For what it’s worth, I’ve been traveling since last Wednesday. I went from Michigan to Colorado, Colorado to Kansas, and now, I’m enroute back to Michigan. My soundtrack has been prog, prog, and then a bit more prog.
Version 1.0.0
A few days ago, the mighty Tad Wert and I reviewed Steven Wilson’s new album, The Overview. Though we questioned a few things about Wilson, we loved the album. During his review, however, Tad brought up the majesty of the universe as described in the Psalms.
Today, this was posted on Facebook: “An interesting review of Steven Wilson’s latest album, which I’ve added here as Andie/The Tangent get name-checked. Quite an enjoyable read, despite the reviewer’s annoying habit of adding somewhat superfluous (and potentially divisive) references to The Goat Herder’s Guide to the Galaxy.”
Being in the car for hours on end, I turned this comment over in my mind. Now, it’s worth noting, our website (the one you’re currently reading) is named after the Catholic patron saint of music, St. Cecilia. Of the five main editors of Spirit of Cecilia, three are practicing Catholics, one is a Methodist who leans toward Eastern Orthodoxy, and one is a skeptic. Frankly, I’m amazed at how restrained we are when it comes to the issue of religion.
Still, after reading the Facebook comment today, I had to ask: can a Progger be a Christian? For some, the immediate answer is to turn to Neal Morse or Glass Hammer. But, frankly, both artists are so open about their faith that each might appear to be the exception that proves the rule.
So, for the sake of a good argument, I offer all praise to Morse and to Glass Hammer, but I’m going to leave them out of the discussion.
Then, I gave it a bit more thought, and I realized that the Christian religion is deeply embedded in much (certainly not all) of the progressive rock tradition. So, I chose my songs from several different eras of prog.
Yes, Close to the Edge:
“My eyes convinced, eclipsed with the younger moon attained with love It changed as almost strained amidst clear manna from above I crucified my hate and held the word within my hand There’s you, the time, the logic, or the reasons we don’t understand”
Clearly referencing the Gospel of St. John.
Genesis, Supper’s Ready:
“There’s an angel standing in the sun And he’s crying with a loud voice “This is the supper of the mighty one” Lord of Lords, King of Kings Has returned to lead his children home To take them to the new Jerusalem”
Clearly referencing St. John’s Revelation.
Talk Talk, New Grass:
“Lifted up Reflective in returning love, you sing Errant days filled me Fed me illusion’s gate in temperate stream Welled up within me A hunger uncurbed by nature’s calling Seven sacraments to song Versеd in Christ, should strength desert me They’ll come, they come”
Again, a clear reference to the New Testament and, specifically, a liturgical understanding of Christianity.
Roine Stolt, Humanizzimo
“With the blood of Jesus on the nail We turn the balance on a scale In pain and fearless suffering Lies a message from the King of Kings”
Again, a clear reference to the passion of Christ.
“Lying ahull Ride out this storm Doused all the sails I let the boat drift
And so upon this tumbling sea Fathoms below Heavens above me
I’m setting sail for Les Marquises From cradle bound for Calvary”
I could be wrong, but this very much reminds me of Jesus calming the waters.
Every one of these songs requires some biblical literacy. Were Yes, Genesis, Talk Talk, Roine Stolt, Andy Tillison, and Big Big Train divisive? Without a doubt. Was Tad being divisive? I certainly doubt that was his intention.
So, back to the main question. Can a progger be a Christian? It seems so.
Greetings, music lovers and readers of Spirit of Cecilia! 2024 is fast coming to a close, and the SoC crew would like to share their favorite albums of the year. There was a lot of great new music, terrific deluxe reissues, and releases from old favorites. Hopefully, our lists will lead to some albums you will love as well.
Brad: Tad, thanks for starting us off and inviting everyone to participate. Always great to write with you! I’ll just start with an alphabetical listing of my favorite releases of 2024:
“Dogs” by Pink Floyd, as done by Tim Bowness and Giancarlo Erra
Airbag, The Century of the Self
BBT, Flare on the Lens
BBT, The Likes of Us
Bruce Soord, Caught in the Hum
David Gilmour, Luck and Strange
Frost*, Life in the Wires
IZZ, Collapse the Wave
Tears for Fears, Songs for a Nervous Planet
The Bardic Depths, What We Really Like in Stories
The Cure, Songs of a Lost World
The Pineapple Thief, It Leads to This
The Pineapple Thief, Last to Run EP
The Tangent, To Follow Polaris
Tim Bowness, Powder Dry
And, I’m not even including vital re-releases such as the deluxe edition of Synchronicity by the Police; Fear of a Blank Planet by Porcupine Tree; Spectrum ‘97 by Phish; Lament by Ultravox; Bursting Out by Jethro Tull; or This Strange Engine by Marillion.
