Somewhere beneath the level of timeless masterpiece status lies a group of albums whose quality and merit deserve categorization of something like "near-masterpiece." These are albums that have either achieved a Fishermetric score of between 90.0 and 87.0 or whose high points or quality level make it remarkable enough to remain affixed in my memory.
From the Year 2014, you will find below 10 albums releases deserving, in my opinion, of the "near-masterpiece" designation.
4.5 Stars; Near-Masterpieces
(Ratings of 89.99 to 86.67)
20. MARGIN Psychedelic Teatime
Rather saccharine and predictable but highly effective Neo Prog.
Line-up / Musicians:
- Lutz Meinert / voices, all instruments
- Carola Meinert / voices (6, 7, 9)
- Arne Spekat / acoustic guitar (1-5, 7)
1. "A Mysterious Cup Of Tea - Part 1" (6:33) lush and pregnantly paced with great electric lead guitar work. (9.25/10)
2. "A Mysterious Cup Of Tea - Part 2" (4:50) Lutz' vocals over 12-strings. (8.5/10)
3. "A Mysterious Cup Of Tea - Part 3" (6:50) more spacious PINK FLOYD like atmospheric music over which electric guitar and other computer keyboard generated sounds take turns soloing. Very cleverly constructed. (14/15)
4. "A Mysterious Cup Of Tea - Part 4" (2:16) electric guitar soloing over harpsichord and 12-string guitars before Lutz returns to sing in his plaintive Roger Waters voice. (4.25/5)
5. "A Mysterious Cup Of Tea - Part 5" (2:59) the big climax and finale. (10/10)
6. "Psychedelic Underground - The Short Trip" (3:36) part THE THE, part early THE CHURCH--very poppy like a 1980s New Wave hit. (8.75/10)
7. "Landscapes On The Sky" (8:05) vibes and Spanish acoustic guitar strums provide all Lutz needs for his creepy ROGER WATERS/HARRY NILSSON-like vocal. Nice b vox from Carola Meinert. The simple Wurlitzer organ play in the instrumental bridges and interludes is cool. (14/15)
8. "Last Exit To Pluto" (10:41) opens with spacious music like for a Euro-spy movie (Bond or Clouseau). At 2:40 the dynamics amp up with electric guitar power chords and searing lead lines before thinks revert to quiet with bass, rim & hi-hat hits, vibes and piano tinkles. In the fifth minute the guitar wails as if from afar over piano and synth before the full complement of prog instruments crashes in, taking us into far outer space. More Wurlitzer soloing alternating with other instruments. (17.25/20)
9. "Psychedelic Underground - The Long Trip" (10:38) a reprise in variation of song #6. It was much tighter and had a much better sound palette the first time--though it does have an excellent "guitar" solo in the eighth minute. (16.75/20)
Total Time 56:28
This one sounds a lot to me like a continuation of 2013's AIRBAG and COSMOGRAF albums along with 2012's I AND THOU, NINE STONES CLOSE, MYSTERY, and RIVERSEA albums with a bit of THE PSYCHEDELIC ENSEMBLE (especially in the singing voice). The album's highlight is, of course, the five-part epic entitled "A Mysterious Cup of Tea" which sounds most like the brilliantly nostalgic music of Andrew Marshall's WILLOWGLASS only with singing and with more emotional guitar leads. The rest of the album is really good Neo-Prog with quirky, tongue-in-cheek ANDY TILLISON or Thomas Thelen-like lyrics and singing.
Enjoyable and nice to come back to once in a while. Some really great lead guitar soloing. Often feeling a bit too familiar in the Neo-ness of it.
89.34 on the Fishscales = B+/4.5 stars; a rather cheesy but really well done Neo Prog-with-a-New Wave edge album that I highly recommend for your own perusal.
21. SYNDONE Odysséas
Line-up / Musicians:
- Riccardo Ruggeri / lead vocals, lyrics
- Nik Comoglio / keyboards, composer & orchestration
- Francesco Pinetti / vibraphone, composer
With:
- Pino Russo / acoustic guitar, oud
- Sara Marisa Chessa / harp
- John Hackett / flute (4)
- Luca Biggio / alto sax
- Paolo Porta / tenor sax
- Gianni Virone / baritone sax
- Gianluca Scipioni / trombone
- Marco Braito / trumpet
- Marco Pierobon / trumpet
- Stefano Ammannati / tuba
- Nilo Caracristi / French horn
- Federico Marchesano / bass
- Marco Minnemann / drums
- Labirinto String Orchestra
- Fabio Gurian / conductor
1. "Invocazione Alla Musa" (3:11) impressive musicianship on this Oriental-themed and styled song. Am I going to be listening to a Pucchini-like Turandot? Impressive keyboard display, great electric bass, and very supportive drums and vibes. No orchestration. (8.75/10)
2. "Il Tempo Che Non Ho" (5:33) very nice classical guitar opens this song. When vocalist Riccardo Ruggeri enters, it sounds like a lullaby. Violin joins to weave within Riccardo's singing--as does the guitar. Quite beautiful with wonderfully memorable melodies, chord changes, and orchestral string support. A top three song for me. (10/10)
3. "Focus" (4:24) opens with a very Duke/ABACAB sound and feel. But then Riccardo enters singing in a very raspy, aggressive Broadway voice while banked horns and aggressive Hammond organ support the campy music. Pure stage theatric! Nice vibe solo over a brief Zeuhlish section in the third minute. (8.5/10)
4. "Penelope" (4:44) oud and Riccardo's excellent Arabian vocalise open this one. At 0:50 solo piano takes over, playing a very Chopin-like nocturne until 2:10 when the oud returns and Riccardo sings a very impassioned, theatric lyric of love. Interesting and fresh! Sounds like Camelot's "If Ever I Would Leave You," only in Italian. (8.5/10)
5. "Circe" (2:31) bluesy lounge jazz with rhythm section providing solid backdrop for Hammond, vibes, and MiniMoog to take turns soloing. (4.25/5)
