Feeds:
Posts
Comments

Autumn Chorus – The Village to the Vale (2012)

August 20, 2012 by progmistress

TRACKLISTING:
1. Three Jumps the Devil (7:05)
2. You’ll Wait Forever (6:28)
3. Never Worry (3:59)
4. Thief (7:26)
5. Brightening Sky (5:23)
6. Rosa (16:09)
7. Bye Bye Now (5:33)

LINEUP:
Robbie Wilson – vocals, guitars, trumpet, organ
Luke Foster – drums, percussion, piano
Peter Evans – bass, glockenspiel
Chris Lloyd – guitars, thumb piano

With:
Thomas Feiner – vocals, instrumentation
Anna-Lynne Williams – vocals
Bruce White – viola
Helen Whittaker – flute

Autumn Chorus (a name that describes the band’s sound to a T) hail from the historic English city of Brighton, known to music fans as the setting to The Who’s iconic Quadrophenia. The band was born in 2007 from the close friendship between the four members, nourished by their shared love for the beautiful countryside of south-eastern England. That same countryside provided the setting for the recording sessions of their debut album, The Village to the Vale, which started in September 2009, with a number of guest musicians drafted in to add depth and richness to the final product. First released in 2011 as a digital download,  the album found a home on the Fading Records subdivision of cutting-edge Italian label AltrOck Productions, and was released in CD format in May 2012.

While the album’s charmingly pastoral title and  cover artwork might suggest a slightly twee, folk-tinged effort in quintessentially English style, a peer inside the elegant CD booklet will reveal that the homage paid by Autumn Chorus to the bountiful natural beauty of England’s green and pleasant land is quite far removed from the usual Seventies clichés. The stunningly beautiful, sepia-tinted nature photography that adorns the booklet offers a visual equivalent of the band’s stately yet riveting musical output, which blends the atmospheric, almost brittle quality of post-rock with the great English tradition of church choral music. It seems inevitable for any new band or artist to be compared to someone else, and Autumn Chorus are no exception – eliciting comparisons with post-rock icons such as Sigur Rós, or even with seminal post-proggers Radiohead. However, the most noticeable influence that will emerge after repeated listens of The Village to the Vale is Talk Talk’s groundbreaking 1988 album Spirit of Eden.

In keeping with the post-rock aesthetics, Autumn Chorus make use of traditional rock instruments to produce a sound that often hints at classical and chamber music. Indeed, the drums are employed as they would be in an orchestral context,  to add texture and increase the emotional impact of a passage, rather than in the dynamic, propulsive role they usually fulfill in a rock band. Ethereal and tightly woven at the same time, the music moves in slow, swelling waves, interspersed with pauses of rarefied calm. The liberal use of those fascinatingly hybrid instruments, the glockenspiel and the thumb piano, adds a further layer to the solid foundation of traditional keyboards such as piano and organ, while the guitar is mostly used for dimension rather than as the main actor. However, Robbie Wilson’s enchanting choirboy-like voice, assisted by gorgeous vocal harmonies and paralleled by the nostalgic sound of the trumpet, is probably the most important instrument for Autumn Chorus’ sound.

Clocking in at about 52 minutes, The Village to the Vale features seven tracks ranging from the 4 minutes of the enchanting chorale of “Never Worry” – a melancholy, subdued piece laced with mournful viola and trumpet and embellished by angelic vocal harmonies – to the haunting 16 minutes of “Rosa”. Drums and organ impart a solemn, almost martial pace to opener “Three Jumps the Devil”, while Wilson’s politely wistful vocals find an echo in the sedate, vaguely forlorn sound of the trumpet. “You’ll Wait Forever” seems to embody the melancholy beauty of the autumnal season, with viola and surging keyboards reinforced by the delicate tinkle of the glockenspiel. The more upbeat “Thief”, somewhat reminiscent of Radiohead circa OK Computer, closes the first half of the album with  an intriguing blend of conventional rock modes (including a rare guitar solo) and the folksy, pastoral touch of the flute.

“Brightening Sky”, probably the most accessible (and, in my view, least successful) track on the album, features the lovely voice of Anna-Lynne Williams alongside Wilson’s, though thankfully avoiding the corny results typical of many female-fronted prog bands. Far from being a run-of-the-mill prog “epic”, in spite of its respectable running time, “Rosa” is a veritable tour de force made of gradual build-ups culminating in explosions of sound, powered by drums, keyboards and guitar, and moments of gentle respite. The album is wrapped up by the haunting “Bye Bye Now”, a meditative, elegantly orchestrated piece in which the presence of a child’s recorded voice seems to hint at some private tragedy, also reflected in the title.

In spite of what may seem, The Village to the Vale is anything but a nostalgia trip, and manages to combine a timeless, old-world vibe with some thoroughly modern attitudes. Those who might believe that Autumn Chorus are just another addition to the ever-growing roster of rather unimaginative contemporary British prog bands had better think again. In fact, the album is one of those rare efforts that will appeal to both long-time progressive rock fans and those newcomers to the genre who may be daunted by an overly pretentious approach. Easily one of the most interesting debuts of the past few years, The Village to the Vale is a delightful listen that most prog lovers will appreciate.

Links:
http://autumnchorus.bandcamp.com/

https://www.facebook.com/autumnchorus

http://production.altrock.it/start.asp

Posted in Post-Rock, Progressive Rock, Review | Tagged , , , , , , , , , , | 3 Comments »

Book Review: Torodd Fuglesteg – The Final Ride (2012)

August 15, 2012 by progmistress

The present review is likely to be an exception in a blog that has been so far exclusively dedicated to music. In fact, this is the review of a book that has nothing to do with music – except for the fact that its author is as big as a music fan as I am. He is also one of the best friends I have made in the past few years (even if we have not yet met face to face), and someone whose dedication to the cause of progressive rock vastly eclipses mine.

With plenty of experience as a journalist and a blogger, Torodd Fuglesteg (a native of Norway who currently resides in Glasgow, Scotland) loves to write about a wealth of subjects, from his frequent bicycle rides to weightier commentaries about the state of the world  – not to mention short but informative album reviews. The Final Ride is his first full-length book, a semi-autobiographical novel published in e-book form in the summer of 2012 that blends fact and fiction in a way that may prove either frustrating or intriguing for readers –  or both. Though not perfect (nor intended to be), it makes compulsive reading, and packs an intense emotional punch for all its no-frills, matter-of-fact style.

Browsing through Torodd’s numerous writings available on the Web, a picture emerges of a complex person, at the same time reserved and open about himself, possessed of an uncommon depth of feeling and empathy for his fellow humans. He is also provided of a keen sense of self-deprecating humour, and quite single-minded in his pursuits, be it music or bike rides. However, in the story narrated in The Final Ride music is never mentioned, and humour is conspicuously absent: indeed, the tale unfolds in sober, somber fashion until its deeply moving, albeit somewhat shocking end.

