Mexican symphonic prog rocker Cast recently put out their 19th studio album “Power and Outcome,” and it was a good reason to talk with the founder of the band Alfonso Vidales about the new record, scene, and more.
Hey there! How are you doing?
Hello, Alfonso Vidales here and feeling great!
You released “Power and Outcome” recently. How do you feel about the release?
We think that our album became a solid piece of music with every contributor’s own taste and skills. That is what every production generates when you are involved in every side of the music production.
How much of a challenge was to work on the album?
I think that the making, recording and post production came out very smooth. Carlos and I looked very much that every mixing and mastering sessions were carefully observed. All the musicians and singers felt at the end that we developed an album to be recognized. Many years of Cast’s music were melted into this production.
What other artists similar to your genre that are coming from Mexico are you friends with?
After doing Baja Prog for 14 years we meet many musicians from the Mexican prog scene. Ramses Luna from Luz de Riada, Marco Corona from Codice, Ricardo Moreno from Iconoclasta, and much more. Probably I am missing many names.
What is your opinion about the current progressive rock scene?
As I said, from our Baja Prog list of names around the world I think that the progressive movement has become important and it is a nice and elegant choice for rock lovers to listen. I understand that the first generation is not anymore very active or some paseed away, but the legacy is still growing. Mexicali, our city, has a good progressive atmosphere and I think that is because of our festival and of course because of Cast, with 40 years of activity.
Can you tell me something about your influences?
My main influence is classical music as my parents both piano and are classically trained. But also Jethro Tull (Aqualung, Thick As a Brick, Passion Play), Genesis, Manfred Mann, Kayak (concept albums), ELP are in my list of favorites.
What are you listening to these days?
I listen to Rondo Veneziano and Classical music, but in my car you can find some classic rock too.
Your 5 favourite records of all the time?
Lamb Lies Down On Broadway, Tarkus, Thick As A Brick, Merlin (Kayak), Live With The Edmonton Symphony Orchestra (Procol Harum).
Can you tell me a little bit more about the gear you use to record “Power and Outcome”?
Yamaha CP300 piano, Nord C2D organ, Mellotron, Nord Lead, Korg Triton, Minimoog, Oberheim,…
Besides the release of the album, are there any other plans for the future?
We are planning to continue touring. We have a tour which starts in August and ends in November. In between, the recording of the 20th studio album will start.
Any words for the potential new fans?
Welcome to the music of Cast, and get involved in our activities by visiting our Facebook page and our website. And please send us your comments, I will gladly answer them!
It’s been forty-ish years since their first record but it’s not difficult to remember how important the Cars were to American music. Punk really broke with the Cars and maybe also with Devo, because until these bands hit the radio, and they did so in a big way in 1978-79, punk music and its influence was just a news story for those of us not living on America’s coasts. The Cars weren’t a punk band really at all but they brought a toughness to their pop music that defined American new wave, even as they were being played, say, between the Doobies and AC/DC on the radio (as they still are today). They represented a slew of less commercially fortunate American underground bands: Big Star, NRBQ, Flamin’ Groovies, the kind of groups who extended 60s garage rock post Beatles. That is, they saw the art in what they did. They opened ears. Ric Ocasek’s and Benjamin Orr’s lyrics were smart, un-fussy, their singing had the odd effect of creating emotional distance even while containing heartbreak, and Elliott Easton’s guitar kept the band on course — they were never not a rock band. Here on “Candy-O,” the title track of their second album, the Cars throw down a power pop gauntlet elevated by this raw live peformance. Bookended by a monster debut album and outsized 1980s success, “Candy-O” is nonetheless the band’s peak as new wave game changer.
Progarchy 