BY PAUL WATSON April 24th sees the debut album ‘RETURN’ by a relatively new US band CIRCULINE. To be honest I was going to write a short bio and other interesting facets about things you may not know about this band to include in this article but their keyboardist ANDREW COLYER has actually provided a lot more information than I expected in a very enjoyable and candid interview with him below. Bradley also added a bit more about the album promo on March 19 below so check that out as well.

  Not sure if you know this but there’s this three-worded Latin expression that goes like this. “Ordo ab chao” … which translated into English, if you haven’t already worked it out, sagely suggests, “… out of chaos comes order…” I’d seen it used years ago with the name of a Metal band and thought to myself, “how cool is that?” So now you’re wondering what has that got to do with Circuline and their new album? Simple. On the one hand I’m listening to these eight tracks and thinking, “Okay, I’m really liking this. I get it, although I have to say it’s hard to paint them into a corner using my trusty Prog group compass, because, let’s face it – it’s open season when hearing new bands and their albums and trying to tie them down to either Yes or Genesis or whoever…. label”, but on the other, I’m also trying to focus on the many varied layers on some of these songs. And boy, there are many layers here on first listen. I’m not just talking about how many multi-tracks have come into play but rather the delicately placed strips of all manner of sounds interwoven and joined without a hint of the seam as these songs move forward. It’s that good, and only gets better upon each playing. Just as well ears can’t blink because listening to, you might find yourself missing something poignant throughout the many subtle changes within these tracks. I just love the way so many ideas have come from various angles, in a kind of a living juxtaposition of possibilities realized, which in itself doesn’t go anywhere near describing this music but hopefully tells you the kind of frame of mind it leaves you in when listening to this.

Trust me – You’ll know what I mean when you listen to ‘Return’ yourselves. Expect a lot of great guitar and keyboard riffs. Okay, so where does “ordo ab chao” come into it? Track one ‘ the title track, ‘Return’ doesn’t give you much of a clue as it’s a straightforward melody with some great hooks in it, and one I think a number of radio stations will add this one to their playlists for high rotation. It’s a good song to start off with and imagine it works well performed on stage. Track two ‘Nebulae’ is where “ordo ab chao” seriously starts earning its money with an interesting dissonant beginning by Andrew on keys which we soon find out in this relatively short instrumental, out of random chaos we get order. In fact, most of the following tracks have a similar disjointed beginning that turns inside itself into something melodic throughout the rest of each piece. As you’ll see below, I asked Andrew about their writing and how they came about balancing the consonant and dissonant elements within most of these tracks.

So in a nutshell – this is a very tight and solid debut album which you’ll soon discover has so much going on within it. Not a second wasted and yet, not rushed or too busy. I think it’s too early to pigeon-hole them just yet. Certainly there are jazz fusion elements in some of these pieces but not enough to point them in that direction for certain. Vocals are very strong as is the bass playing, and you’re in for a treat right at the end with a high-energy violin solo, shades of Kansas to these ears. I like that they’ve evenly spread the vocal tracks with the instrumental pieces showcasing what a fine bunch of musicians each of them are. If you get the chance, go see their show which includes not only original numbers but also classic progressive rock tunes from the likes of  Yes, Rush, Genesis, Pink Floyd, and Sound of Contact. 

The band opens for Glass Hammer for three shows in the Northeastern U.S. starting from April 24th through to April 26th, 2015. Last year, Circuline opened for recent RoSfest act, Elephants of Scotland.

Andrew kindly answered all of my questions relating to the band and their pending new album. Reading from the band bio that you’ve put out there’s certainly a wide mix of talent and artistry there. Just how did you all meet and Circuline come about?

ANDREW: Bill Shannon was a founding member of the progressive rock tribute band Downing Grey back in 2009. Downing Grey found Darin Brannon through a series of Prog drumming YouTube videos (nirad2007) he had posted. Natalie Brown, Billy Spillane, and I met in early 2013, and realized that we could sing like Crosby, Stills and Nash. At the time, I was in two other original bands that were floundering, and feeling really frustrated. I went on the inaugural YES Cruise to the Edge, and played “Tarkus” (ELP) and the intro to “Awaken” (YES) in front of Geoff Downes at the late night Prog jam. Geoff told me, “very good, you’ve got those Prog Rock chops”. I came home from the CTTE, determined to find a group of people who were ready, willing, and able to be serious about being in a professional band. I found Downing Grey, and joined immediately. Natalie joined within weeks, singing backup. Billy Spillane had been fronting a Led Zeppelin tribute band (No Quarter) for at least five years, but was a lifetime Prog fan.   Towards the end of 2013, Billy joined Downing Grey as the lead singer. In January of 2014, Downing Grey fell apart. There were personality issues that made it impossible to work together anymore. Circuline was born on February 8th, 2014.

Having seen in the past where in another band you were advertising for a new bass player due to “anger management” issues, I guess it’s about finding the right chemistry either by accident or by design. Do you recall the time you all got together and realised that this was a good fit and you had the sound you wanted to make and take this somewhere?

