The 2010s: Favorite Prog Folk Releases

My favorite Prog Folk albums released during the 2010-2019 decade:

 

1. THE AMAZING Gentle Stream (2011) (Electric Folk/Psychedelic Pop)

This happens to be my favorite album of the year 2011. The melodies, warmth of the music, incredible group jams--led, of course, by my guitar hero, Reine Fiske--make this album one that I want to come back to often--more than the most others I own. It currently ranks #9 on my list of All-Time Favorite Albums. I recognize that it has flaws, especially in the fact that it is not so proggy as some of the other masterpieces and excellent collections of progressive rock music. But as an electric folk album it is a real gem.
     Special recognition needs to go out to band 'leader' and chief composer Christoffer Gunrup. His mellifluous voice is sublime and emotionally heart-wrenching. His guitar play is every bit the match for Reine Fiske. In fact, the two may make up my favorite guitar duo of all-time--not for amazing licks, technique or speed but for the way they so perfectly complement and blend together--despite the fact that they each have quite distinct styles. Watching their YouTube video performances has allowed be to see and understand just how essential Christoffer's contributions are.
    
1. "Gentle Stream" (7:00) starts the album out with an incredible sound that is quite reminiscent of some of the masterpieces of psychedelic rock from the late 1960s and even the Southern rock groups of the early 1970s. A smooth, incredibly warm and melodic song--both in terms of the instrumentalisits and the vocals. Great vocal harmonies in the vein of CROSBY, STILL, NASH & YOUNG. The drum work is incredibly fluid and smooth, restrained yet full--kind of like STEVE GADD's understated mastery. But my favorite part is the vocal-accompanied all-out jam by the band for the final two and a half minutes. The adrenaline rush is incredible! (16/15)

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

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

4. "The Fog" (4:29) begins with some acoustic guitar picking which again revives images of STEVE WINWOOD/BLIND FAITH. The vocals enter, ever-so delicately, at times feeling like they are being held up or shored up by the background singers' sustained "ahh's" and "ooohs." Fiske's guitar picking gets a little more forceful at the 2:20 mark, and from there out, until multiple electric guitars begin a southern rock harmonized duel right out of the archives of  THE MARSHALL TUCKER BAND or even THE ALLMAN BROTHERS. (9/10)

5. "Gone" (6:13) has much more of a CSN&Y feel to it--especially the electric guitars. This song has some awesome hooks, both instrumentally and vocally, but the highlight is one of the album's trademark all-out band jams--previewed with the rhythm shift at the 2:21 mark but really starting at about the 4:07 mark. Almost a SANTANA or AMERICA feel to it. Wonderful b vox! (9.25/10)

6. "Dogs" (6:38) starts out with an even stronger CSN&Y sound and feel--like it was a song that didn't make it onto 1970's Déjà Vu (but should have). Christoff's vocal is mixed a little back and the electric guitars are very much in the foreground. This is not quite as engaging a song, despite it's familiarity, until the 4:12 mark when the electric guitar switches on his wah-pedal and starts to lead into an awesome HENDRIX/CLAPTON/ROBIN TROWER playing backed by some amazing organ play that is reminiscent of PROCUL HARUM's MATTHEW FISHER or perhaps even STEVE WINWOOD. (9/10)

7. "Assumptions" (2:08) is a kind of vocal interlude, almost like sacred church or meditative music.(4.25/5)

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

94.375 on the Fishscales = A/five stars; a masterpiece of progressive rock music. Again, this is my favorite album Y2K11, yet, in terms of its contribution to "progressive rock" it suffers a little. It is more of a revival of some long lost and yet not forgotten sounds and traditions that give it such a warmth and home-like familiarity that set this album apart from the other Neo, revivalist or imitative work being done today. Absolutely gorgeous vocals and melodies coupled with mesmerizing guitar and drum play.

2. THE GHOSTS OF JUPITER The Great Bright Horses

Nate Wilson, why haven't I heard of you before? Your genius and mature songwriting skills have surely been developed over time. Your gift for endless strings of melodic hooks--both vocally and lyrically, as well as instrumentally--are so far beyond most young artists. Are you older--or perhaps just an old soul come to comfort us in these horrific times? I love this album. You've masterfully blended and combined so many sounds from days gone by, modern times, creating a halcyon world for our blissful escape. Bands like TAME IMPALA, DUNGEN, THE AMAZING, PINK FLOYD, MIDLAKE, DOVES, THE FLAMING LIPS, JOHN LENNON, THE CLIENTELE, ALAN PARSONS PROJECT, and many, many others come to mind while listening to this gorgeous music.

1. "The Great Bright Horses" (6:45) blending so many great sounds and styles with seamless transitions from one melodic hook to another. (14.25/20)

2. "Boundless Time I" (4:12) channeling the DUNGEN and JOHN LENNON (9.5/10)

3. "Lyra" (5:18) an instrumental channeling DUNGEN mixed with PINK FLOYD --or vice versa. (9/10)

4. "Toward the Silent Sun" (5:18) sounds very much like MIDLAKE's glorious music from their 2014 album Antiphon sprinkled with quite a little TAME IMPALA. (9.5/10)

5. "The Golden Age" (5:07) has the musical edge of something from the late 1960s by PAUL REVERE AND THE RAIDERS with the heavily reverbed vocals of APP or THE CLIENTELE. (8.5/10)

6. "Equuleus" (2:32) heavily echoed piano, soft drums, flute, and, later, organ, evoke a kind of ERIK SATIE-meets-STEVE AND DAVID GORDON feel on this gorgeous albeit brief instrumental. (5/5)

7. "Towers" (3:40) acoustic guitar with slide electric and very catchy piano riff beneath the mellifluous vocals that takes on a feel like an AMAZING song. (9.5/10)

8. "Boundless Time II" (6:32) fades in with two channels of slide guitars and beautifully flanged drums and bass beneath. Piano joins in the second minute to become the lead instrument while guitars settle back in support. Organ, too, joins in to support piano. A stop and lull at the two and a half minute mark allows the unleashing of a REINE FISKE/JIMI HENDRIX-like passage of flaming guitar before organ and synth take over in the fourth minute setting up a little drum soloing. Lots of panning of the drums between brief organ sections. Reminds me of Nikitas Kissonas's METHEXIS songs. Return to AMAZING sound with awesome bass and drum playing over the final section. (9.5/10)

9. "The Eastern Glow" (8:40) opens with bass riffing and jazzy drumming in a Canterbury way before multiple guitars and multiple keyboard tracks (synths, organs, piano) and, eventually, dreamy voice join in. Great melodic hooks from each and every instrument, in each and every section. Major shift in the music and pacing after the three minute mark before there is a complete gap--which is then filled by plaintive piano play, setting up a "Great Gig in the Sky" like melody line which is then picked up and taken to great heights by pedal steel guitar. Gorgeous! A song I like to play twice before starting the album over (which I often do immediately). (20/20)

I don't know if a more engaging, melodic prog rock album can be created to top this, but here we are! 

95.0 on the Fishscales = A/five stars; a veritable masterpiece of gorgeous psych-folk prog rock. 

3. FAUN Eden (2011) (Electrified Pagan/Celtic/World Folk) is perhaps the best pure folk Prog Folk album I've ever heard. Every song is engaging and so well balanced between gorgeous melodies, amazingly coordinated and complementary instruments and voices interwoven in magical balance, plus there is a great warmth and mesmerizing, intimate quality to the recording and due to the fullness of the sound. There are many songs on Eden that are longer than the band has traditionally recorded, which, due to the mesmerizing weaves and melody lines, is something I enjoy tremendously. The drones, samples, and electronic contributions of computer whiz Neil Mitra are back with a vengeance (after a break from 2009's "acoustic" album, Buch der Balladen) and I have to admit that he's really found his perfect place in the mix: never overpowering but always present, helping to fill the field with warmth and emotion. Band-leader and lead male vocalist Oliver Sa Tyr has truly mastered his gentle but emotional instrument. Sometimes haunting, others romantic and enticing, he sings as if the heir apparent to the God Orpheus. And the band has finally found in Margareta Eibel the right female vocalist to replace the superb soprano, Lisa Pawelke. Teamed with founding member Fiona Rüggeberg's professional alto voice, the two soar. Plus, Margareta comes with more instrumental diversity than Lisa had (hurdy-gurdy was Lisa's lone instrumental contribution) and Fiona has added a few new instruments to her spectacular repertoire. Eden sounds more full blood Celtic than previous albums but it is a sound that suits FAUN. If there is any "flaw"--and I'm not sure if this can be considered a flaw considering the power and beauty of this album's songs, but this album represents quite a departure in linguistic choice as many songs and narrations are done in English, and far less of the songs are gathered from ancient and mediæval tongues as was done on Licht and Renaissance.  

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

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

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

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

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

6. "Adam Lay Ybounden" (4:37) is the album's first song sung in English. Here Margareta displays a high trilling in her vocal approach that is similar to that of early ELIZABETH FRASER (Cocteau Twins). Also, the vocal duet is unusual (for Faun) for its alternating timing and different style of harmonizing. The song's highlight is the whistle and bouzouki carried Celtic melody. (9/10)

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

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

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

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

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

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

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

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

15. "Golden Apples" (7:35) may be the most beautiful and most powerful song on this, an album of many powerful and hypnotic songs. The finale is so deliciously and dangerously tranquilizing that I feel I must warn the reader/listener to be on his awares!
     Set up by a slow, methodically repeated harp arpeggio, soon Fiona is singing like the most seductive siren to grace these ears. I would definitely be tempted by her offer of this apple! Absolutely stunning, gut-wrenchingly emotional song! Neil and Rüdiger's contributions are also very important to this one--they just kind of sneak up on you. What an end to an incredible album! (10/10)

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

4. MICE ON STILTS Hope for a Mourning

With their second album release, Mice on Stilts has improved and polished their recorded sound dramatically. The music here sounds like a cross between BON IVER and THE DAVE MATTHEWS BAND merged with the more atmospheric sides of ULVER and TOBY DRIVER. The songwriting is more diverse on this album and each song has far more depth in terms of sound development and exploration. This is the kind of growth and improvement one likes to see from a young band!

Line-up / Musicians

- Benjamin Morley / vocals, guitar

- Rob Sanders / drums

- Sam Hennessy / viola, cello

- Aaron Longville / saxophone, clarinet, trumpet

- Joseph Jujnovich / effects, backing vocals, guitar

- Brendan Zwaan / piano, keyboards, organ, music, lyrics

- Tim Burrows / bass guitar, acoustic guitar

- Calvin Davidson / synthesizer, saxophone, guitar

- Guy Harrison / trumpet

With:

- Catherine Walker / backing vocals

- Esther Tetlow / backing vocals

1. "Khandallah" (6:50) one of the most powerful album opening songs ever! (15/15)

2. "Orca" (8:10) opens with the first 90 seconds sounding like a nice DAVE MATTHEWS song. A great ULVER-like key change at the three minute mark--and then the awesome shift in which a chorale of voices join in to sing the chorus at the end of the fourth minute. An ambient section of reverse guitar notes gives a brief break before sax-led full-band section reintegrates us with the main motif. Awesome Post Rock-like finale of building sound over a repeating chord progression. (14.25/15)

3. "The Hours" (3:45)  a gently picked steel string guitar opens this song before some tinkling piano notes join in as Ben sings with his lower register voice mixed quite forward of the guitar and piano. Definitely more of a folk song. (8/10)

4. "And We Saw His Needs Through The Casket" (6:43) opens with solo piano establishing a gorgeous albeit haunting and depressing song foundation. It sounds almost classical. Ben starts to sing toward the end of the first minute in a very deep, almost Tom Waits-like voice. Multiple voices and horns join in for the second verse. The lead vocal is amazing with its emotion and intent but then add in the choral voices as And then at the four minute mark the song shifts completely with upper octave shifting piano dyads, bass and guitar chords providing the new base for an all-chorale lead. Powerful and amazing! Simply has to be heard in order to understand! (14.25/15)

5. "YHWH" (7:20) opens as a quite, delicate guitar-based song before going full "metal" around the one minute mark with loud, sustained distorted electric guitar strums. This reminds me of KAYO DOT or OCEANSIZE! Especially with its sparse vocals and predominantly instrumental nature. (13.5/15)

6. "Hope For A Mourning" (6:40) The finish is very GODSPEED YOU! BLACK EMPEROR-like in its orchestrated feel but then finishes with--surprise!--almost a full minute of silence allowed at the end of the song. (13.5/15)

7. "Funeral" (11:40) A wonderfully paced song in which the music and vocal and story are perfectly matched in telling this very emotional story. Reminds me a lot of sound and feel from the debut STARSABOUT album also reviewed on this page as well as some of THE CURE's more emotional music on "Disintegration" and after. A perfect song and probably my favorite on this amazing and excellent album. (20/20)

8. "Monarch" (6:20) simple, soft, spacious, atmospheric, yet amazingly melodic and emotional, this is an awesome ULVER or TALK TALK like song and a perfect ending to this beautiful and amazingly emotional journey! Thank you, Benjamin! This is exactly what music--or any art--in it's most perfect form should do! (10/10)

Total Time 56:21

What makes this album so exciting, so masterful, is the numerous "unexpecteds": unexpected key or chord changes, unexpected dynamic shifts, unexpected instrumental uses or shifts, unexpected vocal stylings, unexpected recording techniques, and, of course, unexpected lyrical directions. So refreshing and often flamboyantly breathtaking! How weird is it that the shortest and simplest song is the "worst"?!!

94.35 on the Fishscales = A/five stars; an undeniable masterpiece of progressive rock music.

5. CORDE OBLIQUE A Hail of Bitter Almonds

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

6. MIDLAKE Antiphon (2013) (Eclectic Folk Rock) is Midlake's first album after the departure of front man and chief songwriter Tim Smith. Tim Smith's talents are considerable but Antiphon shows us just how talented Smith's band mates are--and how their founder's talents may, in fact, have overshadowed and suppressed the full display of Midlake's true potential. This is an amazing album. And truly a Prog Folk album. One of my favorite Prog Folk albums of all-time--and preferable to Van Occupanther.

I am in total bliss as I listen to songs 5 through 10, "Vale" (4:31), "Aurora Gone" (4:38), "Ages" (4:39), "This Weight" (3:34), "Corruption" (5:18), "Provider Reprise" (5:01) are all, each and everyone, masterpieces of Prog Folk.

7. TIRILL Said the Sun to the Moon

A concept album of gorgeous folk music inspired by the four seasons and Tirill Mohn's long-standing connection to Rudolf Steiner and the Waldorf educational model, we have here a journey through the Nordic year beginning with Autumn and ending with a late summer sunset (or sunrise) in which Tirill employs, adapts, or re-forms known poetry and song lyrics to fit her vision and mood. The four seasonally titled "interlude" songs, "Autumn," "Winter," "Spring," and "Summer," manipulate the words of Steiner himself, while other more full-bodied songs are adaptations of works by the likes of Nick Drake, Mark Strand, Patric Crotty, and Kathleen Jessie Raine. 

Lineup / Musicians:

Gjermund Kolltveit: kanklés, Hardanger fiddle, lyre

Nils Einar Vinjor: electric guitars, guitalele

Alsaug Marie Holgersen: double bass

Sigrun Eng: cello

Bjarne Magnus Jensen: violin

Uno Alexander Vesje: harp

Julie Kleive: additional vocals on tracks 1, 4, 7, 8, 9, and 10

Marte Bjørkmann: harmony vocals on tracks 8 and 12

Dagfinn Hobæk: lead vocals on track 11

Tirill Mohn: vocals, acoustic guitars

01 "Autumn" (1:13) strongly plucked concert harp with the whispery voices of Tirill Mohn and other female soprano, Julie Kleive, open the album with their poetic introduction. (5/5)

02  "Clothes of Sand" (3:08) acoustic guitar and, later, cello, support Tirill in this Nick Drake song. Female vocals harmonize below Tirill during the chorus. Viola and/or violin join the cello beneath the second verse. Like singing with a string quartet. Wow! (9/10)

03 "Under the Harvest Moon" (2:14) harp and Tirill and other voices. A traditional folk song that sounds as if it could be an Andreas Vollenweider Christmas song. (4.5/5)

04 "Winter" (1:58) two harps dancing slowly around each other before Tirill and the beautiful soprano voice of Julie Kleive join in, also singing in tandem as if circling around one another. Stunning! (5/5)

05 "Under the Small Fire of Winter Stars" (2:26) bowed stringed instrument and folk percussives provide the mood accompaniment for Tirill's campfire story-version of this Mark Strand poem. Evocative! (4.5/5)

06 "To the Realms of the Spirit" (3:17) acoustic guitar and other harp and/or lyre (?) duet with bass and Lithuanian zither ("kanklés"). No voices or lyrics despite its inspiration coming from the words of Rudolf Steiner. Very pretty. (8.5/10)

07 "Spring" (1:16) harp and folk madrigal Tirill (and Julie). (4.25/5)

08 "Shapes of a Dream" (4:05) in her breathiest, most knee-buckling voice Tirill sings (with accompaniment from vocalist Marte Bjørkmann) over a guitalele. A bit of a Judy Collins melody haunts the listener as does the gentle pastoral mood set by the beautiful work of the musicians. (10/10)

09 "Said the Sun to the Moon" (3:09) Tirill and soprano vocalist, Julie Kleive, sing together while harp and lyre (two harp tracks?), guitar, bass play in support on this Kathleen Jessie Raine lyric. Very nice chordal structure from the instrumentalists between the vocal verses. Prog folk does not get better than this! (10/10)

10 "Summer" (1:34) harp supports the now-familiar duo of two female singers (Tirill and Julie, I presume). But wait, do I hear three vocal tracks working in harmony? (4.75/5)

11 "Beneath the Midnight Sun" (4:15) opens with the gorgeous male voice of Dagfinn Hobæk singing with the harp/lute accompaniment. Tirill makes her delicate presence known with occasional harmonized vocals (more as the song goes on). There is an eerie edge to this song--not unlike some of the pagan folk songs of the German band FAUN. Violin joins in during the third minute as does traditional folk Hardanger fiddle. Based on a lyric by Patric Crotty, this is an amazing song--my favorite on the album and one of my favorite songs of 2019! It has all of the qualities of a timeless classic. (10/10)

12 "Iridescent Horizon" (4:34) opens with long-sustaining synthesizer-like treated electric guitar notes floating into the sky like cinders rising from a campfire. Joined by delicately played folk guitar and then Tirill's spoken voice reciting some poetry--poetry evoking beauty and wisdom. The "infinite" guitar is awesome! What an amazing end to an amazing musical journey! I feel bathed, washed, cleansed, refreshed, renewed, revitalized, and reborn! (9.5/10)

One of the most beautiful, enrapturing albums I've ever heard, flowing seemlessly, sucking the listener in from its first notes and then spitting one out at the end limp yet refreshed. Like Sirens enticing and entrapping sailors on the Mediterranean, the vocal duet arrangements and performances of Tirill and Julie Kleive are stunning and totally beguiling. The use of traditional folk instrumentation throughout is also planned meticulously and pulled off flawlessly.

