Top Albums from the Year 2008, 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 2008, you will find below eight (8) albums releases deserving, in my opinion, of the "near-masterpiece" designation.  

4.5 Stars; The Near-Masterpieces

(ratings of 89.99 to 86.67)

10. SYRINX Qualia

Another one of the Maurin brothers' musical projects (to go with THORK and NIL), this album presents some very nice instrumental jazz-rock fusion from France, replete with church organ, woodwinds and power chords. 

Line-up / Musicians:
- David Maurin / acoustic guitar
- Benjamin Croizy / keyboards
- Samuel Maurin / bass
- Philippe Maullet / drums

1. "Liber Nonacris" (19:38) very proggy, even, at times, prog folkie, despite its jazz and avant baseline. (36/40)

2. "Acheiropoiètes" (8:40) more brooding over the first three minutes but then it becomes quite cinematic when the full band kicks into a cohesive in the fourth minute. In the fifth minute another turn is taken--as if running away and then slipping into a doorwell to hide from some pursuer. Very cool and effect journey-making. (18/20)

3." Le Grand Dieu Pan" (14:45) despite a slow, spacious start, this one turns into a kind of NIL/GENESIS blend. Quite satisfying. (27/30)

4. "Le Vingt-et-unième Cercle" (5:45) quite a different opening as it sounds like a NeoProg ballad for the first minute--until the change into a minor key sets up a more complex story to be told. The acoustic guitars add so much with that symphonic folk element: very welcomed! With 90 seconds left we are treated to a chorus of angelic female vocalists singing some "Ahhs". More of this would have been nice! The song ends in the sounds of an apocalyptic explosion. (9/10)

Total time 48:48

the softer side of the French Jazz-Rock Fusion scene containing some definite avant garde/RIO, Prog Folk, Symphonic elements and themes, the music is definitely more pleasant and engaging than some French prog bands--more like MINIMUM VITAL, HYPNO5E, or SETNA. I love the fact that David Maurin remains committed to the acoustic guitar throughout. 

90.0 on the Fishscales = B+/4.5 stars; a near-masterpiece of instrumental progressive rock of the NIL-like vein. Too bad it doesn't have NIL's extraordinary vocals!

11. RATIONAL DIET At Work

Brilliant classically-infused avant/RIO jazz-fusion from Belarus and introducing prodigy Olga Podgaiskaja (one of my all-time favorite composers and future leader of FIVE-STORY ENSEMBLE).

Line-up / Musicians:

- Vitaly Appow / bassoon, sax
- Nikolay Gumberg Semitko / drums
- Cyrill Krista / violin
- Dimitry Maslovsky / bass
- Anna Ovchinnikova / cello

- Olga Podgaiskaja / keyboards, vocals

1. "Pukhow" (3:43) Wow! Classical prog like UNIVERS ZERO and PRESENT! And melodic! (9/10)

2. "Dear Kontrabandist" (6:28) bursting open with a kind of "Peter Gunn" motif coming from the rhythm section, sax, violin, and cello are soloing crazily over the top, but then, at 1:30, everything slows down for a very steady and straightforward piano-based section over which Vitaly's bassoon solos. Such a lovely sound! The rest of the band members (including, later, Olga Podgaiskaja's operatic vocal) add their crazed inputs within and over the top, especially in the fourth minute. (Olga's vocal shrieks sounds like a  large bird protesting because it's under attack.) There is a more subdued passage in the fifth minute before the band returns to the original "Peter Gunn" motif for the final 90 seconds. Interesting and fun. (8.75/10)

3. "Wet Moss" (1:19) a preview of FIVE-STOREY ENSEMBLE's first album with Olga operatic singing featured over the Avant instruments. (4.33/5)

4. "The Mourners" (1:49) Electric guitar, sustained organ chords, and tympanic drum hits. Reminds me of so many of AFTER CRYING's little interlude/études. (4.33/5)

5. "Closed case" (7:36) a very tightly constructed jazz-infused piece with everybody playing an integral part in the full-band weave. Some nice melodies, soft passages, and emotional individual solos as well. The soft passages remind me of MARK ISHAM's work on the soundtrack for Alan Rudolph's wonderful 1988 film, Les Modernes. (13.5/15)

6. "Ariel´s Last Dream: Birobidjan" (5:20) again, the pseudo-1920s jazz as represented by MARK ISHAM in the film Les Modernes is what comes to mind here--at least, until the bassoon pulse-led plodding motif over which Vitaly, Olga (on voice and piano) solo, then it's like a Mozart opera melodrama. (8.75/10)

7. "Horse Army" (7:36) sounding very much like a soundtrack piece to an old horror film (F.W. Murnau et al.) Really cool and perfectly atmospheric with the haunting organ chords and crazed sax squeaking. At the end of the fourth minute it shifts gear and settles into an insistent rhythm track while bassoon and violin solo melodically over the top. At 4:40 the full band sound chimes in together to bridge this to a more time-shifting almost tango-like jazz section. While drums and piano pattern the craziness, bassoon, violin and saxophone take turns adding their two cents. (13.25/15)

8. "Condemended" (10:47) though displaying high proficiency, the music is too scattered and dissonant, unengaging. (17/20)

9. "On Tuesdays" (3:41) a gorgeous preview of future things to come (with FIVE-STORY ENSEMBLE). (10/10)

Total time: 46:12

While not always the most melodic music, the music of Rational Diet has been one of the more accessible bands for me--especially when I was a newcomer to the whole dissonant music world. 

