Stephen Humphries Interviews Francis Dunnery

On By bradbirzerIn Progressive rockLeave a comment

[Editor’s note: it is with no small amount of pleasure and pride that Stephen Humphries–well-known music journalist and accomplished author–interviewed Francis Dunnery for progarchy.com.  I’m not sure what we did to deserve Stephen’s help and friendship, but I, for one, am absolutely thrilled!–Brad]

By Stephen Humphries

Francis Dunnery’s latest albums may be titled Frankenstein Monster and Vampires, but it doesn’t mean he’s going through a goth-rock phase.

At least, not yet.

The songwriter, singer, and guitarist has reveled in a variety of musical styles during his three-decade career. Since leaving the seminal British pop-prog band It Bites, his 10 solo albums have spanned progressive rock, pop, folk, jazz, and punk. That versatility accounts for why Dunnery has occasionally paused his solo career to lend his considerable guitar prowess to the likes of Robert Plant, Ian Brown of The Stone Roses, Carlos Santana, Lauryn Hill, and Chris Difford of Squeeze.

Of late, though, Dunnery has been revisiting the progressive rock sounds that inspired him to pick up a guitar when he was a young boy. Credit Dave Kerzner from Sound of Contact for renewing Dunnery’s interest in far-out, exploratory sounds. Kerzner persuaded his friend to sing on a couple of Rush cover versions by Sonic Elements, a “Fantasy Band Tribute to Rush.”

Since then, Dunnery and Kerzner’s Sonic Elements have worked up a complete rendition of Genesis’ The Lamb Lies Down on Broadway that hasn’t yet been released. You can, however, hear Dunnery’s spot-on vocal performance of “Dancing with the Moonlit Knight” on Steve Hackett’s Genesis Revisited II. (A singer of note, Dunnery contributed backing vocals to the Anderson, Bruford, Wakeman, Howe album back in 1989.) In other recent prog-related activity, Dunnery’s fiery fret fingerwork can be heard on Kerzner’s New World album and also the title track to Big Big Train’s The Underfall Yard. Dunnery also produced and played on the 2009 album Big Sky by The Syn, the reunited progressive band that was once home to Chris Squire before he joined Yes.

In 2013, Dunnery released Frankenstein Monster, an album of re-recorded songs by the 1970s proto-prog band Necromandus that was founded by his older brother Barry. (See the video for the title track, the one original Francis Dunnery composition on the album, below.) Dunnery’s brand new album, Vampires, also looks back at another aspect of the past. It consists of 14 re-recordings of songs by It Bites, the group that he formed in Cumbria, Britain, with John Beck (keyboards), Bob Dalton (drums), and Dick Nolan (bass). This time out, Francis recorded fresh versions of the songs with his own Sensational Francis Dunnery Band.

Available January 1st from his website, Vampires includes many of the It Bites’ signature melodic shorter songs (including their top 10 UK hit “Calling all the Heroes”) as well as versions of long-form epics such as “Old Man and the Angel” and “Once around the World.”

In a Skype interview with Francis, he explained why he decided to sink his fangs into these old songs to immortalize them on Vampires.

francis dunnery from prweb

Humphries: You’ve re-recorded a massive batch of songs spanning your entire career. Why? What inspired you to do so and what did you set out to achieve?

Dunnery: The inspiration was quite similar to my last album, Frankenstein Monster, which was basically to complete the past. When your past is incomplete you cannot do anything new, because your past is taking up all your brain space. The idea of recording those songs were always in my mind and occupied a great deal of space in my head. I needed to get them recorded so I could free up space to do new things. The It Bites tracks are very much the same. Any unfinished projects or ideas floating around in your head will make you a prisoner of your past. You won’t have the energy to do anything new and fresh because all your energy will be focused on the incomplete projects from your past.

Humphries: Who are the musicians on the project and what did they bring to the table?

Dunnery: The musicians are the Sensational Francis Dunnery band. Tony Beard on drums, Michael Cassedy on keyboards and Jamie Bishop on bass. I think Tony’s drumming is a beautiful compromise between rock and “pocket.” Tony’s pocket is as close to a black drummer as you’ll get. Like me, he’s a massive fan of R&B, especially the stuff the kids are doing today. So this is It Bites note-for-note with a beautiful groove. Jamie is also very laid back in his bass playing so the tracks are very musical. Michael did a wonderful job playing John Beck’s parts.

