Prog Is Alive and Well in the 21st Century: November 2012

My Favorite Albums of 2011

(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.

2011 offered some absolutely amazing new music from artists practicing quite a wide variety of styles. My Favorites List has albums representing no less than nine sub-genres. I have on my List six (6) full masterpieces, 12 "minor" masterpieces, and eight (8) near-masterpieces of progressive rock music. These numbers make 2011 a greatest years of progressive rock. Even better, in terms of both quantity and quality, than the most hallowed year of 1972!

The Rankings
(My Favorites)

1. THE AMAZING Gentle Stream

2. LAGARTIJA Particelle
3. FAUN Eden
4. CORDE OBLIQUE A Hail of Bitter Almonds
5. FAUNS Awaiting the Sun

6. ANATHEMA Falling Deeper

7. NORTH SEA RADIO ORCHESTRA I a Moon

8. SLEEPMAKESWAVES …and so we destroyed everything

9. THE PSYCHEDELIC ENSEMBLE The Dream of the Magic Jongleur

10. CAMEMBERT Schnörgl Attahk

11. WOBBLER Rites at Dawn

12. ALIO DIE Honeysuckle

13. KATE BUSH 50 Words for Snow
14. MY BROTHER THE WIND I Wash My Soul in the Stream of Infinity

16. AKT Blemmebeya
17. SANHEDRIN Ever After

18. ABRETE GANDUL Enjambre Sismico
19. IONA Another Realm
20. TIRILL Nine and Fifty Swans

21. FEN Epoch

22. TUNE Lucid Moments

23. GA'AN Black Equus

24. CICADA Pieces

25. WHITE WILLOW Terminal Twilight

26. FREQUENCY DRIFT Ghosts…
27. AUTUMN CHORUS The Village to the Vale

28. SKE 1000 autunni

28. PENDRAGON Passion
29. HUMBLE GRUMBLE Flanders Fields

30. MOOGG Le ore, i giorni, gli anni

31. FACTOR BURZACO II

32. TENHI Saivo

33. THE FUTURE KINGS OF ENGLAND Who Is This Who Is Coming?

34. INTROITUS Elements

35. KARDA ESTRA New Worlds

36. BON IVER Bon Iver
37. EDISON’S CHILDREN In the Last Waking Moments

38. SOLUS3 Corner of the World

39. UNEXPECT Fables of the Sleepless Empire

40. AMPLIFIER The Octopus

Honorable Mentions:

LEPROUS Bilateral

DISCIPLINE To Shatter All Accord
SEAN FILKINS War and Peace and Other Stories of Love and Hate

The Reviews

5 star Masterpieces

(Ratings of 100 to 93.34)

***** Album of the Year for 2011! *****

1. THE AMAZING Gentle Stream

This happens to be my favorite album of the year 2011; I know that it may not the 'best.' The melodies, warmth of the music, incredible group jams--led, of course, by my guitar hero, Reine Fiske--make this album one that I want to come back to often--more than the others in this year's Top Album's list. But I recognize its flaws, especially in the fact that it is not so proggy as some of the other masterpieces and excellent collections of progressive rock music.

1. "Gentle Stream" (7:00) starts the album out with an incredible sound that is quite reminiscent of some of the masterpieces of psychedelic rock from the late 1960s and even the Southern rock groups of the early 1970s. A smooth, incredibly warm and melodic song--both in terms of the instrumentalisits and the vocals. Great vocal harmonies in the vein of CROSBY, STILL, NASH & YOUNG. The drum work is incredibly fluid and smooth, restrained yet full--kind of like STEVE GADD's understated mastery. But my favorite part is the vocal-accompanied all-out jam by the band for the final two and a half minutes. The adrenaline rush is incredible! THE SONG OF THE YEAR!! (11/10)

2."Flashlight" (4:56) continues the album's 60s/70s psychedelic/Southern rock feel--as do all of the songs on Gentle Stream--this time in the vein of DAVE MASON/JESSE COLIN YOUNG. A simpler, almost acoustic song with flutes, picking acoustic guitar, and some organ. Nice ERIC CLAPTON/BLIND FAITH instrumental section in the middle, followed by simple electric guitar and saxophone soli to end. (8/10)

3. "International Hair" (6:08) is another standout song, this time starting like a JONI MITCHELL, FLEETWOOD MAC or AMERICA song. Singer Christoff Gunrup has an amazingly smooth, sensitive, and familiar voice; he sings as if he is putting his entire being into his efforts. The smooth, subtle work of the drummer is again stellar. A lull of delicate play at the 4:20 mark turns into another group jam with Reine Fiske playing the slide or pedal steel guitar and some roiling percussion dueling going on all around. (10/10)

4. "The Fog" (4:29) begins with some acoustic guitar picking which again revives images of STEVE WINWOOD/BLIND FAITH. The vocals enter, ever-so delicately, at times feeling like they are being held up or shored up by the background singers' sustained "ahh's" and "ooohs." Fiske's guitar picking gets a little more forceful at the 2:20 mark, and from there out, until multiple electric guitars begin a southern rock harmonized duel right out of the archives of THE MARSHALL TUCKER BAND or even THE ALLMAN BROTHERS. (9.75/10)

5. "Gone" (6:13) has much more of a CSN&Y feel to it--especially the electric guitars. This song has some awesome hooks, both instrumentally and vocally, but the highlight is one of the album's trademark all-out band jams--previewed with the rhythm shift at the 2:21 mark but really starting at about the 4:07 mark. Almost a SANTANA or AMERICA feel to it. Wonderful b vox! (9.5/10)

6. "Dogs" (6:38) starts out with an even stronger CSN&Y sound and feel--like it was a song that didn't make it onto 1970's Déjà Vu (but should have). Christoff's vocal is mixed a little back and the electric guitars are very much in the foreground. This is not quite as engaging a song, despite it's familiarity, until the 4:12 mark when the electric guitar swiches on his wah-pedal and starts to lead into an awesome HENDRIX/CLAPTON/ROBIN TROWER playing backed by some amazing organ play that is reminiscent of PROCUL HARUM's MATTHEW FISHER or perhaps even STEVE WINWOOD. (9.5/10)

7. "Assumptions" (2:08) is a kind of vocal interlude, almost like sacred church or meditative music.(4/5)

8. "When The Colours Change" (6:02) is the album's final masterpiece. It begins with a very slow moving rhythm though with full band members' participation. Sitar or (and/or pedal steel?) and harp bring a rich fullness to this song that is so gorgeous. This song reminds me of some of the LARRY LEE-penned OZARK MOUNTAIN DAREDEVILS songs from the 1970s. Beautiful song with stellar performances across the board--all collaborating and synthesizing into a seamless aural quilt. (10/10)

Again, this is my favorite album from the year, yet, in terms of its contribution to "progressive rock" it suffers a little. It is more of a revival of some long lost and yet not forgotten sounds and traditions that give it such a warmth and home-like familiarity that set this album apoart from the other Neo, revivalist or imitative work being done today. Absolutely gorgeous vocals and melodies coupled with mesmerizing guitar and drum play.

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

2. CORDE OBLIQUE A Hail of Bitter Almonds

A Hail of Bitter Almonds brings RICCARDO PRENCIPE's neo-medieval music project more fully into the prog world. The Post Rock sound and format similar to ANATHEMA is present here. Also, this album has by far the greatest diversity in terms of tempos and musical stylings yet used on a Corde Oblique album. It seems that Riccardo has taken Corde Oblique from the realm of neo-classical, into neo medieval classical, then neo medieval folk, and now prog folk rock with a very consistent medieval folk tinge throughout. Once again drawing from the vocal talents of a stable of superb singers--this time four female and two male--helps A Hail of Bitter Almonds yield some truly memorable songs--even more consistent than its gorgeous predecessor, The Stones of Naples. The highs and diversity of styles and dynamics of this album makes A Hail of Bitter Almonds another gem--and more proggy.

1. "A Hail of Bitter Almonds" (2:08) opens the album powerfully--on the powerful vocal pipes of Floriana Cangiano and great violin accompaniment from Alfredo Notarloberti. (9.5/10)

2. "Together Alone" (4:15) presents us with a nice male vocal singing in English with standard accompaniment from Riccardo, strings, piano and drums. The shift at 2:50 is nice--and effective. (8.75/10)

3. "Arpe di vento" (4:58) opens with a very familiar melody--as if from the previous album ("Bario gotico"?) but then deviates into something different. Fast-pace guitar strumming and hand drumming with soloing violin accompany singer Floriana Cangiano (a CRANBERRY lead singer, Dolores O'Riordan, sound-alike) as she tells us her story. Could use a little more variation once the foundation is laid. (9/10)

4. "Paestum" (5:06) piano and strummed guitar establish a fast-paced rhythm before settling back in sparse support of singer Annalisa Madonna double tracking her vocal in two channels(?). The song goes back and forth between delicate and rolicking. A remarkable song--especially for the vocals! (10/10)

5. "La Madre Che Non C'è" (2:47) opens with Riccardo soloing, sounding as if he might be taking us on an instrumental journey, but then multiple female voices join in. In the second minute the song totally shifts into ballad-type form with, again, multiple tracks of female vocals harmonizing with each other. (Are both voices those of Caterina Pontrandolfo--who is the only vocalist credited to this song?) The song then suddenly shifts into the realm of classical instrumental, but then finishes with Caterina in the driver's seat again. (10/10)

6. "Slide" (2:53) is an instrumental with wooden pan flutes taking the lead--though in a very ethereal, almost sound-effect kind of way. Great melodies and effect. (10/10)

7. "Le pietre di Napoli" (5:00) again that familiar melody of Riccardo's, but then the heart-wrenching voice of Floriana Cangiano makes one quickly forget any disconcerting thoughts. What a gorgeous voice! Excellent choice for the dominant lead singer on the album.

