Progarchy Post #999

We’ve reached our 999th post just four months shy of our second anniversary. Our progarchist (also a novelist, DPRP.net reviewer, as well as an all-around incredible guy) Eric Perry prompted me to write something for this auspicious occasion.

And, really, I would be a fool not to follow Eric’s advice on this or any thing else.

First, a huge thanks to all of the progarchists. Not a single one of us gets paid for any of this, but, as you can see, each and every member of the progarchy writing team gives her or his heart and soul to the endeavor. So much time, devotion, and dedication.

Progarchists might be faulted for being more enthusiastic than critical, but no one could fault us for not caring or for not putting forth our best. I am honored to write with such friends and allies in this world. Indeed, I’m more than a bit humbled to think that whatever powers that exist decided I’d get to share an existence with these fine folks.

Second, I want to thank the bands and individuals of the music community for being so open to us. We realize that every time you send us something, you do so as an act of faith. Not only do you spend an immense amount of your own money and your time to share your art with us, but you also extend to us your most sacred thoughts and ideas, your very creations from the very depths of your being.

Not only have we tried to treat your art with all the respect it demands, but we have done so by pledging that we will attempt to write as well as you construct, perform, and record your music.

Third, an equally immense thanks to all of our readers. Of course, you’re a most diverse group, and you come from every single part of the world, though the vast majority of readers come, understandably, from the U.K., the U.S., and other English speaking countries. We’re happy to have every one of you, and we thank you profoundly for allowing us to be a part of your lives. As of this writing, every single post goes via email to 1,951 of you. Another 200-1,500 readers visit us each day, depending on topic, day of the week, etc.

Though we founded progarchy—in large part—as a way to promote Big Big Train and The Tangent—we have, I think, added to this list while not neglecting our original desire to advance the art of Spawton, Tillison, and compatriots.

A final thanks to the labels, the promoters, and the PR women and men who have helped us in innumerable ways. Right off, I can think of Karisma, Glass Onyon, Fresno, Kscope, Cherry Red, Bad Elephant, Sally Collier, Chris Thompson (now retired), Billy James, Brian Rocha, Cleopatra, English Electric, and many others.

Our first post hit the web on October 11, 2012. So, we’re not quite two years old. Yet, so much has happened in the prog rock world since then. Already, the market was being saturated with prog releases and prog-related releases. Progarchists joked that we were drinking from the fire hose.

As of June 2014, this hasn’t subsided. But, the quality and expectations have risen dramatically. There really can no longer be any such thing as just “another release.” For an album to qualify as excellent or even very good, it has to reach a VERY different standard than it did only three years ago. Releases from Big Big Train, The Tangent, Cosmograf, and Glass Hammer especially have almost completely remade the genre. Not only are these bands and others releasing albums of the highest calibre, they have taken the genre to levels unimagined even during the first wave of Genesis, King Crimson, Yes, etc. Truly, there is progress.

We are, as mentioned earlier, absolutely thrilled to play any role—no matter how large or small—during this great moment of art, music, and history.

Rush MOVING PICTURES–reviewed in Notre Dame Student Paper 1981

My family and I are in the process of moving to Boulder, Colorado, for the upcoming school year.  One of the terrible parts of any move is the packing.  But, there’s a plus side–things thought lost reappear!  And, so it is with this review I found in a spring issue of the University of Notre Dame student newspaper, The Observer.  Dated April 23, 1981, pg. 11, by Tom Krueger.  Forgive the quality of the image.  It’s a photocopy from microfilm run through a Scansnap.  So, in terms of image–blah!  Still, good to have it posted for historical reasons.

rush moving pictures review nd 1981

Rush is Everywhere in 2011 New York Times Bestseller

rvkeeper's avatarrush vault

RPOIf you’re not a science fiction fan you might have missed the news that Ready Player One was one of the biggest literary hits of the year when it came out in 2011. First-time novelist Ernest Cline became an improbable success story when his book about a Tom Sawyer-like character sticking it to the corporation in a dystopian future reached No. 20 on the New York Times bestseller list. But maybe the book’s success is no more improbable than Rush’s success, since the book is threaded throughout with wry Rush references.

cline Cline

The story takes place in the not-too distant future and it’s not a pretty picture. The environment’s a mess and the social order is collapsing. But there’s one good thing: virtual reality. For many people, the real living takes place online in a highly immersive massively multiplayer game.

Without getting too much into the details, think of the…

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Big Big Train: Voices for Real World

Greg Spawton has posted another video snippet on the Big Big Train Facebook page of the band’s preparations for their upcoming live recording at Real World Studios. If you’re a Passenger, it’ll be compulsive viewing!

