Spaceport Union

"The second single from Spaceport Union’s upcoming sophomore album. SPU admit to a Pink Floyd influence, and this certainly sounds like a quieter number by David Gilmour. However, it is also crisp and contemporary, with a cool jazz edge." - Ride the Tempo (Mark Anthony Brennan)

"This is a band that exudes confidence, grit, and a wee bit of cockiness as they strut through the prog garden plucking parts they are able to turn into a marvelous whole..."

"Anytime a band can cherry pick the vibe from so many cross sections of the prog genre and create a sound as distinctive as that which Spaceport Union has created, one should feel obligated to sit back and enjoy the spoils of creative genius."

"...savor the splendor that is Spaceport Union" - The Closet Concert Arena (Vincent Iacocca)

"A bit more funk, and a bit more jazz. Still prog, but more along the lines of King Crimson than, say, Yes. It has math rock elements, so it has a clean, contemporary feel. Great stuff."

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We’ve been waiting three years for the sophomore album from Spaceport Union. Now we’re close. Here’s the first single. A bit more funk, and a bit more jazz. Still prog, but more along the lines of King Crimson than, say, Yes. It has math rock elements, so it has a clean, contemporary feel. Great stuff. - Mark Anthony Brennan (Ride the Tempo) - Ride the Tempo

"For fans of unique and powerful music, look no further, Spaceport Union is genius. Their debut album is nothing short of a revelation – it shows that rock music can be both powerful and intelligent."

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Getting Ready To Release New Single – “White Noise”

Spaceport Union is a brilliant constellation of diverse talents including award-winning Goth and art-rocker Caroline Spence, on guitars, keys and vocals; multi-instrumentalist Adam Basterfield (who also moonlights in the Pink Floyd tribute, ‘Pigs’), on lead guitar, keys and vocals, ‘in the pocket’ drummer, Taylor Charles, and with deep, rhythmic grooves, bassist and harmony vocalist, Aaron St.Arnault.

The band is currently hard at work on their brand new album, which follows in the footsteps of their 2012 critically acclaimed debut “Flirting with the Queen”. Positive comments and reviews abounded on the album’s release:

“‘Flirting with the Queen’ is a triumph that will win the hearts and minds of all who hear it and for progressive fans it is an absolute must.” – Sonic Abuse (UK)

“Flirting with the Queen…each song carries its own musical flavor, and they all taste delightful…top notch. Spaceport Union sound as if they’ve been doing this for a long time, and the overall feel of the album as a whole comes off as complete and substantial…truly some great music here…” – M. Gagne (Freelance/Allmusic)

“‘Minnow’ is a modern prog classic in the making…” – M.Anthony (UberRock UK).

Fueled by media enthusiasm, I decided to follow up and see just what the band would be capable of releasing with their new album, by taking a look at what they’ve done before, as an appetizer!

The first thing that came to mind after listening to just 2 tracks Yer Battery’s Dyin’ and Minnow is that this band’s musical vision is an uncompromising place. There’s no room for frivolity in this dense and fertile undergrowth. This is serious music, songs to listen to reverently with headphones.

The band is tight, musically inventive, bursting with energy and is underpinned with the defining characteristic of true professionals: a marked degree and balance of genius, discipline and restraint. There is however compositional brilliance, musical light and shade with great dynamics and surprises throughout; you never know what’s coming next and the more you listen, the more you appreciate its hidden depths.

If you like great, adventurous music and especially what might loosely be described as an avant-garde rock style, the best advice is: just listen to Spaceport Union and prepare to be blown away.

Taylor Charles’ right-on emotional percussion forms the backbone of the band. His pulsing, shimmering syncopations are enhanced by Aaron St. Arnault’s thrumming bass, overlaid and brought into sharp focus by Adam Basterfield and Caroline Spence’s powerfully creative six-string musical innovations.

Words may be useless in describing this band, but if “Flirting with the Queen” does not represent a pinnacle achievement by this group, then heaven knows how artistically elevated their follow-up might be!

