Arcade Messiah News

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”.

Arcade Messiah II” is released on November 27th on Stereohead Records.
Pre-Order – https://arcademessiah.bandcamp.com/album/ii


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)

“ARCADE MESSIAH II ALBUM PREVIEW TRAILER”
You can view, embed and share the video at below link –
https://www.youtube.com/watch?v=-telQs5IP7E

website – http://www.arcademessiah.com

For further information, press pack, Promo CD for reviews or features, request interviews etc contact – chris@stereohead.co.uk

Roger Scruton on the Tyranny of Muzak

love-pump

From an interview last month with Roger Scruton:

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?

UPDATE: the BBC transcript is also available.

Review: Pearly Gates – Unchained EP

Pearly Gates - Unchained EP

Pearly Gates hail from Finland and they bring us music that picks up influences from plenty of musical styles. They released 6 EP’s so far, with “Unchained” being their most recent one. Pearly Gates songs interact a lot with metal, jazz, and even pop.

“Unchained” is comprised of four songs that show influences from likes such Tool and Graveyard. Fans of both mentioned bands will find something interesting in this release. Besides, a great chunk of Porcupine Tree’s influence is channeled through “Unchained.”

The opening piece “Glass Eyes” is a true masterpiece of the EP. It starts with a calm guitar voicing and is plastered with prog-y clean vocals. “Sİnk Hole” comes along with far more aggression in its structure. The most striking thing about “Unchained” are Jonne Nyberg’s vocals. The stylistic change towards more grungy and alternative rock vibe is emphasised through this piece. The title song is recorded live, and is an acoustic piece that slows things down and gives this recording diversity. Its folkiness makes the overall sound of “Unchained” a little bit warmer. The closing “Free Fall” crosses over pop and rock almost constantly during its 5-odd minutes; it’s another piece that’s nothing like the previous songs, what speaks a lot about how much “Unchained” is diverse.

Pearly Gates’ “Unchained” is a perfect mixture of popular culture of rock music and progressive rock. There is no clear line between modern and vintage on this EP. Definitely worth a listen!

Buy “Unchained” from Bandcamp, and make sure to follow the band on Facebook.

Radiant School of Arts–Wow!

Radiant Records
Greetings from the Radiant Team!
 Have you ever longed for personal instruction and quality time with people that have been involved with the creation of some of your favorite music ever? Have you wished that there was a way for you to not only learn but gain experience in the arts in a really cool and fun environment? Have you ever wanted to come to Nashville and have a killer time? Now you can do it all in one shot!
(drumroll please…)
Ladies and gentlemen I introduce to you for the very first time…
 Neal Morse’s Radiant School of
the Arts Summer Sessions 2016!
You will receive instruction and have special clinics with such world-renowned artists as: Phil Keaggy, Nick D’Virgilio, Bill Hubauer, Randy George, Eric Gillette, Casey McPherson, Jerry Guidroz and MORE!!!
 (some instructors will only be at the school for a few clinics)
  (some instructors will only be at the school for a few clinics)
The program will include 3-weeks of hands on training, clinics, and classes in:
  • Composition
  • performance
  • recording engineering
  • songwriting
  • musicianship
  • video
  • technical instruction
      
All of this will take place in the heart of the American Music City
Scene!!!!
Spend your summer in Nashville with Neal Morse!
 
The Radiant School of Arts will be located at The Contemporary Music Center in Brentwood, TN. The school has over $1 million dollars in gear, a green room, rehearsal room, lounge, photography studio, 2 writing rooms and pre-production rooms, conference room, studio control room and studio tracking room!!!!
 
Student’s will be staying in apartments that are located across the street from The Contemporary Music Center. The apartments are 3 bedrooms with 2 bath, and fully furnished with all you need for your 3-week stay. There will be a total of 8 students in each apartment.
Be one of the FIRST Radiant School of Arts students next summer. There is a limited number of spots available, so if you would like be considered for the audition process, all interested applicants must email us by December 4, 2015 at: school@radiantrecords.com. We will contact you in the coming weeks with details on the audition process and requirements.
APPLICATION FEE: $125 (due when audition process begins)
AGE REQUIREMENT: 18+
WHERE: Contemporary Music Center in Brentwood Tennessee
WHEN: June 17 – July 18, 2016
TUITION: $6,000.00 (due once you are accepted)
Blessings,
Radiant Records

Interview with viseMenn

viseMenn_new

How did you go about forming viseMenn? Tell me about the distance you passed to shape the band as it is today?

