#do not disturb my prog rock moment

[icarus-suraki]

I heard "Roundabout" on the radio tonight. It always seems like good luck when Yes pops up on the radio.

[go-go-devil]

infodump to me about the lamb lies down on broadway so i have the intel for my next big listen of it!!!

Here I go!

So The Lamb is honestly a pretty insane album, not just for Genesis but classic prog rock as a whole. It's one of the most ambitious and creative concept albums I've ever listened to, but because of that it can be very alienating to some listeners due to how vague and overly poetic the lyrics can get (not quite Eraserhead levels of dream logic, but it gets close at times and most of us have very different takeaways from the story).

I think what makes this album so enjoyable and timeless for me is how unabashedly fearless it is in simply having fun telling its story. There's lots of dramatic and intense moments, but its also paced well with beautifully ethereal bits and even some silly moments. Every single song plays its part well and flows in perfectly with the next, no matter how much of a mood whiplash the lyrics or music can feel at times. Hell, one of the last lines in the album is "If you think that it's pretentious, you've been taken for a ride," and I just love that! It's the spirit of prog rock right there: go crazy and have and adventure, who cares what uppity critics think!

Besides that, it's also one of the most autistic albums ever made. Partually because I hc Rael as autistic due to the way he speaks and acts but also because the very nature of the album is like one big surrealist autism moment. Rael's constantly trapped in uncomfortable places that are too constricting or too crowded with people he can't understand and/or has trouble being around, and even has an anxiety attack at the end of "The Chamber of 32 Doors" due to being trapped in a room full of people who won't shut up. I felt all of that as a teen in high school, and I still feel it now T_T

Then of course there's my "controversial" interpretation of the album, at least I assume it is amongst many of the Lamb fans I've found on this site and irl, that this is one of the most delightfully sex-repulsed stories I've ever engaged with. Probably done by complete accident, but I don't care!

Just hear me out on this one. Sexual intercourse is NEVER shown favorably in this album; it's either not well executed/completely humiliating ("Counting Out Time") or overtly disturbing ("The Lamia" and definitely the album notes describing the Slippermen's fate in "The Colony of Slippermen"). The story ends with Rael sacrificing his penis to save both himself and his loved one, and that's a fucking insane thing to type down but I'm not exaggerating anything! That's just what The Lamb is like! Rael gains enlightenment by sacrificing a part of himself that never truly gave him anything fulfilling in his life.

One of the reasons I got into prog rock was because I'm sex repulsed and so many classic prog songs have nothing to do with sex or romantic relationships, and it's honestly so goddamn refreshing to find a piece of media that, for fucking ONCE, depicts sex as something as uncomfortable and unfulfilling as I've always known it to be. I felt seen by this story in a way most of my other favorite fiction could never achieve.

I'll never know what exactly Peter Gabriel was thinking when he wrote this story, and I certainly won't act like anyone's sex-positive interpretations of The Lamb aren't valid. But that's the beauty of it. It means different things to different people, but unites them all in a weird, rocking tale with some of the craziest imagery ever put to an album <3

[hmel78]

In conversation with Mariusz Duda ...

Polish ‘prog’ masters ‘RIVERSIDE’ have just released an entirely  instrumental album entitled “Eye Of The Soundscape” which compiles all the special tracks that have previously been used as bonus material for their albums “Shrine Of New Generation Slaves” and “Love, Fear and the Time Machine" [re-released recently], alongside rare cuts and 4 brand new songs (“Where The River Flows”, “Shine”, “Sleepwalkers” and “Eye Of The Soundscape”). As a huge fan of ‘Riverside’, I was really quite blown away by this new release - it’s a departure for them - it pushes their boundaries into new musical territory - but it’s an album that you really must seek out. If you aren’t already aware of ‘Riverside’, then please accept this introduction.  Formed in 2001, in Warsaw, by friends Mariusz Duda, Piotr Grudziński, Piotr Kozieradzki and Jacek Melnick, the band has gone from strength to strength, becoming a no1 selling act in Poland, with growing popularity around the globe. Melnick left the band in 2003, after the release of their debut album  - it didn’t halt their creativity, and with the addition of Michal Lapaj, the band have since released 6 more studio albums - the latest being “Eye Of The Soundscape”. 2016 has been a tough year for them, following the unexpected death of founder member Piotr Grudziński - the band remain close, but are now a three piece, although they are adamant that this is how they will progress ... I had waited for some time to catch up with lead singer / bassist Mariusz Duda, and here’s what happened when I eventually did  :

Helen Robinson : Looking at the ‘Rock’ music scene in Poland - there seems to be a huge underground following of “extreme metal” music - why do you think this genre is so popular? How involved were you / the band in that scene before ‘Riverside’?

Mariusz Duda : From time to time everyone needs to do something extreme. And people need extreme music. True, it seems that in Poland we have pretty interesting extreme metal bands that there are known worldwide, but this is not so wide range as Norwegian bands for sure. ‘Behemoth’, ‘Vader’, maybe ‘Decapitated’. But that’s it. For us the roots of the founder members were pretty metal. Our drummer used to play death metal in HATE, our guitar player used to play something weird, maybe not extreme, but for sure connected with metal music. The fact that they wanted to start something more prog than metal, and they found me was pretty extreme too [laughs].

HR : Lucky for them, yes - but what persuaded you to become involved with a ‘progressive’ rock band?

MD : Progressive for me doesn’t mean that you have to sound like the bands from 70’s. Progressive in my terminology means - break your habit, push the boundaries. For us pretty original was the fact that our drummer in his death metal style always disturbed us to play ballads. And that was pretty original and... progressive, so we became that kind of band [laughs] Ok, just to be serious - in spite of normal songs we always liked long forms, long structures and lots of keyboards - so after our debut release, full of that stuff, we became progressive rock band.

HR : How does it feel to have risen up to become a number 1 selling act in your home land?

MD : Pretty cool. It’s great to know that you live in the country where people like to listen to something ambitious from time to time too.

HR : You’re very popular in many other countries, of course - having been on the road pretty extensively since 2004 - throughout Europe, into the Middle East, Russia, South America, the USA and Canada - what do you most enjoy about touring and performing live?  What has been your weirdest moment?

