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 1995:
1. PORCUPINE TREE Sky Moves Sideways
2. STANLEY CLARKE, AL DI MEOLA, & JEAN-LUC PONTY Rites of Strings
3. THE TEA PARTY The Edges of Twilight
2. STANLEY CLARKE, AL DI MEOLA, & JEAN-LUC PONTY Rites of Strings
3. THE TEA PARTY The Edges of Twilight
4. THE FLOWER KINGS Back in the World of Adventures
5. SECRET GARDEN Songs from a Secret Garden
6. VANGELIS Voices
9. NATALIE MERCHANT Tiger Lily
6. VANGELIS Voices
7. ALANIS MORISSETTE Jagged Little Pill
8. CASSANDRA WILSON New Moon Daughter9. NATALIE MERCHANT Tiger Lily
10. PAT METHENY GROUP We Live Here
11. DUNWICH Il chiarore sorge due volte
12. MR. BUNGLE Disco Volante
13. BJÖRK Post
14. DON CABALLERO 2
15. KLAUS SCHULZE In Blue
14. RADIOHEAD The Bends
15. ANNIE LENNOX Medusa
16. TO ROCOCO ROT To Rococo Rot
17. ALBION Albion
15. KLAUS SCHULZE In Blue
14. RADIOHEAD The Bends
15. ANNIE LENNOX Medusa
16. TO ROCOCO ROT To Rococo Rot
17. ALBION Albion
18. SCOTT WALKER Tilt
19. KING CRIMSON Thrak
20. ANEKDOTEN Nucleus
GARBAGE Garbage
THE GATHERING Mandylion
Five Star Prog Masterpieces
(Ratings of 100 to 93.34)
1. STANLEY CLARKE (with Al DiMeola & Jean-Luc Ponty) Rites of Strings
One of the most beautiful jazz fusion collaborations I've ever heard. What makes this 1995 studio album so special is that it is an all-acoustic trio. Without drums. So unusual in the jazz idiom. To me on a par with Miles' Kind of Blue and the three record albums from Bill Evans, Scott La Faro and Paul Motian's Village Vangard sessions. Still better is 1994's Live at Montreux DVD from the trio plus keyboard artist, Monte Alexander, which prompted the trio to record a studio album together before going off on their own paths. Stanley Clarke is jaw-dropping amazing.
1. "Indigo" (7:15) one of Al's compositions, from his 1993 release World Symphonia - Heart of the Immigrants. Great stuff! Should/could be a top three song… but there are others! (14.5/15)
2. "Renaissance" (4:32) a classic Jean-Luc Ponty song previously introduced to the world on 1976's Aurora album--before Jean-Luc had become a household name. Hear performed so beautifully with Al and Jean-Luc really shining as Stanley keeps immaculate time. A top three song for me--mostly for the beautiful melody and rhythm structure. (10/10)
3. "Song to John" (6:00) originally composed by Stanley with Chick Corea back in 1975 for Stanley's Journey to Love album. It was originally composed for John McLaughlin and his "new" scalloped guitar that he was using for his Shakti albums and performances. Al's Django Reinhardt treatment of the supporting strumming is incredible--as is his MIDIed lead. Then Stanley gets his say in an incredible solo in the second half. These guys aren't old: they're in their prime! The original is incredible--with lots of space for feeling the power, but this new, amped up version is just as great in its own way. (9.5/10)
4. "Chilean Pipe Song" (6:12) another Al song (he was really, really into Latin American music in the 1980s), Jean-Luc, and especially Stanley add so much. (9/10)
5. "Topanga" (5:50) a Stanley composition--perhaps written or offered just for these sessions as I can find no previous record of it ever being recorded. Man does Stanley's bowed bass dig deep into the heart strings! Great support and contributions to The Man from Al and Jean-Luc. A top three for me. (10/10)
6. "Morocco" (5:45) Al's third and final contribution to the trio--from his 1991 studio release, Kiss My Axe. Gorgeous textures and soli with not enough of a core to distinguish it much from any other jazz jam. But, damn, the performances are fine! (8.75/10)
7. "Change of Life" (5:30) the second Jean-Luc contribution, another song that I can find no previous record of so could very well have been offered to the trio for this and only this recording. A nice pastoral romp through the country side--on a horse-drawn, open air carriage. Such a smooth, relaxing song--with such amazingly dextrous, finesse-filled performances. Such a privilege! For sure a top three song! (9.75/10)
8. "La Cancion de Sofia" (8:30) the third Stanley contribution, this one from Slow and almost plodding, the spaciousness gives lots of room for flourishes and incidentals. Then, at near the halfway poiont, we have a stop and reset: a fast-paced race with the Devil ensues. Again, we're in the territory of such hallowed giants as Stéphane Grappelli and Django Reinhardt. An odd song but, again, we are so privileged to be in the company of these virtuosi! (17.5/20)
9. "Memory Canyon" (6:00) Jean-Luc Ponty's final contribution to the trio, another song whose lack of history leads me to beleive that it was a song Jean-Luc gifted to his pals specifically for this recording. (8.5/10)
93.81 on the Fishscales = A/five stars; a certifiable masterpiece of virtuosic Jazz-Rock Fusion and definitely an album that belongs in every prog lover's music collection!
