Michael Gardiner for PROG4YOU Stephanie Sollow,for Progressive World A. Lee Graham for Electric Basement NEW!! Josh Turner for MUSIC STREET JOURNAL Gary Marshall for Fireworks magazine From the "Tombstone" website Jordi Costa and Manolo Pizarro for Progvisions Mark Hughes for Dutch Progressive Rock Pages Tom De Val for Dutch Progressive Rock Pages Bart Jan Van Der Vorst for Dutch Progressive Rock pages Jem Jedrzejewski for the Hairless Heart Herald "Wooks" for PRETTIES FOR YOU webzine

"Dan" - For Metal-Observer Pete Pardo for SEA OF TRANQUILITY Even Knudsen for THE STREETS webzine The Jester for LORDS OF METAL Dave Randall for GETREADYTOROCK MJ Brady for PROGGNOSIS Piet "Neal" Michem for PROG NOSE Michele Hricisco for YTSEJAM Ron for PROGNAUT Keith Hannaleck for Progressiveworld.net &Music-Sites.net SPACE ROCK.co.uk review

 

From the PROG4YOU website NEXT

The first known review of the album gives it 10 out of 10 and concludes that it is the "album of the year".... and finishes off with the words "it doesn't get better than this". Not a bad start we feel........

By Michael A Gardiner.. A respected American Progressive Rock Journalist who publishes in various magazines and websites including "Progression" and www.prog4you.com.

The Review...

I heard this, my 2003 album of the year, for the first time in December of 2002 when I arrived in England to spend Christmas with long-time friend and Flower Kings’ Webmaster, Ian Oakley. We had not arrived at Oakley’s house from the airport for long when he said “I think you’ll want to hear this…” What he played me was the first pre-demo mix of the album that would become “the music that died alone.” I was instantly hooked. I knew that with 2002 not yet on the gallows, much less in its grave, I already had my 2003 album of the year. A demo mix, a final mix later and a day full of interviews later, I’ve heard and seen nothing to change my mind.

And all that is without reference to the band’s pedigree. And quite a pedigree it is. Featuring major figures from all three of Prog’s great eras, if this group can’t play prog then fuck it, it can’t be done. From prog’s Golden Age, the tangent features Van der Graaf Generator’s David Jackson on saxophone and flute. From Kaipa and The Flower Kings, the band offers Roine Stolt on guitar and vocals – along with Flower Kings bass player Jonas Reingold and drummer Zoltan Csorsz. The later two, along with Parallel or 90 Degrees’ Andy Tillison and Sam Baine (and Guy Manning of the Manning Band and proto-PO90 act Gold Frankincense & Disk Drive) represent prog’s current Third Wave.

This album began its life as an Andy Tillison solo project. As Tillison’s “day job” band, Parallel or 90 Degrees veered away from its earlier, more “proggy” sound toward an exciting and unique blend of prog and punk, Tillison felt increasingly that he had a great classic 70s-style prog album inside him just waiting to get out. But it took my friend Oakley to transform Tillison’s solo project into “the tangent.”

Oakley had known Tillison for some time, since having panned a Parallel or 90 Degrees concert in a review on his fledgling “Bathtub of Adventure" music website. What had started out as a confrontational relationship grew into a trusted friendship. Trusted enough, at least, that Tillison played Oakley the demo tapes for the song that would ultimately feature on this album. Upon hearing them, Oakley knew who Tillison needed to bring in on the project: Roine Stolt. Oakley promised to get the tapes into Stolt’s hands. From there the project grew from a solo effort to a quasi-super group organized around the guiding principal of creating the next great 70s English progressive rock album (even if it took a handful of Swedes to make it happen).

And that is exactly what “the music that died alone” is: the next great 70s English progressive rock album. Book-ended by two multi-part prog epics --
“In Darkest Dreams” and “The Music That Died Alone” – with a tribute to the Canterbury School in between, and clocking in at a now-brief but than de rigueur running time of just under 50 minutes, this album harkens back in many ways to the 70s prog of Yes, Genesis, ELP, Van der Graaf and Crimson as much as it relates to the current efforts of The Flower Kings, Spock’s Beard and Dream Theater.

The opening track on The Music That Died Alone is “In Darkest Dreams,” an unabashed 20 minute multi-part prog epic that leaves little room for doubt what the album is about. The song, and album, opens with Tillison’s swirling Hammond organ leading to an instrumental prog jam that will instantly appeal to any Yes or Genesis fan – or one of Transatlantic. More than once Oakley has, only partly in jest, suggested to Tillison that the band should really be called “North Sea.” Stolt’s vocals take over, before giving way to Jackson’s equally distinctive horn voice and a brilliant instrumental section, featuring a terrific syncopated jazz piano solo by Sam Baine. For me the signature moment on the album occurs later in the song when Jackson’s horn and Sam Baine’s piano gently pass a theme back and forth. Many of the album’s highlights stem from Jackson and Baine’s delicate dialogues; others from Guy Manning’s terrific acoustic guitar work. But this song, indeed this entire album, are owned by Tillison’s keyboards, so classically prog, and Stolt’s electric guitars – variously quoting Steve Howe or referring to Allan Holdsworth, but ultimately quintessentially Roine Stolt.

The lyrics to “In Darkest Dreams” tell the story of a person’s struggle with Night Terrors – and yet the song nonetheless manages to be uplifting. It is this meeting, this merging of the dark and the light – both in prog and in life -- that is the essence of the song, indeed the album. Just as Tillison’s Parallel or 90 Degrees seems to be a meeting and merging of prog and punk, so is the tangent a meeting and merging of the dark and light sides of prog.

“In Darkest Dreams” is followed by “The Canterbury Sequence” – a three section paean to the Canterbury School of prog. While to the American prog fan of the 70s, the genre was all about Yes, Genesis, ELP and King Crimson, in Britain the scene was at least as much about Caravan, Gong, Egg, Gilgamesh, Soft Machine, Hatfields and National Health. To Tillison, there’s a reason for the dichotomy. Canterbury was less of an alternative to English prog than it was England’s answer to American fusion jazz: “You can hear a definite similarity in source between say Return to Forever and National Health, but a different approach from the two bands, one of which is just so evidently English.”

“The Canterbury Sequence” is an excellent introduction to Canterbury for Americans unfamiliar with the sub-genre – even to the point of copping a couple of Hatfields riffs. And it very much underlines Tillison’s point. There are strong parallels to the fusion jazz of Return to Forever or Weather Report. “The Canterbury lot were for the main part more structurally organized than the Americans, less virtuoso soloing, more manuscripted construction and use of melody. The Canterbury bands didn't actually call themselves Jazz Rock to such an extent either. They just did what they did. They didn't seek to become part of the heirarchy of Jazz history in the way the Americans did. I don't think you'd ever have seen Hatfield at the North on the same stages as Weather Report.”

In some ways it was Canterbury that is indirectly responsible for having brought the tangent into existence. After Oakley’s highly critical review of the Parallel or 90 Degrees it was a shared love of Canterbury that, as Oakley says, “opened the door to our continuing friendship then of course we found we had so many other things and thoughts in common...” And it was not just with Oakley that Tillison shared a love of Canterbury. While Transatlantic ultimately covered “Shine on You Crazy Diamond” for the bonus disc of their second album, Bridge Across Forever, if Pete Trewavas had his way it would not have been so: he suggested that the band cover Caravan’s classic “Nine Feet Underground” – perhaps the signature song of the Canterbury School.

The album closes with the four part epic title track. The song “The Music That Died Alone” is a quasi-autobiographic piece about how proggers, after the heyday of the genre in the 70s, had no choice but to lock away their love of the genre in their hearts in order to make a living in music. But Tillison’s lyrics – like those of his hero, Peter Hammill – also have a more generalized, larger message: Do not give in. Do not replace that which is beautiful and of value with a cheap, media-driven set of values. Or as someone once said, “do not worship false idols.”

If you love 70s prog, if you love Third Wave prog, or if you just want to bear witness to the spectacle of three generations of proggers working together I can leave you with only one message: buy this album.

10 stars out of 10. It doesn’t get better than this.

 

THE TANGENT - The Music That Died Alone NEW!!

Reviewed by A. Lee Graham for Electric Basement

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For stripped-down songcraft, look no further than The Tangent.

Actually, that's a boldface lie. This supergroup is the apotheosis of progressive majesty, weaving several European music traditions into a singular creation.

The Music That Died Alone - an ironic title if ever there was one - unspools three epic pieces and a short corker for respite. "In Darkest Dreams" pulls you in with warm organ and never lets go. At first, Boston's "The Journey" came to mind, but the band's true influences - and background - quickly come to bear.

For The Tangent comprises musicians of impeccable pedigree. Roine Stolt, Jonas Reingold and Zollan Csorsz represent Flower Kings; former Van Der Graf Generator legend David Jackson lends his sax skills; Guy Manning and Sam Baine of Parallel or 90 Degrees wield their diverse skills; and Andy Tillison, whose vision almost spawned a solo album.