6. "Ade" (5:01) piano, bass, harp, and vibes take turns declaring their melodic contributions to the weave that follows before MiniMoog takes the lead. Then the keys, vibes and strings take over weaving it all together for Riccardo to sing over. The falsetto highs that he hits early on--just before the music turns more IL BALLETTO DI BRONZO/OSANNA/MUSEO ROSENBACH-like with its power chords and Hammond organ dominance. Still, the contribution and presence of the bass, strings, and vibes makes this one special, different. Very cool song! A top three for me. (10/10)
7. "Poseidon" (2:21) Hammond intro, joined by cymbals, drums, and bass for a rapid-paced little romp. Vibes and piano also join in in the second minute, reigning it in and slowing it down slightly. ELP-like Tarkus theme in the final 30 seconds. (4/5)
8. "Nemesis" (5:10) vibes, Fender Rhodes, cymbals, harp, and breathy vocals open this one. Around 0:45 a bridge establishes entry to a more standard Broadway rock sound, but is alternated with a more spacious, tempered motif. Very LA COSCIENZA DI ZENO-sounding. Hammond and MiniMoog take turns in the lead during the instrumental section beginning at the end of the third minute. Nice Alessio Calandriello vocal--Riccardo really stretching his pipes. (8.75/10)
9. "La Grande Bouffe" (4:52) piano, harp, and Riccardo in the sedate first minute, which then morphs into a straighttime driving prog rocker. Side tangents right and left lead to some interesting and contrasting pathways--as if we are on a chase on foot, following someone through the nooks and crannies of an old Italian city at night. (8.75/10)
10. "Eros & Thanatos" (2:04) raunchy Hammond organ and militaristic drums open this one before bass and vocals enter, then a Hammond chord progression establishes the song's basic structure and flow as vibes, MiniMoog, and Riccardo take turns expression their emotions. (4.5/5)
11. "Vento Avverso" (3:43) theatric Broadway-like song with plaintive vocal from Riccardo. (8.75/10)
12. "Ελευθερια / Freedom" (1:47) slow, sensuous jazz vibes solo that returns to the Oriental themes from the album's opening. Could be a solo member of one of Steve Reich or Phillip Galss's ensembles. (4.5/5)
13. "Daimones" (4:54) a richly textured, almost seductive palette over which Riccardo sings perhaps his finest vocal of the album. (I always get this song mixed up with Alessio Calandriello and La Coscienza di Zeno when it comes up in one of my playlist shuffles.) Great way to go out! (9/10)
Total time: 63:32
The drums!!
Some very polished (well produced) RPI with a story (Odysseus) and some music made most interesting for its full synth sound and the presence of tuned percussion (Francesco Pinetti on vibraphone) and horns throughout. The impassioned vocals unfortunately feel a little over-the-top (melodramatic) due, I am sure, to the fact that they are sung in Italian—which I do not understand. The music is sometimes jazzy, sometimes Broadway-esque, sometimes classical in its presentation. Perfect RPI. It is always well-polished and cleanly performed. For those of you enamored of the vocal talents of La Coscienza di Zeno’s Alessio Calandriello you will be well pleased with the ambitious offerings of Syndone’s Riccardo Ruggeri. Considering that Syndone was a one time solo project of Nik Comoglio, you have to say that he’s come a long way—and has gotten very good at finding great sidemen and guests for his projects (including drummer extraordinaire Marco Minnemann and flutist John Hackett).
Favorite songs: “Il tempo che non ho” (5:33) (9/10) and the finale, “Daimones” (4:54) (9/10).
Overall this is an admirably solid, well-conceived, and beautifully realized music. Definitely four stars. Maybe worth more.
89.32 on the Fishscales = B+/4.5 stars; without question an excellent addition to any prog rocker's music collection.
22. KAYO DOT Coffins on Io
Toby Driver keeps on evolving. Perhaps more than any other artist . . . ever. Miles. Fripp. Genesis. Sylvian. Herbie. Mahavishnu John. Zorn. Ulver. Trying new styles, new personas, stretching himself instrumentally and compositionally, Toby Driver's Kayo Dot discography alone would compare favorably to any of the above shape-shifting artists--and Coffins on Io does not disappoint on that account. The much-mentioned Goth/glam-synth-pop sounds from the 1980s are absolutely present here (the over-long "Library Subterranean" [8:23] [17.5/20], the feel of the guitar chord sequence and vocal in the first two sections of "The Assassination of Adam"), but there is so much more. There is a haunting soundtrack jazziness to the saxophone-laden "Spirit Photography" (10:06) (19.5/20). And yet there are still vestiges of the Post Metal heaviness of previous Kayo Dot albums, such as on the second half of "The Assassination of Adam" (5:47) (7/10; a bit too grating for my ears), as well as some of the sensitivity and enjoyable melody-making of Toby's maudlin of The Well era ("Longtime Disturbance on the Miracle Mile" [4:07] [8/10]). Parts of "The Assassination of Adam," interestingly, also fit into the realm of psychedelia.
Two of my favorite three songs sound like they came straight out of the 80s. In the haunting "Offramp Cycle, Pattern 22" (9:25) (19/20) I hear bits and pieces of bands like DIF JUZ, TALK TALK, BLUE NILE, THE CURE, GENE LOVES JEZEBEL, NEW ORDER, DEPECHE MODE, ICEHOUSE, ROXY MUSIC, and even STEELY DAN (in the drumming).
Despite its length, "The Mortality of Doves" (11:54) (22.5/25) has one of my favorite Toby Driver vocals of all-time. Though it is very heavily treated in reverb, it is his most consistently 'normal' vocal ever. It is also heavily steeped in similarities to the glam styles of 1980s Glam rockers like Brian Ferry, Ira Davies and Dave Gahan. And yet it is Toby Driver--his own fresh, new territory.
