Jupiter VI - Back from Mars

Www.cdbaby.com/all/brutalplanet (check out all our rock and metal titles!!! JUPITER VI "BACK FROM MARS" Label: Retroactive Records (http://retroactiverecords.net) Distribution: Brutal Planet ([email protected]) Release Date: November 7, 2006 Catalog Number: RAR7828 Style: Rock Tracks: 12 Time: Aprox. 50 minutes Lyrics: yes Insert: Six page color Jimmy Brown (Deliverance) delivers nothing less than his most challenging record to date, confirming his place at rock's most cutting edge, even today. BACK TO MARS is driven by jagged guitars and genuine pop songs with cinematic flair, embedded in an off-kilter metallic mix. This David Bowie/Ziggy Stardust inspired album flourishes in a glitzy array of riffs, hooks, and melodrama from start to finish. Far from Jimmy's work with Deliverance, the brilliance of Jupiter VI may come in their ability to wear their influences on their sleeves (Bowie, Daniel Amos, Iggy Pop, Cheap Trick) while creating a modern rock album ready to dominate the world! If Jimmy Brown's vision was to create an album that is out of this world, he succeeded in grand, sweeping fashion! Prepare for take-off! KEY SELLING POINTS **Will appeal to fans of classic rock (especially space/glam/alternative rock), The Strokes, The Killers, She Wants Revenge. **Jimmy Brown has embodied the legendary metal band Deliverance since the mid 1980's and maintains a loyal fan base of all his projects. **Members of Deliverance play on the album, including GEORGE OCHOA (guitar). This is the first time George and Jimmy has recorded together since the legendary WEAPONS OF OUR WAREFARE album by Deliverance! **Crisp production **Appears on Lightning Strikes Twice...Again label promotional sampler **Appears on fall '06 HM/Heaven's Metal subscribers CD sampler **Full radio/advertising promotional campaign **Will appeal to fans of bands the members have already played in. TRACKS back from mars, the human endeavor, mimes hill.2, corporate stiff, from here till ever, passions, in a world of..., all day and all of the night, through the speakers (alien synth mix), lucidia, brand new day, zurich von mars JUPITER VI Review at: www.angelicwarlord.com Jupiter VI, the new theater rock project of Deliverance founder and front man Jimmy P. Brown II, came into being when the late Carl Crandell asked Brown if he wanted to record a straightforward rock album. Initially balking at the idea, Brown reconsidered when he woke up one morning with the concept of Jupiter VI in his head. He immediately began work on the storyline behind the project and soon came up with Back From Mars, the 2006 full length Retroactive debut from Jupiter VI that is loosely based around the life of Brown and his early experiences with Deliverance and the Christian music scene. What we have in Jupiter VI is a 70's glam-punk influenced sound that can best be described as equal parts rock n' roll, equal parts pop-wave and equal parts modern but always resting upon a foundation of classic rock and edgy hard rock. Drawing upon the influences of Diamond Dogs, David Bowie, Lou Reed, T-Rex and Daniel Amos, Jupiter VI finds it's members assuming "fake names" due to the fact the whole idea behind Back From Mars is a story based upon real events. Brown (aka Peter Braun) brings his trademark deep, low-key and at times mood-filled vocal delivery, a style he has refined over the years since introducing it on Deliverance's early to mid-nineties released Stay Of Execution and Learn. Braun shares all the albums guitar duties with Helmet Stegel and Remedios Innocentes (you've got to love these names!) while Darby Flowers fills in on piano and keyboards. Innocentes also handles bass and anchors the albums low end with drummer Spirios Filios. Production values come across clear and crisp in betraying no overriding elements of muddiness. Kicking in to a drum solo followed by a raucous riff, the albums title track tapers off at the start of it's first verse only to regain it's momentum for a rollicking chorus backed by a crunchy rhythm guitar. A fervid guitar solo brings out the best in a song that in the end asks questions: The world in love with misery Consumed with lust for nothing Religious freaks in search for something Tired from sitting in chairs all day Young kids at 13 going gray Is there nothing left for anyone to say? Is there nothing left at all? "The Human Endeavor" gets underway to a choppy riff before trading off between passages carried by Braun's spoken word delivery and those shored up by a quietly played guitar line. As the song gains