The song takes a left turn at the two minute mark, into guitar dominance, with piano, violin and wordless voice becoming more supportive. How interesting! And it works! It builds back onto a kind of dance frenzy before dying at the end. (10/10)

8. "Jigsaw Falling Into Place" (4:20) the cover of a RADIOHEAD song with mandolins and plucked violins opening with the rock band instruments before Claudia Sorvillo takes on the vocal lead. Industrial-sounding programming takes this one into territory Riccardo has not explored before (at least on tape). Definitely a sign of adventurousness. Claudia's vocal in the second half is not quite as powerful as one might want or expect. Perhaps it should've been brought more front and center. You can tell she is enjoying the singing--and the band is really rocking! Well done. (9/10)

9. "Crypta Neapolitana" (2:15) brings us back to the folk-based middle ages--until the 0:35 mark when other instruments join Riccardo and Caterina to give it a kind of Man of La Mancha feel. The male thespian voice only enhances this Spanish Broadway musical feeling. But nice! (10/10)

10. "Gioia di vivere" (3:47) guitar and Floriana Congiano return to sing an impassioned love song--with fine support from strings, distant violin, and ethereal background vocals. Gorgeous singing, gorgeous melody lines, and an awesome ending twist. This one's a keeper. (10/10)

11. "Red Little Wine" (4:14) is a full-band instrumental with lute and piano exchanging the lead. A little repetitive but nice. (8/10)

12. "The Man of Wood" (4:08). It doesn't get more folkie than this. Guitars, dreamy, layers of Sergio Panarella's MORRISSEY-like male vocal, violin, and, later, full acoustic rock band with male and female background choir (all performed by multiple tracks of Sergio and Claudia Sorvillo?). Great song. (10/10)

13. "Le Piccole Cose" (2:37). There's that melody again! Riccardo opens this gentle and gorgeous song with his guitar and violin. Caterina Pontrandolfo performs the lead vocals here with her usual calm and reassuring vocal tones. It is certainly a beautiful song! (I cannot help but ask at this point whether or not Riccardo is intentionally recapitulating this theme--as if in a concept album?) (9.5/10)

14. "Pietra Bianca" (3:48) opens as a Riccardo instrumental--sounding like a lullaby--before clarinet and Floriana Cangiano's wordless vocalizations join in, weaving in with the guitar, clarinet and organ. Gorgeous and powerful song! (10/10)

15. "Su un dipinto di Giovanni Bellini" (3:22). Riccardo and Floriana Cangiano close out the album with an almost-Celtic sounding song. It's nice enough but something is missing. (8/10)

94.50 on the Fishscales = a five star masterpiece on the scale of the greatest masterpieces of all-time. This album started out high on my playlist, disappeared for a while, but I found myself returning to this one--and this one more than any of Riccardo's other beautiful albums. A real grower! Check it out and then let it percolate. You'll become an addict like me, no doubt.

3. ANATHEMA Falling Deeper

Though I only own Anathema's music catalogue from Natural Disasters to the present, my feelings with regards to their music has remained fairly constant. I love their sound, I love their spiritually-minded lyrical messages, I love the flow and feel of their records, I just find their song-writing style too boring and repetitive: a song's opening riff or chord sequence is played start to finish with nary a flutter or flourish, ad nauseum; they're Post Rock/Math Rock's staunch poster child! But here, on Falling Deeper, the band may have stumbled upon their music's true purpose, it's best delivery style, it's most powerful presentation: the orchestrated soundtrack. Every song on this album is incredibly rich, hypnotically engaging, and lyrically sparse--all of which allow for a much more varied and deepened listening experience. Plus, the flow of this album's songs has an even tighter weave, each song seeming to be but a single 'movement' within the context of the whole. Try out "Sleep in Sanity" (3:51) (10/10), "J'ai fait une promesse" (4:23) (10/10), "Alone" (7:16) (14.5/15), "We, the Gods" (3:03) (9.25/10), and "Sunset of Age" (7:20) (15/15)

Bravo, Anathema! In my opinion, this is how all of your music should be presented.

94.44 on the Fish scales = five stars; a masterpiece of progressive rock music, one of the most deeply engaging albums I've heard in a long time--an album I want to listen to over and over--especially for the opening and closing songs: masterpieces for the ages.

4. FAUN Eden

Eden is perhaps the best pure folk Prog Folk album I've ever heard. Every song is engaging and so well balanced between gorgeous melodies, amazingly coordinated and complementary instruments and voices interwoven in magical balance, plus there is a great warmth and mesmerizing quality to the recording and due to the fullness of the sound. There are many songs on Eden that are longer than the band has traditionally recorded, which, due to the mesmerizing weaves and melody lines, is something I enjoy tremendously. The drones, samples, and electronic contributions of computer whiz Neil Mitra are back with a vengeance (after a break from 2009's "acoustic" album, Buch der Balladen) and I have to admit that he's really found his perfect place in the mix: never overpowering but always present, helping to fill the field with warmth and emotion. Band-leader and lead male vocalist Oliver Sa Tyr has truly mastered his gentle but emotional instrument. Sometimes, haunting, others romantic and enticing, he sings as if the heir apparent to the God Orpheus. And the band has finally found in Margareta Eibel the right female vocalist to replace the superb soprano, Lisa Pawelke. Teamed with founding member Fiona Rüggeberg's professional alto voice, the two soar. Plus, Margareta comes with more instrumental diversity than Lisa had (hurdy-gurdy was Lisa's lone instrumental contribution) and Fiona has added a few new instruments to her spectacular repertoire.

1. "Prelude" (2:04) sets the appropriate "ominous industrial" tone for the subject of this album, man's fall from Eden. A Neil Mitra masterpiece. (9/10)

2. "Lupercalia" (3:15) opens with ominous base note, synth wash and treated drums setting the stage for Fiona and MAgareta's perfectly timed, sacred/religious-sounding harmonies. Harp, haunting ghost-like background voices and intermittent bursts from a sonorous horn complete the spell cast by this masterpiece. (10/10)

3. "Zeitgeist" (4:03) opens with clock-like harp-bass lines and straight-timed drumming before Oliver's rather thin voice enters. Strings harmonics accompany a sample narration of environmentalist content. Bagpipe and hurry-gurdy play into the mix as well. Another display of Mitra's masterful electronic "glue." The lone acoustic harp accompanying Oliver's voice to song's end is brilliant. I just wish I understood German. (9/10)

4. "Iduna" (3:22) opens with a Celtic bagpipe and hurry-gurdy melody weave accompanied by a throbbing electronic bass line, clapping, and Oliver's bouzouki. Fiona and Magareta weave their voices into the lead vocal followed by "la-la-la-las." Trilling flutes also mix into the mid-song instrumental weave. Quite a rousing jam! (10/10)

5. "The Butterfly" (1:34) opens with Oliver and Fiona (and later Margareta's harp) weaving a very traditional (and familiar) sounding Celtic reel sans percussion. Gorgeous recording. (10/10) The melody line carries forward to become the basis for the vocal weave of:

6. "Adam Lay Ybounden" (4:37) is the album's first song sung in English. Here Margareta displays a high trilling in her vocal approach that is similar to that of early Elisabeth Fraser. Also, the vocal duet is unusual (for Faun) for its alternating timing and different style of harmonizing. The song's highlight is the whistle and bouzouki carried Celtic melody. (8/10)

7. "Hymn to Pan" (6:57) opens with gently picked bouzouki and sequenced percussion setting up for Oliver's low and confiding vocal (again entirely in English). Fiona's harmonizing background voice soon joins in as do full hand percussion and Fiona's wood flute. The song's instruments soften to the extreme as Oliver and Fiona continue singing the chorus. An African/Balinese-sounding marimba weave takes the fore as support to Fiona's flute and Oliver's delicate, almost-nervous solo voice. Amazing vocal performance! At the end of the sixth minute the support of the full band instrumentation rebuilds until again falling away as Oliver and Fiona finish the song's vocal. (10/10)

8. "Pearl" (5:05) opens with a Peter Gabriel computer sequence before Margareta explodes onto the scene with a LOREENA MCKENNITT-like vocal (in English). Full percussion, bagpipes, and strummed bouzouki fill out the rest of the band's contribution but this is Margareta's song to shine on. (10/10)

9. "Oyneng Yar" (5:34) tambourine-support is all Fiona needs to open this song with her awesome vocal. Oliver on nyckelharpa, Rüdiger and Neil laying down an awesome percussion weave, Margareta's hurry-gurdy (and background harmonies) and Fiona's flawless recorder play complete this full-bodied, full-spirited song. (10/10)

10. "Polska fran anderson" (4:37) is an instrumental that begins with a gorgeous three-part weave of Oliver's nyckelharpa, Margareta's hurry-gurdy and Fiona's high whistle. Somebody switches into harp (Margareta) while Oliver adds bouzouki (multi-tracking?) in continued support of Fiona and Oliver's solos and weaves. (9/10)

11. "Alba" (7:17) bouzouki and percussives provide background support for another one of Oliver's hypnotic vocals (in German). A quiet song that I wish I knew German for I know that the story being told is the key to really valuing this song. (9/10)

12. "Ynis avalach" (5:09) is another instrumental traditional Celtic weave with full percussion on display, full band playing at first at a rather hypnotic pace before picking up the pace significantly at the three-minute mark. Nice trick to shift into third gear for the last two minutes. (9/10)

13. "Arcadia" (7:16) opens with nyckelharpa, whistles/chalumeaux, hurdy-gurdy, big percussives and electronic drones, all blasting away in a powerful weave before yielding to the lovely and, again, different duet vocals of Fiona and Margareta. Margareta's echoed solo vocal in the second half of the song is almost religious ecstatic. Fiona later takes up the lead with Margareta's angelic soprano supporting her in such a protective way. Brilliant song--so well conceived and constructed. (9/10)

14. "The Market Song" (5:51) is a rather traditional folk song sung in English by Oliver and Fiona, at first alternately, and then in harmony. Some wonderful soloing from Fiona on her special transverse wooden bass flute (chalumeaux). Also kudos for the standing vertical violin (saz) solo and later bagpipe solos. The band really takes out all the stops on this one! (9/10)

15. "Golden Apples" (7:35) may be the most beautiful and most powerful song on this an album of many powerful and hypnotic songs. The finale is so deliciously and dangerously tranquilizing that I feel I must warn the reader/listener to be on his awares!

