2006's Best Prog Epics and Mesmerics

These are my favorite songs of over nine minutes in length from 2006 studio releases:

Masterpieces:

1. "Wind, Water, & Fire" suite (13:48) - IONA - (30/30) = 10.0

2. "Pane of Truth" (9:02) - SYLVAN - (20/20) = 10.0

3. "Carpe" (9:01) - RUSSIAN CIRCLES - (20/20) = 10.0 

4. "Cel Din Urmã Vis"(10:03) - NEGURA BUNGET - (20/20) = 10.0

5. "Falling Stardrops" (15:46) - ØRESUND SPACE COLLCTIVE - (29.5/30) = 9.83

6.  "Kuoriutuminen," Parts 1, 2 & 3 (13:35) - UZVA - (29.25/30) = 9.75

7. "The Bright Ambassadors of Morning" (11:57) - PURE REASON REVOLUTION - (24/25) = 9.6

8. "European Lover / Random Avenger" (12:32) - MAGYAR POSSE - (24/25) = 9.6

9.  "Pentacle Suite" (30:11) - KOTEBEL - (57/60) = 9.51

"Arabian Ran-ta" (10:00) - USVA - (19/20) = 9.5

10. "Vessiko" suite (23:08) - UZVA - (41.75/45) = 9.278

11. "Milliontown" (26:24) - FROST* - (46.5/50) = 9.25

12. "Quando la morte mi colse nel sonno" (9:23) - YUGEN - (18.5/20) = 9.25 

13. "The Sea Swells A Bit" (21:00) - AIDAN BAKER - (37/40) = 9.25

14. "Different Realities" (11:14) - UZVA - (18.25/20) = 9.125

Other Very Good Songs:

"Ra" (13:12) - KOTEBEL - (27/90) = 9.0

"Are You There?" (10:25) - MONO - (18/20) = 9.0

"Realm of Dreams" (9:44) - TO-MERA - (18/20) = 9.0 

"O redek" (10:04) - SEVEN REIZH - (18/20) = 9.0

"Millions Starved And Became Skinnier And Skinnier While Our Leaders Became Fatter And Fatter" (10:01) - RED SPAROWES - (18/20) = 9.0

"SAI" (15:02) - OOIOO - (27/30) = 9.0

"Del abismo al sol" (9:53) - NEXUS - (18/20) = 9.0

"Blackhole" ((9:05) - iNFiNiEN - (18/20) = 9.0

"Perpetuum Karma" (14:59)- NEXUS - (26.75/30) = 8.91667

"Dim" - CULT OF LUNA - (17.825/20) = 8.9125

"Visioni di Archimede" (9:00) - PREMIATA FORNERIA MARCONI - (17.75/20) = 8.875

"Apprentis sorcier" (20:05) - NEMO - (35.25/40) = 8.8125

"Tesarul de lumini" (12:48) - NEGURA BUNGET - (22/25) = 8.8

"Johdatus" (9:31) - VIIMA - (17.5/20) = 8.75

"Deceit" (10:16) - AREKNAMÉS - (17.5/20) = 8.75

"Inaugural Bash" (26:56) - DELUGE GRANDER - (48/55) = 8.727

"Mirar hacia el centro" (17:30) - NEXUS - (30.5/35) = 8.714

"Ignis Fatuus" (11:22) - AREKNAMÉS - (17.4/20) = 8.7

Also rconsidered:

"Cruces y sombres" (14:02) - NEXUS - (26/30) = 8.667 

"The Flames Beyond The Cold Mountain" (13:29) - MONO - (26/30) = 8.667

"Black Light Machine" (10:06) - FROST* - (17.25/20) = 8.625 

"The Mass" (15:09) - KHATSATURJAN - (25.75/30) = 8.58333

"Excellent Meat" (9.00) - KOTEBEL - (17/20) = 8.5

"Psychic Jugglers" (11:10) - UNEXPECT (17/20) = 8.5

"We Love You" (9:14) - THE PINEAPPLE THIEF - (17/20) = 8.5

"Hope to See Another Day"(12:12) - BELIEVE - (21.25/25) = 8.5  

"Tetragrammaton"(16:42) - THE MARS VOLTA - (24.75/30) = 8.25

"Clover Rd ABC" (9:52) - COMBINATION HEAD - (16.25/20) = 8.125  

"Consumed by the Goblin" (14:51) - ØRESUND SPACE COLLECTIVE - (24/30) = 8.0

"KMS" (9:00 ) - OOIOO 0 - (16/20) = 8.0

"We Stood Transfixed In Blank Devotion As Our Leader Spoke To Us, Looking Down On Our Mute Faces With A Great, Raging, And Unseeing Eye" (10:01) - RED SPAROWES - (16/20) = 8.0

"Yearning" (15:38) - MONO - (24/30) = 8.0

"Moonlight" (13:04) - MONO - (20/25) = 8.0

"Like The Howling Glory Of The Darkest Winds, This Voice Was Thunderous And The Words Holy, Tangling Their Way Around Our Hearts And Clutching Our Innocent Awe" (11:24) - RED SPAROWES - (14/20)

As Yet Unrevieewed:

"Douce mort" (16:26) - NEMO - (/30) =  

Just shy of 9 minutes:
"Sudden Death" (8:56) - MAGYAR POSSE - (20/20) = 10.0 

"Shimmering Lights" (8:54) - THE D PROJECT (20/20) = 10.0

"Children Of Stone" (8:54) - ESPERS (18.5/20) - 9.25

"Arrival/The Intention Craft" - PURE REASON REVOLUTION

*Bold print denotes songs that have risen into my pantheon of All-time favorite "epics."

Top Albums from the Year 2006, Part 2: The Near-Masterpieces

 Somewhere beneath the level of timeless masterpiece status lies a group of albums whose quality and merit deserve categorization of something like "near-masterpiece." These are albums that have either achieved a Fishermetric score of between 90.0 and 87.0 or whose high points or quality level make it remarkable enough to remain affixed in my memory.

From the Year 2006, you will find below, 9 albums and 3 EPs releases deserving, in my opinion, of the "near-masterpiece" designation.  

