A sign of Spring’s awakening? Two rather special sounding streamed concerts are coming our way:
The Pineapple Thief have decamped to a top sound stage studio and recorded, in drummer Gavin Harrison’s words, “the show that we were meant to do in Covid times (but had to cancel).” Nothing But The Truth will be available on demand from 6 pm this Thursday, April 22 to 6 pm on Monday, April 26. Since I was boneheaded enough to miss the Thief’s late 2019 tour of the States, I’m eagerly anticipating this one! Tickets are dirt cheap (under $25 US), with a variety of merch (including crew support t-shirts) also available. Details and ordering at TPT’s website.
Next month, Nick D’Virgilio mounts a livestream performance of his solo album Invisible (one of my faves of 2020) from his homebase of Fort Wayne’s Sweetwater Studios on Friday, May 14 at 4 pm. Virtual packages with prices ranging from $15 to $65 are available at Mandolin.
And looking ahead to the fall, Neal Morse’s annual Morsefest has already sold out its limited live seats — but virtual options for the two night festival on Friday-Saturday, October 8-9 (featuring the upcoming fourth album from the Neal Morse Band) are still available at Radiant Records.
Looking back at 2020, it’s hard to believe that we lost Neil Peart at the beginning of the year. That loss hit me pretty hard, since Rush’s music has been central to my life from an early age. I talk more about that in my tribute to Peart: https://progarchy.com/2020/01/12/neil-peart-a-misfits-hero/. I start off my year-end review list with a reminder of the loss of Neil because it seems like a fitting way to remember 2020. Peart’s loss represents what so many people have lost this year, whether it be family members and friends due to the virus or jobs lost due to draconian forced business closures that haven’t actually accomplished anything in slowing the viral spread. Not to mention the emotional distress that physical separation is causing many people.
Another thing we lost this year was live music from our favorite bands. Big Big Train had their first North American tour planned for late spring this year. Canceled. Devin Townsend was in the middle of a glorious North American tour with Haken when everything blew up. Canceled. Obviously this list could be expanded to every band that tours. Losing live music makes it even more difficult for bands in a niche genre to spread their music to more people.
But enough lamenting. We still got a lot of great music this year. The following list is in no particular order apart from my number one album at the end. I include both new albums and live records.
Haken – Virus I was a little surprised that I was the only person over at the Dutch Progressive Rock Page to include this one in my top ten list for their annual list. Maybe people were really sensitive about the name of the album, but it was clear that the album was written and completed before the novel coronavirus was a known entity. The music is fantastic. It’s probably their heaviest album to date, but it still has some of their calmer moments. It’s Haken through-and-through, and it makes a wonderful companion to 2018’s Vector. We also get to hear some more about our old nemesis, the cockroach king. It’s pretty cool how they worked in some of those themes. Fantastic album that should’ve received more attention than it did. Check out my review: https://progarchy.com/2020/07/23/haken-goes-viral-virus-album-review-haken_official/
Here are the albums of new music from 2020 that grabbed me on first listen, then compelled repeated plays. I’m not gonna rank them except for my Top Favorite status, which I’ll save for the very end. The others are listed alphabetically by artist. (Old school style, that is — last names first where necessary!) Links to previous reviews or listening/purchase sites like Bandcamp are embedded in the album titles.
Nick D’Virgilio, Invisible: No echoes of Big Big Train or even Spock’s Beard to be heard here. D’Virgilio’s long-awaited latest focuses on classy, soulful rock and pop with R&B undercurrents, reminiscent of nothing so much as the pre-Nirvana mainstream; the progginess is in the extended structures, the virtuoso playing and the overall concept. The down to earth storyline, a redemption narrative with some nifty twists, definitely helps make Invisible appealing and relatable. But it’s the musical means D’Virgilio uses to build out the story — emotive singing, consistently powerful drum work, polished electric piano, loops, bass, bass synth and guitars — that seal the deal. As a result, every single track grabs on tight from the start — not just revealing more depth and emotional resonance with every repeat, but also relentlessly propelling the album forward.
