the debut album
Reviews of our debut album "Liquid Scarlet"
released on the 10:th of March -04.
www.melodic.net
Liquid Scarlet - "liquid scarlet"
Impressive fresh debut album from Swedish youngsters Liquid Scarlet, they hail from the far distant
north and their self-titled debut is a very much welcomed one indeed! Despite their young age they
have been around for a couple of years and also have a bunch of demos in their roster.
They have successfully picked up the early nineties and almost typical Swedish progressive
rock sound that were created by bands like Anekdoten, Änglagård and Landberk.
British bands like Elbow, Radiohead and maybe even Starsailor! In these days when
almost every progressive rock album clocks in between seventy and eighty minutes it’s
refreshing to hear an album that has a total length of fifty-three minutes.
Which in my opinion is great though I find it difficult keeping focus throughout a lengthy
album, it is of-course also easier to get an overall grip of a shorter album!
The album is an absolute must if you are into those three Swedish bands mentioned earlier,
but also for you who are a curious lover of music and not afraid trying something new exiting,
well played, adventurous and indeed highly progressive.
http://www.melodic.net/latestreviews2.asp#2074
Classic Rock
Another interesting prog release is the debut album from quintet LIQUID
SCARLET on Progress Records. Coming from the frozen wastes of Northern
Sweden, Liquid Scarlet have a sparser and more experimental sound than most
of their contemporaries, but with some swathes of Mellotron as well.
Classic Rock Magazine, june -04
Maelstrom (8.25/10)
In its 2004 debut album (which has only recently been issued in America), Sweden’s fresh Liquid Scarlet presents a well balanced bridge between classic progressive rock and avant-prog.
The more traditional aspect is achieved by floating, ethereal vocals reminiscent of David Sylvian’s, usually supported by airy, mellotron sounding keyboards and gentle, melodic guitars that will possibly remind you of Genesis.
These, however, often explode into intense passages, resulting in an accessible mass. "Citta Nuova," for example, can be considered as a compact version of Guapo, with all its pits and whirlpools. This one and the instrumental "Molok," which resembles Present in its gloomy atmosphere and raging repetitiveness, are definite highlights of this album.
I only wish that the songwriting, both lyrically and musically, was a bit more polished, as some of the songs lack a sense of completeness. I hope the band addresses this flaw on their upcoming releases (a second album and an EP release are expected on late September). Nonetheless, this release still comes recommended!
http://www.maelstrom.nu/ezine/review_iss37_2574.php?sid=ec3428c2ce31d518b80a39606f4c7596§ion=3#
Progressive World (4,5/5)
The album begins right away, with a hard-edged, chunky attack. Oh, not metal, but bass notes are banged out and drums crash… it's all very angular. These give away to keyboards, sparkling guitar phrases and moody vocal delivery. References… well, it took awhile for me to really come up with them, but I'd have to say King Crimson-ish musically, but something drier, starker vocally. Well, hmm… Discipline. That'd be another reference point, conceptually, I suppose. Very vague ELP references, and more impressions than any particular lick or effect. Emerson in the abstract maybe. And there is a 70s prog rock feel about the music, too, in the second track "Hesistating In The Foyer."
A dreamy, dreary feel is given to us in the first part of ultra-moody "Citt´ Nuova," which then becomes more angular with sci-fi-horror keyboard effects. This piece is a sci-fi tale of humanity giving way to machines - cliché thematically, but the stark and metallic feel the track is given makes the well worn idea a life of it's own. We've seen it before, and this kind of future still scares us. And, only because it's very much on my mind, I am thinking of the new and improved Battlestar Galactica… which this song is not about, of course, but… well, it does use a familiar theme.
Speaking of familiar, the marching rhythm of the dark instrumental "Molok" sounds very much Crimson-like, and we have to mention fellow Swedes here Landberk and Änglagård. And also seems to reflect the theme of "Citt´ Nuova." You can almost imagine this piece as a modern interpretation of a classic, maybe Holtz.
And just to play with one's expectations, "Talking In Ashes" begins as a sparse, dry, pastoral … a piece with a soft, romantic feel of some 70s soft rock, but … not quite. And that has mostly to do with Fagervall's delivery. But, as this is a avant-prog release, there are the familiar angular, angry passages, a flurry of sound, each instrument claiming it's right to be heard. You also get a 70s soft-rock feel with "Comes Near, Lingers Far" which made me think of an arty coming together of The Carpenters ("Sing") and Camel (Stationary Traveller period) and Alan Parsons Project (almost anything), with occasional Crimson interludes (nearly all Cs… how odd). It's one part dreamy, one part angular. Here we get a very sweet, soaring guitar solo from Andersson.
The album closes with "One Last Masquerade" which includes a few notes that made me think of Procol Harum's "Conquistador." It's a very mellow piece, except for a lovely, emotive guitar solo, which leads into a brief jazzy passage of guitar and bass in duet, a tone much brighter, happier even, than heard on the rest of the album. Of course, being about death, it's hardly cheery.
Gloomy, yes. Moody, yes. Hauntingly beautiful at times; wonderfully angular at others, yes. Recommended. Yes. A very good debut that provides interest for repeated listenings, complex enough to reveal new facets each time.
Stephanie Sollow, January 2005
http://www.progressiveworld.net/liquidscarlet3.html
www.rockprog.com
"A new progressive rock band from the northern parts of Sweden.
Their debut is highly accomplished considering that the band
consists of five so young musicians. The music is both complex
and beautiful at the same time. The obvious influences are early Genesis,
King Crimson and fellow Swedes Anekdoten. The album grows by repeated play
and it's not easy to pick a favorite but the opener "Grayroom" is a great
song that sets the standards for a enjoyable and immaculate debut album."
