My Favorite Albums of 2004
(In some semblance of order)
***Author's note: Below you will find two different rankings for this year's albums. The first is merely a list consisting of a Top Ten with a following list of "Honorable Mentions." These are my favorite albums of the year, that is, the albums to which I have formed the greatest emotional attachments. The ensuing Reviews are ordered according to my personal, more objective judgment as to their quality, that is, the "best" albums of the year. Here I have tried to order the albums reviewed according to my personal determination as to what are the "best" albums of the year from a more critical, qualitative viewpoint, that is, without as much emotional attachment as "My Favorite" albums.
2004 produced some wonderful new music from artists practicing quite a wide variety of styles. A fair year in terms of quantity and quality, I have on my list one (1) masterpiece, five (5) "minor" masterpieces and eight (8) "near-masterpieces" of progressive rock music.
The Rankings
(My Favorites)
(My Favorites)
1. BARK PSYCHOSIS Code Name: DustSucker
13. MY EDUCATION 5 Popes
14. SLEEPYTIME GORILLA MUSEM Of Natural History
15. INDUKTI S.U.S.A.R.
2. MAGENTA Seven
3. AMAROK Quentadharken
4. MAGMA K.A.
5. KARDA ESTRA Voivode Dracula
6. PAATOS Killocain
7. STEREOLAB Margerine Eclipse
8. DUNGEN Ta Det Lugnt
6. PAATOS Killocain
7. STEREOLAB Margerine Eclipse
8. DUNGEN Ta Det Lugnt
9. THY CATAFALQUE Tűnő Idő Tárlat
10. DAVE BAINBRIDGE Veil of Gossamer
11. ANGRA Temple of Shadows
12. THORK Weila13. MY EDUCATION 5 Popes
14. SLEEPYTIME GORILLA MUSEM Of Natural History
15. INDUKTI S.U.S.A.R.
16. WHITE WILLOW Storm Season
17. ASTURIAS Acoustic Asturias: Bird Eyes View
18. ORPHANED LAND Mabool--The Story of the Three Sons of Seven7
18. ORPHANED LAND Mabool--The Story of the Three Sons of Seven7
19. GUAPO Five Suns
20. KNIGHT AREA The Sun Also Rises
Honorable Mentions:
IQ Dark Matter
BIG BIG TRAIN Gathering Speed
MATTHEW PARMENTER Astray
MARILLION Marbles
AYREON The Human Equation
AYREON The Human Equation
UNIVERS ZERO Implosion
The Reviews
5 star Masterpieces
(Ratings of 100 to 93.34)
***** Album of the Year for 2004! *****
1. MAGMA K.A.
A very polished, mature MAGMA, with some new sounds (vocally), some great sound recording, some missing sounds (horns), and one of the best Zeuhl 'songs' I've yet heard (I'm still very new to this sub-genre, but I LOVE ZEUHL!! I think this is the music I've been missing--that I've been waiting for--since 1989 [when I gave up on rock/pop/prog music].): part three, "K.A. III" (21:45) (45/45)--and part two, "K.A. II" is right up there, too.
Line-up / Musicians:
- Christian Vander / vocals, drums, percussion
- Stella Vander / vocals, percussion
- Isabelle Feuillebois / vocals
- Himiko Paganotti / vocals
- Antoine Paganotti / vocals
- James Mac Gaw / guitar
- Emmanuel Borghi / piano, Fender Rhodes
- Frédéric d'Oelsnitz / Fender Rhodes
- Philippe Bussonnet / bass
1. "K.A. I" (11:12) (17.5/20)
2. "K.A. II" (15:53) (27/30)
3. "K.A. III" (21:43) (45/45)
Total Time 48:49
While I am rating this 5 stars--for it is a masterpiece of progressive rock music--I do not hold it as dear as MDK or even Wurdah Ïtah; there is something magical about the energy and spirit of those 1970s records--perhaps it is youthful idealism (Did Christian Vander believe he could create a personally- and even socially-transformative mythology back then? Does he still?) Still, I admire he and his crew of Kobaians who have stood steadfastly within this music and its message over the past 40 years.
Zeuhl presented in its most polished, perfected, mature form. Highly recommended.
94.21 on the Fish scales = five stars; a masterpiece of progressive rock music.
