If you have heard any of the progressive rock albums released in the last 25 years, chances are there are several of them that were engineered or mixed by Rich Mouser. He has several hundred credits to his name including Spock’s Beard, Transatlantic, Neal Morse Band, District 97, Magic Pie, Flying Colors, Tears for Fears, Pattern Seeking Animals, Liquid Tension Experiment, Moon Safari, and Lobate Scarp. His latest mixes include “No Hill for a Climber” for Neal Morse & The Resonance and Joe Deninzon & Stratospheerius’ “Impostor!”.
Two weeks ago, the Los Angeles wildfires decimated Rich’s Mouse House Studio. Not only was it his studio but, with his wife Bouchra, they remodeled it over the last couple years to make it their home, as well. Fortunately, the couple was able to evacuate themselves in time, but most of their belongings, including a vast collection of vintage musical equipment (some aged over 60 years) and containing the studio’s centerpiece of a rare 56-input Calrec UA8000 mixing console, were taken in the Eaton fire, located in Altadena, California.
Ask anyone who has recorded there and they will tell you it was a magical place.
Rich’s daughter Nicole has started a GoFundMe page to help him with the costs of replacing some of his instruments and supplement the cost of the sound equipment that was destroyed. She said this in a recent post on Facebook:
“To say we are broken by this loss would be an understatement; It’s honestly surreal. Losing a home is devastating, so losing your life’s work as well is insurmountable… Dad has a wonderful fascination with music that has consumed him since he was 15 years old, and it’s with that dedication he created The Mouse House Studios. Over the decades he has channeled his passion for making music towards helping, and collaborating with musicians to achieve their artistic vision. The heart that was in this place was palpable; so many talented people stepped-foot through the doors; so much creativity…This place was not just for making music, but a place for friends and family. Birthdays, graduation celebrations, family get to together’s and holiday’s. I can not stress enough how much hard work was put into this place; year by year, the house and studio blossomed – it’s honestly hard to grasp it’s gone…The outpouring of love that has reached my dad is overwhelming. It’s amazing how you can go through tragedy, and still experience the beauty of life at the same time; the beauty of love and friendship. If you are in the position to do so, please donate what you can. Every bit helps. If you can’t, at your convenience please share this fundraiser around.”
The Prog community has already showed so much support with Neal Morse and Mike Portnoy ,among some of Prog’s biggest names, taking time to help get the word out.
My personal connection with Rich started when I was looking for someone to mix Lobate Scarp’s debut album in 2012. Being a huge fan of Spock’s Beard and Transatlantic, I was well acquainted with his phenomenal mixes. In a million years did I never thought he’d agree to work on “Time and Space”, (I was a nobody and a recent transplant to California) but we met, hit it off, and he loved the project. Since then, I must have spent over 3000 hours at The Mouse House, much of it creating our most recent album, “You Have It All”, which Rich co-produced, mixed, mastered, and played several additional instruments. The finished album became my proudest accomplishment, and it wouldn’t have been possible without Rich. We spoke the same musical language. Rich and his wonderful wife Bouchra always welcomed me and my musical cohorts with open arms and open hearts and many times Bouchra would welcome us with delicious omelettes when we arrived for morning sessions. We were getting ready to go back into the studio to record our next album there, but obviously that will have to be postponed because not only is the studio gone, I can’t picture working on this with anyone but Rich. Hopefully, with help from the Prog community, Rich and Bouchra can build another studio/ home, and we can all start making music again soon.
So many amazing memories were made at The Mouse House and while we are grateful that Rich and Bouchra and their families are safe, we are looking forward to making even more in the Mouse House 2.0.
Musical memoirs embrace many styles and formats, but it’s probably fair to say there has never been a story quite like that of King Crimson alumnus, Jakko M. Jakszyk.
For starters, that’s not his birth name, a fact he is keen to point out from the very beginning and provides a key to the essence of his story.
The book’s overriding theme is his personal quest to establish his true identity against the backdrop of an extraordinary musical career, crowned by fulfilling a personal dream of becoming a member of his teenage heroes, King Crimson.
That he has been able to carve out a successful career as a musician, vocalist, songwriter, composer, documentary maker, producer and sound engineer, as well as one time actor – and once, almost a promising soccer player – is testament to his extraordinary talent, superhuman determination and unwavering tenacity. To write this story is to try and make some sense of it all.
But what is clear is that his existential journey towards finding himself has been the driver for informing a greater part of his creative life.
There are so many facets to his story, but as his “public” name would otherwise suggest, Jakko, a nickname given to him instead of his birthname Michael, of Irish/America parentage, but was adopted by a Polish/French couple when he was a babe in arms whose surname he took.
Norbert, his adopted father, came to England after World War Two. He had been spared action on the Russian front due to an accident which damaged his hand, but ended up fighting with the Allies for the Polish Free Army in Italy. However, his wartime experiences left indelible internal scars. He met his wife Camille when she came to England and worked for an American family close to where he had settled.
