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Posts Tagged ‘Orion Studios’

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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The DC Society of Art Rock (DC-SOAR)  has been active for the past nine years in the Washington/Baltimore metropolitan area of the US, organizing concerts and other events for those who share a love for progressive music in all its forms. DC-SOAR, which is a non-profit educational organization, currently counts nearly 200 members, and its activities are entirely funded through donations and ticket sales rather than through conventional membership fees.

In order to give exposure to the Society’s activity and support its future projects, in the month of November DC-SOAR will be holding two fundraising concerts at Baltimore’s famed Orion Studios that will showcase some of the best progressive/art rock bands currently active in the north-eastern part of the US.

The first concert, scheduled for  November 3 at 7 p.m. (admission: $20), will feature Northern Virginia’s own Ephemeral Sun (recently appeared at ProgDay 2012), alongside two New Jersey-based bands, 3RDegree and Shadow Circus, also ProgDay alumni (in 2009 and 2010 respectively). 3RDegree have recently released their fourth studio album, The Long Division, which has been received in very positive terms, while Shadow Circus’ third studio album, A Dark and Stormy Night, will be released in a few weeks on Georgia-based label 10T Records. All-instrumental quartet Ephemeral Sun are presently working on the follow-up of their critically acclaimed 2010 album, Harvest Aorta. The different styles and approaches of the three bands will offer the audience a cross-section of some of the most interesting trends in modern progressive rock.

The second concert, scheduled for November 17 at 7.p.m. (admission: $ 15), will present new Baltimore-based outfit Prophet Code (featuring Iluvatar’s keyboardist Jim Rezek), Washington art/music collective Zero Mercury, and genre-bending quartet Kabob-O-Taj, hailing from Gaithersburg (MD). Though these three bands may not be as well-known as the ones previously mentioned, anyone interested in discovering new music should check them out.

Both shows are open to people of all ages. As usual, members of the audience are encouraged to bring small folding chairs and coolers.

Address:
Orion Studios,
2903 Whittington Ave., Suite C,
Baltimore, MD 21230

Admission:
$ 20 (Nov 3)
$ 15 (Nov 17)

Links:
http://www.dc-soar.org

http://www.ephemeralsun.com

http://www.3rdegreeonline.com

http://www.shadowcircusmusic.com/

http://www.facebook.com/ProphetCode

http://www.facebook.com/ZeroMercuryMusic

http://kabobotaj.com/

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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

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TRACKLISTING:
1. Dichotomy (3:57)
2. Infinitesimal Sky  (3:02)
3. Butchers of Baghdad  (4:19)
4. Random Tandem  (4:12)
5. Ist or an Ism (4:58)
6. Morning Person (2:54)
7. New World Chaos (5:40)
8. Screed (Pt. 2) (4:40)
9. Never Home (4:50)
10. From These Small Seeds (5:20)
11. Friction (3:08)

LINEUP:
Moorea Dickason – vocals
Tarik Ragab – bass
Matt Lebofsky – keyboards
Matthew Heulitt – guitar
David M Flores – drums

Bay Area-based quintet MoeTar was founded in 2008 by the two artists it is named after –  vocalist Moorea Dickason (Moe) and bassist Tarik Ragab (Tar) –  after the demise of their previous band, politically-charged pop-funk outfit No Origin.  After the entrance of miRthkon keyboardist Matt Lebofsky, in the spring of 2009 MoeTar started  an intense concert activity. Their debut album, From These Small Seeds, engineered by Sleepytime Gorilla Museum’s Dan Rathburn and originally released in 2010, was reissued by Magna Carta Records in 2012 with new artwork.  At the time of writing, MoeTar are about to embark on their first Eastern US tour, which will kick on August 11, 2012, at the Orion Studios in Baltimore, where they will open for miRthkon.

Even if a sizable chunk of its audience still clings to progressive rock’s conventional modes of expression, “crossover” acts are increasingly making headway on the scene, redefining and sometimes even reinventing the rules of a genre that – for all of its touted renaissance in recent years – was very much in need of an overhaul. Trimming down song lengths without sacrificing prog’s trademark complexity, and introducing melodies that can be infectious and daringly innovative at the same time, those bands draw from a number of other genres whose input provides a veritable shot in the arm for a genre often at risk of turning into a parody of itself (see the glut of tribute/nostalgia bands).

