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Daymoon: All Tomorrows

Daymoon is a self-titled, 'regressive music' band from Portugal, The band is made up of Fred Lessing, on guitars, flute, recorders, keyboard, vocals, and ethnic percussion; Andrι Marques, on acoustic and electric drums, and incidental vocals; Adriano Dias Pereira, on clarinet, flute, melodica, keyboard, sax, percussion, and vocals; Paulo Catroga, on keyboards and vocals; Nino, Mar, on bass guitar; Joana Lessing, on keyboard, percussion, and vocals; Rodrigo Caser, on electric guitar; Mark Guertin, on bass guitar; and Davis Raborn, on drums.

"Well alright, some may call it progressive, but regressive sounds a good deal cooler... and I guess it's not even Rock either. Others even call us Retro, but in a time when that means 14-year olds reviving their tamagotchi, we prefer to pull together music from the past 1000 years or so, and from any corner of the world. Except of course that we don't do it too well, and the vocals are crappy too, otherwise we'd be doing progressive rock. Or so" (http://www.daymoon-music.com/, 2011).

One of the better progressive rock releases this year. From the research, it sounds as if they are already working on the follow up, so we will soon be able to hear the new direction of the band's sound. This album is a cool experiment with sounds which I have seldom heard from other bands this year. There is both a great abundance of innovation, which immediately draws me to their music, while at the same time; they retain the sound of the great music I remember from the past. This is not a travelling album for the car. It's better for thinking and dreaming and especially good with headphones. Fill your head with some new innovative sounds. Daymoon's All Tomorrows is an innovative and interesting piece of progressive music.

'All Tomorrows' launches full of bass, keyboards, drums and guitar before the vocals join in "all tomorrows gone"! A great song to launch the album as the guitar, deep bass, and drums push on. The closing section of the song is the best part, bringing back memories of a full on orchestrated production reminiscent of Queen or Procol Harum.

'TranscendenZ' opens with more loud vocals before heavy drums, bass and then blistering guitar take over, supported well with mellotron like keys and clarinet. This one turns into a great instrumental segment with flute, clarinet, sax, and all manner of percussion and powerful drumming.

'Human Again' opens with soft acoustic guitar, bell chimes, flute, before the wonderful grand melody begins, supported by excellent keys. The electric is mixed well with the acoustic guitar as the vocals enter with great support of bass and keys. Another solid prog song filled with the sounds of Genesis, Pink Floyd and Jethro Tull. The chorus round that begins is a nice touch bringing more of those Tull/Genesis similarities to light. The flute work is excellent.

'Marrakech' is my favorite track on the album; unfortunately it is also one of the shortest. There is a short narrated opening before a cool vocal supported by recorders and excellent acoustic and electric guitar with great bass and key support. Reminds me of a Canterbury – like sound until the Middle Eastern melody takes over. An excellent surprise.

'Sorry' opens with keys, guitars, bass and then slow vocals which again bring back memories of early Pink Floyd. The bell chimes are back and they along with the keys weave a nice melody until the lead electric breaks through with flute support, to drive the sound up a notch. If Floyd and early Tull had collaborated, they might have created a similar sound. As one of the longest songs on the album, there is allot of great space for innovation and instrumental experimentation. The flute and lead electric guitar work on this song is interesting and mysterious.

'Bell Jar' is another of my favorites on the album. The mysterious flute opening with chimes and keys is the best opening on the album for me. The vocals take you right to Europe and a dark cold winter night. Great atmospherics and full of good melodies and more importantly instrumentation.

'First Rain' is another good song full of natural sounds and vocals that reflect that wonderful spirit of the fall. Great lead and supporting vocals, with excellent acoustic guitar, flute, percussion, and keys.

'Arklow' is another wonderful song full of great instrumentation. The bass is a real standout on this track. The keys, flute, and electric guitar work is also well worth the price of admission.

'News from the Outside' is another intense progressive piece of music which is full of keys, bass, and great electric guitar. This song has the most Pink Floyd sound to it. It would have fit well with some of the subject matter from 'The Wall'.

'The Sum' is the longest track on the album and full of fantastic instrumentation and innovative sounds.