Royal Albert Hall
Jakko’s childhood proved difficult and oppressive. His adoptive father was a strict disciplinarian who never really appreciated what Jakko did, even when given the VIP treatment at the prestigious Royal Albert Hall in London to see him perform many years later.
Discovering bands like Henry Cow, Matching Mole and ultimately King Crimson, drew him towards the flame of music and the creative arts when he was still at school. “There was a huge hole inside me; I was just desperately trying to fill it up,” Jakko recalls.
An overheard conversation finally paved the way to him finding his birth mother, an Irish woman, Peggy Curran, a singer in a 50s band, and the reality that his father was in probability a US airman stationed in the UK in the 50s.
As he served his musical apprenticeship in various bands, he finally found his mother, calling her at her then home in Arkansas but from the outset, she would not reveal his father’s identity.
What he did discover then was that she had married again, had three sons, also a daughter Debbie who was Jakko’s full sibling. He and Debbie finally met up in New York in an attempt to put together some more pieces of the very fractured family jigsaw.
His solo career was thwarted several times, promised album releases never materialising. However, when Geffen Records showed an interest in his work, Jakko had a chance to go to LA where he met soon to be lifelong friends, the songwriter, Jon Lind and Larry Williams, sax player with the influential Seawindhorn section, that was featuring on two of his latest solo album’s tracks.
Finally, he met his mother and extended family in Little Rock, Arkansas. It proved a difficult and uncomfortable meeting because of her never-ending manipulation of the truth and her continual self-denial.
Michael Jackson
Other Stateside meetings brought him into contact, accidental or otherwise, with David Bowie, Jeff “Skunk” Baxter and Gene Simmons.
However, it was his encounter with Michael Jackson at Westlake Audio in LA which left, not surprisingly, something of a lasting bizarre impression. Laying down some of the tracks for Bad with Quincy Jones, Jackson told Jakko he liked his shoes, which led into a surreal conversation about shoe shops in London’s famous shopping area, Oxford Street.
Meanwhile, his family situation got even more complicated when he found he had another full brother, Darren, who was living in Florida but they eventually met in England.
On the musical front, Jakko’s star continued to rise when he joined the ranks of the 21st Century SchizoidBand comprised four alumni from King Crimson who made albums and toured This led to him making the highly acclaimed Scarcity of Miracles with Robert Fripp and Mel Collins release in 2011.
An invitation to sing Entangled with Amanda Lehman on Steve Hackett’s Genesis Revisited II thrust him even further in the Prog limelight. Then came the call he had been waiting for all his life – from Fripp, asking him if he would accept the challenge of being Crimson’s second guitarist and lead singer. As his friend Nick Beggs would quip: “Well that’s the longest audition in rock history!”
Joining King Crimson would be the pinnacle in Jakko’s remarkable career. However, his personal situations was far from resolution. His adopted parents both died (and provide the most heart-breaking of reasons for the naming of this book). More revelations from the USA emerged, his mother dying, taking even more secrets with her including the possibility of there being a further offspring
And finally, reaching the age of 64, Jakko learned the identity of his father, but having died in violent circumstances at a very young age, there’s no knowing if he was ever aware of Jakko’s existence after he returned to the States and married his childhood sweetheart.
Genesis
What is more, following the storming of the Capitol Building on 6th January 2021, Facebook posts showed that one of his Arkansas half-brothers is a white supremacist with views that are a total anathema to Jakko and the creative world which he has inhabited most of his life.
This summary only scratches the surface of this remarkable, heart-wrenching and utterly compelling story, which stuns, confounds, delights, astounds, amazes and horrifies in equal measures.
As well as the constant deeply affecting quest for identity, there are plenty of lighter moments too, one of them being a “lost” weekend he spent in Amsterdam with his son Django, which takes father/son bonding to a new “high”!
Who is Jakko Jakszyk? With the constant shifting sands that still underpin his life, he fears he will never ever know. Even at the end of his story, he remarks: “The answers themselves just manifest more questions. And then there are no answers anymore.”
Today, we are thrilled to premiere “Grundle,” the third and final single from The Snozzberries’ highly anticipated self-titled album, set to release on October 11, 2024. Known for their explosive blend of psychedelic rock, funk, and progressive influences, The Snozzberries have spent years cultivating a sound that transcends traditional genre boundaries.
Stream “Grundle” below.
The forthcoming album promises to be a sonic journey, exploring dark psych rock, thrash metal, funk, and soul, while delving into themes of love, loss, and personal growth. Each track serves as a testament to the band’s evolving artistry and commitment to pushing the limits of their musical expression.
“Our main goal with this album was to focus on writing interesting, well-crafted songs,” the band shared. “The fun thing about The Snozzberries is that we don’t just stick to one style. Each of us brings our own influences to different tracks on the album.”