- BigRedMachine
http://www.rockprog.com/Rock/main.aspx?v3=alb&id3=51789
www.missingpiece.net
Liquid Scarlet - "liquid scarlet"
Amazing album from this new, young band from the north of Sweden. Their influences are clearly
from the 70’s although all of them were born in the 80’s. Complex yet with an enourmous
sense for melodies the closest reference must be King Crimson, but there are also snippets
of Genesis Yes and Camel. This superb mix of course gives the band a quite unique sound,
but for fans of 70’s progressive with loads of Mellotron this is without a doubt a fine purchase.
Awesome production too. Another high class product from Sweden’s leading progressive label,
Progress Records. HIGHLY RECOMMENDED
http://www.missingpiece.net/
www.prog-nose.org
What a great surprise ! What a fucking great surprise ! After the media slagged off progressive rock in favour of punk and new wave years later the prog revival mainly was something launched by ‘older’ musicians. Either it concerned older bands being reformed or new bands which were formed around ‘older’ musicians who were not that famous the first time around. Take Flower Kings and Spock’s Beard as prime examples of the latter. That’s why I’m so terribly chuffed to hear this debut album by the unknown upcoming talents of Liquid Scarlet. Once again it concerns a Swedish band formed by a bunch of very young people, youngsters who most certainly were not around during the genre’s heydays. That’s what makes it so very interesting, that young people want to create new music, music which does not fit the commercial criteria at all. Without explicitely calling it progressive rock Liquid Scarlet has created a true masterpiece in what they call ‘new music’.
‘We try to make music which experiences all emotions and every feeling, just like a movie or a good book’, the band says. With King Crimson, Yes, Genesis but also Björk, Radiohead and Frank Zappa as main influences this band has been experimenting with music for about seven years now. On stage they all wear white clothes to also make a statement in that department. With all five members being in their twenties you could easily see this band as one of the standard-bearers of the new wave of progressive rock. Take early Anekdoten and blend with a mix of Landberk and Änglagärd and you get the purest Swedish prog-cocktail you can imagine. Cover it with excuisite layers of mellotron and you pretty much know what to expect.
Thick washes of mellotron and tons of rhythmic breaks are the main dynamics in the opening section of ‘Greyroom’ with Markus Fagervall’s soft whispering voice as counterpoint. The next section even contains the power of a young Black Sabbath entertwined with early Anekdoten combined with “Red” era King Crimson. It’s that fingerlicking good ! The inclusion of the not so obvious clarinet also adds a certain folky charm to the whole whilst also incorporating the Swedish prog legacy as introduced by the likes of Samla Mannas Manna several years ago. In ‘Citta Nuova’ Fagervall delivers a chorus which will most certainly become a classic in years to come as it’s so damned catchy without losing the prog idiom out of sight for even just one second. Great synthlead from the lady on keys Frida Lundström. Destructive and authentic King Crimson atmosphere combined with the lush textures of a subtle Änglagärd are to be found in ‘Molok’ which once again contains some superb basslines, great distorted guitar leads and wonderful percussive input. As often happens in the music of Liquid Scarlet louder passages are mixed with more ambient textures so as to underline the various atmospheres contained in one single composition. In ‘Comes near lingers far’ I detect a certain amount of Paatos magic whilst vocal harmonies inject some extra magic backed once again by soothing mellotron. Sometimes Markus’ vocals contain a little bit of that of A-Ha’s Morten Harket such as in the beginning of ‘The red stairs’ which soon places fiery bass on top of seas of mellotron. In the soft passages the inclusion of marimba adds some mysticism backed by jazzy drums. The album closes with the devastating ‘One last masquerade’ which closes with the main melody being repeated on church organ in order to end this debut album with a surprise.
Liquid Scarlet most certainly has released one of the better albums of this year and no doubt they have made a statement that progressive rock is back with a vengeance and with a young view as to how it should sound in the 21st century. Although they do ‘borrow’ certain wellknown ideas from time to time they nevertheless deliver it in an original way combining several atmospheres all at once. If prog can’t reach a wider audience because most of the artists involved are too old, then these youngsters most certainly can be the start of a completely new revival. In the end it looks like it’s all coming back ! I wish them all the luck in the world and can’t wait to see them live !
http://www.prog-nose.org/engels/albums_2004/liquid_scarlet_same.htm
Music Street Journal
Overall Review
The debut of Liquid Scarlet should appeal to friends and relatives of the Parmenter family. Discipline's Matthew Parmenter and Eyestrings' Ryan Parmenter would certainly feel welcome within the confines of this release. The material also passes through the orbit of Satellite's A Street Between Sunrise and Sunset. The music is thoughtful and intricate, but not too busy in any sense. There is a lot to be read between the lines. The subtle and reserved nature of the music speaks many words.
Track by Track Review
Grey Room: The singer sounds like Peter Gabriel in the early days of Genesis. The instrumentations, however, are more like Marillion. The structure of this song is interesting as it vacillates between a subdued verse, a passage that is both aggressive and insane, and a bridge that wanders wistfully.
Hesitating in the Foyer: The Doors are bottled into a progressive prescription. Even though Ray Manzarek is not playing the keyboards, and Jim Morrison is not doing the singing, it certainly sounds that way. There are even compounds in the ingredients that remind me of Violent Femmes and The Ramones. This song has an unusually catchy beat and it's one of my favorites on the album.
Cittá Nuova: While this number has some normal parts, it is canvassed by many weird segments. The mood goes from a bizarre carnival funhouse to a Tim Burton soundtrack to a Muppet song to the Spyhunter theme. As it progresses, the normal and wacky parts become increasingly interwoven. These juvenile antics are completely harmless, but the result is much more diverse than the earlier pieces. I found this one to be incredibly entertaining. Depending on one's taste, this will either be the most beloved or the most disliked track on the album.
