Welcome once again to my search for all things prog, fellow progheads! I hope you enjoyed the two week extended stay in Germany as we all got to know Fire on Dawson...and now the search continues. This week I find myself back yet again in the familiar confines of the UK--must be some sort of magnetic pull--as I feel the Concert Closet being drawn to some new and distinct sounds emanating from London. Looking to "loosen up a bit" I discovered a band that, while it might not take itself too seriously, does have an interesting groove. Welcome to the sounds of Happy Graveyard Orchestra.
Happy Graveyard Orchestra qualify themselves as "...experimental rock...unpredictable music, unexpected musicians..." If you've followed my blog for even a few weeks, you know it is impossible for me to travel past that billboard without at least a look-see...so with a wink and a nod toward a "less than formal" week, let us wander into the off-beat darkness of the Happy Graveyard Orchestra...
Moving slowly and perhaps a bit cautiously to the prog buffet for my first serving, I come away with a very distinct tune called "That Thing There for Me." Almost immediately I get a sense of Crowded House performing with Frank Zappa. Soft and melodic, the music wends itself not so much through the dark gloom of a graveyard, but rather the upbeat celebration of achieved happiness. There is quite a bit happening here really; it is almost as if the music causes an out-of-body experience. The simplistic acoustics are accented with just the right emotion by the vocals. I sense top notes of Difford and Tilbrook floating across a smoke-filled nightclub where Ebn-Ozn are back lit on a dark, sparse stage...striking while making you hanker for more...
Moving with a bit more confidence in my gait, the return trip to the prog buffet yields an ironically fitting piece called "Dracula." An instrumental lead in with aromas of early Beatles in an oddly funky mood. As the song progresses, I detect top notes of Architecture of the Absurd and Van der Graaf Generator...almost a Hocus Pocus unplugged kind-of-vibe. Happy Graveyard Orchestra oozes with fun and talent--an atypical combination that is both refreshing and exhilarating. The bass thumps across the latter part of this song like stones skimming a lake.
Liner Notes...Haunting the area in and around London, England, Happy Graveyard Orchestra was founded by bass playing vocalist Ivan Perilli currently joined by Debbie Teo on oboe, piano, and glockenspiel, Saif Ur-Rehman on steam punk guitar, and Pablo Perez Vich on drums and percussion. I can honestly say I do not recollect seeing an oboe or glockenspiel credit listed by a band prior to this, which goes to my point about how talented, dedicated, and comfortable Happy Graveyard Orchestra appears to be. Fold in the ability to avoid being overly serious, some humility, and a dash of zaniness...voila! Happy Graveyard Orchestra. With two demos to their credit, Happy Graveyard Orchestra emerged from the darkness around A.D. 2012 and have been wreaking musical havoc since.
Trip number three to this ghoulish buffet yields a song reminiscent of New Orleans jazz; "Danse Macabre & the Swan." The snare drum opening leading into dark, ominous acoustics takes me to a funeral march that is more celebratory than downtrodden. I pick up the scent of Bang on a Can All Stars emanating from my headphones...Happy Graveyard Orchestra didn't just walk to the end of the prog garden--they leaped across the babbling brook, paced off another fifty feet and then dug a trench into which they poured their souls. Music like this comes along rarely...and I believe that is because while many would like to break the mold and leave an indelible mark, few have the courage to step into the moonlight for that "offbeat foxtrot." Happy Graveyard Orchestra are fun to listen to...akin to hanging out at your favorite local gin joint because the house band just plain ol' kicks ass...learn more about Happy Graveyard Orchestra at http://happygraveyardorchestra.co.uk/. You can also follow them on Twitter @HappyGraveyardO and Facebook at
https://www.facebook.com/HappyGraveyardOrchestra. Happy Graveyard Orchestra can also be found on Spotify and iTunes.
Choosing a clip to post for your listening pleasure was a unique challenge this week; I wanted to capture the essence of what Happy Graveyard Orchestra is without spoiling the fun. Ultimately, I opted for a song called "Those Seventeen Letters." The tempo and mood flit about; energetic to sedentary...macabre to joyous...even structured to avant-garde...which is what makes Happy Graveyard Orchestra both fun and maddening to listen to. There are bands that dare you to put a label on their music, or try to pigeon-hole their style. Happy Graveyard Orchestra just sits back and watches you try, with the evil genius grin your algebra teacher wore when you tried to explain a quadratic equation...
Well my fellow progheads, I hope you enjoyed deciphering Happy Graveyard Orchestra as much as I did. Progressive music is such a moving target and bands that are able to expand the landscape are a special breed to me. Emulation is fine--even desired at times. But the true artist is one who can walk out on the stage that is life and project something new and distinct...Happy Graveyard Orchestra does that with all the seriousness and stress of blowing bubbles in a glass of chocolate milk.
Much like other trailblazers, Happy Graveyard Orchestra leaves you scratching your head and wanting more...but alas; the Concert Closet is off once again to extend the search for all things prog...until next week...
Tuesday, March 17, 2015
Tuesday, March 10, 2015
Fire on Dawson...Take Two; "The Interview"
Prog greetings from Karlsruhe, Germany one more time fellow progheads! I hope you enjoyed your initial introduction to Fire on Dawson last week. Tonight we dig a little deeper in the prog garden; peel back the petals from the flower for a closer inspection. As promised last time we met, Fire on Dawson gives the Concert Closet a behind-the-scenes look into the heart and soul of a truly exceptional prog band. So let us jump in with both ears, shall we?
Closet Concert Arena: Who and/or what are Fire on Dawson?
Fire on Dawson: Well, you could say we are a group of four individuals who find common ground in expressing our emotions and ideas in the form of music. We like pushing the boundaries of what our minds and ears can comprehend and sincerely hope that it continues that way.
CCA: What bands influenced you growing up, and what bands do you believe influence Fire on Dawson's style today?
FoD: That's a difficult one, because as artists I think we are influenced not just by other musicians but also by things that might be easily overlooked and deemed mundane, such as a traffic jam or a really grey day. But if we were to strictly talk about other artists, bands such as Led Zeppelin, Queen, Breaking Benjamin, Tool, and even performers like Michael Jackson and Eminem for that matter have had some part to play in our musical evolution.
CCA: Your current album releases have a dark, metal feel to them. Is this your comfort zone,or will Fire on Dawson take new risks on upcoming releases?
FoD: We are currently working on an unplugged album which will be an amalgamation of stripped down and restructured versions of existing songs from our first two albums, as well as some new tracks we are pretty excited about. As I mentioned earlier, we are always looking to push the envelope and see what our musical soul comes up with.
CCA: Is there one main song writer, or are the songs a collaboration among all members of the band?
FoD: When it comes to the songwriting or brainstorming process for new songs, we usually bring a small idea to the table and then just try to impose our individual personalities on that piece. So a song could be written in its entirety by just one person or stitched together with each of our input. I am blessed to be in the company of three very creative and unique individuals, where each of them has a different take on a riff or a melody. That makes this whole process very exciting and enriching.
CCA: Where do you go emotionally/mentally when writing?
FoD: I personally like to envisage a situation or a setting in my mind inspired from the mood set by the tone and feeling of an instrumental idea and then just imagine a story play out. I then try to express that in words and intonations and work from there. Some songs take maybe hours to write while others can play on for months before a satisfactory path is found for them.
