Tag: Lonely Robot

A White Knight to the Rescue!

On By kruekuttIn Progressive rockLeave a comment

Welsh progger Robert Reed has had his share of the spotlight here before – as a core player in neo-prog stalwarts Magenta and Cyan, as half of avant-garde duo Chimpan A, lately as the driving force behind the ambient-Celtic longform Sanctuary albums. In the process, like so many other independent artists, he’s taken the DIY approach to releasing and distributing his recordings.

Reed’s latest on Tigermoth Records is his long-awaited “director’s cut” of 2012’s Kompendium: Beneath the Waves. A full-fledged rock opera with seamlessly integrated classical and folk elements, the original held me spellbound on its initial release; after all, how could I resist an epic, grimly romantic tale of Love that’s stronger than Death? Especially when the story was told via the spectacular singing of Chimpan A’s Steve Balsamo and Sanctuary’s Angharad Brin (plus a plethora of operatic role players and the English Chamber Choir), grounded by the elegantly stylish rhythm section of Nick Beggs and Gavin Harrison, and seasoned by an all-star roster of soloists from Steve Hackett and piper Troy Donockley to King Crimson’s Jakko Jakszyk and Mel Collins, all floating atop Dave Stewart’s immense, glorious orchestrations? Three fresh bonus tracks (“My Soul Laid Bare” featuring Les Penning and Tiger Moth Tales/Cyan stalwart Peter Jones, “Stars” and “The Calling”) slot effortlessly into the original narrative, adding depth and detail to the ardent flow of Reed’s grand design. His mission statement for the original album was “Remember when music was more than a click of a mouse?” and Beneath the Waves delivers the old school goods, mashing up the symphonic thrust of Mike Oldfield’s early works with the melodrama of Jeff Wayne’s War of the Worlds, while bringing it all bang up to date. This will be on my year-end Favorites list for sure! (Regular and deluxe editions can be ordered from the Tigermoth online shop or The Band Wagon USA. Reed doesn’t place music on streaming services, but the video below gives a solid overview of the album.)

And beyond his own music, Reed has done the prog world a service with his other label White Knight Records, recently making room for two long-time Progarchy faves who’ve moved on from genre giant Inside Out! First, following a couple of intimate (yet no less marvelous) detours from the galactic sweep of his original Lonely Robot trilogy, John Mitchell brings together both threads to give his conceptual space prog throughline An Ending. As always, Mitchell’s heart is on his sleeve lyrically, his instrumental and vocal hooks are irresistible, and his guitar solos constantly arc skywards, whether on rifferama single “Show the Way”, mid-tempo power ballad “The River”, heavy rocker “Rearview” or the gently mournful concluding suite “Bending Light/Iron Sea/Oblique”. With Craig Blundell on drums shadowing Mitchell’s every multi-instrumental move, this is a fine, deeply felt conclusion to the Lonely Robot era — whether bathed in ecstasy or melancholy, the words and music are heartfelt and cathartic as always. (Order from Tigermoth or The Band Wagon USA.)

And our longtime hero Andy Tillison has also landed on White Knight, bringing with him The Tangent’s most ambitious, generously sprawling magnum opus yet; Was: A Nostalgia serves up Tillison’s classic blend of social awareness and stylistic eclecticism in heaping proportions, to consistently stunning effect. Disc 1’s “Was/Almost Was” meditates on time, memory (personal and cultural), atrocities far away and bacchanalia up close; Earth Wind and Fire shake hands with Ralph Vaughan Williams on the short, soulful shot “Follow the River”; and “Was Not” chews on the pros and cons of our collective hunger for the good old days, complete with “The Prog Rock Bit in 7”. But wait, there’s more: disc 2’s “La Suite ‘Ce q’etait'” is a full-on electric sinfonia, kaleidoscopically shifting from chamber winds and piano through a smattering of ELP (complete with Tarkus quotes) and blaxploitation grooves. In between there are graceful, completely idiomatic episodes of smoky jazz that summon up Don Ellis and Miles Davis in equal measure, before a final blast of rock and Tillison’s ultimate rallying cry “Laisse moi chanter”. Throughout, guitarist Luke Machin and Soft Machine’s woodwinds genius Theo Travis climb peak after peak with their solo work; new bassist John Jowitt and drummer Steve Roberts hold down the ever-shifting foundations without skipping a beat (odd-time or strict); and Tillison plays and sings for his life, whether conjuring up digital orchestras, growling organ and synths, or his unassumingly earthly style of sprechstimme. The Tangent always has something to say about retaining our humanity in an inhumane world, and Was carries on that tradition with panache and passion. Give the title track below a shot and see what it does for – and to – you. (Available from Tigermoth and The Band Wagon USA; I cheerfully recommend the deluxe edition, which includes the bonus CD Almost Was, with an hour-plus of impressive outtakes.)

