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16 Dec 2017

Phil Keaggy “The Master & The Musician” 1978 US Jazz Rock Fusion,Prog Folk,Christian Rock

Phil Keaggy “The Master & The Musician” 1978 US Jazz Rock Fusion,Prog Folk,Christian Rock
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“The Master & The Musician” was a landmark project for guitarist Phil Keaggy, his first of many instrumental recordings. Consisting of a blend of subtle acoustic and electric guitar pieces, the CD offers some beautiful music with Keaggy’s talents on guitar adding the elements of surprise, expressiveness and gripping drama. “The Master & The Musician” highlights include “Agora (The Marketplace)”, “Suite-Of Reflections” and “Follow Me Up” and the music is an excellent introduction to Keaggy’s style as it evolved in the late ‘70s….~

The Master and the Musician is the title of the first entirely instrumental album by guitarist Phil Keaggy, released in 1978, on NewSong Records. It was later reissued, with a bonus track, on Myrrh Records in 1989. Phil Keaggy’s first instrumental album is a groundbreaking piece of work for him as an artist, for the Christian music genre, and for instrumental guitar music in general. Full of emotional twists, meditative sounds, and world-influenced tonalities, The Master & the Musician stands as an oasis in an otherwise barren field of Christian instrumental music. Pieces like “Jungle Pleasures” and “Follow Me Up” are great works in their own right, Christian or otherwise. An excellent work from an excellent musician….~

Phil Keaggy’s first instrumental album is a groundbreaking piece of work for him as an artist, for the Christian music genre, and for instrumental guitar music in general. Full of emotional twists, meditative sounds, and world-influenced tonalities, The Master & the Musician stands as an oasis in an otherwise barren field of Christian instrumental music. Pieces like “Jungle Pleasures” and “Follow Me Up” are great works in their own right, Christian or otherwise. The excellent arrangement of “Amazing Grace” on the 1988 re-release features Keaggy’s guitar sounding like bagpipes. An excellent work from an excellent musician….by Mark Allender…~

Thought this might make a good follow-up to the Hackett post - I’ve been listening to it a lot recently as a companion-piece to both Voyage Of The Acolyte and Please Don’t Touch. Phil Keaggy was (and I gather still is) a Christian-Contemporary singer-songwriter, but took a break from that after his first couple of albums to make this all-instrumental masterpiece that fully showcased his writing and playing skills. 

From a couple of videos I’ve watched (unrelated to this album), Keaggy didn’t frequently get nicknamed 'the greatest nine-fingered guitarist in the world’ and suchlike for nothing, and although The Master & The Musician only hits cooking temperature at a few well-chosen moments (mostly toward the end of the two long suites, Reflections and Medley), the subtlety of a lot of these tracks makes the material shine all the brighter. The album opens with a synth sequence overlaid with a nifty E-bow display (Keaggy was an early adopter of the device) before settling into an acoustic pattern that gets gradually overlaid with chiming electric lines. Following that, the mellow jazz-fusion of Agora (The Marketplace), along with Follow Me Up later on, offers the most upbeat material and memorable, masterful-but-unpretentious lead lines. 

For the most part though, it was the acoustic tracks on this album that brought Hackett to mind for me, especially in the choice of flute and other wind instruments to accompany the guitar. The Castle’s Call, Wedding In The Country Manor and Deep Calls Unto Deep all offer memorable melodies and gorgeous technique throughout, and could’ve sat proudly on a Steve Hackett album (or indeed, an album by that other ex-Genesis guitarist Anthony Phillips - whose back catalogue I’ve yet to take a proper stab at) of the era. And although there’s no lyrics on Master & Musician, that doesn’t mean no vocals - Keaggy and his wife Bernadette can both be heard on the cute little beatboxing experiment Mouthpiece, and harmonising sweetly and wordlessly on the penultimate medley. All in all, an absolute gem of an album for anyone wanting to hear an underrated (in the secular music world, at least) guitarist/composer at his most inspired….by Alan Burns …~