The Minor Masterpieces
(Ratings of 93.33 to 90.0)
2. PORCUPINE TREE The Sky Moves Sideways
Serving notice to the world of the genius of STEVEN WILSON and his new band, Porcupine Tree with JAPAN's RICHARD BARBIERI on keyboards, COLIN EDWIN on bass, and CHRIS MAITLAND on drums. Incredible sound engineering.
1. "The Sky Moves Sideways - Phase 1" (18:37) (40/40)
2. "Dislocated Day" (5:24) the heavy side of PT. (8.5/10)
3. "The Moon Touches Your Shoulder" (5:40) great second half. (8.75/10)
4. "Prepare Yourself" (1:54) a guitar solo coming off of the spillover from "Moon." (4.25/5)
5. "Moonloop" (17:04) spacey jam that turns into an homage to NASA moonwalks before going TD-Crimson-blues jam. Hypnotic. (31/35)
6. "The Sky Moves Sideways - Phase 2" (16:46) (30.75/35)
91.296 on the Fishscales = A-/five stars; a minor masterpiece of progressive rock music.
3. THE FLOWER KINGS Back in the World of Adventures
Back when Roine Stolt & Co. were still defining their sound, style, and image, they released this album of admirably rendered Neo Prog compositions. The 1995 CD release contained 10 songs maxing out at 72 minutes while the vinyl LP released the following year only had five songs due to the inclusion of the album's two stellar epics, "World of Adventure" and "Big Puzzle" (each running over 13:30 in length).
Line-up / Musicians:
- Roine Stolt / lead vocals, guitars, keyboards, composer
- Tomas Bodin / piano, Hammond organ, Mellotron, synths, flute, effects, mixing
- Michael Stolt / bass, vocals
- Jaime Salazar / drums
- Hasse Bruniusson / drums (10), percussion
With:
- Ulf Wallander / soprano sax (5,8,10)
- Tomas Bodin / piano, Hammond organ, Mellotron, synths, flute, effects, mixing
- Michael Stolt / bass, vocals
- Jaime Salazar / drums
- Hasse Bruniusson / drums (10), percussion
With:
- Ulf Wallander / soprano sax (5,8,10)
1. "World Of Adventure" (13:37) exposing several themes right from the start, this has a feel of a truly symphonic epic. (27/30) = 9.0
2. "Atomic Prince / Kaleidoscope" (7:02) What starts royal/regally with the main theme being present by a synth horn, it becomes Reggae when crisp drums and bass enter. Then lead guitar introduces second melody line. Interesting--and very well recorded and engineered. The whole thing becomes a kind of round of soft keys restating the opening theme in between Roine Stolt's magnificent electric guitar work--with the "Kaleidoscope" part being a kind of New Age keyboard trip through a fairy forest ending with an exquisite little acoustic guitar piece.
This may be the first time listening to Roine Stolt's guitar playing in which I'm thinking he may be a virtuoso of that instrument--in both its electric and acoustic forms. (14/15)
3. "Go West Judas" (7:40) a cheesy song built around a cheesy riff/motif telling a cheesy story. Great electric guitar work. Great bass playing. (13/15)
4. "Train To Nowhere" (3:45) plaintive vocal over "strings" and computer piano. PINK FLOYD melody borrowed and then a switch to a Hammond-base for the finish of the chorus. Verse two sees drums, bass, and other incidentals to expand the soundscape. (8.5/10)
5. "Oblivion Road" (3:45) * a deep dive into some serious blues-jazz as bass, drums, piano and sax float us down a river instrumental. Sustained electric guitar and spacey Hammond organ join in for Santana-like incidentals. Cool but … why? (9/10)
6. "Theme For A Hero" (8:27) * another familiar melody theme supported by chunky bass (mixed well forward--which is kind of cool) and plastic sounding drums. MIDI-keys take over the melody making in the second minute. The slow pacing allows for lots of spaciousness and, therefore, lots of room to hear individual sounds and contributions--which is nice. As the music moves beyond the MIDI-keys we fall into another bluesy New Agey Smooth Jazz song. Nice--and, yes, proggy, but, like so much of TFK, there is something regurgitant about this music--like we've heard it before, it's just being rehashed and/or recycled in a slightly different form here. When Roine's guitar takes the lead in the fifth minute it's like Robert Fripp has exerted his will over the music. Nice step up. "One More Red Nightmare Part 6"! The drum play is impressive though I don't like the sounds as engineered for the final mix. (17.5/20)
7. "Temple Of The Snakes (1:38) nice synth interlude--with its main melody theme once again feeling as if "borrowed" from somewhere else. (4.75/5)
8. "My Cosmic Lover" (6:40) * another weird stew--as if many old and familiar riffs, sounds and motifs have been tossed into a mystery salad or soup. Great, engaging bass play. Weirdly religious subject matter. I'll give TFK credit for creating something fairly unique here; the salad is a hit (if a not very memorable one)! (8.75/10)
9. "The Wonder Wheel" (4:12) * a cinematic instrumental in which industrial percussion pattern is embellished with spacey synths, a ton of incidentals, and a rather nice prolonged electric guitar solo. (8.75/10)
10. "Big Puzzle" (13:35) bluesy first section accented by soprano sax. The second part, instrumental exposition, is founded on a Genesis motif and sound palette--cruising along nicely. (28.5/30) = 9.5
* Absent on 1996 LP edition
Total Time: 71:28
Perhaps the best constructs, performances, sound recording, engineering, and mixes I've ever heard on a Roine Stolt-related album. I've been most impressed by the guitar, drum, and bass play.
