A BAND WITH NO NAME AND HOW PROG ROCK FANS CAME UP WITH ONE

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“Every name is real. That’s the nature of names.”                                                                                                         Jerry Spinelli,

Name your favourite bands of all time. Mine would be Yes, The Beatles, Big Big Train, Pink Floyd, Prefab Sprout, Genesis… and the list goes on. Those few are just off the top of my head and always at the tip of my tongue. Not only do the names of these bands conjure up what their respective music does for me as far as enjoyment and even enlightenment goes, it also enables us if connected to convey mood within the musical genre we follow. By that I mean these names help shape thought around their successes as bands. For someone who likes “Yes,” just being up the simple name in conversation to someone you know also loves the band and the sound of that syllable will transport that person’s thoughts and feeling back to a time where the music was so intrinsically and emotionally tied to them. Words have power. Names have symbolic baggage (in a good way and place) we carry around for the rest of our lives, and in the age we live in, just as in any other age, symbols and icons are everything. In music we can express such names in logos, and the visual impact can not be underestimated. It further binds us to the name.

Now what does such mad mutterings have to do with anything? Well, I’m glad you asked because right now there is a new Prog band who has relinquished their right to create a band name themselves, and have gladly offered such an important task to Prog fans on social media. They have a working name at the moment but with four or more other bands using the same name they now think it is the right time to go with a brand-spanking new name that will be there’s to own and use as they see fit. The challenge will be for members on the very popular Prog Magazine Readers page on Facebook to come up with the name the band agrees will suit their musical personae.

You never get a second chance to make a first impression, so although this is a bit of fun, it’s no laughing matter for the band. This will be the name they will rap (hopefully not rap in the literal sense) around their whole group existence, and dare I say it, make a name for themselves. So no pressure.

 Who are they?

 I asked Keys and Programming wiz, Dave Hilborne that very question. They formed purely by chance in an internet gaming chat room. Initially these musicians started talking (over three continents) and they haven’t looked back since! “Collaborations are achieved via file sharing. No member has any real idea what the other will bring to a particular project. This makes the writing process incredibly exciting and the dynamic of songs are shifting constantly!

 We are :

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  Dave Hilborne – Keys/Vox/Programming (I started writing music in 1987 after I got my first acoustic guitar. Songs flowed fairly easily for me, but I soon found I was better suited to the piano. Over the years I recorded and gigged, gradually developing my own style. I formed a few bands and even managed to release a vinyl single at one point. My most ambitious project was an opera based on the short story ‘Masque of the Red Death’ by Poe. I love musical challenges, so a high point for me was performing a solo 14 minute song I wrote called ‘Box Man.’ In 2017 I was fortunate to meet Dave Fick and Alessio Proietti. We clicked as musicians and arguably more importantly as people. I look forward to our future projects together).    

guitarist

  

    Alessio Proietti – Guitars/Vox(I learned to play the guitar at the age of 14, in 2004 I decided to form my first band called Raccoon Balls (Punk/Rock/Alternative). We did many gigs around Italy for about 6 years then we released an album. In the past years I have had many projects and collaborations. Recently I got involved in this brand new Alternative/Ambient/Progressive. We come from different backgrounds of music, but we have so many ideas to bring to the table as shown on our first single ‘Continuum’).

 bass player

  

Dave Fick – Bass (Born July 30th 1980. I got my first Bass Christmas of 1993. I was 13. I’ve played in many different bands with many different genres of music. We got hooked up through a mutual friend, Lord Rage, and are doing something quite different from what I’m used to. I love a good challenge and we hope to bring you some great tunes).

 

Recently we were delighted to welcome Charlie Bramald Flute/Vox to our project.

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We are an Ambient/Progressive Rock band taking their cues from many different influences. Our aim is to constantly surprise and to challenge, whilst staying melodic and above all memorable. The aim of the band is to produce what we like to call “Immediate Prog” This is possibly one of the trickiest things to get right in Progressive Rock, but we are always up for a challenge! Atmosphere and melody are two guiding principles that we have in the band. If there’s a future goal,then right now its to produce a full album and then? Well who knows. Prog is forever shifting and so are we!”

So this contest of sorts starts right now.

