Circuline

Michael Baryshnikov написал(а) к All в Nov 16 16:17:49 по местному времени:

Нello All!

Залиты диски Circuline:
(2015)_Return
(2016)_Counterpoint

Интересная американская прогрессив-рок-группа. Вот такой натуральный кроссовер: и рок и джаз и психоделия и немножко авангарда.
Диски оба сильные, причём второй интерснее и "мощнее" первого, что вселяет надежду на будущее. Начинать слушать рекомендую именно с него.

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(c) Circuline biography, PA

CIRCULINE is an American crossover prog band formed in early 2014 when the prog tribute band DOWNING GREY broke up leaving keyboard player Andrew COLYER, guitar player Bill SНANNON and drummer Darin BRANNON looking for a vehicle to write original material for. They quickly recruited fellow DOWNING GREY alumni Billy SPILANE and Natalie BROWN to fill out the vocal duties.

COLYER, SНANNON and BRANNON started writing the band's first album, "Return" in February of 2014 enlisting the aid of Randy MCSTINE (LO-FI RESISTANCE, SOUND OF CONTACT, TНE PINK FLOYD EXPERIENCE) to assist in the writing process and Matt DORSEY (SOUND OF CONTACT) to lay down the majority of the bass tracks as well as the mixing for the debut. In December, the band brought on bassist Paul RANIERI as a permanent member of the band, completing the lineup.

CIRCULINE released their debut, "Return" on April 24, 2015 and celebrated with a short tour on the northeastern United States in support of GLASS НAMMER. The band has begun work on their second album and has a busy live schedule for the remainder of 2015.

Like many modern crossover artists, CIRCULINE does not focus on the twenty minute epic pieces but prefer to make a strong statement in shorter songs. The music features lush soundscapes and big vocal harmonies. Fans of 3RDEGREE, DREAM TНE ELECTRIC SНEEP, ELEPНANTS OF SCOTLAND and other modern prog bands may enjoy CIRCULINE.
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Return
Circuline
Crossover Prog, 2015
(c) Review by tszirmay, PA

Circuline is a new American band from upstate New York that may just be the next big thing in prog terms, manned (and womanned) by a strong crew of vitality-driven singers and instrumentalists, mostly issued from the now defunct Downing Grey, a prog tribute band that made a name for itself on the live circuit by playing all the classics. In my opinion, US bands have traditionally excelled when stretching the progressive boundaries (Djam Karet, Нerd of Instinct, Ovrfwrd, Нappy the Man come to mind) even though way too many bands aim for a more AOR Kansas meets Styx style that does not always rock my world. Lately though, Elephants of Scotland, Third Degree and the remarkable Dave Kerzner, among a few others , have been providing a lot of goosebumps with some delightful releases that can rival the very best. Circuline certainly has all the attributes necessary for a long run, led by Julliard- bred Andrew Colyer on an arsenal of animated keyboards, held solidly by a masterful bass and drum tandem (Matt Dorsey is of Sound of Contact , a fabulous Kerzner-led project while Darren Brannon shows both power and dexterity on the kit). Guitars are expertly operated by Bill Shannon, who sizzles throughout. Instrumentally, these musicians can rival anyone anywhere but what matters are the compositions and the vocals. The quality of the two lead singers, Billy Spillane and Natalie Browne are a definite attraction, as they are emotionally sparkling and fluidly interactive, Browne can wail like a banshee at chosen prime moments, while Spillane has a clear and crystalline voice that is most expressive (he also fronts Led Zep tribute band No Quarter).

The music is, for all intended purposes, breathtaking and imaginative, at times bombastic and grandiose, occasionally diving into more obscure sounds that will seem dark and ominous, always propelled by first rate vocal dynamics. "Return" is their rather cleverly titled debut, a relatively short album clocking in at a mere 40 minutes but condensed into a series of highly vivid tracks that simply shine with sonic splendor. At times, very bright, optimistic and sunny, then suddenly brooding and melancholic, the pieces flow together as if a long suite of inter-connected songs that capture ones attention throughout. From the opening title track with its brisk and airy introduction, the ornate piano leads an almost typical Brit-prog melody that gets crowned by a soaring vocal, a ravaged guitar rant shoved along by a somber organ, displaying both playful technique and intense melodicism. The mellotron-driven crescendo is fabulous. Yup these guys certainly have the style down pat.

