Meaningful Songs: The Monkees - A Better World (PETER TORK)

The Monkees - A Better World

Ever since learning of Peter Tork's death the other day I and maybe even moreso my wife thought of him and THIS SONG.

See, my Monkees-lifer wife felt that THIS song "A Better World" was actually the best or her favorite track from the much praised Good Times! from 2016.

And it seems to receive very little to no love or attention!

It's really wonderful. The string arrangement, the sort of sad, cynical and in some way optimistic way it sounds and the lyrics specifically.

And so in thinking about Peter, this tune does not seem to leave my head. 


IT WASN'T EVEN ON THE STANDARD GOOD TIMES! BUT ONLY A BLEEPING BONUS TRACK!

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I dunno, I love a lot of Good Times!

Birth of an Accidental Hipster, You Bring the Summer, She Makes Me Laugh, Me and Magdalena and some others...

but I may be siding with my wife now.

This is such a haunting, sad, beautiful tune.

And Peter never performed it live, I don't think. Not with The Monkees anyway, maybe at 1 of those solo shows he did in 2016 or 2017? I'd have to look it up.

It is kind of haunting me now..like his or his brother Nick's feeling about food and Global Food supplies. Why are people starving when there's more than enough food to go around.

It reminds me of "Earth Song" from Michael Jackson or a conversation I had with Johan Hallgren of Pain of Salvation in 2002 or 2004 at ProgPower USA.

In this song, it seems we are in a "Better World" and like Star Trek alludes to, starvation and famine are gone. A thing of the distant past, etc.

"Joytown" from Kevin Gilbert also comes to mind. Sort of a dream/fantasy utopia in some ways.

Rest in Peace Peter. Hopefully this song will reach even just more Monkees fans now posthumously.
I'm sure now you are living in this "Better World."

Maybe your brother Nick will at least be around to see that.


Bonus track from The Monkees' 2016 album GOOD TIMES
Credits Written by Nick Thorkelson
Peter Tork – Vocals, Guitars and Percussion
Micky Dolenz and Coco Dolenz – Backing Vocals
Joe Boyle – Lead Guitar, Bass and Backing Vocals
Sturgis Cunningham – Drums, Percussion and Backing Vocals
Katlin Wolfberg, Corinne Olsen, Emily Elkins and Eliza James – String Quartet


A Better World"

A better world is needed
I believe anyone can see it
A better world is coming
If we live as we believe
A better world is started
No need to be broken-hearted
No need for longing
We can have all we need

There’s more than enough
To feed all the hungry
To mend every broken heart
We can bring this about
If we mean it
It’s not gonna be easy
So start, so start, so start

The way we live is funny
Anyone can see it’s gonna
Take more than money
It’s gonna take all we got
The way we live is tragic
Anyone can tell it’s gonna
Take more than magic
But believe it or not

There’s more than enough
To feed all the hungry
With enough heart and soul
And if we don’t tire
We can bring this about
It’s not just my imagination
It’s not just you and me
And it’s not just two or three
It’s the whole wide world
On fire

You’ll get your money back
Your heart’s desire

A better world is needed
I believe anyone can see it
A better world is coming
If we live as we believe
A better world is started
No need to be broken hearted
No need for longing
We can have all we need

There’s more than enough (There’s more than enough)
To feed all the hungry
To mend every broken heart
We can bring this about
If we mean it
It’s not gonna be easy
So start, so start

Whole wide world
On fire
Whole wide world
On fire

Fates Warning American Tour March/April 2019 (incl. MINNESOTA!)

May 5th, 2001 at the "The Lab" or "4th Street Station" as it may have been known at the time, was the last time Fates Warning played a concert in Minnesota.

I was 24 years old, dj-ing at KFAI semi-regularly, and Savatage was on their in-effect, final tour.

My friend Creighton came with, but didn't have a ticket and he wasn't 21 at the time.

I went to go use the restroom at the Lee Ann Chin across the street, and who is in there? of all people, Jim Matheos.

Jim was really cool to help Creighon get in by having him help with the stagehand work.

It was memorable and really special for me to finally see Fates after being a huge fan for more than 5 years. Also Savatage as well.

And then I got to see them at ProgPowerUSA in 2009, which this upcoming concert on Saturday March 16th at the Medina Entertainment Center in the West Metro, will be almost 10 years later.

And nearly 18 years since they came here.

Seeing Queensryche is an added bonus, which may motivate me to at least revisit their last couple of albums that many fans enjoy with Todd LaTorre.

man, I am pretty stoked about this, even if they only play 45 minutes.

Like Marillion and Rush, I honestly am almost too big of a fan to only have seen them live twice (which in fairness is 2 more times than many huge fans I'm sure).

Also it doesn't hurt that I love their last album of course 😄



March 02 - Orlando, Fla. @ The Plaza Live
March 03 - Ft. Lauderdale, Fla. @ Culture Room
March 05 - Atlanta, Ga. @ Masquerade
March 07 - Baltimore, Md. @ Sound Stage*
March 08 - Uncasville, Conn. @ Mohegan Sun^
March 09 - New York, N.Y. @ Irving Plaza*
March 10 - Worcester, Mass. @ Palladium*
March 12 - Cincinnati, Ohio @ Bogarts
March 13 - Detroit, Mich. @ Diesel
March 14 - Chicago, Ill. @ Concord
March 15 - Milwaukee, Wis. @ The Rave
March 16 - Medina, Minn. @ Medina Entertainment Center
March 17 - Davenport, Iowa @ Rhythm City Casino Resort^
March 20 - Dallas, Texas @ House of Blues
March 21 - Houston, Texas @ House of Blues
March 22 - San Antonio, Texas @ Aztec
March 23 - Albuquerque, N.M. @ El Rey
March 26 - Tempe, Ariz. @ The Marquee
March 27 - San Diego, Calif. @ Observatory
March 28 - Los Angeles, Calif. @ Fonda
March 29 - San Francisco, Calif. @ Slim's
March 30 - Sacramento, Calif. @ Ace of Spades
April 2 - Portland, Ore. @ Crystal Ballroom
April 3 - Seattle, Wash. @ Neptune
*w/ support from The Cringe
^Queensrÿche only

Soundscape - Insatiable [1B] (2018)

Soundscape, the progressive metal band that I have often felt to be 1 of the only fans of, online/social media. Namely 10 years ago when their long delayed 2nd LP Grave New World was finally released.

