4.5: Steven Wilsonian Glory

On By bradbirzerIn Progressive rock4 Comments

Steven Wilson, 4.5 (Kscope, 2016).  Blu-ray.

Tracks: My Book of Regrets; Year of the Plague; Happiness III; Sunday Rain Sets In; Vermillioncore; Don’t Hate Me; and Lazarus.

EP: A+; Kscope packaging: C

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Wilson’s 4.5: A Must Own.

4.5 brings a huge smile to my face.  Yes, a smile of happiness, even though “Steven Wilson” and “happiness” rarely go together in the same paragraph, on the same page, or in the same article.  Whatever the man’s genius—and it is astounding—few could look at the 48-year old English art-rocker and think happy thoughts.  Wilson is as grim as they come.  If he didn’t look so much like a late 80’s neo-hippie, he’d be the perfect Cromwellian Puritan of English history.

My happiness with 4.5 is the happiness of satisfaction, not of joy.

It’s also the happiness of nostalgia.  4.5 reminds me of an ‘80s release, the EP issued while we waited for the next LP.  This could be JAPANESE WHISPERS or INTO THE BATTLE WITH THE ART OF NOISE.

Not that 4.5 sounds any thing even resembling The Cure or The Art of Noise.  But, 4.5 is pure Steven Wilson.  All to the good.

Still, look at those 4.5 track titles.  Doom and gloom.  Gloom and doom.  Well, except for the one entitled “Happiness III.”  It’s a rather upbeat song, but, from what I can tell of the lyrics, it’s about the false happiness that supposedly comes from consuming stuff in the mall.

The opening track, “My Book of Regrets,” possesses drama in music as well as in lyrics.  Heavily guitar based, Wilson’s first track progressively drones on about malls and t-shirts, frequent topics for this artist.  This song is the most Porcupine Tree-sounding song on 4.5, and it could’ve easily have originated in the FEAR OF A BLANK PLANET era.

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No lyrics come with the album, but I assume these two women mean something.

“Year of the Plague,” the second track, comes from THE RAVEN THAT REFUSED TO SING, and it certainly sounds like it.  Indeed, no one would need the liner notes to guess this song’s origins immediately.  That album was, for what it’s worth, my least favorite by Wilson as a solo artist or with PT.  Still, I love this song.  It should’ve been on RAVEN, as it’s pensive and purely Wilson.  RAVEN, as it is, sounds like a cheap plagiarism of The Tangent’s second album, THE WORLD THAT WE DRIVE THROUGH.  Had it focused more on the sound delivered here on “Year of the Plague,” RAVEN would have been a prog classic.

Track four, “Sunday Rain Sets In,” is, for all intents and purposes, a b-side from HAND.CANNOT.ERASE.  I’d be curious to know why Wilson didn’t include it on that album.  It’s a rather stunning track, meditative overall but with a very emotional guitar line and a theatric conclusion.  It is, however, devoid of all lyrics.  Still, it would’ve fit nicely as a way of tying several songs together on HAND.

Track five, “Vermillioncore” is simple prog chaos.  Another instrumental, this song could easily have come from late Porcupine Tree or from Wilson’s second solo album, GRACE FOR DROWNING.  It is as heavy as “Sunday Rain Sets In” is meditative.  Lots of KING CRIMSON in this track.

The final two tracks, “Don’t Hate Me” and “Lazarus” are quite good, but they offer nothing surprising, though the guest vocals on “Don’t Hate Me” make this a better track than the original PT version.  Each song is a nice Steven Wilson 2.0 rework of Steven Wilson 1.0.

Frankly, I love this EP.  At a little over 40 minutes, it might as well be a full album, though Wilson has chosen to release it as an EP.  Either way, 4.5 is excellent and a must-own for any lover of prog or good music.

My only complaint is the poor packaging, which seems to be more and more the norm with Kscope releases.  I’ve been purchasing blu-rays when ever possible as the music quality is just so much better than CD or DVD.  The booklet that comes with 4.5, though, is next to worthless.  Wilson explains the origins of each song, briefly, and he lists who plays on each track.  But, there’s nothing in the way of lyrics, and the photography, while good, is nothing revealing or spectacular.  If I didn’t care, I’d just say “meh.”

I do care.

Unless Kscope is trying to move its faithful listeners to all download (which I fervently pray they are not), the label desperately needs to up its game and its quality control.  I order a physical copy of every album I want for very specific reasons.  One of the most important is I want good, tangible art work and I want to read the lyrics.

Come on, Kscope.  You are so much better than you’ve been revealing yourself to be lately.  If you do nothing else over Lent, at least learn to treat those loyal to you better.

