Category: The Tangent

Rick’s Quick Takes for Spring

On By kruekuttIn americana, Andy Tillison, country, hard rock, Insideout Music, jazz, krautrock, Neal Morse, progressive rock, The Tangent1 Comment

For your consideration, recent releases from the worlds of prog, jazz, folk, country and marvelously unclassifiable music. As usual, purchase links are embedded in the artist/title listing, with streaming previews below the review.

Can, Live in Paris 1973: Another immensely enjoyable archive release from the guys who sent krautrock into orbit with a winning combination of tight grooves and freeform jamming. The fresh angle this time around is the presence of late vocalist Damo Suzuki; locking in with Jaki Liebezeit’s propulsive percussion, the throbbing bass of Holger Czukay, and Michael Karoli and Irwin Schmidt’s guitar/keyboard interplay, Suzuki burbles, banters, bickers – a daffy, devious jester who pulls improvised melody and lyric from thin air as he goes along. Oh, and forget about sounding “just like the records” – studio tracks “One More Night” and “Spoon” are touched on to kick off the jams, then abandoned or deepened, stretched like taffy to the point of sonic hypnosis, mannnn . . . Five gripping examples of Can’s live prowess; whether they could actually stop time or not (it may have been the psychedelics), these ninety minutes of unbridled creativity go by in a flash.

The Bill Fay Group, Tomorrow and Tomorrow and Tomorrow: Ignored in the late 1960s and early 70s, British singer-songwriter Fay achieved cult favorite status after Wilco covered his hymnic “Be Not So Fearful” in the wake of 9/11. Utterly unlike the manneristic Dylan-meets-Kinks pop of his debut or the bleak rock crunch of 1971’s lost classic Time of the Last Persecution (both well worth seeking out), these vibrant demos from 1977 capture the gentle Christian mysticism at the heart of Fay’s songs, executed with grace and empathy by the three-piece Acme Quartet (?). The multiple versions of meditations like “Strange Stairway”, “Isles of Sleep” and “Life” radiate understated grace and power, foregoing apocalyptic panic to embrace simple, jubilant confessions of faith (“So that the world might believe/That Life has risen/That Life has conquered”). Prayers and hypnotic invocations that invite and welcome without rancor or hectoring, couched in song that’s timeless yet vividly in the moment.

Sierra Ferrell, Trail of Flowers: Widescreen mountain music for the anxious generation, this went straight to my 2024 Favorites list. In West Virginia native Ferrell’s sure grasp, her second album mounts to melodramatic heights on the wings of old time country. Ferrell’s sly, witty songwriting whiplashes between Americana subgenres to perfection; her opening run of originals – yearning road dog anthem “American Dreaming”, cautionary honky-tonk stomp “Dollar Bill Bar”, giddy fiddle reel “Fox Hunt”, and string-swathed heartbreaker “Wish You Well” left me astonished in the wake of their range and breadth. There isn’t a dud track here (check out jaunty Latin-tinged romp “Why Haven’t You Loved Me Yet”, murder ballad “Rosemary”, hybrid gospel/love song “Lighthouse” – oh heck, all of ’em); when you add in Ferrell’s beguiling voice (spanning the spectrum of twang from Janis Joplin to Dolly Parton and all points between) and gutsy fiddle work, plus producer Eddie Spear’s rich gothic ambience, the result is thoroughly winning. Believe the hype – if anybody can save country music from Greater Nashville’s ongoing torrent of processed pop, artists like Sierra Ferrell and Charley Crockett (both playing my local outdoor amphitheater this summer) are your best bet.

