For all that is said about The Tangent’s often weighty subject matter and acquired taste vocals, at its core is a brilliant cast of musicians whose magnificent works have graced the progressive rock landscape on a regular basis for almost two decades. With leader Andy Tillison’s boundless creativity, dazzling guitar prodigy Luke Machin, skilled sticksman Steve Roberts and dignitaries Jonas Reingold and Theo Travis on board once again, the band have delivered an unapologetic, no-holds-barred masterwork with their eleventh and brand new studio album Auto Reconnaissance. I might as well just come right out and say it: this is easily a top five album of the year.

While numerous contemporaries flail and founder in the prog waters, Tillison and his band deftly sail across them, incorporating new ideas and sounds while retaining their own unique and unmistakable attributes. I’ve said it before, but it bears repeating: Nobody sounds like The Tangent, and nobody ever will. I recently spoke with Tillison about all of this and more, and that interview can be found here:

Andy Tillison interview

…but now, let’s look at the moose itself in more detail.

Life On Hold is a bouncy, upbeat and energetic opener that is arguably the most typical Tangent-sounding piece on the album. Easing the listener in with the familiar warmth of Tillison’s vintage keys and Machin’s alternating rhythm and lead guitar parts, the piece also puts Roberts’ tasty playing on display early. Tillison’s songs can be packed with a lot of words, but he is a gifted composer who maintains a fine balance, never allowing them to overpower the music. Nothing ever seems to either dominate or take a back seat in The Tangent, it’s all so beautifully orchestrated.

I might as well just come right out and say it: this is easily a top five album of the year.

The Midas Touch is a swirling array of funky guitars, jazzy piano, and an occasionally disco-like backdrop anchored by Reingold’s deliciously fluid basslines. One can only marvel at his flawless playing. It’s as though he’s incapable of laying down anything but the single most perfect, natural groove for the tune in question, and with astonishing panache to boot. The Midas touch, indeed! One of the finest players today, his contribution to the sound of The Tangent cannot be overstated. Incidentally, the song is dedicated to ‘All of us who lived through Covid-19 and in memory of those who did not.’

More funky grooves mingle with bright, jazzy saxophone in the impossibly catchy Tower Of Babel, an album highlight that looks at modern communication (not an uncommon topic for Tillison) and its rapidly deteriorating etiquette. Once again, Reingold’s buttery Rickenbacker playing is pure joy and threatens to steal the show. Of a different nature altogether, the gentle and honest love song Under Your Spell is a lovely nod to Tillison’s partner. A piano-based ballad with simple, heartfelt lyrics that expands slightly to incorporate some fine contributions from the others, but knows its place and never strays from its path. This charming little number is a welcome change of vibe, not only on the album but in the wider Tangent catalogue.

The twelve minute bonus track Proxima is an ambient instrumental piece that is all about atmosphere. Perhaps having more in common with some of Tillison’s experimental side projects, the track slowly wanders into shuffling jazz-infused jamming, while staying restrained enough to never quite shift gears. A pleasant piece that acts as a lengthy coda to the album.

Immediately rocketing to the realm of Tillison’s best-ever songs is the delightful, fascinating and occasionally hilarious Jinxed In Jersey. If ever he has hit one out of the park, it’s this sixteen minute narrative about a day he spent wandering around as a ‘Yorkshire kid in Jersey’. I had an actual belly laugh during one particular exchange Tillison recounts between himself and some guys on the street, and there are some killer individual lyrics (‘I’m walking through a Bruce Springsteen song’ comes to mind). But delightful storytelling aside, the even greater strength of this piece is its incredible weaving of musical sections in between the different parts of the story. Noisy, thrashing guitar chords, chirping flutes, trance beats, sludgy metal, traditional progressive rock, and of course, the big one that The Tangent always brings to the table – jazz – all play their roles as part of this wonderfully bizarre composition. Undoubtedly some people find these types of songs wear thin after multiple listens, and I understand that. But I don’t think that will be the case with Jinxed In Jersey. It’s just too good for limited spins.