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It really is in the hands of those who decide to put forward their original recommendations to giving this band a name. This is exclusive only to Facebook page members on PROG MAGAZINE READERS (see link to join below).  Sometimes you can come up with more than one good name so members will have up to five of their nominations allowed.  Just look for the post “NAME THAT PROG BAND!” and add your choices.

The contest starts today and will run two weeks where upon the band will select ten of their favourites for the final selection to choose one which will announce the following week. The band has indicated they will

There’s even an incentive provided by the band.

An exclusive signed copy of the CD, including work in progress demo’s of the tracks. A personal thank you written by each member of the band. Access to the band’s private chat server. Plus a video call with one or more band members.

I would also add there is also on offer “bragging rights” to actually giving a band its name. How often does that opportunity come about?

So in a nutshell you can enter this challenge by joining the Prog Magazine Reader page and find the thread NAME THAT PROG BAND and send through up to five posts with one original name you came up with for the chance of give the band a name. Good luck!

Join Prog Magazine Readers Page

Band Facebook page  Continuum

“Words are pale shadows of forgotten names. As names have power, words have power. Words can light fires in the minds of men. Words can wring tears from the hardest hearts.” PATRICK ROTHFUSS

Schooltree: “Day of the Rogue” from Heterotopia @schooltree

This video shows the world premiere live performance of the penultimate track from Schooltree’s superb rock opera Heterotopia. This happened on March 31, 2017 at the OBERON in Cambridge, MA.

The Heterotopia double album is now available at http://schooltree.bandcamp.com

Lainey Schooltree – vocals/keys
Tom Collins – drums
Peter Danilchuk – organ/synth
Ryan Schwartzel – bass
Sam Crawford – guitar

Video by Rob Schulbaum

David Bowie’s Berlin Years, Boxed

The next David Bowie box set, A New Career in a New Town, is coming on September 29. This one covers 1977-1982 (Bowie’s last years on the RCA label), including the “Berlin Trilogy” and other notable collaborations with prog rockers.  Contents on 11 CDs or 13 LPs:

  • Low (with Brian Eno)
  • Heroes (with Eno and Robert Fripp).  A EP of foreign-language versions of the title track is also included.
  • Stage (with the pre-King Crimson Adrian Belew and Roger Powell of Utopia in Bowie’s live band) in 2 versions: the original album and the 2005 version (with songs in the concert running order & bonus tracks, including 2 new ones).
  • Lodger (with Eno, Belew and Powell ) in 2 versions: the original album and a new remix by Tony Visconti (exclusive to the box).
  • Scary Monsters (with Fripp).
  • A new exclusive compilation, Re:Call 3, which includes singles, B-sides, extended versions, and Bowie’s collaborations with Bing Crosby and Queen.

This is my favorite period of Bowie, so I’m genuinely excited for this release.  Lots more details and a price tracker at Paul Sinclair’s marvelous Super Deluxe Edition website.

 

The Return of the King …

… Crimson, that is.  From Discipline Global Mobile:

“King Crimson will be returning to America later this year. The dates see the group performing in some states and cities that have not been visited in a while. Atlanta in Georgia, for example, last had live Crimson music in 2001, while Texas has experienced something of an epic Crimson drought since 1974, not counting ProjeKct Three’s week-long residency in the Lone Star state during March 1999.  The dates posted today on the tours page are as follows.”
19 Oct Bass Performance Hall, Austin
21 Oct Music Hall, Dallas
23 Oct Center Stage, Atlanta
24 Oct Center Stage, Atlanta
26 Oct Duke Energy Centre for the Performing Arts, Raleigh
28 Oct Lisner Auditorium, Washington D.C.
29 Oct Lisner Auditorium, Washington D.C.
31 Oct New Jersey Performing Arts Centre, Newark
02 Nov Merriam Theatre, Philadelphia
03 Nov Merriam Theatre, Philadelphia
06 Nov Orpheum Theatre, Boston
08 Nov The Egg, Albany
09 Nov The Egg, Albany
11 Nov Miller Symphony Hall, Allentown
17 Nov Beacon Theatre, New York
18 Nov Beacon Theatre, New York
22 Nov Michigan Theatre, Ann Arbor
24 Nov Hard Rock Cafe, Cleveland
26 Nov Riverside Theatre, Milwaukee

“Purchase details will follow.”

