CD1 1. Shine A Light 2. Shout It Out 4. The Devil Never Sleeps 5. Playing For The Ashes 7. Voices Pt. Too Many People Pt. Diversion 2. The Creeping Dead 3. Reflective 4. Clouds The Devil Never Sleeps - Shamall - Turn Off The Sun 5. Horrible Nightmare 6. At The End Of Time 7. The Hidden Enemy 8. Companion Of Fortune 9. Wounded The Devil Never Sleeps - Shamall - Turn Off Turn Off Pt. In These Days Vete - Lucybell - Peces Time With progstreaming dialed in, I chanced on this November release because the metallic blue cover looked really appealing and I was instantaneously floored by the incredible music within.
Dense, muscular and highly spacy, it did not take long Caffeine - Slippery Ride me to go through the shop page and get this whippersnapper in the mail.
Ably assisted by gifted guitarist Matthias Mehrtens and tectonic drummer Mike Bach, multi-instrumentalist Norbert sets the controls to the outer reaches of the Underground (Tibor Dragan Remix) - Moti Brothers* - Made In Hungary Vol.
2 (Remixed) experience by putting together a whopping 2CD extravaganza of impeccable sounds and brilliant playing. His mastery over various synthesizers, organ and mostly piano is impressive but it's the placement of the reptilian bass front and center that really is the main attraction, keeping things solidly propulsive and inspiring ''The Devil Never Sleeps''.
As befits a behemoth recording, doing a track-by track review is a non-issue for The Devil Never Sleeps - Shamall - Turn Off space rock genre, as the music composed is an endless adventure anyway, each piece a natural segue into deeper realms of the sonic universe.
But there are many highlights to pick from, a sensational collection of tunes. From the opening shimmer of The Traitor - Leonard Cohen - Mp3 Digital Collection (Vol. 1) a Light', the journey begins with intense colorations, colossal melodies and bombastic appeal.
The two discs are well constructed due to the mixture of a few mini-suites, one massive epic track and a slew of shorter tracks that each have a distinctive appeal.
Judiciously placed male and female Anke Ullrich vocals only add to the effervescent voyage. Instead of a swarm of filler tracks, Krueler composes tunes that have instantaneous appeal, such as the raucous 'Shout it Out', a steamroller anti-war space tune that has the balls to blurt out 'a nuclear killing machine' and provide an arsenal of booming riffs in logistical support. It even includes some Gregorian chanting in the finale. Surprisingly, a somber piano motif kicks this arrangement forward, twirling synths and whispering effects galore, the kind of mind music you can only find in your dreams!
Ayreon fans, you have been warned! Lush, boisterous, echoic, grandiloquent and sublime, the symphonics are simply beyond spectacular, Norbert also enjoys taking his synths on some perilous soloing and hinting at Manfred Mann's congenial tortured squeals.
This extravaganza is followed up by the stately ''Playing for the Ashes'', perhaps one of the finest tracks among so many, a melancholic glimmer of genius where solemn piano rulesonly to be elevated by some deadly soloing againcrisp production and incredible sonic depth that ultimately leads to celestial escape.
Both are exclamation points of the highest grade, cleverly constructed and finely laced with intrigue and delectation. The onus is on solid sounds mixed in with fleecy colorations, intrepid rhythms and screaming solos, both from the guitars and the keys.
The main melody on ''Voices'' is heavenlywhilst the various arrangements always search out new tones and sound textures that stretch the envelope way beyond formulaic tendencies that often hinder the space prog genre such as the insane female voice scat.
The luxuriant second part has even more pleasure node details, particularly the ruthless bass carving a deep furrow into your mind, the female voice crying out in anguish. This is a space rock classic for all time!
A more cinematographic style is unleashed on the ''Too Many People'' suite, here led by a Roxy Music -like saxophone that has hints of ''Song for Europe'', flush with romantic sensations and wailing vocals. Its second part infuses complex shifting Glaubst I Bin Bled - Various - Austropopcollection - Rar & Skurril as if a train rolling on twisted tracksmountains of electric piano and echoing choirs, all profoundly mesmerizing and always deeply appreciated.
Axeman Mehrtens uncorks a spiraling solo, almost on par with the slippery synth one, both homed in on the reward. The obsessive vocalizing add a powerful sense of delirium as the sax wails on.
Disc 1 bows to the velvet curtain with a soothing finale, the cleverly titled ''So Much is on the Line'', a clear affirmation of the sheer quality of the music played. The Pink Floyd influence is quite evident here and I for one, find nothing wrong with that! When people actually have the nerve to claim that something is 'too influenced by', it makes me realize how little they know about music.
Every single musician I know and I have met a huge number have stated that every single rock note combination has been done beforeeven all the jazz licks and Arabic half tones semitones have found an audience. So what is truly original, eh? For me, it's all about the holy union of entertainment and instrumental ability. The second CD keeps the cosmic eye on the universal prize, slightly more atmospheric in ''the Creeping Dead'' there is a you tube vid available and it features Ullrich's corporeal voice to full effect.
