John had this say: “The lyrics in this song try and touch upon that moment when you know your life is going to change forever and there is nothing you can do about it. You begin to question your own identity. You look back on all the years invested and fear that everything you thought you knew, was wrong to begin with. You wonder if perhaps, you have, “outrun the light”.”Pre-order the album digitally from iTunes or AmazonMP3, and receive both ‘to outrun the light’ and ‘by the light of a sun’ immediately:Listen to ‘by the light of a sun’ now here:‘a way you’ll never be’ was produced by Jim Morris at the legendary Morrisound Studios and you can find the full track-listing below:1. by the light of a sun (5:32)2. a way you’ll never be (7:18)3. to outrun the light (7:07)4. the revolutionist (5:57)5. nada (5:41)6. the silence in coffee (5:09)7. unsafe space (4:17)8. sun.a.rose (6:44)9. epic (4:51)10. pointless endeavors (03:38)The album will be available in Digipak CD, Digital Download.John Wesley has built a long and varied career as a songwriter, guitarist, and recording artist. His music has been called lyrically sensitive and musically dynamic. His song-writing style incorporates emotionally-charged vocals that evoke the honesty and intimacy of Roger Waters and Patty Griffin coupled with a melodic yet intricate guitar style reminiscent of David Gilmour, Alex Lifeson, and Jeff Beck. John Wesley has performed as guitarist/vocalist for critically acclaimed UK based recording act Porcupine Tree, during the “In Absentia”, “Deadwing”, “Fear of a Blank Planet”, and “The Incident” world tours with whom he played with for nine years, culminating in 2010 with sold out performances at Radio City Music Hall and the Royal Albert Hall.In support of the album, John will head out as support to Marillion & Steven Wilson in the US & Canada and you can find the full list of dates below:With MarillionFriday 21 October 2016 – The Regency Ballroom San Francisco, CA, USASaturday 22 October 2016 – Saban Theater Beverly Hills Beverly Hills, CA, USATuesday 25 October 2016 – Paramount Theatre Denver, CO, USAThursday 27 October 2016 – Vic Theatre Chicago, IL, USAFriday 28 October 2016 – Vic Theatre Chicago, IL, USASaturday 29 October 2016 – Hard Rock Live Northfield, OH, USAMonday 31 October 2016 – Danforth Music Hall Toronto, ON, CanadaTuesday 1 November 2016 – Virgin Mobile Corona Theatre Montreal, QC, CanadaWednesday 2 November 2016 – L’Impérial Bell Québec, QC, CanadaFriday 4 November 2016 – Royale Boston Boston, MA, USASaturday 5 November 2016 – 9:30 Club Washington, DC, USASunday 6 November 2016 – Keswick Theatre Philadelphia, PA, USATuesday 8 November 2016 – Playstation Theater New York, NY, USAWith Steven WilsonThursday 17 November 2016 – Center Stage Atlanta, GA, USAFriday 18 November 2016 – The Plaza Live Orlando, FL, USASaturday 19 November – State Theatre Tampa, FL, USASunday 20 November – Culture Room Fort Lauderdale, FL, USALook out for more information on the album in the coming weeks.Discography:1994 – Under the Red and White Sky1995 – The Closing of the Pale Blue Eyes1998 – The Emperor Falls2002 – Chasing Monsters2005 – Shiver2011 – The Lilypad Suite2014 – Disconnect2016 – a way you’ll never be
JOHN WESLEY online:INSIDEOUTMUSIC online:INSIDEOUTMUSIC Spotify Playlist:
Tag: Insideout Music
Prog Opera: Ayreon’s THE THEATER EQUATION
Review of Ayreon, THE THEATER EQUATION (Insideout, 2016; 2CD/1DVD).
Well, I should just come straight out and state it—there are few things (or perhaps no things) that I don’t love about Arjen A. Lucassen. Is there anything the man can’t do? Whether its composing, performing, recording, designing, or interacting with his legions of fans, Lucassen is the essence of idealized humanity, prog’s Philosopher King. Whether it’s Star One, solo, Guilt Machine, Ambeon, Gentle Storm, Stream of Passion, or Ayreon, I embrace everything he creates. My oldest son, Nathaniel, feels the same. And, now about a decade of students—whether at Hillsdale College, the University of Louisville, or CU-Boulder—have been introduced to Lucassen as well. I always bring in this music and proudly show the Ayreon timeline when I’m lecturing on science fiction, fantasy, and dystopian literature.
Which leads me to admit something else. Well, two somethings. When I first heard that Lucassen would be performing all of THE HUMAN EQUATION as a visual opera, I was thrilled. When I first saw the stills from the show, however, I was downright embarrassed. I thought it looked terribly cheesy. Smoke, a few vague figures, a hospital bed, and a crashed car. As soon as it came out, I purchased it, of course, but I only listened to the CDs. Astounding sound production, by the way. Indeed, my son and I have listened to the album now (both CDs) repeatedly for about 2 months. I refrained from watching the show, however, fearing that I would be sorely disappointed.