Set up by a slow, methodically repeated harp arpeggio, soon Fiona is singing like the most seductive siren to grace these ears. I would definitely be tempted by her offer of this apple! Absolutely stunning, gut-wrenchingly emotional song! Neil and Rüdiger's contributions are also very important to this one--they just kind of sneak up on you. What an end to an incredible album! (10/10)

Without doubt one of the finest albums of this genre I've heard, it is also one a handful of albums that I've heard from my lifetime that leave me weak, drained, so well-satisfied and aurally coddled that I call it among my favorites.

94.0 on the Fish scales = five stars; a masterpiece of progressive rock music. Eden sounds more full blood Celtic than previous albums but it is a sound that suits FAUN. If there is any "flaw" and I'm not sure if this can be considered a flaw considering the power and beauty of this album's songs, but this album represents quite a departure in linguistic choice as many songs and narrations are done in English, and far less of the songs are gathered from ancient and mediæval tongues as was done on Licht and Renaissance.

5. THE PSYCHEDELIC ENSEMBLE The Dream of the Magic Jongleur

Thanks again to Sunhillow and progstreaming.com. Does anyone recognize how lucky we are to have The Psychedelic Ensemble in our lives? Three top notch albums in three years--and all conceived, composed, performed, and produced by one guy! Has there ever been a solo composer/performer who has produced music of this quality? And people: This Is The Best of all the Psychedelic Ensemble releases. It is utterly astounding! Time after time I am blown away by the emotion, the virtuosic performances--on many instruments--and the incredible clarity and engineering of this production. There are many times on this album that I am hearing an instrument solo, duelled by another, then a third! a FOURTH! even a fifth instrument gets into the act--all playing top notch riffs, talking to each other through the fire of their instruments. Astounding! Amazing!

God! I hate these reviews and the inability to get my excitement and enthusiasm across. This, not "Shattered ..." or "Visions" or "Grace for ..." or "Ghosts" or SKE may be the Album of the Year!! Certainly the year's Best Album That Nobody's Ever Heard! There is no keyboard player on the planet that can compare to this guy's power and versatility.

The album opens with a cacophony of beautiful world sounds: bells, sitars, church organ, fuzz guitars and so much more, before it kicks into a great rocker with such a fullness of sound. 1. "Overture: Into theNight" (9/10) is such a 'complete' well-thought out, well-constructed song (much like many of the BIG BIG TRAIN compositions of recent years)--which sets the stage for a whole album of absolutely TOP QUALITY music. The 5:54 mark gives the first real introduction to the ride you're in for: amazing soli, multiple instruments dueling (in this case like STEVE HOWE and RICK WAKEMAN in their finest hours).

The instrumental, 2. "The Quest" (4:54) begins with a STARCASTLE/ROBIN TROWER sound until the main themes are played simultaneously buy guitars and multiple keyboards. Love the 'bubble bass' sounding not unlike fretless master PERCY JONES. He even gets a solo (an awesome one at that!) at the 2:40-3:10 span. Return to STARCASTLE/YES sound. Awesome energy! (9/10)

3. "The Secrets of Your Mind" (5:46) opens with a bit slower pace but with exciting 'bubble' JACO PASTORIUS-like bass patterns. Vocals are rather high and etheric--somehow similar to JAMES TAYLOR--with some really well-constructed intricate harmonies. The long solo section has more laid back and layered approach to multiple instrumental soli--electric and acoustic guitars, electric and acoustic keyboards, GENIUS! Absolute genius!! (9/10)

Next is the mind-bending church organ song, 4. "The Benefaction of the Nobal Wizard" (5:06). This was my first experience while listening to this album of goosebump and awe. It starts simply, unassumingly. Then, suddenly a full organ chord is added. Then, second hand and bass pedals. The effect is humbling, truly humbling. Not unlike Wakeman's intro to Yes' "Awaken" combined with the the traditional Yes intro, Stravinsky's "Firebird Suite"--but with more emotion. (10/10)

5. "Listen to Me" (6:10) brings us back to Earth--but at fairly high speed--and with some incredible keyboard and guitar work--the level of instrumental performance has just been turned up to 11! Vocals are the ONLY weak point here--and they aren't bad! (9/10)

The all-too-brief 6. "Stones to Flowers" (1:30) brings us back to the BEATLES/MAMAS & THE PAPAS 60s before gently fading into a dreamy BBT-like vocal collage. (5/5)

7. "Magicking" (2:30) presents a beautiful, sensitive, virtuosic acoustic guitar duet. Somewhat reminiscent of "Mood for a Day" but moreso of Brother Ape's gorgeous BILL EVANS-like "In a Rare Moment" from 2010's In A Rare Moment of Insight. (10/10)

8. "The Riddle" (7:56) puts speed and multi-instrumental soli back in our faces in a BIG way! My favorite song on the album, it is full of such hauntingly beautiful melodies--every vocal, instrument's sound, instrumental solo is of such high adrenaline pumping value that I don't think even JAN AKKERMAN could do it better! Amazing song. I've listened to it over and over--and have had such joy trying to imagine playing all of the soli, imagining the level of extreme genius that could compose and perform at such a high level. TPE simply cannot be human! (14.5/15)

Then--GET THIS--"The Riddle" is followed by a truly rare and amazing song of deft skillmanship:

The bass performance on 9. "Dream and Premonition" (4:22) is jaw-dropping in a JACO PASTORIUS way. A song if you heard you would not soon forget! (10/10)

The vocal harmonies and guitar and flutes on the JETHRO TULL-like 10. "Strange Days" (6:38) are wonderful. Not unlike CICCADA's, "Garden of Earthly Delights," from their 2010 release A Child in the Mirror--it's like getting a fresh dose of great TULL! (9/10)

The album's closer, the 11-minute epic, 11. "The End of Days: Epilogue" (10:53) is interesting for its emotional Richie Havens-like lead vocalist, high paced frenetic drumming (à la BROTHER APE), and of course, amazing interplay of what seems like an infinite number of keyboards and guitar. Great BIG BIG TRAIN feel to it. (17.75/20)

93.91 on the Fish scales = a five star album; A TIMELESS MASTERPIECE. (No arguments accepted.)

GET IT!

NOW!!

6. FAUNS Awaiting the Sun

Germany's other FAUNS--not to be mistaken for the Pagan Folk band FAUN--is a folk-based prog band creating music on the scale of ANTHONY PHILLIPS' The Geese and The Ghost and Sides--somewhere in between the two.

1. "Scenes From A Dream" (6:30) begins with a delicate weave of multiple absolutely heart-wrenching melodies coming from harmonizing vocalists, wooden flute, acoustic guitars, electric guitar. A middle section of full out electrified rock music similar to early GENESIS momentarily disrupts this bucolic bliss, but the pastoral feel returns to play out to the end with a piano, fretless bass and heavily distorted electric guitar lead weaving the baseline melody from the starting section. (10/10)

2. "Every Wave Its Prey" (4:43) with its SMITHS/MORRISSEY sound and crashing spacey middle and end sections. (9/10)

3. "The Path" (10:10) denotes a return to the ANT PHILLIPS/STEVE HACKETT Voyage of the Acolyte guitar sounds but this one incorporates the alluring vocal talents of violin/flutist Kirsten Middeke. (18.75/20)

4. "Way To The Sun" (4:56) opens with a STEVEN WILSON-like acoustic guitar strum before being joined by flute, bass and drums. Again we are graced with the presence of the ethereal voice of Ms. Middeke. The SW comparisons continue though an AL STEWART "Infinity" familiarity emerges as the song plays out. (8.667/10)

5. "A Perfect Place" (10:45) begins with cymbal play, TONY LEVIN-like Chapmanstick play and piano before electric guitar and rock drumming join in (and take over). The song establishes quite a heavy Crimsonian sound with its interwoven arpeggios coming from several distorted electric instruments. By the time the MORRISSEY-like vocal enters the group weave has settled back into the realm of the near acoustic, but, for the chorus parts, the metal-like guitar chord strums return. Unfortunately, the singing is a little pitchy and the construct and instrumental montage are, until the final two minutes, lacking luster. (16.75/20)

6. "The Path (Reprise)" (1:49) reprises the chords and melodies from the acoustic parts of 3. "The Path." (4.5/5)

7. "Dawn" (20:24) finds the band again returning to the GENESIS/STEVE HACKETT/ANTHONY PHILLIPS realm of pastoral acoustic music. The harmonized voices of a male and a female present the very folk-like melody and lyric lines. At 5:00 a very familiar GENESIS "Cinema Show"-like instrumental section begins. Three minutes of absolute gorgeous music. In the beginning of the ninth minute the Genesis influences continue with an uptempo shift into a full-out rock section with first organ then flute, then electric guitar solos playing. Choral chanting fills a section before the early ANT PHILLIPS--sounding electric guitar screams through a brief "Knife"-like solo. At the start of the twelfth minute everything shifts to a more RPI folk sound--acoustic guitar strummed and banged for percussive effect eventually turning into a very ANT PHILIPS Geese and the Ghost-like song. The transition from here into a military percussive build-to-crescendo section using a single acoustic guitar's arpeggiated descending chord sequence is so beautiful and so PREMIATA FORNERIA MARCONI. Truly one of the best prog epics to ever come out of the Prog Folk sub genre! (40/40)

A gorgeous album of more prog rock-leaning Prog Folk. Worth it even if only for the listen to the prog epic "Dawn": Truly a classic!

