My Favorite Albums of 2007
(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.
2007 represents one of the finest, deepest years of progressive rock music in quite some time. My Favorites List has albums representing many sub-genres with two (2) full masterpieces, eight (8) "minor" masterpieces, and nine (9) "near-masterpieces." A great year for prog!
The Rankings
(My Favorites)
(My Favorites)
1. ULVER Shadows of the Sun
2. BIG BIG TRAIN The Difference Machine
3. LAZULI En avant doute...
4. HIROMI’S SONICBLOOM (HIROMI UEHARA) Time Control
5. KLAUS SCHULZE Kontinuum
6. VIOLETA DE OUTONO Volume 7
7. MOTH VELLUM Moth Vellum
7. MOTH VELLUM Moth Vellum
8. PORCUPINE TREE Fear of a Blank Planet
9. JAZZCOMPUTER.ORG/YVES POTIN Elsewhere
10. THORK Nula Jedan
10. THORK Nula Jedan
11. GAZPACHO Night
12. OMAR RODRIQUEZ-LOPEZ The Apocalypse Inside of an Orange
13. ELECTRIC ORANGE Morbus
14. KNIGHT AREA Under a New Sign
15. RIVERSIDE Rapid Eye Movement14. KNIGHT AREA Under a New Sign
16. RADIOHEAD In Rainbows
17. OUTER LIMITS Stromatolite
18. QUIDAM Alone Together
19. SETNA Cycle I
20. ØRESUND SPACE COLLECTIVE The Black Tomato
21. RETROSPECTIVE Spectrum of the Green Morning
22. SATELLITE Into the Night
23. CORDE OBLIQUE Volontà d'arte
24. RITUAL The Hemulic Voluntary Band
25. DEVIN TOWNSEND Ziltoid the Omniscient
26. EPICA The Divine Conspiracy
27. NIGHTWISH Dark Passion Play
28. KARDA ESTRA The Last of the Libertine
29. FAUN Totem
30. PHIDEAUX Doomsday Afternoon
Honorable Mentions:
SENOGUL Senogul
SLEEPYTIME GORILLA MUSEUM Of Glorious Times
THE FLOWER KINGS The Sum of No Evil
OCEANSIZE Frames
NEW TROLLS Concerto Grosso, The Seven Seasons
NEW TROLLS Concerto Grosso, The Seven Seasons
MANNING Songs from the Bilston House
THE REASONING Awakening
DUNGEN Tio Bitar
RATIONAL DIET Rational Diet
THIS WILL DESTROY YOU This Will Destroy You
The Reviews
5 star Masterpieces
(Ratings of 100 to 93.34)
***** Album of the Year for 2007! *****
1. BIG BIG TRAIN The Difference Machine
"Crossover"?!! I've just discovered BBT, now own The Difference Machine, English Boy Wonders and Gathering Speed and cannot figure out how any artist recording songs at an average of 9 minutes in length could be considered "crossover"! Plus, the GENESIS/ANT PHILLIPS/ FLOYDian musicscapes just don't fit, to my mind, the "crossover" sub-genre. Also I have to ask: WHERE IS THE LOVE? These guys are amazing! I haven't heard anyone so "new" old prog (Does this make them "neo"?) with such high quality, great melodies, great vocal harmonies, amazing song structures, album concepts (with musical themes being repeated throughout à la A Trick of the Tail). And these guys are humble! Unafraid to cite their musical influences and references. And please notice the list of Who's Who in Prog that they are attracting to work with them: Dave Meros, Pete Trewavas, Nick D'Virgilio, Jem Godfrey, Frances Dunnery, and Dave Gregory--THE Dave Gregory, for god's sakes!!!
Nevertheless, this is supposed to be a review of The Difference Machine, my favorite work of BBT, so far, though the new release of the revamped English Boy Wonders is a close second. Like other reviewers I find myself wanting to extol the praises of the longer playing songs. "Perfect Cosmic Storm," "Salt Water Falling on Uneven Ground," "Summer's Lease," and "Pick Up If You're There" are absolute masterpieces of progressive, mostly symphonic, music. The shorter, "fill" pieces are fine, beautiful, full of lots of haunting mellotron, interplaying woodwinds and strings, they're just not as interesting or as "full" as the long monsters. Perhaps they are intended to calm the spirit of the listener before having to re-enter the bigger sounds of the longer pieces.