Even in a niche teeming with interesting acts, MoeTar’s fearless blend of sunny, uplifting pop tunes, angular Avant stylings, spacey guitar jams and a bit of heaviness, propelled by Moorea Dickason’s stunningly versatile voice, comes across as quite unique. As a fellow reviewer pointed out, MoeTar overturn the clichés attached to female-fronted prog bands, pushing decidedly away from the tired stereotype of the angelic-voiced siren and offering instead a heady mix of melody, power and endearing quirkiness. Moe’s voice, fitting Tarik’s thought-provoking, stream-of-consciousness lyrics like a glove, often becomes another instrument , bending the music to her will or following its intricate patterns with a striking adroitness that brings Kate Bush to mind – as well as avant-prog icons Elaine DiFalco and Deborah Perry, or Melody Ferris of fellow Oakland outfit Inner Ear Brigade. The general bent of the album may also elicit comparisons with District 97, another female-fronted act that has attracted a lot of attention in the past couple of years. However, unlike the Chicago band, MoeTar steer clear of overambitious productions, and are also minimally influenced by the prog metal trend.

For an album clocking in at a very reasonable 50 minutes, there is quite a lot going on in From These Small Seeds. The short running time of the songs (all under the 6-minute mark) belies their density, the sudden shifts in mood and tempo that can turn a catchy pop ditty into something more riveting and intense. Opener “Dichotomy” illustrates MoeTar’s modus operandi quite aptly –  Moorea’s voice underpinned by Matt Lebofsky’s buoyant piano flurries, while Matthew Heulitt delivers a rather offbeat guitar solo in the slower, atmospheric bridge; the song also introduces what is probably the most noticeable influence on MoeTar’s sound – Andy Partridge’s XTC.

After that, the album deploys a veritable feast of unabashed eclecticism – from the dramatic, almost theatrical flair of “Butchers of Baghdad” (which reminded me of Canadians Half Past Four, another interesting female-fronted crossover prog band with their charismatic singer Kyree Vibrant) to the torch-song-meets-psychedelic-jam of “Never Home”. “Ist or an Ism” meshes the hard-rock suggestions of driving organ, massive riffs and piercing guitar with a vocal line at the end that would not be out of place on a Thinking Plague album. In the title-track – definitely one of the more left-field offerings on the album – voice and piano emote in parallel, creating a sense of palpable tension that culminates in a searing guitar solo. David M Flores’ imperious drumming in “Screed” lays the groundwork for Moorea’s oddly distant-sounding voice and Lebofsky’s almost percussive piano; while “New World Chaos” (the album’s longest track) is pushed into Avant territory by its asymmetrical guitar line, tempered by soothing vocals.

A prime example of art rock in the original sense of the definition, From These Small Seeds manages to be accessible and adventurous at the same time. Those who want to see progressive rock remain true to its name – rather than turn into a caricature of the Seventies – will not fail to appreciate the album, in spite of the lack of epics or any of the conventional distinguishing features of the genre. A highly rewarding, entertaining listen, recommended to everyone but the most conservative prog fans.

Links:
http://www.moetar.com/

http://magnacarta.net

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Even though it comes slightly late in comparison to other blogs and websites, this retrospective of the past year has been in the pipeline for a while. It is a first time for me, though obviously I have participated in quite a few surveys of this kind in my time as a collaborator of various music sites. However, the year 2011 has been uncommonly rich in excellent releases covering the whole of the progressive rock spectrum – similar in this to 2009 rather than the somewhat lackluster 2010.

My activity as a reviewer has also reached an unprecedented level in the past 12 months, and this (as well as other factors) have allowed me to listen to a wider range and number of new albums than in previous years – though not all of the albums I will be mentioning in the following paragraphs have been the object of a review. I have also been actively involved on the prog scene, attending festivals and gigs and keeping up a steady network of contacts with artists, label owners and fellow reviewers and fans. As the end-of-year statistics point out, the total number of views received by this blog in 2011 exceeded any of the expectations I had at the start of this venture, one and a half years ago.