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

The "Minor" Masterpieces

(Ratings of 90.0 to 93.33)

7. CICADA Pieces

Jesy CHIANG and her Taiwanese band of neoclassicists have done it again--only better than their 2010 debut album, Over the Sea/Under the Water. Pieces is more mature, more emotional, and definitely a cleaner recorded production than its lovely predecessor. They've even put together a couple of full-length videos to accompany "Drowning in the Fog of Yours" and "Lake's End"--and they are gorgeous. Several other "in studio" videos are available on YouTube, as well.

1. "Happily Ever After?" (2:08) piano, guitar, and violin play into this mid-tempo dance tune. (8/10)

2. "Sunshine Smile" (4:06) in a minor key, the group's instruments weave intricately in and around one another in a multi-colored dance before the piano and plucked cello bring them all 'into line.' (9/10)

3. "Pieces" (5:02) begins sounding very WINDHAM HILL-ish, with the piano arpeggios and strummed and plucked instruments. Eventually, the song gets moving. (9/10)

4. "Fading Affection" (4:41) a slow, sensitive, folk-like pastoral tune which takes on a very heavy, emotional SATIE-like timbre (10/10)

5. "Encrypted Desire" (4:21) tells its sad story very slowly, with several voices speaking--beautifully and plaintively--all at once. (9/10)

6. "No Words" (3:46) is the album's most upbeat song, driving forward though still in a pastoral countryside--thought, perhaps in the pouring rain. (10/10)

7. "Drowning in the Fog of Yours" (4:21) a slowed down variation on 2010's "Finally... we're still together."(10/10)

8. "Breakaway" (3:57) is rather hypnotic in its minimalist, repetitive approach. Strumming guitar carries it forward into an almost folk rock realm. Impassioned cello and violin work really drive home this song's message. (9/10)

9. "Lake's End" (7:36) is a solo piano piece by emotional genius Jesy Chiang. Her compositional skills are akin to those of GEORGE WINSTON at the advent of his recording career in the early 1980s. Easily the most mellow, melodic, and peaceful solo piano work I've heard since me ears first heard Autumn and December back in 1980 and 1982, respectively. (15/15)

93.3 on the Fish scales = five stars; a true masterpiece of progressive rock music.

8. NORTH SEA RADIO ORCHESTRA I a Moon

Thank you, progstreaming, for a new lease on hearing new music! Now that I've heard the music of NSRO I must have it! I've been waiting for a rival to my favored KARDA ESTRA, CICCADA, CICADA, IONA, and AFTER CRYING CDs. Even a bit of the POLYPHONIC SPREE feel here, though much more evolved and refined. Chamber music for the folk--though I hear some of the early GENESIS sounds in the piano, synths and vocal harmonies. Unlike KARDA ESTRA, the instruments are far less washed by the floating background of synths and other electronics (thus the POLYPHONIC SPREE reference), and also unlike KE, NSRO's music on this album is more folkie--quirky, off the wall, melodic, upbeat, happy/silly music. At times I'm even reminded of DAVID BYRNE, early IVY, YUGEN, and, of course, THE CARDIACS. Yet, the moods conveyed from song to song can change quite dramatically.

"Berliner Luft" is very upbeat and light--like travelling minstrels entering the faire--while it's instrumental follower, "Morpheus Drone," is more late night reflective or mourning, while next, "The Earth Beneath Our Feet," has a very basic GREEN LINNET folk feel to it, while the next, "Ring Moonlets," has a delightful modern/Renaissance feel to it--not quite comparable to GENTLE GIANT, the masters of that ilk, more like Robert Fripp's work with the ROCHES. The next, "When Things Fall Apart," has a delightful multi-layer all-female vocal presentation with only piano accompaniment. Reminds me of the MEDIAEVAL BAEBES, only with more innocence and a more pastoral BENJAMIN BRITTEN/RALPH VAUGHAN WILLIAMS sense.

I quite enjoy this album--a delightfully pleasing find. Overall, the songwriting is outstanding, the vocals quite good (lead female vocalist, Sharron Fortnam, belies comparison--part teen ingenue, part Nicolette Larsen, part JACQUI MACSHEE from THE PENTANGLE). The musical weaves are often KING CRIMSON-like though not unlike those of AFTER CRYING or JAGA JAZZIST. It is such a nice thing to find upbeat progressive music. I look forward to a long association with you, NSRO. Highly recommended to all music/prog lovers.

Added 11/13/11: What a find! Thanks again, progstreaming.com. Surprisingly refreshing, quaint and beautiful avant/chamber compositions of which the vocalized ones are my favorite--but only by a slight bit. This is an overall masterpiece whose music keeps sucking you in, keeps you coming back and continues to unravel its layers of beauty with each and every listen. Definitely one of my five favorites from 2011 (so far)--an amazing year for prog, IMHO.

1. "Morpheus Miracle Worker" (5:21) sounds a bit like one of KATE BUSH's more folk-oriented songs (e.g. "Army Dreamers" or "Night of the Swallow") (10/10)

2. "I a Moon" (2:24) with its female vocal harmonies and simple acoustic instrumentation, this song reminds me of an upbeat MEDIAEVAL BAEBES song. (8/10)

3. "Guitar Miniature #3" (1:43) is a cute little folk-cum-classical guitar solo piece. Nothing too remarkable. (3/5)

4. "Heavy Weather" (8:10) is the album's only piece to feature prominently a male voice in the lead (soon joined by female and later by small chorale of both females and males). Musically it reminds me a lot of GENESIS' "A Trick of the Tale" mixed with an old ballad by THE ROCHES ("On the Road to Fairfax County"). Beautiful piece, extraordinary composition, despite being a bit despondent. (20/20)

5. "Berliner Luft" (6:12) is a cute little instrumental that brings into play a kind of Euro-electro/ Krautrock crossed with KRONOS QUARTET kind of feel to it. Sophisticated yet simple, cheery yet with a bit of a kind of Punk edge. (9/10)

6. "Morpheus Drone" (2:25) begins like a YO-YO MA Silk Road piece of 'world music' with random rings of odd chimes and hanging percussives soon joined by solo cello--which plays a haunting though rather repetitive melody--Celtic, I believe. (8/10)

7. "The Earth Beneath Our Feet" (5:32) seems to be a continuation of its predecessor, though melody and instruments change within the first minute (acoustic guitar). Once the vocals join in (1:18) the song takes on a very KATE BUSH feel--the vocal melody straight out of Kate's repertoire and style. While beautiful, the song doesn't really develop into anything very winning or emotional until guitar and strings (cello) team up at the 4:00 mark. (9/10)

8. "Ring Moonlets" (3:23) is a beautiful little old-new instrumental song à la GENTLE GIANT, Windham Hill and THE CALIFORNIA GUITAR TRIO (and so many others). (10/10)

9. "When Things Fall Apart" (4:32) is perhaps the most KATE BUSH like song yet on this superb album. Piano and female vocals in harmony sing this song of sorrowful hope, they are later supplanted by a gorgeous string trio, to which the piano is eventually rejoined. So The Sensual World! (10/10)

10. "Mitte der Welt" (6:09) is an instrumental that starts in a quirky KRAFTWERK-way--making the listener almost jump to the player to see if the disc is skipping--before joined by clarinet and kletzmer rhythm section--and later synths and oboe. This little avant gem could be coming from the likes of YUGEN, SKE, or perhaps even UNIVERS ZERO. (10/10)

Surprisingly refreshing, quaint and beautiful avant/chamber compositions of which the vocalized ones are my favorite--but only by a slight bit. This is an overall masterpiece whose music keeps sucking you in, keeps you coming back and continues to unravel its layers of beauty with each and every listen. Definitely one of my favorites from 2011--an amazing year for prog, IMHO.

92.38 on the Fish scales = A-/five stars; a minor masterpiece of progressive rock music.

9. ALIO DIE Honeysuckle

Though not a huge fan of the overdrawn opening song of this album, I can say that the other 50 minutes are absolutely stellar. This may be my favorite Alio Die album and one of my Top Five Progressive Electronic albums of all-time.

1. "Honeysuckle" (24:00) Wooden flutes, old organ sounds, old metallic and organic acoustic hand percussion instruments, and a constant though protracted fading in and out of 'focus' gives the opening 24-minute epic and title song of this album the feel as if one were walking around--both inside and outside--an old monastery, only, perhaps three to five hundred years ago. A truly magical and evocative experience. My only criticism is that the overall length may be a bit too much; even a walk around St. Peter's or Hagia Sophia needn't take 24 minutes--nor would the minstrels inside be performing the same droning song for that length of time. I think. (40/50)

2. "Innamorato" (9:19) opens with a very familiar BRIAN ENO Ambient 2 or 4 feel to it--only this one may be better than the original. It's gorgeous! Zither, harp or other finger-played stringed instrument performs the foundational sound with some kind of 'almost-trumpet'-like sound looping within the weave while the harmonics drone, echo, and reverberate without. (18.5/20)

3. "Honey Mushroom" (40:00) is a suite of three parts which opens with at least five instruments contributing thread lines to the construction of the overall musical weave: chimes, zither, organ, synthesizer, and bagpipe-like horn. The ethereal sound produced as result is gorgeous, mesmerizing, and truly enchanting. I feel as if I could fall under the spell of any one of the instruments but as a whole, in this weave, they are irrefutable. Unlike the opening number, there is enough developmental flow in the first movement of this suite to make it interesting and never boring. The second movement is slower, thicker, heavier, thicker, despite the more active play of the muted chimes over the top. There is a much more pronounced and slow moving wave-like low end here--harmonics or strums of a treated zither, I'm not sure. And a very engaging melody of longing and imploring seems to come from these harmonic overtones. Incredible! The third movement opens with a drone-like note in the unusual place of the upper registers of the harmonic mix--and it is sustained--almost like a large alabaster 'singing bowl' is being played. For the first three minutes, the background of various chimes, organ bass tones and zither are supportive but truly at the call and beckoning of the singing bowl in front. Then there is a subtle but pronounced shift as the drone of the singing bowl softens and recedes slightly, giving the zither and other sounds a little more prominence. Overall, "Honey Mushroom" is an absolutely brilliant piece of music--entertaining, satisfying, and never overstaying its welcome despite its 40 minutes. (79/80)

91.67 on the Fishscales = A-/five stars; a minor masterpiece of progressive rock music and a true masterpiece of Progressive Electronic music.

