Critically acclaimed as THE modern rock record of the Decade, from thrash-master Deliverance frontman, Jimmy Brown. Think David Bowie meets The Killers and The Cars. Absolutely amazing.

12 MP3 Songs
METAL: Alternative Metal, ROCK: Progressive Rock



Details:
JUPITER VI
âBACK FROM MARSâ

Label: Retroactive Records (http://retroactiverecords.net)
Distribution: Brutal Planet (brutalplanet@gmail.com)
Release Date: November 7, 2006
Catalog Number: RAR7828
Style: Rock
Tracks: 12
Time: Aprox. 50 minutes
Lyrics: yes
Insert: Six page color


Jimmy Brown (Deliverance) delivers nothing less than his
most challenging record to date, confirming his place at
rock's most cutting edge, even today. BACK TO MARS is
driven by jagged guitars and genuine pop songs with
cinematic flair, embedded in an off-kilter metallic mix. This David Bowie/Ziggy Stardust inspired album flourishes in a glitzy array of riffs, hooks, and melodrama from
start to finish. Far from Jimmy's work with Deliverance, the brilliance of Jupiter VI may come in their ability to wear their influences on their sleeves (Bowie, Daniel
Amos, Iggy Pop, Cheap Trick) while creating a modern rock album ready to dominate the world! If Jimmy Brown's
vision was to create an album that is out of this world,
he succeeded in grand, sweeping fashion! Prepare for take-off!


KEY SELLING POINTS

**Will appeal to fans of classic rock (especially space/glam/alternative rock), The Strokes, The Killers, She
Wants Revenge.
**Jimmy Brown has embodied the legendary metal band Deliverance since the mid 1980's and maintains a
loyal fan base of all his projects.
**Members of Deliverance play on the album, including GEORGE OCHOA (guitar). This is the
first time George and Jimmy has recorded together since the legendary WEAPONS OF OUR
WAREFARE album by Deliverance!
**Crisp production
**Appears on Lightning Strikes Twiceâ¦Again label promotional sampler
**Appears on fall â06 HM/Heavenâs Metal subscribers CD sampler
**Full radio/advertising promotional campaign
**Will appeal to fans of bands the members have already played in.



TRACKS
back from mars, the human endeavor, mimes hill.2, corporate stiff, from here till ever, passions, in a world ofâ¦, all day and all of the night, through the speakers (alien synth mix), lucidia, brand new day, zurich von mars

JUPITER VI Review at: www.angelicwarlord.com

Jupiter VI, the new theater rock project of Deliverance founder and front man Jimmy P. Brown II, came into being when the late Carl Crandell asked Brown if he wanted to record a straightforward rock album. Initially balking at the idea, Brown reconsidered when he woke up one morning with the concept of Jupiter VI in his head. He immediately began work on the storyline behind the project and soon came up with Back From Mars, the 2006 full length Retroactive debut from Jupiter VI that is loosely based around the life of Brown and his early experiences with Deliverance and the Christian music scene.

What we have in Jupiter VI is a 70âs glam-punk influenced sound that can best be described as equal parts rock nâ roll, equal parts pop-wave and equal parts modern but always resting upon a foundation of classic rock and edgy hard rock. Drawing upon the influences of Diamond Dogs, David Bowie, Lou Reed, T-Rex and Daniel Amos, Jupiter VI finds its members assuming âfake namesâ due to the fact the whole idea behind Back From Mars is a story based upon real events. Brown (aka Peter Braun) brings his trademark deep, low-key and at times mood-filled vocal delivery, a style he has refined over the years since introducing it on Deliveranceâs early to mid-nineties released Stay Of Execution and Learn. Braun shares all the albums guitar duties with Helmet Stegel and Remedios Innocentes (youâve got to love these names!) while Darby Flowers fills in on piano and keyboards. Innocentes also handles bass and anchors the albums low end with drummer Spirios Filios.

Production values come across clear and crisp in betraying no overriding elements of muddiness.

Kicking in to a drum solo followed by a raucous riff, the albums title track tapers off at the start of its first verse only to regain its momentum for a rollicking chorus backed by a crunchy rhythm guitar. A fervid guitar solo brings out the best in a song that in the end asks questions:

The world in love with misery
Consumed with lust for nothing
Religious freaks in search for something
Tired from sitting in chairs all day
Young kids at 13 going gray

Is there nothing left for anyone to say?
Is there nothing left at all?

