THE TANGENT

In spite of its title, The Tangent's fifth studio album 'Down and Out in Paris in London' is neither a concept album, not it has anything to do with the George Orwell book - it is just a handy, fancy title for a record that happens to be the first occasion of an all-English lineup on an album by this otherwise international band (bassist Jonathan Barrett and drummer Paul Burgess are the newcomers joining Theo Travis, Guy Manning and Andy Tillison on board). Said to be a piece of work dedicated entirely and solely to the album format (unlike some preceding studio albums), and existing as a mere collection of songs telling some stories, this 2009 release features many bold sounds and performances that undoubtedly do resemble in a certain way the group's music from their early days, with the nostalgic, retro prog sweeps of sound, always so conscious of that very English aesthetic that has become part of The Tangent vocab. And in this regard, the five (or six, if you consider the bonus track) compositions on the album all work together in a fine way that gives this album a degree of delightful "Canter-memorabilia".

The big, epic suite that occupies the first slot on the record is the 19-minute-long 'Where Are They Now?', a gorgeous exploration of the stories of many characters appearing on previous albums, as Tillison goes on to tell the story of what happened to them. The opening riff is exhilarating and memorable, and its motif is taken up by the band and interpolated into the verses, after which some really fine vocal and instrumental sections follow, still on that upbeat note. Around the middle of the piece, however, it all goes into a much more mellow, melancholic tone and this mood is carried on until the final seconds of the suite. The second song 'Paroxetine 20mg' is an electrifying and sonically intense number that also happens to the "heaviest" and most exotic on this album, definitely adding a touch of desperation and cynicism. 'Perdu Dans Paris' works like an elegiac postcard with its eleven minutes of dreamy, ballad-y soundscapes, while 'The Company Car' surprises you with the gorgeous ELP impersonation on the organs and an excellent instrumental second half of the song, and the closing piece 'Ethanol Hat Nail' stands as the most sophisticated and angular piece of music on this album, an all-around neo-Canterbury suite that translates a lot of the sub-genre's signature tropes into the dialectic of modern prog. And with all this cleared out, one has to appreciate the apparent qualities of 'Down and Out in Paris in London' (like the nostalgic, sweeping tones replete with retro rock tropes), which go alongside some obvious flaws (in the face of the prolonged sections of slow-paced, mellow and repetitive playing), as discussed above.

Never knew The Tangent could come as "for one" but 2024's 'To Follow Polaris' sees Andy Tillison, the creative mastermind behind the prolific prog band, necessitated to write and record their new album completely on his own, inspired and supported by his bandmates, who are otherwise busy with their other involvements. And this fantastic new project perfectly embodies the concept of the Gesamtkunstwerk, the total work of art, as Tillison handles not only all instruments (all sorts of keyboards, synths, pianos and electronic instruments, bass guitar, electric and acoustic guitar, drums and woodwinds), but he is also responsible for production, engineering, the album art and the recording of the promotional music videos for the album, and the end result is, as you might have guessed, as good as ever. 'To Follow Polaris' happens to be one of the most upbeat, unpredictable and optimistic albums in The Tangent's catalogue, even if it follows closely the stylistic footprint of the last couple of albums.

The five new tracks see Andy Tillison at his most anthemic and perhaps most exhaustively imaginative as the prog meister crafts some expansive melodies and graceful sonic soundscapes, and the mere fact that he recorded every single bit of this album by himself is beyond impressive, given that 'To Follow Polaris' is not some muddy indie-rock soup, but a full-blown prog rock record with all the "mandatory" quirks of the genre. 11-minute opener 'The North Sky' is the most upbeat piece on the album, the angular synths and the tasty rhythms here set up a nice tone to the record and the entire composition just works really well. 'A Like in the Darkness' is a more cynical, and even darker number that sees Andy Tillison exploring the jazzier side of The Tangent's music. Then comes the excellent neo-Canterbury mini-suite 'The Fine Line', on which the album's mastermind shares some of his (critical) concerns about the political and social climate of his country - the music, on the contrary, is playful and melodic and fits in perfectly with the moodier side of the band's more recent releases. 'The Anachronism' is the fourth entry on the album, and with its twenty-one minutes of playtime, it is the perfect epic piece, it is heavier and more complex than the rest of the album and just so happens to be one of the tastiest long numbers recorded by Tillison, a great and uncompromising work. Finally, we have 'The Single' taking a jab at the music industry, a fun pop-prog song that oversees a more accessible sound.

