Top Albums of the Year 2005, Part 1: The Masterpieces

My Favorite Albums of 2005

(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.  

2005 represents quite a good year of refreshing new music from a very wide variety of styles. My Favorites List has albums representing no less than nine sub-genres with four (4) full masterpieces, five (5) "minor" masterpieces, and seven (7) "near-masterpieces." A good year for prog! 

But the real highlight of the year is the 3 CD concept album put together by Colossus Magazine and Musea Records, Odyssey: The Greatest Tale. On it nine artists from nine different countries present songs of epic length (none less than 21 minutes long) to tell the tale of Odysseus' beleaguered journey home after the Trojan War. Of the nine "songs" I find no less than four to be absolute masterpieces, three to be quite strong, and the other two to still be of very good caliber. Odyssey is, in my humble opinion, one of the pinnacle achievements of progressive rock for not only the 21st Century but for all time! 

The Rankings
(My Favorites)

1. ODYSSEY: "The Greatest Tale" (A Musea Records / Colossus Magazine concept album) 

2. OCEANSIZE Everyone Into Position

3. FAUN Renaissance

4. NIL Nil Novo Sol
5. MEDIAEVAL BAEBES Mirabilis
6. RIVERSIDE Second Life Syndrome

7. The Colossus of Rhodes (A Musea Records / Colossus Magazine concept album) 

8. SEIGES EVEN The Art of Navigating by the Stars 

9. PAT METHENY The Way Up

10. KATE BUSH Aerial

11. FIELDS OF THE NEPHILIM Mourning Sun

12. NOSOUND Sol29

13. THE MARS VOLTA Frances The Mute

14. KVAZAR A Giant's Lullaby
15. KOENJI HYAKKEI Angherr Shisspa

16. WILLOWGLASS Willowglass

17. GOD IS AN ASTRONAUT All Is Violent, All Is Bright
18. ANTHONY PHILLIPS Field Day

19. SIGUR ROS Takk...

20. THE EVPATORIA REPORT Golevka

Honorable Mentions: 

MY EDUCATION Italian

THE FUTURE KINGS OF ENGLAND The Future Kings of England

RED SPAROWES At the Soundless Dawn

IZZ My River Flows

The Reviews

***** Album of the Year for 2005! *****

1. ODYSSEY "The Greatest Tale"

A 3CD prog epic from Finland's Colossus group and MUSEA Records.

DISC ONE

1. NATHAN MAHL "Chapter I: Of Longings, Suitors, Deities and Quests...: (24:07). Instrumental with excellent melodies (though kind of Celtic) really enjoy the piano and electric guitar ‘dance' during the softer parts. Great seering guitar soli towards the end. Just a little too modern in effects and stylings for me-and not enough changes and variations in tempo and instrumentation. (Sample is a brief excerpt.) (42.5/50)

2. NEXUS "Chapter II: El Regreso--The Return" (27:50). Mostly instrumental begins with leadership of some great organ and drum work, a very EMERSON, LAKE AND PALMER sound, filled with many engaging tempo and sound/mood changes, each as engaging and melodic as the one before. The few vocal parts are sung over a very quiet, peaceful section by the very pleasant voice of Lito Marcello, eventually turns to a jazzier section with Roye Albrighton-esque guitar intro turning Camel/Latimer-esque before reverting to more ELP-like sounds. The final ten minutes see the use of effects on vocals in imitation of Greg Lake's on "21st Century Schizoid Man" and some very entertaining theatrical stylizations a la Peter Gabriel at the end. So many shifts and changes all so surprising and delightful. LP Prog at its absolute finest. (57/60)

3. GLASS HAMMER "Chapter III: At the Court of Alkinoos" (21:32). A very polished, Broadway-like production. I love the use and interplay of the five vocalists. Outstanding harmonies. The opening section with piano and two female vocals is breathtaking before breaking into a "Watcher of the Skies" organ, pulsing bass and rhythm section a la "Apocalypse in 9/8." The use of electronic effects on Steve Babb's voice as Ulysses/Odysseus certainly distinguishes him and presents the anger and frustrations of his struggles. Absolutely beautiful ending dialogue & choruses before a magical instrumental fadeout with guitar solo searing away. Were it not for Matt Mendians' tendency to pulse the kick drum in a ProgMetal fashion, this would be one of the better jobs of trying to recreate a 70s drum sound. Overall excellent Kansas/ELP keyboards. And, still, an awesome job of putting a true theatric epic feel to the epic that begat all epics. (40/40)

DISC TWO

4. XII ALFONSO "Chapter IV: From Ismarus to the Land of Death" (26:01). A very interesting instrumental which IMO pays homage more to the space-psychedelic beginning with an unusual yet enticing choral intro over Latin percussion. This stops at 2:22 to allow a very nice spacey Camel/Nektar-ish section to develop before a bluesy organ and funk bass are introduced at 3:27 to play over the psychedelia and waves. Actually a very pretty theme here--and some very nice organ play.

