A diary-like album begins by documenting a relationship in its death throes. On melodic opening track Stonemilker, written before the break-up, Björk sings like a veteran soul diva about her need for ‘emotional respect’.
Growing aware of the warning signs, however, she then admits: ‘I’d better document this.’ And document it she does. By the mid-point of the album, the misery is palpable.
When Björk does a big heartbreak ballad, the sense of wintry desolation is all-consuming, and Black Lake — a ten-minute epic in which one particular chord lasts for 30 seconds — is almost too discomforting to listen to.
Much the same goes for Family, a long, tuneless dirge that is Vulnicura’s low point, both musically and in terms of the singer’s ability to come to terms with heartache. But the darkest hour leads to a new dawn. With Antony Hegarty on backing vocals and Björk singing about ‘dancing towards transformation’, Atom Dance is jaunty and life-affirming, while Mouth Mantra finds her rediscovering her own voice.
Björk knows things aren’t quite so simple. With the final track Quicksand examining the damage a broken union can inflict on subsequent generations, her unflinching honesty remains.
Two decades after leaving indie band The Sugarcubes to turn solo, she hasn’t lost her capacity to surprise.
I wouldn’t normally descend so low as to engage in shameless self-publicity. But…
I am going to be doing an AmericanProg show which should be of interest to folks on here.
Progzilla Radio—the eleven-headed monster: On 2 March, Progzilla Radio is going EXTRA LARGE!
The popular progressive rock music station will be expanding from Cliff Pearson’s weekly Live at Progzilla Towers to DAILY shows from ten new presenters covering every aspect of prog.
We have collected the cream of the UK broadcasting talent and we are launching the new, super-sized Progzilla Radio on 2 March at 20:00, with a live kick-off party, featuring all our presenters who will discuss their plans and play some of the music they’ll be featuring on their shows.
The list of presenters includes many names known throughout the industry, such as Jon Patrick, David Elliott, Stacy Doller, Emma Roebuck, Cliff Pearson, Brian Watson, Andrew Wild, Ed Wilkins, Geoff Banks and Ian Fairholm. http://www.progzilla.com Each Monday
19.00-21.30
Stacy Doller starts the week with Prog Brittania—Stacy’s long-running and popular programme with all that’s good about current and classic British Prog Rock. And his socks. Each Tuesday
20.00-22.00
A Certain Prog, presented by Ed Wilkins—the much needed youth perspective. Each Wednesday
20.00-22.00
Live from Progzilla Towers with Cliff Pearson. Cliff’s usual mix of current and classic progressive music, irreverent humour, interviews, news and audience participation. Each Thursday
20.00-22.00
Emma Roebuck takes you through the Diversity of Prog—sometimes mainstream sometimes arguably not prog but always interesting. Each Friday
20.00-22.00
The Epileptic Gibbon One of the UK’s longest running podcasts comes to Progzilla! The Eppy Gibbon show is devoted to the best mixture of independent and small label prog rock, art rock, post rock, prog metal, jazz rock, folk rock, math rock, downtempo, chill-out, ambient electronica, IDM, chamber pop, folktronica, psychedelia, neo-classical, film & TV soundtracks and experimental/avant garde music. Each Saturday
20.00-22.00
The Amazing Wilf brings you the best in British and European progressive music, with a particular focus on the current scene and occasional detours to the dim and distant past. Each Sunday
11.00-13.30
The Geoff Banks Sunday Brunch – get bouncing on a Sunday morning!
20.00-21.00
Progzilla Sundays—punchy hour-long programmes on all aspects of Prog from four rotating presenters
• First Sunday of each month (starting 8 March)—Andrew Wild presents The Progzilla Files, exploring the dusty side roads of prog’s back catalogue
• Second Sunday of each month (starting 15 March)— Jon Patrick blatantly plugs The House of Progression live shows in London by playing the bands, interviewing them and forcing a few to record exclusive sessions. There will also be a bit of rock and some inspiring tunes.
• Third Sunday of each month (starting 22 March)— Brian Watson presents The American Prog Show- playing the best North American progressive rock past, present and future.
• Fourth Sunday of each month (starting 29 March)—a surprise big name presenter … oooh!
