This is going to be a great night - back in Cardiff with the DCB! https://youtu.be/8oFEULDxdX4
Are you coming to join us in Warsaw on July 27th? https://www.youtube.com/watch?v=FMsdnKxN06U
Neat track by track review of 'Ends Meeting' here http://www.musicstreetjournal.com/index_cdreviews_display.cfm?id=106680
On sale 26th April. December 8, 1972, Live in Newcastle, Jamie Muir, David Cross, John Wetton, Bill Bruford, Robert Fripp • Recently rediscovered cassette soundboard recording of the Larks’ Tongues in Aspic line-up. • Recorded shortly before the band went into the studio to make that classic recording. • Although taken from a cassette recording (audio restored & mastered by DGM) this is the best sounding live recording of this quintet line-up.
LE ORME + David Cross The album will be released on March 15th in CD and vinyl, you can already download it now at this link, https://SMI.lnk.to/PcPS4
German review of Ends Meeting written by Siggy Zielinski. Translation here:You do not have to introduce violinist David Cross - some of whom are known for his time with King Crimson - to a well-informed friend of Progressive Rock. The drummer Andrew Booker - allegedly formerly with Sanguine Hum and Peter Banks's Harmony in Diversity active - will probably only be known to very few. The two got to know each other when David Cross Band toured together with Peter Banks's Harmony in Diversity around 2006. In that year of the Prog 2006, the present instrumental duo recordings, which were published only in 2018. The two met after the tour to make music together, with Booker hoping to recapture some of the magic that he had previously performed at the concerts of David Cross Band. Andrew Booker describes the recordings as the sometimes breathtaking, with the North African flair provided music for electric violin and electronic percussion. You could actually leave it that way. An ethnic, a world-music painting is certainly not to deny some topics, arrangements and moods. In the title track I also discover Far Eastern influences. As soon as Cross tunes in to the tabla length more fiery solos, some might feel reminded of the formation Shakti. In addition to improvisational and thus probably slightly jazzy oriented pieces, there are also spherically and electronically colored incidents, which were sometimes dubbed true Loopscapes. Cross use the loop and the multi-track technique, chases his violin sounds seemingly through various fuzz boxes, so that in this respect sufficient variety is ensured. The almost virtuosic accents are among the pleasing and recurring elements on an album, which still lives mainly on well-dosed moods and the team-oriented and sensitive interaction of both musicians. David Cross proves to be an imaginative soloist on "Ends Meeting", whose violin playing between well-thought-out melodic lines and balanced improvisations basically carries the entire album melodically. However, one should not underestimate the role of electronic percussionist Andrew Booker. His varied play goes beyond the pure accompaniment at times to provide again and again for the formative rhythmic patterns and sometimes more melodic oriented figures. Again and again I think I hear a third man on the synthesizers, such as in "The Shakes Rattled". Not to mention the guitar-like sounds that sometimes function as accompaniment. But there is no indication where such sounds could come from on the album. Maybe this is attributable to the electronic percussionist. At least I feel very well entertained by the duo Cross / Booker. This is likely to be similar to those who love good instrumental music, which has a mix of fusion and world music but at the same time avoids the impression of arbitrariness. http://www.babyblaue-seiten.de/album_17779.html#oben
A genuine delight of eclecticism within rock made art is what we have been given in this album "Crossing The Tracks", a catalog of routes and crossroads for what has been a new way of traveling within the musical world of DAVID CROSS. Great review of 'Crossing the tracks' from Cesar Inca Mendoza Loyola in Peru: Translation here: Occupied as DAVID CROSS is with its own projects and various associations (with DAVID JACKSON and with the STICK MEN, for example), there is still plenty to make a new album and publish it when the year 2018 still did not complete its first half. We are talking about "Crossing The Tracks", a 12-piece album that was released on June 22 by the label Pyramid Records. Here, CROSS is not the leader of an ensemble but rather the musician who adds his interventions to the electric violin with complete free criteria to the previously produced musical tracks (mostly with programmed synthesizers and rhythms) by the German musician and producer Jürgen Engler (member of bands like MALE, DIE KRUPPS and GURU GURU). As CROSS himself confesses in an interview for the virtual magazine Louder *, it was an unprecedented situation in his musical career since he usually devotes himself to composing and producing on his own records and did not really know how this will turn out. to be a kind of session musician for a record that would be assigned to his own name. A very peculiar situation, without a doubt, but CROSS felt, after all, extremely attracted by the idea of exposing their creative freedom within an already organized context. In his own words, he wanted to maintain a firm loyalty