     The funk is then followed starting at 6:50 by a gorgeous Oldfield-like acoustic guitar serenade. At 10:12 this then moves into an Oldfield/Vangelis-like section, complete with Tibetan gutteral chanting and industrial keyboard effects and some great Oldfield-ish electric guitar work. At 14:05, everything stops to introduce what sounds like some kind of choral-infused theme music from a Tim Burton movie. The Oldfield guitar work continues--as does some Adiemus-like vocals.

     Once Simba and the Oompa-Loompas depart, around the 19-minute mark, we are treated to a pretty piano section reminiscent of Erik Satie. At 20:20 an operatic female vocal announces the transition to a fast moving rock opera section as the band kicks it up into outerspace hyperdrive with some pure Camel key and axe interchanges.

     Great, haunting finale and exit sections. Overall: Theatric with perhaps a bit too much Adiemus meets Mike Oldfield for my taste; still, I love the space music and this is still very good prog: (Sample is an excerpt from the intro.) (43.5/50).

5. SIMON SAYS "Chapter V: Minds of Mortal Men--Meander Tales" (25:40). These guys seem a bit too derivative to me; originality is lacking and the vocals (Daniel Fäldt) are just not 'tuned' (on pitch), engaging or emotionally believable. (Nor are the female harmonies, for that matter.) I always love their instrumentation choices and their skill is unquestioned, they just don't have enough 'new' to say, IMHO. The Andrew Tillison- and Tony Banks-like "Maelstrom" and "Mother of All Monsters" instrumental parts are pretty awesome, with interesting drum play and Hackett- then Latimer-like guitar, and the band/composition and even vocals capture the chaos and energy of the Scylla-Charybdis encounter very well. (41.75/50)

6. C.A.P. "Chapter VI: Sulle ali del sogno--Odissea: Libri XIV, XV, XVI" (28:15). Excellent representatives of PRI. Another truly winning theatric composition and performance "Primo Movimento" has one big message: These guys can sing! I'm listening to The Phantom or Les Mis!! "Secondo Movimento" is more instrument based though no less emotion-packed. "Terzo Movimento" begins with a Tangerine Dream feel (except for live drums) turning into a Nektar-like driving rhythm for fuzz guitar and key solos. Solo piano bridges into the organ backed interplay of the voices of Athena, minimoog, and Odysseus. "Quatro Movimento" portrays the emotional reunion of Odysseus and his son, Telemachus, with wonderful drama and force (thanks to some powerful Led Zeppelin rhythms). Wonderful piece. (59/60)

DISC THREE

7. TEMPANO "Chapter VII" (24:14). Begins with quirky, often Crimson-esque rhythms and instrumental coloration with tragic-comic voices (Odysseus as the Beggar) before moving into an excellent slowed-down Floydian section with strong English male vocals (Pedro Castillo). Then back to Bruford-era Crimson music complete with treated vocals. A bluesy-vaudvillian Zappa-like section hangs on for a long time before breaking for a more Kansas-like final section in which acoustic guitar strumming backs some more strong English vocals. Very interesting piece worthy of repeated listening. (42.25/50) 

8. MINIMUM VITAL "Chapter VIII: Étranger en sa demeure" (22:22). Heavily founded on the organ. Everything I read about this group refers to the Mike Oldfield electric guitar sound. That's for sure! While many musical styles and interesting things are going on in the rhythm and keyboard sections, every guitar solo renders one into Oldfield's Incantations album, which is too bad because these musicians are excellent and have a very interesting, rather-jazzy composition style. Scaled down "Third Movement [Penelope's Lament]" with its Pat Metheny-like acoustic and electric guitar interplay is the song's highlight. "Fourth Movement [to string the bow]" just doesn't capture the drama of this scene, fades without conveying the tension of the moment before battle. (39/45)

9. AETHER "Chapter IX" (21:31). Wow! Now that's a beginning to companion a fight! Great composition with wonderfully engaging sounds and melodies. Amazingly rich and balanced mix of all of the instruments; no one is too dominant or too drowned out. If only the Aether sound was more in keeping with the theme of 70s instrumentation and effects. Still, they have a great sound, a powerful presence. Definitely a band I'll be seeking out now that I've heard them here. A wonderful finale to an amazing music collection (even though the vocals could be stronger). (Sample is and excerpt from the intro.) (40/40)

OVERALL:

Will listen to over and over:

   Nexus

   Aether

   C.A.P.

