|THE FLOWER KINGS – release first single/video from new double album ‘Islands’!Photo: Lilian ForsbergOn October 30th, 2020 progressive rockers THE FLOWER KINGS will release their new double album “Islands” on InsideOutMusic, just a year after the group’s much celebrated “Waiting For Miracles”. With ‘Broken’, the group now presents a first track from this opus and the band has the following to say about the track:|
“Howdy people – how is life on your islands and in your isolation? Good news is – there is music – and even better – there is NEW music from THE FLOWER KINGS. Here is ‘Broken’ – first song from our new double album/triple LP !! ‘Broken’ is a song about addiction, stress and confusion – Not a typical song for the album, because the album has no ‘typical’ style – it is just a wild ride of styles and influences. We’re super excited about you to hear ALL of it, but here is a first glimpse of the progressive smorgasbord. There is more waiting. Get your pre-orders going! Much love from Jonas – Mirkko – Zach – Hasse & Roine!”
Watch the video for ‘Broken’ here: https://youtu.be/z3vktAkbeREThe 92 minutes long “Islands” features artwork by legend Roger Dean (Yes, Asia, Gentle Giant, Greenslade, Uriah Heep) and all trademark sounds and melodies, the band is renowned for. From vintage keys to epic guitar solos, from odd drum patterns to symphonic elements, THE FLOWER KINGS present a dynamic and complex record that is bold, bombastic and beautiful.
“Islands” is now available as massive Limited 3LP & 2CD box set with slipcase and 180 gram vinyl housed in one gatefold, one single sleeve; as Limited Edition 2CD Digipak and Digital Album.
Presales are available now!
Strictly limited coloured vinyl editions are available from these outlets:
200x creamy white
200x transparent light blue
www.justforkicks.deDisc One (49:40)
1 – Racing With Blinders On 4:24
2 – From The Ground 4.02
3 – Black Swan 5:53
4 – Morning News 4:01
5 – Broken 6:38
6 – Goodbye Outrage 2:19
7 – Journeyman 1:43
8 – Tangerine 3:51
9 – Solaris 9:10
10 – Heart Of The Valley 4:18
11- Man In A Two Peace Suit 3:21
Disc Two (43:01)
1 – All I Need Is Love 5:48
2 – A New Species 5:45
3 – Northern Lights 5:43
4 – Hidden Angles 0:50
5 – Serpentine 3:52
6 – Looking For Answers 4:30
7 –Telescope 4:41
8 – Fool’s Gold 3:11
9 – Between Hope & Fear 4:29
10 – Islands 4:12
Roine Stolt – Vocal, Ukulele, Guitars, Additional Keyboards
Hasse Fröberg – Vocal & Acoustic Guitar
Jonas Reingold – Bass, Acoustic Guitar
Zach Kamins – Pianos, Organ, Synthesizers, Mellotron, Orchestrations
Mirko DeMaio – Drums, Percussion
Guest: Rob Townsend – Soprano Saxophone
THE FLOWER KINGS online:
INSIDEOUT MUSIC online:
1And the word of the Lord came to me, saying: 2Son of man, speak to the children of thy people, and say to them: When I bring the sword upon a land, if the people of the land take a man, one of their meanest, and make him a watchman over them: 3And he see the sword coming upon the land, and sound the trumpet, and tell the people: 4Then he that heareth the sound of the trumpet, whosoever he be, and doth not look to himself, if the sword come, and cut him off: his blood shall be upon his own head. 5He heard the sound of the trumpet and did not look to himself, his blood shall be upon him: but if he look to himself, he shall save his life. 6And if the watchman see the sword coming, and sound not the trumpet: and the people look not to themselves, and the sword come, and cut off a soul from among them: he indeed is taken away in his iniquity, but I will require his blood at the hand of the watchman.
— Read on biblehub.com/drb/ezekiel/33.htm
“If economics only applied to circumstances favoring avaricious behavior, it would be wholly proper for scholars of the humane disciplines to hold economics in contempt. Fortunately for economists, the antecedent is false.”