initiative, it moves on to a melancholic chorus interwoven with a voice continually repeating the word "welcome". "The Human Endeavor" takes an introspective look at humanity: I go down to the street at night and look at the mess that we've made The human figures so eloquently create the cascade Swirls of light all around me, as I speak words that create my being How far we have come when all are standing so still Our greatest achievement was when we first learned to kill The lush but haunting "Mimes XIII.II" comes across in the form of a semi-ballad. A lofty setting is put in place as the song is compelled it's distance by a serene blend of acoustic and rhythm guitar, the abundant melody only enhanced as Braun complements the scene with his deep and stirring vocal delivery. Definitely one of the albums highlights. "Corporate Stiff" is a good, straightforward hard rocker. The song takes off in quickly moving fashion, slowing slightly at the start of it's first verse only to make an even transition to a smooth sounding chorus giving rise to a pleasing melodic feel. I enjoy how "Corporate Stiff" closes out it's final minute to a guitar driven instrumental section. As it's title implies, the song warns it's listeners not to turn into, well, a corporate stiff: Welcome to the race in which no one wins! If you sign your life over, we might let you in The quest taken is for the good of the firm In this find yourself King or the worm And today your short climb up will be your last Don't wear the mask or evil disguise Don't let yourself be made into the stiff! The corporate stiff... The groove flavored hard rock of "From Here Till Ever" swiftly charges through it's verse portions with the rhythm guitar crashing in and out of the mix. Gaining further impetus, the song peaks as it acquires a catchy chorus driven at a determined and upbeat tempo. "Passions" advances over it's first two minutes alternating between acoustic laced passages and others fortified by a crisp rhythm guitar. The refined chorus that follows puts in place a flowing but disconsolate ambience. "Passions" talks about exactly that: Communication at the height of the sweep The source the touch the note that causes us to weep Without a single spoken word, enveloped ecstasy Lifts me to my feet, so deep within me Whispering sighs, the covering around The flurried rush of emotions tied to sound A surge of swiftly moving rhythm guitar commences "In A World Of..." before it slows upon acquiring it's first verse. Driven ahead with a plethora of gritty fortitude, the lost momentum is regained as the song reaches an emotionally charged chorus holding up as a result of the sweeping manner in which it is delivered. Peter Braun and company do a good job imprinting the edgy classic rock feel that Jupiter VI brings to the table on the cover of The Kinks classic "All Day And All Of The Night". The bands performance comes across quite tight here, helping the song retain the pop flavored vibe and radio friendly feel characteristic to the original. "Through The Speakers", the second cover in a row, is another classic that made it's original appearance on Daniel Amos' 1981 effort Alarma!. This one, of course, gives rise to a more hard rocking setting as a crisp rhythm guitar shoulders it from front to back. The presence of synthesizers during it's instrumental section reflects a pop-wave influence as well. The stunning ballad "Lucidia" is by far the albums strongest composition. Opening slowly to a quietly played guitar line, an almost ethereal atmosphere is put in place as the song gradually moves forward to Braun's low-key vocal delivery. The poignant scene is sustained throughout an immaculate chorus highlighted by a haunting trace of backing vocals. An emotional guitar solo shores up a sweeping instrumental section. I enjoy the introspective feel to the lyrics here: Of all the wreckage deep within Buried thoughts, my empty sins Though it seems like yesterday It was such a long time ago At times I hear you calling me again All this time I left you there, Lucidia... "Brand New Day", another slowly moving and laid back composition, is accentuated by a smooth sounding blend of rhythm guitar and pronounced bass lines. Similar to "Lucidia" and "Mimes XIII.II", the overall feeling I get is one that is sublime but emotional at the same time. A German version of the albums title track, "Zurich Von Mars", closes things out in very fine hard rocking fashion. Track Listing: "Back From Mars" (3:14), "The Human Endeavor" (4:07), "Mimes XIII.II" (5:34), "Corporate Still" (4:53), "From Here