The Best of 2013 (IMHO)

On By Thaddeus WertIn 2013, progressive rock music10 Comments

What a bountiful year 2013 has been for good music. All the albums on my Best Of list are destined to become classics, I’m sure!  So, let’s count them down, all the way to Number 1:

TesseracT11. TesseracT: Altered State. I’ll kick the list off with the most unabashedly heavy album, but one that has grown on me over the past few months. Ashe O’Hara is a terrific vocalist, and the band lays down a multilayered bed of crunching guitars, drums, and bass for him to soar over. The songs are divided into four groups, “Of Matter”, “Of Mind”, “Of Reality”, and “Of Energy”.  These guys know their mathematics, as well! One of the songs is “Calabi-Yau”, and the artwork includes the E8 Root System, a hypercube, and an Apollonian sphere. Best track: “Nocturne” (Check out the moment of transcendence at 3:14) –

RiversideSONGS10. Riverside: Shrine of New Generation Slaves. Mariusz Duda’s side project, Lunatic Soul, has had a pronounced effect on Riverside’s music, and that’s all to the good, in my opinion. SoNGS is more melodic and varied than anything they’ve produced so far, and even though it came out early in 2013, it still stays close to my sound system. Go for the two-disc set, which adds two extended tracks that flirt with ambient jazz. Best track: “Feel Like Falling” –

Raven That Refused to Sing9. Steven Wilson: The Raven That Refused To Sing. Very few artists push themselves as hard as Steven Wilson, and TRTRTS is another leap forward for him. I’m thinking at this point he’s left the world of prog, and he is his own genre. Not everything works – “Luminol” is too much Yes-jams-with-Herbie-Hancock for my taste, but when he clicks, no one comes close. Best track: the achingly beautiful “The Raven That Refused To Sing” –

Full POwer8. Big Big Train: English Electric: Full Power. Much has been written on this site about the sheer wonderfulness of this collection. The care that went into the accompanying booklet is a joy to behold. The resequencing of songs works well, and the new opener “Come On Make Some Noise” is as fun as a classic Badfinger single from the 70’s. I’m a Tennessee boy, but I could easily spend the rest of my days in the pastoral Albion depicted in BBT’s Full Power. Best Track: “Uncle Jack” –

Cosmograf TMLIS7. Cosmograf: The Man Left In Space. A sci-fi concept album about the dangers of all-consuming ambition and the isolation that results, this is a very satisfying album both musically and lyrically. One of the most-played discs of the year in my household. Best track: “Aspire Achieve” –

Ayreon TTOE6. Ayreon: The Theory Of Everything. A recent release, so I haven’t had a chance to fully absorb this sprawling work. Arjen Lucassen is the Verdi of progressive rock, composing magnificent operas that explore what it means to be human in today’s dehumanizing times. For TTOE, Lucassen gathered the most talented roster of musicians and vocalists yet – including John Wetton, Rick Wakeman, Keith Emerson, Jordan Rudess, and Steve Hackett. The story itself leaves behind the sci-fi thread that previous Ayreon albums followed to chronicle the travails of a small group of family and colleagues torn apart by autism, deception, envy, academic ambition, and pride. Throw in a dash of the supernatural, and this is a very thought-provoking work. Best track: “Magnetism” –

And now it’s time for the Top Five!

Kingbathmat OTM5. Kingbathmat: Overcoming the Monster. This band has been very prolific lately, releasing Truth Button and Overcoming the Monster in a matter of months. OTM is a fantastic set of songs about the different “monsters” we all encounter in our day to day lives. Most impressive of all, Kingbathmat have developed a truly unique sound that is accessible yet new. I can’t wait to hear the next iteration of it. Best track: “Kubrick Moon” –

Sound Of Contact4. Sound Of Contact: Dimensionaut. I’m sure SoC’s vocalist and drummer Simon Collins is tired of comparisons to Genesis (he’s Phil’s son), but that is what first strikes the hearer of this outstanding album. Fortunately, repeated listening reveals SoC’s extraordinary talent in their own right. The songs themselves are perfectly constructed gems, and the production is top-notch. The band moves effortlessly from straight pop (“Not Coming Down”) to the most complex prog epic (“Mobius Strip”). Best track: “Pale Blue Dot” –

days between stations3. Days Between Stations: In Extremis. I’ve already written a full review of this immensely rewarding album in an earlier Progarchy post. Suffice it to say that this is already a classic. And Sepand Samzadeh is one of the nicest guys in the prog world! Best track: “Eggshell Man” –

