ATTENTION MUSICIANS: Who the hell do you think you are? Don’t you realize that you’re leeches on society, only able to subsist because you’ve been able to deceive and exploit your audience into overpaying for the small modicum of entertainment you provide? Don’t you realize that you owe your fans your very lives, as well as the lives at least two of your more-preferred offspring? The very thought that an artist, especially in progressive rock, would even consider producing music that didn’t conform to the totally reasonable and valid expectations of their fan base makes me sick to the point of hallucination. And surely I must be hallucinating if my ears are hearing what they think they’ve been hearing from some of my favorite prog artists over the past few months.
Hey Opeth, did you guys forget what metal sounds like? At what point did you decide that Heritage needed to be an hour-long tribute to crappy 70’s prog bands? I listen to you because Mikael sounds like a demon who was fed a strict diet of motor oil and broken Christmas ornaments. I need some brutal death metal growling! I don’t particularly care that you were able to resurrect elements of classic prog that had been lost to majority of the new prog generation by seamlessly integrating those elements into your already eclectic interpretation of progressive metal, or that Mikael actually has an amazing voice when singing cleanly. I don’t pay you to expand the genre, I pay you to play “Deliverance” really fucking fast! DOUBLE BASS DRUMS, CAN YOU PLAY THEM?!?!?!
Yo, Steven Wilson, what’s with all the not-Porcupine-Tree you’ve been doing lately? Did I tell you that you could take a break, and do totally awesome things like re-master classic King Crimson albums? Why did you think it would be accetpable to do another solo album? You didn’t even get Gavin Harrison to play drums on it this time! Get back in the studio, on the side of the glass WITHOUT the mixing equipment, pick up that acoustic guitar, and play something that sounds vaguely Pink Floyd and/or Radiohead-ish. So help me God if you play something that sounds at all like Krautrock…
Mike Portnoy, listen, I know it’s been a rough year for you. I’m sure it’s been painful for you to watch as your former band-mates move on with another drummer (named Mike no less!) while you’ve been left to fend for yourself, out in the cold, with only six or seven projects to pass the time (Adrenaline Mob, Hail, Transatlantic, Neal Morse’s band, playing with Stone Sour, that thing with John Sykes, I think I heard you’re opening up a pro-wrestling school with Chris Jericho…) but come on man, you’re starting to bore me. When am I going to be able to hear the exact same beats I heard on Systematic Chaos, Octavarium, Black Clouds and Silver Linings again? I’m not digging this whole “variety” thing across your new projects. And don’t you think it’s time for a Liquid Tension Experiment reunion, again? Tony Levin could turn into a pile of dust at any moment, time is running out! (Note: I would still pay money to hear a pile of Tony Levin-dust play Chapman Stick).
Oh man…Devin Townsend…I don’t even know where to begin with you. Pick a genre and stick with it man! Do you know how long I’ve had to go without being able to pigeonhole you with traditional labels? You’re metal, you’re pop, you’re electronic, you’re new-age, I think I even heard some bluegrass recently. You’re like a hairless Canadian Frank Zappa sometimes! If Epicloud isn’t another concept album about coffee and cheeseburgers narrated by the Ziltoid puppet, I’m going to strongly consider canceling my pre-order for the DTP box set. YOU HAVE BEEN WARNED!
Look music slaves, it’s very simple. Progressive rock isn’t about progressing. It’s about doing the same thing over and over and over and over and over again. The only thing progressive rock fans want to change about their music is the time signature. The sooner you all remember this important concept and get back to doing what you were doing back in 2000 the happier we’re all going to be, OK? This genre isn’t based on innovation, or expansion, or exploration, or any of those fun-sounding hippie words. The reason you all practiced your rudiments is so that you can play rudimentary music (it all makes sense now!). The sooner you all revert back to your established formulas the happier we’ll all be. And by “we” I mean everyone except you.
Apparently I’m still alive. Unfortunately, other priorities have arisen over the past few months that have kept me from writing about the various prog topic bouncing in around in my head.
As a sincere sign that I plan on once again spewing prog-based ramblings into the void, please enjoy this crappy video I took of Adrian Belew Power Trio at a recent concert at the Williamsburg Waterfront in Brooklyn. No hipsters were harmed in the making of this video.