91.19 (90.16)* on the Fishscales = A-/five stars; a minor masterpiece of eclectically inspired progressive rock music.
91.19 (90.16)* on the Fishscales = A-/five stars; a minor masterpiece of eclectically inspired progressive rock music.
4.5 Star Near-Masterpieces
(Ratings 89.99 to 86.67)
4. THE TEA PARTY The Edges of Twilight
I was lured into listening to this album for two reasons: 1) it has such high ratings and recommendations on ProgArchives and YouTube, and 2) I thought it was an early album of a 21st Century favorite of mine, The Tea Club. (It's not.)
- Jeff Martin / vocals, acoustic & electric guitars, co-producer
- Stuart Chatwood / bass
- Jeff Burrows / drums, percussion
- Stuart Chatwood / bass
- Jeff Burrows / drums, percussion
1. "Fire in the Head" (5:06) Steven Wilson/PT with Michael Gira on lead vocals. A little more grunge/metal than SW/PT, thus, influenced by their times. Great two-voice chorus! Really well-crafted, spacious song! Great production. (I'm listening to the re-mastered version.) Sounds like a child of Led Zeppelin ("Kashmir"). Feels like very mature song-craftsmanship. (9.5/10)
2. "The Bazaar" (3:42) North African hand percussion with horn-like guitar bursts into a pretty standard hard rocker. (8.25/10)
3. "Correspondences" (7:28) piano (there are no keyboards cited on the album credits) intro turns into a heavy ballad. It's pretty beautiful--with a great, very beautifully sung vocal. Tension builds at the end of the third minute--fulfilled by the amped up guitars and vocal before a brief instrumental passage with slide (bottleneck?) guitar. The next time we have that buildup isn't until after the next verse, chorus, and instrumental interlude. What a great gravelly voice Jeff Martin has! Nice guitar soli throughout--using three different sounds/guitars for each. Nice but could've rocked out even harder in the crescendo parts. (13.5/15)
4. "The Badger" (3:58) long Scottish bagpipe-like intro with some acoustic guitar picking over the top. Guitar finishes without bagpipes. Really a drawn out guitar interlude. (A little more Led Zeppelin feel here.) (8.75/10)
5. "Silence" (2:51) full-on LED ZEPPELIN opening with Indian lead melody line taken by vocal and mirrored by sustained guitar "horn." Congas and drums. At the two minute mark it goes full on Zep--especially in the rhythm department. (4.5/5)
6. "Sister Awake" (5:43) acoustic guitars strumming (sitar, too) over which Jeff sings slow and deliberately. I keep expecting the music to jump out with some "Over the Hills and Far Away" screams and walls of sound. It kind of does abit at the end of the second minute with a whole mess of hand percussion instruments building up over the wall of acoustic guitars. Then the whole song shifts into rock with a complement of Indian support instruments. The heavy guitars, bass, and driving drum beat definitely brings this East-affected song into the realm of Western rock and roll. A really amazingly well (lovingly) crafted song. (9.25/10)
7. "Turn the Lamp Down Low" (5:16) now to the Memphis blues--even using a little Elvis-like voice stylings. I can tolerate the swampy first half so that we can get to the rollicking, rolling second half. Nice transition! Nice impassioned vocal in the second half, Jeff! Nice Jimmy Page riffing, too! (9/10)
8. "Shadows on the Mountainside" (3:39) Now into the Ozarks. (Can't believe these guys were from Windsor, Ontario, Canada!) Great sound for all of the guitar and vocal tracks--so warm and intimate--and such great playing, chord choices! (8.75/10)
9. "Drawing Down the Moon" (5:26) A guitar-showcasing real blues rocker in the tradition of John Mayall, Robin Trower and even God himself, the Jimi. The vocal starts out a little bit too similar to the previous song, but amp up powerfully for the great chorus. This guitar noodling going on in the background goes from Stevie Ray Vaughan to Don "Buck Dharma" Roeser for the second verse. Wow! What a switch. Then to Jimmy Page & the Zep for the second chorus. What an amazing song! What vision! What balls! Rock 'n' roll does not get much better than this. I love how clear and direct Jeff's guitar playing is--no frilly unintended flashes, all intentional and purposeful. (9.5/10)