   Glass Hammer

Worth repeated listening:

   Tempano

   XII Alfonso

Still good Prog:

   Simon Says

   Nathan Mahl

   Minimum Vital

VOCAL WORK:

-- Glass Hammer--The Broadway-quality interplay of five vocalists is awesome.

-- C.A.P.--Like I said: these guys can sing! Kudos aeternal to Italia!

-- Nexus--Lito Marcello is excellent singing in Spanish

-- Tempano--interesting and unusual. More surreal than perhaps appropriate for The Odyssey, but fitting for their style of music.

-- Aether-good but nothing extraordinary.

-- Simon Says--Daniel Fäldt just doesn't hit the notes and is a bit too pretentious-as are so many Neo-Prog and Metal vocalists, IMO. Like other reviewers, I wish singers would sing in their own (beautiful) languages.

-- Minimum Vital--too dominated by instrumentation and Canterbury/Fusion structures.

CAPTURES 70s SOUND:

Why are today's drummers, engineers, and producers so adverse to recording drums without the gating effects, letting the hits decay naturally? (Or how bout some Stomu Yamashtu or Narada Michael Walden flanged drums?!!)

-- C.A.P.--by far the best restraint in the use of purely 70s instruments and sounds (including the drums!)

-- Tempano--definitely mixing up a wide variety of 70s sounds and styles in interesting and not-too derivative a way.

-- Nexus--excellent Emerson-like keys, song structures, 'feel;' drums too NeoProg.

-- Glass Hammer--excellent keyboards, though a bit more American in feel than the Euro Prog that truly defined the genre.

-- Aether--Compositionally flawless. A bit too much use of modern technology.

-- Minimum Vital--flashes of 70s brilliance but more NeoProg, 80s Oldfield-Canterbury-fusion

-- Simon Says--uses all the NeoProg tricks and twists but not 70s enough, lacking their own distinctive sound.

-- XII Alfonso--not sure what era this one fits into. Defies categorization, IMO.

-- Nathan Mahl--too modern, ProgMetal

405/445 = 91.01 on the Fishscales = A-/five stars; a 3CD nine epic-length song collection of progressive rock with four (4) masterful songs belonging in the Valhalla of Prog Epics.

As above: AN ESSENTIAL ADDITION TO ANY PROG LOVER'S COLLECTION!

5 star Masterpieces 

(ratings of 100 to 93.34)

2. FAUN Renaissance 

On this their third major album release, FAUN puts on display their continued experimentation with electronic support to the moods of their medieval and Gothic-tinged story telling. This seems to be the directional flow that Germany's prog folk masters have chosen since their more acoustic start on 2002's Zaubersprüche.

1. "Satyros" (3:34) The album opens with a very festive yet sacred sounds of multiple female voices harmonizing in Renaissance/mediæval fashion over some hard driving hand percussion and fast moving "ancient" instrumentation. (10/10)

2. "Da Que Deus" (3:54) opens with similarly layered harmonies of multiple female voices but moving at a bit slower a pace than the album opener. Nice recorder and harp solos are given space between the vocal sections. (10/10)

3. "Tagelied" (5:01) opens with strummed lute and deep heart-beat thrum drum establishing a deep penetrating effect before the male lead vocal enters with female background vocal support coming from far back in the mix. There is an ominous, almost scary feeling conveyed through the music and singing of this song. Beautiful wooden flute solos are interspersed between the vocal sections. A brilliantly constructed song. (10/10)

4. "Rhiannon" (3:31) is an instrumental reel that opens with some treated/synthesized and acoustic hand percussives weaving together with bagpipe, bazooka, and other instruments all moving together at breakneck speed. (9/10)

5. "Sirena" (5:11) opens with some sequenced rhythms playing quietly, well behind the harmonized vocal "ooooo-aahhs." The Arabian-tinged droning medieval troubadour music that develops would probably be better were I to have an understanding of the lyrics. (8/10)

6. "Königen" (6:25) opens with some Arabian-sounding female voice panning around in the far background as arpeggiated harp plays in the foreground. Set to a slow tempo of computer-sequenced electronic drums and hi-hat, a single female voice enters to carry the lyric over a beautiful, rather simple melody line. Very little embellishments to the vocals or recorder solis. Pure and simple, the story must be quite powerful in order to have been given this very simple arrangement. Again, I wish I knew the language so I could better appreciate the story of the Kings. Lovely song! (9/10)

7. "Iyansa" (4:51) is another droning simple piece with mostly solo female voice singing the lyric. Hypnotic. (9/10)

