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 89.0 or whose high points or quality level make it remarkable enough to remain affixed in my memory.
From the Year 2023, you will find below 12 albums releases deserving, in my opinion, of the "near-masterpiece" designation; the other 32 are also quite excellent.
The Near-Masterpieces:
(Ratings of 90.0 to 87.50)
ISPROJECT The Archinauts
A new Italian Neo Prog band backed by Fabio Zuffanti and his music making machine. The music here sounds to me very much like a slightly more diverse IQ--especially due to the Peter Nicholls-like voice and style of male lead singer and principle composer, Ivan Santovito.
Line-up / Musicians:
- Ivan Santovito / vocals, composer
- Ilenia Salvemini / vocals
With:
- Simone Amodeo / guitars
- Giovanni Pastorino (FABIO ZUFFANTI, GLEEMEN) / keyboards & programming
- Martin Grice (DELIRIUM, IL CHERCHIO D'ORO) / flutes & saxophones
- Andrea Bottaro / bass
- Paolo Tixi (FABIO ZUFFANTI, IL TEMPIO DELLE CLESSIDRE, HOSTSONATEN, THE ROME PRO(G)JECT, IL DOTTRINA DEGLI OPPOSTI, LUCA SCHERANI) / drums
1. "Ouverture" (3:54) a gorgeous introductory song--with beautiful melodies coming almost passively from the keys with steadily strummed 12-string guitars and thick Mellotron strings. Sounds a lot like something from NOSOUND. After 90 seconds, Hammond organ and a couple of time stamped power chords from the rest of the band denote a transfer of power to the classically-oriented piano. At the three-minute mark some more RUSH-LE ORME-like power chords take us into a very RPI-like heavier version of the opening melody and motif until ... A great opener--and a top three song for me. (9/10)
2. "The Architect" (6:23) … we bleed over into the next song. The funky sound palette here almost sounds like something out of early 1980s American Soul/R&B--PRINCE-like! But then it morphs into a heavier passage based on a repeating progression of power chords while keys and electric guitars solo a bit--until 2:10 when it suddenly settles into a sedate and steady, slow, PINK FLOYD-like four-chord progression over which the reverbed voice of Ivan Santovito makes its first appearance. The musical combination and palette has a lot in common with early IQ--especially due to the timbre of Ivan's Peter Nicholls-like voice. After a brief piano solo in the fifth minute, we return to the main motif with Ivan singing, but now he's joined beautifully by the lilting voice of Ilenia Salvemini to back up and accent his own. Beautiful! (8.875/10)
3. "Mangialuce" (7:39) I like the diversity of the multiple motifs packaged into this one. It's quite symphonic (like the last song). But the dynamics might be a bit over the top in terms of bombast: sometimes feeling almost forced or more cerebral than heart-felt. Also, this is another song that very strongly brings up the feeling that I'm listening to something by the British NeoProg band IQ (especially in that first 90-second motif). The second motif is pure Steven Wilson (Hand.Cannot.Erase.) The third, for the first instrumental passage, sound like something straight out of 1972-3 Le Orme. Then, at 4:45, we're back in Steven Wilson's musicquarium with a tangent of some treated piano and reversed guitar. But then at 5:39 we burst back into the heavy land of reality with a RPI-RUSH-like bombastic passage over which Ivan tries (unsuccessfully) to match intensity with his voice before lead guitar takes over and takes us to the end. (13.25/15)
4. "The City and the Sky" (4:57) a song in which the main melody line feels as if directly lifted from one of STEVEN WILSON's Hand.Cannot.Erase. album. Even the instrumental and chordal palette of this motif feels SW. The second, alternate motif is pure RPI--as if coming straight from LE ORME's Felona e Sorona or LA MASCHERA DI CERA's Le Porte del Domini. (8.75/10)
5. "Lovers in the Dream" (5:59) back to the safety of IQ music (even feeling as if they're going back to the melody and chord structure of "The Architect"), piano and synth strings support Ivan's reverbed voice as he seems to repeat/carry forward the melody (and story?) of the album's second song, "The Architect." Yes he reaches for some higher heights during the more dynamic bursts of the chorus, but in truth, I feel as if I'm listening to a re-working of the main motif of that other song! Nice guitar play during the solo in the Steven Wilson-like instrumental passage. (8.75/10)
6. "The Mountain of Hope" (6:31) NeoRPI with tons of Mellotron, reverberated male vocal, and dynamic bursts for instrumental performances (including great Moog solo at the end). (8.875/10)
7. "Between the Light and the Stone" (14:37) very long, mellow, and slow-developing intro from piano, ARP "strings," taking two minutes just to break into full band for flute and vocalise from the lovely female voice of Ilenia Salvemini. At the very end of the third minute a new, rather sinister theme is introduced using a weird GOBLIN-esque synth sound buffered by airy flute. At 3:48 bass and drums finally break into a pattern that becomes that which the rest of the song is built over--with Ivan Santovito beginning his Peter Nicholls/Mariuz Duda-like singing almost immediately. The chorus section is nicely balanced with Ilenia injected as the second vocal. At 4:45 piano takes over carrying the melody forward a we enter into an instrumental passage within which flute flits and flourishes between RPI chord blasts. At 7:10 BRAINTICKET-like organ takes over the melody, all by itself, as Ivan and Ilenia sing in tandem, taking turns to continue telling the song's story. Organ continues as rest of band joins in, supporting some nice electric guitar soloing until the nine-minute mark when solo piano takes over, transferring the music to a jazzier foundation, over which the rest of the band join in loudly so that saxophone and Moog get some nice soloing in. I love this full buildup throughout the eleventh minute--especially as the sax and Moog duel--but then everything cuts out to leave a solo piano to provide a little classical interlude for about 45 seconds. Then we jump back into a full-band motif so that Ivan and Ilenia can continue delivering the story--this time with Ilenia serving solely as the harmony vocalist--and with piano being the definitive lead instrument in the bluesy-rock motif--which is perfect for the retro-guitar sound that bursts forth to deliver a powerful solo to the song's finish. A very enjoyable listening experience of a very satisfying and mature construction. Another top three song for me. (28/30)
Total Time 50:00
Very nice, melodic and engaging NeoProg songs that benefit also from great sound from great engineering and production.
90.0 on the Fishscales = B+/4.5 stars; a collection of excellent musical constructs forming a near-masterpiece of prog rock--one that seems to teeter over--or bridge--the span of "classic" Italian prog and modern NeoProg. Highly recommended for your own perusal and opinion-making.
MYSTERY Redemption
Québec's NeoProg masters are back with their thirteenth album since 1992 and fourth studio album with the same lineup.
- Jean Pageau / vocals
- Antoine Michaud / keyboards
- François Fournier / bass, keyboards
- Jean-Sébastien Goyette / drums
- Sylvain Moineau / guitars
- Michel St-Pere / guitars, keyboards
1. "Behind the Mirror" (6:46) it's been a while since I've heard Mystery's sound this thick, this heavy. It feels good. Solid. But not enough flash and dynamic change (except for from the drummer and bass player). Quite a solid song--one that reminds me of all that I love about NeoProg and Mystery in particular--but one that also reminds me of just how difficult it is to deliver perfect heart-melting melodies and/or chord progressions. (13.25/15)
2. "Redemption" (6:36) the incredibly full and deep bass is the key to the "new" sound. (8.875/10)
3. "The Beauty and the Least" (9:15) from the opening notes and chords one can sense that we're in for some of Mystery's very best song-crafting. The bass is, again, very full and heavy beneath Jean's melodies and the rest of the band's great chord progressions. The guitar solo at the end of the third minute, though brief, is among Michel St-Pere's best--and he is definitely one of the best--but this is quickly moved away from into a more pastoral weave of multiple guitar and keyboard arpeggi. Michel starts to wind up again within and over this two-chord passage, striking some truly epic bursts and moments. In the second half of the sixth minute, the band switches chord motifs--goes for a heavier sound--as drummer Jean-Sébastien Goyette gets to really shine within the walls of glorious sound. The eighth minute reveals a more 'tron-dominated Genesis-scape before emerging into what feels a classic Mystery "reveal" with Michel and Jean rising above the dense and beautiful heavy prog soundscape. Mystery doing what Mystery does best. (18.75/20)
4. "Every Note" (6:01) two chorus-treated electrified 12-string guitars provide the background support for Jean to sing a heart-wrenching vocal--whichis understqandable considering the wording of this powerful love song. But, despite continued amazing musical background throughout, I feel that Jean's investment in his message loses some of its depth and/or sincerity in the middle (but, thankfully, he regains a bit of it in the final climactic 75 seconds). Great music--especially the guitars--but the drumming feels a little over the top. (9/10)
5. "Pearls and Fire" (12:43) a "coming of age" story about a boy that is counseled by his parents to hold back his tears in order to "be a man" who then ends up joining the military to continue to prove his manhood. The ensuing description of Leo's war experience gets quite graphic as he is "caught in the crossfire" during a particular battle. The instrumental passage that follows this revelation is the best on the album so far. Prog at its best. In the sixth minute we come out of the mayhem of battle into a space of silence--used to sing about Leo's death. These are the kinds of passages in which both Jean Pageau and Mystery excel: encasing scenes of emotional weight in stunningly gorgeous music. The eighth minute, then, shows the band exploring some electronically-framed spurts of heaviness, coming out with a passage of keyboard-soloing over prime NeoProg. At the nine-minute mark we switch to a heavier version of a previous motif for some electric guitar soloing weaving in and around Jean's singing. (Man this guy can sing!) The sudden switch at 10:35 to a more 1980s sound palette and motif is short-lived, a bridge to another round of the current heavy motif, but it returns each time Jean takes a break from singing. The lesson of "Pearls and Fire" is that no one can really control the outcomes/consequences of a young man's dreams. A very good though not really ground-breaking or earth-shattering epic of highly professional, proficient, masterful heavy NeoProg. (22.5/25)
6. "My Inspiration" (8:24) opens with arpeggio-picked multiple guitars like a setup for a heavy ballad. Jean joins in over the guitars and keyboard synth washes and tuned percussives while drums and bass hold back until the chorus. The drums and (awesome) bass remain for the rest of the song as Jean sings with no little emotion about his "inspiration." Several of the brief instrumental bridges in the mid-section feel quite Wind and Wuthering-era GENESIS-like (which is exactly one of the foundational definitions of NeoProg, isn't it?) Beautiful, dreamy, magnificent, pompous and bombastic. (18/20)
7. "Homecoming" (5:10) cool change-up with a multi-voice choral approach to the vocal deliveries over the opening 90 seconds. A long and heavy instrumental passage follows. The vocals rejoin (some solo Jena, some choral-crafted) with some excellent RICHARD WRIGHT-like keyboard work before Michel's guitar takes over. Very nicely (and differently) crafted song. (9.25/10)
8. "Is This How the Story Ends?" (19:11) opens with a couple of minutes of excellent msuic with the rhythm section feeling so tight, so polished, that I'm reminded of Phil Collins and Mike Rutherford at the absolute peak of their skills/powers. The instrumental passage beneath the dramatic narration in the eighth minute is among those sublime high points of Mystery's career. The final three minutes are about as classic 1976 GENESIS as one can get--so heavily dripping in Mellotron and bombast. (35.25/40)
Total Time 74:06
In my opinion drummer Jean-Sébastien Goyette and bassist François Fournier make up the best rhythm section Mystery have ever had and this, their seventh album and ninth year together, serves to capture their finest performance. I can listen to this music/album over and over in large part due to the amazing performances of these two. (Jean comes in a close second). Unfortunately, I think Michel extraordinary guitar skills never really hit the highs of previous albums--though they are always of the very highest caliber of skill and appropriateness. (It must be so hard to continually have to either reinvent your self/your style or try to top your shining moments from year to year, album to album--especially over a 30-year career and over 11 albums. The only other guitarists I've known to accomplish such a feat are Jeff Beck, Nick Barrett, and maybe Steve Hackett.) There are many pleasing, great moments of guitar play, but none so memorable of those I still get chills from during One Among the Living, World Is A Game, and Delusion Rain.
89.916667 on the Fishscales = B+/4.5 stars; a near-masterpiece of NeoProg--narrowly missing "masterpiece" status (though, who knows what further/future familiarity while reveal).
FISH ON FRIDAY 8mm
International pop-prog band are back with their sixth album, their first without founder William Beckers but their fourth since prog royalty Nick Beggs became a full-fledged member. The album is also the first recorded with all band members present in Frank Van Bogaert's new studio in the Belgian countryside. Here the band pulls together to use their music to react to the COVID pandemic and all of its fallout.
Line-up / Musicians:
- Nick Beggs / bass, Chapman Stick, backing vocals, producer
- Frank Van Bogaert / vocals, keyboards, guitars, producer
- Marcus Weymaere / drums & percussion
- Marty Townsend / guitars
with:
- Lulu Beggs / vocals
- Sofi Dykmans / vocals
- Theo Travis / flute
1. "8mm" (4:43) A beautiful, fully engaging song that tells such a meaningful, relatable personal story using an AMERICA "I Need You"/ALAN PARSONS PROJECT "Eye in the Sky"-like sound palette and form to do so. Great team vocals from Frank and Nick. (P.S. I love the accompanying video that the band used to release this song onto the Web via YouTube.) The music here is simple but effective, giving lots of room for instrumental nuance and flourish. The final two minutes seem to offer superfluous material (maybe for the sake of the video) but the ending is satisfying. (9/10)
2. "Collateral Damage" (4:19) piano, strummed acoustic guitars, bass and rhythm electric guitar support Frank Van Bogaert's AMERICA/Dave Gilmour/ALAN PARSONS PROJECT-like vocal. Nick Begg's ChapmanStick really picks up its prominence after the first chorus. Nice motif switch in the third minute after Marty Townsend's pedal steel guitar solo. Nice atmospheric Neo Prog. Though the chorus is not my favorite, which is probably why this one misses out on earning a place in my top three. (9/10)
3. "Overture to Flame" (1:45) instrumental intro to the next song. Great piece! Kind of a combo of Alan Parsons Project, and John Entwistle's bass from "Emminence Front." Definitely the proggiest work on the album. (4.625/5)
4. "Flame" (7:46) another 1:45 of proggy instrumental work bleeding over from the "Overture" leads into a solid song with co-lead vocals of angel-voiced Frank Van Bogaert and Nick Beggs and some very solid acoustic guitar work from Marty Townsend. A lyrics-delivery mechanism, I find myself a bit out in the cold as to the message and, therefore, the fullness of the song's intended impact. The singing here is actually the weakest part of the song: it's just a bit too wispy and smooth whereas I feel a need for some power to match or enhance the intricate instrumental work. (13.125/15)
5. "Jump This Wall" (5:54) opens with a nice APP/TANGERINE DREAM-like synth-led intro section before the full band kicks to create a lush APP/GENESIS NeoProg sound palette. Awesome multi-voiced group vocals (including co-composer, Sofi Dykmans) and some fun Nick Beggs Rickenbacker bass walking. I'm not quite sure what the lyrics are about: "I'm having a ball, Frankie, let's jump this wall," "Mississippi" and "freedom"?!? Bonus fun is the presence of Theo Travis on alto sax and flute. Still: a top three song. (9.25/10)
6. "Don't Lose Your Spirit" (5:43) like two songs in one: the first 2:30 is instrumental, then a shift occurs and a vocal supporting tune plays out (once again using Frank and Nick to share the lead duties in tandem. Man do these two vocalists make a perfect match!) At 4:38 the song switches to yet another mellow motif for Frank to solo outro with only his keyboard and voice. Amazing finish! Definitely a top three song. (9.25/10)
7. "Funerals" (7:39) opens like another electrically-amped AMERICA song (especially the vocal melodies and stylings). The big switch into a completely new "Caribbean yacht" motif at 3:50 is pretty cool: allowing Frank and Marty a chance to show a little of their skills (on Hammond organ and nylon-string acoustic guitar, respectively). At 5:17 we morph back to a vocal section. Incredibly beautiful. Man! I wish there were more bands doing these kinds of group harmony vocals. Very nice synth and electric guitar play on the 1:15 outro. Nice sophistication of the overall construct. Great mix of vocals and awesome bass and guitar play. (13.75/15)
8. "Silently Raging" (4:11) another fairly straightforward song (about the concerns of CCT monitoring, Artificial Intelligence facial recognition and the degradation of human privacy) that benefits from group singing to include representation from the female sector in the forms of Lula Beggs and Sofi Dymans as well as some nice incidentals from all of the instrumentalists. (8.75/10)
9. "Instillers" (5:19) opens with some Peter Gabriel-like electric piano over which the boys sing collectively (though it sounds as if Nick might have more of the lead). Nice lower range soloing from the electric guitar during the fourth minute's instrumental section. As usual, really nice melodies and very solid sound and construction. Nick Beggs' sound in the fourth minute's instrumental section is to die for--and the key changed reprise of the chorus near the end is absolute ear candy. (9/10)
10. "A New Home" (4:25) a pretty standard lush pop song in the vein of 10CC or Alan Parsons Project with the delightful addition of Lula Beggs on background vocals while her father flourishes his ChapmanStick prowess within. Nice lap pedal steel work from Marty Townsend. (8.75/10)
11. "Life Is Like the Weather" (2:31) (I love the accompanying video as created for the band by Nick's daughter Willow.) (8.875/10)
Total Time 54:15
Comparisons (and valuations) to my all-time favorite NeoProg album, Equations of Meaning by British artist Tony Patterson are not only warranted but necessary. This is incredibly intimate and evocative music for me and definitely my favorite (and the best) album by Fish On Friday (that I've heard so far).
89.89 on the Fishscales = B+/4.5 stars; a near-masterpiece of Prog Pop music that most prog lovers will love--especially if your into the lush soundscapes of the NeoProg world.
DOMINIC SANDERSON Impermanence
Line-up / Musicians:
- Dominic Sanderson / electric & acoustic guitars, vocals, Mellotron
With:
- Tristan Apperley / bass, Hammond organ, Mellotron, synthesizers, keyboards, violin, viola
- Jacob Hackett / drums, congas, percussion, backing vocals
- Aaron Butterworth / cello, Mellotron
- Tyler Swindley / piano
- Joshua Joyner / synthesizers
- Dan Ratcliffe / violin
- Abi Clark / flute
- Beatrice Overend / baritone saxophone
Word is getting out: there are a lot of young artists emerging into the Prog Scene and this young man, Dominic Sanderson, is a force to be reckoned with! Dominic is reportedly a resident of the West Yorkshire town of Wakefield, outside which Yorkist progenitor and next-in-line to the throne, Richard of York (father of the soon-to-be Edward IV), met with his demise in 1460 during a skirmish outside Sandal Magna castle when he and his small band were confronted by Margaret of Anjou's Lancastrian forces during the Wars of the Roses. The reverberations of this battle are being felt to this day, as evidenced by this album of powerful progressive rock music.
- Dominic Sanderson / electric & acoustic guitars, vocals, Mellotron
With:
- Tristan Apperley / bass, Hammond organ, Mellotron, synthesizers, keyboards, violin, viola
- Jacob Hackett / drums, congas, percussion, backing vocals
- Aaron Butterworth / cello, Mellotron
- Tyler Swindley / piano
- Joshua Joyner / synthesizers
- Dan Ratcliffe / violin
- Abi Clark / flute
- Beatrice Overend / baritone saxophone
1. "I Don't Think I Can Get over This After All" (3:44) beautiful "little" Steven Wilson-like opener has some wonderful elements in its rather simplistic construction. (9/10)
2. "The Twisted Hand of Fate" (5:08) an instrumental that opens with a multi-track Crimsonian "Discipline"-like weave before abrasive rock guitars and syncopated drum pattern rocket in. Chunky bass guitar leads up front and center in the second pass through the "Discipline" weave--even when radio-treated British male whispers his prophetic warning. But then the band switches into a SABBATH/VAN DER GRAAF GENERATOR motif with a flourish of some GENTLE GIANT-like vocals before settling into a heavier STEVEN WILSON-like . Nice drumming from Jacob Hackett but Tristan Apperley's malevolent bass is the real show-stealer. Like the VDGG finish, too. (8.875/10)
3. "This Night and the Wounds It Will Bring" (4:42) more fresh-sounding PINK FLOYD/1990s PORCUPINE TREE-like music that comes across as more like THE PINEAPPLE THIEF the longer the song goes. Excellent guitar solo over some very prog symphonic stuff for the final 90 seconds. (8.875/10)
4. "Is There Calm Amongst This Chaos?" (6:11) here's the song on which the ÂNGLAGÅRD influence comes shining through--the first 1:25, that is. Well done but it leaves me asking how much more Änglagård do we need? The second motif is not far off of some of the Swedish band's mellow motifs with its Mellotron-drenched support and delicate cymbal and flute play. I think what I like most about this song are the unexpected and unconventional chord progressions. Then there is that wonderful DAAL-like fourth minute that, following the Italian band's roots, turns heavy RPI over the next minute. At 5:10 Dominic's Damon Waitkus-like treated vocal provides a little respite from the forceful music--but only briefly, as the song ends with a true Änglagard/DAAL finale. (8.875/10)
5. "An Empty Room" (3:14) an impressive acoustic guitar solo in the vein of guitar-master ANTHONY PHILLIPS is only touched by piano and Mellotron in the final 45 seconds. (9/10)
6. "A False Sense of Promise" (4:51) what opens feeling like a continuation of the previous song becomes more of a liturginous choral piece with multiple vocals chanting their lyrics over some very simple, ephemeral instrumental accompaniment. Quite reminiscent of the more pastoral ADVENT approach to Gentle Giant. (9/10)
7. "Like Shards of Glass Falling Through My Fingers" (19:51) again ADVENT or MOON SAFARI are the bands that come to mind as I listen to the church-organ-drenched opening three minutes of this majestic, church-like sound. Even when it moves into bombastic organ-dominated prog there remains a church feel to it. During the middle ten minutes I hear elements that remind me of RICHARD WRIGHT VAN DER GRAAF GENERATOR, NEKTAR, CHRIS SQUIRE, DAIMON WAIKUS, the breathy vocals I've heard a lot in KING GIZZARD AND THE LIZARD WIZARD songs over the past decade, early YES, and PINK FLOYD, but most of all I hear the influence of STEVEN WILSON. Starting at 12-minute mark we move into heavier motif that reminds me very much of both ÂNGLAGÅRD and DAAL (to continue a pattern)Then, after the thunder storm interlude, we go to a lighter motif that reminds me of totally of ANTHONY PHILLIPS' "Sleepfall: The Geese Fly West" that eventually builds with electric guitar solo culminating in a powerful finale, that is, to my ears, all ROYE ALBRIGHTON. (Cue "Always" from his Christian-era Nektar revival period album, Evolution.) Brilliant epic construct--very refreshing and unique if, at times, somewhat derivative. (36/40)
Total Time 47:41
Yes, I can corroborate: There's a new progster on the scene and his name is Dominic Sanderson! The man has all the chops, all the compositional genius to be a real force in Prog World. I only hope his esteemed presence is not mirrored by the title of his debut album!
89.625 on the Fishscales = B+/4.5 stars; a near-masterpiece collection of refreshing progressive rock songs, all intricately constructed and performed using great sound engineering. This young man will be a force to be reckoned with for a long time (should he choose to stay in the domain).
UNITOPIA Seven Chambers
Unitopia is reborn! And what a line-up! Chester Thompson! Alphonso Johnson! Steve Unruh! John Greenwood and Sean Timms! Not to mention their fearless Aussie leader, Mark Trueack. My expectations, needless to say, are high.
Unitopia is reborn! And what a line-up! Chester Thompson! Alphonso Johnson! Steve Unruh! John Greenwood and Sean Timms! Not to mention their fearless Aussie leader, Mark Trueack. My expectations, needless to say, are high.
Line-up / Musicians:
- Mark Trueack / vocals
- Sean Timms / keyboards
- John Greenwood / guitars
- Steve Unruh / flute, violin
- Chester Thompson / drums
- Alphonso Johnson / bass
1. "Broken Heart" (8:31) solid NeoProg--perhaps a bit on the heavy side--with some pretty banal lyrics. (17.3333/20)
2. "Something Invisible" (7:20) I like this vocal range much better than Mark's low voice used on the previous song; for some reason it makes a big difference. Great second half with all of Mark's friends putting together a beautiful folky-pastoral soundscape. A top three song. (14.25/15)
3. "Bittersweet" (6:39) another song that feels too pretty for prog, but, here it is! Great sound engineering; great performances by all! A song about diabetes and our addiction to junk food, even the odd (and rather pedantic) rap of grocery lists in the second half seem to work. (9/10)
4. "Mania" (12:30) nice music with lots of interesting individual brandishes and flourishes but, again, the lyrics are just dull and awkwardly 'forced hip.' Also, the music never really climbs out of its opening pace and rhythm. (21.25/25)
5. "The Stroke of Midnight" (9:39) interesting, quirky music reminding me of DEAD CAN DANCE and THE FLOWER KINGS--especially with Mark's singing. As we move into the middle of the song the style shifts to more classically-oriented pop music (like The Raspberries). Steve Unruh is given a spacious amount of time in which to perform some of his violin magic over gentle piano, drums, and simple bass. Then classical guitars (two) take a turn. At 7:50 we return to full spectrum prog--this is nice. Mark's vocal melodies are nice (if somewhat familiar) and his lyrics a little more filled with imagery instead of spoken vernacular. (17.75/20)
6. "Helen" (19:14) a great 1980s PETER GABRIEL-like soundscape and great song construction supports Mark's impassioned singing using medical pioneer Helen B. Taussig as its muse and subject matter. A pastoral classical section at the end of the fourth minute sets up a very BIG BIG TRAIN-like section, but then in the seventh minute the entry of Spanish-style classical guitar play creates a shift back to a more classical-oriented musical style. At the 8:40 mark we make a transition to a more contemplative yet tension-filled instrumental passage that is completely driven by two bass beats coming from the bass instruments repeating themselves while other gentle instruments flit and fly around in the soundscape--until 10:12 when full-chord strums from electric guitars amplify the same two beats as the rest of the sonic field escalates its foment. This tension quickly dissipates and morphs into a delicate classically-influenced chamber weave of mandolins, flutes, and piano (and, later, mouth organ) over which Mark sings in more staccato than usual voice. Female French passages are woven into the mix a couple of times. The music then slowly builds with the sixteenth minute being one of the ultimate peaks of the entire album. Mark & co. sing in an intensified realm in seventeenth and eighteenth minutes sustaining the heights attained by the previous section. With the eighteenth minute the piano-based music moves more into the style and sounds we're used to hearing from John Young's LIFESIGNS, Dave Longdon's BIG BIG TRAIN, or even THE PSYCHEDELIC ENSEMBLE. Sublime! Great ending! Definitely a top three song for me. (38.5/40)
7. "The Uncertain" (18:34) opens like a Indie-Folk pop song with happy-go-lucky strumming of acoustic guitar coupled with Mark's singing giving this a happy-go-lucky feel. In the second minute things ramp up into what feels like a weak attempt at a heavy prog passage: the rhythm tracks are pretty solid and convincing but the keys and vocals are just too light and happy. Very cool rhythmic music takes over at the end of the fourth minute as some British medical voice is listened to for a half a minute. Then things try to revert to the "heavy" theme without any vocals. Not great until 6:35 when Steve Unruh's violin swoops in to try to salvage the day. As this section ends things get loose and fractured before a seismic pause is filled by some acoustic guitar picking. Mark rejoins with his singing voice--this one the lower one. The background "incidentals" are cool as Mark sings about the minuscule insignificance of the human being. This is a pleasant section. At 10:30 the band kicks in with some commensurately pleasant landscape music, Steve's violin reappears for a bit, then a "forty days" kind of chorus section ensues. Again, there are enough apocryphal religious undertones to make me squirm just a little. At the end of the 13th minute we get a cut and dried transition into a new MIDNIGHT OIL-STYX-like instrumental passage in which the intermittent vocals are more background accents and fills as several musicians get their chance to shine. At 15:20 we move into a new passage in which a five-chord descending progression for Mark's singing to continue but then we calm down to basic strumming acoustic guitars for Mark to finish with a delicate if-resigned voice. Overall, I find nothing very exciting or refreshing musically about this song. Were I more attuned to the lyrics I might gain more but, alas! that's not how my brain works. (34/40)
Total time: 82 minutes
Would that every prog band had such a solid, dependable rhythm section: It makes it so easy for the composer to build something special over. My main problem, as always with Mark's compositions, is not with the music but with the vocals, vocal melodies, and especially with the wording of the lyrics; the lyrics are all well-intended--as usual, addressing major world issues (often climate-oriented)--its just that the vocabulary used is so pedestrian and jejune.
89.46 on the Fishscales = B+/4.5 stars; a near-masterpiece and wonderful addition to any prog lover's music collection--especially if you're into pristine NeoProg music.
HANIA RANI Ghosts
Hania Rani is a classically-trained pianist from Poland who, post graduation, has found herself enamored of the sounds and potentialities of other electronic keyboards as well as collaborative explorations (and the potential of expressing with her own voice and words!). This studio album, her first of all her own material and representing a very broad spectrum of musical styles and sound palettes (including singing), is perfectly representative of many of her personal experiments. The video entitled "Hania Rani - Ghosts Album Launch: Studio 1, Polish Radio, Warsaw," from October 6, 2023 available for viewing on YouTube is an incredible demonstration of the power of this album.