Molok: If you forced a strong cup of coffee down its gullet, this would be the instrumental opening to The Flower Kings' "Rumble Fish Twist". It's clear-cut craziness without speaking a single word.
Talking in Ashes: This ballad captures The Carpenters' chi. It's like taking a serene and peaceful ride down a lazy river. There is a brief section in the middle that encounters rough waters, but the ride is gentle the rest of the way. The chorus is sung mostly in a monotone manner. While Olov Andersson plays a dreamy clarinet, Johan Lundstrom's acoustic guitar and tin whistle are quite hypnotic.
Comes Near, Lingers Far: After the elephants, horses, and clowns trollop around a three-ring circus, the lights dim for a magician act. The Doors' "People are Strange", Steve Miller Band's "Fly Like An Eagle", and early Genesis bring their performance to the center circle.
The Red Stairs: Liquid Scarlet continues to mix softer shades with darker hues. This is the kind of provision one would find featured on Matthew Parmenter's Astray.
One Last Masquerade: The last piece is a lounge act set to end the affair. It ruminates around the room as those still seated are coaxed to the doors. Liquid Scarlet has put on a good show and the finale is no exception. This track is classical progressive rock set to a classy poetic verse. It actually bears some relation to Echolyn's "Mei". While this song might be the finest vintage of them all, the entire album consists of a collection of patiently-aged spirits. Liquid Scarlet is comprised of many old elements that have worked wonders in the past. There is no reason to think these herbal supplements have lost their potency. The new formula is made using a modern production process and comes packaged in a contemporary container. Liquid Scarlet won't solve all your ailments, but it will certainly sooth the ear and ease the mind.
Josh Turner
http://www.musicstreetjournal.com/liquidscarlet.htm
www.seaoftranquility.org (4,5/5)
When something gels immediately upon the first few spins, you get that feeling that the whole experience takes on an entirely new meaning. So it was with a band I had not heard before now called Liquid Scarlet who hail from northern Sweden.
Sensible songs with sensible lyrics go a long way to help a band forge their way through the mire of so many wannabees that it is refreshing to hear something so instantly likeable. Diversity of arrangements and a bold and challenging way of piecing together their songs helps to separate this band from the norm. Throughout the album, you can appreciate some Steve Hackett style guitar in those parts that suit the format or some tricky little bits here and there that remind me of Yes / Gentle Giant / King Crimson and even some latter day bands like Anekdoten, Anglagard or Landberk. When those influences have been exhausted, some tried and true Steve Howe guitar takes over to round out the sound. The keyboards on the brilliant fourth, instrumental track remind me very much of some older mellotron heavy, 70’s bands such as Druid and Kestrel as their vintage sound comes to the fore so well. For a band whose average ages is around 20, these guys sure have some convincing ideas.
Thankfully, for those whose preference is for lyrics sung in a convincing manner and with little perceivable inflections or accents, you can breathe a sigh of relief as their command of English is very good. Featuring lashings of great guitar riffs, underpinned by some tasty keyboards and all manner of accompanying instruments such as clarinet, tin whistle assorted percussion together with that grinding sound of the Hammond organ, this band has all the right moves. Melding melody when needed with some slightly dissonant sections also keeps things interesting without the songs falling over in disarray. Liquid Scarlet is definitely a name to watch out for in the future as I can see positive times ahead for a band with such a clean and polished approach to their craft. A class act!
Greg Cummins, June 7th 2004
http://www.seaoftranquility.org/reviews.php?op=showcontent&id=1442
Hairless Heart Herald
"This CD was in my player before I had read anything about Liquid Scarlet. Punchy delivery with bags of Mellotron made me wonder if this new release from Progress Records was some long lost treasure from the 70’s. As the CD continued to spin, something about the sound and compositions threw some doubt in my mind – yes, there is a definite 70’s flavour but there is also a modern edge to the whole thing.
Liquid Scarlet is, in fact, a young band from the north of Sweden – all five members are in their twenties yet the band has been gigging for seven years.
I am pleased to find that the compositions on this, their debut album, are entirely original. Liquid Scarlet is no Genesis, Camel, King Crimson or Anekdoten clone despite the fact that some of the sounds and styles of those bands would appear to have been of influence. There are also hints of Elbow and Coldplay, particularly with regard to vocals.
It would be hard not to like this album whether you are a Mellotron obsessed prog fan of the old school or a latter day indie rock protagonist. Check out the sound and video samples available for download from the Liquid Scarlet website (link below), making a point of looking at the band’s lively performance in the Hesitating In the Foyer movie (second track on the album).
Jem Jedrzejewski
http://www.camelesk.demon.co.uk/liqscar.htm
Ytsejam.com
If you were to tell somebody that this was a prog band, you would be giving that person an accurate description, and if you were to tell somebody that this is an indie rock band (Stereolab, Galaxy 500), you again would be giving out an honest opinion. But wait; there are lots of hints of the obscure psych/prog bands of the late 60’s and 70’s such as Can, Gong, or Magma. Regardless on what description you might choose in comparisons to these three different types of music, Liquid Scarlet fits within any of them.
This musically equipped quintet blends the technical melodic approach with an abundance of emotional fodder. Oh No! Could it be that “Emo” has found it’s way into the world of prog-rock; well no, that’s a term for the “hipster” crowd to debate over, not for us (the only thing we want to hear weep is the Mellotron, for which it does on this recording). It’s really the delivery of their music and the vibe they bring with them that annunciates the often-articulate mathematical compositions that procure the jittery-minded material that breaks an often subdued exploration in tracks such as “Greyroom,” “Molok,” and even sections of “Citta Nuova,” leaving lots of headroom for experimental jamming here and there. The other side of Liquid Scarlet’s musical mantra is a mellow tripped out sub psychedelic mindset of the gloomy “Hesitating in the Foyer” and the mellow first half of “Comes Near, Lingers Far” which has it’s metamorphosis into a sporadic movement.
