1974

The Review:

In 1974 progressive rock was just hitting it's stride. Prog/rock pioneers like King Crimson released two albums that year: "Starless And Bible Black" and "Red"; Emerson, Lake & Palmer" release the massive triple-live album "Welcome Back My Friends To The Show That Never Ends ... "; Rick Wakeman departed from YES to pursue a solo career with the release of his second album "Journey To The Center Of The Earth" - and a massive World tour to follow as Swiss keyboardist Patrick Moraz filled Wakeman's vacated spot on the YES album "Relayer"; Rush and Kansas recorded their self-titled debut albums: Gentle Giant gave us "The Power And The Glory"; Annie Haslam and Renaissance released "Turn Of The Cards", the Chicagoland band Styx recorded their last two records for the Wooden Nickel label "Serpent Is Rising" and "Man Of Miracles" before moving on to A&M Records and the national stage; Focus gave us "Hamburger Concerto; space rockers Hawkwind released their most progressive effort to date in "Hall Of The Mountain Grill"; Ian Anderson abandoned the single track concept albums of "Thick As A Brick" and A Passion Play" returning to a collection of unrelated tunes for the Jethro Tull album "War Child"; and Peter Gabriel recorded his swan song with fellow Genesis band-mates - "The Lamb Lies Down On Broadway" before establishing a solo career that turned him into a Superstar in his own right.

1974 was not just a golden age in the progressive rock movement but the unlikely name adopted by a five-piece modern cross-over prog band hailing from Connecticut.

1974 is a successful regional band that has been knocking them dead in their home State and surrounding areas for a couple of years now, amassing an impressive array of awards since the band's inception at the annual Connecticut Music Award. In 2012 they were awarded "Best New Band" at the first Annual CT Music Awards. And the following year snagged both Best Rock Band and Best Overall Band.

The band is booked throughout the year along the East coast with concerts in Connecticut, Pennsylvania, New Jersey, New York, and Massachusetts. And with each new CD release their reputation is growing stronger among the US progressive community. And their latest release should turn a few heads and widen that fan base exponentially.

"1974 & The Death Of The Herald" is the band's 4th release, following "The Return" (2012), "A Soldier's Tale" (2012), and "The Battle For The Lazer Fortress" (2011). All of which can be obtained from their site at Bandcamp.

"The Death Of The Herald" is a sci-fi prog rock concept album:

"An interplanetary war brews, pitting solar system against solar system. As the devastation spreads throughout the planets, The United Earthlands send up a series of satellites that surround Earth and create a protective grid around the planet. With invaders kept at bay, a government group called the Geminis develops the technology to clone humans, but the clones remain lifeless as no one is able to replicate the intricacies of the human brain. The project is scrapped. Once all solar systems weigh their growing casualties, the universe accepts a ceasefire and all planets are left to tend to their destroyed lands. So ends the The Galactic War. And so begins, "1974 & The Death Of The Herald."

The members include: Mike Forgette (vocals, guitar), Tim Moore (vocals, drums), Gary Dionne (vocals, bass), Adam Clymer (guitars) and Angela Rhea Piccoli (vocals, keyboards). The band lists modern prog influences such as Coheed and Cambria, Death Cab For Cutie, and The New Pornographers as well as some of the progressive pioneers of the 70s'. I can also detect a hint of bands like Farpoint, Bloodrock, White Witch, Doobie Brothers, Dream Theater, and a bit of progressive folk.

The music is cinematic and epic in scope, complete with a wall of crunchy guitars, exceptional vocal arrangements and harmonies, smoking keyboards, thought-provoking lyrics, and well crafted tunes. The 13 songs making up the concept album display the band's musical diversity - everything from arena rock power ballads, funk, metal, good old fashion rock and roll, and complex prog gyrations. The opening moments of the closing track "Death Of The Herald" caused my ears to perk up as I detected a familiar melody that I couldn't put my finger on before it came to me ... "Dusk"... from the Genesis "Trespass" album. But there is just enough of a variation to keep it from sounding too similar. And that only lasts about one minute before kicking into bombastic symphonic prog/metal shades of Symphony X. Screaming guitars, brilliant keyboard work, complex tempo changes, and stellar lead and backing vocals propel "Death Of The Herald" to a ethereal climax - complete with impressive instrumental fireworks and the regal majesty of a Gothic choir.

Highly recommended! - Prog Naut

The intriguingly named 1974 released their debut album 1974 & The Battle For The Lazer Fortress in 2011 to a good deal of praise and likewise their latest 1974 & The Death Of The Herald has received universally positive reviews. Although they released two interim EPs in 2012, this is their second only full length CD and like its predecessor it's a concept album with song titles like The Great Galactic War and The United Earthlands' Assembly giving a good indication of the subject matter. There is also a vague similarity between the cover artwork of this eco-friendly digipak and the inner sleeve of Dark Side Of The Moon.

As for the band's name, 1974 was undoubtedly a classic year for European prog (Red, The Lamb Lies Down On Broadway, Relayer, Crime of the Century, Autobahn, The Power and the Glory, Phaedra and L'isola di niente were all released that year) but perhaps more significantly for 1974 and their obvious North American prog-rock influences it was also the year that Rush and Kansas released their self-titled debut albums. More recent comparisons bring Echolyn and Dream Theater into the equation.

As winners of the 'Best Rock Band' category in the 2013 Connecticut Music Awards one assumes the band are based in that particular part of the USA and comprise Mike Forgette (guitars), Tim Moore (drums), Gary Dionne (bass), Adam Clymer (guitars) and Angela Piccoli (keyboards) although for some curious reason Angela's name is missing from the line-up in the sleeve notes. Clymer is the only band member that's not credited with vocals which accounts for the band's varied vocal range.