CCA: If you could invite anyone to play a live gig with, who would you choose?
FoD: Jesus, followed by a few questions backstage.
CCA: You classify your music as alternative progressive; can you elaborate on that theme?
FoD: Well, the "generalization" of our music was never something that interested us. But listeners, promoters, and everyone else wants you to put a label on it so they can decide before even listening to it if it's worth their time. Our busy lives and short attention spans don't give us the freedom of really exploring art to its full extent anymore. So when we were releasing our first album and had to send it out to reviewers, the first question was always, "What kind of music is it?" We then made a list of all the bands we enjoyed listening to, checked their genres on their Wikipedia pages and by the process of elimination, came up with this description. Some things we do are artistic in nature while others are purely scientific... :)
CCA: How did you come up with the name "Fire on Dawson?"
FoD: A restaurant called "Fire" on Dawson Street in Dublin, Ireland. One of our ex-bandmates was in that restaurant and happened to still have a bill from there in his pocket. At the time we had been searching for a name for our group and had gone through at least a thousand ideas, all of which to no avail. But when we saw the bill from this restaurant, we unanimously agreed it was the way to go.
CCA: You have a large following in Europe; any plans to bring your sound across the pond to the US?
FoD: It has always been a personal dream of mine to present our music to an English speaking audience; most of our lyrics are in English and I actually take a lot of time and pain to match the mood with the perfect word. So it would be pretty exciting to have an audience that appreciates not only the musical side of things, but also listens and understands the lyrics so they can completely immerse themselves in the world which the songs find themselves in.
CCA: Your music has multiple layers that can be soothing, searing, and deep. Who/what influences the arrangement of the music and the final product on the album?
FoD: It's very different for every song. Some songs are written exclusively in the rehearsal room during jam sessions, while others are pondered over for hours in the comfort of our homes. Once we are all satisfied with the basic structure of the piece we move into the territory of making it sound like we hear it in our heads.
CCA: Is touring something you look forward to or are you more comfortable in the studio?
FoD: It's circumstantial, really. We love touring and playing live shows and have had the good fortune of performing in many countries across Europe and Asia. Due to several different factors, however, we are not a band that is constantly on the road. We respect bands that do that, but it was never a viable option for us. That being said, we have played over 150 live shows so far--so it's not like we never get out of the studio space. There is a special excitement to seeing people's faces when you present your songs to them in a live setting!
CCA: Is there a new album in the works?
FoD: Yes; we are currently in the final stages of writing and producing our third album,which we hope to release later this year.
CCA: Where can fans see upcoming shows?
FoD: We are planning shows across Europe currently, and hope to undertake our first UK tour this year. We would love to travel across the pond to the Americas for a lengthy tour someday as well!
Thank you Ankur Batra and Fire on Dawson for shining a light into Fire on Dawson's world, and exposing the heart of a really impressive, up-and-coming prog band. Finding the words, emotions, and feelings with which to bare yourself to the masses is not the easiest thing to do...vulnerability is a hard trait to master.
I offer up one more piece from the band, a powerful song called "Willow." The somberness of the vocals in underscored by the veracity of the music. Fire on Dawson does indeed draw from an emotional place...and I for one would love to be a fly on the wall during the Q&A with Jesus...
Please do yourself a favor and dig deeper into Fire on Dawson at http://www.fireondawson.com/ and
https://soundcloud.com/fireondawson. Feel free to follow them on Facebook https://www.facebook.com/fireondawson and Twitter, @fireondawson . Fire on Dawson may not have been totally scientific in describing their music as alternative progressive--but they were dead on accurate. Digging deep into the recesses of soul, mind, and spirit, Fire on Dawson throws the gauntlet down with each song. 'Tis more effective to hit with feeling than to simply hit hard...
Suddenly fourteen days in Germany are winding down and the Concert Closet needs to continue the search for all things prog. You certainly are invited to stay a while longer--please do. Just don't forget to catch up with me on the next leg of this journey...until next week...
Closet Concert Arena: Who and/or what are Fire on Dawson?
Fire on Dawson: Well, you could say we are a group of four individuals who find common ground in expressing our emotions and ideas in the form of music. We like pushing the boundaries of what our minds and ears can comprehend and sincerely hope that it continues that way.
CCA: What bands influenced you growing up, and what bands do you believe influence Fire on Dawson's style today?
FoD: That's a difficult one, because as artists I think we are influenced not just by other musicians but also by things that might be easily overlooked and deemed mundane, such as a traffic jam or a really grey day. But if we were to strictly talk about other artists, bands such as Led Zeppelin, Queen, Breaking Benjamin, Tool, and even performers like Michael Jackson and Eminem for that matter have had some part to play in our musical evolution.
CCA: Your current album releases have a dark, metal feel to them. Is this your comfort zone,or will Fire on Dawson take new risks on upcoming releases?
FoD: We are currently working on an unplugged album which will be an amalgamation of stripped down and restructured versions of existing songs from our first two albums, as well as some new tracks we are pretty excited about. As I mentioned earlier, we are always looking to push the envelope and see what our musical soul comes up with.
CCA: Is there one main song writer, or are the songs a collaboration among all members of the band?
FoD: When it comes to the songwriting or brainstorming process for new songs, we usually bring a small idea to the table and then just try to impose our individual personalities on that piece. So a song could be written in its entirety by just one person or stitched together with each of our input. I am blessed to be in the company of three very creative and unique individuals, where each of them has a different take on a riff or a melody. That makes this whole process very exciting and enriching.
CCA: Where do you go emotionally/mentally when writing?
FoD: I personally like to envisage a situation or a setting in my mind inspired from the mood set by the tone and feeling of an instrumental idea and then just imagine a story play out. I then try to express that in words and intonations and work from there. Some songs take maybe hours to write while others can play on for months before a satisfactory path is found for them.
CCA: If you could invite anyone to play a live gig with, who would you choose?
FoD: Jesus, followed by a few questions backstage.
CCA: You classify your music as alternative progressive; can you elaborate on that theme?
FoD: Well, the "generalization" of our music was never something that interested us. But listeners, promoters, and everyone else wants you to put a label on it so they can decide before even listening to it if it's worth their time. Our busy lives and short attention spans don't give us the freedom of really exploring art to its full extent anymore. So when we were releasing our first album and had to send it out to reviewers, the first question was always, "What kind of music is it?" We then made a list of all the bands we enjoyed listening to, checked their genres on their Wikipedia pages and by the process of elimination, came up with this description. Some things we do are artistic in nature while others are purely scientific... :)
CCA: How did you come up with the name "Fire on Dawson?"
FoD: A restaurant called "Fire" on Dawson Street in Dublin, Ireland. One of our ex-bandmates was in that restaurant and happened to still have a bill from there in his pocket. At the time we had been searching for a name for our group and had gone through at least a thousand ideas, all of which to no avail. But when we saw the bill from this restaurant, we unanimously agreed it was the way to go.
CCA: You have a large following in Europe; any plans to bring your sound across the pond to the US?
FoD: It has always been a personal dream of mine to present our music to an English speaking audience; most of our lyrics are in English and I actually take a lot of time and pain to match the mood with the perfect word. So it would be pretty exciting to have an audience that appreciates not only the musical side of things, but also listens and understands the lyrics so they can completely immerse themselves in the world which the songs find themselves in.
