Friday, April 29, 2016

Former Jethro Tull Keyboardist Dee Palmer's “The Orchestral Sgt Pepper” and Other Titles Reissued

London, UK – Gonzo Multimedia has reissued Dee Palmer's “The Orchestral Sgt Pepper”! From 1968 until 1980 she was arranger and, subsequently, keyboardist with the globally prestigious, seminal English rock group, Jethro Tull. On leaving the group she produced an acclaimed series of albums of symphonic versions of prog-rock music of the 70's – Tull, Genesis, Pink Floyd, Yes, Queen etc. – performing them, live, in Europe and the Americas throughout the 90's.

In June 1967 The Beatles released “Sgt. Pepper's Lonely Hearts Club Band”, their eighth studio album. The critic Kenneth Tynan described it as "a decisive moment in the history of Western civilization". Richard Poirier wrote: “Listening to the Sgt. Pepper album one thinks not simply of the history of popular music but the history of this century.” Time magazine declared it “a historic departure in the progress of music – any music.” Newsweek's Jack Kroll called it a “masterpiece”, comparing the lyrics with literary works by Edith Sitwell, Harold Pinter and T. S. Eliot, particularly “A Day in the Life”, which he compared to Eliot's The Waste Land. The New York Times Book Review characterized it as a harbinger of a “golden Renaissance of Song” and the New Statesman 's Wilfrid Mellers praised its elevation of pop music to the level of fine art.

In 1994, Dee Palmer orchestrated this classic album for EMI at the famous Abbey Road studios with the Royal Academy Of Music Symphony Orchestra, donating the lion's share of the royalties for the benefit of impecunious music students at the Royal Academy, having once been one herself.

To purchase:

Currently working on a variety of projects including Dee's autobiography and a long awaited album of original songs, she has recently completed the choral arrangements of songs from three of her series of symphonic rock albums, with a future “Prog-Rock Prom” performance in mind.
For more information:

Other Dee Palmer titles to be reissued by Gonzo Multimedia:

Dee Palmer and The London Symphony Orchestra “Objects of Fantasy (The Music of Pink Floyd)” (release date May 25, 2016)
Personnel includes Steve Hackett, Mitch Dalton (guitar); Charlie Morgan (drums); Andy Pask (bass guitar); David Bristow, Dee Palmer (keyboards); Stan Saltzman (soprano saxophone); Phil Todd (tenor saxophone); Stephanie De Sykes, Clare Torry, Miriam Stockley, Tony Burrows, Carl Wayne, Ian Hunt (voice).

Dee Palmer and The London Symphony Orchestra “Passing Open Windows - A Symphonic Tribute to Queen”
Recorded in England on August 14-23, 1996. Personnel: Dee Palmer (conductor, keyboards); The Royal Philharmonic Orchestra; Neil Lancaster, Tim Whitnall, Carl Wayne, Mick Mullins (vocals); John Paricelli (guitar); Stan Sultzman (soprano saxophone); John Barclay (trumpet); Derek James (trombone); Dee Palmer, Andy Vinter (keyboards); Alan Walley, Tim Harries (bass); Matthew Rich (percussion)

Dee Palmer and The London Symphony Orchestra “Symphonic Music of Yes”
Personnel includes: Dee Palmer (conductor, arranger, synthesizer, piano, vocoder, Hammond organ); Jon Anderson, The London Community Gospel Choir (vocals); Steve Howe (guitar, background vocals, mandolin, dobro); Tim Harries (bass); Bill Bruford (drums); Gary Masters (programming); The London Philharmonic, The English Chamber Orchestra. Producers: Alan Parsons, Steve Howe, Dee Palmer.

Dee Palmer and The London Symphony Orchestra “We Know What We Like - The Music of Genesis”
Personnel includes: Dee Palmer, The London Philharmonic Orchestra; Steve Hackett (guitar); Ian Anderson (flute).

All four titles will also be released in a box set titled “A Vintage Case of Dee Palmer”.

