Prophecies of War, a multimedia production combines five emotionally intense musicians, three floor-to-ceiling screens, and mind bending audio clips. It runs for two hours with a 15-minute intermission. And performs in theaters and auditoriums with seating capacity circa 1,000. Prophecies of War sits comfortably with college students, the politically active, and those that are socially conscience. In its debut, the house maintained a 90% capacity and promoted with little advertising.
Prophecies of War maintain certain characteristics that are similar to other productions, but it also has its very unique individuality that stands apart from other media. Prophecies of War is similar in several facets. Firstly, the political aspect of it is similar to Rage Against the Machine, Michael Moore, and Henry Thoreau. Rage Against the Machine (RATM) is known for their confrontational lyrics that address social ills, which include class struggle, consumerism, human exploitation, slavery, political breakdown, and the list continues. In addition to RATM, Michael Moore, a director known for creating documentaries that addressed the faults of the Bush administration, America’s gun obsession and health care system. Furthermore, Prophecies of War shares a connection with Henry Thoreau. He is known for several works that include Walden, Walking, and Treatise on Civil Disobedience.
From Walden, we get Thoreau’s famous quote, “If a man does not keep pace with his companions perhaps it is because he hears a different drummer Let him step to the music which he hears however measured or far away,” And in Treatise on Civil Disobedience, Thoreau openly spoke about the necessity for the people to protest the government when they have committed a crime. Prophecies of War embraces peaceful civil disobedience. Americans were told that to protest its government’s policies on Iraq, Afghanistan, or any country suspected of terrorism was immoral, unpatriotic, and is a supporter of terrorism. “If you are not with us, then you are against us,” these were the words spoken by George W. Bush not long after 9/11. Not to question one’s government is immoral. Not to protest one’s government is unpatriotic. To remain silent on something you believe is terrorism.
Prophecies of War also shares a linage with Diagheliv and the Ballets Russes. His dance troupe was the premiere company to present, not just dance, by the collective arts that expand the bounds and to explore themes that were not acceptable at its time. Additionally, it was not immune to controversy. As many know, the Ballets Russo reached stardom through the Rite of Spring. It was not just the music, dance, scenery, but the theme - primitive society; the symbol - a nude dancer; the techniques – angular movements, intense music, oblique costumes; all of which combine to create an explosion that has left a creator in the historical evolution of the collective arts. One cannot study this art form without crossing this company or production. Prophecies of War continues with this principle of combining more that one art form with a theme that pushes the boundaries. It uses live music, video projection, and audio clips to create an event that one reviewer describes, “It is LSD without the LSD!”
Prophecies of War shares all these aspects, yet contrary to this it is its own entity. It is unique in that it combines presidential speeches that have not been combined into a multimedia production. It is unique in that it combines several rock genres into one experience – Fusion, Prog Rock, Heavy Metal. It is unique in that video clips of presidents, war, banks, politicians, the working person, and society doing what it does appear in rapid fashion, distorted, bent, twisted, and turned upside down. It is these principles and techniques that give Prophecies of War its unique character.
We now know the similarities that Prophecies of War shares with other genres and how it is different, but lets look at what Prophecies of War is not. Firstly, it is not the cheap mainstream popular music one hears on the radio. It is not some band that is composed of boys trying to dance and lip sing simultaneous. No, it is made up of artists that are real. Artists that took the time to study their instrument, learned to compose, learned to perform under pressure of hundreds of people watching; it is made up of members who they themselves have become hardened from time, experience, and passion to see this production come to audiences; it is made up of people who know the importance of performing Prophecies of War; it is made up of people who have made personal sacrifices to perform Prophecies of War; it is made up of people who take criticisms from detractors for expressing their views; these are admirable traits for people to aspire to, to respect; to love. And they should be greeted with open arms and a smile.
Prophecies of War is not made up of blonde bombshells or beauties that sport the latest boob job, but it is made up of musicians that sweat, who move to the music, who appear and disappear as the lights flash on and off, dressed in black from head-to-toe they are the dark poets exploring the mind and reality so that you – the audience, can see the ideas, hear the heart’s passion, and experience the human mind in a production that challenges the norm – that asks of you to think differently by your own will. It asks that you not be a sheep, but be the husband. Be the person that controls one’s life.
Above all this, Prophecies of War is not government-approved art. It is socially approved art that was created by the people for the people. It is direct. It is blunt. It is meant to be a thorn in the side of establishment.
The affect Prophecies of War has on people is one of invigoration, excitement, mind expansion, thought provoking, and sincerity. Mainstream entertainment does not suit them – it is meant to pacify – to numb their senses – to prevent them from thinking on their own accord. People want something that can express their feelings. Americans for the most part remain passive and isolated. Many feel that if they were to speak out against governmental ills they would be outcaste and blacklisted. Prophecies of War allows people to protest – to protest by attending the performance, listening to the CD, tuning into the radio station when it airs, and watching it on TV. Listener ship, viewer ship, and public attendance are means of agreeing with Prophecies of War and demonstrating passively to the government and military that one does not agree with their actions.