Instead, it produced The Music That Died Alone.

"In Darkest Dreams" is a prog potpourri, showcasing the genre's strengths: tempo changes, eclectic instrumentation, multi-part concepts, etc. Yet it escapes the shackles that sometimes render the genre's ambitious compositions lumbering and overwrought.

With The Tangent, music flows free. The band takes the listener on a journey rather than flex their instrumental chops as a mean to an end. Saxophone, piano and other instruments make this stuff sparkle and shine.

The music boasts so many ingredients, multiple listens are required to reach every taste bud. But aural satiation is guaranteed. If nothing else, "In Darkest Dreams" is the best track Transatlantic never wrote. While that band excelled at epic prog, Tangent fuses the same influences with folk that marks the best Flower Kings material.

Rather than recycle the same ideas, The Tangent takes a left turn with "The Canterbury Sequence," the second track paying tribute to England's Canterbury scene. At times jazzy and blues-inflected, the song reveals another side of these musicians, as does "Up-Hill From Here."

As for disc's only "non-epic," "Up-Hill From Here" is welcome sorbet amid a rich feast. It cleanses the palate with melodies that actually rock. Those wanting to savor the whole buffet should indulge.--A. Lee Graham

 

The Tangent - The Music That Died Alone

Reviewed by: Stephanie Sollow,for Progressive World November 2003

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Wow. Where to start? There is so much that can be said about this release from the "supergroup" The Tangent (though "supergroup" is a term the project shies away from). Words like lovely, vibrant, energetic, nuanced, cool, hot, and fiery crop up at various points during the album. Sometimes all at once in some tongue-twisting jumble of letters and sound, as you breathlessly try to find the one word that captures the essence of what you are hearing. It's a little daunting trying to write a review of the album without giving you a play by play (which has already been excellently done by David Winter at the Tangent website). I can see why Guy Manning (acoustic guitars, mandolin, vocals) was anxious to hear my opinion of this album.* It's a piece of work that he, nor the other participants, need feel hesitant bragging about. And brag they should, because they have created a very solid work. There's a reason why, as they trumpet on the intro page of their website, this was rated "best of the year" only two weeks after its release – it very possibly will be! All of which makes The Music That Died Alone an ironic title for an album that you will find yourself listening to over and over again just to capture every nuance. I know I am, and I'm not done yet…

This lovely tribute to progressive rock – progressive music -- began life as an Andy Tillison-Diskdrive (keyboards, vocals) solo album. Soon, through the efforts of Ian Oakley (webmaster and editor of The Flower King's website), Roine Stolt (guitar, vocals) was made aware of the project and became involved. His suggestions lead to the participation of ex-Van Der Graaf Generation sax player David Jackson (who also contributes flute). At the same time, Tillison-Diskdrive's Parallel Or 90 Degrees cohort Sam Baine (piano) joined up, followed by The Flower Kings' bassist Johan Reinholz and drummer Zoltan Csörsz, also on the suggestion of Stolt. The final addition to this potent mix of talent was Guy Manning.

So much is going on in and between tracks that things shift before you can truly describe them – and yet everything flows seamlessly, perfectly – nothing chaotic or jarring. Rarely are there albums where every second is worth examining, where one feels compelled to describe every note – looking at it from the perspective of sound, of imagery, of taste (if it were possible)… forgetting that the easiest way to express it all is to direct the listener to listen for themselves. It's like getting your favorite dessert placed before you, taking one bite (in this case, the classic and classy sound of a swirling Hammond**), and then hoping that each bite could last a lifetime, hoping that you can enjoy enough lifetimes to savor the whole piece. This is well deserved hyperbole. You see, I love sax and flute and piano and guitar and there is enough of that such that if it were a sugary dessert, I'd have gone into a diabetic shock before the first track had ended – not to make light of a serious health concern, mind you (and being diabetic, I personally wouldn't take offense), but this particular dessert is especially rich and sugary… and very, very tasty. Worth dying for, and yet, because it's music, one can indulge without that or any adverse side effects (it's fantastically produced, too.). The artwork by Ed Unitsky captures it best, as artwork should -- the whole mood and feel of the album is there – a mix of pastels and darks, and a bird on the wing. It is both peaceful and edgy.

You are drawn into the vortex from the opening moments of this album, where you will be pleasantly buffeted by the first suite, "In Darkest Dreams," a tour-de-force way to open an album full of keyboards, guitars, bass and drums. The influences are all mixed in, but in that you can extract a bit of ELP, a bit of Yes, a bit of Genesis, a bit of King Crimson… of course, also a bit of PO90 and The Flower Kings. Elsewhere, Jackson's saxes honk and skronk, driving this music around a few sharp corners, only to come gliding easily out the other side into moody, jazzy "Night Terrors." Here we find an appealing chorus that lightens a track with a dark subject – one of those ironic sing-alongs, that shies away from being anything near pop – or should I say has the good sense to stay away from anything near pop. And despite Stolt's presence, only sounds occasionally like something that could be found on a Flower Kings album, and is maybe to "sunny" to be found on a PO90 album… making it a nice blend of the two. Stolt plays a lovingly screamy guitar solo in "The Midnight Watershed," which is given a jazzy flavor from Baine's elegant but driving piano. More driving Hammond, a la a Brain Salad Surgery period Emerson (with just a hint of Styx, at least to me), leads the way into the mellower "In Dark Dreams" that features some shimmery percussion from Csörsz, subtle and slinkly guitar from Stolt and bass from Reinholz, all seasoned with Jackson's sax. All with vocals from a deepish voiced Tillison-Diskdrive (his first lead vocal performance, I understand). This is a lovely and warm, nearly pastoral, piece.

A watery, atmospheric keyboard interlude, "The Half-Light Watershed," fades into a delicate mandolin solo from Manning. In "On Returning" we get an especially warm Manning vocal and more sax from Jackson can be heard here, too, leading right into the Jackson/Manning spotlight track "A Sax In The Dark" (where Hammond also returns) – a blissful moment, to be sure. All this brings us back to "Night Terrors Reprise" (and if ever played live, you can be sure the audience would be encouraged to sing along and clap their hands when the instruments fall off for a bit, leaving only vocals). The suite ends with one of those "frozen moments" where a sustained keyboard note roots you in pace, while the sound of sax hangs in the air, tickling your ears... (re-stating elements of "The Half-Light Watershed").

A different mood is achieved on "The Canterbury Sequence: Cantermemorabilia," which sounds, well, Canterburian, right down to a bit of scatting from Tillison-Diskdrive. It's a light-jazzy, upbeat number with lots of trilling flute and soft-focused, understated, vocals. Listen here for references to Canturbury bands, though this is far from being a novelty track of "spot the reference." This piece features a nice, somewhat throaty bass solo from Reinholdz. The second segment, "Chaos At The Greasy Spoon" brings throbbing bass and keyboards to the fore for a little interplay, before flute and piano duet over the jazzy drumming of Csörsz. Another very nice moment appears in "Captain Manning's Mandolin," which also features Stolt's guitar and Tillison-Diskdrive on keyboards, on a piece that sometimes has a Spanish flavor.

"Up-hill From Here" is a fiery, driving piece, that is so high energy that you will be left breathless when everything comes to a conclusion. It underscores the "rock" part of the progressive rock style, full of screaming guitar solos, heavily throbbing drums and bass. It is, in a way, the kind of piece we'd hear from Spock's Beard, without sounding like SB… but there is something in the joyous abandon that makes me think of that band's material. And, of course, that same sense in The Flower Kings. It's a rave up prog rock style, a jamming tune that'll have you air guitaring or air saxing, while your feet are a-jumping. You can't dance to it, other than whirling around like a whirling dervish on some chemical high (only you don't need the chemical part). Smokin'!

Whew. The cool-down comes with the lyrical, classical "A Serenade" that opens the closing suite "The Music That Died Alone." Lovely, with a hint of night-club/bar jazz (in particular, I thought for a moment of Billy Joel's setting in "Piano Man") – this time from Tillison-Diskdrive rather than Baine (according to Winter). "Playing On…" brings in flute and percussion, recalling at times Camel very strongly, even down to the vocals.

One of the best things you'll hear this year, hands down. Buy it!

Rating: 5 / 5 (but really more like 6 / 5)

*not to suggest that it was my opinion alone he anxiously awaited, mind you; or that my opinion would validate the effort.

** didn't want to clutter the review with this comment, but on one of several listens, I popped the disk into my car player just as a Hammond-filled Boston track was playing ("Foreplay/Long Time," I think it was) and I noticed how, at least to me, very Boston-like that opening keyboard passage was…

 

The Tangent - The Music That Died Alone

Review by Josh Turner for MUSIC STREET JOURNAL

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1. Overall Review

Stop reading right here… Go out and get the album NOW!!! You should run, not walk.

