Though Prog Is Alive and Well in the 21st Century, I have decided to go back and "fill in" the years upon which the 21st Century is built--and not just the "classic" years of 1967-76. Each year will be given its own page, containing reviews of the albums I determine are worthy of recognition (both positive and negative). As usual, these pages will be works in progress, to which I'll be adding information as it comes my way.
My Favorite Albums of 1993:
1. JOHN MCLAUGHLIN Time Remembered: John McLaughlin Plays Bill Evans
2. OZRIC TENTACLES Jurassic Shift
3. JANET JACKSON Janet.
4. COCTEAU TWINS Four-Calendar Café
5. NEW ORDER Republic
6. CONCRETE BLONDE Mexican Moon
3. JANET JACKSON Janet.
4. COCTEAU TWINS Four-Calendar Café
5. NEW ORDER Republic
6. CONCRETE BLONDE Mexican Moon
7. ISRAEL KAMAKAWIWO'OLE Facing Future
8. DEAD CAN DANCE Into the Labyrinth
9. DEPECHE MODE Songs of Faith and Devotion
10. KINGSTON WALL II
Honorable Mentions:
DURAN DURAN Duran Duran (The Wedding Album)
CYNIC Focus
9. DEPECHE MODE Songs of Faith and Devotion
10. KINGSTON WALL II
Honorable Mentions:
DURAN DURAN Duran Duran (The Wedding Album)
CYNIC Focus
IONA Beyond These Shores
BJÖRK Debut
THE CRANBERRIES Everybody Else Is Doing It, So Why Can't We?
LENNY KRAVITZ Are You Going to Go My Way?
LENNY KRAVITZ Are You Going to Go My Way?
PATRICK GAUTHIER Sur les flots verticaux
VOIVOD The Outer Limits
Five Star Prog Masterpieces
(Ratings of 100 to 93.34)
1. JOHN McLAUGHLIN Time Remembered: John McLaughlin Plays Bill Evans
Anyone who has had the privilege of seeing John perform live in concert will know how sincerely, respectfully, and selflessly he gives support to his stage mates--sitting back, providing virtuosic chord support and loving attention to each and every soloist as if that person is his own child that he want so much to succeed and shine. As evidence of this, I urge you to watch the 1985 film Round Midnight to watch John play in that incredibly talented all-star band that supports Dexter Gordon in order to see how willing and thoroughly invested John is in playing a supporting role--something he does with such emotion and love! Or listen to Shakti's song, "Face to Face" in which John's stunning background strumming so lovingly supports and counters Shankar's violin playing--egging the young maestro on to higher heights; it's beauty at its very highest heights.
Line-up / Musicians:
- John McLaughlin / acoustic guitar
- Yan Maresz / acoustic bass
- Aighetta Quartet / classical guitar
- John McLaughlin / acoustic guitar
- Yan Maresz / acoustic bass
- Aighetta Quartet / classical guitar
1. "Prologue" (2:14)
2. "Very Early" (Homage to Bill Evans) (4:20)
3. "Only Child" (5:06)
4. "Waltz for Debby" (4:55)
5. "Homage" (2:16)
6. "My Bells" (3:22)
7. "Time Remembered" (3:59)
8. "Song for Helen" (1:54)
9. "Turn Out the Stars" (6:26)
10. "We Will Meet Again" (4:20)
11. "Epilogue" (1:14)
This album is full and complete perfection--helped, of course, by Master Bill Evans' compositions and previous standards of play, but also by John's complete and utterly loving commitment to each and every note. John is without a doubt a true masterpiece of both artistic expression and human achievement.
The "Minor" Masterpieces
(Ratings of 93.33 to 90.0)
2. OZRIC TENTACLES Jurassic Shift
Producing albums since 1985, Ed Wynne and company (aka OZRIC TENTACLES)'s 1990 and 1993 albums, Erpland and Jurassic Shift, respectively, achieved the blend of quality production, recording, composition, and performance to elevate the band into the pantheon of 'significant' progressive rock musicians. Categorized a "psychedelic/space rock" band because of their jam band instrumental approach and heavy reliance on synths, "world" percussives, rhythms, instruments and sounds, and Ed Wynne's guitar soloing, the Ozrics are so much more. (The reputation of their live concerts does seem to draw similarities to those of PHISH, GROBSCHNITT, or THE GRATEFUL DEAD.) Jurassic Shift is my favorite OT album. Published in April of 1993, this modern world instrument- and synthesizer-infused jazz-rock fusion band from the UK led by guitarist/multi-instrumentalist Ed Wynne had just come off the release of their second live album after eight studio albums in eight years. With JS it seems that the band had made the complete synthesis, balance, and maturation of their spacey sound with pristine sound reproduction and production.
1. "Sunhair" (5:43) from the opening percussive synthesizer sequence I knew that this was going to be a band I like and that this song album and song were to be amazing. Once full band joins in there are sections of Japanese garden-like sounds, odd crowd/bird sounds, swirling synth solos and wailing rock guitar soli all alternating in perfect time durations. Awesome opener! (9.5/10)
2. "Stretchy" (6:51) here the band puts on display the unique way in which they have incorporated the awesome array of synthesizer sounds and capabilities becoming available at the beginning of the Nineties--many of which were rather unfortunately relegated to the realms of New Age and Buddha Lounge/World Music. The song cruises along at a fast pace from the get go with a vast array of synth sounds being incorporated over the driving drum and bass play. Great tune for moving! (9/10)
3. "Feng Shui" (10:24) opening with flute soloing meditatively over garden-like synth washes and incidental percussives until a synth sequence and drums and bass enter at the 1:30 mark establishing a Lots of Holger-Czukay-like radio samples woven into the tapestry. At the end of the third minute some really gorgeous synth chords enter before leaving to isolate the bass and Jamaica-like drum/percussives in order to throw a veritable flood of idiosyncronous synth-generated spacey-"jungle" sounds at us. Koto takes the lead within the mix for the sixth minute. Then a more familiar organ-like synth bumps some chords at us during the seventh minute before devolving into more synth soloing from some odd & delay/echoed synth sound. The 8:00 mark sees a dramatic shift into high octane power rock with a whole change in tempo (faster) and style. For creativity this is an astonishing song; melodically it may be found lacking a bit. (17.5/20)
4. "Half Light in Thillai" (5:36) this one opens with sounds and style that are very familiar to me for my obsession with all things the Brothers Gordon (Steve and David) founders of Sequoia Records and musicians behind many of the great New Age yoga and drum circle/dance albums of the 1980s (the Inner Music and Sacred Earth Drums series') as well as bands like DEEP FOREST. Slow, methodic and aboriginal, the rhythm tracks allow for some nice flute, guitar, and synth incidentals. The final minute and more finds some excellent acoustic guitar work. (8.5/10)
5. "Jurassic Shift" (11:06) simply the best song on the album and the most truly prog of them all with some outstanding electric guitar work--both lead and rhythm--over the amazingly engaging groove coming from the rhythm tracks. This is where we get served notice that Ed Wynne is a guitar god--eleven minutes of such service! The quiet middle section is quite reminiscent of some Al Di Meola's softer stuff--like from Scenario on. (20/20)
6. "Pteranodon" (5:41) takes us back to a Jurassic-kind of time with heavy, plodding bass and drum lines supporting long sustained decaying synth "screams." The island/jungle/tribal-like percussives only add to the effect as do the "alien"-like synth ejaculations in the second half of the second minute. Searing electric guitar solo opens the third minute before relinquishing its lead to more of the synth (and violin?) ejaculations and "screams." Again, from a creativity aspect, this song is incredible! AND it hits on all cylinders with the engaging groove and story being "told." (9/10)
7. "Train Oasis" (2:46) opens with a quickly established PAT METHENY GROUP-like groove (though using a synthesizer for bass). Creative midi-synth soloing on multiple levels (tracks?) and nice chord progressions and melody constructions. (9/10)
8. "Vita Voom" (4:48) Timbales and bass & guitar open this one presenting an almost punk/techno pop beat before incidental samples are thrown at us from the computer keyboard. At the end of the opening minute the lead electric guitar gives us a little more structure with its ostinati. Flute gets a turn to shine in the third minute--though its treatments sometimes almost obscure it. Spanish-flavored acoustic guitar is added and then Spanish-flavored lead electric guitar wails over the now distinctly Latin-infused song. (9/10)
91.50 on the Fishscales = A-/five stars; a minor masterpiece of innovative progressive rock music, especially valuable for its example to other space jam bands.
