Top Albums of the Year 2002, Part 3: Other Highly Recommended Albums

Other Albums from 2002 Worth Listening to:

Below you will find a somewhat-ordered catalogue of the album releases from 2002. 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.

KENSO Fabulis Mirabilibus De Bombycosi Scriptis

More excellent heavy prog rock with a hint of jazz from these veterans from Japan.

Line-up / Musicians:

- Yoshihisa Shimizu / guitars, bouzouki, synth, ethnic instruments, producer
- Kenichi Mitsuda / piano, synth, accordion
- Kenichi Oguchi / organ, synth
- Shunji Saegusa / bass
- Masayuki Muraishi / drums, electronic drums
With:

- Keiko Kawashima / Flamenco vocals & handclaps

1. "Fist of Fury" (5:10) hard drivin' (8/10)

2. "The Cunning Madrigal" (4:20) unforgettable melody (8.5/10)

3. "Prelude to Concealment (2:23) probably looks really good on paper! (4/5)

4. "Wooden Horse Pathos" (3:57) more like 'wooden apathos.' J/k! I actually hear/feel a little emotion in this one (loose playfulness!) More like this, please! (8.5/10)

5. "The Split Gate" (6:57) a familiar Balinese Gamelan song taken and progified. Great opening third, loses its soul a bit once it goes racing into the prog jazz fusion track but then regains some dignity in the final third. A top three song for me. (13.75/15)

6. "Rebellion" (4:04) raunchy Grunge sounds brought to a bluesy-jazz fusion fabric. Great Fripp guitar. I really like the pace of this one: it allows each instrument the opportunity to be heard. Another top three song. (9/10)

7. "The Stairs for Dreaming" (2:27) weird and disjointed. (4/5) 

8. "Echoes From Romano" (5:27) beautiful classically-infused opening 90 seconds with great melodies. Turns hillbilly hoedown in an ELP way in the second minute. Thankfully returning to the melodies of the opener in the third minute before transitioning into an all-out YES ALBUM passage in the fourth minute. Great song despite its unusual motifs spliced together as they are. (9/10)

9. "The Daughter of a Recluse" (2:10) opens with a Japanese folk melody played on keyboard bamboo flute. Joined by guitar, bass, and then electric guitar--still in the first minute. With a weird keyboard passage at the beginning of the second minute, this is obviously meant as an étude. (4.25/5)

10. "A Way of Living as Taro" (2:40) echoplex-like guitar introduces a tightly formed CARAVAN-like Canterbury tune. I keep expecting Richard Sinclair to start singing! Love the steel drums! (9/10)

11. "Doppelganger in the Night" (1:14) raunchy electric guitar-led étude. (4/5)

12. "Isolated Jiro" (4:14) opens like a heavy pop song before going into a jazz-rock theme. (8/10)

13. "The Understanding" (1:01) gentle BOB JAMES-like whole group smooth jazz. (4.5/5)

14. "A Grim Diary" (5:53) rolling bass line with Bruford-like syncopated drums opens this one. Soloing electric guitar enters around 0:40. Synth takes a little trip in the fore around 1:00 before relinquishing the reins to guitar, bass and drums again. Odd synth sounds join in the third minute and then piano fills a pause before things amp back up for the final stretch of almost three minutes. Slight changes in tempos of several of the instruments though the overall pace remains constant. Pretty cool how they did that! (9/10)

15. "Amalgamation of Self and Others" (1:36) electric piano solo exposition is cut off at 0:35 by synth-generated "ocean wave" sounds. EP rejoins, trying to be heard through the electro-static fuzz.(4.25/5)

Total Time: 53:33

Impressive display of skills! What lacks in the music from much of this album--especially the first half--is some kind of soul; it all feels so much like mathematically worked out mental masturbation--circle jerking (cuz of the tight timing and frequent feeling of entrainment). I respect the artists, their skills and their hard work, but I want to feel more of their spirit in their art. Perhaps they were trying to impress too much with those opening songs. 

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

LA MASCHERA DI CERA La Maschera di Cera

A side project of Fabio Zuffanti, in my opinion, La Maschera di Cera has produced the best music Zuffanti has made. The songs are lushly created with lots of classically-influenced forms and structures using the sounds and instruments the electronic age has given us. Keyboard artist Agostino Macor is a true master of his trade, incorporating piano, Mellotron, organ, Moog, harpsicord, VCS 3, and "prepared piano" like a junior Wakeman or Banks. Vocalists Alessandro Corvaglia and Nadia Girardi do a wonderful job while not being mixed too far forward so as to dominate the music. Most of the time there is so much going on, so many layers in the songs' tapestries, that repeated listens reveal many, many nuances that are difficult to pick up upon first or cursory listens. This is good: the weaves are all beautifully orchestrated; I am never put off or overwhelmed by them. If there are weaknesses to the album they are 1) in the odd mix of individually-recorded sounds (a problem I find common with other Zuffanti projects) and 2) in the bass play: it's either cheezie pseudo-jazzy or over-the-top loud, distorted, and chunky.