Written almost in diary form, the story takes place over a week, and is divided in seven chapters (one for each day), in turn divided into shorter sections, chronicling the first-person narrator’s journey to the places where he spent the first half of his life. From various hints scattered throughout the book, we learn that the narrator is a man in his sixties, and we cannot help but feel amazed at his stamina in facing a lengthy and physically demanding bicycle ride in a mountainous area. Very few names are mentioned, and the narrator’s country of origin is hinted at but never revealed explicitly, so that the reader is left to wonder which parts of the tale are fact, and which are fiction.

The realistic tone of the narration is threaded with a hauntingly lyrical vein of sadness and loss, often conveyed by natural imagery – like the yellow dandelions mentioned in the novel’s opening sentence. Lakes, rivers, mountains and fields do not merely provide a dramatic backdrop, but take on an almost human quality. Indeed, for a novel that has been compared to a road movie, the human presence is downplayed,  and the narrator’s interaction with the people he meets during his trip is kept to a minimum, so that it feels as if he is travelling alone in a country peopled by the ghosts of his past. As he is an expatriate, the people who have an important role everyday life (such as his long-time partner, Angela), though always present in his thoughts, are physically removed from the main stage of the tale, leaving him free to concentrate on his memories.

The narration seamlessly weaves the past and the present, with each scene from the present (the bike ride) conjuring a memory from the past. The transition is managed expertly, creating a sense of flow with its accomplished, almost stream-of-consciousness technique. There is also a lot of repetition, as if the narrator wanted to constantly remind the reader of his shortcomings and bad choices.The draft-like, somewhat unpolished nature of the text (complete with a few consistently misspelled words) adds to its peculiar charm, rather than making it look amateurish.

The Final Ride is not always comfortable reading, and the reader might occasionally be put off by the narrator’s negative perception of himself. However, the story is not all unrelenting misery, and – while his memories are clearly a source of pain for the narrator, and his estrangement from his former life is often harrowing to witness – there is also a sense of gratitude and appreciation of life that rescues the novel from being a complete gloom-fest. The feeling of self-loathing that pervades much of the narration is tempered by acceptance, and the simple comfort found in one’s hobbies and interests – not to mention the calming influence of a woman’s sincere love and support.

The story struck a chord with me on several levels, and will probably have the same effect on people who have gone through drastic changes in their life, and lost many of the cornerstones of their previous lives. The narrator’s bleak sense of loss following the death of his parents, sharply contrasted with his voluntary estrangement from his siblings and other surviving relatives, is likely to resonate keenly with many readers, as is his choice to leave his home country for good and rebuild a life elsewhere.

While it may look at first like a tale of defeat, the novel is ultimately about coming to terms with your choices, and making the most of what life throws at you. Indeed, the whole writing process must have been deeply cathartic for the author – like closing a door for the last time, and deciding to look ahead instead of looking back. In spite of its stark, potentially depressing subject matter, The Final Ride makes for an oddly uplifting read.

Links:
http://www.lulu.com/shop/torodd-fuglesteg/the-final-ride/ebook/product-20236299.html

http://www.toroddfuglesteg.com/

http://toroddfuglesteg.blogspot.com/

http://thesoundoffightingcats.blogspot.co.uk/

Posted in Book, Review | Tagged , | 4 Comments »

Live Review: miRthkon/MoeTar at the Orion Studios, Baltimore – August 11, 2012

August 13, 2012 by progmistress

SETLIST:

MoeTar
Butchers of Baghdad
Dichotomy
Infinitesimal Sky
Regression to the Mean
Random Tandem
Entropy of the Century
New World Chaos
Never Home
Ist or an Ism
Friction

miRthkon
Zhagunk
Automaton
Daddylonglegz
Kharms Way
Coven of Coyotes
Nocturne
Bag
Banana
Cascades
Honey Key Jamboree
QX1
Hapax Legomena
Encore (?)

In the slightly unlikely timeframe of mid-August, two of Oakland’s finest bands, miRthkon and MoeTar, finally landed on the East Coast for their first-ever tour in this part of the country. Although the heat and humidity must have come as a shock to residents of a region blessed (at least in the eyes of this hot-weather hater) with a permanently mild, cool climate, the bands’ members – in spite of the inevitable tiredness and the less-than-ideal temperature inside the notoriously AC-less Orion Studios – acquitted themselves splendidly, and inaugurated their long-awaited tour with a bang.

Not surprisingly, seen the high level of praise garnered by both bands’ debut albums – miRthkon’s Vehicle (2009) and MoeTar’s From These Small Seeds (2010, reissued in 2012 with a new cover) – the venue was almost packed to capacity, with its usual “house party” atmosphere in full swing – folding chairs, coolers and small buffet of refreshments included. The lower-than-average temperature, helped by an almost strategically-timed summer storm that allowed some pleasantly cool air to waft into the crowded stage area from the open bay, made things more bearable – at least for the audience, because the bands had to cope not only with the intense humidity, but also with the heat generated by the stage lights. However, none of these adverse circumstances had any impact on the quality of either performance, which exceeded the attendees’ already high expectations.

Five-piece MoeTar had already elicited very positive reactions by West Coast prog fans, opening for the likes of Sleepytime Gorilla Museum and Allan Holdsworth in the past few months. Fronted by vocalist extraordinaire Moorea Dickason (aka Moe) – simply put, one of the best female voices I have had the privilege to hear in a long time – they share one member with miRthkon, multi-instrumentalist Matt Lebofsky. With his highly focused, somewhat serious mien, Lebovsky (who plays keyboards in MoeTar, and bass in miRthkon) was a perfect foil to Moorea’s boundless energy and thoroughly engaging stage presence. Sporting streaks of bright blue face paint that gave her an endearingly childlike look, she commanded the audience’s attention right from the first notes of opener “Butchers of Baghdad” with her jaw-dropping vocal acrobatics. While many female singers adopt a stereotypical melodic approach, often with rather tiresome operatic touches (and equally often sounding alarmingly alike), Moorea bends the music to her will, tackling vertiginous scales with seemingly no effort at all. MoeTar’s songs, built around her interpretation of Tarik (aka Tar) Ragab’s quirky, literate lyrics, offer a heavily eclectic mix of accessibility and complexity, with influences as far-ranging as traditional jazz, iconic acts such as XTC and Kate Bush, and a healthy pinch of RIO/Avant spice. Together with other modern North American bands such as 3Rdegree or Half Past Four, MoeTar are at the vanguard of what I call the “new frontier” of progressive rock, embracing the song form and giving it a much-needed overhaul, all the while shunning the blatant AOR leanings of other bigger-name bands or artists.

