Other Albums from 2004 Worth Listening to:
Below you will find a somewhat-ordered catalogue of the album releases from 2004. These are albums that I have determined to be good or interesting enough to recommend to you, the reader, for your own exposure, awareness, and/or exploration; these are albums that were not, in my opinion, good enough to belong on my "Masterpieces" page, but which, I thought, deserved some credit and attention.
You will find that some of the albums below are reviewed or commented upon, while many have nothing but cover, artist and title, lineup of musicians and songs list. This variance is usually due to a lack of time and a lack of willingness or desire to give each and every album the time and energy necessary to write a review. This is done without any intent of disrespect; the albums have been included because I think them worthy enough to have others try them out and form their own opinions.
Kallocain is best recognized for being one of the earlier albums to which STEVEN WILSON contributed his editing, engineering, and production talents--which shows as the album does have a very enticing production sound, full of incidentals and treated instruments.
- Pertonella Nettermalm / vocals, cello
- Ricard Nettermalm / drums, saw & delay
- Peter Nylander / guitar
- Stefan Dimle / bass, double bass
- Johan Wallen / piano, Mellotron, Hammond organ, synthesizer, sampler, harmonium
New guitarist Peter Nylander admirably replaces Timeloss' Reine Fiske and the band also adds a full-time keyboard specialist in Johan Wallen. And, despite two A-rated songs (2. "Holding On" [9/10] and 8. "Won't Be Coming Back" [10/10]) and Petronella's gorgeous etheric vocals, the album plays out rather flat and monotonous. 1. "Gasoline" (5:55) (9/10) and 3. "Happiness" (5:20) (9/10) also play out very nicely. On a personal note, I am a bit surprised and disappointed that drummer extraordinaire Ricard "Huxflux" Nettermalm so rarely 'lets go' on Kallocain. He has the ability to be a show stopper yet here seems to choose (amazing) restraint with lots of masterful subtle 'jazz' fills instead of stealing the limelight. Overall, not enough songs bring the listener in deep enough to help this album to higher status.
Total Time 51:29
84.44 on the Fish scales = a very solid four star album; a worthy addition to any prog lover's music collection.
STEREOLAB Margerine Eclipse
The band's first full-length release of new compositions since the tragic death of Mary Hansen nearly two years before. Using an unusual and, of course, experimental engineering technique known as "dual mono" individual tracks are hard-panned to one of the two 'left' or 'right' channels giving them a mono feel despite the stereo sound. The effect of Lætitia Sadier covering all vocals, fore and background, is extraordinary for how little it makes Mary's loss seem. An extraordinary album on many levels.
84.44 on the Fish scales = a very solid four star album; a worthy addition to any prog lover's music collection.
STEREOLAB Margerine Eclipse
The band's first full-length release of new compositions since the tragic death of Mary Hansen nearly two years before. Using an unusual and, of course, experimental engineering technique known as "dual mono" individual tracks are hard-panned to one of the two 'left' or 'right' channels giving them a mono feel despite the stereo sound. The effect of Lætitia Sadier covering all vocals, fore and background, is extraordinary for how little it makes Mary's loss seem. An extraordinary album on many levels.
- "Vonal Declosion" (3:34) an amazing song with truly astonishing layers of vocals makes one confirm how important it is that Lætitia sing in her native French. Makes me realize how much I miss the "strings" and acoustic guitars of Dots and Loops and even Sound-Dust. (9.5/10)
- "Need to Be" (4:50) the final minute downgrades an otherwise great song. (9/10)
- "'...Sudden Stars'" (4:41) cool song with awesome Farfisa organ and complex keyboard weaves. (9/10)
- "Cosmic Country Noir" (4:47) one of those stellar laid back groovin' tracks that has multiple parts, all equally charming and engaging. (9.5/10)
- "La Demeure" (4:36) sparsely structured, this one, the 'Somewhere song', sneaks up on you. (9/10)
- "Margerine Rock" (2:56) cheesy and too simple despite its overload of weird sound effects. Occasionally, even the gods show vulnerability. (6/10)
- "The Man with 100 Cells" (3:47) smooth and soul-comforting. I'm a sucker for the Casiotone noises. Nice lyrics in English, too. (9/10)
- "Margerine Melodie" (6:19) a kind of discofied ska beat supports a series of sensitive and pretty melodies--vocal and keyboard--but ultimately it fails to win over--despite its sublime midsection. (8.5/10)
- "Hillbilly Motobike" (2:23) clavinet-based with a pop-click track, the opening section fails to engage and hypnotize, as was intended, and, uncharacteristically, it never really changes from there. (8/10)
- "Feel and Triple" (4:53) slow guitar strums and drum machine support Lætitia's opening vocal before full drums and bouncy keys and bass pop in. Pretty nice groove. I like the instrumental sections, bridges and organ and lead guitar play best. (9/10)
- "Bop Scotch" (3:59) another song with too many diverse ideas playing off (and, IMHO, against) each other. (7/10)
- "Dear Marge" (6:56) First part (2:30) is okay. Second part is awesome. Third, ROLLING STONE "Miss You" section is tolerably good. (8/10)
An album that starts incredibly strongly but then looses its focus, magical chemistry and, ultimately, appeal. Seven great songs and five fair to middlin' ones do not a masterpiece make.
