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Exposé Online » Issue 14

Date : February 1998
Pages : 80
Summary : Projekt Fest `97, Idiot Flesh & Buckethead, Bill Frisell Quintet, Marillion & Enchant, Exposé Concert Series, Strange Days `97, ProgDay `97, Providence, Volare, Thijs Van Leer of Focus, Edhels/Marc Ceccotti, Djam Karet, 0.720 Aleacion, Eloy, Present, Zendik
Items found : 4

In the Present, Tense —
The Roger Trigaux Interview 1998

Cover art Guitarist/composer Roger Trigaux has been recording and performing his stormy brand of modern gothic sounds as leader of Present since 1980. Like many a young player coming of age during the late 60s, the Brussels native was weaned on the style of Cream and Jimi Hendrix. His first experience with international exposure came via his tenure in a masterfully innovative Belgian ensemble, whom Roger co-founded in 1973 with Daniel Denis and Guy Segers. At the time known as Necronomicon — that infamous tome of blasphemy in H.P. Lovecraft's Cthulhu Mythos — it would one year later evolve into Univers Zero, named after a novel by Belgian supernatural fantasist, Jacques Strenberg.  » Read more
(Posted by Mike Ezzo 1998-02-01)

Cast - Angels and Demons

Cover art

I've been reading about Cast for a while in Exposé, but the arrival of this disc marks the first time I've actually heard them. So going into it, I knew they were a...

 » Read more
(Posted by Jon Davis 1998-02-01)

Radiohead - OK Computer

Cover art We can all think of examples of a progressive band over time starting to play music more in the mainstream (Genesis, Yes, pick your example), but how many times have we seen a mainstream band, as...  » Read more
(Posted by Jon Davis 1998-02-01)

Richard Thompson & Danny Thompson - Industry

Cover art

Most people who are aware of Richard Thompson would probably not consider his music 'progressive,' and they would probably be right on most occasions. To be sure, he was a key player on...

 » Read more
(Posted by Jon Davis 1998-02-01)

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Previously in Exposé...

Maximum Indifference - Maximum Indifference – You may recall our review of their most recent live demo a few issues back, so we welcome this CD release. Maximum Indifference is an instrumental trio of guitars+synths, bass+synths, and drums...  (1996) » Read more

Cheryl Gunn - The Sun at Midnight – Liner notes which throw phrases around like “an immensely personal journey towards self-discovery” and “this powerful message of personal redemption” are all warning signs:...  (2000) » Read more

Hopper Picard Franklin Hayward - Numero d'vol – Hugh Hopper hardly ever misses an opportunity for a group improvisation. Given his time spent with sax player Simon Picard doing Soft Machine tributes and keeping tabs on keyboardist Steve Franklin...  (2008) » Read more

Lynne - Witchwood – With the exception of a few guest guitar spots and several samples from Mutual of Omaha's Wild Kingdom sound effect library, all of the music on Witchwood is played by Bjørn Arild Lynne....  (1997) » Read more

The Muffins - Bandwidth – Many bands from the 70s and 80s that reform do so for strictly financial reasons. They might hit the concert circuit to cash in, and the results can range from pleasantly nostalgic to downright...  (2002) » Read more

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Premier of New Echo Us Video

From the press release:

To Wake a Dream in Moving Water takes from Echo Us' past and spins it into a whole new direction, one closer to traditional acoustic Celtic music than ever before.

To Wake a Dream in Moving Water was composed and recorded during the first few months of 2017. Although Celtic influenced and comprised of a number of re-workings of Irish folk tunes and Breton aires, the album is still in large part new and original Echo Us music that fits right in the Echo Us ‘canon’. “Wake” is a natural progression from “A Priori Memoriae”, which was released to critical acclaim in Europe in 2014.

To Wake a Dream in Moving Water is Echo Us’ ‘Celtic’ album that was planned for a long time but never executed because of the work on the trilogy that came before it. The album title is a typical ‘Echo Us’ play on words which one can find their own meaning.

“It is also both evocative of the Oregon rain, which I am told is not too unlike the rain in Ireland.”(Matthews)

To Wake a Dream in Moving Water is also a comment on conception- which was unintentional when the lyric was written. Matthews surprised himself a few months after writing it, realizing that the song was actually about the nitty gritty, biological workings of what happens when a child is conceived. The folk song it derives from musically describes a courting ritual, one that even today we can all relate to in our own way.

“Come With Me Over the Mountain" in acapella was the musical inspiration for the song, and came into my consciousness after the lyrics were written a few months prior. “ (Matthews)

As with all Echo Us recordings, a number of seeming coincidences resulted in connections being drawn where prior there were none. Another experience of similar capacity was found in oboe samples from A Priori Memoriae that echoed the traditional “May Morning Dew’, also reworked for guitar on the new album.

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