I Am the Manic Whale, Things Unseen: I remain blown away by the energy, humor and sheer delight these young British proggers bring to their story-songs; this third album sounds like their best yet, with crystal clear production by Rob Aubrey. There’s wickedly cheery satire in “Billionaire” and “Celebrity”, a brooding, atmospheric trip to Narnia in “The Deplorable Word” and unbounded delight in the gift of children in “Smile” and “Halcyon Days”. Not to mention IAtMW’s very own train song, “Valenta Scream”, laying down a challenge to Big Big Train with (in my opinion) the best lyrical simile of 2020: “Making it look so very easy/Eating up the distance like a cheese sandwich.” Really. (Check out their free compilation of covers and live-in-studio tracks, Christmas Selection Box on Bandcamp, too.)
Kansas, The Absence of Presence: A real leap forward for a revitalized band; appealing melodies, heady complexity and breathtaking power unite for maximum impact, and it’s a joy to hear all the way through. Each band member has upped his game multiple notches — David Ragsdale, Zak Rivzi and Rich Williams peel off one ear-catching riff and solo after another, Ronnie Platt sings with smooth, soaring power and commitment (evoking Steve Walsh while being utterly himself), and I could listen to Billy Greer and Phil Ehart’s rolling, tumbling thunder all day. New keyboardist Tom Brislin is the perfect match for this line-up, dishing up just the right lick no matter what’s required — pensive piano intros, crushing organ and synth riffs, lush textures, wigged-out solos, you name it. Stir in a new level of collaboration in the writing, and you get Kansas unlocking a new level of achievement, making excellent new music more than 40 years after their initial breakthrough. Recommended without hesitation.
Lunatic Soul, Through Shaded Woods: The perfect Hero’s Journey for this frustrating year. Mariusz Duda’s latest holiday from Riverside’s post-prog heads straight for Mirkwood — ominous, lowering music, echoing the colors and contours of Slavic and Scandinavian folk. Playing all the instruments (frenetic acoustic strums; decorative baroque keys; tasty metallic riffs and electronica accents; unstoppable primal percussion) Duda penetrates the heart of his melancholy, only to discover his greatest obstacle: himself. At which point “Summoning Dance” pivots, echoing Dante lyrically as it turns toward the soul-easing finale of “The Fountain.” Imagine Bela Bartok and Jethro Tull collaborating on a sequel to Kate Bush’s “The Ninth Wave,” and you’ll have some idea of how unique and special this album is. (The bonus disc — currently only available as a Bandcamp download link above and as a Polish import — is essential listening too, especially the hypnotic minimalist epic “Transition II.”)
Pat Metheny, From This Place: State of the art jazz composed and performed at the highest level, this is a unified work of formidable emotional range and intelligence: instantly accessible, inescapably substantial — and above all, incredibly moving. Metheny, pianist Gwilym Simcock, bassist Linda May Han Oh and drummer Antonio Sanchez ride the exhilarating ebb and flow of ten new tunes, their rich interplay locking together with sumptuous orchestral overdubs for awe-inspiring, high-intensity results. From This Place communicates like mad; confronting knotty, pensive questions of culture, identity and hope, it’s also a deeply satisfying culmination to Metheny’s career-long pursuit of transcendence — music both of its time and potentially timeless, gripping at first acquaintance, deepening its impact with every further listen.
Hedvig Mollestad, Ekhidna: The Norwegian guitarist takes her incandescent blend of heavy rock and avant-garde jazz to the next level, triumphantly meeting the challenges inherent in writing for a bigger band and a broader sonic palette. Ekhidna is a bracing blend of tumbling rhythms, killer riffs and brain-bending improv that goes down remarkably smooth, but leaves a fiery aftertaste. Writing for an accomplished sextet of players, Mollestad’s new music doesn’t avoid the expectations raised by its evocation of Miles Davis’ Bitches Brew, sometimes confronting classic genre strategies head-on, sometimes blithely subverting them. Named for the she-dragon of Greek mythology (also called “the mother of all monsters”), this album is monstrous in the best sense — a musical rollercoaster ride suffused with heat, light and heart, recombining the raw materials of jazz-rock and extending its reach into realms of vast new potential. A real breakthrough, and Mollestad’s best effort to date.
