I’ve received review copies of three albums by new bands: In
Extremis by Days Between Stations (with guests including Billy Sherwood, Pete
Banks and Rick Wakeman), The New Progmantics by Sarastro Blake (with guests
including Billy Sherwood, Richard Sinclair and Rick Wakeman), and Northumbria
by Aethellis. It's tough being a new band. With so much music so readily
available, the competition is intense and it is difficult to stand out from the
crowd. You might make the greatest music in the world ever, but if no-one ever
hears it... That's even more true in a genre like progressive rock where the
classic bands of yesteryear still dominate fan attention.
So, how can you boost your profile? One way is to establish
a link with better known acts through a guest appearance (something the
Internet has made easier to do). Being able to say that Rick Wakeman, say,
plays on your album gets you noticed. It's a mark of approval from a big name.
Music journalists have something to write about you, the audience takes notice
and sales go up. And, hopefully, at least some of the new listeners attracted by
the guest star will stay for the music you've produced. Not to mention that you
get to make music with your heroes, and learn from an experienced pro.
Two albums out this year following this approach are In
Extremis, the second release from US band Days Between Stations, and The New
Progmantics, the debut from Sarastro Blake, a recording name for Paolo Pigni
who has worked before in Mogador. And let me be honest: the guest star approach
worked on me. Both are good albums, but I probably wouldn't have noticed either
if they hadn't had that hook, guest starring...
But what do you with your guest star? (I know one label that
loves to put the names of guest musicians in the album promo, but is less
bothered if their actual contribution to a track is minimal.) How do you let
them shine, while still complementing your music? It's easier to start with
Sarastro Blake here. The guest list is impressive: Billy Sherwood and Rick Wakeman from Yes,
David Paton from Camel and the Alan Parsons Project, Greenslade's Dave Lawson,
Richard Sinclair (ex-Caravan/Hatfield and the North), Nick Magnus (ex-Steve
Hackett/The Enid), and current Hackett collaborator Amanda Lehmann.
Sarastro Blake offers a pastoral, Romantic (thus the name)
version of prog with this set of enjoyable songs, harking back to earlier
Genesis or Anthony Phillips. Pigni has situated his work in a particular style,
but not so as to obscure his compositional voice. The core band is strong, but
there is room for each guest star to make their distinctive stamp. It's like a
box of cupcakes: you get a nice cake-y bit from the band, but an array of
different icing from the guests.
Days Between Stations is a more complicated affair. This
Californian band consists of Oscar Fuentes Bills and Iranian-born Sepand
Samzadeh. As only a duo, the band have recruited greater involvement from their
famous colleagues. Billy Sherwood is here as almost a third member: he plays
drums throughout, co-produces, mixes, co-writes lyrics and sings. Tony Levin is
the album's bassist. Others appear in a typical guest role: Wakeman and XTC's
Colin Moulding are on one piece each, with Pete Banks on two.
In Extremis was given an unexpected legacy just as the album
was being finished with the passing of Peter Banks. This is one of the last
albums Banks worked on, and the last new recording to feature Banks on more
than a single track. Remembering Pete was not a role planned for this album,
but the band have modestly accepted the assignment. "Waltz in E Min"
is dedicated to Banks, while the liner notes talk about Pete and include a
contribution from his long-time friend George Mizer. Pete was a wonderful
musician who often struggled to find the right outlet. It is welcome that
Sherwood opened so many doors for him in recent years, and that Days Between
Stations were able to enjoy their collaboration with him.
Both The New Progmantics and In Extremis have running
themes, but In Extremis is more explicitly a concept album, about a man’s life
flashing before his eyes just before he dies. It is also more diverse
stylistically, ranging from orchestrally-supported instrumentals to pop. Days
Between Stations are a young band reacting to a prog heritage. At their best, I
think they conjure up atmospheres more akin to earlier Floyd or Pure Reason
Revolution, but their attempts at traditional prog songs along the lines of Yes
or Genesis, like "Eggshell Man", are less successful. That song, for
example, lacks energy. It proceeds from one section to another too politely,
without verve. The lyrics lack the poetry of the music. Promo for the album has
used “Eggshell Man”, highlighting contributions from Wakeman and Banks as well
as Sherwood and Levin. But the big-name guests contribute little to the track:
Banks and Levin are barely noticeable, Wakeman's part predictable, while
Sherwood's drumming actively detracts. We have an album that trades on big name
guests, but which often thrives away from their performances.
