Tuesday, October 23, 2012

The Top Albums of the Year 2010, Part 1: The Masterpieces

My Favorite Albums of 2010
(In some semblance of order)

***Author's note:  Below you will find two different rankings for this year's albums. The first is merely a list consisting of a Top 20 with a following list of "Honorable Mentions." These are my favorite albums of the year, that is, the albums to which I have formed the greatest emotional attachments. The ensuing Reviews are ordered according to my personal, more objective judgment as to their quality, that is, the "best" albums of the year. Here I have tried to order the albums reviewed according to my personal determination as to what are the "best" albums of the year from a more critical, qualitative viewpoint, that is, without as much emotional attachment as "My Favorite" albums.  

2010 offered some awesome new music from artists practicing quite a wide variety of styles. My Favorites List has albums representing no less than ten sub-genres. Another excellent year in terms of quantity and quality, I have on my List five (5) masterpieces and nine (9) near-masterpieces of progressive rock music. 

The Rankings
(My Favorites)

1. CICADA Over the Sea/Under the Water
2. FUNIN Unsound
3. BROTHER APE  A Rare Moment of Insight
4. DOMINA CATRINA LEE Songs from the Breastbone Drum
5. GIFTS FROM ENOLA Gifts from Enola
6. VESPERO By the Waters of Tomorrow
8. FOURTEEN TWENTY-SIX Lighttown Closure
9. CICCADA A Child in the Mirror
10. MY EDUCATION Sunrise

11. MR. GIL Skellig
12. ANATHEMA We’re Here Because We’re Here
13. T Anti-Matter Poetry
14. YUGEN  Iridule
16. UNIVERS ZERO Clivages
17. FROGG CAFÉ The Bateless Edge
18. ARANIS RoqueForte
19. KHATSATURJAN Disconcerto Grosso
20. THE TEA CLUB Rabbit

Honorable Mentions:
HYPNOS 69 Legacy
XING SA Création de l’univers

The Reviews

***** 5 star Masterpieces:

***** Album of the Year for 2010! *****

1. BROTHER APE  A Rare Moment of Insight

This is the best Brother Ape album yet--and, because of its consistently high content and performances, one of my Top Ten of 2010. One thing this album has that previous Brother Ape albums perhaps lacked is GREAT production--sound is mixed VERY clearly (though the drums are often given a bit too much volume.)

1. "Juggernaut Now" (7:27) [9/10] and 3. "Ultramarathon" (7:49) [9/10] have a distinctive JIMI HENDRIX EXPERIENCE sound and feel to them--(except for the wonderful TREVOR HORN-like voice)--which makes sense since this is a three-piece rock band with a very active drummer. The whelm of MAX BERGMAN's frenetic pace and style (sounding a lot like KEITH MOON sans cymbol mania) takes some getting used to, but once past that you have some pretty amazing songs here. Some BLUE OYSTER CULT-like guitar riffs in "Ultramarathon" give it a varied feel, while the calming vocal and wild drumming continues to provide the tension to make the glue holding the song together.

2. "Chrysalis" (5:34) slows things down a bit and presents an almost DEPECHE MODE-OCEANSIZE marriage of sound. Cool song. I love that all of this album's songs have so many subtleties to be extracted from the music with each successive listen. [8/10]

4. "Seabound" (6:03) has a bit of a feel as if FLEET FOXES or MOON SAFARI's vocal harmonies were singing over YES's "Turn of the Century." Very nice, quite nostalgic, song that keeps growing on me as time passes. Very nice acoustic guitar work. [9/10]

5. "Instinct" (6:52) is my favorite. It has a lot of atmospheric sounds floating behind the drums: keys, vocals, even bass are very etheric. Great vocal melody lines (and, later, harmonies) and awesome lead guitar solo around the 4:00 mark. Love the spacious outro. [10/10]

6. "Echoes of Madness" (9:06) is a great upbeat song with some very catching vocal hooks and chord progressions while constructed like a classic RUSH song. I really love the Alex Lifeson-sounding guitar sounds (the strums!) here--including the LIFESON-like solo beginning at the 4:30 mark. Great vocal performance (including the BUGGLES-like distant echo). Again, it's the little, subtle extras (the acoustic guitar work is awesome!) that make this song--and album--so amazing! [9/10]

7. "The Art of Letting Go" (7:23) has a very emotional presentation and vocal performance. The way it builds--from plaintive STYX-like piano & voice to full blown ROBIN TROWER-like rocker--is, to me, reminiscent of many moments of the best of LED ZEPPELIN's sounds and style(s). Amazing instrumental section beginning at 4:45, repeated again as the slowly fading outro in the last minute!  [9/10]

8. The album wraps up with the gorgeous acoustic guitar piece, "In a Rare Moment" (3:33).  It's a beautiful song quite reminiscent of something ANT PHILLIPS and MICHAEL HEDGES or ERIK SATIE might have collaborated on. [10/10]

Excellent musicianship, beautiful song constructions, tons of layers of subtle sonic atmospherics, along with the very catchy, gorgeous TREVOR HORN-like vocals make this album one of my favorite discoveries of the past year.

92.5 on the Fish scales = five stars; a masterpiece of progressive rock music receiving my HIGHEST RECOMMENDATION. Bravo, Brother Ape! EVERYBODY: CHECK THIS ONE OUT! You won't be disappointed!

2. FUNIN Unsound

1. "Unsound" (6:55) is so out-of-the-ordinary in its 'world music' approach to instrumentation and voice as to defy comparisons (though Mariuz Duda's opening to LUNATIC SOUL does come to mind). Eerie and yet breathtakingly gorgeous. I love the way this builds, like a Post Rock song, then crescendos leaving behind a kind of BJÖRK/Inuit choral part and a more techno/house final 1:30. (10/10)

2. "Everythings" (5:31) outrageously gorgeous--though COLDPLAY-like poppy--from the start, this one is just so catchy and upbeat that I can't help but wonder why (or maybe that) it was a major international hit. (10/10)

3. "Wonderland" (4:01) is a wonderful pop-jazzy KOOP/BJÖRK-like paced song. (9/10)

4. "Tornado" (4:02) is even more BJÖRK-like sonically, musically and vocally. Wonderful, hip-swaying music with a gorgeous vocal arrangement. It may be very similar to the Icelandic queen's sound and style, but it is masterful and fun! (10/10)

5. "Last Day" (4:08) This song has a bit of the mysterious BARK PSYCHOSIS sound and feel to it in that it is a stripped down, very basic musical landscape over which Marit Elisabeth Svendsboe displays her remarkable vocal uniquities(8/10)

6. "Inch of Me" (6:29) is highlighted by it's second half:  the amazing piano, double bass, strings, and, later, 'Latin dance' percussion. Almost a DIANA KRALL song, The Look of Love era. (9/10)

7. "Indestructible" (3:31) is another song completely unique to FUNIN. Part LAURIE ANDERSON, part JON HASSELL, part NORTH SEA RADIO ORCHESTRA, this is one unusual yet starkly beautiful 'folk' song. (10/10)

8. "Rocking Chair" (2:43) is another song showcasing singer Marit Elisabeth's versatility. Part BILLY HOLIDAY, part NINA HAGEN, part Gypsy or Arab folk singer, this is to be heard. (8/10)

9. "Machine" (6:57) is an amazing, edgy techno/industry song displaying some quite unusual vocal skills (or editing!) and ending with a classic piano/string quartet! (9/10)

10. "Skywalkers" (5:12) starts out a lot like COWBOY JUNKIES/LAURA NYRO before going BJÖRK Vespertine and then, with 2:20 addition of the male voice, back to a Cowboy Junkies or DUNCAN SHEIK feel. Awesomely odd and unusual! (9/10)

92.0 on the Fish scales = five stars; a definite masterpiece of progressive rock music--one that is truly pushing the boundaries of music into future possibilities. 

3. DOMINA CATRINA LEE Songs from the Breastbone Drum

In the great tradition of OREGON, SHAKTI, RY KOODER, and PAT METHENY, Domina Catrina Lee offers up some incredible fusion of jazz and rock using her guitar and a computer program (MIDI Just Intonation) to midi perform and program a full array of instruments representative of the jazz, classical and world music traditions. This is an absolutely gorgeous, emotional, intellectual, and astounding musical accomplishment. It simply must be heard to be believed and appreciated. 

1. "Songs from the Breastbone Drum" (6:28) is a gorgeous introduction to the supreme composition and performance talents of Here using acoustic guitar, oboe, piano and drums/tabla/percussion to showcase a melodic piece of world jazz. (10/10)

2. "Fire Naked Prelude (1:20) uses acoustic guitar in two channels in a very RY COODER way. (8/10)

3. "Fire Naked Boom" (5:19) sounds like a PAT METHENY/FRANK ZAPPA/HIROMI UEHARA/JONI MITCHELL/WEATHER REPORT collaboration. Funny, loose, jazzy, displaying extraordinary instrumental skills, it works as a kind of performer's showcase. (8/10)

4. "Suite I: Ballad of the Forgotten (Threnody for Vincent Van Gogh and Nikolai Tesla)" (5:27)
is a powerful and beautiful tribute to the misunderstood. Much of the time it sounds like the instrumental first half of PAT METHENY & LYLE MAYS' classic "As Falls Wichita, So Falls Wichita Falls." (10/10)

5. ""Suite II: Scarborough Fair" (3:36) while the 'woodwind' plays the melody of the traditional English folk song, piano accompanies the emotional soloing of an acoustic guitar. Powerful. (9/10)

6. "The Story so Far" (3:43) starts with some synth wash and soft piano notes before kicking into a modern jazz combo supporting one of the best ALLAN HOLDSWORTH impersonations I've ever heard. Amazing! Simply must be heard! (8/10)

7. "The Shape Shifter Suite I: Two Spirit" (6:12) starts off like a WILL ACKERMAN/STEVE REICH song with those familiar layers of guitar arpeggios and other percussive instruments. 'Violin' takes over the lead melody for a bit, before giving way to some brilliant acoustic guitar soloing. The intricate weave of background instrumental support again makes this song sound like a long lost PAT METHENY GROUP song. But it's not: it's the work of one person! Amazing! (10/10)

8. "The Shape Shifter Suite II: Invocation" (5:43) begins more like a PAUL McCANDLESS/PAUL WINTER GROUP song before shifting to a pure JOHN McLAUGHLIN acoustic jazz piece à la 1970's My Goals Beyond. (10/10)

9. "'Even the Outsider' Suite: i) Borealis" (4:25) begins as if PAT METHENY, STEVE TIBBETTS, WILL ACKERMAN and MICHAEL HEDGES were all sitting down together to play. For two and a half minutes the instruments meander around as if searching for a common thread until an 'oboe' comes in to unite them. Solo acoustic guitar follows as support instruments keep the loose 'street jam' going in the background. Exciting tension, but no real 'show' ever seems to come out of it. (8/10)

10. "'Even the Outsider' Suite: ii) Climbing in Rainfalls" (5:16) picks up on a theme from part i and actually begins to jell into a song. Woodwinds and acoustic guitars trade lead soli as sensitive percussives, synths, and acoustic guitars provide the background matrix. A gentle, peaceful melody carries the day, though some of the background instruments seem to be trying to convey some tension and discord. Interesting song! (9/10)

11. "'Even the Outsider' Suite: iii) Even(in)g the Outside" (9:56) carries the Suite combo forward into a much more PAT METHENY realm of upbeat, positive melodies and rhythms. A very complex song filled with wonderful mood, key, and melody shifts and tons of subtleties that are delightful to discover with repeated listenings--something I highly recommend! Quite an emotional ride by this sensitive song-writer. (10/10)

12. "By Her Side" (6:28) begins with 'piano' introducing some very LYLE MAYS-like riffs. Acoustic guitar and double bass join in, eventually bringing forth a song in the vein of some of PAT METHENY's more gentle acoustic GROUP stuff--or like JOHN McLAUGHLIN's 1993 Bill Evans tribute album, Time Remembered. Virtuoso guitar playing and amazingly perfect 'piano' accompaniment. (10/10)

Each time I listen to this album I am absolutely astounded at the level of emotional subtlety conveyed through this computer-generated music! This is one of the top two or three jazz fusion albums I've heard from the 21st Century! Unfortunately you are very unlikely to hear this album as it was self-produced and has not met with enough acceptance nor reviews to catapult it into the limelight it deserves. Find Domina on the Internet and ask for her music. You won't regret it!

