Interview with Orion Tango

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Pennsylvania based experimental trio, Orion Tango released their debut album in 2015. Titled after the band, the recording comprised of five songs sends you on an adventurous sonic journey. Guitarist and composer Tim Motzer tells us what was it like working on the album, but he also talks about inspiration, gear, and more.

How did the creative process go for Orion Tango?

The creative process went very well. Orion Tango is an improvising power trio. Bassist Barry Meehan, drummer Jeremy Carlstedt, and I have been working together in various formations and projects for years, and that is our forte. We create in the moment. So we don’t know what we are going to play, or what will happen. The thing about Orion Tango is the improvisational aspect. It’s something i’ve personally been delving deeply into for years with 1k Recordings projects like Instant Takemitsu (with Dino JA Deane), Goldbug (with Theo Travis), Base3, and in my solo work as well as with my scores and collaborations in modern dance. It’s a very profound thing, because the reward of this process, is what you will find by doing it. It’s not always a good feeling doing it, but ‘the moment’ is what it is about, and what you are left with is ‘the result’— this music. It’s a realtime compositional process, but we are letting the music unfold and, as musicians, helping it along or sonically sculpting it in a way. We all add and subtract ourselves dynamically as the music moves forward. This process is almost like being in a trance—deeply inside the music—with the deepest intent for expressing and riding the muse with Jeremy and Barry. Many people that have heard the record, think it was composed or at least arranged, but that is how it actually went down.  Barry calls what we do “a calling of the spirits’. As Orion Tango continues performing and recording, the exciting aspect is where we will go, and what music will occur.  It is wide open.

What does “Orion Tango” (album) musically represents in terms of achievement(s) of your careers?

It’s a piece of the puzzle in all our musical lives. It represents a part of a number of projects that we are involved in. For us, it is the uniqueness of the  constellation of this trio—friends and great players—that want to create together at this level, and play a bunch of shows. It stretches us and we evolve because of this project.

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What’s Orion Tango up to these days?

The debut album is out at 1krecordings.com. We just played on WXPN’s The Key Sessions, which was an amazing time. They have a beautiful studio there, and in addition to recording, we had live visuals by Jen Cleary to inspire the improvisations as well as added stimuli for the studio audience. The entire evening was filmed on multiple cameras, so I’d expect that to air soon, perhaps in February 2016. We may even have an audio release from that session. It was such an inspired intimate evening of spellbinding music. One where we start from zero really, and, in this case, it was a five note Japanese scale, that Barry only learned minutes before we started! Sometimes it feels like an aircraft rolling down the runway, and at some point without knowing, we are in the air. A fan described our music that night as ‘symphonies’. Fun stuff! Orion Tango’s next show is in Baltimore at the 8×10 on 1/28 along with Julie Slick’s new band EchoTest and Out of the Beardspace. Meanwhile, more booking is happening.

Where do you draw your inspiration from? How do you go about channeling it?

Inspiration can come from almost anywhere, and at anytime. Sometimes, it’s hard to get started, so we search for the spark. It could come from reading an interview, or listening to a record, or just playing. Anything could bring it on. I am inspired by painters, dancers, nature, music, reading and on and on. I think in terms of channeling, or finding the zone, it’s just about being yourself, and finding the music by doing it. It’s a process, and by doing it, something is bound to happen.

Which bands influence your sound?

It’s a hard call. I think we sound like us when we play. I hear us. It’s a unique blend of players with different backgrounds. We are not trying to sound like anyone else. Our sound palette is guitar, bass, pedals, amps, and drums. So it’s what we do with our instruments that matter. We’ve all listened to an enormous amount of music across our lives, and it’s all in there. It is a ridiculous list of luminaries, so hard to even try to name everyone! For me, Jimi Hendrix was a key early influence; many incredible jazz artists including Miles Davis and all who worked with him; ECM artists; electronic artists; Pink Floyd, Brian Eno, and Robert Fripp among many many others!