8. "Rosmarin" (6:45) returns to the more woven textures of the earlier songs, including the vocals, which start out with just Oliver singing but soon add the female harmonies (interestingly, in a lower register!) Hurdy gurdy, bouzouki, bagpipes, and hand bells and shells weave nicely to form a solid support for the vocals and in-between soli, until at the four minute mark everybody stops and a series of synthetic sounds take over in a quiet interlude before percussive and single-note instruments are slowly added back into the mix. At 5:40 an electric guitar power chord surprises and is repeated every few seconds to the end of the song as a single voice whispers repeatedly "es come der tar" or something like that. Wow! What a surprise! Awesome song! (10/10)

9. "Das Tor" (8:13) opens with another deeply ominous electronic background industrial drone as a crazed female voice hums a simple nursery rhyme melody in the middle ground. Lisa takes up a simple melody alone for the first verse and then is joined by another female voice and some other instrumentation (violin, flutes, hand drums, electronic drums, harp). The song builds and builds, slowly but ever so powerfully, resolutely. Even the vocals begin to climb the ladder of octaves as the foundational rhythms and weaves plod along insistently, unrelentingly, beautifully. By the sixth minute the song is devolving into the opening mix, with those eery hums and now laughing children's voices carrying forward the disturbing feeling of this song. Incredible song. Incredible. (10/10)

FAUN here show their continued and increasing experiments with inputs from computer and electronic-generated support as contributed by electronic expert, Neil Mitra. For the most part it works--especially as a complement or takeover for the rhythm section. Oliver, Fiona and Rüdiger's contributions on ancient traditional instruments are virtuosic yet restrained and never overbearing--which puts a nice focus on the vocals of which the gorgeous voice of Lisa Pawelke seems to have taken greater prominence. I have to say that, so far, every FAUN album seems to be better than the previous one. (Too bad Totem did not continue this trend.) This album may be better than 2011's Eden but it has not yet won my heart to the extent that Eden has.

94.44 on the Fish scales = five stars; a certifiable masterpiece of progressive rock music.

3. KOENJIHYAKKEI Angherr Shisspa

Often referred to as "the Japanese Magma," the band are obviously made up of top notch musicians, and their compositions are "out of this world" different, but the music here is just too angular, jaded and disjointed for my tastes--going a step beyond the controlled and prolonged chaos that is typical of a Magma composition into realms of complexity that are impressive though I'm not sure necessary. Also, the album's collection of eight songs do not quite flow one into the other like Magma songs tend to do; each one is distinctive and stands alone without the support or need of the whole.

Line-up / Musicians:
- Yamamoto Kyoko / vocals
- Kanazawa Miyako / keyboards, vocals
- Komori Keiko / reeds, vocals
- Sakamoto Kengo / bass, vocals
- Yoshida Tatsuya / drums, vocals

1. "Tziidall Raszhisst" (7:14) opens with some very familiar MAGMA-esque sounds, notes, scales, and structures: female wordless vocalise with piano and synth. By the end of the first minute a full-on Zeuhl onslaught has begun with high speed entourage now including drums, bass, and saxes. The flow and intensity remains fairly constant despite several detours for solos (fuzz guitar) and worded vocal passages (all band members participate in MAGMA-like chorus-style vocal passages). Great opener--especially in the fact that it so closely parallels the Zeuhl that originated with Magma. A top three song for me. (14.5/15)

2. "Rattims Friezz" (7:01) opening with more percussion and high-pitch instrumental play to establish a slower, angular, odd-tempoed staccato rhtyhm and melody pattern. At the two minute mark everything shifts: different rhythm pattern (more Latin feeling) and new melody patterns. Very tight in the display instrumental and vocal weaves. An interesting cinematic "Hollywood" "interlude" near the end before the song flips back into the frenetic Latin-like rhythms to end. Another top three song. (14.5/15)

3. "Grahbem Jorgazz" (4:06) Kyoko's vocals are here full on operatic soprano (in the same vein as UNIVERSAL TOTEM ORCHESTRA's Ana Torres--though at times feeling almost tongue-in-cheek humorous in their NINA-HAGEN-like exaggerated pathos). Intense, fun, and funny. (9.5/10)

4. "Fettim Paillu" (7:45) piano and operatic female voice open this one in a slow, heavy mood. At the one minute mark, sharply abrasive percussion-led pulses enter and establish an odd-tempoed pattern but then in the third minute an all-out "panic on the pirate ship's deck" kind of scenario takes over. The voices are quite theatric: low male chorus with female lead while the woman seems to be quite often in rather a lot of distress. Interesting! At 4:30 the chaos suddenly ends and we are left with an interesting -like "frozen time" interlude as solo clarinet and piano duet an interesting jazz/classical dance. At 6:10 the operatic female re-enters in place of the clarinet, just she and piano making her case plaintively. 30 seconds later the other instruments begin encroaching and building into a wild, cacophonous pirate-like finish. (14/15)