Surely the centrepiece of Auto Reconnaissance is the nearly half hour journey Lie Back And Think Of England, a formidable opus so fearlessly ambitious that it seems to tower over the numerous epic-length works found on most of the previous Tangent albums. But where some of those have been steeped in frustration or complaint lyrically, Lie Back ultimately finds Tillison in a more hopeful mindset, illustrating the need for unification of his countrymen – regardless of their affiliations – if his beloved home is to climb out of its current quagmire. He is essentially saying ‘All is not lost – yet. We still have time to fix this, if we act now.’ It’s a simple appeal that blooms into a grand, labyrinthine work infused with all the best Tangent hallmarks. It’s melodic, dynamic, enormous in sound and scope, and unafraid of displaying fragile beauty next to raw, roaring emotion as Tillison delivers its most poignant lines from deep in the wells of his soul. A majestic triumph embodying the spirit of all there is to love about music, it concludes with a wistful revisiting of the closing lyrics to In Earnest (from 2006’s A Place In The Queue) :

Don’t leave me nostalgic for the wrong things in my life,
I don’t want adventures in your grand designs of war.
I’ll take a clear morning with the wind in my hair,
I beg you, in earnest, for nothing more…

Achingly beautiful. Nothing I could write here in closing would match the effectiveness of those lines. Perhaps nothing Andy Tillison ever writes again will either. But it’s a challenge I hope he takes on. In the spirit of this remarkable work, we remain ever hopeful.

No-one can accuse The Tangent of being predictable. On the contrary, Andy Tillison’s band of talented Proggers seem to attract and maintain their fan-base by focusing on the unexpected and the unpredictable, always coupled with magnificent musicianship. A prolific composer, Tillison’s recent creations have rung true by telling tales of revelation and truth, featuring increasingly relevant commentary (often socio-political) and very vivid story-telling. If ever that horrible cliché ‘this is my truth’ were to be used by a musician as a genuine epithet to describe his music, Tillison could validly make that claim.

While The Tangent’s eleventh studio album, ‘Auto Reconnaissance’ is not an overt departure from 2018’s critically-applauded ‘Proxy’, it nonetheless does present a stylistic variation. It is more experimental, more analytical, more ironic and certainly more reliant on its very forthright lyrics. In fact, I would go so far as to maintain that parts of the album are more poetry than Prog. But not all of the album is serious commentary – some of it exposes Tillison’s deep and ironic sense of humor, and all of it certainly rings true. ‘Auto Reconnaissance’ presumably refers to a state of self-reflection or introspection, and you should expect to do lots of that while listening to this album. Tillison ceaselessly commandeers the listener with compositional and lyrical surprises, but of course, one thing remains constant – the instrumental brilliance of the band’s line-up.

Tillison keeps august company. The Tangent has for some time now featured some of Prog’s very finest performers: master bassist Jonas Reingold (Karmakanic/Steve Hackett), virtuoso guitarist Luke Machin (Maschine, Francis Dunnery’s It Bites) and king of Prog saxophonists Theo Travis (Steven Wilson/Soft Machine), are ably backed up by Steve Roberts (ex-Magenta), now firmly ensconced as the band’s drummer. With Tillison on keys and lead vocals, any band would be hard-pressed to present a better line-up. It is also worth noting that this is the first time that the Tangent’s line-up has remained constant for two consecutive albums.

‘Auto Reconnaissance,’ is a little like an odd-shaped Christmas hamper filled with presents from a slightly weird, but very socially aware, family member. You may be quite surprised by some of the gifts, you may not even have wanted all of them to start off with, but after a little digging, you will find gifts that will positively surprise and gratify you.

