Sunday, March 19, 2017

Top Albums of the Year 2017, Part 1: The Masterpieces

My Favorite Albums of 2017
(In some semblance of order)


***Author's note:  Below you will find two different rankings for this year's albums. 
  The first list is merely a list consisting of a Top Twenty with a following list of "Honorable Mentions." These 20 are my favorite albums of the year, that is, the albums to which I have formed the greatest emotional attachments. The Reviews that follow are ordered according to my more 'objective' yet personal 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 and metric determination as to what are the "best" albums of the year from a more critical, qualitative, and quantitative viewpoint, that is, without as much emotional attachment as "My Favorite" albums. 
According to my calculations, 2017 presents Prog World with 17 "masterpieces" and 22"near masterpieces"!  


The Rankings
 (My "Favorites")

1. TREE TOPS Ghosts Don't Dance with Shoes
2. BATTLESTATIONS Vixit
3. BRIAN ELLIS Suspension
4. BIG BAD WOLF Pond Life
5. FIVE-STOREY ENSEMBLE Night en Face
6. KOTEBEL Cosmology
7. THE CONTORTIONIST Clairvoyant
8. KANT FREUD KAFKA Onírico
9. WOBBLER From Silence to Somewhere
10. SIIILK Endless Mystery

11. ANATHEMA The Optimist
12. ALIO DIE & LINGUA FUNGI Lento
13. WESERBERGLAND Sehr Kosmish Ganz Progisch
14. SEAS OF MIRTH Hark! The Headland Approacheth
15. UNAKA PRONG Adult Contemporary
16. EKOS Otra Dimensión
17. AMAROK Hunt
18. BENT KNEE Land Animal
19. ROBERT JÜRJENDAL Simple Past/Lihtminevik
20. CAST Power and Outcome


Honorable Mentions:
INNER EAR BRIGADE Dromology
ALIO DIE They Grow Layers of Life Between
PSYCHIC EQUALIZER The Lonely Traveller 
EYOT Innate
GENTLE KNIFE Clock Unwound
KARDA ESTRA Infernal Spheres
COSMIC TRIGGERS Homo Fractaliens
TOBY DRIVER Madonna-whore
ODD OUTFIT [Up/Down]
NEXUS En el comienzo del Topos Uranos




BATTLESTATIONS Vixit

These guys have come so far! From the almost-cheezy computer sounds and mis-timed instrumental performances of their flawed (but brilliant) debut, In a Cold Embrance, in 2012, the band has developed a stronghold in cinematic music-making far beyond anyone that I know of who is not doing film or television scores. Seriously, this may be the best "score"-that's-not-a-score or liturgical-piece-that's-not-meant-for-church (or maybe it is: a requiem or elegy) that I've ever heard. Period. James Newton Howard, Howard Shore, Hans Zimmer, Ennio Morricone, John Williams, James Horner, Rachel Portman, Danny Elfman, Alexandre Desplat have got nothing on these guys. Don't know if you still want to consider this prog since there are no drums or seering electric guitars, but it is definitely musical perfection, musical heaven.

1. "Vixit I" (24:02) As majestic and beautiful as the most beautiful Beethoven, Górecki, or Samuel Barber work. Broad washes of slowly moving strings with big choral sounds make this truly a spiritually moving experience. (10/10)

2. "Vixit II (3:21) piano, sparse, distant synth sounds, occasional noise from some kind of unidentified stringed instrument (the same one used in the first song of their debut album, "Prologue: Nature Morte / You're Not Welcome Here"), floating, panning synth washes. This must be Heaven. (9.5/10)

3. "Vixit III" (14:05) opens with the most electronica sounding passages on the album: panning synth, poppy voice choir, Mellotron and other synth washes, Very New Age-like--though the synths in the sixth and seventh minute sound like I'm YES heaven (the end section of "Awaken"). Love the return to old themes at 7:20! And then church choir rejoins with a FOCUS (Tommy Barlage) "Tommy" melody until the eleventh minute when it shifts dominant notes with the strings, bass, and tuned percussives giving it a little The Gathering If_then_else feel and sound to it. The final vocal section has an individual-sounding female alto voice carrying the lead--though this is still heavily mixed within the thick syrupy walls of synthesized sounds. This one is far more nostalgic and segmented yet it flows as well as any symphonic piece. (9.5/10) 

96.67 on the Fishscales = A/five stars; a shining masterpiece of progressive electronic music.




WESERBERGLAND Sehr Kosmish Ganz Progisch

When guitarist-producer Jacob HOLM-LUPO (WHITE WILLOW, THE OPIUM CARTEL), flutist-keyboard player Ketil Vestrum EINARSEN (WHITE WILLOW, JAGA JAZZIST, WOBBLER, MOTORPSYCHO), guitarist Gaute STORSVE (RHYS MARSH) and drummer extraordinaire Mattias OLSSON (ÄNGLAGÅRD, PINEFOREST CRUNCH, PÄR LINDH, WHITE WILLOW, THE OPIUM CARTEL, NECROMONKEY) get together to create an album of music in tribute to the Kosmische Music (Krautrock) artists of the 1970s you can bet it's going to be a good one. And it is! Each song on the album is like listening to a drum, keyboard, and guitar clinic. It's as if JAGA JAZZIST and CAN were merged--as if Lars and Martin HORNTVETH were collaborating with Jaki LIEBEZEIT in this, the 21st Century with all of the gizmos and effects that give 21st Century musicians such versatility and variety. The bass is often keyboard or computer driven, but it works. Mattias' drumming blends computer technologies with the live kit sounds. The keyboard and guitar sounds and techniques used are all over the place. Overall, the music is derivative, yet experimental; it's rhythmic and yet avant; it's militaristic yet psychedelic. It's genius! 

Line-up:
Ketil Vestrum Einarsen (White Willow, Kaukasus, Tirill, Rhys Marsh): Flute, clarinet, keyboads, guitars, programming
Gaute Storsve: Bass and guitar
Jacob Holm-Lupo (White Willow, The Opium Cartel): Bass and guitar
Mattias Olsson (Änglagård, Necromonkey, The Opium Cartel, White Willow): Drums and percussion
    With:
Lars Fredrik Frøislie (Wobbler, White Willow)
Stephen James Bennet (Henry Fool, Tim Bowness, No-Man, The Opium Cartel)
Tetsuroh Konishi
Lars Horntveth (Jaga Jazzist)
Erik Johannessen (Jaga Jazzist)
Brynjar Dambo (White Willow)
Roger Langvik
Einar Baldurson


Tracklist:
1. "Tanzen Und Springen" (9:44) the most melodically memorable song on the album but perhaps the least adventurous. Nice lead guitar work (especially the Todd Rundgren-like work in the ninth and tenth minutes). (9.25/10)

2. "Das Trinklied vom Jammer der Erde" (15:42) 
starts off very etheral/ambient before electronic drums and deep synth washes take over. Such a deeply engaging song--definitely one of the highlights of 2016/2017 for me. Even the "copied" Pink Floyd "Time" reverbed rototoms and the Holger Czukay-like radio samples in the last three minutes are wonderful inclusions. (9.75/10)

3. "Kunst Der Fuge" (12:02) AMAZING drums and awesome organ/keyboard work. (9.5/10)   

4. "Tristrant" (8:48) 
with the sound base of a 1980s song by ABC (there's so much of that 80s retro sound going around, why not in Kosmische Musik?) Great synth, winds, and percussion work. I love the cacophonic buildup in the second half and then the slow release toward the end. (9.25/10)   

Total time: 46:16


94.375 on the Fishscales = five stars; a masterpiece of progressive rock music. 




FIVE-STOREY ENSEMBLE Night en Face

The much anticipated follow-up to their 2014 debut album, Not This City, Olga and Vitaly have toned things down quite a bit for this collection of serious, emotional displays of musical expression. It has taken me a long time to get to know and like this album as my expectations were greatly hampered by the extraordinary previous album. Now that I have let go of the old and allowed the beauty and depth of these new tracks into my heart, into my being, I feel so grateful, so much more satisfied and fulfilled. Olga and Vitaly have shown us how much they have grown as both musicians and human beings. I hope that they both are feeling as fulfilled and satisfied with these songs as I am.  

A quote of the description accompanying the production company (AltrOck)'s publicity release of the album:

"Second episode for the Five Storey Ensemble. Natural pursuit of previous experience with Rational Diet.
Much more complexity, more room for melodies, a real small orchestra, guides us between awkward and melancholy atmospheres.
Chamber music with sounding solutions and interlocking sounds with unique style and elegance.
A narrative that encapsulates the drama and pathos of a movie soundtrack.
A disk of great maturity and quality."

The Players:
Vitaly Appow — bassoon, soprano sax, bass guitar;
Olga Podgaiskaya — piano;
Olga Polakova — flute;
Anastasiya Mosse — violin;
Ilona Ies’ — cello;
Vyacheslav Plesko — doublebass;
Nikolay Siamitka — percussion (track 4);
Aliona Sukliyan — oboe (track 5);
Vladimir Pashkevich — clarinet (track 7);
Andrey Verishka — marimba, vibraphone (tracks 1,2,6,7);
Ekaterina Maretskaya — piano (track 3).

1. "Night Across the Street" (5:51) opens as a kind of sharp-edged, discordant reinterpretation of the opening Adagio sostenuto from BEETHOVEN's "Moonlight Sonata" before adding some STEVE REICH-ian pulsing wind and string instruments. Cinematic in a unsettling Psycho-kind of way. (8.5/10)

2. "The Respectable Booksellers" (2:24) syncopated, odd-timed piano notes establish a pattern before the rest of the full ensemble joins in with an unusually cohesive and melodic piece--until, that is, the piano goes Wizard of Oz at the two minute mark. Then everything kind of becomes deconstructed and disassembled--everybody left to their own lonely devices. At 3:23 the storm crescendoes as leaves. Piano and reeds and pizzicato strings gather themselves into an ensemble again--as if to prove that they can pick up the pieces after the previous chaotic debacle. (9/10)

3. "Makaó" (5:23) Olga's piano étude with double bass support. Again, I can only think of Beethoven or Chopin or Rachmaninov as predecessors to this type of emotion. (9/10)

4. "Postmonition" (3:12) my guess is that this is Vitaly's usurpation of the Olga's previous song ideas and expressions. The sober, serious nature of these sounds and performances hit so deeply. (9/10)

5. "Rearrive" (6:42) another Vitaly composition which opens with his bassoon with flute and oboe and, later, violin, playing a weave of multiple melodies. The flute is given solo voice in the second minute over Vitaly and Olga's sparse and spacious foundation. Then simple violin and other strings get their turns. A vary spacious and vacuous sonicscape--especially when the piano is not pounding away on its higher octave chords (as it does in the very middle). The slow build of sustained strings tapestry over the staccato reeds and piano in the fifth and sixth minutes is quite emotional. (9/10)

6. "The Road Away from..." (7:58) The first song that opens with an ensemble approach. The slower, almost Baroque pacing, allows each note its presence, its deserved recognition, which I love. I feel totally bathed and relished in each note, each harmonized chord. And when the "sad" slide occurs at 1:50 I am unconcerned--it seems natural that "help" will arrive to boost and resurrect the wonderful spirit of unity and collaboration that has been (temporarily) disrupted. The sad, cinematic, silent movie-like sparse section in the fifth minute is slowly rebuilt with some absolutely stunning and brilliant "rays" or glimpses of joyful hope. Astonishing! (10/10)

7. "Woods Are Worried from Boredom" (5:41) beginning as a very tense and emotional slow duet between Olga and Vitaly (I hope they are lovers, or, at least, understand how touched and honored I feel to be privy to their gorgeous dance of total nakedness), it eventually enlists the beautiful support of the village. Wonderful. Ms. Podgaiskaja sure knows how to write music from the depths of the soul! (10/10)

8. "Jupiter" (3:23) opening with a surprisingly upbeat, almost Michel LEGRAND-like sound, the joinder of strings is almost too gorgeous in a RALPH VAUGH WILLIAMS "Larks Ascending" kind of way. The piano-cello duet at 1:30 is equally heart-wrenching. Amazing piece! Amazing end to an amazing musical journey! One that started so sparsely and then slowly, ever so slowly, built and built, until we ended with this extremely beautiful and optimistic piece. (10/10)

Belarus must be a sobering yet beautiful place! And Olga Podgaiskaja and Vitaly Appow two of its existential heroes!

93.125 on the Fishscales = A/five stars; a masterpiece of progressive chamber music.




TREE TOPS Ghosts Don't Dance With Shoes

A four piece band with some great assist with sound/production/keyboards from UNAKA PRONG's Chris Pope, let the world know that there is a new force to be reckoned with in the blues rock domain and they say they're from Knoxville, Tennessee. Not since Duane and Dickie or maybe Skynyrd's Rossington and Gaines or perhaps Lizzy's Gorham and Sykes have two guitarists commanded the attention and accolades like these two:  Cory Smith and David Webb. I honestly don't know which one is which when they solo, but their racing harmonized weaves are absolutely jaw-dropping, stunning, almost unbelievable. And drummer Jon Mann is quite impressive as well.

Line-up/Musicians: 
 - Jon Mann - drums, percussion
 - Cory Smith - guitar, vocals
 - David Webb - guitar, vocals
    With
 - Chris Pope - keys
 - Jack Willard - bass

1. "Confunktivitis" (7:38) Steely Dan, Love and Money, Meet Danny Wilson, Roddy Frame, (10/10)

2. "Dancefloors" (7:22) what opens like a ZZ TOP song, morphs into something else as a Frank Marino (MAHOGANY RUSH)-like guitar sound and style. (9.5/10)

3. "Stonefacin" (5:46) sounds like a heavy JOE JACKSON. (9/10)

4. "Overcoats" (4:35) a "Hotel California"-like groove with some nice FAGEN-like vocals. (9.5/10)

5. "Fly Like Pigeons" (4:10) a brilliantly crafted and lyricized song in a kind of Rockabilly/RODDY FRAME/FRANK ZAPPA style. (9.5/10)

6. "Pigeons In Space" (12:59) One of the best songs I've heard all year--construction, performance, melody, surprise, beautiful hooks and nice singing. The  tremolo wah-guitar playing is absolutely stunning from start to finish! And in the last four minutes you get to hear some amazing drumming and Santana-like guitar. (10/10)

7. "Drugs" (9:09) I hear Buddy Guy. I hear Fripp and Belew at their craziest. And yet there is a great vocal/lyric, too! Amazing paired guitars playing at lightning speed in harmony! (9.5/10)

8. "Stonefacin (Reprise)" A reprise of the (IMO) weakest song on the album. A guitarist's wet dream.(1:57) (8/10)

9. "Towers" (6:29) is a hard rockin' song over which the boys decided to try to place words, singing, and even harmonized background vocals. Too bad. Jimi HENDRIX, however, would've loved the song. Maybe he was there. (But whose body was he channeling through: Cory or David?) (8.5/10)



Total Time 60:05



These boys have a sound that is familiar but so fresh, and completely unique. Rockers that sound like jammers they have an incredibly tightly knit performance style that reminds me more of classically orchestrated music than loose, improvised rock'n'roll. With every listen I'm trying to answer the question, "Are they prog?" As an inclusionist and in awe and respect of these virtuoso composer-performers, I say, "YES!" 

As another aside, all of my above comparisons to masters of old must be taken with a serious diminuation as there are but flashes of similiarity, almost never blatant mimicry or revisionism of the bands or styles or sounds mentioned. Tree Tops are unique and in a class by themselves. 

92.78 on the Fishscales = five stars, A; a masterpiece of progressive rock music. A band that needs to be heard as they are one of the most impressive bands of the Teens. 





KOTEBEL Cosmology

Kotebel returns! And the band is tighter, more polished, more virtuosic than ever! And flutist extraordinaire Omar Acosta is back! This time the band take on a concept album with a philosophical thread using a progression of human thought capacity from Newtonian mechanical/physical to  quantum/spiritual and even into world religious.

