The Music, Bands, and Progressive Styles of Will Geraldo

Hello fellow progheads and welcome to another installment of the Concert Closet's search for all things prog!  Summer moves through the hourglass much too quickly for my liking, so to make the most of what sand is left in the top half of this time marker, I must be curious, careful, and calculating...with an emphasis on curious.  This week I take the Concert Closet to a land that has become a prog "hotspot" of sorts for me; Brazil.

Recently, I was fortunate enough to get an interview with Will Geraldo, whom my loyal followers will recognize as one half of the duo that is "The Opposite Of Hate."  What you may not know is Will has his hand in several other prog projects as well, a la Peter Hamer.  So this week in my never ending search for all things prog, I sit down with Will to discuss his many  talents, bands, and current projects.  Of course it wouldn't be the Concert Closet without some great music, so you will also hear clips from Will and his many prog enterprises as well...

Closet Concert Arena: Will, you are quite active in the prog garden; The Opposite Of Hate, Violent Attitude If Noticed, Death By Visitation Of God, and a solo release.  I take it music is your lifeline?

Will Geraldo: I guess there is no way of denying it, is there?  But you are right, if I am not producing for clients I am working on my own stuff.  So yes; music is indeed my lifeline.

CCA: Does each band have  a connection to the other; some common bond that led you to branch out and explore other realms, ideas, and/or thoughts?

WG: Lyric wise, yes.  All lyrics across every band are somehow connected through a central character.  Music wise, there were a few occasions when a song from one band appeared--although in a different form--in another band.  Personally, I love the idea of this connection because it is something I always look for in the work of other artists I like.

CCA: The Opposite Of Hate is a long distance two-man operation...how does it work with your other bands; are the members closer to home or do you just enjoy long distance recording?

WG: TOOH started because some songs I wrote were rejected by the guys in Violent Attitude If Noticed.  I really liked those songs and did not want to just "throw them away," so I thought of friends who could take on a new project; Silverio Simioni was first in my mind and when I approached him, he promptly accepted.

Distance was not an issue because TOOH was conceived to be a studio project, and on that front there is no time or space when it comes to modern recording--but mind you--we do have the "Fantastic Four" in place in case of a multi-million dollar contract for concerts... =D

Here is a taste of The Opposite Of Hate for those who may have missed my earlier blog on this band...or for those who did see it and want more.  The song is called "Beginnings" and holding true to TOOH's mission, the headphones swarm your ears with sound from the get-go.  This piece is heavy, but not quite as dark as the initial eruption implies.  Ironically, the vocals invoke an almost nervous tranquility...the mood swings and sways like Poe's pendulum...back and forth...back and forth...

   

                       

CCA: What do you do when you need to "re-energize" or take a fresh approach?  How do you avoid redundancy in the music and keep one thing or idea from spilling into the other...or is that even necessary?

WG: I don't feel it's necessary as a means to "freshen up" ideas given that each band I'm in takes a different approach to their music.  In other words, when I write a song I bring it to the band in which it is more likely to work.  If it sounds like modern prog/post punk I take it to Violent Attitude If Noticed.  If it is more guitar oriented/prog metal, it goes to The Opposite Of Hate.  If the sound is more electro/industrial, then I bring it to Death By Visitation Of God.  Now; if it doesn't sound like any of the above, I will simply keep it for my solo project...(laughing)...and yes I do take a break at times but that is mainly because I am tired and/or my daughter asks for some of my attention.

Time for a sampling of that modern prog/post punk Will says he brings to Violent Attitude If Noticed;  "The Spell Will Never Be Broken."  The opening piano hides perfectly the underlying mood slap that erupts behind the ominous words that echo through your auditory canals one minute in..."The spell will never be broken..." and suddenly shades of Porcupine Tree emerge, pelted with a lighter shade of Opeth and the ominous brooding of Tool...a most intriguing sound indeed.  VAIN bears down on the emotions while hammering away on the inside of your head...ever so gently...

                     

CCA: What other artists, alive or dead, would you like to perform and/or record with and why?

WG: Peter Gabriel.  Both his approach to music--regardless of genre--and his creative process have always had a big impact on the way I work, so I would love to share the same stage/recording studio with him.

Not many people know this, but I actually sent a resume to his Real World Studio with the hope of perhaps working for him...didn't happen though...

CCA: With all your work in the prog garden, have you been successful as far as album sales?

WG: Nope...(sinister chuckle)...I laugh--but it is obviously sad.  Music really is democratic these days with the Internet and all, but getting the music to the right people takes money out of my pocket. To get the music out there I need to invest heavily, but being an independent artist means there is not much of a budget...and so the vicious circle continues...

CCA: You run the gambit of the prog genre; metal, jazz fusion, neo, classic, art, and post rock; is there a personal favorite amongst all the styles, moods, and emotions?

WG: I enjoy mixing genres; whereas you have prog along with electro and loads of experimentalism. That is why I mentioned Peter Gabriel earlier; his music is the perfect example.

OK...back to the buffet for a serving of Death By Visitation Of God...a deep cut from the other side of the prog garden called "Am I My Brother's Keeper?" The name of this band sent my imagination in two directions; would this band produce deep, intricate, multi-layered classic prog, or extremely heavy, kicking the back of your skull prog metal?  Will goes all in from the skull thumping metal side of the garden. Top notes of Liquid Tension Experiment and Haken waft through like a stunt man in a Quentin Tarantino film--right in your face.  Tendrils of Rush seem to lay on top as momentum builds to a crescendo.  Will goes for the throat with this cut; DBVOG builds a solid drum foundation and strengthens it with guitar work that coats like Teflon.  Not for the faint of heart...

                   

CCA: What are your feelings on the state of progressive music today?  Are there real opportunities for the next up-and-coming prog band?

