THE PINEAPPLE THIEF FRONTMAN BRUCE SOORD TO RELEASE SELF-TITLED SOLO ALBUM THIS JANUARY ON KSCOPE
New track “Familiar Patterns” streaming online
ENGLAND – Kscope is set to release the first solo album from Bruce Soord, the frontman and creative force behind The Pineapple Thief, on January 22, 2016.
The self-titled album was recorded during the summer of 2015 at Bruce Soord’s U.K. studio. All the tracks were written and performed by Soord with Darran Charles (Godsticks) playing additional guitar.
Having wanted to make a solo album for many years, Soord found himself taking surprising paths to create this record; here he has explored the softer, dreamier side of his song-writing – more acoustic in nature, while retaining depth in its arrangement.
Revisiting his life to find inspiration for the songs, this record is a celebration of the past as much as it is an epitaph of times past. While the songs describe a sense of the past that has been lost, it is also a celebration of Soord’s wonderful and artistically decaying childhood town.
Soord recently premiered the songs live with a U.K. tour supporting label mates Sweet Billy Pilgrim.
1. Black Smoke
2. Buried Here
3. The Odds
4. A Thousand Daggers
5. Willow Tree
6. Born In Dilusion
7. Field Day Part 1
8. Field Day Part 2
9. Familiar Patterns
10. Leaves Leave Me
Soord’s mainstay band The Pineapple Thief, which he founded in 1999, has continued to evolve and refine its sound and is seen by many as one of the most interesting and innovative rock bands the U.K. has produced in recent years. Albums like Magnolia(2014), All the Wars (2012) and Someone Here Is Missing (2010) have made the band’s reputation and fan base stronger, gathering interest from a wider spectrum of alternative rock followers. Bruce Soord also collaborates with other Kscope artists, joining forces with Katatonia’s Jonas Renkse on the 2013 Wisdom of Crowds project and joining Katatonia on its Dethroned & Uncrowned Unplugged acoustic European tour. Soord is also working on various other projects creating 5.1 mixes, including the new TesseracT album Polaris and remixing Opeth’s album Deliverance.
Stay tuned for more information on Bruce Soord and his upcoming self-titled solo album, out next year on Kscope.
One of my favorite websites, Power Windows had a great writeup and description of the new RUSH R40 LIVE DVD/CD. Enjoy! And, as always, thank you, Eric Hansen, editor extraordinaire.
Vanden Plas, “Chronicles of the Immortals: Netherworld Path 2” (Frontiers Music)
Tracks: 1. Vision 11even *in My Universe (6:26), 2. Vision 12elve *Godmaker’s Temptation(5:05), 3. Vision 13teen *Stone Roses Edge(6:38), 4. Vision 14teen *Blood of Eden (*All Love Must Die)[*the Rite][*This Is the Night](13:18), 5. Vision 15teen *Monster(7:41), 6. Vision 16teen *Diabolica Comedia (6:38), 7. Vision 17teen *Where Have the Children Gone(4:42),8. Vision 18teen *the Last Fight(7:34), 9. Vision 19teen *Circle of the Devil(7:59)
German prog metal outfit Vanden Plas recently released part two of their masterpiece, “Chronicles of the Immortals: Netherworld.” Part 1, released last year, was one of my top albums of 2014, and Part 2 has already promised to be high on this year’s list as well. Since the release of Part 1, I have had the chance to delve more deeply in to this amazing band, and I have not been disappointed. Everything I have heard by Vanden Plas has been stunning. They take their work very seriously, and they put their all into everything they do.
So who is Vanden Plas? Stephan Lill on guitars, Torsten Reichert on bass guitar, Andy Kuntz on vocals, Andreas Lill on drums, and Günter Werno on keyboards. Every member of this band is at the top of their game. Stephan Lill’s shredding on the guitar is mind-blowing, and Werno’s keyboards rank with the best efforts of any of Dream Theater’s outstanding keyboardists. Above all, however, soars Andy Kuntz’s spectacular vocals. In my opinion, he has the best voice in progressive metal, by a wide margin. He is smoother than James Labrie (who often fails to recognize his own limits), and he brings more power and clarity to the lyrics than any other metal vocalist I have heard. He fully recognizes his range and ability, and he does not try to exceed it, which may explain why his voice still has such power after years of singing metal. Also, the fact that he doesn’t scream probably helps too.
