Things 12. Everything is at rest
13. Anna and
Palmas

adventurer Caracas RUBEN D'HERS musician plays one of the boldest creative forces of the moment in South American experimental rock. Besides his work in the KRE group hallucination, it also has much to say as a soloist. His first solo album is "Everything is at rest," a musical story seriously committed to minimalism, electronic ambience, post-rock and musique concrete. The intensive handling of the tapes operate more as an instrument than as a mere technological resource. The series of mental images motivated by the repertoire of this album refers to landscape unreal and ethereal atmosphere full of mystery, magic mist and inscrutable. All this in the space of an hour and a half minute.

'Lots Low' begins with armed gloomy environments under a halo unreal and distant where random layers dissonant scales merge into a concrete effluvium. 'The Moth' is, however, a tendency to worship the images candidly referred to by the lonely guitar chords, the ones that serve to guide the development of sound layers that are added and hiding on the beach where waves . 'Cloud Low' has a darker trend definitely framed low (not absorbed by) the footprint of the chamber-rock or RIO in its most recalcitrant reconstruction. The disturbing series of violin pieces provides a constant multiple bizarre counter to the inconsistent appearance of the guitar, the same as those which emerge and disappear mischievous ghosts in an abandoned mansion and decadent. Then comes a breeze oppressive as if he had opened the window to a world even more frightening: this is more a musical landscape that music in the usual sense. 'The Vigil and the Pearl' is a tribute to the dreamscapes of post-rock at its most languid prototype: the effects ("natural" and artificial) and guitar chords presents a wonderful portrait of melancholy contemplation in a fall, while 'Desens Silky' continues to explore this vein with built-in breath of electronic minimalism, for anything outside the influence of more spatially dreamlike aspect of the first wave of krautrock (eg, CLUSTER, KLAUS SCHULZE). Definitely, with this ethereal acoustic guitar strums, "Desens Silky" is a pretty hot number in the middle of this context. Another issue that further appeal to similar environments is the eighth, 'My Arm Off', but halfway it will fly by most disturbing sound nuances, such as creating an exaltation of the mind locked in her own spiritual cubicle. 'First Manual of the inexpressible' is essentially a mini-catalog of effects: pure deconstruction of the usual ways, as if it were a tribute to the multi-art movement Fluxus. 'Lunch' follows the same path but points to the signaling of a specific rhythmic cadence, armed with what appear to be recycled sound effects that vocal sounds such as wheezing, takeovers, jaw movements ... With his rough guitar strumming slow its heartbreaking melancholy atmospheres expressed by the orchestration of violins, 'The True God' leads us more directly to sponsorship of Sigur Ros. The pair of tracks 'Three Things Incessant' offers two separate collages of ideas that will fluctuate and succeeding under a minimum wrapping of layers held in the air as the same sky that provides the things that pass and pass on the perpetual circle of life. The trend away from the sound production gives a strange dream of the issue, even in the most bizarre ideas. And indeed that is in good doses, like the surreal lament violin that concludes the second part of this duo. The title track is largely a continuation of the recurring theme of the leaflet above, but comes adorned by humming in falsetto (very similar to the vocal of Jónsi Birgisson, Sigur Ros). These allusions to post-rock used to, once again, enshrine the following piece, 'Anna and the Palms', the same that closes the disc. In three-quarter time, the guitar pieces, layered falsetto humming sound are far from being a mystery as to the sources of inspiration

"Everything is at Rest" is a very special album, ready to be enjoyed with a particular provision and to be enjoyed with new mindsets that the listener must be arming tentatively as it flowed to the repertoire. This is a varied and equally consistent, despite the cluster of influences, also a manifesto of creative originality. RUBEN D'HERS is a true visionary of contemporary music, and I really believe that his legacy this is valuable enough to assess and disseminate it as it deserves. This album can be downloaded from the same website of the musician: to visit the link http://www.dhersmuzik.com/download.php

César Inca Mendoza

Aftermarket Navigation For Ridgeline

CANVAS SOLARIS: Cortical Tectonics (2007) OUTER LIMITS

Topics
1. Berserker Hypothesis

2. Mirage sinusoid

3. Interface

4. Gamma Knife

5. Rhizome

6. Reticular Consciousness


The hallucinatory experimental instrumental metal assembly CANVAS SOLARIS again offer from the U.S. state of Georgia, a music catalog energetic, powerful and versatile. Just a year after the release of their "Penumbra Diffuse" (the first album the band met), the trio of Nathan Sapp and Ben Simpkins Hunter grinned resolved to deepen their peculiar mix of prog-metal, math-rock, jazz-rock, thrash metal, Crimson and ethereal psychedelia for establish a line of more detailed work in the management of contrasts and deployment of technical virtuosity, quite often free, but definitely always rewarding challenging for the music lover lover trails most bizarre avant-garde prog-metalheads.

