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Posts tagged Martin Orford
Ayreon – Human Equation (2004) (@256)
25 Jul 2010
(Review from seaoftranquility.org, metal-archives.com, progarchives.com)
With his new Ayreon album, Arjen Lucassen seems to be moving deeper and deeper into the rock opera world. Looking at the lyric sheet here it looks like something written by Andrew Lloyd Webber and Tim Rice. The guest list on each album is getting longer with the singers on this album being assigned roles to play.
The Human Equation follows the story of a man who falls in a coma after plowing his car into a tree. While in a coma, he unlocks some hidden region of his mind where he confronts his emotions and and memories. Meanwhile, his best friend and wife sit at his hospital bed waiting for a sign of life.
Like most rock operas, the songs work best as a unified whole, but songs like “Day Eleven: Love” and “Day Sixteen: Loser” certainly do stand out for the great vocals and melodies. There is one thing that cannot be overlooked and that is the impressive roster of singers and instrumentalists Lucassen has assembled for his latest project: Martin Orford from IQ and Ken Hensley from Uriah Heep make small but invaluable contributions. Hensley’s short but raging Hammond organ solo on “Day Sixteen: Loser” certainly takes us back to Hensley’s work with Uriah Heep.
As for the singers, James LaBrie from Dream Theater plays the part of the man in the coma, simply known as Me. If you are used to Labrie’s work with Dream Theater, be prepared to be surprised here. For the most part, his singing is mellow and happily he proves that he has more depth as a singer than he is generally given credit for. Heather Findlay from Mostly Autumn is cast as Love and her singing is as impressive and moving here as it is with her own band. Mikael Akerfeldt of Opeth is given ample opportunity to shine as well; the man has a great voice. Relative newcomer Marcela Bovia also deserves a mention as the wife; judging from her performance with Ayreon, she has a bright future ahead of her.
Line-up:
- Arjen Lucassen / electric and acoustic guitars, bass guitar, analogue synthesizers, Hammond, Mellotron, additional keyboards, mandoline, vocals as ‘Best Friend’
- Devon Graves / vocals as ‘Agony’
- Devin Townsend / vocals as ‘Rage’
- Eric Clayton / vocals as ‘Reason’
- Mikael Akerfeldt / vocals as ‘Fear’
- Magnus Ekwall / vocals as ‘Pride’
- Heather Findlay / vocals as ‘Love’
- Irene Jansen / vocals as ‘Passion’
- James LaBrie / vocals as ‘Me’
- Marcela Bovio / vocals as ‘Wife’
- Mike Baker / vocals as ‘Father’
- Ken Hensley / Hammond (16)
- Oliver Wakeman / keyboards (17)
- Martin Orford / keyboards (15)
- Ed Warby / drums
- Joost van den Broek / synthesizer (2), spinet (13)
- John McManus / Low-flute (13,16,18), tin-whistle (18)
- Jeroen Goossens / flute (3,5,9,14,18), alto-flute (2), bass flute (5,14), panpipes (6), descant and treble recorder (13), didgeridoo (16), bassoon (18)
- Robert Baba / violins
- Marieke van der Heyden / cello
Track List:
CD1
01. Day One: Vigil – 1:33
02. Day Two: Isolation – 8:42
03. Day Three: Pain – 4:58
04. Day Four: Mystery – 5:37
05. Day Five: Voices – 7:09
06. Day Six: Childhood – 5:05
07. Day Seven: Hope – 2:47
08. Day Eight: School – 4:22
09. Day Nine: Playground – 2:15
10. Day Ten: Memories – 3:57
11. Day Eleven: Love – 4:18
CD2
12. Day Twelve: Trauma – 8:59
13. Day Thirteen: Sign – 4:47
14. Day Fourteen: Pride – 4:42
15. Day Fifteen: Betrayal – 5:24
16. Day Sixteen: Loser – 4:46
17. Day Seventeen: Accident? – 5:42
18. Day Eighteen: Realization – 4:31
19. Day Nineteen: Disclosure – 4:42
20. Day Twenty: Confrontation – 7:03
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IQ – Wake (1985) (@256)
14 Apr 2008
(Review from progarchives.com)
One of the pioneers of the British neo progressive scene, IQ is one of the few bands from the post-70s scene that superbly delivers a full symphonic, rich in emotion music. The outstanding vocals of Peter Nicholls give the band its trademark, but the keyboard arrangements from Martin Orford really add to the atmosphere here. Not enough, the guitar work from Mike Holmes completes the last essential ingredient of the band’s musicianship. The band is strongly influenced by (Gabriel era) Genesis, with a hard-edged and powerful sound.
When considering the “strict” period of neo-progressive (80s), the band’s second album, “Wake” is definitely a classic. Together with Marillion’s first albums, it helped define what neo-progressive was and generated dozens of sound-alike albums by as many bands.
Maintaining the essence originally approached in their debut and giving it enough impulse to create an even more special look, “Wake” is the simple concept of perfectioning the style, polishing the diamond.
“Wake” is the type of album that settles on a wonderful interpretation, with moments of pure ecstatic reflection, growing on the soul’s content and making no concern on the weight of things, well-balanced, well-organized in features and in manners. The wonderous climax in a short pill. Acknowledgement comes here in expression, in exceptional quality. Mood is given by the constant ideals. The complexity lies in the way such music can create so many emotions. “Wake” resembles subtility, refinement, ethereal movement, dreams that don’t collide often with reality, a form of music that demands just the keen affinity and the power of savor, passion and open-mind dynamics.
The pieces seem to sustain the unitary of the masterful thought. At the base of music, they mean beauty, appealingness and complete artistic speech.
The first three pieces, Outer Limits, The Wake, The Magic Roundabout, are top-notch, the first setting dimensions beyond imagination, the second-though easy as music-is a deadly charm and the third seeking an orientation towards shivering complexity and absolute chords. What follows are pieces that keep up the pace and certainly offer their share of unforgettable moments.
“Headlong” ends everything in a special great tone. The end is something that touches personal sensible chords. Anyway, summarization is hardly good at anything. The experience is unique.
Line-up:
- Paul Cook / drums and percussion
- Tim Essau / music man, basses & bass pedals
- Mike Holmes / guitars
- Peter Nicholls / voice, tambourine
- Martin Orford / keyboards
with
- Harun / ablas on “Corners”
- Dave Stewart / loan of the Sitar guitar
Track List:
01. Outer Limits – 8:14
02. The Wake – 4:11
03. The Magic Roundabout – 8:19
04. Corners – 6:19
05. Widow’s Peak – 9:13
06. The Thousand Days – 5:12
07. Headlong – 7:26
08. Dans Le Parc Du Chateau Noir (Bonus) – 7:38
09. The Thousand Days (Bonus Demo) – 3:56
10. The Magic Roundabout (Bonus Demo) – 6:27
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