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Posts tagged “Progressive Rock

Prog Rock Used To Be So Cool, Until It Did All That “Progressing”

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.

Breakfast of champions

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 ChaosOctavarium, 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).

The structural damage done to one's face when first hearing "Juular" can be devastating.

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.


They’re here!

Even though I’ve been listening to both albums for awhile now, having the new these babies in my hands feels good!

Kudos to Anthony Clarkson, Brian Kibbons, and Travis Smith on the art.

In the age of electronic music, sometimes it’s just nice to have a new, physical album to enjoy. Or two!


Video: Adrian Belew Power Trio @ Williamsburg Waterfront

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.


Not Actually A Review of Transatlantic’s Whirld Tour 2010 – Live From Sheperd’s Bush Empire DVD

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!

I’m actually that blurry and poorly lit in real life

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)


Album Review: Time Columns – Sunriseinthesea

I’m a sucker for certain musical elements in prog. Your music could be absolutely terrible, but if you happen to include one or more of my prog turn-ons, then there’s a 99% chance that I’m going to like your music anyway. Bands with no vocals, bands that write music mostly with a 3-beat feel (or who use excessive triplet patterns), bands that create dense layers of poly-rhythms and bands that use arpeggios endlessly; these are the groups that I have an irrational affinity for. It’s a problem that I have no intention of fixing.

This being the case, I guess Baltimore’s Time Columns was already aware of my prog-vices, because these characteristics describe basically all of the songs on their EP, Sunriseinthesea (not that that’s a bad thing! It just means this review is most likely biased as hell).

The multi-instrumentalist duo (I’m still debating whether or not a duo can even be prog, I feel like the minimum number of people in a prog band has to be 3, with the preferable number being 11) creates their music using looping technology that, while popular in other genres, has seen limited integration in prog. Watch this video of Keller Williams (jump to around 4:50) demonstrating how he uses looping to create a full band of Keller Williams-es to support himself in a live setting in a very short amount of time:

I have to imagine Time Columns’ use of looping was born out of necessity. It has to be difficult to play your material live when your drummer is also one of your guitar players, and your other guitar player is also your keyboard player. I’ve been a fan of this technology for awhile, and I was pleased to hear that a prog band was using it so prominently.

Sunriseinthesea, strikes me as a strong first effort, and a good introduction for people who want to get into math rock without jumping directly into the mind-bogglingly technical deep end of the genre. That’s not to say that Time Columns isn’t technically talented. I’m only saying that their material doesn’t embrace the finger-contorting fretwork or calf-crushing double bass; the oh-my-god-how-is-he-doing-that side of the math rock spectrum. Instead, their sound is much more relaxed, and focuses on creating a solid, proggy groove for them to build off of, something which I suspect is a by-product of using loops so frequently.

The group could be diagnosed as having Andrew W.K. Syndrome, a common disease in which every song on a band’s album starts sounding the same. However, as a rule I will forgive bands of this infraction when it occurs on their first release, as I find it can take an album or two for a group to develop their full spectrum of sound outside of what they might be immediately comfortable with. Besides, much like Andrew W.K., I still like what I’m hearing, even if it doesn’t have a lot of variety to it.

Fans of Scale the Summit or Gordian Knot will find themselves enjoying Time Columns. The band will be touring in the very near future, and I know I personally plan on checking them out, even if it’s only to see how they pull off their live material. Check them out at http://timecolumns.bandcamp.com, like them on facebook, and you can follow them on twitter.


Neglected Proggers (Or: Who Are You? Oh, You’re in the Band?)

(Warning: This post has a lot of parentheses in it. Like this set for instance).

During the life span of nearly every band that has existed on this or any other planet (NASA has been doing secret bluegrass experiments on Mars for decades) certain events inevitably occur. At some point a band is going to lose its practice space due to uncontrollable circumstances, like an angry neighbor complaining about noise to the land lord, or the meth lab next door exploding and taking out the entire building. Sooner or later a band member’s significant other is going to make an innocuous comment about the band’s sound that becomes a source of band-threatening drama for a minimum of 2 months. And eventually every band has to deal with the fact that, if they develop any kind of popular following, not every member of the band is going to be equally appreciated. It’s not that any member of the band is less valuable, it’s just the natural order of things. A Justin Timberlake or Beyonce Knowles is going to emerge from every N’Sync or Beyonce and the Bitches (that’s what they were called right? It’s been so long…).