Where the song suffers, however, is in its lack of variation and 'development' over its twelve minute length.
Toby Driver keeps on evolving. Perhaps more than any other artist . . . ever. Miles. Fripp. Genesis. Sylvian. Herbie. Mahavishnu John. Zorn. Ulver. Trying new styles, new personas, stretching himself instrumentally and compositionally, Toby Driver's Kayo Dot discography alone would compare favorably to any of the above shape-shifting artists--and Coffins on Io does not disappoint on that account. The much-mentioned Goth/glam-synth-pop sounds from the 1980s are absolutely present here (the over-long "Library Subterranean" [8:23] [17.5/20], the feel of the guitar chord sequence and vocal in the first two sections of "The Assassination of Adam"), but there is so much more. There is a haunting soundtrack jazziness to the saxophone-laden "Spirit Photography" (10:06) (19.5/20). And yet there are still vestiges of the Post Metal heaviness of previous Kayo Dot albums, such as on the second half of "The Assassination of Adam" (5:47) (7/10; a bit too grating for my ears), as well as some of the sensitivity and enjoyable melody-making of Toby's maudlin of The Well era ("Longtime Disturbance on the Miracle Mile" [4:07] [8/10]). Parts of "The Assassination of Adam," interestingly, also fit into the realm of psychedelia.
Two of my favorite three songs sound like they came straight out of the 80s. In the haunting "Offramp Cycle, Pattern 22" (9:25) (19/20) I hear bits and pieces of bands like DIF JUZ, TALK TALK, BLUE NILE, THE CURE, GENE LOVES JEZEBEL, NEW ORDER, DEPECHE MODE, ICEHOUSE, ROXY MUSIC, and even STEELY DAN (in the drumming).
Despite its length, "The Mortality of Doves" (11:54) (22.5/25) has one of my favorite Toby Driver vocals of all-time. Though it is very heavily treated in reverb, it is his most consistently 'normal' vocal ever. It is also heavily steeped in similarities to the glam styles of 1980s Glam rockers like Brian Ferry, Ira Davies and Dave Gahan. And yet it is Toby Driver--his own fresh, new territory.
Where the song suffers, however, is in its lack of variation and 'development' over its twelve minute length.
"Spirit Photography" escapes being pigeon-holed in the 1980s umbrella due to its spaciousness and its jazzier drums (though 1990s TALK TALK does come to mind). The gentle central groove with its DICK PARRY-like breathy sax is quite reminiscent, to me, of the wonderfully soporific songs "Breathe" and "Us and Them" from PINK FLOYD's Dark Side of the Moon.
Still, this is, for me, the most impressive--and my favorite--Kayo Dot album since Choirs of the Eye. The others have been either too unpolished, too dark and depressing, or seeming undeveloped and without direction. While Toby's signature chunky, rolling bass remains central to every song, Coffins on Io has seen Toby & Co. take a definite turn down a "road less travelled by" other bands. Let's hope that it is the one that makes all the difference.
89.05 on the Fish scales = B=/4.5 Stars. One of the Best Albums of 2014.
23. JAKOB Sines
Flawless, sophisticated Post Rock from Australia.
Line-up / Musicians:
- Jeff Boyle / guitar,synth,samples
- Maurice Beckett / bass
- Jason Johnston / drums
With:
- Ben Knapp / piano (2)
- Malcolm Struthers / double bass (2,4)
- Rowan Prior / cello (2,4)
- Andrew Thomson / viola (2,4)
- Anne Loeser / violin (2,4)
- Jonathan Tanner / violin (2,4)
- Rebecca Struthers / violin (2,4)
- Rhian Sheehan / strings arrangement (2,4)
Five star songs: a soft, almost country/classical song due to its lavish strings arrangement, 2. "Emergent" (5:08) (9.5/10); a very catchy, melodic chord progression grows in a MONO way with tremolo guitars and great drumming before strings arrangement takes over the final third, 4. "Harmonia" (6:05) (9.5/10); atmospheric layers of guitars with insistent drums and bass, 1. "Blinded Them With Science" (6:57) (13.5/15); a spacious, spacey keyboard-filled soundscape with gently rolling tom play and bass lines builds gently, in a kind of ROBIN GUTHRIE-HAROLD BUDD way, 6. "Darkness" (5:37) (9/10), and; a really perfect soundscape with an awesome drum and bass play to go with the atmospheric guitars that flounders a bit in the second half--maybe didn't need to be this long, 5. "Resolve" (9:11) (18/20).
Four star songs: until the final two minutes, this rondo-like song is very formulaic in the standard PR tradition, 3. "Magna Carta" (6:15) (8.5/10) and the final song which sounds a bit like a slowed down, slightly edgier version of the first half of #3 "Magna Carta," 7. "Sines" (5:27) (7.5/10).
88.82 on the Fishscales = 4.5 stars; B+; a near-masterpiece of progressive rock music.
24. FEM Sulla bolla di Sapone
With the drama and feel of a MEATLOAF album, the sound quality and musicianship are both excellent, the theatricity totally Italian.