Obviously, I cannot claim to have heard each and every prog (and related) album released in 2011, and quite of few of the big-name releases of the past year will be conspicuously absent from this overview. I will also refrain from using the usual list format, let alone a “Top 10/20/100” one, in spite of its undeniable popularity with music fans. While I am sure that everyone will be very curious to learn about my # 1 album of 2011,  this curiosity will have to remain unsatisfied, because I hardly ever think in terms of “absolute favourites”, and would be hard put to name my favourite band or artist (or literary author, for that matter). Although most “year in review” pieces do contain a measure of narcissism, the main aim of this post is to stimulate people’s curiosity, as well as debate, rather than turning it into a pointless competition of the “my list is better than yours” sort. We are all adult enough to be aware of the mostly subjective nature of lists, overviews, retrospectives and the like, and hopefully no one here is out to change other people’s minds.

In 2011, the prog “revival” reached unparalleled proportions, bolstered by the many opportunities offered by the Internet. In spite of the loud cries of woe about a supposed “death of the CD”, the number of acts that keep releasing their material in physical format is still quite high, and many of them still choose to put extra care in the artwork and liner notes, with often remarkable results. While the oversaturation of what remains very much a niche market cannot be denied, it is also true that high-quality productions are far from scarce, and the advent of legal streaming sites like the excellent Progstreaming has made it possible for everyone to sample an album before taking the plunge. Unfortunately, the wealth of music available either in digital or physical form does not correspond to higher availability of performing opportunities for those acts who still believe in the power of live performances. The shocking announcement of NEARfest 2011’s cancellation, at the end of March, rocked the prog fandom for months, and even the subsequent announcement of NEARfest Apocalypse for June 2012 did not allay many people’s fears concerning the dwindling range of gigging opportunities, especially here in the US (Europe, in spite of the economic crisis, seems to be doing much better in this respect). The prog community is also splintering in a way that, coupled with a worryingly nostalgic attitude and increasing reluctance to leave one’s own comfort zone, might spell disaster for the future.

2011 marked not only the return of a number of high-profile acts, but also some outstanding recording debuts. If I was forced at gunpoint to choose a favourite, this award would probably go to Texas-based trio Herd of Instinct’s self-titled debut, the first album released on Firepool Records, legendary Californian band Djam Karet’s own label. An almost entirely instrumental effort with the exception of one (gorgeous) song, the Herd’s debut shares this format with another of the year’s milestones, Accordo dei Contrari’s Kublai (whose only song features the incomparable vocals of Canterbury legend Richard Sinclair). These two albums, as well as Marbin’s classy Breaking the Cycle and Dialeto’s intriguing Chromatic Freedom, illustrate how the song form can be reinvented in such a way as not to disrupt the flow of the music, incorporating the vocals into a fabric that hinges on complex instrumental interplay.

In the realm of the purely instrumental releases, top marks go to Gösta Berlings Saga’s stunning third album, Glue Works (“Island” alone is worth the price of admission), alongside a trio of AltrOck Productions releases – Ske’s elegant 1000 Autunni (the first solo project by Yugen keyboardist Paolo Botta), Calomito’s intense Cane di Schiena and Camembert’s ebullient Schnörgl Attack – and a couple of outstanding offers from the ever-reliable MoonJune Records, the world-jazz of Slivovitz’s Bani Ahead and the superb testimony of Moraine’s NEARfest 2010 set, Metamorphic Rock. Lovers of creative percussion will surely enjoy Knitting By Twilight’s enchanting Weathering (and possibly check out the Providence collective’s previous releases); while Lunatic Soul’s Impressions (the third solo album by Riverside’s Mariusz Duda) will satisfy those addicted to haunting, ethnic-tinged soundscapes. On a more traditional note, Derek Sherinian’s Oceana presents a solid example of guitar- and keyboard-based progressive fusion, which spotlights ensemble playing rather than individual displays of technical fireworks.

