IQ

Welcome back fellow progheads and thank you for making 2013 a fun year for blogging about progressive music.  My time spent here in the music closet has been well spent; it has been an absolute blast discovering so many new, innovative, and exciting prog bands and their music.  I started down the "prog rabbit hole" in August and have not looked back since.  I'm not sure what amazes me the most; the fact that there are so many fantastic prog bands or that I have been aware (prior to this blog) of so few of them.  Ultimately it does not matter because this journey has opened my eyes, ears, and mind to some truly great sounds...and I do not want to end that streak just yet...

This week I decided to look around in the darker corners of the closet for a band that has been lurking for years but for one reason or another never got the recognition they deserved.  I wanted to find a band that struck a nerve with the classic prog side of my brain as well as the adventurous, push-the-prog-envelope side...and then I found IQ sitting in a bin just minding their own business...

Walking slowly to the buffet line I make my first selection, "Harvest of Souls."  This song takes me to memories of Genesis, Yes, and Spock's Beard...I also detect a hint of Atomic Rooster in there...this is quite an interesting band.  In typical prog style, the listener is urged to keep up with the musicians as they create a piece of music with so many moving parts.  Extremely tight and well produced, this song is from the 2004 release "Dark Matter."  As the song plays out there is a build up of guitar and keyboards that leads you through a battlefield built first on principle and ultimately on the whim and fancy of those truly in power...a 24-minute journey a true prog fan will definitely appreciate.

With my appetite whet I mosey back to the buffet for a second helping and find "The Wrong Side of Weird." Once again the connection to the roots of prog slams me in the frontal lobe.  IQ is a band that studied at the School of  Classic Prog, yet has found a way to channel their intellect and energy into a sound that is all at once unique, deep, dark, and probing.  "The Wrong Side of Weird" opens with a subtle crescendo if you will; a building burst of energy tempered with calculated excitement...then the vocals break through and the puzzle pieces that are the song fall together like so many brush strokes on a vinyl canvas.  Drums lead guitars while being led by keyboards only to have the caravan change direction and suddenly the guitars are leading, then the vocals...think ELP crashes a Pink Floyd concert and you start to get the image. If this is the wrong side of weird, please get me a chair because I believe I will be staying for a while...

Liner Notes...IQ is Paul Cook on drums, Neil Durant on keyboards, Tim Esau on bass, Mike Holmes on guitars, and Peter Nicholls on lead vocals.  IQ started in 1981 with the demise of The Lens.  A few line-up changes--as most bands inevitably go through--led Pete to leave and re-join the band.  Add Neil Durant to replace original keyboardist Martin Orford (not exactly small shoes to fill), and you have IQ; a progressive band that has been pushing the envelope and raising the bar for over 30 years.  IQ has an impressive library with over 40 studio and live albums, collections, and film to their credit.  Unlike other prog giants, however; IQ has managed to do all of that while remaining friends and staying out of court.

OK, back to the music...choice number three is a song called "The Narrow Margin."  In what I can only describe at this point as typical IQ style, the song opens with a sound menagerie as percussion comes into focus with keyboards and it all gets tied together with impressive vocals.  Guitars come in soon enough with the drums to clear a path IQ seems to be very comfortable taking the proverbial machete to.  IQ moves through time and tempo changes like Rick Wakeman moves through capes--smooth and seamless.  Thirty years of playing together has enabled IQ to hone their craft in much the same way an artisanal vintner makes wine...the head knows but the heart leads.

The selection I chose for this week's post is a song called "Outer Limits."  From the band's 1985 release "The Wake," I chose this song deliberately to give you a peek at the early stages of IQ...these guys were tight 28 years ago and have only gotten better.  While I get a sense of Peter Nicholls channeling his inner Peter Gabriel, IQ is a band that occupies their own corner of the prog world.  Learn more about IQ at their website http://www.iq-hq.co.uk

Well fellow progheads, I have reached a minor milestone with this post; the end of the first leg of my journey.  As 2013 winds down to a 14 day end-of-year celebration of Christmas and the beginning of 2014, I will take a brief hiatus.  That will give me time to search out more innovative, exciting, and amazing progressive music to listen to, appreciate, and blog about.  To paraphrase Friedrich Nietzsche, "Without progressive music life would be a mistake."  I feel like the bar has been set fairly high thanks to so many incredible bands and musicians.  Progressive music has changed and grown over time, and as with many a living thing there have been life lessons learned and growing pains endured along the way.  Yet I am glad to say that I believe the world of prog is all the better for it and the music is thriving.  Please stay faithful and I will be back in January with another installment...I hope you will join me.  Stay safe and stay prog...until next month...

Subzar

Happy "Tuesday Evening" fellow progheads...and welcome back to the closet.  As the end of the calendar gets ever so much closer, my search for new and exciting music--and of course all things prog--has taken me down another new road.  I know I have said this many times before in this blog, but this week I truly have found something that is off the beaten path.  I may be pushing prog to the edge here, but isn't that where prog is supposed to be?

This week I discovered a sound that is completely new and extremely different...reminding me of Robert Fripp back in his ambient hey-day and Brian Eno performing with Moebius and Roedelius.  Welcome to the sounds of Subzar; not so much a band per se, but rather a gathering of musicians who were looking for an alternative to the mainstream...and on that premise Subzar delivers.  Billing themselves as an "acoustic quartet of guitar, violin, and cello," that is exactly who Subzar is--drums are verboten and I do not hear even the slightest tickling of ivories.  Borderline classical perhaps but I prefer to think of Subzar as a glass of Merlot in the middle of a Jack Daniels rush hour; the sane alternative...

The first selection from this "avant garde" buffet is a tune called, "As Memories Fade."  This is an extremely well played acoustic piece that takes the blood pressure down a notch or two while reminding you that feel good music does not have to include syrupy lyrics about first love and puppies.  Subzar has taken a classical approach to their playing--not the "Looney Tunes" classical I grew up with (although that would be cool too)--but rather a more subdued, ambient style that reflects a respect for the music.

Moving slowly through the buffet line so as to savor the time, aroma, and taste, I sample a tune called, "Last Night I Thought A Thousand Plans, But Today I Go My Old Way."  The song starts out with a strong dose of acoustic guitar and then the violin comes right in as the perfect chaser.  The two blend as one beautifully...each seemingly dependent on while leading the other at the same time.  Subzar respects the genre and isn't afraid to take a few liberties with it--very captivating to the novice listener.

Liner Notes...Subzar is Gav Sirisena on acoustic guitar, Chris Redfearn on classical guitar, Nicky Haire on violin, and Derek Yau on cello.  Originally a side project between Chris and Gav, Subzar (an almost acronym for Somewhere Between Zenith And Ruin) was an attempt to escape their mainstream endeavors. While on their journey Nicky and Derek were added and a four-piece ensemble was born whose mission is to bring a post-rock fusion of jazz and folk to an audience looking for something new, creative, soothing, and reflective.  To that end Subzar has found success.  As the group uses their music to "express and reflect the whole diversity of human emotion and existence," I am gaining an appreciation for the stretched envelope I previously had progressive music stuffed into.

Make no mistake--Subzar does not call themselves a progressive band.  I discovered their music through the brave new world of Twitter, and instantly felt a connection to some of the best ambient music I have heard in a while.  As I stated earlier, this pushes the definition of the progressive genre but I believe that is what makes progressive so hard to nail down and so incredibly fun to listen to...

OK..I have stepped off the soapbox to make selection number three, a piece called "Pico."  This is actually more of a taste than a full serving as the album is not being released until next week.  A very mellow intro that leads to the concept of the album; is home a migratory journey to places unknown or the comfort of the same nest day after day?  I for one am eager to hear Subzar's take on this philosophical question.

The piece I chose to post this week is "As Memories Fade."  I chose this piece to introduce Subzar to you my fellow progheads because it showcases all four members of Subzar, how well they play together, and the fact that a big stage and bright lights are not mandatory for a great performance.  Please to enjoy...you can learn more about Subzar by visiting their website www.subzar.com.

With the holiday season in full swing, the roads getting slick, and the wind reminding me to put my winter coat on (and zip it up), I am struck with how fast and diverse this journey has been for me--and I hope for you as well.  Finding Subzar has me convinced there is so much more great music out there I have yet to discover...so I will trudge on with stubborn determination and a good set of speakers...until next week....   

Freedom To Glide

Good evening progheads!  I hope everyone had a great Thanksgiving holiday, spent in a way that makes you truly happy and extremely thankful.  By now everyone should be past the proverbial "tryptophan coma" and hungry for some progressive rock--I know I am.

