In Part One of this interview, we dug deep with Tim Bowness about his latest album, Late Night Laments, released by Inside Out on August 28. Our concluding segment has more about the new album, but also catches up on Tim’s other recent projects, as well as an update on Progarchy’s favorite online music shop, Burning Shed. As with Part One, a transcription follows the jump.
Tim Bowness is no stranger to Progarchy: he’s graced us with multiple interviews over the years, including a three part epic in early 2019. Back then, we talked about his stylish, enticing album Flowers At The Scene, which made my list of favorites for the year.
Tim’s latest effort, Late Night Laments, is released on CD and LP (available on both regular and transparent blue vinyl) by InsideOut Music on August 28. As on Flowers At The Scene, Bowness’ songs delve into the psyches of protagonists at the end of their rope, framing their desperation with lush, atmospheric textures — but this time around, subtle variations in soundscapes and storytelling both sharpen the focus and broaden the impact of the music. Paradoxically, it’s a subdued, concentrated listening experience that packs an intense emotional punch.
I was grateful to speak with Tim via online video this time around; as before, he was glad to talk about his multiple musical endeavors and generous with his time. In Part One of the interview, we focus on Late Night Laments; a transcription follows after the jump.
Judy Dyble, whose crystalline vocals were key contributions to the early days of folk-rock legends Fairport Convention and progressive pioneers King Crimson, has died at the age of 71, following a late-life musical renaissance as a solo artist.
Dyble, who titled her 2016 memoir An Accidental Musician, grew up in North London. Drawn to the ferment of the Smoke’s music scene, she fell in with Ashley Hutchings, Simon Nicol, Martin Lamble, fellow singer Ian Matthews and Richard Thompson, who eventually became Fairport Convention. Their kick-off single “If I Had a Ribbon Bow”, a oddball update of a 1940s big band shuffle, was a prime example of the early Fairport’s wildly eclectic style:
The band’s first self-titled album from 1968 featured a vivid mix of originals and covers (of Bob Dylan and Joni Mitchell among others), but Dyble was shuffled out of the band soon after, briefly joining an embryonic version of King Crimson (then trading as Giles, Giles and Fripp):
Following a final stint with cult duo Trader Horne, Dyble drifted away from singing, marrying music critic/record shop owner Simon Stable, then moving to the country and raising a family. Invited to the occasional Fairport Convention reunion at the Cropredy Festival, she began singing in public again after her husband’s death. A trilogy of electronica-based collaborations with Australasia’s Marc Swordfish eased Dyble back into songwriting — which led to 2009’s marvelous Talking with Strangers, co-produced by Tim Bowness of No-Man and Alistair Murphy (aka the Curator) and featuring contributions from Nicol, Fripp, and a starry host of other guests on the acoustic-prog epic “Harpsong.”
Further solo albums and guest appearances followed, including a vocal on Big Big Train’s “The Ivy Gate” from the Grimspound album. Her latest effort Between a Breath and a Breath, a collaboration with David Longdon featuring contributions from the rest of BBT, has just been announced as a late September release. While fighting her final illness, Dyble penned these reflections on the new album, showing both her unquenchable spirit and her wickedly impish sense of humor:
The lyrics for these songs virtually wrote themselves, with minor tweaks, as music grew around them. All were written before I was diagnosed and before the dreadful virus stamped its footprint on our world.
“Quite a few of my lyrics have a touch of sadness about them but always with an optimism for the future and a desire to know what happens next. France, Whisper and Obedience tell stories suggested in conversations and Between A Breath And A Breath is sheer magic. Astrologers was a simple ‘Hmmpph! Stop it!, while Heartwashing and Tidying Away were just poems which wrote themselves.
David Longdon has written a tribute to Dyble which appears on the front page of Big Big Train’s website. Two songs from the Dyble/Longdon sessions not included on Between a Breath and a Breath will be released as Bandcamp downloads later this year, with proceeds benefiting Dyble’s favorite charity, The Barley Greyhound Sanctuary. A selection of Dyble’s albums (including a freshly released live recording from 2016, Weavings of a Silver Magic) are most easily available from Burning Shed and Amazon UK.
