If anyone has read the attacks below, posted on Progarchy, that are assaulting the latest from both Roine Stolt and The Tangent, I just want to encourage people to ignore the ranting and raving, and to actually go and listen to the music and lyrics instead.
Stolt releases a song called “Lost America” and suddenly some heads explode at Prograchy. Hey guys, calm down. How about you actually listen to the song? Is it too much to thoughtfully digest what an artist offers, before pronouncing premature rash judgment?
The music to “Lost America” is itself not too bad. Musically, there is nothing offensive. I admit the track doesn’t do much for me, because musically it has nothing too innovative or elaborate to get me excited. But, the guitars are great, and it’s still pleasantly enjoyable to listen to, nonetheless.
Maybe you have seen a Pink Floyd laser light and music show at the Planetarium, long ago. But what about this genius idea? A live band prog extravaganza at the Planetarium!
Daniel James’ Brass Camel is putting on a show in Vancouver (tickets now available) with the ultimate in prog rock visual accompaniment. I saw their August 18th show in Vancouver, as an eleven-piece band (including horns and backup singers), at the Fox Cabaret, where they played almost all the tracks from their incredible new album (soon to be available online for digital download), played to the hilt, along with some Sturgill Simpson, Parliament, and Led Zeppelin tunes. The show was a top-notch display of meticulous musicianship.
I can therefore recommend that you don’t miss this future chance to see Daniel James’ Brass Camel live, now celebrating their new release in the grandest of style. The Fox Cabaret show had a volume level that was too loud for such a small venue, so I am hoping they’ll take a page out of Steven Wilson’s playbook and set the volume level at optimal human range for the Planetarium. If you saw Wilson the last time he was in Vancouver, you’ll know what I mean: he does a perfectly crafted multimedia show, with no earplugs required, as he sets the volume level at just the right setting, in order to fulfill every audiophile’s dream. (By the way, Wilson returns again this year to Vancouver.)
Having to use earplugs at a musical event is always a sad situation, just as it would be ridiculous to have to wear a blindfold or sunglasses at a Planetarium show. The promise of prog rock music is that it enhances our sensory experience, not dulls it. I am betting that this November 2nd show will be not just one small step in the right direction, but rather one giant leap for all prog-kind. (Why aren’t more prog bands doing this genius idea??? In any case, Daniel James’ Brass Camel is leading the way.)
The last time I spoke with Daniel, he was trying to secure a set of tubular bells for the November 2nd event. It sure sounds like he’s getting ready to do this right and give Wilson a run for his money! Prog right on, wayward sons.
The Vancouver prog-funk ensemble that calls itself Daniel James’ Brass Camel has conspired to take you on a trip through the universe in Vancouver’s only 360 degree star theatre. Underneath mindblowing visuals, DJBC will be performing a swathe of progressive rock classics by such artists as King Crimson, Pink Floyd, Rush, Genesis, Yes and more. They will be joined by a handful of special musical guests who will join the Camel and lend their talents to this progressive extravaganza.
Alcoholic beverages and light snacks will be available before the show and during the short intermission on the planetarium’s Star Deck.
Doors at 7:30
Performance 8:15-10:30 (15 minute intermission)
H.R. MacMillan Space Centre
The idea for ‘Friendship’ came to me because of an old photo of me as a child. I found this old photo at my parents’ house, depicting me standing on top of this really tall treehouse in a glade near our house. Although I of course remembered it as being really high up in the tree tops as a child, this picture proved that it really was! As I reminisced about the treehouse I started thinking about my childhood friends with whom I built it. We were the best of friends and we spent so much time together in this little village where I used to live. This of course made me think about all the friends I used to have, these relationships where you hung out all the time, went through childhood together, grew up and knew everything about each other and then all of a sudden, for some reason, disappeared from each other’s lives. This phenomenon of falling out with someone is still a mystery to me, but I’ve learned to accept it, much like the separation of death it’s just a part of life and the nature of our course of life, I guess. So this is a collection of songs about and for all of my friends, dead or alive, past and present. I chose to base the stories around the treehouse in the glade, not because all of my memories are from there, but rather that it’s the place that made me think back on all of this.
Musically, what can I say? This is prog rock, but I want to be free to move in whatever direction the music wants to go and I happily go exploring where it wants to take me. Even though there are a few softer songs and sections, most of the album turned out to be a rocker; a collection of hard rock songs with lots of tricky parts, some heavier moments and some downright jazzy elements too!
