Thursday, September 15, 2016

Rock in Opposition Festival-France (Sept 16-18, 2016) to feature 3 CUNEIFORM Artists

Cuneiform Records is an independent record label releasing adventurous, boundary-bursting music by artists from around the world. 

Founded in 1984


Cuneiform Records is Proud to Announce that Three Cuneiform-Associated Bands/Recording Artists are among the Stellar Lineup at:

Cuneiform Records is proud to announce that three of its artists will be among the groups performing at the 2016 Rock in Opposition (R.I.O.) Festival to be held in France. This three-day festival devoted to artistically-uncompromising rock music celebrates “the incendiary spirit of Rock in Opposition” and will draw audiences from around the world. Featuring some of the most provocative, innovative, and artistically-progressive rock music created over the past three decades to the present day, the Rock in Opposition festival aims to “transport the creative flames and anti-corporate-rock aesthetic of the original Rock in Opposition movement into the new millennium.”

This year, for 2016, the festival will spotlight eleven of the most adventurous artists and bands on the current international avant-music scene. The full lineup for RiO-France 2016 includes:

Apollonius Abraham Schwarz (Switzerland)
Cicala-Mvta (Japan)
Half the Sky (Japan)
Jump for Joy (England, Germany, Netherlands)
MAGMA (France)
Nippon Eldorado Kabarett (Italy, Japan)
No Noise No Reduction (France)
Pixvae (France)
Richard Pinhas & Arthur Narcy (France)
Upsilon Acrux (USA)
Uz Jsme Doma (Czech Republic)


Three of the performing ensembles - Richard Pinhas & Arthur Narcy (France), Upsilon Acrux (USA), and Uz Jsme Doma (Czech Republic) are associated with the American label, Cuneiform Records. Two of these artists - Richard Pinhas (France) & Upsilon Acrux (USA) - have each released multiple recordings on Cuneiform, and Pinhas is releasing two new Cuneiform albums to coincide with his RiO-2016 appearance. A third band at RiO 2016, Uz Jsme Doma (Czech Republic), released an album on Cuneiform in 2010; most of its recordings are on the Czech Skoda and Indies labels.

RiO-France is 2016's essential event for fans of cutting-edge rock, avant-progressive, and chamber-rock music. Visit the official RiO France 2016 website for more information on the performing artists, festival schedule/program, transportation, lodging, tickets, and more:

Jump to:
Richard Pinhas - Upsilon Acrux - Uz Jsme Doma - Cuneiform - RIO France


RIO FESTIVAL-France 2016:

The three Cuneiform artists & associated groups appearing at
Rock in Opposition-France 2016 include:

Richard Pinhas & Arthur Narcy (France) - performing Sept. 17th @ 11:20 PM

Upsilon Acrux (USA) - performing Sept. 18th @ 6:15 PM

Uz Jsme Doma (Czech Republic) - performing Sept. 18th @ 2:00 PM



Richard Pinhas & Arthur Narcy (France)

"Richard Pinhas is still a force in world music today… his music has the emotive depth that most other electronauts hardly begin to grapple with. Add to this its other attributes: alien atmospheres, futuristic imagery, feelings of the mystery of technology, precise clinical production, belief in creative and political revolution, an obscure intellectual base and references to science fiction…then there is a musical force that has little or no rival." - Audion

Ceaselessly innovative in a career spanning 40 years, Richard Pinhas is recognized as one of France's major experimental musicians. A composer, world-class guitarist and electronics innovator, he is a key figure in the international development of electronic rock music. During the 1970s, Pinhas' stature in France was analogous to Tangerine Dream's in Germany: the father figure of an entire musical movement. Years before MIDI existed, Richard was creating sophisticated electronic music using vast walls of the available components of the day. His band Heldon fused electronics, "diabolical guitar work" and rock to create a pioneering, aggressive music that was a precursor to the industrial music and techno to come. The groundbreaking music he created in the '70 with Heldon and solo remains vital and unsurpassed today, evident in its worldwide revival among a new, younger generation of musicians and fans.

In the 1990s, Cuneiform began working with Pinhas to reissue his Heldon and early solo recordings. The label also began releasing Pinhas' new recordings, as Pinhas continued to explore and expand rock's sonic edge in multi-layered instrumental works infused with influences from sci-fi and philosophy. Pinhas' subsequent work, featuring his "Metatronic" system of electronically treated solo guitar compositions, was as radically innovative as anything in his early career. Incorporating influences from and sharing aesthetics with the work of Fripp, Eno and Godspeed You! Black Emperor, Pinhas' guitar / electronics / spoken word works have appealed to longstanding fans while also attracting new admirers.