89.583 on the Fishscales = B+/4.5 stars; a near-masterpiece of avant garde/Rock-In-Opposition world and one of the more melodic, accessible albums from that world (in other words: a great place to start one's entry and familiarity with the classically-infused world of Avant Garde/RIO).

12. THIEVES' KITCHEN The Water Road

Back when Amy Darby and Phil Mercy were growing their vision for musical expression, they must have known that they had very high standards they were seeking, otherwise how and why would they attract the likes of not one, not two, but three ex-Änglagård members?  Obviously Thomas Johnson, Anna Holmgren, and Mattias Olsson liked Phil and Amy's vision enough to invest so much of themselves in this band--for over 12 years! (and they may still be linked to one another though it's been since 2019 since we saw any new material from them!)

In my opinion, The Water Road announces the arrival of a real force of complex, skilled prog rock--one that is fronted by the operatic voice of one Amy Darby--one of the most unique and uncompromising singers in modern prog. Successive releases have shown, however, that the band was still fleshing out its collective vision, still a bit unsure of how to realize the tremendous potential laying within the band. 

1. "The Long Fianchetto" (21:01) gentle and rolling music (especially for its sub-genre) with quite a lot of 'tron, gentle vocals and keys, folk-pastoral instrumentation and motifs, as well as a number of sudden exposures and turns into heavier areas. When I first heard this in 2008 I was mesmerized but somehow left cold and empty. Now I quite enjoy the precision mathematical construct and execution. Amy's penchant (and talent) for pioneering her own melodies within the chordal presentations of her band mates is at first frustrating (because it is so unpredictable) and yet, once familiar, marvellous--a sheer delight. (36/40) 

2. "Returglas" (4:12) piano and woodwinds open this before the rest of the band joins in setting up a very slow, gentle pastoral soundscape. I love that the flute and oboe are allowed to play, to soar--before the Middle Eastern themed dance theme takes over. Back and forth we are taken between gentle pastoral and frenzied, almost roiling drunken shanty song--with choral vocalise but no lead vocals! Interesting! Definitely ecclectic! (8.75/10)

3. "Chameleon" (9:00) Mellotron, drums, jazzy bass, and plugged-in acoustic guitar strumming gentle open this JONI MITCHELL-sounding opening. Even the chorus and its instrumental codas between verses have a jazzy-Joni sound and feel. Even Amy's melody is following some Joni-like patterns, singing through key changes as if she's the lead creator of the music. Fender Rhodes and horns continue to add to the illusion. (P.S. I LOVED Joni's jazz phase in the 1970s--Don Juan's Reckless Daughter being one of my Top 10 Albums of All-Time.)  I wish the speed and direction would shift a bit more--and that the guitar solo in the eighth minute were better. (17.5/20)

4. "Om Tare" (7:44) contrary to what the title might lead one to expect, this is a fast-paced showy piece similar to something Steve Howe might love from the YES lexicon. Amy tries to sing over the high speed chase in the third minute in another language (I'm assuming Hindi or Sanskrit). It's like sining over "Sound Chaser". There are some similarities to CYNIC's Focus before the guitar slows himself down (man the bass player is cruising--a little Jeff Berlin inspiration, perhaps?) Interesting but at times incongruously layered. (13/15)

5. "Tacenda for You" (9:34)Amy, flutes, and Fender Rhodes from the opening, joined by bass and drums at 0:40, sustained guitar notes and Hammond arpeggi moving us into something old from the KING CRIMSON cataloque--perhaps "Book of Saturdays". The following return to flute, Fender Rhodes, cymbals and voice is lacking lyrics and vocal melodies to chomp into. The next guitar solo is nice--over the "Book of Saturdays" motif. This then moves into some heavy Mellotron sections over odd time signature drumming, the guitar noodling away his plaintive plea. The next sparsely supported vocal section is quite lovely, Amy's voice stretching out to the bottoms of her range, the lyrics hitting home. Rock guitar takes the lead back over Hammond and 'tron, singing quite emotionally. This is good prog! At 7:46 we're suddenly taken away by a jazzy hammond while the lead guitar tries to maintain his own pace and melody lines. Quite unusual--almost conflicting! Brought to resolution at 8:48 as melody and harmony are restored nicely. Finishes with some Fender play and a line from Amy. Okay! (17.5/20)

6. "When the Moon is in the River of Heaven" (7:46) 'tron supported blues guitar soloing over slow, plodding rhtyhm section. Amy enters over only spacious piano using the same melody line estblished by the guitar. She's quite an effective torch singer! Piano goes classical. Amy tries to match it. Enter Fender Rhodes as Amy continues. Rest of the band slowly, almost clandestinely join in. Beautiful instrumental passage at the end of the fourth minute. This builds and continues, as brushed drums, chunky bass, and multiple keyboards weave in and around each other. Lovely! A top three for me. (13.75/15)

