ProgRockin'

My album of the year

noreply@blogger.com (Lamneth) — Tue, 29 Dec 2009 14:48:00 +0000

Well, 2009 has been another interesting year for prog and progmetal. I looked back at my top 10 list of 2008 and there were only 2 or 3 albums that had any lasting appeal for me. So I might even call 2009 a resurgence of sorts for me but it's possibly all relative and at the end of 2010 I'll feel the same way about 2010 that I do right now about 2009.

There has been more than a few CDs that could easily be contenders for the top spot on my list, but I'm always keyed to a newcomer that seemingly comes out of nowhere and knocks my socks off. This year I chose the Israeli band Edgend's album, A New Identity. Hats off to Lance/Nightmare Records for finding and releasing this album.

The scope of this album is what grabbed me from the start. It's epic and magnificent in breadth. References to Symphony X and Adagio are obvious here. The bands treads a delicate balance into the neoclassical genre that is epic without being too cheesy, instrumental without being too much shred, and symphonic while keeping it heavy but while also avoiding the typical galloping drum pitfall of power metal. There are so few bands who can find the right balance, and Edgend does it perfectly. Symphony X raised the bar on the neoclassical genre but it took them 5 albums to do it, and Edgend comes close to matching this mastery right off the bat on their debut!

There's great talent at work here on the instruments, most notably in the keyboard and guitar work. The singer sounds to me like a close match for Adagio's old singer Readman. Highlights on the album are Revelation and A Chosen Truth which are both very catchy. Also Voices/Out of The Equation (A New Identity) make an excellent ending to the album and both songs flow together as a single song. My only nit with this album is on the production side. The guitar tone lacks clarity, especially during the guitar solos. The production issues are serious though. I'm just a bit of a stickler when it comes to guitar tone and I thought it could have been done better but it doesn't decrease my enjoyment of the album. The production of the album itself is quite clear with a good balance of keyboards within the music.

Considering this is the debut CD from the band, I hope Edgend have many more great albums in their future and will eventually release a masterpiece like Symphony X's 'V'. As a new avid fan of the band, I can't wait to hear what they do next.

A couple of stocking stuffers for the guitarist on your list.

noreply@blogger.com (Lamneth) — Thu, 17 Dec 2009 14:18:00 +0000

There are a couple of guitar-oriented albums that I come back to time and again which I would consider essential for any guitarist's collection. There are guitarists who are well-rounded with their own unique styles and exhibit total mastery of their instruments. These aren't "shred" albums, but they are the result of people who have studied their craft and practiced endlessly and the results are timeless and always keep my attention:

Joel Hoekstra - Undefined and The Moon Is Falling: Joel assembled a great cast for these albums, with Virgil Donati on drums and and bass by Ric Fierabracci. Joel covers a wide range of styles throughout both albums with a reserved flair. The songs are well crafted and Joel lets it rip unabashadly at times. Other times he has a sense of humor. I'd have a hard time choosing between these two CDs. Undefined is a little "lighter" and more diverse, while The Moon Is Falling is a bit more thematic and stylized.

Brett Garsed - Big Sky: Brett has played with more artists and bands than I care to count, but he has only put out one solo album. It's interesting that this album also has Ric Fierabracci on bass. Every note on the album seems well thought out and perfectly placed. "Brothers" in my opinion is one of the best songs written recently for guitar. There's a emphasis on dissonance and resolution that shows how good songs are crafted. Brett is the guitarist's guitarist.

Cosmosquad-Squadrophenia: Jeff Kollman plays guitar and he shows on this CD that he's one of the finest guitarists on the planet today. While Brett Garsed and Joel Hoekstra are smooth and refined, Kollman is more gritty and biting and makes me think at times he is some strange homunculus of Jimi Hendrix and Stevie Ray Vaughan. I love Kollman's guitar tone on this CD. Add Shane Gaalaas on drums and Barry Sparks on bass and you have the perfect power trio.

Tak Matsumoto-Hana: Most people outside of Japan have never heard of him, but the truth is he has over 10 solo albums and he plays in the band B'z which a very popular band there (according to wiki they have sold over 78 million records in Japan). I have not listened to all of his solo CDs, but I love Hana and heard from a colleague who has heard them all that Hana is his best solo CD. What's great about this album is it's so different. There are lots of Eastern-sounding melidies combined with a more traditional Western-sounding solo album. Tak is not one to play flashy on this CD. What you get is a beautifully written set of songs. There's also a really great rendition of Jimi Hendrix's "Little Wing" on the album.

Interview with JT Bruce

noreply@blogger.com (guitarsean) — Wed, 16 Dec 2009 03:08:00 +0000

JT Bruce is a composer and guitarist from southern California who has released 3 albums of instrumental music. His music can best be described as cinematic. Sometimes prog metal with crunching guitars, sometimes symphonic with spaced out synths, always painting an image in sound. These can be downloaded from his site for free, or you can order a cd from him (totally worth it for the artwork). In addition to music, JT is a visual artist, film maker, and animator. You can download music, see some of his art and watch some film clips at his site http://www.subjectruin.net/. Please do donate if you like what you see and hear.

Sometime after Universica, his newest album, was released I asked if he would be interested in doing an interview with me. He was kind enough to say yes and now that the physical cds for Universica are ready to go, I'm ready to post the interview.

He took the time to expound quite a bit. I think his answers are very insightful and show a great sense of humor. He's part of the young, new generation making prog music for the sake of the art, and one who pretty much entered the business knowing that file sharing and free music would be the new norm. He's got some great thoughts about the plusses and minuses of free music on the internet, getting on with your creativity, and he gives the best advice ever about what to do if someone knocks you down.

______________________________________________________________________________

1. What or who got you started in writing and recording your music?

I never really liked popular music growing up. As a kid, I had very confused tastes and bought a couple cassette tapes to be cool, but I never really enjoyed the music for what it was. It took me until 7th or 8th grade to find an interest in old heavy metal and punk, which in turn inspired me to learn guitar. After picking up an instrument, it didn't take long for me to realize how formulaic and homogenous most mainstream music is. This really fueled my desire to make something different and new.

My musical horizons exploded in high school. I started listening to prog and got my hands on a lot more obscure music that really resonated with me. I was still very interested in the guitar and I floated around between a lot of different guitar teachers who never did much for me. I wanted to learn about the mechanics and underpinnings of music, why things sounded good or bad, and how I could learn to write my own material. They mostly just taught me how to play Metallica songs, then collected their money as I left.

When I was a sophomore in high school, I met an awesome guitar teacher who took me to the next level when he made me realize that I wasn't a guitar player, I was a composer who happened to play guitar. That was the epiphany I needed to start writing and recording my own music.

2. Do you have any specific sources of inspiration?

I've been making movies since I could pick up a camcorder, and I've played video games for as long as I can remember. Music is a very large part of both of these. The influence these two storytelling mediums have on my life has a profound effect on my music. I like to combine this cinematic sensibility with the sounds and attitude of progressive music.

3. You play all the instruments on your albums. Is there one that you consider your main instrument?

I've played guitar for a long time now, and it's definitely my primary instrument, but as I said before, I consider myself more of a composer than a guitar player. I'm actually not a very good guitarist in terms of shredding solos and nosebleed riffing. Probably a better way of saying things would be that I use the guitar simply to express musical ideas.

4. You've done instrumental music thus far, any desire to do a vocal record?

I started writing The Dreamer's Paradox with the intention of singing on it myself. The entire album was very intricately planned before I even started recording. I recorded a lot of preliminary vocals during the initial sessions for that album, but I developed a massive phobia of my own voice almost as soon as I began. Months later, the lyrics and vocals were scrapped, the music was completely different, and my plans evolved so heavily that the final version of The Dreamer's Paradox only vaguely resembled my original plans. Vocals never entered the picture on Universica, but I wouldn't completely rule out vocals on future material.

5. You give your music away for free under the Creative Commons license, with a gentle request for donations (go donate people!). Why give your music away?

I'm going to combine questions 5 to 11 into a big section on free music, how I got involved with it, and what my thoughts are on the subject. Hopefully your questions will be answered in the process :)

6. You were ahead of the curve for free music. Your first album was done in 2005 and Radiohead released In Rainbows in 2007. What gave you the initial idea to go with free distribution?

7. Did you try going the more standard commercial route first or did you go the free route from the start?

8. Did you ever pursue a label or distribution deal, or did you set out to be independent?

9. You've released 3 albums now. How do you feel about the online free distribution? Has your view of it changed since your first album?

10. Did you have an idea of what free downloads would be like or certain expectations when you started?

11. How has this business model fulfilled or changed your expectations for the business side of your music?

In 2005, I was an unpopular 18 year old college freshman with a CD full of weird music that nobody listened to. Rowdy teenagers living in the anarchy of college dorms want to listen to 4/4 pop rock and remixed hip-hop songs. I'm not putting this music down, but I'm preaching to the choir when I say that progressive music is pretty far off the radar to most people.

I decided on the free music route when I realized that I didn't have any other choices. I got a lot of blank stares when I showed people my music. They just didn't know what to think. I didn't (couldn't) play my music live. Nobody wanted to buy CDs. Record labels were almost certainly not interested in this stuff. So I gave it away for free.

My thoughts at the time were to focus on getting my music into as many ear canals as possible, so I released Anomalous Material under a Creative Commons License and crossed my fingers. The idea was to spread this stuff around like a disease and see who got infected. I took it as a given that I wouldn't be making any money, but by maximizing my exposure, things might develop into something better somewhere down the road.

I was shocked to find that people were downloading Anomalous Material, and even more shocked to see that they were liking it. I clicked refresh on my statistic pages like a drug addict taking another hit. Every time I got an email from someone about my music, I was floored. So I decided to write another album with hopes it would be even bigger. And it worked! The Dreamer's Paradox began to log downloads on dozens of sites spread across the internet and the globe. Advertising revenue trickled in at an embarrassing rate, and a handful of generous people donated some money or asked to buy hard copies of the albums. This was very surprising to me. I thought, “Why would people pay for something that they could have for free?” I was still making practically zero money, but at least people were listening, and it was an awesome feeling.

By the time I released Universica, I had a certain amount of expectations about how it would propagate across the web. I'd release it on my own site and a few others, and I would send out e-mails to people who'd contacted me about the previous albums. It would take a couple weeks for the word to get out, then it would start showing up on torrent sites, reviews would start popping up, and then I could sell CDs and make some money. But this isn't what happened.

The initial reviews were stronger than the previous albums, but it didn't take off the way they did. Around a year later, Universica was finally getting caught up with the other two, and by the time I printed CDs, they were selling at a very slow rate. During the time between Dreamer's and Universica, I let my footholds slip and a lot of the work I had done to promote my work had eroded out from under me. This was my first big experience with how fickle the internet can be.

In my experience, the free music scene has been invaluable. Without it, my music would simply not exist. At the same time, I feel like I've reached the limits of what it can do for me. The internet is a sea that must be sailed aggressively and persistently. It's a full-time job and if you let your guard down or stop putting in an effort, it's very easy to fade back into obscurity.

12. As the web changes the way we interact there is a trend to getting more personal info about everybody. Your website doesn't give out a lot of information about you. Is the mystery intentional? Are you looking to just let your work speak for itself?

I'm definitely not trying to be mysterious in the way that many bands do. I'm usually vague in my personal info just because I hate writing about myself. It isn't about me anyway, it's supposed to be about the music!

13. I noticed that a Google search for you doesn't turn up myspace and wikipedia as the top results as it does for most bands. Most of your first three search pages are places to download the music. Any favorite websites among those you've used?

To be honest, I think MySpace has a collection of the ugliest, messiest pages on the entire internet. I haven't used MySpace in a serious way since I was 16. And I'm certainly not notable enough to get an article on Wikipedia!

My favorite websites for getting my music out there are Jamendo and Last.fm. Both sites put a lot of emphasis on the artists and are generous in sharing ad revenue and royalties.

14. Aside from the music you're also involved in illustration and film. Do you compartmentalize your work in these areas or is it all part of a continuum for you?

I love combining music and images (images and words?). As I said before, there are a lot of cinematic influences in my music. I write the scores for all my films and frequently use music from my albums on film projects. While I focus on one medium at a time, in the end they are inseparable for me.

15. When you're working on music, does it come in bursts of inspiration or do you take a steady, constant approach to writing?

When I'm in hardcore music mode, I try to write a minute of music every day. More often than not, it's complete unusable crap. But as we can all relate, there are times when the creative floodgates seem to open and all the good ideas come flowing out.

For me, creativity is like inertia. It's very difficult to get a heavy object moving, but once it's moving, it's very hard to stop.

16. As essentially a solo act doing a band project, do you have any urges to form a band or play out?

I played in a band in high school, and while there's nothing like getting up on stage and rocking out, I just don't think I could form a serious band. The way I work is usually too idiosyncratic to involve other people. Music is one of the few things in life I take seriously – it would be far too much fun being in a band for me to take things seriously!

17. Being a guitar player myself I have to ask, do you have a favorite guitar? Any essential gear you can't live without?

