The second mini-interview with uber-talent Pete Jones of Tiger Moth Tales is now available on YouTube. In this one, he talks about the instruments he plays. Once again, the interview is tinged with his delightlful sense of humour.
Watch it here.
Month: March 2015
Marillion–My Mature Musical Meal
Sometimes no matter how hard you urge, cajole, and pester your friends and loved ones…they just don’t like the music you like. Regardless of your persuasive techniques and glowing reviews they don’t like the band, the album, or the genre.
I lived my entire adult life trying to convince every friend I’ve ever had to give DOCTOR WHO a try with absolutely no takers (my wife won’t even watch an episode with me). I also had zero success in trying to advance Celtic music.
Prog too is a strange category of musical simmerings that seem to resist popularization with many, if not most, of average listeners. I will write more on the idiocracy (thank you Mike Judge) of American music listeners at a later date.
But without casting any more stones at my friends and family I likewise can turn the same criticism upon myself. Subject, thy name is MARILLION.
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Throwing Copper: 20 Years Later
I suppose when Live first emerged on the rock scene, they were categorized as Christian grunge? Of course, I’m not exactly sure if they were Christian or not.
Pain lies on the riverside
And Pain will never say goodbye
Pain Lies on the Riverside
So put you feet in the water
Put your head in the water
Put your soul in the water
And join me for a swim tonightI have forever, always tried
To stay clean and constantly baptized
I am aware that the river’s banks are dry
And to wait for a flood
Is to wait for life
I assume these are somewhat confessional, evangelical lyrics. But, maybe the members of Live were just taking a point of view? Certainly, the language on their albums is R-rated and, at times, rather sophomoric: “She’s a bitch, but I don’t care–everybody deserves some change”. So, who knows? Not that Christians can’t…
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Circuline!
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Introducing CIRCULINE (cinematic progressive rock band from Brighton, NY) Video for “One Wish” taken from the debut album out now What do you get when you take two theatrical lead vocalists, a keyboard player from Juilliard, a musical savant playing guitar, and a drummer with progressive rock in his DNA? The new modern Prog Rock band Circuline. Performing original and classic progressive rock, Circuline was founded in 2014 when former progressive rock tribute band Downing Grey members Andrew Colyer (keyboards, vocals), Bill Shannon (guitars, vocals), and Darin Brannon (drums, percussion) had a burning desire to write original material. Lead vocalists Billy Spillane and Natalie Brown were up for the challenge, having performed in countless venues as singers, actors, dancers, and rock musicians. Circuline‘s debut album called “Return” is set to be released on April 24th, 2015, and will feature guest appearances from Matt Dorsey (Sound of Contact) on bass, Randy McStine (LoFi Resistance) as a songwriter and vocalist, and Joe Deninzon (Stratospheerius) on electric violin. Paul Ranieri (Shadow Eden) is currently the touring bassist with the band. Even though they are a relatively new band, Circuline has already opened for recent RoSfest headliner Elephants of Scotland, and Top 10 CMJ charting power rock trio, Shadow Eden. Besides performing modern Prog Rock original tunes, you will also hear classic progressive rock music from Yes, Genesis, Rush, Sound of Contact, and Pink Floyd. The band will be opening for 20-year, 16-album progressive rock veterans Glass Hammer for three shows in the Northeastern U.S. from April 24th to April 26th, 2015. Circuline is: Andrew Colyer – keyboards, vocals Bill Shannon – lead guitars, vocals Billy Spillane – lead vocals Darin Brannon – drums, percussion Natalie Brown – lead vocals Links: |
A University Lecture on Prog: Big Big Train
This coming Tuesday evening, I will have the great pleasure of giving an academic lecture on the meaning of progressive music as best expressed in the work of Big Big Train. Unfortunately, this lecture will not be open to the public. I will, however, make an audio recording–should any progarchists be interested.
For the same event, I’ll also be giving two lectures on the work of J.R.R. Tolkien and one on the same of G.K. Chesterton.
So excited about this!
Remember 1992? The Cure or Dream Theater as the Future of Prog?
For me, the only great thing to come out of the Mike Portnoy/NHS controversy (which doesn’t seem like it should have been a controversy, at least to this American) was that it re-awakened my interest in Portnoy’s time in Dream Theater. I’ve followed him almost religiously in his non-DT efforts (Transatlantic, Neal Morse Band, Flying Colors), and I think the world of him—as a person and as a drummer. Yeah, he’s got a bit of a temper—but he seems to let it run wild only when life calls for it to run wild. I can’t really blame him. Plus, the guy is so outstanding in what he does, I can’t help but admire him. I would give a lot to have his restraint, frankly.
But, my point in this post is not about that “controversy.” Instead, that moment in England caused me to pull out all of my Portnoy-era Dream Theater, 1992. I’m not what you’d call an intense fan of Dream Theater, but I have purchased every single album (studio, live, ep) as it’s has come out since IMAGES AND WORDS.
When I first got IMAGES AND WORDS, I was impressed with it. I listened to it with fervor, but, even then, I really loved side two and I really didn’t love side one.
Remember 1992?
1992 was a great year for music, but it was an uncertain year for prog.
