After a short break – on to 2016

Today I realised it’s been over a month since I posted anything here, and the last post wasn’t even a review. I have been reviewing, for other sites, and I’ve been busy with other music related activities (more on that in future posts). This year, 2015, was a bit of a special year for me, in many ways.

Daniel

A year in which I had a lot of time to spend on music and other things that are supposed to bring joy and happiness. Not entirely because I wanted to, but some rebalancing was in order. Now that that is almost behind me, it’s important to maintain the balance I have found. Therefore, next year will still see me reviewing albums and writing (about) music, but the number of reviews and posts will be limited. Before Christmas, I’ll try to catch up with about 10 reviews and 1 or 2 articles I want to finish this year. After that, I will limit my reviewing to one album per 2 weeks, so 26 at most in 2016. For the time being, this is what I do next to work and all the other chores live comes with, and limiting my reviews in that way will allow me to make the reviews more useful, and it frees up time to work on other things, like background articles, my own musical endeavours and (gig) photography.

So, over the next two to three weeks, a bunch of reviews will appear, as well as the articles I referred to, and after that – you’ll see what happens, but I will be here at least once every two weeks with something new.

Pin Ups? Yes, Pin Ups

The first 42 years of my life I largely ignored the fact that a Mr. David Bowie existed. The reason was very simple: at the time I was a teenager getting into the likes of Van Halen, Iron Maiden and Metallica, he came up with songs like Let’s Dance and Little China Girl. Not bad, but certainly also not what a ‘guy like me’ was looking for. The only song that did somewhat hit home with me was Space Oddity, captivating as it is.

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About a year ago, that changed, as I was introduced to his older materials, through songs like Five Years, Rock ‘n Roll Suicide and the somewhat more recent Sound and Vision and Station to Station. Those I liked so well, that after some (well guided) touring of Youtube and Spotify, I ended up hunting down his first 14 albums on vinyl. No need for original pressings, but these I needed with big sleeves, lyrics sheets and the whole thing. Just to have something to hold while listening to some brilliant music that had escaped me for too long.

So, tonight I feel like listening to some of that again, and I had random.org pick a number from 1 to 14 for me. Outcome: 6. Corresponding album: Pin Ups. Interesting, an album full of covers that received, and still receives mixed responses. Not surprising, given that it was released not long after Bowie decided to kill his break through character Ziggy Stardust, by one evening simply announcing to his audience and band that ‘this will be the last performance of Ziggy Stardust’. A cover album, as follow up to such massive success? Well, I enjoyed a large part of it last time I played it, and so I will enjoy it again tonight. In between all the attention that goes to the little ones in the shadows, tonight it is time for a very big one.

On ratings and reviews

A few months ago, I thought it was a good idea to add some ratings to my reviews, in order to give people a feel for what to expect without having to read the full review. That felt paradoxal, because on one end I write the reviews, and at the same time I devised a way for people not having to read them. Yet, I did include the ratings for some reviews.

Looking at ratings as such, I’ve always had mixed feelings about them, mainly because of the way they are interpreted.

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As an example: I started reviewing and rating when I was a very frequent member (and at some point admin) on ProgArchives. There, the most common ratings are 3, 4 and 5 stars when it comes to reviews. 1s and 2s are given, but not often (at least not by the serious reviewers). These ratings have a meaning too. Five stars means a master piece, four stars is a good addition to a prog collection and three stars is good, but non-essential.

The problem that is often discussed around this system is that, like on sites such as RateYourMusic, the scale of 5 stars is a linear scale, like a grading system in school, and a lot of reviewers and readers on ProgArchives interpret it in that way. That leads to asking for half stars and other ideas that don’t fit the definitions – which cannot simply be changed after 12 years of building that site. Other sites have similar issues.

Using a linear system also doesn’t really work for me, because it doesn’t tell you much without additional context. Context in the sense of e.g. style or genre – a 9 for a symphonic rock album is given for a different reason than a 9 for a progressive metal album or an experimental industrial album. Readers judging by the score will not get any information without looking at the rating in context. The context of style or genre helps, but (again using ProgArchives as an example) definitions of these are also subject to discussion, so it’s still not a pure system.