91.67 on the Fish scales = 5 stars; a true masterpiece of progressive music and one of the most amazing accomplishments of solo artistry I've ever heard!

4. CICADA Over the Sea/Under the Water

Is a young Taiwanese "ambient/neoclassical/post rock" chamber ensemble consisting of a female piano player, Jesey Chiang (the main composer), a male acoustic guitar player, and three female strings players (violin, viola, cello). They play what appears to be in the Post Rock/Math Rock style, though, in reality they are probably a little more of what might be considered "neoclassical." Absolutely beautiful, heart-wrenchingly emotional songs, beautiful compositions. Definitely one of my favorite albums and new discoveries of the year.

Album highlights: three heart-wrenchers: 4. "Farewell (in a pretentious way)" (6:00) (10/10); 5. "...Till the Day We Meet" (5:41) (9/10), and 6. "Finally...We're Still together" (3:54) (10/10)

Also great:  the unexpectedly beautiful, yet playful, 2. "Fly" (2:44) (9/10), and; the slightly country-and-classical (if that's possible)-sounding but beautifully orchestrated opener, "Over the Sea, Under the Water" (6:42) (8/10).

90.0 on the Fish scales = five stars; a masterpiece of progressive music.

5. VESPERO By the Waters of Tomorrow

Upon first listen to this album I didn't think it was as good as the three live albums I own by VESPERO: Foam, Liventure #19, and Liventure #21. But, I was wrong. Yes, I miss the wordless singing of Natalya Tujrina, otherwise this studio album is an amazing accomplishment of collaborative creativity.

1. “Daphne” (5:22) starts the album off with a fast paced jam in which the mix of synths are used very creatively and in which the drumming is mesmerizing, captivating. (9/10)

2. “Percious" (8:32) has a very slow, spacey beginning but eventually picks up. Around 4:30 it feels like the drummer gets lost!? The music slows and thins at 4:50 with only pluck-echo-guitar and cymbol play for a while. At 6:30 it picks back up with some jazziness--and with some awesome 'trumpet'-sounding violin! (8/10)

3. “Amaryllis” (7:29) starts slow but builds quickly until at 1:40 things really kick into high gear. Great searing guitar solo but, by 3:30, the band sounds a bit discombobulated. Perhaps going a bit too gang-busters. This is soon coorrected. 4:30 sees a shift to interweave of arpeggios by guitar, bass, and keyboards played against a very fast drum beat. At 6:30 there arises a discordant screaming guitar (reminds me of TODD RUNDGREN on 1973's Todd's "In and Out the Chakras We Go") (8/10)

4. “Gao Zült” (5:51) starts with drum brushes! Guitar,  synths, violin join in in a PORCUPINE TREE way and play together for a minute and a half before bass and fuzz guitar take over against new frenetic drum patterns. The drummer is going so fast with such a syncopated line while the spacey background keyboard wash tricks you into hypnotic sleep--until 3:00 when 'harmonica/accordian' sound and countrified electric guitar. Then at 4:10 a real Mexican fiesta sound/beat takes over. A real hodge-podge of interesting time signatures. Ends with Gypsy-ish violin solo playing over same Mexican rhythm. (7/10)

5. “Tall Tree” (7:31) begins with a slow, hypnotic violin. An unexpected key change at the 1:25 mark brings us into a "White Rabbit" chord progression. Here there is INCREDIBLE drumming! The guitar lead takes over at 3:38. At 5:23 there is a return to the ambience of the intro section and brief violin solo until 6:12 when an arpeggio weave paves the way for the return of the screaming electric guitar. Another key shift at 6:51 until at 7:11 the electric guitar bottoms out to fade. (10/10)

6. “Punto Fijo” (8:03) starts at a frenetic pace with a kind of "Rasta-punk" feel/beat. The guitar takes the melody, but from behind--from a floating place in the background! At 1:30 there is a long pause/interlude of synth noises, drones and echoed guitar 'Frippisms.' At 3:40 enters tympani and violin. From 4:50 wah-ed guitar strums join in until 6:00 when a GILMOUR-esque "slide" guitar solo takes over. Again: the drum playing is absolutely fascinating here! (10/10)

7. “Pavane Lacryme” (4:24) is a pretty little song with treated guitars à la ROBIN GUTHRIE. Synths, violin solo and jazzy drums. (9/10)

8. “Seagulls Sing (When it Rains)” (6:47) opens with an X-Files-like modulated synth playing eerily over jazzy cymbol play and guitar and violin harmonies. The drumming--especially the cymbol play--is fascinating. A  female voice joining in at about the 2:30 mark  is a beautiful and welcome touch. Turns jazzy with nice 'flute' and, later, synth soli. That drummer! (10/10)

9. “Aurora Borealis” (9:16) opens with a great, driving ELOY/"Blade Runner Main Title"-like keyboard bass-line around which all other instruments jam (violin, synths, awesome percussion). Again, the drums and percussion (and violin) are fascinating to follow. At 8:20 a distorted guitar enters, followed by the fadeout of all other instruments. Interesting way to end a song and album! (10/10)

As I said above, it took repeated listens for this excellent album to grow into me. And boy has it! This is a masterpiece of creative, experimental jamming. Kudus to all involved. Thank you, drummer Ivan Fedotov, for an amazing ride. Sample live versions of "Tall Tree" and "Seagulls Sing (When it Rains)" here.

90.0 on the Fish scales = 4.5 stars; a near-masterpiece of progressive rock music.

****+ 4.5 star Near Masterpieces:


Such a diversified collection of songs! It's mind-boggling to try to keep remembering that this is one group, one album--and supposedly a soundtrack! (To F.W. MURNAU [yes, of Nosferatu fame]'s 1927 silent film, "Sunrise: A Song of Two Humans.")

1. "Sunset(6:06) is a chamber symphonietta in the style of KRONOS QUARTET and PHILLIP GLASS meet CLINT MANSELL. Absolutely beautiful, haunting, and certainly worthy of video accompaniment. (9/10)

2. "City Woman" (6:24) starts as a slow song in the more typical Math/Post Rock format and style--vibes, drum kit, electric guitar, saw- like electric violin and keyboard drones--all while covering their own version of PINK FLOYD's intro section to "Time." Then, at the 3:05 mark, we suddenly switch channels for a 25 second "Fiddler on the Roof" interlude before the song kicks back in for a kind of Celtic-Middle Eastern version of Floyd's "One of These Days"--adding, of course, the Post Rock climax, crescendo, and decay. (8/10)

3. "Lust(8:47) is another absolutely stunning song sounding like heroin-influenced version of JEAN-LUC PONTY's "New Country" with Jean-Luc playing with ALGERNON and COLLAPSE UNDER THE EMPIRE. This song, more than all the others, makes me want to watch the movie--just to see how the music and film match up and make me feel. A must hear! (10/10)

4. "Oars" (5:33) begins rather eerily with some awesome treated cymbols and percussive sounds before gelling and building as a powerful and rather concise (in the Post Rock world) rendering of more familiar post-rock music. Straightforward and loud yet melodic. More like a very polished, mature MOGWAI, RED SPAROWES or CASPIAN song. Great! (9/10)

5. "Peasant Dance" (4:50) has the feel of a rockified Rumanian/Gypsy dance. Not my favorite song on the album, but, then again, I don't know what it is from the film that they're trying to capture with this song. A very different piece for this album--upbeat but in that vodka-doused Russian/Eastern European way. Interesting instrumentation combinations. (6/10)

6. "A Man Alone" (6:01) is an amazingly full-spectrum ambient soundscape that BRIAN ENO would be very proud of. One of the best I've ever heard. Great addition to my "Songs for the Shadow" meditation playlist. (10/10)

7. "Sunrise(6:43), the album's closer (a 40-minute soundtrack for a 95-minute film?), offers a recapitulation of many of the themes and sounds from the previous songs within the minimalist strings/ chamber music framework of the opener, "Sunset." An absolutely gorgeous and truly cinematic closer--I can almost see the film's finale and the rolling of the credits! (10/10)

88.57 on the Fish scales = 4.5 stars; a near-masterpiece. Sunrise is definitely one of the best albums of 2010--and one of the best Post Rock albums I've ever heard. Masterful and so beautiful. An excellent addition to any prog lovers collection.

7. UNIVERS ZÉRO Clivages

Getting to know this album has provoked within me a discussion over what constitutes music, how music becomes considered 'progressive', and how the pleasure principle plays into the subjective, qualitative definition of what is 'good,' what is 'beautiful.' I do not consider this 'beautiful' music. I consider this music strongly evocative--inciting emotional responses within the listener. I do consider this music progressive and creative. I do consider the musicians dedicated to creating and performing this as accomplished, admirable, laudable. I am not drawn to listen and re-listen to this music' it is more of an effort, a mental task of trying to understand, grasp, appreciate this unenjoyable music. That is not quite correct: I can 'enjoy' this music from an intellectual perspective as I appreciate the technical and compositional skill and risks taken to create this music. I can even feel compelled to 'move' or 'dance' to some of this music--which, in and of itself, is an enjoyable experience. I imagine that being in an audience during of concert of this music I would find myself entertained, perhaps mesmerized, and, therefore, perhaps enjoying myself. But the fact that it is unlikely that this music will ever receive more intrinsic motivation to listen to it (unless impelled by a "I should"--or by the desire to show off some weird and unusual musical constructs to a friend or family member) renders me unable to rate this album as "essential: a masterpiece" or even "excellent addition to any music lover's collection" when I clearly do not feel it is either. Again, intellectually I can--and do--appreciate this music. But that is not enough. The more baroque and modern chamber pieces ("Vacillements," "Apesanteur" and the KARDA ESTRA-like "Retour de Foire") are excellent--and enjoyable. But pieces like "Earth Scream" (It's been done. Many times.) and "Warriors" (I keep waiting for the sax solo's of HENRI MANCINI's "Peter Gunn" theme while picturing Anthony Perkins lurking around in Vienna's shadows) take extreme effort to try to listen all the way through. The remaining songs are somewhere in between. "Straight Edge" is more akin to MILES DAVIS than anything else--which is good, and it is entertaining and changing and full of subtleties (and virtuosic playing), but.... Sorry. Not my cup of tea.

Updated 1/6/11: I've been listening to this CD more and more since YUGEN's "Iridule" came out and, while I don't find it as accessible, melodic, positive, or vibrant as "Iridule," I have been growing accustomed and even liking more and more of it--especially "Retour de foire"--an amazing piece! So, I'm going to upgrade to 4 stars with the caution: "Give it time before you judge."

Updated 2/20/13:  This album continues to grow on me--especially as my ear has grown more accustomed and attuned to the less melody-oriented prog sub-genres. At times I am tempted to upgrade this to a 4.5 or even 5 star album.

88.0 on the Fish scales = 4.5 stars; a near masterpiece of modern progressive rock music.

8. GIFTS FROM ENOLA Gifts from Enola

These guys have come a long way from "From Fathoms"--and it's only been a year! The unexpected twists and turns, use of effects, and mice melodic themes make this a much more mature and adventuresome collection. One thing I don't quite understand--and this seems to happen quite a lot in this genre--is the seeming appearance of synthesizer or keyboard parts when no keyboards or keyboard players are mentioned.

