The 12-track album features guest appearances from drummer Gavin Harrison and bassist Colin Edwin, both of Porcupine Tree, as well as Mariusz Duda of Riverside and was mixed by Marcel Van Limbeek (Tori Amos).

So you can understand everything I’m talking about in regards to Lighthouse, I’ve placed a stream of it above (courtesy of AllMusic). If you like it as much as I do, make sure to pre-order your copy via iTunes.

True to the album name, the opening track “I Came Before The Water Part 1” gives the impression that we are standing on a jetty, the sound of water gently lapping at the shore, seagulls softly calling in the distance. Vocalist Marjana Semkina then enters with a voice that is pure and effortless, almost as clear as the watery feel that the track aims to invoke. As the song comes to an end, it takes a twist, entering into what almost feels like the onset of a bad dream, dissonant notes chiming like the bells of a child’s toy.

And so begins a musical journey that, as I wrote in the headline, feels like the soundtrack to some sort of dark fairy tale. “Libretto Horror” is the soundtrack to some sort of macabre ballroom dance while “Clear Clearer” shimmers and shines while evoking feelings of yearning and regret.

Meanwhile, “Sleeping Pills” is like a lullaby that would fit perfectly in the nursery of the Wicked Witch. It’s not ugly or bad. Quite the opposite, in fact. However, there is a sinister undertone, an underlying eeriness that haunts. Beautiful pianos mixed with a ghostlike choir and sparse percussion give this track an almost phantasmagorical feel.

My personal favorite track is the title track, which features Duda. Gleb Kolyadin plays the piano with absolutely stunning clarity and dynamics. It’s clear that his performance here is full of passion, love, and emotion. There are passages here that are breathtaking and the contrast between Semkina and Duda in the last third of the song is nothing short of inspired. It’s the kind of song that made me sit back, close my eyes, and drink in every moment.

There are subtle dissonances that run throughout the album, little flashes that give this album a somber darkness that never strays far, even when some tracks bring forth a playfulness, such as with “Too Many Years” or “Matches”.

The album ends with “Post Scriptum”, which takes the melody of the opening track and gives it an almost traditional folk flavor. Putting the album on repeat, you’ll immediately hear how the album flows from beginning to end to beginning again, creating a hypnotic cyclical journey.

Lighthouse is an album that played to some very different parts of my psyche. On one hand, I listened to it as an adult, fascinated with the technicality and the wonderful musical progressions, of which there are a great many. But I also listened to it almost like a child, the music setting my imagination loose to craft and weave my own complimentary stories. There is something magical about what I felt and I cherished every moment.

The Final Word: What Iamthemorning have crafted with Lighthouse is nothing short of a transcendent opus that is nearly impossible to turn off. I strongly urge anyone who appreciates music as a form of art to give this a very serious try.

The post Iamthemorning’s ‘Lighthouse’ is the Soundtrack to a Dark Fairy Tale (Review) appeared first on Bloody Disgusting!.

Duda states:

The new album is about self-imposed solitude and is a prequel to the black and white history. Musically – it will be slightly different, less oriental, more… alternative. I think it’s one of the best things I’ve ever created – the most elaborate, diverse and coherent Lunatic Soul release.

Stream the track below and snag a free download here.

Duda continues:

These are very dark and intense compositions but very melodious too. I think it’s one of the best things I’ve ever written, if not the best one.

I realize that, for some, this will be the fourth album but for others, only the third because Impressions was actually a supplement to the first two. Still others view the first two, the Black and White continuing interwoven story so they will consider this new one to be only… the second album. Now, I’ll go in a different direction… a bit less oriental and more… alternative. Actually, it seems like it will be a huge dose of trance darkness. I think it is much more versatile music than before. It’s also going to be more emotive than ever… I’ve always wanted Lunatic Soul to be, first and foremost, music for the Souls whether they be Lunatic or not.

However, Dada comments:

I realize that, for some, this will be the fourth album but for others, only the third because Impressions was actually a supplement to the first two. Still others view the first two, the Black and White continuing interwoven story so they will consider this new one to be only… the second album. Now, I’ll go in a different direction… a bit less oriental and more… alternative. Actually, it seems like it will be a huge dose of trance darkness. I think it is much more versatile music than before. It’s also going to be more emotive than ever… I’ve always wanted Lunatic Soul to be, first and foremost, music for the Souls whether they be Lunatic or not.

