I started to work on this album on 16.11.2013 and finished it today, 07.12.2018.
The Tree is about a 300 years old giant oak that was cut in 1994 in a way that would cause it to die slowly, half of the the vessels for transporting water from the roots upwards were cut by someone who knew what he was doing. In 2011 it was finally dead, its remains are still there. Nobody ever found out who did that and why.
Clockwork for Uncertain Times is a machine, sometimes larger and
sometimes smaller than life, or what we believe life to be.
Silence and Ecstasy is about a mountainbike trail of ca. 30 km,
condensed into music. The steady climb to a viewpoint, the fast
downhill with unexpected bends, and uphill again, arriving where
you have started, but also somewhere else.
supported by 7 fans who also own “SubTerraMachIneA”
I've hesitated a long time before purchasing my first Pete Jones album, because he's got quite some ambiguous reputation as a "Genesis" epigone. Well, after listening closely to "The Depths of Winter", I think this suspicion isn't really substantiated. Granted, he clearly draws on the 70's symphonic rock heritage, but not to a greater extent than many others counted among the typical representatives of the neo-prog genre. While this album contains a couple of tracks that I won't listen to very frequently, this is more than compensated by overwhelming monster ballads like my favorite track "Hygge". Pete Jones' voice is outstanding, and Mark Wardle's occasional brass arrangements are an additional pleasure. Sven B. Schreiber