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RoSFest 2020 Complete Line-up and Platinum Tickets on Sale Today.
The entire lineup has been announced for RoSfest 2020. The festival takes place at the Sarasota Opera House in Sarasota, Florida May 8-10. Big Big Train, CAST, and Thank You Scientist are headlining. This marks Big Big Train’s first show on U.S. soil. Other acts on board are Dilemma, Pattern Seeking Animals, United Progressive Fraternity, The Tea Club, Lobate Scarp, Moon Letters, and Arc Iris.
Platinum Seat Tickets go on sale today at Noon (EST)
(Gold Seat Tickets go on sale October 18th, 2019, and Regular Seat Tickets go on sale November 22nd, 2019. After that, they will sell day-only tickets based on availability. More info at rosfest.com)
The Platinum Seat ticket gives you admittance to three days of the festival with exclusive access and amenities and the best seats in the theater! Included are limited preproduction sound checks and exclusive meet and greet with the bands, plus VIP Lanyards and a RoSfest t-shirt.
Limited Platinum select premium seats available for $505.00 for the three-day pass.
For credit card purchases, add an additional 2.75% to the total purchase. Total $518.89
How to order tickets:
Step 1. Call George at 484.432.7357 to select your seats.
Step 2. Pay by credit card or by check.
The credit card prompt will be available through Square on the website.
Visit https://rosfest.com/product/platinum-seat-ticket/ and follow the prompts.
For more information on RoSfest, go to rosfest.com
Malcolm Guite: Live at the Inklings Institute of Canada (Sep 13, 2019)
Check out the recording above of Malcolm Guite live at the Inklings Institute of Canada on September 13, 2019, sharing poetry and songs. (Note: the music starts at 36:50) The audio is bootleg quality, but permission was given for the recording to be made.
King Crimson: Celebrating 50 Years of Hot Dates in Concert
King Crimson, Auditorium Theatre at Roosevelt University, Chicago Illinois, September 10, 2019. (Featured photo by King Crimson manager David Singleton.)
“Expectation is a prison.” Robert Fripp says that a lot.
He said it again this past Tuesday in Chicago. Specifically, to about sixty fans who had paid a lot of cash for a King Crimson pre-concert VIP package. Even more specifically, to one particularly zealous fan, who nervously, repeatedly begged Fripp to reveal if “Cat Food” was on the evening’s setlist.
Fripp wasn’t biting. Having already pivoted from reflections on music’s ability to change the world and the necessity for presence in the musical event (like an abbot exhorting his monastic chapter) to “wittering” on the disadvantage of playing guitar while seated (“pimples on my arse”, spoken with the endearing delivery of a bawdy rock-and-roll Mr. Magoo), his response was firm, but simple: when you don’t know what’s coming next, consider it a challenge to pay more attention. And to be more present. Then Fripp let us take his picture while he took ours; manager David Singleton teased another possible US tour next summer (he deliberately doesn’t look at the setlist); and bassist Tony Levin engaged in a much lighter Q&A session (but he wasn’t telling, either).
As blunt as Fripp frequently is, his admonition came in handy Tuesday night. This is the third time I’ve seen the current version of King Crimson live, and the personal temptation to tune out in anticipation of repetition from previous years (even seated in the center of the sixth row) was surprisingly persistent. Fortunately, Fripp and friends weren’t about to let the sold-out, 4000-strong audience off the hook; the evening swiftly turned into another hot date with one of the best working bands in the world.
Continue reading “King Crimson: Celebrating 50 Years of Hot Dates in Concert”
Progarchy’s End of Summer Round Up
There has been a lot of quality prog released this summer. Overall I’d say there isn’t as much top tier level stuff (i.e., albums that rank with some of the best ever made in the genre), but there have been a lot of solid albums worthy of your attention released lately. This list won’t be exhaustive, but it should be a good starting point for people looking for some new music. Order is completely arbitrary. Ok maybe this first one is at the top for a reason.
