Adam Moore | ...Meets the Greater Fiction

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Rock: Progressive Rock Rock: Instrumental Rock Moods: Featuring Guitar
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...Meets the Greater Fiction

by Adam Moore

A peculiar confection of progressive pop, instrumental rock guitar, layered vocal harmonies and impressionistic lyrics, all delivered with heart, intensity, accuracy and dry-as-bone production.
Genre: Rock: Progressive Rock
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1. Complex Sleep (The Apocryphal Man)
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4:30 $0.99
2. Jar of Angels
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3:13 $0.99
3. Emails from Uruk
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2:47 $0.99
4. Tight Around the Heart
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2:45 $0.99
5. Champagne Breakfast
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2:36 $0.99
6. Truth Functions?
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2:51 $0.99
7. Surveillance (The Alpha Man)
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4:54 $0.99
8. Professor Plum
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3:23 $0.99
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ABOUT THIS ALBUM


Album Notes
Adam Moore...Meets the Greater Fiction

I’ve not been making this little album for over thirteen years. That is, most of these songs were written as one-offs and always seemed to want to live alone, bless them. But, listening back to all eight, the thing that connects them is their independence and complete disinterest in what anyone else thinks of them.
Some of the ideas are ancient, the little three-part guitar arpeggio in Emails from Uruk, for example, I extracted from a demo I made in 2000. The choppy little synth thing running through Truth Functions? is a treatment of Lo’s Orchard from my album After School Guitar Club, which is, in turn, is an arrangement of the original from the album Regent, which, in turn, began life as a demo in 2001.
I wrote Surveillance as a kind of composition exercise. I wanted to get my head around how King Crimson’s songs from the Construction of Light era were written…so I tried to make my own one. It was written over about a week in the winter of 2008 whilst on holiday in The Lakes (yes folks, that’s what I did on holiday, wrote pastiches of progressive rock tunes).
Champagne Breakfast is one of my favourite pieces of music. It’s as close as I’ve come to a lullaby and I love it.

In the Press:

"Adam Moore’s current release, "After School Guitar Club" is one of the most compelling and alluring acoustic guitar recordings heard in recent years... a sonic masterpiece and should be required listening for all aficionados of acoustic music." (Minor7th.com)

"We considerer ourselves extremely privileged to have Adam as a part of Thirteenth Sign as he is probably the best guitarist we have ever met and has absolutely no ego! His solos on the new tracks are real highlights of the album; guitar fans will be able to hear influences from Friedman, Loomis and Petrucci in his playing as well as his own style and skills." (Chris Hubbard of Thirteenth Sign)

"The penultimate track is The Knot Garden. Here a mix of odd time signatures, fretless bass, synth and soaring lead lines combine to produce a memorable, multi-layered sound over which Adam plays some quite stunning lead." (Do Fret)

"Paul Williams and Adam Moore delighted with a consistent dialogue...What will stay with me is the music; Amit’s band moved seamlessly through genres whilst retaining an individual style. " (London Jazz Review)

"Adam creates uplifting music that sounds absolutely fresh and non-contrived […] there’s a sense of balance and direction throughout both CD’s which gives his playing more than a frisson of genuine greatness." (Shred Reviews)

"Equally adept at riff-laden hard rock and gentle mood levellers, Adam is a writer/guitarist who will certainly appeal to the AOR fans who yearn for something of genuine lasting value. " (Musician Magazine)

The Basic Bio:

I first picked up guitar when I was 11, inspired by a friend who made toy guitars out of cardboard and danced around his parents’ sitting room to Paul Simon’s Graceland album. Seeing I was becoming obsessed, my parents bought me a Marlin acoustic guitar for £40. I haven’t put it down since and I still use it for slide playing more than twenty years later.

Like lots of kids my age, I taped rock tunes off Top 40 radio on a Sunday night. Sifting through the crap eighties pop, I found All About Eve, The Mission, Tom Petty, Def Leppard, and all sorts of other cool guitar music. About that time I took lessons with a friend’s older brother who lived down the road and once we’d gone as far as we could I moved on to his band mate who could play better and new lots of scales. Also around that time I saw a video of Dave Stewart with The Eurythmics playing live in Australia. He was fantastic! He had a long leather coat, a blonde perm and a black Fender Stratocaster. I retained only the latter influence.

When I saw Steve Vai on T.V. at the Expo ’92 show is Seville it changed everything. From then on I had to know how all the wonderful stuff was done and play very fast. When I saw Pink Floyd live at Earl’s Court in 1994 everything changed again.

Having scratched my head in bemusement throughout the Brit-Pop years of my mid teens, I finally heard the double-trio formation of King Crimson when I was 19 in 1999 and over the next eight years attended Robert Fripp’s Guitar Craft seminar programme in the USA, UK and Spain. In 2007 and 2009 I visited Mattias IA Eklundh’s Freak Guitar Camp, just outside Gothenburg, Sweden to get my metal chops moving. It worked!

As well as Vai, Fripp, IA and Gilmour, all sorts of players including Allan Holdsworth, Mark Knopfler, Ry Cooder, Jeff Beck, Michael Hedges, Frank Zappa, Pete Townsend, Joe Satriani, Pat Metheny, and David Gilmore have moved me over the years.

I haven’t stopped listening, playing, practicing, studying, writing, gigging, recording, teaching, travelling, thinking, improvising, experimenting and generally living the musical life since. It’s a great way to be alive and to make a living…


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