Rick’s Quick Takes for March

Lots of great music has crossed the metaphorical Progarchy transom this month! Purchasing links are embedded in each artist/title listing; album playlists or samples follow each review.

The Flower Kings, By Royal Decree: Fun fact: this is the third double album in a row from king of Kings Roine Stolt and his merry band. And like 2019’s Waiting for Miracles (which started the streak) it’s compulsively listenable from start to finish. Fresh out of lockdown, Stolt, singer Hasse Fröberg, keyboardist Zach Kamins, drummer Mirko deMaio and alternating bassists Jonas Reingold & Michael Stolt laid down 18 songs in the studio, negotiating the twists and turns of wildly varied material (some of which dates back to the early 1990s) with energy, precision and evident delight. Not a trace of metal here, and I hear much more psychedelia, fusion and Eurofunk in the mix than stereotypical “prog” — but to my ears, that’s what makes goodies like the unpredictable opener “The Great Pretender”, the ravishing ballads “A Million Stars” and “Silent Ways”, and the off-kilter eccentricity “Letter” so fresh and fun. There are plenty of serious lyrical moments too, as in “The Soldier” and “Revolution”; but, by and large, By Royal Decree is the sound of Stolt and company refreshed and revisiting their optimistic roots, soaring on the wings of one marvelous melody after another. It’s as much a joy to hear as it must have been to create.

Continue reading “Rick’s Quick Takes for March”

Kruekutt’s 2021 Favorites!

I thought I didn’t have a big list of favorites from this year’s listening — until I revisited my six-month survey from back in June and added in the good stuff I’ve heard since then! The listing below incorporates links to full or capsule reviews, or other relevant pieces on Progarchy and elsewhere; albums I haven’t written about yet get brief comments, along with my Top Favorites of the year. Most of these are available to check out online in some form; if you find yourself especially enjoying something, use that Christmas cash and support your choice with a purchase! And the winners are . . .

Continue reading “Kruekutt’s 2021 Favorites!”

The Big Prog (Plus) Preview for Fall 2021!

What new music and archival finds are heading our way in the next couple of months? Check out the representative sampling of promised progressive goodies — along with a few other personal priorities — below. (Box sets based on reissues will follow in a separate article!) Pre-order links are embedded in the artist/title listings below.

Out now:

Amanda Lehmann, Innocence and Illusion: “a fusion of prog, rock, ballads, and elements of jazz-blues” from the British guitarist/vocalist best known as Steve Hackett’s recurring sidekick. Available direct from Lehmann’s webstore as CD or digital download.

Terence Blanchard featuring the E-Collective and the Turtle Island Quartet, Absence: trumpeter/film composer Blanchard dives into music both written and inspired by jazz legend Wayne Shorter. His E-Collective supplies cutting edge fusion grooves, and the Turtle Island String Quartet adds orchestral depth to the heady sonic concoctions. Available from Blue Note Records as CD or digital download.

The Neal Morse Band, Innocence and Danger: another double album from Neal, Mike Portnoy, Randy George, Bill Hubauer and Eric Gillette. No overarching concept this time — just everything and the kitchen sink, ranging from a cover of Simon and Garfunkel’s “Bridge Over Troubled Water” to brand-new half-hour epics. Available from Inside Out as 2CD, 2CD/DVD or 3 LPs/2 CDs

Trifecta, Fragments: what happens when Steven Wilson’s rhythm section turns his pre-show sound checks into “jazz club”? Short, sharp tracks that mix the undeniable chops and musicality of Adam Holzman on keys, Nick Beggs on Stick and Craig Blundell on drums with droll unpredictability and loopy titles like “Clean Up on Aisle Five” and “Pavlov’s Dog Killed Schrodinger’s Cat”. Available from Burning Shed as CD or LP (black or neon orange).

Upcoming releases after the jump!

Continue reading “The Big Prog (Plus) Preview for Fall 2021!”