During their hour-long set, MoeTar treated the audience to a selection of tracks from their debut – including the haunting torch song for the 21st century “Never Home” and the superbly intense, hard-edged “Ist or an Ism” – plus a couple of tantalizing previews of their new album, which revealed a more experimental bent while remaining true to the band’s song-based approach. Individual performances were top-notch – from Matthew Heulitt’s assertive but consistently melodic guitar to Tarik Ragab and David M. Flores’ dynamic rhythm section and Lebofsky’s seamless handling of organ, synth and piano – but MoeTar are very much an ensemble operation, even if Moorea’s vocals may be the most obvious draw. Most importantly, the band members looked completely at ease on stage, conveying a genuine sense of enjoyment that reinforced the intelligent, yet down-to earth appeal of their music.

After a leisurely break dedicated to social interaction and purchase of CDs and assorted merchandise, miRthkon – that self-professed “amplified chamber ensemble masquerading as a rock band” – took to the stage, and proceeded to blow the roof off the venue with their highly energized, highly technical blend of almost everything under the sun (including classical music, with an unrecognizable version of Samuel Barber’s “Nocturne”). Possibly the most qualified pretenders to the Frank Zappa throne, with an idiosyncratic lineup that dispenses with keyboards but boasts a dual-guitar, dual-reed attack, they reinterpret the sometimes overly serious Avant-Prog aesthetic with a lightness of touch and oodles of absurdist humour that belie the mind-boggling complexity of their music. Indeed, miRthkon are not by any means minimalistic, and a glorious sense of bombast occasionally runs through their brilliantly-titled and –executed compositions.

Though dealing with the effects of a kidney stone discovered during the 3000-mile coast-to-coast drive, guitarist and founder Wally Scharold fulfilled his frontman duties with aplomb, his endearingly whimsical between-song banter adding to the entertainment value of the evening. Since the release of Vehicle, the band have replaced guitarist and co-founder Rob Pumpelly with Travis Andrews, who looked a bit shy at first, but then got nicely into the swing of things, proving an excellent sparring partner for Scharold. While drummer Matt Guggemos was hidden behind his bandmates, due to the distinctive configuration of the Orion stage, his often thunderous, but always creative drumming, in perfect synergy with Matt Lebofsky’s powerful yet sleek bass lines, lent both texture and dynamics to the band’s dazzlingly unpredictable sound. However, the duo of alto saxophonist Jamison Smeltz, with his impressive sideburns and amusing facial expressions, and “Goddess of the Cane” Carolyn Walter, in a bright blue dress and a funny head ornament that looked like a pair of small goat horns, were the true focus of attention. Both seemed to be enjoying themselves immensely, and their visual appeal went hand-in-hand with their boisterous musical contribution. For a band that calls itself by the slightly daunting tagline of “Oaklandish chambercore”, miRthkon were a lot of fun and, in their own peculiar way, much more approachable than many outfits bearing the RIO/Avant label. In fact, the music was never noisy or gratuitously chaotic, and the band’s inimitable sense of humour enhanced its appeal, avoiding the dour, needlessly convoluted stance that often gives Avant-Prog a bad rap.

As usual, the sound quality – masterfully engineered by Mike Potter, who looked as pleased as punch throughout the evening – was excellent, and brought out each of the bands’ distinctive qualities without beating the attendees’ eardrums into submission. A special mention goes to the selection of music played before and between sets – I never thought I would hear James Brown played alongside Blue Öyster Cult and more traditional fare at a progressive rock concert! I was also glad to see quite a few women and younger people among the audience. Indeed, the evening was also a celebration of female talent, with Moorea Dickason’s incredible vocal performance and Carolyn Walter’s masterful handling of her “forest of horns” – both talented, attractive women with a friendly, engaging attitude who manage to shine without capitalizing on their looks.

All in all, it was definitely one of the best shows of the past few years, and a very uplifting moment after the setbacks suffered by the US prog scene in recent times. These two bands are a brilliant example of proactive behaviour and genuine creative spirit, and deserve to have their efforts crowned with success. If they are playing anywhere near you, do yourselves a favour and make sure you do not miss them: their performance will dispel any doubts you might harbor about the future of progressive rock.

Links:
http://www.moetar.com

http://www.mirthkon.com

Posted in Concert, Crossover, Progressive Rock, Review, RIO/Avant | Tagged , , , , , , , , , , , , , , | 6 Comments »

Live News: ProgDay 2012

August 6, 2012 by progmistress

While other progressive rock festivals have been experiencing problems, or even folded altogether, ProgDay – the world’s longest-running event of this kind –  still soldiers on, and is about to celebrate its 18th anniversary. As usual, the 2012 edition of the “proggers’ picnic” is scheduled to take place on Labor Day Weekend (September 1-2) on the tree-ringed grounds of Storybook Farm, Chapel Hill (North Carolina).

This year’s lineup places a heavy emphasis on homegrown bands, with the whole of the Sunday lineup hailing from the  East Coast of the US  – a bold move indeed, and one  that will afford a unique opportunity for those outfits to showcase their talent  before an appreciative audience in an idyllic setting. The Washington/Baltimore region will be represented by local favourites Ephemeral Sun and Ilúvatar, the lively New York scene by avant-proggers Doctor Nerve and über-eclectic trio Consider The Source, and New England by another couple of label-defying acts, Birdsongs of the Mesozoic (from Boston) and Dreadnaught (from New Hampshire).  Only two non-US acts are scheduled to perform: Italian outfit Accordo dei Contrari, whose 2011 album Kublai garnered the approval of the prog community on both sides of the Atlantic, and Montreal-based quartet Karcius. On the whole, ProgDay’s 2012 sums up all the distinctive features of modern progressive rock, ranging from time-honoured tradition to cutting-edge trends.

Those who are interested in attending will be able to purchase patron passes ($ 140) or ordinary weekend passes ($ 90) in advance from the festival’s website (until August 15). Both kinds of tickets, as well as single-day passes, will also be available at the gate. Detailed information on the event, including music samples, a link to the official hotel and other practical tips, can be found at http://www.progday.net.

Posted in Announcement, Festival, Progressive Rock | Tagged , , , , , , , , , , | 8 Comments »

3RDegree – The Long Division (2012)

August 1, 2012 by progmistress

TRACKLISTING:
1. You’re Fooling Yourselves (6:53)
2. Exit Strategy (5:46)
3. The Socio-Economic Petri Dish (6:51)
4. Incoherent Ramblings (7:46)
5. The Ones To Follow (3:15)
6. A Work Of Art (2:53)
7. Televised (6:54)
8. The Millions Of Last Moments (2:07)
9. Memetic Pandemic (7:29)
10. A Nihilist’s Love Song (3:39)

LINEUP:
George Dobbs – lead vocals, keyboards
Robert James Pashman – bass, keyboards, backing vocals
Patrick Kliesch – guitar, backing vocals
Eric Pseja – guitar, backing vocals
Aaron Nobel – drums, percussion

With:
Rob Durham – flute (6)
Bill Fox – alto and tenor saxes (6)
Cara Brewer – backing vocals (10)
Veronica Puleo – backing vocals (10)
Jed Levin – spoken word intro (4)

In the years following the release of Narrow-Caster, their “comeback” album after a 12-year hiatus, New Jersey band 3RDegree have been hard at work on its follow-up, which was finally completed in the early summer of 2012. The band’s lineup has also undergone some changes: drummer Rob Durham (who guests on one track) was replaced by Aaron Nobel (who joined the band just in time for their appearance at ProgDay 2009), while second guitarist Eric Pseja had collaborated with them as a guest musician for the 2007 reunion concerts.