Oh, you are still here to read a reviewer's opinions? Well, there is plenty to say about this release. It is about as perfect as a progressive rock album you can get, which is why you should be listening to it rather than hearing second-hand information. The musicianship is technical, yet efficient. It is neither overblown nor is it too short. Elements of jazz are fused throughout. The contributions from each artist are stellar and the lyrics are quite astonishing. This is a super group, considering you have contributions from leading artists in progressive rock from three different generations. Andy Tillison, keyboardist from Parallel or 90° is the front man for the project and he brings along an excellent cast. On loan from The Flower Kings comes not one, but three musicians: the amazing Zoltan Csorsz, Jonas Reingold, and Roine Stolt. Adding pinch-hitting to the line-up comes Sam Baine on piano and the up-and-coming multi-talented solo artist, Guy Manning. Last, but not least, making an unprecedented appearance and adding shape and depth to the instrumental section is David Jackson from Van Der Graaf Generator.

If you have not guessed, I really liked this release. I am a very picky listener. An album is lucky to make it through a complete listen on my stereo. Aside from gems such as the releases of Transatlantic and the last two Dream Theater albums, repeat listens are highly uncommon. It has been awhile since I played through an album and then replayed it. This one qualified. Actually, it got three consecutive listens. No, not all at one sitting silly, but you get the picture. There is really a lot to absorb. It takes awhile to sink in and then the genius to it hits you. The album is similar to The Flower Kings and Transatlantic (hmm, I wonder why?), but much different since Andy Tillison is responsible for the foundation. Andy is in the drivers seat. You know that the music must be extraordinary in order to have this sort of cast taking direction from a new age progger. When I heard this background behind the music, my reaction was very similar to hearing that no other than Daniel Gildenlow, the most talented vocalist in the business, was singing backup (Can you believe it?) on the Flower King's latest album, Unfold the Future. Anyhow, enough fanfare, let's discuss the album.

2. Track by Track Review

The album is divided into 4 sequences: 3 multi-track epics and one standalone song.

Sequence 1 - In Darkest Dreams: The album starts out with this epic sequence, which is upbeat, but paying attention to the lyrics you will hear a much darker message, making it a bit manic-depressive. It clocks in at about 20.56

Prelude - Time For You: The start of this track, the album for that matter, is purely awesome. I have noticed with many progressive rock albums there is a slow build up in an epic. Not the case with this one. Like Karmakanic's opening to Entering the Spectra, this one grabs you from the first note and does not let go. There are some very juicy symphonic bits in this track.

Night Terrors: This number features a groovy jazzy beat overlaid with Roine's relaxed vocals. Halfway through they introduce the epic's chorus with vocal harmony from the rest of the band. This piece is a cross between something you would expect from Sting and The Flower Kings.

The Midnight Watershed : We experience another smooth transition. The jazz gets a little funkier. Jonas' bass goes from sliding up and down the scale to jumping back and forth. Here is some great bass playing. Roine gives us some great rifferage here, as well. As it progresses, we get what appear to be Andy and Sam trading off between the piano and keys. There are many great solos here, too.

In Dark Dreams: This one definitely starts with a Flower Kings vibe, especially how Jonas is playing the bass. Andy comes in with lead vocals. In some ways, his voice is somewhat ordinary, but at the same time it is not. You will have to hear it to know what I am saying. There is a tension in his words. It is almost like he is talking to the listener and reminiscing about reawakened memories. He sings with so much passion. This is evidence that he put so much of himself into this project. Towards the end the flute makes it presence in a solo backed by the rhythm section, and then it is followed by a little sax bit.

The Half-Light Watershed: This starts out with a smidgeon of sci-fi noises, and then it gets a little acoustic. It is a short piece.

On Returning: We experience gentle layered vocals in this track. This is short as well.

On Sax in the Dark: Guess what? The sax comes to play and has some short exchanges with the rest of the band.

Night Terrors Reprise: The chorus returns in a grand finale. Zoltan takes center-stage, but everyone else's instrument has their say. In the end it dissipates into a dreamy state, not much different from the ending of Transatlantic's All of the Above. Fortunately, it is a bit more concise.

Sequence 2 - Canterbury Sequence: Many tout the second sequence as the highlight of the album. I will state the obvious, but this is a tribute to the Canterbury genre. This style of music sounds a bit like jazz mixed with progressive rock. The singing style is definitely jazzier while the instrumentals build a wall of undulating sound. Here David Jackson is busiest adding a dry woodsy sound with the sax and flute.

Cantermemorabilia: Another great start and a quick build up, this is progressive, but it is different. The lyrics really work here, even the nonsense words. The keys are sprinkled throughout the music in a very unique way. The flute comes in an out at will. Again, we feel a Flower King's vibe towards the end, but it is not an exact incarnation, owing to the fact that Andy's keys are quite different from Bodin's.

Chaos at The Greasy Spoon : It is like we are torn into a different world. The transition is a bit abrupt, but not unwelcome. The piano and bass are quick with some slow synthesizer in the background. After the aroma settles around us, out comes Roine in the forefront with his signature guitar. It ends with the keys and flute filling up the space.

Captain Manning's Mandolin: This is just a simple, yet still beautiful wrap-up. It leaves the listener wanting more. It is like you are awoken from a nice dream and wanting to go back.

Up-Hill From Here: I have heard it stated that this song is out of place with the concept of the album. I am not sure whether I agree or not. This piece is stellar and worthy of its spot. It begins as a tasty little rocker, which could have been overblown had it continued the formula throughout the entire track. However, the piece does not get repetitive, as about halfway through it turns into a killer jam started off by Roine. There is a quick return to the vocals, but then it comes back to the jam and really gets exciting from that point on. There are blues brother style keys and a fantastic bass line. This requires American Bandstand fanatical dancing. If I did not have both hands on the wheel, I just may have driven off the road. Ladies and gentlemen, bring out your air drums, guitar, keys, and bass!!! The finish is phenomenal. Many thanks go out to the decision-makers who opted to keep this one on the album. It is not filler. I repeat; it is NOT filler.

Sequence 3 - The Music That Died Alone:

A Serenade: The title is fitting for this one. It is obvious the author had a romance with this style of music. He feels it died an untimely death while it was in its prime. He definitely does his best to revive it here.

Playing On…: The lyrics are stunning. He sings about the forgotten music. This is a creative topic. An interesting layering of vocals is featured. While in harmony, they are almost chanted, not sung. There are several beats here not unlike theme music to dramas found in the seventies.

Pre-History : This is easily my favorite moment of the disc. That says a lot considering how much I liked the opening to the Canterbury Sequence and Up-Hill From Here. Every instrumentation found in this piece is precise, timely, and so unbelievably yummy (yeah, music to me is like food for the soul; I devour it when it is this good). The pace changes throughout. Each player contributes equally, having his own moment.

Reprise: Here we are brought back to planet earth. We drift away from this alternate reality and go through a cool down period to catch our breath. When the music has finally exhausted our brain and we think it is over, there is one last chorus and some subtle riffs. Then the synthesizer carries us back home.

Email To MusicStJournal@hotmail.com

©2003, Music Street Journal

The Tangent - The Music That Died Alone

By Gary Marshall for Fireworks magazine

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Icouldn't help but smile when I put this album on because it is rare that the promotional literature sent to you with the CD hits the nail on the head quite so well. To paraphrase the blurb, The Tangent are a collective of highly talented musicians whose aim is essentially the same, the creation of highly adventurous progressive music. With this album they have sought to create an album comparable with the very best of the genre's 1970s heyday. And that is what they have done very skillfully to the point where it is definitely a case of Homage rather than plagiarism. Cosequently, one can listen to the four movements and pick the influences such as ELP, yes, Jethro Tull,Camel,Brand X, Pink Floyd, Early Genesis (just listen to those acoustic guitars)... and that's just on the first movement. I can do without some of the overt jazzy sections but overall the quality is extremely high indeed.
"The Canterbury sequence" is just that: reviving memories of Caravan, early Camel and Hatfield and the North, right down to the highly distinctive vocal style. They've even go the old synthesiser sounds down to a t.
You probably won't be surprised to hear that the players involved are for the most part the usual suspects. From The Flower Kings there are Roine Stolt, Jonas Reingold and Zoltan Csorsz joining forces with Andy Tillison (Parallel or 90 Degrees) and Guy Manning. The surprise is the involvement of David Jackson who provided the saxophone and flute in Van Der Graaf Generator. This is ihis first appearance in a band setting for many years. Here he provides some delightful undercurrents, taking on the role usually given over to guitar.
I suspect that older rockers like me will be attracted to, and enjoy this album but it will have limited appeal generally, not because it's bad, simply because it's so retro.