Despite being an underground act, The Snozzberries have garnered critical acclaim and a dedicated following. Renowned music publication Rolling Stone hailed them as “an explosion of vibrant tones and textures,” while Live For Live Musicpraised their “hard-hitting set” that leaves audiences in awe. MusicFestNews.com even likened their electrifying performances to rising stars like Spafford and Goose.
While The Snozzberries may not yet be a household name, their dynamic live shows have gained them recognition at festivals such as Hulaween and Summer Camp, sharing stages with notable acts like Papadosio and Big Something.
With the release of their self-titled album, The Snozzberries aim to deliver the genre-blending energy that has come to define their sound, solidifying their position as one of the most exciting acts in the underground psychedelic and progressive rock scene.
The new single, “Grundle,” showcases the band’s psychedelic prog influences, with bassist and vocalist Josh Clark delivering his signature bass style.
The Snozzberries Track Listing:
Darkness
Return
Grundle
Living Without You
Circling the Drain
Guepardo Morado
Hide
The Storm
Biting Through
For more information, visit TheSnozzberriesMusic.com. Follow them on social media @TheSnozzberriesAvl.
Flip a Coin is an international progressive metalcore duo, comprised of Czech guitarist and songwriter Tomáš Biza and American vocalist Heyden Smith. Despite the challenges of collaborating across a seven-hour time difference, the duo released their highly anticipated debut album Reunion in June 2024. Blending elements of melodic post-hardcore, deathcore, and progressive metal, Reunion showcases the band’s versatility and willingness to experiment with diverse sounds. In this interview, Tomáš and Heyden discuss their collaborative process, the creative evolution of Reunion, and how they navigate the unique challenges of being an international band.
How did Flip a Coin come together as an international duo, and what challenges have you faced working across a seven-hour time difference?
Tomáš: The distance between us brings forth challenges both in the creative and production side of things. Being able to sit in the same room and just vibe and bounce ideas one from each other in real-time is something I think we both long for. Production-wise, we both depend on just our own knowledge of how to actually record ourselves and use our gear in the best way possible, which can be a limiting factor sometimes.
Heyden: There’s limited amount of time in the day to talk about things in real time. Shout out Tômas for being willing to have midnight video calls in his time zone. I do feel like we’ve developed a pretty good process of collaborating over the past few years.
Your debut album “Reunion” represents four years of creative growth. How did the collaborative process evolve over those years, and what were some of the key milestones?
Tomáš: I think the most key moment came from before this album even happened, and that was the release of our first single called Haven four years ago. Once that was out, we knew like, yeah. We can actually do this. And that was super affirming. During the process of working on Reunion, though, I’d say fully finishing the longest song on that record, False Promises, felt like a real landmark.
Heyden: These songs weren’t recorded in one batch. There wasn’t really a demo process. We were kind of writing and recording them at the same time, and I think you can hear that across the different songs. “Lifestream” and “False Promises” were recorded close to a couple years apart, so I definitely think we brought some new tricks with us into that song.
The album spans multiple subgenres, from melodic post-hardcore to borderline deathcore and progressive metal. How did you decide to embrace such a diverse range of sounds on “Reunion”?
Tomáš: To be honest, that was not a completely conscious decision! My music taste leans towards albums where I feel like each song has it’s own identity, that every song does something a little bit different from the rest. And so that’s just where my songwriting takes me naturally.
Heyden: I’m a fan of bands that fall into all of those subgenres, and plenty of non-metal stuff too. I’m always excited to experiment with songs that are outside of what I’m used to performing. It’s a huge reason I joined Flip a Coin.
How do you manage to maintain a cohesive sound across the album when experimenting with so many different styles?
Tomáš: But do we really? Haha. I believe that is mostly Heyden’s work, he brings his own vocal style into each song and that sort of ties it all together and makes the differences less jarring. If it wasn’t for his singing the album would feel much more disjointed since the instrumentals are so vastly different.
While the songs are pretty different from each other, I think we both have our own style that we bring into every song. At this point I’ve jammed our demos enough to know a Tomâš riff when I hear one…and the riffs he’s cooking up are quite tasty.
“Reunion” feels like a very cinematic album. How do you approach writing music that feels as immersive and dynamic as your tracks on this record?
Tomáš: I’m so happy you used the words immersive and cinematic, because that is exactly what I was trying to achieve with the sound of this record! I did this with layering many different instruments – guitars, synth pads, strings – on top of each other; just when I thought it was enough I always tried to take it one step further. Then contrasting these parts with more raw sounding sections creates that sort of experience. Also lots of samples and special effects. I wanted each song to feel almost like a movie, sort to speak.
Heyden: That’s all Tomâš. I think this aspect of our music lent itself well to the lyrics that are more story-driven in “False Promises” and “Passengers”. My inner theatre kid definitely came out in my vocal delivery for those.
Tracks like “Lotus” and “Lifestream” have a strong melodic focus, while others like “Amaterasu” lean towards a heavier, deathcore sound. How do you balance melody and aggression in your songwriting?
