More progressive rock album releases from 2024. These are albums that are well worth your investment of time while not, in my opinion, belonging in the masterpiece discussion. Some of these releases were interesting enough to inspire me to write reviews, some only earned song ratings, many are included because they've been listened to, judged "worthy" of serving notice, but just couldn't get me excited or engaged enough to warrant the effort of a full review. I apologize. But, as I said, I chose to include them because I deem them interesting enough for you, my readers, to know about them and know that I recommend that you might listen to them yourselves in order to form your own opinions. Lord knows I am well aware that there are as many different musical preferences as there are humans; I do think that I know music that might interest others.
SLEEPYTIME GORILLA MUSEUM Of the Last Human Being
After 13 years of hibernation, a public Kickstarter campaign raised the money to force these musicians out into the open.
Line-up / Musicians:
- Nils Frykdahl / guitar, vocals
- Carla Kihlstedt / violin, percussion guitar, bass harmonica, vocals
- Michael Mellender / guitar, xylophone, trumpet, percussion, vocals
- Dan Rathbun / bass, dulcimer, vocals
- Matthias Bossi / drums, glockenspiel, xylophone, piano, backing vocals
1. "Salamander in Two Worlds" (6:31) I really love the band's slow infiltration back into our worlds. I'm only sorry that my brain does not register the words, lyrics, or messages Nik Frykdahl is trying to convey. Am I missing anything profound? (9/10)
2. "Fanfare for the Last Human Being" (1:31) (4.5/5)
3. "El Evil" (5:45) a little more metallic to start with but then it all goes avant garde in league with Kavus Torabi and Bob Drake and Major Parkinson. Again, cogitating the message might be helpful since the song is so reliant upon Nils' performance there, but the angular and rather-dense music supporting Nils is entertaining/interesting enough. (9/10)
4. "Bells for Kith and Kin" (1:26) Who are Kith and Kin? Friends of Keith and Ken?
5. "Silverfish" (7:17) I'd forgotten how much I enjoy Carla Kihlstedt's Björk-like theatric vocals. (/15)
6. "S.P.Q.R." (4:05) (/10)
7. "We Must Know More" (3:36) (/10)
8. "The Gift" (6:11) (/10)
9. "Hush, Hush" (7:45) (/15)
10. "Save It!" (2:59) (/10)
11. "Burn into Light" (5:25) (/10)
12. "Old Grey Heron" (7:24) (/15)
13. "Rose-Colored Song" (5:46) (/10)
It's been so hard for me to keep slogging through the incredibly dense and abrasive music of these songs on this highly-anticipated album. I appreciate the band's penchant for complexity and circus-like theatricity but I just don't find myself enjoying the music--which makes it even more of a challenge to try to come back to the album (or even an individual song) for the repeated listens necessary to critique and rate! In the end, like so much of my prog listening efforts this year, I find myself willing to just give up: offer up only a rating instead of my usual detailed review. It's just not fun anymore!
B/four stars; excellent angular/dissonant avant prog that cerebral music lovers who can do without melody or danceable rhythms will probably love. I'l rate it up for group skill and musicianship and complex composition, but down for accessibility and personal enjoyment.
ELLESMERE Stranger Skies
A band I've liked and followed since their 2018 sophomore album, II - From Sea and Beyond--they do melodic symphonic NeoProg right!
Line-up / Musicians:
- Roberto Vitelli / bass, keyboards
- Giacomo Anselmi / guitars
- Mattias Olsson / drums, percussion
- John Wilkinson / vocals
With:
- Tomas Bodin / keyboards (6 outro)
- Clive Nolan / keyboards (1 intro)
- John Hackett / flute (5)
- David Jackson / saxophone & wind instruments (3,6)
- Graeme Taylor / acoustic guitar (3 prologue)
- Bob Hodges / keyboards (5)
- Stefano Vicarelli / mellotron, minimoog, additional keyboards
- Riccardo Romano / backing vocals, 6 & 12-string acoustic guitars (2,5)
1. "Northwards" (6:50) very nice prolonged instrumental opening diminished by poor vocals at the end. (13.3333333/15)
2. "Tundra" (6:44) decent prog music is diminished by poor vocals. (8.75/10)
3. "Crystallized" (5:13) extended chorused 12-string guitar opening takes its time but eventually develops into a nice . VDGG-saxophonist David Jackson can still blow! It's sad for me to say this, but this is an example of a song that is "saved" by not having any vocals! (8.875/10)
4. "Arctica" (4:17) having multiple vocal tracks helps! (9/10)
5. "Stranger Skies" (12:18) sounds so much like a song as if GENESIS were trying to go back to Gabriel-era song constructs only using Peter as the flutist only and Phil Collins as the lead singer! The problem. comes, of course, when 1980s Genesis tries to go back to early 1970s sounds and engineering techniques: they can't! It is, however, a pretty decent NeoProg epic! I've never heard flutist John Hackett go this crazy! The final "movement" of 80 seconds is, however, a little too over-the-top in its Ant/Genesis 12-string guitar worship. (22/25)
6. "Another World" (11:43) a NeoProg song that feels as if it has its feet straddling between the music of Sean-Filkins-era BIG BIG TRAIN and Jem Godfrey's FROST*. GREAT contributions from David Jackson and Matthias Olsson on drums. (17.875/20)
Total Time 47:05
88.70 on the Fishscales = B/four stars; an excellent collection of finely crafted and performed NeoProg songs.
