The Tangent: New interview with Andy Tillison published.

Prog Magazine have published a new interview with The Tangent mainman Andy Tillison. The interview was conducted by Rachel Mann and an extract is given below:

Intriguingly, it was The Tangents’ recent live outings that reinvigorated Tillison’s taste for the sheer absurdity of prog. It’s fair to say The Tangent have never been a prolific touring band, perhaps partly reflecting the fact that Tillison has been the only constant. Yet it was the experience of gigging with long time co-conspirator, Flower Kings/Karmakanic bassmeister Jonas Reingold and new boy Luke Machin of Maschine that formed the crucible for an album that dares not to take itself too seriously.

Crucially, A Spark... is very much a full circle offering, something indicated by its sub-title, The Music That Died Alone, Part II. A conscious echo of their 2003 debut, The Music That Died Alone, Spark... acts in part as a state of the nation address to the world of prog.
Twelve years on from an album that asked serious questions about prog’s future, Tillison has at last found an answer. “I realised that some of the songs – as with the first album – were actually commenting on the music itself. I think we can claim a first with the very first Tangent record: it was probably the first prog record to have lyrics about progressive rock in it.”

Back in 2003 Tillison was arguably seeking to reclaim prog back from the Americans and Swedes – not least Neil Morse and Roine Stolt – who had redefined progressive music in the late 90s. “I thought it was about time we restored some Englishness to this bloody lot. So the first Tangent album sounds really, really English.” Rightly, tracks such as The Canterbury Sequence have become Tangent classics. What’s fascinating about The Tangent’s latest incarnation is how much Tillison is reworking American and Swedish sounds. Moments on the title track echo the Flower Kings and some of the chord sequences out-jazz Steely Dan.

Part of this is down to personnel. Tillison consciously avoided having the usual Tangent guest slots on Spark..., concentrating on letting the skills of a well-formed live band shine through his arrangements. The tired claims that Tillison uses Tangent members as session musicians are shown for the bunkum they are. Each member shapes his own contribution under Tillison’s guiding vision. And despite this album being something of a return to starting points (Reingold aside), Tillison was not tempted to bring back any of the first album talent such as Roine Stolt. “Roine is an amazingly busy guy. I didn’t even ask him because the guitarist I really wanted to be on this record was Luke Machin.”

There’s something charming about Tillison’s fondness for Machin. His almost paternal respect is a reminder, if one were needed, that Tillison is not one for looking back on prog’s history as the glory days. “I wanted this young man to play on the record. I wanted that privilege of making a record with someone who is younger than my son.” Along with Haken and Beardfish, the existence of a band such as Maschine is an indication of prog’s health and Tillison wants to be supportive: “To be a part of his future. For your record to be a part of his past is an enormous honour for me. And he’s the guy.”

So is Tillison settling into a comfortable late-middle age? Hell, no. If, eight albums in, Tillison is clear that prog is far from being a toothless old hound that deserves to be put down, he’s also clear on the fact that there are issues to be addressed. “There’s now more people playing it than ever before, the only problem is that there are fewer listeners: and that’s because so many of us are dying! [laughs] We are getting older.”

Tillison’s willingness to offer Jeremiads about the state of modern prog is well known.L’Etageré du Travail, a collection of extra chansons from Le Sacre... contained the amusing and smart Supper’s Off, a satire on the conservatism of the middle-aged fan. He takes up the questioning again on Cod Pieces And Capes, singing about bands taking ‘the easy road by sticking to the script’. “I know people who are more excited about a Steven Wilson remix of an old album than they are about the new Steven Wilson album.”

If Tillison has lost none of his critical ire, it’s a joy to witness an artist whose trust in progressive music’s capacity to surprise and amuse is undiminished. At the centre ofSpark... is a 21-minute musical road-trip through the psyche of America called The Celluloid Road. “All the cues and landmarks are things I’ve seen in film – be it Easy Rider, be it Breaking Bad, be it Thelma And Louise. I think there are about 20 films that are mentioned.” Not only does the track make it possible for the listener to play Film Star Bingo, but it gives Tillison and co the chance to quote the Theme From Kojak or a blaxploitation movie. It’s exhilarating stuff.

One of the questions Tillison asks on Spark... is, ‘Did I really waste it? The life I could led as a lawyer or a preacher I could have tasted your success.’ With his wild locks, perhaps Tillison might have cut it as an Old Testament-style prophet, but preaching’s loss is prog’s gain. All Hail, the Oracle of Otley!

A Spark In The Aether is out now on Inside Out Music. See for more information.