Tomáš: It’s very much about where I’m at life during the time of writing, or what bands I’m currently listening to, or just the mood and feeling I’m trying to capture. I have a good image in my head of what kind of song I’m trying to write almost every time before I even pick up my guitar. Sometimes I’m going for a rather pretty and melodic sound, other times I want to write something dark and heavy. Songs like Lifestream or Passengers strike a good balance of both, I think.
Heyden: It all starts with what Tomáš brings to the table instrumentally, although I try to avoid predictability when I’m writing vocals. There’s kind of a tired trope of singing on melodic parts and screaming on heavy parts in a lot of modern metal, which I find boring. Ultimately though, I try to just embody the emotions the song makes me feel.
Heyden, as a vocalist, how do you approach matching the intensity and emotion of the different styles of music on “Reunion”?
Heyden: I think all music that makes you feel something has a good grasp on tension and release. I try to tell a story with each song where it has ups and downs and recurring themes. Bringing back certain parts in a new way kind of helps tie everything together. Other than that, it’s getting out of my head when I’m tracking my takes. Trying to worry less about hitting a note perfectly and trying to be “in the song”, for lack of a better term.
Tomáš, you not only wrote and played the music but also handled the production, mixing, and mastering. What were some of the biggest challenges of wearing so many hats on this album?
Tomáš: I’d say the biggest challenge for me is bridging the creative and production processes. Sometimes the parts I write end up sounding very different from what I heard in my head once they‘re recorded and fully fledged out. So failing to translate my ideas into the actual music can be frustrating. On the other hand, this can also make for some really cool, unexpected moments. Being in complete control over the entire process from start to finish is both a blessing and a curse.
The album features guest musicians like Michael McGinley on piano and Jake Maaka on vocals. How did these collaborations come about, and what did they bring to the project?
Tomáš: Jake was featured on a very heavy piece of music I was enjoying a lot a few years back, and when I wrote Amaterasu, I realized he’d be the perfect person to have a feature on it. The piano parts Michael wrote for Lifestream were the last piece of the puzzle that interlocked the different sections of the song. I still remember the moment when I heard what he wrote for the first time, I was honestly shocked by how well it hit the spot.
Heyden: Michael McGinley is my dear friend and bandmate in my other project Flora Nova. Check that out if you want to hear more of him shredding on the keys. I thought Jake brought a visceral kind of aggression to “Amaterasu” that fits so well, and his delivery on the chorus had similarities to Tommy from Between the Buried and Me who is one of my favorite vocalists. I liked filling in on backing vocals for that song and playing off of his melodies. I think both features brought influences to the album that we wouldn’t have otherwise.
“Amaterasu” is one of the heavier tracks on the album. Can you tell us more about how this song came together, and what inspired its powerful sound?
Tomáš: The first half of the song basically wrote itself over a span of a few days. At that time I already knew this one had to end up being a single because of the super straightforward structure and open chorus. I even think it’s the song with the earliest chorus on the album? However, then I hit a brick wall with the ending and it took me 2 years to come back to it. As far as inspiration goes, it’s a very Veil of Maya inspired song.
With “Reunion” being your debut album, how do you feel it sets the tone for Flip a Coin’s future? Are there any particular directions you’re excited to explore moving forward?
Tomáš: As you’ve mentioned, the album features a very wide sound palette, and I’m super happy about our debut album having this kind of character. That’s because it shows we can do it all, and it sort of leaves you wanting more while not knowing what to expect next at the same time!
Heyden: It’s good to have it out there! I’m excited to get more experimental with the next batch of songs and expand on the variety of sounds we were able to achieve on this album.
What are some of the major influences, both musical and non-musical, that shaped the sound and themes of “Reunion”?
Tomáš: I started writing this album right after I moved away from my family and entered college at 19. Now I’m 23, and I think I don’t have to explain how so many things happen in a person’s life during this period. It was a rollercoaster and all these experiences served as a fuel for writing and are reflected in the album. Sound-wise, I drew inspiration from many of my favorite records which came out during that time, most notably from bands like Periphery, ERRA and Counterparts.
Heyden: It probably comes as no surprise that I joined this band after seeing a post from Tomáš on the r/periphery subreddit. They’re definitely a huge influence for both of us. In the realm of prog and metal, Protest the Hero, The Contortionist, and Corelia have been pretty big influences on me. Both Tomâš and I are into sci-fi, so that’s where some of the more conceptual lyrics came from. The rest is inspired from both of our perspectives on past relationships, loss, mental health, and personal beliefs.
Given the album’s independent release, how have you approached getting your music out to the world and building a fanbase for Flip a Coin?
Tomáš: Making music is an outlet for both of us, and so that’s the most important aspect before anything else for the band. I personally really enjoy the visual aspects as well, so coming up with the artwork and music video ideas was lots of fun and I feel like it can help connect with our audience. For our guitar oriented fans, I’ve also recorded guitar playthroughs for some of our songs and tabbed them out, you can find that stuff on our YouTube and Bandcamp.
