Sunday 3 May Monday 4 May Tuesday 5 May Wednesday 6 May Thursday 7 May Friday 8 May Saturday 9 May Sunday 10 May Monday 11 May Tuesday 12 May Wednesday 13 May Thursday 14 May Friday 15 May Saturday 16 May Sunday 17 May Monday 18 May Tuesday 19 May Wednesday 20 May Thursday 21 May Friday 22 May Saturday 23 May Sunday 24 May Monday 25 May Tuesday 26 May Wednesday 27 May Thursday 28 May Friday 29 May Saturday 30 May Sunday 31 May Monday 1 June Tuesday 2 June Thursday 4 June Friday 5 June Saturday 6 June Sunday 7 June Monday 8 June Tuesday 9 June Monday 15 June Tuesday 16 June Wednesday 17 June Friday 19 June Saturday 20 June Sunday 21 June Monday 22 June Tuesday 23 June Wednesday 24 June Thursday 25 June Friday 26 June Saturday 27 June Sunday 28 June Monday 29 June Tuesday 30 June A "fake book" contains songs written in a concise format that includes only the melody and chords, letting you interpret the song's performance as you feel is appropriate.
This is great for quickly learning songs by yourself or with an ensemble. Each song in a fake book only has a single melody actually written out in notes, which is usually the vocal or lead melody. This melody will have the lyrics written beneath the notes, with each word aligned to its corresponding note. Above the notes of the melody will appear the names of the appropriate chords to play - for example, a "C minor" chord would be written as "Cmin" or Cm", rather than writing out all of the notes in those chords as they appeared in the original version of the song.
This format is very compact, which is why you will often see fakebooks containing or more songs. This name will appear next to your review. Leave it blank if you wish to appear as "Anonymous". Used to contact you regarding your review. If you do not wish to be contacted, leave it blank. Tell a friend or remind yourself about this product.
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Make a wish list for gifts, suggest standard repertoire, let students know which books to buy, boast about pieces you've mastered: Music Lists are as unique as the musician! Easily share your music lists with friends, students, and the world. Fake Books. I like the song selection. I bought it hoping to use it at open mikes, which I have not done yet.
But I will in the near future, most open mikes in the oakland area are geared towards jazz, so this might be a moderately expensive waste of money, but Some of the songs that we know so well are not given in their entirety. Some lack verses, others are originally duets but written as a solo and lack all the words! The entire movement flows effortlessly alternating from soft progressive rhythms to varying patterns of aggressive double bass drum beats. I think I mentioned that already, didn't I?
The music will move you. You will experience moments of sadness, anger and happiness. The album's true power is derived from the dense, rich, and subtly textured music. Pay attention, this potent album will influence many progressive metal bands in the future, I'm sure of it. Kudos to Tchort and his band, for releasing the most ambitious artistic album of Everything I love about progressive music is here; atmospheric passages, slow calming moments, aggressiveness and a good variety of vocals overall.
The album radiates with confidence, style, originality and intensity. Most of the time it is totally undeserved. However, this album really is interesting.
I was very skeptical because with the exception of Jethro Tull's Thick as a Brick , most of these projects fall woefully short of a 5 star rating. In all honesty, so does this recording. It isn't an "absolute, must have or your life will be unfullfilled" kind of recording. However, it is better than most skeptics like myself would have thought. Even my "metal-phobic" friends and co-workers enjoyed this effort. It's got enough metal to have a bite when needed and enough prog to draw you into their world.
I've only listened to the album 7 times since buying it a couple weeks ago, so I'm not too deeply involved into the lyrics and story. Then again, I rarely pay attention to lyrics unless they are audaciously bad. I'm not going to go into minute by minute detail other than to say as others have said that the female vocalist's solo in the middle of the song is not only bad, but it is also out of place and ill-fitting the rest of the music. Personally, I ripped this into a sound editor, removed that section, and reassembled the track.
