Flying Colors – Live in St. Charles, IL – 10/3/14

Flying Colors - Left to right, Steve Morse, Casey McPherson, Neal Morse, Dave Larue, and Mike Portnoy
Flying Colors – Left to right: Steve Morse, Casey McPherson, Neal Morse, Dave Larue, and Mike Portnoy

Last night, I had the great pleasure of seeing Flying Colors perform songs from their first and second albums live on the second show of their tour. Held at the Arcada Theater in St. Charles, IL (western suburb of Chicago), the show got off to a rather slow start. Two hours slow, to be exact. The concert was supposed to start at 8PM, with seating to begin at 7. That didn’t happen, due to the fact that the FAA is yet another incompetent government agency run by morons and buffoons. Weather might have also played a part in the fact that the band’s flight from California was late, but I blame the FAA. (The Air Traffic Control facility in Chicago was lit on fire by a “disgruntled” employee last week, and they are still recovering.) Mike Portnoy claimed the band hadn’t slept in a couple of days, but it sure didn’t show while they were playing. So, considering the circumstances, it was almost a miracle the show happened at all, so props to Flying Colors for making it happen.

The Flying Colors began playing at 10, but they had a touring band called Bend Sinister, of Vancouver, Canada, open for them at 9 PM. According to the theater people, Flying Colors didn’t inform the theater that Bend Sinister would also be playing. Shoutout to the band manager for a job well done (sarcasm). Bend Sinister’s music can be best described as classic hard rock. They had guitar, drums, bass, keyboards, and a singer with the vocal range of Steve Perry (I’m not kidding, the dude was amazing). They played loud, and were a fairly solid opening act. They finished their act with a cover of Supertramp’s “The Logical Song,” and they did a great job with that. I kind of felt bad for not buying one of their albums to support them, but I’m a poor college student. The bassist gave me a business card after the show though, so there’s that.

Flying Colors finally took the stage around 10, and, boy, was the crowd ready. I don’t remember the setlist, which doesn’t much matter because they ended up playing a song that wasn’t on it. All the songs were from their first two albums, except for one acoustic song done by Casey McPherson from his band, Alpha Rev. He phased that song right into the beginning of “Peaceful Harbor,” and it worked perfectly.

Right from the get go, Flying Colors was rockin’ the roof off the joint. I was so excited to finally get to see Mike Portnoy, my second favorite drummer behind Neal Peart (who else?). After listening to my review copy of Second Nature a few weeks ago, I knew I had to hear more from this band. I acquired their first album (thanks, Brad), and I listened to both of Flying Colors albums almost daily for the past two weeks, until I decided to buy a ticket on Wednesday. They did not disappoint in concert. Everything from Steve Morse’s unworldly guitar work, to Portnoy’s always amazing drum work, to Dave Larue’s steady and technical bass work, this band has it all. I don’t think it is too much to say that this is one of the best “supergroups” ever.

The frustrating part of the evening, both for me and obviously for the band, was the feedback problems they had with their audio system. I think all of the problems were coming from Casey’s amps, as he said a couple of times that he blew a few amps, and the audio guy was on stage half the show messing with Casey’s guitar and amps trying to fix the problem. He never did, unfortunately. But, it was only noticeable on the quiet songs. Despite the setback, the band still performed flawlessly, and they really deserve credit for fighting through yet another setback. The crowd was more than gracious, which I’m sure the band appreciated.

IMG_1217
Dave Larue on bass

If you have listened to any of the Flying Colors catalogue, you know how amazing these guys are. In concert, they take it to the max. In fact, some of their songs sound even better live, especially “Infinite Fire,” which was the encore, and “Peaceful Harbor.” The beautiful thing about this band is they don’t play loud for the sake of playing loud. Even though I left with about 1/4 of the hearing capacity I arrived with, each instrument could be heard (or felt) clearly and distinctly. It wasn’t just loud noise, like some bands. As a lead singer, arguably the least famous member of the band, Casey McPhersen has an excellent stage presence and a fantastic voice with great pitch and range. He never missed a note. Neal Morse sounded good as well, and he was a whiz on the keyboards. Even Portnoy sang, which was cool to see the drummer do. He talked to the audience a lot as well, explaining their difficulties getting to Chicago. The Arcada Theater has become his “home away from home,” as this was the third show he has played there this year, all with different bands. Dave Larue is incredible on the bass, and he bears an uncanny resemblance to Geddy Lee. Steve Morse is a god on guitar, enough said.