Nad Sylvan – The Regal Bastard
Steve Hackett’s touring vocalist released his best solo album to date this summer. It is a little more accessible than the first two albums in the Vampirate trilogy, but it retains some of the same themes and motifs. Sylvan has a lot of talent, and this album stands above the crowd this summer. If you only listen to one album off this list, choose this one. And check out my interview with Nad from earlier this summer: https://progarchy.com/2019/06/30/the-vampirate-speaks-a-conversation-with-nad-sylvan/
Tool – Fear Inoculum
I’ve only ever passively listened to Tool, but I found this album to be quite good. Was it worth the wait for diehard Tool fans? I’m not sure, but this is a solid album that is heavy without being overpowering. Check out Rick Krueger’s review: https://progarchy.com/2019/09/01/tool-fear-inoculum/
District 97, Screens
Impossibly sick drum groove by Jonathan Schang: check. Heavy unison guitar/bass riff from Jim Tashijan and Tim Seisser: check. “Yep, that’s District 97. Now where was I?”
But then new keyboardist Andrew Lawrence joins in, steering opener “Forest Fire” in a head-snapping direction with cool, jazzy chords. Cue Leslie Hunt, riding a thrilling vocal line over a cascade of progressions and textures — including off-kilter breakdowns from Lawrence and Schang. By the time the track climaxes with a powerhouse unison lick (all in under five minutes), my head’s where it belongs — in the music.
Screens feels like a fresh start for District 97. The Chicago quintet’s trademarks — Hunt’s lush tone and oblique, syncopated melodies, Tashijan and Seisser’s thick crunch and odd-time riffage, Schang’s lateral ideas and heady polyrhythms — are all present, correct and on point. But to me, Lawrence is the secret ingredient that’s taken them to a new level, bringing a love of jazz fusion and a rich sense of harmony to the party.
This edition of the band isn’t afraid to take chances with the new tunes — leaving more space, leaning into dynamic contrast, unexpectedly launching skittery, Zappaesque flurries of noise. Which enables shorter tracks like “Sea I Provide”, “Trigger” and “Blueprint” to cover lots of ground, and the extended efforts “Sheep”, “Bread & Yarn” and “Ghost Girl” to feel like genuine epics. Everybody contributes to the writing and all the players solo — which makes the overall sound more unified and more expansive at the same time.
And all this gives Leslie Hunt more room to run than ever. It’s hard to think of a vocalist in progressive music with so many tools at her disposal: a gutsy, versatile sound and technique; deeply expressive emotional range; a fertile, eclectic imagination powering her melodies and lyrics. On Screens, Hunt simultaneously sounds fully unleashed and fully integrated into the band. Focusing on the lyrical theme of isolation (self-inflicted in “Sheep” and “Shapeshifter”, imposed by others in “Trigger” and “Ghost Girl”), she makes a meal of it: throughout the album, she reacts, resists, reflects, rages — and when she can, reaches out (especially in the poppy “Sea I Provide” and the gorgeous ballad “Blueprint”). She’s something else.
For all their obvious love of the genre, talent and energy (I’ve been bowled over both times I’ve seen them play to hometown crowds), I’ve sometimes felt that District 97’s music had trouble standing out in a crowded field, especially when they’ve leaned into the metal. Trouble with Machines and In Vaults are fine albums, but over the years they blurred together in my ears. Gratifyingly, Screens busts out into new territory, stretching D97’s sound and style in refreshing, exciting ways, and setting the table for continued growth. This one’s a winner that’s worth your time and attention.
Screens is currently available as a signed advance CD from the band. The digital version (released October 4) can be pre-ordered at Bandcamp. The regular CD (released October 11 in the US) can be pre-ordered at Amazon.
