Interview with Ste Van Holm
Ste Van Holm has been recording and releasing music actively for the larger part of 2000’s, and he tends to shift to a new music style with each of the records. So far, he released six albums, and his latest experimentation is a progressive rock concept album titled “Tesla,” which celebrates the life and work of famous physician Nikola Tesla. Holm, who is a physician himself, talked for Progarchy about the new album.
Hey Ste. How are you doing?
I’m doing fine, thank you!
You released “Tesla” in November. How do you feel about the release?
I feel pretty good about it, actually. I feel I did what I could with it, and right now I don’t think I would do anything different. That might change, though. When I listen to my earlier albums, I allways want to change something. When I was about two thirds through the production I felt very different about it. I was about to give it up and do something else. But then I went to see Steven Wilson on his Hand.Cannot.Erase tour, and when I came home that concert had given me the power to finish the project.
How much of a challenge was it to work on the album?
The challenge for me is allways to find out what to do. When I finish an album, the easiest thing for me would be to do some more with the same sound and feel. But I get bored so easily if I do something that sounds like something I’ve done before. It usually take me three years to do an album. The first year is spend with crippling self doubt and useles demos. Then after about a year something happens, and an album starts to crystallize. And the last year is spend recording and mixing.
This time the biggest challenge was to stay within the boundaries of the concept.
How is the progressive rock scene in Denmark these days?
Oh, it’s terrible! There’s not much of a following of progressive rock in Denmark these days. Steven Wilson plays here from time to time. Steve Hackett just played here, and King Crimson pops by in september next year. Apart from that, the progressive acts seems to skip Denmark on their tours. I had to go to Germany to see Peter Gabriel.
What is your opinion about the new wave of progressive bands?
It is great that progressive rock is back! I have to admit, that I still prefer the acts from the seventies, but I might just be nostalgic. I think Steven Wilsons work is absolutely amazing, and he is truely progressive in that he doesn’t imitate the sound of the old progressive giants. I’d like to see much more music like that!
Can you tell me something about your influences?
My influences depends on my perspective. Musically I’m inspired by other music. But conceptually I can be inspired by anything. It could be a scenery, a photo, a film or something totally different. I usually start the work on a new album by making a mock up cover. Then I ask myself ‘how does an album that look like this sound like?’. If, as the case was with the ‘Constructions’ album, I think it looks like an industrial album, then I start to listen to a lot of industrial music, and from there I create my own interpretation of that genre.
What are you listening these days?
Steven Wilson’s Hand.Cannot.Erase has been a favourite since its release, and I still listen to it a lot. But apart from that I’m listening to the new Jean-Michel Jarre album. That’s not progressive at all, but I’m not narrow in my taste. Or at least, I try not to be.
Your five favourite records of all time?
Oh wow, that’s hard… only five picks…
Pink Floyd: Wish You Were Here
Mike Oldfield: Amarok
King Crimson: Red
Peter Gabriel: III (Melt)
Storm Corrosion: Storm Corrosion
Can you tell me a little bit more about the gear you used to record “Tesla”?
Sure! My main instrument is a Gibson L6 which is a few years older than me. Most of the guitars you’ll hear on the album is that one, but I also play a barytone guitar on the album. Then, for the first time in many years, I play Chapman Stick on a few of the songs. There’s Mellotron all over the album, but I also use it’s lesser known cousin, the Orchestron. You’ll also hear the sounds of french experimental instruments Ondes Martenot and Cristal Baschet. And there’s hang drums and theremin as well. Some of the more funny parts to do was to incorporate static and other electrical noises on the album. I build a Jacob’s Ladder which is often seen in the background of Hollywood films that features a mad scientist. It is basically just two strings of metal placed a few centimeters apart, and when high voltage is applied a bow arc starts to climb up the strings. Another thing I build was a Tesla Coil, which is an antenna for transmitting power. I used it to make musical sparks which can be heard on the track ‘Voltage Control’. Everything was recorded on Propellerheads Reason software.
Besides the release of the album, are there any other plans for the future?
Yeah, I plan to play some concerts in the summer of 2016. But we’re still working on it.
Any words for the potential new fans?
To any potential listeners, I’d like to say a heartfelt thank you, that you use your time listening to my music.