Sanguine Hum2. Sanguine Hum: The Weight of the World. If XTC and Jellyfish had a child, Sanguine Hum might be it (with Frank Zappa for a godfather). This album is simply a delight to listen to, from start to finish. It’s one that reveals new details, regardless of how many times you hear it. Their secret weapon is Andrew Booker on drums. Reminiscent of Stewart Copeland’s work with The Police, Booker has a light and inventive touch that often becomes the lead instrument. The entire band generates an organic sound that is seductive and playful. Best track: “The Weight of the World” –

Album of the Year 

Haken1. Haken: The Mountain. Until a couple of months ago, I had never heard a note by this band. Fast forward to now, and there hasn’t been a 48-hour period when I haven’t listened to this album, in its entirety, at least once. An extraordinary meditation on the importance of never giving up on overcoming obstacles, The Mountain is a deeply moving work. Musically, it is progressive metal in the same vein as Dream Theater, Devin Townsend, and even Rush. Every single song is indispensable, but if I had to pick one, it would be “Pareidolia” –

Well, reader, thanks for hanging in there to the bitter end. I hope I’ve affirmed some of your own opinions and perhaps piqued some interest in an artist or two you’re not aware of yet. Here’s hoping 2014 is as good as 2013!

The Beauty of Ardor

On By Frank UrbaniakIn progressive rock music2 Comments

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Ardor by The Opium Cartel

In a year of great music, Ardor is a surprise and an absolute delight, so much so that it has moved into my top 10 for the year.  The Opium Cartel, often referred to as an ‘art pop collective’ have created a brilliant blend of 80’s pop/rock music with progressive overtones, delivered by outstanding musicians with stunning production reflecting hundreds of hours of work crafting this music. I haven’t felt such a strong connection with an album since the last Big Big Train CD.

The Opium Cartel is the pop/rock outlet for Jacob Holm-Lupo of White Willow, joined by Stephen Bennet of NoMan/Henry Fool, Matthias Olsson from White Willow, plus members of Wobbler, Jaga Jazzist and Pixel, with Venke Knudtson, Rhys Marsh, Tim Bowness and Alexander Stenerud,on vocals.  The music is consistent and the variety of vocalists is not a distraction in the least; in fact int enhances the overall listening experience. The music is atmospheric reflecting the pop sensibilities of The Dream Academy, The Blue Nile, Thomas Dolby, Peter Gabriel and Kate Bush, mixed with the progressive influences of the White Willow /Wobbler /Autumnsongs gang in a perfect blend of songs that demand repeat listening.  The production is masterful, with waves of sound embellishing a melody and quickly disappearing before you know what you heard.  Mellotrons, 80’s synths, bells, chimes, acoustic guitars, flute, sax and percussion weave through beautiful melodies creating a perfect audio blend.  The electronic percussion offsets Mattias’s acoustic drums,  keeping the music constantly moving rather than plodding as the late 80’s bands had a tendency to do.

Kissing Moon, featuring Rhys Marsh and Venke on vocals, is the perfect opening track, whimsical, reflective and melancholy. This is followed by When We Dream, one of the loveliest songs of the year–sad, lovely, autumn music.

“And when she sleeps she sleeps alone

And when she calls her lover’s gone

And every moment she has known

Are only dust when it has blown”

Northern Rain is pop/rock at its best, with an infectious sing-along chorus over a pounding bass.

“I have seen you walk away walk away walk away

And I wish you will be home before too long

As the sun sets on the hills and trees and the beautiful places where we go

I will be waiting there for you”.

The lyrics seem simple but evoke the perfect emotion on every song.

 

White Wolf is my favorite track, with a pedal steel guitar opening building:

“Did I see in the distance

Not a day away

Gleaming spires and domes of gold lay

I am weary and weak now

Traveled night and day

All I want is a place where I can stay

Let me lay down beside you

On your velvet bed

And don’t wake me till the morning rises red

 The music moves through a lovely haunting flute solo to a huge chorus with outstanding vocals:

Shadows all around me

Look what I’ve become

Like a ghost another

White Wolf on the run

I have found some peace here

Comfort by your side

But kept on I’m just a

Stranger on the run

Will you say a little prayer

Will you say a little prayer for me”.

The album concludes with Mariner, Come In, the best Peter Gabriel song I have heard in years, of course written by TOC. Mariner is the longest track on the album at 11 minutes, ending with an extended powerful dreamy sax solo.

While the dedicated prog fan might be cynical of my mention of the 80’s pop references, The Opium Cartel has captured the energy and spirit of some of the best of the wonderful music created in that decade.  Ardor evokes the  ‘sound’ of that era with progressive stylings, emotive lyrics and 21st century production. As with all great CDs, the minute Ardor ends I am ready to play it again.  There are no ‘skip’ tracks, there is no wasted space, no wasted sounds, no doodling, no extended solos, no excess.  Ardor is an outstanding collection of beautiful songs crafted by true artists.  We are lucky to have music like this still being made.  

