[I’m thrilled by the responses to our recent review of Vapor Trails, remixed. In hopes these very worthy comments get more attention, I’m posting them as a separate post. Enjoy–BB, ed.]
Tag: progarchy
New Contact Information
So, after nearly a year of existence (and, yes, I’m rather proud of progarchy’s success!), I’ve finally gotten around to getting a proper contact email for our website. So, if you have questions, or if you want to send us links to your music. . . please. We’d love it.
Our new official email address: progarchy@gmail.com. Not creative, but efficient and memorable.
Yours, Brad (ed.)
Progarchist Journal, June 18, 2013
What more can one write than: 2013 has already proven to be one of the finest years in prog history.
We’re not even quite halfway done with the year, and just consider the number of quality (an understatement) releases: Big Big Train’s English Electric, Vol. 2; Cosmograf’s The Man Left in Space; Nosound’s Afterthoughts; The Tangent’s The Rite of Work (translated!); Shineback’s Rise Up Forgotten; Days Between Stations’s In Extremis; Majestic’s V.O.Z.; Riverside’s Shrine of New Generation Slaves; Sanguine Hum’s The Weight of the World; and Lifesigns’ Lifesigns. Additionally, BBT, Matt Cohen, Matt Stevens, Leah McHenry, IZZ, Heliopolis, Arjen Lucassen, Glass Hammer, The Advent, Kevin McCormick, Transatlantic, The Flower Kings, and Gazpacho are working on new material.
If I forgot anyone, please forgive me. So much greatness is emerging, that it’s hard to keep track of it all.
When I see comments on the web to the effect of “sure, there’s lots of stuff coming out, but it doesn’t live up to the past,” I just scratch my head.
Are you kidding me? Name another time when so much intensity, diversity, meaning, and beauty has sprung forth from the prog community? There are several recent releases that I would argue beat (though, of course, they build upon) any thing that’s come before. But, why compare? Let’s enjoy what we have and give some thanks.
Consider other developments in the prog world:
- David Elliott has founded Bad Elephant Music
- Kev Feazy of The Fierce and the Dead is a dad.
- Prog fan, Richard Thresh, is a father yet again, as well
- Billy James of Glass Onyon is promoting prog like a wonderful mad man
- First lady of Prog, Alison Henderson, is one of the three winners of Playtex’s Ageless Generation competition to find women who are fabulous and over 50
- Brian Watson has created much of the art for the forthcoming The Tangent release
- Willem Klopper, Captain Redbeard, Craig Farham, and Nick Efford reveal prog-inspired art and photography by the week
- Russell Clarke also gives us prog-inspired photos of his Norwegian Forrest Cats (well, ok, this is not quite as proggy as I’m suggesting)
- Back to a serious note, 3RDegree and John Galgano are touring in the U.S.
. . . . and the list of accomplishments go on and on. . . . Bravo!
We’re truly sad to have lost Ray Manzarek to the ravages of time, and Chris Thompson of Radiant Records to another profession. But, of course, we recognize this is life. And, we wish all well.
Progarchy.com
On the Progarchy.com front, the progarchists remain unified in their vision of attempting to match our writing quality and thoughts with the excellence of the music being made and created, past, present, and future. Our site is not even a year old, and we have 760 of you who receive every single post via email, and anywhere from 100 to 1,000 visit the website on a daily basis. Folks as profound as Greg Spawton, Matt Stevens, Giancarlo Erra, and Andy Tillison have offered their kind thoughts about the site. A huge thanks to all who have supported us.
A few interesting additional notes
Matt Stevens has started a video series on Youtube, answering questions presented to him. In this one video–https://www.youtube.com/watch?v=bcmmj5YtRdY–you’ll get a sense of Matt’s integrity and genius. In under three minutes, he demonstrates more confidence and virtue about art and humanity than a myriad of academic books have done over the last 30 years. Atheist or theist, I say, “God bless you, Matt!”
Also, as we all well know, most proggers can’t afford to live only on the profits of their releases. Such, of course, is a rueful comment on modern life, but it’s also simply a reality. So, for this journal entry, let me praise the other business/pursuit of Cosmograf’s Robin Armstrong. We all know the kind of professionalism and artful sense Robin brings to music. He does the same as an entrepreneur. Just check out his website, http://poshtime.com/wordpress/about/, a witness to his mastery of all things chronometric!
Please support Robin not only in his music, but in his excellence as a businessman as well.
Thanks for reading all of this. Rising pizza dough beckons me. . . .
Enochian Theory – live in Manchester
Every time I see the sign below, as we approach the Northern Quarter in Manchester, I get that quiver of anticipation that brings memories of friends, old and new, great ale in great pubs, and of course live music in small intimate venues.
Enochian Theory are a small group with a big sound and their current album ‘Life…and all it Entails’ is currently on my most-played list with a terrific overall tone with layers of melodic invention carefully placed over some seriously heavy sections with the requisite growls (albeit few and far between and deftly introduced…).
Having the opportunity to see these guys at first hand was too good to miss and as the support group, they would be on at a comfortable mid-week time, so business,life, and all it entails could carry on. The headline group, The Enid, are not a band I am familiar with but suffice to say they were interesting, strange, maddeningly dramatic and worthy of further investigation. A highlight of this particular evening was meeting one of my Twitter friends, Nick Efford, with whom we seem to share a great deal of things in common. Nick is an Enid fan and knows them well so I would leave any further comments to him regarding their music and performance this evening as I couldn’t quite work it out ….
Back to the Theory !
The Ruby Lounge in Manchester is typical of the Northern Quarter subterranean venue with a gloomy street entrance leading down into a gloomy stairwell which leads into a gloomy bar area with a fairly gloomy stage section stuck over in one corner with barely enough room to swing the proverbial cat.
Intimate is the word – in fact so intimate I could reach over and take a shot of the set list on the speaker.
To my delight most of the set was from the wonderful ‘Life.. and all it Entails’ but I was unsure how they would transfer the ‘big’ sound of this album in such a small venue, particularly as they are just a threesome
Needless to say, the sound suffered somewhat and the guitar was a bit lost in a muddy mix, but they had a wonderful selection of backing tracks and loops from their intriguingly titled string section – The Lost Orchestra – which filled out the sound and gave the subtle texture that pervades the aforementioned album.
Ben Harris-Hayes on guitar, vocals and throat (!) is a humble and gracious performer, totally committed to his art and ever so slightly apologetic – an engaging character to watch as he switches pedals, adds sounds, sings and generally controls proceedings.
My eyes were drawn to Shaun Rayment on bass (you may recall I am a once God-like bass player in a band….) as I was interested to see if the sinuous bass lines on the album would be re-created live. No need for disappointment here – Shaun was incredibly focused and drove the songs on with terrific tight bass lines and worked the hell out of his fretboard – brilliant stuff.
Not being a drummer I can’t comment on the technical skills of Sam Street on drums but I was knocked for six when his double bass drums kicked in – the ferocity of some of the drumming counteracts the delicacy of much of their music and this apparent discrepancy is, I think, what gives them a unique sound..
I’m not going through each song here but suffice to say I was impressed with their live performance of what are complex and involving songs.
A thoroughly enjoyable set made even better by a brief chat with Ben after their set. I mentioned there was enthusiasm for him on Progarchy but he had not heard of ‘us’ but was delighted to know there are folk out there completely smitten with his work …….
Songs from the Hedgerow: Preliminary Awards, 2012
by Brad Birzer, Progarchist Editor
Though Progarchy is only two months old, I’m absolutely thrilled with its successes. A thanks, first, to all of you out in the world (it’s a blast to look at the google map of who checks us out daily) who read us. I hope you keep coming back to us.
Second, though, an immense thanks to all of the Progarchist writers. Everything written here is purely voluntary. We each have full-time jobs and families, but we do this because we love it.
We’re certainly not the biggest music website, but I believe that–in terms of sheer literary quality–no other website matches us. I would hold any one of our writers (individually or collectively) against any other group of writers in the blogosphere. If this sounds cocky, I apologize. But, as editor, I find it quite humbling. We really like each other, but we also believe that the importance of the music demands that we write and try to match with our utmost abilities. On this, I think we’ve succeeded.
Additionally, though the site is based in the western Great Lakes of North America, we also have writers from the U.K., Brazil, and New Zealand. We’re hoping to have someone from Antarctica soon—Penguin Prog?—but, it’s been more difficult than one might first imagine.
As 2012 comes to its necessary and inescapable end, each of the Progarchists has been asked—as time permits—to rank her or his favorite albums of the past year.
I’ll be ranking my top fifteen albums as well, and I’m sure my number one pick of the year, which I think is the best album of the last twenty-four years, will probably come as no surprise to anyone.
Continue reading “Songs from the Hedgerow: Preliminary Awards, 2012”
Progarchy 
Nice review Brad. Wish it was enough to convince me that I’d like Rush as much as the fans do. I always feel like I’m missing out on something when I read this stuff.
I had a brief flirtation with A farewell to Kings which ended when I couldn’t take anymore of Geddy Lee’s high pitched vocals. But I have Grace under Pressure.. and I haven’t played it for twenty odd years. The world weighed on my shoulders in the 80s too.
I’m going to visit the attic later and dig it out… Got to start again somewhere.
Eric, I wonder what I’d think about Rush if I heard them for the first time at 46 instead of 13. Geddy’s voice has always been “normal” for me. I also think that Americans and Canadians have an unusual relationship with Rush–maybe in the same way that Brits have with Yes? Just thinking out loud here.
I don’t get the people that have voice issues with Geddy and then laud Zeppelin. Robert Plant’s voice is a Holy Mess compared to Geddy’s and just as high in many spots.
Brad,
I listened to the remixed version as I read your review. Like you, I never quite understood the vehement denunciations of the original’s sound when it was released – I was just happy that Rush had returned, and Neil was okay. That said, this new mix is amazing! The separation of the instruments is a revelation, particularly Geddy’s bass lines (for example, the fade at the end of “Secret Touch”). I saw them on the tour for this album, and they were outstanding – obviously having a great time playing together, and the new songs were highlights.
Tad–agreed. So great you saw them on tour. I didn’t for that one–but should have.
I LOVE Vapor Trails and never understood the whiners. I was just glad there was new Rush and that the lyrics and music was as good as ever, and better as a whole than any work they had done in a long time. I lost my mother in 1999, had my wife go through a life threatening illness in 2001 an the birth of our child shortly after. An of course, there were the events of 9/11. Vapor Trails touch me personally and helped me deal with all those life altering events. I sounds silly, but it’s true. I was extremely incensed by all the complaining. The Vapor Trails tour was a real treat as I finally had the financial wherewithal to see them a few different times and get up-close seats. To this day I still regularly listen to Vapor Trails.
Fantastic review that pretty much echoes everything I have thought and experienced over the years with VT. Well written and well said. Very sorry to hear of your personal loss.
Brad, clearly you are a kindred spirit to myself and a few fellow die-hard Rush fan friends of mine. I totally relate to your narrative about the band (particularly Neil) and the meaning of their music in your life. I am so sorry to hear about your daughter, I have a dear daughter myself, and I cannot imagine the unbearable pain. Like with Neil, I’m glad to see you’re OK. I look forward to reading your stuff in the future, and thanks for the article man.
Except listening to the new record (I don’t have it yet), I agree with every word–I feel the same. Thank you very much! (I am from Rotterdam, Holland.)
Love this review, really great way to sum up Vapor Trails. I’ve always thought the same about Vapor Trails and would have loved it with or without the remix. But now that I have it, I wouldn’t be able to take it back. It’s just so good.
“Indeed, if Grace Under Pressure examines the state of the world and laments, Vapor Trails examines the state of the soul and rejoices” … that is an excellent observation. Well put.
Tom, I wish I could take credit for it. I’ve been teaching history of western civ this semester. The line is Plato! But, you know, Plato, Peart. . . .
What a great review!
Brad,
Great and personal review.
Being a Rush fan is a personal choice. Those who aren’t, can shake their heads and wonder what all the fuss is about—but those of us, who have made the deep connection to the music and the words, know the pure gold that dwells within them.
Rush has been the soundtrack from most of my adult life. I listen to other things, but my “go to” soul music is Rush.
It’s a chicken and the eggs kind of thing perhaps, but I wonder sometimes if I’m so happy and content is because of listening to Rush, or I just am, and Rush provides the score.
Hey Eric. Your comments to this review were perfectly expressed. Sometimes a person just can’t identify with what another feels, especially in music. Nonetheless, your respect for the band as a non-fan bleeds through. Definitely give G/P another shot!
Great Article, through and through! It is amazing how similar our connections with Neil and with Rush are! My parents divorced when I was 3, and my older brother and I was raised soley by our mother. Although our father re-entered our lives when I was around 8 years old, I had already unknowingly been gravitating toward father figures from whom I could gleen guidance from. George Lucas and Steven Speilberg were my 1st surrogate fathers. My introduction to rock and roll officially happened when I was introduced to Rush, via Moving Pictures. The music was astounding, but I immediately gravitated to Neils Lyrics. I think I was actually more a Neil fan than a Rush fan, so much in fact, that when I back tracked to assimilate Rush’s older music, I refused to accept the 1st Album for the longest time, because Neil was not on it. Hugh Syme bringing image to Neils vision fits like Hand in glove.
Turn around and walk the razors edge! Clockwork Angels is his and their Masterpiece! “Got my sites on the stars, won’t get that far, but I’ll try anyway!” – and just look at the result from such a mindset!!! Thank you Neil, So Much! You probably are unware that your words and your example of how to live life, has indeed saved many lives! Than you Sir! Rock On, Endlessly! 
I too experienced heinous & tragic loss, when my father took his own life, in late 2010. I had always learned so much from Neil, but to be in a similar situation with losing someone close to you, I really feel in my heart, that Neil’s example to pick himself up, and dust himself off, and to rise up and become greater even than he imagined, is just so Obi Wan Kenobi!!! It’s fucking Awesome!!!
Vapor Trails suffered from a lack of dynamics due to a kind of heavy-handed compression (i.e., a sort-of leveling of the aural plane so everything can get jacked up) at mastering, which I think was fashionable a decade ago and was a hangover of grunge and rock radio competing for ears. Who can forget the sonic thrill of hearing Nirvana’s Smell’s Like Teen Spirit for the first time, as Dave Grohl’s drums introduce Cobain’s guitar roar? Nevermind was a good example of applying compression right, retaining the dynamics while upping the volume and blowing away everything else. Unfortunately, as the 90s wore on and rock radio started seriously compressing what went out over their waves, by the time the sound squirted out of a radio it was as limp as it was loud. Heard Stairway to Heaven recently on the radio? It’s shocking how bad it sounds at its climax. Packing more into the bandwave was what it was all about, and right about the time Rush made Vapor Trails I think a lot of rock bands/artists started seriously backing away from so much compression because of the backlash from the serious listeners, which included themselves (this is all me conjecturing, but I think it’s true — one of the exceptions I can think of is Mastodon’s Leviathan, which is a great album compressed to tattered shreds, although something makes me think this was intentional, as it may have been with Rush back in ’02). Anyway, yeah, the remix. I’d like to hear it, but I kind of agree with you, Brad. I’d say that it’s tricky to play with artistic history. I recall when the Stooges Raw Power was remixed, removing that weird in-a-tin-can production Bowie put on it, and it just sounded wrong. Same would go for Metallica’s …And Justice for All if it received that kind of treatment: I’d totally get why they did it, but a lot of what makes that album, now, is exactly the claustrophobic, bass-less production that critics thought would sink it 25 years ago.
Craig: Thank you for this very helpful explanation!
Great article, I absolutely agree with your review. Didn’t think it needing remixing, but love the remix, and still the original mix has a place in my heart too. Important to note that when Rush fans were also grieving (and not comparable to the loss of child or spouse), some fans got together and started RushCon as a well to celebrate their work and as a way to get together as there were no shows to go to. 13 years later we are endlessly rocking….
The 2002 Vapor Trails distorted like crazy in spots when pushed hard. To this day, it’s the only Rush recording I can’t listen to for that reason alone. I will definitely be checking out this new remaster. Every since I discovered Rush as a kid, they have and will always hold a very special and dear place in my heart. I will forever be one of their biggest and most grateful fans!
I loved Vapor Trails before, despite the compression and harshness. I love it even more now, much more depth and complexity unfolding, like finding great beauty in an old friend.
I’ve also been a diehard Rush fan for more than half my life (old NMSer too) and found Neil’s lyrics saving me time and again. Would they were not needed, but so glad we have them. My condolences for your loss, Brad.
I never heard the original album/mix, but am listening to the remix now and it sounds fabulous: lots of separation, depth, and dynamics. And Geddy sounds great. I think his voice has aged incredibly well; I like it even better now than twenty years ago.
Just the fact that after the long layoff Vapor Trails dives right in with A killer Neil Peart fill is enough to make this a great album.
Great review, Brad. I totally agree on two points: first, that Neil Peart (and Rush) had a stronger influence on who I am today than any didact or narpet ever did. (As that tearful young woman says in the “Boys in Brazil” documentary: “It’s not just music. They teach… they teach us.”) Second, that Vapor Trails has ALWAYS been a great album. I loved it from the start, and love the remix even more. I disagree, though, that the album is similar to the two which followed it; I see Vapor Trails as being something completely unique in the Rush catalog, with a feel and color all its own. The guys really took a lot of chances here – in the guitar layering, the vocal layering, the total absence of keyboards, the dearth of guitar solos – and the result was not only another hard-rocking Rush album, but also something “artsy,” and yes, EMOTIONAL, too. Although I’d rank Vapor Trails below Permanent Waves, Moving Pictures, Signals, Hold Your Fire, Counterparts, Clockwork Angels, and perhaps a few other Rush albums, I posit that nothing else in their catalog is as ARTISTIC as Vapor Trails.
(Another area of disagreement: I’m no great fan of Grace Under Pressure. But hey, fans differ on which Rush albums are the gems and which are the clunkier ones.)