The "Minor" Masterpieces
(Ratings of 93.33 to 90.0)
2. THORK We ila
Nil's Maurin brothers' side project (or was Nil their side project?) come together with a large ensemble of collaborators to create some of the most difficult to describe music in the entire prog lexicon with this, their second album.
- Sébastien Penel / vocals
- David Maurin / guitar, flute
- Sébastien Fillion / synths, piano, Fender Rhodes, programming
- Claire Northey / violin
- Samuel Maurin / bass, Chapman Stick
- Michel Lebeau / drums
With:
- Roselyne Berthet / vocals
- Antoine Auresche / acoustic guitar
- Sébastien Lacroix / sitar, dilruba
- Ian-Elfinn Rosiu / cello
- Renaud Burdin / dununs, djembé, güiro, bells
- Stéphane Lagarde / tablas
1. "L'origine" (11:40) sounding very much like a NIL song, this one opens up heavily before settling into a calm weave over which Sébastien Penel sings. The folk-ish instruments are interspersed within the heavy, almost metal musical soundscape--which only ramps up with a chorus. So many instruments! And only the cymbals and repetitive bass line to keep everything moving at a regulated pace. Big pause at 4:50 in which Sébastien moves into an operatic tenor for a powerful, theatric declaration. Lead guitar and cello bring us out of the stark stagecraft, helping to initiate a return to progginess--though it's still quite theatric in a kind of 1980s hair band (or NINE STONES CLOSE) kind of way. At 7:45 fast piano arpeggi rise out from the background to usher in a more tense passage of MYSTERY-like music. Switch to cello and jazzy support at 9:30 as Séb continues his Marc Atkinson-like performance. Excellent song--full of proggy unpredictability. (18.5/20)
2. "Délectable ennui" (9:07) again, the bass, guitar, mood, and rhythms of this sons feel quite like those of NIL sauf the at-times-dominating presence of Sébastien Fillion's keyboards and many incidental instruments representing many cultures of the World Music scene. Great guitar solo in the speeded up eighth minute which is then followed by a slowed down section in which droning cello is overwhelmed by kicking and screaming violin. (17.75/20)
3. "Errance" (1:07) like a little operatic interlude with Sébastien Penel singing in a That Joe Payne kind of way over some dissonant electric guitar picking. (4.25/5)
4. "Ea" (21:18) a very dark, plodding song with lots of avant garde and classical leanings. Seebastien Penel's theatric performance is quite dominating and diabolical. The music is quite intricate, spacious, and, again, avant classical in its derivations but turns toward a more funky Zeuhlish jazz-rock in the seventh minute as choral vocals pepper the background over the angular music. In the ninth minute Samuel's ChapmanStick and Michel Lebeau's bass drum mirror each other with a syncopated staccato pattern over which synths and Sébastien (and a little vocalise of Roselyne Berthet) Penel populate. The screaming guitar soloing in the 13th and 14th minutes are quite Fripp-like but then are then followed by some gorgeously pacifying violin play. This beautiful passage is then ended in the 17th minute with a propulsion into some high octane playing which is then culminated with Sébastien's reaching voice and every body playing very loudly. This then slowly decays into a beautiful almost waltz-like spacious strings-dominated section until we are left with a simple weave of bass notes and guitar arpeggi. What a ride! I'll have to listen to this another half dozen times in order to make sense of it all. (36/40)
5. "Errances" (1:04) another interlude of dissonant notes and chords, this time coming from effected electric guitar and synth strings and synth voices. (4.25/5)
6. "Danse de la terre" (10:48) deep bass thrum with synth percussion and synth cello with Aftrican hand instruments rising from beneath. Beautiful violin play within the African mood music gives this a kind of Cirque du Soleil kind of feel--until the two-minute mark when tuned percussion arpeggi pave the way for more NIL-like music with rockin' lead guitar playing over the top. Nice music. Nice soloing with some Steve Hackett-like moments. At the end of the fourth minute we shift into a faster gear while Sébastien Fillion displays his synth soloing skills. But the we are quickly broght back to a slow crawl while slow guitar arpeggi, mulitple vocalise tracks from Roselyne Berthet and rolling bass and swing drums carry us into a forest of faery magic. in the eighth minute we are brought to a complete standstill as an ominous synth chord conjures up the feeling of the presence of some mysterious shadow beast. We turn to run away with a furious display of jazz-rock fusion which somehow turns into Genesis instrumentalism at its finest. Wow! Another incredible journey! (19/20)