Opening track ‘Life on Hold’ is not, despite its title, about Lockdown. It is about the on-line life we now lead, in which the digital absorption of information has caused mankind’s failure to filter the facts. It is a weighty lyrical theme, but the song’s pleasing groove, very catchy chorus and elaborate keyboard solos remain dominant – and Reingold’s intricate bass-lines are just magnificent. A great start.

It is with the second song, ‘Jinxed in Jersey’, that Tillison’s wildly experimental lyrical approach takes over. In fact it would not be inaccurate to state that ‘Jinxed in Jersey’ is not as much a song it is a fully narrated tale, delivered in spoken word, with musical backing. This long-form poem tells the true story of Tillison seeking to walk to the Statue of Liberty from his hotel in New York. But it turns out that the hotel is in New Jersey. He sets out nonetheless and encounters several colorful characters and places on the way. At the end of a long day on his feet, he finally reaches Lady Liberty herself. The music momentarily turns dark at that point, because the visit takes place ‘behind her back,’ and it is far from a typical sightseeing experience. This sixteen-minute romp includes detailed descriptions of encounters with policemen, street artists, and the real experience of New Jersey (as opposed to the tourist experience of New York.) Tillison is absolutely unafraid to reproduce most of the day’s events, including a few self-effacing (and awful) attempts at a New Jersey accent. He also shares his personal reflections about Frank Sinatra and Joni Mitchell, all set in the context of the urban landscape in which he finds himself. It is largely presented in a light-hearted and jazzy manner, and includes several intentionally hilarious moments. During his journey, Tillison discovers the true grit of New Jersey, Hoboken and the less obvious side of Liberty Island. He unabashedly proclaims ‘You can keep your Empire State building – this is more my scene.’ The poetry certainly dominates the music in ‘Jinxed in Jersey,’ but the imposing chops of Tillison’s band-mates are never far away. I suppose you could say that this is Tillison’s own ‘Englishman in New York,’ but you should definitely not expect Sting’s catchy pop stylings. Expect a sound more like Steely Dan meeting Frank Zappa on a zany day – a true story transformed into a highly entertaining and innovative piece of art.

‘Under Your Spell’ is a gentle love song built on a tender piano melody and beautiful Machin guitar line, ending with some strong Travis saxophone work. Tillison’s voice, with its particular and distinctive baritone, certainly has its detractors, but it has to be said that he pulls this vocal ballad off extremely well due to the sheer conviction involved. The story is quite obviously personal and true to Tillison.

‘Tower of Babel’ brings back the funk and is another song about the impersonal nature of communications in the 21st century. Tillison is angry about it: ‘There’s nothing on my forehead saying you can treat me like the piece of dirt you do.’ The theme gives the band the opportunity to settle into a very satisfying Tower of Power-like groove, and all things are good in the land of The Tangent.

‘Lie Back and Think of England’ is a courageous 28-minute epic that will intentionally test the mettle of the most die-hard Prog aficionados. It is certainly not for neophytes. At first blush, the song might appear to be about the state of UK politics pre- and post-Brexit, but ultimately, it turns out to be more of an appeal to the British people (and indeed humanity in general) to reconcile, communicate and forgive each-other after division. While Brexit itself is not a novel theme for The Tangent, Tillison has approached it with a far more experimental and philosophical perspective this time around – a perspective of human reconciliation, forgiveness and his own deep love for his country. Complete with parliamentary sound-bytes from various UK political parties, this marathon composition certainly requires concentration. If nothing else, the song proves the bona fides of Tillison’s stated refusal to let his Prog just sound like Prog. He has often argued that Progressive Rock should be a musical movement of forward momentum – not just the re-hashing of classic sounds – and this song is his evidence-in-chief. The song pushes boundaries in more ways than one, and the band are given room to experiment within the expansive arrangement. The results are mind-bending. Psychedelic solos, gutsy bass-lines, triumphant keyboards, saxophones, flutes and typically massive Machin guitar solos all contribute to the innovation. But again, be warned that this is no easy listening, and it will examine the endurance of the most ardent audiophiles. In the 14th minute, Tillison pushes the boundaries to the absolute brink with a passage of narration in French. It is a high-risk move, after which, almost as a reward, lengthy musical gratification follows. There is a jarring but symbolic significance in describing the foreign perspective of Brexit in a foreign language, and you should be aware that it will take a few spins before this part sounds natural to you. But it will. And soon enough, tympani and sweeping keyboard flourishes bring the symphonic Prog back in swathes. This section comprises a superb Prog instrumental with the ghost of Frank Zappa in attendance, and it is followed by a triumphant ‘forgiveness’ section that will wash over you like a spring waterfall on a hot day. Could this 28-minute nostalgic journey have been edited? Perhaps, but one feels that this is precisely the result that Tillison was seeking. It certainly pushes the frontiers of Prog as per Tillison’s stated intent, and the result is a song unlike anything that has come before it.