Throughout the night, the band played a good mix of songs from both of their albums. It was probably about 50/50, but they may have played more from Second Nature. I think they opened with “Open Your Eyes,” but I can’t rightly remember. (I’m better at remembering albums, since I usually listen to albums in their entirety and never look at what song is playing. That’s why I love TaaB!) In no specific order, they also played, “Cosmic Symphony,” “Mask Machine,” “Bombs Away” (freakin’ amazing bass!), “The Fury of My Love,” “Peaceful Harbor,” Shoulda Coulda Woulda,” “Kayla,” “The Storm,” “Infinite Fire,” and several other songs I’m forgetting. It was all awesome, and there isn’t a Flying Colors song that I don’t like.

In the end, this was a fantastic concert. The band did a great job of overcoming adversity, especially when the venue was nowhere near sold out. They truly love their fans, because they showed nothing but appreciation to the crowd. In my mind, the only thing holding them back is the airlines, equipment failure, and whoever the hell set up the sound equipment.

Tonight was the last American show, held in Philadelphia. However, for European fans, there are seven more shows in the tour spread out around the continent. My recommendation: go! You won’t regret it. And go buy Second Nature. Great job Flying Colors!

http://flyingcolorsmusic.com

My iPhone takes garbage photos. I think a polaroid from the 70s could do better. My dad has color slides from a Journey concert that are clearer than this.
My iPhone takes garbage photos. I think a polaroid from the 70s could do better. My dad has color slides from a Journey concert that are clearer than this.

Re-Entering the Universe

dennisleeaskew

Well, it has been exactly one year since I first joined Progarchy, and what a positive experience it has been. In celebration, I have decided to briefly give another shout out to my friend Dennis Lee Askew of the band Universe, one of my favorite American prog bands.  I very much enjoyed reviewing his first album in an earlier post.  Dennis recently issued a new album (pictured above) containing some songs from his first album and a few others previously unreleased. If you enjoy the sounds of psychedelia, space rock, acid rock, and prog, you will enjoy this album. It is a superb blend of Pink Floyd and The Moody Blues with some Yes added for good measure.  My two favorite songs on the album are I Am, which is keyboard driven and definitely has an early Pink Floyd vibe, and The Axiom, which features a cool synth opening and some great guitar work. You can support Dennis and his work by visiting his website and purchasing the album.

http://www.universemusic.us

Prog nobility in my old hometown, Kungsbacka!

Earlier today I searched YouTube for some suitable music to post on Sally Collyer’s Facebook timeline since it’s her birthday and all. What would be more suitable than a nice piece of footage from a Tangent gig, I thought! 🙂 And really perfect it would be if I could find a clip from the gig I attended, the one in my old hometown Kungsbacka, south of Gothenburg, Sweden. Imagine my joy when I actually found these two clips from the absolutely fantastic Monday evening, when The Tangent and Karmakanic joined forces for the last time on the short but intense tour they were out on in the last week of May and beginning of June. They started out with two gigs in Sweden, continued with three shows in Germany and The Netherlands and played, what first was meant to be the end of the tour, for an apparently ecstatic audience at Celebr8.3 in London. But, alas, the festival gig wasn’t the last, so they actually flew back to Sweden again to finish the tour at Kungsbacka Teater! Which, naturally, I’m so very happy they did!  And so, watching the clips this morning made me again feel the happiness to be here, now, in this very time, being able to enjoy all the wonderful music being played by fantastic bands like The Tangent and Karmakanic. And soon, oh soon it’s time for the highly anticipated gathering of friends, also known as Big Big Train Live at King’s Hall, which probably will be The Pinnacle of my life as a music lover. 🙂

Pervy Perkin

Interview with Pervy Perkin

Earlier this year, a progressive rock quintet from Madrid, Pervy Perkin, put out their debut double album called “Ink,” a record that counts 16 songs at total, clocking at 2 hours and 15 minutes. Many would say that it is a risky challenge, but the band answered it with courage, and accompanied with their talent and skills crafted a release that certainly counts as one of the “hottest” albums produced by a new coming artist in 2014.

We talked with drummer/vocalist Carly Pajaron and guitarist/vocalist Dante about “Ink,” as well as many other topics. 

Your debut album titled “Ink” draws influences from many different music styles. How would you describe your music to someone who didn’t hear your music before? What artists do you think have inspired you most directly?