1. "Lionize" (8:23) begins with a rather straightforward Math Rock feel--very low end-dominant. A shift at the 2:15 mark travels into more Grunge-like territory--until at 2:43 the main melody themes are introduced. At 3:18 a distant high octave guitar riff is enteredbefore we return to main theme again. At 4:05 the pace drops off and the song floats into a very distorted sea of At 5:25 a lead guitar takes off and soars to goose-bumping heights! 6:30 shift to 6:45 punk/metal chops until an odd break of canned 1920s jazz floats around--as if over loudspeakers at the pavilion of the local town square. The heavily distorted bass throughout this song is just excellent. (9/10)

2. "Dime and Suture" (6:09). The shifts and changes in this song just keep you guessing--keep you interested and amazed. For some reason, the heavy guitars never seem to disturb or overwhelm the ears and the vocals screamed as if from 100 feet away are also very fresh, interesting and effective. Even the song's decay (some might say, 'demise') is fascinating and entertaining. (9/10)

3. "Alogas" (7:37) begins with a very PREFAB SPROUT sounding jazz guitar chords over synth wind and echoed synth sputtering. A very catchy, melodic jazzy-pop theme (think XTC joined with STYLE COUNCIL) begins at the :30 mark and continues for some very enjoyable two-and-a-half minutes before a different CURE/MEET DANNY WILSON theme and pace begins. All the while the jazzy guitar chord strumming plays--until the 5:05 mark when more familiar, though somehow 80s synth glossyed, Post Rock playing style takes over to build to a typical frenzied finish. (10/10)

4. "Grime and Glass" (7:39) begins, again, with a much more industrialized "80s meet Grunge" feel to it. A lot of MY BLOODY VALENTINE twang bar guitar playing and having some surprisingly upbeat and melodic sections to it. I like the development of this song more and more as you get into it--including the (as now typical) off-beat slowed down section with the recorded voices from some television infomercial or talk show (I can't quite make out what's being said). (9/10)

5. "Rearview" (7:24) begins with a persistent industrial/grunge sound to it--not unlike early NINE INCH NAILS. At 1:38 it switches gear, slows down and the guitars weave a very pretty melody--which is yielded for another grungy section at the 2:55 mark. 3:25 and we're back to slow/soft--almost like a setup for TED NUGENT or LYNYRD SKYNYRD Southern rock ballad. Low, haunting singing  enters over (or is it 'under') this, before giving way to some radio/spoken sample (computer talk--like the computer-enhanced voice of Steven Hawking) which then leads to a very mathematical section of off-tempo chords and smash-drumming whose last chords then decay and die in the 40-second glory of their some instrument feedback sounds. (8/10)

Again, innovative and unpredictable song construction and layering with some extremely pleasant melodies somehow woven into some very heavy Post Rock guitar/bass power chords. I don't usually like this much 'abrasive' guitar sound, but these guys are really interesting! They even had me humming along several times!

88.0 on the Fish scales = 4.5 stars; a near-masterpiece of progressive rock music. This could be a masterpiece within the Math/Post Rock genre, however its length (37 minutes) and fact that this subgenre seems doomed to low expectations and limited potential because of its limiting styles, structures, and instrumentation leads me to rate it four stars. DEFINITELY a great addition to any prog lovers music collection!! Highly recommended!

9. YUGEN  Iridule

What an album! What a ride! TOBY DRIVER and UNIVERS ZERO pay attention: YUGEN is stepping ahead in the leadership of Avant/RIO/Experimental/Math/Post/Eclectic/Chamber Rock! Having very much liked both and Labrinto d'Acqua and Yugen Plays Leddi I could hardly contain my excitement to see the unexpected arrival of Iridule--and then Cesar's review sealed it: I had to find it. And boy! was it worth it! The clarity and virtuosity of these performances--including that of female vocalist Elaine Di Falco (check out "Ice" and "Iridule" to get a hint of her talent)--is breathtaking. For those of your hard of heart, I recommend starting with the last song, 11. "Cloudscape" (7:56) (10/10) to get your ears ready for the music that preceeds it. Then go back to the beginning and journey from there.

1. "On the Brink" (0:51) is an amazing intro followed by the most accessible of the five wild pieces of 'controlled chaos.' (10/10 despite its brevity)

2. "The Scuttle of the Past Out of the Cupboards." (6:38) A brilliant, bright, cheery, dynamic, clear, and, I can only imagine, very challenging piece of chamber rock. What a ride. What emotional impact! AFTER CRYING eat your heart out! (10/10)

3. As mentioned, "Iridule" (3:08) is amazing--one of the most gorgeous songs I've heard all year. (10/10)

4. "Overmurmur" (8:50) has a very KING CRIMSON-esque style, sound and structure to it--you almost think ole Dusty Roads himself (Prince Robert of Fripp) were sitting in on this one! A great UNIVERS ZERO meets KARDA ESTRA interlude graces the midsection before the freneticism of the wild rumpus continues. Truly a roller coaster ride to remember! Amazing musicianship on display here! (9/10)

5. "Scribbled" (1:44) (8/10) is the second of four 'vocal interludes' and another gem giving the listener some floating rest (and false hope of order and control) before all hell breaks loose in

6. "Becchime" (6:21). While I truly appreciate the compositional and performance achievements of this song (and this type of music) I fail to find it enjoyable--it goes a bit over the edge; I miss melody. Like the music of  FROM.UZ, there are many moments of interest and even beauty but, alas! they are all too brief and fleeting. This rollercoaster is too much for me. (7/10)

7. The stunning "Ice" (1:46) (10/10) is followed by 8. "Ganascia" (4:12) (7/10) which is a kind of 'son of Becchime' in that the similar feel and style is somehow a little more pretty and enjoyable--sometimes feeling like SCOTT JOPLIN era jazz with a lot of concert hall orchestra warm-up thrown in. Love the harpsichord!

9. "Thaw" (1:41) is the weakest vocal piece being a bit too contrapuntal/theoretical for me--more like some of the more difficult ANNETTE PEACOCK pieces to listen to. But, after many listens over the years, it has won me over. (8/10)

10. "Seri(alist) Killer" (5:46) only continues the lesson in music theory (and perhaps should be left for music majors and theorists), but it does turn better--signaled by the return of the harpsichord--turning into a very nice piece of 'modern Baroque' chamber music (à la AFTER CRYING and LEO JANACEK). Elaine Di FALCO's staccato chromatic vocal adds another interesting element. And the stop-start rhythmic style of play of the first half is at least something that one gets used to. (8/10)

Phew! It all comes to an end with the beautiful, uplifting, wound-healing "Cloudscape" (7:56) (10/10).

87.0 on the Fish scales = 4.5 stars; a near-masterpiece of modern progressive rock music.

An amazing album but WARNING: Be prepared for the mental, emotional, psychological, and aural ride of the year. (The entire album can be heard here: Yugen Iridule.) Despite its challenges, this is truly a masterpiece of modern progressive rock music--a definitive step forward, into the future.

10. CICCADA A Child in the Mirror

It's been quite a struggle trying to hear and/or acquire a copy of this album or its music. But, the persistently high ratings and reviews lead me to persevere--and I am very glad I did. My first listen was appreciative ("a lot of JETHRO TULL riffs," I remember thinking), but I knew this child in the mirror was no simple kid, so I took my time, let it percolate, let the music get familiar, before trying to comment on it. I immediately knew we had a collection of very intricately constructed songs performed by very skilled "classical" chamber musicians. Repeated listens caught me thinking of WOBBLER, THIEVES KITCHEN, ALAN STIVELL, and even a little bit of NIL, GENTLE GIANT, THE CHIEFTANS, HAPPY THE MAN, GRYPHON, DIXIE DREGS and even some Southern or Country Rock. Such an odd yet intriguing mix, no? I only hope/wish that this album gets the listens and attention I believe it deserves.

1. "A Child in the Mirror" (4:38) is another instrumental, here mixing Renaissance instruments/styles with TULL's Thick as a Brick/Passion Play era sounds/styles (and riffs!), yet also contains some kind of indescribable YES-like quality to it. I absolutely love the acoustic guitars and recorders in this song. (9/10)

2. "Isabella Sunset" (6:09) starts with piano and violin before drums, bass, flute and electric guitar join in--Baroque to rock in an instant! The vocal melody and lyric very much has the same feel as that of NIL or THIEVES' KITCHEN where the female singing is really just another instrument in the (very complicated) weave--here an beautifully trained operatic folk singer--often even mimicking the melody line of another instrument. A pretty song with, again, some very intricate songwriting construction. I hope the group continues to explore more multi-voice harmonic weaves as there are near the end of this one as I much prefer this kind of vocal weave to those barbershop quartet/Beach Boys-like ones of MOON SAFARI. Great outro. (8/10)

3. "Ena Pedi Ston Kathrefti" (6:01) is a beautiful jazz-folk song sung in Greek that has a melody that wiggles its way into your brain and won't let go. Beautiful folk vocal over jazzy, almost avant garde music. (9/10)

4. "A Storyteller's Dream" (7:09) is a beautiful song--yet another (mostly) instrumental--with a very strong grounding in folk traditions--not unlike THE PENTANGLE or ALTAN. For me, probably the album's most emotive song. I love the organ solo with strumming acoustic guitars and mellotron mid-song which builds into quite a jam! 10/10 IMHO, stands shoulder-to-shoulder with any of the all-time great prog-instrumentals. (10/10)

5. "Raindrops" (4:16) has a very pastoral, folk feel to it, with flute, acoustic guitar, bassoon, electric piano (?) and voice constantly weaving in and out of each other's melody lines. (8/10)

6. "An Endless Sea" (5:28) is a piano and acoustic guitar song that opens like a RENAISSANCE song from the 70s. When Evangelia's vocal enters it is only briefly before a shift in the song dynamics takes it into a little heavier, more insistent rock domain. At 1:50 everything calms down and returns to the folk-rock base that it opened to. Beautiful flute play (in lieu of a vocal for the second verse)! Interesting song bouncing back and forth--almost like a conversation being held between the folk and rock elements of the band. (8/10)

7. "Epirus--A Mountain Song" (4:58) begins with piano, clarinet and voice setting an almost chamber music-like scene. They are later joined and embellished by acoustic guitars, drums, electric bass, and electric guitar in a kind of IONA-like slightly amped up rock version of a folk song. I like the male background vocals on this one. More of this in the future would be nice. Pretty song. (9/10)

8. "Elisabeth" (7:09) is another instrumental tune that begins like an acoustic folk song before turning classical chamber music--perhaps even Renaissance music. Surprisingly, it goes to heavy rock power chords near the two minute mark, then digresses back to its pastoral yet intricate and sophisticated acoustic weave. Back and forth several more times--which surprisingly works really well--kind of like AFTER CRYING or some YES and KING CRIMSON. Some nice segues and added instruments (cello, organ) spice it up and keep it from getting too repetitive, predictable or boring. Halfway through the back beat falls into a very standard Country and Western beat--which again works! (8/10)

9. "I Stigmi--The Moment" (3:14) is a very classy folk-jazz-classical chamber piece with keys, electric guitar, and woodwinds noodling around over a standard C&W bass & drums back beat. The guitar picking even seems to come right out of Nashville. I love the fact that Evangelia Kozoni's vocals are being sung in her native Greek. (9/10)

10. "A Garden of Delights" (8:24) has a very Greek JETHRO TULL beginning to it. The near-operatic vocals of Evangelia Kozoni change this--as does the very catchy chorus, giving the song much more of its own identity. Music and lyric/vocal together lead us on a journey quite like a classic Greek play--full of many twists and turns, trying to get us to see sense and joy against the backdrop of a very arduous life of pain and struggle. Quite a journey! Quite a powerful, convoluted song! A true example of what I'd call classic progressive rock. (9/10)

87.0 on the Fish scales = 4.5 stars. It is, IMHO, a near-masterpiece of  progressive rock music--and a wonderful debut. This is a sound I hope to hear a lot more of in the future.

11. T Anti-matter Poetry

A very interesting and different --almost retro-80s--production whose music pleasantly updates and enriches some of the more sophisticated technologically-driven 'pop prog' from the Continent the 80s (PETER SCHILLING, KRAFTWERK, NENA, FALCO come immediately to mind. The DAVID BOWIE/PETER MURPHY-like voice and vocal presentation also does much to add to the charm of this music, but, on its own, this well-crafted and performed CD is a very nice find. The first three songs are all outstanding with 3. "Phantom Pain Scars" (14:15) (10/10) expertly weaving so many racing instrumental melodies behind (or perhaps, in front of) the least-Bowie-sounding vocal on the album that I feel I'm hearing the counterpoint of a symphony or big band. The mood-setting opener "The Wasted Lands" (9:38) (9/10) has many PINK FLOYD qualities to it--TV samples, lead guitar, mood. "Scavengers and Hairdressers" (9/10) is definitely straight out of the 1980s PETER MURPHY catalog--musically and vocally. Love the domineering low end of this song! The fourth song, "I Saved the World" (7/10) again sounds like the way PETER MURPHY could almost go ambient, but ends up sounding most like a good MOBY song. Song five, the almost fifteen minute "The Rear View Mirror Suite" (8/10) covers a lot of prog territory using a lot of very subtle instrumentation and musics. The sixth and last song on this 65 minute journey, the title song (8:14) (9/10), keeps up the very high compositional, melodic, and performance standard of the rest though also hovers mostly in the side of more delicate music, as do the last two.
     Overall, a very, very enjoyable journey that never failed to keep my attention and which draws me back in as soon as I hear a few chords of any of its songs. Definitely a musican to watch--though no listener would be disappointed if they start here.