Then, for whatever reason, I finally popped the DVD in. Holy schnikees, I am SO sorry that I waited this long to watch it. Not only is the sound even better than on the CDs, but the show is absolutely riveting. Almost too many folks to count come and go on the set, and the singers do an incredible job not only in hitting their marks, but also of actually acting!
This is true opera.
I had assumed the production would be expensive and difficult, but I had no idea just how extensive, expensive, and difficult it must have been until watching this show.
So, I offer two thoughts.
First, Arjen, I’m terribly sorry I doubted you. How utterly stupid of me. You’ve never done anything without perfect excellence, so why I thought this would be different, I have no idea.
Second, for you the progarchy reader, do not fail to enjoy this prog opera as it is meant to be: watched. Get the DVD and immerse yourself. Believe me, there’s nothing better on your screen.
Thank you, Mr. Lucassen. Once again, you prove your absolute genius.
Getting Physical with Insideout: Riverside and Karmakanic
Two unexpected beauties arrived in the mail today–the latest releases from Riverside and Karmakanic. Well, I write unexpected because 1) I had completely forgotten that I’d pre-ordered the Riverside; and 2) I wasn’t expecting it to show up with Karmakanic, which I’d also forgotten was a two-disk affair. Truly serendipity.
The Riverside release is really a re-release of last year’s LOVE FEAR AND THE TIME MACHINE. This special edition includes a second disk, a DVD, with the album presented in hi-res stereo as well as 5.1 surround (mixed by Bruce Soord). It also includes a hi-res version of five tracks from the recording sessions, and the videos made to accompany the album. From what I can tell, the booklet that comes with it contains no new information from last year’s release except for an update on who mixed the DVD.
Not surprisingly in the least, everything here is outstanding–from the packaging to the re-released music. If you haven’t yet, make sure you check out Erik Heter’s review as well as his interview with the band last year.
I’m especially taken with the five additional tracks labeled as “day sessions.” These add up to nearly 28 minutes of extra music. If you remember how The Pineapple Thief often released bonus material of their jam sessions a decade or so ago, you know exactly what to expect from these “day sessions.” Frankly, they’re stunning, sounding as much like Lunatic Soul as Riverside. The atmosphere created and presented by these tracks is really exceptional. It’s worth ordering this new package just for these five songs alone. I’m sure I will be spending many hours listening to these songs.
When I pre-ordered the new Karmakanic (already reviewed–several days ago), I didn’t remember having ordered the special edition. While the artwork–provided by Rush’s Hugh Syme–is simply stunning, I can’t say the same about the packaging. Mostly plastic, my new case came pre-crushed! The booklet is in good shape, but the innards that hold the two disks are just lots and lots of flaky pieces. Ugh. Thankfully, the disks are ok, but the packaging is weak and poor. Too bad, as this release deserves the highest treatment possible. The extra disk is also a DVD. It has five songs recorded at RosFest 2012, a “making of” documentary, and several interviews.
Both albums come from Insideout.
Scando-Anglo Hippiedom: A Karmakanic Album in Six Parts
Really, who doesn’t admire wild Scandinavian hippies? One can only imagine those Viking lovers of peace returning in their long boats to establish a loving order upon all the conquered, asking for forgiveness! Even the clever name of the band, Karmakanic reveals much about the very intentions of ever-amusing Jonas Reingold (The Flower Kings, The Tangent). The band’s outstanding 2008 album, WHO’S THE BOSS OF THE FACTORY, especially exemplified the best ideals of the late 1960s.
IN A PERFECT WORLD (2011) did as well, but despite the opening track, “1969,” the album didn’t cohere as well as the previous one.
Whatever the case might have been, Reingold has just released the best of the Karmakanic albums, DOT (officially out from Insideout on July 22, 2016). It is an extraordinary release in every single and imaginable way. Not only its structure and flow, but its lyrics, especially, are quite moving.
Continue reading “Scando-Anglo Hippiedom: A Karmakanic Album in Six Parts”
Hackett’s Clip: Lamb Lies Down
MAY 31ST, 2016
FOR IMMEDIATE RELEASE
WORLD-RENOWNED GUITARIST/COMPOSER STEVE HACKETT REVEALS “THE LAMB LIES DOWN ON BROADWAY” CLIP
VIDEO TAKEN FROM 2CD/2DVD, BLU-RAY “THE TOTAL EXPERIENCE LIVE
IN LIVERPOOL,” DUE OUT WORLDWIDE JUNE 24TH VIA INSIDEOUT MUSIC
(New York, NY) – World-renowned guitarist/composer Steve Hackett has just revealed the first clip from his forthcoming 2 CD/2 DVD, Blu-Ray package THE TOTAL EXPERIENCE LIVE IN LIVERPOOL. The video for “The Lamb Lies Down On Broadway” can be viewed here. THE TOTAL EXPERIENCE LIVE IN LIVERPOOL will be released worldwide on June 24th via InsideOut Music and was filmed during Hackett‘s Acolyte To Wolflight With Genesis Revisited tour last year. Celebrating the 40th anniversary of his first solo album VOYAGE OF THE ACOLYTEand following his latest album WOLFLIGHT, the Acolyte To Wolflight With Genesis Revisited Tour was Hackett‘s effort to represent the many chapters of his career. Featuring two sets – one highlighting his solo work, the second paying tribute to Genesis – the two hour performance was greeted with enthusiasm by both fans and critics. A trailer for the release can be seen here.