3. CYNIC Focus (1993)
I just purchased both Traced in Air and Focus. While I am enjoying Traced, I can't help but notice how much more engaging and interesting Focus is. Every song, every nuance, every treatment, every instrument comes as such a surprise--delightful surprises! There is absolute genius in creativity and innovation with regard to sound structures and use of sound technologies. This is quite possibly the finest metal album I've ever heard--one that is immediately accessible--and enjoyable--to even me, a non-metal head. I own the CD version that has the 2004 remixes of "Veil of Maya," (10/10) "I'm but a Wave to?" (9/10) and "How Could I" (8/10) as well as three songs that were not on the original 1994 issue, "Cosmos," (8/10) "The Circle's Gone" (9/10) and "Endless Endeavors" (10/10) and, I have to say, I like all of the additional material equally if not better than the original stuff. There's more clarity and definition to all instruments in the remixes--everything is seemingly 'brought forward' in the mix instead of left back in a cloudy atmosphere. The three additional songs show a less technical metal side to Cynic--even a kind of MAGENTA/MARTHA & THE MUFFINS-like sound in both "The Circle's Gone" and "Endless Endeavors."
The musicianship is so high, the band plays so tight, the compositions and individual performances are so creative--even innovative--I'm simply astounded. The weakest part for me are the vocals--even though I like the call and response technique--growl & 'vocoder'--but not used over and over like this. On songs like "Textures" (10/10)1994's version of KC's "Discipline/Indiscipline"), "Sentiment" (10/10), and "I'm But a Wave to ?" (9/10) the vocals are often almost incidental and allow the listener to better appreciate the work of the instrumentalists and the overall composition. And I actually quite like the occasional and very effective presence of a female vocalist, (Who is this--she is uncredited. It can't be Paul Masvidal, can it?) and I like the Earth doom/human spirituality/quantum physics message of the lyrics. The sudden and unexpected 'tender' sections are delightfully fun--and quite interesting from a compositional perspective. Unquestionably, the lead and 'rhythm' guitar playing, drumming, and bass (esp. the PASTORIUS-like fretless) is absolutely brilliant throughout.
At the time of this album's publication it was like none other that had ever come before it. It is my belief that Focus contributed more to the formation of the new genre of extreme technical metal than any other. The arrangements and performances are so technically challenging and yet at the same time mind-bogglingly tight as to leave my jaw on the ground and shaking my head over and over and over again. Focus' pacing and vocals may not be to everyone's liking but one cannot help but appreciate the skill and vision of these musicians (who came from other bands such as DEATH to make this one-off). Again, there can really be no argument that this 1993 album contributed to the "progress" of music.
on the Fishscales = / stars;
I LOVED Aion. This is going back to explore more of the Middle Eastern sounds as they began on Serpent's Egg.
Line-up / Musicians:
on the Fishscales = / stars;
4. DEAD CAN DANCE Into the Labyrinth
I LOVED Aion. This is going back to explore more of the Middle Eastern sounds as they began on Serpent's Egg.
Line-up / Musicians:
- Lisa Gerrard / performer
- Brendan Perry / performer, producer
1. "Yulunga (Spirit Dance)" (6:56) starts very powerfully with some extraordinary overtone vocals, but then comes down to Earth with the second half and the hand percussion. (13.25/15)
2. "The Ubiquitous Mr. Lovegrove" (6:16) despite Brendan's attempt at passionate vocals, it's not believable and the song is nothing very exciting or dynamic. (8.25/10)
3. "The Wind That Shakes The Barley" (2:50) Lisa sings Celtic a cappella. (4.25/5)
4. "The Carnival Is Over" (5:28) Brendan's best song ever! So nostalgic and almost eerily sad! (10/10)
5. "Ariadne" (1:54) Silk Road campfire music. (4.75/5)
6. "Saldek" (1:07) music for Silk Road ablutions--or scarf dance. (4.75/5)
7. "Towards The Within" (7:06) one of the rare songs on which both Lisa and Brendan sing--together, bobbing and weaving with each other--on multiple tracks! When Lisa takes over solo voce in the middle it sounds a bit like OFRA HAZA. (13/15)
8. "Bird" (5:00) * (8.75/10)
9. "Tell Me About The Forest (You Once Called Home)" (5:42) interesting instrumental choices to weave with Brendan's vocal. Not sure they belong together (or if it works). For once the DCD computerized synth sounds sound old and dated. (8.5/10)
10. "The Spider's Stratagem" (6:42) definitely a song projected straight out of Asia Minor or the Arabian world. Lisa is so talented! (8.75/10)
11. "Spirit" (4:59) * musically very similar to Massive Attack's "Teardrop" as well as some fairly recent Cure and U2 work. (9.5/10)
12. "Emmeleia" (2:04) another duet--this one a cappella and sounding very Balkan monastic. Amazingly well executed and recorded! (4.75/5)
13. "How Fortunate The Man With None" (9:15) the only epic-length song on the album opens with very pleasant sound palette and a very strong Brendan Perry vocal. Very cool! The "strings" build out in the fourth minute is perfect. Through two verses and I'm LOVING this! I love how the music keeps shifting beneath the very steady storytelling of Brendan's vocal. Wow! I am shocked at how much I like this one! Really captures some kind of ancient milieu. (19/20)
* Absent from CD editions--they're both good songs that enhance the whole.