1. "Otre Terra" (2:39) muchmore elctronic than I was expecting for an album opener--especially knowing Hania's training and background as a classical piano performer. (4.625/5)
2. "Hello" (5:08) driving, mesmerizing and hypnotic. (9/10)
3. "Don't Break My Heart" (5:22) a voice that sounds like a cross between a soprano Billie Holiday and James Blake. Great piano melodies. (8.875/10)
4. "24.03" (4:13) Berlin School sequencing--on the thick, heavy side! (9/10)
5. "Dancing with Ghosts" (4:59) a wonderfully ethereal duet between Hania and Patrick Watson. (8.875/10)
6. "A Day in Never" (4:26) this being my first exposure to the voice and vocal stylings of Hania Rani, I'm drawn to compare her light, airy, often whispery and ethereal voice and style to that of the great Norwegian prog folk singer, Tirill Mohn. (8.75/10)
7. "Whispering House" (4:53) a very Harold Budd-like collaboration with friend and mentor Ólafur Arnalds. (8.75/10)
8. "The Boat" (7:06) like the clinking of empty boats in a harbor, the sounds of the inner workings of a piano are here used to emulate such, as if the harbor were experiencing a down day due to an encroaching storm. Nice. Very sensory conjurative in a Brian Eno-esque way. (13.25/15)
9. "Moans" (4:34) a kind of a ghost rondo with Hania's Jane Siberry/Stina Nordenstam/Becky Jarret/Billie Eilish/Marit Elizabeth Svendsboe/Anna Järvinen voice. (8.75/10)
10. "Thin Line" (4:18) in her most little-girlish ingénue voice, Hania sings as if treading carefully through a dream. (8.75/10)
11. "Komeda" (11:03) lower C electric piano arpeggio over which other piano notes, incidentals, and arpeggi are played (along with some electronically-produced and -treated percussives). Grand piano becomes more aggressive and dominant in the middle before backing down and letting the electronics and electric piano have the stage again. Lots of very nice, interesting incidentals to keep one interested. Nice. (Even better live: her body language is so invested!) (18/20)
12. "Utrata" (4:12) oddly-treated or -effected piano chords bounce along while Hania sings--often doubling up with her own ethereal voice acting as harmony/background singer. Great strings arrangement for the second half. Definitely a high point of the album. (9/10)
13. "Nostalgia" (3:27) as if a melody line from a classical piece were being rendered unto a zither or old and cranky, much-abused upright piano. Very evocative and virtuosic. A top three song for me. (9.5/10)
89.375 on the Fishscales = B+/4.5 stars; a wonderfully creative and diverse collection of electronically- and classically-rendered music in the crossover/electronic subgenre of progressive music. I think this is an album that many prog lovers will find enjoyable and interesting. Hania Rani is one talented, highly creative young artist that I will be watching and following for a long time.
RESIDUOS MENTALES A Temporary State of Bliss
From Greece, the band's sophomore album coming five years after their debut shows continued exploration of a variety of familiar instrumental progressive rock styles often using a piano- or blues-rock-based sound structures.
- Alexandros Mantas / electric guitar, acoustic guitar, flute, bass
- Stratos Morianos / keyboards, synthesisers
With:
- Dimitris Radis / electric guitar, acoustic guitar, bass
- Yiannis Iliakis / drums, percussion
- Leonidas Sarantopoulos / saxophone, flute (3)
- George Karayiannis / guitar (3)
- Vaggelis Katsarelis / trumpet (2)
- Maria Tseva / vocals (1)
1. "The Stuff Of Dreams" (17:02) opening with a sound and form feeling very rooted in the classic 1970 period of Rock Progressivo Italiano, the band eventually kicks in at the end of the fourth minute with an upbeat strummed acoustic guitar motif that still harkens back to bands like LE ORME and GENESIS as well as modern bands like the late Bill Gillham's CIRRUS BAY. In the eighth minute the instrumental palette (and chord play) turns a bit more STYX-like, being flattened out in the ninth minute into a kind of extended étude of Baroque constructs. In the eleventh minute, a brief series of rather ominous power chords clear the path for a slow, steady GOBLIN-like cinematic walk down a dark alley until at 11:58 the "monster" is revealed--and it is terrifying! At 12:30 it seems that the POV pedestrian/composer has chosen a "turn and flee" option as the heavy full-band music races along with all instruments contributing to a cacophonous build of tension from which there is only a temporary resolution at the 14-minute mark followed by a tension-filled reprieve and rest period that turns into a walk, run, and continued fleeing led by some wonderfully intricate piano and electric guitar interplay over a standard driving rock rhythm track. A wonderful soundtrack to a mini-movie! (31.5/35)
2. "The Missing Part" (5:35) nice trumpet and lead electric guitar playing and arrangement over a very simplistic, plodding four-chord piano sequence. (8.66667/10)
3. "A Series Of Self-Correcting Errors" (12:03) interesting RPI-like beginning, starting with cinematic tension before launching into a fast-flying frenzy into a DAAL-like Dick Dale swing motif. The third motif, which begins in the third minute, is less frantic, more Trans-Siberian Orchestra-like, but this comes to an end in the fifth minute and is replaced by a very gentle, beautiful, dreamy passage that contains layers of beautiful melodies woven together over piano. A wonderfully emotive SANTANA-like electric guitar solo starts up in the sixth minute and carries the listener into the Mellotron-drenched eighth before the pace picks up and synths and woodwinds trade off taking the lead. Nice bass play in this motif. Electric guitar and orchestral hits play off the as the train careens over the cliff into the end abyss. (22.25/25)
4. "Impending Catastrophe" (9:12) opens like a children's song with Fender Rhodes and synths with classical guitar and synth flute taking over the lead melody in the second minute. At 1:35 the band switches vehicles from horse-drawn country coach to military truck as it takes us lumbering at higher-than-recommended speeds down some urban side streets. The truck driving seems to smooth out--perhaps hitting a more modern street--before a STYX-like synth solo in the fourth minute. Contemplative solo church organ takes over in the fifth minute, giving us a full minute to reflect before a heavy section with FRIPP-like guitar machinations takes over gradually leading us into a near-classical motif before reverting back to the heavy soundscape where the drums and synth strings arpeggi launch us into a race to exit. This motif morphs from full band to solo piano, the dextrous acoustic keyplay giving us a concerto feel for a half a minute before the rest of the "orchestra" joins in with a TRANS-SIBERIA ORCHESTRA flair. (18/20)
Total time 43:52
89.35 on the Fishscales = B+/4.5 stars; a near-masterpiece of sophisticated instrumental music that often conjures up clear reminders of many of the 1970s prog and classic rock sounds and stars.
AVKRVST The Approbation
Yet another Norwegian band pops into Prog World--yet this one is more exciting than most in that its members are all quite youthful--and none of them have participated (yet) in the rather incestuous member-swapping that has produced so many "new" bands in the past ten years. I really like the isolated winter cabin concept (from René Magritte's "The Lovers") behind these songs.
Line-up / Musicians:
- Simon Bergseth / bass, guitars, vocals
- Martin Utby / drum, synths
- Oystein Aadland / bass, keys
- Edvard Seim / Guitars
- Auver Gaaren / keys
1. "Østerdalen" (0:26) a couple guitar arpeggios lead into:
2. "The Pale Moon" (6:15) powerful opening leads into a very sedate yet satisfying multi-instrument weave. In the second half of the second minute a pleasing sustained-note electric guitar enters, shifts a couple times, and then disappears to be replaced by Mellotron before the vocals begin. The vocals and their melodies are quite nice, sounding a bit like mid-2010s VOTUM or KARNIVOOL. Great sound palette--full dynamic spread. At 5:15 some heavy power chords and riffs take over, giving the song quite an ominous downturn as the wailing sustained lead guitar rejoins. Then at 6:00 growl vocals enter to finish the song. Wow! Impressive! (9.25/10)
- Simon Bergseth / bass, guitars, vocals
- Martin Utby / drum, synths
- Oystein Aadland / bass, keys
- Edvard Seim / Guitars
- Auver Gaaren / keys
1. "Østerdalen" (0:26) a couple guitar arpeggios lead into:
2. "The Pale Moon" (6:15) powerful opening leads into a very sedate yet satisfying multi-instrument weave. In the second half of the second minute a pleasing sustained-note electric guitar enters, shifts a couple times, and then disappears to be replaced by Mellotron before the vocals begin. The vocals and their melodies are quite nice, sounding a bit like mid-2010s VOTUM or KARNIVOOL. Great sound palette--full dynamic spread. At 5:15 some heavy power chords and riffs take over, giving the song quite an ominous downturn as the wailing sustained lead guitar rejoins. Then at 6:00 growl vocals enter to finish the song. Wow! Impressive! (9.25/10)
3. "Isolation" (5:40) opens like a fairly standard with syncopated "Eye of the Tiger"-like guitar chord intro with second guitar shredding fast arpeggi riffs. The music takes a few turns in the second minute--as if this is an overture (since there has been no singing up to this point)--a feeling that is augmenteed by yet another mood and stylistic shift in the second half of the third minute. Gentle singing voice enters at 3:15 over this gentler (though still metal--latent with potential energy) section as if just another instrument. Guitar riffing returns (though in the background) between vocal passages. Another tempo and stylistic shift works its way out at the end of the fifth minute allowing for a nice synth solo in the sixth. Very interesting song yet it feels like an awful lot of unresolved issues have been left loose. (8.875/10)
4. "The Great White River" (6:30) Very interesting dynamic between the syncopated electric guitar chord strumming and the much calmer, more simplified bass and drum rhythm track. When the vocals enter (over a much calmer, more pop-proggy soundscape) in the second minute I am reminded of a cross between SMALLTAPE/TINYFISH and ALAN PARSONS PROJECT. Very interesting. Surprisingly saccharine melodies. Quite pretty (especially considering the lyrics seem to be about the contemplation of death's unexpected and yet unavoidable arrival).
Growl vocals at the four-minute mark, but then we return to the dreamy, floaty APP/TINYFISH sonic field for the finish. A top three song. (8.875/10)
5. "Arcane Clouds" (6:03) a gorgsous song that sounds like a cross between VIENNA CIRCLE and the softer side of KARNIVOOL or THE PINAEAPPLE THIEF. Some very nice, unexpected, shifts in sound and pacing--even style--especially for the excellent choruses and the disquieting finale. Quite pretty and fully/mature proggy. A top three song for me. (9.25/10)
6. "Anodyne" (10:14) the first five minutes are totally instrumental and full-on heavy prog-by-numbers--like a warm up of RUSH, whereas the second half turns into quite the lovely, melodic, atmospheric vocal music. Hard to rate cuz the first half is mediocre though impressive while the second half is pretty though syrupy. (17.5/20)
7. "The Approbation" (13:36) wonderful, bombastic NeoProg opening sounding like something from MYSTERY or NINE STONES CLOSE, backs off to arpeggiated acoustic guitar chords until 1:15 when the NeoProg bombast returns. So nice! At 1:48 the guitars take us into some metal music (though the drums remain rather constant and controlled--very cool!). Muted/effected lead vocals sound metallic--as if the singer might go off into some growls at any minute--but the music slides into surrealistic dreamscapes for the fifth minute as percussives fill all of the sonic field--until, that is, the progression of power chords enters at 4:30 and gradually take us into an instrumental exercise similar to OPETH c. 1998. At the end of the sixth minute the music shifts into more staccato-rapid fire drum and guitar rhythm-making but then we switch back to the OPETH-like motif (and backa nd forth again) while Edvard's lead guitar wails away somewhere in the inner sanctum. At 7:50 everything cuts out--as if a nuclear explosion or EMP just shuts everything down--leaving industrial devastation ... until guitar and Mellotron bring back some forward momentum. Nice drumplay shows progress as power chords plod forward. The surrounding sound builds layer by layer as the melodic chord progression rhythmically repeats over and over. The final 45 seconds are just wrap up and decay. Who knew this was going to be all instrumental?! (26.625/30)
Total Time: 47:04
I really like the unexpected turns and often quite-mature prog songscapes and song constructs this band of young persons uses. They will definitely be a band that I will follow as their career continues to unfold.
89.31 on the Fishscales = B+/4.5 stars; a most excellent addition to any prog lover's music collection. I think everybody's going to like this--even the dinosaurs!
An artist that I've only come to know due to a submission to the principle radio station that boradcasts my show every Sunday night, WDRT-Viroqua. According to all that I've been reading about Jef as I've been getting to know the music of this album, he's a Chicago native that started out in the music industry with Cheer-Accident leader Thymme Jones but then got swooped up in the world of theatric music--both in Chicago and Los Angeles--where he has won many awards and accolades over a 40 year career of playing, leading, and even composing music for stage musicals.
Lineup / Musicians:
Jef Bek – drums, keyboards with vocals (1,4,5,6), slide guitar (4)
Callum Crush – vocals, additional vocal arrangements (1,2,3,7)
Jeff Libersher (CHEER-ACCIDENT) – guitar (1,3,5)
Rick Zaccaro – bass (1,4)
Saskia Chen – vocals (1)
James Musser – guitar (1)
Dan Burke – guitar and sounds (1)
Chris Block (CHEER-ACCIDENT) – bass (7), guitars (2,3,7), mellotron (2)
Bill Henshell – bass (2,3), guitar (2)
Greg Schultz – guitars (2)
Jill Marie Burke – vocals (3)
Dan Sweigert (STAR PERIOD STAR) – guitar (4,5)
Thymme Jones (CHEER-ACCIDENT) – trumpet (4)
Cody Blake – tuba (4)
Joshua Finkel – vocals (5)
Bill Henshell – bass (2,3), guitar (2)
Greg Schultz – guitars (2)
Jill Marie Burke – vocals (3)
Dan Sweigert (STAR PERIOD STAR) – guitar (4,5)
Thymme Jones (CHEER-ACCIDENT) – trumpet (4)
Cody Blake – tuba (4)
Joshua Finkel – vocals (5)
Steve Karolus – bass (5)
1. "Distant Starlight" (14:06) a synth variant of Tony Banks' famous intro from "Watcher in the Skies" starts this one out before some Some ver y strong (if heavily-treated) vocals from female vocalist, Saskia Chen. Has some very YES-"Awaken"-like moments, sounds, and riffs from the 11th minute on including the "Master of Souls" vocal theme, an excellent passage supporting a STEVE HOWE-like guitar solo complete with RICK WAKEMAN-like church organ. While the bass and drum play are distinctively new and not Chris Squire or Alan White like, the final four minutes definitely play out like "Awaken"--almost too similarly. A great song with excellent engineering and musicianship, I have to demerit some for the plagiaristic parts, otherwise this would be rated as a most perfect modern prog epic. (27/30)
2. "Momentary Champion." (3:59) an acoustic guitar-based song that opens sounding very much like a STRAWBS song. Callum Crush's lead singing voice (and the accompanying vocal harmonies) definitely remind me of Dave Cousins--though there is a current RPI guy that sounds just like this as well, I'm just not able to pick out of my brain at the drop of a hat. The keyboard used for the piano/harpsichord bit around the two-minute mark is quite cheap/dated, but, otherwise, the song is solid, lushly performed and engineered. I especially enjoy the fretless bass of Bill Henshell. A very satisfying ALAN PARSONS PROJECT-like song. (9/10)
3. "Riptide" (14:59) is a wonderfully constructed and flowing epic, it contains many GENESIS- and ALAN PARSONS PROJECT-like sounds and moments as well as awesome sections of beautifully harmonized vocals. The lead vocalist/storyteller is the same Dave Cousins sound-alike, Callum Crush, but there are many instances and passages in which the background and choir vocals are used to perfection. Though the song drags a little in a couple places (the eighth and ninth minutes, the ), the storyline keeps one well-engaged. Nice drumming at the ten-minute mark (and 90-seconds later) before the "Apocalypse in 6/8" teaser takes us into the rising piano arpeggio motif. I also like the little guitar return with the space dudes lying in the What Dreams May Come field of flowers after the gurgling in the video version. Well done! Those harmony vocals and 12-string guitars are alone worth the price of admission! (27/30)
4. "What One Has" (4:46) opens with some cinematic computer synth "orchestral" instrumentation presenting us with a very familiar Hitchcock/Whodunnit-like theme--which persists throughout the song, sometimes beneath the music or in the background, sometimes rising to the fore to become the dominant theme (as in the third minute). The keyboards are, to my ears, irritating for their 1980s sampler sounds. The quirky barbershop quartet male vocals may be fitting to the song's themes and style--and are, I hope, I think, meant as a tongue in cheek "tribute" like Peter Gabriel's "Excuse Me." I understand the creativity and enjoyment the composer and musicians probably had doing these--motivators that are definitely not unfamiliar to Prog World and the attempts of many prog bands over the course of 60 years--but are less than amusing to this audience member. The song's guest appearance by none other than Thymme Jones is special--and he plays a mean trumpet (which we Cheer-Accident followers already know). (8.66667/10)
5. "She Has Started to Drink" (7:43) opens sounding and feeling very much like an upbeat, optimistic song from a STEPHEN SCHWARTZ stage musical. As the vocals enter and the music becomes much more of a support vehicle I am very much reminded of bands like ECHOLYN, CHEER-ACCIDENT, MR. BUNGLE, BUBBLEMATH, ADVENT, and even a little GENTLE GIANT and RASCAL REPORTERS. As with the previous song, I find the choice to use a male choir to present the lyrics quite interesting; for some reason the choir vocals give the song a much higher possibility that the meaning trying to be conveyed might be satirical.
A wonderfully quirky prog song with great twists and turns and awesome instrumental performances. It's taken me several listens, however, to feel accepting of the vocals--which were performed, apparently, by two men--who were, obviously, using multiple tracks. Funny how bands like Echolyn and Cheer-Accident can sing about such heavy topics (like this) with such positive, upbeat, and beautiful music. (13.666667/15)
6. "They Are Playing a Game/Jack Is Afraid of Jill" (2:49) heroes Jack and Jill were also mentioned in the previous song! Feels like two leftover motifs that might have been originally part of the previous song were scraped off the floor, spliced together and salvaged for a little interlude/filler. They're good ditties but they probably could've waited for use in something else in the future. (4.25/5)
7. "When Silence Calls" (11:48) has a little edgier (polyrhythmic) opening but then comes together for the vocals. I'm reminded a little of RUSH, STARCASTLE, and And Then There Were Three GENESIS--and, later, of early Genesis: like Nursery Cryme era. Again, the sounds coming out of Jef's computer keyboard are, unfortunately, a little dated for my tastes/preferences, otherwise this is a nicely constructed and well-performed, entertaining song. (22/25)
2. "Momentary Champion." (3:59) an acoustic guitar-based song that opens sounding very much like a STRAWBS song. Callum Crush's lead singing voice (and the accompanying vocal harmonies) definitely remind me of Dave Cousins--though there is a current RPI guy that sounds just like this as well, I'm just not able to pick out of my brain at the drop of a hat. The keyboard used for the piano/harpsichord bit around the two-minute mark is quite cheap/dated, but, otherwise, the song is solid, lushly performed and engineered. I especially enjoy the fretless bass of Bill Henshell. A very satisfying ALAN PARSONS PROJECT-like song. (9/10)
3. "Riptide" (14:59) is a wonderfully constructed and flowing epic, it contains many GENESIS- and ALAN PARSONS PROJECT-like sounds and moments as well as awesome sections of beautifully harmonized vocals. The lead vocalist/storyteller is the same Dave Cousins sound-alike, Callum Crush, but there are many instances and passages in which the background and choir vocals are used to perfection. Though the song drags a little in a couple places (the eighth and ninth minutes, the ), the storyline keeps one well-engaged. Nice drumming at the ten-minute mark (and 90-seconds later) before the "Apocalypse in 6/8" teaser takes us into the rising piano arpeggio motif. I also like the little guitar return with the space dudes lying in the What Dreams May Come field of flowers after the gurgling in the video version. Well done! Those harmony vocals and 12-string guitars are alone worth the price of admission! (27/30)
4. "What One Has" (4:46) opens with some cinematic computer synth "orchestral" instrumentation presenting us with a very familiar Hitchcock/Whodunnit-like theme--which persists throughout the song, sometimes beneath the music or in the background, sometimes rising to the fore to become the dominant theme (as in the third minute). The keyboards are, to my ears, irritating for their 1980s sampler sounds. The quirky barbershop quartet male vocals may be fitting to the song's themes and style--and are, I hope, I think, meant as a tongue in cheek "tribute" like Peter Gabriel's "Excuse Me." I understand the creativity and enjoyment the composer and musicians probably had doing these--motivators that are definitely not unfamiliar to Prog World and the attempts of many prog bands over the course of 60 years--but are less than amusing to this audience member. The song's guest appearance by none other than Thymme Jones is special--and he plays a mean trumpet (which we Cheer-Accident followers already know). (8.66667/10)
5. "She Has Started to Drink" (7:43) opens sounding and feeling very much like an upbeat, optimistic song from a STEPHEN SCHWARTZ stage musical. As the vocals enter and the music becomes much more of a support vehicle I am very much reminded of bands like ECHOLYN, CHEER-ACCIDENT, MR. BUNGLE, BUBBLEMATH, ADVENT, and even a little GENTLE GIANT and RASCAL REPORTERS. As with the previous song, I find the choice to use a male choir to present the lyrics quite interesting; for some reason the choir vocals give the song a much higher possibility that the meaning trying to be conveyed might be satirical.
A wonderfully quirky prog song with great twists and turns and awesome instrumental performances. It's taken me several listens, however, to feel accepting of the vocals--which were performed, apparently, by two men--who were, obviously, using multiple tracks. Funny how bands like Echolyn and Cheer-Accident can sing about such heavy topics (like this) with such positive, upbeat, and beautiful music. (13.666667/15)
6. "They Are Playing a Game/Jack Is Afraid of Jill" (2:49) heroes Jack and Jill were also mentioned in the previous song! Feels like two leftover motifs that might have been originally part of the previous song were scraped off the floor, spliced together and salvaged for a little interlude/filler. They're good ditties but they probably could've waited for use in something else in the future. (4.25/5)
7. "When Silence Calls" (11:48) has a little edgier (polyrhythmic) opening but then comes together for the vocals. I'm reminded a little of RUSH, STARCASTLE, and And Then There Were Three GENESIS--and, later, of early Genesis: like Nursery Cryme era. Again, the sounds coming out of Jef's computer keyboard are, unfortunately, a little dated for my tastes/preferences, otherwise this is a nicely constructed and well-performed, entertaining song. (22/25)
When Jef sent me a link to these songs they were all in video form on YouTube. The album is also available on Bandcamp where the songs are slightly shorter but sound very much the same. The quality of craftsmanship and entertainment value of each of the videos are extraordinarily high. It is obvious that Jef and friends have put in a TON of work to realize not only this album but each and every single song. Mega Kudos!
89.26667 on the Fishscales = B+/4.5 stars; a near-masterpiece of nostalgic progressive rock music. The album was released in November of 2023, the video versions the same, but I'm only just discovering it here in February of 2024--which means Distant Starlight made it's way to my awareness after I had already completed my 2023 Year-End Lists. C'est la vie! Still, this is an album that is well worth the attention of any prog lover. Highly recommended!
CAIRO Nemesis
A refreshing smorgasbord of musical styles delivered by TOUCHSTONE veteran Rob Cottingham and his loyal crew of guitarist James Hards, bass/guitarist Paul Stocker, and drummer extraordinaire Graham Brown. The band's second album (their previous effort, Say, was released in 2016) introduces the rock-solid voice of newcomer Sarah Bayley: truly a talent to be praised and watched for future contributions.
- Sarah Bayley/ lead vocals
- Rob Cottingham / lead & backing vocals, keyboards, programming, composer
- James Hards / acoustic & electric guitars
- Paul Stocker / bass, acoustic guitar
- Graham Brown / drums & percussion, backing vocals
1. "Asleep at the Wheel" (7:46) one of the more refreshingly-creative songs I've heard this year: the instrumental and stylistic palettes used are brilliantly blended, the rhythmic flow highly unusual and intriguing, even the song construct is odd and surprising, but my favorite element of the song is the incredibly-nuanced doubling of the lead male vocal with a perfectly-mirrored female just behind him. It took the few moments where each vocalist sang in solo isolation for me to verify what my brain kept telling me: "There's a woman's voice singing just behind the lead male!" I can't remember when I've ever heard this feature accomplished with such effect. (Answer: THE REASONING.) Then there's the (quite unexpected) heaviness blended with a rather SOUISXIE AND THE BANSHEES-like sound and style (especially evident in Sarah Bayley's androgynously lower register croon). And then there's keyboardist Rob Cottingham's amazing synth solo in the sixth minute! And did I mention the totally unexpected finish? Don't get me wrong: there are weaknesses in this song--and some choices I don't quite understand or agree with--but I LOVE the creative innovativity coming through with this song. Definitely my favorite song on the album. (14.5/15)
2. "Trip Wire" (6:13) Now I get the "Crossover" designation. These artists are chameleons! A heavy prog guitar chord progression and rockin' rhythm track power this one from the start so that Sarah Bayley's lead power vocal has firm ground on which to fly. Some Pat Benatar similarities here. The instrumental fourth minute is my favorite because of the drum play, Sarah's instrumental vocalise, the playful 1980s synth play, and lead guitar work. But then it kind of goes BON JOVI on us until the rhythm section reminds us that this is Sarah's song: we stop, restart with some spacey layers of synth play before the percussion and angular guitar chords join in--but, surprise! We never get to hear Sarah sing again! (8.875/10)
3. "Glow" (3:25) a very sparsely populated song in which I hear quite some similarities to Heather Findlay's voice as well as the MOSTLY AUTUMN approach to song creation. Very pretty little pastoral 1:40 until the blues-rock power chords and screaming lead guitar and synths take over. I'm glad she comes back to sing at the finish of this one. (8.875/10)
4. "Rogue" (5:47) I hear quite a bit of the fragility and un-Western sense of melody of early Sugarcubes-era BJÖRK in Sarah's voice here over the fairly standard pop musical construct. This time it's vocalist Rob Cottingham mirror-backing Sarah. At we switch into a very DAVID GILMOUR-sounding section--complete with Rob's doppleganger vocal performance. Not a great song (despite great drumming and fun synth play in the instrumental section), but I sure love Björk! (8.75/10)
5. "The Love" (5:21) despite opening with a syrupy electric piano solo, this one turns into another synthed-up blues-rock sound palette in which Sarah Bayley's voice sings with the clear diction and style of Mostly Autumn's Heather Findlay. (8.66667/10)
6. "New Beauty" (7:36) opening with an intriguing palette of heavily-reverbed slowly-picked electric guitar the song creates quite an engaging Floydian spaciousness--something that is then augmented by an equally spacious electric piano, performing in a lower register, supporting the guitar. The song takes almost a full 90-seconds in this mode before it begins to reveal its true form and style (which reminds me a lot of shooting star band THE REASONING from 2005-2015. Even the vocal styling is Rachel (Jones) Cohen-like!) Though nothing too exciting or innovative, there's just something very likable and engaging about this one, start to finish--kind of like a MOSTLY AUTUUMN or MANTRA VEGA song. I like htis one for my final top three song. (13.5/15)
7. "Deja Vu" (3:20) Drum machine! Vangelis Blade Runner synth lead! Great melodic hooks--on two levels. NO-MAN-like Tim Bowness vocals (with that magical female voice mirroring as if just behind the lead male)! Not a big fan of the ALEX LIFESON power chords, but, heck! You can't have everything. The result: Another top three song. (9/10)
8. "Jumping on the Moon" (5:35) pure synth pop--something that could have come from a SIMPLE MINDS / PETE SHELLEY imitator. (8.5/10)
9. "Save the Earth" (4:14) sustained synth drone note with repeating radio-voice samples and industrial sounds and effects open this one. In the second minute synth strings begin tracing out a melodic path and then rhythm guitar begins to add its muted low-end duads and triads. The spacious dance continues just as this until its startling (and sad) end with its four implosive booms and gong. (9/10)
10. "Nemesis" (8:32) perhaps a little too sedate, saccharine, and 1980s conservative (as well as derivative), this song, fronted by solo Rob Cottingham, may, in fact, have been one of Rob's older songs created and recorded before/after/without Sarah Bayley's input (despite the fact that she still plays a significant part of this with her angelic background vocals behind and with Rob's leads) because Rob's vocal is very much the lead force here. A very pleasant, pretty song, but nothing like the album's incredibly courageous opener (despite the wonderful little keyboard ditty in the final 35 seconds that is used to close it). (17.4/20)
Total Time 57:49
Did I mention how much I enjoy Rob Cottingham's RICHARD WRIGHT-like keyboard sensibilities: his solos and overall sound choices are at the top of my list of favorites for 2023! Very impressive!
89.22 on the Fishscales = B+/4.5 stars; a near-masterpiece of wonderfully refreshing and rather diverse progressive rock music--something every prog lover should at least try. As Thomas said in his review above, the world should take notice of newcomer Sarah Bayley; she is a force to be reckoned with!
THE FILIBUSTER SALOON Going Off Topic
Lineup / Musicians:
- Zachary Detrick - piano, electric piano (2) accordion (5), MIDI programming - Quinn Coniguliaro - bass
- Ben Coniguliaro - drums, electric guitar (2,3,4,8), percussion, handclaps (2)
With:
- Ben Coniguliaro - drums, electric guitar (2,3,4,8), percussion, handclaps (2)
With:
- Joey Lavarias - bassoon (1,4,7,8)
- KJ McDonald - violin (1)
- Lucas Sem - marimba (1)
- Nikolai Klotchkov - tenor sax (2)
- Sonia Susi - violin (2, 7)
- AJ Hudson - marimba (2)
- Jake Borden - marimba (5)
- Hannah Ishizaki - violin (5)
- Harrison Honor - percussion (5)
- Emily Mantone - cello (5)
- Jack McGuire - bass (5)
- Diego Zavaleta - xylophone (7, 8)
- Jake Borden - marimba (5)
- Hannah Ishizaki - violin (5)
- Harrison Honor - percussion (5)
- Emily Mantone - cello (5)
- Jack McGuire - bass (5)
- Diego Zavaleta - xylophone (7, 8)
1. Sven Svengridsson Uses a Telephone (3:35) sounds a bit as if Vince Guaraldi and the North Sea Radio Orchestra joined forces. (8.75/10)
2. Waltz of the Toast Fairy (3:11) this one sounds so much like something from JEAN-LUC PONTY's catalogue. Very nice, light and fun. (9.25/10)
3. ScorpionCrabFish (3:38) now this one sounds more like the Coniguliaro Brothers with its stop-and start tempos and sudden changes in motif and direction. (8.75/10)
4. Pinball is for Truckers (4:47) back to Vince Guaraldi, only, this time, melded into a simplistic style and ABABCAB form. Nice as a study--for practice in a certain sound and style--but little revealed that is fresh or mature. (8.5/10)
5. Dale Takes a Walk at 3am (4:22) sounds half Aaron Copeland and half ARANIS (or, better yet, the Quebecois Prog Folk band from the late 1970s, CONVENTUM); a totally chamber / classical music arrangement/adaptation. I like this one a lot. It's also more completely worked out and polished (especially in terms of compositionally.) (9/10)
6. Ponderosa Pine Sol (4:16) a little more complex--especially with shifting time signatures--but still feels so much like a study/practice session--a song used for skill-building. (8.875/10)
7. New Haven Left-Handed Jamboree (3:28) more European folk/street-infused jazz to my liking. Nice development and performances. (9/10)
8. JFK Jr. (aka Elvis Presley) (4:24) fun, complex, and alive. (9.25/10)
Like many albums that the Coniguliaro brothers are involved with, this one seems to have a song order in which the music gets better and better with each song until by the end (or final third) of the album you start to feel that the artists are A) warmed up, B) firing on all cylinders, and C) loose/relaxed enough to try the hard stuff--the more complex, multi-layered song constructs.
