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!”

The Peaceful Beauty of Nad Sylvan’s “Spiritus Mundi”

album_coverNad Sylvan’s latest solo album, Spiritus Mundi, is one of the finest records released thus far in 2021, and I expect it to be one of the top albums of the year come December. Sylvan brought his vampirate trilogy to a close with 2019’s The Regal Bastard. Spiritus Mundi, which is Latin for “spirit of the world,” departs from the more classic prog sound on his previous three albums, but it hasn’t quite set sail for new genres. Rather it explores different musical territories, including classical, folk, acoustic, and rock, all befitting the beautiful poetry of William Butler Yeats which serve as the lyrics. The musical elements from his previous albums are all here, but they are interpreted in a different way. In an interview with Progarchy’s very own Rick Krueger, Nad expands upon the development of the record and his collaboration with Vermont-based musician Andrew Laitres, so I’ll direct you to that for more info about how the album came to be. 

As it should be, Nad’s voice is the centerpiece on the record. All of the musical elements serve to frame his voice and the lyrics, bringing the poems to life through varying sounds. The baroque elements found on Nad’s vampirate trilogy pop up now and again, such as on “Cap and Bells” and “The Realists,” which I think adds a flavor that is uniquely Sylvan. Laitres also provides some lead and backing vocals, which adds some variety.

Musically the album is more open and relaxed than Sylvan’s previous records. It doesn’t have the heavier rock moments that those albums had, but the lyrics don’t call for it. Nad plays most of the keyboards, as well as some of the acoustic, electric, and bass guitars, and the orchestration. Jonas Reingold and Tony Levin also appear on bass, along with Steve Hackett on the 12 string. The Flower Kings’ Mirkko De Maio appears on drums. There are a few other guests too, but this should give you a sample of what to expect. It seems fitting that Nad, who’s become well-known for his work with Steve Hackett’s touring band, releases this sort of more acoustic and classically inspired record soon after Hackett released a beautiful acoustic album, Under a Mediterranean Sky

I’ll readily admit I’m frequently skeptical when an artist says they’re going in a new direction on their next album. While I didn’t have particular reservations about this album going into it, I was admittedly curious about what that different sound might be. I didn’t expect him to move into some sort of techno-pop trash like Steven Wilson, and thankfully he didn’t. Instead he leaned more heavily into the folk and classical elements that already existed in his music. At times the music is reminiscent of Big Big Train, and at other times I hear bits that remind me of Jethro Tull. The rock is still there though, with a fantastic bass line and slide guitar on “The Fisherman.”

Spiritus Mundi is a well-rounded album that offers a breath of fresh air in a very dark time in our world. Perhaps that is fitting since many of Yeats’ poems offered a similar freshness to the broken and hurting world of the early twentieth century. Nad Sylvan may have taken an unusual path to rock stardom in his 50s and early 60s, but that seems to have brought a maturity to the music he makes. This album is well-crafted, and it is both a fitting tribute to Yeats’ poetry and a wonderful introduction of that poetry to new audiences a century after it was written.

Sylvan is one of the most creative people working under the broad umbrella of progressive rock today. He seems to get better with each passing record. I only hope he gets the chance to tour his own music someday. Check out Spiritus Mundi along with his other solo albums. You won’t be disappointed. 

https://www.nadsylvan.com
https://www.facebook.com/Nadsylvanartist
https://twitter.com/sylvanofficial

Signed albums available from Nad’s webstore: https://www.nadsylvan.com/cd-shop
Or purchase from Burning Shed: https://burningshed.com/tag/Nad%20Sylvan&filter_category_id=261