ANDREW: When I joined Downing Grey in the spring of 2013, I was very clear to the band that long term, I wanted to write original material. In fact, the very first day I was with Downing Grey, Darin, Bill, and I started jamming on some original material, while the bass player was in the bathroom. I still have those demo recordings from that day. Who knows, maybe they’ll turn up on the next record! The other thing that I was very clear to the band about when I joined Downing Grey, was that I was serious about making this a profitable venture. It’s so much work to learn all of those classic prog songs. I did not want to go to all the work of learning the songs, programming the sounds, rehearsing, schlepping gear, etc., to not have any people in the audience or make any money. What we learned from Downing Grey is that, being a Prog tribute band, covering nine bands in one night (YES, Genesis, ELP, Gentle Giant, King Crimson, UK, Jethro Tull, Rush, and Pink Floyd) is a very tough sell to venues, even if it “sounds just like the record”. In addition, it’s very difficult to have merchandise to sell long term, because you don’t own the rights to anything. The logos and images, the songs, everything belongs to someone else. The only way we were going to be able to build something long-term that was truly ours, was to start an original band, writing original material. We already knew that we could all play. We just had to start writing. AND, what we’ve realized, is that in the time it takes to learn all of that classic prog material, we could just write our own stuff!

Is this a one off project or are all of you in it for the long haul?

ANDREW: Bill, Darin, and I started this band with a vision of being a successful modern ProgRock band. Natalie and Billy are also in it for the long haul. We’ve already starting writing material for the second album, and Randy McStine (Lo-Fi Resistance, Sound of Contact, Pink Floyd Experience) has already agreed to continue in a songwriting capacity. Speaking of Randy, we are so grateful to have him as part our writing team. His beautiful melodies, harmonies, and lyrics were an absolute perfect fit for our music. Randy’s contribution to this album was invaluable, and we are happy to be working with him again in the future.

The title you’ve given to your debut album is ‘Return.’ What does that refer to? Is it a play on your band name, ‘Circuline’ – making a full circle, or to be found in the lyrics of the first track on the album?

ANDREW: I’m glad you asked! Actually, for all of us, we are returning to what we love most – music. Every one of us started out as a young person dreaming of a career in music. Every one of us attained some level of success. But for one reason or another, had kind of dropped out. (Except for Billy, who was fronting the Zeppelin tribute band.) Natalie Brown had a 20-plus-year career as a theater actor, singer, and dancer, who had stopped. Darin Brannon had been in numerous bands in California and the midwest (Cleveland), and had dropped out. Bill Shannon had moderate success in Cincinatti, before moving to New York and starting Downing Grey, but was working as a graphic artist and art director for a magazine. I was classically trained, and wanted to go to Berklee to be a modern musician, but my parents pushed me into being a doctor. So I was pursuing music as best I could, part-time, for over 20 years. When we founded Circuline, we all looked each other in the eye, and said, “This is it! We’re all doing it. Are you up for it?” And everyone said yes. So for all of us, we are returning to our first love.

I’ve had a hard time trying to pinpoint what influences play a large or minor part in your music, but other than having initial thoughts of thinking of Thieves’ Kitchen on some tracks on the album, I come up with nada. You yourself and Bill Shannon and Darin Brannon come from the tribute band (Downing Grey) as well as one of your lead vocalists, Billy Spillane who sang in the Led Zeppelin tribute band, No Quarter that encapsulates all the best and finest songs from Prog Rock bands and not in most cases devoted to just one band say like Yes or Genesis and other notable Prog and Classic formations. Did that play a large part in deciding where you were going to take the band in coming up with an interesting blending of styles and sounds?

ANDREW: Darin Brannon grew up in a musical family, and seriously has Prog and Fusion in his DNA. He’s an encyclopedia of Genesis, Jean-Luc Ponty, Happy the Man, Peter Gabriel, Brand X, etc. He’s always telling me and Bill to “add in an extra beat, or take out a beat”. Darin actually came up with one of the important writing rules that we have – “If someone is singing, it’s in four. If someone is not singing, we’re going to experiment with playing odd time signatures.”   We’re really lucky to have Darin’s sense of rhythm in the band, because neither Bill nor I would have ever thought of that. Bill Shannon is a self-taught guitar playing savant, who spent countless thousands of hours locked in his room listening to every prog and rock band you can think of from the 70’s, figuring out all of the guitar parts, bass parts, and keyboard parts. How to actually play them on his guitar. In addition, Bill listens to Brian Eno, David Bowie, modern dance music, and anything else that might be considered weird or abstract. So Bill is kind of like an encyclopedia in his own way. He is really good at coming up with licks and riffs, and abstract ideas that neither Darin nor I would think of. I’m classically trained, and grew up listening to movie soundtracks. I actually wanted to be a film composer. At the same time, every week I was listening to “Casey Kasem’s American Top 40”. So that was going into my brain. I have sung (All-State choir in high school), played the trumpet, organ, and piano for choirs, weddings and churches since I was nine years old. I was a D.J. and played in original and cover bands during the four years I was in chiropractic school. I had a jazz quartet for several years. So I have a very diverse background as well. Darin, Bill, and I are very conscious of wanting our music to have diversity. We’ve all heard bands, both new and old, come out with albums that sound very similar from track to track, and we don’t want to be one of those bands. Sonically we intend to have a broad palette. We think it will be more interesting for the end listener, and hopefully that’s come across in our first effort.

