VANGOUGH

Even before putting this on the player one knows that it is going to be looking back at previous works as it combines the crow from 'Manikin Parade' with the rabbit from 'Kingdom Of Ruin' but what is somewhat unusual for a prog band is that this is fully acoustic, and also that all of the proceeds are going to charity (Heartland Rabbit Rescue in Oklahoma where band leader Clay adopted two rabbits from himself). This has been put out there as a Vangough release, but only singer/guitarist Clay and bassist Jeren Martin are there from the last album, with Corey Mast (keys) and Brandon Lopez (drums) absent but that may well be due to the structure of this album as while there is a percussionist (Kyle Haws) the other musicians are Justus Johnston (violin) and Jose Palacios (cello).

The gentle introduction of 'Leaving Bricolage' with the strings combining with the sounds of crows and a storm leads us into 'A Song For Crows' and a nod back to the debut. This is a wonderful acoustic combination where Clay sings both emotionally and powerfully yet with control and restraint. It is easily one of the best songs they have ever done, just proving that numbers don't have to be bombastic to be effective. I have read that 'Throne of Rusty' contains an acoustic version of a game song, but as with all of the songs on their second album I was too busy playing music to play video games so don't know any of the originals. What I do know is that here they have allowed the violin to take the lead in a wonderfully evocative number that to me always feels like the perfect music to put alongside galloping horses. Then we move into 'The Rabbit Chronicles' which is of course linked to the last album, where yet again Clay allows the strings to take centre stage. I particularly like the way that this one switches emphasis and moves around. The final 'The Road To Blighttown' brings back the crows and the storm as everything winds down.

This is only an EP, but shows just how much the band have expanded their musical outlook in a very short period of time and I look forward to the next album with interest. www.vangough.com

I originally wrote this review in 2009 and have just realised that I hadn't posted it here.

Well, like many other progheads, one of the many prog sites that I visit fairly regularly is Sea of Tranquility. While I may not always agree with everything that they write it gives me an additional insight into the scene, and I know that they are not prone to hysterical outbursts. But when they start an interview with the comment "Vangough is probably the best Progressive Metal band you'll discover in 2009" one has to wonder on what basis do they make that comment? Well, I am currently listening again to the evidence and in all fairness I have to agree with them. This is prog metal of the highest quality; it certainly doesn't sound like a debut as this is melody, musicianship and class all rolled into one ? the end result of which the only thing that the listener can do when it finishes is to hit the play button yet again.

Only one song can remotely be said to be lengthy, and that is not even ten minutes so in terms of the genre what we have here is short and punchy. The vocals are strong and the production clean with the music twisting and melding its' way through gentle piano balladry and harmonies while they can suddenly go into full on metal with the guitar riffing and the band in full flight. I have had this CD for a while and each time I play it I find something new here to enjoy. It is of no surprise to me that it is rated so extremely highly by sites such as Amazon, yet this isn't the latest release from ProgRock Records or InsideOut, but rather is an independent release. Singer and guitarist Clay Withrow has a strong vision that drives the band far beyond one would normally expect from a debut. They claim that they "spit fiery madness by drenching your ears with a purple sunrise of melodic cocaine and a not-so-subtle approach to reading you the story behind today's headlines."

And do you know what? They do all that and more. If you enjoy prog metal then you need to have this CD. Nuff said

How do you make a retrospective album without turning it into a best-of release? Just follow this blueprint set by Vangough; release an acoustic EP featuring creative new takes on the albums in your discography!

Ever since the release of their 2009 debut album, Vangough have been releasing a new album every year. After the release of their third album, Kingdom Of Ruin (2011), the band seemed to take 2012 off but right at the end of year came a five track EP. The intro and outro tracks are just that, what this EP is actually about are the three songs in between. A Song For Crows is clearly a tribute to the band's debut album and it's easily the most beautiful track that they've released to date! The acoustic sound of the instruments and Clay Withrow's passionate vocals clearly recall the sound of the Pain Of Salvation classic album 12:5, which unfortunately makes this composition slightly fade in comparison. Still, it's rare treat even by Pain Of Salvation standards, so enjoy this passionate moment while it lasts!

Throne Of Rust is clearly suppose to be a tribute to the band's second album Game On!, featuring an interesting acoustic take on the classic Mega Man tune from Dr. Wily Stage. The Rabbit Chronicles chronicles the band's Kingdom Of Ruin-era with some fun acoustic instrumental intro leading to a somewhat unbalanced mishmash throughout the remaining 5 minutes. The Rabbit Chronicles is unfortunately not as enjoyable for me as the reminder of the album, luckily it doesn't ruin the overall quality of the record as such.