In the 21st century, Pinhas' uncompromising sonic quest has led him to joined forces with some of Japan's top noise artists, including Merzbow (Masami Akita), Yoshida Tatsuya, and Keiji Heino, as well as such other global sound explorers as Wolf Eyes and Oren Ambarchi. In recent years, in an astonishing creative surge, he has released numerous new solo and duo/collaborative instrumental works recordings on Cuneiform that fuse his guitar work variously with electronics, noise, other guitar work and/or drums, and continue to expand the parameters of rock. Pinhas' new releases, inspired by 21st century political and philosophical concerns, are astoundingly powerful and sophisticated musical works that rival those from his Heldon days.

Pinhas is also an active live performer. In recent years, he's done several extensive tours throughout Europe, in Japan, and in North America. Both solo and in various groupings, he's performed as headliner for festivals of avant-garde and electronic music worldwide.

Pinhas will perform at RIO-France 2016 in a duo with French drummer Arthur Narcy. The duo has performed and toured extensively together in Europe in recent years.

Pinhas' RIO-France 2016 appearance coincides with his release of two new - and stylistically different - albums on Cuneiform. One is a trio recording by Pinhas with two of his longstanding collaborators from the Japanese noise scene: Tatsuyo Yoshida and Masami Akita (aka Merzbow). Called Process and Reality, its name drawn from a book by mathematician and philosopher Alfred North Whitehead which Pinhas considers one of the most important 20th century philosophical writings, the album is a sonic experimental rock/ soundtrack to the demise of the Industrial Era. Pinhas' other release, with American guitarist Barry Cleveland, features the two guitarists in a quartet setting with West Coast musicians Michael Manning and Celso Alberto. Called Mu, a reference to Zen and the art of improvisation, the album blends world music, ambient, instrumental rock, sci fi and psychedlia into a gorgeous 21st century post-genre mix.

Cuneiform will release both Process and Reality and Mu on Sept. 16, 2016, the opening night of RiO Festival-France.

New Richard Pinhas Recordings on Cuneiform Records To Be Released September 16, 2016:

Recent Richard Pinhas Reissue on Cuneiform Records:
Richard Pinhas
(White Vinyl LP Reissue)

"Sur Le Theme De Bene Gesserit VII"

Purchase @


Upsilon Acrux (USA)

"Technically brilliant, rhythmically unbelievable, with just the right amount of melody...for fans of avant rock and insane jazz rock." -

Upsilon Acrux is an instrumental quintet (dual guitars, keyboards, bass and drums). Their music is generally very intense, loud, hard-hitting and unbelivably virtuosic. Upsilon Acrux's music is demanding on many levels, but mostly it demands that you listen to it a number of times before forming an opinion, because only after you've gotten familiar with it can you get past the sheer complexity and onslaught of it all and hear the amazing musicality of what they are doing. This combination of blazingly fast, interwoven musical lines delivered at blinding speed mixed with their unique melodic sense makes Upsilon's music instantly recognizable.

Upsilon Acrux formed in 1997. Guitarist Paul Lai recalls that he and another guitarist, Cameron Presley, started the band in Vista, a town in rural California “45 minutes from San Diego but several world’s away,” and “out of a desperate need to play interesting music.” Adding Tom Cutler and drummer Jesse (Klecker) Appelhans to their lineup, they plunged into serious practice and adopted the name Upsilon Acrux - a name without specific meaning, but which the band agrees increasingly “fit” the music.

