There are multiple artists named Autumn:
1) A gothic metal / atmospheric… Read Full Bio ↴There are multiple artists named Autumn:
1) A gothic metal / atmospheric rock band from the Netherlands.
2) A minimal wave band from Belgium active in the 1980s.
3) A progressive rock / jazz group active in the early 1990s, formed by members of Toxik.
4) A neoclassical darkwave project from Germany.
5) A gothic rock band from Minneapolis, MN, United States.
6) A now defunct early to mid 90s hardcore band from Philadelphia, PA, United States.
7) A disbanded doom metal band from Russia.
8) A doom metal band from Hungary.
9) A soulful drum and bass project from Houston, TX, United States.
10) A progressive rock band from United Kingdom.
11) An indie rock band from Southern England, United Kingdom.
12) The singer-songwriter Autumn Boukadakis.
13) A religious vocal ensemble sponsored by Rochester College in Rochester Hills, MI, United States.
14) An Australian pop-rock band active in the late 1960s and early 1970s.
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1) Autumn is a rock band from Groningen, Netherlands. The band was formed in 1995 and quickly became an important component of the blossoming Dutch gothic metal scene. Their debut album “When Lust Evokes the Curse” (2002) put Autumn on the map besides genre mates Within Temptation and After Forever. The band performed at festivals like Dynamo, Lowlands, Waldrock, Fields Of Rock, Metal Female Voices Fest, Summerbreeze, M’Era Luna and Wacken. In addition, Autumn supported bands like Cradle Of Filth and Within Temptation on national and international tours, and did numerous headline tours in The Netherlands. Their second album “Summer’s End” (2004), demonstrated a more mature Autumn that - slowly but surely - managed to escape the confines of gothic rock.
With “My New Time” (2007) Autumn doesn’t renounce its past, but does travel a new course with a strong mentality and ditto sound. With a huge dose of confidence, high quality songs and a superior line-up, a bright future lies ahead of them.
Winter 2009 heralds the return of Dutch heavy rock collective with a new intense and diverse album: Altitude. In many ways, this album is a logical progression from 2007’s highly acclaimed album, My New Time. It does present one surprising change: one of voice. Rising star, Marjan Welman, has taken over vocal duties from Nienke de Jong.
Dutch heavy rock collective Autumn make a return to the front line November 2011 with their new album, Cold Comfort. This is the band's fifth full-length effort, their third for Metal Blade Records. It offers a collection of striking songs blended into a diverse and yet surprisingly compact album, one that Autumn considers to be their most personal and meaningful to date. With a strong and solid lineup, the band thrives on the wealth of experiences drawn from recording and touring during the campaign for the previous album, Altitude. It inspired the six musicians to focus on further enriching and expanding both their songwriting and sound for Cold Comfort.
While Autumn's roots remain firmly planted in heavy rock/guitar-oriented soil, their branches are stretching out to more progressive musical genres and alternative approaches to the sound of individual songs. Guitarist Jens van der Valk elaborates: "In terms of sound we realized there were still leaps to be taken out of our comfort zone and into unthought-of possibilities. As a first step in the right direction, our main focus was on a more open, transparent sound, one through which the often multi-layered nature of our songs would be optimally channeled."
Autumn needed not look far for a man to put at the helm with the right pioneering philosophy for the band to begin taking leaps: Erik-Jan Dodd, Autumn's live sound engineer since the My New Time era, envisioned a more vintage approach for Cold Comfort. An experiment the band was all too eager to embrace, explains guitarist Mats van der Valk. "If there's anyone who knows what we're all about and more importantly: what we could potentially be all about, it's E-J."
D&T Audioproductions (run by Dodd and Cees Thomassen in the bowels of Tilburg's renowned 013 club) was temporarily turned into a home for a large collection of vintage amps and equipment, as well as the band's tried and tested gear. The producer duo set about doing things in a genre-a-typical fashion, lifting particular highlights out of the mix that would conventionally remain more embedded in a wall of sound, and opting for very dry or harsh sounds to paradoxically create more warmth and openness in the sound palette of some songs. Jens adds: "On occasion it felt like tearing things out of balance in order to create balance. I must admit we were a bit apprehensive at times, but persistently maintaining course resulted in songs with a stronger and more exciting character than we'd envisioned."
