As always, welcome back fellow progheads! The dog days are almost behind us, which means autumn is beginning to awaken from her slumber. School is just about back in session, and what better way is there to ring in the educational new year than with a field trip searching for all things prog? So get ready and climb aboard the Concert Closet for a seven day adventure to Peru as we bask in the prog fusion sounds of Supay.
Supay is self-described as "...a prog-fusion rock band." Simple enough, but how to define the "fusion" thing? Many a band uses that moniker deflect attention from their inability to put a real sound together. As we disembark the Concert Closet let us delve deeper into this "prog-fusion" thing and decide for ourselves...
The first offering from the buffet this week is an intricate slice of music called "Alma." The opening conjures the vision of a smoke filled amphitheater as strong guitar work fills the air, strutting about like a peacock in full plumage. Not to be outdone, the drums roll in steadily and take the mood on a bit of a slow-down ride. Suddenly your auditory senses are hit with some marvelous woodwinds and keyboards. Supay brings a complete ensemble to the buffet; quite refreshing. Looks like the lights will be dim for several days...
Strolling back to the buffet for a second helping, I am lured to one of the most captivating pieces I have heard in a while; a song called "Senales." The ocean tide opening is like a siren song mesmerizing you with a pan flute that bores deep into your inner being. When the guitars, keyboards, and percussion move in you just know the next nine minutes are going to be special. Supay has an arsenal of weapons at their disposal and they seem very much willing and able to use them at any given moment. I pick up strong top notes of Transatlantic and Spock's Beard in this tune...a cloud of tranquil chaos hangs over the entire arrangement like so many streamers at a college reunion. You feel yourself getting caught in the mood yet able to realize there is something special dancing across your ears right now...
Liner Notes...Supay pitches their main tent in Lima, Peru and is presently comprised of Giomar Camino on classic, native, and Andean woodwinds, Luis Proano on guitar, Luis Medina on bass, Alberto Benites behind the drum kit, and Gustavo Valverde on keyboards and virtual instruments. Officially started in 2000 as a trio, Supay has gone through the proverbial growing pains and learning curves that occur in the life of a band. Over the ensuing fifteen years Supay has released three albums, each taking an off-shoot from the previous, exploring soundscapes, imagery, and emotion. Supay does in fact dig deep--just as their name implies. Supay is a Quechua word referring to a figure from Inca mythology symbolizing the duality that governs nature. Yes, the prog mind runs deep...very deep...and deeper still....
Serving number three for review this week is haunting, tribal-like cut called "La Nueva." A peaceful flute opening leads the listener down a serene path to what feels like the first rays of morning sun cutting through a dense fog. The drums carry the weight of the guitars quite nicely. I get a "Stanley Clarke meets Al Di Meola" vibe from this piece. Supay serves up yet another nine minutes of bustling calm...so much happening in such a smooth manner...
I chose this week's musical interlude in an attempt to give some insight into the world that is Supay. The comforting flute once again takes the lead, painting a calming picture akin to the looking glass stillness of a lake. But just as you settle in with that snifter of brandy, along comes a flock of geese to break the serenity--the mood and tempo move that quickly. Supay seems to enjoy playing with your senses, so you may as well take it all in while getting to know them better. There are two Facebook pages related to the band, https://www.facebook.com/SupayProgRock and https://www.facebook.com/supay.rock?_rdr=p. You can also follow Supay on Twitter @Supay_progrock. While you're at each internet stop, check out the artwork...
Supay cuts a wide swath through the prog garden, traipsing through much of the vintage section while not neglecting the eclectic, theatrical, and jazz-fusion sections. Take the sounds of Syd Barrett era Pink Floyd, early Genesis, Vanilla Fudge, add a dash of Spirit, and a shot of Atomic Rooster, and the depth of Supay is within your grasp. Seven days in Peru winds down as the search for all things prog continues...until next week...
Hello fellow progheads! Thanks for coming back; my beach time has come to an end and I am diligently searching for all things prog. Feeling all refreshed and having a little extra oomph in my giddyup , I thought I would start the second half of 2015 with a band that meets similar criteria--gotta be something fresh and alive. Having spent the previous fortnight enjoying the Atlantic Ocean along the New England coast, I decided to take the Concert Closet to (where else?) England hoping to unearth a band with high energy, haunting vocals, and the ability to fill the headphones with a full, vibrant sound. Thus I find myself in Birmingham filling my ears with the raucous musings of Progoctopus...
Progoctopus defines their music as "...infectious and melodic prog rock/metal..." Having been away for fourteen days--an eternity in the prog blogosphere--this simple intro has whet my appetite for a full dose...so let's delay no longer as we step with a bit of a ravenous appetite to the prog buffet...
The initial serving placed on the platter is song called "Transcendence." I am letting the laser continue through parts one and two for the sake of both this blog and my personal listening pleasure. The music opens with a 70's talk show feel...you are teased with a vocal ditty that bleeds straight into a rambunctious onslaught of guitars and drums bouncing freely around the perimeter of your inner skull. However; the hammer blows are somewhat pulled--there is no "death smack" here...just a continuous series of roundhouses. The mood hops around quickly too...top notes of Transatlantic melt into A Formal Horse vibe blending itself with some Amoenus. Progoctopus manages to bounce around inside your cranium causing just enough mayhem to make you want more. Ahhh, it's great to be back at the search for all things prog!
