Author: kruekutt

Grateful for my beloved wife, son, daughter-in-law, grandchildren and siblings. Also a lover of theology, music, history, philosophy, classic novels, science fiction, fantasy and Looney Tunes.

Rick’s Quick Takes: All Is As All Should Be by The Dear Hunter

On By kruekuttIn Progressive rock2 Comments

by Rick Krueger

The Dear Hunter first caught my attention when I saw them open for Coheed & Cambria and Porcupine Tree in 2009.  Imagine a group of hardcore punk rockers who’ve raided their parents’ record collections, only to be captivated by the Beach Boys and Queen records they’ve found.  It was hard-driving, deeply melodic, richly textured, over-the-top melodramatic, way impressive stuff.

Since then, I’ve happily followed TDH’s career, enjoying their Acts I-V concept albums, but more drawn to unrelated projects like their Color Spectrum EP set.  This new EP, their first self-released project, distills what makes Casey Crescenzo and company’s music special into just 25 minutes and 6 “all killer no filler” tracks.

As always with these guys, if your attention drifts, you might think you’ve accidentally stumbled into a completely different song.  For example, the agile Latin groove and warm, open-hearted verses of opener “The Right Wrong” slam directly into a stratospheric chorus of shreddy vocals, simultaneously putting the hardcore hammer down, then morphing into and out of a giddily rocking bridge in a flash.  “Blame Paradise” encompasses a seriously badass beat, a off-kilter opening riff, call and answer vocal patter over surf-music guitar, an unstoppable harmony chorus, a spooky instrumental bridge, an ominous vocal/synth duet, and an atonal dead-stop finale.  Whew!

“Beyond the Pale” slows things down in a riveting ballad that piles on the rich vocal harmonies, unexpected harmonic shifts, and synthesized strings and percussion.  When it can’t do anything else, it collapses into stasis, then seques into “Shake Me (Awake),” an utterly glorious Brian Wilson pastiche for the emo generation (with Freddie Mercury-like rhymes and a vaudevillian softshoe bridge to boot).

“Witness Me” aims true at mid-tempo existential yearning, telling its tale through multiple vocal characters, the verses downshifting into a gorgeous synth turnaround before the theatrical chorus, the hardcore holler of the bridge, and the “keep dreaming” electronica-laced fade-out.  The closing title track starts softly, climbing through muted verses to a floating chorus as a gently funky beat gains strength.  Edgy, ascending guitars build to a big choral climax  — only to wrap around to the song’s muted beginning, with a final half-verse just hanging there, suspended in mid-air.

And here’s the thing about The Dear Hunter’s music: as wildly disjunctive as all this sounds, the whole EP flows brilliantly from start to finish.  Every new element is a surprise, even a shock, as it kicks in — but almost immediately it feels inevitable and right.  This is great progressive punk-pop, made with open-hearted emotion, craft and commitment.  When Crescenzo sings and TDH locks in around him, they’ll sweep you along with them, no matter how bumpy the ride gets.

All Is As All Should Be is available for download now on ITunes and Bandcamp.   I completely missed the pre-order for physical formats (vinyl and CD), which are already sold out; here’s hoping a second pressing follows soon!  The EP is released to streaming services on December 8.

A Proggy Christmas, 2017 Edition

On By kruekuttIn Cosmograf, Progressive rock1 Comment

First the Big Big Train Christmas single, then the new Tiger Moth Tales album, now this — our Founding Progarchist’s stocking is filling up quick!  From Cosmograf’s Facebook page:

“Cosmograf will be releasing a single record on December 1st, entitled ‘A Festive Ghost’. Exclusively distributed in digital only format via Bandcamp, this unconventional Christmas song is a wistful reflection on the pressures of maintaining damaged relationships at the time of the festive season.

All of the instruments on this record are played by Robin himself including the drums.

A donation is being made to MacMillan Cancer Care for each download purchased.”

 

Bruford: Seems Like a Lifetime Ago, 1977-1980 — A Review

On By kruekuttIn jazz rock, Progressive rock2 Comments

by Rick Krueger

I think it’s fair to say that this 8-disc set is going to be my reissue of the year.  It’s pure delight from first to last, covering three brilliant studio albums, two distinct live sets (one previously unreleased) and a fascinating batch of rough-draft outtakes — all spearheaded by paradigmatic progressive rock drummer Bill Bruford.