89.22 on the Fishscales = B+/4.5 stars; a near-masterpiece of folk-infused Jazz-Rock Fusion that I recommend to all prog lovers who love the music of North Sea Radio Orchestra, Aranis, and Vince Guaraldi.
A newly formed band out of Milan, Italy, apparently some of this music came out of band-leader Andrea Grumelli's graduation thesis from jazz school!
Line-up / Musicians:
Andrea Ferrari - Guitars, keyboards
Andrea Grumelli - Bass Guitar, Chapman Stick
Andrea Serino - Fender Rhodes, keyboards
Matteo Ravelli - Drums, Electronics
Line-up / Musicians:
Andrea Ferrari - Guitars, keyboards
Andrea Grumelli - Bass Guitar, Chapman Stick
Andrea Serino - Fender Rhodes, keyboards
Matteo Ravelli - Drums, Electronics
1. "Echo Chamber" [2:33] cinematic ambient music somewhere between Stefano Musso and Goblin. Despite its spaciousness there is an awful lot of subtle instrumental play within this: including drums/tympani, organ, guitar, low bass notes, and what sounds like something e-bowed. (4.375/5)
2. "Radiance" [4:09] this reminds me of a blended form of the 1970s sounds used by JOE SAMPLE and BOZ SCAGGS (sans vocals) during the late 1970s (with some experimental electric guitar thrown in there). It opens with a nice chord progression that is easy to get hooked into. I like it. The spaciousness and subtleties inside this music yield far more satisfaction than my initial reaction would suggest--especially from the bass and cymbals. And the stuff going on around the nice Fender Rhodes solo in the third and fourth minutes is quite impressive and alluring as well. (8.75/10)
3. "Thin Air" [4:15] continues the Sample/Scaggs sound palette and song style of the previous album while adding some stop-and-start sections for soloists (like the Eef Albers-like electric guitar, jazz bass, and gentle Fender Rhodes) to be more noticed. Very pleasant and interesting music. (8.75/10)
4. "Grey Halo" [2:38] spacious, contemplative jazz sounding very much like a Charlie Haden-Pat Metheny duet with some experimental guitar and Fender Rhodes play in the distant background. (4.375/5)
5. "Pressure" [4:29] jazz bass line and jazz drum play with Fender Rhodes jazz chords open this one before synth solo and jagged guitar sound join in to provide melody and edges. The synth soloing in the first sounds very much like Chick Corea's work in the 1970s with Return To Forever. The solo in the third minute by the experimental guitar sound is rather abrasive but improves as the rest of the band rejoins and pushes forward. This reminds me of the 1970s work of John Tropea (especially with Eumir Deodato) and even Larry Coryell's work with Eleventh House. And then there comes the Chick Corea solo lead synth as well as the Eumir Deodato-like Fender Rhodes play. A nice lounge jazz song with a little edge to it but nothing Eumir Deodato didn't do in the 1970s. (8.75/10)
6. "A Gasp of Wind" [5:06] More gentle soft jazz elevator music to support some nice mostly-rhythm guitar play and extended synthesizer solo. But then the support members really begin to play--to develop and fly as the synth continues to solo during the third and fourth minutes. Drums, bass, rhythm guitar! These guys can really play! Clearly the best song on the album. (9.5/10)
7. "A Yellow Tear in a Blue-Dyed Sky" [2:58] back to cinematic mostly-ambient music with a fretless jazz bass serving as the main thing distinguishing this as something jazz-oriented. (4.375/5)
8. "Moving Away" [4:36] with an open, irresolute and discordant opening, this song actually begins to form and gel beneath the Larry Coryell-like guitar solo. Interesting! The music becomes quite a nice little jazz groove as guitarist Andrea Ferrari screams and soars reaching for some Eef Albers "Wingless/Orion" moments. (9/10)
9. "The Shores of Bolinas" [2:58] another ambient song with cinematic value--this one feeling more like something from the world of electronic artists despite its dominant oscillating organ and tympanic work. My favorite of the interludes. (4.5/5)
10. "Crimson Fondant" [5:02] opens with Magma-like Fender Rhodes play before distorted electric guitar and jazz-rock ensemble enter with a definite rock aplomb. I love the guitar's slowly- but steadily-rising note play throughout the minute from 1:40 to 2:30 while the keys play--and then he takes over and owns it for the next minute. (8.875/10)
11. "This Bubble I'm Floating In" [4:33] not the bubble sounds one might expect, but I've got to admire the creativity of these musicians. Things smooth out as we get into the second minute with very pleasant guitar arpeggi and some gentle (and varied) ChapmanStick play while deep synth notes fade in and out in the lower registers. Nice. Reminds me of early New Age music as well as some of my own work back in the day. (9/10)
Total Time 39:43
I have to admit to being surprised at how guitar-centric the music of this album is: while the Fender Rhodes electric piano, electric bass, and jazz drums provide steady and soothing rhythmic foundation, it is the guitar and synths that get the majority of time in the spotlight. And I like the unusual and creative musical soundscapes the band achieves while often using quite simple instrumental sounds to hide some subtly complex and nuanced performances. Quite interesting! A group of artists that I will be looking with some interest for future displays of innovative synthesis of past sounds and styles.
89.1667 on the Fishscales = B+/4.5 stars; a near-masterpiece of creative, often cinematic instrumental jazz-rock fusion for which I think most prog lovers will probably find a soft spot.
A Salt Lake City-based band releasing its third studio album since it's punky 2012 debut, Immured (and fifth including their 2017 and 2021 EPs).
Line-up / Musicians:
- Rylee McDonald / guitar, vocals
- Mike Lofgreen / drums
- Cason Wood / bass, keyboards
- Grant Matheson / guitars
With:
- Jared Roswell Hill: Piano on “Water,” “Snow Child,” and “Maybe”
- Randy McStine: Second guitar solo on “How Did It Get So Good?”
- Dave Meros: Bass on “Your Flaws”
- Kristen McDonald: Vocals on “Your Flaws” and “Truth”
- Jordan Rudess: Synth leads on “Calling It Off”
- Hayden Payne: Saxophone on “Control”
- Justin May: Guitar intro and vocals on “Cell To Call Home”
2. "Snow Child" (1:10) some gorgeous GEORGE WINSTON-like solo electric piano. I'd give this "top three" credit were it a full song. (5/5)
3. "How Did It Get So Good?" (7:14) acoustic guitar picked, Mellotron strings-supported EAGLES-like fabric over which singer Rylee McDonald sings in his smooth JD SOUTHER-like voice. At 1:35 the music flowers into an early-STYX like soundscape. This is really excellent (the plastic drum heads sounding better mixed into the heavy music). The instrumental passage that begins at the three-minute mark sound like a Black Sabbath version of a THIN LIZZY motif all performed and engineered with a bit of what I call "the 21st Century video game influence." (like Jem Godfrey's Experiments in Mass Appeal FROST* album). Impressive guitar solo from Randy McStine (Porcupine Tree) at the end of the fifth minute. Interesting shift into an unexpected and unusual final motif with about 90 seconds left. (13.25/15)
4. "Rain on Open Water" (4:43) a "heavy" classic rock pop song with a very pop-oriented vocal over the top (not unlike the feel of a FREDDE GREDDDE or WIPPY BONSTACK or even DEVIN TOWNSEND-lite song). (8.75/10)
5. "Your Flaws" (3:49) ingenue-sounding female vocalist over acoustic guitars. The singer, Kristen McDonald (Rylee's wife? sister?), has a very likable, engaging voice. Turns full rock after a couple of verses. Rylee enters to make it a duet with Kristen. The chemistry of their teamwork reminds me very much of that of Anathema's Lee Douglas and Vincent Cavanaugh. Nice song. I like the partner appreciation aspect of the lyrics. (8.75/10)
Total Time 59:35
- Jared Roswell Hill: Piano on “Water,” “Snow Child,” and “Maybe”
- Randy McStine: Second guitar solo on “How Did It Get So Good?”
- Dave Meros: Bass on “Your Flaws”
- Kristen McDonald: Vocals on “Your Flaws” and “Truth”
- Jordan Rudess: Synth leads on “Calling It Off”
- Hayden Payne: Saxophone on “Control”
- Justin May: Guitar intro and vocals on “Cell To Call Home”
1. "Water" (5:03) the music here reminds me of Devin Townsend, even the vocals, but only if Devy toned down his growls, sang in a higher range, and if his walls-of-sound guitars. I'm a little turned off (as usual) by the plastic sound of the drum heads being hit, but, overall, this is a pretty cool song--containing some surprising and likable youthful optimism and "cheer." Nice opener. A top three song. (9/10)
2. "Snow Child" (1:10) some gorgeous GEORGE WINSTON-like solo electric piano. I'd give this "top three" credit were it a full song. (5/5)
3. "How Did It Get So Good?" (7:14) acoustic guitar picked, Mellotron strings-supported EAGLES-like fabric over which singer Rylee McDonald sings in his smooth JD SOUTHER-like voice. At 1:35 the music flowers into an early-STYX like soundscape. This is really excellent (the plastic drum heads sounding better mixed into the heavy music). The instrumental passage that begins at the three-minute mark sound like a Black Sabbath version of a THIN LIZZY motif all performed and engineered with a bit of what I call "the 21st Century video game influence." (like Jem Godfrey's Experiments in Mass Appeal FROST* album). Impressive guitar solo from Randy McStine (Porcupine Tree) at the end of the fifth minute. Interesting shift into an unexpected and unusual final motif with about 90 seconds left. (13.25/15)
4. "Rain on Open Water" (4:43) a "heavy" classic rock pop song with a very pop-oriented vocal over the top (not unlike the feel of a FREDDE GREDDDE or WIPPY BONSTACK or even DEVIN TOWNSEND-lite song). (8.75/10)
5. "Your Flaws" (3:49) ingenue-sounding female vocalist over acoustic guitars. The singer, Kristen McDonald (Rylee's wife? sister?), has a very likable, engaging voice. Turns full rock after a couple of verses. Rylee enters to make it a duet with Kristen. The chemistry of their teamwork reminds me very much of that of Anathema's Lee Douglas and Vincent Cavanaugh. Nice song. I like the partner appreciation aspect of the lyrics. (8.75/10)
6. "Truth" (5:54) with Rylee in the lead and Kristen as harmony vocalist, this one starts out sounding like something from ANATHEMA with one of Lee Douglas' wonderful performances as harmony vocalist to Vincent Cavanaugh, but then it slowly morphs into something that sounds more like something from PURE REASON REVOLUTION's heavier (and, for me, disappointing) sophomore album, Amor Vincit Omnia. (8.66667/10)
7. "Calling It Off" (5:46) I like the heavier, more melodic chord sequences and soundscapes of the two (very different) motifs that open this song: the first heavy and instrumental, the second more spacious with Rylee's voice singing over the top. I really like Rylee's background vocals here, as well. Though the chorus doesn't quite live up to the promise of the opening and brief heavy bridge between the first two verses, there is definitely something very special in this song construct--something Jen Godfrey-ish. (I wonder if it has a different compositional team than the previous four songs.) Nice synth work from Jordan Rudess in the instrumental passage in the fifth minute. The finish reminds me quite a little of STEVEN WILSON's solo work. Definitely a top three song for me. (9.125/10)
8. "Control" (5:34) bass and Fender Rhodes behind Rylee's vocal in the opening motif. During the second verse the music hits some bombastic JOURNEY/FOREIGNER-like points with Rylee's vocal trying to channel some Steve Perry. Very nice multi-voice vocal arrangement in the fourth minute. Then we move into a heavy, plodding sequence over which Hayden Payne gives us a very FOREIGNER-like sax solo. The music dissipates and decays after this, allowing an accordion-like wind instrument to take us out. (8.875/10)
9. "Maybe" (3:48) jazzy electric guitar chord strikes, each with a different chord (almost in a Roddy Frame/AZTEC CAMERA-like way). When Rylee starts singing he sounds a lot like OWL lead singer Adam Young--until the crescendo in the second chorus, when he goes metal-lite. There follows gently picked acoustic guitar arpeggi with pedal steel chords and heavily-effected piano single note playing. Gorgeous finish! Interesting and refreshingly creative song. My final top three song. (8.875/10)
10. "Cell to Call Home" (10:15) opens very much like a Jem Godfrey/John Mitchell FROST* prog song, but then goes soft gentle Indie pop for the first verse of singing. The second verse adds a heavier prog sound, giving it very much a STEVEN WILSON sound and feel. The PinkFloyd/"Time Flies" guitar strum at the four-minute mark opens the door for an amazing guitar solo--one that goes on until the six-minute mark. (The burning question is: Who was that on the lead guitar?) Innocuous vocal section returns and then seems to end at 8:40--but, psych! It's only a pregnant pause as the band comes bursting forth a few seconds later to take us to the end. (17.75/20)
11. "Hold Me" (6:19) a rather sedate song showing both Americana/Southern Rock influences (Jared Leach/GHOST MEDICINE-like) as well as, later, the BEACH BOYS--and containing some great electric guitar soloing (in the fourth minute). The vocal performance has some very heart-wrenching qualities to it. I've even tried to glean its meaning/significance from its lyrics: to no avail. I don't get it--but I want to know. (8.875/10)
[January 6, 2024 addendum: By way of an email correspondence I've been fortunate to have with principle songwriter Rylee McDonald I've found out that the origins of "Hold Me" came as a response to an attempt to process and empathize with one of Rylee's relatives who happened to live through a mass shooting. The song evolved into the hopeful form it has here on this album due to Rylee's desire to evolve--and to help the song's message befit that of the prevailing mood and 'concept' of this album.]
Total Time 59:35
An collection of excellent songs that all seem to do a remarkable (if unintentional) job of bridging the best of the 1970s radio-friendly classic rock and the upbeat/positive feelings of many indie-pop artists of the 1990s and 2000s. A lot of prog lovers may be turned off by the cheery optimistic feel of this album's music, but I always like this kind of youthful hope and enthusiasm.
Though Rylee & company's music has always had a wonderful eclecticism to it, their sound and compositional acumen has matured tremendously--and definitely moved well into the realm of "progressive rock." Rylee seems to have less to prove vocally and the band's music has passed through its punky-grunge phases into more sophisticated Prog Metal compositions often feeling more akin to Devin Townsend and Steven Wilson. As a matter of fact, it is quite often as I listen to these songs that I find myself wondering exactly what it is in the engineering room that gives Devy's Rylee McDonald voice (and many of the electronic instruments) that "super boost" that makes it so front-forward and in-your-face; Rylee could have that same sound if he only knew Devy's secret.
89.10 on the Fishscales = B+/4.5 stars; a near-masterpiece of eclectic music reflecting a wonderfully refreshing youthful perspective while somehow being grounded in sounds that are very familiar to all of us; an album I recommend whole-heartedly to any and all prog lovers.
89.10 on the Fishscales = B+/4.5 stars; a near-masterpiece of eclectic music reflecting a wonderfully refreshing youthful perspective while somehow being grounded in sounds that are very familiar to all of us; an album I recommend whole-heartedly to any and all prog lovers.
Australia's gift to the legions of cannibis users (as well as heirs apparent to jam bands like Phish and The Grateful Dead), the GizLiz Wizards, are back with another foray into the territory of the metal artists. Apparently, their fans loved their previous effort in this direction, Infest the Rats Nest, and so have been greatly anticipating this release.
Line-up / Musicians:
- Stu Mackenzie / guitar, bass, vocals, lyrics, synthesizer
- Ambrose Kenny-Smith / vocals, lyrics, synthesizer
- Joey Walker / guitar, bass, vocals, lyrics, synthesizer
- Michael Cavanagh / drums & percussion, vocals, electronic drums
- Cook Craig / bass, vocals, lyrics, synthesizer
- Lucas Harwood / lyrics, synthesizer
1. "Motor Spirit" (8:32) a great opener giving the listener a clear idea of where the band have landed for this album: the historic Molten States of Metal. There are 1990s feelings to this style of music (though I fear the drumming is unbefitting), though not quite as abrasive or technically precise--and the singing is more akin to the metal singers of the early 80s when the fiery genres were really exploding and solidifying like PANTERA, SLAYER, TWISTED SISTER, WHITESNAKE, IRON MAIDEN, and even BLUE ÖYSTER CULT and a little BEASTIE BOYS. I love the trance/chant passage in the fourth and fifth minutes. (Are those vibrating vocals in the fifth minute attempts at Central Asian throat singing?) There are many moments when I can hear and feel the presence of all that is essential to the soul of the GizzWizzies, which is nice. A darn good song that is friendly enough to cause the listener to engage, not recoil. (18.25/20)
2. "Supercell" (5:05) solid metal but sounding like a band evolving toward DEATH or ATHEIST, but only about halfway there. The lead guitar solo work sounds more like SPINAL TAP parody material. (8.75/10)
3. "Converge" (6:16) okay, maybe three-quarters. (The drumming is finally getting up to speed.) Nice grating voice for the snarling metal vocals. The "converge" chorus is a bit laughable. I do appreciate and like the unexpected twists and turns the band takes us on--like the afro-pop rhythms behind the passage in the fourth minute before the BEASTIE BOYS-style version of the chorus. (8.75/10)
4. "Witchcraft" (5:03) feels to me like milktoast metal. Too much of KG&TLW signature sounds and unfitting, incongruous drumming. The weakest song on the album. (8.66667/10)
5. "Gila Monster" (4:35) a more 1970s, militaristic, lead guitar-oriented approach to metal--like SABBATH-OZZY or THIN LIZZY (almost Blue Öyster Cult). Engaging. A top three song. Same vocalist/vocal styling as "Converge" only with a little better two-part chorus. (8.875/10)
6. "Dragon" (9:44) sounds as if BIG COUNTRY merged with some Viking Metal band. I LOVE the chorus parts, as well as the guitar and bass play. This could have been my favorite song on the album but it drags on (no pun intended) longer than it should. Pretty impressive growling vocals (and vocal arrangements) from multiple singers. (17.75/20)
7. "Flamethrower" (9:21) the exact voice and styling of the previous song already yields demerits to my listening experience. Doubling-up of the vocalist with a background singer is a smart move. The music shifts and turns to and from several motifs, which is nice--and different for a jam band--even going into TED NUGENT territory as well as other 1980s heavy metal bands. There is a transition at the halfway point into a smoother, almost Latin jazzed-up motif which is carried forward as a more psychedelic/industrial instrumental jam. With far more presence of keyboard/synthesizer pops and beats and chant-like group vocals, the second half could serve the audience as a trance-inducing experience if extended live. I like it! This feels more true to the KG&tLW mission. (18/20)
Song #8. "Dawn of Eternal Night" (14:22) is not available through my Bandcamp access/service but it can be listened to in a Live at Red Rocks form on YouTube. It is an apocalyptic allegory read by a female voice that is support by an appropriately spacey, atmospheric rhythmless soundscape, not really a KG&tLW musical performance.
Total Time 62:58
While quite interesting--and surprisingly diverse in their imitative stylings--I do not find that the GizzLizard Wizzes bring very much new to the metal genres. There are glimpses of genuine inspiration that, with repeated listens, reveal themselves as being merely the authentic King Gizzard & The Lizard Wizard peeking (or shining, depending on your allegiances) through the metal clothing.
89.04 on the Fishscales = B/four stars; an excellent addition to any prog lover's music collection--especially if you are A) a KG&tLW fan and/or B) like metal musics or C) like hearing/seeking the retro-historical references in your music.
THE OCEAN Holocene
Germany's eclectic chameleons of heavy prog are back with their ninth studio release (plus five EP releases) with vocals. (Four of their studio albums have been released simultaneously with their companion vocal albums as separate albums of "instrumental versions" of the same material used for their mainstream releases.) The human perspective of the planet Earth's history seems to be the driving concept/theme/inspiration behind the band's output as words like "fluxion," "Aeolian," "Precambrian," "heliocentric," "anthropocentric," Pelagial, Palaeozoic, Phanerozoic, Mesozoic, and Cenozoic cover their other albums. Holocene seem to fit right in stride with their previous material--both musically and conceptually.
Line-up / Musicians:
- Robin Staps / guitars
- Loïc Rossetti / vocals
- Paul Seidel / drums
- Mattias Hagerstrand / bass
- David Ramis Åhfeldt / guitars
- Peter Voigtmann / keyboards, samples
1. "Preboreal" (5:04) opening with a "fragile tuned" keyboard sequence that will become the foundation to this and many songs on this album, the vocals join in to give me a total Kevin Moore/CHROMA KEY feel. The music feels a bit too one-dimensional for me (not unlike that of Chroma Key project). Perhaps the lyrics are the key to this song (and album) as they are delivered in such a monochromatic fashion that their perceived allure must be contained in the words. (I wish I were a lyrically-adaptive listener as I feel that there might be some pretty interesting ideas being conveyed on this album). The second half ramps up to become quite OCEANSIZE with Mark Heron-like drumming and rap-chant-like Mike Vennart vocals. (8.75/10)
2. "Boreal" (3:41) more ad nauseum repetitive music over which singer Loïc Rossetti flat-line rap-sings--at least until the third minute when he breaks out of the confining mold to release his fully emotive humanness. (8.75/10)
3. "Sea of Reeds" (5:48) a gentle unstably-tuned Fender Rhodes is joined by synth trombones (the use of which is another trick common to The Ocean's instrumental sound choices) and heavily-treated whisper vocals giving the song a very familiar OCEANSIZE-feel. When drums, bass, and other instruments join in, filling in the soundscape, the vocals amp up for a bit before everything returns to the RADIOHEAD-like Fender Rhodes opening motif. At 3:05 fuzzy electric guitar and tuned electric percussion (synth-generated?) join in to create an even more Oceansize sound. Lead singer Loïc Rossetti's heavily-reverbed and multi-voiced vocal is great, even if it does recreate the Oceansize vocal sound. Great song. (I love--and miss--Oceansize.) A top three song, for sure. (9/10)
4. "Atlantic" (8:49) back to a more CHROMA KEY sound, spacious, atmospheric synthscapes with a click track and every instrument seeming to pass through lots of effects opens this one as Loïc sings in an ominously edged, albeit soft voice. At 2:30 we launch into a heavier, full-band motif--but only briefly as we return to the opening sound palette (with a few more horn sounds layered in) as Loïc sings with a little more force in his plaintive voice. When the music amps up into a heavier, more metal sound palette, it reminds me of Aussie band STARE AT THE CLOUDS and their masterful 2016 release This Clear Divide. Interesting and pleasant if not very memorable. (17.75/20)
5. "Subboreal" (4:46) with its computer-sequenced keyboard base, the start of this one definitely falls into CHROMA KEY territory. At 1:45 the chorus bursts forth in a brief metal section before the music falls into a bit of a UNITOPIA patch with a semi-rap vocal. But this is also brief as the music soon launches into a full-on djenty metal passage complete with growl/scream vocals. As I've gotten more used to this kind of musical expression I can appreciate and even enjoy some of this; this example is pretty good. Surprising sudden ending. Probably my final top three song. (8.875/10)
6. "Unconformities" (featuring Karin Park) (9:09) When this song opened I was caught by surprise by the presence, up front, of a SIOUXSIE-like female vocalist. Her impassioned vocal reminds me quite a bit of French goth-metal singer DAM KAT (which is good). The music is OCEANSIZE-like but rather simple as it is obviously present merely to support the vocal. But then, at the four-minute mark, I am proved wrong as the band cuts out and moves into an eerie space-atmospheric motif with totally different, almost-Latin dance rhythm drums, while male vocalist Loïc starts a fast and continuous repetition of the words "Don't you love the bright lights"--first in a theatric kind of whisper vocal which grows increasingly aggressive, deranged, before turning at 5:20 to full-blown metal screams. So Oceansize! By the time we get to the eighth minute it's full blown prog metal, but then the music goes into a gentler "decay" with many weird and unstable instrumental sounds playing out to the song's end. (17.75/20)
7. "Parabiosis (8:12) carrying over from the previous song's droning synth notes, the craziness continues--as does the OCEANSIZE sound and style. This variation is of the gentler, subtler, more subtle form as --until 1:43 when drums and voice burst forth with bass and Fripp-like angular electric guitar riffs weaving into the mix. The rap-like multi-voiced vocal that starts at the end of the third minute is so OCEANSIZE. (This section/song could definitely be mistaken for an actual Oceansize song.) A gentle interlude at the end of the fourth minute preps us for the STARE AT THE CLOUDS-like djenty passage that begins at 5:05. I love the Fripp-like guitar exposition throughout this song. Coupled with the Mark Heron-like syncopated drum patterns, it's almost Crimsonian! My favorite song on the album. (13.75/15)
8. "Subatlantic (6:55) a starkly-populated spacescape is gradually transformed into a hypnotic psychedelic stoner rock whose djenty power chords and aggressive growl vocals moves it well into the territory of prog metal. Quite the violent and despondent end! But, I think, effective. (13.25/15)
Total Time 52:24
Total Time 52:24
I'm not sure what the aim/intention/objective of this album was. I know the band has been releasing a progression of themed albums based around a concept of Earth's planet-wide bio/eco-logical life cycles (Phanerozoic, Mezozoic, Cenozoic, Paleozoic, Pelagial, Anthropocentric, Heliocentric, Precambrian, Aeolian) but what are they trying to get across to their audience with this one? Did the Holocene start out as a more somber, tame, and simplistic era and then burst into chaos?
Anyway, the music is fine, suffering only for its combined familiarity (with either Chroma Key or Oceansize sounds and styles), excelling when they go full-Oceansize or djenty Stare At The Clouds.
88.98 on the Fishscales = B+/4.5 stars; a near-masterpiece of Progressive Metal or Heavy Prog that should be on every prog lover's list of albums to check out.
High octane tech/extreme metal that sounds like a mélange of Death, The Mars Volta, and Pat Benatar.
Line-up / Musicians:
- Aric Garcia / guitar
- Donovan Melero / drums, vocals
- John Stirrat / bass
- Shane Gann / guitar
1. "Tunnel Vision Alibi" (3:11) With Pat Benatar structure and force, this is a little more 21st Century tech metal than Ms. Benatar's ilk. (8.75/10)
2. "Mind Rider" (3:21) sounds like an inverted variation of the album's opener before going more THE MARS VOLTA with quick, spacious pauses and more Cedric Bixler-Zavala-like vocals. The instrumental passage in third minute is brief but packed and rear-ended by a slowed down passage with TMV-like multi-voiced vocals. (8.75/10)
3. "Chunker" (4:17) man are the guitarists and drummer working on overdrive for this one! Interesting but the TMV sound and Cedric Bixler-Zavala-sounding vocals make me think I'm just listening to TMV! The final 45-second dream sequence is a bit weird. (8.66667/10)
4. "60-Minute Session Blocks" (3:13) a different sound! This one more pop-oriented (less metal and more hard rock--at least until the choruses). I keep hearing The Police's "Sending out an S.O.S." in the third minute. (8.75/10)
5. "Maladapted" (3:50) great lyric to a LINKIN PARK-sounding song. Even the impassioned screams in the second half only lend to the Linkin Park similarities. A top three song for me. (8.875/10)
6. "The Story Writes Itself" (4:15) opens with cool layered weave of guitar shredding before launching into yet another TMV-like power jam--at least until 2:20 when everything stops and we enter another dream-like passage--a dream that turns into a nightmare. Don't get me wrong: I really like and respect The Mars Volta, but it pains me to hear a band that so clearly, blatantly, imitates their heroes. (8.75/10)
7. "(In My Dream)" (1:35) just like the opening of the album's first song, I have trouble determining whether or not the singer here is female or male. (He's male.) Pretty little prelude to the next song. (4.5/5)
8. "I Saw You Hanging" (3:43) A strong, powerful story delivered over some very nice music with some darn good singing (very sensitive, genuine sounding). Could almost be an Evanescence song. (8.875/10)
8. "I Saw You Hanging" (3:43) A strong, powerful story delivered over some very nice music with some darn good singing (very sensitive, genuine sounding). Could almost be an Evanescence song. (8.875/10)
9. "Tithe" (3:56) opening with djenty machine gun military rhythm sounding like old Opeth or Pain Of Salvation--a sentiment that is amplified as the singing moves on. Though the song has multiple motifs sown into line, the singing remains fairly consistent (TMV+ death metal) until the bizarre finale. (8.875/10)
10. "Feeble Words" (2:26) a softer dreamy soundscape within which Donovan's most female-yet voice sings--almost sounding like a little girl. (Intentionally?) or POISON. Weird but pretty--and surprisingly emotion-packed in a pop hit kind of way. (4.5/5)
11. "Little Song" (4:17) funky FLEA-like bass line is joined by drums and effected guitar tremolo-picking before Donovan joins in singing in his power voice. He's so invested! Best chorus and followup sections on the album. And some of the best sensitive singing on the album--and this from a very passionate singer/songwriter. Quite a lot of similarities to KARNIVOOL's Ian Kenny. The best--and my favorite--song on the album. (9.5/10)
12. "Under The Floor" (3:50) One again Donovan's androgynous voice fools and confuses me--over some powerful tech-metal music. My final top three song. (9/10)
Total time: 42:00
Total time: 42:00
88.90 on the Fishscales = B+/4.5 stars; a near-masterpiece of variable prog metal; something most prog lover's will enjoy and appreciate--especially if you're into The Mars Volta.
ULTRAPHAUNA No No No No
An album of ten separate "snowglobes" tidy little universes all unto themselves--at least, that's what the band would have us believe.