Truth be told, after being blown away by Part 1, I was a little apprehensive about hearing Part 2. I wasn’t quite sure that Vanden Plas could equal Part 1. Thankfully, I had nothing to worry about. Part 2 is every bit as good, maybe even better. It picks up right where Part 1 left off, with a few seconds of quiet followed by roaring and driving metal riffs, symphonic epic-ness mixed with choral beauty, and continued female vocals from someone whose name I can’t find anywhere. She sang on Part 1 as well, and her voice matches Andy’s perfectly. When they sing together, the angels themselves stop to listen. Vanden Plas perfectly straddle the zone between heavy metal, prog metal, and progressive rock. They can be heavy one minute and hauntingly beautiful the next. The way in which they do that is simply breathtaking.
The story itself (since this is a concept album, after all), is based off of the highly successful novels written by German author, Wolfgang Hohlbein, who helped write the lyrics for both albums. He happens to be a big fan of Vanden Plas. The story itself is really difficult to nail down. I’ve been listening to Part 1 regularly since it first came out, and I still struggle to figure out what the heck is going on. That fact is remarkable, considering how catchy their music is. I’ve probably annoyed the crap out of my roommate by singing along to these albums. The whole story is about a vampire and his cohorts traveling through Europe in an attempt to discover the truth of their origins. I feel I am doing you a disservice by not detailing the story a little more, but I’m having trouble finding a clear narrative, likely since it is a German band. The lyrics are in English, but I don’t think the books have been translated. Nevertheless, the vagueness of the story (for me, at least) makes listening to the albums that much more interesting because I discover something new with every listen.
Obviously, Part 2 picks up where Part 1 left off, with the numbering of the protagonist’s “visions” picking up at eleven. This is another long album, but it never drags on. In fact, like at the end of Part 1, I am left wanting more at the end of Part 2. The crunch of the guitars, the wail of the bass, the skill of the drums, and the atmosphere of the keyboards, all layered with Andy’s voice, as well as choral and orchestral additions, makes “Chronicles of the Immortals: Netherworld” a joy to listen to. These two albums just don’t seem to get old.
I’ll warn you, if you have never listened to Vanden Plas, start with Part 1, and then listen to the new album. Musically, it will make more sense, since the band reintroduces motifs in Part 2 that were developed in Part 1. While I have yet to hear a bad album from this band, the Chronicles of the Immortals saga takes their playing and storytelling to a whole new level. Unlike some metal bands, who often try to experiment with too many different sounds, Vanden Plas have firmly discovered/created their sound, and they don’t deviate from it. This ensures that they don’t have catastrophic failures when experimenting with a new sound. After all, why mess with a sure thing.
If you are a fan of progressive metal, symphonic prog, metal, or just amazing music, check out Chronicles of the Immortals, parts 1 and 2. It is well worth your time. I don’t normally rate albums here on Progarchy, but I am giving this one a solid 10/10.
A review of ARCADE MESSIAH II (Stereohead Records, 2015). Release date: November 27.
I’m honestly not sure that John Bassett is 1) capable of doing anything only part way; and 2) capable of doing anything that is not masterful and perfect.
The evidence is rather clear for the above two claims.
Kingbathmat reached the highest heights of progressive metal with their last two albums, offering a full-bodied Rush-like sound, and absolutely scathing (and true) lyrics. This was especially true of 2013’s OVERCOMING THE MONSTER, one of the ten or so best albums of the last twenty years. While it could have been the follow up to Snakes and Arrows, it was decidedly Bassett-esque, especially in its longest and finest piece, “Kubrick Moon.”