10. MY BROTHER THE WIND I Wash My Soul in the Stream of Infinity

Wow! This is amazing music that everyone simply must hear! Incredible atmosphere created by inspired musicians of supreme talents. Hypnotic, trance-inducing, virtuosic instrumentalists improvising in perfectly harmonius, entrained grooves. Check out the live in the studio YouTube video of "Fire! Fire!" put out by their recording company, TransubstansRecords. It's awesome! Like every year, I just know I'm going to find tons of musical gems from 2011 AFTER the year has passed! What an amazing year for prog music! IMHO, I think it will go down in history as THE BEST YEAR EVER for music. Thank you Internet! Thank you ProgArchives! Thank you YouTube! Thanks progstreaming.com!

1. "Fire! Fire!!" (13:07) starts the album off with what I call the second best song of the year. (Please check out the YouTube video of the studio recording of this song! It's amazing!) The band is just jamming from the start, trying to get a feel for one another, trying to get connected, and then entrained. The bass player establishes the line that brings the others into the 'stream': first the drummer, then one of the guitar players, then the other. Later one of the guitarists (NICKLAS BARKER, also known as a composer/founding member of ANEKDOTEN) steps over to a mellotron to add some of his wizardry from there. By that time the song has long jelled into one amazingly hypnotic groove. . . . One that could go on . . . forever . . . (But, sadly, does not.) (25/25)

2. "Pagan Moonbeam" (3:47) starts with all acoustic instruments, some from the Orient, some more medieval European. The stringed instruments and hand percussives all kind of drone into a slow groove that never really goes anywhere and, actually, feels several times as if it is about to fizzle out. The organ play and sitar are the only things that actually try to stray from the melody at all. A very spacey, sleepy ending. (8/10)

3. "The Mediator Between Head And Hands Must Be The Heart" (5:40) opens with some very deep bass wabbles--not unlike some of HOLGER CZUKAY's experimental sounds from his days with CAN and after. The dissonate guitar arpeggios and mellotron chords never quite gel, despite the efforts of the drummer and bass player. (7/10)

4. "Torbjörn Abelli" (10:57) begins a high-pitched wail--whether it's guitar amplifier feedback or synthesizer I am not suer. A picked electric guitar riff joins in and is repeated for about three minutes. Just before the two minute mark the second guitar, bass and drums start to join in and, very gradually, build up some steam. By the start of the fifth minute the formerly plucking guitar is strumming and the volume of the music is increasing. Cymbols are now crashing almost constantly. The second electric guitar continues to explore, to enjoy, its freedom. Definitely the song that feels the most like it is soundtracking a 1960s group drug party. (18/20)

5. "Under Crimson Skies" (10:33) begins all of a sudden (as if the engineer does a quick fade in from somewhere midstream of an already existing jam song). It's pace is fast, furious, loud and easy to get sucked up into. This one feels very much like it could have come from an OZRIC TENTACLES album or live concert. Drummer and bass player are locked into an awesome groove while blues-rock (PETE TOWNSEND or KEITH RICHARDS anyone?) guitar and guitarist/keyboardist play (and groove) over the top. At the 3:30 mark there is a shift as the lead blues-rock guitar work stops and a heavily effected 'space' guitar (MICHAEL BROOK) takes over the lead for the rest of the song. Meanwhile the rest of the band drops down in volume to play support with some very subtle, quiet play, until the song finishes with mellotron as the main, lead instrument. (19.5/20)

6. "I Wash My Soul In The Stream Of Infinity" (6:19) has a very laid back groove, started by a repeated riff from a YOUNGBLOODS-like electric guitar sound. Early PINK FLOYD also comes to mind when listening to this one. And maybe some NEKTAR. A beautiful song to send us out into the ... Stream of Infinity. (9/10)

EVERYBODY: Get on this train! This is human expression at its creative best--at its highest potential! Five stars without questions or qualm! This is ESSENTIAL music not just for prog lovers or even just for music lovers but for any human being that might aspire to squeak out the most of their human potential. Ride the waves of Ronny Eriksson's bass lines. Fly into the stars with Mathias and Nicklas' guitar (and keyboard) sounds. Dance across mental planetscapes with Tomas Eriksson's batterie play. Music not to be missed!

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

11. GA'AN -- Black Equus (2011)

The second Zeuhl release from this lineup of young Chicago-based musicians (from whom nothing has been heard since) comes two years after their extraordinary debut. (I wonder if they were in fact outtakes from the sessions that produced the previous album--the sound is so similar.) The drums are so perfect and the bass and keys stay tightly in the fold. Lindsay's wonderful voice is, as it was on the other album, mixed a little too far back for my tastes. Still, the ethereal, "instrumental" effect this gives the vocals is probably part of the charm of the Ga'an sound.

Line-up / Musicians:

- Lindsay Powell / voices, electric piano, synthesizer
- Seth Sher / drums
- Tyson Torstensen / synthesizers, bass, synth bass, electric piano

1. "Arms They Speak" (9:54) is quite a bit more rich in terms of keyboard/synth layers than the songs of the previous album but the sound engineering and the way the vocal is mixed in is quite the same. Great drumming, cool bass and layers of keys make this one a keeper despite the melodies and chord progressions not quite being up to those of the previous album. The scaled down vocals and instrumental mix in the quieter seventh and eighth minutes are sublime--great finish! Great drumming! Papa Vander would be proud! (18.25/20)

2. "Servant Eye" (8:35) opens with an ANEKDOTEN-like thick/heaviness. Lindsay's entry with repeating vowel/syllables is fairly quick, but then there is a stop and restart at the one minute mark--a technique the band used to great effect on the previous album. Enter Mellotron choir. The keys are, unfortunately, a little too distorted and Lindsay's vocals a little too militaristic. Another directional shift in the third minute leads to a brief passage of Lindsay's lead vocals before the drums explode into a race around the sun. Awesome in the truest sense of the word. 'tron is replaced by saw-syth--to nice effect. New pace at the six minute mark--more insistent, resolute. This then morphs into another fast race with great synth and bass work over the frenzy of flailing drumsticks--to song's end! That went by so quickly! (On my disc there is an additional minute of silence after the music has ended.) Not as good as the previous song but still at a very high level. (13.5/15)

3. "Call Of The Black Equus" (18:44) opens with syncopated pulse of a synth bass note with floating, panning synth saw within which Lindsay interjects a single LISA GERRARD-like phrase, at first intermittantly and then nearly constantly. Drums and bell-keys arrive at the 3:05 mark prompting Lindsay to begin singing some actual lyrics--as if telling a story. Still, she is in the background, virtually yelling her words into the mix. For the second verse of her song she is accompanied by several tracks of her voice in harmonizing roles. Interesting. If the voices weren't so mirroring of the keyboard lines it might get more interesting--but, then, isn't that what the Magma choirs do: match the melodies set down by the keys and guitar?
The seventh minute brings something new--a kind of choral chorus--before a dirty Canterbury-like keyboard begins playing a progression of ever-ascending chords. Lindsay continues trying to tell her tale--on multiple tracks--as the drum plays beneath it all--kind of in a PHIL COLLINS way with many, many interesting fills and flourishes. Poorly mixed Greek chorus in the ninth minute before a break leads into a softer, more spacious "White Rabbit" like passage--which then gains power and momentum with the entrance of a very strong, very chunky bass and bass line. A Tony Banksian organ passage precedes another foray at support for Lindsay's plaintive vocals. Wild bass sounds in the twelfth minute precede a slow down, drop out section from which emerges an old synth, slow ascending bass line, and dirge-like LISA GERRARD-like vocal performance. LARRY FAST-like bass synth continues in the lead while drums and synth washes try to keep up (Lindsay takes a singing break). At 15:40 Lindsay's epithets are punctuated by synth and drums until 16:22 when the band kicks back into the previous fast-paced groove--this time with synth performing a melody line of descending steps. This continues until the final 45 seconds when the music blows up into whole band waves of power and awe. I don't know how to explain it. (I lack the musical terminology/language skills.) This is just an amazing song considering it came from three musicians. It may not be on the level of intensity or power of a Magma masterpiece, but it certainly has all of the elements to be one. (I imagine this song being performed with the expanded Magma lineup! Wow, wouldn't that be amazing?!) (36/40)

Total Time 37:13

I've always thought this album quite a bit weaker than the band's 2009 debut but upon current investigation, I appreciate the creative and instrumental prowess that went into this--all three of the songs.

91.33 on the Fishscales = A-/five stars; a minor masterpiece of progressive rock music and one of the shining beacons of modern Zeuhl as created and composed by three youths from Chicago!!!

12. CAMEMBERT Schnörgl Attahk

Wow! AltrOck Productions just can't miss! Yugen, Ciccada, SKE, Kurai, and now Camembert! Music is alive and well, people! And with great production all around! Refreshing, mesmerizing and, in the case of Schnörgl Attahk, humorous and upbeat. Horns, harps and tuned percussion all jamming with and off of one another! This is one group I want to see live! Haven't been back to Strasbourg since 1979 but, who knows? Maybe in the next couple of years?!

