New Reverberations From The Happy Graveyard Orchestra

Warm greetings fellow progheads! Winter continues to keep a firm grasp on the thermostat but  I am hopeful the needle will soon start moving to the right.  In the meantime I am stoking the prog fire for a little extra heat...with that thought and a desire to relax a bit carrying me through the week, I am
re-visiting some old friends--Ivan Perilli and The Happy Graveyard Orchestra.

There is always something underfoot with this band; Ivan is a musician who refuses to take himself too seriously...but don't let the footloose, nutty exterior fool you--there is plenty of serious musician underneath all the frivolity.  The Concert Closet traveled to London twice last year specifically to spend time with this prog/avant-garde band; first in March and again in April when I was fortunate enough to interview Ivan and the band.  

The Happy Graveyard Orchestra are to prog today what Pink Floyd was in the late '60s; a shot of different.  Theirs is a unique approach to progressive music at a time when so many bands are
hell-bent on identifying with the standard-bearers.  Happy Graveyard Orchestra refuses to march in lock-step with the masses--they prefer instead to keep their own beat--which just happens to be one inconsistent half-step behind (or ahead of) the sound everyone else seems to be dialed into.

So let us march right up to that buffet and check out the latest release from Happy Graveyard Orchestra, "I'm the Waitress."  This is a two-song EP, so being logical-minded (sorry Ivan) I am starting with the title cut.  The bass line hits you first...then the vocals...then some drumming...then some more vocals...and suddenly a beat comes out of nowhere sounding like a jazz guitar improv session, and I realize this is just par for the course with HGO.  Peel back the layers of this song; go under the vocals, past the pulsating bass; dig below the drumming and you discover something serious going on behind the mask of absurdity.  Happy Graveyard Orchestra has packed so much into less than four minutes you need more than one listen to capture and appreciate it all.  Horns float through the piece like cotton candy strings caught in a breeze; I feel Andy Mackay being channeled through my headphones, and there are top notes of Talking Heads wafting in the air.  

Moving down the line, I bump right into the other slice on this release, "The Moon Rabbit."  The opening is very reminiscent of earlier Happy Graveyard Orchestra work, right down to the oboe. Happy Graveyard Orchestra starts down the ambient path with this tune and then veers right as they give in to their inner Ebn Ozn, put everything in a Cuisinart, and pour the concoction out like so much hot fudge on an ice cream sundae.  

I am intrigued by Happy Graveyard Orchestra's minimalist approach to the prog genre.  There are no multi-layers of over dubbed sound, nothing ornate. The music is laid out for you the listener to simply experience for yourself.  Like a dry wine, Happy Graveyard Orchestra is best savored in small sips at first..rolled around on the tongue and ingested intentionally.  Watch the music slither back down into the glass when you are done swirling it around...

Liner Notes...Happy Graveyard Orchestra has expanded its membership since my last writings.  The band still consists of Ivan Perilli on bass and cryptic vocals, Debbie Teo on oboe and pitched percussion, Saif Ur-Rehman on steam punk guitar, and Pablo Verez Vich on drums.  Joining this quartet are Kasjusz Lipkowski on saxophone and Gabriella Graziano on vocals.  Happy Graveyard Orchestra is now a party of six haunting the local scene in and around London.

Check out the Happy Graveyard Orchestra website http://happygraveyardorchestra.co.uk/ to learn more about the band and what makes them tick.  You can find their music for sale here, on
Spotify https://play.spotify.com/album/7jxe20LmovyoNIDcLTBDUK?play=true&utm_source=open.spotify.com&utm_medium=open
and iTunes https://itunes.apple.com/album/id980752981.  Happy Graveyard Orchestra has  a Facebook page https://www.facebook.com/HappyGraveyardOrchestra/ where you can find links to songs and other band information.  Of course, you can always follow them on Twitter for the latest rants, thoughts, musings, and other assorted randomness @HappyGraveyardO

OK fellow progheads, we are just about one-twelfth of the way through 2016.  Despite the absolute disbelief at how fast time seems to fall off the calendar, I am pleased with what the Concert Closet has unearthed thus far.  The prog garden is rich with fertile soil and continues to expand on its crop. Walking the rows I see many off shoots of the genre that have helped shape the garden into what is best described as a melange of sound.  Artists like Happy Graveyard Orchestra push the boundaries while never really leaving the couch--using minimalist ideas and expanding on Jamie Muir's ability to pull music--not just sound--from any inanimate object.

In my never ending search for all things prog, Happy Graveyard Orchestra represent an important part of the life cycle of the prog garden because they don't allow themselves to be hemmed in by someone else's definition of what prog is.  Instead, HGO expands on the theme and pushes the limits, taking you two steps past the imaginary safety net you erected...