One evening in 2008, I joined a few hundred people at Judson University’s chapel to watch—and hear—a bit of history. Phil Keaggy, backed by a full band, was playing every note of his magnum opus, 1978’s all-instrumental album The Master & the Musician. The maestro guitarist and his bandmates played the entire record in sequence, and received a rousing ovation afterward. 
It was the 30th anniversary of that record’s release, so Keaggy celebrated with a handful of such concerts. (Here’s one of the songs from that tour). Many who attended were, like me, 50-somethings who had bought the album when it first came out. We were still young in our faith and excited about the new Jesus Music, which had not yet evolved into the mega-marketed, multi-million-dollar empire that we now know as Contemporary Christian Music (CCM). 
The Master & the Musician went on to become his best-selling record, and Keaggy went on to grow with the industry—sometimes comfortably in the middle of it, sometimes on its edges, sometimes eschewing it altogether with indie releases that included little, if any, overtly Christian content. 
Keaggy didn’t write for record companies. He didn’t write for radio. He didn’t write for the church. His songs weren’t crafted to fit any sort of formula. …by…MARK MORING…~

Sounds like … previous instrumental projects from the exceptional guitarist, similar in tone to Joe Satriani, Will Ackerman, Eric Clapton, and Pat MethenyAt a glance … though the subtitle suggests this is a sequel to Phil Keaggy’s first instrumental album, the stylistic variations and superb guitar work allow Phantasmagorical to be remembered on its own meritsTrack Listing Like Snow Before the Sun The Journey Home Cascading The Wind and the Beat Caffeinated Desert Lazy K Oh Boy Far East of Cleveland Waltz In My Father’s Time Father and Son Forever to Joy 
Earlier this year, guitarist Phil Keaggy toured to commemorate the 30th anniversary of his landmark instrumental album, The Master & The Musician (1978). Upon returning to the studio to record his latest project, he noted there were some similarities between the two albums. Keaggy’s management ran with this idea, suggesting a subtitle be added to the original title, hence the sequel-ish sounding Phantasmagorical: Master & Musician 2. 

It’s a marketing gimmick that creates some unreasonable expectations for this newer project. Aside from being instrumentals performed by the same virtuoso, the albums are only distantly related in sound, not stylistically identical. Both blend elements of folk, rock, and jazz, but the 1978 original had more of an Old English character to the melodies. Only the new album’s “Forever to Joy” echoes the '70s feel of the first album with flutes and dated synthesizer driving Keaggy’s acoustic guitar. 

Emphasis should instead be placed on Keaggy’s original one-word title (a real word that amazingly goes unchallenged by Microsoft Word), referring to a shifting series of imagery. Indeed, most of these new compositions begin in one style, only to switch to another before the finish, yet the results are more imaginative and flowing than disparate or jarring. A horn arrangement begins the excellent standout “Cascading” before Keaggy unleashes mesmerizing acoustic guitar accompanied by flutes, and it only broadens from there. “The Wind and the Beat” (a clear nod to another classic Keaggy instrumental album) starts with a Latin-styled groove before neatly evolving into more of a rock shuffle. 

These sonic textures also vary from track to track, which helps give character to each piece—something that’s been lacking on many of Keaggy’s instrumental projects. There’s a little bit of Paul McCartney and Eric Clapton to “Lazy K,” a duet between guitar and clarinet, and “The Journey Home” is soothing in its mix of acoustic guitars and cello. The rolling piano in “Caffeinated Desert” also sets up beautiful contrast for Keaggy’s gentle electric guitar ambience. 

Like most instrumental recordings, Phantasmagorical requires patience and attention to avoid becoming mere background music, and listeners must of course interpret or discover their own spiritual inspiration from it in the process. But that’s easier to do so when Keaggy relies more on arrangement than improvisational noodling. Which is why it’s unfair to call this album a sequel—Phantasmagorical ranks with Keaggy’s best instrumental projects on its own merits….by Russ Breimeier….~

- Phil Keaggy - classic & electric & E-bow guitars, bass, Arp bass synthesizer, drums, percussion, voices, producer 
- Bernadette Keaggy - voices 
- Tom Baker - bass (02) 
- Tom Fryer - keyboards (02,05,06,12) 
- Susan Kircher - flute (03,04) 
- Nick Kircher - recorders & oboe (10) 
- Philip Kimbrough - recorders (11) 
- Peter Pfiefer - percussion (13) 
- Jim Issacs - oboe (13)

A1 Pilgrim’s Flight
A2 Agora (The Marketplace)
A3 The Castle’s Call
A4 Wedding In The Country Manor
A5 Suite - Of Reflections
A6 Golden Halls
B1 Mouthpiece
B2 Follow Me Up
B3 Jungle Pleasures
B4 Deep Calls Unto Deep
B5 Medley: Evensong - Twilight - Forever Joy
B6 The High And Exalted One 

