Ihsahn - Eremita (2012)

1. Arrival
2. The Paranoid
3. Introspection
4. The Eagle And The Snake
5. Catharsis
6. Something Out There
7. Grief
8. The Grave
9. Departure
10. Recollection (deluxe edition only)



http://www.mnemosyne.no/productions/2012/04/release-date-for-ihsahn’s-eremita-confirmed/

Candlelight Records confirmed today June 18 as the European release date for Eremita, the anticipated fourth album from Ihsahn. Recorded and produced at Telemark’s Ivory Shoulder Studios, with additional tracking completed at Notodden’s Juke Joint Studio and Seattle’s Envisage Audio, Eremita was mixed by Jens Bogren (Opeth) at Fascination Street Studios in Örebro, Sweden. Alongside Ihsahn, the album features performances from drummer Tobias Ørnes Andersen (Leprous), saxophonist Jørgen Munkeby (Shining-Norway), guitarist Jeff Loomis (ex-Nevermore), and vocalists Devin Townsend, Einar Solberg (Leprous) and Heidi S. Tveitan (Starofash). The album’s packaging has been created by award-winning Spanish designer Ritxi Ostariz.

Eremita begins a new musical chapter for the highly regarded musician; his previous album, Norwegian Grammy Award Nominated After, forming the final part of a planned trilogy on its release in early 2010. Offering nine new songs to his growing worldwide audience, Eremita is the longest and most spirited of Ihsahn’s solo recordings. Reflecting on the recording process Ihsahn notes, “this is right where I want to be musically, with lots of room for dynamics and expressive variety. Tobias and Jørgen have really added to the organic vibe I was going for and have contributed to the overall feel with their fantastic musicianship. And to have Devin, Jeff, Einar and Heidi adding their special moments, I am very privileged to be able to work with such a talented group of people. I really feel this is some of my most inspired work yet.”

Exhibiting Ihsahn’s highly-trained guitar and keyboard skills, Eremita (latin for hermit) is a journey that is sure to find an expanded audience for the revered 36-year-old. Guitar World senior editor Brad Angle says, “with Eremita Ihsahn proves yet again that he is one of the most influential, progressive and enduring musicians to emerge out of the classic Norwegian black metal scene.” MetalSucks editor Vince Neilstein says, “Ihsahn just keeps getting better and better with every album he releases. He’s really come into his own as one of the most talented musicians and songwriters in all of metal, and his distinct, singular sound has come a long way from his days in Emperor. I cannot wait to hear this record.”

Ihsahn’s prodigious and prolific talents have been at the forefront of heavy music for the past two decades. He began his career at age thirteen as a member of what would become fledgling black metal crew Emperor. As a band, Emperor would both define and refine metal, pushing the boundaries of what was considered possible within the most arcane of art forms and taking some of the most adventurous and extreme music of all time to a huge global audience. With albums like seminal In The Nightside Eclipse (recorded when Ihsahn was only seventeen), and Anthems To The Welkin At Dusk, Emperor obliterated all-comers and became one of the most revered metal bands in history. After the release of their final masterpiece, Prometheus: The Discipline Of Fire & Demise in 2001, Ihsahn announced that the band were to part ways to enable himself and his colleagues to pursue new creative avenues.

Ihsahn performed live for the first time on US soil last autumn at ProgPower. The sold out 3-Day festival was the perfect stateside avenue for the musician. On confirmation of the performance Ihsahn noted, “I am very excited to get the opportunity to play at ProgPower. Given the nature of my material, I believe this festival will be a great place to present it live.” Festival organizer Glenn Harveston comments, “Ihsahn’s ferocious intensity combined with his amazing musicianship completely won over the crowd. It was the best set of the fest for me.”

Eremita will be available on standard cd and a limited edition deluxe digibook (featuring an exclusive bonus track).