86.67 on the Fish scales = 4.5 stars; a near masterpiece of prog music and an excellent addition to any prog lover's music collection--especially if you're into 'progress' in the world of melodic progressive music.

12. MR. GIL Skellig

I really wanted to love this album! After reading the review by Tarcisio Maura earlier in the year, my excitement was high. Mirek Gil is my favorite guitarist of the last twenty years, and the Polish prog scene one of the most interesting and engaging during that same period. However, though, yes, Mirek is present--very present--and, yes, his distinctive wailing guitar sound is present--sometimes in triplicate--still, there are too many times when he disappoints: holding back, it seems; when you expect him to let loose in one of his frenzied, emotional solos, he just . . . doesn't. The solo in song 6, "Druga pólnoc" and the intro to song 7, "Czas i ja" are the only two times he comes close to letting go. A lot of time and effort is spent establishing repetition and melody/hooks with his lead guitar time; too much time and effort are spent showing restraint, trying to exhibit some kind of cool control, when I just want him to go shit crazy! (as we all know he can.) Luckily, the songs continue to grow on me?again, as his songs tend to do. I guess I was just disappointed at first listen because I wanted so much more. (I really was more enamored of the drumming and vocals in Polish.) During the second and third listens I must admit I heard much more of the beauty of the arrangements (mostly layered acoustic and electric guitar riffs), the melodies and harmonies, the vocals (I love singing in one's own native language).
     As I mentioned, the drumming (kudos Wojtek Szadkowski)--and often intertwining bass playing--are among the most consistently interesting themes of this album. And, Gil's guitar riffs are good; it's just that they could be . . . better! And, though I miss the lead guitar and keyboard interplay, I must say that the absent keyboards are not missed. (This aspect of the album gives it a feel similar to that of David Gilmour's second solo album, About Face.) Every successive song seems a bit better, a bit more close to the Mirek Gil we know and want; it's just that the emotional highs are rarely there. More in the drums or vocals than the lead guitar work.

1. "Skellig" (8:46) The opening song is beautiful, inviting, captivating; Gil's acoustic and lead guitar work are bold and beautiful, simple and almost cocky, the vocals very engaging. The bass and electric guitar rhythm section kicks in very effectively at the 2:50 mark. At the 3:50 mark the chorus first ensues with vocals and electric guitar lead dancing a very beautiful duet. The second chorus is followed by a lovely, long, vintage, if subdued, Gil solo. Backed by background choir and wonderful work from the rhythm section--who, fittingly, get to close out the song. (9/10)

2. "Mnie tu już nie ma" (5:10) is a beautiful, emotional, perhaps sad filled with lots of simple instrumental subtleties, like upper register bass play, harp-like acoustic guitar picking, delicate cymbol play, and lots of creative traveling across the toms. Here Mirek chooses to use his lead guitar to provide a very steady (one might say, repetitive) background for some stellar drum and bass playing. In fact, this song seems to have become a set up to display the excellent drum and bass play.  (9/10)

3. "Otwieram drzwi" (5:57) is the first song to really show a little of Gil's old heavy/neo prog roots--more use of thumping bass and electric power chords with a touch more volume on his lead. The vocal work here shows some weakness in the ability to deliver the higher end power; he seems to excel at the delicate, more ballad-like singing. Once more I find myself more drawn to listen to the drum work. The lead soli begin with a brief one at the 4:00 mark which is notable for the layering of two different tracks playing over one another. Trouble is, none of these soli "go anywhere." (8/10)

4. "Rzeka" (3:20) is a short, very standard rock song--sounding very similar to MIKE & THE MECHANICS' big hit, "In the Living Years." Nothing special here. (7/10)

5. "Odmieniec" (9:20) tries to rock out in a kind of BAD COMPANY "Ready for Love" way but the best part of the song are, in fact, the very delicate vocal section that precede GIL's first guitar solo and the soli themselves which finally, nearly, live up to expectations--yes, he ALMOST lets go. It's killing me: It's like listening to/watching ROBERT FRIPP: waiting and hoping that emotion will for once win out over mental planning and technical execution; he gets close but never quite leaves that seat on his stool, can't quite let himself go--show his human side. Too bad. Still, this is a pretty good song--and the solo is still better than 90% of the others out there. (9/10)

6. "Druga północ" (5:36) is a peppy song with perhaps the album's best vocal--with a very melodic vocal chorus, and some fun acoustic, rhythm and lead guitar work. Another set of classic, catchy lead guitar riffs to hook you in, and here we get to again experience Gil layering his guitar leads (and some pretty decent ones, too). Excellent song. (9/10)

7. "Czas i ja" (5:14) an instrumental, the best song on the album, where Gil finally gets moving, and his guitar is screaming, but it never reaches the heights we know he could go to. Again: the drums and bass deliver big time. (9/10)

Love the singing and Polish lyrics, drumming bass, and acoustic guitar work, and, of course, the distinctive--you might say, trademark--sound of Mirek Gil's lead guitar. Disappointed in the lack of innovative or "progressive" elements in the music. Happy to hear Mirek Gil under any circumstances; just wish he could have been a little more emotional and less mental/scientific in his playing.

4(-) stars. A good album. (Recommendation: Give it 3-4 listens before judging it completely.)

Post-edit: This is one album that has stayed on my radar and seems to have grown in my appreciation and esteem over time. I think it's due to the uniquely wonderful singing, melodies, and guitar of Mirek Gil. He may not be soaring to the heights of other solos but his solos are still better than 90% of all guitarists out there.

85.71 on the Fish scales = 4.5 stars; a near-masterpiece of progressive rock music.

13. ARANIS Roqueforte 

An all-acoustic band that really has my interest piqued and heart won over.  A more melodic than usual Avant/RIO band from Belgium that include violin, accordian, flute, double bass, and guitar with guests adding piano, drums/percussion, and viola. Delightful music throughout this album though it is not filled with the kind of hooks, rhythms and structures that captivate the majority of prog lovers.  

Favorite pieces:  the most melodic song on the album, 1. "Roque" (5:54) (9/10); the longest and most diverse song on the album (like a mini-symphony), 7. "Naise" (10:55) (9/10); the driving and hypnotic ballet piece, 10. "Aila" (8:13) (9/10), and; the most tango-paced minimalist piece, 9. "Tissim" (5:40) (10/10).

85.0 on the Fish scales = a 4.5 star collection of brave, tightly knit, highly complex weaves from a tight collective of outstanding musicians. The non-melodic nature of Avant/RIO music unfortunately renders some of this music difficult to access. I would think that anyone who has a solid background in music theory or someone who gravitates toward the cerebral side of music would enjoy this album and music tremendously.


COLLAPSE UNDER THE EMPIRE The Sirens Sound is a june 2010 "EP" release (approx. 34 minutes) from Hamburg, Germany duo Martin Grimm and Chris Burda. CUTE's contribution to the Math/Post Rock genre is significant, IMHO, because of the integral and, in this genre, unusual role of keyboards/synths and because both band members are drummers/percussionists. Their songs are also quite amazing for their very engaging melodic and harmonic constructs. This EP is, again IMHO, their by far their best effort to date--and one of the most enjoyable and pleasurable Math/Post Rock albums I've ever heard.
1. At just under ten minutes, "The Sirens Sound" (9:54) begins the album with an electronic loop, quickly joined by a heavily treated piano (de-trebled) riff which soon yields to a slow moving synth. The treated piano riff and synth wash alternate with each other until the 3:00 minute mark when drums and guitars slow it down, heavy it out, and take over. The synth buzz eventually rejoins with new guitar arpeggios playing over the top of the rest of the music until the drums and heavy guitar chords suddenly drop out at the 4:30, only to rejoin at the 5:00 mark to build the song into one amazing wall of chaotic, mentally-disturbing sound. Awesome! Then they staccato stop and start the music several times before rejoining in the cacophony of beautiful sound. At 7:30 another hiccup reprieve before the whirling synth drone climbs to the top and makes you question your sanity. The last minute is a gradual dismantlement of the layers to fade. What a trip! One of the best Post Rock songs ever! It may be my favorite! (10/10)

2. "Grade Seperation" (sic) (4:45) begins with organ and bouncy, pop sounding synths and drums before the guitars come crashing in at the 1:00 mark. Some rather SIGUR RÓS sounding interludes make up the quiet breaks between waves of thrashing guitars and cymbals. A bit too repetitive and predictable. (7/10) 

3. "Violet Skies" follows some pretty standard-sounding rock guitar power chord progressions--almost punk-like at times--mete out a more familiar sound. Unfortunately, this familiarity is also the weakness of the song. (6/10)

4. "Beware/lost" (4:57). An awesome uptempo song with very catchy layered synth melody lines and single string guitar strumming and cymbals leading the way. Vibrating/vibrato bass notes are also very engaging. (10/10)

5. "A Different Complexion," at 8:50, is the longest song on the album, begins with cowbell and meaty bass before piano, sustained electric guitar notes, treated snare and other percussion noises join and carry the melody and intricate harmonic weave. Except for the cymbal work, it has a definite KING CRIMSON feel to it, and is very hypnotic and pleasant. (9/10)

A band definitely worth checking out. All their back catalog--which only begins last year--is outstanding, including Systembreakdown (2009) and Find a Place to Be Safe (Jan 2010). The Sirens Sound is their best. A very emotional and engaging album. Were it longer and not without two weak songs I would rate this with five stars. 4(+) stars.

85.0 on the Fish scales = 4.5 stars; an excellent addition to any prog lover's music collection.

Sunday, October 21, 2012

Top Albums for the Year 2009, Part 1: The Masterpieces

My Favorite Albums of 2009
(In some semblance of order)

***Author's note:  Below you will find two different rankings for this year's albums. The first is merely a list consisting of a Top Ten with a following list of "Honorable Mentions." These are my favorite albums of the year, that is, the albums to which I have formed the greatest emotional attachments. The ensuing Reviews are ordered according to my personal, more objective judgment as to their quality, that is, the "best" albums of the year. Here I have tried to order the albums reviewed according to my personal determination as to what are the "best" albums of the year from a more critical, qualitative viewpoint, that is, without as much emotional attachment as "My Favorite" albums.  

     2009 offered some absolutely breathtaking new music from artists practicing quite a wide variety of styles. My Favorites List has albums representing no less than nine sub-genres. An excellent year in terms of quantity and quality, I have on my List seven (7) masterpieces and eight (8) near-masterpieces of progressive rock music. 

The Rankings
(My Favorites)

1. PROGHMA-C Bar-do Travel 
2. MAUDLIN OF THE WELL Part the Second
3. GA'AN - Ga'an
4. THE BOX D’après le horla de Montpassant
6. TOE For Long Tomorrow
7. AIRBAG Identity
8. CORDE OBLIQUE The Stones of Naples
9. AISLES In Sudden Walks

Honorable Mentions: 
BIG BIG TRAIN The Underfall Yard
MAGMA Ëmëhntëhtt-Ré
YVES POTIN Out of The City
ANUBIS 230503
WOBBLER Afterglow
CIRRUS BAY A Step into Elsewhere
IZZ The Darkened Room
RISHLOO Feathergun
DELIRIUM Il nome de vento

The Reviews

***** 5 star Masterpieces:

***** Album of the Year for 2009! *****

1. PROGHMA-C Bar-do Travel

In this 2009 release from Polish band, PROGHMA-C, self-proclaimed “musical evolutionists, I have found my favorite metal album of all time. Most songs feel as though I’m hearing the rhythm section of TOOL with lead guitar work akin to U2’ s THE EDGE Evans, keyboard work reminiscent of VANGELIS in his 70s, 80s, and ambient/New Age soundtrack era, and some of the most diverse vocal stylings I’ve ever heard on an album—coming from lone vocalist extraordinaire, Piotr 'BOB' Gibner. Gibner’s screaming/growling is actually fitting, melodic, and easy to decipher; his narration on “FO” is awesome, and his versatile singing voice crosses between that of MAYNARD JAMES KEENAN, MR. BUNGLE/FAITH NO MORE’s MIKE PATTON, and DEPECHE MODE’s DAVID GAHAN.