84.58 on the Fishscales = a solid four star album, B; a nice addition to any progressive music collection.
MATTHEW PARMENTER Astray
Genius composer/frontman of the American band DISCIPLINE, Matthew Parmenter produces a solo album that once again illustrates just how much Discipline is a mere extension of his ideas, his theatric sensibilities, his talents. In this reviewer's humble opinion, Matthew's talents and vocals far surpass the man to whom he is constantly compared (and who may very well have been an inspiration and model for Matthew): Peter HAMMILL. This album has a very deeply emotional feel to it--partly due to Matthew's vocal delivery style but also due to the very well-matched music. The album credits list friend and fellow DISIPLINE band member and bass player Matthew Kennedy as the only other musician collaborating with Parmenter. The rest of the layers of instrumentation belong to the multi-instrument-wielding composer.
1. "Now" (9:59) opens with a very catchy vocal hook and proceeds form there into some very interesting and engaging sound and structural territories--including some nice early-KING CRIMSON in the fifth through ninth minutes (with some truly awesome drumming during that same stretch!) One of my two favorites from this album. (19/20)
2. "Distracted" (7:40) is a nice song that is, unfortunately, very poorly engineered/mastered and could have been, in my opinion, much polished. As is, it sounds like a demo. A good demo, but a demo. So much potential here! (12/15)
3. "Dirty Mind" (9:21) trampses and builds like a classic DISCIPLINE song Now you see who the real composer of their songs was?!) but, like most DISCIPLINE epics,. it fails to keep me engaged and/or interested through to the end. (16/20)
4. "Another Vision" (7:08) almost feels like a song from Americana. It seems to drag on forever. Not being a lyrics-driven music listener, this proves to be far too tedious for my personal enjoyment. (10.5/15)
5. "Some Fear Growing Old" (6:57) opens with an Americana-like strummed acoustic guitar chord sequence that is joined by standard slow rock bass and drums while Matthew's voice (again very poorly recorded and mixed) sings a sorrowful dirge. The mid-song violin play, as simple as it is, is one of the song's highlights. The other is the layered vocal harmonies towards the end. (10.5/15)
6. "Between Me and the End" (5:56) is a stark, piano-only accompanied vocal, perhaps the most powerful and emotional song on the album. (10/10)
7. "Modern Times" (21:09) opens a little bombastically but then quickly calms down to a guitar, bass, drum and piano combo supporting Matthew's (rather poorly recorded) vocals. IN the fifth minute the song starts to sound like a sparsely instrumented KARDA ESTRA song--just before the electric guitars and heavier bass and drum play begin. I don't really like that the lead electric guitar soloing in front pushes Matthew's voice (further) into the background. The instrumental section beginning in the seventh minute sounds a little like KING CRIMSON 101--simple--though the drums get a little looser and more free-flowing by its end. At 8:15 the music shifts a little into a more bouncy, upbeat section to support one of Matthew's other theatric voices. But then, in true symphonic form, at 9:20 the music drops out leaving nothing but a droning organ and Matthew's demonic voice. Menacing singing, menacing words, and menacing music to support it. At 11:15 a melodic though still heavy section begins, with some pretty guitar soloing. The themes from this section spiral forward for a while--even through a vocal section or two--until at 16:25 there is a bridge to a shift into a more discordant though driving tempoed instrumental section--with kind of an "Apocalypse in 9/8" feel to it. Some nice guitar, bass and organ work here. Unfortunately, the build to climax in the twentieth minute falls flat--and, sadly, we never hear from Matthew's voice again. (36/40)
My gut feeling is that Matthew's choice to do so much of this album alone--including the recording, engineering, and mastering--led this to be an inferior representation of his genius. Matthew is not a sound engineer. He needs input/criticism from others in order to polish and bring his ideas to full fruition.
83.87 on the Fish scales = B/a solid four stars; an excellent addition to any prog rocker's music collection.
