I’m listening to Renaissance’s Ashes are Burning from 1973. I read it as harkening back to Vanguard Records kinda stuff. Honestly, if you like Pentangle, you’re going to love this. Jon Camp is one of those Rick with a pick™ guys and is melodic in that Chris Squire/Paul McCartney way. Annie Haslam definitely puts me in mind of Jacqui McShee, but making mathy, orchestral music.
Really nice. I’m midway through side two of this thing, so I feel like I can say that this is a truly great pop/prog album.
I’m thinking about this theory Krystal Ball put forward that suggests that Trump may actually be trying to cause a recession. I think maybe so. Maybe that’s what’s happening.
Our options are these: he’s doing it intentionally OR he’s just that stupid. I don’t know which to believe. Much will be decided over the coming weeks. I’m praying that the upshot is that Trump is just a stupid muhfuggah, and that Elon Musk makes Pumpkin Spice Palpatine look like a friggin genius. (A big friggin OMG DUDE to whoever came up with the name “PayPalpatine” for Elon, btw.)
That’s my favorite conspiracy theory.
My LEAST favorite theory is that Trump is a Russian asset. I don’t believe it for a minute. Second worst possibility is that Trump and Putin see each other as equals, and Putin’s rule is the closest analogue to what Trump wants.
So, here it is, January ’25. The world is about to enter a long, dark corridor. Really, we’re pretty much in that corridor already, but we’re about to turn a corner and whatever dim light there was behind us is going to be cut off.
We’re entering an age where human life will be much less valuable. The people are on the ropes. What are we going to do? What can we do? Time will tell. I hope what’s coming is at least a good story.
Into this dark January I continue to work on my novel-in-progress provisionally entitled A Curse of Romans. I’m giving it about 3 hours a week right now, but it is a consistent 3 hours a week, and has been since 2022. I’m a little over 3/4ths of the way through a 4th draft. I keep thinking I should devote more time to it, but whether I do or not, I intend to get it to a final draft, probably 3 or 4 passes away.
This current draft is about getting my facts straight. I’m consistentizing my worldbuilding (which was improvised in the first draft), I’m trying to make the characters a little bit more interior-logical, line-editing some because some things I did on the fly were obviously bad and it’s embarrassing, plus I’m rewriting two big sections, one of which I did earlier and one of which is upcoming – i. e., the ending. The current ending must be scrapped and replaced.
Next draft will be a scene-by-scene out-loud retelling in the narrator’s voice. Draft five is shaping up to be crucial. That will be the one where not only will I be reading each scene aloud, I’ll be applying the Stanislavsky stuff that my MFA seminar was about. If I don’t get intentions right, the whole thing will fall apart. Also wondering if I should acquire a kilij, which my narrator character uses.
So yeah, it’s difficult, I’m going slow, but the work is going well. I like what it’s about, I like my characters, and I think this is a good story. Of course, anyone who ever eventually reads the thing will decide.
Current listening: The Mob Rules by Black Sabbath.
The Trump/Jesus Death Cult has grown to such a size that they’ve won a national election in a landslide. As of this writing, this information has been hanging in the air for a week. My assessment is that some are greiving, some are beginning to bargain, some are in acceptance.
I’m angry: at the Republicans, yes – I have family members in the Cult, and a few that aren’t. I think I’m more angry at the Democrats for not having a primary. They’ve behaved like absolute fools this election, playing the palooka to a “T” again.
In 2019, Kamala went from being the top-rated Dem in the primary to having to drop out before Iowa to save herself from embarrassment. Why does nobody remember this? Soon as it became clear that she was the candidate, I knew she would lose.
One of the things that’s drawing me to this particular style of music is that I have no interest in playing it. It’s just music I can listen to and appreciate without feeling the urge to pull out my guitar and start learning it, because I am otherwise focused creatively and learning prog songs would take up far more free time than I have. So I’m free to just appreciate it.
I admire the amount of effort that goes into making good prog rock. The rap on prog is that it is full of tuneless, mindless noodling. I strongly disagree. I find prog music — the best stuff, at least — to be inventively melodic, passionate, intelligent music.
Genesishas been the greatest surprise of this phase of my music listening. I have never really “gotten” Genesis. The closest I have until recently has been a sincere appreciation for Peter Gabriel’s first for solo albums and a passing interest in The Lamb Lies Down on Broadway. At this point, I’d say my favorite Genesis album is Selling England by the Pound, although I really have a great fondness for Trespass, Nyrsery Cryme, and Foxtrot as well. I love Peter’s voice, but I have to say that though he has a timbre very similar to Peter’s I seem to have some resistance to Phil Collins’s voice. He was too prevalent in the pop culture at a certain point, and I can’t get past the annoyance I felt at his ubiquitousness. Even Trick of the Tail, which I can hear is musically on a par with Selling England, leaves me somewhat cold. I think of Trick of the Tail is the trio doing the quintet’s sound. I know Steve Hacket was there, but he was a player much more than he was a composer on that record. The vast majority of the material came from Collins, Banks, and Rutherford.
Other older bands have made their way back into my current rotation. In the past I’d stopped with Moving Pictures by Rush, Drama by Yes, and The Wall by Pink Floyd. I haven’t gotten any farther with Floyd, but I have spent a fair amound ot time with a few later albums by each of the other two. I have a new copy of Signals by Rush in my CD player right now, but I have also recently picked up Roll the Bones and Presto. None of the three quite compares with the first eight albums, although none of them are bad, by any means. I hope to spend more time with them. Yes, on the other hand, has given me a late-period album to compare with their earlier catalobue in Magnification, which I’ve been quite impressed with. In the matter of later-period Floyd or Roger Waters solo, let’s just say I haven’t been motivated to seek them out, really. If I want something newer that hits those Pink Floyd buttons, I am much more likely to go to Porcupine Tree.
A few years ago, I started a series of posts where I would listen to Porcupine Tree’s albums chronologically and write about each next album on Facebook. I never made it past Signify, but not because of the quality of the music. It was more a matter of my wandering mind. I actually quite like Signify, as a representative that early part of their catalogue. It’s transitional: they started to have their own sound on it. I might have been excited if I’d continued through to some truly great albums like Fear of a Blank Planet and In Absentia. I also have The Incident, which is a fascinating record. I love that it’s a long CD and an ep. The 4-song ep is particularly good. The hour-long “main” CD is some sort of concept album or other, very distinctively structured.
Two other more “modern” prog bands I’ve taken a liking to are Transatlantic and Wobbler. Transatlantic is a modern-prog “supergroup” with members of Marillion, Spock’s Beard, the Flower Kings, and Dream Theater. I’m currently trying to sort out whether or not I think Transatlantic is too squeaky-kleen for me, but I think the answer to that dilemma is probably “no, they are not too squeaky-kleen for me.” They’re very sincere and very good. Their playing is super clean, but doesn’t squeak. I have three of their albums: SMPTe, Whirlwind, and two verions of their last one, The Absolute Universe.
My friend Butch, when I introduced him to Wobbler, said “Oh, yeah, kinda like Yes meets Gentle Giant.” and that’s accurate. Absolutely ferocious playing throughout the two CDs of theirs that I own, Dwellers of the Deep and From Silence to Somewhere.
It’s been great to hook my ears into this music. I’ve found that music which doesn’t require my full attention isn’t really worth my time, and I’ve found all of the above music to reward deeper listening, to not have truck with anything resembling “postmodern irony,” — I am SO done with irony for irony’s sake — and that it requires so much dedication to play prog well that there is no way to fake it.
I’ll have more to say on this subject in the future.
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