WG: I don't see that there is.  I have actually read some interviews with big name bands and artists and they are the first ones to turn down the idea of new music and/or fresh ideas coming up.  It seems to me that being discouraging is exactly their point.

In terms of labels, most of the albums we hear have some relation with previously released material; there may be a member from an existing band coming out with a new project or something along those lines--yet even this will push away opportunities for new names.

CCA: What else does the worlds need to know about Will Geraldo?

WG: That he is committed to his music and that means passion...and, as with anything in life, when there's passion there's truth.  To put it simply; there are no pre-conceived ideas to what I write. My music is totally based on feelings, regrets, anger, happiness...and that's life in general, isn't it?

There is a lot out there still waiting for a chance to be known--not only Will Geraldo.

With that last statement still marinating in my head, I believe I would be derelict in my duty as the searcher for all things prog to not include a piece from Will's solo works.  I chose "The Writer" for (hopefully) obvious reasons.  If his work with prog bands seems to have a hard edge, dark side, or an "in-your-face" approach, his solo work is 180 degrees from that place.  This particular song resonates from deep within and echoes with hope and desire.  The guitar and keyboard work blend together very smoothly, the way a silk lining complements a velvet jacket.  The drum work is poignant; hitting hard in all the right places, all the while leaving room for telling vocals when the vibe swings toward gentle.  Mood elevator going up...

There is a lot more to learn about Will Geraldo; his bands, his music, and his many  prog adventures...http://www.willgeraldo.com/ and http://willgeraldo.bandcamp.com/releases are great websites to familiarize yourself with and start right in.  Band websites include TOOH, VAIN, and DBVOG. Each band also has a Facebook page; Will's personal page is right here at
Will Geraldo FB along with his Twitter account @Willgeraldo .  Whatever you do, please spend time listening to the many sounds, styles, and interpretations of Will Geraldo...and help push his album sales over the top!  The prog garden flourishes because of artists like this.

That, my fellow progheads, is a lot to digest.  Will Geraldo undoubtedly brings a passion to the prog garden that in undeniable; I applaud him and his work.  Hearing statements about how difficult it is to get new prog out to the masses is what motivates me to keep the Concert Closet on this quest.  The search for all things prog will never end because there are so many artists and bands in the garden yet to be heard--and I sincerely believe they have a right to be heard.  People will decide for themselves what they like or dislike, but you need to hear the music to make that decision.  Please continue to listen to the new prog bands as they make their way through the prog garden.

And just like that, it is off to continue the search for all things prog...while I air out the Concert Closet.  One week of fun and adventure, and the Concert Closet will be back in the prog garden bringing you another prog up and comer...until August 9th...

Blind Spectrum

Welcome back fellow progheads!  Hope you are staying cool with the recent heat wave that has swept through the prog garden--and I don't mean just the sun and her ultraviolet rays!  Things have been "sizzling" around here for a while as the Concert Closet has taken the search for all things prog on a summer whirlwind.  Last week's venture to Portugal was quite absorbing; Then They Flew dug deep into an inner chamber so as to arouse your outer being.  This week the Concert Closet heads back to familiar territory; New York USA and a listen-in with Blind Spectrum.

Blind Spectrum refers to themselves as a prog band in the same vein as Rush, Dream Theater, and Yes.  In the prog garden, that is a fairly large cross section and quite a bit of acreage to till.  So with not much else clogging the agenda for the next seven days, let us see what Blind Spectrum is bringing to harvest...

The opening course is a multi-layered piece called "A Perfect World."  Jazz overtones entwined with top notes of Rush open this tune.  The vocals come in from a seemingly far off place, circling the perimeter of your skull as the bass and drums lay a solid foundation.  Blind Spectrum leaps out of the gate and proceeds to ramble full speed across the prog garden...and the week has just begun...

Going back for a second helping, I find "The Stranger You Became" on the serving platter.  Coming from the "moody" side of the garden, I detect top notes of Gaillion and hints of Spock's Beard tossed into this mix.  The guitar work seems to lay on top like cotton candy threads carried by a summer breeze.   Blind Spectrum takes the mood down a notch on this cut; not dark so much as cautious and wary.

Liner Notes...coming to life in Wallkill NY, Blind Spectrum entered the prog garden in 2013.  The quartet consists of Sean Butler on keyboards and lead vocals, Wyatt Mehmeti on guitar, Doug Faulkner on bass, and Eli Mehmeti on drums and vocals.  Originally a trio, Sean was added as the desire to grow into a more "progressive" band grew, and they began to write/record more original material.  Blind Spectrum is a relative new comer to the prog garden; searching for acreage in which to lay down more permanent roots...in the meantime, their sound continues to evolve.

My third serving from the buffet this week is a live cut from "the early years" of Blind Spectrum called "The Traveler Part I."  There are two parts and each is a separate piece.  Oddly enough they seem to have been written/performed/recorded at different times.  Part I leans more toward a melange of early Yes with a touch of Marillion tossed in the blender to make it interesting. It plays out like a jam session; Blind Spectrum still finding their path.  The guitars are cutting while the drums enter stage right and take over.  Sean's keyboards make their entry in grand fashion, splashing brightness and intensity on a canvas up to now filled with primary colors.

The phrase "diamond in the rough" is extremely overused, much like the term "awesome."  However; here it seems to fit...Blind Spectrum has the making of an exceptionally good prog band.  Unafraid to venture into unfamiliar territory, dabble in the experimental, and come right at you with every weapon in their arsenal.  Blind Spectrum wanders the length and breadth of the prog garden, taking from each section pieces that will make them a stronger whole.  You can dig deeper and learn more about Blind Spectrum at BlindSpectrum ReverbNation.  You can also follow the band on Facebook at BlindSpectrumFacebook and of course on Twitter @blind_spectrum.

