thanks for the recommendations, very good choices!

Excellent Prog From 2013

Tuatara Lawn

Sky Architect - Traveller's Last Candle

Pre-order Slo Light at http://www.smarturl.it/slolight

Hummingbird (feat. Patrick Duff)

HAKEN - In Memoriam. Taken from 'The Mountain'. InsideOut Music 2013.

Check out HAKEN on their upcoming tour:

Haken, Leprous and Maschine:
(Presented by Prog Magazine)
23rd October, 2014 – London, The Garage
24th October, 2014 – Leamington Spa, Assembly
26th October, 2014 – Bristol, The Fleece
27th October, 2014 – Wolverhampton, Robin 2
29th October, 2014 – Dublin, The Village
30th October, 2014 – Liverpool, O2 Academy 2
31st October, 2014 – Manchester, Club Academy
1st November, 2014 – Edinburgh, The Liquid Room
2nd November, 2014 – York, The Duchess

In Memoriam

TIM BOWNESS - Sing To Me. Taken from the album "Stupid Things That Mean The World". Inside Out Music 2015.

Buy now

TIM BOWNESS - Sing To Me

Norwegian Art-rock progressive outfit Gazpacho are set to release their brand new studio album ‘Molok’ through Kscope on 23rd October 2015.
PRE-ORDER ON CD/2LP: www.kscopemusic.com/store
DIGITAL: http://smarturl.it/Molok_Digital

‘Molok’ the follow up to their acclaimed 2014 album Demon sees the band continue to push the boundaries for creating the most complicated and strangest concepts for a record while simultaneously becoming the first band ever who are actively trying to destroy the universe with their album.

A small code that sounds like a strange noise at the end of the album will cause the correction software that runs in all CD players to generate a random number every time the CD is played. If that number should correspond to the actual position of all electrons in the universe then technically the universe could be destroyed.  

Of course you may wonder why a band would want to destroy the universe but as the band ask, ‘If it can be destroyed by such minute creatures within it, if it is just a chemical reaction, then does it have any spiritual value? In this scenario there is no good or bad, just an absence of meaning'.

Across the album there are religious themes going head to head with modern day new science ideas and theories, Gazpacho’s Thomas Andersen states, ‘the album itself is about a man that sometime around 1920 decides that wherever anyone worships a God they always seem to be worshipping stone in some form. Whether it is a grand cathedral, the stone in Mecca or Stonehenge. God seems to have been chased by his worshipers into stone never to return. This harkens back to Norwegian folk myths where if a troll was exposed to sunlight it would turn to stone but it also reflects the way God has been incommunicado for a very long time.’

The band go on to say, ‘In a mechanistic view of the universe all events in the universe are a consequence of a previous event. This means that with enough information you should be able to calculate the past and the future and this is what he does. He names the machine ‘Molok’ after the biblical demon into whose jaws children were sacrificed because his machine crunches numbers. On solstice day he starts the machine and it quickly gains some form of intelligence as it races through history undergoing its own evolution.‘

Throughout ‘Molok’ the band focus on the idea that without God/a god to guide us, humanity is unsure of the meaning of life, that while we attempt to fill the void with other things we’ve still not found the answer and without a master to lean on we are very much alone in this universe.

On the album Gazpacho make a direct connection with history. Norwegian music archaeologist Gjermund Kolltveit appears on the song "Molok Rising" plays his reconstruction of stone-age instruments making an educated guess at what the early songs of worship must have sounded like. This includes small stones, moose jaws and an assortment of flutes and stringed instruments. He also plays the Skåra stone, a singing stone which has a strong possibility of having been in use since the last ice age ended 10.000 years ago. Technically this means that the album uses the oldest original instrument ever recorded on an album.
The band are also joined by world-renowned Norwegian accordion player Stian Carstensen who is a central member of Balkan-jazz orchestra Farmers Market

Gazpacho are on tour in Oct - for details : https://www.facebook.com/Gazpacho.Official.BandPage
PRE-ORDER ON CD/2LP: www.kscopemusic.com/store
DIGITAL: http://smarturl.it/Molok_Digital

Know Your Time

Gazpacho - Know Your Time (taken from Molok)

Taken from the forthcoming album IN DREAM. Released 2nd October: http://po.st/editorswebsite

The Law

Taken from his forthcoming album 'Spells' out June 10 on Erased Tapes.

