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Egdon Heath - JPop.com
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Egdon Heath

Egdon Heath

Egdon Heath


Egdon Heath was formed in Leeuwarden (The Netherlands) in 1981. The time of the punk, the time that symphonic rock, according to the so-called 'experts', was dead. Jaap Mulder (piano, synthesizers, vocals), Wolf Rappard (synthesizers, vocals) and Valere Wittevrongel (drums) had no other choice but to follow their hearts and therefore with good spirits they rowed against the flow. In the bedroom of the drummer they worked on their reportoire every week. For a long time it was experimental and atmospheric. But the trio wanted to move on. Read more on Last.fm
Egdon Heath was formed in Leeuwarden (The Netherlands) in 1981. The time of the punk, the time that symphonic rock, according to the so-called 'experts', was dead. Jaap Mulder (piano, synthesizers, vocals), Wolf Rappard (synthesizers, vocals) and Valere Wittevrongel (drums) had no other choice but to follow their hearts and therefore with good spirits they rowed against the flow. In the bedroom of the drummer they worked on their reportoire every week.

For a long time it was experimental and atmospheric. But the trio wanted to move on. So when Aldo Aldema (guitar and bass guitar) joined, the quartet could move around some more. They started careful performances. But with the arrival of Marcel Copini (bass guitar), the band had finally found it's true line up.

From then on the music evolved to what soon would become the Egdon Heath sound: wide, lyrically and melodious. Very soon Egdon Heath became a part of the then active prog scnene: Live on Radio Frysland, demo's and raving reviews in magazine's such as Sym-Info and among the fans. The first LP was recorded at the Spitsbergen Studio in Zuidbroek (Groningen, The Netherlands), at the then time a renowned address with a beautiful grand piano. The band financed the release of the LP In the City (1987) themselves and the reception both here and abroad was more than positive. In those days the vocals were handled by the two keyboard players, but especially live this was viewed as a handicap. So for the second album, they searched for a real frontman.

Jens van der Stempel came from a totally different genre, but was willing to lend his voice to the CD The Killing Silence. This became a sympho-scene 'hit'. With that album, Egdon Heath grew to one of the most important representatives for teh genre in the Netherlands. The band toured with Italian in the circuit and with English bands.

They played for a packed Paradiso. With Ron Aerts from Drachten, as soundengineer, the band also had the possibility for quadrophonia – a lot of attention was given to the live sound. For the third CD Him, the Snake & I, they found Maurits Kalsbeek for the vocals. He had been in several bands in Friesland and came from the New Wave corner. The sound evolved; it became more modern, with more space, the sound became more transparent.

The compositions became more compact, song-orientated. The band played festivals and even travelled to Rotherham (England) twice, to perform there. For the fourth CD, Egdon Heath, in the same line-up, went on board with producer/technician Tom Holkenborg (Junkie XL). This man, with a vision of his own, was able to give the music an interesting twist. The result was Nebula and received nothing but praise.

A massive album where all musicians showed they had grown enormously. Music magazine OOR vouched for Egdon Heath to get their big international break now. Unfortunately as the result of mal-practices at the SI Music label and it's follow up Cymbaline Records, the album turned out to be a financial disaster and there was virtually no PR or marketing done for the album, causing no one to really notice it. This caused the true spirit, that had always been there, to slowly flow away; the disappointment was great and Wittevrongel and Rappard indicated they wanted to end things. After a very heavy meeting it was then decided to en Egdon Heath in 1999. The final concert in the great pop-venue of the theatre De Harmonie in their hometown of Leeuwarden, was a memorable event.

That night was recorded on 48 track and later released as double CD with the appropriate title Live at Last. A week later, the remaining members Jaap Mulder, Aldo Aldema, Maurits Kalsbeek and Marcel Copini already rehearsed with a new drummer. This drummer, Erik de Koning had played with Crocodile Smile, a coverband from Groningen, as well as with Synchronicity, thé Police coverband from the Netherlands. This meant the music still evolved. It was clearly still in the vein of Egdon Heath, as Jaap Mulder was the main composer, but it became more energetic, more powerful.

The guitar became more dominant. And just when the collective was ready to step outside, Maurits Kalsbeek suddenly left. A great deception. And so they again worked a long time on new material, without a singer. Their own sound was worked out more and finally the quartet came in touch with Han Uil, who had been vocalist of the prog/metal band Antares from Groningen.

And that clicked. Consequently they could very quickly start the real recordings of a new album. Under the new monniker Seven Day Hunt the album, entitled File this Dream, is expected to surface summer 2008. On this album a symbiosis will be heard of the new influences and the lyricallness that was trademark to Egdon Heath in the early days. Bassist Marcel Copini plays on this album, but in the meantime he has left the band after 23 years for personal reasons. Read more on Last.fm.

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