Round two is a more thought provoking piece called "Like Stone." The acoustic guitar that peels back the initial layer fades into vocals floating across a tranquil landscape. Progoctopus travels a road more akin to Under the Psycamore and Autumn Moonlight this time around. Starting to make a mental connection with the name of the band and the many facets of their music...take your time, I'll wait...feel the grasp now?
Liner Notes...Progoctopus roams the aforementioned Birmingham, England and is comprised of Jane Gillard on lead vocals, Alistair Bell on guitar, piano, and vocals, Samuel C.Roberts on bass, and Tim Wilson on drums, pads, and vocals. The band formed some time around November 2014 and released their initial EP, "Transcendence" this past May. One listen will have you checking your math skills; just three songs...really?! Progoctopus has a sound that is difficult to hang on a single hook as they meander through several sections of the prog garden; metal, jazz fusion, neo-progressive, and a splash of art rock. Progoctopus is a band that feels comfortable in its own skin so to speak...all the while still growing into it.
My final selection coincides with the final offering Progoctopus has on the EP; a bumpy ride of a tune called "Carousel." For those looking for that symphonic/electric/slide down the rabbit hole groove...look no further. A little rapid-fire guitar work encased in biting vocals never hurt either...
Progoctopus seems to enjoy romping through the prog garden leaving their mark and gathering strength and energy. Progoctopus is a band on the move...remember when Dick Clark used to say, "Number four with a bullet!"?
For your auditory pleasure this week, I bring to you a prog buffet sampling of your own; an EP preview. Progoctopus lays it all out for you the listener; go ahead and pop the hood, kick the tires, check out the interior--and for gosh sakes soak in that new prog smell! Learn more about Progoctopus at http://progoctopus.com/ and https://soundcloud.com/progoctopus. Make your purchase at http://progoctopus.bandcamp.com/releases. As is the norm in these social media times, Progoctopus can be followed on Twitter @progoctopusuk and the ever popular Facebook https://www.facebook.com/progoctopus
Once again I thank you fellow progheads for coming back to the Concert Closet; I believe the wait was well worth it and hope you agree. Progoctopus represents yet another cross-section of what is proving to be a crowded, changing landscape in the prog garden. The standard bearers will always be there; King Crimson, Yes, Rush, Porcupine Tree, Camel, et al have proven time again progressive rock is a living, evolving thing. Bands like Progoctopus move into the garden, take root, and build on that life source. We the listeners discern for ourselves what moves and motivates us. Just one more reason to relish all that is prog rock and continue the search for all things prog...until next week...
Greetings from the Concert Closet once again fellow progheads! As I brace for the end of July--slow down summer!!--my never ending search for all things prog has taken the Concert Closet back to Sweden for an in-depth interview with Philippe Longchamps, frontman for Atlas Volt. The band's latest album, "Memento Mori," was released in May and is spectacular. Some may remember my initial review of Atlas Volt in January, when I unearthed a true prog gem, "Eventualities." Atlas Volt is a band that redefines dedication to the craft and artistry that is progressive rock. Join me as as I delve behind the curtain for a closer look and a deeper listen...
Closet Concert Arena:Let's start at the beginning...how did Atlas Volt come to be? Philippe Longchamps: To make a long story short, in 2011 I started recording new demos and by pure coincidence saw a billboard ad at Malmo City Library. Adam (Hansen-Chambers) was offering music production courses. With a personal goal being the release of a high quality self-produced record, I called to find out if Adam could help; he is a skilled engineer and musician with experience in music production. After advising me to record and mix the songs I was currently working on, Adam began adding arrangements of his own to my songs. We decided to share ideas and work together on new material; I started writing lyrics for Adam's compositions and he continued writing arrangements. Our original design was an "open collective" type band, but we decided to play all the instruments on debut EP, "Eventualities" ourselves. This led to the realization we actually were versatile enough to do everything on our own...thus became Atlas Volt.
CCA:There must be some unique challenges to being a prog rock duo with one member (Philippe) living in Sweden and the other (Adam) calling the UK home. PL: Yes--it's a great challenge that is about to become greater still...Adam is considering a move to Australia! However; we already proved the "long distance band thing" is possible by exchanging audio files between Sweden and the UK. We can be successful if we put the effort in, but the distance does slow everything down. While recording "Memento Mori" we invited a few musicians to collaborate on some songs and speed up the process. Realistically, we should do the same on future projects as well. Adam and I are open to the idea since the original plan was an indie/prog collective. Our sound is so eclectic and crossover we see this as an opportunity for Atlas Volt to explore new musical boundaries.