1. “Kana” (9:05)
opens with some odd electro/world sounds before an awesome mix-meter rhythm section settles in. The treated vocal has a very cool TED NUGENT feel to it until the growling begins. Around 1:30 the music switches to muted guitar/bass rhythm with ‘BOB’ Gibner’s vocals taking on quite a Maynard James style and feel. But it’s such an awesome combination! The “chorus” is really a full-frontal return to the opening themes. Then in one of the band’s trademark surprise twists, the lead guitar stars doing some Edge/Adrian Belew like playing. With the return to the B section I notice for the first time the David Gahan timbre in BOB’s voice. Such an awesome voice! At 4:22 another unexpected turn occurs with an almost POLOICE “Synchronicity” section—definitely a jazzed up, ANDY SUMMERs-like lead section. 5:05 we return to the original rhythm but broken down to such sparse sound with snare, hi-hat and guitar doing their syncopated odd metered rhythm. Then at 6:03 enter the eerily echoing and slow decaying slow guitar arpeggios—like something from an Eno Ambient album—and yet the metal rhythm section continues! This is simply incredible music! These guys truly are innovators and “musical evolutionists.”  I urge all of you to at least listen to this first song—it’s available on YouTube (as are all of the album’s songs as well as the album as a whole). (10/10)

2. “FO” (6:40)
opens with some awesome Edge-like guitar play before Gibner’s slightly treated voice begins reading/reciting a narrative in English. At 1:28, the music breaks, some odd percussives fill the space, then we return to the odd-metered syncopation and vocal narration for a little while longer, until at 2:08 the growl-screams take over. Then, surprise!—at 2:42 a soft, beautifully sensitive voice similar to that of MARIUZ DUDA takes over the singing. But this guy is better! He has such amazing control and the ability to do some shockingly subtle things with his vocal instrument! At the four minute mark we are treated to a bare-bones breakdown of the rhythm while a BLADE RUNNER-like horn-synthesizer slowly shifts its pitches while at the same time At 5:14 all but the drums disappear while a series of slowly strummed chords fill the center while odd spacey synth noises float around behind and around. Incredible song! Incredible ending! Another song I URGE you to listen to! (10/10)

3. “Spiralling To Another” (9:31)
opens with some very spacey, etheric guitar play before the familiar syncopated, mixed-metered rhythm section establishes itself. Gibner’s voice enters with his Mariuz Duda sound—yet so much more sensitive and emotional. At 2:52 it gets heavy and the growling crashes into the field—but it never detracts or overwhelms the incredible music going on and lyrically can still be understood. Guitar chords strummed singly Then the music seems to ‘get stuck’ as guitar notes, bass line, cymbol play and choppy vocal play. A return to rapid rhythm sets up for guitarist Parweł 'SMAGA' Smakulski to do his awesome EDGE EVANS stylings. At 7:22 the full-force barrage of rhythms and growl/screams returns while SMAGA continues his trance-like guitar strumming. At 8:20 the music turns full metal, feeling like a TOOL song playing into infinity—then it stops! Another awesome song. While not quite as good as the first two, it too deserves a (10/10) in my opinion. (The other two should be turned up to eleven.)
4. “Spitted Out” (1) (3:20)
establishes itself with another heavy complicated rhythm—this one sounding/feeling quite like a FAITH NO MORE song. At 1:30 the vocalist enters with his growl/screams. 20 seconds later he switches to more normal screaming, again, not unlike the rap-styling of FAITH NO MORE’s MIKE PATTON, before returning to growls. (8/10)
5. “Spitted Out (Out)” (3:57)
is the album’s second (part? or version?) with this title. It starts out with a completely different sound—establishing a kind of KING CRIMSON “Discipline” weave amongst its musicians. Slowing down, breaking it down, speeding it up--the band toys around with the riffs and beat before letting the SMAGA break out with a proper metal electric guitar lead (the album’s first!) Though nothing earth-shattering, the guitarist’s confidence with bending the song’s key to his chormatically shifting scales is noteworthy and admirable. (9/10)
6. “So Be-live” (5:48)
opens with a fade in with electric (Fender Rhodes?) piano and jazzy bass and drums and finger icked electric guitar parts weaving into a slow and methodic tapestry. The whispery voice used by BOB is quite perfect for the litl and fluidity of the music. At 2:04 the music shifts toward the now more familiar TOOL-like rhythm structures. BOB’s “Duda voice” gives this section a very RIVERSIDE-like feel. But then--surprise!--the distinct shift to the DAVID GAHAN voice occurs as synth playing portamento in the background toys with the song’s mood in a VANGELIS-kind of way. Then—wow!--growl/screams take over and add an amazing intensity to this incredible song! (10/10)
7. “I Can't Illuminate with You” (2:29) 
opens with what sounds like a sustained note being bowed on the lowest ranges of a stand-up double bass. As the intro plays out it becomes evident—with the help of all the other BLADE RUNNER_llike “future”/space sounds—that the note is coming from a Vangelis-like synthesizer. The song, it turns out, is actually an intro to the next song, as it seamlessly bleeds into and becomes…

8. “Naan” (8:57)
opens with another syncopated mixed-meter rhythm but this time the VANGELIS-like keyboards and playful JAN AKKERMAN-like rhythm work of the lead guitar pronounce something new and fresh. At the one minute mark all instrumentation merge into a 30-second single chord. Awesome. Then BOB’s sensitive Duda Voice enters to break the spell. The ensuing music scape is TOOL-like yet flittering about are the EDGE-like guitar effects. The vocals which follow are unmistakably DEPECH MODE-like. What an amazing vocal talent!! And an amazing lyric! So powerful! Not Duda, Gahan, Keenan, or Patton could hold a candle to the light of this singer! At 6:28 there is a shift into a discordant chord sequence with a whispered voice and syncopated snare and bass section. At 7:25 the music has evolved inot full band paly again, with BOB’s “Maynard voice” taking over. Echoed growls belnding into the cymbol play are the last vocals to be heard in this one. Awesome! Again! (10/10)
9. “Army Of Me” (Björk Cover) (6:33)
opens with waxing and waning synth note—(sounds like a Prophet 5)
before the standard Proghma-C/Tool rhythm track establishes itself. Then the vocal is introduces—understated and delicate—before an absolutely stunning multi-tracked vocal chorus is unleashed on us. Alternating back and forth from controlled single voice to , passing through empty spaces and synth-solo-dominated sections, we are treated to a song whose original version is both lost to me and immaterial. This is an awesome song no matter who wrote it! (10/10)

I don’t think I’ve ever given out so many 10/10s in a review before, but that's how highly I think of each song—and is a reflection of how much I enjoy listening to this entire album. Probably my favorite driving CD during the past four months. I do want to mention how incredible I think the mesmerizing and yet tight is the work of drummer Łukasz 'KUMAN' Kumański and his cohort on bass, Michał 'VASKI' Górecki; they carry out the complicated, sometimes breathtaking rhythms flawlessly. Mega kudos, boys.

96.67 on the Fish scales = a five star masterpiece. This is one of those times that I wish I could post a rating of 6 stars—to indicate something incredibly special. The band claim that their music is intended to contribute to “Enhancing the palette of our musical universe.” I for one think that they are succeeding in this capacity. This is fresh stuff!  HIGHLY RECOMMENDED to ALL progheads!

2. CORDE OBLIQUE The Stones of Naples

This is the third of RICCARDO PRENCIPE's neo-medieval folk fashioned music presentations. This album sees a definite step forward in the compositions' leanings toward folk and medieval music and away from straightforward neoclassical music. For me, this pays off with The Stones of Naples feeling like the most accessible and most enjoyable Corde Oblique album yet. Plus, The Stones of Naples enjoys the benefit of vocal contributions of no less than six woman, each of outstanding voice, including: Caterina Pontrandolfo (familiar to us from the previous album, Volontrà d'arte) on songs 1, 6 and 10; Floriana Cangiano on songs 2 and 9; Claudia Sorvillo on songs 4 and 11, Monica Pinto, Geraldine Le Cocq and Alessandra Santovito on songs 7, 5, and 3, respectively.
     Because of this last fact, I will add that more than either of Riccardo's previous two Corde Oblique albums, this one is much more song/ballad oriented. You have to travel eight songs into the album before you get to an instrumental, and, again, unlike the previous albums, this one has much more of a medieval folk feel to it. This album contains songs of such consistently high standards that are all so enjoyable that I prefer to not single out any songs that I like more than any others (though, between you and me, I find myself swooning with absolute bliss during this string of five songs: "Flower Bud," "Flying," "Like an Ancient Black and White Movie," "La città dagli occhi neri," and "Nostalgica avanguardia"). Let's just say from the album's opening notes and song to its last you are in for a real treat.

1. "La quinta ricerca" (3:13) opens the album with Riccardo's lute serving notice that this is going to be music that feels like it comes from five hundred years ago. When sublime singer Caterina Pontrandolfo joins in with the accompaniment some other medieval instrumental accompanying her the ancient resolve is affirmed. An orchestral finale is unexpected but wonderful. (10/10)

2. "Venti di sale" (5:29) is opened with solo grand piano for the first minute--laying down some gorgeous introductory work--before vocalist Floriana Cangiano and a full force folk ensemble rush into the void with some quite dynamically diverse music--both acoustic guitars, violin, and hand percussion, and modern (fretless bass and drums). Lacking a memorable melodic hook to make this total ear candy. (9/10) 

3. "Flower Bud" (5:46) a stunningly gorgeous song with just the music but then you add the incredibly sensitive vocal of Alessandra Santovito (in English!) and you get bliss, utter bliss. The start of that string of five songs of Olympian perfection. (10/10)
4. "Flying" (5:44) is a gorgeous remake of an ANATHEMA song (from 2003's A Natural Disaster), with the crystalline pipes of Claudia Sorvillo delivering the vocal--though she is later beautifully doubled (by another vocalist?). The rock drumming and piccolo-like arpeggio notes from the classical guitar in the final minute and a half are sublime! (10/10)

5. "Like An Ancient Black & White Movie" (2:10) opens with delicate piano, strings and Riccardo's classical guitar setting up a dreamy mood for yet another stunning vocal (the third one in a row in English!) this time by the ethereal KATE BUSH-like voice of Geraldine Le Cocq. (10/10) 

6. "La Città Dagli Occhi Neri" (5:44). Caterina Pontrandolfo, voice of the opener, returns to sing this one in Italian, accompanied by Riccardo's lute and bass. Though it feels like she is singing in a relaxed, even lazy fashion, her slight rasp and gently trilling vibrato are sheer perfection here. Drums and rock instruments join in for the final 1:10 as Caterina sings some non-lexical vocables with the violin. (10/10) 

7. "Nostalgica Avanguardia" (5:14) a gentle, almost religious-feeling song as sung by Monica Pinto in Italian. The music becomes almost Gypsy fast while Monica continues to sing with what feels like respect and reverence. (9/10) 

8. "The Quality Of Silence" (1:48) is a nice little instrumental duet between Riccardo and pianist Luigi Rubino. (8/10)

9. "Barrio Gotico" (7:16) sees the return of Floriana Cangiano to the vocal mic as Riccardo and a simple Spanish folk ensemble supports. Riccardo on guitar, hand percussionist Michele Maione also on board. Well performed but a little long-winded and monotonous--though the final two minutes sounds like primo soundtrack music to a classic Italian Spaghetti Western. (8/10)

10. "Dal Castello Di Avella" (3:58) Caterina Pontrandolfo retirns to the vocal helm for the third and final time with a song brimming with feelings of love and nostalgia. This woman could sing anyone into peace, calm, and, dare I say it, love. The spiritual intentions behind her singing remind me of American spiritual singer, SHAINA NOLL. An eminently simple song--just Caterina and Riccardo--but one that comes across as utter perfection! (10/10)

11. "La Gente Che Resta" (3:24) opens with solo clarinet before a fully-scored folk troupe gather behind him in support of another Claudia Sorvillo vocal effort. The clarinet interplay behind and with the vocal is quite magical but the song lacks any memorable melodies. (8/10) 

12. "Piscina Mirabilis" (2:56) is a nice little solo classical guitar piece from Riccardo to close out the album. Nice. (9/10) 

92.50 on the Fishscales = a five star masterpiece of progressive rock (folk) music.