I wanted to write a review of this DVD. I really did. I tried more than once to get it started. Every time I began writing though, I realized that I wasn’t saying anything that I didn’t already say in my review of the Whirlwind album or their tour stop here in NYC. It kept coming back to the basics: The band is awesome, the new music is pretty good, and their live shows are highly enjoyable.
I liked the DVD a lot, and any fan of Transatlantic will enjoy it as well. Pick it up! (You should probably do so here).
There are the few things I will say specifically about the DVD:
- The vocals are the best they’ve ever been in the band. They added some new harmonies for the tour, and each new part definitely enhances the total package. Pete Trewavas and Mike Portnoy both sound significantly better than they did on the last DVD, and of course the addition of Daniel Gildenlow as a touring member just brings the performance to the next level. Of course Neil and Roine are still great. All around a great vocal performance from everyone on stage.
- Speaking of Daniel and Pete, they are, in my opinion, the highlights of the DVD. Daniel brings that energy and enthusiasm to the stage that is so often lacking in the live performances of prog bands, and I’m extremely thankful that so much of him made it onto the DVD. Pete is notable for the great contrast between his presence on the last DVD and this one. He’s more animated, his parts stand out more (more an attribute of the song writing than his performance I suppose), and he handles a much larger portion of the vocal work, doing a damn good job with it. His performance here makes me wish I didn’t hate Marillion!
- The special features are…ok. Buy the DVD for the concert.
Oh, also, I’m on the DVD, look!
Again, I wish I had more to say about this, but there’s just very little else I can say that wouldn’t be repeating my last two posts about The Whirlwind. So check out the DVD, support the band, and maybe they’ll be motivated to take less than 9 years to get back together this time. I hear Portnoy will have some free time! (bad joke, sorry)
To be honest, I was hoping to be writing a totally different article. Specifically, it was going to be a review of the Between the Buried and Me/Cynic/Devin Townsend/Scale the Summit show (billed as ‘The Great Misdirect Tour’ after BTBAM’s latest album) at Irving Plaza a few weekends ago. However a little over a month before the show something very peculiar happened that caused me to write this particular article instead.
The show sold out. Not only did it sell out, but it sold out ridiculously quick. Not the ‘oh crap I forgot Phish tickets were going on sale at noon today and now it’s 12:05pm and all three nights at Madison Square Garden are sold out’ level of bullshit I suffered through in December, but all things considered this might have been even more surprising. To have a show sell out over a month before the first band takes the stage is not something any progressive rock fan born after 1980 is used to. At first I blamed myself for waiting to buy tickets, but then I realized that I could surely pin this on someone or something else besides my own procrastination.
The first question that popped into my head was ‘Did they underestimate the size of the venue?’ Irving Plaza holds 1,200 people according to Wikipedia. That’s a pretty tiny venue to hold a show featuring four bands, even if none of them are even remotely famous. I think the bar downstairs in my building holds almost half that.
On the other hand, I can’t blame the organizers for booking such a small venue either. Until now the only way a progressive rock band could fill any venue was if said band was an established group made up of older British gentlemen in their 40s-60s, in which case an audience of 30-50 year old fans would drastically over-pay to see their idols musically masturbate on stage for a few hours and maybe play some of their hits (note: this trend is not exclusive to prog. I’m looking at you, Rolling Stones). So when the ‘Great Misdirect Tour’ was announced, it was safe to assume that there was no chance that any of the performances would be held in a major venue. New, young prog bands for the past 20 years have almost universally generated zero hype and zero money, and multiplying zero by four bands is still $0.00. I can count the number of fresh prog faces that have seen major success in the past 20 years on one hand, at least here in the US.
I spent the remaining weeks before the concert looking for tickets everywhere I could. Except for one string of extremely sketchy ticket broker websites that were charging hundreds of dollars for individual tickets that they probably didn’t actually have, no one had even a tiny glimmer of hope for me. Something I noticed as I made my search, however, was that NYC wasn’t the only city that had zero tickets available weeks before the tour’s stop there. In fact I could only find two cities on the tour that consistently had tickets available during my searches (note: The capital region of New York state and Charlotte, North Carolina are apparently prog-haters).