Track listing:
1. Ghost of Vanity
2. Friendship
3. They Fade
4. A Treehouse in a Glade
5. Stone Cold
6. If You Fall, Pt. 2
7. Crown of Leaves
8. Slow Dancer (Bonus Track)
9. Past Generation (Bonus Track)
10. Friendship (Utopian Radio Edit) (Bonus Track)
The musical entity that is Rush is not an easy thing to define. Where many have foundered, there is no reason to assume that I will fare any better, except perhaps that I have access to the actual facts, and some inside information on the motivations. We have always done our utmost to elude any convenient classifications, in spite of those who must affix a label and assign a function to everything in sight, whether they really fit or not.
It may be that the only term loose enough to encompass anything of the concept of Rush, is simply “progressive rock”, for it is to this ideal of enjoyment, integrity, and freedom of expression that we have dedicated ourselves. Our music is aimed at the head, at the heart, and at the abdomen. We can only hope that it finds its mark in yours.
Is it heresy for me to be enjoying Haken’s new live album — L-1VE — more than any other live album released this year, including BBT’s Merchants of Light?
In any case, I am looking forward to Haken’s forthcoming new release, and the tour with Bent Knee and Leprous, more than any other this year.
Vector will be available as a limited edition 2CD mediabook (including instrumental versions), a gatefold vinyl 2LP + CD, a standard CD jewelcase & as a digital download.
Track listing:
1. Clear
2. The Good Doctor
3. Puzzle Box
4. Veil
5. Nil By Mouth
6. Host
7. A Cell Divides
Haken are inviting fans to submit their own version of the Rorschach test ink-blot image which graces the album’s cover, and one winner’s art will be picked by the band to be etched into every vinyl copy of Vector. Submissions are open now, closing on Aug. 10, and can be sent to: drrex@hakenmusic.com
AMG gives a stellar rating to Southern Empire, Civilisation:
Southern Empire happily abuse a smorgasbord of progressive influences: the epic structure of Transatlantic, the lithe complexity of Yes, the grandiosity of Rush, and the catchy modern sheen of Haken. As such, the art of Civilisation is not so much in its unique sound, but rather its composition and execution. The bulk and heart of the album are in its two centerpieces, “Cries for the Lonely” and “The Crossroads.” Adventurous, bold songwriting drives these dynamically written tracks of progressive rock that freshens up the sounds of the 70’s with a bright layer of vigor and spirit. Their length is used expertly to showcase a variety of styles and moods that reflect the flow of a soundtrack. An audacious keyboard-driven instrumental section naturally progresses into a bombastic call-and-response of choral and main vocals before moving onto a touching violin and guitar solo, none of it sounding forced or unnatural.
The strength of the compositions is boldened by spirited performances. Vocalist Danny Lopresto is gifted with a strong baritone full of appropriate drama and grandiloquence. He’s joined by the rest of the band, all of whom join in the various styles and layers, such as the canon employed in “Goliath’s Moon” and the choral arrangements on “Cries for the Lonely.” The guitars regularly erupt in excellent solos and keep the attention with deft plucking and the liberal application of hooks . Furthermore, the album is filled with a variety of less common instruments and effect, applied as befitting the flow of the music. Just listen to the hand percussion used to a salsa-like effect on “Crossroads,” the funky wah-wah on “Goliath’s Moon” and the sporadic but effective use of flutes to evoke melancholy.
The bookends to the album don’t reach the middle tracks’ quality, though they are never less than enjoyable. Opener “Goliath’s Moon” has an odd start as its initial verse is played twice, which is like reading the same story twice considering the sci-fi narrative of a lost diamond, but the track soon picks up steam with a compelling vitality and dynamic use of the vocal range. Closer “Innocence & Fortune” comes on the heels of a tiring hour of strong music and initially suffers from languidity, but finishes strong with a very Yes-like Mellotron ditty and a triumphant burst of choir and symphony. The great flow across the album doesn’t suffer from these shortcomings, which are minor in the grand scheme of things. And as if these words of praise have not been enough, Civilisation sports an excellent production from the hand of keyboard player and band creator Sean Timms (ex-Unitopia). The sound is bright, clean, and crystal clear, with each instrument audible separately even when the compositions become crowded (frequently on “Goliath’s Moon”). The bass pulses genially, the drums are clear and natural, and the various extra instruments are mixed in perfectly and dynamically, to the point where you no longer notice just how natural it sounds.
The history of the band is covered his video all the way up to 2015’s Fallen. In light of 2018’s equally superb release, God Damn Evil (banned at Walmart), it is a history very much worth revisiting.
Stryper have now remained at the top of their game ever since 2013 saw them kick off their contemporary trilogy of greatness (2013, 2015, 2018) with the excellence that is No More Hell to Pay.
In the beginning, the band’s classic trilogy of killer metal from the early days of the 80s consisted of The Yellow and Black Attack (1984), Soldiers Under Command (1985), and To Hell with the Devil (1986).
In God We Trust (1988) and Against the Law (1990) were then the two albums of searching for the way forward, after having achieved platinum status and MTV fame with To Hell with the Devil. And, in the changing musical landscape of the 90s, the path wasn’t clear, so they broke up.