7. "Immanence" (11:26) opens with Asiatic stringed instrument and hand shakers before talking drum and sitar take over. All of the aforementioned World instruments congeal with a tabla as fretless bass and flute join in. Tribal chant voices seem to come out of some stringed instrument for a bit before the drums rhythm switches while cello and Tony Levin-like ChapmanStick display take the front. Impressive! In the fifth minute, strings synth and other keyboard sounds enter and take over, making the song turn a corner into an exposition of full on Arabian prog rock. Then, in the sixth minute, a lone Magma-like Fender Rhodes takes over while Sébastien Penel's effected voice sings plaintively over the top. Séb's plea made, we drop into a dreamy keyboard electronica soundscape in which Fender Rhodes and flute gently massage our ears and minds. At the end of the tenth minute we revert into an African-like tribal motif with tribal choral vocals before the fretless and Fender let Séb take us back into his pleading keening world. Hauntingly distorted solo electric guitar is echoed in a cave-like vacuum before drums and band rejoin to take us into the wild finale. Such is the unpredicatbility of life in the "Third World." So powerful! (19.5/20)
Total Time 66:30
Total Time 66:30
Because of my previous exposure to the more atmospheric (and, at times, pretty) follow up to this album--2006's The music of We ila is far heavier, far darker and more avant garde than I was expecting.
91.73 on the Fishscales = A-/five stars; a minor masterpiece of eclectic dark avant progressive rock music.
12/11/22: With this new posting of an older album that I've finally completed a review for we have a new Album of the Year!
3. THY CATAFALQUE Tűnő Idő Tárlat
Line-up / Musicians:
- Tamás Kátai / vocals, keyboards, bass, guitar, programming
- János Juhász / guitar, bass
With:
- Anita Bíró / violin
- Nikoletta Gerzanits / backing vocals
1. "Csillagkohó" (9:14) the first 6:45 of this is just too one-dimensional for my tastes--plus, it's all very straightforward aggression and black metal. Then there is a brief break, which turns out to be only a little respite before the brutal barrage recommences. Vocal samples thrown into breaks over the final two minutes makes me think we're in an urban war zone listening to the vocalizations of soldiers on the offensive.(17.75/20)
2. "Neath Waters (Minden Vízbe Mártott Test)" (18:43) using the same drum program of the previous song (and same two-chord progression) there is a much more trip hoppy, BEN WATT's Lazy Dog period of deejaying. Female drone vocals sounding a bit like Siousxie and Pat Benatar accompany the music for frenetic Pi soundtrack-like first seven minutes. Then the music stops and is replaced by space synth wave washes as electric piano and, later, violin perform some very classical-sounding music. Two minutes later tribal drums are reintroduced with mounting orchestral instrumental panoply (all computer generated, of course) building to quite a crescendo--taking us on quite the cinematic Anthony Phillips/Hans Zimmer Pirates of the Caribbean ride--until, that is, the 12:45 mark when an electronic bomb explosion wipes out the previous sound palette, allowing the presentation and slow-build of an electronic space that sounds like something by electronic geniuses Tomita, Jean-Michel Jarre, or Klaus Schulze. The weave builds on several levels, which is very cool. This masterful section plays out to the end. Too bad so many of the computer-generated sounds are so dated. (But then, perhaps even today, in 2023, the artist composing these would never change a thing.) My first top three song--a true epic adventure. (37/40)