Progressive rock is no different when it comes to this last phenomenon. Sometimes the development of a ‘main character’ can result in the fracturing of the group, but often in prog it simply means that the vast majority of attention is heaped upon one or two band members, while the rest of the troupe quietly plucks away in the background. Being life-long nerds, progressive rock musicians are, for the most part, used to being neglected by their peers, and thus prog bands are less likely to break up due to these types of situations (though it has happened in the past, see: Genesis, Yes). In today’s article/blog/lesson/sermon, we’ll examine some of the most noteworthy instances of neglect within a band by the prog fan base. We’re a cruel bunch, but we’re no different than any other genre’s fan base (except for the fact that we have no girls. Still working on that one).

Dave Meros: Spock’s Beard

Bass gooood. Fire, RAAAAAAAAA

Spock’s Beard, if nothing else, has always been a band full of interesting personalities. Former front man Neil Morse was a spectacular presence to witness on stage, and who was able to transmit his own joy and passion to the fans through osmosis (prog-mosis?), this is until Jesus told him that his amazing powers were meant to be shared with a (some how) even more ‘devoted’ audience. His brother Alan is an absurdly creative multi-instrumentalist who refuses to use a pick while playing electric guitar OR dress like he lives in the year 2010. Drummer/New front man Nick D’Virgilio has the voice of an angel and the looks to make all the prog chikas swoon (if there were prog chikas, they’d be swooning). Meanwhile keyboard player Ryo Okumoto is either really insane or really Japanese, or both, no one is entirely sure. (note: A Prog Blog does not promote racism, you racists).

That leaves bassist Dave Meros. Bass is already a difficult instrument to become a standout player with, so it’s been an uphill battle for Dave. He does kind of look like Phil Hartman, which could be easily incorporated into SB shows if they were willing to incur the wrath of NBC and the Hartman estate (“I’m just a simple cave man bass player, your modern ‘amplification’ technology scares me”). Beyond that however he’s really the blandest member of the band, at least personality-wise. He does list ‘skeleton collecting’ as one of his hobbies, so that’s a ‘thing’ I suppose (a ‘thing’ that lands you in prison, depending on where he’s getting the skeletons).

Alex Lifeson: Rush

Guys, look, I brought two guitars, cool right? Right? This makes me interesting, right?

It’s really not fair that Lifeson is put in this position. He’s a gifted guitar player and the most easily likable person in Rush, but he’s often looked over because he’s playing with two of the biggest heavyweights on their respective instruments in all of rock. When asked who the greatest drummer of all time is, fellow drummers will either say Buddy Rich, John Bonham, or Neil Peart, and more of the people who know who Buddy Rich was are dying every day. Geddy Lee gets attention for all sorts of reasons, from being a monster bass player, to having the greatest Jewish nose in all of music (note: A Prog Blog does not promote racism, you racists), to having a voice so high that he and Jon Anderson have conversations that only dogs can hear.

With these titans in the picture, Lifeson is tragically forced into the background. Again, he’s very talented and he’s carved his niche as the goofy member of the band, but how many talented, goofy guitar players are there in rock music? 5492921? (Actual answer: 5492923, you forgot Dweezil Zappa and Janice from Electric Mayhem). Lifeson has been doing his part to get his face in the spotlight over the past few years, including getting punched in said face by the police. Being the only member of Rush with a criminal record is definitely a step in the right direction, now if he can only follow that up with some drug problems or a reality TV show (“Making the Band: Progressive Rock”. Make it happen VH1, I promise you it will tap into a demographic you have 0 clout with at the moment).

Jeff Coffin: Bela Fleck and the Flecktones

This is actually the same face most people make when listening to sax too

Jeff had to know what he was getting into when he signed up to be part of the Flecktones. Previously the band had been comprised of genre transcending banjo virtuoso Bela Fleck, modern bass god Victor Wooten, and his time traveling brother and unconventional percussionist Future Man. You don’t waltz into a situation like that playing a normal instrument like tenor sax and maintain any kind of pulbic interest for more than a month.