Working in an environment promoting creativity and thinking outside the box also paved the way for a bolder approach to recording the music itself: one where striving for perfection took a step back in favor of pure, raw emotion and impact. Mats adds on the process this time around, "In past recordings, we'd often run through a song until every note was as well-executed as possible, often discarding takes with a lot more emotion or groove than the ones that made the albums, but with little glitches in playing or singing we couldn't live with at the time. Recording Cold Comfort, we finally felt so, well, comfortable that if a take had the right power and feel, it would be a keeper, regardless of the way it was played." Some final takes on the album are, in fact, the initial rough sketches, played on rusty old strings and the drums were recorded with one of the cymbals cracked but sounding just 'right' in the mix.
Singer Marjan Welman was given an even more pivotal role for Cold Comfort than for its predecessor. Shewas at the heart of the creation of many of the songs. Mats recalls: "Marjan's phenomenal hearing, commitment and ability to practically copy great take after great take was amazing to witness and very inspiring. We always knew she would make a huge step forward compared to "Altitude", since she had only been in the band for a short time before that album was recorded. But we never expected her to thrive quite like she did!" It's Welman's vocal finesses that emphasize the unique character of each individual song, while at the same time the warmth and ease of her voice act to blend all these different characters into one powerful album.
A curious contrast emerges when the lyrics for Cold Comfortcome into play: whereas the music for the album was created from such positive and progressive forces, the lyrics seem to reflect a more negative, contemplative nature of the band, choosing a distinctly murkier path than the preceding albums. There are fewer positive twists to the stories and the unanswered questions and open endings so prevalent in Autumn's lyrics this time don't bode as well for things to come. A theme most lyrics on Cold Comfort seem to have in common: living through difficult times and thereafter reluctantly having to find a way forward into an uncertain and sometimes unwelcome future. Not so for Autumn's latest effort. An album all about rising up to challenges set and standing out from the crowd, Cold Comfort embraces the future andis poised to take on anything any adjacent genre can throw at it. Official website: http://www.autumn-band.com
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2) Autumn is primarily a two-piece outfit released countless underground cassette tapes documenting their pioneering and experimental synth work for five years throughout the early 1980s, many of which have only seen the light of day due to recent CD-r releases via collective label Micrart. Just before retiring the name to persue other projects, Autumn would record their own soundtrack to Fritz Lang's silent classic Metropolis, which was occasionally performed alongside screening's of the film before an 'official' score was made available.
As Autumn changed directions and laid their moniker to rest, members Geert Coppens and Peter Bonne would find some more success as members of Twilight Ritual, while Peter would also work as Linear Movement a short period of time.
-----
3) Autumn was an instrumental progressive rock / jazz band formed during and continued after the initial disintegration of Toxik. The band recorded several demos, and some rehearsals. Members included Josh Christian (guitars), Brian Bonini (bass) and Lou Caldarola (drums).
-----
4) Autumn is an artist collective from Germany, founded in 1984. Its aim is synthesis of the arts by combining music, fine arts and literature using avant-garde, traditional and classical elements of various cultural complexes. The group is formed by very different individuals whose individuality is flowing into the entirety of Autumn. A paradoxical polarity is the guideline of the conception, filled with subliminal inconsistencies reflection is always omnipresent as a central motive. The results are soundscapes completed with lyrical vocals, spoken words and visualizations – music and art performances, exhibitions as well as audio/visual concept releases under the motto "music for inner films". Official website: http://www.autumn-eu.de
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5) Autumn is a gothic rock band from Minneapolis, MN, United States. Heavily influenced by deathrock bands such as Christian Death with the soaring and dramatic yet often sinister vocals of Julie Plante and driving guitar and drum beats typical of this style of music, although they also have some slower, more ethereal songs. They are quite similar to This Ascension, although Autumn have a slightly heavier style.
They released "The Hating Tree" in 1996 and "Return to the Breath in 2000.
Members included Julie Plante (vocals, piano), Neil McKay (guitar, programming), Jeff Leyda (bass, cello). Official website: http://www.autumn-us.com
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6) Autumn was a hardcore band from Philadelphia, PA, United States, active in the early / mid 1990s. They released two 7" EPs, a CDEP released off by a subsidiary division of Revelation Records and were on a few compilation albums. Prior to becoming Autumn, they were named Forethought who also released a 7". Without question they were early pioneers of what's known today as screamo due to the vocals style. Musically, the style wasn't as emo as it was more melodic hardcore.
http://www.myspace.com/autumnpahardcore
-----
7) Autumn was a Russian doom metal band founded in 1993 in Ekaterinburg, Russian. First demo "The Druid Autumn" was released in 1995., which was followed by the first full-length album "And We Are the Fallen Leaves" in 1997, at this time all lyrics was on English. In 2000 the band self-released "Chernye Krylia" ("Black Wings"), all the lyrics except one song on this album were in their native language. Last album "Osen Vechna" ("Autumn Is Eternal") was released in 2003 by Stygian Crypt Productions, with all the lyrics in Russian. The band disbanded shortly after. The band played atmospheric death doom metal in the vein of early Anathema. The vocals sound somewhat like those of Moonspell and the band also uses a viola (not to be mistaken with a violin). The band's music shifts between more mid-tempo and slower songs. Overall the music breathes a very warm and sad romantic atmosphere.