Almost as a recurring theme on first impressions here, what I really like as well as respect, especially in wondering how you conceived and composed a good number of these tracks is the amount of consonant and dissonant notes that truly work seamlessly here. It’s not pretentious or gratuitous, and I think you’ve got the balance just right. Given the angular approach to a number of intros to these songs as far as opening themes go, especially ‘One Wish’ would you consciously define this as your own band signature sound to where you want to take your music for new listeners?

ANDREW: First of all, we don’t like to be bored. We’ve all heard music that was great, but went on for just a little bit too long. We don’t want to be that band. We also know that we’re not in the “Information Age” anymore, we’re in the “Attention Age”. The hardest thing we have to do is capture someone’s attention, and retain it. Right now, it is possible for almost anyone to have the entire history of recorded music on their mobile phone, tablet, or computer. And if they don’t own it, they can stream it. We have to write music that will be interesting to the listener, and will make them want to listen to it again. Too many consonant notes? Too boring, like too much white wedding cake with vanilla icing. Too many dissonant notes? Then it’s too abstract, will grate on your nerves, and you won’t want to listen again. Our intention is to write music that has a balance of consonance and dissonance. Then hopefully it’s interesting.

That’s the thing I really like about this album. Once you hear it for the first and then go back and listen a bit more closely you start picking up various sounds within the mix which blend in very well. I’m just so impressed with the natural chiaroscuro you’ve managed to add to how these sounds blend in.

ANDREW: “Chiaroscuro” – the use the use of strong contrasts between light and dark, usually bold contrasts affecting a whole composition. Thank you for the compliment. Actually, this would be a good time to mention Matt Dorsey (Sound of Contact), who played bass on five tracks, and mixed the entire record. Bill and I both write a lot of intricate, layered parts, and of course we each want to hear our own parts the loudest! Matt actually flew out to do a couple of gigs with us in November 2014. I think after writing and recording his bass lines, and rehearsing and performing live with us for a week, Matt really knew exactly what we were going for when mixing the record. He did a great job of making sure everyone’s parts were heard. ‘Soleil Noir’ is the shortest track on this album at 2:51. Have to say it’s one of those instrumental pieces where you all get to shine one way or another. It’s also one of those tracks you wished it would go on a lot longer. You feel it’s just getting going and then it peters off. Is there in fact an extended version to this track that you play?

ANDREW: On a recording, it’s always better to leave people wanting more. But live, yes, for our upcoming shows, we’re looking at doing an extended version of “Soleil Noir”. It’s a nice moment for the audience to clap along – something that’s kind of rare in Prog! We’re constantly looking for ways to make our live “show” better. Having Natalie and Billy in the band is a blessing, since they are seasoned theater performers. We hope that you and the rest of the audience have a really good experience when you see us live.

I see on one of your pages your influences include; “Classical, jazz, pop, rock, funk, R&B, Progressive Rock, movie soundtracks….” That covers quite an extensive range although all these genres have been found in Prog Rock in one way or another over the years. How did you get involved in Progressive Rock and who were your influences?

ANDREW: I’m a relative newcomer to the Prog world. In 2004, a new musician friend said to me, “you’re classically trained? You should be playing Prog.” And I said, “What’s Prog?”   “Progressive Rock. You know, like YES.” “Oh, I know, ‘Owner of a Lonely Heart’.” “NOOOO, you know, like Genesis.” “Oh, I know, ‘Invisible Touch’.” “NOOOO, you know, like Peter Gabriel.” “Peter Gabriel was never in Genesis….”   Seriously, that was the conversation. So he came back, handed me the YES Symphonic Live DVD, which I went home and watched, and I totally freaked out. So after a lifetime of listening to ELO, Journey, Styx, Kansas, Pat Metheny, Rachmaninoff, Miles Davis, Beethoven, Sting, Bruce Hornsby, Brahms, Keith Jarrett, Seal, Little River Band, Eagles, Ralph Vaughan Williams, Herbie Hancock, The Tubes, movie soundtracks, Chick Corea, Earth Wind & Fire, and anything by David Foster and Quincy Jones, I’ve spent the last 10 years playing catchup in the Prog world! From a band perspective, you know all the classics I’ve been cramming in trying to learn. Here’s my favorite newer prog bands, who I listen to repeatedly: Oblivion Sun (former members of Happy the Man), Sound of Contact, and Steven Wilson. As a keyboard player, my top Prog influences would include the usual suspects: Rick Wakeman, Tony Banks, and Keith Emerson. Jan Hammer for expressiveness and style. Jordan Rudess is one of the top keyboard players in the world – he can do it all. But if I had to pick one, and only one? Eddie Jobson.

Having been in a popular Prog tribute band and given your very impressive list of hardware and keyboard instruments you use, you must have had somewhere in their various Mellotron sounds but I haven’t picked up any of that on this new album. Would that have been too cliché to throw in familiar washes like that into your repertoire? In other words how did you as a keyboard approach this album with the full weight of Prog standards as a historical backdrop as well as an impressive arsenal of keyboards and software?