We all come from different parts of the country and we all had been involved in different musical projects before we met, ranging from blues, rock, experimental, metal, classical, punk, pop, church-music, session-work, art-projects.. We met through the improv project «a Crack in Time and the Break of Dawn», we started playing together in relation to a couple of gigs and our individualities slowly started to shape into a band.

If I am not wrong, all of you guys worked before viseMenn on other projects. How do your previous experiences reflect on your work with viseMenn?

It is a growing process where you learn about who you are and who you are not, becoming aware of your own individual style helps keeping focus. We like the freedom of expression moving unrestricted between styles and perceive music more in terms of atmospheres and moods rather than musical genres. From «a Crack in Time and the Break of Dawn» jamming and improvising has made us better instrumentalists and improved our ability to be present in the musical performance. The pure spontaneous joy of performing/creating music is an essential part of our musical motivation.

Begging You Please

Tell me about the creative process of the “Begging You Please” single. How would you describe the sound of it, or how would you describe your music in general to someone who didn’t listen to you before?

We wanted the song to have it’s own signature. We wanted it to reflect a bit of who we are and where we come from. We don’t come from a big city metropole and we felt that a fashionable urban sound would not be right. Where we come from is a place with few people and lots of nature that can shift from extremely dark, heavy and depressed to indescribable beautiful, bright and blissful. In a way this is our cultural inheritance. In many ways this is also the best way to describe our music.

Did you guys equally share songwriting duties for the single?

When we come together Helge brings a sketch for a song, everybody brings their interpretations and personal style to the table and together that is what makes viseMènn.

Are you satisfied how “Begging You Please” turned out to be? Is there anything from this point that you would change or do differently?

Yes, we are very happy. Cenzo Townshend of Decoy Studios did a tremendous job of mixing it all together and enhancing our intentions. Precious is the experience that we bring onwards to the next project.

I suppose that “Begging You Please” is an introduction to your upcoming full-length release. If so, what can we expect from the album? When do you plan to release it? How much will it differ from the actual single?

Yes, we are working on an album, shape and form constantly evolving and time being a relative measure has to be related to us being artists, but shall we say next summer? Hopefully it will differ, in a brotherly fashion.

How do you see the Norwegian rock scene today?

Norway has lots of very talented musicians. The rock scene is generally shifted towards the heavier more aggressive sides. Original bands often struggle to find an audience as most people prefer cover/party bands.

“Begging You Please” is available from iTunes. Follow the viseMenn on Facebook.

Interview with DRUMMOND

Drummond

Drummond is a guitarist and composer coming from New York, and last month he released his debut EP titled “Getting Comfortable.” The EP is available as a name-your-price download on Bandcamp.

In an interview for Progarchy, Drumm talks about his musical beginnings, the EP, and more.

Thank you for having time to answer some questions. First of all, introduce us the project called Drummond.

Thanks for having me! It started back in 2012 when I decided to write an EP. Things just kind of took off from there really. I wrote all the music and asked my good friends Eugene Bisdikian to play bass and Thomas Diognardi on drums.

Would you mind telling us about your musical background, as well as education?

I come from a pretty musical background with my grandmother playing piano for a living and my stepfather playing trumpet for a living, so music was everywhere around me. I’ve been playing guitar for about 8 years now, and started taking lessons when I was 12. I started formally studying jazz my junior year of high school, and have continued to study it in college.

You recently released your debut EP “Getting Comfortable” How was the creative process for it?

I had so much fun writing this EP, it took a while though. The first song was pretty much finished in 2012, and the last song was finished in 2015. I pretty much locked myself in my room during the summers and wrote and listened to music until I had the EP completed. Good times…

Getting Comfortable

“Getting Comfortable” is a very eclectic release. What do you think I should describe your music as to my friends? The real question here is, what do you guys consider the music of Drummond to be?

This is always a hard one, because every artist has influences coming in from every genre you know? A lot of people have called my stuff prog rock/metal and a lot of people have called it jazz fusion. I think the answer is probably somewhere in between there.

This eclectic music must have a wide range of influences and inspiration. Would you guys mind enlightening us as to some of the influences you haven’t mentioned already?

I think I take most heavily from Plini, I just love everything he puts out. Along the same lines, I really love all of David Maxim Micic’s work, and Sithu Aye (who makes a guest appearance on the EP) always kills it. On the jazz end of the spectrum, I’ve been listening to a lot of Wayne Krantz recently, and Tigran Hamasyan too. All those guys are monsters.

Can you think of some moments where musical homages have been included in Drummond’s tracks?

