Rick’s Quick Takes for October

Glass Hammer, Skallagrim – Into the Breach: Fred Schendel, Steve Babb and company return with the second installment of their multi-part “sword and sorcery” epic, begun on 2020’s Dreaming City. The music rocks hard and heavy, evoking everyone from Deep Purple to Mastodon (and yes, a fair amount of Rush), with just enough moody, ambient keyboard work to cleanse your aural palate before the next round of crunchy power chords. All this marvelously matches the grimdark vibe of the titular hero’s melodramatic quest for his lost love. (And a surprise lyrical callback to an earlier GH album sets up tantalizing possibilities regarding just who that lost love is.) To top it all off, new vocalist Hannah Pryor proves a major discovery, surfing Schendel and Babb’s gargantuan riffs with zest, grace and power to spare. Every bit as involving as Dreaming City, this fine album is a blast in every sense of the term. Order signed CDs, downloads and merch direct from Glass Hammer’s webstore.

Steve Hackett, Surrender of Silence: enter one legendary guitarist, shredding! Hackett lets himself off the leash here, laying down both his wildest compositions and his most hardcore playing in quite some time. The tunes can actually be a bit undercooked, their influences not always fully assimilated (‘Hmm, Prokofiev . . . wait, Brubeck’s “Blue Rondo A La Turk”!?! . . . good grief, is that lick really “Theme from Exodus”???’). Nonetheless, Hackett’s swashbuckling solos atop Roger King’s widescreen orchestrations are irresistible as always; he and wife Jo serve up fresh sonic travelogues such as “Wingbeats” and “Shanghai to Samarkand”; and full-on burners like “Relaxation Music for Sharks” and “The Devil’s Cathedral” (featuring Hackett’s full band, including Nad Sylvan on vocals) never fail to thrill. Perhaps it’s not up to the towering heights of At the Edge of Light and Under A Mediterranean Sky, but Hackett’s latest is well worth your while. Order signed albums (CD, CD+BluRay combo, LP or LP+CD combo) direct from his webstore.

Isildur’s Bane & Peter Hammill, In Disequilbrium: Mats Johansen’s expandable international ensemble (including King Crimson’s Pat Mastelotto on drums this time) reconnects with Van der Graaf Generator visionary Hammill; two sprawling multi-movement suites result. The three-part title piece careens between hard-driving rock, off-kilter electronica, spastic percussion interludes and haunting chamber textures, as Hammill decries a post-pandemic world that was already primed for chaos. (“There’s no choreography, dance the Tarantella./In disequilibrium round and round forever we’ll go.”) In the four-part “Gently (Step by Step)”, Hammill supplies winningly vulnerable encouragement to face whatever the future holds; the band drapes his incantatory vocals in dizzying sonic collages that somehow always sound forlorn, no matter the timbre or tempo at a particular moment. This one definitely requires multiple plays to unfold its secrets, but it’s well worth the effort; the way IB’s devastatingly precise, multilayered processes track with the unpredictable contours of Hammill’s apocalyptic meditations must be heard to be believed. Order CDs and LPs (plus previous collaborations with Hammill and Marillion’s Steve Hogarth)at Burning Shed’s Isildur’s Bane store.

Tillison Reingold Tiranti, Allium – Una Storia: Perhaps Andy Tillison’s most light-hearted effort ever. Back in 1976, a teenage Tillison encountered (and sat in with) the obscure Albanian prog group of the album’s title at an Italian holiday camp — and it changed his life for the better. This lockdown-inspired “homage to a band whose day never came” easily goes beyond a mere tribute to Seventies Europrog, capturing the sheer joy and the heady freedom both Allium and the fledgling Tillison must have felt in those moments. Collaborating with Jonas Reingold (bass and guitars), Roberto Tiranti (vocals) and Antonio DeSarno (Italian lyrics), Tillison contributes some of his best, boldest keyboard work ever on three long, appealingly involved, frequently funky tracks — and plays all the drums! And you get both Tillison’s “Original Mix” (effortlessly conjuring up the period — I was roughly his age at the time) and Reingold’s “Respectful Remix” (which, bourgeois Philistine that I now am, I actually prefer). If you’re interesting in hearing the Tangent’s mainman just having fun, this is your ticket. Order CDs from Reingold Records.