ANDREW: Forget about cowbell, we need more Mellotron! There actually IS Mellotron on the record, on four tracks. But it’s mixed and layered in with all the other sounds, to provide a “soundscape”. When I studied orchestral conducting at Juilliard, we had to study the scores of Beethoven, Brahms, Stravinsky, Holst, etc. Seeing how they layered instruments together to come up with different types of timbres was fascinating to me. In the same way as those classical composers did, I like to layer things, to come up with a new hybrid sound that nobody else would. I think that writing music is like cooking. You can’t use all of the spices all the time. It’s often an experiment as to which sounds to use. I have so many sounds and instruments that it’s virtually unlimited. I’m not exaggerating when I say that I have over 100,000 sounds in all of my libraries. How many are usable or appropriate? That’s another question. Often I will come up with two or three different examples of what I could use for a certain section, and then let the band vote on which one they like the best, for that part of the song. Once the album is released in April what are Circuline’s plans for the year?

ANDREW: Our number one goal is for every Prog fan in the world to listen to our album. Just once. If you like our music, please Follow us on Twitter (https://twitter.com/CirculineMusic), Like us on Facebook (https://www.facebook.com/circulinemusic), and sign up to get free stuff on our website (http://circulinemusic.com/). Our intention is to connect and be interactive with you and the other fans. We will tweet you back. We will Facebook message you back. We will do our best to personally email you back. If you really like the album, you might want to subscribe to our YouTube Channel (CirculineProgRock), and please ask all of your friends and family to check out our music. If you want to be a “Doh-Deka-Phonic-Super-Sonic-Uber-Ultra Fan”, we invite you to check out our Patreon page (https://www.patreon.com/circulinemusic), where you can support us creating more music videos, and a soon-to-be-released hopefully funny internet video series that the band is creating. Friday, April 24th is the CD release party, and we’re opening for Glass Hammer at the Bearsville Theater in Woodstock. Saturday, April 25th we’re performing with Glass Hammer and the Anton Roolaart band at the New Jersey Proghouse. Sunday, April 26th we’re opening for Glass Hammer at Orion Studios in Baltimore. The Friday night Bearsville show will have a six-camera video shoot and a 24-track live recording. You’ll see that later this year as a live CD/DVD release. In May, we’re launching Sonic Voyage Fest, a “traveling modern rock festival” with fellow acts Shadow Eden and Stratospheerius. Bass monster Paul Ranieri will be performing with us and Shadow Eden, and Joe Deninzon (electric violin, vocals) of Stratospheerius plays a blistering solo on “Silence Revealed” on our album. We’ll be performing on Friday, May 22nd, in Hartford, Connecticut, and Sunday, May 24th, in Newmarket New Hampshire. You can find out more details at www.SonicVoyageFest.com. (which is now live). In June and beyond, we’re dedicated to writing and producing our second album, producing more music videos, mixing and producing the Bearsville CD/DVD, and we’ll be launching our own internet TV show. Circuline is an eclectic and quirky bunch of individuals, and we hope you’ll find the shows entertaining. We’ve already committed to doing more work with recent RoSfest act Elephants of Scotland. With regards to touring with other bands, we’ve been talking to Lifesigns (great prog band from England), Dave Kerzner (his new band will be touring his debut album), and a really great instrumental prog band from Italy, Accordo dei Contrari. Of course, we’re working on some other cool stuff, which I’m not at liberty to discuss at the moment. You’ll have to stay tuned…….. Thank you so much for this interview!

CIRCULINE ARE:

Andrew Colyer:

Keyboards, Vocals  and has played piano, keyboards, trumpet,  and sung across the United States, Canada, and Japan, including three times at Carnegie Hall.  His classical classical training includes the Juilliard School, and his teaching lineage places him five steps down from Beethoven.Rock/pop experience includes performing and collaborating with Tony Levin (Peter Gabriel, King  Crimson), Jon Anderson (YES), The Tubes, Max Flyer (CBS Records), 10th Planet, the Prog Rock  Orchestra, and the Progressive Rock Tribute Band, Downing Grey. Andrew performed on keyboards/vocals with the Prog Rock Orchestra on the Moody Blues Cruise and the Yes­-headlining Cruise To The Edge in April 2014.

Darin Brannon ­

Drums, percussion.  Darin grew up playing piano,Drums, percussion, and saxophone in elementary school.Darin’s first rock band in junior high school was playing the music of Cream and Pink Floyd, but  hearing Jethro Tull’s ​Thick as a Brick ignited his passion for the genre of Progressive Rock music.  Darin has worked with Crosby, Stills, and Nash;  Micky Dolenz; and Jerry Garcia. When progressive rock tribute band Downing Grey needed a new drummer, that’s how Darin was found – on YouTube.

 .

Bill Shannon ­ 

Acoustic and electric guitars, vocals. A former founding member of Progressive Rock tribute band Downing Grey.