I never could stomach Emperor, namely due to production, but Ihsahn's a totally different thing. Black Metal with Saxophone; 2010's After combined the two really like nothing I'm familiar with.

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The River's Edge Music Festival (St.Paul, MN) 6/23-6/24 2012

link to story

Lineup

Dave Matthews Band
Tool
The Flaming Lips
Brand New
MuteMath
Polica
Motion City Soundtrack
Puscifer
Coheed & Cambria
Scissor Sisters
Diplo
Datsik,
Gardens & Villa
Delta Spirit
Blaqstarr
Kinky
Mexican Institute of Sound
Civil Twilight
Quietdrive
An Horse
AM & Shawn Lee
The Whigs
Hey Rosetta!
K-Flay
Yawn
Kids These Days
Yuna
The Rope



This is all well and good, and in all likelihood, I'll still be in Chicago on the 24th, given the Marillion show is on the 23rd. Along with in St.Paul, The Dear Hunter will be at Station 4 that same evening. Which just hit me, might help them, but also hurt given some people going to this instead.

That all being said, I'd enjoy seeing Mutemath, AM & Shawn Lee and maybe Coheed, but for $75 or $100? lol, yeah, I suppose not. I love Mutemath though, but I just saw them, and have seen them 6 times or whatever.

I suppose one silver lining with this is, perhaps the festival will get better in the coming years, and I'll consider it. Maybe it'll finally be our Coachella or SXSW (or NXNW), but if so, I sure hope it is LESS CORPORATE, which given those prices and the names their bringing, I have my doubts.

Then again, we've had Taste of Minnesota, the Aquatennial Block Party, 10,000 Lakes and Rock the Garden among other festivals for years or even decades, so maybe this isn't anything incredibly new to our town.

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A message from Jerry Gaskill

haven't watched it as I'm at work. But very encouraging.

(for those who don't know, Jerry, the drummer of King's X, suffered a Heart Attack recently).

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ON ORDER (List) 4/3/12

not that I'm sure many if any others care, but I need to, if for no other reason, keep a list for dictation-sake, of the items I'm awaiting but have not arrived in my mailbox.

maudlin of the Well Vinyl Boxed Set (Bath, Leaving Your Body Map, Secret Song 7")
Jimmy Gnecco – The Heart X Edition (CD)
Miracles of Modern Science – Dog Year (CD)
maudlin of the Well – Bath, Leaving Your Body Map, Part the 2nd (CDs)
The Age of Rockets 2 to-be-out-of-print T-shirts
Ne Obliviscaris 1 to-be-out-of-print T-shirt (reduced price at their store)
Pepe Deluxe – Queen of the Wave (CD)
The Kris Norris Projeckt - Icons of the Illogical

Marillion – Sounds That Can’t Be Made
Ours/Jimmy Gnecco - Black Card
The Dear Hunter - Lifetime Membership letter (and poster?)

Kickstarter:
The Age of Rockets - Adults (3 CD)
House of Fools - When the Lights Go Out Documentary (DVD)
Joey Eppard - Joey Eppard Live (DVD)
Vuvuzela - TBA (CD)
Judgment Day - Polar Shift (CD or Vinyl)
Renaissance – Grandine il Vento (CD)

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Storm Corrosion - Storm Corrosion (2012) (1.0)

3/30/12 9:10AM - 4/1/12 10:23PM




not sure if this is actually the real McCoy (the song "Hag") but it's not bad if it is. Mikael singing in Swedish?..nice synths.