So my disappointment here in NYC appeared to be more than an isolated incident. While I’m sure the promoters were happy to be selling out the venues they booked, I have to hope that they also came to the same conclusion that I came to. At some point while no one was paying attention, progressive rock crossed some threshold and became somewhat popular with new fans.
Now hold on, I’m not saying that next year we’re going to see Emerson, Lake, and Palmer play the Super Bowl. But look around, and you’ll see more and more that prog has started to creep out of nerd’s basements and into the mainstream. Some examples for you to consider:
– Rush is rumored to have been scheduled to play the opening ceremony of the Vancouver Olympics, but their segment was scrapped as being too ‘up-beat’ following the death of Georgian luger Nodar Kumaritashvili. Notice how the show was themed around the different provinces of Canada, moving from east to west? Also notice how Ontario and the Great Lakes region were skipped over? I’ll tell you who noticed, Rush fans. I don’t know why line-dancing-lumberjack fiddle battles were deemed to be more appropriate than the country’s chief musical export, but I guess it’s just another reason to hate Canada.
– Speaking of the Super Bowl, the Who worked TWO segments of their rock opera Tommy into their half time show, something I am declaring the ‘proggiest moment in Super Bowl history’. Ringo’s kid also did a pretty good job of pretending to play drums.
– Continuing with our current theme, prog has inched its way into sports via other avenues as well. NBC has used Dream Theater as background music for sports vignettes in the past, and the NBA’s San Antonio Spurs enter the court to Dream Theater every game. This puts Dream Theater in the same stratosphere as such illustrious artists as Baha Men, Sisqo, Rednex, and The Village People.
– Porcupine Tree, long lauded by the progressive rock community as ‘the band we love that eventually the mainstream is going to listen to and steal from us’ is finally starting to slide down that slippery slope into popularity. First in April they’ll be performing at Coachella, one of the biggest music festivals in the US, along with other prog-curious artists Les Claypool, Coheed and Cambria, and headliner Muse. Then in September they will be playing at Radio City Music Hall here in NYC, which is especially impressive considering that they were playing tiny bars here in the states five years ago. The ascension of Porcupine Tree into the mainstream is something progressive rock fans have been both dreading and praying for, as this may be a major sign of the pending prog-pocalypse, where the prog-faithful will be raptured to prog-heaven. It’s in the prog-Bible, you should read it some time.
– As of this writing, the game Rock Band has 24 songs available specifically labeled as ‘Progressive’ or ‘Prog’. The fact that this surpasses the number of songs they have available labeled as ‘Emo’, ‘New Wave’, or ‘Glam’ is extremely satisfying.
– Classic Rock Magazine has begun issuing a quarterly piece they’ve titled Prog! dedicated to the genre. It’s an English publication so I haven’t gotten my hands on it, but hopefully they’ve put more effort into writing articles for Prog! than they did coming up with the amazing title. (note: I realize I’m criticizing someone for title originality on my progressive rock blog titled ‘A Progressive Rock Blog’. Shut up.)
So there are just some examples of progressive rock’s progression (ha!) into main stream society. I’ll be the first to admit that prog hasn’t exactly climbed to the top of the pop culture mountain, but it’s certainly in a more prominent position than the one the genre was occupying for the past two decades.
What does this mean for progressive rock? I know a lot of music listeners who for the most part stick to genres that they feel are ‘underground’, and who extract some amount of joy from the idea that their music is ‘pure’, as it hasn’t been touched and corrupted by the masses. Prog has plenty of fans like this as well, and they readily admit that they don’t want their favorite bands to become popular. I understand this motivation, but personally I feel the exact opposite way. All I’ve ever wanted is for other people to listen to the same music I enjoy and find their own level of pleasure in it, instead of instantly dismissing it as comical or foolish (note: To be fair, this is exactly what I do to country/emo/nu metal/any kind of music with the word ‘Jesus’ in it. I’m not trying to be musical Gandhi here and treat everyone as equals). If all of this is stupid speculation based on the fact that I couldn’t get tickets to a show I wanted to go see, and chances are that it is, then shame on me for creating hype where there is none. But if on New Year’s Eve I look up at a TV at whatever party I’m at, and Beardfish is playing as the clock hits midnight, and I’m not in Sweden, then I’m going to be shouting ‘I told you so’ as loudly and joyfully as a drunken prog fan can.