The band’s recorded debut was auspicious - the 10-minute instrumental “Before The Pirates Came” appeared as the opening track on a compilation of San Diego experimental music called Trummerflora 2, released by Accretions in 1998. Accretions released Upsilon Acrux’s first full-length album, In the Acrux of the Upsilon King, in 1999. The debut CD’s “inexhaustible musical invention” caught the attention of avant music’s most prestigious magazine, The Wire, who praised the music as “free jazz and hardcore fusion dominated by an astonishing kind of Splatter Prog.” Recorded by Lai, Klecker (Appelhans), Presley and Muir Tennerstet on bass, the 74-minute album was a “consistent assault on your regular rock instruments, accompanied by moogs and wacky sax” [Audion]. Upsilon Acrux subsequently released three more albums. In 2006, Steve Feigenbaum, head of Cuneiform ran across a video on Youtube of the group performing their latest material and was utterly shellacked by it. Contacting the band, arrangements were made for Cuneiform to release their next album. This CD, Galapagos Momentum (2007), was Upsilon Acrux’s 5th release. In it, the band returned to a “more natural rock-band” lineup with one drummer - Appelhans, two guitarists, Lai and Braden Miller, as well as bass player Eric Kiersnowski. Galapagos Momentum features 41 minutes of aggressive, intricate, athletic and composed post-punk instrumental rock contained on 10 tracks.

Shortly after the release of Galapagos Momentum, Paul assembled a new version of the band featuring himself and David Moeggenberg on guitars, keyboardist Phil Cobb, bassist Marty Sataman and drummer Chris Meszler and Upsilon went on an extensive tour, traveling and performing all the way across the US to the east coast and back again over a 4 week period. Soon after, they were tapped to open for Mission of Burma at a music festival in Kalamazoo, MI, where they performed for 3,000 people.

Returning home, the band played local shows and festivals and began working on new music, which culminated in the band's sixth album, Radian Futura (2010). Radian Futura is an album of explosive, intense and surprisingly beautiful, intricate, instrumental rock. Simultaneously physical and cerebral, challenging and melodic, Radian Futura is Upsilon Acrux’s most accessible yet sophisticated release to date.

Upsilon Acrux have since released their newest work, Sun Square Dialect (2015), on New Atlantis Records. The band is touring widely in support of their new album across the US and throughout Europe.

Upsilon Acrux Recordings on Cuneiform Records:

Upsilon Acrux
Radian Futura

"Landscape with Gun and Chandelier"

Purchase @

Upsilon Acrux
Galapagos Momentum

"So Thereby..."

Purchase @

Upsilon Acrux @

Upsilon Acrux on the Web:


Uz Jsme Doma (Czech Republic)

"[Uz Jsme Doma] occupy a paradoxical territory between infectious...giddiness and a uniquely strident, angst ridded avant-progressive urgency.” - Alternative Press

Uz Jsme Doma (pronounced "Oozh (rhymes with 'rouge') Smeh Dough-Ma) was founded in 1985 in Teplice, a small industrial town in the north Bohemian region of the Czech Republic, when that country was part of communist Czechoslovakia. Originally a septet, the band’s founding members were saxophonists Jindra Dolansky and Milan Novy, drummer Jula Horváth, keyboardist Jirí Závodny, bassist Petr Kerka, and guitarists Ota Chlupsa and Jirí Solar. The band’s name, “uz jsme doma,“ literally translates to, “We’re home now,” but is also used in common speech to mean, “Now I get it,” or, “Now I understand.” In Czechoslovakia during the 1980s, the government considered rock to be anti-social music, and the act of performing with a rock band (or creating any non-conformist/unapproved art) was subversive.

In 1988, the band became a sextet. Throughout the years, Uz Jsme Doma’s lineup continually evolved, morphing in size and instrumentation. But despite the influence of passing band members, the music was thoroughly composed by the same longstanding members and thus remained distinct at its core. While all of Uz Jsme Doma’s music is now composed by Wanek, founding member Dolansky had also contributed pieces to the band. Besides compositional integrity, Martin Velisek’s creative packaging designs for all the band’s recordings have helped the band retain aesthetic distinctiveness. Velisek began working with UJD in 1986, and has since designed all of its visuals, including posters, album covers, a limited edition art book and even stage costumes.

In 1989, the Velvet Revolution overturned 41 years of Communist rule. In an astonishing reversal, artists, writers, musicians and intelligencia—whose work was formerly banned— Four years after Uz Jsme Doma’s founding, the political climate in Czechoslovakia began to dramatically thaw. In 1989, the Velvet Revolution became leaders of the country’s political, social and artistic change. The band was not only legally permitted to enter the studio for the first time to record, but its 7“ EP, Rock Debut no.7, was released that year by a state-owned label, Panton. For Uz Jsme Doma, democracy brought artistic freedom; now able to openly pursue a career in rock music, the band began recording, performing and promoting its music at home and abroad - becoming known in Eastern Europe for their devotion to rocking and the push for artistic rights, whatever the state of politics may be. The group has since been releasing music, touring the world, working on multimedia and film projects, and collaborating with other groups like the Residents.