I'm not finding an exact Embed code at this point. But go here to view a video with Steven and Mikael talking about the album with SAMPLES.

original article


3/9/12 8:41PM

Track List, Release date (May 8th).
not sure if this link works anymore

Cover Art:


CD

01. Drag Ropes (9:52)
02. Storm Corrosion (10:12)
03. Hag (6:28)
04. Happy (4:53)
05. Lock Howl (6:09)
06. Ljudet Innan (10:20)

Blu-ray:

01. Drag Ropes
02. Storm Corrosion
03. Hag
04. Happy
05. Lock Howl
06. Ljudet Innan
07. Drag Ropes
08. Storm Corrosion
09. Hag
10. Happy
11. Lock Howl
12. Ljudet Innan
13. Drag Ropes (demo)
14. Hag (demo)

STORM CORROSION is the long-discussed and highly anticipated collaboration between two of the modern progressive rock scene's most innovative and multi-talented artists: Mikael Åkerfeldt of OPETH and PORCUPINE TREE's Steven Wilson. The pair will release "Storm Corrosion" on May 8, but you can pre-order it in two deluxe packages starting today.

The "Storm Corrosion" Special Edition Blu-ray/CD Set & Collector's Edition Double LP Bundle (pre-order link) is $50, and includes the album on 180-gram black virgin vinyl, in a gatefold jacket with exclusive artwork; a digital download of the entire album in high-quality FLAC files; the Blu-ray/CD version of the record, which offers the album on CD; a Blu-ray disc containing a 5.1 audio mix of the entire album, two exclusive demo tracks, and five instrumental tracks; a 24" x 36" fold-out poster; and a separate 12" x 12" poster autographed by both Mikael Åkerfeldt and Steven Wilson.

The "Storm Corrosion" Collector's Edition Double-LP Set (pre-order link) is $35, and includes the vinyl version, the digital download, and the two posters.

A little background information on the genesis of this project: Åkerfeldt and Wilson have been friends since the late '90s, when Wilson co-produced OPETH's revered "Blackwater Park" album. Over the years, they'd often spoken of working on a project together, but it wasn't until recently that they managed to make something happen, when Mikael flew over to visit Steven in the U.K. and they ended up in Wilson's home studio throwing ideas around. That visit was the nascence of a whole self-titled album, written and produced by the pair, and mixed by Wilson.

The sound of STORM CORROSION can best be described as enchanting, orchestral, ambient, epic (half the album's tracks clock in around the 10-minute mark) and nothing short of surprising to the new ear. However, the musicians' respective fanbases will be primed to appreciate the new output, with Wilson's recent solo album, "Grace For Drowning", and OPETH's "Heritage" having brought them to a logical place to understand STORM CORROSION. This eponymous collection is almost viewed as one side of a musical triangle.

Says Wilson, "If you'd asked me three months ago about the music, I would have said, 'Expect the last thing you would expect.' But actually, now that 'Heritage' and 'Grace For Drowning' have come out, I don't think it's going to be that much of a shock to people, because it's almost like a third part of the trilogy, in a way. If anything, it's even more orchestral, even more stripped down, even more dark, twisted and melancholic… but it certainly feels like it comes from the same place as 'Heritage' and 'Grace For Drowning', which indeed it does because it was written during the same period.”

"Some of the music on this record I think is the most beautiful music I have participated on ever," adds Åkerfeldt. "There's some magical sections on there. Musically, I think we've created something earthy, a bit frightening, exhausting, profound and rather intense. All at the same time. I can safely say I don't know any other band or artist that sounds anything like STORM CORROSION. I guess that was also one of our goals, so to speak."

Roadrunner Senior VP of A&R, Monte Conner, welcomed STORM CORROSION to the Roadrunner family, commenting, "I am honored to have the Roadrunner logo on the STORM CORROSION album. Steven Wilson and Mikael Åkerfeldt have demonstrated time and time again that they are two of the truest and most important artists working today, and it is not often that I get to work with musicians of this caliber. This album is a beautiful piece of work that will appeal to fans of Steven and Mikael's past records, while at the same time exploring new avenues for both artists."

12/26/11 1:16AM


Storm Corrosion will be issued by Roadrunner in April 2012. Apart from Mikael and Steven, the album includes guest appearances by Gavin Harrison on drums/percussion, Ben Castle on woodwinds, and Dave Stewart on string arrangements.