---
8) Autumn is a Hungarian doom metal band formed in 2000. They have released one full-lenght album so far (On The Verge Of Existence), and the next one will be released soon.
-----
9) Autumn are drum and bass DJs, Lost Prophet & Sol.ID from Houston, TX; United States. Their brand of soulful, intelligent drum and bass has been very well received by the British underground, now on Fokuz And Celsius.
-----
10) Autumn was a progressive rock band from the United Kingdom. They recorded progressive rock songs in the 1970s for the album "Oceanworld" which was released only in 1999. Members included Nick Magnus (keyboards), Robbie Dobson (percussion), Steve Hoff (bass) and Mark Easton (guitars).
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11) Autumn was a indie rock band from Southern England, UK. They released an EP titled "Bearskins" in 1999. Featuring Mathew Snelling on vocals and guitar.
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14) One of the underrated bands of the 70s, based in Sydney (1969-1977). The first single was released on the company «EMI». Dictate producers pushing musicians to the style of “bubblegum”, that, though, and contributed to the commercial success, labeled as ‘popular’ group. After changing the label bias began to level off; huge success brought a cover of the song «Christie» British - «Yellow River». In total, the new location has been released 4 singles, firm yet not decided to issue a debut LP «Song To Raymondo» (1971), which consisted of a hodgepodge of old singles and fresh songs, pointing to the growing potential of the musicians. In full it appeared on the second album - «Comes Autumn» (1971), which appeared already in the giant «Warner Bros» … In 1972, during a trip to the UK, participants quarreled violently, though officially about was not announced decay. Three of them have created a team «Mecca», and then, having moved to Canada, joined the «Wireless». The vocalist and bassist, on the other hand, collected in 1976 in Sydney, the new composition of “Autumn”, but finally fled without releasing anything remarkable … Tony Romeril, who worked at one time in Italy under the pseudonym Andy Foxx, wrote material for a solo album, which did not out ……..
Like their contemporaries The Executives, The Affair, New Dream and Zoot, Sydney band Autumn has been unfairly labelled as a lightweight pop band, mainly on the basis of their early recordings. They’ve also been tagged as 'one-hit wonders’, although in fact they had four hits. Fronted by grievously underrated lead vocalist Tony Romeril, Autumn was a superb band with a strong following in their home city of Sydney, and they could tackle pop, country-rock and heavy/progressive rock with equal ease.
Like their close contemporaries The Flying Circus, Autumn formed at a time when rapid and significant changes were taking place in the music scene and the formerly homogeneous “pop” field was diversifying into several distinct genres. The trends that were drawing 'pop’ musicians towards progressive music, “heavy rock” and country rock was counterbalanced by the popularity and commercial success of so-called “bubblegum” pop. This created to a situation where, as Glennn A. Baker has observed, being identified as a pop band “drew automatic derision and critical dismissal”.
Autumn’s chart success with straight-ahead pop material has obscured the fact that this was a highly competent group, with tastes and abilities which went well beyond the confines of the three-minute formula pop single. Their true talents were not really showcased on record until their last few recordings for the Warner label) and as Glennn Baker notes “… nobody, save those who caught them live, came to realise what a sturdy, musically adept and diverse unit they were.”
In April 1971 guitarist Allan Marshall (ex Hot Cottage) replaced Greg Jacques and soon after this, Autumn joined Tamam Shud and Band of Light as one of the first batch of local acts to be signed by Warner Music (WEA), the newly established Australian subsidiary of the famous American record company. Their first Warner single, the country-styled “Falling” (b/w “Miracles” (May 1971) became their fourth hit, reaching #10 in Sydney. To promote it, Autumn made a successful tour to Melbourne, where they had previously had difficulty getting airplay, since (as noted above) both their earlier hits had been covered by Melbourne bands. Their next single, the progressively-styled “Goblin’s Gamble” / “Lady Anne” (July) and their last Warners single “Just Couldn’t Believe It”/ “Bye Bye to You” (September) both failed to chart, although they remained a popular live draw.