Have you performed live with Orion Tango before? How do people react on your music?

The thrilling thing to me is that people really seem to love what we do. It’s a process and a way of playing that is fresh and new to people. We aren’t trying to cop a genre or anything really, but just be in the moment and let this music happen. I think people enjoy seeing the process of making this music in a live setting.

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Where do you see OT in the future?

I’d like to see us playing cool venues, art spaces, festivals, touring as much as we can. That’s my personal goal.

What have you been listening to lately?

As of late, a lot of jazz ECM stuff, Keith Jarrett, Terje Rypdal, Eberhard Weber; John Coltrane, King Crimson 2015 tour box, Frode Gjerstad Trio, Gong, Henry Cow, Ryiuichi Sakamoto, Sidsel Endresen among lots of other records. It is an ongoing thing.

What are your all-time favourite records?

There are so many, it would be the longest list of all time!  Here’s a few that come to mind, I have left many out. It’s such a difficult question to answer.

Pink Floyd – Meddle
Jimi Hendrix – Band of Gypsies
Terje Rypdal – Descendre
Eberhard Weber – The Colours of Chloe
Mahavishnu Orchestra – Apocalypse
King Crimson – Starless and Bible Black; Lizard; Discipline
Keith Jarrett – Dark Interval
Curtis Mayfield – Superfly
David Sylvian – Dead Bees on a Cake
John Lee Hooker – The Country Blues of John Lee Hooker
a smattering of classical recordings by
Bach, Messiaen, Bartok, Stockhausen, Terry Riley, Nancarrow…

Steve Reich – Music For 18 Musicians
Muddy Waters – After The Rain; Electric Mud
Ali Farka Toure
Brian Eno – Another Green World
Beatles – White Album
James Brown – There It Is
Steve Hillage – Motivation Radio
David Bowie – Low
Wes Montgomery – California Dreaming
Jon Hassel – 4th World
Stevie Wonder – Innervisions
Fela Kuti – Shuffering and Shmiling
SuperSilent – 7

Is there anything you want to add?

We really appreciate your support, please download, or purchase our new record, Orion Tango, at 1krecordings.bandcamp.com. While you are there, check out the other eclectic 1k releases. You can also find lots of info on Orion Tango at the label site, 1krecordings.com. Thanks!

Orion Tango’s self-titled debut album is out now via 1k Recordings. Buy it here.

Critchley on Bowie’s Vision of Love

Simon Critchley on “Nothing Remains: David Bowie’s Vision of Love“:

The word “nothing” peppers and punctuates Bowie’s entire body of work, from the “hold on to nothing” of “After All,” from “The Man Who Sold the World,” through the scintillating, dystopian visions of “Diamond Dogs” and the refrain “We’re nothing and nothing can help us,” from “Heroes” and onward all the way to “Blackstar.” One could base an entire and pretty coherent interpretation of Bowie’s work simply by focusing on that one word, nothing, and tracking its valences through so many of his songs. Nothing is everywhere in Bowie.

Does that mean that Bowie was some sort of nihilist? Does it mean that his music, from the cultural disintegration of “Diamond Dogs,” through the depressive languor of “Low,” on to apparent melancholia of “Lazarus” is some sort of message of gloom and doom?

On the contrary.

Concealed in Bowie’s often dystopian words is an appeal to utopia, to the possible transformation not just of who we are, but of where we are. Bowie, for me, belongs to the best of a utopian aesthetic tradition that longs for a “yes” within the cramped, petty relentless “no” of Englishness. What his music yearned for and allowed us to imagine were new forms of being together, new intensities of desire and love in keener visions and sharper sounds.

HOUR OF THE SHIPWRECK, Are You There?

hour
A beautiful 2008 release.  Since, MIA.

