Second Spring #7: “Fear” by Sarah McLachlan

sarahmclachlan
1993, Nettwerk.

I’m honestly not sure what I could write about this song that I’ve not already written here and elsewhere.  I first encountered McLachlan back in 1993 when her stunning (to this day, one of my favorite albums) FUMBLING TOWARD ECSTACY revealed just how professional and innovative “alternative” music could be.  If there’s an artist who puts her (or him) self more into the music than did the younger McLachlan, I have yet to encounter that artist.

I remember telling some women friends of mine that I had discovered McLachlan, only to find that the really cool women in graduate school already knew McLachlan from her first two albums–which, I was informed, were far superior to this third one.  Admittedly, after purchasing TOUCH (1989) and SOLACE (1991), I had to agree that they were excellent.  They still weren’t FUMBLING.

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Second Spring #6: “Bright Ambassadors of Morning” by Pure Reason Revolution

prr dark third
From 2006.

Taking the name of the song from lyrics by Pink Floyd, Pure Reason Revolution offered some of the best existentialist-electronica prog of the first decade of the 21st century with the fourth track–“Bright Ambassadors of Morning”–from their first and finest studio album, THE DARK THIRD.  The entire album is nothing if not a masterpiece, a blistering and loving whole, a deep and abiding well of creativity.

Not until nearly six minutes into the album does a human voice even appear, letting the listener know that this album is a work of art, not an attempt at popular cash-making.

The album itself deals with the dream state of human existence–the one third of our lives in which we allow the sandman to invade and Morpheus to rule.

TimeLord emailed me over the weekend, and we “talked” nothing but Pure Reason Revolution.  Since receiving the first email from my favorite progarchist Canadian philosopher, I’ve not listened to much else.  Three days later, and it seems critical to make this track my sixth Second Spring.

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The Sea Within–from Insideout

The Sea Within – Roine Stolt, Daniel Gildenlöw, Jonas Reingold, Tom Brislin & Marco Minnemann – announce self-titled debut album

The Sea Within – the new art-rock collective comprising of Roine Stolt(Transatlantic, The Flower Kings), Daniel Gildenlöw (Pain of Salvation), Jonas Reingold (Steve Hackett, The Flower Kings, Karmakanic, The Tangent), Tom Brislin (Yes Symphonic, Renaissance, Spiraling, Deborah Harry) & Marco Minnemann (The Aristocrats, Steven Wilson, UK, Joe Satriani) – have announced that their debut self-titled album will be released on June 22nd,  2018.

Let’s get one thing straight from the start. The Sea Within is more of an amalgamation of some serious talents, than a regular “supergroup”. These musicians have come together to create a unique album.  Guitarist/vocalist Roine Stolt, bassist Jonas Reingold, keyboard player/vocalist Tom Brislin, drummer/vocalist Marco Minnemann and vocalist/guitarist Daniel Gildenlöw have a vast reservoir of experience. Look at the portmanteau of artists with who they’ve worked: The Flower Kings, Transatlantic, Jon Anderson, Steven Wilson,The Aristocrats, Joe Satriani, Yes, Steve Hackett, Renaissance, Pain Of Salvation, Deborah Harry, Meatloaf, Karmakanic … that of itself tells you this is something very special.

“I suppose it all began to take shape in the autumn of 2016,” explains Stolt. “I had a chat with Thomas Waber, the boss at InsideOut Music, about the idea of putting together a new band.  I wanted to move in a fresh direction with new collaborations. So Thomas gave me the ‘go ahead’ to seek musicians for a new project.”
First on-board was  The Flower Kings bass player Jonas Reingold.- “He is a long time bandmate and friend and we were also very keen to get keyboardist Tom (Brislin) involved – after seeing his synth pyrotechnics with legends Yes ‘Symphonic’ and with Camel. Then we have been a fans of ‘Aristocrats’ drummer Marco for a long time; I first heard of him 15 years ago and he is a brilliant drummer, unique energy. Then when we discussed ideas for singers, Daniel’s name came up, he has such a great range and dynamic voice and we’ve worked together on and off over the years.” Also added later to the bands line-up for live shows was vocalist & guitarist Casey McPherson of ‘Flying Colors’ & ‘Alpha Rev’, who also sings a couple of songs on the album.