The Peaceful Beauty of Nad Sylvan’s “Spiritus Mundi”

album_coverNad Sylvan’s latest solo album, Spiritus Mundi, is one of the finest records released thus far in 2021, and I expect it to be one of the top albums of the year come December. Sylvan brought his vampirate trilogy to a close with 2019’s The Regal Bastard. Spiritus Mundi, which is Latin for “spirit of the world,” departs from the more classic prog sound on his previous three albums, but it hasn’t quite set sail for new genres. Rather it explores different musical territories, including classical, folk, acoustic, and rock, all befitting the beautiful poetry of William Butler Yeats which serve as the lyrics. The musical elements from his previous albums are all here, but they are interpreted in a different way. In an interview with Progarchy’s very own Rick Krueger, Nad expands upon the development of the record and his collaboration with Vermont-based musician Andrew Laitres, so I’ll direct you to that for more info about how the album came to be. 

As it should be, Nad’s voice is the centerpiece on the record. All of the musical elements serve to frame his voice and the lyrics, bringing the poems to life through varying sounds. The baroque elements found on Nad’s vampirate trilogy pop up now and again, such as on “Cap and Bells” and “The Realists,” which I think adds a flavor that is uniquely Sylvan. Laitres also provides some lead and backing vocals, which adds some variety.

Musically the album is more open and relaxed than Sylvan’s previous records. It doesn’t have the heavier rock moments that those albums had, but the lyrics don’t call for it. Nad plays most of the keyboards, as well as some of the acoustic, electric, and bass guitars, and the orchestration. Jonas Reingold and Tony Levin also appear on bass, along with Steve Hackett on the 12 string. The Flower Kings’ Mirkko De Maio appears on drums. There are a few other guests too, but this should give you a sample of what to expect. It seems fitting that Nad, who’s become well-known for his work with Steve Hackett’s touring band, releases this sort of more acoustic and classically inspired record soon after Hackett released a beautiful acoustic album, Under a Mediterranean Sky

I’ll readily admit I’m frequently skeptical when an artist says they’re going in a new direction on their next album. While I didn’t have particular reservations about this album going into it, I was admittedly curious about what that different sound might be. I didn’t expect him to move into some sort of techno-pop trash like Steven Wilson, and thankfully he didn’t. Instead he leaned more heavily into the folk and classical elements that already existed in his music. At times the music is reminiscent of Big Big Train, and at other times I hear bits that remind me of Jethro Tull. The rock is still there though, with a fantastic bass line and slide guitar on “The Fisherman.”

Spiritus Mundi is a well-rounded album that offers a breath of fresh air in a very dark time in our world. Perhaps that is fitting since many of Yeats’ poems offered a similar freshness to the broken and hurting world of the early twentieth century. Nad Sylvan may have taken an unusual path to rock stardom in his 50s and early 60s, but that seems to have brought a maturity to the music he makes. This album is well-crafted, and it is both a fitting tribute to Yeats’ poetry and a wonderful introduction of that poetry to new audiences a century after it was written.

Sylvan is one of the most creative people working under the broad umbrella of progressive rock today. He seems to get better with each passing record. I only hope he gets the chance to tour his own music someday. Check out Spiritus Mundi along with his other solo albums. You won’t be disappointed. 

https://www.nadsylvan.com
https://www.facebook.com/Nadsylvanartist
https://twitter.com/sylvanofficial

Signed albums available from Nad’s webstore: https://www.nadsylvan.com/cd-shop
Or purchase from Burning Shed: https://burningshed.com/tag/Nad%20Sylvan&filter_category_id=261

Nad Sylvan: The Progarchy Interview

Born in California and raised in Sweden, singer/songwriter/multi-instrumentalist Nad Sylvan is a music lifer who formed his first band in 1968, toured for the first time in 1975 and signed his first record contract in 1983. With three eclectic solo albums already under his belt, Sylvan’s 2008 collaboration with keyboardist Bonamici Unifaun caught the prog community’s ear; it’s a stunningly fine pastiche that goes beyond superficial gestures to embody the musical soul of Genesis’ progressive period. One thing led to another from that point: Sylvan joining Roine Stolt and Jonas Reingold in Agents of Mercy; his ongoing gig with Steve Hackett, providing a visually and vocally flamboyant focus for multiple Genesis Revisited tours since 2013; and the deliciously Baroque solo albums on Inside Out that constitute his Vampirate trilogy (2015’s Courting the Widow, 2017’s The Bride Said No and 2019’s The Regal Bastard).