3. "Bolygó, Bolyongó" (9:47) more fast-paced fully-computer-generated rhythm and melody tracks propel this one along the path of a high-speed French TEE. At the end of the fourth minute a couple ticking clocks appear, sometimes varying the speed of their timekeeping, as the music fades away and voices, some pedestrian, one female monastic/operatic, enter, the music then takes a new, hard-driving trajectory--one that Italian band DAAL seems to have replicated well. At 7:45 Tamás' heavily-effected growl voices enter in the background, fitting in quite perfectly. With the clock ticking like that, somebody's in a hurry to either get somewhere or to get something done. A top three song. (18.75/20)
4. "Kék Ég Karaván" (5:00) sounding like part DEAD CAN DANCE, part MINIMUM VITAL, this is an earworm of a groove, becoming quite danceable while including some nice violin and electric guitar playing in the second half. Another top three song. (9.25/10)
5. "Hája-nász Az Avaron" (5:50) a nice, raunchy FEN- or ALCEST-like three-chord is made even more like the two bands mentioned (neither of which had yet appeared on the music scene at the time of the release of Tűnő Idő Tárlat) by the calm, straight-forward growl vocals. The song, however, does little in the way of change or development despite its engaging sound. (8.75/10)
6. "Zápor" (4:34) THE CURE or DEAD CAN DANCE come to mind with the electro-pop music put forth on this one--from the opening notes through the cheesy drum programming and 1990s cheap keyboard sounds. Despite her being listed as only the "backing vocals," the lead vocals are provided by Nikoletta Gerzanits. The song is pleasant enough--and memorable for its "dated" sound and brief appearances by some quirky instruments in solo capacities. (8.75/10)
7. "Az Ősanya Szól Ivadékaihoz/A Medveős" (9:32) droning hum is eventually joined by muted industrial bass drum, a tribal pattern of tom-tom drums, and other odd percussive, synth, and treated-guitar melodic riffs, all packaged into an ever thickening wall of sound that chugs along at the speed of the Orient Express as Tamás takes turns singing in a monotone and growling in a toneless, ghost-like sound. The music is very dance-oriented--like something from Ibiza or other dj mix-master rave parties. I quite like it! In the sixth minute, there are a couple of stops and changes in direction (or changes in drivers) in the music--especially as the violin introduces a traditional Hungarian folk melody that continues to play along with the chugging rhythm section, even through Tamás' growl vocals. In the eighth minute, there is another stop and shift in instrumental palette as the Hungarian folk (and classical) melodies pour forth from the synths, violin, and heavily-treated guitars--all the while being propelled along by the insistent and very fast tribal drums. (A runaway train?!) (17.875/20)
8. "Varjak Fekszenek" (6:18) eerie horror movie sound palette presents and fills the sonic field until Tamás' treated whisper enters at 1:06. A second voice (also Tamás' in a whisper) joins in, making this a conversation, as gentle electric guitar arpeggio accompanies them. The pitch of the eerie baseline synth chord steps up a couple times unexpectedly but the, when Tamás' auto-conversation stops, treated piano, synth, and electric guitar begin a slow interplay of calming chords, some arpeggiated, some strummed; some intermittent, some repetitive and constant. The voice of a small boy (and later, adults, and other family members) begins speaking as if we are observing them through an apartment window while the music continues to feed the dream-like mood. Excellent! An alternate for a top three song. (9.25/10)
Total Time 68:58
90.98 on the Fishscales = A-/five stars; a minor masterpiece of wonderfully creative Experimental Post Metal.
4. ANGRA Temple of Shadows
The awkward transition from the André Matos era is over; Brazil's power metal masters are trying on a new mantle--one that really fits them well: with their usual impressive display of compositional eclecticism and skill they have made a stab a the "prog theater" realm--an operatic concept album that explores multiple musical styles within a stage theater-like format all the while retaining their metal foundations--and it works! It's good! And this doesn't even give credit for the incredibly high level of musicianship exhibited by all of the band members!