Anyway, these guys have a talent for finding amazingly catchy melodies BOTH vocally and instrumentally, but more, they do it multiple times within each song!! And they might be knitting one melody with/within another (or more!!) THEN(!), as if this were not enough, they hook these amazing melodies into the harmonic setting of some stunningly beautiful and intricately woven music. I can definitely feel the complexity of early GENESIS/ANTHONY PHILLIPS in their work, and yet so many of their other influences come gloriously to the listener's ear, as well. But let me not forget to tell you: THESE GUYS ARE UNIQUE! Fresh! New! Original! Not copyists or imitators.
Check out "Perfect Cosmic Storm." I dare you! You will be hooked. You'll become an addict. PROG IS ALIVE AND WELL and it is nowhere so well embodied as in the work of BIG BIG TRAIN!! Five stars to a masterpiece of fresh new music.
Line-up / Musicians:
- Sean Filkins / vocals
- Gregory Spawton / guitars, keyboards, vocals
- Andy Poole / bass
- Steve Hughes / drums
With:
- Tony Wright / alto (1,8) & tenor (2,4,6,8) saxophone, flute (4)
- Becca King / viola (1,2,4,7,8)
- Pete Trewavas / bass (4)
- Dave Meros / bass (2)
- Nick D'Virgilio / drums (2,4,6), vocals (2)
1. "Hope This Finds You" (3:12) is an almost classical instrumental introduction to the album--with some of the themes to follow included. Beautiful though not as impactful as what is to follow. (9/10)
2. "Perfect Cosmic Storm" (14:40) is one of my favorite prog songs of all-time. From the amazing guitar intro, to the "signal's gone to ground" lyric hook, to the rollicking recurring lead bass line, to the incredible dynamic shifts and "familiar" sounds (CHRIS SQUIRE-like bass, KING CRIMSON-like mellotrons, STEVE HACKETT-like guitar, MEL COLLINS-like saxophone, RICHARD WRIGHT-like organ). And what an incredible, shifting, engaging rollercoaster ride of music. Original symphonic prog at its best! (30/30)
3. "Breathing Space" (1:47) is another ambient instrumental interlude. Not as interesting or engaging as the first one but definitely a mood-setter. (4/5)
4. "Pick Up If You're There" (13:39) is another masterful epic with great vocals great pauses and buildups and deeply hooking key and chord changes. Wonderful bass, drum and keyboard work, as well. I love the melodic flow of this song, which actually seems to better showcase the performances of the individuals in the band. Wonderful tapestry! (27/30)
5. "From The Wide Open Sea" (1:20) is the third mellow instrumental interlude, this one almost all subtle chord washes. Actually, quite wonderful; I wish this one were extended. (4.5/5)
6. "Salt Water Falling on Uneven Ground" (12:38) starts a bit jazzy--almost PAUL WELLER-like--and soon breaks into full gallop. At 2:38 the masterful chorus "The ground is frozen underneath my feet", is established among awesome space music effects and the gutsy use of space. "The ground is frozen underneath my feet". So fresh and inventive!
I like the use of effects on several of the instruments on this one (guitars, especially, but also vocals--amazing vocals!). More spacey/psychedelic instrumental work in the mid-section. A headphone-listeners delight! Then there are the absolutely gorgeous final two minutes, following the "Do you remember the days of summer" lyric. Strings, multiple guitars (introducing XTC's DAVE GREGORY!), deep bass notes, and beautiful vocals. (23.75/25)
7. "Summer's Lease" (7:34) ends the album in a mellow, atmospheric way but with again SEAN FILKINS' gorgeous voice singing some very touching lyrics--tying together previous themes, both lyrically and musically, in an absolutely powerful, melodic, heart-sucking way. (15/15)
Total Time: 54:50
95.83 on the Fish scales = 5 stars, a masterpiece of progressive rock music!
7. "Summer's Lease" (7:34) ends the album in a mellow, atmospheric way but with again SEAN FILKINS' gorgeous voice singing some very touching lyrics--tying together previous themes, both lyrically and musically, in an absolutely powerful, melodic, heart-sucking way. (15/15)
Total Time: 54:50
95.83 on the Fish scales = 5 stars, a masterpiece of progressive rock music!