For fans of unique and powerful music, look no further, Spaceport Union is genius. Their debut album is nothing short of a revelation – it shows that rock music can be both powerful and intelligent. The question is just how far can this band go? With their new single “White Noise” ready for release and their album in the pipeline for summer, it won’t be long until we have the answer! - Rick Jamm (Jamsphere) - Jamsphere

On 'Yer Battery's Dyin'' - live performance video: "A sublime multi-layered concoction of sonic delights, the track reminds one of early Pink Floyd fused with Radiohead and King Crimson (with a little bit of Talking Heads thrown in for good measure!). A joy to watch for its sheer abstract non conformity." - Aurovine Blog

"Victoria’s Spaceport Union describe themselves as a progressive art rock band, but if you think that means they play retro 70′s dinosaur music then you are very mistaken. Their music is, in fact, fresh and contemporary, and they take the term “progressive” in its literal sense..." - VictoriaMusicScene.com (Mark Anthony Brennan)/Ride the Tempo

#5. Spaceport Union – ‘Minnow’ (from Flirting With The Queen)
‘Minnow’ is a superb piece from the debut album of a Canadian band who will be unknown to most in the UK. One of the pleasures and privileges of writing for Über Röck is that you do sometimes come across rare gems from talented emerging artists . In my review I said:

“Checking in at a cool 14 minutes and eight seconds, ‘Minnow’ is a modern prog classic in the making. Ethereal and dreamy, edgy and experimental, and “recorded live off the floor,” its emotional weight is carried by Spence’s haunting vocal. “Do not go gentle into that dark night/Rage, rage against the dying of the light,” says the Dylan Thomas quote in the album credits. ‘Minnow’ is not always gentle and does not always rage, but it does induce a sense of melancholy and quiet torment throughout. It’s beautifully sad. It’s how things might turn out if Wilson and Åkerfeldt in Storm Corrosion mode ever collaborated with Kate Bush. But there’s still room for the guitar dominated final section to pick up the pace and really drive the track home.”

I stand by those words – and by my overall review of the album. It made my top twenty!

Check out the track and the album here: http://www.spaceportunion.com/

And here’s my full Über Röck review: http://www.uberrock.co.uk/cd-reviews/27-july-cd/8720-spaceport-union-flirting-with-the-queen-groove-riot.html - Words and Music Blog (UK)

11.) Spaceport Union - 'Flirting With The Queen'
(Michael Anthony - UK)

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1.) Deep Purple - 'Now What?!'
2.) Von Hertzen Brothers - 'Nine Lives'
3.) Steven Wilson - 'The Raven That Refused To Sing (And Other Stories)'
4.) Riverside - 'Shrine Of New Generation Slaves'
5.) Michael Schenker's Temple Of Rock - 'Bridge The Gap'
6.) Man - 'The Welsh Connection' (Reissue)
7.) Ayreon - 'The Theory Of Everything'
8.) The Loyalties - 'Til The Death Of Rock And Roll'
9.) Wolf People - 'Fain'
10.) The Temperance Movement - 'The Temperance Movement'
11.) Spaceport Union - 'Flirting With The Queen'
12.) Amplifier - 'Echo Street'
13.) Black Sabbath - '13'
14.) Saxon - 'Sacrifice'
15.) IQ - 'Tales From The Lush Attic' (Reissue)
16.) This Devastated Fan - 'Plot and Debauchery'
17.) Pebbleman - 'Life Inside A Dream'
18.) The Flower Kings - 'Desolation Rose'
19.) Ian James Stewart - 'Junk DNA'
20.) Tipsy Road - 'Somewhere Alive' - Über Röck

"There are a number of bands and artists that can stake a claim to be able to genuinely reinvent what progressive music is all about; with 'Flirting with the Queen', Spaceport Union have proven themselves to be more than worthy contenders. "

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Eccentric art proggers Spaceport Union are a quartet hailing from Victoria in British Columbia, the most westerly Canadian province. The line-up of Adam Basterfield (guitars, keys, vocals), Taylor Charles (drums), Aaron St Arnault (bass, vocals) and Caroline Spence (guitars, keys, vocals) might appear at first glance to be pretty standard, but add in trumpet, glockenspiel, musical saw and even thermin powered by iPhone, and you can begin to appreciate that they are anything but predictable. "Flirting with the Queen', their debut full length album , was originally released in their homeland back in 2012, and having been widely acclaimed in the prog community for its innovation and creativity certainly merits being brought to the attention of the Fireworks readership.