Heyden: We put out music videos for “Lifestream” and “The Algorithm” and a few more visualizers for “Lotus”, “Insomnia”, and “Amaterasu”. We’ve also pitched music to some playlist curators. It’s tough when you can’t promote by playing shows and finding a scene to be a part of. Ultimately though, we’ll write this music whether there’s a fanbase or not. It’s first and foremost a passion project and an outlet for creative expression.
We’ve come to the end of yet another fine year in prog. It has been an extremely difficult year for me personally and professionally, and that’s been reflected in my output here at Progarchy. I wish I had had the bandwidth to write many more reviews this year, but such is life. I currently find myself unemployed (my temporary job ended at the end of 2023 due to lack of funding) and many months in to a thus-far fruitless job search. This year’s musical output has been a soundtrack through some incredibly uncertain times. Here are some of my favorites, in no particular order apart from my top three albums at the end.
Soen – Memorial
While not as good as their last few albums, this record has still been in frequent rotation for me. It has more quiet and orchestral moments than they typically include, but there is still a lot of their heavier crunchy prog metal riffing and signature melodies. Soen isn’t a band to be missed.
Transatlantic – The Final Flight, Live at L’Olympia
I’ve long preferred Transatlantic’s live work to their studio albums. Their studio albums are great, but this is a band that is best experienced live. While I’ve never seen them live in person and perhaps never will as it sounds like this could be the end for them, their live albums are always a treat. They are especially good for long car rides. I remember listening to KaLIVEoscope on a long car ride home from college back in the day, and just a few weeks ago I listened to The Final Flight during a long drive to eastern Tennessee to meet a special someone in person for the first time (at least something has gone well for me this year). The complexity of the music and the skill of the musicians keep your brain occupied on the long open roads. Transatlantic create a fourth version of their epic The Absolute Universe with this live outing, adding in a final set featuring a Whirlwind Suite, “We All Need Some Light,” and a medley from their first two records. It’s a great way to get into Transatlantic’s music for the uninitiated.
Dream the Electric Sleep – American Mystic
I’ve been following Dream the Electric Sleep since 2014, and I think American Mystic is their best album. It’s more concise and more focused with subtle variety. It’s distinctly American prog, reminding me of the heavier prog of American prog bands of the 70s and 80s. Their vocal harmonies are definitely worth noting. Check out my full review at the DPRP.
Big Big Train — Ingenious Devices
While not exactly a new album, Big Big Train’s Ingenious Devices caught my attention and held onto it tightly. The band worked for years revisiting their “mankind and machine” trilogy of “East Coast Racer” (off 2013’s English Electric: Part Two), “Brooklands” (off 2016’s Folklore), and “Voyager” (off 2019’s Grand Tour). They re-recorded most of the instrumentals and added full string sections to the first two (“Voyager” was recorded with full strings). They also added a short track to bridge “East Coast Racer: with “Brooklands,” and they added a live version of “Atlantic Cable” featuring new singer Alberto Bravin. The mix is phenomenal, and it’s great to hear these songs set apart on their own. A must listen for Big Big Train fans. Check out my DPRP review.
Haken – Fauna
Haken’s Fauna is somewhat of a mixed bag for me. It’s a solid album throughout, but it leans a little too much on the softer side, but when it gets heavy and creative it slays. “Elephants Never Forget” is simply fantastic – one of Haken’s best songs. Check out my full review.
Steven Wilson – The Harmony Codex
This album grew on me slowly. At first I was mildly indifferent and then grew to like it, as opposed to my immediate and lasting distaste for The Future Bites. I think The Harmony Codex rather tactfully blends the spacey progressive elements of Wilson’s abilities with the pop edge that strongly influences his recent work. I don’t know if it was commercially successful for him, but the final product is a solid record that actually sounds more familiar. No it isn’t Hand. Cannot. Erase., but I think it’s his best solo record since then. But it isn’t for everybody, namely Progarchy’s Time Lord. Rick Krueger found more to enjoy.
Southern Empire – Another World
The Aussie band’s first record since 2018 finds them with a new vocalist – Shaun Holton. He has a great voice, but former vocalist Danny Lopresto’s voice is so unique and one of my favorite elements from their last album. As such it’s been hard for me to like Another World as much as I like Civilisation. With that said, it’s still a solid album with moving melodies and a stellar almost 20 minute-long track blending heavy with symphonic prog. Definitely worth checking out.
Moon Safari – Himlabacken Vol. 2
Finally! After wondering for ten years “whatever happened to Moon Safari,” the band returned this month with the follow up to 2013’s Himlabacken Vol. 1, an album I don’t listen to frequently but will always have a warm spot in my heart because it came out around the time I really started getting into newer progressive rock. Vol. 2 is even better than it’s predecessor, making the decade-long wait worth it. The 21-minute “Teen Angel Meets the Apocalypse” is the finest long track I’ve heard this year. I’m a sucker for intelligent writing, and this song incorporates influences (and lyrics) from T. S. Eliot’s masterpiece “The Wasteland” (a poem that also inspired Genesis’ “Cinema Show”). The subtle inclusion of the melody from “London Bridge is Falling Down” throughout the song is itself a nod to part of “The Wasteland”. The song is great and a must listen. Nobody does vocal harmonies better than Moon Safari.