Line-up

Carlos Franco Vivas – drums and percussion
César Garcia Forero – guitars
Jaime Pascual Summers – bass
Adriana Nathalie Plaza Engelke – piano, keyboards
Carlos G. Plaza Vegas – keyboards
   With
Omar Acosta - flute


1. "Post Ignem" (8:26) Slow, lumbering NeoProg. Simple, straightforward melody riffs, which grow in complexity as congas, synths, bass and electric guitar amp it up. Still, flute is, bass thump-thump-thumps, and then it's over: a quiet section . This song is familiar to me in a "Pentacle Suite" kind of way--like a more concise, modernized version. Big tympanic rolls signal a switch back to the first verse. Small, little hints of the main melody from piano, synth, and flute flit in and out while the rhythm section presses on. The final minute uses a skeleton version before ramping up for the final crescendo. Nice song. Such fine tuned professionals! (9/10)

2. "Geocentric Universe" (7:34) Jazz. Opens with an ALIO DIE-like walk through a sacred temple or mosque before solo flute establishes the main melody. Spanish guitar and harpsichord and then piano follow before drums, hand percussion, and bass enter! The music is so restrained--it's wonderful! And hand drums! A kind of prolonged jazz coda follows--reminding me of John Coltrane or Miles. The band rejoins establishing a jazzy, Monk-like groove with changing tempos and melodies. At 4:30 Omar Acosta shows us why he's been so missed--providing the glue to move forward and into the next more-piano-based section. You go, Adriana! Then an awesome merengue-like Latin-rhythm section follows over which Omar and César fly! Wow! What a ride! A top three song for sure! (10/10)

3. "Mechanical Universe" (7:53) full out complex symphonic prog rock as only Kotebel can do it. Two main sections--or forces--playing at each other, vying for ascendance. Great lead guitar work! Break for piano and then Spanish guitar with bass and congas weave a very demanding tapestry. Piano and synths join in, then industrial sounds for percussion break before we return to one of the main themes with electric guitar screaming out its case. Divert into a more intricate stoccato weave before bass and drums are given a little showtime. All the while piano is providing the rhythmic foundation for everyone else! Final minute has the band laying it all out there with guitar-led prog rock at its finest. (9.5/10)

4. "Entangled Universe" (8:46) opening with a mischievous flute-and-synth melody  line, organ and spanish guitar and piano then take over, before Adriana and Jaime establish the main rhythmic foundation for some stellar soloing and dueling from piano, flute, and electric guitar. Pause to assess position, electric guitar and flute talking, before switch to deep, heavy, bass-led slow-down section (using same melodies). Somehow the music undiscernably speeds back up (with some awesome bass playing) while flute and electric guitar take turns shouting at each other. Synth puts in his two cents! Guitar and flute seem unfazed while piano provides the underlying manpower for everybody else. Another switch to deep, heavy, slow, this time with jazzy bass play. The melodic themes are again recapitulated by everyone while tempo speeds back up and jazzy drumming drive the show. At the end of the seventh minute a kind of dreamy piano-flute-led section takes over before chunky bass and drums rejoin. Then all hell breaks loose again with guitar and flute making their final cases over the frenzy of the rest of the ensemble. Wow! What a show! What a battle! (9/10)

5. "Oneness" (8:15) piano intro for the first 30 seconds, joined by electric guitar arpeggi, synthesizer, and flute before bass and drums join in. At 1:40 synth calliope/organ chords and flute take on the soft intro interlude before the full band crashes back in to take us on a nice ride with synth, flute, piano, and rolling bass leading the way. At 3:20 electric guitar and flute seem to take the lead, alternating turn taking. Organ and piano team with bass and drums to take us into the next dimension--a repeat of the section that they did before. Incredibly well performed intricacies--six musicians, each occupying one track, jamming together. In the seventh minute the beautiful Santana-like lead melody comes to front and center through the electric guitar with gorgeous synth wash chords backing it. The song then slowly, carefully de-escalates, taking its structure apart piece by piece. Stunning song. One of my top three on the album. (10/10)

6. "Mishima's Dream" (5:29) one of Kotebel's more adventurous, working-outside-their-box songs opens with some DEEP PURPLE/URIAH HEEP-like bombast from electric guitar and organ. The pace being set by the rhythm section is actually rather slow and plodding. Then, at the end of the second minute everything slows and softens while electric guitar performs some nice arpeggi in support of a cool, extended synth "pipe" (á la Keith Emerson) solo. Next section lets the organ and electric guitar rock it out. Disjointed guitar solo is not so classic rock as much as . Organ's turn is more Wakeman-esque than ELP. Final 50 seconds is unusual for soft, spacey decay before rock electric guitar finger pickings bring us to the end. Cool song! So different for the Barcelona masters! (9/10)

7. "A Bao A Qu" (4:30) opens with 20 seconds of pure silence. Intentional? Synths, piano, then bass-supported electric guitar take turns expressing their wonder and curiosity. At the very end of the second minute drums, bass and rhythm guitar establish a jazzy little rhythm foundation over which synths and piano continue their conversation. Guitar joins in for a few bars before synth and piano again. Finally, at 3:20 the electric guitar can take the restraint no more--César breaks out with a brilliant burst of exasperation before the band settle back into a "Court of the Crimson King"-like passage before ending. With silence. Another adventurous excursion for the band. (9/10)

8. "Canto XXVIII" (7:21) The third song in a row in which the band test themselves by moving into realms that are, for them, experimental: polyphonic instrumental threads moving in polyrhythmic sequences. Then acoustic guitar work (would call it classical were it not performed on steel stringed guitar) with distant piano. Staccato electric guitar chords, thick bass and drum weave, organ odd, polyrhythmic time signatures weaving in and out of cooperation. King Crimson outdone! Maybe my favorite song Kotebel has ever done. Brilliant! (10/10)

9. "Paradise Lost" (3:04) piano arpeggio, synth melody line, and piano establish a bit of a deep conversation here. It's not until the beginning of the first minute that the piano finally gives us enough music to guess at a full key signature. Father-daughter; father waning, keeping to the background while daughter wonders "aloud." (8/10)



Total Time 61:18

It has taken me a very long time to review this album because it has taken me a very long time to really get to know this very dense album--dense and sophisticated, as all Kotebel albums are. That is why they are one of the premier prog bands around because they have such intricate performances and virtuosic instrumentalists (all of them). What makes this album stand above the others is the polish, the adventurousness, the courage and bravery, and the growing technical command each and every member has over their instrument and over their contributions to the overall weave of the compositions. There is not a bad or weak song on this album (there never is on a Kotebel album) and there are some that are extraordinary. If you haven't got on board with this band, you need to. One of the true masters of modern progressive rock music.

92.77 on the Fishscales = A/five stars; a true masterpiece of complex symphonic progressive rock. Again I ask: Why all the love for Änglågard when there is Kotebel?!!!




ALIO DIE & LINGUA FUNGI Lento

Stefano Musso and Jaakko Padatsu, collaborating for the second time (that I know of), have produced a gem of an album with no less than 78 minutes of fine ambient electronic music. The title song and "Stato di Grazia" are my favorites, but each of the other three songs are equally mesmerizing, equally engaging, and equally meditative. 

Line up:
Alio Die : Zither, Kantele, Drones and Loops. Bells, Water Drum, Field recordings.
Lingua Fungi : Kantele, Zither, Guitar, Udu, Field recordings, Programming. 

 1. "Lento" (18:34) Water. Waves lapping at the side of a boat. Zither/kantele and heavily treated sustained arpeggi from a synth? a zither? Whatever it is, the way it floats and soars in and out, down and up, in the sonicscape is wonderfully hypnotic; I find myself trapped in its waves feeling as if I am among the flock of birds--or the soul ensouling the flock. The other instruments and sound samples ebb and flow making it seem as if the landscapes beneath the flock are changing with the movement of the flock in the sky over the Earth. (9.5/10)   

2. "Karhunpäivä" (17:27) sounds like it's a couple of guys playing with random percussives and simple horns while floating in an open boat in the middle of a harbor. In the fourth minute a low drone makes it sound like a squadron of Allied bombers are flying overhead. By the middle of the fifth minute they've passed and some zithers and other droning musical instruments can be heard--as if the doors to a warfside dance hall just opened up and let their internal music be heard. Great for the accompaniment of a Scandinavian folk story. Finger pianos and small clay drums sneak into the mix in the ninth minute. (8/10)


3. "Giardinaggio interiore" (31:50) Stefano and Jaakko Padatsu with their zithers with some kind of bendable saw-like single note playing "synthesizer" and occasional tuned percussives playing over babeling brook noises in the background. Steady and highly engaging and, of course, hypnotic. (9.5/10) 

4. "Stato di Grazia" (11:00) music befitting its title, to be sure! Again water seems to be the "nature sound" provided in the background. The zither play in the foreground is much busier, much more active and interactive, giving the sonic palette a very much monastic feel--as if I were walking through the great halls and rooms of the Great Mosque in Córdoba, Spain. Very etheric and spiritually inspiring. (10/10)


92.50 on the Fishscales = A/five stars; another masterpiece of progressive electronic music from the prolific maestro, Stefano Musso, and his collaborators.





WOBBLER From Silence to Somewhere

Though many sounds and riffs from old classic prog songs continue to pop up in their music, their self-proclaimed more collaborative, whole-band approach to song composition has really paid off in terms of rendering a distinctively fresh collection of songs. The musicianship is, as usual, extraordinary, but what strikes me more on this album is the remarkable diversity in musical and vocal instrumentation choices and styles. Like a Mike Oldfield album, I found myself sitting on the edge, waiting for whatever new and amazingly unexpected shift the music would take: from Yes-like to mediæval to psychedelic to folk. Plus, in several places they were able to pull off one of the better incorporations of the GENTLE GIANT style that I've ever heard from a 21st Century artist.

Line-up

Lars Fredrik Frøislie - keyboards and backing vocals
Kristian Karl Hultgren - bass, bass clarinet and bass pedals
Martin Nordrum Kneppen - drums, percussion and recorder
Andreas Wettergreen Strømman Prestmo - vocals, guitar, glockenspiel and percussion
Geir Marius Bergom Halleland - lead guitar and backing vocals

1. "From Silence to Somewhere" (20:59) an interesting and unpredictable run through some older sounds and styles, shifting, as noted above, quite surprisingly and refreshingly from quite different dynamic ranges. These guys can really play!(9.25/10)


2. "Rendered in Shades of Green" (2:05) a pretty little treated piano solo with mellotron, synth strings, and tuned percussives mixed in for the second half. (9.25/10)


3. "Fermented Hours" (10:10) opens with the sounds and freneticism of Yes's "Sound Chaser" (which it seems to be inspired by--though it sounds a lot like "L6 Bealtine" from their last album, Rites at Dawn). The awesome organ work in the second quarter behind the more folksie vocals make for a nice section. The second half continues with the awesome organ work beneath some very Yes-like vocal and instrumental passages. I like the theatric shouts in the final minute just before the song crescendos and fades. (9/10)


4. "Foxlight" (13:19) opens acoustically (with 'tron): flutes, guitars, bass clarinet, glockenspiel, before vocal section begins its play over the top. Very delicate and beautiful! Then at 3:42 the delicacy ends and a loud, bombastic sequence of chords opens--though harpsichord support helps to balance it out. The vocal section starts out nice but then gets a little washed out by too many instruments soloing at the same time as the singing. A Spanish acoustic guitar chord sequence beneath the busy rock weave at 5:45 is nice but ends up fizzling out and letting the heavy cacophony resume its dominance. At 7:11 we get a reprieve and return to more acoustic, almost DOORS and GENTLE GIANT-like, instrumental section. I love this! I must say, the presence of the harpsichord is quite refreshing and welcomed. A kind of "Cinema Show" dream-sequence takes over at 8:40 over which some beautiful harmonized group vocals and flute play make their show. At 10:07 we get a true mediæval/GENTLE GIANT section. The singer's voice even sounds a bit like an older Kerry Minnear. Great section! Horns (or, really, kazoos)! Probably my favorite on the album. Definitely my favorite song, overall. (9.5/10)


92.50 on the Fishscales = A-; five stars; a masterpiece of progressive rock music.






THE CONTORTIONIST Clairvoyant

This Indiana-based band has matured and, if truth be known, mellowed (matured?) over the seven years they've been recording and releasing excellent Metal-oriented heavy Prog albums, but this is their best. They have mastered individual restraint and understated performances in favor of group chemistry, group composition, and seductively gorgeous heavy prog music. Simply stunning.

Line-up
Robby Baca: Guitar
Michael Lessard: Vocals
Joey Baca: Percussion
Cameron Maynard: Guitar
Jordan Eberhardt: Bass Guitar
Eric Guenther: Keyboards

1. "Monochrome (Passive)" So many creative computer/Hal 9000/synth openings on this album, of which this is the first. As it amps up into heavy guitar and bass distortion it fits! It works. Then the song settles into a softer, almost nujazz groove, with some great guitar and keyboard interaction. I haven't heard this creative and innovative keyboard work in years! (10/10)


2. "Godspeed" (3:14) fast opening and abrasive, settling into great weaves to support Michael Lessard's restrained vocal. Amazing subtle effects and contributions throughout--especially the restrained yet virtuosic guitar work. Michael actually lifts his voice in that last minute just before the guitar does the same. Awesome! (9.5/10)

3. "Reimagined" (3:17) gorgeous heavier song on the KARNIVOOL or VOTUM scale of latently heavy prog. (9/10)

4. "Clairvoyant" (7:37) is the first true metal, djenty song on the album (IMHO)--complete with chorale-styled vocal sections and machine gun bass drum pedal play. Really gorgeous transitions and chorus sections; nothing too difficult or abrasive but all played to group perfection. Also the most diversified and chameleonic song on the album. (9/10)

5. "The Center" (7:34) a smooth, gorgeous song that continues to build while Michael Lessard seduces us with his incongruously sedate vocal. Is he the new Maynard James Keenan? Just brilliant! Reminds me of my favorite song from last year by THE MERCURY TREE. (9.5/10)

6. "Absolve" (5:12) brilliant restraint shown on this vocal despite the yearnings of the music to soar! Makes for a great tension between the two. At 5:05 the song shifts, kind of cuts out, while a spacey, post-explosion synth-concerto slowly builds and (9.5/10)

7. "Relapse" (6:14) opens as an odd synth experiment with spacey vocal for the first 1:30 before the heavy rock instruments enter. Synth washes and sliding power chords finish off the first half before a piano-based, computer-paced section with Lessard saying "They're clairvoyant." Interesting sliding-tremolo guitar solo in the fifth and sixth minutes. It even gets a little djenty at times. (9/10)

8. "Return to Earth" (6:15) spacious and atmospheric genius that lets loose at the 1:25 into a heavier (though simple) and still gorgeous and inviting prog song. Vocalist Michael Lessard has the silky smooth pipes to keep the listener engaged despite the frenetics of his mates--like a mellower version of LEPROUS. (8.5/10)

9. "Monochrome (Pensive)" (9:24) very nice song that, unfortunately, takes seven and a half minutes to finally soar to the heights one might expect from a nine and a half minute "epic." (9/10)

92.22 on the Fishscales = A-/five stars; a masterpiece of gorgeously woven heavy prog. My nominee for Most Improved Band and Best Heavy Prog album of the year--and maybe Most Creative Keyboard Player in Eric Guenther.





