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TALES OF ARDOUR AND DECEIT

FIN DE SIECLE

Available directly from Etcetera:

ETCETERA

THE DIFFICULT SECOND

OLD SCHOOL

Coming: THE LONG WAY HOME

All other material can be ordered directly from us. We accept cash, bank transfer or paypal at the moment, but hopefully you can live with that.

For information and ordering of Etcetera material please contact:
etcetera@vip.cybercity.dk
or
Phone: (+45) 27 82 48 08.





OLD SCHOOL


THE RELEASE OF 2013


How would it sound, if we played the old songs with the skills we have now, but with the same instruments? That was the idea behind "Old School". Most of the songs are the same as found on "Etcetera", but much better recorded. The personnel is also the same, so the vibe is still there.






THE RELEASE OF 2003


We are truly proud of this CD. Expect a great album of new songs with tons of great sounds, 12-string guitars, organs, mellotron sounds, Moogs, synths... the works!




THE RELEASE OF 1999




This release from Etcetera features three long suites and a number of other pieces ranging from catchy melodies to complicated instrumental arrangements. It is the most thoroughly worked through work from Etcetera to date. Most people will find something on this album that they like. The techniques used to produce this album were those used here in the late-90'ies - the "Fin de Siecle" - but the sound and music is undisputedly rooted in a classic 70-ies tradition.

Frank Carvalho - guitars, bass, keyboards, MIDI, computer programming...
Michael Munch-Hansen - vocals and piano
with:
Anders Kjærulff - bass
Johnnie McCoy - drums and percussion

Contains:
  1. Charles' Unhealthy Pïctures (Frank Carvalho)
  2. Infinite Chords (Carvalho/Munch-Hansen)
  3. Gongtric (Frank Carvalho)
  4. Vuggevise (Michael Munch-Hansen)
  5. Anagrams (Frank Carvalho)
  6. Absolute Dance Party III (Frank Carvalho)
  7. Fin de Siecle (Frank Carvalho)

All recordings made in Freeport Studio and Eigens Ballroom, between 1996 and 1998. This really means at home. Can be ordered from Record Heaven
Progression Magazine said:

Whoa! Here's a really good one!

 This is what Progressive World said:

We are going south where we meet the magnificent Etcetera in Denmark. As it happens with a lot of bands it took them twelve years before a first album was released. It has been worth the long wait because Fin De Siècle - one couldn't ask for a better title this time of year - is a work of art in the domain of symphonic rock! The pivot on which everything hinges is multi-instrumentalist Frank Carvalho who, thank god, puts the spotlight onto his keyboards. One moment he's a copy of Keith Emerson, the next he tries to 'outplay' Alan Gowen. Although the seven compositions differ in style the name Gentle Giant crops up frequently. Strangely enough I have to point out that there used to be a Canadian band who were also very much influenced by Gentle Giant and who were called … Et Cetera (in two words) ! Talk of coincidence !

In the instrumental "Gongtric" we don't have to explain where the influences have to be traced from. Singer Michael Munch-Hansen lets us hear his uncertain Danish voice during "Vuggevise" whilst Carvalho adds a nice touch of Pink Floyd in true David Gilmour tradition. Pity that once again a drum-computer is used here (drummer Johnnie McCoy only drums on two of the seven songs) which extra emphasizes my slogan "all drum-computers should be banned from progressive rock!" The band loses all track during "Absolute Dance Party III" in which they try to sound like Kraftwerk. The most powerful track on the album is the title song where Munch-Hansen's voice steers in the direction of Justin Hayward [Moody Blues]. All possible styles are mingled whilst synths, Fender Rhodes and Mellotron form the counterpart for the acoustic guitar.

Without any doubt one of the bands to watch out for and I hope we won't have to wait another ten years for the sequel from this splendid find: Etcetera!


 Review courtesy John "Bo Bo" Bollenberg




ETCETERA - ETCETERA


The first serious recorded effort from Etcetera, sporting two long suites; 'Dance of the Demons' and 'Experience'. The extended time on a CD left space for three extra "bootleg quality" live tracks of the original Etcetera. Entirely self-produced, as always with Etcetera.


ETCETERA
  1. Dance of the Demons (F.Carvalho) 21:20
    • Part one 7:45
    • In Medias Res 3:10
    • Part two 10:25
  2. Experience (F.Carvalho) 15:26

    3. + "bootleg" live tracks:
  3. Camel (Etcetera) 5:23
  4. Enigma of Erses Tree (F.Carvalho) 7:07

    5. + bonus re-recording:
  5. Endelave (F.Carvalho) 9:49
Total playing time: 59:05
$12 + Shipping
-This is a review by Adam Daudrich, 1998:

"Dance of the Demons: This is probably the jazziest piece. Features your most passionate playing. Opening guitar lines sound a lot like Jeff Beck circa Blow by Blow. Your guitar playing is schizoid, Johnnie's drumming is tight and dynamic, In medias res is a nice break, before the onslaught of the guitar solo, which is your best from both albums. I need more listens of this one.