to "the existing compositions and performances that were contributed by the other artists while creating a new impact with melodies, string bases and solos." CROSS continues: "I surprised myself to have so much fun with this work - I just had to play the violin and follow my instincts - and leave the difficult producer decisions to Jürgen! "Other people also intervene in the role of vocalist throughout the repertoire of the album: Sonja Kraushofer , Anne-Marie Hurst, Ofra Haza, Kimberly Freeman, Marion Küchenmeister and Eva O. Well, let's now follow all the sound steps that occurred in the "Crossing The Tracks" journey. The song 'White Bird' opens the repertoire with just under 4 ¾ minutes of placid and floating lyricism that sounds very good to a hybrid between the KATE BUSH of the second half of the 80s and the PETER GABRIEL of the "Us" phase " The oriental-inspired exoticism prevailing both in the melodic development and in the general ambience is handled with a nerve nerve, which allows musical magic to complete its irresistible exorcism until the last moment. Exhibiting more ease than the entrance piece, the instrumental 'Kalahari Fantasy' guides us towards a kind of ritual contemplative where the most energetic aspect of melancholy and the most sober facet of joy combine. There is no doubt that there is a celebratory tenor here, but there is also a reflective mood that makes us think that this music is not so much an accompaniment to a moment of jubilation but a background to evoke it in retrospect. With the duo of 'For What It's Worth' (original composition by Stephen Stills for THE BUFFALO SPRINGFIELD) and 'Prince of Darkness', CROSS is set to give us a more aggressive turn to the issue. The first of these themes radically reshapes the spirit of the original version to turn it into a fiery exhibition of lavish pop-rock with an angry attitude, while the second is a stylizedly sharp instrumental, so much so that a certain sinister aura emerges from the amalgam of orchestrations on which the harmonic basis holds. 'Prince of Darkness' is the absolute peak of the album, we have no doubt about it. Then follow the piece simply titled 'Love Me' to redirect the fusion approach with a more solemn enclave than we previously found and enjoyed in 'Kalahari Fantasy'. This instrumental journey is extroverted but not exactly jovial, but rather serious and ceremonious: the vitalism that it carries is so captivating that its 5 ¾ minutes pass like flying in a jiffy. 'Into the Oblique' varies completely from register to a somber temperament absorbed by an elegant dramatism and wrapped in a mantle of greyish yearnings. In fact, here we find some of the most moving violin lines of the whole album, something very coherent with the kind of emotion that the piece is designed to transmit. 'The Light Inside Me' returns fully to the Arabian airs that have shaped the melodic structures of several preceding songs. Seated on a persistent 6/8 beat, this song takes the game to its evocative potential. The song of Kimberly Freeman reinforces and enriches the poetic enchantment of this song that lasts 4 exact minutes. When the turn of 'Shifting Sands' (version of an old psychedelic piece of THE WEST COAST POP ART BAND group dating from 1967) comes, a timely continuation of the evocative aura developed in the previous theme is made, using it was the same tempo, but this time with a more melancholic elegance. The violin crosses the skies of the musical scheme with the imposing spell of the first autumn clouds while the rhythmic outline sustains a sorcerous swing. 'Hero Of Kingdom' is responsible for keeping things on this same course, so it can be said that its function is to reinforce the expressive mechanisms that have been expounding from 'The Light Inside Me'. We are already approaching the end of the repertoire when the duo of 'Hallelujah' and 'The Key' arise. The first of these themes is the same 'Hallelujah' by LEONARD COHEN that was raised as one of its flagship songs and that has been covered by many people over the decades ... Now it is the turn of the CROSS teacher and his approach of moving focuses on the exploration of the harmonic bases of its central motif to exploit its ethereal potential within a prog-fusionesco dynamism closely related to what we already encountered before in 'Shifting Sands' and 'Kalahari Fantasy'. 'The Key', on the other hand, gives a new twist to the fusionsque standard marked by a floating magic that so generously lavished itself in the sequence of the seventh to the ninth subjects. The last song on the album is 'Shadows Do Know' and is characterized by praising a decisive momentum of solemnity where the air of denunciation and the ceremonial attitude come together in a single source of expressiveness. The almost recited song of Eva O opens the doors of disenchanted bitterness while the instrumental block marked by the numerous layers of electric violin elaborates a progressively opulent frame for the occasion. A genuine delight of eclecticism within rock made art is what we have been given in this album "Crossing The Tracks", a catalog of routes and crossroads for what has been a new way of traveling within the musical world of DAVID CROSS. Thanks to him and his collaborators for this beautiful and refined work. https://autopoietican.blogspot.com/2018/10/trayectos-y-encrucijadas-para-el-nuevo.html