Highly Recommended

 

 

Phideaux – Live in the UK 2013

On By ericbfgIn progressive rock music1 Comment

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16-1-2013
Phideaux/Manning/landmarq CRS event. Maltby, UK

On a grey, chilly November night in Yorkshire,
England, in a small hall known as the Wesley centre in Maltby, a band whose members are scattered far and wide across the corners of America and rarely come together to play live anywhere, performed and delighted a small, but enthusiastic crowd of Northern Prog rock fans. The likelihood of such an event seemed  hard to imagine, and yet, there they were…Phideaux, on stage.
This of course was the three band event hosted by CRS, the Classic rock society, and Phideaux had arrived in the UK as a trio of Phideaux Xavier, Valerie Gracious and Ariel Farber.
Reduced from the usual ten piece, to an acoustic threesome , the line-up was the only logistical and achievable format possible but as it proved to those there on the night, this was no less an option.


The combination of skill and warmth in the delivery was clearly only something that could come from a lifetime of friendship and shared ability. It’s a rare event to see only three musicians perform with such breadth of sound.
Opening with the mighty ‘Micro Softdeathstar’ from ‘Doomsday Afternoon’ it was one of three songs from the album which represented a sizeable chunk of the set list. In retrospect, it may be that the delicate qualities of Doomsday are easier to convert to the slimline Phideaux; the gentle piano and Valerie Gracious’s vocals on Crumble was further evidence of this.

Gracious provided both elements with spellbinding results and demonstrated why she is one of the most underrated female vocalists in the Progressive Rock genre. Her performance of ‘Helix’ from ‘Snowtorch’ provided another vehicle for her amazing voice which soars with its angelic qualities, both fallen and ascending. Many times it was underpinned by the superb Ariel Farber and her talents, enriching the mixture effortlessly.
Phideaux’s own vocal strengths were perhaps best served via ‘Infinite Supply’ from Number Seven, which was emotionally moving. His vocals shifted from gentle high baritones to a darker, deeper bass and reflects a closeness to the studio sound.
One the set was something of an unknown in the form of ‘Immortal’. Written in the days before Phideaux, the band. It was a short surprise that fitted in very well.
The tail end of the set was boosted to a four piece with the inclusion of Guy Manning on keyboard and guitar which enhanced the sound of ‘Formaldehyde’ and the sea shanty ‘Tempest of Mutiny’. Known for his love of the odd sea based song, Guy slotted into the band with ease and together the band produced an exciting rhythmic rendition which left the audience looking for more.
More than just a taste of the full group, Phideaux came out as three and showed the crowd that there is an effective alternative to the full line up which, with hope, we could see out and about a little more often.

 Eric Perry

Rush 2.0: Clockwork Angels Tour (2013) Review

On By bradbirzerIn progressive rock music9 Comments

rush clockwork tourA friend of mine said to me—in response to my obvious glee that Rush’s Clockwork Angels Tour Blu-ray had just arrived in the mail—“it’s good to be childlike every once in a while.”  Well, maybe it was the reaction of a 13-year old trapped in a 46 year-old body.  Regardless, the reaction was sincere.  Rush!

Three thoughts and images (images as thoughts, and thoughts as images) come to me whenever I think of Rush.  Rush—brilliance.  Rush—inspiration.  Rush—comfort.  For thirty-three years, they’ve been all of these things to me.  Thank the Good Lord for that detention in seventh grade, and thank the Good Lord again for sharing that detention with Brad and Troy, the two guys who introduced me to Moving Pictures and, consequently, to Rush.  That was a heady spring.  I had also heard The Wall for the first time, the U.S. had just defeated the Soviets in hockey, and some idiots tried to kill the U.S. president and the Pope and came damn close to succeeding.  7th grade.  Prog Rock, Dr. Who, and Dungeons and Dragons.  But, most of all, Rush.

Maybe I never grew up.  These are still the things I love and share with my own kids (the oldest, now 14; he proudly wears a “prog rock—all else is noise” t-shirt; he and my twelve-year old daughter will be seeing that majesty that is Transatlantic in Chicago this coming February).

Oh, fair reader, back to the subject at hand.  Rush, Clockwork Angels Tour Blu-ray.  Holy schnikees.  Yep, God rest Chris Farley’s soul.  Holy schnikees.  What a work of absolute joy.  Over three hours of absolute joy.  A precious document of their massive tour, 2012-2013, the blu-ray captures them for a Dallas, Texas, show.

As Kev pointed out in his review of the same, there was a time when Rush fans could calculate an era by what live CD had been or was just about to be released.  All the World’s a Stage for the hard prog stage; Exit Stage Left for the melodic prog stage; A Show of Hands for the synth prog stage; and Different Stages for the return to guitar/alt rock stage.