Continue reading “Bruford: Seems Like a Lifetime Ago, 1977-1980 — A Review” →

Progtoberfest III: Closing Thoughts

On By kruekuttIn Progressive rock3 Comments

by Rick Krueger

A week after the final notes stopped ringing, I’m still gently buzzing about Progtoberfest III; it was easily the most immersive three days I’ve ever spent as a listener.  Not all of the nineteen (!) bands I heard hit my sweet spot, but every single one belonged on the stages of Reggie’s Rock Club & Music Joint, and at least three sets (by Dave Kerzner, Discipline and Moulder, Gray & Wertico) were right up there with the finest live rock and jazz I’ve heard in nearly 40 years of concert-going.

So in closing, a few shout-outs to people who richly deserve them:

Continue reading “Progtoberfest III: Closing Thoughts” →

Progtoberfest: Day 3 Report

On By kruekuttIn Discipline, jazz, jazz rock, Progressive rock1 Comment

by Rick Krueger

As I entered Reggie’s Rock Club on the final day of Progtoberfest, the Virginia band Kinetic Element were winding up their set.  From the merch stand (where Discipline’s Matthew Parmenter was kind enough to make change for me as I bought CDs), their take on classic prog, spearheaded by keyboardist Mike Visaggio, sounded accomplished and intriguing; I wished I could have arrived earlier and heard more.  Plus, you gotta love a band with a lead singer in a kilt!  (Props to Progtoberfest’s Facebook group admin Kris McCoy for the picture below.)

Kinetic Element

The second high point of the festival for me followed, as fellow Detroiters Discipline held the Rock Club spellbound with their baleful, epic-length psychodramas. Matthew Parmenter reeled in the crowd with his declamatory vocals and emotional range; from there, the quartet’s mesmerizing instrumental interplay kept them riveted. The well-earned standing ovation at the end felt oddly cathartic, as if the audience was waking from a clinging nightmare, blinking at the newly-rediscovered daylight — even while rain clouds and colder temperatures rolled in outside.

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Continue reading “Progtoberfest: Day 3 Report” →

Progtoberfest: Day 2 Report

On By kruekuttIn blues, jazz, Progressive rock, Rock and Roll, The Tangent4 Comments

by Rick Krueger

The sun shone warmly again on the south side of Chicago as Progtoberfest III kicked off its second day.  Taking in the view as I exited the ‘L’, it was amusing and welcoming to see a familiar screaming face painted on the exterior of Reggie’s:

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Hoping to get Alphonso Johnson’s and Chester Thompson’s autographs in the VIP Lounge the night before, I’d struck up a delightful conversation with members of the North Carolina Genesis tribute band ABACAB.  In 2016, festival organizer Kevin Pollack had given them “homework” for this year: to play all of Genesis’ live album Seconds Out on the 40th anniversary of its release.  You could tell the band was nervous (they focus on 1980s Genesis to get bookings, so they had to learn half the album in the past year) but also absolutely thrilled to bring it to the Rock Club stage.  And on Saturday afternoon, they nailed it, to the joy of an enthusiastic, supportive crowd and rave reviews from other acts.  They’re already planning to return to Reggie’s in April as a headliner, and for Progtoberfest IV next October.  Check out why below:

Continue reading “Progtoberfest: Day 2 Report” →

Progtoberfest: Day 1 Report

On By kruekuttIn jazz rock, Pink Floyd, Progressive rock3 Comments

by Rick Krueger

On Friday, October 20, hundreds of dedicated proggers converged on Chicago from around the country — and even from across the globe.  The location: Reggie’s Rock Club & Music Joint on the Near South Side, only two blocks away from the former Chess Records, the birthplace of great discs by Muddy Waters, Chuck Berry, The Rolling Stones and countless others.

Reggie’s has two main rooms, both dedicated to Progtoberfest this weekend.  The Rock Club is designed for concerts, with a raised stage, a main floor, an upper level mezzanine —and a wire fence decor motif throughout.  The Music Joint has a tinier stage tucked into the back of a narrow bar and grill.  This weekend, merch tables were crammed into every inch remaining on the main floor, and patrons less interested in the music (or needing a break from the density of the sound) took advantage of Friday and Saturday’s warm weather to eat and drink at sidewalk tables.  An upstairs space that held a record store until recently was turned into the VIP/Meet and Greet lounge for the duration.