If I go just by my playlist numbers, I’d have to list “Dogs”, Frost*, IZZ, and, especially, The Cure. In fact, since The Cure first arrived, I’ve listened to almost nothing else. But, I went through such phases with Frost* and IZZ, too. And, really, I can’t recommend the single of “Dogs” highly enough. Bowness and Erra give it just the right beauty and creepiness that a proper Pink Floyd remake so desperately needs.
I must admit, though, I’m totally against the lyrical content of “Dogs.” I can’t believe our entrepreneurs are so bloodthirsty as this. Like or despise Elon Musk, for example, as you will, but he’s not bloodthirsty. In fact, if anything, I think he’d hate to “be dragged down by the stone.” And, he would hate to drag anyone else down by the stone. He definitely wants to win, but he wants to win fairly, by the rules established by society (unless all of society is corrupt, but let’s hope that Pink Floyd isn’t so Marxian as this). Maybe I’m wrong, however. Perhaps, I’m deaf, dumb, and blind, and that I keep pretending. . . Is this how Roger Waters saw his friendship/adversarial relationship with David Gilmour? If so, so very sad. For my money, give me Phish’s “Bouncing Around the Room” as the touchstone song dealing with entrepreneurship.
To be certain, though, I’m also a bit biased on the whole The Bardic Depths release. Given that I wrote the lyrics for it, I’m quite taken with it. Dave Bandanna did an amazing job in composing the music. So brilliant, so beautiful, so mystical, so joyful. Dave brings every song to life, and I’m always stunned to hear my own words given form and made manifest.
And, then, what’s not to love about the new David Gilmour? In fact, when he sings with his daughter, Romany, I’m completely taken. So much better than Dogs, co-written with Roger Waters.. Especially if you listen to something as glorious as “Between Two Points.” I would give anything to have such a relationship with my daughter that I could write something so gorgeous with her. Romany over Roger any day.
And, seriously, this brings me to all the incredible re-releases of 2024. Oh, to be “Prince Caspian” and float upon the waves. Oh, to be Prince Caspian. Dang, Phish was simply brilliant when they were.
I also want to single out Airbag. I don’t know their politics, but it strikes me that with this release, especially, they’re trying to combat conformism and cancel culture. I could be wrong, but I’m willing to take a chance that this is a brilliant counter-cultural masterpiece. One that shakes the conformists of the world to their very foundations. And, who wouldn’t love that bass playing and interplay with the drums? Genius. Thank God for the non-conformists of the world. Airbag sounds like Pink Floyd, in terms of legacy, but they are completely their own band.
If Airbag sounds anti-political, Robert Smith on the new Cure album, sounds confessional. Bless me, Father, I, Robert Smith, have sinned, and something wicked this way comes. Truly, the latest The Cure album is a masterpiece, a true sequel to Pornography and Disintegration. My love and respect for Smith only grows with age.
If Airbag is countering the world and Smith is confessing for us all, then IZZ is proclaiming the inherent goodness of each one of us. I’m not sure what the lyrics are all about on Collapse the Wave, but I feel that John Galgano and Laura Meade are asking us to look at our best selves. Rather than be dour, they find wonder. As far as I can tell, IZZ has been reading a lot of T.S. Eliot and a lot of John Paul II.
Tad: What a great list, Brad! Yours and mine overlap quite a bit, since we are often of like mind when it comes to music. Here is mine, based on how often I listened to each album:
8. Kyros – Mannequin
7. IZZ – Collapse the Wave
6. Jeff Johnson/Phil Keaggy – Spinning On a Cosmic Dime
5. Tears For Fears – Songs For a Nervous Planet
4. Airbag – The Century of the Self
3. Bardic Depths – What We Really Like In Stories
2. The Cure – Songs of a Lost World
1. Frost* – Life In the Wires
I’ve been a fan of Kyros’ music for several years now. They wed 80s sensibilities to 2020s expertise. Mannequin is another great collection of pop/prog.
Like you, I admire IZZ enormously. As far as I can tell, the lyrics to the title track are about quantum physics and faith. Who else but the Galgano brothers could pull off such an ambitious song? They definitely succeed.
