Tag: Mike Portnoy

Rick’s Best of the Decade

On By kruekuttIn electronic, jazz, progressive metal, progressive rock3 Comments

I’ve kept a spiral-bound notebook titled “Core Discs: The Honor Roll” since the mid-1990s, when I was deeply into a classical music binge at the height of that genre’s last recording boom. Over the years, as I migrated through jazz (courtesy of the Ken Burns documentary) and country/folk (blame Johnny Cash & Leonard Cohen) back into my earlier love of rock, I find it intriguing that my picks started shifting in tandem with the prog revival of the 21st century, long before I started writing for this site in 2017. But unlike Bryan’s methodology for finalizing his excellent list, when I sat down to pick my ten favorite albums of the last ten years, I looked at my top favorite for each year and said, “yeah, those are all still up there.” Which is why I also decided to just list them by the year of their release (not always the year I first heard them) instead of ranking them from 10 to 1. (Oh, and links to my original reviews are embedded in the artist/album listing from 2017 onward.)

It’s true that, in more recent years, my picks have been busting out of genre boundaries — but, if you’ve been generous enough to sample my wares before, you’ve probably figured that out. And hey, if such a tendency isn’t progressive, then what is? Whether the following list confirms or challenges your preconceptions of “what’s prog”, I fervently believe that every one of these albums is worth checking out — but be warned, your mileage may vary!

So, without further adieu:

2012 – Flying Colors: gotta agree with Time Lord here — this one’s a total winner from start to finish. Neal Morse and Mike Portnoy had captivated me long before this with the first three Transatlantic releases and Morse’s two Testimony albums, but Flying Colors showcased an even broader stylistic range, from the Beatlesque “Fool In My Heart” through the retro-80s prog-pop vibe of “Blue Ocean” and “Kayla” to the cutting-edge Museings of “Shoulda Coulda Woulda” and “All Fall Down”. The album also proved that Morse and Portnoy know how to pick collaborators! Guitarist Steve Morse applied his unique mix of Southern-fried chicken pickin’, fusion a la Mahavishnu John McLaughlin and Purpleish power riffs to winning effect (solidly supported by his longtime bassist Dave LaRue), and vocalist Casey McPherson proved he could run with the big boys, stirring fresh melodic and lyrical flavors into every track, including more familiar constructions like the inspirational “The Storm” and the epic finale “Infinite Fire”. This one also gets nostalgia points for being available at Best Buy stores back in the day (remember when you could get CDs there?).

2013 – Big Big Train, English Electric Full Power: OK, I actually didn’t discover this one until 2016, when the BBT bug finally bit me — more on this in a future post. And while I sort of wish I had done so earlier, maybe hearing EEFP on the British trip my wife and I took the year it was released would have been too much of a good thing! Steeped in a love of their native land and affectionate empathy for its people, Greg Spawton and David Longdon doubled down on the longform approach of 2009’s The Underfall Yard to probe forgotten milestones of British history (“The First Rebreather”, the heart-stopping “East Coast Racer”) and portray unforgettable characters (“Uncle Jack”, “Curator of Butterflies”) against a bucolic landscape (“Upton Heath”, “The Permanent Way”), along with the perennial challenges of the heart (“The Lovers”) and the soul (“A Boy in Darkness”, “Judas Unrepentant”). All in a style that recalled original prog touchstones (looking at you, Gabriel-era Genesis) but blended in the dizzying guitar of Dave Gregory and the wicked drum grooves of Nick D’Virgilio to awesome effect. The two separate volumes of English Electric and the Make Some Noise EP certainly have their charms, but in the scope and sequence of this complete package, Spawton, Longdon and company touched on perfection.