Lead Vocalists ­ Billy Spillane and Natalie Brown 

Billy Spillane ​has been performing on stages literally around the world for over 25 years.  As an actor, dancer, and singer, with a naturally high tenor voice, has always been able to “hit the high notes” with ease.  In addition to composing and performing original and classic progressive rock with Circuline, Billy has been fronting the Led Zeppelin tribute band “No Quarter” for the past six years. Natalie Brown ​attended Boston Conservatory of Music the first two years after high school, Natalie quickly obtained work singing, acting, and dancing, and at 22 she became a member of Actor’s Equity Associati on.  From straight plays to musicals, to jazz­pop­rock bands, Natalie has done it all, including the lead in Evita (twice); covering Heart, Stevie Wonder, and Joni Mitchell; andfronting her own sold­out shows, “Natalie Brown and Friends”. 

Curculine also invited a number of special guest to appear on the album including on bass, Matt Dorsey (Sound of Contact). Also songwriter and vocalist, Randy McStine (LoFi Resistance), and Joe Deninzon (Stratospheerius) on electric violin. Shadow Eden’s Paul Raneiri is their current touring bassist.

by Paul Watson

First a Prog question.

What do ‘Elephants’ [large mammals of the family Elephantidae and the order Proboscidea. Two species are traditionally recognised, the African elephant (Loxodonta africana) and the Asian elephant (Elephas maximus) – Wikipedia] and ‘Scotland [(/ˈskɒt.lənd/; Scots: [ˈskɔt.lənd]; Scottish Gaelic: Alba [ˈal̪ˠapə] is a country that is part of the United Kingdom and covers the northern third of the island of Great Britain. It shares a border with England to the south, and is otherwise surrounded by the Atlantic Ocean, with the North Sea to the east and the North Channel and Irish Sea to the south-west. In addition to the mainland, the country is made up of more than 790 islands including the Northern Isles and the Hebrides – Wikipedia] have in common?

The answer?

Burlington, Vermont.

That’s it. That’s all I’ve got, but for some reason it works. Put both of them together and you get Elephants of Scotland, a Progressive Rock band who have come out of Vermont, USA back in 2010 and already have two solid albums under their kilt, I mean belt (maybe it’s a zoological/visual thing, like ‘A Flock Of Seagulls’ or ‘Tygers of Pan Tang’). This four-piece (well actually, they see themselves as a five-piece ensemble as they also openly recognise Greg Skillman’s contribution to the project as one of their main lyricists) have recently released a DVD/CD (Good Morning, Gettysburg – Live at Rosfest 2014).

I have to be up front here and say, although I’ve heard of Elephants of Scotland I really hadn’t listened to any of their music before. A lot of friends and acquaintances on various Facebook Prog fan pages had favourably recommended them over the years, but for whatever reason at the time I’d never followed up to hear for myself how good they really are. I’m putting it down to Prog overload at some of these moments when I was doing my online radio show and flooded with so many albums. “Snooze you lose,” as they say. I sure wish I had taken their advice to give them a listen to as there is a lot of good stuff to pick up on these tracks starting with their first album, Home Away From Home back in 2013.

But before that, just a little history on their lineup so far.

They actually started off as a three-piece band back in 2010; remnants of an 80’s cover band, Hot Neon Magic where Keyboard player, Adam Rabin and drummer Ornan McLean also wanted to move into the area of Progressive Rock. Ornan already played in a fusion band and they found another kindred spirit with guitarist, Corey Cranston. Adam also filled in the bass parts and they performed a few shows with that lineup. With Corey leaving soon after they were able to bring on board their old Hot Neon Magic guitarist John Whyte. Though they were quite comfortable as a 3 piece band they did take note of a local ad by a bass player looking for a band. The chemistry was great for all concerned and Dan MacDonald joined Elephants of Scotland. They spent the next couple of years working and fine-tuning their songs as well as bonding as a tight unit to be able to play live and in early 2013 put out their first album, Home Away From Home.

And if you didn’t know anything about Elephants of Scotland before, just listening to the intro of the first track, ‘Geography’ on Home Away From Home would soon tell you how big a fan they are of Rush music. I’m not going to say they sound like any song by Rush but there is that, on first impressions, Rush familiarity with the Neil Peart tom roll and hi-hat pattern as well as familiar upfront bass work and almost the Geddy low vocal style. But it’s not like a Rush tractor beam pulling you in. This band is strong enough on their own merits to appreciate what they bring to Progressive Rock as an individual band. In other words, they have what it takes to stand out with not only a cool band name. I just love the crisp 80’s keyboard sounds infused where the other members of the band allow Adam the room to include some excellent solos with moog and other familiar synthesizer signature bites throughout.

Just listen to the instrumental track ‘Endless (pt. 1)’ from their second album, Execute and Breathe where lead guitar (including familiar intermittent Rush riffs) interplays with solid analogue-(Wakeman)type monophonic solo moves balanced around both bass and drum. And the key word here is “balanced.” There is an incredible amount of musicianship here on display within their two albums it really does make each listening experience refreshing as you pick up individual performances on each track.

What is great news is that Elephants of Scotland have released a special CD & DVD package around their performance at ROSfest last year where they received a resounding standing ovation. Their website advises “the entire set shot in High Definition and mixed from the 24-bit digital multitrack recording captured this powerful and energetic set from Vermont’s own progressive rockers.”

I got to fire away a few questions about the band and their projects to EoS’s bass player and co-vocalist/songwriter, Dan MacDonald which he kindly responded to Progarchy regarding the band and their albums and of himself.