Although I suppose it does go back to the late 90's with Discovery's release and Man and Machine. They did even get written up in Metal Edge (how I found out about them), and they played at ProgDay I recall 3 straight years. Also Powermad (or maybe it was that festival they played 3 straight years? or maybe both? I forget). But I know Soundscape found or retained a bunch of fans who frequent ProgPowerUSA and ProgDay (also Ken Golden from The Lasers Edge used to carry their cds I recall). And the progressive rock/progressive metal/Dream Theater+Fates Warning fans.

So I wonder/hope some of those folks will get wind of this new music from Soundscape.

Anyway, this is a new song "Insatiable" from them which I'm unclear of something.

1) Is this, and only this that is being released tomorrow, Friday the 13th?
2) Is this the 1st single for a full-length that is coming out tomorrow, Friday the 13th?

I know they have a full-length album coming per they wrote and recorded over the last year or so per photos and updates on their Facebook page.

And for me, this is great news of course, although there is a part of me of  that assumes a new album from them may not be able to match those 2 what I consider Masterpiece 5-star albums Discovery and Grave New World.

And I was trying to think of what artists have that perfect record for me: Apes and Androids and The River Empires I guess are the only others, and in those cases, they only have 1. Toy Matinee I suppose as well per I don't consider The 3rd Matinee album part of the same discography, especially per Kevin Gilbert wasn't involved.

I mean there are some cases with 2 proper full-length albums that are close (Jellyfish namely), but Soundscape are the only clear case. They in-effect did a few others like Man and Machine and the Ilago rock opera, but that wasn't fully Soundscape (nor was Rob Thorne's America: The Beautiful).

But that all being said, tomorrow, more will come out. I would think if the full album doesn't come, some details about it hopefully will.

And I think I may need to post an entry about this April 2018 being quite a big month for new albums. The Family Crest, Kindo, Kimbra, Janelle Monae and now Soundscape? and a few others. Not unprecedented (June 2009 was a biggie among other months), but this may be the biggest month of the year at least.

As for "Insatiable" I do like it, although Todd Rose's almost-industrial guitar tone and Rob's vocal style add to some new/different elements to this. I'm wondering if Rob has decided to not sing at some of the higher/almost falsetto ranges much of the Soundscape work has? I know he has sang for Sacred Oath for decades, but I've honestly never been able to get into them. Although I haven't spent a ton of time actually, in fairness. But I wonder if the vocals on this 1st track Insatiable are a product of the range Rob sings at now. Or perhaps just for this song?

I guess that will be known when hearing the rest of the upcoming record.





Info w/ quote from Rob Thorne

“This song is all about addiction and the power it wields on both sides. As a father of 3 children, I see what’s going on around me - kids sitting in groups staring down at their phones not speaking to each other, kids choosing to Face Time in to a party instead of actually go. It’s weird. They’re addicted to the illusion that social media is a better experience than the world that’s happening right in front of them, and, honestly, I think it’s as scary as the opioid problem. That’s why we draw those parallels in the lyric video. And look at the companies that are profiting. Apple,Facebook, Verizon, Purdue Pharma... are they really making the world a better place? Really?”

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Marillion: February 2018 American Tour

http://marillion.com/tour



FEBRUARY
3rd-8th Cruise to the Edge
9th Orlando, FL
10th: Atlanta, GA
12th: Durham, NC
13th: Greensburg, PA
15th: Buffalo, NY
16th: Royal Oak, MI
18th: Grand Rapids, MI
19th: St.Charles, IL
21st: Dallas, TX

FB Link

Unsure what I may do here.

1) I don't go to any of these shows. The most likely scenario. Robert Plant and some other shows just were announced in February already (G3 with Petrucci), with I'm sure more to come.

2) St.Charles, IL. I just looked it up on Google Maps. It's like an hour West of Chicago. I suppose that doesn't seem terrible except this is also in the middle of February. Driving to an area I'm unfamiliar with, etc. The directions may not be impossible, but at a min. it's more time required.

3) Atlanta, GA. I'm not sure, but I suspect where The Variety Playhouse is, is relatively close if  not more or less off the MARTA route. And just in searching, it's only a 15 minute (drive) from Center Stage where ProgPower USA is held.

Of course no  Minnesota date, but I would guess I have a better chance of playing in a Marillion tribute band in Minnesota than they ever coming back here sadly. But so be it. I'm glad they are coming back to the States, even with a limited tour schedule.

Also of course the biggest reason they are playing these additional dates are the fact they were on CTTE anyway. But, another thought is the members and the crew from Marillion obviously have Work Visas they received to come here again, and if I am not mistaken, I thought most Work Visas last 1-year, where upon they can be renewed, etc.

Given that, they may try and book another tour of the States (and Canada+Mexico) within the next year.

Not sure if they need Work Visas for CTTE though per if they are not spending much if any time actually on American Land for that gig. Per why they may not have had them for the other CTTE's they played at the last few years, etc.

So I suppose I will anticipate the chance of another tour sometime in 2018. Especially looking at the agenda, they are not hitting the West Coast nor all that much of the Northeast either (not even Boston, or NYC).