I spent the past week climbing over some strange stuff here in the closet...listening for something new and exciting; something that would add to my prog pleasure as I continue my journey searching for new prog sounds.  The quality of the music, differing styles, focused musicians, exceptional writing, and just plain prog talent has made me all at once sated and ravenous for more...

So this week I found myself ear to speaker with the music from a band called Freedom to Glide.  The name paints a picture for me of musicians not afraid to take a risk and do their own thing; a willingness to put themselves out there for the listener to decide.  Freedom to Glide is also a an opportunity to soar...so let's have a listen and see what Freedom to Glide is all about.

I start my listening feast with a song called "Rain Part I."  The opening riff has the strong aroma of Pink Floyd with a dash of both Uriah Heep and Porcupine Tree filling my head...hmmm....this is intriguing.  The song starts out subtle enough with the guitar drawing you into a smooth fusion of keyboards and drums intended to set you up for the lyrics.  A deep song about war, soldiers, and soldiering that pulls on your emotions both for what Freedom to Glide is singing about and how well they pull it off.  The sound comes together in a way that puts you in the middle of the action--you are on a battlefield in a surreal kind of way; the music carries you over the top of the action as you watch things unfold...all the while being carried on the strength of the guitar.

With my expectations suddenly raised I make my second selection from what I hope is an amazing buffet, and "When the Whistle Blows" does not disappointment.  Another strong hint of Floyd here and I get the sense Freedom to Glide has a personal stake in the war theme.  Like most progheads I am very familiar with theme and concept albums, but this takes it to a new level.  "When the Whistle Blows" hits you in the gut like the pain of realizing you are waving good-bye to a loved one for the last time.  The military sound of the percussion leading the guitar and the keyboards down into the abyss that is the soul of the song...a unique experience to say the least.

Liner Notes...Freedom to Glide is the brainchild of Pete Riley on keyboards, piano, vocals, sampling, and programming, and Andy Nixon on electric and acoustic guitar, vocals, bass, and drum programming.  Both are former members of the the Pink Floyd tribute band Dark Side of the Wall--and suddenly the sound origins make sense.  However; Freedom to Glide is not your average prog band.  As the liner notes suggest, Pete and Andy lay tracks separately and collaborate electronically (hence the programming credits) via the Internet and compact disc. Although it sounds  a bit "Orwellian," I assure you progheads--at least from my taste of the music this week--their sound is not cold, unemotional, or just assembled noise.  Once the music of Freedom to Glide seeps into your head, it moves down your spine and travels through your extremities, where it starts to ooze out through your pores...

My third selection is a track called, "Hypnotized."  Another deep thought provoker, this tune mellows its way in and you feel as though you are coming off a sedative; the music in the background has that "rising through the water until you break the surface" urgency and calmness all-at-once kinda feel.  The guitar picks up where the keys leave off...mellow yet awakening if that makes sense.  The vocals poke you in the ribs delicately--the Pink Floyd influence shows through once again.  This is a song I played four times just to make sure I squeezed out all it had to offer.

The selection below is the earlier reviewed cut, "Rain Part I."  I posted this for a few reasons, but mainly because there are not too many options out there that truly paint the picture I am trying to put on this canvas. Freedom to Glide seems to enjoy the thought process behind making the music as much as they like the finished product that is the music. The lyrics are deep and the music wraps around the words like the crust on a pot pie; you like both individually but together they are perfection.  You can learn more about Freedom to Glide by checking out their website freedomtoglide.comr

Now that the last page of the calendar is in full view I realize how fast the sand really does flow through the hourglass...and I am doing my best to slow it down.  Alas; no such luck...so what felt like eight hours was actually seven days going by and I am swimming against the tide.  At this rate next week will be here tomorrow so I need to get back in the music closet and search out more new and different sounds...soothing, exciting, calming, stirring, and of course--prog.  Until next week...

Falling Edge

Greetings fellow progheads...if you are in cold weather country, I hope you are finding ways to stay warm as the weather starts to match the pictures on the Hallmark Christmas cards.  If you reside in a warmer climate, please don't tell me.  Meanwhile, keeping the closet filled with lit candles has enabled me to stay comfortable, and finding all this new and fantastic progressive music has allowed me to keep the heat on without using the thermostat...

This week as I was rummaging through bin after bin in my search for all things prog I discovered some great music from yet another new prog band on the scene...so tonight we mingle with a band called "Falling Edge." Falling Edge is another prog band that pays homage to classics past while blazing a trail of their own.  An exciting band with a unique sound, Falling Edge manages to keep one finger on the pulse of progressive music while meandering as close to the edge as they dare.

I start this week with a tune called "Crippled By Fear."  The opening reminds me of some early Jethro Tull blended with a hint of Gentle Giant.  The guitar is soothing as it blends right into melodic keys and the percussion that is just enough to lead the charge.  The mood in the first few minutes glides from comforting to a more opium-like calm...I feel like a time traveler moving from 16th century Shakespeare through the Haight-Ashbury district of the 1960's set to a backdrop of sound that presents so many opportunities--and nothing to be afraid of.  I do believe this trip will be a fun learning experience...

Next up is a song called " Not That Far Away."  The vocals remind me of the Strawbs; Falling Edge is definitely a band able to change identity from song to song, a trait I find refreshing--perhaps because it is so rare today.  The guitar and drums work so well together in this song, as though Kevin and Chris have a mind-meld going on...

Liner Notes...Falling Edge began in 2004 with founding members Chris Rupert on vocals and guitar, Kevin Tetreault on drums and vocals, and Don McClellan on bass and vocals.  In 2005, one year into building their identity, Tim Bork joined the band on keyboards.  While working on the debut album, Falling Edge went through the obligatory growing and learning pains...Don and Tim left the band and the hunt was on for a bassist and keyboard player.  Several auditions, tryouts, sit-ins, and rehearsals later, Jim Walsh found himself a permanent gig in 2009  as bass player for Falling Edge.  Steve Kubica rounded out the talent pool in 2010, taking on the role of keyboardist for the band .  Thus was born a progressive rock band in the six year blink of an eye.  Like a fine wine, the time spent blending and assembling Falling Edge was not wasted or ill advised...and the final flavor is a testament to excellent craftsmanship.

My third serving of Falling Edge is a tune called "I, Awake."  This particular song is more upbeat compared to what I have heard of Falling Edge thus far, and like the others it has many time, tempo, and mood changes.  A subtle sense of Emerson, Lake, and Palmer seems to flow through the keyboards on this tune.  Falling Edge is able to align itself with the masters of prog while staking out their own territory at the same time...a statement to their musical knowledge, appreciation, and abilities.  Falling Edge may be a newcomer to the prog scene, but I believe they will be mentoring the next wave of progressive bands when they start to spread their wings. Falling Edge has a sound that should stir the emotions of any current prog fan and stand the test of time for future generations to appreciate.

The cut below is "Social Engineering."  The opening riff tells you Falling Edge is not afraid to leap right in, and as the song plays out you will feel as though you have spent the past fifteen minutes traveling through a prog time warp...and when it ends you want to get right back in line.  While the guitars get you riled up, the drums keep you grounded, the keyboards resonate on the back of your mind, and the vocals jab you at random moments.  A great introduction to a different road on the progressive music map.

OK my fellow progheads, I hope this week's listen behind the curtain to another new prog sound was as much fun for you as it was for me.  Ironic is the fact that but a few short months ago I thought progressive music was stuck in a rut resting on its laurels...so glad I decided to take a look-see for myself because prog is sailing light years ahead of the rest of the music scene.  Check out the Falling Edge website at www.fallingedgemusic.com to learn more about the band.

Because I refuse to succumb to the nasty weather that is approaching on all sides, I will continue my search for new and exciting progressive music.  Until next week...

Subject to Thoughts

Good evening fellow prog heads...as the country spins out of control weather-wise and the tar pit that is our nation's capitol sinks deeper into its own sludge, it is comforting to know there is always progressive music as the perfect escape.  Not that we should ignore those in need or stick our head in the sand during tough times, but I like to think of this blog as an island of escape where we can just sit back, relax, and discover some freakin' good music together...

With that positive energy to guide me, I set out this past week in search of not only new (to me) prog music, but something entirely different.  I wanted to stretch the boundaries of prog and my own paradigms about what prog is.  This week I was determined to go in a completely new direction in my quest for all things progressive...which is how I discovered Subject to Thoughts...