So this band really has a sound that brings more to light than just straightforward comparisons to Genesis or RPWL, in many ways this band really has potential to really reach a diverse audience comprise of many types of music lovers alike, so consider this, is this the next Spacemen 3, is this the next King Crimson, or is this the band that could lead the way for a new revolution in psychedelic/prog music, the answer is yes (no pun intended).
Tommy Hash, July 3rd 2005
http://www.ytsejam.com/modules.php?name=Reviews&rop=showcontent&id=706
www.proglands.com
The Swedish label Progress records just went to vomit another really good eponimus CD from a five piece band of young and talented musicians, all about twenty, and name LIQUID SCARLET. The band is lead by Olov Andersson on guitar (Not the same Olov Andersson from the bands SPEKTRUM and GRAND STAND) and Johan Lundström on Drums. They both got the credits on the music and the lyrics, and they are helped by the singer Markus Fagervall, bassman Joel Lindberg, and a female keyboardist Frida Lundström.
The band say; 'Other bands and artists that we feel have made a difference are: KING CRIMSON, BJORK, GENESIS, YES, RADIOHEAD, FRANK ZAPPA...' Langorous moment like LANDBERQ, solid parts of dark prog like ANGLAGARD and KING CRIMSON with Mellotron are presents. There is a techno / Alternative feeling also in the music like the central image in the booklet show, a five pieces band which looks like, either a band of the 50's, the late 60's (BEATLES) and or a retro band's from the 80's, TEARS FOR FEAR and the a bit the BEATLES are for me an evident likeness, maybe the vocal of Markus remind me more the voice of the signer Roland Orzabal of TEAR FOR FEAR in many moment. Like RADIOHEAD, LIQUID SCARLET is an excellent example of what a Progressive techno / Alternative band should look like to.
If you wish to buy a great CD, here is the one that you cannot miss, they are young, but they are very inspired, their music is also well played, very original and highly diversified. It's only another GEM.
Denis_t 03/2004 Proglands.com
http://www.proglands.com/search_tool.php3?action=viewgroupe&idgroupe=3851
Pendragon Usa
"Debut from this young band playing a great style that reflects the past but with
much of their own influence, which is probably why it sounds so classic yet
refreshingly new. One of the best releases I've heard this year!"
http://www.pendragonusa.com/pennew.htm
New Horizons
Liquid Scarlet are a band that formed in northern Sweden back in 1996, initially as a covers band, but soon taking up the challenge of writing their own material. Their biography states that "initially they set about producing a very mellow brand of music, before heading down the alternative rock route and, from there, taking gradual steps towards a more progressive sound."
The band consists of 5 members: Olov Andersson (guitars, clarinet), Johan Lundström (drums, percussion, keyboards, vocals), Markus Fagervall (lead vocals, guitars), Joel Lindberg (bass) and Frida Lundström (keyboards).
This eponymous debut album is certainly a fine example of modern progressive music that follows in the footsteps of some of the past masters. While the band certainly manage to come up with a great sound that is in many ways unique, at the same time listeners can find hints not only of Pink Floyd and King Crimson, both of whom I suspect have influenced the band's writing style, but also of Genesis and Van der Graaf Generator. From start to finish the music flows effortlessly, and follows a wide variety of styles ranging from smooth easy going hazy atmospheric moods to harsher, almost discordant, jazz tinged pieces.
The strong opening of 'Greyroom' shows confidence and defines the quality for what is to follow. The vocals throughout project a sense of calm while musically Soft keyboard work is interspersed with harder hitting incursions from bass and percussion, which add a slightly sinister edge to the sound. Although lacking a big finish in the style of neo-prog music, there is nevertheless a progressive build up that leads the track to a satisfying conclusion.
'Hesitating in the Foyer' comes next. This is a very strong track, and one that seems to follow in the traditions of British psychedelia from the 60's. There is a playful, almost quirky mood created by the vocals, which is accentuated by the slight distortion that is brought into the mix at times.
Things go from strength to strength as we move into the slightly macabre instrumental opening that heralds "Citta Nuova". Keyboards are played with suitably muted tones, at times the style is reminiscent of The Beatles, while the laid back vocals are more evocative of Pink Floyd. There are some light jazz touches as we move past the mid point but, thankfully, this never gets out of hand and by the final stages of the track the keyboards have taken on a distinctly Genesis sound. Despite all these comparisons, I would stress that the net result is a vibrant and original mix that really stands out from the crowd.
'Molok' is the only purely instrumental track on the album. The powerful, yet slightly discordant intro hearkens back to King Crimsons' 'Court of the Crimson King' album in terms of the style. The track pushes along without hesitation, and while the listening is not always comfortable, the music is expressive and creative.
Things move down a gear as we are treated to a softer gentler pace in 'Talking in Ashes'. The contrast in tones between this and what has gone before is quite marked initially, with the restful vocals and piano backdrop trying to create a still relaxed mood. However a degree of uncertainty is created by the skillful use of keyboards and guitars which, after threatening to break the spell, finally come to the fore only to be stilled once again by a final vocal refrain returning the sense of order.
'Comes near, Lingers Far' starts with a hard hitting jazz oriented opening, which belies the gentler passage that immediately follows it. This juxtaposition of order and disorder, calm and chaos, seems to be the hallmark of the track. As with 'Molok' this is not initially an easy piece to listen to - but it does have hidden depths and each hearing seems to bring out something new.