Till Ever" (4:41), "Passions" (4:55), "In A World Of..." 5:27), "All Day And All Of The Night" (2:28), "Through The Speakers (Alien Synth Mix)" (2:58), "Lucidia" (5:10), "Brand New Day" (3:42), "Zurich Von Mars" (3:14) Musicians Peter Braun - Lead Vocals & Guitars Helmet Stegel - Guitars Darby Flowers - Piano & Keyboards Remedios Innocentes - Bass Spirios Filios - Drums www.phantomtollboth.org Jimmy Brown is best known as the frontman for the metal band Deliverance. The band split up when Brown's musical direction started changing. Several of his more recent projects reflect growth toward something very different. With Back From Mars it is most certainly a clean break from the Jimmy Brown we remember. Wearing his David Bowie/Mott the Hoople/space/glam/classic rock influences squarely on his sleeve, we are offered genuinely hooky rock songs fueled by a load of flashy, chunky guitars, Brit/Lydon/Bowie/Ian Hunter vocals with lyrics that have the world view of DA circa The Alarma Chronicles. In fact, they cover 'Through the Speakers' along with the Kinks 'All the Day and All Through the Night' with amazing energy and urgency. Thematically this is a look at today's society as if for the first time-with eyes wide open; hardly believing what they see. You know immediately that something important is being said here. There is a sense that this grouping of songs will stand up to many listenings and still call you back for more. Something deep, something stimulating. We haven't experienced that in a while. Bob Felberg 4 out of 5 rating www.angelicwarlord.com Jupiter VI, the new theater rock project of Deliverance founder and front man Jimmy P. Brown II, came into being when the late Carl Crandell asked Brown if he wanted to record a straightforward rock album. Initially balking at the idea, Brown reconsidered when he woke up one morning with the concept of Jupiter VI in his head. He immediately began work on the storyline behind the project and soon came up with Back From Mars, the 2006 full length Retroactive debut from Jupiter VI that is loosely based around the life of Brown and his early experiences with Deliverance and the Christian music scene. What we have in Jupiter VI is a 70's glam-punk influenced sound that can best be described as equal parts rock n' roll, equal parts pop-wave and equal parts modern but always resting upon a foundation of classic rock and edgy hard rock. Drawing upon the influences of Diamond Dogs, David Bowie, Lou Reed, T-Rex and Daniel Amos, Jupiter VI finds it's members assuming "fake names" due to the fact the whole idea behind Back From Mars is a story based upon real events. Brown (aka Peter Braun) brings his trademark deep, low-key and at times mood-filled vocal delivery, a style he has refined over the years since introducing it on Deliverance's early to mid-nineties released Stay Of Execution and Learn. Braun shares all the albums guitar duties with Helmet Stegel and Remedios Innocentes (you've got to love these names!) while Darby Flowers fills in on piano and keyboards. Innocentes also handles bass and anchors the albums low end with drummer Spirios Filios. Production values come across clear and crisp in betraying no overriding elements of muddiness. Kicking in to a drum solo followed by a raucous riff, the albums title track tapers off at the start of it's first verse only to regain it's momentum for a rollicking chorus backed by a crunchy rhythm guitar. A fervid guitar solo brings out the best in a song that in the end asks questions: The world in love with misery Consumed with lust for nothing Religious freaks in search for something Tired from sitting in chairs all day Young kids at 13 going gray Is there nothing left for anyone to say? Is there nothing left at all? "The Human Endeavor" gets underway to a choppy riff before trading off between passages carried by Braun's spoken word delivery and those shored up by a quietly played guitar line. As the song gains initiative, it moves on to a melancholic chorus interwoven with a voice continually repeating the word "welcome". "The Human Endeavor" takes an introspective look at humanity: I go down to the street at night and look at the mess that we've made The human figures so eloquently create the cascade Swirls of light all around me, as I speak words that create my being How far we have come when all are standing so still Our greatest achievement was when we first learned to kill The lush but haunting "Mimes XIII.II" comes across in the form of a semi-ballad. A lofty setting is put in place as the song is compelled it's distance