Subject to Thoughts describes themselves as "dark melodic progressive rock/metal with a new age mood."  OK, my interest is piqued--the marketing team scored a hit with that intro.  Now I need to find out what Subject to Thoughts means by "dark melodic new age mood."  Stepping right up to the buffet line, my first helping of Subject to Thoughts is a tune called "Deepest Regret."  The song certainly opens on the dark side; I  feel like I am in a labyrinth searching for a way out, only to find I am walking deeper and deeper into the abyss...and I like the feeling.  There is a hint of Dream Theater in the music but Subject to Thoughts seems to cut a little deeper, much like Radiohead.  The hard-edge to the guitar has me sitting with my back against the wall anticipating random attacks from all sides.  I don't turn on the lights lest they see me, and the darkness just make it all the more real.  Subject to Thoughts has grabbed me not only by the ears but also on an intellectual level--the music is extremely thought provoking.  I like a band that stirs the mind as well as the soul...

The first song only made me hungry for more, so I helped myself to "Before The Leaves Fall."  While not as dark an opening as "Deepest Regret," there is a definite pattern here.  Both songs are from the album "The Culmination," released in 2010.  My first thought was that this is a concept album dealing with life struggles and all the emotions--good and bad--connected to simply trying to exist.  Turns out I am almost right; the album itself is part four of a concept and it deals with the closure aspect of those life struggles.  Now I am really hooked...

Liner notes...Subject to Thoughts consists of Mark Mendieta founder of the band and Brandon Strader on guitar solos, vocals, and sounds.  I take this to mean Mark does everything else--which is absolutely amazing! Even more incredible is the fact that Mark started Subject to Thoughts in 1999 and Brandon hopped on the carousel in 2007.  So for eight years Mark was a one man band...

After listening to the first two cuts above, which are more recent, I am extremely curious as to the early sounds of Subject to Thoughts....which leads me to my next choice, "Remembrance."  This is a deep song with a more somber mood.  Very good percussion and keyboards; the flow and time changes to this song are really impressive--especially when you realize Mark was a solo artist at this time (2003) and  "Remembrance" was originally recorded as part of a cassette demo...remember cassettes?  The vocals are dark, heavy, and a bit gruff, which is perfect for this song.  The mix is not as clean and crisp as I would normally expect, but for a ten-year old cassette recording this is damn good...

Subject to Thoughts is a band that swims in the deep end of the pool.  The music stirs you on so many levels and makes you think about what you just heard.  I cannot name many bands that I feel an emotional as well as intellectual connection with...bravo to you sirs.

The cut listed below is "Since The Inception," another song from Subject to Thoughts' most recent album "The Culmination."  An obvious step up in sound quality from the early days--and I say that with no disrespect.  Subject to Thoughts has raised the bar as far as recording equipment, but the quality of the music and the song writing is as great now as it was then.  Subject to Thoughts is a band you listen to with your heart, soul, and mind...and all three are better for it.

Another week listening to incredible prog music has wound down...and so I continue on my quest.  I really enjoyed this week's selections and I hope they tapped an emotional part of your prog world as well. Not sure what direction my quest will take me in next week--but I am eager to get started.  So many bands, so little time...until next week...

Echolyn

Hello once again fellow progheads and welcome to my closet.  Amazing how fast Tuesday creeps up on us, isn't it?  Spent the past week looking in dark and previously unvisited corners of the closet library in search of yet another completely new prog sound.  Ironically what I discovered sounded both old and new; a
"retro-neo-modern-throwback-futuristic look at today" kind of band...or as I prefer to think of them--another new progressive band with hints of history...

If my opening paragraph failed to give it away, I am referring to Echolyn, a band I have really come to enjoy listening to.  Echolyn has a sound that is reminiscent of Yes, Gentle Giant, and Genesis to name but a few. The music takes me to a time and place I remember fondly from my first encounter with progressive music.  Yet at the same time Echolyn has a sound that is bold and new.  Imagine Chris Squire and Brian Eno performing with Firegarden and you start to get the feel for which universe Echolyn travels in.

But enough talk--time for music.  My first selection for review this week is "My Dear Wormwood."  Right away I get the impression Echolyn has both a sense of humor and a deep appreciation for classics.  The song opens rapid-fire with keyboards, drums, and guitar all blending into a mild, organized, cacophonous-like sound that is topped by strong vocals.  The music is very good...I believe C.S. Lewis would be proud. It is clean, crisp, and leads the listener on a journey through a labyrinth of sounds that finish as quickly and abruptly as they started.

Moving right along the music buffet, I stop at another tune called, "One Brown Mouse."  Recognizing the Jethro Tull title I half expect a poor cover of a great song--and I could not be more mistaken.  If I close my eyes and focus solely on the music I swear Ian Anderson is singing lead vocals here.  Echolyn has captured the essence of Tull and put together an incredible cover/tribute.

Liner notes...Echolyn is currently Brett Krull on guitars and vocals, Paul Ramsey on drums and vocals, Ray Weston on bass and vocals (sensing a pattern here?), Christopher Buzby on keyboards and vocals, and Thomas Hyatt on bass and vocals.  So everyone sings and there are two bass players...I knew they were unique!  Brett, Paul, and Ray left Narcissus in 1988 after tiring of the cover band scene.  In 1989 they were joined by Christopher and formed Echolyn; Thomas signed on during the recording of their first album.  Echolyn seems like a very tight knit family and they sound as though they have been doing this a lot longer than their resume states.  Peeling the onion back one layer at-a-time, I discover that Echolyn has indeed dealt with growing pains.  A long dispute with Sony records--suits who apparently don't understand what progressive music is--left the band without a label or a recording contract for a while.  Fortunately (like family does) Echolyn rebounded and responded with enough of a chip on their shoulder to produce more fantastic music--but not so arrogant that they became the soulless suits they left behind at Sony.  No; Echolyn is alive and well and proving that you can go home after all...

Just because I can, I go back to the buffet for another helping of music mastery...and discover "The Cardinal and I."  Echolyn is a small venue band with a large venue sound and they pull that off with no fanfare.  Echolyn seems to thrive on the intimacy of knowing their audience and cranking out music that defies the size of their set.  "The Cardinal and I" drips with the essence of  Gentle Giant and the deep thinking lyrical ability of  early Genesis.  But the crazy part is Echolyn acts more like a chameleon than a hermit crab--they may remind you of a band or sound, but they do not steal.  Echolyn is to prog today what Buddy Holly was to rock 'n' roll in 1957...a much needed wake-up call.

The piece posted below is "A Suite For The Everyman."  This song not only hops through the phases of prog in one sitting--it leaps through time itself.  When I close my eyes I hear everything from King Crimson to Porcupine Tree to early Queen coming through the speakers...Echolyn has found a way to channel the best that both prog and classic rock have to offer.  I only posted Part I; you really need to go out and get Part II and Part III for yourself...musical salve for your ears. You can learn more about the band at www.echolyn.com.

OK fellow progheads I hope you enjoyed this week's installment as much as I did.  With music like this on the prog landscape I feel a sense of calm...progressive music is not only alive and well--it is being cared for and nurtured quite nicely.  I don't know where we will end up next week but I do know this--it has been one helluva journey so far and I don't ever want to stop...so until next week...

Moongarden

Good evening progheads and welcome back...but most importantly, thanks for stopping by.  I appreciate you taking the time to trek into my closet to check out something new, not so well known (perhaps),  and different in the world of progressive music.  I hope you believe like I do that the world does indeed need more prog...

This week I decided to go in a different direction and search for something I truly had no connection with...to try and find something that made me feel like I did when I first heard Gentle Giant, Porcupine Tree, and King Crimson.  Thus I find myself this week drawn to a band called Moongarden.  Just the name produces imagery in my mind reminiscent of a Yes album cover or perhaps something Peter Gabriel-like, circa 1969...

With no pre-conceived ideas about what to expect, or some well intentioned friend telling me what or who  Moongarden sounds like, I dive in ears first checking out a tune called, "Who's Wrong?"  Immediately I feel like I am in some kind of time warp...the song opens like an old Harry Nilsson tune and slowly morphs into something born of a Genesis-Marillion mutation--sans theatrics.  The keyboards and percussion Moongarden use on this song are fairly impressive, wrapped around dark lyrics painting a vivid picture of the sadness, confusion, and uncertainty life can be.  Suffice to say I am very intrigued...