Bedemon ‎ “Child Of Darkness” From The Original Master Tapes 2005 (1973-74) US Doom Metal

Bedemon ‎ “Child Of Darkness” From The Original Master Tapes  2005 (1973-74) US Doom Metal 
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Bedemon is the first American doom band! Archival recordings from the 1970s featuring original Pentagram members Randy Palmer, Geof O’Keefe and Bobby Liebling! A must for fans of Pentagram, Bedemon is a crucial glimpse into the nihilistic minds that gave birth to an entire genre!….~

The first legitimate release of the legendary Bedemon sessions. Assembled in the early 70’s by sometimes-5th Pentagram member and friend of the band Randy Palmer, this was a private project to record his doomy Black Sabbath-like songs filled with imagery of demons, darkness and drugs. Now for the first time, the original master tapes have been used and the sound mixed and fixed to bring the best versions of these recordings, available officially for the first time ever! Black Widow. 2005….~

With the release of such old-school Pentagram compilations as 2002’s First Daze Here and 2006’s First Daze Here Too, most fans of the Virginia cult metal band would assume that the vaults have been completely cleared out. But this didn’t prove to be the case, as evidenced by Bedemon’s Child of Darkness. Led by Pentagram’s brief second guitarist, Randy Palmer, Bedemon also featured Pentagram co-founders Bobby Liebling and Geof O'Keefe. As a result, both bands possessed a very similar Sabbath-y sound, although Bedemon seemed to focus more on the Satanic side of things – even more so than Pentagram. The sound quality of this 15-track release may not be exactly sonically sterling, but for longtime Pentagram fanatics, it will be quite a find, as the material is on par with both the aforementioned Pentagram compilations. Just by glancing at the song titles alone (“Enslaver of Humanity,” “Serpent Venom,” “Into the Grave,” “Through the Gates of Hell”) you see that Palmer and company were following the same lyrical path as acts like Venom and Slayer; only thing is that Bedemon pre-dated both acts by ten years. Also included is a hefty booklet, jam-packed with pictures, informative notes, recollections (Palmer passed away in 2002), and song lyrics….by Greg Prato..allmusic…~

So what’s all the fuss about Bedemon? Well some of you may be familiar with the band Pentagram from Maryland, who have about a 30+ year history, going on 40 in fact. Well Bedemon are essentially an obscure but very worthwhile footnote to Pentagram’s history, being the “solo” recording project of original ‘70s Pentagram guitarist Randy Palmer, the majority of this recorded circa 1973-74 with a few tracks from a 1979 Bedemon session as well. They never played out, or even released any records. Bedemon were more of a practice room, basement-recording project that involved Palmer and friends, including the other members of Pentagram, most significantly the uniquely talented vocalist Bobby Liebling who sings on all of these cuts. It was just a way for Palmer to get his own songwriting down on tape, stuff that wasn’t recorded by Pentagram. It’s totally in the same vein as Pentagram though, if anything MORE dark and doomy than Pentagram’s '70s output. Very heavy, and heavily Black Sabbath influenced, also with echoes of Blue Cheer, Randy Holden’s Population II, and Iggy & The Stooges (the track “Time Bomb” is very Stoogey, in a way similiar to Pentagram’s “Last Days Here”). And for '73, this is definitely about as heavy as it gets, Sabbath and Pentagram themselves excepted. There’s so many great tracks on here, each one more sorrowful and wrought with doomful emotion than the next, all of 'em throbbing and (awesomely) distorted. Yes, the quality of these rehearsal tape recordings is downright grungey and murky, but in my opinion that isn’t a distraction nor a detraction. In fact, it only makes this better, totally capturing that spirit and raw energy of jamming in the garage for your own enjoyment. And it also sounds doomier that way too. 
Hands down, Randy Palmer wrote some of the best Pentagram songs, and many of these are just as good. Some of his riffs absolutely lay to waste those of his contemporaries. Just imagine if Palmer had decided to promote his doom skills rather than keep them for the most part to himself. Holy sh-t. At least we have this, one of the best “lost” albums ever uncovered in the realm of heavy, underground music. 
Sadly, Palmer died in a tragic car accident just a few years ago, so the official release of this material at long last is also something of a tribute to his memory. Some of this stuff has been bootlegged before, but this legit release has been done with the blessings of Randy’s survivors and the input of the other Bedemon musicans. There’s even a Wes Benscoter cover painting based on Palmer’s own hand-sketched ideas, as well as lots of photos, a Bedemon history written by Palmer before he was killed, and some very fascinating, detailed, and heartfelt liner notes from fellow Bedemon/Pentagram bandmate Geof O'Keefe. 
Essential to all true fans of Pentagram, and also to anyone into heavy '70s Sabbathy psychedelic garagey proto-metal!!…. Aquarius Records….~