Humphries: Which of the re-recordings are you most excited for fans to hear?

Dunnery: All of them. They sound amazing. There’s nothing to put anyone off listening to them. They are note-for-note and the sound is a million times better than the originals. The originals have the melancholy of people’s childhoods attached to them so you cannot hope to replace that, but the new versions are pretty damn cool in their own right.

Humphries: What was the criteria for selecting which It Bites songs to re-record?
320x320Dunnery: I basically picked the most important songs on the albums, the ones that I liked. The ones that I felt could be sonically updated successfully. I’m a song guy. I’m not particularly interested in how fast someone can tap an arpeggio—I’m far more interested in melody, storytelling, and lyrics. When I was 18, I was more focused on musicianship, but today’s musicians are mostly performing little tricks…which is cool but it’s not something I’m interested in today. I always loved Paul McCartney, The Beach Boys, Prefab Sprout, The Blue Nile, Laura Nyro—song people. The songs I picked were probably the best melodies.

Humphries: Were there songs that you attempted to re-record but ultimately abandoned?

Dunnery: No, we recorded all the ones I said we would record.

Humphries: Some of the original It Bites recordings sound a bit dated and very much of their time in production. Did you update them or rearrange your versions in any way? 

Dunnery: Completely updated them. Instead of brass sounds and synthesizers, we used all real stuff and it sounds killer. Sonically, it sounds a bit more like early Deep Purple during “Black Night” and “Strange Kind of Woman” —basic overdriven Hammond and electric pianos played through amps.

Humphries: John Beck’s keyboards/backing vocals and the Dalton/Nolan rhythm section had a particular sound—what was your approach to those aspects of the It Bites songs in your new recordings?

Dunnery: We copied John note for note because the parts were great, but I swapped the little tinkly bell type sounds for real meaty organ and piano. We gave the keyboards a set of balls. The drums are dry and without reverb compression or EQ. Tony Beard is an amazing drummer and he’s also amazing at tuning drums. I just put a few mics in front of him and let him do his thing.

Humphries: Can you tell me about why you chose to include It Bites B-sides such as “Vampires” and “Feels like Summertime”? In retrospect, do you wish those songs had been on the It Bites albums?

Dunnery: I liked those songs a lot. I remember when we recorded the track
“Vampires” in the Townhouse studios in London and I was going beserk with the guitar solo. It was so much fun. Incredibly intense. “Feels like Summertime” is a beautiful track. I never liked the It Bites version much because the chorus was a bit telegraphed and my vocal was too effeminate. It was great to be able to have the opportunity to fullfill that track now that I have a better knowledge of songwriting.

Humphries: How much of a challenge was it to re-record complex epics such as “Old Man and the Angel,” and “Once Around the World”? Take me into the experience of tackling those pieces again. 

Dunnery: It was pretty easy. I recently recorded some vocals for Dave Kerzner as we are re-recording the whole of the Lamb Lies Down on Broadway and those vocals were incredibly easy as well. I have been singing them for so long that I know exactly how to deliver the vocals so the melodies stand out. It was the same as the Steve Hackett album. I recorded “Dancing with the Moolight Knight” for him and it was easy. The It Bites tracks are the same.

Humphries: How many discs will Vampires consist of? Is there anything notable about the packaging?

Dunnery: The Vampires album will be 2 CDs as the songs are very long. There will be a special ‘muso’ package with downloads of the instrumentals. There is nothing particularly notable about the packaging other than my crack dealer’s phone number, which will be on there for anyone who would like to hear the tracks with more white angst.

Humphries: Has the Vampires project influenced where you want to go next?

Dunnery: It has influenced my next album in the fact that I don’t want to play any more electric guitar for a while. Frankenstein Monster and Vampires make a bold electric statement that I will not be able to supersede for quite some time. I hate doing the same stuff over and over.

Humphries: You’ve been writing new songs: How far along is it and what can you tell us about the musical direction of your next album? 

