The Tangent: SLOW RUST OF FORGOTTEN MACHINERY–Album information

tangent slow rust


The Tangent, the progressive rock group led by Andy Tillison, have announced the release of the first new music since 2015. Their new ninth studio album ‘The Slow Rust of Forgotten Machinery’ is set for release on 21st July 2017. The line-up for this album once again features Tillison on keyboards, vocals (and for the first time on a Tangent record – drums), Jonas Reingold on bass, Luke Machin on guitars and vocals, and Theo Travis on sax and flutes plus new member Marie-Eve de Gaultier on keys and vocals. There are also guest appearances from author/playwright and Chumbawamba founder Boff Whalley on vocals, and upcoming DJ/producer Matt Farrow.

Band leader Andy Tillison had this to say: “Roger Waters did prove the ability of Progressive Music to act as a vehicle to communicate ideas about the current world scene. In both Pink Floyd’s “The Final Cut” and his “Amused To Death” albums, Waters set a challenge to others in the genre. A challenge which has not been frequently accepted.”

The album sees The Tangent in political commentary mode once again – this time often focussing on the horrendous plight of refugees from war torn parts of the world – and the way in which they are treated by the West, and in particular by the tabloid press. The album laments the new trend in building walls and defending borders across the world yet takes time to look at the breakup of friendships and other more personal issues – along with a song about the fate of wildlife in the modern consumer world.

And it’s a Progressive Rock Record. Full of intricacies, long developed pieces, challenging arrangements and virtuoso playing from all members. New sounds and styles (the band have brought a DJ on board for some sections) – new voices and techniques (first female vocals in The Tangent since the “Not As Good As The Book” album 10 years ago). A new producer in the form of Luke Machin whose open and deep/clear sound is a major factor of this album, a new drummer in the form of Andy Tillison who decided at long last (after drumming for 30 years) to let his own performances guide the rest of the band rather than adding another musician later. And after 13 years of asking, Jonas finally agreed to play some double bass in a song where Luke also plays some Scat guitar and Andy does a full on drum solo.

“The Slow Rust Of Forgotten Machinery” also features stellar artwork from Marvel / DC Comics artist Mark Buckingham. The sleeve of the album is totally based on the music it contains and was especially created for this project.

The album will be available on limited digipak CD, gatefold 2LP + CD, and digital download, and you can find the full track-listing below:

Two Rope Swings
Doctor Livingstone (I Presume)
Slow Rust
The Sad Story of Lead and Astatine
A Few Steps Down the Wrong Road

The band will head out on tour in support of the new record, once again joining forces with Sweden’s Karmakanic to present albums by both bands. The full list of dates is as follows:
Aug 26th 2017 – Bierkeller, Reichenbach, DE
Sept 1st 2017 – 2 days of Prog +1 Festival, Veruno, Italy
Sept 9th 2017 – The Boerderij, Zoetermeer
Oct 8th 2017 – SUMMERS END Festival, Chepstow, UK
Oct 21st 2017 – Progtoberfest, Chicago, USA
Oct 22nd 2017 – Shank Hall, Milwaukee WI, USA
Oct 24th 2017 – Token Lounge, Westland MI, USA
Oct 26th 2017 – Roxy & Dukes, Dunellen NJ, USA
Oct 27th 2017 – The Regent Theatre, Arlington MA, USA

Look out for more information in the coming weeks!
The Tangent online:


Visit the new Insideout Shop:

Latest Tillison/Tangent News


Posted by Andy Tillison an hour ago:

So at long last there will be a chance to see the much vaunted album sleeve tomorrow – Mark Buckingham‘s art for this sleeve is absolutely stellar. The dropbox for pre-preorders will be updated with some new excerpts from the album and we’ll have something for everyone to hear whether they have ordered or not. Shortly after that we’ll hope to get regular pre-orders going. I’ll be around this page tomorrow from 2.00 pm UK time and be up for any questions etc from that time onwards…. Hope to catch some of you tomorrow!

2017 might very well go down as the greatest year for prog, ever.  Very excited.

No Luggage Allowed–Andy Tillison/The Tangent

The Tangent no 7
The Tangent’s masterpiece, THE RITE OF WORK (2013)

Though perhaps not totally polite, I will admit my shock that this album isn’t discussed more among serious proggers.  To my mind, prog really doesn’t get any better or more innovative than this.  Though The Tangent is always extraordinary, this is The Tangent at its absolute best: weird; twisty; intelligent; cutting; affirming; angular; and organic.