Gary Marshall

 

The Tangent - The Music That Died Alone

From http://www.tombstone.gr

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A progressive rock album that managed to capture our attention almost instantly. It’s been quite some time since we last heard such a rich album. The melodies are catchy, the musical textures amazing, the musicianship over the top (just hear the excellent job done by the musicians individually by isolating their instruments in your ears) and the arrangements simply couldn’t be better. It’s a full album from every aspect. There are no fillers and every sound or note has a purpose to fulfill. The vocals are very good, both melodic and emotional, while the whole concept of the album is interesting. I liked the fact that they change the mood of the music even within the same song with the listener hardly noticing it, since the changes are fluent and the arrangements masterfully done. The production is also very close to perfection and the album will appeal to every progressive rock fan around.

 

The Tangent - The Music That Died Alone

by Jordi Costa and Manolo Pizarro for Progvisions

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What started as an idea of a solo project of Andy Tillison (keyboard player and singer of Parallel or 90 Degrees) has become the biggest progressive bomb of 2003. A project helped by three members of The Flower Kings: Roine Stolt, Jonas Reingold and Zoltan Csorsz, Sam Baine (also from PO90D), Guy Manning and David Jackson (VDGG), getting together to create a new super project.

“Here we have another Transatlantic!!!”, some people might think that, but nothing further than reality, and not only as a group; Transatlantic worked as it is, a band where all the members made the recordings together, while Tangent has built everything each member on their own, without joining in a studio. They have pieced the whole album in two different places, Sweden and England, becoming what we could say a virtual band. In Transatlantic we could notice the leading work of Mr. Neal Morse, composing most of the albums, while in Tangent the majority of the members have contributed in a similar way. I think we could level this record as a homage to classic prog-rock of the seventies (as we could read on the cover of the album). An album that regains musically the spirit of the golden age. Starting with “In the darkest dreams” which is a suite of 20 minutes, full of incredible parts of the richest progressive notes and arrangements, a piece which make us recall bands such as Yes (“Close to the edge” period), ELP or VDGG (“Still Life” period), with amazing hammond sections and those so special saxo sounds of David Jackson, adding Mellotrons, flutes and distorted guitars. The best we can listen nowadays.

The second part of the record is called "The Canterbury Piece", which is, as its name says, a whole piece dedicated to Canterbury Music. They take the style of bands like Caravan (with the flute, and similar vocal work to Richard Sinclair, and the sounds of bass and organ), and also Hatfield and the North, playing an stunning cover of "Chaos at The Greasy Spoon", a song that appeared on their second album, played this time by Tangent with a incredible jazzy feeling. The record goes on with "Up-Hill from Here", maybe the less brilliant piece, although with a great ending section with strong guitar parts by Roine and some other good hammond moments. The last part is the title song, and there’s nothing but beauty in this piece, and inspiring composition with a piano introduction and again the flutes and Jackson’s sax. It’s got a lot of elements coming from Camel of the late seventies. A fantastic masterpiece.

To sum up, we could say that we’re talking about one of the best albums of the year, and we hope this project won’t be a one off and give us another surprise in the future, and maybe they got together for a tour, who knows.

 

3 Way (Round Table) review from the Dutch Progressive Rock Pages. A highly influential site and well respected throughout the genre.

The Tangent - The Music That Died Alone

Review 1 - MARK HUGHES

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What originally started out as a solo album by Andy Tillison-Diskdrive from Yorkshire's Parallel or 90 Degrees, somehow evolved into a collaboration involving Sam Baine from PO90D, Roine Stolt, Jona Reingold and Zoltan Csorsz from The Flower Kings, solo artist Guy Manning (who had worked with Andy in PO90D precursor Gold, Frankincense and Diskdrive) and the delightful talents of none other than Van der Graaf Generator's saxophonist and flautist David Jackson. The Tangent should be considered more of a project than a band, as the seven musicians recorded their contributions separately, in several different studios and even different countries. One supposes that in modern jargon they could be called a virtual group!

The first thing one notices about the album of music they have created is that it doesn't sound as if it was assembled in different studios, more like the group got together in a studio and just blasted through the material while the tape was running. There is a fluidity to the pieces, but with the ever-present threat that at any moment things may delve into chaos. Naturally, this adds to the tension and excitement of the music and is an obvious nod to the musical anarchy that characterised Van der Graaf Generator when they were in full flow.

The album contains four pieces although, in fine prog tradition, three of the tracks are split into subsections. The album opens with the twenty-one minute epic In Darkest Dreams. With an immediate assault of wailing guitars and saxophones and some terrific Hammond organ there is no doubt of the intention - classic no-holds barred progressive rock. There is no mistaking David Jackson whose characteristic playing dives in and out of the mix, drawing from his saxophone sounds that only he knows how. But it is not all complete armageddon, some fine jazz-tinged piano from Sam Baine during The Midnight Watershed, a very melodic In Dark Dreams with subtle swathes of mellotron and a flute-driven middle eight that has hints of early Camel and the acoustic guitar and mandolin of The Half-Light Watershed that bears more than a passing resemblance to a section of Yes' Close To The Edge. With a final reprise of the Night Terrors section and a last note that hangs on forever (again, think Close To The Edge) this is a stunning opening piece.

The Canterbury Sequence is a loving tribute to the bands of the Canterbury Scene of the late sixties and early seventies. Cantermemorabilia combines the best elements of Caravan - the wry humour of Pye Hastings' lyrics, the light and airy flute of brother Jimmy Hastings, the bass of Richard Sinclair and the staccato organ of Dave Sinclair - in a song whose refrain you'll be singing for a long while after the album's over. Chaos At The Greasy Spoon is an expanded cover of the Richard Sinclair and Pip Pyle composition from Hatfield and the North's second album, The Rotter's Club. Captain Manning's Mandolin closes the piece in a gentler fashion with some fine guitar work from Roine Stolt underpinned by Guy Manning's mandolin.

Up-Hill From Here is the track most reminiscent of Parallel Or 90 Degrees, but more in structure than style. Dominated by guitar and Hammond organ (with a solo straight from the stable of Jon Lord), this very energetic piece is more of a direct rock song and proves that not every progressive song has to be written in complex time signatures!

The title tracks rounds off the album, starting with a piano solo the piece moves on to one of the highlights of the album for me, Playing On...... Jackson's flute and soprano sax are all over this piece and he really makes it his own. With an instrumental intermezzo, the album draws to a close with a reprise of Playing On..... before gradually fading out with an extended coda of synth and saxophone.

In conclusion a wonderful album that presses all the right buttons for me. Although rooted in the classic progressive rock style of the 1970s, it stands up fully to the prog scene of the new millennium. The lyrics are from the top drawer (as would be expected from one of the most pertinent lyricists writing today), the playing and arrangement can't be faulted and the production is impeccable. If you only buy one progressive album a year then The Music That Died Alone should be the one!

 

3 Way (Round Table) review from the Dutch Progressive Rock Pages. A highly influential site and well respected throughout the genre.

The Tangent - The Music That Died Alone

Review 2 - TOM DE VAL

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Roine Stolte seems to appear on every second album released on Inside Out at the moment, so people could almost be forgiven for being somewhat apathetic at the arrival of this new prog ‘supergroup’ – but I would urge prog fans (whether their particularly fond of the Flower Kings or not) to give this album a listen, as it is undoubtedly one of the best progressive rock releases of the year so far.

Although Stolt is perhaps the best known musician here, The Tangent is actually the brainchild of Andy Tillison, keyboardist/ vocalist of the cult (and underrated) British group Parallel Or Ninety Degrees. Tillison’s bandmate Sam Baine supplies piano, whilst Stolt’s fellow Flower Kings’ Jonas Reingold and Zoltan Czorsk provide the rhythm section. Guy Manning handles acoustic guitars and mandolin, whilst the final piece of the puzzle is the return to prog of legendary Van der Graf Generator saxophonist David Jackson. In fact, its perhaps Jackson, with his excellent and readily identifiable playing, who really adds that extra ‘something’ to the album.

The Music That Died Alone is basically made up of four (very distinct) suites. The opening one, the twenty-minutes odd epic In Darkest Dreams is a real gem which will have most prog fans in raptures. Riding in on some ELP-esque keyboard work, this track moves smoothly through a variety of styles and moods, from the almost jaunty, Flower Kings-esque Night Terrors, to the darker strains of In Dark Dreams (which features saxophone playing from Jackson that brings to mind his work on VDGG’s Still Life album); the quiet, acoustic The Half Light Watershed, with its massed backing vocals, has a feel reminiscent of Yes at their peak, whilst A Sax In The Night is a wonderful sax solo that immediately transports you to a smoky nightclub at 3 in the morning. Yet despite the fairly transparent influences and the fact that many of the parts may seem disparate, the band manage to create a sound very much their own and the song really does flow well as a whole. The decision to split the vocal duties between Stolt, Manning and Tillison is also a good one, as it adds some extra variety to what is, in anyone’s books, a cracking way to open an album.