MD : There’s always an amazing adventure to be somewhere for the first time. Before routine comes and you mostly searching Wi-Fi in the venues instead of searching the town where you are for the first time! [laughs] Speaking of venues - I remember our show in Turkey, Istanbul. very small club. There was no stage for our drums. I mean there was a stage, but only for the drums. We had to figure something  out, and we did. I remember that our guitar player had to play on the stairs, next to the stage. Truly weird experience.

HR : The band suffered a devastating loss early in 2016 with the sudden passing of Piotr Grudzinski  - he would want you to continue, I am sure, but how have you coped as a band with the prospect of moving forward?

MD : That was hard. I was considering the end of the band even, but then I realised that the legacy is too big. Well, I’m still the captain of this band. I’m still the main composer. I’m going to continue anyway. We lost one voice, but we still have the ship and we still want to sail. Differently for sure. This loss made us someone different, but maybe it will help our music to become more progressive in the terminology I always loved?

HR : How did you evolve as a “unit” in the 15 years together since you formed?  Do you hang out, or do you just come together to be a band?

MD : We are a family. That’s why after Piotr’s passing away we cancelled all our live shows till the end of the year and that’s why became a trio. We usually spend lots of time together, but we also know that each of us need to have his own room

HR : [laughs] Sure, I understand that, and you are 4 quite different personalities ... How difficult was it to create (and hold on to) your own ‘sound’ and identity as a band ?

MD : It was not hard. It was long. This is a long process - in time. I had the idea for the style of our band, but I had to be patient. I always wanted to play both short and long songs, hard and soft, very melodic, spacey, psychedelic, etc.

HR : What inspires you / How do you stay focussed on creating music? Who do you make the music for -  your fans or yourselves?

MD : I take inspirations from my own experiences. And the experiences of my friends. Mostly everything that is placed in my heart and soul finds its own reflection in my music. And I compose that kind of music that I always would like to listen to. So t’s not only reflection and spitting out everything I have to say without taking care how it sounds and what people might thing about that. I care. But the truth is in the right balance. As a Libra I always pay attention to that.

HR  : Ha! Libra - yeah I know a few Librans! Well then from a more personal perspective -  your own identity. You are pretty sure of yourself, but some musicians (especially front men) go through their careers constantly re-inventing themselves; is this something you have done? Is it possible to be 2 people at once and have a separate life on stage, and a real life away from it all - or is it all one place, where it’s easy to lose sight of who you are?  [I promise I am not a psychiatrist! Just curious ...]

MD : I do what I feel. I try to be honest with my music. I usually write about something personal. My lyrics are like a pages from the diary. I develop myself with every album, grow up. I know what performance on the stage means, I know that I need to exist in social media to be alive in my job industry, but I also take care of my privacy.  Libra. Balance ;)

HR : You have the libra balance musically too I guess. ‘Riverside’ have just released a new album “Eye Of The Soundscape” which is purely instrumental - a first for the band- what made you decide to do this now?

MD : This is a very selfish album. Myself and Piotr Grudziński always wanted to release that kind of album. I think this is really an interesting piece of music. Something organic and electronic in the same time. Thanks to that kind of album - lots of people now can take a look at our band from the wider perspective. That we are not prog metal band only. That our influences are wider.

HR : From what I read, the fans are loving it ... so ... Where do you plan to go from here?

MD : The show in February with guest guitar players. The tour maybe. But mostly the new album recordings in 2017. It’s time to break the silence. Again.

[radramblog]

5 RNG’d Songs

After being burned out yesterday I spent a lot of today relaxing and doing shit for myself because yknow its Sunday and all that and now it’s 10:55 PM 11:05 PM and I haven’t written shit so time to do that.

I’m gonna hit shuffle on my spotify Liked Songs 5 times and discuss what comes up. Linkin Park Pt.2 tomorrow.

(Remember when this was just a music blog? Good times.)

1. Robot Rock- Daft Punk (Human After All)

…fuck, I keep forgetting to take this off the list. Ok, this one’s a freebie, I’m not counting it for shit. I like Daft Punk a fair bit, and French house music in general if I’m honest, but Robot Rock is a repetitive mess that goes for 2 minutes longer than is justifiable. Its just the same line, over and over again, and it gets really obnoxious eventually. Human After All is far from their best work.

1.(again) Prequel to the Sequel- Between the Buried and Me (Colors)

Oh now we’re talking. Colors is an album that I spent a while hunting for on CD, being one of those really fun ones where everything blends together like one big song, such that on a first listen you aren’t going to be able to tell where the tracks begin and end (PttS’s ending is more obvious than most, but I digress). Prequel to the Sequel is the 6th of the 8 tracks on the album, clocking in at 8:37 making it the 4th longest song on the album. Prog Metal be like that.

Most of the track is the fun proggy metal stuff I love from albums like these, developing new lines and having moments that come out of nowhere but are extremely satisfying- those piano notes at ~4:50 are so fucking good. Shortly following this is one of the points on Colors where everything cuts back and we’re suddenly listening to a different genre- one of the previous tracks has a deadass hoedown breakdown and in Prequel’s case it’s a little polka-y accordian bit. Moments like this add levity and a breather from the otherwise intense onslaught of riffs and percussion the album gives, and are easy to appreciate as a result. Prequel follows it with what is in my opinion the best section of the album, where everything suddenly builds back up again as the vocals hit their most desperate note, crashing down into the most intense part of the song so far. It’s a really great time, and I think on its back Prequel manages to snatch the title of favourite song on the album for me from the former head, White Walls, the album’s closer.

2.       Powerless- Linkin Park (Living Things)

fuck off ill get to you soon enough

2. (again) Land of Confusion- Disturbed (Ten Thousand Fists)

Eh. It’s been a long time since I listened to this, actually, having entered my list as I went through some metal bands I’d heard of when I was a wee babo trying to find workout music. It took embarrassingly long for me to find out it was a cover, with the Genesis version being probably better. Genesis is just a better band than Disturbed, and I would be hard-pressed to call myself a fan of either.

Out of curiosity, I checked the top listened to songs on Spotify for Disturbed, and this doesn’t even make the top 5, which I didn’t expect to be honest. Also, how the hell is their Sound of Silence cover ahead of Down with the Sickness? One is their iconic song, one is an overdone piece of shit. Ah well, Stricken is better anyway.