James Bickers Rest in Peace 9/29/16

9/2/17 10:15PM



Here's 1 (likely the only) photo I took with James and his wife Nancy from Prog Power USA February 23-24, 2001 in Lansing, IL at JJ Kelley's.

If I find the time and place, I may try and make a video talking about James and that experience soon. I dunno, maybe around the anniversary. I'm just kind of taken aback by how much learning about him dying has affected me. I suppose some of it is his age, but a lot of it is just as I posted below, he kind of inspired me to do this and just listen to something as important (even if trivial) as the music I listen to every day.

I guess in a way, more than say Earl Root or something, I sort of see or saw him as a mentor to me.

I suppose the likes of people I know a bit online like the Used Bin Guys, Jeff Wagner or Anil Prasad..or Lorenzo or Neesh I might feel similarly, but for some reason they feel more like contemporaries rather than someone I was directly inspired/influenced by.

Mind you, I only met in person James, that 1 time. These others I know, I only know online, but it would be great to someday meet in person as well (I met Jim DeRogatis and Greg Kot at least once..but they aren't exactly as consumed by the same underground progressive rock stuff I am; nor is The Needle Drop or some other known music journalists).


8/29/17 12:38PM



http://wfpl.org/james-bickers-long-time-louisville-public-media-host-died/

http://www.whas11.com/news/local/james-bickers-longtime-wfpl-and-wfpk-host-passes-away-at-45/327803305

Shit.

Okay, this is really weird how I go to look up the quote of his I like and find out James Bickers, a guy I met at the 1st ProgPower USA festival and founder of Sea of Tranquility, the progressive rock/metal magazine from the late 90's/early 2000's passed away. Not yesterday or last week or month, but nearly 1 year ago.

And reading those articles, namely the 1st one, he was not all that much older than me being only 45.

I feel really bad for not hearing about this sooner.

I followed him on Twitter although I don't read the 900 or so accounts I follow religiously.

And so now taking this in, I will try and summarize my experience with him and his work (for now).

I 1st noticed him having a regular column and reviews in Progression magazine in the late 90's I think. He was one of the only people who wrote about progressive metal/metal in general in there, which being that i loved Dream Theater, especially then, and bands like them, he was 1 of the writers I enjoyed most.

Then Sea of Tranquility came out, and it was even more focused. Featuring bands like Pain of Salvation, Enchant, King's X, Fates Warning, and Queensryche.

It was a very well-made, entertaining, and even less-is-more read even compared to Progression. But it didn't last per time and money as I came to learn.

And I was really happy to meet him in person in February 2001 at the 1st ProgPower USA festival, which I was able to have an interview/chat that I later aired on KFAI.

That chat I must not deny, made a very big impact on me and my 25 year old music listening-self.

Among other things, just the fact he mentioned he had a mindset of being open minded with music, and listening to only progressive rock was as limiting as "only listening to Britney Spears albums."

The chat I transcribed I have posted I think more than once online, maybe in my old livejournal even and I would guess on multiple forums. In this blog? maybe once or maybe 1 or 2 other times. The quote about progressive music I know I have frequently.

But IT'S HERE anyway.

But since, I know he was a Renaissance man of sorts, not just with writing and music, but pop-culture and radio, and those links above along with his twitter account add to that.

He had a podcast I guess, which sadly it takes me learn of his passing to now check it out. But so be it, I imagine he would agree better now than never, etc.

Jeez, onl6y 45, and man who may have been far beyond his age's typical amount of wisdom.

I guess he certainly is 1 of the people who largely inspired me to do this and maybe more so, just continue to pursue music listening so passionately.

Also odd how his passing came literally 5 days after My Wedding; and back in 2001 when I was talking to him for those 30-45 mins or whatever, the subject of women came up. Sort of ironic timing.

Rest in Peace James. Sorry to now learn and include some memories of the experience I had meeting you now 16 years ago. The world will certainly miss your work, but myself and hopefully others will help carry on that open-minded approach to consuming and promoting art and entertainment (especially all kinds of music).

Mike Portnoy's Shattered Fortress @ PPUSA 2017

Go to 8:40.

Happy for MP and PPUSA. Although I thought it was planned that the whole 12-Step Suite will be played at Cruise to the Edge for Portnoy's 50th Birthday Bash, etc.

I guess the roster of musicians and what kind of set list they'll play beyond the 12-Step Suite I'd be curious about.

But not much chance I'll be going, even despite my wedding long gone, etc. It's more of a $ thing and there's a number of other trips with the soon to be wife, that I'd foresee being more in my cards.

But for those who do go, this should be cool to witness, just as Cruise to the Edge, and the stuff this weekend. At least some friends have streamed some of the stuff on FB, so I kind of feel like I'm there in a way.

Also kind of ironic all those years talking about ProgPower USA on Mike'a forum, and now he's finally going to be playing there. He I guess is attending the festival, mainly for Fates Warning with John Arch going on as I type this out.

I do wonder if any of the Dream Theater guys will consider showing up. Jordan I wonder about as I thought I recall Portnoy mentioning being in some good relations/communication with Jordan.

ProgPower USA XVIII Roster Presentation from ProgPower USA on Vimeo.

That Drummer Guy: Native Construct Interview at PPUSA

Good interview from That Drummer Guy at ProgPowerUSA. It sounds like they really impressed a lot of people there last weekend. Probably as much as a reason I want to see their show with Between the Buried and Me at The Skyway Theatre on the Monday before Thanksgiving, November 23rd.

Pain of Salvation: 2014 North American Tour..might MINNESOTA get ADDED?

I heard good word they were going to be MAKING UP the concert they had to cancel back in May 2013 (per Daniel's illness, not the same one..the flesh-eating bacteria that caused him to miss Progressive Nation at Sea mind you).