Hard to believe that it's been over five years since Neige's last Alcest album! Was it worth the wait? We'll soon see: this one's a grower--getting better with each listen!
Line-up / Musicians:
- Stéphane Paut / vocals, guitar, bass, keyboards, composer & arranger
- Jean Deflandre / drums, percussion
1. "Komorebi" (6:40) opens with every bit of the anthemic power that we've come to expect from Neige's music over the last 15 years, but, unfortunately, this one ends up lacking the bite and beauty of Stéphane's early stuff. The guitar-chord-mirroring vocals render it a bit too much into the realm of Devy Townsend music and the drumming gets a bit too active, domineering, and demanding (mixed too far forward) during the mid-section. (8.6667/10)
2. "L'Envol" (8:02) check out the beautiful animated art that accompany this song on YouTube. Musically it's rather bland and same-same Alcest. I really like the occasional screams and squeals coming from the guitar, but Stéphane's performance with his human voice is just too mundane and unengaging. I do, however, like the use of acoustic guitars without all of the screaming electric guitar chord strumming. I also like Jean Deflandre's more-subdued, "accompanying" drums as opposed to his torrential barrages of artillery fire. (13/15)
3. "Améthyste" (8:31) great drumming. Pitchy vocals (the humane ones). The mix in the sixth minute is perfect--just like the early Alcest albums. (17.5/20)
4. "Flamme Jumelle" (5:23) perhaps the best realized song on the album due to a great sonic palette and some fine engineering. Sounds a bit like OCEANSIZE's "New Pin" (which is good!). The music is interpreted by a pair of twin sprites in a beautifully-choreographed dance video on YouTube. (8.875/10)
5. "Réminiscence" (2:51) piano! (heavily-treated, of course). With Stéphane's tender, beautiful vocal this makes for a moving listening experience despite its brevity. (9/10)
6. "L'Enfant de la Lune" (7:28) with this pretty female-narrated intro I was really hopeful but then the guitars and drums burst into a fairly straightforward pattern with Neige singing "normally" in his mid-range within. The drumming is actually a bit annoying--until the instrumental passage and chorus, but then Jean falls back into his Animal-like barrage. They're definitely much more interesting and less pugilistic in the instrumental passages--especially from 3:55 on. Otherwise, this is a pretty solid and engaging song. (13.5/15)
7. "L'Adieu" (4:52) plays out like a beautiful good-bye song. The heavily-treated slow-picked guitar arpeggi are awesome--very reminiscent of something from the past. (9/10)
I have to admit that either this album just kept getting better the deeper I got into it or else I was (once again) falling under the numbing warmth of falling snow the more I remained immersed in Neige's world.
88.66 on the Fishscales = B/four stars; an excellent addition of artistic prog metal music for the prog lover's music collection.
The third and, supposedly, final installment of the Books of Airoea--a project that was conceived 25 years ago by a group of high school friends--some of whom found success in the music world in bands that include Wobbler, Tusmørke, Jordsjø, and the Samuel Jackson Five.