(also the music video is the least subtle thing I have ever seen)

3. Serious- Stuck in the Sound (Billy Believe)

I mean, I’ve been looking for an excuse to talk about these guys, I guess. Stuck in the Sound is a French rock band (that sings in English) somewhat known for their really cool music videos- while Serious is mostly silly, the animated videos for Let’s Go and Alright are excellent, and Badroom’s is fucking hilarious.

Serious is probably my favourite song from the band’s 2019 album, Billy Believe, and is a loose, fun song with a friendly vibe. It’s a great example of the somewhat odd accent of the vocalist- I don’t know what part of France he’s from to be honest, but its not a bad thing- and while I’d argue it isn’t representative of the band as a whole it’s still a pretty great track. Despite it’s name, it is not very serious.

 4. Skyscraper- Touché Amore (Stage Four)

Well, I was thinking about doing a full runthrough of this album at some point, but sure, skip to the end why don’t we. Stage Four is an excellent, heartwrenching album about the band’s singer coming to terms with his mother’s death from cancer, told largely through a lot of brutal screamo vocals that aren’t probably as harsh as that sounds- it’s more frustrated than angry, you know. Skyscraper is the closer to the album, representing the passage away from the fourth stage (geddit) of grief and onto the final stage, acceptance. The screaming is replaced by almost spoken word verses, and a simple chorus sung by not the same bloke as the rest of it- save for an almost ethereal repetition of the lyrics at the song’s climax. The line (you lived there, under the lights) is such a simple thing, but its one of those wistful memories you get when dealing with loss, and the way that can make you feel is conveyed by the weight of these lyrics. I’ve been fortunate enough to have not had to deal with losing a direct family member like this yet, so I can’t possibly know what it’s like, but this song represents the point in that process that you hope to get to eventually.

One of the previous songs on the album (I think New Halloween?) ends with a line referring to a final voice message left from the singer’s late mother that he hasn’t had the courage to listen to. Fittingly, Skyscraper ends with this voicemail playing. It’s such a mundane little message, but it makes for a really meaningful little moment.

 5. Black Fingernails, Red Wine- Eskimo Joe (Black Fingernails, Red Wine)

Shoutout to that one time a mate of mine was like “Hey what’s that song called where the lyrics go black fingernails red wine?”. To be fair, I didn’t know the song at the time.

Eskimo Joe is one of the more popular bands out of Perth, so I’ve gotta give them some home team love, though they’ve been less prolific in the last decade as they were back in the 00s. BFRW, their 2006 album, is pretty clearly their most popular, and I’d argue the title track is the best song on the album. It’s this oddly melancholy little alt rock tune backed by some lovely percussion and piano lines. Unfortunately for this ramble its one of those tunes where I don’t have an awful lot to say about it, I just like it. Oops. Randomness has its drawbacks. I went to go watch the music video for the first time to have something else to talk about but it’s like, kinda boring? I like how it just cuts out at the end though.

[gazellefamily]

E.T. (1982) “My mom has revealed that when she took us to see this, she had snuck rum into the theatre to get her through this movie. While that is a somewhat disturbing family anecdote, I can understand after revisiting as an adult. The sickly sweet orchestral score of John Williams and Spielberg’s unearned sentimental moments are audio-visual equivalents to my mother’s Tab cola. It needs some rum. But it’s not all bad. I thought the kid actors were remarkably unannoying. Hollywood don’t find a Henry Thomas every day and young DrewB was a GOAT screen toddler. E.T.’s anatomy is laughable and his species’s ability to manufacture a starship is absurd, but when that his beef-jerky ass gets day drunk and falls on his face, that shit made me LOL. But whatevs. CLOSE ENCOUNTERS-for-kids aint my cocktail of choice either, Babs. Bottoms up” -Sonny Gazelle

“Hard to say how I would feel about this today. Obvs when it came out I considered it one of the best things that had ever been in front of my eyeballs. I wept when Elliott and E.T. took ill and exalted when they escaped via flying bike. I feel as though today I’d want to know lots more about Peter Coyote’s character. They sort of made that movie kind of as MIDNIGHT SPECIAL, where the adults are the main characters. Kiki Dunst. Driver. Maybe my version of Babs Gazelle’s viewing experience will be watching this with an edible? Maybe it’ll become prog-rock if I do that? Yeah I mean lots of Spiel’s output is highly rewatchable, but I have no desire for this. Will just watch MINORTITY REPORT instead.” -Tommy Gazelle

[satanstruemistress]

BoB Modern Music Taste Headcanons bc fight me

(I know. Lots of metal/rock, but tbh I don’t know a Hell of a lot outside of rock. I know I’m forgetting people)

•Bill - The Heaviest Of Them All™ Artists: Amon Amarth, Bloodsimple, Havok, Trivium. All the old classic metal like Maiden, Metallica, Pantera. Super weird and obscure shit too, like Powerwolf or Cattle Decapitation when he’s trying to freak people out. Also just whatever is on today’s rock radio when he’s with Babe.

•Babe - Disturbed, A7X, Godsmack, Halestorm, HellYeah, Metallica. Bill got him into heavy stuff when they were younger, but he never got too into the screaming stuff. Mostly radio metal. Also likes Disney music. Fight him.

•Joe Toye - Another Heavy Boi™. Pantera is his shit. Indestructible by Disturbed and anything by Sabaton is for when he works out. We Shall Destroy by Amon Amarth before a fight (I dunno, they said he was a beast so I kinda headcanon he’s some sort of semi-pro boxer/cage fighter).

•Frank Perconte - He’ll take this secret to the grave, but he loves showtunes. And rock, and pop, really whatever comes on the radio.

•Buck Compton - Sporty dude is sporty. He mostly listens to music when he works out, so as long as it’s got a good beat, it can go on his playlist. (Metallica, Meghan Trainor, Ice Cube, Luke Bryan, whatever)

•Richard Winters - When concentrating, he listens to classical. When not, he likes really chill sort of stuff. Like ‘Tennessee Whiskey’ by Chris Stapleton, 'Alive’ by Pearl Jam, 'Simple Man’ by Lynyrd Skynyrd. Steve Miller Band. CCR. Anything relaxing. Aloe Blacc is a favorite. 'I’ll Follow You’ by Shinedown was played at his and Nix’s wedding

•Nix - Whatever Dick is listening to. When he was younger, he liked to blast the most obnoxiously vulgar stuff he could find at his dad. He doesn’t play it much anymore but he’s still got a soft spot for Slipknot’s 'Custer’ and 'The Heretic Anthem’.