CCA: Your music has multiple layers that can be soothing, searing, and deep. Who/what influences the arrangement of the music and the final product on the album?
FoD: It's very different for every song. Some songs are written exclusively in the rehearsal room during jam sessions, while others are pondered over for hours in the comfort of our homes. Once we are all satisfied with the basic structure of the piece we move into the territory of making it sound like we hear it in our heads.
CCA: Is touring something you look forward to or are you more comfortable in the studio?
FoD: It's circumstantial, really. We love touring and playing live shows and have had the good fortune of performing in many countries across Europe and Asia. Due to several different factors, however, we are not a band that is constantly on the road. We respect bands that do that, but it was never a viable option for us. That being said, we have played over 150 live shows so far--so it's not like we never get out of the studio space. There is a special excitement to seeing people's faces when you present your songs to them in a live setting!
CCA: Is there a new album in the works?
FoD: Yes; we are currently in the final stages of writing and producing our third album,which we hope to release later this year.
CCA: Where can fans see upcoming shows?
FoD: We are planning shows across Europe currently, and hope to undertake our first UK tour this year. We would love to travel across the pond to the Americas for a lengthy tour someday as well!
Thank you Ankur Batra and Fire on Dawson for shining a light into Fire on Dawson's world, and exposing the heart of a really impressive, up-and-coming prog band. Finding the words, emotions, and feelings with which to bare yourself to the masses is not the easiest thing to do...vulnerability is a hard trait to master.
I offer up one more piece from the band, a powerful song called "Willow." The somberness of the vocals in underscored by the veracity of the music. Fire on Dawson does indeed draw from an emotional place...and I for one would love to be a fly on the wall during the Q&A with Jesus...
Please do yourself a favor and dig deeper into Fire on Dawson at http://www.fireondawson.com/ and
https://soundcloud.com/fireondawson. Feel free to follow them on Facebook https://www.facebook.com/fireondawson and Twitter, @fireondawson . Fire on Dawson may not have been totally scientific in describing their music as alternative progressive--but they were dead on accurate. Digging deep into the recesses of soul, mind, and spirit, Fire on Dawson throws the gauntlet down with each song. 'Tis more effective to hit with feeling than to simply hit hard...
Suddenly fourteen days in Germany are winding down and the Concert Closet needs to continue the search for all things prog. You certainly are invited to stay a while longer--please do. Just don't forget to catch up with me on the next leg of this journey...until next week...
Tuesday, March 3, 2015
Fire on Dawson...Take One; "The Music"
Good evening and "Happy Tuesday" once again fellow progheads! Last week's search for all things prog unearthed a "threefer" that was one more step left of center; taking this blog on an alternate course. Continuing that quest, the Concert Closet opens March in Germany for a two week stint listening to the prog sounds of Fire on Dawson. The extended stay will enable me to not only immerse myself in some remarkable German progressive rock, but also talk with the band and conduct an interview--which I will post next week. So let's begin this double-barreled shot of prog paradise...
Fire on Dawson refer to themselves as an "...alternative progressive rock band...we like long walks on the beach...the longer the better..." The imagery here is multi-colored; romance, solitude, high/low tide and the accompanying emotions, nature, serenity...so many tangents creating so many opportunities. The coherent option is to start with the music--so open the floodgates and let the festivities begin!
Stepping to the buffet for a large first course, I come away with a plateful of "God of the Lost." The soft guitar opening belies the depth of the tune; in quick succession the music rains down over your auditory senses and fills your head with hard hitting drums, guitars, and vocals. Fire on Dawson leaps off the disc and kicks you right in the forehead. The mood is extremely dark, yet there is light struggling to shine through...you can feel the thrashing through the headphones. Strong top notes of Opeth and Tool permeate this track, as well as the smoother side of Atomic Rooster.
Strolling surreptitiously back to the buffet for a second serving, I come away with yet another powerful piece called "Hit Me." This one races at you full force from all sides, making you feel like there is nowhere to hide--until the sudden mood swing stills the air--but you know the raucousness will be coming back around the bend. The alternate hammer blows and soft coddling paint as vivid a picture as you can stand. In amongst the darkness and pain is genuine confusion as you begin to feel hopelessness turning to rage. Fire on Dawson drives a spike through you ears with this piece; dark yes--but oh, so powerful!
Liner Notes...Calling Karlsruhe, Germany home, Fire on Dawson is Ankur Batra on vocals, Markus Stricker on guitar, Martin Sonntag on bass, and Max Siegmund on drums. Fire on Dawson released their first album, "Prognative" in 2010, and followed that up with the exceptionally explosive "Seven Billion and a Nameless Somebody" in 2012. The international make-up of the band shines some light on the flavor of their sound...Fire on Dawson lights a blaze in your brain with a blowtorch and then extinguishes the flames with a simple breath of fresh air. The mood swings dark to light and back again. Agile and focused is the listener, walking a tightrope ever so gingerly--as much to gain strength and inspiration as to not lose his/her balance. Fire on Dawson leaves nothing in the quiver--every arrow is fired full force with each note played and syllable sung.
My third-and last--portion from the prog buffet is a song called "Pseudo Christ." Fire on Dawson walked the length and breath of the prog garden only to step three paces out of bounds and till their own acreage. The ability to look inward while projecting outward is rare and mightily appreciated. This piece lashes at you just long enough to give the impression of yet another metal prog blast--but they dig oh so deep with the vocals. Let this one melt over you like hot fudge running down the side of a banana split...
Deciding which clip to post here was anything but tedious...Fire on Dawson paints with as much emotion as any prog band I've listened to recently, so I decided to to offer up "Synthetic Part I." I chose this not so much because it is dark--but because it is so damn raw. Fire on Dawson gets under your skin and into your bloodstream like an ice cream headache...the immediate rush forces you to stop dead in your tracks, but once the initial shock subsides you ride the emotional wave and brag to all your friends. This piece is not exactly Fire on Dawson stripped down--they just allowed their inner souls to be exposed for your gratification. Learn more about Fire on Dawson; check out http://www.fireondawson.com/ and https://soundcloud.com/fireondawson. You can also follow the band on Twitter, @fireondawson and Facebook https://www.facebook.com/fireondawson. Gratify yourself and support Fire on Dawson at the same time...purchase one or both of their CD releases while you're doing all this Internet searching and listening...
Well fellow progheads, "Fire on Dawson...Take One" is officially in the books. One of the more intriguing things these past seven days was how deep Fire on Dawson cut with every guitar stroke and drum beat. My search for all things prog continues to unearth astounding music and more importantly, the artists behind the curtain. This two weeks of merriment culminates next Tuesday with an interview with Fire on Dawson. Please join me on this extended stay in Germany and get to know the scene-behind-the-scene...until next week...
Fire on Dawson refer to themselves as an "...alternative progressive rock band...we like long walks on the beach...the longer the better..." The imagery here is multi-colored; romance, solitude, high/low tide and the accompanying emotions, nature, serenity...so many tangents creating so many opportunities. The coherent option is to start with the music--so open the floodgates and let the festivities begin!
Stepping to the buffet for a large first course, I come away with a plateful of "God of the Lost." The soft guitar opening belies the depth of the tune; in quick succession the music rains down over your auditory senses and fills your head with hard hitting drums, guitars, and vocals. Fire on Dawson leaps off the disc and kicks you right in the forehead. The mood is extremely dark, yet there is light struggling to shine through...you can feel the thrashing through the headphones. Strong top notes of Opeth and Tool permeate this track, as well as the smoother side of Atomic Rooster.
