There seems to be a cottage industry of Flower Kings related bands.This can be seen as both right and wrong. For example, is Kaipa a Flower Kings related band, or is it the other way around, especially as Kaipa predates the Flower Kings by several decades? Is The Tangent a Flower Kings related band, or a Parallel or 90 Degrees related band? Transatlantic? And so on…it just keeps going.The lines remain somewhat blurred with Karmakanic. Bassist Jonas Reingold’s band, Karmakanic explores a jazzier side of progressive rock. Reingold’s a hell of a bassist, and in a genre filled with a plethroa of great names, that’s saying a lot. He has chops to spare, but he can play with remarkable subtlety and grace. Fretted or fretless, it really doesn’t matter…put a bass in his hands and magic will shortly follow. Karmakanic’s latest release is Who’s The Boss in the Factory, a 5 track (with the closing track indexed with two track numbers) showcase for his excellent playing and solid compositional skills. Joining him on this release are Zoltan Csörsz on drums, Lalle Larsson on keys, Krister Jonsson on guitars, and Göran Edman on vocals. Also guesting are a few familiar names…Andy Tillison of The Tangent (here we go again), Tomas Bodin (the Flower Kings, natch) and Theo Travis (Gong/Tangent/et.al.).Where Reingold’s playing on Flower Kings releases may lean ever so slightly toward the jazzier side of things, his work with Karmakanic seems a bit more punchy and powerful. This isn’t a complaint about his presence in TFK at all…but as Karmakanic is his project, it’s only understandable that he’d be a bit more to the fore. Having said this, the album opens with a song that honestly could have possibly been lifted from nearly any Flower King’s release, the 19-plus minute epic “Send a Message From the Heart.” Filled with positive lyrical messages and some wonderfully deft instrumental interplay, it’s an audacious choice as opener. For anyone thinking that Karmakanic is just another TFK-related band, “Send a Message From the Heart” will do little to disavow them of that notion…unless they take the time to listen deeper into the song. There are some great jazzy interludes and instrumental excursions…great keyboard playing, light and airy bass/percussion playing at an almost telepathic level, and so on. In general the arrangement, while perhaps more complex at one level, is also far more stripped back…less orchestrated, less symphonic.Things change up on “Let In Hollywood.” A series of chopped acoustic guitar chords lead into some cool singing from Göran Edman and a nice groove from Csörsz. This is a powerful, bass-driven song, with cynical lyrics deriding the pre-packaged entertainment that so many people swallow whole. I love the lyrical bit that goes “I can’t hear a single, this song is 7/8”…I can catch myself singing this from time to time, so the hook did its job. The synth work is excellent, and as for Reingold’s playing…it’s almost as if he were channeling the spirit of John Entwhistle through Chris Squire’s fingers…and saying that is almost a swipe at Reingold, for his instrumental voice is entirely his own. I just can’t think of any better way to describe the power he pushes through his instrument on this track.The title track is the second ‘true’ epic on the album, at 13:04. The opening is quiet and piano based, with a touch of acoustic guitar to sweeten the mix. Vocally darker as well, the introductory moments are far more sombre and almost malevolent than anything else on the album. The track builds gently, evolving into a slightly more orchestrated take on the Karmakanic sound, with string stabs and moments that verge on progressive metal.I also want to make note of the 2-part album closer, “Eternally.” Written in memory of Reingold’s parents, both of whom passed way late in 2007. The opening movement is a gentle piano piece that may sound out of place on an album such as this, but which is played with such delicacy and beauty that it simply must be heard. I hesitate to use the word gorgeous, but…the piece is gorgeous. No doubt about it. The second part drips with raw emotion, with grand string arrangements and passionate, from the depths of the soul singing. Reingold plays a fretless on this track, judging by the sound, and his playing is subdued, restrained, yet the intensity of emotion of his playing can be heard and felt in every quavering note. It may sound odd, but for such a sad song, the piece is uplifting and affirming at the same time…it never falls into a pit of despair and wallowing pity.I greatly enjoyed Who’s the Boss in the Factory, and can’t say enough good things about it. The album has it all…impressive playing, great vocals, and writing and arranging that keeps songs fresh and interesting throughout. Don’t look at this as another Flower Kings related band and album…Karmakanic deserves far better than that.Send a Message from the Heart (19:29)
Let in Hollywood (4:53)
Who's the Boss in the Factory (13:04)
Two Blocks From the Edge (9:51)
Eternally Pt. 1 (1:51)
Eternally Pt. 2 (6:22)
Jonas Reingold on bass
Zoltan Csörsz on drums
Lalle Larsson on keys
Krister Jonsson on guitars
Göran Edman on vocals
Direct from Andy Tillison:It has been some time since I communicated with you and for this I apologise. For various personal reasons I once again am on the move, still caught between France and England. There just might be a song in there somewhere. Stay tuned.