Both Nisbet and Nock find this sad state of affairs very human, but also very counter to the American tradition of strong societies that take care of alcoholism, crime, homelessness, and mental illness. In its expanded role, the State becomes a kind of Nanny, a mothering hen. Further, as the State grows, it reshapes the rules of society, giving itself the advantage in all conflicts with parts (or wholes) of the population. As Nock understood it in the 1930s, and Nisbet in the 1960s, the State desired—whether it openly admitted this or not—to assume all power over society and thus render society—and its myriads of conflicting authorities (in and through which the human person found freedom)—obsolete in the long run. Indeed, the State wanted to take the place of the Church as the only glue that holds all together. This was just as true, both Nock and Nisbet feared, in collectivist societies, whether they called themselves republican, fascist, or communist.
— Read on theimaginativeconservative.org/2020/09/nock-nisbet-society-state-bradley-birzer.html
Stewart: One of the goals for your book is to rescue the term “humanism” for Christians who are suspicious of it based on the dominant strand that traces its lineage to the Humanist Manifesto of 1933. You offer five “canons of humanism” in order to recover an alternative variation of the tradition. Briefly, humanists are bonded by the following: 1) belief in human dignity; 2) defense of liberal education; 3) affirmation that humans are irreducibly spiritual and material; 4) citizenship in the Republic of Letters; 5) belief in “a power of some supernatural order” (1-11). What have Christians lost by holding this word in suspicion? Has suspicion of the word itself prevented the tradition as well?
Birzer: Great question, Matthew. Words matter, and, of course, as has happened so often in the English tradition, words evolve. Humanism became a serious “god-like” term—equivalent to liberty, democracy, etc.—in the nineteenth century. It became so popular by the 1890s and early 1900s that everyone wanted to claim humanism for their own. Like our current use of democracy, it had come to mean “everything that is good.” The height of such cultural capture of the term came in the late 1920s, when a wayward Protestant minister adopted the term for his own form of “religion.” That form of religion—devoid of anything supernatural and really, frankly, not so kind to the natural—eventually evolved into the powerful Humanist Manifesto of 1933, which its professions of desired secularism. Simply put, the writers of that manifesto captured the word and have held it in captivity—by their allies and their opponents—for nearly a century now. At its most simple definition, being a humanist means believing in the humanities, the liberal arts. At its most simple definition, then, being a Christian means being a follower of Jesus Christ. A Christian humanist, properly understand and at the most fundamental level, means being a follower of Jesus Christ and being a lover of the liberal arts. Of course, the implications for these things are immense, especially when one starts getting into the Word and the Incarnation
— Read on www.frontporchrepublic.com/2020/09/brass-spittoon-bradley-birzer-on-christian-humanism/
Several years ago, I read Edmund Burke’s Reflections on the Revolution in France and offered here at The Imaginative Conservative seventeen separate essays (observations) on that grand work. I now propose—over the course of the next half year—to do the same with Alexis de Tocqueville’s masterwork, Democracy in America. I will be reading it from page one and proceeding through both volumes. If you’d like to follow along, I’ll be using the two-volume 2012 Liberty Fund edition, available in a print edition as well as (free) in a download PDF/ebook edition.
— Read on theimaginativeconservative.org/2020/09/reflections-tocqueville-pervasiveness-equality-bradley-birzer.html
Until roughly 24 hours ago, I had no idea that The Psychedelic Furs even existed any longer. After all, the last official TPF album, the outstanding World Outside, came out in 1991. That was twenty-nine years ago!
After that, Richard Butler formed the extraordinary pop outfit, Love Spit Love. Then, he more or less disappeared. Well, it turns out—a huge thanks to Bill Huber for letting me know—The PF released a new album, Made of Rain, on the last day of July. So, the album is just at a month old now.
I’ve listened to almost nothing else since downloading a copy from amazon.
Let me be blunt. While this is no rehash of previous work, Made of Rain is everything a TPF album should be: odd; mysterious; cacophonous; fetching; catchy; deep; quirky; soulful; angry; melancholic; joyous; driven; clever; seeking; achingly beautiful; guttural; punctuated; jazzy; playful; and convicted.
I don’t have the lyrics in front of me, but Richard Butler sounds as good as ever. Indeed, if there’s a difference in his vocal quality from 2020 to 1991, I can’t hear it.