Bedemon’s “Child of Darkness” is nihilistic doom at it’s finest. It’s even darker than Pentagram’s “First Daze Here” collection. If you like Pentagram, you will love Bedemon (Bedemon was an offshoot of Pentagram). The darkness of the album is shocking considering it was composed at a time when Nixon was still in the White House and Woodstock was just four years in the past. The quality is a bit rough as the tracks weren’t recorded in a studio but the roughness if anything adds to the ambiance of “Child of Darkness,” rather than detracts from it. Most of the songs, such as “Child of Darkness,” “Enslaver of Humanity,” Frozen Fear,“One-Way Road,” “Serpent Venom,” “Into the Grave,” “Nightime Killers,” are incredibly loud. Others, like “Skinned” and “Through the Gates of Hell,” are quieter but still very dark (both songs have very gloomy and nihilistic lyrics. Thorough liner lyrics provide lyrics and band members’ views of each song. There are some Sabbath “yeah” screams too! Buy this album….~

Relapse Records is proud to announce the official re-release of BEDEMON’s archival recordings, Child of Darkness. Widely considered America’s first doom metal band, BEDEMON formed in 1973 and consisted of original Pentagram members Randy Palmer, Geof O’Keefe, and Bobby Liebling. The group was an offshoot of Pentagram, with a darker and doomier tone. BEDEMON recorded various sessions spanning from 1973-1979 which are being made available once again after being out-of-print for over 10 years. ….~

Production is a huge factor in whether or not an album is great and, unfortunately, the inconsistent sound on this reissue of Bedemon’s 2005 compilation Child of Darkness holds it back from being an excellent album. It ranges from an overly distorted sound found in the center of an overplayed record, to really gutless guitar presence. You can tell the guitar tone is massive and fuzzy, but there are songs on the album on which the production castrates the tone. However, there is some nostalgic charm in the album sounding like the songs were recorded in someone’s wood paneled and shag-carpeted basement (because they probably were). Production aside, the song writing combines poetic lyrics with immensely well-executed guitar solos that take you on adventures up and down the fret board. Madi Smith….~

Reissue of the Long Lost Recordings form America’s First Ever Doom Metal Band! 
Relapse Records is proud to announce the official re-release of Bedemon’s archival recordings, Child of Darkness. Widely considered America’s first doom metal band, Bedemon formed in 1973 and consisted of original Pentagram members Randy Palmer, Geof O'Keefe, and Bobby Liebling. The group was an offshoot of Pentagram, with a darker and doomier tone. The band recorded various sessions spanning from 1973-1979 which are now being made available once again after being out-of-print for over 10 years. 
Additionally, the release includes extensive liner notes from original members Mike Matthews and Geof O'Keefe and is a must for fans of Pentagram and/or traditional doom metal. Bedemon’s Child of Darkness is truly a crucial glimpse into the nihilistic minds that gave birth to an entire genre! LP also includes an accompanying download card for the entire record. 
“Bedemon takes all of the perfect elements of heavy music and successfully combines them into an hour-long doom metal journey with massive riffs, screaming guitar solos, headbanging rockers and perfectly-placed subtle nuances that truly brings out the evil in the music.” - Iron Fist…..~