Markus Reuter, Fabio Trentini and Asaf Sirkis, Truce: Utterly bracing, a cold slap in the face that kicked off 2020 in the best way possible. Recorded live in the studio on a single day by touch guitarist Reuter, bassist Trentini and drummer Sirkis, this is the unfiltered, mind-boggling sound of three virtuosos throwing caution to the winds and just going for it. From start to stop, the music they make is unbeatably heavy, head-snappingly varied, and vividly compelling — whether on the searing stomp of a title track, the brutal mid-tempo funk of “Bogeyman”, the abstract balladry of “Be Still My Brazen Heart”, or the Police-ified dub freak-out of “Let Me Touch Your Batman”. Listening to Truce is an hour-long thrill ride with tons of substance to chew on — one you need to experience for yourself, more than once.
Sanguine Hum, A Trace of Memory: Rarely does eccentricity sound so graceful as in the hands of Joff Binks, Matt Baber and Andrew Waismann. Sequenced as a seamless whole, the seven tracks on A Trace of Memory trace a playful trajectory; no matter the giddy succession of off-kilter riffs, the complex counterpoint of Binks’ guitar and Baber’s keys, or the intensity of the musical climaxes, the ebb and flow is consistently welcoming, yet always subtly stimulating. Freed from the broadly goofy, conceptual conceit of Now We Have Light and Now We Have Power, Binks can explore a more allusive lyrical style and spare melodic lines that soar instead of patter; less is definitely more in this context. Sanguine Hum has hit new heights here; listening to this album is like watching clouds travel unhurriedly across a clear sky, and it makes me smile every time. In 2020, this may be the closest you can come to hearing the harmony of the spheres.
Maria Schneider Orchestra, Data Lords: There’s no question in my mind that composer Maria Schneider (based in jazz but embracing musical terrain beyond category) and her orchestra have reached a new artistic pinnacle on this album. Conveying both the bleak potential of online life blindly lived and the bounteous beauty of the life around us we take for granted, Schneider conjures up slow-burning tone poems that, as they catch fire, blaze with fear and dread — but also with hope and joy. Throughout there’s a symphonic sweep, a supple rhythmic foundation and a seamless flow of inexhaustible melody; Schneider’s compatriots inhabit and animate her music with dedicated unity and thrilling improvisational daring; and the high-definition sound lovingly unfolds all of the music’s sophisticated, profoundly moving beauty with breathtaking clarity.
Secret Machines, Awake in the Brain Chamber: Way back in 2004, Secret Machines’ Now Here Is Nowhere was one of that year’s most compelling albums, a ferocious collage of droning space-rock riffs, rampaging Zeppelinesque grooves and unsettling, dystopian lyrics. A stalled major-label career and a revolving door of personnel dissolved the band’s momentum, capped by guitarist Benjamin Curtis’ passing in 2013 — but somehow, this magnificent beast is back. On Awake in the Brain Chamber, brother Brandon Curtis writes the songs and supplies keys, guitar and bass (as well as his patented, heartbroken vocal sneer) while drummer Josh Garza fills all available frequencies with his customary thunder. Whether they’re uptempo sprints (“Dreaming Is Alright, “Everything’s Under”), widescreen ballad-paced crawls (“3, 4, 5 Let’s Stay Alive,” “So Far Down”), or determined drives into the middle distance (“Talos’ Corpse,” “Everything Starts”), these eight taut, sharp tracks hit the sweet spot between hard rock and modern-day psychedelia — tight, mesmerizing, absolutely exhilarating. This one will get your blood flowing.
Bruce Springsteen, Letter to You: As his career trajectory flared, climbed, peaked, then settled into the long tail of legacy-rock stardom, Springsteen never really stopped exploring his core concerns: the ins and outs of freedom and community, their costs and their consolations. The good news here is that Letter to You digs deeper, pondering the price of escape, love, friendship, loss, grief and jubilation, remembering friends now dead, reviving songs once abandoned. When Bruce has something big to write about, he can cut straight to your heart, even from a secluded home studio in deepest New Jersey, and he’s done it again here. With the E Street Band on fire behind him, Letter to You could be the basis of a tour to top them all for Springsteen; but even if that never comes to pass, this album is something special, a hard-rocking reminder that yes, our days on this earth are numbered — but also that love is strong as death.