Line-up / Musicians:
- Eduardo Falaschi / vocals, acoustic guitar (5)
- Rafael Bittencourt / guitar, backing vocals & vocal arrangements, string arranger & conductor (6,8)
- Kiko Loureiro / guitar, mandolin, piano & percussion (9), arrangements
- Felipe / bass, backing vocals (2,9)
- Aquiles Priester / drums, percussion
With:
- Michael Rodenberg / keyboards
- Sílvia Goes / piano (10)
- Yaniel Matos / cello
- Douglas Las Casas / percussion
- Sabine Edelsbacher / vocals (2,8)
- Kai Hansen / vocals (6)
- Hansi Kürsch / vocals (9)
- Milton Nascimento / vocals (12)
- Dennis Ward / backing vocals (3,4,9), producer & mixing
- Tito Falaschi / backing vocals (2,9)
- Zeca Loureiro / backing vocals (2,9)
- Rita Maria / backing vocals (2,9)
1. "Deus Le Volt!" (0:52) nice cinematic intro to …
2. "Spread Your Fire" (4:25) rapid fire metal with lead guitar shredding that makes way for gruff Survivor-like aggressive lead vocal with antiphonal choral background vocals. Interesting. Keyboard work makes it seem as if there is an orchestra involved as well. Operatic female vocal helping out in the third minute before Hammy-speed instrumental passage ensues. Great musicianship. While I appreciate the compositional skill and technical and support prowess necessary to pull this off, I'm not sure I like the music. (8.667/10)
3. "Angels And Demons" (4:11) take a simple Thin Lizzy song and speed up all instrumental tracks by five and you'll get a song like this. Eduardo Falaschi's voice is sounding a little old (or strained). Technically quite impressive. (8.667/10)
4. "Waiting Silence" (4:55) excellent 1980s heavy metal brought into the 21st Century. Again, Eduardo's voice is sounding like he's really pressing to get his tone and volume. Nice 1980s chords and melodies. Impressive solos. (8.75/10)
5. "Wishing Well" (4:00) acoustic guitars, synth and Tommy Shaw-like vocal give this opening a very STYX like feel. Even when it hits full stride it has a classic rock feel. (8.75/10)
6. "The Temple Of Hate" (5:13) back to the Thin Lizzy school of hyperdrive. Don't like the 1980s drum sound. How those musicians retain control and synchrony when spewing out notes that fast I'll never know. (8.75/10)
7. "The Shadow Hunter" (8:04) after a very impressive acoustic guitar intro this fully Latin song turns Probably the most impressive construct on the album for its dynamics and stylistic range. That pervasive Latin flare has a lot to do with its magic--that and the more humane drumming and percussion. There are even some Yes-like moments (the multi-voice fifth minute). Great sense of melody from the guitarist--even during his solos. My second favorite song on the album. (13.5/15)
8. "No Pain For The Dead" (5:05) more awesome acoustic guitar--this time doubled up with two instruments. Eduardo tries a very gentle, stage-like ballad vocal approach until the heavy metal chords and walls of sound enter and push him into his usual gristful-belting manner. Once the music settles down, it returns to a very Broadway/theatric style--and so does Eduardo's voice style. Great cello and masterful synth strings passage preps us for the entrance of the gorgeous voice of Sabine Edelsbacher in a performance that yet again affirms the band's Broadway/theatric approach. Another top three song for me. (9/10)
9. "Winds Of Destination" (6:56) cello introduces the pace and galloping theme that follows. Impressive Metallica-like jaunt precedes and supports guest Hansi Kürsch and Eduardo's vocal duet. In the second minute, after the first verse, the music devolves into a piano-based classical section. Again, the theatricity of the live stage comes to mind here. Nice vocal here. At 3:48 we shift again onto the autostrada--this one not quite as wild and unbound as previous songs, more like a healthy drive in your convertable sports car through the Italian countryside. After some more impressive guitar shredding the music shifts into a higher gear at 5:58 in order to build toward a finish of choral vocal crescendo. (13.25/15)
10. "Sprouts Of Time" (5:09) weird, out of place song, that seems to, once again, seem to come from some kind of theatrical production--you know: how a character in the play steps to the side to sing a solo aside while the band's music takes on a whole different style not heard anywhere else in the play. It's a great song even if it does sound and feel as if we're getting to the end--or at least the dénouement of one of the characters or themes in the plot. (9/10)
11. "Morning Star" (7:39) yet another style explore! This is truly impressive! The band seem capable--even masterful--at taking on any and all musical styles. This one is a more pedestrian, laid back style --a musical style that I really like--at least that is until 2:28 when the metal power chords join in--once again transforming Eduardo into a metal singer, not just a professional stage theater performer. Nice interlude in the fourth minute to remind us of the song's pedestrian roots, but then we are transported again into a Thin Lizzy world of dizzying metal skill and instrumental prowess. Again, I am so impressed with the attention to melody within the composition and performance of these parts. If every part of every metal song could sound like this I'd be a fan. The awesome key change at 6:20 is marred a bit by Eduardo's thinning voice in those high notes. My favorite long song on the album. (14/15)
12. "Late Redemption" (4:55) gorgeous classical guitar with "strings" and the voice of Brazilian music legend Milton Nascimento leading the ghost-like background voices and first chorus. Edu's vocal performance exudes his respect for both this style of music as well as his singing cohort. Interesting rhythm percussion at the end of the second minute before the song breaks out into a heavy theme for a different chorus. From here out it's metal music at its most orchestral. Excellent! What an ingenious song construct! Mega kudos to the band for its conception and execution! My favorite piece of prog theater on the album. (10/10)
13. "Gate XIII" (5:04) an orchestral piece that sounds like an overture to a quest-themed musical or even an opera. Quite lovely. My guess is that composer and arranger Rafael Bittencourt has classical theatre dreams or leanings. (10/10)
Total Time: 66:28
Very impressive speed and technical skills on display throughout this album--even in Eduardo's "old" sounding theatric voice. But this is not always the type of music that my spirit desires. I do, however, love the concept of religious doubt and answer seeking explored in the story--especially in that it is set in the early Inquisition era.