I'm really not a big guitar geek. I've only used one electric guitar on all three of my albums, my Gibson SG. She's a little banged up, but I love her to death. The rest of my equipment is cheap, but functional. I've always been a firm believer that it's not your software or equipment that make good music, it's the ideas you can bring to life with what you have.

18. Any advice for other artists and musicians who might want to follow the same business model you have?

I'm hardly qualified to give out advice, but the only reason anyone even knows about my music is because of my persistence. If somebody knocks you down, you stand back up, kick them in the nuts, and keep on going.

19. Care to share your opinions on the state of music in general? The industry, the way people consume music now, etc...

Despite the doom and gloom projected by the record industry and the fuss about how file sharing is stealing music away from artists, I think the global music scene is thriving. Never have we lived in a time where the technology to write and record music has been more advanced, embraced, and accessible. When anyone can write and record a song, creativity explodes. The opportunity to make music is no longer available to only a select few, and as a result, all of the old business models are failing. But while the record labels are crumbling and the music magnates are desperately clinging to their riches, the power and freedom is returning to the artists. I couldn't be happier about the direction music is taking.

20. Are there any questions I didn't ask that you wish someone would? Now is your chance to take over the soapbox.

I just want to say thanks for the opportunity and the very insightful questions. Support the music you love!

The future you were waiting for has already happened (Part 1)

noreply@blogger.com (guitarsean) — Mon, 14 Dec 2009 21:36:00 +0000

When I joined Strange Land 11 years ago, the music industry still worked the way it had, at least during the history of rock music. Ever since I had picked up the guitar the dream was to write and record some songs, build a fan base, get discovered, signed, rich, and famous. Pretty early on I figured out the rich and famous part was unlikely, and that is was more important (for me anyway) to be true to my artistic vision. I'm sure I could have done something more commercial with the intent to make money but I never would have been happy.

In 1999 we released our first 4 song ep. I found this new thing called mp3.com and uploaded music to it. We did pretty well, with our song Foundation reaching number 4 in their prog chart. Now, imagine how long ago that was. I was using dial-up. If you could shell out for it and you didn't live out in the country (like I did) you could get a DSL. I was recording the band on my Powermac G3, recording to a whopping 10 gig external SCSI hard drive (Tech aside: My choice of backup back then was a SCSI DVD-RW drive that used cartidge-loaded dvds. I still have it, and the G3 - with a G4 chip - but I haven't powered them up in years). I didn't even have a real audio interface, I recorded into the computer via the stereo line in. If I remember right we recorded drums and bass at the same time. The drums were mixed at the board and tracked in mono. What was I thinking?! But it worked and it was a good start. Hell, I released my first acoustic album in 1999 on cd and tape.

Still, the 'make an album-build local fan base-play shows-get signed' model was still the norm. It was pretty much an all-or-nothing idea. You either broke big, even for a short while, or you languished in obscurity and faded away. MP3.com and other early online avenues were just a little extra, a new way for indie bands to reach people but not to break out big. All the mp3s were 128k bitrate, I can't recall if you could do any better. By the time we released Anomaly in 2001, CD Baby had been established and it was a great way for indie bands to sell cds. Napster was around 1999-2001 (before its shut down and subsequent resurrection) but I never saw the point in using my dial-up connection to download crappy sounding mp3s from really popular bands I didn't like. Whatever you think of the fallout from Napster and all the lawsuits, the period of the late 90's and early 00's marked the beginning of the end of the industry as I knew it. Cable internet and faster DSL use spread. Some indie musicians figured out the best ways to capitalize on this but as far as I can tell most of us were still thinking of the internet as an add-on to the old ways of doing business. The internet was like TV. Consumption was passive. There wasn't even much real advertising then. You just put your web site up and hoped people would find you. And they did. But that was about it. I think in 2001 we were only slightly more likely to get an email from a fan than a phone call or a letter.

The INDUSTRY (worthy of all caps here) was already jumping all over this, like they do with any new technology. (sarcasm) Like the good gatekeepers they are, they stepped into the hero role once again to defend helpless but creative bands, gullible but well-meaning consumers, and the thousands of people whose jobs were at stake from the record producer to the guy sweeping the studio floor (/sarcasm). First recordable cassettes would doom the industry. Then it was recordable cds. Then mp3s and file sharing. It never occurred to them to examine the way they were doing business. Were they releasing good music? No, they stumbled on Nirvana and then signed every other band in Seattle that wore flannel shirts. Somebody manufactured a hit with Brittany Spears so they went out and signed every young woman they could doll up like an All-American Lolita. Did they think that maybe $15 or more wasn't a good price for a cd? No. (Food for thought: a mass produced cd costs $2 or less to make. Most major label deals pay less than $1 to the artist after recouping costs. Where is the rest of this money going?). So they drag their heels, kick up a fuss, and blame everybody else for their perceived woes. The truth is, the music biz was still doing pretty good in the early 2000's. But, the music biz emperor had no clothes. Instead of trying to figure out how to use new technology to their advantage, they tried to kill it. And then came myspace. And iTunes. And Rhapsody. And bit torrents. And Facebook.

(to be continued)

Prog Muggin'

noreply@blogger.com (BG) — Sat, 12 Dec 2009 07:24:00 +0000

Just thought I would share this one...

A month ago my son asked if I could write a list of some of the bands I like.

Then yesterday I was presented with the mug shown in the picture. It is not a work of art, but considering who made it, I will definitely be using it.

For your notice, the text has been burned onto the mug, so it is wash resistant.

If I was drinking coffee, I suppose I would be drinking Progolatte from now on.

The Rise And Fall Of Prog, Part 2

noreply@blogger.com (Lamneth) — Mon, 07 Dec 2009 18:41:00 +0000

In my last essay I discussed some evidence in the Progulus Radio data that shows a general decline in the number of highly rated albums over the past few years. As promised I did take a closer look at the data.

Let me begin by stating that others have made a valid point that my statistics only reflect the popularity of certain artists and albums by the listeners of Progulus Radio who are a distinct group of proggers and may not reflect the tastes of others within the prog genre. Prog music by it’s nature was never meant to be popularized like traditional music. We are all creatures of habit, and what's popular on one prog radio station might be vastly different on another, or people' personal listening habits, or other prog groups or forums groups. I personally enjoy listening to many of the obscure and offbeat albums and the extremely wide variety of music that this genre offers. Musical tastes are a very personal thing, and the true progger should look beyond what is the flavor of the day and use the statistics only as a guide relative to their own personal tastes.

When I took a closer look at the ratings and play data, I did find a general decline in many stats from about 2005 onward. This includes the total number of albums released each year, the number of highly rated albums, and the amount of song play for albums released on a certain year. The problem is that I'm not really sure what it means. Since this is the first time I've studied the data at this level I feel like I've only taken a snapshot of a dynamic system. The song rating and airplay stats are constantly evolving and changing over time, so it's difficult to say with certainty how things will look a few years down the road. I know that personally I often find myself re-rating songs differently than when I first heard them.

My study did find one certainty though. The number of albums per release year on Progulus has steadily been on the decline since 2006 as the next graph will illustrate:

This seems to indicate that the industry has considerably downsized recently and may continue to contract. We may find in hindsight that 2005-2006 were the peak years for the third resurgence of prog. Additionally, by correlating data between the number of releases per year and the number of highly rated releases, I found a connection that suggests that the more releases that are put out the more highly rated ones we’ll have. But sadly since the proliferation of new albums has been steadily decreasing since 2006, I think we need to accept the fact that we're not going to have as many great CDs per year as we have been graced with in the past. On the upside though I think the state of the industry is still a good one. There are many good artists who contiue to realease high quality albums so we should be all thankful for that. Interestingly the average song rating has increased slightly since 2006.

As a footnote I found the last graph pretty interesting and wanted to share it. This graph is shows the number of song plays per artist ranked from #1 downward:

This graph from left to right shows artist #1 with the most plays, followed by #2, then #3, etc. While it’s not really related to my discussion of the decline of the genre, it does show the loyalty of the listeners to a select group of artists. I wanted to integrate the graph but I guess there's not an easy way to do this that in Excel. It does look like about 90% of all the airplay on Progulus is from 500 artists of the 2,000+ total on the radio station. That is to say about 90% of all the artists could be eliminated with very little overall impact on our typical radio play.

Statisticians out there may find the following information handy:

Artist Airplay (number of song plays by artist):
Mean 121.6476075
Standard Error 7.551491308
Median 32
Mode 1
Standard Deviation 374.998269
Sample Variance 140623.7017
Kurtosis 594.2007154
Skewness 19.18907909
Range 13069
Minimum 0
Maximum 13069
Sum 299983
Count 2466

Album Airplay (number of song plays by album):
Mean 78.22503259
Standard Error 3.219954059
Median 43
Mode 11
Standard Deviation 199.4033084
Sample Variance 39761.67939
Kurtosis 2261.137573
Skewness 42.19692306
Range 10893
Minimum 0
Maximum 10893
Sum 299993
Count 3835

Update 14-Dec-09:

Since it has been asked for, I've included the following graph which correlates the number of good albums relative to the number of total albums each year:

The 5th Season - a diary, Day 2

noreply@blogger.com (stringray) — Sun, 06 Dec 2009 21:34:00 +0000

Rememberance is a "soft skill", especially on such a weekend. I know that some things are in different order as they happened, but I can't bring the proper order up anymore. Anyhow, it was a great day!
Dutch readers who are proud about Dutch food, better do not read the part where I'm eating a burger. That may be misunderstood as an offense, although it is not meant to be one. Some people might have a laugh reading it.

Hello world...
...
hello room...
...??
...what room are you?
Ah...
... hello progpower!
It's cold in here... Ah, yes, the broken window...
I better get up slowly... well that works good, no headache it seems. Good. Ah, Dario found his bed last night. 10:30 am already, I bet I'm gonna miss the progpower breakfast. Bummer.
Hmm, shower. ... we don't have a washroom in here, there is a shower room at the other end of the corridor. Going down a hotels corridor in shirt and pants is a new experience. I turn on the shower and wait for hot water. And wait. And wait. Oh no! Cold shower! Yikes! In '07 we've had boiling water, that was ok, but cold??? That won't get my body started. Ok, after shower's done, I go back to our room with the same mess of a brain as before, and do the rest of my personal hygene there, as quietly as possible. I'm glad I took my little electric espresso maker with me. Though the Dutch coffe is way better than the German one, espresso is even better anyway.

I can't manage to control my body properly, I'm unconcentrated on everything, can't focus on things... Where and when did I find Gary and Simon? But luckily no headache. :D
We're walking around in the little "park" and check it out a bit, while Gary starts picking apples from a tree and eating them. We decide getting some food and a coke at the supermarket in Barloo for breakfast. Gary takes an apple with him, seems he's found a new love. In the supermarket I'm feeling misplaced. Us among so many normal people that do normal things in life. Back at DeBerckt we find a nice place and start 'breakfast'. Breakfast and coke on the table, Gary adds his apple. Suddenly a bottle of Jack Daniels is there. This is the reason for getting the coke. Why not? That may help on my hangover, so I blend my coke with it. Staff seems to have an office behind that door there. A man comes along, looks sceptically at us and enters the door. He didn't say anything... thanks god. I get out in the courtyard again for a cigarette and walk around a bit, walking on clouds... A few proggers are hanging out, in a small circle. I notice that there are no "normal" people there. There used to be families making vacations in the last years, but not now. Seems like the castle is all ours. Hehe! A van is standing there, and on the drum cases inside there are A.C.T. labels. A band's bus. ...Wait... A.C.T.? Just a moment... they're not on the schedule. Strange. Anyway, I'm too lazy to think about it. Or better, I can't...
We decide that it's already time to wake up Dario and prepare for "the walk". Waking up Dario was easier than expected. He gets an espresso and Gary's beloved apple.
The walk to Baarlo is refreshing, and soon I'm touching ground again. We go the new way the other regulars showed us yesterday, through the park, where Gary starts picking up nuts from the ground and eating them. No wonder that he grew so big.

Arriving at Sjiwa, there are way more people there already than I expected. I check the schedule, check the time and - damn! We've missed

Akphaezya! What a pity, I really was ooking forward to hearing them. I want to drive a nail through my brain. "You've missed Akphaezya!" is everybody telling us. "Awesome band, they were great!" Is what we continuously hear. Bummer. Well time to relax outside a bit and have another coffee. The catering booth in another one than last years'. Great, hopefully their food will have some flavor at all. At least their wagon looks way more professional. They seem to be from a local junk food company. That gives hope.
gluffyguts coems along, parying already, and tells us that Jamie still hasn't shown up. She wasn't in the room last night. Weird...

So the band we proguli start the day with is Vanity, a Polish one. I'm stunned because these guys are really young. Are they really old enough
to prog? hmmm... At least they are not another Riverside clone. Indeed, listening to them, it seems another jewel is growing there. They manage to combine old school prog with todays metal uniquely. And with some parts in their music they go back into the 60's some times. ...And a few beats later they growl. Although the vocalist should take lessons. The clean vocals don't turn out good, that gives me shivers. Badly sung melodies and cookies, that is nothing I'd support, but due to their instruments-work, I stay and listen to their set.