The Great Galactic War gets things off to a lively start with its spacey synth effects, powerful riffs and strong vocal hook before merging seamlessly into the acoustic guitar driven Phantoms. Lead singer Forgette has a particularly engaging voice and together with co-guitarist Clymer combines power chords with classy solos. Herald Of Life features delicate harmonies whereas Building an Empire allows the band to rock-out instrumentally although for me the presence of the free-form sax solo is more of a distraction than an asset.

A change of lead singers and prominent piano adds a fresh slant to Essential Arms whilst Dionne's thumping bass during A New Beginning brings Talking Heads' Psycho Killer to mind although the wah-wah funk guitar (straight out of Isaac Hayes' Theme from Shaft) doesn't work for me, I'm afraid. Angela's raunchy lead adds a rock-chic dynamic to the hard hitting Vera and similarly Admiral Tackett blends crunching chords with angelic Yes-like wordless harmonies.

The United Earthlands' Assembly is conspicuously dominated by a bluesy Floydian solo in stark contrast with the deceptively titled A Dark Thought with its sunny pop tinged melody and vocals. Gilmour-esque guitar returns for the strident Abduction whereas Ultimatum is almost punk like in its ferocity leaving the lengthy Death Of The Herald to bring up the rear. The latter sums up 1974 perfectly, combining refined vocals, hard hitting rhythms and soaring lead lines to successful effect.

If I had to level one minor criticism at 1974 then it would be that occasionally their ambitions get the better of them, cramming far more into the mix than is really necessary (the aforementioned wah-wah guitar during A New Beginning being a prime example). That aside it's hard not to like and admire the energy and adventurous spirit that's evident throughout the album. Add to that some first rate tunes and you have one highly recommended album.
Conclusion: 8 out of 10 - Geoff Feakes

Adam Clymer, formerly of Pohatcong Township, can add another accolade to his list of musical accomplishments.

Clymer's current musical outfit, 1974, recently took home the Best New Band award at the inaugural Connecticut Music Awards.

Their 2011 science-fiction-themed concept album, "1974 & The Battle for the Lazer Fortress" earned local praise and was ranked by CT.com as one of the year's top 15 albums by Connecticut bands.

In 2004, he was invited to participate in the International Mission of Music, which visited European music venues in Vienna, Salzburg, Prague and Budapest.

1974 released the EP "The Return," the follow-up to "Lazer Fortress," in June.

Clymer, who plays guitar in 1974, currently resides in Marion, Ct.

For more information on 1974, visit the band's official website. - The Express-Times

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Newington Band Melds Past, Future In Prog-Rock 'Battle For The Lazer Fortress'
March 21, 2011|By Eric R. Danton, SOUNDCHECK: Music News & Views

Rush went 136 years into the future on its 1976 album "2112." The Newington band 1974 goes 37 years into the past, back to, um, 1974, on its latest, "1974 & The Battle for the Lazer Fortress."

Not that there were "lazer" fortresses in 1974, but those were heady days for the sci-fi-drenched prog-rock sound the quintet embraces on its retro-futuristic concept album, released last month. It's an ambitious effort, in concept and musicianship.

In brief, the military has enslaved the human race in the distant future, after stealing technology that allows humans to upload their consciousnesses to computers. A grid of lasers blocks traffic in or out, and the Earth has become a prison. Enter five heroes (the band is a quintet — just sayin') to save the planet.

It's the stuff of classic sci-fi adventures, executed in tandem with the stuff of classic rock: soaring twin-guitar leads, chugging riffs and virtuosic shifts in the tempo and pace of the songs.

The nearly 16-minute instrumental "Overture" introduces the musical themes that populate the album, followed by songs portraying scenes in the story. "The War That Tears Apart the Sky" features a sing-along whoa-oh refrain, a slow-building guitar solo and terse riffage underneath singer A. Mike Forgette's ringing tenor.

"Welcome to Earth" starts with a smooth, clean guitar part that alternates throughout the song with fist-pumping rock riffage, while thunderous, hyperactive guitars race around over gurgling organ on "Guide Our Hands."

Without spoiling the ending, let's just say the last tune, "Song of Survivors," is a triumphant tribal thing, opening with a chorus of voices singing along with the steady pap-pap-pap of hand drums.

The rescue of humanity isn't the only triumph here: "1974 & The Battle for the Lazer Fortress" is an accomplished album from a young band worth watching. - The Hartford Courant

It’s not every day that I listen to an album with a member of the UNH Admissions staff on it. It’s also not every day that I suggest listeners read a short story prior to (or at least during) the first track of an album, but with 1974’s album 1974 and The Battle for the Lazer Fortress, this is exactly what you need to do.

If you do choose to read during the opening track, you will have ample time since “Overture” is an almost 16 minute introduction. This track not only gives listeners an idea of what to expect from the rest of the album, but it also grants a window into the talent and influences of the band, which they list as Yes, Rush, The Decemberists, The Beatles, Kansas, and Pink Floyd. This track alone contains everything from funky bass lines to huge guitar solos to that classic organ tone (rotating speaker and all!).

Following “Overture” is the brief “Intro” which mellows listeners out with the somber lyrics of “history turns to smoke, fades in fluid air, sight is lost from our gravest mistakes” only to transition into the nearly classic metal guitar of “The War That Tears Apart the Sky.” “Clone Discovery” is modern take on the retro progressive music cited as influences, and has a powerful “dual lead” vocal for most of the song.