- Timba Harris / violin
- Dorothy Wave / voice, keyboards
- Toby Driver / bass
- Joel C. Murray / drums
1. "Spilling from the Mouths of Babes" (5:44) a song that sounds like Asian music that NORTH SEA RADIO ORCHESTRA has coopted and Westernized. I love the song's sparse spaciousness. (8.875/10)
2. "Mont Tauch" (10:10) multiple violin tracks (or some that are keyboard samples) occupy the first minute of this. Then bass, Fender Rhodes chords, and cymbal-less drums take over until 1:40 when the full drums break out and violin returns as the principle melody-maker. Nice cinematic jazzy that reminds me of Mark ISHAM's soundtrack to Alan Rudolph's 1988 film, The Moderns. Timba Harris' violin retains a kind of Eastern European/gypsy melodic sense throughout, even when accordion-like keys and CRIMSONian-like rhythm section take over on the low end. At this point I'm very much reminded of the music of Francesco Zago and especially his YUGEN project. At 5:30 the music becomes more Spanish American celebratory (though I hear Jean-Luc PONTY as well in Timba's electric violin). The drums really push to the front here until the operatic break at 7:30 when keys-backed violin leads the triumphant Spanish forward into a patch of BEATLES melody-scape. A very cool, dreamy-fantasy passage that plays out pretty much to the song's end. (18/20)
3. "Summoning the Maker" (4:26) an unusual blend of intercontinental sounds and melodies (Western techno keyboard bass giving way to Percy Jones/Mick Karn-like "lead" bass play, DEAD CAN DANCE-like Arabian violin melodies, odd Asian rhythms from the percussive instruments [including hand claps]. The finished product is quite reminiscent of many DCD songs. (9/10)
4. "Sssst" (6:24) opening like some bluegrass-tinged chamber folk music by the GOAT RODEO crew, the song develops slowly, more Asian-like with lots of spacious noiseless gaps between individual instrument ejaculations. At 1:39 Toby Driver initiates a repeating bass line within/over which violin, toy percussives, and a child's xylophone regulate their intermittant incidental contributions while Dorothy Wave sings in a near-monotone ANNETTE PEACOCK-like "crazy" child nonsense lyric. At 4:25 the structure and melody become more Scandanavian folk. The keys and full drums fill and play out while Dorothy's heavily-effected vocalise are layered and woven into a magic carpet flying around over the top. Cool, quite unorthodox, and very interesting. (9/10)
5. "Little Maker" (6:55) dissonant chromatic chords from an electric piano open this before cinematic jazz bass line joins in and multi-tracks of effected violin play a pretty melodic riff over and over, and later, harmonized. Orchestral percussion instruments are played around with in the background. It's really the bass and now-regular and repeating two electric keyboard chords that hold this song together as the violins and percussives throw their contributions into the mix like lead soloists. The solo violin work in the fourth minute is pure classical violin (no longer heavily effected) exploring independent melody lines--which sometimes move into Indian, Arabian, or even Romany territories. In the sixth minute Timba's violins move back into the etheric background and become treated and layered again, but the, in the seventh minute, the whole becomes very Gershwinian: very clearly Western classical. Very cool! (13.75/15)
6. "Collidascope" (9:49) opens with an extended Zeuhl-like passage with all instrumentalists sincerely focused on their own contributions to the weave--which, overall, is quite cool (in a PiNioL kind of way--without the lively Japanese lyrics--this is an instrumental). A few stop-gaps before restarts allows for guitar-like keys, violin, drums, and throbbing bass to impress-even to sound, at times, like a chamber piece (especially when the keyboard uses the harpsichord feature). In the eighth minute the sound palette even goes Latin/Calypso for a bit before reverting back to the more classical chamber-Zeuhl feel for the finale. (17.5/20)
7. "Behind Mine" (6:47) it takes two minutes of spacey electronic atmospheric chords to set up what sounds and feels like a funky STEREOLAB dance tune. Oddly, all of the singing occurs within those opening two minutes! After that there is some really nice melodic play from all of the instrumentalists creating what turns out to be quite a catchy (if rather simple) harmonic weave. And then it ends as it started: with 40 seconds of atmospheric synth chords. Interesting! (13.25/15)
8. "I'm You Now" (4:45) pitch-shifted electronic drums familiar to me from the mid-1980s Hip-Hop/R&B scene (Tom Tom Club, Whodini, et al.) within an overall funked up TOM TOM CLUB-like fabric and style--especially with Dorothy's mutli-track vocals (which sound kind of like "Wordy Rappinghood"). Very cool! In the second half of the third minute the "orchestrated" passage sounds very James Bond cinematic. Not very proggy but very cool--very hip--and danceable. (9.25/10)
9. "Wow, João!" (9:00) opens as if this is going to be a Django Reinhardt-Stéphane Grappelli-styled song (with more modern, XTC-like rhythm section). Clavichord and syncopated drum line are a bit annoying while the bass tries to hold it together until the break at the end of the second minute. After a little reset bridge the bass, cymbals, and clavichord re-establish the basic rhythmic structure for Timba's violin to try to lead with his repetitive melody-making riff. Several other pauses and resets (while the drummer maintains a 2/2 beat) occur over the next few minutes with multiple attempts at variation before the violin finally succeeds at breaking the line of stagnation--but then he himself starts to breed boredom and tedium with his almost parodiacal repetition. In the eighth minute things are brought to a hault for the bass to have some freedom for expression. Weird song that is obviously a serious exercise in discipline and fortitude. (17.25/20)
10. "Pearl" (4:01) happy-go-lucky music that reminds me of Kavus Torabi's KNIFEWORLD music. The melancholy second half (2:30 to end) is almost dirge-like. (8.66667/10)
Total Time 68:01
Total Time 68:01
88.90 on the Fishscales = B+/4.5 stars; a near-masterpiece of adventurous progressive rock music; definitely an album I highly recommend for all self-proclaimed prog lover's to check out for themselves. Maybe not the best album of the year but certainly one of the most interesting!
More solid Prog folk-based original music from this Norwegian duo here releasing their fourth full-length studio album.
Line-up / Musicians:
- Håkon Oftung / vocals, guitars, flute, keyboards
- Kristian Frøland / drums & percussion
1. "Invokasjon" (2:52) impressive but lacking anything really engaging to the soul. (8.75/10)
2. "Sankeren" (7:22) sounding very much like WOBBLER. I like the mediæval folk third minute best. Besides the solid instrumental performances throughout, this is not anything so very exciting or innovative here. (13.25/15)
3. "Salighet I" (6:17) the opening 75 seconds of folk play is exceptional, followed by a nice passage of psychedelia. My favorite song on the album. (8.875/10)
4. "Salighet II" (6:10) more electrified and Krautrock grooving than its predecessor. Nice folk melodies. Another top three song. (8.875/10)
5. "Ura" (6:39) psychedelia that starts out either a little too sad and down or lacking melodies to hook the listener depite its change into a more 1970s happy-go-lucky JETHRO TULL-like tune. (8.875/10)
6." Danseritualer fra Jordsjø - Prosesjon & Ekstase" (2:55) opens like a true folk rock tune of the circa 1970 era with Hammond organ and blues rock foundation. Guitars and flutes are busy until lead electric guitar takes the lead in the second minute. Nice solo over a MOTORPSYCHO-like foundation. Some great performances of a nice composition. (8.875/10)
7. "Stjernestigen" (10:21) opens like the unfolding of a folk story being told through ballet movement. As the music develops, slowly and in spurts, it continues to retain this storytelling --in a WOBBLER or CICCADA kind of way. (I keep expecting to hear the dulcet tones of Evangelina Kozoni's crystalline voice.)At 3:20 we get the introduction of Håkon Oftung's vocal, voice doubled up, over supportive organ, bass, and drums with synth soloing in between vocal verses. Nice. Gentle and perpetuating the storytelling feel despite losing the ballet quality. I very much like the chorus buildup and double-guitar-duel of the instrumental passage to follow. In the seventh minute heavily treated vocal precedes an instrumental passage over which piano solos--a melody that is later duplicated and mirrored by the untreated electric guitar. Nice work. It's practically a classical piece the way the two instruments are attuned to one another--even into a tenth minute as the other background support instruments gradually fade into nothingness. By the time the final 30 seconds arrives we are left with only the piano to carry forward the melody line--once again sounding like something that might support a ballet dance. (18/20)
Total Time 42:36
An album of very nicely performed, admirably intricate compositions that somehow fail to reach the heights of masterpiece status.
88.82 on the Fishscales = B+/four stars; an excellent addition of variable prog folk music to any prog lover's music collection--all composed and performed by two artists without any other collaborators.
KARFAGEN Passage to the Mysterious Forest
Line-up / Musicians:
- Antony Kalugin / keyboards, vocals, percussion, penny flute, add, electric guitar, arrangements, programming
With:
- Mathieu Spaeter / electric guitars
- Max Velychko / electric guitar
- Konstantin Ionenko / bass
- Viktor Syrotin / drums
- Tim Sobolev / vocals
- Olha Rostovska / vocals
- Aleksandr Pavlov / nylon & jazz electric guitars
- Yan Vedaman / saxophone
- Alexandr Pastuchov / bassoon
- Maria Baranovska / violin
- Elena Kushiy / flute
1. "Kingfisher and Dragonflies (Part 4)" (3:01) solo acoustic steel string guitar opens this before New Age keyboard synth notes begin backing up the guitar's melodies. Bass and some sparse drumming join in before group vocalese enters to also replicate the guitar and synth's melody line. It sounds very JON ANDERSON/ANT PHILLIPS-like. (9/10)
2. "Mysterious Forest (Part 1) - World in a Grain of Sand" (14:03) nice mature bombastic prog that checks all the boxes but doesn't offer anything very memorable much less to knock your socks off. (26.5/30)
3. "Mysterious Forest (Part 2) - The Ominous Ride" (4:21) a jazzy, keyboard-dominated opening turns prog fusion at 0:40 as piano and rhythm section support a lead guitar solo. At 1:35 electric piano takes over as the pace shifts into fourth gear. Nice bass play and synth wash background support. At 2:30 a buzz saw-like synth enters and competes for the lead but is then supplanted by a pyrotechnically flashy 21st Century electric guitar solo. Very nice song! (9/10)
4. "To Those Who Dwell in Realms of Day" (2:18) more than an interlude or étude (4.375/5)
5. "Birds of Passage and the Enchanted Forest" (19:02) reworked from a previous album (2020's Birds of Passage)--an album that was released in January of 2020, just before the COVID pandemic swept across the planet. Birds has been one of Antony's more popular and well-received releases--partly due, no doubt, to the collaboration of his usual posse of excellent musicians. It is quite well-constructed and performed with Antony's usual great NeoProg sound, I just have trouble endorsing the re-publication of a previously released piece of music. (36/40)
6. "Through the Whispers of the Wind" (1:38) beautiful acoustic guitar with synth-orchestral support. WILLOWGLASS-like. (4.375/5)
7. "Mysterious Forest (Part 3) - World in a Grain of Sand Reprise" (4:15) multiple keyboard-generated tracks are delicately woven together for the spacious support for the male vocalist's singing. After the brief first verse, electric tuned percussion signals entry to the chorus which, again, sounds quite JON ANDERSON New Agey. The synth, jazz bass, and metronomic drum supported nylon string guitar and saxophone solos only seal this sentiment. (8.66667/10)
8. "Birds of Passage and the Enchanted Forest" (single version) (9:59) song #5 here rendered into a "single" version. (Who's ever heard of a ten-minute "single"? I mean, the whole purpose of a single is to deliver a version that is appropriate for radio play--and I can think of very few pop radio stations that will play a ten-minute song!) I can't rate this too low because it is still wonderful, but it's not new! And it's been released as an epic-length song on the same album--three songs before! (17.5/20)
Total Time 58:37
I do not like republished music of older songs despite the fact that they may be better than their original versions (and despite the fact that as an artist myself I know and appreciate the desire to revisit and rework/edit one's previous work)--it feels like a trick played upon the consumerist public. I mean, if the music were offered free for those who purchased the original material, then that would be a different matter, but, if the original material wasn't good (or failed to get critical acclaim or approval) then so be it; you should have sat on it longer the first time.
88.78 on the Fishscales = B/four stars; an excellent addition to any prog lover's music collection--especially if you're into a more New Agey sound palette for your retro-prog.
CHOCLAT FROG On Detour to Shortcut
Line-up / Musicians:
- Tim Ludwig / bass, guitar, programming, backing vocals, additional voices (2, 4, 6, 7)
- Rainer Ludwig / vocals, drums, percussions, keyboards, synthesizer, guitar, SFX, programming
1. "Spaceloop" (4:43) Feels old … like a Yes instrumental passage. Feels rudimentary … like a warm up "getting to know you" jam. (8.75/10)
2. "Bomb alert "(8:19) tight KING CRIMSON-esque musicianship, with ample twists and turns, as well as ADRIAN BELEW-like crazy vocal antics--then cross it with a band like MR. BUNGLE, THIS HEAT, or THE RESIDENTS and you might get a taste for what I mean. I like it. Definitely a top three song. (18/20)
3. "This is my wife" (5:37) opens with some epic jamming over some awesomely solid/tight rhythm section play. In the second minute everything suddenly goes quiet with only the bass and some rim shots continuing the flow. Synths and electric guitar take turns showing some solo stuff. Two minutes of this before drums and keys start to come back--this mellowness is really surprising! In the fifth minute the rhythm section finally kicks back into full gear; the rest of the band weaves a nice fabric in and around the drums and bass. Interesting! My third favorite song. (8.875/10)
4. "Pollock" (7:14) opens with another bass line and quiet drum work before organ and then Mellotron support searing electric guitar solo. Bridge at 1:30 leads into a slightly different bass line and drum track while wah-guitar and synth take turns ripping out some blistering runs At 3:25 we return to simple bass line and rapid rim shots while Rainer's semi-spoken voice shouts out (in English) his observational and critical phrases of Jackson Pollock's work. The music kicks back in during the sixth minute while Rainer and Tim shout out "Jack ... the Ripper" in chorus for about 30 seconds. The ensuing music and guitar solo remind me of BLUE ÖYSTER CULT and Buck Dharma! Very entertaining if not totally innovative. (13.25/15)
5. "Bound by Instructions" (5:48) delicate weave between picked electric guitar, bass, and drummer's rim shots back spoken growly voice. After the speaker has finished his first go-round, the band bursts into a "Thela Hun Ginjeet"-like frenzy of cacophonous playing (though some of it reminds me of old blues rockers artists like ALVIN LEE, BLIND FAITH, and even the JEFF BECK GROUP). A tension-filled lull begins at the three-minute mark as bass, guitar, and drums hold a kind of SONAR math rock weave beneath the bluesy guitar lead. At the end of the fourth minute the band kicks back into action, hitting KINGSTON WALL mode for Rainer to sing/chant in a Petri Walli kind of way. Thesong closes with Rainer and Tim chorus-shouting their vocal epithets over the crescendoing music. (8.75/10)
6. "Pulp Stalking" (8:48) more heavy bluesy-rock over which Rainer expounds on his social criticisms. The title is shouted chorus-style as the chorus. A lot of the thematic switches in this song make little sense/have little flow; instead it's like moving with the attention-span of a dog--governed by one's sense of smell. In the fourth minute the band settles into more smooth-flowing KINGSTON WALL music for an instrumental passage. Electric guitar and then portamento synth each take +/- 60-second solos before the music decays to a "underwater" bass solo at the six-minute mark--also of a very nearly-90-second solo. Not my favorite song. (17.25/20)
7. "On Detour to Shortcut" (9:06) straight-drivin' avant/RIO that turns funky in the second minute. Nice guitar soloing in the third minute before the music downshifts into polyrhythmic math rock territory. I like the overall inertia and drive of this one: despite numerous twists and turns, it remains forward moving throughout--which takes a lot of maturity and foresight in the composition department. The sixth minute reminds me half of LED ZEPPELIN and half of KING CRIMSON (never thought I'd hear/feel those two in bed with one another!) Virgil Donati's ON THE VIRG project from the late 1990s also comes to mind frequently as I listen to this one. Interesting Hammond sound and play in the eighth minute before the music goes limp as if the component parts are trying to figure out how to bring this one to a close. Overall, a cool jazz-rock infused piece that claims the spot as my favorite song on the album. (18.25/20)
8. "Reboot" (2:58) sounds like the intro/interlude part of a DIF JUZ song. Like to hear that trumpet! (4.5/5)
Total Time 52:33
Man! I wish I'd have thought of asking my dad (who was, in his youth, a jazz drummer) to jam with my brothers and I! How cool!
88.75 on the Fishscales = B+/four stars; an excellent addition of angular blues-jazz-rock in the avant/RIO vein that most prog lover's would find interesting if not enjoyable.
SQUID O Monolith
Despite 7 EP releases since their 2016 debut single ("Perfect Teeth"), this Brighton-based band has only released two full-length studio albums. This is the second.
Line-up / Musicians:
- Ollie Judge / lead vocals, drums
- Louis Borlase / guitar, bass, vocals
- Anton Pearson / guitar, bass, vocals, percussion
- Laurie Nankivell / bass, brass, percussion
- Arthur Leadbetter / keyboards, strings, percussion
With:
- Henry Terrett - Percussion (tracks 1, 4, 5, 6, 8)
- Zands Duggan - Percussion (1, 2, 4, 8)
- Dylan Humphreys - Woodwinds (2, 4, 6, 7)
- Nicholas Ellis - Woodwinds (2, 4, 6, 7)
- Martha Sky Murphy - Vocals (6)
- Natalie Whiteland - Harp (6)
- Roger Bolton - Fairlight CMI programming (4)
2. "Devil's Den" (3:05) definitely showing signs of going chamber prog with the avant-jazz brass and winds over the the first 1:50 while vocalist (Ollie?) sing-talks within the mix. But then all hell breaks loose with some real BLACK MIDI-like abrasive dynamism and dissonance. Interesting. The vocalist singing in the final 40 seconds definitely sounds like the half-deranged Ollie from Bright Green Fields. (8.875/10)
3. "Siphon Song" (5:58) slow variant-military drumming with spacey synth and then robot-like voice treatments build this song slowly into something Perhaps the "siphon" in the title refers to the tube-like vocal treatment effect Ollie's voice has been given. (Not quite as distorted as Peter Frampton or Joe Walsh during their use of the "talkbox" vocal effect in the 1970s). Male vocal chorus in the background gives the song an unusual and very interesting effect. As the song really wants you to tune into the lyrics--which are delivered in a very monotone talkbox voice--I find myself at an extreme disadvantage as I don't hear lyrics. (8.875/10)
4. "Undergrowth" (6:35) after a rather subdued RED HOT CHILI PEPPERs opening 90-seconds, we finally have lead singer Ollie Judge bursting out into the half-crazed BEASTIE BOYS-like vocal style he used so much on Bright Green Fields. It's almost comforting to feel and hear Ollie still getting so emotional about his verbal messages; I'd hate to see/hear him totally lose (or discard) that style of expression. A rather simple groove and construct that is absolutely stuffed-to-the-brim with nuanced and intermittent instrumental interjections. My favorite song on the album. (9.125/10)
5. "The Blades" (6:28) more RED CHILI PEPPERS-like eclectic music opening this one before Ollie arrives giving us a very British Indie Rock vocal performance--at least, that is, until the 1:40 mark when he throws his ARTO LINDSAY/DAVID BYRNE-like vocal epithets out with the abrasive guitar chords. Another BLACK MIDI-like interlude at the three-minute mark turns back into with lots of brass-like sounds filling the in-between spaces. Things really amp up (and gel) at the four-minute mark. This is really cool! Then everyone drops out to make way for some slow-picked guitar arpeggi backing Ollie's subdued, tired-sounding almost spoken vocal. Actually a very cool if totally unorthodox song. A top three song.(9/10)
6. "After the Flash" (5:34) dreamy synth backgrounds over which guitars and rhythm section tromp around like an increasingly-impatient elephant. All the while, Ollie recites his invective in a Paul Weller/ THE JAM kind of way. In the song's final minute, Ollie and the band kind of lose it: all grounding in reality is lost and they fall apart. (8.7/10)
7. "Green Light" (4:23) some Afro-beats from guitars and percussion open this one before the band bursts into full avant punk mode. PRIMUS and THE AMBITIOUS LOVERS are brought to mind (and, of course, BLACK MIDI--sorry, Guys). (8.6666667/10)
8. "If You Had Seen the Bull's Swimming Attempts You Would Have Stayed Away" (5:14) more music that sounds as if it came out of the rap era that brought us The Beastie Boys and Vanilla Ice. Choral vocals in the third minute with synth strings joining in with the Ska rhythm palette during the third and fourth minutes. Very cool bass-based section in the fourth and fifth minutes as Ollie and chorus recite a repeating list of snake-bite treatment protocol descriptors. Very interesting! (9/10)
The music on o Monolith feels so much more tame and straightforward than that of their 2021 debut--as if the band have (mostly) "grown out" of their punk "phase." The music is so much more reliant on its many nuances and subtleties--especially as lyricist/vocalist Ollie Judge is not quite as adolescent aggressive as he was on Bright Green Fields. Perhaps a few years have allowed Ollie the room to see that anger, frustration, and disappointment can be vented through more subdued, (barely) controlled methods.
88.74 on the Fishscales = B/four stars; an excellent adventure into music that is fairly new and refreshing--something most prog lover's would probably enjoy if only for the experience.
SINGLE CELLED ORGANISM Event Horizon
Berlin-based proggers who've been around since 2015 are back with their third studio album.
Line-up / Musicians:
- Jens Lueck (Syrinx Call) / drums, keyboards, vocals, bass, additional guitars
- Ingo Salzmann / electric guitars (1,3,4,6,8,9)
- Johnny Beck / electric guitars (1,3,4,6,7,9)
- Isgaard / vocals (1,4-6,9)
- Jürgen Osuchowski / acoustic guitars (1,2,4,7,9)
- Volker Kuinke / recorders (5,7)
- Adriana Glavas / backing vocals (2,7)
- Kai Ritter / voice (5)
1. "Memories in a Box" (9:05) perfectly formed prog rock from very proficient musicians, the song however falters (until that beautiful female vocal at the end) by being too much "prog-by-the numbers."(17.5/20)
2. "Changes Are Coming (The Companion)" (5:15) two minutes of painstakingly emotional singing (à la SYLVAN's Marco Glühmann) over simple, sparse musical support. Drums and bass join in for the second verse before a very emotional (and effective) guitar solo dominates the fourth minute. I also like the more delicate guitar solo that takes us to the song's end. (8.75/10)
3. "Thoughts" (7:42) excellent, well-developed, creatively fresh prog even if it is a little close to a RUSH-PORCUPINE TREE merger. (13.75/15)
4. "The Encounter" (7:13) strummed guitars and delicate cymbal play provide the backdrop for male and female vocal duet--constructed as a kind of conversation. Unfortunately, the sound palette used is based in a lot of now-outdated sound and engineering choices (what I often refer to as "cheap 90s keyboards" and "early DIY production tools"). The result is, unfortunately, a NeoProg sound of the type that imitates the music of 1980s form of the band GENESIS (or, more accurately, the imitators of said band's sound--like Marillion, IQ, Pallas, Pendragon, Aragon, Galadriel, etc.) At 2:30 begins the display of underwhelming drum fills on the toms. I'm cringing--actually embarrassed for the band! Still, the keyboard player is doing a great job of holding things together with bass pedals and lots of Mellotron-like synth "strings" washes. The presence of the guitar arpeggi and 12-string guitar are also quite warm and welcome.Even the interplay between electric guitar chord strums and bass in the sixth minute are okay--it's just those toms! Then we get the real star of this band: the lead electric guitar. I don't know if t's Johnny Beck or Ingo Salzmann but the player has some real talent--not only skill but that intangible sense of timing and melody that makes a great lead soloist. (13.25/15)
5. "Shifted" (4:58) another softer, slower, more delicate songscape (with recorder!) set up to host the female vocalist, Isgaard. The song--and Isgaard's style and performance--remind me very much of Emila Derkowska (Nazaruk) of the Polish band QUIDAM--especially of those from their 1996 self-titled debut album--even down to Emila's Clare Torrey vocalise in the final third. (8.875/10)
6. "Inhale What's Forbidden" (8:35) back to the male-female conversation format--again over a fairly tame (but respectable) prog weave. The lushly "orchestrated" keyboards tend to drown out the rest of the soundscape during the choruses. Nice work from Isgaard and the bass throughout. The drums are up to speed and the guitar work solid. Too bad those keys are dated. After a little pause for some recorded voice samples the band slips easily into an excellent PORCUPINE TREE passage to take us to the end. Nice NeoProg music. (18/20)
7. "Keep My Faith in Humans" (6:28) the song that reveals the Emperor's real clothes: the band's true strengths (melodic sense, heart-felt lyrics and performances) as well as its true weaknesses (poor drumming, poor song "finishing"); herein are contained some of the album's absolute highest points as well as its lowest (which makes it a difficult song to rate). The instrumental passage in the second half of the song is another wonderful merger of PORCUPINE TREE as if from a RUSH perspective. It could've been a 10/10 masterpiece. (9/10)
8. "Distorted Night" (2:56) weird fast-paced song that feels like filler--as if the band had a little section of a studio jam that they were quite proud of and so decided to edit it and include it on the album. It's okay. (4.3333/5 )
9. "Event Horizon" (7:26) an okay song over which are the usual nice displays of guitar talent. (13/15)
Total Time 59:38
Total Time 59:38
After multiple listens to this album, I'm really torn. There's real talent here--and real heart--as well as a very gifted lead guitarist. But the music is a bit too conservative and the musicianship inconsistent (the band members need to keep working on their skills.) The compositional proficiency is also inconsistent as there are glimmers of absolute genius but too often the inventive ideas are either feeling "unfinished" and then the rest of the music is dull, formulaic, generic, "prog-by-numbers." But I am so impressed by those moments of genius that I will be an avid follower of this band's work in their future--a future, by the way, that I think is super bright.
88.72 on the Fishscales = B/four stars; a very nice addition to any prog lover's music collection--one that has flaws but that is also inspired with some awesome, magical highs.
HACKBERRY Breathing Space
A relatively new collective from Holland (they formed in Groningen in 2015 of veteran musicians) release their second full-length studio album since 2017 (third including their 2016 EP, Desert Orchid). Their style of technically precise instrumental music is more Heavy Prog despite plenty of metal passages.
Line-up / Musicians:
- Chris Bechtum / drums
- Francesco Bonardi / guitars
- Marijn de Boer / guitars
- Tim Hidskes / keyboards
- Simon Venema / bass
1. "Lunares" (15:48) impressively precise and coordinated heavy prog with many themes/motifs, time and dynamic shifts, employing a variety of musical styles that provoke some surprising emotional responses. My only problem with this song is that there are several AC/DC- and OZZIE-like sections that are absolutely begging for vocals. (26.5/30)
2. "Solitary March" (10:21) an acoustic guitar opening. (What else would one need/want in order to check off all the boxes for "progressive rock music"?) A nice plodding theme follows over which a single lead electric guitar plays a long solo of continuously sustained notes as the band beneath gradually builds in intensity to match the emotion of the solo. At 2:51 things come to a halt as the band adjusts for the next, more power-chord oriented driving theme. The Hammond beneath the two guitars and bass is noticeable. Mellotron choral voices join in at 4:51 while the theme continues and the twin guitars ramp up. Hammond finally comes to the fore for a flashy solo in the sixth minute but then is pushed aside by one of the electric guitars until 6:10 when the other guitar establishes a new melody riff before everything comes to a stop for a brief guitar picking bridge before everybody comes back over a steady bass and drum line with the twin guitars doing their THIN LIZZY thing, occasionally breaking ranks for individual solos. Interesting song even if nothing is very complex or innovative. (17.75/20)
3. "Foreshadow" (11:44) an interesting collage of somewhat familiar metal styles and themes rendered through a wide variety of (mostly traditionally-prog-related) instrumental inputs. My favorite motifs are the one that begins in the fifth minute and the melodic one that starts at the nine-minute mark with the lead guitar stepping to the fore. (17.5/20)
4. "Manticore" (12:06) again, a song with several familiar motifs. (Reminders of THIN LIZZY came up several times.) Very nice use of the twin lead guitars--and they are used a lot! Also, this song contains some of my favorite melodies on the album--especially in the middle sections and the excellent lead guitar solo of the ninth minute. The bass solo in the tenth minute is nice. And I like the slowed down passage penultimate to the finish. (22.5/25)
Total Time 49:59
The compositions could be a little more complex, thus further earning their inclusion beneath the prog umbrella, but more, they really could use some vocals. The four songs are all solid though very few risks were taken. Also, I wish the drums felt a little more present/forward in the mix so I could hear the nuances better.
88.68 on the Fishscale = B/four stars; an excellent addition to any prog lover's music collection--especially if you like variable instrumental Heavy Prog from highly proficient musicians.
ISOBAR III
A project I've been paying attention to since their 2020 debut (mostly because it's been supported by Prog Hall-of-Fame Member, Mattias Olsson on his native drums since).