Dunnery: I am auditioning three African-American backing vocalists in New York City. I want to make a quiet album with a bass, acoustic guitar, and three African-American backing vocalists. I have some great stories to tell and some great new melodies to sing. I need African Americans because European Africans have a different feeling, African Africans are not even in the ball park and white girls can’t deliver what I’m looking for on this album. There is a sweetness to African-American musicians in general that I really love. It’s not so much what comes out of their mouth, it’s more of the feeling and the sweetness of the timing of their expression that I love. It cannot be emulated. My new album will be sweet and quiet and probably not for anyone under 25 years of age.

Humphries: You perform dozens of House Concerts across the world every year. [Visit FrancisDunnery.com to book one.] Tell me about your recently published book House Concert Expert.

Dunnery: I wrote a book because I wanted to write a book. It hasn’t yet sold anywhere near what I thought it would but they say if you want to make God laugh, make some f***ing plans! I haven’t started promoting properly so by this time next year I may be the new Stephen King.

Vampires is available January 1, 2016, at www.francisdunnery.com. Follow Francis on Twitter: @dunnery.

 

 

Hot Streak: Best of 2015 @TheWineryDogs

On By Time LordIn Progressive rock2 Comments

This is an album that I struggled with at first, but in the end it became one of my Top 22 favorites of the entire year.

The biggest problem for me was the track order. I didn’t like the original sequencing at all, so it wasn’t until I came up with my own playlist order of the album that I was able to fully enjoy it.

The first three tracks simply failed to grab me in the beginning. “Oblivion” (track 1)  shows off the musicians’ chops, but I don’t think it is anywhere near one of the best songs on the album. Instead, “The Lamb”(track 13) is both an excellently written song and it also has a wicked display of chops. I would have thought it should be right at the beginning, or at least somewhere in the first half of the album. It is arguably the album’s greatest achievement.

“Captain Love” (track 2) is fun, but again, it is not one of the strongest songs. The whole “pet name” theme driving it was boring for me; it felt like a “novelty” song. I would rather have a track like this come after all the best songs, when I am craving more, and thus am more open to the silliness and fun of this kind of lyrical fluff.

“Hot Streak” (track 3) is funky and fierce, but again, it simply did not grab me. It was not until “How Long” (track 4) and “Empire” (track 5) that I really sat up and took notice. Those two songs are absolutely superb and are completely stunning displays of both songwriting and instrumental mastery.

Other tracks that didn’t offer me maximum enjoyment in the original running order are: “Fire,” “Ghost Town,” “Spiral,” and “Think It Over.” For me, each interrupted the flow of the album. But the other tracks really excited and thrilled me.

So, I took drastic measures and rewrote the track order for the album. I found that with the following playlist, the album became one of my favorites of the year; the trick for me was to hook myself on my favorite six songs first, and then continue to feed the craving they instilled with the rest of the songs coming after, when I was properly disposed to fully enjoy them:

8. “The Bridge”
9. “War Machine”
11. “Devil You Know”
13. “The Lamb”
4. “How Long”
5. “Empire”
1. “Oblivion”
2. “Captain Love”
3. “Hot Streak”
6. “Fire”
7. “Ghost Town”
10. “Spiral”
12. “Think It Over”

I find that this song order never fails to hook me and thrill me. My six favorite songs now come first: these are the ones that, just when I was ready to give up on this album as second-tier, would pop up in the original running order and blow me completely away. I am glad to have the playlist option of re-creating the album. I do think part of a classic album is its proper sequencing.

If you didn’t think The Winery Dogs released one of the year’s best albums, think again. This track ordering totally works for me and seals the deal. Hot Streak is one of the year’s finest.

If you doubt me, I dare you to download the first six songs in my new running order. They are completely amazing. If you listen to just these six, you will become a champion this year of the stunning musical achievement by The Winery Dogs:

8. “The Bridge”
9. “War Machine”
11. “Devil You Know”
13. “The Lamb”
4. “How Long”
5. “Empire”

On a Roll – 2015 Prog In Review

On By Erik HeterIn 2015, Progressive rock4 Comments

So you’re watching a baseball game. The pitcher for one of the teams has yet to give up a hit. In fact, he’s retired every batter that he’s faced, giving up not so much as a walk. And even as the game stretches into the latter innings, he’s not getting tired. He’s struck out six batters in a row and is just completely shutting down the opposition in a manner reminiscent of the way noted Rush fan Randy Johnson used to do. You look at that guy and think “man, he’s on a roll.”