Line-up / Musicians:
- Andreas Wettergreen Strømman Prestmo / vocals, guitars, bass, synth, organ, glockenspiel, percussion
- Henrik Harmer / drums & percussion, synth, backing vocals
- Regin Meyer / flute, organ, piano, backing vocals
- Jon Andre Nilsen / bass, backing vocals
- Thomas Hagen Kaldhol / guitars, mandolin, electronics & sound effects, backing vocals
- Aleksandra Morozova / vocals
With:
- Lars Fredrik Frøislie / keyboards, organ, Mellotron, piano, synth
- Kristoffer Momrak / synth
- Håkon Oftung / organ, clavinet, Mellotron, strings, electric piano, synth
1. "Magical Chronicle" (6:09) pure WOBBLER pastoral folk sound palette over which Andreas sings in a folk-focused KERRY MINNEAR-like voice with beautiful harmonized support from the group choir. Jazz-tinged guitars and syncopation join in and establish a quirky WOBBLER/GENTLE GIANT motif until 2:30 when bass and flute are left alone (with some cymbal support) to establish their own version of the previous motif over which the vocal ensemble (with Andreas in the lead) return to give a YES/WOBBLER-like performance. Well met! (9.125/10)
2. "Skyslumber" (7:26) opens with an atmospheric soundscape of space sounds. Around the two-minute mark guitar and vocal enters, creating a folk rock sound similar to, but more melodic than, the album's opener. The harmonized vocals are much more delicate. At 3:35 the lead guitars become a little more aggressive though still jazz-tinged folk rock sounding. The vocal harmonies turn YES/WOBBLER-like for the fifth and sixth minutes as the music continues to drift into the feeling of some 1960s guitar-led jazz-rock. In the seventh minute, however, the music quite suddenly reverts back to the atmospheric soundscape of the song's opening section. It's nice, interesting. but it feels jerky, or maybe incomplete. (13.25/15)
3. "Cloudship" (6:57) volume controlled electric guitar notes (reversed?) are supported by strummed acoustic guitars and YES "And You And I"/Close to the Edge-like synth wash chords. When the voices enter it sounds a lot like the acoustic portion of YES' "I've Seen All Good People." In the second half we're exposed to syncopated guitar strums while choir vocals and spoken verse fill the forefront and bass pedal thrums shake the foundation. The song then returns to the acoustic instrument strums and folk percussion for the reversed guitar notes to usher us out. A very cool and effective folk song that definitely conveys a convincing woodland faerie effect. (13.5/15)
4. "Empress of the Sun" (4:47) a real folk rocker--using a little of the power, pace, and melody and chord progressions of Jeff Beck's "Bolero." In the fourth minute the music turn a little klezmer as a guitar solos. Then the band relinquishes pace and forward movement so that harmonized vocals can fill and morph for a few seconds. Then the "Bolero" strumming resumes for the quick finale. (8.75/10)
5. "Lost in the Palace Gardens" (7:58) gentle "Norwegian Wood"-like acoustic instrumental motif with lots of strumming and plucking folk instruments. At the end of the first minute vocals enter with electric bass and drums tagging along. Not your most engaging melodies. This is one of those songs that helps me wish that I heard lyrics--then it might become more precious; it's sad that I can't connect more with this song since it has such a beautiful folk rock spirit. Plus, it kind of starts to drag after six or seven minutes of the same three bass notes and the same mandolin melody playing over and over without break. (13/15)
6. "Epilogue" (1:04) ocean shore wave and bird sounds.
Total Time 34:21
Of the three album releases that make up the Songs and Tales of Airoea trilogy, this one hits far more appealing chords with me.
88.65 on the Fishscales = B/four stars; an excellent adventure into sophisticated faerie folk music. Highly recommended for all Folk Rock lovers.
Markus Pajakkala is back (finally!) with an album of music inspired by his explorations of African music and rhythms. He has even employed a bunch of Temperi, Senegalese, and Mauritanian musicians as collaborators to go along with his usual rhythm section of Anssi Solismaa, Jaakko Luoma, and newcomer Ville Hatanpää on drums!