The Canterbury Sequence covers a completely different musical sphere – its title, the fact that Tillison sings (on this track at least) in a style very reminiscent of Richard Sinclair, and namechecks Caravan and Hatfield And The North in the first sentence of the lyrics perhaps indicates where this track is coming from! The first section has a pleasantly light and breezy feel with Jackson’s wonderful flute playing floating over stabs of Hammond. Elsewhere there’s room for all the musicians to stretch out – typically fluid bass work from Reingold, great jazzy piano from Baine, a fine moog solo from Tillison and, in the final part, a wonderful tradeoff between Stolt’s soaring lead guitar and Manning’s melancholy mandolin. Everything fits together so perfectly, with the musicians appearing to play off each other, that its difficult to believe that many of the ‘band’ were never actually in the same room (or even in the same country!) together.

Up-Hill From Here has a more modern feel, a generally upbeat rocker that almost plays like a slightly skewed alternative rock track – again given that extra kick from Jackson’s punchy playing. Stolt’s solo work in the middle of the track is reminiscent of Dave Gilmour at his most aggressive.

Things drop down a gear in both tempo and mood, as a flourish of grand piano introduces the title track. This suite has a melancholy feel throughout (appropriately for a song which appears to lament the ‘death’ of progressive rock) with Jackson’s flute and saxophone playing driving the track for its first part, whilst the middle half picks up the pace a little, and reminded me of Camel circa Nude. Prehistory features some great jazzy improvisation work led by Baine’s faultless piano playing, before the album ends very evocatively with some haunting sax and shimmering keyboards.

Although this album is ‘only’ 48 minutes long, I think this works in its favour as the tracks never outstay their welcome and you’re left wanting more, always a sign of a good album. So in conclusion, this is a very strong release which I have no hesitation in recommending to all fans of progressive rock.

 

3 Way (Round Table) review from the Dutch Progressive Rock Pages. A highly influential site and well respected throughout the genre.

The Tangent - The Music That Died Alone

Review 3 - BART JAN VAN DER VORST

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So far 2003 has been an excellent year for progressive rock releases, yet the biggest surprise of all has arrived.

The Tangent is a musical project that sprang from the mind of Andy Tillison, known from his work with Parallel or 90 Degrees. Originally intended as a solo project, it got slightly out out of hand when a demo was sent to Roine Stolt (Flower Kings). The Busiest Man In Prog™ agreed to lend his voice and fretwork to the compositions, and also recommended the Flower Kings' rhythm section, Jonas Reingold and Zoltan Csorz to handle the bass and drum duties. The recordings were then complemented by none other than David Jackson from Van Der Graaf Generator (on flute, sax, clarinet and pretty much everything else that blows...), Po90 cohort Sam Baine on piano and finally Andy's friend and regular collaborator Guy Manning on acoustic guitar and mandolin. The result is, truly, stunning.

The album is meant to be an ode to the prog of the seventies, and in that it has succeeded. The album is undeniably retro, yet at the same time so fresh and alive.
The album format seems to hark back to the seventies too: the running time is just over three quarters of an hour, as if it would have would have fitted on a vinyl album. Also, had it been a vinyl album, it would have had the same format as classics like Close To The Edge, Relayer, Foxtrot, Meddle, Pawn Hearts and the likes, with an epic taking up one entire side of the LP, and three or four shorter songs on the other side.

Album opener In Darkest Dreams is the (almost obligatory) epic. The Prelude is a brief glimpse of the best that the prog genre has to offer. It starts with a heavy organ intro, not unlike the work of Keith Emerson, before the tone switches more towards Yes when the rest of the band kicks in. A Moog solo in the style of Mark Kelly or Clive Nolan lifts the song to the eighties, while some typical Spock's Beard tricks give us a glimpse of prog in the nineties, though David Jackson's saxophone keeps reminding us it is the Seventies this album focuses on. Time travel in under three minutes!

Roine Stolt sings the first few verses of the song, thereby giving it a very distinct Flower Kings sound, though on the rest of the album this is far less conspicuous. The chorus of Night Terrors reminds me a bit of Spock Beard's Skin. The Midnight Watershed is a bit of a jazzy piece, which features some great jazzy piano, courtesy of Sam Baine. In Dark Dreams is where Andy Tillison's voice comes in for the first time. It is a little ballad, which features some delightful bass by Jonas Reingold. Then it's time for a little ode to Genesis, with a dreamy piece on two acoustic guitars, before we're treated to a reprise of Night Terrors, once again sung by Roine Stolt.

The Canterbury Sequence shifts the tone 180 degrees and is, as the title suggests, grafted upon the music from the Canterbury scene. David Jackson plays some fantastic flute during the opening part, Cantermemorabilia, while Jonas Reingold and Zoltan Csorz are in full jazzy swing.
The second part of this trilogy, Chaos At The Greasy Spoon is a cover from Hatfield & The North, incorporated in The Tangent's own composition.
The final part, Captain Manning's Mandolin is the closest the album ever comes to The Flower Kings with a long guitarsolo accompanied by -indeed- Manning's mandolin.

If I have one minor gripe about the album, then it's the slightly bland Uphill From Here. As if to say that not all seventies prog was good, the band comes with a song which sounds quite like the work some of the album filler some band put on their albums in the second half of the seventies.
The song has its moments, but David Jackson's saxophone is over-present and becomes a bit irritating. The second (instrumental) half of the song is somewhat better with some great guitar-solos by Roine Stolt.

Album closer, the title track The Music That Died Alone is a strong contender for best song of the year 2003, as it contains all the ingredients for a classic. A beautiful serene piano intro, not unlike the intro to Awaken. The second part, Playing On is not only musically an ode to the prog genre, but also lyrically the song deals with the prog genre and the fact that it's been made so unpopular by the media just of the sake of making something unpopular. As the title suggests, The Music That Died Alone does refer to the prog genre - the thought is also embodied in the Jon Anderson quote that can be found on the cover "What happened to this song we once knew so well?"
The last two parts give all members of the band one last time to shine: acoustic guitar, electric guitar, piano, organ all solo in Pre-History before ending with a reprise of Playing On with fading flute and saxophone.

An easy, though unjust comparison would be that other little project Roine Stolt was involved in: Transatlantic. This was also music very obviously based on the prog of the seventies. However, where 'repetition' seemed to be the keyword with Transatlantic, the word here is 'diversity'.
Also, unlike Transatlantic all individual musicians seem to have been allowed to let their own creativity flow, and all have contributed an equal share to the music. It is difficult to imagine that the musicians have never been in the studio together, in fact, the album was recorded in five different studios, across two countries, though the music sounds pretty much as if it's seven folks in one room!

In all, Tillison & Co have created a very accessible, yet very proggy album, which will appeal to all fans of the genre. Possibly the best prog album of the year!

 

Jem Jedrzejewski for the HAIRLESS HEART HERALD

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Smiles are usually easy to wipe but there is always the exception. The grin on my face would put the Cheshire Cat to shame (and get me a room close to Frank Bruno’s recent temporary accommodation).

The ‘peel-off’ sticker on the front of the CD packaging lays claim to ‘three generations of progressive music’ and ‘one remarkable album’; the first of these claims is absolutely correct on two levels – the musicians (Andy Tillison, Roine Stolt, David Jackson, Sam Baine, Jonas Reingold, Zoltan Csorsz and Guy Manning) are some of the best from way back when to the present day, and the music itself whilst paying homage to those heady days of the 70’s, has a modern day edge. The other claim is not so easy to qualify as it is up to the individual listener to decide just how remarkable an album The Music That Died Alone is. That said, to an ageing ‘hippy’ such as me, this album is rather tasty, thus the painful grin.

The album consists of four pieces, three of which are subdivided, giving a total of 16 tracks and a running time of 48 minutes.

The first piece, or suite, is In Darkest Dreams, a delicious roller coaster ride into the thematic sounds and riffs all so familiar in the heyday of 70’s prog from ELP to YES to VDGG to Kaipa to Canterbury to Genesis and others. From delicate guitar work to fulsome keyboards, those into classic prog will be drooling, and not from old age! And in-between the heavier prog moments, the music takes on a sometimes funky and often jazzy approach with some great bass and sax.

The Canterbury Sequence is a wonderful takeoff of messrs Sinclair (x2), Hastings (x2), Stewart, Pyle etc. David Jackson’s flute emulates that of Jimmy Hastings a treat whilst bass and vocals could be that of Richard Sinclair (who, incidentally, was rather taken by the sound). Caravan and Hatfield And The North are mentioned in the lyrics and a version of Hatfield’s Chaos At The Greasy Spoon features within the sequence.

Up-Hill From Here initially sounds a little out of place, a sort of post punk 1980’s type thing but as it progresses, a fair bit of Camel and Andy Latimer/David Gilmour guitar style plus Tull circa Under Wraps type sound can be heard.