The clip below is the second half of the Blind Spectrum early years; "The Traveler Part II."  This one is bit cleaner and crisper; I told you they were evolving.  The keyboards open quickly with heavy drumming moving in to fill your head space.  Guitars find their way and begin to seep into your consciousness.  Blind Spectrum is a band making the right moves, and fortunately for them, there are numerous paths in the prog garden to follow, each with its own unique offerings.  They may not be the next Rush, Yes, or Dream Theater...yet.  But given time, Blind Spectrum may very well be the band that inspires yet another up an comer...

        
So this week fellow progheads, the search for all things prog unearthed a find not as rare as one would think--a band still finding its way; learning the old fashion way.  Blind Spectrum is carving out acreage in the prog garden with precision, skill, and some good ol' grit and determination.  We, as fellow progheads, need to support this "next generation" of progressive rock artists, lest we end up sitting in an old La-Z-Boy recliner, cueing up the same album time after time...

Blind Spectrum is but a glimpse of what I set out to do with this blog; find bands that need--and deserve--our attention.  Bent Knee, Atlas Volt,  Aaron Clift Experiment, Fire Garden, Scarlet INside, Timelight, Fire on Dawson...the list could go on for pages.  These are bands that I truly believe have expanded the boundaries of the prog garden and made this genre all the better for it.  Blind Spectrum has that potential...

Now, as is my custom, I remind you that the search for all things prog must continue, and the Concert Closet will carry on this never-ending journey...until next week...

Then They Flew

Good evening once again fellow progheads; welcome to another installment of my weekly search for all things prog.  Getting back into the hunt for new, unknown, and somewhat obscure progressive rock springing up in the prog garden, I took the Concert Closet to a place I have not visited enough; Portugal.

I stayed for a long listen with a band that delves deep into the inner reaches of that special part of the brain where music appreciation lies...and grows.  With luck persistence, nurturing, and care, it should bloom into one "ginormous" collection of vinyl.  Welcome to the ambient and thought-provoking sounds of Then They Flew.

Then They Flew categorize themselves as instrumental/post rock.  Never was totally keen on the definition behind that title, but after listening to their music these past seven days I find their roots meander into the darker metal section of the prog garden while drawing on the emotional strings of Eno/Byrne, Moebius, and Porcupine Tree.  Now that the appetite is whet, time for a sample from the buffet...

First up on the platter is a dark piece from the gloomier section of the garden called "Owls."  There is something about the music right from the opening; it hits you like a warning shot--listener beware. Everything starts out as if you wandered into a Twilight Zone episode...and then the mood flips as abruptly as a bootlegger's turn.  You get a sense that these birds of prey are on the hunt--and no one is safe.  The phoned-in vocals lead right into the eye of the storm as the drums foretell an ominous trek. Guitars strike hard and fast, and before you realize it, you have run the gauntlet...

The second serving from the murky side of the prog buffet is a  bit more somber; "Rooftop."  The opening is soft-jazz like; Chick Corea music for a funeral procession perhaps...until the clouds open and the full onslaught of Then They Flew is thrust through the headphones like a typhoon hammering Tahiti.  Just as swiftly however; the mellow vibe returns and Then They Flew walk you through an emotional tempest all over again.  There are strong top notes of Brian Eno at his ambient best; Another Green World comes to mind. I also detect the emotional depth of early Simon & Garfunkel
writing--not prog at its core perhaps, but just as soul searching.

Liner Notes...hailing from Lisbon, Portugal, Then They Flew is comprised of Bernardo Sampaio on guitars and keyboards, Goncalo Oliveira and Tiago Silva on guitars, Marcos Janela on bass, and Hugo Gouveia sitting behind the drum kit.  Then They Flew also credit their string quartet consisting of Lyza Valdman, Eliana Magalhaes, Rita Cardona, and Ester Griessenberger.

New to the prog garden; perhaps...but Then They Flew arrived with a full entourage and plenty of starter material to take root in the outer fringes of the shadow laden, foreboding section.  Think King Crimson's "Red" with an impish twist; Then They Flew appears able to build on a theme and broaden it as they dig deeper into their own mystery.

My final selection from what is a full course prog buffet is another punch to the inner lining of the cranium called "Evergreen/Aftermath."  Following their trademark subtlety upon arrival, the song opens slowly and deliberately...you can feel tension in the air, but it does not seem to be dangerous. The canvas starts to fill with colors from the darker side of the spectrum--but there are streaks of light burning through, like lightning during an evening thunderstorm.  There is an Abstract Aprils quality to the tempo here...you keep waiting for the hammer blow that never hits while feeling a surge of tranquility all at the same time.  Darker hues flow down, but more and more brighter, "easier on the eye" colors begin to roll right over...the sense of hope after witnessing a storm uproot a mighty oak.

Then They Flew has burrowed deep into the prog garden amongst the thick, thorn covered underbrush; drawing deep on the poignant and affecting.  Not quite to the level of disturbing, but well aware that there is always something lurking in the dark...

The clip posted below is a song called "An Enemy Will Bring Us Together."  I chose this because it seems to come from behind a locked door...you know the place...where you keep things that don't necessarily frighten; you just don't want to wrestle with them everyday.  However; the door is now opened...the levee broken...and you forget why you kept it locked up in the first place.

Then They Flew takes your childhood fears and puts them to music, thus pulling the fangs and taming the beast.  Once the strings pierce the veil and guitars are led by a drum that is equal parts stern and soothing, nothing seems as it was...