That alone puts it in the 4. There is only one track, lasting more than one hour! It starts with charming baby voices with a Bono- esque lead vocals. Amazingly, the lead vocals tone then almost never sound anymore like Bono of U2, except for a bit around the 45th minute. The rather monolithic, SLOW and sustained rhythmic electric guitar has a good metal sound, although it is maybe a bit too dirty, reminding the typical sound of metal band "Pile Driver" in a less powerful and fast manner: the bass here does not support as much the electric rhythmic guitar; however, the sound remains quite metal of the 80's, unlike the rhythmic guitars of Pain of Salvation, which has more the grunge sound.
There are many pleasant background organ of the 70's as keyboards; there are other more modern keyboards parts, and the presence of many pleasant symphonic arrangements-like makes me think if they are not emulated by keyboards.
The track is not tedious to listen, because the airs and rhythms involved often change and are catchy and pleasant to listen. The album is not really guitar solo-oriented, although it contains a couples of very good ones, being more atmospheric, visceral and spacey than bombastic and melodic.
The drums are really varied and refined: they are a strong point one this record. There are some interesting distortion-free or acoustic guitar arrangements.
This record is less structured, fast, nervous, accessible and emotional than progressive metal bands like Symphony X and Shadow Gallery; that's why it may belong to a class apart. It is also made up of one sixty minute track. Constructing a one-song full-length release is a tricky and challenging task.
Few have attempted such an effort within metal circles and even fewer have succeeded in making such a recording work. Edge Of Sanity's Crimson comes to mind immediately when taking such works into consideration. Crimson was a monumental achievement not only for Edge Of Sanity, but for the metal genre as a whole. But the most important factor for this composition was the song itself, which maintained its flow and captivated its audience for its duration.
It felt like fifteen minutes rather than forty. Gone are the meandering musical passages and cumbersome arrangements that crippled the otherwise impressive debut. The structure is tight and focused. Every passage has a meaning to the whole piece and nothing is here that doesn't belong. The foundation of this sound still resides in the atmospheric doom field, yet this time there is a healthy progressive rock element that plays a significant role in the delivery of the story.
It's a musical journey in the true sense of the term. The In The Woods The music rises and falls, paralleling the emotions expressed in the words. The inclusion of choirs and strings add to the grandiose vibe of the music, as does the outstanding production.
The sound of this album is crystal clear and powerful. The lyrics read as an introspective take on the journey of life. The challenge of matching the themes in the lyrics with the relating musical passages is met, the music really acting as a soundtrack for the story.
The artwork in the packaging is also representative of both the music and lyrics. The photographs of serene landscapes and tranquil horizons taken by Tchort for each page of the booklet set an appropriate imagery to accompany the atmosphere in the music. The new players that Tchort has assembled for this effort are top-notch performers.
While replacing the talented Botteri brothers is not easy, guitarist Bjorn and bassist Stein handle themselves very well here. New vocalist Kjetil Nordhus is not very far removed from his predecessor, as he possesses a similar tone. But his delivery relates better to this material and he is overall more convincing. Throw in a number of guest musicians including a vocal appearance by In The Woods Jan Kenneth and you've got an impressive collection of musicians who have clearly bought into Tchort's vision for this work.
All in all, this is just a fantastic work. All sixty minutes of this composition are thoroughly engaging. There are multitudes of bands who will never write one four minute song that is as compelling as the entirety of Light Of Day Green Carnation have grown immensely from their debut and have created a classic album that stands as one of this genre's finest achievements.
This is a superbly produced piece of progressive art. I'm not sure if it is actually progressive metal or something else, but it doesn't really matter I suppose. For older guys like me the words progressive and metal usually conjure up pictures of Ronnie James Dio and Ritchie Blackmore and "Lady of the Lake", so I'm probably not the right person to make that call anyway.
I picked this up at the recommendation of a friend after rambling on to him about how much I liked Ayreon's Human Equation. I'm not sure what this friend felt the connection was to this album, as I don't see one, but it's a great bit of music anyway. Conceived as a single contiguous work, the song fills the entire CD with no interruptions.