My gut feeling is that Matthew's choice to do so much of this album alone--including the recording, engineering, and mastering--led this to be an inferior representation of his genius. Matthew is not a sound engineer. He needs input/criticism from others in order to polish and bring his ideas to full fruition.
83.87 on the Fish scales = B/a solid four stars; an excellent addition to any prog rocker's music collection.
ORPHANED LAND Mabool: The Story of the Three Sons of Seven
An Israeli heavy rock, almost metal, sometimes extreme tech/doom metal (due to the presence of growl vocals), Orphaned Land have produced a powerful album that tells a Biblical story (familiar to most of us as "Noah and the Ark"). Musically, this is a masterpiece of matching music to the various chapters of the story. The mixed vocals (growls, English, Israeli [?], choral) approach, however, sometimes fails to match the mood of the scene so well as the music. The second half of the album is by far the most engaging, moving, and masterful. Definitely my favorite Orphaned Land album.
Album highlights: the choir-assisted "Building the Ark" (5:02) (10/10); the acoustic guitar based instrumental "The Calm Before the Flood" (4:25) (8/10); the heavy "Mabool (The Flood) (6:59) (9/10), and; the gorgeous melodies of "The Storm Still Rages Inside" (9:20) (18/20).
80.0 on the Fish scales = four stars; an excellent addition to any prog rock music collection.
80.0 on the Fish scales = four stars; an excellent addition to any prog rock music collection.
KNIGHT AREA The Sun Also Rises
- Mark Smit / lead vocals
- Peter van Heijningen / lead guitar (1,2,4,6,9,10)
- Jeroen Hogenboom / lead guitar (1-5,7-9)
- Gerben Klazinga / keyboards, drums, vocals (8), co-producer
- Joop Klazinga / flute (2,9), co-producer
- Ron van der Bas / bass (2,6-9)
- Gijs Koopman / bass (1,3-5), Moog bass pedals (1,3)
With:
- Stephanie Lagrande / vocals (7)
- Vincent Frijdal / acoustic guitar (6)
- Arjan Groenendijk / guitar (power chords 4,6,7,9)
- Klees Flameling / accordion (2)
- Mark van Nieuwenhuizen / drums (3-5)
1. Beyond (0:27)
2. "The Gate of Eternity" (7:21) (/15)
3. Conspiracy (5:38)
4. Forever Now (4:21)
5. The Sun Also Rises (5:51)
6. "Conviction" (5:44) (8.5/10)
7. Mortal Brow (6:21)
8. Moods Inspiring Clouds (5:14)
9. A New Day at Last (5:12)
10. Sævis Tranquillis in Undis (3:14)
Total Time 49:23
DUNGEN Ta Det Lugnt
The Swedish psychedelic rockers, Dungen, really go back to the 1960s' roots of psychedelia with this music--especially the more aggressive BEATLES/ANIMALS-type of music. As always, guitarist REINE FISKE is brilliant throughout: aggressive more than usual (Go Jimi, Jr.!) yet subtle and beautiful when that, too, is called for. One thing I really love about Dungen albums is that they sing in their own native Swedish. I wish more prog groups would do this.
Line-up / Musicians:
- Gustaf Ejstes / vocals, guitar, keyboards, violin, flute, drums, composer & producer
- Reine Fiske / guitar, bass (5,8,13), drums (10)
- Henrik Nilsson / bass (1,3)
- Fredrik Björling / drums (1,3,4,7-9)
With:
- Frew Elfineh Taha / vocals (5)
- Anna Karin Palm / vocals (12)
- Lars-Olof Ejstes / violin (4,10)
- Aron Hejdström / saxophone (5)
- Tiaz Gustavsson / drums (10)
- Christopher Schlee / guitar (bonus 4)
Album highlights: "Det Du Tänker Idag Är Du I Morgon" (3:58) (9/10); the HENDRIX-like "Bortglömd" (4:27) (9/10); the BEATLES-like melodic "Lipsill" (2:45) (8/10); the trippy, keyboard laden "Om Du Vore Vakthund" (3:02) (9/10); more HENDRIX in "Sluta Följa Efter" (4:52) (8/10), and; the LIGHTHOUSE "One Fine Morning"-like, "Sjutton" (2:50) (9/10).
