What is Prog? er……

On By bradbirzerIn progressive rock music1 Comment

Jay Watson's avatarThe (n)EVERLAND of PROG

calm

And what do I want to review and write about on this blog? The one word answer is Prog; to be more specific, prog rock music.

And just what is prog? You can ask the experts, the bands themselves, or just Wikipedia the answer I suppose. I’m not a musician, musicologist, or professional music reviewer (cue Frank Zappa’s infamous quote about “rock journalists”) so my opinion is just mine, extending to this blog and no further.

But I won’t take a “pass” at the answer or give a Potter Stewart quip (“I can’t define obscenity but I know it when I see it”). I’ll take a swing.

I think prog music is a very inclusive pool—a large tent, and not at all a constricting and narrow “club.” I think it can, and maybe should, try to actually “progress” music and take it into new and different…

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My Top 10 Tracks of 2014

On By bradbirzerIn progressive rock musicLeave a comment

manofmuchmetal's avatar

What started as a throw-away remark on Twitter has suddenly turned into the content of another blog post on the Blog Of Much Metal. Having explored in great detail my favourite 20 albums of 2014, I happened to wonder aloud about my favourite ten individual songs from last year. The response to my musings was incredible – at least two people replied feigning interest. That’s enough for me; in spite of the rather late timing, it had to be turned into a full blog post immediately!

So, here, in no particular order, are my favourite 10 compositions of 2014…

Evergrey – Archaic Rage

A powerful call to arms that bravely confronts and lays bare one of society’s most stigmatized, feared and misunderstood issues from a very personal perspective. And all this, wrapped up in a sonic tour-de-force; an anthem of epic proportion, capable of sending shivers down my spine…

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Swinging On the Porcupine Tree

On By Thaddeus WertIn progressive rock music4 Comments

Harrison -Polygraph

Well, this is certainly a surprise! Gavin Harrison, drummer par excellence of Porcupine Tree, has recorded an album of reworked PT songs, and it is not what you would expect. Rather than stick to a rock format, Harrison has entirely re-imagined these songs as big band jazz performances. And you know what? It works!

The key to Cheating the Polygraph’s success is that these are not note-for-note reproductions of the originals, but rather soaring flights of swing that use the original melodies as jumping off points. Freeing Steven Wilson’s melodies (and very few can write a melody as seductive as he can) from the strictures of rock, Harrison and his band really stretch out and explore the implications of Wilson’s chords through the harmonies and rhythms of jazz. And this is jazz that goes way, way out there. If Duke Ellington were alive today, he would probably be making music like this.

According to Harrison, the songs he selected are his personal PT favorites, which is fascinating. They aren’t the obvious choices, and most come from relatively obscure sources: “What Happens Now?” and “Cheating the Polygraph” are from the Nil Recurring EP, “So Called Friend” and “Futile” are from Recordings II, “Mother and Child Divided” is off the Arriving Somewhere soundtrack, and “The Pills I’m Taking” is a section from “Anesthetize” that I have from a BBC Radio One Rock Show Session (it may be available elsewhere; I’m not an obsessive PT collector!). So for many casual PT fans, Cheating the Polygraph may be the first time to hear these tunes.

A standout performance is “Heart Attack In A Layby”, where the somber mood of Wilson’s original performance is preserved, but marimbas and bass clarinet add an exotic element that is simply beautiful. Another highlight is “The Pills I”m Taking” which Harrison transforms into a suspenseful brass blast that would be right at home as the theme song for a 1950s TV crime drama. “Hatesong/Halo” begins with a marimba workout that soon morphs into an edgy flute-led arrangement; it sounds like a long-lost Stravinksy composition. The transition from “Hatesong” to “Halo” is masterful; pairing those two songs into a suite brings out the best in both.

What about Harrison’s own performance? Well, when I first saw the DVD of Porcupine Tree’s Anesthetize concert, I posted a review on Amazon, stating, “For me, this production highlights how indispensable Gavin Harrison is to Porcupine Tree. His drumming is simply phenomenal. Despite PT being Steven Wilson’s baby, Gavin is the true star of this DVD.” On Cheating the Polygraph, he has not lost one bit of his drive and grace. Every song is built on the foundation of his propulsive percussion. Harrison remains a master of energetic cross-rhythmic drumming while never sounding “busy”. He is to rock what Tony Williams was to jazz – always pushing the boundaries of what percussionists can do.

Cheating the Polygraph may not be “rock”, but it is challenging and very satisfying music. In my book, that makes it prog, and excellent prog at that!

Here is a preview of the album; Kscope Music plans to release it on April 13th:

Update: I should have mentioned Gavin’s collaborator, Laurence Cottle, is responsible for the marvelous arrangements of these songs. Let’s hope their partnership is not a one-shot deal!