But, this was all for Rush 1.0, testing for echo.

After the horrific tragedies in Peart’s life, his purgatory and redemption (symbolically), we’re at Rush 2.0.

I would argue rather forcefully that this is a different band, a band that finally (yes, these guys are truly humble and always have been despite their driving ambition) realizes its more than a mere band.  You can see this realization dawn, finally (again, finally!) on them in Beyond on the Lighted Stage and on the Colbert Show.

They have nothing to prove anymore when it comes to acceptance.  They never really did, but they always thought they did.  They only have to prove their excellence.  And, to me, they’ve done this in spades.  As one of my favorite Rush writers, Rob Freedman, wrote about a year ago (and I quote this whenever I can)

The story of Rush is a story of validation. When the band first started out, the mainstream music establishment largely ignored them. Geddy’s voice was the brunt of jokes, Alex’s guitar playing got no respect, Neil’s lyrics were pretentious and channeled a kooky Ayn Randian ideology, and he played too many drums, all of them with the passion of a mathematician. Meanwhile, musicians and music aficionados loved them, so you had this great narrative tension. Now they’re nearing their 40-year anniversary, their old critics are in nursing homes, their fans are in leadership positions in business, science, government, and the arts, and they’re looked to as elder statesmen of rock.

Amen, Rob.  Amen.  On this issue, I can speak from some personal experience.  As I look back over my own life as a historian, a writer, and an academic, I can easily claim that Peart has had as much influence on my own thinking as any of the other greats I looks to for ideas and inspiration: Russell Kirk, Friedrich Hayek, Edmund Burke, Adam Smith, J.R.R. Tolkien, Ray Bradbury. . . .  A whole generation of us can claim to be Peart’s little brothers.  Like any older brother, Neil almost certainly will not agree with all of my own views, or with what I’ve done with his ideas.  But, then, Neil never—in any way—sought to conform the world.  One of the greatest things Neil gave to a generation was the advice to develop and hone what is best in each of us, whatever that best might be.

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Not content to fade, Rush 2.0 has decided to shimmer with excellence.  I can’t help but think of Neil’s words off of Signals, “Losing It.”

Some are born to move the world

To live their fantasies

But most of us just dream about

The things we’d like to be

Sadder still to watch it die

Than never to have known it

For you, the blind who once could see

The bell tolls for thee….

Rush is proving that greatness can beget greatness.  As I see it, Rush’s last three studio albums have done nothing if not prove this.  Vapor Trails, Snakes and Arrows, and, especially, Clockwork Angels.  While building upon everything from Rush to Test for Echo, the last three Rush albums come with a confidence, not of resignation, but assertion.  Nature has given us this time, I’ll be damned if I let it fly by unused and unappreciated.  Indeed, one can say with the last three albums, Rush looked at the world not just with confidence, but with gratitude.

So, when the band decides to release a live album for each tour, I can only shout “hooray.”  Give us as much as you can, Rush.  So many of us want to keep journeying with you in any way we can.

As with the previous tour, this one is a massive production.  Explosions, lasers, weird sets, and, best of all, incredible film clips add to the already stunning music.  The background story for the Clockwork Angels Tour film clips—an IRS agent looking for the Watchmaker is just outstanding, drop-down, gut-wrenching funny.  Geddy, Alex, and Neil appear as rather mischievous “G”nomes.

And, it’s just a joy to watch these guys perform.  They obviously love each other and what they’re doing.  In terms of playing, none of the members of Rush have ever been this good.  They are each in top form.  Watching each of them play guitar, bass, and drums is nothing if not humbling.  I hope I give as much in my lectures as these guys give in their playing.  Phew.

Musically, of course, what more could we want?  Knowing that they’ve been releasing lots of tour material over the last decade, Rush chose to play a significant portion of their 1980s material—stuff that’s not appeared on any of their live releases in a long time.  It’s worth remembering, however, that this is Rush 2.0.  They bring the sensibilities of the last three albums to the previous multitude of albums.  There’s not a dud in the live set, but songs that stand out in ways the originals didn’t: Force Ten; The Body Electric; and The Analog Kids.  Schnikees (again, apologies to Chris Farley), these are amazing.  Rocking, rocking, rocking.

It’s set two, however, that boggles the mind, the set that includes almost all of Clockwork Angels and—gasp!—a string quartet.  Phew.  Amazing.   So much energy emerges from the blu-ray in set two, it’s actually a bit wonderfully overwhelming.  YYZ is especially spectacular with the strings.

Bonus material on the blu-ray includes: Limelight, Middletown Dreams, The Pass, and Manhattan Project, as well as all of the movie clips from the tour and some documentaries.