Maybe it’s a team that has won a number of games in a row. Maybe it’s a business leader who has led his company into the stratosphere with one popular product offering after another.

Or maybe you are a fan of prog rock. In fact, you probably are just that if you’re reading this. You look back a few years ago, at 2012, and realize it was a good year, producing a number of excellent albums, including Echolyn’s “Windowpane” album, Glass Hammer’s incredible Perilous, and Gazpacho’s March of Ghosts (highly underrated if you ask me). Then 2013 comes along, and you think, “what an amazing year,” as your album collection grows with releases such as Ayreon’s The Theory if Everything, The Tangent’s magnum opus Le Sacre Du Travail, and Haken’s outstanding The Mountain. There is no letup at all in 2014, more new releases, many of them are “must haves”, such as IQ’s The Road of Bones and Cosmograf’s Capacitor among them. And now, here we are in 2015, and you’ve been deluged with more incredible music in what has been yet another great year in prog. And you think, “man, prog on a roll!”

Indeed it is.

Each December for the last several years, we at Progarchy have gushed about the abundance of great prog music coming out and the health of the current prog scene. We are getting to be like a broken record. But can you blame us? And would you rather it be different, like the early 90’s or so when the prog light was a dimly flickering candle?

What else can I say? Well, I can start talking about the albums.

Album of the Year:

In a year of stellar releases, my hands down album of the year with a bullet is Riverside’s utterly brilliant Love, Fear, and The Time Machine. I simply cannot overstate how much I love this album, or how good it is. Riverside has tamed much of their heavy metal side, moving in more melodic direction – while still retaining the dynamism and overall sound Riverside-coverthat is unmistakably Riverside. While the album still has some of their trademark moodiness, the darkness has been replaced with a mature, tempered, and realistic optimism that grows throughout. This album was quite a leap for Riverside in terms of direction, and yet they pulled it off flawlessly.

Other Notables:

Most others have put Steven Wilson’s Hand Cannot Erase at the top of their album of the year charts. I can’t do that, and I’m probably not quite asSteven_Wilson_Hand_Cannot_Erase_cover

much of a Wilson fan as most of the hardcore proggers are today. That being said, this was a pretty good album for me, if a bit depressing in subject matter. But musically, Wilson and his band are firing on all cylinders. Home Invasion/Regret #9 stands out as my favorite track on the album, although you really have to listen to the whole thing to get the gist.

One of my new discoveries this year was Nad Sylvan, and his excellent solo album Courting the Widow. Sylvan’s album builds on the album_coverclassic/symphronic prog sound of an earlier era, and yet sounds fresh and modern. It works especially well since Sylvan’s natural singing voice seems to be a perfect mix of Peter Gabriel and Phil Collins, making it no mystery as to why Steve Hackett selected him as a touring vocalist. Standout tracks on this album include the title track, Echoes of Ekwabet, and the excellent epic, To Turn The Other Side.

Gazpacho didn’t wait long after their release of Demon in 2014, coming back this year with an equally strange album Molok. Like its predecessor,

artworks-000129814894-5f07ie-t500x500

this album is very strange – but don’t mistake that for a lack of quality. All the Gazpacho trademarks are there, the meticulous subtlety, the unusual structures that take time to reveal themselves, and the thin veneer of simple riffs on top with a staggering complexity underneath. Conceptually, this album is not easy to explain, and it’s best to read the band’s explanation put up on their Facebook page. It’s hard to pick out a favorite track since the album has to be taken as a whole … although Molok Rising provides a strong and satisfying end to the album.

Everything Arjen Anthony Luccassen touches turns to awesome, and The Diary by his project with Anneke van Giersbergen, The Gentle Storm. This Gentle Stormwas really two albums in one, a heavy version (Storm) with all the songs “metaled up” by Arjen, and a lighter version (Gentle) which relied more heavily on acoustic instruments and folky sounds. Both are excellent and it’s tough to pick on. Shores of India seems to work best in the Gentle form, while The Storm, appropriately, seems to work best in the Storm version.