During the second half of 1971 Autumn released an EP A Patch Of Autumn followed by their hugely underrated second album Comes Autumn. Although it is dismissed by Vernon Joyson as “unremarkable”, it in fact contains some oustanding material. As Aussie music archivist “MidozTouch” has noted, Autumn’s second album is so strikingly different in style and sound from their first LP that one could be forgiven for thinking they were recorded by two different groups. The included re-recordings of some of their Chart material, including Allan Marshall’s riff-tastic psych-prog nugget “Get It Down” (one of several fine tracks he contributed), a re-recorded version of “Lady Anne”, and the country-styled hits “Falling” and “Miracles”. This excellent LP, which has never been reissued, is one of the genuine lost treasures of early 70s Australian rock. Like all the early '70s Australian Warner recordings, the original LP is now quite rare and has become a sought-after collector’s item.
Autumn added a new keyboard player and vocalist Charlie Wright (ex-Harry Young and Sabbath), at the end of the year but they broke up during an ill-fated trip to the UK in early 1972, splitting within just six weeks of their arrival. McMurray, Beatson and Marshall formed Mecca, which moved to Canada and after that group split they joined Canadian band Wireless. That group issued three Albums of bluesy hard rock, Wireless (1976), Positively Human, Relatively Sane (1979) and No Static (1980) on the Anthem label. Tony Romeril worked in Italy for some time, recording under the pseudonym Andy Foxx. Romeril and Graham re-formed Autumn briefly in Sydney during 1976, with a new line-up filled out by Dave Hallard (guitar), James Caulfield (keyboards) and Con Westaberg (drums), but this new version, which played only new material and none of the Autumn songs, quickly fizzled out.
Miles-ago…………
Although Autumn began as a bubblegum band in the late-60’s, the early-70’s found them, after various line-up changes, a markedly different band.
With lush harmonies, Beatlesque arrangements and a great batch of songs that ranged from breezy pop to progressive rock (as well as the the seven minute orchestral extravaganza: ‘Kill My World’), Comes… Autumn showed a mature and accomplished band that belied both their age and their beginnings.
1) A gothic metal / atmospheric… Read Full Bio ↴There are multiple artists named Autumn:
1) A gothic metal / atmospheric rock band from the Netherlands.
2) A minimal wave band from Belgium active in the 1980s.
3) A progressive rock / jazz group active in the early 1990s, formed by members of Toxik.
4) A neoclassical darkwave project from Germany.
5) A gothic rock band from Minneapolis, MN, United States.
6) A now defunct early to mid 90s hardcore band from Philadelphia, PA, United States.
7) A disbanded doom metal band from Russia.
8) A doom metal band from Hungary.
9) A soulful drum and bass project from Houston, TX, United States.
10) A progressive rock band from United Kingdom.
11) An indie rock band from Southern England, United Kingdom.
12) The singer-songwriter Autumn Boukadakis.
13) A religious vocal ensemble sponsored by Rochester College in Rochester Hills, MI, United States.
14) An Australian pop-rock band active in the late 1960s and early 1970s.
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1) Autumn is a rock band from Groningen, Netherlands. The band was formed in 1995 and quickly became an important component of the blossoming Dutch gothic metal scene. Their debut album “When Lust Evokes the Curse” (2002) put Autumn on the map besides genre mates Within Temptation and After Forever. The band performed at festivals like Dynamo, Lowlands, Waldrock, Fields Of Rock, Metal Female Voices Fest, Summerbreeze, M’Era Luna and Wacken. In addition, Autumn supported bands like Cradle Of Filth and Within Temptation on national and international tours, and did numerous headline tours in The Netherlands. Their second album “Summer’s End” (2004), demonstrated a more mature Autumn that - slowly but surely - managed to escape the confines of gothic rock.
With “My New Time” (2007) Autumn doesn’t renounce its past, but does travel a new course with a strong mentality and ditto sound. With a huge dose of confidence, high quality songs and a superior line-up, a bright future lies ahead of them.
Winter 2009 heralds the return of Dutch heavy rock collective with a new intense and diverse album: Altitude. In many ways, this album is a logical progression from 2007’s highly acclaimed album, My New Time. It does present one surprising change: one of voice. Rising star, Marjan Welman, has taken over vocal duties from Nienke de Jong.
Dutch heavy rock collective Autumn make a return to the front line November 2011 with their new album, Cold Comfort. This is the band's fifth full-length effort, their third for Metal Blade Records. It offers a collection of striking songs blended into a diverse and yet surprisingly compact album, one that Autumn considers to be their most personal and meaningful to date. With a strong and solid lineup, the band thrives on the wealth of experiences drawn from recording and touring during the campaign for the previous album, Altitude. It inspired the six musicians to focus on further enriching and expanding both their songwriting and sound for Cold Comfort.