Learn more about Then They Flew at ThenTheyFlew.  You will have the opportunity to purchase their initial release "Stable As The Earth Stops Spinning," released in October 2015.  You can also connect on Facebook, TTF Facebook as well as Twitter, @thentheyflewpt .  The band also has an Instagram account at TTF Instagram.  Many ways to connect, but remember to focus on the music...

Once again fellow progheads, we have moved ahead one week on the calendar...just about one-third through the month of July.  The world keeps spinning and the prog garden keeps growing.  One more band brought to light translates to one more band as yet uncovered and destined for discovery.  The Concert Closet moves from Portugal to the next stop on the journey, keeping up the search for all things prog...until next week...

The Security Project

Hello once again and welcome to the inner prog sanctum known as the Concert Closet fellow progheads!  A wild and hot summer thus far; lots of fireworks and no immediate end to the hoopla, so let's keep the momentum going!  As you know, I have taken the search for all things prog across the entire globe, touching down on every continent and scouring every nation, in the hopes of discovering new and lesser-known members of the prog garden.  This week the Concert Closet goes slightly off trajectory while holding true to its core mission...

While combing the garden for something new, I stumbled across a band not so much original as a reinvention...The Security Project.  Familiar names and faces in the prog garden yes--but performing together to breathe new life into the work of Peter Gabriel, both as a solo artist and his early Genesis material.  The Security Project joined forces in 2012; the 25th anniversary of Gabriel's "Security" album...hmmm...pieces starting to fall into place...

My initial listen is to The Security Project's version of "San Jacinto" and it truly is a remarkable piece.  The mood is exceptionally close to what Peter exuded.  The raw emotion bleeds all over the canvas as vocals pour over you...enveloping your auditory senses like seal skin earmuffs.  The subtlety of the guitars and percussion as they build to a climax is brilliant.  The Security Project has crawled inside Mr. Gabriel's head and took copious notes...should be quite the educational week...

Moving back to a buffet filled with wonder, I am perplexed as to what I should sample next, settling for "Fly on a Windshield" (not a bad thing...)  Once again TSP cruises in the right lane, capturing the essence of a beautiful song.  The acoustic guitar enters just boastful enough, while the vocals scruff along like sandpaper on glass...appropriately rough and not scathing.  The Security Project nails the mood and the emotion...of course there will always be a degree of separation; only Peter Gabriel is Peter Gabriel after all. However; these guys lived it the first time around so it was more of an open book test.

Liner Notes...The current line-up for The Security Project is Brian Cummins on lead vocals, Trey Gunn on Warr guitar and backing vocals, Michael Cozzi on guitars and backing vocals, David Jameson on keyboards and Eigenharp, and Jerry Marotta on drums, percussion, and backing vocals. Fuzzbee Morse has also performed with TSP on guitars and flute.  Lots of bleach in that gene pool; talents oozes from every inch of the stage.  A partial/combined resume includes stints not only in Peter Gabriel's band (post Genesis), but also King Crimson and Shriekback.  This is not a novice group nor a collection of wannabes trying to garner attention doing the county fair circuit...these guys have logged many miles in, through, and around the prog garden...

Musical Interlude #3 up for review this week is an absolutely marvelous version of "The Rhythm of the Heat." The percussion work unquestionably captures the feeling and sentiment that radiated from the original; Trey and Jerry work in harmony amazingly well as sound seems to ooze from their very pores. Brian is quite adept at seizing the passion Peter brought to his work and thrusting it back out like a T-Shirt cannon at a football game.  Each performer on the stage feeds off the energy of the others; it is almost a living, tangible force empowering the group to hit harder and more deliberate.

I chose the clip below because it is one of my favorite PG solo numbers and TSP paints a copy so real it could hang in The Louvre unnoticed by the experts..."Biko."  In and of itself "Biko" is a very powerful song; Peter Gabriel is a master at painting a picture with words and sound.  The Security Project was able--as is their wont--to pick up where Gabriel left off and drive that point home with a stake through the heart.  The drums hit you square and the bagpipes simply encapsulate the entire piece.

                                            

The Security Project tours extensively and has released one live album aptly titled, "Live 1."  You can learn more about The Security Project and purchase this amazing CD at The Security Project.  You will also find tour dates listed, and if it is at all possible I would encourage you to witness this band live.  Keep up with everything the band is doing at TSP Facebook.  Of course no band can reach the masses today without the benefit of Twitter, and The Security Project can be followed there as well @TheSecurProject.

Once again fellow progheads the sand has fallen through the hourglass as a great prog week winds down.  The Security Project, while perhaps occupying acreage in the lesser-known section of the prog garden, is made up of some major players in the genre.  While I do listen to and appreciate some tribute bands, I tend to come away feeling like I just bought a print of the Mona Lisa at Walmart being passed off as the real thing.

The Security Project however, is different.  Similar to The 21st Century Schizoid Band and select others, The Security Project is made up of members who were part of the original masterpiece...in the room so to speak when the first paint hit the canvas.  Bringing version 2.0 to the next generation and/or old timers who just cannot get enough, The Security Project will draw you back for more.

So...with my work complete for another 168 hours, I say --with perhaps a sly smile and a true appreciation for the opportunity--the Concert Closet once again sets off on the search for all things prog.  Until next week...

Projection...Realitivity

Enjoying the summer I trust fellow progheads?!  I certainly hope yours is the thrilling adventure that mine is morphing into...these past few weeks have been especially exciting.  The Concert Closet has been privy to some great prog of late while being fortunate enough to get a glimpse "backstage" as it were, meeting band members up close and personal, and finding out first-hand about life in a progressive rock band.

This week the Concert Closet logs some serious frequent flyer miles as the search for all things prog continues the quest...bringing you a relative new comer to the prog garden, whose debut album was released in December 2015.  Come along for the ride as the Concert Closet heads to the Netherlands and some quality time with Projection.