For more information:

Press inquiries: Glass Onyon PR, PH: 828-350-8158 (USA),

Thursday, April 28, 2016

The Lyrical Life of Lara Part II

Last Wednesday WMMW featured The Lyrical Life of Lara Part I - introducing our readers to this young gifted Female Artist, her work ethic and business approach.  Part II of the Lara Johnston story focuses on her education, influences, touring, songwriting approach and personal take on female artistry in the music business. Enjoy!

The Lyrical Life of Lara Part II

By Katharine W. Poole
For Women of Music Music of Women


Although she knew that music was her chosen profession and life long passion, Lara took the college route somewhat to her own surprise.  In High School she drifted through the social scene, spending her time perfecting her musical talent.  “I wasn’t sure.  I was just kind of lonely the whole time - there were great people - but I never really clicked with a group.  I felt like a floater.  It was kind of a tricky thing for me, because I knew I wanted to go straight into pursuing a music career - but there was something about the college experience that really seemed appealing - the chance to be around other people - this program came up and it seemed like a really great thing to be a part of. It was the first of its kind.  It was very, very innovative.  That’s what changed my mind.”  She is referring to being in the first graduating class of the Popular Music Degree Program at USC’s highly recognized Thornton School of Music.  Acclaimed by Rolling Stone as one of the “top 5 cutting edge departments,” and in the top 3 of The Hollywood Reporter’s 2014 list, only usurped by Juilliard and Berklee. 


It seems her father’s influence was passed along not only musically, but educationally as well.  Tom Johnston went to college, a graphic design major, and clearly has a high respect for learning. Both Lara’s parents wanted her to go to college, but they were supportive either way.  Supportive and honest.  “They [said] whatever happens.  If an opportunity comes up before college absolutely run with it if it’s the right [one.]“  Lara knew she had a lot of growing to do.   “When I think about it - I was 17.  I was like: I want to make it now!  I still had so much development to do.  I think they [her parents] knew that too.  So they said: It’s up to you. We’re not going to force you, but we’d love for you to have a degree.”


College turned out to be a fruitful experience for Lara on multiple levels - socially, educationally, artistically and professionally.  The opportunities were incredible.  “From the get I feel like I was really lucky because we had a super small class and we all bonded a lot.  This can be such a lonely career choice to pursue and it’s so uncertain - to have something like this in place while I was aspiring and working out my professional goals.  To have this structure and these people and these amazing teachers was such a gift.”  She instantly felt at home. “…they were just great kids and really talented - we could relate - we’re all kinda goofy.” Goofy and fun, but students with a calling.  A true and driven purpose.



Lara is thankful to have achieved many of her career goals early, and she is surprised by the gifts along the way.  “I have been able to perform, whether it’s in clubs or opening for another act on a bigger stage.  I always knew I would be performing.  I knew I would find a way to make it happen.  Something I didn’t expect…I’ve been lucky enough to sing with Don Henley - sing backup for him on a few occasions - he’s incredible, another great voice I grew up listening to.”  Lara is humble in sharing these moments.  Yet there are many.  Henley isn’t the only veteran artist that Lara has worked with, proving she is actively pursued for her incredible talent and professionalism.  Among the iconic list are also Gregg Allman and Belinda Carlisle of the GoGo’s.  “That was another thing I didn’t expect.  Both of those [gigs] came from my professor at USC - Will Hollis - [he] is the Eagles MD and also Don Henley’s MD.  He needed singers at one point - that’s how I first ended up singing with Don  - and then Don’s bass player Lance was doing the Belinda gig like a year later and he [asked] do you want to come [sing] - there were just two dates at a club in San Diego and an amphitheater just outside of Vegas.  That’s another reason I’m grateful I went to USC because that led to great opportunities.”  Experiences that have helped to mold her style and her technique.



Originally, much of Lara’s own music was pop based, and she loves that genre. “I think a great Pop song is so fun.  I definitely still want to chase that Pop sensibility as far as melodies and song structure goes, but also leave room to truly sing.”  She continues…“I’m really excited about the new music I’m working on.  It’s very much a product of what I’ve grown up loving and what inspires me most. The vibe I’m going for is honest writing and the room to sing with emotion.”


