Welcome once again fellow progheads as we wind down the month of April. The search for all things prog has been following new avenues of late--and this week is no exception. Bent Knee, Fobos, and Wet Rabbit opened a door that I simply refuse to close...obscurity, thy name is prog! This week the Concert Closet travels back to the prog mecca known as Italy to spend seven days absorbing the many sights and sounds of Mechanical Butterfly.
Mechanical Butterfly classify themselves as "...experimental progressive rock..." The Concert Closet started as an "experiment" of sorts and has grown--with the help of my loyal followers--into something I have become quite proud of...so how can I resist the prog "petri dish" that Mechanical Butterfly has put out for my listening pleasure? Let us venture bravely to the buffet, allowing the music to take over...
Serving number one was absolutely cultivated in the experimental section of the prog garden; an alluring song called "Gravity." I am immediately struck with images and top notes of the Adrian Belew/King Crimson "Thrak" and improv days...very impressive opening course. I also pick up hints of a Jamie Muir/Bill Bruford collaboration thrown into the mix. Don't let all the experimental stuff fool you though; Mechanical Butterfly hits the listener with some solid drum work and guitars that strike quick, direct blows...
The next offering on the platter is a bit more heavy hitting; "Sparks within a Downpour." Instant face slap as the tune opens, yet the vocals cut in quickly with an unassuming smoothness...much like warm fudge being poured over a marble slab...comforting and weighty all at the same time. I sense subtle aromatics of Marillion wrapped around the "Locomotive Breath" days of Jethro Tull; remember how you loved it when the icing melted as it was drizzled over hot cinnamon rolls? Mechanical Butterfly walks the thin line in the prog garden that divides the art/experimental sections from the metal acreage, and they like to sink their feet into soil on all sides...nothing wrong with that.
Liner Notes...Mechanical Butterfly resides in Acireale, in the province of Catania, Sicily. The members of the band are Francesca Pulvienti on vocals and lyrics, Alessio Oranges on guitars, Laura Basile on keyboards, Emanuele Maita on bass, and Gioele Gentile on drums and percussion. Originating in 2006, Mechanical Butterfly released two EP's by 2008 before going through the growing pains and adolescence angst that many a band endures...
Alessio is the remaining member from the original duo and subsequent line-ups. Staying true to his prog/experimental vision, he assembled the current version of Mechanical Butterfly and released the band's first full length LP, "The Irresistible Gravity" July 2014. Mechanical Butterfly takes me back to my recent review of Bent Knee...the top notes are similar--but also unique in their own right. The experimental/art section of the prog garden is currently in full bloom--and expanding. Mechanical Butterfly is one more prog band in a section of the prog garden that requires little more than an appreciation for the bountiful harvest...sip it slowly so as to savor...
The final serving from the buffet this week is "The Alchemist." A rather fitting finale to a review of a band that found prog gold buried in the garden. The visuals here are quite bold and thrust at you rapid-fire as the song opens. Francesca's vocals pierce the lining of your skull with precision and grace, much like a butcher separating sinew and cartilage from prime cuts of beef...nothing left but the best parts. The drums build a tempo that allows the guitars and keys to ride a wave from cacophony to cornucopia...the colors bleed into each other beautifully.
Listening to the cut below, "Labyrinth of Doors" just keeps the party going. Mechanical Butterfly is firing on all cylinders here; the piece opens fast and hard-hitting, riding that roller coaster for eight minutes plus. Bright colors are not often heavy with dark emotions yet somehow Mechanical Butterfly comes through like a crying bride; euphoric with the present yet seemingly apprehensive about the future...
You can learn more about Mechanical Butterfly and purchase their music at Mechanical Butterfly Bandcamp. Stray behind the curtain and find out more about the band on their Facebook page Mechanical Butterfly Facebook and follow them on Twitter for updates on releases, tour information, new song releases, and pretty much everything else @mechbutterfy. Go ahead; experiment with the chemistry set...
As difficult as it is to wrap my head around fellow progheads, this is the final post from the Concert Closet for April 2016. The pages are falling off the calendar faster than Petrucci can play guitar--but fear not; for May brings more excitement, mayhem, and as yet undiscovered gems from the garden of prog wonders. Of course to meet my weekly deadline, I must continue the search for all things prog...until next week...