As I pointed out in my review of Narrow-Caster, 3RDegree are one of those bands that are bound to divide opinions within the prog community. While critics have generally greeted their albums with words of praise, the public’s response has not always been equally enthusiastic. Though the band members proudly state their allegiance to the progressive rock camp, their sound – in true art-rock tradition – contains enough “mainstream” elements to make purists frown, eliciting doubts as to its actual prog quotient. George Dobbs’ extraordinary vocals (clearly more influenced by Stevie Wonder than Jon Anderson or Peter Gabriel) are also a sore point with those fans who find it hard to break away from the Seventies mould. The band’s frequent reliance on the conventional song form is another source of controversy for those who forget that, in fact, even in its heyday prog never completely rejected traditional song modes, though often rendering them almost unrecognizable.

Compared to Narrow-Caster, The Long Division ups the ante in terms of complexity, while retaining its accessible, deceptively upbeat flavour.  For starters, the songs’ running times have gradually increased from the average 4 minutes of Narrow-Caster to over 6 minutes for half of the tracks on The Long Division.  While there are no epics in the conventional prog sense, the album is intended as a sort of loose concept that, while firmly rooted in the peculiar atmosphere of a US presidential election year, can also resonate with citizens of most Western countries, especially in the current global situation. The clean, geometric lines of the striking cover artwork contrast sharply with the stereotypically fanciful prog aesthetics, its bright blue and red hues identifying  the two main US political parties, separated by an apparently unbridgeable gap.

From a musical point of view, the main ingredients that made Narrow-Caster such as successful example of modern “crossover” prog  – such as its memorable melodies – do not disguise the intricacy of the instrumental fabric and the frequent changes in tempo and mood. George Dobbs’ voice, authoritative as usual, is assisted by gorgeous, layered vocal harmonies reminiscent of early Yes or even The Beatles that complement the lush instrumental interplay. The double-guitar configuration, with Eric Pseja flanking founding member Patrick Kliesch, has undeniably beefed up the sound, though as a whole The Long Division comes across as a smoother-sounding effort, less reliant on high-powered riffs and more focused on Dobbs’ keyboards.

The 10 songs on The Long Division are arranged in a pattern that alternates uptempo numbers with more laid-back ones. “You’re Fooling Yourselves” – a fitting introduction to the musical and lyrical themes of the album, mixed by Echolyn’s Brett Kull – showcases the band’s trademark blend of catchy hooks and subtle complexity, with intriguing vocal textures and sleek guitar solos ranging from meditative to energetic. The mellotron-infused “Exit Strategy”, with its airy, orchestral feel, is dominated by vocals, though Robert James Pashman’s strong bass lines emerge prominently. The bass is also the undisputed protagonist of the funky, exhilarating “The Socio-Economic Petri Dish” – sounding like Yes probably would if they had been founded in the 21st century, and displaying the band’s collective talent in both the instrumental and vocal department. “Incoherent Ramblings” (the longest track on the album at almost 8 minutes) is an extremely well-constructed piece, bringing together the mellow, atmospheric component of 3RDegree’s inspiration and the sense of urgency often lurking even in the more relaxed numbers; while the brisk “The Ones to Follow” offers another vocal showcase for Dobbs and an almost infectious chorus.

The second half of the album opens with the hauntingly romantic, piano-led “A Work of Art”, the only song dating back from the early incarnation of the band, enhanced by sax, flute and mellotron and featuring an unusually subdued vocal performance by Dobbs. Things pick up with the slashing riffs and hard rock vibe of the Rush-influenced “Televised”, driven by Pashman’s fat, groovy bass line and Nobel’s muscular yet intricate drumming, the heaviness softened by the Beatlesian flavour of the harmony vocals.  The short, gentle instrumental “The Millions of Last Moments” prepares the listener to the album’s grand finale – the melodic-with-a-bite, sinuous “Memetic Pandemic”, which allows Dobbs to shine on piano and organ as well as in the singing department, and the catchy “A Nihilist’s Love Song”, based on a chiming acoustic guitar line reinforced by piano and layers of vocal harmonies.

With The Long Division, 3RDegree prove that they have reached their full maturity as a band, delivering an intelligent, well-rounded example of modern progressive rock. Much like Man On Fire’s splendid 2011 album Chrysalis,  the album epitomizes the “new frontier” of the genre without denying the legacy of the past, or pandering to blatantly commercial trends. Avoiding the bloated excesses of many retro-oriented bands, The Long Division is a complete package of classy music, top-notch vocals and thought-provoking lyrics – recommended to anyone but incurable elitists.

Links:
http://www.3rdegreeonline.com/

Posted in Art Rock, Crossover, Progressive Rock, Review | Tagged , , , , , , , , | 2 Comments »

Discipline. – To Shatter All Accord (2011)

July 26, 2012 by progmistress

TRACKLISTING:
1. Circuitry (6:16)
2. When the Walls are Down (7:29)
3. Dead City (5:15)
4. When She Dreams She Dreams in Color (13:40)
5. Rogue (24:04)

LINEUP:
Matthew Parmenter – vocals, keyboards, descants
Jon Preston Bouda – guitars
Mathew Kennedy – bass
Paul Dzendzel – drums, percussion

In spite of its long-standing tradition as one of the music capitals of the US, Detroit  is not exactly known as a hotbed progressive rock. However, Discipline have almost single-handedly put the city on the prog map. Since their inception in the late Eighties, and  through the release of two albums – Push and Profit (1993) and the celebrated Unfolded Like Staircase (1997) – they have become one of the highest-rated acts on the US prog scene, where their powerful live shows earned them five consecutive appearances at Progday, from 1995 to 1999.  At the beginning of the new century, the band folded, though frontman Matthew Parmenter went on to release two solo albums, and three live recordings were also released between 2000 and 2005.  Discipline made their official comeback at the 2008 edition of NEARfest, Three years later, To Shatter All Accord, their highly awaited third studio album  (the first in 14 years), came out in the autumn of 2011 on the band’s own label, Strung Out Records.

Though often mislabeled as “neo-prog”, with the theatrical approach of keyboardist/vocalist Matthew Parmenter (aka Magic Acid Mime) drawing comparisons to the likes of Fish and Peter Gabriel, Discipline’s darkly intense musical and lyrical approach has more in common with Van Der Graaf Generator than with Marillion and their ilk. In spite of the lengthy pause between studio recordings, having kept the same lineup for over 20 years (no mean feat in itself) has allowed them to hone their distinctive sound, which runs the gamut from brooding harshness to soothing, almost pastoral melody.

