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 rather weak year of 2004, you will find below five (5) albums releases deserving, in my opinion, of the "near-masterpiece" designation.
4.5 Stars; Near-Masterpieces
(Ratings of 89.99 to 86.67)
6. MAGENTA Seven
Wow! This album moves me to the core with each and every listen. It's taken me four years to finally find a copy of it and I am so happy I did! I don't care if it's considered "Neo-prog" or that Magenta is considered a "Yes clone": IMO, there is no better 'neo' or 'clone' album out there. Okay, "Gluttony" sounds like it came from Drama or The Lamb Lies Down on Broadway, and, yes, "Lust" sounds like it came from 90120, but Magenta still manages to make new, fresh music from the stylings and sounds of the much revered gods of the 70s.
The band as a whole stands very well, with all performers adding significantly to a collaboratively beautiful album, but their stellar achievement here rests on the talents of two extraordinary lead soloists: singer Christina Booth and lead guitarist Chris Fry.
Many people like to compare Christina to the incomparable ANNIE HASLEM, but I see more similarities to KATE BUSH. The crystal clarity of Annie with the emotion and diversity of Kate (though, IMHO, not quite as good as either.)
Then there is the astoundingly talented, enigmatic and creative 'chameleon' guitarist, Chris Fry. He is Steve Howe, he is Steve Hackett, he is Steve Hillage, he is Steve Rothery, he is John Mitchell, he is Paul Buchanan, he is Chet Atkins, he is Jamie West--Oram (THE FIXX), he is Stuart Adamson and Bruce Watson (BIG COUNTRY), he is B.B. KING, he is Corrado Rustici, he is Jeff Beck--he is so many guitarists all wrapped into one. No two solos throughout this album sound anything like any of the others. Superlatives, people, only superlatives!
- Christina (Murphy) Booth / lead vocals
- Rob Reed / electric & acoustic guitars, keyboards, piano, harpsichord, bass, recorders, backing vocals, engineer, mixer & producer
With:
- Chris Fry / lead guitars
- Martin Rosser / guitar
- Martin Shellard / lead guitar (7)
- Tim Robinson / drums
- The Vienna Symphony Orchestra / strings
- Christian Phillips / "Cha Cha Cha" vocalization (1)
2. "Envy" (10:10) is a fairly straightforward and easily accessible GENESIS-like song (And Then There Were Three era)--guitars, keys, bass pedals, Collins-like tom rolls--except for one small detail: THE INCREDIBLE VOICE OF CHRISTINA BOOTH! At 3:20 the song shifts to sound exactly like the background set up for Tony Banks' mellotron solo (the greatest mellotron solo in the history of music) from the second half of "Entangled" when--surprise, surprise!? Rick Wakeman's organ solo from the lull part of "Awaken" enters. Brilliant!! As hauntingly effective as the two source-originals! (20/20)
5. "Anger" (5:13) is an amazing little semi-pop song. A heart-wrenching vocal song over 'harp' (?) and The Vienna Symphony Orchestra strings. Does anyone hear know "A Perfect Day" by the infinitely talented Miriam Stockley (ADIEMUS)? It was used as the theme song for the 1992 BBC animated series of the Beatrix Potter "Peter Rabbit" stories. "Anger" has some of the pastoral and emotional majesty Ms. Stockely's beautiful little song. (10/10)
6. "Pride" (12:31) sees a return to a very Yes-sounding song--sounding more from the Close to the Edge to Going for the One era. This is, IMO, the song on which the band is most clearly imitative of pure YES, and, except for the incredible instrumental section from 7:56 to 9:40 (Chris Fry is an absolute genius!!), the weakest song on the album. "There Must Be Some Misunderstanding"!! (Do you hear it??!!) (18/25)
7. "Sloth" (10:08) has a very theatric, RENAISSANCE sound and style. Even the topic ("Gitchee Manitou" or pre-European conquest America) is similar to the xenophilic fascinations of RENAISSANCE (or was it lyricist Betty Thatcher's?). Absotlutely amazing vocals throughout but the CLAIRE TOREY ("Great Gig in the Sky" from Dark Side of the Moon) finale is almost as powerful as Miss Torey's original! (18.75/20)
89.52 on the Fish scales = B+/4.5 stars. IMHO, this is as near to a masterpiece of absolutely beautiful music with stunning performances and brilliant compositions as one can get without being totally deserving of the five stars. Neo-clones: Top this one!