ALIO DIE They Grow Layers of Life Between

1. The Atom of Existence" (26:20) droning synth wash with chimes/bells over the first five minutes. The bells disappear leaving only the multi-layered drone--a kind of chord within which certain notes strengthen and cresecendo and decay in turn with the others. Quite beautiful and mathematical. At 7:25 another "nighttime bug" sound enters and remains while the lowest notes of the "chord" enter and play a slow moving melody. At 8:20 horn-like riffs join in and a new broad-spectrum chord is constructed over, with, and supplanting the original.  What started as intriguing and exciting became a little over drawn-out (despite the bird sounds in the last minutes.) (9/10)

2. "They Grow Layers of Life Within" (32:02) opens with Middle Eastern (Peter Gabriel's Last Temptation of Christ soundtrack) sounding ambient street sounds. Quite beautiful, dreamy, and reminiscent of walking the serpentine streets of a pre-industrial revolution North African or Middle Eastern town. New sounds and layers in the fourth minute make it sound as if the town (or organism) is coming to life, awakening. The marketplace setup and opening. At the ten minute mark one gets the sense that the ambulator is leaving the busy thrum of the market area and regressing into the spidery quiet alleys and occasional busy streets. He's in a daze, in a fog, walking as if searching for something without knowing what, only knowing that he needs to keep walking. At 14:30 begins another shift. The man is approaching a mosque. He enters the mosque. It is nearly empty as it is between prayer times. The bells at the 18 minute mark might designate an active pocket of prayer or group activity. The dreamer stops to observe, watching the men in discussion or the women sewing together. The dreamer's eyes are drawn upwards, into the shafts of light streaming in from the clerestory windows or gable supports. Beautiful. In the 23rd minute, the somnambulant is drawn back outside by the noise of sales carts selling handmade jewelry and scarves, cutlery and silverware, fabric and rugs. The beautiful small courtyard outside the mosque is teeming with light, heat, and tired vendors. The ambulator is suddenly fatigued, the heaviness of the summer heat bearing down. Time to sit down, lie down, die? And the market square business continues, business, life, as usual, as consciousness fades. Beautiful. (9.5/10)

3. "Real-Life Mystery" (6:09) gorgeous and frolicky with the nymph-like water play of bells and fairies, crickets and heavenly choir. (9/10)

It's almost unfair to be rating this beautiful music against the complicated, demanding efforts of rock band formatted sweathogs but when all is said and done, what you choose to listen at the end of the day, whether it be Änglagård, Gentle Giant, "In-A-Gadda-Da-Vida" or Brian Eno's  ambient music, it shouldn't matter, should it? Stefano Musso and his zithers, computers, and collaborators have made another beautiful, engaging album. So let's celebrate!  


91.67 on the Fishscales = A-/five stars; a masterpiece of progressive electronic, ambient folk, or whatever kind of music this is. Wonderful stuff!




SEAS OF MIRTH Hark! The Headland Approacheth

The new Cardiacs, singing songs of the high seas. One of the main vocalists sounds like Billy Idol trying to sound like Jim Morrison. Guitars sound like an Irish Dick Dale. Highly theatric, highly entertaining, highly polished, top notch musicianship with a lot of the craze and boldness of LES NEGRESSES VERTES, Kavus Torabi (CARDIACS, GUAPO, MEDIEÆVAL BÆBES, GONG, KNIFEWORLD), FARMERS MARKET, HUMBLE GRUMBLE, SIR DOUGLAS QUINTET, and even FRANK ZAPPA.

Line-up
Al Judders - vocals, percussion, whistle
Cannonball Paul - vocals, guitar
Zorba The Blowfish - bouzouki
Glen Fingle - mandolin
Jeremiah Planks On Fire - bass
Shitluck - cello
Piss-in-the-wind Mindy - accordion, violin, woodwind
Sally Squidbusiness - keys
Robrush - drums

1. "The Curse Of The Conniving Lighthouse Sniper" (5:47) (8.5/10)

2. "Hark! The Headland Approacheth" (4:08) (10/10)


3. "Mutiny" (4:48) (8.5/10)


4. "Esmerelda" (4:24) such a well-polished song! (10/10)


5. "Bamboozled By Booze" (4:30) (8/10)


6. "It's Raining, Men!" (5:29) (9/10)

7. "Salt Man" (4:06) beautiful, tight Gypsy feel. (9/10)

8. "Sulphur-Bottom Lament (Plankton Song)" (2:07) Incredibly powerful, heart-wrenching song! I love the "old man" vocal. (9.5/10)


9. "BrandyWine" (5:08) The best, most proggy (trippy-psychedelic) song on the album! Best folk-rock song, too. (10/10)


10. "The Curse Of The Dreaded Devil's Triangle" (3:10) another song so similar to the feverish flair of LES NEGRESSE VERTES. Love the prominence of the accordion. (9/10)


11. "Apocacalypso" (6:26) Amazing second section! (9/10)

Total Time 50:03


91.36 on the Fishscales = five stars; A-; a masterpiece of progressive rock music.






SHEN TEH Hide and Seek

New music as Lara Olson Reidel and company progress away from their Amanda Palmer-like cabaret style of music into more guitar-infused rock, with electronic inputs as well. Lara's lyrics and singing are world-class clever and sophisticated and her support crew are right in sync with her.


1. "Just One Kiss" (3:27) opens with quite a familiar piano-based prog sound. The female vocalist is what might surprise everyone. Kind of NORTH SEA RADIO ORCHESTRA meets iNFiNiEN. A little too ABACAB and straightforward to be "progressive."(8.5/10)


2. "Keys" (3:02) has a kind of BOWIE-quirkiness to its guitar/rhythm section opening. Then singer and chorus gives it more of a SOUIXIE AND THE BANSHEES feel. Very polished, mature song. (9.5/10)


3. "Hide & Seek" (4:40) powerful song with wonderful Eastern European melodic and harmonic overtones. (9/10)


4. "The Blue Café" (4:26) gut-wrenching performances and stylings from vocalist, piano and bowed double bass. Amazing song! This is why humans make music! (10/10)


5. "Kitty in the City" (4:06) more in the cabaret vein of Lara's formative productions. (8.5/10)


6. "The Joker" (3:49) Opens very theatrically before moving into the punk cabaret realm. Such an amazing vocalist! Shades of Nina Hagen! (9/10)

7. "Would You Rather" (4:01) Opens with some great pop guitar stylings before the more proggy palette develops. Kavus Torabi and Kate Bush would be quite proud! (9/10)


90.71 on the Fishscales = five stars; a masterpiece of progressive rock music! Welcome the music of Lara Olson Reidel into your lives and you will not be sorry! 





BIG BAD WOLF Pond Life

Awesome new jazzy math rock from the UK featuring creative, virtuosic guitar play from Rob Luft and trombone as the lead instrument! Who knew the trombone could be this versatile?! Such refreshing music! The vocalist has a really nice timbre and style that reminds me of either Michael FRANKS or ARTO LINDSAY.

Line-up:
Owen Dawson - Trombone
Michael De Souza - Bass VI
Rob Luft - Guitar
Jay Davis - Drums


1. "Canary" (5:16) opens the album with staccato guitar picking and trombone notes with bass line and uptempo drum play. Eventually, some structure is established in a kind of rondo of themes and weaves. Really nice interplay and synchronization. Trombone and guitar chord-play take turns spitting out lead melodies--sometimes at the same time, but more often alternating. Cool effect! Treated vocals enter with a chunky bass. Love the lead vocalist's voice. (8.5/10)


2. "Flats In Dagenham" (6:08) opens with a slow beat and immediate trombone solo melody with strummed acoustic guitar, bass, and drums. It sounds just like it could be a jazz cover of an R & B pop song from the seventies. If only Freddie Hubbard had been this creative! I love the long slow-decay pause in the second half. Then things pick back up with some amazing guitar work that would leave even the great Adrian Belew smiling--big time! My favorite song on the album. (9.5/10)

3. "Frog" (6:14) such a GREAT sound from the opening notes of background "keyboards" (which I'm assuming are guitar). This one has a lot of similarities to the sounds of Japanese Post Rockers, TOE. Awesome song. A top three, for sure. (9.5/10)

4. "Quiet Coach" (9:16) opens as a beautiful, sensitive and melodic song with the subdued trombone taking the lead for the first two minutes. Then WES MONTGOMERY-like jazz guitar chord play takes over the lead. Vocals entering reminding me of the music of FROGG CAFÉ. Nice. Still sensitive and nostalgic, even rhapsodic. My other top three song. (9.5/10) 


5. "Hopkins' Choice" (4:32) this one has more of a true Math Rock feel to it, though it gets jazzier at the two minute mark. Bouncy and upbeat with some very nice multi-level guitar work in the fourth minute. (8.5/10)


6. "Grassfish" (7:28) guitar effects and rolling tom work remind me of DAVID SYLVIAN with the lead trombone giving it a MARK ISHAM/FROGG CAFÉ feel and sound. A cool MERCURY TREE-like vocal ensues in the second minute. The fourth minute sees a slide into a vocal-backed guitar exposition with a lot of long arpeggi. Then a "heavier" more fast-paced section takes over in a very Math Rock structure. Excellent lead guitar work from here out. Acoustic guitar work in the final minute is a surprise. (9/10)


7. "Pond Life" (6:02) the stop and start beginning is interesting before sustained trombone notes, arpeggiated guitar picking, and continuous bass line take over. A very math rock-oriented song ensues, despite shifts. For some reason, I'm reminded of both the EVAPTORIA REPORT and ALGERNON as well as TOE. again with this song. Again, great guitar play in the fourth minute. DAVID TORN-like atmospheric guitar play accompanying the trombone in the fifth minute before a tight weave of staccato bass, drums and guitar support the trombone (and, later, voices) in melody. Nice song. (9/10)


8. "The Plight Of The Typewriter" (7:42) a moderately paced song with syncopated flow and mathematically-oriented construct that is peppered with really nice melodies. Has a bit of a HIROMI feel to it. Love the screaching background guitar in the fourth minute. More DAVID TORN-like guitar with sensitive, carefully synchronized bass and drum play. Trombone re-enters with multiple guitar tracks wailing away. Nice! These guys are for real! (9/10)

Total Time 52:38


90.625 on the Fishscales = A-/five stars; a refreshing new masterpiece of jazz-oriented Math Rock music. Mega kudos, boys! I greatly look forward to following your future work, both individually and collaboratively (should that continue).




KETTLESPIDER Kettlespider

Solid, polished, refreshing heavy prog rock from Down Under.

Line-up:
Colin Andrews - Bass

Scott Ashburn - Guitars

Haris Boyd-Gerny - Guitars

Geoffrey Fyfe - Keyboards

Simon Wood - Drums

    With:

Fabian Acuña - Trumpet (2, 5)


1. "The Climber" (2:24) the opening thirty seconds reminds me of some of the classic rock songs of the 70s--Damn Yankees or Loverboy or somebody like that--but then it switches at the forty-five second mark to something more complicated, more prog rock-like, more metal-like. (8.5/10)

2. "Circus" (4:34) the jazzy, delicate, melodic central third is the prize here. (9/10)


3. "Samsara" (2:31) opens with acoustic guitar being gently picked before keys and the rest of the band join in on the weave. They manage to maintain a nice melodic sense throughout this medium-paced instrumental. (9/10)

4. "Break The Safe, Pt. 1" (3:18) opens delicately but then becomes quite in your face in a kind of King Crimson way. Over and over they kind of "trick" you into relaxing and enjoying their beautiful sound groove before they bring in the distorted guitars and power chords. The final odd-time-signatured section is nice. (8.5/10)

5. "Anubis" (7:16) this one has quite a RUSH-like sound and feel to my ears (think of the excellent instrumental music of "Subdivisions"). The shift at the end of the second minute to a gentle and spacious section is quite unexpected and interesting. Steven Wilson comes to mind. Then comes the gun at 3:05 and they're off to the races, breaking into a heavy metal guitar-shredding section that tries to turn jazzy but then gets funneled back into the heavy prog world until 4:15 when another tricky, quirky, almost avant/RIO switcheroo tries to take hold. Just kidding! We're still heavy progging! But that trumpet is trying to say otherwise. Damn the influence of that Latin lover! I like this song because of its tricks and turns, surprises and maintained high quality and high entertainment value. Well done, arachnids! (9.5/10)

6. "Life" (6:06) Djent! Now they're getting into my comfort zone! (Don't know why I love those djenty guitar chords.) But then they turn sharp left in the second minute, trying to trick me again, but, no, it's just a short cut into some heavy prog, semi-djented. Nice work on the batterie, by the way, Simon. And props go out to precision bass work of Colin Andrews. Loving the fourth and fifth minutes: much more humane! And the guitar "ascending" from out of the birth canal effect is brilliant! My favorite song on the album! (10/10)

7. "Rebirth" (7:01) Oh, oh! Are we in for some Norse Black Metal? O Dark :30 and I'm still not sure. Even the delicate soft interlude at the one minute mark has me on pins and needles. 1:40: Here it comes. It's building! 2:10: Oh! It's so cute! It's just a big Totoro! 3:00: or is it the bad Stay Puft Marshmallow Man? We'll know soon. 3:45: He's leaving! He's not going to kill us or destroy our city! He likes Nature! 4:30: And video games. He's social! He has a family! And friends! Aww! He was just looking for his own kind! And they're going to live happily ever after! Such a cinematic gem! (9/10)

8. "Break The Safe, Pt. 2" (4:18) Safe. Solid. Unbreakable. Cohesive. Even pretty. And hypnotic. Cool Devy Townsend ending. Likable and yet unspectacular. (9/10)

Total Time 37:28


90.625 on the Fishscales = A-/five stars; a masterpiece of instrumental progressive rock music. While I see lots of potential for improvement--both is sound and composition--these guys are definitely on to something!







SIIILK Endless Mystery


Fans of atmospheric prog like DAVID GILMOUR, TONY PATTERSON, GIANCARLO ERRA, LAGARTIJA, EDISON'S CHILDREN, and NO-MAN (STEVEN WILSON) will love this album. It seems that each year there rises one album of pure prog ear candy, and, for me, this is this year's. Guitarists Richard Pick and Gilbert Gandil both have the intuitive, melodic, yet sophisticated, sixth sense as to when and how to play their parts--both leads and rhythm parts--masters of timing and the use of space. Uncredited background singer (though she has two leads, on "Merging" and "Green Boy") proves to be a tremendous asset wherever and whenever she is used, and drummer Attilio Terlizzi and bassist Guillaume Antonicelli are so smooth, so solid, and so polished at their craft that there is never a flaw in the foundational elements of the songs. And the compositional maturity as expressed in subtle and unexpected (yet expected, if you know what I mean) shifts and changes is extraordinary.

Line-up

Richard Pick : Guitars, Vocals
Guillaume Antonicelli : Bass
Attilio Terlizzi : Drums
Gilbert Gandil : Guitars
Jacques Roman : Keyboards
Catherine Pick : vocals, Indian harmonium, piano
Guest musicians:

- Roland Richard (PULSAR) / clarinet​​

- Behlole Mushtaq / Indian tablas


1. "Inner War" (5:54) opens with a soundscape strikingly similar to Giancarlo Erra's NOSOUND's LightDark album sound. I especially love the acoustic guitar work on this one--the last 90 seconds are awesome. (8/10)

2. "Endless Mystery" (5:41) a solid, steady Neo Prog song with an awesome guitar solo section in the middle. Several tracks of bluesy lead electric guitar, great acoustic guitar work (and recording!) with an amazing David Gilmour "Near the End" solo (you know the song I'm talking about?! One of the most emotional guitar solo songs ever made!) in the middle and then again at the end. (9/10)

3. "Black Old Train" (8:02) uneventful opening half; solid, even powerful instrumental mid-section. This lead guitarist has a gift that this listener has only heard in a handful of guitarists over history, Roye Buchanan, Jeff Beck, and David Gilmour being the old masters of said gift. The solos on this song offer but one chance for you to hear this gift. (9/10)

4. "Merging" (4:46) is an exceptionally well and subtly crafted song which serves as a vehicle for the extraordinary Sara Aliani (LAGARTIJA)-like voice of female singer, Catherine Pick. Haunting. (9.5/10)

5. "Escape" (4:42) another song that begins rather bucolically and then amps up after the first round of singing finishes. I love the subtle guitar work and hand drums, but it really never takes off. (8.5/10)

6. "Drifting Words" (5:30) interesting from the start, thanks to the ominous chords and background synth drone. The use of tablas is also very nice. No, it's brilliant; genius! 