While Parmenter’s dramatic vocals and tortured lyrics provide the main focus of attention, they are only one of the factors that make Discipline’s music so riveting. In fact, Parmenter’s voice often works as an additional instrument, and complements the other instruments instead of overwhelming them (as it is occasionally the case with Peter Hammill’s vocals in VDGG).  Discipline handle the frequent transitions in the fabric of their songs with seamless skill, avoiding the lack of cohesion that often mars the most ambitious prog productions, and the dramatic quality inherent to their music is conveyed so as to enhance the emotional content without becoming jarring or bombastic.

Out of the five tracks featured on To Shatter All Accord, the first two date back from the mid-Nineties, and will be familiar to those who have followed Discipline’s live career. Both songs were included in the double CD set Live Days (2010), as well as in the DVD Live 1995 (released in 2005). The hard-edged mid-tempo of “Circuitry” opens the album with a bang: forceful organ introduces Parmenter’s intense vocals, which bookend a magnificent instrumental section where piano, sax, organ and finally Jon Preston Bouda’s incisive guitar solo take turns in the spotlight. “When the Walls Are Down” hinges on superb interplay between Bouda’s guitar and Parmenter’s voice, in turns pleading and sneering; then sax and guitar engage in an exhilarating duel until the end of the song. Strategically placed in the middle of the album, “Dead City” introduces Discipline’s new material on a deceptively upbeat note. The distorted guitar and spacey-industrial electronics at the opening of the song are offset by a melodic guitar solo in the bridge, while a snippet of a radio broadcast announcing a zombie invasion is tagged at the end as a wry commentary on the lyrics.

The band, however, pull out all the stops for the last two tracks, which make up more than two-thirds of the 56-minute album. “When She Dreams She Dreams in Color” starts out in an understated manner, with a lilting pace that brings to mind a tango with jazzy undertones, supported by Paul Dzendzel and Mathew Kennedy’s impeccable rhythm section. Almost theatrical bursts of intensity, driven by vocals and sax, are followed by moments of quiet, leading to a spectacular finale in which Parmenter’s hauntingly lyrical violin, backed by solemn guitar and drums, evokes shades of King Crimson’s “Starless”. The 24-minute “Rogue” is a textbook example of how to write an epic that never outstays its welcome. With plenty of mood and tempo changes, yet remarkably cohesive, it is a harrowing existentialist tale in 10 scenes – almost like a 21st century take on VDGG’s “A Plague of Lighthouse Keepers”-  that might have resulted in an overblown mess, but is instead deeply involving. Parmenter’s vocal tour-de-force (complete with disturbing shrieks) enhances the stunning instrumental texture, made of powerful organ runs, tensely atmospheric interludes and dazzling guitar solos, full of melody and emotion, which relieve the intensity of the crescendo-like passages.

Though its release date, almost at the tail end of 2011 – a year noted for its many high-profile releases – has kept the album out of many “best of” lists, there is no doubt that To Shatter All Accord fully deserves to be mentioned alongside those albums that have drawn critical attention in the past year. Though not substantially different from its predecessors, it showcases a band that embodies the best of traditional prog without sounding either dated or derivative, and that seems to have gained polish and maturity in spite of the many years of inactivity. To Shatter All Accord is one of those rare efforts will potentially appeal to prog fans of every stripe, and marks a triumphant return to form for one of the top acts of the US scene.

Links:
http://www.strungoutrecords.com/

Posted in Progressive Rock, Review | Tagged , , , , , , , , | 4 Comments »

Mörglbl – Brutal Romance (2012)

July 22, 2012 by progmistress

TRACKLISTING:
1. Gnocchis On The Block (5:22)
2. Brutal Romance (4:54)
3. Le Surfer d’Argentine (6:42)
4. Golden Ribs (6:47)
5. Fidel Gastro (6:48)
6. Oh P1 Can Not Be (4:54)
7. Cantal Goyave (5:09)
8. Glucids In The Sky (6:12)
9. Wig Of Change (5:24)
10. Metal Khartoom (5:23)
11. 11 Casse (3:49)

LINEUP:
Christophe Godin – guitars
Ivan Rougny – bass
Aurélien Ouzoulias – drums and percussion

Hailing from the south-eastern French town of Annecy, Mörglbl are one of the vehicles for guitarist Christophe Godin’s considerable talent.  With five studio albums under their belt (the first released in 1998 under the band’s original name of Mörglbl Trio), they revisit the time-honoured rock staple of the power trio with dazzling technique and liberal doses of tongue-in-cheek humour. This has earned them a loyal following all over the world, especially in the US, where they have toured frequently in the past few years: in fact, they were one of the  headliners of the 2011 edition of ProgDay, and managed to energize the crowd in spite of the relentless heat and humidity.

The absurdist, pun-laden titles of the 11 tracks featured on Brutal Romance are so entertaining that almost make you regret the absence of vocals (which are instead present on Godin’s excellent 2011 album with Gnô, Cannibal Tango). The music, however, is definitely nothing to laugh at, combining often unrelenting heaviness in the shape of dense, crunchy riffs with a laid-back, jazzy feel and even occasional exotic influences like reggae or Latin and Eastern rhythms. While comparisons aplenty have been made with the likes of Frank Zappa, Steve Vai, Joe Satriani and a host of other guitar luminaries, Mörglbl have their own distinctive approach, which privileges actual composition over empty displays of technical fireworks.

As a band whose output is not easily categorized, the “prog” label never fails to amuse the members of Mörglbl– which is understandable to anyone who is aware of the average prog fan’s seemingly boundless desire to pigeonhole anything they can lay their hands on. While their music is complex and extremely proficient from a technical point of view, Mörglbl do not follow the conventional prog template: they do not use keyboards, and their compositions tend to be rather short. However, even a superficial listen to Brutal Romance will reveal undeniable progressive characteristics, such as eclecticism and unpredictability. Moreover, even if the instrumental format can often lead to rambling, Godin and his cohorts keep a tight rein on the compositional aspect, and avoid an unstructured feel even in those tracks that feature plenty of variation.

Opener “Gnocchis on the Block” introduces both the harder-edged and the jazzy component of Mörglbl’s sound – reminding me somehow of a heavier version of Jeff Beck’s Blow by Blow or Wired. Unlike what you might expect by a band featuring a “guitar hero”, Godin’s guitar acrobatics do not overwhelm the contributions of his bandmates: indeed, Aurélien Ouzoulias’ drums and Ivan Rougny’s bass are not just wallpaper for Godin’s fireworks. In that, Mörglbl may bring to mind Rush, whose influence can be detected in quite a few tracks, such as the mid-paced, riff-heavy title-track. The heavy fusion of “Glucids in the Sky” and the funk-metal workout of “Cantal Goyave” rely on Rougny’s nimble, rumbling bass lines and Ouzoulias’ assertive drum patterns as much as on Godin’s dazzling guitar. On the other hand, “Oh P1 Can Not Be” veers squarely into Black Sabbath territory with its deep, harsh riffing only marginally relieved by more melodic guitar passages.