2014 – Dave Kerzner, New World: another late arrival in my collection, this is the album that convinced me a genuine prog-rock revival was afoot beyond the continuing efforts of Morse/Portnoy and Steven Wilson. Kerzner’s mastery of cinematic soundscapes was evident from the first Floydian flourish of “Stranded” to the closing upward spiral of “Redemption”; his ability to involve guest stars like Steve Hackett and Keith Emerson, as well as quality players like guitarist Fernando Perdomo and Nick D’Virgilio (him again!), bore impressive results; and his intuitive grasp of pop hooks proved a solid foundation for irresistible shorter songs like “The Lie” and “Nothing”. Stir in longer, brooding tracks “Into the Sun”, “Under Control” and “My Old Friend” (in memory of performer/producer/polymath Kevin Gilbert), and you had a consistently gripping effort. Whether in its single-disc or deluxe double-disc format, New World aimed high and hit every target that a latter-day concept album could — thoroughly immersive, richly compelling and a breakthrough kick-off for Kerzner’s ongoing solo career.

2015 – Steven Wilson, Hand. Cannot. Erase: speaking of latter-day concept albums . . . Seems like *everyone*, especially the ex-SW fans who think he lost the plot with To The Bone and The Future Bites now cite this as his best effort; me, I remember the online ruckus when “Perfect Life” became the pre-release single. (“IT’S! TOO! POP!” As I’ve said before, if only they had known . . .) But as Bryan mentions in his article, Wilson struck conceptual paydirt with the true story of Joyce Carol Vincent’s lonely death, unearthing both the bleakness and the beauty inherent in a life of urban isolation. His sharp, highly committed writing met its match in the blistering playing of his band: guitarist Guthrie Govan (“Regret #9), keyboardist Adam Holzman (“Home Invasion”) and singer Ninet Tayeb (“Routine”) all have some of their best recorded moments featured here. HCE’s enduring appeal does partially stem from its similarity to Porcupine Tree in their prime — but both Wilson’s musical growth in the intervening years and his return to a humane lyrical vision after the voyeurism of Insurgentes and Grace for Drowning were what made the difference then, and now. The melancholy inherent in the final track “Happy Returns” still feels like we’re mourning a life, lived and lost, for real.

2016 – Marillion, FEAR: that rare example of a band hitting a creative and commercial peak simultaneously. Marillion as a band got even more serious about musical substance here, with lush, detailed sonic backdrops adding depth and resonance to their smash-cut collages. All of which fused seamlessly with Steve Hogarth’s lyrical concerns — for example, the opener “El Dorado” built from self-satisfied, affluent peace to twitchy paranoia, as the lyrics and music stewed in the pressure cooker of an over-connected, unsettled world. The heartfelt road narrative of “The Leavers” made a consummate live epic that captured the special relationship between the band and its fans, while ominous closer “The New Kings” (capped by H’s heartbroken refrain, “Why is nothing ever true?”) still seems way too spooky — and way too relevant six years later. Since its release, FEAR’s success has enabled Marillion to go from strength to strength both live (as I witnessed in 2018) and with their equally powerful follow-up, this year’s superb An Hour Before It’s Dark. Which testifies to its ongoing impact, then and now.

Continue reading “Rick’s Best of the Decade” →

Progarchy’s Artists of the Decade: Neal Morse and Mike Portnoy

On By Time LordIn progressive rock11 Comments
Neal Morse & Mike Portnoy: Prog Artists of the Decade (2012-2022)

Progarchy has been here for a decade now. So, we’re celebrating in this October anniversary month by looking back at the past ten years.

Already in this series, “Progarchy’s Artists of the Decade,” we’ve had two strong cases made for Steve Hackett and Steven Wilson. Undeniably, two guys named Steve loom large over the past ten years of prog.

Indeed, those are two eminent artists. Hackett looks back to the golden age of prog’s birth. He draws upon the best of Genesis to make new music and also to keep the Genesis legacy alive. Wilson is a next generation prog polymath whose creativity has exploded over the last decade and given us all many hours of ecstatic listening.

All the same, I am going to have vote for the dynamic duo of Neal Morse and Mike Portnoy as the team whose energy has been unmatched in productivity and prog excellence. The two Steves, prolific as they are, are still no match for the dazzling output from the two men who, ever since they respectively left Spock’s Beard and Dream Theater, have delivered an astonishing stream of recordings for our enjoyment.

I myself have spent more hours over the past decade listening to the many albums that Morse and Portnoy have been involved in—more hours of albums than the two Steves combined. And I have no hesitation in ranking them together as my ten-year pick, despite the mighty works (both concerts and albums) of the Steves of prog.