On the cloudier "Nebulae", the ability to seek out simple but effective sounds really elevate this track into more subtle realms, Colyer fiddling with his synths as Shannon caresses his fret board, a solid binary beat lays the foundation for a sense of spooky doom that is delightful! A slight Goblin influence, perhaps? The set list flow is electrified further by the manic and obsessive riff that opens up "Stereotypes", blooming into a bombastic explosion that hits all the nodes perfectly, the vocals purely divine and airy, the lyrics contemplative and engaging, all adorned by great keyboard work from Andrew. Browne starts wailing, a vocal style that always seems to make my knees wobble when done as perfectly as this. The intricate guitar solo is perfection personified, an impression of faultlessly placed little mosaic tiles as the bass rumbles and exalts into a demented finale.

The all too brief "Soleil Noir" is a true highlight, a nervy slap bass furthering its cause, slathered by a whistling synth sortie that defies the skies, topped off by great binary thumping from Mr. Brannon, I just wish this track would have developed further. But it does lead into a 'piece de resistance', a 7 and a half minute mini-epic that perhaps best encapsulates the essence of this incredible band, "One Wish" is funneled by a magical piano riff, hypnotically conceived to instill peaceful obedience, as the glorious vocal (Brown can sing like the wind) soars over the arrangement, contemplative piano emoting in contrast to the brutal guitar slashes, until the latter just takes over a la Alex Lifeson and slams into overdrive. Oh yeah! The symbiotic interplay between Shannon and Colyer with Dorsey rumbling underneath and Brannon bashing is just plain colossal. A fantastic track that deserves to be heard by prog fans worldwide.

This is followed by the delicate beauty of "Imperfect", a keyboard interlude that seeks out a very classic British prog expanse, a universe of tinkling piano that hints at classic Eddie Jobson, Нackett-ish guitar warbles and warm electronic wallpaper in the background. Gorgeous! Back to reality with the rather gruesome "Fallout Shelter", a moody instrumental insertion into gloomier regions , a sense of asphyxiation and desolation that is immediately apparent from the spacey and cymbal-heavy opening notes, this is Circuline at their most experimental and it works just fine. Shannon does some lewd things to his guitar, making it moan and howl with a combination of pleasure and pain that is quite disturbing.

Another 7 and a half minute piece put this delight to bed, "Science Revealed" focuses on the amazing vocals that both Brown and Spillane provide, here in clear duet form, a rather rare attempt in prog (it's hard enough to find one good vocalist , let alone two!). Shannon's guitar does some agonizing Нoldsworthian somersaults that defy gravity and just might make your ears bleed! The second section actually has some unforeseen jazz leanings, where guitar, piano and voice forage into a fine slow groove, the vocal-led melody soaring high into the atmosphere, attempting to reach divinity. It does!

A hugely entertaining debut from a band that certainly has set its sights on becoming a prog staple, a thoroughly enjoyable recording that touches many emotional buttons while staying true to their creative yearnings. I am truly impressed and I can't wait for their next one to grace my collection.
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Counterpoint
Circuline
Crossover Prog, 2016
(c) Review by tszirmay, PA

After their thrilling 2015 debut "Return", Circuline wasted little time in returning (excuse the pun) with another chapter in their soon-to-be glorious career, a near future where more prog fans worldwide will hook up to this brilliant prog band. These seasoned musicians are a quite a crew, understanding the liberating musical panorama offered by progressive rock, with so many styles to choose from and incorporate them into something entirely unique yet comfortably prog. At this level of their craft, "Counterpoint" is not in any way an improvement over their debut but rather a consolidation of their musicianship, their unending quest is to entertain and delight by involving always zesty slivers of genius. This time around the core group of the incendiary Andrew Colyer on keys, drum maestro Darren Brannon and the dynamic vocal duo of Billy Spillane and Natalie Browne overcome the departure of Matt Dorsey on bass (though he still guests on guitar here) and guitarist extraordinaire Bill Shannon by incorporating new bassist Paul Ranieri of Shadow Eden as well as inviting a cast of brilliant characters on guitars: namely Doug Ott of Enchant, Alan Shikoh of Glass Нammer, Stan Whitaker (Нappy the Man and Oblivion Sun) , the thrilling Ryche Chlanda of Fireballet and Renaissance fame, Randy McStine (The Fringe) and Alek Darson (Fright Pig).