I’m going to go slightly off script here into the realms of heavy metal, because my list would not be complete without a mention of Iron Maiden’s stunning album, The Book of Souls. Why am I only slightly off script? book of soulsBecause this album is the proggiest thing Iron Maiden has ever done, even though it retains their previous heavy metal elements. While this album is excellent from start to finish, the boys of Maiden are at their strongest here when they are on their proggiest – the 10 minutes plus title, track, the 13 minutes plus The Red and the Black, and the closing, 18 minute epic, Empire of the Clouds. For the shorter, more familiar Maiden, Speed of Light is a particularly strong track. I’ve always defended the members and the music of Iron Maiden as being more intelligent and thoughtful than that of their heavy metal peers, and this album is the best evidence yet of that. This is truly a crowning achievement on an amazing career.

Moving back into prog-proper territory, Andy Tillison and his band The Tangent followed up 2013’s outstanding Le Sacre Du Travail with an equallytangent1 excellent release, A Spark in the Aether. One of the things that really comes through on this album (and makes it so excellent) is that is sounds like Tillison was having tongs of fun in making it. The joy really shines through on one of my favorite tracks, Codpieces and Capes, a celebration of prog’s glorious past. Even better is The Celluloid Road, Andy’s insightful look at America through the lens provided in film, i.e. movies that is. It’s the highlight of an album full of highlights. Oh, and speaking of America …

Three Cheers for the Red, White and Blue:

This year was an exceptional year for prog from this side of the Atlantic, Echolyn Coverbetter than I can remember in some time. For one, Echolyn returned with I Heard You Listening, which more or less picks up where they left off in 2012. There were no bad tracks on the album, but Messenger of All’s Right, Different Days, and All This Time We’re Given were especially strong.

District 97 returned with their eclectic and somewhat heavy brand of prog, bringing us In Vaults. The early part of this release starts out sounding similar to their previous release, Trouble With Machines, but gradually District-97-In-Vaults-e1433201699982evolves into new territory. I absolutely love the leadoff track, Snow Country, and am also partial to A Lottery and On Paper. The playing is top notch throughout. But what I like best about this album is the outstanding vocal performance of Leslie Hunt, who continues to make a strong case for the title of First Lady of Prog. Whether it’s her breathy jazz phrasing, her power vocals, or something in between, she hits it perfect every time.

Our favorite boys from Joisey, 3rd Degree, came out Ones and Zeros: Vol. 1. 3rdegreeI’m hoping that the Vol. 1 part of the title is an implicit stating that there will be a Vol. 2, because I definitely want more of this. A concept album that explores our relationship to technology (the digital world in particular), the lyrics are both clever and insightful. This one will be interesting to come back to five or ten years hence to examine the lyrics/concept in the context of how times will change.

The Ted Leonard era of Spock’s Beard continued apace with The Oblivion Spocksbeard_theoblivionparticle_coverParticle. I won’t mince words here – I think Leonard is the best vocalist Spock’s Beard has ever had, and I love where they are going with him at the mike. Bennett Built a Time Machine is an excellent track, and I love Minion as well (would have liked the move Minions to have worked a little prog into their soundtrack with this one …). They musicianship is as stellar as ever, and combined with Leonard’s voice, the Beard sounds as good as ever to these ears.

One final entry here is Dave Kerzner’s New World. Now technically, this david-kerzner-new-world-deluxealbum was initially released in 2014, but after many had already compiled their year-end best-of lists. It didn’t seem fair to me that such a fine album wouldn’t make the cut simply because of the timing of its release. So I’m going to include it here as a 2015 release and put it on my list – and on the merits it most definitely belongs.

And no, I haven’t forgot about Glass Hammer’s highly acclaimed Breaking of the World. But I must confess I haven’t gotten around to listening to this one yet. So much prog, so little time.

So another great year is almost in the books. What will 2016 bring? Well, if current trends continue, it’s going to be a pretty good year. For one, we will probably get the DVD of The Theater Equation, and I’m very much looking forward to that. Let’s just hope things stay where they’re at – on a roll.

Lifesigns: Entering 2016

On By bradbirzerIn Progressive rockLeave a comment
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Festive Greetings to all of our Friends !

We hope that you have all had a great festive season and are now looking forward to the New Year. This is perhaps the ideal moment to reflect on the year that has nearly run its course. We hope that 2015 has been a kind year for each of you, but more importantly that 2016 is going to be even better.

The first thing that we as a band would like to do is thank each and every one of you. Your support and encouragement is what has really made this a stand out year for all of us in the band. Whether it has been by attending gigs, buying merch or commenting on social media  you have encouraged and supported us at every twist and turn. You have helped spread the word far and wide, and we hope that you will continue to do so in 2016.