Jeff Johnson and Phil Keaggy have collaborated several times before, and Spinning On a Cosmic Dime is the most lighthearted and fun of their albums. Johnson is a master of all keyboards – acoustic and electronic, while Keaggy is one of the finest guitarists alive today. When they get together, magic happens.
The Tears For Fears is primarily a live album, but the five new studio tracks are some of the best songs they’ve ever recorded.
You’ve already said everything I could want to say about the Airbag album. They continue to impress me with their social commentary, and their instrumental chops are outstanding. Their previous album, A Day At the Beach, is still my favorite, but The Century of Self is really, really satisfying.
The Bardic Depths’ new one is also a great album. Listening to it is like having a beer with C.S. Lewis, Tolkien, and the other Inklings. To my ears, it’s the most musically ambitious set of songs from TBD, and I have thoroughly enjoyed listening to it throughout 2024.
The Cure’s album came out of nowhere as far as I was concerned, and I approached it with some trepidation – there’s nothing worse than an old favorite trying to recapture the spark and failing miserably. Robert Smith et al. came up with a fantastic album that easily holds its own with their previous best. Amazing!
Frost*’s Life In the Wires is far and away the most-played album of 2024 for me. I have yet to tire of it, and every time I listen to it I find some new and delightful detail. Jem Godfrey sings all of the vocals on this one, and he is terrific. The beautiful melodies pouring out of my speakers are such a bountiful feast for my ears. The story is fascinating as well – a young man rebels against a world run by AI when he hears a pirate radio broadcast. After tracking it down to its source, it turns out to be an automated program. But then things get weird – he seems to sacrifice himself to become the new source of the radio broadcasts and spark an awakening of humanity. At least that’s how I read it.
So that’s what I spent my time listening to this past year. I also loved the Ultravox Lament box set and the Talk box set by Yes. It’s nice to have this often overlooked album get the treatment it deserves.
Brad: Yes, Tad, thanks for the reminder about Yes’s 30th anniversary edition of Talk. The last of the Trevor Rabin-Yes era albums, it’s simply beautiful. Clearly, the band was going for a progressive AOR sound at the time, but the production is so very clean. I love the packaging as well for it. Not overblown, but a solid release in terms of presentation. Don’t get me wrong, I love big box sets like Lament by Ultravox, but sometimes the smaller packaging works just as well. For me, Marillion’s and Jethro Tull’s releases–in terms of packaging–hit the sweet spot. Basically small books that fit perfectly on a book shelf.
Thanks, too, for the story about the new Frost*. I’ve listened to it numerous times, but I’d not figured out the lyrics. What a great story! Now, I’ll listen to it with different ears.
I’m so glad we agree on The Cure, on Airbag, and on Frost*. Three essentials of the year.
As it turns out, The Cure also released their brand new album as a live release–Songs from a Live World–as well. Gorgeous. Seriously, what else can Robert Smith do? He simply captures the mood of every era in which he finds himself. And, I, for one, am so fortunate to be alive when Robert Smith is alive.
I would also note that 2024 is an important anniversary date. Kevin McCormick’s gorgeous Squall came out in 1999, a mere 25 years ago! Even the rather snobbish All-Music recognized the brilliance of Squall. As far as I understand it, McCormick is working on a follow-up CD.
It’s also the ten-year anniversary of the genius Scorch by the Tin Spirits. A favorite album. Also, ten years ago, appeared the brilliant Demon by Gazpacho and Anathema’s mediocre to good Distant Satellites.
But, Holy Moses, it’s not just about Tin Spirits. If we go back to the twentieth anniversary of releases, 2004, we get to The Pineapple Thief, Variations on a Dream; Glass Hammer’s Shadowlands; Proto-Kaw, Before Came After; The Tangent, The World We Drive Through; Ayreon, The Human Equation; and Marillion, Marbles. Sheesh, what else do you want?
Carl: Full and necessary confession: 2024 turned out to be year in which I listened to little new prog rock, or rock of any kind. Not for any lack of new and worthy rock music, but 2024 also turned out to be the year in which I fell quite a ways down The Vinyl Rabbit Hole. I’ll likely say more about that in a separate post on my favorite jazz of 2024, but suffice to say that I’ve been haunting various thrift and record stores.
My most listened album of the year was released 30 years ago: Seal’s second album (1994), titled, inconveniently enough, Seal—just like his 1991 debut. A deluxe edition was released, with a remastered version of the album (fantastic), as well as alternative versions of the songs (also wonderful). I listened to this album countless times when it first came out, and I have never tired of it (or of his first or third, titled Human Being). Why has it resonated so strongly with me? I’m not entirely sure, but for me it is a perfect pop/rock album, and it sits squarely in the middle of a trio of albums that I continue to think is one of the finest three-in-a-row rock/pop album families you’ll ever hear.