Listen to “Tesla” on Bandcamp, and buy if you like it.
Interview with Fake Heroes
Prog metal purveyors from Pescara in Italy, Fake Heroes came up with their second studio album “Clouds” in September 2015. This new release opens many doors for this great, young band and we can expect more great things from them in the coming years. The band talked for Progarchy about their work.
Where does the idea of the band’s name comes from?
“Fake Heroes” refers to all the useless things that we worship in our lifetime and that takes attention away from what is really important.
“Fake Heroes” is a concept. It concerns people that follow false ideals, shallow and foolish things instead of enhancing important issues.
How did you go about forming the band?
Our band formed in February 2012 from the ideas of our guitarist and composer Draft Djentleman.
We were born from the ashes of our previous post/grunge band called Too Late To Wake.
When Draft felt the need to create different and modern music he involved the same band but a new singer.
Fake Heroes is a band who is not afraid or ashamed to make a music that mixes rock music with popular rock/metal sound such as alternative rock/nu-metal/djent. How do you manage to do that?
We firmly believe that being able to combine different musical hemispheres creates what is sometimes called “personal sound.” We think we have done it in our own way: the wide variety of influences has led us to a true personal musical journey. This made it possible to combine the industrial metal with prog metal. And then, let’s face it, our choruses are POP.
What topics do you explore in your lyrics?
There’re not main themes in our lyrics. We usually speak about abstract themes or deep feelings trying to explain what we live during personal interior sensations.
In the past we have talked about our society and economy analyzing all the effects that they have on human beings.
Fake Heroes is a great band who loves to have live performances. I would love to know how do you guys feel just before the shows, you know, you hear audience, people talking, soon you will be on that stage. Singing your songs… How does it feel?
Playing own music live is one of the best sensation that a musician can feel in his life. It’s awesome to see people singing your songs, enjoy your music and to feel something that make all as one. Seems rhetoric but not at all.
How does a Fake Heroes live performance look like?
Our show is like a little trip to places we already know, but that we never tire of admiring .
Are you satisfied with the reactions of audience?
Yes, fortunately we were able to communicate our passion and humility, so the audience feels at ease and think to have fun.
Are there any bands or musicians you would love to share the stage with?
There are several bands with whom we would like to play live: Skyharbor , TesseracT, Circles, Dead Letter Circus, Twelve Foot Ninja, Textures …
They’re the bands that have given us the biggest influences.
Is there anything you want to share with our readers?
Please share our music with people that can appreciate it! It’s very important for us to have your help. Thanks for the questions and your attention.
Listen to Fake Heroes’ new album “Clouds” on Bandcamp, and join the army of their fans on Facebook.
Interview with Esperoza
Esperoza is a symphonic extreme metal band from Chisinau, Moldova. The band is on the verge of releasing their new album titled “Aum Corrupted.”
Alright, first things first. Before we dive into all the music stuff, how’s life?
V: Life is interesting and perfect.
Speaking of new music, you have a new album. What can people expect from “Aum Corrupted”?
V: People can expect dark and innovative music in this album. From slow doomy songs up to black/death. Also we made a lot of experiments on this album and you will hear them.
What was it like working on the album?
V: It was exciting. Almost all drum trucks were recorded at night after work and all angriness and energy were caught by microphone.
Are there any touring plans in support to “Aum Corrupted”?
V: Yes we plan to have gigs, festivals and tours for this release.
While we’re on the subject of touring, what countries would you love to tour?
V: Good Question. My dream is US and Canada tour, because there is a lot of people who like metal music. Also Europe is our goal too, we had tour in Balkans ( Serbia, Croatia, Hungary, Slovakia, Poland, Ukraine) and we want to go further.
Who and what inspires you the most?
V: My biggest influence is Dream Theater and Mike Portnoy, he inspired me in every aspect of music.
What other genres of music do you listen to?
V: I love Progressive Metal, Technical Death Metal, Power Metal, Symphonic Metal, Hard Rock, Heavy Metal etc.
Have any of the other genres you listen to had any impact on your playing?
V: Main influence on me is Progressive Metal and different types of progressive metal, rock, jazz.
I really appreciate you giving us your time today. Is there anything else you’d like to tell us and the fans before we wrap things up?