7. INDUKTI S.U.S.A.R.
A band of skilled Polish musicians gathering to explore heavier prog somewhere between countrymates Riverside and the more accessible parts of heavy King Crimson.
Line-up / Musicians:
- Piotr Kocimski / guitar, sax, digeridoo
- Maciej Jaskiewicz / guitar
- Ewa Jabłońska / violin
- Maciek Adamczyk / bass
- Wawrzyniec Dramowicz / drums
With:
- Mariusz Duda / vocals (1,2,4)
- Anna Faber / harp
1. "Freder" (7:30) nice, interesting slow build to Middle Eastern-flavored heavy instrumental section in the third minute. Violin gets the lead over the five-chord foundation before Mariusz Duda enters singing in his Middle Eastern-infused vocalise. Great bass play. Clever, interesting song though lacking appropriate climax and dénouement. (13.25/15)
2. "Cold Inside … I" (4:06) guitars/strings and keys provide nice weave over which Mariuz sings in his breathy voice. Interesting melody. After 90 seconds drums and bass fall into driving rhythm pattern while violin and Mariusz continue. Nice sound palette but nothing extraordinary in this music. (8.667/10)
3. "No-11812" (8:00) opens with beautiful solo harp. Violin strikes a note and then bass and cymbals join in before keys, guitar and sliding violin notes guide us down the hallways, into the darkness. A nice smoothly-developing basic metal song. (13/15)
4. "Shade" (4:29) Middle Eastern opening with percussion and saz turning heavy when drums, bass, and droning infinity guitar notes join in to support Mariusz Duda's Riverside-like metal vocal performance. So much like countrymates RIVERSIDE, I guess that's the sound they're going for. I truly understand. (8.667/10)
5. "Uluru" (6:34) digeridoo opening is supplanted by more of the same music from the last third of the previous song. Nice violin and snare drum partnering in that first minute. Then the band establishes a groove in an interesting odd time signature, switching into another before returning for more--for the support of some soaring electric violin play. The occasional and unpredictably intermittent bullfrog burps beneath the music are interesting. "Burp metal"? Nice tune. Harp, violin, and acoustic guitars in the final two minutes are nice. Ends with some airy sounds and pretty harp notes. (9.0/10)
6. "No-11811 (7:25) well-spaced muted staccato guitar notes are soon joined by sonorous strains of violin and soprano saxophone. Then bass, drums, and picked heavily-processed electric guitar enter and establish a forward-moving KING CRIMSON-like groove. Violin and sax take turns in the lead over the top with mostly long-held notes or little tremolos. At the 3:30 mark things take a turn into slightly heavier territory with guitars now dominating over the distant, floating violin. Nice transitions from time signature to time signature, motif to motif, ending with electronic instrument-generated screeching sounds. (13.75/15)
7. "… And Weak II" (9:37) the opening two-and-a-half minutes remind me of some of JEAN-LUC PONTY's more proggy collaborations at the end of the 1970s. Then we move into more heavy KING CRIJMSON territory before going all-out djenty metal. Finishes with an angelic harp solo. A pretty brilliant song, even if it is only an instrumental. (18.667/20)
Total Time: 47:41
A beautifully recorded album of powerful songs from the realms of heavier prog yet there is often an atmospheric and even sensitive feel to the music's sound--which is what keeps me interested and engaged. I attribute a lot of my interest and satisfaction to the work of the violin. There are a lot of times that I'm reminded of RIVERSIDE while listening to this album--especially when there are vocals going on. The major detractor from my overall enjoyment of this album is that every song has too much similarity in sound, pace, and style. For those interested in some really superlative violin and guitar-led instrumental prog like this I would strongly suggest you explore the Japanese band KBB's 2000 masterpiece, Lost and Found.
89.47 on the Fishscales = B+/4.5 stars; a near-masterpiece of pure progressive rock music--a wonderful addition to any prog lover's music collection.