Line-up / Musicians:
- Markus Pajakkala / baritone and tenor sax, flute, additional synths, percussion and voice
- Inari Ruonamaa / alto sax
- Olli "Trumpenator" Helin / trumpet
- Matti Salo / guitar
- Anssi Solismaa / keys
- Jaakko Luoma / bass
- Ville Hatanpää / drums
- Ismaila Sané / percussion, voice (left channel)
- Gilbert Kuppusami / percussion, voice (right channel)
1. "Greenwash" (4:48) with the odd combinations of sounds--squishy, spacey synths, weird organ, African percussion, et al. --I'm not even sure what I'm listening to! In the end it's really a fairly typical West African jazz-rock cake that happens to have frostings from the crazy imaginings of a crazy Finn covering the top and filling the layers in-between. It's fun and entertaining, at times reminding me of the spirit in DON PULLEN's "Kele mou bana." (8.875/10)
2. "All Whale Panel" (4:06) a song that is trying to project the feeling of a being a live song from an outdoor all-night rave or dance party from some celebrated Tiesto-like DJ. Definitely a top three song. (9.125/10)
3. "Yegaa Intro" (1:35)
4. "Yegaa Nu Betaa" (4:33) expressing an easy joy that is not only infectious but danceable. A top three song for me based solely on the spirit invoked by Ismaila Sané's vocal calls. (8.875/10)
5. "Cleptocrats" (4:24) nice, infectious grooving instrumental music that feels like the musical soundtrack to a travel montage. More of the horn section interplay with Markus' weird organ. Could've been a top three. (8.875/10)
6. "Jaa Di Burung" (5:35) slowed down grooviness with enough space to really hear and focus on individual instruments--all of them! Really well constructed and rendered. Markus' baritone sax play really shines here. My other top three song. (9.125/10)
7. "Hit It With The Pinky." (4:05) starts out sounding like a Mario Brothers video game soundtrack stuck in some kind of pause mode, but then the "big" band jumps on board (8.75/10)
8. "No Culture, No Soul" (8:26) a near-Jamaican groove stuck on repeat while Ozrics-like "space jungle" noises flit in and out of the sonic field. Coordinated horns step in from time to time to take over the lead but then disappear for longer spans of time allowing the baseline groove to continue to pacify and hypnotize us into a ganja-like stupor. Impressive musicianship and sound engineering throughout. (17.5/20)
9. "Kakistocrats" (5:08) aside from the farfisa organ, this one taking us back into a more traditional (or just old) sounding Afro-jazz-rock fusion. Nice trumpet soloing in the second and third minute from Olli Helin which is then followed by Inari Ruonamaa's delicate alto sax and Ismaila Sané's percussion work in the fourth. Is Makus trying to reproduce Ray Manzarek's organ sound from the earliest days of The Doors? (8.75/10)
10. "Le Nuit Des Morts-Vivants" (9:50) a percussion-based tune that sounds like something familiar despite also traipsing into the territory of old-fashioned spy-detective movie soundtracks. It's laid back, and the foundational groove is definitely (surprisingly) simple, allowing for the solos to shine a little brighter--of which guitarist Matti Solo gets a nice one to fill the fourth minute before Olli's effected trumpet takes a turn. IN the end, the song is really a vehicle in which to display Markus' inventive engineering of a song around Ismaila Sané's surprisingly sneakily-polyrhythmic percussion play. With almost every band member getting a turn in the spotlight this is really a more traditional jazz song. And the solos are pretty good! (17.5/10)
Total Time: 52:34
The music, though definitely fun and entertaining, seems often more simplistic and slowed down (for the benefit of the musicians?) than I was expecting. (Markus Pajakkala music is usually anything but slow and simple!) This allows for a surprisingly easy listen. Also, it seems at times that Markus is creating this music more for the display of the talents of his bevy of international musicians. I'd love to hear these guys really break out: play at top notch, breakneck speeds (as I suppose they're capable). Maybe that will come with a future album release.
88.625 on the Fishscales = B/four stars; an excellent collection of African-infused jazz-rock.
THE AMAZING Piggies
Here on Piggies they're reaching the for effects levels used by The Cure or Robert Fripp, OMD or Robin Guthrie's Cocteau Twins (or the whole 4 A.D. label!), Nick Laird-Clowes' The Dream Academy or the McAloon Brothers' Prefab Sprout, Steve Kilby's The Church or Bauhaus/Love And Rockets! It's atmospheric psychedelia taken to Elysian extremes. But it's good! Christoffer Gunrup's lyrics have never been more poetic: scaled down to minimal presence, they seem to pack more of a punch. Not much in the way of instrumental prowess put on display here, it's all about the mood: the most beautiful ambivalence humans can produce with music.
Line-up / Musicians:
- Christoffer Gunrup / vocals, guitars
- Reine Fiske / guitars
- Fredrik Swahn / guitars, keyboards
- Moussa Fadera / drums
1. "Streetfighter" (4:43) 8.667/10)
2. "Antichrist" (4:29) (8.667/10)
3. "Piggies" (3:52) (8.875/10)
4. "Last Stand" (5:34) (9/10)
5. "Cinnamon" (4:58) (8/875/10)
6. "I Think I Found a Way" (4:07) (8.875/10)
7. "Figurehead" (4:25) (9/10)
8. "Through the Cracks" (6:05) (9/10)
Total Time 38:13
Favorite songs: "Piggies," "Last Stand" and "Through the Cracks" (the two songs nearest to the band's old style), and "Cinnamon" (with the Robert Fripp guitar and female choir vocals), and the Dream Academy-like "I Think I Found a Way."