Projection categorizes themselves as a prog band with a "melodic 80's vibe..."  Appealing to my senses of adventure, intrigue, and curiosity, I believe this is a band worth at least a look-see and listen-to, so let us step up to the prog buffet for an introductory portion.

First serving on the platter is a hard hitting tune called "Running Through Time."  The song bursts out of the gate firing on all cylinders and hits you square in the auditory canals.  Vocals don't float so much as they flow down like lava from a live volcano. The drumming is a solid foundation on which the guitars rise up and shout.  The colors on the canvas are bright and loud; albeit tinged with the dark outer edge that comes with running down a dark alley at night.  Projection emits top notes of Asia and Transatlantic on this piece....the digital alarm clock that opens the songs seems to peel back the curtain a la Marty McFly...

The next offering served up is a bit more cranial; a deep cutting tune called "Hypocrite."  Projection opens the song with a soft, music box-like tranquility that belies lyrics strong enough to hammer a stake in the ground without the need to wrap everything in loud, hollow sound that bounces around for no apparent reason.  Projection has a point to make and the guitar strikes at just the just right moments, while the drums once again batter the periphery without leaving you lost and confused. There is an Alan Parsons Project/10CC vibe running through this song...a bit cerebral without forgetting that prog can make you think and tap your feet at the same time.

Liner Notes...Projection is a five man prog operation hailing from the Netherlands and consisting of Herman Wiggers on lead vocals, Peter Pampiermole on keyboards and vocals, Frank van Eerden on guitar and vocals, Jurgen ten Have on bass and vocals, and Richard Immink on drums and vocals. Projection's debut release, a concept album titled "Realitivity," is an impressive opening act.

Concept albums in and of themselves can be difficult to assemble...timelines are important; mood, tempo, flow...it all plays a part.  Of course the listener must be able to decipher what message the music is trying to convey.  Alan Parsons was a master of the concept album, Chris Rudolph from Timelight prefers the listener interpret the music in a way that touches them, and Philippe Longchamps from Atlas Volt enjoys the intimacy of reaching inside the listener's head and touching them with a narrative that drives a point home.  All are valid--and  equal parts difficult and
glorious--if the artist manages to nail it.  With "Realitivity," Projection does just that; they nail it with a sledgehammer.  This album has deep roots in the thought provoking section of the prog garden...not as deep (perhaps) as King Crimson, Pink Floyd, or Genesis--yet.  Remember; this is Projection's initial offering--not their swansong.

The third and final selection for the week is yet one more from a deep, dark corner called "Erase ." The guitar work is almost ghoulish as the vocals entwine themselves amongst the chords.  The drums are softer here...soothing of a sort.  You anticipate a hit to the inside of your head that never quite materializes.  Oh, the tempo picks up; but quickly settles back down.  The haunting background/subconscious vocals continue throughout, reminding you that although there is no one else in the room...you are never really alone.  Learn more about Projection at their website Projectionband. Follow your instinct and your subconscious while you check out their bandcamp page to make a purchase at Projection Bandcamp.  Of course there is always Facebook for those so inclined to keep up with all the latest band info at Projection Facebook, and the last bastion of immediate information, Twitter, where you can connect @Projection_band.

I chose "Delirious" for the clip to introduce you to the band for a few reasons.  First, this song paints an extremely accurate and intricate portrait of what Projection is.  The music rolls through the headphones both purposefully and melodically, like sour cream melting down the sides of a hot baked potato.  Second--and more importantly I believe--the heart and soul of the concept behind the curtain comes raining down like a summer thunderstorm...the struggle to deal with reality as life continues to sling arrows and torment...yet never forget there is always hope if you focus on the light.  Projection has mined a nerve center in the prog garden that will keep you hitting the replay button...

                   


...and once again seven days fall off the calendar like so much beach sand off your sandals.  Projection cuts deep but manages to avoid any fatal wounds.  One of the pleasures of being the "progmaster" on this blog is the exposure to so many variations of the prog theme.  Projection uses darkness to expose the light; reminding you that while you feel yourself falling deeper into the abyss, there is always hope.

The Netherlands are quite nice this time of year...but alas; the search for all things prog continues on...and so the Concert Closet is preparing to extend the journey once more...until next week...

Timelight...The Album Release and The Interview

As usual, thanks for dropping by fellow progheads!  Been a whirlwind summer so far and I for one hope the festivities continue endlessly.  After checking in with Scarlet INside and Bent Knee, I decided to take the Concert Closet to visit one more prog band who recently released an album.   Trekking across the USA for a look at the left coast, I find myself back in Oregon for an interview with Chris Rudolph and Timelight...and of course some indulging on their eponymous debut album...

As is the case with most of us "logical OCD types," I prefer to start at the beginning.; I believe a small taste from the Timelight buffet is in order to get things started.  The new release opens with a deep, hard-hitting piece called "The Law of Identity."  Layers of guitar begin to hit you as the song opens...gently at first--but watch out for the head-butt!  Drums saunter in as gently as Andre the Giant playing the Tooth Fairy while vocals seem to reign down from above the cacophony. Keyboards? ...wait for it...boom!  Timelight builds a song the old fashion way; one hard-hitting note at a time. Now to get a bit deeper...

Closet Concert Arena:  First off, congratulations on the new album.  I've been wearing out my copy of the CD and the music is really deep; there is an outward darkness that seems to have shafts of light cutting through.  Was this a difficult album to mix?