It was also so fantastic to be able to meet so many of you personally during the course of the year and to convey that thanks in person.

In a year of many, many highlights I wanted to reflect on a few of them, but also to look forward to what is to come in 2016.
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1.  Lifesigns – Under The Bridge DVD Shoot

2015 got off to a real flyer. Thanks to  your support through our Crowd Funding Campaign  at Pledge Music we were able to put a dream into action. We were very aware that there were many people who wanted to partake in the Lifesigns Live experience but who were unable to attend any of the live shows. UTB will be a way of helping Lifesigns play live all over the world. On the 22nd and 23rd January we were able to record shows that are now the core of the DVD. It was a magical couple of evenings and I think all that were there will remember it for a few years to come.

 

2.  A Studio of our very own

In September 2015 we were fortunate to be able to take on a studio of our very own in Liscombe Park Studios. It had already become a home from home for us with much of the first album being recorded there..This is a huge investment for us but one we felt was all part of the Big Plan and an opportunity we could not miss. It has already paid dividends with the majority of the vision and sound mixing for the DVD being completed in the studio. We look forward to using our new HQ in the New Year.

 

3.  Cruise To The Edge

In November we were delighted to be asked to perform as part of the CTTE extravaganza  onboard the Norweigan Pearl. There was also  a great opportunity to perform for the first time to the general public in the US as we opened the CTTE Pre-Party in Miami.

We had a fantastic time playing for everyone and it gave us an opportunity to meet some of our many US friends. It also gave us a chance to meet some of our heroes such as Caravan’s Pye Hastings who we can safely say enjoyed his first Lifesigns experience.

 

4.  Release of Live Under The Bridge DVD

November also saw the culmination of a true labour of love in the release of our Live in London, Under The Bridge DVD (inc 2 audio CD’s). As previously mentioned thanks to your generosity and support through crowd funding, what had begun in January finally saw the light of day. With wonderful artwork once again from Brett Wilde we are proud to have delivered a product that is everything that we wanted it to be. It took a lot of hard work and dedication, and lots of lessons were learnt along the way. If you are reading this and either have not as yet got a copy, or need additional copies, they can be obtained through the website at http://www.lifesigns.me/shop

All pre-order pledge copies have been delivered so if you are still waiting please let us know.

 

5.  Lexington, London

What a way to end the year ! The last date of our winter tour and it was great to be performing in front of so many of our friends. It turned out to be possibly one of our most enjoyable performances….so far.
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Having looked back on a few top moments from 2015 we would like to look forward and to some of the moments in 2016 that are already filling us with much anticipation.

 

1.  Ramblin Man Festival

Following on from an excellent inaugural festival last year, we have been invited to perform at this years festival. The festival takes place on 23rd July in Maidstone and we will be playing the Prog stage. On stage at approx 15:00. This promises to be a great event with some excellent bands across several stages

 

2.  Cropredy Festival

We are delighted to have been invited to perform at the Internationally renowned Cropredy Festival on August 12th. This is an incredible opportunity to bring Lifesigns music to a wider audience.It will be our biggest gig to date playing to 20,000 plus people.

 

3.  Trading Boundaries

Probably one of the best venues in the UK. We are delighted to have been invited to perform at Trading Boundaries once again this year on 17th June. This intimate venue offers the music lover a chance to combine listening to some wonderful progressive music whilst also enjoying an excellent meal (optional). We look forward to seeing many of you at the Trading Boundaries in June.

 

4.  New CD

Possibly one of the most important events for Lifesigns in 2016 will be the opportunity to record our second album in our very own studio. This will give us the chance to develop and record some of the tracks that appeared on the live DVD plus some additional previously unheard material. Once again we hope to fund this through the same crowd funding process as we used for the live DVD, but more about this in the new year.

 

5.  On tour with Marillion

Lifesigns are proud to announce that they will be supporting the mighty Marillion on their upcoming German tour (2016). Dates as detailed below:
14th July  Munich Muffathalle
15th July  Erfurt Gewerkschaftshaus
16th July  Wertheim Burg
18th July  Stuttgart LKA Longhorn
19th July  Berlin Huxleys neue Welt

See you there !!
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News From the Merch Desk

We now have in stock a range of T-Shirts and other merchandise, including the beautiful new Brett Wilde Designed Under the Bridge DVD T-Shirt a multi-coloured design that really does his artwork proud.