V: I want to say thanks to our fans who listen and support experimental underground metal. Keep on Rockin!
Follow Esperoza on Facebook here.
Streaming Without Serendipity
Teddy Wayne in the NYT on what we have lost as books and albums are no longer physically present in most homes:
When I was 13, in the early 1990s, I dug through my parents’ cache of vinyl records from the ’60s and ’70s. We still had a phonograph, so I played some of them, concentrating on the Beatles. Their bigger hits were inescapably familiar, but a number of their songs were new to me.
Were I a teenager in 2015, I may not have found “Lovely Rita” or acquired an early taste at all for the Liverpudlian lads. The albums stacked up next to the record player, in plain sight for years, would be invisible MP3s on a computer or phone that I didn’t own. Their proximal existence could have been altogether unknown to me.
S. Craig Watkins, a professor who studies the digital media behavior of young people in the department of Radio-Television-Film at the University of Texas at Austin, said that he and his family almost exclusively stream music now in their home and that he and his wife stored their old CDs in a seldom-used cabinet. To his teenage daughter, “those CDs are, at best, background matter,” he said.
“I can’t recall her ever taking time to search through what’s in there,” Professor Watkins said. “But I could imagine that when she gets a little older, it might become meaningful to her — that those artifacts are a way to connect back to us.”
Sometimes, though, he and his daughter discuss what is on their devices’ playlists.
There are several big upsides to growing up with streaming audio, one of which is accessibility: assuming I was interested enough, I could have explored, for free, the Beatles’ catalog on the Internet far beyond the scope of my parents’ collection.
…
Digital media trains us to be high-bandwidth consumers rather than meditative thinkers. We download or stream a song, article, book or movie instantly, get through it (if we’re not waylaid by the infinite inventory also offered) and advance to the next immaterial thing.
Poking through physical artifacts, as I did with those Beatles records, is archival and curatorial; it forces you to examine each object slowly, perhaps sample it and come across a serendipitous discovery.
Scrolling through file names on a device, on the other hand, is what we do all day long, often mindlessly, in our quest to find whatever it is we’re already looking for as rapidly as possible. To see “The Beatles” in a list of hundreds of artists in an iTunes database is not nearly as arresting as holding the album cover for “Sgt. Pepper’s Lonely Hearts Club Band.”
Consider the difference between listening to music digitally versus on a record player or CD. On the former, you’re more likely to download or stream only the singles you want to hear from an album. The latter requires enough of an investment — of acquiring it, but also of energy in playing it — that you stand a better chance of committing and listening to the entire album.
If I’d merely clicked on the first MP3 track of “Sgt. Pepper’s” rather than removed the record from its sleeve, placed it in the phonograph and carefully set the needle over it, I may have become distracted and clicked elsewhere long before the B-side “Lovely Rita” played.
And what of sentiment? Jeff Bezos himself would have a hard time defending the nostalgic capacity of a Kindle .azw file over that of a tattered paperback. Data files can’t replicate the lived-in feel of a piece of beloved art. To a child, a parent’s dog-eared book is a sign of a mind at work and of the personal significance of that volume.
A crisp JPEG of the cover design on a virtual shelf, however, looks the same whether it’s been reread 10 times or not at all. If, that is, it’s ever even seen.
Bryan’s Best of 2015
2015 turned out to be another fantastic year for prog, as well as metal. Last year, I made a top 10 list, but this year, there has been far too much great music in prog, metal, and rock to narrow it down to 10 albums. Apart from my top 4, there will be no particular order for the rest of my picks. Most of this will be prog, but there is some straight up metal here as well.
The Neal Morse Band – The Grand Experiment
Neal Morse and company have made another outstanding album. “Alive Again” might be one of the top 10 best long progressive songs ever made. It is remarkably beautiful. Mike Portnoy’s drumming is exceptional, as always, and, like last year, this isn’t the last we shall hear of him on this list.
Spock’s Beard – The Oblivion Particle
The Oblivion Particle is my first introduction to Spock’s Beard, and I am heartily impressed. Ted Leonard’s vocals really round out the band. “Bennett Built a Time Machine” is my personal favorite from the record.