 

Speaking of Crimson droughts, the band last played anywhere in Michigan in 2003, with the last Ann Arbor gig in 1995.  Of course, I have an unavoidable conflict on November 22 (which is also Thanksgiving Eve).  Ah, well, I’ll always have the Chicago Theatre …

Sad News from Los Angeles band “Heliopolis”

In the midst of working on their second album and planning their next show, Los Angeles Prog band Heliopolis is calling it quits. The following, plus an unmastered 14-minute piece from their upcoming album, was posted on their Facebook page today.

Hey, Kerry here.

Well, this isn’t easy to say but Heliopolis have decided to throw in the bowel. I wanted to at least play the gig in August and then assess things; bummed but that’s life. Please know this wasn’t my call, one of us decided to quit and I respect their decision.

As for me personally it’s simply not financially feasible, nor enjoyable, to have a 170 round trip commute to LA every weekend. Also, most of the guys in the band have been going thru significant life issues and we feel it’s not worth continuing on at this point. It’s a hell of a lot of work for all of us, not to mention the expense.

We’ve played RoSfest, MEXICALI PROG, Berkeley, San Francisco, Thousand Oaks and multiple Los Angeles area gigs. We’ve had a damned good run with 10T Records and Bad Elephant Music. I gots no complaints, please believe.

Truth be told, when I was in Mrs Hollow I wanted to record a 3rd album and then quit at the top of our game; I consider Heliopolis’ debut to be the 3rd album in my personal prog-rock trio so my mission is complete.

Now I’m going to take it easy for awhile and watch all the other prog-rock bands at our level spend their money and store their unsold CDs and t-shirts in the basement. 🙂

To our fans and promoters, we’re very sorry. As a token of appreciation for all the support over the last five years here’s the latest and, sadly, final version of the “Barney Miller” song.

It’s called “The Challenge” and it’s a true band collaboration. Believe it or not, this is the scratch vocal from the day we did the bass/drums session last October, we had some beautiful vocal harmonies worked out but we never got around to recording them. It’s also unmastered. This song was going to morph into another 10 minute song for a 24-minute suite, and we also had a crazy 10-minute thing called “Cluster B” that I am VERY bummed we’re never gonna record. We had a killer 2nd album happening but it’s just too much effort anymore, for all of us.

To my brothers Michael, Matt, Scott and Jerry – thanks for being the best band I’ve ever had. I’m gonna miss writing music with you guys so much. 😦

To our friends and fans – thank you, sincerely and respectfully, from all of us. It’s been a blast. Be kind to yourselves.

 

 

Ivanka and Fripp: Tweet of the Week

Sgt. Pepper’s at 50. Meh.

I turn fifty in two months.  I’m about six months younger than SGT. PEPPER’s.

As almost all of you surely know, Apple/Parlophone/EMI/Capitol/Universal has released a new stereo mix of the uber-famous 1967 album.  Just as the convoluted name of the company suggests, the new album comes in a variety of packages from one disk to innumerable ones.

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Growing up in a family that loved music of all types and genres, I’ve had the Beatles running through my head from my earliest memories.  No one in the house was a fanatic, but we certainly appreciated the music.  My two older brothers tended to like the pre-REVOLVER Beatles best, but I always loved REVOLVER through ABBEY ROAD the best.  For about a six-to seven-year period in my life—mostly in college and early graduate school–I was obsessed with the band.  I bought and read all of the books about the band, and I knew every song and every lyric from REVOLVER through ABBEY ROAD.  I knew the most minute details about the recordings, the controversies. . . well, everything.

Continue reading “Sgt. Pepper’s at 50. Meh.”

soundstreamsunday: “Wardenclyffe” by S U R V I V E

rr7349Scored by S U R V I V E’s Kyle Dixon and Michael Stein, the Netflix show Stranger Things can at times seem written around the music, such is the importance of its soundtrack.  The duo’s band creates very similar music but in longer form, developed stories in contrast to Stranger Things’ vignette accompaniments.  If they recall the European progressive synth work of Jean Michel Jarre and Tangerine Dream, as instrumental narrative S U R V I V E’s tropes, fresh as they are, are the well-heeled scions of horror and suspense soundtracks of the 1970s and 80s — those coveted analog burblings so influencing rock archetypes that today a band like S U R V I V E can be embraced by a culture that may not have looked so warmly on the be-caped japes of synth lords in their keyboarded cathedrals of yore.  This is a good thing, as is S U R V I V E’s 2016 album RR7349.  The punky, catalog number-as-title approach is embedded in the band’s music, in its wordlessness plain spoken, symbolic of itself, its images so strong — or perhaps its ability to conjure notions and memories of images we’ve grown used to associating with such music — that there’s an enjoyable lack of heavy lifting here.  As instrumental albums go, it’s a seamless ride through the horrorshow.