After Vanity I find a place at a table oustide. A regular comes along and offers me a beer. I say no. Oops, he reacts like that was an offense! I tell him that I want to start the day slowly, and that he understands. Exactly five minutes later comes Gary and gives me a beer, somehow making certain that I gotta drink it. The regular almost had a laugh about how firm I am. So much about having friends, hehe.
Gary, Simon and me decide to go to the bar that is pretty close to the venue and have some ear rest. Chaos Divine is a band I don't care much about anyway. Entering the bar, some black t-shirts are already there, and one raises his glass and says "Ray, you gotta taste this beer it's sooo tasty!" Johan and the rest of Andromeda. It takes approximytely one minute until I have a set at their table. Gary and Simon take place at the bar. I tell them to join us, and they sit down at the other end of the table. Some five minutes later they're back at the bar. One cannot help the English ones...
A voice mail comes in... Munich friends telling me that they're in a beer garden and ask if I join. No, I won't... it's a bit too far to go....
"We're not playing any venue under 115 dB, because we're a lout shouting metal band!" is on Evergrey's (if I remeber right) tech rider, tells me David with shaking head. I have to laugh.

Back at the venue, people begin calling me brave. I'm curious and wand to try out the new caterers. I look at the menue, but have no idea what food they offer. Sometimes Dutch is absolutely unintelligible. Knowing that we are from 15 nations, I would translate the menue into english at least... Well, so I order a burger. And have a hard time not shouting at the guy to not do that! Yikes! He takes the meat and puts it in a fryer! As if it were a french fry! Oh my god that will be an oily burger! After the meat is fried the burger becomes complete, yes with onions please, and... it has a tiny little bit of flavor. They did put a little bit of flavor into the meat. That's better that the other caterer. But it's only the meat that has some flavor. Not the bread, not the sauce, even the onions have no flavor. It is no wonder to me anymore that all the vegetables in our German supermarkets do not taste at all. It all comes from the Netherlands, and now that I'm studying Dutch fast food, well it seems that the Dutch actually do not want to taste anything. They probably even fear flavor. They must have spent loads of efforts in removing flavor from everything one can eat. (But would you please be so kind and eat all the vegetables yourselves instead of exporting it to people who love flavor?)
Dario somehow looks sick. Not like a hangover, more like having a cold...

Seventh Wonder is next. Number two of my faves. It is quite hard to listen into the wall of sound, which is a pity. Their whole gig is somehow lost for me because in their music it is essential to hear all the notes. All the vocal layer disappear, I can see more people than just the frontman singing. They do a pweful mshow from start to end. I see an awesome performence, but it doesn't make me enthusiastic anyhow. Gary and Simon are totally overwhealmed.
Fluffy calls the singer gay. Some other ladies say that too. If you can sing perfectly and are handsome, you can't have a lady who loves progmetal?

Nahemah is another for-the-sake-of-growling band. Those bands sound is always good enough, you don't need to follow so many notes. Anyway, I'll never become a fan of growlers. Time to get outside and chat with people.
On my way out, someone hands out flyers, oh, it announces a Day Six concert. I turn around, looking at who's handing them out, and see the bassist of the band. Simon is already sitting at a table and it doesn't take long until Gary joins.
No, I don't need to listen to every band because they're just playing. I also wanna chat with people. You can complain about crappy German roads and construction areas, Dutch beer, the windy, almost stormy weather, prog, straight metal, everything. The guys of Vanity come along, handing out loads of their promo for free.
Dario looks even worse, and he also feels worse. He blames it on yesterdays long night and announces that he'll go to bed directly after the show. Guess I'll have to care for the octoberfest beer alone tonight.

Mercenary start their show with loads of power, they do know how to act on stage. In the beginning I like their gig pretty much. Three great vocalists in the band, and the approach and the sound are quite good. I get bothered a bit becaue they distract their awesome singing with growling that is spread in over and over. When they play their 5th song, I see that their song structures are all equal, no stepping out of the system please. And the speed shredding parts in all tunes are always on the low B of the 7th string. If someone stole them that note, the whole band would collapse...
While being out for a cigarette, Patrik, the guitarist of Cloudscape, tells me how he and their vocalist Mike happened to collaborate with Marel Coenen, how he likes Mercenary's powerful appearance and about German road constructions.
Back to Mercenary, the fix song structures begin to annoy me. Suddenly the show has ended. After 90 minutes. All headliners had been announced to play for two hours. If you're Mercenary you don't need to care about what you've agreed to in the past it seems. Hmm, I shouldn't be unfair.When Rene announced them, he mentioned that they signed in because they like the idea of the festival. Seems they normally are too big money-wise, but liked to support it. Now, playing a shorter set than agreed, is weird. What a way to trade music.

Back out in the "ear recovery area" I again hear a couple of complaints about the sound. I decide to stop complaining myself. What tough job is the engineer doing anyway. 15 bands on one weekend, 30 minutes of time to disassemble an assemble band gear and do sound check between every band is quite a hard job, I shouldn't complain about it all the time. Gladly there's somebody doing the job! And we haven't had any delay so far.

Time to check the new design of the club in the basement. The sound of Pagan's Mind "Osiris Eyes" just starts when we enter the club. Wow, the sofas are free! after the entire days of mostly standing on concrete, the sofas do so well. Dario couldn't go without a glimpse of the afterparty and keeps hanging out with us. More beer, chatting loudly, listening to music (though more relaxed)...
After an hour Dario leaves, the Brits leave half an hour later. In the meatime the party gathered momentum. I chat with all possible people. Master Of Puppets gets played. I had no idea that this is probably the core for most prog metal fans. I'm stunned. I'd think of Rush, Styx, Fates Warning, Queensryche, and, of course, Dream Theater as prog metal core bands. But Metallica? Johan started playing air guitar, and it looks like he really knows every note in it. All the rest is dancing and shouting "MAS-TERRR!"
While I'm at the urinal, I hear someone saying "ZERO HOUR??" I look at my t-shirt when Jeroen's face shows up between mine and the wall, telling me that ZH have been the best band last year. I agree.
The party becomes even hotter, and it's a mass movement. Everybody's dancing with everyone, I'm inmidst a mass of people, and the mass controls my movements. Some lady'S daning on a table. Staff seems drunk too meanwhile. Beer orders and any others constantly fail, everybody disagrees on the pricees they're telling. Every order ends up in an argument.

I decide to rest a bit before the party will continue at the castle. So I go the way back to the castle alone. And miss the right road. That's not where I wanted to go. I go back to a place I do know and try again. And miss the way again. DEAR GOD! How stupid am I? How many times did I go that way in the past??? I go back all the way to the venue and start the walk for the 3rd time. And finally find the right road. After a while someone behind me says "Hey!" I turn around and see another one walking alone. So we walk together. Another guy from Germany. He wasn't attending the last two years, because he din't like the line up. Our tastes must be pretty opposite.
Arriving at the castle, all the others are alrady there. They overtook me, no wonder about that. I go to our room, trying to get the octoberfest beer out there quietly, but fail. I make a lot of noise. Nobody even moves, they're sleeping deep.
On my way to the party, I find some people, asking for one of those beers. They look Turkish. And like they desperately want a beer. Of course guys! Take some! And I bring the beer to the party. "Ah the octoberfest beer!"
Andromeda show up. Johan tears his throat skin while imitating high pitched metal screams. I guess I got it, he wants to tell us that he finds those vocals ridiculus. The beer got placed in the circle's mid, and Marcel sits on the box. Seems like he's one of the few who can open German beer bottles.
After another hour of partying, I gotta call it a day (or should I say night? It is almost day again...)

When bands are loosing it

noreply@blogger.com (BG) — Sun, 06 Dec 2009 18:59:00 +0000

I think most of us regularly go through the motions of eagerly awaiting a new release from one of your favorite bands, just to find it to be a rather moderate achievement or an outright disappointment. Sometimes we loose patience with a band and more or less give up on them, expecting nothing from them that would deserve our attention.

Why write about this topic? Don’t we just get over the disappointments and get on with it? There are after all plenty of other bands we can depend on to deliver what we need.

It is true that we turn to other sources, but if you are like me you never really get over the past. Once awed by the talent of “your band”, you tend to crave more of the same, and if you don’t get it, you wait, hoping for the day when they will take themselves together and bring back the “sound” of their former glory.

Reality check: Are the bands in question really getting worse in means of quality or did something happened to our perception of them?

Yes. Most bands are getting worse, either for real, or in relation to our expectations.
It is a known fact that great quality and innovation instills equally great expectations, expectations we tend to let grow regardless of how well a band keep churning out good quality music. We always expect or at least hope that “the next” album will give us as many, or even more, exciting moments as its predecessor. So, for a band to stay “on top of the game” they constantly need to outdo them selves. Maybe this seems unfair, but that is just how it works, music is above all entertainment, and if it doesn’t entertain its existence is moot.

So basically there are 2 ways a band can “loose it”:
1. The quality of their music it truly getting worse
2. Their talent has stagnated, enabling them to keep the level of quality, but produce nothing new that challenges or surprises the listener.

To back up my line of thought, lets look at some examples.

Dream Theater
Problem: Stagnation

This used to be my all time favorite band. What’s up with these guys? Here you have an orchestra whose members can be counted among the best of the best when measuring their talents on their respective instruments. They are in the club of the few that have fronted or even pioneered a genre (only counting those that have some level of public success). Unfortunately they seem content in doing what they do, and leave it at that. Their last time they really innovated was with the “Scenes from a memory” album. Everything since then has, broadly speaking, been more of the same.

Pain of Salvation
Problem: Quality

My first introduction to POS was "The Perfect Element" and “Remedy Lane”. Never before had I heard music and lyrics that carved a piece of my heart like that. The effort put forth on those two albums would be hard to maintain….as has been proved. Their last regular albums “BE” and “Scar Sick” were a huge disappointment to me, and the latter even features one of the worst, in my opinion, songs of the year (Disco Queen).

Neal Morse/Transatlantic
Problem: Stagnation and Quality

When it comes to creating real epics Neal is a mastermind. Lately though, his involvement has been rather its hard to put my finger on it, but it feels like something is missing’ish. Not too many years ago Neal made a decision to make Christianity the central part of his message, since then it seems like he has lost some of his genius. He never makes bad songs really, but they are just not as good as they used to be. I’m not sure how big a finger print he has on the latest from Transatlantic, but the trend seems to be similar…

Queensryche
Problem: Quality.

What can I say? My favorite “late teenage” heroes seem to have lost their soul…completely. I don’t know where they play, but it’s definitely not a band I hear in my “now frontier”. This ex-band is simply as close to zero as you can be on my care-o-meter. Maybe I’m exaggerating a little…..or maybe not. Just take a listen to anything released since “Promised Land”. As a side note: Try to listen to one of their recent live albums and notice how Geoff has to go low on some notes that caused him no problem s earlier.

You could say that all this is not important since the mission of most band members is NOT to do what you like, but to do what they enjoy…playing their music. That is true to some level, but since I have invested time and money in their music, which helps them (I hope) to keep their dream alive, I feel I have the right to complain when I’m disappointed.

Now to the tough question: When a band fails to deliver would it be better if they just called it quits? I’m not sure, but sometimes it feels like the only justification for some bands to still exist, is to milk the cow for all its worth.

The Rise And Fall Of Prog Part 1, A Study Of The Essential Album List Of The Last Decade and Beyond

noreply@blogger.com (Lamneth) — Thu, 03 Dec 2009 15:14:00 +0000

I started this project with a simple goal in mind. I wanted to create a list of all the most essential prog CDs of the past decade. So I started looking at the most highly rated albums on the Progulus website year by year as rated by the listeners. First here's a bit of background: As each song plays on the radio station it has the opportunity to be rated by the listeners on a scale of 1 – 5. Progulus get about 3,000-5,000 new ratings every month from the listeners. Over time the number of ratings on a song build up and a representative sample of the overall average rating of the songs are gathered. While I think we can all agree that most listeners of Progulus Radio listeners are prog fans, there is a pretty diverse range of tastes within that group which I won’t get into here. But when you pool together all of the votes over this wide group of listeners, the average ratings begin to become significant over time and we can begin to find albums that appeal to a larger cross-section of listeners.

To create the essential album list, I selected only the albums with more than 50 total votes with an average rating >4.5. As the data started to fall out, I noticed a few interesting things. First, the total number of albums that met the criteria was less than 150 between 1999-2009, and furthermore the total number of these highly rated albums between 1991-2009 is less than 175. That is much a lower number than I expected. There were only about 25 essential albums in the decade of the 90’s. Second, and far more startling to me, is that the trend in the data suggests the rise of really good prog albums has already peaked and is now on the decline! When I looked at the total number of highly rated albums on a year-by-year basis, I found a bell curve in the data that peaked around 2004-2005, but with 2007 being a particularly good year in prog that seems to stand apart from the data.

The number of highly rated albums does appear to have fallen off significantly in 2008 – 2009. I personally had noticed before this study that 2006 and 2008 were particularly dull years for the genre, and this data set does seem to confirm that. One other possibility to explain this data is that listeners have 'heard it all before' so they are tending to rate new albums lower than they did in the past. I don't think this is the case though, because the rating system at Progulus has only been active since the beginning of 2008 so all of the ratings are coming out of a relatively short two year span of time.