Yes, prog is alive and well and my search for all things prog marches on...until next week...

Mechanical Man

Greetings from the cozy confines of the Concert Closet fellow progheads!  The mercury suddenly fell out of the thermometer after climbing to record highs recently...but as they say, you can only be disappointed--never surprised!  After watching the weather report these past several days I packed the Concert Closet with blankets and heavy wool socks as the search for all things prog took me to previously uncharted territory...Russia!  As if it weren't cold enough here in the states, I decided to follow my ears and expand my prog metal horizons as I listen in on the sounds of Mechanical Man...

Mechanical Man plays progressive metal...kinda vague but enough to make me want to get ears deep in some rough and tumble sounds.  Let us wander over to the metal offerings at the prog buffet and check out what Mechanical Man is serving up...part of their claim to fame is having performed with Dream Theater, Leprous, and Blind Guardian...

...and taking that as a tip-off for what to expect, I approach said buffet prepared to do some heavy
carbo-loading.  I start with a piece of music that is a bit surprising, "Wonderful World."  The song opens with a melodic guitar and keyboard riff that floats like fog across a meadow early in the morning...then rough-edged vocals creep in and begin to define the irony of the song title.  Dark colors emerge on the canvas as the fog gives way to storm clouds and heavy rain.  Mechanical Man emits more top notes of Transatlantic and Spock's Beard on this cut, but I am definitely walking through the section of the prog garden framed with wrought iron fencing...

Making my way back, I find a morsel from an earlier album release called "White Out."  The tempo builds as smoothly as trust between warring nations--the BOOM comes at you full throttle and you are powerless to stop it or step out of the way.  The vocals on this piece cut more like glass than a dull knife and penetrate in deep swift thrusts.  Mechanical Man has a swagger that is a bit unusual for a group in its youth--but they back it up quite well.  Each member of the band is pushing the needle toward red as the song comes together like Hulk's fist to the cranium...you saw it coming and yet you feel pleasure in the pain.

Liner Notes...Mechanical Man has given me the opportunity to place a new push pin on my prog map; first visit to Moscow Russia.  I am assuming that even Vladimir Putin is a fan of this band, consisting of Alex Zefiridis on lead vocals, Serj Danilov on guitar, Alexander Lee on bass, Evgeny Komarov on keyboards, and Vitaly Ostrov behind the drum kit.  Mechanical Man formed in 2012 and released their first album in 2013.  Their complete resume now boasts two full length albums and a single EP.  Not bad for a quintet from behind the iron curtain...although I doubt that curtain is still hanging on the rod Stalin put up all those years ago...

My final serving for the week is an eerie piece that keeps you looking over your shoulder; a haunting tune called "Nightmare Master."  The song opens with a Liquid Tension Experiment feel; you know something is lurking behind the door--and as much as you want to see it--you aren't quite sure if you're ready.  Everything about this song is ominous; the canvas is dark and foreboding as the mood goes deeper into an abyss you thought was previously unoccupied.  Don't flick the lights on just yet however; Serj rides his guitar hard and fast and Evgeny follows him straight into the den of the beast followed by Alex, Vitaly, and Alexander as they wrest sanity from the jaws of utter madness. Mechanical Man leads you across the battlefield laid out from eardrum to eardrum and gets you safely to sanctuary...but oh the emotional war that was fought in between!

Mechanical Man is not afraid to get knee-deep in the marshy end of the prog garden; but at the end of the journey they drop you in neutral territory. Learn more about Mechanical Man at  http://mechanicalmanband.com/ and  https://soundcloud.com/mechanical-man-1.  You will find their music ready for purchase at iTunes and Googleplay as well as their website.  Of course in keeping with the times the band also has a Facebook page https://www.facebook.com/mechanicalmanband so you never have to miss a beat.  Twitter will allow you to stay current with all their musings, rants, and whatnot, @mmband_official.

The clip below is taken from a live performance in Moscow of the song "Madhouse."  Assuming the "female voice of approval" that hits you as the song opens and carries throughout is just an overzealous fan, the sound quality is actually better than expected.  Mechanical Man commands a stage and can seemingly swim in the deep end of the pool.  C'mon and take a stroll through the dark section of the prog garden...

                

Once again fellow progheads we have reached the end of an extraordinary week. Mechanical Man did more than test the boundaries of the Concert Closet's GPS and  expand my search for all things prog, it proved that progressive music has no boundaries; the music is its own lifeblood.
Progressive rock-- be it metal, neo, classic, retro, alternative, ambient, or any other prefix someone cares to slap on on the genre--is fully capable of surviving on its own merits.  Mechanical Man is just confirmation of the obvious; progressive music continues to thrive the world over.