8. KARDA ESTRA Voivode Dracula
Following two masterpieces, 2001's "Eve" and 2003's "Constellations," is no small order! The pattern I've noticed is that Richard's album releases seem to alternate between lighter, more pretty compositions (the two aforementioned) and dives into dark, more depressing themes and chord palettes. His interest in interpreting themes and tales of Gothic legend and literature may have some impact on this. Nevertheless, "Voivode Dracula," with its focus on representing and interpreting the Dracula tale, presents us with some dark and eerie music yet sacrifices none of the virtuosic neo-classical compositional strengths nor the expert performances of the two aforementioned 'masterpieces.' As a matter of fact, some of these compositions are so intricately nuanced as to exhibit even more accomplished and serious skills.
The opening epic (and title song) (9:15) presents a veritable musical companion to the literary reference material. It may be Richard's most classical-sounding piece yet (partly due to the lack of vocals). (18.5/20)
"Lucy/Festina Lenta" (6:37) creates a spaciously eery soundscape that conjures up Edgar Allan Poe-like venues: lots of dark, empty Victorian country home hallways. The layered vocals of Ileesha Bailey--quite unique in Prog World and quite welcomed, even relished, by this prog reviewer--are present in full-force yet never over used or never used as the main focal point or even melody carrier. They are like statuary, candles, and hidden doorways in the dark mansion hallways. (9.5/10)
3. "The Land Beyond the Forest" (6:08) opens with three ominous hits of a strangely effected piano which is then followed by what sounds like plucked dulcimer or tubular bells, or zither or even the piano strings plucked from inside the casing. The whole soundscape developed after that can only be called scary, threatening, blood-curdling, and the like. Amazing use of percussion and single hits or single notes of a multiplicity of classical orchestral instruments flit in and out while a single church organ chord and background militaristic "exploding bomb shells" provide the insistent reminder of time passing. Oboe provides the first lead runs--an angular, obtuse kind of melody and monologue--while other instruments flash in and out beneath and within. And then to end with a solo flute! Wow! (9/10)
4. "Mina" (6:12) has always been my favorite song from the album--but now I realize because it was only because it was the prettiest, the most near-"normal," the least scary, and the most accessible. Piano, chor anglais, and vocals do most of the work to engage the listener in a calming, disarming way. But then, this being a Draculan world, some disturbing, even diabolic sounds cannot help but invade our peace and repose. Can Mina's innocent beauty win out or will the demonic undead dominate her? The tension of the "battle" mounts the further the song. (9/10)
5. "Kisses for Us All" (13:18) is a song whose titular significance or reference point is lost on me because I don't know all of the vampire/Dracula literature, thus the slow, constantly ominous tension of this one seems incongruous with the act of bestowing kisses on us all. But, in terms of another neoclassical composition, this one is good, maybe not quite as great as the other four. It wends and wanders but never really reveals its hidden secrets to me. (25/30)
I cannot rate the songs individually because they are all so perfect, so virtuosic in their expression of this timeless story.
Though this album requires one's full attention in order to really allow its full effects to sink in, it is, in my opinion, without a doubt another masterpiece of musical expression of a literary theme. How lucky we are to have Richard Wileman and Karda Estra to provide us with such soul-affecting intellectual delicacies!
88.75 on the Fishscales = A-/Five Stars; a masterpiece of neoclassical Gothic "Night Gallery" chamber music.
Following two masterpieces, 2001's "Eve" and 2003's "Constellations," is no small order! The pattern I've noticed is that Richard's album releases seem to alternate between lighter, more pretty compositions (the two aforementioned) and dives into dark, more depressing themes and chord palettes. His interest in interpreting themes and tales of Gothic legend and literature may have some impact on this. Nevertheless, "Voivode Dracula," with its focus on representing and interpreting the Dracula tale, presents us with some dark and eerie music yet sacrifices none of the virtuosic neo-classical compositional strengths nor the expert performances of the two aforementioned 'masterpieces.' As a matter of fact, some of these compositions are so intricately nuanced as to exhibit even more accomplished and serious skills.