7. "Plaint" (2:35) Amy's solo harp with thunderstorm sounds in the background open this. At the 1:00 mark Amy's voice enters over xylophone and cello. Nice. (4.5/5)

8."The Water Road" (11:13) a portentous classically-infused prog opening with slow paced rhythm section and Mellotron supporting oboe, flute, and cello. At 2:30 the foundational instruments become gently picked acoustic guitars, fretless bass, gently tickling Fender Rhodes, and 'tron while Amy sings once again in her lower registers, almost whispering. Organ joins in during the chorus, then disappears for the second verse. Though this song isn't really exciting or dynamic, it feels very well composed, as if everyone is on the same page, as everyone's hearts are fully into it. A nearly perfect vehicle for conveying Amy's talents. (18.5/20)

Total Time: 73:05 

A collection of wonderfully mature compositions by some stellar veterans of progressive rock music. A solid album through and through that I think the band builds upon with their next releases, 2013's One for Sorrow, Two for Joy, and 2015's Clockwork Universe.

89.31 on the Fishscales = B+/4.5 stars; an excellent addition to any prog lover's music collection. 

13. JEAVESTONE Spices, Species and Poetry Petrol

Finland's enigmatic (we call it "eclectic") band of sophisticated quirk is back with its sophomore effort three years after the very interesting Mind the Soup. 

Line-up / Musicians:
- Jim Goldworth / lead vocals, electric & acoustic guitars
- Angelina Galactique / vocals, flute, keyboards, melodica
- Mickey Maniac / vocals, electric guitar, melodica
- Tommy Glorioso / bass
- Kingo / drums & percussion
With:
- JP Jääskeläinen / vibraphone
- Joonas Sainio / host (vocals)
- Jenni-Sofia Peippo / violin
- Marjukka Manner / violin
- Julia Autio / viola
- Anna Jaatinen / cello
- Laura Kangastalo / clarinet
- Veera Jämsä / oboe
- Pekka Seppänen / soprano saxophone

1. "¡Quela Puente!" (2:42) clever, sophisticated lyrics delivered over a fairly straightforward hard rock motif. (8.75/10)

2. "The Plastic Landscaper" (3:07) more standard rock 'n' roll with very clever lyrics and impressive vocal delivery. (8.75/10)

3. "The Power of Swankle(tm)" (4:11) quirky rock-jazz fusion with made-up television/radio game show samples employed in the lyrics slots." Quite a little Frank Zappa imitation here. (9/10)

4. "I'd Be Your Weakness" (5:05) effecting a huge change in directions with this slow, melodic CSN&Y/MOON SAFARI-like tune. Vocals being delivered totally with a harmonized multi-voice choral approach. (8.875/10)

5. "Daytime Escape / Veijo the Rattlesnake" (8:37) acoustic guitar and flute-based rock music with a rather Stephen Stills/Dave Mason-like vocal delivery. Big shift at 4:50 into a heavier motif as distortion-filled electric guitars take over with their KANSAS-like sophisticated power chord progressions. Big props to the rhythm section for keeping it spicy throughout. Vocals rejoin in a choral form in the seventh minute: they sound poppy, almost like THE COWSILLS or FIFTH DIMENSION before the lead guitar starts to rip up the soundscape with its shredding. Interesting song. (17.5/20)

6. "Rapist's Tango" (3:37) starts out sounding like sounds RED HOT CHILI PEPPERS--on many levels (especially vocally)--with some jazzy ZAPPA-like bridges and codas. Jime Goldworth's vocal performance is very theatric, using multiple voice stylings to express different "characters."(?) A QUEEN-like motif starts at 2:40 and plays out to the song's finish. (8.75/10)

7. "Erg" (0:39) a little interlude of classical chamber music. Perfect! The spirit of Gentle Giant lives on! (5/5)

8. "Your Turn to Run" (5:24) back to the sophisticated vocal-oriented rock music from the album's opening two songs. Clever flute and jazzy guitar instrumental bridges between the vocal passages. Such a clever, well-composed song. As I said above: the spirit of Gentle Giant lives on! (And Frank!) (And Punk!) (9.125/10)

9. (1.) "Innocence" orchestral strings and female voices counter Jim's gives this a very MOODY BLUES and feel. Brillliant and beautiful! (9/10)

    (2.) "Voices of the Shadows" moving from pastoral into rock 'n' roll, this one takes on a 1960s WHO and early QUEEN feel with its multi-voice harmonized vocals and heavily effected psychedelic instruments. Ends with 20 seconds of chords of pure NEKTAR! PINK FLOYD!  (8.875/10) 

    (3.) "The Relief" (10:07) clarinet provides the lead over this Southern Rock-feeling acoustic start. As solid as ever with the rhythm section's support. The final 30 seconds sees the stripped down strumming of barely-amplified, untreated electric guitars as the clarinet finishes and fades. (8.75/10)

Total Time 43:29

Clever, witty, lyrcs-driven rock that reminds me a lot of 1970s bands FRANK ZAPPA, GENTLE GIANT, as well as THE RED HOT CHILI PEPPERS, URIAH HEEP, BLACK SABBATH, KANSAS, and QUEEN. A much more mature and polished collection of songs than their 2005 debut.