 

Robin Armstrong Tells It Like It Is

On By Thaddeus WertIn Cosmograf, progressive rock3 Comments

Robin Armstrong’s (Cosmograf) latest post on his website is a must-read defense of Steven Wilson’s hard-won popularity. Here’s an excerpt:

Well here’s the rub, you, like me and thousands upon thousands of people making music in the world today are entitled to precisely nothing.  We have no right to be heard, no right to earn a living from our art and certainly no right to success.  For the mere mortals, these things have to be earned, slogged at, and when some little successes arrive, appreciate them.

The truth is, that making a record now has never been easier.  Making a record that people will listen to got harder, much harder.   When someone makes a record that people are falling over themselves to listen to, in a genre of music that’s similar to yours, be bloody inspired, I know I am…

Read the whole thing here.

Hand. Cannot. Erase. Perfect.

On By bradbirzerIn progressive rock music6 Comments

Ok, I was a bit hasty a few weeks ago in an initial review of the new Steven Wilson album.  My actual, physical, honest-to-goodness copy of the CD arrived yesterday.  And, what a thing of excellence it is.  With apologies to Brian Watson, I must gush a bit.  The “flow” is especially strong.  Listening to the album is akin to watching the intricate and unpredictable patterns in nature–perhaps the cracks that develop on a frozen body of water.  There is a hidden symmetry in its revelations.  Indeed, this album shows a real maturity, a sort of combining of the best of the first and second solo albums.  And, as always, Wilson is an audiophilic genius.  This I’ve never questioned, and his talent manifests itself galore on this album.  Ok, enough gushing.  If you’ve not bought this album yet, do so!  It’s probably even worth paying the $3.99 for expedited delivery.

Eric Gillette: The Best A Prog Fan Can Get

On By Thaddeus WertIn Neal Morse, progressive rock, Radiant Records5 Comments
Gillette's first album.
Gillette’s first album.

As Brad Birzer mentioned in another post, Eric Gillette is the lead guitarist for The Neal Morse Band, having contributed to their album The Grand Experiment and currently touring with them. Before he hooked up with Neal, Eric released a self-produced album, Afterthought, which certainly deserves to be recognized in its own right for the excellent slab of prog it is.

It begins with three very heavy guitar-based instrumentals, “Afterthought”, “Change”, and “You’re Full Of It”. Fans of Joe Satriani and Eric Johnson will eat these up, as they showcase Eric’s phenomenal guitar skills. Eric’s gift is his ever-present melodicism, regardless of how crunching the riffs are underneath.

The fourth track, “Lost” (featuring long-time Neal Morse collaborator Randy George on bass), is something very special. A 22 minute epic that begins with a fast Crimson-like guitar intro soon settles into a keyboard section reminiscent of classic Todd Rundgren while Eric sings, “Can you hear me? Is there anyone out there? I could use a helping hand…I will find my way; I won’t be afraid. I can feel you next to me.” After three blistering instrumentals, it is a startling and inspiring moment to hear his pure and strong vocals. “Lost” is a tremendous track, with not a note wasted during its entire length.

“Rising” is another instrumental, this time featuring fellow NMB member Bill Hubauer on keyboards. “Bring You Down” is another heavy track with excellent vocals. It brings to mind Nine Inch Nails’ Trent Reznor at his best. Unlike NIN, though, Gillete’s lyrics are more positive: “You don’t have to face it alone/Don’t let it bring you down.”

“Out Of Control” is another guitar showcase that would give Jeff Beck a run for his money. As a matter of fact, if you miss those classic Jeff Beck/Jan Hammer jams, then “Stagger”, “Blue Sky” and “Miles Away” will satisfy. The latter song, in particular, is simply gorgeous, and I am sure it was no accident that the title suggests Miles Davis’ balladry.

The album closes on a gentle note with a piano-based acoustic tour de force, “Above The Sky”. Eric’s multitracked harmonies sing a song of hope and redemption: “Darkness turns to light/Now you can finally see what this all meant/ No more questions why/The answer’s right in front of you, so open your eyes/Above the sky”.

It is an extraordinary achievement for a young musician to produce a debut album of such high quality. It’s no surprise Neal Morse included him in his new band – Eric Gillette is the real deal, and we will be hearing a lot more from him in the years to come.

The new Steven Wilson out today

On By bradbirzerIn progressive rock musicLeave a comment

STEVEN WILSON HAND. CANNOT. ERASE. AVAILABLE TODAY

Steven Wilson’s conceptual masterpiece, Hand. Cannot. Erase. (Kscope), released today to critical acclaim – the groundbreaking songwriter, four-time Grammy-nominated artist, multi-instrumentalist and producer, has long been celebrated by an elite audience of audiophiles and tastemakers, with the new release eclipsing all expectation.