âThe Human Endeavorâ gets underway to a choppy riff before trading off between passages carried by Braunâs spoken word delivery and those shored up by a quietly played guitar line. As the song gains initiative, it moves on to a melancholic chorus interwoven with a voice continually repeating the word âwelcomeâ. âThe Human Endeavorâ takes an introspective look at humanity:

I go down to the street at night and look at the mess that weâve made
The human figures so eloquently create the cascade
Swirls of light all around me, as I speak words that create my being
How far we have come when all are standing so still
Our greatest achievement was when we first learned to kill

The lush but haunting âMimes XIII.IIâ comes across in the form of a semi-ballad. A lofty setting is put in place as the song is compelled its distance by a serene blend of acoustic and rhythm guitar, the abundant melody only enhanced as Braun complements the scene with his deep and stirring vocal delivery. Definitely one of the albums highlights.

âCorporate Stiffâ is a good, straightforward hard rocker. The song takes off in quickly moving fashion, slowing slightly at the start of its first verse only to make an even transition to a smooth sounding chorus giving rise to a pleasing melodic feel. I enjoy how âCorporate Stiffâ closes out its final minute to a guitar driven instrumental section. As its title implies, the song warns its listeners not to turn into, well, a corporate stiff:

Welcome to the race in which no one wins!
If you sign your life over, we might let you in
The quest taken is for the good of the firm
In this find yourself King or the worm

And today your short climb up will be your last
Donât wear the mask or evil disguise
Donât let yourself be made into the stiff!
The corporate stiffâ¦

The groove flavored hard rock of âFrom Here Till Everâ swiftly charges through its verse portions with the rhythm guitar crashing in and out of the mix. Gaining further impetus, the song peaks as it acquires a catchy chorus driven at a determined and upbeat tempo.

âPassionsâ advances over its first two minutes alternating between acoustic laced passages and others fortified by a crisp rhythm guitar. The refined chorus that follows puts in place a flowing but disconsolate ambience. âPassionsâ talks about exactly that:

Communication at the height of the sweep
The source the touch the note that causes us to weep
Without a single spoken word, enveloped ecstasy

Lifts me to my feet, so deep within me
Whispering sighs, the covering around
The flurried rush of emotions tied to sound

A surge of swiftly moving rhythm guitar commences âIn A World Ofâ¦â before it slows upon acquiring its first verse. Driven ahead with a plethora of gritty fortitude, the lost momentum is regained as the song reaches an emotionally charged chorus holding up as a result of the sweeping manner in which it is delivered.

Peter Braun and company do a good job imprinting the edgy classic rock feel that Jupiter VI brings to the table on the cover of The Kinks classic âAll Day And All Of The Nightâ. The bands performance comes across quite tight here, helping the song retain the pop flavored vibe and radio friendly feel characteristic to the original.

âThrough The Speakersâ, the second cover in a row, is another classic that made its original appearance on Daniel Amosâ 1981 effort Alarma!. This one, of course, gives rise to a more hard rocking setting as a crisp rhythm guitar shoulders it from front to back. The presence of synthesizers during its instrumental section reflects a pop-wave influence as well.

The stunning ballad âLucidiaâ is by far the albums strongest composition. Opening slowly to a quietly played guitar line, an almost ethereal atmosphere is put in place as the song gradually moves forward to Braunâs low-key vocal delivery. The poignant scene is sustained throughout an immaculate chorus highlighted by a haunting trace of backing vocals. An emotional guitar solo shores up a sweeping instrumental section. I enjoy the introspective feel to the lyrics here:

Of all the wreckage deep within
Buried thoughts, my empty sins
Though it seems like yesterday
It was such a long time ago
At times I hear you calling me again
All this time I left you there, Lucidiaâ¦

âBrand New Dayâ, another slowly moving and laid back composition, is accentuated by a smooth sounding blend of rhythm guitar and pronounced bass lines. Similar to âLucidiaâ and âMimes XIII.IIâ, the overall feeling I get is one that is sublime but emotional at the same time.

A German version of the albums title track, âZurich Von Marsâ, closes things out in very fine hard rocking fashion.

Track Listing: âBack From Marsâ (3:14), âThe Human Endeavorâ (4:07), âMimes XIII.IIâ (5:34), âCorporate Stillâ (4:53), âFrom Here Till Everâ (4:41), âPassionsâ (4:55), âIn A World Ofâ¦â 5:27), âAll Day And All Of The Nightâ (2:28), âThrough The Speakers (Alien Synth Mix)â (2:58), âLucidiaâ (5:10), âBrand New Dayâ (3:42), âZurich Von Marsâ (3:14)

Musicians
Peter Braun â Lead Vocals & Guitars
Helmet Stegel â Guitars
Darby Flowers â Piano & Keyboards
Remedios Innocentes â Bass
Spirios Filios â Drums