94.44 on the Fishscales = A/five stars; a masterpiece of prog folk and one of the best albums of 2019 and one of the finest prog folk albums of all-time.

8. FAUN Luna (2014) (Electrified Pagan World/Celtic Folk) is another gem of prog folk music from Germany's "Pagan Folk" masters, FAUN. Upon first listen I found high points, but after repeated listens I've come to love this entire album. Not quite as good as their masterpiece, Eden but back to that level (after 2013's disappointing Von den Elben). The spectrum of emotions this album takes one through is nothing short of remarkable. From nostalgia to haunted fear, celebratory joy to bitter sadness, the power of mutual support to the despair of isolation, there is nary an emotion left untouched. The romantically rhythmed vocal ensemble piece "Cuncti Simus" is my absolute favorite.

Five/4.5 star songs:  "Cuncti Simus" (3:56); "Hörst du die Trommein" (3:23); "Walpurgisnacht" (3:50); "Buntes Volk" (4:17); "Menuett" (4:57); "Hekate" (4:16); "Blaue Stunde" (4:36);  "Frau Erde" (4:29); "Die Lieder Werden Bleiben" (3:19), and; "Era Escuro" (3:33).

9. CORDE OBLIQUE Per le strade ripetute (2013)

Riccardo takes a step back to his mostly acoustic and antique roots. Whereas A Hail of Bitter Almonds saw his musical palette increasing its infiltration of electronic instruments, here we see CO returning almost exclusively to an all-acoustic selection. As a mater of fact, Riccardo even advertises it: "No samplers, no synths, no keyboards"! With even more flawless vocal performances than usual, this album may be Riccardo's masterpiece.  

Line-up / Musicians:

- Riccardo Prencipe / Classical & acoustic guitars, e-bow, backing vocals (3), arranger 
With:
- Floriana Cangiano / vocals (1,5,10)
- Caterina Pontrandolfo / vocals (2,6)
- Annalisa Madonna / vocals (3)
- Evi Stergiou / vocals (6)
- Lisa Starnini / vocals (7)
- Edo Notarloberti / violin, cello (11)
- Manuela Albano / cello (3)
- Umberto Lepore / bass, double bass
- Alessio Sica / drums
- Salvio Vassallo / drums (6,10)
- Francesco Manna / percussion (6,10)
- Spyros Giasafakis / recitation & cymbal (6)

1. "Averno" (6:03) fast-picked with electrified acoustic guitar adding notes and the voice of Floriana Cangiano guiding us into Averno with her words. In the second minute, the band launches into full gear with strumming, etc., while Floriana begins to sing. The addition of bass and strings accents at 3:25 is so powerful! What a start! (9.5/10)

2. "Il Viaggio Di Saramago" (3:22) Caterina Pontandolfo, my favorite, returns for another song about some historic landmark. I swear, Caterina could sing, talk, cajole, or vibrate me into doing whatever she wanted of me! What a singer! (10/10) 

3. "My Pure Amethyst" (5:05) Analisa Madonna gets a turn at the lead vocal (with Riccardo offering some background support with the title words in the choruses). Guitars, cello, drums, bass. Very nice. (8.5/10)

4. "In The Temple Of Echo" (1:55) solo guitar at its classical finest. (4.5/5)

5. "Bambina D'oro" (6:18) Riccardo and Floriano open alone before being joined in the chorus by drums, double bass, and violin. Another wonderful vocal performance. After 90 seconds, the full band really kicks in, and the music becomes very proggy in the instrumental passage following the second chorus of "oh-ho"s. At 3:10, then we settle back down with a return to the opening format--plus a few more instruments ready to add their flourishes and embellishments. Floriana hits some notes! Then things quiet way down at 4:30 for an amazingly delicate vocal and guitar duet. The band slowly starts to rejoin at 5:25 but never to the levels of that third minute--never spoiling the perfect intimacy that Riccardo and Floriana have established. (10/10)

6. "Heraion" (3:15) Caterina returns for some ghost-like vocalise behind the folk hand drums and theatric whispering narration of Spyros Giasafakis. Eva Steriou assists Caterina in the second half. Cool. (8.5/10)

7. "Due Melodie" (5:45) it's time for newcomer Lisa Starnini to have a turn at lead vocal. To be honest, she sounds pretty much like a clone of Caterina or Floriana. The music behind her is more throughly textured with lots of instruments offering chords and multi-note contributions. Until the lively instrumental passage at the end of the fourth minute, the song is rather dull and "typical" for Riccardo/Corde Oblique. Still: Welcome Lisa! (8.5/10)

8. "Le Fontane Di Caserta" (4:10) a gentle instrumental that almost sounds as if it could be a lullaby with steel-string guitar strummed and arpeggiated while violin solos in the lowest registers. After 90 seconds, Edo climbs out of the sonorous bass notes and approaches upper octave domains. Riccardo's playing is surprisingly simple and subdued--even when he's soloing. Again, "lullaby" is all I can think of for a rationale. Still, there is an undeniable simpiosis between the two that is charming, endearing--makes you want to get up and hug them when they're done. (8.75/10) 

9. "Requiem For A Dream" (2:26) an instrumental demonstrating an absolutely stunning display of virtuosity from multiple instruments--and it's beautiful and emotional! (10/10)

10. "Ali Bianche" (6:47) Floriana sings her heart out with this unlikely and challenging structure and instrumental grouping. Unbelievable vocal--one that provides the glue to make everything work. I will go so far as to even assert that I don't think the music would have worked alone. (14/15)  

11. "Uroboro (8:01) whoever Edo Notarloberti is, he is incredible! After four minutes of violin solo (with some support from bowed double bass), there is a significant gap before we get a solo guitar piece with outdoor garden noises--as if an improvised piece was being captured live, as it developed. (A continuation of or variation of song #4 "In the Temple of Echo"?) What a guitarist! We are so fortunate to have his music! (14/15)

Total time 53:07 

It's so difficult to assess Riccardo's music since it's always of such superior quality, always a demonstration of a virtuoso at the peak of his playing, compositional, and delegating powers. I LOVE this album and its timeless music. I LOVE the "modernized"-thinking of A Hail of Bitter Almonds.

92.39 on the Fishscales = A-/five stars; a minor masterpiece of timeless Prog Folk and truly a treasure for any music lover--prog or no. 

10. TIRILL Um himinjçdur (2013) (Eclectic Electrically-enhanced Folk) is the most recent solo release from this true master of the folk-centric Prog Folk sub genre, Tirill Mohn. Her work with the original WHITE WILLOW lineup and her other more recent collaborative project, AUTUMN WHISPERS are well, well worth checking out as well. During my listening of this album I found myself remarking for the first time at how similar Tirill's voice has evolved to sound like that of enigmatic American singer-songwriter,  JEWEL.

Album highlights for me include: the heart-wrenching harmonized singing and melodies of "Serpent" (4:40) (10/10); the multi-layered choral approach to "Fagrar enn Sol" (2:56) (10/10); the awesome male-female duet, "Muzzled" (4:56) (10/10); the gentle "Voluspa" (3:08) which is sung in Tirill's native language, the mellotron-drenched "Moira" (4:46) (9/10); "The Poet" (5:04) (9/10); the medieval folk song, "Quiet Nights" (3:07) (8/10), and; the album's most proggish and 'mini-epic,' "In Their Eyes" (9:25) (8/10). 

11. IAMTHEMORNING ~ (2012) (Chamber Prog Folk) comes from the more classical side of Prog Folk but qualifies as Prog Folk for me because of the dominance of its simple piano and chamber strings instrumentation support of lilting singer Marjana Syomkina. Though songwriters Marjana and Gleb Kolyadin are students of classical music school in St. Petersburg, Russia, their song approach is very folky. The few albums that include drums or electric bass and electric guitars only bring the song stylings closer to those of Jethro Tull and others on the more rock side of Prog Folk. Still, the majority of this stunningly gorgeous album is acoustic and put together as short folk-like songs.

~ is a refreshing stream of beautiful crossover/chamber rock/folk rock songs often interlinked by interludes/etudes called "~[intermissions]" (there are six not intcluding the two long breaks of silence amid the final 11m42sec 'song' "i.b.too" [8/10]). The often-piano-based songs showcase the wonderful, smooth, controlled, breathy voice of Marjana Syomkina--often on multiple tracks. The music most often reminds me of TORI AMOS when it is stripped down to just piano and voice (e.g. on "circles") and IONA when a full chamber rock band is accompanying Marjana (e.g. on "burn"). The voice most often sounds like IONA's JOANNA HOGG, though it does take on the classic TORI AMOS and even, sometimes, JANE SIBERRY/KATE BUSH-like stylings (e.g. on "weather changing," "~[intermission III]," and "would this be"). The full band interplay is exquisite--especially since there is invariably a stringed instrument or two or three in the mix--right up my alley for perfect prog (though I love woodwinds and accordians, too)! And keyboard payer Gleb Kolyadin's touch on the piano/keyboards reminds me tremendously of RENAISSANCE's master ivory tickler, JOHN TOUT.

Favorite songs: 1. "~[intermission I]" (2:48) (9/10); "inside" (4:16) (9/10); 3. "burn" (4:40) (10/10); 4. "circles" (3:19) (8/10); 5. "~[intermission II]" (0:52) (9/10); 6. "weather changing" (3:05) (9/10); 9. "touching II" (4:04) (10/10); 11. "monsters" (3:59) (9/10); 12. "serenade" (2:28) (10/10); 13. "~ [intermission V]" (0:55) (9/10); 15. "~[intermission VI]" (1:46) (9/10), and; the musical parts of 16. "i.b.too" especially the sublime final three minutes.

For lovers of clean, clear, crisp, dynamic folk/chamber music in the tradition of IONA, TORI AMOS, KATE BUSH, JANE SIBERRY, RENAISSANCE or ANNEKE VAN GIERSBERGEN.

12. FAUNS Awaiting the Sun (2011) (Prog Folk Rock) is a folk-based prog album on the scale of ANTHONY PHILLIPS' The Geese and The Ghost.

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

2. "Every Wave Its Prey" (4:43) with its SMITHS sound and crashing spacey middle and end sections. (8/10)

3. "The Path" (10:10) denotes a return to the ANT PHILLIPS/STEVE HACKETT Voyage of the Acolyte guitar sounds but this one incorporates the alluring vocal talents of violin/flutist Kirsten Middeke. (9/10)

4. "Way To The Sun" (4:56) opens with a STEVEN WILSON-like acoustic guitar strum before being joined by flute, bass and drums. Again we are graced with the presence of the ethereal voice of Ms. Middeke. The SW comparisons continue though an AL STEWART "Infinity" familiarity emerges as the song plays out. (8/10)

5. "A Perfect Place" (10:45) begins with cymbal play, TONY LEVIN-like Chapmanstick play and piano before electric guitar and rock drumming join in (and take over). The song establishes quite a heavy Crimsonian sound with its interwoven arpeggios coming from several distorted electric instruments. By the time the MORRISSEY-like vocal enters the group weave has settled back into the realm of the near acoustic, but, for the chorus parts, the metal-like guitar chord strums return. (8/10)

6. "The Path (Reprise)" (1:49) reprises the chords and melodies from the acoustic parts of 3. "The Path." (9/10)

7. "Dawn" (20:24) finds the band again returning to the GENESIS/STEVE HACKETT/ANTHONY PHILLIPS realm of pastoral acoustic music. The harmonized voices of a male and a female present the very folk-like melody and lyric lines. At 5:00 a very familiar GENESIS "Cinema Show"-like instrumental section begins. Three minutes of absolute gorgeous music. In the beginning of the ninth minute the Genesis influences continue with an uptempo shift into a full-out rock section with first organ then flute, then electric guitar solos playing. Choral chanting fills a section before the early ANT PHILLIPS--sounding electric guitar screams through a brief "Knife"-like solo. At the start of the twelfth minute everything shifts to a more RPI folk sound--acoustic guitar strummed and banged for percussive effect eventually turning into a very ANT PHILIPS Geese and the Ghost-like song. The transition from here into a military percussive build-to-crescendo section using a single acoustic guitar's arpeggiated descending chord sequence is so beautiful and so PREMIATA FORNERIA MARCONI. Truly one of the best prog epics to ever come out of the Prog Folk sub genre! (10/10) 

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

13. NORTH SEA RADIO ORCHESTRA I a Moon (2011) (Chamber Folk) I've been waiting for a rival to my favored KARDA ESTRA, CICCADA, CICADA, IONA, and AFTER CRYING CDs. There is even a bit of the POLYPHONIC SPREE feel here, though much more evolved and refined. Chamber music for the folk--though I hear some of the early GENESIS sounds in the piano, synths and vocal harmonies. Unlike KARDA ESTRA, the instruments are far less washed by the floating background of synths and other electronics (thus the POLYPHONIC SPREE reference), and also unlike Karda Estra, NSRO's music on this album is more folkie--quirky, off the wall, melodic, upbeat, happy/silly music. At times I'm even reminded of DAVID BYRNE, early IVY, YUGEN, and, of course, THE CARDIACS. Yet, the moods conveyed from song to song can change quite dramatically. "Berliner Luft" is very upbeat and light--like travelling minstrels entering the faire--while it's instrumental follower, "Morpheus Drone," is more late night reflective or mourning, while next, "The Earth Beneath Our Feet," has a very basic GREEN LINNET folk feel to it, while the next, "Ring Moonlets," has a delightful modern/Renaissance feel to it--not quite comparable to GENTLE GIANT, the masters of that ilk, more like Robert Fripp's work with THE ROCHES. The next, "When Things Fall Apart," has a delightful multi-layer all-female vocal presentation with only piano accompaniment. Reminds me of the MEDIAEVAL BAEBES, only with more innocence and a more pastoral BENJAMIN BRITTEN/RALPH VAUGHAN WILLIAMS sense.