Chris Rudolph: Thank you Vinny, I appreciate your support of Timelight. Mixing the album was challenging; making the Timelight album was a complex process that had to accurately reflect our musical vision.  The production of an album, and I do mean production in the sense of creating something from nothing as a musical artist, is akin to creating a painting.  The empty screen of the recording project is a blank canvas.  Recording the music tracks is just the first step; more color is added during the mixing process.  Certain sounds get enhanced while others are reduced or even removed.  Timelight's music is dynamic.  There are heavy--or as you say--dark sections bordered by mellower or brighter segments.  Balancing all those sounds and tones did make for interesting mixing.  The goal was to have as much clarity as possible while at the same time an "open" sound that was not overly compressed.  We wanted the tones to be distinguishable even in the midst of a complex musical arrangement.

CCA: The album, in typical Timelight fashion, is laden with heavy riffs and ornate, multi-layered sound.  Where do you draw the inspiration for the music and what artists/bands do you feel have had the most influence on your style?

CR: Timelight's inspirational influences fall into three categories.  First, the most obvious...bands from the "glory days" of prog, Yes, Rush, Peter Gabriel-era Genesis, ELP, and many others are among the most important bands that inspired each of us to pursue this music genre.

Second would be the progressive and metal bands of today; Tool, King's X, Porcupine Tree, Opeth, Karnivool, and Riverside are but a few of the many I could mention, including some great lesser known prog bands bands doing fantastic work.

The third category is more abstract, but essentially encompasses music and artists not classified as "progressive rock."  French impressionist pianists like Gabriel Faure and Charles Koechlin, classical guitarists Ralph Towner, John Fahey, and Alex DeGrassi.  Also the harmonic conceptions of jazz improvisers too numerous to list here...1970's big band jazz and jazz fusion; all would fall into this category.  Inspiration for Timelight truly is everywhere.  There was never a specific goal to sound like any one band or create a specific style.  We write the music first; the compositions we create dictate the style--not the other way around.  We remain true to our musical integrity, so within an album, and perhaps even a single composition, our "style" shifts in different directions.  In a previous review you described our music as a "prog melange;" that fits quite well.  Every serious musician is influenced in some way by those that came before regardless of style or genre.  One of my favorite quotes is from the late great jazz trumpeter Clark Terry, who said; "Imitate.  Assimilate.  Innovate."  Just three words, but so powerful.  Timelight strives to innovate by blending genres while not being beholden to the specific boundaries of one style or another.

CCA: The album has a bit of a jazzy/fusion feel at certain points; "Mountain Trilogy" for example has a Chick Corea/Weather Report meets Transatlantic/Beardfish feel...can listeners expect even broader expansion as Timelight continues to grow?

CR: "Mountain Trilogy," especially the second and third movements, capture that style nicely.  This composition is by Ron Murvihill, Timelight keyboardist.  You will definitely be hearing more of that and more of Ron's influence on the next Timelight recording.  Before Ron joined the band we had been together as a trio about a year and I had already written most of the band's core material for the first Timelight album.  Once he joined the band Ron contributed some great parts for "Genomes" and "Normalcy Blindness" as well as composing the entirety of "Mountain Trilogy."  The next album will be reciprocate in the sense that Ron has written the bulk of the compositions; there are two more we are writing together.  So yes, without giving away too much, there will be more of that keyboard driven style on the next Timelight album.

OK; my curiosity is piqued...let us check out Ron's brainchild, "Mountain Trilogy."  The opening piece has that smooth, jazzy feel Timelight seems to wear like a favorite old sweater...the drum work manages to wrap itself around those keyboards while vocals swoop in, leave their mark, and move out.  The guitars arrive just in time to pull you in deeper as the music swallows your head slowly and deliberately.  Time changes and mood swings highlight this piece as you sweep across the prog garden, riding high and floating free...

CCA: In addition to Timelight, you have also released music as a solo artist--very good music I might add.  Are you still pursuing both avenues?

CR: I'm glad you enjoy my solo work.  I released my solo CD at the end of 2012.  For that album I sang all the vocals and played every instrument except the drums; Steve Lauer recorded the drums.  While I was pleased with the final production, my specific goals are to make the best music possible...and as much as I enjoy working solo, I prefer the band context with other musicians.  It is my belief and particular experience that working with musicians who are true masters of their respective instruments results in the best music possible vs. a "one-man-band."  Case in point; by any rational criteria you conjure up, the Timelight album is a superior effort as compared to my solo work.  That was the goal--to do better; otherwise what's the point?  Without getting too specific, as a general rule I prefer the group efforts of my favorite progressive rock bands to the solo work of their respective band members.  There are glaring exceptions--of course--but the synergy between band members is so much greater than the sum of its part so to speak.  So while solo albums are a part of my future, they are not a priority at the moment.

CCA: What is the bond that holds Timelight together...apart from playing their respective instruments, what contribution to the whole does each member bring?

CR: We all love progressive rock; we have been listening to it since our youth and it still inspires us...simple as that.  I might also add that we all like science fiction...and good coffee...

CCA: Why Timelight; what was the inspiration behind the name of the band?

CR: Timelight is a made up word that does not exist in the Oxford Dictionary.  The interaction of time and light are at the heart of Albert Einstein's theory of relativity.  That sounds way cool for music nerds who also happen to love science fiction and good coffee...it might even make for a good band name.  Nowadays it is almost impossible to find a good band name everyone likes that isn't already taken and the domain name is still available.  The best way to get ahead of it is to make up a word, so we did.  There are also some band name generator programs on the web, which might explain the the name chosen for "Neutral Milk Hotel."  Timelight had no success with this approach however.

CCA: What track on the album is the most personal for you?  

CR: I believe that as both a composer and listener it is more interesting to decipher and derive one's own interpretation of what a song conveys in both music and lyrics.  There may be common themes running through the lyrics; something that might convey a personal meaning for one person or another, including the composer.  That being said, there are songs on the album with special meaning for me.  However; that is filtered through my personal existence and inspiration.  I prefer to let the songs speak to the listener in a way that conveys a unique perspective for them.