5. "Qivem Vrastorr" (4:22) opens like a Gilbert & Sullivan dittie with multiple layers of voices and instruments getting involved in a kind of layered weave of brief epithets being repeated over and over in a kind of rondo. In the second minute there are two instances of loosening of the tight grip of organized tapestry before the song shifts in the third minute to something more smooth and flowing, less multi-layered. The final 90 seconds sees an attempt to kind of combine the two forms until the final 30 seconds become full-on Zeuhl. (8.5/10)

6. "Mibingvahre" (4:07) opens with what sound like traditional African folk hand instruments, hand clapping, simple mouth horns, and loose vocal chanting--which eventually becomes jazzified by chunky bass, drums, soprano saxophone, and Kyoko's operatic vocalise breaking through from the background. Kind of a brilliant cross-cultural imitation of African tribal/village folk musical traditions. (8.75/10)

7. "Angherr Shisspa" (6:34) talk about an abrasive opening! Voices, horns, drums, and everything but the kitchen sink flailing away, bashing into my brain, repetitively before giving me the Zeuhl sound. And thank god for the smoother, more melodic jazz passage in the second half of the second minute! At 2:30 there is a switch into something more akin to UNIVERSAL TOTEM ORCHESTRA before things smooth out for some sharp stoccato sax and vocal scatting (which, again, begs the question: Is this in jest? Is this music supposed to make me laugh?) The 4:00 mark introduces another quite radical shift into a calming smooth-jazz passage before all hell breaks out for the final 30 seconds. Amazing performances of a very oddly constructed song. (9/10)

8. "Wammilica Iffirom" (8:39) opening with another very MAGMA-esque passage of soprano choral voices, they are soon joined (and supplanted) by full band speeding along at a fast pace in a fairly orderly, listener-friendly musical style. The chord- and key-structure and tempo remain fairly accessible throughout the first three minutes--even as the choir, piano and horns begin to "stray." Weirdly dissonant sax solo in the fourth minute precedes another chorus before a piano bridge brings us into a chunky-bass and male vocal-led passage. This builds with other voices and instruments added to build each layer until 5:30 when things break down into a very simple, very imperious passage similar to a Magma processional. Male vocalist lends his master-of-ceremonies voice to the passage, even using Christian Vander-like falsettos, to relate the events of the passage. Then we shift back into the simpler, friendly theme for the final minute. Easily the most accessible song on the album. (19.5/20)

Total Time: 50:10

93.57 on the Fishscales = A/five stars; while I admit that this music--and Zeuhl in general--is an acquired taste, I call this a masterpiece of progressive rock music regardless of what style this is. It's quite difficult to find fault with this album of impeccably performed, incredibly intricately constructed compositions. As above, my chief complaint is the oft-times abrasive nature of the full-frontal onslaught of the music. This is music that might be better served in a fully-regaled theatrical performance.

4. THE MARS VOLTA Frances The Mute

I'm so glad for the existence of THE MARS VOLTA! Between they and any Toby Drive project, progressive rock is safe moving forward along its rougher edges. In his review of the same album, Neu!man made reference to two albums that I think of every time when I listen to TMV: YES Relayer and IL BALLETTO Di BRONZO's Ys--two if the most amazing boundary punching albums ever to grace the "classic prog" scene. The raw and sonically mind-twisting TMV debut, De-Loused in the Comatorium, coupled with this more-"controlled" chaos and frenzy here in Frances the Mute put TMV in that rarified company of innovators and, thus, true members of the moniker "progressive" rockers. I must add that I'm quite often hearing the spirit and genius of early LED ZEPPELIN in these compositions as well--which is such a refreshing sound to hear and feeling to have once more. (There was only ONE Led Zeppelin!)

Line-up / Musicians:
- Cedric Bixler-Zavala / vocals
- Omar Rodriguez-Lopez / guitars, synths, field recordings, producer
- Isaiah "Ikey" Owens / keyboards
- Juan Alderete / bass
- Jon Theodore / drums
- Marcel Rodriguez-Lopez / percussion, keyboards
With:
- John Frusciante / guitar solos (3)
- Roger Manning Jr. / piano
- Larry Harlow / piano & treated clavinet (3,8-12)
- Flea / trumpet (2,4)
- Adrian Terrazas / tenor saxophone & flute (8-12)
- David Campbell / strings and horns arranger & conductor
- Nicholas Lane / trombone
- Bill Reichenbach / bass trombone
- The Coqui Of Puerto Rico / bass trombone
- Salvador Hernandez / trumpet
- Wayne Bergeron / trumpet
- Randy Jones / tuba
- Larry Corbett / cello
- Suzie Katayama / cello
- Diego Casillas, Erick Hernandez, Ernesto Molina, Fernando Moreno, Joel Derouin, Josefina Vergara, Mario DeLeon, Peter Kent, Roberto Cani / violin
- Lenny Castro / percusssion