The Whimsy of Frost*
Review of Frost*, FALLING SATELLITES (Insideout Music, 2016). Release date: May 27, 2016. Tracks: First Day; Numbers; Towerblock; Signs; Lights Out; Heart-strings; Closer to the Sun; The Raging Against the Dying of the Light Blues in 7/8; Nice Day for It; Hypoventilate; and Last Day.
Our name is Frost*
How do you do?
We’re here today to play for you.
We’ve come all this way.
We came on a plane.
We’re from the U.K., where it always rains.
Apart from Nick and his beautiful locks—but he’s only on loan from his friends in Spock’s.
To play some songs.
That is why we are here.
Although we plan to also drink your beer.
Any fan of Frost* knows this full glorious intro by heart. In the Birzer household, it’s one of those little things that helped me convince my wife and kids that prog was not just a brilliant genre of music, but also a rather hilarious one. For years, we began every car trip (whether local and just around town or on one of our insane three-week odysseys into the American West) by playing this song. Of course, being rather silly, we changed every instance of Frost* to Birzer*.
A little bit of familial pride, I suppose, but also always resulting in immense and prolonged laughter.
Anderson-Stolt Trailer
Amazing sound from this new trailer. Sounds like something from TALES OF TOPOGRAPHIC OCEANS.
Riverside Teaser
Riverside just posted this on its Facebook page, about 4 hours ago. Much to look forward to.
10 Years of PARADOX HOTEL (Flower Kings)
In just two days, one of my all-time favorite albums will turn 10-years old. Happy birthday, PARADOX HOTEL (Insideout Music, 2006).
I still remember well the day it arrived from amazon.com. I had thought the previous album, ADAM AND EVE, outstanding, but I was looking for something a bit more expansive in terms of music as well as lyrical scope. Given that this new album would be a return to a two-disk format, I’d assumed that Roine and Co. would not disappoint.
Not only did the band NOT disappoint, but they soared.
If forced to rank this cd within the Flower Kings’ discography, PARADOX HOTEL would sit very comfortably in the second best position, just below their best album, SPACE REVOLVER.
Interestingly enough, when PARADOX HOTEL came out, Stolt expressed some concern. Usually, a band hypes its latest album as its best (well, “hype” it too strong, as bands earnestly believe this to be true, as they should), but Stolt argued that he had thought the music of ADAM AND EVE more interesting and complex. Yet, the fans had not responded to ADAM AND EVE as the band had hoped, so they had returned to a poppier sound with PARADOX HOTEL.
As is always the case with The Flower Kings, the band alternates between incredibly complicated and tight jazz-fusion-esque music to more loose and open progressive-pop and rock. If ADAM AND EVE tended toward the former, PARADOX HOTEL certainly embraces the latter.
And, yet, while the complexity might not exist track by track, it does overall. It contains some of the darkest music the band has ever written, such as track seven on the first disk, “Bavarian Skies,” but it also reveals the most expansive and joyous the band has ever been with tracks such as “End on a High Note.”
This is a fascinating album in terms of its flow and its story. Though I do not know exactly what the album is about, I have interpreted it—from my first listen to it a decade ago—as a rather Dantesque examination of some form of purgatory. The Paradox Hotel is not quite the Mansion with Many Rooms of Heaven, but it is certainly a way station between this world and the next. After all, immediately upon checking in we meet monsters, men, U2 (I think, in “Hit Me With a Hit”), aviators, the young, Nazis, moms, the jealous, the violent, and the egotistical avaricious. Yet, through all of this, hope remains. Dreams and lights keep us centered on the end of the journey.
Disk two, by far the more experimental of the two disks, gives us even more glimpses of heaven, allowing us to touch, step toward, and dance in anticipation. Further, we learn that life will kill us and come to the nearly penultimate doubts in asking the most theological existential question ever offered: what if God is alone?
Finally, on track eight of disk two, we meet many of the dead who have moved through the hotel from time to time (or time to eternity, more likely), and we end with the glorious “Blue Planet,” seeing what voyages yet remain as we get caught in the revolving hotel doors.
It really could get no more C.S. Lewis and The Great Divorce or J.R.R. Tolkien and “Leaf by Niggle” than this. Indeed, if the Inklings had made prog albums, they would’ve made PARADOX HOTEL.
Or, maybe it really is a Swedish meditation on Dante’s Purgatorio.
Truly, this is some of the most satisfying, thought-provoking, and comforting music I have encountered in my own 48 years in this world. Yet one more reason to praise Stolt and Co. for the glories they see and reveal to all of us.
Progarchy 