Welcome back to the friendly confines of the Concert Closet fellow progheads! It has been a wild and interesting 2016 thus far, and it is only getting better! This week the Concert Closet disembarks in new territory...Hungary. Yes, I have "stabbed" a new push pin into the search for all things prog map this week. So please come on in and enjoy with me the somber, melodic, jazz infused sounds of Wet Rabbit.
Wet Rabbit claims to play "...progressive rock with electronic roots..." Interesting lead-in; I sense a generalization that requires deeper investigation. Let us then walk straight to the prog buffet with a hearty appetite, curious mind, and objective thought process.
The first sound waves to travel the headphones are that of a dark, somewhat mysterious piece called "Of Clocks and Clouds." The song opens tranquil yet somber; you can feel the cold and dampness as the rain soaks you...and when the vocals cut through picking up the tempo, a dark mood hangs like so much angst and disappointment. Emotions run strong through this piece, albeit dark and ominous ones. Wet Rabbit seems to pull on heartstrings that are worn from overuse; feelings are strained and darkness is only too happy to fill the void. Oh my; what an introduction to Hungary!
Round two is a bit of an ambient indulgence; a tune called "The Last Whale." The song opens quite portentously; I feel as though I am on a whaling ship at sea stalking what must be the last of these beautiful creatures...Adrian Belew would surely be proud--from a music standpoint. As the guitar begins to fill the abyss, I sense some strong emotions oozing into to my cranium via auditory canals. Top notes have a "King Crimson meets Pink Floyd...The Early Years" feel to them. One of the trademarks of prog music is the ability to express passion and feelings without uttering a single syllable. Wet Rabbit silently punches you in the gut without leaving you wheezing for air...you just want the ship to keep sailing...
Liner Notes...Calling Budapest, Hungary home, Wet Rabbit is yet another one man prog dynamo. Zoltan Sostai is the "mad man" behind the curtain. Zoltan writes, produces, and plays almost every instrument; Kinga Szabo is credited for writing and performing the piano pieces on the two songs reviewed here. There is an electronic vibe to the Wet Rabbit sound...Zoltan does use a lot of synthesizer--even for the bass. However, the drums are traditional as is the guitar work and vocals.
Wet Rabbit takes a page from the psychedelic/art rock early days of Genesis, Pink Floyd, Gentle Giant, and King Crimson...but there is so much more to this sound than simply following a trail blazed all those years ago. Wet Rabbit takes the baton and runs the next lap through the prog garden, crossing acreage occupied by both standard bearers and newbies. The result is a sound that transcends, excites, soothes, and pushes one to think.
The third piece I sink my ears into is another dark thought-provoker called "Easy If You Try." The opening thunderstorm is but a forewarning, and as the synthesizers slide in, they lay a foundation for some intriguing vocals. There are aromatics of Keane coming through on this piece...the questions raised poke your sense of self-awareness...
I chose the song below to whet your appetite for what is an absorbing concept album. The song is called "Kill The Robots, Part 5." The video is almost startling as you realize the boundaries of the human mind stretch as far as we allow them to. Wet Rabbit keeps stretching--searching for the breaking point--taking the process a step further...challenging your belief in all that is absolute.
With something this profound as the debut release, I am already eager to hear the next round of concept prog coming from Hungary. Once you play this cut I believe you will want more...so to satisfy that urge, please check out Wet Rabbit's bandcamp page and make a purchase at Wet Rabbit Bandcamp. You can also check out the band's Facebook page, Wet Rabbit Facebook. If you are still intrigued--and you should be--dig a bit deeper at the Wet Rabbit website Wet Rabbit. Other links are available there, and of course there is always Twitter @WetRabbitMusic.
Well fellow progheads the search for all things prog continues to take the Concert Closet all over the world listening to all kinds of sub-genres under the prog umbrella. Wet Rabbit mixes electronic with some traditional jazz qualities to create a sound that hearkens to when prog was unafraid--almost proud--to release music that confounded radio stations.
