What makes a great cover version? There’s only one question you have to ask: does the band covering the song make it their own? Skyclad’s cover of Thin Lizzy’s Emerald is excellent. It’s faithful to the original song but the more metallic, aggressive and threatening delivery along with the clever use of violin to handle […]
via Skyclad – Tracks From the Wilderness (Review) — HEAVY METAL OVERLOAD
Happy Easter, Progarchy. Today is the day when Christians all over the world commemorate Jesus’ resurrection from the dead, conquering sin and death so that we might have eternal life, if we believe.
Check out this great video of Marillion and Dream Theater performing the song, “Easter,” way back in ’95. Enjoy.
Transatlantic’s “We All Need Some Light” is also fitting. Here’s a video from their KaLIVEoscope 2014 show. The song starts around the 4:00 minute mark, after a duet with Morse and Stolt.
John Bassett the man behind Arcade Messiah & KingBathmat has announced a 4 track Post Rock Ambient Ep “Aperture” which will be released 3rd April.
A short preview of the EP can be heard here
https://www.youtube.com/watch?v=lXVwpg2JnEE
John says “I took a small break from recording the latest Arcade Messiah project to put together something completely different, a mellow small collection of post rock, ambient style songs, the whole process was completed in spontaneous manner over 12 days“.
The Ep will be available to pre-order from March 28th, and released on April 3rd through the bandcamp page – https://johnbassett.bandcamp.com
John Bassett – Aperture EP
1. Break The Wall
2. Joy In Despair
3. Awaiting
4. Jenna
For further information, press pack, Promo downloads for reviews or features, request interviews etc contact – chris@stereohead.co.uk
To one of the finest men I know. Happy birthday, Tad. So glad to be your friend and fellow Progarchist!
Sun River is a project including singer/songwriter Martin Rude and Causa Sui’s Jonas Munk and Jakob Skott. This track is from the self-titled album that came out in 2012, a lovely record that floats you down the river gently and a bit psychedelically. While Nick Drake and Tim and Jeff Buckley comparisons are tempting and not altogether inaccurate, with its freak folk aesthetic there’s more of a Devendra Banhart vibe going on, and the Shins also come to mind with the organic arrangements. Munk and Skott’s electro-acoustic accompaniment is spot on, perfect for Rude’s vocal and the songs. “Esperanza Villanueva” caught my attention from the outset, with its guitar break consuming the song in slow burn, but I highly recommend the album as a whole, for it is a beautiful achievement.
A visually stunning album cover. Profound and thought-provoking lyrics. Epic instrumentation and vocals. I could be describing almost any progressive rock album of note, but I am specifically referring to the underrated Yes album Relayer in this case. I say underrated because this album, featuring only three songs, all of which are worthy of the designation “progressive,” ended up wedged in between the controversial Tales from Topographic Oceans and the (relatively) lackluster Yes albums of the late 1970s/early 1980s.
First a brief comment on the sleeve design. Roger Dean is an integral part of Yes’ image, and his design for Relayer only bolsters the importance of his role. Inspired by images of war and the Knights Templar, Dean draws the viewer in to a world of fantastical images and drama, as the knights on horseback arrive to do battle with the twin snakes. Before one even listens to the album, he can already grasp its focus and themes: war and peace, victory and hope. Dean can capture in an image what Anderson, Squire, and Howe can capture in music.
The three songs are not only well-written, but they are also well-performed. This may seem like an understatement in regards to Yes, but this cannot be said about every song they released. The epic opener Gates of Delirium, inspired by Tolstoy’s even longer epic War and Peace, and featuring superb work on keys and synths from Patrick Moraz on his only Yes album, was best described by Jon Anderson: it is a “war song,” but not one that seeks to explain or denounce war, but rather a song that explores war’s aspects: there is a “prelude, a charge, a victory tune, and peace at the end, with hope for the future.” Sound Chaser, a frenetically paced tune featuring a true guitar solo from Steve Howe, solid drumming courtesy of Alan White, and a sizzling performance on bass guitar from the late, great Chris Squire, allows Yes to explore their jazzier side. The final tune, To Be Over, moves at a more relaxed pace, anchored by Howe’s electric sitar. It is a beautifully straightforward song, and it provides the perfect final touch on a visually and acoustically stunning album.
In sum, Relayer may not be the most renowned album in Yes’ extensive catalogue, but in this reviewer’s humble opinion, it is one of their finest works overall, and one that deserves more attention and respect.
Review of [headspace], ALL THAT YOU FEAR IS GONE (Insideout Music, 2016).
Tracks: Road to Supremacy; Your Life Will Change; Polluted Alcohol; Kill You With Kindness; The Element; The Science Within Us; Semaphore; The Death Bell; The Day You Return; All That You Fear is Gone; Borders and Days; and Secular Souls
Bread and Circuses rule the day, or so it seems.