Oddly enough, I’d been celebrating the upcoming release of Between a Breath and a Breath last night, listening to Talking with Strangers again and re-reading An Accidental Musician. So Dyble’s final words in her memoir have an uncanny resonance today:
There may be trouble ahead, but while there’s poetry and starlight and mellow autumn colour in the woods and a dog at my side, I’ll face the music and slightly dance. To be continued. I expect …
For all those who sorrow at Judy Dyble’s passing, I wish them comfort as they remember her life with gratitude, as well as continued delight in the beautiful music she made.
— Rick Krueger
It’s been a grim old half-year, hasn’t it?
If you were to hunt for any positives to come out of lockdown, one of the few might be the increased opportunities it has afforded many of us to sit down and listen to music, in lieu of social or outdoor activities. Indeed, this simple act seems more important than ever as a means of raising spirits and maintaining one’s mental health in these troubled times.
The pandemic has wrecked the live music scene for the moment, and made the business of recording new material much more challenging, but it doesn’t seem to have stemmed the flow of new releases too much just yet, thankfully. So here’s a round-up of twenty things that have particularly caught my ear over the past six months.
Note: wherever possible, links in this piece are to the relevant Bandcamp page (or, failing that, to sites like Burning Shed or Music Glue).
Let’s start with stuff that might be regarded as ‘mainstream prog’. The epitome of this has to be The Red Planet by Rick Wakeman – an album that ploughs a much proggier, Moog-laden furrow than the maestro’s other recent, piano-based work. It’s a delight from start to finish, and my only regret is that I opted for the digital release rather than the CD or vinyl with their distinctive cardboard pop-up covers.
Also firmly and squarely in the ‘mainstream prog’ camp lie Pendragon‘s latest, Love Over Fear, and Masters Of Illusion by Magenta. The former is easily the band’s best work for quite a while and features gorgeous aquatic-themed cover art (see below-left). The latter is an intriguing concept album paying tribute to Bela Lugosi, Lon Chaney, Christopher Lee and other stars of classic horror movies. Even better than both of these is the splendid Things Unseen, by I Am The Manic Whale, an album that is uplifting and light in tone yet also satisfyingly intricate. Highlights are the 19-minute epic Celebrity and the touching paean to a newborn infant, Smile.
I’ve avoided lumping new Glass Hammer album Dreaming City in with the aforementioned ‘mainstream prog’ releases, only because this album has a pleasing, harder-than-expected edge to it. I’ll admit that Glass Hammer’s output hasn’t always clicked for me, but I’ve very much enjoyed the heavier tone here, as well as the forays into electronica. Heavier still, and just as engrossing, are Inescapable by Godsticks, and Jupiter Hollow‘s latest, Bereavement.
What else has grabbed my attention? Pure Reason Revolution‘s comeback album Eupnea stands out, as does Celexa Dreams by Kyros – an even better album than 2016’s impressive Vox Humana, I reckon. Earworm Rumour and the dramatic In Vantablack are especially noteworthy. If you enjoy slap bass and plenty of synths, you should definitely check this one out!
The pop and contemporary music influences that have shaped Celexa Dreams are even more prevalent in another couple of this year’s quality releases: The Empathy Machine by Chimpan A, and Valor by The Opium Cartel. Chimpan A is a side-project of Magenta’s Rob Reed which has been dormant since a 2006 debut album. This long overdue follow-up is a slick, smooth, highly palatable mix of prog, pop, electronica and dance beats, with excellent vocal performances. Valor, meanwhile, is a more straightforward homage to the pop music of the 1980s, but is no less elegant or enjoyable for all that. Elegance is also the watchword in Modern Ruins, by Tim Bowness & Peter Chilvers. This is minimalist art rock at its finest, with Bowness as soothing and seductive as he’s ever been.