Nad’s new effort Spiritus Mundi sees him joining forces with guitarist/songwriter Andrew Laitres to set poems by W. B. Yeats — including visionary classics such as “The Second Coming,” “Sailing to Byzantium” and “The Stolen Child.” This is a fresh, winning album, focused on Laitres’ acoustic guitar, shimmering orchestral colors — and Sylvan’s voice, ably navigating the spry melodies, inhabiting Yeats’ weighty words with grace, power and panache.

Nad Sylvan spoke with us last in 2019; after seeing him in concert with Hackett three times, it was delightful for me to chat with him about Spiritus Mundi and related topics. Recovering from a long day of shipping out preorders (roughly five times the amount he anticipated), Nad was nonetheless thoughtful, charming, and engaged throughout. The audio of our conversation is below, with a transcript following.

So, let’s talk about the new album, about Spiritus Mundi.  How did you decide on a direction after you finished the Vampirate trilogy?

You got that one right!  Vampirate — good!  It’s my own invention; think of the vampire and the pirate combined into one character.

Well, to make a long story short, I was approached by Andrew Laitres, who I’ve done this record with.  About two and a half years ago.  And he asked me if I would be interested to track my voice for a song of his that was gonna go on one of his solo records.  And that was a song called “The Lake Isle of Innisfree,” which turned out to be a bonus track on The Regal Bastard, my previous album.

So I asked him, “could I use this for this album?”  ‘Cause I thought, it just went so well, it sounded so good, and I thought, “what a nice thing to use as a bonus track.”  And so he granted me permission to do that!

So after I’d finished the trilogy, I immediately came to “where am I gonna go now?  What should I do now?  I feel like doing something completely different.”  And then before you knew it, you had the pandemic as well come along.  And I thought, well, spiritus mundi means sort of “the spirit of the world,” if you like.  And that’s very much what we’re concerned about these days, more so than ever.  It’s also a quote from the first song, “The Second Coming.” Where he sings about spiritus mundi.  And it sounds so lovely, and it’s got some power behind those words.  And I thought “why not use that as a title?” 

And so I asked Andrew, “would you be keen to make a full album with these lyrics of Yeats?  Let’s write these songs together.”  I don’t have any prestigious thoughts about “I have to do everything.”  I’ve already proven that I can write, ‘cause I’ve done three albums already.  So he was enticed to go along with my idea, and then we started to work together – I would say it kicked off December of ’19.  So during the whole pandemic, as I returned home from the tour with Hackett about a year ago – I would say mid-March of 2020 — I’ve been completely absorbed by this work.  And it comes down to everything, even the artwork I’ve done for the album, so I could totally focus on this record, and I think it shows.  It just sounds and comes across as being a bit more mature this time.

Well, that was one of the things that struck me, that you’re using Yeats’ poems for lyrics, because that strikes me as an amazing challenge.  They’ve been set to music almost since the moment they were originally written.

Yeah, I know, but this was Andrew’s idea, you see.  I wasn’t even that familiar with Yeats’ poems; I’ve heard of him.  But once [Andrew] presented all his demos for me, I’d cherry pick: “Oh, this sounds nice.”  And we started to mold the songs together, like “maybe this bit should be restructured” or “maybe we should change these chords” or stuff like that.  It was very much a combined work effort.  So, yes, Yeats has been covered by The Waterboys, back in the late 80s, I believe.  But I didn’t even know that!  I just thought, “what lovely poems!  Let’s do it.”