While "Of Clocks and Clouds" does not attempt to challenge, live up to, or compare with "Tales From Topographic Oceans," it does follow the trail Yes so bravely cut through the prog garden in 1973. The music paints pictures, tells stories, and takes the listener on a journey designed to make one think. Zoltan may fill the canvas with dark colors, but he fills the mind with bright rays of light and a strong desire to penetrate the delicate veil that surrounds this entire album. The trip to Hungary was seven days well spent, and now the Concert Closet continues the quest to find more "thinking man's prog." Until next week...
At the risk of sounding redundant, thanks for coming back fellow progheads! Now that the Concert Closet is back in full travel mode, the search for all things prog returns to a continent that boasts some "off the beaten path" bands, who in turn have produced some "off the beaten path" prog. This week I set the GPS to South America so as to investigate the eclectic sounds of Fobos, one such band living "off the prog grid" in Argentina.
The Concert Closet has been on a mission of late to shine a light on prog bands that have an impressive sound without the massive following...there must be another Atlas Volt in the prog garden somewhere! Fobos has two albums to their credit, and their sound is a bit of a tangent for me...all the more reason to stamp my passport in Buenos Aires and have a look-see...
Fobos refers to themselves as "...a progressive rock band from Argentina..." Simple enough--and just the right amount of itch to make me want to scratch. Stepping to the buffet, I pick up a very "organic" type of vibe...nothing like the urge to hug a tree; just a throw-back style of sorts where I half expect Steve Winwood and Jim Capaldi to walk out from behind the curtain.
Slicing into the first serving yields a bit of a surprise; a live recording of "El Sol Ya No Esta Aca." Fobos sings the lyrics in their native tongue, which I am sure is a local Spanish dialect. However; as all progheads know--music is a universal language. As I sink into the futon wedged in the back of the Concert Closet, I am immediately struck by the energy level of both the crowd and the band. Top notes of Genesis and Camel are accented with aromatics of Traffic as raw drums lay a foundation strong enough for guitar work to sit upright on. Fobos comes across like the band at a high school dance from a visual perspective--but they play as if they opened for Dire Straits as a favor.
Looking for a second serving to complement that opening, I settle on a more relaxing dose of "El Abismo." The soothing guitar is accented nicely by drumming that conjures up images of a late night spent in the prog rock lounge...this song is definitely the yin to El Sol's yang. Fobos can paint with dark, pastel, and bright colors. The top notes here lean toward the Be Bop Deluxe section of the prog garden; this is a piece to be played outdoors at night while gazing at the stars...you feel as though you are in another world...
Liner Notes...Calling Buenos Aires, Argentina home, Fobos is comprised of Paul Cordes on guitars and vocals, Cristian "Baty" Tutaglio on keyboards and vocals, and Bruno Caamano on bass and vocals. It appears, from press releases and social media sites, that session drummer Mauricio Scarafia sits behind the drum kit.
Fobos formed in 2013 and has released two LP's to date. Their self-titled debut hit the airwaves in December 2014, followed by "Exodo, Tiempo y Espacio" in late 2015. Tending to acreage in the spacial section of the prog garden, Fobos has staked out territory in the Pink Floyd, Camel, and Beardfish corner...a cornucopia of colors spread across a vast wide open canvas, giving the listener vivid imagery to accompany sound that floats like whip cream on a steaming mug of hot cocoa.
Filling the platter one last time, I come away with a starry-eyed serving of "Hay Luz." Fobos takes you on a journey with this piece to a time when all was right with the world--but the world was a much younger place. Even with top notes of Camel and Marillion filling the headphones, I close my eyes and expect to see Dave Brubeck sitting at the piano...the nostalgia hangs in the air like cobwebs in the attic. Although the song title translates to "No Light;" the serenity that envelops you from ear to ear is as bright as a Peter Max poster.
Looking for a bit of a teaser for your listening pleasure this week, I chose "Legado." The song opens with waves breaking gently on the shore and proceeds to bleed seamlessly into a soft drum/guitar montage that is about as rough as a cardboard box. The vocals cut in as the entire piece begins to unfold; Fobos in their infancy matures as the song progresses...you can hear the coming-of-age in the rawness of the music, and feel pent-up emotions force their way through the headphones like a runaway palomino.
Learn more about Fobos at FobosRock. As is the norm, there is a Facebook page and Twitter account, Fobos Facebook and @fobosrock respectively. The band's website also has a link to their YouTube channel as well. When you listen to Fobos for the first time, you get a sense that the prog garden will soon have another bumper crop.
