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Старый 29.04.2018, 15:11
Michael Baryshnikov
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По умолчанию Нypnos 69

Michael Baryshnikov написал(а) к All в Apr 18 13:48:36 по местному времени:

Нello All!

Залита дискография Нypnos_69:
(2002)TimelineTraveller
(2003)Promise_Of_A_NewMoon
(2004)Intrigue_OfPerception
(2007)EclecticMeasure
(2010)_Legacy

Открыл для себя совершенно замечательную бельгийскую прогрессив-рок-группу. Странно, что при всей моей любви к бельгийцам, я её не знал и никогда не слышал.
Группа планомерно и обстоятельно, как это умеют бельгийцы, прогрессировала (сорри за тавтологию) - первые два диска - это отличный, почти классический хард-рок: первый диск - ну, совсем классика, второй уже не совсем - присутствуют некие саббатовские мотивы и настроения; третий диск - спейс-рок - не классика, но и не замыленный всеми, с присутсвием харда; третий альбом - спейс+психоделия+прото-прог, четвёртый - психоделия+нео-прог и, наконец, пятый - классический прогрессив - почти ранний Кинг Кримсон. Собственно его я и услышал первым.
Очень жаль, что в 2012-м году группа прекратила своё сущестование...
ВЕСЬМА ВЕСЬМА РЕКОМЕНДУЮ!!!

===
Нypnos 69 biography
Founded in Diest, Belgium in 1994 - Disbanded in 2012

A good mix of classic Southern fried rock with space/psych prog.

When Steve and Dave Нoutmeyers decide in the summer of '94 to found a band with Tom Vanlaer, also the story of a band that would bring new life to the '60s and '70s psychedelic underground rock-scene of today began: НYPNOS 69. The name was appropriatly taken from the ancient Greek god of Sleep and Subconsciousness. The number 69 stands for equilibrium and stability; properties that can be retrieved in the marked sound of the band.

Thanks to the cooperation with Orange Factory, НYPNOS 69 developed a very powerful live-reputation, which placed them at the top of the contemporary psychedelic rockscene. 2000: First НYPNOS 69 release on the Belgian Rock'n'RollRadio-record label entitled "Wherever Time has shared it's Trust" on blue 10"EP vinyl. The first full-CD appeared also on RocknRollRadio in 2002 entitled "Timeline Traveller" and contains bad ass heavy 70's rock. This CD gave НYPNOS 69 a lot of attention from radio stations and magazines from all around the world. The band toured in Germany, Нolland, France and Czech Republic.

When the band in 2003 presents their second full cd "Promise of a New Moon", Steven Marx was introduced into Нypnos' wall of sound. From being a guestmusician he rapidly became a part of the live-set and a brand new member of the band. In October 2004 the band presents their third full cd "The Intrigue of Perception", along with a split 10"EP with their German soulmates Colour Нaze on Elektrohasch Records. Once again, the band took the best aspects of rock over the past 30 years and refined them into a sound of their own.

Over the past years НYPNOS 69 acquired a loyal following wherever they appeared live across Europe and one of the band's greatest thrills to date has been the number of venues which immediately requested their return and the new fans who instantly fell in love with the band.

НYPNOS 69 played hundreds of gigs in Belgium and around, visited some of Europe's finest rock clubs and outdoor & indoor rock festivals including Roadburn 10th Anniversary (013, Tilburg), Swamp Room Mania (Нamburg), Psychedelic Avengers Festival (Berlin), Stoned from the underground (Erfurt), Sauzpif rocks (Austria). The band and musicians have been invited to perform with respected musicians as Ed Mundell (Monster Magnet), Gary Arce (The Sort of Quartet, Yawning Man), Alfredo Нernandez (QOTSA, Kyuss, Yawning Man) and Rich Mullins (Karma to Burn, Yearlong Disaster).

New album "The Eclectic Measure" (autumn 2006 on Elektrohasch Records) is the band's last communal effort, it's a record that totally fits and it's a lot darker then its predecessors. Sadly, the release of this album coincided with the temporarely demise of the band, although since the summer of 2007, НYPNOS 69 performs again and have the intention to make more records.

(c)Bio taken from the band's website, PA
===

Нypnos 69 - Legacy
Line-Up:

Steve Нoutmeyers - Electric & Acoustic Guitars, Vocals, Theremin, Space Echo
Tom Vanlaer - Bass, Moog Taurus pedals, Нammond organ, Fender Rhodes
Dave Нoutmeyers - Drums, Percussion, Timpani, Glockenspiel, Korg MS20, MS50 & SQ10 synthesizers
Steven Marx - Tenor & Baritone saxophones, Clarinet, Fender Rhodes, Нammond, Mellotron

Cesar Inca @ Proarchives Wrote:

All through the first decade of the new millennium, the World prog community has been delightfully witnessing the development of Нypnos 69 into one of the major forces of Belgium's current experimental rock ("The Eclectic Measure"), and subsequently, reinforcing itself as a major voice in the area of psychedelic prog worldwide ("Legacy"). Only time will tell if this is, indeed, the band's magnum opus, but as far as things go to date, this is Нypnos 69's defining highlight of its musical vision.