— Rick Krueger
Album Review: Parliament Owls – A Span Is All That We Can Boast
Parliament Owls, a quintet from Canada, have quite a challenge as with any new band playing this stylistically demanding music. They either need to add something exciting and original to the genre, or be so bloody good at delivering captivating rock (that visits quite a few genres) in its conventional form that they stand head and shoulders above the oceans of ordinariness that surround them. While they will not win any awards for innovation, the debut full-length release “A Span Is All That We Can Boast” does in fact rise most convincingly from the latter category, and has enough variation in its six tracks to keep interest levels high.
Beginning with “Cocobolo,” Parliament Owls expertly marry the math rock histrionics of The Dillinger Escape Plan to the noise rock sensibilities of Melvins. The band doesn’t joke about with long intros, and like to get on with the business at hand, with only one track clocking at almost seven minutes. This makes for a more urgent and also provides a much more organic feel to the band’s playing.
In addition to The Dillinger Escape Plan and Melvins you can undoubtedly hear the massive influence of Cult of Luna, Mono, Mastodon, Between the Buried and Me, all the major names, but Parliament Owls somehow manage to put a unique stamp on this rather derivative framework.
Parliament Owls have risen far above the sum of their influences, and delivered a very fine rock album. Check it out!
Follow Parliament Owls on Facebook.
A thoroughly English night out
The UK is renowned for its panoply of music venues ranging from the regal Victorian magnificence of the Royal Albert Hall and the cavernous expanses of the 02 in London to its wealth of small pubs and subterranean clubs, sadly some of which are now either closed or threatened with extinction.
However, there’s one venue which defies any conventional description because, well, there’s nowhere else like it, and to summarise, where else can you wine, dine and prog at the same time?
Music fans travel considerable distances to go to gigs at Trading Boundaries, which is nestled away in the south eastern English county of East Sussex and whose nearest hotels include those serving London’s Gatwick Airport.
Housed in a Grade 2 Georgian coaching inn, by day, it’s a shopping emporium specialising in high desirable imported antique Indian furniture and handicrafts, its courtyard full of specialist shops and boutiques.
Its prog credentials are heightened by the fact it is where legendary prog artist Roger Dean holds an exhibition of his legendary works every year, this being the closest venue to his home.
However, at the centre of the complex is the Elephant Café-Bar, which, on gig evenings, transforms into a magical Arabian nights music venue full of lush satins and silks, and lit by twinkling lights. In this exotic splendour and as part of the ticket package, gig-goers also enjoy a two-course meal and drinks ahead of the performance.
Over the years, regular visitors have included prog luminaries such as Steve Hackett, Rick Wakeman, Steve Howe, Carl Palmer, Focus, Caravan, Jon Hiseman and Colosseum and Damian Wilson.
However, on this particular night, it’s that most English of contemporary prog bands, Lifesigns, who are treading the polished boards in deepest Sussex. A birthday treat to my husband Martin Reijman, whose photographs have graced many of their promotional posters, it’s a chance to enjoy a band, who, for many people, currently appears to be the most popular entry point into modern prog.
There are many possible reasons for this, notwithstanding the inherent warmth and rich melodies within the music, the exceptional artistry of each of Lifesigns’ players past and present, and the all-embracing geniality and modest genius of the band’s founder John Young, who has previously played with Asia, the Scorpions and Greenslade. His day job is currently as Bonnie Tyler’s concert keyboards player.
As he later reveals between songs, Lifesigns began as a bet in a pub when someone challenged him to create some fresh, original prog music.
He also remembers his last visit to Trading Boundaries when the audience comprised a man and his dog. Tonight, the venue is packed to capacity – a sell-out of more than 100 people seated and dining, and an additional circle of around 40 standing fans.
The burgeoning popularity may also be due to the band’s continuing organic evolution, from when the original core team of Young with stalwart drummer Martin “Frosty” Beedle (ex-Cutting Crew), prog bass player and demi-god Nick Beggs and sound engineer Steve Rispin began to develop the songs, melodies and themes running through Young’s head.
To achieve the desired result, they called upon the services of illustrious friends such as Thijs Van Leer (Focus), Robin Boult (Fish’s guitarist), Jakko Jakszyk (King Crimson) and Steve Hackett to augment the Lifesigns sound and help to create its individual marque.