Line-up / Musicians:
- Malcolm Smith / guitars
- Marc Spooner / keyboards
- Jim Anderson / bass
With:
- Mattias Olsson / drums
- Joanne Wu / violin (1,8)
- Evan Weiss / trumpet (5,6,7)
- Ben Bohorquez / saxophone (5,6,7)
1. "Are You Now or Have You Ever Been?" (7:44) piano, bass and Mellotron intro, joined by drums and more at 0:30 to create a cinematic soundscape--until 1:20 when guitars and bass take the song into an angular, Änglagård-like direction. A pause 2:20 teases us into wondering which direction is next, but we only get a return to the AltrOck-like motif with some jazzy piano and sustained fuzz-guitar double soloing. At 4:12 we get another stop and extended atmospheric pause--which plays out in kind of dream-reverie section until a RUSH-like re-entry occurs at 5:40. The passage that follows enjoys some input from a violin as well as the guitar and synth (MIDI-ed) doubling up to create a new melody--which is then reinforced by the violin to the finish. Solid instrumental prog. (13.25/15)
2. "Parts of Harvey" (7:28) the slow, down-tempo parts of this album sound and feel like some of the guitar-led New Age music from the 1990s. There is also a bit of a modern RPI feel to this song's sound palette and melody choices. The lead guitar sounds like my brother's "saw guitar" sound on his 1990s Korg or Ensoniq Mirage keyboards. Kind of CAMEL-ish--that is, until the FOCUS-like funked up sixth minute.Nice, solid, but nothing extraordinary. (13.125/15)
3. "Face in the Blue" (5:01) opens with a familiar sound--like something from one of Francesco Zago's projects a decade ago (NOT A GOOD SIGN, EMPTY DAYS)--even the melodies used once the full songscape is established sound like SKE-ZAGO's. The song really picks up in the fourth minute--Mattias Olsson really pushing the envelope--as the keys and guitars embellish and riff. At 4:20 we settle back into second gear again for the long decay with some nice fills from Mattias. (8.875/10)
4. "Shadow Green" (6:27) a song whose lead guitar playing gives it the feel of a STEVE HACKETT song (from any era), though the foundational palette and style feels quite a bit like Andrew Marshall's WILLOWGLASS. (8.75/10)
5. "The Trouble with Buttons" (5:32) prog with big band jazz horns accenting much of the funky sound. Great performances of some pretty complex music. I love Mattias and Jim Anderson's driving rhythm track--at least until 2:40 when the music takes a turn down one of Paris' shopper's lanes (where it gets more quirky). (9/10)
6. "4th Leg" (6:38) opening in a little more serious and bombastic in the Italian way, the joinder of Phil Miller-like saw guitar in the lead position at the end of the first minute gives this a bit of a Homunculus Res/Camembert/Oiapok sound. Then add in the work of the horn section in the third minute and you have quite a song. Then at 2:50 there is a GENESIS-like bridge into a piano-centric section that once again reminds me of SKE/Francesco Zago's instrumental sound palette on the NOT A GOOD SIGN albums. Even the sparse section at the halfway point is quite reminiscent of the modern Italian progsters. (Perhaps it is the modern Italians' inspiration from Änglagård that I should be crediting more!) (9/10)
7. "Objet" (3:42) slowed down jazzy Canterbury-styled European prog that reminds me quite a bit of the wonderful music of UK/Sweden's THIEVES' KITCHEN. Nicely melodic--using European street melodies--making it my favorite song on the album. (9.33333/10)
8. "The Mimus Polyglottos Alarm Clock" (10:12) opems with a slowly-shifting droning low-end bass note over which a lone glockenspiel recites the glockenspiel melody line from the close of Steve Hackett's "Shadow of the Heirophant" almost note for note. Cymbal play, synth vocals, guitar notes, and other incidentals add their intermittent contributions until 1:22 when drums and bass kick in, driving the song forward while everyone else takes their turns (and time) getting on board the train. By the third minute everybody else has arrived (and again in the fourth minute), though intermittent stops re-starts make one unsure of whether or not this will remain so. These shifts, occurring at the core rhythmic level, are quite a nice vehicle for Mattias Olsson to remind us of just how amazing of a drummer he is as there are subtly different rhythms and paces employed with each turn. Overall it might be more accurate to compare this to a bus ride as each new turn could be construed as a turn into a new and different neighborhood. The longest "stop" is in the sixth minute ("Is something wrong with the bus?" one might ask, or, "Did the road or neighborhood become suddenly more treacherous?")--even passing through an Irish neighborhood in the eighth minute--before the pace finally picks up again, though with a totally new driver and route (maybe he's Irish). This section is just a bit too weird for me--reminding me of the many twists and turns Keith Emerson would take in the course of his grand musical journeys--many of which I did not like or enjoy. Then the song just ends! The next one starts up as if yet one more turn of the bus! Weird. (17.3333/20)
9. "Full Nelson" (5:02) sounds like something one of Tony Levin's projects from the past 30 years could have done--very technical and oddly rhythmed but solidly pulled off. Then, at the 3:00 mark, things stop and switch directions (and gears), moving us more into a sappy Mike Rutherford style. (8.75/10)
Total Time 57:46
- Malcolm Smith / guitars
- Marc Spooner / keyboards
- Jim Anderson / bass
With:
- Mattias Olsson / drums
- Joanne Wu / violin (1,8)
- Evan Weiss / trumpet (5,6,7)
- Ben Bohorquez / saxophone (5,6,7)
1. "Are You Now or Have You Ever Been?" (7:44) piano, bass and Mellotron intro, joined by drums and more at 0:30 to create a cinematic soundscape--until 1:20 when guitars and bass take the song into an angular, Änglagård-like direction. A pause 2:20 teases us into wondering which direction is next, but we only get a return to the AltrOck-like motif with some jazzy piano and sustained fuzz-guitar double soloing. At 4:12 we get another stop and extended atmospheric pause--which plays out in kind of dream-reverie section until a RUSH-like re-entry occurs at 5:40. The passage that follows enjoys some input from a violin as well as the guitar and synth (MIDI-ed) doubling up to create a new melody--which is then reinforced by the violin to the finish. Solid instrumental prog. (13.25/15)
2. "Parts of Harvey" (7:28) the slow, down-tempo parts of this album sound and feel like some of the guitar-led New Age music from the 1990s. There is also a bit of a modern RPI feel to this song's sound palette and melody choices. The lead guitar sounds like my brother's "saw guitar" sound on his 1990s Korg or Ensoniq Mirage keyboards. Kind of CAMEL-ish--that is, until the FOCUS-like funked up sixth minute.Nice, solid, but nothing extraordinary. (13.125/15)
3. "Face in the Blue" (5:01) opens with a familiar sound--like something from one of Francesco Zago's projects a decade ago (NOT A GOOD SIGN, EMPTY DAYS)--even the melodies used once the full songscape is established sound like SKE-ZAGO's. The song really picks up in the fourth minute--Mattias Olsson really pushing the envelope--as the keys and guitars embellish and riff. At 4:20 we settle back into second gear again for the long decay with some nice fills from Mattias. (8.875/10)
4. "Shadow Green" (6:27) a song whose lead guitar playing gives it the feel of a STEVE HACKETT song (from any era), though the foundational palette and style feels quite a bit like Andrew Marshall's WILLOWGLASS. (8.75/10)
5. "The Trouble with Buttons" (5:32) prog with big band jazz horns accenting much of the funky sound. Great performances of some pretty complex music. I love Mattias and Jim Anderson's driving rhythm track--at least until 2:40 when the music takes a turn down one of Paris' shopper's lanes (where it gets more quirky). (9/10)
6. "4th Leg" (6:38) opening in a little more serious and bombastic in the Italian way, the joinder of Phil Miller-like saw guitar in the lead position at the end of the first minute gives this a bit of a Homunculus Res/Camembert/Oiapok sound. Then add in the work of the horn section in the third minute and you have quite a song. Then at 2:50 there is a GENESIS-like bridge into a piano-centric section that once again reminds me of SKE/Francesco Zago's instrumental sound palette on the NOT A GOOD SIGN albums. Even the sparse section at the halfway point is quite reminiscent of the modern Italian progsters. (Perhaps it is the modern Italians' inspiration from Änglagård that I should be crediting more!) (9/10)
7. "Objet" (3:42) slowed down jazzy Canterbury-styled European prog that reminds me quite a bit of the wonderful music of UK/Sweden's THIEVES' KITCHEN. Nicely melodic--using European street melodies--making it my favorite song on the album. (9.33333/10)
8. "The Mimus Polyglottos Alarm Clock" (10:12) opems with a slowly-shifting droning low-end bass note over which a lone glockenspiel recites the glockenspiel melody line from the close of Steve Hackett's "Shadow of the Heirophant" almost note for note. Cymbal play, synth vocals, guitar notes, and other incidentals add their intermittent contributions until 1:22 when drums and bass kick in, driving the song forward while everyone else takes their turns (and time) getting on board the train. By the third minute everybody else has arrived (and again in the fourth minute), though intermittent stops re-starts make one unsure of whether or not this will remain so. These shifts, occurring at the core rhythmic level, are quite a nice vehicle for Mattias Olsson to remind us of just how amazing of a drummer he is as there are subtly different rhythms and paces employed with each turn. Overall it might be more accurate to compare this to a bus ride as each new turn could be construed as a turn into a new and different neighborhood. The longest "stop" is in the sixth minute ("Is something wrong with the bus?" one might ask, or, "Did the road or neighborhood become suddenly more treacherous?")--even passing through an Irish neighborhood in the eighth minute--before the pace finally picks up again, though with a totally new driver and route (maybe he's Irish). This section is just a bit too weird for me--reminding me of the many twists and turns Keith Emerson would take in the course of his grand musical journeys--many of which I did not like or enjoy. Then the song just ends! The next one starts up as if yet one more turn of the bus! Weird. (17.3333/20)
9. "Full Nelson" (5:02) sounds like something one of Tony Levin's projects from the past 30 years could have done--very technical and oddly rhythmed but solidly pulled off. Then, at the 3:00 mark, things stop and switch directions (and gears), moving us more into a sappy Mike Rutherford style. (8.75/10)
Total Time 57:46
This is a very solid album, full of wonderfully solid, foreward-thinking progressive rock music (very influenced by the musics of Änglagård and modern RPI). I only wish there had been a little more stellar/flashy lead instrumental performances as well as, of course, some vocals. I do have to comment that this album contains some of the best pure drum kit playing I've heard from Mattias Olsson in a long time (not that I've heard everything the busiest man in prog has done over the past ten years0.
88.56 on the Fishscales = B/four stars; a very nicely performed and produced set of instrumental prog compositions that I think every prog lover will find interesting and satisfying.
ENSLAVED Heimdal
It has finally clicked in me that Hugsjá co-creator Ivar Bjørnson comes from Enslaved! Thus, I am far more willing to give them the very close attention that they deserve.
- Grutle Kjellson / vocals, basses, Fx
- Ivar Bjørnson / guitar, synth, Fx, backing vocals
- Arve Isdal / lead guitar
- Håkon Vinje / keyboards, vocals
- Iver Sandøy / percussion, Fx, backing vocals, drums
1. "Behind the Mirror" (6:21) eery Viking horns warn off the stealthy raiders coming across the still waters. Cool! The music then kicks in, sounding more subdued for dark metal but then the vocals enter and the horn-like twin guitars and then the chugging sophistication of the rhythmic interplay of the fourth minute makes it much more interesting. Nice mutli-voice vocals over the last third remind me of CYNIC's "Veil of Maya." (8.875/10)
2. "Congelia" (8:02) Kind of monotonous (and relentless) despite some nice guitar soloing and choral vocal singing. Lots of similarities to KAYO DOT / TOBY DRIVER projects. (13.25/15)
3. "Forest Dweller" (5:56) acoustic guitars and electric walls of sound (including Mellotron) give this one a ORPHANED LAND sound and feel. Interesting BRENDAN FRASER effect on the vocal over an acoustic guitar accompaniment in the second minute. The dominance of the synth play over the acoustic guitar is fascinating. I really like this! In the third minute the band and vocals ramp up to prog metal (heavy on the Hammond) with growl lead vocals and Opeth-like background chorus. With the return of the synth dominance and Middle Eastern melody lines in the the fifth minute I am once again reminded of Isreali band ORPHANED LAND. The final vocal lines remind me of IGGY POP. Nice stuff. Because of its refreshing behind of styles and themes, this is my favorite song on the album. (9.5/10)
4. "Kingdom" (5:52) nice opening guitar riff sucks one in and then the racing rhythm section brings its own power and adrenaline. Until the chorus at the three-minute mark, this song feels a bit cruise-controlled. Don't get me wrong: the impressive musicians are working hard, but there is so little development in the music (besides the chorus) that over six minutes it feels a bit like an endurance race. The little pause and lament at 3:40 is my favorite moment on the album. Very cool. Another top three song. (9/10)
5. "The Eternal Sea" (7:26) another interesting song for the strong presence of keyboard synths within the metal soundscapes (which, again, feel very TOBY DRIVER-esque to me). I really like everything up to the five-minute mark, but do not like the sudden decent into hell that is taken at this point, despite the pleasant leveling off only 40 seconds later. My final top three song. (13.5/15)
6. "Caravans to the Outer Worlds" (6:45) massive low reverberating bass, strumming acoustic guitars and synth play open up this with an ominous, potentiated sound. At 1:08 the full band kicks into the main theme with a reckless abandon that reminds me of some of the more dynamic passages in MAUDLIN OF THE WELL or even DEVIN TOWNSEND songs. The little chorus thing at the 2:30 mark reminds me of Fates Warning lead singer Ray Alder, but the rest of the song's vocal performances are more typical (even the IGGY POP-like basso profundo is now familiar). The final minute is rather cool with the bass and drum playing off one another. (13.5/15)
7. "Heimdal" (8:07) dominated by bass guitar chord play acting as the leader (and some great drumming beneath), the growl vocals feel a bit Halloween spooky--almost comical. The fourth minute is passed in a near-vacuum as spacey guitar and growly vocal recitation in the back, but then 4:18 we ramp up into a simplistic 1970s THIN LIZZY-like rock motif. When the vocals pick up at the very end of the sixth minute they're delivered choral style sounding very much like country-mates MOTORPSYCHO. Interesting. But a little too weird and disjointed for my puny little brain. (13/15)
Total Time 55:39
There was time, as many of you know, that I could not review an album like this. I think that my repertoire of familiarity with the metal sub-categories is finally beginning to pay off as I can definitely hear and feel (and enjoy) the creativity and similarities in the musics I'm hearing. Yay!
UNIVERS ZERO Lueur
The 11th studio album release from these Belgian Avant Gard/Rock-In-Oppostion pioneers, their fifth of the 21st Century.
Line-up / Musicians:
- Daniel Denis / keyboards, drums & percussion
- Nicolas Dechêne / guitars
- Kurt Budé / clarinet, bass clarinet
- Nicolas Denis / bass, percussion, vocals
1. "Migration vers le bas" (2:35) like being out on the Serengeti watching a pride of robot lions on the hunt. (4.33333/5)
2. "S'fumato (Part 1)" (9:28) opens with a progression of sustained swirling organ chords accompanied by bass and delicate cymbal play. The progression is played for four cycles before the very pleasant, high-register voice of Nicolas Denis (reminding me very much of ROBERT WYATT) joins in. At the three-minute mark the vocals stop and the full band launch into a thick, full-spectrum, ominous motif with some awesome piano, drum, and electric guitar play (sounding almost MAGMA-esque). This is great stuff! At the end the music returns to the calm, beautiful Robert Wyatt motif. My favorite song on the album. (18/20) 3. "Cloportes" (4:00) the Frenchified cross between YUGEN and KANSAS (sans mots). Lots of piano, time shifts, stop-and-go staccato syncopation, and accordion! (8.75/10)
Total Time 47:48
88.47 on the Fishscales = B/four stars; an excellent addition to any prog metal lover's music collection, Heck! Even some prog purists will probably find this quite interesting and pleasing.
The 11th studio album release from these Belgian Avant Gard/Rock-In-Oppostion pioneers, their fifth of the 21st Century.
Line-up / Musicians:
- Daniel Denis / keyboards, drums & percussion
- Nicolas Dechêne / guitars
- Kurt Budé / clarinet, bass clarinet
- Nicolas Denis / bass, percussion, vocals
1. "Migration vers le bas" (2:35) like being out on the Serengeti watching a pride of robot lions on the hunt. (4.33333/5)
2. "S'fumato (Part 1)" (9:28) opens with a progression of sustained swirling organ chords accompanied by bass and delicate cymbal play. The progression is played for four cycles before the very pleasant, high-register voice of Nicolas Denis (reminding me very much of ROBERT WYATT) joins in. At the three-minute mark the vocals stop and the full band launch into a thick, full-spectrum, ominous motif with some awesome piano, drum, and electric guitar play (sounding almost MAGMA-esque). This is great stuff! At the end the music returns to the calm, beautiful Robert Wyatt motif. My favorite song on the album. (18/20)
4. "Rolling Eyes" (5:38) starts out far more melodic and "rock-without-opposition" than I'm used to hearing from this band. It's almost got an Irish / CHIEFTANS feel to it: both in terms of sound palette and construction. Again, I am so surprised to find so many catchy, fairly mainstream melodies sneaking in and out of this--until, that is, the electric guitar goes crazy at the end of the third minute. But then things return to a BBC soundtrack All Creatures Great and Small theme feeling. The drumming and guitar playing are the main things that keep taking the fairly gentle music off the rails a bit, but then it seems to always return to Tristan's main theme. Another top three song. (8.875/10)
5. "Axe 117" (3:33) as if a factory PA buzzer has gotten stuck repeating the same pulse of a note over and over. The other sounds are as if the industrial workers are trying to decide whether or not they should continue to work (some do) or wait for clarification and instructions. The pulsing buzz stops in the third minute and the workers all go back to their industrial routines. Entertaining but hardly pop music; more cinematic in a Fritz Lang kind of way. (8.66667/10)
6. "Sfumato (Part 2)" (6:11) sounds as if KEITH EMERSON had played with a avant garde/RIO orchestra. Not a pleasant listen but impressive skills and arrangement. (8.666667/10)
7. "Wavering" (3:51) slow cinematic music befitting an early industrial Fritz Lang silent film soundtrack. I like the fairly thin weave because I can easily give my attention to the performances of each of the individual instruments. The master-and-slave ominosity remains pretty constant from start to finish. (8.75/10)
8. "La tête à l'envers" (1:49) some elements of jazz-rock fusion and classic cinematic form (and Steve Jansen-like rhythms) work their way into this music. Nice little piece. (4.5/5)
9. "Mister Chung" (2:57) an interesting weave of airy horns and synth horns and sparsely populated percussives that are popular in Asian musical forms. A motif that never changes thus giving it more of an étude feel than a full-fledged song. (4.375/5)
10. "Dartafalk" (5:44) sounds like one of those 1960s French detective film-noir soundtrack pieces. Nothing to write home about but not bad. (8.75/10)
11. "Coda (2:02) drums and bass "funk" j-r fuze, UZed style. Displaying guitarist Nicolas Dechêne's inner Allan Holdsworth. My final top three song. (4.75/5)
Total Time 47:48
88.41 on the Fishscales = B/four stars; a decent and creative UZed album though it is not my favorite album of theirs--not even my favorite of the 21st Century (that would be 2010's Clivage), but still worth your while should you like their chamber orchestral approach to cinematic avant garde/RIO.
ATSUKO CHIBA Water, It Feels Like It's Growing
From Montreal, Québec, this is the band's third full-length studio album release since 2012 and ninth including singles and EPs.
- Anthony Piazza / drums, projections
- David Palumbo / bass, vocals
- Eric Schafhauser / guitar, synths
- Karim Lakhdar / vocals, guitar, synths
- Kevin McDonald / guitar, synths
With:
- Vivianne Roy / vocals
- Amélie Lamontagne / first violin
- Edith Fitzgerald / second violin
- Sarah Martineau / viola
- Camille Paquette-Roy / cello
- Etienne Lebel / trombone
- Nicolas Riverin / trumpet
- Philippe Brochu-Pelletier / saxophone
1. "Sunbath" (6:31) sounds like heavy, plodding psychedelia to me! Then, surprise! Strings take over in the third minute's "psychotic break" /interlude. Instrumental break out at 3:00 with full Mellotron support and multiple guitars strumming away with their thick, heavy, psychedelic power chords; sounds a bit like one of their big influences, THE MARS VOLTA. Great vocal shift at 5:20! Good start! (8.875/10)
2. "So Much For" (6:36)sounds very much like something from one of 2022's KING GIZZARD & THE LIZARD WIZARD songs--even down to the cheery hip-drug culture lyrics--but then the chorus is almost closer to the BEASTIE BOYS! But the jamming session that it turns into for the second half (with horns) returns to a KG&LW sound and style. Nice song, I just wish it were a little more organized and flowing. (8.66667/10)
3. "Shook" (I'm Often) (4:44) quite dull and monotonous. Not even sure how to describe this music except insidious and repetitive. (8.33333/10)
4. "Seeds" (7:45) I LOVE the droning infinity guitar throughout. And the Kevin Richard Parker (TAME IMPALA) voice and effect for singer David Palumbo. Also, the sound palette reminds me of Boston's GHOSTS OF JUPITER. By far the best and my favorite song on the album. (14.25/15)
5. "Link" (2:40) sounds like a cover of a CLASH song! Or else one of MOTORPSYCHO's. (8.5/10)
6. "Water, It Feels Like It's Growing" (7:45) interesting stylistic synthesis turns out to be most similar to heroin-filtered THE MARS VOLTA music. I do like the band's experimentalism with strings, horns, and layers of synths and effects. (13.25/15)
Total Time 36:01
Total Time 36:01
88.39 on the Fishscales = B+/four stars; an excellent addition to any prog lover's music collection--especially if you like modern stoner rock.
I love Mark Trueack's tenacious, relentless goal of raising human consciousness with respect to how we treat the planet that provides us with sanctuary as well as how we as a species treat each other and other species. He refuses to waver, does not back down, keeps pushing forward, trying to open our minds, create conversations, expand our propensities for empathy and compassion. And I love how much Mark's vision and spirit has attracted so many of all-stars from the prog community to endorse his vision through collaboration. I, for one, am so appreciative of the monumental efforts you all have put toward such a dire, yea, necessary cause. So, thank you, Steve Unruh. Thank you, Chrisrophe Lebled. Thank you, Gordo Bennett. Thank you, Ben Craven. Thank you, Nick Magnus. Thank you, Rachel Flowers. Thank you, Dale Nougher. Thank you, Ryo Okumoto. Thank you, Alex Grata. Thank you, Sam Greenwood. Thank you, Sean Timms. Thank you, Jean-Pierre Louveton. Thank you, John Greenwood. Thank you, Peter Lazar. Thank you, Tony Jokinen. Thank you, Charlie Cawood. Thank you, Steve Hackett. Thank you, Michel St-Père. Thank you, Matt Williams. Thank you, Don Schiff. Thank you, Colin Edwin. Thank you, Jonas Reingold. Thank you , Lisa Wetton. Thank you, Tommy Murray. Thank you, Hans Jörg Schmitz. Thank you, Chus Gancedo. Thank you, Daniele Giovannoni. Thank you, Jerry Marotta. Thank you, Clive Hodson. Thank you, Jamison Smeltz. Thank you, Ian Ritchie. Thank you, Brendon Darby. Thank you, Rod Ennis. Thank you, Hasse Froberg. Thank you, Claire Vezina. Thank you, Michelle Young. Thank you, Jeramy Stanton Essary. Thank you, Elisa Montaldo. Thank you, Ed Unitsky.
Thank you, Cornel Wilczek. Thank you, Matthew Atherton. Thank you, Marek Arnold. Thank you, Daniel Mash. Thank you, Mark Franco. Thank you, Joe Toscano. Thank you, Jon Davison. Thank you, Grace Bawden. Thank you, Angus Keay. Thank you, Ettore Salati. Thank you, Valentine Halembackov. Thank you, George Perdikis. Thank you, Angelo Racz. Thank you, Raf Azaria. Thank you, Marc Papeghin. Thank you, Guillermo Cides. Thank you, David Hopgood. Thank you, Phill Sokha. Thank you, Jesús Bancedo García.
Thank you, Jon Anderson. Thank you, Guy Manning. Thank you, Tim Irrgang. Thank you, Holly Tueack. Thank you, Jon Barrett. Thank you, Steve Layton. And thank you, Mark Trueack. Your intentions and efforts are greatly appreciated, even venerated.
Line-up / Musicians:
- Mark Trueack / vocals
- Steve Unruh / vocals, guitars, sitar guitar, bass, bass pedals, thumb piano, violin, flute, wind chimes, tambourine, percussion, narration, harmony vocals
With:
- Christophe Lebled / keyboards, synth bass, programmed percussion, sequences, soundscapes, programming, arrangement
- Gordo Bennett / keyboards, piano, orchestral programming, soundscapes, guitars
- Ben Craven / keyboards, lead & rhythm guitars
- Nick Magnus / piano, Mad Scientist brass section
- Rachel Flowers / piano, fretless bass, vocals, multi-layered harmony vocals
- Dale Nougher / keyboards, loops, samples
- Ryo Okumoto / Hammond organ, Minimoog
- Alex Grata / keyboards
- Sam Greenwood / grand piano
- Sean Timms / piano, loops
- Jean Pierre Louveton / rhythm guitars, bass, keyboards
- John Greenwood / guitars, nylon-string guitar
- Peter Lazar / guitars, keyboards, bass, loops, soundscapes
- Tony Riveryman (aka Toni Jokinen) / guitar, keyboards
- Charlie Cawood / sitar, glockenspiel, harp, electric guitars, zither, daruan, tremolo bass, liuqin, nylon-string guitar
- Steve Hackett / Fernandez sustainer guitar
- Michel St-Pere / guitars
- Matt Williams / guitars, slide guitar
- Don Schiff / bass, stickbass, upright bass, cello, keyboard strings
- Colin Edwin / fretless bass, EBow bass
- Jonas Reingold / bass
- Lisa Wetton / drums & percussion
- Tommy Murray / drums
- Hans Jorg Schmitz / drums
- Chus Gancedo / drums
- Daniele Giovannoni / drums
- Jerry Marotta / drums, Taos drum, spring shaker, weasel, cymbal Fx, rain stick, congas, surdo
- Clive Hodson / horns, alto & tenor saxophones, trombone
- Jamison Smeltz / alto, tenor & baritone saxophones
- Ian Ritchie / saxophone
- Brendon Darby / horns, trumpet, flugal horn, flugal & harmon mute solos
- Rod Ennis / French horn
- Hasse Froberg / lead & harmony vocals
- Claire Vezina / vocals
- Michelle Young / harmony vocals
- Jeramy Stanton Essary / harmony vocals
- Elisa Montaldo / harmony vocals
Line-up / Musicians:
- Mark Trueack / vocals
- Steve Unruh / vocals, guitars, sitar guitar, bass, bass pedals, thumb piano, violin, flute, wind chimes, tambourine, percussion, narration, harmony vocals
With:
- Christophe Lebled / keyboards, synth bass, programmed percussion, sequences, soundscapes, programming, arrangement
- Gordo Bennett / keyboards, piano, orchestral programming, soundscapes, guitars
- Ben Craven / keyboards, lead & rhythm guitars
- Nick Magnus / piano, Mad Scientist brass section
- Rachel Flowers / piano, fretless bass, vocals, multi-layered harmony vocals
- Dale Nougher / keyboards, loops, samples
- Ryo Okumoto / Hammond organ, Minimoog
- Alex Grata / keyboards
- Sam Greenwood / grand piano
- Sean Timms / piano, loops
- Jean Pierre Louveton / rhythm guitars, bass, keyboards
- John Greenwood / guitars, nylon-string guitar
- Peter Lazar / guitars, keyboards, bass, loops, soundscapes
- Tony Riveryman (aka Toni Jokinen) / guitar, keyboards
- Charlie Cawood / sitar, glockenspiel, harp, electric guitars, zither, daruan, tremolo bass, liuqin, nylon-string guitar
- Steve Hackett / Fernandez sustainer guitar
- Michel St-Pere / guitars
- Matt Williams / guitars, slide guitar
- Don Schiff / bass, stickbass, upright bass, cello, keyboard strings
- Colin Edwin / fretless bass, EBow bass
- Jonas Reingold / bass
- Lisa Wetton / drums & percussion
- Tommy Murray / drums
- Hans Jorg Schmitz / drums
- Chus Gancedo / drums
- Daniele Giovannoni / drums
- Jerry Marotta / drums, Taos drum, spring shaker, weasel, cymbal Fx, rain stick, congas, surdo
- Clive Hodson / horns, alto & tenor saxophones, trombone
- Jamison Smeltz / alto, tenor & baritone saxophones
- Ian Ritchie / saxophone
- Brendon Darby / horns, trumpet, flugal horn, flugal & harmon mute solos
- Rod Ennis / French horn
- Hasse Froberg / lead & harmony vocals
- Claire Vezina / vocals
- Michelle Young / harmony vocals
- Jeramy Stanton Essary / harmony vocals
- Elisa Montaldo / harmony vocals
CD 1 (61:33)
1. "Hope Is Drums of Hope" (7:44) Great start. a top three song. (13.75/15)
2. "Love Never Leaves Us" (7:43) (13.5/15)
3. "Soundscaped Quote Gerd Leonhard" (0:48)
4. "The Answer" (5:31) (8.5/10)
5. "Being of Equal" (20:49) (35/40)
6. "Islands" (5:11) (8.75/10)
7. "Transition (Tuning In)" (0:26)
8. "Chants of Hope" (2:24) (8.875/10)
9. "Homosapien" (6:20) cool story with some very solid rock music. (8.875/10)
10. "Quote Sir David Attenborough" (0:43)
11. "Who We Really Are" (3:54) driving solo piano opening over which Mark joins in with his fast-paced vocal. Bass and female background vocals are the only other instruments until Steve Unruh's violin at 2:45. Once again, I wish I were less deaf to music's lyrical content. (8.75/10)
1. "Hope Is Drums of Hope" (7:44) Great start. a top three song. (13.75/15)
2. "Love Never Leaves Us" (7:43) (13.5/15)
3. "Soundscaped Quote Gerd Leonhard" (0:48)
4. "The Answer" (5:31) (8.5/10)
5. "Being of Equal" (20:49) (35/40)
6. "Islands" (5:11) (8.75/10)
7. "Transition (Tuning In)" (0:26)
8. "Chants of Hope" (2:24) (8.875/10)
9. "Homosapien" (6:20) cool story with some very solid rock music. (8.875/10)
10. "Quote Sir David Attenborough" (0:43)
11. "Who We Really Are" (3:54) driving solo piano opening over which Mark joins in with his fast-paced vocal. Bass and female background vocals are the only other instruments until Steve Unruh's violin at 2:45. Once again, I wish I were less deaf to music's lyrical content. (8.75/10)
(106/120) = 88.33333
CD 2 (58:43)
12. "We Only Get One Chance" (10:03) a song that opens a bit blandly before building slowly in the third minute into something special. The broken promises chorus is powerful--especially with the percussion and Indian violin. Though it never quite realizes its full potential, there is a nice touch with the lead vocals of French-accented female vocalist Claire Vezina (she's from Québec) in the second half. Pleasant enough and interesting throughout--especially for its broad spectrum of world music contributors--but in the end nothing very special. (17.5/20)
13. "Transition (Suspense)" (0:13)
14. "Faultline" (6:38) a folk rocker as if trying to be JETHRO TULL from 1971. (8.66667/10)
15. "Learning" (4:35) horns and orchestration in the opening give this a BIG BIG TRAIN sound. Even Mark's delicate vocal entry sounds like Dave Longdon. Great contributions by the background vocalists (and great BBT-like arrangement). Another top three song. (9/10)
16. "Stabilization" (8:03) (13.125/15)
17. "The Bees in Us" (6:40) a very emotional, evocative song beautifully arranged to maximize Mark's vocal (and message). Another song with great background vocal arrangements and performances. Another top three song. (9/10)
18. "Quote Chief Oren Lyons" (1:01)
19. "The Changes We Make" (5:00) a pretty standard blues-rock-oriented song composed, obviously, to help convey the message in the lyrics. (8.6667/10)
20. "Return to Earth" (5:15) (8.875/10)
21. "Hymn of Hope" (6:52) More great, almost church-choir-like, background vocal arrangements helping out a soft and serene song in which Mark continues to proselytize his message of hope. (13.25/15)
22. "Reprise" (4:23) Reprise of what? Served up with a very Peter Gabriel-like sound and style. Even the vocal is like PG's iconic "Digging in the Dirt." Lots of keyboard-generated sounds (also like PG). Maybe that's why this song comes across as such an engaging, likable song. The horns and b vox add so much as well as the ChapmanStick in the bass department. (9.25/10)
CD 2 (58:43)
12. "We Only Get One Chance" (10:03) a song that opens a bit blandly before building slowly in the third minute into something special. The broken promises chorus is powerful--especially with the percussion and Indian violin. Though it never quite realizes its full potential, there is a nice touch with the lead vocals of French-accented female vocalist Claire Vezina (she's from Québec) in the second half. Pleasant enough and interesting throughout--especially for its broad spectrum of world music contributors--but in the end nothing very special. (17.5/20)
13. "Transition (Suspense)" (0:13)
14. "Faultline" (6:38) a folk rocker as if trying to be JETHRO TULL from 1971. (8.66667/10)
15. "Learning" (4:35) horns and orchestration in the opening give this a BIG BIG TRAIN sound. Even Mark's delicate vocal entry sounds like Dave Longdon. Great contributions by the background vocalists (and great BBT-like arrangement). Another top three song. (9/10)
16. "Stabilization" (8:03) (13.125/15)
17. "The Bees in Us" (6:40) a very emotional, evocative song beautifully arranged to maximize Mark's vocal (and message). Another song with great background vocal arrangements and performances. Another top three song. (9/10)
18. "Quote Chief Oren Lyons" (1:01)
19. "The Changes We Make" (5:00) a pretty standard blues-rock-oriented song composed, obviously, to help convey the message in the lyrics. (8.6667/10)
20. "Return to Earth" (5:15) (8.875/10)
21. "Hymn of Hope" (6:52) More great, almost church-choir-like, background vocal arrangements helping out a soft and serene song in which Mark continues to proselytize his message of hope. (13.25/15)
22. "Reprise" (4:23) Reprise of what? Served up with a very Peter Gabriel-like sound and style. Even the vocal is like PG's iconic "Digging in the Dirt." Lots of keyboard-generated sounds (also like PG). Maybe that's why this song comes across as such an engaging, likable song. The horns and b vox add so much as well as the ChapmanStick in the bass department. (9.25/10)
(97.275/110) = 88.43
Total Time 120:16
Total Time 120:16
An album that, unfortunately, comes across quite strongly as a Mark Trueack delivery mechanism due to Mark's near 100 percent monopoly of the lead vocal duties. I mean, I get it: this is his project, under his initiative, carrying forth his lyrical message to the world--but as a music entertainment I have to admit that I would love to see some of these other incredibly talented artists have turns in the lead vocal chair.