Line-up / Musicians:
- Alessandro Corvaglia / lead & backing vocals
- Agostino Macor / Mellotron, piano, prepared piano, organ, Moog, harpsichord, VCS 3 synth
- Andrea Monetti / flute
- Fabio Zuffanti / bass, acoustic guitar, vocals (6,7)
- Marco Cavani / drums, timpani, percussion
With:
- Nadia Girardi / vocals (3)

1. "La maschera di Cera" (19:21) is a six-part suite introducing the band and its old-instrument symphonic approach to prog. Italian, retro/neo, but really classic RPI. At 1:30 a gentle piano and acoustic guitar section supports Alessandro's gentle, passionate vocal. At the four minute mark a chunky bass and organ-led upbeat psychedelic section ensues (kind of like a STEPPENWOLF/ BLOOD, SWEAT & Tears sound) over which synthesizer and flute trade solos. Alessandro and piano get into the mix in the seventh minute. At 7:12 we fall into a little musical 'waiting room' in which the world seems at a standstill. At 8:16 strummed guitar and organ lead us back into a forward direction. Synthesizer and piano mirror their pretty playing while Alessandro begins a new section, new theme of his story. Flutes and synth posit some nice soli in this section. Then, at the 12 minute mark, things slow and soften again before Alessandro's big voice leads us into a heavier, more dynamic section--which becomes taken over by the repetition of a plodding distorted bass riff. Then at 13:54 another STEPPENWOLF kind of section with organ and flute screaming away takes us away. The shifts toward softer, gentler melody at the end is predictable and a little anti-climactic.

     The song is good, polished and straightforward, but nothing very extraordinary. (32/40)

2. "Del mio mondo che crolla" (6:00) opens with some very ehavy, distorted bass and clear, precise drumming before flutes and keys join in. The first keyboard soli are from "older" keyboard sounds (Casiotone?). The instrumentalists each sound like they are in their own recording studio, in their own worlds. Finally at the two minute mark things gel before a pause after which Alessio and Hammond organ take over. The slight shift back at 4:40 brings the music into solo-support mode--in which several brief soli take their turns. If I have one serious complaint with this song it's with the way the drums were recorded and mixed so that they feel totally 'isolated' from the rest of the song. They feel compressed or digitized while the rest feel 70s analog. Weird. Otherwise it's a cool little song. (9/10)

3. "Del mio abisso e del vuoto" (9:41) opens with some flute being supported by some drums and cheezy bass playing. Piano and guitar join in to continue the soft jazzy flow. Once Alessandro's voice joins in it is melodic but a little too gritty-scratchy-gravelly to add beauty to this beautiful music. Nadia Girardi's layers of floating, soaring wordless vocals in the seventh minute are an awesome touch. Kind of a cross between Clare Torey's "Great Gig in the Sky" and Irene Pappas' contributions to APHRODITE'S CHILD's 666. The final two minutes have some great Mellotron, flute, bass and vocal cohesion--maybe the best on the album--before chaos and cacophony become the ending of choice. Cool song. (18/20)

4. "Del mio volo" (7:07) opens as a gentle ballad with flute playing counterpoint to Alessandro's vocal. In the second minute a synth gets a chance to solo before the second verse takes over. The Mellotron play really hits some great chords at the beginning of the fourth minute and proceeds to play nicely beneath the ensuing longer synth solo. At 4:15 all instruments save for a gently picked acoustic guitar drop out while Alessandro slowly sings an emotional passage. Then an organ-led full band passage jumps into the fore, playing out a Dylan-esque dirge to the end. Nice song. (13.5/15)

Total Time: 42:09

The music and instrumentation are actually rather simple but effective--no wasted notes or noises and plenty of great melodies and chord progressions.

85.29 on the Fish scales = B/four stars; an excellent contribution to the world of progressive rock music.

FROGG CAFÉ Frogg Café

New York City-based Zappa cover/tribute band unleashes the debut of their own music. 

