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Posts Tagged ‘David Silver’

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SETLISTS:

Shadow Circus
Overture
Daddy’s Gone
Whosit, Whatsit and Which
Make Way for the Big Show
Tesseract
Uriel
Camazotz
The Battle for Charles Wallace
Willoughby

Edensong
To See But Not Believe
Reunion
Cold City
Water Run
Nocturne
Years in the Garden of Years
In the Longest of Days
The Sixth Day
Beneath the Tide

After the successful outcome of their first festival, just one month ago, the unstoppable NJ Proghouse ‘staph’ have not been resting on their laurels, and have continued in their commendable mission of providing a showcase for the best progressive music at the local, national and international level. With an impressive series of shows already planned for the next few months (and some more yet to be confirmed) the group of passionate music fans based in New Jersey’s Raritan Valley have turned into a force to be reckoned with – especially now that they can count on the quaint yet welcoming premises of Dunellen’s Roxy and Dukes Roadhouse as a regular venue.

In a spur-of-the-moment decision, I decided to head north from my Northern Virginia home (though this time on my own) to attend the highly awaited debut of Shadow Circus at the NJ Proghouse, which also coincided with their very first outing with their new lineup. I had last seen the band one year ago at the Orion Studios, in the aftermath of Hurricane Sandy and a few weeks before the official release of their critically acclaimed third album, On a Dark and Stormy Night – a show that had been plagued by a number of technical issues and had seen a less than stellar turnout. Unexpected lineup changes had prevented the band from performing again for quite a long time, in spite of the album’s positive reception. Understandably, this show right on their home turf was of paramount importance for the band led by guitarist John Fontana and vocalist David Bobick. For the occasion, they had teamed up with another local band, Edensong (who had performed at ProgDay 2009) – a very interesting pairing, seen as the two outfits’ approach to progressive rock is at the same time similar and different.

It felt oddly comforting to be back at Roxy and Dukes after a month that, for me, had been fraught with stressful events. The low-ceilinged, dimly lit interior of the venue, with its endearingly kitschy décor, looked much roomier with the tables arranged in groups of two or three  rather than in long rows, making it easier for people to move around. The turnout was not too bad for a late Sunday afternoon, and there were quite a few familiar faces among the audience. Indeed, the  Proghouse ‘staph’, together with the Roxy and Dukes staff, have created a warm, friendly ambiance for both performers and attendees, so that every show feels like a house party that invites people to linger rather than depart abruptly when the music is over.

Shadow Circus had been announced as performing their latest album in its entirety – which turned out to not to be strictly true, as the lovely, ethereal “Ixchel” was omitted for technical reasons (i.e. the lack of a female backup vocalist). However, the album’s overall impact was not lessened in the least, and the band’s two newest members – bassist Chris Valentine and drummer Campbell Youngblood-Petersen – looked perfectly at ease, projecting enthusiasm and self-confidence  as well as showing considerable skill with their respective instruments.

Decked in black as usual – with only keyboardist David Silver’s snazzy jacket’s bright red lapels adding a touch of colour – Shadow Circus delivered an energetic performance, deploying all the theatrical flair of their material and their trademark blend of classic symphonic prog and hard rock, powerful yet melodic and accessible. John Fontana – looking highly concentrated and just a bit tense – cranked out riffs and blistering solos on his trusty blue axe, while Silver’s impassive mien belied the exuberance of his Emerson-inspired keyboard runs (and that in spite of a few technical glitches). Sporting a purple-dyed beard and round mirrored shades, his microphone decorated with a large silver cross in pure Black Sabbath style, David Bobick handled his master-of-ceremonies duties with consummate ease. He introduced the album’s back story as soon as he appeared on stage at the end of the grandiose instrumental “Overture”, then put his theatrical training to good use while belting out the songs with gusto. The band wrapped up their set with one of their undisputed crowd-pleasers, “Willoughby”, which got the audience to sing along to the infectious chorus.

Originally formed in 2002 by guitarist/composer James Byron Schoen when attending Wesleyan University in Connecticut, Edensong have been through a myriad of lineup changes before and after the release of their full-length debut, The Fruit Fallen (2008), which included songs dating back from the early days of the band. Though not exactly prolific, they are very eclectic in their approach, blending classic prog with a host of other influences ranging from Cat Stevens and Simon and Garfunkel to modern progressive metal. This eclecticism was amply displayed on the Roxy and Dukes stage, where Edensong proved that they are not just a heavier version of Jethro Tull (as some have labeled them). Obviously, the prominent role of the flute – used as a lead instrument as much as the guitar or the keyboards – will elicit comparisons with Ian Anderson’s crew, but Edensong’s music also possesses a keen contemporary edge  and an intriguingly dark, mysterious vibe.