89.02 on the Fishscales = B+/4.5 stars; a near-masterpiece of sophisticated retro-prog rock. Highly recommended to all prog lovers--especially if you loved the quirky parts of "classic prog rock."

14. BELIEVE Yesterday Is a Friend

It's hard to believe that I've never written much less posted a review of this album as it was on such regular rotation in my listening repertoire back in the first years of the 2010s. The discovery of Collage Moonlight and the extraordinary guitar work (and sound) of Mirek Gil prompted a quest to recover and hear everything he ever touched--including Basnie, Quidam's debut, Satellite, Mr. Gil, and this band. While nothing I've ever heard displayed the reckless abandon that Mirek exhibited on Moonlight (especially The Blues), he has continued to employ tones on his electric guitar that never fail to get my blood pumping. (Oddly enough, my favorite post-Moonlighting album that Mirek participated in is his all-acoustic guitar-driven collaboration from 2012 with. long-time vocalist friend, Karol Wróblewski, "I Want You to Get Back Home." 

Line-up / Musicians:

- Tomek Różycki / vocals, acoustic guitar

- Mirek Gil / guitars

- Satomi / violin

- Przemysław Zawadzki / bass guitar

- Vlodi Tafel / drums

With:

- Adam Miłosz / keyboards

- Winicjusz Chróst / guitar solo (3)

- Karol Wróblewski / flute (3)

- Robert Sieradzki / lyrics & spoken word 

1. "Time" (6:18) innocuous and forgettable. (8.75/10)

2." Tumor" (6:03) like the most psychedelic of the USA's Grunge bands' lexicon. You really get to hear the soaring violin of Satomi on this one! (8.75/10)

3. "What They Want (Is my Life)" (8:01) syncopated strumming of an acoustic guitar with more of Satomi's soaring guitar over which Tomek Różycki sings in quite a smooth, soothing voice. Guest guitarist Winicjusz Chróst really stretches out with his electric guitar in the fourth minute: like David Gilmour on cocaine or meth. Satomi, contrarily, is quite settling, almost stuck. Karol Wróblewski's flute solo over Adam Miłosz's nice piano play in the fifth and sixth minutes is nice, as is the gentle/playful bass and acoustic guitar play in the next minute. A top three song for me. A very cool construct. (13.75/15)

4. "Mystery Is Closer" (6:00) opens with a motif that is powered by a bit of a tribal drum and rhythm track, but it picks up into prog heavenliness in the second minute with a great chorus. Nice keyboard work in the instrumental fourth minute.  (8.75/10)

5. "You & Me" (4:51) awesome acoustic guitar sound carrying beneath the vocals and "strings." Here's where Tomek starts to eek out his signature vocal squeak at the beginning of each (and, unfortunately, every phrase). Nice guitar and violin work even if they do little to elevate the song above ballad feeling. (8.875/10)

6. "Danny Had A Neighbour" (5:17) a fairly standard rock song that tries to develop with both effects and the lurking presence of Mirek's underlying infinity tones before breaking into spacious Limbo. At the end of th efourth minute drummer Vlodi Tafel brings us out of the doldrums with his toms and drums so that Mirek can break loose up top. Nice. Another top three song. (8.875/10)

7. "Memories" (7:22) classical or Spanish-sounding nylon string acoustic guitar with harp sound and synth wash chords open this one before cymbal crashes and Mirek's "distant" screaming guitar join in. At 1:15 jagged power chords and drum pounds enter to back Tomek's vocal. Then everybody backs off so that Satomi can enter with her plaintive violin, but this is short-lived as 2:10 sees the full band's entry onto a full scale autobahn as Mirek, Satomi, and Tomek all three try to lead the way (or cheer the driver-drummer on). Mirek emerges in the sixth minute with one of his signature screaming solos--and it's a pretty good one--leading to the song's deconstruction to end similarly to its beginning. If only the melodies and vocals/lyrics were a little stronger. (13.375/15)

8. "Unfaithful" (6:14) a song that starts out a little muffled (vocal) but then goes on to quickly become one of the most aggressive guitar songs we've heard from Mirek in a while--including another strong solo in the second half. (8.875/10)

9. "Together" (2:35) acoustic guitars (multiple) joined at 0:25 by chamber strings sounding combination of violin, bass, and other (probably) keyboard-generated sounds. Multiple vocal tracks next join in giving the song a distinctly folk-ethnic flavor. Nice! (4.375/5)

Total time: 52:54

I really love the prominence (and preference) of Mirek's acoustic guitar throughout so much of this album--and it's recorded and engineered so well! 

88.82 on the Fishscales = B/four stars; a very solid and mature expression of progressive rock that I think every prog lover will find elements to enjoy.  