Vijay Iyer, Compassion: Building on the near-telepathic teamwork they established on 2021’s Uneasy (one of my faves from that year), pianist Iyer, bassist Linda May Han Oh and drummer Tyshawn Sorey come out swinging with this full-on follow-up. The impressionistic title tune shimmers into focus, with the trio relying on space and silence as much as sound; a luscious take on Stevie Wonder’s “Overjoyed” doubles as a tribute to Chick Corea, inspired by Iyer’s opportunity to play the late legend’s own piano. Whether on the angular, driving “Ghostrumental” or the rugged throwback blues “It Goes”, Oh pulls gorgeous melodies out of the air, Sorey whips up a seething percussive stew even as he grooves, and Iyer stirs in one heady, pensive idea after another. Iyer characterizes the music as “a reminder, an assurance, a plea, and perhaps an inspiration – to find each other in this together”; it’s a tribute to these exceptional musicians that, with what seems like maximum grace and minimum sweat, Compassion tangibly conjures up the empathy it advocates in sound.

Joel Ross, nublues: Chicago-born vibraphonist Ross impressed me to no end when I caught him live as part of the Blue Note 85th-Anniversary All-Star Band this past January. His fourth album is of a piece with his previous three: a soundworld of abstract yet delightfully contemplative jazz, soaked in the blues, always tumbling and turning with a non-stop flow of invention. Ross’ interaction with young saxophone lion Immanuel Wilkins (also an All-Star), Jeremy Corren on piano and bass/drums duo Kanoa Mendenhall and Jeremy Corren are the secret sauce at the music’s heart, whether putting their own spin on Thelonious Monk’s “Evidence” or John Coltrane’s “Equinox” and “Central Park West”, conjuring the title track from thin air – Mendenhall shines on bowed bass here – or building “Bach (God the Father in Eternity)” into a steamrolling surge of gospel-soaked eloquence. It’s like crashing a conversation already in progress and discovering you were invited all along.

SiX by SiX, Beyond Shadowland: Robert Berry, Ian Crichton and Nigel Glockler hit hard and strong, blasting past Difficult Second Album Syndrome to craft a wild and wooly extension of their first-rate debut. Sonically, this one comes across hotter and crunchier, as multi-instrumentalist Berry corrals Crichton’s hypercreative guitar licks into decidedly unconventional song structures, then layers in heaping helpings of lyrical positivity, while Glockler lays down rock solid percussive foundations. The result is a record that gets stronger as it goes, with head-turning surprises that stack up thick and fast: the acoustic-based sci-fi narrative “Obiliex”, the slashing, tribally funky “Titans”, the fuzz-toned flutter of “Sympathize” and, in “One Step”, an epic that progresses from yearning balladry through a proggy midsection to a hip-hop shuffle that works! Add in the relatively straight-up singles “Arms of a Word” and “The Mission” and you have a sophomore effort that oozes both mass appeal and maximum creativity. Check out the new Progarchy interview with Robert Berry here.

The Tangent, To Follow Polaris (released May 10): On which Andy Tillison takes off the gloves. Playing all the instruments himself (the album’s labeled “Tangent for one”) with style and panache, Tillison sails confidently through textures ranging from glitchy electronica to vintage soul and funk, with generous lashings of his trademark organ and synthesizer throughout. Kaleidoscopic overture/mission statement “The North Sky” lays down Tillison’s lyrical marker on graspable truth; brooding ballad-of-the-algorithm “A Like in the Darkness” paints a genuinely creepy portrait of online life; “The Fine Line” muses on the commodification of journalism, “destroy[ing] the world to sell the story”. Then on “The Anachronism”, Andy lets it rip – a furious jeremiad calling out both the ineffectual monocracy that’s lost its grip on events and the self-absorbed masses who watch it all happen on their phones. The whole thing builds to a crashing, anarchic climax – only to return to Tillison’s beginning, “follow[ing] the North Star/(When all around me seems to be going South)”. Be warned: something Tillison sings on this audacious, accomplished effort will probably cheese you off – but only because, in a world of grinning provocateurs, shameless attention whores and cynical game players, he’s a genuine idealist, with no other agenda than speaking his mind and wondering why we can’t have a better world.

