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Tristan Park


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Tristan Park was formed in October 1986 by songwriters Brian Coombes, Chuck Dyac, and Marc Larochelle. Early Tristan Park sets included their theatrical/musical production, “The Screams for an Absent Dawn.” It was an ambitious and influential beginning for a group of fledgling songwriters.

The band made its Boston area debut in May of 1989. Later that same year, Tristan Park released its first cassette, The Space Between, to positive critical response. In October 1989, the Nashua Telegraph hailed the band as “the Nashua area’s most literate, ambitious, and talented rock band.”

Rick Black joined the band in August of 1991, when founder Marc Larochelle relocated to California. Shortly after, the band’s long-time friend, Jim Turmel, became Tristan Park’s drummer. New England radio stations WHEB, WHOB, WAAF, and WCGY were all playing Tristan Park by the fall of 1991.

The band released “The Way it Should Be”/”Mourning of Spring” as a cassette single in August 1992. Sales were brisk and reviews positive. The band continued to perform constantly, building a loyal regional following throughout New Hampshire.

Tristan Park’s debut disc, At the End of the Day, appeared in January 1994. Blending progressive-rock with lyrical AOR, the disc was the progressive rock community’s introduction to Tristan Park. Singer Ray Bowles joined the band in August 1994.

On the strength of At the End of the Day, Tristan Park signed to Cyclops Records/GFT Limited of England in January 1995. The band’s first disc for Cyclops, A Place Inside, was released in August 1995. The material on A Place Inside expanded on the progressive themes of At the End of the Day, while still maintaining an emphasis on melody and emotion.

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  • DarkKnight1190

    Here is a band who show that America can still match Europe in progressive rock. A neo-progressive rock in a British way but played by an American band which includes six musicians plus three guest musicians who play guitar, trumpet & sax that add a special touch. The music is of high quality and contains crystal clear guitar breaks with the occasional acoustic guitar taking over. The keys and piano are a pleasure to hear, good with dual keyboards, good sax interludes and tidy arrangements. "At The End Of The Day" ('93), "A Place Inside" ('95), "Leave To Enter - Live" ('97) and "Looking Homeward" ('98)

    6 May 2011 Reply

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