If you're new to Vangough then by all means, give this record a shot! It might not be as passionate as Manikin Parade, playful as Game On! or ambitious as Kingdom Of Ruin, instead it tries to fuse these three qualities into one 25 minute bite size experience!

**** star songs: A Song For Crows (10:24) Throne Of Rust (3:28) Road To Blighttown (2:02)

*** star songs: Leaving Bricolage (1:40) The Rabbit Chronicles (8:24)

The more I hear of Vangough, the more I am incredibly impressed. These guys just refuse to be pigeonholed into any one genre and if anyone deserves to be called 'progressive' in the truest sense it is this quartet from Oklahoma. Some would liken them to Dream Theater, and while that is true in certain passages, there are times when they can be as gentle as they can bombastic, as simple as they can be complex, always melodic and bringing together a wealth of influences from bands as diverse as Muse, Porcupine Tree and even Coldplay (and the record label even references Pantera ' I don't think they are quite that heavy, but I can understand where they are coming from). This is Clay Withrow's band in that he writes all of the music and lyrics, provides vocals, guitar and keyboards but the rest are far from being bit players. Brandon Lopez has an incredibly deft touch at the back, and provides straightforward rock drumming when required to drive the music along but is more than happy to provide fills and nuances that Nick D'Virgilio or Mike Portnoy would recognize. Fully locked in is bassist Jeren Martin while Corey Mast has a wealth of styles and sounds at his fingertips.

For their third album the band decided to provide a simple set of songs in 4/4 time with lyrics about boy meets girls relationships. Okay, so I lied. To tie in with the prog/metal/acoustic/rock music it would only be right and fitting to have grandiose lyrics. What could be better than a concept album telling the story of a Rabbit Kingdom, by a man who is stepping through the veil of two realities. Through the course of the story he begins to realize his link to this other world and has to come to a difficult decision regarding his role in it. Yep - must be prog after all.

This is a band that sound at home whether it is with acoustic guitars and piano, soaring prog or crunching the riffs. Well produced, and with a story that contains bunnies, surely this will get them even greater attention! Indispensible. www.nightmarerecords.com

In the past couple of years the name of Vangough has been mentioned in several places and occasions, here in ProgArchives I read some reviews and got interested, though I actually did not look up for their music. Now, fortunately, thanks to Freeman Promotions I could have the chance of listening to their latest album, which gives me an idea of their music, though I am not really sure if in the sound here is the same as in their previous works, since I've not listened to them.

However, I have found myself comfortable while listening to this 2011 release entitled "Kingdom of Ruin", an album that contains fifteen songs that make a total time of 75 minutes (it is a long album indeed). The music here is oriented to progressive metal, with some variations. It powerfully kicks off with "Disloyal", with some screams since the very first seconds, later keyboards and guitar begin to create the structure, and open the gates to what Vangough will offer here. This song is a nice opener, with a cool guitar riff at the end, and with good (though not my favorite) vocals.

"Choke Faint Drown" has again a powerful beginning, but a minute later it slows down and creates a subtle sound that puts a charming mood. Little by little the song is progressing, with keyboards, emotional vocals and metalish guitars. "Abandon me" has a very alike sound, it totally follows the same style. The fact is that here we begin to realize that their style does not necessarily fit under the prog metal realm (they are, without a doubt, but they truly touch the boundaries).

"Drained" continues with that mixture of heavy and mellow metal, here the voice is what really changes the direction, in spite of the music, so for the band it is undeniable that Withrow's vocals are really important, whether you we like it or not. What I like of Vangough is that in songs relatively short, they put several elements and changes of time and mood. "Kingdom of Ruin" starts with a delicate piano, and then the heavier sound appears, with nice keyboards as background, cool drums and once again good changes in mood and tempo.

"Frailty" has a soft sound with piano, mellow vocals and guitar chords. As you can imagine, a minute later it changes and becomes a bit heavier, without being really heavy. There is a moment of tranquility, when even acoustic guitar appear, but later it explodes again. I am not sure if my review is being a bit repetitive, but well, I believe Vangough's style is well defined. "The Transformation" is the shortest track, with a night ambience, with some crickets as background while the piano sounds.