The incendiary track "Berserker Hypothesis' expands into a feast of complex fiercely expanded through choppy riffs and rhythmic tensions already scratch the humanly impossible, yet it appears that the rock is exposed polenta with a vitality pretty cool. His span of just under four minutes is very well spent when it refers to the ability to impress the listener with technical expertise. Is as an accentuation of the most effective qualities of the opening theme of his previous work "Penumbra Diffuse." After this opening fire and delirium followed by two more well-rested subjects (not free of force.) 'Sinusoid Mirage' begins with an ethereal vibration where the beat of cymbals and electric piano-like sounds seem to float in the air towards a space of 2 minutes, before it enters the main section, marked by a jazz-rock essence ornamented metal connotations. 'Interface' digs deeper into the more relaxed side of the assembly with their air strongly coded fusionescos crimsoniana, something more akin to the sounds Recurrent TREY GUNN solo albums. This moment of contemplation (with its mild dose of neurosis) is a test of the ability of the group to create evocative environment with simple ideas, and incidentally, very timely given the tremendous outpouring of energy and fireworks taking place in ' Gamma Knife ', one of the most reliably appealing disc. 'Gamma Knife' contains an 8-minute musical journey which takes largely the final frenzy of the first theme, though clothed with greater sophistication by the use of highly stylized tricks to prog-metal (influence of FATES WARNING) and the appearance of certain well-defined melodic phrasings amid demanding exercises for chords and syncopation rare. Is there splendor for the sake of showing off? No doubt, but I think this exercise in exhibitionism contain sufficient flexibility in its internal environment so as not to get lost in unnecessary digressions, every riff, every single, every change of pace, each blast of double bass is in its proper place in the development and expansion of the grounds.

'Rhizome' begins with a middle ground between jazz-rock adventures of item 2 and the hypnotic rhythms of item 3 at its most relaxed passages, then, when suddenly appear fiercest sections have a new deployment of the purest essence CANVAS SOLARIS. The last 17 minutes disk are occupied by "Reticular Consciousness", a monumental piece of closure. It begins with a well-defined ground in the prog-metal remnants math-rock: here more than in previous issues does Hunter Ginn powerful display the artful blending of fire metalhead and jazzy swing that makes up his percussive style. Shortly before entering the third minute and a half we get into a middle segment "spacey" which sounds like a cross between Ozric Tentacles and Djam Karet (in his most dreamy). While advancing this section, the cosmic aspect is predominant until a plea of \u200b\u200bcounterpoints crimsonianos operates as a bridge to a more relaxed section, something like a remodernizada version floydiano dream of climates of the pre-"Dark Side". Shortly after the ninth minute bursts into a riff that within seconds we return head-initial ambient prog-metal with math trends, but this time the synth guitar almost steals the spotlight from the lead guitar in some phrases, with the reprise above the cosmic reason back from euphoria to the mystery live again until the end. CANVAS SOLARIS shown with its "Cortical Tectonics" who wants to and resources to remain a driving force towards the development of the current prog-metal scene in its most adventurous: the very best and most sharp metal has given lately.

César Inca Mendoza

Febreze Plug Ins Fire Hazard

Topics
1. Soul fumaroles
2. City Paper
3. The Call of Totoral
4. The Grand Bargain
5. Eternal Migration
6. The Voice of Children
7. Action for the Swans
8. Tralcao (Place of Thunder)
9. Hominids (History of Nerve Beings)
10. Workers
11. ENEUJ (This Is Not a Game)
12. Tickets To Go

Carried away by the current creativity and ingenuity that is expressed in his monumental previous album "The Island of the Dead", the Chilean LA DESOOORDEN assembly returns to the fray with another great concept-disc - "Paper City." Although the issue remains militantly committed to the environmental issue, this time the topic focuses on global environmental pollution caused by the excesses of rampant industrialization. The sound feels more charged group, which means less emphasis on the textures of mystical tradition (quite appropriate for the previous album) and more emphasis on the joint fluid of various shades, ornaments and complexities within their well-defined slope rock-fusion. This album reveals a higher dose of harshness typical of rock within the complex amalgam created by the band structure, in the most serene come to light the influence of Congress and, in general, the standards of rock-fusion in terms of rhythmic density and melodic sensibility, while the sharp moments may be noticed certain parallels with the current line KOIAK and MAR DE ROBLES. The work of guitarist Alfonso Banda is higher in comparison with "The Isle of the Dead", because there is more supply to put solos and phrases and make them stand out in the middle of the orchestrations of saxophones and the consistently strong contributions from the pair Rhythm (special mention for the drummer-percussionist Rodrigo Gonzalez, totally masterful in its power and versatility).