From the spaced-out, dreamy ambience of Pink Floyd's 60's soundtrack for the hippie love-in 'More' to the fragile alienation of Radiohead's 'Kid A', Spaceport Union wear their prog hearts firmly on their sleeves. Such diversity may imply a disjointed approach but there is a clear fluidity with the multiple themes and concepts gelling together for a pleasing and occasionally surreal end result. The use of three part vocal harmoines and gentle melodies provides moments of warm, commercial appeal such as on 'Simple Lack of Motivation' and 'Fueled by Consequence', with the latter having gained significant exposure on internet prog stations. Ethereal and haunting, the fourteen minute 'Minnow' is notable for Spence's Kate Bush inspired wails and finds the band digging deep musically with an elaborate kitchen sink keyboard arrangement and potent guitars. Nothing here comes over as contrived or formulaic, even when they keep it simple with the piano led 'Veritas' or the stripped back acoustic strumming of 'Block'.

There are a number of bands and artists that can stake a claim to be able to genuinely reinvent what progressive music is all about; with 'Flirting with the Queen', Spaceport Union have proven themselves to be more than worthy contenders. - Dean Pedley (Fireworks Magazine UK) - Fireworks Magazine (UK) - Album Reviews

Just some of the other records passing under the portcullis of Prog Towers recently ...

Spaceport Union's 'Flirting With The Queen' (spaceportunion.com) is a charmingly bright, poppy prog work. Adam Basterfield's Canadian band evoke Supertramp, David Byrne even Radiohead, and Caroline Spence's falsetto brings rich colour to a highly enjoyable set. - Classic Rock Prog Magazine - UK

"The word ‘eclectic’ is overused, but is fully merited here, reflecting idiosyncratic instrument choice, and some quite astonishing and varied sounds and compositions. Rarely has an album surprised me so much as it has developed...‘Flirting with the Queen’ is highly recommended... It’s a fine, fine debut album from a talented and creative outfit."

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UberRock UK
CD Reviews
Written by Michael Anthony

When opening track ‘Simple Lack of Motivation’ kicks in, you could be forgiven for thinking you’re in for an hour of alluring country-influenced melodic rock. Adam Basterfield’s smooth vocal adds warmth to a track that has single written all over it. The Wallflowers? Crosby, Stills and Nash? You know the territory.

But don’t be deceived, because not the even the introduction of Caroline Spence’s lead vocal on ‘The Writing’s on the Wall’ and the shift to funky, laid back Steeley Dan type rhythms prepare you for what’s to come.

Checking in at a cool 14 minutes and eight seconds, ‘Minnow’ is a modern prog classic in the making. Ethereal and dreamy, edgy and experimental, and “recorded live off the floor,” its emotional weight is carried by Spence’s haunting vocal. “Do not go gentle into that dark night/Rage, rage against the dying of the light,” says the Dylan Thomas quote in the album credits. ‘Minnow’ is not always gentle and does not always rage, but it does induce a sense of melancholy and quiet torment throughout. It’s beautifully sad. It’s how things might turn out if Wilson and Akerfeldt in Storm Corrosion mode ever collaborated with Kate Bush. But there’s still room for the guitar dominated final section to pick up the pace and really drive the track home.

A switch of singer for ‘Yer Battery’s Dyin’’ but the vibe is maintained. More vocal torment, and more impressive lead guitar work from Basterfield against Mike Ross’s threatening bass and Taylor Charles’ rocky steady beat. Insistent and hypnotic, the band build up a head of steam as ‘Yer Battery ...’ plays out its Hawkwind-esque space-rocking end game in frayed and chaotic style.