The critics so far:

“Hand. Cannot. Erase. is an album rooted in sonic and spiritual modernity, largely eschewing early prog tropes in favour of an inventive blend of lbealk and brooding industrial soundscapes and rugged muscular ensemble performances from Wilson’s virtuoso henchmen…” Score: 5/5  – The Guardian

“…Wilson set out to capture Vincen’ts life as only he can – through sprawling, dense, challenging and often strikingly beautiful music.  The result is Hand. Cannot. Erase….” – Buffalo News

“Hand. Cannot. Erase. is nothing short of an epic tale of modern-day isolation.” – Huffington Post

“It’s beautiful and haunting.  As with many great prog records, there’s no shortage of musical layers, instruments and themes.” – Huffington Post

“What’s striking about Hand. Cannot. Erase. is its vast spectrum of musical colors and the life-affirming vitality of its hummable melodies.  Wilson’s best album to date…” – Under The Radar

“…produced and mixed by Wilson, the album is sonically rich and detailed. It’s an immense, imaginative landscape that melds classic album rock, sophisticated ’80s pop, metal, prog, and electronica in expertly crafted songs.” – All Music

“Bucking virtually every convention in today’s music business, Wilson’s career and exponential rise to fame has, quite simply, been extraordinary.” – All About Jazz

“It’s this ability to combine narrative and music in brave and adventurous ways during a time when the very longevity of the album-as-cohesive-statement is constantly being questioned that makes Wilson one of the most compelling musicians of his era. His music seeks to connect on a deeply human level, and stands in contrast to a popular music culture obsessed with disposability. This makes him a rare and precious commodity.” – Buffalo News

“If Neil Young is the “Godfather of Grunge,” then Wilson has likewise (and rightfully) earned his place as the “Patriarch of Prog.”” – Seattle Post-Intelligencer

“Musically, it’s a full-course sound-and-genre menu that runs the gamut from epic prog-rock to industrial textures and rhythms to pastoral acoustic pop.” – Music Radar

“..a rich musical journey with numerous moments of vivid melodic simplicity…” Score: 5/5  – The Guardian

“If there is any such a thing as a renaissance man left in popular music, then Steven Wilson is surely it.” – Seattle Post-Intelligencer

“…there is a cohesive and strong narrative to the album, there are enough music twists throughout the 11 tracks to keep you on the journey right to the very end.” – fdrmx

“…rather than being a Progressive Rock album with a capital “P,” this is a progressive album in the dictionary sense of the word; an album that represents progression for Wilson and, with its unintended but undeniable crossover appeal, an album that moves music forward in a way that’s detailed under the hood but immediately accessible throughout.” – All About Jazz

“This troubling but deeply moving record is a metaphorical treatise on societal alienation, loneliness, and urban dislocation, offered without pretension. It is aesthetically attractive while being emotionally and intellectually resonant; pop music can hope for no more.” – All Music

“Hand. Cannot. Erase. is a crystal clear indicator of just what can be achieved with a little thought, some finely-honed talent, a quality team, and plenty of hard work. Box-negating, limit-ignoring, and utterly fantastic.” – The Music Melting Pot

“Steven Wilson has once again achieved a perfect mix. It is delicate and dynamic, and it has a lot of space for everything to breathe.” – The Monolith

“…Steven Wilson’s new album, Hand. Cannot. Erase., is simply The Thing That Shouldn’t Be: Eleven tracks clocking in at over 65 minutes, it the genuine concept record article, built more for sustained, top-to-bottom listening experiences rather than short-bite consumption.” – Music Radar

“As someone capable of delivering accessible music that is, at the same time, compositionally and lyrically deep—detailed and, at times, unapologetically complex—Wilson makes absolutely no compromises in doing what he does. And yet, almost in spite of it all, his star continues on an increasingly rapid upward trajectory.” – All About Jazz

“Hand. Cannot. Erase. grabs your full attention from the beginning to the very final note…the sign of a great album.” – fdrmx

“Wilson’s refined skill as a songwriter and studio guru combine to fashion songs that deserve a much wider audience than one that views his work as a modern equivalent of Pink Floyd and Genesis.” Score: 5/5  – The Guardian

“Steven Wilson’s new album is that perfect hybrid of edgy pop and progressive rock” – Power of Pop

Co-produced by the four-time Grammy-nominated artist, multi-instrumentalist and producer, Hand. Cannot. Erase. is available at retailers nationwide and digitally with a limited deluxe edition for pre-order via Kscope (http://bit.ly/1DhHN6c). Steven Wilson and his band will embark on a tour through the UK and Europe in March and April 2015, then head to North America dedicating much of the summer beginning on May 21 in Albany – itinerary below.