3. Riverside – ID.Entity
Riverside have yet to make a bad album. They’re all great in their own way. ID.Entity finds them taking a synthier approach to criticism of modern technosociety, and it works really well. They still get heavy when they need to, especially with Mariusz Duda’s vocals on “I’m Done With You.” It’s a solid album throughout and shouldn’t be missed. Check out my full review.
2. Molybaron – Something Ominous
This album was the unexpected musical surprise of the year for me. I liked the band’s previous album, but I wasn’t as much a fan of the lyrics. This time around, it seems western government’s tyrannical overreach during the Covid-19 debacle has made vocalist and lyricist Gary Kelly rather based. The songs are short, but that doesn’t keep this from being a prog metal funfest. Kelly’s vocal acrobatics make the album thoroughly entertaining. “Billion Dollar Shakedown” is a magnificent teardown of modern society’s incestuous elitist blend of government and big business marching in lockstep to ruin all our lives. “Breakdown” is a refreshing and real take on mental illness, and it’s been a bit of a themesong for me since it was released. The title track points out how the elites are pitting the rest of us against each other instead of against them. “Daylight Dies in Darkness” takes a spacier tone before building into heavy metal. It’s a fantastic smashmouth rock n’ roll heavy metal album. The only thing I don’t like is it’s only 38 minutes long – it’s so good I want more. Check out my review.
1. TesseracT – War Of Being
Unfortunately I never got around to reviewing this one, but I did review their concert. This is such a fantastic album – the band’s best to date. It’s also their heaviest since their debut. Singer Dan Tompkins demonstrates that he has one of the best voices in the business. One minute he can sing high like Matt Bellamy from Muse and the next he’s doing distorted vocals a la Devin Townsend. He even learned new methods of distorted vocals for this album, enabling him to create different sounds for the different characters, since this is a concept album. I’m still trying to figure out the story, but the djenty crunch is a headbangers dream. Everything about the record is great, and it easily tops my year-end list.
So there you have it. TesseracT was the only concert I went to this year, and it was a banger. I bought tickets to the upcoming Big Big Train show in March, so hopefully I’ll be able to make it to that (life is pretty crazy right now being between jobs). I didn’t read any prog books this year, but I plan on starting Geddy Lee’s “My Effin’ Life” tonight. Hopefully the new year will suck less for me, and I hope it’s a good one for you all.
Thanks so much for reading and sticking with us here at Progarchy this year, even though our output was rather thin compared to last year. Hopefully we’ll get things rolling again in 2024.
Russian rockers The GrandMa are back with a new release–a full-length album “Cure for Fear,” which as the band members agree is “another door to the unknown.” About what it took to bring the release to life and more, the band speaks in the interview below.
You have recently launched an album with The GrandMa entitled “Cure for Fear.” How do you feel about the release?
Alexander: We’re absolutely excited about the release. It took us quite a long time to get there. I mean this is what we do. Music, rock music is our life and our passion, and now we feel like we just opened another door to the unknown. Speaking of music and generally of arts… Russia is still… mmm… let’s say “not open enough” and when your rock band releases an album worldwide it’s like you broke some shell and found out there’s a whole world outside.
We are so inspired and up to more and more music, hell-bent to rock. So, it feels great.
Sergey: Yes, and moreover, this is our first album together, and we got a lot of pleasant moments. I hope that it will be positively appreciated. The album was released worldwide through the new music label Djooky records (USA), and we are very excited about this collaboration.
What was it like working on the album? How much of a challenge was it to work on it?
Alexander: It was actually a real challenge. First of all, we kinda chose extremely “not a good” time to do it. I mean, pandemic had a huge impact on musicians’ lives and the money issues were inevitable during the whole album making process. I literally had to sell pretty much all I got to have studio time and so on. Besides, in the place we live, in this country, to be a rock musician is kinda like to be a strange “out of common sense” weirdo. A sort of social outcast. If they ask you : “what do you do?” and you’ll say : ” I am a rock musician. I play rock”, then they’ll ask you with total confusion : “but why? What for?!”…. Yes, it’s still here. Not as much as it was in soviet times, but still here. I mean, there’s a huge and great metalheads/rock fans community in Russia, but the music itself still “has to be” somewhere from far away, from another world. And in this circumstances, sometimes, it is hard to carry your creative mood and inspiration through this. And it’s very important after all.
Luckily, inside the band, we have common preferences, and common “beliefs” about how to make our music. We all like analog sound, amps, and searching for new guitar sounds and so on… So generally we had an incredibly great time making “Cure for Fear”. It was so fun.