by a serene blend of acoustic and rhythm guitar, the abundant melody only enhanced as Braun complements the scene with his deep and stirring vocal delivery. Definitely one of the albums highlights. "Corporate Stiff" is a good, straightforward hard rocker. The song takes off in quickly moving fashion, slowing slightly at the start of it's first verse only to make an even transition to a smooth sounding chorus giving rise to a pleasing melodic feel. I enjoy how "Corporate Stiff" closes out it's final minute to a guitar driven instrumental section. As it's title implies, the song warns it's listeners not to turn into, well, a corporate stiff: Welcome to the race in which no one wins! If you sign your life over, we might let you in The quest taken is for the good of the firm In this find yourself King or the worm And today your short climb up will be your last Don't wear the mask or evil disguise Don't let yourself be made into the stiff! The corporate stiff... The groove flavored hard rock of "From Here Till Ever" swiftly charges through it's verse portions with the rhythm guitar crashing in and out of the mix. Gaining further impetus, the song peaks as it acquires a catchy chorus driven at a determined and upbeat tempo. "Passions" advances over it's first two minutes alternating between acoustic laced passages and others fortified by a crisp rhythm guitar. The refined chorus that follows puts in place a flowing but disconsolate ambience. "Passions" talks about exactly that: Communication at the height of the sweep The source the touch the note that causes us to weep Without a single spoken word, enveloped ecstasy Lifts me to my feet, so deep within me Whispering sighs, the covering around The flurried rush of emotions tied to sound A surge of swiftly moving rhythm guitar commences "In A World Of..." before it slows upon acquiring it's first verse. Driven ahead with a plethora of gritty fortitude, the lost momentum is regained as the song reaches an emotionally charged chorus holding up as a result of the sweeping manner in which it is delivered. Peter Braun and company do a good job imprinting the edgy classic rock feel that Jupiter VI brings to the table on the cover of The Kinks classic "All Day And All Of The Night". The bands performance comes across quite tight here, helping the song retain the pop flavored vibe and radio friendly feel characteristic to the original. "Through The Speakers", the second cover in a row, is another classic that made it's original appearance on Daniel Amos' 1981 effort Alarma!. This one, of course, gives rise to a more hard rocking setting as a crisp rhythm guitar shoulders it from front to back. The presence of synthesizers during it's instrumental section reflects a pop-wave influence as well. The stunning ballad "Lucidia" is by far the albums strongest composition. Opening slowly to a quietly played guitar line, an almost ethereal atmosphere is put in place as the song gradually moves forward to Braun's low-key vocal delivery. The poignant scene is sustained throughout an immaculate chorus highlighted by a haunting trace of backing vocals. An emotional guitar solo shores up a sweeping instrumental section. I enjoy the introspective feel to the lyrics here: Of all the wreckage deep within Buried thoughts, my empty sins Though it seems like yesterday It was such a long time ago At times I hear you calling me again All this time I left you there, Lucidia... "Brand New Day", another slowly moving and laid back composition, is accentuated by a smooth sounding blend of rhythm guitar and pronounced bass lines. Similar to "Lucidia" and "Mimes XIII.II", the overall feeling I get is one that is sublime but emotional at the same time. A German version of the albums title track, "Zurich Von Mars", closes things out in very fine hard rocking fashion. Track Listing: "Back From Mars" (3:14), "The Human Endeavor" (4:07), "Mimes XIII.II" (5:34), "Corporate Still" (4:53), "From Here Till Ever" (4:41), "Passions" (4:55), "In A World Of..." 5:27), "All Day And All Of The Night" (2:28), "Through The Speakers (Alien Synth Mix)" (2:58), "Lucidia" (5:10), "Brand New Day" (3:42), "Zurich Von Mars" (3:14) Musicians Peter Braun - Lead Vocals & Guitars Helmet Stegel - Guitars Darby Flowers - Piano & Keyboards Remedios Innocentes - Bass Spirios Filios - Drums.

1) Back from Mars
2) Human Endeavor
3) Mimes Hill
4) Corporate Stiff
5) From Here Till Ever
6) Passions
7) In a World of
8) All Day and All of the Night
9) Through the Speakers [Alien Synth Mix]
10) Lucidia
11) Brand New Day
12) Zurich Von Mars