88.38 on the Fishscales = B/four stars; an excellent addition to any prog lover's music collection--and a rewarding inspiration for any hope-holders against Near-Term Human Extinction.
COSMIC GROUND Entropy
Dirk Jan Müller (ELECTRIC ORANGE) is back with his ninth studio album release as the solo Kosmische Musik artist "Cosmic Ground."
Line-up / Musicians:
- Dirk Jan Müller / analog modular synthesizers and sequencers, vocoder, rhodes, farfisa organs, mellotron, syntorchestra, solina, farfisa professional piano, guitar, bass, samples, field recording, revox
- Dirk Jan Müller / analog modular synthesizers and sequencers, vocoder, rhodes, farfisa organs, mellotron, syntorchestra, solina, farfisa professional piano, guitar, bass, samples, field recording, revox
1. "Space Seed" (9:41) entropic space clouds seem to organize and form--as expressed through a driving sequencer rhythm track in the second through eighth minute. The song then closes with more swirling, churning space matter. (17.5/20)
2. "Phasing 76" (9:22) nice, gentle, hypnotic old-school Berlin School sequencer music. Perfect as a defining example for the "mesmeric" term. Unfortunately, there are no high or low points--no action or variation--just straightforward mesmerizing music. (17.5/20)
2. "Phasing 76" (9:22) nice, gentle, hypnotic old-school Berlin School sequencer music. Perfect as a defining example for the "mesmeric" term. Unfortunately, there are no high or low points--no action or variation--just straightforward mesmerizing music. (17.5/20)
3. "Substance" (4:17) kind of boring despite its fast-pace underlying rhythm track--totally lacking any engaging melody. (8.66667/10)
4. "The Cage" (6:58) When one stands at the edge of the jungles of The Congo one can feel and sometimes hear the deep thrum of the sub-sonic waves and pulses of elephant talk. DJ has here replicated that listening position with low end sequencer and a plethora of upper canopy animal, bird, and insect noises as generated from his synthesizers. Pretty amazing! (13.5/15)
5. "Q2408" (6:19) It sounds like someone playing an industrial size game of Pong: the slapped bass guitar chords jumping around over the simple little midrange sequencer track are the key points of interest here. (8.75/10)
6. "Randomize User 0" (10:22) barely morphous synth sounds and notes darting and floating around before a sequencer arrives to pick us up and take us on a tour of celestial phenomenon. The chromatic synth notes that seem to randomly arrive and disperse are wonderful as the rhythm pattern of the sequencer grows in strength and volume in the seventh, eighth, and ninth minutes. Then it all reverses as DJ takes two minutes to resolve the passing skytrain with a kind of and doppler effect. Pretty cool. (18/20)
7. "Equilibrium" (6:53) more chaotic space sounds that remind me a lot of much of Stefano Musso's less melodic work. (13.25/15)
8. "Entropy" (18:42) an eery of purely atonal/nonmusical space sounds (not unlike some of the sounds TANGERINE DREAM used in their 1970s explorations). Could easily fill some of the "disturbing silence of space" scenes in Stanley Kubrick's 2001: A Space Odyssey. Like TD, DJ has chosen to let a hard-driving sequencer theme enter in the eighth minute, eventually rising to the fore and taking over as the dominant sound force despite the continued irregular waves of space sound. Actually, the integration achieved between the sequencer and space waves is quite brilliantly actuated: as if the forces of space are chasing and repeatedly washing over the object-in-motion. In the sixteenth minute the sequencer fades into the background and out of the picture as space noises also decay into a vacuum state despite the life-attempts of a kind of heartbeat sound. Interesting and cinematic. (35.25/40)
Total Time: 72:34
Clearly DJ Müller has become more enchanted with the Kosmische possibilities of "music"-- experimenting with non-musical sounds in an effort to create his imagined extraterrestrial soundscapes (this despite the fact that sound will not/cannot occur where there is no atomic/molecular density, i.e. where there is no atmosphere to carry the sound waves). He does, however, like to anchor much of his soundscaping in modern variations of Berlin School sequencer programs: the rhythms aren't always present but they do seem to appear in the middle of these mesmerics as if to ground them in human (or robotic) perspectives.
88.28 on the Fishscales = B+/four stars; an excellent addition of experimental Kosmische Musik to any prog lover's music collection. I love DJ Müller's experimentation with old school Berlin School forms and formats while adding his modern synthesizer sound discoveries.
Very interesting proggy rock from this talented Atlanta-based trio.
Line-up / Musicians:
- Daniel Graham / bass, guitars, vocals
- Dylan Porper / keyboards, guitars, supporting vocals
- Jeff Matthews / drums
1. "Blind Eye to a Burning House" (6:55) dynamic and forceful, this song moves along as if this band has a mission on its mind. These musicians can play! Unfortunately, the music and singing are rather milk-toasty: presenting nothing new or exciting (other than their energetic performances). There's a lot here that reminds me of Jem Godfrey's more recent FROST* songs or John MItchell's ARENA. (12.75/15)
2. "The Portal and the Precipice" (3:40) more excellent musicianship presenting some pop-prog that sounds quite similar to Rush-like ART IN AMERICA (singer Daniel Graham's voice styling sounds identical to that of AIA's Chris Flynn). (8.75/10)
3. "Viper" (5:45) now here's something a little different--something that might stick with me longer than the listening of this album. Dynamic music that reminds me of both FROST* and Kevin Moore's CHROMA KEY project. (8.875/10)
4. "Inheritor" (5:23) opens like a song John Hughes would've used in one of his 1980s movie soundtracks. When Daniel Graham's voice enters it suddenly sounds totally like an ICEHOUSE song. It's very melodic and engaging--perhaps the most so of the album. A catchy CURE-like guitar solo in the third minute seals the vibe. A great 1980s pop song that will probably ring nostalgic, and, therefore, popular with a lot of folks due to all the retro-1980s stuff going on in our world right now. Unfortunately, there is no memorable lyrical hook to latch onto--just the guitar solos. (8.875/10)
5. "To Find the Light, Part Two" (19:58) after a three minute intro and another minute of extended development, the song finally finds a form and base for the vocal. The vocalist sings quite clearly and forcefully sounding very much like ICEHOUSE front man Iva Davies. The music is quite pleasant, sticking to nice melody lines, but it is constructed in a rather straightforward manner (using a single key signature, standard time signature, and 1980s ABC or LOVE AND ROCKETS sound palette). The music definitely gets heavier and more proggy if continually very simple and straightforward. The winning effect is its clear vision and consistent drive. (35.75/40)
Total Time 41:41
Total Time 41:41
Drummer Jeff Matthews and keyboard player Dylan Porper have all the chops of greatness and the band is really tight, well synchronized; there just needs to be something new/different in the compositions to help them get outside the "prog-by-numbers" or "prog lite" formulae that I hear (or out of the 1980s). Still, the album has great musicianship and great engineering and production, so I hope the band will continue working, growing, and developing. I, for one, will be one of those following their evolution.
88.24 on the Fishscales = B/four stars; an excellent addition to any prog lover's music collection--especially if you are a lover of the sounds of some of those 1980s Glam Rockers.
BARONESS Stone
My first encounter with this hard-drivin' metal band that is currently (according to their Bandcamp bio) working out of Philadelphia. I agree with other reviewers that their album artwork--by band member John Baizley--is outstanding--some of the best/most entertaining I've seen in the 21st Century!
Line-up / Musicians:
- John Dyer Baizley / guitars, vocals
- Gina Gleason / guitars
- Sebastian Thomson / drums
- Nick Jost / bass
1. "Embers" (1:01) very interesting and unique album opener! Acoustic guitars with choral vocals--sounding more like The Band or CSN&Y than I expected. (4.5/5)
2. "Last Word" (6:18) chugging metal with psychedelic engineering treatments. Reminds me of GRAND FUNK RAILROAD except on higher octane. You can tell that this is a well-oiled, well-gelled quartet. (I guess all those live performance dates really paid off!) Very interesting sound engineering choices--like with the drums and lead guitar. Less is more and yet the flange is ever-present, sneaking around in the background. Love it! Definitely feels like a blast from the past! Kudos to the team and their engineer/producer to go with these sound engineering choices. A top three song for me. (9/10)
3. "Beneath the Rose" (5:35) this one feels like a kind of TED NUGENT variation on Bono's performance in U2's "Bullet the Blue Sky"--at least for the verses. In the choruses the sound moves into a kind of cross between early URIAH HEEP and METALLICA's "Enter the Sandman." Nice vision and execution! The doubled-up guitar solo feels like a cross between THIN LIZZY and LYNYRD SKYNYRD. The final chorus spills over into Brit-territory--like The Clash or Judas Priest. (8.875/10)
4. "Choir" (4:06) bleeding over from the previous song, the guitars chug along as the continuous-play rolling bass note and straight-time drum race along. The vocals sound like some kind of channel of IGGY POP. I like the more nuanced, intermittent and atmospheric echo-guitar notes in the between-spaces. A very theatric, well-constructed and -executed song. Must be a crowd-pleaser in concert. (8.875/10)
5. "The Dirge" (1:19) another odd snippet that sounds as if it is more likely to come from Americana than metal. (4.3333/5)
6. "Anodyne" (3:20) To a person who's music ears were formed in the 1970s this sound palette sounds so right: none of the processing or compressing that is so common among post-1982 (enter the Computer/ Digital Age) bands and albums. Though this smooth hard rock song is smooth, it must be trying to rely more on its lyrics than previous songs cuz the music is less interesting--with less variation and development than I was expecting. (8.66667/10)
7. "Shine" (6:32) unfortunately, this rather straightforward "heavy metal" song sounds rather dull and elementary. Even the choruses and instrumental passages feel robotic and a bit "dialed-in." (8.5/10)
8. "Magnolia" (7:49) though I've been feeling this VANETA-vibe off and on throughout the course of this album, the opening 2:15 of this one carries a full-fledged imprint of that band. The song goes from waiting-at-the-curb to kick-it-into-gear at the 2:15 mark with some awesome multi-voice harmonic metal vocals over some pretty standard BLUE ÖYSTER CULT-like music. (Even the guitar solo in the sixth minute sounds 1970s). (Did they just say "flaming arrows"?!!) Still: it's a pretty damned-good song. (13.125/15)
9. "Under the Wheel" (6:11) I love the smooth-vocaled opening of this: so much potential energy present here just waiting to be released. And then they do! At 2:58 John Baizley unleashes a wicked-awesome vocal flight path (backed by some important seconds from Gina Gleason). Unfortunately, the song doesn't morph or develop much after that until the awesome spacey-fade. Still here we have another of my top three songs. (9/10)
10. "Bloom" (4:01) a gentle acoustic-guitar based song over which John and Gina sing the lead together, simultaneously, in harmony. Beautiful, smooth, laid-back harmonies. Nicely done. Great vocal performances. My final top three song. (8.875/10)
Total Time 46:12
Total Time 46:12
I'm not sure how this band got categorized "Expeirmental/Post Metal" on ProgArchives cuz this all sounds quite rudimentary and retrogressive; perhaps their previous albums (with which I am unfamiliar) crossed into more experimental "post metal" territory.
Again, I want to commend the band on their choice to "real time"-record and render each song separately and uniquely. Exceptional cojones and will. (It really is so refreshing to hear new music that sounds like the old analog, pre-computer-manipulated music of my youth.)
88.16 on the Fishscales = B+/four stars; an excellent trip down a path that few 21st Century rockers are taking us down. Check it out for yourselves: highly recommended!
LUMSK Fremmede Toner
An old Norwegian metal band that uses folk traditions and some folk instruments. This is only their fourth album (since 2002) and first since 2007!
Line-up / Musicians:
- Mari Klingen / vocals
- Siv Lena Laugtug Sæther / violin
- Eystein Garberg / guitar
- Roar Grindheim / guitar
- Espen Warankov Godø / keyboards
- Espen Hammer / bass
- Vidar Berg / drums
1. "Det Døde Barn" (4:50) I'm having trouble connecting with this song and, therefore, the band's music. Are they coming from a folk orientation or metal? It feels as if the lead singer and rest of the band have differing styles of choice--that each has to hold back a part of their own true inclinations in order to make the music work. (8.7510)
2. "En Harmoni" (5:11) Same trouble: can't connect/engage with this won. (8.5/10)
3. "Avskjed" (2:32) What is this supposed to be? (4/5)
4. "Under Linden" (4:29) the use of more acoustic instruments seems much more fitting to Mari's folkie voice. It helps even when the music ramps up to full on prog metal for the choruses and the instrumental passage third minute. I just wish the band's melodic sensibilities were more engaging and familiar. (8.66667/10)
5. "Fiolen" (2:20) piano band sounds like a Billy Joel jazz- or polka-lounge piece. The folk instrument palette is almost bluegrass. (4.25/5)
6. "Dagen Er Endt" (8:30) with Mari singing in a lower, more relaxed voice I find myself more engaged and contented. There's a little CICCADA/Evangelia Kozoni in this song--in Mari's performance. Too bad the dual guitars didn't ramp up for their dual solo around the three minute mark. Great vocal and band passage follows to complete the fourth minute and carry forward into the fifth. The prolonged instrumental sendoff is tasty. A top three song for me. (17.5/20)
7. "Das Tote Kind" (6:13) Mari's ghost-like vocalise pans around the soundfield as symths, finger-picked acoustic guitars, and Mellotron begin to fill the soundscape until at 1:15 the full band burst in with some uncomplicated metal instruments and riffs. Mari begins singing in a powerful metal ballad style made familiar to us by many other Norse/Nordic female vocalists of the past 30 years. However, she's just not quite as powerful as the good ones (like Simone Simon, Floor Jansen, or Noa Gruman). (8.75/10)
8. "A Match" (4:30) sounds like the continuation of the previous song, with arpeggiated electric guitar providing the only performance of the chord sequence, but using the same pacing and cadence--but here we have a male vocalist--singing, rather pleasantly (theatrically) in English! When Mari joins in for the second verse she doubles up the lead vocal duties with her male partner. Very nice! At 2:30 everything comes to a stop as the two electric guitars and violin begin a little weave to drive the song along, bass, drums and male vocalist (now more aggressive with a theatric graininess in his voice). Mari and macho male dual out their conversation to the song's end. Interesting. (8.75/10)
9. "Abschied" (4:19) simple, bare-bones heavy prog baseline over which Mari sings--auf Deutsch! Unfortunately, there is nothing new or exciting here, just competence. (8.5/10)
10. "Under Der Linden" (4:10) another song sung in German, this one starts out very simply, almost like an iamthemorning song, but with the second verse it gets heavier support from guitars and drums, forcing Mari to amp up her own vocal performance. Around 1:25 the music enters a metallic instrumental passage of some kind of folk melody. When we return for the next vocal verse I get very strong reminders of the Dutch duo SCARLET STORIES--both musically and female vocally. (8.75/10)
11. "Das Veilchen" (3:44) yet another song sung in German (is Mari German?) near-classical piano support with rock band support flares up a little between or behind the vocal passages with delicate (and some not-so-delicate) electric guitar flourishes. The chorus motif sees the band move into a more standard rock strummed chord progression--and then straight into a nice lead guitar solo passage (with lush keyboard and expert support from the second guitar). Another top three song. (8.875/10)
12. "The Day Is Done" (8:24) piano and same theatric (think Phantom or JC Superstar) male vocalist open this one--until, that is, a Rick Wakeman-like organ theme takes over in the second half of the second minute--which then turns into a classic prog-like motif of bombast reminding me of something by GLASS HAMMER with its aggressive male and gentle female vocals being traded and then combined (for the chorus). Nice instrumental passage using the same organ-based motif starts at 4:20 but then goes gentle and pastoral as piano takes over the organ's arpeggi while electric guitar and Michael Giles-like cymbal play provide the lead entertainment for a bit. By the six-minute mark the full band has reappeared in full prog bombast to support the tasteful lead guitar solo. At 6:50 we drop back to piano and bass as the male vocalist delivers a Peter Gabriel-like poetic vocal for a few measures, but then he (and the rest of the band) burst out into an impressively powerful outburst to finish the song. Impressive! Reminds me a lot of some of the NeoProg bands to come out of Italy in the 90s or Naughties--like Citizen Cain, The Watch, La Maschera Di Cena, or even Glass Hammer (who is, obviously, not Italian). Easily the best, my favorite, most proggy song on the album. (18.5/20)
Total Time 59:12
One of the most beautiful album covers I've seen in a long time. If only the music could match up, but no, this album has been in my review queue for some time but I've not been able to get engaged in the half dozen attempts I've made to review it: the music is just too simple and innocuous--all instrumental performances totally set up to support/enhance the vocal performances of Mari Klingen. This might work if it were not for Mari's innocuous folk-tinged vocals feeling totally mismatched with the heavily-restrained metal-disposed band who feel as if they are always ready (and bursting at the gut) to try to break loose into some full-on metal music.
88.13 on the Fishscales = B/four stars; an excellent, if confusing, collection of enigmatic and often ambiguous songs. I recommend that you to try it out for yourselves in order to form your own opinions.
One of Sweden's oldest and most consistent masters of dark prog metal release their 13th studio album since 1992.
Line-up / Musicians:
- Jonas Renkse / vocals, guitar, keyboards
- Anders "Blackheim" Nyström / guitar, keyboards, backing vocals
- Niklas Sandin / bass
- Daniel Moilanen / drums
- Roger Öjersson / guitars
1. "Austerity" (3:41) cool KARNIVOOL-like song and vocal performance. (I understand how wrong this reference is since Ian Kenny and his Aussie bandmates were barely out of diapers when Katatonia launched its career but my knowledge and familiarity of Karnivool's music preceded that of my Katatonia awareness.) Excellent guitar solo in the second minute. Great choruses. A top three song for me. (8.75/10)
2. "Colossal Shade" (4:29) opens like some 1980s power metal but then enters the 21st Century with some great effects and djenty guitar play. (8.75/10)
3. "Opaline" (5:00) through the first minute of this song I feel as if I should prepare myself for some kind of Linkin Park performance pyrotechnics, but the song turns out to be far more straightforward and melodic than I expected. (9/10)
4. "Birds (4:08) great performances from the rhythm section, weak vocal. (8.667/10)
5. "Drab Moon (3:59) is this KARNIVOOL? Hearing this song begs the question: Did Mariusz Duda hear Katatonia before gathering his musical credits? before he helped form RIVERSIDE? (8.5/10)
6. "Author" (4:17) now this is more like what I like in my atmospheric metal music! (I am, after all, an attested fan of all-things djenty.) By far my favorite song on this album! I love the extreme dynamic shifts and atmospheric keys, subdued vocal performance and djenty guitar sections. (9.5/10)
7. "Impermanence" (5:12) I hear a little Cy Curnin (THE FIXX) in this vocal performance. (8.75/10)
8. "Sclera" (4:45) nice sounding but so very simple--both compositionally and vocal/melodically. (8.5/10)
9. "Atrium" (4:08) as melodic as anything Ian Kenny and his KARNIVOOL mates have done. In fact, this is almost a straight-forward rock ballad! (8.75/10)
10. "No Beacon to Illuminate Our Fall" (6:08) again, it's the dynamic range of this song that brings me in--even though some of the heavier stuff is a bit repellent. That fourth minute is spell-binding. Unfortunately, it flows into the less-than-impressive chorus section. Still, this is probably my final top three song. (8.75/10)
Total Time 45:47
I do not find this music to be nearly as dark as others have written. In fact, I find it much more melodic and uplifting--reminding me quite a little of KARNIVOOL's wonderful 2013 minor masterpiece,
Asymmetry. The excellent drumming and bass contributions to this album's music are always so solid, so noticeable. I've listened to Katatonia albums before but none have grabbed hold of me as well as this one. This might help inspire me to go back into their rather extensive discography.
88.125 on the Fishscales = B+/four stars; an excellent addition to any prog lover's music collection.
ARNAUD BUKWALD La marmite cosmique 7 - Uncle Bizarre
Eclectic Renaissance man Arnaud Bukwald is back with his seventh installment of the La marmite cosmique series, and this time he lets his love for jazz, funk, and R&B come shining through within some undeniably proggy grooves.
Line-up / Musicians:
- Arnaud Bukwald / all instruments
With:
- Cherry Pob / vocals
- Sébastien Chapé / bass (2,3)
1. "Prologue" (1:14) playful keyboard warm up using Fender Rhodes electric piano arpeggio chords (sounding a lot like Mr. Rogers' Neighborhood) and a slippery (Arp?) synth soloing over the top. (4.5/5)
2. "Daredevil" (1:52) funky soundtrack to some 1970s "Blaxploitation" film with some excellent interplay/conversations between the sax, synth, drums and bass. Excellent and fun! More of this, please. (5/5)
3. "Mermaid Lullabies" (17:20) one of Arnaud's epic journeys he takes us on in which he seemlessly, astonishingly, weaves together multiple seemingly-disparate musical styles together into one song. There are really three movements each expressing a totally different (and incongruous) musical style. The first is an example of what my daughter calls "White Man with a Guitar" as Arnaud sings in his amazing baritone like he's in a Beach Boys video. At 2:30, a slight key change occurs as the entrance of mezzo-soprano Cherry Pob's vocalise shifts this into a little different Prog Folk territory (which eventually comes to sound like Sweden's Moon Safari's Blomjlud). A pause and symbol crash at 4:24 signals the shift and entry into the second style that is that of 1958-61 Bill Evans/Miles Davis be-bop jazz. Sax leads the way over piano and "upright bass", but then at 5:35 there is another, gentler transition into a softer, "smooth" jazz realm similar to the stuff flutists Herbie Mann, Joe Farrell, and Hubert Laws were into in the late 60s and early 1970s. This shifts into Reggae land at 6:20 before a "dirty" Hammond organ takes over the lead at the end of the seventh minute. Flute returns at 7:20 before being joined by horns and multiple echoes of flutes in the wings, just before the bass elements re-enter and fill the bottom with a funky jazz stink. These synths are so Parliamentian! Pause for a very eerie section in which a discordant organ supports the haunting vocalise of Cherry Pob for a minute or so. Then, at 10:15 we fly into a new motif that still sounds like a soundtrack to a 1960s horror flick--but then we're off to Arabia for some sandy beach day dreams--thanks to zither, hand bells, and more of the amazing vocalise from chameleonic siren Cherry Pob. At 12:35 Zeuhlish keys and drumming with pulsing electronic bass signal another shift. We are clearly in the imaginary world of Kobaia (wherever that is) as Arnaud and Cherry team up to sing something in an extraterrestrial language known only to their kind (and maybe Christian Vander). At the end of the fifteenth minute the music shifts into something that sounds more Disney princess Cirque du Français. But then Cherry bursts my bubble by singing in English! while Arnaud subtly shifts the music more toward the stage musical for the big finish. (Okay, not so big.) Taking the song's title into consideration might help explain the drastic international shifts in musical styles that link together to make this suite. It's not really an epic so much as a tour--a peak inside the vast array of "favorite" mermaid hangouts. While not as cohesive in its flow, once again Arnaud (and Cherry) have taken us on a very interesting and enjoyable journey. (31/35)
4. "Woof Blues" (2:51) in pure 1960s Frank Zappa and The Mothers of Invention tradition, here Arnaud explores the perspective of a dog's life, with soulful French-accented English narration, in one of his comedic efforts--all set to the music of ABC's "Why Smokey Sings" combined with Martha Reeves & The Vandella's "Nowhere to Run." Very funny. Great musical choices. Frank would have loved it. (8.875/10)
5. "Floatsam" (1:50) another song that sounds like it came out of the 1970s Black film industry soundtracks--this one a tongue-in-cheek sexy-romantic piece. (4.33/5)
6. "Out of the Blue" (2:01) a jazzier take on Pink Floyd (and Clare Torey's) space-bluesy masterpiece, "The Great Gig in the Sky." Purely a study in imitation. (4.33/5)
7. "Moon Landing" (6:55) electronica taken back to use as a soundttrack to a 1960s sci-fi film. Interesting choice of sounds used to create this palette--including sitar. I like the experimental use of orchestra percussion panning/floating in the background. At 4:50 a Richard Wright (Pink Floyd) "Welcome to the Machine" synth (Prophet 5?) enters and takes the lead. In the final minute, wind sounds take over as the other instruments fade away, taking us to the end. Pretty cool! (13/15)
8. "The Wizard" (1:47) the resuscitation of the KING CRIMSON synth/Mellotron flute over/within which other synths, military snare, bouncy bass and violin keys join, all before an ELP "Lucky Man" portamento synthesizer enters to solo, to the end. (4.33/5)
9. "Fangs" (3:01) another interesting electronic and jazz combo that sounds very much like a tribute to Jean-Michel Jarre as much as to anyone else. The repetitive synth bass line gets a bit annoying pretty quickly.. I like the horn arrangements the best. I really wish Arnaud could have found a way to blend all of the last five or six songs together into one sci-fi kind of suite instead of offering these brife little "teases" that feel more like experiments to see if he could replicate--or find uses for--these "classic" sounds. (8.5/10)
7. "Moon Landing" (6:55) electronica taken back to use as a soundttrack to a 1960s sci-fi film. Interesting choice of sounds used to create this palette--including sitar. I like the experimental use of orchestra percussion panning/floating in the background. At 4:50 a Richard Wright (Pink Floyd) "Welcome to the Machine" synth (Prophet 5?) enters and takes the lead. In the final minute, wind sounds take over as the other instruments fade away, taking us to the end. Pretty cool! (13/15)
8. "The Wizard" (1:47) the resuscitation of the KING CRIMSON synth/Mellotron flute over/within which other synths, military snare, bouncy bass and violin keys join, all before an ELP "Lucky Man" portamento synthesizer enters to solo, to the end. (4.33/5)
9. "Fangs" (3:01) another interesting electronic and jazz combo that sounds very much like a tribute to Jean-Michel Jarre as much as to anyone else. The repetitive synth bass line gets a bit annoying pretty quickly.. I like the horn arrangements the best. I really wish Arnaud could have found a way to blend all of the last five or six songs together into one sci-fi kind of suite instead of offering these brife little "teases" that feel more like experiments to see if he could replicate--or find uses for--these "classic" sounds. (8.5/10)
10. "Nexus" (2:00) soul synth funk--George Clinton and Bernie Worrell would be proud--as would, I'm sure, some French pop artists that are unknown to me. Arnaud has such an amazing voice (like the late iconic 1970s, 80s, & 90s "Pillow Talk" DJ from WNIC FM Detroit, Alan Almond). I wish he'd use it more! (4.5/5)
11. "Maze" (7:54) another reflection/variation on classic PINK FLOYD sounds and songs. After the lengthy mid-song pause, the song turns into a variation on PF's opening movement of the "Shine on You Crazy Diamond" suite. (I keep waiting/expecting David Gilmour's lead guitar to invade the peaceful space-field.) (13/15)
Total Time 48:45
As always, Arnaud provides amazing sound production and gasp-worthy performances on his instruments--his mastery of so many instruments and mediums is truly astonishing. Arnaud does his typical nods to past classics by employing analogue synth sounds that were used in iconic (and often one-time) events--but then, as is also a pattern of Arnaud's, he will enmesh them within jazzy or funky or elctro-pop fabrics giving them a "fresh" or brain-teasing effect. Would that the prog world could be more receptive to this directional "push" toward electro-funk, I'd be a enthusiastic follower!