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

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

1. "Morpheus Miracle Worker" (5:21) sounds a bit like one of KATE BUSH's more folk-oriented songs (e.g. "Army Dreamers" or "Night of the Swallow"). (8/10)

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

3. "Guitar Miniature #3" (1:43) is a cute little folk-cum-classical guitar solo piece. Nothing too remarkable. (6/10)

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

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

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

7. "The Earth Beneath Our Feet" (5:32) seems to be a continuation of its predecessor, though melody and instruments change within the first minute (acoustic guitar). Once the vocals join in (1:18) the song takes on a very KATE BUSH feel--the vocal melody straight out of Kate's repertoire and style. While beautiful, the song doesn't really develop into anything very winning or emotional until guitar and strings (cello) team up at the 4:00 mark. (8/10)

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

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

10. "Mitte der Welt" (6:09) is an instrumental that starts in a quirky KRAFTWERK-way--making the listener almost jump to the player to see if the disc is skipping--before joined by clarinet and kletzmer rhythm section--and later synths and oboe. This little avant gem could be coming from the likes of YUGEN, SKE, or perhaps even UNIVERS ZERO. (9/10)

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

14. IVAR BJØRNSON & EINAR SELVIK Hugsjá Clever and transporting "Viking folk music" from Norwegian artists Ivar Bjørnson (guitarist for ENSLAVED) and drummer/singer Einar Selvik (aka "Kvitrafn" in the black metal band GOGOROTH and folk band WARDRUNA). This is a stunning album that starts out more regional Nordic folk but then begins to sound and feel more familiar Western European folk rock the further you get into the album. Line-up / Musicians: Einar Selvik (Wardruna): Lead vocals, Kravik-lyre, Taglharpa, goat-horn, Bronze-lure, flute and percussion Ivar Bjørnson (Enslaved): Guitars and electronics With Silje Solberg: Hardanger-fiddle and backing vocals Iver Sandøy: Drums, percussion and backing vocals Håkon Vinje: Backing vocals Anna Lisa Lekven, Laila Moberg, Marianne Evensen Østrem, Lisa Nøttseter, Lise Renee Aase, Kristine Bjånesøy Tikkanen, Linda Nytræ, Leif Østrem, Brede Lærum, Jan Helge Kordts, Jan-Ove Hansen, Richard Myhre Gåssand and Stine Kobbeltvedt: Choir under management of Stine Kobbeltvedt (4, 11) 1. "Hugsjá" (4:35) Celtic melodies with deep bass thrum and lower register multi-voice singing (are they using some throat singing?) which sounds almost like chant. Quite enthralling, mesmerizing, even consuming--like a spiritual entrainment thing. (9/10) 2. "WulthuR" (4:16) opens with a solo horn whose sound is unfamiliar to me. It is then joined by folk instruments, multiple drums, and acoustic guitars before solo voice sings. The chorus "dance" section uses deep background choir voices to anesthetize the listener. (10/10) 3. "Ni Døtre av Hav" (6:02) big drums, low droning horn-like thrum, berimbau-like stringed instrument, electric guitars, and full drum kit support simple folk melodies and both solo and choral vocal sections. Super powerful. Mr. Selvik has an extraordinarily engaging voice--as do the choir with his choral arrangements. (10/10) 4. "Ni Mødre av Sol" (5:55) opens with multiple bowed instruments setting the melodic and harmonic stage for drum and vocals. The vocal melody lines here are a bit foreign to Western 12-note scales, using semi-tones and warbles that are not typical in Western European singing traditions (as far as I know). They sound more akin to Middle Eastern or Indian scales. At 3:40 drum kit and pulsing electronic bass line fills the soundscape as choir of Nordic gods sing their worship. The never-changing foundational weave gets a bit old. (8.75/10) 5. "Fornjot" (4:41) finger picked stringed instrument is alone in support of Einar's story telling voice. At 1:05 the soundscape fills out as drums and other deep-toned instruments (church organ bass pedals?) join in for the chorus. Very dramatic, very powerful. The drums and deep thrum settle into a steady pattern for the second verse before repeating the ramp up for the second (final) chorus. (9/10) 6. "Nattseglar" (7:06) opens a bit like a louder version of a ROXY MUSIC song before electronic water and rowing sounds are faded back in lieu of a simple melody plucked on a single- or two-stringed folk instrument. Einar's lone vocals are used sparsely over the first 90 seconds, alternating with violin-like instrument, before they become doubled up with steadily increasing numbers of other vocal tracks singing the same thing, some in delay or echo of the lead. Cool effect! Full drums kick in at 3:45, but the rest of the song's weave remains the same (getting a little old). The drumming becomes more animated as the song progresses as does the activity of a late entering church organ. Instruments begin to drop off little by little starting at the 5:35 mark until we are left with a bouncy synth chord, drums, and synchronized vocal choir accompanying the final highly-electrified "bermibau chord." (13.5/15) 7. "Nytt Land" (7:48) opens like a song from an album of Sweden's THE AMAZING: heavily distorted notes and chords from an electric guitar. Multiple reverbed Einar vocal tracks with harp join in. The chorus explodes upon us at 2:20 with squeeze box-like sounds and a vocal passage from a large choir--here using the broadest aural spectrum and most Western chord structure yet heard on this album. Very engaging, even pretty, melodies and harmonies created on this one. Before the ending water sounds the large choir pumps back up for a long recapitulation of its previous explosive passage. (14/15) 8. "Nordvegen" (3:41) fast-moving folk acoustic guitar work not far from work of Jimmy Page, The Beatles, or even Anthony Phillips over which Einar sings in a lone voice reverb. Very cool song. (9.25/10) 9. "Utsyn" (5:23) a deep inner-planetary hum opens this song. It is soon joined by the balalaika-like instrument and Einar's singular voice and some acoustic guitar background strums. Then a second male voice enters to harmonize with Einar before the full "orchestra" of the full band enters for the chorus. Powerful! In the fourth minute a kind of calm between the storm passage allows for thunderous background strokes and bowed and instruments to convey the ominous calm. Around the four minute mark all hell bursts forth again but then the song finishes with just the chorus, 'balalaika' and wave sounds. (9/10) 10. "Oska" (7:29) opens with a Western rock chord structure coming from guitars, drums, strings and other synthesized banks of instruments. Einar & Co. enter singing long-held "oh"s while the Celtic-sounding Nordic folk instruments weave in a kind of reel or jig. There's a little UK folk sound and feel to this one--like Horslips, Led Zeppelin, or even Steven Wilson. It's just a long rollicking jam with full choir singing their long Tuvalu-like polyphonic notes. The horn used in the sixth and seventh minutes is absolutely awesome for building tension! Finish with the sounds of wood burning--on a large scale! Wow! (It all makes sense when one hears the translation of the word "oska"--it means "ashes"!) (13.5/15) 11. "Um Heilage Fjell" (5:26) again based in more familiar Western European sounds and structures, this one seems to be sung in tones of respect, awe, and reverence. Great plaintive vocal from Einar while full chorus and big band/big sound accompany him with a stream of supportive, sometimes antiphonal, and, later, echoing vowels and phrases. Amazing end to a stunningly powerful album. (10/10) Total Time 62:22 92.0 on the Fishscales = A-/five stars; a minor masterpiece of very powerful Prog Folk--this one of the Nordic variation. An absolutely riveting album from start to finish. One of the best albums of 2018 and certainly one of the most refreshing. I think it will be quite challenging for you to go away from listening to this one without being deeply affected, perhaps even haunted. 15. MOULETTES The Bear's Revenge The sophomore release from this band of folk masters/virtuosi.  Line-up / Musicians: - Hannah Miller / cello, guitar, banjo, dulcimer, glockenspiel, percussion, vocals - Ruth Skipper / bassoon, autoharp, kazoo, vocals - Georgina Leach / violin, viola, whistling, vocals - Jim Mortimore / bass, mandolin, guitar, banjo - Oliver Austin / drums, guitar, banjo, bass, percussion, vocals - Rob Arcari / pandeiro, washboard, bass drum, vocals With: - Faye Houston / vocals - Laura Hockenhull / vocals  - Ted Dwane / double bass, vocals - Matt Menefee / banjo (2,12) - Ben Startup / double bass & sounds (4,11) - Ríoghnach Connolly / flute & vocals (4,10,12) - Ellis Davies / guitar (5) - Esther Miller / nyckelharpa (11) - Fred Kinbom / lap steel guitar (12) - Liz Green / vocals (12) - The Queens Park Rogues / ? (12) 1. "Sing Unto Me" (4:53) immediately noticeable is the expanded lineup--as well as the far more prominent and continuous presence of multiple male voices within the vocal weave. (8.75/10)  2. "Country Joy" (3:33) a guitar-based song with delicate and precise female vocals for the verses, bull band chorale representation in the choruses. Great performances from the guitar, mandolin, banjo and female vocalists. (9/10) 3. "Uca's Dance" (4:21) amazing violin performance on an amazing song (string quartet with drums and many voices). (10/10) 4. "Some Who You Love" (7:25) tick-tock of a grandfather clock is soon joined by plucked muted cello and violin and then lead and background harmonized vocals. Gorgeous sound. Once again I am reminded of MEDIÆVAL BÆBES--especially their 2012-13 incarnation. An absolutely beautifully paced, constructed, and engineered song. Another stellar display of violin play. Can Prog Folk get any better than this? (14.5/15)  5. "Revenge Of The Bear" (1:58) strings, bassoon and flutes building up to a frenzy before settling into a little "classical"-like control. (4.5/5)  6. "Songbird" (4:11) guitar and female alto vocal opens in a very old-fashioned 1970s-like folk fashion. Background female vocals join in at 0:40 for the chorus, violin in the second. A Vaughan-Williams-like lark-like violin soars in instrumental passage before third verse. What a beautiful vocal weave. Pure folk perfection. (9.25/10) 7. "Muse Has Wings" (3:42) banjo and Hannah in the lead with smooth, more traditional choral background vocals. Other instruments (like violin, hand percussions, clapping) join in at various points during the song. The vocal weave does begin to unfold so that the final third sounds very much like an old-time ANDREWS SISTERS performance. (9/10)  8. "Unlock The Doors" (4:56) much more aggressive, proggy soundscape and emotion open this song through the instrumental first minute. Voices and clapping enter, totally arranged like an Andrews Sisters style. Male voices join in during the chorus. Violin and bassoon stand out during the instrumental bridges. Great musicianship and composition; not my favorite melody or form. (8.75/10) 9. "Half-Remembered Song" (4:54) a bluesy 1940s Haarlem feel to this one. I'd almost expect Billie Holliday to be standing at the microphone in a smoke-filled jazz hall singing this one. I absolutely love the sudden switch in the back ground weave at 3:50--tossing an almost-Russian element into the song. (8.75/10)  10. "Grumpelstiltskin's Jig" (3:31) cello warms up before launching the band into a traditional sounding contra dance. Violin and flutes trade the lead through the first half, but then it gets dark and dreary in the middle "intermission." Again I feel as if I'm being immersed into some very dark Eastern European musical traditions. Luckily, it returns to the upbeat jig for the final minute. (8.5/10) 11. "Circle Song" (5:05) sounding much more like a Moulettes song--like the shantie styles of their first album: the presentation and arrangements are just more theatric than the more "traditional" forms, the lyrics more intellectual and multi-dimensional. (9/10) 12. "Blood And Thunder" (8:01) opening with some mood-setting effects and sounds, the musical palette is almost bluegrass before the vocals enter. Effects used on the vocals reveal an attempt to tell a kind of detective mystery. Again, this is The Moulettes at their finest. Banjo and squealing violin are quite prominent trhougout as the vocals and effects give this quite a familiar MEDIÆVAL BÆBES feel. (13.5/15)  Total time 56:30 The sound engineering on this album is so phenomenal that it just feels like such a treat to be allowed to be present among these musicians (for that is truly the feeling of the headphones experience). While many of the songs represented here are absolutely stunning creations, I feel that the album is a bit too scattered in its sounds and styles. On their debut, The Moulettes established a kind of forma and style that now feels like their truest style, the sound that is their destiny, but here the band tries to "branch out" into other, often simpler styles--which, to my mind, is almost demeaning to the potentialities of this creative crew. I like it much better when The Moulettes are The Moulettes for there is now one else out there like them, no music so fascinating and impressive. While mega kudos are again in order for Hannah and the gang's creative arrangements and precision performances, I'd like to add a special shout out to violinist/violist Georgina Leach for her meteoric rise in confidence and virtuosity.   90.80 on the Fishscales = A-/five stars; a masterpiece of Prog Folk music and a highly recommended addition to any prog lover's music collection. This band may be the finest Prog Folk band I've ever heard.

16. ILL WICKER Untamed (2016) (Classic Prog Folk/Acid Folk)

Wonderful Prog Folk from Sweden--some call it "Acid Folk" for its similarities to the newly (and only minimally) electrified folk music of the late 1960s and 70s. A very welcome addition to the 2016 catalog of prog releases because this is a sound that is, unfortunately, all too rare in prog world today. This is true Prog FOLK music. The band uses a lot of acoustic instruments and multi-voice vocals weaving in and around each other in a manner that is quite reminiscent of the original folk bands who tried electrification, who tried "progressive" experimentation--and especially those bands that used more complex and idiosyncratic instrumental weaves, like THE INCREDIBLE STRING BAND, SPIROGYRA, and COMUS. From Sweden, this is the band's second release after the encouraging debut of 2014's Under Diana. The band's sound and lyrical choices are the closest thing I've heard to Germany's pagan folk masters, FAUN, yet singing mostly in English as opposed to Faun's German and many old and ancient language explorations.

Line-up / Musicians: 

Emil Ridderstolpe
Emma Lagerberg
Thea Åslund
Hampus Odlöw
Ebba Wigren
Adam Grauman

1. "I Was Here When The Sea Was Young" (2:40) is a fast-moving upbeat tune with some very complicated weaves of both instruments and vocals. A great opener and my favorite song on the album. (10/10)

2. "The Charm On Your Chest" (8:07) opens with a brisk pace but then turns into an exercise in subtlety and beauty. Throughout the second, third and fourth minutes I am filled with feelings of walking alone in an enchanted and beautiful woods. At 4:10 when the percussion hits intimate a change, I envision coming out of the woods to the vision of a beautiful lake below me and mountain hillsides beyond. But then the music makes feel as if I need to run--as if I am being pursued and need to escape. Violin, mandolin, and acoustic guitar shine above the organ and percussion as the pursuit becomes more intense in the seventh minute. Horses! closing in! Is it me they're after? The voice of a spirit enchanter asks me what I'm experiencing--why I'm choosing this adventure. And I stop--all sources of terror and fear disappear--they were all of my own creation. Nice journey. And what a story it seems to be telling of young love. One of the most emotionally powerful musical pieces I've ever heard; a vertiable prog masterpiece. (10/10)

3. "Untamed" (6:29) opens with the instruments establishing a perky pace like a ballad, but then, surprise!, when the vocals (presented in multiple voice harmony) take their turn the instrumental support becomes quite sparse and quiet. This pattern continues, somewhat, though the instrumental support becomes more prominent ver the course of the song. The instrumental section that begins at the end of the third minute is quite nice, with some surprise chords thrown in beneath the soloing violin. And then, at the beginning of the fifth minute, the vocals return in a joyful and unusually constructed four- or five-part harmony. The collective instrumental and vocalise play to the songs end is rather steady and beautiful. Great song. (9/10)

4. "Silent Impulse" (7:13) starts out as a slow song with kind of eery, drawn out multilayered vocals singing over some simple instrumental accompaniment (acoustic guitar and violin). But the second half of the song--about the time the singers finish their work--turns into a jam with a build up of slowly increasing speed and dexterity. (8/10) 

5. "Earth Child" (7:59) opens with quite a medieval feel and sound as hand drums and acoustic instrumentation repeat a brief little pattern a few times. The song then develops into more of an instrumental jam until, surprisingly, at 1:19 some very playful, festive (drunk?) vocals (led by a bacchanalian male) enter and follow along with the jamming instruments. Just as quickly and surprisingly, the music slows to a crawl at the two minute mark. The music and ensuing vocals sound almost ritualistic, give cause for a little fear and trepidation. But then the forward march signal is given and the band returns to cantoring along the path. Definitely the most COMUS-sounding song I've heard on the album. The mandolin soloing at the end of the fifth minute is refreshing. The wild orgy continues until at the end of the seventh minute everything slows, quiets, like the calm after all of the drunken regaliers have fallen asleep and the fire's flames begin to die down for lack of attention. Cool musical story tellling! (9/10)

6. "The Trials Of Madame Dillner" (5:11) opens as a kind of traditional folk song with standard accompaniment, single vocalist (male), and brief bridges of instrumental soli (mostly violin) between the vocal verses. In the second half of the second minute female background singers mirror the lead vocalist and mandolin joins the violin's melody making. AT 2:45 there is a shift in the foundation to more broadly fill the bass end (congas, bass, organ, lower register violin play). The vocals begin sounding so Dylan-cum-Judy Dyble-esque! Nice traditional folk song. (8/10)

7. "Min Levnads Afton" (6:36) a gorgeous MEDIÆVAL BÆBES-like rendering of a traditional Swedish folk song. My second favorite song on the album. (10/10)

These are very polished and professional folk musicians, people! Well worth checking out. And this, their second album, shows much improvement in composition, performance refinement, and sound engineering. An album that deserves to be heard--and one that deserves to be ranked among Prog Folk's classics! Certainly one of the finest Prog Folk albums of the new millenium!

91.43 on the Fishscales = five stars; a masterpiece of Prog Folk music.

17. ATARAXIA Llyr (2010) (Ambient Electronic Folk) is a very pleasant neoclassical ambient world folk music album very much in the vein of DEAD CAN DANCE with a remarkably strong female vocalist singing all lead vocals while being supported by traditional instruments and synthesizers. Francesca Nicoli's enigmatic operatic mezzo soprano voice reminds me at times of ENYA or Gunnhild Tvinnereim (SECRET GARDEN) (on "Sigillat"), Ana Torres Fraile (UNIVERSAL TOTEM ORCHESTRA) (on "Quintaluna") at times of a Chinese Opera singer ("Llyr" and "Evnyssien") and others ELIZABETH FRASER (COCTEAU TWINS) (on "Klepsydra") and still others of NINA HAGEN (on "Elldamaar"). The band tends to be hide intentionally behind veils of obscurity, however they themselves call their music "a cosmogonic dark folk" ("praying for Beauty"). Beautiful music it certainly is.