For the rest of the album, the songs take on a different feel utilizing a cleaner lighter guitar sound, mostly maintaining a subdued feel until closing with a punchy and powerful ending. “Welcome to Earth” is highlighted by a funky bass line, “Wait” by a repetitious driving drum, guitar, organ, and bass riff ending, and “T.E.M.P.’s” by a soft-spoken harp-like ostinato. The album closes with the “Song of Survivors,” an inspiring track with chanted chorus vocals leaving listeners with a warm fuzzy feeling inside. Lyrics about rebuilding human-kind, gathering together to survive, and vanquishing fears makes this a song that is catchy enough to get stuck in heads but powerful and meaningful too, leaving a lasting impression.

While this concept album may not be for everyone, it is a great listen and something that the guys in 1974 should be proud of. I would highly recommend checking it out and keeping an eye out for what 1974 does in the future! If I had to give it a rating, I would give this album 4 Z’s out of 5 Z’s replacing S’s in a word to make the word more awesome. You can find 1974 and The Battle for the Lazer Fortress at http://1974.bandcamp.com. - The Charger Bulletin

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On Saturday, with so many options available!, we went to Zen Bar in Plainville to check out She Eats Planets with warm up band, 1974. 1974 was a very pleasant surprise. A five member original band from Newington, they were outstanding. They played songs from their album, “The Battle for the Lazer Fortress”. I will admit that I haven’t had the chance to listen yet but I’m told by Mike Lawson that it’s pretty great. Check em out some time! I hear rumor that they will team up with She Eats Planets again on March 10 at Zen Bar! And speaking of SEP…What can I say? It’s always a pleasure to watch Sara Hart sing her heart out in front of the SEP players. The played a bunch of tunes from “Liftoff” along with many others. Sara just kicks your ass! SEP is continuing their efforts to fund their next record so please help with their Kickstart Our Art campaign. Please help them get their music heard, people! - Local Band Review

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ive and Local and Arch Street Tavern are like chocolate and peanut butter: two great tastes made better when together. Saturday night? Another incredible line up put together by the two. This time, L&L served up a brilliant showcase of rock bands – openers, Hard Water, Superart, and finally, 1974. Each band tore up the place with amazing original music with a couple of covers thrown in for good measure. Hard Water played a fab set, at one point introducing their song “Magenta Placenta” saying it was a song “about the fear of getting a girl pregnant! They closed with a kick ass “Black Betty”. Superart performed a rocking set that included “Real Big Star” from their Weirdbeard Sessions album. Heard in the crowd…”They could easily be on the radio right now.” Indeed. Finally, 1974 wrapped up the night with songs from their brilliant 1974 and the Battle for the Lazer Fortress plus a few bonus songs from their soon to be released EP’s and a pretty sweet “Carry On My Wayward Son.” Live and Local shows are quickly
1974

1974

becoming the “It” shows in terms of local music. Evidenced by the number of local musicians in attendance…String Theory, Heirlooms, Little Ugly, and She Eats Planets were all on hand to enjoy. God I love bands supporting bands!

Rounding out the week was a very cool set from Mobjack on Wednesday night at Wood n Tap in Farmington. We stopped in to have a few cocktails and enjoy a solid acoustic set from Mobjack. Clark Denis from Diamondback had the same idea and we sat and chatted with him for a while. We even got a little “Welcome to he Jungle” out of him too! Good times! - Local Band Review

The opening of 1974's new EP, "The Return," reminded me of what I've been uncovering while delving further into the seemingly endless discographies of King Crimson, Yes, and other older bands. This was in line with what I'd read about 1974, and thus precisely what I expected from them. But halfway through the first short track, the band started to pull in numerous other genre influences, and to push out a more eclectic and unplaceable sound.


Like their prog influences, they maintain a strong focus on percussive order and constantly changing mathematical schemas, but the product of their labor has a very contemporary feel. It's a bit like prog rock with the jazz influence replaced by more of a pop sensibility. The vocals are super modern, with an angst unique to our generation. Angela Rhea-Picolli's backing vocals deserve a shoutout, as well, bringing a subtle wisp of Appalachian folk feeling to the songs. In brief, I think there are qualities to their music that would appeal to a much wider range of folks than the prog rock crowd alone.

The harder rock breakdowns throughout the EP make a strong argument, to me, for seeing 1974 live this weekend; they've got a unique mix of softer sounds and bang-your-head-to-this interludes. They're playing at Zen Bar in Plainville this Saturday, June 9th, at 9pm. The entrance admission-- $10-- gets you a copy of "The Return" to bring home with you. The show will be particularly unique and exciting because they plan to play their debut concept album "1974 & The Battle For The Lazer Fortress" in its entirety. This is a rare treat coming from any band, and I think there's no bigger challenge to tackle, and no better way to show the three-dimensionality of an album, than to enact a unitary experience like this. The audience gets to see the entire composition take shape in real time, and that's hard to turn down.

I'd say the first track, "The Stirring," is my favorite on the EP, because it just took me by surprise in the best way. Despite its brevity, I think it goes farthest in showing how much this band is capable of. It shows that they are not interested in being pigeonholed as a specific type of rock band. They also show later on in the album that they can make more radio-friendly tracks of warm summer pop. They showcase playful guitars and a steady, easy pace, at times reminiscent of Vampire Weekend in its twee simplicity. The ending track, "The Outline," starts with a great deal of earnest feeling, and compositional restraint, then transitions back into heavier rhythms and modern rock song structures. They're clearly setting out an ambitious project for themselves; it's not easy in this day and age to walk the lines they do. I'm intrigued by the EP, and look forward to seeing them in person, and hearing their next full length concept album coming out later this year. Make it down to Zen Bar this Saturday if you have any interest in some solid rock!

Saturday June 9 at 9PM @ Zen Bar
317 Farmington Ave, Plainville, CT
1974 CD Release Show for "The Return" EP
1974
Various Seagulls
Little Ugly
$10 (includes a copy of "The Return" EP)
Facebook Event Page - Ctindie.Com

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Holy Opening Batman! 1974’s latest conjuring is releasing on October 26th, just a few days before Halloween, and it’s absolutely ear candy for the masses.