10. "Inanna" (3:48) Another East Indian-infused song; not as cheesy as George Harrison, not quite Shakti or other Indian raga-based, but the most Indian music on the album. The vocal is most like that of Pearl Jam's Eddie Vedder, stylistically. Lots of sitar and other Indian stringed instruments used throughout. (8.75/10)
11. "Coming Home" (5:53) another acoustic guitar-based Led Zeppelin-like song with another Eddie Vedder-like vocal. Love the multiple guitars (including 12-string) in the lead up to the chorus sections. The rest of the song (and lyrics) are just okay. (8.5/10)
12. "Walk with Me" (14:20) great opening--like DEAD CAN DANCE (the hammered dulcimer) with STEVEN WILSON and METALLICA. But after that, it's all pretty routine near-Led Zeppelin stuff--perhaps a bit more spaced out, Petri Walli style. (26.25/30)
Total Time 67:21
Surprise, surprise! What we have here is a heavily-Eastern India-influenced LED ZEPPELIN-inspired rock band with some very serious compositional and production ideas. I love how thoroughly "finished" each song feels. I gotta admit: this is one of the best albums I've heard to come out of the 90s--so finely crafted. I don't know if the original release is as clean and well produced as the "re-mastered" version I have, but I'm betting it's close.
89.23 on the Fishscales = B+/4.5 stars; a near-masterpiece of Led Zeppelin-like progressive rock music.
89.23 on the Fishscales = B+/4.5 stars; a near-masterpiece of Led Zeppelin-like progressive rock music.
5. NUOVO ERA Il passo del soldato
The fifth and final release from these Florentine keyboard-centric RPI Neo Proggers from their original ten year run (1986-1996)--and it's their best!
- Claudio Guerrini / vocals
- Walter Pini / keyboards, composer
- Enrico Giordani / bass
- Gianluca Lavacchi / drums
With:
- Ivan Pini / lyrics
1. "All'ombra di un Conflitto (6:42) (/15)
2. "Lo Spettro dell'Agonia sul Campo (7:28) (/15)
3. "La Parata dei Simboli (3:00) (/10)
4. "Il Passo del Soldato (12:13) (/25)
5. "Armicrazia" (7:40) (/15)
6. "L'Armistizio (4:00) (/10)
7. "Riflessi di Pace (2:51) (/10)
8. "Epitaffio (4:36) (/10)
9. "Nuova Era Atto Secondo (4:50) (/10)
Total Time 53:20
With their ELP-like keyboard leader, the band have mastered a classic RPI sound most similar to bands like BANCO DEL MUTUO SOCCORSO, METAMORFOSI, LE ORME and MUSEO ROSENBACH.
6. DEATH Symbolic
The Godfather of Death Metal (Chuck Schuldiner)'s sixth and penultimate studio album, guitarist, singer, and composer Evil Chuck's band once again goes through some changes, with only drummer Gene Hoglan performing and recording on all songs--though bassist on Individual Thought Patterns, Steve DiGiorgio, played on the session's bonus tracks which were not included in this, the original album release. There are also some significant changes in the engineering room. This band is growing! Exponentially!
Line-up / Musicians:
- Chuck Schuldiner / vocals, guitar, bass & co-producer
- Bobby Koelble / guitar
- Kelly Conlon / bass
- Gene Hoglan / drums, percussion,
With:
- Bobby Koelble / guitar
- Kelly Conlon / bass
- Gene Hoglan / drums, percussion,
With:
- Steve DiGiorgio / bass on bonus tracks (10-13)
The version of this album that I'm listening to, on YouTube, posts the lyrics with the video. This is actually the very first time that I've ever seen the lyrics of a metal song. It makes me listen to the singing in a different way--distracting me from the music. It also shocks me that the lyrics could be something as simple and humanly frail as those these aggressive singing styles could be singing about. (I have to admit to my surprise that they aren't about evil and death and destruction and violence and other acts of violence in the realm that such screaming and yelling would support.)