tribal syncopated rhythm With a point to reflect a sort of quiet reflection from the heartland, 'fumaroles of the Soul' forms the beginning of the album: it is a subject in which global power is passing smoothly assembly on the rhythmic cadences, while the violin (by a recurring guest, Benjamin Ross) magically talks with sax Peter Pfeifer. The title track goes up the decibels a bit, especially at times (as initial) where the guitar riffs set the tone, but soon we find passages contained in the instrument is qualified to allow dual singing Contreras Altamirano and drive out the front and power points. There is a beautiful interlude that is more relaxed when the subject before the return of the opening motif with an added look epic. Below are two instrumentals, "The Call of Totoral 'and' The Grand Bargain." The first starts with didgeridoo pieces of counterpoint sustained by exotic percussion beats, creating a little while refreshing a ceremonial dance. The second is a performance of jazz-rock, akin to what they do Akinetón RETARD (another great item Chile) in times less explosive: the presence of guests on violin and trumpet sound is full of very effective. 'Migration Eternal' it sounds in principle, a combination of the respective spirits of the first two songs, thus driving the stylistic continuity of the disc. But in addition, local variations and expansions in development that allow the assembly to vent their stylistic ambitions - definitely one of the most sophisticated gems "Paper City." 'The Voice of Children' has a more cinematic aura, noting the passage of flowing piano on a children's choir as the ocarina and certain percussive devices subtly decorate the environment.

'Action for the Swans' film continues this trend in the beginning, where the voice of an activist and the sound of slogans invite us to become aware of the dire urgency of the environmental problem. When the assembly comes into play, things return to their usual musical flow of complexity, but certainly with an aura more heavily towards the dark and mysterious. 'Tralcao (Place of Thunder)' green wave maintains explicit, this time transmitting an acoustic wave which highlights the percussive, incidentally, the soprano saxophone solo is delicious, really. 'Hominids' is an instrumental where the band sounds slightly flirting own avant-garde rock. 'The Workers' partially reiterates the cadence of the song 2, with the variation here are some occasional nods to funk. 'ENEUJ' places, where main reason, all meat on the bones rock a frenzy well into hard rock and psychedelia, emanating from the guitar and from the hard work of the battery, generating an approach to LED ZEPPELIN and RED HOT CHILI PEPPERS. The places where it appears the trumpet invited help create variety oasis in the midst of this torrent. The album ends with reflective landscapes 'Tickets To Go', they are introduced by delicate guitar arpeggios floating over ethereal soprano sax lines. Ethnic drums and delicate ornaments under help maintain an aura of evocation before they enter the sung parts. Occasional flights of violin and trumpet ornaments additional help to complete the colorful spirit of the farewell message envelope.

"City Paper" is a new exquisite artistic achievement of LA DESOOORDEN: recommended as a significant contribution in the forefront of American rock for 2007. César Inca Mendoza

Thesis Defense Prayer

"Stromatolite" (2007)

Topics
1. Cosmic Velocity

2. Consensus

3. Lullaby

4. algo_rhythm.c

5. Caprice

6. Spiral Motion
7. Dahlia
8. Pangea
9. Small Organ Works No. 4
10. Constellation

The stromatolite is a laminated rock archaic microbial origin: the basis of their origin are an essential part of the foundation of life on earth. The stromatolite is also mentioned in the title of the new disc assembly reborn Japanese OUTER LIMITS - I must add that this work "Stromatolite" is one of the most exciting progressive genre for this year 2007. The album shows a band with a significant change in the composition as is the absence of Tomoki Ueno expressive lead vocals and additional keyboards, but still firm to his complex artistic vision, it is based on the confluence of symphonic with strong dramatic elements, textures, Gothic, neo-leaning dynamic with dark breaths and camera schemes. Tadashi Sugimoto bassist takes over lead vocals and adds the stick and the cello to its instrumental contribution. OUTER LIMITS is determined to regain the path left behind with its disintegration in the early 90s to create a stylistic bridge which was so far his latest album, "The Scene of Pale Blue." Managing disruptive stylized environments and dark magic discharged through the atmosphere almost cinematographic directed by keyboards and strings make the listener familiar head-to soar above the disk. I must say, for my part, "Stromatolite" goes further in this proposal, offering a compact and an accomplished best thread of ideas endlessly suggestive. I do not know how much of what I am saying is due to the psychological impact of the new, but I am almost completely willing to consider this album as the best of OUTER LIMITS throughout his career.

