Category: Progressive rock

Kate Bush: Before the Dawn (on Nov 25)

On By Time LordIn Progressive rockLeave a comment

Kate Bush announces:

On November 25 the live album “Before The Dawn” will be released on CD (3 CDs) and vinyl (4 vinyl) and digital download.  The conceptual heart of the show is reflected in the CD format, which is split over 3 discs centred around the two integral pieces – ‘The Ninth Wave’ and ‘A Sky Of Honey’.

CD1 ends with the pivotal track ‘King Of The Mountain’ which bridges into ‘The Ninth Wave’ suite of songs on CD2.

The album was produced by Kate Bush. Nothing on the record was re-recorded or overdubbed.

Threeviews

On By James R TurnerIn Ambient, art rock, avant-garde, electronic, Prog, Progarchy, Progressive rock, progressive rock musicLeave a comment

Afternoon Progarchists, as someone who writes for a variety of different sites I find myself getting sent diverse and eclectic albums to listen to, all of which roughly fall into the margins of the progressive genre, and today I have three radically different releases, all of which have been bouncing round my brain as I ride the mean streets of Bristol on the bus to and from work. Two are freshly minted (one so fresh it’s not even officially released yet – but it’s one hell of a pre-order!) and one EP which has been out for a while, so without further ado, lets introduce today’s picks.

verity

Verity Smith – Parenthesis

http://www.veritysmith.net

I first encountered Verity at the Classic Rock Society Awards back in 2014 where she was performing as part of Clive Nolan’s Alchemy musical, where she played the parts of Jane Muncey and Jessamine and was truck by her vocal prowess and stage presence.

Continue reading “Threeviews” →

The Rising Brilliance of Mike Kershaw – What Lies Beneath

On By Bryan MoreyIn Progressive rock1 Comment

Mike Kershaw – What Lies Beneath (Bad Elephant Music, 2016)

Tracks: Gunning for the Gods (9:30), In Floods the Light (4:20), Dice (4:42), The City Revealed (6:53), Two Eyes (4:20), Wounds (4:45), Another Disguise (5:23), The City of My Dreams (7:04)

a0097340229_16I’ve been following Mike Kershaw’s work for a few albums now, and I’m truly impressed with how he has grown as an artist over the past few years. His earlier music, while displaying excellent insightful lyrical content, wasn’t the easiest music to get into. It required a lot of effort on the part of the listener, although that effort was rewarded. What Lies Beneath, however, finds Kershaw at his best to date. Fans of Fractal Mirror will find this music remarkably familiar, yet more upbeat than FM’s music. Featuring a diverse, yet progressive sound, Kershaw’s music sounds fresh and unique.

The similarities between Kershaw and Fractal Mirror exist because FM contributed to this album, much as they did on Kershaw’s previous EP, Departure. In addition to providing lead vocals, backing vocals, and playing keyboards, Kershaw collaborated with quite a number of people on this album:

  • Gareth Cole – electric and acoustic guitars, piano
  • Leopold Blue-Sky – bass, pedal steel, keys, drums
  • Leo Koperdraat – guitar, keys, backing vocals
  • Tom Slatter – vocals (track 6), acoustic guitar
  • Frank Urbaniak – drums
  • Rohan Jordan-Shah – drums
  • Joshua Leibowitz – drums
  • Marco Vàsquez – keys
  • Allyson Blue-Sky – backing vocals
  • Stuart Stephens – backing vocals
  • Clare Stephens – backing vocals

These collaborations have brought a breath of fresh air and diversity to Kershaw’s wonderful lyrics. This spark of energy shines clear in every aspect of the music, including Kershaw’s vocals. While I believe he still underestimates his vocal abilities, this album showcases his best vocal work to date. One of the best examples of this is on the upbeat track, “Two Eyes,” one of my favorites from the album. The lyrics to this song find the narrator searching through old family photos trying to figure out where he came from in order to find his purpose in life. The drums, courtesy of Urbaniak, set a wonderful rhythm for the song.

“Wounds” features lead vocals from Tom Slatter, whose voice reminds me of Andy John Bradford. Kershaw’s backing vocals work perfectly here, and the change up adds a nice variety to the music. Kershaw’s keyboard solo in the middle of the song is a great high point, as well, bringing back some of the sounds of his earlier albums.

While often keyboard oriented, What Lies Beneath does have its more rock-oriented elements. Throughout the album, the bass guitar keeps a steady, yet complex, flow. Excellent guitar work appears throughout, with some of the best coming at the end of the album with “Another Disguise” and “The City of My Dreams.” The instrumentation is solid throughout, although these songs are definitely lyric oriented.