Yes, The Quest: I’d argue that Yes, in any formation, hasn’t made an essential album since 90125. I’d also argue that, when Geoff Downes’ keys and Steve Howe’s sublime guitar really lock together, as on the opening “The Ice Bridge”, the results sound more like upper-mid-level Asia than the band they’re supposed to be in here. But if Yes fans can get past these discontents (as well as the numerous others they’ve accumulated over the decades), they may enjoy The Quest’s estimable (though not overwhelming) charms. Singer Jon Davison brings the requisite lyrical themes of self-actualization and environmental issues to the party; Billy Sherwood does his manful best to channel the spirit of Chris Squire on bass and vocals; and in the studio Alan White can still summon his classic drive, if not the power he had in his prime. The FAMES Orchestra add a dash of Time and A Word/Symphonic Tour luxury to the proceedings as well. While everything’s downshifted multiple gears from Yes’ most rambunctious, energetic — and it has to be said, creative — years this is an unquestionable step up from the appallingly bland Heaven and Earth, with its own modest appeal. I can see a track or two from this fitting nicely into the setlist when Yes finally can bring their long-promised Relayer tour to the Western Hemisphere. Order the album (in CDs, red LPs + CDs, CDs + BluRay combo, and CDs+LPs+BluRay deluxe boxset formats) from Burning Shed.

— Rick Krueger

The Big Prog (Plus) Preview for Fall 2021!

What new music and archival finds are heading our way in the next couple of months? Check out the representative sampling of promised progressive goodies — along with a few other personal priorities — below. (Box sets based on reissues will follow in a separate article!) Pre-order links are embedded in the artist/title listings below.

Out now:

Amanda Lehmann, Innocence and Illusion: “a fusion of prog, rock, ballads, and elements of jazz-blues” from the British guitarist/vocalist best known as Steve Hackett’s recurring sidekick. Available direct from Lehmann’s webstore as CD or digital download.

Terence Blanchard featuring the E-Collective and the Turtle Island Quartet, Absence: trumpeter/film composer Blanchard dives into music both written and inspired by jazz legend Wayne Shorter. His E-Collective supplies cutting edge fusion grooves, and the Turtle Island String Quartet adds orchestral depth to the heady sonic concoctions. Available from Blue Note Records as CD or digital download.

The Neal Morse Band, Innocence and Danger: another double album from Neal, Mike Portnoy, Randy George, Bill Hubauer and Eric Gillette. No overarching concept this time — just everything and the kitchen sink, ranging from a cover of Simon and Garfunkel’s “Bridge Over Troubled Water” to brand-new half-hour epics. Available from Inside Out as 2CD, 2CD/DVD or 3 LPs/2 CDs

Trifecta, Fragments: what happens when Steven Wilson’s rhythm section turns his pre-show sound checks into “jazz club”? Short, sharp tracks that mix the undeniable chops and musicality of Adam Holzman on keys, Nick Beggs on Stick and Craig Blundell on drums with droll unpredictability and loopy titles like “Clean Up on Aisle Five” and “Pavlov’s Dog Killed Schrodinger’s Cat”. Available from Burning Shed as CD or LP (black or neon orange).

Upcoming releases after the jump!

Continue reading “The Big Prog (Plus) Preview for Fall 2021!”
Andy Tillison

Thinking of England: A Conversation with Andy Tillison of The Tangent

The Tangent Auto Reconnaissance Album CoverThe Tangent, Auto Reconnaissance, Inside Out Muisc, Release date: August 21, 2020

Tracks: Life On Hold (5:31), Jinxed In Jersey (15:57), Under Your Spell (5:45), The Tower Of Babel (4:36), Lie Back & Think Of England (28:16), The Midas Touch (5:55), Proxima (Bonus Track) (12:27)

The Band: Andy Tillison (vocals, keys), Jonas Reingold (bass), Luke Machin (guitar), Theo Travis (saxophone, flute), Steve Roberts (drums), and artwork by Ed Unitsky

Last Saturday (August 15, 2020) I had the wonderful opportunity to speak with the brilliant Andy Tillison about his latest album from The Tangent: Auto Reconnaissance. A truly outstanding album, it is my favorite Tangent album since 2015’s A Spark in the Aether (which was my album of the year that year). Lyrically and musically this albums stuns.