      At 1:30 Mellotron and awesome bass line and drums join in. Nice groove! The build up from here is also great. Love the alternating Mellotron "hits" behind the soloing electric guitar! A near-perfect song! (10/10)

7. "Questions" (4:42) puts on display the extraordinary instincts of both the guitarists, one strumming on acoustic and the other expressing effortlessly yet so-emotionally with the electric. Really nice piano work in support. (8.5/10)

8. "Green Boy" (8:14) acoustic guitar with awesome, haunting female vocals open this song. Total transition beginning at 1:35 to more eerie, atmospheric instrumental. Bird and walking-in-the-woods noises open as rolling bass line, synths, and sliding, delayed lead guitar play. At 3:35 fuzzed-out aggressive electric guitar strums announce a transition. This feels so much like a LUNATIC SOUL song--until the clarinet sound in the fifth minute. Piano, classical guitar, clarinet and occasional mellotron hit play over rhythmic Indian percussion track. Very moody; sad but beautiful. The final 1:30 takes us back into the woods--leaves and babeling brook noises--with intermittent synth play. Nice, surprising song. (9.5/10)

9. "Ultimate" (2:28) is a pretty, melancholy, very European sounding late night winding-down song featuring piano and harmonium, husband and wife, performing a duet. Perfect ending to this beautiful album. Beautiful song. (9.5/10)



Total Time 44:10

If there is any weakness in the band's sound it is in the rather unexceptional, though solid, lead vocal performances by Richard Pick. Nothing flashy or technically remarkable, just another human voice (though not as human as the "voice from you and me" of Bob Dylan) singing his message to the world. If the instruments were as plain and ordinary as this voice, I would not be writing a review of the album. But this is not the case, as the instruments, composition, and arrangements create such a sublimely beautiful and emotionally compact portrait of the human experience that I beg everyone to seek it out.  


90.55 on the Fishscales = A-/a five star album; a masterpiece of progressive rock music and my early nod for Prog Ear Candy Album of the Year (succeeding last year's Equations of Meaning from Tony Patterson).




BENT KNEE Land Animal

Boston-based many-dimensional progressive rockers BENT KNEE are back with their fourth album. This one feels less hurried and far more mature than their previous effort, 2016's Say So. This is a band that is not only clicking on all cylindars, it is composing and playing at such a high level that it often takes many listens to hear all of the band member's contributions. That is one reason why this June release only receives my review posting in November. 

Line-Up:
Chris Baum – violin, vocals
Jessica Kion – bass, vocals
Ben Levin – guitar, vocals
Courtney Swain, lead vocals, keyboards
Gavin Wallace-Ailsworth – Drums
Vince Welch – sound design, production
1. “Terror Bird” (4:11) Great opening song! Opens with a weave of staccato sounds coming from many instruments--a feature which turns out to be the foundation for all but the choruses when chords and volumes amp up. The use of strings in support in the second section and choruses is a nice effect. Courtney's voice is as dynamic and under-the-skin insistent as ever. Awesome! (9/10)
2. “Hole” (3:21) quirky and industrial, combining some 80s and 90s sound styles with an almost Oriental melodic palette. The music could even befit an animé soundtrack. But, once again, the lead vocal brings us back to Kansas. (or is it Oz?) Another instance where I am dumbounded and astounded at this band's creative expression. (8.5/10)
3. “Holy Ghost” (5:33) amazing song construction, vocal, and drumming. This band is so tight! (9/10)
4. “Insides In” (6:29) a much more sedate and smooth opening feels and sounds good for a change. Courtney opens with a bluesy/torch song vocal styling--carrying it forward into the chorus--before piano and strings bridge us back to the A section. Strings, piano, and drum incidentals are so marvellous! Such a polished, carefully planned and executed song. This band is so at their peak! I    would love to hear more music like this from them.
     The second half of the song has us waiting suspensefully before a  seriies of dramatically-spaced and wonderfully effective monster hits from guitar, bass and drum bring us fully into the cinematic prog world--which only continues as the music ramps up to a kind of crescendo of sustained tension before collapsing into odd animal-industrial sounds. (10/10)
5. “These Hands” (5:36) opens as if bleeding over from the previous song but then deftly, easily, switches into an entirely different kind of music and song. Pizzicato strings and jazz percussion support Courtney's jazzy piano and vocal. Truly a stunning song of highly complex progressive rock music. (10/10)
6. “Land Animal” (5:13) opens with a very theatric, cinematic pomposity. Vocal chorus joins in the second round, then things quiet down for the entrance of the lead vocal. The quiet spacey "sending out a message" section in the third and fourth minutes is my favorite part. Then a strings-supported true electric lead guitar solo! (A rare thing for this band!) Nice section. (9/10)
7. “Time Deer” (4:19) a fairly straightforward rock start becomes complicated by Courtney's vocal, and the slightly off-center syncopation of the guitars, bass, strings and drums. Interesting. Courtney's vocals are so powerful that I fear that we come to take them for granted: she is always amazing and, I believe, inimitable (and this despite my deafness to lyrics and their meanings). (8.5/10)
8. “Belly Side Up” (4:15) such a different song--could come from the 1940s or 50s with its poppy effects, sharp orchestration, "old" guitar sound, and, of course, "school girl" background vocal choir. (8/10)
9. “The Well” (5:30) a song that, unfortunately, feels like we've heard it before ("Holy Ghost" and "These Hands"). Luckily, I love the sassy-seductress vocal. (A little Piaf?) The second half with its (8.5/10)
10. “Boxes” (12:44) opens like a Peter Gabriel soundscape. Awesome drum, bass, and atmospherics. Courtney's voice enters at her most seductive. The song floats along like as if we're laying in a boat looking at the night sky while riding the softly rolling waters of the lake/harbor beneath us "I made it to the twenty-first century" is such and awesome line! Percussive and tuned and computerized incidentals pepper, dot, and streak the instrumental sky between vocal sections and to the end where Gavin's rock-steady, impeccable beats play out far into the finish. What an awesome song! What an awesome end to the album!  (9.5/10)
90.0 on the Fishscales = A-/five stars; another masterpiece of truly progressive rock music from these young masters of 21st Century art.



KANT FREUD KAFKA Onírico

Barcelona's JAVI HERRERA has done it again. As if 2014's labour of love, No tengas miedo wasn't spectacle and production perfection enough, Javi has pulled together another masterpiece, this time based on dreams. The presence of voices--Javi's own voice and that of female vocalist, Alia Herrera (Javi's daughter)--make this quite a different listening experience from No tengas miedo. The vocal performances and stylings remind me quite a bit of those from Olga Polgaskaja's FIVE-STOREY ENSEMBLE's 2013 (and, thus far, only) release, Not This City. Beautiful and almost operatic. Also, the electric guitar performances are amazing. Very dynamic and technically superlative.

Line-up / Musicians:
- Javi Herrera / drums, vocals, VST instruments
With:
- Cecilia Burguera / violin
- Mónica Cruzata / viola
- Queralt Garcia / cello
- German Fafian / electric guitars
- Daniel Fernandez Campos / bass guitar
- Alia Herrera / vocals
- Andrea Herrera / tap dancing
- Mandharu / crotals, wind chimes
- Rafael Pacha / dulcimer, acoustic guitars, mandolin, bouzouki
- Pol Sanchez / electric & Spanish guitars, mandole
- Dick Them / double bass
- Guillem Vilar / oboe, cor anglais

1. "Insomnio de una noche de verano" (9:27) an instrumental in which classical/acoustic instruments and composition styles are trying to be blended (sometimes feeling a bit forced) with electronic, sometimes bombastic, instruments and sounds. Still, there are moments and passages of absolutely stunning beauty and emotion--much of it quite memorable. (9/10)


2. "Dulces sueños" (5:18) is an absolutely beautiful and completely classical arrangement and production featuring piano, cello, cor anglais and the dual voices of Alia and Javi. (9.5/10)


3. "És quan dormo que hi veig clar" (10:54) is very patchy, moving from more classically-oriented sections of gorgeous music to dynamic electronic passages often quite awkwardly and incongruously. The musicianship is of the highest caliber, the composition and arrangement is not quite as polished. Male and female vocalists accompanied by church organ open in a beautiful one minute introduction before wormy little synth noodles sneak in and a piano-based rock sequence establishes itself. This part of the song, sung in Spanish, is not quite as engaging. Neither the sung verses or choruses, but the instrumental soli in between are quite something. The wailing electric guitar with oboe is a bit much. The ensuing GENESIS-like synth solo section is very nice. This then moves via piano arpeggi into another gorgeous vocal section (a reprise of the opening?) which then builds into a combined classical-electric instrumental crescendo. Great melodies and key and chord-changes. I wish it would end here, but it goes on into a kind of cinematic/theatric celebratory finale. (9/10)


4. "Vida y muerte" (8:28) another jazz-classical opening with solo piano and double bass setting the scene quite beautifully. In the second minute the electric bass, synths, and drums find their way into the mix. So far so good (it's still fairly subdued). Oboe. Nice. A little drumming flash. Baroque-sounding Christmas instruments. Were half way through. Tuned percussion and Javi singing in his gorgeous operatic voice. Strings join in. Wow! What a treat! At 6:15 a electric guitar crash signals the rock section--all the while Javi and two tracks dedicated to Alia's voice weave their "vida" into the piano and electric band music. It's really working! Organ, drums, and piano vying for ascendency before the song finishes with a electronic rock flourish. (9.5/10)


5. "A Nightmare on Major St. (7:33) opens with programmed drum sequence that is soon joined by real drums, piano and strings and electric guitar and bass. An odd combo. (A little like Phil Collins' 1983 GENESIS foundation to "Mama.") Javi's singing narration is okay--maybe a little more theatric than necessary. Even the presence of Alia's voice and cor anglais do little to engage me. The instrumental section in sixth minute with its guitar solo just proves to me that it's really the electric guitar that grates me; it just feels too much--the sound used and volume are more than should be necessary, in my opinion. (8/10)
 

6. "Awakenings (9:03) opens with the programmed drum sequence from the previous song bleeding in before Javi's "Wake up" and piano gradually supplant it. Definitely been there, done that (as a father, that is) though I was more prone to use Isaac Hayes' "Theme from Shaft" to wake my daughters up. 
     At 1:45 mandolins and bouzouki and crotals introduce a new section, which eventually turns into a neat instrumental passage based upon an old ALAN PARSONS PROJECT melodic riff (from the end of Tales of Mystery and Imagination's finale, "To One in Paradise" in which many of the album's most memorable themes are recapitulated). Before you know it we're at the seven minute mark and another too loud electric guitar solo takes us away from the beauty that had been so well established. Javi's daughter Andrea's tap dancing gives us the rhythmic percussion sounds to accompany the Spanish guitar section in the eighth and ninth minutes. Then a synth solo amps things up leading to a rather bombastic end (despite Andrea's cute "ba-bop" tap at the very end). (9/10)

Though the electronic and more rock-oriented performances are very good, it is the classical-jazz passages and sounds that attract more of my attention and listening pleasure.


90.0 on the Fishscales = five stars, A-; a masterpiece of progressive rock music.



4.5 Stars; The Near-Masterpieces





ANATHEMA The Optimist


A collection of wonderfully engaging, melodic songs all melding together quite well. 

Line-up:
Daniel Cavanagh - guitars, vocals, keyboards, bass

Vincent Cavanagh - vocals, guitars, keyboards, programming, bass

Jamie Cavanagh - bass

John Douglas - drums, keyboards, programming

Lee Douglas - vocals

Daniel Cardoso - drums


1. "32.63n 117.14w" (1:18) more like a dramatic intro to a radio theatre play. 

2. "Leaving It Behind" (4:27) computer rhythm track of pops and clicks with guitars and vocals for the first two minutes before the drums and full band join in. Driving and insistent and typical of the band, though a bit more hard and heavy than recent songs. Good song. (8/10)


3. "Endless Ways" (5:49) A sensitive piano-based song featuring the incredible vocal talents of Lee Douglas from start to finish, this is just one awesomely beautiful song--one of the best songs I've heard all year. In true Post Rock fashion, it builds and crescendos, yet it never loses its heart-wrenching, romantic spirit--thanks to the stupendous performance and presentation of Douglas's vocal. Plus, I adore its chosen message. "The dream I created." Say no more. (10/10)


4. "The Optimist" (5:37) opens as if a reprise of the previous song, but then one of the Cavanaugh brothers's voices enters to tell you differently. (Lee does pop up in the background at the end of the first and second minutes.) It does take over two minutes until the full band joins in, but that's about my only complaint to this beautiful song. I love it when the band use orchestral support (as in the album Falling Deeper--my favorite album they've ever done) and the fact that the final two minutes is a Post Rock instrumental, buildup, crescendo, and fade. (9/10)


5. "San Francisco" (4:59) again there is a tremendous familiarity to the piano opening of this song--like I've already heard it in a variation on this very same album--but then, as it plays out as an instrumental, we are treated to the buildup coming from--surprise--the computerized rhythms (and, later, synthesizers). It could almost qualify as a house/rave song! Still, a very satisfying, engaging song, start to finish. (9.5/10)


6. "Springfield" (5:49) a true Post Rock song with Lee Douglas's haunting background repetitions of "How did I get here?" and "I don't belong here" the most memorable parts. (8.5/10)

7. "Ghosts" (4:17) another stunning piano-based song featuring Lee Douglas on lead vocals. I like the drum play here very much. (9/10)

8. "Can't Let Go" (5:00) a true rock song--a good one! (8.5/10)

9. "Close Your Eyes" (3:39) a true jazz torch song. Very much like a sensitive, masterful Kate BUSH piano-based song from her last 50 Words for Snow album. Cool! (9/10)

10. "Wildfires" (5:40) could be an ULVER song (whichmakes sense since the Cavanaugh brothers have been working with Garm and crew a lot over the past few years)! Awesome and powerful! Amazing crescendo! (9.5/10)

11. "Back To The Start" (11:41) a great, sensitive 7-minute prog song (á la STEVEN WILSON) followed by four minutes of emptiness and then four minutes of vacuous family stuff that does not belong on the album. Too bad! (9/10)


90.0 on the Fishscales = 4.5 stars, B+/A-; a near-masterpiece of progressive rock music.




CAST Power and Outcome

Virtuosic instrumental symphonic prog from these Mexican masters. Makes me want to go back into their discography since my last listen to anything by them was 2008's Originallis--which was brilliant. How can such an amazingly talented band fly so far under the Prog World radar?  

Line-up / Musicians:
- Bobby Vidales / vocals
- Guadalupe Acuña / vocals
- Claudio Cordero / guitar
- Luis Alfonso Vidales / keyboards
- Roberto Izzo / violin
- Carlos Humarán / bass
- Jose Antonio Bringas / drums

1. "Rules of the Desert" (Instrumental) (11:35) the first four and a half minutes are monotonous but after that things take off and impress. Definitely has at times an "overture" feel to it. (9/10)

2. "Power and Outcome" (7:25) great start with awesome piano work and beautiful strings support. Awesome vocal, never over the top, always fully invested and in the pocket. Great synth bank supported electric guitar solo followed by beautiful violin solo in the middle instrumental section. A top three song for me. In the same vein as 1995 Polish NeoProggers COLLAGE. The violin work throughout this song is stunning--so powerful! (9.5/10)


3. "Details: a) Circle Spins (5:47) sounds as if it came from an off-Broadway musical. The whole production is very theatric, with the piano-base and solo lead vocal delivering some very poor lyrics. Way over the top. (7.5/10)


4. "Details: b) Start Again (Instrumental) (8:43) uses too many tricks of the late 1980s hair-band heavy rockers (kick drum, guitar and synth sounds, and machine gun guitar soloing). (8/10)


5. "Through Stained Glass (8:46) styled and vocaled like a 1980-ish STYX song, I must say I enjoy the melodies and chord progressions. So long as the drummer stays in support, it's very good (could be great. The repeated "chorus" of "Vaults, arches, with the windows" is the weakness.) Amazing soli and support structures, sounds, and performances. Those fourth, fifth, and sixth minutes are PURE PROG MAGIC! As good as COLLAGE ever did back in the mid-1990s. 

     At the six minute mark we get a shift and what feels like a switch in direction, but it's only a side road; a little mellower but just as well woven and melodically enrapturing. Violin is given full stage all too briefly in the eighth minute before the band comes back together for the full whole-band weave to end. Another top three song--one of the best prog songs I've heard this year! (9.5/10)

6. "Illusions and Tribulations (9:27) starts out feeling as if it's a continuation of the previous song. At the two minute mark there is a distinctive shift which ends up establishing a setup for an amazing virtuoso guitar solo--the longest one on the album. As usual, nice keyboard work throughout. (I love how often little "sneak" "glimpses" of some rather perfect and awesome organ work sneak into my ears. 