My favorite part of the album, part VII of the third movement, “Afternoon Malaise”:

I shear the bolt, he turns the screw
We all have our part, and there’s one for you
And we’re all alone, yet surrounded by peers
Try to make our mark as we work off the years … crawling, marching

And we keep our homes if we pay our tax
I ask myself, “Just who struck that deal and just how far back?”
And some work for fortunes, some work for a dime
And some work for pensions, and some just do their time
And some of ’em build empires and some bring them down
Some work for recognition, ain’t we all just the clowns?

‘Cos you can’t take it with you
There’s no luggage allowed
No you can’t take it with you
No matter how rich or proud
Your kids will sell it off on Ebay
For God’s sake don’t waste their time
‘Cos you can’t take it with you
You can leave just a little bit behind

Andy Tillison/The Tangent News

Andy posted this two days ago on Facebook.  My apologies for not getting it up on Progarchy sooner.  My excuse: I’m on spring break!


So here’s where we are right now.

“All is safely gathered in” as the great English harvest hymn proclaims. Just over a week ago Theo Travis was up here in Yorkshire having a lot of tea and recording all his parts for the new record… the final bass sections arrived from Austria where Jonas is currently recording and the record is now in the mixdown stage.

This time it’s gonna be completely different in procedure. I decided that it was time to have a change in how we produce our records and after Luke’s excellent work for us on “A Few Steps” decided that it was time to hand over the reins to a guy who has been a colleague and friend of mine for nearly a decade now. Luke threw himself into helping me with the production of “Comm” and in the years since then I think that his talents in the production department have advanced so much that it would be senseless to ignore them in favour of satisfying my own desire to do the work myself.

Rather than do a kind of “shared” production, I decided that Luke should totally “have the Conn” as they say in all good submarining films and “Star Trek.” That was, of course, if he accepted the job – and I’m very pleased to say he did.

The album has been composed for months now and was all put together here in Yorkshire on my PC system (other than guitars, basses and Marie’s vocals) A couple of months ago, everything was normal… but then came the major task… we had to migrate the whole session, lock stock and barrel from a PC in Yorkshire to a Mac in Brighton running a totally different recording system. I’ll just take some time to explain what this involves….

One way we COULD have approached this was by me submixing a Drum track, bass track, keys track and guitars track etc… so that Luke could do a mix of – well… er… what i had already mixed. After a few discussions we decided that this isn’t what we wanted to do – we wanted Luke to have the whole enchilada available to him so he could actually do a real mix as is if had the whole multitrack archive..

So – the procedure started – of taking every single instrument, every sound, every vocal line, every drum, cymbal, hi hat and sound effect an making a full stereo or mono file of just that. In the case of Slow Rust this meant generating a 26 minute long 24 bit wav file for more than 60 instruments or microphones. Then sending these 60 half gigabyte files over the internet.

This would have all been a lot easier if I’d been a Mac user, but that’s not the case, so this way was the only way to give Luke the true freedom of the mix.

For me it’s been a weird and unsettling experience. It’s the first time that I have ever taken my hands off the wheel in one of our projects. But now, as the results start to come in, I am delighted with the way it’s all sounding – and indeed am forging a relationship with the music of this album that isn’t as tainted by my frustrations of having had to mix it. Luke understands my ideas so well, knows what I’m after yet introduces new techniques and ideas that were beyond my normal experience.

Of course I am still involved in the mix – I suggest tweaks, modifications, like ideas, reject ideas… ask for things to be done etc… but this is more of an “executive” role than the one I have played since the beginning. It’s allowed me to spend more time on the composition and playing and keep my head clear right to the end of the process.

Couple of weeks from now it will be all done.. and in July – hopefully you’ll hear the fruit of our labours. The content of the album is very much “an album I wanted to make” rather than a career move or an attempt to solidify our position in global rankings. I started writing it in 2014 while on tour with The Tangent and Karmakanic. A lot has happened since then – both to me and to the world. When it’s finally done. I’ll tell you more.

PROG Magazine Issue 74

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For better or worse, the latest issue of PROG is just slightly too big for my scanner to handle it all.  Ian would be proud, I’m sure.

I suppose it seems a bit silly for me to state the following.  After all, who I am–a goofy, middle-aged American professor and historian?