There are undertones and structural hints of Amy Winehouse in some of her more jazz based songs, when asked about this Lara reflects:  “I absolutely love her and think she was gifted beyond her years…I never really sang along to Amy growing up, but I think that she was influenced by the same singers that I was.”  She references the Jazz background with notes of Etta James…”I love the way she wrote music - these biting honest lyrics amazing soulful soundscapes.”  Lara’s true influences come from Soul, Blues, Jazz, Folk and Rock -n- Roll artists.  “In shaping my vocal style, the people that I’ve sung along with most have been Aretha, and Dusty Springfield - I went through my Christina Aguilera phase - I think every female singer does - she has the most amazing voice.”   


By studying iconic performers from varied genres Lara created her own unique and incredible sound.  The education and knowledge she possesses is evident in her writing and performing; with structure and mastery of an artist well beyond her years.  “Some of those great standards - you know, Gershwin and Porter - these beautiful songs that are so clever and elegant - inspired me as a writer.”  These shaping impacts are evident to the trained ear in songs such as Keep You in My Pocket and Mister Be My Man.  Surprisingly both of these songs she wrote in college, and they are brilliant.  


When Lara speaks of Mister she lights up.  “That one shows the jazz influence, ‘cause I was listening to a lot of jazz music at the time.  I want to recut it.”   Mister was written and produced as a school project.  The elegant video takes you back in time to old Jazz clubs.  During her Freshman year in a songwriting class Lara was to write a standard from the 30’s.  “I wasn’t sure I was going to record it.  A kid that lived in the same dorm building was inspired by it and asked if we could do a video.”  The kid’s name was Sherif Higazy, the Executive Creative Director of Nuclear Creative and co-founder of Homage Arts & Production in LA.  It’s no wonder the video looks and sounds professionally produced.  For Lara college was a part of her career not a pause in it.  Therefore the transition to the “real world” was not an issue.  She was already a professional working in her chosen field.


Describing her “typical day” Lara tells a familiar singer/songwriter tale. “It depends. I just try to fit in vocal and guitar practice no matter what.  If I’m co-writing it’s usually dictated by where the cowriter wants to work.  If I’m here [in Nashville], I find that people tend to [say]: ‘Oh, I have a room from this time to this time in the ASCAP building.’  In LA a buddy of mine who I love to write with has a little studio.  Sometimes I have people over to my apartment.”  Lara chooses to co-write with many other professionals.  “There are those sessions where you don’t necessarily click with someone and that’s fine.  They could be your best friend.  They could be someone you admire musically so much, but for whatever reason that day you just don’t gel - the chemistry isn’t there.  And, I’ve had amazing cowriting sessions - where the ideas are flying!”  She smiles with inspiring enthusiasm as she shifts - “If it’s a gig day then the schedule is very tight.  Work out in the morning, ‘cause I find that that helps open my voice up.  Have breakfast.  Warm my voice up before the show, definitely.  It’s all geared around the show.” 


Lara has performed all over the country.  “It’s hard to pick a best [experience] because every time you get to play it’s just so fun…” One that stands out for her proves a bit easier to answer - “This summer, I got to perform at the Summer Fest in Milwaukee, in front of a pretty big crowd and I was really nervous because being a new artist, and doing original music that people haven't heard before - sometimes you don’t know if crowd’s are going to be receptive to it.  People want to hear songs they can sing along to [familiar music.]” She stops and thinks aloud: “I should give people more credit than that - not always but in many cases, especially at festivals.  But - they were really great and really supportive and with me all the way.  It just gives you this magic feeling like you’re ten times taller than you used to be!  You feel like you’re full of this crazy energy.  It was so fun! [It made me feel like] I just want to do this forever.”


Her most challenging experience performing, no pause no question, is comical in delivery.  “When I was 18 I think, I played at Crab Feed.” Yep.  Already smells bad.  “I’d never really heard of it.  I think it was for the Santa Rosa Rotary Club.  I’m not saying it was bad - they did a beautiful job putting it together.” She is adamantly genuine.  “But - It’s just a weird thing for an eighteen year old to perform at a Crab Feed.  Basically they gather all these people in this exhibition hall and there’s just tables and tables of crab…and it smells like crab…” She paints this hysterical picture of the crowd, cracking crab legs as she is trying to sing above the din.  “I mean it wasn’t terribly unpleasant, but I just remember standing up there thinking: Why am I playing at a Crab Feed?”  Kind of like trying to play a Writers Round at a Sports Bar during The Super Bowl.


