Ancient Vision is a five-piece set from Kansas City whose three albums capture the warm sounds of the 70's using today's technology and sensibilities. Since both of their albums were engineered by ex-Jethro Tull Tim Matyear, the Tull influence is noticeable through out their material. At best, it could be described as a blend of rock, classical and (to a lesser extent) folk.
I bought two of their albums some time ago and I am more than curious about this band. I therefore sent them some questions through Tom May, a well respected reviewer here in ProgArchives.
When,where and by whom was Ancient Vision formed ? Why did you choose
that name ?
Ancient Vision started out really in my mind as a one-man
(Mike Oldfield) type project. But, since this was in the mid 80's and
technology wasn't where it is today, I felt that to do the project
right, and to add "other talents" - I would enlist some friends that
came into the music store I worked at. This was in Independence, MO
(Kansas City suburb). I had a few false starts, which ended up with the
core of the group remaining, and, I had just gone through a divorce and
needed a place for the band to practice. So, a friend of mine had a
recording studio/rehearsal hall in an industrial cave, and the band
rented space there to begin our preparation for the first recording.At
that time we used a drum machine to support us, but when we got closer
to the recording - and I had gotten remarried and purchased a house - we
enlisted the wonderfully talented Rob Leytham as our drummer and friend.
As far as the name, it actually started out as Ancient Future. But one
day at my local record store (sure miss those days!) I saw that the
name had been taken, and it just came to me that Ancient Vision would
actually be better, as I did have sort of a vision for the concept of
To start with; please give me your (long or brief) thoughts and low downs
I think I'll answer these with emphasis on both the history of each
release as well as the music.
The Vision from 1991
Wow, what a trip the first album was to do. It could be a long story,
but I'll try and cut it down.
I have always been a huge Tull fan, as were some of the other members in
the band. Barry Spry, our bassist went to see Tull somewhere out of the
Kansas City area, and somehow ended up playing pool with the guys in
the band (Tull) and made a great/quick friendship with David Pegg. Later
that same year, Barry went to England for a vacation and found Dave,
which led us to the following year going to Pegg's "Woodworm" studio to
record the music.
Needless to say, there are a million stories that I could relate here,
but suffice it to say - WE HAD THE TIME OF OUR LIVES! A dream come true
for me. The interesting thing was to be all of a sudden at the studio
that real pro's had recorded seriously successful recordings. It was a
bit overwhelming at times,but we got it all done in a couple of weeks -
unheard for today's way of recording our stuff.
As far as the music goes, I felt that this would be our one and only
recording,so we really put a lot of progressive type styling into the
music. I am still quite proud of the album, but especially the lengthy
track"Stand." I believe it to be our trademark piece of music. The
musical approach here was very much from a Tull perspective, and of
course the other influences in my life. There is also the beginning of
my own ideas/style creeping in. Much more hard edged than the next two
albums, with shorter songs- except the epic Stand.
Working with the engineer Tim Matyear was the real music lesson
learned. I will never forget on the first day of recording, he came to
me and said that since this was my music, he wanted to know which
"timing accuracy"magnifying glass to use. I asked what were the
choices, and he replied"well, you can live with what comes naturally,
or you can use my (Tim's)better tempo/time magnifying glass, or there's
one more." Of course I asked what that was, and he said "Ian Anderson's
(Tim had been working with Ian for some time at this point,) it's the
best there is." I chose to use Tim's - and man was his even tougher than
one might expect.
We mastered the music when we got back to Kansas City, and with the help
of Archie Patterson (Eurock) distributed the album.
Focus or Blinders from 1993
After the release of "Vision" we started to play a little bit "live."
So, since I had a lot more ideas/songs to work with, we arranged those
for our live performances, and then got them ready to record for our
This time, instead of going to England, we brought the
wonderfully talented Tim Matyear (Tull's engineer at the time, and the
one from our 1strelease) from England to one of the local Kansas City
studios. The recording was quite trying, as there was actually way too
much material, and too little time. But again, we prevailed and through
the same path as the first (Eurock helping) we released our 2nd CD. At
this time, we were actually playing somewhat frequently, even though one
of the guitar players had moved to Chicago, and the lead singer had
moved to New Orleans. Still, we came up with a nice show, sometimes
without that particular guitar player, and with me playing the guitar
parts. In fact, we have a double CD of one of the shows from that time
period that we've never released. Maybe someday we'll release it as a
digital release, or CDR if there's interest.
The music this time was quite changed from the first albums sound.Still
quite progressive, and no doubt a bit of Tull influence, but now my
own thoughts/style really started to come out. We added the
magnificently talented Joe Allen to the lineup, and I played a
considerable amount of guitar (mainly acoustic.) With new elements, and
the addition of some female backing vocals,and great sax, the album
took on a more subtle, transparent style - still with the long song "Why
Send A Man In" as the centerpiece, and quite proggy.