The group have a prolific touring history, having played in 39 countries, including Japan, New Zealand, and Israel, and almost every U.S. state across a span of 600+ shows. Aside from their six other studio albums, two live albums, 'best of' release, and live performance/documentary dual release, Uz Jsme Doma's May 2010 released Caves / Jeskyne has been licensed to Cuneiform for Western Europe and North America. The group's current lineup is as so: vocalist Miroslav Wanekm, bassist Pepa Cervinka, trumpeter Adam Tomasek, visualist Martin Velisek, and drummer Vojtech Boril, who joined in January 2016.

Uz Jsme Doma Recording on Cuneiform Records:

Uz Jsme Doma
Jeskyne / Caves

"Kapka / Droplet"

Purchase @

For more information about Uz Jsme Doma on Cuneiform:

Uz Jsme Doma's Official Website
Uz Jsme Doma on Facebook



To request INTERVIEWS with any of the ARTISTS playing at RiO-France 2016, OR for schedules, programs, artist bios, transportation, FAQ, maps and any other queries you may have…

Come celebrate Rock In Opposition's adventurous legacy this September 2016 at RiO Festival-France, located at Cap Découverte, one of the most unique music festival venues:

Explore the various record label and distributor booths, bars, and outdoor food trucks

When not enjoying the music, you can swim, hike, bike, or visit the skate park on site

Finish out the night with on-site lodging at the furnished modern inn or tent camping, or stay at one of many inns in Albi or other nearby historic towns.

For directions to the venue, whether by plane, train, or car, please click here

Bonne Festival!!!


Founded in the USA in 1984 and dedicated to cutting-edge, avant-garde music of the highest caliber from around the world, the adventurous and long-standing Cuneiform Records record label has the most extensive catalogue of Rock in Opposition recordings in the world. For more information about Cuneiform Records, the talented artists that it represents, and the numerous adventurous music recordings it's released over three decades, please visit: 

Mount Meander - Mount Meander (2016) CLEAN FEED RECORDS

Confirming that jazz is an universal language, here is a trans-national quartet featuring musicians from Germany, Latvia and Poland, in the two last cases living in Copenhagen. If you don’t recognize the names of these four representatives of a new generation of European musicians, namely Karlis Auzins, Lucas Leidinger, Tomo Jacobson and Thomas Sauerborn, certainly you’ll know some of those with whom they already established exciting partnerships: John Tchicai, Mat Maneri, Lotte Anker, Andrew D’Angelo, Adam Rudolph, Randy Peterson, Kresten Osgood, Sidsel Endresen and Frank Gratkowski. This gives you an idea of what to expect: music with an attitude, and the attitude is to function as one organism. Not a simple gathering of four individuals, but a complete being committed to intuitive and collective free improvisation. Does it mean this is non-idiomatic improvised music, to use the label invented by Derek Bailey? Not quite: the band Mount Meander uses musical idioms to tear down the borders between jazz, the avant-garde, world music, rock and pop, and precisely because this CD isn’t about genres. It’s all about unity, equality, trust and communication. Are you ready for them?

01. Sunsail, Pt. 1 8:34
02. Sunsail, Pt. 2 7:09
03. Sunsail, Pt. 3 3:34
04. Politeness Is God 3:44
05. Thrill 6:04
06. Motoric Animal 3:22
07. A Bird in the Hand? 6:47
08. Swung 7:34
09. Bow 7:51

Karlis Auzins | tenor & soprano saxophone
Lucas Leidinger | piano
Tomo Jacobson | double-bass
Thomas Sauerborn | drums

All compositions by Karlis Auzins, Lucas Leidinger, Tomo Jacobson & Thomas Sauerborn

Recording by Thomas Sauerborn at Monastic Studios, Copenhagen on 9th May 2015 | Mixing & Mastering by Christian Heck at Tonart Studio
Produced by Mount Meander | Executive production by Pedro Costa for Trem Azul | Photos by Malwa Grabowska

Reinier Baas - Smooth Jazz Apocalypse Live (2016)

Reinier Baas - Smooth Jazz Apocalypse LIVE (2016)

Reinier Baas - Smooth Jazz Apocalypse (CD 2014)

Smooth Jazz Apocalypse LIVE 

Recorded at the BIMhuis in Amsterdam on April 5th 2014 by Micha de Kanter. 