I'm not sure what this means for the future of the genre, but I think that the data should raise a few eyebrows among us dedicated prog fans. I know that I've personally seen a number of threads in various forums suggesting that prog is a dying genre and albums coming out recently are not as good as they used to be. These frustrations seemed pretty relative to the tastes of the listener at the time but now this data might also shed light on their frustrations.

The number of highly rated albums do not seem to related to the volume of new releases each year. For instance 2006 had the largest number of releases on our station (over 200), yet was a pretty poor year for good albums. I need to look more closely at the ratio of really good albums vs. everything else on the station from year to year to see if it's changing or remaining pretty much constant. I’ll continue to study the data and report back again with any other correlations I can find. In the meantime, here’s my essential list of prog albums between 1991 and 2009. Enjoy!

Best albums released in 2009 (subject to change as more late-year additions become available):

Dream Theater-Black Clouds & Silver Linings
Guilt Machine-On This Perfect Day
Gösta Berlings Saga-Detta Har Hant
Indukti-Idmen
OSI-Blood
Ozric Tentacles-The Yum Yum Tree
Redemption-Snowfall On Judgment Day
Riverside-Anno Domini High Definition

Best albums released in 2008:

7for4-Diffusion
Amaseffer-Exodus: Slaves for Life
Ayreon-01011001
Circle II Circle-Delusions of Grandeur
Evergrey-Torn
Everon-North
Karmakanic-Who's The Boss In The Factory
Opeth-Watershed
Pendragon-Pure
Riverside-Reality Dream
Seventh Wonder-Mercy Falls
Shadrane-Temporal

Best albums released in 2007:

Age of Nemesis-Terra Incognita
Allen/Lande-The Revenge
Animations-Animations
Anubis Gate-Andromeda Unchained
Circus Maximus-Isolate
Cosmosquad-Acid Test
Dead Soul Tribe-A Lullaby For The Devil
Dominici-O3 A Trilogy - Part 2
Dream Theater-Systematic Chaos
Kamelot-Ghost Opera
Myrath-Hope
Nightingale-White Darkness
Phideaux-Doomsday Afternoon
Porcupine Tree-Fear Of A Blank Planet
Poverty's No Crime-Save My Soul
Pure Reason Revolution-Live At Nearfest 2007
Redemption-The Origins Of Ruin
Riverside-Rapid Eye Movement
Rush-Snakes & Arrows
Sieges Even-Paramount
Spheric Universe Experience-Anima
Symphony X-Paradise Lost
Thought Chamber-Angular Perceptions
Threshold-Dead Reckoning

Best albums released in 2006:

Beyond Twilight-For The Love Of Art And The Making
Dream Theater-Score - 20th Anniversary World Tour
Freakeys-Freakeys
Frost*-Milliontown
Odd Logic-Legends Of Monta Part 1
Pyramaze-Legend Of The Bone Carver
Seventh Wonder-Waiting In The Wings
Silent Voices-Building Up The Apathy
Tomorrow's Eve-Mirror of Creation II - Genesis II
Tool-10,000 Days
Vanden Plas-Christ.0
Venturia-The New Kingdom
Wolverine-Still

Best albums released in 2005:

Beyond Twilight-Section X
Circus Maximus-The 1st Chapter
Ghiribizzi-Pan'ta Rhei
Indukti-S.U.S.A.R
John Petrucci-Suspended Animation
Kamelot-The Black Halo
Lalu-Oniric Metal
Magic Pie-Motions Of Desire
novAct-Tales From The Soul
Opeth-Ghost Reveries
Overhead-Metaepitome
Pagan's Mind-enigmatic : calling
Pallas-The Dreams of Men
Porcupine Tree-Deadwing
Presto Ballet-Peace Among The Ruins
Redemption-The Fullness Of Time
Riverside-Second Life Syndrome
Shadow Gallery-Room V
Sieges Even-The Art Of Navigating By The Stars
Stride-Imagine

Best albums released in 2004:

Ayreon-Actual Fantasy Revisited
Ayreon-The Human Equation
Blackfield-Blackfield
Dead Soul Tribe-The January Tree
Dream Theater-Live At Budokan
Dreamscape-End Of Silence
Evergrey-The Inner Circle
John Petrucci & Jordan Rudess-An Evening with...
Jordan Rudess-Rhythm of Time
Karmakanic-Wheel Of Life
Nightwish-Once
Pain Of Salvation-BE
Pain Of Salvation-12:5
Pyramaze-Melancholy Beast
Riverside-Out Of Myself
Sylvan-X-Rayed
Threshold-Critical Energy
Threshold-Subsurface
Trans-Siberian Orchestra-The Lost Christmas Eve

Best albums released in 2003:

Adagio-Underworld
Andromeda-II = I
Arena-Contagion
Atmosfear-Inside The Atmosphere
Dead Soul Tribe-A Murder Of Crows
Derek Sherinian-Black Utopia
Dream Theater-Train of Thought
Evergrey-Recreation Day
John Arch-A Twist of Fate
Opeth-Damnation
OSI-Office of Strategic Influence
Poverty's No Crime-The Chemical Chaos
Star One-Live On Earth
Sun Caged-Sun Caged
Tomorrow's Eve-Mirror Of Creation

Best albums released in 2002:

Dream Theater-Six Degrees Of Inner Turbulence
Lacuna Coil-Comalies
Nightwish-Century Child
Pagan's Mind-Celestial Entrance
Pain of Salvation-Remedy Lane
Porcupine Tree-In Absentia
Spock's Beard-Snow
Star One-Space Metal
Superior-Ultima Ratio
Symphony X-The Odyssey
Threshold-Critical Mass
Vanden Plas-Beyond Daylight

Best albums released in 2001:

Adagio-Sanctus Ignis
Ambeon-Fate Of A Dreamer
Beyond Twilight-The Devil's Hall of Fame
Dream Theater-Live Scenes From New York
Jordan Rudess-Feeding The Wheel
Savatage-Poets And Madmen
Stride-Music Machine
Symphony X-Live On The Edge Of Forever
Threshold-Hypothetical

Best albums released in 2000:

Ayreon-Universal Migrator - The Dream Sequencer
Ayreon-Universal Migrator Part II: Flight Of The Migrator
Fates Warning-Disconnected
Koyaanisqatsy-From The Yearning To Burst - The Perpetual Circle
Maximum Indifference-The Transmutations of Supposed Angels or Beings that were once Girls
Pain Of Salvation-The Perfect Element I
Planet X-Universe
Porcupine Tree-Lightbulb Sun
Spock's Beard-V
Symphony X-V: The New Mythology Suite 2000

Best albums released in 1999:

A.C.T-Today's Report
Balance Of Power-Ten More Tales Of Grand Illusion
Dali's Dilemma-Manifesto For Futurism
Dream Theater-Scenes From a Memory
Liquid Tension Experiment-Liquid Tension Experiment 2
Opeth-Still Life
Porcupine Tree-Stupid Dream

Best albums released in 1998:

Ayreon-Into The Electric Castle
Liquid Tension Experiment-Liquid Tension Experiment 1
Pain Of Salvation-One Hour By The Concrete Lake
Symphony X-Twilight In Olympus

Best albums released in 1997:

Dream Theater-Falling Into Infinity
Fates Warning-A Pleasant Shade Of Gray
IQ-Subterranea
Pain Of Salvation-Entropia
Spock's Beard-Beware Of Darkness
Spock's Beard-The Kindness Of Strangers
Symphony X-The Divine Wings Of Tragedy

Best albums released in 1996:

Lemur Voice-Insights

Best albums released in 1995:

Ayreon-The Final Experiment
Dream Theater-A Change of Seasons
Savatage-Dead Winter Dead
Symphony X-The Damnation Game

Best albums released in 1994:

Dream Theater-Awake

Best albums released in 1993:

None

Best albums released in 1992:

Dream Theater-Images And Words

Best albums released in 1991:

None

Music Without Borders - Interview: Farzad Golpayegani

noreply@blogger.com (guitarsean) — Sat, 21 Nov 2009 07:34:00 +0000

Farzad Golpayegani is an Iranian born musician, composer and visual artist. His music seamlessly blends progressive metal and rock with the traditional sounds of the music of his home country. He is also a visual artist and graphic designer. He has released 3 cds so far and another is in progress. Due to the difficulty in getting his music to the wider world from Iran, all of his music is available for free on his website. Farzad has also just relocated to Istanbul, Turkey. Hopefully this will give him more to share his music with the world. He was kind enough to do this email interview with me just after his move. Please be sure to visit his website.

• Your music blends Iranian influences with western-style prog and metal. Was this natural for you to do?

It had been my idea since I started to compose my own songs. Personally I enjoy many different genres and I have tried to blend my favorite styles including Iranian traditional and prog metal to achieve my own style. I won’t say it hasn’t happened before but I’ve tried to give an Iranian taste and spirit to this type of metal music.

• What is the reception of your music in Iran like?

Unfortunately there is no space for musicians like me. Because metal music has been totally banned in Iran for years. I have had some concerts and releases in Iran but they were about 5 years ago. Even though my songs are instrumental and also have Iranian elements I still don’t have permission to release or perform them.

• Do you play your music live? How is the live experience different than the studio for you?

For couple of years my only chance to have a concert has been playing abroad, which is a bit hard when you live in a country where always there is difficulty getting a visa. That’s why I recently left Iran for Turkey, to maybe have a better situation.

• Do you have a favorite piece of gear? Something you can't live without?

Well, I’m used to get the best result that I can with a minimum of equipment. I have record most of my songs with a low level quality instruments so it doesn't matter to me. The only thing is that I prefer play with a 7 string electric guitar other than usual 6 string.

• Talk about your musical influences, who inspires you? Are there any newer bands you really like?

I always enjoy discovering new bands and there are many different artists that I like but maybe more interesting is when I’m inspired by a completely different song or artist other that metal ones and then its influence comes to my metal works.

• Do you have a regular practice routine?

Actually no! Because I’m busy with different activities and play instruments like electric guitar, steel and nylon acoustic guitars, bass guitar and violin, or work on my visual projects like painting and graphic design, but I usually focus on one of them at a time.

• Describe your writing process a little. Do you use notation? Do you write with other people or do you work alone?

I don’t have a regular process. Sometimes I start composing and sometimes I get an idea for a song while I’m improvising. Also I usually use notation when I need a another player other than me for a record or a concert. And I also write my songs alone, but I always enjoy jamming and cooperation with other artists. I always have some jamming and improvisation parts with my band at my concerts.

• Your website says your next album will be all acoustic. How is that coming along? What led you down that road?

At the moment that record is mainly finished. I always have had some fusion songs or parts in my record but this time I wanted to make a complete record in this way. Maybe some who were interested in my previous records will not enjoy this record as previous ones but I will also have new audience with different taste by this record. Composition of the instruments in this record is: Steel and Nylon Acoustic Guitar, Resonator Guitar, Bass Guitar and Violin. And I have used acoustic guitar with about 6 different tunes within the tracks.

• You've written music for video games, what was that like?

It was a good experience. Since my works are instrumental I can write music for games, animations and films easily and I really enjoy it. By adding some bonus tracks and different versions I will prepare these two game soundtrack projects as two complete records of mine. The historical theme of “Nader’s Blade” and ancient theme of “Garshasp” have been close to my own works, the difference is the epic feeling that I added to them and I used a different orchestration (different instruments).

• You have formal training in visual art, does your art influence your music and vice versa?

Of course. For me working on music or visual art is like saying a same thing with a different language. There are the same rules, elements, motifs, feeling etc, but only in a different shape. I have in mind to start a series of performances like what I had in “Intergalactic Music Festival” (2006) in Amsterdam. It will be like playing back the rhythm tracks of my songs while I play the lead guitar parts, with video art on display during the performance. This idea helps me to perform musically and visually in the same time.

• You've decided to release all of your albums for free. Why is that?

There were not any chances inside Iran for releasing my records and also other options like digitally releasing wasn’t looking good. So I decided to release them for free so at least reach a larger audience. It’s so hard to release the records that I’ve spent years to complete for free and not have permission to go on stage. It leads to not to having any financial profit from my records, but I still love to work on my musical projects.

• There is a hidden track on your album "Three," a really wild take on some classic rock and metal songs. You've given them a real personal sound. How did that come about?

From the beginning I never have been interested in playing cover songs, until I found a bit more of my own style at my third record. I prefer the cover songs that the one who is playing it gives it a personal touch. For me playing a song from another artist in the exact way that it is, is of no value. Like a fake painting (reproduction) that is painted with so much talent, but still is fake! Having character is more valuable than just having talent to play a song. In that hidden track I wanted to use tracks from musicians that have made my vision when I started to play guitar. It was like a respect.

• Anything else you would like to say to our readers?

I hope to have the opportunity to make many gigs and concerts and to see those who like my songs around the world, and also have a better situation to make progress in my music.