Lara’s family life and career have taken her all over the world.  She is well versed in the music business from the joy and the trials to the work and the play.  Though she loves her LA community it is a bit spread out unlike the closeness of Nashville.  Her love of this town and professional goals are making her a member of the Music City scene - she is a most welcomed and notable addition.


“I think that female artists are celebrated in Nashville in that there’s an amazing network here of really strong female artists. Not only that, there’s a sense of friendship and kinship that that they show each other.  It’s something I’ve been absolutely knocked out by every time I’ve been here, just how kind and genuine women artists are to each other.”  The culture of women artists inviting each other to sit in, attending each others gigs and collaborating is a refreshing idea to Lara. “It’s such a positivity.  Very unique.  I’ve never felt that anywhere else.  I love it.  It just makes you feel great.  I think that as a woman in the business there’s a lot of competition and it can get very catty at times, especially places like LA - not that it’s always that way - but [it’s] definitely not like it is here - where you feel a support.  That’s a beautiful thing.”




There is no pause or delay, no question what Lara would advise a new female artist trying to break into the business.  “Try everything.  Try writing with people you might not think you would click with.  Try going to a venue and getting up and singing even if you’re nervous.  People are great here.  You never know what things are going to lead to.”  Simply wise advice.  Get out there.  This is what you came to do.  And if you are as dedicated, professional and talented as Lara you may just be lucky enough to follow along the path she is forging.


The Nashville 7:


The final questions posed to Lara (inspired by James Lipton’s approach to interviewing for Inside The Actor’s Studio.)

1 In one Word describe Nashville:  Lara laughs with a lightness and says: “I don’t know why Jolly came to mind! - Jolly.”

2 Your favorite food experience in Nashville: “I am such a biscuit person - so anything biscuit related…Oh and there’s that restaurant Taco Mamacita.  It’s so good!”

3 One word that describes your music style: “Vibrant-Soulful Pop”

4 Who is the one person you want to meet in Nashville: “Dolly Parton”

5 If you could ask (him/her) one question what would that question be: “How she’s balanced being such an incredible songwriter and such an incredible business woman.  She’s so strong.  How she’s made it all work.”

6 What is your favorite Nashville venue: “I love The Ryman.”    

         (Elsewhere, she adds: “I’ve never performed there, but I once got to go to Bethel Woods, on the site of Woodstock in upstate New York.  It’s so cool.”)

7 Your favorite lyric from a song you wrote: “I don’t know why but when I wrote this line I was really excited.  In Mister Be My Man: ‘I’m lookin’ for a thrill an open heart to fill, a Jack to love this lonely Jill.’


Her lyrics are clever and crafted.  Though these words may not be the intention of the song - the lyrics of Lara’s I Don’t Give A… flip perfectly for the carpe diem message of this lovely artist. “Go on with your life…Do what you want to do!”  Because in truth, she clearly does give a…!  Nashville needs a lot more Lara Johnston in the future -  luckily that is in the cards.

So when will Lara hit the market?  The goal for release is the upcoming fall. It will be worth the wait.  Until then…


Please check out WMMW’s announcements for Lara’s future performances in Nashville. 

Women of Music Music of Women is an alliance for women in the music industry to network, support, promote, and recognize the many talented women in the industry by bringing them together with all aspects to include artists, attorneys, agents, managers, artist development, label execs, publishers, media, songwriters, past present and future talent to discuss and address the issues that concern women in the industry.

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*The material included in this article is the sole property of the writer, (Katharine W. Poole,) and the photographer and President/Founder of WMMW, (Cilene Bosch.)  All elements may be used in other publications as determined by the owners. Permission must be obtained for reproduction.


Adult Contemporary/New Age Review: Elizabeth Geyer-The Bridge

Release Date: February 22, 2016
Label: EG Music

Elizabeth Geyer invites you to join her on a journey seven years in the making. The renowned trumpet player turned flugelhorn turned vocalist has released a very personal album titled The Bridge.