'Cosmic Velocity' starts the album with an infinite glow that seems not going to stop ever. The pair generates rhythmic precision motor resolved in its task of holding tours of its companions: the spirals drawn by the violin, the guitar solo almost as RIO, synthesizers delivering an overwhelming grip on their spectral lines . All instrumentation operates as an engine sound lofty, grandiloquent outpourings marked by progressive splendor: the arrival of the final resounding climax gives a snap fit for the magnificence that has been deployed in principle so, through every pore of this issue. 'Consensus', the first song sung on the album, brings a progressive sample traversed by mysterious sounds almost industrial - Stylish hook and ornaments disturbing, two in one. 'Lullaby' like a bittersweet dream emanated from the gardens of a Rococo palace in the twilight hours, the song seems Sugimoto serene whisper a secret that had been hidden for a long time. Cadence contemplative irresistibly main reason is operated by the excellent color wisely drawn by the violin and cello duet which seems to occupy the whole atmosphere of an elegant and powerful at once. However, if we speak of forcefulness in the most literal sense of the word, the instrumental 'algo_rhythm.c' shows the band developing a hybrid of ELP and UK in an electrifying amalgam progressive, the same stands as one of the peaks of repertoire. 'Caprice' is a violin solo Baroque style by a space of a minute and a half supporting a prelude to 'Spiral Motion'. That is why the last phrases of the violin solo flying some unexpected dissonances as the coming of "Spiral Motion" has plenty of foggy and mysterious. Noteworthy in this piece quasi-frippianas emissions that arise in the guitar solo (an action that appears more than once in the work of Takashi Aramaki). 'Dahlia' is a measure less violent but still committed to climate disturbing: this guitar has more space for showcasing in the above topics, where his solos seem relegated to the places that the violin has a good leave. Although, truth be told, the single most impresses me is the synth, cosmic mode of a nightmare, like a storm of sorrow that springs from the depths of limbo. The song Sugimoto, always sober, low implementation occurs when the decibels. The instrumental coda that follows the last part sung is really scary.

How to help a little to relieve pressure environment created so far, 'Pangea' offers the most epic melodic motifs and less dark disk, managed with an assertive control. Sounds like a mix of film soundtrack heroes PENDRAGON (at its best then). But ... as the people of OUTER LIMITS with his genius can not always have to put something disturbing as it is: this happens in the moments in which the violin indulges in some solos on some beats low, but these moments are only bridges between takes and retakes of the most epic passages. In these passages the group is more akin to a mysterious accent which was so fond of the Polish group ABRAXAS extinct. Item 9 is a single organ bellows whose spirit and vibration emparientan with Gothic passages so frequently in the disks of DEVIL DOLL. With almost 10 minutes long, 'Constellation' is the longest track on the disc. It is an epic track traversed by a sound to PALLAS in recent years, leaning candid environments. This is a twist in regard to the environment, but the density created by the instrumentation block (density especially enhanced by the sumptuous orchestrations keyboard, opening gaps for the creation and ongoing exploration of textures) allows you to build a Bridge of continuity against the offered variants. To this end explicitly colorful concludes "Stromatolite", the return to large LIMITIS OUTER. In truth, this album is full of espledorosa stromatolite progressive fullness.

César Inca Mendoza

Forgot Combination To Casehard Combination Lock

OMNI "It was only a Dream" (2007)

Topics
1. It was only a dream

2. We're here

3.

night Malandar

4. Paper Telescope

5. El Tren de Rota

6. Swing On A Sea

7. Free Spirit

8. Jumping into the Abyss

The ensemble just put Cadiz OMNI other artistic golazo this, his third film - "It was only a dream" confirms this sextet as a band champion in the prog genre in the Iberian Peninsula. Surely and steadily heading for the fields of lyricism and melodic candor, the group moves through its elegance with exquisite melodic ideas, ideas swiftly arranged through the interactions generated by the musicians in constant communion feel full all the time . In this way, the group opted for strengthening the elements Jumping to his almost legendary second work "The Waltz of the Fairies", matching the excellence of the time it surpasses it in terms of stylistic coherence. Alberto Márquez keyboards get a bigger presence in the sound block assembled by the band, while the rhythm section (drums-bass-rhythm guitar) takes a higher dose of power. For his part, Pepe Torres knows meddling vientista playfully among the contributions of the first guitar and keyboards with complete ease, sometimes creating a triangulation with them, sometimes scurrying to fill gaps with precision. In general, we note that the group has gained in dynamism and agility. It is one of those records that may well engage the listener from first listen for their color and elegance, and also for his energy - and to hear more thorough one can see details and mentally outline their own perception of sound expression contained in repertoire.

