Easter Island’s self-titled 1979 album stands as a testament to the enduring power of American Progressive Rock, emerging at a time when the genre was facing increasing challenges. With the 2025 reissue now bringing this hidden gem to a new generation, we had the privilege of speaking with Mark Miceli, one of the creative minds behind this
sophisticated musical journey. From the Genesis-inspired atmospheres of “Solar Sailor” to the ambitious structure of “The Alchemist’s Suite,” the album represents a unique fusion of classic Prog influences and late 70s innovation—music that continues to resonate more than four decades later.
Mark, let’s begin with the origins of Easter Island. How did the band come together, and what musical environment shaped your vision at the time?
After many years of being successfully involved in guitar driven music, my taste had changed quite dramatically toward a broader format, involving keyboard sounds, in order to create music that was more expressive emotionally, as my writing felt too limited with a guitar-only approach. The eclectic styles of what would become known as “progressive” rock, beginning with the Beatles, and then evolving into longer form music, with groups such as The Moody Blues, Procol Harum, King Crimson, Yes, etc. showing everyone there was a way to express music with a more conceptual approach. This style of music also introduced new sounds via mellotron, synthesizers, and generally explored many musical genres, and fused them with rock and pop. So, I decided to find a keyboardist, preferably with a classical background, that could explore these genres with me. So, I placed an ad on a bulletin board at a local music store, and was contacted by Ray Vogel, who, as luck would have it, lived about 3 blocks from me, on the same street! When I heard him play, I knew immediately he and I were meant to work together, and it wasn’t long before we added bass guitar, drums, and later another vocalist. Although many different players came and went, Ray and I remained as the nucleus.
Easter Island’s sound clearly draws from Symphonic Prog, with echoes of Yes and Genesis. How would you define your own musical identity, and what elements set you apart within the Progressive Rock scene?
It may seem odd, but there was no Genesis influence at all, as they were not part of my listening, although I really enjoyed both Genesis and Peter Gabriel after they parted ways, but by that time much of my writing had taken shape. Yes, ELP, King Crimson, and Gentle Giant were far more influential to our style, although our music also had many elements of American jazz, blues and rock influences. Our identity grew as Rick Bartlett came onboard as vocalist, as he had a unique background, as a black man steeped in the soul tradition, and who was also part of the KY Opera Association. So, we had a pretty unique approach to long form music, as everyone in the band added their own parts to each composition, and the music took shape with rehearsals, and jamming 5 days a week. We were a very tight band from so much time spent playing together, as can be witnessed by the live cuts on the CD.
The late 70’s weren’t easy for Progressive Rock, especially with Punk and New Wave on the rise. What was it like navigating the American Prog scene during this transitional era?
Our music had been formulated in the mid 70’s, and the actual release of the self-titled album in 1979, was a collection of demo tapes we had recorded over those earlier years, and were put together as an album, in order to honor the hard work we put in, as we were then disbanding. So punk and new wave did not necessarily interfere.
Can you share some memories of the recording sessions? Where was the album recorded, and what were the biggest challenges you faced in the studio?
Most of our recordings were done quite inexpensively, as we were so well rehearsed that we recorded each song very quickly, with access to the number of tracks as the only challenge. Each time we recorded, it was just intended to be a reference demo, in order to hear the songs as listeners, instead of just as players, and usually just 2 or 3 songs. Afterward we would write newer songs, sensing our direction emerging. The studios we recorded at were, in order, Falk Recording, which was in a garage, then Fultz Studios, mainly because they had a Yamaha CS80 that we could utilize. Then we finished our songs at Allen-Martin Studios, which was a prominent regional studio based in Louisville.
There’s a strong conceptual thread running through the album, particularly in “The Alchemist’s Suite.” Was there an overarching narrative or philosophical theme behind the record?
As the main lyricist, my influences were based on my long-term studies of metaphysics. “Life Celebration” was purposely designed to be a group lyrical effort, and the lyrics to “Winds Of Time” were written by Park Crain, our bassist. In particular, “The Alchemist’s Suite” began with a short classical piece named “Prelude”, which was a type of ‘round’ on guitar, later accompanied by piano and mellotron, on each succeeding ‘round’, which served as an intro to “Life Celebration”, literally celebrating being alive, covering life experiences and the underlying feelings. The later portion
speaks of transformation via meditation, which then morphs into “Telesterion”. “Telesterion” depicts the march of initiates into the temple of Eleusis. The main building within the sanctuary at Eleusis was the Telesterion, a large hall where initiates participated in the rituals of the Mysteries. Eleusis was the center of worship for Demeter and her daughter Persephone, and the location of the Eleusinian Mysteries. These were ancient Greek religious rites, celebrated annually, with the central myth revolving around the abduction of Persephone by Hades and Demeter’s search for her. So, the ever-
present drum pattern depicted the march, and the music evolved, ala Ravel’s “Bolero”, and was mainly inspired by a New Year’s Eve I spent in a local non-denominational temple, where a large traveling group of Sufi dancers were visiting. They also had a rhythm they were dancing to, although I didn’t copy that rhythm, it was inspirational, to say the least!! The section that follows, “Resurection” depicts the resulting “rebirth” of the human soul after the initiation into the deeper mysteries of life, with a greater spiritual understanding of life.
Songs like “Genius of the Dance” and “Winds of Time” feature intricate interplay between keyboards and guitars. How did you develop those arrangements, and what was the writing dynamic within the band?