1. "Symbolic" (6:33) A classic rock-sounding opening and baseline! Then a turn into the fast lane. And vocal effects! (Echoes and panning.) Solid, well-engineered head-banging music. Drums and guitars take turns impressing. I love the way Gene's drums seldom devolve into classic rock riffs and nuances--something that really aggravated me on previous records. And great improvement on the recording of his bass drums. Even the shredding guitars have far more interesting definition, treatment, and placement in the soundscape. That finish almost has me hypnotized! Beautiful! (8.75/10)
2. "Zero Tolerance" (4:48) great start promising some BÖC spaciousness. Chuck's vocal is a bit garbled, but the music more than makes up for it--and then Chuck's awesome chorus of the song's title. I love Gene's restraint while the guitars distribute their gattling gun djent rhythms and mind-melting ray gun solos. A top three song for me. (9.25/10)
3. "Empty Words" (6:22) a gentle guitar intro with synth background and hand percussion?! I knew it was too good to be true! Before the end of the first minute we are in the midst of another barrage of metal mania. Some classic guitar tricks here and pretty straightforward drum pounding. A classic 80s metal section to support some surprisingly simple and melodic guitar soloing. Not a fan of the next section, but then the THIN LIZZY passage in the fifth minute at least feels familiar. Impressive whole band weave after that with Chuck's great punctuated word delivery. (8.75/10)
4. "Sacred Serenity" (4:27) a new sound from the bass! (Or perhaps it's just the first time we've heard it in isolation.) And an innovative intro! Great lead guitar work in the opening! I like Gene's spacious drum play. A lot! And then some gentle music to cradle a solo in?! What is happening? Is Chuck's emotional breadth catching up to his intellectual and spiritual curiosity? (Though perhaps the death growl vocals aren't the best match for this song's music.) Another top three song. (9/10)
5. "1,000 Eyes" (4:28) Is Chuck going mystical? More like old-style Death (despite Gene's growth and the improved engineering acoutrements). (8.5/10)
6. "Without Judgement" (5:28) bombast in the opening! Like classic rock and prog! But then we find ourselves chugging along, as usual, taking a few turns along the way. Drumming gets a little annoying in the third minute but then great guitar solo from reverbed (!) second guitar steals my attention--only to be astonished again by the spacious spacey section in the first half of the fourth minute. (8.75/10)
7. "Crystal Mountain" (5:07) I don't like the classic rock chord progression used in the first portion of this song's first minute. Funny how the music can change but Chuck's vocal approach or lyrical delivery style over the top doesn't. Like the transition at 1:30 and new pace and effects--even Gene's tiny cymbal hits. Definitely not as harsh as the straightforward machine gun style of metal music used on previous albums. A top three song. (9/10)
8. "Misanthrope" (5:03) Whoa! Talk about a machine gun opening! Full on! Everybody's on board! Chuck's vocal delivery sounds tired and almost weak. Cool VAN HALEN-like spacious riffs in the middle of the second minute--and then a real Eddie Van tribute in the third! I like the tribute aspect of the song--and the great guitar solo in the second half of the third minute, but, overall, this song doesn't do much for me. (8.5/10)
9. "Perennial Quest" (8:21) How can "death metal" be tackling these spiritual questions and quandaries? I always thought they were just about doom and gloom, not intellectual, philosophical pursuits. While the music matches Chuck's screaming wonderings well, it doesn't match up well with the soloing instruments (which are actually rather few and far between). At some points it sounds almost like Devy Townsend's Ziltoid--which, unfortunately, has the effect of making me smile/laugh! Then there is the incongruity of the soft, acoustic guitar backed space/psych section starting at 6:45. Is this the end or portends of things to come? (17.25/20)
Total time 50:37
What I appreciate most about the songs on this album are the demonstration of growth in the breadth of song construction styles and forms. In my opinion, this is definitely a step forward from 1993's Individual Thought Patterns. Even the sound patterns used by the individual instruments vary a little more than they have before. I would go so far to even say that the band has, for the first time, given the instrumental portions of the songs room to express in the way that Chuck always designated for his vocals (and, I assume, messages). (This seems amply demonstrated by the fact that the band has allowed some of their songs to bleed into five, six, and even seven minute lengths!) Plus, there are song intros and longer frames given to the instrumental passages. There's even variety in the growl vocals and the effects used to process them!
I recognize the technical prowess of the band members of this band, but most of the sounds here feel to me the same as any metal album. What makes this music stand out is the lyrics and singing (I can actually understand the words!) and the phenomenal time and tempo shifting that goes on within each and every song. Amazing flexibility and skill coming from drummer Gene Hoglan as well as from the guitarists. The only reason I rate this album down from masterpiece status is the over-familiarity of many of the riffs, sounds, and chord progressions co-opted herein (many of which I hear as if they were lifted from the RUSH catalogue). Is this album, this band, a shaker and mover of metal? Yes. But they are, to these ears, first and foremost, a synthesizer of all that has come before. (Is there such a thing as Neo Metal?), and secondarily innovators. Still, kudos to Chuck and the band for their passion, their skill, and their creativity.