Instrumental albums have very much been on my radar this year: not just Rick Wakeman’s aforementioned offering, but also material from younger, less established acts. Zopp’s eponymous debut release is a superb slice of jazz-tinged, Canterbury-inspired prog, featuring guest appearances from Andy Tillison and Theo Travis (Andy also engineered and co-produced this one). Much more squarely in jazz territory lies the Jazz Sabbath project, from Rick’s son Adam Wakeman. This imagines an amusing alternate history in which Black Sabbath made their name by ripping off the songs of jazz pianist Milton Keanes! The version of Iron Man on here is especially entertaining. Finally, I can’t leave the Instrumental category behind without mentioning Final Quiet, from the gloriously-named Flies Are Spies From Hell. This is post-rock, but with more delicacy and subtle variation than is generally found in that particular sub-genre.
Funnily enough, my favourite releases of 2020 so far would mostly not be categorised as prog. Chief amongst these is Darkness Brings The Wonders Home by Smoke Fairies – a moody, mesmeric album in which minor keys, intertwined guitar parts and vocal harmonies combine to bewitching effect. Stand out tracks are Coffee Shop Blues, Chocolate Rabbit and Chew Your Bones. Equally compelling is Jonathan Hultén‘s acoustic solo album Chants From Another Place, a haunting, mysterious work that taps into obscure folk and choral traditions.
Folk influences also permeate two other 2020 releases that are particularly dear to my heart: Let It All In by Baltimore band Arbouretum, and The Life Of The Honeybee And Other Moments Of Clarity, from Glasgow-based Abel Ganz. The former deftly blends americana, psych and even krautrock, courtesy of the pulsating, hypnotic 11-minute title track. The latter is a majestic and beautiful prog album that somehow improves upon the mood-enhancing, sunny, summery feel of its 2014 predecessor. I guarantee it’ll lift your spirits if you give it a spin. It’s hard to pick a favourite track, but the epic Sepia And White is truly spectacular.
I’ll finish with a shout-out for KOYO, a band local to me, whose new album You Said It has been on constant rotation at home. This is more direct and punchy, and less psychedelia-influenced, than its 2017 predecessor. Overall, it’s not especially proggy, though album closer Against All Odds definitely leans in that direction, while Out Of Control wouldn’t sound out of place on Steven Wilson’s To The Bone. In fact, it’s easy to imagine Wilson producing an album like this, were he to opt for a grungier, more alt rock direction on some future release. However you want to label it, this is a hugely engaging, lively and enjoyable listen, and one of my favourites of the year so far.
Hardly breaking stride, Inside Out Music ramps up their summer schedule with a fistful of new releases (some of which had to be rescheduled due to manufacturing delays). Unless otherwise noted, links go to CD versions of these upcoming albums available at Burning Shed; LP and download editions will also be available.
- Gösta Berlings Saga, Konkret Musik (July 24). The Swedish band’s 6th album of instrumentals.
- Haken, Virus (July 24). The sequel to Vector, and the conclusion to the saga of The Mountain’s “Cockroach King.”
- Kansas, The Absence of Presence (July 17). The follow-up to 2016’s The Prelude Implicit, with Tom Brislin (Yes, Renaissance, The Sea Within) on keyboards.
- Lonely Robot, Feelings Are Good (July 17). The Astronaut returns to earth. Watch for The Progarchy Interview with Lonely Robot mastermind John Mitchell coming soon!
- Neal Morse / Mike Portnoy / Randy George, Cov3r to Cov3r (July 24, from Radiant Records). The third installment of M/P/G unleashing their takes on classic rock, pop and prog. Also available in a box set that includes the first two (remastered) volumes of the series, Cover to Cover Anthology.
- Tim Bowness, Late Night Laments (August 28). A sequel to last year’s highly acclaimed Flowers at the Scene, mixed by Steven Wilson.
- Pain of Salvation, Panther (August 28). Two years in the making, the latest installment of prog metal plus from Daniel Gildenlow and company.
- The Tangent, Auto Reconaissance (August 21) From the ever-fertile mind and fingers of Andy Tillison and his cohorts: jazz, humor, narrative, modern R&B, pop, funk/soul, and a 28-minute epic about England.
- Rikard Sjöblom’s Gungfly, Alone Together (September 4) Sjöblom promises hard-hitting power trio prog this time around!