The second selection for review is "Solaris Suite." A definite "coming of age" piece after "Who's Wrong?"  The guitar is much more "refined and mature" (if that makes sense) and the percussion has picked up a notch as well.  Vocals are strong and there seems to be much more cohesiveness between the members of the band.  Moongarden has made great strides in defining their sound here...I feel a more solid connection to my progressive roots; Genesis and perhaps a hint of Pink Floyd seem to purposefully flow through the undercurrent of the song.  Moongarden has found a way to channel classic progressive artists without being  a cover band...quite impressive.  "Solaris Suite" is a very strong piece of music and a great introduction to modern prog for the old fashioned listener.

Liner Notes...Moongarden is a progressive band whose beginnings are traced to 1993 Italy; always nice to hear new sounds coming from different parts of the world.  A demo put together by Cristiano Roversi and David Cremoni received positive feedback and led to Moongarden's first full length album, "Brainstorm of Emptyness," released in 1996.  Early challenges, difficulties, and personal issues kept the band from going further at the time.  However; a few line-up changes, tireless dedication to their craft, strong song writing, and serious effort evolved into the Moongarden I am appreciating today.  Simone Baldini Tosi on vocals, Cristiano Roversi on keyboards and Chapman Stick, David Cremoni on guitar, Mirko Tagliasacchi on bass, and Maurizio Di Tollo on drums are a five-piece progressive lesson in determination.  Moongarden is a band that worked hard to make their mark and continues to stay strong so as not to lose ground.  Moongarden is a band worth listening to for no other reason than they are good.  The fact that the band started out somewhat unpromising yet were able to beat the odds makes their sound and success that much sweeter to savor and appreciate.

Looking for a third serving to help whet my already strong appetite I find, "A Vulgar Display Of Prog."  The title has "intense curiosity" written all over it and I am immediately rewarded for following my instincts.  This song takes me to so many different places in the prog world that I just want to lie back and savor it...vulgar indeed.  Moongarden plays this song as if their progressive lives were at stake--and the Vegas odds-makers suddenly see a rush of people racing to collect their winnings.  The fullness of the sound is complemented by the strength of the vocals--Moongarden can prog with the best of them.  "A Vulgar Display Of Prog" is seven minutes of your life you won't wish you could have back--you might even be willing to use them up repeatedly.

I listened to several cuts of Moongarden music before finally deciding on the cut below for a post to accompany this blog.  "The Gates Of Omega Part I" weaves so many layers of prog into a fine blanket that I just want to wrap myself in and enjoy for a while.  The opening makes you feel as though the ground below is slowly eroding yet the fall is comforting...and then you are awash in an sea of emotion that runs deep, dark, and at the same time soothing.  Moongarden is all the things I like about progressive music and hope to keep finding in the new bands I see dotting the prog horizon.

Well progheads, another seven days have fallen off the calendar...or perhaps they were windswept...either way each week seems to disappear faster than its predecessor.  So take the time to relax and enjoy the sounds of Moongarden.  You can find out more about Moongarden at
https://www.facebook.com/pages/MOONGARDEN.  So until next week...keep the faith alive, the lights down low, and the music set to prog...

Walking on the Wild Side...Memories of Lou Reed

Good evening progheads...welcome back to my closet library.  Tonight the candles burn just a bit dimmer in honor of Lou Reed.  I know this blog has been dedicated to all things prog but I believe I would be derelict in my responsibilities as a blogger and a fan of music if I did not honor the memory of a true rock 'n' roll pioneer.  I am writing this right after hearing of Lou Reed's passing through the veil at the age of 71.  Even that astonishes me--rock 'n' roll has been filling the airwaves so long one of its alumni I remember from my youth made it through seven decades...

Lou Reed was such an integral part of rock 'n' roll's coming of age it is hard to know where to start.  One of my earliest memories of Lou is from his time with the Velvet Underground.  The Underground was a band that absolutely identified itself with its generation.  Founded by Lou Reed and John Cale and managed by Andy Warhol, the VU is one of those bands that was never appreciated during its lifetime but is regarded as a standard bearer in the music world today--Rolling Stone lists the Velvet Underground's first four recordings in their Top 500 most influential albums of all time...whaddya know; sometimes Rolling Stone gets it right.  But while Reed and Cale went on to successful solo careers,  the other members of the band were not so fortunate.

One particular favorite from the Velvet Underground for me is "Heroin."  Listening to this song you can feel raw pain as real and hurting as a shovel to the face.  The speak/sing delivery Reed provides on vocals makes it almost too life like-- and I can understand why people choose a path that can only lead to self destruction. The up and down tempo makes the images you get in your head fast forward like so many still photographs of a life lost too soon.

When Lou left the Velvet Underground in 1970 he recorded his first solo album with then session musicians Rick Wakeman and Steve Howe...hmmm...Reed went on to record several ground breaking albums; "Transformer" and "Berlin" among them.  One of the more peculiar traits Lou had was his ability to follow up any commercial success with equal if not greater failure.  The album "Metal Machine Music" is regarded as both complete trash and absolute genius--depending on who you ask.  Although Lou defended the album as a serious artistic work, he also acknowledged he was not necessarily "focused" at the time.

Lou Reed has worked with many well known and diverse artists including David Bowie, Patti Smith, David Byrne, Laurie Anderson, The Blind Boys of Alabama, and Ornette Coleman.  Reed was a pioneer, radical, punk, poet, artist, singer, songwriter, and visionary.  One thing Lou was never accused of was being afraid--he refused to back down from a challenge and always seemed to come out somehow new and refreshed because of or in spite of it.  Although he would not take any credit for the punk movement that started in the late 1970's, it is hard to imagine Sid Vicious and Johnny Rotten getting anywhere without Lou Reed having blazed some kind of trail.

On the lesser known side of his persona is a documentary Lou Reed made in 2010, "Red Shirley," about his then 100-year-old cousin.  It is 100 years of life packed into 30 incredible minutes...and one more "wild side" of Lou Reed that is fortunately recorded on non-erasable film  for everyone to enjoy.  When Shirley talks about escaping to Canada before the Nazis "took care" of the rest of her family, you definitely get a sense there is so much more to Lou Reed than meets the eye.

I spent quite a bit of time trying to decide what song to post this week--and whether or not it was even possible to capture any essence of what Lou Reed was about in just one clip.  Although that may very well be impossible I do believe I came as close as any mortal human and Lou Reed fan could...so please enjoy this live version of "I'm Waiting For The Man," recorded in 1972.  Typical sing/speak in Lou's ironically smooth while sounding dragged-through-a-scotch-bottle voice...there is no substitute.

Keep walking on the wild side Lou; you will be missed forever here but enjoyed eternally there.  The band in heaven just got incredibly cool...

I know I barely scratched the surface of what was an amazing career by one of the most influential and yet unassuming artists in the music world.  I just felt I would be committing music blasphemy to not recognize one of the greats.  I will be back on track next week with another review of new and exciting progressive music. Until then, dim the lights, play some vinyl...and keep on waitin' for the man...

The Aristocrats

Good evening fellow prog heads and welcome once again to the concert closet--complete with music library.  This week I walked around the atheneum several times searching for something different without re-inventing the wheel...if you know what I mean.  The thought suddenly crossed my mind that there are many great progressive musicians out there well known as solo artists and/or members of one band who also played in other bands.

With that notion stuck in my head, I began a search this week for a band that might not be so well known collectively as one or more members may be individually.  With the parameters of the search established, I found myself looking at a band called The Aristocrats.  Drummer Marco Minnemann has been in several prog bands, clinics, and projects.  He has performed with Terry Bozio, Eddie Jobson and John Wetton in the Ultimate Zero Project, the prog power trio KMB (Keneally, Minnemann, and Beller), and was runner-up to Mike Mangini as the heir apparent to Mike Portnoy when Portnoy left Dream Theater.

Jumping in feet first, my opening selection this week is a song entitled,"Sweaty Knockers."  I will admit the title made my head spin back to the right just a bit as I was thumbing through the collection...and I am certainly glad it did. The opening guitar riff makes my fingers bleed just visualizing it--so many time signature changes it defies logic...yet the music does not crack your speakers and they don't play loud just for the sake of playing loud.  The drums are lightning fast and the bass player has so many pedals he's working I swear there must be 500 garage doors randomly opening and closing within a 25 mile radius...

I move down the line to my next tasty morsel, "Waves."  Once again the guitar is the focal point of the song and Govan truly is a master with an axe.  The Aristocrats are a band that feed off each other...one musician raises the bar and the others eagerly follow suit.  The Aristocrats make it fun to just sit and listen to prog music.  After two-and-a-half minutes the guitar takes a backseat to some strong bass line and drums--but just for a minute.  "Waves" hits you head-on like it's high tide 24/7 and a storm just rolled in...