But maybe not? or maybe they could add another date or 2 still?

I should add though, I have seen them 3 Times, 3 of the greatest concerts I've ever seen. My hopes for them to play in Minnesota and see them have maybe more to do with for OTHER FANS, more than myself. I still would like to see them, even with the changes in lineup and their recent music being a bit different.

But so be it. If more info comes about more dates, etc. I'll bump this of course.

The complete Remedy Lane at ProgPowerUSA would be great to see, although more so with the guys on the album I suppose, but so be it. I just am not looking to put $600 or more for it compared to using on other more practical (or relationship related?) ways to use however disposable some of that money for myself may be.

But I would go for a DVD or live album of it. And I hope those who go enjoy it thoroughly, as well as this tour.

But maybe this tour will at least give them motivation to do another tour (with some other more regularly touring European bands?..Alcest perhaps?) that will include Minnesota finally, if a date here is not in fact added from now til the start of the tour.

Link

PAIN OF SALVATION is ready to return to North America for a full continental tour beginning September 10th in Atlanta, GA. The band will cover a good portion of the United States and also play a couple of shows in Canada and Mexico. Oklahoma-based VANGOUGH has been chosen as direct support for the tour. A complete list of dates can be found below.

2014 began as a troublesome year for PAIN OF SALVATION with mastermind Daniel Gildenlow being hospitalized due to a serious flesh-eating bacteria infection that kept him in the hospital for months. Because of it, Daniel was forced to miss the band’s performances at the renowned Progressive Nation at Sea cruise. With the worst behind him, the band regrouped and his resurrection came last month, with a performance at Sweden Rock festival, the first since the illness.

Daniel comments, “It feels great to be back on stage. I couldn’t recall the last time I felt so nervous before a gig, but it was pure magic to explode on stage with the others in the band after these hard months. I’m back. We’re back, and we’re coming with a vengeance to North America this September!”

The North American tour sees the band playing two very special shows in Atlanta, GA, during the ProgPower USA festival, including a once-in-a-lifetime performance of the band’s magnum opus album “Remedy Lane” in its entirety.

PAIN OF SALVATION are currently working on their upcoming release through InsideOut, entitled “Falling Home”. More details will become available very soon. In the meantime, catch them on tour in North America with VANGOUGH.

PAIN OF SALVATION North American Tour:

9/10: Atlanta, GA @ The Loft (Midweek Mayhem @ ProgPower USA)
9/13: Atlanta, GA @ Center Stage (ProgPower USA)
9/14: Springfield, VA @ Empire
9/16: Dunellen, NJ @ Roxy and Dukes
9/17: Cambridge, MA @ Middle East
9/18: New York, NY @ The Marlin Room at Webster Hall
9/19: Montreal, QC @ Theatre Plaza
9/20: Toronto ON @ Coda
9/21: Chicago, IL @ Reggie’s
9/24: Seattle, WA @ El Corazon
9/26: Las Vegas, NV @ Cheyenne Saloon
9/27: Ramona, CA @ Ramona Mainstage
9/28: Whittier, CA @ The Center Theatre
9/30: Mexico City, MX @ Jose Cuervo Salon



http://www.painofsalvation.com
https://www.facebook.com/Painofsalvation
http://www.officialvangough.com
https://www.facebook.com/officialvangough

Significant Albums: Pain of Salvation - The Perfect Element I (2000)

In the year 2000 (in the year tewww thouww-saaaaaaaaaaan" lol) Dream Theater were kind of becoming all the rage, I suppose in a 2.0 sort of way given their comeback of sorts record Scenes From a Memory had rejuvenated them after a few years of polarized reaction to the overt commercial attempt of Falling Into Infinity.

But at that time, I was starting to investigate new bands, namely still in my favorite genre of sorts around that time, progressive metal. And I forget when it was announced, but I would guess around November or December of 2000, the inaugural ProgPower USA festival was announced to be taking place in February 2001, in Chicago (or Lansing, IL at JJ Kelley's, which in effect was a bar actuallly) of all places. And the 2 headliners were Symphony X and Sweden's Pain of Salvation.

Those were 2 bands I had seen a lot of talk about online especially, and I also recall the Dream Theater fanzine as well. And they both had released new albums I want to say in the Fall. But I hadn't heard any music from either of them, but I distinctly recall hanging out in #mikechat the Chatroom on Mike Portnoy's forum one night in December, and my friend Paul C aka Pellaz talked me into thinking of going, especially due to the cost of a ticket ($25? I recall, for both days, 11 or 12 bands or something).

So, I ended up purchasing both Symphony X's new record V: The New Mythology Suite, and Pain of Salvation's The Perfect Element I a few weeks later.

Now I might mention briefly, the name Pain of Salvation I had seen maybe a year or 2 before in either Progression magazine or more likely James Bickers new printed publication Sea of Tranquility, and I recall an email list I was on for progressive rock titled "epigram" and I emailed a fella from Europe about some bands, 1 being Pain of Salvation. I recall a description being something like "avant garde prog metal" or something, which had me curious but also not highly optimistic..

But I don't think it was until they got confirmed for PPUSA that I even heard their music.

And unlike a ton of other people on the forums I noticed over the years, their music I actually enjoyed from the start. I purchased a copy of this record and I recall immediately enjoying a lot of it. maybe 1st and foremost, the track "Her Voices." Which has a slow but gradual build but then leads to this wonderfully uptempo time change that features incredibly catchy rhythms.

That section is fast, but flows perfectly. The interval patterns and changes in keys. The keyboards and what sounds like fretless bass from Kristoffer Gildenlow stood out a lot to me.