Two decades ago, Morse left Spock’s Beard. But it was with Momentum (2012), a decade ago, that his output began to dominate my playlists. It was a decade ago that Progarchy started up, as we founders rallied around a shared love of Big Big Train in order to get the word out online about the new birth of prog happening with a new generation after Pink Floyd, Genesis, Yes, King Crimson, Rush, and all the other greats who shaped our formative years.

That Morse solo album included Portnoy on drums. I couldn’t get enough of it, and the solo section on the powerful title track will be forever burned into my mind with its dazzling keyboards by Morse—and Paul Gilbert’s mind-blowing guitar solo. For me, it definitely announced the dawn of a new interstellar age of prog glory, with Portnoy’s kick drums propelling us forward at warp speed overdrive.

But that Morse and Portnoy dominance of my playlists was foreshadowed by the release in that same year, just a couple months earlier than Momentum, of the stunning supergroup debut of Flying Colors’ Flying Colors (2012). That entire album is a masterpiece. My two favorite tracks are “The Storm” and “Infinite Fire,” the latter of which ranked right up there for me with the greatest of Yes. Yes, “Infinite Fire” was reminiscent of Yes because it induced the same ecstatic prog experience when listening to it. And with the Steve power of another Morse adding his guitar into the music, the cathartic axe-work on “The Storm” delivered prog positivity to the max, with a song capable of turning any bad day around on a dime.

Morse and Portnoy went on to apply their indispensable talents to powering Transatlantic’s Kaleidoscope (2014) and The Absolute Universe (2021) into new galaxies of prog. What’s truly amazing is that these two albums could stand on their own to rule the past decade. But sandwiched between them we have an incredible series of albums exhibiting unmatched creativity.

Indeed, Flying Colors itself gave us two more stunning albums, with Second Nature (2014) and Third Degree (2019). But the Neal Morse Band, under another dynamic duo pseudonym, gave Morse and Portnoy another pretext to record albums together. And these NMB albums arguably overshadow the two Transatlantic and the three Flying Colors albums, because Morse and Portnoy shine even brighter, as they step to the forefront even more than they would otherwise do within the supergroup dynamics of the Transatlantic and Flying Colors.

The NMB albums are four in number: The Grand Experiment (2015), The Similitude of a Dream (2016), The Great Adventure (2019), and Innocence & Danger (2021). Stepping back and looking at the sweeping ambition of these four albums, it is unbelievable how much they draw upon the epic prog heritage of epic-length tracks, while still further taking that classical genre to new levels of excellence. Again, just these four lengthy albums could lay claim to dominance of the prog achievement of the past decade of music. But placed alongside Transatlantic and Flying Colors, I think they supply definitive proof that Morse and Portnoy deserve the title of Prog Artists of the Decade (2012-2021).

Morse and Portnoy have a shared love and mastery of the greatest music of decades past. Proof positive may be found on their Cover to Cover albums. Check out their Cov3r to Cov3r Anthology (vols. 1-3), which includes the exuberantly playful discs Cover 2 Cover (2012) and Cov3r to Cov3r (2020) added to the joyous original.

Once upon a time, I would argue for Neal Peart as the GOAT. But listen to all of the above albums, and then you will realize how Portnoy extends that noble heritage of the savvy prog group drummer into an unmatched variety of ensemble collaborations.

Over the past decade, Portnoy is apparently the hardest working drummer in show business. Of course, he always has time for working with Neal, as when the two of them snuck in their work on Sola Gratia (2020). This shows us again, Portnoy’s humility is pretty much the archetype of the drummer’s Platonic form. He seemingly has no ego, always willing to play on what is officially called a Neal Morse solo album or a Neal Morse Band collaboration. But Portnoy is clearly the indispenable other half of Morse’s past decade of output. What’s amazing is that Portnoy is happy just to play drums and let his playing speak for itself.

Let Portnoy’s discography of collaborations conclude the case I am making in this post. Consider his unmistakable sound as part of Adrenaline Mob (three albums: 2011, 2012, and 2013); as part of Metal Allegiance (three albums: 2015, 2016, and 2018); as part of Sons of Apollo (two albums: 2017 and 2020); as part of BPMD, American Made (2020); with John Petrucci, Terminal Velocity (2020); with Liquid Tension Experiment 3 (2021); and as part of The Winery Dogs (three albums: 2013, 2015, 2017).

