Category: progressive rock

Unleash the Archers at the absolute Apex of today’s metal @UnleashArchers @BrittneyPotPie

On By Time LordIn progressive rock3 Comments

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Apex is the unbelievably impressive new album from Unleash the Archers. It starts triumphantly with an epic seven-minute-plus track, “Awakening,” a heroic kick-in-the-doors and burn-down-the-house entrance that lets you know in no uncertain terms that there’ll be no nonsense on this disc, only a whole lot of awesome. It sets the right tone from the get-go, with awesome riffing over galloping verses and righteously headbanging choruses.

The second track, “Shadow Guide,” has a brisk old-school metal feel to it, as vocalist Brittney Slayes again takes no prisoners. And then the third track, “The Matriarch,” continues with the unusually high standard of metal excellence established by the two opening tracks. At this point, you wonder how long this album can keep up such a high level of rip-roaring metal.

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With “Cleanse the Bloodlines,” things are still pretty excellent, but the dopey video previously released for the track has tainted the tune for me. Also, it has a creepily fascist track title. Yet it is undeniable that Brittney is positively thrilling with her vocals beginning right at the three-minute mark and with the excellent tension woven by the guitar riffage. Oh well, it’s a concept album, with a character speaking, not a statement from the band, so resistance is futile.

The next five tracks are all superb: “The Cowards’ Way” chugs along thanks to some magnificently mighty bass propulsion power. “False Walls” kills it with blistering riffs knitting together a more laid-back approach, as head-banging choruses alternate with head-nodding verses. We are treated to a most satisfying guitar solo that slips in coolly after about six minutes of preparation. “Ten Thousand Against One” pummels you with bad-cop kick-drumming and death growls, and good-cop ethereal vocals. “Earth and Ashes” mercifully lets you catch your breath for a minute as acoustic guitars do some dueling with the bass guitar, but just when you’ve been faked out, the track gets the album to rip back into you again with relentless fury. Later on, a surprise vocal duet suddenly steers us into a really sweet guitar solo break that circles the earth for a while and then blasts off into hyperspace. Whew! Next up, “Call Me Immortal” does right by any listener who seeks metal excellence. This is such a great track, I can’t believe they saved it and placed it in penultimate position on the album. How cool is that. It just might be my favorite song, next to the album opener and closer. Excellence is always immortal, and here it is too in spades.

When the album concludes with the amazingly sprawling and superbly-paced guitar-feast “Apex” (track 10), there is no escaping the conclusion that this is the very best effort to date from Unleash the Archers. They have established themselves as a truly standout metal act. Brittney slays the competition and her band mates have honed their musical skills to an apex of metal perfection. Permit me to give the apposite last word to Brittney and the band by quoting their truly thrilling grand finale of a last track: “Follow me… to Apex!”

Progarchist rating: ★★★★★ 10/10 A+

Unleash the Archers, Apex

Synopsis: Schooltree “Heterotopia” Act II, Part 2 @schooltree

On By Time LordIn progressive rock3 Comments

In my review of Schooltree‘s masterpiece Heterotopia, I noted that the album moves in three phases: first, an incredible Act I that (like the whole album) never flags in excellence; then, the beginning of Act II which has four outstandingly classic songs that are all the more astonishing simply for being buried in the middle of this amazing prog opera and yet take it to a whole other level of musical accomplishment; finally, there is the remainder of Act II which (more than any other of the tracks on the album) offers a theatrical dramatization that is absolutely spellbinding in the manner of the best Broadway musicals.

As promised, here is the concluding synopsis of the album’s storyline as it concludes in the latter half of Act II:

Suzi passes before a mirror in which her zombie body confronts and warns her not to go near the river, from which no one ever comes out alive. Go there and you’ll destroy us both, she says. (You & I)

Suzi is derailed by this exchange and begins to lose herself and forget where she is going. It feels like she’s been on this road forever – or maybe just one really long day. Under a lamppost she sees a flash of light – it’s the centipede cat, which she now barely recognizes, as if from another life, and follows once again. It leads her to the river. (Into Tomorrow)

At the edge of the river its siren song calls to her, offering solace, peace at last; all she needs to do is leap into it. Suzi knows she must jump in with her resolve intact or be swallowed by the abyss. She falls in and sinks. At the bottom of the river, she begins to dissolve, but at the last moment remembers what that she has learned in Otherspace and uses it to move through the meaninglessness “like a ghost through a wall.” (The River, Bottom of the River)

