Top Albums from the Year 2009, Part 2: The Near-Masterpieces

     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 2009, you will find below eight (8) albums releases deserving, in my opinion, of the "near-masterpiece" designation.  

 

4.5 Stars; Near-Masterpieces

(Ratings of 89.99 to 86.67)

14. CIRRUS BAY A Step into Elsewhere

I've just come into full awareness of this wonderful album of beautiful, uplifing music. As a real lover of female vocalists--and RENAISSANCE/ANNIE HASLAM in particular--this group comes as quite a refreshing reward. IONA, MOSTLY AUTUMN, THE GATHERING, PURE REASON REVOLUTION, and THE REASONING have all been teases. Hello world! This is CIRRUS BAY! Like previous reviewers, this group's excellent song structures and instrumentation choices remind me of a GENESIS-RENAISSANCE mix--or, rather, what might have been if Annie had been invited to step in once Peter Gabriel and Steve Hackett had left Genesis. The song structures are very similar to the Wind and Wuthering and And Then There Were Three era--which produced beautiful music that was then diminished (IMO) by weak-to-weird-to-downright-awful lyrics. The songs (aside from the AYREON-sounding "Walking in Shadows") sound like collaborations and performances from TONY BANKS and MIKE RUTHERFORD.

1. "Serenity in a Nutshell" (13:12). The album begins with its best song, a near flawless epic. Crashing in with thick waves of heavy mellotron and bass pedals, the song suddenly transitions into a much more pastoral piece with acoustic guitar arppegios and recorder, before our stellar vocalist enters. And surprise:  There are two lovely voices harmonizing with each other (I wish they'd do more of this on the rest of the album for this is in fact one of the elements that makes this song stand so much higher above the others--as great as they are!) so many key and chord and tempo changes that all work--they all serve to suck the listener into prog bliss--like Ulysses strapped to the mast listening to the song of the Sirens. This may be the song they were singing/playing!!! I love the multiple guitar strumming and alternating acoustic and electric leads combining RENAISSANCE's "Can You Hear Me?" and end of "Cinema Show" between the 5:28 and 7:25 marks. Amazing! Then those amazing vocal harmonies! A masterpiece of progressive rock music for all times! (25/25)

2. "Out of the Cold" (5:48) begins with a definite Mike Rutherford electric guitar solo over some of Tony's finest chord progressions and organ playing. The vocals enter during a particularly straightforward "poppy" section before a Lamb Lies Down on Broadway organ bridge at the 2:15 mark brings me back to prog heaven. Love this organ sound! The Lamb similarities continue with the song's progression into a 30-second instrumental section beginning at the 3:10 mark. (Too bad it's not Phil's drumming! He was amazing!) Love the slide guitar and 12-string work--and mandolin strumming--just before the slowed-down outro. (8/10)

3. "The Exposure of Truth" (9:23) took the longest for me to like because of the many chord, key and tempo changes. Also, the vocals on this one felt a little less "stable"--i.e. because they are so isolated above the music there are times when my ear can't help but question her pitch accuracy. But then, I remember sometimes wondering the same thing about Annie H. in the earlier (less treated/filtered) Renaissance days. A great song of which Tony Banks should be quite proud! I love the (oh-so-rare) upbeat, "happy" feel of this (and many of this album's) song(s). (8/10)

4. "Walking in Shadows" (5:58) sounds so ARJEN LUCASSEN! Maybe the 'best song he never wrote'! An awesome song whose heaviness gives the album a little bit better 'fullness' or 'balance.' (8/10)

5. "The Secret Country" (3:33) sounds to me more like a 1970's collaboration between ANTHONY PHILLIPS (Private Parts and Pieces' "Tibetan Yak Music") and RICK WAKEMAN (Six Wives of Henry VIII). Great song except for the odd sounding 'lonely' electric guitar solo near the 2:45 mark. (8/10)

6. "Zenobia" (16:47) is definitely "One for the Vine, Part Two." And what a beautiful song was the first! This one does not shame or disparage the first. Some actual heart-wrenching chord changes--so beautiful! Love the single strums of the flanged acoustic guitar at the 4:40 mark, followed by the nylon string solo over marching piano and snare 5:35 to 6:20. Then: Woah! Steve Hackett tries to make an appearance, only to find himself confronted by a brief duel with Tony at the 7:20 mark--which is then interrupted by a brief vocal before everyone backs into true GENESIS support of a classic HACKETT solo at the from the 8:10 to 9:12 marks. 9:42 sees Tony's turn--AAAHHHH! I'm in GENESIS heaven! And with that angelic yet-sultry voice in the mix as well! I've died and gone to heaven! And the finale escalates into a truly Genesis-like melodramatic ending. (32/35)

I'm going to give this album five stars for its consistent level of beauty and for the gift of finally merging the sounds and styles of my two favorite 70s bands. Step into Elsewhere is so right! I will not hesitate to say that this is truly a masterpiece of Neo-Prog. (I apologize to Bill, Anisha, Sharra, Mark and Alex for all of the GENESIS and RENAISSANCE references/credits. Marvelous work you guys! More, please. LOTS more!)

