After their departure from King Crimson following the conclusion of the band’s first North American tour in 1969, multi-instrumentalist whiz Ian McDonald and drummer extraordinaire Michael Giles briefly formed their own band, appropriately named McDonald and Giles. Their eponymous debut album, released in 1971, is a gem I recently discovered while searching for some live King Crimson videos on the web. The lesser known half of the four man monster that was King Crimson’s original lineup (the other two being Greg Lake and, of course, Robert Fripp), McDonald and Giles proved that they were no slouches themselves when it came to musical talent. Giles, of course, had already established himself as one of the finest drummers of his day for his frenetic yet polished performance on 21st Century Schizoid Man. McDonald was and still is a man of many talents: his instruments of choice include saxophone, flute, keyboards, guitar, bass, and percussion, among others. Oh, and both gentleman can also sing. As a matter of fact, Giles sang lead vocals for King Crimson’s precursor, Giles, Giles, and Fripp. The two play all the instruments on the album except for bass guitar, which is played by Michael’s younger brother Peter. Now onto the album itself.

McDonald and Giles’ first and only album sounds more like a Giles, Giles, and Fripp album than a King Crimson album. Although jazz influences certainly do permeate the music, McDonald and Giles opted for more optimistic and cheerful songs than the ones found on In the Court of the Crimson King. Here are brief descriptions of each song:

Suite C– a lengthy (over 11 minutes) and progressive opener with a jazzy vibe; Steve Winwood (of Traffic fame) guests on piano

Flight of the Ibis– a dreamy love song that sounds like it could have been on one of Pink Floyd’s earliest albums; also sounds like the gentle King Crimson ballad Cadence and Cascade

Is She Waiting?– a brief, gentle acoustic peace

Tomorrow’s People-The Children of Today– solid vocal performance from Giles, and even better drumming; catchy saxophone, too; best song on the album

Birdman– longest piece (over 22 minutes); eerie a capella opening; softer song with solid drum and percussion work

Unfortunately, but not surprisingly, the album did not sell particularly well, although it has gained popularity over the years as more King Crimson fans discover it.  McDonald and Giles split up after the album’s release, and each man went their separate ways. Michael Giles would stay out of the limelight for the most part, but he would co-found the 21st Century Schizoid Band in 2002. He has not performed live since 2009, however. Ian McDonald, on the other hand, went on to co-found one of the most popular bands of the 70s and 80s: Foreigner. He left the band in 1979, but has continued to appear as a session musician on a variety of albums.

If you enjoy the sound of King Crimson, but perhaps prefer more cheerful lyrics, then this is an album worth listening to. And if you are not so inclined to listen to King Crimson, this album is still worth a listen. The drumming of Giles is excellent as usual, and McDonald does a fine job on every instrument he plays. Featuring an array of styles from jazzy drum and sax interludes to soft, sweeping acoustic guitar, this album could appeal to many if they gave it a chance. It is a hidden gem waiting to be rediscovered.

This classic prog metal extravaganza was released fifteen years ago…

Spiral Architect: “A Sceptic’s Universe” (2000)

Spinning -0:00

Excessit -3:25

Moving Spirit / Occam’s Razor -9:39

Insect -14:58

Cloud Constructor
………….x- Cloud Of Unknowing -20:54
………….y- Being And Nothingness -24:05
………….z- Shuffled -25:04

Conjuring Collapse -26:21

Adaptability -32:55

Fountainhead -37:30

Tracks: Seconds; Can’t Stop the Clock; Everything Can Change; Pages; Genius; In the Warmth of the Evening; Something Worth Dying For; Someone Else’s Fault; Minutes

Geddy Lee I. Rating: 10/10

Right out of the gate this album starts with the ticking of a clock, though I can’t help thinking I’m listening to a metronome, in a song aptly called “Seconds”. That then transitions into a bit of synth that paves the way for the Prog to follow. And boy does it follow. In less than two minutes we’re in track two “Can’t Stop the Clock” and it’s not waiting around. At times it’s playful, heavy, got some wonderful guitar runs, and boy does it have a chorus that you can’t help but want to sing along with the moment you hear it. Lyrically, Hasse sounds like he’s in a good place with lines like: “… still think music is rather uplifting – Back on the road again it’s more fun than it’s ever been.”