CCA:You call Memento Mori a concept album dealing with the secular humanist worldview. My initial listen paints a deeper picture dealing with faith, organized religion. new-age fundamentalism, and the struggle against the powers that "hold all the cards." Am I on the right track and/or can you elaborate? PL: Spot on; you really get the big picture and the essence of Memento Mori's narrative! I wanted to write thought provoking lyrics that left no one feeling indifferent. Adam and I decided to dedicate the album to all the innocent victims of faith-based fundamentalism throughout history. Every song on the album deals with that theme; we explore the various promises of afterlife and salvation offered by the most mainstream thought systems in the world. We chose every word carefully because there are many different faith-based fundamentalisms and most can be harmful if their doctrines are followed blindly. Memento Mori's lyrics suggest blind faith isn't necessarily rooted in fundamentalist, new-age, or religious doctrines. Nowadays, some forms of fundamentalism are based on economic and socio-political ideologies. For example; many people put faith in the "invisible hand" of the market economy as though it were some omnipotent and omniscient supernatural force! It is strange to see people blindly follow Dow Jones and NASDAQ the same way others put faith in the Vatican or some holy book. Similarly, some people hold profound convictions concerning things like their country's Constitution or their favorite news channel. Believing in the sanctity of these things leads to all sorts of strange moral condemnations, prejudices, and injustices (especially against women) around the world. We introduced that theme on our debut EP in the song "Taken by the Tide." The struggle against these powers cannot start until we realize these are all man-made concepts--nothing but love is truly sacred! In other words, Memento Mori is an attempt to deflate what most people (wrongly) consider to be metaphysical absolutes with a healthy dose of skepticism. The arts have a role to play in the empowerment of the individual against the numerous enslaving imaginary powers we have created throughout history. Memento Mori is an artistic attempt to raise awareness about these topics while using a secular humanistic approach.
CCA: There is a strong feeling riding "just under the skin" on this album...a burning desire to tear down walls and stereotypes that separate and weaken humans as a race. Is there a lot of personal experience in the music here? PL: Absolutely, our personal experiences definitely shaped this album. The lyrics to Memento Mori are the culmination of a long period of introspection. The process made me realize how my personal perception of reality has been conditioned by selfish elements of religious doctrines I believed when I was younger. The lyrics are an inner dialogue between an "old-self" preaching the value of faith and morality and a "new-self" defending the ethical values that emerged from the Enlightenment and the Scientific Revolution. I agree that Memento Mori tries to tear down the walls our species built on assumptions, prejudices, and stereotypes. I believe secularism does not discriminate--it respects everyone and doesn't claim to have a monopoly on truth. In contrast, most faith-based dogmas claim to hold the truth while (very often) the moral absolutes they promote are unethical and harmful. History has shown that a sense of righteous entitlement accompanying blind faith has done the world much more harm than good. I also believe the various forms of religious and ideological fundamentalism prevent societies from evolving as fast as they should.
CCA: Does "Memento Mori" pick up where "Eventualities" left off? PL: Yes; our eclectic sound has become our trademark and--more importantly--there is a lyrical sense of continuity. One main difference is the cause we chose to embrace with Eventualities. We gave 10% of the profits generated from CD sales to cancer research. Our goal as a band is to make meaning of everything we do by supporting worthwhile causes. We have not decided yet on a cause for Memento Mori. Musically the songs from both albums are extremely diverse in terms of style, but our fans say all the songs sound as though they are part of the same record. These sharp contrasts exist in most concept albums and we do not want to be limited to a single music genre...we love to explore new sounds and styles. Atlas Volt will not be stifled by boundaries as defined by the record industry; we are and will continue to be musical nomads.
CCA: Philippe to you specifically; has parenthood altered your view of where the world is heading and how you want to affect that trajectory?
PL: Exactly!This is my main source of inspiration. My lyrics reflect my concerns--more importantly, they convey a message of hope. Parenthood transforms everyone who experiences it. For me parenthood triggered a sense of urgency. I felt the need to make a humble artistic contribution to the world before it was too late. Time flies; as a parent even more so. Becoming a father inspired me to write new songs. "Shine Your Own Light" from Eventualities is a perfect example; I intended it as an inspiration for my children and it will eventually become part of my heritage to them. The simple message the song conveys is the essential self-empowering "recipe" to become a free-thinker. I hope my children and generations after will have the opportunity to break free of the "mental cages" mankind has erected in the past. Individually we often feel powerless to make change. However; everyone has the power to sow seeds of hope while removing the roots of irrationality and intolerance. Everything Adam I have accomplished thus far is in that spirit...and regardless of how successful Atlas Volt becomes our songs will outlive us, and hopefully our music will positively affect some peoples' trajectories. So, yes, we hope the message Atlas Volt conveys will be a modest legacy to the world.
CCA: Despite the dark overtones of Memento Mori, there are injections of light and hope. Optimism, or a refusal to let the bad guys win?
PL: Absolutely. While the predominantly dark overtones of the album remind us of the inevitable, the empowering philosophical discourse emanating from the lyrics simultaneously reminds us that humans ultimately have the wherewithal to make the planet a better place for everyone. The message is also to enjoy life, seek knowledge, live in peace and harmony, value skepticism, and defend freedom of speech.
CCA: Back to the music in general and Atlas Volt in particular; are concept albums a direction the band will continue in? PL: Honestly, I hope so! I've always loved concept albums; the type you need to listen to from beginning to end. Sitting in a comfortable chair armed with the lyric booklet and headphones on...listening to a new album start-to-finish. Not a fan of shuffle or random play--prog music needs to be put in the context of a broader narrative. Prog rock artists put a lot of thought and effort into building a structure for their albums, and to be frank I don't know if future Atlas Volt albums will be concept albums. Currently I write the lyrics to our songs in my second language--English. To a certain extent it makes song writing about specific topics a challenge at times. Being born and raised in Quebec, French is my mother tongue and I speak Swedish daily since moving to Sweden in 2002. In the future I would love to write in those languages (or Spanish), but that increases the difficulty of making the lyrics fit a concept album. If we release a multi-lingual record it will probably be an experimental EP.
CCA: How does distance affect recording? Are there additional challenges when a new idea comes to one of you, a song takes a new direction, or some other potential obstacle arises?