Strolling surreptitiously back to the buffet for a second serving, I come away with yet another powerful piece called "Hit Me." This one races at you full force from all sides, making you feel like there is nowhere to hide--until the sudden mood swing stills the air--but you know the raucousness will be coming back around the bend. The alternate hammer blows and soft coddling paint as vivid a picture as you can stand. In amongst the darkness and pain is genuine confusion as you begin to feel hopelessness turning to rage. Fire on Dawson drives a spike through you ears with this piece; dark yes--but oh, so powerful!
Liner Notes...Calling Karlsruhe, Germany home, Fire on Dawson is Ankur Batra on vocals, Markus Stricker on guitar, Martin Sonntag on bass, and Max Siegmund on drums. Fire on Dawson released their first album, "Prognative" in 2010, and followed that up with the exceptionally explosive "Seven Billion and a Nameless Somebody" in 2012. The international make-up of the band shines some light on the flavor of their sound...Fire on Dawson lights a blaze in your brain with a blowtorch and then extinguishes the flames with a simple breath of fresh air. The mood swings dark to light and back again. Agile and focused is the listener, walking a tightrope ever so gingerly--as much to gain strength and inspiration as to not lose his/her balance. Fire on Dawson leaves nothing in the quiver--every arrow is fired full force with each note played and syllable sung.
My third-and last--portion from the prog buffet is a song called "Pseudo Christ." Fire on Dawson walked the length and breath of the prog garden only to step three paces out of bounds and till their own acreage. The ability to look inward while projecting outward is rare and mightily appreciated. This piece lashes at you just long enough to give the impression of yet another metal prog blast--but they dig oh so deep with the vocals. Let this one melt over you like hot fudge running down the side of a banana split...
Deciding which clip to post here was anything but tedious...Fire on Dawson paints with as much emotion as any prog band I've listened to recently, so I decided to to offer up "Synthetic Part I." I chose this not so much because it is dark--but because it is so damn raw. Fire on Dawson gets under your skin and into your bloodstream like an ice cream headache...the immediate rush forces you to stop dead in your tracks, but once the initial shock subsides you ride the emotional wave and brag to all your friends. This piece is not exactly Fire on Dawson stripped down--they just allowed their inner souls to be exposed for your gratification. Learn more about Fire on Dawson; check out http://www.fireondawson.com/ and https://soundcloud.com/fireondawson. You can also follow the band on Twitter, @fireondawson and Facebook https://www.facebook.com/fireondawson. Gratify yourself and support Fire on Dawson at the same time...purchase one or both of their CD releases while you're doing all this Internet searching and listening...
Well fellow progheads, "Fire on Dawson...Take One" is officially in the books. One of the more intriguing things these past seven days was how deep Fire on Dawson cut with every guitar stroke and drum beat. My search for all things prog continues to unearth astounding music and more importantly, the artists behind the curtain. This two weeks of merriment culminates next Tuesday with an interview with Fire on Dawson. Please join me on this extended stay in Germany and get to know the scene-behind-the-scene...until next week...
Tuesday, February 24, 2015
John Bassett
Greetings, fellow progheads! Leaving Detroit left me a bit melancholy; seven days with Discipline made for a truly inspiring week. However, not being one to rest on my laurels, I hastily refueled the Concert Closet and decided to pull a Monty Python "...now for something completely different..." move by reviewing two bands and one solo performer--all three the brain child of the same artist. Over the past decade John Bassett has been the front man for KingBathmat and recently started a new endeavor, Arcade Messiah. Taking yet another jaunt across the pond, I bring my search for all things prog back to London for a prog celebration of sorts listening to the John Bassett trifecta; KingBathmat and Arcade Messiah as well as his solo work.
Bassett refers to himself as a "...multi-instrumentalist, sing-songwriter, and producer..." and has seven self-released albums on his own Stereohead Records label; a fairly impressive bullet point on a resume. Let's walk together through the prog garden...stopping at different vantage points to absorb the view, ponder the soundscape, and soak in what Mister Bassett has been churning out...
Since I am taking a few liberties this week, I will begin with the KingBathmat section of the buffet. Self-described as an "...independent, psychedelic, progressive, alternative rock band," KingBathmat is as easy to pin down as an enraged honey badger. Strong aromas of Dream Theater, Uriah Heep, and a heavy dose of Humble Pie run through their sound. Heavy guitar suggestive of Joe Satriani permeates the headphones one minute while a smooth, velvet-like sound reminiscent of Klaatu wafts through your ears the next. KingBathmat takes prog to a different level in that they don't just refuse to be labeled--they dare you to try.
The song posted below is called "Sentinel." A piece from the darker section of John's acreage in the prog garden, the guitars and drums simply slap you right out of the gate. Once the onslaught subsides, you are met by subtle piano work and vocals that settle over the top like warm caramel poured over a sundae. KingBathmat crawls inside your head slowly and deliberately, only to explode across the lining of your cranium with one big blast.
Moving to the next section of the buffet table, I find a sampling of John's solo work and come away with a more subtle, aptly titled piece called "Stay Away From the Dark." A more delicate opening; acoustic guitar meshing seamlessly with vocals as smooth as corduroy. A sense of foreboding undermines the tranquility of the mood...like a beautiful woman warning you to turn back--which entices you to forge ahead faster with more determination. Top notes of 10cc and Asia bleed through this tune; John added more colors to his palette and painted a very vivid and mottled picture.
Liner Notes...John Bassett hails from Walthamstow, London. Leaving school at a young age to pursue a more music filled life, John--a right-hander by nature--taught himself to play guitar left-handed, albeit on a right-handed guitar (sort of a reverse Jimi Hendrix). Straying deeper into the minefield that is the music world, John began writing songs and laying down all the instrument tracks. Releasing self-produced albums online helped him get live gigs, build a following, and traverse a rather distinctive path, culminating in an extraordinarily diverse and varied career. While John provides the multi-instrumentalism for both his solo work and Arcade Messiah, KingBathmat credits Bernie Smirnoff as the man behind the drum kit.
Heading back to the extensive buffet one last time for a taste of the deeper and darker Arcade
Messiah, I come away like a kid with the prize at the bottom of the Cracker Jack box--my reward being the song "Your Best Line Of Defence Is Obscurity." Travelling the halls of your brain with a carefully timed alarm, the piece opens darkly...you can feel tension mount as guitars give way to steady drumming, and all the while a siren keeps warning you to look out--you just aren't sure what for. Perhaps if obscurity really is what John is searching for, he should not have put together such a brilliant piece. The apprehension is real, much like the fright you feel listening to Pink Floyd's "Careful With That Axe, Eugene."
Arcade Messiah is the alter-ego/dark side of John Bassett. He is able to come at you full throttle with almost reckless abandon. The music initially grabs you by the collar as it then slithers its fingers around your neck, moving with great swiftness to squeeze your entire brain. An onslaught of Liquid Tension Experiment and strong top notes of Adrian Belew at his avant-garde best run rampant across this disc. Learn more about John and his prog moods at http://www.johnbassettmusic.com/ and http://arcademessiah.com/. John can also be found on Twitter @johnbassettsolo and Facebook https://www.facebook.com/kingbathmat/app_204974879526524.