87.75 on the Fishscales = B+/4.5 stars; an excellent addition to any prog lover's music collection--especially if you're into the metal side of things--maybe a bit of a disappointment for Death Metal purists.
87.75 on the Fishscales = B+/4.5 stars; an excellent addition to any prog lover's music collection--especially if you're into the metal side of things--maybe a bit of a disappointment for Death Metal purists.
7. DUNWICH Il Chiarore Sorge Due Volte
Line-up / Musicians:
- Claudio Nigris / guitar: Korg Ma, Roland S-50, Roland Super gD990, Emulator 3XP, Emu Vintage
- Katya Sanna / vocals
- Alessandro Vitanza / percussion electro-acoustic: Roland TD 7, Alesis D4, Kaway X-D5
- Claudio Nigris / guitar: Korg Ma, Roland S-50, Roland Super gD990, Emulator 3XP, Emu Vintage
- Katya Sanna / vocals
- Alessandro Vitanza / percussion electro-acoustic: Roland TD 7, Alesis D4, Kaway X-D5
1. "Ouverture
2. "Storia di Oro
3. "Le Pietre di Dunwich
4. "L'incontro
5. "Il viaggio di Wesakaycak
6. "Yetima
7. "La nuova rugiada
8. "Solo per sognare
9. "Izanami e Izanagi
10. "La riualsa di Aki-Gahuk
11. "Epilogo
While the metal/heavy prog elements of this album are not my favorite, there are more than enough of the softer, subtler, more 'medieval' and pastoral/folk sections and themes to make up for these. While not a masterpiece, this is great music--music that continues growing on me with each listen. Ivan mentions MIRANDA SEX GARDEN--which folded and rose out of ashes to become MEDIÆVAL BÆBES one of my favorite bands from the Naughties, (especially with "Yatima" [8.75/10] and "La nuova rugiada" [8.75/10]), while I find myself also reminded of DARGAARD, CLAIRE HAMMILL, LOREENA MCKENNITT ("La rivalsa di Aki-Gahuk" [8.5/10]), and ADIEMUS/MIRIAM STOCKLEY as well as EPICA, WITHIN TEMPTATION, and NIGHTWISH. I love the ROY BUCHANAN-like electric guitar work and vocal variety on "Il viaggio di Wesahaycah." (8.5/10)
Five star songs: "Storia di Ono," "La pietre de Dunwich," "Izanami e Izanagi," "Epilogo."
Four star songs: "Il viaggio di Wesahaycah," "Yatima," "La nuova rugiada," "Solo por sognare," "La rivalsa de Aki-Gahuk," "il samurai della primavera."
Not a masterpiece but close; definitely an excellent addition to any prog lover's music collection--especially one that appreciates the integration of older 'medieval' instruments and themes and beautiful clear female vocals.
Not as Good as Advertised:
THE GATHERING Mandylion
Though the third full-length album release by this Dutch "doom/metal" band, this is the debut album for new vocalist ANNEKE VAN GIERSBERGEN and first album in which the female vocals become more prominent, even, at times, central. Before Mandylion, the band's female vocals were performed by guests only as supplementals to the male growls.
1. "Strange Machines" (6:04) slow like The Gathering but using more distorted guitars to form the majority of their soundscape. Anneke is up front and center almost from the beginning. Her vocal sound and styling is somewhere between Alanis Morissette and Alannah Myles (both the hard rock and C&W versions). At 3:45 a slow-chugging train of djenty guitars supports a brief recorded voice speech before going back to Anneke's vocal part. Then we switch into a little faster of a motif for an extended instrumental passage with thickening ascending synth wash chords to finish. Nice but nothing special (unless the message of Anneke's vocal's lyrics have relevance to you). (8.5/10)
2. "Eléanor" (6:41) Nice performances of some very straightforward chord and song structures played at two basic speed: slow and lumbering or fast and staccato. Even the spacious section in the fifth minute holds little excitement or innovation. he drums (especially the tom-tom fills) are a bit dated. (8.5/10)
3. "In Motion #1" (6:56) tuned percussion used to lay down the foundational arpeggiated chords are soon joined by distorted guitar power chords and boring drums. Very cool when Anneke's voice gets doubled up with a higher harmony. This is then followed by the album's first really good synth and guitar solo. The plodding four-chord guitar power chord sequence must be very boring to play. The choruses are so much better! (13/15)