Below is a video teaser that has a very dark, eerie vibe. As a fan of Riverside, I’m definitely very intrigued about this release.

The post Lunatic Soul Release Über Creepy Teaser For New Album appeared first on Bloody Disgusting!.

The band’s previous album, Beyond Man And Time?, tackled the themes of Neitzsche. But for Wanted, the band turned to a more difficult topic: the ultimate liberation of the spirit. Heavily influenced by Plato, the album features 10 tracks that “…tell a compelling story of courage, doubt, bravery, the unconditional desire to never give in and, ultimately, the belief in what is right.”

Head on below for a teaser of Wanted (which you can pre-order here) as well as the track “Unchain The Earth”.

RPWL online:
Official Website
Facebook
Twitter
YouTube

Wanted Track Listing
01. Revelation
02. Swords And Guns
03. A Short Cut Line
04. Wanted
05. Hide And Seek
06. Disbelief
07. Misguided Thought
08. Perfect Day
09. The Attack
10. A New Dawn

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So upon receiving a copy of their new album Shrine Of New Generation Slaves, I knew I was in for something special, something that would challenge me. But have they delivered once again or did they fall fail to live up to their past greatness? Read on below for my thoughts!

Opening with “New Generation Slave”, the album begins slowly with gentle passages interspersed with dynamically heavy moments. Then, halfway through, things slam into full force and it’s straight into heavy prog rock territory.

The current single, “Celebrity Touch”, is a great example of the changes of the album. The opening and verse have a very Kansas-esque feel, albeit a tad heavier. The bridge then delves into some gorgeous Porcupine Tree territory and while a guitar solo during the song could easily be mistaken as a guest appearance from David Gilmour.

“We Got Used To Us” might be considered the ballad of the album, featuring heartbreaking delayed piano chords, silky smooth bass lines, and sexy guitar leads. Meanwhile, the opening to “Feel Like Falling” sounds like it came right out of an 80’s John Carpenter score. And the introduction to “Escalator Shrine” has a strong, old-Eastern European flair to it,

The thing that I noticed with this album is that as each track progresses there are more styles and influences. There is jazz, hard rock, classic prog rock, modern prog rock, metal, and more. From moments of intensity to sheer beauty to seductive smoothness, this album ebbs and flows with the greatest of ease from one style to another.

Serious props need to be given to vocalist/bassist Mariusz Duda for being so dynamic and creative with the bass. He shifts from using the bass as a lead instrument to diving back into the pocket with such effortlessness that it’s mindboggling.

The Final Word: If you want an album full of mystery and seduction while tickling all your prog rock desires, Riverside’s Shrine Of New Generation Slaves is one of the best releases for you. This is an album that kicks off 2013 in all the right ways.

Got any thoughts/questions/concerns for Jonathan Barkan? Shoot him a message on Twitter or on Bloody-Disgusting!

The post [Album Review] Riverside ‘Shrine Of New Generation Slaves’ appeared first on Bloody Disgusting!.

You can pre-order the album here.

Got any thoughts/questions/concerns for Jonathan Barkan? Shoot him a message on Twitter or on Bloody-Disgusting!

The post Riverside Release Creepy Official Video For “Celebrity Touch” appeared first on Bloody Disgusting!.

The band has also released a behind-the-scenes photo from the “Celebrity Touch” music video shoot. The band is posed around several people that have gauze wrapped around their heads. It’s actually slightly spooky, so I’m curious if this video will have a dark side to it. Check it out below.

Got any thoughts/questions/concerns for Jonathan Barkan? Shoot him a message on Twitter or on Bloody-Disgusting!

The post Riverside Release Trailer For ‘Shrine Of New Generation Slaves’: “Celebrity Touch” Video Behind-The-Scenes Photo Posted appeared first on Bloody Disgusting!.