Line-up / Musicians:
- Massimo Sabbatini / lead vocals
- Paolo Colombo / electric, acoustic & 12-string guitars, backing vocals
- Alberto Citterio / piano, Rhodes, Hammond, Mellotron, synths (MiniMoog Voyager, Dave Smith Poly Evolver, Doepfer Dark Energy), glockenspiel, backing vocals
- Marco Buzzi / 4- & 5-string basses
- Emanuele Borsati / drums, percussion, timpani, glockenspiel, backing vocals
- Alberto Citterio / piano, Rhodes, Hammond, Mellotron, synths (MiniMoog Voyager, Dave Smith Poly Evolver, Doepfer Dark Energy), glockenspiel, backing vocals
- Marco Buzzi / 4- & 5-string basses
- Emanuele Borsati / drums, percussion, timpani, glockenspiel, backing vocals
1. "Il Giardino delle Consuetudini" (5:12) (8.5/10)
2. "Microgen" (2:47) (8.75/10)
3. "Microgen (Parte 2)" (3:05) (8/10)
4. "Il Mondo Bianco Opaco" (2:32) nice piano & orchestra interlude (4.5/5)
5. "Consapevolezza" (2:41) (8.25/10)
6. "Incontro con i Saponiani" (2:06) (5/5)
7. "Nella Città" (6:15) (8.75/10)
8. "Il Signore dei Pensanti" (5:25) (8.5/10)
9. "Processo alla Verità" (5:18) (8.25/10)
10. "Riflessioni" (2:55) (5/5)
11. "Il Peso della Conoscenza" (4:56) Sounds quite as if it could come from a LA COSCIENZA DI ZENO album. A top three song for me. (9.25/10)
12. "Un Viaggio Lungo un Istante" (4:02) A cool synth-heavy instrumental. Another top three. (9/10)
13. "Reviviscenza" (2:51) Another instrumental--with great fretless bass, drums and synth leads. The other top three song. (9.25/10)
14. "Ritorno al Giardino" (5:57) beautiful if a little contrived and melodramatic. Very polished. Like a MYSTERY song. (9.5/10)
15. "E il Mondo Scoppierà" (4:13) again, country mates (and label mates) LA COSCIENZA DI ZENO comes to mind as I listen to this one. (8.25/10)
Total Time: 60:15
2. "Microgen" (2:47) (8.75/10)
3. "Microgen (Parte 2)" (3:05) (8/10)
4. "Il Mondo Bianco Opaco" (2:32) nice piano & orchestra interlude (4.5/5)
5. "Consapevolezza" (2:41) (8.25/10)
6. "Incontro con i Saponiani" (2:06) (5/5)
7. "Nella Città" (6:15) (8.75/10)
8. "Il Signore dei Pensanti" (5:25) (8.5/10)
9. "Processo alla Verità" (5:18) (8.25/10)
10. "Riflessioni" (2:55) (5/5)
11. "Il Peso della Conoscenza" (4:56) Sounds quite as if it could come from a LA COSCIENZA DI ZENO album. A top three song for me. (9.25/10)
12. "Un Viaggio Lungo un Istante" (4:02) A cool synth-heavy instrumental. Another top three. (9/10)
13. "Reviviscenza" (2:51) Another instrumental--with great fretless bass, drums and synth leads. The other top three song. (9.25/10)
14. "Ritorno al Giardino" (5:57) beautiful if a little contrived and melodramatic. Very polished. Like a MYSTERY song. (9.5/10)
15. "E il Mondo Scoppierà" (4:13) again, country mates (and label mates) LA COSCIENZA DI ZENO comes to mind as I listen to this one. (8.25/10)
Total Time: 60:15
88.70 on the Fishscales = B+/4.5 stars; a near-masterpiece of dramatic Italian progressive rock music. Would that the whole album were as strong as the second half.
25. DISTORTED HARMONY Chain Reaction
An intelligent heavy prog with moderated use of the elements that often make metal music too abrasive for my senses. In this I would compare them to Tool, Karnivool, Proghma-C, and even Haken and Muse in their ability to salvage sensitivity and melody within their music.
An intelligent heavy prog with moderated use of the elements that often make metal music too abrasive for my senses. In this I would compare them to Tool, Karnivool, Proghma-C, and even Haken and Muse in their ability to salvage sensitivity and melody within their music.
1. “Every Time She Smiles” (6:46) Stylistically and vocally this song almost could have come off of FREDDEGREDDE’s Brighter Skies album. It even has quite a few attributes of the music coming from Indie-pop band COLDPLAY or maybe MUSE. Nice. (13.5/15)
2. “Children of Red” (5:08) There is a heavier, more metallic musical foundation to this one, yet their are still parts (mostly vocally) that remind me of COLDPLAY—at least until the growl-vocals at the end of the third minute. Then it reverts back to the more Indie-pop style choral vocals. Back to machine gun kick drum-led metal sound before fading delicately. A bit incongruous. (7/10)
3. “Misguided” (8:30) opens with some layered, multi-insturmental presentation of an engaging melodic riff before settling into a song that sounds straight from HAKEN’s Vision album. Then around 1:35 a cool multiple chord bridge takes us into another FREDDEGREDDE-like section. The first exposition of the chorus at 2:20 reminds me of KARNIVOOL. A nice FROST*-like instrumental midsection ends with some awesome lead guitar blending into screaming voice (treated) and keyboard before returning to the chorus. This one is a keeper. (18/20)
4. “Nothing (But the Rain) (2:16) is a very nice, melodic keyboard- and industrial sound-based instrumental interlude that builds on a repetitive chord progression into a quick climax. (5/5)
5. “As One” (5:48) begins softly with treated guitar and keys before the full band comes kicking in. At the one minute mark a “normal” vocal enters over some straightforward though heavier Indie rock sound. Chorus and later vocal sections are heavier and treated with effects. The number of tempo and style changes is again reminiscent of “quick change artist” FREDDEGREDDE, though the music is more similar to HAKEN. Cool song. (9/10)
6. “Hollow” (6:07) opens with some gentle, emotional, slowly strummed electric guitar and piano chords. How deceiving! All hell breaks loose at 0:44 with a creeping, haunting insistent heavy sound. The “I am the wave…” section only adds to this unsettled feeling. A very cool song with all kinds of sonic incidentals to surprise and/or distract you. Super high pitch fret-tapping guitar solo blasts its way in at 3:44. Wow! The three sections of the chorus return but with all balls out—to great effect. Great finish à la PROGHMA-C. (10/10)
7. “As You Go” (3:12) sounds like a nice MOON SAFARI or RPWL song. A nice break from the heaviness before (and to follow). (8/10)
8. “Natural Selection” (5:14) begins with an aggression that belies its melodic vocal sections. Kind of LINCOLN PARK-like in its two-facedness (even the “it doesn’t matter” lyric!) The band seems like it’s kind of draping a couple songs together into one. Again, FROST*s Experiments in Mass Appeal come to mind here: too much being compacted into five minutes. (7/10)
9. “Methylene Blue” (7:43) opens with a synth arpeggio repeating itself. Gentle almost whispered vocal enters soon. At 1:25 the voice moves up an octave as other instruments begin to join in. At 2:10 a piano-based section takes over for a bit. Gentle NOSOUND-like treated vocal begins. Very pretty section. Very sensitive and emotional—dreamy. At 3:50 the full band kicks in for “Praise the sun before she goes away” lyric. Electric guitar solo bridges between another louder, more aggressive section. Then, at the five minute mark, a drum-led staccato odd timed section ensues. Wonderful to hear the band weave their way in and out of this rhythmically complicated section. Just as suddenly it all drops out and we are restored to the piano arpeggios beneath the plaintive treated voice singing “Methylene blue. I am sorry for killing you” over a few time till the song’s end. Great tune! Feels like it should be accompanied by a sci-fi video (like KARNIVOOL’s awesome “We Are.”) (15/15)
Probably my favorite prog metal/heavy prog album of the year (I eventually find one or two). Fully worth four stars and more. Excellent instrumentalists playing some awesomely complex and yet engaging and beautiful music—all topped off with a great vocalist. Their future is bright! I, for one, will be watching!