And with all this in mind, one could not help but enjoy this album by The Tangent (for One) - it has all the necessary elements of a benchmark retro prog album, and even if it might not shake up or redefine the musical climate of the genre, it is a great ode to everything that makes this band compelling and fun to listen to.

The Tangent are among the most important and busy prog bands of the 21st century, often delivering some of the most well-arranged jazzy prog music and their 2018 release 'Proxy' remains of the band's most solid, accessible and politically charged releases to date. Of course, this is the tenth album by the band and at this point The Tangent have definitely consolidated a recognizable musical framework under which the collective operates. Yet 'Proxy' feels so invigorated and new, brimming with great ideas and enjoyable, memorable passages, which is precisely why this is one of the most consistent and well-produced albums by this international band, and not only this, but with 'Proxy' Tillison and Co. have achieved a great balance between the band's laid-back, fusion-y style and the pomp and virtuosity of prog - as if they are impersonating Steely Dan with an ELP-like swagger.

The album is made up of five tracks, two of which exceed the 16-minute mark and in this particular case, they are definitely the highlights of the show. The title track is a dynamic Canterbury-esque opus that sees Andy Tillison commenting on current political and social issues, which might make certain listeners nauseous. Unless you are familiar with the band's previous works, the style of this track might feel a little in-your-face; while the other epic 'The Adulthood Lie' is a more structured, jazzy piece with bits of disco and some fantastic soloing, once again telling a great story in the typical vein of the band. Both of these tracks feature great melodies and intricate, technical playing, with a delightful and upfront bass and a plethora of quirky synth sound - crazy good stuff. 'The Melting Andalusian Sky' is a flamenco-inspired 9-minute-long instrumental and the funky tones of 'A Case of Misplaced Optimism' could not leave you cold. However, it is the 70s pastiche of 'Supper's Off' that makes this the least intriguing part of the album. A bonus track 'Excerpts from Exo-Oceans' continues the jazz thread of the album and re-proposes some familiar themes with an electronic twist. 'Proxy' is nothing less than fabulous and is an album I find myself returning to often enough to say it's an essential one for this band.

They are trying to find their later unique sounding, but these are just the first steps. Im not saying its not a decent album that has its moments with better than the average guitar solos and rides on the flute, but nothing really remarkable. The liner notes says that they intended to go back to the "nuts and bolts" of 70ies prog, but it definitely doesnt sound like that at all. Its rather epic pieces with nonsense meaningless lyrics vaccinated with some arena rock flavour to be "up to date" in the early post-millenium and they succeed in that, but its not my favourite approach to the modernity of prog. Nice moments in Up Hill from Here recalling Van der Graaf Generator-esque tunes, but all in all its just the beginning of a beautiful friendship.

The Tangent is an interesting musical entity, whether it be for the variety of influences of their sound, including a bit of classic 70s progressive rock, a bit of Canterbury Scene, occasional disco bits, and all on the premise that they are especially partial to jazz, fusion, and even lounge music, or for the complexity their compositions, or for the fact that one never really knows what exactly to expect from them. On top of that, the band is known for an impressive roster of members, ultimately becoming quite a fluid entity that openly accepts the particularities brought in by the various musicians that have been associated with it. And finally, there is the voice of Andy Tillison, not a trained vocalist but able to give the music a very idiosyncratic quality, that I am personally quite fond of.