1. "Cygnus...Vismund cygnus" (13:02) aural and adrenaline bliss. Genius. (24/25)
- a. Sarcophagi
- b. Umbilical Syllables
- c. Facilis Descenus Averni
- d. Con Safo

2. "The Widow" (5:50) pure LED ZEPPELIN blues rock. Robert Plant-worthy performance by Cedric. And then there's the experimental electronics. Cool! (8.75/10)

3. "L'Via L'Viaquez (12:21) opens with industrial percussive sounds before the song kicks into its Spanish-sung and Latin-infused heavy groove. The drums and bass are so solid! The two guitars here are awesome. 2;30 shift is a WOWzer! Great Cedric scream and then step off the diving board into a slow motion Latina world--as if we're underwater!--until 3:40 when we emerge from the Jello world back to breathe human air. The submersive section recurs again in a kind of pattern. Love the effected vocals in the seventh minute. It's an underwater cantina! Definitely unusual and innovative approach to song construction. While I appreciate the artistry and creativity, I prefer the hard-drivin' stuff. (21.5/25)

4. "Miranda That Ghost Just Isn't Holy Anymore" (13:09) opens like classic GONG--as if Gilli and Steve were here! Wow! Then we step into a reverbed and other-effected world in order for Cedric to add his sensitive singing. (He can really sing! Who knew?!) Love the horn play and other wildly inventive sound incidentals enfolded into this song--especially the slow, funereal, almost Post Rock strings arpeggi. A very different and fascinating (and, one might say, totally mesmerizing) journey. (24/25)

- Vademecum
- Pour Another Icepick
- Piscacis (Phra-men-ma)
- Con safo

5. "Cassandra Gemini" (32:27) (62/65)
- Tarantism
- Plant a Nail in the Navel Stream
- Faminepulse
- Multiple Spouse Wounds
- Sarcophagi

Total Time: 76:55

My first attempt to sit through all 77 minutes of this music met with a resounding success: I was glued to my seat, reveling in each and every moment, fully engaged and feeling every nuance and layer of the onslaught I was bathing myself in. Wondrous from start to finish (and around again we go!) (And so I did!) Maturity? Sanity? Clarity? Sobriety? Freedom? Unbound Joy? Transformation? Transcendence? Reinventing oneself? I don't know the secret to The Mars Volta's evolution from De-Loused to this one but it is, to my mind, radical as well as a step in the right direction. I have no qualms proclaiming Frances The Mute as a true masterpiece of progressive rock and a sign that the wild and adventurous spirit of contained nuclear fission is alive and well in 21st Century prog. Praise the Lord!

93.5 on the Fishscales = A/five stars; a masterpiece of wildly progressive rock music. Awesome experience--highly recommended to any and every true lover of "progressive" rock music.

The "Minor" Masterpieces

(Ratings of 93.33 to 90.0)

5. KATE BUSH Aerial

This is an album that I resisted listening to for a long time--based upon my dislike of/disappointment in 1993's The Red Shoes. But then came 50 Words for Snow in 2011 and I was back in the fold and had to give Aerial a try. Boy am I sad I resisted! This is a beautiful, deeply engaging album--especially the second disc:  prog perfection!

Disc 1 - A Sea Of Honey :

1. "King Of The Mountain" (4:53) (8.5/10)

2. "Pi" (6:09) (8.5/10)

3. "Bertie" (4:18) (9/10)

4. "Mrs. Bartolozzi" (5:58) (8.5/10)

5. "How To Be Invisible" (5:32) (9/10)

6. "Joanni" (4:56) (8.75/10)

7. "A Coral Room" (6:12) (9/10) 

Total time 37:58

Disc 2 - A Sky Of Honey :

8. "Prelude" (1:26) bird sound, piano, and a young boy's voice (Bertie?) dominate this beautiful little intro. (9/10)  

9. "Prologue" (5:42) spacious, melodic, repetitive. yet so hypnotically engaging. I could nap into death's sleep to this one. (9.5/10) 

10. "An Architect's Dream" (4:50) (9/10)

11. "The Painter's Link" (1:35) (9/10)

12. "Sunset" (5:58) (9.5/10)

13. "Aerial Tal" (1:01) (10/10)

14. "Somewhere In Between" (5:00) (10/10)

15. "Nocturn" (8:34) so hypnotic! Like a BLUE NILE song. (20/20)

16. "Aerial" (7:52) classic and superlative Kate! (11/10)

93.28 on the Fishscales = A/five stars; a masterpiece of progressive rock music.