New Music Video from Days Between Stations

Here’s the official video for their wonderful song, “The Man Who Died Two Times”, featuring the irrepressible Colin Moulding (of XTC fame). It’s from their outstanding 2013 album, In Extremis. You have to love a band that don’t take themselves too seriously!

 

An Announcement

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Ladies and Gentlemen,

It gives me great pleasure to announce that at 8.04pm this evening Salander gave birth to a new album. Everyone is doing fine. We have called it STENDEC. It weighs in at 65 minutes and we hope it will have a bright future. Anyone wishing to view our new arrival can do so via the Salander bandcamp page

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The Feast of Andy Tillison: Happy Birthday, Andy!

48033_aProgarchy wishes one of its favorite artists a happy birthday today.

Andy Tillison has always walked his own path while honoring those who came before him and those who will follow.  It hasn’t always been easy, we know, but it always has been brilliant.

Armed with immense stores of energy, integrity, talent, and individuality, he, perhaps ironically, finds himself at the center of a number of communities.

We are honored to be his friend and ally in this world.  Rage on, Mr. Diskdrive, rage on!

 

Heroes of Prog – The Tangent and Karmakanic – Live @ Celebr8.3, London – May 2014

The rise of the ‘KarmaTangentanic’ hybrid….(needs a better name)

All the best superheroes are hybrids….Peter Parker and a radioactive spider, The Fantastic Four and those comic rays…all enhanced by a powerful force.

In May 2014 a new force was first witnessed.  Strange sightings and tales from Europe reported the appearance of this new super entity. To the rest of the world it seemed like just another internet rumour…..
At the last of the Celebr8 concert series in London, a crowd finally witnessed what they had seen on the web….the merging of two greats, The Tangent and Karmakanic –a supergroup of  heroic proportions with the power to captivate an audience…(even in the midst of a technical glitch)

Celebr8.3 2014
Celebr8.3 2014

In truth, the Tangent has always been a hybrid, a powerful organisation led by the determined, brilliant, yet anarchic young mind that is Andy Tillison. So naturally a mixture with long time member Jonas Reingold and Co otherwise known as Karmakanic was an amalgamation that had potential to be huge…. and you know what? It bloody well was!

So successful was the mix, that writing this is proving to be hard. To write about the Tangent performance may not do the fullest of justice to the Swedish counterparts who seamlessly performed the greatest songs from the last ten years from the Tangent catalogue alongside Mr Tillison, who of course was armed with one of his greatest of weapons, the guitar wizard, Luke Machin

Late afternoon, Karmakanic completed a superb set, massively bolstered by a brilliant thirty minute epic which sounded fully formed and ready to record. It was an exciting early indication of what was to come at the end of the night as Andy and Luke performed the new material alongside the classic ‘1969‘ and ‘Where the Earth Meets the Sky‘.

Yet as the evening wore on and Anathema finished their excellent set, The Tangent had one more trick up it’s sleeve, one that would make this one of their very special appearances.. Theo Travis….(more from him in a moment.)

Armed with a Keytar.. (Picture - Martin Reijman)
Armed with a Keytar..
(Picture – Martin Reijman)

Bursting with energy and intensity The Tangent arrived on the stage and instantly ripped through the concert ready ‘Evening TV’ from last year’s ‘Le Sacre Du Travail’. Paced up a notch, this lively belter of a track was all the more enhanced by the inclusion of Tillison’s Keytar, which freed his performance up, allowing his enduring style to shine brightly. To the casual member of the audience unfamiliar with The Tangent, the immediate impression must have been that this was a band that met regularly and toured often, such was the tightness and skill between the group. Clearly the mini-tour preceeding the UK date had honed their performance all the more, and despite a tight touring schedule and long travel, they looked fresh and ready to bite. (Just typical of a superhero, always ready anytime, anywhere.)

Then as the opener was complete, something happened and it looked like disaster for our heroes, the dreaded enemy of the modern world struck….Technology!!
Clearing the stage, the audience were then treated to something almost unique in concert terms (Almost)… A Windows reboot. A problem…not untypical of a busy festival, a technical breakdown. Hell, it happens to McCartney.. it can happen to anyone.
However, such was the power still felt by the crowd from what they had just witnessed, that the break in the show had no detrimental effect on their impression of this new super-hybrid….

…and then they returned. Performing ‘Perdu Dans Paris’ from ‘Down and Out in Paris and London’ the ace up their sleeve finally became obvious, through the magnificent silky tones of Theo Travis. Straight away all memories of the delay were erased and the band delivered, and then some!
Travis made the whole thing look easy. Surrounded by his array of wind instruments, the crowd were treated to a performance that exemplified all that is good about the Tangent. This was indeed a rare moment, a chance for fans to see the songs as they should be and without doubt the delivery went way beyond the excellence heard on the album. To add to this, Luke Machin was every bit as captivating and his youth belied the true mature ability and professional attitude he displayed. Many times he shifted from scorching hot shred to slow jazz with consummate ease. The audience ate this up greedily and their responses to both these musicians said it all.