So, enjoying "Her Voices" a ton, I began to enjoy the rest of this record over a little time. I still have some vague memories of playing this record frequently in December and January of 2001 at my old job in Bloomington, MN. Especially late at night (I used to work a 2nd shift, and sometimes overtime into the wee hours of the morning). And for example on the track "In the Flesh" the contrasting verse to the chorus before the instrumental bridge

But She will fly, she will fly, she will fly
Before it dies

But She's afraid, she's afraid, she's afraid
Anyway

Sometimes the hands that feed
Must feed a mind with a sick need
And the hands that clutch can be
The same hands that touch too much
Eyes that hungrily stare
Read in an access that's not there
While eyes close to hide tears
Or look away in fear
Run away!

The doubling section of vocals with I think guitar, or possibly guitar and keys, that are not an identical octave, but they totally work on a melodic and harmonic level. Oh man, I swear that part specifically made me totally fall in love with this album and band and I knew I had to go see them in Chicago (also the fact I had gone to Nearfest only 7 months earlier and they were from Sweden so I wondered if it might be the 1st and last chance to ever see them, that I might regret).

And I won't elaborate extensively about that show in Chicago in February as the focus of this is about this album, but I'll just say, to this day, that remains the greatest concert/performance I've ever witnessed (despite their not even playing "Her Voices").

But why that section of "In the Flesh" got me so much, I suppose for one, it was so unusual and odd, and it sort of reminded me of Faith No More. I kind of started to see Pain of Salvation as like a progressive metal version of Faith No More and I'll not deny, a lot of their sound reminded me of the classic period of Queensryche.

But the bridge actually in "In the Flesh" I grew to love and get goosebumps. In fact, the whole bloody song really is just so moving. Some of the guitar parts or tones in the 1st couple of verses almost make


The bridge is also godly. I swear it is such a goose-bumper with the way the guitar comes in and then piano and then Daniel's deeper vocals.

Now she bites the words
"Never"
She kicks the ground
"Never"
Swallows her tears
"Never will I go back"
She hits the walls
"Leave me!"
Scratches herself
"Leave me!"
Begs to all Gods
"Rip me from this sick flesh!"

and then leads eventually to a climax and then calming which ends in that line "Back to the adults of her home" and an absolutely gorgeous piano section.

"In the Flesh" lyrically might be very disturbing, but ironically, the music is so wonderful, the lyrics are almost secondary in a literal sense to me. But I think about it among a couple others, still remain the best songs Daniel and the band has created. It's one of those songs that I always look forward to, namely some of the moments I wrote about above.

However, as this record became a favorite of mine, I came to always listen to it all at once. But running down the track list:

"Used" is a great opening track. The yelling "getting used to pain getting used to pain"..and "I'm getting used...I'm getting used!" stand out. It does set the tone for this album being very deep and in your face. Even the guitar solo is very trademark. And it features one of many classic Pain of Salvation builds that keeps getting bigger and bigger. Until we get Daniel taking a very dramatic falsetto vocal section that stays with you along with the pounding drum work from Johan Langell. And after Daniel sings "murder"..that eery, mysterious "leave me" which is whsipered.

"Ashes" received the most commercial exposure of any song on this record. It usually makes me think of Nine Inch Nails, with its industrial-riff. I'll admit, I do like it, but more in the scope of this record. I mean it's a dark, intense song. The grindy build "let's burn together" and guitar riff with the distorted vocals "this pain will never end..these scars will never mend" ..and then the chorus "as we walk through the ashes I whisper your name a taste of pain to cling to. As we walk through the ashes You whisper my name Who's the one with the sickest mind...now?

Daniel's vocals and the tone of the song is overtly dark and almost over the top guilt-ridden. And I think the lyrics do stand out more so from it. But I still find it works on this record, and has enough interesting qualities musically to not be turned off by it. But it probably is the most preachy track on this album, and I'd say it in some ways is the most straightforward from a song-structure standpoint, which may be why it was given the most attention commercially.

"Morning on Earth" is a beautiful acoustic piece that features lovely string sounds, vocal harmonies and this perfect slow tempo. It also includes a sort of narrative/spoken part, which I came to also be reminded of Mike Patton and Faith No More again. "Hear this voice, see this man standing before you I'm just a child trapped inside this fallen man See this child."

I also love how the theme is used later in a different arrangement on "Reconciliation." Which is something I often enjoy in concept albums. And adds to the continuity of those kinds of records.

"Idioglossia" has this cool intro riff with the drums that I enjoyed somewhat initially, but came to find incredible over time. It's pretty busy and technical using polyrhythms. I noticed how they use that section and change times frequently on this song, which added to its appeal. It goes crazy for a minute, and then the whole "eyes washed the surface and see"...and then the "Ashes" theme is reprised, which I think I came to enjoy how they used the sound from "Ashes" on this song even more than on "Ashes" itself, lol.

As I search through the ashes
For someone to blame
I'm afraid to see my face
As I walk through the ashes
I whisper your name
Meeting you have forced me
To meet myself

The way the last line there leads to the fast picking guitar outro is awesome.

The 3rd movement of this song is similar, but I think the part that stands out is the echoing clean guitar parts and the chanting vocal harmonies. They go on for awhile, but I actually don't find they outstay their welcome. "It all comes back to me....it all comes back to you"?

"Dedication" is another acoustic ballad which transitions well into "King of Loss."
"King of Loss" I know is a polarized song among fans. I actually recall liking much of it initially. At least the 1st 2 parts. The incredibly heavy pounding section I actually forget if I really was bugged by or not. I knew over time, I found it among the heaviest and most intense music I'd ever heard, but then grew to find it brilliant.

I suppose part of why King of Loss worked for me is I enjoyed the way the piano and bluesy guitar riffs along with how it told a story.