3. MAUDLIN OF THE WELL Part the Second

Up to hearing this album I had never heard of maudlin of the Well. Nor had I ever heard any Kayo Dot. But the hype for Part the Second (a free-off-of-the-Internet album) lured me in--for an amazing journey. That music--NEW music, like this--can be conceptualized, played, and performed at such a high level of mastery, (especially Mia Matsumiya's virtuosic violin playing), is, for me, so uplifting and hopeful. I was beginning to think that music would never get out of the ABACAB paradigm and never allow the mix of classic "orchestral" and "rock" instruments. But here we are. Thank you Toby Driver (and the donor/fans who pushed for this music).

Let me start by saying that "Excerpt from 6,000,000,000,000 Miles Before the First, or, theRevisitation of the Blue Ghost" (10:56) (10/10) and "Laboratories of the Invisible World (Rollerskating the Cosmic Palmistric Postborder)" (11:50) (10/10) (the album's first and last songs) are two of the most amazing songs I've ever heard in my life. Even after fifty listenings I find myself awed by these two creations, picking up new and defferent nuances and phrases. The three songs in-between ("Another Excerpt: Keep Light Near You, Even When Dying" [5:59] [9/10], "Rose Quartz Turning to Glass" [7:30] [9/10], and " Clover Garland Island" [8:18] [8/10]) seem to belong together, kind of like a suite, tied together by the strong presence of violin and cello--which are breathtaking in both beauty and virtuosity.

I cannot but help agree with those who have christened this LP as new classic, a true masterpiece. It is difficult for me to imagine even the possibility of a "better" album coming out this year.

92.0 on the Fish scales = five stars; a masterpiece, a classic, one of the greatest "progressive" rock albums ever made.

4. MAGMA Ëmëhntëhtt-Ré

It has only been one year since my initiation into the world of Kobaia and Zeuhl. CHRISTIAN VANDER's world astounds me. His attention to detail and heart-felt all-out effort is nothing short of amazing. Some of the words that come to mind when trying to convey the spell of MAGMA's music include "otherworldly," "operatic," "ecstatic," and "ritualistic." While many reviewers write praise of Magma's disciplined and virtuosic instrumentalists, I am ever blown away by the vocal performances and choir arrangements. This is especially the case throughout "Ëmëhntëhtt-RéII" (22:24) (9/10)--one of the best--if not the best--example of Vander's genius I've had the good fortune of hearing. I'm having trouble assigning this album an overall rating because, as some other reviewers have said, it doesn't seem to have enough "new" music or show enough of the group's "progress." It does, however, amply display the steadfastness, sharpness, and enthusiasm of Vander and crew in their commitment to this musical vision. In terms of "Best Album of the Year" and boldly going where no music has gone before, Vander and Toby Driver will have to duke it out for a while to see who really comes out on top.

10/15/2010 edit: The MAGMA album I keep turning to when I want to hear them (their best) is MDK. It seems still so fresh, raw, and seemless. Ëmëhntëhtt-Ré, while so polished and amazing because it's a 21st century composition with revitalized and revamped cast, has faded some with time. Even the awesome and amazing "Ëmëhntëhtt-Ré II" has lost some of its initial luster. When I want to dance and scream, its MDK for me, thank you very much.

4/23/2016 edit:  Ëmëhntëhtt-Ré has regained some of its lustre--especially for the middle three pieces, II, III and the glorious IV. Definitely a masterpiece of Zeuhl, of Magma, of progressive rock music.

92.0 on the Fish scales = a five star masterpiece of progressive rock music.


Originally released in 2009 and then re-released with a slightly changed format by AltrOck Productions in 2015, Kansas City's uber-talented multi-instrumentalist, Mike Judge has created a fine collection songs that he virtually created tout seul save for a little assistance from WHITE WILLOW's Jacob Holm LUPO (on songs 2 and 8). This album is so incredibly rich, diverse, and layered that it has taken me months to get to know it, get familiar with it, and even begin to contemplate organizing my thoughts and feelings into a review. Even now, with my umptieth listen, I am still uncovering gems of sound and style within each and every song. There are so many styles woven into this album--into each song--that it's very difficult to describe. This might be considered a Canterbury style album in its melodic, almost poppy jazz rock sounds and arrangements and biting, clever lyrics, but . . . it's not really. For a one-man band I have to say the the bass play, drumming, keys, vocals, lyrics, and, especially, guitar play are all top notch. And the sound production and mixing is superlative.

Five star songs:  the GONG/Canterbury-like 7. "With Joy We Espy the Sarcophagus" (6:22) (10/10); 4. "Whistling Wire" (4:39) (10/10); 1. "The Confidence-Man" (6:13) (9.5/10); 6. "Rayuela" (4:43) (9.5/10); 8. "Grimoire" (3:34) (9.5/10); 3. "Knives of Winter - Coronation Day" (7:23) (9/10); 

Four star songs:  2. "City of Narrows" (6:24) (8.5/10); 5. "Knives of Summer" (10:20) (8.5/10), and; 9. "Abrazo y Caminando" (4:11) (8/10). 

91.67 on the Fishscales = a five star masterpiece of progressive rock music.

Check out it's wonderfully complex and mature songs, like "The Confidence Man," "Whistling Wire," and "With Joy We Espy the Sarcophagus."

6. GA'AN Ga'an

 I've been listening to this album for months now at first with utter amazement and now with total respect and admiration. That a group of young musicians from Chicago would latch on to the Zeuhl sound to such a degree as to create this amazing and refreshing album of upbeat, beautiful music is astounding but that they could actually add something quite significant to the Zeuhl lexicon is even more astounding. This is a collection of songs that, like the MAGMA discography, has a flow and continuity which makes it feel cohesive, comprehensive and conceptual. And, as I said, with their unique use of keyboards (including lots of mellotron!), excellent drumming, and wonderful operatic vocals from Dominique Ga'an has added something new, fresh, upbeat and positive to the world of Kobaia. In fact, that may be what makes this album so listenable, so entrancing, and so addicting is its lighter, upbeat, 'optimistic' feel and sound. Though in reality I would have trouble telling one song from another--this is because I have never listened to them in isolation from one another; I always listen to the album start to finish--it just flows that way and once you start you just want to keep going till it's over! So, as I said, it's hard to distinguish one song from the next, I know that each song has its unique individuality. For example,

1. "Chasmaeon" (7:01) has its awesome mellotron "Gregorian Chant" opening before TANGERINE DREAM keyboards join in. From 2:15 to 3:00 the full complement of instrumental structure is gradually put on display: keys, drums, guitar arpeggi, and Lindsay Powell's incredibly gorgeous voice. Then, beginning at 4:10 the pace is awesomely doubled, slowed down, doubled again, back and forth throughout the rest of the song in this amazing play on the listener's emotions. The bass, drums, mellotron Gregorian chant, and Linday Powell lead chant is rising and falling, twisting and turning, taking us on this rollercoaster of Zeuhl heaven. This must be Nebëhr Gudahtt's life after death place! (10/10)

On 2. "Living Tribunal" (8:12) the mellotron voices are turned into the upper "female" octaves while the more vibrated, slow picked bass and militarized dance drumming take over three minutes to prep us for Lindsay's plaintive call--and mesmerizing is her summons! She is my siren! I will willingly do your bidding, Zeuhl Princess! Enter electric guitar to mirror and amplify Lindsay's hypnotic call all the while drums, bass, and keys maintain a constant thrum of insistent support. This is prog heaven, to be sure! Chicago! These are 'kids'--a new generation of prog devotees! Hallelujah! Towards the end the drums and especially the bass begin to embellish their play. Awesome! (10/10)

3. "I Of Infinite Forms Pt. 1" (5:00) opens, again, with keyboard chord hits most familiar to us from the 1970s work of TANGERINE DREAM before very quickly being joined by the bass and drumming so familiar to us from the Zuehl world. High octave keys and wildly motive bass play are the highlights to the first half of this song as Lindsay's gorgeous mid-octave chanting stays mostly in the background. (8/10)

4. "I Of Infinite Forms Pt. 2" (6:06) flowing continuously from the previous song, there is a noticeable shift in style and tempo, but it is really only a bridge before the song builds back into a more tightly woven version of the tapestry of the Part 1. Where the difference really begins to show is with the addition of tubular bells (!) and Lindsay's more frenetic insistent chanting. Mid song the rhythm section virtually drops out for a bridge in which Lindsay and the tubular bells take center stage. By 3:40 a new rhythm and sound has been established that is more keyboard centered and keyboard dominant while LIndsay and the rhythm section pretty much maintain their style and melodies if slightly slowed down. Amazing drumming in the last minute! (9/10)

5. "Servant Eye" (6:31) opens as if on a continuous thread from previous songs--kind of a melding of the opening song with the previous one. A brief bridge of "Gregorian Chant" mellotron chords at 0:45 allows for a complete transition into a new vocal chant pattern and a new keyboard arpeggio foundation. Then at 2:00 occurs another shift--establishing whole new pace and rhythm pattern from the rhythm section while also introducing a more "angelic" voice mellotron chord sequence pattern while Lindsay's vocal almost disappears for a while. In the final two minutes the bass and lead female chant step forward to take the lead while the pace behind quickens to a rhapsodic frenzy! Awesome! (9/10)

6. "Vultures Of The Horn" (7:16) is perhaps the most maturely structured, least frenzied and tempermental song on the album which makes it seem more sedate and less emotional yet the keyboard, drum and vocal work are incredible for their display of subtle mastery. (9/10)

I honestly cannot say that there is another Zeuhl album I've ever felt this kind of affinty and attachment to since I first heard MDK. Eskaton, Xing Sa, and Universal Totem Orchestra are the only others that come to mind as having the kind of fresh beauty that I feel from Ga'an. As raw as it is for its being a debut record, this is without a doubt one of the premier Zeuhl albums I've ever heard. And from a group of young musicians from Chicago!! Bravo! I am so excited to see a new generation of artists latching onto and carrying forward the Zeuhl torch!

91.67 on the Fish scales = five stars; essential as a masterpiece of progressive rock music.

7. WOBBLER Afterglow 

A short (at 37 minutes it is actually quite average for 1970s standards) collection of great modern melodic medieval prog rock in the tradition of FOCUS, JETHRO TULL, FRUUPP, GRYPHON, GENTLE GIANT, and ANGLAGARD ("The Haywain" [0:54] [9/10], "Interlude"[2:35] [9/10], and "Armory" [3:00] [9/10]) and great keyboard-based symphonic prog in the vein of ELP, LE ORME, BANCO delle MUTUO SOCCORSO, PREMIATA FORNERIA MARCONI and NEXUS ("Imperial Winter White" [15:01] [9/10] and "In Taberna" [13:09] [9/10]). The musicianship is outstanding--worthy of superlatives throughout--and the medieval-based songs are certainly like a breath of fresh air. Definitely a band to follow!

90.0 on the Fish scales = five stars; a masterpiece of excellent prog compositions and performances.

****+ 4.5 star Near Masterpieces:


RPI and prog lovers in general: You're missing some GREAT music if you haven't heard Predo! These guys can play. Discovered through the HIGHLY RECOMMENDED Colossus Project "Kalevala: A Finnish Progressive Rock Epic" I have been blown away by the freshness and clarity of this music. Recorded so cleanly, using so many sounds in such unusual combinations, and constructed with such nuance and unpredictability it is a true listening adventure. (Put on the headphones!) Lots of piano and acoustic guitars, crisp drumming, and bass playing that is so alluring as to constantly draw my attention from the rest of the ensemblature. One very noticeable element of Predo's recording is the wonderful and brilliant use of space within the music; they don't fill every second for the sake of filling space; they let the sounds, chords, and melodies seep, percolate and fill your soul. And the singing is in Italian!