Come and listen to the show that never ends.
It’s not strange that many bands on today’s progressive rock scene try to recreate the golden era of the genre by conscious applying it to their sound. Dublin based prog rock quartet, M-Opus, are about to launch their debut album titled “1975 Triptych,” and as its name suggests, it represents the band’s effort to put out a record that is 40 years old in spirit.
In this interview, singer and keyboardist Jonathan Casey talks about the album and how it came into existence. He is a professional musician who previously worked with David Cross (ex-King Crimson).
Tell me about the musical concept behind M-Opus and your upcoming full-length release “1975 Triptych.”
We’ve got quite a fun concept – M-Opus albums will be ‘from’ different years in the past, as if these are old albums that are only being released now. Our debut album pays respect to 1975, the year I was born! So the album is meant to sound like it’s from that time.
“1975 Triptych” seems to be quite a challenging work. Lead me through the creative process that informed the album.
It really started out with me writing without any practical aim, in a 70s style, loving the process. Then my muso buddies Colin (guitars) and Aran (drums) said they’d love to get involved, so we started demoing parts of it. I kept writing and the concept began to take shape. We all agreed, it should sound vintage and not super punchy and modern.
Speaking of challenges, is there a creative challenge to deal with in that the band members occupy similar sonic spectrums?
Yes that’s a real producer’s issue, standing back from it all and making sure individual parts are working together. Colin and I always edge towards an equal sound, there’s a lot of unison playing between keys and guitars. I’ve composed for orchestras and you soon get over the idea that you should avoid tutti passages in that world.
It’s obvious where your influences lie. Was it your idea since the beginning to create an album that recalls the golden era of the progressive rock genre?
Definitely, 100%. I feel that the vintage sound is part of the experience, part of the love we have for it. Classic prog rock with a big, modern production cuts across me. Think of ‘Moonlight Serenade’, I don’t want that sounding massive and maximised – that style has got a charm in its evocative, wartime-ballroom sonority. In traditional music, jazz, blues, it’s not unusual to treat the music in that time-stamped way. I’m after the same thing with prog, a sound that suits the music.
M-Opus – 1975 Triptych
What have you been listening during the songwriting process of “1975 Triptych”, and in which measure it shaped the album’s final structure?
I listened to a lot of what was going around that year and leading up to it, to keep my writing reasonably contemporaneous. Then for fun, I really love listening to a lot of different music; one car journey could include John Adams, James Brown, Joni Mitchell, Queens of the Stone Age and Mahavishnu!
The album structure was more influenced by my background in art history. In that world, it’s all about the inspiring presentation of the concept. A Triptych is a 3-panelled work, 1 small, 1 large, 1 small, each panel relating to the same subject, just like our record.
As its name suggests, “1975 Triptych” is comprised of three songs, including centerpiece “Different Skies” clocking at over 33 minutes. Describe the creative process behind this song, in particular.
It was a little like when a sculptor releases the figure from within the slab, knowing the form already in the marble, just having to reveal it. I’d write and arrange some of it, stop and listen and I would hear the music that wasn’t there yet, maybe earlier or later in the piece. So off I’d go and realise that hidden music. Eventually, I knew it was complete!
M-Opus
I understand that M-Opus is for you some sort of fresh start or creative renewal for you. Elaborate on it.
I’m fortunate in that I get paid for writing music on TV and film. After some years, I realised that I like this process, regardless of the style I was asked to work in. In my teens, I thought modern songwriting was the ‘real’ me, it was my true voice. But I discovered I’m as happy doing cartoon scores, horror stings, melancholic string pieces as anything else. So I had to ask myself, if that’s the case, what truly is the music you’d most like to write? And it turned out to be M-Opus!
Before M-Opus, you’ve been a part of the David Cross (ex-King Crimson) Band, with whom you toured and recorded two albums. How did this collaboration help you to define yourself through M-Opus?
It was so wonderful. I suppose it convinced me that working in this area of music is a reality, not just a dream. It encouraged me to make my own path out there.
I read that the next M-Opus release will be from 1978. How come? Tell me more about it.