Finally, a single rating doesn’t work for me, in the way stars and linear scales are used. An album, certainly in the progressive rock realm, to many people (including yours truly) is a combination of music, lyrics and physical packaging, where the most interesting part of the packaging is the art work. In that sense, three forms of art are combined, and on top of that, the music itself can be well composed and played, but production is important as well. Putting all of that into a single number is very hard, so I though a separating rating for music, lyrics, artwork and production, with a description of the genre would be a good idea – which is what I introduced in July.

However, in the end I decided to remove it again, because it is very hard to do when albums are delivered in digital form, or without lyrics sheet. Do you give a low rating in that case, or a n/a, and what does that mean for the overall score – questions like that distract me from what it is really about: the music, the artwork, the product of the band.

So, instead of that rating system, I set up something very simple now. From now on, with each review I include a 2 point summary: an indication of the style of music, by tagging the review with applicable styles, and an advice on getting the album. When combined, this can be read as: if you like this style of music, this is my advice. An example is included in the gray box on the right. [acfw id=2]

The tags speak for themselves, the advice can have three values: Try before you buy, Recommended and Highly recommended.

If a reader needs more context than that, they can read the entire review, or the closing paragraph that contains the reasoning that leads to the summary. I’ll do the same for reviews I do on other sites, but there the advice will be translated into a rating that matches their rating system.

I’ve included the boxes for all my reviews since the beginning of June already, others will be done as soon as I can.

Kalle Vilpuu – Silver Linings

Over the past 9 months, I wrote quite a few reviews and had many discussion with people about music. One topic that keeps coming back is the role of vocals. They have mixed role – both telling the story through lyrics, and adding something musical by their melody. However, when they’re absent, music can still tell stories, which is what Estonian guitarist Kalle Vilpuu proves on his album Silver LiningsThere are a few voices to be heard on this album, but only to support the music, where needed, without lyrics. [acfw id=2]

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Instead, we are treated to eleven instrumentals, each of which tells a story in the music, with Kalle’s guitar of course being the main instrument. However, because Kalle is not the typical guitarist who wants to shred and show off, far from it, it works out in  rather surprising way. Some of the tracks (Anomalies, Interno, Silver Lining) have an atmospheric – or as he calls it himself esoteric – sound, building soundscapes on keyboards (played by Kalle himself) that are a bed for melodic guitar tunes and well thought out solos. Where needed, flute and violin are added to contribute to the intended atmosphere.

In contrast Industrial No4 is exactly what the title suggests – an industrial influenced track that mimics the sound of machines in the music, with metal like guitar riffs. In the Back of My Head has a little bit of that, but is much simpler and allows Kalle to lay down a guitar piece that he refers to as ‘philosophising on the guitar’Trapping is another example of a mix of industrial and melody – with some surprising changes in rhythm and melody.

The tracks Rosie (dedicated to Kalle’s daughter) and Touch of an Angel are the softer ones on the album. On the latter, the instruments are mixed back to only support the wordless vocal, making it almost a meditative song.

An interesting exercise in sound finally are the twin songs Unforgiven and Forgiven. One is about mistakes by loved ones that can’t be forgiven, while the second reflects a more forgiving mood. The guitar, fluit and the changes in atmosphere are a challenge to interpret knowing this background.

Production and sound wise, Kalle Vilpuu has taken care of things quite well. Guitars were recorded through real amps, never directly into a mixing panel, and on every track the intended balance between the instruments (and occasional vocals).

Overall, this album is a hidden gem, until he send me a copy I had never heard of Kalle Vilpuu, and over the past few months I found that this applies to others as well. A pity, because anyone who can appreciate a modern piece of not straight forward rock music will find something in this album.

Now Angelo’s Rock Orphanage is complete – ready for action

I finally got around to doing something that needed doing a while ago – get my site at the right location, http://www.angelosrockorphanage.com. Old blog links as posted on Facebook, Twitter and ProgArchives will be redirected automatically.

In cooperation with WordPress, sharing statistics will be transferred from the old to the new site on short notice.

And most important, Sonia Mota, known for the artwork of Corvus Stone, Progeland and Oceans 5 provided me with the perfect new site banner. Thank you very much, Sonia, I owe you.

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Night of the Prog X 2015, the third and final day

And with the third day, the festival came and went. But what a wonderful day it was – the day of instrumentals, dynamic bass players (Special Providence, Steven Rothery, Pain of Salvation and Steve Hackett had those) and a crowd that didn’t care about a bit of rain in the afternoon.