*********************************************************************************

Re-evaluation October, 2010.

Upon repeated listenings over the last few months, I have decided that my initial exuberance was a little over blown. The album lacks musically--in depth, variety, and complexity. The band will be interesting to follow to see how they 'mature.' Great sound, great instrumental choices, great music, great vocalist; their compositional skill needs more development--more risk-taking (better drumming and more sophisticated rhythmic choices). Adjusted down to four stars.

89.0 on the Fish scales.

15. PRESENT Barbaro (Ma non troppo) 

Impeccably performed and recorded compositions that are both intricate and complex in a way that is more similar to modern classical music than progressive rock music (like Änglagård, Kotebel, All Traps on Earth, Yugen, and, of course, Univers Zero), the music contained here is remarkably engaging despite the angular rhythms and chromatic scales used. Still, there is enough of a lack of "grooves" and  melodic "hooks" that I would have trouble recommending this for casual listening (less so for "A Last Drop" as there are some basic elements of groove and melodic hook throughout this one). I understand that "casual listening" has never been a signature of progressive rock, so perhaps I should lighten up my judgment, I just don't find myself interested in returning to this music (whereas I am so inclined with the works of the above-mentioned bands). Thus my lower than average rating for this album: it's based on accessibility and popularity over longevity

1. "Vertiges" (16:38) filled with a lot of nuanced and fast changing motifs, this is truly a masterpiece of composition and performance without being memorable or very likable; I appreciate it's brilliance without ever wanting to return to it. (26/30)

2. "A Last Drop" (11:26) the most engaging composition on the album due to its "groove" and melodic "hooks." And yet, it is long... (18/20)

3. "Jack The Ripper" (16:41) One of the more captivating musical renderings of the legend of and mood created by the White Hall murderer (especially the "slasher" work of the viola and electric guitar). But, is musical representationalism enough to merit high marks? Is this "perfection" of songwriting? (27/30)

Can an album be a masterpiece of modern Avant garde/RIO music without being a masterpiece of progressive rock? If it's possible, this is one of the albums one would use to make your case.

88.75 on the Fishscales = B+/4.5 stars; a near-masterpiece of progressive rock music and a boundary-pushing masterpiece of avant garde/Rock-in-Opposition music.

16. GAZPACHO Tick Tock  

While a pleasant listen, this album needs careful, attentive listening to be truly appreciated--which, then, becomes its downfall: When not listened to carefully, this album can become very boring, the lead singer's voice can become very tedious and whiney. So: if you have the time, sit down, put on the headphones and enjoy a very well put together album; If you aren't going to be able to concentrate and give it your fullest attention, better to avoid it and wait for time when you can. All songs are good, though the "Tick Tock" trilogy is my favorite (if you can listen to it in its entirety) and "Winter Is Never" is nice. Nice subtle effects and shifts in sound and mood, even if the vocals get a little monotonous. 

Line-up / Musicians:

- Jan-Henrik Ohme / vocals
- Jon-Arne Vilbo / guitar
- Thomas Andersen / piano & keyboards
- Mikael Krømer / violin, mandolin
- Kristian Torp / bass
- Robert Johansen / drums
With:
- Kristian Skedsmo / accordion, flute, mandola

1. "Desert Flight" (7:39) (11.625/15)

2. "The Walk" (13:41) (26/30)
3. "Tick Tock" (22:24) (43/45)
4. "Winter Is Never" (4:55) (9/10)

Total Time: 48:39

88.625 on the Fish Scales = B=/4.5 stars; a near-masterpiece of progressive rock music; an excellent addition to any prog music collection. Not the highs of Night, but not the lows either. 

17. TOE For Long Tomorrow

This is an interesting and enjoyable album that has a lot of the King Crimson Discipline sound and stylings that I love, especially songs 2, 3, 12, and 13. Though categorized Post Rock/Math Rock, it is far more that that, for in it I hear snippets that remind me of ALGERNON, IVY, KOOP, PAUL SIMON, JONI MITCHELL and many others. But most of all I hear DRUMS! AMAZING drumming!