Closing track ‘The Midas Touch’ returns us to less experimental territory. It has a massive funk groove built around a jogging Reingold bass-line, such as only the Swedish king of bass can play. The rest of the band masterfully keep up with Reingold, providing pop, jazz and funk patterns that the greatest of 70’s soul and funk bands would have been proud to deliver. A delight to listen to, I am glad that Tillison chose ‘The Midas Touch’ to be the closer.

There is a bonus track provided in 12-minute ambient extravaganza ‘Proxima,’ which features lots of keyboard and flute meandering. For those who prefer ambient music, it will be a welcome addition, and it is certainly very well-produced, but it is not critical to the album’s success.

The production values of ‘Auto Reconnaissance’ are excellent, and the sonic quality is top-drawer. Vivid storytelling, human behavioral references, political commentary, urban poetry, love, angry social observations – all are to be found here. On the first few listens, you might feel that the lyrics sometimes overshadow the music. But ultimately, repeated listens will cause that feeling to fade, and you will realize that it is all just Progression. A true and genuine attempt by Tillison to find new directions for Prog, while not abandoning his classic influences.

‘Auto Reconnaissance’ is a testament to Andy Tillison’s determination to make The Tangent truly ‘progressive’ in the most contemporary sense of the word. This accomplished composer is certainly not afraid to reveal his own quirks, views and, yes, ‘truth’, and in doing so, he tests the limits of any traditional boundaries. Freshness and innovation do not present a problem here – in fact, you will find yourself a little startled at just how much innovation Prog still has to offer in 2020, when delivered by this fine band. ‘Auto Reconnaissance’ is a vastly eclectic, experimental, challenging and demanding album, but make no mistake – real Prog fans will get it. Expect the unexpected and you shall receive.

by Prog Nick

Prog Report Website

The world of contemporary prog seems to solidify on bands who either comply to the museum piece values of the 1970s progressive rock or make it a priority to deny being a part of the movement at all – and then there’s THE TANGENT, an English progressive rock outfit, which wears a plethora of hats simultaneously. In short, the band plays modern symphonic prog somewhat similar to SPOCK’S BEARD and THE FLOWER KINGS, taking the occasional stab at the classic Canterbury blend of jazz and rock. Apart from the obvious vintage prog influences, you can hear subtle traces of bands such as THE ISLEY BROTHERS, STEELY DAN, and RETURN TO FOREVER. That is to say, THE TANGENT is eclectic prog of the finest caliber. One of the trademarks of Andy Tillison – whose creative affair the band has largely been ever since its formation in 2002 – is to pack more ideas into single tracks than most bands do in an entire album. Prog fans with an acquired taste for such will be delighted to know THE TANGENT is releasing their eleventh studio album, “Auto Reconnaissance,” on 21 August 2020 via InsideOut Music.