Though this is less a prog album than any the band has done--reviving more of the 1980s Goth-glam music or the 1990s heroine trippie music of The Cowboy Junkies or Portishead--it is an album that I enjoy more with every listen. Still, I miss the way the band would jam at the end of every song back in their early days.
88.135 on the Fishscales = B/four stars; an excellent albeit short album of beautiful music the listener can get lost in.
A nearly-30-year old Britain-based band that broke up in the late 1990s and then reformed a dozen years ago has now produced six high-quality NeoProg albums. This is their second album with Greek vocal sensation John "Jargon" Kosmidis singing their Matthew Parmenter (DISCIPLINE)-like lead vocals.
Line-up / Musicians:
- John 'Jargon' Kosmidis / vocals
- Ralph Cardall / guitars, mandolin
- Pat Sanders / keyboards
- Jon Jowitt / bass
- Fudge Smith / drums & percussion
With:
- Suzi James / violin (2,4,8)
- Costas Molvalis / choir (2)
- Katerina Tepelena / choir (2)
- MIchalis Latousakis / choir (2)
- Spyros Petratos / choir (2)
- Ben Bell / choir (4)
- Charlie Bramald / choir (4)
- Chris York / choir (4)
1. "Veiled" (2:00) produced as if a vinyl or wax recording with clicks and pops, this "orchestrated" piece almost sounds like a Christmas carol or soundtrack piece for a Hallmark Christmas movie. (4.375/5)
2. "Frailty" (12:05) opens with some bombast and a full-on NeoProg sound palette. Once into the fullness of the song it sounds like hairband classic rock blended with Matin Orford-era IQ and Arjun Lucassen's AYREON while trying to be Rick Wakeman/Fragile-era YES. Not bad, not annoying or cloying, just not anything new or refreshing here. (22/25)
3. "Eros and Psyche" (5:12) there is definitely nothing special here. In fact, the musical instruments feel so separate and fragmented that I wonder if they knew what they were going to sound like before the final mix was presented. Jargon's lyrics may be something worth attending to but I'll never know. (8.66667/10)
4. "The Thing" (7:49) a sea shanty! The story fits. The full-male naval choir chorus would seem to indicate as much. Might this song be inspired by the AMC television series, The Terror? Nicely executed. (13.375/15)
5. "2-Minute Waltz" (2:00) a classical piano show piece. Probably from Pat Sanders' middle school piano recital that he couldn't perform because he was ill or due to a death in the family. (4.375/5)
6. "Through the Veil" (5:45) another bombastic, theatric song that feels as much relevant to a West End theatric production or a Pete Jones album. The soundscape is just a little too sterile, even bordering on stark (in terms of each instrument's isolation from one another). Nice 1980s drumming (sound). (8.75/10)
7. "The Old Man" (5:44) Another well-composed and crystalline-engineered song that feels totally headed for a theatric debut. Who was that singer for the 1980s band ABC? Martin Fry? That's who Jargon sounds like. Even when Jargon stops singing and the instrumentalists ramp things up for some soloing it still sounds as if there are probably stage characters in motion. (8.75/10)
8. "Cirkus" (6:34) bouncy Hammond chord hits and military drumming open this one, giving Jargon a circus macabre stage upon which to relay his story. I do like this PETER HAMMILL voice styling much better than his previous ones: it really adds to the creepy feeling that he's trying to reel us into his spell and pull one over on us. Though I'm still not super enamored of the music, I like this song best of all the other son the album. (8.875/10)
Total Time 47:09
Total Time 47:09
A little too theatre-dramatic for my tastes, this is still very finely crafted and performed music impeccably rendered by the engineers (despite the frequent feelings of sterility).
87.96 on the Fishscales = B/four stars; a very nice collection of very-well-polished theatre songs that most prog lovers will love--especially those with an affinity for stage musicals.
MAGICK BROTHER & MYSTIC SISTER Tarot - Part II
The Barcelona Canterbury Funk band's second studio album release of 2024, this one from November 22.