That’s fourteen more albums of Portnoy added to the fourteen I already mentioned above! 28 albums over a decade? Sounds like we have a winner here, an equal partner with Morse who more than carries his weight in every collaboration.

Morse and Portnoy have been the dominant artists in my past ten years of listening. The stats from my Apple Music app tell me so. So here’s my Progarchy salute to congratulate them both. Other bands and other artists come and go. But these two have left a permanent mark of excellence. And I get the feeling that they are working away together on even more new music. Excelsior!

The Neal Morse Band’s Randy George: The Progarchy Interview

On By Bryan MoreyIn Neal Morse, progressive rock2 Comments

The Neal Morse Band, Innocence & Danger, Inside Out Music, August 27, 2021
Tracks: CD 1: 1. Do It All Again (08:55) 2. Bird On A Wire (07:22) 3. Your Place In The Sun (04:12) 4. Another Story To Tell (04:50) 5. The Way It Had To Be (07:14) 6. Emergence (03:12) 7. Not Afraid Pt 1 (04:53) 8. Bridge Over Troubled Water (08:08)
CD2: 9. Not Afraid Pt 2 (19:32) 10.Beyond The Years (31:22)

Last week I had the wonderful opportunity to interview Randy George from the Neal Morse Band about their upcoming album, Innocence & Danger. What an album! After back-to-back double concept albums, the band decided to make an album of independent songs. It’s still a double album, but it’s very digestible.

Innocence & Danger has quickly risen to one of my favorite albums of the year, and Randy George’s brilliant bass playing has a lot to do with that. His bass is more prominent in the mix, and it really shines opposite Mike Portnoy’s drums in the rhythm section. I think Neal Morse’s vocals also deserve a mention as they are the best they have sounded in years. Maybe that’s due to a lack of touring over the past year+, but he (and everyone else) sound great. The vocal harmonies are turned up to the max, and the prog is in full force. But don’t be surprised if you hear a few other surprise elements in the music – something we talk a bit about in the interview below. Oh, and “Beyond the Years,” the album’s 31-minute epic, may be the best long song I’ve heard from Neal Morse and company.

This interview was conducted on July 21, 2021 via Zoom. There was quite a bit of scratchiness in the Zoom audio, so I’ve decided to spare you that and just give you the transcript, which was edited lightly for readability. The interview is pretty wide ranging. We start with an update on the last year and a half for Randy before we go into a deep dive of the album. Then we discuss some of Randy’s influences as a musician before we talk a bit about the history of prog, it’s place in the music world, and how the future will look back on their music. 

NealMorseBand_2

Bryan: Thanks for joining me here for Progarchy. I really appreciate you taking the time.

Randy: Yeah! Happy to do it.

Bryan: It’s been tough career-wise for musicians without being able to tour. How’ve you been in that regard?

Randy: Well, you know, I guess we’re all feeling it to some degree. I guess as a function of where I live it hasn’t really been that bad. We had done that Cover to Cover 3 CD, and it was wrapped and delivered to the label before the pandemic hit. There were some videos that needed to be [made]. We wanted to do videos, so there were a few videos, and I did a couple of those. And then Neal [Morse] did Sola Gratia. I recorded that and then we did videos for that. Then we did Morsefest in September, and my wife and I have been playing locally since September, pretty much twice a month or three times a month ever since last September.

In a lot of ways, yeah we had to wear masks a little more during the time, but for the most part we kept busy. We felt it most right at the beginning. Everybody was sort of freaked out, got shut down March through July or whatever. Then people started to open up a bit. So initially everyone was a little bit like, wow, there’s nowhere to go. But we both work from home. We really didn’t travel outside very much. We’re here on our own little plot. Plenty to keep us busy here. But yeah I watched it from a distance. I’m sure for some people it was really hard, and it sucks that it had to happen like that. I look forward to the end.

Bryan: Yeah I think everybody does. Morsefest was one of the first – definitely one of the biggest in the prog world of concerts that came back in person. That was kind of exciting because it was a glimmer of hope after so many months of nothing at all live-wise.