Beyond the “wall,” Suzi finds and awakens Enantiodromia, and asks her to take her fair hand and make her whole again. But awakened Enantiodromia is changed from her former self; looking around at the darkness arisen during her slumber, she is the black-handed reaper now, bringing balance to the land once more, now by using her black hand to annihilate that which does not belong in this world, and attempts to begin with Suzi. Suzi pleads with her to stop, explaining she is only half of what she’s supposed to be, telling Enantiodromia of her quest though endless night outside of time to wake her. “I am not a shadow, just a girl; an exiled soul in the wrong world.” Enantiodromia tells her that she’s been in this world too long and is no longer just a girl; she cannot return her home. But as repayment for awakening Enantiodromia, she allows Suzi the chance to go back to take control of her zombie body, and return as one to her, at which point she’ll take them both together to the next place. (Enantiodromia Awakens)

Suzi returns to the mirror and faces her self, finally understanding the power of the ghost, making a connection between worlds and operating her zombie body like a puppet, using her will to control it. They merge, not quite whole but moving together, and slowly march toward Enantiodromia the Reaper. As Suzi gets ever closer, she becomes sick with disease as her body fails. But she marches forward nonetheless, facing the end, she is ready to become whole, if only to die in doing so. Enantiodromia takes her hand. Suzi’s body is destroyed and she dies in a triumphant blaze of glory. (Zombie Connection, Keep Your Head, Day of the Rogue)

Having achieved mastery in both worlds, Suzi is able to use her mind to grow her body from her head like a seed in the air downward to the ground. NeoSuzi glimpses what utopia could be for the first time, as something that can never be possessed, but experienced. (Utopia)

Kscope Podcast 86: Steven Wilson Featured

On By bradbirzerIn progressive rockLeave a comment

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The mighty Billy Reeves talks with the equally mighty Steven Wilson on the new Kscope podcast.  Enjoy.  Lots of great music as well.

       Kscope Podcast Eighty Six – Top 10 Steven Wilson Songs   

Anneke van Giersbergen is *en fuego*: Vuur @vuur_band @AnnekeAnnique

On By Time LordIn progressive rockLeave a comment

Here comes Anneke to blow us all away with her new band VUUR and their wonderfully heavy progressive metal. Nice! You’re doing it right, Anneke.

Two tracks from Steven Wilson’s forthcoming “To the Bone”

On By Time LordIn progressive rockLeave a comment

The tracks from the new Steven Wilson album are sounding good: “The Same Asylum As Before” and “Pariah.” Can’t wait until August 18th to hear the new album. And I’d love to see him in concert again too. He’s one of today’s best artists. We’re so lucky to have him. The new tracks are such brilliant and moving music.

Rick’s Retroarchy: Works Volume 1 by Emerson, Lake and Palmer

On By kruekuttIn progressive rock4 Comments

by Rick Krueger

“The word ‘bombastic’ keeps coming up as if it were some trap I keep falling into … when I’m bombastic, I have my reasons. I want to be bombastic.  Take it or leave it.” – Dave Brubeck

What were they thinking?

You’re Emerson, Lake & Palmer, coming off a three-year layoff  — though admittedly, you were at the top of the charts and your game when you downed tools.  To regain your fan base and add to your audience, would you come back with a double album that had one side of material by each band member (with guest players and full orchestras) and only one side of ELP playing together?  And then, would you take a 59-piece orchestra and 6-voice choir on the road with you?  To most people, that would sound like a recipe for disaster.

Continue reading “Rick’s Retroarchy: Works Volume 1 by Emerson, Lake and Palmer” →

Thank you, Racket Records

On By bradbirzerIn progressive rock2 Comments
Photo on 5-30-17 at 1.27 PM
Happy Birzer.

As with most proggers, I love what I love to be overthetop.  And, I especially love overthetop excellence.  As such, I must offer a huge thanks to Simon of Marillion’s Racket Records.

Excellence, to be sure.

A few weeks ago, I ordered copies of FUGAZI, SEASON’S END, and HOLIDAYS IN EDEN from Racket Records.  While Racket mailed them immediately, the package arrived in Michigan without any CDs!  That’s right.  The package was totally empty.  Someone had removed the CDs.

Some lucky (and not so honest) Marillion postal worker out there?

When I contacted sales and help at Racket Records, Simon not only responded with a much needed laugh, but he sent me three new replacements.  They arrived this afternoon in perfect condition, making an already gorgeous spring day even better.

I imagine that Racket is tucked away somewhere in the northeastern part of the Shire, and I, living in Gondor, have just received a King’s Ransom of the Old Toby.

Thank you, Simon!

Yours, Brad

 

Interview with Australian Proggers ANUBIS

On By NickIn progressive rock1 Comment

Anubis

In 2014, Sydney’s cinematic prog rock sextet Anubis released “Hitchhiking To Byzantium,” an album that was very well received and which was listed as one of the best Prog releases of the year. Following its release, the group embarked on tours around Australia and Europe promoting the album live as much as possible, and expanding their fanbase along the way. As a result of that Anubis released a live album titled “Behind our Eyes.” Now, almost three years later, the Australians return with their fourth full-length record “The Second Hand,” their best yet.