•Joe Liebgott - Black Flag, Green Day, The Kinks, The Ramones, Dead Kennedys, Misfits, The Clash. He is a Punk Motherfucker. Also German metal band Rammstein.

•David Webster - A bit of pop punk, bit of grunge, bit of anything vaguely poetic. If it’s got meaning he’ll listen. He scoffs at meaningless 'fun’ songs. Secretly loves 'Casual Sex’ by My Darkest Days. Also likes Rammstein, thanks Lieb.

•Shifty Powers - My lil country bumpkin boy. Loves country music

•Ron - Zeppelin. AC/DC. Sabbath. ZZ Top Rolling Stones, Skynyrd. When he’s pissed he’ll pull out 5 Minutes Alone by Pantera. He also like’s Carwood’s fun pop stuff. But only Carwood knows so shhh.

•Carwood Lipton - Lots of older pop. Janet Jackson, The Backstreet Boys, NSYNC, New Kids On The Block (😉). He’s a phenomenal singer. He’s kinda shy at the beginning of their relationship so he’d stop singing when Ron got out of bed, so Ron would lie in bed for a while just listening to him sing.

•Eugene Roe - When he has time to listen to anything. he likes stuff like Black Stone Cherry, The Animals, Linkin Park, Soundgarden, The Black Keys, Halestorm. Will jam to Disney with Babe.

•Skinny - The Chili Peppers, The Beatles, Dr Dre, Tupac, Walk The Moon, DNCE. Whatever man, good music is good music.

•Chuck Grant - Has a crush on Maria Brink of In This Moment. Arch Enemy, Otep, Godsmack, My Darkest Days. Anything with attitude.

•Tab - Knows Nirvana’s entire discography by heart. Has seen Foo Fighters like eighteen times.

•Bull Randleman - Hank Jr, Black Stone Cherry, CCR, Allman Brothers, Chris Stapleton, Alabama, Eric Church, Eagles. Southern boy like southern rock and country.

•Johnny Martin - 'Bull, get that twang away from me.’ Put it on a rock station. He likes what they’re playing. Queen is his favorite band.

•Skip Muck - Copperhead Road by Steve Earle is his favorite. But honestly, he’s not picky. Anything remotely amusing.

•Alex Penkala - The more ridiculous the better. Steel Panther comes to mind. Ariana Grande. JoBros.

•Harry Welsh - Dropkick Murphys. U2. Shinedown. Phil Collins. Elton John. GNR bc gotta support your fellow gingers. Kitty had a massive crush on Axl for the longest time.

•Pat Christenson - (Fassy is a metalhead irl sooo) Slayer’s Reign In Blood album is his religion.

•Popeye Wynn - My lil hillbilly with that accent. Outlaw Country/Southern Rock.

•Don Malarkey - Prog rock. Cheesy country. Comedy albums. Cotton Eyed Joe is his ringtone. Him, Skip, and Alex have both Pitch Perfect soundtracks memorized.

•George Luz - Anything. Literally anything. His ringtone for Buck is 'Straight Outta Compton’. He has songs he has no idea how to pronounce. 'What language is that, George?’ 'I do not know but it’s catchy.’ Selena is the Love Of His Life, sorry boys. 1D and their subsequent solo careers Cheetah Girls? Yep. Cannibal Corpse? Check. Weird Tibetan Monks Chanting? ✔️

George likes anything that catches his attention.

[metalshockfinland]

ZONDER/WEHRKAMP (Aka ZW Band) is consisting of drummer, Mark Zonder and multi-instrumentalist and singer, Gary Wehrkamp. Gary and Mark have long collaborated on songs and appeared on many of the same records. They toured together in 2014 and returned to craft this new record. “If It’s Real”, coming out May 25th, resonates with a tenebrous emotional intensity wrapped in a more melodic, ethereal sound and philosophical take on progressive hard rock.

While Zonder and Wehrkamp will be releasing more official videos in the coming weeks, today they’ll present you a deeply touching dark “If it’s Real” video, which is the the title track of the upcoming album, coming out on May 25th! A limited number of autographed PRE-ORDER CD’s are available from http://www.zwband.com to start shipping May 10th, 2019.

Watch “If it’s Real” here:

Gary Wehrkamp on the video: “The song, “If it’s real” is where the album began for Mark and me. With a lyrically dark song like this, we wanted the video to represent that feeling with provocative imagery that some people might call disturbing. While it was a challenging shoot to pull off, we really embraced the creativity we put into it. Director, Paul Dworakivsky did a great job. On the music side, the song also has one of my favorite drum tracks of the records.”

Also watch the “Two Years” visual slideshow video here:

Gary Wehrkamp on the song “Two Years”: “Because Mark and I have a lot of musical history together along with our own separate projects that have passionate fan bases, I thought putting together a video slideshow that celebrated some of those moments and introduced our new band would be a cool and fun way to usher in the new song.”

More information at: Facebook: https://www.facebook.com/ZWBAND | http://www.zwband.com Youtube Channel: https://www.youtube.com/channel/UCK4iVTxFkMYB6P4bLQJfGXw

————————

More information about ZONDER/WEHRKAMP Aka ZW Band:

Long known for their work in the progressive and underground metal scenes in bands like WARLORD, SHADOW GALLERY, AMARAN’S PLIGHT and FATES WARNING, guitarist GARY WEHRKAMP and drummer MARK ZONDER are exploring darkness in a brand new light with their new band, ZONDER/WEHRKAMP (aka ZW Band).

The collaboration results in the album “If It’s Real” which resonates with a tenebrous emotional intensity wrapped in a more melodic, ethereal sound and philosophical take on progressive hard rock.

In the last two decades Zonder and Wehrkamp have co-written nearly 100 songs together for various projects and toured together for a reunion of Zonder’s seminal cult band Warlord. When the two were approached by a metal label to record a moodier, less traditional prog-metal album, they ran with the idea.

