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Neon City - Tantalus - Jubal


2000
Label: Headline Records - HDL 504 • Format: CD Album • Country: UK • Genre: Rock • Style: Prog Rock, Symphonic Rock
Download Neon City - Tantalus  - Jubal

Tantalus is a new name in the world of Progressive Music and "Jubal" is this band's debut album released by "Headline", one of the four special divisions of Hi-Note.

To know more about the Hi-Note label and its four divisions you may read a special article devoted to this, one of the most important recording companies in the UK at least here or enter there through Labels of Neon City - Tantalus - Jubal from the "Articles" section. The Album. I think I won't be wrong to say that with new bands like Tantalus Britain can lead, again, the international Progressive Music movement in the near future. Until now, there was the only album to come out from Britain since that I consider a true progressive masterpiece.

This is Xitizen Cain's "Raising the Stones" ofwhich has to be their most complex and also the first album of their own original stylistic at least instrumentally. But, while the most structures of the latter album is based on the old schematic? I like the "Jubal" album as a whole, as much as I like all its songs taken separately. Stylistically monolithic, the album, however, contains a few progressive variations that are quite different among themselves.

Of course, these are the album's different tracks that present these variations. The opening trick Better Promise is the only totally vocal based track on "Jubal" yet nothing but a classic approach to composing the material is obvious even here, on the album's relatively most accessible song.

While it's typical for Neo that arrangements, 'surrounding' the vocal themes, are simplistic since instrumentalists Neon City - Tantalus - Jubal mainly chords to create just a musical background for the singer's themes, all the Classic Prog-band's main 'instrumental' soloists build their own, different arrangements, as if unaware that their vocalist is singing. On the other hand, it seems 'their' vocalist also doesn't pay attention to what his accompanists are busy with at the moment. Actually, though, all of them also create their own arrangements that sound differently yet in full concordance with Harmony, which in its progressive, not jazzy turn, is based on the laws of European Classical Music.

Another one that also sounds quite differently of album's nine other exactly songs, including the opening one, is Time will Tell. This is the only more or less mellow composition on "Jubal" - with vocal and instrumental parts sounding accordingly to the song's prominent mood. Time will Διαφέρεις - Κώστας Μοναχός - Τα Γενέθλια, however, is not your Shagonar - Eholow - Shagonar (File) ballad.

Even compared to the Rocket Scientists "Brutal Architecture" album's so long and monotonous, unlike all the other tracks on that album pseudo epic hit The Mariner, Time will Tell surpasses the latter because there is no monotony nor boring episodes in it.

The third different part represents two instrumental pieces, though they differ wildly even within their instrumental framework. While I didn't find any derivations in playing and singing of all the people at Tantalus, Golden Slumbers/Rock-A-Bye Baby (Instrumental) - Joanie Bartels - Lullaby Magic Hunt is a special one here. A real virtuoso, he also created a very interesting style of playing which has nothing to do with anyone else's you are familiar with.

Hunt's various keyboards totally dominate over the second instrumental Sun Quay. This is the Neon City - Tantalus - Jubal one here, but Max does his best to fill it to the brim with adventurous sounds, themes and even solos. Although you can find many particular differences inside each of these songs, there is much more of a unifying principle in them.

All these songs consist of rich vocal parts Tough Like Mahogany - Various - C-4, most often, of massive, diverse instrumental parts, rotating among themselves, though all vocals themes are mainly supported by heavy yet always quite diversified guitar riffs and diverse keyboards passages and solos. The fourth part represents the strongest compositions on "Jubal" and these are all the three epic ones: Gasp in three partsFootprints in two parts and Now's the Time.

The album's last track wasn't divided in parts, whereas this one consists of two very different parts more distinctly than any other. The first quite short part features some vocal lines, done nicely to the accompaniment of interesting arrangements. And the second part of Now's the Time represents the largest-scale entirely instrumental palette on the album. The arrangements of the long second part is filled with lots of diverse solos, interplays, etc that are like a wonderful, broad and deep sea, to dive and dive in which is such a wonderful pleasure that lovers of Classic Progressive feel not too often.

The only weak Neon City - Tantalus - Jubal I found on "Jubal" is a repeated singing of a monotonous refrain for no less than two minutes by the end of Holy City, the first part of which is at the same quality as all songs from the largest 'different part'.

Thus, here we have a fifth different point and, bearing in mind that there are 12 tracks on the album in all, a conclusion is obvious: the contents of "Jubal", an album of undoubtedly united and original stylistics in itself, are among the most diverse ones you ever met in Progressive. Tantalus's "Jubal" is probably the best debut Neon City - Tantalus - Jubal I hear from bands to come out of Britain in many, many years. Also, after listening to this and a few other Hi-Note newest releases, I see that Britain presently really advances, so I believe this country will be at the helm of the international Progressive Rock movement once again.

As for the only weak episode from an experienced Prog-lover's standpointit's actually too short to consider this double album LP talk differently than a pure masterpiece. Leek, M. Hunt, T. Day Dance Me a Song B. Daley Neon City M. Daley Peas And Queues B. Daley Gasp in three parts B. Daley Sun Quay M. Hunt Time will Tell M. Day, with S. Daley Footprints in Neon City - Tantalus - Jubal parts M. Daley Now'sthe Time B. Day, J. Recorded and mixed by M. Combat With French Waiters - Various - CD 10 • 2007 and T.

With: Toby Young - additional keyboards. May 14,


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7 thoughts on “ Neon City - Tantalus - Jubal

  1. Tantalus is a new name in the world of Progressive Music and "Jubal" is this band's debut album released by "Headline", one of the four special divisions of Hi-Note. To know more about the Hi-Note label and its four divisions you may read a special article devoted to this, one of the most important recording companies in the UK (at least) here.
  2. Fast, hammered piano opens Neon City. It is followed by Pendragonish guitar work, but the mainline of the track is a really nice piano run. The song really has some trouble getting started, there is so much happening here. You hear a nice tune and then it is gone again. Too bad.
  3. Apr 29,  · The above lines are taken from the liner notes of the this new album by Tantalus, Jubal whom the bible states was the father of all musicians. Thus with the album title explained, it would also be worth noting the meaning of the band's name. As the website states, the name Tantalus has its origins in Roman and Greek mythology.
  4. Apr 10,  · New Retro Wave + BIODRIVE Neon City Stay Retro and Subscribe: meztishakarlandanayaforcehammer.infoinfo AKADE: meztishakarlandanayaforcehammer.infoinfo Our Official Spotify: meztishakarlandanayaforcehammer.infoinfo
  5. Discover releases, reviews, credits, songs, and more about Tantalus - Jubal at Discogs. Shop Vinyl and CDs and complete your Tantalus collection/5(3).
  6. Jun 22,  · By Max Hunt had established a totally fresh Tantalus meztishakarlandanayaforcehammer.infoinfo Rubert Willder and Steve Meston were not members of the band anymore (although Meston is credited on the 'thanks notes' of the new album) and the core was now a 6-piece with Hunt surrounded by his wife Gerlinde on keyboards/percussion/vocals, Bob Leek on lead vocals/guitar, Tim Day on bass, Damien Slowey on /5(2).

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