88.09 on the Fish scales = 4.5 stars, a near-masterpiece of progressive rock music.
88.09 on the Fish scales = 4.5 stars, a near-masterpiece of progressive rock music.
26. CIRRUS BAY The Search for Joy
This is a very pleasant collection of pretty, melodic songs. Usually based in piano or strummed guitar, the songs provide strong foundations for the steady singing of Sharon Acle. There is an undeniable similarity to the music of 1970s prog heroes RENAISSANCE--though the instrumentalists are not as accomplished or as steeped in the traditions of classical music as John Tout or Terry Dunford. I've found this album much more accessible than their previous release, I feel the production is still lagging in the quality that one hears from modern musicians. Most of the time the sound and song stylings and moods evoked by In Search for Joy actually have more similarity to the "flower child" music of the late 60s and early 70s--bands like America and The Association (and, I have to admit, Stereolab) playing beautiful songs by composers like Jimmy Webb, Burt Bacharach, Todd Rundgren or Gregg Alexander. Listening to In Search for Joy is like taking a leisurely stroll through the park on lovely summer day.
This is a very pleasant collection of pretty, melodic songs. Usually based in piano or strummed guitar, the songs provide strong foundations for the steady singing of Sharon Acle. There is an undeniable similarity to the music of 1970s prog heroes RENAISSANCE--though the instrumentalists are not as accomplished or as steeped in the traditions of classical music as John Tout or Terry Dunford. I've found this album much more accessible than their previous release, I feel the production is still lagging in the quality that one hears from modern musicians. Most of the time the sound and song stylings and moods evoked by In Search for Joy actually have more similarity to the "flower child" music of the late 60s and early 70s--bands like America and The Association (and, I have to admit, Stereolab) playing beautiful songs by composers like Jimmy Webb, Burt Bacharach, Todd Rundgren or Gregg Alexander. Listening to In Search for Joy is like taking a leisurely stroll through the park on lovely summer day.
My beef with Cirrus Bay is that, in my opinion, the band has still not yet realized its tremendous potential. All of the musicians are playing it too safe, too straight and narrow, not enough adventurousness and craziness. This is more a like a search for Joy when instead they've stumbled into a permanent state of bliss. Sharon has a beautiful voice--so peaceful and calming. Bill writes very catchy melodies with supportive chord progressions and his keyboard and guitar play is competent. The drumming is solid but metronomic. But where is the vim and vigor, risk and reckless abandon that makes one reach the high joys of ecstasy?
Favorite songs: 5. "Waking Wild" (8:01) (13.5/15); 8. "Learning to Fly" (12:02) (22.5/25); 4. "Out of the Box" (9:28) (18/20), and; 1. "Song of the Wind" (8:58) (especially the final three minutes) (18.5/20); 6. the five-part instrumental suite, "A Door Into Yesterday" (7:53) (13.5/15)
Favorite songs: 5. "Waking Wild" (8:01) (13.5/15); 8. "Learning to Fly" (12:02) (22.5/25); 4. "Out of the Box" (9:28) (18/20), and; 1. "Song of the Wind" (8:58) (especially the final three minutes) (18.5/20); 6. the five-part instrumental suite, "A Door Into Yesterday" (7:53) (13.5/15)
Also good: 2. "Cotton Skies" (4:50) (8.25/10); 3. "Me and Wokara" (7:47) (despite its tedious lyrics) (12/15), and; 7. "The August Zone" (4:30) (thanks to the do-da-do/ba-ba-ba-ba harmony vocals) (8.25/10).
88.08 on the Fish scales = B+/4.5 stars; a near-masterpiece of progressive rock music.