Prophecies of War is a sigh of relief for those that have wanted someone – something to express their feelings and thoughts. People have become isolated through the constant barrage of mainstream media that continues to feed Americans with lies, disinformation, and half-truths. They are left with either to eat from the trough or sit in the corner isolated from the group.
Prophecies of War has taken on a life of its own. It began as my senior thesis; recorded as a EP CD; broadcasted on the Philadelphia televised High Wired; performed in Philadelphia; will broadcast nationally in 54 markets in America in July 2008; recorded and distributed in the winter of 2008; broadcasting on 560 college radio stations throughout North America and the United Kingdom beginning in December 2007; radio interviews; magazine interviews; and the list will continue to grow. It is active and alive. It is no different than the birth and development of a child. It started small and grew and grew and grew. And it will continue to grow. It will be the heavyweight.
From Progression Magazine (third quarter)- 2008
Prophecies of War, the brainchild of Philadelphia native Andrew Hanna, is a multimedia event that has been playing assorted venues for some time now. Equal parts theater and concert, the musicians, dressed in black, are dwarfed by three floor-to-ceiling projection screens showing clips of war, politicians, and human society in rapid bytes. The Band shoulders the daunting task of supplying the instrumental soundtrack to these videos which collectively depict the horrors of war through the ages. A cool twist is that the musicians convey the message through a German Flavored experimental fusion recalling '70s trailblazers Embryo.
This production is divided into two acts, with snippets of Dwight Eisenhower in the first part and George W. Bush in the second. The music holds up just fine without the visual aid. A repetitive driving jazz-rock is established while Hanna's electric effected saxophone or Art Franklin's keys supply most of the soloing, evoking fond memories of Soft Machine's salad days. Spacier interludes fortify that 70s feel. Hanna, through a different avenue, explores a timeworn human malady. - Warren Barker
Sound - 3 of 4 stars
Composition - 3 of 4 stars
Musicianship - 3 of 4 stars
Performance - 4 of 4 stars
Total rating - 13 of 16 stars
From Progresiste - November 2008
PROPHECIES OF WAR
Prophecies of War
At Hand Prod. - 72'35 - USA '07
Jazz-rock/musique expérimentale DP4-BV8
PROPHECIES OF WAR est un projet singulier : ambitieux, pluri-artistique et politique. Ambitieux : la mission est de donner voix aux sans voix. Pluri-artistique : sur base de sa théorie de l'art collectif, Andrew Hanna (saxophones et synthétiseurs) et son groupe produisent des performances multi-sensorielles (« du LSD sans le LSD ») qui allient musique, projections vidéo sur écran géant (images de présidents, guerres, travailleurs ou banques) et ret ransmission sonore d'extraits de discours des présidents américains Dwight Eisenhower (« the military
industrial complex » - d'abord vint l'avertissement) et George Bush (« Double You » - puis vint le problème). Politique : le positionnement du groupe cousine avec Rage Against the Machine, Michael Moore ou Henry Thoreau. Désobéissance civile et pacifi sme répondent au célèbre mot de W après le 11 septembre « if you are not with us, you are against us » (« manifester contre la politique américaine en Iraq ou en Afghanistan est immoral, antipatriotique et terroriste ») : c'est ne pas questionner le gouvernement qui est immoral, c'est ne pas manifester contre le gouvernement qui est antipatriotique, c'est ne pas dire ce que vous pensez qui est terroriste. Répété pendant des mois et enregistré en un jour, l'album décline, en deux actes, une musique, expérimentale parfois - voire même un peu free - (War), jazz souvent (In the Beginning - dont la deuxième partie fait la part belle à la basse (Matt Cusack), instrument peu habitué à bénéfi cier d'une telle audibilité), hypnotique - en particulier quand elle laisse la voix aux présidents - (Introduction - Act I, le languissant Profi t-C), fusion de temps à autre (Attack), teintée occasionnellement de métal (Send Us Your Children), d'électronico-ambient (Introduction - Act II) ou de relents de musique répétitive (In the End et sa sonorité à la Terry Riley). Art Franklin (synthétiseurs, piano, orgues), Brahm Genzlinger (guitare) et Charlie Heim (batterie) complètent ce groupe de Philadelphie, qui se revendique d'infl uences où cohabitent Mars Volta, Yes et Igor Stravinsky. Lecteur, voilà un projet original, cheminant sur des pavés parfois rêches, mais intelligemment disposés suivant un plan intelligent, généreux et fi er de sa persévérance. Attachant. www.AtHandProductions.com - Bernard Vincken
Philadelphia Citypaper - September 2008
With a band name like Prophecies of War and a song titled "War," I had pretty solid expectations of what these guys were going to sound like before I heard them. But o my pleasant surprise, I was completely wrong. Instead of cookie monster shouts and kung fu-inducing breakdowns, there's spastic drumming, droning synths and electric sax.
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