To his credit, Coffin has really done an admirable job of bringing attention to himself while performing with one of the most original bands in any genre. He’s got the whole Ian Scott facial hair thing going and he has a habit of playing more than one sax-o-mo-phoone at a time (to be fair, every 10th grade band student has tried this, he’s just the only one to make a living doing it). As noble as his efforts may be, he must have seen the futility of trying to stand out while playing next to a guy in a pirate costume, using what can only be described as a giant tumor as a midi controller. Thus, I can’t blame him for killing Dave Mathews saxophone player LeRoi Moore in order to take his spot in the band. At least in DMB he has 3-4 other musicians he can hide in the corner with while Dave mumbles his way though “Ants Go Marching”.

Jerry Gaskill: King’s X

Did you really need the custom drum head just for the X? Wouldn't duct tape have worked just as well?

King’s X is an appropriate band to put on this list, since as a unit they’ve never been able to maintain a position in the spotlight. They nearly broke into the mainstream in the 90s, but after that fell apart they never seemed to be able to maintain a solid following. Their fan base is large enough, but if mentioned to 100 prog fans only 20-30 might have strong feelings about their work. So why is Gaskill the outcast amidst this group of outcasts?

One strike against Gaskill is that he’s the only member of the band that doesn’t regularly sing. In a band with three people, two of whom having very different, very interesting vocal textures, being the silent member doesn’t really help your public image (King’s X nerds will point out that Jerry does in fact sing on the band’s various 3-part harmonies. I will point out to these nerds that Jerry has only sung lead on like 3 songs ever, so said nerds can kindly keep their mouths shut). Bassist Doug Pinnick is strike two. Pinnick is about to turn 60 and is some how still in better shape than any person you’ve ever met (seriously, check this shit out). He also has the honor of being not only one of the few openly gay musicians in progressive rock, but also one of the few openly black ones as well (note: A Prog Blog does not promote racism OR homophobia, you homophobic racists). He also chooses to spell his name ‘Dug’, something that the majority of the world has chosen to ignore as it’s far too silly for even prog. That leaves Gaskill to contend with guitarist Ty Tabor for most boring King’s X member. Ty has participated in side projects that are actually more popular than some of the recent King’s X releases, and his solo albums are almost universally well reviewed. That leaves poor Jerry in the corner. My advise, Jerry, is to do some sit-ups, change your name to “Gerie”, and start a rumor about a band love triangle. You’ll be right back in that spotlight before you know it.

Nick Mason: Pink Floyd

A pioneer in having more drums than you will ever actually use

Pink Floyd was a band defined by its drama. The bar was set extremely high by Sid Barret in the early years, and frankly the group is lucky that he took himself out of the picture when he did, otherwise we might simply know them as ‘Sid Barret and Background Noise’ (they also made all of their best music after he left, but that’s not important for this article!). Once Barret went off to play with the unicorns in his head, the remaining members besides Mason made sure there was plenty of drama being produced to fill the void. In fact they probably over did it, considering that any kind of communication between David Gilmour and Rodger Waters over the past 15 years has been seen as a major music event.

In the middle of this prog-tempest was Nick Mason. Sure, he has some of the stereotypical rock star traits like a divorce followed up by marriage to an actress, as well as a large collection of classic cars, but most Floyd fans will tell you that he barely contributed to the song writing or production process, and that in the later years he needed a team of studio musicians to help complete his parts. He’s also the only member of the band to have never quit the group, making him thoroughly boring. His one awesome contribution to the band’s catalog is the introduction to “Time”, which, at its core, is really just a bunch of random banging on roto toms. I love Pink Floyd and I love Nick Mason, but he more than any other musician on this list deserves his lack of spotlight. Chin up though Nick, at least you’re not Ringo!

So that’s my brief list of prog musicians who, for better or worse, never got their chance to shine. Since my traffic has shot way up recently (probably something to do with google bumping the site up in its search results), maybe some of you new readers would like to respond with artists you feel should be included in this list. Or maybe you want to tell me I’m stupid and should keep my jokes and opinions to myself. Whatever you want to say, say it. I don’t think I’ve deleted a comment yet that wasn’t porn spam (And if strippers started dancing to songs in 7/8, I’d consider leaving those comments up).