Continue reading “Nad Sylvan: The Progarchy Interview”

Steve Hackett, Under A Mediterranean Sky

Give Steve Hackett credit for grace under pressure. With the 2020 leg of his Genesis Revisited tour stopped in its tracks by COVID-19, Hackett retreated to his London home, pulled out the acoustic guitar ideas he had been accumulating since 2008’s Tribute album, and huddled with wife Jo and keyboardist/musical director Roger King. Under A Mediterranean Sky is the sultry, stirring result, a first-rate blend of the world musics Hackett explored on recent electric albums The Night Siren and At the Edge of Light with the lush orchestral settings of his vintage classical efforts A Midsummer Night’s Dream and Metamorpheus. If you’re currently cooped up inside (whether due to the pandemic, winter in the Northern Hemisphere or both), this welcoming sonic travelogue will transport you to a brighter, better place.

Under A Mediterranean Sky grabs the listener right from the start with “Mdina (The Walled City). King’s opening orchestrations (a rich blend of acoustic instruments and synths throughout) seethe and sprawl, giving way to Hackett’s virtuosic solo work on nylon-string guitar; at the end, it’s a headlong dash to a sprightly finish, the guitar bursting forward as the symphonic storm gives way to sunshine on the coast of Malta. As a mission statement for the album, it could hardly be bettered.

Organically structured to circle the Mediterranean coast, Hackett’s musical portraits are drawn with ever-present grace and appealing variety. The delectable arpeggiated melody of “Adriatic Blue”, the pensive lines that link up with galloping Middle Eastern percussion on “Sirocco”, the folky, almost downhome French vibe of “Joie de Vivre” and the haunting, romantic Grecian portrait “The Memory of Myth” each tantalize in their own unique way. At the heart of the album comes Hackett’s only solo piece, a sonata by Italian composer Domenico Scarlatti (1685-1757) that features both breathtaking technique and a profound feel for melodic line, harmonic depth and rhythmic panache. It’s drop dead gorgeous, a true testimony to his heartfelt love for the classical guitar tradition.

The latter half of the program broadens the musical palette as the voyage continues, with stellar guest turns by brother John Hackett and regular band member Rob Townsend on flutes (a lush duet on “Casa del Fauno”), Azerbaijan tar virtuoso Malik Mansurov and Armenian duduk master Arsen Petrosyan (the dizzying, atmospheric “The Dervish and the Djin”), and oboist Frank Avril and violinist/violist Christine Townsend on “Andalusian Heart” (which also spotlights stunning extended flamenco work by Hackett). The poignant, rhapsodic finale “The Call of the Sea” is the perfect capstone to the album, winding down the journey to leave the listener at peace in heart and spirit.

Under A Mediterranean Sky is not just a welcome detour from Steve Hackett’s familiar sonic paths; it’s also a culmination to his lifetime pursuit of musical excellence. Hackett’s compositions and performances here are filled to the brim with both the fire of the young at heart and the canny craft of the mature, seasoned performer. Making this album obviously refreshed him during a difficult time; if my experience is any indication, hearing it — in fact, returning to it again and again — will refresh you as well.

(You can watch and listen to Steve Hackett talk about the album and selected tracks here.)

— Rick Krueger

Neal Morse on Transatlantic’s The Absolute Universe: The Progarchy Interview

As we (and everybody else in the prog rock world) announced back in November, Transatlantic’s fifth album The Absolute Universe will be unleashed on February 5. This album will arrive not just in multiple formats, but also in multiple versions: the 60-minute, 14-track The Breath of Life (Abridged Version), the 90-minute, 18-track Forevermore (Extended Version) and The Ultimate Edition box set (both versions on LP and CD, plus a 19-track 5.1 version on BluRay).

Having had the privilege of hearing the abridged and extended versions, I’ll testify that The Absolute Universe thoroughly satisfies my craving for that special Transatlantic blend of prog past, present and future. Everything that I love about the band is there, to (and sometimes beyond) the point of gluttony; I’ve come away from each listen delighted, thrilled and moved. So it was another real treat when, the week before Christmas, I got to chat with Neal Morse about this new music. (Neal also talked to Bryan Morey about his latest solo album, Sola Gratia, a few months back.) In this interview, Neal tells us how The Absolute Universe came together, why a double album wasn’t enough, and more.