— Rick Krueger

The David Cross Band in Concert: Larks’ Tongues Ascending

On By kruekuttIn progressive metal, Progressive rockLeave a comment

It hadn’t been an auspicious beginning for The David Cross Band’s stateside tour; their opening night in Asheville, North Carolina was scuttled by Hurricane Helene’s brutal landfall, blowing a hole in their plans (and their finances) and stranding them in the disaster zone for a couple of fateful days, until they could source a full tank of gas and find an open road north. As they took the stage at Grand Rapids’ Pyramid Scheme, you could tell they felt for the devastated community they’d left behind — but also that they were also grateful to be back on track and playing for an enthusiastic (if compact and shall we say, mostly of a certain vintage) audience.

Electric violinist Cross, best known for his early-1970s stint in King Crimson, wasn’t messing around. As guitarist/vocalist John Mitchell — yep, fellow Progarchists, that genial jack of all trades from The John Wetton Band/Frost*/Lonely Robot’/Kino/Arena/It Bites/etc. — hit a chord, Cross took off on the kind of free improvisation that awed Crimson fans back in the day (including the drummer two seats over from me, who raved about a stop at GR’s Aquinas College 50 years ago). Cross, Mitchell, bassist/vocalist Mick Paul, keyboardist Sheila Maloney and drummer Jack Summerfield quickly locked in, building the folky core material to a simmering peak with classical flourishes and just the right amount of rock muscle. The epic Cross original “Calamity” shared a similar brooding feel, while “Tonk” and “Starfall” (the latter written with Crimson lyricist Richard Palmer-James) proved convincing slabs of the hard-hitting odd-time prog-metal the crowd had come to hear.

But as cool as Cross’ original work is, this North American stint isn’t called the “Larks Tongues’ 50+” tour for nothing; there was plenty of classic King Crimson on tap. “The Great Deceiver” was a high-octane update of the “flying brick wall” groove with which Bill Bruford and Wetton had terrorized Robert Fripp and Cross back in the day, as Paul, Mitchell and Maloney belted out Palmer-James’ sardonic lyrics; “Red” remains every inch the monstrous instrumental stomp it was in 1974. And after an apropos announcement in the vein of the Who’s Keith Moon from Mitchell (“Silence for rock history, please – especially up there in the jazz club”), the band launched into the entire Larks’ Tongues in Aspic album — complete with the extended thumb-piano intro that opens Part 1 of the title track.

Not on their cell phones: the Larks’ Tongues in Aspic Thumb Piano Ensemble in action

Throughout the night, Summerfield and Paul drove the band forward with propulsive power and a wicked edge, while Maloney served up lush keyboard colors, the occasional synth solo, and a nifty electronica backbone to freshen the mournful ballad “Exiles”. Paul’s rough-hewn voice soared on that tune, and Mitchell’s singing spanned the tender ardor of “Book of Saturday” and the vicious kiss-off of “Easy Money”, channeling Fripp’s monolithic power chords and tritone-laced solo style all the while. At center stage, Cross covered all bases with aplomb; buzzing like a hornet’s nest, shrieking like a banshee or launching sustained flights of aching, soaring melody, he moved with the music in the moment, no matter its direction or destination. Eschewing the precision tooling of recent King Crimson tours for a freer flow, the band built the tribal funk of “The Talking Drum” to a fever pitch, then pumped up the crushing Hendrix-plays-Stravinsky riffs of “Larks’ Tongues Part Two” to a shattering climax.

The final touch could only be “Starless”, one of the last pieces Cross played live with Crimson in those early salad days. Mitchell rose to the occasion, singing Wetton & Palmer-James’ melancholy words with fervor and grace. Then Summerfield and Paul cranked the tension of the instrumental build to a tipping point. From that height, Cross dove into the breakneck double-time coda, blazing the trail for Maloney and Mitchell to follow. As the quintet stuck the landing, the audience hit their feet (with only minimal prompting from Mitchell), glad to be in the moment with a band that, on this night, had ascended to a sweet spot where memory and spontaneity combine.