Make no mistake about it Elizabeth still plays all of those instruments including the piano. You are probably wondering how someone that recorded instruments changed over to vocals? Well as she notes, “I had to find my voice.” Lord have mercy, did she ever.

The Bridge is aptly titled as this lady gathered up all her courage and crossed that bridge into unknown territory. I am here to tell you it was a successful trip. Her voice is beautiful, inviting and warm. She commands a song, she owns it, with an innate sense of melody and lyrics this performer knows how to put together a story in a song and make it all believable.

Another multitalented individual in his own right, Paul Adams, produced, engineered and mixed the album and was kind enough to introduce this amazing talent to me. In addition he played guitar and all the instruments that Elizabeth did not.

“The Bridge” opens the curtain, which is the most important track on any album as it sets the tone for everything else and the fact that it is the title track is all the more poignant. The instrument that is the key to these tracks is the piano, it lays down a solid foundation to build upon. The notes float off her fingers like the petals of a flower coming in for a soft landing on the morning grass. It is tasteful and a perfect lead into the rest of the album and the literal “bridge” to the rest of the story.

The more I listened to this album the more I realized what a great soundtrack it would make for a movie, when in fact it the artist playing her own movie for us to hear through music and words. I must say even though the piano is the most important instrument on this album the horns come in a close second. The brass gives it some nice smooth jazz tones while the piano has a more contemporary feel to it with influences drawn from classical and new age blending nicely with all the other elements presented.

One of my other favorites was the heartfelt track “The Jewel.” The song is too one very special person in the life of an artist going through change, stepping through the fear with courage and getting on with what her heart desires. We all need special people in our life for support, to lean on once in a while and mainly believe in us no matter what. That is what I heard on the track and I will leave it up to the listeners to decide what it means for them.

It is my practice to choose three key tracks but to be perfectly honest I could have easily chosen any one of  the 13 offered on this album and would have had plenty to say. It is all very good. But “Postcards from Paradise” I felt was a prolific track with the perfect ambiance added to accompany the wonderful voice of Ms. Geyer. It made me feel tingly all over like I should be talking a walk on the beach at a favorite vacation spot.

With The Bridge Elizabeth Geyer has triumphed in every way possible. As far as this listener is concerned it is a perfect 5/5 stars!

5/5 Stars

Key Tracks: The Bridge, The Jewel, Postcards from Paradise

01.The Bridge
02.Waterfalls and Rainbows
03.Goodnight Romeo
05.Perfect Life
06.Rain Falls
07.The Party
08.The Jewel
09.I Weep
10.Postcards from Paradise
11.The Wall
12.Place to Fly

Keith “MuzikMan” Hannaleck- New Age Music Reviews Founder
April 28, 2016
Review Provided By New Age Music Reviews

Wednesday, April 27, 2016

Sonic Shapeshifter Janet Robbins Releases New Solo Piano Album “I Hear Crow”

In these nursery rhymes and fairy tales, you fly the cockeyed route of a silly tool! Crafty forager stealing seeds from my garden, you appear. You crack me up! The way you teeter and tot, pop!

Will you sing now too? I hear it’s often in your solitude your notes ring. Why, do you follow me? I’ve got no bread. And you make such noise that rattles my head!

But your magick is strong—your unexpected genius.

Amuse me! Bemuse me! For soon I shall attend the busyness of the world. I must, I must attend! But I hear Crow…

Asheville, NC - Weaving compositions of magic, mysticism and beauty on solo piano, Janet Robbins has released her sixth album “I Hear Crow”. Much like Debussy’s work over a century ago, “I Hear Crow” inhabits a twilight world of improvisation and composition. Described as “moody, laconic, enticing, sometimes baffling”, Janet’s music possesses a “dark beauty and symphonic grandeur.” Repeated listening rewards us with a trove of subtle jewels, like baubles left on a windowsill by a half-tamed crow. Whether in its solo piano pieces or those where piano mixes with ambient textures and orchestrations, there is great beauty to be found in the simplicity here.