Kate: Yeah! It was such a beautiful challenge and I enjoyed the process very much, staying up for several nights and thinking about nothing but the lyrics for this project during a very long time. I can also say that guys worked so hard to release this album.
Sergey: While we were recoding the album, we did not think about the album concept itself. We just recorded song after song. And only after some time we saw the outlines of the whole album and its concept.
All that was going on around us had an impact our music.
Speaking of challenges, have you set any in the early phase of what has become the final result?
Sergey: Probably not. In my opinion, the main goal for the band was to record a high-quality material. I think we made it.
Mikhail: I believe, we just let the music come out from the inside. And the goal was not to interrupt this process!
Alexander: Well, this is our first record together and despite the fact we all are into rock music, we are still very different. Different as musicians, as listeners and so on… So, I guess, maybe the first challenge was like : “What is it gonna be like if we mix it up?”
Tell me about the topics you explore on these songs.
Alexander: These songs, in general are about freedom, I guess, about the will to be free and happy, challenges and struggles we all have as human beings. The questions that never get old. Luckily we have our indispensable lyricist Kate, maybe she can say more about this.
Kate: To be honest, you have already told everything that I would say. I can only add that it was a pleasure to speak through these songs and share some observations of mine about life, people and different experiences. Like Sasha said, these songs are about relevant topics that are as old as humanity itself. Sometimes, though, I was really surprised about the final lines that I came up with, because my main inspiration was a wonderful music that guys showed me. All I needed to do is just “to catch” the images that came to my mind and develop the stories while I was listening to the demos.
What is your opinion about the rock/metal scene in 2021?
Alexander : As for me, first what just came to my mind is “Mudvayne” reunion. It’s just… wow! I am super excited.
Sergey: I am impressed with the latest work of Dead Daisies with Glenn Hughes!!! It’s super cool!!! And they’re already on tour… I’d like to meet them one day.
Mikhail: I guess, rock music in general became more popular in the last few years. I think it’s the most emotional genre of modern music. After 2020 lockdown, after all those things, 2021 felt so special. Concerts, festivals, new releases, it’s like a silver lining we’ve been waiting for so long.
Let me know about your influences—the artists that in a way shaped your work.
Alexander : This is definitely gonna be a huge list. I mean if gonna talk about what shaped each one of us as musicians, it would be an endless list. For me it’s a wide range of styles and artists. Like, from Slipknot to Stravinsky and more… But if we are talking about what shaped this work, the album, I think it’s more like: you wandering around, living your life and you hear and see something. Sometimes it’s little things. And it becomes an idea, musical idea, which grows into a song or your Instrumental part. And it can come from anywhere.
Sergey: I have always been and still am a huge fan of 60-70s rock music. Therefore, in my list Doors, Hendrix, Led Zeppelin, Deep Purple, Black Sabbath, Yes, Pink Floyd and many others from this era.
What are your top 5 records of all time?
Alexander: It’s definitely “Black album” by “Metallica”
Radzh: Yeah! “Black album” by “Metallica” and also
“Industrial Zen” by John McLaughlin,
“Full Circle” by Ravi Shankar
“Toto IV” by Toto
“10,000 Days” by Tool
Sergey: I would say, Deep Purple «In rock»… Forever.
If it is necessary to highlight the top five, then I will add more «L.A. Woman» by Doors, “Wish you were here” by Pink Floyd, “Presence” by Led Zeppelin and “Sabbath bloody Sabbath” by Black Sabbath
Mikhail: “Machine Head” and “Purpendicular” by Deep Purple, “Load” by Metallica, “Revolver” by Beatles, “Physical Graffiti” by Led Zeppelin
Besides the release of the album, are there any other plans for the future?
Alexander: Yeah, of course. Live shows mostly.
Sergey: Yes, spring – summer of 2022.
Any words for the potential new fans?
Sergey: Follow the news from The GrandMa. Something very impressive is coming soon
Kate: Let yourself dive into this amazing music flow, share our songs everywhere you can and sing along with the band on their live shows.
Part rock, part funk, part punk, Brussels-based InHibit’s debut is unique and fun. The simple but funky baseline on “Shadows of Fire” reminded me of days gone by in popular music, but it sounds extremely fresh and clear. Uk-based journalist Chloe Mogg has more below:
By Chloe Mogg
InHibit’s latest EP Blinded is an appetising hybrid attempt at an 80s classic rock record, embroiled with metal riffs and drums beats and in-your-face vocals. The artist also rightfully takes influence from some of the greatest rock bands of late, and throws into the mix familiar elements from some of the best to ever do it, ensuring his EP has enough proven musicianship that’s sure to win him some points.