Though I was somewhat tired when they got on stage, I could not help admiring the dramatic intensity of their sound (albeit with a strong undercurrent of melody) and their impressive stage presence. The youthful quintet’s bohemian appearance, which reminded me a bit of The Tea Club, intensified the music’s emotional impact.  Bare-chested flutist Barry Seroff very physical approach to his instrument matched the engaging antics of bassist TD Towers (a dead ringer for a young Ian Anderson, clothes included), and keyboardist Stefan Paolini drew the eye with his bright red pants. Drummer Tony Waldman kept up with Towers’ unflagging energy, while James Byron Schoen himself, though more sedate in demeanor, cut a striking figure with his red beard, jaunty hat and Steven Wilson-like bare feet. While his voice may be a bit of an acquired taste, I found it fit the music really well, and his edgy yet melodic guitar playing was not at all affected by this double duty. The band performed a selection of songs from The Fruit Fallen and their 2010 EP Echoes of Edensong, plus three songs (“Cold City”, “Years in the Garden of Years” and “In the Longest of Days”) from their forthcoming new album, which will be based on the concept of time.

As usual, attendance could have been higher, especially considering that the show ended no later than 9.15 p.m. Unfortunately, it seems that any band who does not feature attractive young women or members of prog’s old guard will have to be content with drawing no more than 50 people. On the other hand, it was heartening to see two bands sharing the stage on equal footing (no headliners and openers, and the same time allotted to both) and obviously admiring and supporting each other’s work. This was my fourth time seeing Shadow Circus perform live, and I am glad to say that the band has grown both in self-assurance and musical stature. As for Edensong, I will be looking forward to their new album, and hope to see them again on stage soon. On the whole, the evening was definitely worth the trip, and my only regret is that Roxy and Dukes is not closer to our home.

Links:
http://www.njproghouse.com

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TRACKLISTING:
1. Overture (8:09)
2. Daddy’s Gone (5:56)
3. Whosit, Whatsit and Which (6:33)
4. Make Way for the Big Show (8:42)
5. Tesseract (5:20)
6. Uriel (5:50)
7. Camazotz (6:22)
8. Ixchel (4:39)
9. The Battle for Charles Wallace (7:00)

LINEUP:
David Bobick – lead vocals
Jason Brower – drums, percussion, backing vocals
John Fontana – guitar, orchestral and incidental keyboards, keyboards (8)
Matt Masek – bass, cellos, backing vocals, 12-string guitar (2), nylon string guitar (8)
David Silver – keyboards

With:
Roo Brower – vocals (7, 8, 9)

Formed in 2006 in the New York/New Jersey area by guitarist/keyboardist John Fontana and vocalist David Bobick, Shadow Circus might have ended up as one of the many progressive rock projects limited to the four walls of a recording studio. Instead, right from day one, Fontana and Bobick’s vision involved a full-fledged band that would perform on stage as often as possible, emphasizing the theatrical component introduced in prog by Peter Gabriel-era Genesis (as well as some lesser-known outfits). Though not without hiccups (i.e. frequent lineup changes), the band have managed to hold to their initial aim, perfecting their stage craft whenever given the opportunity to play live.

Although often tagged as “retro-prog”, Shadow Circus are quite unlike the many outfits that sound like a tired retread of Seventies – albeit with a modern veneer. While their debut album, Welcome to the Freakroom, took an eclectic yet accessible approach, Whispers and Screams upped the ante in terms of “prog quotient”, half of it dedicated to the seven-part suite “Project Blue”, which, in its 34 minutes, summed up the band’s musical vision. On a Dark and Stormy Night (released on Georgia-based label 10T Records) takes up where “Project Blue” left off, expanding and developing the format in a compact 58 minutes, each track flowing organically into the other without any noticeable breaks, in classic “rock opera” style. Indeed, this is the first time  that the band have taken the “concept album” route, basing their third recording effort on Madeleine L’Engle’s young adult fantasy novel A Wrinkle in Time – a fitting tribute on the book’s 50th anniversary. Literary inspiration is a fil rouge that runs through Shadow Circus’ six-year history– starting with  the band’s own name, which references Ray Bradbury’s Something Wicked This Way Comes; additionally, “Project Blue” and “Journey of Everyman” (the 12-minute epic included on their debut album) are based on Stephen King’s The Stand and The Talisman.

Though concept albums as a whole, in spite of their enduring popularity with prog fans, can easily result in an overblown mess, Shadow Circus have navigated the potential pitfalls with admirable skill. The finished product is solid and cohesive, striking a fine balance between engaging melodies, fiery instrumental cavalcades and atmospheric, meditative moments. While a good proportion of the album is instrumental, the contrast with the generally catchier vocal parts is handled with a light touch, without creating the dreaded “patchwork” effect that mars many overly ambitious efforts.

Though Shadow Circus’ previous releases have often elicited comparisons to the obligatory Yes, Genesis and ELP (as well as more radio-friendly bands such as Kansas or Styx), On a Dark and Stormy Night develops the strong hard rock vein openly displayed on Whispers and Screams by tracks such as “Captain Trips” and “The Seduction of Harold Lauder”. In fact, the album’s core lies in remarkable synergy between John Fontana’s guitar – capable of sharpness, yet consistently melodic – and David Silver’s commanding keyboards, reminiscent of the epic duels between Ritchie Blackmore and Jon Lord immortalized by Deep Purple’s In Rock and Machine Head.

