Tag: Progressive rock

Riverside, ADHD (2009)

On By bradbirzerIn Uncategorized4 Comments

As I prepare to give the new Riverside a spin (it is arriving much later in the U.S. than in other parts of the world), I thought it would be worth offering my thoughts on the previous work of Riverside, in particular the last full album, ADHD.Image

Five songs at 44 minutes and 42 seconds.  The intrepid Carl Olson (of Ignatius Insight fame and now fellow Progarchist) first introduced me to this post-Communist Polish band, and I’ve been more than a little fond of them since our first encounter.

Brilliantly, their first three studio albums–collectively known as “Reality Dream”–form one story.  Though I’ve listened to the albums too many times to count, I’m still not exactly sure what that story is about.  It follows a man who is either a saint and having endless mystical visions, or else he’s insane and trapped in an asylum.

Either way, I like the story.

ADHD appeared at an important moment for me, musically speaking.  Compared to some of the other “big” releases of 2009, ADHD towered.

Dream Theater’s album that year, “Black Clouds and Silver Linings,” served as an incoherent exercise in notes chasing notes and embarrassingly written lyrics.

Even more disappointing, Pure Reason Revolution’s “Amor Vincit Omnia” offered nothing but miserable sexual decadence and ridiculous Euro dance-type music.  The title should’ve been Lust Conquers All, not Love Conquers All.  How this could have been the same band that released the captivating “The Dark Third,” I have no idea.

Riverside’s ADHD redeems them all.  Labeled “harder” and “heavier” by several reviewers, ADHD is nothing if not insanely intense.  Is it hard?  Yes.  Do notes chase notes?  Yes.  Is there sexual deviance in the lyrics?  Yes.  But, unlike the music of Dream Theater’s most recent cd, or the lyrics of Pure Reason Revolution’s new album, Riverside’s heaviness, notes chasing notes, and lyrics all have a purpose; they each serve the entirety of the album.  Indeed, nothing in this short 44plus minutes is in vein; every aspect of the album has its purpose and knows its place.

Indeed, Riverside expresses intense anger and frustration about the state of the world—the “liquid modernity” identified in the first track, “Hyperactive.”

Modernity destroys real community. “In the mass of different runners/Different lies/We can’t make time to realize/How the same we are.”  And, modernity results in isolated, insecure (“hatred for my inner chaos”), and self-centered individuality.

We’ve lost the flow of generations, and we wallow in our subjective realities.  “I used to be one of you/With the same spark in my eyes/And now I don’t belong to this place/It’s a matter of merciless time/I wholly vanish.”  So far gone are we as a people, that we obsess about our own created gadgets, the products of our will and ingenuity, and our immediate fame, here and now.  “Come to me now/I will cure your soul/I’m the savior of our times/I know exactly what it needs/You’ve let yourself go/You’ve felt so down/So my hi-tech salvation is just for you.”

Properly, progressive rock reviewers love their tradition and the heritage of the music.  Reviewers always compare releases of Riverside to Porcupine Tree, Pink Floyd, and Tool.  These are fine comparisons, but Riverside–from the opening note on their first album to the ending note on this most recent release–are very much their own band.  Frankly, while building on what Pink Floyd offered, Riverside has topped Pink Floyd in terms of musical ability and atmosphere.  More than anything else, Riverside has confidence its in its own abilities and direction, it understands the parts each member of the band plays in the band as a whole, and it recognizes the importance of voice (human and instrumental) in its music.

While each member plays exceedingly well here, the keyboardist, Michal Lapaz, stands out the most.  From the opening note to the end of the album, his work defines ADHD.  No keyboardist has played this well since Steve Winwood on “Blind Faith,” Greg Allman on “Fillmore East,” Rick Wakeman on “Close to the Edge,” or Mark Hollis on “Spirit of Eden.”  I can’t even put my admiration in words.  Every time I listen to him play on ADHD, I can only provide a rather sincere but inarticulate “phew.”

I give Riverside’s ADHD one of the highest rankings I can.  This album is simply exemplary.  Thank you, Riverside.  Thank you, Poland.

RUSH: A Farewell to Hemispheres, Part I

On By bradbirzerIn Uncategorized26 Comments

by Kevin McCormick

Rush appears to be a band without a retirement plan.  This past year saw the release of the highly acclaimed studio album Clockwork Angels, the subsequent world tour promoting the album and the fourth remastered re-release of the 35-year old classic album 2112.   With the re-release of that epic work and the renewed attention it has garnered, it is worth noting that the recording and the subsequent live shows were really, as the liner notes say, “The end of the beginning, a milestone to mark the close of chapter one in the annals of Rush.”