I enjoyed the new albums by Frost* and Pineapple Thief and if I listened more closely, I’m confident that I would really like them. Both bands have consistently produced accessible, intelligent prog rock of the highest order, so I plan to revisit them in the weeks to come.
Caligula’s Horse’s Charcoal Grace is mysteriously but aptly titled, as the music has a dusky, burnt quality that also shines with many moments of delicate beauty. This Aussie band has been a longtime favorite, and this album adds to a discography rich with ridiculous chops and vocals at the service of exquisitely crafted songs. A keeper.
Keep Me Fed by The Warning, the talented sister trio out of Mexico, is (as they say) a banger. Or a series of bangers, the sort of swaggering, catchy hard rock—with sublime harmonies—that has been sorely missed in recent years. For my money, I prefer their live versions a bit more; they are dynamic performers whose young ages (20 to 25) defy (even bely) the band’s evident maturity and exuberant zest.
Speaking of all female bands, a somewhat guilty pleasure this year has been watching videos of the mind-melting Japanese metal band Lovebites. They have been compared to Iron Maiden and similar metal bands, which makes it all the more strange as I have never cared that particular genre. All five of these ladies are virtuosos, and Miyako Watanabe, one of the two guitarists, was a classical pianist until her late teens, when she picked up electric guitar for the first time. The live album Memorial For The Warrior Souls (2024) and the studio album Judgment Day (2023) are unrelentingly fast, in-your-face, melodic, and—yes—tremendous fun. Check them out live on YouTube and prepare to be amazed.
Myles Kennedy might just be the hardest working and (by all accounts) nicest rocker out there today, and his third solo album The Art of Letting Go is classic Kennedy—powerful, assured, dynamic, moving—with some nice little twists. His is one of the finest rock voices of the past couple of decades, but his guitar playing and song writing are just as polished, varied, and inviting.
The Smile is like Radiohead if it didn’t have all of its members–and if it released albums more quickly. Which is what it is, with Thom Yorke (vocals, guitar, bass, keys) and Jonny Greenwood (guitar, bass, keys) joined by Tom Skinner (drums). Wall of Eyes (released in January) and Cutouts (same session, released in October) are quirky, dark, strangely fun, often weird, always melodic, and never, ever boring. Yorke’s voice is timeless and Greenwood’s playing, which is always so distinctive, is a revelation. And this album comes across to me as even more jazz influenced than their debut—but never in a direct, obvious way. Great stuff!
One of my favorite country artists, Dwight Yoakam, is back with his first new album in almost a decade. Brighter Days finds the Bakersfield legend firing on all cylinders, apparently reenergized by marriage and a young son. Dwight sounds half his age (68) and his band, no surprise, is tight and razor sharp. Every cut is worth the price, with the deceptively simple “I Spell Love” getting a nod from this fan.
Speaking of artists aging well, Van Morrison continues his remarkable output, with three albums: Beyond Words, New Arrangements and Duets, and Live at Orangefield. The first is all instrumental and is enjoyable, with some unexpected quirks. The second is a solid collection, featuring collaborations with Kurk Elling, Joss Stone, and Willie Nelson, all to good effect. But the live album, recorded a few years ago, is a revelation, captures a mid-70s Morrison at the top of his powers, featuring (as usual) a crack band and some other-worldly backing vocals. It rewards repeated listens and is a notable testament to Morrison’s brilliance as both a singer and songwriter.
Brad: Carl, excellent choices. I, too, like The Smile, and I, too, (thanks to you) listened to a lot of Seal II as well! I also bought Trevor Horn’s memoir, but I have yet to read it.
Well, folks, this pretty much wraps up 2024 for us. We have a lot to look forward to in 2025. It looks like The Cure will be releasing more music, there’s a new and final season of Stranger Things, and we’ll be celebrating the 50th anniversary of The Lamb Lies Down on Broadway by Genesis. Not only is there a 50th anniversary edition of The Lamb coming out, but the brilliant Dave Kerzner has re-recorded the entire album and is offering it as a 3-cd set plus hi-res download for only $49.99, plus shipping.
Big Big Train will be touring the U.S, and IZZ will be performing some stripped down shows–maybe even in Hillsdale!
I’m sure we’ll continue to give our hard-earned money to The Burning Shed and Rita Kay Drew’s The Band Wagon USA. I highly recommend supporting both of these truly excellent business enterprises. Amazingly enough, each is competitive with Amazon, even with overseas shipping costs.