“We have spent a lot of time over the years doing traditional over the top prog and have some really great stuff, but when we were asked to do something different by the label, we dug in and really started to push the envelope on the production side of things,” said Zonder.

While the label situation wasn’t right, the organic result of their studio sessions was music that–while not as heavy or as fast as their previous bands–still contained a thematic and sonic link to their progressive roots with a brooding depth and complex instrumental performances.

From songs like the title track that delves into mental anxiety and suicide to cuts like “It’s Not the End” with a message that brings the listener back from the brink, “If It’s Real,” delves into how we cope with simply being alive and, many times, alone in our own minds.

“This album traces the journey of the human condition through an array of emotions ranging from painstaking pitfalls to glimmers of hope,” said Wehrkamp.

While Zonder/Wehrkamp takes the two musicians on a different path, their musical pasts are very much influences on their current project.

One of the most influential drummers in metal history, Zonder burst onto the scene with Warlord in 1982 and went on to play drums with prog-metal heavyweights Fates Warning for eight albums starting in 1989. With periodic Warlord shows on the European festival circuit, involvement in the bands Slavior and Spirits of Fire and stints with artists like Graham Bonnet and Arch/Matheos, Zonder maintains a steady presence in the metal world. Since 1993, Wehrkamp has been one of the guitarist/keyboardists in the innovative progressive metal band Shadow Gallery, which released six studio albums between 1992 and 2009 on labels like Magna Carta and Inside Out.

Having made critically acclaimed records and toured the world playing to hundreds of thousands of hardcore metal fans, Zonder and Wehrkamp are betting the departure from their musical roots will still generate enthusiasm from long-time followers because the soul and authentic creativity they’ve always delivered is the driving force behind this music, too.

“This album isn’t about doing something different for the hell of it,” said Wehrkamp. “It’s about challenging ourselves to step outside our own self-imposed boundaries and expectations and dare anyone who pushes play on these songs to do the same. This record is all about introspection and discovery. And we want our fans to take the trip with us.”

More information at: Facebook: https://www.facebook.com/ZWBAND | http://www.zwband.com Youtube Channel: https://www.youtube.com/channel/UCK4iVTxFkMYB6P4bLQJfGXw

ZONDER/WEHRKAMP Release First Official Video From Debut Album For Title Track “If It’s Real” ZONDER/WEHRKAMP (Aka ZW Band) is consisting of drummer, Mark Zonder and multi-instrumentalist and singer, Gary Wehrkamp…

[chevd-blog]

My Top 100 Favorite Albums of All Time (Part 2: 80 - 61)

80. Karmacode – Lacuna Coil (2006)

My first exposure to the Italian metal band Lacuna Coil was in college in Florida, when I discovered their breakthrough album, Comalies. The album was an interesting formulation of gothic metal with occasional flourishes of electronica, and I was immediately awestruck by Cristina Scabbia's lush vocals. Although perhaps a bit melodramatic for my usual tastes, it was certainly enough to make me take notice of any of the band's subsequent releases. So, years later, when they finally released a follow-up, Karmacode— I cannot overstate this— I was not prepared for the monumental shift in sound. Karmacode was a calculated move away from their old sound, and into the realm of Middle Eastern-influenced nu metal, in a similar vein as Disturbed. While such a move might seem counterintuitive at a time when nu metal's popularity was already waning from its former glory days, in this case the genre recasting totally worked. Lacuna Coil's new direction actually seemed to add an entirely new dimension of gravity that hadn't quite reached critical mass on the previous album—and the cherry on top was their inclusion of a cover of the Depeche Mode classic "Enjoy the Silence" as the album's finale. It was a remarkable change for the better, so far as I was concerned, and one to which I gladly listened.

Prime cuts: "Closer", "Our Truth"

  79. Morning View – Incubus (2001)

Brandon Boyd knows the way to make a point with an interesting turn of phrase. On Morning View, his lyrics show even more wit and poeticism than they did on Make Yourself, building metaphors on such premises as references to Uri Geller's spoonbending, the cautionary story of frogs slowly being acclimatized to boiling water, and fingernails on a chalkboard— all while the words maintain their overall insightfulness. Musically, despite not being quite as hard-edged as the previous album, Morning View still holds interest by displaying a more mature and experimental approach, mixing smooth rock jams like "Echo" and "Are You In?" with the tranquil Eastern vibe of "Aqueous Transmission". It's an admirable mark of progression, which demonstrates that change and growth doesn't necessarily have to mean sacrificing popular appeal.

Prime cuts: "Nice to Know You", "Under My Umbrella"

  78. Nothing's Shocking – Jane's Addiction (1988)

…And while we're on the subject of easy-going SoCal alt-rock… let's talk about these guys, who were doing it 13 years earlier. For their debut studio release Nothing's Shocking, the alternative pioneers Jane's Addiction blended together Dave Navarro's soaring metal guitar licks, a cavernous production quality, and Perry Farrell's unmistakable voice, and somehow ended up with an album that is simultaneously one of the most energetic and laidback rock recordings of the 1980s. Though not afraid to broach taboo subject matter at times (with one song, "Ted, Just Admit It…", being a sardonic diatribe against serial killer Ted Bundy), the shocking thing about Nothing's Shocking is… there's really nothing on the album that is as shocking as its infamously censored cover art implies.

Prime cuts: "Jane Says", "Mountain Song"

  77. Deadwing – Porcupine Tree (2005)

Steven Wilson apparently really likes ghost stories, because this is his second album the list to be largely inspired by them (though, of course, chronologically it was the first of the two). A cinematic concept album based on a ghost story that was never fully divulged publicly, Deadwing was a product of the band's immensely successful turn toward a more radio-friendly blend of alternative rock, metal and prog in the 2000's. Sandwiched as it is between two of the band's more iconic albums, it sometimes doesn't get the love it deserves—although it is undeniable that its 12-minute memento mori masterpiece, "Arriving Somewhere but Not Here", contains one of the band's most successful digressions into full-blown, dynamic heavy metal. Elsewhere, the album legitimately seems haunted at times, with the title track's paranoia, the charming wistfulness of "Lazarus", and the roiling, soft-spoken resentment of "The Start of Something Beautiful" displaying a full range of emotional malaise.