Of course to drive that point home I must continue the quest the Concert Closet has been on and further the search for all things prog...until next week...

Gekko Projekt

Welcome back to the closet fellow progheads!  Unusually warm weather we are having--but I am certainly not complaining!  Twelve days into January 2016 and the ground has yet to freeze in these parts, which means heating the Concert Closet has been quite economical thus far...I can deal with that...

Keeping with the "Warm-in-the-Winter" theme, I decided to take the Concert Closet to California for a little rest, relaxation, sunshine, and some prog time with Gekko Projekt, a band I have been listening to for a while now and enjoying what I have been hearing.  So many aromatics, top notes, and essences I am not sure where to begin...so let us touch down in Orange County--the "OC" to the outside world--and let the music take us where it will...

The buffet opens with a tune that spreads across the prog garden like so many mushroom spores on a breezy afternoon.  I am struck by the simple complexity of "Particle Dance."  The guitar hits you first; subtly of course--in a Roine Stolt kind of way.  Gekko Projekt leaps off the disc at full speed yet manage to pace themselves.  The tempo flows like flotsam and jetsam, leaving the listener comfortably unsure of where the next bolt of energy will come from.  A scent of Transatlantic and Be Bop Deluxe permeate the room as the song burns deeper into your temporal lobe...

Moving farther along the serving line I discover a piece of music reminiscent of an early Alan Parsons Project jam session; "Cognitive Dissonance."  With top notes of Yes wafting through the headphones, the music is smooth as icing on a birthday cake.  The members of Gekko Projekt flow perfectly together on this cut; everyone sensing the other's emotions and playing to them.  I get a Ronnie Laws '70s kinda vibe...all I need now is a black light and my night is complete.

Liner Notes...Gekko Projekt hails from the warm confines of Orange County in southern California and is comprised of Peter Matuchniak on guitar, Vance Foster on keyboards and vocals, Rick Meadows on bass, and Alan Smith on drums.  JoJo Razor has also joined the band and sings vocals on their latest album.  Gekko Projekt formed sometime around 2010, releasing their debut "Electric Forest" in 2012.  These first two cuts for review were taken from that album, an outstanding work that intertwines vocal pieces with instrumental gems quite beautifully.  Their second--and
latest--release, "Reya of Titan," hit the streets in 2015.  

With but two albums on their resume, Gekko Projekt may seem like relatively new growth in the prog garden--au contraire!  These artists have been fine tuning their progressive rock skills patiently and skillfully, with past connections to Mach One, The Coot, Evolve IV,and WZMG.  Like a fine wine, Gekko Projekt has matured with time, reaching a level of distinction yet not quite at the
apex--there simply must be more in the making...

My final selection for review this week is from the aforementioned "Reya of Titan," a deep, astral piece called "This Is Now Our Home."  The scent of maturation is immediate and profound; Gekko Projekt has expanded their universe and elaborated on a theme.  The mood and tempo swing from graceful and serene to fast-paced and energetic, and they volley back-and-forth over a ten minutes plus cruise through your cranium.  Gekko Projekt has strong top notes of Yes and Genesis with a hint of early Jethro Tull in the music here; I feel a pull in the back of my mind, drawing me inward...to the more elaborate and ornate section of the prog garden.  This is a band for those who miss the old FM radio days, when an hour of uninterrupted music consisted of three or four cuts from great prog masters...

You can learn more about Gekko Projekt and find links to purchase their music  at  http://www.gekkoprojekt.com/index.htm  More music can also be found at Reverbnation, https://www.reverbnation.com/gekkoprojekt as well as Spotify.  Follow the band on Facebook at  https://www.facebook.com/GekkoProjekt.music/?fref=ts and catch the latest updates and musings on Twitter @gekkoprojekt.  Whatever your technological preference for social media and downloading, get yourself an adult dose of Gekko Projekt, sit back, sip a warm beverage, and just let all the tension go...

The cut posted below is from a live performance in 2012 called "Avatar Jones."  Go deep...beyond the video and focus on the music--you won't be disappointed.  Vance handles the keys and vocals quite nicely as you are immersed in a jazz fusion sound a la Weather Report, followed up by some   lightning fast guitar work.  Of course, Gekko Projekt just toys with your spinal cord and auditory canals as they run through the prog garden stirring up all kinds of growth...enjoy...

OK fellow progheads, time to surface for air.  Gekko Projekt is to progressive rock today what Atomic Rooster was to progressive rock in the 1970s; consistently playing at the top of their game, finger on the pulse of the genre, and able to keep up with the best of them.  This is a band that moves through the garden with precision, having the ability and talent to hit all the right notes in all the right places. Southern California has much more to offer than jammed freeways and smog...prog rock is doing just fine in the Golden State, and Gekko Projekt stands in the forefront.