“Shame On Humans” crosses between charismatic, full bodied riffs and a squeaky, whining sound that’s almost like a sinister laugh; a villainous mock giving nod to the poor societal state of humanity that has encompassed most headlines in the turmoil that was 2020. The eponymous chorus is not unlike a Foo Fighters verse at all, while the most noteworthy section of the EP’s opener is its unravelling into a power ballad of a guitar solo that’s met in unison with InHibit’s discordant vocals, which break form from the established singing style and bring an endearing passion. InHibit’s aggressive vocals also seen in ‘Settings’ further help to determine that this is the best style for the artist, who should take pride in singing in a full-hearted, no-holds-barred style, which is definitely his forte in contrast to his softened, more intricate attempts seen in ‘The Quest’.
A jazzy, funk-filled bassline provides a fitting backdrop throughout ‘Shadows of Fire’, and ties the tracks surprising choice of instrumental sound together. The simple snare, hi-hat drum beat in parts, combined with the prevalent bass and the different layers of backing in vocals, does genuinely draw some resemblance to Queen’s infamously distinct style seen on the likes of ‘Bohemian Rhapsody’, which is only furthered through the whispered vocals and call and response claps which come toward the end of the track. Though InHibit’s work on this EP is far from the mastery of both Dave Ghrol and Freddie Mercury, the fact that the artist has attempted to replicate their superior musical notoriety and has found a place for it amongst his own style is a massive compliment alone.
Taking us back to the years of Stranger Things. . . this looks wonderful. From Clint Weiler, MVD Media:
The Us Festival: 1982 The Us Generation
The authorized story of the 1982 Us Festival with remastered live performances from
The Police, Tom Petty, Fleetwood Mac, Santana, The Cars, The B-52s, and more
Coming to Blu-ray / DVD on August 10th
The Us Generation: The Making Of the 1982 Us Festival is an in-depth look at one of the most influential music festivals of all time. The Us Generation is from award winning filmmaker and rockumentarian Glenn Aveni, who is also the film’s director. Co-Directed by Jay Cederholm and Produced by Bruce Gibb & Rich Schmig, the film blends rare concert footage and insightful interviews with both organizers and performers.
The film tells the story of the groundbreaking 1982 Us Festival–an epic three-day event featuring an eclectic and unprecedented lineup boasting some of the biggest names in music, performing live in front of over one million people at Glen Helen Regional Park in San Bernardino, CA. The Us Festival was the brainchild of Apple visionary Steve Wozniak, who wanted to create something that was a true celebration of Americana, cultivating positive vibes and building a deep sense of community through the power of technology and music.
Highlights include performances by chart-topping superstars, Tom Petty & The Heartbreakers, alt-rock trio The Police, blues rock heroes Fleetwood Mac, guitar virtuoso Carlos Santana, retro-chic favorites The B-52s, and new wave icons The Cars; as well as archived appearances by Johnny & Joey Ramone, Carlos Santana, Sting, Ric Ocasek, Danny Elfman, and Fred Schneider; plus exclusive sit-downs with festival founder Steve Wozniak, Mick Fleetwood, Eddie Money, Marky Ramone, Kate Pierson, Stewart Copeland, and Mickey Hart, among others.
The film is produced by Icon Television Music, Inc., Plum Media, and in association with Us Festival original founders Unuson Corporation.
It was my ubercool English friend, Steve Dalton of the Black Vines, who originally introduced me to Black Stone Cherry–a band that makes me realize that rock is not only not dead, but it’s breathing like mad! And, I’m quite partial to Mascot, too!
Exclusive ‘Kentucky’ CD+DVD with alternate cover
Available from the MLG US store!
We got a hold on the last few copies of the limited edition CD+DVD of Black Stone Cherry’s 2016 album “Kentucky”. This version, with an alternate rusty brown cover, was previously only available at Best Buy stores.
It can be yours for the incredible low price of $9.99 (plus shipping). We have BSC’s other Mascot Records albums in stock as well, so why not treat yourself to a truckload of Black Stone Cherry!
I don’t know these guys, but this email made me smile, and I had to repost. I don’t smoke, but, unlike so many other Americans, I don’t think it’s the pestilential stink of the devil, either.
So, Dany Laj, glad to know you’re living life on your own terms. Best to you.
Hey Brad,
I’m like Guy Lafleur – I do everything the hard way. And I smoke. My band and I have spent the better part of the last six years bringing our high-energy, power-pop mayhem to crowds across the continent. Our brand new single, “Left Right To One,” found us branching out from the recording studios we’ve frequented in our homeland of Canada, and in Rockford, Illinois. Produced at Midwest Sound by Dan McMahon (Bun E. Carlos, Miles Nielsen and the Rusted Hearts), and engineered by Jeremy Koester, “Left Right To One” gives a glimpse into the longstanding, rock ‘n roll partnership between bassist Jeanette Dowling and myself.
Soen – Memorial
Transatlantic – The Final Flight, Live at L’Olympia
Dream the Electric Sleep – American Mystic
Big Big Train — Ingenious Devices
Haken – Fauna
Steven Wilson – The Harmony Codex
Southern Empire – Another World
Moon Safari – Himlabacken Vol. 2
3. Riverside – ID.Entity
2. Molybaron – Something Ominous
1. TesseracT – War Of Being
Progarchy 