The artwork was designed by Travis Smith, who has done most of the album artwork for bands such as Opeth and Katatonia as well as the Avenged Sevenfold Nightmare cover, which many regarded as the best hard rock album cover of 2011.

Riverside – Shrine of New Generation Slaves

1. New Generation Slave (4:17)
2. The Depth of Self – Delusion (7:39)
3. Celebrity Touch (6:48)
4. We Got Used To Us (4:12)
5. Feel Like Falling (5:17)
6. Deprived (8:26)
7. Escalator Shrine (12:41)
8. Coda (1:39)

Got any thoughts/questions/concerns for Jonathan Barkan? Shoot him a message on Twitter or on Bloody-Disgusting!

The post Riverside Unveil “Shrine Of New Generation Slaves” Cover Art And Track Listing appeared first on Bloody Disgusting!.

Vocalist Mariusz Duda explains, “In 2012 we’ve been focusing on the work on the new album, and trying to prove, mostly to ourselves, that we can still surprise with something, and what’s most important – create an album that would become our showpiece, music-wise and lyrics-wise. The title might sound a bit intricate, but the acronym [SONGS] will definitely explain what we did with our music this time.”

I used to listen to these guys all the time. I still pull out their debut album Out Of Myself quite often. Songs like “OK” and “I Believe” are fantastic.

Got any thoughts/questions/concerns for Jonathan Barkan? Shoot him a message on Twitter or on Bloody-Disgusting!

The post Riverside Announces New Album: Sets Release Date appeared first on Bloody Disgusting!.

The band had this to say, “We’re very pleased that we’ll keep collaborating with InsideOut/Century Media. We’ve overcome many difficulties together and we hope that the new contract, signed at the moment when we start another decade as a band, will help us to grow more, and will make us able to reach a larger number of listeners with our music. The new album is on the way. I believe it will be a new beginning for Riverside.”

Got any thoughts/questions/concerns for Jonny B.? Shoot him a message on Twitter!

The post Riverside Signs To InsideOut: New Album Due In Early 2013 appeared first on Bloody Disgusting!.

And so it was that last night I decided to go for one of my walks, despite the cold temperature, the continuous drizzle, and the steady wind. Within a few minutes, a chill had worked its way into my skin, icy fingers gripping my bones. My brisk pace served only to ensure that I didn’t reach a point where my teeth began chattering.

The soundtrack for this journey was Petter Carlsen’s Clocks Don’t Count. Hailing from Norway, Carlsen received wider recognition when he opened up for Anathema on a European tour supporting his debut album You Go Bird. Hailed for his enchanting voice, melancholic melodies, and songwriting skills, fans began itching for a second album. Clocks Don’t Count was their answer. But does this album fare? Read below for my thoughts.

Opening up almost like a lullaby, “Table For One” is a slow tempo piece in ¾, giving it an almost hypnotic sway. It is here that one can easily compare Carlsen’s voice to Jason Mraz, but it would be an incredible mistake to assume that his music follows suit. This piece is sublime and gorgeous, beginning almost like a child falling asleep, the middle some eerily soothing phantasmagoria, and the end the child awakening only to wish that their dream had been uninterrupted.

In a way, perhaps this might be the most accurate way to describe the rest of the album. Listening from one end to the other, there is a feeling that Clocks Don’t Count isn’t like most other albums. At home, I laid back, easing myself into my couch, forgetting my headphones were wrapped around my head as I stared out my window at trees dancing in the wind, gray clouds moving sideways. Time seemed to stop as song after song played.

If I had to use several artists to describe Carlsen, I would fall upon Porcupine Tree, Radiohead, Riverside, Anathema, and Opeth (specifically their Damnation album). And yet, even with these artists, there is something wholly unique about Carlsen, something that places him beside these artists, not behind them.

Keep an ear open for appearances from fellow Norwegian singer Unni Wilhelmsen (“Table For One”) and Anathema’s Vincent Cavanagh (“Built To Last”).

The Final Word: In the realm of alt-pop, I cannot think of an album that I would recommend more highly than Petter Carlsen’s Clocks Don’t Count. This is an album that I will return to many times, I guarantee that.

Got any thoughts/questions/concerns for Jonny B.? Shoot him a message on Twitter!

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