Well fellow progheads, I hope you enjoyed the "three-fer" this week. John Bassett trampled across the prog garden and set down roots in multiple sections, even to the point of cross-pollinating the prog vines he cultivates. Recent discussion in a prog chatroom about what is/isn't prog and how today's bands stack up against the 70's "standard bearers" resulted in some particularly pointed arguments and points-of-view. My personal take is that there is no comparison--the genre has evolved whether we "prog snobs" like it or not. I have come down off my high horse of late...and thankfully so. KingBathmat and Arcade Messiah are different reflections of the vast progressive spectrum--and what a shame it would be to miss either! My search for all things prog has taught me to be open, receptive, and guarded--there are musicians and bands out there using the prog label to cover their inability to focus a thought...but it is worth wading through the muck and mire to discover jewels like John Bassett and all that he brings to the prog garden. Until next week...
Bassett refers to himself as a "...multi-instrumentalist, sing-songwriter, and producer..." and has seven self-released albums on his own Stereohead Records label; a fairly impressive bullet point on a resume. Let's walk together through the prog garden...stopping at different vantage points to absorb the view, ponder the soundscape, and soak in what Mister Bassett has been churning out...
Since I am taking a few liberties this week, I will begin with the KingBathmat section of the buffet. Self-described as an "...independent, psychedelic, progressive, alternative rock band," KingBathmat is as easy to pin down as an enraged honey badger. Strong aromas of Dream Theater, Uriah Heep, and a heavy dose of Humble Pie run through their sound. Heavy guitar suggestive of Joe Satriani permeates the headphones one minute while a smooth, velvet-like sound reminiscent of Klaatu wafts through your ears the next. KingBathmat takes prog to a different level in that they don't just refuse to be labeled--they dare you to try.
The song posted below is called "Sentinel." A piece from the darker section of John's acreage in the prog garden, the guitars and drums simply slap you right out of the gate. Once the onslaught subsides, you are met by subtle piano work and vocals that settle over the top like warm caramel poured over a sundae. KingBathmat crawls inside your head slowly and deliberately, only to explode across the lining of your cranium with one big blast.
Moving to the next section of the buffet table, I find a sampling of John's solo work and come away with a more subtle, aptly titled piece called "Stay Away From the Dark." A more delicate opening; acoustic guitar meshing seamlessly with vocals as smooth as corduroy. A sense of foreboding undermines the tranquility of the mood...like a beautiful woman warning you to turn back--which entices you to forge ahead faster with more determination. Top notes of 10cc and Asia bleed through this tune; John added more colors to his palette and painted a very vivid and mottled picture.
Liner Notes...John Bassett hails from Walthamstow, London. Leaving school at a young age to pursue a more music filled life, John--a right-hander by nature--taught himself to play guitar left-handed, albeit on a right-handed guitar (sort of a reverse Jimi Hendrix). Straying deeper into the minefield that is the music world, John began writing songs and laying down all the instrument tracks. Releasing self-produced albums online helped him get live gigs, build a following, and traverse a rather distinctive path, culminating in an extraordinarily diverse and varied career. While John provides the multi-instrumentalism for both his solo work and Arcade Messiah, KingBathmat credits Bernie Smirnoff as the man behind the drum kit.
Heading back to the extensive buffet one last time for a taste of the deeper and darker Arcade
Messiah, I come away like a kid with the prize at the bottom of the Cracker Jack box--my reward being the song "Your Best Line Of Defence Is Obscurity." Travelling the halls of your brain with a carefully timed alarm, the piece opens darkly...you can feel tension mount as guitars give way to steady drumming, and all the while a siren keeps warning you to look out--you just aren't sure what for. Perhaps if obscurity really is what John is searching for, he should not have put together such a brilliant piece. The apprehension is real, much like the fright you feel listening to Pink Floyd's "Careful With That Axe, Eugene."
Arcade Messiah is the alter-ego/dark side of John Bassett. He is able to come at you full throttle with almost reckless abandon. The music initially grabs you by the collar as it then slithers its fingers around your neck, moving with great swiftness to squeeze your entire brain. An onslaught of Liquid Tension Experiment and strong top notes of Adrian Belew at his avant-garde best run rampant across this disc. Learn more about John and his prog moods at http://www.johnbassettmusic.com/ and http://arcademessiah.com/. John can also be found on Twitter @johnbassettsolo and Facebook https://www.facebook.com/kingbathmat/app_204974879526524.
Well fellow progheads, I hope you enjoyed the "three-fer" this week. John Bassett trampled across the prog garden and set down roots in multiple sections, even to the point of cross-pollinating the prog vines he cultivates. Recent discussion in a prog chatroom about what is/isn't prog and how today's bands stack up against the 70's "standard bearers" resulted in some particularly pointed arguments and points-of-view. My personal take is that there is no comparison--the genre has evolved whether we "prog snobs" like it or not. I have come down off my high horse of late...and thankfully so. KingBathmat and Arcade Messiah are different reflections of the vast progressive spectrum--and what a shame it would be to miss either! My search for all things prog has taught me to be open, receptive, and guarded--there are musicians and bands out there using the prog label to cover their inability to focus a thought...but it is worth wading through the muck and mire to discover jewels like John Bassett and all that he brings to the prog garden. Until next week...
Tuesday, February 17, 2015
Discipline
Good evening once again fellow progheads! Having spent the first six weeks of 2015 traveling with a passport in search of all things prog, I decided to take the Concert Closet back to the good ol' USA for the next seven days. I wanted my "homecoming" to be a worthwhile journey filled with anticipation...there must be a band somewhere in America fully engulfed in progressive music that has yet to grab my attention. With the GPS set for "Domestic Prog" and a yearning for some deep layers, strong keyboards, and intense guitar work, I find the Concert Closet drawn to the Motor City and the powerful sound of Discipline.
Calling themselves an "...independent progressive rock band..." Discipline leaves much to the imagination--and my imagination usually functions in overdrive. The name itself conjures up some creative illustrations; a King Crimson-like band that paints with a vivid brush, or perhaps a metal sound that throws amplifiers at you like missiles launched in battle...lots of random thoughts rolling around in my cranium...
...so rather than envision their sound, I find it much more effective to make my way directly to the buffet. My first helping is a song called "Crutches." The music unfolds delicately at first--so you don't notice the sharp edges. Vintage Uriah Heep seems to ooze from the headphones as the emotions build on guitars and drums. Discipline tees up your senses and pounds them squarely with a mallet. Hard-hitting vocals are enveloped between thick walls of sound that run the gambit of imagery and expression...thirteen plus minutes of prog chaos and mayhem.
Choosing carefully (each serving seems to be a full course), selection number two is a tune called "When the Walls are Down." Discipline comes out stalking, like a tiger tracking dinner. The vocals strike first; you can almost feel the blood fill the scratches on the inside of your skull. The music is dark and portentous as the tension builds, forcing itself to the surface. Discipline dug deep in the prog garden looking for the darkest, richest soil in which to lay roots.
Liner Notes...Calling Detroit, MI their home port, Discipline has been making progressive music since 1987. As is the life of many a band, Discipline survived a few line-up changes. The artists presently calling themselves members of this prog outfit are Matthew Parmenter on vocals, saxophone, guitars, keyboards, and violin, Jon Preston Bouda on lead guitar, Matthew Kennedy on bass, and Paul Dzendzel on drums. Apparently Matt Parmenter couldn't carry a drum kit while balancing at least one instrument from every other section of the orchestra...