Thanks so much to Farzad and do check out his site. I hope his move will mean more music and more shows. Maybe progressive music is the key to world peace.

New Blog Layout

noreply@blogger.com (BG) — Sun, 15 Nov 2009 12:14:00 +0000

If you are reading this you would have noticed that I have changed the layout template of the blog. The new design is easier to maintain and expand and also looks more clean. It features 3 columns (except at the top of the page), which means you don't have to scroll so much to see the links and other stuff in the sidebar.

Hope you like it.

If not, let me know in a comment to this article.

Who do you think you are?

noreply@blogger.com (guitarsean) — Tue, 03 Nov 2009 20:51:00 +0000

Progulus listener Zaii recently commented in the forum:

Does anyone else get bored of new Prog Bands saying things like "for fans of Dream Theater, Porcupine Tree and Opeth"? It's always the same few massive Prog bands and most of the time they actually don't sound anything alike. It would be nice if they named a band they actually do sound like. I have become so disillusioned by people saying such things that when a band claims to sound like DT, yes and PT for example I immediately become very skeptical and assume they are a not particularly talented group who are just trying to draw in as many listeners as possible by claiming to sound like the biggest band they can think of. When was the last time someone said "sounds like Karmakanic" for example???

This got me thinking again about the difficulty of finding your own sound and also finding a way to tell people what you sound like. You want to be accurate, but you don't want to confuse people. Zaii also made reference to a band that's been spamming the Progulus tag board. Spamming will make people made to begin with, but they also claim to sound like Dream Theater, Rush, and Genesis. They aren't even close. I think it's bad form to try to ride someone's coattails in a deceptive way. If you say you sound like Rush and you don't, I probably won't take the time to find out what you so sound like. I'll probably forget all about you.

Sometimes descriptions of bands are written by their label or promoter. In this case you'll probably hear an accurate comparison, but it will also be of the biggest bands. This is pure marketing, meant to catch the most ears. This isn't necessarily wrong either. I think you do need to speak your audience's language. Once after a Strange Land show one guy in another band (a well known guy in this area) said "Man, you guys have that Kansas thing down!" I know it was meant as a compliment, and I took it as such. But I also said to myself "Huh?!" I'm the only member of Strange Land that listens to a lot of Kansas, and they really are a generation before us anyway. But the guy who gave us the compliment was a little older and probably stopped listening to anything remotely prog in 1980. When people hear something unfamiliar the brain needs to find a place to put it. Sometimes the closest match isn't that close at all. Do we sound like Kansas? Well, more than we sound like Barry White. When I have to describe Strange Land to non-prog fans I'll say Queensryche, Rush, King's X, maybe Living Colour, maybe Dream Theater (if they're metal fans). Listeners of commercial hard rock radio will know some of those bands, and the comparison isn't inaccurate. If I start talking about Pain Of Salvation and Fates Warning I usually get blank stares.

Another problem in describing my band is whether or not to talk about influence vs. inspiration vs. emulation. We are influenced by Devin Townsend, Echolyn, Dead Soul Tribe, and Nevermore but I don't think we really sound much like those bands. Sometimes I want to make the comparison though because I've been inspired in some way by such a band even though I'm not copying their sound.

So, back to Zaii's point, and knowing your audience. If I know I'm talking to the prog crowd I can mention all of the above bands and more obscure ones. It's hard to make the comparison to the lesser known bands, there are so many and such variety. Strange Land is influenced by Fates Warning, but it's later material. We are influenced by Queesnryche, but mostly Rage For Order through Promised Land.

It is a mistake to compare yourself to someone you don't sound like. I think it's also a mistake for younger bands to say "for fans of" when they aren't ready or are not up to snuff quality-wise. If I say "Strange Land sounds like Symphony X" and we don't, you'll be annoyed. If I say "we're influenced or inspired by" then we still might grab your attention. There is too much emphasis on being the next [fill in famous name here] that bands are unwilling to let time and word of mouth work. I find it better to sound like me than to not sound like someone else but say I do. Unfortunately, in the marketing world, "I sound like me" doesn't cut it. So many bands try to say they sound like whatever you like.

Be A Pro

noreply@blogger.com (guitarsean) — Mon, 02 Nov 2009 00:03:00 +0000

There's nothing like good customer service. I even think it's worth paying a little more for great service. In the world of the performing musician, good customer service is contained in being professional. And by professional I don't mean making a living at it. I don't mean any particular level of technical prowess on your instrument. I mean common courtesy. I mean doing what you say you will do. I mean not behaving like a dumbass. One definition from Merriam-Webster: following a line of conduct as though it were a profession.

For the second time this year Strange Land ventured south of the border to Illinois. We played on the north side of Chicago at the Redline Tap. Cool place, good food. Big thanks to Progulus listeners Iceman and Falcon and their friends and family for coming out.

For the second time this year, a show in Illinois was partly hosed because other bands didn't show up. Click here for the scoop on the previous show. This time there were five bands booked. One cancelled a few weeks before the show. Two more were total no-shows. No call, no excuse, nothing. We were expecting to play a 30 minute set. We played for an hour. The other band that did show, Seeking, was cool. Glad to meet them.

But what kind of a moron do you have to be to just bail on a show with no notice? I've seen other examples of not being pro. Chewing out the sound guy. Wrecking the venues property. Being rude to the other bands and to the staff. Getting drunk and making a fool of yourself. Sorry, but acting like a "rock star" doesn't make you one. I know I'm weird but I've never thought it was cool to behave like a typical rock star. The closest I think you can be to getting away with it is when you actually are a rock star with millions of dollars and a team of lawyers. Even then, I'll still think you're an ass and your behavior isn't cool. You'll just be better equipped to not care and get away with it.

We are probably the most punctual band in the state of Wisconsin. I feel bad if I show up five minutes late. We treat the sound guy with respect. We thank the venue and the other bands we play with. We thank the people who came to see us. That's pro, and that earns us the respect of venues, sound guys, bands and fans. That gets people to buy cds. That gets us invited back to the venue. That gets us invited to open for national acts. That gets other bands to trade shows with us. And that is why we are entering out 11th year as a band. One measure of success in my mind is survival. We've made it 11 years, 3 albums, and dozens of shows because we've outlasted so many other bands. One of the biggest keys to our survival is our commitment to being pro.

The 5th Season - a diary, Day 1

noreply@blogger.com (stringray) — Sat, 31 Oct 2009 22:08:00 +0000

While writing this I find out that it is quite a little Lord Of The Rings what I wanna tell about just 3 days. Well it is indeed a 'shortened' version and I decided to do one article per day. But I want to bring this down to "paper". So, if you're really bored one day, feel free to actually read the whole thing. :-) Well, here it is:

Friday morning at 7 am. Into the car.
The box of Oktoberfestbeer is there, good.
Promised it to the regulars.
One hour later, at the other end of town we pick up Dario (aka ProgressiveLunatic, aka LordPL) and FluffyGuts. Could have been 30 minutes to go, but some Al Qaeda guy was mumbling something about not wanting beer and an Oktoberfest in Afghanistan, so half of the city, around the Oktoberfest, became a high security zone. We had to go a long way around that... Anyway, we're at the highway now.
At the end of the road, our road, a weekend with 15 progmetal bands and people from 15 nations are waiting! Though the line up is a bit weaker than on the last two festivals, exitement has already taken control over me.

Fluffyguts is a girl from Australia, she popped up at the ppe forum, looking for assistance to trip from Munich to ppe. There was a free seat left in our car.
Gerhard (gdantell) said he might show up on short notice when his business trip will allow it.
Robert (Atomic) was checking out if he could join some 10 days ago, but found out that he hasn't any more work-free days for this year. Bummer.

German highways are a mess, half of the entire way is under construction and it takes us more than an hour longer to cross the border at Roermond. We tried to avoid the Friday afternoon rush in Venlo and decided to hit Barloo from the south, and find the road to Baarlo filled with a massive traffic jam. We leave the road and take the long way around it, navigating with a map on my lap. That's not easy in the Netherland, they have a rather strange idea of where to put signs on the road and where not. If we had to rely on the signs I guess we would have ben completely lost. Fortunately the truck in front of us is from Venlo, and considering that it's Friday afternoon, we guess that guy is heading towards home. The roads we pass sometimes are so small and designed in a way that we're expecting a dead-end several times, even though they're labeled as main road in the map. We find a road sign that leads to Baarlo - thankfully.
It's a quater past four when we reach the castle, our accommodation. Casteel DeBerckt is kind of a hotel and they have a deal with progpower, everyone who orders a package deal for progpower also books bed and breakfast at the castle for a pretty fair price. And it is indeed 'bed', not 'room'. They simply fill their rooms with progpower people, noone has his own room there. If you come alone, you'll end up sleeping in a room with absolutely unknown people, unless you told the progpower staff who you wanna join rooms with. We did that.
When we enter the courtyard, a couple of black t-shirts are already there, sitting in a circle around some beer and an ipod with speaker application, with - of course - Devin Townsend playing. The regulars. When they gather, they are mostly always making a circle. They see us coming, with the box of beer, and welcome us, shouting out "It's the Geeermaaans", raising their beer cans.

At the entrance of the castle they have exposed a room plan this year, but the lady who welcomes us still is confused because Fluffyguts is in a different room than Dario and me. We help her in pointing at our names on the plan. I should mention that they don't have a reception at the castle, you just get in and wait on the corridor until some staff comes along. Something like the castle would be impossible in Germany, a hotel without a reception, only functional furnishing that lacks any kind of design, no bar. I know, Dutch hotels are different to the ones I've ever been anywhere else. But still, the castle is a great place.
Entering our room we find Gary (Cyberfloat) and Simon (jimmyjoint) hanging out, just as expected. The Brits always go into their room and only get out when they're leaving the hotel. Ok, Let's hug! It has been an entire year. Before I can pull off my jacket Gary is holding a bottle of Jamesson under my nose. Ah dammit, let the party begin!
Wait, six beds in our room? Weird... looks like they've messed up the reservation and we're having spare beds. And one window is broken. Wait... there were two people in the room, a window is broken, three empty bottles of beer at the table. Not two, not four, but three. Hey guys did you....?

Grabbing all we need for the festival, print of booking confirmation, torch (2 km to walk back at night, no lights on the road...), we go down to the courtyard, make the circle of the regulars a little bigger and thankfully receive some beer. Finally, the travel is over. Hanging out, chatting and relaxing. Marcel tells me that they don't know which rooms they're in. I talk about the exposed plan, but he says that some are still on the road or even in the air. I don't get the point, but don't want to get into it too detailed now...
After a little while it's already time to get up and leave the castle. We stand up... and stand... and stand.... I start walking slowly, Dario wonders about it and I say "it's time to get this thing moving". That helped. Slowly the trail of the black t-shirts is heading it's way. Watch out Baarlo, we're comming!
A car is speeding down the road and almost hits 2 of the black t-shirts. Fool, it's progpower, don't you know you ought to use another road?? Another car aproaches, more carefully. When it reaches us, growling from inside, hands out of the windows. They'll be there faster... cheaters!
Simon, Gary and me are not talking much, as usual. Dario, as usual, talks. And talks. And talks. Glad he does. He's doing the talk for us all...
We reach Baarlo, reach the venue and pass by. We're heading towards the great chinese restaurant right before the show starts. A tradition. It simply is funny seeing them being scared behind their desk when the long haired mob of black t-shirts arrives, aproximate 30 of us. We cross the mainroad 20 meters beneath the traffic lights. We're proggers. Using the traffic lights would be mainstream, wouldn't it?
At the restaurant, the cheaters are already there, Asians are praying, the bigger tables get occupied by the regulars, we're adviced to use the next one. We thankfully sit down and Gary stands there... crying. What's up? Oh, it's four seats and we're five. He prepares himself to sit alone at the next table. Damn poor guy. We decide to mess up this whole place and Gary takes his chair to our table, at the front end of it.
Gary used to tell me about chilly festivals, chilly chocolate, chilly jam etc through the entire year. Now while eating chinese food, they all do stop chewing, breath in, reach for beer, drink, breath again, start searching for little red vegetables (paprikas?) in this delicious dish. I don't really think it's hot at all; I even added some chilly sauce to it, and still... too mild, European... well...
After a very delicious - mild - dinner and some chat we gotta leave, queue up at the counter for paying. Another mess at the restaurant. And it takes quite long, although nobody had else then buffet and one or two beers.