So first, thanks for talking to me!  I have been a Transatlantic fan for a long time back.  SMPT:e was actually the first thing I ever heard with you involved in it, and that got me back into prog after some time away from it.   

Right!  Good!

And then I saw you guys in 2010 in Chicago, and that was a great, great, great show!  I enjoyed that so much. 

That would have been The Whirlwind?

Yes, exactly right.

Was that at Park West?  Yeah, that was a great night!

Yeah, it was Mike’s birthday.

Right!  And they got us Giordano’s [“Chicago’s Famous Stuffed Deep Dish Pizza”] for after-show food!  [Chuckles] I remember the really good pizza!  It was a good night.

Yes, it was a great show.  I missed you the last time through [touring the Kaleidoscope album].  But now you’ve got this new album coming through the pipeline, The Absolute Universe.  And I guess my first question is: how does a new Transatlantic album happen?  Was there a certain person or a certain thing that kickstarted the process?  How did it come about?

Well, let’s see.  I think it started with me! I think I emailed everybody, if memory serves,  but that was a long time ago.  It would have been near the end of 2018 or the beginning of 2019, I think.  I started the conversation, and then we started talking about schedules.  At first, it’s like “hey, do you wanna do it?” and everybody was like, “yeah, we’d like to, but …”  We had to find the right time when everybody had time for it, which wound up being the end of September 2019 in Sweden.

I remember starting to write some demos for Transatlantic in March, I think, of 2019.  And I think we went round and round about where to record and when to record for many months, till finally it was like, “OK, if we’re gonna do this, it needs to be in this window of time.”  And so, we all convened in Sweden and worked on it for about two weeks – wrote and recorded what I would call the template.  Not the keeper track, but the template for what became the long version of the album, Forevermore. 

We left there in early October, and then Mike came here into Nashville to do his keeper drums.  He would have done them in Sweden, but we ran out of time.  In fact, we were still changing the album and writing it right up on the last day, when we had to go to the airport.  And everything kind of fell into place right at the end; it was pretty amazing.

Anyway, Mike came here, did his drums in November.  Then I did my parts in December and January, and then I left to go to Australia to play some shows and take a vacation in New Zealand.  And that’s where I got away from the album, and I started working on my solo album Sola Gratia.

And then I listened to the Transatlantic album again in March, I think it was.  And I kinda had the feeling like – and this is really unusual for me, cause a lot of times I want to make things longer!  But I felt like maybe this album would benefit from some editing!   So, I started editing some things out.  I thought maybe some of the guys might like it as well, because when we were writing it in Sweden, several of the guys were wanting it to be a single disc, and they really didn’t want it to be a double.

Anyway, I sent off this edit with, I think, the subject line that read, “Am I Crazy?”  I thought they might just dismiss the whole concept right away.  But not everybody did.  Some of them were like, “maybe this is a good way to go.”  So then, we went round and round about that for a couple of months, trying to decide what was the best thing to do.

We were still trying to figure that out when Mike had the idea of releasing both!  And then once we agreed to release both, then the idea was to make the versions as different as possible.

Continue reading “Neal Morse on Transatlantic’s The Absolute Universe: The Progarchy Interview”

Jakko M Jakszyk: The Progarchy Interview

When Jakko Jakszyk was 13 years old, he saw King Crimson play at Watford Town Hall — and it changed his life. Embarking on a globetrotting career that’s crossed paths with, among others, Level 42, The Kinks (he replaced Dave Davies for a week) and Steve Hackett, Jakszyk eventually found himself singing and playing guitar with founding members of Crimson in The 21st Century Schizoid Band. Which led in turn to The Scarcity of Miracles, a “King Crimson ProjeKct” with guitarist Robert Fripp and sax master Mel Collins — culminating in an invitation to join the current, career-spanning version of the band in 2013.