Line-up / Musicians:
- Bill Ayasse / electric violin, vocals 
- Frank Camiola / guitar
- James Guarnieri / drums 
- Nick Lieto / trumpet, keyboards, vocals
- Andy Sussman / bass, acoustic guitar, cello 

1. "Deltitnu (5:48) (/10)
2. "Old Souls" (4:07) (/10)
3. "Candy Korn Part 1 (3:48) (/10) 
4. "Candy Korn Part 2 (4:13) (/10)
5. "While You Were Sleeping (7:43) (/15) 
6. "Old Man (7:38) (/15)
7. "Space Dust (5:29) (/10)
8. "Questions Without Answers (8:55) (/20)

Total Time: 48:00

TEMPANO The Agony & The Ecstacy

I first heard Témpano on the 2005 COLOSSUS/MUSEA RECORDS project, Odyssey: The Greatest Tale. They were great there. So, I went on an exploratory search for more Témpano. The stuff I found was okay. I've never been a fan of electric 'acoustic' guitars, gated drums, and the kind of keyboards they use throughout The Agony and the Ecstacy, and much of their music sounds simple upon first listening. Luckily, I did not give up there. Each successive listening has revealed more of the group's mastery of the "Less is More" principle--and also revealed more subtleties and nuances that are usually the signs of a more band made up of more mature members. This is, so far, my favorite Témpano studio album. A lot of PINK FLOYD similarities--especially the guitar work (both acoustic and electric).

Album highlights:  6. "Timeless Time" (9/10) and 14. "Imaginary Sky" (8/10).

PETER GABRIEL Up

Peter Gabriel has picked up the prog baton again as here he again synthesizes many interesting elements and guests into his music. Just look at that list of guest contributors--artists from all over the world! And the concert DVD that came from the tour after this album is incredible (as are all PG concerts.) In my opinion, this is probably the proggiest Peter has gotten on a 'solo' studio album

since his fourth eponymously titled album (known as "Security"). To drive home this point note that nine of the album's ten songs have a non-pop length of between six and eight minutes.

Album Highlights:  "Signal to Noise" (highlighting the inimitable Pakistani Qawwali singer, NUSRAT FATEH ALI KHAN) (9/10); the contagiously danceable "Growing Up" (8/10); the unusually dynamic "Darkness" (8/10); "Sky Blue" (8/1) (only for the amazing last two minutes with the Blind Boys from Alabama--though I much prefer the live version), and; "I Grieve" (8/10) (from the 1998 City of Angels soundtrack).

MOTORPSYCHO It's a Love Cult

After hearing 2001's Pheranothyme I had to check out more of this band's early stuff. 

Line-up / Musicians:
- Bent Sæther / bass, vocals, guitars, piano, harmonium, Mellotron, percussion, Viscount organ
- Hans Magnus "Snah" Ryan / guitars, vocals, Rhodes piano, ARP, SidStation, electric harmonium, Viscount organ, percussion, lap-steel
- Håkon Gebhardt / drums, vocals, banjo, percussion, zither, guitars, glockenspiel, lap-steel
With:
- Helge "Deathprod" Sten / audio virus, Echoplex, filters, theremin, percussion
- Baard Slagsvold / piano, vocals, Mellotron, clavinette, Hammond organ

1. "Überwagner or a Billion Bubbles in My Mind" (5:36) deep 60s psychedelia with great drumming. (8.5/10)

2. "Circles" (4:00) The album's highlight. Previewing the softer side of Omar Rodriguez-Lopez. (9.25/10)

3. "Neverland" (4:01) previewing the heavier version of Motorpsycho that will (re-)surface at the end of the decade. Never realized how influenced by 60s bands like The Doors and Argent these guys are. (8.5/10)

4. "This Otherness" (6:31) Sounds a bit like Neil Young/CSN&Y in their rock'n'roll/rockabilly glory. Beautiful voice in the lead. (8.5/10)

5. "Carousel" (7:16) orchestration? Why aren't they credited as they were on Pheranothyme? Sounds like this one was inspired by LED ZEPPELIN's "The Rain Song". Suffers a little from a weak vocal melody not matching up well with the acoustic guitar and orchestration. The ramped up finale is good. (12.75/15)
6. "What If..." (4:16) A little too much like a theme song to a 1960s game show--until the searing lead guitar shows up. Lots of horn embellishments. Intricately constructed but just lacks cohesion and engaging melody. (8.25/10)
7. "The Mirror and the Lie" (6:43) gentle and beautiful, this is another Motorpsycho song that reminds me of their Swedish compatriots, BROTHER APE (a group that has a real gift for producing endless earworm melodies). In the final quarter it feels as if a fantastical dream sequence is being played out. Quite magical. Another top three song for me. (13/10)

8. "Serpentine" (5:17) sounds like a happy-go-lucky pop song from the 70s--like Harry Nilsson, Andy Partridge lite, or FreddeGredde. (8.25/10)
9. "Custer's Last Stand (One More Daemon)" (4:06) trying very hard to incorporate some stereotypic "Indian" musical themes, this RADIOHEAD-like song has a lead vocal that is a little oddly paired with the music. I like the drumming--the way they're recorded--on this one. (8.5/10)
10. "Composite Head" (2:26) weird, almost-PRINCE-like start turns quickly into a variation on THE BEATLES' "Paperback Rider"--with twin Allman Brothers-like guitars. (4.25/5)

Total Time: 50:12

So many instruments, so little time! Maybe a little too scattered.