The opening epic (and title song) (9:15) presents a veritable musical companion to the literary reference material. It may be Richard's most classical-sounding piece yet (partly due to the lack of vocals). (18.5/20)
"Lucy/Festina Lenta" (6:37) creates a spaciously eery soundscape that conjures up Edgar Allan Poe-like venues: lots of dark, empty Victorian country home hallways. The layered vocals of Ileesha Bailey--quite unique in Prog World and quite welcomed, even relished, by this prog reviewer--are present in full-force yet never over used or never used as the main focal point or even melody carrier. They are like statuary, candles, and hidden doorways in the dark mansion hallways. (9.5/10)
3. "The Land Beyond the Forest" (6:08) opens with three ominous hits of a strangely effected piano which is then followed by what sounds like plucked dulcimer or tubular bells, or zither or even the piano strings plucked from inside the casing. The whole soundscape developed after that can only be called scary, threatening, blood-curdling, and the like. Amazing use of percussion and single hits or single notes of a multiplicity of classical orchestral instruments flit in and out while a single church organ chord and background militaristic "exploding bomb shells" provide the insistent reminder of time passing. Oboe provides the first lead runs--an angular, obtuse kind of melody and monologue--while other instruments flash in and out beneath and within. And then to end with a solo flute! Wow! (9/10)
4. "Mina" (6:12) has always been my favorite song from the album--but now I realize because it was only because it was the prettiest, the most near-"normal," the least scary, and the most accessible. Piano, chor anglais, and vocals do most of the work to engage the listener in a calming, disarming way. But then, this being a Draculan world, some disturbing, even diabolic sounds cannot help but invade our peace and repose. Can Mina's innocent beauty win out or will the demonic undead dominate her? The tension of the "battle" mounts the further the song. (9/10)
5. "Kisses for Us All" (13:18) is a song whose titular significance or reference point is lost on me because I don't know all of the vampire/Dracula literature, thus the slow, constantly ominous tension of this one seems incongruous with the act of bestowing kisses on us all. But, in terms of another neoclassical composition, this one is good, maybe not quite as great as the other four. It wends and wanders but never really reveals its hidden secrets to me. (25/30)
I cannot rate the songs individually because they are all so perfect, so virtuosic in their expression of this timeless story.
Though this album requires one's full attention in order to really allow its full effects to sink in, it is, in my opinion, without a doubt another masterpiece of musical expression of a literary theme. How lucky we are to have Richard Wileman and Karda Estra to provide us with such soul-affecting intellectual delicacies!
88.75 on the Fishscales = A-/Five Stars; a masterpiece of neoclassical Gothic "Night Gallery" chamber music.
9. SLEEPYTIME GORILLA MUSEUM Of Natural History
Quirky avant garde/RIO at its cheekiest--as well as at its most "out of the box" creative. As many reviewers say, this is one of the albums that one can uphold as "the most unusual music you've ever heard" in the truest, most accurate sense--and yet these are very skilled, talented musicians and composers! But beware: if you're not in the right mood this may not agree with you!
Line-up / Musicians:
- Nils Frykdahl / guitar, flute
- Carla Kihlstedt / violins, organ, zither, vocals
- Dan Rathbun / bass, lute, trombone, vocals, co-producer, mixing
- Frank Grau / drums, melodica
- Mario "Moe!" Staiano Jr. / percussion, glockenspiel
With:
- Matthias Bossi / drums, glockenspiel, xylophone & backing vocals (3,5,6)
- Kristin Burns / backing vocals (3)
- Vince Piette / backing vocals (3)
- Dawn McCarthy / backing vocals (5)
1. "A Hymn to the Morning Star" (5:40) Nils Frydahl singing in a theatric baritone tongue-in-cheek, exaggerated "Christian" religious music. Most excellent satire. (9/10)
2. "The Donkey-Headed Adversary of Humanity Opens the Discussion" (6:01) agggressive and abrasive but somehow amazing and awesome! (8.75/10)
3. "Phthisis" (3:44) Carla Kihlstedt's amazingly clear BJÖRK-like voice grounds this steroidal XTC-like song amazingly. A blend of Knifeworld and Major Parkinson both on crystal meth. (9/10)
4. "Bring Back the Apocalypse" (4:10) protest crowd noises tie this song to the one before. Then industrial march noises and robotic movement noises fill the sound field from percussive instruments and keyboards. Male chorus "la-la-la" chants join in with some horn-like instruments before a throbbing bass and glockenspiel drive them all away while the crazed "bring it back" chant joins in (8.75/10)