Due to the usual complications of traveling to and around Chicago as the weekend starts, I got to my spot in the Rock Club just as Schooltree was taking the stage.  With only an hour on the schedule, they powered through highlights of their Heterotopia album, condensing the narrative to zoom in on its main character Suzi.  The set left no doubt that Lainey Schooltree is a major talent; her songwriting chops, keyboard skills and vocal versatility all came through loud and clear, grabbing and holding the audience’s attention.  The rest of the band bopped along brilliantly too, with the ebullient energy of Peter Danilchuk on organ and synth leading the way.


The crowd for Schooltree was solid, but hometown heroes District 97 were the first group to pack the place, filling both seats and standing room on the main floor.   The band took no prisoners, blasting right into riff-heavy highlights from their three albums that showed off every player’s monster chops.  Soaring above the din, Leslie Hunt pulled in the crowd with her astonishing vocal power and range.  New songs were mixed in that sent the audience head-banging and prog-pogoing with abandon.

Continue reading “Progtoberfest: Day 1 Report” →

The Albums that Changed My Life: #6, Songs of Travel & On Wenlock Edge by Ralph Vaughan Williams

On By kruekuttIn classical, folk music1 Comment

by Rick Krueger

In our casually audiophile age of 96 kHz/24 bit BluRays and 180-gram virgin vinyl, it may be hard to comprehend what a difference digital recording made when it came of age in the late 1970s.   I remember cueing up Keith Jarrett’s Concerts: Bregenz, München and being blown away as much by the background silence, the clarity and depth of the piano sound, and the extended dynamic range as by Jarrett’s freewheeling improvisations.  The compact disc was still in the future — but at that point, after suffering through muddy, distorted mass-produced pressings of way too many albums, it seemed like that future was all upside.

Classical record companies were the most fervent backers of digital recording from the beginning; the prospect of “perfect sound forever” made both corporate executives and their target demographic (single men with money or credit to burn — surprise!) salivate in anticipated ecstasy.  Certainly, as I built a classical collection during graduate school, the word “Digital” on the front cover of a record always counted in its favor.

That’s one reason I picked up the album pictured above.  Another reason: I’d already heard some fine Mahler recordings by the young conductor Simon Rattle, precociously helming the scrappy City of Birmingham Symphony Orchestra.  And there was one more burning question: was Benjamin Britten right about Ralph Vaughan Williams?

Continue reading “The Albums that Changed My Life: #6, Songs of Travel & On Wenlock Edge by Ralph Vaughan Williams” →

Gord Downie, 1964-2017

On By kruekuttIn Rock and RollLeave a comment

by Rick Krueger

In August of 2016, my wife and I vacationed in Stratford, Ontario — one of our favorite places to visit, due to its internationally acclaimed theater festival and its lovely riverside parks.  Picking up local classic rock stations as we crossed into Canada, I noticed lots of talk about The Tragically Hip’s upcoming concerts in London and Toronto.

I’d heard of The Hip, but never got into them — partially because I’d moved away from metro Detroit, where good Canadian bands could easily score airplay and well-attended shows.   I was surprised at the amount of hubbub around this tour; it was only after we returned to the States that I learned the reason for the buzz.

The Hip’s lead singer and lyricist, Gord Downie, had been diagnosed with glioblastoma multiforme, the worst kind of brain cancer, late in 2015.  After finishing the 2016 album Man Machine Poem, the band decided on one last go-round of Canada’s hockey rinks, winding up in their Ontario hometown of Kingston in front of 6,700 fans in the local arena, thousands more on the surrounding streets, and a national audience on CBC.

Honestly, the music of The Tragically Hip is little more than well-executed, basic rock — lots of Rolling Stones and John Mellencamp grooves ranging from competently shambolic to tightly locked in.  The secret sauce was Downie’s surreal, shamanistic lyrics.  Stirring together a underdog outlook, the perspective of Canadians from the “great wide open” and random streams of consciousness (sometimes improvised live as the band rocked on — sperm whales were a recurring theme), they were fascinating precisely because they were sharp yet ambiguous, complex — even openly, defiantly confused.  At their best (in my view, on the album Fully Completely and the compilation Yer Favourites) the group was pretty compelling.