“I Hear Crow” recalls the effortless ease of Harold Budd's piano combined with Hector Zazou's poignant textural arrangements, or some of Ryuichi Sakamoto's more ambient piano-based explorations. Wisps of Keith Jarrett and Joni Mitchell add a note of nostalgia to the emotional mixture. With nomadic roots and a celestial longing, her compositions are as equally influenced by the experiences of ancient sacred sites in Turkey, England, and Egypt, as the mysterious Catskills of NY, 'land of the sky'–Asheville NC, and majestic redwoods of Northern CA.

1. What Do They Hear
2. The Nest
3. Theater of the Music Box
4. Odin's Prayers
5. One For Sorrow Two For Joy
6. I Hear Crow
7. Confusing The Moon
8. Like Charlie Chaplin Walks
9. Somber Jacket Pie
10. The Factory Below
11. Daybreak
12. Change
13. Through Your Eyes
14. As Black Is The Color Of Night
15. As Messenger
16. Bird Clan

Here's what's been said about Janet Robbin's critically acclaimed 2011 release “Song of the Gypsy Tree”:

“Janet Robbins new CD 'Song of the Gypsy Tree' is a fresh interpretation of musical art. Her lyrics are profound, her voice is pure, and the music is deep and emotional...” - Steve DellaVecchia, Producer/Composer

“The sense of being carried along on an unfolding trip into beguiling soundscapes of a highly personal nature is constant; beautiful at times, deeply introspective at others, then full of shadow, then vivid hues and warmth.” - Morpheus Music Reviews

“ 'Song of the Gypsy Tree' is a truly unique and amazing experience! I don't recall ever hearing such a well-crafted blend of lyric, melody, voice and sonic imagination...What a beautiful, enchanting and musical album, filled with pleasant surprise after surprise.” - Chuck Wild, Producer

Born into a musical family in Nashville, TN, at five Janet began playing/studying classical piano. After years of writing and performing, she eventually made her way to Los Angeles, playing in bands before finding her compositional voice through the creation of atmospheric soundscapes, incorporating her vocal and instrumental talents as well as the diverse cultural influences she has absorbed from her world travels.

And now in 2016, Janet Robbins new album promises to take the listener on a spiritual musical journey through vast aural landscapes. Janet explains. “Sonically I still draw from a source of tone and musicality, that seems to reside in both middle earth and deep space. There is a stillness and intimacy in this music but the quality of journey still exists there.”

In closing Janet has this to impart, “I think we have the gift of almost unlimited creation and a responsibility for what/the world we create. So cook a great meal and share it with friends! Sing a little tune to someone on the street, turn a moment into a radical departure from social dictates, use your voice and break the numbing acquiescence of a collective sleep. Love life and share love.”

Janet Robbins is like a musical spirit guide – follow her and she will lead you on an enriching and captivating journey!

To purchase Janet Robbins “I Hear Crow”:

Janet Robbins' videos
“What Do They Hear”:

“Somber Jacket Pie”:

For more information:!/janetrobbins ;

Press inquiries: Glass Onyon PR, PH: 828-350-8158,

Tuesday, April 26, 2016

Hilary Romaine in Good Company

Hilary Romaine in Good Company
by Katharine W. Poole
For Women of Music Music of Women


It’s Saturday evening and Two Old Hippies is bustling with locals and out of towners alike.  The eclectic high end boutique atmosphere lends itself easily to the addition of writers rounds and musical acts.  It is the perfect blend of the best of Nashville - seamlessly combining the art of cool couture shopping with the talent of Music City.

Hilary Romain and her band Good Company - (because as she states “they are”) - take the stage with a calm and powerful presence.  They bring to mind a memory of California days and Woodstock nights both in sound and vibe.  Hilary’s look is a combo of Venice Beach meets East Nashville artist - her vocals catch the air and soon all patrons are gravitating toward the back listening room.

Highlights of this evening’s set were Twisted in Blue, Why Didn’t I, Down to the Bottom and her old school Country song, Tear Drops and Love Songs, which takes the audience back to the days when Country songs were always intelligently written and executed.  And though most of her work is more on the poetic folk side, it slides its way into the set expertly.  The song When You Come Around, speaks of “the Siren’s Sound” which Hilary has captivated herself.