Going back, crossing the main road, but at the traffic lights. Huh??? Why that? Oh, ah, our English friends are leading the trail...
We aim the festival. Walking through Baarlo. Church bell rings, windows get closed, some kids are taken off the streets panically....
[soundtrack advice: establish this cut with a harmonica melody in 9/4 and add a dramatic church bell to the cut]
WE HIT IT!!!! The holy place! The venue! Sjiwa!!! (On all other 362 days of the year it's just the local youth club...)
At the entrance we queue up again. His holiness Rene, the man who organizes this every year, hands out the tickets personally. And that's quite due! It's a ritual. You hand over the ticket confirmation, Rene browses the stack of envelopes for your name and hands out yours. You receive it humbly and your prog aura expands to the measure of our planet and blesses entire mankind withing 5 seconds. And collapses back to a little bigger than normal size. Woossshhhh
It's strange somehow. After such a tight day I'm finally at the venue, and still I don't feel like having arrived. Next task is exchanging. You gotta give them Euros for some kind of Sjiwa currency, some plastic coins. They won't give you beer or anything for real money. Ah yes, the beer. small one is 0,2 liters, big one 0,4 liters. I tried to tell them that, where I come from, a big beer is actually one entire liter, but they never seemed to have any use for that information....
A small - very small - beer in hand I'm at the merch stand, the guy welcomes me and we chat a bit. Being here for the third year, even he already knows my face. I want an Andromeda t-shirt, size M, so I better get one at the beginning. No. They don't have one. That is always a problem at the end of a year he says. Almost pissed, I feel like shouting out to all bands "make more of the most common sizes!!!!!!!!!" Well, I take L then, telling myself that L is good in winter.
No band has played yet but I already have a merch bag. Including a progpower poster. Hehe...

Cirrha Niva is the band that starts this years festival. A dutch band that already has their 5th album out. I did not know about them before they were announced for progpower. Their music is dark, a bit depressive, but aggressive. No grunts - thankfully - the singer is a shouter, not taking much care of hitting the proper note for the sake of shouting, but he's never out of key. Their music is nothing special, pretty generic in style, though most bands do grunt in this genre.
I takes a bit until I notice that there is no bass player. He couldn't come, so they taped the bass and now play to the 'tape'.
The sound is not good. It's hard to seperate the instruments, the bass track is so silent, yes, unaudible for long sections of their gig.
The bands stage approach is a bit stiff, yet uncertain, but we, the audience are too. It seems we all need a bit of time for settling. Musicwise a good start of the festival, they do a good job in warming us up.
In the break I'm finally relaxed and do some talk here, some there.

Cloudscape is the second band. Number three in my personal favourites of this years bands. I like their style of "Sweden metal goes prog". They go on stage and just start, whithout any need of warming up. Some little feedbacks occur, from the drum mics I suppose; but these are just a worms guesses. The mix changes drastically for several times, suddenly the drums are completely off the PA. The engineer must have drastic problems. During song three engineer seems to have everything under control, but...
Why is it always at progpower that the drums are too loud and the guitars way too much in the background? I mean, we're celebrating a metal fest after all. Remembrance back into 2007, when the gig of Circus Maximus sounded like prog rock.
I'm at the wrong place, gotta go closer to the stage. Yes, in row four the sound is quite ok. (most of the time at progpower there is enough space to be wherever you want to)
The band puts quite some energy on stage. They're having fun playing for us and Mike Andersson is a great frontman, good good show! Sound... not good, sounds pretty 'cloudy', as if Devin Townsend were on stage.
Despite the sound and "Sweden prog metal" I liked their gig.
When they're done, the thank you goes around. Thank you band for playing, thank you folks for listening, thank you Rene, thank you Matthias... (Thank you Mattias? A couple of bands last year did thank him as well. That's weird...)

Talk of this break is the sound. Everybody wonders if the new loudness policy causes this, maybe it's not solvable to produce a good sound at lower levels with this FOH/PA. Fact is, everybody's complaining. Last two festivals haven't been too loud in my opinion. I don't understand this policy, as most people use ear protectors anyway. I tell myself to get arranged with it. I have heard so many crappy sounding gigs in my life, I have learned how to listen concentrated and enjoy a gig.

Headliner of tonight is Andromeda. If someone asks me for a good example for prog metal I point at Andromeda. Dream Theater? Who?
... I find a good place in row two. Nice sound here, I can hear the drums unamped, sounds way better than what the engineer offers. All other instruments and vocals come from the PA and surround me, I'm in a cloud of notes. Many notes! And all coming pretty fast and continuous. David Fremberg is one of the very few who sing on stage exactly as in the studio! Most of the biggest vocal heores in the world can't achive that. They got my body, my head, moving within the first tune, and that won't stop until the gig is over. I never bang head on 4/4 bands, time signatures and overall rhythm must be complex for me. But then I can't stop, I never bang on purpose. I'm wrenched, pushed and hustled in a centre of a continuous box barrage cloud of notes. Thomas Lejons drum breaks are absolutely insane, he is up in my Walhalla of drummers for now and ever. The entire band is. I'm blown! Looking around me I see that the others are too. Everytime someone is extra-impressed by some musical madness, looks around and looks into anotherone's eyes, a hug is next, we front-rowers do bang heads and hug. Marcel, the regular, is air-drumming. Another song is over, another little rest, suddenly the floor is playing techno. Ah, right we've been warned. Local teenagers are having a disco party in the basement. Must it be really that loud? No respect, these kids today. Woooooosh the Andromeda train goes on....
And then they're finished. What? Ah ok, two hours are already over. Thank you, thank you, thank you band, thank you audience, thank you Rene, thank you Mattias. ("He was at progpower from the beginning and did not miss one festival, for eleven years long!")

I feel like I wanna go home. This weekend cannot get any better. what a massive musical event did I experience right now! --- Nah, hey the entire weekend just started, man! Even though there will be no better band than this, it will be fun.
I turn around and look for the Brits - ouch my neck! I can't find them. We go outside and hangout there a bit, smoking, chatting, drinking, the Brits are gone. They left during this ultimate gig? Nuts....
Fluffguts comes along. Haven't seen her since we arrived at the venue. She's having party already. Good! :D
Local kids ocupy the basement, so no afterparty there tonight. The trail of the black t-shirts is heading towards the castle. Passing the local pig farm and an ugly smell we consider shooting some ham for breakfast but give up because we have no weapon. Not even a drum stick...
After a refreshing walk and talk - hell my neck still hurts - arriving at the castle, someone comes out the door and says "hey we gotta find a room where nobody's sleeping, someone sleeps in our room." Confusion... But the gods of prog are kind to us. Rene arrives on his bicycle, has loads of beer, grabs them beers and quickly dives into the downs of deBerckt.
We hang out in the courtyard, confused, not knowing where, what's going to happen. suddenly, on the second floor, there's music, loud music. Some of the regulars climb up the wall and enter the room through the window. When Dario and me come in, the reagulars already made up their circle, but there's place left at the table. David, Fabian and Johan of Andromeda are sitting there, and some more people. Fabian gives me a beer, we hang out, talking loud, because the music - Devin Townsend, what else - is quite loud.

Second row from left to right: Fabian (hidden), David (bald), me, Dario, Johan, and, hmm... was it the drummer of Cloudscape?
Hard to tell almost a month afterwards...

I tell Rene that I find the people of Baarlo cool. They simply bear the annual progpower without complaints and even help people wo are too drunk. Rene says that many of them just like the fact that something's happeing in Baarlo, and the few who don't go on holidays.

Progpower afterparty... drinking, talking music, listening... all are equal. No high noses, egos or something. Being the headliner, the festival master or just someone. We're all here for the same thing and we shall all be happy being together.

I find our British friends in our room, Simon the snoremonster and his endless attempts of trembling the house down.
Five snores and the Friday is no more. over and out.

Identity Crisis

noreply@blogger.com (guitarsean) — Sun, 25 Oct 2009 20:50:00 +0000

I've been thinking about my identity lately. Specifically, should I have chosen a stage name years ago when I started playing out after college? I'm not getting mobbed by fans and I have my privacy. But there is obviously a conflict between my life as a musician and my personal life away from the stage. Lately it seems the more I express my private life the more damage I do to my music life.

I am a guitarist, bassist, singer, and percussionist. I am a composer. I am a recording engineer. I am an artist. I am a designer. I am a traveller. I am a friend. I am a son, a cousin, and a nephew. I am a skeptic. I am an atheist. Did those last two taint your view of all the previous ones? I wonder if there are some parents out there who would complain to their kid's schools if they new that the music teacher was using music in the classroom written by an atheist. Probably a few, never mind that I've only had instrumentals published so far and I wouldn't advocate atheism in a song to be bought by a school.

Still, I am who I am. People will either accept me or not. If you decide not to like my music because I'm an atheist, well, I can't change that. Music is music and I've found many religious songs beautiful. Especially in the classical world (like Ave Maria by Bach/Gounod). Creativity will find its way in the world, filtered through each artist's experience.

I think instead of separating the private from the public, I'm going to be bringing them closer together. Music is my life. I've never felt like I needed to do something as compulsively. I breathe, I eat, I play music. It's not something I can't do. I feel like I should focus on that and just shut up about everything else. I have to be 'me' to the fullest to be satisfied with my music. But music is not my life. I am more than just little black dots. I can't be creative without experiencing life. I think Neil Peart of Rush said it best:

Back in April of this year, just before the Snakes and Arrows tour, I did a TV interview for the Canadian music channel, MuchMusic. The cameraman placed the interviewer and me in the rehearsal hall, in front of my drums, where I had been laboring for several weeks by then. Some of the interviewer’s questions seemed to angle toward a certain starry-eyed view of my work, especially the touring side of it, and I tried to explain to him that I didn’t consider touring, or even drumming, to be my life.
He seemed perplexed, and to appraise me as clearly jaded and cynical, because his next question was, “When did you start to feel that way?”
I paused to think for a couple of seconds, then was glad to feel the mental light bulb illuminate a true and clear answer. I was able to answer honestly, “About a month into the first tour, in 1974.” That really was when I started to feel that touring was “not enough,” and turned to reading books as a way to make more use of the days and nights.
Partly out of sheer contrariness, but partly out of a desire for context, I often refer to playing the drums, with deliberate disrespect, as “the job”—hitting things with sticks. Obviously it means much more to me than that, and has been a central focus in my life. But still, it seems rather sad to hear anyone say that their work is their life.
Not family and friends? Not reading and writing? Not hiking or cross-country skiing or birdwatching or motorcycle riding or swimming?
Just work?
I don’t think so.

Thanks Neil.

Catharsis

noreply@blogger.com (stringray) — Fri, 25 Sep 2009 19:35:00 +0000

subject: CD Baby loves you

"Your CD has been gently taken from our CD Baby shelves with sterilized contamination-free gloves and placed onto a satin pillow.
A team of 50 employees inspected your CD and polished it to make sure it was in the best possible condition before mailing.
Our packing specialist from Japan lit a candle and a hush fell over the crowd as he put your CD into the finest gold-lined box that money can buy.
We all had a wonderful celebration afterwards and the whole party marched down the street to the post office where the entire town of Portland waved "Bon Voyage!" to your package, on its way to you, in our private CD Baby jet on this day, August 25, 2009.
We hope you had a wonderful time shopping at CD Baby. In commemoration, we have placed your picture on our wall as "Customer of the Year." We're all exhausted but can't wait for you to come back to CDBABY.COM!!

Thank you, thank you, thank you!
Sigh...
We miss you already. We'll be right here at http://cdbaby.com/, patiently awaiting your return."

This is the standard confirmation mail of CD Baby when you order something there. One month later I send them mail, I thank them for all the love and ask where my cd is. - Nothing... no answer...
Money gone but no Strange Land CD for me, just a love letter....
Put my picture off the wall guys. You don't like the way I look at you and I hate staring at you while walking by and laughing in my face.

Edit:

Day 35 --- an e-mail came in, almost a week late. They messed up the shipping adress. I wonder who's gonna pay for the second copy. Me or my Strange Land. I wouldn't have a problem with a second purchase, just for supporting Sean's band. (for any other purchase it would make me angry of course...)

note to self:
That's not fair, stringray. Every other band would have to give out another hardly produced copy! Treat them all equally and support any amateur band fully!!! grrrr...

Edit 2:

Day 39 --- another shipping has been confirmed by e-mail.
Sean has found out that they revamped their web site and some things still seem to operate improperly. Well, bugs happen....
The global 3 letter shipping company does not report non-delivered mail and seems to simply thrash it. That's a new no-service to me.

Edit 3:

Day 70 --- nothing arrived. I give up.

I'm going to do a second purchase once Sean has the cd available at the German independent distributor. They never annoyed me.

Sean was so kind to provide me with mp3s in the meantime, so I can at least listen to the music whenever I want.

Great cd Sean!

Edit 4:

Happy ending!

Guitarsean did send me another copy. And some extras, a magnet with the cover on it. You know those magnets you put on the fridge or something. They also managed to sign the booklet even though the cd was sealed. Those wizards!

I love reading the credits and Seans thanks - section. I'ts an ode to the progulus listeners...

Teaching my kids some (musical) values

noreply@blogger.com (BG) — Tue, 15 Sep 2009 20:07:00 +0000

Da-da-Daa dada daDaa da-da-daa da-daaa

If you didn't already guess it...this is my 17 months old son mimicking a famous guitar sequence of Deep Purple's "Smoke on the Water". Apparently he picked it up while his older brother (9) was seeking out all versions of this song he could find on YouTube. I don't know how he got to hear this song, and I'm not much into this band, but it made me think...maybe this could be the start of something wonderful. Yeah, I know that statement is kind of cliche, but nevertheless I feel that I am on to something here.