Talk about your oldies, this dates back to the Seventies: the initial dozen from '73-74 and the last three recorded (more professionally) in '79. Beyond the nostalgia angle, it’s currently valid in that a trio of Bedemon musicians were also part of Pentagram, including (to-this-day) frontman Bobby Liebling! Bedemon originator, late guitarist Randy Palmer, borrowed members of that long-running Virginia-based doom franchise, to help him record, as needed. These recordings are taken from the original, 40+ year old, master tapes! Raw and bombastic, with plenty of fuzz tones, wah wah pedal guitars, feedback and sludgy echo, only in the lo-fi days of post-kvlt black metal anti-technology recordings could this see the light of day on anything but a bootleg (which apparently it has, over the decades). 
Like fledgling Alice Cooper material (try “Touch The Sky”), not everything’s a gem (“Drive Me To The Grave” is barely audible), but the genesis of eventual 'stardom’ is there. A real Black Sabbath vibe in “Frozen Fear”, while the bits of Blue Cheer I’ve heard are recalled by “One-Way Road”. On a completely different tip, the mellow & clean delivered “Last Call” might as well be The Doors. Indicative of the era, only two of the 15 crack five minutes (most well under four) and an infectiously direct “Skinned” the shortest, at just 2:02. Love the grinding twisted bass tones in “Child Of Darkness II”. Garage band freak-out music of a bygone era….by….Mark Gromen…..~

Before we get into the body of the review, this one requires some background. This is a reissue of a collection of demoes and rehearsals which was originally released around 2005 by Italy’s Black Widow label. It was the one of a plethora of releases related to a renewed interest in Pentagram. Bedemon was a project of one time Pentagram guitarist Randy Palmer which he had before joining Pentagram in 1974 and had enlisted the help of Bobby Liebling and Geoff O Keefe of Pentagram to record his doom laden tracks. 

The majority of the tracks – all but three on this collection are from 1973/74 and the final three are from 1979. These tapes have been heavily bootlegged over the years and after the tragic death of Palmer in 2002 a decision was taken to release these tapes. The band was never meant to be a live band but really a vehicle for Palmer’s songs. The quality of the recordings are still bootleg as they were recorded live in a rehearsal studio with the vocals and solos dubbed later. Bearing that all in mind the tracks themselves stand up well. Sabbath were only a few years old at this point and along came Palmer with these doom riffs that were akin to Sabbath but more sinister “Enslaver of Humanity” even the title was years ahead of its time, the riff is heavy and the backing solid with Liebling providing that voice which had not quite developed into the unique property it became. 
There are some lighter moments here like “One-way road” which has more of a boogie feel to it. “Into the Grave” has very little in the way of distortion on the guitars but still retains that eerie heaviness. I can imagine how heavy this would have sounded with a full production and more time allowed to expand on the sound. During 2001 the guys had regrouped with a view to writing more Bedemon material then tragedy struck. Bedemon carried on and released a record in 2012 with a new line-up and album honouring the memory of Palmer; this is a great collection of early doom which will be mostly directed towards the connoisseurs and collectors….. by David Mcallum…~

BEDEMON will not know most of the Doom-crazed, metal-heads who doom after Doom. Too bad, the band is an offshoot of the Doom pioneers around Bobby’s favorite early PENTAGRAM. In fact, BEDEMON, founded in 1973, was actually a side project of Randy Palmer, who tormented his time with PENTAGRAM himself from 1974-75, then left the band because of the classic - drug problems - but again from 1988-89 his PENTAGRAM Reunion celebrated. 
Anyway, in 1973 Randy drummed PENTAGRAM’s founders Bobby Liebling and Geof O'Keefe (drums, from 1971-77 on PENTAGRAM) together to live out his music project with Mike Matthews. In the first recording session Randy’s BLACK SABBATH-inspired compositions “Child Of Darkness” and “Serpent Venom” (after the same number, an English Doom-Metal band was named decades later) and Geof’s number “Frozen Fear” were recorded , Randy joined PENTAGRAM. In the following weeks, a second and third recording session took place, including Bobby the song “Drive Me To The Grave”, which did not fit into the PENTAGRAM repertoire, but now counts to a PENTAGRAM classic, before thinking about made a band name. Randy played with the band name Demon (years later called himself a NWoBHM band) and Behemoth, but Palmer could not quite decide. Bobby then mentally threw both names in the blender and came on Bedemehemon, but they decided in the third recording session for BEDEMON. After the third recording session, BEDEMON got quiet for a few years before rejoining in 1978 to record three more songs “Time Bomb”, “Nighttime Killers” and “Ax To Grind”. So much for the Doom History. After the third recording session, BEDEMON got quiet for a few years before rejoining in 1978 to record three more songs “Time Bomb”, “Nighttime Killers” and “Ax To Grind”. So much for the Doom History. After the third recording session, BEDEMON got quiet for a few years before rejoining in 1978 to record three more songs “Time Bomb”, “Nighttime Killers” and “Ax To Grind”. So much for the Doom History. 
The re-release of “Child Of Darkness” includes the songs from the BEDEMON original session from 1973-74 and the three latecomer numbers from 1978. Friends of the tough Doom sounds a la PENTAGRAM, SAINT VITUS and TROUBLE should definitely go risk an ear, because the present rather mangy demo / test recordings, which are mainly characterized by favorite charismatic singing, have simply not deserved to be forgotten. …..~ 

This is the first official release of the band’s much bootlegged material, remastered by the band from the original master tapes. Includes 28-pages booklet with photos and biography. 