Randy: People will always find a way.

Bryan: Yeah exactly. I’ve had a chance to listen to Innocence and Danger a little bit over the last couple of days. It’s a fantastic album. It feels like a little bit of a different direction, especially after the last two concept albums. Can you tell me about how the album came together?

Randy: Well, the whole thing – we were going to start working on Innocence & Danger way back in the beginning of 2020. We initially signed a record deal with Inside Out. Then the pandemic hit. Mike [Portnoy] was really busy with Sons of Apollo, and we didn’t really have any clear cut date in mind that we could get together and do this. So quite honestly between signing the deal and getting in the studio to do this, it was more than a year. We did in January come together at Neal’s house and wrote the whole thing in about twelve days and tracked the drums and took it home and developed it over the next couple months, and Rich [Mouser] mixed it.

We went into it not having a lot of pre-written material. Neal didn’t have anything. Bill [Hubauer] and I both brought recorded ideas that were predominantly raw ideas that could be developed rather than finished demos that already had a lot of development to them. The Neal Morse Band tends to – no matter what you bring in, they want to redo it. So we kind of, it’s easier to bring in ideas that they can all sort of get their head into and write with. Some of it is much easier to do that, between Bill and I and Eric [Gillette], we have plenty of musical stuff. Neal, of course, he may not have come in with anything, but he gets up early in the morning and he’ll start writing and work on ideas then we end up working on them the same day or the next day. So Neal does actually write a fair amount of stuff. He just doesn’t always go into the session with all of it prepared, unless it’s a concept thing were he has an idea. We knew this wasn’t going to be another concept album. We just wanted to do an album of songs. We felt it was the right time for that.

Continue reading “The Neal Morse Band’s Randy George: The Progarchy Interview” →

Neal Morse Band Announce New Album for August Release

On By Bryan MoreyIn progressive rock1 Comment

From Radiant Records:

image

Hey, everyone!

We’re delighted to announce details of the eagerly-anticipated new NMB album! Some incredible new music is coming your way. We will be starting pre-orders at www.radiantrecords.com on Friday, June 18th. Watch for our updates as we reveal some amazing exclusives relating to this release, plus another release only available from our website!

** OFFICIAL PRESS RELEASE **

NMB are pleased to announce the release of their much-anticipated fourth studio album Innocence & Danger on August 27th, 2021.

With NMB’s previous two releases being concept albums, it’s perhaps remarkable that Innocence & Danger is a series of unrelated songs, but drummer Mike Portnoy says “After two sprawling back to back double concept albums in a row, it was refreshing to get back to writing a collection of unrelated individual songs in the vein of our first album.”

Indeed, making this album came easy to the band; while the initial inspiration came particularly from Bill Hubauer (keyboards) and Randy George (bass), the ideas flowed from everybody from there on, as George recalls: “I am excited about the level of collaboration that we achieved on this one. We even went in with a lot of ideas that weren’t necessarily developed, and I think in the end we have something that represents the best of everybody in the band.”

In fact – like its two acclaimed predecessors – Innocence & Danger is a double-album by inspiration, rather than design, as Portnoy explains: “As much as we wanted to try and keep it to a single album after having just done two double albums, we wrote so much material that we found ourselves with our third double album in a row! That’s pretty prog!”

There is also plenty: “There’s one half hour epic and another that’s about 20 minutes long. I really didn’t realise that they were that long when we were recording them, which I guess is great because if a movie is really good, you don’t realise that it’s three hours long! But there are also some shorter songs: some have poppier elements, some are heavier and some have three part acoustic sections. I’m excited about all of it, really.”