For me, this is pretty much perfection itself.  33 years of loving this band comes down to this 3plus hour set.  Yes, Geddy, Neil, and Alex, I could never thank you enough for the confidence you’ve given me, the excellence you’ve shown me, and the hope you embody.  Whether you ever expected to get here or not, you are the embodiment of the best of rock, you are now the elder statesmen of culture.  You have persevered, and we have as well!

May the journey long continue.

BillyNews: Psychedelic Santa!

On By bradbirzerIn progressive rock musicLeave a comment
Cleopatra Records Taps Modern Psych-Space Bands
For A Psychedelic Themed Christmas Album
 
Featuring Psychic Ills, Dead Meadow, The Vacant Lots, Sleepy Sun,
Dark Horses, Elephant Stone, Sons Of Hippies, and more!
 
Los Angeles, CA – The 2013 holiday season is about to get a whole lot trippier with the release of Cleopatra Record’s Psych-Out Christmas, a brand new compilation of spaced out, psychedelic interpretations of Christmas classics and new holiday favorites performed by a team of current psych-space rock bands from around the globe! The compilation is available now on both CD & vinyl at all fine music retailers as well as for download at iTunes and other digital music retailers.
 
Canadian indie rockers Elephant Stone kick things off with a sitar-infused version of the beloved Beatles’ holiday singalong “Christmas Time (Is Here Again),” followed by Sweden’s own Dark Horses turning in an original piece composed specifically for this compilation, the wintry, ethereal ballad “Jul Song.” Another Swedish band, The Movements, whose new album was released earlier this year by Cleopatra, offer a uniquely drumless take on “Little Drummer Boy” that swirls with fuzzy guitars and dreamy synths to create a headswimming sugar plum hum.
 
The vibrant psychedelic rock scene blooming on American shores is well represented here by the likes of Sleepy Sun, who thoroughly deconstruct the 19th century carol “What Child Is This?” and The Vacant Lots, who bring a Spiritualized twist to a long buried holiday treasure written by the band Suicide called “No More Christmas Blues.” The band explained their selection, “After spending many hours overdosing on the more familiar Christmas tunes, we gravitated towards the obscure Ze Christmas album track by Suicide.  As big fans of the band, ‘No More Christmas Blues’ seemed the perfect choice. The song also deals with the sadder side of the holidays, which we could relate to. It was a lot of fun to reinterpret the song in a new light and be part of a record with many other great bands.”
 
Florida-based trio Sons Of Hippies chose the unconventional yet wholly appropriate cover of The Zombies’ “Time Of the Season,” for what is Christmas if not “the season of loving”? Singer Katherine Kelly explains, “‘Time Of The Season’ was fun to cover. We replaced the organ parts on the original Zombies version with layers of distorted guitar leads and gave the drums an eerie, echoed intro. The Psych-Out Christmas compilation is unique and spooky and we wanted to be a part of that vibe.”
 
New York band Psychic Ills, currently on tour with Mazzy Star, got their Christmas wish when they were given the opportunity to record a version of Chuck Berry’s rollicking “Run Rudolph Run.” Guitarist/vocalist Tres Warren proclaims, “I always liked ‘Run Rudolph Run’ because it was a song that I’d actually want to listen to regardless of what time of year it is, and Chuck Berry is as mythical as Santa Clause in my mind.”
 
Alongside these newcomers, a few veterans join in the mix, including long time garage rock heroes The Fuzztones, and the original wild man himself Iggy Pop! Fans of these great artists, as well as anyone looking for a break from the traditional ho-hum Christmas album, is sure to find stocking full of surprises on this great release!
 
1. Christmas Monster Party (Intro) – Len Maxwell
2. Christmas Time (Is Here Again) – Elephant Stone
3. It’s Christmas Day – Cosmonauts
4. Silent Night – Quintron & Miss Pussycat
5. Jul Song – Dark Horses
6. What Child Is This? – Sleepy Sun
7. No More Christmas Blues – The Vacant Lots
8. Time of the Season – Sons of Hippies
9. Santa Claus – The Fuzztones
10. Christmas Tears – Eli Cook
11. Little Drummer Boy – The Movements
12. Jingle Bell Rock – Quintron & Miss Pussycat
13. Frosty The Snowman – The Candy Store
14. Run Rudolph Run – Psychic Ills
15. Mele Kalikimaka – Dead Meadow
16. Jingle Bells – He 5
17. White Christmas (Guitar Stooge Version) – Iggy Pop
 
Purchase the CD at Amazon: http://georiot.co/2ceI
 
Download the album at iTunes: http://georiot.co/1a7a
 
Press inquiries:
Glass Onyon PR
Billy James
 
CLEOPATRA RECORDS, INC.
11041 Santa Monica Blvd #703
Los Angeles CA 90025

 

Kevin McCormick discusses “In Dulci Jubilo: Songs of Christmas for Guitar and Voice”

On By carleolsonIn 20131 Comment

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The following interview with guitarist and composer Kevin McCormick was originally posted on Catholic World Report last week, but I am posting here as Kevin is a fellow Progarchist, he is a fabulous musician, and his new album, with his daughter Rachel, is a gorgeous album of traditional and sacred Christmas music. Here goes!