Total time 65:19
2. "The Ubiquitous Mr. Lovegrove" (6:16) despite Brendan's attempt at passionate vocals, it's not believable and the song is nothing very exciting or dynamic. (8.25/10)
3. "The Wind That Shakes The Barley" (2:50) Lisa sings Celtic a cappella. (4.25/5)
4. "The Carnival Is Over" (5:28) Brendan's best song ever! So nostalgic and almost eerily sad! (10/10)
5. "Ariadne" (1:54) Silk Road campfire music. (4.75/5)
6. "Saldek" (1:07) music for Silk Road ablutions--or scarf dance. (4.75/5)
7. "Towards The Within" (7:06) one of the rare songs on which both Lisa and Brendan sing--together, bobbing and weaving with each other--on multiple tracks! When Lisa takes over solo voce in the middle it sounds a bit like OFRA HAZA. (13/15)
8. "Bird" (5:00) * (8.75/10)
9. "Tell Me About The Forest (You Once Called Home)" (5:42) interesting instrumental choices to weave with Brendan's vocal. Not sure they belong together (or if it works). For once the DCD computerized synth sounds sound old and dated. (8.5/10)
10. "The Spider's Stratagem" (6:42) definitely a song projected straight out of Asia Minor or the Arabian world. Lisa is so talented! (8.75/10)
11. "Spirit" (4:59) * musically very similar to Massive Attack's "Teardrop" as well as some fairly recent Cure and U2 work. (9.5/10)
12. "Emmeleia" (2:04) another duet--this one a cappella and sounding very Balkan monastic. Amazingly well executed and recorded! (4.75/5)
13. "How Fortunate The Man With None" (9:15) the only epic-length song on the album opens with very pleasant sound palette and a very strong Brendan Perry vocal. Very cool! The "strings" build out in the fourth minute is perfect. Through two verses and I'm LOVING this! I love how the music keeps shifting beneath the very steady storytelling of Brendan's vocal. Wow! I am shocked at how much I like this one! Really captures some kind of ancient milieu. (19/20)
* Absent from CD editions--they're both good songs that enhance the whole.
Total time 65:19
91.15 on the Fishscales = A-/five stars; a minor masterpiece of progressive World Folk music that has some extreme highs and some relative low points.
4.5 Stars; Excellent Additions to Prog World
(Ratings 89.99 to 86.67)
5. VOIVOD The Outer Limits
Line-up / Musicians:
- Denis Bélanger "Snake" / vocals, Fx
- Denis d'Amour "Piggy" / guitar, keyboards, Fx
- Michel Langevin "Away" / drums, keyboards, Fx
With:
- Denis d'Amour "Piggy" / guitar, keyboards, Fx
- Michel Langevin "Away" / drums, keyboards, Fx
With:
- Pierre St-Jean / bass
1. "Fix My Heart" (4:57) pretty straightforward rock song. (8.25/10)
2. "Moonbeam Rider" (4:11) more movement from this song leads to a more interesting listen. I like the EDGE/U2 chords between the verses and choruses--and then NEKTAR arpeggi in the soft part of the third minute--which is followed by an awesome little solo section. (8.75/10)
3. "Le Pont Noir" (5:43) Leonard Cohen gone dark? Works for me! A top three for me. (8.75/10)
2. "Moonbeam Rider" (4:11) more movement from this song leads to a more interesting listen. I like the EDGE/U2 chords between the verses and choruses--and then NEKTAR arpeggi in the soft part of the third minute--which is followed by an awesome little solo section. (8.75/10)
3. "Le Pont Noir" (5:43) Leonard Cohen gone dark? Works for me! A top three for me. (8.75/10)
4. "The Nile Song" (4:00) interesting cover of Pink Floyd. Almost OZZY-SABBATH-like. (8.75/10)
5. "The Lost Machine" (5:53) I love the start to this one! Then it settles into a kind of heavy CARDIACS feel, with a surprisingly straightforward structure. The switch at 2:40 is rather drastic and not altogether engaging. Luckily, it doesn't last long--we're back to the main motif by 3:25. Another top three song. (9/10)
6. "Time Warp" (3:54) I like the vocal of this one; the U2-like music is okay. The chorus is great. (9/10)
7. "Jack Luminous" (17:28) a very cool song, great construction. My other top three. (32/35)
8. "Wrong-Way Street" (3:50) "Radar Love" with more U2/EDGE guitar. (8.5/10)
9. "We Are Not Alone" (4:27) another amped up U2-War-like intro before the song takes off into KINGSTON WALL territory. Interesting! (8.75/10)
Total Time: 54:24
88.96 on the Fishscales = B+/4.5 stars; a surprising score for this album that is much more interesting and accessible that it's score would seem to indicate. Hmph! Still, a near-masterpiece of prog-oriented Heavy Metal.
5. "The Lost Machine" (5:53) I love the start to this one! Then it settles into a kind of heavy CARDIACS feel, with a surprisingly straightforward structure. The switch at 2:40 is rather drastic and not altogether engaging. Luckily, it doesn't last long--we're back to the main motif by 3:25. Another top three song. (9/10)
6. "Time Warp" (3:54) I like the vocal of this one; the U2-like music is okay. The chorus is great. (9/10)
7. "Jack Luminous" (17:28) a very cool song, great construction. My other top three. (32/35)
8. "Wrong-Way Street" (3:50) "Radar Love" with more U2/EDGE guitar. (8.5/10)
9. "We Are Not Alone" (4:27) another amped up U2-War-like intro before the song takes off into KINGSTON WALL territory. Interesting! (8.75/10)
Total Time: 54:24
88.96 on the Fishscales = B+/4.5 stars; a surprising score for this album that is much more interesting and accessible that it's score would seem to indicate. Hmph! Still, a near-masterpiece of prog-oriented Heavy Metal.
6. PATRICK GAUTHIER Sur les flots verticaux
Very good keyboard-based Zeuhl prog from the former HELDON, MAGMA, and WIEDORJE keyboard artist. It is obvious that Patrick is an accomplished pianist and loves the Broadway vocal medium.