While Autumn's roots remain firmly planted in heavy rock/guitar-oriented soil, their branches are stretching out to more progressive musical genres and alternative approaches to the sound of individual songs. Guitarist Jens van der Valk elaborates: "In terms of sound we realized there were still leaps to be taken out of our comfort zone and into unthought-of possibilities. As a first step in the right direction, our main focus was on a more open, transparent sound, one through which the often multi-layered nature of our songs would be optimally channeled."
Autumn needed not look far for a man to put at the helm with the right pioneering philosophy for the band to begin taking leaps: Erik-Jan Dodd, Autumn's live sound engineer since the My New Time era, envisioned a more vintage approach for Cold Comfort. An experiment the band was all too eager to embrace, explains guitarist Mats van der Valk. "If there's anyone who knows what we're all about and more importantly: what we could potentially be all about, it's E-J."
D&T Audioproductions (run by Dodd and Cees Thomassen in the bowels of Tilburg's renowned 013 club) was temporarily turned into a home for a large collection of vintage amps and equipment, as well as the band's tried and tested gear. The producer duo set about doing things in a genre-a-typical fashion, lifting particular highlights out of the mix that would conventionally remain more embedded in a wall of sound, and opting for very dry or harsh sounds to paradoxically create more warmth and openness in the sound palette of some songs. Jens adds: "On occasion it felt like tearing things out of balance in order to create balance. I must admit we were a bit apprehensive at times, but persistently maintaining course resulted in songs with a stronger and more exciting character than we'd envisioned."
Working in an environment promoting creativity and thinking outside the box also paved the way for a bolder approach to recording the music itself: one where striving for perfection took a step back in favor of pure, raw emotion and impact. Mats adds on the process this time around, "In past recordings, we'd often run through a song until every note was as well-executed as possible, often discarding takes with a lot more emotion or groove than the ones that made the albums, but with little glitches in playing or singing we couldn't live with at the time. Recording Cold Comfort, we finally felt so, well, comfortable that if a take had the right power and feel, it would be a keeper, regardless of the way it was played." Some final takes on the album are, in fact, the initial rough sketches, played on rusty old strings and the drums were recorded with one of the cymbals cracked but sounding just 'right' in the mix.
Singer Marjan Welman was given an even more pivotal role for Cold Comfort than for its predecessor. Shewas at the heart of the creation of many of the songs. Mats recalls: "Marjan's phenomenal hearing, commitment and ability to practically copy great take after great take was amazing to witness and very inspiring. We always knew she would make a huge step forward compared to "Altitude", since she had only been in the band for a short time before that album was recorded. But we never expected her to thrive quite like she did!" It's Welman's vocal finesses that emphasize the unique character of each individual song, while at the same time the warmth and ease of her voice act to blend all these different characters into one powerful album.
A curious contrast emerges when the lyrics for Cold Comfortcome into play: whereas the music for the album was created from such positive and progressive forces, the lyrics seem to reflect a more negative, contemplative nature of the band, choosing a distinctly murkier path than the preceding albums. There are fewer positive twists to the stories and the unanswered questions and open endings so prevalent in Autumn's lyrics this time don't bode as well for things to come. A theme most lyrics on Cold Comfort seem to have in common: living through difficult times and thereafter reluctantly having to find a way forward into an uncertain and sometimes unwelcome future. Not so for Autumn's latest effort. An album all about rising up to challenges set and standing out from the crowd, Cold Comfort embraces the future andis poised to take on anything any adjacent genre can throw at it. Official website: http://www.autumn-band.com
-----
2) Autumn is primarily a two-piece outfit released countless underground cassette tapes documenting their pioneering and experimental synth work for five years throughout the early 1980s, many of which have only seen the light of day due to recent CD-r releases via collective label Micrart. Just before retiring the name to persue other projects, Autumn would record their own soundtrack to Fritz Lang's silent classic Metropolis, which was occasionally performed alongside screening's of the film before an 'official' score was made available.
As Autumn changed directions and laid their moniker to rest, members Geert Coppens and Peter Bonne would find some more success as members of Twilight Ritual, while Peter would also work as Linear Movement a short period of time.
-----
3) Autumn was an instrumental progressive rock / jazz band formed during and continued after the initial disintegration of Toxik. The band recorded several demos, and some rehearsals. Members included Josh Christian (guitars), Brian Bonini (bass) and Lou Caldarola (drums).