Together ‘Minnow’ and ‘Yer Battery’s Dyin’’ seem to me to be the album’s creative heart, off which the rest of the tracks are dangled like low-hanging fruit. ‘Block’ is a return to calm and has a gentle folky feel. ‘You’ and ‘Fueled By Consequences’ are pleasant and accessible, catchy for sure, but lightweight in relative terms. ‘Veritas’ takes us back to the serious stuff – more haunting, ethereal vocals, with voice used as instrument, Karda Estra style.

‘For Years’ is warm and friendly, drawing matters to a close much in the way ‘I’ll Be Your Baby Tonight’ closed out Dylan’s John Wesley Harding. It appears light and throwaway, but is in fact an essential counterpoint to its more weighty predecessor, bringing us full circle and restoring some balance.

The word ‘eclectic’ is overused, but is fully merited here, reflecting idiosyncratic instrument choice, and some quite astonishing and varied sounds and compositions. Rarely has an album surprised me so much as it has developed.

If you are intrigued by any of the foregoing, then ‘Flirting with the Queen’ is highly recommended (you know what I mean). It’s a fine, fine debut album from a talented and creative outfit. - UberRock UK

Song of the Year - Spaceport Union - Fueled by Consequence - Victoria Music Scene

"Spaceport Union delivers variety in its most artful, hybridized form. Here’s something truly eclectic."

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Spaceport Union - Flirting With the Queen (2012)
Produced by Michael Jack
Reviewed by Yasuko Thanh

Seventies art rock, 80s synthesisers, and a neo-psychedelic–sometimes even world-beat!–groove. Spaceport Union delivers variety in its most artful, hybridized form. Here’s something truly eclectic.

Caroline Spence, from Victoria, BC, sings music with an experimental and innovative edge. She has this angels-in-the-church-rafters voice, which goes a long way to explaining why she’s nominated for the Vancouver Island Music Award Vocalist of the Year.

The stacked harmonies of “Fueled by Consequence,” a VIMA nominated Song of the Year, are reminiscent Paul McCartney and Wings. Soulful. Spence’s ethereal delivery in “Minnow” haunts us with a fourteen-minute tale.

Hypnotic songs vie for space with effects-laden tracks. Jazzy beats with funk echoes (think 70s Parliament or Bootsy Collins) take me on a journey through time. Fans of extended rock solos so popular in the 70s will appreciate “Yer Battery’s Dyin.” Lovers of Neil Young or Pink Floyd might find themselves right at home with songs like “Block.”

Many of the numbers appear vastly divergent on the surface–but they aren’t if you listen harder to hear the common thread. An underlying sensibility holds them together. Imagine a bicycle wheel: every spoke can be different, but a strong core holds them together at the centre.

An album such as this could have become disconnected by its scope. But not in the hands of these musicians. As I listened, I found myself drawn to the music’s leitmotif the way something small gets sucked into a whirlpool. I found myself circling inward.

Songs such as “You” employ the technique of repetition–in the way that streams are repetitive, their ripples. Or mantras. Sunsets. Raindrops. You get my drift.

Too much talent can be a curse. These musicians definitely have talent to burn. But you don’t catch them gratuitously flaunting their gifts. This is honest creativity.

I get the sense they’re having fun–but never at our expense. They don’t tout their talent.

When I gave myself up to the album, it carried me away. - The Coastal Spectator

"Quite simply ‘Flirting with the Queen’ is a triumph that will win the hearts and minds of all who hear it and for progressive fans it is an absolute must."

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It is easy to be cynical about music in the current age. Part of the problem lies with the parlous state of the mainstream, but a far greater problem lies with a music buying public increasingly unwilling to give a chance to an unknown quantity. It is ironic because what we are now seeing is that in an age where everything is available by hook or by crook, the preponderance of material seems to actually be putting people off from experimenting too widely. However cynicism and elitism comes at a price, and that price is missing out on some truly mesmerising acts lurking in the depths of the underground. One such act is Spaceport Union, a progressive band with a serious groove and an encyclopaedic knowledge of bands past and present, whose wonderful album ‘Flirting with the Queen’ draws upon decades of magical music making to present a joyous, richly rewarding experience that is utterly irresistible.