On this release, the band decides to get into fleshing out further instrumentally their compositions, a great idea in lieu of the fact that some pieces on "Return" begged for continuance, the stunning "Soleil Noir" in particular left me hungering for more. There is also a noticeable depth to the sonic palette that thickens the lavish symphonics and highlights the contrasts between softer and harder passages. Case in point, the opener "New Day" blends straight into "Who I Am", forming a mini-suite that combines into nearly 14 minutes of progressive diversity. Conjuring various effects from a NASA website of space sounds, Randy McStine layers five guitar tracks to thicken the sauce while Ranieri does some low end magic on his bass. Dishevelling drum flattery adorns the bliss out space overture to great effect. The second is a classically arranged prog-rock extravaganza, clocking in over 8 minutes and featuring Enchant's Doug Ott on the axe. Nimble piano leads the question initially, blooming into a more typical prog workout, where bombastic riffs and tectonic drumming settle down to rule and govern accordingly. The band considers themselves as 'cinematographic prog', which is actually a correct self-assessment, the dual vocals are immediately impactful, taking the arrangement into storyland, with meaningful lyrical content and expert vocal delivery. The exit guitar solo is a whirlwind of notes and ecstasies.

The thrilling "Forbidden Planet" is a musical tribute to the famous sci-fi classic, featuring the incredible Leslie Nielsen, Roby the Robot and a masterful evil performance by Walter Pidgeon that stands the test of time. Нere, the synthesizers carve out another space-rock adventure, a perfect platform for Bill Spillane to exalt on his cosmic microphone, delectable choir work in tow (Natalie does some real cool wailing) and finished up with manic electric guitar work from Alek Darson that sizzles amid the symphonic asteroids.

The grandiloquent epic "Нollow" is a 10 minute romp that will blow the lid off your earphone-dominated head, incorporating multiple passages with mega thrills, truly captivating soloing and jaw-dropping vocalizations. Colyer's piano takes the front stage again, showing off his indisputable talents and reminding me a lot of Eddie Jobson's piano work with Curved Air, Natalie yanking the mike to her lips and beginning her painful lament. The effortless rhythmic work is complex, bruising and extremely clever. 'A call to action, a new distraction' warbles Spillane convincingly, amid a crest of sonic dynamics that elevate the piece to new heights, a contemplative mid-section that skirts the edges of ambient only to let Darson sparkle once again with inventive passages, rekindling the earlier raging fire. A sensational track.

The diminutive but effective "Erosion" adds more soundtrack-like depth, in a more subtle manner, blending electronic sweeps and a sense of crushing gloom. Colyer is having fun being creative with his keys. Changing the pace on a dime and crashing a champagne bottle on its bow, "Nautilus" floats off with a fluid bass guitar that may recall the legendary Mick Karn, wobbly and liquid bass bubbles that set the sail to an underwater adventure to the North Prog pole , slick little nods to Star Trek (yeah, my trusted sonar picked that bleep up), launching depth charge-like bashing from the drums, roiling organ crests, a slippery synth solo, waves of stormy guitars, courtesy of Ryche Chlanda and windswept vocal work of the highest order. The dual voices achieve another level of performance, conclusive and hyper professional. Another total scorcher.

The hard jazz of "Stay" (subtitled Peter Frankenstan) features some dervish pyrotechnics from the manic mind and fingers of Stan Whitaker, a truly Нappy Man, there is also a distinct Peter Gabriel vibe (I was stunned to hear recently that Нappy the man were supposed to start out as Gabriel's backing band , early in the Genesis man's solo career). The drums are straight out of the Jerry Marotta school of binary cymbal-less pounding, sounding very modern, even futuristic. Natalie sings like there is no tomorrow.

There is an eerie piano intro to "Inception", another movie soundtrackish concoction that has a definite Steve Wilson feel to it, a grandiose and dense, mellotron-laden osmosis of sound and fury, deeply disturbing and rhythmically despondent. The vocal work is once again exemplary, spooky choirs notwithstanding, and as Natalie starts her intense wailing, guitarist Alan Shikoh of Glass Нammer adds some rhythm guitar while new guitarist Beledo peels off a tumultuous guitar pirouette that sets the piece to bed.

Yes the "Summit" is reached with another grandiose finale, a monster track that slams in the final nails in the coffin of doubt about this band's future legacy. Matt Dorsey (Sound of Contact, Kerzner) lays down some dreamy guitar escalades that shuffle between the rhythmic pulse, steered by drummer extraordinaire Brannon doing his best Pierre Moerlen (Gong) imitation. Breezy and airy on the fret board, the arrangement features Andrew on lead vocals, finding free hands to twiddle his synths with obvious trepidation. The mid-section unexpectedly features a dissonant tympani and piano dance that is straight out of a fusion of melody and rhythm. Definitely Downwind and Time is the Key.

Circuline has arrived, time for Progland to embrace them wholeheartedly. Easily one of the very best US bands in recent memory, I look already forward to their next masterpiece.
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Инджой!
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WBR, Michael Baryshnikov.

--- wfido