Transatlantic, Morsefest 2022: The Absolute Whirlwind: Or should this be subtitled, “More Never Is Enough . . . Yet Again, Still”? Transatlantic’s second live set off the back of 2022’s The Absolute Universe, this five-CD, two-BluRay set certainly doesn’t skimp on the quantity. There’s five hours of music here from two consecutive nights: the twin album-length epics that provide the release’s title, three elongated ballads, a side-long Procol Harum cover, and bits and bobs of five more extended extravaganzas from the back catalog. It’s not all gravy; there are brief instants where the energy flags and, as Neal Morse and Roine Stolt strain to sing the high notes, I’m reminded that it’s been 25 years since this supergroup first crashed into the prog world’s consciousness. But these are far outnumbered by the moments where Morse, Stolt, Pete Trewavas, Mike Portnoy and “fifth Transatlantic” Ted Leonard fire up the afterburners and launch into startlingly tight ensemble passages, awe-inspiring solos, pin-sharp vocal counterpoint (often backed up by a real choir), dizzying transitions and over-the-top, orchestrally augmented climaxes. Too much of a good thing? It’s possible – but, with the recent news that Portnoy’s resumed the drum chair in Dream Theater, Transatlantic isn’t a good thing to be taken for granted.

— Rick Krueger

Rick’s Quick Takes for June

On By kruekuttIn americana, Andy Tillison, art rock, Big Big Train, hard rock, Insideout Music, jazz rock, Kscope, progressive metal, progressive rock, The Tangent, vernacular music4 Comments

Six months in, 2022 is already shaping up as a banner year for new music. My own positive bias prevents me from objectively reviewing The Bardic Depths’ brand new album (though modesty doesn’t seem to prevent me mentioning it; I’m still stoked that I got to participate) — but there are still plenty of fresh releases to cover this time around! As usual, purchasing links are embedded in each artist/title listing; where available, album playlists or samples follow each review. But first, the latest installment in what’s becoming Progarchy’s Book of the Month Club . . .

Big Big Train – Between The Lines: The Story Of A Rock Band: when Greg Spawton and Andy Poole started a band, it didn’t stand out at first; one early concert promoter called the nascent Big Big Train “fairly mediocre” in retrospect. How BBT became a prog powerhouse — through sheer bloody-mindedness, growth in their craft and a keen ear for what world class musicians like Nick D’Virgilio, David Longdon and so many others could contribute — is the tale at the core of this passionately detailed band bio/coffee table book. Standout features include lavish design, with a overflow of revelatory photos; fully rounded portraits of major and minor participants, mostly unfolded through Grant Moon’s thorough interview work; and remarkable candor, especially in a self-published effort, about the human costs of BBT’s rise to genre prominence and mainstream media attention. (Moon’s portrayal of Spawton and Poole’s gradual estrangement, even as their joint project finally gathers speed, is both sensitive and haunting.) Between The Lines covers all of Big Big Train’s great leaps forward and forced backtracks through Longdon’s untimely death, leaving the reader with Spawton and his fellow survivors determined as ever to continue. Not shy about celebrating the beauty and ambition of the music the group has made, on record and in person, it also doesn’t flinch from portraying the price paid to scale those heights.

The Pineapple Thief, Give It Back: on which Gavin Harrison gives his new band’s vintage repertoire a kick up the backside with his stylish stick work, and Bruce Soord willingly “rewires” his own songs with new sections, verses and narrative closures. The results probe further into the moody motherlode that new-era TPT mines and refines: dramatic vignettes simmering with emotional turmoil; lean, mean guitar riffs arching over roiling keyboard textures; and always, those simultaneously airy and propulsive grooves. But while Soord and Harrison take the creative lead, this is a marvelously tight unit at work; Steve Kitch (keys) and Jon Sykes (bass and backing vocals) are indispensable contributors throughout. All of which makes Give It Back another enticing entry in the Thief’s discography — deceptively low-key on first impression, it blossoms into a compelling combination of tenderness and grit. (With plenty of headroom in the mastering to pump up the volume!)