Line-up / Musicians:

- Vincent Sexauer / electric guitar
- Bertrand Eber / trumpet, didgeridoo (4), cowbell (7,8), voices (3,6-8), whistle (3)
- Fabrice Toussaint / tenor trombone, xybraphone, congas, tam-tam, triangle, percussion
- Guillaume Gravelin / harp
- Pierre Wawrzyniak / bass, acoustic guitar (4), voices (6,8)
- Philémon Walter / drums
With:
- Francesco Zago / electric guitar (3)
- Julien Travelletti / bass trombone (3,5,7,8), tuba (7)

1. "Infinicheese" (1:35) (5/5)
2. "Clacos Zero" (0:35) (5/5)
3. "Untung Untungan" (11:13) a perfect song of accessible, dynamically interesting avant garde/RIO music. (20/20)
4. "Clacos 1: Notre Mêre à Tous" (1:58) (5/5)
5. "El Ruotuav Ed Sram" (8:16) (20/20)
6. "Clacos 2: Die Experimente Von Dr F Frankenschnörgl" (0:48) (5/5)
7. "Le Meurtrier Volant" (9:01) (18/20)
- La Danse du Chameau (17:51) Unfortunately, the 5-part suite which ends the album, entitled "La danse du Chameau" doesn't succeed in conveying or evoking this same response. (Plodding like the camel for which it is named, the perfect harmony of "The Vulture of Mars" and "Le meurtrier volant" seems long past.) (32/40):

8. "Batifolade" (5:29)
9. "Soif!" (1:17)
10. "La Tempête De Sable" (4:51)
11. "Rêveries Lubriques Sous Une Dune" (1:09)
12. "The Final Run" (5:01)

Total time 51:13

The transitional songs ("Clacos Zéro," Clacos 1" et "Clacos 2") are excellent (and often quite funny!) but the big monsters [e.g. "Untung Untungen", "El ruotuav edsraM", et "Le meurtrier volant"] are incroyable! I listen to "Untung" and "ruotuav" (Vulture from Mars) over and over and find my body and spirit reacting quite the same way I did upon first hearing MAGMA's MDK a few years ago: avec une danse joyeuse, sauvage et frénétique! It is wonderful! The pause at the halfway mark in "Untung" is so startling and such a letdown, yet it's so exciting when the music returns and builds and builds, jelling and spiraling its way in perfect collaboration up and then down to a stop--it's just like a rollercoaster ride! And one can just feel the morose, Poe-like tension of "Le meurtrier."

In the vein of its inspirateur, GONG, the band puts forth some jazzy jams, but, also like GONG, IMHO, the jamming seems a bit pointless--or ecstatic and masturbatory--depending on one's psycho-neuro-chemical state. For some reason, the band seems to have mostly abandoned the wonderful collective weaves of the amazing first 30 minutes of the album. Too bad. That was quite a ride!

91.30 on the Fish scales = A-/five stars; a minor masterpiece of progressive rock music. Sheer freshness, enjoyability, and perfect sound production of its compositions.

13. FREQUENCY DRIFT Ghosts…

Sets new standards of prog performance--with masterful use of keyboards, violins, electro harp, and the ever-so unusual double vocal stylings of singer/violinist Antje Auer. Let's listen.

1. "Crows" (2:02) opens the album with . . . crows, water, and electroharp and piano duet. Beautiful. (4.5/5)

2. "Dreams" (11:53) has TOTO guitar lick to help open. At 2:10 all music drops away in lieu of the angelic voicings of Antje Auer--at first in the upper, soprano registers, then, accompanying herself, in the firm alto ranges. (This extraordinary feat Antje will repeat throughout the album--to GREAT effect, I might add.) The rock band joins in and amps things up for a while until at 4:42 piano is joined by violin (also Antje?!! What a talented lady!) A spacey PINK FLOYD-like synth section opens things up before the electric guitar joins in with a mellow solo. At 6:30 things begin to build again with some awesome guitar work, building, building, until at 8:15 the bottom drops out again, leaving space for the build up of some amazing electric violin work. (I love the support drum work!) Full band enters again at the ten minute mark with more electric guitar soloing, then it quiets again at the 10:35 mark, whale-like violin noises fill the space with some bird and water sounds taking us to the end. (18/20)

3. "Sadness" (4:10) begins with a kind of blues-rock feel. Vocoder-treated vocal joins. At 0:49 Antje's untreated alto voice jumps into our ears. She has such a presence! This is a very straightforward rock song, quite similar to that of THE REASONING or Amor Vincit Omnia PURE REASON REVOLUTION. (8/10)

4. "Tempest" (10:02) begins with a spacey background flanged synth. HAROLD BUDD-treated piano joins in very quickly. Heavily effected voices flow in and through, until at 1:36 a powerful and highly engaging electric guitar, bass, and drum rhythm/riff establish themselves. At the four-minute mark Antje begins singing in her delicate soprano over sensitive electirc guitar picking. Near the five minute mark her power alto starts repeating "Fears the Tempest"and "Waves around" over the full band's powerful support. Great electric guitar work! Great Antje vocal! Towards the end of the seventh minute the song builds powerfully with Antje's "tempest" vocal--now on several layers. Then an astounding jazz electric guitar solo ensues--until the eight minute mark, when sound drops out, but the same spacey synth, keys, and floating voices float around for a minute before the band amps back up and a true prog (FRIPP/McLAUGHLIN-like) solo ensues--almost to end. Awesome song! (18.25/20)

5. "Ringshine" (2:56) is a beautiful electroharp piece that is really a feed-in/intro for song #6. Could be Celtic, but it's not. Could be VOLLENWEIDER-like, but it's not. It's more calm before the Edgar Allan Poe. (5/5)

6. "Dance No More" (9:57) electrified acoustic guitars and Antje's angelic voicings floating above and behind open this song. The guitar work is joined and augmented by an electric guitar. Beautiful! The 1:50 power up is awesome and spine-tingling! Great drums and awesome electric guitar and keyboard parts! Antje's two voices join into this heavy-almost-metal song. Her harmonized vocals are SO POWERFUL!! Great music! 5:00 "Bullet the Blue Sky" guitar strum ushers in solo section--first guitars (two! ripping it up!) then suddenly, everything quietens and acoustic guitar is all that is left. Antje's floating voicings soar above. Drums soon join in. Then Chapman Stick. Then the band powers back up to full amplitude (drummer is going wild!) while Antje pcks up her doble vocal work. Another awesome guitar and Stick duet, followed by pure rock guitar magic (Gilmour-esque). Heaviness cuts out and leaves us with the spacey, delicate harp, guitar and voicings from the intro. (19.5/20)

7. "Mermaid" (9:44) begins with electric violins à la JEAN-LUC PONTY (circa Individual Choice). Harp and some percussion open things up for Antje's double voice--both singing/whispering in the upper, ENYA-like soprano ranges. This goes on for two minutes to great effect before the three-minute mark, Antje lets her voice drop into her alto voice--as if to warn us of what heaviness is yet to come. Throbbing bass, crashing cymbols, and an amazing, raging violin solo follow, until at 4:28 the heavy RIVERSIDE-like section enters to support a blistering guitar solo as the violin continues screeching seagull-like sounds in the background. At 5:36 again everything cuts out save for the harp. Antje's highest whisper enters, heavily echoed, then dropping into the heavy alto range before piano takes a turn, supported by delicate drums. Double-soprano Antje harmonizes the "Teach me to hear the mermaid song" lyric for a minute and a half before the violin screeches its reentry, this time with a very subdued, delicate solo (also heavily echoed). Accompanying piano is gorgeous. The two play out to song's emotional BRUCE COCKBURN "Hoop Dancer"-like end. (18.75/20)

8. "Come" (7:54) begins with a VAUGHN WILLIAMS "Lark Ascending"-like solo violin. Piano takes over as Antje sings, solo, first high semi-whispery, then dipping into her hearty, alto, all the while violins (acoustic and electric) float along, playing off of each other in the third and fourth minutes, only accompanied by a piano playing his bass chord and treble arpeggios. Beautiful. At 5:21 some electric guitar power chords, Indian percussion, and an electric guitar tapping solo breaks the mesmerizing beauty, building into an almost march-like, soundtrack crescendo. Then all quiets save for the violin and an ominously droning bass synth chord while Antje sings us to the song--and album's--end. (9/10)

90.91 on the Fish scales = five stars; a masterpiece of progressive rock music. A rare, rare phenomenon: A nearly flawless album, start to finish! The more I listen to Ghosts the more I hear, the more I like, the more I am amazed by the freshness, creativity, compositional and instrumental skills of the players band members (and guests). Also, while I hear similarities which might be inferred as 'influences,' this band is nobody's clone, no neo-progger; this is fresh and original Symphonic Prog all the way. Easily the best vocal arrangements and performances I've heard in the past few years--with great lyrics and outstanding music to support, embellish, and carry the day. Every change and shift is engaging and clever, every solo emotion-filled and invigorating. Everytime I listen to this album I am drawn in completely, I end up playing/listening to it start to finish, and I have new favorites or new 'ah-ha's every listen through. The self-proclaimed students of White Willow, Pink Floyd, et al., these guys (and girl) have, with this album, IMO, surpassed their masters in every way possible. Kudos, Andreas, Antje, Martin, jürgen, Sebastien, and Christian! You have accomplished what I thought might never happen: added to--and perhaps even surpassed--the 'best' 'classics' of progressive rock music.

14. WOBBLER Rites at Dawn

Why must one band have a monopoly on a 'sound' and 'style.' Are MAGENTA, YEZDA URFA, STARCASTLE, MOTH VELLUM and GLASS HAMMER any less enjoyable, accomplished, or worthy of making good records because of their obvious similarities to YES? If YES had made more records in the early seventies, wouldn't we be happy?

This album is, in my humble opinion, as fresh and masterful as the YES masterpieces--with better production and more melody. I find myself remembering, humming many melodies form these excellent compositions. I find myself liking many structural, instrumental, and vocal choices even more than YES. Then there are so many other familiar sounds from so many other bands.