Prime cuts: "Arriving Somewhere but Not Here", "Deadwing"

  76. Wish You Were Here – Pink Floyd (1975)

Pink Floyd's melancholic remembrance of their original vocalist Syd Barrett, who left the band due to deteriorating mental health, is represented here as the lowest of their albums on my list— although by no means does that make it my least favorite Pink Floyd album of all (Atom Heart Mother, I'm looking at you). Truthfully, the only reason for its low ranking on the list is that there's not quite enough of it. Bookended by the two halves of the massive suite "Shine On You Crazy Diamond", the album only contains three shorter songs (all of which, of course, have become staples in Pink Floyd's repertoire). For me, the album's most distinguishing feature is its use of piercing synths in "Welcome to the Machine" and "Have a Cigar", which give it an unmistakable 70's prog sound.  

Prime cuts: "Wish You Were Here", "Shine On You Crazy Diamond (Parts I-V)"

  75. The Moon and Antarctica – Modest Mouse (2000)

Another album where nostalgia is the primary motivation for its inclusion. My exposure to this album didn't come until about seven years after its release, after moving to Canada. I have my friend Laurie to thank for it—she was a fan of Modest Mouse, so I heard quite a bit of their music when we were together. There is, I suppose, a hint of irony in this particular album, which deals heavily with the theme of isolation and alienation, being represented in my mind as a signifier of my own social renaissance. But then, it seemed to fit all too perfectly at the time— after all, even when you know people there, moving to a different country can be a very daunting and lonely prospect.

Prime cuts: "Tiny Cities Made of Ashes", "The Cold Part"

  74. Weather Systems – Anathema (2012)

I realize a lot of Anathema's original fans bemoan the band's migration away from doom metal and into the realm of more consumer-friendly hard rock with a slight prog twist (a hallmark of their move to their current label, Kscope). I, however, adore their Kscope sound. There is a beautiful sentimentality about it, echoed in the vocals of Vincent Cavanagh and Lee Douglas. Their voices just mesh so naturally in duets, and on the occasions where Douglas is given solo parts to sing (such as "Lightning Song"), her voice is completely mesmerizing in its purity. As the name suggests, Weather Systems is a breezy, atmospheric album, chock full of meteorological metaphor. Sometimes the gale rages, and sometimes the sun comes out—but don't be fooled. At the core of it is a stable band which is confidently anchored to terra firma.

Prime cuts: "The Storm Before the Calm", "Lightning Song"

  73. 90125 – Yes (1983)

It probably comes as no surprise, considering it is one of their most accessible albums, but 90125 was my introduction to seminal first-wave prog band Yes. By this point in their career, the excesses of sprawling 20-minute songs and theatrical live shows had fallen out of favor, and the band had all but collapsed as a result. 90125 was the result of a more commercially viable side project of Chris Squire and Alan White, called Cinema. After the return of singer Jon Anderson, the material was released under the banner of Yes, and like a phoenix, the band re-emerged from the ashes of its previous incarnation to find even greater vitality and appeal than before. "Owner of a Lonely Heart" quickly became a rock radio staple, which it remains to this day on classic rock stations. A must-have for admirers of 80s rock, and mandatory listening for fans of Yes.

Prime cuts: "Owner of a Lonely Heart", "It Can Happen"

  72. Your Wilderness – The Pineapple Thief (2016)

In my view, The Pineapple Thief is criminally underexposed. Another band on this list with progressive roots, their sound falls somewhere toward the center of a spectrum between 1990s Radiohead and 2000s Porcupine Tree—so of course it appeals perfectly to me. (Actually, the Porcupine Tree resemblance makes sense on this album, given that time is kept expertly here by none other than PT's drummer Gavin Harrison.) And frontman Bruce Soord has an obvious talent for crafting catchy and emotive pop/alt-rock, even while taking it in less obvious directions. Your Wilderness is a shining example of that pop craft in action. As an album, it's a bit more on the wistful, subdued side, with a heavy reliance on acoustic balladry (and at least one prominent appearance of smooth jazz clarinet), but it still definitely has its moments of hard rock brilliance, too.

Prime cuts: "In Exile", "That Shore"

  71. Sonic Highways – Foo Fighters (2014)

Moving into a new home in Washington state in the summer of 2014 came with a few perks—it was larger than my apartment in Vancouver had been, as well as quieter and cheaper. One of my favorite perks, however, was the addition of HBO to my television package. Subsequently, I became aware of Sonic Highways through the 8-part HBO documentary series directed by Dave Grohl. In short: to celebrate the band's 20th anniversary, Grohl took the band to eight U.S. cities, to conduct interviews for the documentary, discussing each city's historical contributions to American musical culture. Afterwards, he would write songs for the band to record based on those interviews, and even record with guest musicians (including Joe Walsh, Rick Nielsen, Ben Gibbard, Zac Brown, and the Preservation Hall Jazz Band). The premise intrigued me. As the band traveled from Chicago to Washington, D.C., Nashville, Austin, Los Angeles, New Orleans, Seattle, and finally New York, I watched with great interest, delighted that such a good band could be involved in such a unique celebration of creative spirit. Kudos to the Foo Fighters, for promoting the conservation of our musical heritage.

Prime cuts: "Something from Nothing", "Outside"

  70. Black Holes and Revelations – Muse (2006)

Back before the dabbling with dubstep, back before the three-part space operas, back before the blatant Queen impersona—er… homages, there was Muse's political-prog gem, Black Holes and Revelations. Around 2006, with the Morricone-esque "Knights of Cydonia" finding heavy play on music video channels (at least, the ones that still played videos at that point), this album came into my life and perfectly summed up the zeitgeist of the Bush years for me. I was isolated, discontent with a political establishment that did not reflect my values, and desperately seeking solace from my feelings of alienation and helplessness. How many times did I actually ask myself the question at the core of "Map of the Problematique": "When will this loneliness be over?"? How many times did I actually repeat the affirmation at the end of "Soldier's Poem": "There's no justice in the world, and there never was"? Well, anyway, it was an immense help to me to at least know these were things on somebody else's mind, too. (And it's amusing to look back on the album in retrospect and remember a time when "Knights of Cydonia" was actually among the more outlandish and indulgent things they had done to that point. Those days are long gone now.)

