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Parts As One is a pretty straightforward mid-tempo rock song. Perhaps an album like this needs such a song as a point where the whole thing can come to rest for a moment, perhaps also when played live. But as far as progressive rock goes, it has too little to offer to me. The same goes for the first half of Paupers Unfulfilled. It is also mid-tempo, with U2 -like licks, but it also seems to lack that 'umph' that makes both the restful and the restless songs on the album work.

The second half has more power, however, and makes up for the initial faintness. If it is indeed a little drama that these songs are lacking, drama fortunately abounds in the finale, Golden Streets. It is lyrically about our orphan dying, but set in a hopeful tone, with sounds of sea waves, choir, and tubular bells. You get the picture.

Speaking of pictures, the cd comes in a case The Face On Mars - Eccentric Orbit - Attack Of The Martians (CD delightful artwork, based on very un-prog tinted black and white photographs. Perhaps only the lettering leaves something to be desired.

Interestingly, when you haven't heard the album, you probably still don't have a clue what it sounds like after reading this review. Hence my references to other work in the progressive rock genre.

You'll have to hear it for yourself. Which brings me to the only big downside: the CD's distribution. Judging by their debut, they deserve it. The distinctive sound of A Day's Work is very present on this EP and this sound is not purely progressive. Still I have two reasons for writing The Face On Mars - Eccentric Orbit - Attack Of The Martians (CD review: just like their previous offering I like this EP and furthermore: placing too tight a boundary around our genre might end us up with only the well known bands leaving no room for young blood while we're complaining that all The Face On Mars - Eccentric Orbit - Attack Of The Martians (CD is gone.

Although it is hard and unnecessary to compare A Day's Work to other bands I will use the list they give in their bio. On this album the band continues the path set out in their previous release, but on this extended journey they appear to bring more experience and even better craftsmanship.

All tracks have smart guitar lines, nice drums and excellent vocals. Catchy, recognizable and very original - they have managed to create a very special sound of their own.

It immediately makes me move to the beat of the rhythm. The guitars and drums convey such an enthusiasm that it almost impossible not to actively take part in it. This track changes from loud and firm to intimate within two measures. The guitar sound can best be described as garage rock. Paul is able to sing, scream, whisper and make it all sound good - this man really has a voice.

From Where I Stand starts of with louder guitars whilst during the lyrics a more subtle guitar riff is introduced and used to good effect. The chorus starts off with a Paul Glandorf scream. The track Who Will Save Us will probably appeal most to DPRP readers as it has a nice build up with a number of tempo changes, the other tracks have them too, but this track seems to build-up to them more. Around My Head is a mellow track.

The artwork again is of high quality, created by Ronnie. There's only one real downside to this EP and that is that it is much too short, although the multimedia section created by Maarten makes up for it a little.

The multimedia section contains MP3 tracks of their previous album, a video of an acoustic version of Around My Headphotos of the band, guitar tabs, scans of written lyrics and a one track, live video.

Again A Day's Work have put in much more than a day's work which results in four fine tracks, a rich multimedia section and excellent artwork. The fact that this is 'only' an EP makes it difficult to offer a numeric conclusion - I do not think it deserves a lesser rating therefore I leave it unrated but personally recommend it. Emigrating 'down under' from his native Holland in the s, he opened a studio to record local bands but ended up mostly working on his own material!

The results of his writing and recording from the past couple of years have been compiled on the debut album, Go Figurereleased on Anvil Records which is co-owned by the artist.

Peter cites bands such as Genesis, Yes, UK and King Crimson as being major influences, although music of that ilk is not representative of his own style. The music on Go Figure is entirely instrumental and played, almost exclusively, on keyboards. As a consequence, the album sounds more like the more mainstream releases by artists such as Vangelis and Jean Michel Jarre or even some of the soundtrack work by Tangerine Dream. I have to confess that I find single-instrument albums rather self-limiting and none of the latter artists mentioned feature heavily in my personal collection, if at all!

Thus, Go Figure would have to be something special to overcome my own personal bias, and it almost succeeds. The result is confusing and enganging at the same time, the most obvious comparison being E. Five long, instrumental tracks, filled with numerous mood changes and instrumental palettes, going Album) complex keyboard-drenched moves to more atmospheric passages with a slightly orchestral background. The length of the pieces allow much experimentation with rhythmic, grandiose and minimalistic parts, where the symphonic overtones appear to be the driving force towards a rather eclectic performance.

