Theo Verstrael of The Dutch Progressive Rock Page has given us a fair review of the latest album. As usual, we are amongst good company, with all the other recent releases reviewed this week.
You can read the review here:
Alas, they don’t really like the cover, but generally it is a good review and I appreciate the thoroughness of Theo’s research and informed evaluation of our offering.
A couple of comments on the review:
I don’t get the similarity between Paradigm Shift and Painting Abstracts, but perhaps I’m too close to the music. Theo’s entitled to his opinion. They are both have 7/8 riffs and have similar tempos but apart from that… I’m proud of both pieces.
He’s also not a fan of the Spoken Word verses in The God Program. I respect that. I did try other things early on but kept coming back to it. It’s pretty close to how I heard it in my head, originally, and I just have to plead my lack of ability to realize it in a way that resonates for everyone. I’ve used the growly, pitch-dropped vocal technique before, in the previous album. There’s some continuity in it, but hopefully it is not a “signature”! I don’t intend to use it again.
My brother and I aren’t actively writing together because we live in different parts of the world and have done so for many years. Long-distance collaboration is not something we’ve been able to do. There wasn’t a “falling out” or anything. There’s still music that we wrote together that may see the “light of day”, but I also have more ideas of my own. Hopefully album #3 will happen.
I’ve cross-graded the web site to use a WordPress framework, instead of the older and now neglected BlogEngine.NET. I’ve written about the process elsewhere, but I wanted to say that, despite a well-practiced and debugged process, I discovered a bunch of links were wrong. I think I’ve got them all sorted out now. Please let me know if you find a broken one.
Many years ago I was asked to prepare some background music for a student documentary on the WESTPAC Rescue Helicopter. One of the briefs, as I saw it, was to have music that could be chopped about and rearranged to suit the final editing. This is my excuse for choosing a theme and repeating it with variations. Unashamedly pulling equally from Ravel’s Bolero and, naturally, Emerson’s Abaddon’s Bolero on Trilogy. A lead guitar comes out for the finale, respecting Mike Oldfield circa 1978.
I was never super-happy with the draft version I turned in for the film production, which – perhaps just as well – was never completed. So as a breather after working on my second album, I decided to re-record this, using Hyperion Strings; Roland D550; XLN Addictive Drums; Roland VK8, and the Gibson L6S for authentic Oldfield.
If I’d thought of it, I would have included this track on the “Inevitable Bonus Disc”, which you can find at
I have this fantasy that Album #3 is a blank slate, with no material left over from previous sessions or unfinished projects.
In reality, I have lyrics and musical fragments that I’ve been working off-and-on over the last few years. I usually get my ideas while out cycling, and it is no trouble to pull over, whip out the iPhone and record the fragment into the Voice Memo app. Later, back in the studio, I transcribe the lyric into my notebook. Sometimes I’ll open my Scrapbook project and add another piano track with the melody.
That’s cool. On the plus side, these new songs will hopefully start out being actually sing-able in my comfortable range, as opposed to many projects in the past where the music came first and the melody second and was almost always not pitched comfortably for my voice. So that’s a good thing.
Outside of these lyric and melody fragments – some of which have expanded into pretty complete stand-alone song ideas – I still have a comprehensive library of musical ideas that date back to those Grey Lynn flat jam sessions in the 90’s, converted to mp3 from C60 tape cassette.
I still feel that this situation qualifies as a “blank slate”, as far as Album #3 is concerned. Every track is going to start with a new empty project, and not an existing one, worked on in years past and put on the back-burner due to lack of time, interest, energy, ideas, whatever.
Even “The God Program” from our current release was conceived back in 2003 and much of it laid down in 2007. (And consequently re-recorded, but that’s par for the course.)
So, I’m looking forward to never again having to sit back and listen to a newly recorded section of music, and say “dammit it just doesn’t have the magic of that older demo”.
…Yeah. That was nice while it lasted.
Back in 2002 I didn’t have any plans to resurrect “The Prodigal Sounds” as a music-releasing entity, and instead explored some other new music ideas with the tentative goal of putting it out under another band name. I had three longish instrumental thematically-related pieces recorded in “pretty complete demo” form, but only titles for the other three or four pieces.
I’ve related elsewhere the story of how I got back on track with Prodigal Sounds and the “Fruit of the Steel Tree”, and consequent to that, this other project was shelved.
Long story short, I think I’m going to incorporate the music from this old project into the songs of Album #3, or one of them anyway. The music seems to fit. It’s worth a try.
A better question, should it be an “album” at all? CDs are not selling much these days, it’s all about streaming and playlists and bullshit like that.
Personally, I prefer the idea of a curated collection of songs, rather than emitting the occasional single on some indeterminate schedule like a chunk of U-238.
So, yes, there will be an Album #3, unless I give up or expire before it is released.
And I do have a concept for it, although it is of a subtle nature. Tangential, even.
I have released “The Inevitable Bonus Disc” on BandCamp, today.
Thanks to Steve And Lou’s World Of Prog for featuring my track “Listen” on The Lost Art this Sunday. I appreciate it!
Here’s the Overture to “The God Program”, featuring the excellent Modartt Pianoteq in two roles: Piano and Marimba.