“Everything Can Change” switches things up a bit and is kind of all over the place with a beautiful guitar solo that’s immediately followed up by a piano diddy. Again I love the chorus here and can really feel it “…moving through my system.”

At nearly fifteen and a half minutes “Pages” is a lot of what you’d hope for in a Prog “epic”. Strong and seemingly watery bass tones, pleasantly surprising horn work, great rhythmic passages, strong keyboard sounds that really set the tone of the song at times, and naturally more stunning guitar work. All of these things serve to take the musical theme of the song and prod it, exploring different parts of itself as it runs it’s musical course. Not to mention there’s a lot of great vocal work including harmonies, and it’s really great to hear the other voices of the Musical Companion chiming in. And of course the the song title “Pages” is a metaphor that lends itself to the idea that life is a book waiting to be read. Keep turning pages. That’s about as Prog-friendly as you can get. There’s also a section in here that reminds me strikingly of the opening to Rush’s Xanadu. Whether that’s intended or not, being a Geddy I couldn’t help but enjoy it.

“Genius” is an emotional ballad with some slide guitar (I think) that really tugs at the heart strings. It’s beautiful through and through and based on a real person, someone who died of disease whose work really touched Hasse, though I’m still trying to puzzle out who that might be.

“In the Warmth of the Evening” begins continuing the ballad theme but quickly ditches it to go frolicking through a multitude of musical ideas. I love hearing more of the slide guitar as well as the acoustic guitar that is riddled throughout. During the second half of this song we see a unique keyboard solo that borders on spacey followed up by a wonderfully solid groove. It’s at this point in the album that I realize that something HFMC (the band, not specifically this album) capture very well are the splendid moments where they’re just grooving along and it’s so much fun you start to think that here’s a bit of Prog you might actually be able to dance to. But who likes dancing anyway. 😉

“Something Worth Dying For” puts the rock in Prog at it’s finest. The chorus has some chugging guitar and we get some really tasteful shredding.

“Someone Else’s Fault” offers more Prog fun and to be had. The intro reminds me of how a Transatlantic song might kick off, and seeing as Roine Stolt is my favourite guitar player, I couldn’t really offer a higher compliment as I could totally see him playing here.

If the opening track “Seconds” was short clocking just under two minutes, then “Minutes”, the closing track, is even shorter at just barely more than a minute. We close the same way we opened with seconds ticking but without the keys this time. I thought it was funny/clever to have the first and last tracks named “Seconds” and “Minutes”, a reminder that the clock on the cover and one of the key underlying themes of the overall album being time, are just as relevant at the end as it was in the beginning.

Speaking of the cover, the artwork for this album is fantastic. From the wonderful colours, to the brilliant HFMC logo, to the photos of the band members used in the booklet, it is a work of art unto itself that strongly supports the music waiting inside.

As usual Hasse provides thought provoking, imagery filled lyrics and soaring vocals that serve only to push his music further and higher. However, he went out of his way to make sure that he wasn’t the only voice to be heard on this record, no matter how powerful it is, and this album is filled with something the prior two didn’t have much of, and that’s vocal harmonies and lovely ones at that. Hasse and the boys have really outdone themselves creating a body of music that has all of my favourite elements of Prog: beautiful and memorable melodies, virtuosity applied appropriately and with restraint, that seemingly randomness that leaves me initially wondering what’s happening but quickly sucks me in and only makes each additional listen even better. HFMC is another great step for the Musical Companion, and if we find ourselves thinking that the Prog scene is particularly lively and strong right now, it is in part because an album like this surfaced during it.