5. "FC: The Freedom Club" (10:48) interesting dirge-like music that turns rooftop BEATLES-like before gaining the momentum of a heavy Motorpsycho section. All the while singer Nils Frykdahl and Ryan Reynolds stand-in Dan Rathburn trade vocal opportunities, one in emphatic growls, the other in spoken factual statements. The music goes full metal men-in-white-coats in the end of the fourth minute. Violin and other instruments join in from time to time, giving Nils and Dan breaks, until 7:00 when things quiet down and the upper register vocals become almost heavenly. There are actually several vocal tracks woven into this section with the heavenly hosts slowly receding as the lower register of reason moves slowly to the fore. Then we are led out of Eden by birds, insects, frogs, and, at the very end, a passing car. Very, very cool, theatric song. (19/20)
6. "Gunday's Child" (6:56) for 1:45 Carla Kihlstedt's creepy sustained words are supported by bass and percussive noises, but then very angular Crimsonian sound palette of industrial instruments emerges and whisks Carla away in a kind of wave of malevolent mystery. Then the music goes childhood nightmare while upper register choir sings about childhood. At 4:25 Carla and the Wave are off again into an abrasive XTC Industrial Donkey kick. Another odd but absolutely brilliant song. Wow! (14.25/15)
7. "The 17-Year Cicada" (3:41) Of course Sleepytime Gorilla Museum needed their own version of Genesis' "The Waiting Room"! (8.25/10)
8. "The Creature" (6:00) weird ploddingness with almost-narrated singing about the arrival of the scariest Creature of all. (Man?) (8.5/10)
9. "What Shall We Do Without Us?" (2:38) an étude with percussion, strings, violin squeals, and Carla's breathy angel voice doubled up--at least until the 1:00 mark when rock-instrument-delivered machine gun bullets riddle the soundscape in an expression of release. Ends with more audio tapes of some homeless American dude rambling on. (4.25/5)
10. "Babydoctor" (13:59) minimal dissonant instruments play while man and woman join in, singing, over and over, "Thank you." In the third minute things progress to more forward movement and a far more aggressive vocal approach (especially for the now-forward male, the still-present female having now moved to the background). It's kind of a microcosmic look at specific glimpses of scenes from a modern human life. The final three minutes goes quiet--filled with chanting subway voices, nose flutes and an interview with a street-living man addict. Definitely the weirdest, most abrasive, and least engaging song on the album (due to its incessant dissonance and abrasive UZED-like industrial bangs). (25/30)
11. "Cockroach" (2:12) another comedic overly melodramatic song in which the lead singer rants in mock fear over the existence and habits of a creature that would rather live in the trash than on the lawn. (We assume he's talking about the cockroach but may, in fact, be talking about the species we call homo sapiens sapiens.) Funny. (4.25/5)
12. "untitled hidden track" (5:56) more bugs, birds, and amphibians open this one before the recorded voice of a swamp citizen enters, commenting on the noises and state of the swamp. As a matter of fact, all of the six minutes of this track are field recordings spliced together.
Total Time: 71:45
This band must have had so much fun creating and realizing this album! The process of trying to come up with the right sounds, sound fields, sound patterns, and segment durations for the theatric expression of their particular views on Natural History must have been arduous yet so much fun and so rewarding! Despite being one of the weirdest albums you'll ever hear, this is definitely music, definitely theatric, definitely fine art! It reminds me of some Broadway play--like a modern day variation on Stephen Schwartz' Godspell or Wicked.
88.15 on the Fishscales = B/four stars; a masterpiece of modern deconstructural cabaret theater but not an album for every day or every person. As John Davies and others before me have said, I think you'd be remiss if you never gave this album a listen. It's worth the experience … at least once.
10. AMAROK Quentadharkën
Quentadharkën is a well-crafted folk-jazz album by Spanish musicians. The recording sounds a bit as if it were recorded live in a small club--especially the thin-tinny drums. This is, however, the album's weak point: It doesn't really feel like a studio album. Still, the performances are wonderful; the group definitely has a polished, well-rehearsed sound to it--a sound that is, at times, 1960/70s jazz (think early FERMATA and SANTANA), at others Middle Ages troubadour music (even Gypsy or Arabic), sometimes even Celtic. Sometimes Amarok's music is sax driven, others piano, others guitar, others saxophone, often organ, and still others driven by synthesizer or its sultry female vocalist. Variety and diversity are never lacking here! The music crosses and blends so many time periods, so many cultural lines, as to be often breathtaking, and always unusual and unexpected. All of the music could survive without the presence of the vocals and be just fine.