Kevin McCormick (www.kevin-mccormick.com) is a classical guitarist, composer, and teacher based in Texas who has released several albums over the past twenty years. His new album, In Dulci Jubilo: Songs of Christmas for Guitar and Voice, featuring the vocals of his teenage daughter, Rachel, released today, on the Feast of St. Cecilia. It is a collection of fourteen songs for Advent and Christmas, including “In Dulci Jubilo”, “Ave Maria”, and “Panis Angelicus”. He recently responded to some questions I send to him about his new album.

CWR: For those who aren’t familiar with your work, what is your musical background: where did you study, what have you recorded, and what do you do as a full-time musician? What about your daughter, Rachel?

McCormick: My mother was a music teacher and choral director and so music was a large piece of the fabric of our family. My older brother played piano and my younger brother played drums. I’ve played guitar for nearly as far back as I can remember. I started when I was seven and studied privately for many years. And yes, I’m not ashamed to say we were a band. We spent most of our time writing our own music. By high school though we were playing cover tunes at clubs and other gigs and generally enjoying it all. I continued with a band at Notre Dame, but while there I also rediscovered classical guitar and classical music in general. During a year abroad in Rome I studied at a guitar conservatory with a student of Andres Segovia. I realized how much I loved the sound and repertoire of the instrument and so I pursued it on and off for the next decade.

A stint in Japan allowed more of the rock thing and club playing but also the study of Japanese music. Along the way I began to take composition more seriously. When my wife and I returned to the States I studied guitar and composition at Indiana University’s School of Music. Eventually we wound up in central Texas where I was trading time between writing serious post-rock song cycles, writing for my own ensemble in Austin (which once again included my brother on drums), and composing classically. The song cycles became my first two recordings [With The Coming of Evening and Squall]. In fact, they are part of a tryptic that awaits completion. Stylistically they spring from many styles including jazz, east asian, film music. I was heavily influenced by the work of Mark Hollis during that time with my own foundation as a classical player was woven in as well.

But you never know what God has in store. I ended up establishing a teaching studio in our small Texas town and playing classical gigs in the area. That lead to my three solo guitar recordings: Solo Guitar (an introduction to classical guitar), Americas (music of Latin America and some original compositions), and Songs of the Martin (collection of songs performed on a 1846 Martin Guitar). My daughter Rachel definitely inherited a love for music. She has been singing ever since she could make sound. She has cantored at church since she was ten and has sung in stage musicals at our local theater. She has sung with our church choir and her school choir for nearly ten years. She has done some private study, but really she just seems to have been blessed with the voice and the spirit for singing. Some of my fondest memories of her singing have nothing to do with a stage. She sings all the time.

CWR: Why did you decide to produce a Christmas album? What do you hope people will hear and experience when listening to the album?  Continue reading “Kevin McCormick discusses “In Dulci Jubilo: Songs of Christmas for Guitar and Voice”” →

A Brief 2013 Albums Of The Year List

On By Kevin WilliamsIn progressive rock music3 Comments

I’ve been keeping an “Album Of The Year” list going back to 1977 or so, before which I didn’t own or properly listen to any music of note. Since then, there has usually been one album every year that stood above the others, or, if I’m lucky, an album that I’d truly cherish for years to come.

Over the last 10 years, I’ve been fortunate to have encountered a few such albums: “Everything Must Go” by Steely Dan, “Everybody Loves A Happy Ending” by Tears For Fears, “Milliontown” by Frost*, “English Electric Part 1” by Big Big Train, and “The Tall Ships” by It Bites. Unfortunately, there have been a few years where I’ve had to pretty much force myself to pick an album that might not otherwise top a “best of” list, simply because nothing really spoke to me that year…let’s not list those, eh?

For 2013, I can list three albums that meets at least one of two criteria: Will I want to listen to these again in 2014 and/or will it be an album I treasure for a lifetime.

They are:

“English Electric Full Power” – Big Big Train

Yes, nearly half of this album was the Album Of The Year for many in 2012 (including myself), and I’m not sure “English Electric 2” would have topped my AotY list by itself – it’d have been a strong #2 for sure – but to hear the new tracks from “Full Power” arranged among the revised tracklisting for this, the band’s final statement for this project, makes this an album that easily meet both criteria noted above.