Unlike albums like The Wall or Human Equation though, this one isn't even subdivided into smaller palatable portions, which is probably my only beef. While the overall composition is definitely worthy of an uninterrupted session, it's not the kind of record you're likely to put on for a casual listen, so it doesn't get played too often in my house.
Like I said the sound is largely metal with pretty strong progressive overtones, but there are a few interesting deviations. Around the middle is a short stretch of melodic male vocals with a driving, almost hair-band rhythm and a straightahead beat that is actually quite catchy. Unfortunately this is followed by about five minutes of what I believe is an oboe in a kind of hash-inspired dirge with some crazy chick chant-singing in a combination of accented English and gibberish.
That's where the song seek would have come in handy. The next few minutes feature a male voice that gets almost annoyingly close to launching into gutteral screech vocals, but manages to stay just this side of discernable before the guitars fade into that kind of tense and barely controlled tempo that bands like Opeth and some later Fates Warning do so well.
The petered-out ending into a twisted kind of children's lullaby makes for a bit of a strange finish, but the experience is worth an hour of your time every now and then. I guess I'm not really sure what this album is all about lyrically, but I have to say that it is one of the most interesting listens in the progressive metal category I have heard outside of some of the Ayreon albums in quite some time. A definite excellent addition to just about any collection. Four stars.
However, 40 mins tracks have been done before, and in an attempt to create something special they decided to extend their work an extra 20 mins to create an epic of epic proportions. The novelty of having a hour long track really hurts the quality of the album. I may be wrong with my conjecture, but judging by the music, I seem spot on. Musically the album carries a very monotonous feel. The music develops slowly, yet thoroughly through the whole piece, but it happens at such a gradual rate that at times the piece can become overwhelming.
The robotic vocals do little to fix this problem; they are repeated in the same emotionless, drone like voice throughout the album. If this doesn't wear you down, the hour long bombardment of depression will have the perkiest of prog-heads on the verge of suicide. The best example of the pointless extension of the album comes around the halfway mark.
The metal onslaught gives way to symphonic, eastern influenced atmospheres, and an angelic female voice cuts in to deliver chants to the audience. This interlude isn't necessarily as bad as it is pointless. Now, all criticism aside Light of Day, Day of Darkness has some truly great moments. The drumming varies throughout the entire piece, propelling it forward while staying fresh the entire time.
The vocal harmonies are fantastic with the backing Operatic choir and children's choir, and the combination of slide, acoustic, and electric guitars add a heft dose of flavor to the metal riffs. LoDDoD overreaches its abilities. If all fat were trimmed this could be an excellent min track, but while the idea of an hour long track does tickle all of our esoteric bones, practically it doesn't work out.
Report this review Posted Wednesday, August 30, Review Permalink KeyserSoze At the first listenings the album sounded monotonous to me as well but after more spins it started to grow on me more and more. I won't write so much on it because of my laziness but I must say that I think this is one of the best prog-metal albums I have ever heard besides all albums by Pain Of Salvation.
From start to end this opus is very elaborate and it contains so much ideas that some bands could only dream about it. When they start to repeat some theme and you are getting close to a boredom, they immediately change it to something else and the band can surprise you even though you have heard it many times before. Well, they can surprise you with every new album but that's another story. I highly recommend this album to everyone!
Green Carnation puts out an hour long song, the longest that has been written in Metal history! Yay for them! It's got the softness, the hardness, and the all together great metal rendition.
Now, Green Carnation is a dark band, and a unique band, making this all the better. Though it is a little wierd about 30 minutes into it with the lady, i really didn't like that part at all. The creater of this song is great, and he puts alot of talent and power into the album. I must say that this album has some really good qualities to it! Give it a try it's truely a great song! Go Green Carnation! Both Botteri brothers have left the band meanwhile and actually Tchort as the band leader was the only one left over from the original line-up.
But in fact he managed to gather a whole bunch of musicians and vocalists, amongst them 8 classically trained singers male and female and an entire children's choir next to 4 regular band members to help him realizing this magnum opus presented here.