Time once again to continue my search for all things prog.  Depending on the weather I will pack the Concert Closet with blankets and parkas...or sunscreen, T-shirts, and a cool pair of Ray-Bans...until next week...

Falling Edge...Convergence at Fossil Falls

Welcome to 2016 fellow progheads!  Seems like forever ago when we last got together...and now that gifts have been opened, food and drink consumed, decorations packed away, the tree mulched...here we stand--seven days ahead of schedule--on the precipice of 2016.  Anxiously we stare into the abyss, holding our collective breath, anticipating the  bountiful harvest the prog garden will yield over the next twelve months.

My search for all things prog 2016 starts out almost where it began.  Loyal followers may recall I took the tangent road marked "All Things Prog" back in August 2013 and reviewed a prog  quartet called Falling Edge in November of that year.  I was quite impressed with the band's ability to forge their own style while paying homage to the standard bearers of the genre.  I am happy to report that in November 2015 Falling Edge released their second album, "Convergence at Fossil Falls." Seeing as how "the search for all things prog" has become my mantra and Falling Edge has withstood the tests of time, adversity, determination, and talent, I am opening 2016 with a review of said album as the Concert Closet heads due north to the friendly tundra known as Ontario, Canada...

The album opens with an intriguing number called "Minstrel in the Corner."  A melancholy opening painted with a dark brush, the mood slowly moves away from the edge of despair, clinging--albeit a bit loosely--to a settling of sorts, as if all is right with the world if this is all the world has to offer. The guitar work picks up and proceeds to tear through the center of the song like a chainsaw slicing a wedding cake.  Now that the floodgates are open, the drums carry the weight perfectly, highlighting keyboards that begin with a "Twilight Zonesque" darkness and ultimately accentuate a feeling of hope and excitement...yes it is good to be back!

Being a sucker for title cuts, I move a little further down the playlist, allowing the laser to spew forth the sounds of "Convergence at Fossil Falls."  The song opens dark and somber; true to the title. Keyboards begin their ascent across the top and slowly...deliberately...the light seeps through. Vocals pierce with a painful outcry as you feel the guitar effortlessly wrap itself around the entire piece trying to shield its innocence.  Falling Edge emits top notes of Jethro Tull and a vapor of early Genesis...music spills across the canvas like so much snow on a cabin tucked deep in a lost hollow.  A taste of The Strawbs coats the vocals like the molasses in Grandma's home made cookies. The music draws you in almost hypnotically; your emotions are numbed into a sense of calm foreboding until the end, when you realize the roller coaster ride dropped you on the other side of serenity.

Liner Notes...Falling Edge continues to be a conundrum.  Founded in 2004 in Chatham, Ontario and led by founding member Chris Rupert, Falling Edge follows the how-to manual written by Yes for going through personnel changes.  Players have left, returned, left again, come back again...and fortunately the music does not suffer.  The line-up responsible for "Convergence at Fossil Falls" is the aforementioned Chris Rupert on guitars, keyboards, and lead vocals, playing alongside Matt Broadbent on bass and vocals, Steve Kubica on keyboards, and Kevin Tetreault on drums, percussion, and vocals.  Andrea McColeman is credited for the dark keyboards on "Minstrel in the Corner."

In my previous review of the band I wrote that Falling Edge was a testament to fine craftsmanship and will be mentoring up-and-coming prog bands, and I still believe that.  "Convergence at Fossil Falls" is a statement album--this is a band that defies labeling by the masses, occupies its own acreage in the prog garden, continues to pay homage to the masters while redefining and growing the genre, and simply refuses to give up.  By blazing their own trail through the prog garden, Falling Edge cuts a path other bands can choose to follow or tangent off from to forge their own avenue. Yes, prog is alive, well, and so ready to change the 2016 landscape!

My final song for review from the album is a stronger, more direct-hit of a piece called "Dark Matter."  From the onset you feel up-ended by powerful guitar and keyboards.  The music strikes fast and grabs your frontal lobe as you are taken on a haunting ride through an emotional forest...and falling Edge knows all your hot buttons.  The light flashes you see are not only fear, dread, and trepidation; you are also given an adult dose of excitement and exhilaration.  Careful what you wish for...

The track posted below is another affecting piece called "The Sniper, the Piper, and Me."  As the song opens I feel as though I am in an old jazz lounge after hours...listening to Keith Jarrett or Thelonious Monk play to a crowd of one...and then the tension builds...and explodes.  Falling Edge paints you into a corner here and then proceeds to highlight the only path out...or is it just a thinly disguised ruse wrapped in Syd Barrett logic?  As goes the storyteller, so goes the story...listener beware...