Porcupine Tree, Closure/Continuation: The big news is that this is recognizably a Porcupine Tree album — that’s why, over repeated listens, it works so well. Steven Wilson is as happy and carefree as ever, cutting loose about fraught relationships (“Harridan”), nihilism in high places (“Rats Return”, “Walk the Plank”) and, of course, the inevitability of death (“Chimera Wreck”); plus there’s a spooky take on a Lovecraftian invasion (“Herd Culling”), a compassionate portrait of a man with nothing (“Dignity”) and a drop-dead gorgeous ballad that looks forward in hope and back in regret at the same time (“Of the New Day”). Still, it’s the reconstituted band, mostly writing the music in team formation, that gives the record its core integrity and guts. Wilson’s angular guitar and bass work, seemingly effortless songcraft and vocals that often climb to a wordless falsetto (a legacy of The Future Bites?) are perfectly swaddled in Richard Barbieri’s squelchy sound design and ineffably eerie synth solos, then hurtled forward by Gavin Harrison’s consummate percussive drive — whether he’s cruising the straightaways or leaning into jaw-dropping polyrhythmic curves. Of a piece if not conceptual, Closure/Continuation is never less than well-wrought and frequently awesome, worthy to stand alongside Porcupine Tree’s catalog as either a next or a final chapter in their saga. Now floating like a butterfly, now stinging like a bee, with commitment evident in every note, it may well knock you out.

Continue reading “Rick’s Quick Takes for June” →

Album Review – The Tangent – Songs From the Hard Shoulder

On By Bryan MoreyIn Andy Tillison, progressive rock, The Tangent4 Comments

tangent-hard-shoulderThe Tangent, Songs From the Hard Shoulder, Inside Out Music, June 10, 2022
Tracks: The Changes (17:06), The GPS Vultures (17:01), The Lady Tied to the Lamp Post (20:52), Wasted Soul (4:40), In the Dead of Night / Tangential Aura / Reprise (Bonus Track) (16:11)

The Tangent never cease to inspire, amaze, and mystify. Two years after Auto Reconnaissance, the band’s follow-up Songs From the Hard Shoulder might be their proggiest yet. Auto Reconnaissance was my favorite Tangent record since 2015’s Spark in the Aether, and Songs From the Hard Shoulder is a more than worthy successor. But where Auto Reconnaissance may have been a great place for new listeners to jump into the band’s work, this record may be a bit daunting for that. It is, after all, made up of three epics each over 17-minutes long, one shorter track, and a 16-minute bonus track cover of a UK song mixed with some Tangential noodling. This isn’t a record for the fainthearted, but it will reward you if you give it the chance. 

Oh, the jazz. Besides Andy Tillison’s lyrics, my favorite aspect of The Tangent’s music is their use of jazz. It permeates their sound, but it doesn’t overpower the rock. Theo Travis’ work on saxophone and flute particularly stand out to me on this record. It’s always brilliant, but it strikes me as more prominent here. Or maybe I’m just noticing it more this time around. Either way, it’s great. 

The instrumental jamming is front and center on this record. It’s always been there, but it is unmistakably the core of this record. How could it not be with songs this long. “The GPS Vultures” is a 17-minute long instrumental! But don’t let that fool you. It never bores. It ebbs and flows, as any longer track should. There are solos from every band member, there’s experimentation, and there’s general jamming. Maybe some of the crinkly experimental passages of computer-synth noise could be excised, but those don’t last long. 

Lyrically “The Changes” finds Tillison wrestling with the last 2+ years, how we dealt with that, and what we do going forwards. He uses personal stories from the band to give an example of what it is they lost during lockdowns before pointing out that his story is just one of millions. He points out that things weren’t so hot before all this, so what’s the point in going back to the way it was? In an interview with Progarchy, he made sure to explain that he wasn’t making a political statement but rather a cultural critique. After all, cultural critique is where he excels, in my opinion. 

Speaking of that, “The Lady Tied to the Lamp Post” is peak Tillison. The song tells the story of an encounter Tillison had with a homeless woman, and he uses that story as a lens to comment on the social crisis of homelessness. It’s a powerful track, particularly near the end when he reminds the listener that all of us aren’t much more than a few clicks of a mouse on somebody’s computer screen before we too are out on the streets. In the end he calls for more humanity in the way we treat those less fortunate than ourselves.