Dante: That’s a really hard question! How would you describe a painting without showing it? I think it’s quite tricky to describe music. Anyway, I usually describe the music of Pervy Perkin as a very vast universe where all genres have their place, where each song is a totally different “planet” on itself and where everything can happen. I could say that in general every song has “Metal” filter, and a progressive one, with odd time signatures, experimentation…things that we like and use quite a lot. But that’s not the case with songs of Ink as Falling from Earth or The Tree in the Sky for example, that are quite simple.

Pervy Perkin is a five-piece band. What in particular each one of you brought to the table while working on the songs from “Ink”?

Carly: Everyone brings his own vision for a certain part of the song or the composition, with a lot of cooperation, I mean, for example, if we are stuck in some part, someone will bring an idea that will make 5 of us move on and keep the good dynamic. It can be a riff, a melody, rhythm…

Anyone can bring an idea from other instrument for example, for me that is very common being myself a drummer I focus a lot on the bigger picture of the structure for example. Alvaro can make a fantastic riff in the moment, Dante has beautiful worked ideas, and Ugo was very clever in things that should and should not enter in a song, re-use ideas to make the song an entity. And now Aks and Alex bring their own vision, it is an overwhelming experience.

Pervy Perkin - İnkDid you map out any of the elements before starting to write “Ink”?

Dante: It all turned out pretty natural, actually. We just discussed what we wanted Pervy Perkin to be, that we will accept no limitations and that we would go as big as we wanted. We had a couple of ideas for songs that we wanted to be included in Ink, but almost everything was a result of the guys joining in Carly’s basement and composing and discussing.

Breaking down the album’s structure, it’s easy to notice that each one of you have parts where your instrumental work is really good. What is your way of putting these improvised instrumentations in an entity called song?

Carly: I think that the things that make the songs from Ink unique are the different vibes that each one give the listener, and we try to give some continuity to the ideas used within a song, that’s the key to keep the music fresh, interesting, and catchy in Pervy Perkin. Each one has its own genoma.

On future releases… I think that we are going to take a step further. May God have mercy on our souls!

“Ink” is a double album, but there is not a certain concept behind it. The first CD is titled “Book of Equinox” and the second “Book of Solstice,” and together they form “Ink”. How does the album title effect the material presented on the album? Give me a snapshot of the topics you explore on these songs?

Dante: “Ink” was a title we came up with because it is an instrument to write stories, our songs. Everything can be related to that title, and our first album was definitively everything. The “Books” were established to continue with that idea, and to avoid the CD1, CD2 kind of thing.

We explore many topics: obsession in “Of Echoes” and “Reflections,” social fight in “New Dawn,” Sci-fi in “T.I.M.E. Part 3” and Asleep in a Wormhole,” huge opera about the change in one’s life due to a horrible happening in “Morphosis,” insanity and depression in “Memories of the Water,” facing a new life stage in “The End of the Beginning,” escape from reality and denial in “S!urm,” love in “3:11 AM,” or what I call a soundscape based on a vision in “Falling from Earth.”

Pervy Perkin

So, what is with the name of the band? “Pervy” is not usually a term with good connotation, how does it reflect to the overall sound of the band?

Carly: Haha, well there is nothing with the name, what do you expect when you see a name like that? People just want to know what is behind that creepy name, and anything can appear, is a connotation for un-expectation I suppose… It is just like Red Hot Chili Peppers, and their sound has evolved through the years keeping that crazy name!

You had quite a few opportunities to present your work in front of live audiences. What is the general response you guys receive?

Dante: Absolutely amazing. Every gig we do, people would say that they loved our performance. “I’m not a fan of progressive/this kind of music, but you guys and your music are amazing”. That’s something we get a lot. We improve with every gig, and we always give everything we’ve got in the concerts. We believe that a concert should never be an artist playing his music and leaving. To see that, I rather listen to the album. A concert has to be an spectacle, an experience, and we seem to achieve that. We have been called “crazy” when playing, and for me, there’s no better compliment.

Are there any plans for hitting the road and touring Europe or North America?

Carly: As soon as we can, we hope to play in every single wreckage of the world, we only need the budget to make it and people hearing us and we will give the whole of ourselves live as we always try to do!

How do you sense the future?

Dante: Really good, actually. We are doing what we can, step by step, and we are getting amazing results. Now we are focusing on presenting Ink with gigs in different parts of Spain, and promoting the album worldwide. Also we are beginning to prepare material for the second album so we keep ourselves really busy (which I love).