Pre-order the LP/CD/DL here: www.erasedtapes.com/store/index/ERATP085
iTunes: http://snip.ftpromo.net/spells
Spotify: http://snip.ftpromo.net/goldentimes
Bandcamp: http://snip.ftpromo.net/spellsbc
or any other good record store worldwide

"It's just incredible" – Mary Anne Hobbs, BBC 6 Music
“Strangely upbeat nocturnes" – The Wire

‘Spells’ merges programmed piano pieces with live instruments, combining the controllable technical world and the often unpredictable aspects of live improvisation. In some ways it continues where his underground debut ‘Gravity’ left off, though a lot of weight is lifted, making room for a lighter and more energetic listen. Friend and fellow Erased Tapes artist Nils Frahm mixed and mastered both albums. Ben is not a master pianist like his dear friend, but his sound collages are so meticulously designed that after hearing the result an impressed Nils declared: “from now on, if anyone asks – this is a real piano”. 

His intricate, humanised programming – enhanced by drummer Achim Färber, cellist Anton Peisakhov and harpist Lara Somogyi, and a considerate selection of echoes, delays and compressors – has been used to create a hybrid sound that intends to deceive, question and challenge existing listening habits. Utilising the contrast between reduction and decoration, ‘Spells’ can be seen as a quest to find out how much or how little composition is required to constitute a song. Why the ear can and should be deceived about the authenticity of instruments. What significance these instruments have within this process, and why the personal perception of balance and sound exclude ultimate truths. 

Linking the two albums are the four movements of ‘Nocturne’, an ever-developing conversation that on occasion flirts with the grandeur of compressed rock drums. The first single, ‘Golden Times 1’, received a world premiere by BBC 6 Music’s Mary Anne Hobbs, proclaiming it as "incredible." An alternative version of ‘Sleepers Beat Theme’ – composed for the soundtrack to a short film about the Trans-Siberian Express – opened Jon Hopkins’ Late Night Tales album from 2015, who noted “I thought it was such a calming and sensitive piece that sounded to me like the beginning of something...the warmth and depth of the sound entrances me every time”. 

Though ‘Spells’ and ‘Gravity’ are his first albums recorded under his own name, as acclaimed electronic producer HECQ he’s released nine albums since 2003, exploring everything from ambient to breakcore. He has simultaneously established himself as a trusted composer and sound designer, working for a wide array of clients including Amnesty International and Marvel Comics; composing for feature films, games, art installations and convention opening titles.

After embracing this demanding line of work, in 2010 Ben felt the need to explore his roots and early education, which inspired these albums under his own name. Born in 1981 as the third child of opera singer Deirdre Boysen and actor Claus Boysen, his classical music training on piano and guitar began when he was seven years old; the works of Bruckner, Wagner and Bach laid an important foundation. Rediscovering this music shared with his parents – united with the sounds of Autechre, Cristian Vogel and Jiri.Ceiver to Pink Floyd and Godspeed You! Black Emperor – brought back an understanding of why he wanted to write music in the first place.

“Finding my views understood, reflected and welcomed by Erased Tapes was an encouraging experience, crowned by the offer to release ‘Spells’ and re-issue ‘Gravity’ with them. Through many caring conversations with Robert I felt that there’s no better home for the existing ideas and no better cradle for new ones.”  – Ben Lukas Boysen 

TRACK LISTING:  	

01. The Veil  02. Nocturne 3  03. Sleepers Beat Theme  04. Golden Times 1
05. Nocturne 4  06. Keep Watch  07. Golden Times 2  08. Selene

Spells

Golden Times 1

Buy LP/CD/DL

Ben Lukas Boysen – Golden Times 1

Taken from his forthcoming album 'Spells' out June 10 on Erased Tapes.