PROGARCHY:: On the first track of ‘A Different Machine’ from your latest album, Execute and Breathe it shows that three of you (Adam Rabin, Dan MacDonald, Greg Skillman) wrote the lyrics. What was the process you all used to get this song to completion, lyrically speaking?

DAN: I had come up with the concept and title of the song. Adam then discussed it with Greg whom in turn came up with a few of the choruses. Adam wrote the rest-the verses and bridge. I then tweaked the lines to suit my delivery.

PROGARCHY:: Is there a story behind ‘A Difference Machine’?  Is it based on any Science Fiction book or film. or rather some type of metaphor for how we’re turning into automatons perhaps?

DAN: It’s not based on any book or film I’m aware of. For quite some time It had been on my mind how we are all so programmed (or so it seems), by technology. iPhones, texting, Internet etc. Humans who use the hand devices of everyday lives are walking machines themselves, A Different (kind of) Machine.   Humans get so tuned into the device in the palm of their hand instead of what is right in front of them. Everyone wants the latest upgrades, they want to fly. To sum it up, it’s basically my disgust with the lack of human interaction these days, and I myself have succumbed to that world too.

PROGARCHY:: Did you provide any lead vocals on Execute and Breathe like you did on the previous album with ‘Home Away From Home?’ (who did the vocals for ‘Boxless’?)

DAN: The lead vocals for A Different Machine and Endless Part 2 were sung by me. Lead vocals on Boxless were sung by Adam.

PROGARCHY:: I kind of pick up a vibe listening to Elephants of Scotland that your heads are more in the 80’s rather than the 70’s Prog movement. I might be way off base there but there seems to be a New Wave music approach to some of the songs as ‘The Other Room.’  The type of things Rush and Eloy were putting out back then.

DAN: Yeah, I get that too.  We were definitely kids of the 80’s. So that may be where the new wavish sound you hear comes from, it’s ingrained in us most likely.  I think when we all began listening to prog we were turned on to all the big prog names like the Genesis, Yes, Supertramp, Rush, Kansas. I think Adam had a deeper history with 70’s prog than most of us. Gentle Giant to name one… so many more. Lefty has a broad taste in music from 70’s to present day. I know Queen is one band he mentions often how great the songwriting was with them.  However, I know Ornan and myself listened to more jazzy, prog like musicians and groups such as Pat Matheny, Stanley Clarke, Bill Bruford, Al Dimeola, Steely Dan, and Chicago. That’s why I believe he and I gel so well as a rhythm section.  The mix of background all four of us share musically really makes things interesting in my opinion.  I have been living under a rock for many years. I am only now discovering so many amazing prog bands that exist out there. So I’m enjoying this new awakening very much. I must admit I’ve never heard of Eloy. Although, I am listening to them right now. Thanks for turning me on to a new band Paul!

PROGARCHY:: You must have a very strong fan base in Canada? 😉

 DAN: We don’t have a strong fan base in any particular country, although I will say we have sold our CD’s all over the Earth. More recently Australians are on to us. It’s incredibly humbling.  We definitely are trying to break into the Canadian music scene. We are only 1.5 hours from Montreal and 3.5 from Quebec City. We need to elephantize them!  We have two shows coming up in Canada. April 25th in Montreal during Marillion Weekend and May 15th in Quebec City at The Terra Incognita Festival. Maybe we’ll then begin to build a fan base of sorts.  🙂

PROGARCHY:: You are obviously very tight as individual musicians and it shows in your playing and recordings, very strong indeed. A number of current bands have also included the odd guest or two from other bands they’ve admired so much from the past such as Yes members and Pink Floyd recently (Dave Krezner’s latest album comes to mind). How about Elephants of Scotland? Do you all harbor a secret wish list of artists you’d like to have onboard for a track or two?

 DAN: Thank you for those kind words. We work hard. That’s something we’ve never discussed. Maybe someday.

PROGARCHY:: With the pending release of your Live concert DVD “Good Morning, Gettysburg – Live at Rosfest 2014” – what made that particular concert special for you and what can new fans expect?

http://www.youtube.com/watch?v=ppsopDYnUsc

(Elephants of Scotland “A Different Machine” – ROSfest 2014)

DAN: ROSFEST was special in so many ways. It was and is the best known prog festival in the USA. So that in itself and asked to perform as an unknown band at ROSFEST was huge. For myself, it was the largest venue and event I had ever played.  It was surreal. I barely remember being on stage at all. There are only a handful of moments I can recall from those 90 minutes on stage. I met so many fantastic musicians and people there. Many I keep in touch with today. A very well run, first class, cool, top notch, classy laid back festival. What also made it special was the work we all put into getting there and preparing for the show. We put together an entire album including recording and distribution in under one year. We needed too. We didn’t have enough songs to fill a 90 minute set!  Those months we spent writing and rehearsing, then recording (ourselves),  really tightened us up as a band and didn’t hurt our chops either.

Fans can expect some more live performances and new music as well. We’re writing and rehearsing new songs right now. We’ve already talked about a third album. No release date set. We are going to try and develop our harmonies a bit more over the next year. We’re not under any pressure or time frame this time around so I believe our sound will have more time to develop and melt into a truly original sound from the ground up. And, our new LIVE DVD/CD set from ROSFEST is available now!