Tad, Carl, Kevin, Erik, and I wish you all a Merry Christmas (remember, we’re only on day three of twelve), a Happy Hanukkah (remember, we’re also only on day three!), and Happy New Year, everyone!
The Tangent (For One) launch “The Single,” next track taken from ‘To Follow Polaris’The Tangent recently announced the release of the new studio album ‘To Follow Polaris’ on May 10th, 2024. That’s not necessarily a surprise, that’s what the band are known for. But at the same time, it’s something else too. As Andy jokes, playing on the Jaws strapline, he says “well this time it’s actually no personnel”.Today, a brand new track aptly titled ‘The Single’ has been released, and you can watch the video here: https://youtu.be/mwdbLOerLH4Andy comments of the track: “’The Single’ was originally recorded by my previous band Po90 some 25 years ago now, on an album called ‘The Time Capsule’. In the spirit of that time capsule, I opened it a quarter of a century later and recorded this updated version of it with new lyrics added to the older version. The old Po90 version was the track that in a way defined what the Tangent would be and giving it the Tangent treatment was a great pleasure. It’s a song about the documenting of history and the new ways this is going to happen, both good and bad…”
In a year when members of The Tangent could be seen onstage all over the world with Steve Hackett, Soft Machine, Karnataka, David Cross, It Bites, Cyan and others, plus on recordings by those artists and The Anchoret, The Michael Dunn Project, Argos and Retreat From Moscow, it became clear that there was not going to be time to get together for anything more than one gig in April 2023.
So the band agreed that the band’s leader/main writer Andy Tillison would keep the material coming and would make an album by The Tangent entirely alone. It would still be The Tangent. Just for one. “Besides Which” Andy says, “I’ve always wanted to do this, use what I have learned from Luke, Jonas, Steve, Theo and many other alumni and take it to final production. Now was the time!”
What transpired over the following year is in one sense an “absolutist” solo album and is entirely the work of one person in all aspects including artwork, layout, design, lyrics, composition, performance, recording, production, mixing, mastering and authoring. But in another sense it’s totally Tangent. “I could not have begun to make this record without having had the experiences of working with the band. So although the different instruments are not attempted to be played in the actual style of the normal lineup, they are inspired by the kind of things these guys do”
‘To Follow Polaris’ will be available as a Limited Deluxe Collector’s Edition CD Mediabook (including bonus track and extensive 24-page booklet, Gatefold 180g 2LP vinyl (also including bonus track), & as Digital Album. Pre-order now here: https://thetangent.lnk.to/ToFollowPolaris1.The North Sky 11:36 2.A ‘Like’ In The Darkness 08:19 3.The Fine Line 08:04 4.The Anachronism 21:01 5.The Single (From A Re-Opened Time Capsule) 05:51 6.The North Sky (Radio Edit) 03:42 7.Tea At Bettys (Bonus Track) 17:32Produced between January and November 2023, the album features Andy using his multiple keyboards system as normal, but adds to the mix his first ever released performance on Bass Guitar and his second on stick driven (electronic) drums. Add electric and acoustic guitars and electronic wind controller and this is a full band recording in every sense of the word. A recording which shows Andy’s lifelong influence by artists such as Yes, Van Der Graaf Generator, Porcupine Tree, Groove Armada, Earth Wind & Fire, Roger Waters and his bands, Return To Forever, Deep Purple, Gentle Giant, Steely Dan and any band featuring the keyboard player Dave Stewart.Conceptually Andy claims the album is, ahem, “highly optimistic” but regular listeners to his work will anticipate correctly that this optimism will not be ill founded or over-easy and will be highly critical of obstacles to that optimism and the album will look as much into the dark as it does into the light.The album is intended to be thought of as a regular Tangent album – but not as the future of the band. It’s everyone’s intention to make the FOURTEENTH album as The Tangent. For Five.The Tangent online: www.thetangent.org https://www.facebook.com/groups/alltangentmembers/INSIDEOUT MUSIC online: www.insideoutmusic.com www.youtube.com/InsideOutMusicTV www.facebook.com/InsideOutMusic www.twitter.com/InsideOutUSA www.insideoutmusicshop.comINSIDEOUTMUSIC Spotify Playlist: http://spotify.com/progrockessentials
A special (MEGA!) progcast, featuring Tad Wert, Kevin McCormick, Dave Bandana, and Brad Birzer. Nearly 3 1/2 hours long, we play Tin Spirits, SAND, NAO, Oak, Nosound, No-man, Memories of Machines, Sanguine Hum, The Tangent, Big Big Train, The Flower Kings, and The Bardic Depths. All of the music was chosen to impress Kevin, and we find out his reactions to it all. Additional bonus feature: Dave talks a lot about the making of the most recent The Bardic Depths album, Promises of Hope.