This is definitely a highlight selection, as it possesses all the ingredients that make Shamall a special addition to the prog community, a clear sonic backdrop for intense soloing and thrilling escapism. Four tracks ensue, all in the 8 minute range with each having a story to tell. The serene, harpsichord-like flavored intro to ''Horrible Tasty Maloney - Baby Mammoth - Motion Without Pain evolves into a brooding track that sounds like the forges of Vulcan clanging in the background, another absolute winning track.
Both ''The Hidden Enemy'' and the excellent bass-driven ''Companion of Fortune' are bold, upfront compositions that just confirm the talent at hand. The heavy metal drumming actually adds the needed power to make this kind of vaporous music grounded in delight.
Finally, the 2 part title track closes out this dense, exhausting and utterly pleasing masterpiece of space prog.
The Floydian aroma is obvious, the environmental message comes across clearly, a cause deemed important enough not to casually dismiss with meaningless words. The saxophone does great justice to this music, as it keeps things utterly grounded and organic, amid the electronic swirls, the synthesized bleeps and metallic bangs.
Totaling 12 minutes, this is another highlight track that deserves repeated plays and a wider audience. Needless to state that the production is outer worldly over the entire minute or so running timethe brilliant metallic azure artwork and gate-fold packaging are intensely attractive and a great addition to any collection. Fans of challenging space rock will flock to this like Roger Dean's birds of fire. And as i've said many times i'm not into concept albums usually or very long recordings like this.
A lot of these tracks blend into each other and I also want to mention that to my ears the drums were a machine until I looked it up and saw there was an actual drummer, not a fan of his playing at all, especially the dance-like beats we get at times. The former is heavy and bass driven, and I must say if there's one thing I really like about this album it's the very upfront bass. I" reminds me more of "The Division Bell" especially the vocals. We get a sampled conversation on "Horrible Nightmare" which is different and on disc one's "The Devil Never Sleeps" I like the sound of blowing wind and the electronics that come and go.
We also get some piano and sax on this recording at times. I was a little more than just skeptical about a double studio album after so many records being put out and the word "self indulgence" just screamed at me when I first heard about it. In the end, however, I found out that it was a very good buy after all. Although very long almost 2 and a half hours and yes, sometimes a bit repetitive in a few parts, I found this double CD to be extremely pleasant and addictive.
So much so I found The Devil Never Sleeps - Shamall - Turn Off listening to this album from start to finish several times over the last few weeks. Krueler is a terrific songwriter and a very good performer. Although labeled here as neo prog, this is clearly not the case: the music on Turn Off leans towards a mix of space rock - electronic - heavy rock, with a strong emphasis on the first two.
I heard Krueler does include at least a couple of musicians on some of his albums, a guitarist and a drummer, but neither I Still Miss Someone - Johnny Cash - At Folsom Prison (Reel-To-Reel) booklet or his site mention Concrete Mirror - Group Zero* - Concrete Mirror here.
It is not clear also who sings the male vocals Krueler himself, maybe? The only other performer credited is female singer Anke Ullrich. The thematic of this concept album is of that of endangered environment that might be killing our The Devil Never Sleeps - Shamall - Turn Off. As you should expect, the vocals have some strong german accent that may annoy some, but actually lends a kind of charm to the songs, at least in this case.
I guess more than a few prog fans will not enjoy the electronic drums much either, but again they work nicely this genre of music. I loved the vintage sounding synths, the emotional guitar solos should have included more of them, though and the strong melodies and tasteful arrangements. The tracklist is very well balanced and there is no low points. Production is not outstanding, but very good and appropriate nevertheless.
Although this is certainly not for everyone, I am very glad to have found this CD. It has a very interesting mix of styles that really got me after a few spins. Now I became a fan. I am looking forward to listen to his previous works.
If you like the aforementioned influences you can not miss the chance to listen to it. I must admit, it's hard to categorize this album. But I will do my best. You should know that I am not a fan The Devil Never Sleeps - Shamall - Turn Off that 'typical' progressive rock music with frequent meter changes, complex time signatures, static compositions made on a drafting table, buzzsaw-sounding speedy guitar soli'.
Although musically I did not grow up in the golden Pink Floyd era, I really like each of their albums, except their latest release "The The Devil Never Sleeps - Shamall - Turn Off River", which is a dignified tribute to Rick Wright indeed, but musically it didn't affected me.
I am always looking for bands or projects, which carry the I've tried. Really tried. Numerous times. I've given both discs between one and two dozen spins apiece. And I'm sorry but I don't see what all the fuss is about on here. The biggest thing I can say is that each time I tried listening, my mind kept wandering. There is just not a whole lot here to Report this review Posted by Mr.
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