I won’t bog you down with a long review here, but you’ll be hooked from the very first notes. Tillison’s combination of storytelling is at its prime on “Jinxed in Jersey,” and his cultural critique is in fine form on “Lie Back and Think of England.” The passion in his voice is palpable – a direct consequence of the unique writing style he adopted beginning with 2013’s masterpiece Le Sacre du Travail. Andy and I talked about that very thing at length in the latter half of the interview. As he says below, this album is much more philosophical than the last two. That is expertly displayed on “Tower of Babel,” where Tillison takes the technocracy head on.

The music is diverse, with a heavy jazz theme throughout. The classic prog sound that the band has curated over the years is everywhere – Auto Reconnaissance sounds like a Tangent album. The saxophone and flute from Theo Travis add to that seventies Tull vibe, but Luke Machin’s crunching guitars bring the rock. He also brings the soul when he needs to. I can’t recommend this album enough. It’s absolutely breathtaking.


After a few pleasantries (which I didn’t include in the transcript but left in the audio), we dug right into the album. The interview is pretty wide ranging covering the recording process, the overall concept, a deep dive on a couple tracks (“Jinxed in Jersey” and “Tower of Babel”), some philosophical musings on America, Britain, technology, television, etc., and a detailed look at Tillison’s writing process. We also talked a bit about the overall history of the band and Tillison’s own background with music and why he originally wanted to create The Tangent.

Bryan: So tell me a little bit about Auto Reconnaissance and the background of the album and where the ideas for it grew out of.

Andy: Well the background of – this album was recorded before the word coronavirus entered my life. When I say recorded – it was written before that. We were just hearing the news coming out of China at the beginning of the year. We were recording parts of it when we were together, so I was able to record the drums here with Steve, and Theo came here, which basically means that all the keyboards, all the vocals, the drums, and all the saxophones and flutes were recorded actually in this room on the microphone I’m talking to you with for the most part. That was kind of nice to be able to do, and just after that we started picking up the fact that there may be lockdowns and things. But in any case, Jonas Reingold was going to play all his bass parts in Austria anyway because he was about to set off on the Steve Hackett world tour. Luke was going to do his parts at his house anyways because he’s got his own studio there, all his guitar amps are there. It would seem pointless dragging them all the way up to Yorkshire. We recorded it in our normal way, in fact slightly more together this time than any time in the past. It would be us, you know – the lockdown comes along and everybody has to find new ways to work and we find a way of actually doing it together, which was a bit bizarre.

The background to the actual record – it was made in a fractious time in England. The end of the final debates on Brexit as three years of arguing came to a close. Very depressing times when England was busy shouting at itself. Signs of a bad debate, much in the same way as I guess there’s a big fight between the Republicans and the Democrats over on your side of the water. You know, I wanted something that reflected that, but I didn’t want something to be miserable, so I wanted to make an album that – I think it was about really looking at the problems that we were in but having a bright light visible at the end of the tunnel that we were in at the time. I think that’s what I was trying to do with this record. That’s why the title is Auto Reconnaissance, which means looking at yourself. That involves everybody looking at themselves – whole countries looking at themselves and working out our place in the world really. I think that’s what the focus of the album was, yeah.

Continue reading “Thinking of England: A Conversation with Andy Tillison of The Tangent”

Bandcamp Does It Again!

Back on March 20, Bandcamp waived its share of all sales, in order to support artists whose livelihoods were effected by the COVID-19 pandemic (especially because of cancelled live shows and tours).  The results were astonishing: $4,300,000 in sales of downloads, CDs, LPs and merch, 15 times a normal Friday’s take.

So, to their credit, Bandcamp is doing it again.  And again.  And again.

On May 1, June 5, and July 3 (the first Friday of each month), we’re waiving our revenue share for all sales on Bandcamp, from midnight to midnight PDT on each day.

(Over 150 artists and labels are offering discounts, exclusive items, merch bundles, and more this Friday.)

It may sound simple, but the best way to help artists is with your direct financial support, and we hope you’ll join us through the coming months as we work to support artists in this challenging time.

And, in case you’re wondering, there’s tons of recorded goodness available at Bandcamp from these Progarchy-favored artists:

If your budget allows it, and you need a prog fix, why not do your shopping at Bandcamp this Friday?