The album opens subtly, 'Simple Lack of Motivation’ coming over like Pink Floyd covering Buffalo Springfield’s ‘for what it’s worth’ before suddenly exploding into a dizzyingly beautiful burst of gospel-powered organ and lush vocal harmonies that is part Spiritualized, part Steve Winwood. Adam Basterfield’s vocals are quietly confident, recalling Pye Hastings and the song is the perfect introduction to the weirdly wonderful world of Spaceport Union. In contrast, ‘writing’s on the wall’ places Caroline Spence on lead vocals and takes Supertramp’s ‘Breakfast in America’ as its template, all funky keyboard and gleaming solos. It’s brilliantly produced by Michael Jack who keeps things warm and funky, and the song flows beautifully through funk and soul territory whilst keeping its roots in the progressive realm with some stunning solos and extended instrumental breaks. ‘Minnow’ sees the band refusing to stand still, the music taking a turn for the darker, as a subtly threatening synth line underpins an unconventional melody that recalls nothing so much as ‘The Wall’ at its most ambient before slipping into a deliciously seductive mood that sits comfortably between Massive attack, Nina Simone and Miles Davis. It’s a testament to the band’s skill that it all flows so naturally that despite the stylistic shifts nothing feels forced or out of place, and it’s a pleasure to let the music simply lead you where it will. And lead you the music does, through jazz-infused piano and art-house insanity, the song building to a dizzying climax that will leave you lying shattered on the floor.

After so epic a workout, the band change tack again for ‘Yer Battery’s Dyin’, a mesmerising song that sounds like a clash between Radiohead and QOTSA, applying the latter band’s sensual grooves to the former’s grungy, progressive template established on ‘OK Computer’. It’s a highlight of the album and undoubtedly a brilliant live moment in the band’s set too. Another highlight is the lush, melodic ‘Block’, a pop song in the vein of Porcupine Tree that makes great use of subtle synth and warm acoustic guitar. ‘You’ opens with the rolling thunder of toms and a groovy bass before slipping into reverb-laden indie-guitar territory in the vein of the Arcade Fire, with a similarly addictive chorus. ‘Fueled by Consequence’ is drawn from the heart of sun-drenched California, the jangly guitars and Beach Boys-esque harmonies all hinting at a lots era of innocence and wonder.

Dispensing with the sunny pop music that fuels the central part of the album, ‘Veritas’ slithers into view on the back of rolling drums and lovelorn piano, the vocals all breathy sighs and moans as the music shifts imperceptibly into a sinister minor key. It’s initially hard to explain exactly why the song evokes feelings of dread, but there’s a tangible build-up of adrenalin as horror movie synths and distorted guitars make their appearance and the track cuts across the senses like a splash of cold water after the gorgeous warmth of the preceding tracks. The album closes with ‘For Years’, a slight, acoustic lament that is part Radiohead, part Pink Floyd’s ‘Breathe’ and part Patti Page’s ‘Old Cape Cod’. It’s the perfect conclusion to the album and one that guarantees you’ll want to return as soon as possible to the band’s rich sonic pastures.

On ‘Flirting with the Queen’, Spaceport union have drawn from a wide cross section of popular music past and present to deliver an album that is as rewardingly inventive as it is timeless. Subtlety is the key, and Spaceport union rarely rush to get anywhere, and each song is given ample room to breathe and grow with the result that the album as a whole flows perfectly from start to finish. Quite simply ‘Flirting with the Queen’ is a triumph that will win the hearts and minds of all who hear it and for progressive fans it is an absolute must. - Sonic Abuse UK

"The new album 'Flirting With The Queen' by Spaceport Union is the most innovative and creative musical release in Canada I have ever heard. I am confident that we will see this album on the 2013 Polaris Award short list." - King Minion from the King Minion Music Podcast

"Each song carries its own musical flavor, and they all taste delightful. The album exudes professionalism, as the production, structure, and makeup of each song is top notch...truly some great music here"

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A cordial, easy-feeling guitar bit opens up Spaceport Union’s Flirting with the Queen album, followed by similar vocals and a warm, pop-friendly melody. Compared to some of Pink Floyd‘s output, My Morning Jacket, and Metric, the band sounds fresh and musically pragmatic on this release. “Simple Lack of Motivation” is the opening cut, which could easily be a radio single. Their deep, earnest sound sets the tone for the album, and is an apropos inaugural tune to kick things off.