- Neal Morse, Sola Gratia (September 11, from Radiant Records). Morse’s latest concept album: the story of St. Paul. Preorders begin Friday, July 17.
— Rick Krueger
Here are the albums of new music from 2019 that grabbed me on first listen, then compelled repeated plays. I’m not gonna rank them except for my Top Favorite status, which I’ll save for the very end. The others are listed alphabetically by artist. (Old school style, that is — last names first where necessary!) Links to previous reviews or purchase sites are embedded in the album titles. But first, a graphic tease …
One of Robert Fripp’s “devil bugs” caught up with the Krueger household on February 24 — the same day a “bomb cyclone” hit West Michigan, causing a 30-degree temperature drop in 24 hours, along with whiteout snowstorms. It’s taken this long for us (and the region) to emerge from hibernation — but through the depths of winter to the cusp of spring, music has taken sad songs and made them better.
That very day late last month, I trekked across the state to catch The Neal Morse Band’s Great Adventour stop in suburban Detroit; Neal and his merry crew (including son Will and daughter Jayda at the merch table) didn’t disappoint. As I anticipated, The NMB’s live take on The Great Adventure was even tighter, more driven and more finely honed than the fine studio album (first half glitches to Morse’s keyboard rig notwithstanding).
Hearing all of TGA in one go brought home how thoroughly integrated the new effort is. The key musical themes (as well as flashbacks to The Similitude of A Dream) aren’t just repeated, they’re developed in near-symphonic ways: transposed, transformed rhythmically and harmonically, recapped in unexpected contexts throughout the work. Kaleidoscopic contrasts of rhythm, instrumental color, vocal textures (mainly from Morse, guitarist Eric Gillette, keyboardist Bill Hubauer) and tonality meshed smoothly with drummer Mike Portnoy and bassist Randy’s George’s badass forward propulsion, ably mirroring the lyrical highs and lows of another journey to the Celestial City.
In sum, TGA is a genuinely impressive concept work, marked by ambition, intelligence, technique and sentiment in just the right proportions. The result at the end of each set (and the encore medley that covered Morse’s entire solo career, ending the night where it began) was sustained, extended, unforced ecstasy in the audience — a feeling that, I believe, couldn’t have been manufactured or manipulated into existence. I couldn’t help think that, consciously or not, Morse’s recent work fully embodies the ongoing ideal of American revivalist religion — an ideal, whatever its flaws, that’s been a cultural constant from the Puritan theologizing of Jonathan Edwards to the rough-hewn democratic juggernaut of today’s Pentecostalism.
And, in the inspired, paradoxically complex simplicity of its drive to the finish, The Great Adventure live reminded me of nothing so much as Gustav Mahler’s massive Resurrection Symphony. Like Mahler, Morse and band embraced everything that came to hand, running the risk of grandiosity to shape a new musical world — a payoff acknowledged by the heartfelt, fervent applause of the 300 souls in attendance.
In Part 1 of Tim Bowness’ latest Progarchy interview, Tim discussed his previous solo albums, working again with his first band Plenty, reuniting with Steven Wilson for new No-Man music, and how all this feeds into his new album Flowers At The Scene (released March 1 on Inside Out Music). We dig into the new album in depth below! Note that [brackets] below indicate editorial insertions.
Pulling it back to Flowers At The Scene, it’s interesting what you said about how really, there are some [pieces] that you’re producing, there’s some that you and Brian [Hulse] are working on, there’s some that you and Brian and Steven [Wilson] are working on. It all feels like a unity when I listen to it. Despite the variety of colors, it’s, as you say, it feeds on what you’ve done before, but it goes in really interesting, different directions. Are there any particular songs that you feel are at the core of the album?