In addition the Live in London, Under The Bridge DVD/CD’s Package is also available from the Merch section of the Lifesigns website. A labour of love from the boys and one of which we are very proud. After all the work the end product has achieved everything that we wanted it to both visually and acoustically. Please continue to support us by recommending it to your friends. Its a great way to get into the Lifesigns Live Experience.

www.lifesigns.me/shop

We will also have the T-Shirt, DVD/CD’s and a range of other band related goodies at any of our Live shows for your perusal. Thank you for your continued support it really helps in our efforts to achieve our goals.
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For Your Diary

 

2016

17th January             Talking Heads, Southampton                               Information/Tickets

22nd January            King Tuts, Glasgow                                             Information/Tickets

23rd January             Bannermans Bar, Edinburgh                                Information/Tickets

24th January             Robin 2, Bilston                                                  Information/Tickets

17th June                 Trading Boundaries, Uckfield                                Information/Tickets

23rd July                  Ramblin Man Festival                                          Information/Tickets

14th July                 (With Marillion)  Munich Muffathalle                       Information/Tickets

15th July                 (With Marillion)  Erfurt Gewerkschaftshaus             Information/Tickets

16th July                 (With Marillion)  Wertheim Burg                             Information/Tickets

18th July                 (With Marillion)  Stuttgart LKA Longhorn                Information/Tickets

19th July                 (With Marillion)  Berlin Huxleys neue Welt             Information/Tickets

23rd July                 Ramblin Man Festival                                          Information/Tickets

12th August            Cropredy Festival                                                Information/Tickets
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    Lifesigns would like to thank you for your wonderful support in 2015 and we look forward to        continuing our journey together in 2016.

 

Wishing You All A Happy and Peaceful New Year !
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Interview with Pointless Fate

On By NickIn Progressive rockLeave a comment

Pointless Fate

Lars Alatalo is a guitarist of Swedish band Pointless Fate, who in 2015 released a debut EP “Touching The Void.” We asked Lars set of questions, and here is what he says about the band’s work.

Alright, first things first. Before we dive into all the music stuff, how’s life?

Things are pretty good, we just finished a small tour in Serbia which was amazing and everyone in the band is eager to get out and play again and write some new music.

Speaking of new music, you have a new EP. What can people expect from “Touching the Void”?

Yes we recently released our first EP. People can expect a dark, heavy and sometimes brutal journey filled with great riffs, melodies and rhythm changes with a little progressive touch.

What was it like working on the EP?

All the songs on the EP was written some time before we even started talking about recording so the writing of the songs when pretty smooth and then we just had to pick which songs we thought would fit the EP the best. When it comes to the recoding of the songs it also went kind of easy and didn’t take that much time because we had been playing live a lot just before we went into the studio.

Touching the Void

Are there any touring plans in support to “Touching the Void”?

Yes we have already been to Serbia in support of Touching the Void and now we are looking for more places to go and play.

While we’re on the subject of touring, what countries would you love to tour?

I think everyone in the band really would like to tour in Japan and the US.

Who and what inspires you the most?

When it comes to writing music I take inspiration from many different bands and genres both in metal but also outside of it. When I write lyrics the inspiration comes from other places such as religion, philosophy and my own experiences. When it comes to who inspires me, that is a difficult question. I take a lot of inspiration from people like Ronnie James Dio, Jim Morrison and Tony Iommi inside of music, some people who are not musicians also inspires me for example Richard Dawkins.

What other genres of music do you listen to?

I listen to most genres within rock music, I like bands such as Pink Floyd and Dire Straits, outside of rock I love the music of Simon & Garfunkel as well as Bob Dylan. But my favourite band outside of metal would definitely be The Doors.

Have any of the other genres you listen to had any impact on your playing?

It absolutely have, many of the bands I mentioned earlier have inspired me so much. Among my favourite guitarists come from bands that don’t play metal like Robby Krieger from The Doors and Mark Knopfler.

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?

The pleasure is mine! Stay tuned for more music and more gigs to come!

Follow Pointless Fate on Facebook.