Learn more about the ever-changing world of Falling Edge and purchase your copy of this captivating album in the medium of your choice at http://www.fallingedgemusic.com/.  You can also purchase "Convergence at Fossil Falls," their self titled debut album, or individual songs on iTunes https://itunes.apple.com/ca/artist/falling-edge/id643889640.  For those who opt to delve deeper below the surface there is  Twitter @FallingEdgeband, Facebook
https://www.facebook.com/Fallingedge/?ref=ts, Myspace https://myspace.com/fallingedge, and Reverbnation https://www.reverbnation.com/fallingedge.  Lots of links so as to eliminate  excuses for not checking out a sound worth listening to...

Well fellow progheads, the journey into 2016 has begun and what a ride it promises to be!  Falling Edge is nothing short of a brilliant lead-in as the search for all things prog continues on.  Surviving more than a decade on determination, talent, and the absolute refusal to fold the tent, Falling Edge continues to burn bright where so many others have faded. The prog garden is in dire need of bands with roots this strong.  While it feels great to be back at the search for all things prog, the emotional rush rises to a burning zeal to find more prog gems in the garden...until next week...

Celebrating the Holidays Prog Style

Merry Christmas, Happy Hanukkah, Happy Kwanzaa, Happy Solstice, and of course Happy Festivus fellow progheads!  I want to be all inclusive this holiday season so as to wish everyone  sincere seasons greetings no matter how you choose to celebrate!  I appreciate your taking time in the middle of this hectic holiday rush to spend a few moments with me here in the Closet Concert Arena.

If you have followed this blog long enough you know I am loathe to write a "best of" column to wrap up the year. While I respect those who do put one together, I find they tend to be subjective, personal, and usually leave someone out...resulting in fans of a particular band or artist feeling slighted.  I would much rather applaud every band and artist for producing all the great progressive music we have enjoyed here in the Closet Concert Arena during 2015 as well as those I may have missed.  I know my search for all things prog unearthed some true gems these past 52 weeks, but I am not naive enough to believe I found all there was to find...at least I hope I didn't...

So to finish 2015 in style and bring in 2016 with a flourish I thought it would be fun to listen to some progressive holiday music.  So grab a mug of whatever warms you up, sit back, relax, and enjoy...

To open the celebration I chose a favorite with a twist; Greg Lake's  "I Believe in Father Christmas." This is a live version recorded in London with Ian Anderson on flute, David Arch on keyboards, and Florian Opahle on acoustic guitar...and the St. Bride's Church Choir backing them up.  A beautiful piece of music; the guitar floats on that flute like the first dusting of Christmas snow...

Moving down the holiday buffet line, I came across a song that surprised me when I first heard it...but have since come to appreciate.  Dream Theater's rendition of "O Holy Night" starts out slow and gentle like one would expect--until the "Professors of Prog Metal" quickly put their stamp on it. James LaBrie nails the vocals and Mike Portnoy stomps on the edge of burying the entire piece with drumming--but ultimately keeps his ego in check.  I like that this song is played hard because the message is so pure and real.

This next song is one I have only heard a few times yet I believe is one of the better versions recorded; Jon Anderson performing "I Saw Three Ships."  Anderson's vocals are unmistakable, the drum/percussion work fits like a pair of warm slippers, and the keyboards slide right through the entire piece like the silky smooth caramels Santa leaves in your stocking...

We have time for a few more, so let us listen next to a song that is beautiful in its own right but taken to a new level of magnificence; "O Come All Ye Faithful" performed by keyboard master Rick Wakeman.  I don't know that I could add anything of value to the music, so please wrap yourself in this like you would your favorite blanket...

My final selection for this holiday season is a piece of music that is as traditional for me at Christmas as "Alice's Restaurant Massacree" is at Thanksgiving.  King Crimson fans know Robert Fripp has
re-invented himself more times than the Energizer Bunny and always seems to come through a better, years-ahead-of-his-time version of himself.  This was recorded during his Frippertronics days and is quite a stirring rendition of "Silent Night."  Please to enjoy...

As this is my last post for 2015, I would like to sincerely thank you my faithful followers for making the Closet Concert Arena a joy to write.  Listening to and reviewing great prog music is the best therapy, extremely fun, and quite a blessing.  I also need to applaud all the bands whose music I was honored to review these past twelve months.  The Concert Closet traveled to--in no particular order--Norway, Sweden, Italy, England, France, Germany, Portugal, Argentina, Latvia, Mexico, Greece, Spain, Peru, Scotland, and Canada.  I also managed to spend some quality time checking out local bands here in the United States; logged lots of frequent flyer miles and put a hurtin' on my GPS...