What's the concept exactly about never became quite clear to me but according to the booklet he calls it his musical legacy, saying that it's musically dedicated to his son Damien Aleksander who's as well participating as baby's voice "for bringing joy, inspiration and meaning to my life" and lyrically dedicated to Christian and Christopher Botteri "on an everlasting mental and emotional journey".
And I think the latter expression describes best this record - not really an everlasting, but an hour long inspiring and haunting trip through all kind of imaginations and emotions. I won't describe the music presented here in detail because I think this has been done elsewhere often enough already and much better than I could do. In short this composition obviously is divided into three parts, first one lasts up to when the female oriental sounding voice starts singing and the last one starts after that strange but impressive excursion around And as much I've to say that this middle part was always my least favourite one and that it seams to be rather disturbing and out of place, it serves very well as a kind of control point for orientation.
The first part is after a quite mellow intro alternating between heavy doom metal riffs and more lyrical sections. Vocals are mainly clean ones apart from a few screaming ones which are presented by Roger Rasmussen who has been put into duty especially for that job. But overall GC manages here quite well to create their very own unique sound and though there's a main theme as a kind of thread being repeated in different variations throughout this track it never starts meandering and keeps the listener's attention at any moment.
The second part sounds completely different from the rest and really marks a kind of break. In some way it's taking up a bit the dreamy atmosphere from the introduction for the first part and though it might sound quite inappropriate I'm sure it's more than just a filler. The elegiac, oriental sounding and extremely high-pitched voice combined with sax tunes has in a way a rather mesmerizing effect though for sure needs quite a lot of spins to get used to.
After vocals have reached almost painful frequencies some tunes of acoustic guitar are leading over to the third part which is certainly the most versatile and prog-ish one.
Starting from around there's one of the absolute highlights of this disk - an awesome solo played first on acoustic guitar accompanied by some tender piano tunes and then continued on electric guitar.
After a short slightly psychedelic and odd sounding section the music gets much more into a symphonic and orchestral but nonetheless heavy vein, the oriental-styled female vocals return for a short while and the composition reaches its climax. Then there's some mellow acoustic guitar, tasteful keyboard sounds and baby voice and one would expect that it's coming to its end before heavy guitars are returning for 1 or 2 minutes and a lullaby played on a musical clock is finally closing the disk.
As a summary I can't do other than calling this work an unique and exceptional one and giving it a full-score rating. This record is certainly to be considered a must-have in any metal-oriented prog collection! No, a concept A 60 minute song Hard to review such an album, as it takes many many listens to fully discover and appreciate everything that can be found in a song like this usually I listen to an album 10 times before submitting a review, this time it took me maybe 40 listens before I could remember the main melodies.
The music here is a mix of atmospheric and doom metal with clean vocals male and female, normal and operatic. The album starts with a mellow intro with acoustic guitar and the voice of a child. Then the electric guitar makes its first appearance after 3 minutes for what could be the first "main theme" "Crimson tide The song becomes quiet again for a few moments and then a heavier moment around the 8 minute mark with FALL" that introduce an operatic passage with classical singers very reminiscent of Therion.
The song turns acoustic again after 11 minutes for two minutes of an instrumental interlude before the second main theme of the song starts "I fell asleep to sweet lullaby The song then becomes much heavier again with distorted guitars, but with a slow tempo and an alternance of normal singing and operatic singing very doomy, My Dying Bride comes in mind here.
After 22 minutes, the melody changes again, more spacey, a bit like Pink Floyd "One Of These Days" meets Therion fabulous screaming guitar in the background for five minutes of instrumental music. After a four minute bridge of doomy metal, the second main theme is repeated until, at the 32 minute mark, the song ends brutally Five minutes later, the main song starts again with an acoustic guitar, then the distorted guitars come back again for more doomy metal.