4.5 Stars; Near-Masterpieces

(Ratings of 89.99 to 86.67)

10. KARDA ESTRA The Age of Enlightenment

Another great Karda Estra album, with one of the best pieces Richard Wileman has ever composed and performed, the four-part neo-classical suite, "The Return of John Deth" (clocking in at almost 24 minutes) (10/10), the rest is just not on the same masterpiece level as Eve, or Constellations, IMHO. One of KE's darker albums with top notch, virtuosic performances all around. Richard's acoustic guitar work stands out especially on this one, while Ileesha Bailey's vocal contributions are mixed a bit farther into the background than usual--as are the woodwinds--but it all works, it all feels--like the eery Goth chamber music it was intended to be! Man I love this group!

Other great songs:  "Second Star" (7:36) (9/10); "Carmilla" (4:30) (9/10); "Bones in the Moonlight" (8:12), and "Talos" (4:27) (8/10).

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

11. FROST* Milliontown 

An awesome debut from producer/keyboardist JEM GODFREY's prog alter ego. One might consider this lineup a bit of an "all-star" band or "supergroup."

Line-up / Musicians:
- John Mitchell / guitars, vocals
- John Boyes/ guitars
- Jem Godfrey / keyboards, alto vocals, composer & producer
- John Jowitt / bass
- Andy Edwards / drums

1. "Hyperventilate" (7:31) as nearly perfect a modern prog song as it gets; one for the ages (15/15)

2. "No Me No You" (6:06) Jem trying to be Porcupine Tree or Opeth? Nothing new or inviting here.(7.5/10)

3. "Snowman" (3:55) The Beatles doing BBC TV soundtrack music. (8/10)

4. "The Other Me" (4:51) opens sounding like an XTC song from the 1980s before the PETER GABRIEL "The Tower that Ate People" wall of sound hits 30 seconds in. As a matter of fact, until the chorus, this song sounds very much like an alternate version of "Tower"--and then picks it right back up in the instrumental section. (8.5/10)

5. "Black Light Machine" (10:06) very nice baseline weave of sounds and patterns supports another standard vocal. John Mitchell's guitar brilliance really comes shining through on this one (his three extended soli are by far the highlights of the song). (17.25/20)

6. "Milliontown" (26:35) (46.5/50) :
- a) One Underground - piano-based with distorted lead vocal.
- b) Abracadaver - heavy injection of full-on GENESIS-like NeoProg. All band members are running on high octane, giving very impressive performances on their respective instruments. I love the bass effect in the quieter vocal section in the sixth minute.
- c) The Only Survivors - a little musical simplicity invites the listener in, to relax and enjoy the melodies while storyteller and instrumentalists flash in and out. Things get heavier and thicker at the end of the tenth minute and then there is a wonderful shift into an odd time signature that the band exploits brilliantly and emphatically in quite the symphonic way. Probably the best passage on the album. Shifting dynamics over the next few minutes are awesome until we come to astripped-down  BEATLES-esque passage.
- d) Core - far more subtle and nuanced with chord and individual notes and sound choices, the palette here is unusual and unearthly--until the nineteenth minute's launch into race time: 
- e) The Chosen Few - while a couple instruments remain on "slow time, sustaining their notes and melodic play, the rest of the band charges, speeds, swirls, and plummets as if they're on a race against time. Another great passage. Jem Godfrey is a true keyboard wiz. (How come we've never heard of him before?) Layers of guitars are also masterfully employed. A little repeat of a motif from "Hyperventilate" occurs at the 22-minute mark, then it's off to the races again, with a few dynamic and temporal shifts
- f) Two Underground - a brief slowed- and stripped-down keyboard section to shift into the closing of the song. Man did these 27 minutes fly by quickly! 

Twenty-six plus minutes of heavily-invested work: this is no one-dimensional psychedelic jam, this is a true epic with many themes and motifs, a very well-worked out labour of some excellent and very serious musicians.

Total Time: 59:04

There are some real powerful, hopeful moments of pure prog bliss here as well as many elements of heavy and crossover prog. Definitely a group to watch.

88.48 on the Fishscales = B+/4.5 stars; an awesome example of the direction modern prog and Neo Prog may take--and definitely an excellent addition to any prog lover's music collection.

 

12. NEGURA BUNGET Om

Is an emotional aural ride like none other you have had. It is also a work of creative genius and instrumental and engineering virtuosity. As a matter of fact, on Om, like Dark Side of the Moon, it could be said that the recrding engineer and mixologist are as important contributors to the end product as the composers and musicians.

1. "Ceasuri Rele (intro)" (3:07) starts with a long silence before outdoor night noises creep in. At the end of the first minute a male voice whispers a couple of things, spooky Halloween-like noises flit in and out while the whispering man continues voicing his emotion-filled warnings (in a non-English language). Male chorale "aahs" and "ooos" crescendo as the whispering man seems to lose it. (9/10)

2. "Tesarul de lumini" (12:48) begins with guitars. Though this develops into, at first, a goth metal, and then a doom metal, song, the volume never goes overboard and the clarity and definition of sound never gets murky or clouded, the contributions of instruments and samples are never lost or disrespected. (8/10)

3. "Primul Om" (4:22) is more of an ambient soundtrack to some rural, gypsy scene. Interesting for a metal album. (8/10)

4. "Cunoaºterea Tãcutã" (7:11) begins with the ambiguity of crystal clear drums and synth with heavily distorted electric guitar metal strums. The doom metal growls are played off of by an almost priestly/cantor-like male church vocal. Acoustic tuned percussion play against the metal guitar while the singer growls. At 2:30 a strong tenor voice sings (sounding very much like RETROSPECTIVE's lead vocalist). At 3:03 the song's wall of sound drops off and a sophisticated weave (polyrhythmic?) of keys, guitars, tuned percussion, and bass perform for two and a half minutes before the heavy metal guitar and vocal growl return. Actually a pretty awesome, amazing finish! (10/10)

