Prog metal legends Dream Theater have planned the writing for their new album, due out in 2019. According to singer James LaBrie, the band will get together this June and begin writing songs for their next full-length album. The album will be the follow-up to their last album 2016’s The Astonishing (Roadruner). Last year the band signed a new deal with InsideOut Music, a sub-label of Sony Music. LaBrie was a guest on the Lead Singer Syndrome podcast, which you can read quotes from and hear below. Continue reading →
Anneke van Giersbergen, long known for her work formerly with The Gathering, her impressive solo career, and work with both Devin Townsend and Aryeon, has a new rock/metal band dubbed VUUR. They have released the cover artwork and tracklisting for their forthcoming debut album, In This Moment We Are Free – Cities due out October 20th via InsideOut Music. You can hear the first track, ‘Days Go By – London’ below.Continue reading →
Much like a certain famous fellow Porcupine Tree member, guitarist John Wesley has had a busy schedule since that band’s hiatus; particularly with a prominent solo career (which of course also started during PT’s years). Unlike this certain counterpart however whom has veered far away from any sense of PT’s metallic elements, these have remained a core part of Wesley’s sound, additionally of course with prog and a broad range of styles to boot. Continue reading →
In Part 2 of our chat with Richard Williams of Kansas, we discussed the new make up of the band, and how it made the difference their new album The Prelude Implicit. We also discussed their relationship with their label, touring, and when and if the band plans to retire at some point.Continue reading →
Kansas is one of the greatest bands of all-time, and certainly the best progressive rock band to ever come out of America. The band is best known for their slew of radio friendly cuts from the 70s, but always had strong rock albums musically, and were top-tier musicians, especially live. They are back this month with their first new album in over a decade and half, The Prelude Implicit, from InsideOut Music. Longtime guitarist, and band leader Rich Williams chatted with Keith Chachkes of Ghost Cult to discuss changes in the group, their bright new future.Continue reading →
In part two of our chat with Devin Townsend, our conversation keyed in on the overall positive vibe of Devin Townsend Project’sTranscendence (InsideOut Music). Devin goes deep talking about the current cultural zeitgeist, and going against that grain with his band from what other bands are doing. He also talked about progressive music’s more prominent seat at the table these days.
Devin Townsend has earned a legion of fans over his many bands and solo projects over his twenty-five year plus career. He has as many releases as years in the business, and they are all manifestations of the energy that drive him creatively for a time. For nearly a decade he has poured his work into The Devin Townsend Project. Their new album Transcendence is out today from InsideOut Music, and marks yet another era in the life and work of “Hevy Devy”.
It’s hard to talk about Devin Townsend without mentioning the word “prolific”. At this stage it’s almost a cliché to state in regards to him, but it certainly rings true as we seemingly never have to wait too long for a new album or project from the prog maestro.Continue reading →
Despite their influence and their position in the roots of true, progressive metal as one of the prime creators, Fates Warning have arguably moved into more cult territories nowadays, especially compared to other progressive metal behemoths like Dream Theater who have become one of metal’s biggest entities. Perhaps in part due to the nature of FW’s releases in the last few years, which have proven inconsistent and certainly not to the quality of their early releases. Thankfully their latest album Theories Of Flight (InsideOut) sees them on the right track with their strongest album in recent years.
FW’s take on progressive metal of course takes on both anthemic and memorable hooks and passages with more complex and technical elements; and whereas before at times they may falter on one side or the other, on Theories… they manage to set the balance perfectly. Take the album opener “From The Rooftops” which starts unassuming before it opens up around the 2 minute mark; revealing a huge chorus and some sheer technicality. Even the 10 minute plus songs like “The Light And Shade Of Things”; despite their ever-changing nature, have instantly memorable and easily digestible passages throughout to grab you.
Fates Warning may sometimes feel like the forgotten fathers of progressive metal, especially when you consider just how far some of their peers have transcended, and in all fairness such peers have offered such timeless classics and works that Theories still doesn’t quite live up to. However what it does show is that FW are still a very worthwhile and creative force that are once again worthy of attention, and that after a number of years in the wilderness of creativity, Theories sees them return to their best.
If there is one thing that cannot be denied about Arjen Anthony Lucassen, it’s that he has a very bold vision when it comes to his music and it’s presentation. In Ayreon in particular, he shows intricacy and complexity like very few others when it comes to layering, narrative and bombast. Perhaps less mind-boggling than much of his career, The Human Equation (InsideOut) certainly made up with its operatic feel and storyline. So much so it finally lent itself to a live offering (albeit still without the near reclusive Lucassen), of which The Theater Equation (InsideOut) showcases.
Rather than just a usual offering of a band performing live, The Theater Equation offers the album in a way it was meant to be, as a full performance. Thus much of the original cast reprise their roles, including James Labrie as main protagonist Me; albeit with some exceptions such as Anneke Van Giersbergen replacing Mikael Akerfeldt. Thankfully such replacements are hardly downgrades and perfectly encapsulate the feel of their adoptive characters and roles with aplomb. Alongside the strength of its vocal cast, musically this strikes an impressive balance between studio album quality and consistency with the feel and energy of the live arena. Together these elements give such an immersive and emotional performance through a detailed story that delves into many elements of the human psyche and emotional range, as well as the original album does through its narrative.
With the original album’s sheer length it wasn’t for the faint hearted per se, and as follows the live version will similarly mostly suit those who are already fans of Ayreon, or at least in tune with the world of prog. With the changes in vocal personnel however and the strength of the performance and lore, The Theater Equation makes this more than just a collectible for the diehards, but a piece that many will find worth in, in what is still one of Lucassen’s more accessible works in such a rich and deep catalogue.