Liner Notes...The Aristocrats are Guthrie Govan on guitar, Marco Minnemann on drums, and Bryan Beller on bass.  Short and sweet, this trio plays like there are three musicians on the stage and fifteen more behind the scenes keeping up.  All three have numerous side gigs to their credit including tours and albums with Steve Vai, Joe Satriani, and Steven Wilson...just to scratch the surface.  The band formed almost by accident in January 2011 and have not let up since...and suddenly a big "Yeah!" was heard for accidental band formation...

I like what I hear but like a true proghead I need more...and helping number three is just the fix; "I Want a Parrot."  It seems The Aristocrats are unable to play anything without first smacking you in the head to get your attention...and once again I am eyes front and ears wide open.  The bass is a little funkier here and the drums hop throughout...reminding me of an old blues number being played a little too fast and hard--and thus sounding better than the original.

The selection below was carefully chosen as I wanted to showcase the wide range of abilities The Aristocrats possess.  "Culture Clash" is a song that showcases all three musicians in their own right.  It is hard to find a song by this trio where the guitar is not front and center, but here it feels as though the guitar needs the drums and bass to complete the sound and bring everything full circle. One of the great things about The Aristocrats is no one in the band acts as though he is the reason they are so good.  Each member understands that to be at this level requires all three members to be at their peak.  What I especially appreciate is the way the music seems to use mood, passion, and raw emotion to bring it to life.  The true culture clash is just that--everyone wanting their ideas and opinions to be the most recognized and popular...but that is impossible.  Like it or not, some ideas, opinions, and thoughts get thrust upon the masses as the next best thing and "we the people" are supposed to simply accept them.  The Aristocrats thumb their collective noses at that notion and play on as they choose--on their terms--letting individuals decide...and THAT is the essence of prog...and also what makes The Aristocrats the perfect spokesband for the cause if you will...

And just as easily and quickly as it started, another seven days has advanced on the reel-to-reel...please mark your calendars to come back next week for another look into the progressive library.  All this deep searching has really opened my eyes, ears, and mind...and I look forward to filling the newly created void...until next Tuesday...

The Custodian

Hello my faithful progheads!  As promised, I am back in the library as open  minded and excited as a foreign exchange student in a strip club...lots of promise, plenty of opportunity, and a smile on my face that will not fade...

After indulging my inner King Crimson connection these past two weeks, I am back on track with the original intent of this blog--finding new, different, and exciting progressive music to enjoy and review.  "Prog Rock" is so much more than a style or genre...to me it is a way of life.  To truly enjoy and appreciate progressive music is to open one's mind, heart, and soul to the beauty that lies under the surface.  The ability to explore different interpretations and points-of-view is what separates the fulfilled from the disappointed...

Before I find myself in a dark room with a knee-deep stack of old albums scattered about, I better start walking down the library aisle.  Giving in to my poor sense of direction, I find myself standing in front of a bin labeled "The Custodian."  No prior knowledge of what to expect means no pre-conceived notions, ideas, or prejudices...this should be fun!

My first indulgence this week is "Necessary Wasted Time."  This is the title cut from the band's debut album. The song opens simple enough; easy guitar with a steady beat...and then the vocals ooze in like a thick fog rolling over the interstate.  The result is a unique sound that beats both hard and soft as if there is indecision as to where the song is headed.  I find this intriguing--the way a new album should be.  The guitar continues to cut through the song and sting you just a bit.  The vocals have that "other end of the phone receiver" quality.  As I type this it may seem as if I am less than pleased--but I assure you "Necessary Wasted Time" is good.  Remember how awkward it was to describe your favorite drink to your parents?  That is the challenge I feel here...The Custodian is a really good band but the right words are difficult to find.

My second selection is "The Man Out Of Time."  A very mood driven, almost hypnotic tune; the opening guitar and keyboards blend together into a somber, melodic goblet of gin...very nice.  There is a hint of Alan Parsons Project wafting throughout...the vocal harmonies are extremely smooth and that "phone voice" is back once again, this time like a narrative.  The Custodian is a band that dares to be different and dares you to define them.  The drums here are enough to hold the song together yet not so much that the mood is lost. The Custodian has a way of getting under just one layer of your skin so as to draw interest but not blood...

Liner Notes...The Custodian is led by Richard Thomson on drums, synthesizer, and vocals, Owain Williams on lead guitar, Nariman Poushin on electric and acoustic guitars, and Michael Pitman on bass and vocals.  I have always been impressed by a band with a singing drummer.  Fellow progheads may remember Thomson from the prog metal death band Xerath, where he also sang vocals.  The Custodian is a bit tamer than Xerath which is neither good nor bad--just different.  Having listened to both The Custodian and Xerath I can say it is unfair to compare the two...but I will say The Custodian is more forward thinking in both music and lyrics.

My third selection this week is a song titled, "Other People's Lives."  The acoustic opening is quite nice and very calming--but it is just getting you loosened up for the kick.  However; don't expect a size twelve boot to the throat--it is more like a size six Converse to the chest...you feel it but you're not left gasping for air.  I am beginning to pick up hints of Porcupine Tree as I travel through this song.  The tempo picks up a bit and I like the way the mood shifts from calm and serene to a little anxious and jumpy...in much the same way life comes at you from all sides.

The Custodian is a very interesting band.  It is difficult to place a label on their music, which is a tribute to the style and ability of the individual artists.  The Custodian does prog proud because they are able to change moods and attitudes almost as often and easily as my daughter changes her shoes.  Thompson has made a big paradigm shift from Xerath and I believe it shows growth, maturity, and a willingness to put himself out there.  The Custodian is a band that starts out smooth and takes a few side roads while travelling the path...yet still manages to arrive on time and intact.

The selection I chose this week for your listening pleasure is "Stop Talking."  Do what the title says and listen; pay attention to how well the acoustic blends into the electric, and how the top note of vocals is just enough to tie it all together. You can find out more about The Custodian at  https://www.facebook.com/WeAreTheCustodians.

Well fellow progheads, another week has flown by.  I will head back into the library to search out yet another new and different sound to bring to the prog buffet.  Just thinking about adding another band to my growing list of impressive and inventive prog is whetting my appetite--and I hope you are as intrigued as I am.  If you have a request I am all ears...feel free to let me know about other prog bands and artists; I am always ready to broaden my prog horizons.  Until next week...

The League of Crafty Guitarists

Hello fellow Progheads!  Isn't it amazing (and a little scary) how fast seven days fly by?  This week in my final tribute to the rebirth--for the eighth time--of King Crimson, I searched the library high and low for something different and creative.  Imagine the deja vu I felt walking through the section marked for The League of Crafty Guitarists, and remembering I saw one the band's first live performances in Boston waaaaay back in 1986...oh, the memories....

The League of Crafty Guitarists is the brain child of Robert Fripp...yes--him again.  One more blog post to shout the excitement of the King Crimson reunion.  I promise to venture elsewhere next week, but I could not resist just a glimpse and a listen to some really cool acoustic guitar work.  If I knew then what I know now, I would have put the math book down and picked up a six-string when I was a teen...

Back to the blog at hand...The League of Crafty Guitarists started out as a series of guitar and personal development classes, and since 1986 over three thousand crafty guitarists have graduated from these sacred halls.  Before I go off on a tangent here let me make my first musical choice..."A Connecticut Yankee in King Arthur's Court."  As the music starts and you begin to fall between chords and notes, you realize there are a dozen players building this tune.  Trying to sort them out is almost impossible, so you ask yourself, "Why bother?"  Just lie back and enjoy what is destined to be a journey through sight, sound, imagination, time, and perhaps even a mood swing or two...

As I move along the buffet I find another morsel that seems very tempting.  "Fireplace" is an extremely interesting piece of music...in much the same way the Mona Lisa is an extremely interesting piece of art.  The players here work incredibly well together, and the flow is quite melodic.  Of course--in typical Fripp fashion--the ending hangs there for you...wait for it...twice.

Helping number three is a piece entitled, "Bicycling to Afghanistan."  On the one hand the music pulls in the listener as you feel yourself hanging on by your fingertips with each passing note.  All of a sudden and ever-so-sneakily the music has found a way to wrap itself around your fingers and work its way up to your elbows, helping you improve your grip on both the song and your head...