Three Colours Dark, The Science of Goodbye: This new collaboration between vocalist Rachel Cohen (Karnataka, The Reasoning) and keyboardist/guitarist Jonathan Edwards (Karnataka, Panic Room) proves elegant, introspective and strangely irresistible; there’s brooding power to the music and a darkly compelling lyrical vision to match. Lured by Edwards’ lush, disconcerting settings into Cohen’s brave, quietly harrowing narratives of pain, bewilderment, and self-doubt, you wonder how you’ll make it out — which makes the album’s cathartic finale even more delicious. From claustrophobic onset to the inspiring end, The Science of Goodbye rings true as both testimony and art, as Three Colours Dark follow the light that seeps through the cracks in everything to a new day.
and my favorite new album of 2020 . . .
Revolutionary Army of the Infant Jesus, Songs of Yearning/Nocturnes: I have never before heard anything quite like this album, and found myself returning to it all year. This loose creative collective from Liverpool has pursued “echoes of the sacred” across three decades, striving to access sonic space where transcendence can invade a stiflingly measured-out world. Songs of Yearning and the limited bonus album Nocturnes (still available as a pair at Bandcamp) both stake out new territory where rumors of glory can run; brimming with rough-hewn beauty and deep mystery, pairing audacious scope with quiet, insistent appeal, this music is primal and postmodern in the same eternal instant. As the idols of prosperity and progress continue to totter around us, RAIJ’s latest feels like genuinely good news — a sacramental transmission from, then back to, the heart of creation.
From the very beginning, Progarchy has been a huge supporter of Big Big Train, and we’ll continue to support them come what may. I think the band is making by far the most interesting music in the music industry. You’d be hard-pressed to find another band or artist making such high quality music with such profound lyrics. You’d be hard-pressed to find a better vocalist than David Longdon.
At the beginning of the year the band released The Passengers Club, a subscribers-only site that gives hardcore fans an inside look at the past, present, and future of the band. Content seems to be provided primarily by Greg Spawton and David Longdon, as well as the band’s manager, Nick Shelton. We get demo track downloads, exclusive video content (including live footage from the earliest days of the band), blog articles, and photo albums. As a fan I’ve absolutely loved The Passengers Club. It’s been worth every penny, and it has brought some much-needed joy to an absolutely awful year.
My copy of Nick d’Virgilo’s Invisible was still in the mail when I read Bryan’s first impressions of it. Following its arrival and repeated listens, here are my two cents.
I honestly didn’t know what to expect from this release, and was pleasantly surprised as a result; it gets better every time I hear it. As Bryan says, Invisible doesn’t sound much like Big Big Train (though it puts d’Virgilio’s jazz-rock flavored compositions for BBT in context), or even middle-period Spock’s Beard. And it only dabbles in the hyper, clattery alt-pop NDV tackled with Randy McStine and Jonas Reingold on The Fringe. Mostly, this is an album of classy, soulful rock and pop with R&B undercurrents, reminiscent of nothing so much as the pre-Nirvana mainstream. The progginess is in the extended structures, the virtuoso playing and the overall concept; “The Alan Parsons Project with a lot more horsepower” might be a good thumbnail description.
(Invisible is a pretty cool example of creative entrepreneurship in today’s music industry, too. By leveraging his gig at Fort Wayne’s Sweetwater Studios, d’Virgilio managed to play ten different drum kits in exchange for promotional considerations — i.e. the drool-worthy “Drum Gear” booklet included with each copy — and draw on a bevy of guest stars from studio master classes, with Cheap Trick’s Rick Nielsen as the wildest card in his deck.)
The down to earth storyline, a solid redemption narrative with some nifty twists, definitely helps make Invisible appealing and relatable. But I would argue that the musical means d’Virgilio uses to build out his concept seal the deal. Beyond his emotive singing and consistently brilliant drum work, Nick’s polished efforts on electric piano, loops, bass, bass synth and guitars provide a sturdy chassis for each track; his fellow Sweetwater pros, guest stars and prog buddies lovingly customize the power trains and bodies; and the strings and brass of the Orchestra at Abbey Road furnish plush aural upholstery (along with a recurring musical theme based on the chorus of “Where’s the Passion”).