Favorite songs:  "Evnyssien" (8:48) (10/10); "Siqillat" (6:47) (9/10); "Klepsydra" (4:51) 9/10); "Borrea" (5:56) (9/10).

18. AALTO Ikaro (2014) (Eclectic Traditional/World Folk) Prog Folk coming out of Finland. The blending of what sounds like Arabian and Indian instruments with the gut-stringed instruments and shamanic voices native to Finland, plus Didgeridoo, banjo, a kind of zither/autoharp, reed instruments, and "Tibetan" or "Tuvan" (or Sami? or some other Siberian tribe's) vocal overtone singing make this more of a blending of ancient and sacred intercontinental indigenous traditions. Coming from North America, I am biased in that I think I am hearing First American rhythms and vocals, too--especially songs like the album's opener, "Ikaro" (8:12) (8/10). 

2. "Vapathaja" (7:30) presents with a jazzy Eastern European/klezmer sound. Sultry female lead vocalist, Petra Poutanen, the delicate acoustic stringed instruments, along with the virtuosic clarinet performance give it a bit more of an international flavor. (9/10) 

3. Sitar-, doshpuluur- and mandolin- dominated "Heijestumia" (5:19) has quite a fun minstrel/troubadour feel to it, though is quite Indian-sounding. The "Tuvan" throat singing adds a mystical quality to the song's feel. (9/10)

4. "Kastepiesaroita" (4:16) and 5. "Kastepiesaroita II" (5:23) present as an ethereal pair of Eastern-spiced meditative songs. The first is dominated by an effluent, hypnotic female voice singing as if trying to lull the listener into a trance or some receptive state. Part II continues the hypnosis using only instruments. (8/10)

6. "Sateentuoksuisia Unia" (4:55) is for me one of the albums high points. Beautiful melodies, almost a Cassandra Wilson feel to the banjo, baritone guitar, didgeridoo and hand drum foundation with some great vocals, lead and harmonies, throughout. (10/10)

7. "Metsätaloushöömei" (6:26) has quite a shamanic story-telling sound to it as male vocalist alternates between throat singing and pleasant tenor folk singing. The 'shout chorus' and female 'yodeling' take the song into even stranger territory. Ends like a front porch bluegrass jam straight out of the Ozarks! Not a song for the faint of heart! I like it! (8/10) 

8. The album's closer--and its longest song at 10:39--"Kuun Tytär" is its best. Opening with didgeridoo, subtle background strings sounds and harmonics all playing over the syncopated rhythms of a hand drum. At 1:28 a clarinet enters, claiming the melodic lead with repetition of its simple ascending note sequence. At 2:10 the etheric, delicate voice of Petra Poutanen again graces us with its present. I wish I could find the translation to the Finnish lyrics here because they must tell quite a powerful little story. The song is mesmerizingly beautiful and haunting in a very MEDIÆVAL BÆBES kind of way. (10/10)

Overall this is an interesting album of unusual and often beautiful, hypnotic, and joyful songs. I can't remember the last time I've ever come across such an eclectic blend of world instruments into the songs represented here. But it works! I have been listening to this album over and over for several weeks now and each listen only seems to deepen my immersion and enjoyment of them. I'm not sure this is a "masterpiece of progressive Folk music" but it is definitely worth checking out. If you're looking for something different, something out of the ordinary and entertaining, I would highly recommend that you check this one out.

19. GRAVENHURST The Ghost in the Daylight (2012) (Literate Prog Folk) A collection of incredibly powerful Prog Folk songs by Bristol's Nicholas John Talbot, a young man who only took his own life in December of 2014. 

1. "Circadian" (4:11) dreamy folk music (in the vein of THE CLIENTELE) that lulls you to submission while some very eerie, creepy lyrics and equally disturbing heavily-treated electric guitar leads are unleashed over you. Hypnotic. (9/10)

2. "The Prize" (6:38) starts out tame and subdued (while Nick sings) though there is a full band present (drums, bass, and multiple guitars), but then goes crazy for the final 90 seconds afterwards. (9/10)

3. "Fitzrovia" (8:08) again, masterfully tranquilizing us with some beautiful music that must be conveying some deeply disturbing message (and power). The constant clock-like finger strike of a muted guitar string is perhaps the most unsettling of all noises, despite the preponderance of multiple floaty synth creepers and ghostly washes far beneath but ubiquitous with the guitar and voice. Masterfully creepy. (13.25/15)

4. "In Miniature" (4:34) beautiful guitar picking of a steel-string guitar for a minute before Nick enters with his voice, singing in a fairly fast cadence. Warbling high-pitched synth note joins after the first verse and stays with us to the end. (8.75/10)

5. "The Carousel" (1:30) like waking up and finding yourself trapped inside a wind-up music box. 

6. "Islands" (8:07) cool techno-pop synth drone and synth drum program with organ beneath and various creepy incidentals injected over the top and into the sides. In the third minute, Nick's heavily reverbed voice joins with the "side" noises, sounding as if a ghost were permeating the walls, whispering messages, talking to itself while totally oblivious to our existence. (8.5/10)

7. "The Foundry" (4:23) a chilling indictment of the consequences of human submission and complicity. (8.75/10)

8. "Peacock" (2:44) lone steel-string guitar up close and personal. So intimate! (4.25/5)

9. "The Ghost of Saint Paul" (6:02) more intimate guitar, odd tuned percussive (guitar harmonic?) occasionally floating underneath as Nick sings about a long overdue or missing saint. High synth note begins floating in the background during the second verse and Nick begins doubling up his vocal withs some gorgeous harmonies. (8.5/10)

10. "Three Fires" (4:17) what a chilling song! Such a calm, beautiful voice telling such a disturbing story. The music is absolutely perfect for the conveyance of psychological instability--of detachment from causing harm and destruction. (9/10)

The pain of Nick's existence can be felt in every song, including some that I've posted from his back catalogue. He uses such a calm, beautiful voice to lull us into a false sense of security when, in fact, he is telling some deeply unsettling stories. The music here is absolutely perfect for the conveyance of psychological instability. (The whole album is.)

Publishing songs since 1999, here are some great ones from his backlog--which is well worth exploring:

"I Turn My Face to the Forest Floor" (4:41), "The Diver" (6:09)

88.33 on the Fishscales = B+/4.5 stars; a masterpiece of mood-setting music and a near-masterpiece of Prog Folk; something everyone should hear though I suppose not everyone will want to add this to their music collection.  

20. GADI CAPLAN Morning Sun 

Eclectic fare from world traveller guitarist Gadi Caplan. Some songs are folk, some world (Indian), some pop, some jazz, a little infusion of Canterbury style, a lot of instrumental, several with pleasant vocals. A very pleasant journey. I found myself thinking of Roy Harper's Stormcock throughout my first listen to this material. Successive listens have slowly revealed the surprisingly wide diversitty in sounds and styles covered on this album--though throughout Gadi's electric guitar sound choices are always unusually clear, crisp, and concise--kind of like those of Roy Buchanan or Blue Öyster Cult's "Buck Dharma" Roeser in the 1970s.

Line-up / Musicians:

- Gadi Caplan / Guitars

     With:

- Danny Abowd / 

1. "Hemavati" (3:42) is a wonderful horn-backed soft rock instrumental with beautiful, sensitive guitar play performing the lead in a way that is, to me, reminiscent of blues legend Roy Buchanan. (9/10)

2. "Island" (5:33) is a gorgeous little folk song in the style of 1990s STEVEN WILSON/ PORCUPINE TREE--one that makes you appreciate more the genius of SW in that time period. (9/10)

3. "Good Afternoon" (2:25) the only song on the album that I don't absolutely love, it's more in an acoustic blues style though quite reminiscent of some of HARRY NILSSON's songs, it continues to dsiplay Gadi's extraordinary skills in vocal arrangements, lead guitar play, and production. (7/10)

4. "Vivadi Swara" (5:39) opens as a pure ROY BUCHANAN song with acoustic guitar and synth providing sparse background support for the sensitive lead electric guitar work. At 1:38 the song opens up with strummed acoustic guitar, full band support and Gadi's whispery, jazzy lead vocal. I hear a little George Harrison in this one. Such stellar songwriting and production! A true gem! (9/10)

5. "Morning Sun" (4:14) a sparsely constructed folk song that truly feels like it came out of the mucis catalog of 1970s HARRY NILSSON or the introspective side of ROBERT WYATT or JEFF BUCKLEY. Extraordinary and beautiful! I love the wooden flute play, too. (10/10)

6. "La Morena" (5:46) opens gently but with vocals joining in almost immediately. The vocals are very beautifully executed--quite like Coldplay's CHRIS MARTIN. I love the BEATLES-like contribution of the violin and Gadi's finishing vocalizations. (9/10)

7. "The Other Other Side" (5:14) from my very first listen this song has been my favorite. A bit more dynamic and electric than the previous six songs, this one also has a little more diversity in way the accompanying instruments are presented. Sounding slightly PINK FLOYD-ish, slightly Hawaiian, though mostly Harry NILSSON and STEVEN WILSON-ish, this one has the gift of an extraordinary vocal and an awesome bluesy guitar solo in the final minutes. (10/10)

8. "Lili's Day, Pt. 1" (2:49) opens with quite an different, synth-dominated trip hoppy sound and feel--here bringing to mind some of the work of some of the early Post Rock bands (like Tortoise and Bark Psychosis). Great groove! (10/10)

9. "Lili's Day, Pt. 2" (2:28) continues the Post Rock sound with its great guitar weave while adding a Dick Parry-like breathy sax to take the lead. (9/10)

10. "Lili's Day, Pt. 3" (1:50) sees a shift in the music starting with the eery militaristic drumming, minor chord synths, and more sustain-effected guitar lead. (8/10)

11. "Lili's Day, Pt. 4" (2:37) shifts into a more straight rock mellow outflow with the violin and strings synths taking the dominant lead in presenting the melodies. (8/10)

89.09 on the Fishscales = 4.5 stars; a near-masterpiece of progressive rock music. This is a type of clear, clean, simply constructed song production I wish there was more of in this day and age. Beautiful. Do check it out:  Highly recommended.

21. STEVE UNRUH Precipice

Steve Unruh is, to be sure, a refreshing whirlwind of energy, virtuosity, and sonic excellence, whether he is operating with his own material or his numerous contributions to and/or collaborations with other prog artists. His fearless mastery of dozens of instruments alone is worthy of avid attention and respect, but his skill in the engineering and production room is, to me, equally astonishing; his presence has, in my humble opinion, vastly improved the performance levels as well as sound quality in every project with which he has been involved. 

Precipice is listed as Steve's ninth solo release (since 1997! I always think of him as a "young newcomer"!) There are, without doubt, some monster songs and performances here but, as before, I find Steve's personal song structure a bit of an acquired taste (especially his voice)--one that I have not yet mastered (acquired). As with many prog artists, I marvel at his instrumental prowesses as well as his compositional choices (in terms of both instrumental palette and directionally), yet, at the end of the day, find myself never completely connecting to his music. I truly appreciate his contributions to Prog World--especially the way he champions the acoustic side of rock instrumentation but also in his dedicated commitment to manual mastery of the instruments he chooses. (Did I mention that Steve plays all the instruments by himself as well as composed, self-engineered, and self-produced this album?)

Line-up / Musicians:

- Steve Unruh / violin, flute, vocals, guitar, sitar, bass, drums, keyboards, mandolin, kalimba, angklung, percussion, composer

1. "Luxury Denial" (10:38) a totally unique, pop-folkie JTULL-esque set of songs melded and packaged into a nice 11-minute epic. (18/20)

2. "Uncharted Waters" (4:18) opens with a sad kind of minor chord pop feel with electric guitar and keyboard chords while Steve sings. The flute playing is great. (8.5/10)

3. "Send the Sunshine" (5:41) pure retro-JTULL for fast-movin' flute-driven first 2:30, then things slow down to a more old-time folk feel (Contra dance, anyone?) as the strings (violin, bass, take turns at the front and center for a couple minutes. When the music returns to full speed in the fifth minute, the violin keeps the lead while a full complement of folk-rock instruments bob and weave in support. (8.75/10)

4. "Reckoning" (9:00) opens gently, spaciously, with part-Will Ackerman, mostly-Spanish feel as acoustic guitars dominate until the light Spanish tapestry fills and settles into a supporting role for Steve to sing over. Things darken and deepen in a Porcupine Tree way in the third minute. As the song gets progressively heavier (matched by Steve's aggressive delivery of angry lyrics), I'm really liking this; that fourth minute was awesome. The fifth minute ends with a solo Spanish guitar, which is then joined by Steve's GENTLE GIANT/IAN ANDERSON-like singing in the sixth. At 6:30 an instrumental section begins imply though ominously before slowly building into a full band exposition with trilling flute, electric guitar, and violin trading solos. (18/20)

5. "Suspension" (2:09) kalimba and African percussion supporting flute solo. Nice African-feeling melody! (4.5/5)

6. "Constellation" (5:39) strummed acoustic guitar with Steve singing. Joined at the one minute mark by trip hoppy drum program and sitar. Interesting instrumental choices! At the two minute mark another shift takes us into some gut-wrenchingly beautiful music:  chords, harmonics, melodies, it's all orgasmically gorgeous! But then it reverts back to acoustic guitar--this time picked in arpeggiated chords--with support from bass. At the end of the fifth minute multiple wind instruments enter. It sounds so ANTHONY PHILLIPS-ish! Then children's voices enter to signal the beginning of the song's deconstruction and finish. Beautiful! (9.5/10)

7. "Precipice" (9:42) opens sounding as if Porcupine Tree and KBB had teamed up around 2002. Great chorus with "silly life" lyric! The amped up passion in Steve's voice starting at the end of the third minute is so powerful and moving! There's a lot of familiar sound and feel here to the music of much under-appreciated GUY MANNING. Actually makes me want to cue up some of Guy's solo albums. Nice TONY PATTERSON-like vocal layering in the seventh minute--after which the soundscape broadens out with mandolin and lots of guitars in support of an instrumental section. UNITOPIA-sounding section as the vocals pick back up in the ninth minute. Glad to hear the return of that awesome chorus one more time before the song builds into its finale. Excellent! (18.5/20)

Total Time 47:07

I find it interesting that Steve had just completed a significant collaboration with UNITOPIA founder MARK TRUECK on this year's UNIVERSAL PROGRESSIVE FRATERNITY release, Planetary Overload, Part 1 - Loss--and album that I am very familiar and fond of--because there were many times, both sonically and lyrically, in which I found myself thinking I was back in that UPF album--even vocally!

90.26 on the Fishscales = A-/five stars; a minor-masterpiece of progressive rock music coming from the folk-rock angle.

22. MOULETTES Moulettes

Part CARDIACS, part MEDIÆVAl BÆBES, part cabaret/SHEN TEH, these uber-talented story-tellers burst onto the scene with this debut album of intricately arranged shanties and more.

Line-up / Musicians:

- Hannah Miller / cello, piano, harmonium, glockenspiel, percussion, musical box, mbira, vocals

- Ruth Skipper / bassoon, autoharp, kazoo, vocals

- Georgina Leach / violin

- Oliver Austin / drums, guitar, banjo, bouzouki, cello, harmonium, mbira, percussion, vocals

- Rob Arcari / percussion, bass drum, vocals

With:

- Emma Richardson / vocals (7)

- Neil Kennedy / backing vocals

1. "Recipe For Alchemy" (2:57) is this jazz, cabaret, or folk music? It's definitely got an old, traditional, theatric feel to it. The instrumental and vocal performances are so tight, so intricate, and performed with such smooth precision! And the arrangements are so fresh! I'm quite stunned. If I were a lyrics guy I'd probably be even more blown away. (9/10) 

2. "Cannibal Song" (3:28) another rollicking sea-shanty like composition. (8.5/10)

3. "Wilderness" (3:29) multiple cellos actively playing beneath intricately harmonized vocals. (8.75/10)

 

4. "Devil Of Mine" (6:17) intricate mutli-voiced harmonies dramatically singing/telling a story with chamber strings weaving beneath. Wow! What an intricate arrangement! (check out the wild choreographed video on YouTube!) (8.75/10)

5. "Horses For Hearses" (3:01) the first song whose arrangement falls a little flat (or, perhaps more accurately, fails to live up the the standards established by the previous songs). (8.5/10)

 

6. "What A Way To Spend A Day" (5:13) opens with solo cello playing something sad and ponderous. Joined by a second cello, and then violin and field military snare drum, it takes 75 seconds to establish the foundation for this one. The vocals, once entered, are very interesting for their gradual and sometimes weaves--and for the "open" chorale chorus (like they're in a bar). Such a dramatic song. What creative vision! (9.25/10)

7. "Requiem" (feat. Emma Richardson [Band Of Skulls]) (6:46) opens with solo cello before morphing into a brilliantly arranged mood-setting 100 seconds of syncopated patterning. When the surprisingly smooth MEDIÆVAL BÆBES-like vocals enter, their story is clear while it is the instruments that tell the more interesting story. There is a shift in the fourth minute before solo vocalist Emma Richardson takes the lead. Her voice seems much more "normal" mundane than the choir-like crystalline voices of Hannah and Ruth (who continue to dazzle in their background harmonizing capacity). The bassoon is a cool addition. There is another shift for the instrumental section in the fifth minute--which meanders and morphs in several directions over the sixth and seventh minutes before the chorus of voices enters for the "big finish." Great song! (14/15) 

8. "Talisman" (4:06) a jazzed up sea shanty. (8.75/10)

9. "Bloodshed In The Woodshed" (feat. Modernaire) (4:50) a theatric song of female love spurned or scorned--and the vengeful thoughts and actions thereafter. Part expression of anger and injustice, part sympathetic dirge. What genius! What talent! (9.25/10)

10. "Going A' Gathering" - silence - "untitled song" (11:29) this is not really an eleven and a half minutes long prog epic, it's more like two normal folk pop songs joined by a long gap of silence. The first (4:35) sounds more like THE ANDREWS SISTERS than any other song on this album--making it once of the more brilliant vocal performances on an album full of breathtaking vocal performances. (9/10) Then there is three and a half minutes of silence before sounds of a couple members of the band picking up their instruments and then starting to play a slow sad song with hannah singing the plaintive lead while Ruth vocalises "ooo"s in the background with two cellos and a violin. (8.5/10)

Video - "Devil Of Mine" - awesome! Well worth checking out.