An old favourite in the form of ‘GPS Culture’ from ‘A Place In the Queue’ was next and the introduction to the song gave the crowd an insight into the somewhat abstract thinking of Tillison and his creative uses of jingles and TV themes. The tale gained approval and there was a noticeable ripple of amusement at the conclusion. The song itself was delivered with its well established ease and precision. It’s vital then at this point to remind you that this is TheTangentanik (still needs work) and the hybrid version of the band, (thanks to the amazing Jonas,
Morgan Ågren and Göran Edman with Lalle Larsson) ensured the songs were a huge success–a feat in itself as they are nothing short of challenging in their length and complexity.

Theo Travis and Jonas Reingold. (Picture - Martin Reijman)
Theo Travis and Jonas Reingold.
(Picture – Martin Reijman)

The highlight of the show followed with the mammoth ‘In Darkest Dreams’, not old and extinct as the large woolly elephant-like, Lord of the Ringy creature would suggest, but in its scope and power and size. This was the time to see the material that propelled The Tangent to the forefront of the modern Prog genre and it was not hard to see why. The track has it all, a catchy refrain, (the audience soaked this up) a stadium sized middle section which allowed all the musicians to shine and the now compulsory inclusion of the ambient, tangerine like ‘After Ricochet’ where Tillison, head down and in the zone begins his mesmerising homage solo performance. The suspense throughout this section from the audience was clear and as the cycle came to an end it was obvious in their enthusiastic reaction.

The show could have ended there, but there was time for one more return, and a tasty surprise of things to come with the performance of  ‘A Spark in the Aether’ (title and details to be confirmed officially at a later date.) Coming from a fortunate beta test position the track was already a favourite of mine, and by the end it was clear the crowd felt the same. This was The Tangent in full throttle as the song raced along at 100, 000 miles per hour. The pace and fire that this new material has is mind blowing and represents another seismic approach in the development of the follow up to Le Sacre.

On the back of an unrelenting applause and round of cheers, the hybrid finished in the form of Karmakanic (Karmakangent?) for one last hurrah with ‘Turn it Up’, a perfect pop-laden conclusion that left the audience with the biggest disappointment of the night…namely no more songs.

A force to be reckoned with... (Picture - Martin Reijman)
A force to be reckoned with…
(Picture – Martin Reijman)

Strength comes through collaboration and the combination of these two heavy weights was a perfect mix, especially given their long associations. Add in the Travis and Machin formula and you have the illustrious chemical X, a rare ingredient that provides amazing Prog rock! There is hope for another joint tour for the future, and on the basis of this tour, it should happen, without doubt. The fact that both the Tangent and Karmakanic have new releases to come in 2015 should give you food for thought. I’m sure we haven’t seen the last of  TheTangakarmakic….(I give up)

 

 

Many thanks to Martin Reijman for his excellent pictures.

Dream Theater: A Metal Anomaly

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The second half of 2013 sucked. So did the first few months of 2014. I’d rather not get into the reasons why, but needless to say, one of the high points of last year for me was becoming a Progarchist. I say that because being apart of this awesome site has given me the opportunity to listen to music and bands that I otherwise would have never heard, and I have loved it. One of those bands is Dream Theater.

I first heard Dream Theater when my roommate was playing it towards the end of the spring semester of 2013. At first, I didn’t really like it, mainly because of LaBrie’s voice, but I couldn’t complain since I was the one that got my roommate into the “prog” genre in the first place. I didn’t think much of Dream Theater again until I became a Progarchist and received a review copy of their recent self-titled album. All I can say is, WOW. LaBrie’s voice grew on me, and I wondered how I had not discovered this band years earlier. What had I been missing? The technical skill of the musicians astounded me, and I found the vocals haunting. Little did I realize how their lyrics would profoundly touch me over the coming months.

As I said, the last several months haven’t been the best. Most of my family and friends wouldn’t (or don’t) understand it, and that’s ok. Regardless, I found myself drowning in music. I couldn’t/can’t get enough of it. It became an escape for me, and the go to genre when I’m really feeling down seems to be metal. I turned to the heavy metal albums from personal favorites of mine such as Avenged Sevenfold and Disturbed. I connected with the anger and the desperation, especially with Avenged Sevenfold’s 2010 album, Nightmare, featuring former Dream Theater drum god, the great Mike Portnoy (coincidence, I think not). Nightmare is dripping with anger and frustration, as the band struggled to cope with the recent death of their drummer, Jimmy “The Rev” Sullivan, who was probably one of the best metal drummers ever (you don’t believe me? Listen to the albums “Waking the Fallen” and “City of Evil”). I also was drawn to the punky pissiness (pardon my French, as it were) of the bands Three Days Grace and System of a Down. I soaked in the mysterious lyrics and awesome rock of Chevelle, which has been one of my favorite bands for a long time (their latest album, La Gárgola, is fantastic). I found myself being drawn into this world of angry rock, while simultaneously withdrawing from the people around me.