27. IAMTHEMORNING Belighted
While not as breathtakingly fresh as 2012's stunning debut, ~, Belighted is a step forward for this young duo of Russian songwriters. With Belighted iamthemorning steps into modern recording studio, collaborates with seasoned prog rock musicians, and lays down a more diverse palette of songs. What for me (and other reviewers) has really caught my attention is the growth and maturation of singer Marjana Semkina. Her delivery of the lyrics adds such a powerful emotional depth and 'heaviness' as to in effect upgrade what could be fairly run-of-the-mill songs into powerful masterpieces. I know of very few singers in progressive rock music--past or present--who have this kind of effect on a song's overall impact. In particular, "Romance," "The Simple Story" (3:30) (9/10), "Gerda" (4:52) (9/10) and "Reprise of Light/No Light" (5:17) (8/10) and the first and last "Intermission" benefit most dramatically from Ms. Semkina's growth--though no song graced with her vocal touch fails to engage and win over the listener. I have to agree, however, with other reviewers that I think it an overall damaging flaw of the album that Marjana's vocals are not mixed more prominently into the forefront.
The theme of having "Intermission" songs between most of the full-length, vocalized songs continues from ~ though here there are only five to work their magic between the ten full-length songs (most of which are presented in pairs). There is a difference on Belighted as the Intermissions are not so folk/neoclassical oriented. They are more like sound experiments, each showcasing a different instrument: Marjana's dreamy voice, guitar, piano & waves, cello & piano, and strings and voice, respectively. Each, in turn, is treated with various and sundry sound engineering effects.
Again, I can't say that this album has hit me with the same kind of power as their debut--but ~ was so fresh and unexpected. Belighted comes at you with Marjana's now familiar voice and a greater variety of backup and stylings, though Gleb's extraordinary piano work and strings arrangements are still quite present and essential to most every song. I am quite fascinated and taken with the five Intermissions, but there are two rather delicate piano-centric songs that don't lift off as well as my hopes and expectations desire despite Gleb's extraordinary talent ("Crowded Corridors" [8:44] [8/10] and "Os Lunatum"[4:32] [8/10]). I think I'm waiting for Marjana's input to take the songs to another level, to a some kind of soaring crescendo. These are by no means bad songs--and are intricately crafted pieces of beauty. They just could have been . . . more. And then there are two songs that simply don't click with me: "The Howler" (3:57) (7/10) and "Romance" (3:02) (7/10).
I agree that this is no sophomore slump. Belighted is a collection of beautiful, intricately crafted songs. Gleb and Marjana both display extraordinary growth, artistry, and skill. I want to give these shining young stars of modern music five stars but I think--I hope--that there is more, even better, music to come.
Five star songs: "To Human Misery," "The Simple Story," "Gerda," the Kate Bush-like "5/4, "K.O.S." (6:06) (9/10), and all of the "Intermissions."
88.0 on the Fish scales = 4.5 star album that, though a near-masterpiece, unfortunately, leaves room for improvement.
While not as breathtakingly fresh as 2012's stunning debut, ~, Belighted is a step forward for this young duo of Russian songwriters. With Belighted iamthemorning steps into modern recording studio, collaborates with seasoned prog rock musicians, and lays down a more diverse palette of songs. What for me (and other reviewers) has really caught my attention is the growth and maturation of singer Marjana Semkina. Her delivery of the lyrics adds such a powerful emotional depth and 'heaviness' as to in effect upgrade what could be fairly run-of-the-mill songs into powerful masterpieces. I know of very few singers in progressive rock music--past or present--who have this kind of effect on a song's overall impact. In particular, "Romance," "The Simple Story" (3:30) (9/10), "Gerda" (4:52) (9/10) and "Reprise of Light/No Light" (5:17) (8/10) and the first and last "Intermission" benefit most dramatically from Ms. Semkina's growth--though no song graced with her vocal touch fails to engage and win over the listener. I have to agree, however, with other reviewers that I think it an overall damaging flaw of the album that Marjana's vocals are not mixed more prominently into the forefront.
The theme of having "Intermission" songs between most of the full-length, vocalized songs continues from ~ though here there are only five to work their magic between the ten full-length songs (most of which are presented in pairs). There is a difference on Belighted as the Intermissions are not so folk/neoclassical oriented. They are more like sound experiments, each showcasing a different instrument: Marjana's dreamy voice, guitar, piano & waves, cello & piano, and strings and voice, respectively. Each, in turn, is treated with various and sundry sound engineering effects.
Again, I can't say that this album has hit me with the same kind of power as their debut--but ~ was so fresh and unexpected. Belighted comes at you with Marjana's now familiar voice and a greater variety of backup and stylings, though Gleb's extraordinary piano work and strings arrangements are still quite present and essential to most every song. I am quite fascinated and taken with the five Intermissions, but there are two rather delicate piano-centric songs that don't lift off as well as my hopes and expectations desire despite Gleb's extraordinary talent ("Crowded Corridors" [8:44] [8/10] and "Os Lunatum"[4:32] [8/10]). I think I'm waiting for Marjana's input to take the songs to another level, to a some kind of soaring crescendo. These are by no means bad songs--and are intricately crafted pieces of beauty. They just could have been . . . more. And then there are two songs that simply don't click with me: "The Howler" (3:57) (7/10) and "Romance" (3:02) (7/10).
I agree that this is no sophomore slump. Belighted is a collection of beautiful, intricately crafted songs. Gleb and Marjana both display extraordinary growth, artistry, and skill. I want to give these shining young stars of modern music five stars but I think--I hope--that there is more, even better, music to come.
Five star songs: "To Human Misery," "The Simple Story," "Gerda," the Kate Bush-like "5/4, "K.O.S." (6:06) (9/10), and all of the "Intermissions."
88.0 on the Fish scales = 4.5 star album that, though a near-masterpiece, unfortunately, leaves room for improvement.
28. HOMÍNIDO Estirpe Lítica
This is an amazing collection of diversified songs each of very complex and unpredictable structures and moods. From the very first listen I was literally blown away by the power, the complex weaves of the high quality musicianship, the raw power of the female vocals, and the broad spectrum of sounds and styles used by this group--in each and every song! The contrasts between song--from each and every song to the next--is incredible! An album that simply must be heard to be believed.