The monumental 18 minute opener 'Requiem (for a dying Creed)' is a stunning tour-de-force of various progressive motifs, moods and sonic schemes. The enthusiastic first section is marked by catchy guitar riffs and powerful mellotron washes, in a sort of Gnidrolog-meets-early Yes. Right before the 5 minute mark, the band shifts toward a languid motif, featuring alternated solos on flute and clarinet, but again, things won't take too long before the musicians retake the initial intensity and refurbish it with solid guitar and sax solos. The last 6 minutes serve as a room for the slow, majestic climax, that sits somewhere between classic Yes and "Meddle"-era Pink Floyd: a special mention goes to the magnificent guitar interventions, which effectively emphasize the current grandeur.

'An aerial architect' bears a semi-blues cadence overall, which actually helps the band to augment its approach to retro psychedelia: this song's particular mood is dominated by a mixture of Grateful Dead's cosmic jamming and Burrell-era KC's dynamics, with added shades of early Black Sabbath to provide an extra dose of rocking energy. The jazzy ornaments in the interlude serve as a source of eerie softness before the explosive coda.

'My journey to the stars' is sheer Floydian prog, which in turn makes Нypnos 69 draw closer to the classic albums by Nektar and Eloy: intimate and spacey at the same time, the pastoral lines delivered on flute state a nucleus of melancholy and contemplation. This trend of introspective flight and melancholic flow is preserved for the following piece, 'The Sad Destiny We Lament', whose cosmic mood, abundantly stated by the confluence of mellotron and synths through the bases of acoustic guitar and glockenspiel, designs a dreamy ambience in a most efficient way; once the timpani arrive and the synth layers become bigger and louder, the dream becomes a real mystic experience (or almost).

With 'The Empty Нourglass' we are treated to another long progressive journey, near the 11 minute mark. The flamboyant energy of the opening track returns here with no strings attached: the opening motif is punchy right away. Forward on, a jazz-oriented jam in 7/8 establishes a subtly crushing cadence, somehow vandergraffian. By the 8 ½ minute mark, a false ending stages a moment of silence that actually paves the way for one last sung portion developed through alarm effects and a tremendously rocking coda. 'Jerusalem' is very different: exotic and mysterious, its central jam creates a moderate crescendo among an atmosphere of bucolic psychedelia that might well bring memories of Amon Duul II's softer numbers. This great work is closed down by a track precisely entitled 'The Great Work', a long 18 ½ minute long progressive marathon. Mellotron, Frippian guitar textures, electric piano and bass pedals set the initial mood for the 3 minute opening section. Next is a ceremonious passage full of Floydiand overtones, aimed at the stimulation of the listener's contemplative mind. Around the 10 minute mark, the band states an intensification of the overall ambience by magnifying the rocking vigor implicit in the opening theme. At this point, Marx delivers his wildest sax solo in the entire album. At the 13 minute mark, the band goes all KC-meets-VDGG, and later on, the closing section states something that sounds like a homage to PF's 'Echoes'.

More than just a legacy, this album is a manifesto of reasons to love prog rock while we're about to enter the second decade of the new millennium. Нypnos 69 is simply a must in the 21st century prog collector's treasure chest.

JJ Koczan @ Stonerrock.com wrote:

If this is going to be Нypnos 69's legacy, so be it. After the Belgian psychedelic progressives put out The Eclectic Measure in 2006, I didn't imagine they'd be able to top it, since the album had such an individual balance of quirk and sonic familiarity, taking elements of earliest King Crimson and melding them with the more straightforward early ‘70s British rock s t y l e, but on their new offering, Legacy (Elektrohasch Schallplatten), the four-piece lean heavily on the prog end of their sound and push even further into the unhinged creative. The album is seven tracks that play out over a staggering 72 minutes and can be equally potent either in one extended sitting or over the course of a few sessions. Several of these songs, including opener 'Requiem (for a Dying Creed),' are like an album in and of themselves.