Except for the fact there's just too much music on the CD (actually
we ended up with over 20 minutes finished product that has never been
used,) I really enjoy this album, as it represents an evolution in
production and simplicity over the first CD. The lyrics, which this time
are quite personal,are more straight forward and with Jo's addition,
it really made it closer to"my vision."
Lost At Sea from 2008
Well, I will tell the tale of the lengthy 15-year break between
releases on the next question.
So, I will speak of the music first. By this time, including
immediately after the recording of the second CD, I had started to feel
somewhat frustrated with the whole "group" type thing, and had grown
(thanks to Tim Matyear and Joe Allen) quite a bit in understanding on
how to attain my vision. I decided to try and do all of the music in
Kansas City, using the resources that were here in the community. I also
decided to do all of the guitar work, and sing some of the material. We
included Susan Harp as guest female vocalist, and Joe Miquelon (from the
Celtic rock group "The Elders") for the saxophone parts.
This album is the beginning of the true purpose of "The Ancient Vision"
concept, bringing lyrically in; the trying/difficult times we have been
thrown into, and the need for a possible "rebirth" of our world.I have
included a short story to present the groundwork for the concept, and
we"tied" all of the songs together musically, so to present it as
a conceptual work.
The music is now pretty much the groups own style (of course influences
will always appear) and with much more emphasis on layering, dynamics,
etc...Still lengthy songs, and very much in the progressive rock vein,
the overall character of the music is very representative of my personal
ideals of mixing electronic music with hard rock.
"Lost At Sea" is the first of a 3 part CD release of this
There is a fifteen years long break between Focus Or Blinders and Lost
At Sea. What happened ?
Well, that's a great question, and one that's a bit hard to answer.
From the release of Focus or Blinders, I finally started to find the
energy and strength to tackle the real story I wanted to tell. Knowing
this was going to be a conceptual, long project, I decided to try and
utilize the location and talents that were free to me, courtesy of great
friends. A long time friend had a wonderful studio close by, so we
rehearsed there, and started recording about a year and a half after our
This was an ADAT studio, and we knew we would eventually transfer the
basictracks over to a digital workstation. Things went pretty good with
the basic recording - lead vocals, drums, bass, most electric and
acoustic guitars -keyboard parts had started at this point also, as
they were originally done through sequencing. This recording process
took about 3 months, as everyone was strewn across the country, and busy
with their lives, but again, this went pretty smoothly, and we finished
it up, leaving the transfer to Cubase (digital workstation) to Joe, our
keyboardist and the engineer of the project.
Now's the sad part of this little tale...once we finished with the
initial recording, everything that could go wrong, did. From technical
problems,laziness, apathy, personal loss (both my parents died) and
just plain "too much life - not enough time" took place. So, I just sort
of outwardly gave up...oh, we would talk about it, maybe deal a little
with mixing - the transfer took forever, and didn't go as expected, so
the mixing became tedious and maddening. Then we would just quit for a
while, and then finally just quit altogether as personal lives became
strained. Work, house payments, etc....
Then, about a year or so before we actually released the album, I sat
and listened to some rough mixes we had done. This rejuvenated and
inspired me again about the concept and the project...also, I had been
working a little bit on the storyline which I had developed. So, Joe
built a new computer, we got things going technically (still with
difficulties - nature of technology) and through many tedious long
evenings after work, we finished the product.
At that point (and still to this day actually) my financial situation
was quite strained, so I sought outside help in getting "Lost At Sea"
released,and through a wonderful relationship with Bernard at Musea,
the album was properly released (with Mario Barrett doing the cover) in
late 2008/early 2009.
Of course, going through all of the technical challenges had taken its
toll on some of the recording, but I believe "Lost At Sea" to be
quite professional, and am very proud of the final musical experience. I
am also proud of the strength and patience that was given to me through
the many friends and fellow band mates of The Ancient Vision.
What is the latest update on Ancient Vision ?
The second in the conceptual series is underway. Again, thanks
to technology, I am able to do most of this at my home studio. I am
about 3/4 of the way through the initial recording/mixing of this
project, which is tentatively titled "The Return: Ancient Promises." So
far, things are going quite good, but still a bit slow, as life
continues to challenge me. But,I feel very positive and quite pleased
at the preliminary results. I will be singing a bit more, and using
female vocalist a lot more, with some real sax/flute added. I hope to
have a sample of this up on our myspace site soon
Despite of your co-operation with Tim Matyear from Jethro Tull, your
music is mainly symphonic prog with some folk and jazz influences. But
how would you describe your music and which bands or scene would you
compare your music with ?
Well as I've stated before, the masters of progressive/hard rock
have influenced me through the years, but being from the Mid-western
part of the USA, other things have also been an impetus into my writing.
Believe it or not,even country music has crept into some of the guitar
playing, as well as some jazz influences from the great history here in
Kansas City. Along with more and more of my own style being the center
of the music, groups like Eloy, Genesis,Tull, Mike Oldfield, Terry
Riley, The Enid, all have little bits of their inspiration behind some
of the atmosphere's created.
What is your experiences with the music scene and the industry ? Where
do you think it is heading ?
