Support this fall’s Tangent/Karmakanic tour!

From Jonas Reingold via Facebook:

Hello everybody,

I´m very pleased to present the next Karmakanic/Tangent output. It will be a live CD from the upcoming European/US tour this fall. To be released Jan 2018.

So let me start bitching about this even before the tour has started and nothing is recorded yet. Why? That’s a valid question and I will try to answer it to the best of my knowledge.


We lost a well payed gig in Boston that was one of the anchor gigs to finance this tour. We run into totally overpriced VISA application costs. Do you know how much a application cost for a band like us? 2500 US dollars, just to get in. Then add flights, accommodation, hiring a van, gas, hiring a rehearsal room, paying salary for the band members, domestic travels prior the rehearsals and all other little things that I´ve forgotten right now and you´ll probably understand that the numbers are totally in the red.

So why even think of doing this? Why just not cut the whining and throw this project right out of the window? I´ll try to answer that too.

To run a band is probably the worst business idea you can have. No money coming in a lot of money going out, poor attendance, over the years I´ve also felt lack of support from band members, although, with the current line up I´ve never heard a bad word, yet. And you all know how to make a musician complain don’t ya??? Give him a gig!! But even though with all this in consideration you do it anyway. Why?????


I also love the people that actually supporting the scene, buying the albums and are attending the shows. That means the world to me. To see a person actually getting moved by something you wrote or played on a recording in a shabby studio somewhere when presented on a stage in another shabby and funky club somewhere in the world is the actually payment for all the hassle, you feel connected, you´re part of something bigger.

So that’s why we, Tangent and Karmakanic reaching out to you guys and giving you all a chance to support this tour but also even more important, support the scene. You can support the tour in two different ways.

Option 1: Pre-Order this live recording just like a normal CD for 15:95 Euro

Option 2: Be one of 200 that will get their full name on the actual front cover of the CD. 34:95 Euro.

Your choice!!!

And of course, if you think that this tour support is just a big chunk of bogus we’re totally fine with that as long as you attend one of this shows on the upcoming tour.

Jonas Reingold


Note from Rick K.: you can preorder “TangeKanic Live” at Reingold Records.  I did!

The Beatles: All My Loving

by Rick Krueger  (Thanks to Brad Birzer for his encouragement in the comments on his Sgt. Pepper at 50 post.)

“Bliss was it in that dawn to be alive, But to be young was very heaven!”

— William Wordsworth

I was definitely young — just over 2 years old, in fact — in February 1964, when this came on my grandparents’ TV:

It’s the first thing I remember.  It felt like Wordsworth’s “very heaven.”  And it instantly led to the first two things I remember wanting: Beatles records, and a Beatles wig.

My birthday is in November, so I have no idea how my parents pacified me till then.  I have a vague memory that my mom re-purposed a yellow fringed toilet seat cover and I became a blond Beatle for a while.  Whether that’s fact or imagination, you can see the outfit I got when I turned 3 after the jump:

Continue reading “The Beatles: All My Loving”

David Bowie’s Berlin Years, Boxed

The next David Bowie box set, A New Career in a New Town, is coming on September 29. This one covers 1977-1982 (Bowie’s last years on the RCA label), including the “Berlin Trilogy” and other notable collaborations with prog rockers.  Contents on 11 CDs or 13 LPs:

  • Low (with Brian Eno)
  • Heroes (with Eno and Robert Fripp).  A EP of foreign-language versions of the title track is also included.
  • Stage (with the pre-King Crimson Adrian Belew and Roger Powell of Utopia in Bowie’s live band) in 2 versions: the original album and the 2005 version (with songs in the concert running order & bonus tracks, including 2 new ones).
  • Lodger (with Eno, Belew and Powell ) in 2 versions: the original album and a new remix by Tony Visconti (exclusive to the box).
  • Scary Monsters (with Fripp).
  • A new exclusive compilation, Re:Call 3, which includes singles, B-sides, extended versions, and Bowie’s collaborations with Bing Crosby and Queen.

This is my favorite period of Bowie, so I’m genuinely excited for this release.  Lots more details and a price tracker at Paul Sinclair’s marvelous Super Deluxe Edition website.


The Return of the King …

… Crimson, that is.  From Discipline Global Mobile:

“King Crimson will be returning to America later this year. The dates see the group performing in some states and cities that have not been visited in a while. Atlanta in Georgia, for example, last had live Crimson music in 2001, while Texas has experienced something of an epic Crimson drought since 1974, not counting ProjeKct Three’s week-long residency in the Lone Star state during March 1999.  The dates posted today on the tours page are as follows.”
19 Oct Bass Performance Hall, Austin
21 Oct Music Hall, Dallas
23 Oct Center Stage, Atlanta
24 Oct Center Stage, Atlanta
26 Oct Duke Energy Centre for the Performing Arts, Raleigh
28 Oct Lisner Auditorium, Washington D.C.
29 Oct Lisner Auditorium, Washington D.C.
31 Oct New Jersey Performing Arts Centre, Newark
02 Nov Merriam Theatre, Philadelphia
03 Nov Merriam Theatre, Philadelphia
06 Nov Orpheum Theatre, Boston
08 Nov The Egg, Albany
09 Nov The Egg, Albany
11 Nov Miller Symphony Hall, Allentown
17 Nov Beacon Theatre, New York
18 Nov Beacon Theatre, New York
22 Nov Michigan Theatre, Ann Arbor
24 Nov Hard Rock Cafe, Cleveland
26 Nov Riverside Theatre, Milwaukee

“Purchase details will follow.”