Listening to acoustic guitar is an exercise in mind discipline--at least for me.  It is very easy to get caught up in loud music and yearn for the great guitar riff that just shreds your ears, or that bass line that drags you down deep into the inner bowels of the song. But to listen to acoustic music is to unplug not only one's ears, but also one's mind.  To sit back--really just sit back--and let the soothing balm that is acoustic guitar simply move over you slowly and deliberately is very freeing and gratifying.  If you've read even one of my posts you know I enjoy music in many ways prog; metal, experimental, loose, loud, and always different.  But there are times I just want to forget everything and let the music direct me instead the other way around.  The League of Crafty Guitarists does just that...

Liner notes...this week liner notes takes a back seat to reality--there have been so many guitar players move through The League of Crafty Guitarists that an attempt to name them all would be a lesson in futility.  I do know that Trey Gunn cut his teeth here, and countless others have learned to hone their craft by joining the League.  Suffice to say The League of Crafty Guitarists is led by Robert Fripp and as such there really is no way of knowing who did what when, where, or on which album...

I chose the track below as a fitting end to a soothing post.  "Invocation" washes over your ears like low tide in July on Cape Cod...and as if that were not smooth enough--this piece was recorded live.  The guitar is many things in the many different hands of so many different players.  In the hands that make up The League of Crafty Guitarists, the guitar is an extension of the soul...

OK fellow progheads, I know...the original intention of this journey was to seek out new music and new adventures in the prog world.  Pardon my veering down Robert Fripp Boulevard the past two weeks as I celebrate in my own way the eighth incarnation of King Crimson and their upcoming tour.  I promise to be back on track next week with something different and prog tinged...until then, pour a glass of single malt and melt away...

KTU

Happy Tuesday Progheads...and what a week it has been!  I am sure by now (unless you live in a soundproof pod) you are aware that King Crimson--to use Robert Fripp's words--is in "Go! Mode."  The band is planning a tour tentatively scheduled to begin in September 2014.  But alas;  like most things in life there is good news/bad news to this announcement.  First, the good news; Fripp has decided to build a "Seven-Headed Beast that includes three drummers" (his words again).  And now the bad (or at least sobering) news--Adrian Belew will not be part of King Crimson's eighth incarnation.  At least he still has his Power Trio and Crimson Project to keep him busy...

So to pay a bit of homage to the band I continually use as the standard-bearer for all things progressive, I have decided this week to walk down the library aisle dedicated to progressive drummers.  With three percussion men in this latest rebirth of King Crimson, surely I can find a band one of them was in while waiting for the phone to ring last week...let's see what lies buried over here...

I don't have to venture too far into the past to find KTU, a band featuring Pat Mastelotto.  KTU is simply incredible. Their sound is classic, futuristic, experimental, metal-edged, dark, and absolutely mind blowing. The first song I choose for my ear-orgy is "Kataklasm."  Start listening to this song in a dark room with your eyes closed and you will feel like you have been transported to a different dimension.  The opening riff--played on the accordion--is the stuff prog dreams are made of.

After allowing the sounds I just bathed in to sink deeper into the pores of my skin, I turn to another amazing song called "Absinthe."  Once again KTU shows innovation, style, and an ability to create a sound so unique it is jaw-dropping.  Listening to this band for five minutes gives one confirmation that Gunn and Mastelotto were honor students in the school of progressive experimental/improvisation.  As I sit and listen to this it is difficult to distinguish where one instrument ends and another begins...and that is what makes KTU so damn good.

Liner notes...KTU consists of the aforementioned Trey Gunn on Warr guitar and Chapman stick and  Pat Mastelotto on percussion.  They are joined by Kimmo Pohjonen on chromatic button accordion and voice, and Samuli Kosminen on sampling.  KTU is the "marriage" of the duos TU and Kluster--and that must have been quite a ceremony.  KTU was brought to life in 2004 and have released two studio albums, "8 Armed Monkey" in 2005 and "Quiver" in 2009.

In true progressive style, Kimmo is credited for voice rather than vocals, because what he does is not simply singing nor it is just noise.  Rather, Kimmo seems to give the music a soul as you feel yourself being absorbed into the sound like it was a tangible being.  If there is need for a warning here it is simply this--KTU is not for those looking for catchy, nine-minute "prog ballads."  Even by progressive standards KTU is on the experimental fringe...a place I believe more bands need to go to perform and more people need to go to get a good listen. I could literally stay in this world for days and never be bored...

OK, musical piece number three...a cut called "Sumu" from the "8 Armed Monkey" album.  By now the bar has been set fairly high and once again KTU delivers--with a punch to the temporal lobe.  Yes, this truly is a feast for your brain.  To label the sound or try to pigeon hole KTU is like describing the taste of milk--you know it when you taste it but try putting it into words.

The cut below is "Sineen," another sample from "8 Armed Monkey."  This is a song that does Master Fripp proud.  I definitely get a feel of King Crimson from back in the Jamie Muir days...and no one eked more inspiring sounds from inanimate, obscure objects than he did.  KTU makes you feel like you are in a Paris cafe, listening to a Gregorian chant, and standing in the middle of an apocalyptic sound check all at once--they are that amazing.

There you have it prog heads, one for the good ol' days while praising the good new ways.  Next week I truly have no idea where this journey will take me, but I do know this--I gotta get me an accordion...

The Tangent

Hello fellow prog heads and welcome to another weekly stop on my prog expedition.  Sticking with the "everything old is new again" theme from last week, I have found a band I believe is well worth a listen and should make a great addition to my quickly growing collection.

The search for progressive music that is new (to me) has been quite the adventure; my stop in a random library aisle this week brings me to a band called The Tangent.  They call themselves "real British progressive rock music in the spirit of the great masters..."  OK; now I am extremely eager to hear what type of prog this band can bring to the turntable.  Progressive music has taken many new forms of late, and while I once feared for prog's future, my now "not-so-upturned" nose has picked up many new aromas while walking the buffet line.  I have learned to be more accepting of the newer progressive bands filling the airwaves and educating the younger, less experienced listener.  So...off the soapbox and on to feeding the ears...

I decide to start randomly with a song called "A Place in the Queue."  This is from The Tangent's third album released in January 2006.  The opening instrumental piece has very strong hints of early King Crimson--you have my attention.  Traveling deeper into this tune I am taken by the strength of the horns and how perfectly the piano, guitar, and drums all work together.  The saxophone is a thing of beauty; this is all at once classic and new.  The jazz/blues overtones are obvious, and the vocals weave eerily into your spinal cord.  The darkness that follows is striking; this is a 25 minute ride well worth the price of admission.  Time to dig deeper...

My second selection is from The Tangent's 2003 debut album "The Music That Died Alone."  This cut is called "Uphill From Here."  Again I detect classic prog mixed with a newness hard to pin down.  I sense ELP, Van Der Graaf Generator, and The Flower Kings wafting through my headphones.  The way the music comes together is really impressive; prog is indeed alive and well in the 21st century.

Liner Notes...The Tangent formed in 2003 and has been through several line-up and personnel changes.  A complete listing of musicians who have been involved with The Tangent from the beginning up to the present is fairly cumbersome and much too long to include here. Without meaning to offend anyone I will say that the current line-up is Andy Tillison on guitars, keyboards, and vocals; Theo Travis on flute, saxophone, and clarinet; Jonas Reingold on bass; Gavin Harrison on drums; Jakko M. Jakszyk on guitar and vocals; and David Longdon on vocals.

The Tangent's ties to progressive rock weave through Genesis, Yes, King Crimson, Soft Machine, and Porcupine Tree--yet even this is an incomplete list.  Suffice to say The Tangent is not a band for the timid or the unknowing...but it is a band for the student of progressive music.  To listen to The Tangent is to take a crash course in prog; forty years of musical tapestry woven into a few hours of incredible sound.  Make sure you savor the aroma as well as the taste, and always leave room for one more helping.  Speaking of which...

I have to make another run at the buffet, and this time I come away with "Evening TV" from the latest release "Le Sacre Du Travail."  This is the band's first attempt at a concept album and it is truly fantastic. This cut is but one piece of an album that looks at life through the eyes and mind of the average working stiff.  If you start to think, "didn't the Moody Blues do something like this back in 1967?" you would be correct...but let me be the first to say that "Le Sacre Du Travail" is in no way a cover or rip-off of "Days of Future Passed."  The commonality is in the theme but the comparisons should end there.  This particular piece is amazing because I can feel myself walking in the shoes of every working man while getting caught up in what really is incredible music.  This piece is a great backdrop for the emotional tumult that is the end of the day...