Kscope’s weaknesses aside, Wilson’s 4.5 is strong.  Not at the creative level of his HAND.CANNOT.ERASE., it’s certainly much better than RAVEN.

 

 

 

Album Preview: Wolfmother — “Victorious”

On By Time LordIn Progressive rockLeave a comment

The new Wolfmother is released in just over a week. The four songs that have been released from it to date are nothing short of mind-blowing.

“Victorious,” the title track, is totally triumphant. It’s got everything that has made Wolfmother great in the past, but while sometimes the music deliberately had veered into dumb-as-a-bag-of-hammers territory in order to ironically mine the retro vibe, it’s different now. The cultivated lack of guile is now gone, and a natural ease and brilliance has taken its place instead. The retro rock is now completely authentic and, quite simply, a whole bag of awesome.

“City Lights” is more proof that the band has found its true identity and now stands apart from the pack. It’s not aping fragments of greatness from the past, but rather proceeding along at full clip in the present, having mastered the idioms of the past. This song zooms and zips through your headphones with so much pizazz it’s incredible. Slick guitar sound on the licks.

“Gypsy Caravan” can be described best with one word: groovy. Hop on board the psychedelic caravan and get your groove on, kiddo. What I love about Andrew Stockdale’s vocals is that he’s got a unique sound that makes him instantly identifiable in that good way. You know, the way that Ozzy singing a Black Sabbath song would make you feel unique excitement: as in, dude, nobody sounds like this! This is so cool!

The newest track that just came out the other day, “Pretty Peggy,” is a perfectly nostalgic expression of unrequited love. It takes you on a trip down memory lane, but there is no artifice, just artisanal craft in service of a purely musical articulation of infinite longing.

The sheer variety of accomplished songwriting on all these four tracks, which cover so much different territory, is stunning. The four tracks are all five-star wonders, and they’ve really got me looking forward to the entire album. Wolfmother is truly victorious!

Interview with Heartlay

On By NickIn Progressive rockLeave a comment

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French metal band Heartlay released their second EP titled “Remedy” last November. The project leader and composer Aaron Sadrin talked with Progarchy about the EP, and more.

What made you go for the name Heartlay?

Aaron Sadrin: Between April and August 2014 i picked up around 100 band names, i was looking for 2 words fused into one but without too much letters at the same time. Heartlay appeared to be the smartest choice both aesthetically and ethically, it meant to me the unveiling of all falseness within human’s most powerful muscle, the heart.

In a less metaphoric language it suggests that i wanted to make music with a cathartic devotion.

How do you usually describe your music?

Soulful, dark, honest.

What is your writing process like?

I always write everything alone in my home studio. It’s not that i’m obsessed to be a one man show but i feel more in harmony with myself and my visions rather than with other people to make music. I can do whatever i want with no compromise and that’s great.

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Who or what is your inspiration, if you have any?

Inspiration comes from sulfur, this is what makes me feel emotions which interests me as a musician. When I’m not strictly working in the studio I enjoy walking in the night alone to find extra-musical ideas, like concepts and lyrics, I get lost in my head.

What is your favourite piece on the “Remedy” EP?

Perhaps The Battle or Black Walls. But it differs from the perspective, tracks like Bring You Down or Through The Window are also fun to play on stage, it depends of periods.

What makes “Remedy” different?

Remedy is different because the music on it does not try to take advantage of a new hype music genre. It exists by it’s own consistency, it’s own qualities and style, i’m interested at exploring my own shades and cracks through the music i want to make and being honest is the most important thing to me, this is what makes it unique i think.

What should music lovers expect from “Remedy”?

They can expect from these five songs a feeling of controlled anger combined with ambivalent melancholy and a fetish for sonic explorations.

What kind of emotions would you like your audience to feel when they listen to your music?

Adversity.

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Which do you like most, life in the studio or on tour?

I can’t really choose between. In the studio you’re building the piece of art, it’s a long, calm, introspective process and performing on stage is the opposite of that. You play the consequence of what you did in the studio, and you have to adopt a more social minded character to make a good show. Performing live is cool, it’s just a completely different job and experience, but even if i enjoy that i’m am more of a studio person.

Pick your three favourite albums that you would take on a desert island with you.

Nine Inch Nails – The Downward Spiral
Tool – Lateralus
Clint Mansell – Moon Soundtrack

Get “Remedy” from Bandcamp.

Metal Monday: Megadeth — “Have Cool Will Travel”

On By Time LordIn Progressive rock1 Comment

This little blast from the past will get your adrenaline going on a Monday.