1. “Re Schiavo--Part 1" (6:21) is, at times, somewhat on the rock edge, kind of  like SAGA, yet other times the bass and piano inerplay reminds one of a jazz CHICK COREA jazz concert. The drum playing is very solid, if mixed a bit in the background. (9/10)

2. "Preda--Part 1" (6:49) starts with a TONY LEVIN-esque funk bass line before turning into an intermittently hard rocking, sometimes 'lounge' feeling, sometimes JEFF BECK-feeling piece. Also has a SYLVAN "Force of Gravity" feel to it. Definitely defies eras and music styles. Love the bass playing (PINO PALLADINO-ish?) (7/10)

3. "Preda--Part 2" (6:07) begins with some heavy guitar riffing and steamy organ soloing playing over the same jazzy bass playing and solid drumwork from "Part 1" before segueing into some soli from some pretty unusual synth and guitar sounds. The three minute mark reintroduces a kind of 'light metal' theme over BRUFORD-esqu snare, then suddenly a lounge jazz piano shows up to solo over this driving theme. A brief, strange and unpredictable lull with some treated vocals appears just before the song exits with its original driving pace. Interesting song, to say the least! (8/10)

4. "Gabriel" (7:10) enters with a softer feel, piano lead, and moves quickly into a complicated and tempo-rolling vocal section. Here is where this group's compositional use of space, pause, and sustain really show itself. Brilliant. To my mind, this shows great courage, confidence and maturity. My favorite instrument of this group, Daniele Vitalone's fretless bass gets a very cool fusion solo (EBERHARD WEBER?) at the 3:50 minute mark before the song surprises with a brief foray into high energy guitar chords and solo. The song decays beautifully with synth and piano outro. Wonderful song-writing filled with many catchy, though often all-too brief melodies. Like a train ride in the mountains: alternating lulls and breathtaking views. (9/10)

5. "Xaonon" (8:30) is the song that really got me hooked on this group. A real Neo-Prog bordering on eclectic classic. The only thing missing are the English vocals (I keep expecting the song to evolve into a MOONGARDEN classic like "Round Midnight"). Begins with one and a half minutes of very fresh electronica before the rhythm section joins in. Kind of like OZRIC TENTACLES plays TANGERINE DREAM. Then the 3:00 minute mark introduces some 'light  metal' themes, sounding a lot like RIVERSIDE, before backing down to a kind of ARGENT-sounding organ-with-guitar and rhythm section. The changes in this song are so frequent, so unpredictable, and so delightful. These are some very disciplined musicians! (9/10)

6. "Isola di Sara"  (8:20) is another gem/highlight beginning with a surprising 'Buddha Lounge' like feel before spiking off into various unusual and unpredictable sound and tempo directions. Very difficult to describe; you simply must discover it for yourself. The 2:05 marks notes the all-too-brief introduction of the song's immensely engaging and melodic 'chorus.' The band is so tight, the vocals so moving! 4:00 4:20 an entirely Latin flavored acoustic guitar-led section 5:15 a segue into a more rocking variation on the chorus theme before bridging back to the true chorus--which then evolves into a brief and beautiful piano solo before down-shifting into a kind of lounge end which is not the end at all but merely a transition to some HACKETT-esque volume pedal notes fading out over the bass's ad libbing. Wow! What a beautiful ride! (10/10)

7. "Sovrano Dell'illusione--Part 1" (6:27) begins with some ELP/PFM-ish piano before stopping to make space for the second beginning--a very GENESIS-like mellotron-washed section. But this section too yields, ends, to allow the introduction of a very PFM-like acoustically accompanied vocal section. Absolutely gorgeous music, melody, and singing! The EMERSON-piano returns at the 3:35 mark to provide the base for the return of the vocals. Stunning songwriting! As good as any PFM high points that I've ever heard. 5:05 marks the emergence of a  beautiful synth sound soloing briefly before the music settles back to the vocal with piano/ acoustic guitar outro. (10/10)

8. "Sovrano Dell'illusione--Part 2" (10:45) uses electric piano and echoing bass to provide its initial ominous jazzy feel. Again images of EBERHARD WEBER's works are conjured until the 2:40 marks the introduction of some skillful EDDIE VAN HALEN-sounding guitar chord playing bursts onto the scene. It disappears for a gap of a few seconds during which a few strange sentences are uttered, then comes back with a vengeance as synths and guitar soli emote themselves. 6:20 change: Mellotron and bass pedals! Then another odd shift into distorted electric guitar arpeggios over which the very strange vocals re-emerge until the music and vocals suddenly shift, mid-stream, to a very dreamy, melodic feel, back to guitar arpeggios which literally fadeout as a SATIE-like solo piano takes over. What an amazing rollercoaster ride! Mellotron! Weird background noises! The end! Wow! (9/10)

9. The final song, "Re Schiavo--Part 2" (4:52) begins with a piano reiteration of now-familiar themes--again very SATIE--esque. New themes are introduced at 1:00, 1:10, and 1:15 as the vocals commence. Multi-voiced chorus harmonies precede a beautiful section in which a TONY BANKS-like synth solo performs over acoustic guitars, fretless bass, and quiet batterie--leading to the final, brief vocal recitation and piano fadeout. Beautiful. (9/10)

88.89 on the Fish scales = 4.5 stars; a near-masterpiece of progressive rock music. Seriously, folks: Check out this album! They need to be discovered and promoted. I bet their concerts would be amazing: Musically, kind of like the early Gabriel-era GENESIS shows without the theatrics. 

9. TOE For Long Tomorrow

This is an interesting and enjoyable album that has a lot of the King Crimson Discipline sound and stylings that I love, especially songs 2, 3, 12, and 13. Though categorized Post Rock/Math Rock, it is far more that that, for in it I hear snippets that remind me of ALGERNON, IVY, KOOP, PAUL SIMON, JONI MITCHELL and many others. But most of all I hear DRUMS! AMAZING drumming!

The first song is a brief 39-second sonic introduction that bleeds directly into the brief "Shoushitsu tenyo fue" (2:40) (9/10) which is, in effect, an introduction and set-up for the album's third song (and, IMO, crown jewel). Arpeggio

3. "After Image" (3:59) featuring female vocalist Harada Ikuko reminds me of an awesome upbeat song from IVY or FIONA APPLE. (10/10)

4. "Esoteric" (4:15) is the album's first song to fully fall under the familiar/more usual Post Rock/Math Rock formats--and it is an excellent one! Sitar, arpeggiated acoustic and electric guitars, and amazing drumming! This is like MASERATI at its best! (10/10)

5. "Say It Ain't So", with the vocals of Dry River String's Hoshikawa Yuzuru (3:42), sounds like it wants to be pop and maybe even rappy. It's laid back, very repetitive and uses multiple tracks for its vocals. (8/10)

6. "Two Moons" (4:11) begins rather delicately, involving a synth, glockenspiel an acoustic and an electric guitar interweaving polyrhythmic melody lines. Until the bass and drums arrive at the 1:49 mark. Then we have a full-out jam! Kind of reminds me of ALGERNON. (8/10)

7. "Mosikiiton wa mou kikoenai #1" (2:32) (9/10) is a very cool piano over tuned and electronic percussion intro/variation for the next song,

8. "Mosikiiton wa mou kikoenai #2" (2:20) in which drums, bass and acoustic guitars play a more prominent role. Together the two variations rate a pleasant KOOP-like (8/10)--lacking enough development and change to make me reach for the replay button. This one is the drummer's song!

9. "Last Night (Album Version)" (4:56). By this time into the album I am looking for a little more variety. The one-note-at-a-time Kool-and-the-Gang synth is starting to get on my nerves, the interwoven tuned-percussion and acoustic guitar leads are getting a little old, the bass and drumming are the only things still keeping it interesting. (9/10)

10. "Goodbye (Album Version) featuring Toki Asako" (7:06) establishes another IVY-like groove using acoustic guitars and rolling COCTEAU TWINS-like bass before the vocalist and drummer get engaged. Again, the drummer is stealing the show! At the four minute mark ends a peak and things settling into a bit of a mellow, more simply and controlled section-- though the drummer apparently has difficulty with this mode, as he seems to always sneak in, or bulldoze his way into . . . taking over! I think the rest of the band shows admirable restraint in the face of his "lead" though I also believe the drumming is what makes this music work on such a high level. (10/10)

11. "You Go" (3:35) begins like one of DAVID BYRNE's Brazilian-influenced or PAUL SIMON's South African-inflluenced songs of years ago. The drummer is held a bit farther back in the mix on this one--and shows more than his usual restraint, though even in quiet restrained mode he continues to shine and attract the attention of the listener. (8/10)

12. "Our Next Movement" (4:48) begins with a very blatant folk drum style--large African hand drums and other hand percussives. Saxes play around in the background--as if I'm reminded of JONI MITCHELL's "Dreamland" from Don Juan's Reckless Daughter. The random sax play, bass play, and replacement of hand drums by drum kit reign this jazzier tune in a bit. Horns come together in a bank format as guitars pick in their arpeggiated KING CRIMSON way. I like the looseness of this one. (8/10)

13. "Long Tomorrow" (5:18) displays the same controlled "Discipline"-like weave of electric guitars, drums, and bass as the album began with. I like the bass being a bit more forward in this one. Static-screeching synth enters around mid-point. Finishes in a much more PostRock/Math Rock way. I can't explain why I like this time of "controlled chaos" so much-- that KC "Discipline" weave--but I do. (9/10)

Though this album often threatens to slide into background music, it is definitely one of the best Math/Post Rock albums I've ever heard--one that I will play again and again. I look forward to the growth and maturation of this great little combo.

88.46 on the Fish scales = 4.5 stars: An excellent addition to any prog lover's music collection.

This is an album that I liked from the start, every song was listenable and diverse. Now, after the twenty-somethingth listen, I can say that I know and like this album very much. A near masterpiece, with lots of theatric vocals, very competent playing from all of the musicians, and some sound songwriting. The album's weakness is two-fold: 1) it relies on old hooks from classic soli or chord progressions (mostly from PINK FLOYD and GENESIS, some YES)--and not just as "hats off" tributes to those bands, and; 2) many sections of songs are rather simply constructed (i.e. do not really take virtuosic competence in order to perform them--not unlike MUSE, THE DEAR HUNTER or AIRBAG). However, the longer songs have a very nice diversity of sounds, tempos and moods in them and are the highlights of the album. A great album, excellent for any prog lover's collection. Not a masterpiece, though. Not sophisticated or emotional enough. Close, though. Definitely an album that deserves more listens--more attention.

Album highlights: 2. "Leaving Here Tonight" (4:42) (10/10); 6. "The Bond of Mutual Distrust" (9:36) (10/10); 8. "Flying/Falling" (2:54) (10/10), "The Collapse' (12:10) (9/10); 4. "The Waterfall" (5:26) (9/10), and; "Disinfected and Abused" (17:38) (8/10). (The sample provided is a medley "preview" released to promote the album.)

 88.0 on the Fish scales = 4.5 stars; a near-masterpiece of progressive rock music (and, IMHO, much better than 2011's A Tower of Silence).

11. AIRBAG Identity

What a nice surprise! While some reviewers are displeased at the sameness of this collection of songs, I am pleased by this consistency. The engaging quality of these songs is of a very high and consistent level. IMHO, there are three pieces that I would nominate for that pantheon of greatness known as 'classics' in "3. Safe Like You" (7:58) (10/10), "6. Colours" (8:07) (9/10), and "5. Feeling Less" (5:05) (9/10). Plus, for DAVID GILMOUR lovers, you have two amazing 'Gilmour' soli in "Steal My Soul" (8:02) (8/10) and "Sounds That I Hear" (7:26) (8/10). The atmospheric 7. "How I Wanna Be" (7:04) (8/10) and the emotional, PINEAPPLE THIEF-like, 2. "No Escape" (5:45) (8/10)are pretty decent, as well.

Overall I agree with other reviewers:  There are no "new" innovations or complicated structures or time signatures on Identity; instead, what you have is a collection of very pleasant, very listenable, and memorable neo-prog songs in the same melodic vein as classic PINK FLOYD.
     I would like to point out, however, that the supporting keyboard work by Jørgen Hagen is perhaps the finest I have ever heard on any album. It's subtle. It is never flashy--never draws attention to itself--yet I doubt whether the other artists' contributions--or the album as a whole--would have come off half as good as it did without his work. Amazing. What Ricard "Nuflux" Nettermalm is to 21st century drumming Jørgen Hagen is to the keyboard.