When Bassett decided to release a solo album, UNEARTH, he gave us the best singer-songwriter album of 2014, another scathing (and true) critique of mass society.
No Muppet. One of our greatest living artists–in word and note.
When I asked him how he came up with such witty social criticism, he merely answered, “I don’t know, Brad, I’m really just a Muppet.” Far from it, Mr. Bassett. Far from it.
When it comes to real and deep criticism in the rock world, Bassett rivals the master himself, Andy Tillison.
Now, Bassett has found an entirely new voice, the instrumental only act, Arcade Messiah. Some of have described this as instrumental progressive metal, and I suppose this is as good a label as any, should a label be needed. ARCADE MESSIAH I came out last year and received rave reviews. Just now, Bassett has released ARCADE MESSIAH II.
For better or worse, I’m generally worthless when it comes to reviewing music without lyrics. Lyrics always have been and will almost certainly always remain my focus and my passion. Please stay with me. . .
ARCADE MESSIAH II is a thing of glory. Bassett may not be employing his magnificent voice and mind to promote his usual social criticism lyrically, but I can still hear his voice in the music itself. A look at the titles reveals that while I might call this album a thing of glory, it probably belongs as much to a Johannine apocalypse as to an Easter morning. The cover reveals a muscular horse, deprived of skin and hair. Though beautiful in its own way, it looks like what I might think of as a horse being ridden by one of the four riders of the Apocalypse. And, lo and behold, track no. 9, the extra track, is entitled “The Four Horsemen.” (And, surprisingly enough, it does include vocals–which sent me into heaven.) Other titles, however, such as “Red Widow,” “Black Dice Maze,” “Gallows Way,” “Fourth Quarter,” “Via Occulta,” and “Start Missing Everybody” seem to suggest an ending–a big one–of some kind.
With an instrumental album, the artist must pay extra special attention to the overall flow of the album, hitting the highs, recovering from the lows, and allowing a certain amount of lingering for the listener to breath. Bassett provides all of this and with intensity and intelligence.
So, while I miss hearing John’s views of the world, I can still hear him in there–somewhere next to the guitar, above the bass, within the drums, and behind every beautiful and eerie note of this work of perfection.
Dream Theater, A CHANGE OF SEASONS (Eastwest, 1995)
This morning, immediately prior to my 9:30 seminar, several students and I started talking about the sheer brilliance and super-human tenacity of Mike Portnoy. This guy just never ceases to amaze me. Watching him play on the fantastic new Flying Colors DVD just reminded me yet again of what a master musician the guy is.
He brings so much to the art, all of it good.
I even admire his temper, especially when he uses it righteously. He simply does not suffer unprofessional foolishness. The world would be in much better shape, frankly, with a million more like Portnoy.
After the fond discussion with my students about Portnoy, I pulled out an EP from twenty years ago, A CHANGE OF SEASONS. Of course, a very young Portnoy wrote the lyrics and the rather moving story for this twenty-three minute epic. It tells the tale, somewhat symbolically, of the education of a child—formally in the classroom as well as informally in the halls of school—and the loss of a beloved parent. Much of the story reflects the then crazily popular Robin Williams film, Dead Poets Society, and the epic even samples from the movie.
When A CHANGE OF SEASONS first came out, I listened to it (as well as Spock’s Beard, THE LIGHT) obsessively. Lights out, headphones on. Picking it up today, it sounds as fresh to me know as it did two decades ago in Bloomington, Indiana. Once again, I am in awe of Mike Portnoy and in his debt.
Like the supercollider, Drummond seeks to smash two dissimilar things together and see what the results are. Naturally, and experiment by mad scientist, composer and guitarist from New York to combine jazz fusion and metal into one would of course create some explosive outcomes. Not to mention some pretty phenomenal musical pieces.
“Getting Comfortable” is a debut EP by Drummond, and it’s here now and ready to take you to unparalleled heights. Look to the skies: that is where Drummond is going to take you.