On their second album, ALL THAT YOU FEAR IS GONE, prog metal act and somewhat supergroup [headspace] delve into some rather deep social and cultural problems. Specifically, the band asks, just 1) what is it that The-Powers-That-Be be do to distract us, and, perhaps more importantly, 2) why do we let them?
Lyrically, this album follows the first album rather closely. That is, the themes follow logically from before. If I’m interpreting the lyrics properly on the second [headspace] album, Wilson is even more writing a sequel to Threshold’s excellent MARCH OF PROGRESS (2012). All three albums, though, radiate a form of individualist libertarianism and anarchy.
Throughout its illustrious and long history, prog rock rarely fails to engage such problems and pose such questions, though it often does so through employment of symbolism, metaphor, and allegory. On ALL THAT YOU FEAR IS GONE, some symbolism exists, but the lyrics seem rather straight forward: the moral and virtuous individual, though rare, must resist the tyranny of the mass mind, whether that mass mind is found in schools, bureaucracies, corporations, governments, or neighborhoods.
From what little I’ve been able to glean from the internet, Wilson had little to do with the lyrics on MARCH OF PROGRESS, but he wrote nearly all of them for ALL THAT YOU FEAR IS GONE.
Regardless, there’s a lot of young Neil Peart hovering over this album.
And yet, not completely, especially when it comes to matters of religion. I’ll get to this in a bit.
Musically, the album is glorious prog metal, more driving than Dream Theater but not as much so as Threshold. And, where Haken might be playful, [headspace] is intense. Indeed, intense is the most proper and best way to think of the band’s music. And yet, within such prog metal intensity, there is to be found much variation. The opening track, “Road to Supremacy,” begins with a heavy Philip Glass minimalism before Wilson’s soaring vocals force us to look to the heavens. Tracks 2 through 11 mix everything from melodic ballads to folkish auras to classical guitar runs, but always with—here’s that word again—intensity.
What perplexes me and interests me most is the final song of the album, “Secular Souls.” First, musically, this is an extraordinary song. Not only does it reveal the wide range and power of Wilson’s voice, but every one of the musicians in [headspace] is in top form. No hyperbole here. The best of the best comes out here. Though there’s not a dud on this album, this is the best song of the album, and it is the perfect conclusion to what the album has built and earned over the previous eleven songs.
I’ve not mentioned the members of the band yet–but it really is a supergroup (a term, I dislike, generally, but it applies here). In addition to Wilson on vocals–Adam Wakeman on keys; Lee Pomeroy on bass (if you want to be blown away, watch Pomeroy on the Genesis II Revisited DVDs); Pete Rinaldi on guitars; and Adam Falkner on drums. Sheesh.
Second, the lyrics deal with the mystery of the Catholic Mass. “What!?!?!,” I thought when I first heard this, scratching my head and furrowing my brow. Is Wilson mocking the Mass? Though Catholic myself, I will be the first to admit, I’m a pretty bad Catholic when it comes to actual practice. Culturally and intellectually, though, I’m pretty much in full agreement with the Church. Whatever my beliefs about the next world, in this world, I have more respect for the Church—despite its rather blatant and often terrible failings—than for any other institution in existence. I write all of this not to convince you, the reader, of anything other than this: I take this stuff seriously.
Listening to the final song, one could arguably claim it is as anti-Catholic as it is pro-Catholic. Given the deep sensitivity with which Wilson sings the words of consecration (the part of the Mass in which Catholics (Anglo- and Roman-) believe the bread and wine become flesh and blood) and the placement of the song as the final song, it seems to me that Wilson is serious. And, at many levels, this works with the other criticisms of the album leveled in the previous songs. After all, from the first song on, this album praises in no uncertain terms the righteous individual.
If so, that righteousness ultimately stems from grace, not will. That grace comes through the rigors of faith. Just as Rome’s “bread and circuses” failed, so too will our modern equivalents. The only hope for Rome (or, really, the West) was the rise of an obscure sect from out of the catacombs, a sect preaching loving and sacrifice. These truths do not change, whether in 312AD or 2016AD.
You as well as Damian Wilson might be reading this and, legitimately, thinking: what the hell is Birzer talking about? If so, I apologize. But, until I hear otherwise, I’m going to assume that [headspace] embraces both libertarianism and Catholicism.
Wishful thinking on my part, perhaps.
Regardless, this is an excellent album. How many hours of enjoyment has it given to me already in the first ¼ of 2016? I couldn’t even count the hours. I can state this with certainty: I’m listening to [headspace], and I will be for many, many, many years to come.