The Tangent is on the move too, making plans, some of which will come as a bit of a shock to you all. The first piece of good news is that we plan to make another Tangent album later this year and well into next. With that, though - in true, classic, Tangent and Prog fashion - will come another round of personnel reshuffles. This one will be a major one. It is not a set of decisions that I have taken lightly. Nonetheless, after long and careful consideration I have decided that we will move forward on this next album without Jaime Salazar, Krister Jonsson and even Jonas Reingold.
There are a number of reasons for this decision - some of them that old classic Rock n Roll cliché 'Artistic differences' and some of them far more practical and down to earth than that. They are, however, decisions that had to be made. And yet I must say that I will particularly miss Jonas Reingold who has encouraged and supported both myself and particularly our manager Ian from the very beginning. To Jonas, in particular, many many thanks and let's let our musical and business paths cross again sometime!
In some important ways, though, these decisions bring matters in line with the reality of things. The most recent album "Not As Good As The Book" was largely made by myself, Guy, Theo and Jakko - and Guy really hasn't ever been given enough credit for his role both within and outside the band. It is, at least commercially, the bands most successful album yet, however it was very sad to have to leave someone who is so keen on the band's work at home, (Theo Travis and Jakko too). Both Guy and I would count ourselves as composers and arrangers rather than virtuosos, but in the end, to me, probably to Guy too, having people in the band who are committed mentally and spiritually to the music is more important than the very best musicianship. The dream of turning the Tangent into a real band has been very difficult to achieve. The next move puts us back into the "project" territory in some ways, but as we came from that beginning, it won't present any of us with a problem.
One thing that I have learned in life, of course, is that every time a door closes in one place another door opens somewhere else. So....on a more positive note .... this is what comes next - we hope. I have asked the band Beardfish to collaborate with us en masse: the whole lot of them! After all, we had a sizable chunk of another band on our first two albums, we're just switching bands ;-)
On tour this past month with Beardfish, I can only say that I was amazed at their abilities, their youthfulness and their vigour - but most of all their belief that Progressive Rock can be an important part of their world; a world in which they are in their mid 20s. I only missed their set once on an eight day tour, and thoroughly enjoyed every one of them, they played with a gusto that I envied and had a brotherhood which I missed so much within my own band. I became very good friends with them all, and even got invited to guest with them onstage in Belgium, where I really messed up an organ solo on their behalf. However, I left the tour wanting to work with them, and put the question to them just a few weeks ago.
The good news is this. In reply to my offer, the Beardfish have replied with an enthusiastic "YES." As a result, they will form the core of the new band, which will debut at Summer's End (with hopefully and in all probability Guy, Theo and Jakko - thus making an 8 piece band!!, we will keep you posted on this). Several important points:
1. The Tangent and Beardfish will continue to exist, record and perform in their own right
2. The Tangent's lineup will still be variable at concerts depending on location, budget etc.
3. Rikard from Beardfish will also play keyboards and sing some vocals for the Tangent alongside me... back to 2 keys players as it should be!
4. Theo Travis and Jakko are still in the Tangent, how their roles develop is a matter of time and work, and we cannot predict how these two guys will find the new band who they have not yet met. However from day one both these people have been totally into the music and philosophy of the band and their early response to this change has been positive.
5. In mind of adapting to audience sizes and costs this does give both bands and promoters an opportunity of touring and playing at festivals as part of two band 'package deal'..
I think people are used to the fact now that The Tangent is and most likely will always be ever evolving. I really see this as a positive experience for both band and audience. To those that doubt, all we can say is "look what we did since (fill in blank here) left..." and trust that we can continue to create alert and challenging music for some time yet.
Maybe the anti-Tangent faction will say that it will spoil Beardfish, but be rest assured these guys are far too strong to be spoiled by me.
Of course, after all that I have said, I will finish by saying an enormous "thank you" to the three departing guys who in their time were an undoubtedly powerful force in making the Tangent what it was and still is. These were among the very best musicians I have ever had the pleasure to work with, I count myself lucky to have had this opportunity.
Now- here comes the future. It's good to be scared again.
Andy Tillison