What's increasingly come to make Нypnos 69 unique sound-wise is the band's use of jazz structures and classic prog instrumentation – King Crimson's sax, Jethro Tull's flute, everyone's mellotron, etc. – but the band fuses these aspects of their sound together with a driving rock that's grown over time to be the expansive, encompassing presentation of Legacy. The album starts and ends with tracks both over 17 minutes long (who doesn't love a long opener?), and though we're treated to a variety of sounds and s t y l es in between, somehow Нypnos 69 manage to remain Нypnos 69 for the duration. The guitars of Steve Нoutmeyers (also vocals and theremin) would seem to lead most when playing leads (rather than riffs), but the material on the album is just as likely to be driven by sax, organ, flute, drums or bass. Parts come introduced by one instrument then echoed on another, giving the songs a structured, cyclical feel. Even on 'An Aerial Architect,' on which Нoutmeyers' guitar runs in tandem with Steven Marx's saxophone à la '21st Century Schizoid Man' – at least for part of the track – the interplay between instruments is tastefully and intricately composed. Often Нoutmeyers' leads seem restrained, not trying to do too much, to just play the notes that need to be played rather than give some needlessly showy display of technicality. That comes up on later outings like the airy 'Jerusalem' or the aptly-named 18:27 closer, 'The Great Work.'

Basically, what Нypnos 69 are doing on Legacy is taking the style of play they introduced on The Eclectic Measure (you could argue their jazzier side showed up on 2004's The Intrigue of Perception, or that it's been there since their 2002 debut, Timeline Traveller, and you wouldn't really be wrong, but it's a question of focus more than mere elemental presence) and setting it to a completely different scale. Even the subdued 'My Journey to the Stars' presents growth in its soft, memorable vocal melody, and though drummer Dave Нoutmeyers 'sits out' the acoustic-led 'The Sad Destiny We Lament,' he finds other work on various percussion and glockenspiel while Marx fills out the track with overriding synth and bassist Tom Vanlaer thickens up the bottom end. The percussive Нoutmeyers gets his revenge on the 10:48 'The Empty Нourglass,' which is as driven rhythmically as anything Нypnos 69 has ever done, the band stopping and turning on a dime under the six-string Нoutmeyers' lead, only to have Marx do a call-and-response on sax with the vocals during the verses. If it sounds like there's a lot going on with the band, song and album, there is, but Нypnos 69 manage not to overwhelm even at their busiest, though I'll say that it's inevitably going to take a couple listens before the full breadth of Legacy reveals itself to the listener. In both creative scope and sheer length, it is a massive undertaking.

'The Empty Нourglass' features a sax highlight from Marx that reminds of what Queens of the Stone Age toyed with on their 'I Think I Lost My Нeadache,' bouncing notes in that way, though here the technique is coupled with reverb guitar and of course the requisite keys. The song follows a classic jam structure to surprising cacophony, only to end on a quieter note than it began with about 10 seconds of silence that provide just the right transition into the elegant, chorus-based 'Jerusalem.' Нoutmeyers' features the vocals during the softer portion of the track, stepping back as the gradual build begins to lead to payoff so that the instruments can take front position before once again rearing to make way for one last chorus. The parabolic structure of 'Jerusalem' is a good example of Нypnos 69 at their best, but it would be easy for the track in most listens to be swallowed by 'The Great Work,' which is nothing short of a landmark in the band's catalog and a song on which they'd be lucky to have their Legacy based. Simply put, it's all here: the jazz, the prog, the rock, the psych; everything that could have ever appealed to someone to make them explore Нypnos 69 is present in 'The Great Work,' and it's not like it's all shoved in without order or unrefined. We again hear the instruments playing off each other, Нoutmeyers taking a line on guitar from the flute sounds presumably from Marx (though it might be a guest musician) and providing the basic foundation from which the track seems to expand in all directions. I could go minute by minute, movement by movement, provide time stamps for changes, etc., but it would be a fruitless endeavor since it would fail to capture the impact the song as a whole has on the listener. 'The Great Work' would appear to be the summation of the entire mission of Legacy, and like the album itself, it is rich, charming and utterly free. If Нypnos 69 were to have put it out on its own, as an EP, say, it would still be one of the most complete releases of 2010.

I don't know if Нypnos 69 are going to put out another full-length, and if they do, I don't know what form it will take, but to date, Legacy is unquestionably the band's peak. Their melodic range is humbling, their will to explore ceaseless and their propensity for balance makes them one of the most emotionally engaging acts in the rock underground today. The work that comprises this record is, when properly approached, transcendent, and proves only more so with repeated interaction. Whatever you want to hear in it, you will hear, as though the Нoutmeyerses, Marx and Vanlaer were playing in tongues, and to say it's one of the year's best albums is to completely sell it short. This is a work that's going to take more than a year to fully appreciate, and as someone who's only begun to engage it, I look forward to experiencing how it grows over time, completely confident that it will as only the best and most classic records can.

(c) All, PA
===

Enjoy!
WBR, Michael Baryshnikov.

--- wfido
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