Ya just gotta love the use of harmonica in this…

Radiant’s Record of the Week: SO MANY ROADS

On By bradbirzerIn Progressive rockLeave a comment
Monday Featured Product
Neal Morse

‘So Many Roads’

For $19.99 this week only!
 THIS IS THE QUINTESSENTIAL LIVE CD FROM NEAL MORSE!
Recorded at some of the best venues in Europe, this contains breathtaking performances handpicked by Neal Morse from a series of concerts with his critically acclaimed European band. Neal says “There’s some really special moments like Jessica singing the angelic section of Spock’s Beard’s “At the End of the Day” and of course the rockin’ “Author of Confusion/I’m the Guy” medley.
I also really enjoy our rendition of the Spock’s Beard classic “Walking On The Wind”. That Euro band rules!” With a cross section of the best of Neal’s career, from Spock’s Beard greats to Transatlantic classics as well as his newer solo work, this is a live album that will please fans to no end.
Purchase your copy today HERE!

Simple Minds Live: 1982

On By bradbirzerIn Progressive rock3 Comments

This video makes me giddy as well as sad.  This was clearly the highpoint of this band, and what a high point it was.

Watching this video gives me absolute chills, reminding why they were once a favorite band of mine.

But, wow, did they fall fast or what.  So sad.  Still, enjoy this in all of its HD glory.  Really stunning.

David Longdon on Folklore

On By Time LordIn Progressive rock1 Comment

Getting excited for April as I read this:

This is just a quick post to say that with the arrival of our new studio album FOLKLORE, Greg and I will be posting a series of blogs in which we write about the stories behind each of the songs on the album. The first blog will be posted at the beginning of April 2016.

We did this with our English Electric releases and many of you commented that you enjoyed reading them, so we are doing it again!

As you may know, we are in the final stages of completing not only FOLKLORE but also our Blu-Ray release of Stone & Steel which I must say is both looking and sounding amazing.

Voyager — “Misery is Only Company”

On By Time LordIn Progressive rockLeave a comment

V was such a great album. I’m really looking forward to the next one from Voyager! Here’s a foretaste:

Steven Wilson: “Space Oddity” Live

On By Time LordIn Progressive rockLeave a comment

Some GoPro cameras captured SW, the band and Ninet Tayeb performing Space Oddity at the Eventim Apollo last week (27th Jan) as a tribute to the late David Bowie. Thanks to Lasse for editing it together.

Bruce Soord- Bruce Soord- A Review.

On By Adam SearsIn Progressive rockLeave a comment

Before I start my review, I should mention that I have not listened to any of The Pineapple Thief (Bruce Soord’s band) before. Progarchy’s Brad Birzer asked if I was interested in doing a review, and I thought “Why the heck not.” Perhaps, this will be made interesting by someone with fresh ears.

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This is Soord’s first solo album, appropriately self-titled. At first I listened straight through the album (only 40 minutes) and was surprised to learn that this isn’t really prog, at least in the traditional sense. I am a man with many musical tastes but at first listen, it seemed too simple and slow to grab my attention. It wasn’t until multiple listens that some tracks moved me such as “Buried Here”, “A Thousand Daggers”, “Born in Delusion”, and “Familiar Patterns”.

“Buried Here” and “Born in Delusion” tie for my favorite tracks on the album.  While there’s nothing out of the ordinary or original in “Buried Here”, the melody is pleasant while haunting, and reminds me of some of the more mellow Blur songs, perhaps something from their 2003 album “Think Tank”. Bruce Soord’s vocals actually reminds me of Blur’s Damon Albarn with a little of Steven Wilson thrown in.  “Born in Delusion” is another haunting piece here, which suckered me in by its neat 10/8 meter. Lyrically, I felt most connected to “Field Day Part 1” and “Field Day Part 2”. Even though Soord split it up into two tracks, (the first one running 3:15 and the second one only 1:50) to me, it seems like the same piece, where “Part 2” is an encouraging mantra, in reaction to the observations/ feelings in “Part 1”.

Listening to the album the third and forth time straight through, I began to understand its simplicity. The entire album does seem to have a nice arc to it, basically starting with an introduction piece so opposite of prog, it’s as if Soord is saying “Hey guys, this is just me and I’m going to do something way different now.” The album ends fittingly with an epic song “Leaves Leave Me”. And when I say epic, I mean epic in terms of the scale that has been standardized by the rest of the album, in length (5 min 21 secs), and in instruments/sounds (background vocals, children playing), but then just ends suddenly without resolve, which I thought was peculiar.

So overall I liked it, but I can’t see myself listening to it again and again, like I obsessively do with many other works. While not bad by any means, I’m guessing this album will have more to offer fans of The Pineapple Thief and Soord’s other projects, such as his collaboration with Jonas Renske for Wisdom of Crowds (which I also have not heard).

Perhaps I have some homework to do.

★★★