I actually enjoy the loud, obnoxious, sometimes screamy sound produced by many of these bands. It has always been a good release for me. But, something is missing, especially from Disturbed and Avenged Sevenfold. Hope. Hope is missing. The closest thing any of these bands have to hope is Three Days Grace’s song “Never Too Late.” The rest of it focuses on the darkness they think they find themselves in. That’s ok at first, but after a while, it can drag you down, if you let it. I let it.

This is where Dream Theater comes in. I listened to the their latest album, and I heard the song “The Bigger Picture.” I heard these lyrics and was blown away, as corny as it sounds:

Would you talk me off the ledge
Or let me take the fall
Better to try and fail
Then to never try at all

You look but cannot see
Talk but never speak
You live but cannot breathe
See but don’t believe

Wounds that never heal
A heart that cannot feel
A dream that’s all too real
A stare as cold as steel

I’ve listened to the stories of resentment and disdain
I’ve looked into the empty eyes of anger, fear, and shame
I’ve taken blood from every stone
And traveled every road

When I see the distant lights illuminate the night
Then I will know I am home

Those seemingly simple lyrics rocked me. Then I heard “Along for the Ride” :

I can’t stop the world from turning around
Or the pull of the moon on the tide
But I don’t believe that we’re in this alone
I believe we’re along for the ride
I believe we’re along for the ride

Then I heard “Illumination Theory” :

To really feel the joy in life
You must suffer through the pain
When you surrender to the light
You can face the darkest days

If you open up your eyes
And you put your trust in love
On those cold and endless nights
You will never be alone

Passion glows within your heart
Like a furnace burning bright
Until you struggle through the dark
You’ll never know the joy in life
Never know, never to know
You’ll never know
You’ll never know

I couldn’t explain it, but the lyrics spoke to me. I heard “Another Day” off of Images and Words, and that spoke to me as well. These songs offered hope, not despair. They did not wallow in the gloom, but looked forward to the light. Dream Theater may receive flack for not having deep lyrics or cohesive albums, but to me, it doesn’t seem to matter, because the band accomplished what I believe they set out to do. They wanted to reach somebody and share their hope with that person, and it worked. The best part: not once do Dream Theater sacrifice musical talent to get their message across!

Through the cold and endless nights, I felt alone. I had drifted from my faith in God, and I was in a dark place. Then I heard “Illumination Theory” calling me to open my eyes and to put my trust in love, and if I did, I would never be alone. Growing up, I was always told that God is love, and that He is always there for His children. It clicked for me, and I could finally see the light. It was a rough few months (where the only thing I could find purpose in was my studies, which thankfully I did well in), and I had a hard time relating to the world around me. But, Dream Theater was able to touch my soul in a way that the other metal bands couldn’t. Metal, on the whole, is rather devoid of hope and joy, and that is why I see Dream Theater as an anomaly. They don’t play by everyone else’s rules – they write their own, and for that, I am grateful.

It may seem lame that Dream Theater had such a profound effect on me during those dark days, and I really can’t explain why they did. All I know is that I believe I’m along for the ride, and it’s a ride I’m proud to say I’m now happy to be on. Thanks Dream Theater.

Weezer: “The Blue Album” (1994) ♫♫♫♫

The forthcoming album from Weezer this year sounds promising: Everything Will Be Alright in the End.

Their stunning 1994 debut is the standard by which they will be forever judged. For me, the standout tracks on it are “My Name is Jonas,” “Buddy Holly,” “Say It Ain’t So,” and “In the Garage.” The other tracks, save for one, are great but not upper-echelon essential in their musical status. (Although you may be able to talk me into including “Undone” and “The World Has Turned and Left Me Here.”)

That one more track — perhaps the standout track as far as citizens of Progarchy are concerned — is the epic, eight-minute album closer, “Only in Dreams.” It shows what the power of a song, not afraid to go to prog-quality lengthiness, can achieve from a build-up in musical intensity not otherwise available in a shorter, more standard-length pop song.

The last time Weezer made me sit up and take notice since 1994 was when I heard “Dope Nose” from Maladroit (2002): a not-so-prog two-minutes-and-seventeen-seconds of crunchy power-pop perfection.

Prog or not, I’m really looking forward to the new LP. So, while we’re waiting, let’s acknowledge Weezer’s place in the musical pantheon. Because I really love that little hint of prog power and promise at the end of their first album.

Weezer — “The Blue Album” (1994)

Progarchist Rating: 8/10 ♫♫♫♫