Total time 48:34

While this is not my favorite kind of music or folk music, I definitely and fully appreciate the talent in composition, vision, and performance that it takes to pull together songs like these! The vocal arrangements and performances are alone worthy of raves and adulation--are reminiscent of by-gone days and groups like The Andrews Sisters. Mega kudos Hannah and Ruth! Bravo! 

89.35 on the Fishscales =  B+/4.5stars; while this may not be a masterpiece of progressive rock music, it is definitely a masterpiece of progressive folk music! So, perhaps not the essential choice for all prog music lovers, I would definitely consider this essential listening to all lovers of folk and Prog Folk music. 

23. KOSMOS Salattu Maailma (2013) (Eclectic Prog Folk) is an album of diverse folk-rock from Finnish band, Kosmos, stretching from outright progressive rock of the opener to more of a country-folk of "Loitsu," to pastoral prog folk like "Simpukka," then to a more eerie ballad form of "Tuuli" and then to the realm of psychedlia with "Uni." All of it is very nicely composed, performed and recorded. I really appreciated the printing of the lyrics in English as well as the gorgeous album and web art work.

1. "Salattu Maailma" ("A Hidden World") (6:59) begins with a very MOODY BLUES/IN THE COURT OF THE CRIMSON KING feel and sound. When lead vocalist, Päivi Kylmänen arrives, the instrumental support includes beautifully finger-picked acoustic guitar, simple drum and bass with intermittent flute. Mellotron returns during the harmonized chorus. The instrumental C section between 3:05 and 4:30 is gorgeous and surprises us with a treated spoken voice in its middle. I cannot imagine a prog folk song being more beautiful or perfect than this one. (10/10)

2. "Simpukka" ("Seashell") (4:07) opens with the sound of waves and seagulls at the seashore. A finger-picked acoustic guitar gently introduces a "Here comes The Sun"-like melody and sound before Päivi joins in to punctuate this George Harrison theme. A very pretty folk song accented by flutes and a little Mellotron. (8/10)

3. "Loitsu" ("Incantation") (4:13) incorporates a much more straightforward folk-rock sound with strongly strummed acoustic guitar accompanied by drums, bass and, of course, the delicate vocals of Päivi Kylmänen. In the third minute a fiddle pops in for a folksy solo. Nothing very proggy, exceptional or even memorable about this one. (6/10)

4. "Pelli" ("The Mirror") (3:28) is a traditional sounding folk song which happens to beautifully showcase Päivi's extraordinary vocal talents. I am here reminded of Sandy Denny, Jane Relf, and the other understated female masters of the 60s folk rock tradition. (9/10)

5. "Tuuli" ("The Wind") (7:04) opens sounding very much like a classic JOHN MARTYN song--complete with that haunting Echoplex guitar sound. The chorale voice approach used here is also incredibly effective for reinforcing the eery feel of the song's opening. At 2:30 the song shifts as strumming acoustic guitar and bass and drums take over instrumental support for the "chorale" vocal singer/story-tellers. Melotron sneaks in during the fifth minute in a MOODY BLUES kind of way. Fiddler reappears for a pleasant solo in the sixth minute, giving the song more of a Celtic feel than it may have had before. (9/10)

6. "Uni" ("A Dream") (7:35) opens with the sounds one would associate with war-time air raid: sirens, bombs, screams, and the surprising silence and stillnesses of the bewildering aftermath. At 1:30 a male spoken voice begins telling a story over the sparse and discordant musical notes and sounds lilting in the back- and foreground. Near the three minute mark a gentle bass, almost imperceptible organ, Hammond synth/organ take over the song's soundscape--periodically joined by a n early-FRIPP-like fuzz guitar. (9/10)

7. "Takaisin Virtaan" ("Back to The Stream") (5:21) has very much the same feel and sound as the Rolling Stones' classic "You Can't Always Get What You Wanted"--same melody line and same pace, hand percussion use. Nice song but a little too familiar. (7/10)

Salaattu Maailma is a beautiful, though short album with some quite pleasant and memorable music by the angelic voice of 60s throwback Päivi Kylmänen. Takes me back to the beginnings of Prog Folk. Highly recommended.

24. CICCADA The Finest of Miracles (2015) (Progressive Greek Folk-Jazz Rock) It’s been five years since Greece’s Ciccada released their highly acclaimed debut album, A Child in the Mirror on AltrOck Records. Now they are back with an album that displays the maturation process the band has undergone in both recording and compositional technique. The songs of The Finest of Miracles show improved mastery of the band’s proclivity for weaving sophisticated instrumental structures using their multiplicity of ancient and traditional folk instruments integrated with modern electrified instruments. They have also refined their symphonic sensibilities, as is displayed in the long-playing masterpieces, “Around the Fire” and the 18-minute long “The Finest of Miracles Suite.” They are also much more evenly paced, eliminating the occasional tendency they had previously to over-do or flood passages with too much information. 

1. “A Night Ride” (6:26) is an instrumental putting on immediate display the fact of the band’s maturation as well as its further commitment to both rock music and symphonic song structures. Also on display is the multi-instrumental virtuosity of leader Nicolas Nikolopoulos who is credited with flute, tenor sax, Mellotron, synthesizers, electric and grand pianos, organ, and glockenspiel. The contributions of guest musician Lydia Boudouni on violin are also quite significant. Nice opener. (8/10) But, we’re all waiting for the complete ensemble—and especially the contributions of vocalist extraordinaire, Evangelina Kozoni. The next song does not take long to satisfy. 

2. “Eternal” (8:02) starts out sounding very much like A Child in the Mirror’s “A Garden of Delights”—though a bit more spacious. By the middle of the song the band has started mixing things up enough and by the end of the sixth minute they have finally broken away from its predecessor: organ, acoustic guitars, flutes, Mellotron and violins. In retrospect, it feels as if it is really Evangelina’s vocal melody that keeps bringing me back to “Earthly Delights,” not so much the instrumental music. Still, a great song. Great sound. (8/10)

3. “At the Death of Winter” (4:04) starts out with flute, synths, Mellotron and marimba setting things up for Evangelina’s storytelling vocal. The song is impressionistic:  jazzy, folkie, kind of childlike and pleasant. At times it even treads into GENTLE GIANT territory—especially with the jazzy section beginning in the third and the rondo weave of male vocals accompanying Evangelina which soon follows during the fourth minute. Surprising and beautiful song! (9/10)

4. “Around the Fire” (9:16) is a true symphonic construction with no single section lasting more than 45 seconds and never less than 30. It opens with two wooden flutes playing together for the first 30 seconds. Multiple tracks of acoustic guitars fill the next 30 seconds before an all-out acoustic JETHRO TULL instrumental weave bursts out. This is then joined by organ and Evangelina’s vocal. Next there is a brief instrumental of medieval instruments before the music returns to the JTULL theme with electric guitar and flute flashing in and out in an enthusiastic dance. Next Evangelina returns with the organ before the song quiets down to the medieval instrument section this time with Evangelina’s voice. It sounds like a 1960s folk songs with its strummed acoustic guitars and background vocal harmonies. Gorgeous! At the five minute mark we get to hear two electric guitar soli before the song devolves into a rapidly strumming acoustic guitar. Then, at 6:30 we get to hear some impassioned JTULL flute and guitar soli, building into a heavier JTULL crescendo before returning tho the 60s folk section with the addition of Mellotron and GENESIS-like guitars to exit. Amazing song! (10/10)

5. “Lemnos (Lover Dancer)” 0:47) is a song in the true medieval folk minstrel tradition. Plus horns! (10/10)

THE FINEST OF MIRACLES SUITE:

6. “Birth of the Lights” (1:52) opens surprisingly heavily, with and odd time signature, before evolving into a softer and lighter “sunshine and unicorns” mood. (9/10)

7. “Wandering” (6:42) opens sounding a lot like very early GENESIS. Sax with background violin and piano are interspersed with the “mischievous” “interruptions” of flute A weave of multiple synths ensues before the song returns to the sax and violin weave, this time interlaced with slightly heavier sections—one of which has some raunchy jazz guitars. The song always comes back to either the sax and violin theme and/or the flutes over acoustic guitars for its grounding. This is very much a soundtrack for a film—like an old silent film soundtrack—one in which five or six very distinct personalities are interacting and/or conversing. (9/10)

8. “Sirens Call” (1:38) starts with simple acoustic guitar arpeggios joined by flute and then double bass and Rhodes piano. Violin and flute trade soli throughout. (9/10)

9. “As Fall the Leaves” (3:09) is a medieval folk ensemble set up for Evangelina to sing in her native Greek. Very RENAISSANCE like. (10/10)

10. “Song for an Island” (4:47) sees the suite step into the electronic era with trumpets and Mike Oldfield-like lead guitar with Evangelina continuing singing in Greek. The music has the feel of an early bluesy JETHRO TULL or GENESIS song. Horns join in at 1:10, adding something special before the song returns to the opening vocal section. In the fourth minute it takes a turn into new territory—a kind of “MacArthur Park” sound and structure. At 4:30 a circus-like element is introduced—which carries us through to the end! (9/10)

Amazing composition pulled off with such skill and maturity! Awesome!

This album has an amazing 1970s feel to it in the way it is composed and performed; such mastery and maturity is rare in this day and age. Always a sucker for medieval and folk traditions, this album has bewitched me—much more than even their debut—to which I also ascribed five stars.

25. CHARLIE CAWOOD Blurring Into Motion

Classically-influenced instrumental acoustic folk music in the same vein as NORTH SEA RADIO ORCHESTRA, Charlie is quite the multi-instrumentalist! 

Line-up / Musicians:

- Charlie Cawood / acoustic, electric and classical guitars, acoustic bass, bass VI, handclaps
With:
- Marjana Semkina / vocals (3, 10)
- Alice Barron / violin
- Georgia Hannant / violin
- Maddie Cutter / cello
- Robyn Hemmings / double bass
- Julie Groves / flute, piccolo
- Emily Suzanne Shapiro / clarinet
- Ben Marshall / cor anglais
- Thomas Stone / contrabassoon
- Lucy Brown / French horn
- Nathaniel Dye / trombone
- Maria Moraru / piano, celeste
- Elen Evans / harp
- Beibei Wang / vibraphone
- Catherine Ring / glockenspiel
- Evan Carson / bodhran, percussion
- Steve Holmes / minimoog, bass synth 

1. "Dance of Time" (5:03) nice, gentle multi-thread weave of guitars, tuned percussion, flutes, and strings. (8.67/10)

2. "The Stars Turn" (3:59) same as the previous song: a gentle weave of the exact same instrument palette. A little more Steve REICHian/NORTH SEA RADIO ORCHESTRA construction here. (8.67/10)

3. "Falling Into Blue" (2:36) fast-picked acoustic guitars behind Marjana Semkina singing in her lower registers. Winds, xylophone, and Marjana's background vocals join in the chorus. Strings and tuned percussion remain for the second verse. Again, this could be a quaint little NORTH SEA RADIO ORCHESTRA song. (4.25/5)

4. "Abyss of Memory" (3:05) multiple acoustic guitars with piano and vibraphone weave this one at another moderately slow pace. The melody line repeats over and over while myriad other instruments  join in and create other layers and harmony threads. Interesting. (8.75/10)

5. "The Dark Within" (4:37) guitar and strings open this one like a WILLIAM ACKERMAN tune. At 0:50 piano and woodwinds join in and it gets beautiful. At 1:30 double bass and percussion and vibes are added. It actually doesn't feel as dark as it feels full of 'disappointment' though it does get a little discordant toward the end. (9/10)

6. "Blurring Into Motion" (3:29) fast-picked acoustic guitars, piano, and soon, flute, start this weave. Strings join in at the end of the first minute (including bass). (8.5/10)

7. "From Pure Air" (4:05) harp and classical guitar open this one. A very gentle, soothing, calming song. (8.75/10)

8. "A Severed Circle" (4:35) another beautiful multi-instrumental weave that once again reminds me of the NORTH SEA RADIO ORCHESTRA though also some of Jesy Chiang's CICADA compositions as well. Very nice. A top three song. (9/10)

9. "The False Mirror" (3:28) More of the same; beautiful but basically background music. (8.67/10)

10. "Flicker Out of Being" (4:27) a pleasant song in which Marjana Semkina's beautiful, ethereal voice blends in as if it were another string or wind instrument. A top three song for me. (9.25/10)

11. "Between Two Worlds" (4:48) flute and chor anglais over guitars, vibraphone and piano in another fast shifting NORTH SEA RADIO ORCHESTRA-like song. Very nicely constructed tapestry. (8.75/10)

12. "Voice of Space" (6:35) slow and brooding piano, acoustic guitar, harp and vibes with secondary instruments providing chord accents every sixth whole note. Reminds me of many Pat Metheny song openings. Flute and winds take over lead melody over the top while celeste does another line in the middle. Strings eventually join in, thickening the weave. Another top three for me. (9.25/10)

Total time: 50:47

While the music here is beautiful--often calming or even soothing--and the compositions quite intricate and harmonically sophisticated, there is too much a "sameness" of the music and too often a lack of fully engaging melodies.

88.70 on the Fishscales = B+/4.5 stars; wonderful contribution of neo-chamber jazzy folk music of the mostly-acoustic kind; an excellent addition to any prog lover's music collection. 

26. GRAVITY SAYS_I Quantum Unknown

An awesome blend of electronica and folk traditions coming out of Greece. Nikitas Kissonas and I agree--this is one of the most interesting and enjoyable--even hypnotic--musics coming out of the Peloponnese.

1. "More Than A Matter Of Instinct" (6:18) opens the album with some sonically manipulated synth sounds and organ. Rolling bass lines (two!) accompany the Tangerine Dream like music that forms as the Brendan Perry/Dead Can Dance-like voice of Manos Paterakis enters and lulls us into hypnotic submission--as does the music that fills the spaces between the vocal verses. Nice use of horns/trumpet in balance tandem with santur and synths for a three-way solo weave during the instrumental section of the song's final two minutes--and then the excellent electric guitar work in the final minute. Great song! (9/10)  

2. "Of Woe / Migratory Birds" (9:45) opens with santur and a little VANGELIS/Blade Runner-like soundscape before the soothing voice of Manos Paterakis enters. Around 1:30 the whole band joins in to establish an interesting rhythm over which Manos and other instruments play. Cool shift at the 3:12 mark establishes multiple layers of both instruments and voices. Guitar solo in the mid-section. I love the santur base. Another shift at 6:12 leads to a more Post Rock sounding section over which trumpet solos until things speed up and the electric guitar takes over. At 7:30 things revert to 1980s techno-pop synth sounds over which Manos (in layers) sings. Interesting song! I'm not sure if the unusual flow really works, though. (16/20)  

3. "Dowser" (3:16) simple droning synth with syncopated hand clapping form the base for the heavily treated voice of Manos Paterakis to sing over. After the first verse the music shifts, filling with more sounds from a few more instruments (synthesizer/keyboards). After the second verse multiple tracks of both guitars and trumpets join in. Cool effect! (9/10)                                

4. "An Ivory Heart" (5:16) opens with a brisk pace in an almost Latin style of horn-supported music. A quiet interlude sets in before an interesting drum rhythm pattern sets up for Manos' doubled-up vocal track. Man this guy sounds like Brendan Perry! Fun upbeat song with neat instrumental section in the fourth and fifth minutes. (9/10)                       

5. "Every Man" (6:11) opens with acoustic classical guitar solo which is joined at the 0:40 mark by other acoustic instruments and strings. It almost has a Greek folk feel to it--but the lyric "every man for himself" seems a bit out of character with a folk song. I love the piano-guitar duet in the middle. Unfortunately, the vocal and lyric seem to bring the song down a bit. Could be so much more powerful. (8/10)                            

6. "Quantum Unknown (Riveted Eye)" (9:46) opens kind of experimental ambient soundscapes in the vein of RYUICHI SAKAMOTO in his collaborations with sound engineers CHRISTIAN FENNESZ and ALVA NOTO but then turns into a kind of low key DEPECHE MODE song--complete with DAVID GAHAN-like vocals--at least, that is, until the 4:25 mark. Then we return to spacey synthetic soundscapes with some cool throbbing bass lines over which the exotic sounds of the santur eventually solo. The final two minutes revert back to very cool, very eery computer-manipulated synth sounds. Definitely my favorite song on the album. (20/20)

88.75 on the Fishscales = 4.5 stars; a near-masterpiece of progressive rock music. This one has such a refreshing and near-perfect blend of traditional folk instrumentation with modern computer-synthesized technologies. Definitely worth checking out! Highly recommended.