The next 6 minutes see an alternance of mellow parts with gentle vocals and heavy parts with distorted guitars. After 51 minutes, a short moment with a sitar introduces the first main theme again. In fact, the last 7 minutes of the song are close to the first 7 minutes with the sequences played in the reverse order main theme - mellow part with Tchort's son's voice - intro.
Too bad the last minute with the music box ends the song in a pretty weak way I bought it after reading a couple of very positive reviews. But I didn't bought it without any hesitation or doubt: there's a lot of highly-praised releases that I just don't like or that I think are way overrated.
So, with some fear of dissapointment, I put this cd in the stereo the other night, and listened It just blow my mind off. When I saw that the screen said "track 01 - " I got really worried; I mean, I was sure at some time my concience would begin to fail me or that sleep would try to win over me; you know, 60 MINUTES of continuous non-stop music seem like a little bit too much EVEN for prog.
I have never experienced something quite like the easiness with which the time just I kept seeing the stereo's scren in amazement: , , I won't try a detailed section-by-section review of the "song" because is really impossible, at least not until I've heard this cd like ten more times. But I think I can summarize what the music represented for me in a few words, even after just one listen. We have a lot of pure grinding metallic moments, many passages of death-metal riffs, many atmospheric, spacey moments with psychadelic guitars and keys; we have unusual instruments like Cello and winds; we have quiet passages, we have hard rockin', straight metal passages; moments of rhythmical interest, momenst of the utmost MELODIC BEAUTY.
Just to give an idea, let's try a mix made of Pain of Salvation, a but of Opeth, a lot of Tuonela-era Amorphis a band I consider to be prog in three of their latest releases , a bit of Evergrey the good stuff, not MMA debacle , just a little of DT, some Floyd, lots of Therion the orchestral and choral moments But I'd say those are the bands that came to my mind quicker. And, lest we forget about the performers, we have to say the a word about the musicians themselves: the playing is of the highest level here, with very competent performers in every instrument but specially in the guitars, where mastermind Tchort just shines with sheer brilliance.
The singer is quite good, too: he know how to properly SING, with great melodic skills, but he also knows how to growl. Yes, there's some growling to be found here not too much, thank you Tchort but it's not of the annoying kind: is a deep, concentrated, obscure and harmless guttural sound that doesn't take away from the quality of the music.
An outstanding, original, amazing effort that truly represents all that metal is capable of, when conceived and performed by musicians that really know how to extract the last drop of vital fluid out of it.
Even if you don't like prog-metal or just metal, please give this a try: it has enough interesting features and enough melodic fragments to leave you more than just satisfied. Not recommended to: Well, I have a problem here I'm at a loss for words. I don't have anyone not to recommend this album to. But for the sake of tradition, I just have to find someone.
And it is: not recommended for people that aren't able or don't have the time to sit down for a FULL hour to listen to this from beginning to end I just got interested in this album by reading some reviews here on the site and decided to just order the album; without regrets.
However: sometimes it doesn't turn out this way. I also bought a lot of albums from Dream Theatre and King Crimson by reading their reviews, but I wasn't impressed.
For me music is emotion. Therefore the music has to "touch me" in some kind of way, which for example DT's music doesn't, but Riverside's, Opeth's and Porcupine Tree's music does.
Don't ask me why: tastes are not the same and one cannot dispute about personal tastes. For me I guess the music in itself has to be quite complex, but also not too complex meaning experimental. I think Green Carnation found the perfect way to blend musical styles and genres, since this is definitely not a pure metal album! Great concept of the album is that it only consists out of one 60 minute long track. In this track there's a big variety in moods and tempo's, varying between classical, acoustic to heavy metal riffs, but always for the sake of lifting the music to a higher surface.
If I could only take ten albums with me to a deserted island right now this would definitely be one of them! Report this review Posted Friday, December 15, Review Permalink Sophocles This is a masterpiece of progressive music, generally speaking. The more you listen to this album, the more you appreciate the work done here. I 'm sure that some people will find the idea of one song- one album strange and wrong.