Line-up / Musicians:
- Francisco Martín / Bass
- Rodrigo González Mera / Drums, percussion
- Pablo Cárcamo / Guitar, keyboards
- Eliana Valenzuela / Vocals
Guest musicians:
- Cristopher Hernández / Trumpet
- Cristopher Hernández / Trumpet
- Benjamín Ruz / Violin
1. "Simun" (6:04) opens with a very jazzy drum, bass and electric guitar interplay with singer extraordinaire Eliana Valenzuela's voice calmly and confidently providing the glue to hold it all together. Singing in Spanish, Eliana's (somewhat Shakira-like) voice is truly amazing. Her confidence and control are extraordinary--evoking such powerful emotion so effortlessly. The song definitely turns rocker--even metalish. Awesome opener! (9/10)
2. "Ciudades de Piedra" (5:21) opens with some gently strummed electric guitar jazz chords. Then the full band kicks in--joined by a haunting violin in the background--while Eliana again toys with our emotions with a sultry vocal. The virtuosic drumming on display is remarkable! So fluid and clear! And fine performances on electric guitar and bass--bringing in quite a Latin flavor to this polished rocker. The drum and heavy guitar interplay in the final minute are wonderful! (9/10)
3. "Insano Devenir" (4:58) is a rocker with a little harder edge and less development or signatory sound than I'd like. Maybe that's why it's called something like "becoming insane." Until the singing begins it could well be a heavy metal song from the 80s. (7/10)
4. "Desde las cumbres al mer" (5:00) begins as an instrumental build around a two chord electrified acoustic guitar three note arpeggio. Then suddenly at the two minute mark it burst forth as a very cool, very emotional violin-accompanied vocal. (9/10)
5. "Shalagram Shila" (7:16) is a Indo-Raga influenced piece that I adore. Great use of voice and electric guitar and violin. (13.5/15)
6. "Eterno retorno" (8:43) opens like a jazz-period SANTANA piece from his jazzy-jam period (Caravanserai to Moonflower) but develops as so much more! Into Omar Lopez-Rodriguez (The Mars Volta) territory and beyond! The horns are so awesome contrasted with the blaring guitar and roiling percussion interplay! And what drum and bass play! Outstanding jam! (18/20)
7. "Cabeza de Piedra" (4:30) starts so powerfully--almost metal-like--until the song settles into support for the A Section of Eliana's vocal. The chorus finds the music returning to the awesome heaviness--including the amazing power that emanates from Eliana's voice! Despite all this the song kind of misses something. It's like a Stevie Nicks song gone over the top. (Except for the amazing drumming.) (8/10)
8. "Mi roca interna" (3:57) opens with some percussive instrument that sounds folk-traditional and develops into a vehicle to accompany an amazingly controlled and sensitive vocal from Ms. Valenzuela. Awesome atmospheric keys and volume-controlled guitar play accompanying the vocal. (9/10)
9. "Adoquines queretanos" (5:11) opens with some ominous electrified acoustic guitar and ultra-deep bass tones before the song bursts into what sounds like an electrified folk melody. The traditional folk feel persists throughout this song--with an awesomely delicate instrumental collective occurring in the fourth and fifth minutes. (8/10)
10. "Estirpe lítica" (6:34) opens with some awesome slow volume pedaled electric guitar chords before the song bursts into full metal. Again the drums are really on display here. Great rhythmic interplay and weave among the drums, bass, and guitarist. At 1:30 when Eliana comes in things calm down--but this is only a feint as 20 seconds later everybody kicks it back into full drive. Eliana is kick-ass powerful yet sultry. How does she do this?! (8.75/10)
11. "Salar" (3:31) opens with the sounds of seaside gulls before hand-held box & tongue marimba, muted trumpet solo over hand percussion and beautiful, sensitive acoustic guitar strumming and picking. Beautiful relaxing song. (9/10)
12. "Magma" (8:26) is a wonderful Latin song sounding very much like LAGARTIJA's "Particelle" except for the fuzzed vocals and finger-tapped guitar play during the choruses. It even has some heavier, almost-Zeuhl sounding parts (instrumental sections beginning at 2:50, 4:30 and 6:26). Really a masterful song--not too heavy, nor too jazzy--more like UNIVERSAL TOTEM ORCHESTRA with a little Hendrix or Clapton thrown over the top. (18/20)
A powerful collection of intricately composed and virtuosically performed songs.
87.90 on the Fish scales = B+/4.5 stars; a near-masterpiece of progressive rock music. One of the best surprises of the year.
87.90 on the Fish scales = B+/4.5 stars; a near-masterpiece of progressive rock music. One of the best surprises of the year.
29. HUMANA PROG Flori, Frutti, Farfalle
The music from Flori, Frutti, Farfalle (link to Italian promotional video) is an unusual musical ride in that its pop-folk-flavored music is acoustic guitar based. But, when confronted with the story of the origins of these songs (all penned by MAXOPHONE's original lyricist, Paolo Farina, in 1972-3 and all, until now, previously unreleased), one can understand.
1. "Fiori, frutti, farfalle" (20:00) begins with a beautiful, HARMONIUM-like first few minutes. The gorgeous tapestry of picked acoustic guitar, violin, harpsichord, flute, and hand percussives weave their magic for the first 2:25. Then Paolo's vocal introduces a new section--which is soon backed by a more traditional rock band (including full drum kit and electric bass, guitars, and synths.)
At 4:35 things slow back down into a dreamy, wordless vocal passage in which Paolo sings in his upper registers while a violin plays below him an octave. At 6:05 a section of full-out rock ensues (think "Sweet Home, Alabama"). The vocal, however, continues to anchor the music firmly in 1970s RPI. Then a very surprising turn occurs at 7:21 in which a new section begins with strumming acoustic guitars backing a bird-like call and mokingbird-like echo response by flute. Gorgeous. The final 30 seconds of this 'duel' is an all-out war of screaming, jamming instruments. Awesome.