Singer, guitarist and producer Dean Bennison spoke for Progarchy about Anubis in 2017, the new album, and future.

Alright, first thing is first. Before we dive into all the music stuff, how’s life?

Life is good. Very good. We have a new album that’s just come out. It’s nice to have finished all that hard work and see it go out into the world.

Speaking of new music, you have an album. What can people expect from “The Second Hand”?

Well for starters, it’s a return to a narrative driven concept album. There were some people who expressed a bit of disappointment that our last album “Hitchhiking to Byzantium” didn’t have the narrative style of our previous albums, so I think those people will be happy to see we’ve returned to that format. It wasn’t a conscious decision though, it’s just that the themes that we wanted to explore were best served by going back to that format.

Musically though, I think this is probably the most diverse album we’ve made. We’ve used a broader range of sounds, and created a more dynamic album this time. I think people who liked our previous work will still find it recognizably us, but we’ve branched out quite a bit, so it’s still Anubis, but not quite as you’ve heard us before.

Anubis - The Second Hand

What was it like working on the album?

I sent a message to the other guys in the band shortly before the album was released, and told them that this was the most enjoyable album for me to make since our first album, “230503”.

We really worked well as a unit this time around, and it couldn’t have been a better experience making a record.

Are there any touring plans in support to “The Second Hand”?

Yes, but it’s early days in the planning. We’re going to do a few shows here at home in Australia this year, and the plan at this stage is to return to Europe in 2018.

While we are on the subject of touring, what countries would you love to tour?

After playing in Europe (Germany, Netherlands & UK) last year, we really can’t wait to get back there. We’d love to see more of Europe next time. We know there are quite a few fans in France & Belgium who keep telling us they want us to play there, so they would certainly be high on our list.

Who and what inspires you the most?

For me personally, first and foremost would be my wife and family.

I’m very lucky to have a loving and supportive family. Watching our young children as they grow is an endless source of inspiration. Not to mention the fact that my wife is also an amazing singer and songwriter, she is always inspiring.

Of course, the next source of inspiration for me would have to be the other members of Anubis. It’s a real privilege to play with such amazing musicians, who all happen to be great friends as well.

What other genres of music do you listen to? Have any of the other genres you listen to had any impact on your playing?

I’m a big fan of well crafted pop-rock. I’ve always been a big Beatles fan, and I’m a fan of anything Neil Finn has ever been a part of. In fact, I’ve always felt that prog music is at it’s best when it uses some of the more Beatle-esque, pop-melodic style elements as a way of drawing the listener in to the more atmospheric and complex elements of prog.

I’m not a fan of complexity for the sake of complexity. I think that music has to be accessible.

I really appreciate you giving us your time today. Is there anything else you would like to tell us and the fans before we wrap things up?

Well thank you as well.

I’d really like to thank everyone who has taken the time to listen to our music, and especially to everyone who has already bought the new album. We’ve been so overwhelmed with the response. We feel very lucky to be able to do what we do.

“The Second Hand” is out now and is available in digital format and CD from Bandcamp. Visit Anubis‘ official website for more news, and follow them on Facebook and Twitter.

The #MDW foreign policy mixtape: #MemorialDay

On By Time LordIn progressive rockLeave a comment

Here’s a great #MDW reflection by Stephen Kinder on his foreign policy mixtape:

U2 is named after an American spy plane that was at the center of a major Cold War confrontation. That means it belongs on my life list.

I follow bands whose names evoke the history of American foreign policy. This hobby gives me a window into modern music, assuring that my tastes don’t stagnate. When I attend a concert by one of these bands, I rarely know whether I’m going to hear reggae, folk-rock, or something frightfully new. It doesn’t matter. Staring at my ticket, I reflect on the band’s name and what it means. After the concert, I add that band to my life list.

America’s 120-year adventure in the wider world is a fascinating narrative, but few Americans know it. Reminders of our past conflicts crop up in odd places. Bands that name themselves after historic events keep those events in our consciousness. They summon us to reflect in ways that mass media rarely does. It is a wonderful example — intentional or not — of pop culture evolving to fill a political void.

Read the article for historical reflections on The Maine, The Boxer Rebellion, Berlin Airlift, U2, Cold War Kids, La Sandinista, The B-52s, Napalm Death, Agent Orange, Desaparecidos, War on Drugs, and Someone Still Loves You Boris Yeltsin.

Keep the memory alive…

Fire Garden’s Latest Video: A NEW DAY

On By bradbirzerIn progressive rockLeave a comment

Enjoy!  Excellent music, and great to see these guys perform.