For me the pleasures are twofold.  First, the experience of listening to and hearing some absolutely fantastic progressive rock from new, up and coming, and well established bands is nothing short of a Utopian experience for me.  Watching the prog garden flourish and expand has been rewarding as well...knowing that the genre continues to reach new fans is part of my motivation.  Second, the opportunity to talk with bands and artists about how they go about their craft and what makes them tick...for someone who was only able to master playing the stereo, this truly is a treat.

Of course all of this is moot if not for you my faithful followers.  Look for more interviews, new bands, new releases from established bands and artists, and a few surprises as we move into the unknown that is 2016.  As the prog garden expands, so too will the approach the Closet Concert Arena takes to presenting it to you the listener.

I sincerely wish everyone reading this the Happiest Holiday season--no matter how you bang that drum.  I hope to see you all back here in the Closet Concert Arena when I return January 12th, 2016...until then...

Mohai Experiment

Greetings from the last month on the 2015 calendar fellow progheads!  The sand has almost run its course through the hourglass as the end of the year approaches.  These past twelve months have proven to be quite an odyssey; band interviews, introductions to up and coming bands, album release parties, Kickstarter campaigns, and some great progressive music have all graced the Concert Closet this year.

Before it's time to flip said hourglass and start the clock on 2016, I thought it be might fun and interesting to do something a little out of the ordinary.  It is often said that all good things must come to an end...this is as much true for the calendar we are about to flip as it is for a band...so this week the Concert Closet checks out a prog band that had its swansong and moved on, leaving some great music as its legacy. One last trip to Italy for the year as we check out the great audition that was; the Mohai Experiment.

I admit reviewing a band that no longer exists is both unusual and a tad to the left of what one would expect from a music blog...but that is part of what separates the Concert Closet from the pack--a burning desire to stand out among my peers and grabbing the opportunity to go against the tide.  I believe it will be a fun week giving you my loyal followers something atypical to ponder...so let us march straight to the buffet before it is pulled down for the last time...

The first course served up this week is a hard hitting piece of music called "Part I: Utopia."  An electronic display of sorts strikes you as the curtain draws back; Mohai Experiment seems to lean toward the Adrian Belew days of King Crimson--but just as suddenly the band swerves hard left and you feel as though you sailed through a time warp into an Alan Parsons Project jam session.  The guitars bleed so profusely into keyboards you are hard pressed to detach one from the other. Meanwhile the drumming keeps you in lock-step.  Mohai Experiment pushes boundaries with this piece; I sense aromatics of Transatlantic, Psicolorama, and perhaps a hint of Barock Project folded in to keep you entranced.  Not sure why Mohai Experiment chose to call it a career, so let us keep digging...

Diving into the second course finds me ears deep in a cult-like slice of "Part I: Mud."  As the headphones begin to pour forth with sound, I am immediately hit with images and musings of Pink Floyd's "Careful With That Axe, Eugene."  The tension mounts and your skin gets all goose bumpy...but the screams of terror never materialize.  What does shine through is darkness as smooth as the night sky during a lunar eclipse...the guitar and bass work so well together you almost sense one pair of hands playing both simultaneously.  The drums and percussion cut through the base of your skull like a Sawzall cuts through plywood--with little effort and uneven edges.  Mohai Experiment tests your senses with this piece; are you walking through darkness fending off terror, or simply walking through a tunnel with the promise of light as you approach the exit?  Complex as King Crimson, intrinsic as Jethro Tull, and straightforward as Liquid Tension Experiment--the multiple personalities of a prog band...

Liner Notes...Mohai Experiment hailed from Turin, Italy, kept a relatively tight lid on who its members are/were,  and released one helluva  digital download CD in April.  Peter Hamer is credited as Mohai Experiment's manager and the label under which the band records...my guess is Peter is also the one keeping Mohai Experiment alive via Twitter and Reverbnation--and quite possibly Mr. Mohai Experiment himself...

The band originally formed in 1993; not sure what led to the band's demise, but as prog artists--or performers in any music genre for that matter-- can attest, succeeding in the music world is extremely difficult.  The ugly truth is it can sometimes take much more than talent...the list of bands that are in and those yet to be inducted into the Rock 'n' Roll Hall of Fame proves my point.

The upside is Mohai Experiment left a permanent mark with the release of "The Finite Infinity."  Strong top notes of King Crimson and God Is An Astronaut permeate the band's sound...and I detect aromatics of Psicolorama and hints of Electric Mud buried between the layers.

