Tag: Peter Jones

Album Review – Haken’s “Fauna”

On By Bryan MoreyIn Heavy metal, Prog, progressive metal, progressive rock2 Comments

Haken, Fauna, Inside Out Music, 2023
Tracks: Taurus (4:49), Nightingale (7:25), The Alphabet of Me (5:34), Sempiternal Beings (8:24), Beneath the White Rainbow (6:45), Island in the Clouds (5:46), Lovebite (3:50), Elephants Never Forget (11:07), Eyes of Ebony (8:32)

Haken have never been a band to shy away from experimentation, yet no matter what musical pond they dip their toes into, their albums always sounds distinct. There’s no mistaking their music for someone else’s. Maybe it’s the syncopation and the speedy jazz-influenced guitar riffing. Or Ross Jennings’ signature voice. Or the band’s ability to make quiet music remarkably complex while still being able to lay down intensely heavy riffs that hold their own amongst the heaviest prog metal powerhouses of the day. And they can go back and forth between the two seamlessly.

Fauna is in many ways a typical Haken album, then, in the sense that is features the band’s playfulness and willingness to experiment. “The Alphabet of Me” has both rapped lines (before you get mad, even Dream Theater has tried that) and trumpet. “Sempiternal Beings” (sempiternal is a fancy word for eternal) has a masterful balance between the dark and light sides of Haken’s music. “Island in the Clouds” even has cowbell.

The ocean between us is where we find inner peace.

“Sempiternal Beings”

“Beneath the White Rainbow” is magnificently chaotic. The bizarre filter on the vocals make it seem a bit cloudy, and the heaviness of the music give it a djent edge. “Lovebite” has a pop edge with a catchy melody in the chorus, but the chorus remains heavy enough to make it palatable to my prog snob ears. Keyboardist Peter Jones’ (original Haken keyboardist who rejoined the band; not the Tiger Moth Tales PJ) swirling key acrobatics adds a layer of interest here as well, as does the brief guitar solo in the final third. The drum blast beats to open the song are anything but pop.

“Elephants Never Forget” is the prog star of the record and the best song here, in my opinion. This is the kind of song that made me fall in love with Haken a decade ago. It has the playfulness of “The Cockroach King” with the epic grandeur of “Crystallised.” The vocal harmonies return, although they probably could have been used to even greater effect. But they are there. The song’s length gives it space to breathe and move, which is generally what holds my interest in music. And it doesn’t get more prog than singing about the “leviathan of Doggerland.”

I think the album would have been better served by ending on this track rather than “Eyes of Ebony.” It has a sort of swell to it that feels complete. “Eyes of Ebony” is still a great track, especially once it gets rolling, but I don’t think it’s the best choice for an album closer. It kind of just tapers off, leaving the record on a bit of an uncertain note. “Elephants Never Forget” has a satisfying ending.

Truth be told, I’d be perfectly happy if Haken made an entire album of songs like “Elephants Never Forget,” rather than the rabbit trails they often go down into other musical genres. A lot of the electronic, rap, etc. does very little for me, but I appreciate how they are able to fold those elements into their sound without compromising their style of music. I generally prefer the softer elements in Riverside’s and TesseracT’s music over Haken’s softer side, but that may be because both of those bands have a spacier Floydy edge that Haken doesn’t really have. It all comes down to preference. All in all this is another solid record from one of the foremost names in the prog metal scene today. It’s one of the best records released thus far this year, second only to Riverside’s ID.Entity.

https://hakenmusic.com/music/fauna/
Merch: https://www.omerch.com/shop/haken

The Bardic Depths’ Dave Bandana: The Progarchy Interview

On By kruekuttIn Pink Floyd, progressive rock, Robin Armstrong1 Comment

Full disclosure: I PLAY ON THE NEW BARDIC DEPTHS ALBUM!!!!!

Now that I’ve got that out of my system . . . oh, wait. You want details?

Having gotten to know Dave Bandana through this website and the Big Big Train group on Facebook, I was one of the folks who contributed spoken words (“This! Is! War!”) for The Bardic Depths’ 2020 debut. I had mentioned to Dave that, if he ever needed a church organ part for an album, he should get in touch. Which didn’t lessen my surprise when, in that strange summer of 2020, he did! And so, I wound playing not only church organ for Promises of Hope’s closing track “Imagine” (no, not that “Imagine”), but a Hammond organ solo on the opener “And She Appeared.” Being listed in the album booklet as a “special guest” has turned out to be more of a kick than I ever would have anticipated.

With all that as backstory, Dave agreed to join me for a chat about the new album, released worldwide on June 24th! We cover its genesis and the integral contributions of lyricist/conceptualizer Brad Birzer, producer Robin Armstrong, the new core band that plays on every track, and other collaborators. (And yeah, there are a few minutes devoted to a goofy volunteer keyboardist.) The video of our conversation is below, with a complete transcription following.

So, brand new Bardic Depths album!  I’ve been looking forward to it, for reasons we will probably get into – but I know a lot of people are as well!   But what was the initial impetus for returning to the world of The Bardic Depths?

The success of the first one, and the actual joy of recording the first one and bringing it all together.  Especially as, when we originally had done the first album, we didn’t know how it was gonna finish off.  It was just gonna be a little home studio thing with me and Brad [Birzer] and a few friends.  But then as more friends got involved in it, and then Peter Jones got involved and Robin [Armstrong] got involved, and the thing turned into a fully-fledged proper album.  And just the joy of doing that and seeing the fruition from that, we couldn’t not do a second album!

And to be honest, I was straight on writing even before the first one was released.  So that was the major impetus for wanting to do a second album.  And, hopefully the same thing’s gonna happen for a third one as well!

So, you were so excited that you already had material going for this?

I didn’t have material going.  I knew that I wanted to write again and started writing straight away from when that first one came out.  I can’t even remember how much of that initial burst of enthusiasm got used on Promises of Hope.  Probably a few snippets of it, but the writing certainly started as the first one was completed.

OK.  So, where did the concept that drives this album – the overall, the lyrical concept — emerge from?  I’m assuming Brad Birzer had a great deal to do with that.  But where did that come from?

Yeah, he had a lot to do with it!  Brad had sent me a little novelette thing that he’d written, a story.  I’d suggested to him a while back, “you’re a great writer.  Have you ever written a novel?”  He said, “well actually, I started on one, but I never got it finished.”  So, he sent that to me, and I said, “this would be a great idea for a concept album.”  So, he then carried on and took it — he didn’t actually complete the story; what he did was, he took it as far as he’d gone with it and elaborated around it a little bit more.  So, Brad was the guy that came up with the story for the second one.

And in the publicity, you mention that Virgil and C.S. Lewis are the two bards here.  And it seems to me that the Virgil, if I’m reading the story right, it’s the story of Dido and Aeneas from the Aeneid.

Yep!

Got that one right!  I can’t place the C.S. Lewis part of it, but I’m sure I’ll figure it out as time goes by.

Brad’s the person to speak to for this.  I think the actual C.S. Lewis part is actually in the booklet.  In the booklet Brad’s written a whole page, basically detailing what the story’s all about.  [Searching his memory] I can’t remember the complete title of the book. [A later message from Dave stated that the book is The Horse and His Boy from The Chronicles of Narnia.]  Anyway, Brad’s actually quoted from that book, so we’ll see it in there, so we’ll know which one it is.

I left the story to Brad; it’s a tricky sort of subject.  But I think it’s one that we dealt with in a not-complex way, in quite a simplistic way.  But it told the story that we wanted to tell; it didn’t go into too much detail, but it gives the listener something to think about.

Uh-huh.  So why Promises of Hope as the title?

The original title was gonna be Hope, Not Victory.  But as an album title, that was possibly a little bit more difficult to explain away.  And I liked Promises of Hope; it appears a lot in the lyrics – “with promises of hope, but never of victory” is a line that comes up quite a lot.  And I think to have a promise of hope is something to look forward to, rather than the other way around.  So, I changed it to make it a little more joyous, for want of a better word, yeah?

Got it!  So, as you were recording this, how did the core band that you wound up with at the end of this album take shape as you were making this album?

Continue reading “The Bardic Depths’ Dave Bandana: The Progarchy Interview” →

Rick’s Quick Takes for March

On By kruekuttIn art rock, Insideout Music, jazz, jazz rock, pop, progressive rock3 Comments

Lots of great music has crossed the metaphorical Progarchy transom this month! Purchasing links are embedded in each artist/title listing; album playlists or samples follow each review.

The Flower Kings, By Royal Decree: Fun fact: this is the third double album in a row from king of Kings Roine Stolt and his merry band. And like 2019’s Waiting for Miracles (which started the streak) it’s compulsively listenable from start to finish. Fresh out of lockdown, Stolt, singer Hasse Fröberg, keyboardist Zach Kamins, drummer Mirko deMaio and alternating bassists Jonas Reingold & Michael Stolt laid down 18 songs in the studio, negotiating the twists and turns of wildly varied material (some of which dates back to the early 1990s) with energy, precision and evident delight. Not a trace of metal here, and I hear much more psychedelia, fusion and Eurofunk in the mix than stereotypical “prog” — but to my ears, that’s what makes goodies like the unpredictable opener “The Great Pretender”, the ravishing ballads “A Million Stars” and “Silent Ways”, and the off-kilter eccentricity “Letter” so fresh and fun. There are plenty of serious lyrical moments too, as in “The Soldier” and “Revolution”; but, by and large, By Royal Decree is the sound of Stolt and company refreshed and revisiting their optimistic roots, soaring on the wings of one marvelous melody after another. It’s as much a joy to hear as it must have been to create.

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

Rob Reed and Peter Jones Resurrect CYAN Band

On By Bryan MoreyIn progressive rock4 Comments

Press Release:

Magenta’s Rob Reed and Camel’s Peter Jones come together to resurrect the band CYAN with reimagined and reworked material from the band’s debut album. CYAN features Luke Machin, Pete Jones, Dan Nelson. New album ‘For King and Country’ due out on Sept 24th.

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Keyboardist and composer Rob Reed, known for his work with Magenta, Kompendium and Sanctuary solo albums, is pleased to announce a brand-new album from Cyan – For King and Country, due out on the 24th of September 2021.

Prior to Magenta, almost 30 years ago, Reed release three albums with his then band Cyan. Out of the ashes of that band, Magenta was borne.  Now, on this new Cyan album, Reed has rewritten, rerecorded and reimagined material from the early days of Cyan, and this time with a brilliant new lineup. The group features vocalist Pete Jones (Camel, Tiger Moth Tales), guitarist Luke Machin (Maschine, The Tangent), and bassist Dan Nelson (Godsticks, Magenta).  The band will be playing their first show at Summers End Festival, Sunday, Oct. 3rd.

The album is available for pre-order here:
https://www.tigermothshop.co.uk/store/Cyan-c117062595

Watch the video for the 15-minute opening track and first single “The Sorceror” here: https://youtu.be/x578hquw9nw

Rob Reed on the new album:  
Little did I know in 1983, sitting at the school piano writing these songs, that almost 40 years later those same songs would sound like they do on this album. I remember the original Cyan, made up of school mates, pooling our money, £35 to record them at a local 4 track studio with basic equipment. It’s been amazing to finally hear the songs at their full potential, with modern recording techniques and an amazing line up of players.
  
I’d held off releasing this album because I couldn’t find a vocalist to do it justice. Meeting Pete ticked that box, as soon as I heard him sing the first track. His voice just blends so good against Angharad Brinn, who I’d worked with on the Sanctuary solo albums. Having Luke play the guitar parts was just the icing on the cake. He is such a great player, with technique and feel. What a line up!
Pete Jones had this to say about the project:
I had known about the reworking of For King And Country for a while, so it was a great thrill to be asked by Rob to work with him on the project, alongside the other amazing musicians such as Luke and Angharad. The songs are fantastic. They have a youthful and yet vintage quality to them, as well they might, given that they were first done in the early 90s. But with the benefit of Rob’s experience, they have been reworked into an album which I feel is right up there with the classics.
 
Tracklisting:
 
1.The Sorceror
2.Call Me
3.I Defy The Sun
4.Don’t Turn Away
5.Snowbound
6.Man Amongst Men
7.Night Flight
8.For King and Country
 
Featured in photo:
Rob Reed
Dan Nelson
Luke Machin
Jimmy Griffiths
Peter Jones
Magenta/CYAN/TigerMothTales Website
https://www.tigermothshop.co.uk/

Weekend Roundup 2: DIY Britprog

On By kruekuttIn Cosmograf, progressive rockLeave a comment

One indication of the absolute glut of recorded music available today: more of what I’ve whimsically labelled “DIY (for Do It Yourself, a la Peter Gabriel) Britprog” is available than ever. With Prog Magazine providing a megaphone and Big Big Train’s international impact paving the way, countless musicians from England have brushed up their chops, dusted off their home recording setups, and churned out self-released albums by the bushel in the past decade. Even as the chances of market penetration narrow in the age of Spotify and live lockdowns, an astonishing number of artists seem compelled to keep plowing the furrows first tilled by Pink Floyd, King Crimson, Yes, Genesis and their sundry heirs. The sheer amount of “meh” music that’s resulted notwithstanding, three recent releases (and a teaser of more to come) indicate there’s still enough fertile soil in that ground to keep yielding fresh harvests.

First up: Tiger Moth Tales’ The Whispering of the World from late 2020, for which TMT mainman Peter Jones stripped down both his writing and his usual instrumentation. Working with producers Robert Reed and Andrew Lawson, Jones eschewed multi-sectional tunesmithery and one-man-bandship in favor of a song cycle for voice, piano and string quartet. The result works like gangbusters! From the vigorous, propulsive opener “Taking the Dawn” through melancholy mini-epics like the title track, “Quiet Night” and “Waving, Drowning” to the grave, sweeping pop of “Blackbird” (no, not THAT one, but arguably as affecting) and the closer “Lost to the Years”, every track feels unpretentious, fresh and heartfelt. The semi-classical sonics mesh effortlessly with the compelling songcraft; Jones’ sensitive singing and lush piano playing weaves in and around the light and shade of the strings. Even better, the music proves the right medium for the lyrical message, as Jones narrates a cathartic passage through (in his words) “special or significant moments . . . coming to terms with both losing those close to us and our own mortality and place in the universe.” Sound a bit heavy? Well, yeah — but paired with Jones’ solo Quiet Room Session, The Whispering of the World is a sentimental journey well worth taking. Sample it for yourself, then order it on Bandcamp.

Continue reading “Weekend Roundup 2: DIY Britprog” →

New and Noteworthy on Bandcamp!

On By kruekuttIn art rock, jazz rock, pop, progressive rock3 Comments

Nearly six months into the worldwide coronavirus epidemic, Bandcamp continues to be a lifeline for musicians.  Since March, fans have purchased more than $75 million worth of music and merchandise there  — including more than $20 million from four Bandcamp Fridays, when the website has waived its fees for artists and labels.  Last week, the announcement was made that Bandcamp Fridays will continue for the rest of 2020.

So (as your pocketbook permits), what’s worth your hard-earned cash on August 7, September 4, October 2, November 6, or December 4?  From my Bandcamp collection and wishlist, a few suggestions:

iatmw things unseenI Am the Manic Whale, Things Unseen:  I’m blown away by the energy, humor and sheer delight these young British proggers bring to their story-songs; this third album could be their best yet, with crystal clear production by Rob Aubrey.  There’s wickedly cheery satire in “Billionaire” and “Celebrity”, an atmospheric trip to Narnia in “The Deplorable Word” and unbounded joy at the gift of children in “Smile” and “Halcyon Days”.  Not to mention IAtMW’s very own train song, “Valenta Scream”, challenging 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.

 

mcstine minnemannMcStine and Minnemann: left-field, shreddy art-pop to get your adrenalin flowing. Randy McStine (guitars, vocals, other stuff) and Marco Minnemann (drums, vocals, other stuff) prove steady hands on the steering wheel for wild rides like “Your Offenses” and “Activate”, as well as the stark ballad “The Closer”.  Sure, the songs are short; they’re also stuffed to the gills with ethereal melodies and harmonies, woozily evocative lyrics, ear-grabbing riffs, impossible  drum fills, freaky collages of sound and radical mood shifts.  Don’t expect to focus on anything else while you’re listening to this — just hold on tight and have fun.

 

sancious eyes wide openDavid Sancious, Eyes Wide Open:  a charter member of Bruce Springsteen’s E Street Band, Sancious led the critically acclaimed trio Tone before tackling wingman duties for Peter Gabriel and Sting.  The focus of Eyes Wide Open (finished before lockdowns and protests swallowed news feeds whole) on today’s cultural unrest proves eerily prescient; the vocal tracks “Urban Psalm #3” and “If” and the instrumental “War in Heaven” are ambitious statements on universal human dignity that can lay claim to the moody, magnificent heights of Marvin Gaye’s What’s Going On.  Sancious sings on half the tracks and plays burning guitar and keys throughout, fusing jazz, rock and gospel into winning combinations, atop unbelievably funky drumming by Vinnie Colaiuta, Will Calhoun (Living Colour) and Michael Bland (Prince).  

 

spiraling transmitterSpiraling, Transmitter:  Back in the early 2000s, Tom Brislin (now tearing up the keys in Kansas) led this obscure, wonderful power-pop band in between side gigs with Meat Loaf, Yes and Camel.   On this re-release from 2002, Brislin’s sardonic, appealing vocal delivery perfectly matches the bone-dry wit of “The Girl on Top (Of the Piano)”, “The L Word III” and “(Get Your Own) Holy Grail”.  And the music is built to match: irresistible hooks, propulsive rhythms and riffs that take unexpected detours, every sonic crevice crammed full of nifty synth riffs, effects and solos.  This is unbelievably catchy, unbelievably sharp stuff.   (Check out Brislin’s new, punky public service announcement too!)

 

tmt still aliveTiger Moth Tales, Still Alive/A Visit to Rockfield:  This isn’t the Tiger Moth Tales album Peter Jones planned to release this year — but it’s definitely one that fits the moment.  His gift for melody and innate hopefulness gives these six new tracks (well, five plus a reprise) an effervescence and a glow that can warm the coldest heart.  There’s a beautiful, broad range of expression here, from the optimistic fortitude of the title track and the epic sweep of “The Mighty Fallen” to the rhythm box-laden goofiness of “Whistle Along.”   The bonus DVD features Jones and TMT in session at the legendary Rockfield Studios.  Enjoy this love letter to the world from deepest Nottinghamshire.

 

soft machine baked potatoMoonJune Records: Soft Machine’s Live at the Baked Potato is the latest release from global impresario Leonardo Pavkovic.  On this beauty, the Softs’ explorations are every bit as daring and delectable as when I heard them live in 2018.  Plus, there are plenty of other face-melting instrumental jazz/rock/avant/ethno albums coming soon from Stick Men, touch guitarist Markus Reuter, guitarist Mark Wingfield and a host of other international talents!  Watch for more news at the MoonJune Bandcamp page, or do what I did; subscribe and get everything MoonJune releases for a year!

 

— Rick Krueger

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” →

Bandcamp Does It Again!

On By kruekuttIn progressive rock2 Comments

Back on March 20, Bandcamp waived its share of all sales, in order to support artists whose livelihoods were effected by the COVID-19 pandemic (especially because of cancelled live shows and tours).  The results were astonishing: $4,300,000 in sales of downloads, CDs, LPs and merch, 15 times a normal Friday’s take.

So, to their credit, Bandcamp is doing it again.  And again.  And again.

On May 1, June 5, and July 3 (the first Friday of each month), we’re waiving our revenue share for all sales on Bandcamp, from midnight to midnight PDT on each day.

(Over 150 artists and labels are offering discounts, exclusive items, merch bundles, and more this Friday.)

It may sound simple, but the best way to help artists is with your direct financial support, and we hope you’ll join us through the coming months as we work to support artists in this challenging time.

And, in case you’re wondering, there’s tons of recorded goodness available at Bandcamp from these Progarchy-favored artists:

If your budget allows it, and you need a prog fix, why not do your shopping at Bandcamp this Friday?

 

— Rick Krueger

Sounding the Bardic Depths

On By kruekuttIn progressive rock3 Comments

Friendship arises out of mere Companionship when two or more of the companions discover that they have in common some insight or interest or even taste which the others do not share and which, till that moment, each believed to be his own unique treasure (or burden). The typical expression of opening Friendship would be something like, ‘What? You too? I thought I was the only one.’ … It is when two such persons discover one another, when, whether with immense difficulties and semi-articulate fumblings or with what would seem to us amazing and elliptical speed, they share their vision – it is then that Friendship is born.

— C.S. Lewis, The Four Loves

The Bardic Depths is a rare creation; the method of its making embodies what it portrays.  It’s a distinctive take on the concept album, sparked from ongoing collaboration by two devoted lovers of progressive rock, with stellar contributions from some of the music’s current leading lights.   (Oh, and fleeting spoken-word cameos from others, including yours truly — so yeah, objectivity is out the window here.)

Lyricist Brad Birzer and vocalist/multi-instrumentalist Dave Bandana have been self-releasing enjoyable albums for a few years now,  launching impressionist volleys of lyrical prose (usually in a dystopian sci-fi framework) via arching, chantlike melodies, poised atop appealingly thick ambient pads and amiably chugging pop grooves.  When Birzer pitched the life, times and friendship of C.S. Lewis and J.R.R. Tolkien as an album concept, Bandana loved it — but as the music took shape, he realized that contributors who could kick things up a level were needed for the album to take wing.

Enter the Passengers — that astonishingly amiable Facebook group of fans brought together by their love of Big Big Train.  Having seen BBT live (and made numerous musical friends in the process), Bandana modestly reached out for help.  And, as the video below reveals, one thing led to another:

Continue reading “Sounding the Bardic Depths” →

News of the World … of Prog

On By kruekuttIn progressive rock1 Comment

Big Big Train’s announcement of the Passengers Club and North American tour dates were just the tip of the iceberg this week!  In other progressive rock-related news:

King Crimson and The Zappa Band (the latter an authorized project of Frank Zappa’s estate, featuring alumni from his 1980s bands) will tour the USA and Canada in June & July.  One tour date (at Wolf Trap National Park for the Performing Arts) in Virginia has been announced for June 30th; others will be announced soon.

The three-part Emerson Lake & Palmer epic “Karn Evil 9” is being developed as a science-fiction movie, to start production later this year.  ELP managers Stewart Young & Bruce Pilato will serve as producers, along with Carl Palmer and Radar Pictures (developers of the Jumanji and Riddick franchises).

Plenty of great album releases are on the way as well, including:

Tiger Moth Tales’ live CD/DVD A Visit to Zoetermeer, out on February 21 and available to pre-order on Bandcamp;

John Holden’s Rise and Fall, the follow-up to 2018’s well received Capture Light, out on February 29;

Fernando Perdomo’s Out to Sea 3: The Storm, out on March 6;

Rick Wakeman & The English Rock Ensemble’s The Red Planet, out in April.

Time, it would seem, for the world of prog rock to awaken from its long winter’s nap!

Mandatory Credit: Photo by Alan Messer/Shutterstock (133333fw) EMERSON, LAKE AND PALMER VARIOUS

— Rick Krueger