The 2011 releases that feature vocals as an essential part run the gamut from experimental to melody- and song-oriented. Big Block 454’s quirky Bells and Proclamations, and another couple of AltrOck releases – The Nerve Institute’s multifaceted Architect of Flesh-Density, and Dave Willey and Friends’ moving homage to Willey’s father, the beautiful Immeasurable Currents (review forthcoming) – are outstanding instances of the first category. More in a jazz than a rock vein, Boris Savoldelli’s Biocosmopolitan showcases the Italian artist’s superlative vocal technique, all the while offering music that is eminently listenable and upbeat. The ultra-eclectic Zappa homage that is Electric Sorcery’s Believe in Your Own Best Friend throws a lot of diverse influences into its heady mix of outrageous storyline and constantly challenging music. On the other hand, Man On Fire’s Chrysalis is a blueprint for modern “crossover prog”, seamlessly blending the accessibility of Eighties-style quality pop with some seriously intricate instrumental work; while fellow 10T Records band Mars Hollow make a true quantum leap with their second album, World in Front of Me, which follows in the footsteps of early Yes in terms of successfully marrying gorgeous pop melodies with instrumental flights of fancy. However, the crown for 2011 in the realm of “mainstream” progressive rock goes to Phideaux’s magnificent Snowtorch, an incredibly dense concentrate of haunting vocals, memorable tunes and thought-provoking lyrical content.

Some landmark albums released during the past year are at least tangentially related to progressive rock. In all probability, my personal award of most played album of the year should go to Black Country Communion’s 2, a more mature, well-rounded effort than its barnstorming predecessor. Thanks to the Glenn Hughes-led quartet, classic hard rock is undergoing a renaissance, with a recognizable yet subtly updated sound. BCC guitarist Joe Bonamassa’s latest opus, Dust Bowl, while not revolutionary in any sense, features scintillating guitar and soulful vocals in its modern treatment of time-honoured blues modes. In a completely different vein, Kate Bush’s ninth studio album (not counting the rather controversial Director’s Cut, released a few months earlier), 50 Words for Snow, shows an artist that still possesses the ability and the power to surprise her followers. English contemporary classical ensemble North Sea Radio Orchestra’s I A Moon (one of the year’s biggest discoveries for me, thanks to a friend’s recommendation) offer a mesmerizing blend of Old-World folk, avant-garde and academic chamber music that is, in many ways, much more progressive than the slew of cookie-cutter acts so revered in prog circles.

Some other albums, while not quite making the cut, have attracted enough of my interest, and are very much worth checking out: AltrOck releases Sanhedrin’s Ever After, Abrete Gandul’s Enjambre Sismico, Humble Grumble’s Flanders Fields, Factor Burzaco’s II and October EquusSaturnal, Ozric TentaclesPaper Monkeys, CopernicusCipher and Decipher, and From.uz’s Quartus Artifactus; for the more conservatively-minded listeners, The AnabasisBack From Being Gone, La Coscienza di Zeno’s self-titled debut, and TCP’s Fantastic Dreamer also deserve a mention. There have also been a number of albums that, even though heard superficially, and mainly in the final weeks of the year, have left enough of an impression to make me want to write about them at some point – chief among those, Discipline’s To Shatter All Accord.

As I anticipated at the opening of this essay, my readers will be sure to notice some glaring omissions from this overview. The most noticeable ones  are probably Jakszyk Fripp CollinsA Scarcity of Miracles and Steven Wilson’s Grace for Drowning – undoubtedly two of the most highly rated releases of the year. Unfortunately, in spite of repeated listens, neither album has yet clicked with me, even if I clearly perceive their very high standard of quality. Though I hesitate to use the term “disappointment”, The DecemberistsThe King Is Dead did not resonate with me in the same way as its predecessors; its songs, however, acquired a new dimension when performed live.