Since then, Jakszyk has been the voice of King Crimson in concert, tackling epics originally brought to life by Greg Lake, Boz Burrell, John Wetton and Adrian Belew with remarkable aplomb. And, if that wasn’t intimidating enough, simultaneously playing some of Fripp and Belew’s most challenging guitar parts. Oh, and co-writing knotty new Crimson pieces like “Suitable Grounds for the Blues,” “Meltdown” and “The Errors.” As a result, his undeniable melodic gifts, assured lyricism and instinct for the musical gut punch now have a bigger stage to play on than ever before.

All of this has beautifully set up Jakzsyk’s new solo album, Secrets and Lies. Released by Inside Out/Sony on October 23, it melds the yearning melancholy of 2007’s The Bruised Romantic Glee Club with the ferocious attack of present-day Crimson; fellow members Fripp, Collins, bass/Stick maestro Tony Levin and master drummer Gavin Harrison contribute along with Mark King (Level 42), Peter Hammill (Van Der Graaf Generator), John Giblin (Simple Minds, Brand X) and even Jakszyk’s daughter. It’s a poised, exhilarating album, a thoroughly compelling showcase for the man’s hard-won talents and thoughtful, well-honed viewpoint.

Having heard Jakko Jakszyk in concert three times with King Crimson (including the best rock concert I’ve ever attended), it was an undeniable thrill to speak with him about Secrets and Lies, his progress in the court of the Crimson King and more!

How the solo album took shape:

“I’d met Thomas Waber of Inside Out – I think it was at the launch of the album that Steve Hackett put out that I sang on [Genesis Revisited II; Jakszyk sings “Entangled”].  And then I kept bumping into him ’cause I did a number of gigs with Steve, and then there were some other events.  And whenever I saw him he said, ‘Look, if ever you decide to do a solo record, we’d be really interested in working with you.’   I wasn’t sure it was a good idea; it had been such a long time since I made another one.  So, it was partly down to him and his installing confidence into me, really.

“And then I made the decision – for the past seven years we’ve toured in biannual chunks; we do two months here and two months there throughout the year with Crimson.  There’s lots of stuff: rehearsals and getting stuff together, so it becomes a full-time job.  And then, this year was only one chunk of touring, in the middle of the year.  So I thought, ‘This is probably a good time to do it.’

“And I’d already written some songs.  I’ve written a load of stuff [for] Crimson, some that has been accepted as part of the repertoire.  But there was a handful of others that I’d written that when I took to Robert [Fripp] – we started to have this in-joke where I’d play him some stuff and he’d say [assumes a West Country accent as he quotes Fripp] ‘I love this!  It’s marvelous!!  Ideal track for your next solo record!!!’  Which is not too subtle code for, ‘We’re not playing this, mate!’  So, I had a basis of an album there, material-wise. So I started recording it, I think, last summer, as in 2019, in between the Crimson tours.  And writing lyrics and doing stuff while I was away.  And I started on it in real earnest in the autumn – almost about a year ago.”

Secrets and Lies’ takes on obsession and betrayal:

“The opening track, which is called ‘Before I Met You,’ is based on a book by Julian Barnes [Before She Met Me]. And in that book, it tells the tale of a middle-aged man, I think he’s a college lecturer.  And he meets this woman who’s a fair bit younger than him, and he leaves his wife and family for her.  But he starts to get really obsessed with her and starts to fetishize objects that she might have had earlier that morning – a pen that she was writing with, or a cup or something. 

“And he starts doing this very weird thing where – when she first left school, she became an actress, and she made a handful of mediocre movies.  And although that was way in her past, he becomes so obsessed with her that he finds them.  He finds little cinemas around London which are showing these old films.  And he sits in the dark watching these, getting really wound up – because there’s his new love filming these love scenes.  Which of course are not real, anyway; and anyway, they were before he even knew she existed!  So, it’s a tale of a guy being so obsessed with someone that he ends up destroying the very thing that he loves.

“In terms of betrayal, there’s a song called ‘It Would All Make Sense.’  And it’s autobiographical, a song that happened to me, but something that happened to me a long time ago.  So, totally with the benefit of hindsight and distance, you can write about it!