Quentadharkën is a well-crafted folk-jazz album by Spanish musicians. The recording sounds a bit as if it were recorded live in a small club--especially the thin-tinny drums. This is, however, the album's weak point: It doesn't really feel like a studio album. Still, the performances are wonderful; the group definitely has a polished, well-rehearsed sound to it--a sound that is, at times, 1960/70s jazz (think early FERMATA and SANTANA), at others Middle Ages troubadour music (even Gypsy or Arabic), sometimes even Celtic. Sometimes Amarok's music is sax driven, others piano, others guitar, others saxophone, often organ, and still others driven by synthesizer or its sultry female vocalist. Variety and diversity are never lacking here! The music crosses and blends so many time periods, so many cultural lines, as to be often breathtaking, and always unusual and unexpected. All of the music could survive without the presence of the vocals and be just fine.
- Marta Segura / vocals
- Robert Santamaria / keyboards, baglama, 12-string guitar, kanun, charango, autoharp, santour, accordion, glockenspiel, marimba, percussion, composer, producer
- Carles Gallego / electric guitar, percussion
- Mireia Sisquella / alto & soprano saxophones
- Manel Mayol / flute, didgeridoo
- Alan Chehab / bass
- Pau Zañartu / drums, congas
With:
- Víctor Estrada / Spanish guitar, theremin, Fx
- Robert Abella / violin
- Miguel Ángel Ortin / tenor saxophone
- Kerstin Kokocinski / oboe
- Luis Blanco / vibraslap
Album highlights: the work of the bass and woodwind players; the guitar and keyboard work; the interesting symphonic and deeply layered song constructs. Favorite songs: the 'medieval jazz'y "Encantamiento" (2:56) (9/10) and "Hsieh" (7:31) (13.5/15); the KING CRIMSON-plays-French-MIKE OLDFIELD-like epic, "Tierra Boreal" (9:02) (18/20); the gorgeous vocal on the GENESIS 'medieval Arabic,' "La Espiral" (7:54) (13.5/15); the moving little LE GRAND/LA GOYA/RAMPAL-like "Alumbrado" (1:38) (5/5); the acoustic-based, jazzified, GENESIS Selling England by the Pound-like "Los Origenes" (5:04) (8/10); the STEVE HILLAGE-meets-STEELY DAN-like "Los Hechos" (3:08) (9/10); the KOTEBEL-like "La Batalla" (4:18) (8/10); the delicate ALAN STIVELL-meets-SPIROGYRA-like "Final" (4:42) (8/10); the wonderful woodwind-dominated folk song, "Coda" (4:06) (10/10), and; the funked-up YUGEN-like, "Laberintos de Piedra" (5:22) (8/10).
Total Time 70:53
88.1 on the Fish scales = 4.5 stars; a near masterpiece.
11. SECRET CHIEFS Book of Horizons
Interesting instrumental music offerings from the cinematic mind of Trey Spruance. Most of it has some Middle Eastern themes of instrumentation and much of it feels as if tailored for the action, spy, or horror film genres.