     At five minutes male vocal joins piano and strings "classical" aria section. Nice background vocals here, too. (9/10)

7. "The Gathering (8:16) opens, again, feeling as if a continuation of the song before, with a minute of wicked-fast keyboard, guitar, and violin mirrored riffing. The vocal that enters at the end of that minute is calm and meaningful, sung and supported instrumentally and b vox so beautifully. A shift at 2:23 into a kind of Celtic/country them with piano, organ, and amazingly fast guitar shredding is unexpected but quickly winning. What a solo! Almost two minutes worth! Eddie Van Halen would be proud! This is followed by a turn taken by the violinist--rather sedate and melodic at first, but then sneaking into Mark O'Connor or Akihisi Tsuboy territory. Another shift at 5:10--back to the wonderful second section with a reprise of the vocal structures--is sudden but works. My final top three song from this album. (9.5/10)


8. "Conquest" (Instrumental) (3:30) pretty instrumental with another theatric-recap feeling to it. Great melodies and soli. Probably the best theme on the album but it's one, it's short, and it's difficult to compare it to the long epics above. (9.5/10)


9. "Full Circle" (1:57) a vocal piano song that again gives this album a concept theatric feeling. Not unwelcomed as this one has more of a Renaissance/Classical music feel. Nicely done. Awesome vocal; practically flawless. (9.5/10)

10. "Dialect for the 21st Century" (5:16) a nice song, quite an intricate weave, in which the drumming is just too front and center during the first two sections. Once the third section sets up for the flaming lead guitar solo, the drummer falls into background in a perfect way. Man, he is SO good when he's there, in the background, in support, laying down the base for the instrumentalists to create their weaves over the top. (8.5/10)

Total time 70:42


The drummer is much better as a follower and time keeper. When he tries to lead and fill with his flourishes and nuances it becomes overwhelming and often detracts from the rest of the music. I also dislike when his bass drum part seems to replicate the finger play of the keyboard melodies.  

89.50 on the Fishscales = B+/4.5 stars; a near masterpiece of progressive rock music. Were it not for a few weak spots, this would surely be one of the finest albums of the year--especially as it contains five or six of the finest songs I've heard of the year and a band of some of the most virtuosic instrumentalists and songwriters in Prog World.  





INNER EAR BRIGADE Dromology

It's been five years since the wonderful Rainbro but this little gem makes the wait all worthwhile.A little heavier and more serious this time around but the compositional skill and instrumental performances have improved a notch (amazingly!)

Line-up
Bill Wolter – Guitar
Chris Lauf – Drums
Stephen Wright – Electric Bass
Melody Ferris – Vocals
Ivor Holloway – Tenor, Alto, and Soprano Saxophone
Eli Wallace – Keyboards (1,2,4,5)
   With
Theo Padouvas – Trumpet (1,2,4,5,6)
Andrew Vernon – Keyboards (3,6,7)
David Shaff – Trumpet (3,7)
Aharon Wheels Bolsta – Tabla (5)

1. "Dark Sleep Fortress" (6:40) opens the album with a heavier but still avant sound that is fully recognizable for people who are familiar with their previous album, Rainbro. The band is thick and tight! Forgot how much I like these horns and the voice of Melody Ferris. Nice keyboard solo and horn section work in the final two minutes. Unfortunately, the bass line here just gets too old--not enough movement and variation. (8/10)

2. "Black And White Taste" (5:56) avant in a math rock almost THINKING PLAGUE way. Almost feels like a study in whole-band (even vocal) weave using odd time signatures. I have to admit that I don't like it when Melody's voice is used in this way. Great bass, sax, and electric piano work. (8/10)

3. "Shaman Coin Toss" (6:51) nice opening with lots of fast-paced whole-band movement. Almost HAIRCUT ONE HUNDRED energy here. Melody's voice brings us back to solid ground (in a good way) before the horns and fast-play and changes take us in other directions--many! And moving so fast! This is fun! The 1960s Bay Area-style electric solo is unfortunate; turns me off. Piano section is nice, simple, a surprising twist--coupled with a softer side of Melody. FROGG CAFÉ comes to mind here. As with some of the previous album, the mid-song tempo and stylistic changes are a bit mystifying. Still, a pretty amazing composition. (9/10)

4. "Bobotut" (6:12) bouncy, upbeat multi-thread weave with instrument-like vocals mirrored by sax and other horns throughout. Part NORTH SEA RADIO ORCHESTRA, part Astrud & João Gilberto. Gorgeous! Maybe my favorite song on the album! (9.5/10)

5. "Dromology" (8:55) love the winding rondo weave of the separated horns on this with Melody's long drawn out singing notes. (9/10)

6. "Targa Floria" (4:22) horns, repeated electric guitar riff, and Fender Rhodes-like keys fill the opening before the horn section starts doing its magic in several weaves. This is all multi-layered instrumental jazz--a very intricate composition very tightly performed. The horns in the mid-section and second half are quite nostalgic in a BURT BACHARACH-kind of way. A top three for me. (9.5/10)

7. "Birdie In The Wall" (6:57) awesome big-band kind of opening turns into a more intricate staccato  weave with Melody Ferris's smooth torch song vocal playing over the top. The second section gives this almost a SWING OUT SISTER sound. I love it! Such a great, smooth song! Definitely another top three song for me. (9.5/10)

Total Time 45:53

The further I get into the album I keep wondering why this wonderful bass player did what he did in the opening song.


89.29 on the Fishscales = B+/4.5 stars; a near-masterpiece of progressive rock music. There's a little feeling of the genius of HOMUNCULUS RES here.






EYOT Innate

Refreshing new Post Rock from Serbia featuring piano-based instrumentals with roots in both classical, jazz, and Serbian folk musics.


Line-up:
Dejan Ilijic - Piano

Sladjan Milenovic - Guitar

Milos Vojvodic - Drums

Marko Stojiljkovic - Bass


1. "Veer" (6:03) Beautiful song though the second section's piano display gets a little lost and 'separated' from the main group. How awesome would this be with MIDAS FALL's Elizabeth Heaton singing over this! (9/10)


2. "Helm" (4:46) awesome non-piano-based opening takes its time to establish its weave. When piano joins in at 0:50 mark, the song is ready to just keep cruisin'. Very jazz familiar. And great lead melody from the piano. (9/10)

3. "Mountain" (5:08) delicate, almost GEORGE WINSTON/CLAUDE DEBUSSY-like solo piano intro, no other instrument joins in until the 2:06 mark. My favorite song on the album. (9.5/10)


4. "Perun" (5:32) sounds like it could come from the soundtrack to a modern-day dystopian episode of Charlie Brown/Peanuts! (8/10)

5. "Canon Of Insolation" (4:48) opens with guitar effects before very solid Post Rock rhythm and weave establishes itself. Very nice work from all instrumentalists: great flow, restraint, and proficiency. Probably the best song on the album (as opposed to my favorite). Debussy-like piano solo in middle is my favorite part. (9.5/10)

6. "Ramonda Serbica" (7:07) great jazz opening before classical-sounding piano joins. Then distorted pedal wah electric guitar presents with its creepy fade and slide and echoed notes. Interesting. (8.5/10)

7. "Innate" (5:46) sounds very much like a jam in continuation of previous song. Very like Reine Fiske's collaborations with Ståle Storløkken's ELEPHANT9. Nice bass play. Nice ending to the album! (9/10)

Total time 39:10


89.29 on the Fishscales = B+/4.5 stars; a near-masterpiece of jazz- and classically-tinged Post Rock progressive rock music.




JORDSJØ Jord

Nice instrumental symphonic folk-rock from Norway in the traditions and styles of the masters of the 1970s classics as well as countrymates ÄNGLAGÅRD (only with vocals).


Line-up

Håkon Oftung - Vocals, flute, guitars & keys
Kristian Frøland - Drums, percussion
Robert William Dall Frøseth - Bass (3)

1. "Over Vidda" (1:48) cool album opening with discordant, non-Western sounding flute and low and windy synth washes. (--/10)

2. "Abstraksjoner Fra Et Dunkelt Kammer" (6:50) nice retro electric guitar intro reminiscent of the work and stylings of ÄNGLAGÅRD's Jonas Engdegård. The vocals in the second minute take it out of the realm of their countrymates, but the ensuing guitar-led organ-supported instrumental section bears much resemblance. Bare bones organ with flute in the fifth minute before screeching guitar kicks us back into full gear. (9/10)


3. "Finske Skoger" (2:56) continued guitar lead with a folk melody seeming to be the dominant theme here. I feel like I'm listening to Greece's great CICCADA. Amazing how melodies from different (and distant) folk traditions can sound so similar. Like the TULL-like flute work. (8.5/10)


4. "Jord I" (6:24) technically and conceptually brilliant but lacking that hook or melodic element that invites the listener into the music. Could be said to be too mental, lacking emotion or soul. (9/10)


5. "Jord II" (8:27) blessed with the album's most engaging, melodic, and emotional passage in the keyboard-led mid-section (which is then repeated in a more symphonic form in the finale), this song shows the promise the band holds: to perhaps not only impress but engage. (9.5/10)


6. "La Meg Forsvinne!" (6:38) interesting WHITE WILLOW and WOBBLER-like song. Much more "human" and accessible if "prog-by-numbers." I like the sonic nods to EMERSON, LAKE & PALMER. (8.5/10)

7. "Postludium" (4:42) obviously a solo offering from bandleader Håkon Oftung, this keyboard-based, almost Berlin School sequencer type of prog elecronica, is a cool song, all four movements and its bridges. My favorite song on the album. (9/10)

Total time 37:45

I've been listening to this album off and on since it came out in January. My gut feeling is quite similar to that of the music of ÄNGLAGÅRD: technically and conceptually brilliant but lacking something inviting or engaging for the listener. The music could be too cerebral and not emotional enough--especially when the guitarist is the lead/dominant instrument. The keyboards offer a much more engaging sound and styling.

89.17 on the Fishscales = B+/4.5 stars; a near-masterpiece of technical, symphonic progressive rock music.





SUBURBAN SAVAGES Kore Wa!

Formerly tr-Ond and the Suburban Savages, Kore Wa! shows this Norwegian band refining their sound into great quirky, poppy, sometimes nujazz-feeling prog. The keys to this band seem to be in the quirky synthesizer sounds and styles, exceptional bass play, solid drum play and wide diversity of song presentations (Japanese, English, instrumental, with JAGA JAGGIST, ARTHUR BROWN, Zeuhl, GENTLE GIANT, NEMO, ATOMIC APE, JOE JACKSON just a few of the styles and sounds I hear glimpses of).

Line-up:

Trond Gjellum (Panzapapa): Drums, percussion, lead and backing vocals, programming, keyboards

Anders K. Krabberød (Panzapapa): Bass guitars

Nina Hagen Kaldhol: Electric guitars, Moog guitar

Hans-Petter Alfredsen (Panzapapa): Keyboards

Mari Lesteberg: Keyboards

Thomas Meidell: Electric guitars, baritone guitar, vocals, noises

   With

Ketil Einarsen (The Opium Cartel, Jaga Jazzist): Vocals, flute

1. "Fade Into Obscurity" (5:02) mid-paced jazzy rock closer to JAGA JAZZIST than JOE JACKSON with a first vocalist who sounds like the gentler side of Joe Jackson and a third who sounds like Frank Zappa! An extended albeit simple "saw" synth solo in the middle is backed by cool industrial percussion. The final third is again split between the two vocalists with some poppy "ba-ba" background vocalists. Catchy! (8.5/10)

2. "Pronk" (3:57) again, a kind of pop-Nujazz feel with odd time signatures opens with a long happy intro before some odd harmonized vocals enunciating some words in English very slowly. Creepy synth solo with cool flute runs and trills running around behind is followed by a guitar-led section. It almost sounds like Arthur Brown at the end! (8.5/10)

3. "As I Am Dying" (6:00) the opening sounds not like the Beach Boys, but... the vocal section is almost GENTLE GIANT-ish while the instrumental sections in between are very synth & organ heavy proggy. The background "aahhs" are creepy and almost comical. The song grows on you! Definitely the most proggy song on the album. The second half is great--sounding like something from a NEMO album. One of my top three. (9/10)

4. "Guzarondan" (5:29) another fave--an instrumental with some nice melodies woven together, again in the kind of Nujazz style that JAGA JAZZIST has been using for some time. (9/10)

5. "Von Two" (4:24) another song very much in the JJ Nujazz vein. Well composed and performed with some nice intricacies, nuances, shifts and melodies. The other top three. (9/10)

6. "Kore Wa!" (4:12) opens with the establishment of a rumbling bass riff that repeats pretty much throughout the song. Soon it is joined by drums keys and guitars and spoken lyrics in Japanese! Reminds me of the sci-fi B-movie soundtrack music of American band Atomic Ape! This is awesome. Even has a Zeuhl passage (tongue-in-cheek?) at the end of the third minute and into the fourth. Quite a cool song! Smiles all the way! My favorite song on the album. (9.5/10)


7. "Docteur Mago" (8:44) another excellent instrumental more on the proggy side. Nice changes and solos and precision timing and dynamic shifts. There's even a quiet interlude in the middle! And some more UNIVERSAL TOTEM ORCHESTRA/SHUB-NIGGURATH stuff in the second half. (8.5/10)


Total Time 37:48

88.57 on the Fishscales = B+/4.5 stars; a near-masterpiece of progressive rock music. 

So what's missing? I'm not sure. Perhaps it's in the repetitive nature of the Nujazz style that I sometimes loose interest. Perhaps it's in the typically restrained and unspectacular (unemotional) soloing from the instrumentalists. The vocals (are they supposed to be tongue-in-cheek/comical) are a real entertainment highlight for me. I wish every song had some.







COSMIC TRIGGERS Homo Fractaliens

Wonderful space/psychedelia from Russia. Many times listening to this album I am reminded of early BRAINTICKET or even the mellower side of GONG. 

Line-up
Anastasia Skabelkina: vocal, analog synth

Vladimir Skabelkin: guitar, ethnic, synth

Vladimir Kolbin: guitar

Russel Petrov: drums

Tagir Khisamov: bass 



1. "Introduction" (3:31) a slow introduction into space with the sexy voice of Anastasia Skabelkina reciting poetic verse to us through a effects box. (8.5/10)



2. "Homo Fractaliens" (7:16) a more upbeat, driving piece of kosmische musik over which Anastasia gives us her best CAROLE MUIR impression. Then the song turns almost SpaceReggae! Not VESPERO, but freaky close! The guitar work is more like West Coast psychedelia. (9/10)

3. "Undermind" (9:32) droning sounds, notes, chords, float in and out of the soundscape with didgeridoo-like and Middle Eastern reed pipe sounds (Vladimir Skabelkin's "ethnic" instruments?) appearing and traipsing in and out over the first four minutes. This is awesome! I'm in Tibetan (or Egyptian?) heaven! Rhythmic, tribal drums pulse their way into the fabric and we are approaching hypnotic bliss! By the seven minute mark it almost seems as if the song is beginning it's fade--soundscape simplifying and emptying, as if the shamanic journeyman is walking away, walking out of town, leaving the rest of us to carry on, carry forward the healing bliss they shaman brought us. Wonderful song! (10/10)

4. "Syndicate" (9:05) a great groove over which the "wrong" guitar effect and Ray Manzarek organ weave their gentle soli for the opening four minutes. Anastasia's dreamy, trippy vocalise are in the vein of the Gilli Smyth school of psychedelic vocals. Very much like the current American band MIDDAY VEIL. (8.5/10)

5. "Quant Um" (4:20) and the MIDDAY VEIL party continues! Nice groove (part U2 "Boomerang," part PROPAGANDA/Trevor Horn); nice, tight weave among all of the instrumentalists. (10/10)

6. "Shutsuryoku" (6:13) monotonous bass and organ and lack of drums hold this song back from ever properly taking off. It's like it's stuck in Bar-do. (7.5/10)

Total time: 39:57


A band with a lot of promise. Though Cosmic Triggers have put together a wonderful album, I can see lots of room for growth.

88.33on the Fishscales = B+/4.5 stars; a near-masterpiece of progressive rock music. A short album but enough. Like a GONG album.





PSYCHIC EQUALIZER The Lonely Traveller
 


Wow! What a debut from classically trained pianist Hugo Selles! Piano is at the base of all compositions (even when it is absent) but the accoutrements Hugo has designed to support his keyboard are amazing! Never overloaded or ostentations, never showy or cluttered, the songs are constructed rather perfectly! Such a refreshing album! Destined to be one of my favorites from 2017!

