Red Bazar and Tiger Moth Tales at The Maze in Nottingham this Wednesday

Great double-header prog gig this Wednesday (14th Sep, 2016) at The Maze in Nottingham, featuring our bassist Mick’s band Red Bazar, co-appearing with Peter Jones’ Tiger Moth Tales.

If you’re in the East Midlands then get yourself along to this gig. Mick says he might wear a donkey, so I’m hoping he does!*

*I suppose he may have meant donkey jacket. But if that’s what he meant, I shall make him eat all the straw I’m bringing.

Red Bazar’s Tales From the Bookcase album

While we’ve been struggling for time over the last few years our bassist Mick has been very busy with his own band Red Bazar. Those of you who already know them will remember them as an instrumental prog-power trio. Well, now they have finally got a vocalist. And a keyboard player. (Actually, if you already knew them you probably already knew that.)

Not just any vocalist, though, but Peter Jones, recent winner of Classic Rock Society’s Best Newcomer Award, and the man behind Tiger Moth Tales. And on keyboards Gary Marsh, a real find.

They have just released an album called Tales From the Bookcase, a great mix of modern and classic prog. I really loved their old instrumental stuff, but having vocals and keyboards in the mix has produced a sound that is much more accessible for the average listener, and this album is already getting rave reviews all over the prog world. We already knew that Jones is a really good progressive singer, but on this album he shows at times that he a match for Ronnie James Dio when it comes to hard rock wailing. And Gary Marsh proves himself to be a great texturalist keyboard, almost as good as that sort of thing as that guy from Coralspin…

I suggest you buy it now, but if you want to quickly check it out beforehand you can do so at Bandcamp.

Red Bazar - Tales From the Bookcase

Red Bazar – Tales from the Bookcase

Blake to become a full-time muso

Big changes are afoot here at Coralspin. I’ve decided to quit my job as an academic to become a full-time musician/composer/writer. The idea is that this will open up a lot more time to spend on Coralspin. That’s the theory, anyway. Whether that happens in practise is another matter, because I’ll be taking on a few projects to earn some money.

But hopefully before too long I can get back to finishing our second album, a fair bit of which is already in the can.

We also want to get playing live again, although the album is the bigger priority at the moment, and anyway the drummer we were using, the amazing Ed Gorrod, has moved to London to become a professional drummer, so we need to find another sticksman before we can do that.

So look out for Coralspin to be back on your radar some time in 2017.

Rhythmic Robot introduce Silencio

The genuises at Rhythmic Robot have released an amazing new virtual instrument called Silencio. I’ve already used it this morning to make a new track — in fact, you’re listening to it now.

Introducing Silencio
Fully-professional multimode 24-bit silence engine

In a world of loudness wars and over-crammed mixes, what our music sometimes needs is space to be; the individuation and clarity that come from the absence of sound; in other words, contrast. Silencio brings you that contrast in pristine 24-bit quality, whenever and wherever you need it.
Comprising eight meticulously-recorded silent environments (six analogue and two digital) plus hard bypass, Silencio gives you instant access to different tonalities of silence across a full 88-key range. A comprehensive control set allows further tailoring of the core silences. Its uses are limited only by your imagination, but there are some standout applications:

• Perfect for adding space to a mix. Today’s mixes easily become crowded, with frequency bands jostling for attention and fatiguing the listener. Use Silencio to bring air and space to your mix. Just one or two tracks of Silencio can make all the difference.

• Ideal for Jazz musicians. We often hear jazz aficionados saying of great musicians that we should ‘listen to the notes the guy isn’t playing’. This is central to classic jazz soloing. With Silencio, you can play these notes directly.

• Great for experimental musicians. Silencio can be at the heart of experimental music. It’s ideal for playing John Cage’s 4’33 (in fact it’s possible to play 4’33 in under three minutes using Silencio).

‘What we cannot speak about, we must pass over in silence’
– Ludwig Wittgenstein