5. "Înarborat" (6:22) begins with some sounds that I'm more familiar with in association with sacred Tibetan or Siberian shamanic musical traditions--'skin and bone' percussives and big horns. Then, at 1:40, the acoustic instruments stop and a heavy metal section begins (sounding a bit like the chords to ALICE COOPER's "School's Out"). The growl vocalist enters, the metal guitars flatten out, eventually break into two channels, each one going off on his own adventure--keying one off of the other yet not mirroring or replicating each other. Very cool! At 4:20 the guitars disappear, a monastic choir appears, and a male voice says something in a quite matter-of-fact speaking voice. Then the metal section restarts, the vocals bevome a bit more crazed, insistent, and yet diverse. Amazing song! (9/10)

6. "Dedesuptul" (6:39) starts off with metal guitars and drumming, vocal screams and growl voice. Interesting additional "cave bell" sound and guitar chord changes. Then at 1:40 an Arabian melodic theme is shifted to, bringing with it a shift in feel, change in vocal and guitar approach. By 2:30 we are back to the B section, with its growls and quick-changing strummed metal guitar chords. Enter into the background a discordant, disconnected keyboard(? or is it guitar?). At 4:50 this keyboard comes to the fore, reveals itself as a heavily treated guitar, plays some odd riffs, and then steps off to be replaced by the plodding, spooky synthesizer keyboard playing as if for the soundtrack of a murder-mystery. Odd song. (8/10)

7. "Norilor" (3:00) is an instrumental that bleeds from the previous song, "Dedesuptul," carrying forward the eery soundtrack feeling, adding some of the 'skin and bone' percussives as well as other more orchestral percussion instruments to help tell the story. (9/10)

8. "De Piatrã" (5:36) puts us back into very traditional metal--and doom metal--territory. The growls here, however, sound much more diverse, as if Tasmanian Devil, Dracula, and some imprisoned-underground Titan from Greek mythology were all in conversation. The guitar work--and vocal work--evolve into some different, less metallic, more theatric (if that's possible) styles, though the basic rhythm section pace remains quite frenetic throughout. Interesting, entertaining, just not my cup of tea. (7/10)

9. "Cel Din Urmã Vis" (10:03) (my favorite song on the album) begins with two guitars playing different arpeggios in different channels, before the rest of the rhythm section joins in at the one minute mark. As the song settles into its structure and rhythm, a very cool Trevor Horn/Fairlight CMI-like keyboard "choir" hit plays a big part in drawing the listener in. Vocal growls enter and play for a brief spell before the song shifts into a surprisingly long, very calm, misty walking-through-the-graveyard-at-midnight-on-a-misty-Halloween keyboard-led section. In the seventh minute these two sections combine--sustained choral chords, growl vocals, over the metal music. Only this song, this music, this metal, has more melody, more interest (thanks to the 'Fairlight CMI'). The song's final minute and a half pick up the pace to a much more frenetic metal pace, but the keys join in for the last thirty seconds. What a ride! (20/20)

10. "Hora Soarelui" (5:55) starts right up in heavy metal mode until the 30th second, when al switches to a very colloquial folk sound (LES NEGRESSES VERTES anyone?)--like a silly drinking song! At 1:48 it feels like it's going to evolve again, but it just gets more synth and vocal harmony support. Beautiful. Kind of TALKING HEADS-like! Love the solo by the folk string instrument (guitar variation?) during the mellow mid-section. Things pick up and rock metal out again. (10/10)

11. "Al Doilea Om (outro)" (2:03) allows the album to fade out right where it started--eery, shamanic, meditative, with lots of "Aum"-ing. (9/10)

Like I said above, this album offers a lot of unusual and interesting stuff. It is so different, so unique (in my experience), and so enjoyable that I recognized it immediately as a masterpiece of sheer genius, and I still find myself awed by it.

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

13. VIIMA Ajatuksia Maailman Laidalta 

Is a brilliant prog folk album from Finnish rockers. Fronted buy a female singer, Päivi Kylmänen, all the lyrics are sung in Finnish. 

Line-up / Musicians:

- Päivi Kylmänen / vocals
- Kimmo Lähteenmäki / keyboards, drums
- Jarmo Kataja / bass
- Mikko Uusi-Oukari / guitars, flute
Guest musicians:
- Jankke Kuismin / bass (2, 3 & 5) 

- Kimmo Alho / Alto saxophone (5)

The opener, 1. "Leihonan Syksy" (6:27) aside from the female vocals, this one sounds like a dead ringer for a Finnish "Living in the Past"--until the instrumental stuff starts at the halfway point. Great mid-section with drums and Mellotron and then guitar and flute soloing. (8.75/10)

The title song (6:38) is at times a bit bland, at times a bit too folksy, but still a solid song. (9/10)

3. "Ilmalaiva Italia" (5:59) is a mellow tune with some simple but great musical support to some awesome vocal harmonies. It does thicken and become a kind of Blue Öyster Cult/Yes aggressive blues-rock in the middle, but then it settles back into the pretty mellow theme for the final 90 seconds. (8.75/10)

4. "Meri" (7:57) is great throwback to CURVED AIR's "Marie Antoinette" with great electric guitar substituting for David Cross' violin. (13.5/15)

5. "Luuttomat" (5:56) starts as a gorgeous acoustic guitar vocal & flute folk song before switching gears to electric guitar and saxophone after the opening 90 seconds. The soft, folky vocal section alternates with the NIL-like bluesy ominous music of the instrumental section twice before finishing on the soft side. (8.5/10)

The finale, 6. "Johdatus" (9:31) again shows a lot of similarities to CURVED AIR, musically, but especially in the lead vocalist's sounds and stylings. The piano-based, classically-tinged second section and the electric guitar play in the eighth minute are both highlights for me. (17.5/20) 

Total Time: 42:30

88.0 on the Fish scales = B+/4.5 stars; a near-masterpiece of Prog Folk.

14. MIDLAKE Trials of Van Occupanther

A brilliant album of quite intricate and subtly constructed songs. A songwriting style that seems common to many Midlake songs is used to great success here: that is the process of slowly adding an assortment of instruments to flit and playfully dance around the lead vocal. Quite remarkable and endearing.

