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2018
Another Day
2018
Crossing the Tracks
2018
Ends Meeting
2015
Midori: Live In Tokyo 2015 (First Show) [feat. David Cross]
2015
Starless Starlight
2015
Midori: Live In Tokyo 2015 (Second Show) [feat. David Cross]
2009
English Sun
2008
Alive In the Underworld (Live)
2006
Unbounded - Electric Chamber Music
2006
Closer Than Skin
1999
The Big Picture
1997
Exiles
1994
Testing to Destruction
David Cross Music Dec 18, 2018
ProgLog AFTERglow
David Cross Music Nov 27, 2018
Ninna Photography
David Cross Music Nov 22, 2018
Cross & Booker
David Cross Music Oct 09, 2018
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
David Cross Music Sep 30, 2018
'..compelling session that instills joy' says Glenn Astarita of 'Crossing the tracks' see his review in All About Jazz.
David Cross Music Sep 28, 2018
Music Street Journal - Music News & Reviews
David Cross Music Sep 16, 2018
One of the TV interviews in Bolivia.
David Cross Music Sep 06, 2018
I love the furrowed brow - proof of concentration - in this black and white photo.
David Cross Music Aug 28, 2018
Tony Levin Official Page
David Cross Music Aug 03, 2018
Cross Purposes
David Cross Music Jul 09, 2018
Interviews with David Jackson and... me in this edition
David Cross Music Jul 02, 2018
1st July 1974. 44 years ago. New York’s Central Park
David Cross Music Jul 02, 2018
ROCK ARENA
David Cross Music Jul 02, 2018
Stick Men (Official)
David Cross Music Jul 02, 2018
Dialeto
David Cross Music May 26, 2018
Burning Shed
David Cross Music May 16, 2018
Dialeto
David Cross Music May 01, 2018
Getting some airplay in Italy for Cross and Jackson - Another Day. David Jackson David Cross Mick Paul
David Cross Music Apr 30, 2018
DAVID CROSS BAND
David Cross Music Apr 29, 2018
Really full interview with David Jackson here - wonder what he's got to say about me!
David Cross Music Apr 04, 2018
***" LE ORME + David Cross "*** 13 April STAZIONE BIRRA - ROMA 14 April PADOVA - FISHMARKET 15 April AFTERLIFE - PERUGIA 17 April MAX BRAVO CAFFE' - BOLOGNA 19 April SONNY BOY - SAN VENDEMIANO (TV) 20 April DIS-PLAY - BRESCIA
David Cross Music Apr 03, 2018
Artrock - Festival Reichenbach
David Cross Music Mar 16, 2018
I'm very pleased to announce that 'Another Day', the debut album by Cross and Jackson is out today. Here is short taster video. Please share it. https://youtu.be/paaTO6Oo0X8
David Cross Music Feb 28, 2018
Robert Fripp, John Wetton, David Cross in 1974.
David Cross Music Feb 25, 2018
Tony Levin Official Page Pat Mastelotto Markus Reuter Yes - we're in the UK! I'll be joining the Stick Men on 17th March for their concert at Trading Boundaries. Book here: https://tradingboundariestest.myshopify.com/collections/tickets/products/stick-men