The David Cross Larks’ Tongues Band’s North American tour continues through October; check out currently scheduled tour dates here.

— Rick Krueger

Setlist:

  • The Pyramid Scheme (improvisation)
  • Tonk
  • The Great Deceiver
  • Red
  • Starfall
  • Calamity
  • Larks’ Tongues in Aspic, Part 1
  • Book of Saturday
  • Exiles
  • Easy Money
  • The Talking Drum
  • Larks’ Tongues in Aspic, Part 2
  • Starless

Rick’s Quick Takes for August

On By kruekuttIn art rock, classical, goth rock, Insideout Music, pop, Progressive rock, Rock and Roll, southern rock, vernacular music1 Comment

It’s been another excellent month for new music. So let’s just cut to the chase, shall we? Purchase links are embedded in the artist/title listing; playlists or video samplers follow each review.

Dave Kerzner, The Traveler: A third concept album from Kerzner, continuing the through line of New World and Static (with nods to In Continuum’s Acceleration Theory lurking about as well). The opener “Another Lifetime” sets out this record’s remarkable strengths: confident, appealing songwriting with hooky yet sophisticated melodies and structures; Kerzner’s best, widest ranging vocals to date; and the perfectly judged contributions of Fernando Perdomo on guitar, Joe Deninzon on violin, Ruti Celli on cello and Marco Minneman on drums (only a smattering of the stellar guest list here). The dry, forward sound and the copious use of vintage keyboards on tunes like “A Time In Your Mind” evokes early-80s Genesis at times (since Kerzner got those keyboards from Tony Banks, no real surprise there), but the power ballad “Took It For Granted” and the closing suite framed by the two parts of “Here and Now” show Kerzner moving his character’s story forward while striking out in fresh musical directions like the sunshine guitar pop of “A Better Life”. Overall, Kerzner exhibits a lighter touch here, and The Traveler is the better for it; by letting his new songs sell themselves and keeping proceedings to the point, he both satisfies us and leaves us wanting more. After repeated listens, this one’s already on my “favorites of ’22” list!

Lonely Robot, A Model Life: John Mitchell has had a rough last few years, and he doesn’t care who knows it. In the wake of a global pandemic, the collapse of a long-term relationship, and a confrontation with his deepest doubts and fears, Mitchell’s done what he does best: slip into his Lonely Robot persona and pour it all out in a fine set of laterally structured, elegantly crafted, fearlessly emotional songs. Writing, singing and playing (especially in his rekindled relationship with the guitar solo) at peak inspiration, Mitchell lays the ghost of his former love (the nervy “Recalibrating”, the forlorn “Mandalay”), skewers our mad world (“Digital God Machine” and “Island of Misfit Toys”), mourns ways of lives and times now in the rearview mirror (the breathtaking ballad “Species in Transition”, the crunching elegy “Starlit Stardust”), and ponders how and why he became who he is (the brilliant final run of “Rain Kings”, “Duty of Care”, “In Memoriam”). Easily his best work under the Lonely Robot banner, Mitchell wears his heart on his sleeve and plays to the gallery at the same time; this is an outright spectacular effort that’s got both all the feels and all the chops. (Check out our latest interview with John Mitchell here.)

Motorpsycho, Ancient Astronauts: the kings of Norwegian drone-prog continue their enviable hot streak on their fifth album in six years. “We’re all a little bit insane,” Bent Saether chirps on the opener “The Ladder”, and as the track spirals upward, mingling the howl of Hans Magnus Ryan’s guitar and Saether’s darkly glimmering Mellotron, you believe him. The edgily abstract interlude “The Flower of Awareness” cleanses the palette for a Crimsonesque workout on “Mona Lisa/Azrael”; Ryan builds towering edifices of distortion over a trademark Saether riff, as drummer Tomas Jarmyr matches their ebb and flow all the way through the shuddering climax and the slo-mo collapse. Astonishingly, all this just serves as prologue to the “Chariot of the Sun: To Phaeton on the Occasion of the Sunrise (Theme from an Imagined Movie)” It’s as if Motorpsycho’s brief for this 22-minute finale was to rival “La Villa Strangiato” in both range and focus; gentle strumming and wordless vocals give way to more menacing bass riffs, fuzz guitar deployed in duet and counterpoint, feral percussive cross-rhythms. It all mounts to multiple climaxes (a mighty unison riff, ominous post-rock minimalism) that circle back to end with the melancholy lyricism that kicked it all off. Ancient Astronauts is a genuinely thrilling ride; strap in and brace yourself for liftoff.