That’s tough… I think all the music I listen to and study makes its way into the EP for sure, but exactly where, I wouldn’t be able to say. The whole thing is just a compilation of me trying to sound like the guys I listen to and love!

What’s the live experience with Drummond like? Any plans for a tour somewhere down the road?

I recently pulled together a group of great musicians and we have been rehearsing for a few months now, and once we tweak our live sound and get it sounding how we think is best, we will be hitting the scene. As for a tour, nothing in the works yet, but down the line I think we can expect some!

Drummond

What have you been listening to recently? Also, would you tell us what your all-time favorite albums are?

I’ve been jamming on a lot of Wayne Krantz lately like I mentioned earlier. His record ‘two drink minimum’ is nuts. And I’ve also been really digging Owane’s new release ‘greatest hits’. I love his playing and writing, I highly recommend that record. As for all time favorites, the albums I always come back to are Plini’s EP ‘the end of everything’, Laurindo Almeida’s ‘The Spanish Guitars of Laurindo Almeida’ and probably Art Blakey and the Jazz messengers album ‘Ugetsu’.

What kind of advice would you impart to other musicians? Do you have any words of wisdom or inspiration for other artists trying to make their mark?

I think the best words of wisdom ever passed down to me were from one of my professors. He told me that if you have a goal and a passion, you have to do everything in your power to achieve it. Be aggressive until you get what you want, ‘like a bulldog trying to get a bone’ he said. That stuck with me. The best part is you have your whole life to try to achieve your goal, so don’t rush, stay relaxed but keep making progress!

Thank you again for agreeing to do this interview. I think I’m out of questions, so feel free to add anything you like.

Thanks again for having me, and thanks to all the people who have showed their support, its mind boggling!

“Getting Comfortable” is available from Bandcamp. Make sure to check it out.

Science Fiction, Prog, and Prog Metal: A Lecture

Arjen, Lego Style
Arjen, Lego Style

I had the great privilege of lecturing for John J. Miller’s college course, Hon252, THE GOOD, THE TRUE, AND IRON MAIDEN.  If you’re interested, here’s my lecture on “To Tame a Land,” and the connection between science fiction and progressive music.  From Yes and ELP to Cosmograf and Aryeon.

iron miller

On Chrissie Hynde’s life experience: “Reckless: My Life as a Pretender”

Joseph Bottum has written an excellent review of Chrissie Hynde’s new rock ’n’ roll memoir Reckless: My Life as a Pretender. Here’s a taste:

Chrissie Hynde clearly intends the book instead as an attempt to understand why she was so driven to seek powerful experiences.

To her credit, she indulges in none of the sentimentality that insists on risk-taking even as it demands that none of the risks issue in bad consequences. The narrative she lays out in Reckless is one of ceaseless motion. As a young woman, she saved up $500, bought a plane ticket to England, and dove headfirst into the nascent punk rock scene of the early 1970s. She sought what she imagined her Midwestern American upbringing had deprived her of, and she got it.

In England she had peculiar love affairs with Ray Davies and Iggy Pop, wrote music reviews, worked at clothing stores and other menial jobs alongside people like Johnny Rotten, did drugs with future members of the Clash, and got to know people in the London music scene from David Bowie to Nick Lowe. And all of it added up to . . . less than she expected. Less than she wanted. Less than she needed. The cool affect of her voice and stage persona were well earned. She had seen and experienced an enormous amount by the time she achieved stardom at age 27, but she never quite figured out how she was supposed to feel about it.

All the deaths along the way have made her realize, in the retrospect of a woman in her sixties, how reckless she had been—in the literal sense of the word: unreckoning of consequences. She was lucky not to have died herself, on several occasions. Lucky to have had success find her. Lucky to have met the people she met. Lucky to have had her parents. Lucky, for that matter, to have had opportunities for experience, however hard she had to pursue them.

That American cult of experience is an old one. I suppose it could be traced back to the pioneers, trailing off to the West—or back to the American Founding, for that matter. Such revolutionaries as Ethan Allen and Samuel Adams are hard to understand without it. At the beginning of the 20th century, the wanderings of Jack London formed a central part of his literary hero status, and after the Second World War, the cult of experience—the notion that many and varied experiences lie at the root of wisdom—reached new heights with the beatniks and their hippie successors. That’s the vision Chrissie Hynde pursued into the underground world of punk, and the vision she pursued in her music.

If you are interested in writing more on this topic — “What is the significance of the rock and roll quest for experience?” — then I encourage you to submit your own reflections on that topic (with reference to Chrissie Hynde, or to any other musician of your own choosing) in manuscript form to The American Journal of Semiotics for its Special Issue on Music.