Twelve tracks make up the album, and each one of them is a gem. While some songs are immediately more striking than others, there’s not a dud track on the album. All of the music is smart pop, intricate and compelling. As with all TPF, there’s great guitar, bass, drums, and sax.
Made of Rain is a extraordinary achievement, and I’m so very glad to have Butler and Co. back in the music world.
“Economics can and must be used to make sense of the human condition. The unity-in-diversity—one might say the catholicity—of human society is rendered intelligible by the rationality postulate.”
Being a fundamentally HUGE (yes, it’s that large!) fan of Big Big Train, I wasn’t sure what to expect from Nick D’Virgilio’s solo album, Invisible. I proudly own his first album, Karma, his first EP, Pieces, every Spock’s Beard album, and Rewiring Genesis. To be sure, I presumed I would like Invisible, as I consider NDV our greatest living drummer, armed not only with rhythm (Holy Moses–that drum kit!) but with vocal prowess as well. And, from what I can tell from social media, he seems like a truly good and genuine person.
All of this adds up to high expectations for Invisible.
Well, it is even better than I expected. And, I expected a lot.
If you asked me to sum it up in a few words or even analyze it track by track, I couldn’t do it. This is a whole work of art—something to be digested in one sitting. Relentlessly captivating, it mixes progressive rock with classical with (ok, I was surprised by this one) with 1960’s style R&B with some mid-1970’s Styx with some punk-tinted Rush with broadway musicals with electronica with funk with straightforward rock and pop. Frankly, Invisible has it all. In this sense, it fits Andy Tillison’s definition of progressive—basically, “whatever I damn well want to throw in, I throw in” (my words, not Andy’s).
What most captures my imagination with the album, though, is NDV’s lyrics—so utterly earnest and so uplifting. In every song, NDV calls us to be our best. That NDV loves life is a certainty as certain that the sun will rise tomorrow, and his joy comes through every song.
If you’re looking for a new BBT or Spock’s Beard album, this isn’t it. And, that’s perfectly fine. Frankly, it doesn’t even really seem like a simple evolution from NDV’s previous solo efforts.
Invisible is . . . beyond all of this in ways that are very difficult to put into words.
But, if you’re looking for something gorgeous, something meaningful, something real, something inspiring. . . look no further. If anything, NDV has proven that real life is quite the opposite of being invisible. Rather, NDV calls us to be our best, to be tangible, and, frankly, to be the incarnate souls we’re meant to be.
To find out everything about NDV, click here: https://www.nickdvirgilio.com
Well, let me admit, immediately and without hesitation, I’ve been a huge fan of IZZ since I first heard them a little over a decade ago. In everything they do, they combine passion, taste, and elegance. One might even describe their music as an earnest intensity. Lyrically, the band never dumbs itself down, but offers words of majestic inspiration and serious contemplation.
Their latest release is an EP, appropriately and rather cleverly entitled Half-Life, itself comprised of three new tracks and one live track. The three new tracks—entitled, in order, “The Soul of Music,” “Into the Sun,” and “Half Life”—offer grand progressive visions, reflecting, respectively, IZZ’s deep appreciation and love of Kate Bush and Chris Squire and Yes; Rick Wakeman and Big Big Train and ELP; and, perhaps most interestingly of all, Stranger Things(the Netflix series) and Kansas and Glass Hammer.
None of IZZ’s appreciation of other progressive rock acts gets in the way of that uniquely beautiful IZZ voice. Indeed, such appreciation on the part of IZZ of other bands only makes IZZ all the more interesting, honed, and glorious. And, just in case it might seem like the music overwhelms the listener, the lyrics simply soar, especially on “Half Life,” bringing the listener to the verge of tears in the last several second of the track.
The final track is a rather stunning live rendition “The Weight of It All” from the band’s Ampersand, Vol. 1, album.
In this current whirligig of viruses, protests, injustices, and anxious unrest, do yourself a grand, grand favor—treat yourself to the humane, cultivated, and class act that is IZZ. Your soul will thank you.
[To support IZZ (and for a mere $5), click here: https://izzmusic.bandcamp.com/album/half-life-ep]