Thanks for having us, it’s been a pleasure, be sure to give a listen to our first album, “Ink,” and follow us in social media (we are everywhere hahaha).

Big hug from Pervy Perkin!

Visit Pervy Perkin online:

https://pervyperkin.bandcamp.com

https://www.facebook.com/pages/Pervy-Perkin/216528511714447

The Highlands are Alive with the Sound of NAO

North-Atlantic-Oscillation

A review of North Atlantic Oscillation, The Third Day (Kscope; October 2014).

Tracks: Great Plains II; Elsewhere; August; A Nice Little Place; Penrose; Do Something Useful; Wires; Pines of Eden; Dust; and When to Stop.

NAO: Sam Healy (lead vocals, guitar, and keyboards; Ben Martin (drums); and Chris Howard (bass).  The Third Day mixed by Sam Healy.  Artwork by Ross Macrae and Brendan McCarthy.

Highest recommendation.

***

What do you do with a problem like Sam Healy? Queue image of an Irishman-turned-Scotsman dancing around a high mountain top. Oh, and did I mention, he’s really, really smart? That is, really, really smart. Or, did I mention this already?

Of the many joys of editing progarchy for the past two years, one of the greatest has been getting to know a whole slew of truly creative, interesting, serious, perfectionist artists. Of those who reside at the very top of the top—at least in this editor’s not so humble opinion—sits Healy, dressed as an Austrian nun or not. His correspondence reveals that Sam always has that twinkle, that spark in his eye and soul. Though, he doesn’t believe in the latter, it’s there in abundance.

When I received a review copy of The Third Day, North Atlantic Oscillation’s latest aural ecstasy, I scratched my head, a little confused. This isn’t the first time I’ve been a bit perplexed by NAO’s music. When I first received a copy of the band’s second album, Fog Electric, I set it aside for a while as I just didn’t understand what it was trying to accomplish. When I picked it up again, months after its release, I realized how brilliant it was. It hit me over the head, truly a Eureka! moment. For some reason, it just took some time and several listens “to get it.” Now that “I get it,” I regard it as one of the finest albums I’ve heard in my almost four decades of listening to rock music.

This wasn’t the case, for whatever reason, when I first listened to NAO’s Grappling Hooks. That first album by the band grabbed me from the opening moments. I found it as enticing as possibly imaginable. What attracted me most to Grappling Hooks was the way in which Healy’s voice matched the music—and the music, Healy’s voice—so perfectly. The vocals sound like some of the best of early rock—the rock of my mom’s generation, the late 1950s—but mixed with the complicated and layered sonic delights made possible only by the most modern production and engineering. And, certainly, the unique quality of Sam’s ear. Well, the two of them.

Of course, there’s always the flow of the music as well. This matters for any band and any album, but none more so than for NAO. The secret to each of the band’s albums is figuring out the flow of the thing. Why did the band place this song next to this song? Or that song next to that song? Sometimes—in fact, quite often—NAO loves throwing in a curve ball, especially when the music pretends to change tracks. When you look at the chronometer, though, you quickly realize what you thought to be a track change was merely (and, by merely, I mean with genius) a shift in time signature or in the mood of a single piece. How often has it happened that I’ve looked down to see what the “new track” is called only to see the track information indicating there is still two or three minutes left of the piece you had thought had already flown by.

As evidence for the deep mystery and flow of each NAO album, simply check out the album cover of the forthcoming The Third Day.

NAO, The Third Day (Kscope, 2014).
NAO, The Third Day (Kscope, 2014).

What’s going on here? Pagan, zodiac, Plotinian, and Christian symbols intermixed (intermixing?) on some kind of biotechnology. Layers, of course, but with the infinite loop pointing us toward . . . well, whatever is beyond infinity. Only Buzz Lightyear and William Shatner really know. Under the DaVinci-esque biotech sundial doobob is a flat, Jonathan Ive type computer chip. Add in Hugh Syme-like characters and fonts from the previous two Rush albums, and you might—just maybe—start to understand the convoluted riddle that is a NAO album. I’m getting a bit dizzy just looking at the image.

Steady, Birzer, steady.

Well, I must admit, I was even more perplexed by The Third Day than by Fog Electric. I wanted so badly to like it when the review copy landed in my inbox. After all, I really like NAO and Sam. But, my reaction was somewhat muted. What was going on? It all sounded a bit “samey” to me (I’m having a hard time writing this now, as I’m laughing that it ever sounded “samey”; and, by the way is “samey” even a word?). As with Fog Electric, The Third Day took about a month and a number of listens for me to absorb. Now, though, I think I “get it.” In fact, it’s mind-bogglingly good.