15. PENDRAGON Pure

I may have found a new favorite 21st Century Neo Prog Album! I really like this new heavier side of a formerly-syrupy neo-symphonic fan favorite. While I appreciated the skill and sound of the previous incarnation of Pendragon, I never loved anything of theirs. For some reason I love this album! I think it's the fact that the meaningful, literate lyrics are delivered in such a powerful and accessible fashion--with great choruses that you want to sing along with. Also, I think that Nick Barrett has matured into one of the masters of the emotionally charged electric guitar solo--especially in his gift for drawing them out and maintaining and even increasing that emotional provocation. 

Line-up / Musicians:

- Nick Barrett / vocals, guitars, keyboard programming, co-producer 

- Clive Nolan / keyboards, backing vocals 

- Peter Gee / bass guitar 

- Scott Higham / drums, backing vocals 

With: 

- Rod Crisp / harmonica (7)

1. "Indigo" (13:44) (29/30) 

2. "Eraserhead" (9:05) (16/20) 

3. "Comatose" (17:38) (30.375/35) 

 - I - View From The Seashore (7:41) (11.625/15) 

 - II - Space Cadet (4:02) (8.75/10) 

 - III - Home and Dry (5:55) (10/10) 

4. "The Freak Show" (4:26) (8.5/10) 

5. "It's Only Me" (8:16) (18/20) 

Total Time: 53:10 

While some members of the Pendragon fan club have lamented their beloved Neo Prog band's transition from their previous symphonic romanticism to this heavier, more protracted style, I am loving this more than the noodling nostalgia of their old pre-Believe stuff. Plus, their modern lyrics--which are wonderfully accessible--seem to have much more social relevance. 

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

16. PINEAPPLE THIEF Tightly Unwound

I like this album a lot. Vocalist Bruce SOORD has definitely proved his value to ProgWorld even if his style is often reminiscent of Steven Wilson or Thom Yorke. HIs work is, however, the consistent standout on the album. Like the aforementioned artists, Tightly Unwound is more crossover than full-out prog, and, of course, often blatantly reminiscent of PORCUPINE TREE, the consistency and high level of listenable, likable songs collected here vault PTh, finally, out into their own. They can, IMHO, finally come out of the shadow of PT and be accepted as having contributed some very good, creative (if not innovative), and very engaging music. Yeah! I love so many songs: all of the first six are on my playlist of faves but the finale, "Too Much to Lose" is, again, IMHO, their first major contribution to the catalog of the all-time prog classics. Great Song! Great voice! Great harmonies! Great song collaborations. Great studio engineering tricks.

Truly an excellent addition to any prog-lover's album collection. Sample two of the best songs from the album, "Shoot First" and "My Debt to You" and the awesome PHIDEAUX/PINK FLOYD-like epic, 9. "Too Much to Lose".

Line-up / Musicians:
- Bruce Soord / vocals, guitar, string arrangements
- Steve Kitch / keyboards

- Jon Sykes / bass

- Keith Harrison / drums

1. "My Debt to You" (5:19) very pretty song with a great story (9/10)

2. "Shoot First" (4:12) (9/10)

3. "Sinners" (4:52) good song, unfortunately it's the most blatant PT ripoff on the album (8.75/10)

4. "The Sorry State" (4:11) starts out a bit too much like Song #1, but eventually claims its own identity. (8.6667/10)

5. "Tightly Wound" (6:35) a refreshingly quirky song with adventurous electronics effects and heavily distorted guitar spurts. Great melodies--with attitude--and a nice symphonic finale. (9/10)

6. "My Bleeding Hand" (4:20) with its catchy electric guitar riffs it takes on quite a RADIOHEAD feel (8.75/10)

7. "Different World" (10:44) a great epic with quite a range of dynamic diversity (18/20)

8. "And So Say All Of You" (4:05) has quite a little LANDBERK/Reine FISKE feel to it. (9/10)

9. "Too Much To Loose" (15:12) (27/30)

Total Time: 59:30

88.33 on the Fish scales = B+/4.5 stars; a near-masterpiece of progressive rock music.

17. MOTORPSYCHO Little Lucid Moments

Another year, another album from these ever-morphing chameleons of guitar-oriented rock--this one yet another celebration of the musics of old.

 
Line-up / Musicians:
- Bent Sæther / vocals, bass, guitars, keyboards
- Hans Magnus "Snah" Ryan / guitars, vocals, keyboards
- Kenneth Kapstad / drums

With:
- Jørgen Træen / Fx, mixing

1. "Suite: Little Lucid Moments" (21:10) a very high-energy jam. (35.25/40): 