- Gustaf Ejstes / vocals, guitar, keyboards, violin, flute, drums, composer & producer
- Reine Fiske / guitar, bass (5,8,13), drums (10)
- Henrik Nilsson / bass (1,3)
- Fredrik Björling / drums (1,3,4,7-9)
With:
- Frew Elfineh Taha / vocals (5)
- Anna Karin Palm / vocals (12)
- Lars-Olof Ejstes / violin (4,10)
- Aron Hejdström / saxophone (5)
- Tiaz Gustavsson / drums (10)
- Christopher Schlee / guitar (bonus 4)
Album highlights: "Det Du Tänker Idag Är Du I Morgon" (3:58) (9/10); the HENDRIX-like "Bortglömd" (4:27) (9/10); the BEATLES-like melodic "Lipsill" (2:45) (8/10); the trippy, keyboard laden "Om Du Vore Vakthund" (3:02) (9/10); more HENDRIX in "Sluta Följa Efter" (4:52) (8/10), and; the LIGHTHOUSE "One Fine Morning"-like, "Sjutton" (2:50) (9/10).
Total Time: 53:17
Not my favorite Dungen album, but then, there are so many great ones. Still, this is a good one. Very good.
77.69 on the Fish scales = four stars; a nice addition to any prog rock music collection.
77.69 on the Fish scales = four stars; a nice addition to any prog rock music collection.
UNIVERS ZERO Implosion
Daniel Denis and company are back with another album release, their third since their 1999 rebirth and eighth overall.
Line-up / Musicians:
- Christophe Pons / acoustic guitar
- Michel Berckmans / oboe, English horn, bassoon
- Serge Bertocchi / alto, soprano & sopranissimo saxes, tubax (?)
- Ariane De Bievre / flute, piccolo
- Dirk Descheemaeker / clarinet, bass clarinet
- Bart Maris / trumpet, flugelhorn
- Aurélia Boven / cello
- Igor Semenoff / violin
- Eric Plantain / electric bass
- Daniel Denis / drums, percussion, keyboards, sampler, accordion, guitar, arrangements, co-producer
- Bart Quartier / marimba, glockenspiel
1. Suintement (Oozing) (1:13)
2. Falling Rain Dance (4:12)
3. Partch's X-Ray (5:21)
4. Rapt D'Abdallah (3:01)
5. Miroirs (Mirrors) (1:18)
6. La Mort de Sophocle (Sophocle's Death) (3:11)
7. Ectoplasme (1:07)
8. "Temps Neufs" (4:56) I love the horn arrangements, hate the bass and clavinet. (8.75/10)
9. Mellotronic (4:04)
10. Bacteria (1:28)
11. Out of Space 4 (2:52)
12. First Short Dance (0:42)
13. Second Short Dance (0:41)
14. Variations on Mellotronic's Theme (3:04)
15. A Rebours (In Revers) (1:56)
16. "Meandres" (Meanderings) (9:38)
Total Time: 48:44
- Christophe Pons / acoustic guitar
- Michel Berckmans / oboe, English horn, bassoon
- Serge Bertocchi / alto, soprano & sopranissimo saxes, tubax (?)
- Ariane De Bievre / flute, piccolo
- Dirk Descheemaeker / clarinet, bass clarinet
- Bart Maris / trumpet, flugelhorn
- Aurélia Boven / cello
- Igor Semenoff / violin
- Eric Plantain / electric bass
- Daniel Denis / drums, percussion, keyboards, sampler, accordion, guitar, arrangements, co-producer
- Bart Quartier / marimba, glockenspiel
1. Suintement (Oozing) (1:13)
2. Falling Rain Dance (4:12)
3. Partch's X-Ray (5:21)
4. Rapt D'Abdallah (3:01)
5. Miroirs (Mirrors) (1:18)
6. La Mort de Sophocle (Sophocle's Death) (3:11)
7. Ectoplasme (1:07)
8. "Temps Neufs" (4:56) I love the horn arrangements, hate the bass and clavinet. (8.75/10)
9. Mellotronic (4:04)
10. Bacteria (1:28)
11. Out of Space 4 (2:52)
12. First Short Dance (0:42)
13. Second Short Dance (0:41)
14. Variations on Mellotronic's Theme (3:04)
15. A Rebours (In Revers) (1:56)
16. "Meandres" (Meanderings) (9:38)
Total Time: 48:44
I found myself unexpectedly disappointed at this album--specifically at the direction the band took in choosing to used electronic keyboard sounds and such a big chunky bass. The musical compositions are still top notch, it's just the sound palette that I find grating.
