Four human componentes generate the synergy that propels this musical project. Raised in the vein of the more raw and experimental rock, and shaped by numerous genres within popular music, we propose a dense, floating, circular and adventurer sound. Welcome to Montenegro.
‘Astral anthems from the future’ is how fans are describing AlithiA’s music. Formed in 2004, the Melbourne based band has released 2 EPs ‘The Rising’ (2008) and ‘A Realm O Null’ (2011), has toured Australia 3 times through 2011-2013 and toured Europe in late 2012.
AlithiA’s highly successful 2012 European tour saw the band play in 16 cities across 8 countries including Poland, Slovakia, Czech Republic, Austria, Hungary, Slovenia, Serbia and Bulgaria. The band solidified a solid European fanbase during the tour touring alongside popular local acts such as Smallman (Bulgaria) and Grand Mexican Warlock (Hungary).
AlithiA also supported a number of other prolific European acts such as Tides from Nebula (PL), Sonar (HU), Kayno Yesno Slonce (BG). During the tour AlithiA has also recorded its debut album at one of the most highly regarded studios in central Europe ‘Metropol Studios’ Budapest, Hungary and is owned by Borosi Gabor, the keyboard player of one of Europe’s most respected psychedelic bands Korai Orom.
Scheduled for a March 2014 release, the album was produced by Sandor Daniel (Peterfy Bori and Love Band, Isten Hata Mogott, Volkova Sisters) and features an array of international guests such as New York based MC Illspokinn, Cvetan Haydzsiysky from smallman playing the Bulgarian Gaida, Violinist Matisz Flora, Undos from Hungary’s most popular Art-rock band Grand Mexican Warlock, and Locsei Bence (ex-Poison of Marvel/Exe) frontman.
In Australia, AlithiA has performed amongst the country’s best in prog, post-rock and psychedelic music sharing stages with bands such as Jerrico, The Red Paintings, Breaking Orbit, Mushroom Giant, sleepmakeswaves, Voyager, Greenthief and many more.
AlithiA’s music is being dubbed as ‘ASTRAL SPACE CORE’. More than simply a genre or musical tag, ASTRAL SPACE CORE taps into the chakra and connects the cosmic consciousness of its listener. More than just words and musical strokes, ASTRAL SPACE CORE reflects a world we live in where unlimited possibilities of the mind are being explored. Influenced by post modernism, AlithiA incorporates a vast array of sounds, and philosophies into its ground-breaking sound.
AlithiA’s live shows are an undeniably atmospheric and hypnotic experience. The music flows openly and freely, taking the
listener on a journey of shared self-expression. Regardless of passing trends, AlithiA is committed to crafting songs like spells – a bewitching sound and sonic vibration that echoes through time and space.
A Secret River is a progressive rock band with a focus on writing song oriented material. Lush vocal harmonies and accessible song formats combine with intricate rythms to form progressive rock that is both multilayered and easy to listen to. In 2012, the band released a 3 song demo which was well received. The band was featured in PROG magazine and received airplay on a number of radio station. As of 2013, work is being done on 5 new songs. Stay tuned for updates!
A Secret River is:
Andreas Ålöv – bass and vocals
John Bergstrand – drums and percussion
Mikael Grafström – guitars
Liquid Casing is a partnership between four musicians from Houston, TX. Inspired by the likes of Godspeed You! Black Emperor, Cursive, Mogwai, Russian Circles, and The Mars Volta, Liquid Casing has developed their own sound focused on dynamics, the ebb and flow of song structure, and vibrant rhythm. Liquid Casing’s new album, A Separate|Divide, explores the politics of division and seeks to expose our lack of unity and its consequences. Composed of 9 tracks that sonically weave in and out of each other, a broad picture is painted of Man’s exploitative use of arbitrary divides. While the concepts and lyrics strive to confront the intellect, the music goes straight for the gut.
Liquid Casing was formed in Corpus Christi, TX by Alvaro, Matt, and Sean back in 1992. As a three-piece, we wrote original songs and interspersed them amidst many cover songs. There were few shows, fewer fans, and no deli trays. However, music is a strange creature that lures many into doing its bidding with little material reward. Songs such as Patria O’ Muerte, Che, Come on Inside, and Bass 1959 were insatiably rocked out. Around 1997, Sean departed the band, and the remaining members soldiered on as a two-piece. This was new territory as there was no White Stripes to lead the way. We were now just plain weird. Void Lenses was released in the summer of 1997 on tape (pure analog!) and included 22 songs of horribly wonderous 4 track mayhem. As a two-piece, several rocking shows were notched squarely in our belts. By 1999, our sound and style had become more focused. The song writing was tighter and more elaborate. The sophomore album, Exiting the Infinite Corridor was released in the summer of ’99. We were poor, so the recording was as low budget as a band can get, single takes, no-overdubs, our parent’s stereo equipment, enough said. At this point, our shows started to become more dynamic (Alvaro rolling around on the ground….you get the point), and we started to branch out to other cities.