Despite taking their name from a King Crimson album, Discipline has stronger top notes of early Genesis and Be Bop Deluxe. I also detect aromas of Marillion and Transatlantic along with instrumental stretches reminiscent of the Alan Parsons Project. Discipline has tilled soil in multiple sections of the prog garden and the resulting offshoots criss-cross the genre like lattice work in a vineyard. Discipline is comfortable playing metal, classic, symphonic, and even avant-garde prog. Their synergy is more than just nearly three decades together; it is a kinship of the soul.
I decided to take a full plate from the buffet since it was my last selection for the week, and I discovered a haunting song called "Before the Storm." This piece starts out slow, in an almost deceptive attempt to lure you in. The initial rhythmic, methodical pulse is soon followed by a church-like organ that opens the gates for guitars to gracefully waltz through your headphones. Listening to each instrument meld into the others takes me to my prog happy place...there is so much going on you need to hear it to fully understand. The realization that four people created the sound permeating the inner lining of my head is astounding. Discipline may criss-cross the prog genre--but they outright own their section of the garden. The mood and tempo shift so many times in this song I am dizzy from the euphoric ride.
The piece I chose to post for your weekly prog sampling is another mind-boggler. It was difficult to narrow down the choices, but "Canto IV" nails what Discipline is about. Pour a glass and dim the lights before taking this ride. The abrupt opening awakens your senses in preparation for fifteen minutes of prog splendor. Discipline is quite adept with a scalpel, cutting with surgical precision through layers of cartilage and sinew to get right to the heart. Learn more about Discipline at http://www.strungoutrecords.com/. You will also find them on Twitter @DisciplineBand and Facebook at http://www.facebook.com/DisciplineBand .
What a week fellow progheads! Discipline was an experience in the truest sense of what today's progressive music has to offer. There are many--dare I say hundreds--of prog bands that set out to redefine the genre; traveling their way at their pace, carving out a path previously unexplored. Discipline takes that up a notch with a sound that is unique while pulling from so many prog "tributaries." They did not put it all in a Waring blender and spew forth a "different" style...rather they absorbed it all in and breathed life into an entirely new sound. Never thought I would say this, but I now have a reason to go to Detroit! Anxious for what else lies in wait out there in the prog universe...until next week...
Calling themselves an "...independent progressive rock band..." Discipline leaves much to the imagination--and my imagination usually functions in overdrive. The name itself conjures up some creative illustrations; a King Crimson-like band that paints with a vivid brush, or perhaps a metal sound that throws amplifiers at you like missiles launched in battle...lots of random thoughts rolling around in my cranium...
...so rather than envision their sound, I find it much more effective to make my way directly to the buffet. My first helping is a song called "Crutches." The music unfolds delicately at first--so you don't notice the sharp edges. Vintage Uriah Heep seems to ooze from the headphones as the emotions build on guitars and drums. Discipline tees up your senses and pounds them squarely with a mallet. Hard-hitting vocals are enveloped between thick walls of sound that run the gambit of imagery and expression...thirteen plus minutes of prog chaos and mayhem.
Choosing carefully (each serving seems to be a full course), selection number two is a tune called "When the Walls are Down." Discipline comes out stalking, like a tiger tracking dinner. The vocals strike first; you can almost feel the blood fill the scratches on the inside of your skull. The music is dark and portentous as the tension builds, forcing itself to the surface. Discipline dug deep in the prog garden looking for the darkest, richest soil in which to lay roots.
Liner Notes...Calling Detroit, MI their home port, Discipline has been making progressive music since 1987. As is the life of many a band, Discipline survived a few line-up changes. The artists presently calling themselves members of this prog outfit are Matthew Parmenter on vocals, saxophone, guitars, keyboards, and violin, Jon Preston Bouda on lead guitar, Matthew Kennedy on bass, and Paul Dzendzel on drums. Apparently Matt Parmenter couldn't carry a drum kit while balancing at least one instrument from every other section of the orchestra...
Despite taking their name from a King Crimson album, Discipline has stronger top notes of early Genesis and Be Bop Deluxe. I also detect aromas of Marillion and Transatlantic along with instrumental stretches reminiscent of the Alan Parsons Project. Discipline has tilled soil in multiple sections of the prog garden and the resulting offshoots criss-cross the genre like lattice work in a vineyard. Discipline is comfortable playing metal, classic, symphonic, and even avant-garde prog. Their synergy is more than just nearly three decades together; it is a kinship of the soul.
I decided to take a full plate from the buffet since it was my last selection for the week, and I discovered a haunting song called "Before the Storm." This piece starts out slow, in an almost deceptive attempt to lure you in. The initial rhythmic, methodical pulse is soon followed by a church-like organ that opens the gates for guitars to gracefully waltz through your headphones. Listening to each instrument meld into the others takes me to my prog happy place...there is so much going on you need to hear it to fully understand. The realization that four people created the sound permeating the inner lining of my head is astounding. Discipline may criss-cross the prog genre--but they outright own their section of the garden. The mood and tempo shift so many times in this song I am dizzy from the euphoric ride.
The piece I chose to post for your weekly prog sampling is another mind-boggler. It was difficult to narrow down the choices, but "Canto IV" nails what Discipline is about. Pour a glass and dim the lights before taking this ride. The abrupt opening awakens your senses in preparation for fifteen minutes of prog splendor. Discipline is quite adept with a scalpel, cutting with surgical precision through layers of cartilage and sinew to get right to the heart. Learn more about Discipline at http://www.strungoutrecords.com/. You will also find them on Twitter @DisciplineBand and Facebook at http://www.facebook.com/DisciplineBand .
What a week fellow progheads! Discipline was an experience in the truest sense of what today's progressive music has to offer. There are many--dare I say hundreds--of prog bands that set out to redefine the genre; traveling their way at their pace, carving out a path previously unexplored. Discipline takes that up a notch with a sound that is unique while pulling from so many prog "tributaries." They did not put it all in a Waring blender and spew forth a "different" style...rather they absorbed it all in and breathed life into an entirely new sound. Never thought I would say this, but I now have a reason to go to Detroit! Anxious for what else lies in wait out there in the prog universe...until next week...
Tuesday, February 10, 2015
Magrathea
Greetings from far away places fellow progheads! The Concert Closet has not spent much time docked at home since kicking off the 2015 search for all things prog, and this week is no exception. While I do have plans for touching down on familiar tundra soon, I spent the past seven days in my 2014 "home-away-from-home"--the United Kingdom--to expand my prog appreciation and spend time with a band that blends classic prog with a beaker full of originality, a touch of humor, and some serious boundary pushing...welcome to the sounds of Magrathea.
Magrathea refers to themselves as "...symphonic/neo prog rock...some dark moments with a quirky humour..." It isn't often you hear the words "prog," "quirky'" and "humour" in the same sentence...so naturally my interest was piqued. Consequently I parked the Concert Closet in Lancashire so I could locate this so-called quirkiness...
In keeping with what I anticipate to be an off center kind of week, I stomp up to the buffet for my first serving and come away with a tune called "Search For The Crystal." Opening in true avant-garde style, my aural senses are bombarded by a calliope as the controls of a warped roller coaster/carousel are hijacked by Dr. Teeth and the Electric Mayhem. Very strong top notes of Marillion, Gentle Giant, and Beardfish permeate this prog stew, and I get a strong aroma of Van der Graaf Generator...I can already tell this is gonna be a wild week!
