Backstage with Iris! Interview with Sand Snowman! — Grendel HeadQuarters

The sixth episode of Backstage with Iris! Interview with Gavan Kearney, better known as Sand Snowman! Gavan Kearney made a lot of beautiful albums under the name Sand Snowman. He’s also an artist who makes wonderful artwork. Iris and Gavan talk about his music, his art, his collaboration with Steven Wilson, why he came up with the […]

via Backstage with Iris! Interview with Sand Snowman! — Grendel HeadQuarters

Sarah Ewing, Prog Artist

Featured Image -- 24884
BBT’s Folkore; Art by Sarah Ewing.

I’ve been thinking alot about BBT today and going through my CD and blu-ray collection of their albums.  I must admit, all of the art BBT commissions and inspires is pretty amazing (do the Brits use “pretty” as a modifier, or is this an Americanism?).

I have an original Jim Trainor hanging in my college office, after all.  I’m rather taken with it.

Looking at Sarah Ewing’s cover for FOLKLORE today, I found my way to her official website.  I found myself gazing in dazed amazement.  What an eye and imagination she has.

If you have a few moments, treat yourself and fall head over heels into her world.  It’s quite glorious.  So much so that it took me a bit to come to my world.  Thank you, Sarah.  What a treat.

http://sarahlouiseewing.com/home.html

 

A Fish Out of Water That Swims On

chris-squire-fish-out-of-water

I have been meaning to write in praise of Chris Squire’s solo album Fish Out of Water for some time now. In fact, I wanted to publish a review after his sudden passing last June, but I feared I would not do his album justice (or something to that effect). I suppose now would be as good a time as any to call attention to this somewhat obscure gem of an album. As I write this, I am listening to “Silently Falling”, a hauntingly beautiful, eleven minute masterpiece featuring dramatic and complex keyboards, a driving bass guitar, and the melodic vocals of Mr. Squire, whose voice lies somewhere between Jon Anderson’s and Peter Gabriel’s. The album also features the talents of Yes alums Bill Bruford and Patrick Moraz, King Crimson‘s Mel Collins, and a small orchestra conducted by Squire’s friend Andrew Jackman.

If you are not already familiar with this album, I suggest you give it a listen. Here are brief notes on each song:

“Hold Out Your Hand” – The album opener is driven by Moraz’s organ and Squire’s melodic Rickenbacker bass. It’s a relatively fast-paced tune, but it transitions smoothly to the softer…

“You by My Side” –  A well-orchestrated piece that features a beautiful flute solo. The next song,

“Silently Falling” – I have already discussed, but I’ll mention the name again in case you forgot it! Squire then switches gears to the jazzier…

“Lucky Seven” – A tune which features the talented Mel Collins on alto sax. Squire shifts gears one more time before the grand finale…

“Safe (Canon Song)” – A majestic fifteen minute piece that deserves a spot among some of prog’s better epics.

Fish Out of Water is without question the finest solo album by a Yes member, and I would go so far to say it is one of the best prog albums of the early 1970s. Unlike the solo albums of other Yes members (Anderson and Howe, in particular), Fish Out of Water has a distinctive sound, and it has aged well. If you do not yet believe me, watch the promo video below:

 

 

 

Congratulations to Big Big Train

Screen Shot 2016-06-15 at 1.03.11 PM
From ProgMaster Jerry Ewing

We at progarchy are thrilled to know that BBT has been awarded Band of the Year and Best Live Performance by Prog Magazine.  Excellent choices, all around!

And, we’ve been loving BBT for years and years!  Feel free to explore our past reflections on the band.

Big Big Train – English Boy Wonders – 1997/2008 – Review by Brad Birzer

Big Big Train – English Electric: Full Power – 2013 – Review by Brad Birzer

Big Big Train – English Electric: Full Power – 2013 – Review by Bryan Morey

Big Big Train – English Electric: Full Power – 2013 – Video Review by Brad Birzer

Big Big Train – English Electric Pt. 2 – 2013 – Review by Alison Henderson

Big Big Train – English Electric Pt. 2 – 2013 – Review by Brad Birzer

Big Big Train – English Electric Pt. 2 – 2013 – Review by Craig Breaden 

Big Big Train – English Electric Pt. 2 – 2013 – Review by Craig Farham

Big Big Train – English Electric Pt. 2 – 2013 – Review by Erik Heter

Big Big Train – English Electric Pt. 2 – 2013 – Review by Frank Urbaniak

Big Big Train – English Electric Pt. 2 – 2013 – Review by Ian Greatorex

Big Big Train – English Electric Pt. 2 – 2013 – Review by John Deasey

Big Big Train – English Electric Pt. 2 – 2013 – Review by Nick “Dr. Nick” Efford

Big Big Train – English Electric Pt. 2 – 2013 – Review/Open Letter to BBT by Pete Blum

Big Big Train – English Electric Pt.2 – 2013 – Review by Tad Wert

Big Big Train – Folklore – 2016 – Review by Brad Birzer

Big Big Train – Folklore (hi-res audio tracklist version) – 2016 – Review by Bryan Morey