Guitar player Matt Walburg is not only proficient but stellar. He and Hilary have that perfect report on stage where they read each other’s minds.  His solos compliment the original song set with Spanish flares and rock-n-roll dexterity.

Mandolin Player Sean Patrick McGraw adds beautiful lyrical depth to the night.  Ayrton Gauerke with his beat box percussion adds just the right kind of rhythm.  Background vocals performed by Trisha Holland are unique and innovative, she is a powerhouse in her own right.  A bit more balance on the vocals all the way around would help to compliment Hilary’s voice and spotlight her exceptional writing.

Hilary is a gracious band leader.  She shares the stage with her fellow musicians - giving them time to cover Tom Petty’s Listen To Her Heart and the James Taylor masterpiece How Sweet It Is - with Matt leading vocals and the others including Hilary adding back up vocals/harmonies.

As a writer Hilary sings the love songs and of others she has known  Yet, the passion behind her performance leads one to believe her words are all about her own lost loves.  The closing tune, a crowd favorite - ’Until There Was You - has people singing along with it’s uplifting lyrical movement, emulating the sailing references and the roll of the tide.

Hilary will be joining Matt Walburg and The Living Situation to kick off The Lightning 100 Block Party next Saturday @ 4:45PM Marathon Village.  Her next acoustic band gig is May 22nd @ Antique Archaeology, time TBD.

Italian Prog Ensemble Armonite Releases Debut Album “The Sun is New Each Day”

London, UK – Italian prog ensemble Armonite, featuring composer Paolo Fosso and violinist Jacopo Bigi, has released their highly anticipated debut album “The Sun is New Each Day”! Produced by the first producer of Muse, Paul Reeve, and mastered by Geoff Pesche at the prestigious Abbey Road Studios in London, “The Sun is New Each Day” is an exciting mix of electric violin, keyboards, bass, and drums, including amazing participation by Porcupine Tree's bassist, Colin Edwin and Dutch drummer Jasper Barendregt.

“Working with a team like this is fantastic,” says Fosso, composer of the album, “Everyone's unique skills and talents added something special to the album and the final result is powerful. Life and people offer a boundless supply of inspiration. Channeling concepts without the support of lyrics might be hard, but it's also very universal. These songs break down the language barriers becoming visceral and direct. We tried to give the album one sonority, but also characterize each track with a different setting.

“For example, in the song 'Suitcase war' you'll see a rejection of how our life has changed after becoming workaholics. Whereas 'Insert Coin', featuring 8-bit sounds by Swedish demoscener Anders 'Goto80' Carlsson, is a tribute to 80's and 90's arcade coin-ops.”

Each track captures the various passions found in the band. “Satellites” is a reflection on space exploration and technology, “ 'G' as in Gears” features Samuel Gomper's famous speech, “What does the Working Man Want?” and “Die Grauen Herren” recalls the Men in Grey from Michael Ende's novel, “Momo.”

“The Sun is New Each Day” is a whirlwind of sounds, themes and emotions. “Connect Four”, a track composed by Bigi, finds its sound in a protest against gambling addictions. While the track “Sandstorm” is a look at the living energy that can be found in Marrakech.

“We hope the album connects you to the world around you,” says Fosso, “Tracks like 'Le temps qui fait ta rose' from 'The Little Prince' by Antoine de Saint-Exupery suggest 'It's the time you spent on your rose that makes your rose so important.' Yet, the track 'Slippery Slope' explores that unclear side of the human soul.”