 PROGARCHY:: Regarding yourself – what made you pick up the bass?

 DAN: I tripped over one once, then HAD to pick it up.  Ha-ha! Seriously, on a large scale it was definitely Geddy Lee and Rush.  But there was a bass player who lived on my street growing up.  Mike Marrs was his name.  He, Tony Lee, Kevin Sherry and John Osborn would play in a garage across from my home. I’d sit outside in the driveway and tune in on the bass. Then one day I went to Mikes house while he was sitting down on the floor in front of the turntable learning Cinderella Man (Rush).  And I was just sitting there in awe. He then asked if I wanted to play his bass. I remember how HUGE the strings and neck felt. Mike was a patient guy and asked if I’d like to learn the main bass riff to In The End by Rush. So, I guess that’s really what made me pick up the bass. To learn that riff.

PROGARCHY::  Are you a trained musician?

DAN: Hardly. I grew up learning by ear. I’d sit in my room afterschool for hours just trying to learn songs. I did take lessons for about a month before I said screw this. I did learn the notes on the bass, major scales and how to read a little. Jammed in a highschool with Al Miller, Joe D’elia and Greg Athenian for a few years in highschool. They were all GREAT players. Joe would turn me on to so many bands back then as well. I played in our highschool Jazz Band. The only formal training environment I had was 1 year at Berklee College of Music. Learned a ton of theory which helped me get over the roadblock I had been experiencing for many years. By roadblock I simply believe, one can only get so far on your own without music theory. It helps me to this day in applying theory to my bass lines and helping in the writing process.

PROGARCHY:: How many bass guitars do you have and what is your favorite and why?

DAN: I have two. Ibanez Soundgear from 1989 and Fender GL Jazz Bass. The Fender is my favorite. I love the feel of the neck and the sound it creates when you use your fingers, or slap down on it, bang it around or whatever. My Sansamp DI helps with my sound too. I haven’t played the Ibanez since purchasing the Fender in 2010.

PROGARCHY:: As a Bass player who are your greatest influences? For instance, with the intro to ‘A Difference Machine’ first thoughts are, I pick up an almost Billy Sherwood approach here.

DAN: you remember when I mentioned before that I’ve been living under a rock?  Um, I’ll probably get some shit for this but I’ve never heard of Billy Sherwood. Or, I’ve probably heard him but did not know it was him. Make any sense? 

 My influences are definitely from the Squire and Lee. To a lesser degree Stanley Clarke. I was really into funk for a while.  Occasionally at rehearsals I’ll throw some funky, plunky riff in and Adam looks over at me like, what?  I have included some funky stuff in our songs, ‘Geograph’ comes to mind.

 PROGARCHY:: Sting gave a good well thought out answer in an interview where he was asked about what inspired him to go out and find new bass lines. He responded with, “Everything you listen to, you learn from, yes. You absorb, you learn, you steal. And it comes out in a different way, once the ideas have come through you. I couldn’t give you an example, but you always learn about bass lines listening to Johann Sebastian Bach.”

You’re all unashamedly Rush fans which really shows in a lot of your tracks in both albums. Is that a conscious effort on your part or just something that is now part of you all where certain songs of yours give fairly strong references to various Rush albums and sounds?

 DAN: I think Sting was correct. Our current sound is not a conscious effort to sound like anyone. Coincidentally, we are all Rush geeks and have been most our lives. It is definitely a part of us. I strongly believe influences are in everyone’s playing. I don’t think you can really prevent that from happening. If we’re compared to Rush, hey that’s not a bad thing right? It’s an honor to be mentioned in the same sentence with Rush. Our sound will inevitably drift into its own. I have total confidence in this and I look forward to it.

PROGARCHY:: You’ve also stated you walked away from the bass for 12 years. Why was that and what inspired you pick it up again?

DAN: Yes this was true. In my “previous” life, I was somewhat coerced into pursuing a different way of living my life and to drop that “crazy dream and get a real job”. When that all ended I was once again inspired and able to be myself. Never again will I let myself down. Music, bass playing is in my soul. I actually picked up the bass a few times between my re-awakening and 2008 only to feel very discouraged because I had lost my ability to play. Or so I thought. What did I expect really? Twelve fricken years without playing, yea…that will do that! In 2008 while away from home and training for my job, alone in a hotel room for 3 months I got itchy to play. I went to a pawn shop, bought a halfway decent cheap bass and small practice amp. That was really when I began playing again and moving forward from where I was on the bass 12 years prior. I was inspired once again!

PROGARCHY:: Tell us how you got the gig with Elephants of Scotland? Were you headhunted or found a Wanted ad in an edition of Guitar and Bass?