“The Great Galactic War” knocks down the door and is right there in your face with all its musical awesomeness. It’s one of those epic tunes that would fit in the next great blockbuster movie (are you listening Spielberg??). Everything about this album screams soundtrack. I think aspiring movie makers should take a listen to “1974 & The Death of the Herald” for inspiration to create megahit movie. The whole thing is a story from beginning to end; and I’m not about to give away the plot so just buy it!!!

The vocal styles are diverse amongst the band which is made up of Mike Forgette on guitar and lead vocals; Tim Moore on drums; Gary Dionne on bass; Adam Clymer on guitar; and Angela Rhea-Piccoli on keys. Tim, Gary, and Angela all have their moments at the mic. But when they come together to create the band’s harmonies, that is truly the “sound” of 1974 and you are sucked into the world they have crafted for you.

One of my favorite songs on the album is the title track and the finale to the story. “Death of a Herald” is reminiscent of the band Yes. The grand arrangements and the sound of a thousand instruments invaded my head as I listened. The war has been won, people. The war has been won and “Death of a Herald” is the celebration of victory.

I couldn’t help but notice the diversity in each track, there were some actual rock opera-worthy moments throughout the album, yet there is a softer side. And just when you think that’s it, they bust out into a tune that could easily be the soundtrack from 1974, the actual year that is.

I highly recommend you add this masterpiece to your collection ASAP. You know I don’t just “say” that unless I mean it. “1974 & The Death of the Herald” drops Saturday, October 26th and can be purchased at http://1974.bandcamp.com/.

Follow them on www.facebook.com/1974online or https://myspace.com/1974band. - Local Band Review

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released October 26, 2013

Mike Forgette – Guitars, Vocals
Tim Moore – Drums, Vocals
Gary Dionne – Bass, Vocals
Adam Clymer – Guitars
Angela Piccoli – Keys, Vocals

Produced by 1974 and Jeff Weed
Recorded, Mixed, and Mastered by Jeff Weed

There is a time for a sci-fi prog-rock record to be recognized for its perfection: and the time is now.

When I first listened to 1974 & The Death of the Herald, my immediate reaction was they took the best parts of Leftoverture, Operation: Mindcrime, and Fire of Unknown Origin, kissed them all together, and sent an unapologetic love-letter to their fans: this is us, naked as we are, and we thank you for supporting what we do.

And support they got, even before the album was recorded. 1974 went online with a Kickstarter campaign, which brought them in almost $1000 more than their goal of $1500. The love of their supporters helped finance a creation that can be described in no other way but epic (Because, c’mon, “epic” is the Prog-Rockers’ word. Only they can use it without inherently sounding like a dick).

1974 & The Death of the Herald is their first full-length since 2011′s 1974 & The Battle For the Lazer Fortress (which serves as Part III to a planned trilogy, with Herald being Part I). Confused? It’s okay. According to the band, completing the story is a means of a certain catharsis. Doing it in an unorthodox way is a means of 1974.

The record begins with “The Great Galactic War,” an introduction to the tone of the record, with fantastic harmonies and very sinister riffs and Forgette announcing: “Heavy times of gray / The tears we’ve had to stay / We are suffering blows in the Great Galactic War!” It’s an immediate song that brings you right into the story, which then seamlessly transitions into the acoustic strumming of “Phantoms,” which sustains its pace with excellent drumming from Moore. “Herald of Life” begins reminiscent of Chicago’s “Colour My World,” with a gorgeous arpeggio on piano in 6/4 time and Piccoli’s sweeping counter-melody to Moore’s verse, before they come together with lovely, lush harmonies. “Building An Empire” then explodes into frame without even a second of pause. It blisters with dual-guitar lead harmonies and a blazing saxophone solo from Connecticut’s Isaac Young. Of note are the key changes underneath Young’s solo, which personifies the record itself: pay attention, beware the curves, dear listeners. Things are about to happen.

And indeed. We are shifted into “Essential Arms,” which might be the perfect song on the record to achieve a cross-over success: it’s so radio-catchy it hurts. It begins with chords played through a sitar pedal by Clymer and heads straight into a very uptempo snare pattern, giving the song such beautiful vigor. At the chorus, Moore sings “the time is now” as the rest of the band chimes in with harmonies that make you sing right along with them, as infectious a moment as there is on this album. Instead of hitting a traditional bridge-solo-chorus to end the song, we get just the solo after the second verse, and end on that sitar, bringing the song full-circle.

“A New Beginning” is the funkiest song of the lot, with foot-tapping bass lines from Dionne. During the breakdown, you imagine it going on for 20+ minutes of jam-heaven. “Vera” will blow your mind. Take heed. Sung by Piccoli, it’s an absolute powerhouse of a vocal, best described as sung by a mod-cabaret-warrior-genius. It’s easily the catchiest song after “Essential Arms” with the band pleading “Please save us, o Vera, please save us!” – and her confident vocal assures you that she really will.

“Admiral Tackett” introduces Dionne on a bluesy lead vocal as the titular character. It begins with a riff and slide guitar that can only be described as sleazy, grimy, naughty. It’s absolutely one of the highlights on the record. As is the shift to what could be construed as the chorus, with Forgette singing in his best falsetto, with wistful urgency. The song reminds me of something out of the McCartney/Lennon songbook, with two different parts coming together to make one song (i.e. “A Day in the Life”). It works brilliantly. “The United Earthlands’ Assembly” follows as a story-mover: it’s mainly instrumental, and a heart-wrenching one at that, with a chorus and myriad “voiced” parts to help the story along to the next episode. The lead playing is melodic and wondrous.