All compositions by Reinier Baas, except ‘Ballad’ and ‘Aneris’ by Harmen Fraanje. 

Ben van Gelder - alto saxophone 
Maarten Hogenhuis - alto saxophone 
Reinier Baas - guitar 
Sean Fasciani - bass 
Mark Schilders - drums 

Joris Roelofs - bass clarinet 
Harmen Fraanje - piano 

Released August 3, 2016

Peter Danstrup - Sacrified (2016) ILK MUSIC

The Project
From the beginning this project was an attempt to work with dogmas and stay focused on some important topics. One was to make a band with a reversed gender balance as a direct answer to the never-ending discussion about women and non-classical music. At least in Denmark this topic keeps popping up, so I thought I would write music for a band where women are the majority – aware that as long as I am the sole (male) composer, the experiment is not 100% valuable.

Another was to work with vocals and lyrics. This has been the biggest challenge for me in a long time. On top of that – I got inspired when visiting an Edvard Munch exhibition in Norway – the lyrics should be in English and be related to religion. At the museum, they quoted Munch for his personal ambition with his art, and it had a great influence on my construction of the dogmas. The quote is: There will be no more pictures of interiors, of people reading and women knitting. There will be pictures of real people who breathed, suffered, felt, loved… I will paint a series of such pictures. People should understand the significance, the power of it. They should remove their hats like they do in church. This gave me the inspiration to write in English and that religion in one way or the other should be in the centre of it all. This has of course nothing to do with Munch’s ambition, but I was keen on using obstacles and finding some topics that would not be easy.

I’ve never understood why Danish composers/songwriters address their (Danish) audience in a foreign language. By forcing myself to do the same thing I might find out about it. And yes: you can hide yourself behind a language.

I’ve never been a religious person, but I have met some very interesting priests in my life, all of them representing a just, human and surprisingly radical interpretation of faith: Love thy neighbour, turn the other cheek, help the poor, suppress your greed and egoism etc. Nowadays I hardly find it anymore, but I do hear so-called religious people use the same reasoning to harbour exactly the opposite: fear thy neighbour, don’t help those who need it, never turn the other cheek but fight back. If this music could stand up against this I would be happy.

Some of the lyrics are quotes more or less directly from the Bible, others are just related to religion.
In the Beginning, well… Genesis 1; The Angel Came to Mary Luke 1 26-38, The Birth of Jesus Foretold; Blessed are the Poor Luke 6, 20-26, Blessings and Woes; The Gates of Jericho Joshua 2 and 6, Rahab and the Spies and the Conquest of Jericho; The Tower of Babylon Genesis 11; Chasing After the Wind Ecclesiastes 1, 3, 7, Pleasures are Meaningless, A Time for Everything, Wisdom is meaningless. Other lyrics play with the thought of what would happen if Jesus actually returned to the Earth again. Angels are also covered both as messengers and lovers/friends. And the humorous I’m confessing deals with sin and forgiveness and the impossible task to live a perfect life.

The music
When I started on this project I found myself in a field where some of the giants of composition has been before and already has set standards that will be very hard to meet. Knowing that from early times artists had no other choice than to express themselves within the borders of religion (talk about dogmas…) 

I somehow felt a great responsibility and also a heavy challenge to move into the realm. So, apart from working with lyrics, the epic element in the music should support the message and somehow be the dynamic force of the sound. In this context I have been in contact with genres that I’ve never worked with before and the vocals and lyrics has a tendency to emphasize it. 

You can find elements of musical, marches, tango and even twist. Although the harmonic side of it all has a tendency towards a jazzier and - at times - dissonant expression I still feel that this music shows many new colours of my musical style.

The orchestra
After listening a lot to Henry Threadgill’s music I found that it would be interesting to work with a line-up with cello, tuba and flute. On top of that I would – for the first time – also use the piano in the band. So the first recordings were with a septet with bass and tuba along with the cello in the bottom and flute and vocals on top and with the piano connecting the different voices. 

The second recording session was set a time, where the tuba player was in Japan, so I added a French horn as this beautiful instrument covers both the bottom and the midrange. And at the final recordings I could use them both thus having a nice brassy sound. However, it is not an instrumentation that just blends naturally and I have been working with many different colourings and combination of sounds to explore the possibilities. And the question of female musicians? We have never paid attention to it in the band.