The two "Lucid"-"Lucid Dreams" end pieces (album intro [1:40], album outro [2:19], respectively) are beautiful, brilliant, and perfect--kind of like the "Firebird Suite" used to open and close YES concerts. (10/10)

2. "La Bealtaine" (7:51) feels/sounds more RUSH-like at the start--until the vocals (and lyrics! How YES!) kick in. Still, this song has so much freshness, unpredictability, and CSN&Y-like feel--even OUTLAWS (guitars picking like "Green Grass and High Tides")--to stand out far from the YES catalogue. The slow vocal harmony part at 5 minute mark shows a style all their own. Great song. (14/15)

3. "In Orbit" (12:30) begins like an AMERICA song before the YES-like electronics take over. At 1:51 there is a brief switch to GENTLE GIANT-like vocals before ripping back into the YES-sounds and speeds. If Close to the Edge had been a double album, this might have been on it. 5:35 sees my favorite part--fresh vocal melody and almost Burt Bacharach-like support. The soli section from the 6 minute mark to 8:45 is great, too. (I like the sax/horns in the background.) The delicate/building section beginning at 9:30 and playing to song's end is awesome--maybe more GENESIS-like than YES--or STARCASTLE. (24/25)

4. The vocals on "This Past Presence" (6:13) are at times so beautiful it's like MOON SAFARI or CROSBY, STILL, and NASH merged with the original KING CRIMSON lineup. (10/10)

5. The organ and drums on "A Faerie's Play" (5:20) sound as if they are from SUGARLOAF's "Green-Eyed Lady" while CSN&Y, Pete Giles, Martin Barre, and Robert Fripp (and of course, YES) can also be heard. (8.5/10)

6. "The River" (10:04) starts off far too familiar ("Close to the Edge" in replication) before turning to a JESSIE COLIN YOUNG/RADIOHEAD song. Arrive the mellotron and Pete Giles-like drums with Fripp-like guitar sounds and picking and we get distracted a bit until at the 4:10 minute we find ourselves completely re-immersed in CttE. Easily my least favorite song of the album because it is too derivative, lacking of any of the freshness of the other songs. (15/20)

90.55 on the Fish scales = A-/five stars; a minor masterpiece of progressive rock music. People: It's the CSN(&Y) influence that makes this album stand on its own! An awesome addition to any prog lover's music collection. Most highly recommended! And, yes, IMO, a new masterpiece of prog rock.

15. LAGARTIJA Particelle

Is a mostly-mellow jazz fusion-oriented album, in no way fitting into any RPI stylings despite the band’s Italian origins. Like many other reviewers and commenters, I cannot help but add my acknowledgement of the extraordinary album cover; I’m really not sure what it is about that photo but it is extraordinarily alluring, seductive, and beautiful—and I am not a person who is attracted to smoking or smokers in any way or form. (Quite the opposite.)

The album is flawed (not always so highly engaging) but contains several jewels that make it quite a delightful surprise and one of my ear-candy/guilty pleasure favorites of this decade.

Line-up / Musicians:

-Sara Aliani / Vocals and Bass

-Andrea Poggi / Guitar (trumpet in "Non si puo' cambiare")

-Marco Libe / Guitar

-Cristian Piga Alto Saxophone

-Michele Molinari / Drums and Percussions (trumpet in "Particelle")

Guests:

-Fabrizio Delledonne / keyboards in "Non si pu cambiare", lo-fi piano in "Sbrisiu"

-Cristiano Sanzeri / additional guitars and basses

1. “Idiosincrasia” (5:10) opens the album with an instrumental which has some interesting drumming and chord progressions. In general, I am not much of a fan of the saxophone, but, for some reason, the playing on this album I find listenable and even, at times, engaging and enjoyable. Big dynamic switch begins at 2:40 and culminates in a groovier weave in the fourth minute over which the sax gives a nice solo. (7.75/10)

2. "Myths” (4:57) contains a blues-based rhythm section with some heavily treated vocals, an enjoyable saxophone “chorus,” and some occasional interesting and odd electric guitar riffs and chord progressions. (7.75/10)

3. "L’abbraccio” (5:13) is when the album really starts getting good. The opening drum and guitars play is quite engaging and then at the one minute mark we are graced with the gorgeous, seductive untreated voice of singer (and bass player!) Sara Aliani singing in a higher octave than the previous song. Awesome PAUL WELLER-like “jazz” rhythm guitar play. The vocal “o-ohhhhh-oh-ah”s in the final minute are the icing on the cake. (9.5/10)

4. "Tete” (4:03) is another instrumental that begins with alto sax soloing over the lounge-jazzy rhythm section. At this point it sounds quite a bit like the French band NEMO. At 1:40 there is a drastic switch into a blues form and style with the electric guitar soloing on his lower registers. Sax returns at 2:22 to do a nice jazzy/smooth jazz solo. The final 45 seconds turn into an ominous almost heavy metal section with lead guitar performing in a slide mode. (8.25/10)

5. "Non si puo’ cambiare” (sample is a dance version) (3:37) is the gem of the album: a poppy, smooth, seductive journey with the band into the emotional world of (God! She sounds like Penelope Cruz!) I love the jazzy guitar sounds (and there are several different ones employed here) and I’m a sucker for any trumpet play—especially treated trumpet. The baby crying at the end is . . . odd. One of my favorite songs of the decade, bar none. (11/10)

6. "Sbrisiu” (3:08) is an electric “lo-fi” piano solo by non-band-member Fabrizio Delledonne(!) It is performed in a European lounge jazzy style and feel, though there are also Sakamoto/Satie-esque sensibilities to it. Quite nice (though I’m not very fond of the computer program or recording sound the engineers or player chose). (4.5/5)

7. "Particelle” (13:11) is a succession of three distinct parts played one after the other. Part one lasts two and a half minutes. It is a pretty mellow late-night sax ballad. Part two switches into a mixed meter jazz piece, not unlike some of the KING CRIMSON experiments for 75 seconds. At 3:45 the plaintive voice of Sara Aliani enters and draws our attention. Unfortunately her singing lines have to follow the chord shifts of the guitar and bass players making it sound more religious and more predictable and less engaging than it could’ve been. At 6:05 the song begins its shift into the final section with the “radio” treated voice of some uncredited man speaking in Italian over the simple and repetitive bass and subtle guitar play (and, later, cymbols). At 8:05 the recorded talking stops and the band kicks into an awesomely hypnotic groove over which first saxophone and then treated trumpet solo away. Kind of PINK FLOYD and PAATOS to me. (Kudos to Michele Molinari: Awesome drum play!) An ambient prog masterpiece. (29/30)

8. "Emilia Malinconica” (4:08) ends the album with a slow, sensitive song with Sara singing in the middle octave that we first heard her. Nice effect with the fast echo/fast reverb electric guitar strums. At 2:11 the rhythm section fills the previously spacious and a saxophone plays out a simple melody until the band kicks into heavy throbbing mode for the final minute. (8.25/10)

90.52 on the Fish scales = A-/five stars; a minor masterpiece of progressive rock music--an album with inconsistencies but whose high points are so high. It is an album I love to play over and over (and have done for years now). I love the singing, bass, drum, guitar and trumpet play and am quite comfortable with the saxophones, but it really may not be a prog masterpiece, however, I recommend this highly—it is, in my opinion, an excellent addition to any prog lover’s music collection. A band I will be looking forward to future releases with great anticipation.

16. AKT Blemmebeya

1. "Prima Della Fine" (1:13) starts the album off with a recording of a GEORGE CARLIN rant on politics. Amazing! What a way to start an album! YES! A group with some guts! (5/5)

2. "L'assalto" (9:56) gets the music off to a very, very powerful start--great melodies coming from all instruments, weaving in and out of each other's paths in a beautiful and never overwhelming the listener with "too many notes." At 2:30 male vocals enter, causing the tapestry to be less attention getters--for a while. The vocalist timbre and style is remarkably similar to that of Quebec's THE BOX lead singer, JEAN-MARC PISAPIA.

This song has so many twists and turns it's like a maze, yet it never loses the listener, each turn is easy and acceptable. (19/20)

3. "TG Egeo" (5:10) is a great song very much in the RPI tradition, sounding a lot like BANCO DEL MUTUO SUCCORSO from the 1970s. Cool Frippertronics at the end. (9/10)

4. "Favonio" (4:55) begins with acoustic guitar and male vocals--first one then harmonized others. Sensitive, kind of like a great JOHN DENVER song. Piano, double bass, and brushed drums join in for the next section before an awesome guitar riff pulls in mellotron, electric bass, and full drum kit. Yes' or Genesis' best 'surprise' moments never topped this one! And then it just gets better with another shift at 3:30 whereupon an electric guitar--with bass mirroring and harmonizing it--plays an amazing solo to the end. (10/10)

5. "Stati D'animo Uniti" (5:50) starts with some ominous, deep bass sounds with flits and splffs of percussion and other distorted instruments and samples creating a heavy, oppressive feel into which an equally dismal feeling vocal enters. The music and 'noises' plod ominously along, until at 2:35 a brief flourish of tango-like Latin music rushes through the room before, then, just as quickly disappearing to allow the vocalist to carry forward his depressing message (in Italian). The upbeat Latin section returns, establishes some lasting footing, then kind of backs off for a very ALLAN HOLDSWORTH-like guitar solo to play. The song ends with the Latin flourish, leaving the listener quite confused but entertained. Those Italians! They're so dramatic! (8/10)

6. "Di Vento" (10:17) again starts off with a feel and sound extremely similar to several of the kind-of-monotone songs on THE BOX's 2009 album D'Après le horla de Maupassant. This similarity continues throughout the song. Musically there are builds and lulls that are quite reminiscent of the wind. A nice song that seems to want to really build and break out, and threatens to do so several times in a "Cinema Show"-like way, but doesn't really do this until the end of the eighth minute. Still, a satisfying climax, dénoument and finale. (18/20)

7. "Mani Aperte" (4:55) starts off with clapping like PAT METHENY's "First Circle" before evolving into an enigmatic, chameleonic song, melding together some amazingly disparate sounds, instruments, and themes in a rather STEVE TIBBETTS kind of way. Even the guitar solo sounds like its straight out of Yr or another of Tibbets' 80s/90s releases. Then--surprise, surprise--at 3:20 an electric guitar slow strum that just brings everybody into pure prog melodic bliss--and which plays out, with male vocals/lyrics at the very end. (9/10)

8. "Zeitgeist" (3:44) is an instrumental that begins with another ominous, yet beautiful and engaging groove with still more odd and unusual sounds coming from stringed and keyed instruments. (9/10)

9. "La Fine" (5:27) begins with a muffled/treated male vocal backed by bass, far-back keyboard chords and very subtle cymbol play. By mid second minute the intensity and volume of still-slow drum work and vocal are increasing. A nice acoustic nylon string guitar solo in the middle carries the mood forward until a glockenspiel and some television sound samples take over for a bit, over which the voice returns in his treated whisper, before the volumes elevate again for the fifth minute. The final thirty seconds is kind of time echoing away. (8/10)

An album of amazingly diverse sound and styles, from true symphonic RPI structures to world, new age, jazz, folk, psychedelia and many other forms. The only negative comment I might have about this album revolve around the lead vocalist's monotonic singing style: it often seems to weigh down the song, even preventing it from developing more dynamic diversity. Still, this is in my opinion nothing less than a masterpiece of progressive rock music.