The next highlight is the short piece, “A Dark Thought.” Dionne begins with an active bass line played underneath a surreal melody sung by Piccoli while he harmonizes beneath before taking his own verse. How her voice sounds while singing “You’re the only one who can raise the sun” is incredibly affecting. “Abduction” follows, with continued dual-guitar solos stretching into the grey oblivion in the lyrics. “Ultimatum” rollicks along, with a vocal-duel between the characters sung by Dionne and Moore. It works because the battle between the two fits into the verses and choruses. Nothing is trite, or forced, to make the music fit the lyrics. It works in great synchronicity.

Ending the album is the title track: “The Death of the Herald.” By all accounts, this is the magnum opus of the band’s songwriting prowess over their seven year existence. It is a true suite that encompasses everything you would expect from an album/story-closer of a sci-fi prog-rock record. It begins with the band singing in harmony, then moves to its prog-zenith aspirations: heavy bass and guitar, organ, active drums. One last time, we hear Moore shout “the time is now” as the rest of the band repeats the phrase, which leads way into a marching snare beat and a Gilmour-esque solo by guest guitarist Lou Lorenzo of Connecticut band Farewood. The song only builds from there, eventually employing a full-choir Latin chant. It’s a breathtaking moment of grandiose design while managing to avoid any pretense.

1974 & The Death of the Herald exists to be heard from start to finish. In true prog fashion, there are odd time signatures, vast tempo changes, and flourishes of the musical absurd that often times is best enjoyed by only lovers of the genre. But the difference between 1974 and the other bands of prog is in the voices. Four different singers, all gifted, always catchy. Not since Queensryche’s Operation: Mindcrime has there been a concept album with so much guitar balanced with so many sing-a-long moments that will find you humming the melodies endlessly.

You can listen to the entire album on 1974′s Bandcamp page, with lyrics provided to help you along with the story.

Set your calendars for April 26. 1974 will be performing at Zen Bar, in Plainville. At the show, they will premier the video for their song “Ultimatum.” - Lonesome Noise Music, baby. It's all about the Music.

Hörru Robban, du som gillar prog, det här 1974-gänget måste du kolla upp!

Eeeh, vadå 1974? Heter bandet 1974?

Ja.

Jaså, dom hade du inte hört talas om? Eller hade du det? Jag hade då inte gjort det, men gosse vilken höjdarskiva senaste CDn 1974 & the death of the herald är.

1974 är ett proggigt classic rock-band (eller ett classic rock-influerat progband) från USA som på egen hand släppt fyra skivor (utöver den här även A Soldier's Tale, The Return, och 1974 & The Battle For the Lazer Fortress). Alla går att lyssna på och ladda ner från deras Bandcamp-sida, du betalar bara en valfri summa direkt till bandet och så får du skivan som MP3 eller FLAC.

Eller så surfar du hit och klickar på omslaget men säg det inte till nån.

Så vill du ha din prog i stil med gamla Rush, Kansas, Haken och Coheed and Cambria och med ett skönt 70-taligt sound är det här ett klockrent inköp eller nerladdning. Lita på mig, du kommer ICKE att ångra dig!

Årets fynd redan i januari tamejtusan!

**Update**

Mike från 1974 mejlade mig alldeles nyss och tackade så mycket för detta inlägg:

"Film & Musikbloggen, we want to thank you for the kind words you wrote about our new album. The band is very proud of "1974 & The Death Of The Herald", and we are happy to see the music finding an audience in Europe. 1974 has not had a chance to play outside of the United States yet, but we are hoping to travel over there someday. In the meantime, we appreciate the exposure that your blog and other similar ones provide for us. We are humbled, and again, thank you for spreading the word about our music.

~Mike"

Coolt, va! - Film % Musikbloggen!

Hometown: Newington
Members: Mike Forgette, Tim Moore, Gary Dionne, Adam Clymer, Angela Piccoli
Current Album: 1974 & The Death Of The Herald (2013)
Fans of bands like Pink Floyd, Rush and the sludgier side of The Decemberists will appreciate the ambitious prog rock that 1974 has been creating for seven years. As the name suggests, the band prides themselves on songs that sound like they came straight from the ‘70s. The five members, each with unique musical backgrounds, have unified around that common goal with plenty of impressive riffs. Since their formation, 1974 has released two LPs and two EPs. - Paste Magazine