Tracks 1-12 recorded during five seperate sessions in 73-74 at The Warehouse, Alexandria VA 

Backing Tracks for 13,14 & 15 recorded March 25, 1979 in Geof’s Basement in Falls Church, VA 

Bobby’s Vocals for Tracks 13 & 14 recorded at Randy’s House in spring '79 

Geof’s guitar overdubs on Track 15 recorded August 2001 in San Miguel, CA

1. Child Of Darkness 
2. Enslaver Of Humanity 
3. Frozen Fear 
4. One-way Round 
5. Serpent Venom 
6. Last Call 
7. Drive Me To The Grave 
8. Into The Grave 
9. Skinned 
10. Through The Gates Of Hell 
11. Touch The Sky 
12. Child Of Darkness Ii 
13. Time Bomb 
14. Nighttime Killers 
15. Axe To Grind 

The Rising Sons "The Jugglers Rock ‘N Boogie Band" 1973 South Africa Psych Pop Rock

The Rising Sons  "The Jugglers Rock ‘N Boogie Band" 1973 South Africa Psych Pop Rock
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A group from Pietermaritzburg, formed in 1966. After the release of three albums and a number of singles, the group disbanded in 1974. “The Jugglers Rock ‘N Boogie Band” - the third album in the discography. The song “How Do You Do” reached # 4 in “South African Top 20” and spent 15 weeks in the charts….~

Malcolm Watson — lead guitar 
Gerard Hawes — keyboards, trombone, vocals 
Eddie Boyle — bass, vocals 
Peter Lynch — saxophone, flute 
Rod Keilly — trumpet 
Dave Campbell — drums, percussion


 A1 You Put Me Down
A2 Cry Baby Cry
A3 Emily
A4 Polly You’re Proud
A5 Wild Wildwest
A6 I’d Love You To Want Me
B1 Hi Jack- Good Bye Jack
B2 How Do You Do
B3 Orange Grove
B4 You Wear It Well
B5 Everybody Needs To Love 

Sun Q "Charms" 2017 Russia Garage Psych Stoner

Sun Q  "Charms" 2017 Russia Garage Psych Stoner
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Sun Q is a band from Russia and plays garage / alternative rock. This is your debut album. 
This is a mix of garage, alternative, blues and psychedelic rock. With keyboards, Hammond organ, percussion and saxophone, this is a fun and distinctive record that features a 70s rock-art feel. 
The songs are well written and quite entertaining. Several ways and feelings are portrayed in the nine songs, with everything from the various styles and sub-genres mentioned above, together to create an attractive song that is captivating and memorable. 
This is a sentimental song full of texture and depth, and only part of it is due to the band’s seductive vocalist, as the music is delivered at an advanced level of self-control. Once the delightful factor of the vocalist’s powerful voice, it quickly becomes evident that the Sun Q possess everything that is needed. 
These songs are fun and dark which is seductive and fascinating. Driven by his talented vocalist, she almost acts as a cult leader, drawing the listener to ever-greater acts of worship and decay. The results are captivating, and this is a collection of incredulous and passionate songs. 
Charms is an extremely strong and charming debut album….~

Russia is a bit of a mystery to me, classic stereotypes easily come to mind when I think of the country. I’m well aware these stereotypes are unjustified and there’s lot to discover about the country. Music is one of those fields in which there’s always plenty to find. Recently a little gem from the Russian music scene made its way to our mailbox. Sun Q is a rock band hailing from Moscow. I wish I knew more about them but that’s about everything I know. They’re just a small big town band that happened to peak my interest. 