"The Man Who Died Two Times" is the more
successful vocal track, a tighter pop construction and a spirited vocal from
Moulding make it punchy. The band are better too in pieces like "No
Cause for Alarm" and "In Utero", eschewing the basic rock
instrumentation, more like music for a never-made film. "In Utero"
offers snatches of different styles, as it paints a scene. The nearest
comparison that comes to my mind is Vangelis' "Blade Runner" score. The
expansive title track also provides Samzadeh and Fuentes space to shine, and
Banks’ contributions here are more interesting.
Sherwood's hard-working nature makes him feel almost
ubiquitous in projects like these. His jack-of-all-trades approach means he can
come in and fill whatever role a band needs, but I feel he does better in some
roles than others. His production of In Extremis is strong and something from
which both The New Progmantics and Northumbria would have benefited. But Sherwood
has a distinctive thump-y style as a drummer. This works bringing an urgent,
martial tone to "No Cause for Alarm", but sits at odds with the
atmosphere elsewhere on the album, becoming too familiar on an album that is
otherwise quite eclectic in instrumentation.
Northumbria by Aethellis (released 2011) has no guest stars,
no famous names to bring it to your attention, but it is just as worthy of that
attention. The band consists of Ellsworth Hall (keyboards, vocals), Mark Van
Natta (guitar, vocals, Erik Marks (bass, vocals), Mike Harrington (drums,
vocals) and Joe Dwyer (sax). While the name and cover art give the impression
that this will be another pastoral affair, the album is actually much more
eclectic, in the way prog should be! If I had to describe the album overall,
it’s what Rick Wakeman should have been doing in the 1980s, but wasn’t. There’s
old school Rick Wakeman-like, proggy keyboards, but that’s mixing with a 1980s
Genesis sound (“The Penal Colony” steers rather close to “Turn It On Again”)
and also more modern elements (“The Awakening” reminds me of Ken Ramm’s
Euphoria). There’s strong playing, catchy songwriting, and stylistic variation
squeezed together. Samples, as for the other two albums, are available online.
Both In Extremis and The New Progmantics are in the current Where Are They Now? poll on the best Yes-related releases of the first half of 2013: you can vote here.
I was born in 1964, so I was 16 in 1980. Back then, the ‘experience’ of hunting down and buying an album new in the store, or at record fairs for stuff that went out of print, and listening intently – studying the album cover, reading the lyrics, or sitting down in a mates’ house or him coming around to me to listen to albums together...... well, there’s nothing these days to match that experience. So, for me, new music from whoever is really going to struggle to get my attention in the first place or keep me interested.
ReplyDeleteNone of the list of albums has any interest from me. 35 years ago, I might have felt disadvantaged not to get albums with these guys guesting. These days, with everything else going on in my life, and limited cash, AND the fact that there is no ‘hunt’ involved in getting this new music, I have neither the interest nor finance to get these albums.
And some of the old music, like TFTO etc, the experience I get these days is as much remembering how I was listening to that much aged 16/17.
So, I’m glad that there seems to be a new generation of kids finding prog – whether old or new – and bringing this music back into some contemporary context for them and the new wave of prog bands. But I can’t imagine that the whole ‘experience’ of listening to the music these days can match how it was for me all those years ago.
I don’t go hunting for much ‘yes’ music these days, but Fly From Here was something I listened to about 20 or so times when it came out, but with Bumpy Ride being such a glaring mistake of an inclusion, as much as I like the rest of the album on a ‘some good bits’ basis, I haven’t listened to it this year, and can think of other stuff I’d rather be listening to (and that’s mainly my own stuff). And Anderson’s ‘Open’ would easily be my preferred listening choice of the two, as Open gave me a sound that was a unique and multi-dimensional listening journey.
Thanks for the review of these albums, Henry. But Yes members ‘phoning-in’ their all too familiar sounds does not inspire me to make the that leap and get these albums. Maybe I’m missing out.