Pre-order the LP/CD/DL here: www.erasedtapes.com/store/index/ERATP085
iTunes: http://snip.ftpromo.net/spells Spotify: http://snip.ftpromo.net/goldentimes
Bandcamp: http://snip.ftpromo.net/spellsbc or any other good record store worldwide

"A soothing piece of delirious sound" – Clash
"Strangely upbeat nocturnes" – The Wire
"It's just incredible" – Mary Anne Hobbs, BBC 6 Music

‘Spells’ merges programmed piano pieces with live instruments, combining the controllable technical world and the often unpredictable aspects of live improvisation. In some ways it continues where his underground debut ‘Gravity’ left off, though a lot of weight is lifted, making room for a lighter and more energetic listen. Friend and fellow Erased Tapes artist Nils Frahm mixed and mastered both albums. Ben is not a master pianist like his dear friend, but his sound collages are so meticulously designed that after hearing the result an impressed Nils declared: “from now on, if anyone asks – this is a real piano”. 

His intricate, humanised programming – enhanced by drummer Achim Färber, cellist Anton Peisakhov and harpist Lara Somogyi, and a considerate selection of echoes, delays and compressors – has been used to create a hybrid sound that intends to deceive, question and challenge existing listening habits. Utilising the contrast between reduction and decoration, ‘Spells’ can be seen as a quest to find out how much or how little composition is required to constitute a song. Why the ear can and should be deceived about the authenticity of instruments. What significance these instruments have within this process, and why the personal perception of balance and sound exclude ultimate truths. 

Linking the two albums are the four movements of ‘Nocturne’, an ever-developing conversation that on occasion flirts with the grandeur of compressed rock drums. The first single, ‘Golden Times 1’, received a world premiere by BBC 6 Music’s Mary Anne Hobbs, proclaiming it as "incredible." An alternative version of ‘Sleepers Beat Theme’ – composed for the soundtrack to a short film about the Trans-Siberian Express – opened Jon Hopkins’ Late Night Tales album from 2015, who noted “I thought it was such a calming and sensitive piece that sounded to me like the beginning of something...the warmth and depth of the sound entrances me every time”. 

Though ‘Spells’ and ‘Gravity’ are his first albums recorded under his own name, as acclaimed electronic producer HECQ he’s released nine albums since 2003, exploring everything from ambient to breakcore. He has simultaneously established himself as a trusted composer and sound designer, working for a wide array of clients including Amnesty International and Marvel Comics; composing for feature films, games, art installations and convention opening titles.

After embracing this demanding line of work, in 2010 Ben felt the need to explore his roots and early education, which inspired these albums under his own name. Born in 1981 as the third child of opera singer Deirdre Boysen and actor Claus Boysen, his classical music training on piano and guitar began when he was seven years old; the works of Bruckner, Wagner and Bach laid an important foundation. Rediscovering this music shared with his parents – united with the sounds of Autechre, Cristian Vogel and Jiri.Ceiver to Pink Floyd and Godspeed You! Black Emperor – brought back an understanding of why he wanted to write music in the first place.

“Finding my views understood, reflected and welcomed by Erased Tapes was an encouraging experience, crowned by the offer to release ‘Spells’ and re-issue ‘Gravity’ with them. Through many caring conversations with Robert I felt that there’s no better home for the existing ideas and no better cradle for new ones.”  – Ben Lukas Boysen

Ben Lukas Boysen – Nocturne 4

from 'The Outpost' [CD|LP|DIGITAL]
Denovali Records · den273
available on all formats at [http://denovali.com/blueneck]

Hailing from North Somerset in the UK, Blueneck have been at forefront of the European underground music scene since forming in 2000. They’ve released five critically-acclaimed albums, toured extensively with acts like Cult of Luna and Mono and featured in series of high profile European festivals including a triumphant midnight set at Glastonbury 2014. The band have also soundtracked a number of independent films and had their work featured on NBC, HBO and SyFy channels.

Typically obsessive, fastidious and reclusive in their approach to recording (Blueneck’s last album, 2014’s epic KING NINE, was almost 4 years in the making) the band’s forthcoming long-player THE OUTPOST was written and recorded over an uncharacteristically short 18 months.

This shortened gestation period was not the only respect in which THE OUTPOST is markedly different to Blueneck’s previous recording experience and output (2006’s SCARS OF THE MIDWEST, 2009’s THE FALLEN HOST, 2011’s REPETITIONS, 2012’s vocal-free soundtrack album EPILOGUE, 2014’s KING NINE). Originally planned as a wholly separate touring electronica side-project for singer-songwriter Duncan Attwood and guitarist Rich Sadler, the duo began to find the prospect of deploying the full Blueneck sonic arsenal - along with the skills of long-term producer collaborator Matt Sampson and bass-player Ben Paget - all too irresistible. Once the decision had been made to fold the side-project back under the Blueneck banner, the fact that home recordings were already well-advanced made for a refreshingly fluid, fast (for Blueneck) and - dare we say - fun final 12 months of studio time.