NEAL MORSE One
Line-up / Musicians:
- Neal Morse / vocals, guitar, keyboards, arranger & producer
With:
- Phil Keaggy / electric guitar solo (1), acoustic guitar solo (4-iii), 2nd lead vocals (5)
- Chris Carmichael / violin, viola, backing vocals
- Rachel Rigdon / violin
- Hannah Vanderpool / cello
- Dave Jacques / string bass
- Jim Hoke / saxophone
- Neil Rosengarden / trumpet
- Bill Huber / trombone
- Michael Thurman / French horn
- Randy George / bass, arrangements
- Mike Portnoy / drums, arrangements
- Glenn Caruba / percussion
- Gene Miller / additional vocals
- Rick Altizer / additional vocals
- Aaron Marshall / backing vocals
- Missy Hale / backing vocals
1. The Creation (18:22) :
- i) One Mind
- ii) In a Perfect Light
- iii) Where Are You?
- iv) Reaching from the Heart
2. The Man's Gone (2:50)
3. Author of Confusion (9:30)
4. The Separated Man (17:58) :
- i) I'm in a Cage
- ii) I Am the Man
- iii) The Man's Gone (reprise)
- iv) Something Within Me Remembers
5. Cradle to the Grave (4:55)
6. Help Me / The Spirit and the Flesh (11:13)
7. Father of Forgiveness (5:46)
8. :
- i) No Separation
- ii) Grand Finale
- iii) Make Us One
Total Time 79:45
WHITE WILLOW Storm Season
The great Norwegian collective is back with their fourth album, their last, unfortunately, with lead vocalist Sylvia Erichsen.
Line-up / Musicians:
- Sylvia Erichsen / vocals
- Jacob Holm-Lupo / electric, acoustic & classical guitars, keyboards, producer
- Johannes Saebøe / electric guitars, electric baritone guitar
- Lars Fredrik Frøislie / piano, Mellotron M400, Hammond B3, Minimoog, synths, Fender Rhodes, Wurlitzer, glockenspiel
- Ketil Vestrum Einarsen / flutes, Micro Synth, tambourine
- Sigrun Eng / cello
- Marthe Berger Walthinsen / 4- & 5-string basses, tambourine
- Aage Moltke Schou / drums & percussion
With:
- Tirill Mohn / string arranger
- Finn Coren / vocals (4)
- Teresa K. Aslanian / ghost voice (2)
- Christer Mathiesen / electric guitar solo (8)
- Steffen Isaksen / keyboards (9,10)
1. "Chemical Sunset" (7:58) great musical opening is, strangely, diminished by the entrance of Sylvia's voice. (Strange effect on her voice as well as the odd double tracking effect as well as poor melody). The music is wonderful--especially the almost classical pastoral parts between the heavier stuff. Ketil Vestrum Einarsen is really on point here! (13/15)
2. "Sally Left" (6:33) (/10)
3. "Endless Science (3:37) (/10)
4. "Soulburn" (9:21) (18/20)
5. "Insomnia (5:49) (/10)
6. "Storm Season (4:21) (/10)
7. "Nightside of Eden" (9:44) (17.5/20)
Total Time 47:23
4. "Soulburn" (9:21) (18/20)
5. "Insomnia (5:49) (/10)
6. "Storm Season (4:21) (/10)
7. "Nightside of Eden" (9:44) (17.5/20)
Total Time 47:23
THE WATCH Vacuum
Line-up / Musicians:
- Simone Rossetti / vocals, flute, tambourine, sounds
- Ettore Salati / electric, acoustic & 12-string guitars, bass pedals
- Gabriele Manzini / keyboards
- Marco Schembri / bass, electric & acoustic guitars
- Roberto Leoni / drums, percussion
With:
- Sergio Taglioni / piano, organ, Mellotron, Moog & synths, co-producer
- Gino Menichini / programming (7), co-producer
- Simone Stucchi / arranger, co-producer
1. Hills (1:26)
2. Damage Mode (7:17)
3. Wonderland (7:05)
4. Shining Bald Heads (5:55)
5. Out of the Land (6:05)
6. Goddess (5:48)
7. Deeper Still (3:24)