Muse, Will of the People: they’re baaack!!!!!! And as usual, Matt Bellamy, Chris Wolstenholme and Dominic Howard earn every one of those exclamation points. The guitars and drums are turned up to 12, the classical keyboard licks pack double the bombast (including a Bach “Toccata and Fugue” steal), the electronica wallows in creepshow kitsch, the vacuum-packed harmonies are piled even higher, and the gang chants are bellowed louder than ever. All this sound and fury portrays a world on the brink, an elite obsessed with control, and a populace angry that the game is rigged. Still, it’s hard to know who Bellamy is rooting for; at times, his lyrics and driven singing seem equally repulsed by both the leaders (“Compliance”, Kill or Be Killed”) and the led (the title track and “Euphoria”). But in the end, this is quite the slamming album; if you’re in the mood for existential desperation set to one badass, air-guitarable riff and singalong chorus after another — and these days, who isn’t? — this just may be your ticket. Might want to only play that obscenity-laden final track when no one else is around, though.

Continue reading “Rick’s Quick Takes for August” →

Lonely Robot’s John Mitchell: The 2022 Progarchy Interview

On By kruekuttIn Insideout Music, Progressive rock1 Comment

When we last talked with singer/songwriter/multi-instrumentalist/prog man-about-town John Mitchell back in 2020, he said that the songs on his 4th Lonely Robot album Feelings Are Good were about “very down to earth things,” in contrast to the outer space trappings of his three previous efforts. The new Lonely Robot effort, A Model Life (released on August 26th), burrows even further into inner space, as Mitchell grapples with recent experiences of loss, loneliness, frustration, conflict and even death. But as heavy as the subject matter is, this album is by no means a downer. Preview tracks like the driving opener “Recalibrating” and the quirky “Island of Misfit Toys” once again reveal Mitchell’s gift for memorable melodies and hooks, his empathetic lyrical journeys from crisis to closure, and his instantly recognizable way with a cathartic guitar solo. Confronting a world in the grip of obsessions, searching for a way through life’s challenges, and emerging at peace with himself, on A Model Life Mitchell invites us to discover what does and doesn’t really matter, charming and comforting us with his remarkable gifts all the way.

In the middle of a busy day filming the video for A Model Life’s “Digital God Machine”, John Mitchell took the time to have a wide-ranging, candid and remarkably humorous chat with us about the new album. Watch the complete interview (including sundry musings and digressions on Netflix documentaries, Phil Collins’ memoir, the forcible learning of Rush songs, changing flat tires near blind curves, grass clipping collection fees and much more) below; a transcription of highlights follows.

The last time we talked, it was about 5 or 6 months into the pandemic – which was right before Feelings Are Good came out.  So, my first question for you is a two-parter. How does A Model Life chart a different path from that album?  But also, what might the two albums have in common?

The things that they do have in common — I do think of them as quite brother-and-sister albums in a way.  I think that in hindsight, I’m much happier with the production on this latest record. 

The main difference is, at the time that I did Feelings Are Good, I was still in a relationship, but writing songs about not being in a relationship!  But by the time I did A Model Life, the whole thing was over; I was into the whole recovery period of what I was writing about.  I approached the songs very differently from that perspective.

And from a production point of view, they are very different.  I wanted Feelings Are Good to be a tiny bit more rough around the edges.  So, the drum sound on Feelings Are Good is deliberately a bit more trashy; the guitar sounds aren’t quite as refined as they are on this latest record. 

They do have a lot in common in terms of that they’re more personal.  I’m writing about much more personal subject matter.  And who knows what happens next!  I might go back to writing about otherworldly things of which I do not know! [Laughs]

I see!  It’s true; lyrically, I feel like you really dug deeply this time around.  There’s a lot of frustration that comes through, and the emotions you’re singing about are right there, they’re up front.  You mentioned the end of a relationship.  Are you OK with talking about some of the other things you might have been drawing on as well?

Yeah, of course; I’ll talk about anything.  That’s the whole point of this – it’s been very cathartic for me to address certain things.  The way that I view things in life – my background is quite complicated.  I was adopted by a family, by two people who were considerably older than they would have been had they been my biological mother’s age, who was 17 when she had me.