Best known as founder and front man of British rock act Porcupine Tree, Wilson has produced and collaborated with diverse acts as Opeth, Blackfield, Yes, Roxy Music, and XTC. His prolific engineering work can be heard on his mixes of classic releases from King Crimson, Jethro Tull, and most recently the 5.1 surround sound version of Tears For Fears’ classic Songs From The Big Chair reissue, released in November 2014. Porcupine Tree’s last album went top 30 in both the UK and USA, and the tour climaxed with sold out shows at Royal Albert Hall in London and Radio City Music Hall in New York.

Following the release of his critically acclaimed 2012 release, The Raven That Refused to Sing, Wilson set out on a world tour, having assembled a virtuoso band – Marco Minnemann (drums), Nick Beggs (bass), Theo Travis (flute and sax), Adam Holzman (keys) and Guthrie Govan (guitar).  His latest studio creation completed, the cinematic Hand. Cannot. Erase. features dynamic performances by Wilson, his touring ensemble, and vocal accompaniment from
Ninet Tayeb.

# # #

www.stevenwilsonhq.com

North American Tour dates:

May 21                   The Egg                                     Albany

May  22        Berklee Performance Center                    Boston

May 23                   The Whitaker Center                     Harrisburg

May 26                   930 Club                                    Washington, DC

May 28                   Keswick Theatre                          Glenside, PA

May 29                   Best Buy Theater                         New York City

May 30                   Best Buy Theater                         New York City

May 31                   The Grand                                  Wilmington, Delaware

Jun 02           The Palace Theatre                      Pittsburgh

Jun  04          Park West                                  Chicago, Illinois

Jun 05           Park West                                  Chicago, Illinois

Jun 06           Barrymore Theater                       Madison

Jun 09           Boulder Theater                           Boulder, CO

Jun 11           Mesa Arts Center                         Mesa, Arizona

Jun 12           The Grove                                  Anaheim

Jun 13           The Wiltern                                 Los Angeles

Jun 14           The Warfield                               San Francisco

Jun 16           Aladdin Theater                           Portland

Jun 17           Neptune Theater                          Seattle

Jun 20           Vogue Theatre                                      Vancouver

Jun 22           Myer Horowitz Theatre                 Edmonton

Jun 23           Theatre Junction Grand(Flanagan)   Calgary

Jun 26           The Danforth Music Hall                Toronto

Jun 27           Montreal Jazz Festival                            Montreal

Jun 28           Montreal Jazz Festival                   Montreal

Jun  29          Impérial                                     Quebec City

An Excellent Interview with Steven Wilson by Stephen Humphries

On By bradbirzerIn progressive rock music3 Comments

A friend of mine, Stephen Humphries, just interviewed Steven Wilson.  Well worth reading.  Humphries is a natural.

My story began to spin off other things that I wanted to talk about: nostalgia for childhood, regret, and isolation and alienation,” says Wilson. “When most people say ‘concept album,’ they think of fantasy. But for me, the quintessential concept albums are things like Tommy, Quadrophenia, The Wall, OK Computer. These albums are actually about very similar things. They are about a fear of the modern age, they are about alienation from technology and alienation from society. They are also albums about individuals becoming isolated from the rest of the world. I think there is a lineage that this album appears to be a part of.

To read the entire interview (and you should!), please click here.

Terrible News: The Reasoning Are No More

On By bradbirzerIn progressive rock music1 Comment

I was terribly sorry to wake up to the news that The Reasoning have disbanded.  They’ve been a major part of my life–the soundtrack of so many articles, books, and trips–over the last decade.  Matt, we love you, and we wish you nothing but the best–Brad.

A very good afternoon to you one and all, I hope you are well? I promise to keep what we are about to say very short, sweet and to the point. It is with a very heavy heart that we impart the following bit of news – The Reasoning have decided to call it day. We part in the knowledge that we have achieved many wonderful and great things as a band and as individuals but, the time has come to be honest and realise that as a musical group, we have explored as much as we can. Though we have enjoyed our journey with you immensely, we have also had occasions where it seemed so tough to carry on and as we approach the 3rd anniversary of the disappearance of our dear friend Owain, this seems like the right time to gently put the band to bed.

We want to thank all the bands, press and fans for the amazing loyalty, support and love. We have done many incredible things, been to many amazing places and played to so many amazing people. Our music lives on with you and in our hearts. This is not the last you will hear of us as musicians but I’m afraid, it is the last you will hear from us as a band. We are all parting on good terms and with firm friendships established. This is a decision we all feel is the best thing for the band and its musical legacy.

Thank you all once again, you will never know how much we truly love you all. Be well, take care and we’ll all see you on the road sometime soon. “The View From Where I Stand Begins To Change, Something Is Happening To Me…….”

The Reasoning xxxxx

PS The main website will remain online until the domain name expires so, please feel free to pop over. Please be aware, this will be our last announcement xx

Screen Shot 2015-03-03 at 11.16.19 AM (2)
Painful. Fare ye well, Matt. We’re eager to see what you do next!