9/26/11 8:57AM

Due in April 2012.

Opeth's facebook Wall post

"The long awaited collaboration between Mikael Akerfeldt and Steven Wilson (Porcupine Tree) is finally being completed. The project goes under the name of 'Storm Corrosion' and will have a self-titled record out in April 2012 through a yet unnamed label. This album could be seen as the final part in the odd trilogy of records completed by "Heritage" and Steven Wilson's brand new solo album "Grace for Drowning". Read more on Steve Wilson's latest venture at gracefordrowning.com"


3/30/11 6:14AM



The project it sounds like will be titled "Storm Corrosion" and the record itself as well. It is done, but it won't be coming out until early 2012.

b-mouth story

not really a ton of new quotes or info in that. It'll be orchestal, yes. And different than anything they've both done, yes. And very little to no drums, yes.

But not until 2012.

I am anticipating something vaguely like Scott Walker's The Drift. Somewhat subtle, and minimalistic stuff. But who knows, hearing even that kind of music from these 2 guys. But we have awhile until we'll know anyway.


11/2/10 1:32PM
Blabbermouth link

"STEVEN WILSON On Project With MIKAEL ÅKERFELDT: We Didn't Wanna Do A Prog-Metal Supergroup - Oct. 31, 2010

PORCUPINE TREE's Steven Wilson recently spoke to the U.K. branch of Roadrunner Records about his much-anticipated collaboration project with OPETH's Mikael Åkerfeldt, tentatively dubbed "Storm Corrosion". You can now watch the chat below.

On how the songwriting sessions for "Storm Corrosion" are progressing:

Wilson: "In March we started [working on the material for it]. It's sporadic, because we get together once every three months. [Mikael] comes over to my studio and we work for a few days and we get really drunk on red wine, go buy and loads of records and then come back, and if we're lucky, do, like, ten minutes work. But the incredible thing was that although, comparatively, we haven't worked that long, what we produced we were so happy with, and we are so happy with. It's nice to know that what we always suspected was that when we actually got together, it was gonna be quite easy. It was also in the back of your mind, thinking, 'Maybe it won't work.' Maybe it [was] just built up so much [in my head before we started writing songs], and it was so easy. So easy. And the music was so crazy and so inspiring to both of us. So I think that was good to feel, like, 'It's gonna work.' So we have about, I'd say, 25 minutes of music [written] so far. We're getting together again in November to do another piece or two. Drink some more wine, buy some more records... So that's kind of a work in progress, and I don't know when that will come out. Then it would be great to do some shows around that, too, but he's [Mikael] gonna be back with OPETH next year at some point, so it may not be feasible. But certainly the record [should be ready to be recorded and released by then]."

On the similarities and differences between PORCUPINE TREE and OPETH and how they play into the new project:

Wilson: "The funny thing is that the music we're making together is actually nothing like either of us made before. Because I think we both had this idea of this kind of music that we knew we couldn't get our bands to play, but that we both kind of understood where we were coming from. 'Cause we have this kind of passion [for] very experimental, obscure records, almost orchestral in their scope. And we wanted to make a record like that for a long time. It's a long way from metal and it's a long way from anything that, I think, Mikael has ever done, including the 'Damnation' record [from OPETH]. I think a lot of people thought, 'Oh, it's gonna be like 'Damnation'.' It's not; it's a long way from that, too. And it's actually a long way from anything I've done; [it's] possibly closer to aspects of things I've done, but really quite distinct from anything I've ever [released]. [It's] very orchestral, lots of strings, lots of guitars and vocals, too. Lots of very long songs that kind of go in different directions that you don't necessarily expect them to go in — almost theatrical in a way. And we both kind of admitted to ourselves that there are a lot of fans out there that are probably gonna hate it. But we're doing it for us. The one thing we didn't wanna do is get together and do a prog-metal supergroup, which would have been so easy to do — and kind of expected, in a way. And, you know, we might do that anyway one day. But this time around, we thought, 'Let's just do this [kind of] record.' Some people will love it and some people will not, and that's OK, because, in a way, I don't think we wanted to just give what was expected, and we're certainly not doing that."