1974 is a Progressive & Classic Rock quintet hailing from Newington, Connecticut. The line-up features Mike Forgette (guitar, vocals), Adam Clymer (guitar), Angela Rhea Piccoli (keyboards, vocals), Gary Dionne (bass, vocals), and Tim Moore (drums, vocals). Since 2007 the band has been captivating audiences with their sound based on powerful guitar riffs, catchy melodies, “Beach Boys”-styled harmony vocals, and energetic stage performances inspired on the Classic Arena-Rock bands of the ‘70s, such as “Yes”, “Kansas”, “Rush”, “Deep Purple”, and “Pink Floyd”. Focusing on concept albums that explore typical Sci-fi themes, 1974 has released the full-length album “1974 & The Battle For the Lazer Fortress” (2011); the EPs “The Return” (June, 2012) and “A Soldier's Tale” (December, 2012); and the newest full-length “1974 & The Death Of The Herald” (2013). These works have been well-received around the Connecticut Rock scene, granting to 1974 two awards, as “Connecticut’s 2012 Best New Artist” and “Connecticut’s 2013 Best Rock Band”. “1974 & The Death Of The Herald” is a concept album that contains 13 tracks that tell an adventurous sci-fi story about a Galactic War, being full of drama and bordering the Opera-Rock style. For a band formed by young people, the music of 1974 is surprisingly reminiscent of the Space, Psychedelic, & Hard-Rock of the ‘70s. But their overall sonority is not much retro, being updated to the new century to sound less experimental and more muscular – mainly on the guitar textures and on drums. Along the tracks, the listener can identify echoes of bands like “The Beatles”, “Jefferson Starship”, early “Pink Floyd”, “Hawkwind”, “Gong”, “Vanilla Fudge”, “Arthur Brown”, “Deep Purple”, “Fuzzy Duck”, “Budgie”, “Heart”, “Kansas”, “Blue Oyster Cult”, and very early “Rush” reverberating on groups like “Muse”, “Radiohead”, “Coheed and Cambria”, “Kyuss”, “The Decemberists”, “Simeon Soul Charger” and others. The highlights go for the Space-Rock atmospheres and the smart hooks, the groovy Hard-Rock guitars underlined with Hammond-sounding organs, the Psychedelic bass lines, the melodic guitar solos, and the bright and catchy vocals that are mainly driven by male voices, but that sometimes switch to female lead-vocals sung by the extraordinary Angela Rhea Piccoli - who recalls me of “Grace Slick” (“Jefferson Airplane/Starship”) and “Jinx Dawson” (“The Coven”). The songs are all excellent, and can be pleasantly heard in a single spin without boring the listener for a second. “The Great Galactic War” (03:13) is a contagious Space-Rock with Heavy-Metal guitars that sooths down on the ballad “Phantoms” (04:30). “Herald of Life” (03:15) is a nocturne for piano inspired on “Chopin” adapted with harmony vocals and guitars to sound as a Space-Rock. It sets the stage for a series of great ‘70-styled Hard-Rock songs, driven by groovy riffs and swinging Hammonds, recalling bands like “Deep Purple”, “Budgie”, “Fuzzy Duck”, “Arthur Brown”, “Hawkwind” and “Gong”: “Building an Empire” (03:51) is driven by a Space-Rock riff that recalls the song “Master of the Universe”, by “Hawkwind”, and has “Gong”-sounding saxophones and a great melodic guitar solo; “Ultimatum” (03:36) is more like “Deep Purple”, including the guitar solo and the powerful vocals; while “A New Beginning” (06:05) and “Vera” (04:40) are two brilliant songs that showcase the great talents of Angela Rhea Piccoli as lead singer (“A New …” is more Psychedelic, and has a vivid instrumental vibe; “Vera” is a groovy Hard-Rock with sticky harmony vocals). In between, 1974 offer us some ballads, like “Essential Arms” (04:49) (which begins with Hindu sounds like “Velvet Underground”, but ends with a Neo-Prog guitar solo); the Space-Blues “Admiral Tackett” (04:59) (driven by slide guitars and space-Rock backing vocals); and “A Dark Thought” (03:02), driven by soft male/female vocals. “The United Earthlands’ Assembly” (04:15) is a Post-Rock inserted into the album’s concept that shows how 1974 absorbs new trends. Finally, under a Progressive point of view, two tracks represent 1974’s most ambitious works for this album: “Abduction” (05:22) begins slow, recalling “Pink Floyd” and “Rush”, grows denser with Heavy Metal texturized guitar riffs and has soulful vocals and harmonious guitar solos, also recalling “Muse” and “Coheed and Cambria”; “Death of the Herald” (09:06) – which was strategically placed at the end of the record - is a masterpiece conjuring all 1974’s musical references, old and new. It begins slightly Folk, turns into a great Space Rock with epic vocals (recalling “Muse”), has amazing guitar solos and Prog-Metal instrumental parts, malevolent choirs like “Orff’s” “Carmina Burana”, and ends with Psychedelic soaring guitars! 1974 is a shiny and promising band that knows how to play Psychedelic, Space, Hard-Rock & Classic Rock of the ‘70s with the verve and stamina of the new century, being highly recommendable for fans of “Pink Floyd”, “Hawkwind”, “Gong”, “Vanilla Fudge”, “Arthur Brown”, “Deep Purple”, “Fuzzy Duck”, “Budgie”, “Heart”, “Kansas”, “Blue Oyster Cult”, early “Rush”, “Muse”, “Coheed and Cambria”, “Simeon Soul Charger”, “Arabs in Aspic”, and so on. Band members and collaborators involved in 1974 are: Mike Forgette - Guitar, Vocal; Adam Clymer – Guitar; Angela Rhea Piccoli - Keyboards, Vocals; Gary Dionne - Bass, Vocals; Tim Moore - Drums, Vocals. Guest musicians: Isaac Young – Saxophone on “Building an Empire”; Lou Lorenzo – Guitar on “Death of the Herald”; Jennifer Hill, Leah Lorenzo & Steve Gregory – Choir on “Death of the Herald”. Album released on 26 October 2013. Music & Lyrics by 1974; Recorded, Mixed, & Mastered by Jeff Weed. Produced by 1974 and Jeff Weed... - Progressive Rock & Progressive Metal E-ZINE

Connecticut rock band 1974 have recently released their fourth album entitled "1974 & The Death Of The Herald." The band was named "Best New Band" in 2012 and "Best Rock Band" in 2013 at the annual Connecticut Music Awards. Their latest release is considered a concept album of Earth in the future and individual characters dealing with great triumphs and great sorrow.

The album starts out with "The Great Galactic War," which begins with a more aggressive feel of their symphonic/progressive sound. The 1974 sound huge with the big chorus of "Herald Of Life," before the band begins to show their musical talents on the prog-rock structure of "Building An Empire" which flows into the atmospheric build-up of "Essential Arms." Their music takes on a dark tone with "Admiral Tackett" and spaces out with a great performance as the backdrop to the voiceovers on "The United Earthlands' Assembly." The album (and story) conclude with the nine-minute title song "The Death Of The Herald," that builds in strength and speed as the band's progressive nature shines through.