One of three tracks approaching the 7-minute mark, “Le Surfer d’Argentine” – which, as its title suggests, features a nod to a well-known tango tune alongside the driving riffs – offers an intriguing blend of melody and heaviness with a distinctly eclectic bent. “Golden Ribs” and “Fidel Gastro” alternate mellow passages with piercing, shred-like guitar parts – the latter starting out with an almost danceable, upbeat tune. Echoes of King Crimson emerge in the steady, insistent guitar line of “Wig of Change”, which also allows Ivan Rougny’s bass to shine; while “Metal Khartoom”, as the title suggests, blends fast and heavy riffing with a haunting Eastern tinge and jazzy bass-drum interplay. The album is then brought to a close by the lovely mood piece of “Casse”, where Godin’s unusually sensitive guitar brings to mind some of Gary Moore’s slow, emotional compositions.

Though, as hinted in the opening paragraph, Mörglbl are best experienced in a live setting – which allows them to display both their skills and their zany sense of humour – their latest release will satisfy lovers of instrumental music that successfully combines eclecticism, light-heartedness and serious chops. Challenging without being overwrought, hard-edged but eschewing the cerebral excesses of some jazz-metal bands, Mörglbl are one of the few bands of their kind that manage to make instrumental music entertaining. While it can be said that the band stick to a tried-and-true formula, and therefore there are no real surprises in Brutal Romance, they also do it with the right amount of flair, and manage to keep the listener’s attention. The album is highly recommended to fans of guitar-based instrumental progressive rock – though tolerance for some heaviness is a must.

Links:
http://www.christophegodin.com/

http://www.myspace.com/christophegodin

Posted in Fusion, Instrumental, Progressive Metal, Progressive Rock | Tagged , , , , , | 1 Comment »

Romantic Warriors II – A Progressive Music Saga: About Rock in Opposition (2012)

July 17, 2012 by progmistress

A documentary film by José Zegarra Holder and Adele Schmidt
Produced by Zeitgeist Media LLC
Total time: 98 minutes

In the summer of 2010, the release of Romantic Warriors – A Progressive Music Saga took the music scene by surprise, putting a semi-official seal on the much-touted renaissance of progressive rock in the early 21st century. Retracing the origins of the genre while detailing its development in more recent times, the documentary’s no-frills style and unabashed sincerity captured the attention of viewers beyond the usual circles of prog stalwarts. However, Adele Schmidt and José Zegarra Holder did not rest long on their laurels, and, a mere few months after the film’s release, they were already busy working on a follow-up – this time dedicated to the Rock in Opposition movement, a subset of progressive rock with unique characteristics and a devoted following.

In spite of the common misconception that attaches a political meaning to the “opposition” part of the name, the RIO movement was one of the first attempts by a group of bands to break free of the shackles imposed by major record labels and distribution companies and take matters into their own hands. In a way, the five bands that initiated the short-lived, though hugely influential movement (Henry Cow, Univers Zéro, Etron Fou Leloublan, Stormy Six and Samla Mammas Manna, hailing from five different European countries) were forerunners of the current endeavours of non-mainstream bands and artists.

For two solid years, Adele and José worked unceasingly at the second installment of a planned series of documentary films on the progressive rock scene, travelling from their home in the Washington DC metro area to Europe and other parts of the US to meet the protagonists of the original RIO movement and those who have followed in their footsteps. Romantic Warriors II relies on interviews and concert footage (both archival and recent) for the bulk of the narration, though with the addition of elements that had not been fully exploited the first time around. Roland Millman’s judiciously used voice-over lends narrative cohesion to a storyline that might have otherwise come across as somewhat rambling. While in the first Romantic Warriors both authors remained constantly behind the camera, this time the viewer can catch glimpses of José in a few scenes – either behind the wheel, or interacting with the artists. Most of the interviews were conducted on location, though the filmmakers also made use of modern technology by using Skype to conduct video interviews with some of the movement’s main actors.

Romantic Warriors II retraces the history of Rock in Opposition, from its inception in 1978 – when the original progressive rock movement was already on the wane – to its demise and long-lasting legacy. The original protagonists of the scene and their heirs take turns in the spotlight, offering not just a historical perspective, but also a lesson on how the artists can take control by implementing various forms of collaboration. As was also the case with the first Romantic Warriors, the film is as much about the social and historical aspect of the movement and its ramifications as about the music itself – making it more approachable for outsiders. A very interesting mention of the cross-fertilization between the post-RIO bands and the post-punk scene in the early Eighties drives another nail in the coffin of the commonly held myth of the irreconcilable enmity between punk and progressive rock.

For all the undeniable similarities to the first film, both in concept and format, Romantic Warriors II represents a quantum leap in terms of quality. The slightly gritty, warts-and-all approach of the original has been replaced by a more polished brand of realism that, while retaining its objectivity, also leaves room for artistry. The location shots, while often stunning, avoid the pitfalls of a tourist-brochure effect – whether it is a starkly beautiful view of the Rocky Mountains – a very apt visual complement to Thinking Plague’s music – or bustling views of London or Paris (including a breathtaking shot of the Tour Eiffel at night). Those “travelogue” scenes lend a coherent “road-movie” feel to the whole, and also emphasize the quintessentially cosmopolitan nature of the RIO movement. The use of concert-related ephemera (posters, tickets and newspaper clippings) and vintage photos brings the story to life and anchors it to reality. On the other hand, the striking fantasy sequence in which a cloaked and masked figure moves through the medieval alleys of Prague’s Old Town as a visual embodiment of Univers Zéro’s iconic “Jack the Ripper” adds a touch of weirdness and drama to the basically matter-of-fact fabric of the narration.

Not surprisingly, the film features a very broad cast of characters, ranging from the main actors of the original RIO movement to those who have been carrying the torch up to the present day – fans included. Those who are familiar with the first Romantic Warriors will recognize some familiar faces, such as Steve Feigenbaum of Cuneiform Records and Paul Sears of The Muffins. Of the many musicians that appear in the film, Henry Cow’s drummer Chris Cutler (who will be present at the Washington DC premiere of the film, on September 28, 2012) is the one who gets the longest time in the spotlight, his testimony providing almost a running commentary to the development of the story – augmented by each of the other contributions until all the pieces of the mosaic fall into place. Thinking Plague’s Mike Johnson’s musings about the sorry state of Planet Earth (with the endless vistas of the Rocky Mountains as a backdrop) add new layers of meaning to the “opposition” part of the movement’s name, anchoring its present developments to some of the most urgent concerns of contemporary society. The last word, however, is left for Magma’s charismatic Christian Vander – an artist who, while never part of the RIO movement, almost embodies the definition of “groundbreaking”. His final quote, reminding the viewer that “something is always possible, even in the worst circumstances”, conveys a strongly inspirational message to anyone who believes in what they do.