The album begins with the eponymous piece, which is basically a prelude occupied by dreamy ethereal piano chords and whistling effects similar to heaven, all floating through a lilting wind - it's like being immersed in the process of awakening to a new day, and certainly, the freshness and excitement of a new day is what appears to be 'we are Here ', a song of 5 minutes with an explicitly worded happy, which is announced head on the general spirit of most of the disc. GENESIS and CAMEL Aires, so recurrent as seminal influences OMNI sound, the band emerge to work with them as their own vision. After a first section calm and serene, "Night at Malende 'offers a more complex facet of its dynamism inherent in the second part, implementing additional elements inspired by CAI and MAGNET (another essential concerning the band) and operating with alternating bars in 11 / 8 and 5 / 4. With the resumption of the initial ceremonial serenity again for the final. 'Telescope Paper 'creates something of a compromise between the two earlier pieces - the sequence that goes from 2 to 4 tracks can be heard on run from a state of empathy, as the intelligent use of solos and guitar motifs and keyboards helps to enhance the evocative power of the melodies. But if we reach one of the peaks of evocation, we need not go further: 'El Tren de Rota "-inspired shows a reconstruction of the canons of traditional Andalusian rock, creating a soundscape where the symphony is enhanced tremendously cutting rhythms and jazz-rock nuances surround Arabic. If the parties can lead to more gay candid emotions and pleasant, the slowest us into contemplative environments armed with impeccable elegance, in relation to the latter, special mention may be made to those measured Torres sax solo exhibits in parallel with the phrasing (looser, somewhat influenced OLDFIELD ) of the guitar solo Starry. Until now, 'El Tren de Rota "and" Night at Malandar' are two separate peaks of a repertoire that, by itself, does not have any waste.

After the 10 ½ minutes 'El Tren de Rota' are all 9 of 'A Swing Over the Ocean', which shows most notably OMNI closer to prog-fusion, and naturally, it is handled from the realm of flamenco. Fluidly explores the rhythmic foundation while its potential jazzy guitar and keyboard in a duet persistently dwells in developing the main melody lines. With the emergence of a more relaxed interlude we have a new opportunity to appreciate the sensitivity of Torres to create favorable textures, that before the opening motif returns, with additional ornaments, lead to the issue to its final climax. 'Free Spirit' has the agility akin to pictures alluded to in its title: it keeps the glare that has characterized the more outgoing sections of the code above, prioritizing symphonic standards. 'Leap into the Abyss' gives closure to the album with an air of serenity, perhaps a bit mysterious, as if anticipating the arrival of the darkness of night. The touch of majesty provided by Starry only allows the disc to finish with a flourish. I conclude by saying simply that "It was only a dream" is a progressive enjoyed no more, no less - OMNI supply is given a name to remain firm in the English progressive movement. César Inca Mendoza

Mathematica 5.2 Mien Phi

floating "Agitation"

HOLA AMIGOS, LES SALUDA CASEY INCA. FLOATING

is a great Chilean instrumental quartet embodies one of the most strikingly progressive proposals that I have discovered hardened in recent months. And we're being customary for the Chilean progressive movement in its various aspects, provides copious musical fire flares: items as varied as Akinetón RETARD, TRYO, ROBOT, EXSIMIO, JAIME ROSAS QUARTET, FLASK, SARAX, MAR DE ROBLES, KOIAK, AUSTRALIS, etc., offer music streams whose respective mills are enhanced with abundant energy and polenta.

What if we concentrate now on FLOATING specific case? They already have an album under his belt and a second self-titled debut entitled "The Turmoil", the same that was published by Mylodon Records in late 2006. This is the disc that I mean when I talk about my shocking experience with the music lover FLOATING sound art. You can access their own audiovisual material on YouTube with two video-clips: 'The Bear's Breakfast' ( http://www.youtube.com/watch?v=VyzDfI3nR-A ) and 'Da Taran '( http://www.youtube.com/watch?v=ku_tKsYQ40Y ).