'The Red Stairs' is another slower paced track with a more ambient nature. All in all this is a solid track, but apart from the closing section, where things pick up somewhat, there is very little to comment on.
There is an almost melancholic air to 'One Last Masquerade'. As an end piece for the album, this track really gets it right. Strong guitar work, vocal delivery that's right on the button - while the icing on the cake comes from the marvellous closing passage, played on keyboards with a church organ sound, slowly fading away and leaving the listener to contemplate what they have just experienced…
Smooth vocals, great instrumental work and keyboards that really fit the music without ever flying over the top make this an album that grows and grows on you. With the right exposure, this is a band that will give the likes of the Flower Kings a run for their money. For their debut release Liquid Scarlet have produced a remarkably mature work - and one that is even more impressive when you considers that none of the band are yet beyond their twenties. Fans of the traditional style of progressive rock in particular would be well advised to check this album out - Recommended listening.
Simon, 23rd May 2004
http://www.elrose.demon.co.uk/CD_Reviews/liquid_scarlet_cds.html
Tales of wonder (85/100)
"Only few months have passed since the good Spektrum release and the wonderful Galleon come-back; now the swedish label Progress records hits the mark again by promoting the official debut of Liquid Scarlet, a young swedish five-piece led by Olov Andersson and Johan Lundström. However don't expect the synphonic prog full of keyboards and mellow melodies of the two above-mentioned bands, because this album sounds more dark, melancholic and finds his roots in the seventies. I think they can be compared to Radiohead / Porcupine Tree music above all, even if this comparison is not enough to describe their music. They were able to go beyond thanks to some typical nothern europe dark attitudes (very close to Landberk works) and an higher bent for aerial and synphonic melodies. Yes, that's only an apparent and, in my opinion, really effective contradiction.
"Citta' nuova" is my favourite track with its eight minutes of melancholic athmosphere, sweetly accompained by the Frida Lundström keys and the filtered voice of Markus Fagervall. The final duet guitars/keys really breaks your heart . "Molok" keeps the same high-quality level, just showing that deeper synphonic approach mentioned before. Believe me, there are not any weak tracks inside here and it's really impressive for a young band like this.
If you are frequent visitors of swedish venues specialized in good music and you accidentally find five guys strictly white-weared and playing so good, maybe you're attending a Liquid Scarlet gig. Enjoy it and then buy the album !
Recommended."
Luca Alberici
http://web.tiscali.it/talesofwonder/cdliquidscarlet.htm
www.eufonia.net - Mexico (4,5/5)
La más reciente revelación sueca. Suecia. Debe ser el sistema educativo que promueve las cualidades musicales desde la pre-primaria. O algo que le ponen al agua que toma la gente. O de plano nada más es que se les da esto del rock.
El promedio de edad de los chavos de Liquid Scarlet es alrededor de los 22-23 años. Lo impresionante aquí es que alcanzan un nivel de madurez en su primer disco que a muchas bandas les toma cuando menos una década y no menos de 4 discos.
Aunque no ocultan su procedencia ni la escena a la que pertenecen (Anglagard, Anekdoten, Landberk y los recientemente revitalizados Trettioariga Kriget), logran colar en su sonido un elemento muy actual, similar al que tienen algunas bandas de la escena del brit rock e indie, lo cual les da una inmediatez casi abrumante. Si, eso quiere decir que les podría apetecer a los seguidores de doves, Soundtrack Of OurLlives,Ffire Theft y muchas otras bandas talentosas que han logrado colocarse ya en el gusto de los seguidores de dichos géneros.
Delicioso desde el principio: sombrío, trepidante, desgarrador. Desde ya esperamos el que sigue, que seguro será un verdadero monstruo.
Jesús Díaz, May 28, 2004
http://www.eufonia.net/html/liquid_scarlet.html
Cosmos Music
"Ces jeunes suédois (les 5 musiciens ont tous aux alentours de la vingtaine !)
vont sans nul doute faire beaucoup parler d'eux dans les prochains mois. La
musique qu'ils proposent sur leur premier opus est typique des contrées
nordiques et s'amuse à naviguer entre Anekdoten (la première référence qui vient
à l'esprit), Landberk (la force évocatrice des guitares), Opeth (tout comme pour
Damnation, les mélodies sont évidentes) ou le Genesis de Trespass (ces tons
pastel, brusquement mis à mal)... Inutile d'en dire plus, Liquid Scarlet ne
pourra pas se laisser apprivoiser par de simples mots, son progressif (bien
chanté qui plus est) est un petit joyau par trop indocile... Superbe!"
http://perso.club-internet.fr/cosmosm/nouveautes.html
www.progressia.net
On ne dira jamais assez combien la scène suédoise est prolifique ! On ne cesse de découvrir de nouveaux groupes et, par là-même, de nouveaux talents venant de ce magnifique pays. Bien qu’étant tous âgés d’une vingtaine d’années, les musiciens de Liquid Scarlet jouent ensemble depuis sept ans : il souvent faut du temps avant de pouvoir sortir un premier album. La qualité ne peut ainsi qu’en être meilleure, l’ensemble ayant eu le temps de mûrir.
Dès les premières secondes du disque, les sons émergent dans une atmosphère mélancolique, presque nostalgique. L’aspect général a un goût de déjà entendu rappelant pour le moins le Genesis de la période Nursery Crime, par l’utilisation à outrance de l’orgue Hammond (qui n’est pas pour déplaire) et une certaine lourdeur de la basse. La guitare est en revanche stylistiquement plus moderne. La touche scandinave actuelle est reconnaissable, Liquid Scarlet faisant penser tout à tour à Anglagard ou même Galleon (signé aussi sur Progress Records). Cependant, loin des mimétismes et des comparaisons, Liquid Scarlet offre des compositions enlevées, certes simples mais pleines d’émotions, dans une vision de la musique clairement tournée vers la nostalgie. Les huit morceaux s’enchaînent judicieusement, ne laissant pas à l’auditeur le temps de perdre le fil qui les relie les uns aux autres.