Hello everyone, welcome to the Spirit of Cecilia Progcast #2. Tad Wert and I host, and we’re thrilled to feature music by The Flower Kings, IZZ, Lifesigns, Tin Spirits, Kevin McCormick, The Tangent, Nosound, NAO, and Airbag. Enjoy!
First and most importantly we would like to wish you a happy and healthy 2022, we hope that you are safe and well and we send our love and good wishes to all of you wherever you may be.
We are absolutely delighted to announce that the 12th album from The Tangent “Songs From The Hard Shoulder” is now available for “special” pre- pre-ordering and is due for release on InsideOut in June 2022
This newsletter is being sent to fans of the band who have ordered Tangent albums directly from the band’s website previously or added their details to our mailing list.
There are 2 important things to note
1) Regular pre-ordering will be available nearer to the release date. 2) All Pre-orders made from fans in mainland Europe will be posted FROM WITHIN mainland Europe.
You can find out more about the album and different options for pre-ordering here at www.thetangent.org
There is plenty of information over on the website but Andy wanted to add a message especially for fans who are subscribed to this mailing list:
“We are so happy to be bringing you our twelfth album, now in our 20th year! Keyboards, Drums, Saxophones, Flute and vocals recorded by Steve, Theo and myself here at my studio in Yorkshire, Guitars recorded at Luke’s studio in Trowbridge UK and bass recorded in Jonas’ studio near Vienna in Austria. As usual it’s been a great ride and we look forward enormously to you hearing this very human feeling recording which is among our most emotional and heartfelt pieces yet. The album is involved and deep, and highly “composed” with three pieces over the 15 minute mark – one of which is an instrumental. We tie it all off with the bounciest of retro pop songs – and all copies pre-ordered will be the “special edition” which features a short bonus track which is our third cover version in our 20 year history. And it’s a prog classic.”
You can listen here to just over 5 minutes of an EARLY preview of tracks in progress for the new album. Rough mixes only with incomplete instrumentation here:
Those of you who buy the “Mega Fan” and “Pay the wages” pre-ordering packages will be given access to a drop box link which already contains substantially updated versions of some of the music and Andy would like those who have already pre-ordered to know that there is a new update to the drop box coming very soon so keep checking!
If you haven’t already, please consider joining The Tangent Facebook group
We are aware that many don’t enjoy the various social media sites but for bands, particularly during these socially distanced times, it is the easiest way to connect with fans, for musicians and fans to connect with each other and to enable people to help spread the word about their favourite music – We have a very friendly and active (but not annoyingly so) Facebook group for The Tangent and everyone is very welcome, Andy is around regularly to answer questions and join in general banter and from time to time the rest of the band pop in to add comments or answer particular questions. Facebook is generally the first place where you will get to hear about new music, get to be the first to check out links to new stuff and even get involved in/make suggestions for new ideas and plans for future Tangent and Andy related musical projects…he really does take people’s ideas on board. So, please don’t be shy we’d love to hear from you all! https://www.facebook.com/groups/alltangentmembers
(PS We never add anyone to our Facebook group unless they request membership themselves, please do not add friends without their permission thank you).
Bandcamp
Don’t forget that apart from the web site Andy has his own Bandcamp page – The Tangent albums are on InsideOut/Sony music so not available on Band Camp but people who like Andy Tillison’s solo ambient electronica and Multiplex projects and his previous bands PO90 and GFDD might like to check out his band camp page… there are also a couple of Tangent fan releases and a live album or two that collectors and completists might be interested in….
Please support your favourite artists by buying from Bandcamp particularly on the first Friday of every month “Bandcamp Friday” when all fees and commission are waived. Bandcamp is one of the best platforms for buying music if you want to be sure of your hard earned cash going to the artist.
And finally thank you!
A huge thank you to everyone who purchased albums from The Tangent, Andy Tillison solo albums such as the new Kalman Filter album “Moons of Neptune” (we have very few copies left so be quick if you want one) and in particular the brand new Tillison Reingold Tiranti (TRT) Italian Prog album “Allium Una Storia”, the response was absolutely fantastic and so delighted were the guys with the enthusiasm from fans and fantastic media reviews that plans are in place for a second album, keep checking the website for updates and we will write again soon!