Anyway, now I come to comment on the album "In the agitation," I recommend it to lovers of progressive sounds that will bring together the sharp (math-rock, prog-metal) and experimental (the oppressive neurosis KING CRIMSON contemporary, post-rock, noise) on a sophisticated rhythmic cadence partly inspired by the modern jazz-rock. The album begins with 'The Bear's Breakfast, "a sober and elegant exercise friendly, flexible timings, somewhat given to chiaroscuro but in a very subtle way. The most aggressive emerging as special ornaments mostly ethereal atmosphere within the central motif. Establishing more friendly environments of the first portion of the next item, 'Steps Elefantastic'; and the concluding portion more clearly tilted towards the genres, the group comes to a sturdy building solidly sustained energy over a slow tempo. It is in the third track, called 'Sonar' (one of the absolute peak of the disc), where we meet the first neurotic frenzy torn by the assembly, but since this group is not much given to indulgence in monolithic environments , we find a qualification of this frenzy through the development of a cutting bar funky. The structure of this piece reminds me of a cross between ATTENTION DEFICIT and pre-Primus "Brown Album." The guitar solos issued in the final jam raise the temperature Environmental instrumental flights before landing in a disturbing epilogue, prepared with random effects to musique concrete (console tricks, industrial percussion, flute notes). 'The Kiss of the Gorilla' brings some solace to their particular agility, inspired by the KC half of "Three of a Perfect Pair" and the TRYO of the most cheerful. This kiss primate is mainly a prelude to the tremendous "I'm Little," another absolute gem of this album. Being as explosive as it is, how the two interact guitars in the fire gives a good account of the compact unit that operates through the association of individual components. Starting with the main reason, based on a "Crimson Jazz" takes us back to the middle of runs guitarfish intense games adorned antics hyperbolically battery (a la Don Caballero - special mention for the drummer Felipe Morros): This intermediate can oxygenate the reason central, as their resumes carrying a guitar solo that carries with it the intensity of that interlude.

'Zancudo Paw' keeps a cadence very far Zeppelin, with guitar solos that I sound somewhat akin to Gary Moore and Jeff Beck. It is when we are finished with a minimalist ethereal epilogue creates an effective stunt. 'Fat James' shows the band exploring sounds quite hard hazy, languid climates playing sensibly through the first. With the arrival of the second plea the record turns to a totally different area, mixing the obsessive syncopations of math-rock with brilliant force of prog-metal, just this last factor is enhanced in the following reason but the beat is too fast. 'Bugs' begins with ruidismo resources operating as a prelude to a psychedelic jam that houses more energy than is apparent. This issue, as either first, perfectly exemplifies the usual dynamic interaction that constantly generate and Cortes Acevedo guitarists. 'Fat James' and 'Bugs' are also other pieces that stand personally in this impressive repertoire of "In the agitation." The album concludes with 'Subject to the Fish', an effective exercise of post-rock in which the group explores its most mysterious, dream-weaving a musical fog shrouded in shades almost "unreal." Special guest: trumpeter Patricio Carrasco, who displays lines crucial to the development of the general environment.

With "in turmoil" FLOATING shows off his talent to develop a complex and powerful through its solvency and versatility - is a major reference South American progressive today.

Is Humboldt County A Good Place To Live?

distorted "H"

HOLA AMIGOS, LES SALUDA CASEY INCA.

Argentine One of my most exciting discoveries in recent months has been distorted, instrumental quintet whose musical approach is a heavy experimental rock, played with a lot of nerve, expanded sound travel arrangements benefiting from consistent. His album "H" - released last year 2006 by Traveller Stationary - is a catalog of excellent pieces whose disturbing magic comes from the fast convergence of the following main influences: crimosnismo modern, post-rock (at his most embattled eg KAYO DOT), math-rock (with the DON CABALLERO), the Anekdoten "From Within". The presence of several relatives cadences jazz-rock and the rhythm section crucially help to capitalize on the inherent polenta musical ideas. The duo guitar provides constant coordination games to complement - rather than challenge - in their riffs and harmonies, but of course, there is also room for single well-armed in which the individual brilliance with a reasonably measured. In short, the work of keyboardist (who, among other things, rescues sounds hard electric piano and Hammond organ) helps fill in the blank, enter pleas, to complement the overall density created by their peers, increase the surreal aura of concern with its layers and embellishments. Deform is an ensemble in the truest sense of the word is the block that looks more in regard to the efficiency for creating and developing musical ideas at once complex and controlled.