Let me explain...My son has had a MP3 player for some time. Initially I put 15 good, somewhat popular songs on it, that he listened to for a while and then probably forgot about. Then he asked me if I could put 'Smoke' on it so that he could listen to it without the computer, cause his mother was getting a little enough of co-listening to it, and was thinking that his computer time was getting a little excessive. I told him "sure" and suggested that we also found some more material, since he was already bored of the 15 songs already on the device. What I didn't tell him was about my "evil" plan to slowly introduce him to "real music". This is something that has been in the back of my mind since I got kids; to "help" them discover music that is inspirational, entertaining and appreciated rather then just being the background noise of their lives.

Now, given the task of filling a MP3 player with music, what would you put on it? If the only requirement is that it should be good music, should you choose the things you like yourself or would it be fair to choose from all kinds of genres in order to give the potential listener more choice? Well, I'm not ashamed to say that I will try to instill in my son a taste for the music I prefer listening to, and I don't find that selfish in any way. You see, something that can bring people together more than anything else...is music. And I can think of no better cause than cultive the relationship with my son. If his potential love for jazz or classical music is to suffer because of that...so be it.

So I accidentally copied 2 songs onto the player with the names of Mystery Train and Sunrise on Mars (by Transatlantic and Threshold). Only 2 since I didn't want to scare him too much with unknown songs. You know the thing with kids, you just have to listen to the popular stuff to be cool. His reaction? Well he didn't care much about Threshold, but surprisingly he thought that Transatlantic was "way cool". Sad for the Thresholders, but great for my son. I like Threshold, but I still consider them to be only a few "measures and signatures" from mainstream. Transatlantic is on a completely different level. It is true that Mystery Train is not the most complex song made by the band, but it is a supreme display of greater musicianship compared to what "normal" people listen to these days.

To come back to the statement I made earlier about jazz and classical. It is actually a bit contradictory. I have found that prog can be the doorway leading to great discoveries in music. Before I got into prog I was completely anti jazz and classical (including opera), but now I'm open to both categories. Because there are no rules in prog, anything can be incorporated into it. Sometimes the result is bad, but a great many times the result is purely amazing. Just a side remark here: if you hate jazz and start liking The flower Kings...you are doomed to eternal schizophrenia.

Before I end this, it is time for the million dollar question...

What should I put on the MP3 player next?

A proggers 5th season - the fever's already begun

noreply@blogger.com (stringray) — Tue, 25 Aug 2009 19:54:00 +0000

It looks like so many people have their 5th season. The people in the Cologne area have their carnival. They stop working and just hang out drinking. Drinking a LOT! In Munich we have the Oktoberfest. Since travelling the world became so affordable, it's mostly tourists who drink. Drink a LOT! Well what would you do if you travelled half the globe for attending the worlds biggest 'drug' fest.

Fortunately I can escape the Oktoberfest for a weekend for the europroggers 5th season. Not to far away from Cologne, in the Netherlands there's the little town Baarlo, and they've established the best music festival in the world, progpower europe. 3 days, 15 bands, and what will we do? We will drink. Drink a LOT! But hey, how would a progger drink? Right, not without hearing 3.743.712,07 notes a day, played live.
But not just that, a proguli meeting par exellence it will be, meeting cyberfloat, Jimmyjoint, gdcantell, and of course PL already ordered tickets and I hope more will come.
The big deal of the festival is that most of the audience and bands will stay at the same accommodation and many bands just do the same like us folks, enjoy the festival and see the others play. It's like a big family. There is no "you audience - we band". It just happens that you're chatting with some dudes, go for another beer and you can't find them anymore; the reason for this is mostly that these guys just prepare for stage and gonna play in 20 minutes. That's how you spend the afternoon and half of the night. After the headliners have played the party starts at the bar in the basement. That's where you meet the Threshold drummer, guitarist Marcel Coenen, etc. Once you have enough beer and go your way to the venue, another crowd happens to hang out, someone brings some beer from somewhere and you talk to Zero Hour among others before falling into bed. In the morning you even don't notice the hangover, at breakfast, Pathosray on the left and Cynic on the right of you, you prepare for the next massive note attack.
But definately all people you meet there are great guys. If regulars or just some who only come once, all are nice, friendly and helpful. There even are no doors locked at the accomodation, and people share rooms who have never met before. They say that there never was anything missing in the end of the festival (except a beer or two...).
And they seem to come from all the world, no matter if Australia, Korea, Paraguay, etc, no place in the world seems to be too far away.
Bummer, still 6 weeks to go...

Last year I intended to post my very personal impressions of the festival, but ended up being too busy to do it. I Promise I'll post them this year.

A very deep thank you goes out to Rene Janssen and his team for organizing the festival for the 11th time now, and to the nice and kind citizens of Baarlo for bearing the invasion of the black t-shirts so patiently. Be prepared!

A personal note for Jana:

I promised to provide you with a ride from/to Munich, as the car is going that way anyway. Would be a shame if you'd jump over to Munich from Australia and not head to the festival.
I'm leaving a second trace here, if I intended to do you any harm, I'd be traceable not only via the progpower team, but also through the google server.

Edit: If there's some space left I'll bring some Oktoberfest-beer!!

That is why I do this

noreply@blogger.com (guitarsean) — Tue, 25 Aug 2009 03:08:00 +0000

Strange Land had a show last Friday at a place that shall remain nameless here. I am the diplomat of the band after all, not that you can't all go to the web and find out where it was. It was out first show at this venue and our first within about 70 miles of this place. I thought we made this clear to the venue. We're interested in expanding our territory and reaching new people. Details were sketchy about the show until a few days before. Then, it looked like we were on a bill with five other bands. The whole show started at 6, we were told to be there no later than 10. Ok... looks like we're last. No biggie, with 5 other bands there should be a decent number of people hanging around.

Ah, but it's never that easy. From 6-10 it was an all ages show. We were indeed last and the band that was supposed to be before us didn't show. I thought, fine, we'll go on around 10:30 then. Promptly at 10 all the under 21 people were booted out. The band on stage at the time finished their set with a pretty good crowd still there. But for some reason the venue made us wait until 11 to start. In that time almost everyone left while the cover band got started upstairs (don't even get me started on cover bands. I'll lose my diplomatic immunity). Since the band we we're booked with didn't show none of their people were there. So most of the night we had five people. We managed to snag a few others in passing from upstairs. Add to that, the sound guy was pulling double duty due to an emergency. He was running up and down the stairs doing sound on both stages. He loved us though. Sound guys seem to like us because we don't sound like every other band they have to sit through. At one point Brad's vocal mic behind the drum kit was feeding back and he just unplugged it. We didn't have Brad singing for most of the night. Such is the nature of live shows. Shit goes wrong and you either roll with it or you collapse.

All that said, this was one of the best shows we've had in a while. We played well. We had fun on stage. And the crowd that was there was engaged. I have so much fun when I can interact with people from the stage. We cracked jokes. I got everyone to introduce themselves. We laughed. I may take my music seriously, but I don't take myself seriously. It wasn't my show. It wasn't Strange Land's show. It was our show, band and audience together.

I've played a lot of shows for many different kinds of crowds. I'll take small and enthusiastic over large and indifferent any day. I'm they guy in the band who isn't gung ho to play out. I prefer writing and recording. But for shows like this I will always come out and I will enjoy playing on stage. All I need to do to be successful is reach one person. To make one person laugh. To know that one person understands what I'm trying to do. For one person to feel like I understand them because of a song we wrote. We got lucky, we reached more than one last week. And that is why I do this.

Special thanks to Progulites Iceman and Falcon for coming out. It's cool to meet hardcore prog fans and to put faces and real names to the chat board nicknames.

Music is Music

noreply@blogger.com (T-Bo) — Sat, 11 Jul 2009 06:32:00 +0000

A friend of mine asked me today why people thought it was weird that he listens to Iron Maiden, Eminem, and Ziggy Stardust all in a row. Apparently it's not acceptable to have wide-ranging tastes anymore, and people are supposed to be defined by their musical genres of choice. Metal, classical, jazz, prog - all of these carry stereotypes as being very elitist and condescending towards anything that's not part of that particular genre.

Now personally, I enjoy a huge variety of music myself, but I rarely find myself listening to something other than prog or metal - occasionally rock, pop, jazz, or classical, but rarely. Not that that's all I enjoy, that's just what I enjoy most. I mean, I guess it is considered strange that someone would listen to such a variety of music, but it shouldn't be. Because people like different types of music. Some people like Pantera. Some don't. Some people like Coldplay. Some people like Suffocation. Some people like Pink Floyd, some people like Koyaanisqatsy, some people like Consiorzoacquapotabile, some people like Metallica. Different people listen to different things for different reasons. As for me personally, I enjoy to various extents all of those bands. PF, Suffo, CAP, and Koyaa in particular more than the others - and this is just the rock/metal/prog end of the equation.

Although I really, seriously fucking hate it when people (especially girls) say that "they listen to everything". No they don't. The spectrum of music is NOT just the modern rock/hip-hop/pop from the second half of the twentieth century that you hear on the radio. I can honestly say that I like (or at least can appreciate) almost all types of metal (black metal's a bit tough), extremely different forms of prog, folk music, the blues, showtunes, avant-garde music, various types of jazz, "classic rock", modern hard rock to a limited degree, funk, hip-hop, bluegrass, soul, gospel, zydeco, polka, mariachi, a LOT of classical (which really composes about 99% of the music ever written), psychedelic rock, disco, post-rock, REAL pop (not bubblegum pop), and I'm even warming up to country a little bit. I don't make the claim that I actually listen to each genre on a regular basis, but I at least like them all. Music is music, and there's really no point in trying to find "the best and only the best", because it's all a matter of personal taste. I'm not really picky at all. I'm like that with hanging out, with video games, with deciding what clothes to wear, with music, with food, whatever. Whatever the choices are, I don't care - I'll find at least some enjoyment in each of them. That's not to say I don't have preferences, because I definitely do, and there are some bands/genres/foods I really don't like at all.

But if somebody says "I listen to everything", you best give me your favorite folk metal band, your favorite funk band (and which era too, most funk bands had a LOT of revolving members), your ideal jazz sextet, be able to distinguish between the genres of classical music, discuss your favorite instrumental timbre, which era of technical death metal you like better, define "post-rock" and "djent", your favorite minstrel singer, enjoy the accordion, and be able to have an opinion on whether serialism is really music or math.

^ THAT's listening to "all types" of music, not the fucking bullshit that people claim it is. Remember kids, not all music is on the radio, by a long, long shot. Granted, some music on the radio is good - some music on it is GREAT. I'm not at all ashamed to admit I'm a fan of Creed, Coldplay, Alter Bridge, Muse, T-Pain, and a number of others. But for some reason people are always afraid to try out new music if it doesn't fit in their preconceived notion of simple 3 minute pop songs. Or their preconceived notion of UBER BROOTUL HEVY METLZ, or of long, atonal, complex 20 minute epics.

People are just too unwilling to think outside the box just for one second and try to appreciate music for what it is, rather than trying to slam it for what it's not. I can't tell you how many times I've facepalmed reading reviews that say "I usually listen to really obscure death metal like Destroyer 666 and Lykathea Aflame, but this Sigur Ros album sucks, it's all 'pretty' and not heavy and it's not TEH BROOTULZ". And it's the same on the other side of the coin. "Death metal sucks blah blah, that's not even music just random shit and noise." Death metal is one of the most complex musics out there and to blatantly INSULT it like that is just fucking WRONG, as in both morally and factually incorrect. The same thing with ignorant prog nerds who think that everything popular is automatically shit and that songs have to be long with 6453524 million time signature changes to be good. No. That's not how it is. Hell, I'm sure most prog bands don't even think that way. I'm sure for the most part Dream Theater don't go into the studio thinking "this part has to be in 7/4, this part has to have a G#sus4add9 chord, the melody for this part is too catchy, let's change that..." No, I'm pretty sure they just head in the studio, jam out on some riffs and try to construct a song that sounds good - whether it's "truly progressive" or "breaking new ground" be damned. A good song is a good song.

But not everybody is open minded. People will have likes and dislikes. And personally, almost nothing gives me more enjoyment than recommending people music they haven't heard before and them enjoying it. But there's a responsibility that goes with it, you can't just introduce a casual listener to a band like Sigh, and you can't just introduce a death metal listener to polka music. Small steps, and that's what genres are for. But music is music. And even if you're a death metal listener, you can't expect growls and blastbeats in your polka album. Because there's a fucking huge variety of music out there, and to expect it all to fit within your little preconceived notions is stupid.

I'm not saying everybody should be super-open minded all the time, and I'm not saying that all music is automatically good, but there's a give and take with it that needs to be acknowledged far more often. If you enjoy Daft Punk, Eminem, Count Basie, Iron Maiden, Sigur Ros, Mr. Bungle, Blind Lemon Jefferson, Koyaanisqatsy, and Ziggy Stardust at the same time, awesome for you - you've got an appreciation for well-crafted, well-performed music, no matter the genre or what anyone expects of you. More people should listen to music the like that, and actually I think a lot would, they just haven't been exposed to things that would really challenge and intrigue their ears. Remember kids, music CAN be entertainment, and that's fine - but it can also be an experience, whether a song be 3 minutes long, 6 minutes, 12 minutes or 50 minutes. A lot of people forget that.