On a Dark and Stormy Night is bookended by two longish tracks with a deeply cinematic sweep, both of them referencing some of the main themes of the album. Introduced by ominous sounds of rain and thunder, “Overture” builds up slowly with orchestral grandeur and soaring guitar until it erupts in a wild guitar-organ ride in Deep Purple/Uriah Heep style. The following trio of songs showcase David Bobick’s confident delivery, rooted in AOR and classic rock rather than traditional prog. “Daddy’s Gone” juxtaposes a catchy, almost radio-friendly vein with a wistful note, enhanced by elegant piano and an emotional guitar solo at the end; while the jaunty pace and infectious chorus of “Whatsit, Whosit and Which” lead the way to a powerful Hammond solo. The longest track at over 8 minutes, “Make Way for the Big  Show”- based on a theme composed by drummer Jason Brower – is a stately, melodic piece that combines an almost classical feel with suggestions of vintage Kansas and Supertramp, dominated by Silver’s splendidly flowing piano and Bobick’s soaring vocals.

The 5-minute rollercoaster ride of “Tesseract” is strategically placed in the middle of the album, signaling a shift  into decidedly more adventurous territory. Eerie electronic effects complement echoing, chiming guitar lines that recall Porcupine Tree’s iconic style, then the Deep Purple vibe resurfaces for a fiery guitar-organ duel, adding a hint of Iron Maiden along the way. “Uriel” provides a momentary respite with the lyrical cello and piano at the beginning, then swiftly turns into an upbeat, dance-like tune enlivened by a great vocal performance by Bobick; while the martial, menacing pace of the über-eclectic “Camazotz” morphs first  into a soulful, bluesy chorus, then into a space-rock workout that pushes Matt Masek’s powerful, dynamic bass into the spotlight together with the guitar and keyboards. The lovely “Ixchel” – a soothing moment with a haunting Celtic tinge – wordlessly conveys the healing atmosphere of the titular planet through gentle acoustic guitar, sparse piano and Roo Brower’s ethereal vocalizing. In sharp contrast, closing track “The Battle for Charles Wallace” surges along like a triumphant sci-fi soundtrack, spotlighting the intense keyboard-guitar interplay, while Brower’s imperious drums set the pace; then vocals return, reprising the “Big Show” theme, and an expressive guitar solo wraps up the album.

By an interesting coincidence, On a Dark and Stormy Night’s official release is scheduled just a few days before another adaptation of a well-known young adult novel – J.R.R. Tolkien’s The Hobbit. Though Shadow Circus’ third album will probably not meet with same worldwide success as Peter Jackson’s film, it will probably feature in quite a few “best of 2012” retrospectives. Impressively well-structured and cohesive from both a musical and lyrical point of view, the album shows a band that have finally attained full maturity. Although On a Dark and Stormy Night is quite unlikely to please everyone in the increasingly fragmented prog community – and those of an elitist bent would be well advised to handle with care – those who approve of paying homage to the golden age of prog without sounding like a carbon copy of those modes will find a lot to appreciate. This is also a good “gateway” album for fans of classic and hard rock, and obviously recommended to those who like musical adaptations of literary material.

Links:
http://www.shadowcircusmusic.com/

http://10trecords.com/

http://www.madeleinelengle.com/

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Ephemeral Sun
Theme from Top Gun
Untitled #1
Prism
Harvest Aorta Part I
Untitled #2
Winter Has No Mercy
Harvest Aorta Part II

Shadow Circus
Overture
Daddy’s Gone
Whosit, Whatsit & Witch
Make Way for the Big Show
Tesseract
Uriel
Camazotz
Shadow Circus
Captain Trips
The Long Road
Big Fire
The Seduction of Harold Lauder

As I announced a couple of months ago, the DC Society of Art Rock (DC-SOAR) has organized two shows at the Orion Studios in Baltimore to raise funds for its activity, which hinges on the promotion of progressive music in one of the most densely populated urban areas in the US. The first of the two events, scheduled for November 3, 2012, was to have been a triple bill, featuring New Jersey bands Shadow Circus and 3RDegree, as well as Northern Virginia’s finest, Ephemeral Sun. Unfortunately, 3RDegree had to pull out due to conflicts between their professional and family lives and the inevitable need for rehearsals, but the show went ahead as a double bill.

While the presence of 3RDegree would have made the show an even bigger draw, the two bands treated the audience to excellent performances, which highlighted both the differences and the similarities in their approach. In spite of its fundraising status, the gig was sparsely attended (which is the rule rather than the exception, unless the bill features a foreign band or one of the few domestic acts with a relatively strong following), but the 30-odd people who turned out more than made up with their obvious enthusiasm. Although some technical problems occurred during the soundcheck, the actual performances were characterized by outstanding sound quality (thanks to Mike Potter’s tireless work), which brought out each of the band’s strengths and detailed every instrument’s contribution.