As I’ve mentioned before, Jim Trainer is one of my favorite painters. The man can capture the mythical essence of reality better than anyone I know. As much as James Marsh is connected with Talk Talk, Hugh Syme with Rush, and Roger Dean with Yes, Trainer is connected with Big Big Train. His work is some of the finest I’ve ever seen, and I’m quite proud that progarchy HQ is decorated with a framed, original Trainer painting.
Today, on Facebook, Trainer posted an unused painting for Big Big Train’s 2009 masterpiece, THE UNDERFALL YARD. Not surprisingly, it’s simply glorious. So, with Trainer’s permission (thank you, Jim!), I’m reposting the painting, three extracted crops, and his comments.
For what it’s worth, I strongly disagree with his own criticism. I think this painting perfectly captures the mood and themes of Spawton and Co.
*****
Trainer’s description: “Promised Rob Aubrey an old sketch from the Underfall Yard illustration set but when I found it I was so disappointed with it. Spent last night and this afternoon trying to turn it around….not sure if I’m there yet but I think I’ve done enough to let it go. Clouds are still not right but might never be.”
Trainer: “Tearing apart the fabric of British society – describes the album themes well – I thought.”
Trainer: “I was never sure if I was illustrating a power station or a wheel house. Whatever it is at least it is spewing out psychedelic waste!”
Nova Incepta (New Initiative) is an Australian collaboration of artists that wish to deliver its unique blend of progressive rock and cinematic scoring to the world. The project utilizes features of rhythmical complexity, orchestral scoring, cinematic themes, progressive ideas and elements of World Music. Nova Incepta hope to connect with the globe sharing its spiritual beliefs and promoting change through the universal language of music.
One of the founders of the project, Daniel Greis talked for Progarchy about the upcoming EP, and more.
What’s Nova Incepta up to these days? I assume pretty busy as the new EP is on the way.
Nova Incepta are always busy! We’ve constantly been on the go for the last 2 years and nothing has changed today. At the moment we are putting the finishing touches on our upcoming EP “New Initiatives” and are in the midst of rehearsing material for our live gigs. We have also recently had a bassist and keyboardist join the team and they fit those positions perfectly! Nova Incepta is officially complete! Although, we have ideas to write our next album with a main vocalist incorporated, but for now were sticking with mainly instrumentals. On that note, we are already deep into writing the album.
How would you describe the sound of Nova Incepta? You say for your sound “Cinematic progressive rock.” I would love to here a little more about it.
The sound of Nova Incepta is a unique blend of progressive rock and cinematic scoring. The project utilizes features of progressive rock/metal (including rhythmic complexity and extended solo sections), orchestral scoring, cinematic themes and elements of World Music. We feel like progressive rock and cinematic scoring are both such epic genres of music, so why not merge them together to make a hybrid? We like to call the genre – “Progmatic”.
Is there a certain concept you guys are following in making music?
That’s actually a very interesting question for us, as we seemed to have taken an unorthodox approach to writing this EP. Initially Nova Incepta only comprised of Jesse Turner (guitarist) and Gareth Cohen (drummer/composer/producer). However, at the same time there was a separate project going on between Jesse Turner and Daniel Greis (composer/producer) that was actually the beginning ideas of “Anonymous Oracle”. As both Gareth Cohen and Daniel Greis had the same stylistic approach to writing, in time both writers came together to create this power team. Both composers wrote and structured their own separate material, which entailed orchestral instrumentations, rhythms, and melodies. Each producer would then take the material to Jesse who would bring it to life by tracking in the rhythm guitar, bass guitar as well as having full freedom to write the lead guitar parts and solos. That’s always been our conceptual approach with regards to composition – to try and incorporate the best of what each member has to offer. Going forward for our album, we have developed an amazing chemistry and understanding when it comes to writing material and we are looking forward to involving our two newest members Ben (Bassist) and Kailesh (Keyboardist).
Tell us a little about your upcoming EP “New Initiatives.” How does it sound?
The “New Initiatives” EP is the exact sound we want to start our Nova Incepta Journey with. It’s a musical odyssey, taking the listener on an expedition through many different genres and styles, provoking many different emotions and thoughts. Throughout the EP we have collaborated with young highly skilled musicians, Jodi Cohen and Kessem Turner giving us vocals for certain featured vocal sections as well as Paul Khoder and Kailesh Reitmans featuring with guest piano solos. The EP begins with a prelude, introducing the main theme of a 3-part suite called “inabstain” which comes later in the EP. It is then followed by “Anonymous Oracle” which takes the listener on a musical journey through the notion of self-guidance and then last but not least, “Inabstain”, a 3-part suite that culminates into a 15-minute musical adventure that explores the notion of addiction.
Is “Anonymous Oracle” kind of a mirror that reflects what can we expect from the upcoming EP “New Initiatives”?