Experience: This track scares me. The atonal chord progression is repeated several times throughout the piece, accompanied by a piano solo, which is one of my favorite moments on the album, and a fiery guitar solo which is second only to the part two solo from DotD. Katrine has a lovely voice which compliments the mood.

Camel (live): The riff is cool, running up and down some eastern scale which I haven't bothered to figure out. I will very soon (just got back from a relatives house at which I stayed for 5 days with no instruments.... yes! that is hell) There's a segment that sounds like it came right out of Kashmir by Led Zeppelin. Do I hear Michael singing the main riff in a bass voice as well? Johnny McCoy is absolutely kick ass, pardon my french. He is, in my opinion, better than Alan White and sounds a lot like Billy Cobham from Mahavishnu.

Enigma of Erses Tree: The live accoustics took their toll on the voice tuning. The guitar riffing is classic, and again Johnnie is amazing (why wasn't he on the secind album?-no offense to Jens, who is a fine drummer in his own right). ... some wicked guitar riffing and boyant, basslines, as well as some great loose and wild playing by Super-Johnnie McCoy.




ETCETERA - THE DIFFICULT SECOND


The second recording session by the trio version of Etcetera, containing guesting vocals from Michael Munch-Hansen. A more balanced sound than the first Etcetera album.


ETCETERA - THE DIFFICULT SECOND
  1. Trespasser (F.Carvalho) 17:24
    (including Zep is back in town)
  2. The Hunter (F.Carvalho) 3:26

  3. Frosty Days (F.Carvalho) 2:49
  4. Suite no. 1 for 4 piece rock band (Anders Kjærulff) 10:12
  5. Erratic Behaviour (F.Carvalho) 8:02
Total playing time: 42:06
$12 + Shipping
-This is a review by Adam Daudrich, 1998:

Trespasser: Opening 11th chords or whatever are followed by a dark vocal laced quite tightly to the guitar picking, accompnied by mellow organ. Very mystical. The progression into the "jam" as I call it is smooth and climactic, great playing here. The following swirling organ/guitar riffs confirm the take-off. And so the jam continues. The mini moog tells us a bit of a story, well versed in the school of early Wakeman synth work. The double up with guitar pentatonic line is cool and introduces the high volume picking figure well.The piece really starts to take off here, some great moog dialogue over acoustic guitar, block organ chords. And then......wurlitzer solo. You're guilty of a bit of aimless noodling here. No matter, the moog figure, into a repetition by the organ, which takes a solo. This is cool. Really start to notice the absence of Johnnie here. At first I din't know who the hell Zep was, but then the riff kicked in and I realized. Yes, you have captured Jimmy Page's sound very well, and the syncopation is vintage Zeppelin. The end, however, of trespasser is where most of it's merit is earned. It sounds a lot like PFM, and the reintroduction of the 11th chord at the end is well thought out. A magnificent ending to a great tune.

The Hunter: Simply a great ballad and fantastic accoustic guitar work. The vocal harmony is very pleasant and rich. A beautiful tune. A good story about the hypocrisy of man's violence, pain and mortality. A nice breather after trespasser, to say the least.

Frosty Days: A decent ballad. Not as good as The hunter, which is coloured so very well by Mads' vocals. The real feature of the piece is also it's poison. The guitar bass, interplay is great, some good dula scale runs, but the bass bound is too boomy and distorted. No matter, I hear beyond that.

Suite: IMO, structurally, the best tune on both albums. A suite indeed. Opening electric piano 5/8 figure is well-penned, moog follows, then repeats what the elec piano stated. The piece changes tempo about 5 times I believe. I can't recall exactly what tehy were. I remember 5/4 and 10/8 in additon to the 5/8. What makes this piece excelent is the repetition of the theme in F major I think (though the key changes quite often- a common etcetera trait). After the bassist restates his own theme, a serpentine guitar tone takes over the second half of the theme over layers of accoustic guitar and electric piano, respectively, ending on a minor chord. Great tune. I will learn all of it.

Erratic behavior. Certainly the most ambient of all these tunes. Perhaps the most "crimson" if I may be so bold. The bass solo is soulful, but the song is little else. The weakest composition of both albums, which is no failure by any means."