2. ULVER Shadows of the Sun
My first Ulver album and what an album! Definitely one of the best collections of songs, start to finish, from this, the 21st Century. And though this is a dark and pessimistic concept album, it does an amazing job of conveying the despair and hopelessness of our role as perpetrators and victims of planet Earth's demise. The use of piano, tympanic drums, Oslo Session String Quartet, deep breathy vocals, synthesizers and even trumpet and theremin all help to impart the heavy, tragic mood exquisitely, even beautifully, if that is possible. I am ever awed by the wonderfully unexpected and subtle turns and twists within each and every song--including the "extra" 2 minutes of recorded silence at the end of the album's last song (after the world and/or life on the planet has been extinguished). Though an inattentive listen may leave the listener thinking the album is just one song and one mood, the attentive head-phoned listener is privy to a very artful and intimate experience. The first song, "EOS," sucks you into the album experience like light into a blackhole, the other songs entertain as you fall in, as light begins to fade, and the last song, "Whatever Happened?" spits you out on the other side, into a fresh, new universe. A lot to ponder; a lot of responsibility in their message. Fantastic album. Definitely a classic of our time, for the ages; a masterpiece. My favorite album of 2007. Sorry to fans who look forward to my play-by-play song list but this is a true flow-through experience; the album is a whole that, IMHO, should not be dissected--though I will say that the album ends as strongly if not more strongly as it begins.
1. "Eos (5:05) The mood setter! (10/10)
My first Ulver album and what an album! Definitely one of the best collections of songs, start to finish, from this, the 21st Century. And though this is a dark and pessimistic concept album, it does an amazing job of conveying the despair and hopelessness of our role as perpetrators and victims of planet Earth's demise. The use of piano, tympanic drums, Oslo Session String Quartet, deep breathy vocals, synthesizers and even trumpet and theremin all help to impart the heavy, tragic mood exquisitely, even beautifully, if that is possible. I am ever awed by the wonderfully unexpected and subtle turns and twists within each and every song--including the "extra" 2 minutes of recorded silence at the end of the album's last song (after the world and/or life on the planet has been extinguished). Though an inattentive listen may leave the listener thinking the album is just one song and one mood, the attentive head-phoned listener is privy to a very artful and intimate experience. The first song, "EOS," sucks you into the album experience like light into a blackhole, the other songs entertain as you fall in, as light begins to fade, and the last song, "Whatever Happened?" spits you out on the other side, into a fresh, new universe. A lot to ponder; a lot of responsibility in their message. Fantastic album. Definitely a classic of our time, for the ages; a masterpiece. My favorite album of 2007. Sorry to fans who look forward to my play-by-play song list but this is a true flow-through experience; the album is a whole that, IMHO, should not be dissected--though I will say that the album ends as strongly if not more strongly as it begins.
1. "Eos (5:05) The mood setter! (10/10)
2. "All the Love" (3:42) Trumpets! (10/10)
3. "Like Music" (3:30) How true! (9/10)
4. "Vigil" (4:27) So emotional, so gorgeous! (10/10)
5. "Shadows of the Sun" (4:36) Awesome piano. (9/10)
6. "Let the Children Go" (3:50) Percussion! (10/10)
7. "Solitude" (3:53) Yes! The remake of the Black Sabbath song! (8/10)
8. "Funebrae" (4:26) How deep will this tragedy go? (9/10)
9. "What Happened?" (6:25) One incredible end song--perhaps the greatest of all-time! (10/10)
94.44 on the Fish scales = 5 stars, a masterpiece of progressive rock music.
The "Minor" Masterpieces
(Ratings of 93.33 to 90.0)
3. HIROMI’S SONICBLOOM
(HIROMI UEHARA) Time Control
Easily the most exciting, consistently high-level, creative
jazz fusion album I've encountered in the 21st Century. Yes, there are a lot of
sounds, riffs, passages familiar from my long love for and association with the
music of CHICK COREA, but there also tons of fresh, mouth-jarring ideas expressed
here--by all four of these incredible musicians. Guitarist David "Fuze" Fiuczynski is
truly masterful and chamelonic in his playing--a brilliant foil to Hiromi's
stellar, melodic, and often heartbreakingly beautiful keyboard playing. And the
bass playing and drumming are often attention-getters, as well. I rate fully
seven of this album's nine songs as absolute gems--masterpieces of highly
engaging jazz fusion. An album that has never strayed far from my disc player
(especially in the car) since I got it a few months ago. So glad
"classic" jazz fusion is still being explored and adored somewhere!