Far from the neoterist “samey” the album is complex, musically as well as lyrically. It is brilliant, stunning, and glowing. While I like the entire album, tracks 6 through 10 are especially good. Far more than on the first two albums, NAO wears its influences a bit more openly on this album and especially with these last five songs. Elements of Radiohead and the Beatles emerge without trepidation. Whereas I thought Anathema almost mimicked Radiohead on their latest release, NAO honors them on The Third Day. If anything, the homage paid to Radiohead and the Beatles only increases my respect for the complete honesty of Healy and co.

Well, I’ve gone on long enough. My summary—buy the album as soon as you possibly can. NAO is, unquestionably, one of the most important and most interesting bands on the current scene. Sam Healy and co. are the future of our beloved genre.

Kate Bush nearly came between me and my wife

Greg Spawton tweets the link to this great story from James Hall:

As a cause of potential marital strife, it was a biggie.

About six weeks ago I received an email from a contact in the music industry. Would I, as an occasional music critic, like to go to one of Kate Bush’s sold-out shows at the Hammersmith Apollo at the end of September as their guest? There was no room for a plus-one, sadly, the contact said, but if I wanted to come alone then I was more than welcome.

Greg’s comment:

KB syndrome is a common issue for men of my generation

Update: Big Big Train concerts 2015

Danny Manners, uprightbassplayer and keyboardist extraordinaire, is stating this as of today:Danny Manners

TUE 30 SEP, 10:40 – The dust settles…

We are pretty much sold out for the August 14th & 15th gigs.

An additional matinée performance on Sunday 16th August is likely: we’re in the process of deciding. Assuming we go for it, it would still be a couple of weeks before tickets went on sale. They would be available to everyone, not just this group.

A Big Big thank you from the band for your enthusiasm, and for the willingness of many people to travel long distances to see us. We had better be good after this…

Once again, apologies for the slightly chaotic way tickets became available. (King’s Place are not a regular rock venue and hence not really set up to handle pre-sales/restricted sales.) Luckily, their policy of not making balcony seats available until the stalls are filled, which might be rather annoying in itself, ensured that there were still some tickets available for people who only checked FB at the appointed hour on Monday morning.

The important thing is that the vast majority of tickets went to members of this group.

Looking forward to meeting many of you next August….
Big Big Train

http://www.kingsplace.co.uk/BBT

The Mighty Handful!

A huge thanks to Gary Mackenzie for the incredibly nice and thoughtful note and for the first installment of STILL SITTING IN DANNY’S CAR.

It just arrived safely and somewhat wondrously at progarchy’s AllThing in Longmont, Colorado.  Eager to listen. . . .

The Mighty Handful.  Of what, I'm not sure.  But, I'm excited to find out.
The Mighty Handful. Of what, I’m not sure. But, I’m excited to find out.

More (Big?) Big Big Train News–Updated

The newest member of Big Big Train, the extraordinary Danny Manners.  Photo used by kind permission from Willem Klopper.
The newest member of Big Big Train, the extraordinary Danny Manners. Photo used by kind permission from Willem Klopper.

Danny Manners, utterly amazing keyboardist and one of the two members of the band without hair, just posted this on Facebook:

***

UPDATED MON 29 SEP, 18:00
The Saturday performance has sold out. There are some balcony seats (and a very few stalls seats) still available for the Friday performance:
http://www.kingsplace.co.uk/BBT
(Or see http://www.kingsplace.co.uk/whats-on-book-tickets/ticketing-information for booking by phone.)

Please would anybody who already has tickets refrain from buying more until, let’s say, 15:00 BST on Tuesday (30th). We want to give priority to anybody who wasn’t aware that we were forced to make tickets available yesterday, earlier than scheduled.

Please also would new purchasers only buy for one night – if you want to come both nights, hold off buying for the other night until 15:00 BST on Tuesday (30th). (People who will be travelling from abroad/a very long distance to the gigs excepted.) This is just to spread the love (and tickets) as fairly as we can…

We are likely to add a matinee performance on the Sunday (16th Aug 2015), but may not make a decision for a few days. King’s Place usually have a strict “no exchange” policy with regards to exchanging tickets for a different date. They may be willing to make exceptions in some cases, but you should not rely on that.

Earlier posts from Greg and myself explain why this situation has arisen, and offer our apologies…