| | Winds Imaginary Direction Of Time CD Winds Discography of CDs
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Winds bring an equivalent mix of classical strings and metallic brawn to this album, although they fortunately don't fall into a time-honored rut of over-the-top guitars and solo virtuosos. This is true on the melodic "What Is Beauty?," which mixes a bit of Queensr˙che, System of a Down, and Anathema throughout. A Roger Waters-circa The Wall delivery moves the song further toward a metal slant. Carl August Tidemann has a nice solo here without the classical guitar tone. "Sounds Like Desolation" opens with a disjointed piano solo before the brief instrumental morphs into the guitar-heavy "Theory of Relativity." The softer David Gilmour-like solo is another great asset before they up the sonic ante. What works for Winds is the band's ability to toe the line between strong arrangements that maintain a healthy amount of credibility and originality. Perhaps they venture down the same path one too many times, however, especially on the somber but orchestral "Visions of Perfection," bringing to mind Metallica's "Nothing Else Matters" to a certain extent. The delayed harmonies on the song also give it a Queen-ish flavor. This is also heard in Tidemann's solos on the effort, recalling an early Brian May. "The Fireworks of Genesis" has an edgier style going for it, with the rhythm section building on each verse. The strings are unfortunately a bit of overkill on this studio-perfected song. One also expects them to break through with a hard, darker, and more punishing sound, but they rarely do. The concept of time is the biggest lyrical component to the record, but musically Winds go for the anthemic and grandiose arrangement time after time. As a result, the middle area tends to sag. "A Moment for Reflection" is darker to some extent, but vocalist Lars Eric Si relies on the winding nature of the song to carry it along a more melancholic path. The first true highlight is "Time Without End," where the tension is finally cut, but ebbs into a lengthy string and piano blueprint sans guitars. "The Final End" marks a seamless conclusion to "Time Without End," maintaining the same sound. By this time, however, it has become rather monotonous and dull to the listener. ~ Jason MacNeil
The End. 2004.
Personnel: Carl August Tidemann (guitar, electric guitar); Vegard Johnsen, Andre Orvik (violin); Dorthe Dreier (viola); Hans Josef Groh (cello); Andy Winter Group (keyboards).
Audio Mixers: Carl August Tidemann; Andy Winter Group; Scott Ternan.
Recording information: Fagerborg Studio (08/2002-12/2003); Toproom Studio (08/2002-12/2003).
Arranger: Winds.
Winds includes: Lars Eric Si (vocals); Carl August Tindemann (guitar); Andy Winter (piano); Jan Axel von Blomberg (drums).
Winds: Lars Eric Si (vocals, bass guitar); Andy Winter (keyboards); Jan Axel Von Blomberg (drums); Carl August Tidemann.
Additional personnel: Andre Orvik, Vegard Johnsen (violin); Dorthe Dreier (viola); Hans-Joseph Groh (cello).
Imaginary Direction Of Time Music Winds Imaginary Direction Of Time Songs | 1. | What Is Beauty? |
| 2. | Sounds Like Desolation |
| 3. | Theory of Relativity |
| 4. | Visions of Perfection |
| 5. | Fireworks of Genesis, The |
| 6. | Under the Stars |
| 7. | Moment for Reflection, A |
| 8. | Time Without End |
| 9. | Final End, The |
| 10. | Beyond Fate |
| 11. | Silence in Despair |
| 12. | Infinity |
| Imaginary Direction Of Time Music Review Average Rating: (4.7 out of 5 stars)   prog rock with great substance.. well what can i say? probably one of the best bands ive ever heard..cant wait for their new album..i already developed a new habit of listening to it everyday..one word, BUY IT! (probably two.)hehe Submitted by raprap (victorias city, philippines) Was This Review Helpful? Yes No
Forward-thinking progressive metal. This Norwegian outfit have been on the scene for number years now, producing a few demos and two full-length albums, with ‘The imaginary direction of Time’ being the sophomore release from them. They are a band that are totally unique, having no obvious influences as a reference point, so it is extremely difficult to categorize their sound as a whole assortment of diverse instruments have been utilized, for example violin’s cello’s and piano to name just a few.