Line-up / Musicians:
- Trey Spruance (The Enemy) / electric & microtonal guitars, banjo, bass, sitar, clavinet, synth, tack & electric & acoustic pianos, organ, keyboards, sampler, antur, cheng, shaker, dumbek, tambourine, rabab, saz, foley sounds, electroacoustic treatments, soundscapes, vocals
With various line-ups, including:
- William Winant / Chinese & Tibetan gongs, marimba, glockenspiel, timpani, tube bells, cymbals, bass & snare drums, shaker & tabla
- Jesse Greere / vocals (1,4-6,8,9,13,14)
- Emmanouil Simotas "Unhuman" / vocals (4,9)
- Jesse Quattro / vocals (4,9)
- Kessica Kinney / vocals (4,9)
- Jason Schimmel / acoustic guitar (1,6)
- Jennifer Cass / harp (1,3,5-8,12,14)
- Timb Harris / violin & viola (1,2,5,6,8,12-14)
- Eyvind Kang / viola (2,8,11)
- Tim Smolens / bass (1,5,8,10,11,13)
- Ches Smith / drums (1,5,7,10,12,13)
- John Merriman / drums (4,9)
- Danny Heifetz / drums (2,8,11)
- Rich Doucette / esraj (1,2,11,12), saranji (1)
- Ursula Knudson / bowed saw (1)
- Kevin Kmetz / shamisen (2)
- Shahzad Ismaily / percussions (2,7,11,12)
- Fatima Khanoam / santur (11)
1. "The End Times (Forms)" (4:58) pretty cinematic Arabian background music (9/10)
2. "The 4 (Great Ishraqi Sun) (Ishraqiyun)" (3:36) like the Middle Eastern music one might hear in a Lebanese restaurant. (8.25/10)
3. "The Indestructible Drop (Traditionalists)" (1:09) spacey underwater cave exploring music. (4.25/5)
4. "Exterminating Angel (Holy Vehm)" (3:14) soundtrack music for a "B"-grade Middle Eastern horror/devil worship film. The first half seems quite amateurish, the second is death metal and you know I don't like death metal growl vocals. (8.25/10)
5. "The Owl in Daylight (Forms)" (3:58) more eerie cinematic music--this coming from a house of mirrors. (/10)
6. "The Exile (Traditionalists) (3:06) (/10)
7. "On the Wings of the Haoma (The Electromagnetic Azoth) (5:08) (/10)
8. "Book T: Exodus (UR) (3:56) (/10)
9. "Hypostasis of the Archons (Holy Vehm) (4:20) (/10)
10. The Electrotheonic Grail Dove (Traditionalists) (0:44) (/5)
11. The 3 (Ishraqiyun) (4:00) (/10)
12. DJ Revisionist (The Electromagnetic Azoth) (4:06) (/10)
13. Anthropomorphosis: Boxleitner (UR) (5:23) (/10)
14. Welcome to the Theatron Animatronique (Forms) (5:11) (/10)
Total Time: 52:26
2. "The 4 (Great Ishraqi Sun) (Ishraqiyun)" (3:36) like the Middle Eastern music one might hear in a Lebanese restaurant. (8.25/10)
3. "The Indestructible Drop (Traditionalists)" (1:09) spacey underwater cave exploring music. (4.25/5)
4. "Exterminating Angel (Holy Vehm)" (3:14) soundtrack music for a "B"-grade Middle Eastern horror/devil worship film. The first half seems quite amateurish, the second is death metal and you know I don't like death metal growl vocals. (8.25/10)
5. "The Owl in Daylight (Forms)" (3:58) more eerie cinematic music--this coming from a house of mirrors. (/10)
6. "The Exile (Traditionalists) (3:06) (/10)
7. "On the Wings of the Haoma (The Electromagnetic Azoth) (5:08) (/10)
8. "Book T: Exodus (UR) (3:56) (/10)
9. "Hypostasis of the Archons (Holy Vehm) (4:20) (/10)
10. The Electrotheonic Grail Dove (Traditionalists) (0:44) (/5)
11. The 3 (Ishraqiyun) (4:00) (/10)
12. DJ Revisionist (The Electromagnetic Azoth) (4:06) (/10)
13. Anthropomorphosis: Boxleitner (UR) (5:23) (/10)
14. Welcome to the Theatron Animatronique (Forms) (5:11) (/10)
Total Time: 52:26
on the Fishscales = / stars;
12. MY EDUCATION 5 Popes
5 Popes is another good album by the under-appreciated (and under-known) instrumental Post Rock/Math Rock group, My Education. A cleaner, more forward and effected guitar sound graces this album and the drums are mixed as if 'in the music' instead of sounding like they were recorded in an isolation cube.
- Sean Seagler / drums, percussion
- Brian Purington / guitar, acoustic guitar
- Eric Gibbons / bass, guitar
- Chris Hackstie / guitar, bass, glockenspiel
- Kirk Laktas / piano, organ, synthesizers
- Travis Weller / violin
- James Alexander / viola
Favorite songs: the almost COCTEAU TWINS- (and CURE)-like and unusually relaxed and upbeat (for My Education) fifth song, "Deep Cut" (6:56) (13.75/15), and the powerful and very catchy/engaging "Crime Story" (9:02), the album's final song. (18.25/20) 2. "Lesson 3" (8:35) is almost humorous with the tape of student-elocution professor in the background but is notable for its great bass play and background barrel house piano. (17.5/20) 4. "Nightrider Meets the Waterfall" (7:30) relies a bit on the Cure's "Fascination Street" tempo and driving guitar and bass while using a bit of Kevin Shields' guitar effects. (13/15) The first song, "Concentration Waltz" is more like an étude, showing off the band's Texas roots, and not very engaging. (12.5/15)
87.94 on the Fishscales = B/four stars; an excellent addition to any Post Rock lover's music collection.