"We crown you, the King of Loss...
Better get on your feet
Best be one of us
Better get yourself on the list
For success
Dress up as a State investment
Charm the press
A breed from the seed of only
One short breath"  

Mother, I wish that we could talk
You see
I'm not fit to play this game
Bound by its rules just the same
My talents turned to talons
Every monetary pile
Will buy me a precious smile...
smile...

Then tell me our lives mean more
Than this vain thirst!

These are a few of the lyrics I grew to appreciate on this song. For one, the line talking about "talons" I always wondered if that was the word Daniel was using (I never really sat down with the booklet while listening like many, but, I couldn't really since I listened to this album while working anyway). But "talent" and "talons" sound quite similar. "Talons" for some reason, I think of something biblical. I may be mixing it up with something else, but I swear in religious school, we read about or there were references to talons.

But the funky, bluesy music complements the subject matter and Daniel's sort of, letter to his mom and society on this track. I mean I have come to believe this song is like a letter to the workforce, corrupt government influence on it and the sad reality of what is required to make a living in modern society, or the way Daniel Gildenlow perceived society at least.

The highlight of "King of Loss" though is the gorgeous section that follows the intensity with the sad guitar lead and reprise of the "I am crying" -Used melody. I also love the strings arrangement, and the incredible vocal harmonies.

I would say it is among the greatest sections of music the band has ever made, even as short as it is.

"Reconciliation" follows and is quite a different track. It uses the "Morning on Earth" theme, but in a much faster, rockier kind of way. It's awfully catchy, in fact I kind of wish even now, this track had found the attention and been released as a single as well (or instead) of "Ashes."

"I thought I'd seen hell
Though I knew it all...

I was always on my mind
But never on my side
Run - but if you run away
You'll always have to hide
So if you need to run
Run for help!"


The way the music goes from dark and heavy to soft and higher pitched in the verses is such a cool dynamic when pulled off. I suppose they were hardly the 1st band to do it, but I hadn't really gotten into music that did that dynamic mood shifting so well. I suppose Faith No More was an exception, but Pain of Salvation spoke to me even more.

The line "but if you run away" is sort of foreshadowing for the closing title track. A line like that, and how it is sung, spoke to me as a message of escape.

"Song for the Innocent". I guess I think of it like a prayer. The line "We dreamed of a world" and "what else can the dying do?" which then brings back the outro from "Her Voices." One of a handful of reprised parts that work really well when they are returned to.

"Falling" is a nice intro guitar piece that then leads to the closing title track.

And "The Perfect Element" I came to find to be my favorite Pain of Salvation song. There are many reasons, for one the way it goes from section to section and I always found it was over too soon, yet it wasn't. The section

I will never leave this shame I will never leave this shame I will never leave this shame I will never leave this shame

Watching. unseen. untouched. bleeding
Empty. exposed. dying. eyes closed.

Once he had forests and mountains
That were only his - listening to him
Once he would run through the summer days
Catching memories for ages to come
Now he is dressing this naked floor
With his flesh and blood, and times passes by
His trade of pain might just have lead him
To deal with consequence
For some change as time passes by

I am the waking child
(Lingering, climbing, clinging, clutching
Craving, clawing, hurting, falling down)
I, the wayward son of a mountain lake
(Of icy liquor tears, of a silent Earth)
(Of a rusty lid, of a wingless wind)
(Of an eyeless storm, of fallen gods,
who lost their way)
I set myself on fire
To breed the Perfect Element

The section with the guitar echoing in those 1st 2 lines quoted builds so well into the pretty chanting falsetto section. That section after is so bloody dreamy and yet sad. It's a HUGE goose bump section for me every time I hear it. It again, sort of creates this escape. Like running away from in this case, some horrible circumstance to be treated for some children or child. Myself, I guess I do receive some kind of childhood memories.

Then the way the instrumental section comes back with the piano namely, my jaw drops. And then as it goes softer, the piano leads again, and the layers of vocals start coming in and the way it builds is absolutely astounding. The guitar solo of sorts with the pounding drums then leads to one of those Geoff Tate-like toned falsetto vocal lines.

"Falling far beyond the point of no return..Nothing to become and nothing left to burn....Now you are killing me.." 

the echoing response I always hear as "this is what I want" (like burning the characters own body)..but the lyric is actually "is this more than you want?" 

which makes some sense because the concept of TPE came to be about a "He" and a "She." But I've never thought about it that much.

In conclusion, this became a favorite album in the early 2000's for me. Even as dark as it is lyrically, it is as bright or as much beautiful and powerful musically. There is so much to receive from this record, and I still do consider it Pain of Salvation and Daniel Gildenlow's crowning achievement still (with Remedy Lane close as well), and certainly one of my favorite records from the 2000's. It's a very important record in the history of of progressive metal as well, as to quote James Bickers at that ProgPowerUSA festival "Pain of Salvation are like a clarion call for progressive metal..they're the 1st thing to come along in a long time that sounds new."

I think that is probably their greatest legacy at this point, and may always be. They came along when progressive metal needed something different, and this was the record specifically that did it. And I guess I appreciate them and this record as much as I do for that reason as well as the music itself.

Significant Albums: Soundscape - Grave New World (2009)

Original Long-winded review from 2009



I'm not sure how much more I can add to this Significant Album listing from that extensive review I wrote in 2009, that wouldn't be a ton of rehash.

I guess given it's been 5 years, I have not played this record extensively since that year, but I have had it on my mind still, especially recently for some reason.

I think part of my thought about it is, I still love it, and it is a big step up in production from Discovery. Soundscape also still stand out over a lot of the so-called "prog metal" that keeps being made, so much so, I think that is why I love this record even beyond my unhealthy fanboy-ism for the band.