Speaking of Crimson droughts, the band last played anywhere in Michigan in 2003, with the last Ann Arbor gig in 1995.  Of course, I have an unavoidable conflict on November 22 (which is also Thanksgiving Eve).  Ah, well, I’ll always have the Chicago Theatre …

Rick’s Quick Takes: Captives of the Wine Dark Sea by Discipline

by Rick Krueger

As a Detroit native, it’s a bit embarrassing that most of my Motor City progressive rock knowledge has come from — you guessed it — Prog Magazine.   That’s where I first came across Tiles and their fluent, anthemic take on mid-career Rush and 1980s neo-prog.  From Tiles, it’s been just a hop, skip and jump to their darker, more Gothic peers, Discipline.

There’s definitely an edge to this band, springing directly from Matthew Parmenter’s lyrical “Magic Acid Mime” vision, honed by music that channels and modernizes the gloomy flair of Peter Hammill & Van Der Graaf Generator, the plummy drama of Gabriel-era Genesis, and the hypnotic counterpoint of 1980s King Crimson.  Stirring in just enough alt-rock crunch resulted in two minor classics, 1997’s Unfolded Like Staircase and 2012’s To Shatter All Accord; Parmenter’s fatalistic narrative drive and the band’s inexorable momentum shake you up and sweep you along — usually toward an unavoidable crash landing.

For Captives of the Wine Dark Sea, Tiles’ guitarist Chris Herin joins the veteran roster of Parmenter on vocals and keys, Matthew Kennedy on bass and Paul Drendzel on drums; Terry Brown (yes, he of “Broon’s Bane” fame from Rush’s Exit Stage Left) produces.  Clocking in at just over 45 minutes, the new album doesn’t waste time or motion, as Parmenter fires off sardonic verbal volleys at the futilities of aging (“The Body Yearns”), the white collar working world (“Here There Is No Soul”), desire (“Love Songs”) — even creativity itself (“Life Imitates Art”).   The music, subtly powerful and accomplished, carries the words with an appropriate gravity.  Herin’s licks and tone provide plenty of style and color, Parmenter weaves enticing, compelling keyboard webs, and the rhythm section is rock solid.

Building from lullaby to anthem to fiery guitar/synth playout, the 15-minute finale “Burn the Fire Upon the Rocks” aptly sums up Discipline’s aesthetic: rage against the dying of the light — but keep moving as you do it, and find comfort where you can.  Not exactly fun or even contented, but triumphant on its own stubborn terms.  On Captives of the Wine Dark Sea, Matthew Parmenter and company stoically look failure and frustration in the face, leaning into the understated strength of their music to make it through.


You can listen to (and buy) Captives of the Wine Dark Sea at Bandcamp:


Rick’s Quick Takes: Is This the Life We Really Want? by Roger Waters

by Rick Krueger

When it comes to Pink Floyd, I usually prefer the atmospheric to the polemic: i.e.  “Echoes,” Wish You Were Here, and even A Momentary Lapse of Reason to Animals, The Wall and The Final Cut.  True, Roger Waters’ growing desire to beat the listener over the head with his irascible critiques of modern life brought the Floyd to new heights of popularity — but they also helped poison relationships with his collaborators and blow up the band, leading to a solo career with much lower impact.  Until, that is, he pulled out the vintage Floyd warhorses and started touring them again, to deserved acclaim.

For me, Is This the Life We Really Want?  strikes a welcome new balance between the prototypical Floyd sound and Waters’ ongoing preoccupations.   It’s the most listenable and perhaps the most effective of his solo albums, harking back to Dark Side of the Moon in its precision and its muted (but undampened) fury.

Nigel Godrich’s lean, colorful production helps immensely here, keeping the musical tension on the boil throughout.  Ironically, it also helps that Waters’ voice has aged; no longer able to bellow with his previous venom, he insinuates and rasps instead. Especially when his singing is paired with acoustic guitar or piano, you can more easily hear the blunt, direct expressiveness he admires in his heroes — early Dylan, Neil Young, John Lennon circa Plastic Ono Band and Imagine.  Funnily, lowering the volume of his complaints makes them more compelling.

Another surprise: Waters owns the culpability he so thoroughly excoriates in the world around him (notice the pronoun in the album title).   The songs still take plenty of scabrous, deeply profane potshots, earned and unearned, at Stuff Roger Thinks is Bad and at People He Utterly Despises.  But he’s also quick to call himself out, and to stand in solidarity with the masses, even if he believes they’re dead wrong.  “Broken Bones” and the title track are the best examples; they pull no punches, but Waters makes no excuses for himself, laying out his own neglect and indifference, calling himself to accountability along with everyone else. (The judgmentalism is diminished; the ambition, not so much.)

In sum, Is This The Life We Really Want? comes from a Roger Waters who seems more vulnerable and less inclined to condemn humanity wholesale — but not soft by any means.  After 25 years without an album of new rock material, it’s good to know that there’s life in the old boy yet.

Review: A Hot Date with King Crimson

King Crimson at the Chicago Theatre, June 28, 2017.

This was the eighth time I’ve heard King Crimson in concert — and, for me, the best.  Pretty much the entire night was a peak experience, miles ahead of any previous rock show I’ve seen in my forty years of concert-going.

Why?  Because this incarnation of Crimson can play it all, from the muted to the majestic to the metallic.  And because they did play it all — fluent, ferocious, daring and delicate by turns (and sometimes all at once).  Nearly three hours of an utterly unique band hitting one high point after the other, in thoroughly unpredictable fashion.

[Note that setlist spoilers follow the jump.]

Continue reading “Review: A Hot Date with King Crimson”