Here's what the press have said about Armonite's “The Sun Is New Each Day”:

“The release is a collection of artistic violin rock, prog metal and progressive music, all instrumental, which has a strong impact on the listener. Truly something unique, Armonite is compelling, captivating, and worth exploring. Their music gives way to an emotional and dramatic excitement.” - The Huffington Post

“This is a spectacular album performed by spectacular musicians.” - ProgPizza

“Armonite are an infectious prog rock masterpiece in the form of a band. Their new album, 'The Sun Is New Each Day' is a journey through the minds of brilliant musicians in the truest sense of the word.” - Jammerzine

“Entertaining, colorful, varied, enthralling instrumental music played at an impressive level.” - Babyblauen Seiten

“The Sun is New each Day is a brilliant and bold album. Paolo Fosso and Jacopo Bigi along with their mates are talented musicians and without question have mastered their respective instruments.” - The Even Ground

“Minute after minute, you realize each track is a gem of sound which goes through different ideas, from jazz to electronics, some classical music, rock fusion, and above all progressive.” - Mundo Rock & Heavy Webzine

“For any rock music fan that is looking for a diversion from the usual, this album will not disappoint.” - Daily Vault

“Every progressive rock fan should take a listen to “The Sun is New each Day”, as they will certainly find something interesting.” - Altprogcore

In conclusion, Armonite's hopes and goals go well beyond the release of their album. Says Bigi, “What we really want to do is bring these tracks live. In order to do this, we need to show how great our fan base is. So follow us on Twitter and YouTube, 'like' us on Facebook. The more people that get involved with us, the sooner we can go on tour and share our music live!”

The band will be going to tour with “The Soundtrack is New each Day” show, one soundtrack cover in violin rock after each original song from our album. Then they'll get back to writing for a new album. Stay tuned…!

1) Suitcase war
2) Connect Four
3) 'G' as in Gears
4) Sandstorm
5) Slippery Slope
6) Satellites
7) Die Grauen Herren
8) Le temps qui fait ta rose
9) Insert Coin

To purchase Armorite's “The Sun is New Each Day” CD:

Armorite's videos:
Suitcase War -

Le temps qui fait ta rose -

Die Grauen Herren -

Insert Coin -

For more information:

Artist Management

Press inquires: Glass Onyon PR, PH: 828-350-8158 (USA),

Sunday, April 24, 2016

Instrumental New Age: Jeffrey Seeman-Everything In Between

Release Date: December 1, 2015
Label: Harpeth River Records

Jeffrey Seeman grew up listening to the greats and cut his teeth working at the Ludlow Garage, a literal garage turned performance hall. As part of the Crew, his passion for music became ingrained and he has been playing ever since. A part of the band Wheels, Seeman's desire to play was put to the test as life took him away from his dream, only to bring it back again later in life. Seeman began to make videos of his work and shared them with the legendary Will Ackerman, who suggested they make an album. Everything In Between is the result of that effort.

The first song on the album is "Five Days Old," a strumming piece composed of layers that float over one another. Delicate percussion, multi-instrumentation and a solid guitar base provide a strong foundation for this song as it drifts and glides through every well-crafted note.

"Let's Go" is a buoyant journey filled with jazzy elements, horn, percussion and of course a very spirited guitar. This piece is a crawfish boil in full rapture mode. Joyful gatherings of friends and family captured in a moment frozen in time, filled with all the bumps and dips that make up our lives.    
"Point Well Taken" is a plucky piece with earthy movements, fingers sliding across strings in perfect style. A jazzy horn accompaniment joins the fray, bringing the song to a bit of a climb. Pick after pick and slide after slide, this strident composition is a thought provoking melody. It is the last song on the album and may just influence you to hit the play button one more time.

Jeffrey Seeman has spent most of his life in pursuit of music, either by working in a club or by picking up his own guitar. Working with Will Ackerman of Imaginary Road Studios, this album is a realization of a dream. When the album came out, Ludlow Garage opened back up once more allowing Seeman to trace back the roots of his musical journey. Some places are more than a beginning or and an end. They are an impetus for a life well lived, and each track on Everything In Between gives a little window into the life of a man who finds joy in the simple things. This album is a great listen and I highly recommend it.

4.5/5 Stars

Key Tracks: Five Days Old, Let's Go, Point Well Taken

1. 5 Days Old
2. Acadia Walk
3. Michael's Journey
4. Ever Present Always
5. Southern Night In The Woods
6. Let's Go!
7. My Grand Gift
8. Jackie's Grace
9. Point Well Taken

DanaWright, Sr. Staff Writer
April 24, 2016
Review Provided By New Age Music Reviews