The first song is a brief 39-second sonic introduction that bleeds directly into the brief "Shoushitsu tenyo fue" (2:40) (9/10) which is, in effect, an introduction and set-up for the album's third song (and, IMO, crown jewel). Arpeggio

3. "After Image" (3:59) featuring female vocalist Harada Ikuko reminds me of an awesome upbeat song from IVY or FIONA APPLE. (10/10)

4. "Esoteric" (4:15) is the album's first song to fully fall under the familiar/more usual Post Rock/Math Rock formats--and it is an excellent one! Sitar, arpeggiated acoustic and electric guitars, and amazing drumming! This is like MASERATI at its best! (10/10)

5. "Say It Ain't So", with the vocals of Dry River String's Hoshikawa Yuzuru (3:42), sounds like it wants to be pop and maybe even rappy. It's laid back, very repetitive and uses multiple tracks for its vocals. (8/10)

6. "Two Moons" (4:11) begins rather delicately, involving a synth, glockenspiel an acoustic and an electric guitar interweaving polyrhythmic melody lines. Until the bass and drums arrive at the 1:49 mark. Then we have a full-out jam! Kind of reminds me of ALGERNON. (8/10)

7. "Mosikiiton wa mou kikoenai #1" (2:32) (9/10) is a very cool piano over tuned and electronic percussion intro/variation for the next song,

8. "Mosikiiton wa mou kikoenai #2" (2:20) in which drums, bass and acoustic guitars play a more prominent role. Together the two variations rate a pleasant KOOP-like (8/10)--lacking enough development and change to make me reach for the replay button. This one is the drummer's song!

9. "Last Night (Album Version)" (4:56). By this time into the album I am looking for a little more variety. The one-note-at-a-time Kool-and-the-Gang synth is starting to get on my nerves, the interwoven tuned-percussion and acoustic guitar leads are getting a little old, the bass and drumming are the only things still keeping it interesting. (9/10)

10. "Goodbye (Album Version) featuring Toki Asako" (7:06) establishes another IVY-like groove using acoustic guitars and rolling COCTEAU TWINS-like bass before the vocalist and drummer get engaged. Again, the drummer is stealing the show! At the four minute mark ends a peak and things settling into a bit of a mellow, more simply and controlled section-- though the drummer apparently has difficulty with this mode, as he seems to always sneak in, or bulldoze his way into . . . taking over! I think the rest of the band shows admirable restraint in the face of his "lead" though I also believe the drumming is what makes this music work on such a high level. (10/10)

11. "You Go" (3:35) begins like one of DAVID BYRNE's Brazilian-influenced or PAUL SIMON's South African-inflluenced songs of years ago. The drummer is held a bit farther back in the mix on this one--and shows more than his usual restraint, though even in quiet restrained mode he continues to shine and attract the attention of the listener. (8/10)

12. "Our Next Movement" (4:48) begins with a very blatant folk drum style--large African hand drums and other hand percussives. Saxes play around in the background--as if I'm reminded of JONI MITCHELL's "Dreamland" from Don Juan's Reckless Daughter. The random sax play, bass play, and replacement of hand drums by drum kit reign this jazzier tune in a bit. Horns come together in a bank format as guitars pick in their arpeggiated KING CRIMSON way. I like the looseness of this one. (8/10)

13. "Long Tomorrow" (5:18) displays the same controlled "Discipline"-like weave of electric guitars, drums, and bass as the album began with. I like the bass being a bit more forward in this one. Static-screeching synth enters around mid-point. Finishes in a much more PostRock/Math Rock way. I can't explain why I like this time of "controlled chaos" so much-- that KC "Discipline" weave--but I do. (9/10)

Though this album often threatens to slide into background music, it is definitely one of the best Math/Post Rock albums I've ever heard--one that I will play again and again. I look forward to the growth and maturation of this great little combo.

88.46 on the Fish scales = 4.5 stars: An excellent addition to any prog lover's music collection.

18. ANUBIS 230503

This is an album that I liked from the start, every song was listenable and diverse. Now, after the twenty-somethingth listen, I can say that I know and like this album very much. A near masterpiece, with lots of theatric vocals, very competent playing from all of the musicians, and some sound songwriting. The album's weakness is two-fold: 1) it relies on old hooks from classic soli or chord progressions (mostly from PINK FLOYD and GENESIS, some YES)--and not just as "hats off" tributes to those bands, and; 2) many sections of songs are rather simply constructed (i.e. do not really take virtuosic competence in order to perform them--not unlike MUSE, THE DEAR HUNTER or AIRBAG). However, the longer songs have a very nice diversity of sounds, tempos and moods in them and are the highlights of the album. A great album, excellent for any prog lover's collection. Not a masterpiece, though. Not sophisticated or emotional enough. Close, though. Definitely an album that deserves more listens--more attention.