90.87 on the Fishscales = A-/five stars; a minor masterpiece of theatric symphonic metal; a well-produced album of impressive musicianship. This is probably a masterpiece in the world of metal worship. It is also exactly the kind of album I would put forward as an example to all aspiring progressive rock musicians for what is possible: an example of the heights of planning, composition, arrangement, execution, and production that music is capable of--and not just prog metal or metal but all progressive rock music. Truly a wonderful body of songs.
5. BARK PSYCHOSIS Code Name: DustSucker
Out of nowhere comes an album and group I've never heard of producing amazing music! I'm hearing Stereolab, Ben Watt, David Sylvian, Lunatic Soul, Ulver, Massive Attack, No-Man, Tortoise, XTC, Bill Evans, Koop, The Jazzmasters, Robert Fripp, Ryuichi Sakamoto, The Beta Band, Adam Plack, Alain Eskinazi all mixed into one in a way in which the sum of all these parts is breathtaking! If this is Post/Math Rock, then this is my new favorite album from the sub-genre. And such diverse sounding songs! Though all the offerings could almost be considered low-key lounge music, there are so many subtle, interesting, brave, and virtuosic things going on within each song as to be totally engaging--no: engulfing! And it's so beautiful! And just listen to the wonderful drum work! And the power of the growly (à la Ulver's "Garm" and David Sylvian) male and breathy female vocals. All five star songs but two. Another modern masterpiece.
1. "Lazarus" (6:31) is a drummer's/drum fan's wet dream. I love when drums are recorded/treated with special effects (flange, wah, volume, chorus, pan, reverb, chorus, echo--NOT gated). This is just an amazing, enervating, and beautiful drum showcase. (10/10)
2. "Reserve Shot - Gunman" (5:46) is actually from 1994's EP Street Scene but somehow finds itself on my copy of Codename: Dust Sucker. Kind of a continuation of the drum-as-lead showcase of "Lazarus" yet very different. (9/10)
3. "Miss Abuse" (6:18) is pure DAVID SYLVIAN from start to finish. As a matter of fact, were I hto have heard this song alone, without the Bark Psychosis name and reference, I would have assumed it was an obscure Sylvian song that I had never heard. The second half, when the synth melody starts to fly, and the background synths carry you away in another direction, is my favorite. I love all the incidental samples in the last minute. (9.5/10)
4. "400 Winters" (5:47) is the most blatantly poppy but also my favorite song on the album--one that leaves me singing, humming, haunted by the b-vox for hours after. A song that displays the amazing diversity of song-writing and performance abilities of leader Graham Sutton. Amazing lead and background vocals (Anja Buechele) and love, love, love the combo of acoustic guitars, JANSEN-like drum rhythm, and vibes! Great song! (10/10)
5. "Dr. Inocuous/Retarded" (1:04) really a piano intro/flow through to the next song. (4.5/5)
6. "Burning the City" (6:12) Miss Buechele's presence is again hypnotic and appreciated, but, alas! only counting numbers in the beginning. The male Sylvian-like vocal sings a fascinating song about a girl obsessed with flying (suicide?). (8/10)
7. "Inqb8tr" (7:10) is another STEVE JANSEN/DAVID SYLVIAN-like piece, this time right down to the whisper/sung male vocals. (But also incredibly similar to Mariuz Duda's LUNATIC SOUL sound.) What an dreamy mood-setter. (13/15)
8. "Shapeshifting" (6:02) again has that kind of DAVID SYLVIAN/MONO/DIDO feel with the amazingly sultry vocals of Rachel Dryer, the Fripp-like wild cacophonic guitar solo, and the very odd Prophet 5-like sound/effects throughout. (9/10)
9. "Rose" (5:50) begins with a solo oriental (perhaps Chinese or Japanese) stringed instrument playing. After over a minute it is replaced by synth wash, electric piano, and incidental samples (including a woman repeating a single German-sounding word intermittently throughout the song.) (8/10)
(Not on the version of Codename: Dustsucker that I own, but amazing as well, coming in in the #1 and #2 slots in the place of "Lazarus" and "Reserve Shot Gunman" are "From What I Said to When It's Read" [5:28] [10/10] and "Black Meat" [6:57] [9/10]. The former has a kind of 70s soul vibe mixed with a spacey DAVID SYLVIAN, CSN&Y, COCTEAU TWINS feel going on while the latter, with its presence of a jazzy trumpet throughout, is more pop-jazzy, though still with a COCTEAU TWINS-like feel and sound to it.)