8. "The Vacuum" (Parts 1 & 2) (10:59) (17.25/20)
Total Time 47:59
2. Damage Mode (7:17)
3. Wonderland (7:05)
4. Shining Bald Heads (5:55)
5. Out of the Land (6:05)
6. Goddess (5:48)
7. Deeper Still (3:24)
8. "The Vacuum" (Parts 1 & 2) (10:59) (17.25/20)
Total Time 47:59
PAIN OF SALVATION Be
Line-up / Musicians:
- Daniel Gildenlöw / vocals (lead, choirs, spken, harmony), electric & acoustic guitars, mandola, Chinese archo, keyboards, percussions, samplers, programming, producer
- Johan Hallgren / electric & acoustic guitars, congas, harmony vocals
- Fredrik Hermansson / grand piano, harpsichord, keyboards, percussion
- Kristoffer Gildenlöw / bass & fretless bass, double bass, congas, harmony vocals
- Johan Langell / drums, djembe, cowbell, backing vocals
With:
- Mats Stenlund - (Klosters kirka) church organ
- Cecilia Ringkvist - vocals (7)
- Donald Morgan,Donald K. Morgan,Alex R. Morgan,Kim Howatt ,Jim Howatt ,Jackie Crotinger,Ross Crotinger ,Tom Kleich,Blair Wilson,Gaby Howatt ,Molly Fahey / voices (narration)
The Orchestra of Eternity:
- Mihai Cucu / 1st violin
- Camilla Arvidsson / 2nd violin
- Kristina Ekman / viola
- Magnus Lanning / cello
- Åsa Karlberg / flute
- Anette Kumlin / oboe
- Nils-Åke Pettersson / clarinet
- Dries van den Poel / bass clarinet
- Sven-Olof Juvas / tuba
- Prologue :
1. Animae Partus ("I am") (1:48)
- I. Animae Partus (All in the Image of) :
2. Deus Nova (Fabricatio) (3:18)
3. Imago (Homines Partus) (5:11)
4. Pluvius Aestivus (Of Summer Rain [Homines Fabula Initium]) (5:00)
- II. Machinassiah (Of Gods & Slaves) :
5. Lilium Cruentus (Deus Nova) (On the Loss of Innocence) (5:28)
6. Nauticus (drifting) (4:58)
7. "Dea Pecuniae" (10:10) (17.25/20)
- a) Mr. Money
- b) Permanere
- c) I Raise My Glass
- III. Machinageddon (Nemo Idoneus Aderat Qui Responderet) :
8. Vocari Dei (Sordes Aetas - Mess Age) (3:50)
9. Diffidentia (Breaching the Core) (Exitus - Drifting II) (7:37)
10. Nihil Morari (Homines Fabula Finis) (6:22)
- IV. Machinauticus (Of the Ones With no Hope) :
11. Latericius Valete (2:28)
12. Omni (Permanere?) (2:37)
13. Iter Impius (Martigena, Son of Mars) (Obitus Diutinus) (6:21)
14. Martius/Nauticus II (6:41)
- V. Deus Nova Mobile (...and a God is Born) :
15. Animae Partus II (4:09)
Total Time: 75:58
ISIS Panopticon
Line-up / Musicians:
- Aaron Turner / guitars, vocals
- Mike Gallagher / guitars
- Bryant Cliff Meyer / electronics, guitar
- Jeff Caxide / bass
- Aaron Harris / drums
With:
- Justin Chancellor / bass & "sounds" (6)
1. So Did We (7:30)
2. Backlit (7:43)
3. In Fiction (8:58)
4. Wills Dissolve (6:47)
5. "Syndic Calls" (9:39) (19/20)
6. "Altered Course" (9:56) (17.75/20)
7. Grinning Mouths (8:27)
Total Time: 59:04
MASTODON Leviathan
- Brent Hinds / lead guitar, vocals
- Bill Kelliher / rhythm guitar
- Troy Sanders / bass, vocals
- Brann Dailor / drums, vocals
With:
- Neil Fallon / vocals (1)
- Scott Kelly / vocals (8)
- Phil Peterson / cello (8)
- Joseph Merrick / organ (10)
1. Blood and Thunder (3:48)
2. I Am Ahab (2:45)
3. Seabeast (4:15)
4. Island (3:26)
5. Iron Tusk (3:30)
6. Megalodon (4:22)
7. Naked Burn (3:42)
8. Aqua Dementia (4:10)
9. "Hearts Alive" (13:39) (26/30)
10. Joseph Merrick (3:33)
Total Time 47:10
MARILLION Marbles
Britain's revised and redacted version of the Second Coming is back with their ninth studio album in this, the Hogarth Era.