Une belle énergie se dégage de ces morceaux pourtant mid-tempo, cadencés par une voix masculine d’une rare finesse, donnant à l’ensemble une réelle consistance. Les moments de tension sont la marque d’un souci d’évasion : faire en sorte que l’auditeur se trouve dans un état de découverte l’amenant à vivre la musique pleinement. L’impression de légèreté ressentie à l’écoute de chaque petite évolution mélodique et rythmique permet de se retrouver facilement au sein de chaque morceau, qui tous regorgent d’idées subtiles à l’image de celles ayant fait les beaux jours du rock progressif.
Ayant sûrement tous grandi dans une culture rock des années soixante-dix (la photo du livret les montre d’ailleurs avec des instruments d’époque), les musiciens ont su faire preuve de beaucoup d’intégrité. Ce qui frappe le plus, en dehors de la qualité musicale indéniable, est la façon dont ils ont traité le son. Pourtant propre dans la sonorité des instruments, il est le fruit d’un travail mené sur les couleurs des seventies remarquablement poussé à la quasi-perfection. On s’y croit vraiment …
Liquid Scarlet n’est certes pas le groupe qui révolutionnera le rock progressif, mais ses musiciens ont le mérite de proposer une musique claire, limpide et délicate, pleine de sentiments et de mélancolie. Leur habileté à créer de belles mélodies empruntes d’émotions fait de Liquid Scarlet un disque réellement relaxant, parfait pour s’évader une petite heure…
http://www.progressia.net/index.php4?rub=chroniques&idchronik=396
www.progressivewaves.com (7/10)
Encore un groupe de prog suédois, allez-vous me dire ! Et oui ! les cinq jeunes musiciens (dont une charmante jeune femme) de Liquid Scarlet nous viennent de l'extrême nord de l'Europe et ne détonnent pas au sein d'une école nordique qui nous a livré des formations telles Anekdoten ou Anglagard.
Ce premier album révèle rapidement l'inspiration de ces petits nouveaux. Dès les premières notes du premier titre (Greyroom), Liquid Scarlet nous ramène au moins trente ans en arrière. Le Hammond est omniprésent et on imaginerait facilement qu'on vient de tomber sur une plage inédite de "In the court of". Le septième titre (The red stairs) est également dans cette veine crimsonnienne avec un final porté par le mellotron.
Dans le deuxième morceau (Hesitating in the foyer) la composition flirte d'avantage avec Genesis pour la mélodie et le Floyd d'Atom Heart Mother pour la voix. N'allez pas en déduire que Liquid Scarlet ne fait que copier les maîtres du genre avec quelques décennies de retard. Ils savent parfois ajouter une touche personnelle comme dans "Citta nuova", le titre le plus long de l'album, qui est le parfait exemple de leur créativité. L'utilisation de la clarinette lui donne une sonorité chaude bien que mélancolique, travers auquel nous sommes habitués avec le prog suédois qui est plus souvent bucolique que joyeux.
Dommage que ce quintet balte ne se soit pas plus aventuré dans des voix originales car on sent dans ce premier album une grande maîtrise technique qui est desservie par ce côté "Best of prog 70's".
En résumé, ce premier disque révèle un réel talent et gageons que ce coup d'essai, au demeurant très agréable à écouter, se prolongera dans des créations moins colorées Crimson/Genesis/Floyd.
http://www.progressivewaves.com/Chronique.aspx?ID=711
babyblaue-seiten prog-reviews (Tipp des Monats 8/2004)
Von: Jörg Schumann @ (Rezension 1 von 3)
Aufgepasst: es gibt wieder etwas zu entdecken. Liquid Scarlet, eine junge Band aus Nordschweden, die als musikalische Vorbilder King Crimson, Yes, Genesis, Zappa und Björk angibt und einen erfrischenden Mix im Stile von Änglagård und Anekdoten spielt.
Das gleichnamige Album sprüht vor Spielfreude, ist modern, frisch, äusserst abwechslungsreich und trotz hörbarem Einfluss der genannten Vorbilder sehr eigenständig. Da gibt es Fripp`sche Gitarre, Squire`schen Bass, schwedische Melancholie, Mellotron satt und das ganze in einem zeitgemässen Gewand. Wenn ich den Vergleich mit Anekdoten und deren letztem output Gravity ziehe, dann hat dieses Album bei weitem die Nase vorne.
Gleich zu Beginn werden einem in Greyroom mächtige Mellotronsalven, flankiert von hartem Riffing und krachenden drums entgegengeschleudert, dass man mit offenem Mund dasteht. Ruhige Interludien lassen einem kurze Verschnaufpausen, dann wieder die volle Breitseite. Hatte auf mich beim ersten Hören etwa die Wirkung wie "darkness" von Peter Gabriels Up.
"Hesitating in the foyer" beginnt mit verzerrten Gitarrenriffs, ist anfänglich sehr straight, um im weiteren Verlauf immer wilder zu werden, breaks und fill-ins und Instrumenten-Soli wechseln sich ab, bevor das Stück am Ende wieder mit dem einleitenden Thema ausklingt. "Citta nuova" ist ein ruhiges, fliessendes Stück, das mich an Steve Hackett erinnert, der vor einem Strassencafe spielt. Hin und wieder wird die Grundstimmung von schrillen Klängen zerrissen, mal gibts ein tolles treibendes Basssolo, welches in einen uptempo-part des ursprünglichen Themas mündet. Ein herrliches Gitarrensolo, gefolgt von einem Keyboardsolo runden das Stück ab. Highlight!