As I pointed out in my review of ProgDay 2012, Ephemeral Sun’s music is more suited to the dark than the light, and the dimly lit setting of the Orion Studios enhanced the rivetingly cinematic quality of their music. After the turmoil of the past years, the band have now found a stability that is clearly reflected in the synergy between the four members, whose individual input is equally essential in the fabric of he sound. The pulsating power of Charles Gore and Jeff Malone’s rhythm section unfolds a rock-solid, yet subtly shifting foundation for Brian O’Neill’s sharp yet elegant guitar exertions and John Battema’s dramatic layers of keyboards. Ephemeral Sun treated the audience to a mix of older material (such as the metal-edged “Winter Has No Mercy” from their debut album Broken Door) and more recent offerings, such as the majestic “Harvest Aorta” suite (split in two halves) from their eponymous second album, and a couple of new compositions still without an official title – as well as a rousing version of Harold Faltermeyer’s iconic theme from Top Gun at the very opening of their set.

The quartet’s collective performance was flawless as usual, their music deploying all of its powerful emotional punch in the small, intimate premises. One of the most striking elements of Saturday night’s show was the band members’ impressive handling of the frequent tempo shifts in their generally lengthy compositions, keeping an eye on internal coherence so that the music flowed effortlessly without ever coming across as patchy. And then, the passage in which Battema let rip on the organ in true Emerson fashion was alone worth the price of admission. All in all, Ephemeral Sun seem to be going from strength to strength, and their new material sounds extremely promising – even if it will be some time before  their new album finally sees the light of day.

With a name inspired by the traveling carnival in Ray Bradbury’s iconic novel Something Wicked This Way Comes, Shadow Circus’ theatrical streak comes as no surprise, and makes good use of frontman David Bobick’s degree in musical theatre. The band’s founders, Bobick and guitarist John Fontana, are also fans of fantasy, science fiction and horror, and this interest is reflected in the subject matter of the majority of their songs. Saturday night’s show offered Shadow Circus the opportunity to showcase some of the material (no less than 7 songs) from their forthcoming third album, On a Dark and Stormy Night, which will be released on 10T Records in early December. Shadow Circus had played at the Orion almost exactly 2 years ago, opening for Italian band  The Watch, though with a different line-up. The band’s new configuration – comprising, besides mainstays Fontana and Bobick, original bassist Matt Masek, keyboardist David Silver and drummer Jason Brower, augmented by backing vocalist Paroo Streich – blazed through new and older material with assurance and flair, displaying chops and heart in equal measure.

Although all of the band members cite progressive rock as their main source of  inspiration, Shadow Circus’s music is also deeply rooted in classic and hard rock, and the influence of the likes of Deep Purple, Uriah Heep and Led Zeppelin is unmistakable. As is the case with Ephemeral Sun, keyboards play a very prominent in Shadow Circus’ sound. With his impassive mien and slight frame, David Silver proved an essential foil for Fontana’s guitar, his love of Keith Emerson evident throughout the set, especially in the fiery Hammond runs that enhanced stunning instrumentals such as “Overture” and “Tesseract”; indeed, the latter may easily be the best thing that the band has ever recorded. he dramatic intensity of the instrumentals was balanced by the catchy quality of the songs featuring David Bobick’s expressive vocal delivery and flamboyant stage presence, with Paroo Streich’s backing vocals providing a pleasing contrast. The rhythm section of Matt Masek and Jason Brower anchored the sound with power and style, the two musicians complementing each other perfectly. Always attentive to the visual aspect of their performance, the band members were all decked in black with a touch of red (a special mention for Bobick’s beard and the large red flower sported by Streich, who also provided a bit of eye candy for the predominantly male audience), and also employed a few stage props to enhance the impact of their music with a quirky theatrical touch thankfully devoid of cheesiness.

By way of a conclusion, I have to admit that I found the not exactly stellar turnout quite depressing, especially on a weekend night. Even if the impact of Hurricane Sandy on the north-eastern corridor cannot be discounted, neither can the well-known apathy of many of those who think supporting progressive rock means getting embroiled in pointless discussions on some Internet forum. While modern technology offers almost any band or solo artist the possibility to record and release their own material with relatively little expense, it has also emphasized the lack of quality control of many such projects. Therefore, live performance has increasing become the benchmark by which to judge a band’s real worth. However, the diminishing opportunities – compounded by the cliquish mentality of a large part of the already fragmented prog audience –will probably to lead to the demise of many a fine outfit, discouraged and frustrated by the lack of support. It is immensely sad to see such gifted musicians grateful for the opportunity to play before a handful of people.

This situation has also impacted my own enthusiasm for writing about music, There is only so much that a reviewer/critic can do to support the scene, when it is the fans themselves who seem to be hell-bent on destroying the motivation of artists who already face considerable struggles in getting their music across in an oversaturated market while dealing with the demands of real life. As much as I like to listen to music at home, nothing beats the experience of a live show, and it will be a sad day when only big (i.e. commercially successful) names will be able to perform on stage.