6. NIL Nil Novo Sol

This is an album I've just stumbled upon and absolutely blown away by! Having just read all of the reviewers above, I have nothing really new to add except for "ditto" to all of the kudos and superlatives lavished upon this group--and that I agree: there really is no one else out there that this is really like (though there are obvious KING CRIMSON influences). Amazing song writing, amazing performances and virtuoso instrument playing and singing! I am especially fond of the two longest pieces, "Le Guardien" "Dérégénération," but find myself playing over and over the last song, "Dérives," cuz it reminds me so of KC's amazing skill and discipline as displayed on their "Discipline" LP.

1. "Le Guardien" (20:16) is a prog masterpiece that uses the extraordinary voice of Roselyne Berthet as another key instrument in the magical weave. This song surpasses any and all standards I've held prog rock to before. (38/40)

2. "Linceul" (3:23) is a haunting, beautiful, theatric song in which Roselyne Berthet's beautiful voice is accompanied by only a very slow synthesizer arpeggio from the lower (bass) registers and, later, single notes from the upper octaves of a piano and synthesizer. This song feels to me like the 'calm between the storms' or the 'eye of the hurricane.' (10/10)

3. "Dérégénération" (14:30) is an instrumental that masterfully weaves together the sensitive and virtuoso play of the four instrumentalists. The electric guitars vacillate between sounding like Robert Fripp's edgiest to Steve Howe's shredderest. The drums are BRUFORDish, The Chapman stick is barely treated and, thus, sometimes shallow--could be 'fatter'--but always the most melodic and anchoring sound.  The keyboard playing and sound choices are unusual and multiferous, with an almost-church-like organ being the only constant. An awesome song that grows on you with repeated listenings. (27.5/30)

4. "198" (8:40) is another instrumental founded on a treated guitar arpeggio and, then, a rather banal drum-supported keyboard arpeggio, but actually only hits full stride and once the keyboard riff is shed. The song, however, never really seems to be able to fully climb out of its kind of standard metal format--in fact, sounds as if it could be a RIVERSIDE or AYREON song. (15.5/20)

5. "Abandon" (8:10) sees the band returning to its own form: odd, shifting time signatures, alternating spaciousness with KING CRIMSON-like moments of frenzy and dissonance--and the return of vocals--though the vocals here are less like the band's fifth instrument and more like the French torch song singer's lyrical display. Wonderful singing and theatric presentation--not unlike some WITHIN TEMPTATION, EPICA, or NIGHTWISH song presentations. It makes me want to listen and figure out what she's singing about. The song has a lot of timing, tempo, and dynamic shifts and strangely benefits from the central section's "Exoricist"-like piano arpeggio and odd/eerie keyboard sounds. The intended overall effect is somewhat lost on me, but who cares! I just love listening to all of the many layers of interesting sounds and riffs. Great prog dénouement/ending! (12.75/15)

6. "Dérives" (6:04) like an ANEKDOTEN song, is not the most exciting musical journey, but can be extremely rewarding if one pays attention to all of its subtleties. The beautiful bass melody and keyboard washes begin to carry you away as you listen to all of the subtle nuances and flourishes occurring over the top. And then bang! It's over and you're mystierously left with the last minute of in which Roselyne's voice seems to be washing you off. "Donnes-moi"! I just play this song over and over and over! What a trip! (10/10)

93.0 on the Fish scales = A/five stars for this masterpiece of progressive music. In my opinion, this is one of the most remarkable album releases of the 21st Century. More music like this, please! More, more, MORE!

7. FIELDS OF THE NEPHILIM Mourning Sun

Goth Rock lives. Divinely inspired Frank McCoy has progressed beyond his 80s imitation of Goth rockers THE CURE and created an impassioned music beyond any of his predecessors. This is powerful, creative, hypnotic, and life-affecting music. If you listen to this more than two or three times it might change your religious views, corrupt your children, wake you up!

Five Star songs:  1. "Shroud (Exordium)" (5:47) (9.5/10); 4. "Requiem (Le veilleur silencieux)" (7:21) (14/15); 6. "She" (9:28) (19.5/20); 7. "Mourning Sun" (10:34) (19.25/20); 5. "Xiberia (Seasons in the )" (7:33) (14.75/15), and; 2. "Straight to the Light" (6:25) (9/10).

91.60 on the Fish scales = A-/five stars; a minor masterpiece of progressive rock music.