Festival and concerts play as large a role as in the original Romantic Warriors. The historic joint performance of Belgian outfits Univers Zéro, Présent and Aranis at the 2011 edition of the Rock in Opposition festival sets the scene, right before the opening credits; the once-in-a-lifetime event, named “Once Upon a Time in Belgium”, also gets ample coverage towards the end of the documentary. The film includes footage from the equally historic performances of Magma and Univers Zéro at the 2010 edition of the Sonic Circuits Festival, as well as scenes from 2011’s CuneiFest at the Orion Studios. The “new guard” of the Avant-Progressive scene is represented by an international cast of bands from both Europe and America.

While the first Romantic Warriors may have been chiefly conceived for the benefit of the prog audience, the second episode of Adele Schmidt and José Zegarra Holder’s progressive rock saga holds a much wider appeal. The music’s very combination of the arty, the quirky and the academically austere will attract people who appreciate forms of non-mainstream music that do not necessarily fall under the “progressive rock” umbrella – including modern classical. The amount of care and attention that have gone into the making of this documentary is also reflected in the DVD’s stylish, scrapbook-like cover photo. Regardless of the intrinsically niche nature of the music, Romantic Warriors II is an outstanding piece of filmmaking in its own right, with the potential to kindle the interest of any lover of the tenth Muse.

Links:
http://www.progdocs.com

http://www.zeitgeistmedia.tv

Posted in Documentary, Film, Progressive Rock, Review, RIO/Avant | Tagged , , , , , , , , , , , , , , , , , , , , , | 7 Comments »

Ornithos – La Trasfigurazione (2012)

July 13, 2012 by progmistress

TRACKLISTING:
Il Trittico del Tempo Che Fu:
 1. L’Orologio (5:43)
2. La Persistenza della Memoria (3:11)
3. Somatizzando l’Altare Di Fuoco (7:46)
4. L’Ipostasi (3:19)
Presa di Coscienza del Presente:
 5. Al Torneo (3:32)
6. L’Arrivo dell’Orco – Fuga (4:34)
7. Nuvole e Luce (2:23)
8. Ritorno al… (Reprise) (1:47)
9. Salamandra: Regina di Psiche e di Saggezza (7:40)
Quiete e Redenzione del Domani:
 10. Nel Crepuscolo (3:49)
11. La Notte (4:05)
12. L’Alba del Nuovo Giorno (6:01)
13. This Is What We Got: The Flute Song (7:31)

LINEUP:
Diego Petrini – drums, organ, piano, mellotron, percussion, vocals
Eva Morelli – flute, alto, soprano and tenor sax
Federico Caprai – bass guitar, vocals
Antonello De Cesare – lead guitar, backing vocals
Simone Morelli – rhythm guitar
Maria Giulia Carnevalini – lead and backing vocals

Hailing from the beautiful central Italian region of Umbria, Ornithos (Greek for “bird”) features three members of Il Bacio della Medusa, one of the most interesting Italian progressive rock bands of  the past few years. However, Ornithos predates Il Bacio della Medusa by a few years, and was originally created by multi-instrumentalist Diego Petrini and bassist Federico Caprai in 1999. The two musicians were joined by Eva Morelli in 2007, and subsequently by the three remaining members, vocalist Maria Giulia Carnevalini and guitarists Antonello De Cesare and Simone Morelli La Trasfigurazione, their debut album, was completed in 2011 but released in the early months of 2012. The cover artwork by Federico Caprai features the band’s symbol, the ibis, which is a reference not only to their name, but also to Thoth, the Egyptian god of knowledge, music and time.

For a debut album, La Trasfigurazione is a very ambitious endeavour, bearing witness to the many years of work and dedication behind it. With 13 relatively short tracks arranged in three chapters, it is a concept that hinges on a man’s spiritual journey through the past, the present and the future. True to the Italian progressive tradition, it is also boasts dramatic flair, gorgeous yet occasionally intense melodies, and plenty of variety to keep the listener on their toes. However, unlike many albums that share similar features, the concept is mainly conveyed through music rather than singing. Indeed, the majority of the tracks are instrumental, showcasing the amazing technical skill of the individual members, as well as very tight band dynamics and a remarkable ability in developing a narration without the use of too many words.

Eclecticism is the name of the game on La Trasfigurazione, an album that honours the golden age of Italian prog while at the same time searching for new avenues of expression. The lush  symphonic apparatus of mellotron and other keyboards is beefed up by a twin-guitar approach more typical of classic rock than prog, and the prominent role of Eva Morelli’s saxes lends a sleek, jazzy allure to the sound. While the synergy between flute and guitar, hovering between gentleness and aggression, inevitably evokes Jethro Tull (a big influence on many RPI bands, both old and new), Ornithos’ sound rests on a tightly woven web that relies on the contribution of each instrument, finely detailed yet part of a whole. The vocals, on the other hand, almost take a back seat, although the contrast between Diego Petrini’s low-pitched, almost gloomy delivery (sharply different from the quasi-operatic style favoured by many Italian prog singers) and Maria Giulia Carnevalini’s soaring, blues-tinged tones deserves to be further exploited in the band’s future outings.

The sounds of tolling bells and a ticking clock lead into “L’Orologio”, whose brisk, dance-like pace introduces the album, illustrating the band’s modus operandi. The strong hard rock component of Ornithos’ sound emerges at the end, with a driving guitar solo propelled by high-energy drumming and supported by sax and organ. Petrini’s distinctive vocals make their entrance in the low-key “La Persistenza della Memoria”, and lend a somewhat ominous flavour to the first half of “Somatizzando l’Altare di Fuoco”, a cinematic number that blends echoes of Morricone’s iconic spaghetti-western soundtracks with a vintage hard-rock vibe and an unexpected, laid-back jazzy ending. The nostalgic tango of “L’Ipostasi” wraps up the first chapter.

Introduced by the upbeat “Al Torneo”, the second chapter develops in eclectic fashion with the blaring sax – almost in free-jazz mode – of “L’Arrivo dell’Orco – Fuga”; then it takes a more mellow turn in the Canterbury-tinged “Nuvole e Luce”, which introduces Maria Giulia Carnevalini’s soulful voice paralleled by melodic flute – before plunging deep into hard rock territory with the raging Hammond organ of “Ritorno al… (Reprise)”. “Salamandra: Regina di Psiche e di Saggezza”, probably the album’s climactic point, begins in subdued, almost mournful fashion, then soon unfolds into a dramatic, riff-laden jazz-meets-hard-rock workout that brings to mind the likes of Colosseum, Banco and even The Doors. The third chapter opens with the blues-rock suggestions of “Nel Crepuscolo”, while “La Notte” ’s slow-paced, riff-laden heaviness conjures echoes of Black Sabbath, compounded by a wild, distorted guitar solo and aggressive, almost harsh flute. Then the serene textures of “L’Alba del Nuovo Giorno”, with a lovely sax solo that made me think of the airy, jazz-tinged elegance of Delirium’s magnificent comeback album Il Nome del Vento, bring the main body of the album to a close. In fact, while the jazzy “This Is What We Got: The Flute Song” is undoubtedly a beautiful piece of music – showcasing Antonello De Cesare’s guitar skills in a great solo backed by organ and sax – it feels like an afterthought of sorts, especially on account of the English-language lyrics, which detract from the uniquely Italian character of the rest of the album.

