I’d hoped to have been able to provide better news for the North American fans after confirming the ‘Cruise to the Edge’ slot and opening negotiations for a tour over there in February after the ship docked in Florida.
Larry Webman my agent has been working hard at bringing dates together in recent weeks and sent me through the offers at the weekend.I am deeply disappointed to tell you I have had to pass.
The guarantees provided were pretty close to the 2008 tour when I played 15 shows including the ‘Nearfest’ show which was one of the key dates. I dug out the tour accounts from then and had a phone call with Yatta who had set up that tour to discuss logistics.
On the 2008 tour, I lost £15k on the shows with the merchandise sales saving me and providing an overall profit of £2k on the tour. Although exchange rates are in my favour just now the costs over 10 years since my last visit have risen considerably.
Even with the flights out crossed against the cruise, the cost of visas, freight for the equipment we would need on the road, buses, hotels, and wages have all risen and the gig offers are nearly the same.
I grossed $115k on the 15 shows last time and lost $31k. The offers this time are around $120k for 13 shows. I didn’t break any guarantees in 2008 despite all the support provided and also got hit by a fluctuation in exchange rates. It was $1.7 to the pound when we went out back then and sits at $1.4 just now. I have to take that into account and can’t gamble on the current beneficial rates staying as they are.
As the country is so vast I have to use some smaller markets to give me stepping stones for the bus journeys and most of them are not even covering daily costs. We looked at shortening the tour and just playing bigger markets but the costs of visas and freight etc that have to be spread over the tour and bus costs and hotels on days off/ travel between cities didn’t add up either.
I’m not giving up hope and Larry and I have decided to re-evaluate early next year once the new album is in place and the new digital downloads and streaming services are available to see if we can set up something in the Autumn of 2019. That in all probability will be my farewell tour of North America and ironically it just might gather enough interest to get the fees up to a more manageable level.
As I said I am deeply disappointed that I couldn’t make this happen as I thought I genuinely had a chance to bring it together. I cannot afford to take a huge gamble at this stage in my life and risk losing the kind of numbers I lost back in 2008.
I hope you understand my predicament and my decision and lets hope that circumstances change in the coming year. I’m sorry to let you down.
FishI’d hoped to have been able to provide better news for the North American fans after confirming the ‘Cruise to the Edge’ slot and opening negotiations for a tour over there in February after the ship docked in Florida.
Larry Webman my agent has been working hard at bringing dates together in recent weeks and sent me through the offers at the weekend.I am deeply disappointed to tell you I have had to pass.
The guarantees provided were pretty close to the 2008 tour when I played 15 shows including the ‘Nearfest’ show which was one of the key dates. I dug out the tour accounts from then and had a phone call with Yatta who had set up that tour to discuss logistics.
On the 2008 tour I lost £15k on the shows with the merchandise sales saving me and providing an overall profit of £2k on the tour. Although exchange rates are in my favour just now the costs over 10 years since my last visit have risen considerably.
Even with the flights out crossed against the cruise, the cost of visas, freight for the equipment we would need on the road, buses, hotels and wages have all risen and the gig offers are nearly the same.
I grossed $115k on the 15 shows last time and lost $31k. The offers this time are around $120k for 13 shows. I didn’t break any guarantees in 2008 despite all the support provided and also got hit by a fluctuation in exchange rates. It was $1.7 to the pound when we went out back then and sits at $1.4 just now. I have to take that into account and can’t gamble on the current beneficial rates staying as they are.
As the country is so vast I have to use some smaller markets to give me stepping stones for the bus journeys and most of them are not even covering daily costs. We looked at shortening the tour and just playing bigger markets but the costs of visas and freight etc that have to be spread over the tour and bus costs and hotels on days off/ travel between cities didn’t add up either.
I’m not giving up hope and Larry and I have decided to re evaluate early next year once the new album is in place and the new digital downloads and streaming services are available to see if we can set up something in the Autumn of 2019. That in all probability will be my farewell tour of North America and ironically it just might gather enough interest to get the fees up to a more manageable level.
As I said I am deeply disappointed that I couldn’t make this happen as I thought I genuinely had a chance to bring it together. I cannot afford to take a huge gamble at this stage in my life and risk losing the kind of numbers I lost back in 2008.