- a) "Lawned (Consciousness Causes Collapse)" - sounds like Echolyn with a little Beck mixed in there. The quiet section in the fifth minute is interesting and DOVES-like. (8.66667/10)
- b) "A Hoof to the Head" - heavy bass and smashing, crashing drums with guitars set at maximum distorting with OZZIE-like vocals give this one a SABBATH-on-amphetamines feel. Again, DOVES, Some Cities-era, comes to mind. (8.75/10)
- c) "Hallucifuge (Hyperrealistically Speaking...)" - pure Motorpsycho imitation 1960s psych rock jamming. Amazing play from the rhythm section with great blues-rockin' soloing over the top from the wailing lead guitar(s) at both ends and classic Motorpsycho/CSN&Y group vocal harmonies in the middle. (8.75/10)
- d) "Sweet Oblivion / Perfect Sense" - the "Sweet Oblivion" part feels a bit more like an old instrumental jam from the likes of THE ALLMAN BROTHERS or but then the vocals return for a bit before everything switches into more of a slowed-down blues-rock jam--this one sounding even more like one of Dickey Betts and Duane Allman's classics. (9.125/10)

2. "Year Zero (A Damage Report)" (11:20) starts slowly, like an old-fashioned jam song, building upon one little guitar and bass riff, achieving full spectrum sound and volume by the middle of the fourth minute. I like the sound but this could get a little old. Suddenly, at 3:30, everything comes to a stop and the song becomes a simple Neil Young-like song--with a single singing voice giving this a very Neil Young-like sound and feel. This lasts until the six-minute mark when the guitars and drums ramp it up again (after the vocals have stopped). At 6:45 the vocals (now harmonized) rejoin amidst the loud soundscape but then the music suddenly cuts out again, replaced by a motif that alternates long spaces with three-strum three-chord power chords. After a few rounds of this, the music kicks back in--high octane--for a nice, long, "raunchy" guitar solo. The drumming and music and soloing are all good--especially if you love the long power jams at the end of ALLMAN BROTHERS or LYNYRD SKYNYRD songs. When the jam ends, there is a 40-second long "distant" (quiet) church organ sound taking us to the end. Okay. (17.333333/20)

3. "She Left on the Sun Ship" (14:30) opens with some angular guitar play that sounds like 1980s U2. When the vocals enter the sound enters something more akin to punk's RAMONES bordering on THE AMBITIOUS LOVERS, but then after the singing ends around 3:30 there is a definite return to that aggressive 1980s U2-ish sound. The slowed down sixth minute sees the band pairing up two guitarists to play off one another exactly like Dickey Betts and Duane Allman (and, later, Thin Lizzy's Scott Gorham and Brian Robertson)--even using twin interwoven melody lines that sound as if they're lifted from (and slightly varied) from music of the aforementioned guitar gods' original songs. The minimalist interweave of guitars and bass in the ninth minute is new--turning into something more akin to 1980s U2 in the tenth. This minimalist weave then continues to the song's end as the sound is manipulated from the engineering room into something more lysergic. A pretty decent jam song! (27/30)

4. "The Alchemyst" (12:30) spacey "distant horn"-like synths feel like they're prepping us for a deleted scene from Stanley Kubrick's 2001: A Space Odyssey. After 90 seconds, guitars enter sounding like something from a DOVES or BILL NELSON album, but then the bass and cymbal-crashing drums. The fourth minute introduces another motif, this one sounding more like something from a 1980s band that's trying to stick more to rock principles--like maybe U2, The Stranglers, The Replacements, or even XTC or The Police. Those great Motorpsycho harmony vocals sing throughout, really hitting the spot. At 6:50 the music pauses as if the band is getting a start on a downhill descent down a steep rollercoaster. The guitar riff providing the glue that keeps the song rolling along gets a little tedious after three minutes. Great drumming all the way to the end of the "ride." Weird song whose parts do not necessarily all feel as if they belong (or work) together. (21.75/25)

Total Time: 59:30

An album of very blues-rock grungy sounding music that may intrigue and endear many hard rock holdovers from the 1960s while impressing only those who have the patience/tolerance for heavily-distorted guitar soundscapes.

88.12 on the Fishscales = B/four stars; an excellent collection of retro-blues-rock music drawing inspiration (and sound) from the 1960s, 1970s, and 1980s (with a little 2000s thrown in for good measure). Highly recommended to any prog lover whose heart is strongly planted in the best psychedelic hard rock. 

18. BERSARIN QUARTETT Bersarin Quartett

A string quartet with no strings?!!
     Thomas Bücker's "B3RSARiП QUAЯT3TT" is, contrary to the misleading title, a one man project of electronica. At times the strings sounds and arrangments are so clear and "authentic" sounding that one wonders if there isn't a classically-trained string quartet working with Thomas, but, no! It's all computer generated stuff! And wonderful it is! An example of prog electronic music that is truly taking the sub-genre into new dimensions.
     The computer-generated music of this album is gorgeous, half the time feeling as if it were the computer-tampered treatments of the recordings of a string quartet, the other half sounding as if Christian Fennesz or Alva Noto had been programming and treating the computer/synthesizer music. Gorgeous songs in the vein of Ryuichi Sakamoto and/or Alexandre Desplat or Mark Isham soundtrack music with lots of space and atmosphere and yet a very powerful rhythmic sense. I cannot recommend this album more highly as I feel in it a pushing of the envelope of the potentialities for the crossover/synthesis of electronica and post chamber musics.