Prime cuts: "Map of the Problematique", "Knights of Cydonia"

  69. Gravity Kills – Gravity Kills (1996)

If you know St. Louis band Gravity Kills at all, it's probably from their song "Guilty", which appeared briefly in the David Fincher movie Se7en, as well as a promo for True Blood. Truly a product of its time, their debut album was released during the upswing of industrial, when Nine Inch Nails had propelled the genre to the foreground of public consciousness, and other industrial acts were beginning to capitalize on the new exposure. There is, perhaps, a twinge of 90s cheese here which might sound dated to a present-day listener—but to me, at least, it really doesn't matter. I like the 90s. I grew up in the 90s. I understand that decade, better than I even understand what's going on now. And anyway, Gravity Kills isn't a NIN album. It has a distinct sound—sometimes grungier, and sometimes more danceable, but never boring.

Prime cuts: "Guilty", "Blame"

  68. The Bends – Radiohead (1995)

AKA, the album which set such a high bar that it could only properly be followed directly by two successive decade-defining albums in a row, The Bends marks the beginning of Radiohead's streak of masterpieces. At the time, some had dismissed them as a one-hit wonder, known primarily for their break-out single "Creep". The Bends put any of those naysayers' theories to rest for good. Thanks in part to fantastic memorable music videos for "Just", "Fake Plastic Trees", and "Street Spirit (Fade Out)", the album heralded the rise of Britpop as a force with which to be reckoned in the alt-rock sphere. There's a reason why some of Radiohead's fans were alienated by their total change of pace during the release of Kid A—because the band's material circa The Bends is just so fucking good.

Prime cuts: "Just", "Street Spirit (Fade Out)"

  67. Lunatic Soul – Lunatic Soul (2008)

"Lunatic Soul" was the first I'd ever heard of Mariusz Duda. The song was included on a sampler disc of artists on the Kscope label, which I received as a free bonus along with my copy of Porcupine Tree's The Sky Moves Sideways (more about that album to come later on in the list). At the time, I was a senior at art school, finishing up a degree in Fine Arts. While working in the studio one day, I got curious and popped the disc into my Discman to see if I could paint to it. I was so struck by that song in particular, that I decided to buy the album, and did some more research into Riverside's back catalog of music as well. As mentioned earlier, Lunatic Soul is like the yin to Riverside's yang. The first album is a concept album revolving around the journey of a dead soul drifting through the afterlife. As such, the album is equal parts dark, eerie, ambient, and mournful, with touches of east Asian aesthetics blended in for good measure. Truly, though, the pinnacle of the album is the epic "The Final Truth", which sees the protagonist encountering the ethereal ferryman and being forced to make a fateful decision; the song begins as little more than a funeral dirge underpinned by a drum loop, before gradually reaching a tremendous dramatic climax.

Prime cuts: "Lunatic Soul", "The Final Truth"

  66. Graceland – Paul Simon (1986)

My appreciation of Graceland is largely inherited. Along with Queen, the Police, the Eagles, and Emerson Lake and Palmer, it was among the albums I grew up hearing a lot due to my parents' musical tastes. There really is something special about it. The entire album is an exercise in branching out into territory which was largely unexplored by popular musicians of the 1980s—New Orleans zydeco, Tex-Mex rock, and of course, the African isicathamiya represented here by the appearance of Ladysmith Black Mambazo. At the time of its release, of course, Graceland was a controversial album for flying in the face of the recording industry's boycott of South Africa because of apartheid. Growing up listening to it, though, I didn't have any of that context. All I knew was that it sounded different than anything I'd ever heard before. Over 30 years on, I can still say that about the album.

Prime cuts: "You Can Call Me Al", "Diamonds on the Soles of Her Shoes"

  65. Year Zero – Nine Inch Nails (2007)

Year Zero is a transitional album for me. I bought it during my third and final year of college in Florida, before dropping out to continue my studies in Canada. I have memories of that album from both places. It is perhaps Trent Reznor's most overtly political statement—a concept album about a dystopian future America where conservative government has devolved into moralistic neo-fascism (a premise that gets more and more tangible every day now, sadly). In a way, I suppose it was a fitting soundtrack to my exodus from Bush's America. Too bad we still haven't learned our lessons from then.

Prime cuts: "Survivalism", "Me, I'm Not"

  64. Fully Completely – The Tragically Hip (1992)

Like the previously mentioned Finger Eleven album Tip, this is another album which is inextricably linked with my experience of Canada. I lived there for six years, so it's inevitable that some Canadiana would have seeped into my soul by osmosis. Like Tim Hortons and reruns of Corner Gas and The Red Green Show, this is another piece of culture from north of the border that will always take me back to my mid-twenties.

Prime cuts: "Courage (For Hugh Maclennan)", "Looking for a Place to Happen"

  63. Wolfgang Amadeus Phoenix – Phoenix (2009)

The bombs on the cover art are quite appropriate—this was the album that dropped and blew up Phoenix into a mainstream act. Attracted by the single "1901" (which had found its way to being featured in an oft-repeated car commercial), I decided to give it a listen, and I loved what I heard. While not quite as hard-rocking as is my usual taste, it sounded fresh and vibrant and full of youthful vigor. A peppy mix of indie rock and synthpop, the album provided a breath of fresh air and organic listening fare that was on the easier side for me, without being sickeningly saccharine or processed.

Prime cuts: "1901", "Lisztomania"

  62. The Wall – Pink Floyd (1979)

The Wall, I find, is something of a mirror. That is where I find it contains most of its potency. My own circumstances may be quite different, but the psychological struggle of Pink is one that certainly strikes a nerve with me. I was introduced to this album in high school, where the one-two punch of "The Happiest Days of Our Lives" and "Another Brick in the Wall (Part 2)" often echoed my own discontented sentiments about being trapped in a demoralizing educational environment. Like Pink, my adult years have frequently led me to placing more bricks into my own wall to seal myself off from others. And indeed, I often find myself wondering, "Is there anybody out there?" Nearly 40 years after its release, The Wall still holds up, largely because it is such a relatable tale—on some level, at one point or another, I believe everyone can identify with the sheer, horrifying, abysmal loneliness faced by the album's protagonist.