I hope you understand my predicament and my decision and lets hope that circumstances change in the coming year. I’m sorry to let you down.
I’m very pleased to announce my brand new sci-fi progressive rock band called “In Continuum”!
The first album will be released later this year! Joining me on lead vocals will be Gabriel Agudo (Steve Rothery Band, Bad Dreams) with special guest Jon Davison of Yes and it will feature multi-instrumentalists Matt Dorsey (SOC), Randy McStine (The Fringe, SOC), Wes Dearth(Porcupine Tree, SOC), Nick D’Virgilio (BBT, Spocks Beard), Derek Cintron and Fernando Perdomo (DKB) and the amazing Steven Rothery(Marillion) and more! Just announced today, “In Continuum” will be doing a big show on Cruise To The Edge Feb 4-9th, 2019!
Extra big thanks to Larry Morand for bringing me back onto CTTE and for premiering my new band today and to Joel Barrios for amazing photos, graphics and web admin!
Kino have announced the release of their new album ‘Radio Voltaire’, arriving 13 years after the band’s much-loved debut ‘Picture’ back in 2005. Out on March 23rd, 2018, it sees John Mitchell (It Bites, Lonely Robot) & Pete Trewavas (Marillion) teaming up once more, with Craig Blundell (Steven Wilson) on drums & John Beck (It Bites) guesting on keyboards.
Recorded at the end of 2017, writing began at the end of that Summer. “We actually began the writing process in late August,” says John Mitchell. “Pete had a few tunes and so did I, and we went from there.” Mitchell and Trewavas were both a crucial part of the original band more than a decade ago, with the former providing lead vocals and guitar parts, while the latter played his trademark bass lines and also contributed backing vocals.
Keyboard player John Beck, who is also a bandmate of Mitchell’s in It Bites, has been brought back. But while he was fully involved on the debut album, this time his role is that of a guest musician. “Yes, I am delighted to say we’ve gone John on board. His keyboard playing is splattered throughout the album, and I’ve also done the odd keyboard part myself.” The task of drummer this time fell to Craig Blundell, as Mitchell explains: “This time around Craig was the obvious choice to be the drummer, as far as I was concerned. I have worked with him so much that there was nobody else in the frame.”
Of the album’s direction, Mitchell illustrates: “The title sounds very cool and obviously there’s a connection with the band Cabaret Voltaire. But Voltaire himself (the 18th-century French philosopher) had a fascination with death, which appealed to me. He also stood for freedom of speech and freedom of religion. On top of that, I love the idea of a radio station that would reflect his views on life and cut through the bullshit which seems to be all over politics. Now, that is the type of radio station I think would reflect what a lot of us want to hear.”
The album cover has been designed by Paul Tippett, who is one of the most in-demand artists of the modern era. “I like what he’s done with this sleeve. It reminds me of Moulin Rouge meets ‘Live And Let Die’. It is very striking, and I am sure everyone will have their own interpretation of what it reminds them of.”
The album will be available on Limited CD Digipak (including bonus tracks), Jewel Case CD, Gatefold 180g Double Vinyl (incl. CD) & Digital Download.
The tracklisting can be found below:
1.Radio Voltaire
2.The Dead Club
3.Idlewild
4.I Don’t Know Why
5.I Won’t Break So Easily Any More
6.Temple Tudor
7.Out of Time
8.Warmth of the Sun
9.Grey Shapes on Concrete Fields
10.Keep The Faith
11.The Silent Fighter Pilot
Bonus Tracks
12.Temple Tudor (Piano Mix)
13.The Dead Club (Berlin Headquarter Mix)
14.Keep The Faith (Orchestral Mix)
15.The Kino Funfair
The debut solo album from the virtuoso Iamthemorning pianist featuring an impressive list of guest performers.
Following the success of two highly-praised albums with Iamthemorning, Russian virtuoso pianist Gleb Kolyadin affirms his musical authority with his debut, self-titled album on Kscope. The record features a staggering whos-who of performers, including: Gavin Harrison (King Crimson / Porcupine Tree) on drums; Nick Beggs (Steven Wilson) on bass; Theo Travis (Robert Fripp / Porcupine Tree / Steven Wilson) on flute and saxophone; the unmistakable voice and lyrics of Steve Hogarth (Marillion) alongside Mick Moss (Antimatter); and Jordan Rudess (Dream Theater) on additional keys.”the single greatest pianist I’ve ever met in my life.” Daniel Cavanagh (Anathema).