 

— Rick Krueger

Progressive Music in a Time of Pandemic

In the era of Napoleon, the Prussian diplomat Klemens Wenzel Furst von Metternich coined the phrase, “When France sneezes, the whole of Europe catches a cold.”  Like all good clichés, it’s been re-purposed endlessly since the 1800s.  Which leads to today’s question: when the music industry of 2020 catches COVID-19, what does the progressive music scene come down with?

In the last few weeks, the toll of the current pandemic has been steadily mounting, with the postponement or cancellation of tours by Yes, Steve Hackett, Tool and Big Big Train (plus this year’s Cruise to the Edge) at the tip of the iceberg. 

The tale of Leonardo Pavkovic, impresario of MoonJune Records and MoonJune Music (Bookings and Management) is all too grimly typical; since the outbreak of coronavirus, eight MoonJune-booked tours have been cancelled at a loss of about $250,000 to the artists, with many more tours now in jeopardy.  MoonJune artists Stick Men lost 8 of 9 concerts in Asia, plus their US spring tour; touch guitarist Markus Reuter resorted to GoFundMe in order to make up for the loss of six months’ income.

So where’s the good news?

For one thing, the plight of progressive musicians has resonated strongly with their fans. Reuter’s GoFundMe goal was met in just over a day; Pavkovic has had a newly positive response to MoonJune’s digital subscription program and discount offers. (Full disclosure: I’m a digital subscriber and I love it!)  And now Bandcamp is getting into the act:

To raise even more awareness around the pandemic’s impact on musicians everywhere, we’re waiving our revenue share on sales this Friday, March 20 (from midnight to midnight Pacific Time), and rallying the Bandcamp community to put much needed money directly into artists’ pockets.

So (if your situation allows it), who can you support via downloads, CDs, LPs and merch bought on Bandcamp this Friday?  Well, you could start with four fine new albums I’ve reviewed this year:

Then move on to other artists well loved on this blog:

Best of all, the music keeps on giving.  Leonardo Pavkovic is already sharing details about his next MoonJune albums: a live set from Stick Men’s only uncancelled Asian concert, plus an album of improvisational duets by Markus Reuter and pianist Gary Husband recorded during down time in Tokyo.  And jazz-rock master John McLaughlin has made his most recent album (Is That So with vocalist Shankar Mahadevan and tabla player Zakir Hussain) available as a free download.

Whither the music industry in time of pandemic?  As with everything else, it’s way too soon to tell.  But, if all of the above is any indication, progressive music — due to the indefatigable, awe-inspiring musicians who make it — will survive.

— Rick Krueger

kruekutt’s 2018 Favorites: New Albums

Here are the albums of new music from 2018 that grabbed me on first or second listen, then compelled repeated plays. I’m not gonna rank them except for those that achieved Top Favorite status, which I’ll save for the very end. The others are listed alphabetically by artist. (Old school style, that is — last names first where necessary!) Links to the ones I’ve previously reviewed are embedded in the album titles.  But first, a graphic tease …

Continue reading “kruekutt’s 2018 Favorites: New Albums”

More Soon From The Tangent

Proxy_by_the_Tangent

Pre-orders are open for the new album from The Tangent!

Recorded “quietly and carefully” over Spring and Summer of this year, Proxy is scheduled for release by the esteemed Inside Out Music on 16 November and will be available as a CD digipak, vinyl LP and digital download.

Soon after placing my order, I was delighted to receive a long and chatty email from Andy Tillison, delving deeply into the influences and musical styles of the new album, and the approach used to make it. Absolutely fascinating.

According to Andy, it is a “very organic feeling piece”, featuring a real drummer this time (Steve Roberts). Naturally, we should expect Prog – “not just Prog, but lots of it… often focused on the Hammond and Electric Piano”, with “less in the way of orchestrations – more focus on the core instruments”. Apparently, we’ll “spot influences from Chris Squire, Keith Emerson, Pip Pyle, Pierre Moerlen, Tony Iommi, Chick Corea, Fatboy Slim, Sophie Ellis Bextor and Peter Hammill”. Now that’s an eclectic bunch!