The 1974 have a couple shows lined-up, including a return to Connecticut on April 26 at the Zen Bar in Plainville. To find out more about this band, please visit - JP's Music Blog

1974 is a five-person progressive/classic rock band consisting of Mike Forgette (guitar/lead vocals), Tim Moore (drums), Gary Dionne (bass), Adam Clymer (guitar), and ANGELA Rhea Piccoli (keys). They base their music in a more “technically advanced future” as they stated.

With modern influences such as Deathcab For Cutie and Coheed and Cambria, you can see why their debut album, 1974 and The Battle For The Lazer Fortress made it to the top 15 albums of 2011 on CT.com. Along with their great success, they recently won “Best Rock Band” at the CT Music Awards!

OC Concert guide recently chatted with 1974 to chat a little about their band and influences.

OCCG: How did 1974 start out?
1974: We started out without a specific artistic concept for the band, but brought a lot of various influences (classic and progressive rock, musical theater, punk rock) to the table. Countless rehearsals over three years slowly molded us into the band we are today; one that writes progressive rock operas that tell a story. When you have such a diverse group of musicians, and such close friends, there is no way the band could have been just some run of the mill, weekend, top 40 cover band.

OCCG: Who are your biggest influences as a band and individuals?
1974: As a band we have an eclectic list of musical influences. The band is a mix of all our loves, from Musical Theater to old Blues to Punk Rock. We really use all we can in our music.

Gary – Rush
Clymer – The Beatles
Forgy – Jethro Tull
Angela – David Bowe
Tim – Yes

OCCG: Individually, what are your favorite songs of yours and why?
1974: It’s hard to pick a favorite, because all of our songs are one piece of an intricate puzzle. Our new album has been our favorite piece to play live. We really mix it up. The songs on our albums are written to fit the story and the characters. We can have a huge heavy rocker right next to a folk song if it makes sense in the story and the transitions work. “1974 & The Death of The Herald” really is a roller coaster of sound. So playing that live is both fun and challenging. We love that album. It is by far our favorite.

OCCG: What song do you guys enjoy playing live the most?
1974: Gary – Building an Empire
Clymer – (tie) The Pyre at Violent Hill & Vera
Forgy – Abduction
Angela – Abduction
Tim – Essential Arms

OCCG: I read that you guys write, produce, record, and mix all of your own music…what is the hardest part of having to do all of that? Does it make everything more worthwhile?
1974: We did up until the new album (“1974 & The Death of The Herald”).
Before that we wrote, demoed, recorded, mixed, mastered, and produced everything. We finally decided to go to a professional studio and hire a producer. Jeff Weed ended up becoming as important to our music as we had. His guidance and friendship was so wonderful. We think the new album came out beyond expectation because of him and his help. Jeff recorded, mixed, and mastered Death of The Herald. He also co-produced the new album with us.

Prior to that we would work for months on end (years in the case of our first album “1974 & The Battle for The Lazar Fortress”). We have a little demo studio set up in our rehearsal space. We would write and record nonstop until we have the correct pieces of the story together.
Then we fine tune the songs and restructure when necessary. Lastly we get together and write the lyrics that tell the story. After that we would lock ourselves in the rehearsal space and record for as long as it took. During the sessions for our EPs, we caved in and recorded drum tracks in Clymer’s home studio. We just needed a change of scenery. Once everything was recorded, it was up to Forgy to mix and master everything. That is how we did it before recording “1974 & The Death of The Herald.”

OCCG: You guys recently won “Best Rock Band” for the CT Music Awards, what was the initial and after feeling of winning?
1974: When we found out we had been nominated, we were honored. At the time, we were recording our new album, so we were engrossed in the creative process tucked away from the world. When it got closer to the awards, and we had wrapped up production, that is when it sunk in so to speak.

Actually winning the award was an incredibly emotional experience. It was so wonderfully overwhelming knowing that a lot of our home state believed in the same creative vision that we did, as much as we did.

We never hide the fact that we are proud to be from CT. The people here, the musicians, the scene, and just about everyone one else has been incredibly supportive and kind to us. Winning that award simply reinforced the fact that we may tour the world someday, or record in a fancy studio across the country, but at the end of the day CT is, and always will be, home for 1974.

OCCG: What’s next for 1974?
Writing, touring, performing, traveling, creating, and occasionally taking a rest to sleep for a few hours. - OC Concert Guide

When a bad chooses to name itself after a year, you have to figure there is some significance to that year in relation to their music. So when you listen to 1974 (the band), you might expect the music to sound like something from 1974 (the year). And aside from a few modern touches, your expectations would be fulfilled. 1974, like any other year, had its good and bad points musically, so fortunately this band takes its cues from Secret Treaties (Blue Oyster Cult) and Axe Victim (Be Bop Deluxe) rather than Dark Lady (Cher) or Hot Sox (Sha Na Na). Other points of reference (not necessarily from 1974) might include Captain Beyond, Nektar, Klaatu, and even Kansas or Styx (a little). I'm also reminded a bit of those Finnish masters of retro-rock, Five Fifteen, especially with the male/female vocals. The music centers around a story, some kind of science fictional epic involving a Great Galactic War and the United Earthlands' Assembly and the like. Concept albums are so 1974, and this isn't this band's first one — they put out 1974 & The Battle for the Lazer Fortress in 2011 as well as a couple of EPs. It's possible all of their work is part of a single sprawling epic a la Coheed & Cambria. But that question is left for people who read liner notes, and for those who just like to listen, 1974 gives us some good solid rock music in the classic mode, before it was considered uncool to have keyboards and extended instrumental sections. They manage to avoid sounding too pretentious or serious, and utilize many of the tropes of 70s rock without coming off as simply derivative. Guitar, keyboard, and vocals are all quite well done, and the production is clean and full without sounding fussy or overblown. And while the music doesn't aspire to Gentle Giant's complexity, neither is it straight 4/4 bonehead stuff. In short, 1974 & The Death of the Herald is something that doesn't seem like it ought to exist in 2013, but succeeds admirably. I can think of many reasons why some listeners might not go for it, but given a fair chance, I think those reasons can be overcome by the quality of this performance. - Expose Online

"Hailing from Newington, Connecticut, 1974 is a 5 piece original rock band that conjures up the memories and sounds of classic stadium rock bands from the 70’s such as Yes, Kansas, Rush, Deep Purple, and Pink Floyd. Since 2007, the band has been awing audiences with powerful guitar driven riffs, Beach Boy-style vocal harmonies, catchy melodies, and high energy stage shows."