1. Fan favorite "Roscoe" (4:49) is not one of my personal favorites. (8/10)

2. "Bandits" (4:04) is a multi-dimensional, multi-part song that really displays a lust for story telling through the music as well as through the lyric. Quite an intricate display of composition and performance. One of the album's best. (9/10)

3. "Head Home" (5:45) contains some of my favorite vocal arrangements that I've heard in a long time--with quite daring and unexpected changes in direction and melody. (9/10)

4. "Van Occupanther" (3:15) is augmented by some stunningly delightful flute and woodwind play thorough out the song--brilliantly offsetting the flat-toned lead vocal. It's as if the vocal is the foundation and everybody else is dancing playfully around him. Amazing! My favorite song on the album. (10/10)

5. "Young Bride" (4:56) is a brilliant song in the vein of RODDY FRAME/AZTEC CAMERA and ARCADE FIRE. Another favorite. (10/10)

6. "Branches" (5:03) slows things down and gets a little bogged down in the syrup of the lyric & lead vocal. Nice piano work and song shifts. (8/10)

7. "In This Camp" (5:44) sees Tim Smith singing in that FLEET FOXES style upper register. Again nice piano support and subtle incidentals before the song crashes into the eminently cathy chorus melody. (9/10)

8. "We Gathered in Spring" (3:33) sees the band singing in some of the tightest, most even harmonies--CROSBY, STILLS & NASH and AMERICA-like. Beautiful. (9/10)

9. "It Covers the Hillsides" (3:14) is upbeat and bouncy in a MAMAS & THE PAPAS/JOHN SEBASTIAN way. (8/10)

10. "Chasing After Deer" (2:42) is another delicately embellished song--subtle instrumental touches gathering around the solid, beautifully sung lead vocal. (8/10)

11. "You Never Arrived" (1:39) (8/10)

An imaginative display of thoughtful, playful, yet beautifully executed song craftsmanship.

87.27 on the Fishscales = B/four stars; a near-masterpiece of progressive rock music.

15. UNEXPECT In a Flesh Aquarium

OMG!! What a WILD ride is this amazing album! It sounds like an super-amped up Cirque de Soleil performance of Danny Elfmann's soundtrack to Tim Burton's A Nightmare Before Christmas. I can barely imagine the on-stage performance of this music! It can only be surreal and theatric! Suffice it to say that this is music unlike any other. Period. While I may not be listening to this album regularly, I can say that I will never find it boring! With all due respect: This is the kind of music, while not really my cup of tea, that makes listening for new stuff worthwhile. These guys are pushing all boundaries, going where no one is going, and keeping the progress in progressive music. Kudos galore. This is creative stuff--hugely entertaining. BIG smiles! Thank you!! A ground-breaking masterpiece on a par with Mëkanïk Dëstruktïw Kömmandöh, The Power and the Glory, Choirs of the Eye, "Supper's Ready," and Close to the Edge.

Five star songs: 1. "Chromatic Chimera" (5:52); 3. "Desert Urbania" (7:29); 4. "Summoning Scenes" (7:46); 6. "Megalomaniac Trees" (5:57); 7. "The Shiver - Another Dissonant Chord" (3:00); 8. "The Shiver - Meet Me At The Carrousel" (4:07); 9. "The Shiver - A Clown's Mindtrap" (3:41)

Four star songs: 2. "Feasting Fools" (6:17); 5. "Silence_011010701" (5:13); 10. "Psychic Jugglers" (11:10)

87.0 on the Fish scales = B/four stars; a near-masterpiece of progressive rock music.

Special Mention:

iNFiNiEN How to Accept

The debut album (actually, an EP) from very lively, jazzy, and fun female-fronted, piano-based prog band from Philadelphia, iNFiNiEN. Lead singer/pianist, Chrissie Loftus, is quite talented as composer and singer, but her bandmates are quite excellent in support. Like a very seasoned jazz combo.

Line-up / Musicians:
- Justin Carney / acoustic & electric basses, mandolin, backing vocals
- Tom Cullen / drums & percussion
- Matt Hollenberg / electric & acoustic guitars
- Chrissie Loftus / vocals, piano, keyboards
With:
- Mark Gallagher / saxophone (2,3,4)

1. "Lost My Way" (6:46) plays out like a wonderful piano jazz pop song with an amazing lead vocalist in Chrissie Loftus and an awesome guitarist in Matt Hollenberg. Very impressive drumming as well. (14/15)

2. "Fighting Ghosts" (5:42) campy, cabaret-like, this song is one that digs deep into one's soul and wrenches the emotions. Amazing vocal (if slightly oddly recorded) and gorgeously spacious musical foundation. Slightly disappointing instrumental section and finish. (9/10)

3. "Divine Nature" (7:44) a rock song employing some Eastern European and Arabian elements of sound and structure. It's a little gruff and monotonous--even the instrumental section in the middle--though I love the lead guitar work in the fifth minute. And the vocal melodies never really grab hold like the previous two songs. Nice drumming throughout. (12.75/15)

4. "The Universe Continues?" (5:08) a bit in the same style and feel as song #2, "Fighting Ghosts," these songs work--mostly on the backbone of an extraordinary vocalist. Great delivery. Chrissie sings every note as if her heart and soul are completely invested. (9.5/10)

5. "Blackhole" (9:05) opens with some very unusual 'guitar'(?) chords before the band joins in with a thick foundation within which Chrissie sings a strongly musically-supported melody. Truly a heavy, dark song that just pulls you along like you're being dragged through mud, and yet, there are some magical moments (piano, vocal, chorus, guitar strums, drumming flourishes, low end bass notes) and a great ending. (18/20)

Total Time 34:32

90.36 on the Fishscales = A-/4.5 stars rated down for brevity;  a great debut album and near-masterpiece of progressive rock music.

ROBIN GUTHRIE Continental and 2 EPS, Everlasting and Waiting For Dawn.