88.11 on the Fishscales = B+/4.5 stars; a near-masterpiece of boundary-pushing retro-electro prog funk; an album that I think everyone would enjoy and that I highly recommend you check out for yourselves.
BEHOLD … THE ARCTOPUS Interstellar Overtrove
Line-up / Musicians:
- Jason Bauers / Simmons electronic drums, acoustic percussion
- Colin Marston / Warr guitar, guitar synth
- Mike Lerner / guitar, guitar synth
With:
- Bauers / acoustic percussion
- Marston / Simmons drums
- Lerner / V-drums
1. "Hot for Emotions" (4:15) solo Simmons drums opening. Sounds like the arrival of an army of programmed robot foot soldiers. Warr guitar (with touch-tone bass notes) and microtonal guitar join in to give this musical experience other otherworldly dimensions. It's not until the 90-second mark that anything resembling 20th Century rock 'n' roll joins in--which comes in the form of a Joe Satriani-Steve Vai-like electric guitar lead. It's as if these guys have taken Tony Levin and Bill Bruford (or Trey Gunn and Pat Mastelotto) another step into the future--beyond even Les Claypool and Adrian Belew or Stephen Thelen and Sonar. At least on this one the drums often sound familiar albeit synthetic. (Thanks Bill Bruford for preparing my ears and brain for the likes of this music--and the onslaught that is to come!) (8.75/10)
2. "Def Lepton" (3:31) the comparisons to King Crimson's 1980s album output--both in terms of brain-shattering music and the overall effect on the state of music as we know it--may not be far-fetched. There are few melodies here--except for the occasional sustained chord. It's as if someone had the ability to render the night-time movement of mice in the walls of an old home that is heated by woodstove or kitchen hearth in the middle of winter. The synthetic drums are the scurring, the high speed microtonal Warr guitar play the time-elapse photography, and the occasional chord or musical note the recordings of their telepathic conversations. (8.75/10)
3. "Insane in the 11th Membrane" (3:22) more rodent scurrying, this time a rendering of their nocturnal activity in the barn out back, as related from the predatory perspective of the observant house cat (the gentle, slow-timed guitar chords). I like the "Love Supreme" guitar chords (yes, that Love Supreme!) around the two-minute mark as well as the Mark Isham synth chord progressions at the end of the third minute. My favorite (if one could call it that). (8.875/10)
4. "Time-Denier" (5:54) Starting with the atmospheric Vangelis Blade Runner tribute of the opening 30 seconds, this a more musical presentation with odd, unpredictable--even, at times, jazz-ambient (in an ADRIAN BELEW-kind of way), though discordant--guitar chord progressions over/within which RoUS (Rodent of Unusual Size) Jason Bauers scurries and stops, scurries and stops. Weirdness. (8.75/10)
5. "Speculated.Inflated.Transparent" (2:59) Jason Bauers' Southeast Asian cave water torture and bat therapy is interrupted in the second minute by a genuinely human King Crimsonian jam, but then, after the humans pass through, the native creatures return to their favorite activities. (8.75/10)
6. "Echoes of Deletion" (Instrumental) (7:34) genuine man-made percussives intermixed with guitar-MIDIed tuned percussion sounds. this is easily the most accessible and relaxing song on the album. It's still non-Western: more like drug-induced/altered Gamelan/world music--like stubling upon a chance encounter of a secret coven of Gamelan players warming up and/or trancing each into their own inner dimensions. Luckily, I love (and find fascinating as well as soul-soothing) Gamelan! Another top three song.
I need to see the sheet music to this one! (13.25/15)
7. "SETI: The Search for Entertaining Terrestrial Incompetence" (7:21) If there's ever been a tribute to--or continuation/variation of--KING CRIMSON's famous "Indiscipline," this is it--or maybe more aptly put: "Indiscipline 12.0" (Does this, by default--and taking the only-slightly-hidden reference to the increasingly organised effort that has been actively searching for signs of extraterrestrial life since the days of Nikolai Tesla--mean to imply that Sirs Robert of Fripp and William of Bruford and their trusted squires--foreign-both, both--were receiving interstellar signals--or even guidance?--back in 1981?) The only things missing are crazed self-obsessed "stream-of-consciousness" lead vocals and the oddly beguiling-yet-cloying, sedating and disarming background vocals.) (13.3333/15)
Total Time 34:56
I'm not sure if even the likes of Dmitri Shostokovich, György Legeti, Olivier Messiaen, Frank Zappa, Robert Fripp, Bill Nelson, Chris Cutler, Gérard Hourbette, Daniel Denis, Claudio Milano, or Francesco Zago could imagine the kind of music these guys are creating. Despite the initial astonishment and lingering awe, I'm just not sure how much long-term pleasure I would ever be able to derive from this music. Personally, I prefer more melody, harmony, and Western flow. This music rarely has any of those. (In fact, it's only when they throw me a little bone--give me some familiar sound, Western melody, or diatonic with its chords--that I find myself engaging, relaxing, and enjoying a bit of this music.) So, while I can recommend this for any adventurous prog lover to try out for themselves, I do so with a caution warning: if you were born before Y2K it is highly unlikely that you will understand much less enjoy that which you hear when you listen to this album--unless, of course, you been able to keep your mind open (and your brain plastic) beyond the course of your 25+ years.
I have to admit that over time, with repeated listens (I've gone through four times now), the woven sounds of these songs have grown on me: I now think I hear music (though it may be more familiarity: the unguent of the Central Nervous System and enabler of species adaptation and, thus, survival)--some of which I'm actually starting to like!
88.08 on the Fishscales = B/four stars; while I will not recommend this amazing album to everyone (those of you with heart conditions or nervous disorders please beware!), I do think every self-identifying "prog lover" should expose themselves to this music. Like 1981's Discipline by King Crimson, this album may portend the discovery by the James Webb Space Telescope the birth of a new galaxy beyond the hither-to-now accepted boundaries of our known Universe.
This is apparently the culmination of the machinations of a bunch of high school chums in Norway. The individuals, however, took 30 years of side roads on their way to the realization of their Chronicles of Father Robin plans.
Line-up / Musicians:
- Andreas Wettergreen Strømman Prestmo (Wobbler) / vocals, guitars, bass, synth, organ, glockenspiel, percussion
- Aleksandra Morozova (The Suburban Savages) / vocals
- Thomas Hagen Kaldhol (Mythopeoic Mind, Panserpappa, Suburban Savages) / guitars, mandolin, electronics & sound effects, backing vocals
- Regin Meyer / flute, organ, piano, backing vocals
- Jon Andre Nilsen / bass, backing vocals
- Henrik Harmer (Tusmørke) / drums & percussion, synth, backing vocals
With:
- Lars Fredrik Frøislie (In Lingua Mortua, White Willow, Shining, Wobbler, Holon, Telepath, The Opium Cartel, Rhys Marcsh and The Autumn Ghost, Tusmørke, Weserbergland, Caligonaut) / keyboards, organ, Mellotron, piano, synth
- Kristoffer Momrak (Tusmørke) / synth
- Håkon Oftung (Jordjsø, Briedablik) / organ, clavinet, Mellotron, strings, electric piano, synth
- Ingjerd Moi / backing vocals (4)
- Ingjerd Moi / backing vocals (4)
1. "Prologue" (1:06) recorded noises from a seaside park--with cars going by on the highway behind and gentle seashore wave sounds, finishing off with close-up sounds of feet shuffling through beach stone before entering a cabin and shutting the door and, thus, the outside sounds.
2. "The Tale of Father Robin" (1:16) a little poetic folk intro that sounds like something that would come from a group of itenerant minstrels at the beginning of one of their ad hoc street performances. (4.333/5)
3. "Eleision Forest" (11:57) Very pleasant, broad folk-rock soundscape with unusually delicate upper register male vocals coming from the lead story teller. The heavier Uriah Heep-like spacer-motif is not as pleasant or fitting, but I love all of the elf- and fairy-like incidental voices and instrumental inputs coming from all sides of the broad soundstage. A chorus of vocalise backed by standard four-chord rock music begins at 4:50--also facilitating a nice synth solo over the myriad other instruments filling the field. The music--especially that coming from the rhythm section--is surprisingly simple and straightforward (as was somewhat common in the early era of progressive rock). The lead vocalist begins to sound more WOBBLER-like before the heavier rock motif supports a wild flute and other folkie instrumental free-for-all. The ninth minute again uses fairly simple, almost Led Zeppelin and/or Neil Young song structures to support a very loose jam of multiple instruments. Piano and organ with delicately strummed and picked acoustic guitar are featured with multiple sprite-like folk voices over the next bucolic passage until 10:20 when another "old rock" jam passage ensues (feeling/sounding like very early YES). Howe-like lead guitar with Wakeman-like organ play take us to the end--which is as slow fade. A song that captures the bohemian spirit of the late 1960s and early 1970s but is a little too wild and loose for me. (22/25)
4. "The Death of the Fair Maiden" (8:03) a CAMEL opening turns into a spacious Pink FLOYDIAN style over which myriad loosely-associated vocalists sing their mediæval-sounding folk-hippy lyrics. This sounds so much like those very first Wobbler albums: Hinterland and Afterglow, while the drums sound more like Rites at Dawn. The big difference between this music and Wobbler's is the (intentional, I think) looseness of both the playing and engineering: it's much more jam oriented than Wobbler's very precisely contrived musics--not unlike CAMEL. I also hear some of the old Stephen Stills-like frenzied guitar soloing in Andreas' soloing as I used to in the Rites at Dawn album. A nice song that really breings little new or exciting to the table other than the unusual (and wonderful) "loose" vocal array. (13.33333/15)
5. "Twilight Fields" (15:24) in this very WOBBLER-sounding song (I guess it's unavoidable with Wobbler's principle vocalist, Andreas Wettergreen Strømman Prestmo, performing the lead vocals) I hear a lot of the NEKTAR sound and psychedelia with a bit more King CRIMSON dissonance and angularity. It's as if we're observing from the woods around an open glade in which some Pagan wizard is throwing together spell over a midnight cauldron. The stuff that folklore is made of (or the folklore that prog is made of). A song that evokes some very interesting imagery but ultimately fails to satisfy or bring me back for more. (26.25/30)
6. "Unicorn" (8:29) again we are definitely conjuring up a Nature scene with this slack-paced music. From the start it feels as if a group of friends are sitting around a fire pit in the gentle September night air, each picking up an instrument and then picking or tinkering away: sometimes synchronized and attuned, even entrained, but mostly playing from within their own private universes. Then the seventh minute arrives and, with it, the musicians become quite serious--as if the coherence of their collective jam holds some kind of protective or energetic power to ward off intruders/ill-wishers. This motif plays out to the song's finish and leaves me feeling very agitated and abandoned--as if the song and album are not properly completed. I really enjoyed and feel peacefully transported by the first six minutes, but the abrasive music of the final 2:40 leaves me cold and disquieted. Too bad. (17.75/20)
Total Time 46:15
Music that to my ears sound like a version of Wobbler that is even more intrenched in and imitative of the prog masters of the 1970s. Overall, I LOVE the primeval, pre-Industrial feel to the music and its subject matter; the songs feel as if they are created and performed out-of-doors in communal cooperation or for community entertainment and escapism--as in the harsh and fragile day-to-days of the untamed Middle Ages.
88.07 on the Fishscales = B/four stars; an excellent album of retro-folk rock that will please and feed many prog lovers.
Former drummer for Finisterre and La Coscienza Di Zeno (who also worked on several Fabio Zuffanti projects such as Höstsonaten, Il Maschera Di Cera, and La Curva Di Lesmo), Andrea Orlando has been branching out into solo territory lately--releasing now this, his second album of his own compositions (and under his own name).
Line-up / Musicians:
- Andrea Orlando / drums, keyboards, glockenspiel
With:
- Meghi Moschino / vocals
- Luca Scherani (Luca Scherani, La Coscienza Di Zeno, Höstsonaten) / keyboards
- Stefano Marelli (Finistere, Höstsonaten, Zaal) / guitars
- Matteo Nahum (Höstsonaten, La Maschera Di Cera) / guitars
- Pietro Martinelli (Höstsonaten) / bass
- / violin (4)
- Fabio Zuffanti / bass (5)
1. "Ancora Luce" (10:54) a two-part song of steady straight-time pacing: the first containing the introduction and then wonderfully vocal performance of female singer Meghi Moschino; the second showcasing some solo and, sometimes, interwoven instrumental performances. Very pleasant and comforting to hear--which is a BIG plus--but ultimately offering nothing new to the prog lexicon (unless you wish to have a category for "understated ease and control"). Still, there is no argument that Andrea and company present a great sound as well as a great mood setter. (18/20)
2. "Tracce" (10:34) The first motif, which is very CAMEL-like, contains some very strictly uniform music (with absolutely no deviations, no flourishes, no improvisation). The second, stripped down, single-instrument motif is still very stringently formed while setting up the foundation over which singer Meghi Moschino lays down another one of her masterfully-subdued vocal performances. This is then bridged to another extended instrumental passage which sounds like a variation on the opening theme but a little more tinged with some jazz/prog layering, syncopation, and analog-sounding instrumentation. Nice--especially the section with Meghi's vocal--but, ultimately, (like so much of Camel's music) bland and repetitive. (17.75/20)
3. "Il Sogno di Anastasia (Parte Prima)" (5:22) opening with a poppy tempo and almost "Take on Me" feel and sound to it. I love the pairing of the oboe with Meghe's voice during the middle vocal-centered motif. (8.7/10)
4. "City 40" (6:36) quite a little more jazzy pep to the opening motif of this song--kind of like an overture to a stage musical. The opening motif only stays around for about two and a half minutes this time before a Hammond organ solo bridges us into a more retro prog swing theme. Still nothing impressive coming from the solo musicians, just simple, rudimentary note play to carry or introduce melodies. The guitar play here is very similar to some of Andy Latimer's more rudimentary play (and melodies). This second motif happens to play out to the finish with a very nice sound palette but it presents nothing very new or exciting--just repetition (and solid drum play). (8.7/10)
5. "Stagione Lontana" (7:51) opening with lush (and dated sounding) Mellotron, bass soon joins in and, at 1:10, the rest of the band, presenting a slow classic blues-rock motif with piano and 'tron sitting up front while bass and drums hold down a steady foundation. At 2:30 there is a break before the Mellotron starts up again with some gently swirling organ and flute to support Meghe's impassioned vocal (reminding me a lot of the many great female vocal performances published by Riccardo Prencipe in his CORDE OBLIQUE discography). The guitar that steps up to solo in the sixth minute is so staunch in its stiff replication of Meghe's melody lines--employing such exaction as to beg the questions, "Why? Why not just let Meghe sing again?" I swear any high school musician who can read sheet music could perform this song with the same conformity to lines and notations. (13.125/15)
6. "Il Sogno di Anastasia (Parte Seconda)" (6:50) solo piano opens playing some arpeggiated chords before synth joins in as a harmonizing backup. Then in the second minute the piano goes solo classical, joined by electric bass--who then becomes the soloist until the rest of the band joins in at the two-minute mark. Nice syncopated drum lines to help marshall this along. Latimer-like singing guitar starts to solo using some tremolo bar and double-tracked a bit to give us a near CAMEL listening experience. What makes this song a bit different for me is how the instrumentalists seem to be less bound to the very simple and straightforward music as on the composer's sheet music. Oops! I spoke too soon: the fifth minute arrives with a downshift in tempo (and all rhythmists reigned in quite tightly into a proggy-blues rock form). The electric guitar, harpsichord, and synths still manage to present their own personalities but only just barely as the plodding bass and drum tracks threaten to swallow them up like Charybdis and Scylla. (13.375/15)
7. "La Strada del Ritorno" (15:01) Opens with the bombast of a nice romantic classical piece: dynamic piano, oboe, lush orchestra-like strings, cello and French horn, all converging on a very beautiful melody to create quite a lush motif. At 3:00 there seems to be a reset with some symphonic crashes, but then the lone piano reestablishes the melody and pace--over which Meghe Moschino is once again invited to render her interpretation of the lyrics delivering Andrea's melody with her own beautiful stylistic idiosyncracies. (Again, I find myself so reminded of some of Riccardo Prencipe's seeemngly-endless posse of extraordinary female vocalists--especially of one Caterina Pontrandolfo). At 6:30 the music stops and then restarts in an confoundingly surprising direction: militaristic drums with Rockabilly music before breaking into a set Rockabilly motif over which the Latimer/Oldfield-guitar takes a turn before giving way to multiple tracks (and settings) of lush synth strings. The treble choices would sound so much better without the horrid Rockabilly foundation. Thankfully, the listener is given a reprieve at 10:15 when sensitive (emotional!) piano reestablishes itself as the principle fountain of support over which Meghe gets another (yes: second) turn! In the 12th minute, the rest of the band joins in to support the funeral march as Latimer, oboe, and strings reclaim their places as principle melody delivery mechanisms. This plays out to the end as the funeral procession passes out of view, over the horizon, into the sunset. The first half showed so much promise, but the second half rendered it unto rock dross--forms that are, in my opinion, among some of the most base and homely forms ever contrived by rock (and folk/Country-Western) musicians. (26/30)
Total Time 63:08
2. "Tracce" (10:34) The first motif, which is very CAMEL-like, contains some very strictly uniform music (with absolutely no deviations, no flourishes, no improvisation). The second, stripped down, single-instrument motif is still very stringently formed while setting up the foundation over which singer Meghi Moschino lays down another one of her masterfully-subdued vocal performances. This is then bridged to another extended instrumental passage which sounds like a variation on the opening theme but a little more tinged with some jazz/prog layering, syncopation, and analog-sounding instrumentation. Nice--especially the section with Meghi's vocal--but, ultimately, (like so much of Camel's music) bland and repetitive. (17.75/20)
3. "Il Sogno di Anastasia (Parte Prima)" (5:22) opening with a poppy tempo and almost "Take on Me" feel and sound to it. I love the pairing of the oboe with Meghe's voice during the middle vocal-centered motif. (8.7/10)
4. "City 40" (6:36) quite a little more jazzy pep to the opening motif of this song--kind of like an overture to a stage musical. The opening motif only stays around for about two and a half minutes this time before a Hammond organ solo bridges us into a more retro prog swing theme. Still nothing impressive coming from the solo musicians, just simple, rudimentary note play to carry or introduce melodies. The guitar play here is very similar to some of Andy Latimer's more rudimentary play (and melodies). This second motif happens to play out to the finish with a very nice sound palette but it presents nothing very new or exciting--just repetition (and solid drum play). (8.7/10)
5. "Stagione Lontana" (7:51) opening with lush (and dated sounding) Mellotron, bass soon joins in and, at 1:10, the rest of the band, presenting a slow classic blues-rock motif with piano and 'tron sitting up front while bass and drums hold down a steady foundation. At 2:30 there is a break before the Mellotron starts up again with some gently swirling organ and flute to support Meghe's impassioned vocal (reminding me a lot of the many great female vocal performances published by Riccardo Prencipe in his CORDE OBLIQUE discography). The guitar that steps up to solo in the sixth minute is so staunch in its stiff replication of Meghe's melody lines--employing such exaction as to beg the questions, "Why? Why not just let Meghe sing again?" I swear any high school musician who can read sheet music could perform this song with the same conformity to lines and notations. (13.125/15)
6. "Il Sogno di Anastasia (Parte Seconda)" (6:50) solo piano opens playing some arpeggiated chords before synth joins in as a harmonizing backup. Then in the second minute the piano goes solo classical, joined by electric bass--who then becomes the soloist until the rest of the band joins in at the two-minute mark. Nice syncopated drum lines to help marshall this along. Latimer-like singing guitar starts to solo using some tremolo bar and double-tracked a bit to give us a near CAMEL listening experience. What makes this song a bit different for me is how the instrumentalists seem to be less bound to the very simple and straightforward music as on the composer's sheet music. Oops! I spoke too soon: the fifth minute arrives with a downshift in tempo (and all rhythmists reigned in quite tightly into a proggy-blues rock form). The electric guitar, harpsichord, and synths still manage to present their own personalities but only just barely as the plodding bass and drum tracks threaten to swallow them up like Charybdis and Scylla. (13.375/15)
7. "La Strada del Ritorno" (15:01) Opens with the bombast of a nice romantic classical piece: dynamic piano, oboe, lush orchestra-like strings, cello and French horn, all converging on a very beautiful melody to create quite a lush motif. At 3:00 there seems to be a reset with some symphonic crashes, but then the lone piano reestablishes the melody and pace--over which Meghe Moschino is once again invited to render her interpretation of the lyrics delivering Andrea's melody with her own beautiful stylistic idiosyncracies. (Again, I find myself so reminded of some of Riccardo Prencipe's seeemngly-endless posse of extraordinary female vocalists--especially of one Caterina Pontrandolfo). At 6:30 the music stops and then restarts in an confoundingly surprising direction: militaristic drums with Rockabilly music before breaking into a set Rockabilly motif over which the Latimer/Oldfield-guitar takes a turn before giving way to multiple tracks (and settings) of lush synth strings. The treble choices would sound so much better without the horrid Rockabilly foundation. Thankfully, the listener is given a reprieve at 10:15 when sensitive (emotional!) piano reestablishes itself as the principle fountain of support over which Meghe gets another (yes: second) turn! In the 12th minute, the rest of the band joins in to support the funeral march as Latimer, oboe, and strings reclaim their places as principle melody delivery mechanisms. This plays out to the end as the funeral procession passes out of view, over the horizon, into the sunset. The first half showed so much promise, but the second half rendered it unto rock dross--forms that are, in my opinion, among some of the most base and homely forms ever contrived by rock (and folk/Country-Western) musicians. (26/30)
Total Time 63:08
The rhythm track foundations for these song motifs all have a very mathematical, "on the page" feeling as if the musicians are instructed to only play that which is on the sheet music. Also, the formula for Andrea's song constructs seems to be to paste two totally different motifs together in each song in a A-B-A(2) kind of way: long instrumental passage to open, calm, simple section several minutes into the song for Meghi to deliver vocals over, and then a more animated variation of the opening theme for the extended instrumental end passages.
88.04 on the Fishscales = B/four stars; a nice addition to most prog lover's music collection; definitely an album that I highly recommend you check out for yourselves.
PETER GABRIEL i/o
Line-up / Musicians:
- Peter Gabriel / lead & backing vocals, piano, synths, percussion, rhythm programming
- David Rhodes / electric, acoustic & 12-string guitars, backing vocals
- Tony Levin / bass
- Manu Katché / drums
With:
- Angie Pollock / synths
- Brian Eno / piano, synths, ukulele, percussion, rhythm programming
- Don E / bass keys
- Evan Smith / saxophone
- Ged Lynch / percussion
- Hans-Martin Buff / rhythm programming, additional synths & percussion
- Jennie Abrahamson / backing vocals
- Josh Shpak / trumpet
- Katie May / acoustic guitar, additional synths, percussion, rhythm programming
- Linnea Olsson / cello, backing vocals
- Melanie Gabriel / backing vocals
- Oli Jacobs / additional guitar, additional synths, percussion, rhythm programming
- Oli Middleton / percussion
- Paolo Fresu / trumpet
- Richard Chappell / rhythm programming
- Richard Evans / D whistle, mandolin
- Richard Russell / filtered percussion
- Ríoghnach Connolly / backing vocals
- Ron Aslan / additional synths
- Tom Cawley / piano
And:
- The New Blood Orchestra
- The Soweto Gospel Choir
- The Orphei Drängar Choir
1. "Panopticom" (5:17) sounds like someone else's anthemic song--especially the chorus. Nice to hear Tony Levin's big bass sound on a PG song again. The layers of subtleties are PG-worthy but, 20 years worth? (8.75/10)
2. "The Court" (4:21) a song that is quite reminiscent of many of PG's most classic (and top-selling) albums. The strings-heavy chorus motif is rather fresh for PG. Having really lost any lust and/or enthusiasm for Peter Gabriel music since Passion, I can't say that I am a fan. (8.75/10)
3. "Playing for Time" (6:19) a cross between RANDY NEWMAN and PAUL SIMON. I don't know if Maestro Tony Levin ever played with Randy Newman, but I know he played & toured with Paul Simon (as well as Richard Thompson, Tom Waits, Jules Shear, and Warren Zevon). I love the presence and arrangement of the (New Blood) Orchestra. Though this is far from any kind of prog that I would credit as such, it is a nice song. (8.75/10)
4. "i/o" (3:53) more RANDY NEWMAN-like music and singing (with a slight nod to TOM WAITS). Interesting piano style for PG. (I'm guessing it's Tim Cawley). Again, builds like one of his classic crowd-pleaser hits. (8.66667/10)
5. "Four Kinds of Horses" (6:48) harkening back to the soundscapes of old PG. Unfortunately, there is something in the chorus that again sounds like it comes from an old classic (even one of his own [or Don Henley on THE EAGLES' "Hotel California": "You just can't kill the Beast"). Matter of fact, with repeated listens there is no doubt that this song uses the Hotel California chord progression. (13.25/15)
6. "Road to Joy" (5:22) sounds like a modernized revisitation to/melding of "The Tower that Ate People" and the theme from WAll-E. Great Tony Levin work. One of the more proggy, classic PG songs on this album. Another top three song. (8.875/10)
7. "So Much" (4:52) now this piano and bass-founded song is much more like PG piano, but another testimonial to the fact that PG's voice has changed and all those years of singing covers (on his Scratch My Back albums) (including one of Randy Newman's) (8.75/10)
8. "Olive Tree" (6:02) horns used in the Phil Collins accent way. Classic PG. (8.75/10)
9. "Love Can Heal" (6:03) sounds so much like STEVE HOGARTH that I thought for sure it had to be him! The music has a very ethereal otherworldly feel despite its use of a variation of the tuned-percussion-based music of his old masterpiece "San Jacinto" from 1982's "Security" (also used in his Birdy soundtrack music). The constant presence and use of Linnea Olsson's cello as the only other instrument other than Peter's voice in the foreground is brilliant. The spectre-like background vocals (courtesy of Peter's daughter Melanie) are also quite effective. Great song-crafting. A top three song. (9/10)
10. "This Is Home" (5:05) old-style "radio oriented" pop music. (8.6666667/10)
11. "And Still" (7:45) another gorgeous composition showing a side of PG that is new and like a freshly opened bottle of aged red wine. Another top three song. (13.375/15)
12. "Live and Let Live" (6:47) sounds like a Robbie Robertson song (very much like the song that PG performed with the late BAND member on Robbie's 1987 self-titled solo album, "Fallen Angel"). Nice touch with all of the unusual world instruments and Soweto Gospel Choir. (13.25/15)
Total Time 68:34
Note: All editions of the album include both the Bright-Side and the Dark-Side mixes, and the Blu-ray includes the In-Side mixes as well.
Total Time 68:34
Note: All editions of the album include both the Bright-Side and the Dark-Side mixes, and the Blu-ray includes the In-Side mixes as well.
The songs are nice but, unfortunately, they are completely recognizable as Peter Gabriel songs as there are so many techniques and sounds that M. Gabriel has used before--but more, there is great evidence here that M. Gabriel has been lured back to the "great" songwriting styles and forms of some of the great masters of our pop-rock heritage--especially the artists of the 1970s and 1980s. In terms of the progginess of this album's music, well, M. Gabriel has definitely fallen, despite his amazing attention to detail in the sound engineering room, far from those roots and days. The choice between Dark-Side, Bright-Side, and In-Side Dolby Atmos mixes are really difficult to judge for several reasons: the amount of time one would have to invest into this album in order to differentiate; the absence of hi-fidelity external sound system in my life, and
88.02 on the Fishscales = B/four stars; an album of finely-crafted Peter Gabriel songs that easily stand up to any studio album PG has ever done.
BATTLESTATIONS Splinters, Vol. III: Ravage
A last-minute attempt to sneak something else into the 2023 register by our favorite post-apocalyptic cinematic music creator from Bruxelles.
Line-up / Musicians:
Señor Paraphon Battlestations
A last-minute attempt to sneak something else into the 2023 register by our favorite post-apocalyptic cinematic music creator from Bruxelles.
Line-up / Musicians:
Señor Paraphon Battlestations
1. "Ravage" (38:06) more Blade Runner-like future industrial music. I'm not sure, however, if this one's pre- or post-apocalyptic; it's definitely not a soundtrack for Armageddon. I love the industrial drudgery, but the "love theme" inserted in the 20th minute is my favorite--where the emotional "meat" of the song really begins. Gorgeous dream-like whimsy in the 22nd through 24th minutes. Unfortunately, there's nothing else here too exciting or engaging: it's mostly a flow of background sounds of an urban town and its industries and parks, its activity and spaciousness; a wonderful testament to life in a town like Ghent (my favorite town in Belgium). (66/75)
Total Time 38:06
Total Time 38:06
88.0 on the Fishscales = B/four stars; a wonderful "soundtrack" homage to life in industrialized urban Europe; highly recommended to all lovers of cinematic background soundtrack music.
LAZULI 11
One of France's best proggers of the 21st Century are back with their tenth studio album release. (Unlike the band, I do not count boxset / greatest hits albums.)