Album highlights: 2. "Leaving Here Tonight" (4:42) (10/10); 6. "The Bond of Mutual Distrust" (9:36) (17.75/20); 8. "Flying/Falling" (2:54) (10/10), "The Collapse' (12:10) (22.25/25); 4. "The Waterfall" (5:26) (9/10), and; "Disinfected and Abused" (17:38) (31/35). (The sample provided is a medley "preview" released to promote the album.)

 88.0 on the Fish scales = 4.5 stars; a near-masterpiece of progressive rock music (and, IMHO, much better than 2011's A Tower of Silence).

19. AIRBAG Identity

What at a nice surprise! While some reviewers are displeased at the sameness of this collection of songs, I am pleased by this consistency. IMHO, there are three pieces that I would nominate for that pantheon of greatness known as 'classics' in "Safe Like You," "Colours," and "Feeling Less." Plus, for DAVID GILMOUR lovers, you have not one but two amazing 'Gilmour' solo in "Steal My Soul." A collection of very pleasant, very listenable, and memorable Neo Prog songs.

Line-up / Musicians:
- Asle Tostrup / vocals, producer & mixing
- Bjørn Riis / guitars, vocals
- Jørgen Grüner-Hagen / keyboards
- Anders Hovdan / bass
- Joachim Slikker / drums
With:
- Beate Schei / backing vocals (5)

1. "Prelude" (5:11) slow, soporific PINK FLOYD-ish instrumental. (8/10)

2. "No Escape" (5:45) Emotional. Reminds me of PINEAPPLE THIEF. Masterful support keyboard work. Love, love that atmospheric final minute. (8.25/10)

3. "Safe Like You" (7:58) The best song on the album and one that has haunted me and remained an all-time favorite ever since my first listen back in 2009. Heart-wrenching. Incredible keyboard layering and textures. (15/15)

4. "Steal My Soul" (8:02) for DAVID GILMOUR lovers, there are two amazing 'Gilmour' soli here. (12.5/15)

5. "Feeling Less" (5:05) great song, lyrics, performances, balance, and emotion. (9.25/10)

6. "Colours" (8:07) great slow-paced song that builds up to some amazingly emotional guitar-over-synths work in the final two minutes. (14/15)

7. "How I Wanna Be" (7:04) very eerily emotional opening. (13/15)

8. "Sounds That I Hear" (7:26) previews of the more dominant PINK FLOYD-like sound we'll hear on future Airbag releases. Very nice, subtle instrumental work--especially Hammond organ and strumming acoustic guitar. (13/15)

Total Time 54:38

While some reviewers are displeased at the sameness of this collection of songs, I am pleased by this consistency. The engaging quality of these songs is of a very high and consistent level. IMHO, there are three pieces that I would nominate for that pantheon of greatness known as 'classics' in "3. Safe Like You",  "6. Colours", and "5. Feeling Less". 

Overall I agree with other reviewers:  There are no "new" innovations or complicated structures or time signatures on Identity; instead, what you have is a collection of very pleasant, very listenable, and memorable neo-prog songs in the same melodic vein as classic PINK FLOYD.

     I would like to point out, however, that the supporting keyboard work by Jørgen Hagen is perhaps the finest I have ever heard on any album. It's subtle. It is never flashy--never draws attention to itself--yet I doubt whether the other artists' contributions--or the album as a whole--would have come off half as good as it did without his work. Amazing. What Ricard "Nuflux" Nettermalm is to 21st century drumming Jørgen Hagen is to the keyboard.

88.09 on the Fish scales = B+/4.5 stars; a near-masterpiece of Neo Prog and an excellent and enjoyable addition to any prog lover's music collection. Definitely one of my favorite albums of the year 2009!

P.S. Does anybody else out there think that the keyboard work on this album is masterful in the way it fills space, fills the background with such gorgeous yet subtle chords and washes?

20. YVES POTIN/JAZZCOMPUTER.ORG Out Of The City

French jazz guitarist Yves Potin has contributed another sophisticated and thought-provoking contribution to Prog World in this decidedly cooler, more unsettling collection of soundscapes. While Yves instrumental and computer prowess is undeniable, the music here is quite dystopian and bleak. I shouldn't be saying that as if it's a bad thing, it's not--it's just the reality of the way things are progressing--especially on the human-disrupted surface of our planet. In that respect, the music presented here is quite powerful in its representation and reflection of the harm and chaos we have wielded upon our Mother. Ridley Scott and Vangelis would be quite appreciative of this music.