This evolution started on record through the exquisite eponymous debut album released in 2013 and its equally laudable follow-up Cardington in 2017. For the live performances that started in 2014, the highly animate and extrovert Jon Poole (ex-Cardiacs) became the resident bass player, and following the departure of guitarist Niko Tsonev late in 2017, Dave Bainbridge (Iona, the Strawbs) who played on Cardington, joined as guitarist and occasional keyboards player in time for the early gigs in 2018 including Cruise to the Edge.
This night’s performance is again a wonderfully balanced set, comprising songs from both albums – and one which will appear on the forthcoming album, but more about that later.
The set is of a slightly different construct to the previous tour and starts with Lighthouse, the cosmically charged opener from their first album, and to my mind, the song which literally set the tone for everything else that has since followed.
It’s one of those classic prog songs, full of delightful twists and turns, delicious melodic hook-lines, some beautifully evocative lyrics and whose pulsating climactic ending is all about bass pedals, crashing waves and the cry of the seagulls. It will always remain a song in which I feel both lost and found.
Young, with his flowing silver locks and cans clamped to his ears, remains the focal point behind his bank of keys, his resonant clear voice one of the band’s greatest assets.
It’s obvious the band has benefited from its recent break as there’s a renewed vigour and enthusiasm in the way they are playing, especially from Beedle who is visibly loving every moment, attacking his drums with palpable joy and exhilaration.
Poole is the joker in the pack, but the message on his bass “Destroy all genres” shows where his convictions lie. Always animate, bouncy and alternatively “duetting” with Beedle and Young, he injects a funky, chunky vibe that beefs up the song-lines.
Bainbridge, since joining the band, is a revelation, his shy, retiring but always expressive persona belying the brilliance of his lyrical, fluid guitar runs and solos. His presence has indeed taken the band to another level live, because he and Young are like twin souls in the way that between them, they elicit every nuance of melody from every song.
It’s a classic canon of songs tonight drawn from both albums, including the hypnotically lovely Voice In My Head; Young’s broadside to radio mediocrity Touch; Different; Impossible; Open Skies (about aliens and Manchester United), the ever-uplifting Cardington about an airship service that never took off; the commercial and potentially radio-friendly Chasing Rainbows and the very prophetic, upbeat End Of The World.
All these are spread over two sets, and they end with the extraordinary Carousel, the closing track on the debut album, which, despite a technical keyboard glitch immediately after Bainbridge’s frenzied opening, always hits the personal “set to stun” button due in no small part to the personal poignancy of some of the lyrics and that particular line “Let me be, Don’t turn the light out.”
It’s a heavenly evening, one of exuberant energy, majestic music and a hugely engaged and enthusiastic audience, which mirrors exactly what is happening on stage. And there’s dancing during three of the numbers!
Back they come for the encore, the aptly titled Last One Home, written by Young, which originally appeared on Live In The Hood, the only album released by the short-lived band Qango.
Hidden then on an album full of Asia and ELP covers, this moving ballad about those in peril on the sea will appear on the much anticipated third album and already, we can safely say this will be viewed as a Lifesigns’ classic if only for the ethereally beautiful and emotional guitar solo from Bainbridge. Even after the fourth time experiencing it live, it still has all the qualities to make grown women – and hopefully men – weep.
The acoustics at Trading Boundaries provide both intimacy and clarity, both crucial factors in the Lifesigns’ sound that Rispin, who has recently been on tour in the USA with Yes, always brings out to best effect.
As an aside, I ought to mention that the band also played a little birthday tribute to Martin in the form of a most off-beat version of The Beatles’ When I’m 64 which Poole sings the opening line in different variations of the lyrics and Bainbridge plays piano, followed by getting everyone to sing him Happy Birthday.
It also helps that the owners of this unique venue are avid music fans and the sight of one of the co-owners, Michael Clifford, introducing them wearing a Lifesigns’ tee-shirt tells its own story.