Links:
http://www.ephemeralsun.com

http://www.shadowcircusmusic.com

http://www.dc-soar.org

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Based in the New York/New Jersey area, Shadow Circus first came to the attention of progressive rock audiences in 2007, with the release of their debut album, Welcome to the Freakroom.  However, it was their sophomore effort, 2009’s Whispers and Screams – followed by their appearance at the 2010 edition of ProgDay – that put them on the map for the majority of prog fans. With their theatrical image and lyrics inspired by the cream of science fiction and fantasy literature, as well as a powerful yet melodic sound that, while harking back to the golden years of the genre, does not shun contemporary trends, the band have attracted a lot of interest in recent years. They are now working on their third album, which should be released in early 2012, and have just released a maxi-single with two new songs, “Rise” and “Daddy’s Gone”.  The members of Shadow Circus (guitarist John Fontana, vocalist David Bobick, bassist Matt Masek, keyboardist David Silver and drummer Jason Brower) have kindly agreed to answer some of my questions.

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 Though your history is briefly but effectively outlined on your website, would you mind expanding a bit on the why and how Shadow Circus came to be?

John: I’ll try to address some aspects of that which might not have been mentioned before. I had been playing in some bands, such as Persona Grata, Violet Love, and Omnilingus, which were all born out of the early 90’s alternative rock scene. The music I had been doing was much more based on a heavy, funky, psychedelic thing, more akin to Jane’s Addiction, and Red Hot Chili Peppers. But, I always saw progressive rock as how I wanted to express myself musically, and so all of those bands had some of that element, albeit well-hidden much of the time. I took a break from it for a few years, and promised that when I returned to music again, it would have to focus on what I genuinely loved. As I auditioned for progressive rock projects, I had a problem that none of the recordings of my previous bands showcased what I could do in that context, so I made some demos to show what I could do with Prog. Dave heard what I was doing, and insisted that I form a band to perform the music I was recording, rather than just treat it as an audition demo. Those demos ended up becoming what is now called “Journey of Everyman”.

Dave B: Yeah, in the simplest terms, it became a vehicle for John to produce the “whirlwind extravaganza” that is going on in his head. Thus far that “extravaganza” shows no signs of stopping…LOL!!

Your lineup has changed since I saw you play live last year. How did you acquire your new members?

John: Well, our newest member is actually one of the original members. Our bassist, Matt, had to leave the band after the first album due to logistical issues. When we searched for a bass player this time, we contacted him on a long shot, just in case he could do it again, and we were very fortunate that the timing worked out perfectly. As for keyboards, we were originally getting ready to audition David Silver’s brother Harry, who realized while preparing for the audition that it would be more of a time commitment than he could handle, and so referred us to David, which also worked out incredibly well.  Jason answered our online ad, and blew us away with his first audition. Then he blew us away even more with his second audition. He’s apparently made a habit of blowing us away every time he gets behind the kit…and piano, as well!

Jason: Thanks, John. Remind me to give you that 20 bucks next time I see you. I had seen the name Shadow Circus all over the place on Internet prog sites and knew they had a presence of some sort in the newer prog circles, so, when the opportunity arose to possibly be a part of that group, I contacted John, sent him some video of my playing and set up an audition. I’m glad I did. This is a great bunch of guys and a great band, musically and personally.

Dave B: Basically it was a necessary evil. No one loves auditioning. It can be a bit grueling but once Jason came in that first time the process just got easier. I’m not the most easy-going person on the planet but in a lot of ways Jason is. This really helped. PLUS…he’s a Kiss fan and as you also know Raffaella, that’s a big deal in my world…LOL!!! You are, too, so I know you understand :-). Finding a Keyboard player was a bit daunting at first. It always seems to be the hardest position to fill but MAN…David is just THE perfect fit for this band. He’s just nuts!!! He’s got this crazy sense of humor that works with everyone and most importantly he’s genius on the keyboards. So, we really try hard to accommodate his schedule and make it work. As for Matt…well…we were definitely getting a tad nervous without a bass player and I have always wanted Matt back in the band since the day he left   but always figured, much like John did, that he would not be able to work things out. Alas, that was not the case. He actually jumped at the chance and to be honest, with Matt in the band it kinda feels like “home.” It’s the way it should have been from the beginning 🙂

David: As John said, my brother told me he knew of a band that was looking for a keyboard player.  This was at a time when I had no interest in joining a band.  But I listened to the music anyway and it reminded me of my musical roots while still sounding fresh.  On reflection, I came to realize that the Circus had a lot going for it and I was lucky to have the opportunity to step into this situation.  So, how did I come to join?  I stepped in it.

Did all of you grow up with classic progressive rock as your main influence, or are there others that you would count as equally or even more important for your development, both as individual musicians and as a band?

MattA high school friend turned me on to Genesis in 1977 and I was hooked on prog rock from that time on.  I had always loved the classic rock standards like the Beatles, the Doors, the Who and anyone from Motown but Genesis absolutely sparked my love of prog.  I am classically trained so the sweeping melodic grand themes of prog remind me of the masters of classic symphonic gems.  I would have to say that training laid the groundwork for my love of prog!