But, I guess in retrospect, expecting a lot of people to catch-on to them was a bit naive. Forgetting the fact they were a name from the past, that never got much recognition when they 1st came out. Really, only among a select few into progressive metal and Dream Theater.

But traditional sounding prog metal has become watered down so much, even if a band like Soundscape stands out to me, to others? they are just caught up in a large numbers game.

But then again, to my ears they do stand out, and this record stands out in many ways. I just can't fathom seeing new fans acquiring even half the amount of interest I had, even if they love Rush and Fates Warning like I do.

But, it doesn't matter all that much now anyway. The record stands up, and this was a huge deal to finally get released in 2009, after waiting 10 years, and not really believing it would ever be released (but knowing it was made in some form at least).

Production was maybe the biggest thing that stood out on this record. It's incredibly clean and clear. It showed why the 10-year wait was well worth it.

I guess I can claim this to be 1 of if not my favorite more traditional sounding prog metal records, released in the last 5 years. And that is why I still find it stands out as well.

There's not any music on it that drags, or seems out of place, or just bugs me. The vocals, the guitar work, the keyboard textures, which are maybe even greater in many ways than on Discovery. I used to describe Soundscape like Fates Warning with really bubbly keys, and that is still present on Grave New World.

I dunno, I probably should and will go back to it soon and be even more reassured how much I enjoy about this record. It's 76 minutes, but it never feels long to me.

Is it their last work? likely. I would love to even just see them live once, but odds are maybe better I win the Megamillions, lol. At ProgPowerUSA would be the only likely time, and the cost of that festival and priorities seem low, even if they did go. I would go for just seeing a reunion show in Connecticut instead. It's too bad, Rob Thorne's activity with Sacred Oath still happens, so you'd think at some point the opportunity, desire, or even IDEA might still come up. But if it did, he might contact me. Maybe when his kids are older? lol..wishful thinking of course.

Soundscape's Facebook page

Stream some sample tracks per FB

Dave Brubeck 1920-2012

http://news.yahoo.com/jazz-great-dave-brubeck-dies-170159725.html


Upon seeing this news on Mike Portnoy's forum, I added this little background about him in the thread:

oh man.
 
I should share a little Dave anecdote personally. About 12 years ago, I went to the inaugural ProgPowerUSA in Lansing, ILL and got to chatting with a journalist of a sort by the name of James Bickers. And we got to chatting about music, prog metal and then other music we thought was relevant. And James stressed to me about how Jazz is a form of music people who love progressive stuff should listen to. And he specifically stated, start out and listen to Dave Brubeck. "He's an older fella, and we don't know how many more years he will be with us. We should cherish him while he's still around. But the spirit of progressive music is in his music."
 
And ever since then, especially given I was trying to get into more Jazz at the time and soon after, I always associated Dave with progressive music and his old age. Kind of sad, as I guess I always kept wondering how much longer he had left. And thankfully, he remained with us for nearly 12 more years after hearing about him in that conversation. I sadly, meant to, but never got to see him live. Although at least his sons are still carrying on his legacy and the tradition of his music.
 
RIP. 

I have always meant to really spend more time with his music, as I only really recall listening to Time Out (and at least knowing of many of his others, 1 being Brubeck Goes to College I recall) But James Bickers was right. Perhaps my Brubeck fandom will go up a lot in the next 2 or at least 12 years.
I wish Dean Magraw had known about this last night, as he may have thought to try and cover something by the man. I imagine it could happen soon anyway.

edit: Check Out James's personal account here, of his experience with Mr. Brubeck. Wow, he sounds like such a wonderful guy, I really wish I had been able to see him live, :(.

Johan Hallgren leaves Pain of Salvation

I look terrible in this photo, but it is me with him and another friend at ProgPowerUSA in 2002





B-mouth

"After 13 years in the band, Johan Hallgren [guitar] has decided to leave PAIN OF SALVATION to focus on his daughter and wife. He will not leave music altogether, but plans to work with music in a way that allows him to stay at home with his family in Sweden. That means that the band's upcoming November/December tour together with OPETH will be his last. He will, of course, be sadly missed, both musically and personally, and very difficult to replace. So, if you know someone who sings and plays the crap out of basically anyone, send him or her our way — we might just have a thing or two to discuss."

Commented Johan: "I'm leaving the band with both joy and sadness. I need to stay close to my daughter and my child-to-come; they will be my greatest concern along with my wife. I will miss everyone I've met during the years, and the band will continue to have a warm place in my heart. So finally, treat yourself and all that surrounds you with respect, and stay with PAIN OF SALVATION — the greatest band on the planet! Sorry if I disappoint you; I miss you already!"

I probably don't have enough time to go into the desired detail and nostalgia about Johan Hallgren. But it was rather memorable not only seeing him with Pain of Salvation the 3 times at ProgPower USA, especially the 1st one in February 2001. But also the conversation I got to have with him and some others, namely my friend Paul Cashman aka Pellaz after their show in 2002.

I'll confess, I even taped it for the radio show of sorts I was doing on KFAI at the time. I never aired it (I don't recall), but listened back to it a few times. Topics like 9/11 (I remember him saying it was like a movie or a Tom Clancy novel watching on television), his dayjob (as a social worker I think), opening for other bands, music (he mentioned Stevie Wonder saying he likes his music because he always seems so happy) favorite foods ("you know, mac-donalds, potatoes..I forget the other stuff he mentioned), television (he really liked Seinfeld), etc came up. I honestly don't recall ever having a more memorable and heartfelt chat with another musician.

It's kind of funny as of course Pain of Salvation has been seen as, more or less Daniel Gildenlow's baby. But I never got to have one of those lengthly conversations with Daniel. But Johan, it may have been more profound.