Elbowing my way back to the front of the line, my second helping from this exquisite feast is a song called "Agorophobic Witness Killer." Magrathea are masters of auditory sleight-of-hand; what starts out as a dark, foreboding piece explodes in a plethora of brightly colored sound. I am reminded of King Crimson's "Lizard" in that the music takes on a life of its own, leaping from the mind and bounding through your entire inner being. Careful, lest you get caught up and forget you are but a mere mortal--the music is what's larger than life!
Liner Notes...hailing from Lancashire, UK, Magrathea originally formed in 1994 and have brought forth three self-produced albums from the prog garden thus far. The current line-up consists of founding members Gary Gordon on bass and guitars, Glenn Alexander Barnes on keyboards and vocals, joined by Terry Bowles on bass and Stephen Lightfoot on drums. It is worth noting that Gary and Glenn were a prog duo on the existing albums; Terry and Stephen are recent additions after Magrathea took a short hiatus. The quartet is currently working on their fourth studio album and performing live.
Magrathea has sharp overtones of early Genesis with a side chaser of a Brian Eno in a lighter mood. I detect top notes of the Talking Heads and even a hint of Brand X. Magrathea strikes from the dark side of the prog garden...however the facade slowly crumbles, giving way to a lighter, more melodic feel. Imagine the Aristocrats attempting to be bullies and realizing the absurdity of it all. Magrathea understands the need for real emotion in music--and the fact that not all emotions are dark and ominous. There are multiple colors in the Magrathea paint box, and I sense many shades of grey splashed with boldness. Magrathea has found that section of the prog garden where too much sun withers the fruit and total darkness stunts the growth...
Serving number three is from the lighter fare section of the buffet, a slightly whimsical piece called "Into The Drink Once More!" I am immediately taken back to younger days and my sister's jewelry box; the sound cascading around a dancing ballerina as the lid is lifted...except I don't recall the melody echoing in my head being "What do You With a Drunken Sailor?" Magrathea plays on a theme and whirls you away to a world of debauchery, over-the-top revelry, and just plain fun...all the while tapping the back of your skull with a ball pein hammer.
The clip I selected for your listening pleasure this week is called "It's About That Time." The pleasant overtones are balanced by an emotional vocal performance reminiscent of The Alan Parsons Project's Eric Woolfson. Magrathea goes deep without drawing blood; making you think without making your head hurt. Learn more about Magrathea at http://magrathea.bandcamp.com/. You can also find them on Facebook and follow them on Twitter @Magrathea5.
OK fellow progheads, seven more days just fell from the calendar like snowflakes from the sky, and we have yet to scratch the frozen acreage of new plantings in the prog garden! Magrathea's beacon brought a much needed respite from the dark clouds that were hovering the past few weeks--but make no mistake; the prog garden is as rich and fertile as it is because of both. My search for all things prog has brought me to the realization that without storms and dark clouds nothing grows...and a 24/7 forecast of sunshine and rainbows produces apathy, discontent, and ennui. Magrathea has found the delicate balance between darkness and light; folly and solemnity. Be prepared for an emotional see-saw ride as you dive deeper into the Magrathea end of the pool.
My search for all things prog continues to enlighten, encourage, and provoke...until next week...
Magrathea refers to themselves as "...symphonic/neo prog rock...some dark moments with a quirky humour..." It isn't often you hear the words "prog," "quirky'" and "humour" in the same sentence...so naturally my interest was piqued. Consequently I parked the Concert Closet in Lancashire so I could locate this so-called quirkiness...
In keeping with what I anticipate to be an off center kind of week, I stomp up to the buffet for my first serving and come away with a tune called "Search For The Crystal." Opening in true avant-garde style, my aural senses are bombarded by a calliope as the controls of a warped roller coaster/carousel are hijacked by Dr. Teeth and the Electric Mayhem. Very strong top notes of Marillion, Gentle Giant, and Beardfish permeate this prog stew, and I get a strong aroma of Van der Graaf Generator...I can already tell this is gonna be a wild week!
Elbowing my way back to the front of the line, my second helping from this exquisite feast is a song called "Agorophobic Witness Killer." Magrathea are masters of auditory sleight-of-hand; what starts out as a dark, foreboding piece explodes in a plethora of brightly colored sound. I am reminded of King Crimson's "Lizard" in that the music takes on a life of its own, leaping from the mind and bounding through your entire inner being. Careful, lest you get caught up and forget you are but a mere mortal--the music is what's larger than life!
Liner Notes...hailing from Lancashire, UK, Magrathea originally formed in 1994 and have brought forth three self-produced albums from the prog garden thus far. The current line-up consists of founding members Gary Gordon on bass and guitars, Glenn Alexander Barnes on keyboards and vocals, joined by Terry Bowles on bass and Stephen Lightfoot on drums. It is worth noting that Gary and Glenn were a prog duo on the existing albums; Terry and Stephen are recent additions after Magrathea took a short hiatus. The quartet is currently working on their fourth studio album and performing live.
Magrathea has sharp overtones of early Genesis with a side chaser of a Brian Eno in a lighter mood. I detect top notes of the Talking Heads and even a hint of Brand X. Magrathea strikes from the dark side of the prog garden...however the facade slowly crumbles, giving way to a lighter, more melodic feel. Imagine the Aristocrats attempting to be bullies and realizing the absurdity of it all. Magrathea understands the need for real emotion in music--and the fact that not all emotions are dark and ominous. There are multiple colors in the Magrathea paint box, and I sense many shades of grey splashed with boldness. Magrathea has found that section of the prog garden where too much sun withers the fruit and total darkness stunts the growth...
Serving number three is from the lighter fare section of the buffet, a slightly whimsical piece called "Into The Drink Once More!" I am immediately taken back to younger days and my sister's jewelry box; the sound cascading around a dancing ballerina as the lid is lifted...except I don't recall the melody echoing in my head being "What do You With a Drunken Sailor?" Magrathea plays on a theme and whirls you away to a world of debauchery, over-the-top revelry, and just plain fun...all the while tapping the back of your skull with a ball pein hammer.
The clip I selected for your listening pleasure this week is called "It's About That Time." The pleasant overtones are balanced by an emotional vocal performance reminiscent of The Alan Parsons Project's Eric Woolfson. Magrathea goes deep without drawing blood; making you think without making your head hurt. Learn more about Magrathea at http://magrathea.bandcamp.com/. You can also find them on Facebook and follow them on Twitter @Magrathea5.
OK fellow progheads, seven more days just fell from the calendar like snowflakes from the sky, and we have yet to scratch the frozen acreage of new plantings in the prog garden! Magrathea's beacon brought a much needed respite from the dark clouds that were hovering the past few weeks--but make no mistake; the prog garden is as rich and fertile as it is because of both. My search for all things prog has brought me to the realization that without storms and dark clouds nothing grows...and a 24/7 forecast of sunshine and rainbows produces apathy, discontent, and ennui. Magrathea has found the delicate balance between darkness and light; folly and solemnity. Be prepared for an emotional see-saw ride as you dive deeper into the Magrathea end of the pool.
My search for all things prog continues to enlighten, encourage, and provoke...until next week...