-----
4) Autumn is an artist collective from Germany, founded in 1984. Its aim is synthesis of the arts by combining music, fine arts and literature using avant-garde, traditional and classical elements of various cultural complexes. The group is formed by very different individuals whose individuality is flowing into the entirety of Autumn. A paradoxical polarity is the guideline of the conception, filled with subliminal inconsistencies reflection is always omnipresent as a central motive. The results are soundscapes completed with lyrical vocals, spoken words and visualizations – music and art performances, exhibitions as well as audio/visual concept releases under the motto "music for inner films". Official website: http://www.autumn-eu.de
-----
5) Autumn is a gothic rock band from Minneapolis, MN, United States. Heavily influenced by deathrock bands such as Christian Death with the soaring and dramatic yet often sinister vocals of Julie Plante and driving guitar and drum beats typical of this style of music, although they also have some slower, more ethereal songs. They are quite similar to This Ascension, although Autumn have a slightly heavier style.
They released "The Hating Tree" in 1996 and "Return to the Breath in 2000.
Members included Julie Plante (vocals, piano), Neil McKay (guitar, programming), Jeff Leyda (bass, cello). Official website: http://www.autumn-us.com
-----
6) Autumn was a hardcore band from Philadelphia, PA, United States, active in the early / mid 1990s. They released two 7" EPs, a CDEP released off by a subsidiary division of Revelation Records and were on a few compilation albums. Prior to becoming Autumn, they were named Forethought who also released a 7". Without question they were early pioneers of what's known today as screamo due to the vocals style. Musically, the style wasn't as emo as it was more melodic hardcore.
http://www.myspace.com/autumnpahardcore
-----
7) Autumn was a Russian doom metal band founded in 1993 in Ekaterinburg, Russian. First demo "The Druid Autumn" was released in 1995., which was followed by the first full-length album "And We Are the Fallen Leaves" in 1997, at this time all lyrics was on English. In 2000 the band self-released "Chernye Krylia" ("Black Wings"), all the lyrics except one song on this album were in their native language. Last album "Osen Vechna" ("Autumn Is Eternal") was released in 2003 by Stygian Crypt Productions, with all the lyrics in Russian. The band disbanded shortly after. The band played atmospheric death doom metal in the vein of early Anathema. The vocals sound somewhat like those of Moonspell and the band also uses a viola (not to be mistaken with a violin). The band's music shifts between more mid-tempo and slower songs. Overall the music breathes a very warm and sad romantic atmosphere.
---
8) Autumn is a Hungarian doom metal band formed in 2000. They have released one full-lenght album so far (On The Verge Of Existence), and the next one will be released soon.
-----
9) Autumn are drum and bass DJs, Lost Prophet & Sol.ID from Houston, TX; United States. Their brand of soulful, intelligent drum and bass has been very well received by the British underground, now on Fokuz And Celsius.
-----
10) Autumn was a progressive rock band from the United Kingdom. They recorded progressive rock songs in the 1970s for the album "Oceanworld" which was released only in 1999. Members included Nick Magnus (keyboards), Robbie Dobson (percussion), Steve Hoff (bass) and Mark Easton (guitars).
-----
11) Autumn was a indie rock band from Southern England, UK. They released an EP titled "Bearskins" in 1999. Featuring Mathew Snelling on vocals and guitar.
-----
14) One of the underrated bands of the 70s, based in Sydney (1969-1977). The first single was released on the company «EMI». Dictate producers pushing musicians to the style of “bubblegum”, that, though, and contributed to the commercial success, labeled as ‘popular’ group. After changing the label bias began to level off; huge success brought a cover of the song «Christie» British - «Yellow River». In total, the new location has been released 4 singles, firm yet not decided to issue a debut LP «Song To Raymondo» (1971), which consisted of a hodgepodge of old singles and fresh songs, pointing to the growing potential of the musicians. In full it appeared on the second album - «Comes Autumn» (1971), which appeared already in the giant «Warner Bros» … In 1972, during a trip to the UK, participants quarreled violently, though officially about was not announced decay. Three of them have created a team «Mecca», and then, having moved to Canada, joined the «Wireless». The vocalist and bassist, on the other hand, collected in 1976 in Sydney, the new composition of “Autumn”, but finally fled without releasing anything remarkable … Tony Romeril, who worked at one time in Italy under the pseudonym Andy Foxx, wrote material for a solo album, which did not out ……..