Der nächste Höhepunkt ist das Instrumental "Molok". Stampfende Akkorde zu Beginn, gejagt von wildem drumming, einer schrillen Gitarrenlinie, geht das Stück in einen erhabenen Mittelteil über, der von einer simplen, divinen Gitarrenlinie, unterlegt von einem auf einer Tonhöhe hämmerndem Bass, dominiert wird. Die übrigen Instrumente steigern sich langsam, ähnlich dem Stück "pendulum swing" von Anekdoten. Grossartig!
"Talking in ashes" ist eine ruhige Ballade, wirkt teilweise beinahe wie ein Kinderlied, und wartet mit schönem Klarinetten- und Flötenspiel auf. Zum Schluss gibts dann aber doch noch die volle Bombast-Kante mit Hammond, schwirrendem Bass und krachenden drums. Liquid Scarlet beherrschen die leises Töne ebenso gekonnt wie die lauten.
"Comes near, lingers far" wirkt zuerst wie die Fortsetzung von "Molok" um dann mit einem lockeren, beinahe jazzigen groove zu glänzen, dazu gibts entspannten mehrstimmigen Gesang. Die Harmonie wird durch Änglagard`sche Schrägheit wieder aufgebrochen, bevor es wieder ultracool weitergeht. "The red stairs" bringt wieder Mellotron satt und das abschliessende "one last masquerade" ist der bombastische Abschluss dieses hervorragenden Debutalbums, welches für mich DAS Album des Jahres 2004 ist.
Die Höchstnote spare ich mir noch auf, bis das Album den test of time durchlaufen hat.
Anspieltipp(s): greyroom, molok
Vergleichbar mit: Änglagard, King Crimson
Eingegeben am: 21.7.2004
Letzte Änderung: 22.7.2004
Wertung: 14/15
Album des Jahres 2004
Von: Fix Sadler @ (Rezension 2 von 3)
Ok... ich hatte mir fest vorgenommen "an mich zu halten" - diese Platte bevölkert seit ziemlich genau 5 Stunden und 32 Minuten meinen CD-Player und ist nun im siebten Durchlauf in Folge...
Ich habe von der Band gehört, dann habe ich Jörgs Kritik gelesen, dann habe ich mir die Scheibe besorgt. Jetzt läuft sie und läuft sie und läuft sie und erhält schon mal den Preis für die "in Folge am meisten gehörte Platte in meinem Leben". Aber warum kann ich das Teil nicht mehr vom Teller nehmen? - Warum muss ich sofort in die Welt hinausposaunen, wie sehr mich diese Scheibe anmacht? - Was ist es, was diese Retro-Alternative-Mischung so begeistern lässt?
Wenn Änglagård kein Album mehr machen, Anekdoten mit Gravity gerne cool gewesen wären (und einen vernünftigen Sänger hätten), wenn Crimso gerne mal Chart-tauglich gewesen wären oder Genesis bis heute in der "Ur-Besetzung" musiziert hätten, wenn schlussendlich Landberk nicht den übertriebenen Hang zur all zu gleichförmigen Melancholie gehabt hätten und dazu The Beatles verschmitzt aus dem Grab entsteigen würden - dann, ja dann würde der Kram genau so klingen, wie Liquid Scarlet auf ihrem beängstigend guten Debut klingen!
Diese Band "rumpelt und pumpelt" (der Sound ist - bewusst - dumpf), der Sänger stößt fast in "Grunge-Regionen" (ich denke da an einen Eddie Vedder oder Chris Cornell) vor. Die Musik grooved ohne Ende und hat melodisch-hymnische Momente. Die Arrangements mit Flöte, Clavinet, Mellotron und Orgel sind absolut beeindruckend. Es gibt "schräge Ausritte", druckvolle Rockpassagen, intime Momente - durchbrochen von kratziger Gitarre und "Squire-Bass". Das ist Musik, zu der man tanzen(!!!) möchte, die einem aber auch einiges an Aufmerksamkeit abverlangen kann.
Das ist ein Debut, ein Erstling, eine Platte einer blutjungen Band und somit die Hoffnung auf mehr cooles, rockiges, alternatives, proggiges Material. Wie soll man diese Qualität halten? Wie soll man sie gar noch steigern? Ich kann nur noch sagen: "WOW!!"
Mein siebter Durchlauf ist fast beendet - ich versuche mal einen klaren Kopf zu kriegen... Wenn ich jetzt (noch) keine absolute Topnote gebe, liegt das schlicht am "test of time", sollte sich nur ansatzweise bestätigen, was ich hier höre, bleibt mir nichts weiter übrig als ein "Meisterwerk-Status" auszusprechen.
Auf jeden Fall sollten alle Freunde des Retro-Sounds mal ein Ohr riskieren, Fans von Anekdoten sowieso (was hätten die vermutlich gerne diese Platte gemacht) - das ist alles nicht neu, aber die Mischung habe ich in dieser Perfektion noch nicht gehört...
Ich behalte mir vor meine Note zu einem späteren Zeitpunkt (noch weiter) nach oben zu korrigieren.
P.S.: Jörg, Du hattest absolut recht!
Nachtrag 09.08.2004:
Unten folgt eine tolle Rezi von Kollege Christian, der mir noch ein paar Worte in den Mund legt, auf die ich selber nicht gekommen bin.
"...weniger artifiziell im Sound...; ...verspielter als (unüberhörbare) Vorbilder...; ...nicht die Tiefe von Änglagard..." - genau das finde ich so grandios. Deshalb läuft das Teil immer noch rauf und runter...