Daniel

When I arrived, Special Providence just finished their soundcheck and were ready to surprise us. An instrumental quartet from Hungary, who got the attention of the audience by combining riffs, great guitar tunes and (partly fretless) melodic bass playing. For lack of a vocalist, the bass player made sure he was all over the stage. I had heard of this band before, but seeing live conincved me that this band deserves a lot of attention. The fact that they sold out their CDs within an hour after the gig says it all. Next time, bring more, guys. I’ll probably go see them again when they support Neal Morse at the Boerderij in Zoetermeer.

Then IO Earth was on. Female fronted, close metal but with room for more – you have to if you bring a violin player and a flute player. The band put down a show with great music, and wonderful vocals. What surprised me though was that a large part of the set their singer was back stage while the band played instrumentals. It felt a little bit unbalanced, but given the reactions, the audience didn’t have a problem with it.

After these two relatively new bands, the stage was for four older acts, starting with Kaipa da Capo, headed by guitar mastermind Roine Stolt. He announced the band and started by saying ‘we’ll make some noises and that will develop into the first track’ – which they did. A nice show they put on, with music from the 70s that still doesn’t feel old.

Who also isn’t old yet, at least judging by his face, is Steven Rothery. Experienced as he is with audiences, he had no problem getting the audience’ attention. Even a short heavy rain pour just before the start couldn’t drive his fans away. Starting with some of his own instrumentals, half way through the set he brought on the singer of a Marillion tribute band (I have to look up the guys’s name soon) in order to play a few pieces of Misplaced Childhood, Slainte Mhath and one of my personal favourites Sugar Mice. I got my ‘childhood’ on the second evening, but this additional bit really came home.

Pain of Salvation is a band I discovered for real only about a year ago. I never really investigated them until then, which I regretted as soon as I started listening. Daniel Gildenlöw is of course the musical (and visual) center of this band, no matter how often the line up changes. He knows how to write his music, how to play it and (as he showed here) how to get an audience going. Due to a sound problem after 30 seconds, the band had to start over, which they did by ‘going backstage, we’ll come back and you pretend it’s the first time. This time we’ll come on really cool!’. Great musicianship, nice dialogs with the audience and a band that breathed energy on stage – what more can you want? Oh yes, my pic of the day of course, as shown above.

Closing act of the festival was Steve Hackett, playing Genesis Revisited for the last time, with Nick Beggs, Nat Sylvan and other great musicians. There I did the same as with Fish – take pictures half an hour and then go up the hill to just enjoy the music. All Genesis classics came by, in a slightly modernised jacket, but reliving the moments that I missed because I was only 4 years old when Genesis reached their (prog) peak. I vowed not to buy CDs at the festival – in case of Special Providence I wanted to break that vow but came too late, with Steve Hackett I did break it, and got the Royal Albert Hall CD of this tour. The highlight for me was Pain of Salvation, but what Steve Hackett gave us was the perfect closing act for the Night of the Prog 10th anniversary.

Thanks to all the bands, and to the organisers – I will be coming back to this festival and wonderful venue for sure.

Night of the Prog X, Day 2

Today was the day I had been waiting for – the day I had come to Night of the Prog X for. Read on and you’ll find out why… the picture I picked today is a bit of a giveaway…

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First of, I have to admit that although 7 bands were scheduled today, I only heard 6 of them. Due to another appointment, I missed Luna Kiss. I’ll have a listen at their album later to find out what they are about, today I missed them – I arrived at the Freilichtbühne during Haken’s soundcheck.

Although early in the day, Haken were ready for a good show. Their heavy progressive rock went down quite well with the present audience, and they easily filled their slot. Heavy riffs and nice vocal harmonies (real ones here, not lead and backing vocals) are an interesting combination. Someone referred to them as a heavy version of Gentle Giant. That may be a bit far fetched, but the combined vocals do have some hints of what GG did in the past.

After Haken, the stage was for Sylvan, a German act from Hamburg who have played NotP 5 times before. With a seventeen year old guitarist and a manic bass player, they managed to win this home match easily. Classified by some as neoprogressive, they certainly aren’t an 80s Marillion or Pendragon copy. In fact Sylvan sounds far more modern and varied than that. The guitar and keys power the band, the bass player owns the stage when playing live. I’m not too familiar with their work, but what I heard today was certainly inviting.