Line-up / Musicians:
- Patrick Gauthier / piano, programming
- Alain Bellaiche / vocals, guitar
- Pierre Marcault / percussions
- Antoine Paganotti / drums
- Christian Mathurin / bass
- Marc Eliard / bass
- Bénédicte Ragu / vocals
- Julie Vander / vocals
- Stella Vander / vocals
- Alain Bellaiche / vocals, guitar
- Pierre Marcault / percussions
- Antoine Paganotti / drums
- Christian Mathurin / bass
- Marc Eliard / bass
- Bénédicte Ragu / vocals
- Julie Vander / vocals
- Stella Vander / vocals
1. "Des pygmées dans la ville" (6:34) a kind of happy Calypso Zuehl. (9/10)
2. "Sur les flots verticaux" (10:01) One of the greatest prog/Zeuhl 'classical' études ever written. The Coltrane, Orff and Débussy influences are strong here. Gorgeous vocal arrangements and renderings. (20/20)
3. "Le train fantôme" (7:18) odd and unusual but hypnotic in the Zeuhl fashion, so I guess it's a success. Just . . . weird. (13/15)
4. "Odessa" (4:11) is pure classical/jazz piano soloing. Very Gershwinian. (8.5/10)
5. "Eleutheren" (8:17) is founded, unfortunately, on almost the exact same rhythm as song #3. The vocal expedition is different--more Magma and Broadway music styled (Manhattan Transfer)--though I hear monastic chant as well. Amazing "piccolo" bass play. Well performed, interestingly and creatively composed. (13/15)
6. "Zawinal" (8:26) another Broadway-esque/Manhattan Transfer-like song. Too repetitive, over-dramatic and drawn out. (11.5/15)
87.06 on the Fishscales = B/four stars; an excellent ambassador of both Zeuhl and of progressive rock music.
Favorite songs: the proggiest ones, which happen to be the final three, "Earth," "See You Again," and "Elements."
8. DEATH Individual Thought Patterns
Line-up / Musicians:
- Chuck Schuldiner / vocals, guitar, co-producer
- Andy LaRocque / guitar
- Steve DiGiorgio / bass
- Gene Hoglan / drums, percussion
1. "Overactive Imagination" (3:30) sometimes obnoxious, though always impressive drumming. Other than the riffing, these are not very complicated song structures. (8.25/10)
2. "In Human Form" (3:55) the drumming and lack of space in the music (sonic clutter) bring this one down for me. (8.5/10)
3. "Jealousy" (3:39) some jazzier drumming and snaking guitar and bass play helps. I wish the instrumentalists would go off in their own independently creative directions more often. I like that I can distinguish between the two guitarists' styles easily during their solos. (8.75/10)
4. "Trapped in a Corner" (4:11) A little space goes a long way! As well as some twists and turns along the journey. A top three song. (8.75/10)
5. "Nothing Is Everything" (3:16) again, why does everybody have to travel so tightly? I find, in particular, the bass player's allegiance to the rhythms and paces set by the others annoying. Several themes here thrown together. (8.75/10)
6. "Mentally Blind" (4:45) the singing here is actually quite decipherable--and humane! Poor guy! My favorite song on the album. (9/10)
7. "Individual Thought Patterns" (4:00) after a THIN LIZZY twin guitar start, the band syncs up to chugg along beneath Chuck's carefully articulated screams. Some more nice TL shifts and turns along the way. Not bad despite the baseline galloping rhythm tracks. (8.75/10)
8. "Destiny" (4:04) What?! Softly arpeggiated guitars? Acoustic guitars?!?! Just a ruse. The onslaught soon descends. Nice separation between bass, drums, and twin guitars. Spacious beneath the chorus! Another top three song. (9/10)
9. "Out of Touch" (4:19) What?! Slow, plodding bombastic proggy rock?! Again, just a tease. The band devolves into head-banging before the end of the opening minute. A couple of speeds are explored, which is interesting, but one of the motifs is just so cliché metal, another classic heavy rock. But, still, keeps the listeners on their toes! Nice effort by the band to keep together through all of the changes.(9/10)
10. "The Philosopher" (4:10) another one with a surprising "classic rock/prog" opening. Even beneath Chuck's metronomic syllabically-punctuated growls the music retains something of the 1980s metal scene. Even an out-of-place "Classic rock" guitar solo in the middle of the second minute. (8.75/10)
Total Time 39:49
Other Very Good Albums
(Ratings of 83.33 to 86.67)
7. ATHEIST Elements
What?! A jazzier, moodier, more BLACK SABBATH- and TOOL-like version of Atheist? (I know the Tool reference is unfair as this band predates Maynard's breakthrough. But the music has at times a strikingly similar sound to it.) I happen to like the production of this album less than its predecessor, Unquestionable Presence, but appreciate the growth that the instrumentalists have done in terms of diversifying/broadening their stylistic influences and sonic choices. Though the bass and drums maintain their prominent places in the sonic mix (though neither of these newcomers, Choy and Greenbaum, impress in the way that their predecessors did), the voices and high end sounds just feel murkier (especially when you listen to Unquestionable Presence before or along side Elements. The new, Latin-ized Atheist is indeed interesting but I think the previous version of the band was more impressive.
Favorite songs: the proggiest ones, which happen to be the final three, "Earth," "See You Again," and "Elements."
86.64 on the Fishscales = B/four stars; Still, this is without a doubt a solid four star album, just not on the same par as their previous (albeit short) album.
Orlando's Death Metal progenitors' seventh studio release: they have plateaued at the top of their subgenre. Prog/rock in fast forward?
- Chuck Schuldiner / vocals, guitar, co-producer
- Andy LaRocque / guitar
- Steve DiGiorgio / bass
- Gene Hoglan / drums, percussion
1. "Overactive Imagination" (3:30) sometimes obnoxious, though always impressive drumming. Other than the riffing, these are not very complicated song structures. (8.25/10)
2. "In Human Form" (3:55) the drumming and lack of space in the music (sonic clutter) bring this one down for me. (8.5/10)
3. "Jealousy" (3:39) some jazzier drumming and snaking guitar and bass play helps. I wish the instrumentalists would go off in their own independently creative directions more often. I like that I can distinguish between the two guitarists' styles easily during their solos. (8.75/10)
4. "Trapped in a Corner" (4:11) A little space goes a long way! As well as some twists and turns along the journey. A top three song. (8.75/10)
5. "Nothing Is Everything" (3:16) again, why does everybody have to travel so tightly? I find, in particular, the bass player's allegiance to the rhythms and paces set by the others annoying. Several themes here thrown together. (8.75/10)
6. "Mentally Blind" (4:45) the singing here is actually quite decipherable--and humane! Poor guy! My favorite song on the album. (9/10)
7. "Individual Thought Patterns" (4:00) after a THIN LIZZY twin guitar start, the band syncs up to chugg along beneath Chuck's carefully articulated screams. Some more nice TL shifts and turns along the way. Not bad despite the baseline galloping rhythm tracks. (8.75/10)
8. "Destiny" (4:04) What?! Softly arpeggiated guitars? Acoustic guitars?!?! Just a ruse. The onslaught soon descends. Nice separation between bass, drums, and twin guitars. Spacious beneath the chorus! Another top three song. (9/10)
9. "Out of Touch" (4:19) What?! Slow, plodding bombastic proggy rock?! Again, just a tease. The band devolves into head-banging before the end of the opening minute. A couple of speeds are explored, which is interesting, but one of the motifs is just so cliché metal, another classic heavy rock. But, still, keeps the listeners on their toes! Nice effort by the band to keep together through all of the changes.(9/10)
10. "The Philosopher" (4:10) another one with a surprising "classic rock/prog" opening. Even beneath Chuck's metronomic syllabically-punctuated growls the music retains something of the 1980s metal scene. Even an out-of-place "Classic rock" guitar solo in the middle of the second minute. (8.75/10)
Total Time 39:49
I wish I could find it in myself to enjoy and appreciate this music more. The guitar work is very impressive and mesmerizing; the rest is unmemorable, repetitive, and disposable. The genius is to be able to find inspiration to sing (or, in this case, growl, bellow, and scream) over this music! (Too bad I don't hear/comprehend lyrics.)