The album is yet another eclectic set of songs celebrating the golden age of prog with a steady foothold in the 1970s, while incorporating elements of fusion jazz, modern R&B, funk, and soul. By mixing a riot of different flavors, the band continues the saga of their previous albums such as “Proxy,” released in 2018, without sounding like a ragbag of sonic mish-mash. With a staple line-up on the last couple of albums, the band has tightened its chops. THE TANGENT sounds more like a genuine group rather than a mere Tillison project now. The familiar “Tillison-sound” is still intact, however: that signature mixture of dark and light, the occasional jazz-turn, and lyrics that are charged with razor-sharp sarcasm. Someone with a nasty mouth and the attention span of a goldfish might write the band off as a bunch of boomers ranting about the world of today. Since I’m middle-aged myself, it works. I’m not sure what the younger prog demographic would make of the band though. It’s definitely not DREAM THEATER.

“Life on Hold” opens the album wearing the old-school prog badge proudly on its sleeve. Hammond organ, vintage synths, and fusion-tinged guitars lay down a groove that treads the same waters as STEELY DAN‘s hits from the 1970s. Although the title bears a striking relevance in a world where a virus has put the life on hold for people all over the world, the song wasn’t written about the lockdowns. It’s more about the tragedy of a life unlived, albeit with a tone filtered through the prism of dry British humor. The subtle touch of sarcasm is also the defining factor in the lyrics of the next track, “Jinxed in Jersey.” The song is almost like the breakdown from Sting‘s song, “Saint Augustine in Hell,” stretched to the length of a 16-minute epic, in terms of the narrative style and dry humor. Musically, the jazz plot thickens as the song throws ECM-tinged smooth jazz à la Pat Metheny in a blender with a good chunk of breakbeat electronica that sounds as if Aphex Twin had restrained himself from his most outrageous IDM maneuvers and had a go at Tom Waits‘ standup-like “Frank’s Wild Years.”

In the current prog climate, the pastel-colored ghost of 1980s jazz-rock fusion might be a hard sell even amidst the most eclectic prog-heads. It’s something that is often termed as “elevator music,” whether as a musically biased act of discrimination or (at times) for a reason. “Under Your Spell” manifests the strange musical philosophy of THE TANGENT with a cheesy R&B ballad that would have made THE HUMAN LEAGUE proud back in the day. The follow-up track, “The Tower of Babel,” does very little to dissolve the strong fumes of the 1980s.

The centerpiece on the album is the track “Lie Back & Think of England,” in which the band outperforms itself by mixing each of its signature elements into a 28-minute epic that’s in turns emotive, jazzy, oddball, and deliberately groovy. Occasionally, the streamlined soundscapes resonate with a faint aura of neo-prog forefathers CAMEL, whereas the sleazy R&B grooves of the following track, “The Midas Touch,” take a deep nod toward something completely different – radio-friendly funk and soul. I say “radio-friendly” because the song is not exactly reminiscent of the dirty, sweaty stuff such as James Brown or THE JIMMY CASTOR BUNCH, more like the bands such as LEVEL 42 minus the slapping bass.

The album comes with a bonus track, “Proxima,” and if you thought the band had already shown you all of the tricks hidden up its sleeve, you might need to think again. The song is a 13-minute journey into the ambient terrains of Brian Eno and PINK FLOYD that evolves into a jazzy jam session. It is indeed a fine way to bring the album to a close. It is also a song that demonstrates the strong points of the band magnificently.

THE TANGENT likes to cook up a strange brew of fusion jazz, vintage prog, and electronica with a punky attitude. Even in the broad world of progressive rock, the band sticks out like a sore thumb – or a middle finger. “Reconnaissance” is a military term for the observation of a region to ascertain strategic features. With the release of the new album, “Auto Reconnaissance,” the strategic move of Andy Tillison at the helm of THE TANGENT seems to be to champion the most unique kind of prog with a talented group of fearless and brilliant-minded musicians. Certainly, it’s not everyone’s cup of tea, but those of us who aren’t intimidated by lengthy jazz-rock epics of the strange kind will find the album most rewarding.

Tuonela Magazine

Jani Lehtinen