Around 2000, Alvaro relocated to Houston and Matt went to Austin, and depression set in since no music could be made. However, we perservered and found a way to rock out despite being in separate cities. This work resulted in the album, The Sun…After the Great Uproar, 2001. The album was the first of many concept albums that we would go on to make, this one had to do with technology in a capitalist society. We started playing in both Austin and Houston and in our travels we met Okikiolu. He started playing with us almost instantly and we forged a new sound. While having a sax player in a band has been done before, melding a free jazz/punk rock sound without sounding silly is quite an accomplishment. This sound was debuted on The Campaign (2003), another concept album, this time about war. At the same time we had put together another album of instrumentals called Storm the Palace EP (2004). This was a chance for the band to develop its musical chops. Though it was difficult to record two albums at the same time, it was fun to spread our wings. The other thing that helped is that we put together our own recording studio, Red Flag Studios. This has allowed us to take our time, learn the ins and outs of recording without wasting our money and other people’s time. We also feel obligated to help other young and upcoming bands by recording them and putting out their music. We worked with The Miyagis, Westborn (they’re getting pretty big these days), Death Carpet Trio, and Wu Liao. It’s fun working with other bands, especially using them as our guinea pigs as we unravel twisted cords and weird effect units in the studio. They certainly helped us learn how to record.
Another way to learn how to record is to forget songwriting and just record in the most bizarre means available. We executed this to perfection and it resulted in the How Do You Give A Name to the Unexplainable (2004) album. For the next couple years we rocked out shows and worked on new material which ultimately became An Empty Sparking Light (2007). This album was extremely difficult to conceive and put to tape (we record digital now, but it’s still hip to refer to “tape”). This album was larger in scope involving more musicians and also incorporating recorded interviews into the music. As a concept album, the target this time was the media. An easy target, but still necessary to confront. Once we finished the album, we set out to enlarge our sound, so we teamed up with Jim and somehow along the way we have doubled the size of our happy little band.
In 2009, after many years of steadfast drum-pounding, Matt amicably parted ways with the band. Liquid Casing scoured the Earth in search of anyone who could fit our ecclectic little band. After several months, we found John Pitale knockin’ on our door. Since then, we have been playing shows all over Houston, and working on a new album to be released in Summer of ’13.
So come out and see one of our shows if you get a chance, you might enjoy yourself and roll around on the ground.
Armed Cloud is characterised by a powerful mixture of heavy riffage, deep grooves and powerhouse vocals with atmospheric keys on top. Their sound contains influences from symphonic and progressive rock, metal, hard rock, and pop.
Wouter van der Veen and Boris Suvee got together in 2010 to form a band named Eclipse. After various changes in line-up they were joined by Remco van der Veen on keyboards and Kevin Brandts on drums. When late summer of 2011 saw the arrival of vocalist Daan Dekker to the band they changed their name to Armed Cloud.
March 2012 was marked by the release of their first EP “Shroud of Rain”, which was recorded in De Pit Studios (Weert, NL) and produced by Hans Reinders. The band was chosen for the second round of the Dutch Exposure band competition later that year. They contributed two tracks to the “Dutch Exposure” LP, which was released in December 2012 through Freia Music.
In January 2013 Kevin announced he could no longer produce the increasing amount of time the band requested. Rico Noijen has been confirmed as the new drummer in April 2013.
Imagine trying to create a salad based on pickles, olives, chocolate, honey, hummus, jam and feta cheese. This is exactly what Lonny and his gang are doing with their music. Different styles and genres that have little in common meet each other under one roof, offering a repertoire of pure fun alongside profound seriousness.
This band is on a mission; to freshen up the music industry, and to bring their audiences both friendly & attractive tunes as well as complex compositions and arrangements. A shake that this milk has needed for years.
The Great Prophecy of a Small Man – the debut album that Lonny produced and published in 2010 has received unanimously fantastic reviews from dozens of music magazines around the world, including among others Oor Magazine – the most prominent music magazine in the Netherlands. Several publications nominated it as one of their top 10 albums of the year, some went as far as calling it the best debut of 2010.
Crysis is the name of the new album the band is now working on. An album which dares to be yet more excentric and extreme in its diversity, created under the pains of personal life-happenings as well as band changes in a world that is facing grave historical challenges.
The album is about the nature of the life span, the end and the start of a new chapter, the pains and the great joys that take place, and the hope for a new and better future in the life of an individual, and of mankind in general. Lonny created the concept, writing and composing the complete album within a period of 2,5 months, then recording and refining it in the following six months.