From Rushvault.
From Rushvault.

Neil Peart hardly could have known how accurate that statement would be.  Today the band is approaching its 40th year since its first full-length album.  Most artists of their age lucky enough to be still performing spend most of their time coasting on the tails of decades-old hits and playing as shadows of their former glory.  Rush seems to continually push itself into new territory creating an ever-changing sound yet with ever constant sensibility.  Something about Rush feels contemporary but remains rooted in the sound of three guys from Toronto four decades past.

Rock artists worked more quickly back then. By 1976, a banner year for Rush, the band had produced four studio albums.  Having resurrected themselves from the brink of extinction (or at least from being dropped by their label) with the inexplicable popularity of their futuristic totalitarian opera “2112,” the band toured extensively throughout the US and Canada.  Their “brief” stretch promoting the new album ran from February to August and included opening for Blue Oyster Cult and Aerosmith.  Somehow the band found time to put together a double-live album of those recent shows and, with but a week in-between, again headed out on the road from August and into the new year promoting that record, All the World’s a Stage. By the time they wrapped up in England in June of 1977, Rush had been touring for nearly two years without a lengthy break and receiving accolades not only for their recorded work but for the power, skill and intensity they brought to the stage.

Continue reading “RUSH: A Farewell to Hemispheres, Part I” →

10-minute James Marsh Video Tribute to Talk Talk

On By bradbirzerIn Uncategorized5 Comments

If you have 10 extra minutes today or tomorrow or any day from here until the end of times, make sure you check out this stunning video tribute to the music of Talk Talk.  James Marsh, master artist of all things Talk Talk, made the video.  I’m finding the entire thing quite inspiring.

Here’s the link (sorry, I still don’t know how to embed videos):

http://www.youtube.com/watch?feature=player_embedded&v=kSwgHxMLX_c#!

Art by James Marsh.
Art by James Marsh.

The information below the video at Youtube reads:

Published on 19 Jan 2013

Animation promo for the album ‘Spirit of Talk Talk’, available from Fierce panda Records.
All net profits going to the ‘Rare Bird Club’ of ‘BirdLife International’ for Conservation, UK Reg. Charity.
Sample tracks include music by – Nils Frahm, Jack Northover, Zero 7, Sean Carey, Lone Wolf, King Creosote, The Lovetones, Turin Brakes and more…

As some readers of Progarchy might know, I consider Talk Talk one of the greatest musical acts of all time with The Spirit of Eden ranking as one of the best–if not THE best–post-classical albums of all time.

Cosmograf Lyric Sheet Up

On By bradbirzerIn Uncategorized1 Comment

tmlis lyric sheet sampletmlis lyric sheet sampleVery excited about the release of the new Cosmograf CD.  Robin Armstrong–aka Mr. Cosmograf, Master and Lord of Time and Chronometers–has just updated his blog.  To view it, click here.

Pre-orders begin tomorrow.

Ayreon: A Dutch Progger in King Arthur’s Court

On By bradbirzerIn Uncategorized4 Comments

ayreonthefinalexperimencr9I often joke with my students that I can still remember the days when listening to progressive rock and watching Dr. Who could get a kid beaten up.  Yes, 1981.  I remember it well.  Seventh grade at Liberty Junior High in Hutchinson, Kansas.  Yet, it’s now 2013, and I’m still listening to Rush and watching Dr. Who.  Obviously, I survived the bullies

But, I can get even nerdier.  Much nerdier.  I was also a huge Dungeons and Dragons guy.  Yes, 1981.  I remember it well.  Yet, it’s now 2013, and I’m still playing DnD.  Now, with my kids.

My love of all things progressive (music; not politics!), science fiction, and fantasy have come together quite nicely in a number of direct ways: Rush, Roswell Six, Rush again, Ayreon, more Rush, Cosmograf, Glass Hammer, The Tangent, Rush, Kansas, Star One, Spock’s Beard, and even more Rush.

Surprisingly, though, only a few rock bands have really explored the Arthurian legends.  Those artists that have–such as Rick Wakeman and Gary Hughes–have gone all out, making nothing less than elaborate rock operas.  While Wakeman’s Arthur seems rather French, Hughes’s remains very Celtic.