“But I guess it’s something that’s – unfortunately, many of us have been through.  Which is the suspicion and the clues that someone you’re living with is having an affair.  And the clues get more and more blatant, and more and more real, but you’re less likely to believe them, ‘cause you don’t want to.  And you confront them and they deny it, and then you’re placated by that, because you don’t wanna believe it.  And then other people say, ‘No, no, this is really happening.’  So hence the chorus of that tune.  ‘It would all make sense; all of that makes sense much more than the stuff you’re telling me.'”

Songs on “the shifting grounds of contemporary politics:”

“[‘Uncertain Times’] was, again, was something that happened to me.  The Brexit debate in England became incredibly divisive, and it split up families and friends.  You get to a point where problems, be they political or personal, are invariably nuanced and complicated.  And the trouble is that you reduce an issue to black and white like this, right or wrong.  And it becomes a divisive concept, I think.

“On the day of the results, when it was announced that the Leave campaign had won, there was a place in Hammersmith in West London called the Polish Center, where I used to take my adoptive father when he was in his 80s.  And it was a place that I have a great nostalgia for, ‘cause it’s a cultural center, and it’s got a café and a restaurant.  And the night of the result it was covered in racist graffiti, which was discovered in the morning.  This is a place that had been there for 56 years, partly in tribute to the contribution of the Poles during the Second World War.

“So, it was pretty upsetting, and I uncharacteristically posted something about it on Facebook.  And everybody was very nice and very sympathetic, but after a while it started to get shared.  And then people that weren’t my ‘friends’ in inverted commas started to read it, and for a couple of weeks I got really abusive emails, all along much the same lines.  Which were ‘We won.  You lost.  Why don’t you eff off home?’ 

“Well, I’m the son of an Irish woman, born in London, so I’m not sure where they want me to go; but it seemed that I was getting abused because of the incorrect letters in my surname!  And of course, it’s divisive, simplistic populist politics [which is] popping up all over the world, not least in Britain and America of course. And you have leaders that are just pumping out half-truths, untruths, downright lies.  And appealing to this kind of populist notion of very simplistic answers to complicated questions.  So, the song’s kind of about that.

“The other political song on the record is the thing that I wrote with Peter Hammill [‘Fool’s Mandate’].  And Pete Hammill actually was also partly responsible for me making a solo record.  ‘Cause I kept bumping into him, and he kept saying, ‘Have you made your solo record yet?’ And I said, ‘No.’  ‘Well, have you even started?’ ‘Well, no, not really.’ ‘Look, you ought to; this is your moment!  You must do it!’  So in the end, the last time he said it to me, I said, ‘Listen, Peter, I will make a solo album on condition you contribute; you’re on it.’  And he said, ‘Of course!’

“So, I sent him this track.  He said, ‘Have you got any unfinished tracks?’  And I had a series of instrumental things that I was using as a kind of base to play guitar over on these videos that I do for PRS Guitars or some of the events that I play at.  ‘Cause when I’d seen other guitar players do it, they were either kind of  straight ahead rock things or fusion things.  So I always tried to do something a little different.

“So, I had a collection of different ethnic-based pieces; this is based on traditional Middle Eastern music.  And I sent that to Peter, and he sent back multi-tracked voices, bits of guitar, and a lyric that was kind of ambiguous.  It could have meant anything, I guess.  And it was about an individual, and what he might regret and what he might not regret.

“So, the combination of the stylistic nature of the music and that kind of vague lyric – I ended up writing it about an English politician called [Arthur James] Balfour, who at the turn of the last century was desperate to get the Arab nations onside, ‘cause the English were trying to defeat the Ottoman Empire.  But at the same time, he was a Zionist, so he was negotiating behind their backs! 

“And I was kind of intrigued by the number of unpleasant political and violent hotspots in the world, and how if you trace their origins, invariably there’s an Englishman [chuckles] at the bottom of it!  So I ended up writing about that.”

Exploring “the tangled threads of family history:”

“You know, my background story is an ongoing thing, and I’ve discovered a lot more.  in fact, exactly in the past twelve months, there’s been an extraordinary amount of discovery.  I think it’s part of the reason I called the albums Secrets and Lies, because I discovered a lot more of both of those things.

