I Heard You Listening

EcholynJuly 31, 2015
Rock℗ 2015 Echolyn
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i heard you listening is ninth full-length studio album by the progressive rock band Echolyn. Pre-sales for the album began on July 1, 2015 and ran for a duration of two weeks. Fans could pre-order CD and 180-gram vinyl versions of the album. The pre-sale CD was signed by all five members of the band. Other perks for pre-ordering the album included a download of the 24-bit/96 kHz full resolution audio files and a download of an additional song, "Love Why Weren't You Missed", which was recorded as one of five extra songs written for, but not included on, the album.

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Messenger of All's Right6:23
Empyrean Views9:18
Different Days7:47
Carried Home5:10
Once I Get Mine5:40
Sound of Bees6:57
All This Time We're Given7:58
Vanishing Sun7:34
3 total

Additional Information

July 31, 2015
℗ 2015 Echolyn
File type
Access type
Streaming and by permanent download to your computer and/or device
Internet connection
Required for streaming and downloading
Playback information
Via Google Play Music app on Android v4+, iOS v7+, or by exporting MP3 files to your computer and playing on any MP3 compatible music player
To say that Flower Kings bassist Jonas Reingold's side project Karmakanic, heard here on its fourth album, is decisively influenced by British progressive rock of the late '60s and early ‘70s is only to say that the style simply constitutes Reingold's musical vocabulary. He cannot restrain himself from writing arrangements in which tempos change suddenly, dynamics shift, new melodies are introduced well into a given song, and solos are constructed around rapidly played arpeggios. Even when he begins "When the World Is Caving In" with an introspective a cappella vocal, he has to then repeat the verse set against a complicated musical track played in a different time signature. The only real exception on In a Perfect World comes toward the end with "When Fear Came to Town," in which the slow tempo does hold throughout the track, even though halfway through what had been a simple arrangement takes on a long, involved instrumental coda. Elsewhere, complexity rules, but complexity of a familiar sort. A song like the 14-minute opener, "1969," is typical. Lyrically, Reingold may be referring to the end of the glorious ‘60s, but he's also referring to the birth of the musical style he loves. And lyrically, the song sounds like a battle of the bands between a Yes tribute group and a Peter Gabriel era Genesis tribute group, both on-stage at the same time. That isn't a bad thing, necessarily, and it certainly takes a technical proficiency. But some of the best moments on the album come when Reingold varies things somewhat, such as the Latin rhythm he introduces into "Can't Take It with You" and, every now and then, his fretless bass, popping up unexpectedly, as if the ghost of Jaco Pastorius were haunting the sessions.
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