Well these people don't enjoy prog and they don't read this, do they? Now for the rest of us, fortunately the length of this song is not the only thing that makes it prog. The music does it! And it speaks to your soul as it goes through heavy riffs to melodic and creepy female vocals and to a colossal guitar solo, not so technical but very emotional. I am sure that progressive metal is where you put this album but it is a limited way to judge it.
I recommend it to every fan of the different. Report this review Posted Friday, December 22, Review Permalink Hrvat After recently purchasing this album it has quickly become one of my all time favourite albums. It is a stunning album, one which deserves to go down as a classic of not only prog metal but heavy metal in general.
It is a daring album, only one 60 minute song. Such an attempt could have easily turned into a pretentious, self indulgent disaster. But Green Carnation somehow did it succesfully creating an epic piece of music. This is essential to any prog metal collection. However, I can't bring myself to call it a masterpiece.
Light of Day, Day of Darkness is a very impressive song. I love parts of it, particularly the first or 7 minutes and around among other sections. There are too many weak sections in it. One obvious problem with the song is its length, it's difficult sometimes to listen to the whole thing.
However, that doesn't detract too much from the song. I would still highly recommend Light of Day, Day of Darkness to everybody, as it's really quite a journey and an impressive piece of music. I just don't hear a masterpiece when I listen to it.
I mean, this should clearly be THE album among albums, the song among songs, right? Sad, but true. There are not many impressive moments thrue out this album, thought I must give it to Tchort the main composer , the whole thing goes quite smoothly thrue out the entire hour and nothing seems out of place or too forced. Having said that, some variation would be nice, cause most of the piece is quite similar in style to A sax in metal?
A cello perhaps, would have been so much better, and the femal vocals are just as uninteresting. Another big problem for me are the lyrics. It seems to me Tchort wanted to speak about everything here, but he ends up speaking about absolutly nothing, for the lyrics have no connection from part to part, which might be good in some cases Yes anyone? As I have said before, this is not a bad song, you might like it quite a lot, but for me, there aer way too many flaws yes, down right flaws for me to even give this album 3 stars.
If you make an hour long song, better do it more than right, do it exceptional. The Botteri brothers would leave after that release. That debut record was about the tragic death of Tchort's daughter, and needless to say it is filled with darkness,pain and sorrow. I need to say as a father that I can't possibly imagine what Tchort went through and is still going through. That kind of pain is only known by those who have experienced it first hand.
This is the follow up record and Tchort dedicates the music to his new son, while lyrically he dedicates it to the Botteri brothers. Tchort describes this release as his "Musical legacy". And this record reveals the emotions and feelings of Tchort of what he's going through, and went through, but unlike the first album this is seen through the "joy, inspiation and meaning" that his son has brought into his life.
So there is hope in this album, but also a lot of darkness and anger. In the liner notes is a picture of a little white casket with a young woman laying beside it, holding it, with her head resting on it. The other pictures in the liner are beautiful photos of nature.
This is a single 60 minute song that tells Tchort's feelings without being interupted. The song starts off rather atmospherically with some eerie sounds as the soundscape builds with guitar and drums as we hear a child making noises. Reserved vocals come in at about 3 minutes that change to a full sound 5 minutes in with some good guitar riffs.
Organ melodies come and go. The lyrics are so emotional as he sings "Insanity reached me it's hand". This is followed by a spacey, dreamy soundscape that suit the lyrics that are about a dream he had. You're So Fine. The Dark Side of Egypt. Livin' on the Nile. The Lover. A Alezby Inn.
Los Angeles. Mark Simon. Kinky Nation Kingdom Kum. Spotify Amazon. Livin' on the Nile The Egyptian Lover.Stanley Clarke (born June 30, ) is an American bassist, film composer and founding member of Return to Forever, one of the first jazz fusion chnagadardesema.lapnetptechycabolahaserukagols.co gave the bass guitar a prominence it lacked in jazz-related music. He is the first jazz-fusion bassist to headline tours, sell out shows worldwide and have recordings reach gold status.