Rich and virtuosic keyboard experiments with a blink to the past and the music of E. Good to almost great stuff and warmly recommended. ELP created their own hybrid of symphonic prog with their first four albums. But this hybrid has also created some good music.

Some music where the musicians actually has put their bra Retrieved 3 July Line Resolution 0. HiRISE website. Retrieved April 26, October 23, Malin Space Science Systems. April 5, Retrieved December 1, Bad Archaeology. Keith Fitzpatrick-Matthews and James Doeser. Retrieved October 12, Wynn, Arthur W. Image of the Day Gallery.

Retrieved 22 June Google Maps. Ancient Astronauts January : Berkeley: North Atlantic Books. Retrieved August 12, North Atlantic Books, U. New York: Random House. Adventure Unlimited Press. Patting and groping the surface like a blind man I feel ridges and sand filled creases. Brief images flit in and out, catching me by surprise and drawing me in while I am also trying to sketch them.

Each sensation is like a lifeline pulling me deeper and deeper into the depths of this objective. Other Remote Viewers have sometimes called this, "chasing the signal line". I just want to open my eyes. Suddenly, without warning, I bi-locate, and I am there, wherever "there" is. I am in two places at once, at my desk and somewhere else, far, far away. At first it's like I have opened my eyes underwater where everything is shifting and oddly colored, but then it all snaps into place and I see clearly.

I am standing in red sand. Red dust. I feel like it's hard to breathe and there's a terrible pressure in my head. Looming and monstrous artificial structures made of large stone blocks and covered in red dust crowd around me with the Album) to blot out the sun.

The sun, what is it about the sun? It seems smaller, more distant I shift my focus closer to an eroded pyramid shaped structure and the realization of an ancient civilization hits me. So ancient it feels slightly uncomfortable. I can put things into the context of human life and human civilization, from cave men on up to now, but this. This is beyond the human span of time in my experience and it creeps under my skin.

I toss my pen down trying to rid this feeling and move on with my session. More dust. I drop and drift back down through the motes and haze, settling closer to this gargantuan structure. Where it rises out of the sand there are motifs, low relief designs, reminiscent of the Maya, reminiscent of the Egyptians. Some kind of mysterious cuneiform dances around a massive collapsed entrance with fragments of columns littered about. Darkness spills outside and I can sense the ghosts still lingering in this place, flitting about the debris and shards of a long dead civilization.

In the early satellite imaging NASA conducted of the surface of Mars, there was an interesting anomaly, a land form that looked like a face. Around this formation were also what appear to be the edges of pyramid shaped forms. One such bump, discovered by an Italian man named Matteo Ianneo, looked eerily like Indian independence activist Mahatma Gandhiwho was assassinated in Higher-resolution imagery showed the shape to be not a mountain or hill, but a pit, which does indeed look a bit like a human head in profile, though what appears to be an eye and brow in the Google Mars image is less pronounced in the high resolution picture.

Gandhi might be a stretch — the ear is too large, and Gandhi never sported a double chin — but it's easy to see how pareidolia works when comparing the high- and low-resolution images of the same feature. Inyet another smidgen of evidence arose that initially seemed to support the notion that there's life on Mars.

In a viral Youtube video, a self-described "armchair astronaut" claimed to have identified a human or alien base on Mars, which he dubbed Bio Station Alpha. He found a somewhat mysterious linear structure that appears to be on the Red Planet's surface as seen in Google Mars. Astronomers immediately identified the structure as just a white, pixelated streak — an artifact deposited by a cosmic ray in the image sensor of the camera that snapped the photo.

Cosmic rays are energetic particles emitted by the sun. They deposit electric charge in camera pixels as they penetrate them, momentarily saturating them and creating a white streak in any photo snapped at the time. When the raw image file was converted to a JPEG for use in Google Mars, McEwen Album) compression probably caused the cosmic ray artifact to become more rectangular and "Bio Station"-like. This was subsequently proven to be the case, when the original source photo that Google used was identified.

It contained an obvious cosmic ray artifact, which, when processed, turned into the structure that the "armchair astronaut" mistook for a Mars base. Images taken by a European Space Agency ESA orbiter in seem to show an enormous hairy spider sprawling out its legs across a Martian mountain. The reality is almost cooler.

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