The resulting LP retains the melodic songcraft of Blueneck’s best work, as well as Attwood’s inimitable seductive, haunting vocals. However THE OUTPOST eschews the southern-gothic sepia of KING NINE in exchange for a maxed-out colour contrast of electronic beats, vibrant vintage synths and guitars that are by turns ballsy, soaring and delicately intricate.

From the pulsing Archive-esque Prog whiplash of ‘From Beyond’ to the plaintive Sparklehorse meets Boards of Canada electro-pop of ‘Ghosts’ (Blueneck’s most accessible moment to date); and from the windswept Earth-esque Americana of ‘The White Ship’ to the Talk Talk covering John Carpenter expanse of ‘Hive’; Blueneck have created one of their most passionate, propulsive and progressive recordings to date.

As with KING NINE, Blueneck are employing the artistry of acclaimed artist and filmmaker Lasse Hoile (who previously worked with Anathema, Porcupine Tree and Opeth). Lasse’s album art - along with forthcoming music videos - feature a neon-tinted Lovecraftian 80’s menace in a small town American heartland, reminiscent of Netflix show ‘Stranger Things’, recent indie-horror movie ‘It Follows’ and John Carpenter’s Apocalypse Trilogy.

Praise for Blueneck:

“Stunning” – Rock Sound
“Fantastic… An intoxicating all-consuming experience” – Classic Rock: Prog
“Beautiful… Creepy” - Vice
“Melds heavy alt-rock with gentle Amnesiac-era Radiohead fragility in impressive style” – Metal Hammer
“One of England's best kept secrets” – The Digital Fix

The Outpost

Blueneck - The White Strip

Here we all are
Born into a struggle
To come so far
But end up returning to dust

Oxfam panache tips his hat
(laces undone)
He has no truck with idle chat
(work to be done)
The songs he learned from scratched LP's
Stops in mid-flow to sip his tea

He strums the chords with less than grace
(songs we all know)
Each passing year etched on his face
(sun, rain or snow)
The words he sings are not his own
They speak of things he'll never know

http://www.stevenwilsonhq.com
http://www.facebook.com/stevenwilsonhq
http://www.twitter.com/stevenwilsonhq

Steven Wilson - Vocals, Mellotron, Keyboards, Guitars
Nick Beggs - Bass Guitar, Backing Vocals
Guthrie Govan - Lead Guitar
Adam Holzman - Fender Rhodes, Hammond Organ, Piano, Minimoog
Marco Minnemann - Drums, Percussion
Theo Travis - Flutes, Saxophones, Clarinet
Jakko Jakszyk - Additional Vocals

Kscope - Volume 4

Luminol

East Coast Racer

Title: Something Very Strange
artist: Spock's Beard
Album: Brief Nocturnes and Dreamless Sleep
Year: 2013

Spock's Beard - Something Very Strange

Mert Göçay - Guitar/ Vocal
Mert Alkaya - Drum
Mert Topel - Keyboards
Aycan Sari - Bass

Nemrud is Turkish rock band who achieving worldwide success with their psychedelic and progressive rock music. Their work is marking by the use of metaphorical lyrics, epic stories, innovative album arts, and spiritual ambiance live shows. Nemrud is of the most noteworthy debut of rock music in Turkey. Despite their nationality, the band is not generally considered Pop-rock because of their sound, which has much more in common with Progressive Rock groups such as Pink Floyd, King Crimson, Eloy, Camel and Yes.

Nemrud has gone beyond the Turkish standard rock or popular line-chorus structure songs and pushed the technical and composition limits of rock music. Besides, there are classic, jazz and avantgarde components in their compositions. Ritual shows the general characterictics of Progressive Rock such as changing melodies and rhythms, refrains from repetition, conceptual and abstract lyrics. The admiration of the band for the golden era of Progressive Rock; 70s reflects itself in the epical story used in the album.

Sky Architect - Traveller's Last Candle

Rahman Sayah

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