John: I had a friend in 6th grade who got me into classical music. He was a wicked violinist. Actually, I’ve recently been in touch with him, and he is now the touring bassist for Peter Murphy. But, I digress. He got me into Stravinsky, Beethoven, Brahms. Then I started hearing hints of classical elements in the music my older siblings were listening to. Hearing Zeppelin’s “The Rain Song” was a pivotal moment for me – what I loved about classical blended so beautifully with rock, and I was hooked. Also, I was very much drawn to the sound of the Moog synthesizer, and sought anything that used it, so I listened to everything from the Steve Miller Band to Isao Tomita. I’ve also always been a big Joe Walsh fan, so all of these influences find their way into what I write somehow.

Jason: I grew up with records always being played in the house. My parents had great taste in music and still do. I remember Dark Side Of The Moon and Wish You Were Here being played a lot! I would even request them at the age of five. It was one of the first times I remember being affected by music. Queen, Lynyrd Skynyrd, Elton John, Billy Joel, The Rolling Stones, Boston…all the classic rock stuff was in the house. There was also some country, doo-wop, standards, etc. The funny thing is, my three favorite genres of music (aside from all the classic rock stuff),  prog, fusion and classical, were strangely non-existent (aside from Floyd, Queen and Zappa). That was MY music. Stuff that I discovered on my own and grew to love beyond description. My parents started me off right and I took it from there. As a performer, musician and composer, I can be inspired by almost anything, even non-musical things.

David: During my formative years it was pretty much all about The Beatles.  Influenced by an older sibling, I was quickly making my way through the obligatory Led Zeppelin/Deep Purple/Black Sabbath phases when one day I heard ELP’s Pictures at an Exhibition.  This rocking interpretation of classical music featuring Hammond organ and Moog synthesizer opened about 15 doors at once that I ran through and never looked back.  In short order there were Yes, Genesis, Jethro Tull, Gentle Giant and Frank Zappa albums cluttering every surface (vinyl LPs were large, you know) and I began trying to learn various keyboard parts by ear.  Like John and Jason, I realized that there was a logical connection between a variety of so-called musical genres and followed each path wherever it took me.  A Frank Zappa concert one day and Victor Borge the next was what it was like in those days.

Dave B: Raffaella, you’ve gotten to know me a little over the last couple of years and I’m sure that when you think of my influences you will probably come up with one word…KISS! Beyond that, I listened to a lot of different things, but metal and heavy rock has always been my main influence. Queen became a huge influence in my life. I consider myself one of the lucky ones having actually gotten to see them live in 1982. Freddie Mercury was just mind-blowing. As you also know, musical theater also played a huge part in my life, opening me up to a whole different world that I did not know existed such as the song stylings of Miss Barbra Streisand, whom I consider to be the best singer on the planet. The list could go on forever at this point in my life.

Are any of you professional musicians? What are your respective experiences in the music field?

Matt: I work for a living music in the insurance field but I had attended a small music conservatory in Philadelphia for a couple of years, studying cello performance, hoping to play cello in a professional orchestra, but those plans fell through. I started on the classical guitar at age 9 and moved to cello by the age of 11.  I remember days spent in the local music store as a kid lusting after the shiny new bass guitars and in my senior year first performed in a band at a talent show.  I was hooked!

John: I have always depended on things other than music for sustenance, so, for me, it’s always been just for art.

Jason: I have been at every level that a musician can be except professional (laughs). Sure, we’ve all made money at it and sometimes really good money, but, never to the point that we could do nothing but. Hopefully, that will all change soon!

David: No.  None.  (Unless you count playing “Hoedown” on stage with Keith Emerson?  Nah.)

Dave B: Thus far I have not gotten to the pro level but one should never say never.

What about the compositional process? Are you all involved in the songwriting, or it is rather something that involves only some of the band members?

John: I typically come up with the musical foundation, and I’ve gotten more involved with writing vocal melodies and lyrics, such as the choruses for “Daddy’s Gone” and “Rise”. Otherwise, the vocal melodies and lyrics have been Dave’s. Now, with Jason and David in the band, they have lots of great musical ideas, so I see that evolving now to be a more collaborative process.

Jason: I have enough material for, oh, I don’t know, eighteen albums or so and haven’t stopped writing. I like the challenge of not only writing for myself, but writing for a group that already has a sound, bringing my sound and ideas into the mix. I’m looking forward to hear how our separate styles come together and what we will create.

David: Once John and Jason are done, I may have a couple of suggestions for album # 26.

Dave B: What John said…LOL!!! Just kidding 🙂  Yeah, I write lyrics for most things but there are times where I am at a loss and John will jump in. A perfect example of this would be “Horsemen Ride” off Whispers & Screams. I just wasn’t feeling it or I just could not connect and he jumped in and came up with a great set of lyrics. There’s no ego here. If John can do better, then all the power. That includes Jason as well. He’s got some awesome ideas that we  are fleshing out for the next CD which I think are going to just rock. I’ve already got lyrical ideas for it as we speak. Now if we could just get him to record it and get it to John we’d be golden. We’re working on it…LOL!!!

The lyrical aspect seems to be as important in your output as the purely musical one. How do you go about the process of writing lyrics, and what gets your creative juices flowing?