Line-up
Hugo Selles - piano, keyboards, and synths
   With
Quico Duret - guitar and effects
Morten Skøtt - drums
Carlos Barragán - classical guitar and voices
Nikolai Petersen - vibraphone and percussion
Katerina Anganostidou - celesta
Jan Irlind - balalaika
India Hooi - voices and hulusi
Joaquin Páli Palomares - first violin
Khalida De Ridder - second violin
Johanna Baarlink - viola
Adriana Isaku - cello and voices

Tracklist:
1. "Mezuz" (6:18) with melodies between Satie, Cicada, and Metheny, the piano-based song opens beautifully before giving way to some very basic solo play on a drum kit after 90 seconds. Piano and electric guitar slowly, gently, carefully add their notes and chords. There is a George Winston like instinct displayed in the fifth minute. Then it turns more Keith Jarrett-like. Very nice foray into simple yet-so expressive jazz piano. The key change sand instrumental shift with a minute to go is nice--with electric guitars bringing the song fully into the prog rock fold. (9/10)

2. "An Ocean Of Changes (I-IV)" (6:33) opens with electric piano/harpsichord and soft jazzy cymbol play by the drummer before sustained electric guitar soloing commences. Pretty. And very subtly nuanced. At two minutes a major shift brings us into the electrified rock domain as electric guitar chord play and drums enter. Suddenly, just after the three minute marek, everything shifts to an almost Mike Oldfield piano/tuned percussion section. Then, just as suddenly, things turn jazzy in a Claude Bolling kind of way. Piano with a lot of crazed, unrestrained guitar and drum play while the piano, too, begins to go Rachmaninoff. Then a synth makes me feel like 1970s Todd Rundgren is present. It calms down in the final minute yet continues to carry forward a very industrial-decay sound and feel to the end. Interesting! (8.5/10)

3. "The Lonely Traveller" (0:53) piano and mandolin open this one. Soft, moody, emotional. The industrial sounds from the previous song seem to appear as the instruments fade and stop.
4. "Lágrimas" (3:37) piano and cello/viola open this one. A foundation of right-hand piano arpeggi with shifting deep bass chords coming from the left serve soloing electric guitar, female vocalise, synth. String section finishes this one off quite beautifully. Very cinematic. (9/10)

5. "Adrift" (2:39) opens with rapid sequencing of celesta and piano bass play with spacey-synths entering above. Percussives and vibraphone work their way into the weave in the second minute. Nice melodies. When drums and electric guitar power chords enter at 1:40 it changes feel, but then all falls back to a kind of uptempo rallying song. Drive! Drive fast! (8.5/10)

6. "Peña Labra" (2:35) opens with strings playing a lower scale minimalist unfinished melody through their chord play. One-two-three begs for continuance, fulfillment. It's as if the question is never fully asked or the elevator never gets to the ground floor. (8/10)

7. "Flying Over The Caucasus" (3:34) an odd, discordant chord and melodic structure delivered through Fender Rhodes-sounding keyboard and then piano with very simple drumming behind. Turns out there are two keyboard tracks playing off one another. soloing electric guitar joins the old-time jazz bar music in the second minute before becoming a fixed part of the chordal mix in the background. Interesting. (8.5/10)

8. "Lovers Meet" (6:44) acoustic nylon string guitar opens while synth wash periodically fills the spacious background. Synth and organ become more permanent fixtures toward the end of the first minute. Organ and vibraphone turn creepy in second minute. At 1:30 the guitar moves up and octave and becomes more animated as brushed drums and gorgeous jazz piano accompany. Sudden appearance of super-delicate electric guitar notes give it an almost Post Rock sound and feel. Strings join in at the end of the third minute. Gorgeous electric guitar play! At 3:30 piano gets its turn in the lead as string quartet and brushes support. Nice. Way more jazz-sounding than prog or jazz fusion, but probably my favorite song on the album. I love the way the lead instruments keep shifting octaves! Really effective. A song begging for a singer to grace it with the delivery of a lyric.(10/10)

9. "A Collection Of Marbles" (3:53) another delicate, sensitive performance from all instrumentalists: hand percussionists, electric guitar, piano. Similar to the previous song. Windham Hill-like. (8.5/10)

10. "An Ocean Of Changes (V-VI)" (2:20) opens with some jazz bar piano sweeps and full-keyboard travels before hulusi joins in. At 1:18 the song shifts majorly into a full band soft-jazz-rock format with electric guitar arpeggi dominating the weave till song's end. (8.5/10)

11. "A Visit To Adelaide" (5:11) solo piano that could come from a George Winston, Burt Bacharach, or even Billy Joel interlude or outtake. So sensitive and gorgeous. As Hugo plays he gets more emotional, more dynamic, before, at the two minute mark, organ, drums and squealing electric gutiar jump in and blaze a new trail. At 3:15 all goes quite again as Hugo's piano takes up the fray again--but this time sparsely applied incidentals coming from electric guitarist and percussionist flit in and out among the gorgeous piano play. Wow! Another masterpiece! Even the bird and nature sounds at the end are so fitting and perfect. (10/10)

12. "Nørrebro" (2:48) piano bar jazz (an upright?), one more time, as ever, smolderingly emotional. Satie-esque before choir, vocalise, and organ. A bit of the Clare Tory sound here with the vocals. Nice. (8.5/10)

Total Time 47:05
 


88.18 on the Fishscale = B+/4.5 stars; a near-masterpiece of gorgeous crossover instrumental progressive rock music.




BRIAN ELLIS Suspension

This mostly-solo artist really knows what he's doing! I loved 2011's Cosmic Perspective but this is way better! And such a diverse collection of trippy, jazzy, funky, proggy instrumentals! Awesome! Definitely a keeper!

Line-up:
Brian Ellis (Astra) - All instruments

   except

Mike Hams - Drums (2)

Zuri Waters - Sax (7)


1. "Roadbells" (3:08) gentle solo distorted electric piano opens before being joined by other keys/vibes in a three-way weave. Old IRON BUTTERFLY-like organ (with Mellotron backing) then takes the lead. Cool! Funky EGG/BACHian end! (8.5/10)

2. "Spiral" (5:33) opens with some serious funk in the bass and drums! Multiple keys create a little repetitive weave which is then joined by electric guitar. Definitely a perfect setup for some blazing guitar soloing--but the drums and keys steal the show, that is, until the fourth minute when two (or is it three) layers of guitars come out of the gates. Reminds me of QUANTUM FANTAY or SAMSARA BLUES EXPERIMENT. (8.5/10)

3. "Worship" (5:13) old bluesy-funky jazz with the guitars sounding like the saxophones. Amazing! Again, a very old sound and style resurrected for this song. Great ears, Brian! (Wish I could peg the 1960s-70s jazz-funk artist this reminds me of! Larry Coryell? Eumir Deodato?) (9.5/10)

4. "Seventeenth" (2:33) a piano étude (for three pianos) reminiscent of many tributes to John Coltrane and/or Bill Evans. Incredible! (There's even a little "Shaft" in there, right Brian?) (9.5/10)

5. "Emerald" (3:36) This guy can play an organ! And choose great sounds from it, too! A little Wakeman-like feel (Criminal Record or "Seahorses") to this one. Awesome! And incredible use of effects to fade. (9/10)

6. "East" (6:15) like ELECTRIC ORANGE on acid--or Courvoisier! Awesome! (10/10)

7. "Dwell" (featuring Zuri Waters on saxophone) (6:36) funky but pretty straightforward. Nice Santana-like guitar sound/styling. Like the "tuned percussion" and drums best. Really gets under your skin (in a great way) by the end! (9.5/10)

8. Night Flight (6:54) moody heavily treated electric piano (á la LED ZEPPELIN's "No Quarter") opens up the song before heavily distorted softly picked electric guitar is woven in, and then bass. As a matter of fact, the longer it plays, it reminds me a LOT of "No Quarter." Crazy synths and even heavier distortion of other instruments turns the second half into a kind of cray-cray updated end to "Space Oddity." (8/10)

Total Time 39:48


88.125 on the Fishscales = B+; 4.5 stars; a near-masterpiece of progressive rock music though it is one of my favorite albums of the year!






AMAROK Hunt

 A nice album from this Polish band which seems to aspire to emulate countrymen RIVERSIDE/Mariusz DUDA. They do so, though much more on the mellower and electronic-assisted side.

Line-up:
Michał Wojtas: vocals (1, 3, 5, 6, 9), guitars, harmonium, keyboards, audio samples, percussions, electronic drums, theremin, low whistle
   With
Paweł Kowalski: drums (1-3, 5, 6, 8), bass (2)
Marta Wojtas: wavedrum (1, 2, 6, 9)
Colin Bass (Camel): vocals (8)
Mariusz Duda (Riverside, Lunatic Soul): vocals (2)
Michał Ściwiarski (Casma): keyboards (7)
Konrad Pajek: additional backing vocal (2)
John England: lector voice (9)
Sebastian Wielądek: duduk (4)

1. "Anonymous" (6:41) Nice atmospheric music though I'm not sure I like the synthesized drums and thin sound of the lead electric guitar. All instrumental opener which actually does a very nice job of introducing the feel and sound of the rest of the album. (8.5/10)

2. "Idyll" (5:41) featuring the mellifluous voice of prog legend Mariusz Duda, the song is almost purely a vehicle for just that--which is almost enough (superlative vocal, Mariusz!). (8.5/10)

3. "Distorted Soul" (5:32) sounds like a carryover from the previous song with some computer percussion tracks and very Mariusz Duda-like vocals from Michał Wojtas. I like the odd, aliens-from-outer-space synth in the fourth minute that leads into the song's awesome crescendo. Well done! (9.5/10)

4. "Two Sides" (5:09) opens with duduk playing over layers of atmospheric synths & treated piano. Very cinematic, very much like Peter GABRIEL's soundtrack music for The Last Temptation of Christ. Awesome! (10/10)

5. "Winding Stairs" (4:34) a more-pop-oriented song in the vein of JAMES BLAKE and SAM SMITH. Interesting (and surprising) key changes/chord progressions in the guitar solo section. (8.5/10)

6. "In Closeness" (5:52) opens with soloing distorted electric guitar before Middle Eastern-like computer and manual percussion tracks join in. The soft, almost-whispered vocal alternates with the ejaculations from the distorted guitar and some simple electronic keyboard work. This song makes me feel more inclined to urge this artist (Michał Wojtas) to pursue more of a pop music approach. He really has a gift/talent for electronic percussion combining and programming. There's a little TEARS FOR FEARS, NEW ORDER, or THE THE feel in Michał's song-construction, soundscape and singing styles. I very much like it. (9/10)

7. "Unreal" (4:40) more interesting "Blade Runner"-like solo electric guitar play to open this bluesy instrumental. At the one minute mark the guitar becomes more similar to a JEFF BECK/NIKITAS KISSONAS/COLIN TENCH sound and approach. Nice work. Very mature guitar play. (9/10)

8. "Nuke" (5:48) featuring the vocals of CAMEL's Colin Bass, this one just doesn't work for me. The Hawai'ian-like lead guitar work falls short. (7.5/10)

9. "Hunt" (17:52) a musical vehicle for the contemporary journalistic report of the way our ever invasive social media affects things like human privacy, safety, and even species evolution right now, it has a feel, at first, like one of the stories similar to the HIBERNAL story soundtracks that have made their way into progworld in recent years. At the four minute mark the song morphs fully into a Berlin School electronic sequenced song like KLAUS SCHULZE and SEQUENTIA LEGENDA. It's really well done! Definitely showing this artist's dexterity and eclecticism. Not just a great song--but a really well thought out one. If it's true that keyboardist/programmer Marta Wojtas deserves credit for this one, then kudos to her! The sequencing is truly engaging and well constructed! The slide guitar work is good. Great vocal performance in the second half. (9.5/10)

Total Time 61:49

88.89 on the Fishscales = solid B/four stars; an excellent album of atmospheric progressive rock music.






KARDA ESTRA Infernal Spheres

Richard Wileman has returned to some of the simpler soundscapes and melodic structures of his early work. Richard's wife and long-time collaborator Ileesha is present but used rather sparingly. The album seems to have songs representing all of Richard's moods and eras in his illustrious evolution.  

Lineup/musicians:
 - Richard Wileman - acoustic, classical, electric, bass & prepared guitars, keyboards, samples, percussion, rastrophone, bouzouki, Appalachian dulcimer, zither
    With:

 - Jo Court  - bass clarinet (6, 9, 10)

 - Caron De Burgh - oboe (3, 8), cor anglais (1, 8)

 - Helen Dearnley - violin (4)

 - Amy Fry - clarinet (5, 9), tenor saxophone (9)

 - Richard Overton - bass trombone (1, 3), tenor trombone (6, 9)

 - Lauraine Phelan - trumpet (6, 9)

 - Paul Sears - drums (2, 6)

 - Ileesha Wileman - vocals (7, 9, 10)


1. "Prelude To A Dark Vortex" (1:52) gorgeous opener in church-like bombastics with lots of minor chords and atmospherics. So regal! (9.5/10)

2. "The Fermi Paradox" (3:19) awesome song with Paul Sears' perfectly fitting drumming. Great chord progressions and cool off-beat bass play. My favorite song on the album. (10/10)


3. "Ceres" (1:36) minor Spanish-style guitar-based song with the gorgeous oboe play of long-time collaborator Caron De Burgh. Another gem. (9.5/10)


4. "Obelisk Of Cruithne" (6:46) is a return to darker times. Mostly a solo affair, Richard uses some very odd sounds and sound combinations to keep the listener on edge. Dissonance and melodrama with little or no melody. (8/10)

5. "Anatomy Of The Heavens" (4:48) gorgeously nostalgic. Piano and clarinet shine. Haunting melodies. Problem is that it doesn't go anywhere; it's an awfully long song for such sustained simplicity. (9/10)

6. "Solar Riviera" (6:42) nice soundtrack music. Very French. The eerie "saw" synth in the background is a cool touch. The two brief interlude/breaks are also a nice touch before the transition to different sounds and drumming. I like the 'thickening' of the musical soundscape in the fourth and fifth minutes and the horns in the final third. (9/10)

7. "Legacy Of Theia" (4:21) It's so nice to hear Ileesha's voice! A gorgeous acoustic guitar-based song with, again, all kinds of unusual sounds and textures combining to convey the 'story'. The tinny percussion-like keyboard sounds are my favorites--and there are a lot of them here. Interesting fade/outro. (9/10)


8. "Kklak!" (3:45) pure dissonance and questionable substance. (7/10)


9. "Free Fall On Tyche" (4:51) back to some of the Burt Bacharach-like sounds that we heard on 2013's Mondo Profondo. Ileesha's vocalizations are, of course, the highlight of the song--with the horns. So nice to hear the full horn and woodwinds interacting. The bass guitar is a little monotonous but overall, this is a nice song. (9/10)

10. "Nemesis" (5:35) bass clarinet and percussion alternating with a chorus of Ileesha and organ. Interesting and often surprising but also hypnotic. (9/10)

Total Time 43:35


88.0 on the Fishscales = 4.5 stars, B+; a near-masterpiece of progressive rock music.






MAGIC BUS Phillip The Egg


England's revivalists of the Bay Area psychedelia and Canterbury Scene have returned with another collection of one that flows and develops slowly in its complexity and dexterity over the course of the album. As a matter of fact, it seems to me upon repeated listens that the opening songs are fairly simple and pleasant and innocent while the trend progresses toward more expressions of anger and discord towards the end of the longer songs and the album itself. 
I would have liked to hear more instrumental expressivity and complexity but am exceedingly happy for the input of this collection of songs that take me to a place that was much more innocent and carefree.