As is the case with most Italian progressive rock, La Trasfigurazione can be somewhat of an acquired taste, and definitely not for those who favour a minimalistic approach. Musically speaking, even if the album might command the controversial “retro” tag, there is also a sense of modernity in the band’s omnivorous approach which pushes Ornithos’sound into the 21st century. True, the album occasionally comes across as a tad overambitious when it wants to cram too many ideas into a limited running time of 56 minutes. However, this is a band that possesses talent in spades, and La Trasfigurazione will make a strong impression on lovers of everything RPI – as well as providing a fine complement to Il Bacio della Medusa’s newly released third album, Deus Lo Vult.

Links:
http://www.ornithos.it/

http://www.myspace.com/ornithos

https://www.facebook.com/ornithosfreeformusic

Posted in Progressive Rock, Review, Rock Progressivo Italiano (RPI) | Tagged , , , , , , , | 3 Comments »

Live Review: Ilúvatar at Jammin’ Java (Vienna, VA) – July 7, 2012

July 9, 2012 by progmistress

Regular readers of my blog will by now be familiar with my frequent references to the plight of US bands and their struggles to find an audience for their live shows. The 1000-odd people who, only two weeks ago, filled a state-of-the-art venue such as the Zoellner Arts Center for the final edition of NEARfest are very much the exception in a country where non-mainstream bands and artists (especially of the progressive rock persuasion) see their efforts to perform live increasingly frustrated by their potential audience’s apathy. When playing before 50 people is already considered a successful outcome, you know that there is a problem – which may soon force an increasing number of artists to turn their efforts to studio-only projects, no matter how much they love being on stage.

For this reason – even if, generally speaking, any band tagged as “neo-prog” would not exactly set my musical pulse racing – my husband and I decided to attend one of Baltimore-based quintet Ilúvatar’s rare live performances after a hiatus that kept them away from the scenes for over a decade. In spite of the suffocating blanket of 100-degree heat (around 40º C for non-Americans) and the threat of thunderstorms later in the evening, we headed towards the ever-reliable Jammin’ Java, and found that a few of our fellow attendees had driven considerable distances for the occasion. Considering the circumstances (including the rather awkward 7 p.m. scheduling), the 50 people or so who attended the DC-SOAR-sponsored gig at the dimly-lit, comfortably air-conditioned venue may be seen as a reasonably successful turnout.

Named after the supreme being (“father of all”) in JRR Tolkien’s Middle-Earth legendarium, and with beginnings that can be traced back to 1983, Ilúvatar  are nowhere as pretentious as their handle might lead one to believe, and definitely not about the dreaded “pixies and unicorns” all too often associated with prog. In the Nineties, they enjoyed a moderate amount of success as one of the leading US prog bands, which landed them a number of high-profile appearances (such as ProgDay 1996, Baja Prog 1998 and NEARfest 2000) before they went on hiatus. Over the years Ilúvatar have built a loyal following in the Baltimore/Washington metro area, and are clearly one of those outfits for whom the studio will never be enough.

Due to my limited affinity with neo-prog, I was not familiar with Ilúvatar’s output, but – in spite of the ready availability of music samples in the age of the Internet – I had decided to go in cold to avoid any bias, having learned that many acts are best experienced in a live setting. The almost two-hour set left me positively surprised, unlike some much-touted names whose shows I have witnessed in the past few years. With four-fifths of the line-up featured on their last album to date, 1999’s A Story Two Days Wide, on board (original vocalist Glenn McLaughlin left in 2011, and was replaced by Jeff Sirody earlier this year), the members all looked quite personable (it was hard to believe that they have been around for 25 years!), and genuinely happy to be back on stage. Most importantly, though, their performance was focused on delivering tightly composed songs rather than showing off their chops. As seasoned performers, the band members handled the rather cramped stage with aplomb, eliciting the enthusiasm of their loyal fans.

As a whole, the music was deceptively straightforward, declining to punch the listener in the face with its complexity. Solo spots were kept to a bare minimum, lending cohesiveness to the overall sound. Jim Rezek (who was the lead keyboard tech at NEARfest) chiefly employed his impressive bank of keyboards to add texture and melody to the sound, effectively supported by Dennis Mullin’s fluid, often fiery guitar; while Dean Morekas powerful bass lines and Chris Mack’s energetic drumming provided a solid backbone with a bit of a heavy edge. My only gripe was the occasional whistling tone of the synthesizers, which is one of the trademarks of the neo-prog subgenre – though it was never overdone. New vocalist Jeff Sirody brought to bear his extensive experience as a frontman in a number of local classic rock and glam metal bands to inject a stronger rock vibe into the band’s sound, and also dispel any criticism about their resemblance to Genesis. His strong, confident tenor managed to be heard in spite of the rather loud volume, and, though long-time Ilúvatar followers may have noticed the difference in style and delivery when Sirody tackled the older material, they were clearly happy with the results.

All in all, even if I generally prefer edgier, more challenging music, I found the band’s performance very enjoyable. If US prog fans did not cultivate a stubborn “the grass is greener” attitude to the detriment of homegrown acts, Ilúvatar would have been a much better fit for some of the festivals I have recently attended than some bigger-name foreign bands. The fact that Saturday’s gig was only their second in our area – a mere 30 miles south of their home town of Baltimore – bears witness to the sad fact that US-based bands are still children of a lesser God in the eyes of their prospective audiences. The growing divide within the prog scene is not helping either, with people refusing to try a band or artist from the opposite camp even when the ticket to a gig amounts to a whopping $ 10. Ironically, while modern technology has made it possible for anyone to record and release an album – and consequently brought about the saturation of an already niche market – lack of support is in danger of killing the live scene for good. However, no matter how great an album may be, nothing beats live music, especially when accompanied by the right combination of enthusiasm and skill. Progressive rock fans should support live music whenever and wherever they can – do not let the scene die out, or retreat within the four walls of a studio.

Links:
https://www.facebook.com/pages/Iluvatar/117765760211

http://www.myspace.com/iluvatar2006

http://www.dc-soar.org

Posted in Concert, Neo-Progressive, Progressive Rock, Review, Symphonic | Tagged , , , , , , , , , | 4 Comments »

« Newer Posts - Older Posts »