Five star songs: 9. "Endlich Am Ziel" (4:38) (10/10); 1. "Oktober" (6:25) (9.5/10); 3. "Inversion" (5:40) (9.25/10); 6. "Die Dinge Sind Nie So Wie Sie Sind" (8:03) (13/15); 7. "Nachtblind" (4:02) (9/10), and; 10. "Mehr Als Alles Andere" (5:47) (9/10).

Four star songs:  2. "Geschichten Von Interesse" (4:55) (8.5/10); 4.  "St. Petersburg" (5:14) (8.6/10); 5. "Und Die Welt Steht Still" (8:51) (12.75/15); 8. "Es Kann Nicht Ewig Winter Sein" (4:27) (8.25/10)

88.04 on the Fishscales = B+/4.5 stars; a near-masterpiece of progressive rock music and a refreshing entry to the Post Rock/Chamber Rock subgenre.

19. FROM.UZ The Overlook

A collection of amazingly diverse songs/song parts. While no song seemlessly rises to perfection--IMHO--every song has several parts of sheer brilliance and bliss. Repeated listens helps take the edge off of some of the rather sudden and abrupt stops, twists, and turns--and familiarity helps to also reveal many of the melodic gems. Many smiles. There are also parts that, IMO, are wasteful and/or too obscure for explanation, but I'll give them an A+ for originality! Every song is a 7 or 8 out of ten, the album is worth four and a half stars--an excellent addition if you're willing to give it numerous listens--moves toward a masterpiece with familiarity. One demerit for the occasional cold, motionlessness other reviewers have mentioned. Sample this, "13th August" (11:55), live "Desert Circle" (15:18) and this live excerpt version of my favorite song from The Overlook, "Crashmind" (4:34) (9/10).

Line-up / Musicians:

- Vitaly Popeloff / guitars

- Albert Khalmurzayev / keyboards 

- Andrew Mara-Novik / bass 

- Vladimir Badirov / drums 

1. "Stone Salad" (15:17) (26/30)

2. "Other Side Of The Water" (14:09) (26/30)

3. "Crashmind" (10:51) (19/20)

4. "13th August" (11:53) (22/25)

5. "Return To W.I.T." (17:00) (30/35)

Total time: 69:12

87.86 on the Fish scales = just shy of near-masterpiece status; an excellent addition to any progressive rock music collection.

20. THOM BRENNAN Stories from the Forest

An artist who should be better known, this 2008 album puts on display his mastery of "above and below" tension and interplay.

1. "Stories from the Forest - Part 1" (8/10)

2. "Stories from the Forest - Part 2" (4:41) (8.25/10)

3. "Stories from the Forest - Part 3" (6:44) starts slowly, innocuously, but then builds to quite a hypnotic jewel. A top three song for me. (9/10)

4. "Stories from the Forest - Part 4" (9:29) a great bouncy, almost-Berlin School ride. Great synth guitar play at the end. (17.5/20)

5. "Stories from the Forest - Part 5" (6:46) wonderful tension between the gorgeous fairy-spirit foundation at the bottom and the highly-charged electronic guitar-bursts and fairy tweets in the air above. (13.25/15)

6. "Stories from the Forest - Part 6" (8:11) a little more brooding and ominous at the beginning, even the fairy synth work leaves one on an ambiguous edge. (12.5/15)

7. "Stories from the Forest - Part 7" (6:59) opens with FRIPP/ENO-like synth loops before treated piano joins in to take us on a meandering lead. Synth guitar  joins in and takes over the lead in the second minute before nature sounds seem to "wash" clean the forest. Piano returns for the fourth and fifth minute, leading the walk again, before giving way to the guitar as before. Piano and then "washing" insects take us out on a slow fade. (13.25/15)

8. "Stories from the Forest - Part 8" (6:30) a kind of slowed down, prettied up version of "Part 3." (8.75/10)

9. "Stories from the Forest - Part 9" (4:49) opens with some creepy background noises that slowly move forward before some Berlin School synths and piano play take the fore and establish the pace and mood. Great shift at 1:25 with addition of low end sounds/instruments. Another top three song for me. (9.5/10)

10. "Stories from the Forest - Part 10" (5:36) a slow, synthetic start with distant "bird'-like sounds in the lead for the first half of the song. The second half is more nature-filled--as if we are stepping out of the forest, the forest sounds are receding. (8.75/10)

11. "Stories from the Forest - Part 11" (8:49) slow, French soundtrack-like Berlin School soundscape with lots of electrically-treated zither/dulcimer sounding instruments slowly bouncing around for the first 90 seconds. Then the signature Brennan synth-guitar rolls in and takes the lead--though this time within--or even behind--the mix. In the fifth minute deep bass drum and drum kit sounds enter and make a huge impression. Seems to pull together many of the album's essential ingredients; a perfect song to exit with. My final top three song. (18/20)

87.42 on the Fishscales = B/four stars; an excellent addition to any prog lover's music collection--especially if you're into melodic and atmospheric prog electronica.

DELUGE GRANDER The Form of the Good

Dan, Patrick and their new band must have had access to a steady stream of inspiration for them to release two albums within two years. 