“Wardenclyffe” is the heart of RR7349; it is an opus of classic thrash metal rhythm, a slow burn, slow bleed psychedelic nod off, an American folk opera circa 2016.  It is everyman music, an electronic field holler to the collective national iThumb and Assemblage of the Hallowed Streaming Box.  Like its mothership album, it is so woven into the now that it’s a blip on the screen; but mark it, for when the future civs recreate our campfire dances, this is the soundtrack.

soundstreamsunday presents one song or live set by an artist each week, and in theory wants to be an infinite linear mix tape where the songs relate and progress as a whole. For the complete playlist, go here: soundstreamsunday archive and playlist, or check related articles by clicking on”soundstreamsunday” in the tags section above.

Do Hours Pass? The Timelessness of Newspaperflyhunting’s WASTELANDS

There are few things in the world of music more pleasurable to me than listening to the philosophical-art-drone-wall of sound-innovations of Poland’s newspaperflyhunting.  The band is probably the greatest unknown band in the world.

Yet, they do nothing if not without utter and complete excellence.  So very prog.

To my shame (and business), I have had their latest album, WASTELANDS, for a few months now without formally reviewing it.  Admittedly, I’ve been a bit selfish, hoarding this grand and glorious music all to myself.

Continue reading “Do Hours Pass? The Timelessness of Newspaperflyhunting’s WASTELANDS”

Rick’s Quick Takes: Captives of the Wine Dark Sea by Discipline

by Rick Krueger

As a Detroit native, it’s a bit embarrassing that most of my Motor City progressive rock knowledge has come from — you guessed it — Prog Magazine.   That’s where I first came across Tiles and their fluent, anthemic take on mid-career Rush and 1980s neo-prog.  From Tiles, it’s been just a hop, skip and jump to their darker, more Gothic peers, Discipline.

There’s definitely an edge to this band, springing directly from Matthew Parmenter’s lyrical “Magic Acid Mime” vision, honed by music that channels and modernizes the gloomy flair of Peter Hammill & Van Der Graaf Generator, the plummy drama of Gabriel-era Genesis, and the hypnotic counterpoint of 1980s King Crimson.  Stirring in just enough alt-rock crunch resulted in two minor classics, 1997’s Unfolded Like Staircase and 2012’s To Shatter All Accord; Parmenter’s fatalistic narrative drive and the band’s inexorable momentum shake you up and sweep you along — usually toward an unavoidable crash landing.

For Captives of the Wine Dark Sea, Tiles’ guitarist Chris Herin joins the veteran roster of Parmenter on vocals and keys, Matthew Kennedy on bass and Paul Drendzel on drums; Terry Brown (yes, he of “Broon’s Bane” fame from Rush’s Exit Stage Left) produces.  Clocking in at just over 45 minutes, the new album doesn’t waste time or motion, as Parmenter fires off sardonic verbal volleys at the futilities of aging (“The Body Yearns”), the white collar working world (“Here There Is No Soul”), desire (“Love Songs”) — even creativity itself (“Life Imitates Art”).   The music, subtly powerful and accomplished, carries the words with an appropriate gravity.  Herin’s licks and tone provide plenty of style and color, Parmenter weaves enticing, compelling keyboard webs, and the rhythm section is rock solid.

Building from lullaby to anthem to fiery guitar/synth playout, the 15-minute finale “Burn the Fire Upon the Rocks” aptly sums up Discipline’s aesthetic: rage against the dying of the light — but keep moving as you do it, and find comfort where you can.  Not exactly fun or even contented, but triumphant on its own stubborn terms.  On Captives of the Wine Dark Sea, Matthew Parmenter and company stoically look failure and frustration in the face, leaning into the understated strength of their music to make it through.

 

You can listen to (and buy) Captives of the Wine Dark Sea at Bandcamp: https://lasersedge.bandcamp.com/album/captives-of-the-wine-dark-sea