86.50 on the Fishscales = B/four stars; an excellent album for all you Metal fans; an artistic case point for study and reflection for the rest of us.
9. KINGSTON WALL II
Petri Walli & Company mature and polish, try a little more adventure, unfortunately it's Petri who has done the most work, the most growing; Jukka and Sami are really not in the same league. Petri's guitar has so much to say that almost every song has to go over six minutes just to fully express himself.
Line-up / Musicians:
- Petri Walli / guitar, lead & backing vocals
- Jukka Jylli / bass, backing vocals
- Sami Kuoppamäki / drums, percussion
With:
- Sakari Kukko / saxophone (8)
- Jukka Jylli / bass, backing vocals
- Sami Kuoppamäki / drums, percussion
With:
- Sakari Kukko / saxophone (8)
- "Ufo" Mustonen / violin (2)
1. "We Cannot Move" (4:39) let the Indian influences begin! (8.5/10)
2. "Istwan" (4:02) acoustic guitar picking with droning strings leads into a kind of BEATLES/BEACH BOYS C&W song style. Interesting! (8.5/10)
3. "Could It Be So?" (5:52) back to psychedelia: guitar drenched heavily in reverb leads of and solos from the get go. This is HENDRIX/Frank MARINO heaven! And the band does very well to keep up with Petri. (Maybe they've finally awakened.) And he's singing about reincarnation! A top three song for me. (9/10)
4. "And It's All Happening" (6:07) slowed down, spacious blues-rock instrumental. Pure Hendrix or maybe Gilmour amped up by ten. Masterful and emotional. (8.75/10)
5. "Love Tonight" (6:40) though the electric guitar is bleeding over from the previous song, strumming acoustic guitars, Indian-sounding percussion, and either bowed electric guitar or violin establish a TRAFFIC or Alvin Lee-like song structure before Petri begins singing and then turning full on LED ZEPPELIN. Amazingly piercing electric guitar playing during the solo section. And then he's holding back--turns to strumming for his lead work! Absolutely amazing! (8.5/10)
6. "Two Of a Kind" (6:23) returning to the Arabian deserts with acoustic guitar strumming, joined by odd synth-sounding bass before Petri starts singing and the rest of the band joins in. During the first instrumental section, Petri's solo is full-on HENDRIX. It's as if he's channeling the master! Drums get a chance to show off (nice job Sami!) before second verse of singing starts. Another blazing, faster-than-light guitar solo follows. Wow! (8.5/10)
7. "I Feel Love" (6:39) Yes! THE "I Feel Love"! Done Euro-Petri-style! It almost works! (8.25/10)
8. "Shine On Me" (7:05) introduced with a heavy, bluesy picked electric guitar chord progression accompanied by soloing saxophone, Petri's almost-whispered voice delivers the first verse as the band's rhythm track kicks in, before the first guitar solo. Sax does a great job of dancing around Petri's vocals--and the bass and drums intensify nicely after the second verse, encouraging Petri to amp it up for his second guitar solo. Unfortunately, it's rather blues-rock solo by the numbers--the sax is actually outshining the guitar! The music tones down significantly after the third verse, paving the way for a much more sensitive, bluesy GILMOUR-like solo. (13.25/15)
9. "You" (10:11) the opening feels like something from an AL DiMEOLA album. The Latin flavor soon diminishes (@1:15) as electrified guitar sound amplifies. Petri's vocalise and Jukka's bass play are strongly entrained. Then everything backs way down for a spacious, more RY COODER-like acoustic guitar section before electric guitar reenters in a dramatic fashion. Soft, spacious in the fifth minute as Petri finally starts to sing--in a soft, relaxed, Robert Plant-like way. Amped up drums in the sixth minute signal a shift in dynamics: bass and guitar take off, with Petri's wah-ed lead taking us through some Pete Townsend moves before settling on a more staccato approach. Around 7:40 it begins to sound as if there are multiple guitar tracks contributing. New Spanish chord structure at 8:00 leads to another round of Petri alternating between vocalise and lead guitar. Then, at 9:00, we switch back to the soft, spacious motif for Petri to finish the singing off. (17.5/20)
10. "Palékastro" (4:54) a fast paced instrumental rocker to finish off the album unfortunately showcases the discrepancy in skill level between Petri Walli and both of his band mates. (8.25/10)
Total Time: 76:36
86.43 on the Fishscales = B/four stars; an excellent step forward for this guitar god--the possible reincarnation of Master Jimi.
Line-up / Musicians:
- Nick Barrett / vocals, guitars, co-producer
- Clive Nolan / keyboards
- Peter Gee / bass
- Fudge Smith / drums
With:
- Simon Forster / harmonica (4)
Total Time: 54:06
85.43 on the Fishscales = B/four stars; a solid contribution to the prog lexicon and a nice step forward toward the Neo Prog top tier.