Line-up / Musicians

- Dave Berggren / guitars

- Dan Britton / keyboards

- Brett D'Anon / bass

- Patrick Gaffney / drums

With:

- Megan Wheatley / vocals

- Frank D'Anon / chorus, wood block

- Brian Falkowski / clarinet, flute, saxophone

- Jose Luis Oviedo / trumpet

- N. Aaron Pancost / trombone

- Kelli Short / oboe

- Heather MacArthur / violin

- Nathan Bontrager / cello

1. "Before The Common Era" (5:22) a very pretty, even emotional cinematic theme that combines monastic chanters with anachronistic instruments like oboe, organ, celeste and/or harpsichord, cellos and mandolins. A most excellent and very enjoyable song. (9.75/10) 

2. "The Tree Factory" (14:08) with such poor sound quality I feel as if I'm sitting in a theater in the 1970s watching a B-level horror movie with it's Mellotron-drenched melodramatic soundtrack substituting for the orchestra. At the two minute mark the band take a different path--one that seems to have many distractions outside to cause each musician to launch off on its own tangent. The only thing allowing me to believe that this is still one song is the fairly steady drum playing at the bottom end, otherwise I'd say these dudes have lost it. The Mellotron is just to overbearing and the guitar tone selected by Dave sounds as if it's coming from 1964. Then there are horns playing some Eastern European melody that sound as if they're generated by a cheap 1990s Ensoniq keyboard. Man this song is all over the place. Now chugging along the cacophony of sound above the bass and drums sounds as dense as a boreal forest. Next is a "strings" motif in the eighth minute that has some foundation in classical music before some dense Van Der Graaf Generaor-like weave takes over and tries to lead us into the prettier forest of Italian Prog. Even the sax solo that appears in the second half of the tenth minute has a VDGG feel to it (despite the strength of the Eastern European theme holding firm within the center). In the 11th minute there is a lull filled with a synth "tin whistle" that is soon joined and then supplanted by a smoother, calmer multi-themed weave that actually has a nice, easy-going melody. Again the guitar sound (and sound of the overall mix) is poor, weak, thin, or whatever disparaging adjective you can think of. It's like a Broadway instrumental that ties everything together before the big climax, finale, and curtain call music. (26/30)

3. "Common Era Caveman" (6:26) slow synth-dominated intro gradually reveals its creepy/eerie RPI-like cinematic mood before unleashing the kraken at 1:20. This fully-developed rockin' theme is quite thick and plodding (as a Caveman stereotype would require) but actually quite likeable. WIth lots of syncopated staccato elements working within the weave as well as crazy space-alien synth noises and free-running saxophones and other horns it's actually my favorite song on the album. Plus, the mix of the sonic field actually feels rather full, mature, and balanced! (9.333/10)

4. "Aggrandizement" (19:12) wat starts out sounding like an over-extended intro turns into quite a mess of stray and wild dogs in the third minute. They try to pull it together for the fourth minute but it fails miserably and turns into something schlocky and plodding with several poor sound choice instruments playing separate melody lines as if performing some prog-by-numbers program.

5. "The Form Of The Good" (8:41) a slow build into a very theatric, almost eerie child-murder soundtrack themed motif that shows impressive musicianship, interesting (and, I'll admit, creative) compositional skills, and poor sound engineering choices. (17.5/20)

Total Time: 53:49

on the Fishscales 

The Rankings for 2008

1. UNIVERSAL TOTEM ORCHESTRA Magus

2. NOSOUND LightDark

3. SIMON SAYS Tardigarde 

4. DIAGONAL Diagonal

5. JANNICK TOP Infernal Machina

6. PANDORA Dramma di un Poeta Ubriaco

7. FARMERS MARKET Surfin' USSR

8. DUNGEN 4

9. MAGENTA Metamorphosis

10. SYRINX Qualia

11. RATIONAL DIET At Work

12. THIEVES' KITCHEN The Water Road

13. JEAVESTONE Spices, Species, Poetry Petrol

14. BELIEVE Yesterday Is a Friend

15. PENDRAGON Pure

16. 

MOON SAFARI Blomljud

17. MOTORPSYCHO Little Lucid Moments

18. PINEAPPLE THIEF Tightly Unwound

19. BERSARIN QUARTETT Bersarin Quartett

20. FROM.UZ The Overlook

21. THOM BRENNAN Stories from the Forest

22. DARK SHOT One Shot

23. MILLENIUM Exist

24. VON HERTZEN BROTHERS Love Remains The Same

25. THE QUIET EARTH ORCHESTRA The Quiet Earth Orchestra

26. DATURAH Reverie

27. WILLOWGLASS Book of Hours

28. JELLY FICHE Tout ce que j’ai rêvé 

29. VOTUM Time Must Have a Stop

30. SOMA PLANET Bholenath

Honorable Mentions: 

CYNIC Traced in Air

BELIEVE Yesterday Is a Friend

PANZERBALLETT Starke Stücke

FROST* Experiments in Mass Appeal 

LUNATIC SOUL Lunatic Soul 

IL BACIO DELLA MEDUSA Discesa agl'inferi d'un giovane amante