27. RICHARD WILEMAN Veil

Richard--of KARDA ESTRA fame--sings! And beautifully! 

1. “Ghost” (3:34) Steve Hackett never did anything as profoundly emotional or powerful as this. It’s just gorgeous! In the Ben Watt/Tracey Thorn pantheon of folk songs! (10/10)

2. “Last Grains” (3:34) a throwback to the halcyon days of late 1960s Burt Bacharach. So catchy! Where is Laetitia Sadler? What a beautiful background vocal voice Richard has! Like Ben Watt. (9/10)

3. “The Sea Witch” (3:21) a more version introspective version of a KARDA ESTRA song. (8.5/10)

4. “Mephisto Portrait” (3:53) reminds me of the sensitive older vocal songs of ANTHONY PHILLIPS except with more engaging chord progressions. (9/10)

5. “Cassiopeia” (3:33) a familiar KE favorite (one of my all-time favorites from my second most favorite KE album) recreated with a very different, more deeply dimensional and somehow raw, human soundscape. Brilliant! Such emotion brought to the performances! Nice work, Amy Fry! (10/10) 

6. “Three Occulations” (3:33) “live” piano background for another simple folkie song. I love this singing voice! It’s so real, conveying such a vulnerable human side of Richard. (9/10) 

7. “Andromeda Variations for Guitar” (1:56) a personal classical guitar étude with a little Steve Hackett flare to it. (4/5)

8. “Chaos Theme for Clarinet” (1:56) (4/5)

9. “Unmarked on Any Map” (3:26) not as good as the other vocal songs but still remarkable for the up-close and personal side of Richard being revealed here! Bravo! (7.5/10)

10. “The Veil” (2:14) more like a simplified KE song but a nice representation of the “hidden” side of the man behind KE. (4/5)

11. “Introduction and Ceres” (2:25) a reworking of another old KE song, stripped down to acoustic guitar and clarinet (and some little electric strums in the “Ceres” part). For some reason the music hear reminds me of Woody Allen’s Gershwin soundtrack to Manhattan. (5/5)

12. “Wine of the Cosmos” (2:40) Gorgeous singing, choosing some interesting melody lines over some duplicitous guitar chords. Reminds me of Serge Gainsborough song from the 1960s/70s. I love this voice! (9.5/10)

13. “Alice Afternoon” (4:32) now THIS one sounds like a gem from an Anthony Philips Private Parts and Pieces album. Stunning! (10/10)

14. “Golgotha Dancers” (1:45) due to the percussion and melodies used, this one has a world music, even African or at least Moorish, feel to it. Love the horns. Great closer! (5/5)

I must admit to being rather shocked to hear Richard’s voice. It’s gorgeous! And conveys sush wonderfully accessible human emotion. Why has he been hiding this from us all these years? I love the stripped down versions of some of his old Karda Estra classics, as well. They give the songs the same human accessibility that his YouTube videos through the years have done. Lovely album! Truly lovely!

91.74 on the Fishscales = A-/five stars; a minor masterpiece of classical-infused prog folk music—or “unpluggedness.”

28. DEAD CAN DANCE Dionysus

Lisa and Brendan are back with what may well be their best Dead Can Dance album ever. Though partitioned into two suites, I cannot help but treat each "movement" as its own entity, its own song, as they each have very separate sounds and stylings.

ACT I  (16:39)

 - "Sea Borne" (6:45) typical layering of simple Middle Eastern and mediæval tones, melodies and instrument sounds which is augmented by a many-layered "chorale" of Lisa's vocal tracks. Relaxing, joyful, processional, cinematic, and beautiful. (14.25/15)

 - "Liberator of Minds" (5:22) a different set of Middle Eastern "instruments" with different pacing and feel. Though possessing several nice melodies and a nice hand drum pace-setter, this one lacks strong, central vocal presence. (8.5/10)

 - "Dance of the Bacchantes" (4:32) feels more contiguous with "Liberator" due to the use of the same hand drum for the rhythm setter. More vocal use--some imitative of animals and human revelry--coupled with a brisker pace make this one a bit more interesting. (8.75/10)

ACT II (19:27)

 - "The Mountain" (5:35) slow meditative Middle Eastern music making me feel as if I'm walking through a desert village with the very real chance of running across Jalāl ad-Dīn Muhammad Rumi. Both Brendan and Lisa's voices are used here in a kind of slow call-and-response format. The sound of the bleating of mountain goats and animal neck bells join this song to the next. (9/10) 

 - "The Invocation" (4:51) with only hand cymbols and djembe-like bass to provide rhythm, Lisa uses multiple tracks to present a vocal-based music quite like the female choir of Bulgarian folk singers known from the Le Mystère des voix Bulgares albums of the 1980s. Hammered zithers, bowed rabab (?) and hand drum and clap tracks eventually join in to fill the sections between Lisa's Bulgarian sections. Masterful. (10/10)

 - "The Forest" (5:31) opens with electro-pop synth drums before African male singing enters. Brendan's vocal track(s) are backed by electro-pop bass and drums while alternated by zither and rabab like synths. Later, the Youssou N'dour-like voice is joined by multiple tracks of female choral singers á la MIRIAM STOCKLEY from the ADIEMUS records of the late 1990s. Electro-synth "jungle" noises are used to bleed this song into the final one. (8.5/10)

- "Psychopomp" (3:30) involves some very simple single voice singing by both Brendan and Lisa, in separate tracks playing off of one another, all performed over a very simple, austere soundscape of breathy flutes and hand percussives like shells and nuts, rainstick, bass drum, and Hamza El-Din like frame drums. (9/10)

90.67 on the Fishscales = A-/five stars; a minor masterpiece of electro-simp world folk music. 

29. DEAD CAN DANCE Anastasia

After a 16 year break, this album is the "comeback" album for the team of Brendan Perry and Lisa Gerrard. Though Lisa had been traveling quite a successful path as a solo artist and soundtrack composer (with award-winning contributions to Insider, Ali, Gladiator, and Whale Rider as well as lauded collaborations with Klaus Schulze). The album opens with the stunning duo of "Children of the Sun" (15/15) (on the short list for 2012 Song of the Year) and "Anabasis" (14.5/15), this latter song establishing a trend of Middle Eastern-influenced or -sounding songs that permeates most of the album. Nowhere is Lisa's incredible vocal talent in question, it is in the band's choices of computer-driven percussion tracks and loops or the quality of the computer-generated Middle Eastern instrumental sounds samples that sometimes bring the album's overall feel and effect "down."

3. "Agape" total exploration of Middle Eastern sounds with Lisa's vocalise playing right into the mood (13/15)

4. "Amnesia" a very cinematic spie movie-themed melody over which Brendan takes a turn at the lead vocal. (8.25/10)

5. "Kiko" a long, simple, and monotonous attempt at a Middle Eastern sound. (12.5/15)

"Opium" Brendan's turn. The deeper, darker sound, and percussion tracks work on this one--the strings banks from the computer keyboard, too. (8.75/10)

6. "Return of the She-King" opens with computer-bagpipes and evolves slowly into a beautiful exposé of Celtic stylings.  (13.25/15)

7. "All in Good Time" opens with bare bones and Brendan's heart-felt vocal. Stunning. Great melodies and textures. Almost like an old-fashioned crooner's ballad. Me like. My other top three song. (9/10)

89.76 on the Fishscales = B+/4.5 stars; a near-masterpiece of atmospheric progressive world music.

30. CHARLIE CAWOOD The Divine Abstract

Line-up/Musicians: 

Charlie Cawood – Acoustic, Electric & Classical Guitars, Fender VI, Acoustic & Electric Bass Guitars, Sitar & Pipa

Elizabeth Nott – Darbouka, Riq, Frame Drum (1, 11)

Ben Marshall – Oboe & Cor Anglais (2, 3, 4, 5, 12)

Flora Curzon – Violin (2, 3, 4, 5)

Francesca Ter-Berg – Cello (2, 3, 4, 5)

Lucy Brown – French Horn (2, 3, 4, 5, 9)

Ben Woollacott – Drums, Percussion & Cymbals (6, 7, 8)

Wang Xiao – Erhu (6, 7, 8)

Dennis Kwong Thye Lee – Xiao (6, 7, 8)

Diego Tejeida – Piano (6, 7, 8)

Chlöe Herington – Bassoon (9)

Alexandra Petropoulos – Flute (9)

Nicki Maher – Clarinet (9)

Oliver Sellwood – Baritone Saxophone (9)

Josh Perl – Clarinet & Bass Clarinet (9, 12)

Steve Holmes – Piano, Celeste, Minimoog, Bass Synth (10)

Katharine Blake – Treble & Sopranino Recorders (10)

Lucie Treacher – Kendang, Ceng Ceng, Gong, Kempur, Kenang, Klentong, Kempli & Genterak (10)

Hannah Davis – Vibraphone & Glockenspiel (11, 12)

James Larcombe – Piano & Dulcitone (11, 12)

Julie Groves – Flute (11, 12)

1. "Shringara" (3:19) opening with a very Indian sound, the entrance of Western bass and electric guitar over the sitar give this a very STEVE TIBBETTS sound and feel to it. (8/10)

2. "The Divine Abstract: Echolalia" (1:08) a nice, slow orchestral intro

3. "The Divine Abstract: The Earth’s Answer" (3:26) acoustic guitar-based. Strings and winds join in fairly quickly. It has a nice PAUL WINTER or even ANT PHILLIPS feel to it.

4. "The Divine Abstract: Fearful Symmetry" (2:34) acoustic guitar opening joined by orchestral instruments. This one is more up-tempo and WILLIAM ACKERMAN/WINDHAM HILL-like.

5. "The Divine Abstract: The Western Lands" (1:58) pretty strummed acoustic guitar foundation is soon joined by and strings, horns and winds. My favorite movement of the suite.

     Graded as a whole: (17/20)

6. "Earth Dragon: The Golden Flower" (1:56) acoustic guitar, piano and percussion instruments are quickly joined by Chinese string and wind instruments (erhu and xiao) playing at a nice brisk walking pace. Nice film soundtrack music.

7. "Earth Dragon: An Invisible Landscape" (3:30) second movement slows it down to more contemplative or even observational--until the thick electric bass gets involved. Then it feels like it steps up into an elephantine walk--two different paces or courses, one hypervigilant, the other confident and free.

8. "Earth Dragon: Origin Of A New Being" (3:09) picked guitar chords joined by Chinese winds, strings, and electric bass and percussives gives this one a feel as if the walker/palanquin is in heavy pedestrian traffic. Piano interlude and shift gives this one a cool, PAT METHENY-like feel. My favorite piece of this suite--and one of my favorite songs on the album.

      Graded as a whole: (18/20)

9. "Garden Of The Mind" (6:44) a pretty neoclassical folk song not unlike a NORTH SEA RADIO ORCHESTRA, PAUL WINTER CONSORT, PHILIP GLASS, or CICADA song. (14.25/15)

10. "The 32nd Path" (6:19) based in pipa (Chinese mandolin) weaving together with several other odd instruments (including Fripp-llike electric guitar arpeggiations) in a very rich, complex tapestry, this one sounds like it could spin off into an aggressive STEVE TIBBETTS or ZHONGYU song, but instead it remains constant (though never boring) and Asian as a RYUICHI SAKAMOTO song. (9/10)

11. "In A Floating World" (3:51) another stellar composition of relaxing world music--this time with flute, bass, tuned and untuned percussion, and guitars playing the most prominent roles in the weave. (9/10)

12. "Apotheosis" (7:15) a slow paced weave of multiple instruments each playing arpeggi together establish a chord progression with more instruments (and different melody lines) added with each round of the progression. When bass line is added in the beginning of the second minute the song takes on a different feel--less minimalistic and more jazzy. (13.5/15)

Total Time – 45:09

86.75 on the Fishscales = B/four stars; a very nice contribution of cross-cultural jazz-neochamber-folk fusion. A wonderfully enjoyable and pacifying listening excursion--one that I will be returning to many times over the course of my remaining years.

31. JACK 'O THE CLOCK Repetitions of the Old City - I

I really liked 2013's All My Friends but it showed signs of the band not firing on all cylinders yet--not everyone seemed able to rise up to composer Damon Waitkus' expectations. I'm glad to report that, while this is, sadly, only the second Jack O' The Clock album I've listened to, immaturity and scattered energy are no longer at issue:  the band is performing Damon's compositions seemlessly, flawlessly, and Damon's composition and production skills are at his most masterful high.

Line-up/Musicians:

Damon Waitkus - vocals, guitars, hammer dulcimers, guzheng, flute, piano, pianet, mandolin, percussion, wine glasses

Emily Packard - violins

Kate McLoughlin - bassoon, vocals, flute

Jason Hoopes - basses, vocals, zither

Jordan Glenn - drums, percussion, marimba, vibraphone

    With

Sarah Whitley - samples (2)

Fred Frith (Henry Cow, The Residents, et al.) - electric guitar (6)

Darren Johnston - trumpet (5, 8)

Jonathan Russell - bass clarinet (7)

Andrew Strain - trombone (8)

1. "I Am So Glad To Meet You" (1:37) Damon Waitkus singing multiple tracks in his unusual, warbly, ANDY GIBB-like voice over an atmospheric echoscape. (3.75/5)

2. "The Old Man And The Table Saw" (10:30) a refreshing prog folk composition that sounds like no one else, proclaims (or reconfirms) that Jack O' The Clock is unique to folk and progressive rock music. (18/20)

3. "When The Door Opens, It Opens On Everything" (12:08) opens with a very folk/bluegrass-sounding acoustic guitar intro. At 1:15 the music shifts to a kind of AARON COPELAND/EDGAR MEYER sound in support of Daimon's vocal. Kate McLaughlin's bassoon plays a nicely prominent role in this one. Stellar performances by all band members in this mesmerizing composition. I even hear echoes of some of the sounds, melodies, and dueling of John McLaughlin's SHAKTI music ("Get Down and Sruti" from Natural Elements) on this one. (23.75/25)

4. "Epistemology / Even Keel" (5:45) opens sounding far more like an old WEATHER REPORT or JONI MITCHELL soundscape. But then all that dissipates in lieu of Daimon's nursery rhyme-like vocal. Not quite a cappela, it is supported rather sparsely with bird- and animal-like sounds created by acoustic instruments. The second half ("Even Keel"?) uses an electric jazz guitar and acoustic guitar to provide the foundational support for Daimon's voice. Double bass, shrill violin chirping, bassoon and flute provide occasional and intermittent accents and support. I like this song a lot. It's certainly a top three song. (9.5/10)

5. ".22, Or Denny Takes One For The Team" (6:58) opens as if we are getting to unleash a high-speed Celtic reel, but when dulcimer, electric bass and drums enter to support and mirror the established lead melody of the violin, it feels more rock like. At 1:30 everything shifts into a dreamy MARK ISHAM-like section. Violin and cymbal play support the baseball reference section as sung by Daimon and his support chorus. A lot of FLEET FOXES similarities in this middle section. I like it very much. The story here feels very dream-like, as if imagination (and time) is toying with the recollection of some past memory. My favorite song on the album. (15/15)

6. "Videos Of The Dead" (7:21) opens with bass and low tom thumping a slow, straight 2/2 time while the guitar of prog legend Fred Frith slide over and between. While the time signature gradually shifts, and the song develops, it is still fairly sparse and simple when Daimon's simple vocal begins. At 2:50 things become heavier, more insistent as first the low end and then the middle of the soundscape fills a bit. Flute solos in the fourth and fifth minutes while the song shifts and other instruments snake around beneath. When Daimon returns to sing at the end of the fifth minute, a full Nu-grass kind of jam is mounting an assault beneath him. then, suddenly, at the 5:40 mark, order is restored just when I thought (and hoped) that wild chaos was about to break open. Awesome, even amazing song. My other top three song. (14.25/15)

7. "Whiteout" (2:28) a foundation of odd sounds (including synths, zithers, bass clarinet, bowed double bass, and what sounds like a backwards flowing solo electric guitar throughout) supports the slow, treated play of a hammered dulcimer. (9/10)

8. "Fighting The Doughboy" (13:42) starts out with a bit of an odd, gangly plod-and-hop sound that might have come off of a MAHAHIVSHNU ORCHESTRA or JEAN-LUC PONTY rehearsal during the 1970s. By the end of the second minute it's feeling more like a UNIVERS ZERO song. But then lyrics/vocals appear. At 4:30 the song suddenly steps into a straightforward rhythm--but only for about half a minute, when it returns to the syncopated UZed sound, style and pacing. Horns, violin, vibes, and bassoon are all quite prominent. At 6:30 another foray into straightdom provides a section with some interesting background vocal activities and harmonies--and even a lead vocal from a different male (Jason Hoops?). At 8:20 a kind of calypso foundation begins over which SHANKAR-like violin melody leads before a flanged Daimon Waitkus vocal slowly emerges (and continues moving into the foreground--with accompanying vocalists). At 10:30 new section begins with a sound that is reminiscent of some of JONI MITCHELL's jazzy-world music from the mid 1970s. Voice samples from the likes of Martin Luther King, Jr. are interwoven among the Dixieland party that ensues--and plays out to the song's end. Intriguing song! High marks for creative originality. (27/30) 

9. "After The Dive" (3:38) a very cool, unusual song with great, delicate performances from all--and a nice vocal from Daimon. (9/10)

Total time 64:07

92.32 on the Fishscales = A-/five stars; a minor masterpiece of prog folk and progressive rock music. This band is maturing, gelling into one of the most compelling masters of the modern prog scene.