CCA: If you could play a live gig with anyone, who would you like to be on stage with and why?

CR: I would love to play with Steven Wilson; he is such a complete musician and I have the utmost respect for him.  I have always been a big fan of Porcupine Tree, and Steven's recent solo works are absolutely superb.  I think "The Raven That Refused to Sing" might be one of my all time favorite albums.  I also admire how, as a mix engineer, he has taken some of my favorite recordings; "Close to the Edge" as one example, an album I have listened to thousands of times, and made it sound new and fresh.  As both a musician and a producer who can integrate so many styles and artistic concepts into his unique vision, there is no equal for me.  I know I would learn so much just working around him, seeing his approach and way of doing things.      

CCA: Any touring in the works to promote the new album?  

CR: No touring planned, but it would be great to be able to get out and share the music live.  We all have day jobs that render touring impractical.  We have had a number of great internet prog rock radio stations recently feature our music and add Timelight to their playlists.  Given the current state of the music industry, internet radio is  a wonderful option and perhaps the best way for Timelight to share our music.

CCA: What other music industry hats does Chris Rudolph wear?

CR: My primary focus is creating and producing the music of Timelight.  I do enjoy the process of mixing audio.  Generally speaking I like the challenge of taking raw recordings and turning them into something better--maybe even something quite good.  In the future I plan on doing freelance mixing for bands.

CCA: What else does the world need to know about Timelight?

CR: Timelight is musical integrity; we produce music for music's sake, period.  People need to know Timelight is a band committed to producing quality music not confined by the boundaries of commercialism and music industry economics.  Timelight, like so many great lesser-known prog bands, is keeping progressive rock alive and well--and we will continue to do so.

That, as they say, is a wrap fellow progheads.  Timelight is a band on a mission...namely to keep nourishing the prog garden and through it the minds of the faithful listeners.  I chose to wrap the interview with a cut from the album that was quite appropriate given the emotional and honest outpouring from Chris; "Teach Us What You Love." As is Timelight's signature, the song opens on all cylinders and wanders through the prog garden, both taking and giving back.  The vocals waltz across the top as if buoyed by a floating foundation of drums, keyboards, and guitars so entwined with each other you can't drown.  The wisps of organ are a treat for the auditory senses; a bonus to keep you alert and focused. Learn more about Timelight at Timelight.  Please check out more of their music and purchase the album at Timelight Bandcamp.  Keep up with their music and find out what goes on behind the scenes at Timelight Facebook.  Of course you can also find Timelight's latest outbursts and musings on Twitter @timelightband.  Like a fine wine, Timelight is best savored and sipped again and again...  

                    

Timelight is the thinking person's prog band...much to dwell on and ponder long after the laser has left the disc.  The prog garden is made wider and broader by bands like this; unafraid to stretch boundaries, refusing to conform, and simply eager to search out something new for the next  studio session.  The search for all things prog has brought me into contact with great people, exceptional artists, incredible bands, and folks who are focused on and dialed into the music--not the lights, fancy stage props, or anything that would draw your ears away from the sound.

If you  get nothing else from this blog, I hope you sense and appreciate all the different nuances and variations the prog garden has to offer.  Timelight is but one growth in some extremely vast and very rich acreage.  And now, as is my custom, I am off to continue my search for all things prog...until next week...

Bent Knee Revisited...and the Release of "Say So"

Welcome back fellow progheads!  The Concert Closet is trudging through the second half of 2016 gingerly--if that isn't an oxymoron.  Going headlong into the unknown with no pre-conceived expectations; just the desire to shed brighter light on each section of the prog garden and expand the search for all things prog.  And of course--bring it to the masses!

This week the Concert Closet catches up with Bent Knee, a band I was recently introduced to and reviewed back in March.  Bent Knee recently released their third album, "Say So" and have been touring of sorts to promote it.

While I sadly admit my recent attempts to catch the band live were unsuccessful, I was able to get an interview with them.  Bent Knee is truly a unique act, and one you do not want to miss...so trust me; the Concert Closet will soon dock in a town where these artists are performing their magic.  In the meantime...cue up the first song from "Say So" and enjoy.  It is a cranial piece called "Black Tar Water," designed to get you thinking.  The vocals cut through you like a thousand shards of crystal...while they pierce and may draw blood--there is so much more pleasure than pain.  The music builds to a crescendo and ebbs back...keeping you on the edge of a seat you are simply unable to remain in.  So let the interview begin...

Closet Concert Arena: Congratulations on the release of "Say So."  This is the band's third album; what separates it from the previous two?

Courtney Swain: I think the biggest separation between the last two albums and "Say So" is we wrote and produced it in a much shorter time frame.  In terms of music and content, it's less bombastic or cathartic than "Shiny Eyed Babies." That doesn't mean it is less emotionally charged; I think there is more dimension and maturity to the expression.

CCA: Your sound runs through many genres...traveling deep into the pores of prog, art, indie, alternative, and avant-garde rock.  How did the sound of Bent Knee evolve?

Ben Levin: Bent Knee started as an electronic trip hop project in which Courtney and I would file share to write.  We made some nice songs this way, but they were kind of vapid and colorless in terms of arrangement.  Our sound started to get interesting when Vince (sound design/synth) decided to record a live arrangement of one of the electronic tunes.  Vince was really into Nine Inch Nails' production style at the time, which took our trip hop sound in a more aggressive and broken direction. We then started playing live a lot, and after a few line-up changes, we solidified the addition of Chris (violin), Jessica (bass), and Gavin (drums).  Chris brought a warm and thoroughly layered ambiance to our sound--a counterpoint to the incumbent harshness.  I think he sort of tipped us into "Radiohead Land" a bit.  Jessica and Gavin have a really special punch-in-the-gut rhythm section going on.They don't write traditional rock parts very often and I think we were all a little conservative when it comes to the use of crash cymbals in our arrangements.  After our line-up was finalized, we grew closer and closer as a unit and started becoming influenced by each other's influences.  Since those influences are pretty diverse, we continue to evolve.