The album will be released as a Limited 2CD+DVD Digipak (featuring a Making Of documentary), 3LP+2CD Boxset, Standard 2CD Jewelcase & Digital Album, featuring artwork by Thomas Ewerhard (Transatlantic). Pre-orders start on the 18th June, and the full track-listing is below:

CD 1 (Innocence):

1. Do It All Again 08:55

2. Bird On A Wire 07:22

3. Your Place In The Sun 04:12

4. Another Story To Tell 04:50

5. The Way It Had To Be 07:14

6. Emergence 03:12

7. Not Afraid Pt. 1 04:53

8. Bridge Over Troubled Water 08:08

CD 2 (Danger):

1. Not Afraid Pt. 2 19:32

2. Beyond The Years 31:22

The Neal Morse Band (now NMB) was formed in 2012, featuring long-time collaborators Neal Morse (vocals, keyboards and guitars), Mike Portnoy (drums, vocals) and Randy George (bass), as well as Bill Hubauer (keyboards, vocals) and Eric Gillette (guitars, vocals). The band’s first album, The Grand Experiment, showed both a freshness and maturity that was further developed in 2016’s The Similitude Of A Dream, 2019’s The Great Adventure and 2021’s Innocence & Danger.

Look for NMB on tour in North America in October 2021 and in Europe throughout May/June 2022. Tour dates coming soon!

Blessings,

The Radiant Records Team
Neal Morse, Pete Trewavas, Mike Portnoy, Roine Stolt

Parallel Universes: Transatlantic’s Dueling Epics

On By Bryan MoreyIn progressive rockLeave a comment
This is probably the only time I’ll have a legitimate reason to use this cool new WordPress feature.

Transatlantic have reached the ripe old age of 21, and with that they’ve released a brand new album. Wait, that isn’t right. They’ve released two brand new albums. Well, no, they haven’t really done that either. What they have done is released two versions of one album: one at ~65 minutes and the other at ~91 minutes. The Absolute Universe: The Breath of Life is the short one, and The Absolute Universe: Forevermore is the long one. For the sake of clarity (both mine and yours), I’m going to refer to the albums as the extended version and the abridged version.

Now why on earth, you may ask, would a band want to release two different versions of an album? Excellent question. I was a bit miffed when Big Big Train did it with Folklore (the vinyl and Hi-Res audio version was longer with some tracks from the Wassail EP and a slightly altered track listing), and I’m a bit miffed that Transatlantic has done it. Apparently the band couldn’t come to an agreement on whether they should release a longer version of what they had written or a condensed version, so they decided to release both.

The abridged version is $9.99 on iTunes, while the extended edition is $16.99, so it’ll cost you just under $30 to buy the downloads. You may need to take out a loan to buy physical copies. And don’t think you can get away with buying just the extended version thinking you’ll just get the abridged version plus some extra tracks. Nope they’ve gone and changed things in the tracks that overlap, so in many ways they’re very different. There’s also a third version on Blu-Ray only that combines the two into a ~96 minute version. Good grief. I haven’t heard that version, nor do I intend to.

If you’re going to buy only one of them, I suggest you buy the extended version. It has a much better flow to it with smoother transitions than the abridged version. Even though it’s longer, it isn’t packed with filler. To my ear it sounds more like a Transatlantic album. There are more songs with Roine Stolt on lead vocals. Yes of course he sings on the abridged version, but he sings less in the second half of that album. That makes the abridged version seem to morph into a Neal Morse album as it comes to a close. “Lonesome Rebel” towards the end of extended version remedies that by restoring some balance. In addition to Roine’s stellar vocals, the mix of wonderful electric and acoustic guitars and vocal harmonies really makes this track stand out.

Continue reading “Parallel Universes: Transatlantic’s Dueling Epics” →

Neal Morse on Transatlantic’s The Absolute Universe: The Progarchy Interview

On By kruekuttIn Insideout Music, Neal Morse, progressive rock, Radiant Records1 Comment

As we (and everybody else in the prog rock world) announced back in November, Transatlantic’s fifth album The Absolute Universe will be unleashed on February 5. This album will arrive not just in multiple formats, but also in multiple versions: the 60-minute, 14-track The Breath of Life (Abridged Version), the 90-minute, 18-track Forevermore (Extended Version) and The Ultimate Edition box set (both versions on LP and CD, plus a 19-track 5.1 version on BluRay).