Vocalist Caroline Spence is the singer on the next track, “The Writing’s on the Wall”, fuelled by some excellent synth lines and some effective, progressive guitar work amidst the mellow rock foundation. There’s a sort of 70’s feel to the track, but the enlightened voice of Spence lifts the track a little higher than one would expect. More exquisite guitar work plays out the tune, giving it an added edge. “Minnow” creeps in with an eerie, ambient intro, and then plays out like an interlude from a Pink Floyd album. The song is draped by some haunting vocal wails from Spence, soft and ghost-like in texture, carried along by glimmering keyboard layering and an ethereal, airy aura a la Brian Eno. Hypnotic and totally entrancing, the track takes on a very non-commercial persona, but still seems to work. At over 14 minutes, the song morphs and transforms into a bunch of different tones and musical pastiches, all the while keeping its mysterious presence intact.

“Yer Battery’s Dyin’” begins with an appealing guitar twang and familiar percussive beat. This one has a good, hard-rock skeleton, sounding a bit like Radiohead as it unfolds. Again, another dimension of the group’s repertoire is shown, as this track is nothing like the previous ones. Solid and bare, this is an excellent little piece of guitar and vocal work. “Block” is a laid back tune fronted by light guitar strumming and a cloud-like musical texture, again reminiscent of a softer Floyd song sung by David Gilmour, while “You” begins with contagious drum parts suddenly softened by Spence’s vocals once again. This one shines a bit like Kate Bush at times, but the galloping back beat in opposition with the charming melody gives it charisma and distinction.

“Fueled By Consequence” is another track that sounds ready for airplay, mirroring the same style as Snow Patrol or The Fray, to reference something current. Pop friendly and melodically alluring, this is one of the album’s stand out tracks. “Veritas” is sprinkled with piano and is another light, ambient effort, and closer “For Years” is beautifully gentle and tender as it plays out, utilizing both Spence and Adam Basterfield as vocalists.

Flirting with the Queen offers quite a bit in musical textures and genres. Ambient, progressive, commercial, and poppy, each song carries its own musical flavor, and they all taste delightful. The album exudes professionalism, as the production, structure, and makeup of each song is top notch. Spaceport Union sound as if they’ve been doing this for a long time, and the overall feel of the album as a whole comes off as complete and substantial. There’s truly some great music here, and hopefully they reap the rewards they deserve.

Rating: 4 Stars (out of 5) - M. DeGagne, Music Critic (Allmusic, Freelance)

"I’ve been excited about this interview with Spaceport Union. Last time I was this high was when Nancy Wilson of Heart gave me a french kiss back stage at the old Memorial Arena in 1978..."

"I was given the great honor to interview the members of Spaceport Union and treated to that rare glimpse inside a creative band destined for greatness..."

"With bands like Metric, City and Colour, Stars, Mother Mother, Joel Plaskett, The New Pornographers, it seems that in Canada, a certain ‘niche’ group of artists continue to pursue the musical dream and while doing so are producing some of the best songs we have ever heard. Spaceport Union is one of those bands..."

- King Minion Music Podcast

"With a band name like Spaceport Union, it’s not hard to imagine cosmic images of being transported to star-studded astral dimensions..."
"...like Pink Floyd, a bit like Kate Bush, a little bit like Metric and very much like Radiohead..."
“We have an organic feel. We’re really open to being creative and letting it flow....we're really focused on live performance..."
- St. Albert Gazette

"...a joining of talent that’s been described as Pink Floydesque with an overcoat of Kate Bush and early Led Zeppelin.... Spence has often been touted as one of Canada’s top emerging artists over the past few years..."
"Spence’s evocative and powerfully resonant vocals meld seamlessly with the solid grooves laid down by Charles and Ross...."
"The band is known for its contemplative, thought-provoking lyrics and intricate music." - Kamloops This Week