The final selection for review this week is a heavier piece called "Part II: Follow the Blue Rain." Mohai Experiment hits hard with the keyboards and guitars here; the music pours down like  heavy New England snow as your equilibrium takes small hits from all sides.  Mohai Experiment lands some solid blows with this cut and the experimental side takes center stage for a while as sounds float across the top accented by a counter balance weighing down the foundation.  Paint splattered on a dark canvas with accents of bright hues burning through at the edges...Mohai Experiment uses most of the colors on the pallet and mixes them together quite well.  

I chose carefully the clip posted below--this is my best chance to convince you the listener that Mohai Experiment is worth the investment.  "Part II: Eclipse" opens with heavy percussion that is kept afloat with keyboards and guitars that refuse to be weighed down.  Think Transatlantic meets Under the Psycamore meets Atlas Volt...now you're feeling it!  Although Mohai Experiment no longer exists in the "putting out new music" sense, you can still check out "The Finite Infinity" in its entirety at
https://www.reverbnation.com/mohaiexperiment.  The band also has an active Twitter account @MohaiExperiment ...perhaps if enough progheads "poke the bear"  who knows...maybe more music will be forthcoming from the Turin region of Italy...

                 

Well fellow progheads, December is kicking into high gear as 2015 prepares the banquet hall for her final bash...hopefully you get the connection between the year coming to end and my desire to review a band that did the same.  The Mohai Experiment may no longer function as a living breathing prog band, but fortunately for the masses their music still has a pulse thanks to modern technology.  Mohai Experiment will still be relevant (I believe) twenty years from now because the music has depth and character; a personality if you will.  There is a Brian Eno "ambient sound" feel to the music...and like a good pair of Levi's--that never goes out of style.

The search for all things prog continues toward its 2015 climax, so please spend some time enjoying the sounds of Mohai Experiment for a while...until next week...

Up Close and Personal with The Alea Dilemma

Hello fellow progheads!  Time is running out on 2015 faster than people's faith in government--and I thank you for carving out some of that precious time to join me back here in the Concert Closet.  The search for all things prog these past 11+ months traveled many a tangent road discovering many great, new, up-and-coming prog bands along the way.  The Alea Dilemma is no exception--I had the privilege of reviewing the band's debut album "Within the Clamor of Voices" when it was released in October.

Now that Danny, Ryan, and Todd have had an opportunity to let everything sink in, it seems only fitting that the Concert Closet take one more jaunt to Kansas City and talk with the guys behind the instruments.  So I bring to you my fellow progheads the final interview for 2015 as the Concert Closet talks with Danny Brymer and peels back the curtain on The Alea Dilemma...

Closet Concert Arena: First of all, congratulations on the release of  "Within the Clamor of Voices!"  How have sales been, and what does it feel like to have your work out there for the world to hear?

The Alea Dilemma: Thank you Vinny!  Sales have been OK.  We are a new band playing
non-mainstream music so there are definitely some challenges.  However; we have been seeing a steady increase in sales and awareness.  We recently had some sales in London and a radio station in Sweden contacted us interested in promoting our music among other stations and publications.  We are very glad to discover our music has global appeal.

Closet Concert Arena: Why progressive rock; what led you guys to this genre?

The Alea Dilemma: There is no one style of music that completely satisfies me; I love the artful excellence of classical, the harmonic complexity and intensity of jazz, and the sheer power of
rock 'n' roll.  Progressive  comes the closest to being a complete style for the three of us having come from all those backgrounds.  We wanted to craft a powerful yet aesthetically excellent art form. Progressive rock is such a profound medium with which to accomplish that while remaining unique within the genre, as shown from the artists who have influenced us.

Closet Concert Arena: You're based in Kansas City, MO; any plans to expand beyond that region when touring?   

The Alea Dilemma: It is definitely in the works, yes.  I used to play in the Aaron Clift Experiment out of Ausitn, TX and I still remain in contact with them.  There is the possibility of a Texas "mini tour," performing with them for one show among others.  The Alea Dilemma absolutely wants to break out beyond the Kansas City area and expand.

 Closet Concert Arena: There are definite jazz and metal influences scattered throughout your music...what bands/artists have made the biggest impression on your playing style?

 The Alea Dilemma: The jazz is unquestionably there.  As for metal, I think hard rock more accurately defines that side of us.  Ryan our bass player is the most metal of the three of us, but I believe "rock-wise" we hail more from the school of Led Zeppelin, Aerosmith, and Van Halen than we do the school of Black Sabbath, Judas Priest, and Iron Maiden.  However; I would not say our music is devoid of metal.  Ryan digs the bottom of Tool and Rage Against the Machine/Audioslave, so there is that presence bass-wise.  Our influences go well beyond hard rock though...we love the classic prog bands like Yes, King Crimson, Kansas, Rush, Pink Floyd, and ELP, as well as latter day prog artists such as Dream Theater, Spock's Beard, and King's X.