Thank you all as always for your loyal support of The Tangent and all its subsidiaries in whatever form that might take. We realise that the last couple of years have been hard on many of you and so even if you aren’t able to buy a special pre-order, or any pre-order at all, just knowing that you are out there, telling friends about the band or sending us messages of support, posting questions or reviews on the Facebook group, commenting on forum threads, joining in discussions etc. etc. really does make a huge difference to the band’s visibility and reach online.
Every little bit of action you take to give your support, in whatever way you are able, gives the band members a huge confidence boost which in turn feeds into their ability to create, write and play at the top of their game. Every little positive action counts and makes YOU a part of the music and a reason to keep making the records.
This is the first of our Spirit of Cecilia Radio Progcasts, episode one–featuring music by Big Big Train, The Flower Kings, Galahad, IZZ, The Bardic Depths, Kevin McCormick, NAO, No-man, Wobbler, and The Tangent. All songs used by kind permission of the artists/labels.
And, with the fiery and enthusiastic commentary of Dave Bandana, Brad Birzer, and Tad Wert.
Among our topics: how much we miss David Longdon (RIP); if the Flower Kings are diverse in their musical offerings; if disco can be prog; just what the number 42 is about; if The Tangent simply rocks; what kinds of instruments Wobbler uses; how McCormick, NAO, and No-man owe something to Mark Hollis of Talk Talk; and just how much we love prog.
In the not so distant past, I had the opportunity (and, perhaps, the gall) to label Andy Tillison the “G.K. Chesterton of progressive rock.” As I listen to the latest release by Tillison’s band, The Tangent, I can only nod in approval at my earlier assessment. He has always been a master of story, but, on Auto Reconnaissance, he reveals himself as a master of story telling. Light your pipe, sip from your pint, and pull yourself up next to the fire. Tillison has several tales to tell, and he does so in the best way, as a friend rather than a teacher.
Auto Reconnaissance begins with the discovery of radio—not just its function, but it’s essence—on “Life on Hold.” It’s a short piece, by The Tangent standards, but it offers the perfect introduction to an album that demonstrates the wonder of life.
The second track, the second longest on the album, “Jinxed in Jersey,” tells the story—quite convoluted at times—of Tillison’s journey to the Statue of Liberty. Naturally, the story can be understood at many different levels, the literal but also the symbolic. If, on track one, the boy Tillison discovered the workings of radio, on track two, the adult Tillison discovers the realities and complexities of America. The renaissance—or was that reconnaissance?—continues.
The third song, “Under Your Spell,” has a Tears for Fears feel, akin to “Working Hour” on Songs from the Big Chair. Melancholic in theme, the song is tasteful to the extreme.
“The Tower of Babel,” track four, is the shortest on the album, but it’s intense and unrelenting with its disco-esque beat. A clever look at the techno-babble of the modern world, as the song’s title indicates, Tillison wonders just how we manage to speak to one another with so many types of technologies (where is that simple radio of track one!?!?) and so much noise in our modern whirligig of a very human (and very flawed) world. “The system is human, too!”
At nearly one-half of an hour long, “Lie Back and Think of England,”—a jazzy, pastoral meditation—provides the brilliant backbone to the album. Where are those hills and those dales? On this track, especially, Tillison proves his title as the Chesterton of the prog world. The song’s structure harkens back to the first two albums of The Tangent, and it is a gorgeous harkening, filled with passionate solos and musical lingerings and wild segues.
The final track of the album, “The Midas Touch,” provides the proper conclusion to such a complex album, offering a jazz-fusion odyssey.
The previous two The Tangent albums were deeply (and, at times, distractingly) political, but this album is appreciatively cultural. Indeed, it is Tillison and the band at its absolute best. Heartfelt, clever, tasteful (yes, I know I’ve used this word already in this review) and, most of all, intelligent, Auto Reconnaissance is a true work of art, taken as a whole and even analyzed in parts. Tillison proves that he remains England’s red-headed mischievous genius.
I doubt if I’ll ever forget the first time I encountered The Tangent’s The Music That Died Aloneback in 2003. I came to them because of a notice that Roine Stolt was a part of it. At that point, I had not heard of Andy Tillison. From the moment I first encountered Tillison, though, I thought he was incapable of a misstep. If anything, I thought way too highly of him (that is, way too highly of any person. While I didn’t think he could walk on water, I had him rather close to being able to do so. Over the last fifteen years, I have explored every aspect of Tillison’s music—from The Tangent to his PO90 work to his various solo projects. I even had the privilege of spending several days with Andy and his beautiful and brilliant significant other, Sally.
