Vanden Plas – Another Stroke of Genius

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)

81ADonu6jjL._SX355_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.

http://www.vandenplas.de

Arcade Messiah II: Perfection without Words

A review of ARCADE MESSIAH II (Stereohead Records, 2015).  Release date: November 27.

cover.jpg

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.

John Bassett Promo 5
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.

To order, please go here: https://arcademessiah.bandcamp.com/album/ii

Ave, Portnoy! A Change of Seasons

change of seasons
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.

Review: Drummond – Getting Comfortable EP

Getting Comfortable

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.

Drummond

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.

Metal Mondays – Montrose

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.

DREAM THEATER: “The Astonishing – Act I” Track Listing Revealed

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…

http://www.prog-sphere.com/news/dream-theatre-the-astonishing-act-i-track-listing-revealed/

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