The LA-based band, Hour of the Shipwreck, released a killer album in 2008, THE HOUR IS UPON US, but, as far as I know, nothing else.  I’ve done a fair amount of searching about/of the band on the web, but I can find nothing.

Does anyone know if the band is still around?

Thanks, everyone.

Eric Gillette’s Second Solo Album: May 2, 2016

Eric Gillette Announces New Solo Album
“The Great Unknown”
We are excited to announce the upcoming release of Eric Gillette’s new solo album,
“The Great Unknown”, featuring Eric on Lead Vocals and Guitar, as well as an incredible collection of musicians including the extraordinary Thomas Lang on Drums. The group is rounded out by Haken members, Diego Tejeida on Keyboards, and Connor Green on Bass.
“The Great Unknown”, due out on May 2, 2016, boasts 7 original tracks, including
the 18 minute epic “Escape” and is produced by Eric Gillette and Chris Thompson,
in partnership with T4 Music.
 The album will be mastered by audio genius, Rich Mouser (Transatlantic, Spock’s Beard, Neal Morse) at Mouse House Studio.

Available in April for worldwide pre-sale, through
Releasing worldwide on May 2, 2016!

Sign up for Eric’s newsletter to receive the latest updates and exclusive deals at www.ericgillettemusic.com

and follow Eric on Facebook at: EricGiletteMusic
and on Twitter at: @EricGillette 

Genius at Work: The Neal Morse Band

Chris Thompson just posted this wonderful shot of the Neal Morse Band (minus Mike Portnoy, sadly), hard at work.  So much talent in one room. . . .

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RIP, David Bowie (1947-2016)

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Just days after celebrating his 69th birthday and the release of his latest album Blackstar (to critical acclaim, I might add), rock legend David Bowie lost his battle with cancer. Another sad loss for the rock world.

http://prog.teamrock.com/news/2016-01-11/david-bowie-dead-at-69

Best of 2015: Symphony X — Underworld

The Man of Much Metal has a really great review articulating why Symphony X’s Underworld deserves to be among his top ten for 2015.

I couldn’t agree more! The MMM totally nails down so many of the reasons why I included it on my own list of the top albums for 2015.

But the MMM’s review does seem a bit rushed. Certainly, I agree with him about the epic stature of “To Hell and Back” (which is the track that really grabbed my attention for this album, because up until I heard it I wasn’t warming up to the odd numbered tracks on the album — namely: 1, 3, and 5 — but when “To Hell and Back” came up as #7, I was immediately captivated and willing to re-listen to the entire album again and again until it grew on me in its totality, odd numbers and all). But I do think the MMM missed his golden chance to mention how it is really the last three tracks of the album that take things to a whole new level.

To my ears, tracks 7 through 11 (the last half of the album) are the absolute best. After the epic-length “To Hell and Back” (9:23), we get a bit of a breather with “In My Darkest Hour” (4:22), since it is shorter than the final three tracks which follow it. But then the unexpected fun really begins.

“Run With the Devil” has a killer riff that sounds like one that The Winery Dogs would toss off when operating at their finest. When I have time to listen to only one track from this album, this is the one I pick. It is mind-blowing in its virtuosity.

“Swan Song” fooled me, with its title, into thinking it was the album’s final track. Its epic length (7:29) and epic vocals and epic sense of conclusion and finality had me thinking that nothing could top such an amazingly operatic song as an album closer. But then Symphony X pulls out an even more epic album closer…

“Legend” never fails to instantly excite me, and it’s because the way it starts off totally sounds like Rush. In fact, the last time Rush sounded this good, it was the 80s! So, it’s even Rushier than Rush.

Yes, I like how “Legend” starts and ends in that classic Rushy vein. But even better, everything in-between is totally awesome as well, as Symphony X shows off also how they are truly their own band. Yet, in my mind, I take the song as a secret tribute to Rush, because of the pinnacle lyric: “The legend never dies.”

Symphony X, in their finest hour. The legend never dies, indeed!