On whether Steven and Mikael are self-producing the new project:

Wilson: "Right now, we kind of fall into my studio at midnight and work through the night and just... It's great, because in many respects, Mikael is the closest I know to someone who is... How do I put this? He's the equivalent of me in his band. He's like the captain of the ship and we kind of understand each other — all the frustrations of being in that position, all the stresses and pressures of being in that situation — so because of that, there's no ego thing at all — yet! [Laughs] But we're both kind of control freaks, in a way, so that's kind of a strange situation to be, where you're working with someone where you don't feel any of those issues and you have that complete trust. So we're just like... [I go], 'Here, you have the guitar. Do something amazing.' And he does. And then I'm like, 'Oh, I've got an idea for that,' and I do some keyboard thing. And he's like, 'That's amazing! I love that.' And so it's really... It sounds like we're kind of blowing each other the whole time... [Laughs] But it's just so much fun. And that's the important thing — I think it's fun. Because there's no ego and there's no pressure. Because people don't know what to expect. And we've kind of already resigned ourselves to the fact that we're gonna do something that people are gonna hate, anyway. I mean, I'm exaggerating... I'm sure a lot of people are gonna dig it. But people are gonna be surprised by it. We're not giving people what they expect, so there's little pressure, really — there's very little pressure. It's just literally swapping instruments and I'm kind of recording it on my own system."

In a recent interview with U.K.'s Classic Rock, Åkerfeldt stated about the writing process for the "Storm Corrosion" CD, "I got together recently with Steven at his house, and we wrote a new tune straight away. Of course, with the two of us involved, it was 10 minutes long. And it came out so well that we started working on a second one as well."

Although DREAM THEATER drummer Mike Portnoy was initially supposed to be part of the project, it now appears that he will no longer be involved.

"To be honest, there's just no room for drums on what we've done so far," Åkerfeldt said. "I called Mike up, and he was cool about it. He's got so much going on anyway, and I'm sure we will work together in the future."

So, I'm sort of late in the game here with this. Sorta, kinda, not really. The info is not all that detailed, other than what Steven added there. The name "Storm Corrosion" and some other bits were mentioned a few months ago, I just never got around to passing it along.

I have to admit one thing, the thing about Steven saying this won't be a "Prog Metal" project is fine and probably best, but then he says they may do that eventually. I'm kind of hoping they won't unless it's not like PT or Opeth especially, and more or less derivative of other music.

But not a ton to add, other than I will listen to this, and I won't expect anything mind blowing, but would love to be pleasantly surprised. The Portnoy point has been beaten to death. He's not in it. Maybe he'll be asked to play in the "Prog Metal" project they may do.

Steven's 2011- 2012 Forecast though which I guess is nice to get an idea about.

2011:
Spring:
-Solo Album with guests
late Spring-Fall:
-Blackfield III aka their 3rd album
late Summer/Fall:
Storm Corrosion

no Concerts in Minnesota

2012:
Porcupine Tree

no concert in Minnesota

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Miracles of Modern Science - Dog Year (2011)

1. MOMS AWAY! 04:27
2. Strangerous 03:33
3. Tensity 03:18
4. Eating Me Alive 03:25
5. Quantum Of Solace 04:52
6. Luminol 04:40
7. Friend Of The Animals 04:55
8. Space Chopper 05:16
9. I Found Space 04:20
10. The Moon & Australia 01:13
11. Bossa Supernova 04:57



I heard about this band from of all people, Jim DeRogatis, take a shot at them after seeing them at SXSW, joking how about at least they didn't have a ukele amongst their other instruments, in his 2012 South By Southwest review on last week's Sound Opinions podcast. And given some of his taste and comments, and then doing a little reading about them almost being progressive rock at times, I was curious enough.