Tuesday, February 3, 2015
Disappearer
Welcome once again fellow progheads! With another seven-day cycle in my search for all things prog at the top of my "To-Do List," I decided to search out a new band in a new country...something a little on the darker side of prog. One thrilling discovery thus far is how many new bands are on the horizon, expanding the boundaries of the prog garden. Eager to try something a little different for the next 168 hours or so, I boarded the Concert Closet and set off to Portugal for a mind-cleansing experience with Disappearer.
Classifying themselves as "post-rock, progressive, regressive..." Disappearer hits you hard in much the same way Liquid Tension Experiment does--just with a heavier anvil. But don't let me mislead you into thinking the music is all hot sauce with no sweet spot--quite the opposite. What impresses me about this band is how they drive the soothing velvet melodies right through the beating heart of the roaring amplifiers.
The first heaping plateful from the prog buffet this week is a very solemn, ominous piece called "Goodnight Mr. Frankenstein." The opening is dark as the drums strike first; a foretelling of something seemingly sinister. The bass gives the music its pulse--a lifeline if you will. The emotions that are stirred take you to that infamous eerie laboratory where you get the sense of a mad doctor doing dark things. Disappearer goes right for the jugular with this piece and rather than simply cut it with a scalpel--they tear it with a chainsaw.
My return trip to the smorgasbord yields a tune called "Forget Me Pills." Disappearer certainly likes to paint with dark colors; you can feel the chill settle in over the entire piece. Guitars carry this song but the drums once again pound a stake into your chest. Without using layers of vocals, Disappearer is quite capable of telling a tale with sound. I get a strong scent of Opeth and hints of Tool in the paintbox...
Liner Notes...Disappearer is yet another example of having one's thumb on the pulse of prog. All the instruments played and lyrics written are from the heart, head, and mind of Pedro Coelho Pereira. The vocals and vocoder are performed by the Basement Dweller Choir. Credit is also given to the assistant producer and psychic healer, one Paulo Franco. So basically Pedro is an extremely talented individual who can play and write teamed up with some cool singers, all wrapped in a warm vibe...very progressive--me thinks even Steve Wilson would be proud. Calling Lisbon, Portugal home, Disappearer has been on the prog scene together since 2012, and separately since 2008. Their latest release proves the theory that the sum is greater than the parts...
My final selection from this extravagant buffet is a song called "Psycho Jane." Following what appears to be the band's trademark, the opening feels like a curtain being peeled back slowly to reveal the inner workings of a complex being, pouring out emotions like waves hammering the beach. I get a scent of Uriah Heep in the arrangement and a top note of latter-day Dream Theater in the pulsating, rhythmic beating your senses take. Disappearer is not for the faint of heart--but you shouldn't be afraid of the dark and unknown...
The clip posted below is called "Stuck in a Loop." Disappearer hits you softly at first, poking you in the ears, jabbing you in the ribs...just enough to keep your attention. But the mood suddenly drops, sinking to the bottom of an abyss you can't quite see into. The music is haunting; it's as if I am running knee deep through water trying to get away, only to turn and see I have made no progress despite my best efforts. Disappearer took a backhoe to a dark corner of the prog garden and proceeded to make a clearing into which they planted heavy, emotion laden seedlings. Listening to them reach full bloom is exhilarating and frightening all at once. Learn more about Disappearer at http://www.disappearer.pt/. Feel free to follow them on Twitter at @disappearerband...they can be found on Facebook as well.
The Concert Closet has certainly logged some frequent flyer miles heading into 2015 fellow progheads! This trip to Portugal was especially fun for me because it shined a light on the darker side of prog--and the vision was captivating. Disappearer stays in the somber bushes, but the more you allow the sound to flow over your ears, the deeper your understanding becomes. The emotional pit from which Pedro writes is not just cold, callous, and disturbing; it holds a spark of light for those traveling the dark road looking for a way out. Hope echoes through the sound, and the reverberation resonates deep...until next week...
Classifying themselves as "post-rock, progressive, regressive..." Disappearer hits you hard in much the same way Liquid Tension Experiment does--just with a heavier anvil. But don't let me mislead you into thinking the music is all hot sauce with no sweet spot--quite the opposite. What impresses me about this band is how they drive the soothing velvet melodies right through the beating heart of the roaring amplifiers.
The first heaping plateful from the prog buffet this week is a very solemn, ominous piece called "Goodnight Mr. Frankenstein." The opening is dark as the drums strike first; a foretelling of something seemingly sinister. The bass gives the music its pulse--a lifeline if you will. The emotions that are stirred take you to that infamous eerie laboratory where you get the sense of a mad doctor doing dark things. Disappearer goes right for the jugular with this piece and rather than simply cut it with a scalpel--they tear it with a chainsaw.
My return trip to the smorgasbord yields a tune called "Forget Me Pills." Disappearer certainly likes to paint with dark colors; you can feel the chill settle in over the entire piece. Guitars carry this song but the drums once again pound a stake into your chest. Without using layers of vocals, Disappearer is quite capable of telling a tale with sound. I get a strong scent of Opeth and hints of Tool in the paintbox...
Liner Notes...Disappearer is yet another example of having one's thumb on the pulse of prog. All the instruments played and lyrics written are from the heart, head, and mind of Pedro Coelho Pereira. The vocals and vocoder are performed by the Basement Dweller Choir. Credit is also given to the assistant producer and psychic healer, one Paulo Franco. So basically Pedro is an extremely talented individual who can play and write teamed up with some cool singers, all wrapped in a warm vibe...very progressive--me thinks even Steve Wilson would be proud. Calling Lisbon, Portugal home, Disappearer has been on the prog scene together since 2012, and separately since 2008. Their latest release proves the theory that the sum is greater than the parts...
My final selection from this extravagant buffet is a song called "Psycho Jane." Following what appears to be the band's trademark, the opening feels like a curtain being peeled back slowly to reveal the inner workings of a complex being, pouring out emotions like waves hammering the beach. I get a scent of Uriah Heep in the arrangement and a top note of latter-day Dream Theater in the pulsating, rhythmic beating your senses take. Disappearer is not for the faint of heart--but you shouldn't be afraid of the dark and unknown...
The clip posted below is called "Stuck in a Loop." Disappearer hits you softly at first, poking you in the ears, jabbing you in the ribs...just enough to keep your attention. But the mood suddenly drops, sinking to the bottom of an abyss you can't quite see into. The music is haunting; it's as if I am running knee deep through water trying to get away, only to turn and see I have made no progress despite my best efforts. Disappearer took a backhoe to a dark corner of the prog garden and proceeded to make a clearing into which they planted heavy, emotion laden seedlings. Listening to them reach full bloom is exhilarating and frightening all at once. Learn more about Disappearer at http://www.disappearer.pt/. Feel free to follow them on Twitter at @disappearerband...they can be found on Facebook as well.
The Concert Closet has certainly logged some frequent flyer miles heading into 2015 fellow progheads! This trip to Portugal was especially fun for me because it shined a light on the darker side of prog--and the vision was captivating. Disappearer stays in the somber bushes, but the more you allow the sound to flow over your ears, the deeper your understanding becomes. The emotional pit from which Pedro writes is not just cold, callous, and disturbing; it holds a spark of light for those traveling the dark road looking for a way out. Hope echoes through the sound, and the reverberation resonates deep...until next week...
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