The final and title suite, The Music That Died Alone has a more sombre edge. The Keith Emerson like piano intro turns into a Renaissance type piano piece and further into the suite, the style returns to Canterbury, 80’s Camel and even a touch of the Steely Dan funkiness.

Although the album doesn’t drag, the relatively short 48 minutes run time by today’s standards seems longer yet you are still left wanting more. The music never really has died for many of us but this excellent modern day tribute is a welcome reminder that the music lives on. Maybe that in itself is remarkable.

Jem Jedrzejewski

 

From PRETTIES FOR YOU

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THE TANGENT
The Music That Died Alone
(Inside Out / SPV / CMM)

This first started out as a solo project for Andy Tillison, of UK Prog Metallers Parallel or 90 Degrees, (now known as PO 90). But it soon spiraled into a full blown project featuring the likes of David Jackson of Van Der Graaf Generator fame and the musical genius and workaholic Flower King himself Roine Stolt, (does this man have time to sleep as he is involved with so many projects nowadays!!), and Tillison's band mate Sam Baine who plays 2nd keyboards on this project which adds to the richness of the sound of this album, to name but a few.

The album is split into 4 sections, the first being an eight piece full blown Progfest called "The Darkest Dream" that harks back to hay day's of 70's Prog Rock, with Tillison's Hammond organ sound being pushed to the fore front of the wondrous 8 track suite. With the driving rhythm section of The Flower King's Jonas Reingold (bass) and Zoltan Csorsz (drums) , melodious guitar riffs an the haunting sound of the David Jackson's saxophone. Stolt provides the voice on the track "Night Terrors" a song about a person dealing with...well Night Terrors! This section weaves a magical web of musical styles into a Prog masterpiece.

Section 2 is "The Canterbury Sequence" a 3 track homage to the likes of Camel and Egg. Canterbury for those of you, who don't know it, is like a jazz fusion based genre of 70's Prog Rock. It is a really uplifting experience and fans of that genre would love.

Up Hill From Here is a fast paced number with Tillison's Hammond organ and Stolt's guitar battling it out with great gusto.

The final section broken into 4 parts is "The Music That Died Alone" which starts of with jazz feel section with the piano and sax combining to give it a real Sunday morning lazy feel to it.

This album is a must for the lover's of the older 70's Prog rock, but equally if you just love great music then take a chance and buy it!

Points 8,7 out of 10

From METAL OBSERVER:

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THE TANGENT is a super-group comprised of Roine Stolt, Zoltan Csorsz, and Jonas Reingold of the modern Swedish Progressive Rock band THE FLOWER KINGS, Andy Tillison and Sam Baine of UK Progressive Rock band PARALLEL OR 90 DEGREES, and David Jackson of VAN DER GRAAF GENERATOR fame. The resulting music could be likened to a trip back through Progressive Rock history, spanning the musical output of a variety of European Progressive styles, including Symphonic Rock, the Canterbury scene, and Neo-Prog Rock to name a few. Despite this, the music itself sounds fresh and interesting, and very rarely does the band appear to fall into the "regressive-rock" trap of merely copying one's Progressive forefathers.

"The Music That Died Alone" is made up of three multi-track "epics", and one singular song that is seemingly more accessibly mainstream in nature. Each epic appears to address a different style of Progressive Rock. The first epic, "In Darkest Dreams", is a Neo-Symphonic piece that showcases some brilliant playing from all involved parties. The chorus is incredibly catchy and upbeat, and the song itself is imbued with a sense of energy, melody and excitement that I felt was lacking from the latest FLOWER KINGS album. The second epic is an aptly named homage to the English Canterbury scene of the 1970's entitled "The Canterbury Sequence". Infused with bluesy riffs and jazzy singing, the movements are typical of the style but still manage to avoid stepping on the toes of other artists who have tread along similar paths.

Moving away from the epics for a short while, track three is the only stand-alone song on the album, entitled "Up-Hill From Here". An upbeat, hooky rocker that hits the listener with a burst of energy after the subdued "Canterbury Sequence", the track seems out of place among the otherwise long and drawn-out compositions found elsewhere on the album. It is in no way a bad song, but rather just an odd choice for this album. I would have loved to hear it at the beginning of the album, but in the middle it just seems as though it doesn't belong.

The final track is my own personal favourite. An emotional Neo-Prog composition that is undeniably similar to the Progressive Rock of THE FLOWER KINGS, "The Music That Died Alone" exemplifies the high points of this collaboration. The song opens with a Baine's beautiful piano stylings before Stolt's emotional singing is introduced. Moving from minimalism to maximalism and changing tempos and styles, the song reconciles the stylistic differences between the first two epics. As it alternates between Symphonic bombast and Canterbury-style minimalism, "The Music…" ends the listener's trip through some selected areas of Progressive Rock history on a sombre note, with little more to ask for.

Hardcore music fans absolutely love band equations. Some of us hate pigeonholing our favourite bands by genre, so instead we create music equations to accomplish the same thing. Walk into the middle of a group of music fans in conversation, and you will hard pressed not to hear statements along the lines of "I wonder a band made up of X with so-and-so from Band Y produced by Z would sound like?" Although the bands used in the equation may vary from person to person or group to group, the idea is universal. Unfortunately as of this writing, we cannot yet punch a number of artist names into a supercomputer and have it calculate what the resulting sound would be. Thankfully for fans of the Progressive Rock scene, one of these equations has been solved with the release of THE TANGENT's "The Music That Died Alone". For those of us who were fretting endlessly over what a combination of THE FLOWER KINGS, VAN DER GRAAF GENERATOR, and PARALLEL OR 90 DEGREES would sound like, the answer is finally here. (Online October 4, 2003)

 

Tangent, The: The Music That Died Alone

From THE STREETS webzine

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The Tangent is a project consisting of highly respected individualists within the progressive genre, with a common aim to create adventurous electric music. Ronnie Stolt, well known for he’s work with The Flower Kings, is the creative mastermind behind this project were he has joined forces with Flower Kings partners Jonas Reingold and Zoltan Csorsz, David Jackson and Andy Tillison. The fact that the style is progressive rock shouldn’t come as a big surprise to anyone then. The record contains four compositions, shared into 16 tracks. The music is atmospheric and varied with lots of intricate arrangements and brilliant instrumental performances. The song material is incredible strong. I take time to get into this kind of music, but if you allow the impressions to sink you’re in for an exceptional musical experience. 8,5 out of 10 points

 

Tangent, The: The Music That Died Alone NEXT PREVIOUS

From the Sea Of Tranquility Progressive Rock Site

With so many progressive rock and prog-metal super group formations these days, it's literally hard to keep up with them all, let alone find any that really stand out from the others. Well, the case can be made for this new offering from The Tangent, a project made up of Roine Stolt, Jonas Reingold, and Zoltan Csorsz from The Flower Kings (they are everywhere these days aren't they!), Andy Tillison and Sam Baine from Parallel or 90 Degrees, solo artist Guy Manning, and the legendary David Jackson from Van Der Graaf Generator. Fans need not worry, this is no neo-prog affair. Instead, this fine group of musicians go for a quirky mix of symphonic prog, Canterbury, and fiery fusion. It really works, and you'll be hitting the replay button over and over.

Having two keyboard players in Tillison and Baine adds a truly rich sound, especially the hard driving Hammond tone of Tillison. Stolt's unique guitar stylings are in fine form as well, and the guitarist really lets loose on the jazzy breaks of "The Midnight Watershed" along with a welcome return from Jackson, whose sax playing is one of the highlights of this CD. The first suite is the eight-part "The Darkest Dreams" and consists of complex, keyboard driven fusion, plus a few catchy vocal numbers titled "Night Terrors" and "Night Terrors Reprise" that contain melodies that are simply irresistible.

The second section of the CD is "The Canterbury Sequence", a three-part suite that harkens back to the days of Egg, Camel, Hatfield & the North, Gilgamesh, Soft Machine, and National Health. Featuring thick Hammond, juicy flute, and Wes Montgomery-style guitar chords, this piece flows from a atmospheric jazz number to a raging prog workout fueled by Reingold's muscular bass work, and layers of synths, piano, and more flute courtesy of Jackson. The multi-instrumentalist Manning's rolling mandolin work on "Captain Manning's Mandolin" provides the backdrop for Stolt's tortured guitar lines and the heady synth solos from Tillison and Baine.

"Up Hill From Here" is an upbeat rocker with thick guitar chords and upfront Hammond, easily the most contemporary track here, sounding somewhat similar to what Parallel or 90 Degrees or Man on Fire are doing these days. "The Music That Died Alone" is a four-part piece that really pulls out all the stops. Starting off as a lazy jazz number which leads to some gorgeous classical piano work, Jackson then joins the fray with some emotional, melodic sax lines that are a joy to hear. More jazzy keyboard textures from the Hammond, synths, and piano, before Stolt crashes through the mix with a fiery wah-wah laced guitar solo. Zoltan and Reingold then bring everyone back for a jazzy finale, featuring liquid guitar lines, soaring sax, and emotional vocals.