The music can be described as melodic progressive metal, but with the aforementioned instruments, there are elements of classical music as well. The classical influence can be heard at the start of each song, either a violin or piano setting the mood, making this the bands trademark sound and placing them in a league of their own.
The piano work of Andy Winter is superb, totally enriching the sound to create an atmosphere of mellowness along with drawing the listener into the music. Sole guitarist, Carl August Tidemann, has to be placed on a pedestal with the likes of Malmsteen and Petrucci as he encompasses such an amazing talent, incorporating eloquence, gracefulness and subtleness into his technique of guitar playing. There are however no guitar solos to relish in, which in the greater scheme of things would probably detract from the overall feel of the music.
Vocalist, Lars Eric Si, is an absolute treasure with his voice fitting the Winds sound to perfection. He is a man in total control of his voice, using a subtle mid to high range approach, but never raising his voice to the extreme. The drumming supplied by Jan Axel Von Blomberg (a.k.a. Hellhammer from Black metal merchants Mayhem) includes a nice warm, rich feel to the rhythm section, fusing well with the rest of the music.
Mention must be made of the great cover artwork. Those of you who listen to different genres of metal music have probably at some point in time come across the work of the hugely talent graphic artist, Travis Smith. The artwork is very different as to what we would expect to see from Smith, going for a more simplistic look by using shapes, lines and paint-splotches compared to his usual graphics of hands, feet, faces and trees all super imposed over one another. The inner booklet is well laid out making the lyrics and easy read without trying to navigate through a plethora of different colours and diverse graphics.
The clarity of the production is stupendous with each instrument being clearly heard within the context of the music, but at no stage do the proceedings feel forced or compromised. This is a band that is truly in change of their own destiny, creating a masterpiece that will set a benchmark for other like-minded bands to follow.
The best way to enjoy ‘The imaginary direction of Time’ is to mellow out and relax with a glass of wine, dim the lights and let the music take you on a journey like never before! It is just superb from beginning to end and afterwards the finger will hit the play button for the second time, as one play is not enough!
Submitted by Transcendence (Adelaide, Australia) Was This Review Helpful? Yes No
Quiet metal? yeah this type of metal isn't easy to catigorize at all. Clean vocals, heavy piano and violins. But the guitars and drums still ring clear. Perfect album to listen to during a storm or late at night. Almost like Prog metal meets easy listening. Interesting to see what they do in future Submitted by Greg K. (Toront, Ontario Canada) Was This Review Helpful? Yes No
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$12.85 Pop with jazzy, a sometimes slightly melancholic touch, but also with humor within reach. Patrick Rydman belongs to the rare kind of singers that merges jazz with other genres in a completely natural and magnificent manner. Born and raised outside of Gothenburg, Patrick Rydman is a rare occurence on the Swedish music scene: A male jazz singer of the younger generation who furthermore writes his own material. His music sounds like “poetic singer/songwriter jazz with strong pop sentiments and a little bit of circus”, according to Patrick himself. Influenced by songwriters like Bacharach, Jobim, Paddy McAloon, Bill Withers and Joni Mitchell, raised on pop songs and tunes from the Great American Songbook, the resulting mix is Patrick’s own: melodic, personal, groovy, intimate and full of variation. Patrick has been seen and heard on the Swedish music and theater scene in a multitude of groups, projects and productions. He is a singing, composing and arranging member of the vocal ensemble Amanda with numerous shows in Sweden and abroad and two Swedish Grammy nominations to their credit. He has produced and written songs for other artists, worked as a theater musician, composed for the stage and radio, sung Burt Bacharach-hits in the cult show The Missing Fortnight and been featured vocal soloist with Bohuslän Big Band on several occasions. Apart from his original material, he has sung a large part of the Great American Songbook, where he has collaborated extensively with piano player Anders Persson (who has played with Toots Thielemans, Jim Beard and Viktoria Tolstoy to name but a few) having as a guiding light the classic recordings of Bill ...
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