*****Five star songs: 1. "Time Difference" (6:19) (10/10); 3. "Time Travel" (8:37) (9/10); 4. "Deep Into the Night" (9:02) (20/20); 6. "Time and Space" (7:56) (15/15); 7. "Time Control, or Controlled by Time" (8:29) (Sample is from a promotional excerpt) (10/10); 8. "Time Flies" (8:01) (9/10), and; 10. "Note from the Past" (12:09) (Sample is from a live performance, [16:13].) (25/25).
****Four star songs: 2. "Time Out" (6:39) (8/10); 5. "Real Clock vs. Body Clock = Jet Lag" (5:53) (7/10).
9. "Time's Up" (0:46), an interrupted brief take of "Note from the Past," which is not on the American version of Time Control, is the American CD's final song. On the Japanese version, the incredibly powerful "Note from the Past" is the finale.
****Four star songs: 2. "Time Out" (6:39) (8/10); 5. "Real Clock vs. Body Clock = Jet Lag" (5:53) (7/10).
9. "Time's Up" (0:46), an interrupted brief take of "Note from the Past," which is not on the American version of Time Control, is the American CD's final song. On the Japanese version, the incredibly powerful "Note from the Past" is the finale.
92.22 on the Fish scales = A-/five stars, rare: an absolute modern masterpiece of Jazz Fusion and a minor masterpiece of progressive rock music in general.
4. ELECTRIC ORANGE Morbus
Modern masters of the musical style that was once coined as "Kosmische Musik", Germany's ELECTRIC ORANGE are true heirs and, now, masters of the music once pioneered by the likes of CAN, AMON DÜÜL, ASH RA TEMPEL, KRAFTWERK, and, to a lesser degree, NEU. This album showcases quite a diversity in song styles used by and available to the sub-genre--from driving instrumentals to vehicles for their social-politically driven vocals and vocal samples. There is awesome keyboard and drum and percussion work throughout--and even some acoustic instrumentation!
Favorite songs: the hypnotic beat and bass line, voice-play and electric guitar lead of 9. "Wald" 10:14) (19/20); the nostalgic 'hippie' acoustic-psychedelia of 10. "Reaching" (4:28) (10/10); the swirling organs and flutes of the Indian-sounding start and TANGERINE DREAM-like sounds and rhythms of the second half of 12. "Sarau" (8:31) (18/20); the native American-like drumming and KRAFTWERK-like computer rhythms of the first half and amazing organ and synth play of the second half of 1. "Einwahn" (7:54) (15/15); the driving rhythm and dreamy female vocal lines of 7. "Traumama" (4:58) (10/10), and; the dreamlike trance produced by the slow rhythms of both 3. "Span 5" (7:56) (13.5/15) and 8. "Krautschock" (7:02) (9/10).
Modern masters of the musical style that was once coined as "Kosmische Musik", Germany's ELECTRIC ORANGE are true heirs and, now, masters of the music once pioneered by the likes of CAN, AMON DÜÜL, ASH RA TEMPEL, KRAFTWERK, and, to a lesser degree, NEU. This album showcases quite a diversity in song styles used by and available to the sub-genre--from driving instrumentals to vehicles for their social-politically driven vocals and vocal samples. There is awesome keyboard and drum and percussion work throughout--and even some acoustic instrumentation!
Favorite songs: the hypnotic beat and bass line, voice-play and electric guitar lead of 9. "Wald" 10:14) (19/20); the nostalgic 'hippie' acoustic-psychedelia of 10. "Reaching" (4:28) (10/10); the swirling organs and flutes of the Indian-sounding start and TANGERINE DREAM-like sounds and rhythms of the second half of 12. "Sarau" (8:31) (18/20); the native American-like drumming and KRAFTWERK-like computer rhythms of the first half and amazing organ and synth play of the second half of 1. "Einwahn" (7:54) (15/15); the driving rhythm and dreamy female vocal lines of 7. "Traumama" (4:58) (10/10), and; the dreamlike trance produced by the slow rhythms of both 3. "Span 5" (7:56) (13.5/15) and 8. "Krautschock" (7:02) (9/10).