- Steve Hogarth / vocals, hammered dulcimer (1), addit. guitar (4)
- Steve Rothery / guitar, bass (10)
- Mark Kelly / keyboards
- Pete Trewavas / bass, acoustic guitar (10,13)
- Ian Mosley / drums
With:
- Carrie Tree / additional vocals (3,12)
1. "The Invisible Man" (13:37) (/30)
2. Marbles I (1:42)
3. Genie (4:54)
4. Fantastic Place (6:12)
5. The Only Unforgivable Thing (7:13)
6. Marbles II (2:02)
7. "Ocean Cloud "(17:58) (/35)
CD 2 (45:08)
8. Marbles III (1:51)
9. The Damage (4:35)
10. Don't Hurt Yourself (5:48)
11. You're Gone (6:25)
12. Angelina (7:42) (/15)
13. Drilling Holes (5:11)
14. Marbles IV (1:26)
15. "Neverland" (12:10) (/25)
I am not, and never have been a Marillion fan. The Fish era is, IMO, horribly produced (especially the murky, soft, poorly captured 'dynamics' of Misplaced Childhood and Script for a Jester's Tear), and ao often sounds so cheezy and outdated (especially Fugazi and after). The Hogarth-era stuff, while capturing more emotion and better recording engineering, just lacks, IMHO, power, prog dynamics, and even the intricate constructs that are familiar to prog lovers (and essential to some). I do think Steve Hogarth is a far superior vocalist.
For me the highlights of this album are the four brief "Marbles" vignettes, and the trip hoppy, SEAL "Crazy"-like, "You're Gone" (6:28) (8/10).
For me the highlights of this album are the four brief "Marbles" vignettes, and the trip hoppy, SEAL "Crazy"-like, "You're Gone" (6:28) (8/10).
Total Time 98:46
A 3.5 star album.
Albums from 2004 that Are, IMHO, Over-rated
AYREON The Human Equation
- Arjen Lucassen / lap steel, electric & acoustic guitars, bass, mandolin, analogue synths, Hammond, keyboards, producing & mixing
With:
- Ken Hensley (Uriah Heep) / Hammond solo (16)
- Oliver Wakeman (Nolan & Wakeman) / synth solo (17)
- Martin Orford (IQ, Jadis) / synth solo (15)
- Joost van den Broek / synthesizer (2), spinet (13)
- John McManus / low-flute (13,16,18), tin-whistle (18)
- Jeroen Goossens / flute (3,5,9,14,18), alto flute (2), bass flute (5,14), panpipes (6), descant & treble recorders (13), didgeridoo (16), bassoon (18)
- Robert Baba / violin
- Marieke van der Heyden / cello
- Ed Warby / drums, percussion
VOCALS (and characters):
- Devon Graves (Dead Soul Tribe) as 'Agony'
- Devin Townsend (SYL) as 'Rage'
- Eric Clayton (Saviour Machine) as 'Reason'
- Mikael Åkerfeldt (Opeth) as 'Fear'
- Magnus Ekwall (The Quill) as 'Pride'
- Heather Findlay (Mostly Autumn) as 'Love'
- Irene Jansen (Karma) as 'Passion'
- James LaBrie (Dream Theater) as 'Me'
- Marcela Bovio (Elfonia) as 'Wife'
- Mike Baker (Shadow Gallery) as 'Father'
- Arjen Lucassen as 'Best Friend'
- Peter Daltrey as 'Forever'
- Yvette Boertje as 'The Hospital voice'
- Meri Pitkanen as 'The Sexy Cough'
CD 1 (50:43)
1. Day One: Vigil (1:33)
2. Day Two: Isolation (8:42)
3. Day Three: Pain (4:58)
4. Day Four: Mystery (5:37)
5. Day Five: Voices (7:09)
6. Day Six: Childhood (5:05)
7. Day Seven: Hope (2:47)
8. Day Eight: School (4:22)
9. Day Nine: Playground (2:15)
10. Day Ten: Memories (3:57)
11. Day Eleven: Love (4:18)
CD 2 (50:36)
12. Day Twelve: Trauma (8:59)
13. Day Thirteen: Sign (4:47)
14. Day Fourteen: Pride (4:42)
15. Day Fifteen: Betrayal (5:24)
16. Day Sixteen: Loser (4:46)
17. Day Seventeen: Accident? (5:42)
18. Day Eighteen: Realization (4:31)
19. Day Nineteen: Disclosure (4:42)
20. Day Twenty: Confrontation (7:03)
Total Time 101:19
A bit too heavy, too theatric, and too discordant in terms of album flow. To have such divergent dynamics--often within a single song--is, to my ears and mind, too much to handle, not enjoyable. Getting the number of widely diverse artists to participate on this project is truly an admirable achievement, I'm just not sure it was all necessary--or that it all contributes to the flow and cohesiveness of the whole. Really, it's an album of 20 totally disconnected songs each trying hard--too hard--to showcase some pretty talented guest musicians yet, in the end, only pretending to have some kind of integrating concept.
This would make a good Broadway production. As a contribution to one's prog cellection I'd only buy it if you were a particular fan of the projects of Arjen Lucassen.