84.75 on the Fishscales = C/3.5 stars; a nice addition but totally non-essential; nice if you're a fan of the band.

SYLVAN Artificial Paradise

On this early Sylvan album the band sounds as if it can't decide if it's ready to come out of the 1980s (yes! I said 1980s!). There is a lot of kind cheap computerized sounds reminding me of some of the colors and hair of the techno bands from the 80s. Two epics, "Deep Inside" (9:14) (18/20) and "Artificial Paradise" (20:17) (35.75/40), try hard to 'do something' new and proggy--and do give hints at what great things are ahead for Sylvan fans--but ultimately are really nothing more than songs of a proto-prog group--or maybe more accurately I should say, prog-wannabees.

HIDRIA SPACEFOLK Symbiosis

Competent Space Rock in the mold of OZRIC TENTACLES.

Line-up / Musicians:
- Sami Wirkkala / electric, acoustic & Midi guitars, mandolin, sitar, jawharp, synthesizer
- Mikko Happo / electric guitar, digeridoo, accordion
- Janne Lounatvuori / synthesizers, electric & acoustic piano, organ
- Kimmo Dammert / bass
- Teemu Kilponen / drums, percussion, voice
With:
- Teemu Väisänen / flute
- Olli Kari / marimba, vibraphone, percussion
- Tuure Paalanen / cello
- Mikko Rajala / violin
- Sabrina / voice 

1. Terra Hidria (7:03)
2. Reversion (1:39)
3. Kaneh Bosm (5:13)
4. Kaikados (6:18)
5. Nasha Universo (5:15)
6. Jahwarp (5:48)
7. Agents Entropos (3:13)
8. I-Mantra (5:14)
9. Pangaia (11:42) (17.5/20)

Total Time: 51:25

Albums from 2002 that Are, IMHO, Over-rated

PORCUPINE TREE In Absentia

What does it mean when PT gets heavier as it ages? The former master of PINK FLOYD imitation and prog revivalist has now decided to try to carve his own sound. With drummer extraordinaire Gavin Harrison, and seasoned keyboard master, Richard Barbieri, he has a great foundation to build upon. While I appreciate Steven's efforts and creative drive, most of the songs and dynamics on this album do more to bore or alienate me. I find myself only going back to three songs: "Trains" (10/10), "Blackest Eyes" (10/10), and ".3" (9/10). 'nuff said.

DREDG El Cielo

Excuse me?! Is this Prog? I mean, where exactly is the progginess in this that causes progressive rock reviewers to rate this so highly? Nice pop-that-will-never-make-it-to-the-pop-charts, but, prog or progressive? Yes, there are a diversity of sounds and styles. There is a nice singer, nice atmospherics and ambiences, good, solid rhythm section, some very catchy melodies and chord progressions and lots of sound subtleties (very important to me), and the interludes are often quite nice, BUT, besides "Triangle," perhaps "Whoa Is Me," and the instant Post Rock classic, "The Canyon Behind Her," this is really an alternative/art rock, albeit a concept, album. Put this next to Genesis' The Lamb Lies Down on Broadway, Marillion's Brave, and Sylvan's Posthumous Silence and it does compare rather favorably in terms of emotional impact; it just doesn't hold a candle in terms of musicianship. Plus, the voice of Gavin Hayes, as good as it is, does get a bit monotonous.
  
***** 5 star songs: "The Canyon Behind Her" **** 4 star songs: "Same Ol' Road," "Sanzen," "Triangle," "Scissor Lock," "Of the Room," "It Only Took a Day," and "Whoa Is Me." *** 3 star songs: "Sorry But It's Over," "Convalescent," "Eighteen People Live in Harmony," and "Of the Room."

3.5 stars marked down for questionable progginess.