IQ Ever
Line-up / Musicians:
- Nicklas Berg (Barker) / guitar, Mellotron
- Anna Sofi Dahlberg / Mellotron, cello, vocals
- Jan Erik Liljeström / bass, vocals
- Peter Nordins / drums, percussion
With:
- Per Wiberg / grand piano
- Pär Ekström / flugelhorn, cornet
1. Karelia (7:22)
2. The Old Man & the Sea (7:50)
3. Where Solitude Remains (7:21)
4. Thoughts in Absence (4:13)
5. The Flow (7:00)
6. Longing (4:54)
7. Wheel (7:52)
Total Time 46:32
Line-up / Musicians:
- Steve Hackett / vocals, guitars, Stepp guitar synth (3,10,11), harmonica (6,7,12), rainstick (11), strings arrangements (8), producer
With:
- Julian Colbeck / keyboards (1,4,6,7,12), backing vocals (7)
- Aron Friedman / keyboards & programming (2,5,8,13,15), strings arrangements (8)
- Nick Magnus / keyboards & programming (9,16)
- Nick Sykes / additional keyboards (16)
- Dave 'Taif' Ball / bass (1,4,6,7,12)
- Hugo Degenhardt / drums (1,4,6,7,12)
- Bimbo Acock / clarinet (9)
- Billy Budis / backing vocals (11), bass (14), executive producer
1. Sierra Quemada (5:19)
2. Take These Pearls (4:14)
3. There Are Many Sides to the Night (7:23)
4. In the Heart of the City (4:34)
5. Dark as the Grave (4:38)
6. Lost in Your Eyes (4:56)
7. Little America (4:55)
8. Like an Arrow (2:51)
9. Theatre of Sleep (3:03)
10. Walking Away from Rainbows (3:10)
11. Paint Your Picture (2:57)
12. Vampyre with a Healthy Appetite (5:29)
13. Tristesse (4:01)
Total Time 57:30
Line-up / Musicians:
- Allan Holdsworth / guitar, SynthAxe, producer
With:
- Steve Hunt / keyboards
- Skuli Sverrisson / bass
- Gary Husband / drums
1. Prelude (1:35)
2. Ruhkukah (5:34)
3. Low Levels, High Stakes (9:05)
4. Hard Hat Area (6:06)
5. Tullio (6:02)
6. House Of Mirrors (7:47)
7. Postlude (5:28)
Total Time: 41:37
2. "Istwan" (4:02) acoustic guitar picking with droning strings leads into a kind of BEATLES/BEACH BOYS C&W song style. Interesting! (8.5/10)
3. "Could It Be So?" (5:52) back to psychedelia: guitar drenched heavily in reverb leads of and solos from the get go. This is HENDRIX/Frank MARINO heaven! And the band does very well to keep up with Petri. (Maybe they've finally awakened.) And he's singing about reincarnation! A top three song for me. (9/10)
4. "And It's All Happening" (6:07) slowed down, spacious blues-rock instrumental. Pure Hendrix or maybe Gilmour amped up by ten. Masterful and emotional. (8.75/10)
5. "Love Tonight" (6:40) though the electric guitar is bleeding over from the previous song, strumming acoustic guitars, Indian-sounding percussion, and either bowed electric guitar or violin establish a TRAFFIC or Alvin Lee-like song structure before Petri begins singing and then turning full on LED ZEPPELIN. Amazingly piercing electric guitar playing during the solo section. And then he's holding back--turns to strumming for his lead work! Absolutely amazing! (8.5/10)
6. "Two Of a Kind" (6:23) returning to the Arabian deserts with acoustic guitar strumming, joined by odd synth-sounding bass before Petri starts singing and the rest of the band joins in. During the first instrumental section, Petri's solo is full-on HENDRIX. It's as if he's channeling the master! Drums get a chance to show off (nice job Sami!) before second verse of singing starts. Another blazing, faster-than-light guitar solo follows. Wow! (8.5/10)
7. "I Feel Love" (6:39) Yes! THE "I Feel Love"! Done Euro-Petri-style! It almost works! (8.25/10)
8. "Shine On Me" (7:05) introduced with a heavy, bluesy picked electric guitar chord progression accompanied by soloing saxophone, Petri's almost-whispered voice delivers the first verse as the band's rhythm track kicks in, before the first guitar solo. Sax does a great job of dancing around Petri's vocals--and the bass and drums intensify nicely after the second verse, encouraging Petri to amp it up for his second guitar solo. Unfortunately, it's rather blues-rock solo by the numbers--the sax is actually outshining the guitar! The music tones down significantly after the third verse, paving the way for a much more sensitive, bluesy GILMOUR-like solo. (13.25/15)
9. "You" (10:11) the opening feels like something from an AL DiMEOLA album. The Latin flavor soon diminishes (@1:15) as electrified guitar sound amplifies. Petri's vocalise and Jukka's bass play are strongly entrained. Then everything backs way down for a spacious, more RY COODER-like acoustic guitar section before electric guitar reenters in a dramatic fashion. Soft, spacious in the fifth minute as Petri finally starts to sing--in a soft, relaxed, Robert Plant-like way. Amped up drums in the sixth minute signal a shift in dynamics: bass and guitar take off, with Petri's wah-ed lead taking us through some Pete Townsend moves before settling on a more staccato approach. Around 7:40 it begins to sound as if there are multiple guitar tracks contributing. New Spanish chord structure at 8:00 leads to another round of Petri alternating between vocalise and lead guitar. Then, at 9:00, we switch back to the soft, spacious motif for Petri to finish the singing off. (17.5/20)
10. "Palékastro" (4:54) a fast paced instrumental rocker to finish off the album unfortunately showcases the discrepancy in skill level between Petri Walli and both of his band mates. (8.25/10)
Total Time: 76:36
86.43 on the Fishscales = B/four stars; an excellent step forward for this guitar god--the possible reincarnation of Master Jimi.
Not As Good As Advertized
PENDRAGON The Window of Life (1993)
One of Britain's NeoProg stalwarts release their fourth album (since 1985).
- Nick Barrett / vocals, guitars, co-producer
- Clive Nolan / keyboards
- Peter Gee / bass
- Fudge Smith / drums
With:
- Simon Forster / harmonica (4)
1. "The Walls of Babylon" (10:50) (17.25/20)
2. "Ghosts" (8:02) (13/15)
3. "Breaking the Spell" (9:18) (17/20)
4. "The Last Man on Earth" (14:46) (27/30)
5. "Nostradamus (Stargazing)" (8:23) two minutes of sensitive guitar soloing before the full song kicks in. Too 80s Brit Pop sounding (especially in singing style, diction). (16/20)
6. "Am I Really Losing You?" (4:47) big guitar hook is stolen from YES's Soon. (8/10)
3. "Breaking the Spell" (9:18) (17/20)
4. "The Last Man on Earth" (14:46) (27/30)
5. "Nostradamus (Stargazing)" (8:23) two minutes of sensitive guitar soloing before the full song kicks in. Too 80s Brit Pop sounding (especially in singing style, diction). (16/20)
6. "Am I Really Losing You?" (4:47) big guitar hook is stolen from YES's Soon. (8/10)
Like the music that came out of the "Classical Era" (1730-1820), there are times when our ears hear just too much noodling, too many quick changes, too many bag-loads of short motifs crammed into a short span of time. The music of The Window of Life shows Pendragon reaching this point--though not nearly to the degree that they do on their next album, The Masquerade Overture. Are Nick & Co. just trying to over-impress us? Are they so desperate to prove themselves to the world?