This great discovery came early for there are soundclips on their website ( http://www.deformica.com.ar/ ) and in his MySpace blog (www.myspace.com / deformity ), but the real revelation began to realize when, a few minutes to get home and open my package of VI, and I put the disc I came across 'Final', the opening theme. This short sequence of dual guitar arpeggios so mechanical sustained by the double vibrant rhythm and keyboards subtly decorated with a proper notice was strong gale of mystery and power that I was coming. Then came 'New V', an album whose peak is marked by fierce vein guitars in their sound management of textures: the drummer shows a large pulse of time to handle changes dramatic environment. Another peak is the next topic, 'Mecafónica', which reveals more stormy and complex than before, with several passages that pass between the neurotic schizophrenic, the sharpness and pulsational. 'Spider Veins' and 'cramp' offer a lower dose of darkness but still maintain the consistent level of dynamism in the repertoire of the album - these two pieces I have just called delirium combine well archetypal KING CRIMSON and mysterious atmosphere of post- rock (as always, at his most powerful), showing deformed in a more compact and less deconstructive. 'Puppet' boasts a playful atmosphere that contradicts the initial reason neurotic nature, on the contrary, this playful agility allows elaborate guitar playing coquettishly on aggressive passages (much to the math-rock) and quieter, with which it concludes the issue . 'Puppet' contains what is perhaps the most impressive performance of the duet rhythm. The spirit of Hidralia 'reminds me of' New V ', particularly for its majestic psychedelic management polenta constantly emerging.

There interludes between songs (although additional ideas seem close to the track above). For example, There is an interlude consisting of a series of surreal effects of random shocks slide guitar strings, while others interludes are based on a pastoral sonata classical guitar or drum solo very far Canterbury. 'Sophism', the closing track, is a special case, as is a main reason that only lasts languid 2 ½ minutes, which is followed by a silent period and a jam surreal and subtly oppressive to Sigur Ros - is assumed that this jam is the epilogue, if we continue to apply the logic of the interludes that took place with all previous issues.

The h is silent in a standard letter, but this does not apply for this "H", which has a very explicit expression manifest as a way of experimental progressive music today. Deform is a name to be recorded in a prominent place on the agendas of progressive music lovers. To complete our approach to this band, we can also see his videos on Youtube in the following links: http://www.youtube.com/watch?v=mkPaDDGgKyI , http://www.youtube.com/watch ? v = Jam8TAc7TEI , http://www.youtube.com/watch?v=VfSuyGVwE8I - and convinced the public will find extensive audiovisual delight in these documents.

How To Launch Rockets From Rc Helicopters

Supay "The Journey" Flor de Loto

HOLA AMIGOS, LES SALUDA CASEY INCA.

Another excellent contribution to the prog rock scene in Peru is the second album Súpay "The Journey." Officially launched local label in late May, came ahead of a limited edition EP titled the same, which contained five of the ten songs on this CD-length. The line work is clearly circumscribed Súpay under the parameters of trend prog psychedelic folk fusion communion with the southern Andean root. The debut album "Confusion" (a gem yet to be discovered by the general public more progressive) showed a complex amalgam of rock and Andean compactly built, the priority trend of content musical journey "The Journey" is to sharpen the edges of specific one of two sources to give a guideline communion more focused on the contrasts. Ojo, harmonization of the two core elements still well done: the thing is being worked with a slightly different approach. The result is also excellent because, after all, Súpay is a group with clear ideas in their instrumental expansions - the assembly knows what to expect in both moments of improvisation in the markedly lyrical passages. Compared to the debut album, here is a noticeable excitement more pronounced on the guitar, which is linked closely with the influences of Blackmore and Jeff Beck, David Gilmour and apart from Steve Hackett. For its part, the Andean winds combine an undeniable mix of ancient magic and rogue JETHRO TULL.

The album begins with a beautiful prelude quake entitled 'Ancient' (similar in cadence to the opening of the legendary "Alturas de Machu Picchu" THE JAIVAS), crimp almost instantly with 'Soul', a sad trend theme incorporates soon variants a little more outgoing, but not break the basic climate. Guitarist Luis Proaño leverages its leadership role without being absorbing. So far, we have a continuation with the line "Confusion." It is from 'Supay' when the assembly begins to put new cards on the table: the heavy riffs duplicated by the bagpipe and versatile power rhythmic duo emerge as an explosion of light from behind the mountains, while Exquisite ornaments keyboard effectively filtered under successive guitar solos and wind. Later, with 'Remoteness' and 'Resurrection' we have two separate Examples of this strategy, including giving more room for jams and enhancing the polenta with more determination inherent in the assembly. These two themes are perhaps most notable interventions contain keyboardist Gustavo Valverde, given the variety of sound resources used in the orchestrations, harmonies and phrasing in fluent dialogue with the guitar and winds. Others are specific moments that highlight the naughty bits of flute floating over the heavy guitar playing at the peak sustained 'Remoteness' and the majestic colors focused on the epic occasion of opening of 'Resurrection'.