And wow, I'm glad I was as some of this record is fan-fucking-tastic! They combine the ole chamber/proggy styles of course, emphasizing acoustics and dynamics, along with a goofyness. In other words, as I wrote on facebook last week, they kind of mix bands like Kiss Kiss the Punch Brothers and new dynamic-acoustic discovery Buke and Gass (hopefully something will come in here about them as well).

I've only listened to this record twice, but I am already so won over, I ordered a copy on Compact Disc via their bandcamp page linked above.

I guess right now, I am going to continue to listen to hear new/definitive things about it, but the things I already love about it are the dynamics, vocal arrangements/melodies/harmonies, male/female vocal contrast, the use of violin which is at times a lead instrument. And I'd say from track 5, "Quantum of Solace" through the end of the record, every track really works in some way save for I believe it is the 11th/2nd-to-last track "The Moon & Australia" which is a short interlude-ish piece that unfortunately, I hear their singer swallow a number of times, I likely will always skip.

Although I am pretty certain, said to-skip track is not the 2nd-to-last in fact, and there is a hidden track that is one of the better, more interesting, and humorous songs on this record about a man needing to get an amputation. Very much in the audio-theater vein, but some of the instrumentation on that one is as great as many of the tracks on this record.

Another specific thing that I can't leave out, even as early in my time hearing it, is the 11th track "Bossa Supernova" has a melody that is almost IDENTICAL to a melody/interval pattern on The Receiving End of Sirens song "The Rival Cycle." So much so, I don't know if I'll ever be able to not think of that song when hearing it. However, it's still a great tune, but that part is almost the same for a portion of the track.

But this band definitely has impressed me a lot; and I envision listening to this record a good amount this year, and in the distant future. Perhaps I'll get to see them live and whatnot among other things. How great this record is/becomes and where it may have ended up in my 2011 Index is a question I'll ponder, but it wouldn't surprise me if it could have finished in the top 20 or even top 10; or historically, it'll become one of those albums I'll think about as among the best albums that were released in 2011, despite the fact I didn't hear it until many months after the calendar year was over.

But for now, Miracles of Modern Science aka MOMS are a band whose scored pretty high for new bands for 2012. Hopefully some other folks will catch on to them as well soon.

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Timbre live 3/28/12 @ The Beat

(the video and image above are NOT from this show, but other recent shows)

Timbre aka Timbre Cierpke is a Harpist/Vocalist/Songwriter/Hired-Gun I've been a fan of ever since seeing with Brooke Waggoner live, which in just doing a little research, was nearly 2 years ago on April 1st, 2010 at The Triple Rock Social Club.

I love Brooke, but at that show, I may have been as if not more blown away by Timbre and her mesmerizing harp along with angelic vocals. So much so, I asked her if she had music of her own, and she did, and I ended up buying her 1st record Winter Comes to Wake You blindly. Then not too long after, her follow-up, the 2010 album Little Flowers was released; which hasa become a record I have grown to adore, and ended up pretty high on my 2010 Album Index.

It's funny though, it has been only 2 years since being introduced to her music, but it seems like longer. Possibly part of that is following her on facebook for so long, this show seemed like such an accomplishment for me at least, having posted "please come to Minnesota" at least 5 or more time probably on some of her status updates.

So, she played with her trio of sorts as a short-notice show at The Beat Coffee House on Wednesday evening. This being the 1st time I got the chance to see her play her music, it was more or less a gigantic thrill. She played many pieces from Little Flowers including opening with my favorite track off it "I Will Go Plant Little Flowers." I totally had goosebumps hearing that/seeing her and her group perform it. I think that song, and the record captures such a fantasy element, like an escape or something. Almost like when you might go through a struggle with something, and then it all seems worth it because it produces something so beautiful, none of the sadness of your past matters.