90.48 on the Fish scales = A-/five stars; a minor masterpiece of progressive rock music.

17. SLEEPMAKESWAVES …and so we destroyed everything

A refreshing new collection of Post Rock/Math Rock songs from some very technically talented instrumentalists who are also very creative composers. As said by Braid, there is really nothing terribly new or earth-shatteringly groundbreaking in terms of PR/MR sound or structure, it's just refreshing to here an attempt in this sub-genre by some very competent, creative musicians. The drumming is especially vibrant and unusually (for this sub-genre) varied as played by a very talented Aussie, Will Smith. Also, guitar playing isn't so rote and mathematical as many other PR/MR groups. There is variety, texture, emotion, and skill on display here.

1. "to you they are birds, to me they are voices in the forest" (8:18) begins with a peaceful, ambient nature intro before blaring guitars and belted drums burst upon the scene for about 45 seconds. A lull ensues with U2-like drums and bass before tremolo guitars and pulsating synths join in. Another more delicate glock'n'spiel lull before all sound barriers are broken again. Very cool staccato bass and drum section reminiscent of GENESIS' "Watcher of the Skies." Duel synth and two guitar melodies compete for attention while weaving into a background tapestry within which voice and then rapidly strummed guitar melody bring forward new melodies. Synths, guitar, and, later, violin bring back melodies sans drums or bass to end. A lot of MY BLOODY VALENTINE feel in this one. Awesome song. (18.5/20)

2. "in limbs and joints" (4:29) begins with an awesome echoing rapidly picked guitar which is then joined by whole group chord bursts (and what an awesome chord it is!) This is not your typical Post/Math rock, folks! There is complex thought and structure behind these songs--chords, layers, and progressions. The song establishes a rather heavy sound but not so thick that you can't distinguish all of the various instruments and their contributions. (9/10)

3. "our time is short but your watch is slow" (3:10) begins with spacey 'radio-wave' and 'whale' like sounds while TANGERINE DREAM driving synth rhythm emerges slowly to take over the pacing of the song. Midi-ed piano, glock & other background wash synth sounds play a note by note lead while volume-pedaled guitar chords gently guide the melody. Nice song. Not so Post/Math rock. (9/10)

4. "a gaze blank and pitiless as the sun" (11:06) begins with a sampled speech from some post-apocalyptic American film. Guitar and drum rhythms soon establish themselves in much a GOD IS AN ASTRONAUT way and sound. By 2:30 a really rockin' groove has been established involving the whole band but isolating the original guitar in a non-stop ripping solo. A little lull before a new variation at 3:30 establishes itself with a bit more power chord play from guitars, synth voice and deep resonating bass. Incredible drum play. Song morphs a bit, in true Post rock style, before amping up--almost to RIVERSIDE-type levels--the heaviness and decibel levels. 5:55 stop! Sensitive guitar, synth, and echoed drum play begin to slowly re-build. Lead sustained-note guitar lead creeps into the mix around the seven minute mark. Another brief breather at 7:50 before a new chord progression with militarized drums and wild cymbal crashes while layers of trumpets and mellotron voices build up layers around the guitars. Amazing section. All comes to a kind of DEAD CAN DANCE/YES end of "Awaken" gentle end at 9:30 while synth washes and lone trumpet continue on, carrying the song to its peaceful end. (20/20)

5. "(hello) cloud mountain" (3:22) begins with some synthesized sounds in a CHROMA KEY kind of way. Guitar and keyboard arpeggios join in before another pretty basic U2-like bass and drum pattern establish themselves. ICEHOUSE-like synth bell notes take the melody lead for a minute during a little lull before the band kicks it back in again. Definitely more synthetic/electronic usage and sound to this one. (8/10)

6. "now we rise and we are everywhere" (6:42) begins with gentle ambient synths over which recording of children playing on a school playground sound. A fast bouncing Stick-like chord enters, followed by slow volume-pedaled guitar notes. By the two minute mark a trip-hoppy drum and bass rhythm is established. Pause around the three minute mark before fast and slow guitar arpeggios play off one another in opposite channels. At 3:50 an awesomely grooving thick bass and rock drum beat establish themselves beneath the two guitars and synths. At 4:35 the instruments all gel into a full-force Post Rock/Math Rock climax, not unlike MOGWAI or MONO. Fade out back with children playground as in the intro. (9/10)

7. "we like you when you're awkward" (2:36) begins with a sound quite reminiscent of either VANGELIS' Blade Runner soundtrack or a New Age/meditation song. Soon the drips and synths become part of the background as they are joined by computer click'n'pop rhythms and two WILL ACKERMAN-like acoustic guitars picking their arpeggiated rhythms in the opposite channels.

Cool song! (9/10)

8. "....and so we destroyed everything" (12:20) begins with a piano chord! The solo piano continues playing very delicately for thirty seconds before any other sound joins it: a bouncy synth in the upper keys slowly emerges. At 1:30 the rest of the band comes CRASHING in, a fast tremolo picked electric guitar taking over the melody established by the piano. At 3:53 heavy guitar chords are introduced and at 4:15 they take over making the song sound quite heavy metal for while. Tremolo-picked guitar returns through the heaviness, all building in crescendo until 5:56 when the bottom drops out and we're left with a keyboard playing a pretty melody in a KLAUS SCHULZE kind of way. Trippy-hop programmed drums and acoustic guitars join in at the 6:33 mark. At 7:17 volumes pick up a bit while live drums return, bass carries forward a very cool melody, and electric guitars are now picked where the acoustic were. Heavy guitar chords and crashing cymbol play join in until at 8:38 the full power chords, tremolo eleoctric guitar lead, and now voices are added to the mix. By 9:26 the voices have left while the band carries forward its heavy yet melodic theme. At 10:00 everything drops away again except for voice, acoustic guitar, background synth wash and the same trip-hoppy drum program from before. All instruments begin to fade out: voice, synth, and, finally, drum program, leaving only a bare guitar playing its arpeggio theme to end. Awesome multi-part, multi-layered song. (22.5/25)

Check this one out, people--it will NOT bore you with its repetition and predictability (though, in the end, it is still mostly PR/MR structured and, therefore, somewhat predictable. But then again, isn't prog as a whole also somewhat predictable?) Synths/keys, trumpets, strings, varied guitar effects, and even 'vocals' make this an interesting and enjoyable listen--repeatedly, too. Try it out.

90.0 on the Fish scales = A-/five stars; a minor masterpiece of progressive rock music. Sleepmakeswaves has created an album that is definitely an excellent addition to any prog rock music collection. IMO, this is the Best Post Rock album of 2011 and definitely one that keeps the sub-genre alive and moving forward.

18. FEN Epoch

While I, too, am not much of a fan of black metal, doom metal or even metal, I have become more 'used to' the vocal stylings (thanks to the likes of MAUDLIN OF THE WELL, AGALLOCH, and ALCEST) of this music--as long as the music is good. And this is GREAT music! Even a notch above ALCEST's 2010 gem, Écailles de lune, whose combination of the shoegaze guitars and the black metal vocals and heaviness are similar. The difference is in the changes in tempo, key and even, sometimes, sound and structure within each song, but more, it's in the emotional impact of these songs. There are times that I feel exhausted, drained at the end of a single song they are so powerful, so deeply emotional. Also, as one reviewer already put it, I love the 1970's 'feel' to the recording/production (especially the drums!). Some absolutely beautiful, deeply affecting music the lyrics of which I have yet to try to figure out (and, frankly, could really care less about: it's the music that reigns supreme for me!) I don't yet have a favorite (though "Of Wilderness and Ruin" [8:18] [9/10] is incredible!) There is such a great, almost seamless, flow and continuity to the album, from start to finish. I don't think any one song is that much better or worse than any other. In fact, all the songs need each other to be able to attain the effect of transporting the listener to such a distant planet as it does. One reviewer also mentioned how this album exhibits the way in which a truly excellent drummer can elevate an album to such incredible heights. I couldn't agree more. Nothing too flashy, just great rhythm which, you can tell, is 'the glue that binds.' Love the band members' names!

"The Watcher / vocals, guitars

Grungyn / bass, backing vocals

Æðelwalh / synthesizers, backing vocals

Theutus / drums."

***** 5 star songs: ALL . . . but the finale, "Ashbringer," which earns, IMO, 4 stars. My favorites: "The Gibbet Elms" (6:30) (10/10); the final three-quarters of "Carrier of Echoes" (6:30) (9/10), the shocking opener, "Epoch" 6:18) (9/10) and the emotional rollercoaster of "A Waning Solace" (9:51) (18/20).

90.0 on the Fish scales = A-/five stars; a minor masterpiece of progressive rock music.

Prog Is Alive and Well in the 21st Century

Sunday, November 4, 2012

The 80s: The Prog Dark Ages?

Top Albums from the Year 2011, Part 1: The Masterpieces