The Flower Kings – Islands – Album Review

The Flower Kings – Islands – Inside Out Music, October 30, 2020
Tracks: 
CD 1 – 1. Racing With Blinders On (4:24), 2. From The Ground (4:02), 3. Black Swan (5:53), 4. Morning News (4:01) 5. Broken (6:38) 6. Goodbye Outrage (2:19), 7. Journeyman (1:43), 8. Tangerine (3:51), 9. Solaris (9:10), 10.  Heart Of The Valley (4:18), 11. Man In A Two Peace Suit (3:21)
CD 2 – 1. All I Need Is Love (5:48), 2. A New Species (5:45), 3. Northern Lights (5:43), 4. Hidden Angles (0:50), 5. Serpentine (3:52), 6. Looking For Answers (4:30), 7. Telescope (4:41), 8. Fool’s Gold (3:11), 9. Between Hope & Fear (4:29), 10. Islands (4:12) 

In an effort to find some sort of silver lining in this ridiculously crappy year, I’ll point out that there have been a lot of great releases in the progressive rock world in 2020. The Flower Kings’ upcoming album, Islands, probably wouldn’t have been released this year if the year had unfolded as normal. With many countries in lockdown and bands unable to tour, numerous musicians have found themselves with, as Styx once put it, too much time on their hands.

Multinational band The Flower Kings chose to make the best of their extra free time and use the Internet to their advantage, recording their new album from homes in Sweden, Austria, California, Denmark, and Italy. Fittingly, the album emphasizes the many forms of isolation we experience in 2020 – beyond just the physical. Thus the title Islands

I’m not an expert on The Flower Kings’ discography, but I generally like their music and appreciate the profound impact they have had on the rebirth of classic progressive rock starting in the 1990s. I didn’t particularly enjoy last year’s Waiting for Miracles. It was a little too political for my taste. The artwork alone was a bit obnoxious – an elephant standing on a house of cards while being hypnotized and surrounded by a bunch of oranges… that’s about as subtle as a political cartoon.

Roger Dean’s artwork for Islands, on the other hand, is fantastic. It’s too bad he hasn’t been doing their artwork all along, because it really fits their music. The lyrics “Upside down between earth and sky” from the track “Between Hope & Fear” are particularly reflected in the album art. Islands in particular has a lot of nods to Yes, which has probably always been in their music. Jonas Reingold’s bass stands out to me as being particularly Yes-like on this record. 

Continue reading “The Flower Kings – Islands – Album Review”

The Big Prog (Plus) Preview for Fall 2020!

As always seems to be the case, there’s tons of great music coming out between now and Black Friday, November 27. Below, the merest sampling of upcoming releases in prog and other genres below, with purchase links to Progarchy’s favorite online store Burning Shed unless otherwise noted.

Out now:

Simon Collins, Becoming Human: after 3 solo albums and Sound of Contact’s acclaimed Dimensionaut, Phil Collins’ oldest son returns on vocals. keys and drums; his new effort encompasses rock, pop, prog, electronica and industrial genres. Plus an existential inquiry into the meaning of life! Available on CD from Frontiers Records.

John Petrucci, Terminal Velocity: the Dream Theater guitarist reunites with Mike Portnoy on drums for his second solo set of instrumentals. Plus Dave LaRue of the Dixie Dregs and Flying Colors on bass. Expect lotsa notes! Available on CD or 2 LP from Sound Mind Records/The Orchard.

The Pineapple Thief, Versions of the Truth: Hot on the heels of their first US tour, Bruce Soord and Gavin Harrison helm TPT’s latest collection of brooding, stylized alt/art rock, honing in on the post-truth society’s impact on people and relationships. Available on CD, BluRay (with bonus track plus alternate, hi-res and surround mixes), LP or boxset (2 CDs/DVD/BluRay) – plus there’s a t-shirt!

Rikard Sjöblom’s Gungfly, Alone Together: Sjöblom spearheads a thoroughly groovy collection on vocals, guitar and organ, with Petter and Rasmus Diamant jumping in on drums and bass. Heartfelt portraits of daily life and love that yield extended, organic instrumental jams and exude optimism in the midst of ongoing isolation. Available on CD and LP (black or deep blood red vinyl).