Once again fellow prog heads I am humbled and excited by the possibilities that still await me on my journey.  The Tangent--coming off Beardfish--has really gotten my prog juices flowing and I am starting to feel the emotional rush I had as a teenager when I first heard King Crimson's "Epitaph."  The possibilities are endless...

The cut below is "Evening TV" from the aforementioned "Le Sacre Du Travail."  I know it seems I have abandoned my "post something other than what I reviewed rule" but this time I can explain...YouTube refused to cooperate and I had a hard time retrieving anything else...maybe the computer has developed a taste...regardless; The Tangent is able to make you forget the inconveniences that can ruin a good mood--all you want to do is sit back, relax, crack a cold one, and drift away.  After listening to this tell me if you don't sense The Tangent channeling early Crimson, Yes,  and Barclay James Harvest...

Next week prog fans I am going to force myself to cross to the other side of the prog library and dust off something totally new and different in flavor, texture, and aroma compared to what I have savored to this point.  I love surprises and can't wait to hear what I find...until then...















  

Beardfish

This week prog fans, I was shocked to discover a band I overlooked in my youth...until I realized Beardfish was not formed until 2001...holy cosmic throwback!  I just looked out into the driveway to see if my 1973 Chevy Chevelle was parked there--because I have definitely traveled back a few decades.  Beardfish is all at once a great new sound and a fantastic stroll through progressive music past.

I start out my prog "feast for the ears" with a song entitled, "Akakabotu" from the band's 2011 release "Mammoth."  I immediately detect hints of Yes, Genesis, and vintage Frank Zappa from his jazz fusion days...talk about mentors!  If this is some of the talent Beardfish draws inspiration from, I believe I am making quite a few trips to the buffet tonight.  The keyboards and the horns on this track are absolutely amazing; all I need is a black light and an old sofa to sit up on the back of and my day is complete.

Moving to another track from the Mammoth album, I find "And the Stone Said: If I Could Speak."  Just the title alone is reason to check this tune out...and I am not disappointed.  The opening again takes me back to the classic prog days; I get a strong taste of Atomic Rooster with a hint of Deep Purple thrown in.  Beardfish is a band that can truly play.  Few bands can lay down a sound this smooth while drawing from so many influences.  After listening to the first two songs here I can no longer say "They don't make music like they used to."  They most certainly do--and I will happily keep looking for more.

OK; now the section I have decided to call "Liner Notes."  Beardfish formed in 2001, went through a few personnel and line-up changes, and the band currently consists of these very talented musicians...Rikard Sjoblom on vocals, guitars, and keyboards, David Zackrisson on guitars, Magnus Ostgren on drums, and Robert Hansen on bass.  The evolving membership occurred mainly in 2002 and 2003, and with the exception of Robert on bass, each current member of Beardfish was there in the beginning.  The band's website states they are fans of King Crimson and Gentle Giant; their homage to these two icons of the progressive world definitely comes through.

For my next helping, I chose the title cut from the 2006 album "The Sane Day."  The song opens somewhat jazzy/bluesy;  I am reminded of a smoky nightclub after hours when the musicians play what they want rather than what the crowd came to hear.  The keyboards here work slowly into your mind until you are mesmerized, almost forgetting the bass is pulling your frontal lobe towards the center of the musical universe. Beardfish plays songs you want on your iPod when taking a cross country bus ride at night--a great time to focus on nothing but beautiful music...

OK, now to find a great finish to what has become a fantastic prog meal.  For dessert I cheat just a little and take a double helping; "Sleeping In Traffic" and "Sunrise Again" from the 2009 release, "Sleeping In Traffic Part Two."  The music is as refreshing as the first strawberries of spring, and the vocals are just as smooth.

Beardfish is a band that does the prog genre proud--they play great music the way it was intended to be played and enjoy every minute of it.  It is as if four people share one  mind when it comes to music; each knowing what the others are trying to do and adding the necessary accompaniments.  It would be a wonderful thing if more airplay was given to bands like Beardfish...

The cut below is called "In Real Life There Is No Algebra."  Having a daughter currently studying algebra in high school, I couldn't resist--and the fact that the song is amazing didn't hurt.  Beardfish is an incredible band that does two things better than most; play music and come up with cool song titles...although Frank Zappa might argue the second point.  Either way there is no reason to get upset...just cue up the album and play on...

If you like Beardfish check out their website www.beardfishband.com, take a nice long listen, and enjoy...if you are unfamiliar, take two days off from work (or school) and set up camp in the YouTube library, 'cuz you got some catching up to do!  Just don't forget to come back here next week and check out another brave new entry in the wonderful world of prog.  So many great bands, so little time...

The Room

Good evening prog heads, and welcome to another installment of "What Shall I Try This Week?"  I admit that lately I have felt like a kid in a candy store with a pocketful of birthday money, trying to decide how to spend it.  The only difference is this is a virtual music library and I get to try it all...I just need to avoid the proverbial bellyache.  So let's take a walk down this aisle and see what awaits the curious...

I am proud to say that each week since I started this journey I have successfully found a shelf with new offerings unknown to me prior to this blog.  It has been fun, exciting, and dare I say educational to discover so much new progressive music filling the internet airwaves.  It is refreshing to find so many good options out there, especially with corporate radio clogged with the latest vanilla, tasteless, mundane, feces being thrown at our youth...ahhh, but I digress...only happy thoughts here...

Today I have stopped in front of the section labeled, "The Room."  They call themselves a "crossover prog band."  Hmmm...yet another progressive rock group I have not heard on the airwaves or my stereo.
Perhaps it is time for new addition to the menu...let's find out what "crossover" is prog lingo for...

I start out with a song called "Flesh and Bone."  After a quick flashback to Pink Floyd with the chopper sound effects, I get a sense of a strong first cut.  Once the drums start and the music begins, the sound is very bold and definite.  The bass line is strong and the keyboards have a prominent place in this tune.  Everything seems to mesh; these guys are feeding off each other and the result is a strong first taste.  However; if I didn't know better, I could mistake the sound for an early Fixx release...on to cut number two...

"A Casual Believer"  opens strong and definite just as "Flesh and Bone" did...The Room has dialed in a style and a sound that makes them recognizable once you get familiar.  The vocals are good,and the song is very clean.  Not sure who did the mixing on this song, but I can tell it wasn't his first time playing with the controls. The guitar work is excellent and carries through in respectable fashion.

OK...time for the obligatory "look backstage."  The Room is Martin Wilson on vocals, Andrew Rae on drums, Andy Rowe on bass, Steve Anderson on guitar, and Steve Checkley on keyboards.  Andrew is also credited as founding member of The Room and everyone has been in the prog music world for a while. Steve and Martin are former members of Grey Lady Down and the others have also played in various prog rock bands.  The Room formed in 2010 and hit the world hard in 2011.  The Room is five multi-talented musicians; each contributes to the songwriting and has an influence on the sound and musical direction.  

The songwriting has hints of late Genesis; post "And Then There Were Three" when Phil Collins began to steer the band away from the prog world toward the bright lights and big arenas.  Don't get wrong; I like the sound of this band, I just get the feeling "crossover prog" translates to a more mainstream sound than I am accustomed to...but I did set out to broaden my knowledge and expand my pallet, so let's keep going, shall we?  One thing I have learned about progressive music in recent months...the definition has evolved.  Most bands (with any talent and morals) today try hard to steer away from the "mainstream pop and rock" label with good reason.  I would sooner crawl naked doused in rubbing alcohol through broken glass than be associated in any way with Lady Gaga, Justin Bieber, et al...but again; I digress...

"The Spark" is a song that starts out slow and subtle...but listener beware; it may move over your ears like a ballad, but it breaks through with a steady thump, strong melodic vocals, and a marching band drum that leads the bass through a tight, well choreographed beat.  The song is good and The Room is definitely filled with talent.  So I like what I hear...but I am still looking for that one song able to kick my butt up and over my shoulders.  One more look around The Room and what do I see...

For my last song this week I find "Screaming Through The Noise."  This is what I was looking for when I walked in the library today...a song that opens with mystery and suspense, only to cut right through your ribs, kick your heart, and reverberate through your extremities.  This is crossover prog at its finest.  You can feel the emotion in Martin's voice; heck each note drips with blood.  Everything works here...the guitar, drums, keys, even the backing vocals are sung with a rawness that comes through like a meat cleaver.  It's official--I'm a fan.  When I went looking for new and unfamiliar prog, this is the type of sound I was hoping to find. Building from here there will be a house around The Room in no time...