That short piece leads to "The Rabbit Kingdom" which has a happier and hopeful feel, and happens to be one of my favorite tracks of the album. Here I like how the music and the voice contrasts, while the first are creating a heavy or dark mood, the second puts a truly mellow atmosphere. This song is also the closest one to symphonic prog (or symph metal, whatever you want to call it). "Stay" has acoustic guitars at first, and then a rockier and cooler sound which had not been shown earlier in the album. Then the music notably slows down and that mellow voice appears again. And the structure is repeated.

"Sounds of Wonder" is another of my favorite tracks due to its different sound, far from metal and with even some friendly percussion. During the whole track we will listen to a gentle track, which as I said, I like, but I am afraid Vangough's die-hard fans may not love. "A Father's Love" shows what the title suggests and what one can imagine with such name. Piano, mellow music, sentimental sound.

With "Requiem For A Fallen King" the band returns to, let's say their original sound, the one I've been describing in previous tracks; I like the inclusion of keyboards because they put different nuances and sometimes they create the mood, the last part of this song is a good example. "An Empire Shattered" may be the funniest track (with due respect), the vocals and the rhythm are pretty catchy and sounds like music for youngsters. A parenthesis, I also found here a song that grotesquely reminds me of A.C.T.'s Last Epic, surely Vangough are aware of that.

"Alice" is the last of the shorter tracks, and here they use again their mellowest side with piano and vocals. After this song, the album finishes with the epic entitled "The Garden Time Forgot" , whose 14 minutes show a cool blend of melodic, heavy, melancholic, emotional, etc., music. This song is an example of Vangough's compositional skills, and an example of the quality of their members, though I don't dare saying they are the most virtuosos, they truly made a communion with their ideas and put a very good epic track. A highlight, when a flute appears.

After all, I am not really impressed with the album, I enjoy some of the songs but I don't love it at all. I believe this was not my best introduction to Vangough's music, but I wanted to click with it, but after five or so listens, I couldn't. So for me this is a decent albums, good but not essential, three stars.

Enjoy it!

Let's talk a bit more about Vangough!

Although I'm still not sure on how I got my hands on Vangough's debut release, there is really no question about their sophomore release Game On! since I got it as a part of the ProgArchives monthly gift giveaway roughly a year ago! I clearly remember my excitement related to getting this release since I did enjoy the band's debut release and was looking forward to seeing how Clay, Brandon and the new member Corey Mast would build and expand upon their existing sound.

Boy, was I setting myself up for a surprise! Not only was this album a complete deviation of the style on Manikin Parade, but it was a deviation into the world of video game music no less, a world that exists far away from progressive metal music scene! Of course, that latter statement could be considered debatable since Earthbound Papas and Metroid Metal have recently been added under the progressive metal sub-genre here on Progarchives. Still, there is no denying that this was a very unusual deviation for a band that have depicted such a strong lyrical and vocal content on their debut album and then completely abandoning it here in favor of instrumental gaming soundscapes. I mean, how often do we see a band/artist deviate this much from a winning concept in only a matter of a year?

Still, even if I find this shift to be an impressive such, especially considering the strong vocal performance by Clay Withrow on the band's debut album, there is no denying that Game On! becomes a difficult album to recommend to anyone who hasn't been an active member of the late '80s/early '90s gaming scene and the so-called war between Nintendo and Sega (just search for "console wars" on any search engine if you don't know what I'm talking about) . Yes folks, this is one of those gaming albums heavily drained in nostalgia for the console gaming of the past. Fortunately for me, I can share this passion with Clay and the guys since I got my Sega Mega Drive back in the early '90s and it's still the gaming console I hold dearest to my heart! Games like Sonic 1-3, Phantasy Star quadrilogy, Rocket Knight Adventures, Shining Force I-II are all among my all-time favorite games and I can clearly see that Vangough can share some of that retro magic with me!

The downside to an album like Game On! is that it's a neither that progressive (except for the fact that instrumental gaming music does sound like it could be progressive to the unfamiliar ear) nor too appealing to listeners who aren't invested enough in the genre. This is pretty much why my rating for this release cannot be any higher than a good, but non-essential one. Despite the fact that I really enjoy this kind of music nostalgia, there's just no way that I can lie and state that this music is applicable for a non-gaming progressive rock fan.