Album Review: Between the Buried and Me – The Great Misdirect

Between the Buried and Me are a relatively new band on the prog scene, having seen a huge spike in their prog-popularity after they appeared on the 2008 Progressive Nation tour. Of course with a name like ‘Between the Buried and Me’ you’d expect some kind of teenage hardcore or scremo group. It was this prejudice that actually kept me from giving the band a chance for their first few albums. It’s hard enough being a prog fan when you have to deal with band names like “The Flower Kings” (note: I love The Flower Kings), so I didn’t want to add to my portfolio of bands with names that would get my ass laughed at. Yet eventually the buzz around BTBAM became too great for me to resist, and I gave their most recent album at the time, Colors, a honest listen.

While some of my fears were confirmed with Colors, I found myself understanding quite clearly why BTBAM was generating so much prog-hype. The vocals were just as I feared, cookie monster growling along with some clean vocals from someone who sounded like they were 16. The song writing was also a little disjointed, which is more of a critique I have towards various metal genres in general and isn’t specific to BTBAM. However the musicianship was stellar, and when the band hadn’t randomly generating their phrasing the tracks they created were amazing and easily some of the best new prog in the second half of the decade. It was almost like two different bands, a horrible stereotypical teenage death metal band whenever someone was singing, and then an amazing prog metal band whenever vocals weren’t needed. In the end I decided I liked the overall product and would at least continue listening to their stuff whenever they provided new material.

So here I am now listening to their latest offering, The Great Misdirect. I think this album represents a huge step forward for the band and an significant progression (ha!) in their sound. The excellent prog-metal band seems to have taken the reigns on this album, as the song writing has become much more fluid and phrases are much more distinct. Instead of just random thrashing and crazy finger-twisting guitar dueling we actually have passages that stick in your memory and contribute to the feel of each track. On Colors I felt only the ending track, “White Walls“, had any kind of real identity that kept it distinguishable from the other tracks on the album. With The Great Misdirect I find myself identifying passages and songs much more easily. Even the clean vocal sections seem to have evolved beyond what they were on Colors. They still sound like the vocalist needs to finish puberty at times, but at least the music supporting said vocals has improved.

Once again the musicianship is top notch. It’s not the kind of stereotypical prog musicianship where you find your jaw on the floor after a particularly technical section, but it’s still present enough to be appreciated. The intro to “Swim to the Moon” is about as face-melting as the guitar parts get (if you don’t understand the concept of face-melting, look it up). One compliment I can pay the album as a whole is that, especially for a band that is still so young, they understand how to balance all of the instruments during the song writing process and create layers of sound instead of just writing multiple solos and telling the engineer to “Pro Tools the bitch”. Also, if I could give an award to a band for having a keyboard player while still maintaining an extremely brutal metal texture to their songs, BTBAM would win it every year. That goes for their albums before The Great Misdirect as well, in fact I was very surprised when I watched a clip of these guys on youtube and saw a keyboard player on stage.

The crappy death metal band hasn’t been kicked out of the studio completely, and whenever the growling vocals kick in the melodies once again become completely interchangeable with each other. However that’s part of the band’s sound and I can accept that for what it is. In fact I’m absolutely sure this is part of the reason that the band has become so popular, especially with younger prog fans. Whether I like it or not this aspect of their music is something that speaks to people outside of the progressive genre, and because of that I foresee BTBAM continuing to grow and exist as a band fans of metal and prog can connect to each other over.

Hopefully BTBAM can continue to build and progress (ha again!) their sound in this direction. Other reviews of the album I’ve read have been disappointed because it’s not as straightforward and metal as their previous efforts, but I personally view this as a good thing for the development of the band. This is a great album to listen to if you’re just getting into the band for the first time, and I wish I had it available to me before I listened to their older stuff. As with most death-prog-metal (yeah, that’s some over genre classifying there, deal with it), if you can handle the vocals then you’ll enjoy what is on the whole a really sick album.

Grade: B+