It is a somehow irrelevant parameter to use in evaluating the music, but it doesn’t mean that the topic itself is peripheral. I do hope we will hear more female musicians in the future and I also hope that recordings like this will help to encourage young women to play an instrument.

The Cover
At the Kelvingrove Art Gallery and Museum in Glasgow I saw this astonishing Dali painting and found that it expressed an interesting new angle of a classical theme: the crucifixion. There is no blood, no spikes, no crown of thorns, instead it has a dreamy and utopian thing to it that I find covers my intensions. The cover is a detail from the upper part of the picture.

Shawn Baltazor - Lionsong (feat. Seamus Blake, Ben Monder, Sam Harris & Ben Street) 2016 FRESH SOUND NEW TALENT

Drummer/Composer Shawn Baltazor, originally from the California Bay Area, was exposed early on to it’s richly diverse musical environment. He began performing professionally at the age of 10 with musical groups ranging from Rock and Roll to Traditional New Orleans Jazz. Moving to the east coast in his late teens to pursue his studies, he attended the renown William Paterson University where he was featured in performances with legends Clark Terry, Slide Hampton, Wynton Marsalis, Joe Lovano, Kenny Garrett and more.

Baltazor has performed internationally at the Festival International des Musiques Noires d’Abidjan in Cote d’Ivoire, the Jazzablanca Festival in Cassablanca, Morocco and the Risonanze Festival in Venice, Italy. US performances include the Kennedy Center, JVC Jazz Festival, Jazz at Lincoln Center, Merkin Concert Hall as well as many of New York City’s Jazz clubs. He has composed multiple scores for the New York City-based Daniel Gwirtzman Dance Company, having them performed by live chamber ensembles. As a performer and composer, his individual sound has been sought after more recently by a wide range of artists including Eric Reed, Kermit Driscoll and Grammy Nominee Darcy James Argue, with which he has premiered several works.

01. We’ve Been Expecting You 0:21
02. Folklore 7:47
03. Pathways 7:20
04. Nostalgia 3:56
05. Chance 5:39
06. With Each Breath 6:58
07. Momentum 9:34
08. A Beautiful Wind 6:04
09. Danse 6:39
10. Adrift 3:52
11. Fantasia 4:29
12. King of Kings 2:16

All songs written and arraged by Shawn Baltazor
Strings on #11 arranged by Julia Korodi

Seamus Blake (tenor & soprano sax)
Sam Harris (piano)
Ben Monder (guitars)
Ben Street (bass)
Shawn Baltazor (drums & percussion)
Christina Courtin (viola)
Clarice Jensen (cello)
Jacob Silver (double bass)
Shawn Conley (double bass on #1 & 12)
Julia Korodi (violin)
Peter Pejtsik (cello)
Bill Goodwin (triangle on #11)
Megan Conley (harp on #4)

Recorded at Peter Karl Studios, Brooklyn, New York January 2014

Mixed by Shawn Baltazor & Ben Rubin
Mastered by Gene Paul at G&J Audio

Artwork by Lorene Taurerewa
Design: Leonie Cicirello

Shirantha Beddage - Momentum (2016)


Following the success of his JUNO-nominated album Identity, baritone saxophonist Shirantha Beddage continues to deliver his brand of high-octane modern jazz on the new album, Momentum, featuring Will Kennedy of the Yellowjackets. 

For this new album, his third as a leader, his compositions reflect his childhood fascination with the physical sciences, as he explores the tension between oppositional forces in music and the world around us. 

The music is drawn from Beddage’s most diverse range of influences thus far, including New Orleans jazz, R&B, film music and folk songs, providing a musical landscape that is accessible, varied and complex.

It’s almost here!  My new album, Momentum, will be released worldwide on September 9, 2016.  The release of this album will be followed by several concerts in the Toronto area, with special guest Will Kennedy of the Yellowjackets.

01. Pork Chop 07:18
02. Drag and Drop 08:07
03. Gravity 07:15
04. Centrifugal Force 08:03
05. Momentum 07:37
06. Axis of Rotation 02:36
07. Angle of Incidence 05:37
08. The Long Goodbye 06:45

David Restivo – Piano and Keyboards
Mike Downes – Acoustic Bass
Rich Brown – Electric Bass
Mark Kelso – Drums
Will Kennedy – Drums