Line-up / Musicians:
- Eva Muntada / vocals, synthesizers, Mellotron, piano, organ
- Xavi Sandoval / guitars, bass, backing vocals (9), mandolin & percussion (10)
- Alejandro Carmona / drums
With:
- Tony Jagwar / sitar (1,10,11), lead guitar (1,9)
- Maddy Gray / spoken words (1,5)
- Didac Ruiz / percussion (2)
- Glen Brigman / vocals (9)
1. "Strength" (5:05) some of Eva's sultry pagan poetry played over Ozrics-infused funky psychedelic rock that sounds as if it were a cover of a classic 1960s pop song. Nice lead guitar solo from guest Tony Jagqar in the fourth minute. The presence of creepy Fender Rhodes and sitar add to the occult-esoteric mystique. A charming, promising, top three song. (9/10)
2. "The Hanged Man" (3:31) a percussion-entrenched instrumental that moves through two or three parts with layers of synths and heavily-treated piano washing over the top. (8.75/10)
3. "The Unnamed Arcane" (3:25) an instrumental that was resuscitated from the cutting floor of Tarot, Part I. (8.7/10)
2. "The Hanged Man" (3:31) a percussion-entrenched instrumental that moves through two or three parts with layers of synths and heavily-treated piano washing over the top. (8.75/10)
3. "The Unnamed Arcane" (3:25) an instrumental that was resuscitated from the cutting floor of Tarot, Part I. (8.7/10)
4. "The Temperance" (4:26) another throwaway instrumental that they forgot to throwaway. (8.7/10)
5. "The Devil" (3:23) trying to inflect a little Zeuhl into the Canterbury soundscape? In the third minute Eva's spoken voice reverberates like a 1970s Elvira casting spells. (8.75/10)
6. "The Tower" (3:16) now back to the 1960s--like something from a female-fronted psychedelic rock band like the or Ultimate Spinach, It's A Beautiful Day, Pan & Regaliz, Carol Of Harvest, Earth And Fire, or perhaps Jefferson Airplane. (8.875/10)
7. "The Star" (5:00) a spacey New Age Gong or Steve Hillage song. Lots of Ozric bubbles, erps, stretchy weirditudes and oolite plurnies with and gentle keyboard and guitar apreggi floating around in and around the soundscape. A top three song. (9/10)
8. "The Moon" (5:54) Eva's vocoder voice with more soft-core Ozric-Gong-Hillage sounds built over a straight 1965 psychedelic rock foundation. (8.75/10)
9. "The Sun" (4:42) a decently constructed 1960s pop song with great bass play, Mellotron, and heavily treated (and nicely arranged) vocals from both Xavi and Eva singing in unison. Lead guitar in the fourth minute is performed by guest Tony Jagwar. My final top three song. (8.875/10)
10. "The Judgement" (5:56) sitar and acoustic guitars and dreamy ethereal female whispervocals dominate this simple almost-Prog Folk song. Sounds a lot like the music that Mediæval Bæbes' Katharine Blake continues to make. (8.875/10)
11. "The World" (7:12) another pointless, meandering, needlessly drawn out pseudo-POPOL VUH-like jam with strummed and picked acoustic guitars, sitar, treated piano, and heavily-reverbed female vocalese (mostly aaah's) that achieves non of the transportive/transcendent effect of Florian Fricke's ground-breaking band. (12.75/15)
Total Time 51:50
While still of excellent sound quality and very consistent in terms of sound and stylings when compared to Tarot, Part I, the music here feels more "supplemental," less developed, polished, and/or finished. There are far more minutes of instrumental music--a lot of it what feel like "background msuic" jams--and less of Eva's wonderful vocal stylings and arrangements. Where Xavi and Eva rushed to get this out to the public? Was this really the finished product they wanted to share with their admiring audience? After the delightfully high quality and consistency of Tarot, Part I--on which the band felt like it had grown (since their self-titled 2020 debut)--I had expectations for Part II that are here sharply disappointed.
87.85 on the Fishscales = B/four stars; a decent collection of what feels like unfinished psychedelic covers of classic 1960s hit songs.
87.85 on the Fishscales = B/four stars; a decent collection of what feels like unfinished psychedelic covers of classic 1960s hit songs.
Adrian Jones finally comes out of COVID hibernation to revive his band of old--recruiting previous members Adrian O'Shaughnessy, Christian Bruin, and Brendan Eyre as well as importing some new members for the rhythm section.