I would say you’re right, it does feel like an album. One thing that’s important to me is, I know in this age of streaming and Spotify it’s not particularly fashionable, but I love the album. I’ve always loved the album as a statement. And in some ways, although this album is different from the other albums – I mean, the previous three albums had themes to a degree. Lost In The Ghost Light was a narrative concept album. Stupid Things That Mean The World and Abandoned Dancehall Dreams had linking lyrical themes in a way. This is different in the sense that it’s eleven very separate moods, very separate lyrics, very separate songs. And yet it fits together, I think, in a kind of classic 43-minute album format. And in some ways, I think it’s the album that flows best of all four. There’s something about it that it kind of moves from one mood to another. And yet it holds together.
I suppose the key songs would have been when “Flowers At The Scene” and “Not Married Anymore” were written. And I just felt that Brian and I had been coming up with material that had its own distinct identity. And I also had a certain idea of how I wanted them to sound – and suddenly that was it! And I guess that there’s this [Robert] Fripp line, he would always say that a new direction presented itself. And I think that it’s true, because I’d continued writing material on my own, and I’d continued writing material with Stephen Bennett while I was recording the Plenty album. And although the material was good, it felt like it was gonna be a continuation of Lost In The Ghost Light or Stupid Things That Mean The World.
And I think that it was when I’d written the fifth song with no purpose really – Brian and I just kept on writing together because we were excited by what we were doing. And I think it would have been “Flowers At The Scene”, the title track itself, and I thought, “this is the new direction; it’s presented itself.” And from that moment on, it became a very exciting and immersive project and I said to Brian, “I think this is the basis of a new solo album. And it feels like a fresh direction after the other albums.” And you’re right that, what’s kind of interesting for me is it’s fresh, it’s a reset, but perhaps because of the mood of some of the music and because of my voice, there’s also a sense of continuation.
And certainly one of the things that contributes to it being fresh is this cast of musicians that you gathered, which is really genuinely impressive. So many great names with great work that have fed into this. I was wondering if I could just toss out names and, in a few words, you could try to describe what each of these guys have brought to the music for the album. Starting with Jim Matheos.
Well, Jim’s somebody I’ve known for a few years. He asked me to guest on an OSI album [Blood], probably about nine years ago now. And I really enjoyed it. So the track, which is called “No Celebrations”, felt very different for me; it was very much in that OSI art-metal style, but it accommodated my singing as well. And after that, we carried on communicating together. So occasionally he’s asked me for advice about things, and also we had co-written a couple of tracks that had never been released.
And when I was doing this album, I thought I’d love to get him involved. Because one of the tracks I’d been developing had him on anyway, and he’s an incredibly versatile guitarist. Very, very nice guy, but what people I don’t think are aware of is how versatile his talent is. So his own music can be anything from sort of ambient experimental to metal to classical acoustic guitar. And I knew how good he was as a soloist, and so I got him – really, he was my stunt guitarist on the album on a few tracks. And he did some fantastic work on it.
Peter Hammill. What a legend!
Yeah! Well, Peter’s somebody who when I was growing up, when I was in my teens, he was one of my favorite singers. And as I’ve said to people, what’s interesting with this album is that, probably my five favorite singers when I was 13 would have been David Bowie, Peter Hammill, Peter Gabriel, Kate Bush and Kevin Godley. And I’ve two of them on the album, and it’s an incredible thrill to have that!
Over the years, Peter’s become a friend. We ended up playing on lots of the same albums in Italy, and we got to know one another. And over the years, he’s guested on my work; and we even live in the same small town in England! And so he’s probably my sort of coffee and chat companion, where we’ve put the political and the musical world to rights once a month. And as I always say about Peter, he’s as nice, generous and decent as his music is frightening!
[Laughs] Oh, that’s a great summary!
[Laughs] Absolutely! Cause, you know, you wouldn’t want him to be as frightening as [Van der Graaf Generator’s] Pawn Hearts really, would you?
[Laughs] No, not in the slightest!
It is true; you’d be coughing your coffee up. It’s not good! [Both laugh] So yeah, lovely guy, and we’ve worked on a few things. And the thing about Peter is he is very honest about his opinion. So interestingly enough, I’d asked him to work on Lost in the Ghost Light, but he wasn’t as much a fan of that material. So basically, he works on what he likes. And he’d worked on the Stupid Things That Mean the World album, and I’d played him this album in progress. He’d mixed an album for me as well. There’s a Bowness/[Peter] Chilvers album that’s been unreleased that Peter’s mixed, which is quite an interesting project in itself.