It’s going to tell a story. A lot of narrative concept albums have somewhat elusive, spiritual stories – I wanted to try a clear, plot-driven sci-fi thriller and hopefully visualise it as a graphic novel. I have the story mapped out and about 30 minutes of music so far. I’m making it 1978 as it seems the right time for an album that is influenced by the success of Star Wars the previous year.
From the same source I found out that you will be recording an album dating back in 1982. 80’s in particular are not much loved period by progressive rock fans, mostly because of New Wave. How will this reflect on the music?
It will be a little challenging for sure. I want it to be authentic, but as you say, many prog bands released albums that are deemed their worst in this period! So there will be some very catchy songs on there but a healthy, exploratory aspect to it too. Peter Gabriel managed that very well on 3 and 4, of course.
You performed live with M-Opus. What is the reaction of audiences on your music? Are you satisfied with responses you receive?
Although this outfit have played live before, this will be our first time as M-Opus playing this stuff. Previously, we’ve done free-form stuff, heavy-ish things; audience members were often bemused or horrified! This new stuff is quite structured and lively, so I hope it’s going to be a great show.
What comes next for M-Opus?
Next up is live dates and working on ‘1978’. If anyone out there knows a thing or two about graphic novels/comic books, give us a call! It’s time to collaborate!
Guitarist Alexander Kitaev introduces us to Sibefor, in an interview where he talks about the band’s beginnings, the way they give birth to songs, gear, influences, and more.
How did you go about forming SiBefor?
SIBEFOR was formed back in 2010 by two experienced musicians tired of clichés, of bands copying each other with the aim of making original music never heard before.
What does the name of the band mean, what do you refer to?
It’s a combination of three words. Our music is for experiments, harmony, of what is inside.
Alexander Kitaev
Describe your songwriting process. What are the biggest challenges you face when writing music?
It all usually starts as bass and drums. Alberto and Ivan spend much time together; they understand each other without any words spoken and they pushy enough to polish the grooves until they shine. At this point of time, we add guitars, vocals and keyboards, revise constructions, order of the parts etc.
The biggest challenge? To put some interesting stuff in, mix some unusual ideas without making music too much elaborated.
Do you tend to follow any pre-defined patterns when composing a piece?
We believe that Music itself leads you to the right form. It will show you the way if you attentive enough.
What kind of gear do you use for recording your music?
Yamaha drums, paiste cymbals, warwick bass and amps, Paul Reed Smith guitars, Mesa/Boogie amps.. Various effects, keyboards, samplings pads..
How would you describe SiBefor’s music to someone who didn’t hear you before?
Unique sound, mystique atmosphere, pure emotions. A mix of rhythmic alternative and progressive rock, eastern melodies and contemporary melodic rock is what drive this music beyond familiar genres and forms.
Which bands or artists influence your work with SiBefor?
Somehow those who listen our music associate it with acts like System of a Down, Muse, HIM. Yet it’s a mystery why.
What are you up to these days?
Playing live. We just started getting out of our hometown. Playing around Baltics countries and Finland. And getting ready for some bigger tours to Spain and Italy.
Where do you draw your inspiration from and how do you go about channeling it into writing?
Live performances is what really inspire us toward new horizons. You get back from live shows to rehearsal room full of energy, filled with ideas and willingness to create. At this point most of our best pieces were born.
What is your view on technology in music?
Technology is a two-sided coin. Modern technology dramatically facilitate recording process, gives you tools which previously were used by elite musicians exclusively. However, with these amount of cool new tools it’s too easy to forget that it’s not technology who make music, it is you.
What are your plans for the future?
We are about to start a crowdsourcing campaign with hope to raise some money to record our first real LP. If we are lucky enough to cover half of studio costs, we will barricade ourselves in a studio for the whole summer. This means new album out by autumn, followed by whole Europe tour, I hope.
When I was 13 I had a sister for 6 months. She arrived one February morning, pale and shellshocked, from past lives I could not imagine. She was 3 years older than me, but in no time we became friends.
We’d listen to her mix tapes; Dead Can Dance, Felt, This Mortal Coil…
She introduced me to her favourite books, gave me clothes, and my first cigarette.
Sometimes we would head down to Blackbirds moor to watch the barges on Grand Union in the twilight.
She said “The water has no memory”.
For a few months everything about our lives was perfect.