In 2006 Robin Guthrie, the songwriter, guitar player, and production engineer genius behind THE COCTEAU TWINS, released an album, Continental, and two EPs, Everlasting and Waiting for Dawn. Separately beautiful; together they make for an amazing collection of instrumental songs--some of the best I've heard since the Treasure/Echoes in a Shallow Bay/Tiny Dynamine era of the Cocteau Twins (1984-5, an album and two EPs released within a calendar year), twenty years before. (My favorite era of Cocteau Twins music: Treasure sits at #13 on my list of All-time Favorite Albums, the two EPs, Tiny Dynamine and Echoes on a Shallow Bay--which were released together on a single CD a few years later--sits at #9 ). As a matter of fact, the similarities from 1984-5 to 2006 do not end there, as it is in the dynamic mix, the balance between highs and lows, and the return of full-sounding drums (the drums after 1985 started sounding so tinny, so machine-like, and lost all of their fullness and bass end), that Robin's 2006 releases bring me back to some of the favorite sounds I've ever heard in this lifetime. Each and all of these three releases does an amazing job of capturing the sonic fullness and melodic beauty of those 1984-6 releases.

     I do have to admit, however, that the EP Everlasting (95.0 on the Fishscales) is my favorite of these three, but "Monument" and "As I Breathe" from Continental are stunning masterpieces. The rest from Continental and Waiting for Dawn are a bit more ambient--great ambient music, but not as stirring as the Treasure/Echoes in a Shallow Bay/Tiny Dynamine (and even 1986's Victorialand and The Moon and the Melodies--the Cocteau Twins' [and Robin's first] collaboration with HAROLD BUDD) period.

     Of Everlasting's four cuts, three are absolute 1985-like masterpieces: "A Sigh Across the Ocean" (4:07) (9.5/10), "Fountain" (3:08) (10/10), and "Everlasting" (5:08) (9.75/10) with the fourth, "Bordertown" (4:35) (8.75/10) coming across as a kind of repetitive, simple and sappy Jimmy Webb-like song.

Major seventh chords rule!

MAGISTER DIXIT Cellules de Crise 

One of the earliest young modern ensembles to really commit to bearing the torch of Christian Vander's Zeuhl music. Too bad they gave up after this album.

Line-up / Musicians:
- Stéphane Marcaillou / vocals, guitar, texts, compositions
- Melanie Fossier / vocals
- Bita Rezvannia-Picot / violin, vocals
- Sophie Perret / piano, voice
- Jean-Pierre Albert / drums
- Stéphan Garcia / bass

1. "Endless" (5:58) sounds like Magma, just not as tight, not as focused--and singing in English (at first: the title word)! The tempos as expressed by the bass, drums, and vocalists seem scattered all over the place, as if the band were not all on the same page. There's a little of the spirit of COS vocalist PASCALE SON in the voice of lead female, Melanie Fossier. She definitely commands attention. (7.5/10)

2. "Les potits archers" (5:55) whoops! maybe I was wrong: This band can Zeuhl! Everybody seems to gel and relax into the music here. the weaves--both musically and vocally--are absolutely stupendous (except for the way lead male Stéphane Marcaillou's voice is recorded and expressed in the overall mix). Great comportment of the classic Zeuhl tension and great build to resolution. (9.25/10)

3. "De profundis II" (8:18) four voices establish a classic Zeuhl form before transitioning about three minutes in to a jazzed up variation of the same. Violin and Melanie present a new lead melody. Amazing Zeuhl scatting from Stéphane and Melanie in the final third of this slower Magma-like composition. Stéphane must have had some Klaus Blasquiz lessons! Great drumming. (18.25/20)

4. "De profundis III" (4:22)  violin and Melanie present a new complex scat pattern, repeated over and over, while instruments below jazz it up. Melanie and the drums really impress. Again, I cannot help but make the Pascale Son comparisons. (8.75/10)

5. "La merveille" (3:57) a sedate, almost dreamy  weave of three female vocalists with the guitar, bass, piano, and mostly-cymbals before Stéphane enters as the lead. When Melanie takes the lead, and is then joined by her two female compatriots, the music takes on an almost 1960s pop-jazz feel and style--and the vocal feels like a lullaby or children's rhyme! Unexpected and brilliant! (9/10)

Total Time 28:30

I have been really impressed with the compositional skills of this band and equally so with their performance skills. They really pull off a truly complete and complex Zeuhl album! The weak link is the bass player: he's no Jannick Top! The rest is pretty top notch MAGMA-esque Zeuhl!

87.92 on the Fishscales = B/four stars; if you're a lover of Zeuhl music at its finest, you will love this album. Definitely an excellent addition to any prog lover's music collection. There is just something that, for me, is so magical about this album! 

ANTIQUE SEEKING NUNS Double Egg with Chips (and Beans)

An EP from Oxford, England's Canterbury revivalists, the four songs here are all joyfully, melodically rife.

Line-up / Musicians:
- Matt Baber / keyboards
- Joff Winks / guitar, vocals
- Paul Mallyon / drums
- Brad Waissman / bass

1. "Double Egg" (4:25) has a bit of a punked up Steely Dan feel to it and a rather straightforward pace and time signature. It also has vocals with a nice lyrical presentation by guitarist Joff Winks and nice vibraphone-like sound coming from the keys. (8.75/10)

2. "Son Of Cheese" (5:59) continues the Steely Dan sound with more of the Dan funk put here on display. Even Joff's vocal feels ever-so-close to that of Donald Fagan. Nice song. Nice to hear this kind of music. At 3:20 there's even a little tribute to Richard Sinclair's "underwater" vocal stylings. (8.66667/10)

3. "Son Of Bassoon" (3:26) easily the best song on the album opens as what seems to be a piano study--much in the vein of something Eric Satie, Bill Evans, or even Frédéric Chopin or John Coltrane would write/perform. Simply gorgeous. (10/10)

4. "Shatner's Bassoon" (5:19) the most avant song on the album, with odd, switching time signatures and jazzy sounds and chord progressions--at least for the first 45 seconds. Then things switch drastically into an amazingly saccharine sound--but not for long as by 1:30 the avant time sigs are back. For 20 seconds. This NATIONAL HEALTH-like back-and-forth pattern plays out over the course of the song with the third time into the B part taking on some heavily distorted electric guitar sounds flailing away. The two guitar soli in this section earn a prolonged full minute of exposition before the song finishes in the same way it starts. I'm not sure of the reason(s) for the William Shatner reference. (9/10)

Total Time: 19:09

91.04 on the Fishscales = A-/five stars; a minor-masterpiece of progressive rock music in the Canterbury style, rated down, of course, for its severe brevity.