Some other high-profile 2011 releases have failed to register on my personal meter. Such is the case of Opeth’s Heritage, Karmakanic’s In a Perfect World, and White Willow’s Terminal Twilight – all excellent albums, but lacking in that undefinable “something” that would kindle my enthusiasm. Others (such as Wobbler’s acclaimed Rites at Dawn or Glass Hammer’s Cor Cordium), though in no way displeasing to the ear, are too staunchly, unabashedly retro to truly impress,. As to YesFly from Here (possibly the year’s most eagerly awaited release), I am not ashamed to admit that I have refused to listen to it – even though I own most of the band’s back catalogue, and their earlier albums get regular spins in my player. With up-and-coming acts struggling to get their music across, I believe that spending too much time on the interpersonal dynamics of a band that do not particularly need to be supported is quite detrimental to the scene as a whole.

Some other albums that have been very positively received (at least by part of the fandom) have escaped my attention completely, in some cases for lack of interest (Dream Theater’s A Dramatic Turn of Events), or simply for lack of listening opportunities (Agents of Mercy’s The Black Forest, Mastodon’s The Hunter, Van Der Graaf Generator’s A Grounding in Numbers, The Tangent’s COMM, among others). Hopefully I will manage to hear at least some of those discs in the near future, and possibly write reviews of them. With the overwhelming quantity of music released in the past year, the very concrete danger of getting burned out (and therefore becoming unable to appreciate anything at all) is always lurking around the corner.

2011 has also been an outstanding year for concerts, as witnessed by the live reviews I have published in these pages. Besides seeing my beloved Blue Oyster Cult not once but twice (after a 25-year wait), I was treated to an outstanding edition of ProgDay, a stunning “goodbye” performance by Phideaux at the Orion Studios, the electrifying Two of a Perfect Trio tour, and the highly successful one-off CuneiFest (to name but a few). While the NEARfest cancellation cast a pall on the prog scene for some time, bands and artists are still doing their best to bring their music on stage for the benefits of those fans who still love to attend live shows.

Unlike other sites, I will refrain from mentioning “prog personalities”, or awarding any other such dubious prizes. As I previously stated, the whole point of this piece is to encourage people to delve into the abundant musical output of the past year, especially in regard to those lesser-known acts that deserve more exposure. With a few highly-awaited releases already in the pipeline for the coming months, it remains to be seen if 2012 will be able to keep up with its predecessor. On behalf of the survival of non-mainstream music, we all hope this will be the case.

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After pulling off the remarkable feat of bringing two progressive rock legends such as Magma and Univers Zéro to Washington DC for the 2010 edition of the Sonic Circuits Festival, cult independent label Cuneiform Records has done it again. Even if November is generally not as thriving on the live music front as the spring and summer months, the label has brought excitement to fans of genuinely progressive music (of both the rock and the jazz variety) with two events: Cuneiform Curates the Stone, a series of concerts taking place from November 15 to November 30 at John Zorn’s avant-garde space in NYC’s East Village, and a more concentrated, two-day bash aptly called CuneiFest, organized on November 19-20 at the legendary Orion Studios in Baltimore.

While RIO/Avant-Prog (as the subgenre is often called for ease of reference, though somewhat inaccurately) does have a hard core of dedicated supporters in the US, it lacks the following it enjoys in Europe, where the Rock In Opposition Festival, organized in southern France in September, has now reached its fourth edition. The presence of one or more bands identified with this particular subgenre is guaranteed to send people literally running for the exits at any US prog festival, and even the bigger names like the above-mentioned Magma or Univers Zéro have often proved controversial. No one, therefore, expected crowds of hundreds of people to show up at the Orion on Saturday, November 19. Indeed, Cuneiform mainman Steve Feigenbaum had put a mere 65 tickets on sale, and expected to sell no more than exactly that number. I am happy to report that Rock Day was sold out:  the small, cozy space of the Orion was nicely filled by people convened from various parts of the country, as well as farther afield (like Israel and Norway), comfortably sitting on the chairs provided by the Cuneiform crew. On each chair a bright yellow flyer was draped, containing detailed information not only on the day’s schedule, but also on the surrounding area (as well as the lunch and dinner menu).