85.43 on the Fishscales = B/four stars; a solid contribution to the prog lexicon and a nice step forward toward the Neo Prog top tier.
IQ Ever
Like a lot of 1990s Neo Prog, IQ's antiquated synths tinge the band's musical contributions from the middle half of their 40 years. Even then, I used to cringe at some of those "inaccurate" sounds generated by the sampling technologies available from the 1980s (which happened quite a lot, actually, as my brother is a collector of keyboards and computer sound-generators. Nothing like the 70s synths.) The imitation of classical and world instruments via computer has never been a very advanced science--which is probably why so many bands have reverted to hiring strings, choruses, and orchestras to accompany/embellish their music fantasies. The 90s Neo Prog band keys sound like fairy music.
Line-up / Musicians:
Line-up / Musicians:
- Peter Nicholls / lead & backing vocals
- Mike Holmes / guitars (synth-guitar?), producer
- Martin Orford / keyboards, Mellotron, synths, flute, backing vocals
- John Jowitt / basses, Taurus bass pedals, backing vocals
- Paul Cook / drums
- Mike Holmes / guitars (synth-guitar?), producer
- Martin Orford / keyboards, Mellotron, synths, flute, backing vocals
- John Jowitt / basses, Taurus bass pedals, backing vocals
- Paul Cook / drums
1. "The Darkest Hour" (10:52) (16.25/20)
2. "Fading Senses" (6:36) (8.5/10)
- i. After All
- ii. Fading Senses
3. "Out Of Nowhere" (5:10) a fast start into GENESIS-land is delayed and switched to standard hairband rock at the one minute mark. Nice coda at the 3:00 mark. (8.5/10)
4. "Further Away" (14:30) (27/30)
5. "Leap Of Faith" (7:22) The instrumental parts become so Genesisian. Aside from the vocals, the best track on the song. (13.5/15)
6. "Came Down" (5:57) again, the opening sound and chord palette feels too Genesis-like. Drums, bass, and b vox are horrible--just tired and dragging! Ouch! (7/10)
Total Time: 50:27
Maybe the messages of their lyrics are important. Otherwise, I'm not all that impressed. There's too much of a sameness to every Peter Nicholls vocal delivery.
85.0 on the Fishscales = B/four stars; a valid, if somewhat derivative, contribution to Prog World's Neo Prog effort.
- i. After All
- ii. Fading Senses
3. "Out Of Nowhere" (5:10) a fast start into GENESIS-land is delayed and switched to standard hairband rock at the one minute mark. Nice coda at the 3:00 mark. (8.5/10)
4. "Further Away" (14:30) (27/30)
5. "Leap Of Faith" (7:22) The instrumental parts become so Genesisian. Aside from the vocals, the best track on the song. (13.5/15)
6. "Came Down" (5:57) again, the opening sound and chord palette feels too Genesis-like. Drums, bass, and b vox are horrible--just tired and dragging! Ouch! (7/10)
Total Time: 50:27
Maybe the messages of their lyrics are important. Otherwise, I'm not all that impressed. There's too much of a sameness to every Peter Nicholls vocal delivery.
85.0 on the Fishscales = B/four stars; a valid, if somewhat derivative, contribution to Prog World's Neo Prog effort.
Other Highly Recommended Prog Albums
(Other albums recommended by prog lovers)
ANEKDOTEN Vemod
- Nicklas Berg (Barker) / guitar, Mellotron
- Anna Sofi Dahlberg / Mellotron, cello, vocals
- Jan Erik Liljeström / bass, vocals
- Peter Nordins / drums, percussion
With:
- Per Wiberg / grand piano
- Pär Ekström / flugelhorn, cornet
1. Karelia (7:22)
2. The Old Man & the Sea (7:50)
3. Where Solitude Remains (7:21)
4. Thoughts in Absence (4:13)
5. The Flow (7:00)
6. Longing (4:54)
7. Wheel (7:52)
Total Time 46:32
STEVE HACKETT Guitar Noir
- Steve Hackett / vocals, guitars, Stepp guitar synth (3,10,11), harmonica (6,7,12), rainstick (11), strings arrangements (8), producer
With:
- Julian Colbeck / keyboards (1,4,6,7,12), backing vocals (7)
- Aron Friedman / keyboards & programming (2,5,8,13,15), strings arrangements (8)
- Nick Magnus / keyboards & programming (9,16)
- Nick Sykes / additional keyboards (16)
- Dave 'Taif' Ball / bass (1,4,6,7,12)
- Hugo Degenhardt / drums (1,4,6,7,12)
- Bimbo Acock / clarinet (9)
- Billy Budis / backing vocals (11), bass (14), executive producer
1. Sierra Quemada (5:19)
2. Take These Pearls (4:14)
3. There Are Many Sides to the Night (7:23)
4. In the Heart of the City (4:34)
5. Dark as the Grave (4:38)
6. Lost in Your Eyes (4:56)
7. Little America (4:55)
8. Like an Arrow (2:51)
9. Theatre of Sleep (3:03)
10. Walking Away from Rainbows (3:10)
11. Paint Your Picture (2:57)
12. Vampyre with a Healthy Appetite (5:29)
13. Tristesse (4:01)
Total Time 57:30
ALLAN HOLDSWORTH Hard Hat Area
- Allan Holdsworth / guitar, SynthAxe, producer
With:
- Steve Hunt / keyboards
- Skuli Sverrisson / bass
- Gary Husband / drums
2. Ruhkukah (5:34)
3. Low Levels, High Stakes (9:05)
4. Hard Hat Area (6:06)
5. Tullio (6:02)
6. House Of Mirrors (7:47)
7. Postlude (5:28)
Total Time: 41:37
PORCUPINE TREE Up the Downstair
- Steven Wilson / vocals, guitar, bass, keyboards, drum programming, producer
With:
- Suzanne Barbieri / vocals (5)
- Richard Barbieri / electronics (5)
- Colin Edwin / bass (4)
- Gavin Harrison / drums (only on CD1 from 2004 expanded version, replacing the original samples)Releases information
1. What You Are Listening To... (0:58)
2. Synesthesia (5:11)
3. Monuments Burn into Moments (0:20)
4. Always Never (6:58)
5. Up the Downstair (10:00)
6. Not Beautiful Anymore (3:26)
7. Siren (0:52)
8. Small Fish (2:43)
9. Burning Sky (11:06)
10. Fadeaway (6:20)
Total Time 47:54