I find it fascinating that, at the same time in equal measure, I can chart that fact that a lot of my traits as a human being I have inherited, I think, from my [adoptive] mother – a lot of very good traits.  They always say, is it nurture or nature?  Well, I think largely it’s nurture . . .

A lot of what troubles me over the years has been this strange phenomenon of, whilst having [laughs] unfeasibly vast Impostor Syndrome, I think at the same time I am fascinated by the fact that a lot of the good parts of my makeup are from my [adoptive] mum’s kindness!  When you’re adopted by somebody who ultimately – my dad, he basically killed himself when I was 12.  Somebody I didn’t really know, but I felt some great duty to live up to in some strange way, whereas I think the opposite is true.  Being adopted you don’t have the same sort of genetics.  I never have been an academic in the way that he was; my skill set is completely opposite to what his would have been.  So, I’m very interested by those things – why it’s taken me this long to realize it’s a fool’s errand to try and chase somebody’s ghost, as it were.

[Tracks] like “Starlit Stardust”, “Rain Kings”, “In Memoriam” – those sound like you’re putting grief on record.

Yeah, pretty much.  Certainly “Duty of Care” and “In Memoriam”.  “Duty of Care” is pretty much about the twin nature of the relationship with my dad and with my mom.  I think it’s been really helpful for me. 

I know that [laughs] not everybody’s gonna want to – what did Phil Collins say?  He kind of retired from music didn’t he, in the early 90s.  And he pretty much said, no one wants to hear another Phil Collins divorce record. [Laughs]  And I thought, “well, Phil, you could be right”!  But Phil, whether you like him playing drums in early Genesis, or whatever you like or don’t like about Phil Collins, you can’t deny that he’s very good at tickling the emotional buttons that people relate to.

I think a lot of things I’m writing are relatable subjects.  And it’s not just me that has gone through these things in life.  I have found it cathartic to write about it.  And if I find it cathartic to write about it, I’m sure somebody might find it cathartic.  But the next time around I might write a completely cheery reggae record, so who knows? . . .

You’ve mentioned not fitting in and not wanting to be part of any cool kids ‘club that would have you as a member.  Is “Digital God Machine” part of that as well?

Continue reading “Lonely Robot’s John Mitchell: The 2022 Progarchy Interview” →

The Progarchy Interview: Lonely Robot’s John Mitchell

On By kruekuttIn Progressive rock1 Comment

Whether contributing to Clive Nolan’s Arena and Jem Godfrey’s Frost*, driving the bus in collaborations like Kino and the latter day It Bites, or helming his own Lonely Robot project, John Mitchell has brought the progressive rock world tons of cool music in the last decade-plus.  His irresistible melodic hooks, exciting riffage, heart-on-sleeve lyrics, passionate singing and meticulous craftsmanship are instantly recognizable and (at least for me) guaranteed to raise a smile.

Mitchell’s latest album, Lonely Robot’s Feelings Are Good, pivots from the high-concept themes of the Astronaut Trilogy (2015’s Please Come Home, 2017’s The Big Dream and 2019’s Under Stars), refocusing his sharp observational eye on the rich, sometimes heart-stopping drama of daily life — while resculpting the music to match, aided and abetted by ace drummer Craig Blundell.  Released by Inside Out on July 17th on CD, LP and download, Feelings Are Good  is a thrilling, wildly eclectic, moving, just plain fun listen.

Getting the chance to interview John Mitchell was just as much fun — he’s warm, humorous and gregarious, serious about his art and at ease with himself.  And as you’ll see in the video below, he was definitely having a better hair day than me!  An edited transcript of our talk follows the jump.

Continue reading “The Progarchy Interview: Lonely Robot’s John Mitchell” →

Coming from Inside Out Music …

On By kruekuttIn Progressive rock1 Comment

Hardly breaking stride, Inside Out Music ramps up their summer schedule with a fistful of new releases (some of which had to be rescheduled due to manufacturing delays).  Unless otherwise noted, links go to CD versions of these upcoming albums available at Burning Shed; LP and download editions will also be available.

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July

August

September

 

— Rick Krueger

Bryan’s Best of 2017

On By Bryan MoreyIn Progressive rock7 Comments

Here we are again, folks. We find ourselves at the end of another great year for prog. Sadly, we’ve had to say goodbye to some amazing artists this year, including John Wetton, but we at least have their music by which to remember them.