Gleb Kolyadin is an emotive exploration of self-identity; a story of two parts with interweaving leitmotifs. The album’s central concept weaves through an elaborate tonal and thematic structure, built around the extraordinary rhythm section of Gavin Harrison and Nick Beggs, which is accented at its focal points by guest appearances from Steve Hogarth, Jordan Rudess, Mick Moss and Theo Travis.
The album is a collaborative piece with each musician recording their own parts separately, starting with Gleb recording himself on a grand piano in Moscow Winter-Spring 2017 at the famed Mosfilm studio. The album was mixed and engineered by Vlad Avy, who also previously worked on the two Iamthemorning records. Gleb Kolyadin will be released on CD / LP and digitally.
“Gleb Kolyadin is a beautiful pianist and a great musician. I was invited to collaborate on his new solo album and my mind was made up as soon as I heard the music.” Steve Hogarth (Marillion)
“Gleb is an extremely rare talent as a pianist and as a composer. His compositions are very inspiring as he breaks new ground on the instrument.” Gavin Harrison (King Crimson / Porcupine Tree)
“Gleb Kolyadin is a rare talent. A virtuoso classical pianist with tremendous compositional skills… believe you will find the listening experience quite breathtaking.”Nick Beggs (Steven Wilson)
Tracklisting Insight Astral Architecture (featuring Mick Moss) White Dawn Kaleidoscope Eidolon Into The Void The Room Confluence (featuring Steve Hogarth) Constellation / The Bell Echo / Sigh / Strand Penrose Stairs Storyteller (featuring Jordan Rudess) The Best Of Days (featuring Steve Hogarth)
Earlier this summer, a new book dedicated to the resurgence of one of music’s most enduring and underrated genres was announced from The Prog Report. Essential Modern Progressive Rock Albums: Images and Words Behind Prog’s Most Celebrated Albums 1990-2016, authored by Prog Report editor Roie Avin, is the first book to shine a light exclusively on the important albums of the modern progressive rock era. This new book showcases more than 50 albums from the last quarter century of prog, with each chapter dedicated to one album.
Featuring full-color images of the artists live, original press photos and brilliant album cover art, this 280+ page, softcover coffee table book will be one every prog fan will want to display proudly as a badge of their fandom.
Preorders come with a download of a chapter from the book on Transatlantic’s The Whirlwind.
Highlighted in the book are prolific and pioneering artists such as Dream Theater, Porcupine Tree, Opeth, Spock’s Beard, Marillion, The Flower Kings, Enchant, Fates Warning, Queensryche, and Big Big Train, along with more recent bands like Haken, Karnivool, Riverside, Between the Buried and Me, and The Dear Hunter, among the more than 30 bands included. Drawing on original interviews with band members such as Mike Portnoy, Neal Morse, Steven Wilson, John Petrucci, Mikael Åkerfeldt, Roine Stolt, Pete Trewavas, Ross Jennings, and dozens more, the book offers an in-depth look at the stories behind the albums that shaped the next wave of progressive rock. This book focuses solely on bands that carried the mantle of the genre’s initial ’70s explosion, artists that expanded the genre further, incorporating new sounds and elements to reach new audiences worldwide.
“The last 25+ years have been an incredibly fruitful period for progressive music, as this book indicates. The albums chosen here represent some of the most exciting music created in the modern progressive period, and it’s only right that they claim their moment in the spotlight.” – Jerry Ewing, Prog Magazine “There certainly was a period when the majority of bands of the New Prog generation, whilst more than competent, sounded just a bit too derivative of their first generation idols. But Roie Avin’s book goes some way to establish the credentials of the more recent Neo-Prog bands as having a far more individual and original voice whether it be the virtuosity of Dream Theater, the creativity and appeal of Big Big Train, or the highly impressive path carved out by Steven Wilson firstly with Porcupine Tree and latterly, in his own right.” – Anthony Phillips, Genesis founding member, and guitarist “This looks to be an amazing book and a MUST HAVE for Prog fans!” – Mike Portnoy
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