CCA: Was there any connection between band members before meeting at Berklee?

Ben Levin: I met Vince in 2005 at the Berklee summer program; that is before we were enrolled at the school...but I guess it is still meeting at Berklee.

CCA: Bent Knee seems to have a connection with the listener that some bands only dream of.  How do you stay in touch on a personal level with fans and do you feel it is important--or even 
possible--as both Bent Knee and your audience grow?

Courtney Swain: I pack and ship all the physical orders that get placed on our Bandcamp page, and I think I've written five or six hundred personal notes to go with every order.  It took time to do that, but it really mattered to me to connect with the people who cared enough to spend their hard earned money on our music.  In anticipation of the amount of orders we'll get with "Say So," only this week I pared it back to a postcard with a printed message.  But I am still writing in the person's name at the top of the card so it addresses them.  Touring and working in a band can be really tough; a lot of us are often worried about money or scheduling non-band work around the band's needs.  We're incredibly grateful for the support we get from our fans, because it has carried us through tough times.  We try to be vocal about that and share it whenever we can.  We don't put up any fronts when we meet people or when we're interviewed, and we are open to sharing our stories and vulnerabilities. As the band becomes bigger this may become more difficult, but we'll keep trying because we really care about this connection!

Time to tap into that connection and discover why anticipation for "Say So" was so high.  "Hands Up" is another incredibly deep song; there is so much going on with an absolute minimum of structure...absolutely transcending...Courtney's vocals once again perforate with laser-like precision, and the keyboards are so entwined with the strings and guitar...much like trying to pick the fruit out of a smoothie after the blender has had its way...and the drums simply keep it all on a level us mere mortals can barely fathom...

CCA: How did the band come to be known as Bent Knee?

Vince Welch: The name "Bent Knee" has a very specific meaning and origin...but it's a secret so I can't tell you.

CCA: If you were able to perform live with anyone--living or dead--who would you choose to be on stage with?

Gavin Wallace-Ailsworth: I'd love to see bent Knee perform a set with Peter Gabriel.  I think the sonic textures we use would mesh well with what he uses.  Another fun possibility would be to have Bent Knee play background music for Mark Twain during one of his speaking engagements when he was alive.

CCA: What influences your writing; how do the songs evolve into what we hear as the final cut?

Vince Welch: The writing process is typically this:
*One or two band members develop some raw material on their own
*They bring the material in and the band digests it through our convoluted arranging process
*The arrangement is after some time deemed worthy of playing live
*It's further tweaked and continues to evolve as we play it out more.  Occasionally after playing a song out for a while we'll decide it's not working and refine it more in rehearsal; but not usually

CCA: Any plans to expand the current tour?

Chris Baum: Yes!  We will be hitting North America again in August and September after we return from Europe.  Keep an eye on our website for announcements and details.

CCA (subliminally): Please play in the Boston area again...please play in the Boston area again...please play in the Boston area again...

CCA:  What can fans look forward to from a live performance?

Gavin Wallace-Ailsworth: Six sweaty people who are happy to be performing and trying their honest to goodness best to not mess up the tunes and wanting nothing more than to play this music they made and worked really hard on.  We'll bop our heads and make hard rock faces while we sing and drum and strum at varying speeds for as long as we are allowed to.

CCA:  Any tracks on the album that touch a personal nerve?

Jessica Kion: Definitely.  A few tracks are fictional stories, but some explore real relationships in our lives, as well as experiences dealing with mental illness and the strain it puts on family.

CCA: What more does the world need to know about Bent Knee?

Chris Baum: Come see us live, and all will be revealed.

And that fellow progheads, is Bent Knee...more than just a prog band.  Six people working and playing together, bringing music to life unlike any other.  The prog garden is enriched greatly by bands such as this.  Revisit that emotional rush you experienced the first time you realized music was so much more than radio static...

I chose a clip I believe brings a lot of what Bent Knee is to the forefront; a song called "Leak Water." From the moment the song opens the door...you just know--you feel--something is excitedly different here.  Courtney's vocals don't haunt so much as they grab you from the inside and begin to slowly and deliberately flip you inside out.  The guitar work is borderline genius as it creeps in...around the vocals, stalking past the drums...and those drums!  The canvas is streaked with the brightest brights and underscored with the darkest hues...madness and mayhem neatly tied with a bow.

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Adhering to the old saying "making hay while the sun shines," the time is now to check out the Bent Knee website at Bent Knee and Bent Knee Bandcamp and splurge on "Say So" and maybe even their previous releases. Follow the band on their journey through the prog garden and around the globe via Facebook at Bent Knee Facebook, and catch up-to-the-minute musings, thoughts, and ideas on Twitter at @bentkneemusic.  Few bands are able to break new ground--and by that I really mean break new ground.  Bent Knee is one such band.  Theirs is a sound Eno would be proud of...think "My Life in the Bush of Ghosts" with David Byrne type uniqueness...

Bent Knee is an exhilarating breath of fresh air...so breathe deep fellow progheads!  The prog garden has been expanding as of late, and Bent Knee is a band I sincerely expect to enjoy a bright and prosperous future in the prog garden...their style and approach are a jolt to a genre already breaking the levee with an abundance of marvelous prog.

So the search for all things prog continues as the summer sun begins her annual pilgrimage across the sweltering sky...let us hope that journey lasts as long as the one the Concert Closet has undertaken...until next week...