PL: Indeed, our songs often go in different directions because of the distance issue. Living in different countries also makes it very difficult to meet for rehearsal. One of the surprising obstacles is communication via email, Skype, or Messenger. It is very easy to misinterpret and/or misunderstand the other's vision being so far apart...it really is a tough process! At times we disagree on minor details, especially in the final stages of production during the mixing/mastering of the songs. It can take weeks to reach agreement on small things that perhaps go unnoticed to the untrained ear...I am sure every band deals with that. Our unique circumstances have enabled us to develop a collaborative method that is more democratic. Even with our similar tastes, we pay great attention to and place significant importance on the details when co-producing a piece. We have learned the value of compromise. I do not envy bands with five, six, seven, members--or more--going through the same process. Another challenge we face is promoting our music. Being 100% independent and self-financed, it is very difficult to make current fans and potential fans aware of our products through social media. We have had disagreements on a marketing strategy, promotions, and developing Atlas Volt as a brand. Again, we have learned to make compromises. It can be extremely challenging for DIY bands like ours to capture any amount of market share because record labels spend considerably more money promoting their artists. But I should not complain when considering the limited amount of money Adam and I have invested making our first two albums.
CCA: There are several musical contributors to Memento Mori...did this add to the stress level of putting the album together? PL: In my opinion it reduced the stress. The guest musicians who contributed to Memento Mori did an amazing job--and helped speed up the process! I would not be surprised if we collaborated with them on future records. I also hope other talented musicians would be willing to contribute to future Atlas Volt songs. David Elias is one of the most creative and free spirited saxophone players I know; he would be a great addition to a future album. That is not to say I am not grateful to the musicians who contributed to Memento Mori; Jorgen Birch-Jensen, Johnny Aman, Mark Base, Yoed Nir, and Chris Larsen. Their personal touches helped make the album as eclectic as Adam and I hoped it would be. The song "We Created a Monster" features Israeli cellist Yoed Nir and Finnish upright bassist Johnny Aman. Their input was the perfect enhancement to Adam's atmospheric electric guitar and my classic guitar.
CCA: Both "Eventualities" and "Memento Mori" are fantastic pieces in their own right; where does Atlas Volt go from here? PL: Thank you! While Adam and I both needed a short break after the release of Memento Mori, I believe the best of Atlas Volt is yet to come. It is impossible to know what the future holds, but I am determined to develop Atlas Volt as a brand...and more importantly write more thought provoking songs in a wide variety of crossover genres.
CCA: With the success you have achieved thus far, any chance you will be able to quit your day jobs? PL: I can't speak for Adam but I am very happy with my day job. Atlas Volt is my hobby and even if I take it very seriously, at this point in my life I would not consider leaving my family for months at a time to go on tour. I love song writing--but my goal is simply to make my songs available to those who enjoy them. I have no delusions of fame, I just want to share my passion with as many people as possible. If our songs touch someone's life I am extremely happy--that is enough. Fame is not what's important. Working as a teacher with teenagers is the greatest job in the world! They are a great source of inspiration, keep me young at heart, and I feed on their inexhaustible energy.
CCA: If you could perform live with anyone living or dead, who would you choose to be on stage with? PL: There are so many great artists I would love to perform with, but if I had to put together a "dream team," they would be David Gilmour, Robert Fripp, John Paul Jones, Rick Wakeman, Tony Banks, and Neil Pert. I would also include Maynard James Keenan to recreate the vocal harmonies
and overdubs. Since we are fantasizing, Steven Wilson would be my co-producer to support us in Abbey Road Studios. The ultimate would be to attend a songwriting workshop led by John Lennon.
CCA: Any truth to the rumor album #3 is in the beginning stages of life? PL: Yes; we already have a working title. There are a few songs that did not make it onto "Eventualities" or "Memento Mori" that I would like to revisit. Adam and I are also working on new material. One of my dreams is to record a long 1970's style prog epic that lasts over twenty minutes--but that is still in the embryonic stage. You can keep up with Atlas Volt and all the latest information and find out what's cooking via Twitter @AtlasVolt and/or Facebook https://www.facebook.com/pages/Atlas-Volt/210643092403559?fref=ts
Well fellow progheads, I hope this "behind-the-curtain" view of Atlas Volt was as interesting and insightful for you as it was me. In my search for all things prog, I especially enjoy the how and
why--even more so than the what. Digging deeper leads to the heart and soul of the artist as well as the music. Atlas Volt is assuredly not in it for the financial gratification; they seem to garner much more satisfaction being on your "top five albums to be on a desert island with" list...which leads me to my next point of interest...
The Concert Closet will be grounded for the next two weeks as I make my last pilgrimage for the 2015 summer season to the shores of the Atlantic Ocean in search of my own desert island and some amazing New England seafood. Please spend some time really listening to Atlas Volt on your own proverbial desert island with Eventualities and Memento Mori...you will be better for it...and the Concert Closet will be back after the final high tide of my last beach rendezvous. The search for all things prog continues...until August 18th...
Welcome back once again fellow progheads! Leaving Greece was bittersweet; political chaos continues to wreak havoc among the masses while the sounds of No Brain Cell still reverberate through my head. However; change is inevitable and it seems like a tremendously long time since the Concert Closet has been near the Pacific Ocean on the American side, so perhaps a little time on the "left coast" might be a nice respite. My search for all things prog has given me a craving for something from the lighter side of the prog garden. Welcome back to the USA--Oregon to be
exact-- and the distinctive sound of Timelight...