The Rankings for 2006

1. SYLVAN Posthumous Silence

2. MAGYAR POSSE Random Avenger

3. KOTEBEL Omphalos

4. PURE REASON REVOLUTION The Dark Third

5. ESPERS II

6. IONA The Circling Hour

7. OZRIC TENTACLES The Floor's Too Far Away

8. OOIOO TAIGA

9. UZVA Uomo

10. KARDA ESTRA The Age of Science and Enlightenment

11. iNFiNiEN How to Accept

12. VIIMA Ajatuksia Maailman Laidalta 

13. MAGISTER DIXIT Cellules de Crises

14. FROST* Milliontown

15. NEGURA BUNGET Om

16. MIDLAKE The Trials of Van Occupanther

17. UNEXPECT In a Flesh Aquarium
18. ROBIN GUTHRIE Continental and 2 EPS, Everlasting and Waiting For Dawn

19. ANTIQUE SEEKING NUNS Double Eggs with Chips (and Beans)

20. RED SPAROWES Every Red Heart Shines Towards the Red Sun

21. ØRESUND SPACE COLLECTIVE Øresund Space Collective

22. MONO You Are There 

23. PAATOS Silence of Another Kind

24. NEXUS Perpetuum Karma

25. BELIEVE Hope to See Another Day

26. TO-MERA Transcendental

27. RUSSIAN CIRCLES Enter

28. PREMIATA FORNERIA MARCONI Stati di immaggionazione
29. ESTRADASPHERE Palace of Mirrors
30. THE GATHERING Home

Honorable Mentions: 

THE D PROJECT Shimmering Lights

OCTOBER EQUUS October Equus

Top Albums of the Year 2006, Part 3: Other Highly Recommended Albums

Other Albums from 2006 Worth Listening To:

Below you will find a somewhat-ordered catalogue of the album releases from 2006. These are albums that I have determined to be good or interesting enough to recommend to you, the reader, for your own exposure, awareness, and/or exploration; these are albums that were not, in my opinion, good enough to belong on my "Masterpieces" page, but which, I thought, deserved some credit and attention. 

     You will find that some of the albums below are reviewed or commented upon, while many have nothing but cover, artist and title, lineup of musicians and songs list. This variance is usually due to a lack of time and a lack of willingness or desire to give each and every album the time and energy necessary to write a review. This is done without any intent of disrespect; the albums have been included because I think them worthy enough to have others try them out and form their own opinions.

ØRESUND SPACE COLLECTIVE Øresund Space Collective

The wonderful debut album from this Danish-Swedish collaboration of Krautrock revivalism.

Five star songs:  4. "Falling Stardrops" (15:46) (29.5/30); 1. "Faked It All the Way" (6:21) (9/10); the space reggae 5. "Grab a Cab" (7:16) (9/10); 

Four star songs:  the ultra-spacey 6. "Moonhead" (2:30) (8/10); 2. "Consumed by the Goblin" (14:51) (24/30); 3. "Osc Bolero" (5:22) (8/10), and; the jazzy neo-Berlin School playground, 7. "Sundown" (17:39).

ESTRADASPHERE Palace of Mirrors

A "opera" from California's talented kletzmer rock band.

Line-up / Musicians:
- Jason Schimmel / guitars (acoustic, electric, lap steel), fuzz bass, organ, keyboards
- Kevin Kmetz / shamisen, guitar
- Adam Stacey / piano, Rhodes, clavinet, tack piano, organ, synth, melodica, accordion 
- Timb Harris / violin (2,4,5,11,13), trumpet (4,5,7,11), electric & slide guitars, mandolin, percussion
- Tim Smolens / electric & acoustic basses, surf guitar, keyboards, harmonica
- Lee Smith / drums
With:
- Shelley Phillips / English horn (2)
- Sarah Hart / violin (2,4,13)
- Kaethe Hostetter / viola (2,4,13)
- Aria DiSalvio / cello (2,4,13)
- Dan Robbins / double bass (2,9)
- Mike Shannon / drums (2,5,9)
- Issac Anderson / orchestral percussion (2)
- Shashona Brooks / vocals (4,5)
- Jennifer Cass / harp (4,5,12)
- Charlie Gurke / baritone sax (4,5,7,11)
- Luke Kirley / trombone (4,5,7,11)
- Scott Harris / bass trombone (4,5,7,11)
- Robin Anderson / trumpet (4,5,7,11)
- John Thomas / tuba (4,5,7,11)
- William Winant / glockenspiel (4,5), timpani (4,5,11)
- Ben Blechman / violin (5,11)
- Elena Doroftei / viola (5,11)
- Renata Bratt / cello (5,11)
- Fabrice Martinez / violin solo (7)
- Aaron Seeman / accordion (7)
- Relu Merisan / cimbalom (7)
- Eric Lesch / French horn (9)
- Joel Ford / sax (9)
- Mark Sowlakis / clarinets (12) 

1. "Title (0:33)
2. "Palace of Mirrors (3:40)
3. "A Corporate Merger (8:14)
4. "The Terrible Beautypower of Meow (4:01)
5. "Colossal Risk (4:36)
6. "The Unfolding Pause On The Thresholdm (4:16)
7. "Smuggled Mutation (4:43)
8. "Six Hands (1:08)
9. "The Debutante (2:40)
10. "Flower Garden of An Evil Man (6:12)
11. "Those Who Know... (5:16)
12. "Palace of Mirrors Reprise (6:16)
13. "The Return (6:19)

Total Time: 57:54

RED SPAROWES Every Red Heart Shines Towards the Red Sun

Great Math Rock and one of the coolest album concepts EVER! Did you know that as part of Chairman Mao's changes he decided to implement from his 1958 book, A Great Leap Forward, he endorsed the extermination of millions of sparrows because they were eating so many of farmers' freshly-planted seeds? The thought behind this was that a higher percentage of germinating seeds would lead to greater agricultural yields and therefore make farming more efficient and feeding his nation's huge population successful. Little did he or his counsellors know that one of sparrows' favorite foods was locusts and that with the loss of the locusts' main natural predator his country's crop losses (from locust infestations) over the next two years would cause the deaths due to starvation of between 30-50 million people!