For such a small, family-run enterprise, the Cuneiform team (consisting of Steve, his wife Joyce and her right-hand man Javier Diaz, both in charge of the promotional department, plus various interns) did an extremely impressive job in organizing the day. The main stage area was not as cluttered as it usually is when people bring their own chairs and coolers, leaving hardly any room to move around, and the lights festooning the walls created a festive feel in that small, high-ceilinged space. As the Orion is located at the far end of an industrial park, with very few amenities within walking (or even driving) distance, the organizers had contacted a local Italian restaurant in order to make a selection of food, both hot and cold, available to the attendees for a very reasonable price – set up buffet-style in the space opposite the Orion’s main body. The beautiful, relatively mild weather encouraged people to eat their lunch outside, enjoying the sunshine and the community atmosphere already inherent to most Orion events. To me, music and food are a quintessentially perfect pairing, and the convivial aspect was one of the highlights of the event, providing the attendees with the opportunity to chill out and socialize after each intensity-packed set.

The six bands selected for the Rock Day emphasized the amazing diversity within a subgenre that is all too often dismissed as over-intellectual (even within a non-mainstream genre like progressive rock) or just plain noisy. While none of those bands could ever be described as catchy or accessible, and very clearly not everyone’s cup of tea, most of them belied the fearsome reputation of avant-prog as a bunch of  purveyors of jarring, melody-free fare. All of them were also homegrown, hailing from such diverse environments as Colorado, New York, New England and California – a very significant move on the part of Cuneiform, and probably not just motivated by the inevitable financial considerations. In spite of many US prog fans’ obsession with foreign bands, it is easy to forget that in a such a large country, especially in these times of economic strictures, witnessing a performance of any act based on the other side of the country, or even a couple of states away, is anything but a frequent occurrence.

Steve Feigenbaum opened the festival, greeting the audience and introducing the first band, the quaintly-named Alec K. Redfearn and The Eyesores – one of the projects in which Redfearn, a singer-songwriter from the historic New England town of Providence, has been involved for a number of years. The six-piece that graced the Orion stage  had one of the most distinctive configurations I have ever seen in progressive rock, actually featuring almost no typical rock instrumentation. With contrabass, horn, organ, percussion and assorted objects, and the accordion (played by Redfearn himself) used as a pivotal element, the band’s profoundly fascinating sound possessed an unmistakable Old World flavour. Out of the six bands on the lineup, they had the highest melodic quotient, though a subtly skewed kind of melody, with a mournful, hypnotic quality intensified by the drone of Orion Rigel Dommisse’s organ and her plaintive vocals. While the strong folk component of the band’s music reminded me of modern acid-folk outfits like Espers, with hints of The Decemberists (especially as regards the Americana element and the dark lyrical matter), the many different ingredients of such a heady musical mixture made it quite unique. The longish, complex songs were surprisingly easy to follow, with “Wings of the Magpie” coming across as a particular highlight. Alec K. Redfearn and the Eyesores are a band that I would wholeheartedly recommend to anyone willing to dip their toes in the avant-prog waters, but still find the prospect somewhat daunting.

When, after an half-hour break for more socializing and refreshments, Los Angeles quartet Upsilon Acrux took to the stage, the contrast with the previous set could not have been greater. In an evening that presented a number of interesting band configurations, Upsilon Acrux’s minimalistic two-guitar, two-drummer approach easily won first prize – at least in the sheer energy and volume stakes. Having reviewed the band’s most recent album, 2009’s Radian Futura, I knew what to expect – an angular, dissonant aural onslaught, with enough manic energy coming out of the two drummers (Dylan Fuijoka and Mark Kimbrell) to light up a whole town, and a conspicuous absence of melody. In fact, Upsilon Acrux delivered a 30-minute performance that – while riveting to watch, particularly on account of the drummers’ uncanny precision in laying down jaggedly intricate patterns in perfect unison – bordered dangerously close to white-noise territory. The two guitarists, founder (and only constant member in a band known for its revolving-door policy) Paul Lai and his sidekick Noah Guevara, churned out slashing, piercing chords of almost unbearable intensity. It was math-rock in its purest form, so brutally intense to make the likes of Don Caballero sound tame – and, needless to say, it left a sizable part of the audience rather perplexed. Even those who listen to RIO/Avant-Prog as a matter of course found the band’s uncompromising approach a bit hard to take, and almost everyone agreed that a longer set would have discouraged at least some of the attendees. The band’s somewhat dour presence, with little or no interaction with the audience, also seemed to parallel the spiky, bristling nature of their music. On the other hand, Upsilon Acrux were definitely worth watching (albeit in small doses), and an excellent addition to a lineup that showcased the wide-ranging musical offer to be found under the Cuneiform umbrella.