Line-up / Musicians:
- Dominique Leonetti / vocals, guitars
- Arnaud Beyney / guitar
- Claude Leonetti / Léode
- Romain Thorel / keyboards, French horn
- Vincent Barnavol / drums & percussion, marimba
1. "Sillonner des océans de vinyles" (5:03) surprisingly poppy; unsurprisingly quite French--even ANGE-like. (8.75/10)
- Dominique Leonetti / vocals, guitars
- Arnaud Beyney / guitar
- Claude Leonetti / Léode
- Romain Thorel / keyboards, French horn
- Vincent Barnavol / drums & percussion, marimba
1. "Sillonner des océans de vinyles" (5:03) surprisingly poppy; unsurprisingly quite French--even ANGE-like. (8.75/10)
2. "Triste carnaval" (5:03) Wow! Sounds so much like a Bruce Swoord/THE PINEAPPLE THIEF song--only with French lyrics. (8.6667/10)
3. "Qui d'autre que l'autre" (4:36) a nice prog song with a heavier PORCUPINE TREE/NEMO feel and sound to it. (8.875/10)
4. "Égoïne" (5:22) strumming acoustic guitars open this one, leading us down a kind of 1970s folk rock à la HARMONIUM, AL STEWART, SUPERTRAMP, or ROD STEWART. (8.75/10)
5. "La lagune grise" (5:21) Swamp rock! Tom PETTY and The EAGLES. Awesome harp-like lull before the bombastic guitar solo in the instrumental section. (8.75/10)
6. "Parlons du temps" (5:05) A really pretty, heart-wrenching song. Kind of like an ANATHEMA song in many ways. A top three song for me. (9.25/10)
7. "Le pleureur sous la pluie" (5:04) could almost be a Soul/R&B song from Detroit in the early 1970s. Another surprisingly beautiful and emotional song. Claude Leonetti's Léode works incredibly well in this context! Great repeating chorus throughout the powerful instrumental passage. Another top three song. (9.25/10)
8. "Les mots désuets" (3:09) definitely sounds like a Serge Fiori (HARMONIUM) song with its solo folk acoustic guitar and single singing voice. (8.5/10)
9. "La bétaillère" (4:05) a much heavier song rooted in more American swamp/Southern rock chords/sounds. (8.33333/10)
10. "Mille rêves hors de leur cage" (6:20) sung in a theatric conspiratorial tone, this one could've easily come from a stage musical. I like the jazzy instrumentation chosen--as well as the rollicking finish. (8.66667/10)
11. "Le grand vide" (5:11) solo piano and delicate voice sung as if right into your ear opens this one. At 0:35 bass and xylophone join in bringing a little more intensity and drama to the song. My final top three song. (9/10)
Total Time 54:19
Total Time 54:19
This album presents much more of a hodge-podge of pop-oriented songs collected as if tributes to old masters and styles than I was expecting. Surprisingly, I like all of it; vocalist Dominique Leonetti hits it out of the park on all counts!
87.99 on the Fishscales = B/four stars; an excellent addition to any prog lover's music collection--though perhaps not as proggy as one might expect, this is just a great collection of nostalgic music.
RIVERSIDE ID.entity
Poland's favorite progressive rock band is back with their eighth studio album release (and first in five years).
Line-up / Musicians:
- Mariusz Duda / vocals, bass
- Piotr Kozieradzki / drums
- Michał Łapaj / keyboards, Hammond organ
- Maciej Meller / guitar
1. "Friend or Foe?" (7:29) What's with the recent fascination with/return to the 1980s? It's as if these band members got together and decided that they wanted to do a remake (or tribute) to MIKE AND THE MECHANICS' "All I Need Is a Miracle" but then decided they wanted to put their own lyrics over the top of it. Such simplicity. What happened to Riverside? (12.5/15)
2. "Landmine Blast" (4:50) now extracting a motif from one of their old songs: the first vocal verse from their great epic "Second Life Syndrome" from the the album of the same name the band fuels a new song. (The master composers of classical music did it, so why not Riverside?) At least this song sounds like Riverside. The instrumental section in the fifth and sixth minutes is interesting. (8.75/10)
3. "Big Tech Brother" (7:24) starting with a hokey little public information announcement, the music then picks up as an almost-Jazz-Rock Fusion piece with fast-moving notes of bass and drums mirrored by banked synth horns (which are serving as the keyboard's mirror to the fast-moving drum, bass and guitar play). The music then becomes slowed down, exuding heavy power rock, and then much more cabaret rock-like (with a solo organ for the initial support) for the vocal sections with theatric stop-and-goes and plenty of bombastic bursts from full band and Mariusz' vocal. The soaring guitar solo in the sixth and seventh minute is buried in a very heavy, thick full-band power chord sequence, but then the instrumental passage turns back to the opening motif, only with a far more rock-like flow and palette to it. Nice composition and sound. Almost as edgy and inventive as the Riverside of the 2000s. (13.25/15)
4. "Post-Truth" (5:37) a nice song that uses standard formatting and an attitude that says "we can do this stuff in our sleep" to me. Again, rife with borrowed riffs and ideas. I do, however, love the piano outro. (8.75/10)
5. "The Place Where I Belong" (13:16) sounds like the place that David Gilmour and Roger Waters both ended up when Pink Floyd had run its course: elemental blues rock. Even the lyrics and vocal performance sound like Roger. Still, some nice performances from the individuals: solid drumming from Piotr Kozieradzki, nice Hammond work from Michał Łapaj, excellent vocals and bass (and acoustic guitar work) from Mariusz, nice power guitar and dobro from Maciej Meller. The middle section sounds so much like Roine Stolt and THE FLOWER KINGS.
The tenth and eleventh minutes are by far and away my favorite parts of the whole album: absolutely stunning beauty in the finish of Mariusz' vocal performance and gorgeous acoustic guitar-led chord progression. Everything about those final four minutes are just ear candy! Thank you, thank you! A top three song. (27/30)
6. "I'm Done with You" (5:52) built entirely around twin ascending melody lines, this clever song construct is, to my mind, a sign that the creative juices are not quite dead. My only complaint is in the fact that the main idea/motif is by far the most dominant idea used throughout the song, with vary little variations or visits to other ideas. Still, it is a good, fresh idea. Bravo! Another top three song. (9/10)
7. "Self-Aware" (8:43) opens with a sound, feel, and chord/melody line quite similar to that of The Beatles' song "Help!" (if Thin Lizzy playing were playing it). In the second minute, after the first chorus, the band shifts into staccato Reggae mode but then goes full early RUSH with a little guitar chord sequence before falling back into the new Reggae motif. Riffs of homage also go out to Golden Earring, Nazareth, some 80s pop band (like the Squeeze or Godley and Creme), Pink Floyd, The Cure, and others. (By "self-aware" are they meaning that they've all become aware of the sources of formation of their musical tastes and are herein paying tribute to some of those bands?) Clever and interesting but not the type of song I'd ever thought I'd hear coming from this band. Oh, well. I must stay true to my claim that I like artists who grow and evolve--who aren't afraid to try new things and change. Is this a great song? No. Is it good and solid? Yes. Very. Probably my final top three song. (17.5/20)
Total Time 53:11
It never seemed to me that the Riverside of the Naughties relied so much on pre-existing forms and structures like they have in the past 15 years--and this album shows nothing different. Are the guys too busy or too sidetracked by other projects (like life) to put as much into their music composition as they used to? These guys are so talented--and capable of such creativity--that I hold them to very high standards and expectations. I thought that Mariusz' outlet with his solo and Lunatic Soul projects would allow Riverside to continue to grow and evolve, but I think that it has worked oppositionally: the Riverside project may be looked at as the "easy" outlet and thus given far less time, energy and attention or the creative juices of the quartet have pretty much run their course and reached a point at which borrowing from the others--from the past--is the best (easiest) source for new ideas. Or my third idea is that the band has become more lyrics/message driven, that the music now serves more to carry and deliver the message--some of which are quite nostalgic and created from a perspective of age, not youth.
87.95 on the Fishscales = B+/four stars; an excellent addition to any prog lover's music collection.
P.S. the atmospheric instrumental bonus tracks are not included in my review but "Age of Anger" is good and the other one, "Together Again" is better--particularly for its nice Richard Wright keys and "twin" guitar. It would have been my final top three song. The latter, if finished, polished, and included in the main album, would have boosted the album's rating, the former kept it the same.
INNER PROSPEKT Canvas One
Another collection of solo pieces from MAD CRAYON founder and SAMURAI OF PROG contributor Alessandro Di Benedetti--his third in three years.
Line-up / Musicians:
- Alessandro Di Benedetti / keyboards & samplers, vocals, drums
With:
- Rafael Pacha / 12-string guitar, electric & classical guitars, viola da gamba, piccolo flute, fretless bass, zyther & mandolin (2,3,5)
- Federico Tetti / electric guitars (4,6)
- Carmine Capasso / electric guitars (1,7)
1. "Scratches" (8:03) though Genesis-ear Gabriel-like, the vocals detract a lot (sounding too forced). It's not even a great song without vocals. (12.75/15)
2. "The Island of Despair" (11:47) a better musical vehicle but, again, the vocals only serve as a distraction/weight. (21.75/25)
3. "A Wordless Fable" (11:20) gorgeous pastoral music with lots of acoustic guitar play on display. (17.5/20)
4. "The Showdown" (20:16) slow piano-based intro covers the first 90 seconds before flute joins in. Then, a gunshot announces a shift as guitars, drums, bass, and lead synth join in and launch us down the highway. Guy Manning-like vocals are made tolerable by nice melody lines and an interesting story. (35.25/40)
5. "Young Me, Old You" (11:20) Alessandro's close whispering CAT STEVENS-like voice works! Plus the gorgeous background of multiple picked nylon-stringed guitars, mandolin, and, later, piano make for great soundscape. Even later with thick fretless bass and subtle drums the song prospers. The chorus is okay but the instrumental passage that follows is the best section of the album. (18/20)
6. "The Lizard Tale" (5:24) *
7. "La Resa dei Conti" (20:16) °
CD Total Time 68:10
* CD only
° Bandcamp only
Alessandro may be a fine musician and he has the formula to produce great sound but he is not a great singer.
87.71 on the Fishscales = B/four stars; a nice addition to any prog lover's music collection.
RETREAT FROM MOSCOW Dreams, Myths and Machines
A lineup of prog veterans who began their activity in the late 1970s but then dropped from the music scene for 40 years until 2018 brought them back together.
Line-up / Musicians:
- Andrew Raymond / keyboards
- John Harris / vocals, guitars, flute, keyboards
- Greg Haver / drums & percussion
- Tony Lewis / bass
With:
- Robin Armstrong / guitars
- Andy Tillison / vocals, keyboards
- Pete Kirby / keyboards
- Jillian Slade / vocals
1. "Saving California" (7:50) hits all of the NeoProg 1978 imitative bells and whistles but ends up sounding more LOVERBOY or JOURNEY than prog. The end, however, is all IQ. (13/15)
2. "Flowerbride" (8:22) standard NeoProg palette with riffs and hooks to match. The vocal section has a bit of a FRANKIE GOES TO HOLLYWOOD sound and feel to it; definitely some kind of 1980s influences. Interesting blend of familiar hooks and riffs that, I have to admit, deserves some praise. The boxed-in bass player is entertaining but often feels as if he's off in some other room--sequestered from the other band members. (Maybe it was recorded during the isolationist period of the Pandemic.) Decent. (17/20)
3. "Running Man" (4:11) another song that feels mired in the "new" effects born in the 1980s. Even the main melody and compositional presentation feel 80s-90s. The more subdued, second section is much more engaging and refreshing to me--kind of like some SATELLITE or PENDRAGON song. (8.6667/10)
4. "I Can Hear You Calling" (11:36) a GLASS HAMMER-sounding opening turns into a bit-too-much predictable prog-by-the-numbers. (17.25/20)
5. "Windchill" (7:31) this one opens just like a powerful MYSTERY tune that sustains a pretty decent, engaging CIRRUS BAY-like sound palette with interesting sophistication and some nice guitar soli. (13.33333/15)
6. "Time Traveller "(7:26) opens like some spacey outtake from Blade Runner before ramping up into the realm of THE PSYCHEDELIC ENSEMBLE. Interesting twist at 3:40 when a pedal steel, bass and drums replicate the "Time/Breathe" foundation before John takes us into some different areas (like Cirrus Bay and ) (13.125/15)
7. "The Machine Stops" (13:32) opens with a little PHILLIP GLASS feel coming from the piano's Minimalist play. It then turns into a IQ/STYX collaboration. It wends its way in and out of some interesting musical territory but the presentation of the lyrical content kind of drags and misses the mark. Nice guitar solo in the thirteenth minute. (26.5/30)
8. "Assassin's Cloak" (5:35) Very nice, melodic NeoProg. (8.75/10)
9. "DNA" (9:25) very interesting and engaging instrumental opening that eventually supports some recordings of a biophysicist's before John comes in to sing. The buildup in the eighth minute and final instrumental passage supporting the excellent lead guitar solo (Robin Armstrong or John Harris?) Great finish to a very pleasant and solid album. (17.875/20)
Total Time 75:28
Total Time 75:28
Very nice AOR/NeoProg music, with very pleasant vocals (and lyrics) whose production value sounds as if it could very well have come out around 1980. Great sound and melodic sense that could use a little bit more zing and flash. I hope they still have a little gas in the tank for another go.
87.63 on the Fishscales = B/four stars; a nice addition to any prog lover's music collection.
Frank Zappa's biggest fan and disciple is back with his first studio album in six years--thanks to the GoFundMe drive that helped him afford building his first own in-home recording studio.
Line-up / Musicians:
- Mike Keneally / all vocals & instruments
Except:
- Pete Griffin / bass (4,5)
- Steve Vai / guitar solos (4)
- Peter Tiehuis / guitar (6)
- Bart van Lier / trombone (6)
- Herman van Haaren / violin (6)
- Hans Vroomans / acoustic & electric piano (6)
- Ruud Breuls / trumpets (6)
- Leo Jansen / tenor saxophone (6)
- Marc Scholten / alto saxophone (6)
- Murk Jiskoot / percussion (6)
- Bryan Beller / bass (6)
- Eric Slick / drums (3)
- Nick D'Virgilio / drums (4,5)
- Arno van Nieuwenhuizen / drums (6)
- Ted Morton / drums (7)
- Tobias Ralph / drums (8)
- Malcolm Mortimore / drums (9)
1. "Logos" (3:12) pure Zappa-esque comedic satire. (8.5/10)
2. "Both Sides of the Street" (2:41) raw American rock 'n' roll in the vein of THE BAND with Roy Orbison-like lead vocals and more brilliant persiflage. Just not my style. (8.6667/10)
3. "Mercury in Second Grade" (4:42) Mike's channeling a bit of Lou Reed on this one. (8.25/10)
4. "Celery" (5:03) now channeling some hard rockers, part Grunge, part 80s metal hairband (sans vocals), mostly LENNY KRAVITZ. Nice, confident guitar play on display--with some great lead solos (which happen to all come from guest artist Steve Vai). (8.75/10)
5. "Spigot (Draw the Pirate)" (5:11) my favorite song style and vocal performance on the album, it's as if THE MARS VOLTA were channelling a bit of THE ALLMAN BROTHERS (or vice versa). The amazing guitar work on this one is neither Omar Rodriguez-Lopez or Duane Allman or Dickie Betts--or even Steve Via: this is Mike! (9/10)
6. "Ack" (3:33) a jerky jazz-rock piece that, while reminiscent of many of Frank Zappa's orchestral workouts, also sounds a lot like both DAVE NEWHOUSE and ALLAN HOLDSWORTH. Mike's Dutch collaborators do quite an amazing job pulling--and keeping--this song together. (8.875/10)
7. "Lana" (4:35) this one opens sounding like one of ADRIAN BELEW's BEARS' songs, but then there are some Crimsonian twists and turns that sound as if Tony Levin and the multi-drum lineup were at work behind Mike's heavily-treated industrial-psychedelic vocal (which reminds quite a little of Brian Eno's vocal work on "King's Lead Hat"). More great guitar work in the instrumental final third. Great song. (9/10)
8. "Big Hit Song" (5:09) more ENO-esque performative music played through a serious THE BAND filter with some Todd Rundgren shenanigans on top. (Which makes me wonder how Todd and Frank would have got on.) (8.875/10)
9. "The Carousel of Progress" (7:24) another brilliantly rendered song that conjures up the work of Frank Zappa, solo Brian Eno from the 1970s, experimental Todd Rundgren, mischevious Adrian Belew, with a sprinkle of David Byrne and a pinch of Andy Partridge. (13.33333/15)
A lyrics-driven album (which are full of brilliant word-play) of rather mundane (though obviously skillfully rendered and engineered) songs reminds me of why I've never been a fan or devotee of bands like The Kinks, David Bowie, The Pentangle, The Velvet Underground, or Americana acts. The whole album is a series of one-act vignettes each featuring Mike wearing different hats as he tries to step into the roles and costumes of other musical acts. The music and sound engineering are impeccably rendered, the imitations/homages brilliant and spot on (and, I'm sure, far more nuanced and history-imbued than my little brain can pick up) it's just that Mike feels connected to types of music that I've never gravitated to. Ever.
Total Time 41:30
87.63 on the Fishscales = B-/four stars; an album of supremely crafted and rendered songs that some prog lovers will adore while others will find them more of a side-act.
REGNA CINEMA
The debut full-length album from a group of serious prog rockers from Barcelona, Spain.
Line-up / Musicians:
- Alejandro Domínguez / Guitar
- Arturo García / Bass
- Miquel González / Keyboards
- Marc Illa / Vocals
- Eric Lavado / Drums
- Xavier Martínez / Guitar
1. "Opening Credits" [0:58] an organ intro (4.375/5)
2. "Return to..." [6:30] a song that reverently conjures up feelings of familiarity with bands like classic 1970s URIAH HEEP (especially with the predominant presence of a KEN HENSLEY / KEITH EMERSON-like Hammond organ), but I am most reminded of (especially in the rollicking final two minutes) the song "One Fine Morning" from the Canadian band LIGHTHOUSE (Juno Award winner as "Best Band in Canada" for the years 1972, 1973, and 1974): the musical palette, the melodies and chords, and especially due to the singing voice of Marc Illa. My favorite song on the album. (8.875/10)
3. "Spyglass" [8:16] acoustic guitars pick and weave, strum and support Marc Illa's in a STYX-like way. The entrance of the Hammond's arpeggiated chords at the 90-second mark brings in an ELP-like feel. I really like Marc's vocals: they feel relaxed and easy going and yet are quite fitting to the music. At the end of the fourth minute the instrumentalists launch into a little exposition of odd-time syncopation, but Marc is fairly quick to return, forcing the band to smooth out their flow a bit. Too bad: I was really wanting to see where the band would take that more complex instrumental passage. At the end of the fifth minute it appears as if the band has heard my wishes as the next instrumental passage sees them returning to the syncopation, here supporting some nice soloing from a synth. When the music smooths out in the eighth minute with strumming acoustic guitars and Marc's laid back finale. Interesting and kind of a weird let down. Still, a top three song for me. (17.5/20)
4. "Tangent" [8:38] opens like a prog étude: a practice/warmup for some real complicated, tempo-shifting stuff. After two minutes the music smooths out and vocalist Marc Illa enters. He has a nice, easy-going, strong and versatile voice. The music improves quite a lot when the chorus sections occur. The guitar and Hammond organ interplay is quite nice (Keyboard player Miquel González channeling a little Keith Emerson as he plays) though the staccato rhythm track beneath gets a little old. At the end of the sixth minute the music calms down as piano takes over as the foundational instrument. Marc rejoins for a bit before the lead guitar takes over for his own little bit. The eighth minute lets the band build from a modest palette to a full-spectrum crescendo. I'm rather surprised at just how little and how subdued Marc Illa's vocal role is in this. My other top three song. (17.5/20)
5. "Dramatis Personae" [1:31] what sounds like a multi-track keyboard flute solo. Pretty and cinematic like the soundtrack to a scene from an old Italian suspense/horror movie. (4.375/5)
6. "Accolade" [20:27] three minutes and fifty seconds of instrumental prog opens this one before we enter into the vocal meat of the song (which is actually not very meaty at all as the instrumental palette goes from full band in full dynamics to complete sparsity for Marc's entry). The vocals, sung in English, are a bit monotonous as Marc uses one melody line to deliver the oddly disjointed yet poetic word salad. The instrumental passages continue to put on display the band's cohesive individual talents with tight performances from all over some definitely proggy music (think Gabriel-Hackett-era GENESIS with a very different singer). In the final two and a half minutes we return to a solo piano-based vocal passage. Marc is not quite as good here as is pianist Miquel González--and the end just kind of leaves me dangling. Not bad but not my favorite song on the album. (35/40)
Total Time: 45:00
Total Time: 45:00
Very competent sophisticated prog rock from a young band who will, hopefully, continue to work on their great compositions so that a little more of the individual instrumentalists will be able to "show off" a bit. Also, though I appreciate and benefit from the singing being done in English, I'd like it if the LA COSCIENZO DI ZENO/Alessio Calandriello vocals were worded a bit more accessibly.
87.625 on the Fishscales = B/four stars; an excellent debut of nostalgic prog rock that most prog lovers are going to be quite attached to.
87.625 on the Fishscales = B/four stars; an excellent debut of nostalgic prog rock that most prog lovers are going to be quite attached to.
NINE SKIES The Lightmaker
A collection of six uniquely individual full-length songs and two short instrumental expressions, all expressly (and quite skillfully) composed with the intention of representing several archetypical roles or conditions common to the human experience.
- Alexandre Lamia / guitars, keyboards, piano, arrangements, recording, mix, mastering
- Anne-Claire Rallo / keyboards
- David Darnaud / guitars
- Achraf El Asraoui / vocals, guitars
- Alexis Bietti / bass
- Johnny Marter / drums & percussion
With:
- Riccardo Romano / vocals (2)
- Martin Wilson / vocals (3)
- John Mitchell / guitar solo (8)
- Kristoffer Gildenlöw / vocals & bass (5)
- Adam Holzman / keyboards (4)
- Marco Minnemann / drums (8)
- Arnaud Quevedo / vocals (4)
- Laura Piazzai / vocals (4)
- Charlie Bramald / vocals (7)
1. "An Fanai (Intro)" (2:46) wind noises. Weave of picked acoustic guitar and glockenspiel-like instrument slowly fade in to take over. Nicely melodic yet interestingly discordant at key moments. Fades out on the other side of the pan (right). (4.5/5)
2. "The Explorer" (6:13) opens like a sensitive SATELLITE song with church organ and sensitive male voice singing before the full band bursts into a complex weave of full progginess. At 1:30 all bombast ebbs away leaving delicate piano, synth wash, and eery female vocal "swipes" while Riccardo Romano continues singing in his perfect voice. At 2:30 Riccardo amps up his voice: a very smooth and effective (and kind Peter Gabriel-like) transition. At 3:15 the full band jumps back in for a bit but then disappear for some guitar and strings behind Riccardo's delicate, plaintive voice. At 4:28 an instrumental shift occurs into a more rhythmically-diverse motif while Riccardo also adapts before jumping into full voice with the band's re-amping in the beginning of the sixth minute. This is a very polarized song, dynamically, but, for some reason, it works. I think Riccardo's skill and proficiency is the key to that. A very well composed and realized song that reminds me of the passionate story of Breton's SEVEN REIZH's four-part rock opera about the magical stonecutter Enora in the land of Ys. My second favorite song on the album. (9/10)
3. "The Dreamer" (8:01) Very beautiful music with all instruments on ultra-delicate mode as raspy-voiced Martin Wilson sings his impassioned story. Nice guitar solo at the three minute mark before things dial down for a spoken word passage. Delicate weave returns for another verse of Dreamer Martin's story. Unfortunately, Martin's impressive edge is lost a bit in the chorus. Another nice lead guitar solo--this one better than the first--in the seventh minute. This actually plays out to the finish. Nice. My favorite song on the album. (14/15)
4. "The Chaotic" (7:21) a little more aggressive, but still quite bombastic music within which doubled up muted voices of two (or more) male voices semi-rap. Then regal stage-acting vocal performance (Laura Piazzai?) fills the third minute before the band returns to filling the sonic field with aggression as the muted men discordantly chant about "ego," "action," "fear," "intrusion" and the like. At 4:19 we tone things down for a sequenced synth track over which pitch-bending synth solos (Adam Holzman?) for a full two minutes--even while the music is ramping back up beneath him in the second minute. Angular chords and rapid fire guitar notes begin the arduous journey of taking us out of the synth world at 6:23 gradually emerging into a full on guitar-fest of hard rock 'n' roll to the finish. A weird and difficult-to-like/enjoy song--though I do appreciate the creativity involved with its conceptualization as well as the extraordinary skills necessary to pull it off. (13/15)
5. "The Lost" (9:19) Singing in a passionate raspy voice as Kristoffer Gildenlow does while riding exclusively over some fairly nondescript Spanish guitar play for almost three minutes is a tough call--especially when you're trying to please the ears & brain of someone like me who doesn't hear words/messages of the lyrics except in terms as another instrument in the mix. In fact, it's not until the seven-minute mark that the band fully commits to a full-metal jacket for the musical style being presented here--and even then the resultant effect is questionable at best. (The loud flange effect in the final minute may, in fact, be the best thing about this song.) (16.875/20)
6. "The Wanderer (Interlude)" (2:00) interesting choice of bass sounds to use within these eerie space-voices and their ghostly vocalise. (4.25/5)
7. "The Haunted" (11:32) Nice relaxed pastoral sound palette for the opening of this, with lots of time given to establishing several of the instrumental hooks, but then things switch completely into solo acoustic guitar picking to back the arrival of singer Charlie Bramald's Geoff Tate/Peter Gabriel voice. Some interesting motifs are inserted here and there giving the music a theatric suite-like feel. Unfortunately, the lyrics really do little to draw me in--do not seem deserving of the Peter GABRIEL/DOROCCUS (Babylon)-like delivery. And the rhythmic patterning of the song is a bit too constant and wavy for me--I find it annoying from the start but then to hear it maintained (even in delicate solo "classical" guitar-like passages) is almost cloying. At 8:45, after the last of these acoustic guitar solo motifs, a spacey atmospheric soundscape is established over which Charlie reads a long poetic passage about how and why he doesn't panic in the face of chaos and stress. This, unfortunately, is, for me, the best part of the song. (17.25/20)
8. "The Architect" (11:32) wonderfully delicate instrumental mix--almost jazzy--beneath Achraf El Asraoui's remarkably nuanced and sensitive vocal over the first 2:40. As the music ramps up into more dynamic realms Achraf's voice keeps pace--continues to be effective. The music looses a bit of my interest in these middle-sections, however, for me, this is the most interesting song on the album for its dynamic diversity, unpredictabilty and wonderful vocal performance. John Mitchell's guitar solo needlessly extended fails because he is not an emotionally-impactful, singer of heart-felt notes; he's a technical wizard, yet there is very little of his technical wizardry in this solo and absolutely none of the David Gilmour-esque magic that one would expect from this length of time dedicated to it. This is what I would call (excuse the pun) an epic fail! My third favorite song on the album. (18/20)
Total Time 58:44
I must say, the match-making of singer/vocalists with each song is quite masterful--especially for "The Explorer," "The Dreamer," and Charlie Bramald's poetry reading at the end of "The Haunted" as well as Achraf El Asraoui's wonderfully sensitive vocal in "The Architect."
87.50 on the Fishscales = B/four stars; an excellent addition to any prog lover's modern music collection.
The Metric Rankings
1. VESPERO De ludo globi
2. OIAPOK OisoLün
3. AMOEBA SPLIT Quiet Euphoria
4. NE OBLIVISCARUS Exul
5. OK GOODNIGHT The Fox and the Bird
6. MICE ON STILTS I Am Proud of You.
7. SEVEN IMPALE Summit
8. AGUSA Prima Material
9. LARS FREDRIK FRØISLIE Fire Foretellinger
10. DEPOSED KING One Man's Grief
11. AISLES Beyond Drama
12. ZOPP Dominion
13. AVIATIONS Luminaria
14. OZRIC TENTACLES Lotus Unfolding
15. AGLAIA Existentialism
16. SUNCHILD Exotic Creatures and a Stolen Dream
17. STEFANO PANUNZI Pages from the Sea
18. THE MERCURY TREE Self Similar
19. ACTIONFREDAG Turist i eget liv
20. RASCAL REPORTERS The Strainge Case of Steve
21. MYRATH Karma
22. SWANS The Beggar
23. BILLIE BOTTLE'S TEMPLE OF SHIBBOLETH Billie Bottle's Temple of Shibboleth
24. KARNATAKA Requiem for a Dream
25. CARAVELA EXCARLATE III
26. CROWN LANDS Fearless
27. KARMAMOI Strings from the Edge of Sound
28. BATTLESTATIONS Memoirs of Once
29. MANNA/MIRAGE Autobiographie
30. EYELESS OWL Murmurations
31. MOTORPSYCHO Yay!
32. ISPROJECT The Archinauts
33. MYSTERY Redemption
34. SONAR (with David Torn and J. Peter Schwalm) Three Movements
35. SEQUENTIA LEGENDA Alcyone
36. FISH ON FRIDAY 8mm
37. HOMUNCULUS RES Ecco l'impero dei doppi sensi
38. DOMINIC SANDERSON Impermanence
39. UNITOPIA Seven Chambers
40. HANIA RANI Ghosts
41. RESIDUOS MENTALES A Temporary State of Bliss
42. AVKRVST The Approbation
43. JEF BEK Distant Starlight
44. CAIRO Nemesis
45. THE FILIBUSTER SALOON Going Off Topic
46. ADVENT HORIZON A Cell to Call Home
47. KING GIZZARD & THE LIZARD WIZARD PetroDragon Apocalypse; or, Dawn of Eternal Night: An Annihilation of Planet Earth and the Beginning of Merciless Damnation
48. THE OCEAN Holocene
49. HAIL THE SUN Divine Inner Tension
50. ULTRAPHAUNA No No No No
51. JORDSJØ Salighet
52. KARFAGEN Passage to the Mysterious Forest
53. CHOCLAT FROG On Detour to Shortcut
54. SQUID O Monolith
55. SINGLE CELLED ORGANISM Event Horizon
56. HACKBERRY Breathing Space
57. ISOBAR III
58. ENSLAVED Heimdal
59. UNITED PROGRESSIVE FRATERNITY Planetary Overload, Part 2 - Hope
60. UNIVERS ZERO Lueur
Honorable Mentions:
61. ATSUKO CHIBA Water, It Feels Like It's Growing
62. COSMIC GROUND Entropy
63. LAZULI 11
64. THE GREAT WIDE NOTHING Hymns for Hungry Spirits, Vol. II
65. BARONESS Stone
66. LUMSK Fremmede Toner
67. KATATONIA Sky Void of Stars
68. ARNAUD BUKWALD La marmite cosmique 7 - Uncle Bizarre
69. BEHOLD… THE ARCTOPUS Interstellar Overtrove
70. THE CHRONICLES OF FATHER ROBIN The Songs & Tales of Airoea, Book I: The Tale of Father Robin (State of Nature)
71. NINE SKIES The Lightmaker
72. REGNA CINEMA
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