Timelight define themselves thusly; "...a progressive rock band..." Apparently not given to superfluousness, Timelight cuts right to the chase. Timelight comes across as a band more dialed in to making music than making statements, so let us not waste another second and get right to the prog buffet...
My first indulgence this week is an alluring cut called "Fates Pendulum." The opening is a faint reflection of Transatlantic--the guitars strike first but the keyboards quickly remind you this is a group effort. Vocals manage to penetrate the veil of interwoven instrumentation like echoes bouncing off the walls of a cave; the origin is unclear yet you find yourself anticipating the next hit.
Timelight paints with colors that are not necessarily neon-bright, but they do use a lot more than just metallic black.
Meandering back for a second serving I find something closer to the hip side of prog, "Jefferson Dreams." Timelight paints with brighter colors here; the essence of Beardfish, latter-day Alan Parsons Project, and a subtle aroma of Be Bop Deluxe settle on top like a head on your favorite draft beer...and six minutes in the mood pulls a bootlegger's turn hard right. Vocals take center stage as Timelight slides into a somber attitude, complete with those suede elbow patches on the sweater your college English professor wore. Timelight treads a meandering path through the prog garden...traipsing through the dark corners while carrying a bright torch. The emotional roller coaster makes it hard to pin the band down, but don't let the "Prog Rorschach Test" deter you from delving into the not-so-crystal-clear-waters.
Liner Notes...Timelight calls Portland, Oregon home and is comprised of Chris Rudolph on guitars, lead vocals, and keyboards, Stevie Williams on bass guitar and keyboards, Ron Murvihill on keyboards, vocals, and flute, and Steve Lauer on drums, percussion, and backing vocals. Aside from being a band with a vast focus on keyboard playing, Timelight has a lean toward early prog...heavy guitar and soundscapes laden with extensive keys and drums. Timelight has taken root in a hybrid section of the prog garden...hints of Genesis, Rush, and early Kansas streak through the headphones, followed by aromatics of Fire Garden, Stone Umbrella, and Machines Dream. Timelight must collectively have quite a vast album collection...
My final auditory serving is a piece called "Where Volcanoes Rise." The hard-hitting guitars wrap themselves around the vocals from the outset, while percussion pulsates steadily on your inner ear with keyboards flittering across the entire song, looking for that proverbial "point of entry." Four minutes worth of sand falls the hourglass when the mood and and tempo slow to a "silent grinding halt." Timelight seems to thrive on confusion...imagine Opeth opening for The Moody Blues and you begin to sense the bewilderment running through your cranium...
My audio offering to you the listener this week is a song "Around the World." This is a live recording, and as such is quite remarkable in its own right. The percussion work is strong and deliberate while the guitars continue to flex their multi-faceted muscle. Timelight is extremely focused here...the determination oozes through the speakers like sweat on a surgeon's forehead. An instrumental piece, "Around the World" allows each member of the band to stretch a little and have some fun at the same time. Learn more about Timelight at http://www.timelightmusic.com/. Feel free to follow the band on Twitter, @timelightband and Facebook https://www.facebook.com/pages/Timelight/474475819230748?fref=ts.
Well fellow progheads, another "diamond-in-the-rough" is exposed to direct sunlight. Timelight approaches prog from the viewpoint of the fan as well as the performer. Trudging through the prog garden with heavy feet--yet not so lead filled as to tear irreparable divots--Timelight leaves a mark in several areas, attempting create what is best described as a prog "melange." I applaud Timelight and their approach to prog; many a band trying to find their way never strays far from the tried and true. Timelight prefers to stay true to themselves and play with passion and grit.
As the summer continues to heat up, I find it is time once again for the Concert Closet to burn some frequent flyer miles in the search for all things prog. There are many bands out there with the raw desire to play prog the way they believe it should be played. The music world needs more of that emotional energy...and I am determined to discover it...until next week...
Welcome back and thanks for joining me fellow progheads! I hope everyone had the pleasure of spending too much time enjoying the beach and sun! The window allowing summer to flow through our lives is much too small--but I digress! I am back, refreshed, and ready to take the Concert Closet across the universe in my search for all things prog. Following that urge--and with a desire to start the second half of 2015 with unbridled enthusiasm-- I have found myself in Greece absorbed by the multi-faceted sounds of No Brain Cell.
Simply referred to as a "progressive rock band," No Brain Cell opens their bio with the "Six Degrees of Kevin Bacon" claim to fame of having been the opening act for Porcupine Tree in 2010. Not a bad opening I must admit...and knowing how warm and fuzzy Steven Wilson is, I believe Greece will be my "Port o' Call" for the next seven days...
I open the buffet this week with a cut called "Man of Silence." An eerie sense of the macabre floats through the headphones at first, carrying with it a dark foreboding that bursts through about two minutes in. The darkness coats the song like so much oil from the Exxon Valdez. What the drums fail to hit the guitars catch on the follow through. This song slaps you hard, with top notes of Dream Theater and Tool. Wading through the dark outer edges of the prog garden, I sense a cross/hybrid in the make up of the music, which stirs a strong desire to dig deeper...