Next on the bill were New York-based quintet Afuche, who had recently released their first album, Highly Publicized Digital Boxing Match. In a way, the title is an accurate representation of the band itself – another high-energy outfit, though imbued with a sheer sense of enthusiasm, as well as a distinct Latin flavour (the band’s name actually refers to a very distinctive percussion instrument used in Latin jazz). Their 30-minute set, while full of sonic clashes and crashes, was also spirited and entertaining, with a charismatic focal point in keyboardist/vocalist/percussionist Ruben Sindo Acosta – a wiry, diminutive dynamo with a rakish mustache and a curtain of black hair, jumping up and down when pounding the keys of his rig, or bashing his drums with unadulterated gusto. His facial expressions were a sight to behold, while his vocal style owed a lot to traditional Afro-Cuban music, though infused with a manic energy all of his own. Saxophonist Andrew Carrico also cut quite an interesting figure – tall and lanky with long hair and an impressive mustache, wielding his blaring baritone sax with a bit of a swagger, while guitarist Zach Ryalls, bassist Denny Tek and drummer Ian Chang (all three looking very young) kept a lower visual profile, though laying down the groundwork for Ruben’s unflagging energy and showmanship. With plenty of groovy, infectious rhythms and a genuinely omnivorous attitude, Afuche were for many the true revelation of the evening.

New York power trio Zevious had been one of the highlights of ProgDay 2011, so I was looking forward to seeing them again – as were those in the audience who had also attended the North Carolina festival in September. Those expecting a repeat of that astonishing Sunday-morning set, however, were in for a treat, because the band’s CuneiFest set felt markedly different – as tight as ever, but with a sense of almost claustrophobic intensity derived by the indoor setting. In the compact, dimly lit space of the Orion, the unrelenting, yet seamlessly flowing stream of music produced by the band’s three members created a veritable wall of sound,  endowed with a mesmerizing quality akin to the best King Crimson instrumentals, with hints of the primeval heaviness of Black Sabbath in the slower passages – always loud and powerful, yet never one-dimensional (unlike Upsilon Acrux no-holds-barred assault). While my playful description of “King Crimson on steroids” might be fitting in some ways, Zevious are definitely much more than that. Possibly taking to heart my criticism about their lack of interaction with the audience at ProgDay (mostly motivated by the early hour and the unfamiliar situation of playing outdoors and in broad daylight), they had gained in terms of both mobility and communication, the triangular shape of the stage perfectly suited to their configuration. Drummer extraordinaire Jeff Eber, the powerhouse at the heart of Zevious’ sound, propelled the music along with a smile on his face, his stunning polyrhythms meshing with Johnny DeBlase’s muscular bottom end and the electric fireworks of Mike Eber’s guitar. All in all, it was an almost career-defining performance, and the festival’s finest hour as far as I am concerned.

After such a scintillating set, dinner break was upon us, giving the audience a much-needed respite and more opportunities for bonding before plates of tasty food. Then, at about 7.20 (almost right on schedule), Hamster Theatre begun their set, enthusiastically introduced by Steve Feigenbaum – who pointed out that the band had only performed three times on the East Coast since their inception, almost 20 years ago. Based in Colorado, the band shares three members with headliners Thinking Plague –  multi-instrumentalist (and founder) Dave Willey, guitarist Mike Johnson and vocalist/reedist Mark Harris – so it is not surprising to hear similarities in their sounds, which share a highly eclectic bent. However, the foundation of Hamster Theatre’s music – mostly instrumental, unlike Thinking Plague’s – lies in folk, as the central role played by Dave Willey’s accordion shows quite clearly. Their set started in a rather subdued, almost soothing fashion, than things became gradually more complex, with jazzy touches creeping in, and then all of a sudden evoking reminiscences of Univers Zéro and their eerily mesmerizing brand chamber-prog. In spite of the problems caused by a dodgy guitar amp, the set flowed on smoothly, each instrument finely detailed, the sharpness of the guitar tempered by the wistful tone of the reeds and. Hamster Theatre’s music sounds big and often upbeat, with a strong Old World flavour and unexpectedly spiky moments. Even if my appreciation of their set was somewhat marred by the sleepiness that inevitably follows a meal (I am also much more of a morning than an evening person), I was impressed by the fine balance of eclecticism and discipline in the band’s music, and also by their warm, engaging stage manner, as befits seasoned performers. While, with the exception of  bassist Brian McDougal, the band members  performed sitting down, the lack of physical dynamics was amply compensated by the agile versatility of the music.