32. CICCADA A Child in the Mirror (2010) (Progressive Greek Folk Rock) It was quite a struggle trying to hear and/or acquire a copy of this album or its music. But, the persistently high ratings and reviews lead me to persevere--and I am very glad I did. My first listen was appreciative ("a lot of JETHRO TULL riffs," I remember thinking), but I knew this child in the mirror was no simple kid, so I took my time, let it percolate, let the music get familiar, before trying to comment on it. I immediately knew we had a collection of very intricately constructed songs performed by very skilled "classical" chamber musicians (from Greece). Repeated listens caught me thinking of WOBBLER, THIEVES KITCHEN, ALAN STIVELL, and even a little bit of NIL, GENTLE GIANT, THE CHIEFTANS, HAPPY THE MAN, GRYPHON, DIXIE DREGS and even some Southern or Country Rock. Such an odd yet intriguing mix, no? The presence and influence of Greek folk melodies and folk instrumental traditions are quite obvious--and very charming. I only hope/wish that this album gets the listens and attention I believe it deserves.

1. "Ciccada" (4:38) opens with bass and lower register recorder, then organ, weaving a very folk-sounding tune together. The song then alternates and even mixes Renaissance instruments/styles with TULL's Thick as a Brick/Passion Play era sounds/styles (and riffs!). There is also some kind of indescribable YES-like quality to it. I absolutely love the acoustic guitars and recorders in this song.

     When drums arrive, the song settles into a pretty standard JETHRO TULL rock groove for a little while. The softer sections are noticeable for their recorder and wooden flute solos and fine folk acoustic guitar work, but are interspersed with Tull-like bursts of explosive guitar riffs. Definitely an intro into the classy and multiverse world of CICCADA (though lacking any vocal contributions)! (8/10)

2. "Isabella Sunset" (6:09) starts with piano and violin before drums, bass, flute and electric guitar join in--Baroque to rock in an instant! The vocal melody and lyric very much has the same feel as that of NIL or THIIEVES KITCHEN where the female singing is really just another instrument in the (very complicated) weave--here an beautifully trained operatic folk singer--often even mimicking the melody line of another instrument. A pretty song with, again, some very intricate songwriting construction. I hope the group continues to explore more multi-voice harmonic weaves as there are near the end of this one as I much prefer this kind of vocal weave to those barbershop quartet/Beach Boys-like ones of MOON SAFARI. Great outro. (8/10)

3. "A Child in the Mirror" (6:00) is a gorgeous jazzier song with the gorgeous vocals and melodies of Evangelina Kozoni sung in her native Greek! Backed by electric piano and fully jazz-oriented rhythm and accompaniment. Awesome song! (9/10)

4. "A Storyteller's Dream" (7:08) is a beautiful song--yet another (mostly) instrumental--with a very strong grounding in folk traditions--not unlike THE PENTANGLE or ALTAN. For me, probably the album's most emotive song. I love the organ solo with strumming acoustic guitars and mellotron mid-song which builds into quite a jam! (10/10) IMHO, stands shoulder-to-shoulder with any of the all-time great prog-intrumentals.

5. "Raindrops" (4:16) has a very pastoral, folk feel to it, with flute, acoustic guitar, bassoon, electric piano (?) and Evangelina's fluid, nearly operatic voice constantly weaving in and out of each other's melody lines. (8/10)

6. "An Endless Sea" (5:27) opens as a kind of piano chamber piece until Evangelina's voice enters. A key, tempo and timing shift at 0:55 makes for an interesting tension-building presence. Evangelina does not sing during these heavier sections. 

    Back to the original pastoral piece at 1:55, heavy at 2:23, then combined into the fourth minute before getting soft and then quite discordant and chaotic around 3:30. A very interesting song with gorgeous flute play throughout. Definitely captures the volatile moods of the sea! (8/10)

7. "Epirus--A Mountain Song" (4:58) begins with piano, clarinet and voice setting an almost chamber music-like scene. They are later joined and embellished by acoustic guitars, drums, electric bass, and electric guitar in a kind of IONA-like slilghtly amped up rock version of a folk song. I like the male b-vox on this one. More of this in the future would be nice. (8/10)

8. "Elisabeth" (7:08) is another instrumental tune that begins like an acoustic folk song before turning classical chamber music--perhaps even Renaissance music. Surprisingly, it goes to heavy rock power chords near the two minute mark, then digresses back to its pastoral yet intricate and sophisticated acoustic weave. Back and forth several more times--which surprisingly works really well--kind of like AFTER CRYING or some YES and KING CRIMSON. Some nice segues and added instruments (cello, organ) spice it up and keep it from getting too repetitive, predictable or boring. Halfway through the back beat falls into a very standard Country and Western beat--which again works! (8/10)

9. "I Stigmi--The Moment" (3:14) is a very classy folk-jazz-classical chamber piece with keys, electric guitar, and woodwinds noodling around over a standard C&W bass & drums back beat. The guitar picking even seems to come right out of Nashville. I love the fact that Evangelia Kozoni's vocals are being sung in her native Greek. (9/10)

10. "A Garden of Delights" (8:23) has a very Greek JETHRO TULL beginning to it. The near-operatic vocals of Evangelia Kozoni change this--as does the very catchy chorus, giving the song much more of its own identity. Music and lyric/vocal together lead us on a journey quite like a classic Greek play--full of many twists and turns, trying to get us to see sense and joy against the backdrop of a very arduous life of pain and struggle. Quite a journey! Quite a powerful, convoluted song! A true example of what I'd call classic progressive rock. (9/10)

While this is truly a progressive rock album, the folk foundations both instrumentally and melodically are quite pervasive--in every song. 

TENHI Saivo (2011)

Somber and stark but profoundly emotional in an ULVER-kind of way, this Finnish band sings in its native language but needs no translation in order to get its message across. Each and every one of the surprisingly diverse songs has its own separate and powerful impact--one that engages and sucks one in. I am left astonished, stunned, at the beauty and effectiveness of these fairly simple yet masterfully constructed songs and their impact. Combining classical instruments with more traditional folk music instrumentation with the dark Leonard Cohen/Krystoffer Rygg-style male vocals is done in unusual and yet ingenious combinations and totally unique styles. Breathtaking as a whole, breathtaking each and every single song!

AUTUMN CHORUS The Village to the Vale (2011) (Choral Post Rock) is a brilliant Post Rock/Folk Rock album with folk choral type vocals set over some very pastoral music (despite the presence of drums). Unusual with an amazing male lead vocalist (Robbie Wilson) and interesting use of organ, strings, horns and effects (recorded in a church??) With only one song clocking in at less than five minutes--and three over seven--I'm not sure this album deserves the "Crossover" label-- think "Folk" label much more appropriate--though band calls themselves Post Rock/Modern Classical--both of which there are definite presences. There is even a strong feel of church chorale influence. As Robbie sings--and the engineering effects here cause a church-like echo--one cannot help but feel transported to some sacred or angelic venue. Amazing to have this kind of voice singing over the Post Rock/Folk Rock music! "Progressive" in the truest sense of the word. It is definitely a stunning album, start to finish. Reminds me of the best sides of FLEET FOXES and THE DECEMBERISTS playing over music by SIGUR RÒS and RADIOHEAD. Check it out, everybody! Try listening to the following album highlights:  "Three Jumps the Devil" (7:17) (10/10); "Brightening Sky" (5:23) (9/10); the COLDPLAY-like "Rosa" (16:11) (8/10), and; the charming and heart-strings pulling "Bye Bye Now" (4:09) (9/10). 

NOMADS OF HOPE Breaking the circles for a while (2014) (Dreampop Prog Folk) is an entry from a two-person band like Dead Can Dance and 2013's excellent SCARLET STORIES. Kind of a Cocteau Twins approach: finished guitar tracks with vocals laid over the top. A refreshing album of gorgeous, often hypnotic music that mixes sounds that are at times reminiscent of LUSH, ROBIN GUTHRIE, KATE BUSH, PETER GABRIEL, and even JON HASSELL. Highly recommended.

1. “Breaking the Circles” (3:00) Opens with some heavily treated guitar familiar to me from years ago via Jan Akkerman and The Edge. There is a little PINGVINORKESTERN in Ingemo’s vocal’s melodic sense. though her soprano floats and lilts over the top of the music sounding a lot like Lush’s Miki Berenyi. (9/10)

2. “In The Shadows” (3:21) opens with some heavily treated, layered electric guitars very much like ROBIN GUTHRIE. The vocal enters like a beautiful LUSH song from their first album (partly Robin Guthrie produced), “Sweetness and Light.” Beautiful guitar chord progressions. Some nice Mellotron, too! (9/10)

3. “Every Daybreak” (6:13) opens like a set up on a classic PETER GABRIEL soundtrack song, like from Passion: Soundtrack from The Last Temptation of Christ or Rabbit-Proof Fence or even “Signal to Noise.” When Ingemo’s gorgeous voice enters it is like none other than KATE BUSH. Awesome layered guitar work. Three songs into it and still not a drum, snap or click to be heard! (9/10)

4. “The Day” (4:26) is, for me, the weakest song on the album. Some abrasive slapped guitar and dirty percussives make an incongruous background to Ingemo’s whispery voice. (6/10)

5. “Kindly Winds” (4:17) involves Ingemo’s lilting voice floating ethereally over heavily treated piano and guitars and some drums. The song has trouble deciding whether it’s going to kick in or hold back. (It holds back.) Some nice guitar lead in the final minute. (7/10)

6. “Politics and Dreams” (5:01) begins very much like an old PETER GABRIEL song with dated electric piano (mididd with organ?) Ingemo’s vocals are quite strikingly reminiscent of quintessential KATE BUSH. The Celtic-like flutes and hand drums make it even more so. Nice song. (8/10)

7. “Connections” (4:13) opens with a heavily treated guitar strumming with a second less-muddied guitar and bass playing along. Ingemo adds background ghost voices before coming in with an echoed lead vocal. I like the construction of this song—chord progressions and vocal melody. It’s quite unusual and alluring. Ingemo’s voice styling here is quite a bit like that of KATE BUSH on the “Man with the Child in his Eyes.” Quite nice. (9/10) 

8. “I Used to Forget” (3:52) opens with an old sounding electric piano before drums, bass and voice join in. Rolling toms like a gently rolling sea accompany Ingemo’s layered singing—which sound like KATE BUSH (The Dreaming era) singing with the Mediæval Bæbes. The keyboard interludes sound like a live, over-amped keyboard—“Bob Mayo! Bob Mayo!” (they yelled on Frampton Comes Alive!) Nice flute solo. Awesome song! One of my favorites. (10/10)

9. Hear My Voice” (6:18) opens with some dirty, grungy bass, drums and guitar. Ingemo’s voice sounds like she’s trying to provide the interpretive glue for the song like Kate Bush, Elisabeth from FUNIN, BJÖRK, or one of the BRAINTICKET chanteuses. Nice chunky bass à la Tony Levin or Bill Laswell. The guitar interplay in the fourth and fifth minutes is awesome and is followed by an equally intriguing weave of voices. Another favorite. (10/10)

10. “Gloomy Silvernight” (5:12) opens kind of Canterbury jazzy with some mediæval folk instruments woven into the mix. A wooden flute pulls the song even more into medieval folk realm, but then it feels equally Indian in its pulsing, snaky, hypnotic weave. The vocal doesn’t begin until the 1:46 mark. Once again feels like KATE BUSH—a very breathy, Sensual World-era Kate—in both style and melodic sense. Another awesome favorite. (10/10)

11. “All Nights” (2:56) opens with almost a Rolling Stones guitar sound—a little more treated—and then a very Miki Berenyi (LUSH)-like lead vocal. (8/10)

12. “Water Flowing” (7:32) returns to the familiar PETER GABRIEL/BRIAN ENO/JON HASSELL foundational rhythms and sounds. Singing about the fall of the Berlin Wall, Ingemo’s stylistic approach is again very similar to that of KATE BUSH—again, Sensual World era. A Very powerful vocal to go over another beautiful blend of hypnotic music. This is the best song on the album both in terms of content and feeling fully formed and polished. (10/10)

Overall a very pleasant listen—one that draws me in and entices me to push “replay” or “continuous play.” I have favorites but it all flows and fits together nicely. And I love the album artwork!

TIRILL Nine and Fifty Swans (2011) (Literate Prog Folk) is a much more mature and sophisticated version of the Tirill from 2003's A Dance with the Shadows. Her voice styling has become more breathy, her choices in instrumental support and pacing more diverse, and her male companion on background vocals helps present a nice contrast and edge to her music. The lyrics are all taken from the poetry of W.B. Yeats--which makes for gorgeous English lyrics. Great idea!

Line-up / Musicians:
- Tirill Mohn / vocals, acoustic guitar, Mellotron, violin & percussion (10), composer, arranger & producer 
With:
- Dagfinn Hoboek / vocals (1,2,5)
- Kostas Stefanopoulos / vocals (9)
- Tonje Ettesvoll / backing vocals (9)
- Johanne Gallagher / voice (Gaelic)
- "Wandering Finn" /spoken word (8)
- Nils Einar Vinjor / guitar, bass
- Jan Tariq Rahman / piano
- Audun Kjus / flute & vocals (10), arrangements
- Nick Jones / violin (4)
- Sigrun Eng / cello 
- Herman Schultz / double bass 
- Øyvind Sørensen / percussion

1. "O Do Not Love Too Long" (4:42) synth drone with effected electric guitar notes are joined by picked acoustic guitar, seashore bird noises, double bass, and strings. At 1:10 Tirill enters singing "sweetheart" wish such endearing surprise. Awesome vocal arrangements for the three voices at the end of the second minute. Flutes. Gorgeous interplay between the flute, cello, and ethereal electric guitar in the final 90 seconds leading up to an amazing finish! What an opening song! My first top three song.(9.5/10)

2. "The Cap & Bells" (4:05) flute and strings open this with a gentle weave before falling back for finger-picked guitar and bass to support Tirill's singing. The brief chorus adds several instruments and a male backing vocalist (Dagfinn Hoboek). Flute is added to brief instrumental interlude. Pretty if rudimentarily-designed song. (8.25/10)

3. "He Wishes For The Cloths Of Heaven" (2:47) fretless bass, Celtic harp, electric guitar, and gently picked acoustic guitar set up this one in a proggy soundscape for Tirill to breathe her delicate vocal over. Great interplay between all of the electric instruments in between the vocal passages. (4.5/5) 

4. "To A Child Dancing In The Wind" (3:04) breathy, the Celtic-infused as flute, bass, and strummed guitars open this one. At 0:38 cello and violin join before dropping out for Tirill and hand drum to enter at 1:00. More force in Tirill's vocal delivery than usual. She sounds like a cross between Delores O'Riordan of The Cranberries and Harriet Wheeler of The Sundays. A top three song for me. (9.5/10)

5. "Parting" (2:33) male-voice-led with Tirill performing a prominent harmony/background vocal though occasionally being the lead. Cello, double bass, gently picked effected electric guitar and picked acoustic guitars support throughout. Again, I am intrigued and enamored of the electric guitar's subtle yet important contributions. (4.25/5)

6. "The Fisherman / Carolan's Ramble To Cashel" (5:03) bicked stringed instruments, hand shakers, Celtic flute and harp are joined by subtle electric guitar sounds to create a gentle Celtic weave long before Tirill joins in--this time reciting the poetry of Yates (in a Celtic-infused accent!) In the "instrumental" sections between Tirill's recitations a wizened voice whispers phrases in some Gaelic tongue. Interesting song! Very creative. (8.75/10)

7. "Before The World Was Made" (3:10) delicate, Spanish folk sounding guitar supports Tirill's beautiful breathy vocal. Bass joins, as does background vocal and a second nylon stringed guitar--Spanish--for solos and support in the second half of the song. Beautiful! (9/10)

8. "The Song Of Wandering Aengus" (4:00) tingling windchimes and Fripp/Eno-esque electric guitar sounds open this. Picked acoustic guitar chords support Tirill's vocal. At the end of the first minute she is joined by the eerie, almost disturbing voice of "Wandering Finn" doubling up the lyrics in a theatric Celtic spoken voice as well as bass, hand percussives, and cello. Interesting! (8.5/10)

9. "The Song Of The Old Mother" (2:33) spaciously picked notes of acoustic guitar and humming open this one before Tirill's up-close and personal voice breathes Yates' words into my ears. At 1:08 she is joined by a male voice harmonizing and the strumming of an additional acoustic guitar. (4.25/5) 

10. "The Wild Swans At Coole" (5:30) opens with Tirill's a cappella voice but is soon joined by Audun Kjus in harmony and by gently picked acoustic guitar, bass, hand percussion, violin, and, in the instrumental section, flute and cello. (8.25/10)

Total time 37:27

87.94 on the Fishscales = B=/4.5 stars; a near-masterpiece of progressive folk music and an excellent addition to any music lover's album collection. Beautiful and subtle renderings of some of the English language's most beautiful poetry.