Like their contemporaries The Executives, The Affair, New Dream and Zoot, Sydney band Autumn has been unfairly labelled as a lightweight pop band, mainly on the basis of their early recordings. They’ve also been tagged as 'one-hit wonders’, although in fact they had four hits. Fronted by grievously underrated lead vocalist Tony Romeril, Autumn was a superb band with a strong following in their home city of Sydney, and they could tackle pop, country-rock and heavy/progressive rock with equal ease.
Like their close contemporaries The Flying Circus, Autumn formed at a time when rapid and significant changes were taking place in the music scene and the formerly homogeneous “pop” field was diversifying into several distinct genres. The trends that were drawing 'pop’ musicians towards progressive music, “heavy rock” and country rock was counterbalanced by the popularity and commercial success of so-called “bubblegum” pop. This created to a situation where, as Glennn A. Baker has observed, being identified as a pop band “drew automatic derision and critical dismissal”.
Autumn’s chart success with straight-ahead pop material has obscured the fact that this was a highly competent group, with tastes and abilities which went well beyond the confines of the three-minute formula pop single. Their true talents were not really showcased on record until their last few recordings for the Warner label) and as Glennn Baker notes “… nobody, save those who caught them live, came to realise what a sturdy, musically adept and diverse unit they were.”
In April 1971 guitarist Allan Marshall (ex Hot Cottage) replaced Greg Jacques and soon after this, Autumn joined Tamam Shud and Band of Light as one of the first batch of local acts to be signed by Warner Music (WEA), the newly established Australian subsidiary of the famous American record company. Their first Warner single, the country-styled “Falling” (b/w “Miracles” (May 1971) became their fourth hit, reaching #10 in Sydney. To promote it, Autumn made a successful tour to Melbourne, where they had previously had difficulty getting airplay, since (as noted above) both their earlier hits had been covered by Melbourne bands. Their next single, the progressively-styled “Goblin’s Gamble” / “Lady Anne” (July) and their last Warners single “Just Couldn’t Believe It”/ “Bye Bye to You” (September) both failed to chart, although they remained a popular live draw.
During the second half of 1971 Autumn released an EP A Patch Of Autumn followed by their hugely underrated second album Comes Autumn. Although it is dismissed by Vernon Joyson as “unremarkable”, it in fact contains some oustanding material. As Aussie music archivist “MidozTouch” has noted, Autumn’s second album is so strikingly different in style and sound from their first LP that one could be forgiven for thinking they were recorded by two different groups. The included re-recordings of some of their Chart material, including Allan Marshall’s riff-tastic psych-prog nugget “Get It Down” (one of several fine tracks he contributed), a re-recorded version of “Lady Anne”, and the country-styled hits “Falling” and “Miracles”. This excellent LP, which has never been reissued, is one of the genuine lost treasures of early 70s Australian rock. Like all the early '70s Australian Warner recordings, the original LP is now quite rare and has become a sought-after collector’s item.
Autumn added a new keyboard player and vocalist Charlie Wright (ex-Harry Young and Sabbath), at the end of the year but they broke up during an ill-fated trip to the UK in early 1972, splitting within just six weeks of their arrival. McMurray, Beatson and Marshall formed Mecca, which moved to Canada and after that group split they joined Canadian band Wireless. That group issued three Albums of bluesy hard rock, Wireless (1976), Positively Human, Relatively Sane (1979) and No Static (1980) on the Anthem label. Tony Romeril worked in Italy for some time, recording under the pseudonym Andy Foxx. Romeril and Graham re-formed Autumn briefly in Sydney during 1976, with a new line-up filled out by Dave Hallard (guitar), James Caulfield (keyboards) and Con Westaberg (drums), but this new version, which played only new material and none of the Autumn songs, quickly fizzled out.
Miles-ago…………
Although Autumn began as a bubblegum band in the late-60’s, the early-70’s found them, after various line-up changes, a markedly different band.
With lush harmonies, Beatlesque arrangements and a great batch of songs that ranged from breezy pop to progressive rock (as well as the the seven minute orchestral extravaganza: ‘Kill My World’), Comes… Autumn showed a mature and accomplished band that belied both their age and their beginnings.
Atrophy
Autumn Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Atrophy
torn muscles hang from the line
Sun-dried, now it's time for the feast
And I wait in line with plate in hand
But you've eaten all there is
And my bones weep
I was never meant to...or maybe I was...
Never meant to...or maybe I was...never meant to
Head raging and I'm so tired
Can't stand any more of this
When the state of the living
Is as the state of the dead
Such disillusionment is the end
Painstaking - every move a labor
Gnarled and ravaged bones protrude
And I want to smear the disease across my ribs
In the name of the father . . . atrophy begins
I was never meant to...or maybe I was...