1. "Stress" (5:12) Though the power as a support of some tense, deep-in-the-night scene is undeniable, this one is a little too soundtrack-like and less the kind of music that you'd want to play without something theatric or visual to go with it. (Are there videos to any of your songs, Yves?) Virtuosic modern jazz-rock fusion guitar play (in a JERRY DE VILLIERS, JR. kind of way). (8.5/10)

2. "Anguish" (4:22) is like standing in a big city train or bus station and trying to fathom the surrounding chaos. Amazingly affective. (9/10)

3. "Stoned and Blurred" (5:26) unfortunately uses the same guitar sound and arpeggiated chord from the previous song to introduce the theme over the stark industrial soundscapes established by the computer synths.  (9/10)

4. "Inverted Twilight" (8:06) Disc Two of Gone to Earth! Awesome job of replicating the ambient soundscapes that David Sylvian created on that awesome album! (12.75/15)

5. "Those I Left Behind" (9:17) More from Disc Two of Gone to Earth! This time with similar guitar parts to the ones that David Sylvian, Robert Fripp, or Bill Nelson added to those ambient landscapes. Add the fretless bass, water drums, and Steve Jansen-like percussive rhythms to the final section and it's a perfect Sylvian replica! (17/20)

6. "Cold Bright and Quiet" (9:09) reminds me of the music from Vangelis' 1995 album, Voices. Spacious, deeply engaging and magically hypnotic. Though the lead instruments are nothing but hand percussives and a kalimba-like or kalimba-MIDIed vibraphone, it is eminently effective. The bass and synth washes could be higher up in the mix. (18/20)

An aural masterpiece in its representation of mankind's self-created troubled times, this is music that you don't want to listen to if you're already depressed. I commend and laud Yves' efforts and skills, but this is one of his discs that I'll probably not return to very often. (But then, you never know!)

87.35 on the Fishscales = B+/4.5 stars; a near-masterpiece of progressive rock music though this is probably a true masterpiece of progressive electronic music.

21. THE APPLESEED CAST Sagarmatha 

A seasoned Post Rock/Math Rock band from Lawrence, Kansas, THE APPLESEED CAST creates, for the most part, melodic, engaging music of the highest realm of the Post Rock--including one of the exceptional groups that uses effectively lyrics and vocals. One of my favorite Post Rock/Math Rock albums.

Album highlights: 1. "As the Little Things Go" (8:15) (14/15); 3. "The Road West" (8:08) (15/15); 6. "Raise the Sails" (6:27) (9/10), and; 9. "An Army of Fireflies" (4:28) (9/10)

87.0 on the Fish scales = 4.5 stars; a near-masterpiece of progressive rock.

The Rankings for 2009

1. PROGHMA-C Bar-do Travel 
2. MAUDLIN OF THE WELL Part the Second

3. GA'AN Ga'an
4. CORDE OBLIQUE The Stones of Naples

5. MAGMA Ëmëhntëhtt-Ré

6. THE NERVE INSTITUE Fictions

7. BEARDFISH Destined Solitaire

8. KOTEBEL Ouroboros

9. MAD CRAYON Preda

10. ARCANE Chronicles of the Waking Dream

11. AISLES In Sudden Walks

12. WOBBLER Afterglow

13. BIG BIG TRAIN The Underfall Yard

14. CIRRUS BAY A Step into Elsewhere

15. PRESENT Barbaro (Ma non troppo)

16. GAZPACHO Tick Tock

17. TOE For Long Tomorrow

18. ANUBIS 230503

19. AIRBAG Identity

20. YVES POTIN Out of The City

21. THE APPLESEED CAST Sagarmatha

22. JUDY DYBLE Talking with Strangers

23. THE BOX D’après le horla de Montpassant

24. IZZ The Darkened Room

25. iNFiNiEN iNFiNiEN

26. DELIRIUM Il nome de vento

27. KARNIVOOL Sound Awake

28. KARDA ESTRA Weird Tales 

29. GÖSTA BERLINGS SAGA Detta Har Hänt

30. CASPIAN Tertia

Honorable Mentions: 

SUBSIGNAL Beautiful and Monstrous  

MONO Hymn to the Immortal

RISHLOO Feathergun

PINKROOM Psychosolstice 

THE CHURCH Untitled #23

LEPROUS Tall Poppy Syndrome 

IOEARTH IOEarth