But as far as him and PoS, this probably will affect them, but given how now he's the 3rd member to leave in as many albums, from that period of the most stable period of the band, I'm not sure really how much more they can change to being purely a Daniel Gildenlow solo band just using the Pain of Salvation name.

I am curious what he may do on his own now, of course. I suppose it might be worth going to the Remedy Lane Forum a bit more to read about what he's up to.

Cynthesis - DeEvolution (2011) (1.0)

Facebook

myspace with a sample/edit of "Incision"

Biography
Cynthesis

Jasun Tipton - Guitars and Keys

Troy Tipton - Bass

Erik Rosvold - Vocals

Sean Flanegan - Drums



Cynthesis - DeEvolution

The music of Cynthesis is created by musicians who love progressive, cinematic - Rock/Metal music. DeEvolution tells the story of an elite group of leaders from a heavily industrialized city who find, brainwash and then exploit an indigenous tribes shaman, believing he would be the perfect supreme leader. By propping him up as possessing all the answers to societies ills the elites use him in order to gain and keep more control over the masses. They plan to influence the masses on several fronts: Religion, Media, Consumerism, Government.

Twin brothers, Jasun and Troy Tipton along with Erik Rosvold released two albums with the Progressive-Metal act Zero Hour. Michael Rensen of the premier German magazine Rock Hard proclaimed, "Zero Hour is one of the five Best Progressive Newcomers in the late '90s!" The band's second album "The Towers of Avarice" (Released by The Laser's Edge/Sensory label) won sparkling reviews from nearly every magazine around the World. Such magazines included Hit Parader, Metal Maniacs, Bass Player and Sci Fi (US), Aardschok (Netherlands), Metal Hammer (Hungary), Rock Hard (Germany, France), Heavy Oder Was? (Germany), Scream (Norway), BW&BK (Canada), Hard Rock (France) and in countless webzines and fanzines. The band quickly established a solid fan base around the World. Zero Hour successfully toured Europe and performed twice at Prog Power USA, the largest prog-metal music festival in the World, in Atlanta. In 2003, fans were dissapointed when Zero Hour parted ways with Erik Rosvold. Both "Metamorphosis" and "The Towers of Avarice" were considered progressive-metal classics.

In late 2007, Jasun began writing material for Cynthesis. As the music developed Jasun could only imagine one vocalist to really connect to the material. " I've always been a fan of Erik's vocals and I knew his lryic writing would be a perfect match for the material." explains Jasun. After one phone call both Jasun and Erik were very excited to work together again.

The final piece of the puzzle was to find an amazing drummer. Jasun asked Troy what drummer he would like to work with. Without any hesistation Troy said "Sean Flanegan is the guy". Sean's been a long time friend and played drums on Jasun's 2000 instrumental release, Night's Pulse. Sean is best know for his amazing work with the Progressive Rock band, Enchant (Blink of an eye & Tug of War)

The band has completed the tracking of DeEvolution and is in the process of being mixed by talented Producer/Engineer Dino Alden. 

Um, wow. I noticed a topic over on progressiveears.com about this earlier today. And for whatever reason, I only was mildly curious. Maybe due to the fact Zero Hour's recent music; well ever since Erik Rosvold left has really not done a lot for me. And Enchant I love, or used to really love, but still consider one of my favorite groups historically. But they've been on in-effect a hiatus for 7 years or more, save for a couple of festival appearances.

But the biggest deal about this is, it is Erik Rosvold singing with the Tipton brothers again. And the style seems rather in the vein of those 2 records Rosvold sang with them. Namely 2001's incredible The Towers of Avarice, which is really, one of the greatest "progressive metal" records ever made.

So, naturally, I am now very excited to hear this. And also the fact it's coming on April 19th, so becoming aware of it now is a great time. Although I am a bit surprised that there's been very little to no discussion about over even the last few months, let alone the last year when the idea came up.

Sean Flanegan's being involved I'm mildly curious about. Sean did play on Jasun Tipton's 2000 solo record Night's Pulse which I own. And while he's been a reasonable replacement for Paul Craddick with Enchant, I can't really say I've ever become infatuated with his drumming. But one thing is, I knew Sean had a relationship with the guys in Zero Hour. In fact, beyond Jason's solo record, I swear I heard about him playing with them at one point.

I had a discussion at ProgPower USA with a guy who used to live in the Bay Area where both Enchant and Zero Hour are from, and I actually have the discussion on tape somewhere. But having listened to that (among a number of other "man on the street" recordings I used to make for my radio show) a number of times, and my memory is he played with them previously. Before he was with Enchant of course. I want to say the band was called Chaos Theory or something.

I suppose I can try and dig up that tape soon and go back and hear more of the details of this.

edit: this article confirms part of the reference. The ZH members collaboration, maybe not. I just know he knew them. I talked to Sean at Nearfest in 2002 about Zero Hour I recall. And their definitely was a previous association, I thought beyond even him playing on Jason's solo record. But I'm talking about remembering something from 9 years ago, so some parts may be gray still.

No matter, this is something I'm already very much looking forward to. Rosvold I have always felt became an incredibly untapped talent once he left Zero Hour. And sadly, I'm not sure they ever have (or will) ever recover. But this project very well may be a way to change my mind.

Rather similar to the likes of Soundscape's return of sorts a few years ago, and of course the John Arch/Jim Matheos and the rest of Fates Warning save for Ray Alder project coming soon.

This Spring, not 1, but 2 potentially HUGE reunion records of sorts, that it was believed for many years, would never occur. What are the odds? But then again, the music will of course ultimately tell just how big a deal these reunions of sorts are. But with my love of them and their previous work, I want to be rather excited about them for now.


The Towers of Avarice Part 2? I am without question game for that, and in just a few short weeks even :D.