The band was recently featured on the Paste 50 States Project and Connecticut on the strength of their debut album, "1974 & The Death of the Herald". I want to thank Gary Dionne (Bass/Vocals), Adam Clymer (Guitar), Mike 'Forgy' Forgette (Guitar/Vocals), Angela Rhea Piccoli (Keys/Vocals) and Tim Moore (Drums/Vocals) for taking the time to participate in this edition of First/Last.

The first album you ever bought?
Gary Dionne: Nirvana “Nevermind”.
Adam Clymer: The Beatles “Sgt. Pepper's Lonely Hearts Club Band”.
Mike Forgette: The Offspring “Ixnay on the Hombre”.
Angela Rhea Piccoli: The Soundtrack to 'The Lion King', the musical.
Tim Moore: Gloria Estefan “Greatest Hits”.

Your last album bought?
Gary: Fatgrip “Wake Up”.
Clymer: Ben Folds Five “Sound of the Life of the Mind”.
Forgy: Friend Roulette “I'm Sorry You Hit Your Head”.
Angela: The soundtrack from 'Frozen'.
Tim: Yes “Fly From Here”.

Favorite album of all time?
Gary: The Postal Service “Give Up”.
Clymer: (Tie) Ben Folds “Rockin' the Suburbs” & Pink Floyd “Dark Side of The Moon”.
Forgy: The New Pornographers “Twin Cinema”.
Angela: The Front Bottoms “Talon of The Hawk”.
Tim: Yes “Live at Montreaux”.

Least favorite/most disappointing album?
Gary: Hootie and The Blowfish “Fairweatrher Johnson”.
Clymer: Ben Folds Five “Sound of the Life of the Mind”.
Forgy: Jethro Tull “Under Wraps”.
Angela: Spice Girls “Goodbye”.
Tim: Live “V”.

First concert attended?
Gary: ‘Weird’ Al Yankovic.
Clymer: Steve Miller Band.
Forgy: Jethro Tull.
Angela: Patent Pending.
Tim: Live.

Last concert?
Gary: Ian Anderson.
Clymer: Paul McCartney.
Forgy: Ian Anderson.
Angela: The Sound of Animals Fighting.
Tim: Yes.

Favorite concert ever?
Gary: Andrew WK.
Clymer: Roger Waters ‘Wall Tour’.
Forgy: Roger Waters ‘Wall Tour’.
Angela: Modest Mouse.
Tim: Yes.

Least favorite concert?
Gary: Seether and Ra.
Clymer: Dave Mathews Band.
Forgy: Everclear.
Angela: Arctic Monkeys.
Tim: Staind.

Any thoughts, experiences about Pittsburgh?
Forgy is the only one that has been out there. However, we want to get out there to play as soon as we can. His fiancé went to grad school at Carnegie Mellon. They loved the fact that even though it is a city it has a college town feel to it. Clymer has passed through Pittsburgh
once or twice in his travels. Great city. The band is truly excited to get out there and play. - hughshowsredux.blogspot.com

Best Overall Band: 1974

It was bound to happen: after winning back-to-back Best New Band and Best Rock Band awards, Newington prog-rock quintet 1974 took home this year's Best Overall Band trophy on the strength of its sophomore album, "1974 & The Death of The Herald," its brazen, concept-heavy live shows and a devoted fan base. Most likely you'll see them top some other categories next year, or they might just invent a few new categories. - CTnow.com

1974 is a progressive rock quintet from Newington, Connecticut (USA). The line-up cosists of Mike Forgette (guitar, vocals), Adam Clymer (guitar), Angela Rhea Piccoli (keyboards, vocals), Gary Dionne (bass, vocals), and Tim Moore (drums, vocals). Since 2007, the band has been captivating audiences with their sound, based on powerful guitar riffs and catchy melodies, Beach Boys-styled harmony vocals, and energetic stage performances inspired on bands of the'70s, such as Yes, Kansas, Rush, Deep Purple and Jefferson Starship. In 2012, the band won "Best New Band" at the 1st Annual CT Music Awards at The Bushnell Theater. The following year, the band won "Best Rock Band".

1974 brings beautiful melodies and memorable moments, driving songs and at times complex parts, that take you by surprise. & The Death Of The Herald is a brilliant concept album with more than an hour of varied and memorable music. 1974's & The Death Of The Herald exists just to be heard from start to finish. In true prog fashion, there are odd time signatures, vast tempo changes, and flourishes the musical extravaganza that often is best enjoyed by the true lovers of the prog genre.

But the real difference between 1974 and most of the other progressive rock bands is in the voices. The presence of three male and one female singers, really steps up the game. They are all fantastic singers that effortlessly convey a wide range of emotions. Four different singers, all gifted, always catchy.

This album is highly recommended and will be at the top of my 2014 end list for sure. Wow!

****+ Gert Bruins (edited by Esther Ladiges) - www.backgroundmagazine.nl