Stryper – Fallen
I’m brand new to Stryper, and after listening to their last two albums, I’m flabbergasted. Their new music is better than their original stuff from the 80s. The drummer has grown incredibly, and Michael Sweet’s vocals soar to the heavens. The best thing – Stryper hasn’t given up on their values. They blast metal to honor God.
Lonely Robot – Please Come Home
I was pleasantly surprised by this album. The music has just the right amount of complexity, with a few pop hooks here and there for good measure. The song “Lonely Robot” should be a radio staple, but rock radio sucks.
LEAH – Kings and Queens
The reigning queen of prog metal released a masterpiece this year. A long masterpiece. Her combination of metal with celtic influences works amazingly well. She creates a wonderful sound that no one else really tries to duplicate. Originality abounds.
Dave Kerzner – New World (Deluxe Edition)
The deluxe edition came out this year, so it counts as 2015. Plus, I overlooked the album last year since it came out in December, and for that I sincerely apologize to Dave. This album brilliantly revives classic elements of Pink Floyd, and Kerzner’s voice is eerily reminiscent of David Gilmour’s. This is an album meant to last.
The Winery Dogs – Hot Streak
Wow! AC/DC meets Mike Portnoy! Richie Kotzen’s voice has grown on me, as has the “Dog’s” music. From the virtuosity of the first track, “Oblivion,” to the hard rock bombast of “Captain Love,” Hot Streak is a fantastic album. Billy Sheehan’s bass balances Portnoy’s drums and Kotzen’s guitars beautifully. The quiet piece, “Fire,” is a nice change up, as well.
Next to None – A Light in the Dark
I saw these guys live in concert with Haken this spring, and I was impressed. For teenagers, these guys have serious chops. Max Portnoy stands out though, as he has clearly inherited his father’s raw talent. Check out my review of the album and interview with Max – https://progarchy.com/2015/07/20/metal-mondays-interview-with-max-portnoy-of-next-to-none/
Metal Allegiance – Metal Allegiance
You could call this a supergroup for thrash, although it seems anything with Mike Portnoy in it could be called a supergroup. His double bass thrash drumming is a nice change for him. The abundant guest performances from bands such as Testament, Anthrax, and many other groups really round out their sound. Normally I don’t like thrash because of the lyrics, but the lyrics here are great. The combination of guests makes this album one of the greatest thrash albums ever made.
Disturbed – Immortalized
This isn’t prog in any sense of the word, but Disturbed’s first album since 2010 is a return to form for the band. They didn’t want to make an album again unless it was really good, and they delivered on that desire. Immortalized is one of the best album’s they have made, with only one song that I don’t like. Their cover of “The Sound of Silence” is better than the original, in my opinion.
Flying Colors: Live at the Z7
The live Blu-ray is one of the best live shows I have seen. The music is played flawlessly, and the production for sound is excellent. It was filmed in 4K and you can choose from two sound choices – front row or sound board. Well played, FC, well played. Oh ya, more Mike Portnoy, too.
Rush – R40 Live
This needs no explanation. Long live Rush.
Steve Hackett – Wolflight
Another great solo effort from one of the greatest guitarists ever. I have such a great respect for Steve Hackett and his dedication to his craft and the genre. Of all the 70s prog giants, Hackett is probably the best ally to the newer prog artists and musicians.
4. Muse – Drones
Another fantastic album from Muse, and a dystopic concept album at that. I’m convinced that Matt Bellamy has the best voice in the business, plus he’s a god on the guitar. Chris Wolstenholme’s bass is underrated, as well. Check out my review: https://progarchy.com/2015/08/11/back-to-basics-muses-drones/
3. Steven Wilson – Hand. Cannot. Erase.
A year ago, I couldn’t stand Steven Wilson. Now I’m a fan. Go figure. Hand. Cannot. Erase. is simply brilliant. The story telling is at an extremely high level, and this album, while rather depressing, is so addicting to listen to. Wilson is an incredibly important figure in progressive rock.
2. Vanden Plas – Chronicles of the Immortals: Netherworld Path 2
Combined with part 1, these two albums are a masterpiece. I’m still deciphering what the story is about, but I am thoroughly enjoying it. These guys have been going strong for a long time, and they have only gotten better with age. Check out my review: https://progarchy.com/2015/11/18/vanden-plas-another-stroke-of-genius/
1. The Tangent – A Spark in the Aether
Yeehaw, this is a great album! Holy crap, I don’t know how Andy Tillison does it! He is a master of cultural criticism, and while I don’t agree with him politically, I do respect him immensely. This album is well worth your time.