“The City of My Dreams” builds wonderfully through both the music and the lyrics, and they meld together perfectly, with Kershaw’s vocals taking the spotlight towards the middle. Kershaw ends the album by contemplating on the passage of time through a city, yet it is so much more than that. The beauty of Kershaw’s lyrics is their depth – the more you listen, the more you get out of the music. Indeed, Kershaw is one of the most thought provoking lyricists of the last few years, and he is someone deserving of attention.

This album marks a wonderful step forward for Kershaw, and any fans of Fractal Mirror (whose recent album was also magnificent) should particularly take notice. Fans of prog in general should also take note, for Kershaw’s lyrics continue to impress. Now, with excellent musical collaborations, these lyrics can be appreciated by a more diverse crowd.

https://mikekershaw.bandcamp.com

http://www.kershmusic.com

Don’t miss James Turner’s interview with Mike Kershaw: https://progarchy.com/2016/08/28/what-lies-beneath-bad-elephant-special-part-2-an-interview-with-mike-kershaw/

PET SOUNDS, 1966-2016: Fifty Years of Prog

On By bradbirzerIn Progressive rock1 Comment
pet-sounds
Arguably, the very first prog album.

Though I’m sure someone could make the case for either REVOLVER or SGT. PEPPER’s being the first prog album, I’ve always turned to PET SOUNDS by the Beach Boys.  I’m sure there’s a bit of the American in me that desires this to be so, so I can’t completely claim to be unbiased.  I know English proggers–understandably–think of Prog as one of their many national gifts to the world, somewhere above the Magna Carta.  And, it is!  Still, it’s conceivable that it came about in California but then was perfected by the English.  Maybe.  Maybe not.

 

As Brian Wilson has noted, he found his own inspiration for the album in RUBBER SOUL by the Beatles.  Is it possible the influence went both directions across the Atlantic?  Most certainly.

Regardless, PET SOUNDS is fifty years old.  And, what an extraordinary achievement it is.  Though one might regard it somewhat probably as a Brian Wilson solo album, it came out under the name of the Beach Boys, and it carries with it many of the trademark Beach Boy sounds and touches.

Continue reading “PET SOUNDS, 1966-2016: Fifty Years of Prog” →

Fire Garden’s second album now available!

On By bradbirzerIn Progressive rockLeave a comment
fire-garden-2
FAR AND NEAR, now available.

For those of us who love everything Zee Baig and Fire Garden, REJOICE!  Album no. 2, FAR AND NEAR, is now available for those of us wise enough to have pledged our undying love, support, and devotion to this amazing band through PLEDGEMUSIC.  Reviews and others cool things to follow. . . .

9 songs, 55 minutes, featuring the work and talents of Zee Baig, Jordan Rudess, Jimmy Keegan, and Bruce Soord.  I get the feeling everyONE wants to hang out with Zee.

pledgegarden

Concert Highlights: Tears for Fears Red Butte Gardens & Idaho Botanical Garden (20 & 22 Sept) — Tears and Kooks International (Tears for Fears Travel Fans)

On By bradbirzerIn Progressive rockLeave a comment

This blog post is dedicated to Molly P.M. who went out in all kinds of weather to be that dedicated fan in Idaho. Many of these are her photos. Thank you Molly! The band played despite the rain. From what we and others saw, the stage got a little wet despite it being covered. We were […]

via Concert Highlights: Tears for Fears Red Butte Gardens & Idaho Botanical Garden (20 & 22 Sept) — Tears and Kooks International (Tears for Fears Travel Fans)

Album Spotlight: Pink Floyd – “A Momentary Lapse of Reason” — The PROG Mind

On By bradbirzerIn Progressive rockLeave a comment

My thoughts on one of the more controversial Floyd albums.

via Album Spotlight: Pink Floyd – “A Momentary Lapse of Reason” — The PROG Mind

Susie Bogdanowicz Live Today: 3PM EST

On By bradbirzerIn Progressive rockLeave a comment

Make sure you check out the live feed this afternoon with the ever amazing, incredibly-talented, and equally kind and personable Susie Bogdanowicz of Glass Hammer, this afternoon at 3pm EST.

The live feed will be available on Glass Hammer’s main Facebook page.  This should be the link (apologies if not!): https://www.facebook.com/glasshammerband/?fref=ts

Anyway, don’t pass up this chance to talk with the best voice in rock.