1. "Mystical Mountain" (8:50) a nice epic with simple Canterbury-lite (witty a la CARAVAN) approach to the vocal sections. The instrumental sections are more experimental but very subtly so. (8.5/10)

2. "Fading to Light" (3:36) absolutely gorgeous study in sound and space. I think the band are showing true signs of commitment to one another in diving deeply into their chemistry and technical proficiency. (10/10)

3. "Trail to Canada" (5:43) the first half is a bit innocuous but then a big shift and a rocking psychedelic second half lifts it up into memorability. (8.5/10)

4. "Zeta" (4:34) electronic psychedelia (reversed tracks) play from beginning before JEFFERSON AIRPLANE-like sound and structure establishes itself. The ethereal mid-section is interesting--perhaps a bit out of place. Nicely performed though there are a few sections that are a little drawn out with little or no development. (9/10)

5. "Distant Future" (7:11) is by far the most demanding both compositionally and of the listener--which is a good thing for this band. Discordant, edgie and syncopated, though still psychedelic--at least, until the fourth minute when a chorus temporarily gels it all together. The song returns briefly before going Fripp on us with some interesting lead guitar. I like the band's adventurousness here though it doesn't necessarily result in a beautiful or "shout about" song. (8.5/10)

6. "Kepler 226" (6:41) an instrumental that once again displays the band's cerebral commitment to technically complicated musics. (8.75/10)

7. "Kalamazoo" (3:30) a surprisingly sedate, more-acoustic-oriented approach to the band's sound. Nice but nothing extraordinary here. (8/10)

8. "Yantra Tunnels" (5:04) opens with harmonium and other Indian-sounding sounds. In the second minute Western instruments like drums and electric guitars enter and take over. This one rocks--like a good rockin' German Krautrock song from the 1970s. Even when it amps up a notch in the fourth minute it still (or even more) retains that Krautrock feel. (9/10)

87.81 on the Fishscales = B+; 4.5; an excellent submission of psychedelic Canterbury-esque music. I predict that MAGIC BUS's next album is going to be a true masterpeice!





MIKE OLDFIELD Return to Ommadawn

Though full of new music, as opposed to some of the re-hashing send-ups Oldfield has released over the years, this one is a beautiful little reminder of just how awesome those mid-1970s albums of Mike Oldfield's were.


Line-up:
Mike Oldfield - acoustic, classical, 12-string & electric guitars, acoustic & electric basses, mandolin, harp, bouzouki, banjo, grand piano, spinet, Farfisa organ, ARP 2600 & Solina synths, bodhran, glockenspiel, accordion (6), assorted percussions (marimba, gong, tubular bells)

1. Return To Ommadawn (Pt.1) (21:10) many old themes and weaves rendered anew and with great recording clarity. (9/10)


2. Return To Ommadawn (Pt.2) (20:57) a couple nice riffs overextened and underdeveloped. (8.5/10)



Total Time 42:07



87.50 on the Fishscales = 4 stars; solid B; a very good progressive rock album--a nice, fresh take on the Ommadawn style and themes with very clear recording and solid performances.





ELECTRIC MOON Stardust Rituals

Another of Sula Bassana's Kosmische Musik outlets--and this is a good one!

Line-up:
Komet Lulu: Bass, Vocals, Effects
Marcus Schnitzler: Drums
Sula Bassana: Guitar, E-Sitar, Organ, Mellotron, E-Piano, Effects

1. "The Loop" (8:06) a simply constructed two chord exodus set up with organ, bass, drums, and guitar strums which are intended to provide the foundation for the heavily distorted vocal. The singer's pleasant voice sounds as if he's singing to you through bong water. At the end of the fourth minute the volume rises and there is a major shift in the music to a more hard-driving trip into hyperspace with heavily effected organ and keys representing our mode of transportation. Even with the shift, this song never really sucks me in like the fourth song. It's okay if you like RAY MANZAREK/THE DOORS jams. (8/10)

2. "Stardust (The Picture)" (10:13) opens as a straight-time, two-note plodding monster. Higher pitched vocals--heavily treated, as usual--enter in the second minute. Then pitch-modulated "white noise" guitar play. The song really congeals at the end of the third minute. Multiple tracks of the "white noise" guitar begin to weave around and within each other. Pretty cool! (9/10)
3. "Astral Hitch Hike" (4:40) simple drums (lite cymbols and rim shots), bass, and sitar tracks open this one. Bass, drums and sitar slowly ramp up with the bass and sitar repeating their singular riffs over and over. Sitar drops off as intermittent echo-effected percussive hits to an electric guitar appear. The sitar melody riff returns for the final 40 seconds. Okay. Never really hooks one nor goes anywhere. (8/10)

4. "(You Will) Live Forever Now" (22:40) an amazing prog epic that starts slowly, like an ELECTRIC ORANGE or MY BROTHER THE WIND song, with a very New Age/Indian sound  coming from hand percussives, electric bass, sitar, and gentle drumming, before settling into a steady and very engaging groove with a foundation that sounds amazingly like the musical base for ROBIN TROWER's jam at the end of his timeless song "Bridge of Sighs" at around the 4:10 mark. This moment coincides with the entrance of some dreamy, trippy vocals and keyboards and just before the advent of the electric guitarist's arrival. For the next  minutes, it's just a slowly building, smooth ride on the cosmic sea of a great groove. At the end of the ninth minute the guitar chooses to go raunchy/heavy distortion just before the return of multiple ethereal voices. These haunting, lilting voices continue into the twelfth minute as the guitar slowly amps up his attack. By the time the thirteenth minute rolls around you know that all band members--bass, drums, vocalist and electric guitarist--are fully locked in and charging ahead with all cylinders firing. At 13:30 the guitar switches effects to more of a screaming feedback-responding screech, scratch, and squeal. Adrian Belew would be so proud! As we cross into the sixteenth minute a descending bend in the guitarists sustained note brings us into a quiet section. Everybody is tiptoeing now. Soft, peaceful, yet the groove is still there. At the 17-minute mark begin some signs that we'll be returning to high volume: guitar strums, the return of vocals, and, eventually, cymbol crashes and MELLOTRON! The glorious, timeless, essential Mellotron. The bass pulses, vocals haunt, drums pound, and 'tron shows us the light--until the guitar begins to seer us with its fire over the final minute and a half. Amazing! Beautiful! You know you've got a great song when all you want to do is get up and move and pretend that you're one of the trance players in the song! (10/10)

Total Time 45:39

87.50 on the Fishscales = B+/solid four stars of modern Kosmische Musick--containing one of the musical highpoints of the year in the nearly-23-minute epic, "(You Will) Live Forever Now."







EKOS Otra Dimensión

A new release from this band from Mexico City that is PINK FLOYD-inspired without being a straight imitation or too derivative. Lots of atmosphere, familiar guitar sounds, wildly creative keyboard/synthesizer use, and solid, hypnotic rhythm section. Listening to Otra Dimensión, I am actually more reminded of Norwegian band AIRBAG's debut album, Identity.

Line-up:
Ana Camelo - Keyboards and vocals

Jesus Torres - Guitars and vocals

Víctor Juárez - Bass guitar

Carlos Clériga - Drums and percussion

1. "Merkaba" (5:08) truly spacey and mood-setting, though not much in the way of song structure. (8/10)

2. "Gravedad" (4:01) and nice slow tempo rocker putting on display guitarist Jesus Torres's pedal steel talents. (9/10)


3. "Avatar Pt. I" (5:33) a very delicately constructed weave of bass, picked guitar and quiet keyboards that is joined in the third minute by drummer Carlos Clériga's sensitive cymbol play before the song finally breaks into a pretty vocal-led ballad. (9/10)


4. "Sublimatio" (3:01) shows off the band's "heavier" side with almost-metal, almost-djenty riffs from start to finish. More like an instrumental étude in metal play. A nice guitar solo in the final minute is ruined by a very cheesy 80s synth bass and end. (7.5/10)

5. Astralis (3:20) opens with piano-based gentle rock lineup before multi-layered harmonized vocal enters around 0:40. Another venture into heavier, metal-riffing at 1:05 throws me off--especially when the incongruous synth solo begins. The lead guitar work in the third minute is nice (despite the support of the rudimentary metal music). (8/10) 



6. "Avatar Pt. II" (3:18) opens as a straight-thru bleed from the previous song. Vocals from the getgo with an odd pop electric piano bouncing around in-between the vocals, drums and guitar "power chords." A sudden shift at 1:55 draws me in--floating, panning keyboards in the background with nice electric guitar lead up front. Odd song. (8.5/10) 

7. "Orillas Del Tiempo Pt. I" (4:01) opens very prettily with arpeggiating guitar, cymbol play and tropical jungle keyboard sounds. Vocal enters to calm and space out the scene. Synths, echoed guitar, and fake-echoed drums try to effect a scene or mood. The guitar solo that begins at the end of the second minute is stellar--one of the best I've heard all year--true emotionality of the master, Dave Gilmour. At 3:15 the song kind of devolves into a 1980s power rock song (think Bon Jovi). Despite this, the guitar continues to shred emotionally. (9/10)

8. "Invocación" (4:44) opens with piano and a very familiar guitar sound (Collage, Riverside) while band establishes foundation for a slow rock song. Vocal enters at the end of the first minute and doesn't quite fit. Where is Robert Amirian when you need him! The song evolves quite unpredictably--which is a good thing, for a while--but then ends like a song that should have been on GENESIS's ...And Then There Were Three... (8.5/10)

9. "Espejo" (5:38) opens with a piano and synth sound and style that is starting to feel a bit old. But then at 0:35 everything shifts. A darker, murkier soundscape takes over á la some of the great songs on David Gilmour solo albums. I love that the band chose to sing in their native tongue throughout the album. 
     The synth work of keyboard player Ana Camelo (starting at the 2:00 mark) is the standout performance of this song--and it is wonderful. Richard Wright taken two steps further. The song amps up for the second verse with the return of the WHITESNAKE guitars for the final minute or two. (9.5/10)

10. "Orillas Del Tiempo Pt. II" (5:58) opens with a bit of a New Age feel to it--until the gentle, atmospheric singing enters. At the one minute mark enter bass and arpeggiated guitars, then drums and soloing synth (á la "Welcome to the Machine"). Nice bass and drum play. Throughout. Actually, nice mix aurally and technically. 
      Return of the power chords while the ghost of Richard Wright plays up front with an abandon he never had in life. (Nice work, Ana!) My favorite song on the album. (9.5/10)

11. Otra Dimensión (2:01) nice sonic outro with droning synth and meandering Satie-esque piano solo playing out to the end. (9/10)

Total Time 47:00


A band of creative if tempered and influenced instrumentalists have collaborated to create an exciting collection of songs. I see so much potential, so much more, for this band! I, for one, will be watching for future releases! I truly understand the praise and attention this album is receiving from the prog community!

86.82 on the Fishscales = B/solid four star album; an excellent representation of progressive rock music.  





UNAKA PRONG Adult Contemporary

Another fantastic smorgasborg of music from Boone, North Carolina's gift to the music world, this album has me feeling so nostalgic and yet it's all new, fresh, and completely Unaka Prong!


Line-up / Musicians:

- Mike Welsh / guitar
- Daniel Stevenson / guitar, vocals

- John Hargett / drums, vocals

- Jonathon Sale / bass

- Chris Pope / keys

- Nic Pressley / trumpet

1. "Gadnuk (Breaker of Worlds)" (5:22) a bluesy instrumental very familiar to those who've heard the Margot album. Nice keys and horns; tight drums and bass. (8.5/10)


2. "Fruit Fly" (6:24) silly folk fun that makes me think I'm sitting on a porch on a sweltering hot day in the South. Once the music kicks in, it's more danceable jazz with a kind of Dr. John vocal and a tight musical merengue-like weave. (8.5/10)


3. "Alchemy" (4:26) opens with a bluesy-reggae feel to it before the loose, almost comical "late night drunk" vocal takes the lead. Wonderful organ work on this one! Awesome key changes at 2:45 and 3:20. (8.5/10)


4. "Déjà Vu (0:44) is a gorgeous little piano "étude" in a Joni Mitchell/Bill Evans vein. (10/10)


5. "Run Out (5:05) my immediate and continued favorite song on the album (of course! it has a very odd time signature!) Just hypnotic and gorgeous! Prog perfection--with trumpet! Probably my favorite song of the year! (10/10)


6. "Late July (5:10) a blues-jazzy musical base for a visually descriptive vocal. Again, early STEELY DAN comes up for me ("St. Louis Toodle-oo")--though the playfulness of HAIRCUT ONE HUNDRED also comes to mind. These guys are surely having so much fun! Just listen to that fourth minute! And then there's that trumpet, that wonderful trumpet... (8.5/10)


7. "Lurks (6:07) another unpredictable string of themes and styles rendered to perfection as only Unaka Prong can. Though not necessarily needed, the guest vocal of a female is welcomed--and lovely. Do you think John Hargett has fun playing this one! (Bang, bang, bang!) And the rap appearance, again, is always welcome--especially the way these guys do it. Great keyboard work, Chris Pope! (9/10)


8. "Heartburn (6:11) Up taking me out into the realms of the Stones, Radiohead, and even Dave Matthews Band. (8.5/10)


9. "Lake Jam #1 (5:41) pure jazz pop like a Larry Carlton/Joe Sample/The Crusaders tune with the ever clever and happy UP shifts, bridges, and touches. These guys are so creative! Nice guitar rant in that fifth minute, Daniel! (9/10)


10. "Maeng Da (Lake Jam #4) (3:25) opens as a pretty little piano suite before the rhythm'n'blues-backers join in and make it special. Beautiful song. Love the slide guitar and muted trumpet. (10/10)


11. "Narcese (4:27) upbeat, hard-drivin' blues-rock in the Southern bluesy vein. Proficient but not my cup of tea. (8/10)


12. "Fairweather Friend (1:41) a real odd duck--a late night drinking dirge--cute but standing out for it's difference. (7/10)


13. "Highway Drivin' (3:37) U2 did it, Elvis Costello and Mark Knopfler, too, so why not Unaka Prong? Again, I get it, appreciate it, but, it's just not my cup of tea. (6.5/10)


14. "Too Far Gone (5:23) one of those songs that you can loop to replay over and over--especially on a nice summer day on the dock. Gorgeous and maybe as perfect as perfect can get (especially in that it's lyrics/singing are waxing rhapsodic over a girl. Ahh! The joys of life!) (10/10)


15. "As we Agreed (6:58) nothing extraordinary or particularly innovative (despite the Hackett-esque guitar and trumpet effects used in the fifth minute). (8/10)



Total Time 70:41

86.67 on the Fishscales = B/4 stars; a solid, excellent offering of diverse somewhat proggy music.





ROBERT JÜRJENDAL Simple Past/Lihtminevik

If Robert Fripp and Brian Eno were to have teamed up with Jack DeJohnnette or Pierre Moerlin:  ambient jazz (Mark Isham style).