IQ Dark Matter
Another well-acclaimed album that I find unredemptive. This band has chosen to water down all that was Genesis--even further than the Four/Three did in the Wind and Wuthering-and-after era.
Line-up / Musicians:
- Peter Nicholls / lead & backing vocals
- Mike Holmes / electric & acoustic (6- & 12-string) guitars, E-Bow, effects, producer
- Martin Orford / Korg CX3 organ, synths (Kurzweil K2500, Access Virus KB, Yamaha SY85, Roland JV1080, Korg Triton), samples, Moog bass pedals, backing vocals, pre-production
- John Jowitt / basses (4-, 5-string & fretless), backing vocals
- Paul Cook / drums, percussion
- Peter Nicholls / lead & backing vocals
- Mike Holmes / electric & acoustic (6- & 12-string) guitars, E-Bow, effects, producer
- Martin Orford / Korg CX3 organ, synths (Kurzweil K2500, Access Virus KB, Yamaha SY85, Roland JV1080, Korg Triton), samples, Moog bass pedals, backing vocals, pre-production
- John Jowitt / basses (4-, 5-string & fretless), backing vocals
- Paul Cook / drums, percussion
1. "Sacred Sound" (11:40) Genesis lite with no dazzle or pizzaz, simply stark and dull with flat melody lines from vocalist Peter Nicholls. (19/25)
2. "Red Dust Shadow" (5:53) Some memorable melodies and nice synth play cannot save this barely-two-dimensional song. (8.25/10)
3. "You Never Will" (4:54) clocks and rolling bass lead into a Gabriel-era feeling song. The drums' sound is horrible! The chorus is only notable for the half-Peter Hammill, half-Ozzie Osborn vocal. (8.25/10)
4. "Born Brilliant" (5:20) recorded home- and industrial sounds with sustained deep synth chord set this one up as a theatric chiller. But then the vocal takes us in a totally different, unexpected direction. What should have been a musical adventure through a house of horrors is turned sophomoric by a misfitted lyric. Weird. Did the band approve of Peter's lyrics here? Or were they just trying to get out of the studio? Kind of like Genesis' The Lamb music and lyrics rift scenario (or, at least it feels that way). (8/10)
5. "Harvest of Souls" (24:29) Nice "Cinema Show/Entangled"-like 12-string guitar based music with synth washes and orchestral hits and later bass pedals all ruined by vocals and lyrics that just don't fit. One of the poorest long-playing prog epics I've ever heard from a supposed-"elite" prog band--almost nothing works together. (35/50)
- i. First Of The Last
- ii. The Wrong Host
- iii. Nocturne
- iv. Frame And Form
- v. Mortal Procession
- vi. Ghosts Of Days
Total Time: 52:16
79.52 on the Fishscales = C/three stars; a fair contribution to the lexicon of progressive rock but nothing you'd miss if you never heard it.
ENSLAVED Isa
- Grutle Kjellson / vocals, bass
- Ivar Bjørnson / guitar
- Arve Isdal / lead guitar
- Herbrand Larsen / keyboards, Hammond, piano, vocals
- Cato Bekkevold / drums
With:
- Olve Eikemo ("Abbath") / vocals (2)
- Ted Arvid Skjellum ("Nocturno Culto") / vocals (3,5)
- Ofu Kahn / vocals (4)
- Stig Sandbakk / vocals (4,7)
- Are Mundal / performer (1,10)
- Dennis Reksten / synth (8)
1. Intro: Green Reflection (0:51)
2. Lunar Force (7:03)
3. Isa (3:46)
4. Ascension (6:45)
5. Bounded by Allegiance (6:38)
6. Violet Dawning (3:49)
7. Return to Yggdrasil (5:39)
8. Secrets of the Flesh (3:36)
9. "Neogenesis" (11:58) fairly laid back and pleasant--nice guitar chord progressions--at least for the first two minutes. Then the weird GOLLUM vocals begin over the chugging rhythm section. (21.75/25)
10. Outro: Communion (0:56)
Total Time 51:01
THRESHOLD Subsurface
- Andrew McDermott / vocals
- Karl Groom / guitar, co-producer
- Nick Midson / guitar
- Richard West / keyboards, co-producer
- Steve Anderson / bass
- Johanne James / drums
1. Mission Profile (8:15)
2. Ground Control (7:13)
3. Opium (6:48)
4. Stop Dead (4:21)
5. "The Art of Reason" (10:20) clear sound and precise playing. (17.5/20)
6. Pressure (5:17)
7. Flags and Footprints (4:54)
8. Static (5:07)
9. The Destruction of Words (6:14)
Total Time 58:29
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