DAN:  I had placed an ad locally on Craigslist. Bass player available for rock cover band blah blah. I just wanted to play. It was up for only a few days when I received a call from Adam. He said, I’m not sure if this is what you’re looking for but we’re forming an original progressive rock band. My interest was immediate yet, hesitant. I knew being in an original band took huge commitment and time. Then I thought, original prog band in Vermont? No way? I asked Adam to send me some audio and video in which he did right away. I was impressed. At that time they did not have a bassist. We talked some more and found we had common interests in music. From what I could see and hear on the music Adam sent me, Ornan was a monster drummer and I HAD to play with that guy too! He sent me some sheet music (Adam style), and I totally absorbed myself in learning the songs. I showed up to rehearse with them and met Lefty (John Whyte). He had also just joined forces with Adam and Ornan in Elephants of Scotland.  So the two originators of EoS (Adam and Ornan), and the two new guys. We all clicked. It’s one of those moments you read about. And, here I am today! Totally diggin’ what is happening in this band and the new friendships I’ve made with three incredible dudes.

PROGARCHY:: What sort of Prog do you like to listen to?

DAN: I will always listen to my favorites. The older Rush (Moving Pictures and back). The only post Moving Pictures album I really listen to is Snakes and Arrows. In my opinion it was the best album they’ve put out in years. Love to listen to Kansas (Steve Walsh era), and older Genesis. More recently I’ve been hugely into Spock’s Beard. And remember, I’ve been living under a rock and only heard about these guys a year or so ago. I know…..I know..

Adam has turned me onto prog I’ve never heard. More recently Gentle Giant!  There are some local New England Prog bands I’m really diggin’ too. Circuline comes to mind. There is a Prog internet station called THE HOUSE OF PROG. I listen to them frequently, especially THE PROG DOCTOR on Friday nights. I’ve heard so many great prog bands from all over the world listening to his show. He (The Prog Doctor), along with the owner of the station Rick Henry actually discovered us and recommended us to George Rolden, the organizer of ROSFEST. 

PROGARCHY:: What one song out of your albums do the band like playing live and getting a good crowd reaction?

DAN: ‘Starboard.’ Off our Home Away From Home album. That song is a 10 minute kick ass ride!

PROGARCHY:: Does the band play any covers at all? (Rush, Yes, Marillion…?)  In other words do you showcase any Rush favorites for fans that can relate to both bands?

DAN: Not currently. We are focusing on our original music.  In the past we’ve performed Subdivisions and Red Barchetta. More recently Give Blood by Pete Townsend.

PROGARCHY:: Home Away From Home’s album cover almost pays a nod and a wink homage to Roger Dean’s cover for Yes’s ‘Fragile’ with the planet and celestial ship, IMO. Is the band very conscious of its Prog roots to the 70’s groups of old such as Rush and Yes?

DAN: I suppose we are conscious (or subconscious), of our roots. Nothing is deliberate with our music or artwork album design. Well, except to agree on the end results of both.

PROGARCHY:: Is it easy or difficult in this new millennium to make a living in Prog Music?  I mean you want to write and record as well as play and yet there is all the other parts of it just as important to promote yourself and with social networking be closer to your fan base and get active with that. A lot of time and effort goes into all of this – is it a problem for the band to compete with other bands in a relatively smaller market than say mainstream?

 DAN: I believe it is difficult to make a living in Prog Music, these days. Especially when you’re an independent unsponsored band such as Elephants of Scotland. Although, we’ve come to the realization that we probably will never make a living at this. So, we keep our day job, our families and better halves happy too. The older prog giants and that way of life just doesn’t happen anymore.

 I’ve spent countless hours networking to the best of my ability trying to get our name and music out there. The internet is a HUGE resource, especially Facebook believe it or not. It doesn’t seem to be a problem competing with other bands in a smaller market. Especially other prog bands. What I have found is a teamwork attitude from other prog bands. Working together to host a gig in each other’s town makes for a dynamite bill for a night. And if it goes well, we can continue to work and book together. It’s this teamwork ethic I find refreshing and certainly helpful. We proggers need to help each other out.  We know there are prog fans out there, still out there. What’s tough is getting all the old farts (like myself), out to a venue to see a band. We’ve become comfortable watching from home while in our nice Lazy Boy recliners and big screen TV’s, right?  On the other hand, some clubs (for fear of not bringing in enough patrons for a night), will not put up a prog band on a weekend night. Weekends are where maybe the old prog farts may be more inclined (not reclined, get it? Ha!), to go out for a few hours to catch a local prog band. It’s tough to find those venues. They’re out there, just tough to find. At least in our neck of the woods.

PROGARCHY:: What are your plans for 2015 as a band?

 DAN: In between our day jobs and families we’ll write, rehearse, perform and try to branch out a bit. Hopefully perform in areas or states that appreciate prog. We would enjoy performing as an opening act for a bigger name band touring through the New England area.  We have some bands and friends in that biz who are trying to help us out with gigs in New York, PA and Boston.  Stay tuned…..

PROGARCHY:: So, when do you think you’ll all get around to doing the obligatory concept album? 😉

DAN: There was one time we all had a conversation about a concept album. We all agreed that we would not do one.  “And as you say, concept albums are obligatory. Cliché, even. That’s hardly progressive, right?”

No rush, eh. Well just a tad in there by this amazing prog band.

Look out for the ELEPHANTS OF SCOTLAND albums as well as their ROSfest performance on DVD which can be ordered from the EOS website:

https://elephantsofscotland.bandcamp.com/