SPOCK'S BEARD Snow

Line-up / Musicians:

- Neal Morse / lead vocals, piano, synths, acoustic guitar, producer

- Alan Morse / electric guitars, cello, backing vocals

- Ryo Okumoto / Hammond, Mellotron, Mini-Moog & Jupiter 8 synths, vocoder

- Dave Meros / bass, French horn, backing vocals

- Nick D'Virgilio / drums, percussion, lead (16,17) & backing vocals

With:

- Chris Carmichael / violin, viola, cello

- Jim Hoke / sax, clarinet, autoharp

- Neil Rosengarden / flugelhorn, trumpet

- Molly Pasutti / backing vocals (8)

CD 1 (56:23):

1. Made Alive / Overture (5:32) 

2. Stranger In A Strange Land (4:29) 

3. Long Time Suffering (6:03) 

4. Welcome To NYC (3:32) 

5. Love Beyond Words (3:24) 

6. The 39th Street Blues (I'm Sick) (4:05) 7. Devil's Got My Throat (7:17) 

8. Open Wide The Flood Gates (6:14) 

9. Open The Gates Part 2 (3:02) 

10. Solitary Soul (7:33) 

11. Wind At My Back (5:12) 

CD 2 (58:09) :

12. Second Overture (3:47) 

13. 2. 4th Of July (3:11) 

14. 3. I'm The Guy (4:48) 

15. 4. Reflection (2:49) 

16. 5. Carie (3:06) 

17. 6. Looking For Answers (5:17) 

18. 7. Freak Boy (2:12) 

19. 8. All Is Vanity (4:35) 

20. 9. I'm Dying (5:09) 

21. Freak Boy Part 2 (3:01) 

22. Devil's Got My Throat Revisited (1:55) 

23. Snow's Night Out (2:04) 

24. Ladies And Gentleman, Mr. Ryo Okumoto On The Keyboards (2:40) 

25. I Will Go (5:08) 

26. Made Alive / Wind At My Back (8:27) 

Total time 114:32

Look at that length! Of NeoProg! 

'nuff said.

ECHOLYN Mei

Line-up / Musicians:
- Raymond Weston / lead & backing vocals, bass
- Brett Kull / guitars, lead & backing vocals
- Christopher Buzby / keyboards, backing vocals, orchestral score
- Paul Ramsey / drums & percussion
With:
- Janosh Armer / violin
- Emily Botel-Barnard / violin
- Jonathan Atkins / cello
- Sarah Green / flute
- Jian Shen / clarinet
- Eric Huber / vibraphone, marimba, timpani, tambourine
- Jordan Perlson / percussion

1. Mei (49:33) :
- i. Hope (3:58)
- ii. Absence (4:22)
- iii. Interlude: Abandoned (0:21)
- iv. Open Road (3:14)
- v. All That's Golden (4:05)
- vi. Whispers (6:59)
- vii. Pride, Part I (2:08)
- viii. Pride, Part II (2:54)
- ix. Infernal Scratch (6:18)
- x. Hope Renewed (2:50)
- xi. Shadows (4:49)
- xii. Love Remains (1:33)
- xiii. Recovery Overture (3:52)
- xiv. Bound for Home (2:11)

Total Time 49:33

The final product of this prog epic does not, unfortunately, have the best sound engineering. Though there are parts that have some of that Echolyn charm and melody mastery, there are many more parts that feel awkward and/or unpolished--especially in light of the poor sound engineering.

PARALLEL OR 90 DEGREES More Exotic Ways To Die

Line-up / Musicians:

- Andy Tillson / vocals, organ, synthesizer
- Dan Watts / guitar, synth, sounds
- Sam Baine / piano, synthesizer
- Ken Senoir / bass 
- Alex King / drums

1. Impaled on Railing (4:44) (/10)
2. A Man of Thin Air (5:06) (/10)
3. Embalmed in Acid (5:42) (/10)
4. The Heavy Metal Guillotine Approach (5:27) (/10)
5. Drum One (3:14) (/10)
6. The One That Sounds Like Tangerine Dream (1:31) (/5)
7. A Body In Free Drift (8:29) (/20)
8. The Dream (2:38) (/5)
9. Petroleum Addicts (11:02) (17.25/20) 

Total Time: 47:55

ULVER Lyckantropen Themes

A movie soundtrack by Norway's most chameleonic, most experimental prog rockers.

Line-up / Musicians:
- Kristoffer Rygg / ?
- Tore Ylwizaker / ?
- Jørn H. Sværen / ?

1. Theme 1 (1:21)
2. Theme 2 (1:37)
3. Theme 3 (7:13)
4. Theme 4 (2:14)
5. Theme 5 (4:48)
6. Theme 6 (2:41)
7. Theme 7 (2:38)
8. Theme 8 (4:17)
9. Theme 9 (5:50)
10. Theme 10 (3:44)

Total Time 36:23

Not my favorite stuff.