Going back to the buffet in search of a different varietal, I find a more absorbing piece called "Intermission." An almost hypnotic opening takes you through a dark alley filled with haunting vocals, thick guitars, and keyboards that batter your head just enough to keep you on alert. The music seeps right through your pores, getting under the skin much like poison ivy--but instead of leaving you scratching like mad, it soaks through to your bloodstream and gets pumped to the outer reaches of your consciousness. Strong aromas of Opeth with hints of Liquid Tension Experiment and Pandora run rampant across the disc.
Liner Notes...Hailing from Thessaloniki, Greece, No Brain Cell was founded by Thomas Petrou, who wears several hats; composer, arranger, programmer, lead vocalist, and keyboard player. Thomas is joined by Elias Papadopoulos and J. Demian on acoustic and electric guitars, Lazaros Pliambas on percussion, Trainanos Papadopoulos on french horn, Michalis Piperkos on clarinet, Kostas Vavalas on bassoon, and Katerina Vavalas on oboe. The credit list for the band's latest album also includes several other musicians for lead and backing vocals, guitars, synthesizers, and lyrics. No Brain Cell jams a recording studio like beatniks stuffed in a phone booth circa 1968 and has no problem filling a stage when performing live...
No Brain Cell has two albums on their resume; a self-titled debut released in 2013 and the follow up "Monuments" released in 2014. While No Brain Cell certainly has a dark side, I do sense other colors on the canvas. There is a deliberateness about the way the music is arranged...almost genteel with a smoothness similar to strawberry sauce sliding down the sides of a cheesecake.
My third take from the buffet this week is a song from that eponymous first release called "Illusions." The opening is an expected shade of dark...a mood and tone one would expect Illusionist Criss Angel to thrust on his audience while playing with their minds. No Brain Cell has the honors here though; toying with you the way a python might tease his next meal...slowly moving in for the kill while the unbeknownst prey naively enjoys the ritual...
For your listening pleasure, I chose a song that embodies the heart and soul of the band, " Don't Cry." The piece opens with an innocence that seems to embody who No Brain Cell is ...light rays slowly poking through a dark veil. The mood surrounding this cut is almost akin to that smoke filled night club where the house band continues to play one last song and you hope the evening never ends. No Brain Cell stretches their own boundaries here, channeling emotions of Porcupine Tree and Tool, mixed with hints of Opeth, Dream Theater, and a dash of Focus. Learn more about No Brain Cell at http://www.nobraincell.com/. Of course feel free to follow them on Twitter @NoBrainCell and the ever popular Facebook https://www.facebook.com/nobraincellband. Just be sure to prepare yourself for a "not so ordinary" journey through the dark cavernous world that is prog...
No Brain Cell may flourish in the dark corners of the prog garden, but there are many layers to this onion. Roots furrow deep into the soil and stretch across much acreage, drawing from and giving to several sections of the prog garden; metal, ambient, intellectual, art, experimental, and new age among them. The search for all things prog continues to unearth fresh and stimulating sounds...exposing new and previously undiscovered bands just waiting to be heard. The Concert Closet continues to push this journey across the planet...and I thank all of my fellow progheads for staying the course. Time to find other gems lurking under the soil...until next week...
A hazy, hot, humid, and heartfelt summer-time thank you for tuning in once again fellow progheads! I hope last week's "Tensegrity" left you feeling vibrant and eager to continue the search for all things prog--I know it did me! Liking the beach and enjoying some local sun, I decided to keep the Concert Closet grounded in the USA one more week...just gotta remember to keep slathering on the sunscreen...
This week I found a band with an impressive and remarkable history. Releasing one self-produced album right out high school, Gaillion flamed out like the unfortunate fireflies I caught in a jar as a kid. But alas, they have returned to the prog scene with new music, high energy, and a time tested vision for success...so let the re-discovered prog madness begin!
Self-described as a "prog rock power trio," Gaillion released their first CD in 1989--and it ultimately became their swan song. But let us not mourn the loss of youthful exuberance--no; let us instead celebrate the rebirth of a wiser, more focused and finely "aged-like-wine" progressive rock band. Seven days through the past or a backward step forward...let us amble on with ears wide open...
Stepping to the forefront of the buffet, I begin with a tune from the original album called "The Grand Facade." The dark opening seems to slowly peel back a weathered, torn curtain as the the music begins to explode through the headphones. Solid guitars being pushed by a steady drum beat accelerate this song from zero to sixty in short time. Top notes lean toward a blend of Asia, a dash of Yes, and some latter-day Genesis. Remembering the era of the birth of this album, Gaillion were focused students of the genre. Strong vocals rise above the music, resting on top as if in a crow's nest guiding the band through rough waters.
My second selection from this "buffet of prog music past" is called "Red Sun Sets." An extremely powerful drum opening fills your auditory canals swiftly and intentionally. There is a Rush meets Dream Theater feel to this piece...feeling the tension build...waiting for the hammer blow...all the while being immersed in a whirling turbulence that, while never landing a fatal blow, does leave marks on the inside lining of your skull. Gaillion performs with a turbo-charged energy level reminiscent of Grand Funk Railroad...
Liner Notes...the story of Gaillion is as unique as it is fascinating. Originally from Avon CT, the trio consists of Todd Howard on bass, keyboards, and vocals, James Vasquenza Jr. on guitars and backing vocals, and Don Gunn on drums and percussion. Gaillion came to be in the mid-80's and self-produced/released their debut album, "Admit One," in 1989. Touring heavily across southern new England to promote the album, Gaillion went the way of many a "wanna-be" rock band...and when the dust settled Gaillion was no more--until now.