Around diner time, Lazuli from French was the main occupant of the stage. A wonderful band, with a very own, rather heavy sound – partly thanks to the léode, a synth like instrument that looks as if it is played like a Chapman stick, but it has no strings. With the lead and a guitar playing duo leads, and the vocalist playing a third guitar, a lot is possible – certainly when taking into accounts the keys and percussion. On stage, the band put on an energetic show, with lots of interaction on stage and with the audience. If you love music, having people like this on stage can make your day.

The Enid followed. A completely different beast than the preceding bands. Founded in 1972, with only one original member remaining, the band plays symphonic prog that resembles musical music – an impression strengthened by the stage act of the vocalist. A mix of a musical star and a young Freddy Mercury probably describes him best (also when it comes to vocal range). I can enjoy musical and symphonic prog, but today this was a bit much for me – although the band played very well and tight.

So, after leaving The Enid half way through, I went for a walk and could still hear them outside the venue. Until I dosed off that is, and was awoken 15 minutes early by the sounds of Riverside reaching my ear. I rushed back to the photographers corral in time to catch most of their opening track. Riverside put on a heavy prog show in the way they are known for – a tight ship, run by bass master captain Mariusz Duda, a beast unleashed on stage. Old and new material were mixed, and receive with great enthusiasm (including mine).

And then, finally, the moment I had been waiting for. Fish was here to play Marillion’s Misplaced Childhood live, as part of the 30th anniversary tour for that album. Since one of my favourite live videos is Marillion’s Live at Loreley in 1987, this is what got me to buy a ticket to the festival.
Fish opened with a few of his won tracks, including Feast of Consequences. Then he announced Misplaced Childhood, and the band played it integrally, without interruptions. I decided to do what I had been wanting to do after getting a ticket and before getting my photo pass: I quit photographing after Lavender, went up the hill above the amphitheatre and sat down in the grass, enjoying the music. It wasn’t entirely up to expectations – Fish’ voice has know better times, and some songs seem to be played in a slightly lower key (probably for the same reason). However, I decided to not let that disturb me – and it worked.
After completing the album, the band played Market Square Heroes and said goodbye. Wanting to avoid traffic, I left quickly and to my surprise I could walk to the car on the tunes of an encore, The Company. Pity I missed that? No, I had my wish fulfilled.

On to day three now, but first – sleep!

Night of the Prog 2015, The first day!

And Friday’s gone at Loreley… And what a Friday it was. No Murphy this time – my photo pass was there, the photographers corral in front of the stage was well guarded by a huge (Polish?) security guy and everything worked out pretty well. The weather was a bit too hot, 35 celcius, but who cares when they get treated to a day of music like we had today. Wifi is still broken so I’ll limit the amount of photos to 1 and will do the same tomorrow and Sunday – to save money on my mobile phone network connection. An overview of the best pics of the festival will follow within about a week, to make up for this.

Dutch band Lesoir was a pleasant surprise. I had heard about them, in a positive way mostly, but had not gotten around to checking them out. Metal? Perhaps, perhaps not. I heard some pretty heavy riffs, but also Porcupine Tree or Sylvium like sounds, and the flute of vocalist Maartje Meessen may be made of metal, it certainly isn’t a typical metal instrument. They took care of the not always thankful job of opening the festival, in a brilliant way. The not yet complete audience was happy enough to cheer them on.

After Lesoir, Beardfish from Sweden took us along among others their albums Sleeping In Traffic Pt2, The Void. and their latest +4626-COMFORTZONE. Rikard Sjöblom showed up in a Hawaiian shirt and led the band through a great and energetic set. Their bass player is the the scariest person I saw on stage today, but also very energetic and full of movement. If not the most energetic bass player of today, then he is only second to Johan van Stratum of Gentle Storm.

Gentle Storm, who came on third, are headed by Anneke van Giersbergen, who’s voice was ‘fucked’ as she said herself. With the help of backing singer Marcella Bovio, she managed to play the full set anyway. I saw this band three times now, the first two were the opening gigs of the Diary tour, in Amsterdam and Ittervoort. In these four months, the band has become tighter and their performance breads fun and friendship, the interaction on stage is amazing. Still, third time, same set (albeit somewhat shortened today) is a bit of a let down for me personally, but the audience definitely enjoyed it.

Another band that usually is good for fun and partying is Pendragon, with captain Nick Barrett taking centre stage. With their latest album, they’ve moved to slightly darker course, which showed also in the show today – but it was still the normal, well performed and uplifing Pendragon we saw and heard.