OK fellow progheads, another seven days winds down as we quickly approach the halfway marker for April...which translates to one-third of 2016 spent. The grains of sand are flowing through the hourglass much too quickly, forcing the Concert Closet to make a hasty getaway. The search for all things prog continues...until next week...
Welcome once again to the Concert Closet fellow progheads! Two weeks in New England was nothing short of incredible, and wrapping up with Bent Knee was the perfect digestif to a fortnight of prog indulgence...but alas, the time has come for the Concert Closet to log some serious travel miles...
Setting the GPS for Turin, Italy, I am making a return visit to a land where the prog is plentiful and quite ornate...where a previous visit unearthed an absolute gem; Mohai Experiment. My loyal followers will remember this remarkable band from a December post where I lamented Mohai Experiment's demise. Well, as the old saying goes, nothing is as it seems. I (correctly) assumed Peter Hamer was the master mind behind the curtain for Mohai Experiment, and apparently he wears many hats in the prog world.
Peter Hamer is a composer, guitarist, audio engineer, and the driving force behind several progressive rock projects currently in full swing. With that in mind, I thought it would be a great time and a lot of fun to visit Peter for an interview and check out some of his different projects...and to simply find out more about the "man with many hats."
Closet Concert Arena: Peter, while you are the driving force behind Mohai Experiment, you also have other irons in the prog fire. Can you elaborate a bit for those who might not be familiar with your extensive resume? Peter Hamer: Hi Vinny; first of all I would like to thank you for this opportunity. It is a pleasure to talk and share my work with you. At the moment I am involved in many different projects--all born of an unstable mind (laughs). In each I am either the composer or the guitarist...
The first project is "Victim Of Illusion," a prog band a la Porcupine Tree. In 2010 I was searching for a singer through an ad on a website; thus I met Paolo, with whom I share the pleasure of making music. Very quickly--in just a matter of weeks--we had written tons of material and realized our work needed to become more "consistent." I reached out to another friend, Luca (our bass player), and invited him to join the band.
We released our first digital EP, "What Senses Blow Away" in 2011. We played a few gigs touring around northern Italy for a while, then began cooking the second album, "Oxideyes," which was released in March 2014. Currently working on album #3, scheduled for release in early 2016.
My second prog rock project is still...behind the curtain. During the Victim Of Illusion experience, I found myself searching for more "aggressive" sounds and riffs, along with more intricate song structures; my writing began to lean in that direction. I contacted a (female) friend who is a great singer--in a different genre. I played some raw tracks for her, and she was sold! As we speak she is writing new material and we are scheduling the recording sessions for the very near future...so stay tuned! This project is called, "Boundary Exception."
CCA: I believe this is a perfect time to inject Victim Of Illusion into your headphones. I chose "The Day That Never Comes" because the darkness that seems to envelope the music is but one color on a canvas filled with audio and video explosions. Notice the multi-layers of sound that leap at you--yet no one specific instrument--or vocal--hogs the stage...everything is working together, folding into deeper layers of an incredibly cavernous masterpiece.
CCA: Mohai Experiment and Victim Of Illusion share some qualities, but are different at their core. What is the driving force/motivation to work in these different atmospheres? PH: Actually, they are different concepts and live in different eras. Victim Of Illusion (VOI) is a recent project and came to be after years of experience; more of a "mature" beast if you will. VOI has a lead voice, so more "space" remains on the instrumental side. The vocal and instrumental lines tend to complement each other, so we have a "team working agreement" (another loud laugh). Other than that sounds emerge in the current age with a more modern timbre.
Juxtapose that with Mohai Experiment (ME), a "dead" band...my job being to resurrect them with modern audio technology. My involvement with ME was as a guitarist--15 years ago--so the archives are filled with recordings from all stages of the band's life. Don't ask why, but I feel as though I remember exactly the feelings, emotions, and mood of that era; I believe I hold the keys necessary to translate those sounds to the present day. Mohai Experiment is part of the post-rock/experimental arena--more so than the prog genre. The members of this band were/are completely open minded in terms of music composition...leaving space for those "big jumps" between musical territories.