MESSENGER Illusory Blues (2014) is not unlike MIDLAKE for the sake of the electrified full band sound packed with lots of subtleties--though there are a few "heavier" passages and instrumental sounds used--bringing it almost into the realm of DOVES, LANDBERK or IONA. Definitely a progressive sound throughout and with plenty of unexpected compositional and stylistic switches and turns though it tends more toward the softer end of the dynamic spectrum. Guitars, drums, bass, and violin are heard along with harmonized male vocals on every song. Sometimes it gets a little jazzy, sometimes it feels like the more soft, somewhat acoustic side of LED ZEPPELIN (like on 6. "Somniloquist" [5:16]), at other times it's a bit like STING. It is always good and very well recorded, mixed and engineered. The entire album is available to listen to via this YouTube link:  the hypnotic TEA CLUB-like 1. "The Return" (5:58) (love the flute!), and; the awesome LANDBERK-like 3. "Dear Departure" (7:55). Though it is listed as an EP, it contains over 45-minutes of music.

COMUS Out of the Coma (2012) (Eclectic English Prog Folk) After a forty year retreat (coma) the masters of weird (1971's First Utterance) return with a brief (three medium length songs and one 16-minute excerpt from a live performance in 1971) album of equally clever, accomplished and unparalleled unusual songs. Well worth giving the time to get used to and then won over by.

"Out of the Coma" (8:31) (8/10); "Sacrifice" (8:38) (9/10), and; "The Return" (6:27) (9/10).

THE FLOOD Chamber Music

Though from Germany, this band of pop prog folk artists is inspired to do a whole album based on the works of Irish author, James Joyce. The overall feel here is nice--the band seems to be trying to conjure up some of the fervor for poetry and literature like the Beat poets were doing in the 60s. At times there are song melodies and lyrics that remind me of John Lennon and some of the simple folk artists of the late sixties. The German accent distracts a little from English lyrics, but the German lyrics (translations of Joyce into German?) are effective. Kind of cool. Big respect! Very theatric--sometimes cabaret-like--sometimes a bit too simple. Flute, acoustic guitars, piano, and hand percussion are the most prominent and oft-used instruments here.

Line-up / Musicians:
Michael Kops - Guitar, Vocals
Thomas Stolp - Piano, Organ
Matthias Stolp - Flutes, Saxophone
Heiko Hendrich - Bass
Ruprecht Langer - PercussionThomas Müller - Recitation

1. "For F." (Part I) (1:46) flute with picked nylon stringed acoustic guitar other helpers. (4/5)

2. "Tilly" (3:36) solo flute playing in lowest registers over which spoken voice recites something in German. Bass and acoustic guitar join in to create a weave before piano, electric guitar and drums join in, amping things up for a freaky-dramatic voice to sing over in English. (9/10)

3. "Strings In The Earth And Air" (1:56) solo piano opens before band joins in to support Al Stewart-like singer. Very nice. (5/5)

4. "Now, O Now, In This Brown Land" (5:43) for the first two minutes this is very much like John Lennon's "Imagine": pretty poetry with recorder and acoustic guitar, but then, when you think the song is over, a male spoken voice recites a literary passage over electrified acoustic guitar. Then, midway through the fourth minute, voice drops off and flute, hand percussion, and strumming guitar intensify toward a frenzy. The coolest song on the album. (9.5/10)

5. "Nightpiece" (7:48) (9.5/10)

6. "What Counsel Has The Hooded Moon" (2:42) the most obviously Beat/cabaret like song on the album. The vocal is so over-the-top theatric--but it works! (9/10)

7. "My Love Is In A Light Attire" (3:57) (9/10)

8. "Another Wonder" (0:35) a little flute & piano dittie before #9. (5/5)

9. "She Weeps Over Rahoon" (2:05) Pure folk. Could be Tim Buckley or Donovan. (8.5/10)

10. "I Hear An Army Charging Upon The Land" (3:43) (8/10)

11. "Winds Of May" (2:32) great music and very theatric vocal performance. (9/10)

12. "Flood" (2:19) piano and whisper/muted almost-spoken voice. Powerful. (8.5/10)

13. "Dooleysprudence" (6:21) dynamic piano over which singer in English and spoken voice in 

German cohabit the foreground. Interesting! A little long. (8.75/10)

14. "Alone" (5:24) proggy instrumental. (8.5/10)

15. "For F." (Part II) (1:45) nice flute and piano piece to bookend the album. (4/5)

Total Time 52:12

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

JACK O'THE CLOCK Repetitions of The Old City, II

The busy and genius mind of Damon Waitkus and friends follows up the late 2016 release with a new masterpiece of unusual "Prog Folk." This may be my favorite Jack O' The Clock release with some truly memorable songs and the usual level of high quality composition, performance, and recording exceeding all previous levels. My one complaint of Damon's work remains the often "closed" or impenetrable nature of his lyrics due to the extremely personal nature of the subject matter of his stories.

Line-up / Musicians:

Damon Waitkus - vocals, acoustic, electric, baritone and piccolo guitars, hammer dulcimers, banjo, mandolin, ukelin, keyboards, guzheng, flute, percussion, wine glasses, car horn, field recordings

Emily Packard - violin, baritone violin, viola, melodica, car horn

Kate McLoughlin - bassoon, vocals, recorder, car horn

Jason Hoopes - bass, voice, piano guts, car horn

Jordan Glenn - drums, percussion, vibraphone, marimba, bells, melodica, car horn

Thea Kelley - vocals

Ivor Holloway - tenor saxophone, clarinet

With

Art Elliot - pipe organ (1)

Darren Johnston - trumpet (2)

Dave McNally - piano blizzard (2)

Sarah Whitley - samples (2)

Cory Wright - clarinet (8)

THE BLIZZARD

1. "Damascus Gate" (2:20) a dream-like weave of electric, acoustic, and field recording sounds within which an effected collection of voices is warbling the preface of the story that follows. "What do you remember?" The Blizzard of 1978 must have burned some powerful memories into Mr. Waitkus. (4.5/5)

2. "Miracle Car Wash, 1978" (13:41) a mercurial musical journey used to take us through a chunk of Damon's recounting of a snow storm, the masterfully composed and rendered music, unfortunately, makes the most sense to it's composer, often leaving us out on a lurch, wondering "Why this twist?" "Why this turn?" (25.5/30)

3. "Island Time" (5:26) a song that stands out for it's totally different stylistic approach--both constructively and vocally--from any previous Jack O' The Clock song I've ever heard. The male vocal performance here is amazing. (Damon performing in a more choir-classical style?) (9.5/10)

4. "Errol at Twenty-Three" (3:58) Damon and a guzheng open this as the story of the Blizzard of 1978 continues. Multiple voices join in with several other folk instruments and percussives in a theatric/stage-like fashion. I imagine a stage performance of this song with costumes and fast-moving sets while the music is played from an orchestra pit below. Gorgeous, complex, genius, worthy of a Tony nomination! (9.5/10)

5. "Whiteout" (1:10) a multi-track looping of voices, percussives and electric instruments. Not sure how this concludes the blizzard story. (4/5) 

INTERLUDE

6. "Guru On the Road" (5:51) A percussion-led instrumental with lots of string and wind/woodwind instruments playing into the weave. Not unlike a Markus Pajakkala (UTOPIANISTI) song. Beautiful! Even the inclusion of the laugh and studio end comment, "That's such a wild card."  (9/10)

ARTIFACTS OF LOVE AND ISOLATION

7. "My Room Before Sleep" (2:10) Damon duet with a hammered dulcimer. (4.5/5)

8. "Into the Fireplace" (6:55) opens with "tuning" strings and winds before bursting into a thick, heavy, proggy weave at 0:45. What a delicious surprise! The singing versus return to the more sparsely orchestrated opening theme, but the thick wall of sound reappears with enough frequency to keep me on edge. the complexity of the overall weave of many instruments (and many voices) is also quite impressive, engaging, and beautiful. What a masterpiece of composition and collaboration! (15/15) 

9. "Unger Reminisces" (1:27) a dreamy soundscape with commensurately dreamy effected vocals from multiple tracks of Damon. (5/5)

10. "I’m Afraid of Fucking the Whole Thing Up" (5:47) a strangely out-of-place story of an insecure, underconfident youth being told to do something useful--like going downtown to get a job. For a while I thought this second half of the album was the continuation of the Blizzard story. Musically this is more straightforward folk rock with a bluegrassy jazziness to it. (8.5/10)

11. "Double Door" (1:32) odd cacophony of instruments, voices, and field recordings. To what purpose? (3/5)

12. "A Sick Boy" (9:44) a song that has trouble hooking us both musically and lyrically--the story, and its accompanying music, are just not that engaging--are too personally projected from Damon's memories. If this is a concept album, then this is a disappointing lowpoint on which to end the album. Too bad! (16/20)

87.69 on the Fishscales = B+/4.5 stars; a near-masterpiece of jazzy progressive folk music; masterful songwriting and performances that somehow keep the listener at an arm's length due to the highly personal nature of the stories they represent. What an awesome display of collaboration from a large and wide variety of instrumentalists in some quite complex compositions! 

ILL WICKER Under Diana (2014) (Classic Prog Folk/Acid Folk)

A brilliant debut album in the true folk oriented prog folk tradition like those bands in the 1960s who first tried electrifying their music. The vocals are a little less polished and synchronized than their follow up, Untamed, but the raw energy and passion that these youths have for their music comes busting through. Much more crazed and untamed--like COMUS--than their next release.

1. "Fret" (7:53) elaborate hand percussion, glockenspiel, accordion, guitar, and four-part vocal harmonies fuel this one. Solos come from from both fiddles, glock, and percussion. When compared to their 2016 sophomore album, the vocals sound much more frenzied and unpolished. (8/10)
2. "Vassal of the sun" (8:13) opens like a dirge with organ reed organ and accordion holding long low chords while the voices and guitar fill the middle and a lonely mandolin ditties around the high registers. The instrumental mid-section steadies and soothes with guitar, glockenspiel and mandolin weaving together a fabric over which the fiddles can take turns gently soloing. This is awesome! A key shift moves the song into vocal range for the final two minutes. Nice song! (9/10)
3. "Iblissa" (7:18) starts off quite unremarkably but then takes one on an amazing journey with its emotional and eery second half. Glimpses of things to come and easily the best song on the album. (10/10)

4. "Under Diana" (5:21) slow to unfold, this is more of a song of prayer to their goddess. (8/10)
5. "Nicor" (10:27) Guitar, fiddle, viola, mandola, and incidental percussion (shells, etc.) support Emil's solo vocal on this one. Good folk song with lots of frenzy and free form play in the instrumental sections. The soft four part harmonizing in the the "lie du die du die" section and the crazed vocals that follow are my favorite parts. Unfortunately, the song is lacking a bit in the way of memorable melody lines. (8/10)

6. "Darkling woods" (7:25) guitar, mandolin, fiddle, bowed double bass and harmonium support Emil's storytelling vocal on this one. It feels traditional. A second fiddle and hand percussion comes later. Emil certainly does have a totally unique singing style: the nasal part is all Dylan, the way he whisps the tail of some words--especially at then end of lines--is akin to Bulgarian folk style singing or even Leon Thomas. (8/10) 

Line up:
- Emil Ridderstolpe / vocals, guitar
- Emma Lagerberg / vocals, reed organ, fiddle, glockenspiel
- Thea Åslund / vocals, fiddle, viola d'amore
- Hampus Odlöw / mandola, accordion, vocals
- Ebba Wigren / percussion

85.0 on the Fishscales. 

AUTUMN WHISPERS Cry of Dereliction, Vol. II (2013) (Folk Pop) show a marked improvement from its predecessor, 2011's Volume I. There is much more variation and breadth to the song stylings and instrumental choices here and a greater presence from the gorgeous voice of Tirill Mohn. Leader Dino Steffens has wisely allowed more input from his band mates and other contributors in his effort to present the world with his "poetic rock with progressive and classical elements." Still, not everything works here. I wish the band had not decided to include the David Bowie/Uriah Heep-like "Walls" (4:51) (6/10), and "The Puppet's Monologue" (3:34) (7/10) is of questionable value. Another complaint I have is with the monotonous lack of variation in Dino's singing and voice melodies. Every song's vocal sounds the same. Also, the Doppler Effect on sustained violin/strings notes is way overused. Overall this is really just a collection of pretty straightforward folk pop. 

Highlights for me include:  the prog epic, "Cry of Dereliction, Volume II" (12:57) (9/10); "Fire and Ice" (4:01) (9/10); the John Lennon/Beatles-like "Auguries of Innocence" (3:43) (8/10); the pretty if laid back "Autumn" (7:58) (8/10), "I Measure Every Greaf I Meet" (5:52) (8/10), and "To a Child Dancing in the Wind" (5:29) (8/10). 

ABEL GANZ Abel Ganz (2014) (Eclectic Prog Folk) is an album of quite diverse and eclectic styles, though it is essentially a collection of nice retro Prog Folk in the same league as THE DECEMERISTS and ECHOLYN (though I like this album better than anything I've heard from the latter two). The five-part epic entitled "Obsolescence" (23:22) (40/50) is a true prog epic--opening in an acoustic folk fashion like THE DECEMBERISTS, but closing with hard electric instrumentalism. The album has a couple of full-blown world music songs, including "Heartland" (5:08) (9/10) complete with woman singing in an unusual foreign language and ENIGMA-like rhythms and synth washes, and the instrumental "End of Rain" (5:33) (9/10). "Spring" (2:25) (4/5) and "A Portion of Noodles" (3:22) (8/10) are both Windham Hill-like solo acoustic guitar pieces. "Thank You" (6:57) (10.5/15) is an out-and-out Country/Western song. "Recuerdos" (4:20) (8/10) is a beautiful, sensitive, horn-supported CHICAGO/FROGG CAFÉ-like song. There is even a modern neo-chamber piece, the album's opener, "Delusions of Grandeur" (2:12) (5/5). "Unconditional" (14:05) is a kind of ECHOLYN-meets-PORCUPINE TREE song of suitable prog length. (27/30)
     The album's finale,  "The Drowning" (5:25), with its deeply stirring male vocal with only the support of a horn section, almost defies categorization and yet may be the most beautiful and effective song on the album. (10/10) What a way to end and album!
     This is definitely an album that has been well worth the attention and time I've given it to get to know its depths and subtleties. What I originally thought was good I now highly recommend as an excellent addition to any prog music lover's collection. Well done Scotland!

JACK O'THE CLOCK All My Friends (2013) (Quirky Prog Folk) is the third album released by this San Francisco quintet. I would call their music avant-folk as much as prog folk, though it is definitely firmly founded in folk sounds and folk traditions. However you choose to categorize it, this is a collection of brilliantly conceived and beautifully performed and recorded music. 

THE MERLIN BIRD Chapter and Verse (2014) (Choral Prog Renaissance Folk) is an album that feels too scattered, unfocused, lacking cohesion and consistency--as well as lacking good production--but I LOVE the concept of blending medieval, Renaissance, and sacred church choral music stylings with both ancient acoustic and modern rock instrumentation while often using prog rock song stylings. I wish the singing was of a higher quality. The bands attention to and/or budget for recording/engineering needs great improvement. Many of the songs sound as if they were recorded in one take with the full band and no engineer and then left that way!

Favorite songs:  the anthemic, "Chapter and Verse" (2:56) (9/10); the pretty little instrumental, "In Dreams of Egypt" (1:23) (9/10); the beautiful harpsichord accompanied vocal of Shakira Searle on "Of Night and Day" (4:59) (8/10); the gorgeous Sergio Leone/Mediterranean-sounding instrumental "The Word That Was" (3:30) (9/10); the troubadour style story-song, "Unto Rome" (4:17) (9/10), and; "Another Told Story" (7:17) (9/10).

A band with a great idea and awesome but as-yet-unrealized potential.