But with the metal renaissance of the new century, Stryper came back with two bold steps forward that reasserted their capacity for rocking hard: Reborn (2005) and Murder by Pride (2009).
Yet who would know that these two efforts were only the beginning of a new era, one about to give birth to their most consistently great music? But first, the way into their latter day trilogy of greatness (2013, 2015, 2018) was carefully prepared for, by a back-to-metal-roots album of excellent covers, The Covering (2011), and also by a sonic updating of their glory days, with the re-recording of classic Stryper songs on Second Coming (2013) .
If you’re a skeptic or an agnostic about Stryper’s preeminence, then watch the video below. Spin the albums, and mark my words: if you have an ounce of taste, you will find yourself turning into a believer — because Stryper has more than earned their place in the pantheon of metal greats.
Great profile of Andy Sneap in the WSJ today. It includes this interesting statistic about metal versus rap:
[Andy Sneap] and old-school producer Tom Allom co-produced Judas Priest’s 18th full-length studio album, which was released in March. “Firepower” won critical praise and sold nearly 100,000 copies in the U.S., according to Nielsen Music. It also rose to No. 5 on the Billboard album chart—the highest spot in Judas Priest’s 50-year career. “Andy had always been a big fan of Judas Priest,” the group said by email. “He brought all of that love and sound knowledge into the studio.”
Mr. Sneap’s success reflects the enduring appeal of classic metal in the age of hip-hop. In the first half of 2018, rock, including metal, accounted for 41% of U.S. physical and digital album sales, compared with 16% for hip-hop/R&B, according to Nielsen Music. Including streaming, Metallica was America’s third-most popular rock act, after the Beatles and Imagine Dragons.
The resurgence of bands like Judas Priest comes amid a swing back to the traditional in metal. For years, younger acts enlisted dizzying chord changes and growly vocals in a bid to sound less commercial. Now, bands like Ghost, Kvelertak and Deafheaven are re-embracing the hummable melodies of metal’s glory days.
The future belongs to rock! Keep making great albums, dude. The metal-heads will be there for you.
This album, Lucifer II, came as a refreshing surprise. After a number of disappointments — albums I had been awaiting from artists with eager expectation, that only turned out not to be as good as I hoped — I was surprised when I discovered a new band, whose sophomore release was nothing less than superb. (And do you notice the homage their band logo plays to the font on the first Rush album? Attention, all planets!)
Hailing from Stockholm and Berlin, Lucifer is fronted by the extremely talented Johanna Sadonis. After previous exploratory work with The Oath, and the first incarnation of Lucifer with Gaz Jennings, Johanna has now found the ultimate magical combination with Nicke Andersson on drums and Robin Tidebrink on guitars and (newly added for touring purposes and as permanent members going forward) Martin Nordin on guitars and Alexander Mayr on bass. This new album was recorded at Nicke’s studio in Stockholm, where he did all the drums, bass, and half the guitar parts himself, and then lead guitarist Robin came in to do the rest of the guitar work.
The album opens with the fairly straightforward blues boogie “California Son,” which didn’t really cause me to get too excited. Johanna’s vocals are fantastic, but the song is pretty conventional, although the excellent guitar solos caused me to perk up on first listen, along with the nifty organ chords riding out that exhilarating guitar solo break.
But it was the second track, “Dreamer,” that instantly blew me away. Along with the third track, “Phoenix,” it is one of the two best songs on the album. The complexity, nuance, supremely intelligent songwriting, and impeccable instrumental performance on these two tracks place the album irreversibly into the upper echelon of rock and roll achievement.
The Rolling Stones cover, “Dancing With Mr. D,” is even better than the original, infused as Lucifer’s version is with a Black Sabbath sensibility. “Reaper on Your Heels” then shows that the magisterial songwriting skill displayed on “Dreamer” and “Phoenix” will abide, making it a perfect closer to an impeccable A-side.
The album B-side of “Eyes In The Sky,” “Before The Sun,” “Aton,” and “Faux Pharaoh” offers a swirling cauldron of excellent sounds, brewed from a recipe that tastes mostly like classic Heart mixed with the best of Black Sabbath. At times I even detect the timbre of a Karen Carpenter gone over to the dark side in Johanna’s enchanting voice. While the A-side is immediately convincing, appreciation for these B-side tracks grows more slowly, over repeated listens, and you eventually come to realize fully that with this album you are in the presence of contemporary rock greatness.
The closing track “Faux Pharaoh” offers an instructive contrast with the album’s conventional radio-friendly opener, proving that Lucifer is actually a serious doom prog force to be reckoned with. It’s perhaps their most original composition, showing that they are capable of doing whatever they want with the utmost of skill. Here’s hoping they get the recognition they deserve for their carefully cultivated talents.