After Pendragon, the two acts of which the most was expected took the stage – first the Neal Morse band, with Mike Portnoy on drums and then Camel.

Neal Morse is a man I know from Spock’s Beard, and due to his views on life, I never bothered checking out his ‘solo’ works. What a mistake that turned out to be. The band came on stage and blew me out of my shoes with energising instrumentals, brilliant vocal harmonies and none of the preaching I had expected. The only time the word prayer was used, was when Neal dedicated a song to a girl who had a stroke and was taken to hospital during the festival. Can’t blame him for that, can I? The picture below is from Neal Morse’s show, at some point he simply ran into the audience and started hugging people. He had visited the audience earlier also, but from within the photographers area, the second time he went outside.

Funny detail: I had Mike Portnoy dead center in my lens the first time, and he seemed to have noticed that. He pointed to my left, just before I shot my pic, to Neal running past me – as if hinting me to a different target.

After Neal Morse, the closing act of the day was Camel. A band from the seventies, that I know from albums like Nude and Mirage, but some of their older tracks are much more worthwhile – e.g. Snow goose or Lady Fantasy, and top of the bill the instrumental guitar track Ice. The latter two were part of this show, which I enjoyed while having a very late dinner (just before midnight), and without being too focused on the setlist. That was easy to do, because we were directed out of our photo pit after three tracks. No more picture taking (and no filming at all), per request from Andy Latimer himself (just like on other dates of the current tour). Nevertheless, a worthy closing act, because in the end it is about the music, and Ice is breath taking, always.

Off to bed now, and on to tomorrow….

Night of the Prog, the morning before…

I arrived on Thursday night, with my mind set on a very busy schedule – three days of prog bands live, and me having a press/photo pass to cover it for my blog, Background Magazine and ProgPlanet.

I booked a hotel in Kestert, 10 minutes from the Freilichtbühne, and the town was crowded with prog fans – the two restaurants and the three guesthouses were full of them. Old, young, fat, skinny, male, female, but most of all recognisable through t-shirts, hairdo and the occasional tattoo that seem to mark music fans world wide.

The hotel WiFi gave up at 11PM on Thursday night, so while I type this I have no clue whether I can post it to any of the web sites during or only after the festival. The hotel manager is going to fix it, they promised, but he’s not on site right now and I have no clue when he will be….

It’s a Murphy’s law weekend anyway, so we’ll see.  Murphy’s law? Yes indeed, the one that makes things go wrong just because they can. First I forgot my laptop, so I had to go buy another one to be able to type this. I got one, but it doesn’t have an SD card slot, so now I have to get my pictures from the camera through a USB cable. Oh well – it’s not that much slower.

On a plus – while I was at breakfast, the cleaning lady made my bed and even folded up my roadworn jeans from yesterday. Won’t be needing those today, with temperatures going into the 30s in the afternoon…. Let’s take the sun screen, pack the camera’s and get going for a nice first day at Night of the Prog 2015….

Today’s program:

13.30 Lesoir

15.00 Beardfish

16.30 Gentle Storm

18.20 Pendragon

20.30 Neal Morse Band

23.00 Camel

Oh what the heck… it’s text only, so I’ll cannibalise a bit on my 3G data roaming and post this anyway. It won’t hurt much, assuming the WiFi gets fixed today.

Interview: Peter Jones of Tiger Moth Tales

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One of the first albums I reviewed this year was Peter Jones‘ album Cocoon, released under the name Tiger Moth Tales. The day before this audio interview is published online, he release his second album, Story Tellers Part One.

In the interview, Peter briefly (re)introduces himself, telling how he was playing in bands and plays when growing up, and starting 2 To Go with his friend Emma Paine. They played clubs and pubs, which they still do sometimes.

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After releasing a solo album with ‘contemporary adult music’, Peter started writing down ideas he had, which eventually led to the album Cocoon. This album has been quite successful given the niche it was released in 6 months ago, and in the interview Peter tells a bit more about how it came into being and what happened afterwards.

After that, he explains how the quick and largely unplanned successor Story Tellers Part One came to the play, which is quite a surprising story in itself – as story teller Peter will let you hear.

To close it off, we talked about future plans, like new albums, the possibility of touring and a cooperation Peter has with English instrumental prog band Red Bazar.

The audio recording of the interview is included below for streaming, a full written transcript of the interview will appear on Background Magazine within the next few weeks.