John: Dave will have more to say about this, but for my small part, I think of the vocal melodies in an abstract, phonetic sort of way. I think of the sound of certain vowels and the rhythm of the syllables. From there, I think about the story that the song needs to tell.

David: I’m still trying to picture what the vocals must sound like in John’s head.  I imagine sort of like if Marlee Matlin were the lead singer.

Dave B: I’ll give you an up to date example. As you know there is a new Van Halen CD coming out this February and everyone on the Internet…well not everyone…just the trolls (You know who you are…)…are starting to put it down not because it’s bad but because Van Halen are using a lot of ideas that were written many years ago and revamping them. That is the case with me. A lot…not all but a lot of the lyrics that are on the first and second CD’s were culled from lyrics that I wrote years ago when I lived out in San Diego. A lot were written for the band I had out there and some were just written kind of like poetry. When we started putting things together for Shadow Circus many of those lyrics fit like puzzle pieces into the stuff  John was writing. They were definitely tweaked and modified. One perfect example of this is the song “Angel” on Whispers & Screams. I actually wrote the lyrics AND the music for that song for my band Hang ’em High. It was originally called “Angel With the Dirty Wings”. John did some modifications to the music and I did as well with the lyrics and it…well…It “grew up” to be the song it is today. I find nothing wrong with taking from the past and letting things grow up. There is a song called “Russian Roulette’ off the latest Kiss CD, Sonic Boom, which was a song Gene Simmons wrote years ago. He modified it and it’s now one of the most rocking songs off that CD. Personally I don’t get what people are complaining about…well, I guess they just want to complain…LOL!!!

Beyond that, I love Stephen King and his stories have been fodder for many songs we’ve done. I think taking from literature is a great way to come up with lyrics. Iron Maiden has done it for years with “Rime of the Ancient Mariner”, “To Tame a Land”, “Alexander the Great”…and the list goes on. Stephen King has been a huge influence on me for that reason. I’m a lot less interested in writing about life experiences and more about turning crazy stories into crazy lyrics.

As a keen reader of fantasy literature, I am curious about your own interest in it, which is reflected not just in the songs, but in the band’s very name. Which novel or short story would you like to reinterpret for a future album, besides those that have already received the Shadow Circus treatment?

John: I’ve always wanted to do something with Anne Rice’s The Witching Hour. In fact, when I began writing “Project Blue”, that’s what I had in mind. The eerie intro to “Captain Trips” was originally intended to be the scene where Lasher first appears, with the circles of wind stirring up around the witch.

Jason: Keeping with the Stephen King themes, I’d love to do Salem’s Lot or Needful Things. We’ve talked about doing IT which I think would be incredible. I would also love to tackle Alice In Wonderland and The Legend Of Sleepy Hollow one of these days. Maybe the sixth or seventh albums (laughs).

David: I think a rock opera based on the Texas Chainsaw Massacre would be bloody wild.

Dave B: I’m definitely with Jason on this. I would love to tackle Salem’s Lot. IT is also on my list. In fact John has a song idea that was conceived with that story in mind. What we are tackling for the third CD is A Wrinkle in Time. John was very passionate about that story and it has really, really grown on me. We’ve got some epic things cooking as we speak. I’ll give nothing more away at this juncture.

One of the most impressive features of your albums, particularly Whispers and Screams, has been the artwork. Is the combination of music and art as important for you as for the original prog bands of the Seventies?

John: Absolutely. And, quite frankly, I wish that vinyl was still the standard medium. I liked when you could look at this big piece of artwork while listening to an album, unfold it and have easily legible lyrics and information about the band. CD packaging might as well be a candy wrapper. But that’s a whole other tangent.

Jason: Without hesitation, YES! It’s the first thing that invites you in and grabs you. Plus, being an artist myself, as well as a musician, it naturally attracts me and is very critical to the overall album experience. Like John said, it’s great to immerse yourself in the cover, art, lyrics, etc. while listening. They go hand in hand.

David: John told me H.R. Giger did all the covers.  John?

What about the New York/New Jersey music scene, which is by many perceived to be  more favorable to prog and classic rock than other parts of the country? What are the difficulties you encounter when it comes to finding gigs?

John: The biggest difficulty, I think, is that there is no place to play gigs on a regular basis. The Beatles didn’t become a great band by playing two gigs a year. They played five every day for years as a working band before setting out to record. Also, the list of bands that want to play these venues and festivals is so long, that you need to wait a minimum of three years before playing the same venue or festival again. The second biggest problem is that most American venues and festivals favor bands from Europe, and the venues and festivals in Europe will rarely, if ever, invite an American band to come and play.

Jason: The hardest thing that I’ve found about playing original music in NYC is gaining momentum and a following. Bouncing around from small dive bar or hole in the wall once or twice a month isn’t going to get you anywhere. You need to at least play higher profile venues with heavy tourist appeal and built-in audiences on a regular basis or open for a national act at the larger venues or even get into the college circuit. Promotion is key, as well.

David: To follow up on what John said, The Beatles not only benefited from working “in the trenches” in Hamburg, but then got to return to England as a hot band from Hamburg.  Some things never change.