Line-up / Musicians:
- Adrian 'Aio' O'Shaughnessy / vocals
- Adrian Jones / guitar, bass
- Christiaan Bruin / keyboards
- Brendan Eyre / keyboards
- Joachim van Praagh / bass
- Lars Spijkervet / drums
1. "Birds, Insects & Kites" (3:39) a long, spaced-out intro in which drummer Lars Spijkervet gets plenty of time to show off his unique rhythmic style before and as Adrian's blistering slide guitar solos toward the end. It's great but I was kind of hoping for more. (8.875/10)
2. "The Veil" (1:48) guitar and key atmospherics. (4.375/5)
3. "Ghosted" (4:22) a slow and spacious old blues-based tune with teased out vocals and teased out guitar notes à la David Gilmour, Paul Speer, and Nick Barrett. At 3:40 the song seems to end but, no! Piano and weird "bird" noises drag it into a long descent into a vacuous black hole (at least, on the video). (8.875/10)
4. "Angel of Flies" (7:40) starts out for its first couple minutes sounding more like an homage to the Berlin School of Progressive Electronic music. At 2:10 the "glass shatters" as drums and guitar chords unleash a surprisingly spacious WHO-like rock motif over which Adrian "Aio" O'Shaughnessy sings in a voice that seems to come straight out of the great hairbands of the 1980s. His long hold of vowels is reminiscent of singers like Sammy Hagar, Bruce Dickinson, and David Coverdale. The searing guitar play over the wonderfully-inventive drum pattern helps elevate the song even further. Nice power piece. (13.5/15)
5. "In Remembrance" (2:00) well-spaced piano notes fill a large chamber before bowed bass and/or ebowed guitar notes are added to create a tension-filled discordant cinematic feel. (4.5/5)
6. "Frustration/Sedation" (11:55) a song of almost standard Bob Dylan/Rolling Stones sound that drags on and on without ever really doing much but drawing out a long "Free Falling"-like motif. The performances are all polished and sound great but they lack power, vigour, and effect. Then there is the recitation of a list of "-tion"s from Aio carried out over the last three minutes as the musicians try to amp things up (a little too late, IMO). Nice guitar soloing in the finally 90 seconds (again, a little too late). (21.25/25)
3. "Ghosted" (4:22) a slow and spacious old blues-based tune with teased out vocals and teased out guitar notes à la David Gilmour, Paul Speer, and Nick Barrett. At 3:40 the song seems to end but, no! Piano and weird "bird" noises drag it into a long descent into a vacuous black hole (at least, on the video). (8.875/10)
4. "Angel of Flies" (7:40) starts out for its first couple minutes sounding more like an homage to the Berlin School of Progressive Electronic music. At 2:10 the "glass shatters" as drums and guitar chords unleash a surprisingly spacious WHO-like rock motif over which Adrian "Aio" O'Shaughnessy sings in a voice that seems to come straight out of the great hairbands of the 1980s. His long hold of vowels is reminiscent of singers like Sammy Hagar, Bruce Dickinson, and David Coverdale. The searing guitar play over the wonderfully-inventive drum pattern helps elevate the song even further. Nice power piece. (13.5/15)
5. "In Remembrance" (2:00) well-spaced piano notes fill a large chamber before bowed bass and/or ebowed guitar notes are added to create a tension-filled discordant cinematic feel. (4.5/5)
6. "Frustration/Sedation" (11:55) a song of almost standard Bob Dylan/Rolling Stones sound that drags on and on without ever really doing much but drawing out a long "Free Falling"-like motif. The performances are all polished and sound great but they lack power, vigour, and effect. Then there is the recitation of a list of "-tion"s from Aio carried out over the last three minutes as the musicians try to amp things up (a little too late, IMO). Nice guitar soloing in the finally 90 seconds (again, a little too late). (21.25/25)
7. "Golden Hour" (1:30) piano and "distant" reverb guitar interlude. (4.375/5)
8. "Dusk" (10:48) spacious slow-build atmospheric music that makes me envision RY KOODER teaming up with NO-MAN to lay their modern interpretation of Glen Campbell's version of Jimmy Webb's "Wichita Lineman." Aio sings in drawn out notes with a sound and passion that makes him sound like AXL ROSE at his most blues-rockishness. The song builds, peaks, and reverts to spaciousness in which Aio Rose injects his long-note two syllable words to the end. Fair but not anything here that is very new or innovative. (17.5/20)
Total Time 43:42
Total Time 43:42
An album of nice sounding music that with very mature and professional performances that just happens to be too spacious and monotonous, start to finish.
87.63 on the Fishscales = B/four stars; a very nice addition to any old time prog rocker's music collection.
A French ensemble who've risen out of a former incarnation as makers of mediæval music, the band's debut album is raking up the accolades from virtually everyone who encounters it.