8. PAT METHENY The Way Up

I have been an avid PAT METHENY listener and fan since the 70s (his work with JONI MITCHELL and GARY BURTON), I possess some form of pretty much every album he has every done, I call the 1986 "Group" concert I attended one of the top five concerts I've ever attended, and consider Pat one of a very few masters of the art of combining technical prowess with emotional and melodic expression. And, yes, this one is one of his best albums--and one of two that truly fits among the masterpieces in the "progressive rock" catalog (the other being 1992's Secret Story). For long-time listeners, however, this album contains many "old" themes, tricks, and twists--so does not remain quite so fresh and exciting over its entire 68 minutes. But then, voilà, "Part Two" comes on and I can't help myself but play it over and over.

1. "The Way Up: Opening" (5:17) contains some "fresh" sounding slide guitar and beautiful acoustic guitar play while introducing the awesome syncopated guitar strum theme that makes the third song one of the best prog songs I've ever heard.  (8.75/10)

2. "The Way Up: Part One" (26:27) the album's longest "song," offers up many old sounds, themes, and melody lines mixed with just enough new sounds, twists, themes, and melody lines (Pat playing more than one guitar lead at a time--in effect, dueling with himself!) to make this music very fresh and exciting. Plus, I must admit that the often-frenetic trumpet playing solos off of/against Pat's guitars offer a fascinating (and refreshingly new) counterpoint to Pat's typically powerful yet melodic lead solos. The slowed down part after the 6:30 mark is a bit unexpected and out of place, and the song's central section is really pretty straightforward jazz, WES MONTGOMERY style (with some good jazz trumpet playing), but it's the final, sensitive 5:30 of the song that start to bring one back to the prog fold. Still, it's fine music with incredible sound reproduction throughout. (43.5/50)

3. "The Way Up: Part Two" (20:29) I am always astounded and hooked by the EBERHARD WEBER Following Morning intro section (first 2:15) and then the tension-filled and tension-building section that starts at 3:30 and builds to a 12:05 crescendo. Lyle's gentle, sensitive, inimitable keyboard work is here followed by Pat and trumpeter Chong Vu going shit crazy! Pat's syncopated and time-bending staccato guitar pizzicato's (which are later taken over by keyboards and percussion) lay foundation for one of the greatest 'barely controlled chaos' jam sessions I've ever heard. It's unprecedented! 

Then we have the wonderful 'calm after the storm' section with its wonderful harmonica lead. (And still the staccato pizzicato guitar-and-keyboard theme plays in the background). Trumpets, harmonica, catchy rhythm work. What treasures are bassist Steve Rodby and drummer Antonio Sanchez (though I worship former Group drummer, Paul Wertico)!(40/40)

4. "The Way Up: Part Three" (15:54) returns to very familiar Pat Metheny Group territory, sounding very much like his 1980s productions with its very strong Brazilian influence; there's really nothing new here and yet it's always so great to hear! (26.75/30)

I'm very tempted to give this one five stars for the sake of "Part Two" which is, IMHO, one stellar achievement of musical expression. But I won't. (Though I may regret it later.) Still, if you've never heard the musical genius of Pat Metheny and company, start either here or with Secret Story. You won't be disappointed. The production and engineering are as fine as you'll ever hear in musical recording.

91.54 on the Fish scales = A-/five stars; a minor masterpiece and an excellent prog album by a man much more deserving of some love from this group of music lovers; one of the 21st Century's finest jazz rock contribution to progressive rock music.

9. RIVERSIDE Second Life Syndrome

An album of nearly perfect production: There are not many albums out there whose sound clarity, engineering, and mixing can compete with the quality of this one. Simply breathtaking! While neither heavy prog nor prog metal are my favorite sub-genres, this was one of my first acquisitions during the 'prog listening renaissance' I've undergone since 2006. I immediately appreciated the sound, musician-ship, and production; it has taken me quite a while longer to decide whether I appreciate and/or like the music. The answer is: Mostly. I immediately loved "Conceiving You" (3:41) (10/10) and "Second Life Syndrome" (15:40) (30/30) and now love the PEARL JAM/PINK FLOYD-like "I Turned You Down" (9.5/10), the instrumental, "Reality Dream III" (5:01) (9/10), and "Before" (5:24) (9.5/10). "After" (3:32) (8.5/10) and "Artificial Smile" (5:28) (8.5/10) are both excellent songs, while "Volte-Face" (8:41) (16/20) and "Dance with the Shadow" (11:39) (20/25) are just not up to the level of the others. I have no doubt that this album should rank among the best of this 21st Century as it is so powerful, so well constructed, performed, recorded, and produced.

90.0 on the Fish scales = A-/five star album; a minor masterpiece of progressive rock music. While the album as a whole does not yearn for regular listening by me, the song "Second Life Syndrome" is among my favorite epics of all-time, and the incredible sound production brings me back fairly frequently. In my mind, this album represents one of the landmark achievements in 21st Century progressive rock music.