Lonny has composed and arranged music for different orchestra’s, ensembles and productions, working with among others Holland Symfonia (the Dutch opera & ballet orchestra), and artists like Wouter Hamel. He orchestrated music for the Oscar nominated feature film Footnote (2012). He still works with different artists and composes music for film and t.v.
3RD EAR EXPERIENCE is a new genuine space rock band recording musical improvisations in a little studio situated out in the highlands of Joshua Tree/Mojave Desert, just where some of the members live. The outfit includes Dug Pinnick of KING’S X fame, Robbi Robb of the African acid rock band TRIBE AFTER TRIBE and synth player Amritakripa, also inherently involved in Indian devotional music.
Three days of free form jams led on to the self-released debut album ‘Peacock Black’ which is comprised of four extended tracks. At times being courageously experimental they abandoned formal arrangements and allowed the music to flow in a cosmic sonic dialogue between fellow musicians and stargazers. The result is summing up trance-like and groovy excursions, Kosmische Musik in the Berlin School vein as well as dramatic and otherwordly moments.
Shortly after that Megaforce Records released another band album named ‘Boi’, this time featuring eight tunes with a more common song structure. 3RD EAR EXPERIENCE certainly will please every fan of unbounded psychedelic and space rock music.
Thomas Glönkler (born 1970) is working as school teacher in the small town of Gechingen.
For a long time he’s been working on producing art and music.
As leading man of the german progressive rock band ICU he realized 3 Music CDs during the 90s. His latest output AUSZEIT – a guitar and flute based project – was published in 2005. After that he was working on the GOLDSTADT CD.
GOLDSTADT is a concept album about the destruction of the german city of Pforzheim (nicknamed “Goldstadt”, because of its jewel industry) on Feb. 23rd,1945.
Before realizing GOLDSTADT there was a long time of intensive research about the fate of german cities during World War 2. This led to the idea of writing a 20-minute-piece about the attack and destruction of Pforzheim by the Royal Air Force. Speaking with witnesses and doing research revealed that many themes concerning Feb. 23rd,1945 are still present up to now and many wounds have never been healed.
From there new ideas developed and finally led to songs in the range from acoustic ballads and traditional progrock arrangements up to orchestral sequences.
From his primary years of bashing on pots and pans along to The Beatles, his high school years of learning how to play Iron Maiden’s “Number of the Beast” on viola, his study of Musical Composition at Toronto’s York University, through to his mid 20′s as a guitar player in original Art Rock bands such as Crisis Ten, Shopping Asia and Edge of Sense, Wilton has always had music inside of him.
In his late 20′s. Wilton had had enough of the guitar and band democracy and was searching for another musical outlet. The Live Kate Bush video “Live at Hammersmith” provided the inspiration and he took up vocal lessons with the intent of starting his own solo project with himself on Vocals and Keyboards. After developing his vocal style, he was able to gather members of previous bands to back him up on drums, bass and guitar. The project Wilton Said… was born.
While his earlier releases of “World Up my Ass” and “Broken” had a variety of musicians playing Bass and Drums (Wilton played guitar), his later releases had a more stable band oriented set of musicians with Richard Rizzo on Drums, Andrew Buntain on Bass, and Wilton giving up guitar duties to long time friend and musician Chris Reid. This line up recorded two CD’s “The Butterfly Plague” and “The View”. Shortly after, Bassist Andrew Buntain left the band and Frank Heisler joined as a replacement and can be heard on the most recent release of “Half Life”.
Style wise, one could group the music of Wilton Said… into the Art Rock category, but that’s still pretty vague, which is just the way Wilton likes it.
“I’m open to a variety of styles of music from Orchestral, Jazz, Blues, Pop, Rock, Prog, Goth, Alternative and Heavy Metal, all of which have had an influence on my writing and singing. Add to that the various influences and styles of the current band members and we’ve got an interesting mix of sounds.”
“I often write with a certain sound or sonic texture in my head. But as soon as the other guys, especially guitarist Chris Reid, get a hold of it, it changes into some other type of edgy thing which is totally unexpected and for me, original.”
The music on the most recent release “Half Life” could be considered by some as Art Rock. Others may call it simply Alternative while others may hear it as Math Rock or Indie Rock. I guess one could say it’s all of those things making for an unusual and interesting musical soundscape.
Enjoy at your own risk.
For information on past releases, news, shows and live appearances, please visit
Progmospheric – this neologism, a symbiosis of progressive and atmospheric, represents the musical shape of Scarlet Romeo at best. The band started off in 2006. After replacing the “Voice” and the “Bass” in summer of 2008, the new line-up of the band is complete and Scarlet Romeo is working harder than ever.
Scarlet Romeo stands for ambitious Rock- and Metalsongs, from progressive instrumentals and aggressive Heavy Metal through to atmospheric Longtracks. Sweeping Grooves merge with mighty Guitar Riffs, tuneful Keyboards and the female voice.