But, back to The Music That Died Alone. That album, to this day, remains a masterpiece. The way that Tillison combined and fused the old and the new amazed me to no end, and it continues to do so. I can put that CD in the tray and enjoy it after God only knows how many listens. Each time I hear it, I hear something new and fresh. It would not be an exaggeration to state that it has been the soundtrack of my life over one and one half decades.
And, I have felt the same about several other The Tangent albums, but, in particular, Down and Out in Paris and London, Not as Good as the Book(I own two copies—one never opened, simply to protect the book that comes with it), and, most especially, Le Sacre du Travail. This last will always be an all-time favorite. If someone forced me to name my top albums of all time, it would certainly be in the top 10 and, very likely, the top 5. I know of no other rock artist—past or present—capable offering social criticism better than does Tillison. At his best, he is sublimely Chestertonian in his art.
This afternoon, my copy of Proxy, the most relent The Tangent album, arrived. Amen. I’d heard a promo copy, but this is the first time I’ve been able to listen to the album in all of its glory. And, it is rather glorious, especially musically.
The opening track, “Proxy,” tells a rather sordid tale of international diplomacy and manipulations in six parts.
The only way to describe track two, “The Melting Andalusian Skies,” is classy. The song sounds like something that could’ve been played in a nice nightclub, circa 1947. The war is over, and we, the listeners, want to find the good in what remains.
“A Case of Misplaced Optimism,” is really, really funky. This one might grow on me, but, at the moment, it somewhat eludes my understanding and my sympathy.
Another six-part song, “The Adulthood Lie,” is the highpoint of this album. Avoiding the political rants of the opening track to the album, “The Adulthood Lie” is Tillison at his socially critical best. Indeed, when it comes to writing lyrics about cultural problems and ideas, no one in the current world of music does better, as noted above.
The final proper track of the album is a re-write and re-release of the 2013 song, “Supper’s Off,” a criticism of those rock fans of the 1970s who became corporate bosses and lawyers. I’m curious to know why Tillison decided to remake this song. The version from 2013—much leaner than this one—was perfect as is. This 2018 version is certainly fine, but it lacks the raw energy of the original.
The final (bonus) track of the album is a excerpt from Tillison’s last solo album, recorded under the name of “Kalman Filter.” That album, Exo-Oceans, is excellent, but I’m not quite sure what it’s doing as a bonus here. A bit of marketing by an artist who hates marketing?
Tillison has become overly-political in his lyrics over the last two albums. On his last album, he claimed that those who believed in Brexit were Nazi-Hitler sympathizers. Not being British, I guess I don’t understand the issue well. In interviews, Tillison has described himself as an anarchist. I would presume that an anarchist would favor the breakup of large political entities such as the EU.
Maybe anarchism has a different meaning in England than it does here in the States?
Proxy, though, avoids the political rants of the previous album. Not surprisingly, as such, it’s much better. Let’s hope Tillison finds his way out of the political world and fully back into the world of art and social criticism.
The Tangent recently announced the release of the new studio album ‘To Follow Polaris’ on May 10th, 2024. That’s not necessarily a surprise, that’s what the band are known for. But at the same time, it’s something else too. As Andy jokes, playing on the Jaws strapline, he says “well this time it’s actually no personnel”.Today, a brand new track aptly titled ‘The Single’ has been released, and you can watch the video here: 
Produced between January and November 2023, the album features Andy using his multiple keyboards system as normal, but adds to the mix his first ever released performance on Bass Guitar and his second on stick driven (electronic) drums. Add electric and acoustic guitars and electronic wind controller and this is a full band recording in every sense of the word. A recording which shows Andy’s lifelong influence by artists such as Yes, Van Der Graaf Generator, Porcupine Tree, Groove Armada, Earth Wind & Fire, Roger Waters and his bands, Return To Forever, Deep Purple, Gentle Giant, Steely Dan and any band featuring the keyboard player Dave Stewart.Conceptually Andy claims the album is, ahem, “highly optimistic” but regular listeners to his work will anticipate correctly that this optimism will not be ill founded or over-easy and will be highly critical of obstacles to that optimism and the album will look as much into the dark as it does into the light.The album is intended to be thought of as a regular Tangent album – but not as the future of the band. It’s everyone’s intention to make the FOURTEENTH album as The Tangent. For Five.The Tangent online:
Spirit of Cecilia 
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