The second album by the band pretty much expands the musical ventures of their debut, significant for the length of the multi-section compositions and the very jazzy and melodic approach towards progressive rock, or at least, The Tangent's rendition of it. This 2004 release is once again incredibly energetic, yet reflective at the same time, as Tillison has never been shy of political or social commentary. The opening track 'The Winning Game' has to be among the darker pieces released by the band, including some great interplay between Roine Stolt and Andy Tillison, preserved throughout the entirety of the album. The following two tracks are more upbeat, drawing upon a wider variety of sounds that range from lounge jazz, as it was previously mentioned, to folk and classic rock. It nevertheless becomes obvious that the album lacks in originality, especially compared to the band's debut from a year before. There are several moments on these very tracks, despite being the shorter ones on the album, which are either too derivative, or a bit outdated. The final two tracks are once again multi-part epics, quite moody and vibrant at the same time, going through various intriguing instrumental passages. All of a sudden one realizes that the music of The Tangent can be quite a difficult listen as well, and while it might be engaging and pleasing, it can easily shift to being tiring, and even self-indulgent. I believe this is generally why 'The World That We Drive Through' is a difficult follow-up to the otherwise quite promising first record; it has a good balance between prog memorabilia and actually fascinating and adventurous musical passages.

This is a very unusual release in that when discussions commenced as to when the band could get together to work on the next album following on from 2022's 'Songs From The Hard Shoulder' it was not going to be easy given that band members could be seen onstage all over the world with Steve Hackett, Soft Machine, Karnataka, David Cross, It Bites, Cyan and others, plus on recordings by those artists and The Anchoret, The Michael Dunn Project, Argos and Retreat From Moscow. In fact, apart from a solitary gig in April 2023 it was unlikely anything could be achieved, so what to do? They came up with an interesting compromise in that the band's leader/main writer Andy Tillison would keep the material coming and then record the album on his own, hence the slight amendment to the band name ? this is not expected to a permanent or long-term arrangement, but rather that Andy would do this one by himself and everyone else will return for the next one.

What transpired over the following year is in one sense an "absolutist" solo album and is entirely the work of one person in all aspects including artwork, layout, design, lyrics, composition, performance, recording, production, mixing, mastering and authoring. But in another sense, it's totally Tangent. Produced between January and November 2023, the album features Andy using his multiple keyboards system as normal but adds to the mix his first ever released performance on Bass Guitar and his second on stick driven (electronic) drums. Add electric and acoustic guitars and electronic wind controller and this is a full band recording in every sense of the word. Anyone who has followed Andy over the years will not find any of this surprising, as the man has always been a huge talent, and I loved his work with PO90. Back in the 90's when he was also a Diskdrive his work with Guy Manning was exceptional and that has only continued as he has been working with other musicians and even states this album would not have been possible if he had not been working with the likes of Luke, Jonas, Steve, Theo and past members of his bands.

He has always been massively influenced by Peter Hammill (check out the excellent 'No More Travelling Chess' if you can find it) and here he has allowed himself to move The Tangent slightly more in that direction but what is remarkable is that unless one has read somewhere that this is a solo release one would never believe it, as this feels like a band taking the next step in their musical journey, not one person in a studio sweating over every aspect. It is easy for solo musicians to get wrapped up in the performance as opposed to the outcome, but there is no doubt that here Andy has stayed true to his vision for the band and has produced an album the rest of the guys would have been happy to play on if they had had the time and availability. The listener may start by thinking how clever it is, but soon falls into enjoying this very British prog album, which builds on what has come before and prepares us for the future.

4.5 stars. I just recently found out that THE TANGENT are releasing a new album in 2024 and for the first time it's Andy Tillison all by himself, doing it all. The five piece lineup of Tillison, Travis, Machin, Reingold and Roberts stayed in place from 2018's "Proxy" and included this 2020 record as well as 2022's "Tales From The Hard Shoulder". A nice 3 album run and I am not surprised at the lineup change in 2024 just at how far reaching the shakedown has been. I'm already curious about the album to come after that one to see where Andy goes with the lineup.