“Actually on the album, there’s a thing called ‘The Borders We Traded,’ which is about my mother and myself, and how my mother abandoned me and went to another country – hence utilizing the geographical location as an additional metaphor for that separation. 

“And I talk about two places really in that; one is where she ended up.  My mother was quite a famous singer in Ireland in the ‘50s, and she came to England for her career.  But she ended up getting married to an American serviceman; and I’m sure she had an idea about what America was like from many of the movies she must have seen at the time.  But she ended up in a place called Bearden, Arkansas.  And no disrespect to that location, but I’m not sure that’s what she was expecting.

“And so, I remember standing in Bearden, Arksansas when I first went there, to meet her for the very first time.  And it was a very weird experience, where you’re standing in this place.  And it’s quite a culture shock for someone that grew up just outside London, and had a reasonably cultured upbringing, and went to the theatre and worked in the arts.  So, there was that really weird moment of thinking, ‘If she hadn’t had me adopted, I’d have been brought up here.’  And how much of who I am is innately who I am, and how much of it is subject to location.  It’s that whole nurture/nature thing, I guess.

“So that song really was about that.  And then there’s an instrumental that my daughter wrote, which I’ve kind of stuck them together, just because it felt like she kind of wrote it out of nowhere.  And it’s this kind of connection to Ireland; it’s this very Celtic, Irish piece that she’s somehow channeling out of some kind of DNA or something, I don’t know!”

[The tale of Jakko M Jakszyk’s long and winding road to King Crimson follows the jump!]

Continue reading “Jakko M Jakszyk: The Progarchy Interview”

The Big Prog (Plus) Preview for Fall 2020!

As always seems to be the case, there’s tons of great music coming out between now and Black Friday, November 27. Below, the merest sampling of upcoming releases in prog and other genres below, with purchase links to Progarchy’s favorite online store Burning Shed unless otherwise noted.

Out now:

Simon Collins, Becoming Human: after 3 solo albums and Sound of Contact’s acclaimed Dimensionaut, Phil Collins’ oldest son returns on vocals. keys and drums; his new effort encompasses rock, pop, prog, electronica and industrial genres. Plus an existential inquiry into the meaning of life! Available on CD from Frontiers Records.

John Petrucci, Terminal Velocity: the Dream Theater guitarist reunites with Mike Portnoy on drums for his second solo set of instrumentals. Plus Dave LaRue of the Dixie Dregs and Flying Colors on bass. Expect lotsa notes! Available on CD or 2 LP from Sound Mind Records/The Orchard.

The Pineapple Thief, Versions of the Truth: Hot on the heels of their first US tour, Bruce Soord and Gavin Harrison helm TPT’s latest collection of brooding, stylized alt/art rock, honing in on the post-truth society’s impact on people and relationships. Available on CD, BluRay (with bonus track plus alternate, hi-res and surround mixes), LP or boxset (2 CDs/DVD/BluRay) – plus there’s a t-shirt!

Rikard Sjöblom’s Gungfly, Alone Together: Sjöblom spearheads a thoroughly groovy collection on vocals, guitar and organ, with Petter and Rasmus Diamant jumping in on drums and bass. Heartfelt portraits of daily life and love that yield extended, organic instrumental jams and exude optimism in the midst of ongoing isolation. Available on CD and LP (black or deep blood red vinyl).

[Upcoming releases follow the jump …]

Continue reading “The Big Prog (Plus) Preview for Fall 2020!”

The Progarchy Interview: Tim Bowness, Part Two

In Part One of this interview, we dug deep with Tim Bowness about his latest album, Late Night Laments, released by Inside Out on August 28.  Our concluding segment has more about the new album, but also catches up on Tim’s other recent projects, as well as an update on Progarchy’s favorite online music shop, Burning Shed.  As with Part One, a transcription follows the jump.

Continue reading “The Progarchy Interview: Tim Bowness, Part Two”