As a result, every single track of this album grabs on tight from the beginning — not just revealing more depth and emotional resonance with every repeat, but also relentlessly propelling the overall narrative forward. The desolation of the title track and the downbeat cover of “Money (That’s What I Want)”; the defiance of “Turn Your Life Around” and “Overcome”; the devastation of “Waiting for No One” and “Not My Time to Say Goodbye”; the cathartic deliverance of the finale “I Know the Way” — this is outright sonic cinema, pictures vividly created in your head by state of the art, high quality music.
So, yeah, I’m sold on Invisible; it’s already in contention for my end-of-the-year favorites list. And I think you might dig it too. So order it from NDV’s website or Burning Shed; heck, listen on Spotify if you can’t wait for it to arrive. Whatever. You really shouldn’t miss this one.
My copy of Nick D’Virgilio’s new solo album, Invisible, arrived in the mail today, and a few things have struck me upon an initial listen. Please don’t consider this post a full review – just some first thoughts.
First, let me state that I consider Nick D’Virgilio to be the finest drummer in the world. His skill and creativity is blatantly obvious when you listen to a Big Big Train album. His style of playing is simultaneously smooth and complex. It remains intricate without overpowering the listener. He’s also remarkably ubiquitous as a drummer. Just check out the discography page on his website: https://www.nickdvirgilio.com/discography/. There are many albums he has drummed on that I enjoy and I never realized he was playing on them. I think that’s because he’s all about the music rather than it being about him… unlike some other famous prog drummers. On top of all that Nick has a golden voice, as any longtime listener of Spock’s Beard knows.
The concept for this album emerged from Nick’s time working for Cirque du Soleil, the first time in his career where he was “invisible” in the pit rather than center stage behind a kit or singing lead vocals. The main theme can be summarized with the idea that every person was put on this earth for a reason, and each person must figure out what that reason is and fully live it.
Perhaps the most surprising thing about this album is that it isn’t just an album of D’Virgilio showboating on the drums. Rather the drums serve the songs, most of which feature lyrics Nick wrote. I recently reviewed an album for the Dutch Progressive Rock Page that was a solo album from a world-renowned drummer. That album was all about the drumming, and it got a little overpowering at points, even though I thought it was still a good album. On “Invisible” the drums play their role, and I think that’s one of the things that makes Nick so great. He doesn’t overplay, and he doesn’t underplay. He masterfully provides just what a song need.
Another first impression is this isn’t a Big Big Train album. I wasn’t really expecting it to sound too much like Big Big Train, but I thought it might since that’s Nick’s main band now. (His day job is working for Sweetwater music in Fort Wayne, Indiana.) Invisible is fully unique. There are plenty of guests, but a perusal of the album booklet didn’t see any BBT members guesting. Sure there’s the odd passage here and there that could be compared to BBT, but this is a totally different deal.
Abbey road’s orchestra is prominent throughout, which gives it a symphonic rock feeling at points, but the guitars and drums firmly ground Invisible as a progressive rock album. The album doesn’t fall into traditional tropes, however. It tells a story in a subtle way, which I think will keep it sounding fresh on repeated listens. It even manages a touch of musical theater in the track “Wrong Place Wrong Time,” which probably comes from Nick’s time with Cirque du Soleil.
Like I said – these are just some first impressions. If you buy the album from his website, not only will it come signed but also it will include an extra booklet featuring detailed descriptions of the drum setups used on each song. He used various drum kits on this album rather than one single kit. Or you could be like me and accidentally buy two copies – one from Nick’s shop and the other from Burning Shed.
There is a lot of great prog and prog metal currently in the pipeline – either that has already been released or that will be in the coming months. Plenty of new singles and whole albums out.