87.5 on the Fish scales = 4.5 stars; an excellent and enjoyable addition to any prog lover's music collection. Definitely one of my favorites of the year 2009!


French jazz guitarist Yves Potin has contributed another sophisticated and thought-provoking contribution to Prog World in this decidedly cooler, more unsettling collection of soundscapes. While Yves instrumental and computer prowess is undeniable, the music here is quite dystopian and bleak. I shouldn't be saying that as if it's a bad thing, it's not--it's just the reality of the way things are progressing--especially on the human-disrupted surface of our planet. In that respect, the music presented here is quite powerful in its representation and reflection of the harm and chaos we have wielded upon our Mother. Ridley Scott and Vangelis would be quite appreciative of this music.

1. "Stress" (5:12) Though the power as a support of some tense, deep-in-the-night scene is undeniable, this one is a little too soundtrack-like and less the kind of music that you'd want to play without something theatric or visual to go with it. (Are there videos to any of your songs, Yves?) Virtuosic modern jazz-rock fusion guitar play (in a JERRY DE VILLIERS, JR. kind of way). (8.5/10)

2. "Anguish" (4:22) is like standing in a big city train or bus station and trying to fathom the surrounding chaos. Amazingly affective. (9/10)

3. "Stoned and Blurred" (5:26) unfortunately uses the same guitar sound and arpeggiated chord from the previous song to introduce the theme over the stark industrial soundscapes established by the computer synths.  (9/10)

4. "Inverted Twilight" (8:06) Disc Two of Gone to Earth! Awesome job of replicating the ambient soundscapes that David Sylvian created on that awesome album! (8.5/10)

5. "Those I Left Behind" (9:17) More from Disc Two of Gone to Earth! This time with similar guitar parts to the ones that David Sylvian, Robert Fripp, or Bill Nelson added to those ambient landscapes. Add the fretless bass, water drums, and Steve Jansen-like percussive rhythms to the final section and it's a perfect Sylvian replica! (8.5/10)

6. "Cold Bright and Quiet" (9:09) reminds me of the music from Vangelis' 1995 album, Voices. Spacious, deeply engaging and magically hypnotic. Though the lead instruments are nothing but hand percussives and a kalimba-like or kalimba-MIDIed vibraphone, it is eminently effective. The bass and synth washes could be higher up in the mix. (9/10)

An aural masterpiece in its representation of mankind's self-created troubled times, this is music that you don't want to listen to if you're already depressed. I commend and laud Yves' efforts and skills, but this is one of his discs that I'll probably not return to very often. (But then, you never know!)

87.5 on the Fishscales = B+/4.5 stars; a near-masterpiece of progressive rock music though this is probably a true masterpiece of progressive electronic music.

13. THE APPLESEED CAST Sagarmatha 

A seasoned Post Rock/Math Rock band from Lawrence, Kansas, THE APPLESEED CAST creates, for the most part, melodic, engaging music of the highest realm of the Post Rock--including one of the exceptional groups that uses effectively lyrics and vocals. One of my favorite Post Rock/Math Rock albums.

Album highlights: 1. "As the Little Things Go" (8:15) (9/10); 3. "The Road West" (8:08) (10/10); 6. "Raise the Sails" (6:27) (9/10), and; 9. "An Army of Fireflies" (4:28) (9/10)

87.0 on the Fish scales = 4.5 stars; a near-masterpiece of progressive rock.

14. BIG BIG TRAIN The Underfall Yard

As a big fan of BBT I was looking forward to this release as a step up even from The Difference Machine (which I rated a five star masterpiece). But, alas, despite amazing sound and engineering, David Langdon's astounding vocal arrangements and performances, the wonderful presence of XTC's Dave Gregory on guitar and sitar, Langdon's impressive and beautiful flute playing, the exciting and valuable contributions of cello, low brass (coronet, trombone, French horn, and tuba!) and mandolin, awesome solo appearances by Francis Dunnery and Jem Godfrey, and frequent GENESIS/ ANTHONY PHILLIPS- and YES-like moments, there is just something missing. I'm going to say it's the story line(s) and the way the lyrics cryptically or vaguely convey them. The lyricist (BBT founder/core member Greg Spawton) is apparently trying to wax nostalgic about the glory days of some important but nearly forgotten or obscured heroes from Britain's Industrial Age: engineers, architects, laborers, and the like. The problem is that the lyrics do not tell the story very clearly. Were it not for the artwork (wonderful paintings by Jim Trainer!), I would drown in the murky lyrics. What makes this worse is that the lyrical ambiguity transfers into the listener's inability to comprehend and fully feel the choice of musical delivery:  tempos, volumes, codas, bridges, and solos are all lost as to their significance in relation to the message trying to be delivered. Also, the music--as wonderfully performed, recorded, and constructed as it is (all deserving only superlatives)--is missing those emotional passages, key changes, and catchy melodies that hook the listener--as they did so well on The Difference Machine. The closest they come is with David Langdon's wonderful harmony vocal arrangements, his remarkable flute contributions, the ANT PHILLIPS/GENESIS-like acoustic guitar work throughout, and an absolutely stunning final two-and-a-half minutes to "Last Train" (6:28) (8/10) followed by the beautiful two-and-a-half minute intro to "Winchester Diver" (7:31) (9/10)

All the songs are very good, worthy of repeated listenings and many hours of enjoyment, but I continue to find myself asking "Why? Why use these musical constructs, Why these vocal harmonies, Why these dynamic solos--for the expression of these stories?"

Album highlights: "Evening Star" (4:53) (9/10) (What vocal arrangements! What a way to open an album!), "Master St. James of St. George" (6:19) (9/10) (my favorite song on the album), "The Underfall Yard" (22:54) (9/10) (a classic prog epic), and "Victorian Brickwork" (12:33) (8/10).

86.67 on the Fish scales = 4.5 stars; not a prog masterpiece, IMO, but very highly recommended. 21st century prog has few albums as accomplished and consistent as this.

A post note: This is one of the best sound engineered albums I've ever heard. Ever.

15. GAZPACHO Tick Tock  

While a pleasant listen, this album needs careful, attentive listening to be truly appreciated--which, then, becomes its downfall: When not listened to carefully, this album can become very boring, the lead singer's voice can become very tedious and whiney. So: if you have the time, sit down, put on the headphones and enjoy a very well put together album; If you aren't going to be able to concentrate and give it your fullest attention, better to avoid it and wait for time when you can. All songs are good, though the "Tick Tock" trilogy (22:24) (10/10) is my favorite (if you can listen to it in its entirety) and 7. "Winter Is Never" (4:55) (9/10) is nice. Nice subtle effects and shifts in sound and mood, even if the vocals get a little monotonous. 

85.71 on the Fish Scales = very solid four stars; an excellent addition to any prog music collection. Not the highs of Night, but not the lows either. 

What a magnificent album to sneak out of Québec! Too bad it's taken 18 months to climb into ProgArchives' ranks and garner a little of its much deserved attention.

1. "The Overture" (6:15) is everything a prog song should be: using unusual folk instruments, shifting back and forth from delicate to power, changing tempos, complicated vocal harmonies, awesomely clear lead vocals (in their own native language!) (10/10)

2. "Incubus" (9:14) sucks you into its web with the first strands of its foundational alternating guitar arpeggios and deep, full-front bass notes. What a simple but captivating and fluid lead! Then you're hit upside the head with the spoken voice of the amazing Jean-Marc Pisapia. He's got one of those voices that commands attention--no, worship! The journey this song takes one into--like a ride through the countryside in an opened-up convertible sports car--only we're driving behind the old Iron Curtain, say, in 1969 in Czechoslovakia. Joy ride, open air but ever on edge, ever hypervigilent. An amazing song with absolutely refreshing music and vocals, tempo and mood shifts, outstanding composition and musicianship. Prog music does not get better than this! EVER! Arabian musical influences sneak in at the 5:45 mark. (10/10)

3. "L'eau, le lait, le vin . . . " (6:30) Lacks a little melody hook-line (perhaps the French lyrics are intended to be the true focus of this part of the song) before a sudden shift from light, whispery to heavy LED ZEPPELIN "In Through the Out Door" drumming at the 3:15 mark takes one by surprise--followed by a Canterbury sounding organ (Wurlitzer?) at the 4:30 mark. Fades out with street accordian. (7/10)

4. "Mont St. Michel" (10:57) has a church feel to it--organ and chant-like harmonized vocals--before briefly shifting attention to piano. 4:30 sees a shift to a more acoustic prog orientation like MOON SAFARI, THE MOODY BLUES, BEACH BOYS, and early PETER GABRIEL. GENESIS-like heaviness beginning at the 7:10 mark brings a real mood shift to the song--especially with a great electric guitar solo with support passage. An interesting, entertaining song that would probably be rendered higher marks were I in on the lyrical content. (Future project: brush up on my old French.) Winds down with full PINK FLOYD sound à la "Eclipse." (8/10)

5. "Le chat noir" (2:12) is a little ditty that starts and ends with SATIE-esque slow, jazzy, emotional solo piano. Nearly as interesting and unpredictable as the original works of the young master. (9/10)

6. "Un unpénétrable mystère" (6:49) seems to feed off of the momentum of the previous song, beginning with treated piano chords and playful cymbol play before the poetic sing-speaking voice of M. Pisapia begins a upbeat monotone 'rap' over a rather jazzy, almost STYLE COUNCIL-like music. But watch out: these guys don't let you get bored or hypnotized; at 3:10 organ and true Gregorian chant-like choir takes over the singing of the lyrics. Then the sound drops out at 5:00 mark for a brief uncertainty before picking up the previous melodies on bass, background vocals, and background upper register male voice. Then it stops, only to fade the last 30 seconds in a very trip hop way. (8/10)

7. "À Bougival" (5:07) begins (and ends) with (what turns out to be) a constantly repeating four-note guitar arpeggios, two pairs of alternating piano chords and male voice before a kind of support soft-jazz combo joins in. This formula continues to cycle back and forth several times with the occasional rise and disappearance of near-Buddhist nasal voice intonations and a fully jazz-oriented section at about the 3:30 mark. Fascinating, unpredictable, and fresh! (10/10)

8. "Sous hypnose" (7:01) introduces from the opening notes a harder, heavier side of THE BOX--again with a very LED ZEPPELIN foundation to it. Enter a harmonized lead vocal followed by a bridge of an (intentionally?) 'cheezy' organ solo, repeat formula, provide a different bridge to the electric (doubled, shadowed, or midied?) guitar solo, and you have a pretty standard rock constructed song. Until a C part begins at the 4:39 mark when you have wavering keyboard, jazz electric guitar solo and vocal "ha's" accompanying the eternally playful drummer's cymbol play. Return to beginning-style heaviness for outro. (7/10)

9. "J'ai vu" (8:47) begins right where "sous hypnos" did: with another familiar-feeling LED ZEPPELIN "When the Levee Breaks"-like riff until it settles down to make way for repeating guitar arpeggios and harmonized 'spoken-sung' lead vocals. Heavy bass notes enter the play at the 3:00 minute mark as the piano gives us a little one-time jazz riff. Re-eneter the L ZEP riff at 5:00, this time with harmonized vocals accompanying/singing over to great effect--which only gets better as the song builds and progresses. The last 1:40 of the song play out in the sown-tempo 'B' mode. (7/10)

10. "Super 61" (3:54) begins with female chorus reciting the title while a kind of BURT BACHARACH bassa nova back beat establishes itself. French-style vocal scatting familiar to all who heard Francis Lai's theme to  the 1966 classic, "Un homme et une femme." In the Francis Lai tradition, this is a pretty upbeat, light song with some catchy melodies (and perhaps lyrics!?). (9/10)
Overall a delightful listening experience--one that is so different, so interesting and yet melodic and of superior construction, that I will come back many times to hear many more of the subtle shifts, instrument uses, and other nuances to be found herein.

85.0 on the Fish scales = 4.5 stars; an excellent addition to any prog lovers music collection. Really!