Boy, this one could get a bit sticky, as everyone has an opinion about
the music industry. I will say this, that from the local Kansas
City scene, and with regards to people striving to play their instrument
and composition in a progressive way, there is little or no scene at
all. On the national, and international level, there is definitely some
growth going on,especially in the avant/RIO genre...younger players
stretching themselves, both instrumentation and composition. Groups like
Cheer-Accident, We Insist!, Algemon, etc...these musicians are really
doing something different and exciting.
But, I must say that for my personal ears, heart, spirit, and emotion,
the traditional giants - from any prog rock genre - are the gods of our
time... Jethro Tull, Yes, Genesis, ELP, King Crimson, Van Der Graf,
Magma,Univers Zero, etc, etc, etc,… the list is thankfully too long to
type. It's amazing all of these were born out of the Beatles revolution
of music and are such strikingly different. I would hope that the young
groups in the genre would study/enjoy these ground breaking monsters of
You are a daily user of ProgArchives and as you stated in your reply;
you see the value of the inclusion of your band in our interview data
base these days and long after your passing. A website which also
includes opinions about and reviews of Ancient Vision. I guess you
sweated blood when you recorded those three albums and they are your
What do you feel when you read Ancient Vision reviews and opinions about
your band ?
Nice that you ask these difficult questions, as the answers are
hopefully honest as well.
The truth is this: their are a few of us out there, trying to compose,
record, play live, etc...that work and live in every day lives.
AND,we're trying to do this with the idea of sounding as professional
as our heroes do/did. Very, very difficult to do. And it's not just that
we don't have the money for serious studio's. As I stated before, these
technological days offer quite a bit for the small private studio. But,
those heroes of ours made a decision to make the creation and production
and live performance of music their livelihood. The made the sacrifice.
They took the chance, got some breaks, were there at the right time,
etc...but me, I have always enjoyed trying to straddle a normal life,
mixing it with an expressive one. Of course the results are better or
worse than hoped for, but the dream is still alive.
So, when I read reviews, of course I want it glowing, and most the time
it's an honest, positive reflection of the music. When I read
something that's critical of the music, I feel instantly bad...but then,
as I look at what was written, I first of all remember that there's a
lot of very positive things said about Ancient Vision, AND, I try and
learn from the criticism...again keeping in mind, that we do this on a
shoe string budget, and not enough time to give.
Having said all of that, I will state: I am so proud of what we have
done. The experiences we have had (and will have) and the new
exciting things that we are creating right now are truly "dreams into
When yourself review albums by other bands for ProgArchives; does your
experience of sweating blood on the three Ancient Vision albums sneak
into your reviews ?
Well, I guess it does just by osmosis...but, the thing I have always
been able to do is; to just "listen, think, and feel" the music. Not
initially do any real in-depth scrutinizing, just experience how it
makes me feel and think. Then, as I listen on the second or third
time,needless to say, if it's something that I write on Progarchives
about, my own experiences betray my opinion some.
Just to wrap this interview up; do you have any regrets in your music
My god, you really are asking the tough ones! Of course I have regrets.
As I stated above, I chose to try and combine a "normal"life with being
engulfed in this thing called progressive music. That choice lost a
marriage (happily married now though!) - has kept me in the music
retail instrument sector (tough times at its best) and never really
living up to my parents hopes and expectations. But the truth is; I
believe that I should have pursued music as a career, the first time I
heard Tull/Oldfield/Eloy.... But, I didn't, and chose the perhaps more
difficult path of betraying both elements of "normal life" and "music
That is why I am so thankful for the other members of Ancient Vision,
who have supported my dreams, traveled to far away places, drank way too
much Guinness at times, and sought to discover each others love for
the expression of ones self through music. Through this commune of
music, they have pushed me into completing the music that I love so
What is your five all time favourite albums ?
That should be a difficult one, but it's not:
1. Jethro Tull - Aqualung
2. Jethro Tull - Thick As A Brick
3. Jethro Tull - A Passion Play
4. Eloy - Planets
5. Mike Oldfield - Ommadawn
Anything you want to add to this interview ?
The main thing that I would like to add, is a big thank you for your
(Progarchives.com) continued support and encouragement of
progressive music of all types. There are other sites also, but for some
reason Progarchives.com has struck just the right chord. Through web
sites and forums such as this, like minds from around the world get to
commune with open minds about something that is very personal, and very
dear to them.
I would also like to thank the distributor's, both retail
and wholesale/manufactures that support progressive music of which there
are too many to name, but to not mention Archie Patterson (Eurock) -
Greg Walker (Syn-Phonic) - and Bernard Gueffier (Musea) would be doing
a disservice, as they have been such wonderful friends, guides, and
fellow travelers of progressive music.
The thing that I hope for the most is; that there continues to be anew
generation of progressive thinkers/musicians that will follow that
spirit of heart and mind combining to make creative music.
A big thank you to Tom May for this interview.
Ancient Vision's PA profile can be found here and their homepage is here