Gord Downie passed away last night at the age of 53.  To say he leaves behind a grateful nation is not an exaggeration.  You can see and hear what Geddy Lee had to say about The Hip last year as the farewell tour wound down here, and read a well-wrought appreciation of Downie’s take on Canadian identity here.  Banger Films (the folks responsible for the Rush documentary Beyond the Lighted Stage) have completed a film about The Hip’s final days, Long Time Running; it’ll be streamed on Netflix starting November 26.  And check out the Yer Favourites compilation below.  I especially recommend “Fiddler’s Green,” Fifty-Mission Cap,” “Courage (for Hugh MacLennan),” “Fireworks” — and if you only have time for one track, the fierce “At the Hundredth Meridian.” 

“If I die of Vanity, promise me, promise me
That if they bury me some place I don’t want to be
That you’ll dig me up and transport me
Unceremoniously away from the swollen city breeze, garbage bag trees
Whispers of disease, and acts of enormity
And lower me slowly, sadly, and properly
Get Ry Cooder to sing my eulogy …”

 

Rick’s Retroarchy: Tom Petty & the Heartbreakers, The Live Anthology

On By kruekuttIn Rock and RollLeave a comment

by Rick Krueger

When I heard that Tom Petty had died, I dug into my Closet Full of Box Sets and pulled out this baby.  Released in 2009, it came in two versions: a four-CD set with 48 tracks (still available at a super-bargain price) and the Best Buy-only version with an extra CD, one of the first 96K/24 bit audio Blu-rays that included all the songs, two DVDs (a 1978 concert and a 1994 documentary), a replica of a 4-song vinyl promo EP from 1976, various and sundry tchotchkes, and a ludicrous price tag.  Guess which one I bought?

Listening to The Live Anthology again over the past week, Petty’s songwriting struck me again as solid, unpretentious and down to earth; it hasn’t resonated that strongly in my life, but that doesn’t mean it isn’t worthwhile and well done.  A lot of my favorite moments on the set come when TP quiets down and pours himself into the forms of classic country and folk.  Songs like “Wildflowers” (which feels like an obscure Carter Family tune), the beautiful, hushed lullaby “Alright for Now” (the closer for the four-CD set), and the agrarian hymn “Southern Accents” skip overblown, Springsteen-style myth-making and just communicate — plain-spoken, deeply felt, lovely.

And then there are the Heartbreakers.  Back in my college days, I used to read Stereo Review regularly, mostly for Steve Simels’ rock reviews — agree or disagree, they were always opinionated and entertaining.  Truer words may have never been written than Simels’ New Jersey-style summation of TP & the HBs’ work on Damn the Torpedoes: “Dese guys is good.”  On the evidence of The Live Anthology, they stayed that way for more than 30 years.  Always in sync, almost telepathic at times, Petty, guitarist Mike Campbell and keyboardist Benmont Tench weave elegant, immersive webs of rock, blues, and R & B over a variety of unflappable, grooving rhythm sections.  Whether it’s the Byrdsy power pop of “I Need to Know,” “Even the Losers” and “The Waiting,” mega-hits a la “Refugee,” “Runnin’ Down a Dream” and “Free Fallin’,”  extended jams like “It’s Good to Be King” and the previously unreleased “Melinda,” or a head-spinning range of cover tunes (a surf instrumental version of “Goldfinger”?  Booker T & the MGs’ “Green Onions”?  Van Morrison, Conway Twitty and the Grateful Dead?), the band always sounds lean and soulful, consistently in the moment, listening for the inherent magic and then doing what’s needed to make it happen.

For a while in the late 1990s and early 2000s, Petty rented out our local arena to get ready for his US tours.  Now I kind of regret that the closest I got to hearing him live was serving beer at one of the concession stands for his 2008 Grand Rapids show.  (There are soundproofed plastic flaps over the arena entrances; plus, I served a lot of beer that night.)   For people like me who missed the chance, The Live Anthology is an eloquent testimony to what the man and his band could do at their best.  Listen to the complete deluxe version here: