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Tag: Progressive rock
Cea Serin News
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Generation Prog Records is proud to announce the long-awaited 2nd album by Cea Serin: The Vibrant Sound of Bliss and Decay is set to be released worldwide on October 6, 2014. An album ten years in the making, this collection features five songs with a total playing time of 48 minutes, sharing a sound and atmosphere that belies the songs’ vastly different origins. The first two tracks on The Vibrant Sound of Bliss and Decay are new recordings of two long-time staples of the Cea Serin live set: Holy Mother and The Illumination Mask, previously featured on the long-unavailable Chiaroscuro demo and often requested by fans for inclusion on a proper album. After drummer Rory Faciane joined the band, it was decided to grant the fans their wish and revisit these songs with better recording quality and a real drummer instead of the previously used drum machine. The third track, a cover of the Sarah McLachlan song Ice, serves as a link between the revisited and the brand-new material. It features an original Cea Serin arrangement, turning the acoustic guitar ballad into a haunting, piano-backed piece, putting Jay Lamm‘s clean vocals front and center and showcasing a different side of the band. The Victim Cult is a brand-new track. „It deals with the castigation of the creators by the people content in sitting back in languor, judging and claiming a right to the services from the very people they’ve vilified,“ says Jay Lamm, composer and lyricist of all four of the album’s originals. The song features a unique structure with two distinct choruses that lead into each other, with their order reversed at the end. The album closes with the 20-minute epic What Falls Away, a song that deals with the suicide of a girl and how it impacts her family – her parents, who are trying to make sense of the events and what might have led to them, and her brother, who suffers from a mental disorder and cannot comprehend what has happened and why his life has changed. The CD comes with a 12-page booklet containing the lyrics to all songs and Jay Lamm‘s comments on them. The Vibrant Sound of Bliss and Decay track listing: 1. Holy Mother (7:07) Total playing time: 47:48 The Vibrant Sound of Bliss and Decay is out on October 6 via Generation Prog Records. The album is available now for pre-order from the Generation Prog Records store. Stream the album in its entirety on Bandcamp. Cea Serin is one of the participating artists on the upcoming Progstravaganza: Beyond Frontiers sampler, with the song The Victim Cult. The compilation is availably for pre-order from Progify store. Links: https://www.facebook.com/CeaSerinMusic MEDIA ALERT: If interested in reviewing Cea Serin’s The Vibrant Sound of Bliss and Decay or featuring it in radio shows or podcasts, please get in touch at info@prog-sphere.com. The band is also available for interviews.
Progarchy’s take. Very nice. Eager to hear this. In particular, I’m very glad to see someone take on Sarah McLachlan’s early music. For anyone interested in a Talk Talkish form of prog, McLachlan got it about perfect on “Ice.” A huge thanks to Prog Sphere (Nick!) for the advanced notice. |
Holy Schnikees: A Mini Mini Review of Threshold, FOR THE JOURNEY
Ok, so 1) I’m not a metal guy. And, 2) see no. 1.
Despite 1 and 2: Threshold’s latest, FOR THE JOURNEY, is just astounding. Simply and movingly astounding.
Brad’s mind: officially blown.
Brad’s soul: officially happy.
Brad’s cry: Ave Threshold!
Order it now. Or, even faster than now: http://media.nuclearblast.de/shoplanding/2014/Threshold/for-the-journey.html
A proper review is on its way.
Happy Birthday to a Hero
That brooding stare from the record sleeve of Leftoverture (1976) belongs to Kerry Livgren, born this day in 1949. Despite being an early Boomer, Livgren was (as he wrote in the song “Two Cents Worth”) “born in the wrong century.” At an early age he was rapt in the majesty of Lutheran hymns, Strauss, and Wagner, rising from a Swedish church and a relative’s phonograph into the wide sky above Topeka, Kansas. Although his early gigs included a R&B band, Livgren would carry the classics with him into a career that carved out one of the most distinctive sounds in progressive rock — a fusion of jazz, classical, arena rock, and country. The music of Kansas (the band) was as fierce, dynamic, and restless as the cover art to their eponymous first release, a painting by John Stuart Curry of John Brown astride “bleeding Kansas.”
As a teenager growing up in the southern Piedmont of North Carolina I, too, was listening to Also Sprach Zarathustra, Elektra, and Emerson, Lake & Palmer. But I was also weaned on the Stanley Brothers and Buck Owens; so when I heard the opening harmonies and heavy bombast of “Carry On Wayward Son” erupting from the FM station my dad managed, I found something musically that harmonized what had seemed distressingly disparate tastes. Livgren proved you can put these diverse elements together and make something glorious and coherent of them.
The greatness of Kansas’ music never rose higher, in my mind, than “The Pinnacle” (Masque, 1975); but majestic moments are found all over of the band’s catalog. Moreover, coupled with the music was Livgren’s deep spiritual search. As a rocker from the Plains he epitomized Jesus’ challenge to, “Seek, and you will find; knock, and it shall be opened to you.” If there was one American who exhausted the religious and philosophical well of thought, it was Kerry Livgren. That search, chronicled on Kansas’ albums, concluded with a return to the faith of his fathers. Livgren wrote of his career and conversion in Seeds of Change (1980, ed. 1991), an autobiography coauthored with Kenneth Boa.
Settling the religious question did not settle Livgren’s music. As a solo artist he wrote — and, in Todd Rundgren fashion, played all the instruments — on a characteristically diverse and fascinating album, One of Several Possible Musiks (1989). Together with Kansas bassist Dave Hope (now an Anglican priest) Livgren formed AD, releasing a string of albums in the ’80s of ’90s. In 2000 he produced one of his best solo efforts, Collector’s Sedition (an album I was privileged to review for PopMatters) that again showcases the sheer breadth of his interests and abilities.
In his bio Livgren introduced the tantalizing subject of the “pre-” Kansas bands — Kansas I and II, featuring Lynn Meredith’s histrionic vocals and John Bolton’s wild, Coltrane-inspired saxophone solos. Doing the prog world an unspeakable service, Livgren re-mixed and released Early Recordings from Kansas, 1971-1973 (2002), which I would say holds up as a prog album worthy of any collection. On the strength of that effort, the aptly named Proto-Kaw became a band again, touring and recording three new albums.
We’ve barely scratched the surface here; but suffice to say that Kerry Livgren is a renaissance man: church elder, husband, father, farmer, pilot, student, promoter of others’ gifts and talents, and yes, a brilliant composer, arranger, and musician.
Happy birthday, Kerry Livgren. Thank you for a tireless witness to honesty, truth, beauty, and order over the past five and a half decades.
Rock is NOT Dead
I must admit, I’m so utterly frustrated by all of the “Rock is dead” doomsayers over the past week that I’d like to wretch (or, retch–you know, either way). Really big time.
Here’s the latest complaint–from the London Telegraph of all things (isn’t this supposed to be one of the respectable papers, or am I confusing it with the Daily Mail?)–to follow laments from CLASSIC ROCK mag earlier this year, a member of KISS who seems to resent much of life, and every single human who has decided to hate U2: http://www.telegraph.co.uk/men/the-filter/11089923/The-decline-and-fall-of-rock-and-roll.html
[A quick side note. You have Apple and you don’t like U2? Easy–hit the image of the album and drag it to your trash. Your Mac will then ask you if you would like to delete or hide. Deleting it actually deletes it. No offensive U2 ever need show up in your library again, and you will have accomplished this is far less time than it took for the album to download to your computer. In fact, it will take you less time to delete the album forever from your personal space than it will for you to write a comment on the web or even an article for a respectable English newspaper about how much you dislike U2, Bono, Apple, Catholics, Apple pies, Irishmen, or whatever your current dislike is.]
I have no idea if I’m using this term correctly, as I’m not English. But, my first thought is: what a wanker that Telegraph writer must be. Did I use the term correctly? What say you, Mr. Andrew Woods? Here in the British colony of the United States, we’d just call you a prig.
Of course corporations try to conform us. They give us lots of good stuff, but they also make the world a lot less interesting. They want us as consumers, and consumers are much easier to manipulate when only the same tepid and pallid mush is being served. Is the Telegraph suddenly a not-for-profit paper?
The next time a corporation tries to sell you something, just walk away. It’s really not that hard. Turn away from the offensive thing and move in the other direction.
Growing up in Kansas, I knew next to nothing about NME. What I did know: NME looked like a bunch of quasi-trash porn that wealthy children in Kansas City might purchase out of boredom. I didn’t pay attention to it or to Rolling Stone. When Rush came out with a new album, I bought it. When Tears for Fears came out with a new album, I bought it. When Kate Bush came out with a new album, I bought it. When Talk Talk came out with a new album, I often bought two copies, one as backup. I didn’t look to NME or Rolling Stone or whatever rag was available at the time telling me what to think and wear and write and read. I worked very, very hard for my music collection. Sure, I made a few missteps, such as once purchasing a Howard Jones album. But, I also collected a lot of great music, much of which I treasure to this very day.
What many music journalists, record labels, and professional wankers have yet to figure out is that the market for art is now as decentralized as humanly possible. The internet gives us as much space to be excellent as it does to be mediocre.
Some of the music being made right–including and especially the vast majority of music we have the privilege of reviewing at progarchy–is some of the best rock music ever made. Here and now. Not merely there and yesterday. Here and now. Right here, right now. Rock is so far from being dead that I can barely keep up with so many enticing, interesting, and dramatic releases.
The author of the Telegraph piece can’t see beyond the very corporations he so hates and, thus, he becomes a conformist in his own cry against conformity. Face it, Mr. Andrew Telegraph, you are the establishment. And, from what I can tell, you always have been–especially when you read magazines such as NME, then or now.
One last thought. I really don’t care if U2 recorded forty-five minutes of The Edge working in his back garden. Any group of artists who can write and record October have earned a position of respect in the world. I, for one, will give them the benefit of the doubt, and presume good (and, yes, profit-seeking) motives on the parts of Mr. Bono and Mr. Cook.
On Mr. Andrew Woods? The jury is still out.
[P.S. I’m glad Mr. Woods mentioned his daughter. My thirteen-year old daughter can name every member of Rush, Big Big Train, and The Tangent, and she knows almost every lyric written by FROST*. Care to compete?]
RochaNews Continued: Burnt Belief
BURNT BELIEF RETURNS WITH “ETYMOLOGY” THIS FALL ON ALCHEMY RECORDS Instrumental collaboration between U.K. bassist Colin Edwin (Porcupine Tree) and U.S. guitarist Jon Durant out October 21 |
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COHASSET, MA – World-renowned bassist Colin Edwin (Porcupine Tree, Metallic Taste of Blood, Ex-Wise Heads) and guitarist/composer Jon Durant have once again teamed up under the moniker Burnt Belief for the release of a new album of progressive ethno-ambient fusion instrumentals titled Etymology. Etymology will be released on October 21, 2014 via Alchemy Records, and will be available at Burning Shed, Amazon, CD Baby, iTunes, jondurant.com and other digital outlets.
An Etymology teaser video can be seen on YouTube at:http://youtu.be/aa0yLjSHr3Q.
Pre-order Etymology at: http://jondurant-com.myshopify.com/collections/frontpage/products/burnt-belief-etymology and:http://www.amazon.com/Etymology-Burnt-Belief/dp/B00NAZX8BA/ref=sr_1_1?s=music&ie=UTF8&qid=1410294068&sr=1-1&keywords=burnt+belief.
“We feel like we’ve progressed within our shared approach, including some new harmonic, rhythmic and melodic elements,” commented Jon Durant.
“Much of our compositional approach remains consistent from the first Burnt Belief record,” he added. “For instance, a number of the pieces began as ambient cloud guitar atmospheres, which Colin would then explore and find rhythmic grooves to play over or with the clouds. Then, I would maybe re-arrange, construct melodic ideas, and send back to Colin for further input from him. In this way, the pieces evolve, sometimes very far from their original state.”
The compositions which unfold across Etymology‘s 70 minutes showcase the duo’s fruitful symbiosis and clear developmental path across their shared musical landscape. Assimilating diverse elements ranging from polyrhythms, deep ECM styled atmospherics and even angular nu-jazz abstraction, the result is an immersive, multi-layered and engrossing documentation of a remarkably sympathetic musical connection. The album’s title is a metaphor for the pair’s working methodology, in which compositions evolve from an initial germ of an idea into a fully realized piece. The resulting work is often very different from its original concept yet still maintains the initial elements at its core.  1. Chromatique 2. Dissemble 3. Précis 4. Hraunfossar 5. Convergence 6. Rivulet 7. White Keys 8. Not Indifferent 9. Hover 10. Chimera 11. Squall Edwin and Durant first teamed up for Durant’s 2011 album Dance of the Shadow Planets, a wholly live in the studio documentation of their nascent musical chemistry centered around Durant’s atmospheric compositions and featuring also the talents of violinist Caryn Lin and multi-percussionist Jerry Leake. The follow-up to Dance of the Shadow Planets, 2012’s eponymously titled Burnt Belief, was distance recorded, but a fully collaborative compositional affair with Edwin taking equal responsibility for the writing process. Having confidently cemented their working methods and musical connection with the well-receivedBurnt Belief, the duo undertook some live dates in the U.K. and Ukraine with Kiev-based female vocal duo Astarta (as Astarta/Edwin), a project Colin has been working on for some time, but presently on ice due to the current instability in the country.
“Colin and I both felt that after two records utilizing hand drums exclusively, it was time to change it up and go with a live drum kit to augment Colin’s rhythm programming. It ended up giving the pieces a much harder edge to them, and this in turn allowed me to push my guitars a little more over the top.” -###- |
| Burnt Belief online…
About Jon Durant…
Guitarist Jon Durant brings a unique sense of texture and melody to his instrument. His distinctive “cloud guitar” soundscapes and engaging lead work have graced numerous CD recordings and film soundtracks. As executive producer of Alchemy Records, he produces recordings for internationally acclaimed artists in his small Massachusetts studio. Along with longtime collaborators Tony Levin (bassist with King Crimson and Peter Gabriel), percussionist Vinny Sabatino, pianist Michael Whalen, and guitar/synth master Randy Roos, Jon has recorded with electric violinist Caryn Lin, percussionist Jerry Leake, singer/songwriter Porter Smith, soul singer Ray Greene (Tower of Power) and many others.Etymology is Jon’s third recording with Colin Edwin.
About Colin Edwin…
Colin Edwin is best known as a founder member and bass player of the internationally successful progressive rock band Porcupine Tree. In addition, he has a long running collaboration as Ex-Wise Heads with avant multi-instrumentalist Geoff Leigh (Henry Cow/Hatfield and the North) with six albums blending ethnic, world music, improvisation and ambient and experimental influences. Colin is also a member of Metallic Taste of Blood, a genre-defying group whose intense and cinematic music draws from dub, metal, progressive, free jazz and ambient music. In 2013 Colin recorded the critically acclaimed bass duo album Twinscapes with Italian bassist Lorenzo Feliciati. |
RochaNews: Nordic Giants
KSCOPE ANNOUNCES SIGNING OF MULTI-INSTRUMENTALIST DUO NORDIC GIANTS Debut album coming early 2015 |
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ENGLAND – Kscope is thrilled to announce the signing of multi-instrumentalist duo Nordic Giants. Ahead of the debut album coming in early 2015, Kscope will be release Nordic Giants’ 2014 self-released EPs ‘Build Seas’ and ‘Dismantle Suns’ together on one LP and CD this fall.
A teaser video for the new signing can be seen on YouTube at:https://www.youtube.com/watch?v=bjhOGU-KdwM.
Nordic Giants spent the last couple of years bringing its bespoke formula of claustrophobic post-rock cinematic sound to audiences across the U.K. They have recently toured with Public Service Broadcasting, God Is An Astronaut and 65daysofstatic, this Summer playing festivals including 2000 Trees, Kendal Calling and Y-Not as well as their own headline shows. They have performed in churches, disused Victorian music halls and converted seaside bandstands to enhance the audience experience of their atmospheric soundscapes.
Seeing Nordic Giants has been described as akin to a religious experience. Multi-screen visuals, powerful strobes and exquisitely timed accompaniment create a whole that appears far greater than the sum of its parts. Each performance is accompanied by award-winning short films which coupled with haunting piano, bowed guitar, climactic drums and array of guest vocalists gives the audience a mind-blowing and visceral experience that goes beyond the normal descriptors.
Kscope was formed in 2008 providing a home for an evolving and adventurous style of music without boundaries. Nordic Giants join a roster that includes North Atlantic Oscillation, Engineers, Steven Wilson, Ulver, Anathema & The Pineapple Thief. Stay tuned for more information on Nordic Giants.
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| Nordic Giants online…www.nordicgiants.co.uk |
A New Fractal Mirror is Just Around the Corner
Well, they’ve yet to capture the imagination of Tim Cook and the PowersThatBeiTunes, but they have our attention. And, we’re absolutely thrilled. A second Fractal Mirror is just about here. Amen, amen, amen.
But, I’ll let the guys of FM speak for themselves:
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We are very proud to be able to announce that we have started taking pre-orders on our Bandcamp site for our second album Garden of Ghosts . The release of the album is scheduled for November 2014. The album contains 11 tracks and includes a 12 page booklet with artwork from Brian Watson and all the lyrics. The album has been co produced by Brett Kull (Echolyn) and Fractal Mirror. Brett Kull also mixed the album. Larry Fast mastered the album. People who pre-order the album receive an immediate download of the albums opening track “House of Wishes”. During the pre-order period the price of the album will be EUR 10,00 (ex shipping).
Brett Kull also plays guitars and background vocals on all the tracks of the album and there are also guest appearances by other members of Echolyn, Jacque Varsalona, Don Fast, Larry Fast and The Stephanus Choir.
Here is the link to our 4 minute album teaser: http://youtu.be/oF4W0PI_-dA?list=UUycTI_5GA2Vlf-vIg1mgMKA
Here is the link to our bandcamp page for Garden of Ghosts: www.fractalmirror.bandcamp.com
We sincerely hope you are willing to share this news with your readers and help us spread the word about the album!
Thanks for your support!
Fractal Mirror
Ed, Frank, Leo
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progarchy’s take and prophecy: order early and order often. Surely, this will be a top ten album of the year.
Dave Kerzner, STRANDED–forthcoming
September 9th, 2014, Miami, Florida – Dave Kerzner, former member of the Progressive Rock band “Sound of Contact”, is gearing up for a late October release of his debut solo concept album, “New World”. The first single off the album, “Stranded”, has just been released as a digital download from iTunes®, Amazon®, Google Play® and other on line stores. “Stranded” is a 10 minute “rock opera” comprised of 5 parts. It features Kerzner on vocals and keyboards with special guests Steve Hackett of Genesis, Durga McBroom of Pink Floyd, Nick D’Virgilio of Spocks Beard, Jason Scheff of Chicago and it was mixed by legendary engineer Tom Lord-Alge.
A shorter edited version called “Stranded Part 1 – Isolation” has been made as a “mainstream radio-friendly single” and will be available as a free download to anyone who signs up on the mailing list at davekerzner.com this month. Additionally, the full length album version will be made available through Kerzner’s bandcamp page: http://sonicelements.bandcamp.com/
Stream Stranded (Single) On Sound Cloud.
Download Full Press Package. Includes Photos/Mp3 Download of track:
For more information: http://www.davekerzner.com
Facebook: http://www.facebook.com/davesquidskerzner
Twitter: http://www.twitter.com/davekerzner
Radiant Records Sale: Neal Morse’s Autobiography TESTIMONY
I devoured Morse’s autobiography a few years ago. It’s excellent. This week, Radiant is offering it in a variety of formats for very reasonable prices.
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To order it, go here: http://www.radiantrecords.com/products/314-testimony-the-book.aspx
Progarchy 