Interview: Spyros Charmanis (None Other)

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Greek composer and multi-instrumentalist Spyros Charmanis released an album under the name None Other titled “Than The Common Plague” in September. In an interview for Progarchy, he tells about the process that informed the record, and more.

Hey Spyros. How are you doing?

Hello Progarchy! I am doing well and I hope you do too!

You released “Than The Common Plague” recently. How do you feel about the release?

Pretty happy, and I’m sure everyone feels that way about their recent work! It came together nicely and easily and the packaging came out great. The overall result makes me proud – in the non-narcissistic way- it utterly justifies the amount of time it subtracted from my life and I’m glad I did it!

How much of a challenge was it to work on the album?

It was quite challenging, I can say that! As with each concept album, aside from the freedom it can give the artist to explore and develop, there are traps and pitfalls and the hardest thing to achieve is cohesion throughout. I won’t say I achieved it, that probably is for the listener to decide, but I can say that there was a great deal of care and meticulous planning on my part so that the music, the story and the book resemble a complete work of art. And I use the term ‘art’ because I believe that every record potentially serves as an art proposition, not because I’m having delusions of grandeur or anything!

Album Cover

How is the progressive rock scene in Greece these days?

It’s there, but you have to know where to look. I mean, there are great prog rock stuff happening but I feel that the hip thing to do here right now still is the ‘stoner / southern rock’ type of thing. With which I don’t have a problem mind you, most of them are really awesome and absolutely rewarding to see live.

What is your opinion about the new wave of rock bands?

I fear my knowledge of this ‘new wave’ is minimal…There are definitely some new bands that I love, such as All Them Witches for example, and I do like the fact that they’re able to do what they do. I think every ‘new’ band knows it has to work harder to stand out due to the rising ‘competition’ and the plethora (I’m Greek, I can use that word!) of options out there, which of course works to the advantage of those paying attention, as they are rewarded with truly wonderful music!

Can you tell me something about your influences?

I can tell you that they’re not as many as I’d like! Some of them are pretty standard, some are pretty shameful, some are just plain pretty! I keep trying to find more time to listen to music, but that’s modern life for you I guess. The newest thing I started exploring and felt quite ashamed I haven’t done that all this time was King Crimson. I do love that there’s an entire back catalogue for me to devour though!

What are you listening to these days?

If I go to the studio now and check my playlist, there’s King Crimson and All Them Witches I mentioned earlier, the latest Triggerfinger album and my friend’s Methexis latest effort.

Your five favourite records of all time?

Oh no! High Fidelity is going to answer that for me: ‘In the club or at home?’! Kidding aside, I doubt I can produce a permanent list there, so many things to consider! Do or do not, there is no try I guess. In fear of it being ultimately frail and subject to change, I’d say definitely The Dark Side of the Moon, Grace by Jeff Buckley, Photo Finish by Rory Gallagher (as this was my first Gallagher record), King for a Day by Faith No More and the Court of the Crimson King should be there at the top, and I truly feel bad…

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Can you tell me a little bit more about the gear you used to record “Than The Common Plague”?

That should be somewhat embarrassing! There was a little Alesis Multimix board I came to despise fiercely and a Fender Frontman 212 amp housing a Telecaster Highway One, a PRS SE Singlecut and various guitar effect pedals and a cheap Epiphone bass guitar going straight to the board. The more proper gear I used was a Pearl custom drumset mic’ed with a collection of Shure sm57’s and a couple of AKG condenser microphones, which also doubled for various other duties such as vocals, a Takamine acoustic guitar, percussion and the lot. I also used a musical saw and a custom made string instrument paired with an analog delay for soundscaping effects, and then various plug-ins in the computer.

Besides the release of the album, are there any other plans for the future?

I did a couple of acoustic sets (played with an electric guitar and amp) along with my cousin who also sings, I hope we’d get to do that more – she is great and it was quite fun! I also hope that new music will start forming in my head soon, I really miss the sentiment!

Any words for the potential new fans?

A sincere thank you to them for choosing to pay attention. And to you, people of Progarchy for the nice talk!

Buy “Than The Common Plague” from Bandcamp, and follow Spyros Charmanis and None Other on Facebook.

Interview with Ste Van Holm

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SVH

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.

Tesla

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.

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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

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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.

FH

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.