[Upcoming releases follow the jump …]

Continue reading “The Big Prog (Plus) Preview for Fall 2020!”
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”

Steve Hackett Sells England By the Pound – Live at 20 Monroe Live, Grand Rapids, MI – 10/3/19

Steve Hackett, Live at 20 Monroe Live, Grand Rapids, MI, October 3, 2019
Band:
Steve Hackett, Nad Sylvan, Craig Blundell, Jonas Reingold, Rob Townsend, Roger King

Setlist:
Set 1
Every Day
Under the Eye of the Sun
Fallen Walls and Pedestals
Beasts in Our Time
The Virgin and the Gypsy
Tigermoth
Spectral Mornings
The Red Flower of Tachai Blooms Everywhere
Clocks – The Angel of Mons

Set 2
Dancing With the Moonlit Knight
I Know What I Like (In Your Wardrobe)
Firth of Fifth
More Fool Me
The Battle of Epping Forest
After the Ordeal
The Cinema Show
Aisle of Plenty
Deja Vu
Dance on a Volcano

Encore
Los Endos

I had been looking forward to this concert ever since I bought tickets at the beginning of the year. I had never seen Steve Hackett live, but it had been at the top of my bucket list for a while. He’s my favorite guitarist, and I’ve loved all of the recent Genesis Revisited live albums. I consider Selling England By the Pound to be one of the finest albums ever made, so I couldn’t pass on the opportunity to see Mr. Hackett and company perform it live. They didn’t disappoint.

During the first half of the show, the band played highlights from Hackett’s 1979 solo album Spectral Mornings and this year’s At the Edge of Light. The whole set was very strong, but I particularly enjoyed Craig Blundell’s drum solo. Some drum solos can be a little boring, but not this one. Very engaging, interesting, and complex. The opening “Every Day” really highlighted the light and airy style of Hackett’s solo music, while “Beasts In Our Time” showed how heavy his music can be. Jonas Reingold’s bass was exceptional all night, but the bass line on “Under the Eye of the Sun” really allowed his talent to shine.

Continue reading “Steve Hackett Sells England By the Pound – Live at 20 Monroe Live, Grand Rapids, MI – 10/3/19”

Album Review: The Sea Within

If you think you know what The Sea Within will sound like just from knowing who’s involved — The Flower Kings’ guitar/bass team of Roine Stolt and Jonas Reingold, Pain of Salvation’s Daniel Gildenlöw and Flying Colors’ Casey McPherson singing, Tom Brislin on keyboards and Marco Minnemann on drums — think again.  Sure, put these six proggers together in a studio, and they’ll work from their signature sounds and strengths.  But they also play off each other in unique ways, stretch out in unexpected directions, and come up with a rewarding, thoroughly listenable debut.

Continue reading “Album Review: The Sea Within”

Steve Hackett: The Progarchy Interview

Yesterday I had the immense pleasure and privilege of talking by phone with Steve Hackett as he prepares for his 2018 Tour de Force.  Over the course of 30 minutes, Steve was genial, gracious and forthcoming.  He talked about life on a prog rock cruise, his busy agenda for this year, the musicians he works with, his take on where progressive music might be heading, and much more.  Steve’s words (slightly edited for clarity and organized by topic) follow!

About this year’s Cruise to the Edge:

“Absolutely marvelous.  I think this was our fourth Cruise, as was the case for many of the acts, and I think everyone said this time they felt that it was the best of the lot, because so many people knew each other, familiar faces.  They have a boatload of about 3,000 people.  In the end, when you’ve done this thing before, people just keep coming back, and saying, ‘Oh, hi, Steve.’ ‘Hi, Fred.’ All that is just wonderful, it’s mind-boggling, it’s like a sort of brotherhood on the briny, on the high seas.  It’s wonderful that these cruises have become such a success.   I get to hook up with all sorts of extraordinary pals, such as the guys from Marillion and all the Yes guys, of course, and Martin Barre of Jethro Tull, and so many.  So there’s a great camaraderie amongst everybody, so we all got time to hang out together, see each other’s shows, and it’s become a great tradition.”

ctte kerzner hackett

About sitting in and collaborations:

“I sat in with Dave Kerzner on the Cruise, I’ve played on a couple of albums of his.  In a way, I think there’s this thing about helping each other out, as I say, this brotherhood feeling.  And he’s tremendously hard working, he’s done so many things recently, and it’s great.  He often says, ‘Ooh, I’ve got such and such, do you feel like using that?’ in his studio.  Between all of us, we’ve got a ton of contacts and we help each other.  It’s a great time in rock & roll, it’s very much everyone’s feeding everyone else, it’s really very good.”