At over 20 minutes, this song covers a lot of ground. It opens quiet with Tillison singing over a mix of light drums, piano, and subtle guitar. It moves into a much more fast-paced section that’s pure prog, as Tillison tells more of the story. At 9 minutes in, Tillison delivers an especially passionate high-note that certainly surprised me. A second longer instrumental passage follows, most of which is good. There’s about 30 seconds that we probably could have done without, but it moves into an industrial-sounding passage that works quite well. The fast-paced section with Steve Roberts’ drums leading the way returns to finish off the story. 

Tillison’s vocal delivery really sells the story on this track, as well as on the opening song. Throughout the album he uses his various styles of singing, including his regular voice, his talk-singing, and his shout-singing when he’s really worked up. He uses these to accentuate his particular points, adding in an element of acting to the performance. Is his voice for everyone? Probably not, but it sounds great to me. 

If you’re like me you might be surprised at “Wasted Soul.” In his interview with Progarchy, Andy explained how much of an influence Earth, Wind & Fire and other African American music from the 1970s was on him musically. This song is pure 70s funk and soul. That’s not music I’m particularly well-versed in, but “Wasted Soul” is a great track. It has a catchy up-temp beat with a great horn section. It shows the versatility of the band, and it’s a fun closer to a somewhat weird record. 

I’ve listened to this album a lot over the last month or two, and I’m still not sure if I like it better than Auto Reconnaissance or not. The last album had a more accessible balance of shorter tracks to longer ones, but I’ve found myself engrossed with Songs From the Hard Shoulder each time I’ve put it on. Andy’s lyrics almost always draw me into reflection (I’ve been turned off by some of his more overtly political lyrics in the past), which is always a good thing. This is art, after all, and good art should make you think.  The icing on the cake with The Tangent is stellar music performed by one of the most unique bands on the scene today. They really don’t sound like anyone else, even when they’re wearing their influences on their sleeves. Their sound is their own, which makes them a joy to listen to. While Songs From the Hard Shoulder might be difficult for newcomers to get into, it’s still a great album I’ll be happy to return to for years to come. 

https://www.thetangent.org

Andy Tillison: The Progarchy Interview

On By kruekuttIn Andy Tillison, Insideout Music, progressive rock, The Tangent4 Comments

The latest album from that stalwart institution The Tangent, Songs from the Hard Shoulder, will be released — or perhaps I should say unleashed — on June 10th. Boasting three extended tracks (“The Changes,” “GPS Vultures” and “The Lady Tied to the Lamp Post”), the short, sharp retro-anthem “Wasted Soul” and a head-turning cover of UK’s “In the Dead of Night”, it’s a brilliant collection from a first-class band at the peak of its powers. And beyond the formidable talents of guitarist Luke Machin, woodwind specialist Theo Travis, bassist Jonas Reingold and drummer Steve Roberts, the group’s remarkable collaborative chemistry is firmly rooted in the eclectic musical appetite and deeply humane vision of its founder, keyboardist and singer Andy Tillison.

It was serious fun for me to spend an hour talking with Andy, going into detail about the album — including some of the real life experiences behind the songs — and heading down other delightful rabbit trails besides: why he goes out of his way to hear other groups at prog festivals, our respective experiences of radio in our formative days, his favorite band (which may surprise you), and much, much more! Throughout, Andy answered every question candidly and put up with my schoolboy goofs/fanatical excesses, exuding his wonderfully unique mixture of curiosity, passionate commitment and dry humor. I hope you enjoy the experience as much as I did! The video is immediately below, with a complete transcript of the interview following (and continuing over the jump). But why were we both looking to our right??

Alright!  Well, first of all, congratulations on the new Tangent album!    I’ve heard it and I really enjoy it.  I’ve been a fan since the Le Sacre [du Travail] album, and have very much enjoyed – I saw you live in 2017 actually, in Chicago.

Right, yeah!  That was a great night; really enjoyed that one!  Some good experiences that night for me; I’ll never forget that one.

And that was a great weekend overall.

It was, yes.