Having had the privilege of hearing the abridged and extended versions, I’ll testify that The Absolute Universe thoroughly satisfies my craving for that special Transatlantic blend of prog past, present and future. Everything that I love about the band is there, to (and sometimes beyond) the point of gluttony; I’ve come away from each listen delighted, thrilled and moved. So it was another real treat when, the week before Christmas, I got to chat with Neal Morse about this new music. (Neal also talked to Bryan Morey about his latest solo album, Sola Gratia, a few months back.) In this interview, Neal tells us how The Absolute Universe came together, why a double album wasn’t enough, and more.

So first, thanks for talking to me!  I have been a Transatlantic fan for a long time back.  SMPT:e was actually the first thing I ever heard with you involved in it, and that got me back into prog after some time away from it.   

Right!  Good!

And then I saw you guys in 2010 in Chicago, and that was a great, great, great show!  I enjoyed that so much. 

That would have been The Whirlwind?

Yes, exactly right.

Was that at Park West?  Yeah, that was a great night!

Yeah, it was Mike’s birthday.

Right!  And they got us Giordano’s [“Chicago’s Famous Stuffed Deep Dish Pizza”] for after-show food!  [Chuckles] I remember the really good pizza!  It was a good night.

Yes, it was a great show.  I missed you the last time through [touring the Kaleidoscope album].  But now you’ve got this new album coming through the pipeline, The Absolute Universe.  And I guess my first question is: how does a new Transatlantic album happen?  Was there a certain person or a certain thing that kickstarted the process?  How did it come about?

Well, let’s see.  I think it started with me! I think I emailed everybody, if memory serves,  but that was a long time ago.  It would have been near the end of 2018 or the beginning of 2019, I think.  I started the conversation, and then we started talking about schedules.  At first, it’s like “hey, do you wanna do it?” and everybody was like, “yeah, we’d like to, but …”  We had to find the right time when everybody had time for it, which wound up being the end of September 2019 in Sweden.

I remember starting to write some demos for Transatlantic in March, I think, of 2019.  And I think we went round and round about where to record and when to record for many months, till finally it was like, “OK, if we’re gonna do this, it needs to be in this window of time.”  And so, we all convened in Sweden and worked on it for about two weeks – wrote and recorded what I would call the template.  Not the keeper track, but the template for what became the long version of the album, Forevermore. 

We left there in early October, and then Mike came here into Nashville to do his keeper drums.  He would have done them in Sweden, but we ran out of time.  In fact, we were still changing the album and writing it right up on the last day, when we had to go to the airport.  And everything kind of fell into place right at the end; it was pretty amazing.

Anyway, Mike came here, did his drums in November.  Then I did my parts in December and January, and then I left to go to Australia to play some shows and take a vacation in New Zealand.  And that’s where I got away from the album, and I started working on my solo album Sola Gratia.

And then I listened to the Transatlantic album again in March, I think it was.  And I kinda had the feeling like – and this is really unusual for me, cause a lot of times I want to make things longer!  But I felt like maybe this album would benefit from some editing!   So, I started editing some things out.  I thought maybe some of the guys might like it as well, because when we were writing it in Sweden, several of the guys were wanting it to be a single disc, and they really didn’t want it to be a double.

Anyway, I sent off this edit with, I think, the subject line that read, “Am I Crazy?”  I thought they might just dismiss the whole concept right away.  But not everybody did.  Some of them were like, “maybe this is a good way to go.”  So then, we went round and round about that for a couple of months, trying to decide what was the best thing to do.

We were still trying to figure that out when Mike had the idea of releasing both!  And then once we agreed to release both, then the idea was to make the versions as different as possible.

Continue reading “Neal Morse on Transatlantic’s The Absolute Universe: The Progarchy Interview” →

The Big Prog (Plus) Preview for Fall 2020!

On By kruekuttIn Andy Tillison, art rock, Flying Colors, hard rock, Insideout Music, jazz rock, Kscope, Neal Morse, Pink Floyd, Prog, progressive metal, progressive rock, progressive rock music, psychedelic rock, Radiant Records, singer-songwriter, The TangentLeave a comment

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!” →
Neal Morse

By Grace Alone: A Conversation With Neal Morse

On By Bryan MoreyIn progressive rock6 Comments

Scary man with scythe is the winter snow.