Anspieltipp(s): Grey Room
Vergleichbar mit: Anekdoten, Landberk, Änglagård; und wichtig: Elbow
Eingegeben am: 4.8.2004
Letzte Änderung: 9.8.2004
Wertung: 13/15
aller Wahrscheinlichkeit nach die Platte des Jahres
Von: Christian Rode @ (Rezension 3 von 3)
Dieses Album macht mir richtig Spaß. Und es ist mal endlich wieder ein Retroprog-Album, das Spaß macht. Und das „trotz“ der eher düsteren Texte. Besonders erwähnenswert erscheint mir hier die dunkle SF-Geschichte „Citta Nuova“. Aber auch „One last Masquerade“ hat morbiden Charme. Und auch das skurille „Hesitating in the Foyer“ ist originell. Selten genug, dass mir Texte eines Albums etwas geben.
Die Vergleiche zu Änglagard und Anekdoten treffen auch nach meinem Eindruck zu. Dabei wirken Liquid Scarlet weniger artifiziell im Sound als Änglagard. Anekdoten hingegen entwickeln – wenn ich mal das Album NUCLEUS zum Vergleich bemühe - mehr Druck, Aggressivität und Düsternis. Gegenüber beiden Bands ist der Sound von Liquid Scarlet auch weniger einheitlich. Dafür klingen sie eben vielschichtiger und bieten neben King Crimson auch zahlreiche Anklänge an die frühen Genesis. Und ähnlich wie Anekdoten haben sie auch dieses Alternative Rock – Feeling drin. Liquid Scarlet wirken einfach auch verspielter, wenngleich man ihnen die Ernsthaftigkeit sicher nicht absprechen kann.
Liquid Scarlet bringen einfach gekonnt diese klassische Prog-Mischung aus folkmäßiger Hirtenromantik und wilden, schrägen Rockausbrüchen rüber, angereichert noch durch einen Alternative-Touch, der vor allem über den Gesang rüberkommt.
Als altem Crimson-Fan hat mich gleich das dominante Mellotron in einigen Songs beeindruckt, auch wenn es z.T. Schlagzeug und Gesang an die Wand drückt. Aber dem Gesamtbild schadet es nicht. Der Sound insgesamt ist eher warm und nicht irgendwie technokratisch-perfekt. Die Songs sind wundervoll abwechslungsreich, bevor etwas langweilig werden kann, setzt eine neue Idee an. Das Album insgesamt bietet auch einen gelungen Wechsel von Songs unterschiedlichen Tempos.
Dennoch glaube ich, dass sich die Band noch steigern kann. Denn es klingt noch etwas häufig nach den genannten Vorbildern und immer wieder nach Bands, die mir grade nicht einfallen wollen... D.h. ein bisschen mehr Eigenständigkeit könnte dem Bandsound noch gut tun. Auch lässt Liquid Scarlet gegenüber Änglagard etwa noch etwas an Tiefe missen.
Aber vergessen wir nicht: es ist ein Debut, ein wirklich fantastisches Debut. Und es macht Spaß.
Anspieltipp(s): Citta Nuova, Comes near lingers far
Vergleichbar mit: King Crimson, Genesis, Änglagard, Anekdoten
Eingegeben am: 9.8.2004
Letzte Änderung: 9.8.2004
Wertung: 12/15
http://www.babyblaue-seiten.de/album_4211.html
www.rottersclub.net
Gli svedesi Liquid Scarlet possono essere tranquillamente inseriti in quel ramo del prog che ha visto come protagonisti della scorsa decade gli Anglagard, gli Anekdoten e i Landberk. Similmente a quanto fatto dai norvegesi Kvazar un paio di anni fa, i Liquid Scarlet cercano di miscelare un po’ le caratteristiche di questi gruppi, mantenendo quelle sonorità e quelle atmosfere a tinte fosche. Ecco, così, che chitarre frippiane vanno ad incrociarsi con tastiere che propongono suoni derivanti dai seventies in uno scenario musicale affascinante e di notevole intensità che colpirà sicuramente chi ha amato i lavori degli artisti succitati. I Liquid Scarlet riescono però a mantenersi a debita distanza dalle suite raffinate ed elettroacustiche degli Anglagard, dalla aggressività degli Anekdoten e dagli eleganti toni elegiaci dei Landberk, per merito di una proposta in cui, seppur si avvertano quelle peculiarità tipicamente scandinave, risulta alla fine più diretta, fatta di melodie vocali orecchiabili, ma mai banali, di costruzioni intriganti e intelligenti, ma lontane da virtuosismi esasperati, di un livello di malinconia abbastanza elevato, ma che non raggiunge mai pigli estremamente ossessivi e/o angosciosi. Insomma, un album equilibrato, che magari non aggiunge nulla di nuovo alla scena scandinava, ma che ci fa conoscere un nuovo gruppo che si affaccia come ottima promessa, attraverso otto composizioni di pregevolissima fattura, che tengono d’occhio il feeling e da cui traspaiono emozione, passione e sensibilità.
Peppe, Giugno 2004
http://www.rottersclub.net/recensioni/l/liquidscarlett.html
OJE Music
Een aangename verrassing van 2004 is de nieuwe Zweedse band Liquid Scarlet.
Twintigers die progressieve rock spelen in de stijl van Anekdoten, Landberk en Änglagärd.
Maar ze weten er een op een originele manier iets eigens aan toe te voegen waardoor een heel
fris en nieuw geluid ontstaat. De zang lijkt in aanvang wat onvast, even wennen,
maar na een aantal draaibeurten blijkt het een geweldige schijf te zijn.
De golven keyboards die de weg gewezen worden door heftige gitaarrifs zijn geweldig
en regelmatig vallen seventiessferen uit verschillend proghoeken op.
Vooral de ingetogener nummers blinken uit door veel sfeer en emotie.
http://www.ojeweb.nl/MuziekCuts.htm#liq
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