To put you on the spot right away, if you had to describe Songs from the Hard Shoulder to someone who had never heard The Tangent, what kind of a pitch would you make?  

[Laughs] I would say it’s a difficult album, actually!  We haven’t made this as an easy sort of pigeonhole-able album.  Obviously, we do make albums where we try to put our case and make a beautifully constructed record.  But on this one – we just did what we wanted to do.  And we do that from time to time, you know?  We don’t always try to write to fit the need; we sometimes write from the point of view of what we want to write!  And we ended up with this slightly imbalanced record; it’s got three epic tracks and one short one! [Laughs]  How many other albums are quite like that?

And of course, the fact that all the three main tracks are completely different from one another!  I’ve been saying in other interviews that it’s almost like three different bands made three different tracks! [Both laugh].  The first one being very much like The Tangent, the second being a jazz-fusion band, the third one being dark and electronica influenced.  And then a Tamla-Motown song! 

I think it’s probably best to understand what the band have been doing before!  This is not necessarily a first album to hear by a band; it’s one of a sequence.

It works better in context is what you’re saying.

I think it’s a contextual album.  To be fair, if you’re looking at classic progressive bands of the past, most people who came into the world of Yes did not enter from the point of view of Tales from Topographic Oceans.  They came in with Fragile or The Yes Album or maybe even Close to the Edge is where they came in.  I say “maybe even Close to the Edge” cause that’s where I came in!

And the same with Genesis: most people who came in didn’t arrive with The Lamb Lies Down on Broadway; they came in at some other point.  And the sort of deeper albums are the ones they go back to and help develop their relationship with a group.

OK!  I think that what I heard in your pitch is that it’s very much “you guys” – the band that you are right now.

Yeah!

So, definitely not a snapshot, more like a short video at least!  [Both laugh]

I think that being in a progressive rock band, if you’re serious about it, and this is more than just a commercial label you use to make things more convenient for markets – you have to be able to make the developments, to take the risks, to do the non-commercial things!  Because that’s what the audience wants of us!  Sure, everybody likes Asia, for example, but they always want something more meaty than that, if you get what I’m saying.  They want something that’s a bit more out there, more adventurous.

So, the fact is that this great progressive arc can take in everything from pop songs, rock songs, pop-rock songs if you like, through to massive great big sinfonias!  Everything from an acoustic guitar being bashed on the stage by Peter Hammill right through to massive symphony orchestras.  There’s so much available to us in the power – every so often you have to use it!  And this means on this occasion, we didn’t write much short-form material for this record.

So that kind of answers my next question, because as you mentioned, three of the four tracks on the main album plus the bonus track are all over 15 minutes; they’re definitely what you would call “of epic length.”  Did you feel like, in terms of the songs with lyrics, that the subject matter demanded that?  How do you develop these longer pieces?

I think that it’s just something that happened.  To me, I grew up listening to rock music, but the first rock music I heard was long! [Laughs] 

OK!

I was listening to Yes age 12, Van der Graaf Generator age 12, Genesis 14 perhaps.  Picking up on Pink Floyd and finding that, because of my history in classical music, I tended to be more interested in the longer pieces.  Because the classical upbringing I’d had – and I’m talking about classical listening, because there was so much music in my house when I was a boy.  And so, I’d get to hear all this stuff!

Consequently, when I first heard things like the Beatles, I always used to be disappointed that the songs were over so quickly.  I thought, “I was just getting into it, what’s happened?”  [Both laugh]  So it just seemed a natural way.  In me it’s writing to how I always like listening to music!  I like music that goes on for a bit.

[Laughs] As I’ve said, many times, “this music is not epic at all!”  20 minutes is not epic at all; it’s an episode of Friends!

Continue reading “Andy Tillison: The Progarchy Interview” →

The Big Prog (Plus) Preview for Fall 2021!

On By kruekuttIn Ambient, Andy Tillison, art rock, Discipline, hard rock, Insideout Music, jazz, jazz rock, Kscope, Neal Morse, progressive metal, progressive rock, Radiant Records, singer-songwriter, The Reasoning, The Tangent2 Comments

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 Big Prog (Plus) Preview for Fall 2020!