90.0 on the Fish scales = A-/five stars. Either version that you end up getting is without question a five star masterpiece, beyond belief. Highly recommended as essential for any prog rock lover's music collection!
6. DAVE BAINBRIDGE Veil of Gossamer
An album of virtuosic composition, performances and production--Dave Bainbridge knows how to write, collaborate, play guitar (and many other instruments as well!), edit, engineer, produce, and Plus he's a GREAT interview--so humble about his music and so enthusiastic and thankful for the contributions of all of his collaborators! With this album I think he may have surpassed the achievements of his parent group, IONA. Such gorgeous textures and layers--and interesting and unexpected contributions--like layering the voices of three prima voce females; singers singing in Gaelic and Urdu; using acoustic and electric instruments to perfection; conveying a story (of the lives and contributions to faith and history of Sts. Aidan [of Lindisfarne] and Cuthbert) through the ebb and flow of this album. Breathtaking! Without a doubt, an absolute masterpiece of progressive rock. If you never listen to an Iona album (which would be a sad, sad thing--you'd be missing some of humankind's most beautiful contributions to aural upliftment), please, please, listen to this one. You won't regret it.
Line-up / Musicians:
- Dave Bainbridge / acoustic & electric guitars, piano, keyboards, bouzouki, mandolin, autoharp, 15-string harp, balafon, bongos, hand drum, Indian tambourine, shaker, finger cymbals, sound treatments, arranger & producer
With:
- Joanne Hogg / vocals
- Rachel Jones / vocals
- Mae McKenna / lead vocals (5,9)
- Chris Hale / vocals (9)
- Troy Donockley / Uillean pipes, low & tin whistles, voice
- Dave Bristow / piano, keyboards,guitar, bouzouki & bells (7)
- William Scofield / cello (1,3,5,9)
- Peter Whitfield Strings / violins & violas (3)
- Nick Beggs / bass (1,5), fretless bass (7), Fx (1)
- Tim Harries / bass (2,5,8,9)
- Frank van Essen / drums, rainstick, shaker, bells, chimes, celesta, tambourine, violin, bodhrán, bell tree, triangle
- Pete Fairclough / gongs, cymbals, chimes
1. Chanting Waves (2:17)
2. Over The Waters (7:29)
3. Veil Of Gossamer (4:56)
4. The Seen And The Unseen (2:17)
5. The Everlasting Hills (19:47) (37.5/40)
- a. Part 1 (5:37) (9/10)
- b. Part 2 (2:34) (9/10)
- c. Part 3 (3:55) (10/10)
- d. Part 4 (2:54) (10/10)
- e. Part 5 (4:47) (9.5/10)
6. Seahouses (3:06)
7. Until The Tide Turns (4:30)
8. The Homeward Race (5:26)
9. Star-Filled Skies (14:49) (27/30)
- a. Part 1 (3:40) (10/10)
- b. Part 2 (2:40) (4.5/5)
- c. Part 3 (3:47) (8.5/10)
- d. Part 4 (4:42) (9/10)
Total Time: 64:27
Favorite Selections: The the four part "Star-filled Skies" suite (32/35), the amazingly diverse five-part suite, "Everlasting Hills" (37.5/40), "Chanting Waves" (2:27) (10/10), up-tempo prog rocker, "The Homeward Race" (9/10), and the Celtic Windham Hill-like jazzy title song, "Veil of Gossamer" (4:56)
90.0 on the Fish scales = B+/4.5 stars; a near-masterpiece; unsurpassed blends of styles and techniques, sounds and effects, acoustic and electric only lacking a bit on the side of listener engagement.
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