It was only us, we were inseparable.
Later that year my parents separated and my sister was rehoused with a family in Dollis Hill.
For a month I wanted to die and missed her every day.
But gradually she passed into another distant part of my memory.
Until I could no longer remember her face, her voice, even her name.
GAVIN HARRISON RE-IMAGINES PORCUPINE TREE TRACKS ON UPCOMING SOLO ALBUM “CHEATING THE POLYGRAPH”
“Cheating the Polygraph” out April 14 on Kscope; teaser video posted online
ENGLAND – Gavin Harrison, drummer for British prog innovator, Porcupine Tree, has announced a brand new solo album of re-imagined songs from the acclaimed Porcupine Tree repertoire, Cheating the Polygraph, due out in North America on April 14 via Kscope (April 13 in the UK, April 17 in Germany, April 22 in Japan).
4. Heart Attack in a Lay-By (Creator had a Mastertape / Surfer)
5. Anaesthetize (The Pills I’m Taking)
6. Hatesong-Halo
7. Cheating the Polygraph (Mother & Child Divided)
8. Futile
Gavin Harrison currently finds himself working with British progressive rock group, King Crimson. His playing and performing résumé includes stints with artists as varied as Iggy Pop, Lewis Taylor, Manfred Mann and Kevin Ayers.
Cheating the Polygraph is an ambitious project which sees the restlessly creative Harrison re-imagine eight Porcupine Tree songs in a set of vivid and vibrant new arrangements that give full, free rein to his inquiring musical mind.
The tracks which comprise the album were recorded over a five-year period, with Harrison working in conjunction with a crew of some of the finest contemporary musicians, including the gifted saxophonist Nigel Hitchcock and bass player Laurence Cottle. It’s a set that will no doubt excite much controversy; Harrison’s use of the ‘Big Band’ musical sound stage isn’t some ersatz attempt to make a ‘Swing’ album; it’s closer in execution and arrangement to the innovative works of Frank Zappa and The Mothers of Invention – a layered, richly-textured selection that is both beautifully-recorded and incisively delivered.
“I think every album needs a focus – a master plan – and whilst I thought about writing new tunes for a big band project, I made a version of Porcupine Tree’s ‘Futile’ (with Laurence Cottle) and it came out really well,” commented Harrison. “It felt like a good plan to follow on with some of my personal favorite PT songs and see if we could make them work. I had a vision that the arrangements would never lean towards a clichéd classic big band sound, but always follow a modern contemporary angle. So even if you didn’t know the original tune, you could still enjoy it as a modern composition that would work with this instrumentation. I couldn’t be happier with the results. Laurence Cottle’s immense talent as a musician and arranger was mind blowing.”
No respecter of arbitrary musical pigeonholing, Harrison doesn’t so much ignore genre confines as smash right through them – Harrison states in his thoughtful liner notes: “It’s very important to me to push the boundaries of music whilst respecting what came before. In the arrangements of these pieces we really get ‘out there’ with some of the harmonies and rhythms, and we vastly extended the edges of the original compositions.”
Harrison also drops little musical depth bombs throughout by interpolating shards of melody and musical themes from other Porcupine Tree songs seamlessly into the musical patina of Cheating the Polygraph, which serve to underscore his frontiersman spirit; this is some of the most enthralling, engaging and challenging music you’ll hear in 2015, but there is also wit and charm in abundance here, too.
Stay tuned for more information on Gavin Harrison and Cheating the Polygraph, out this spring on Kscope.
Metal band System of a Down are gearing up for a short tour in remembrance of the 100th anniversary of the genocide in Armenia, their native country. While not a “prog” band by any means, SOAD is well known for their anarchist, anti-government, anti-crony capitalist, and especially anti-war cries. They are also known for rather offensive lyrics, at times. Of all the bands of the early 2000s (their last album came out in 2005), System of a Down is probably the best at being up front about what they believe, and I can respect that and can even agree with them on some issues. Serj Tankian, the lead singer of the band, is, in his own right, an excellent poet, both in his music and as an author. He is a multi-faceted musician and composer, even writing and releasing an orchestral Symphony in 2013. Needless to say, the band knows music and cultural criticism.
Progarchy 