You recently played some dates opening for Italian band The Watch, for the second year in a row. What can you tell me about your experiences in a live setting – including your participation in last year’s edition of ProgDay, the longest-running progressive rock festival in the world?

Matt: I can be assured we all feel this way but when you can translate a studio result into a live result and people are happy, then you have done your job as a live performer.  There is not much to rival that feeling!

John: We are so fortunate to have such good friends with The Watch. What a rare, and amazing opportunity to be able to play such great venues in front of such large audiences. We learned so much about preparing to travel to gigs, setting up and cleaning up quickly, keeping the set list tight. It’s been an incredible education. ProgDay was also a great learning experience, as well as the first real gig this band has ever played.

Jason: Opening for The Watch was one of the most enjoyable experiences I’ve had to date. Great band, great bunch of guys. I’m looking forward to a long friendship with them and, hopefully, many more dates with them here and abroad.

David: Agreed on all counts.  Opening for The Watch was a great pleasure personally and a great opportunity for Shadow Circus.

Dave B: I just love working with The Watch. They are genuinely the nicest bunch of guys you could know. Very hospitable and would pay us a million dollars a show if they could. It’s just a great relationship that will eventually allow us to play Europe opening for them as well. Really, I mean every night we played with them it was just such a pleasure to hang out and watch their show. They are definitely pro and we all learn a lot from playing with them. Come ON…Simone is just SO awesome on stage it’s great!!! ProgDay…well what can I say Raffaella…that where we met you for the first time. It’s all good!!!  \m/. It is a really great festival to play though. A great stage but a bit daunting as well. All the shows we have done including ProgDay have been learning experiences…like John said. Especially for me as the front man. Boy, do I have things to learn and I do with every show.

You have recently released two new songs, “Rise” and “Daddy’s Gone”, as a maxi-single. What has the response been so far?

John: We are getting a very positive response to the music. But, prog fans are a little old-fashioned in that they want an album, not a single, and they are even less interested in digital downloads as opposed to a CD.

Now something about your forthcoming third album. Do you see it as a logical follow-up to Whispers and Screams and Welcome to the Freakroom, or is it going to be significantly different?

John: I think that it is a logical follow-up. With each CD, we seem to get into bigger formats and themes. We had the short epic on Welcome to the Freakroom, then went further with an album-side-length epic on Whispers, and now we’re going for a full concept album. I also think that with each iteration, the music has more depth, more complexity in some respects, but we are also always pursuing the art of writing the perfect melody, however simple it is.

Jason: The single was great and a nice, easy way to introduce the new line-up and sound. Since this will be my first full album with Shadow Circus I can’t comment on the other albums, but, the excitement for the new album is really building within us as we get the material together and I think it’s going to be a great one!

David: I’ve noticed that the new hip thing is to release new material on vinyl, but so far my idea to put On a Dark and Stormy Night out only on wax cylinders hasn’t gained traction with the band.

Dave B: Among the many things that will be great about this next CD, I have to admit that the biggest deal for me is having Matt Masek back in the band and on this next CD. It’s literally full circle…ya know??? He’s so good at what he does and was awesome to work with on Freakroom…well, this is just gonna rock even more!!! I haven’t forgotten about you either Jason!!! You are a force to be reckoned with and you will make this CD everything the last two should have been!!! I think this line up more than anything will make this not just a logical follow-up but a GREAT follow-up. I’m just so excited to see what David Silver comes up with on the keys…it’s really very exciting!!!

Is your new album going to be an independent release like Whispers and Screams, or is a label going to be involved, as in the case of your debut?

John: I do think that a label will be involved in this release, one that is open to all of our approached to marketing and connecting with fans, but it is too early to announce anything formally.

David: Well, we were gonna put it out on a Black Label, but we couldn’t get enough proof. So I’m gonna let John handle this.

What are your plans for 2012, after the album’s release? I remember hearing something about a European tour…

John: We are invited by The Watch to come over to Europe and play some shows with them, so that will be our biggest priority.

Jason: Yes, a return to playing with The Watch here and then over in Europe, like I mentioned earlier, and hopefully a bunch of festivals. Basically, promote the album in any way we can and expand our fan base.

David: I think these days a new music act has to break on one of the reality shows, so I’ve got feelers out with American Idol, America’s Got Talent, Dancing With the Stars and America’s Next Top Model (couldn’t hurt).  So far we’ve only had interest from America’s Funniest Home Videos (and Project Runway likes my jacket).

Dave B: For me, I agree. I want to go over to Europe because I think that is where our biggest market is BUT…I also think it’s important for us to get to Canada with The Watch this fall as well. They get really big audiences up there and I think if we do it right we’ll make a positive impact in those cities.

Thank you very much for your answers, and looking forward to hearing On a Dark and Stormy Night!

Jason: Thank you for taking the time to give us this interview.

Dave B: Same here!!! Thanks so much for taking the time to support Shadow Circus. It really means a lot to everyone in the band. keep rocking!!!  \m/

David: I apologize. Truly. I apologize.

Links:
http://www.shadowcircusmusic.com

 

 

 

 

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