91.67 on the Fish scales = A-/five stars, a minor masterpiece of modern progressive rock music.
5. LAZULI En avant doute...
Very nice theatric progressive rock in the NEMO vein from these Frenchmen. Quite a lineup of masterful eclectic instrumentalists throwing it all into the mix including Chapman stick, Warr guitar, marimba, vibraphone, and synth guitars.
- Dominique Leonetti / vocals, guitars
- Gédéric Byar / guitar
- Claude Leonetti / Léode
- Sylvain Bayol / Chapman Stick, Warr guitar
- Yohan Siméon / percussion, métalophone, guitar
- Frédéric Juan / marimba, vibes, percussion
1. "En avant doute" (3:02) wonderfully sparse instrumentation holds tremendous tension while Dominique Leonetti sings in a conspiratorial near-whisper ... until 1:25, that is, when Dom and the whole band unleash their pemt-up emotions in a display of symphonic power. Wow! Then back to the softness for the final stanza. Cool song. Very effective. (8.875/10)
2. "Laisse courir" (5:11) opens sparsely but roaring guitars quickly make their presence known before backing down again for Dominique's delicate singing. The slide guitar (or is it the Warr?) is especially powerful throughout--masterfully played. Dominique's performance is more nuanced but his intensity never quite reaches the impact of that slide guitar. (9/10)
3. "Le repas de l'Ogre" (5:07) more theatric vocals performed from within a wide range of dynamics and effects. Claude's Léode play coupled with Sylvain Bayol's Warr is awesome (plus the métalophone)! Great soundscape! One that builds up to a great climax! (9/10)
4. "Capitain Coeur de Miel (Part 2)" (5:03) the most emotion-packed vocal and guitar song on the album. Incroyable how Dominique's impassioned performance peaks with the Warr guitar at 2:14 and then the Warr takes over, continuing to express the same torment and anguish that Dominique's voice had just done! Amazing! Worth the price of admission, sans doute! (10/10)
5. "La valse à cent ans" (4:20) cool calliope-like sound coming from somewhere (there are no keyboardists!) along with the usual eerie Warr sounds and great deep bass from the Léode. Nice song though there are no real surprises here. (8.875/10)
6. "Film d'aurore" (4:26) another great tension-evoking soundscape--especially due to the bass (Léode) and cymbal play. The Warr "note" in the middle of the third minute is awesome as everybody else continues their symphonic swirl around him--especially the drums and guitar work of Gédéric Byar. Excellent song! (9.25/10)
7. "Ouest terne" (3:32) tuned percussion and acoustic guitars provide a folk minimalist sound via a weave of acoustic instruments over which Dominique provides two vocal lines, one, in the background, of a fairly high register. The overall Americana sound is kind of like Chris Isaak ("Wicked Game"). Nice change of pace. (8.875/10)
8. "L'arbre" (4:18) now into PETER GABRIEL territory with some kind of world music-sounding instrument sound palette. (That Warr guitar brings so much to the table! And the two percussionists, too.) Great solo from the Warr in third and fourth minutes over the Birdy/BIG COUNTRY-like music. (9/10)
9. "Cassiopée" (6:36) great atmospheric PINK FLOYD-like music for Dominique to sing over/within. Amazing instrumental palette. (9.5/10)
Total Time 41:35
The strong presence of the Warr guitar and tuned percussion in this album really make it stick out for me--and, I think, make lead singer Dominique Leonetti's performances really rise to the occasion. The other instrumentalists are all at the top of their game for this one, and the song/sound variety is so amazing--which is why En avant doute… remains my favorite Lazuli album.
91.52 on the Fishscales = A-/five stars; a minor masterpiece of diverse and unique progressive rock music--one that should not be missed by any self-professed prog lover! Quite possibly the album of the year for 2007!