"Auto Reconnaissance" was a complete surprise that I did not see coming in any way. First spin revealed a word heavy album with Tillison at his story-telling best, but I was on the fence until that third spin when I realized this one is special. I have never felt the emotion I experienced here ever on a THE TANGENT album or the power. Both of these are brief moments of time but it has been a long time since water has risen in my eyes like this while listening to my music. Specifically during the 28 1/2 minute "Lie Back & Think Of England".

In the liner notes Tillison mentions that this album was composed before the 2020 outbreak but recorded during it and mastered, mixed etc. during lockdown. This album has Andy's visit to New Jersey/ New York as the main theme to this record. And Andy should be really proud of what has has done here. Charming, fun, sentimental there is a lot of emotion on this one, the lyrics are so meaningful. The instrumental work is so impressive, a lot of lighter jazzy stuff but as I said earlier they can get heavy as well. This album has it all even some space rock stuff on the bonus track that had me quite excited the first time I heard it.

And while I'm raving about this one it's not perfect by any means but I get it, the lighter stuff like "Under Your Spell" a love song that I doubt Tillison would have used in the past, but he is sentimental here. "The Tower Of Babel" is too catchy but the lyrics are brilliant. A classic rant from Mr. Tillison this time about technology. The opener "Life On Hold" would be the third track that I consider Andy's warm blankets as it were, written while in lockdown. His happy places you could say. An energetic start to this record. The final tune with a lot of optimism is "The Midas Touch" the closer. "For all of us who lived through covid-19 and in memory of those who didn't" is the sub-title. Light and jazzy with synths. Upbeat with pleasant vocals. "Welcome back my winter sun" is a repeated line.

I don't usually mention bonus tracks and certainly don't even consider them with my final rating because they aren't part of the main album but this is a rare one that is incredible and truly a bonus to this meaningful album. I mentioned earlier there's a space rock groove here that is awesome. A spacey soundscape to start until around 4 minutes in when it turns more powerful. It settles back around 8 minutes to spacey and jazzy motifs. A 12 1/2 minute ride. There are two epic tracks on here. The 16 minute "Jinxed In Jersey" that is like following Andy as he takes the long journey by foot to the Statue of Liberty and so on. The man can write a song. Jazzy with almost spoken words early. Lots of organ and Theo adding the wind instruments. It turns almost reverential when he visits the statue.

The "Lie Back & Think Of England" at close to a half hour in length introduces us once again to a character named Earnest who was first brought up on 2006's "A Place In The Queue" a WWII pilot fighting for freedom for England. This is what he fought for? Is kind of the idea here. Incredible emotion like I've never heard from Andy. The emotion and the power after 18 minutes is moving to say the least.

This is presently my fourth favourite album by this band after "The Music That Died Alone", "Down And Out In Paris And London" and "The Rust Of Forgotten Machinery", the fifth one is debatable between a few records right now. Peter Hammill would be proud of you Andy, the lyrics you write are right up there with your hero.

3.5 stars. I've been spending some time of late with some of my favourite THE TANGENT albums and would rate the debut "The Music That Died Alone", "Down And Out In Paris And London" and "The Rust Of Forgotten Machinery" as my top three from this band. That Second one "The World That We Drive Through" is right up there as well.

This is studio album number 12 from 2022 and the only one they did created completely during the lockdown. I thought this might be a concept album in the line of "Brave" by the cover art and title but really that's just a part of it. Of the three tracks with lyrics two deal with the lockdown and "The Lady Tied To The Lamp Post" is the theme for the cover art and the centre piece at over 21 minutes.

This is a lyric heavy album and cynical as only Andy can be but it really is a somewhat depressing record. Even that bouncy, fun closer at less than 5 minutes "Wasted Soul" is negative with the lyrics, but it's the instrumental part of it that I really don't like at all. The highlight is the 17 minute instrumental "The GPS Vultures" with some surprising bluesy guitar at one point. I like this track. "The Changes" at over 17 minutes opens the album and dealing with the covid here. Personal stuff included which is cool.