A couple of months ago they released Charms, their first full length release as far as I know. Tags as rock, psychedelic and garage could be found almost everywhere I looked for the band. Yet a garage is the least of places I imagine this band playing. The album has a pretty average start with quite a stoner/psychedelic vibe to it. Not bad but not exceptional either. But don’t let the first impression deceive you. The best is yet to come! The album quickly spirals into an entire different direction when a whole range of instruments joins in. A Hammond organ, keys, extra percussion and a sax add an extra flavour to the music. A flavour that tastes like more!The rest of the album has a very jazzy and bluesy allure to it. The music takes me to a 30’s art deco setting infused with an early 70’s vibe for a lack of better wording. The further you get in the album the more you start to appreciate the band. An interesting musical composition accompanied with a beautiful yet powerful voice. Although the musical resemblance is far from there, they reminded me of the Belgian Hooverphonic at times. Giving off a similar vibe, but with more rock music to it. I ended up liking Sun Q a lot more than I expected. Definitely one worth to check out. Makes me wonder what more musical treasures Russia has kept hidden….by…Lukas…~

Once again a musical greeting from Russia - and once again one who bows low in front of LED ZEPPELIN and at the same time climbs the heights of good stoner and psychedelic rock. But who now thinks that a Russian band called SUN Q would just let the clone zeppelin rise, is wrong. Because SUN Q do not have a front man, but a front woman, whose voice it could certainly take up with a ROBERT PLANT and always awakens memories of AMANDA PALMER of the DRESDEN DOLLS or FLORENCE + THE MACHINE. All in all 
, a SUN Q on “ Charms ” looks a bit like the Russian edition of BLUE PILLS. 

Of course, it is very difficult today to compete in the wildly proliferating herb garden of Stoner Rock a prestigious place. In any case, SUN Q has all the prerequisites that should still get them some attention: not only a very good singer, but also bold Hammonds, thumping bass, dynamic, varied drumming, complex fuzz guitar solos, a well-balanced combination of hard rocking but also quiet moments and even a saxophone is used in “After This” or an extensive, bolero-like enhancing percussion solo enriches significantly “Dancing Souls”, in the end to make an intoxicating psyche piece out of it. 

“Space” is exactly what it says in the title - a playful-atmospheric space number that could well be thought of as a sequel to “She’s A Rainbow” or “2,000 Light Years From Home” by the ROLLING STONES , 
A charming-enchanting Seventies Rock surprise bag that will present a SUN Q here, guaranteed to be a British or Ami band. But the impression can be buried immediately, because here, the Russians proved not only that they have a heart for whistleblowers like Edward Snowden, but also for the rock, the zeppelins fly, rolling stones and keep the Black Sabbath. 
And most of all, that they also live their passionate lives in what they musically do and do, as evidenced by singer ELENA TIRON’s response in an interview with “Metalmania Magazine” when she was asked to make a final statement : “Listen to as much music as you can. Find the music that matters to you and solve your problems with it. Music can be healing and make you do great things at the same time. And support young musicians who provide you with the appropriate music. "How right she is - the singer of SUN Q ! With "charm” makes the Russian band their own personal, stony rocking “problem solver” share! 
CONCLUSION: “ Charms ” by SUN Q , a band from Russia, never gets boring and in the Stoner Rock section has exactly what one of the album titles offers: charming, psychedelic rocking seventies charm!…by….Thoralf Koß …~

The 60’s are back in fashion! This year I was convinced of this many times, listening to how young and daring bands revive in their songs the mysterious and free world of psychedelic rock. This trend has not passed our homeland. An excellent example of garage psychedelics combined with modern sound was the album Charms of the Moscow band Sun Q. Strictly speaking, this is their debut LP, which in itself is intriguing. 
Meet on clothes, so we’ll start with the design of the plate. Cover - in the best traditions: bright and at the same time frightening. Mushrooms, crystals, a bottle with a mysterious potion, a black raven that does not curl, but, it seems, is preparing to shout the legendary “Nevermore!” … Horror, and only. And the music of Sun Q is magical, as if tightening into some invisible whirlpool. It’s not for nothing that the guys have chosen the title for the release - Charms (“Enchantment”). 
Immersion in the psychedelic atmosphere begins with the first track. The Petals & Thorns composition opens a monotonous guitar rhythm that grows into the powerful riffs inherent in Black Sabbath rather. Here we learn about one of the main trumps Sun Q - the vocals of Elena Tiron. Her voice sounds extremely relaxed, then falls upon us with her power. Both are very attractive. The rhythmic song After After , performed in a more danceable spirit, gives us also the juicy sound of the keyboard. But the next thing, Dancing Souls, contrary to the name, sounds much more relaxed. If it were not for the atmospheric loss from percussion and otherworldly sounds, I would call it a typical “slow”. In general, it perfectly proves that from the garage psychedelic to blues hand to give. The same theme develops in Secret Ways . True, the heat of passion is quite different, and the guitar sounds much harder. What other secret paths lead us Sun Q, can only guess. Well, we listen further. 