Prime cuts: "Comfortably Numb", "Another Brick in the Wall (Part 2)"

  61. Achtung Baby – U2 (1991)

Okay, let me get this out of the way: I think The Joshua Tree is a great album. Don't get me wrong about that. I know exactly why it is as highly lauded as it is. It's got some timeless songs on it, and believe me, I have more than my fair share of memories attached to it, both good and bad. But, spoilers, everyone: Achtung Baby is the only U2 album that made this list, and the reason is very simple— it just appeals more closely to my sensibilities than The Joshua Tree. It is a much more electric record, certainly moodier in tone and heavier in subject matter. It's easier for me to relate to, especially when I feel lost (which is frequent). When you boil it all down, that's the big difference for me: While The Joshua Tree has certainly been present during some moments of revelation and heartache for me… the truth is, this album has actively played a part in getting me through some tough shit over the years, and challenged me to re-examine my life. It has earned its spot on my list.

Prime cuts: "The Fly", "Mysterious Ways"

Next time: Part 3 (#60 - 41)!

[profframeworks3-rebeccacallaghan]

Where is Photography now?

In relation to music photography a lot has changed in recent times especially with the development of camera phones and them producing better quality photographs. 

Before camera phones became a big thing the only cameras that were permitted in music venues were professional cameras and the only way you were able to use them was if you had a media pass. However now people have camera phones it is nearly impossible to stop people from taking images on their phones at music concerts, and I am guilty of this as well. I don’t think it’s meant to be anything negative, people want memories from happy times that they have experienced whilst at a gig, or want to show support for the bands that are playing. 

However, not all artists appreciate that people are viewing their performance through their phone. Multiple artists such as Prince, Beyonce and She & Him have requested that their fans put down their camera phones and enjoy the show that they have put on. 

Prince fans were surprised when they showed up for a performance in New York City when they were greeted with a sign stating that not only camera phone photography, but all photography in general was banned from the gig. 

The sign read “These rules will be strictly enforced and violators will be asked to access another experience.” According to the Gothamist, the owner of the photograph, phones were being taken from people’s hands when they were caught trying to record the performance, and they were ejected from the building if they didn’t comply. 

Aside from camera phones, why is it only professional photographers that are able to bring their DSLR camera? Why are members of the audience not allowed to partake in the picture taking? 

It could be down to a few reasons, one, because they may not know how to actually take a photograph that isn’t on auto settings, which would then make the flash go off and you’re not allowed to use flash photography in most professional music venues (such as Manchester Academy). Flash photography can seriously ruin an artists performance and make their show obsolete, as a lot of effort goes into programming light shows and making sure that the smoke machines are suitable for each performer and flash photography can ruin that, although this wont stop people using the flash on their phone. 

Another reason why only professional photographers are allowed to take cameras in is for the sake of the person and their belongings. If a person who didn’t have a press pass and was taking photographs from the crowd they could end up getting themselves hurt and could possibly end up damaging their equipment.  So it really could be for the sake of the individual, as professional photographers who are going and have a press pass usually have access to the photographers pit, which is separate from the rest of the crowd, right in front of the barrier, which limits the amount of damage that could be done to the photographer and their equipment. 

The quality of music photography has got a lot better in recent times due to the increasing quality of cameras and lenses which has lead to better quality images of the artists, which not all artists like, as when they perform they begin to sweat and fatigue and not look their best.

As I have previously mentioned at venues such as Manchester Academy, they operate the 3 song rule, in which press photographers are only allowed to take photographs in the first 3 songs of the artists’ set. There reason for as to why this began happening is apparently due to the artist Sting. When Sting saw photographs of himself from a gig he noticed that at the start of his set looked great as he was fresh and looked how he wanted to look, but as the gig progressed, he got sweatier and tired which gave him an undesired look giving a less-than-ideal picture of himself, and so he decided to let people only take photographs during the first 3 songs of his set and it caught on with other artists. 

In terms of displaying music photography in the past they have always usually been displayed in magazines, however, in the age of social media and technology quite a few magazines are becoming obsolete with the introduction of online music magazines and photographers sharing their work on social media. 

In recent times, the magazine ‘Team Rock’ went into administration right before Christmas which lead to more than 70 people losing their jobs. The publisher Team Rock  owned other magazines such as Classic Rock, Metal Hammer and Prog which is quite worrying that these magazines may also go into administration. As someone wanting to go into the music magazine business I am quite worried that the threat of social media and online news will make music magazines obsolete and I would be unable to get a job working for a music magazine. However, an upside is that whilst a physical copy of magazines may not be being released there will be online alternatives, which would involve people still having to work for the online magazine, which means that I could still get a job working for a magazine. 

For photography in general, there is an issue in recent times to do with censorship and how artists are being censored in what they are creating. In an online article on the British Journal for Photography (2014) artist Newsha Tavakolian, recipient of 2014′s Carmignac Gestion Photojournalism Award, returns her €50,000 grant and stated her “artistic freedom” was compromised. Her report on young people in her home country, showing how many are caught between an increasingly modern society and the religious and cultural traditions of old, won her the prize.

However the statement she release telling us why she had returned the award is as follows:

“My acceptance of the terms of the award from the Carmignac Gestion Foundation was based on the understanding that I would have full artistic freedom as a photographer to create a work that is faithful to my vision as an established photojournalist and art photographer. Unfortunately, however, from the moment I delivered the work, Mr Carmignac insisted on personally editing my photographs as well as altering the accompanying texts to the photographs.”

I find it quite disturbing that in today’s society people are still trying to change other people’s art, I understand that owner would want the award to be awarded to someone’s work who was suitable, however if he didn’t think that Tavakolian’s work was suitable then she shouldn’t have won, instead of him trying to change parts of the work. Tavakolian has the right to produce whatever work she likes and it is not up to the owner of the foundation to try and change aspects of her work, as that is just telling the artist that he knows best when it comes to the work. 

[icarus-suraki]

It’s a good sign when you go out for a last-minute errand and “Karn Evil 9 (First Impression, part 2)” is on the radio.

[icarus-suraki]

I literally started watching Jojo’s Bizarre Adventure because I like Yes and I especially like the Fragile album.

There. I said it.

[icarus-suraki]

It sounds like there’s a Phish concert going on somewhere in my apartment complex or maybe one of the bars nearby. There’s just a jam band playing like mad somewhere out in the dark.

[icarus-suraki]

I unironically enjoy Prog Rock. Surprising exactly no one.