“We played a version of this thing called ‘Stranded,’ which was on his first album.  It was a poolside thing where we did that at night, but it really took off.  I’m hoping we see a film of it at some point.”  [Here’s Steve’s solo from the end of ‘Stranded,” as played on Cruise to the Edge 2018.  Thanks to Dave Kerzner, guitarist extraordinaire Fernando Perdomo, and Fernando’s friend Cyndi for supplying the video!]

 

“I think perhaps it’s a case of having been in the industry for a certain amount of time, where the people remember me via Genesis or GTR or solo stuff, or whatever it happens to be.  Over and above that, I’ve worked with a tremendous amount of artists, showing up, doing the solos.  Not always guitar – sometimes it’s harmonica or other strange things that I get asked to do, and if I can fit it into the schedule, I like doing it.  I’ve worked with all sorts of artists.  It hasn’t always been rock; sometimes it’s been other stuff – Evelyn Glennie, which is avant-garde stuff, a Hungarian band called Djabe.  I do stuff with them and meet musicians all over the world.”

Continue reading “Steve Hackett: The Progarchy Interview”

Support this fall’s Tangent/Karmakanic tour!

From Jonas Reingold via Facebook:

Hello everybody,

I´m very pleased to present the next Karmakanic/Tangent output. It will be a live CD from the upcoming European/US tour this fall. To be released Jan 2018.

So let me start bitching about this even before the tour has started and nothing is recorded yet. Why? That’s a valid question and I will try to answer it to the best of my knowledge.

WE NEED THE MONEY!!!! PERIOD!!!

We lost a well payed gig in Boston that was one of the anchor gigs to finance this tour. We run into totally overpriced VISA application costs. Do you know how much a application cost for a band like us? 2500 US dollars, just to get in. Then add flights, accommodation, hiring a van, gas, hiring a rehearsal room, paying salary for the band members, domestic travels prior the rehearsals and all other little things that I´ve forgotten right now and you´ll probably understand that the numbers are totally in the red.

So why even think of doing this? Why just not cut the whining and throw this project right out of the window? I´ll try to answer that too.

To run a band is probably the worst business idea you can have. No money coming in a lot of money going out, poor attendance, over the years I´ve also felt lack of support from band members, although, with the current line up I´ve never heard a bad word, yet. And you all know how to make a musician complain don’t ya??? Give him a gig!! But even though with all this in consideration you do it anyway. Why?????

I LOVE MUSIC!!! PERIOD!!!

I also love the people that actually supporting the scene, buying the albums and are attending the shows. That means the world to me. To see a person actually getting moved by something you wrote or played on a recording in a shabby studio somewhere when presented on a stage in another shabby and funky club somewhere in the world is the actually payment for all the hassle, you feel connected, you´re part of something bigger.

So that’s why we, Tangent and Karmakanic reaching out to you guys and giving you all a chance to support this tour but also even more important, support the scene. You can support the tour in two different ways.

Option 1: Pre-Order this live recording just like a normal CD for 15:95 Euro

Option 2: Be one of 200 that will get their full name on the actual front cover of the CD. 34:95 Euro.

Your choice!!!

And of course, if you think that this tour support is just a big chunk of bogus we’re totally fine with that as long as you attend one of this shows on the upcoming tour.
Sincerely

Jonas Reingold

 

Note from Rick K.: you can preorder “TangeKanic Live” at Reingold Records.  I did!