Despite “English Electric” not being a concept album in a story sense, I do struggle a bit with how the leadoff track, “Make Some Noise,” fits in with the rest of the album, but having been that kid they sing about, I simply imagine how carefree life was in the summers of my youth, being able to play music with friends, before true responsibility knocked.

I can’t really add any meaningful superlatives to my appreciation of this album that haven’t been said time and again by others. Suffice to say: It’s magnificent.

“Dream Theater” – Dream Theater

Despite my glowing review of “The Enemy Inside,” the first single from Dream Theater’s self-titled album, I began to think that if I was in for an album-length assault in the vein of that track, this wouldn’t be a standout album for me. It’s obvious that I hadn’t learned to listen to an entire album before judging it, because this album stands out as one of their finest and a fine successor to “A Dramatic Turn Of Events.”

With the talent stockpiled in this band – especially now with a drummer in Mike Mangini possessing the technique and training on par with Jordan Rudess – it would have been easy for Dream Theater to overplay in every time signature for 75 minutes straight, but what we get instead is an incredibly balanced effort that keeps the technical playing mostly in check, letting the music breathe.

If I have any gripes – and this may be my problem – it’s that while each section of “Illumination Theory” is fantastic on its own (how about the section with the strings!), I was hoping the end of the track would reprise the themes from the beginning. Otherwise, it feels to me as if they took us out on a journey and didn’t quite bring us back (of course, that’s well within their rights as artists). Yes, I do hear the reference to one of the early guitar riffs later in the track, but somehow the end didn’t “tie the room together.” 🙂

However, I reserve the right to be wrong here, so fellow progheads, I’m counting on you to set me straight if I’m missing something!  In any case, don’t miss this album.

“Reaching Places High Above” – Persona Grata

Just as Big Big Train’s “English Electric 1” was a late-in-the-year find for me in 2012, this release from Bratislava’s Persona Grata (nice rhyme there) was that way this year. This six-song effort features three prog tunes in the vein of Dream Theater, plus a three-track instrumental arc in the middle that takes you on a thematic journey paralleling the titles of the tunes.

Beyond the writing, singing and playing on this album, I was most impressed with their attention to the arrangements.  Of the many prog albums that I gave a spins to this year, “Reaching Places High Above” grabbed me from the first listen.

******

Finally, if I have a single of the year award to bestow, it’s for “Pale Blue Dot” by Sound Of Contact, part of a fine overall album. I dare you not to have Simon Collins’ melodies from the verses and chorus stuck in your head for days on end.  Great track!

Of course, there are many more albums out there likely deserving inclusion on my list, but these three (and Sound Of Contact) will be the ones that I’ll be spinning for years on end. Since our community of proggers is a tight-knit one that includes both artists and fans in a way that I doubt most other genres do, artists should note that I’m often a “late bloomer” with many albums, whether because it was completely off or under my radar, so don’t be surprised if I someday anoint your album as AotY that was released years before, like I did with “Once Around The World” by It Bites; it “only” took me some 20 years to learn who they were!

Another brilliant year for progressive rock, to be sure!

The Future of Prog

On By Time LordIn ProgarchyLeave a comment

The end of the year will soon be here. At Progarchy.com, we are beginning to reflect back on this great year of music. Between now and then, our writers will be posting their “Best of 2013” lists.

As we look back, we also look forward to the future with hope. There are many kids out there who will pick up the torch of musical excellence in the future. Check out the video below (H/T Kevin Miller): if this is what they’re doing in grade school these days, can you imagine what could happen when these kids graduate and turn to prog?

2013 has been a great year filled with much that we can pass on to the next generation as musical example. I look forward to what they will do with this legacy. Do you not think that we will have many years of great music ahead of us?

Reflecting on 2013

On By alisonscolumnIn progressive rock music4 Comments

It is that time of the year to recall and reflect on what has been another extraordinary year for this crazy little thing called prog.

Again, as the fans and consumers of huge quantities of prog, our expectations were high and once more, the bands continued to deliver in the most spectacular fashion.

A question I have asked myself on many occasions this year is where on earth is this music coming from? It appeared there was a whole new seam of invention and creation being mined in the most spectacular fashion by the current torch-bearers of the musical genre.

There have been so many highlights both on record and indeed live this year. Watching bands, especially The Enid, Haken and Maschine overcome the extreme cold at HRH Prog; seeing Benoit David and Michel St Pere dazzle with Mystery at Celebr8.2; encountering Steven Wilson at the Royal Festival Hall in the same week as the Flower Kings, Neal Morse, Transatlantic and Steve Hackett were at Camden’s Electric Ballroom (plus three other gigs we attended), and of course, celebrating the return of Lazuli to Summers End, all brought immeasurable joy to this humble observer.