13. GUAPO Five Suns
British heavy rockers produced their most Zeuhl album of all.
Line-up / Musicians:
British heavy rockers produced their most Zeuhl album of all.
Line-up / Musicians:
- Matt Thompson / guitar, bass, sampler
- Daniel O'Sullivan / Fender Rhodes, organ, Mellotron, harmonium, guitar, sampler
- Dave Smith / drums, percussion
- Daniel O'Sullivan / Fender Rhodes, organ, Mellotron, harmonium, guitar, sampler
- Dave Smith / drums, percussion
1. "Five Suns - Part 1" (4:31) The album starts off with this very cool, rather spacey song. (8/10)
2. "Five Suns - Part 2" (10:19) which then slides into the amazing (Very ANEKDOTEN-like) (19.5/20)
3. "Five Suns - Part 3" (10:30) (16/20)
4. "Five Suns - Part 4" (12:57) (20/25)
5. "Five Suns - Part 5" (7:55) (13/15)
6. "[silence]" (1:00) (5/5)
7. "Mictlan" (8:58) (15/20)
8. "Topan" (6:37) another great one--a more sedate but highly skilled and melodic piece. (9/10)
Total Time: 63:09
To my mind (and ears) this is a Zeuhl album if I've ever heard one--and an awesome one, at that! The background synth and wave samples are so cool over the marching drums and driving bass lines. Unfortunately, the bass and drum act grows a little weary on the ears as the album goes on. Parts "III" and "IV" (7/10) maintain a high standard of musicianship and driving force but creativity and inspiration seem to wane a bit--there is little freshness to keep the listener glued, the repeated riffs seem, at times, almost infantile, though the drum and bass playing remains rather emotional. There is a little more jazzy side of GUAPO exposed in the softer parts of these songs. "Part V" is rather anticlimactic (and maybe intentionally so). By the time you move past the five movements of the Five Suns you are ready for something new--and boy do they deliver: a solid minute of virtual silence (the sounds I hear may be mechanical) titled "Untitled"!! This is followed by a song that is, IMO, the least interesting and least inspired song of the album, "Mictlan." Something in "Topan" sounds like the pop jazz and jazz fusion I listened to in the 70s. The keys, I think. Or maybe the whole vibe they have going. Reminds me somehow of NIL's "Dérive." Anyway, this is a very, very good album. "Part II" is definitely one of my top ten favorite Zeuhl songs.
87.91667 on the Fish scales = a solid four stars; a nice addition to any collection of progressive rock music.
The Rankings for 2004
1. MAGMA K.A.
2. THORK We-Ila
3. THY CATAFALQUE Tűnő Idő Tárlat
4. ANGRA Temple of Shadows
5. BARK PSYCHOSIS Code Name: DustSucker
6. DAVE BAINBRIDGE Veil of Gossamer
7. MAGENTA Seven
8. INDUKTI S.U.S.A.R.
9. KARDA ESTRA Voivode Dracula
10. SLEEPYTIME GORILLA MUSEUM Of Natural History
11. AMAROK Quentadharken
12. SECRET CHIEFS Book of Horizons
13. MY EDUCATION 5 Popes
15. PAATOS Killocain
16. STEREOLAB Margerine Eclipse
17. MATTHEW PARMENTER Astray
18. ORPHANED LAND Mabool--The Story of the Three Sons of Seven7
19. WHITE WILLOW Storm Season
20. KNIGHT AREA The Sun Also Rises
Honorable Mentions:
DUNGEN Ta Det Lugnt
THE WATCH Vacuum
MARILLION Marbles
BIG BIG TRAIN Gathering Speed
ANATHEMA A Natural Disaster
UNIVERS ZERO Implosion
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