There will be more prog here this autumn, including two acoustic sets by Steve Hackett, the return of Focus, an evening of music based on the albums of Ant Phillips, Genesis’ original guitarist and Mike Rutherford, a visit from Italian wizards Barock Project and a fascinating double bill featuring the U.S’s District 97 and English prog metal merchants Maschine.
There is also a performance from Yes tribute band Yes Please to coincide with the launch of Roger Dean’s new exhibition there in October.
This is definitely one the UK’s best kept secrets. Hopefully, after you read this, it won’t be much longer.
Website link: https://www.tradingboundaries.com/
And Lifesigns are still continuing to delight on their current tour and will be visiting Eleven in Stoke on Trent on Wednesday 4th September; Bannermans Bar in Glasgow on Thursday 5th September and Ivory Blacks in Glasgow on Friday 6th September.
Photographs by Martin Reijman
Tool, Fear Inoculum
My history with Tool? Checkered. I didn’t tune in during their initial rage-metal period at all; if I had, I probably couldn’t have got past the vulgarity or the in-your-face attitude. King Crimson opening for Tool (in my mind, Tool closing for King Crimson) got my attention in 2001, and I thought that Lateralus was a nifty hunk of knotty art-metal, with lyrical directions that began to clear a path through the bile. 10,000 Days? For me, a loooong album that started strong, then meandered through one bizarre, tenuously connected detour after another. It wound up giving me a headache (also my consistent reaction to The Mars Volta). So no, Tool has typically not been my cup of tea.
Which is why I’m completely — and delightedly — flabbergasted by Fear Inoculum, Tool’s first album in 13 years. Beyond being as heavy, brainy and cathartic as one might expect, this is deeply thoughtful, richly layered, compelling music — a satisfying, unified work from start to finish that also rocks like a truck full of bricks. If this is what Danny Carey, Justin Chancellor, Adam Jones and Maynard James Keenan have been aiming for all these years, it’s been well worth the wait, because they’ve nailed it.
A Conversation with Brett Kull of Rise Twain
Rise Twain, Rise Twain, Inside Out (2019)
Tracks: Everspring (3:22), Golden (6:11), The Range (4:42), Lit Up (5:03), Death of Summer (6:29), Oh This Life (3:12), Prayers (4:48), Falling Skies (05:49), Into A Dream (5:39), That Is Love (5:03)
On September 6, Rise Twain will release their first album on Inside Out. Made up of singer-songwriting duo Brett William Kull (of Echolyn) and J.D. Beck (The Scenic Route), Rise Twain’s self-titled debut brings emotion, gentleness, and powerful songwriting to a year that has been filled with excellent music.
From JD’s soulful voice, which instantly reminded me of the Casey McPherson or Matt Bellamy, to his wonderful piano work and Brett’s excellent guitar, this album delivers without overpowering. As Brett and I talked about in the interview below, this album has a lot of dynamic range, which makes for a very enjoyable listening experience. It has its heavy moments, but the quiet moments often steal the show. This is a great rock album in the tradition of lyric-oriented popular rock songs. The lyrics have great depth to them. They keep me engaged on repeated listens, and I’m sure they will for many listens to come. Rise Twain are not to be overlooked – check this group out when the album drops in a few days.
I had the great opportunity to speak with Brett Kull via Skype on August 21. Unfortunately I’ve been very busy, so it has taken me a while to transcribe everything. Originally I was supposed to speak with both Brett and JD, but JD’s son had an emergency tooth surgery come up at the last minute – we certainly wish JD and his son the best on his recovery for that.
I had a great time talking with Brett. I found his passion for his craft to be incredibly inspiring, and I hope all of you do as well. Our conversation ranged from discussion of the album to their writing process to the more technical side of producing music. We even talked about the very nature of progressive rock itself, which is always a fun ongoing conversation in our little corner of the music world.
Continue reading “A Conversation with Brett Kull of Rise Twain”
Progarchy 