This seems like the right time to announce the release of Mohai Experiment's second album, due in the next few months. I would encourage people to listen objectively with an open mind; this is a great cross-section taken from the ME archives, exposing different "flavors" and emotions in relation to the first album. I am also focusing more attention on the mastering stage, working with the reel tapes so as to capture every emotion, feeling, and reminiscence from the past...
CCA: Which sets up an injection of Mohai Experiment to bring you back to the beginning..."Part II Tornado's." Let the entire composition wash over you like a summer thunderstorm. Notice the blending of guitar with drums and keyboards...everything flows from one source...there is a nostalgic quality to the sound; much like what Peter refers to as "that era." Mohai Experiment throws top notes of a Transatlantic/Spock's Beard melange on this piece...you can feel your self being pulled through the time warp...
CCA: You have also recorded some solo work...exactly how many hats do you wear? PH:Musically, as many as I can; allow me to elaborate. Music is a universe unto itself and as such is a very big part of my life. My interests run through so many "music jobs" I had to educate myself to be able to work on all these projects and focus on what brings value to each. Lately I find that I am attracted to composition and arrangement rather than playing a gig or "living the band life." Thus I developed these different projects with a personal focus on the "label" or management point-of-view.
Back to your original question; one of my favorites jobs is that of soundtrack composer. Personally I love cinematic soundtracks. Over the past year I worked as a solo artist on my first soundtrack album; "Wholes." Released in December 2015, it is a six-track EP. "Wholes" contains four action/hybrid tracks and two covers. I mixed a lot of orchestral and synthesizer lines with "real" instruments, resulting in a "hybrid" ensemble.
There are some epic lines (choirs, percussion, horns, and strings), ambient breaks, guitar driven runs, and a lot of different "momentum" drivers. To give the listener a taste, I have extrapolated a 1.5 minute "snippet" of everything and published an album teaser on my YouTube channel.
I was also able to cover two of my favorite soundtrack songs of all time. I rearranged "Escape From New York" (main theme from the US movie soundtrack) and "Profondo Rosso" (theme from the original Italian movie soundtrack). This was something very special to me and I truly hope the listener enjoys.
CCA:What brought you to the prog genre; specifically what band/album gave you that "I gotta do this" moment? PH: There were two main drivers; Living Colour and Porcupine Tree. While Living Colour exist more in the "crossover" section, they were such a heavy influence on me in the 90's that I cannot ignore. The way they allowed so many influences to have a place on their albums is simply ingenious; funk, jazz, rock, fusion, progressive, and more...their first four albums are works of art in music history. Porcupine Tree are absolutely the definitive band I consider responsible for the more recent progressive rock "invasion" in my mind... (more hearty laughter). "In Absentia" is--for me--the North Star. Simply one of the best prog rock albums ever. It was conceived, written, recorded, mixed, and mastered in a way that is almost impossible to recreate. CCA: If you could invite anyone to play a live gig with, who would you choose and why? PH:It is almost impossible for me to give a simple answer to this question; there are so many people I would want to include. But I will try to assemble a prog "dream" band to tour with: *Marco Minneman from The Aristocrats on drums. I saw him perform live a few years ago and was devastated by this "Martian." *Conner Green of Haken on bass. A very great player for an enormous band! *Vernon Reid from Living Colour on guitars. Another milestone in my prog career...so many colours in his hands... *Rick Wakeman on keyboards. No explanation needed I believe...right? CCA:Where do you get the inspiration for the different band names? PH: Here and there...no unique or specific source--but my mind is always on alert to catch every good space's fold... Victim Of Illusion is a more elaborate name; it summarizes the band's spirit and what we talk about in our songs. The illusion is all around us and in our minds...the illusion we live in our everyday life. Mohai Experiment is the mixture of a tribe name with the "experiment" label; an ancient clan discovering new territory. Boundary Exception is derived from my math background and the strange "rule" that when we reach boundaries many exceptions are allowed...
CCA: Currently touring, back in the studio, or taking a breather?
PH:In the studio with a lot of productions--at least for now. Victim Of Illusion III, Mohai Experiment II, and Boundary Exception I. This is just the appetizer course...I also have soundtracks I am working on (I love to not know what to jump in and work on first). Plenty of time for breathing after death...I'm kidding of course...
CCA:I know you are working on soundtracks for libraries; can you shed some light on this project?