THRESHHOLD Wounded Land
- Damian Wilson / vocals
- Karl Groom / guitar, bass pedals, production & mixing
- Nick Midson / guitar
- Richard West / keyboards, orchestration
- Jon Jeary / bass, acoustic guitar, backing vocals
- Tony Grinham / drums
With:
- Ian Salmon / acoustic guitar (7)
1. Consume to Live (8:11)
2. Days of Dearth (5:26)
3. Sanity's End (10:21)
4. Paradox (7:15)
5. Surface to Air (10:14)
6. Mother Earth (5:52)
7. Siege of Baghdad (7:44)
8. Keep It with Mine (2:27)
Total Time 57:30
DAVID SYLVIAN & ROBERT FRIPP The First Day
- David Sylvian / vocals, guitar, keyboards, tapes, co-producer
AND
- Robert Fripp / guitar, Fx, electronics
With:
- Ingrid Chavez / vocals
- Trey Gunn / Chapman sticks, vocals
- Marc Anderson / percussion
- Jerry Marotta / drums, percussion
- David Bottrill / sampled percussion, Fx, computer programming, co-producer
2. Jean The Birdman (4:10)
3. Firepower (10:27)
4. Brightness Falls (6:06)
5. 20th Century Dreaming (A Shaman's Song) (11:53)
6. "Darshan (The Road To Graceland)" (17:18) (30.5/35)
7. Bringing Down The Light (8:31)
Total time 63:26
IONA Beyond These Shores
Line-up / Musicians:
- Joanne Hogg / lead & backing vocals, keyboards, acoustic guitar
- Dave Bainbridge / piano, keyboards, acoustic & electric guitars, programming, string arrangements, producer
- Mike Haughton / soprano & tenor saxophones, recorder, flute, tin whistle, vocals
- Nick Beggs / Chapman Stick, fretted & fretless basses
- Terl Bryant / drums, percussion
With:
- Robert Fripp / guitar, Frippertronics
- Troy Donockley / EBow guitar (10), uillean pipes, low whistles
- Frank van Essen / violin solo (12)
- Peter Whitfield / violin, viola
- Francis Cummings / violin
- Mansell Morgan / violin
- Richard Williamson / viola
- Anna Frazer / cello
- Christopher Hoyle / cello
- Rebecca Whettan / cello
- Fiona Davidson / Celtic harp
- Debbie Bainbridge / oboe
1. "Prayer on the Mountain" (2:58) (5/5)
2. "Treasure" (4:25) what a voice young Joanne Hogg had! I don't like the chorus, though. (8.875/10)
3. "Brendan's Voyage" (4:13) (/10)
4. "Edge of the World" (4:45) (/10)
5. "Today" (3:14) (/10)
6. "View of the Islands" (2:30)
7. "Bird of Heaven" (9:09) (/20)
8. "Murlough Bay" (4:10) (/10)
9. "Burning Like Fire" (4:57) (/10)
10. "Adrift" (3:46) (/10)
11. "Beachy Head" (5:42) (/10)
12. "Machrie Moor" (4:30) (/10)
13. "Healing" (4:47) (/10)
14. "Brendan's Return" (4:12) (/10)
15. "Beyond These Shores" (4:53) (/10)
Total Time 68:11
- Joanne Hogg / lead & backing vocals, keyboards, acoustic guitar
- Dave Bainbridge / piano, keyboards, acoustic & electric guitars, programming, string arrangements, producer
- Mike Haughton / soprano & tenor saxophones, recorder, flute, tin whistle, vocals
- Nick Beggs / Chapman Stick, fretted & fretless basses
- Terl Bryant / drums, percussion
With:
- Robert Fripp / guitar, Frippertronics
- Troy Donockley / EBow guitar (10), uillean pipes, low whistles
- Frank van Essen / violin solo (12)
- Peter Whitfield / violin, viola
- Francis Cummings / violin
- Mansell Morgan / violin
- Richard Williamson / viola
- Anna Frazer / cello
- Christopher Hoyle / cello
- Rebecca Whettan / cello
- Fiona Davidson / Celtic harp
- Debbie Bainbridge / oboe
1. "Prayer on the Mountain" (2:58) (5/5)
2. "Treasure" (4:25) what a voice young Joanne Hogg had! I don't like the chorus, though. (8.875/10)
3. "Brendan's Voyage" (4:13) (/10)
4. "Edge of the World" (4:45) (/10)
5. "Today" (3:14) (/10)
6. "View of the Islands" (2:30)
7. "Bird of Heaven" (9:09) (/20)
8. "Murlough Bay" (4:10) (/10)
9. "Burning Like Fire" (4:57) (/10)
10. "Adrift" (3:46) (/10)
11. "Beachy Head" (5:42) (/10)
12. "Machrie Moor" (4:30) (/10)
13. "Healing" (4:47) (/10)
14. "Brendan's Return" (4:12) (/10)
15. "Beyond These Shores" (4:53) (/10)
Total Time 68:11
Albums on the Fringe of Prog World
DEPECHE MODE Songs of Faith and Devotion
JANET JACKSON Janet.
COCTEAU TWINS Four-Calendar Café
NEW ORDER Republic
CONCRETE BLONDE Mexican Moon
ISRAEL KAMAKAWIWO'OLE Facing Future
The debut of this Scottish dream pop band, the combination of the LUSH-like sound and Elizabeth Frasier-like vocals justifiably earned this album COCTEAU TWINS comparisons.
1. "I Still Do" (3:16)
2. "Dreams" (4:32)
3. "Sunday" (3:30)
4. "Pretty" (2:16)
5. "Waltzing Back" (3:38)
6. "Not Sorry" (4:20)
7. "Linger" (4:34)
8. "Wanted" (2:07)
9. "Still Can't..." (3:38)
10. "I Will Always" (2:42)
11. "How" (2:51)
12. "Put Me Down" (3:33)
BJÖRK Debut
- Björk Guðmundsdóttir / vocals, keyboards, brass arrangements, co-producer
With:
- Jhelisa Anderson / backing vocals
- Jon Mallison / guitar
- Garry Hughes / Hammond organ, keyboards programming
- Marius de Vries / keyboards programming
- Martin Virgo / keyboards programming
- Paul Waller / keyboards programming
- Corky Hale / harp
- Gary Barnacle / brass
- Mike Mower / brass
- Oliver Lake / brass, brass arrangements
- Talvin Singh / strings director, tabla
- Sureh Sathe / string arrangements
- Luis Jardim / bass, drums, percussion
- Bruce Smith / drums, percussion
- Nellee Hooper / drums, percussion, co-producer
1. Human Behaviour (4:10)
2. Crying (4:52)
3. Venus As A Boy (4:42)
4. There's More To Life Than This (Recorded Live At The Milk Bar Toilets) (3:21)
5. Like Someone In Love (4:33)
6. Big Time Sensuality (3:57)
7. One Day (5:24)
8. Aeroplane (3:54)
9. Come To Me (4:55)
10. Violently Happy (4:59)
11. The Anchor Song (3:32)
Total time 48:19
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