The song titles used on this album are apparently direct translations from a personal recounting of the devastation caused by many of the campaigns started by Mao Zedong's Great Leap Forward.

1. "The Great Leap Forward Poured Down Upon Us One Day Like A Mighty Storm Suddenly And Furiously Blinding Our Senses" (8:10) (13.5/15)

2. "We Stood Transfixed In Blank Devotion As Our Leader Spoke To Us, Looking Down On Our Mute Faces With A Great, Raging, And Unseeing Eye" (10:01) (16/20)

3. "Like The Howling Glory Of The Darkest Winds, This Voice Was Thunderous And The Words Holy, Tangling Their Way Around Our Hearts And Clutching Our Innocent Awe" (11:24) (14/20)

4. "A Message Of Avarice Rained Down And Carried Us Away To False Dreams Of Endless Riches" (7:56) (13.5/15)

5. "Annihilate The Sparrow, That Stealer Of Seed, And Our Harvests Will Abound; We Will Watch Our Wealth Flood In" (8:07) (12/15)

6. "And By Our Own Hand Did Every Last Bird Lie Silent In Their Puddles, The Air Barren Of Song As The Clouds Drifted Away. For Kill" (1:45) (4/5)

7. "Millions Starved And Became Skinnier And Skinnier While Our Leaders Became Fatter And Fatter" (10:01) (18/20)

8. "Finally As That Blazing Sun Shone Down Upon Us Did We Know That True Enemy Was The Voice Of Blind Idolatry; And Only Then Did We Begin To Think For Ourselves" (8:03) (13.5/15)

While I must admit that I do not enjoy the music from this album as much as At the Soundless Dawn or The Fear Is Excruciating, But Therein Lies the Answer, I give Red Sparowes mega kudos for one of the cleverest song and album titling concepts ever.

83.60 on the Fish scales = very good three star album; an excellent addition to any prog rocker's music collection.

NEXUS Perpetuum Karma

Let me begin by admitting: I did not particularly care for the voice of Mariele Gonzales. My introduction to NEXUS was on the Colossus Magazine/Musea Records collaborative effort entitled Odyssey: The Greatest Tale. Their contribution to Odyssey was one of the three or four best. So, I started going back into their other music. Metanoia came first. I was so turned off by the vocals that I did not pursue any further Nexus music for two years. (I have now become adjusted and a big fan of Mariele's powerful voice.) Then I read the reviews of Perpetuum and decided to try it. My first impression was less than favorable:  Too bombastic (the same reason I've never been able to get into ELP). Over the past few months I have given  Perpetuum Karma several dedicated listens (it takes 70 minutes of attentive listening).
     I am now won over. I am truly impressed with and full of praise for Lalo Huber's keyboard work and with the guitar playing of Carlos Lucena. Huber may be the most impressive keyboard player in current prog rock. The songs sometimes go on without making any truly memorable melodies or themes (thus, the "symphonic" label it truly deserves), and the drums do somehow feel somehow weak (especially in comparison to the keys and gtrs), but I like the vocals (what little there are). And the vocals, believe it or not, actually add a LOT to the songs. 

 I love "En ese viento" (6:44) (10/10) and "Del abismo al sol" (9:53) (18/20). I very much enjoy the first two songs, "Mirar hacia el centro" (17:30) (30.5/35) and the title song (the 'Keith Emerson tribute'), "Perpetuum Karma" (14:59) (26.75/30), as well as the YES-influenced, "Cruces y sombres" (14:02) (26/30), which leaves, IMO, only one weak song.

83.33 on the Fish scales = four stars; an excellent addition to any prog lovers' music collection.

PÄATOS Silence of Another Kind

My second favorite Päatos album, due primarily to the presence of two amazing songs:  the politically charged indictment of the G. W. Bush presidency, "Shame" (4:33) (10/10), and the incredibly smooth and powerful jazzy "Your Misery" (drummer Ricard "Huxflux" Nettermalm's favorite) (5:33) (10/10). Also great are:  5. "Is That All?" (6:49) (8/10) and 8. "Not a Sound" (7:25) (8/10).

82.22 on the Fish scales = solid four stars; a nice addition to any prog lover's music collection.

MONO You Are There

(Formerly) My favorite of the MONO albums (before I heard the amazing The Last Dawn), I very much admire their overall approach to the Math Rock/Post Rock sub-genre: full of power and emotion, thick atmospheres with stellar instrumentalism. The guitar is especially powerful for its out-of-the-ordinary "soloing" feel as the pick or fingers rapidly, rhythmically pluck a single string while a single note sustains an then slides up or down the same string. Very talented. Drums entering at the high 'crescendo' parts are strong and yet do not overpower the guitars. Electric guitars in these parts are often very distorted.

Favorite songs include 1. "The Flames Beyond the Cold Mountain" (13:29) (26/30) and my favorite Mono song, 4. "Are You There?" (10:25) (18/20). The gentle and atmospheric, 2. "A Heart Has Asked for the Pleasure" (3:43) and 5. "Remains of the Day" (3:41) are also beautiful if simpler (8/10), and 3. "Yearning" (15:38) and 6. "Moonlight" (13:04) simply take a few turns that lose me (14/20).

81.66 on the Fish scales = sold four stars; You Are There is an excellent addition to any prog lovers' music collection.

THE GATHERING Home

Another great showcase of lead singer (and soon to go solo) ANNEKE VAN GIERSBERGEN but a far cry from the music that earned this band the Experimental/Post Metal categorization. One incredible song, 4. "The Waking Hour" (5:38) (10/10) and a few other pretty good ones, including:  13. "Farewell (reprise)" (7:57) (13.5/15); 2. "In Between" (4:44) (9/10); 6. "A Noise Severe" (6:06) (8/10); 10. "Box" (4:43) (8/10), and; 11. "The Quiet One" (2:16) (4/5), highlight this album. Unfortunately, however, there are several almost poor/boring songs offered here.