Track Listing
01. All Tomorrows
02. TranscendenZ
03. Human Again
04. Marrakech
05. Sorry
06. Bell Jar
07. First Rain
08. Arklow
09. News From the Outside
10. The Sum

Added: April 14th 2012
Reviewer: Mark Johnson
Score:
Related Link: Band Website
Hits: 2409
Language: english

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» SoT Staff Roundtable Reviews:

Daymoon: All Tomorrows
Posted by Steven Reid, SoT Staff Writer on 2012-04-14 08:38:13
My Score:

There's a line on the back of the CD cover for All Tomorrows by Portuguese Progressive Rock act Daymoon that really goes a long way to explaining what this album sounds like.

"Co-produced, mixed, mastered and made much better by Andy Tillison".

Obviously I've no idea what All Tomorrows sounded like before Andy got his hands on it, but to say that there are many comparisons between the structure and execution of this album and Andy's band The Tangent, would be an understatement. Actually I'd go as far as to say, if you like The Tangent, then stop reading this review and go and buy this album - if I didn't already have it, I would! The songs are more stories in musical format, with the atmosphere, mood and emotion of the sounds far more important than whether these are "good songs". The fact that they are is a huge bonus. In much the same way that The Tangent do, Fred Lessing, who is the main creative force behind Daymoon constructs music that draws you in, making you want to almost try and sit in the middle of them, so as you don't so much listen to the music, as experience it. Played loud through headphones the atmosphere is so intense, that at times it can be a little overwhelming, although in a good way. The arrangements are dense, complex, intricate, but the way they are presented gives the feeling of an album that is surprisingly simple and straight forward. However four or five listens down the line, you realise that new aspects and intentions are still being revealed, but in an intentionally slow way. The danger however is that it would be easy to dismiss All Tomorrows as rather unexciting, especially on first encounter, with the interplay between the instruments, and the plain, simple vocals only really taking effect once they become more like old friends.

With his wife battling against cancer as he recorded All Tomorrows, the emotion, fight and introspection that Lessing must have been going through at this time feels almost tangible. The songs are deep, emotional journeys, both in terms of their, for the large part deep, dark and intense tone and the complex, yet insightful lyrics. If that makes Daymoon sound like a tough nut to crack, then in ways I suppose that is true, but take the time and the reward is like listening to an old friend tell you their thoughts, hopes, worries and desires. Something that not many albums have the ability to do. Lessing himself voices many of the songs, however Hugo Flores also adds his richer, deeper tones to a few tracks, bringing light and shade as the album moves from song to song.

If there is an issue with All Tomorrows, then it is that as an album it can feel ever so slightly disjointed, with the songs not always gelling with each other as they come and go. Even some of the tracks which segue into each other, as the gentle, introspection of "First Rain" and the Eastern flavoured "Arklow" do, feel more bolted together than created as one. That however is a small penance to pay for being served up songs that bite with harsh riffs, yet soothe with glorious keyboards and guitar solos ("Sorry"), unsettle with vocal effects and flute ("News From The Outside"), or transfix through singing motifs and surprise with traditional vocal chants ("Human Again").

Not the simplest of albums to get to know well, All Tomorrows marks Daymoon out as a band capable of captivating, challenging and coercing with skill, guile and raw emotion. Making for an album that sounds as fresh on the twentieth listen as it does on the first.


» Reader Comments:

Daymoon: All Tomorrows
Posted by Fred Lessing on 2011-09-23 16:15:44
My Score:

Just a quick correction about the band's lineup for this album:

DAYMOON (Portugal):
Fred Lessing – guitars, woodwinds, vocals, keyboards, ethnic instruments
Luνs Estorninho – bass guitar
Adriano Pereira – reeds, backing vocals
Paulo Catroga – keyboards, backing vocals
Fernando Guiomar – guitars

GUESTS:
Bruno Capelas (Portugal) – drums
Andy Tillison (UK) – keyboards, backing vocals
Pete Prown (USA) – guitar
Luca Calabrese (Italy) – French horn
Paulo Chagas (Portugal) – reeds & woodwinds
Hugo Flores (Portugal) – vocals
Mark Lee Fletcher (USA) – vocals
Thomas Olsson (Sweden) – guitar
Mats Johansson (Sweden) – keyboards
Jay Schankman (USA) – keyboards
M.ͺ Joγo Tavares (Portugal) – clarinet
Inκs Lessing (Portugal) – backing vocals
Don Allen (USA) - frantic shouting




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