The French legends, generally centering on the love affair of Lancelot and Gwenivere, usually reflect the medieval notions of courtship as inherited from the Moors.  The Celtic legends are almost always more mystical, suggesting strong relations between the Celtic gods (a twilight) and the Christian God.  Famously, one Celtic god, Bran the Blessed, even went so far as to sacrifice himself so that the Christian God could reign supreme.  How often does this happen in pagan myth?

Continue reading “Ayreon: A Dutch Progger in King Arthur’s Court” →

Neal Morse DVD, “Momentum Live,” out February 2013.

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ArtiosCAD PlotGreat news just arrived from Chris Thompson, one of Progarchy’s favorite guys in the prog world.  Chris, as probably all readers of Progarchy know, is Neal Morse’s manager.  The video he posted is especially worth previewing.  Richard Schwartz was at this concert, but Mark Widhalm and I attended the next night in Chicago.  Brilliant.

So, without more Birzer bloviating, the good news. . .

Radiant Records Announces“LIVE Momentum”

Pre-Sales begin on February 1, 2013 at  

12:00 noon (CST) AND Neal will autograph the first 200 sold from Radiant Records.com   

Available Worldwide on February 19, 2013 

Nashville, TN-When progressive rock icon Neal Morse was preparing to tour his highly acclaimed 2012 studio release, “Momentum,” he turned to YouTube to audition touring players to support his faithful duo of Mike Portnoy (drums) and Randy George (bass).

He had high hopes, but the final players selected from more than 70 applicants dramatically surpassed his expectations. They hit the road for an 8-stop North American tour. And now that band’s epic New York performance is captured on the new  “Live Momentum” 2DVD/3CD Box Set.

Fortified by the energetic live contributions of Eric Gillette (keyboards, guitars, vocals), Bill Hubauer (key-boards, violin, sax, vocals) and Adson Sodré (guitar and vocals), Morse, Portnoy and George blazed through two lengthy sets that spanned Morse’s entire, highly-heralded catalog, with the exception of material from “Testimony 2,” which was previously captured in 2011’s “Testimony 2: Live in Los Angeles” box set.

The setlist is mammoth. The players are virtuosic. Their performances are jaw-dropping. And this dynamic box set documents it all-including a special one-hour behind the scenes look at the tour.

It’s a Morse tradition to go big, and this new release unquestionably extends his powerful legacy of merging musical madness with addictive melodies in epic compositions that showcase the masterful musicianship of every member on stage.

“Live Momentum” reveals the exceptionally inspired nature of this unique band and leaves listeners and viewers mimicking those in the audience on this tour-shaking their heads and wondering, “How could they possibly top that?”

This ENORMOUS 2 DVD / 3CD set includes over 4 hours of video, including and exclusive Tour Documentary and over 3 hours of audio.

Get ALL the details at

www.Radiant Records.com 

Check out the video trailer here!

Foxbat–a new band with The Reasoning’s Matt Cohen

On By bradbirzerIn Uncategorized3 Comments

foxbat photoAn invitation just appeared on my Facebook wall to “like” Foxbat, a band only recently formed around bassist extraordinaire Matt Cohen (The Reasoning).  There’s still a lot of mystery surrounding this, but here’s what’s appeared at the official Foxbat FB page:

 

A brand new British Rock band bringing the 70’s vibe, screaming and kicking in to the present day. Formed by Matthew Cohen, Keith Hawkins, Ian Harris and Simon Hobson. Full press release in February 2013.
Founded 2012
Genre Rock
Members Simon Hobson – Lead Vocals
Keith Hawkins – Guitars and BVs
Matthew Cohen – Bass and BVs
Ian Harris – Drums and BVs
? – Hammond and BVs
Hometown UK
Record Label Comet Music
Influences Deep Purple
Rainbow
Whitesnake
Led Zeppelin
Black Country Communion
Iron Maiden
Bad Company
Styx
Queen
Captain Beyond
Black Sabbath
Def Leppard
Yngwie J Malmsteen
The Who
Boston
The Eagles
Journey
RUSH
TOTO
Thin Lizzy
Uriah Heep

An interview with Yes, December 10, 1971

On By bradbirzerIn Uncategorized6 Comments

yes patchby Frank Urbaniak

As a sophomore at Lafayette College I became program director of the college radio station, and Larry Fast (Synergy) became the general manager.  We had access to early releases and concert passes in one of the great periods in progressive music.  To generate better distribution for college stations, I published a newsletter called The Rolling Paper that we distributed each month on campus and to all record labels.