And while I was making the new album I said, “ah, you know, a couple of Hammill-shaped holes here!” And he heard it, and he heard exactly what I wanted, and he really liked the material. One of the tracks he put a great deal into it, there’s a track on it called “It’s The World”. I’d played it to him, and initially I wanted his bite – there’s a real sort of bite in his voice, I wanted this in the chorus. And he said, “Yep, I know exactly what you want; I’ll get it to you. But I tell you what else I’ll give you; I’ll give you guitars, because the guitars on this aren’t working!” And so he completely re-recorded the chorus guitars, and almost went into sort of Rikki Nadir [from Hammill’s proto-punk solo album Nadir’s Big Chance] mode, and did a fantastic job.
So on the track “It’s The World” he’s on kind of backing and lead vocals, and also adds some really ferocious guitar parts. And he made the piece work. So that was an interesting case, where the piece I think was pretty good as it was, but he gave it an extra edge and an extra looseness.
Got it! One of the newer singers on the album is David Longdon. I know you collaborated with Big Big Train on a b-side [“Seen Better Days (the brass band’s last piece)”]. What did David bring?
Well, I suppose I asked him to be on the piece [“Borderline”] and I’d suggested a particular approach to backing vocal which he used. I almost wanted this kind of rich, Michael McDonald/Steely Dan approach. That’s something I wanted: a comfortable bed of David Longdon voice, really, and he gave that. And then he added some flute as a means of contrasting with the trumpet. And he did a beautiful job in both cases, really. So I suppose what he gave was himself, so he kind of knew the places where I wanted him to play, and where I wanted him to be, and with the backing vocal he was effectively re-singing the melody that I’d already sung on the demo.
But with the flute, he performed a really beautiful solo, and it was great! Because although the trumpet was recorded in the outback in Australia – I used a jazz musician, a guy called Ian Dixon, who’s worked with No-Man, he was on Returning Jesus, several tracks on that, and he’s a wonderful sort of jazz trumpet player. And his studio is a tin shack in the outback in Australia! And he said when he recorded it, it was in the middle of the rainy season. So he’s recording that with crashing rain on the tin roof – which I thought was very romantic! And David really beautifully worked with Ian’s trumpet. And to me, it sounds as if the two could be in the room together playing! So they worked very nicely together, and I suppose in that case, I knew what I wanted, and I got what I wanted. But it was still different, the playing, the expression that the two of them had given was entirely their own.
Tim Bowness first made waves in the art-rock world in the 1990s via No-Man, his longtime collaboration with Steven Wilson; albums like Flowermouth and Wild Opera led to Bowness’ working with Robert Fripp, Phil Manzanera, Nosound’s Giancarlo Erra (on Memories of Machines’ Warm Winter) and many others. Since 2014, Bowness has also pursued a solo career, with a trio of critically acclaimed albums released on Inside Out Music.
Bowness’ latest album, Flowers At The Scene, is out on March 1. Having previously interviewed Tim in 2015 and 2017, it’s been exciting for us at Progarchy both to hear the new album in advance — and to talk about it with Tim in depth. In the first part of a 3-part interview, Tim lays out what’s led up to Flowers At The Scene, and how it’s different from his previous solo albums — and also teases No-Man’s first new music in more than a decade!
So first of all, congratulations on the new album; I’ve really enjoyed listening to it. What a prolific run in the last five years!
Thank you! Yep!
Could you unpack for us how the albums you’ve made for Inside Out, starting with Abandoned Dancehall Dreams – how have they led up to Flowers at the Scene?
Well, I think that Flowers At The Scene is kind of a statement in itself, really; it feels like a reset of the solo career. And I think that the other three Inside Out solo albums really were leading up to Lost In The Ghost Light. I think that was the conclusion of a particular way of working.