Highly awaited headliners Thinking Plague took the stage almost 20 minutes late on schedule because of soundcheck-related problems. They also had to contend with another emergency situation – the illness of singer Elaine DiFalco (who has been a member of the band for the past four years), who, however, soldiered on, dosing herself with aspirin in order to be able to perform (albeit in a limited capacity), and taking a bottle of water on stage with her in order to keep her vocal chords hydrated. As a teacher, I could relate to her plight quite well, and could not help admiring her mettle. Petite, with a striking, high-cheekboned face, Elaine possesses a surprisingly commanding stage presence, her husky, well-modulated voice oddly seductive though light years removed from the trite clichés that so many female singers feel obliged to follow. Before the festival, I had heard her on Dave Willey and Friends’ stunning Immeasurable Currents, and had been deeply impressed. Though I have some reservations on the way her haunting vocals fit into the multilayered texture of Thinking Plague’s music, I am sure the less than ideal conditions in which she performed contributed to my impression. Never the most prolific of outfits, they are releasing a new studio album (the first since 2003’s A History of Madness), titled Decline and Fall, in the early months of 2012, and the Orion set provided them with a great opportunity to showcase some of their new material, as well as some of their older compositions. Among the über-eclectic, intricate bulk of Thinking Plague’s output, there was also time for the humorously-introduced, never-played-before “The Fountain of All Tears”, a slow-burning ballad in 4/4 that very few would associate with one of the dreaded “Avant” bands. With legendary drummer Dave Kerman having relocated to Switzerland, the drum stool was occupied by Robin Chestnut, introduced by Mike Johnson as the only band member under 40;  he also joked about Robin’s forthcoming Ph.D in Mathematics, which makes him the ideal drummer for a band like Thinking Plague. Keyboardist Kimara Sajn manned his rig with an unobtrusive but engaging mien, his delight in music-making obvious from his body language. I was barely acquainted with the band’s output before the festival, and their set encouraged me to delve into their back catalogue.

By way of a conclusion, I would like to stress that, as good as all of these bands are on CD, the live setting really makes their music come alive, and also gives them a more “human” dimension that helps debunk the myth of their brainy inaccessibility. For all their dedication to the production of challenging music, these are people who, first and foremost, enjoy what they do, and obviously love being on stage as much as any “mainstream” rock band.

All in all, it was a wonderful day of music and social interaction with like-minded people, and the perfect way to spend the third anniversary of my arrival in the US – even though my husband was unable to share it with me because of work commitments, which also prevented us from attending the  festival’s Jazz Day. My sincerest thanks go to Steve, Joyce and their tireless team: though all of them were looking quite exhausted at the end of the day, their happiness and satisfaction was also palpable. The gorgeous (and delicious) layer cake served just before the Thinking Plague set was a very nice touch to celebrate the effort and care that had gone into the organization of the event. Kudos also to Mike Potter and his collaborators for the state-of-the-art sound quality of each performance, and also for getting the Orion premises in tip-top shape.  Even if it will very probably remain a one-off, CuneiFest will be long remembered in the annals of the US progressive rock community as the very embodiment of the old “small is beautiful” adage.

Links:
http://www.cuneiformrecords.com

http://bkrstk.com/alec-k-redfearn-and-the-eyesores/

http://www.myspace.com/upsilonacrux

http://www.myspace.com/afuche

http://zevious.com/

http://www.generalrubric.com/hamster/main.html

http://www.generalrubric.com/thinkingplague/main.html

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