“Genius of the Dance”, began as an unusual set of delicately voiced chords I formulated on guitar, together with a melody, and lyrics. As was our normal progression, whenever I had a strong song structure, Ray Vogel would search for parts to ‘fit’, and while playing sections together, usually I would hear something of interest in his exploration, stop the song, and ask him to develop certain parts he was creating, as I recognized the pieces of the puzzle, as it were, beginning to ‘fit’. Since we rehearsed nearly every day, we used the space between rehearsals to practice on our own, keeping in mind what we discovered the night before. As this process always went, the song form kept becoming more obvious to each player, and the song would evolve eventually into a cohesive composition, due to a strong concept and the encouragement to develop each musician’s parts, without pre-determination, as everyone was encouraged to write their individual parts. Since I already had the lyrics written, it was a fairly unique use of the lyrics that I became most proud of, as the last
section included two sets of lyrics sung simultaneously by Rick and myself, and joining at the word “soaring”, and ending in harmony, emulating the initial melody of “Scattered paths…” The evolution of “Winds of Time” began as a series of parts written by Ray, and then I needed to come up with parts that fit in properly. The same process ensued whereas each of us would develop ideas for our instruments that would truly fit one another. The key to development of sections is to
concentrate heavily on the ‘glue’ parts that would bring diverse sections together cohesively. Super important in Prog, especially. Park Crain had written some excellent lyrics for the song and we developed structure around them at the conclusion of the song, which I felt made the song come alive!!
With the 2025 reissue now out via PQЯ-Disques, your music is reaching a whole new audience. How does it feel to see renewed interest in the album after so many years?
Well, as with each reissue (4 total), it was so very rewarding to have the label and George Rossolatos, the owner, showing great interest in preserving this labor of love across several generations. This particular release featured grandiose packaging, and when I told George I had some live recordings from our 1978 concert with UK, as well as live recordings of the second release, “Mother Sun”, he really wanted to include them on CD with the vinyl reissue, and it came together
beautifully!!! The main goal, from my perspective, was always to have the music continue long after I have passed, and indeed, it seems it may just do that!!!
How do you view today’s Progressive Rock landscape compared to the late 70s? What changes or continuities stand out to you?
Technology has always dictated the development of sound and music. So now, in the year 2025, we have come light years from the early recordings’ tech, and in that respect, the sounds have just exploded into some newer territories, exploited by the development of the home studios’ capabilities, which allow much more time to develop such demanding music. Also, there are now a plethora of great musicians that have come to the genre, developing newer styles within the genre, and progressing the art form. However, I will add that the early Progressive music has never been surpassed, in my humble opinion.
Looking beyond Easter Island, what other musical experiences have shaped your artistic path over the years?
My musical tastes are quite wide, and include jazz, Indian, classical, film scores, meditation music for healing, and just sound in general. Really the only musical genres I’m not inclined to listen to are country, metal, and hip-hop, although I do run across some pieces, I find enjoyable occasionally. Also, I write in various genres as well as Prog. My website, https://markmiceli.com , does feature most of my solo works, which show a wide range of genres over 6 solo albums, including both Easter Island albums, https://markmiceli.com/solo-albums/. There is also a page on the website, https://markmiceli.com/meditation-and-sleep-aids/, Meditation Matrix, that features my explorations into meditation and sleep aids via brain entrainment, utilizing solfeggio tones that use isochronic “beats”, similar to binaural recordings, but which do not rely on headphones. On this page there are 9-30 minute sleep and meditation pieces, and 9 of the isochronic solfeggio frequency pieces, also each 30 minutes in length.
The production of the album captures the warmth and depth of late 70s Prog beautifully. With hindsight, is there anything you’d change about the arrangements or recording choices?
Thank you for such a compliment!!! Well, I find that all’s well that ends well, generally speaking, and so I believe that album came out just as it was destined to. Sure, it would have been nice to have better guitar sounds, etc., but then it would not have been as it is, which I do believe it was destined to be. So, in that respect, no I would not change a thing.
For listeners discovering Easter Island for the first time through this reissue, which tracks would you recommend starting with, and what should they listen for?
Simply listen to side one, flip the vinyl, and enjoy side two. For more critical listening, focus on the lyrics as they complement the instrumentation. They are inseparable, I believe.
Progressive Rock has always challenged conventions and explored deeper themes. What advice would you offer to today’s musicians who want to create meaningful and forward-thinking progressive music?
Well, I firmly believe this style should never be stymied by always using the same instruments as we did in the 70’s!!! Always, be true to the song itself, and what it needs, without regard to the limits of genre, that are artificially imposed, by those who are followers rather than leaders. If your song needs a tuba section, by all means, use a tuba. It’s all in the name “Progressive”. Never be limited by a genre’s expectations and critics. Who wants to be a copycat? The advancement of musical technology should always be employed, as it always has been. “Art for art’s sake” is a great motto to employ!! After all, I believe we are giving birth to sounds and songs that are waiting for the right “parents” to bring them to life!!!
Finally, are there any new projects or plans you’d like to share with your fans and the broader Prog community?
First, I’d like to give my heartfelt thanks to everyone involved in the community, for all the support given to every brave artist!! Hopefully, even at my age, there will be more coming forth, and the best way to find out is to check out my website from time to time. https://markmiceli.com And heartfelt thanks to both you, and this publication for the interview and support!! Namaste.
Mark, thank you for taking the time to revisit Easter Island’s legacy with us. The 2025 reissue of your self-titled album is more than a rediscovery—it’s a celebration of a timeless artistic vision that continues to resonate. Your work remains a vital chapter in the story of American Progressive Rock and a shining example of musical depth and
integrity.
Purchase the 2025 reissue here: https://pqrrecords.blogspot.com/2024/12/easter-island-special-vinyl-reissue.html
Read our Review here: [Review] Easter Island – Easter Island (2025 Reissue)
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