Caligula’s Horse – Rise Radiant
Australian prog metal band Caligula’s Horse released their brand new record, Rise Radiant, today. For some reason their music never really connected with me before, but this album has. It is insanely good. It has the technicality mixed with the quirkiness that this generation of prog metal has become known for. Outstanding vocals as well. I’ve got some homework to do on their back catalog. If all goes well, they’ll be coming to North America next January-February for the very first time. https://caligulashorse.com
Haken – Virus
I’ve been able to listen to an advance copy of Haken’s new album for a few weeks now, and it is quite good. It has been a slow burn for me, but that could have something to do with absorbing it in the background while I work from home. It has the heaviness and the technicality we are used to, and melodies abound. There’s a gentleness in Ross Jennings’ voice that strikes me as something new, but I could be wrong. There are also musical nods to their last album as well as “The Cockroach King.” The title is bound to upset some people, but it’s not like Haken could have possibly known what was going to befall the world when they wrote and finalized the album. The release date has been pushed back a few weeks to June 19. I expect this is due to production issues with supply chains in the western world having been shut down for over two months. The band released another single today. https://hakenmusic.com
Nick D’Virgilio – Invisible
Big Big Train drummer Nick D’Virgilio has a new solo album coming out. Based on the single, it has a bit of a Big Big Train vibe in the song structure and general progression, but there’s also a Broadway theatricalness to it. The latter, according to D’Virgilio, comes from his time working with Cirque de Soleil. The album title comes from being an invisible member in the orchestra pit. Nick obviously plays the drums on this album, but he also sings. Anyone who knows his work from Spock’s Beard knows what a great voice he has. Jonas Reingold plays bass, Randy McStine plays guitars, and Jordan Rudess plays piano and sythns. Brass and string sections are courtesy of the Abbey Road Studios orchestra. Yeah this is some next level stuff. I’m looking forward to hearing the whole thing. Out June 26. https://www.nickdvirgilio.com
Due to the delights and demands of daily life, my second annual visit to Chicago’s Progtoberfest couldn’t be as extensive as last year’s threedayblowout. Originally, I was only going to take in Sunday, in order to experience Soft Machine’s 50th anniversary tour of the USA. But an unexpected schedule opening let me check out the Saturday night action at Reggie’s Rock Club on the Windy (and Sleety) City’s south side.
One of the reasons I added Saturday night to my itinerary was the return of North Carolina’s ABACAB – The Music of Genesis. This ambitious tribute band charmed Progtoberfest 3 with a complete run-through of 1977’s live Genesis album, Seconds Out. This year, the brief was even more demanding: celebrating Genesis’ 50th anniversary by counting back down the years a la Rush’s R40 tour.
Given their time constraints, ABACAB opted to start with the 1981 Genesis track that gave them their name, then go back, back, back … Jaws dropped throughout the audience as they scaled the challenging heights of And Then There Were Three’s “Burning Rope,” Wind and Wuthering’s “Eleventh Earl of Mar” and the title track from A Trick of the Tail, never originally performed onstage. These choices all had special meanings for me: not only did I play “ABACAB” with my Alma College band The Run-Outs (shout out to Gadz, Jenny, Beef and the late great Joel Kimball), but “Burning Rope” and “Earl of Mar” were highlights of Genesis’ set when I saw them in 1978 at my first rock concert (also my first date)!
And the upward climb continued — Nick D’Virgilio (among his numerous credits, drummer on the final Genesis album Calling All Stations) hopped onstage, taking command to sing “In the Cage” from The Lamb Lies Down on Broadway with flair and power:
From that point on, ABACAB had the audience completely in their grasp, cruising through highlights of the Peter Gabriel years in high style, then finishing with “In the Beginning” from the 1968 schoolboy album From Genesis to Revelation. Singer Pete Lents, bassist/guitarist Cliff Stankiewicz, new guitarist James Nelson, keys man Patrick Raymaker and drummer Matthew Hedrick played with brio and precision throughout, and got an enthusiastic standing ovation for their sterling effort.
Another cool thing about Progtoberfest: how organizer Kevin Pollack draws on the incredibly talented musicians based in Chicago, including many who’ve played crucial roles in the development of jazz, rock and prog. Dinosaur Exhibit was a shining example of that talent on display — a seasoned “where are they now” octet featuring members of area bands The Flock, Aura and The Mauds; the prime draw was violinist Jerry Goodman, best known for his founding stint with John McLaughlin’s Mahavishnu Orchestra.
Given Goodman’s pedigree and track record, I’m not sure the Rock Club crowd (including members of Soft Machine leaning back against the soundboard) were ready for the horn-powered blue-eyed soul that kicked off Dinosaur Exhibit’s set. It was driving, vivid stuff , as vocalist Ben Cothran testified with the best and Goodman fiddled up a storm — but you could almost see the “is this really prog?” thought balloons forming over the audience’s heads. The rest of the set (pioneering Goodman fusion originals like “Brick Chicken”, an admirably psychedelic take on “I Am the Walrus” and a viciously swinging “Theme from ‘Perry Mason'” finale) were more in that expected wheelhouse, though, and DE ultimately got the extended applause they deserved.