It started off really with – when I’d written Abandoned Dancehall Dreams, that was an album that I presented to Steven Wilson as a possible No-Man album, and it was pretty much how we’d done No-Man’s Schoolyard Ghosts – that I’d written songs and I’d co-written songs, and I’d brought what I thought was the best of that to Steven and had an idea for an album. And with Schoolyard Ghosts, we then worked on the material together, produced the material together, Steven added to what I’d written and so on. But with Abandoned Dancehall Dreams, he was in the middle of working on his Raven album, and just said, “Look, I’ll mix it; this is your album. Release a solo work!”
So that’s how the recent run of solo albums started; it was something I’d assembled with a No-Man album in mind, and it became what feels like my debut solo album. (I know it’s my second solo album, but it feels like my debut solo album!) Stupid Things That Mean the World emerged out of that, really, in that Abandoned Dancehall Dreams had got a very positive reaction and I was feeling very energized by that, really, so I was writing quite a lot of the time.
And with Lost In The Ghost Light, that was the conclusion of a project that I’d kind of been working on probably for about ten years. And some of the songs in that concept had been on Schoolyard Ghosts, some on Abandoned Dancehall Dreams, some on Stupid Things That Mean the World. And I didn’t think I was going to complete it! But there was a certain point in 2016 when I focused on it and it all came together.
And with Lost In The Ghost Light, it felt like a conclusion to a particular way of writing and working, and I think specifically that pieces like “Smiler at 50” from Abandoned Dancehall Dreams or “Sing to Me” from Stupid Things That Mean The World, that it was almost like an album-length exploration of that type of music. And of course, it had a very specific overall concept, which is the first time that I’ve ever worked, really, with a kind of narrative concept album. The Lost In The Ghost Light story was one that I’d been writing about for years and one that I really wanted to finish. So I was delighted when it was finished!
But after that, it really felt like I needed to do something completely fresh, completely refresh my own musical palette to keep things exciting.
Thanks! The other thing that you’ve done recently is you’ve also gone back even deeper into your past. I know that you worked with Brian Hulse and David K. Jones to re-record the music of your very first band, Plenty. And It Could Be Home is a really delightful album. Was that part of your process for trying to find something new? How did that project feed into this new album?
I think you’re right; I think it did feed into this album in some ways. Because what was interesting is that we’d not worked together for thirty years, and it was actually very creative. Going back to that material, we wanted to be faithful to it. But what was exciting was that we were doing something new with it, and it was taking us to new places. Partly, in my case, it was re-introducing me to ways of singing and writing I’d long abandoned. And so, as much as it was old material, it really felt like it was a new project. And we enjoyed doing that so much that Brian and I continued writing together.
And we just felt that what we were coming up was something that wasn’t Plenty, and it was kind of hinting at what I wanted to do on my next solo album. So it definitely directly fed into Flowers At the Scene, the fact that we just continued to write, record, produce together. And eventually there was a project that we were both excited about, and that became Flowers At The Scene. And of course, there are other collaborations and other methods of writing used on the album. But yeah, I think the Plenty experience directly led to this and fed into it.
A great comment from Pete Morgan (founder of Burning Shed). Very honored to have him post at progarchy. [Lee, we love you, too; but, you already knew this!]
Thanks for the comments about us versus Amazon.
Firstly, no we’ll never be able to compete with them. That’s partly due to scale but also because, unlike Amazon, we pay all of our taxes on top of trying to pay our staff a decent wage. In that regard it is not a level playing field.
Nevertheless, we are often cheaper than them on new releases because the ‘free’ delivery is built into the cost of the item or the Amazon Prime fee (there’s no such thing as a free lunch after all).
Packages shipped from one side of the Atlantic to the other will by post always take a week or so. Other than sending everything by courier (at great cost) there’s not much we can do about that, sorry, but we do try to ship as far ahead of release date as possible.
I don’t agree that our postage charges are a ‘bit of a rip off’. International postage is expensive and we charge £3.08 for a CD in a card mailer which is less than Royal Mail’s standard Airmail tariff (£3.30) as we pass on our volume discount to customers.
We’re always looking for cheaper ways to send things though and if we can do it we will.
I hope you’ll continue to give us a go on those occasions where we have something Amazon don’t.