Initially the band went to Livingston Studios in London last September to begin the process of assembling all the material and recording it for the debut album.Most of the material you’ll hear are really band compositions. Of course, ideas were triggered by all of us. Sometimes Jonas would come up with a  part, chord sequence or tune  and  then I or Tom would write melody &  lyric and some new riff section and Marco enhancing  with further  musical metric twists and developments – then Daniel would add or  rewrite some of the lyrics, change or add  more  melodies. Overall, the vast majority of the tracks have been worked on and developed by all of us in one way or another.

The entire recording situation took about six months, and the band also have some very special guests featured on the album.We have got Jordan Rudess from Dream Theater playing piano on one song. The legendary Jon Anderson sings on another track, while ‘wind ace’ Rob Townsend, who plays saxophone and flute with Steve Hackett, is also on the record. Each of them brings a different flavour to the music.”

“People have asked me how I would describe what we have done, and it is almost impossible. I would have to say it sounds like…us, ‘The Sea Within’. Our tastes are very eclectic – from prog to jazz to classical, to heavy rock, folk, punk, electronica and pop. We all come from a different background – so here everything goes.This has been about putting those diverse influences into the music. I feel you will hear all that’s good about pop – with great melodies and hooks – plus the rawness of metal, improvisations, symphonic and movie soundtracks. We also left room for each of us to take off on flights of instrumental jamming. That was the basic idea, anyway. But until we all got together, we had no idea where it would lead or if it would actually work.”
The band have ended up recording close to two hours of music, and will be releasing it all in June on what will be a self-titled album.

The Sea Within as a music collective have plans to perform live, and will make their stage debut at ‘Night Of The Prog’ in Loreley, Germany which happens from July 13-15 and will bring special guests for that evening. 
As far as I am concerned, we will try do as much touring as possible. We have a great band, great label and our agent Rob Palmen on-board.  We have great artwork by Marcela Bolivar, all looks bright.  However Daniel will not be able to join us for touring now, as he has commitments with main band Pain Of Salvation. With Casey taking the vocal spot, now with us live, we can go out on the road and play this album and beyond and grow as a band. We have so much to offer musically, on record and on stage and I am sure we will develop a lot over the next few years.   But ‘The Sea Within’ album is a great start. I am excited for everyone to hear what we have done and am now thrilled to start working on the songs for the live show.”

Continue reading “The Sea Within–from Insideout”

Jerry Marotta & Flav Martin: SOUL REDEMPTION

Soul Redemption

Flav Martin & Jerry Marotta Release Debut Album Soul Redemption

Peter Gabriel’s rhythm section of his classic line-up, Jerry Marotta and Tony Levin, reunite for the backbone of this album!

Soul Redemption is the debut release from singer/song writer Flav Martin and drummer Jerry Marotta. The duo harmoniously blends modern adult rock with traditional world pop. Whether performed in a cafe in Italy or on the polo fields of Indio, these songs would feel comfortably at home in either environment.

Soul Redemption is a harmonious blend of modern adult rock and traditional world music.

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Second Spring #5: “One Small Step” by Ayreon

lego ayreon
Lego Ayreon

As much as I love all things Arjen Lucassen, nothing of his has hit me quite as hard as Universal Migrator Part I.  I’m sure it has to do with the fact, in large part, that Ayreon takes the overall story of the blind minstrel from Arthur’s court from high fantasy to high science fiction with this album.  It serves as a wonderful transitional album, essentially moving Lucassen as well as us from Ayreon 1.0 to Ayreon 2.0.