Like I said, a great year for rock of all kinds. As I promised, Mike Portnoy features prominently in my list, just like last year. He certainly deserves it since he is one of the hardest working men in the business. His “Hello Kitty” drum video for Loudwire was an instant classic.
Best prog book of the year goes to Progarchy’s very own Brad Birzer for his excellent book on Neil Peart, a man of letters. Well worth your time.
Get it at Amazon here.
The new Kansas documentary, Miracles out of Nowhere, is excellent. While it only goes through Point of Know Return, it is an excellent look at the band, from the band members themselves, as well as Brian May and Garth Brooks. It was great to see that the band members don’t hate each other. In fact, they genuinely seem to like each other. If at all possible, order it from the band because it comes with a bonus disc featuring the band reminiscing and a few other features – http://www.kansasmerch.toursync.com
Check out Carl Olson’s fantastic review of the documentary: https://progarchy.com/2015/08/19/miracles-and-music-out-of-kansas/
One final documentary/live concert that is worthy of any “best of” list is Roger Waters’ movie, The Wall. It combines a live concert from his recent tour with short scenes that examine the meaning of the album for him. The concert itself is outstanding – better than his 1990 The Wall concert in Berlin, performed after the fall of the Berlin Wall. The music is basically indistinguishable from the album. A worthy look at one of the best and most important albums ever made.
Sorry if I have bored you with my list, but I am nothing if not thorough. I’m just amazed by the quality of music that has been released the last few years, and I eagerly look forward to what the coming year has in store. New Dream Theater coming in January. And who knows what Mike Portnoy will release. Such excitement. Merry Christmas everybody, and prog on into 2016.
Great Review of CLOCKWORK LIVES
Scifi Pulse has just posted a really strong review of the latest novel by sci-fi master Kevin J. Anderson and Rush drummer Neil Peart, CLOCKWORK LIVES.
The final line: Reading the first book is not necessary to enjoy this novel; it is in a completely different format than the previous book and is equally satisfying. Anderson and Peart have created a magnificent journey for Marinda and I’m glad they returned to this universe. In fact, after the pleasure this book brought to me, I would be disappointed if they did not return for further tales. Recommended. Overall grade: A+
To read the full review, go here: http://scifipulse.net/in-review-clockwork-lives/
I Want Vinyl for Christmas
Andrew Coyne discusses the analog counter-revolution and considers various explanations for it. Here’s his best one:
Still, there is a more fundamental reason for the analog counter-revolution, and that is simple physicality. We are physical beings. We live in a three-dimensional world. The things we love are not dimensionless bits of data, perfect and indestructible, but things with weight and volume that decay over time: that grow old with us.
As tangible things, books and albums are objects of veneration that their mere contents cannot fully explain. Possibly that is connected to their relative scarcity. The collector of records or books in physical form enjoys a thrill unknown to the digital downloader, of the prize that is won through adversity: the discovery that comes only after many hours of searching through dusty store shelves.
But also there is the fuller menu of senses they engage. Among the casualties of the digital music revolution was one of the great 20th-century art forms: the album cover. You can see millennials almost swooning at the world they have lost.
Pink Floyd, 1965: Their First Recordings
Wow, I had no idea. Totally crazy that they didn’t make this more widely available. I am sure it is much better than The Endless River:
Two years before Pink Floyd’s 1967 debut Piper at the Gates of Dawn landed on record store shelves, the group – which still included guitarist Rado Klose – entered a recording studio and laid down their first recordings. The material sat in the vault for 50 years, but under Europe’s new “use it or lose it” law, the group was forced to release the material to extend the copyright. In turn, an historic recording by one of rock’s most esteemed groups was quietly released as a double seven-inch limited to 1,000 copies. Syd Barrett nuts were salivating at the chance to hear pristine versions of psychedelic tunes like “Lucy Leave” and “Remember Me,” while “Walk With Me Sydney” is one of the earliest-known tunes penned by Roger Waters. It’s a fascinating look at a band in their most embryonic stage. Who knows what amazing things they’ll be forced to release in the coming years?
Progarchy 