Flip the calendar ahead about three hundred months, and you discover Don has remixed and remastered the original tapes to release the 25th anniversary of "Admit One" and continued recording with Todd for about a decade starting in 1991. No new music was released, but Don the "tape master" still holds those recordings. Throw James back into the mix circa 2009...and Gaillion began to hold "unofficial" recording sessions hoping to bring the "prog rock power trio" back to the progressive music forefront.
In May, Gaillion released their first new song since I was a newlywed, and they hope to continue "spoon-feeding" prog gems to an enthusiastic, eager fan base every few months. Despite living in separate time zones, technology allows Don, Todd, and James to record "together but separately" while continuing to chase the dream...
Venturing back into the past one more time, I savor the taste of a song called "Victory Parade." Apparently strong drum and guitar openings are a signature for Gaillion, as they leap from the vinyl with bold, bright colors this time, emitting top notes of Rush and Uriah Heep. The bass line in this piece pulls you through a gauntlet of sound that refuses to let go, drawing you in until the final note is echoing through your head. Gaillion was onto something in 1989...let's hope they are able to keep that spark alive...
...which leads me to my music clip for the week. I chose their new release, "Letters From the Skipper." In an attempt to bridge twenty five years, my intent here is to give you a glimpse of the past via a taste of the present. Gaillion has not missed a step with this song. Everything is tight and crisp. It is as though Todd, Don, and James stepped out of a time capsule, picked up their respective instruments, and simply finished a recording session started in 1989. Relevant and exciting, "Letters From the Skipper" will whet your appetite for more. Learn about the journey Gaillion has been on at http://www.gaillion.com/. Check out more of their music and make a purchase at http://gaillion.bandcamp.com/. Gaillion can also be found on Twitter, @JVVGAILLION. Of course for the social media inclined, there is always Facebook, https://www.facebook.com/gaillion25?fref=ts
No matter how you get there--get there. Gaillion will take you back, pump you up, and get you looking for your old high school yearbook...remember your first taste of prog rock?
Well fellow progheads, this is a first for the Concert Closet--a glimpse forward by looking back. Gaillion has traveled a road not regularly trodden through the prog garden. Picking up the pieces and continuing on is not easy and in many cases impossible. Gaillion seems to have successfully checked egos at the door, walked into studio, and said to each other, "What do you wanna play next?" Knowing you have a good thing and making it work are two different things, and fortunately for Gaillion--and the prog faithful--Don, Todd, and James were able to pull it off.
Six months worth of 2015 are on the flipped-to-the-back side of the calendar, and my search for all things prog continues. Gaillion has opened a new avenue for my search..are there other bands that decided to take a quarter century hiatus, only to return to the studio with a drive and desire--as well as new material--to make another run at this prog thing? I have no idea but I do know this; if there is a prog band calling Earth home looking to rekindle that spark, the Concert Closet will find them.
Right now, it is time to hit the pause button for seven days as the summer weather beckons and I can no longer resist the pull of the beach and all her warm weather antics. Of course if I happen to stumble across a prog band or two while getting too much sun, I will happily report my findings...so please look for a fresh post July 14th...until then...
Thanks for coming back another week fellow progheads! The trip back from Oslo was long, but the music and time spent with Gentle Knife was well worth it. This week the Concert Closet travels back to familiar landscape--the USA--so I can spend time talking with and listening to a prog band that dabbles in many different sections of the prog garden. Faithful followers of the Concert Closet may recall my post/review last November of The Mood Manual...well I am pleased to let you know the band has recently released their full-length debut album, "Authentic Tensegrity." This week's post is a double-win for me; not only have I been enjoying the album, I was fortunate enough to get an interview with the band. So if you will be kind enough to indulge me, I will share the interview here and entwine it with a review of "Authentic Tensegrity."
My disdain for routine forces me to start in the middle with a cut called "Concrete Stiletto." The guitars weave through this piece like a snake stalking dinner. Strong drumming builds a foundation to launch the vocals that strike randomly from all sides. The Mood Manual leaps off the disc with this cut, challenging your pre-conceived definition of what prog is...perhaps the liner notes should include not so much a warning label as a cautionary wake-up call--you are in for a potent, vigorous week!
Closet Concert Arena:How did The Mood Manual come to be?
The Mood Manual: We've undergone quite a bit of evolution over the years. We started out as a three-piece with Jim on bass and lead vocals, Matt on guitar, and Gio on drums. We then added Carolyn on saxophone, who still works with us to create artwork and the band's visual identity. In 2012 Tyler joined as vocalist so Jim could focus on bass, and we haven't looked back.
CCA:Your debut album "Authentic Tensegrity" was released in May; what was that experience like?
TMM: It was the biggest creative project we've ever taken on, which was both exhilarating and overwhelming at times. Tyler lost his studio recording virginity in the process. We had to race against time a few times when Tyler had to leave for military training immediately after recording sessions, which helped keep the energy alive. We thrive on letting each other's individuality shine through--which is not only amazing, but can also lead to four-way disagreements. However, we developed the ability to "zoom out" and see the bigger picture of what we're trying to do and fundamentally we tend to agree on the overall vision.
CCA:There are a lot of moods and emotions on the album; did you draw from life experiences when writing or is there another "place" you go to when putting pen to paper?