Update on the sabbatical coming soon guys. :] Rant over.

"There are only two types of music - good music, and bad music" - Frank Zappa

An elision of purpose

noreply@blogger.com (guitarsean) — Sun, 05 Jul 2009 22:54:00 +0000

So, the new Strange Land cd is out. Special deals are selling now, the general distro will start in a week or two. It's been a too long process to get this one out. The reasons are varied, from our own procrastination to major personal issues, to playing too much of the waiting game. Nonetheless we are pleased with the results and we thank everyone who has stuck with us. When we picked the title we didn't think we'd actually be having a cathartic experience making it.

So what happens next? Is this the end of a process, the beginning, something in the middle? It all depends on what kind of band you are and what you want out of your career. Some bands just love making new music, so the release of a cd is pretty much the end. You finish the album, get the word out that its available, and move on the the next one. The amount of promotion you do I guess depends on how much energy or money you have for it. Once you've told people it's available you get right back to making new music.

On the flip side the album release is just the beginning. You get it out there, push the promotion, set up a tour. You play as many shows as you can hoping to collect some new fans along the way. I suppose the bigger you get the more this second option is what you do. Bigger bands have the resources to mount full scale tours. For the most part bands in this mode don't even think about recording for a year or two.

I think we'll try to hit a mark somewhere in the middle. As part of growing as a band I think the balance shifts around. We can justify more advertising but not a full scale tour. Hopefully more shows but we won't be putting off writing and recording new music to make time for shows. I'm sure we'll find a balance. I know for a fact it won't take 5 years to release the next one.

Going and going, with fictional borders...

noreply@blogger.com (T-Bo) — Sun, 03 May 2009 07:09:00 +0000

The following is an essay I wrote for my English class. The assignment was to pretty much interpret and give meaning to any song (and I cut it down, originally I wanted to do a 25+ minute epic ;D). Enjoy!

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"My New World", by Alex Ricard

Most bands would consider a 16-minute long song exploring different musical territories and building up over a variety of themes a massive accomplishment, but this is just the order of the day for prog-rock super group Transatlantic. From their two albums, only three of their songs are under 15 minutes long (and simultaneously, they have three songs over 25 minutes long). “My New World” from their first album SMPTe is, comparatively, a concise and focused effort from the band that explores the limits of pop and rock music over its duration, lyrically telling the complex story of two unlikely lovers in the 1960s as a metaphor for the state of America during that time period. Overall, “My New World” uses this love story, combined with the musical flow and structure of the song and the positive energy from the music itself to create a rich, vastly layered atmosphere.

In alternate verses, the two main characters are introduced through the lyrics. “Days in the sun she's seen by the river/reading a book, feeding her dreams,” Roine Stolt sings, illustrating the female as a peaceful hippie type who “hiked up to Woodstock, she got high in Frisco …painting and poetry filled up her mind.” The male character is also introduced here, as “the boy, the pride of his mother” who “took pride in serving his country/went off to war, no more than a child.” The chorus is a thematic break from the story to feature a first-person perspective with “my new world was spinning me around,” alluding to rapid changes both in society and in a personal connection as the main focus of the lyrics. Throughout the song as the love story progresses, the differences between the two characters (representative of the diversity of the American people) are further explored: the line “now she’s a loner, now she’s a stoner, no one can touch her” is repeated throughout the song, while a verse dedicated to the boy states “disappointment struck him hard when he found out/there was no ‘lucky Stars and Stripes’/they set it all on fire, while Jim and Janis got us higher”, showing a shared experience in troubled times, such as in a relationship or a period of massive social change. By the end of the song, however, the differences are resolved with a final chorus stating “my new world is spinning me/and time is not my enemy/my new world is ahead of me today/and all things pass away,” underscoring the peace and contentment perfect for a happy ending. However, as implied in the chorus and title of the song, the “new world” is a complete change, due to the troubles and triumphs that occurred during the ‘60s.

The music itself begins with a slow, sweeping melody played on strings. Guitars then quickly come crashing in for a bombastic exaggeration of the same theme before the song settles down for a Beatles-esque piano shuffle in irregular 5/8 time for the introduction of the characters. The song slowly builds up to the chorus which features four-part harmonies with an uptempo beat, giving off a happy feel. “My New World”, over time, becomes very atmospheric and soft and then fluctuates between loud and soft sections, creating an episodic story. The overall structure of the song is very linear: throughout the work, many melodic themes are revisited, modified, layered, and constructed in a way similar to leitmotifs in classical music. This structure helps to further the storytelling nature of the work, while helping the emotions reach their full fruition because the song is not bound to a traditional verse/chorus structure.

“My New World” modulates through various major keys, which gives it a “happy” feel. The chord progressions and rhythms used give it a very Beatles-influenced sound, combined with the influence of bands such as early Yes and Genesis, who also had their start in the sixties. The fairly brisk style imbues the song with a slight sense of purpose - even the solo sections speak with unique voices. Rather than being an all-out rocker, “My New World” is casually restrained, remaining polite and pleasant, yet still with an attitude. The song carries with it the peaceful and idealistic attitudes of the ‘60s and contrasts it with the harsh realities of the violence of the period, functioning as both a timeless love story and a homage to the entire time period.

Bright Ambassadors Of Morning stole my trebles

noreply@blogger.com (stringray) — Thu, 16 Apr 2009 20:00:00 +0000

Pure Reason Revoluton, I like them mainly because of the clever vocal-arrangements.
When they cancelled their gig at Progpower Europe I was quite disappointed, but now I had the chance to see them at a local venue. Knowing not much more than their debut album, I didn't expect much, as the cd sounds rather plain and sort of easy listening, and I did not expect them to pull off the same vocal work as on disc.

The bigger surprise it became!
Starting the gig with some early to mid 80's sounding keybards and keyboard bass, the show seemed to be something like a positve and 'happy' version of Depeche Mode. Soon the guitar came to a more prominent place in the music, more agressive parts got played like Steve Wilson does in Porcupine Tree, the vocals raising to their full power, all the fine harmonies and canon style achived live, wow! 20 minutes after the show started I realized that I got tears in my eyes, couldn't stand still, had to groove all the way through. The show started quite solid and increased to full power in about 35 minutes to full fire works, volume at 10 (11 would be too much, I prefer to still hear the drums...), then they switched back one gear and played tunes with more complex sound structures. One should mention that the band is sort of a gathering of multi-instrumentalists, lead singer-keyboardist-guitarist, female vocalist-bassist-keyboardist, guitarist-vocalist and drummer.
In the meantime the guitarist plays his solos kneeing on the floor for adjusting the knobs of the many effect processors live. Again, like Steve Wilson did back in the days.
I'm not annoyed that, including encores, the gig was only 90 minutes long, knowing how young the band is, and the few people in the audience. however, I felt like a Shikansen hit me and took me to Berlin, sticking on its very front, in that time. All those landscapes flying by at lightspeed...

They truly have the potential to become big! A formula like: {positive depeche Mode x Porcupine Tree + self} comes to mind.

Back home I wanted to end the night with one more beer and a bit of the most recent PT recordings. I gave up. No trebles, it has been gone. I didn't notice what an earbleeder the gig was.... ok, one beer, no music anymore.

wishes for the band:

1. a second microphone for the lead vocalist. It simply is a time-waster to always adjust the tripod when switching from keys to guitar and back.

2. a better stage clothing for him. Complaining about that warm lamp while wearing the most tasteless leather jacket is stupid.

3. Bring that dynamics of your live sound to disc! Whenever somebody says it is too exhausting for the common listener, tell him you're not about to do easy listening.

Have a Cigar, dear boy, and listen to The Sound of Muzak.

noreply@blogger.com (T-Bo) — Wed, 15 Apr 2009 04:09:00 +0000

Back in 2007 Hanson (yes THAT Hanson) released a 12-part documentary filmed during the making of their album "Underneath" which saw them leave their major label Island/Def Jam due to frustrations with the label in the making of the album. In the end the band started their own indie label and have been releasing albums on it since then.

The documentary is a warts and all detailing of trying to make an album in the major label environment when the label wants to exert pressure on the band to make a "radio hit". It's VERY revealing and candid and even if you HATE Hanson (and fair play, I don't like them either) but if you ever wanted to see the ugly side of making a record for a major label and just the making of an album this is worth a look.

Part 1 of 12 is down below. I'm only a few "episodes" in, it's really great and quite revealing. I really hope nobody here (or anyone, really) never have to go through that....

http://www.youtube.com/watch?v=arfx4i-050I

Also, for a class of mine I had to create a "protest poster" (see above) about any particular issue. I chose the music industry. The documentary I linked above is a great example of all of the shit and horrible things that happen in the industry. Personally, I'm of the belief that the major labels need to fall and hard. Call it karmic justice, but their insistence on sticking with outdated business models and their tendency to rip the artist off for 80, 90 percent of the profits is just flat-out wrong. It really disheartens me to see these pigs in control of the music industry. Pink Floyd said it best 30 years ago - it's a machine, and always has been. Now, I am not at all advocating downloading music illegally. Supporting artists, especially small and independent ones is the right thing to do, without question. But when buying CDs and going to shows is only supporting the middle man, how can we support bands? With the current recession, the boom of downloading, the "loudness war" and the mp3 trend, increasingly manufactured pop music with Auto-Tune all over the place, it's no wonder how the industry got to where it is today. It needs to fall so it can be rebuilt from the ground up. Maybe in 50 years we'll see the same cycle, but for right now we cannot allow this to continue. They said home taping was killing music, and that downloading was killing music, but it's not killing the music, it's killing the industry. And the industry is killing music.

We do abuse music

noreply@blogger.com (stringray) — Wed, 01 Apr 2009 20:21:00 +0000

I decided to post this as a new article though it is a direct reaction on Sean's because this is to strong in my mind for just doing a comment:

Do you remember those news printed on paper everyone used way back? I still use them because you can read them wherever you are, without the need of a monitor or display and internet connection.

One or two months back I read in a small article in one of those that the company Muzak went bankrupt. That company's product has the same name; aka elevator music or warehouse music.

It is said that music makes people friendly, peaceful, yet happy, so playing music in a warehouse lightens up the customers mood and they'd purchase even more - was their claim.

This is a tragical simplification in my opinion, because nobody ever had the idea that one's mood might turn bad if he doesn't like the music he hears.

Back in the 80ies, when I once purchased some car spare parts and queued up at the cash point I realized at a certain moment that my spirit was slowly changing into bad mood. I realized that I wasn't the only one whose mood was darkening, a couple of other people were doing the same thing. I was a strange effect to me and I was wondering about that for about 5 Minutes. Then I noticed that a speaker was dabbling out the most crappy Bavarian folk music at an almost inaudible loudness. I said to another - in the meantime quite angry - dude: "Hey I think it's that almost imperceptible music torture that makes me so angry. It took a bit to find that out." That guy stared at me, froze for a moment or two and smiled at me when saying that "this really is the worst music I ever had to bear!" Luckily the emotion in our part of the queue was back to positive, now that we had found out the evil that happened to us.

Back a few years from now, the warehouse music wasn't a single event anymore but a pestilence, we went for some speaker cables to an electronic shop. Still being in a rather good mood - emotionally dumb for sonic pollution - my friend said to the salesman: "That indeed is some nice crappy music you guys have playing there." The salesman switched from good manners to aggression instantly. "Yes and it is in here ALL FUCKING DAY LONG!!!" we were trying to be nice guys but man, that went wrong....

So much for the general music-does-people-good idea.

Well so, folks, look around, errr... listen around! Music is everywhere. Everywhere!

I mean, when I was a teenager it was so unimaginably cool to have that walkman playing music while cycling through the city! But that was long ago.

Today wherever you go there's muzak. If McDonald's, Burger King, SFCC, any store, SUBWAY STATIONS!!! TV jingles, sweepers, shows, serials, documentaries, - even news! movie, games, yet websites.

Really, what would a website of a warehouse chain be without muzak!! http://www.hertie.de

Where else... wait loops, cell phones, ipods, car radio, car docking station, wifi, itunes, the list seems endless.

I fear opening a can of beans, muzak could be inside!

Do I need a psychiatrist?

Isn't it any wonder that one blunts about music? It is a sonic pollution, yet violation today how music is abused and sprayed at us. How can something so omnipresent be of worth for the common man? Even gold would be nothing of worth if it were available everywhere endlessly.

I'm no more one of those people carrying an ipod everywhere, ripping cds to itunes and using the computer for listening to music.

I want my gems stored in shelves (that's what they are for - the shelves of course...), grab the jewel case, open, insert, play, sofa, listen, read/watch booklet (damn is this font supposed to be read? What's the song title???), be happy!

I tune in to progulus when I actually want to listen to random prog goodness.

I refuse to have music playing right now because yesterday we've been at a great Asia gig ( where 150 - 200 progulus flyers went away, not one ending up on the floor!), and a little session afterwards - because silence is golden.

Sean, the Cartasis demo is great! Hope to hold the cd in my hands soon!