(For what it’s worth, I think we’re living in Ayreon 4.0, but that’s a post for a different time.)

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Second Spring #4: “April 5” by Talk Talk

tt colour of spring
One of the all-time great album covers.  This one, of course, by James Marsh.

I suppose one could accuse me of being just a bit too obvious regarding this fourth installment of Second Spring.  After all, it is April 5.  I even contemplated using another Talk Talk track for this fourth part.  Then, I put “April 5” on, and I realized immediately how right it is for today.  After all, it’s following yesterday’s Big Big Train track, “The Permanent Way.”

Big Big Train is as close to perfect as the world will allow.  Still, Mark Hollis joining BBT would make the band just a bit more perfect. . . .

Continue reading “Second Spring #4: “April 5” by Talk Talk”

Second Spring #3: “The Permanent Way” by Big Big Train

The seventeenth track, “The Permanent Way,” on Big Big Train’s ENGLISH ELECTRIC: FULL POWER (2013), might very well be one of the most important songs written and produced during what many call Third-wave Prog.

Spawton and Betjeman
Two masters of the word.

The album itself, of course, is extraordinary, especially in its building of textures–all of which weave in and out, away and to, near and far, above and beyond.

Not only is the weave exceptional, but so is the actual existence of time during the album, which, depending on how BBT shape the music, slows up or speeds down.  As the title suggestions, “The Permanent Way” considers those things that remain, those that stood strong and remain standing.  Thus, the song represents a still point, around which time itself flows.

The still point of the song is the profound British poet, John Betjeman, rivaled in stance only by T.S. Eliot in twentieth-century poetic achievement.  With brass, guitars, keyboards, bass, and a variety of other instruments, the band slowly approaches the poet.  Longdon’s voice gently offers a prelude as homage.  The moment Betjeman speaks, Longdon defers, treating the master with all due deference and respect.  The result is a majestic whole that brings together past, present, and future.  This is what Big Big Train does best.  And, frankly, no one does it better.

 

 

 

Past Second Springs:

  1. Kevin McCormick’s “Storm Front.”
  2. The Fierce and the Dead’s “Part I”

 

Inspired by Craig Breaden’s brilliant 104-part Soundstream, I’ve decided to post music that reveals that rock and jazz (and some other forms of music) are not the end of western civilization, but the culmination of western civilization up to this point in time.  A second spring, if you will.

 

 

 

Second Spring #2: “Part I” by The Fierce and the Dead

It’s hard to believe that I first encountered The Fierce and the Dead almost a full decade ago. They’ve been such a part of my musical life over the past eight years, that it’s actually hard to remember a time when I didn’t listen to them.

As I’ve had the privilege of arguing before, The Fierce and the Dead is, essentially, what might happen if Johnny Marr played with King Crimson.

But, labels.

Who needs them?  Just know that Matt Stevens and co. give theirs hearts, minds, and souls for the world of music.  And, we are all the better for it.

 

 

Past Second Springs:

  1. Kevin McCormick’s “Storm Front.”

 

Inspired by Craig Breaden’s brilliant 104-part Soundstream, I’ve decided to post music that reveals that rock and jazz (and some other forms of music) are not the end of western civilization, but the culmination of western civilization up to this point in time.  A second spring, if you will.

Second Spring #1: Kevin McCormick’s “Storm Front.”

Inspired by Craig Breaden’s brilliant 104-part Soundstream, I’ve decided to post music that reveals that rock and jazz (and some other forms of music) are not the end of western civilization, but the culmination of western civilization up to this point in time.

A second spring, if you will.

For our first entry, from our own cherished progarchist, Kevin McCormick.  This from his 1999 album, SQUALL.  “Storm Front.”

Immerse yourself.

Chicago Prog God, Zee Baig, with Jordan Rudess

The meeting of three extraordinary talents: Rudess, Baig, and Bowie.  Enjoy.