TMM: We draw from life experiences, imagination, and our own reactions to the music we make. Tyler wrote the lyrics to "Heresy" by tuning in to his genuine reaction to the raw sound of the music, which was composed beforehand, and the lyrics came out that way. He also likes to tackle social issues, but in a way that's non-preachy; almost "sneaky." Tricking people into thinking about the world we live in. For the music itself, we draw from both our inner selves and the influences we're listening to at the time. For example, when Matt wrote some of the parts to "Gold Mine" he was listening to a lot of King Crimson. For "Concrete Stiletto," Gio was listening to a lot of Porcupine Tree. Other songs, like "Architect," came seemingly out of nowhere. We like to blend inner and outer influences; they help us stay true to ourselves and at the same time grow and expand.
Time to check out more of this album...and being curious about the song that "seemingly came from nowhere," I cue up "Architect." The opening guitar is as intriguing as the lyrics...life through the eyes of those who lived and learned. I feel as though I am an unannounced voyeur spying on the unsuspecting...the drums come through in an almost tribal chant, while the bass line keeps everyone focused. The Mood Manual takes a hard left with this piece, moving into the cerebral section of the prog garden. I keep listening, over and over, and the music keeps bringing more substance to the surface with each go 'round...
CCA:You describe the band as creating unique and authentic art; can you elaborate?
TMM: Funny you mention it; we actually had an hours-long conversation to decide on that specific wording. We want to be unique in that we want to contribute something fundamentally new to music as an art form. The word "authentic" comes out of a movement that started in the San Francisco Bay area with a group named Authentic World (they're now based in Boulder). We take "authentic" to mean holding attention in three places--on ourselves, our audience, and the relationship that unfolds between the two. We say "art" instead of "music" because we think we have an opportunity to make our performances include other art forms like dance or visual art; to create something that's really alive.
CCA: What artists/bands have had an influence on the playing /writing style of The Mood Manual?
TMM: Everything but the kitchen sink, which is in keeping with our theme of tensegrity. We don't try to "filter out" certain influences to make our sound fit a particular schema. There are tons of hard rock and prog artists such as Tool, Porcupine Tree, Led Zeppelin, Soundgarden, Rush, Pink Floyd, Red Hot Chili Peppers, Dream Theater, etc. Some less obvious influences include Bjork, Tinarewin, Talking Heads, Radiohead, and various Middle Eastern influences. There's even some classical influence in there, which you can hear in the fugue we wrote for Alchemy.
CCA:There is a definite metal edge to your sound, yet there is also a profundity to the playing that goes deeper. How did that evolve?
TMM: Our sound comes back to the concept of tensegrity, which the album is named after. We each give one another the freedom to play almost anything we want all the time, and the result is an eclectic sort of vibe. We intentionally spend time working on the emotionality of our music, in addition to the more intellectual aspects like form and composition.
CCA:Are you touring to promote the album, staying local, or have you gone back into the studio?
TMM: We'd love to tour but we've been staying local for now. We are planning to set up more performances toward the end of the summer to branch out regionally. There's a bunch of administrative-type promotion work to be done and military training to schedule around, but in the fall we expect to be able to kick it into high gear. Especially because as Tyler moves to Madison in July, we'll all be living in the same place--which hasn't been the case since 2008.
CCA:If you could play a live gig with anyone, who would you choose?
TMM: Our ideal bill would be The Mood Manual and Tool, with special guests Steven Wilson and Robert Fripp.
CCA:Please keep one seat open for me...
OK progheads, once last taste from this remarkable album...a haunting piece called "Alchemy." The bare-naked acoustic opening takes you down an old road The Doors used to travel way back when. The vocals sink through the drumming, hitting the bottom and echoing back as if tossed flippantly into the Grand Canyon...deflecting off the walls of your mind. The Mood Manual walks the dark outer edges with a keen insight about where to shine the light...stimulating for those who need their cerebellum poked now and then...
The Mood Manual is able to push buttons and tweak emotions...take you high only to "cut the engines" with no warning, sending you careening out of control--and then pull up at just the right moment, bringing normalcy back to life as we know it...pay no attention to the man behind the curtain...
As is my custom, I leave you with just a taste of the music...allowing you to savor the top notes and
overtones. This week I offer an ardent cut called "i." The song comes at you from all directions--a kaleidoscope of sound in four powerful minutes. Let the guitars wash over you like high tide after a hurricane as the vocals bounce around the rough edges. Learn more about The Mood Manual and buy this amazing album at http://themoodmanual.bandcamp.com/. You can dig a little deeper into what makes the members of the band tick on Facebook, https://www.facebook.com/themoodmanual. Of course, following them on Twitter is also an option, @TheMoodManual. Buy the download and plan to spend time getting lost in the prog garden for a while...you won't regret it.
Bringing this seven-day journey to an end leaves me sorting through many emotions. The Mood Manual is about so much more than music--prog or otherwise. Catching a "behind-the-scenes" glimpse of a band with so much to offer has been inspiring to say the least. The Mood Manual raises the bar for up-and-coming prog bands looking to mark territory and till acreage in the prog garden. Taking their craft seriously yet allowing room to breathe, grow, and enjoy the fruits of their labor puts The Mood Manual in the "bands that will still be relevant in twenty years" category.
But as always, all good things must come to an end...and I must once again ready the Concert Closet for the next leg of the journey in my search for all things prog...until next week...