Line-up
Robert Jürjendal — touch guitars, percussion, keyboards (1, 6, 8, 9), Neunaber effects 
Andrus Lillepea — drums (1–8) 
Lotte — „water drop” samples (6) 
Six — breathing (9) 

1. "No Or Yes" (3:32) a great song with a STEVE HILLAGE/MIKE OLDFIELD "Incantations" meets Mark ISHAM sound and feel to it. One of my three favorite songs on the album. (9.5/10)

2. "Brothers" (3:03) a beautiful little spacey excursion through the atmospheric soundscapes of Robert Jürendal. (9/10)

3. "Kettle" (1:58) uptempo drums and very edgie almost-abrasive guitar "scrapings" and rumblings.Short. Could have been developed or linked/morphed forward. (8/10)


4. "Melting Memories" (3:57) gorgeous PAT METHENY New Chautauqua-like opening over which Fripp-like guitar solos. Don't really like the drum sound or work; the song might actually be better without. (9/10)

5. "Up Up" (4:14) almost sounds and feels like a recapitulation and reinvention of a certain passage from GENESIS's "Firth of Fifth": "Let it be revealed. A waterfall, his madrigal. An inland sea, his symphony." Cool but, again, it could go somewhere. Maybe this is Robert's way of saying that it doesn't have to: that this little passage looped over and over is enough. (8/10)

6. "Old Stories" (6:34) the end sequence of a MERCURY TREE song ("Deep Five"). Cool weave and interplay of TONY LEVIN-like bass (ChapmanStick?) and guitar and keys. The song even builds and fades like "Deep Five." I like the constant soloing of the drumming--it's very cool--but it also shows the drummer's shortcomings. (8.5/10)

7. "Substance" (4:30) very, VERY much like a Mark ISHAM, "Gates of Delirium," or New Age opening. The drum play takes it out of the New Age realm, and the length of ambient jazz away from YES, but the sounds are there. (8.5/10)

8. "Above" (4:24) flows straight out of the previous song with some chorusy synth sound providing foundation for slow bass, drums and multiple guitar play over the top. Nice chord/key change at 0:27--would like to hear more chord and key progressions on this album--probably my chief complaint. This is really the first song to show development and storytelling from start to finish. My third favorite song of the album. (9/10)

9. "More" (4:21) another one-dimensional base track providing rhythm for multiple soaring guitar tracks. Nice study, experimentation but not a finished song (to me). (7.5/10)

10. "Simple Past" (8:58) opens with a very spacey, atmospheric ALIO DIE-like synth wash background sound. In the second minute a second synth comes in high while the lower chord pauses,  fluctuates and becomes intermittent and changeable. Very cool suff! Even rivals Stefano Musso! Odd new sounds are allowed to creep in with the fifth minute giving it a very dreamy, Mark ISHAM soundtrack-like feel. Amazing song! Rivals even BRIAN ENO for mood- and space-altering effect. Maybe this is the type of music Robert should be doing more of. Were it not for the way that the fast wah-ed guitar persists in the last two minutes becomes annoying/grating, this would be a perfect ten-out-of-ten song. Still, another one of my favorite songs on the album. (9.5/10)

Total time 45:31

The drummer is not anywhere up to the DeJohnnette/Moerlin skill or status that I first felt. Songs #4 & #6 show his limitations and deficiencies and the sound is just not as clean and crisp as that of the old masters. Still, Robert Jürendal is an artist with whom I was unfamiliar. I like his styles, sound palettes, and experimentalism.

86.50 on the Fishscales = B/four stars; an excellent collection of atmospheric progressive rock music which I highly recommend to others to check out.





ODD OUTFIT ^(Up/Down)

Line-up
Alex Chochinov - Guitar
Jorden Hart - Trumpet
Graeme Leaver - Keys
Karl Manchur - Bass
Adrian Schroeder - Drums

Tracklist:
1. "Intervention" (4:29) jazz-rocky rhythm guitar, chunky bass, uptempo drumbeat, trumpet takes the first lead, guitar the second, keys near the mid-point and then everybody kind goes for it, a the same time. Kind of cool, kind of simple in an étudinal kind of way. (8/10)  

2. "Moons Aligned" (3:58) opens with synth background and Fender Rhodes-like right hand lead. Cymbol play makes it feel soundtrack-ish. When Mark ISHAM-like sustained trumpet notes enter and hold (looping, echoing and gradually decaying and ending), it all makes sense. Later the trumpeter (from a background panning position) takes on more of a Kenny Wheeler (early David Sylvian) style and sound. (8.5/10)

3. "It Will Catch Up With You Too" (5:50) despite the chunky fretless bass, syncopated drumming, and keys, this one feels like an old jazz tune--a foundational warmup kind of song. All instruments hum and gel nicely, the repeated chord sequence and melody line get a little old despite the amp up at the end of the fifth minute on to the end. (8.5/10)

4. "No Response Still" (3:52) another interesting brief cadence that gets repeated for an entire song, the trumpet and guitar get to play off each other during the on-and-off chord progressions and pauses. In the second minute, the bass and drums pull the song into more of a continuous groove despite the keyboards maintaining the original patterns. I love how the rhythm structure tries to switch in the last minute but then quickly collapses to the fade-down. (8.5/10)

5. "Roatan Skies" (5:39) Kind of New Orleans jazz meets 1970s Memphis soul/R&B with a Herb Alpert twist on it. (8.5/10)

6. "That 6th Sunset" (1:37) is a slow, moody, cinematic, and very proggy interlude. (8.5/10)

7. "Up/Down" (5:45) opens with a very engaging HAIRCUT ONE HUNDRED/HERB ALBERT sound, pace, and feel. My favorite song on the album. Great weave of performances from all of the members on this one; great engineering. Shifts tempo and style mid-song to a more "Low Spark of High-heeled Boys" foundation with several instrumentalists going hog wild over the top. Great song! (9.5/10)

8. "Blue Flower (Leaving The Cabaret)" (5:48) opens with an "Along Comes Mary" type of bass riff over which slowly join and build a beautiful sound palette (one that could have come from a mid-1970s FREDDY HUBBARD or CHICK COREA album). Very cool and beautiful song. Love the multiple tracks dedicated to the treated trumpet and jazzy chords hit by the keys. (9/10)

Total Time 36:58

86.25 on the Fishscales = B/four stars; a solid and engaging excursion into jazz-rock fusion which many listeners will enjoy immensely. 





ULVER The Assassination of Julius Caesar

The reincarnation of Depeche Mode and New Order? Great collaborations, and Garm's voice has NEVER been better!


Line-up / Musicians

- Tore Ylwizaker / keyboards, electronics
- Kristoffer Rygg / synthpads, pedalboard, percussion

- Jørn H. Sværen / wind

With:

- Ole Alexander Halstensgård / electronics

- Stian Westerhus / guitars

- Anders Møller / tambourine, shaker, congas

- Daniel O'Sullivan / guitar, bass, keyboards

- Nik Turner (Hawkwind) / sax (2)

Songs / Tracks Listing

1. "Nemoralia" (4:10) How can you not love this one! "Nero lights up the night (eighteenth nineteenth of July)" and its dedication to Diana Spencer! With an awesome pop hook. Sounds like a YAZ song. By far my favorite song on the album. (9.5/10)

2. "Rolling Stone" (9:26) could be a great New Order or OMD song--even down to the background chorus girls. It not only rocks, it throbs. Great "A Day in the Life" crescendo ending! (9/10)


3. "So Falls the World" (5:57) piano base with awesome synth flourishes throughout. This one sounds very much like an Ulver song. (9/10)



4. "Southern Gothic" (3:40) a little too much like an ABC, PROPAGANDA, THE THE, or YAZ  song (though it's so nice to hear!) The vocal sounds like DEPECHE MODE's David GAHAN They've certainly mastered the style! (8.5/10)

5. "Angelus Novus" (4:07) synth washes break for Garm's echoed and, later, doubled voice. At the one minute mark the full musical arrangement joins in. Nice long-held vocal notes. Never becomes the engaging, melodic song you hope for. (7.5/10)

6. "Transverberation" (4:30) more synth and guitar floursishes and riffs á la ABC and other 80s synth bands that I'm not pegging. Nice but could have used a little more shifting and transgressing. The closest we get is the TEARS FOR FEARS/early SIMPLE MINDS/DEPECHE MODE shift at the 3:00 mark. (8/10)

7. "1969" (3:59) more synths, this one more bouncy in a ABC/PSYCHEDELIC FURS/SPANDAU BALLET-like way. I do like the female background vocals used on this one and "Rolling Stone." For 60s buffs, the lyrics are full of 1969 references. See if you can pick them all up! (8/10)

8. "Coming Home" (7:50) interesting MOBY-like vocals with MASSIVE ATTACK/PAUL OAKENFOLD-like music. Out there, experimental; I'm not sure I like it. The second half with its house/rave-like synth beats and solos becomes more engaging. Okay, I like it. It's cool. (9/10)

85.625 on the Fishscales = B/Solid four stars; an excellent representative of retrospective progressive rock from the bravely chameleonic and unpredictable wolves from the north.




MAJOR PARKINSON Blackbox

Line-upInside the Blackbox: 
Jon Ivar Kollbotn: lead vox, piano (track 3) 
Eivind Gammersvik: bass, backing vox 
Lars Christian Bjørknes: piano, synth, organs, programming, notation, backing vox 
Sondre Sagstad Veland: drums, perc, typewriter, backing vox 
Sondre Rafoss Skollevoll: guitars, backing vox, microKORG (track 4) 
Øystein Bech-Eriksen: guitars 
Claudia Cox: violin, backing vox 

Also featuring: 
Linn Frøkedal – lead vox 
Carmen Boveda – cello 
Jonas Flemsæter Hamre – saxophone 
Joar Lemme – trombone 
Gunleik Gisletveit – tuba 
Logan Arndt – french horn 
Andreas Hesselberg Hatzikiriakidis – trumpet 
Nataniel Hjønnevåg – xylophone 
Thomas Rolland aka Lip Shaw – whistling 
Megan Kovacs – backing vox 

Female choir by Volve Vokal: 
Thea Meidell Sjule 


1. "Lover, Lower Me Down!" (4:47)  (9/10)
2. "Night Hitcher" (5:46)  (9/10)
3. "Before the Helmets" (1:25) (6/10)
4. "Isabel - A Report to an Academy" (9:41) (8.5/10)
5. "Scenes from Edison's Black Maria" (1:46) minimalism!? (9/10)
6. "Madeleine Crumbles" (5:06) upbeat pop noir! with nice performance from female singer Linn Frøkedal. (9/10)
7. "Baseball" (10:20) prog cabaret! entertaining! (8.5/10)
8. "Strawberry Suicide" (2:57) classical/Kurt Weill/Leonard Cohen! (8/10)
9. "Blackbox" (5:48) 80s underground synth pop! (9/10)


85.625 on the Fishscales = B/four stars; an excellent addition to any adventurous prog rock music collector. 









THINKING PLAGUE Hoping Against Hope

New avant/RIO from the Colorado-based masters is always nice. Elaine sings and plays accordion!

Line-up
Mike Johnson: guitar, samples, midi instruments
Mark Harris: soprano and alto saxes, B-flat standard and bass clarinets, flute
Dave Willey: bass, drums (5), accordion (2, 6)
Elaine di Falco: voice, accordion, piano
Robin Chestnut: drums, percussion
Bill Pohl: guitar
     with:
Adriana Teodoro-Dier: piano (2, 5, 6) and toy piano (2)
Simon Steensland: bass (5)
Mike Boyd: drums (2)
Kathryn Cooper: oboe (4)

1. "The Echoes of Their Cries" (6:37)

2. "Thus Have We Made the World" (5:44)

3. "Commuting to Murder" (4:44)

4. "Hoping Against Hope" (10:06)

5. "The Great Leap Backwards" (4:01)

6. "A Dirge for the Unwitting" (13:45)





HERD OF INSTINCT Drone Priest

Line-up:
Mark Cook  (Spoke of Shadows) - Warr Guitar, Fretless Bass, Fretless and Fretted Guitars, Keyboards, Samples, and Beat Construction.
Bill Bachman (Spoke of Shadows, Neil Morse) - Drums
Gayle Ellett (Djam Karet) - Mellotron, Moog, Hammond, and Guitar
Bob Fisher - Flute and Sax
Adam Holzman (Miles Davis, Steven Wilson) - Moog, Piano, Rhodes, and Ring Modulator
Marco Machera (EchoTest) - Bass
Mike McGary - Rhodes, Synth, and Vibes
Rick Read - Chapman Stick
Ross Young - Cymbals



1. Fragments Of A Portrait (2:46)
2. Cosmos (4:17)
3. Drone Priest (5:29)
4. Slow Current (3:56)
5. Orphan (4:25)
6. Filament (4:23)
7. Count To 5 (4:32)
8. Zero Point Flow (4:45)
9. Soft Glow (6:20)
10. Almost Transparent Blue (4:42)
11. The Blood Jet Is Poetry (6:23)

Total Time 51:58




Special Mention:




UTOPIANISTI Brutopianisti

Though I've been listening to this one and playing pieces from it on my radio show since its arrival on the music scene January first, 2017, I have had a heck of a time trying to 'rate' this unEarthly experiment into uncharted musical territory. The music contained herein is a violent, Mr. Hyde-like version of Finnish genius Markus Pajakkala's UTOPIANISTI though this is mostly him playing various woodwinds and tuned percussives.

Because I have trouble assigning ratings to songs of lengths less than two minutes, only six of the thirteen songs here would have earned ratings. Because I have so little brainpower to be able to compare and then justifiably categorize the music, I have decided to refrain from ratings altogether.

I think the album genius but it definitely pushes the limits and tolerances of all music listeners.

BRUTOPIANISTI IS:
Markus Pajakkala - modified drums, bass clarinet, soprano sax, xylophone, various flutes, additional vocals
with:
Marko Eskola - screams, growls & voices on #1, 2, 3, 5, 6, 7, 10, 12, 13
Sampo Salonen - throat singing on #1, 3, 5, 6, 13
Ismo Mäkinen - squeaking on #8
Anssi Solismaa - modular synths on #7, 12

Conceived, engineered & produced by Markus Pajakkala
Composed by Markus Pajakkala, with contributions from guest musicians, pure chance and Xochipilli the Hare
Lyrics by Markus Pajakkala & Marko Eskola 




1. "Gróyul Ghóul Ghò!" (01:37)
2. "Gcéme Zéle Dté" (01:46)

3. "Blászh" (02:57) all kinds of animalistic throat-vocal noises parade within the weave of this odd song. At the 30 second mark, the song actually shifts into a milder, more spacious form with the Muppet "Animal"-like growl-speak vocalizations continuing throughout. Then, at the two minute mark there is another shift with a wind instrument taking over. Interesting.

4. "Bhómega" (03:56) opens on a very 'world music' stage--sounding like something out of a JON HASSELL performance at one of the WOMAD festivals. But then, at the 1:20 mark, the drums and other instruments (bass clarinet and synthesized flute or sax on the lead) enter and things settle into a new pattern that feels all right with the rest of the world. Nice soloing over some steady rhythm patterns.

5. "Gabósh Dí Magá" (01:41) growls and reverb effects used on this one make it so cool! The woodwinds and drums weave is perfect support for the Kong Island--fitting song.

6. "Zigévomídá Zwógh" (01:13) the vocals on this song are the highlight as multiple styles are represented--sometimes even together! Drums are fairly tolerable on this one.

7. "Hóllò" (04:04) opens with a distant repetitive horn loop while the percussionist seems to be testing out the fullness of his drum kit. After over 75 seonds of this, and the listener wondering if the drummer will ever find his way, a long sustained low synth note enters prompting the drummer to seem to at least get "on the run." The synth begins to develop and move around while the drums continue to explore. The final 30 seconds is all synth and distorted vocalizations. I'm not sure how to even assign a rating to this one! It's unEarthly!

8. "Wóókh Ztadás" (01:14)
9. "Zwaáakh" (01:26)
10. "Zhími Bàgi Dá" (01:10)

11. "Bóm Zói" (02:42) opens with drums and woodwind speeding along at breakneck speed. At the 25 seocond mark the bass clarinet slows down and establishes a rhythmic, looping riff over which drums and synth wreak havoc.

12. "Brümigá Hügu" (03:25) more wild drumming and synth effects noises with more sedate, almost melodic bass clarinet. At 1:20 the clarinet and synths become more jaded, more industrial-sounding while the percussionist continues as before. The final thirty seconds switches to metallic percussives and proto-human vocal growls.

13. "Glüf Zwagó Zigévomídá!" (03:45) xylophone, throat singing, and oddly treated/processed flute open this song. At the end of the second minute, drums, looping bass clarinet, and synth enter to support a upper octave treated flute solo. At 3:10 we enter the final section with bass clarinet, frenetic drumming, and crazed "Animal" vocals.

Total Time 30:56

I have to admit that the Muppets' "Animal"-like tribalistic beating of the drums along with their very plastic sounds leave me feeling a little raw and jaded, but the music is so interesting and, well, for lack of a better word, raw, that I can usually get past it. I wonder if Markus ever heard the Spanish band ZA!'s 2015 album Loloismo before making this album. There are some similarities.

Brutopianisti is genius and masterful but it is neither essential nor even excellent. This is not the kind of music you want to play for your mother or to impress your girlfriend--especially if you don't want to trigger their nervous breakdowns. It may truly be necessary to call this one "for collectors/fans only" though it pains me to do so, it is truly difficult to call it "good" because I'm not sure what it is good for. I like it, I'm fascinated by it, I smile at it, I have given it dozens of listens in order to try to understand and appreciate its genius, but in the end, I'm not sure how to recommend it to another. "Try it if you want to test what extremes you're able to tolerate" or "try it and see how long you can take it before you have to jump out a window." Good luck! If this is truly your cup of tea, then you are a weirder man than me.