At the time, The Cure’s WISH seemed as likely a candidate for inheriting the mantle of prog as did Dream Theater’s IMAGES AND WORDS. In hindsight, it’s easy to give the award to Dream Theater, but not so easy in 1992. Go back and listen to “From the Edge of the Deep Green Sea,” but also listen to “Open,” “Cut,” “To Wish Impossible Things,” and “End.” There’s a LOT of prog on that Cure album. Plus, I would consider DISINTEGRATION a prog album. My point: if you listened to Dream Theater (metal prog) and The Cure (pop prog), it was impossible to determine who was more prog. At least in 1992.
Add the albums from Phish, Pearl Jam, and U2 that year.
A lot could’ve happened.
Well, here we are 23 years later. Thanks, Mike. You paved the way then and you continue to do so.
Muse Announces Pre-Order of New Album, Releases Music Video
Muse has announced the release of their new album, Drones, due out in early June. They have also released a music video to the song, “Psycho.” It sounds as if they have gone back to their earlier, heavier style, which the band said they would do on this upcoming album. Gone (from this particular song) are the synth-poppy sounds featured so heavily on The 2nd Law. In my opinion, the heavier, more basic rock sound is a good thing.
“Psycho” sounds, lyrically, like it could have been written by Roger Waters. Very much about mind control and being ordered around by those in authority (you’ll see what I mean in the video). Muse continues their long string of anti-big government and anti-oppression themes with this album. The album title, Drones, is fitting. I look forward to hearing the whole album. A word of warning about the music video – the song is marked as explicit on iTunes, for language (pervasive use of the F-word).
Foundations: Current Great Does Not Negate Past Good
Many times a famous band has an original vocalist who remains beloved, famous, and well remembered even after only a brief partnership and many years of passing. Deep Purple, for me and many, will always conjure up the singing of Ian Gillian (Smoke on the Water, Highway Star, Woman from Tokyo) and to a lesser extent David Coverdale (Burn, Soldier of Fortune). But who can forget the original vocalist Rod Evans? Evan had a great “set of pipes” and His Kentucky Woman cover along with the iconic Hush remain enshrined in Rock’s Hall of Fame by alumni of the late 60s and early 70s.
And for all fellow prog-heads one only need say GENESIS or MARILLION to kick-start heated arguments and scathing “put downs”Vis-a-vis vocalists. I love Phil Collins but in my estimation Peter Gabriel, whose voice is simply…
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Hand.Cannot.Erase. – Live
This is not a proper gig review.
I’ve not got the time right now to do it justice, and besides, I’m still trying to process what I witnessed last night in Manchester.
So this is just me trying to get a few random thoughts and impressions committed to whatever the wordpress.com equivalent of paper is (data centre hard disk, I guess), before the buzz I’m still feeling subsides and the memory fades.
First things first: Wilson is a showman. Or rather, he’s grown into one. I’ve seen Porcupine Tree three times live and don’t remember him being as confident and self-assured with PT as he now is in front of an audience. He knows he’s produced a superb album (just the latest in a string of superb albums, let’s face it) and he knows he has musicians on stage with him who can deliver every nuance, night after night.
Of course, it’s not just about the music. Sure, he could walk on stage with his band, they could play and we could all go home happy that we’d been at a good gig. But a Steven Wilson show is more than that. It’s an experience, a veritable feast for the senses. The videos and lighting effects complement the music brilliantly. However, you don’t need to take my word for that: just check out Lasse Hoile’s photographs from the Manchester show. I’m getting shivers right now simply looking at them, as the memories come back to flood the synapses.
Attention to detail is the phrase that springs to mind – both in the way a Steven Wilson gig is presented to the audience visually and in the way that it actually sounds. A crap PA or poor venue acoustics can turn brilliant music from the greatest of bands into an evening’s entertainment that is mediocre at best. But that most emphatically is not the case here. I’ve seen him live on each of his solo tours and each time, the sound is up there with the best I’ve ever heard at a gig: not just good, but quadraphonic, to boot!
I won’t say too much about the set here, in case any of you reading this have tickets for upcoming gigs and want to avoid spoilers. However, I don’t think it’s giving too much away to say that he concentrates on the new album. The new material translates effortlessly to the live setting, particular highlights being the thrilling crescendo of Ancestral and the subsequent heart-wrenching rendition of Happy Returns. The emotional punch of the latter brings a lump to the throat, demolishing the common misconception that prog is cold or overly cerebral.
If the opportunity arises to catch this show then grab it with both hands. Seriously. If you have any liking for his music, this is something that you do not want to miss.
TUPVR 14: Dave Kerzner, NEW WORLD
Well, it’s been about a year since I’ve done a TUPVR (Totally Unprofessional Video Review). Where does the time go? Of course, Chronos is insatiable.
This TUPVR went about two minutes longer than I meant, but such is life. If you’re brave enough to look at my aging, graying, wrinkling face, have at it! Five minutes of joy about Dave Kerzner’s stunning solo album, NEW WORLD. It is certainly one of the best albums of 2015, and, frankly, one of the best prog albums I’ve ever heard.
To purchase it (standard or deluxe), go here: http://www.davekerzner.com
Progarchy 