Line-up / Musicians:
- Olivier Orlando / Bass, guitar, backing vocals
- Carina Taurer / Keys, backing vocals
- Adeline Gurtner / Lead vocals
- Mathieu Rossi / Flute, e-flute, backing vocals
- Clément Curaudeau / Drums
3. "Ethereal Melodies" (7:55) though sounding a lot like the previous song (chords, keys, sound palette, main melody) the band's previous incarnation as medievalists is able to shine through due to the quieter, less bombastic soundscape. Still, I can't fight the domineering feeling that I'm listening to a 2.0 cover band version of one of the older Prog Folk masters (Renaissance, Magenta, Mostly Autumn, Iona) (13.125/15)
Total Time: 55:55
87.50 on the Fishscale = B-/3.5 stars; a debut album whose inconsistent qualities will, hopefully, improve as the band matures. It is my hope that the band find better studio and engineers and concentrate more on the Prog Folk elements of their music rather than the bombastic NeoProg.
Line-up / Musicians:
- Olivier Orlando / Bass, guitar, backing vocals
- Carina Taurer / Keys, backing vocals
- Adeline Gurtner / Lead vocals
- Mathieu Rossi / Flute, e-flute, backing vocals
- Clément Curaudeau / Drums
1. "The Eternal Tree" (2:06) (4.375/5)
2. "Life" (11:31) a murky-sounding song that feels far too simplistic and predictable to possibly be receiving the attention it's been getting. The CAMEL-like bluesy passage starting at 6:10 is almost laughable for its predictability. Adeline Gurtner's lead vocals are weak and so poorly recorded and Olivier, Carina, and Mathieu's background support are just as poor. (17.125/20)
2. "Life" (11:31) a murky-sounding song that feels far too simplistic and predictable to possibly be receiving the attention it's been getting. The CAMEL-like bluesy passage starting at 6:10 is almost laughable for its predictability. Adeline Gurtner's lead vocals are weak and so poorly recorded and Olivier, Carina, and Mathieu's background support are just as poor. (17.125/20)
3. "Ethereal Melodies" (7:55) though sounding a lot like the previous song (chords, keys, sound palette, main melody) the band's previous incarnation as medievalists is able to shine through due to the quieter, less bombastic soundscape. Still, I can't fight the domineering feeling that I'm listening to a 2.0 cover band version of one of the older Prog Folk masters (Renaissance, Magenta, Mostly Autumn, Iona) (13.125/15)
4. "Back in Time" (14:24) Adeline and the band's best early Christina Booth/Magenta imitation (which makes them an imitator of Annie Haslem/Renaissance, right?). Mathieu Rossi's e-flute play and Carina's Hammond are quite top notch, even exciting and inspired, but Adeline's Christina Booth-like vocal performance sounds too much like the often-tired-sounding singer she sounds so much like. Too bad she wasn't given some of the theatric voice-acting roles the boys and instruments were given. I like the entertaining circus-like theatrics and more impressive display of instrumental skill and whole-band cohesion. (26.5/30)
5. "Prelude" (1:04) a successful exercise in Vangelism. (4.5/5)
6. "Coexistence - Part I" (11:20) a multi-part instrumental suite that is really just rather bombastic NeoProg--complete with Genesis rhythm tracks, a Pendragon-like environmental theme, and lush IQ instrumental palette. The construction is solid with the flow believable and engaging. The instrumental performances are solid and sometimes almost refreshingly unique (some really nice woodland folk weaves in the fifth and sixth minutes). (I don't really like the DAAL-like passage in seventh and eighth minutes.) The mix of the instrumental palette is pretty decent. Too bad the sound quality is so murky poor. (17.5/20)
Comparisons to Renaissance, Magenta, Mostly Autumn, and Iona are warranted, but only in terms of imitation. The sound quality, however, never reaches the high levels of quality mastered by these other bands; in fact, its the murky sound (and rather rudimentary, by-the-numbers prog) that turn me sour on this music. I really wanted to like this album--the preceding reviews were all very exciting--but my hopes are totally and completely deflated by the product I'm listening to. They have talent: and vision--but they need to grow a lot in the skills department and, moreso, in the sound engineering department. Still, the album does get better both over time (with repeated listens) and the deeper into the album one goes. (My expectations are now adjusted: prepared for the low sound quality (which reminds me of the horribly murky and overly-expansive soundscapes Cornwall-based band of Scots, THE EMERALD DAWN seem fixated on) as well as the inconsistent skill display and often too-imitative compositional quality.
Total Time: 55:55
87.50 on the Fishscale = B-/3.5 stars; a debut album whose inconsistent qualities will, hopefully, improve as the band matures. It is my hope that the band find better studio and engineers and concentrate more on the Prog Folk elements of their music rather than the bombastic NeoProg.
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