 

Kansas’ “The Prelude Implicit” is both agreeably familiar and remarkably fresh

On By carleolsonIn Progressive rock2 Comments
The members of Kansas, 2016 (Photo: www.kansasband.com)
The members of Kansas, 2016 (Photo: http://www.kansasband.com)

The title of the new Kansas album—“The Prelude Implicit”—is open to some interpretation, but the intent of the cover art, which features a phoenix, seems clear enough: regeneration and rebirth. The legendary band has long been known for non-stop touring, but the past few years have seen the sort of changes that either mark the end or a new beginning (and that is, I suppose, the likely implicit message of the album’s title). Like many other groups that achieved great commercial success in the 1970s, Kansas has gone through several line-ups, as I cover in some detail in this 2013 review of a John Elefante album.

The members of Kansas, 2016 (Image: www.kansasband.com)
The members of Kansas, 2016 (Image: http://www.kansasband.com)

And there, of course, is the Big Rub, because when bands split and original members leave, fans are often faced with a dilemma: Is Kansas really Kansas without Steve Walsh singing and playing keyboards, or Kerry Livgren playing guitar and keyboards, or Robby Steinhardt on violin and vocals? (Those who like to keep track of such things can find a good chronology here.) Livgren, of course, was key to the band’s distinctive, detailed, and orchestrated sound in the first decade, writing music that was at turns melodic (“Dust in the Wind”), anthemic (“Carry On My Wayward Son”), and esoteric (“Incomudro – Hymn to the Atman”, “Cheyenne Anthem”, etc), with lyrics that were loaded with references to spiritual turmoil, seeking, and wandering. And Walsh, the bad boy of the group, proved to be one of the finest vocalists of the era, with a pure, powerful tenor that was equally muscular and soulful (until the excesses of the oft-cited “rock lifestyle” began to eat away at it). Both facts come through clearly in the excellent documentary “Miracles Out of Nowhere”, which marked the band’s 40th anniversary and, it seems, marked a certain line of demarcation. “In truth,” I wrote in my review of the documentary,

some bands are far more interesting for what they did off the stage than for what they did on the stage. And then there are bands that really are, at the end of the day, all about the music, and it seems quite clear that Kansas is in the latter camp. It is rather striking how ordinary these six musicians appear to be, with only Walsh (who retired last year) giving occasional glimpses into a more prickly, difficult side. Ehart, whose warm humor and casual self-deprecating approach make him the star of the documentary, is keen to praise his bandmates, expressing obvious awe over Walsh’s vocal prowess and Livgren’s songwriting, saying that back in the day he didn’t think of Livgren as a musical genius, but perhaps only because they ate hamburgers together. And even Livgren, who nearly died in 2009 after suffering a stroke, seems genuinely surprised at the astounding run of classic songs he produced in those years, offering up thanks to God in a somewhat “Ah, shucks” sort of way.

Watching “Miracles Out of Nowhere” three times and listening to “The Prelude Implicit” some two dozen times now, I think that while the genius of Livgren and the distinctive abilities of Walsh are essential to the classic Kansas sound (the five first albums especially), we mustn’t overlook the duo that has proven to be the glue for Kansas for so long now: guitarist Richard Williams and drummer (and manager) Phil Ehart. I have long thought that Ehart, in particular, has never received proper recognition for his drumming, which is both virtuosic and musical—just listen, say, to “Song for America” and hear how he carries the entire tune and yet does so without drawing attention to his playing. In a word, his playing is “tasteful”. Ehart is the ultimate team player, and that quality comes through in the new album, on which he co-wrote nine of the 10 cuts. There is a certain Kansas-ish structure to songs—even ballads such as “The Unsung Heroes”—that shines through, and Ehart’s playing is essential to it. Continue reading “Kansas’ “The Prelude Implicit” is both agreeably familiar and remarkably fresh” →

The Future of Riverside

On By Adam SearsIn Progressive rock4 Comments

From the Riverside Facebook page:

Dear Friends,

We’d like to thank you again for your friendship and support throughout this most tragic time for us and we’d like to officially announce that we have made a decision about our future.

We have decided that we are not going to do a casting for a new guitarist. Thus we have ceased to be a quartet and have become a trio. In this line-up we will prepare our new studio album. Both in the recording studio and on tour – if we get back to touring – we will be playing with session guitarists, who are our friends, whom we know and like. But the line-up of Riverside will be as shown in the picture.

Yes, we do realise that this is not going to be the same band. We know that for many of you the story of Riverside ends here, this year, and that “Eye of the Soundscape” might be the last Riverside album you’ll buy. We know that some of you can’t imagine this band without the characteristic guitar of Piotr Grudziński and for you Riverside has ceased to exist. But our story is not over yet; with a flaw, with a scar, with a wealth of new experiences, we have decided to go on.

Continue reading “The Future of Riverside” →