The Music That Died Alone totally surprised the hell out of me, and will no doubt make its way to my list of best releases of 2003. Canterbury and symphonic fans need to get their hands on this one ASAP-real classy music from a professional batch of musicians.

Reviewer: Pete Pardo

 

THE TANGENT ‘The Music That Died Alone’ (Inside Out 085-65992) (2003)

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Review by David Randall from the getreadytorock website

It may have died alone but it ain't extinct yet. Prog trainspotters will have a field day with this album from a prog conglomerate featuring Flower Kings' Roine Stolt, Jonas Reingold and Zoltan Csorsz, and Van Der Graaf's (yes Van Der Graaf Generator, I kid you not!)Dave Jackson.

There seems to be a prog retro rock revival going on at Inside Out at the moment: hot on the heels of the Gentle Giant-cloned Kaipa, The Tangent further demonstrates that Roine Stolt and co have been trawling old vinyl and painstakingly transcribing prog rock c.1972 into the early hours of the morning. Other mortals have lives.

Actually in fairness, it is not quite as simple or crude as that, but this album - as if to emphasise the point - is split into four themed sections. All reflect an obsession with early seventies rock but the inclusion of sax and flute (welcome back, Dave Jackson) gives this a slightly different, and jazzier, form. If anything, at times it recalls Mothers Of Invention.

Prog rock was always about extended and bravado instrumental solos, complex time shifts, debatable lyrics, Moog stabs, and flamboyant leisurewear. The Tangent, just as with Kaipa, bring that all back for the digital age. Just listen to the opening of 'The Midnight Watershed' a glorious funk jazz jam with authentic lashings of pump funk bass, gutsy guitar and keys (from newcomer Andy Tillison who generally wreaks havoc on his Hammond). Strangely, the vocal style then slips forwards a decade, and the song sounds distinctly like something from Paddy MacAloon in Prefab Sprout c.1984, and becomes quite commercial. But then prog rock always did hold its surprises.

Second section 'The Canterbury Sequence' not only mimics Canterbury crooners Caravan in its song titles but in the lyrics and music. Arguably, funkier and jazzier it carries the trade mark synth and cool flute textures.

'Up Hill From Here' is like a blend of The Jam and Pink Floyd on speed with Guy Manning's** vocal phrasing and Stolt's stellar guitar figures and an overall catchy commerciality lifting it. If you think this all sounds mighty weird, then so was a lot of seventies prog rock.

This is an album that puts two fingers up to modern style, indeed the title track is a pantheon to musical non-conformity and will I am sure become a modern prog-rockers anthem. Well, if Madonna can get personal why not The Tangent? The only thing missing from this package is a greatcoat and flared trousers but I am sure, with the right tailor, that could be arranged.

 

REVIEW from the proggnosis site by MJBrady

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The renaissance of vintage progressive rock has culminated in many variations through the 90's and now into the new millenium. Many bands have dedicated their musical aspirations to reflecting on the storied history of the legendary music, while incorporating the convenience of modern instruments, production and new ideas. What has resulted of course are some fantastic recordings and a new heightened interest in that storied music of the 70's.

The Tangent, is in effect a project cd, much in the way TransAtlantic's recordings were. In fact Roine Stolt, who was the guitarist/singer on the TransAtlantic cds finds himself involved with The Tangent, along with the most recent members of his main band The Flowerkings drummer - Zoltan Czorsz, and bassist - Jonas Reingold. Also in the mix are Parallel Or 90 Degrees musicians: Andy Tillisen - multi-inst., and keyboardist - Sam Baine. Also David Jackson of VanderGraff Generator takes the woodwind duties, and Guy Manning contributes with both his voice and acoustic guitar.

Tillisen is the bands main writer, and this proves to be a nice attribute for the bands overall sound and style, typically most everything I have heard Stolt, or other Flowerkings involved in gets to sounding a lot like, well, The Flower Kings themselves, I love the Flower Kings mind you, but it is very refreshing to hear these gifted players on a recording that has them in a completely different element. And that is the case here. The Tangents music pays homage to vintage progrock and it's many facets. The cd is broken into 3 main themes, each with many sub-partitions, you will definetly hear the voices of the past on this cd, but in a modern and refreshing way. Having Tillison handling many of the lead vocals, gives the music a distinct English flavor. And in the central theme, they explore the Canterburian scene, this particular section of the cd really shows the broad capabilities of the musicians involved.

This cd as a whole lacks in nothing, the ideas are very innovative, the musicianship is second to none, the production is pristine, and most of all, the songs are quite capable of leaving a lasting impression on the listener, much the way the 'good ole' prog did when we were exploring the creative 70's period.

From the PROG NOSE website by

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It was bound to happen once: the musical paths of 2 protagonists of today’s progmusic have crossed and the result is much more accessible than Parallel or 90 Degrees, less complex than the Flower Kings and blessed with a larger and fuller sound spectrum than Transatlantic. (If you really need a comparison.) A few years ago, a solo project of Andy Tillison (Po90) saw the light and evolved little by little into a cross-pollination with the musical brain of another main musician of the present progscene: Roine Stolt (The Flower Kings). Genuine progressive rock of the purest quality, that’s what The Tangent’ is presenting us and just take a look at the list of guest musicians before removing the water out of the corners of your mouth. David Jackson (VDGG), Jonas Reingold & Zoltan Csorsz (FLK), Sam Baine (Po90) and Guy Manning… these are the true-born artists who gave shape to the musical dream of Tillison and changed “The Music That Died Alone” into a real masterpiece.

‘In darkest dreams’ starts the party and does that in a great way, with a blink of an eye to the Transatlantic debut and with some discrete references to Yes. The big difference with our transatlantic friends is the lack of big egos which leads to a more authentic and organic sound and sounds less as a hotchpotch of individual flashes of quality.

You can expect from a quartet, which consists for three quarters of Flower Kings members, some music with an obvious Swedish tone, but Tillison succeeds in keeping the trio in harness. Especially the contributions of the other 3 members are the ones that deliver an extra Michelin-star to this banquet. Baine conjures beautiful, jazzy sounds out of her piano, Manning is handling the acoustic guitar in a very subtle way and what Jackson is playing on sax and flute is sometimes from another world. Especially his contribution puts literally and figurative new life into this song, that’s full of references to the high days of progressive rock.

After such an eruption of symphonic sounds, it’s time to have a welcome break with “The Canterbury Sequence”, which will certainly rejoice the fans of the genre. (the title of this track doesn’t beat around the bush). Jackson on the flute and Baine on the piano deliver a sample of their skills and Stolt and Reingold seem to feel extremely well with this kind of music.

“Up-hill From Here” takes us resolute into a higher gear and is being played in a tight and witty way. Tillison (on Hammond) as well as Stolt are freaking away and this delivers quite some sparks.

The initial purpose of Tillison was to write a real progressive album in the spirit of the seventies. To extra emphasize all this, he wrote an ode to the pioneers of the symphonic/progressive rock and he gave an expression to his desire to cherish this music, in spite of all the opposition to this genre at the end of the seventies. “The Music That Died Alone” is a splendidly chosen title and represents in a striking way how much Tillison is devoted to this style. A heart-warming, honest and sublime song, that knits an appropriate final chord to this fantastic musical journey through the progressive patrimony of old times.

Albums like “The Music...” prove once more that beautiful music is from all times and never sounds dated. Seldom has a band succeeded in this manner to convert the spirit of old times into a contemporary, far from old-fashioned sounding variant like The Tangent with “The Music That Died Alone”. An absolute topper in this genre!

 

The Tangent, The Music That Died Alone – InsideOut Music, 2003

From the ytsejam site. Written by Michele Hricisco

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To appreciate this creation from The Tangent, you only need to put it in your CD player.

The contributors to this project span three generations of progressive rock. Too bad it is a side project for all of them, because this band would be a real treat to see live.

Andy Tillison had the idea to bring together musicians from different time periods, styles and places. Looking at this project in that context, you might expect a discordant sound. Instead, you get a highly textured sound tapestry that will weave its way into your consciousness in such a way that you will have trouble remembering when it wasn't there.

This album seems to have everything that makes progressive rock progressive. There’s sax and flute from Van Der Graaf Generator alumnus David Jackson. Roine Stolt of the Flower Kings contributes his distinctive vocals and guitar to the mix. His fellow Flower Kings, Zoltan Csorsz and Jonas Reingold, form the top-notch rhythm section. Solo artist Guy Manning also appears here, most notably on “Captain Manning’s Mandolin.” Tillison and bandmate Sam Baine from Parallel or 90 Degrees round out the roster.