4. "Leaves" (6:01) spacious guitar chords and cymbal play open this one for solo guitar to slowly play (experiment) over, but then at the end of the first minute we jump into the main body of the song with Anneke's powerful lead voice (heavily reverbed). Plagued by another horribly plodsome guitar chord sequence--played at a snail's pace (of course). The guitar solo in the fourth minute is at least melodic if not technically impressive. When chorus part is repeated sans vocals the keyboards make it sound so 1980s BON JOVI. But those tom-tom fills! They're driving me crazy! The drummer's a one trick pony! (8.667/10)
5. "Fear of the Sea" (5:49) heavily distorted sustained electric guitar chords and chunky, mobile bass support Anneke's vocal. The second motif (which is used between her vocal forays) is horribly 80s--and the chorus music is even worse. And our one trick pony keeps relying on his … one trick. Nice guitar solo in the fourth minute. I really like this extended instrumental passage. (8.667/10)
6. "Mandylion" (5:01) Middle Eastern nasal horn à la Peter Gabriel's Passion soundtrack opening opens this one, supported, eventually, by low synth chord and, later, hand drums. Very cool. Could go into a chant of "Biko" at any minute. At 2:18 Anneke's wonderful vocalise enters, and then at 3:45 thunder clap signals a shift into a more CURE-ish DEAD CAN DANCE motif. I really like this. At 3:47 the DCD motif adds ankle bells and the nasal horn moves into a lower octave. The band could do more of this and I'd be very happy. Definitely my favorite song on the album. (9.5/10)
7. "Sand and Mercury" (9:57) a song that really has no business being ten minutes long--not even the angelic choir voices can save the day; it's just a lot of wasted little simplistic motifs pasted together beneath the Mellotron. (16.667/20)
8. "In Motion #2" (6:07) opens with a brooding, cello-led Goth soundscape as Anneke jumps right in to sing an AMY LEE/Evanescence-like vocal (and this is 10 years before Amy Lee and Evanescence!). Nice PAUL REYNOLDS (Flock of Seagulls)-like guitar sound and solo in the instrumental fourth minute--which is followed by a great multi-voiced chorus. A top three song for me. (8.75/10)
Am I crazy or is The Gathering's music often way too simple and, in fact, boring? Their female singers are, frankly, about all they have going for them. Nice sound and production, but just uniteresting music.
86.58 on the Fishscales = B/four stars; an adequate addition to any prog lover's music collection.
Other Highly Recommended Prog Albums
(Other recommended albums from prog lovers)
ARENA Songs from the Lion's Cage
- John Carson / lead & backing vocals
- Keith More / guitars
- Clive Nolan / keyboards, backing vocals, engineer
- Cliff Orsi / bass, backing vocals
- Mick Pointer / drums
With:
- Steve Rothery / guitar (8)
- Tracy Hitchings / backing vocals
- Tosh McMann / backing vocals
- Martin Albering / backing vocals
- Marc Van Dongen / backing vocals
1. Out of the Wilderness (8:02)
2. Crying for Help I (1:22)
3. Valley of the Kings (10:10)
4. Crying for Help II (3:08)
5. Jericho (6:50)
6. Crying for Help III (4:24)
7. Midas Vision (4:36)
8. Crying for Help IV (5:05)
9. Solomon (14:37)
Total Time 58:14
JETHRO TULL Roots to Branches
Line-up / Musicians:
- Ian Anderson / vocals, concert & bamboo flutes, acoustic guitar, producer
- Martin Barre / electric guitar
- Andrew Giddings / keyboards
- David Pegg / bass (3,5,11)
- Doane Perry / drums, percussion
With:
- Steve Bailey / bass (1,6-10)
- Martin Barre / electric guitar
- Andrew Giddings / keyboards
- David Pegg / bass (3,5,11)
- Doane Perry / drums, percussion
With:
- Steve Bailey / bass (1,6-10)
1. Roots To Branches (5:12)
2. Rare And Precious Chain (3:35)
3. Out Of The Noise (3:25)
4. This Free Will (4:05)
5. Valley (6:08)
6. Dangerous Veils (5:35)
7. Beside Myself (5:51)
8. Wounded, Old And Treacherous (7:50)
9. At Last, Forever (7:55)
10. Stuck In The August Rain (4:06)
11. Another Harry's Bar (6:22)
Total Time: 60:04
KING CRIMSON THRAK
- Adrian Belew / guitar, lead vocals
- Robert Fripp / guitar, Mellotron, effects ("soundscapes")
- Trey Gunn / Chapman Stick, Warr guitar (?), backing vocals
- Tony Levin / basses (extended-range, electric upright), Chapman Stick (?), backing vocals