6. KLAUS SCHULZE Kontinuum
Though I found myself fascinated by the albums of Tangerine Dream in the 1970s, I never really became a fan. I think that I always thought that the production was weak, murky, even cheezy. Now I hear a 21st Century Electronic Prog album by maestro Klaus Schulze--using 21st Century technologies and recording advances--and I am blown away. Had the TD/KSchulze albums of the 70s had this engineering and production they would be on my frequent playlists. Despite Schulze's use of familiar song structures, these three epics are nearly flawless: engaging, creative, melodic yet creepy or quirky when they need to be. From the first notes of "Sequencer" (10/10) I was sucked in and did not want to tear myself away. The same feeling occurs with each replay. It is a true masterpiece of the sub-genre--maybe the one that I would play first were anyone to ask me to play a track best exemplifying the TD/Schulze sound.
1. "Sequenzer (from 70 to 07)" (24:54) begins with a gorgeous computer keyboard sequence that just suck you in and keeps you there. For fully eight minutes little major changes, yet I'm still there, in the music. Wordless vocals join in brilliantly causing major and minor key shifts to the main melody with their own pitch changes. Another ten minutes passes like this before things begin to fade out and shift toward a new, spacey background synth. A pause and then a couple of new synths play out the rest of the song in some eery minor key. Starkly cold--like being on the moon, alone. Amazing! (50/50)
2. "Euro Caravan" (19:41) (Sample is an excerpt) begins with some low notes while some odd/eery ENO Ambient 4: On Land-esque noises flit around in the background like fairies flying around. After two minutes of this a lone male voice enters singing in a heavily treated voice some nondescript words á la LISA GERRARD. A very DEAD CAN DANCE-like soundtrack song. In the sixth and seventh minutes the vocals take on more of an Arab religious tone, style and feel. Then at the 9:45 mark one of TD/Schulze's signature bass synth driving sequences enters as the keening voice slowly fades further and further to the background. At 11:25 enters another signature sound from olden days: a computer/synth originating 'drum'/rhythm sequence. The new, playful, mostly-bass synth hits playing around over the top keep the song driving forward--into the distant future (the same very distant future that these guys were playing in during the 70s). At 14:10 the rhythm and the haunting ghost-voices flitting in and around the soundscape become more insistent, more driven. At 17:30 the song's male Arab keening-sounding voice returns, though he disappears for the final minute as the song's initial faerie voices return to take us out (or, truly, into the next song). (34/40)
3. "Thor (Thunder)" (31:47). The music here does not quite match its title, in my humble opinion. Instead, it has a very sparse, Blade Runner-like sound and feel to it--at least for the first seven and a half minutes--before the computer rhythm track begins. Then the lead synth begins to show some teeth--and support keyboard sounds fill the sonic universe in a more cosmic majestic way. At the eleven minute mark a very fast paced synthesized 'tambourine' joins the music, accompanied by some more wordless vocal keenings á la LISA GERRARD. This continues for ten minutes with little or no significant or emotional shift until at the 23-minute mark the rhythm 'instruments' cut out, leaving us with a kind of shifting progression of chords of mellotron voices over which which a solo voice and occasional synthesizer single note their ambiguous, androgynous melodies. To the end. (57/65)
1. "Sequenzer (from 70 to 07)" (24:54) begins with a gorgeous computer keyboard sequence that just suck you in and keeps you there. For fully eight minutes little major changes, yet I'm still there, in the music. Wordless vocals join in brilliantly causing major and minor key shifts to the main melody with their own pitch changes. Another ten minutes passes like this before things begin to fade out and shift toward a new, spacey background synth. A pause and then a couple of new synths play out the rest of the song in some eery minor key. Starkly cold--like being on the moon, alone. Amazing! (50/50)