If you didn’t know that this is all new material and that some of these musicians were not performing then, you could easily believe you’re listening to an undiscovered band from the early days of progressive rock. “The Music That Died Alone” would have worked quite well in Bruford-era Yes. The Tangent even captures the Canterbury sound completely in the three tracks that compose “The Canterbury Sequence.” Homage is paid to the past while creating music in a brand-new context. Not many musicians could pull this off with the panache that The Tangent has displayed.

There wasn’t anything I didn’t like about this album. I believe it will stand the test of time as the best progressive rock album of 2003.

 

The Tangent - The Music That Died Alone

Reviewed by Ron for PROGNAUT

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First off, The Music That Died Alone has not left my cd player! this is a rare occurance as i usually listen to a cd then put it away until I want to hear it again but this one creeps back in. This is not a good thing when I have other cds to be reviewed but they can wait a bit while I enjoy this another time. *wink*
This started out as a solo project for Andy Tillson Overdrive (Parallel or 90 Degrees) but once Roine Stolt got to hear some of what Andy was doing, he soon wanted in. Joing him from The Flower Kings are Jonas & Zoltan. Joing Andy from PO90 Sam Baine from Parallel or 90 Degrees, solo artist (and sometime collaborator on PO90) Guy Manning, and the legendary David Jackson from Van Der Graaf Generator.
Okay now most are thinking, Transatlantic II? First off no Americans are involved plus musically The Tangent is more diverse. Here you get a nice blend of modern production with old school instrumentation to get a quirky mix of symphonic prog, Canterbury, and fusion.
As I said in the opening statement, I can't stop playing this disc!

Another plus is having two keyboard players, Andy along with Sam adds a truly rich sound, especially the monster Hammond provided by Andy. Stolt's unique guitar stylings are evident here as on any TFK recording but he adds a more loose jazzy guitar playing which can be heard on "The Midnight Watershed".
This is also a nice welcome return from David Jackson, whose sax & flute playing is one of the highlights of this CD. He brings the "old school" feel to the whole disc.
The first suite is the eight-part "The Darkest Dreams", a blend of complex, keyboard driven fusion and memorable catchy vocal melodies on "Night Terrors" and "Night Terrors Reprise".

The second section of the CD is "The Canterbury Sequence", a three-part suite that harkens back to the Cantebury days most notably in the vocals. Andy really got the Richard Sinclair vocals down. Plus I saw the band got praised by Richard himself. That's an honor indeed! Guy Manning's rolling mandolin work on "Captain Manning's Mandolin" is also a highlight. Everyone again compliments each other, no soloing. Ah so refreshing!

"Up Hill From Here" is an upbeat almost "commerical" sounding song and very similar to what PO90 or Man on Fire are doing these days. Ending off the disc is the title track, "The Music That Died Alone" is a four-part piece which showcases what these fine musicians can really do.

The Music That Died Alone is a welcome addition to any prog fan's collection and it's one that already is a favorite amoung other reviewers. In my humble opinion, this is by far one of the best recordings to be produced in 2003.

~Ron for ProgNaut.com [September 21st, 2003]

 

The Tangent - The Music That Died Alone

Reviewed by Keith Hannaleck for Progressive World & Music-Sites.net

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Prog-rock super groups are usually excellent. The Tangent is one of the best yet, as the release The Music That Died Alone proves without leaving any room for doubt. Once again, the brilliant guitarist/vocalist Roine Stolt is part of a band that will make waves and receive rave reviews from every corner of the globe. The Flower Kings, well represented in this lineup, feature Stolt’s band mates Jonas Reingold and Zoltan Csorsz as well. In addition, holding court with the flower king is Sam Baine and Andy Tillson (Parallel/90 Degrees), David Jackson (formerly Van Der Graaf Generator) and Guy Manning.

This mighty band offers the listener 16 unyielding tracks of progressive-rock sprinkled with the occasional jazz-fusion. If you have always had a soft spot for Yes and ELP you will love this album. Fifty percent of the band is TFK, thus you have the Yes influences. On the flipside is the other fifty percent that sounds like ELP both instrumentally and vocally. Not a bad combination if I should say so myself. Although you will detect the influences straight away, there is the necessary inventiveness apparent in every track to compel you to play this album several times in succession before casting it aside for another CD. It worked that way for me. The way they utilize their vocalists is the key to keeping things fresh and appealing from beginning to end.

The album consists of three different suites, “In Darkest Dreams,” “The Canterbury Sequence” and “The Music That Died Alone.” Each section offers varying degrees of passionate guitar playing and keyboard driven excellence. This is not music that will ever die much less be alone, it offers too much substance and musical integrity to suffer that kind of fate. This album is so good that I cannot literally describe it all in words. There is an unexplainable intangible element of music that you assimilate only through the ears and senses, that should say it all coming from my little corner of the universe. I promise you, this will be one of the very best prog-rock albums you will hear this year…enough said, now get it.

© Keith "MuzikMan" Hannaleck

 

The Tangent - The Music That Died Alone

Review from the SPACE ROCK website

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The Tangent are another in a long line of prog rock 'super' groups that seem to be popping up nowadays. They also feature Roine Stolt from The Flower Kings, Kaipa and Transatlantic. I was expecting yet another formulaic romp through prog history when the CD popped through the letterbox.

However, the presence of David Jackson, former member of Van Der Graaf Generator peaked my interest. His presence lends the music a Canterbury-esque tinge as highlighted by the 3 tune "the canterbury sequence" er, sequence. His saxophone and flute also adds an extra dimension to the music that is missing from most modern releases.

It's not just a 2-man band though, Andy Tillison from Parallel or 90 Degrees adds sterling service on keyboards and Jonas Reingold and Zoltan Csorsz, also on loan from The Flower Kings, provide bass and drums respectively.

The CD is split into 3 sections, the 8-part in darkest dreams opens the piece with some excellent Hammond work and one of the catchiest riffs you've heard in a long time. Part 4, in dark dreams, includes some fine fretless bass and reminds me some how of Focus at their best. The coda, night terrors reprise, includes a great refrain that will have you singing along before a slow fade-out.

The aforementioned canterbury sequence follows, with some great jazz-tinged riffs with David's flute really standing out. Highlight of the cd is up hill from here, the most up-tempo track on show and a great romp at over 7 minutes, highlights the quality of musicianship on display.

The final quartet of tracks come under the banner, the music that died alone, and again highlight the quality of this release, from the slow piano of a seranade to the atmospheric ending of reprise.

Overall a most unexpected pleasure and certainly one of my CDs of the year. Thoroughly recommended!

 

The Tangent - The Music That Died Alone

Review from the LORDS OF METAL website

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Ever since the cloning of a sheep was kind of successful (remember Dolly?) scientists from all over the world now are trying to clone the first human being. Ha! They all probably don't know that this already has been successfully done many years ago in Sweden, on September 5th 1956 to be exact. This clone was called Roine Stolt, and he was gifted with an enormous musical drive, which came in quite handy because his makers had lots in store for him.

This has to be the one only explanation. I mean, this good man plays in The Flower Kings, Kaipa, Transatlantic & Flying Food Circus but also makes regular appearances in other bands and projects (like the Tomas Bodin album that also is reviewed in this issue). So, or he is the only guy in the world who has more than 24 hours available in one day, or he is cloned four or five times. Today we find him playing in the band The Tangent.

The Tangent once started out as a project from Andy Tillison (Parallel or 90 Degrees), but the webmaster from the Flower Kings website advised him to get in touch with Roine Stolt. Now Roine obviously is always ready to do some cool music and being the cool dude he is he also brought along half his band to fill in the musical blanks. A really cool move however was to invite the legendary David Jackson, who did some impressive things on flute and saxophone in the band Van De Graaf Generator.

The album lasts for fifty minutes and is divided in sixteen segments that together form four songs. The music varies from prog rock to jazz and even fusion, where in the bass work you might even encounter some funky licks. Prog hell breaks loose right away from the start. The full sound of Andy Tillison's Hammond organ, flavoured by the keyboards of his Parallel Or 90 Degrees buddy Sam Baine, and Jackson's saxophone floating all around. But also Stolt again shows why he was asked in particular; his guitar does the right thing on the right moment with the right feeling.

All in all it is a cool portion of rather complex 70's/80's music that gets a 2003 touch because of the voice of Guy Manning. Some songs (or rather segments) even have hit potential. I guess when you put 'Night Terrors' and 'Night Terrors Reprise' on a single the chances of airplay on regular radio are quite high. Most commercial tune however is 'Uphill from Here', which reminds me of the 80's, the period in time that 'alternative' bands from England scored hit after hit, though slightly more technical. In spite of, or maybe thanks to, the short total playing time this album has become a pretty compact yet complete album that touches almost very facet of the musical spectrum and remains interesting up until the last note.

The Jester screams: 93/100