***** star songs: Green Hill Terror (5:02)

**** star songs: Wily's Castle (3:22) Marine Fortress (3:40) Your Darkest Hour (3:15) Corneria (3:40) The Killer Instinct (5:01) Coral Capers (5:30)

*** star songs: Simon's Revenge (9:25) The Turtle King's Lair (4:16) Torvus Bog (7:14)

Let's talk a little bit about Vangough!

Well, to tell you the truth I know very little about this band outside what little I could get from their biography on the artist page. I know that they're from Oklahoma and are fronted by Clay Withrow who is a multi-intrumentalist, vocalist and songwriter for the band. What I do know is that I've had Manikin Parade in my music collection for almost two years and I honestly have no memory of how I got this album. Another thing that I clearly remember is that completely dismissed the band for being a Pain Of Salvation clone, at a time when Daniel Gildenlöw had already started to drift away from the approach that's so prominently is featured on this album's title track, Estranger and Paradise For The Lost.

Manikin Parade can be dismissed for many number of reasons. The compositions and performance are far from original, featuring emotional progressive metal style that has been done to death by 2009, but the biggest problem for me is the album's 75 minute length. It's honorable for a band to release such an ambitious album, but I just can't help but think that this ambition is getting in the way of making the final product a worthy experience.

Some of these compositions could have easily been removed while most others could have been shortened down by a whole minute or two. Unfortunately even some of the album's strongest moments lose some of their momentum for sounding too much like tributes to other artist and not as original piece that could stand on their own. Outside the obvious Pain Of Salvation references, Gabrielle also features an entire section the sounds like Pink Floyd's Brain Damage and a few instances that make me think of '80s albums by Saga!

All in all, Manikin Parade is a very ambitious debut album from Vangough that clearly shows that this band, especially Clay Withrow, have some really great things ahead of them. Unfortunately, this album is only the beginning of this journey, but I will make sure to keep an eye on this band from now on since they clearly have a potential of making it big in the progressive rock genre!

**** star songs: Estranger (6:13) Manikin Parade (7:57) Handful Of Dreams (5:37) Disorder Quotient (4:42) Bricolage Theater (1:24) Paradise For The Lost (The Twilight Part I: Deception) (9:21) Gabrielle (The Twilight Part II: Love) (6:19) One Dark Birthday (6:59) Halcyon Days (1:46) The Cosmic Bus Stop (2:44)

*** star songs: Christmas Scars (7:37) Dance Of The Summer Mind (5:41) Etude Of Sorrow (The Twilight Part III: Oblivion) (8:44)

'Kingdom Of Ruin' - Vangough (7/10)

A couple of years ago, Oklahoma prog metal band Vangough released their debut 'Manikin Parade', an album that I perceived to be shamelessly doused in the influence of Swedish act Pain Of Salvation, but one that I found both inspired and enjoyable to listen to. Since then, they also released a fun tribute to the soundtracks of video games, playing original rock/metal renditions of classic game scores from the 8-bit era and beyond. Over the year or so that I have known about this band and listened to them, I have found them impressive and found myself in anticipation of the new outing from Vangough. 'Kingdom Of Ruin' may not have the instant appeal that 'Manikin Parade' had for me, but it is a step towards maturity for the band that I think will lend to even greater things in the future.

Most notably, frontman Clay Withrow and company have tuned down the superfluous Pain Of Salvation influence in their sound. This is a band that is still notably inspired and driven by the style of progressive art metal that Daniel Gildenlow can be said to have innovated, but I feel like this band is taking steps to making their own identity. Ironically, this is brought forth by lowering the dramatic flair and proggy sensibilities that I heard on the debut. Instead, there is a more homogeneous melodic metal sound. In hindsight, 'Manikin Parade' was a little scattered and over-the-top, and at least for its first half, 'Kingdom Of Ruin' ramifies this issue. The songwriting is a little more concise and focused this time around, without as many 'wow' moments to dive into, but each song delivers a somewhat greater sense of satisfaction by the end. 'Abandon Me' is a perfect example of what this album is all about; rhythmic guitar work, plenty of ambient keyboard work in the background, and- certainly not least- Withrow's voice itself.