This album has catapulted itself into my top ten list for 2018, and there is no way it will be removed from that ranking. Get a copy of Lucifer II and hear for yourself a band that, inspired by the best of 70s rock, is creating utterly compelling original music today, to be savored by those with only the most developed taste in rock.
My progarchist album rating is: FIVE pentagrams. ☆☆☆☆☆
LUCIFER II tracklist (42:00)
01. California Son (03:26)
02. Dreamer (04:46)
03. Phoenix (05:47)
04. Dancing With Mr. D (04:11)
05. Reaper On Your Heels (05:06)
06. Eyes In The Sky (04:30)
07. Before The Sun (03:38)
08. Aton (05:05)
09. Faux Pharaoh (05:25)
Johanna Sadonis – Vocals
Nicke Andersson – Drums
Robin Tidebrink – Guitar
Martin Nordin – Live Guitar
Alexander Mayr – Live Bass
It’s time to admit it. Too many bands are releasing albums that are too long.
Digital technology makes it possible, but reviewers must now unite in their opposition to today’s most ridiculous musical trend.
Any album longer than 45 minutes must be criticized mercilessly if the artist has failed to edit it.
The first item in any review should be a list of the songs that should have been cut. If the artist won’t do it, then the reviewer should begin the review with an elementary lesson for the artist in how their new release is abusing the listener’s patience.
If artists don’t want the reviewers editing their work for them, and if artists don’t want listeners only downloading or listening piecemeal, then they have to start showing some discipline.
There is so much good music out there. But too many artists are wasting our time.
There, I said it. Let the discussion begin at Progarchy on this. Perhaps we can begin by taking AMG as our reference point:
I want artists to produce coherent, holistic albums. This is not the same thing from lining up 10 songs you wrote in a specific order that works pretty well. For me, the peak of the album is Seventh Son of a SeventhSon or The Wall. When I start The Wall I listen to it front to back and I enjoy the whole experience. Similarly, Seventh Son of a Seventh Son or Symphony X‘s V: The New Mythology Suite. These are albums that use the form to create something cohesive and should a band need 75 minutes to do that, more power to them. The key, though, is immersion. Listeners lose themselves in the music and the album is akin to looking at a painting. Sure, you could look at the left half now and the right half later, but a painting is meant to be seen in its totality. Such albums are usually carefully crafted so as to be continuously interesting and engaging; both as composition and narration. The best album-as-whole is the record that has likely been heavily edited because it needs to be perfect.
…
Releasing the 15 songs I wrote in the last 18 months without consideration for time and space is not constructing an album. This is, rather, a playlist. There are plenty of great records that are playlists; in fact, I think most albums that are released are simply playlists.2 But that changes expectations. In this case, there will be varying compositional quality and it behooves bands to remove the worst material to improve the flow and feel of their playlist. Historically, this meant sitting down and cutting down to the LP length. And while this is hard, anyone who makes music knows that we all write stuff that we don’t like as well. We all produce music that we think is subpar, even if we like this riff or that idea. The musician who wants to produce the best album possible will either re-write those pieces or drop them. They edit.
Playlist albums are more likely to be repetitive at longer lengths, particularly if they lack dynamics. I love Amon Amarth, but those guys write pretty much the same songs for every album. They’re really good at it, but a 75 minute Amon Amarth album would fall absolutely flat. By the 40-minute mark, you’ve heard everything you’re going to hear and at that point you’re pretty much ready to move on. You’ll see them live, of course, but then they play 120 minutes of their best material, not their most recent.
Sometimes you’ll encounter albums where every song is great but it’s super long, making it enjoyable in two sittings. But is that a successful album? My answer is no. A successful album is something that you want to hear in a single sitting. Generally, the most successful albums are the ones which end before you’re ready. The ones that leave you wanting more. I review new albums on these terms. When enjoyable records crest at 55, 60, or 70 minutes and I’m bored, I consider it an editing problem. An album with plenty of interesting sections but that falls flat on a total listen is a failure which could have been averted with better editing.3 I’d say the same thing of a 30 minute album that I was bored with by the end, too. It’s the whole that matters.
…
Ultimately, I think that records that bloat make for bad records and that labels are releasing fewer good records because of it. If you’re a person who doesn’t enjoy albums as a whole, then this isn’t a problem. But what are we to do when we review? Our job is to review albums. That means pointing out the strengths and weaknesses of the whole product that we’re reviewing. Since we judge them as single units, rather than rating how much we like each song and creating a composite score, length risks dropping scores due to dropping quality.
People, we must learn from ages past. Vinyl is the gold standard here, and we must learn from it. Exceed the running time length of an LP at your own peril, dear artists. You have been warned.
Progarchy 