All three of us have played jazz so that element is strong.  As far as jazz influences, we love Mahavishnu Orchestra, Return to Forever, Weather Report, Miles Davis John Coltrane, and Pat Metheny among others.  I also studied classical music extensively while working on my Master's Degree in music theory and composition, so Stravinsky, Debussy, Ravel, Messaian, George Crumb, and Bach are powerful influences on me compositionally.

 Closet Concert Arena: What brought this trio together and what is the story behind the band's name?

The Alea Dilemma: Ryan and I have known each other for ten years; we met in Denver, CO while studying music in college.  We had a prog band during that time called Strativarium.  In fact one of the songs that survived from this era and made the journey to The Alea Dilemma is "The Catalyst." Strativarium ended amicably and we all went our separate ways in 2009.  By chance, Ryan and I met up again in Kansas City in 2013 and immediately decided to start another band.  We both wanted a new and fresh start, so with the exception of that one song, we set out to write completely new music. We picked up Todd our drummer in the spring of 2014 and started rehearsing soon thereafter.

As for the name, I liked "Aleatoric," the term for an avante garde genre of classical music where the element of chance is used in the performance.  Ryan suggested using the root word, "Alea," which is Latin for "dice" or "a game of chance."  Nobody remembers where the "Dilemma" part came into play, but that is how we managed to name the band.  We were doing something new and adventurous so we thought Alea Dilemma fit us well.

Closet Concert Arena: There is a definite "dark feel" to the music, yet I never sense anything macabre or foreboding.  Is there a style to your writing and/or any life experiences that affect the final product you put on vinyl?

The Alea Dilemma: I write all the lyrics and they are drawn from my personal experiences and observations of the world around.  "Forsaken Pawns" and "Altars" were written about the media and people of influence that subject the general public to homogenized thought.  "Betrayed Brilliance" was written about people I've known who have traded dreams for temporary fixes, and "Survive Another Mile" is about a little girl I knew who underwent abuse at the hands of her adoptive parents.  "Beyond the Realm" was deeply personal; written during a time of darkness and trial in my life.  I am drawn to the profundity of lyricists like Kerry Livgren and Roger Waters, and how they are able to challenge your perceptions of life.  That is something I also try to do in my writing.  I want to challenge the listener to think, and although that may lead to some dark moments, I am not into angst, hate-filled lyrics, or the use of profanity.  In anything dark I write I like at least a glimmer of light, because oftentimes that is all it takes for a good balance.

Closet Concert Arena: What band(s) and/or musicians--living or deceased--would you like to play a gig with if you could?

The Alea Dilemma: Hmmm....that is a tough one.  If I was playing guitar, I would have Chick Corea  on keyboards, Jaco Pastorius on bass, Bill Bruford on drums, and Steve Walsh doing the vocals...and perhaps Wayne Shorter on sax.

Closet Concert Arena: That is a show I would wait all night in line for tickets to see...

Closet Concert Arena: What else do you want the world--or at least the Closet Concert Arena faithful--to know about The Alea Dilemma?

The Alea Dilemma: That we got here with lots of coffee, so drink more coffee!  Also, please check out our new record, look out for a gig near you, and there are some wild ideas cooking for upcoming music as we speak!

So there it is fellow progheads, one more prog band exposed to the light.  The Alea Dilemma has elements of old and new prog, fused with some strong jazz top notes, all blended with a tinge of metal/hard rock.  A prog band that seemed decades in the making, Alea Dilemma came together the old fashioned way--their paths crossed randomly years later by chance.  Prog music draws on emotion, and as Danny so eloquently points out, sometimes you use the darkness in your life to shine a light on the path that leads you out.

Please give the clip below a listen so as to peel back a layer on Alea Dilemma yourself--and expand your prog listening library. Check the band's website at http://www.thealeadilemma.com/ to get your copy of "Within the Clamor of Voices."  You can also follow The Alea Dilemma on Twitter, @TheAleaDilemma.  Facebook updates include tour dates, music clips, and other band information https://www.facebook.com/TheAleaDilemma

 
As 2015 makes her final curtain call and 2016 prepares to take center stage, I find myself appreciating bands like The Alea Dilemma because of their bare bones approach to music generally and prog specifically.  The prog garden has acreage dedicated to many different subplots within the genre, but ultimately they all share a common thread--the ability to dig deeper, peel back another layer, and go behind the curtain.  The Alea Dilemma brought their sound to the masses two months ago, but their music has been years in the making...which is one of the traits that separates prog from other genres.

Just a few grains left in the hourglass, but the search for all things prog continues...until next week...