Because Doctor Livingstone from Slow Rust was so well received, we’ll be getting another instrumental on Proxy, along with a 17-minute epic that, intriguingly, has all the hallmarks of Prog and yet is “not made out of Prog… Imagine the Eiffel Tower made in mahogany”. I am very curious to find out what this actually means…

And what of the lyrics? Let me quote Andy in full here:

No overall concept this time. Yes, there will be politically motivated bits – there will be introspect – there will be reckless optimism and ever more reckless pessimism. Some of the songs are tinged with the regrets arising from missed opportunities earlier in life, some are angry and cynical. But the overall conclusion of the album is that there is “still time”.

Bring it on!

The Mischievous Red-Headed One is Back (Tillison’s KALMAN FILTER)

kalman filter
Arrived yesterday: The Kalman Filter (Andy Tillison and Matt Stevens).

The term “Kalman Filter” refers to a process of observing and measuring something over long periods of time, rather than simply making a single observation of a single moment at a specific time.  The process never claims to be perfect, but it does claim to be a more accurate of understanding over the long term.

Why Andy Tillison chose to name his new band and new project Kalman Filter is beyond my knowledge. Whether he just liked the name or whether he has some intent in comparing his approach to the music to the Kalman Filter process is, again, unknown to me.  Still, if it’s the latter, it seems to fit.  The music does seem to me to be a way of thinking about a process, seen over moments of great lengths of time, reaching toward perfection.

To complicate matters, Tillison has written an extremely detailed if rather psychedelic story about his encounters with some black-op security forces here: https://www.thetangent.org/index.php/read/the-kalman-filter

Tillison is best known—especially to Americans—as the fountainhead and touchstone of all thing The Tangent related.  But, he’s responsible for a number of other groups and projects as well: including, most recently, Tangekanic, as well as Parallel or 90 Degrees and a number of solo albums (Fog, Murk, Electric Sinfonia, and Durch).

Continue reading “The Mischievous Red-Headed One is Back (Tillison’s KALMAN FILTER)”

Tillison/Tangent/Kalman Filter News

This arrived, happily, this evening from Sally Collyer.  Great update about all things Tillison.

TheTangent

Happy New Year to everyone and first and foremost a huge thank you to all who supported Andy and the band last year, bought “The Slow Rust of Forgotten Machinery”, attended the live shows in Europe and the USA and voted for the album and band members in the PROG Magazine readers poll, huge congratulations to Andy for being voted number one in the Keyboard players category and to Jonas and Luke for gaining 5th place in the Bass Player and Guitarist categories respectively, the album “The Slow Rust of Forgotten Machinery” also achieved 5th in the best album category, all in all incredible achievements considering the wealth of talented output in the progressive music  genre over the last 12 months, in addition to the fact that we have a policy of never asking fans to vote in polls, it was wonderful to get this news in the knowledge that people had chosen to give support without any outside influence, the music really did speak for itself!

Lots going on here at Tangent HQ right now:

Continue reading “Tillison/Tangent/Kalman Filter News”

A Highly Rewarding Outing: SLOW RUST from The Tangent

The Tangent, SLOW RUST OF FORGOTTEN MACHINERY (Insideout Music, 2017).  Tracks: Two Swings; Doctor Livingstone; Slow Rust; The Story of Lead and Astatine; A Few Steps Down the Wrong Road; and Basildonxit.

tangent slow rust
The antithesis.

Andy Tillison is not a happy man.

From the art work, to the vocal work, to the lyrics of this latest The Tangent album, SLOW RUST, Tillison has embraced a critical response to the rapidly growing and evolving fascistic, fascist-lite, and insular movements of the western world over the last several years.  As artist, as man, and as thinker, Tillison hopes to stay the dark trajectory of the West or even, God willing, reverse it.  While the great red-headed man of prog mischief has never backed away from controversial viewpoints, he’s rarely been this explicit.

Even the album cover makes one pause.  Previously, Tillison has joked that he represents the dark side of prog, the antithesis, in particular, to Big Big Train, and the cover seems to project this rather profoundly, as a (presumably) single Muslim mother walks along dilapidated railroad tracks, holding the hands of her two daughters.  The once majestic train has derailed, and the crossing sign (the closest thing to the viewer of the album) reads “go.”  Clearly, several things have gone very, very wrong.  There’s no hedgerow in the distance, only a ruined, collapsed, and spent civilization.  There’s some blue sky showing, but it’s obscured by the ruddy reds of smoke and grit floating all too freely in a broken and war-torn world.

Continue reading “A Highly Rewarding Outing: SLOW RUST from The Tangent”