On By kruekuttIn Andy Tillison, art rock, Flying Colors, hard rock, Insideout Music, jazz rock, Kscope, Neal Morse, Pink Floyd, Prog, progressive metal, progressive rock, progressive rock music, psychedelic rock, Radiant Records, singer-songwriter, The TangentLeave a comment

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!” →

Andy Tillison – Now on Bandcamp!

On By kruekuttIn Andy Tillison, progressive rock, The TangentLeave a comment

From Andy Tillison, posting on the Tangent’s Facebook group page:

Hello – and as promised, here is a link to my very own Bandcamp page. I would like you to consider this a BETA, or work in progress. A few things I need to make clear. These are flac/wav/mp3 downloads only. I am doing this to make the music available – the re-release of these limited interest titles on any form of media would be impossible to finance. I’m sorry that the world ended up like that. However, the quality is exactly the same as the original CD releases. Nothing for your shelves… but plenty for your ears. …

Yes – the albums have to be paid for, I’m sorry but assure you that I plough as much as possible into the development of new work. Most of you realise this. More titles are in preparation from Po90, The Tangent and my own solo work.  Same time next week?

What’s in Tillison’s first wave of Bandcamp releases, you ask?  Follow the jump for the details!
Continue reading “Andy Tillison – Now on Bandcamp!” →

The State of Prog 2018: Lightning Round Reviews, November 20-30

On By kruekuttIn Andy Tillison, progressive rock, The TangentLeave a comment

Based on these four new albums, progressive rock is doing just fine, thank you!  I’m not feeling the need for a Personal Progginess Perception scale this time around, so capsule reviews and ratings of this quartet follow the jump.

Continue reading “The State of Prog 2018: Lightning Round Reviews, November 20-30” →

Lost Progarchy: Methinks Thou Doth Protest Too Much

On By Time LordIn Andy Tillison, progressive rock, The Tangent12 Comments

If anyone has read the attacks below, posted on Progarchy, that are assaulting the latest from both Roine Stolt and The Tangent, I just want to encourage people to ignore the ranting and raving, and to actually go and listen to the music and lyrics instead.

Stolt releases a song called “Lost America” and suddenly some heads explode at Prograchy. Hey guys, calm down. How about you actually listen to the song? Is it too much to thoughtfully digest what an artist offers, before pronouncing premature rash judgment?

The music to “Lost America” is itself not too bad. Musically, there is nothing offensive. I admit the track doesn’t do much for me, because musically it has nothing too innovative or elaborate to get me excited. But, the guitars are great, and it’s still pleasantly enjoyable to listen to, nonetheless.

Continue reading “Lost Progarchy: Methinks Thou Doth Protest Too Much” →

Progtoberfest: Day 2 Report

On By kruekuttIn blues, jazz, progressive rock, Rock and Roll, The Tangent4 Comments

by Rick Krueger

The sun shone warmly again on the south side of Chicago as Progtoberfest III kicked off its second day.  Taking in the view as I exited the ‘L’, it was amusing and welcoming to see a familiar screaming face painted on the exterior of Reggie’s:

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Hoping to get Alphonso Johnson’s and Chester Thompson’s autographs in the VIP Lounge the night before, I’d struck up a delightful conversation with members of the North Carolina Genesis tribute band ABACAB.  In 2016, festival organizer Kevin Pollack had given them “homework” for this year: to play all of Genesis’ live album Seconds Out on the 40th anniversary of its release.  You could tell the band was nervous (they focus on 1980s Genesis to get bookings, so they had to learn half the album in the past year) but also absolutely thrilled to bring it to the Rock Club stage.  And on Saturday afternoon, they nailed it, to the joy of an enthusiastic, supportive crowd and rave reviews from other acts.  They’re already planning to return to Reggie’s in April as a headliner, and for Progtoberfest IV next October.  Check out why below:

Continue reading “Progtoberfest: Day 2 Report” →