Neal Morse, Sola Gratia, September 11, 2020, Inside Out Music

Tracks: 1. Preface (01:28), 2. Overture (05:59), 3. In The Name Of The Lord (04:27), 4. Ballyhoo (The Chosen Ones) (02:43), 5. March Of The Pharisees (01:40), 6. Building A Wall (05:01), 7. Sola Intermezzo (02:10), 8. Overflow (06:27), 9. Warmer Than The Sunshine (03:22), 10. Never Change (07:52), 11. Seemingly Sincere (09:34), 12. The Light On The Road To Damascus (03:26), 13. The Glory Of The Lord (06:17), 14. Now I Can See/The Great Commission (05:17)

Last Saturday, August 29, 2020, I had the great opportunity to talk to the magnificent Neal Morse about his new solo album, Sola Gratia. Morse is perhaps the most ubiquitous artist of “third wave” progressive rock. You’d be hard pressed to find contemporary progressive rock artists that aren’t influenced by him in some way. His latest solo effort proves why. The lyrical and musical songwriting is in peak form.

As a sequel to 2007’s Sola Scriptura, this album finds Morse exploring the story of the Apostle Paul’s conversion from a persecutor of Christians to the faith’s most ardent missionary. It is a profound story of God’s grace. Morse explores the drama of this story as Paul (then called Saul) wrestles with the newly founded Christian church and the sincerity of its followers. While Paul is on his way to Damascus to persecute more Christians, Jesus appears to him. Paul then converts and repents. The album ends with Paul converting and glorifying God, leaving us on a cliffhanger of sorts for a possible part 2 in the future.

The album pulls a few lyrical and musical highlights from Sola Scriptura, but, as Morse says in the interview below, they are merely sprinklings. It is enough to be familiar without sounding like a retread. The music gives room for the listener to breathe and think about the lyrics, which makes this an enjoyable album to return to. At just over an hour long it isn’t a chore to return to as a double album might be. The music has its expected complexity with the usual suspects playing on the album – primarily Mike Portnoy and Randy George – but the lyrics are the highlight here. There are a lot of calm moments that allow you to reflect. I found that quite appealing about the album, and it has quickly become one of my favorite Neal Morse solo albums.

But enough of that. The interview covers the background of the album, how it was written, and its connections to Sola Scriptura. We talked a bit about Paul, and Transatlantic and Flying Colors came up a few times as well.

Neal Morse at keyboards

Neal: Hello.

Bryan: Hi, this is Bryan from Progarchy.

Neal: Hey how you doing man?

Bryan: Good how are you?

Neal: Good! Good good.

Bryan: Thanks so much for your time this morning. I really appreciate it. I know you’re a busy man.

Neal: Well, you know, got a couple things going on. That’s alright. I’m sure you do too.

Bryan: Well I don’t have an album coming out every month. [laughs]

Neal: [Laughs] Yeah.

Bryan: So tell me about the background for your upcoming album, Sola Gratia. I’ve had a chance to listen to it several times, and it’s fantastic.

Neal: Oh thanks man. Thanks, I’m glad you like it. Well I mean I started getting these ideas while I was on vacation – sort of half vacation half work actually. We did some gigs down in Australia, and then we took a trip to New Zealand and I was just getting a flood of ideas.

Continue reading “By Grace Alone: A Conversation With Neal Morse” →

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

Morse, Portnoy, George launch video for cover of “It Don’t Come Easy”

On By Bryan MoreyIn progressive rock1 Comment

From Inside Out Music:

Mike Portnoy, Neal Morse, Randy George
Photo Credit: Robert Smith

Neal Morse, Mike Portnoy & Randy George recently announced their return to the Cover To Cover series of albums with ‘Cov3r To Cov3r’, the brand new third installment. Featuring their renditions of classic tracks by the likes of King Crimson, Jethro Tull, Gerry Rafferty, David Bowie & more (including their cover of ‘No Opportunity Necessary, No Experience Needed’ featuring vocals from Yes singer Jon Davison), the album will be released on July 24th as CD, Gatefold 2LP + CD & as Digital Album.

Today they are pleased to reveal a video for their cover of ‘It Don’t Come Easy’, originally by Ringo Starr, and you can watch it now here:

Continue reading “Morse, Portnoy, George launch video for cover of “It Don’t Come Easy”” →