Holy smokes, this is one of the best albums I have heard all year!

Check out Inmateria’s eponymous 2015 album. It’s available in full on SoundCloud and YouTube… and it’s mind-blowing!

These accomplished musicians hail from Santiago, Chile:
Solange Sosa – Vocals
Daniel Frommer – Drums
Gabriel Varela – Keyboards
Luis Jaraquemada – Bass
Matías Armstrong – Guitars

I wish my language skills were much better so that I could know more of what she’s singing about so gloriously, but in any event Solange Sosa delivers a very impressive vocal performance.

The whole band is a prog dream come true. I love everything about this album: the unique yet classic style, the intricate arrangements, the impeccable musicianship, the epic flow of a remarkable prog concept album, and the fascinating melodies.

There’s lots of instrumental virtuosity layered throughout the tracks, in grand prog style:

1. Preludio (Instrumental) [01:54]
2. Lejos De Aquí [05:19]
3. Anormal [04:48]
4. La Inocencia (Instrumental) [02:48]
5. Fuera De Lugar [04:07]
6. En La Oscuridad [07:16]
7. La Búsqueda (Instrumental) [01:56]
8. Un Paso Atrás [03:57]
9. Flotar [07:01]
10. Epílogo (Instrumental) [02:58]
11. El Problema Del Mal [10:34]

Who knew that such incredible talent was residing down in Chile? Well, now you know!

Spread the word. This superb band deserves to become well-known and distributed world-wide.

I give this album my highest rating — five stars! — and I hope to hear much more from Inmateria in the future.

Great song, with a great video that fits it perfectly.

I love new discoveries like this.

Thanks to Johanna from Gone Beyond Records in Stockholm, Sweden, for telling Progarchy.

A new EP will drop in June.

The second mini-interview with uber-talent Pete Jones of Tiger Moth Tales is now available on YouTube. In this one, he talks about the instruments he plays. Once again, the interview is tinged with his delightlful sense of humour.

Watch it here.

Introducing CIRCULINE (cinematic progressive rock band from Brighton, NY) Video for “One Wish” taken from the debut album out now What do you get when you take two theatrical lead vocalists, a keyboard player from Juilliard, a musical savant playing guitar, and a drummer with progressive rock in his DNA? The new modern Prog Rock band Circuline. Performing original and classic progressive rock, Circuline was founded in 2014 when former progressive rock tribute band Downing Grey members Andrew Colyer (keyboards, vocals), Bill Shannon (guitars, vocals), and Darin Brannon (drums, percussion) had a burning desire to write original material. Lead vocalists Billy Spillane and Natalie Brown were up for the challenge, having performed in countless venues as singers, actors, dancers, and rock musicians. Circuline‘s debut album called “Return” is set to be released on April 24th, 2015, and will feature guest appearances from Matt Dorsey (Sound of Contact) on bass, Randy McStine (Lo­Fi Resistance) as a songwriter and vocalist, and Joe Deninzon (Stratospheerius) on electric violin. Paul Ranieri (Shadow Eden) is currently the touring bassist with the band. Even though they are a relatively new band, Circuline has already opened for recent RoSfest headliner Elephants of Scotland, and Top 10 CMJ charting power rock trio, Shadow Eden. Besides performing modern Prog Rock original tunes, you will also hear classic progressive rock music from Yes, Genesis, Rush, Sound of Contact, and Pink Floyd. The band will be opening for 20-year, 16-album progressive rock veterans Glass Hammer for three shows in the Northeastern U.S. from April 24th to April 26th, 2015. Circuline is: Andrew Colyer – keyboards, vocals Bill Shannon – lead guitars, vocals Billy Spillane – lead vocals Darin Brannon – drums, percussion Natalie Brown – lead vocals Links: http://CirculineMusic.com/  https://twitter.com/CirculineMusic  https://www.facebook.com/CirculineMusic