This is one of the few THE TANGENT albums that I couldn't get into. It's also one of their higher rated albums by fans so there's that. Not my scene. So grateful for all the amazing music Andy and Jonas have brought us since 2003.

Celebrating 20 years in the business, The Tangent returned in 2022 with their twelfth studio album, and although they historically suffered with line-up changes this one has been together for some time now so band leader/singer/keyboard player Andy Tillison is again joined by Jonas Reingold (bass), who also plays with the Steve Hackett Band, Luke Machin (guitar - Francis Dunnery's It Bites), Theo Travis (sax & flute - Soft Machine, Dave Gilmour, Robert Fripp) and Steve Roberts (drums - David Cross). Although the UK edition has an additional track, more of that later, the main album comprises four songs, of which three are 17-minute plus epics, all quite different from each other, while the last is 4-minute bouncy Motown-style track, "Wasted Soul".

For the most part there is no doubt this is an excellent album, but in some ways it seems strange that The Tangent started life with musicians from The Flower Kings as there are times I am reminded of them, and not necessarily in a good way. Although the songs have great structures and wonderful playing there are times when it feels as if they are searching for ideas. In opener "The Changes", which is about COVID times there is one instance where we get a line from "Eleanor Rigby", another when they start playing what sounded like the old advertising music one used to hear in cinemas, and another when the harmony vocals are all going "la la la". That probably makes it seem as if I did not enjoy the album, but that is not the case at all as there is a great deal going for it here with wonderful intricacy and melodic themes which come and go from a band who adamantly refuse to set themselves any boundaries. When it comes off, which it does for the most part, with "GPS Vultures" being a case in point (a 17 minute long Canterbury style instrumental) it is a masterpiece, but one wishes there had been a few instances when someone from outside had asked why they were going down a certain path.

Early editions and the vinyl version include a bonus track, a cover of UK's "In The Dead Of Night". I believe that UK have in many ways become one of the forgotten bands of the prog scene, which is nothing short of criminal as they were stunning, and I hope this extended and changed version gets newer proggers into their music. For all its faults this is still an incredibly solid album showing that even after two decades The Tangent continue to show many others what needs to be done. One for all progheads to enjoy.

Apparently, Andy Tillison has dreamed of releasing a triple live album since he was a kid, and he has now achieved just that with this, which includes recordings from 2004-2017 and if you have the CDs (which contain two more tracks) then it lasts an astonishing 2:23. Included in its entirety is the 2004 'Pyramids And Stars' concert in Germany featuring the 'Roine Stolt" line-up of The Tangent playing its way through the majority of the debut 'Music That Died Alone' album along with (then) new material from their second album 'The World That We Drive Through', although Guy Manning is not involved for some reason. Added to that, there are tracks from the 'COMM' era line-up of the band at a concert in the UK - plus music recorded in the USA in 2017 by the band's current line-up. These originally appeared on the 'Southend On Sea' and 'Hotel Cantaffordit' fan releases respectively.

I first came across Andy more than 25 years ago when he was a young Hamill-infatuated progger with Parallel or 90 Degrees, and over the years I have followed his career with interest as he is a musician who always follows what he wants to do, and who he wants to do it with, and the result is always fascinating. With material from the first album all the way through the career up to this point, it is interesting to hear Andy is at the heart of everything, and that there are different line-ups involved does not really matter, as realistically it is all about him. If he wants to sing 'Lucky Man' and get the crowd singing along with him then that's fine, and if he wants to put in a snippet of 'Do It Again' in another song then that is fine as well. They can be sentimental, or they can blast in an almost neo prog manner on 'A Spark In The Aether', always with a multi-layered approach which is guaranteed to keep any progger smiling throughout.

Of course, there are epics, and the twin keyboard approach for the earlier material allows the band to do things the later line-ups cannot, and there is an exuberance throughout this which is hard to match. There is a spark here which does not always come through on studio recordings, and the result is music which is a wonderful introduction to one of our great prog bands/composers, as Andy continues to drive them on to create moments of real magic.