PH: The world of synchronization is very complex. Producers, directors, and managers are constantly searching for new sound material that will complement their current projects. Fitting the right song to the right video is hard work and a huge part of the music industry right now. This part of the entertainment field has made great strides and developments in the past few years, and new jobs are being created as a result. Libraries are the most widely known and accessed "brokers" for placing tracks in the music industry; they are the intermediary between composers and video producers. Over time I have recorded a lot of "sparse" material in different genres. Sometimes I will listen and develop new things from it. My personal "Golden Rule": NEVER throw anything in the trash! Probably one of my best qualities is my ability to "revive" little pieces of music...writing something else before and after...transforming the embryonic idea into a full track. I work with some libraries in different ways. I work "on demand," writing requested songs, and I also submit new new material when it is ready, anticipating new opportunities. When I write something new I don't always know where that piece of music will go, and quite honestly I don't mind; I am sure the "other me" will take care to do the right thing and find the best place for it.
CCA: I would be remiss to not include a selection from Peter's solo work, and this seems like the perfect place to drop in a slice from the "Wholes" album; a tune called "Caldera." The sounds pour over you like a California wildfire, and before you realize it, you are swept away. Try anchoring yourself in place and riding it out--you won't stand a chance. Peter mentioned the difficulty of matching video images to the sound; watching this you realize he was being self-deprecating at best. "Caldera" has top notes of Porcupine Tree and Yes...and I sense aromatics of the David Byrne/Brian Eno composition "My Life in the Bush of Ghosts" as well...
CCA:In life it seems you lean toward the light, but musically you definitely paint with darker colors. Why the stark contrast and how do you adapt one to fit the other? PH: You read my bio (chuckle)...the quick answer is I am in both darkness and light. I try to enjoy and appreciate every day as a new opportunity to leave my mark on the universe and complete myself on this "life trip." I am a huge fan of positive thinking and I stress this with family, friends, and everyone I meet. I am not a preacher nor am I religious; I simply believe in nature and its infinite power. On the other hand, I feel this deep sense of loneliness as I am but a speck in the universe. Everyday I think about all the unanswered questions/mysteries of life. This is my main source of inspiration. 99% of my emotions awaken when I write "dark" music; so as you can imagine cheerful music is definitely not for me. I guess I live in a sort of bipolarism (I prefer to call it "equilibrium) in which light and darkness share the same room and remain good friends...but to answer your question, I don't adapt one with the other; rather I let them co-exist and find their correct place in the every day...I simply leave all the necessary space my feelings need and let them lead me. CCA: What else does the world need to know about Peter Hamer?
PH: As a composer, I pour my all into my music experiences. I cannot read or write to a pentagram, but I can "feel" the vibe throughout my entire body, "hear" the melodies in my mind, and then record all of this through a keyboard or guitar.
I keep notes of everything during the composition process (chords/notes used, ideas for future arrangements of the song...) because every "birth" moment is unique and cannot be exactly duplicated in the future. Sometimes I just turn on my webcam and record myself playing.
I spend a LOT of time searching for just the "right" sound (soundtrack production is likely to have HUGE amounts of tracks with different instruments). Over time I have honed this skill to where I am now able to focus on a target sound without getting lost in the universe of different patches and parameters.
I spend a LOT of time just listening to raw compositions; they are the go-to compilation of almost every day! If I can listen to a song (or portion thereof) for months, it will have passed the "bearing" test. Otherwise it ends up in the song review pile...
This is probably enough for one interview; need to keep some surprises for the future!
Well fellow progheads, this is quite a lot to process, but well worth the investment. Peter has an impressive resume, and his devotion to his craft is quite remarkable. Not sure where he finds time to eat, sleep, and do anything outside the prog world...but I do know he manages to squeeze in family time for his wife and children...one more hat the maestro wears...
Progressive rock is but a tiny speck in the music universe, yet that speck is filled with inspiration and emotion as yet untapped--which in and of itself is almost unbelievable. The prog garden is knee deep in fertile soil and awash in a beauty that only progheads can see, feel, and understand. The best thing--the only thing--to do with this knowledge and inspiration is bring it to the masses...which I do gladly. So, like I say every Tuesday, the search for all things prog continues...until next week...