The cut below is "Screaming Through The Noise."  Once again I go against my "different link than what was reviewed" rule but this song is so powerful, raw, and real I wanted you to have a taste of what I have quickly come to appreciate as "crossover prog." There is an intensity to this song that makes me want to dim the lights and sway in my chair slowly...

You can get a better view of The Room by visiting their website at theroom.eu including additional links to more music.

So far so good...my prog playlist has grown quite a bit in five weeks and I have only scratched the surface. Next week I will force myself to venture down yet another untrodden aisle in my never ending search for all things prog.  Now where did I put that candelabra?  Until next week...

Fire Garden

As promised, I am  standing in a section of the prog library where the floor is beautifully polished...because my size 10's have yet to scratch the surface. I am really enjoying this journey and I hope you are as well...so let's take a look at what musical indulgence awaits us this week...

Checking the shelves of the unknown, I see Fire Garden, a prog band from Chicago.  In the spirit of full disclosure I will say up front that direct contact from the band via Twitter led me to this corner of the library. Fire Garden is a band I was absolutely unfamiliar with prior to this...and so far I like what I hear.  Although it is a much overused "mantra"--to the point of being cliche--I like the expression, "Go big or go home."  This fits perfectly with the start of my listening adventure, the song "Forsaken." True to the band's website, Fire Garden is reminiscent of Dream Theater and that is not a bad way to start the morning...caffeine without the coffee.  "Forsaken" opens real strong with the drums leading the guitar down a path heavy laden with a full sound that smacks you in the face but does not make you mad...rather it energizes you.

OK, let's take a quick look behind the curtain.  Fire Garden is Chase Carter on vocals, Zeeshan Baig (Zee) on guitar, Frank Lucas playing keyboards, Barry Kleiber on bass, and Chuck White on drums.  Zee is credited on the band's website as founder, lyricist, and songwriter, as well as the "mastermind" of the band...but after listening I prefer the term "evil genius."  These are five musicians who truly complement each other.  While I do detect tastes of Dream Theater, Porcupine Tree, and even a hint of Uriah Heep, Fire Garden has created a sound that is uniquely their own.

Fire Garden released their first EP, "The Prelude," in December 2012 and are currently putting together a full length album due out this fall.  If the "The Prelude" was designed to whet the appetite, it worked with me...my pallet is awake and I am ready for a full serving.  Zee's guitar work is hard to pin down...I sense a man pulled in many directions while mastering his craft and allowing those influences to morph into a sound that pays tribute to classic prog while blazing a metal path all his own.  Kleiber's bass is not what I expect in a prog metal band.  He hammers you in the head one minute and then takes a backseat the next...this shows me a trust and confidence among the players in the band that usually takes years to build.  Chuck plays drums the way they should be played; hard fast, and loud enough to be heard but not so much that the rest of the music is an afterthought.

The second cut I listen to is "Far From Grace."  This one starts out more on the mellow side of "Forsaken" but don't be fooled; it comes right back at you in short time.  Zee once again works guitar magic with the opening riff--not too hard and not so long that you forget there is a song here...just enough to keep you focused.  Chase's vocals are very good, he hits the bell with one swing of the hammer.  I like that he is able to put emotion into the song without coming off like someone who doesn't know what his range is or even what that means...he takes immediate control and never lets it go.

"Time Machine" is the final cut from the three song EP I get to sample here.  This one drives out of the gate fast and holds steady throughout. Frank gets a chance to show his keyboard presence on this track, and I am impressed at how he is able to show-off without drowning out or overpowering the rest of the band.  If I have one regret it's that I am out of music to play here...

Hard to believe this is the debut from Fire Garden; it sounds more like their third or fourth release.  I know the members of Fire Garden have side projects and other things going on professionally--which has helped sharpen their abilities--but this first output is very good.  I am eager and excited to get a listen on their full length LP when it comes out (not so subtle hint inserted here).

I posted the video below for two reasons...first, (if you have noticed) I prefer to post a song not among the specific ones I reviewed.  However; there is only so much out from Fire Garden as of this post, and I wanted to get all three songs covered here.  The second (and biggest reason) is "Far From Grace" is the only song I found in the YouTube wing of my vast and expansive library...but I am quite confident you will be pleased...and just like me, hungry for more.

Check out the Fire Garden official website at firegardenmusic.com for more info...you won't be disappointed!

Once again I am pleased to find such great new music lurking in the progressive wing...I may have to start an addition to the library soon.  If any other prog bands care to tweet me, I am happy to oblige with a review.
I really am a cheap date...see you next week.

Eden's Curse

This week I thought I would shake the Etch-a-Sketch a little more and check out a different section of the prog library...progressive metal.  I have long been a fan of Dream Theater and Liquid Tension Experiment, but I know there are many other flavors out there; newer ones that have not yet achieved the rank in the prog metal world of DT and others...perhaps hungrier and more willing to push the envelope some. They say the view can be better from the edge...

So I took a risk and strolled down a dark hall, lighting an eerie candle in my search for something entirely different...welcome to Eden's Curse.  This is a band I am not at all familiar with going in, so please indulge me while I learn along with you about an up and coming prog metal band.

Eden's Curse...just the name tells me we are walking on the dark side this week...so far so good.  The band formed in 2006 and released their first album in August 2007.  The original line-up consisted of  Michael Eden on lead vocals, Paul Logue on bass, Thorsten Koehne on guitar, Pete Newdeck on drums, and Ferdy Doernberg on keyboards.  Eden's Curse started out by reaching to four countries on two continents to find five musicians...crazy beginning which makes me even more curious...so I think I need a listen before I commit either way on this band...

My first taste of Eden's Curse is a cut from their self-titled debut album called "We All Die Young." This is actually a cover, and it is quite good.  This is a song I probably would have avoided 15 years ago when I was turning my nose up to anything metal...stubbornly clinging to my "classic prog is better" beliefs. Lucky for me age brings wisdom.  For a debut the piece is crisp and clean, the guitars polished, and the vocals hit you square without making your eyes bleed...a good start.  The tempo is definitely fast and my adrenaline is pumping.

Eden's Curse is not for the faint of heart...one more cut from their first album, "Judgement Day" continues in the heavier prog tradition that metal thrives on. Eden's Curse seems to enjoy punching you in the gut right from the start.

A little more background reveals the band has gone through a few personnel changes in its short existence. Michael Eden and Ferdy Doernberg are both out and the current line-up is Paul, Pete, and Thorsten joined by Steve Williams on keyboards...he replaces Alessandro Del Vecchio who replaced Ferdy, and Nikola Mijic handling lead vocals.  EC still seems to enjoy globe hopping to recruit members...

Looking at their more recent output I find a cut from their latest album, Trinity, called "No Holy Man."  The album is a dark look not so much at religion but rather at the people behind the curtain.  It exposes the human weakness in those who consider themselves religiously superior.  But this is a music blog--not a forum for religious debate--so please hold your arguments and rebuttals for the band.  As for the song, it starts out solid and builds from there.  It has a polish to it that tends to defy the song itself...if that makes sense.  The drumming is a bit lacking at times, but Koehne's guitar keeps the band tight.  Vocals are good and stay hard throughout. The live version I listened to featured James LaBrie from Dream Theater--which should have been enough to carry the song. Unfortunately he seemed a bit too subdued for my liking on this cut.

I really want to like this band, so I decide to try one more track, "Jerusalem Sleeps."  This song seems to cut a little deeper and have a bit more precision.  When I hear the words "Prog Metal," this is more what I am thinking. The drums are very definite and solid, and a great lead for the rest of the band to follow.

I am trying hard to break out of my comfort zone with prog, and Eden's Curse is definitely a step in that direction--more like a catapult for me.  Progressive music has changed a lot since Robert Fripp first graced my ears, and I can accept that...but I still want more than just loud and fast metal for the sake of pissing off the neighbors.  Music needs substance, and on some cuts Eden's Curse is dead-on...no pun intended. Other times, however,the band seems to miss the mark.  Eden's Curse are relative new comers to the prog scene, having released their first album only six years ago, and their fourth studio album is not due out until the fall. They have time to mature and come together not so much like a fine wine; but rather like a kick-your-ass single malt...that would be nice...

I chose the cut below, "What Are You Waiting For," because it encompasses everything I believe Eden's Curse imagined when they first thrust themselves on the planet--a great sound; solid contributions from each member of the band that makes the whole better than the sum of its parts.  This cut is from their first album...let's hope they stay true to their roots.

Not sure which direction I will head next week...but rest assured I will be leaving footprints in a yet another section of the prog library yet to be trod by yours truly...