Never meant to...or maybe I was...never meant to
Left here, now on this precipice
Sun-dried tendons slide away
Into the cracks of desert sand
My skeletal smile begs for more
I was never meant to...or maybe I was...
Never meant to...or maybe I was...never meant to
But like a trestle underwater, like a trestle underwater,
Like a trestle underwater, like a trestle underwater, like a trestle underwater,
I drown tooâ?¦ I drown tooâ?¦ I drown tooâ?¦ I drown tooâ?¦
I drown tooâ?¦
torn muscles hang from the line
Sun-dried, now it's time for the feast
And I wait in line with plate in hand
But you've eaten all there is
And my bones weep
I was never meant to...or maybe I was...
Head raging and I'm so tired
Can't stand any more of this
When the state of the living
Is as the state of the dead
Such disillusionment is the end
Painstaking - every move a labor
Gnarled and ravaged bones protrude
And I want to smear the disease across my ribs
In the name of the father . . . atrophy begins
I was never meant to...or maybe I was...
Never meant to...or maybe I was...never meant to
Left here, now on this precipice
Sun-dried tendons slide away
Into the cracks of desert sand
My skeletal smile begs for more
I was never meant to...or maybe I was...
Never meant to...or maybe I was...never meant to
But like a trestle underwater, like a trestle underwater,
Like a trestle underwater, like a trestle underwater, like a trestle underwater,
I drown tooâ?¦ I drown tooâ?¦ I drown tooâ?¦ I drown tooâ?¦
I drown tooâ?¦
"Atrophy" by Autumn is a song that delves into the theme of decay and disillusionment. The lyrics portray a sense of physical and emotional decay, as the singer describes torn muscles hanging from the line, and painfully gnarled bones protruding from their body. They wait in line for a feast, but find that there is nothing left because someone else has eaten it all. This moment signifies a greater feeling of being left behind and not being able to catch up with life.
The lyrics also touch on the futility of existence and how this leads to a state of disillusionment. The singer speaks of the state of the living being no different than the state of the dead, and how every move feels like painful labor. They want to "smear the disease" across their ribs, which could be interpreted as a way of embracing their own decay, as if it's the only thing that feels real. The song culminates in the line "But like a trestle underwater, I drown too", which could be seen as a final admission of defeat and acceptance of their own mortality.
Line by Line Meaning
torn muscles hang from the line
My physical strength has deteriorated to the point where my muscles are hanging helplessly, like clothes on a clothesline.
Sun-dried, now it's time for the feast
My time is up, and I must face the consequences of my actions.
And I wait in line with plate in hand
I am ready to face my fate, whatever that may be.
But you've eaten all there is
I have been left with nothing, my efforts have all been in vain.
And my bones weep
I am exhausted, both physically and emotionally.
I was never meant to...or maybe I was...
I am unsure about my purpose in life and whether I was meant to suffer in this way.
Head raging and I'm so tired
My mind is filled with anger and confusion, but at the same time, I am incredibly weary.
Can't stand any more of this
I am at my breaking point and can no longer endure the pain.
When the state of the living
The way people are living their lives...
Is as the state of the dead
...is not much different from how the dead exist, without vitality or purpose.
Such disillusionment is the end
This realization that life is so empty and meaningless is the ultimate end, there is nothing beyond that.
Painstaking - every move a labor
Every action I take is incredibly difficult and requires a great deal of effort on my part.
Gnarled and ravaged bones protrude
My physical condition has deteriorated to the point of grotesqueness, bones jutting out of my body.
And I want to smear the disease across my ribs
I want to showcase how much I am suffering physically, perhaps to garner some sympathy from those around me.
In the name of the father . . . atrophy begins
I am powerless to do anything other than suffer and endure, but even that will come to an end eventually.
Left here, now on this precipice
I am at a turning point in my life, where things could either get better or worse.
Sun-dried tendons slide away
My body continues to deteriorate, even as I stand here.
Into the cracks of desert sand
I am insignificant in the grand scheme of things, my problems are not unique and are just part of the vastness of life.
My skeletal smile begs for more
I am desperate for something else, something better, but I am powerless to do anything about it.
But like a trestle underwater, like a trestle underwater, like a trestle underwater, like a trestle underwater, like a trestle underwater,
I am drowning, sinking deeper and deeper into despair and hopelessness.
I drown tooâ?¦ I drown tooâ?¦ I drown tooâ?¦ I drown tooâ?¦
I am overcome by my problems, and they are consuming me, just like water would.
Lyrics © CONCORD MUSIC PUBLISHING LLC
Lyrics Licensed & Provided by LyricFind
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