And further - space. Composition with this name begins with a long introduction, evoking thoughts about extraterrestrial civilizations and the infinity of the universe, and sounds extremely mysterious. At least until the hard rock refrain begins. But the next song behind the space sketches about the pirate Jimmy is already familiar to the fans of the group thanks to the single. It seems that this is one of the most otvyaznyh tracks in the entire album and is already valuable. He does not bring any new musical discoveries. Ahead of us waiting for the melancholic Circus is Coming , and behind it - a murderous ironic sketch about the life of typical office workers. It’s called: Plankton. From time to time, she breaks into a real rock and roll hurricane, and these drumming guitar parts leave everything that was before before in their drive. In the meantime, we reached the home stretch. Winter Lady - worthy completion of the album. This song, flavored with bright guitar solos from Ivan Shalimov, as if sums up all played and sung. 

The Sun Q group is just starting out and doing it well. It remains only to wish the guys that, starting from the best traditions of rock, they find their own way that is not alike. Album Charms showed that they are capable of it. So, see you soon!….by…Dmitry Glukhov ….~

After an EP released in 2015 and many singles (including a Christmas), Sun Q goes long-format with this Charms . And charm there is a lot in this first album of Muscovites, including her singer Elena Tiron, lovely selling point for the group that often place alone on his promo photos. Her voice is also quite seductive since it blends perfectly with the garage / psyche accents distilled by her three companions (even more, because this album contains a lot of guests). 

Mixing stoner, blues and rock garage with a psychedelic background, Sun Q would have apparently wanted to live during the 70s, their references being clearly on the side of Led Zeppelin which one finds again and again reminiscences (in fact since the opening “Petals And Thorns”, real tube in power). Also the psyche feeling is reinforced by the use of a Hammond organ, old-fashioned keyboards (“Space”, “Circus Is Coming”, very successful in their genre) and even a saxophone. The result is varied titles, very pleasant despite their length. 

Usually not very fond of the style, I let myself be seduced by the rather haunting atmosphere of this first album, as well as by the powerful performance of its charismatic singer. It would be difficult to bet on their nationality as the style is dominated by the United States and Scandinavia, but it is clear that even the Russians also defend rather well in psychedelic lands. Nice!…by….beunz…~

Sun Q are from Russia and play garage/alternative rock. This is their debut album. 
This is a mix of garage, alternative, blues, and psychedelic rock. With keyboards, hammond organ, extra percussion, and a saxophone, this is an entertaining and characterful release that has a 70s lo-fi art-rock feel to it. 
The songs are well-written and quite enjoyable. Various moods and feelings are portrayed across the nine songs, with everything from the various aforementioned styles and sub-genres comping together to create engaging music that’s both catchy and memorable. 
This is emotive music full of texture and depth, and only part of this is due to the band’s seductive vocalist, as the music is delivered at an advanced level of mastery in its own right. Once you factor in the luscious, powerful vocals of their singer though, it quickly becomes apparent that Sun Q have the full package. 
These songs have a playful darkness to them that’s alluring and bewitching. Lead by their talented singer, she almost acts like some form of cult leader, enticing the listener into ever increasing acts of worship and decadence. The results are captivating, and this is a heady, enthralling collection of songs. 
Charms is full of exactly that, and is an extremely strong and enchanting debut album….. BY WONDERBOXMETAL…~

Elena Tiron - vox 
Ivan Shalimov - guitars 
Denis Baranov - bass 
Pavel Potseluev - drums 

Seva Timofeev - hammond 
Alexandr Andreev - keys 
Andrey Tanzu - percussion 
Michael Levanov - sax 

1. Petals & Thorns 
2. After This 
3. Dancing Souls 
4. Secret Ways 
5. Space 
6. Jimmy the Pirate 
7. Circus is Coming 
8. Plankton 
9. Winter Lady 

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