79.23 on the Fish scales = a four star album; nice addition to any prog lover's music collection.

THE D PROJECT The Shimmering Lights 

One of multi-instrumentalist and composer STEPHANE DESBIENS's project albums, Stephane is definitely a fan of all genres of prog rock, as evidenced in this album's highly eclectic draw. One great song: the title song (8:54), which is like three great songs in one--JFK and more--all in nine minutes. (20/20)

OCTOBER EQUUS October Equus

Very heavy, thick instrumental prog from Angel Ontalva and mates.

Line-up / Musicians:
- Angel Ontalva / guitar, co-producer
- Victor Rodriguez / keyboards
- Amanda Pazos / bass
- Txema Fernandes / drums

1. "Lupus in Fabula" (5:22) (/10)
2. "Field of Mars" (2:54) Angel Ontalva expressing his most Robert Frippian urges. 

Hammond takes the lead in the second half. (8.5/10)
3. "Bigas" (7:46) (/15)
4. "Sacrifice" (4:45) (/10)
5. "Vestals" (4:19) (/10)
6. "Head of the Winner" (7:17) (/15)
7. "End: On a Lance" (4:54) (/10)
8. "Reliqua Tempora" (3:43) (/10)
9. "Minus Nihilo" (4:49) (/10)
10. "Hydra" (3:59) (/10)

Total Time 49:48

Spain's answer to KING CRIMSON?!!

Albums from 2006 that Are, IMHO, Over-rated

PFM Stati di immaginazione

With this PFM "comeback" album the group has decided to forego vocals, yes, that's right, this is an all-instrumental album. And an excellent, melodic one, it is! Every song is great if not really very memorable. More like background music. Still, great keys, great violin, great electric guitar soli, great bass play and solid drumming. A much jazzier PFM than I knew from the 70s. Kind of a "smooth jazz."

Line-up / Musicians:
- Franco Mussida / electric, classic and acoustic guitars
- Patrick Djivas / bass, fretless bass, plastic flute
- Franz Di Cioccio / drums, percussion
With:
- Lucio Fabbri / violin, keyboards
- Gianluca Tagliavini / keyboards, Hammond organ, Moog
- Iaia De Capitani / video concept
- Marco Anelli / video editor

1. "La terra dell'acqua" (8:17) (17.5/20)
2. "Il mondo in testa" (3:58) (8.5/10)
3. "La conquista" (6:29) (8.25/10)
4. "Il sogno di Leonardo" (6:44) (8.25/10)
5. "Cyber Alpha" (4:28) (8.75/10) 
6. "Agua Azul" (3:53) (8.5/10) 
7. "Nederland 1903" (3:23) (8/10) -14.25
8. "Visioni di Archimede" (9:00) (17.75/20)

Total time: 46:14

Best songs: 1. "La terra dell'acqua (8:18) (9/10); the jazzy 3. "La conquista" (6:29) (8/10); the melodic, strings-on-display, JEAN-LUC PONTY-like 6. "Aqua azul" (3:53) (8/10); the pretty, folksy "Nederland 1903" (3:23) (9/10), and; the FOCUS CON PROBY-like, "Visioni di Archimede" (8:59) (8/10).

85.75 on the Fishscales = B/a four star achievement; a nice addition to any prog lover's music collectionl; NOT a five star masterpiece.

DELUGE GRANDER August in the Urals 

Dan Britton is ambitious and uber-talented . . . BUT his engineering/production talents are, shall we say, lacking. On all his albums (ALL OVER EVERYWHERE, BIRDS AND BUILDINGS). The vocals are abysmally recorded/effected and mixed. The brilliant instrumental performances remind me of some of MIKE OLDFIELD's work (especially the universally acclaimed Ommadawn) in that there are often moments of extreme noodling for the sake of noodling:  instrumental displays purely to show that he can, rather than for the true need or aggrandizement of the song. This is annoyingly obvious even on my favorites, including: the NEKTAR Down to Earth-like, "The Solitude of Miranda" (7:18) (8/10), the somewhat GENTLE GIANT-like, "A Squirrel" (8:44) (7/10) and the VDGG-style mega epic, "Inaugural Bash" (26:56) (8/55).

RUSSIAN CIRCLES Enter

The debut album by this American instrumental Post Rock band from Chicago.

Line-up / Musicians:

- Mike Sullivan / guitars

- Colin DeKuiper / bass

- Dave Turncrantz / drums

With:

- Rob Lowe / piano, Mellotron

1. "Carpe" (9:01) (/20)

2. Micah (8:03) (/15)

3. Death Rides a Horse (5:46) (/10)

4. Enter (7:54) (/15)

5. You Already Did (8:14) (/15)

6. New Macabre (5:18) (/10)

Total Time 44:16

Though I like this sub-genre of prog, it is one which tests me within the ratings system: I find it difficult to award straight-up instrumental Post Rock/Math Rock five stars or "masterpiece" status. The only times I've found myself doing so are when the artist and/or particular album offers something really new or different within the subgenre--e.g. the vocals of SIGUR ROS's Agaetis  Byrjun, ULVER's Shadows of the Sun,  and AUTUMN CHORUS's The Village to the Vale, or the synths and melodies of GOD IS AN ASTRONAUT's All Is Violent, All Is Bright. I've been close to offering five stars to favorites by COLLAPSE UNDER THE EMPIRE, DATURAH, RED SPAROWES, CASPIAN and GIFTS FORM ENOLA, but the 'monotony' of the genre's structures and sound base has kept me from doing so--despite the continued presence of songs and albums by these groups on my regular playlists. The same goes for my reaction to RUSSIAN CIRCLES: creative bass playing and guitar looping effects, great sound and energy, but, alas! they sound like--dare I say it--every other Post Rock/Math Rock band. Five star songs are "Carpe," "Enter," "You Already Did."