Her group consists of herself of course, and 2 other musicians, Samuel Lockridge who played xylophone, vocals, guitar textures and even some drums/percussion. And Patrick Rush plays Cello and sings as well (and maybe some percussion?). Being just a 3-piece, they do or did sound bigger than that may seem. So much so, I think Timbre's music may come across even better live. It is so passionate and heartfelt.

As far as the rest of her set, she played 1 or 2 pieces off Winter Comes to Wake You along with 3-5 other Little Flowers songs besides the opening namesake track of sorts. And then 1 or 2 new songs, and a Radiohead cover, which despite my taste for Radiohead, sounded pretty amazing arranged for a harp and with her voice.

Of course a huge thrill was also getting to visit with Timbre and her band members. She confirmed more or less she is working on a new record right now, that may be released within the next year or less. Including 1 piece I recall she said, was a 15 minute Choral composition. I actually remember seeing her post something about that maybe even around the Summer or Fall of 2010. She also is involved with Brooke Waggoner's upcoming record, which I'm sure will be amazing. I also would suspect she will end up playing on other records as her list of credits include many (Anathallo, O'Brother, mewithoutYou, Umbrella Tree)

To add to her performance, this show included pleasant surprises from Samuel Lockridge and formerly of Nashville (and Colorado among other places), and new Twin Cities native Amy Courts.



Samuel Lockridge did the singer/songwriter thing pretty well at times, although I cannot forget his vocal style seemed to channel among others, Jeff Buckley and the lesser-known but still talented Scott Matthews. His songs almost reminded me of some of the dynamic and passion I enjoy from Glen Hansard and/or The Swell Season. I ended up purchasing a copy of his newly printed album on cd When I Rise, except for some reason I cannot find it now. I either left it at The Beat somewhere, or he never gave it to me after I gave him the money. I guess at least it's available to stream (and/or download) here on his bandcamp, but that still sucks that I don't have a copy after having paid for it.



And Amy Corts, I was impressed at times by as well. She does do the singer/songwriter thing pretty well, although the thing for me is with that style, a lot of artists sound similar. But I guess with her, I did find at least a few of the songs she played, having this high level of passion with wailing and what not, plus really clean sounding acoustic guitar, which I can be a sucker for at times.. I did pick up 1 of her discs as well, These Cold and Rusted Lungs, which while I'm not guessing I'll become addicted to it, still does have a few really nice, passionate tunes on it. Namely the *hit* she referred to( in trying to write) "Shiver" and "Stand" just from listening to it. But her performance probably had twice that many songs that got my head turned. So much so, I think I'll end up seeing her again in Roseville at J Arthur's Coffeehouse on April 20th.

This was definitely one of the best shows I've seen in 2012, and very fulfilling after Timbre went on tour a number of times and wasn't able to come here. I did send The Cedar Cultural Center a request/suggestion about the date which they had open, but a few days after the show they finally got back to me saying they typically book shows 2 months in advance. Which, I know makes sense, but still, it didn't exactly show much confidence. However, maybe they will keep her in mind the next time I may suggest her play there.

I suppose getting in touch with The Ritz Theater and of course my cousin Marc's venue, The Baroque Room about a tour ahead of time would make sense. I mean it's odd how she even was part of the National Association for Campus Activities Conference the day after, which honestly, I think the fact Timbre and her group being scheduled for that showcase in St.Paul on Thursday, was the primary reason she found interest to do a show of any kind in Minnesota on her tour, lol. I suppose had I known that, I might have been a little more forward with trying to emphasize how great it would be to get a venue to have her play at. I guess it was held in downtown St.Paul, literally walking-distance from The Baroque Room, lol.

Oh well, hopefully next time, there will be a little more notice and the show won't seem so last-minute. That being said, I do like The Beat Coffeehouse, and it was great to have them hold this show, being so at the 11th hour.

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