- Pat Mastelotto / acoustic & electronic percussion
- Bill Bruford / acoustic & electronic percussion
1. VROOOM (4:37)
2. Coda: Marine 475 (2:41)
3. Dinosaur (6:35)
4. Walking on Air (4:34)
5. B'Boom (4:11)
6. THRAK (3:58)
7. Inner Garden 1 (1:47)
8. People (5:53)
9. Radio 1 (0:43)
10. One Time (5:21)
11. Radio 2 (1:02)
12. Inner Garden 2 (1:15)
13. Sex, Sleep, Eat, Drink, Dream (4:48)
14. VROOOM VROOOM (5:37)
15. VROOOM VROOOM: Coda (3:00)
Total Time 56:02
MARILLION Afraid of Sunlight
- Steve Hogarth / lead & backing vocals, keyboards, percussion
- Steve Rothery / guitars
- Mark Kelly / keyboards
- Pete Trewavas / basses, / backing vocals
- Ian Mosley / drums, percussion
With:
- Barbara Lezmy / backing vocals (2)
- Wendy Paige / backing vocals (2)
- Hannah Stobart / backing vocals (3)
- Dave Meegan / co-arranger, co-producer
1. Gazpacho (7:28)
2. Cannibal Surf Babe (5:46)
3. Beautiful (5:13)
4. Afraid Of Sunrise (5:02)
5. Out Of This World (7:55)
6. Afraid Of Sunlight (6:50)
7. Beyond You (6:11)
8. King (7:04)
Total time 51:29
SPOCK'S BEARD The Light
- Neal Morse / lead vocals, Mellotron, Hammond organ, keyboards, acoustic & electric guitars, co-arranger & co-producer
- Alan Morse / lead electric guitar, cello, Mellotron, vocals
- Dave Meros / bass, French horn
- Nick D'Virgilio / drums, percussions, vocals
With:
- Molly Pasutti / backing vocals (3)
- Wanda Houston / backing vocals (3)
1. "The Light" (15:33) (26.5/30)
- a) The Dream
- b) One Man
- c) Garden People
- d) Looking Straight into the Light
- e) The Man in the Mountain
- f) Senor Valasco's Mystic Voodoo Love Dance
- g) The Return of the Horrible Catfish Man
- h) The Dream
2. Go the Way You Go (12:03)
3. "The Water" (23:14) (44.5/50)
- a) Introduction / The Water
- b) When It All Goes to Hell
- c) A Thief in the Night
- d) FU / I'm Sorry
- e) The Water (revisited)
- f) Runnin' the Race
- g) Reach for the Sky
4. On the Edge (6:11)
Total Time 57:01
Albums on the Fringe of Prog World
Line-up / Musicians:
- Evangelos Papathanassiou / composer, performer, arranger & producer
With:
- The Athens Opera Company / vocals (1)
- Caroline Lavelle / vocals & cello (3)
- Stina Nordenstam / vocals (5)
- Paul Young / vocal (7)
1. Voices (7:00)
2. Echoes (8:20)
3. Come To Me (4:40)
4. P.S. (2:05)
5. "Ask The Mountains" (7:55) (15/15)
6. Prelude (4:24)
7. Losing Sleep (Still, My Heart) (6:41)
8. Messages (7:30)
9. Dream In An Open Place (5:50)
Total time 54:25
- Evangelos Papathanassiou / composer, performer, arranger & producer
With:
- The Athens Opera Company / vocals (1)
- Caroline Lavelle / vocals & cello (3)
- Stina Nordenstam / vocals (5)
- Paul Young / vocal (7)
1. Voices (7:00)
2. Echoes (8:20)
3. Come To Me (4:40)
4. P.S. (2:05)
5. "Ask The Mountains" (7:55) (15/15)
6. Prelude (4:24)
7. Losing Sleep (Still, My Heart) (6:41)
8. Messages (7:30)
9. Dream In An Open Place (5:50)
Total time 54:25
ALANIS MORISSETTE Jagged Little Pill
Certainly a pop phenomenon, propelling no less than five hit singles into international prominence, Alanis's clever and abrasive, self-reflective lyrics and power deliveries earned her accolades she deserved, but the music and song structures are quite proggy.
1. "All I Really Want" (4:45)
2. "You Oughta Know" (4:09)
3. "Perfect" (3:08)
4. "Hand in My Pocket" (3:41)
5. "Right Through You" (2:55)
6. "Forgiven" (5:00)
7. "You Learn" (3:59)
8. "Head Over Feet" (4:27)
9. "Mary Jane" (4:40)
10. "Ironic" (3:49)
11. "Not the Doctor" (3:47)
12. "Wake Up" (4:53)
13. "You Oughta Know/Your House" (8:11)
NATALIE MERCHANT Tiger Lily
The former lead singer of the band 10,000 Maniacs, this was Natalie Merchant's debut as a solo artist. I always liked the fact that I could play it start to finish and enjoy its prog folk-like ambiance throughout.
1. "San Andreas Fault" (3:57)
2. "Wonder" (4:26)
3. "Beloved Wife" (5:03)
4. "River" (5:32)
5. "Carnival" (5:59)
6. "I May Know the World" (8:07)
7. "The Letter" (2:12)
8. "Cowboy romance" (4:39)
9. "Jealousy" (2:41)
10. "Where I Go" (3:59)
11. "Seven Years" (5:31)
GARBAGE Garbage
The band's debut album, it produced several hits, the most well-known of which was Grammy Award-nominated, "Stupid Girl."
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