We were fortunate to interview our three favorite bands between 1971 and 1973-Yes, Genesis on their first US performance at Lincoln Center, and King Crimson on the second Larks Tongue tour through the Bill Bruford connection with Yes.

We met and interviewed Yes at Dickinson College in 1971.  I had seen Yes the previous summer supporting Jethro Tull ($5) with Tony Kaye and had been blown away by the energy of the band.  By December the Yes album was taking off, and Fragile had arrived that week as an import from Jem Records.  We requested an interview through Atlantic Records, and received a warm welcome from the band members who were delighted that we were holding import copies of Fragile in the US.  For the next several years we were fortunate to have backstage passes to more than 20 Yes shows at area colleges, and later at the big arenas like Madison Square Garden and the Spectrum in Philly during their prime including several shows with Bruford on drums prior to his departure.  We watched the band grow from being third on bills (Yes, King Crimson, Procol Harum ) to headliners for the Close to the Edge through the Tales from Topographic Oceans tour.  Larry built a strong connection with Rick Wakeman through electronics and keyboards, and he went on to build some sequencers for him over the next few years. My connection was forged through and over beer, as Rick and I shared a fondness for brew.  I was but a lightweight while Rick’s consumption of Budweiser was unrivaled and eventually unsustainable.

I thought it would be fun to revisit this interview 40+ years later and have condensed the original piece, but not changed the content. Continue reading “An interview with Yes, December 10, 1971” →

Danny Manners Boards Big Big Train

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Nick, Andy, Dave, David, Danny, Greg. Photo by Willem Klopper.
Nick, Andy, Dave, David, Danny, big red sign, Greg.
Photo by Willem Klopper.

Great news today on Facebook from the station master himself, Greg Spawton of Big Big Train.  Bassist and keyboardist Danny Manners has officially become a member of the band, joining Spawton, Andy Poole, David Longdon, Dave Gregory, and Nick D’Virgilio.

Spawton wrote:

We are pleased to announce that Danny Manners has joined Big Big Train as the band’s keyboard player. Danny made a significant contribution to English Electric Part One, playing keyboards and double bass and we are delighted that Danny has accepted our offer to join the band in time for the release of English Electric Part Two on March 4th. Danny’s past credits include Louis Philippe and Cathal Coughlan.

Manners’s training has been mostly in classical and jazz.  He writes of himself at his website:

For those who have stumbled across me: I’m a double bassist, electric bassist, pianist, arranger and composer living in London, England. Starting with classical music as a child and teenager, I worked my way backwards through jazz and finally worked out how to play pop half-decently in my thirties. Along the way I’ve also been involved in improvised and “leftfield” musics. At the moment I’m lucky enough to be doing a little bit of all of these…

He also lists an impressive discography, having played extensively with Louis Phillippe, Louise Le May, Cathal Coughlan, Sandy Dillon, and Muse: http://www.dannymanners.co.uk/albums.html

I must admit, I’m (I–ed., Brad) thoroughly impressed with this addition.  Over twenty years old, beginning with original members, Spawton and Poole, Big Big Train has never ceased to grow, take grand chances, and transform into what is arguably one of the greatest–if not THE greatest–rock band of our era.  With their near collapse after the recording “Bard,” Spawton and Poole have developed the group tremendously with “Gathering Speed,” “The Difference Machine”, “The Underfall Yard”, and “Far Skies Deep Time”.  Their 2012 release, “English Electric Part One”, has received rave reviews and has been labeled the single finest release of 2012 by a number of critics.

To this critic, “English Electric Part One” is not just the best of 2012, it’s the best rock release since Talk Talk’s 1988 magnum opus, “Spirit of Eden.”  Before that, one would have to jump back to Yes’s “Close to the Edge” or Genesis’s “Selling England By the Pound” in the early 1970s or to Dave Brubeck’s “Time Out” to find comparable works of music in the last half century.

It should be noted as well that the engineer for Big Big Train, Rob Aubrey, is the Phill Brown of our era as well.

Finally, Manners has worked with David Longdon before, and–I assume–connected Big Big Train to the famous bassist and keyboardist.

The second part of English Electric will be released on March 4 of this year.  American drummer, Nick D’Virgilio, a full-time member of the band, just finished recording the final drum parts for “English Electric Part Two.”  Additionally, the band will be releasing a limited edition of the full “English Electric” in the fall and the re-imaging of previous tracks on “Station Masters” in 2014.