Still, when PROG issue 74 showed up in my post box today, I was both thrilled and proud.  Yes, the proud part is the silliness.  Does Jerry Ewing need me to be proud of him?  Well, I am.

After everything PROG has gone through over the past three months, how great is it that I get issue 74 only days after it’s released.  Under the previous company, it took about a month for each issue to get here (in the states).  In fact, issue 73 just showed up this past weekend.  Now, 74 is already here.


And, it looks gorgeous.  Jethro Tull, Tim Bowness, The Mute Gods, ARW, Dream Theater, and Blackfield are all covered.  And, best of all, Greg Spawton shows up on page 10 and Andy Tillison and Matt Cohen on page 11.  Call me a very happy fanboy.

Congratulations, Jerry!  You are our leader.  No question.

Pre-Pre-Order the Forthcoming TANGENT ALBUM

Welcome to our PRE PRE ORDERS PAGE 2016/17

This is the special pre-preordering page for the as yet unfinished album “The Slow Rust Of Forgotten Machinery” – the Ninth studio album by The Tangent. All composed and demoed – ready to record

Before we start – please let us make this very clear.. This album will be on sale at a perfectly normal and reasonable price in 2017 and we will have “normal” pre-ordering for the album nearer the time at those prices.

Continue reading “Pre-Pre-Order the Forthcoming TANGENT ALBUM”

Best Prog of 2016, Part IV (and Final)

One of the many Steven Wilson remixed albums.  And, one of the best.  Beat.

Well, I must admit, I am a bit sorry to have taken so long to get all my “best of 2016” out.  Four parts is outrageous, even by prog standards.  Too much music, too little time, too many keys on my keyboard!

So, the final part of 2016 list is nothing less than a bit of cleanup, an attempt to give coherence to a number of disparate things.

First, I want to offer a huge thanks to all of you for reading Progarchy and also to all of our writers.  Obviously, we do what we do for love, not profit.  But, it’s truly a community effort.  Again, a profound thank you–to all members of the progarchy community.

Second, I’d like to single out three companies for making reviewing so much easier than it might otherwise be.  An amazing slap on the back to Roie Avin and Jeff Wagner at Insideout!  Incredible guys, incredible company.  Another loud and hearty shout out to Brian Rocha of Fresno Media not only for his wit and friendship, but also for all of his excellent support.  And, again to Steve Babb of Sound Resources (Glass Hammer).

Third, there are a few musical releases from 2016 that don’t fit easily into the lists I’ve offered thus far.

One album I’ve thoroughly enjoyed but have not had long enough to offer it a place within my lists is The Gift’s latest album, WHY THE SEA IS SALT.  It’s extraordinary, and I very much look forward to spending more time with it.

I must also recognize Steven Wilson’s ep, 4.5, and The Tangent’s single, “A Few Steps Down the Wrong Road.”  Each is simply outstanding.

Finally, this year’s progarchy audiophile award goes to Steven Wilson for his work remixing so many classic albums.  Indeed, Wilson has remixed so many, it’s becoming hard to keep track of them all.  But, I’d like to single out the ones that meant so much to me this year: Jethro Tull’s STAND UP and AQUALUNG; XTC’s SKYLARKING; King Crimson’s BEAT; and Yes’s TALES FROM TOPOGRAPHIC OCEANS.

Best Prog of 2016, Part II

continued from last night. . .

OLYMPUS DIGITAL CAMERAAndy Tillison Diskdrive, MACHTE ES DURCH.  Sadly, this release has gotten very little press, and, yet, as with all things Tillison, it’s simply genius and extraordinary.  When thinking of Andy and The Tangent, think intensity and integrity.  When thinking of Andy Tillison Diskdrive, think of taste and integrity.  On his solo albums (at least this one and the previous one), Andy has been exploring–rather expertly–jazz-rock-fusion.  He is a natural and a master.

ghost communityGhost Community, CYCLE OF LIFE.  I’ve been rather joyously following the trajectory and art of Matt Cohen for almost a decade now.  The guy is simply put–the kind of guy you really, really, really want to support.  Whatever tragedies the man has experienced, he comes out on top and with an infectious joy.  Not only is his bass playing on this album gorgeous, but the album itself is just joy made manifest.  Imagine a truly progressive and non-cheesy Styx of 1975, and you have Ghost Community.  Probably more rock than prog, it’s what prog needs right now to keep some balance. (Notice, please, that I used some form of “joy” three times in this mini-review!)

Continue reading “Best Prog of 2016, Part II”