candidly Súpay also known to give lyricism of the Andean soft as in 'Karnavaloide', a slight exercise of key Andean carnival-music world, and in the interludes 'Nan Quiska' (reprise of 'Ancêtres' with panpipes) and 'Warrior', two separate solos Leon Williams vientista. "Moving II" is a blues-rock interlude progressively decorated landing at the initial plea of \u200b\u200b"Going 'track of" Confusion "- more than a sequel is prologue. The album ends with the piece that title. 'The Journey' has two distinct sections: an initial basis ethereal bossa nova, which traverse burning dulcimer and float away like a dream, until he emerges the final section, a stream of psychedelic hard rock wisely adorned with cosmic synth sounds, the way of something sinister awaits us down the road.

Súpay achieved again projected as an important benchmark in the progressive scene with "The Journey". This is a very consistent album, despite the inconsistency of the schedule that was followed to record and produced a few. In fact, bassist Renzo Danuser is no longer (being the veteran returned Felipe Asmat an appropriate replacement), Gustavo Valverde dropped out before the release of the previous EP, and the pair wind turned into a monad. Hopefully this group has the fortune of using a catapult that was the re-release of his "confusion" through Mylodon. The truth that the proposal deserves more public attention from the rock music lover, whether progressive or not, after all.

Quickbooks 2009 License Number A Product Number

Mother Earth

HOLA AMIGOS, LES SALUDA CASEY INCA.

With this I would like to comment on the second disc of a lotus flower, now proudly progressive Peru. This album is called "Mother Earth" and has just been published by Mylodon Records late this past May.

After calling the attention with its efficient handling of instrumental expansions in their debut self-titled (2005, also published by Mylodon), the quartet formed by Alonso Herrera [guitars], Alejandro Jarrin [bass], Johnny Perez [flute, Andean winds, flute, percussion ] and Jorge Puccini [drums, percussion] achieved more consistently frame prog-folk style musical ideas a little more concise, most of the time. They have shelved expansion, as can be seen in their live performances, which are committed to make the most of his subjects, but the studio versions choose to draw more explicit bounds for their compositions. This moderate restriction their flights instrumental is counter to the increases in energy and color that have permeated his "Mother Earth." The first two tracks on the album, 'Mother Earth' and 'El Charango Perdido', shows them walking to the same solvency Andean passages and hard-prog, managing variables and constants with astonishing fluency. The thing is challenging and vibrant at the same time, with a contagious hook that belies the complexity of anything. The most explosive moments are concentrated in 'Antares' and 'Medusa'. The first is an exercise in funk-rock and hard rock with Arabic references: I think that the development could be longer, but is grateful for the tremendous coda half thrash that emerges as a storm playful. The second, which closes the album, is a compendium of the major references of the group (JETHRO TULL, IRON MAIDEN, DREAM THEATER and RUSH) - an excellent clip.

But these are not the only parts of the disc particularly meritorious. There are songs like 'The Messenger', 'Moonlight' and 'The Law of Life' in which FDL displays his ability to develop quieter weather with perfect finesse. All code-3 / 4, appeal now to the palatial Renaissance music, pray to the samba rhythms of Argentina, for inspiration in ucreación s introspective atmospheres. The final section of 'The Law of Life', in my opinion, also merited further expansion is as if the entry of the electric guitar strums in the end did not have enough space to complete a better climax (why some producers are so worried too much?, would not his peculiar concern other types of excess, anyway? ... anyway ... what do I know about these things ...).

'Celtic Dance' and 'Andalusian' are other adventures in folklore by way of mischief as a tourist. These pieces are well made (the minstrel candor of the former, the well-armed coda in 5 / 4 second) with mixed results: we note that the group is more naturally suited to Celtic that flamenco fusion.

In short, my personal assessment of this album is very positive. It is quite possible that at the end of 2007 is one of the most outstanding progressive work of our environment lationoamericano. The international projection of FDL already heading to their participation in festivals in Brazil and Mexico, and having as recent testimony that "Mother Earth", things can simply not stop at the step height ... Who knows?