As was the case with 'Manikin Parade', Clay Withrow's vocal abilities remain the absolute pinnacle of Vangough's strength. In lieu with much of the band's presentation, he does take a leaf from Daniel Gildenlow and the Pain of Salvation school, but the range and strength of his voice is gorgeous. Sadly, there are only a few moments on the album where his voice is given a chance to really prove itself, and this subdued nature is something that lies throughout 'Kingdom Of Ruin'. Each of these four musicians is an impressive figure in the prog metal catalogue, but I feel that the songwriting's often straightforward nature generally leads to the voice and writing being emphasized largely over anything else. There are still moments and solos where Vangough get to prove their instrumental capabilities, and these sparse sections are brilliant. There are some wonderful riffs on my favourite track 'Rabbit Kingdom', with twin lead guitars soaring. The latter half of the album does start getting a little more adventurous, with the twelve-odd minute 'The Garden Time Forgot' ending things. At fifteen tracks though, I begin to think that 'Kingdom Of Ruin' gets a little long for its own good.

There are plenty of memorable, moving songs here, and many moments where I was really impressed by Vangough. The more suppressed style on 'Kingdom Of Ruin' does indicate to me that they are consolidating their talents and sharpening up their essence, but it comes out just a bit dryer in general than I may have wanted. As well, this issue could have been softened by shortening up the album's length; with fifteen tracks here, it's difficult to argue that every one of them are winners, and the moments here that pass me as cheesy or tired- as few and far between as they may be- seek to take away from what is otherwise a really great album from this band. With the maturation they have demonstrated here, it will be exciting to see what Vangough offer on their third full-length.

In 2009 Oklahama based prog metal act Vangough released their debut album 'Manikin Parade' and I like many others was totally blown away by it. There was certainly great acclaim for this album, but the band didn't feel that the rime was right yet for the follow-up so instead went off on a complete tangent and recorded an homage to video games. The concept is a simple one, take all of their favourite video games and then record version of the music that is present. To make it easier for the listener they have stated where every song is from, and a little bit of information about each. Now, there's only one slight problem about this for me ' it has pointed out to me many times (by children, staff, friends etc) that I am old and I never got into video games. I have always much preferred listening to music or reading (yep, now I am starting to feel old..) as opposed to video games. All of my children are into Angry Birds and various others, but I don't even own an X Box ' in fact I have never had a games station of any kind, not even a Nintendo. So, it means that I have never heard any of these songs in their original setting whereas most of the people this album is aimed at certainly will have.

But is that a problem? Not really. It means that I can take this album for what it is ' a series of fairly short instrumental pieces that need to stand in their own right, which they definitely do. I have been able to listen to this album without unconsciously making any comparisons ' it matters not at all where the material is sourced from, it is whether it works in the current context. In a simplistic form it could be stated that this is a covers album, and every cover version has to be valid ' if a cover version sounds the same as the original what on earth is the point, and if it is very different (as it should be) then does it work without comparing to the original? 'The First Cut Is The Deepest' has been covered many times by many different singers, but many will state that Rod Stewart's is the definitive and not that of the writer, Cat Stevens, or there again should it be PP Arnold? But younger listeners may not realise that it even existed before Sheryl Crow had a hit with it in 2003.

So, does the album work as a series of instrumentals to the listener who has no idea of the originals? The answer has to be an emphatic 'Yes!' This album is a joy to listen to, with wonderful interplay between the different musicians and some very lyrical guitar that is almost Jadis-like in its clarity and tone. I have really enjoyed listening to this album, and can't wait to now hear the follow-up to 'Manikin Parade', 'Kingdom of Ruin'. This is a great band, one that all progheads need to discover. For more details visit www.officialvangough.com

I have heard about this band before, but never really been interested before I got a promo copy of this album which will see the light of day in three weeks time.

Listed as a prog metal band, Vangough has as much respect for the highway code as bankrobbers has during a bankrobbery. In short, their music is not confined within the prog metal genre. For some reasons, their new album reminds me about Muse in their vocals, symphonic approach and sound. Yes, there are still tonnes of metal in the sound and Dream Theater is a good reference. But Vangough is mostly branching out into landscapes previously/present occupied by the likes of Manic Street Preachers, Muse and Shadow Circus. In other words, theatrical and symphonic rock inspired prog metal.

The sound is OK and so is the music here. I have to admit it does not really hit me at home. Vangough is very artistic as in pretentious. But there are some good melodies inbetween this overly touchy feel me music here. I am sure this album will be lapped up by the new generations of prog heads. This is by no means a bad album. But I do not connect with most of it although I admit this band is one to watch during the next decade. They may be the new big thing in the scene. And frankly, that would not be a bad thing.

A good album, it is. But it fails to move me.

3 stars