Which left Neal Morse as the evening’s closer, climbing onstage for a solo set on vocals, acoustic guitar, keyboard, percussion and looping software. As always, Morse was engaging and impressive, using his sonic arsenal to present songs from his new Life and Times, along with impressive takes on solo material (the multi-layered overture/finale sequence from ?), tunes by Transatlantic (“Stranger in Your Soul,” an impromptu “We All Need Some Light”) and Spock’s Beard (“Thoughts Pt. I & II,” done entirely with vocal loops).
Morse’s improvisatory opener “Songs of Freedom,” incorporating riffs from both Black Sabbath and Yes, established a loose, fun tone for the set — best encapsulated when he brought “Selfie in the Square” to a shuddering halt, then spent 10 minutes pulling tunes by Coldplay, Donovan and The Beatles out of his head, all because he couldn’t help singing the word “yellow” with an British accent! This wasn’t the high-energy, goal-directed path of concept albums like Testimony and The Similitude of a Dream; it was a relaxed, meandering vibe, in keeping with the smaller crowd, the quieter sound palette and the lateness of the hour. It was delightful to catch Morse off his guard and having more sheer fun than usual, with every bit of his heartfelt lyricism and musical brilliance still there for us to enjoy. (After I left to catch the train, Nick D’Virgilio hopped back onstage to harmonize with Neal on Spock’s Beard standards “The Doorway” and “Wind at My Back.”)
The other great part of my Progtoberfest sojourn was catching up with fellow fans I connected with last year from West Michigan, Kentucky, St. Louis, Wisconsin and beyond. More about that next time, as well as covering the lineup for Day 3 — sixteen bands on two stages in twelve hours. Stay tuned …
As I entered Reggie’s Rock Club on the final day of Progtoberfest, the Virginia band Kinetic Element were winding up their set. From the merch stand (where Discipline’s Matthew Parmenter was kind enough to make change for me as I bought CDs), their take on classic prog, spearheaded by keyboardist Mike Visaggio, sounded accomplished and intriguing; I wished I could have arrived earlier and heard more. Plus, you gotta love a band with a lead singer in a kilt! (Props to Progtoberfest’s Facebook group admin Kris McCoy for the picture below.)
The second high point of the festival for me followed, as fellow Detroiters Discipline held the Rock Club spellbound with their baleful, epic-length psychodramas. Matthew Parmenter reeled in the crowd with his declamatory vocals and emotional range; from there, the quartet’s mesmerizing instrumental interplay kept them riveted. The well-earned standing ovation at the end felt oddly cathartic, as if the audience was waking from a clinging nightmare, blinking at the newly-rediscovered daylight — even while rain clouds and colder temperatures rolled in outside.
Big Big Train, GRIMSPOUND (Giant Electric Pea, 2017). Tracks: Brave Captain; On the Racing Line; Experimental Gentleman; Meadowland; Grimspound; The Ivy Gate; A Mead Hall in Winter; and As the Crow Flies.
The band: Greg Spawton; Andy Poole; David Longdon; Nick D’Virgilio; Rachel Hall; Danny Manners; Dave Gregory; and Rikard Sjöblom.
The Rating: Perfect. Beyond prog.
Go, go, go said the bird: human kind
Cannot bear very much reality.
Time past and time future
What might have been and what has been
Point to one end, which is always present.
–T.S. Eliot, “Burnt Norton.”
There can be no doubt that Big Big Train is not just one of the best bands of third-wave prog, but also one of the best bands of the rock era. I suspected this when I first heard THE UNDERFALL YARD back in 2009 and was moved at every good level of my being. Subsequent releases from the band have only confirmed this for me. Every note, every lyric, and every brushstroke matter for the band. They take their music seriously, and they take us—their followers—seriously. Aside from the music (if there is, in any reality, such an “aside”), it’s clear that the two founders and mainstays of the band, Greg Spawton and Andy Poole, know how to form and leaven communities.