At 9:07 begins the most majestic section of the song. First Paolo's beautiful vocal backed with electric piano & organ, then at 10:08, we are introduced to one of the most beautiful melody lines to have ever graced these music-loving ears. This melody from Heaven is at first introduced by a quiet flute, and then taken over by a gorgeous violin backed by an organ-lead rock combo. Even as Paolo and the band return to some previously exposed vocal melodies and band structures, the 'divine melody' continues to maintain its distractive presence. Even at 13:44, when the songs tempo is doubled, the violin-carried melody continues to run away as Paolo and his band seem to give chase.
At 14:44 a JAN AKKERMAN-like lead electric guitar takes over with an incredible two-part solo (think of the "Tommy" section of Moving Wave's "Eruption"--the second of which maestros JEFF BECK or CORRADO RUSTICI would be proud). Gut-wrenchingly emotional!
At 16:44, a kind of laid back whole group recapitulation of some of the song's high points ensues. There is a great call and response section happening here between Paolo and his background chorus.
At 17:49 things wind down with a slower, minor-keyed return to the song's opening acoustic guitar arpeggio, some gorgeous floating flute work, and this time with the addition of a bluesy lead acoustic guitar jamming along. SERGIO LATTUADA (MAXOPHONE)'s harpsichord play joins in to take the song to its "Cinema Show"-like conclusion. This is the best prog epic I've heard from a 2014 release. (40/40)
2. "Bianco, Rosso, Verde" (3:51) rhythmically strummed acoustic guitar, hand drums, and spacey synths over which singer-songwriter Paolo Farina and his background vocalists sing a light, bouncy pop melody. (7/10)
3. "Cerce in Te" (3:27) opens with a tanpura and santoor giving it a Middle eastern sound. But when an AMERICA-like acoustic guitar riff joins in--and hand drums and flute--the song takes off in another direction. (7/10)
4. "Mamma Pubblicita" (3:50) acoustic guitar and hand percussives accompany Paolo on this pleasant jaunt into Kindergarten. Later male b box, jazzy flute, and second guitar join in on the storytelling. (7/10)
5. "Nel prato più verde" (4:47) is a favorite in spite of the almost exact lifting of AMERICA's chords and strumming from their song "Three Roses" (from their 1972 eponymously titled debut album). Luckily, Paolo has chosen to use his own vocal melody (and, hopefully, lyrical content). Hand percussives, airy flute, and acoustic lead guitar help out on this one. (8/10)
6. "Ti chiedo scusa" (2:25) Both the acoustic guitar work and vocal on this one are a little grittier in the A Section--which I really like. The chorus, however, finds Paolo returning to an upbeat and very catchy melody (begging his pardon?) Paolo is helped out here by tambourine, violin and second guitar. (9/10)
7. "La ballata degli amici perduti" (5:00) begins with a lovely, slow folk delivery of guitar picking/arpeggiating with the accompaniment of a string quartet and hand percussives. The wonderfully delicious intro is followed by an equally wonderful vocal in Paolo's most plaintive tones. This song reminds me strongly of some of the best work of the legendary Jacques Brel. (9/10)
87.0 on the Fish scales = B/four stars; a wonderful prog folk addition to Prog World.
Overall this album is really a very pleasant if sometimes innocuous listen. The highlights being, of course, the prog epic that opens the album, and its two final songs. The near perfection of the album's epic title song alone cause me to rate this album at least a four star value. The good but not-all-great pop-folk songs that make up the remainder of the album make it impossible for me in good conscience to rate Fiori, Frutti, Farfalle full five star masterpiece. But I want to! This is an album well worth hearing!
The Rankings from 2014
1. BENT KNEE Shiny Eyed Babies
2. SEVEN IMPALE City of the Sun
3. ANTOINE FAFARD Ad Perpetuum
4. LATTE E MIELE Passio Secundum Mattheum - The Complete Work
5. KANT FREUD KAFKA No tengas miedo
6. TIGER MOTH TALES Cocoon
7. ELECTRIC ORANGE Volume 10
8. DAVE BAINBRIDGE Celestial Fire
9. MOTORPSYCHO Behind The Sun
10. SYD ARTHUR Sound Mirror
11. AALTO Ikaro
12. PINGVINORKESTERN Push
13. JERZY ANTCZAK Ego, Georgius
14. THE CONTORTIONIST Language
15. UT GRET Ancestor's Tales
16. THE MERCURY TREE Countenance17. FAUN Luna
18. MONO The Last Dawn
19. MAGIC BUS Transmission from Sogmore's Garden
20. MARGIN Psychedelic Teatime
21. SYNDONE Odysséas
22. KAYO DOT Coffins on Io
23. JAKOB Sines
24. FEM Sulla bolla di Sapone
25. DISTORTED HARMONY Chain Reaction
26. CIRRUS BAY In Search of Joy
27. IAMTHEMORNING Belighted
28. HOMÍNIDO Estirpe Lítica
29. HUMANA PROG Flori, Frutti, Farfalle
30. ACCORDO DEI CONTRARI AdC
31. TAYLOR WATSON (A)Synchronous
32. DAVE BAINBRIDGE Celestial Fire
33. DREAM THE ELECTRIC SLEEP Heretics
34. KING GIZZARD & THE LIZARD WIZARD I’m in Your Mind Fuzz
35. NOMADS OF HOPE Breaking the circles for a while
36. DEAN WATSON Fantasizer
37. PHI Now the Waves of Sound Remain
38. FREDDEGREDDE Brighter Skies
39. AGORÀ Ichinen
40. ATOMIC APE Swarm
Honorable Mentions:
41. 3CORVUS STONE II
42. SUNN O))) and ULVER Terrestrials
43. ALEX CARPANI 4 Destinies
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