I know I’ve been a bit quiet here at Progarchy lately due to beginning graduate school this fall. Hopefully things settle down going forward, and I’ll be able to contribute more. For now, here are my favorite albums from 2017 in vaguely ascending order.

Continue reading “Bryan’s Best of 2017” →

Watson’s Best Prog Albums of 2017: Part 1 — The “Honorable Mentions”

On By Jay WatsonIn Progressive rock1 Comment

This year has seen a bonanza of quality progressive music. I have probably listened to more great albums this calendar go-round then in any recent year. This list is, of course, totally subjective and based on my own predispositions towards symphonic, orchestral, and melody-hooked prog.  There was such a plethora of wonderfully creative work in 2017 that I am increasing the list from the usual Top Ten or Top Twenty to a whopping 40 best.

And though ## 40 – – 21 are being categorized as only “honorable mentions” they still deserve your attention.  All of the following releases are so good that on any given day (just not today) they might well “crack the ceiling” and wind up on my official TOP TWENTY (coming later this week).   And now, in descending order from number 40 to number 21 are this years:

“Honorable Mentions”

40) SACRED APE/Sacred Ape

sacredape

Continue reading “Watson’s Best Prog Albums of 2017: Part 1 — The “Honorable Mentions”” →

Tad’s Favorites of 2017

On By Thaddeus WertIn Progressive rock9 Comments

10. KXM- Scatterbrain

If you’re missing King’s X, then this one will satisfy your craving. Ray Luzier (KoRn) is on drums, George Lynch (Dokken & Lynch Mob) is on guitar, and Doug Pinnock (King’s X) is on bass and vocals. This is their second album, and it is much more varied in its music styles than their debut. I never was into Dokken, but George Lynch’s guitar work is killer -especially on “Breakout”.

 

9. Big Big Train – Grimspound

I give Grimspound the edge over its sister album, The Second Brightest Star. What a great collection of tributes and vignettes of everything that is good about Great Britain. Using small details to convey big ideas is really difficult, but BBT are masters and make it look easy.

 

Continue reading “Tad’s Favorites of 2017” →

I, (Lonely) Robot: Progarchy Talks to John Mitchell

On By Erik HeterIn Progressive rock2 Comments

John Mitchell is a busy man.  It was less than a year ago that another one of his projects,Lonely Robot 2 Frost*, was getting ready to drop another album.  And before that, John was busy with another one of his bands, Arena.  To put the parenthesis on then and now … before that he was busy with the first Lonely Robot album, and now we have seen the release for the latest one, The Big Dream (Tad Wert’s excellent review can be found here).  We caught up with John recently, and he generously gave his time to discuss his career, the concept behind the Lonely Robot project, and the creative process, and how to stay busy.

Progarchy: You are in Lonely Robot, Kino, Arena, Frost*, It Bites … (did I miss any?), while your Arena bandmate Clive Nolan is also associated with Pendragon, Shadowland, Caamora, Strangers on a Train, Neo, and Casino.  Are you two having a contest to see who can be in the most bands?

John Mitchell: I can’t remember – it seems like I’m busy enough already! That is indeed a humorous question – and yes, you are absolutely right.  If I don’t win, heads are going to roll!  The honest answer though is that these things don’t run concurrently, they don’t run in parallel, they run in series.  I think if we are going to run a contest, it needs to be the most things done concurrently, and I don’t really win that at all.  Clive Nolan has won, so there we go!

Progarchy: This is your way of keeping busy, I assume.

John Mitchell: Yes, well it looks good on paper.  I have at some point or other have been involved in that many musical projects.  I hasten to not use the word ‘project’.  When I started these things, I didn’t think of them as projects. ‘Project’ to me denotes something that has a finite end, like a table.  A table, once it’s made, that’s the end of the project.  When I went into these things, with the good grace of the Lord, to make a band, and to try to engage that band and do multiple albums with it, so I never really saw it as a project.  Kino I never really thought it to be a one-off thing, but I didn’t realize quite how busy everybody was.  The things I’ve been involved in, they reach a natural conclusion, and they get parked and that’s it.  So I’m really not that busy, just doing a few things these days.

Continue reading “I, (Lonely) Robot: Progarchy Talks to John Mitchell” →