The “wow” moments have come thick and fast, the personal high being The Big Big Weekend, when a simple idea took on a life of its own and became a celebration of the warmth and camaraderie between one very special band and its fans. Here’s hoping there will be a chance to repeat the occasion next year.

Central to all of these activities of course is the music, that has been extraordinary, exhilarating, life-affirming, game-changing and frankly brilliant.

There were ten particular albums which stood out for me and here they are in order of preference:

1) Lifesigns – Lifesigns

A beautifully balanced album composed by John Young containing all the classic prog elements and some stunning performances from a “who’s who” of players. Shining out in particular are JY’s superb expressive voice and virtuoso keys, Nick Beggs’ sonorous bass and frenetic Chapman stick, Frosty Beedle’s energetic drumming, together with dreamy guitars from both Robin Boult and Steve Hackett, and classic flute flourishes from Thijs van Leer.

What made it stand out for me was the very deep spiritual chord it struck especially through the lyrics which reflected on some of my own personal life experiences and hopefully, lessons learned as a result. It will be wonderful to see it all performed live next March.

2) English Electric Pt 2 – Big Big Train

Well, how do you follow English Electric Pt 1 which was my 2012 album of the year. Pt 2 came oh so close to repeating this feat in 2013 and East Coast Racer is without doubt the stand-out long track of the year. Nobody can get through this remarkable composition without marvelling at the innate splendour of the legendary locomotive so lovingly built and still a centrepiece of British industrial heritage. The whole album is a musical meditation on times past and all that we have lost in order to gain in the name of “progress”.

3) The Raven That Refused To Sing – Steven Wilson

As a long-time SW naysayer, I locked myself away in a darkened room to listen to Raven with a view to writing a negative review. How nice to be proved wrong once in a while. Finally, I felt him reaching out and grabbing those of us sitting on the fence. Everything about it oozes total power and artistry, the playing and production an exercise in consummate prog excellence.

4) The Mountain – Haken

Having finally caught up twice live with one of prog’s emergent stars this year, they deliver the killer blow with an album bursting full of pomp and swagger. It fuses prog metal with some deft touches including the Marmite track The Cockroach King which channels Gentle Giant and Queen, plus the mighty Atlas Stone, a cinematic masterpiece of epic proportions.

5) The Twenty Seven Club – Magenta

This is arguably the finest album so far by the Welsh quartet, a breath-taking collection of carefully crafted songs, each depicting a particular musical legend whose life was cut short at that tragic number. It could have been mawkish or contrived; instead, it hit new heights through both the instrumentation and the gorgeous voice of Christina Booth. Here’s hoping her current treatment for cancer will enable her to return to the stage very soon to perform those glorious songs live.

6) Le Sacre Du Travail – The Tangent

One of the most eagerly anticipated albums of the year did not disappoint as Maestro Tillison and his all-star cast rewrote the prog script harking back to Stravinsky and indeed Bernstein with its extraordinary musical scoring and individual take on the world of work. As someone who now listens to Steve Wright in the Afternoon by design rather than choice, its meaning has taken on a whole new dimension!

7) The Man Left In Space – Cosmograf

There are many great storytellers in prog but Robin Armstrong is one of the best. He draws on his own personal influences such as David Bowie, Pink Floyd and Neil Armstrong to recount the ultimate double-edged tale of how success can lead to the ultimate sacrifice. The claustrophobia and loneliness are palpable throughout.

8) [REDACTED] – Also Eden

After a near-fatal motorcycle smash and two changes of personnel, Also Eden up their personal ante with an album of such dense atmospherics, it is akin to taking a walk down by the water on a warm misty evening and entering into a parallel universe. Rich Harding’s penetrating voice and Simon Rogers’ soaring guitar are your pathfinders into this rather ghostly new world which also draws on influences such as Rush, Marillion, Francis Dunnery and Steve Hackett.

9) Rise Up Forgotten, Returned Destroyed – Shineback

Always expect the unexpected with Tinyfish’s mainman Simon Godfrey whose songwriting is right up there with some of the best. Breathing fresh life into electronica, RUFRD is a deceptively clever album which uses samples from Bulgarian singer Danny Claire to build a story drawing on his vivid imagination during his childhood experiences of insomnia.

10) Fanfare & Fantasy – Comedy of Errors

After their excellent debut album Disobey, this album affirms Comedy of Errors as a growing force in prog, their brand of melodic prog echoing Marillion and Mystery but with a few surprises along the way such as Time’s Motet and Galliard.

TUPVR #8: Lex Rex (2002) by Glass Hammer

On By bradbirzerIn progressive rock musicLeave a comment

One of my favorite bands, and one of my favorite CDs.  Lex Rex–a 2002 masterpiece of prog, faith, and excellence.