Yes, to a certain extent. Although as I mentioned before Nova Incepta have two composers/producers, Daniel Greis who composed and produced “Anonymous Oracle” and Gareth Cohen who composed and produced the 3-part suite “Inabstain”. Although both writers have a similar stylistic approach, each has their own unique traits and sounds. So to completely answer your question, expect the same style of music but with a slightly different sound…if that makes sense.
What made you choose “Anonymous Oracle” as a single to represent your new EP?
We knew the minute the track was finished it would be our single to represent the EP. “Anonymous Oracle” addresses to the world exactly what Nova Incepta is all about as well as what to expect from us in the future. The track takes the listener on a journey through many different styles of music including progressive rock, progressive metal, cinematic themes, orchestrations, jazz and djent, which provokes various emotions. Our goal in this track was to connect with any listener who appreciates and loves music no matter what genre or style they are into, even electronic, trance and pop lovers, ANYONE! 🙂
As a new talented band, what are the expectations of yours from the “business”?
Thank you for the complement. To be honest were not to sure what to expect from the industry, were going to take it as it comes and just do what needs to be done to the best of our ability.
Here I wanted to have a serious finish to the interview. They say in Australia you can see giant spiders in your own houses, in your beds! Is it a myth?
This is no myth, every so often you will find an 8 legged friend bigger than the size of your hand hanging out in the corner of your roof, he’s just there to keep you company. Spiders, like all creatures wont attack you unless you threaten them in some way.
When I was back in college, fellow progarchist and professional musician, Kevin McCormick, and I used to spend hours upon hours talking music, chord structures, album marketing strategies, and, especially, the meaning of lyrics. For us, the lyrics of good rock and prog were akin to poetry.
And, frankly, as someone who studies literature for a living, I can state in hindsight that many of the lyrics written at the time by Peter Gabriel, Roger Waters, and, especially, Neil Peart and Mark Hollis warranted such praise. At their highest, each lyricist reached toward the best modernist writers of the twentieth-century.
Some might argue that we could’ve and should’ve more wisely spent our time studying and doing our school work.
There’s much to argue against this, however.
First, our conversations solidified a life-long friendship. Second, they fired our imaginations. And, third, they allowed us to think it very direct ways about how art can influence society. Indeed, all three of these things have not only been critical to my own intellectual and professional development, but also to my very source of happiness.
Sometime during our freshman year at the University of Notre Dame, Kevin introduced me to a band that had never reached my ears in my childhood in Kansas, the music of Ultravox. Through Kevin, I became absolutely enamored with three of Ultravox’s albums: VIENNA; RAGE IN EDEN; and LAMENT. I liked Quartet as well, but it seems the poppiest and shallowest of the three. It had some catchy things, but it just simply couldn’t compare in depth to VIENNA, to RAGE IN EDEN, or to LAMENT. The lyrics to VIENNA opened the world of Europe up to me. RAGE IN EDEN struck me as literature, pure and simple. LAMENT seemed an extraordinary comment on the sorrows of the world of the time (and, frankly, still).
We sit and watch these lifeless forms stark and petrified
The high suspense of an empty stage drawing, in clutching to its breastWith murmured words we sigh and focus on the main facade
Beyond the hard reluctant windows news from magazinesWe wrote their names on books we’d borrowed as if to bring us closer still
And threw it all away to focus on the main facade
Rage in Eden jigsaw sequence, but no one could see the endAnd they were the new gods and they shone on high
Their heavy perfume on the night sucked them down in red tide–Rage in Eden
As probably many college students do, Kevin and I each had pretentions to a literary career. Kevin had already become a rather accomplished poet, and his senior-year poem dealing with Arvo Part won the award for the best poem written by a college student in 1990. Extraordinary! I had no such skills, but I still wanted to be a writer. I, however, had no desire to write poetry or fiction. Instead, I wanted to write histories, biographies, and cultural criticism.
Regardless, what prompted this post was my relistening to Ultravox. When Kevin first introduced me to RAGE IN EDEN, he told me to listen as carefully as possible to the lyrics. He hoped, he claimed then, that he would one day write a book of cultural criticism using not only the titles of each song for the titles of his own chapters, respectively, but that he would base the ideas of his own book on the lyrics.
Kevin has pursued other interested in his professional career.
Still, it’s a great idea, and I hope he takes up his own challenge to himself, delivered to me in Cavanaugh Hall, thirty years ago this coming fall.
I can say with absolute certainty that I write about prog rock because I know that it inspired me in 1981, in 1986, in 1992, and continues to do so. Indeed, there’s nothing I’ve published that hasn’t had a prog or rock soundtrack behind it.
Reading passages of ancient rhyme
Cut so deep, so old
Telling tales of travelers and mystery
Hearing spirits never far removed
Calling out aloud
When the time comes, they’ll talk to me–Man of Two Worlds
Progarchy 