Big Big Train – Stone and Steel – 2016 – Review by Brad Birzer

Big Big Train – The Difference Machine – 2007/2010 – Review by Brad Birzer

Big Big Train – The Underfall Yard – 2009 – Review by Brad Birzer

Big Big Train – Wassail EP – 2015 – Review by Brad Birzer

A Beginner’s Guide to Big Big Train (2012) – By Brad Birzer

Bryan Morey reviews Folklore

 

soundstreamsunday: “Jacob’s Ladder” by Rush

permanent-waves_coca-colaFrom Rush’s transitional Permanent Waves, “Jacob’s Ladder” is a psychedelic march, carrying up its spiral staircase Neil Peart’s cosmic Coleridge musings.  It thunders across the eastern deserts evoked by its title, a biblical steampunk, all dust and whirlwind and prophetic dreams set against Rush’s tightening musical clockwork.  The song’s three sections flow together, distinct but seamless, no verses or choruses, only a gradual rising heavenward.  Early on Alex Lifeson blasts an economical, freakout solo across a moorish scale, heavy as an elephant swaying across a mountain pass, and from that point forward commands cycling chord changes and arpeggiated stutters, underpinned by a bolero rhythm favored by the band around this time.  Geddy Lee’s bass and keyboard work hits a balance that Rush would capitalize on with Moving Pictures, while Peart’s drumming, as usual, defies adequate description (although “badass” will do), ever shifting, restless and precise.  It is a descendant of their epic “Xanadu” and a forebear of “YYZ,” and while stoner-era Rush was cobwebbing at this point, “Jacob’s Ladder” made a case for the band’s continued long-form potency and its ability to take heavy music to places no one else, not anyone, was going.

soundstreamsunday archive and playlist

Continue reading “soundstreamsunday: “Jacob’s Ladder” by Rush”

Album of the Year: Vivaldi Metal Project ★★★★★ @VivaldiMetal

While many people with good taste recognize that Big Big Train is arguably the Band of the Year for 2016, I think the greatest Album of the Year for 2016 will prove to be the Vivaldi Metal Project.

On paper, the whole project sounds insane: take the basic structure of Vivaldi’s Four Seasons, infuse it with newly composed music, add lyrics and singers, and transform it into a heavy metal concept album.

Sounds stupid, right? But no …

I was prepared to hate it, but instead I was surprised, blindsided, and completely blown away.

This album is insane, alright.

Insanely great.

I can’t stop listening to it!

Total genius, and totally shredtastic.

Five stars!

You can read more of my thoughts on the Vivaldi Metal Project in my review of the new Star Trek movie, Star Trek: Beyond. It’s a piece in which I meditate on what makes something a classic, by way of a digression on the many versions of Ben-Hur.

Wonderful News about Iamthemorning

This, from our great friend, Brian Rocha, and Fresno Media:

RUSSIAN PROGRESSIVE DUO IAMTHEMORNING WINS ‘ALBUM OF THE YEAR’ AT PROGRESSIVE MUSIC AWARDS
“Lighthouse” out now on Kscope
LONDON, U.K. – Russian progressive duo iamthemorning has won the prestigious ‘Album of the Year Award’ for its latest Kscope album release, Lighthouse. The award was presented to the band last night at Prog Magazine’s fifth annual Progressive Music Awards in London. The ceremony took place at the world famous Underglobe beneath Shakespeare’s Globe Theatre.
“This was definitely a night to remember,” commented vocalist Marjana Semkina upon receiving the award. “We were of course very excited about attending as it is a great chance to catch up with old friends and meet some new people – some of the finest people of Prog, I should say! And that’s it, we never even thought we’d get the award.
“The nominees in our category are all so amazing, some of them are our good friends too, and it feels generally awkward to sneak the award from them, because every single one of them deserves it. But we are of course really happy and humbled, it is such a great honor for us to actually win, and it’s so inspiring. Big thanks to our team of engineers that put all their time into this project – Marcel van Limbeek, Gianluca Capacchione and Vlad Avy, as well as people that contributed their amazing musicianship, including Gavin Harrison, Colin Edwin and Mariusz Duda, this whole thing wouldn’t be possible with all of them. We hope that more than anything it will give us a chance to actually start playing Europe properly, but for now I can’t wait to start working on the next album!”
In addition to the ‘Album of the Year Award,’ iamthemorning has also revealed the official music video to its track, “Libretto Horror,” taken from Lighthouse, on YouTube: https://youtu.be/gFMg2vvLCKw. A live performance of the song from St. Petersburg, Russia’s Aleksandrinksy Theater can also be viewed at https://youtu.be/iLPM8EH767Y.
Lighthouse released via Kscope earlier in 2016, following up the band’s 2014 album Belighted and was described by Prog Magazine as “life affirming, beautiful, heavenly – a monumental album.”
As with Belighted, the engineering and mixing on Lighthouse is handled by Marcel van Limbeek (Tori Amos) and self-produced by Gleb and Marjana. The album also features guest musicians Gavin Harrison (Porcupine Tree, King Crimson) on drums, Colin Edwin (Porcupine Tree) on bass and additional vocals on the album’s title track by Mariusz Duda (Lunatic Soul, Riverside).
Lighthouse is a rich and eclectic album with echoes of classical music, the Canterbury scene, northern folk, jazz and electronic sounds. Featuring a story of the progression of mental illness, the album takes the listener through the stages with the story’s central character, her attempts to fight it, and temporal remission leading to a final breakdown. Lyrically, the works and lives of Virginia Woolf and Sylvia Plath inspire the album.
Recorded across London, Moscow & St Petersburg, the core instrument of the band, the grand piano, was recorded in Mosfilm Studios Moscow, one of the largest and oldest studios in Russia. Founded in 1920, Mosfilm is renowned for recording orchestras for soundtracks for the most famous Soviet-era films, including works by Tarkovsky and Eisenstein.
The album artwork for Lighthouse was created by watercolor artist Constantine Nagishkin who the band has previously collaborated with before.
Lighthouse is available digitally now on iTunes at:
http://smarturl.it/LIGHTHOUSE_DIGITAL and on CD, LP (with MP3 download code) through the Kscope webstore at: www.kscopemusic.com/store.
1. I Came Before the Water (pt. I)
2. Too Many Years
3. Clear Clearer
4. Sleeping Pills
5. Libretto Horror
6. Lighthouse (feat. Mariusz Duda)
7. Harmony
8. Matches
9. Belighted
10. Chalk and Coal
11. I Came Before the Water (pt. II)
12. Post Scriptum
Stay tuned for more information on iamthemorning and Lighthouse, out now on Kscope.
-###-
iamthemorning is:
Marjana Semkina – vocals
Gleb Kolyadin – grand piano, keyboards
iamthemorning online:

Big Big Train, ‘Folklore’

Xerxes's avatarProglodytes

Big Big Train was founded around 1990 and existed primarily as the studio project of Greg Spawton and Andy Pool until 2009, at which point they largely stabilized a band lineup (‘stabilize’ being a relative term).  Starting with their sixth album, The Underfall Yard, they began to enjoy some acclaim in the progressive rock community.  In 2012, they released the first part of a double album, English Electric Part I, which was followed a year later by English Electric Part II.  This move was not only super-proggy, but smart, as it also encouraged extra sales for the second album.

With EE parts I and II, BBT set themselves an incredibly high standard. The music and lyrics on both albums were superb and they combined melody and complexity to a degree that few bands have been able to do.  Because of this, expectations were high for their latest…

View original post 1,969 more words

“All Just Pretending” — Lulu Lewis @DylanKH

Great video made for just 24 bucks and an iPhone:

Love that short set, Phil Collins!

Collins, as you might recall, is a drummer and singer who once was part of a legendary prog-rock group. In recent years he has kept a low profile. Why? An August 17th piece in the New York Times catches up with Collins:

After decades as the drummer and post-Peter Gabriel lead singer for Genesis, as well as a commercially dominant solo run as the poster boy for pillowy ’80s pop excess, Mr. Collins retired as a not-quite-beloved rock elder in 2011. As with most musician goodbyes, the dormant period didn’t last. (Presciently, Mr. Collins had called his tour in support of the 2002 album “Testify,” his most recent release of original material, the “First Farewell Tour.”)

Since announcing his resurgence last year, Mr. Collins, 65, has performed at a handful of charity events, in addition to starting the process of reissuing eight of his solo albums.

The piece is a lead-up to an August 29th performance by Collins at the opening ceremony for the United States Open tennis tournament in Flushing, Queens. Collins explains that he’s been busy with family, recovering from “war wounds” including surgery on a bad back, which led to foot problems, which was then followed by some problems with his left hand. He’s also been working on a memoir, which appears to be quite open and honest about his failed marriages (three of them), drinking problems, depression, and such. Of his varied career, he says:

I think, with some critics, I became synonymous with an era of music that they didn’t like, and they were suspicious of all success, which is understandable. You end up painted into a corner that it’s impossible to get out of. I don’t lie awake and think about this, but I withdrew in 2005, and I think I was quite honest about why: I wanted to write myself out of the script.

When the reissued albums came out — which I was reluctant to do at first, until I found some way I could be proud of it — I thought, “This is exactly what I’d hoped for.” Of course, records sell differently now than when I was making them, so it wasn’t a question of cashing in. It was giving people a chance to re-evaluate this person that had become a whipping boy for the ’80s. I was so pleased that people were able to say, “I re-looked at this, and it’s better than I thought.”

All of which leads up to this video of Collins performing yesterday in NYC at one of my favorite sporting events, The U.S. Open (yes, tennis is a favorite sport; I own 68 rackets). The first song, “In the Air Tonight”, is very well done; note the drummer, who is Collins’ 15-year-old son, Nick. The second song, “Easy Lover”, is performed with Leslie Odom Jr. (“Hamilton”) and is utterly boring.