For a totally instrumental release (except for a small vocal part in the closing song), this thing is four tracks of expansive, experimental and wholly gripping fusion music. Take EP opener “New Paint” for a fine example: starting off so minimally, guitars and cymbals meekly registering their presence in the room before their flamboyance bounds forth from them with a burst of self-confidence.
If there is one enduring thing to take away from listening to this release, it’s that experimentation is the key to success: be it “Getting Comfortable’s” (song) flowing, flying musical escapology, “Second Self’s” Holdsworthian chemistry, or “Ecotone’s” otherworldly, ethereal ambience leading to space explorations. Everything on show here is made to play with the musical form and to evoke a response from your mind. And Drummond’s music is what makes you want to explore.
My pick would have to be the closing piece “Ecotone,” clocking in at five minutes. It’s frantic, for one thing: everyone is really laying down some serious licks on this, striving for the very best in their playing abilities and pulling it off with aplomb. It has to be said that Sithu Aye is on this song. Masterful work and a treasure for any fan of the indefinable yet oddly marvelous.
To say what Drummond and the company have done is prog is inaccurate; to say that it is metal is too vague. Rather, they have thrown into “Getting Comfortable” all their passions, excitements and inspirations and cooked up something that is beyond compare. This is music without boundaries, without barricades and without limits.
Buy “Getting Comfortable EP from Bandcamp. Drummond is on Facebook too.
Technically, I don’t know if this really qualifies at metal. It’s more just standard fare mid-70’s American hard rock, simple and straightforward. And very good for headbanging and air guitar. You can probably skip over 50 seconds to avoid the unnecessary intro, which I refer to as the “sick pterodactyl” section of the song. But once it gets past that, it puts the pedal to the metal (pardon the pun) and does not let up until the end.
It was previously announced that Dream Theater will embark on a European tour in February 2016 where they will present their upcoming studio album “The Astonishing” in its entirety. After that, more information on the album itself followed, where the concept of the double album was explained. Dream Theater‘s website ever since the first announcement…
ARCADE MESSIAH release new track “RED WIDOW” from forthcoming second album “II” that is released on 27th November.
“RED WIDOW” can be heard at – https://soundcloud.com/arcademessiah/red-widow
“RED WIDOW” is from the highly anticipated album “ARCADE MESSIAH II“, a Metal/Stoner/Prog hybrid Instrumental project from John Bassett (the singer, songwriter and producer of UK Progressive Rock Band KingBathmat)
It is available on both CD and as a Digital Download. The CD has a bonus 9th track, “The Four Horsemen”, a 19 minute cover version of the famous track by Aphrodite’s Child. This track was recently released by Fruit De Mer Records on a vinyl compilation album “Side Effects”.
1. Moon Signal
2. Red Widow
3. Black Dice Maze
4. Gallows Way
5. Fourth Quarter
6. Via Occulta
7. Read The Sky
8. Start Missing Everybody
9. The Four Horsemen (CD only)
CWR: You are a famous critic of modern pop music. How were you able to construct such a sympathetic and insightful portrait of one of the main characters in your novel, The Disappeared, who is both an ardent fan and performer of heavy metal music?
Scruton: I wanted to enter the soul of someone whose sense of his masculinity had been damaged, and who compensated through this kind of dramatization of the primordial male. I also think that metal is the creation of people with real musicality, who have developed the muscle of music as though by weight lifting, and lost that beautiful, inner, female thing, which is the sung melody.
…
CWR: How can young people be best introduced to good music at an early age? What is the optimal way to inoculate them against the adverse effects of bad music on their souls?
Scruton: I think it is very important to learn to sing in choirs, and if possible to learn an instrument, even if only the recorder or the guitar. To read music, to play for yourself, to sing melodically — all these establish the link between music and the inner life which will serve to inoculate the young person against the worst kind of musical influenza.
And now you can listen to an MP3 of Scruton on BBC Radio 4 on “The Tyranny of Pop.”
Keeping in mind that Scruton is talking about bad music, how is it possible to disagree with him?
Progarchy 