2. "Euro Caravan" (19:41) (Sample is an excerpt) begins with some low notes while some odd/eery ENO Ambient 4: On Land-esque noises flit around in the background like fairies flying around. After two minutes of this a lone male voice enters singing in a heavily treated voice some nondescript words á la LISA GERRARD. A very DEAD CAN DANCE-like soundtrack song. In the sixth and seventh minutes the vocals take on more of an Arab religious tone, style and feel. Then at the 9:45 mark one of TD/Schulze's signature bass synth driving sequences enters as the keening voice slowly fades further and further to the background. At 11:25 enters another signature sound from olden days: a computer/synth originating 'drum'/rhythm sequence. The new, playful, mostly-bass synth hits playing around over the top keep the song driving forward--into the distant future (the same very distant future that these guys were playing in during the 70s). At 14:10 the rhythm and the haunting ghost-voices flitting in and around the soundscape become more insistent, more driven. At 17:30 the song's male Arab keening-sounding voice returns, though he disappears for the final minute as the song's initial faerie voices return to take us out (or, truly, into the next song). (34/40)
3. "Thor (Thunder)" (31:47). The music here does not quite match its title, in my humble opinion. Instead, it has a very sparse, Blade Runner-like sound and feel to it--at least for the first seven and a half minutes--before the computer rhythm track begins. Then the lead synth begins to show some teeth--and support keyboard sounds fill the sonic universe in a more cosmic majestic way. At the eleven minute mark a very fast paced synthesized 'tambourine' joins the music, accompanied by some more wordless vocal keenings á la LISA GERRARD. This continues for ten minutes with little or no significant or emotional shift until at the 23-minute mark the rhythm 'instruments' cut out, leaving us with a kind of shifting progression of chords of mellotron voices over which which a solo voice and occasional synthesizer single note their ambiguous, androgynous melodies. To the end. (57/65)
Not enough development and variety on the album's last song, and yet the album as a whole is a perfect update of some of the best sounds and techniques of the pioneers of electronic music. Only, here, they benefit from the technological advances in sound production and music recording.
90.97 on the Fish scales = A-/five stars; a minor masterpiece of progressive rock music.
7. YVES POTIN/JAZZCOMPUTER.ORG Elsewhere
The second album released by guitar-based prog electronic/jazz/fusion artist Yves Potin under the JazzComputer.Org name. The music here is very difficult to categorize. It is a fusion of many eclectic styles, all very nicely engaging the listener on some wild and otherworldly yet relaxing and thoroughly enjoyable journeys through some very exotic aural topographies that might be better described as coming from "ancient futures."
1. "Indian Mood on Thethys" (9:38) opens like a jazz guitarist's solo sound experimentation. I'm reminded of both Pat Metheny's totally solo album from 1979, New Chautauqua, as well as some of Jan Akkerman's late 1970s solo experimentation (Eli). Gorgeous stuff. The first half goes with very little rhythmic structure (the occasional background synth wash chord), but in the second half the guitar and newly-present bass and talking drum and rim shot percussives become support for the soloing of a koto. Cool sounds and cool stuff. I'd like to have seen a little more melodic development to engage me a little more deeply. (17.5/20)
2. "Dawn in the Snow" (11:34) opens as if it came straight from outtakes from Vangelis' Blade Runner soundtrack, this song contains some absolutely magical moments (like the sparsely used operatic voice notes) but lacks from full development in many overly-spacious places. (16.5/20)
3. "Elsewhere" (24:55) other than the opening atonal space synthesizer section (which is very cool but a little too long), this song stands up as one of the prettiest, most deeply engaging and evocative electronica pieces I know of from the Naughties. The section from the beginning of minute seven to ten is absolute prog perfection. The percussives in the next section are really cool, as are the space sounds and unsettling synth worms in the thirteenth minute and the guitar "punches" in the fourteenth and fifteenth minutes. The next section that establishes itself around 17:30, driven by the "lunge jazz" beat, is really cool for the scurrilous flights of the synth "bats." If the opening four minutes were as peaceful and engaging as the final four this would be a perfect prog epic. (47.5/50)
90.55 on the Fishscales = A-/five stars; a minor masterpiece of ambient electronic jazz fusion (or something like that) and a gorgeous example of the possibilities of 21st Century technological potential.
8. PORCUPINE TREE Fear of a Blank Planet
My introduction to Steve Wilson and Porcupine Tree. After a fifteen year hiatus from "progressive rock" and most new music, ProgArchives reviewers led me to this gem. Revived with a new intrigue and interest in the most artistic of music forms, progressive rock, I began my adventures into post-1970s prog with this CD. From the first listening I was impressed. A little heavier than I expected at times, I quickly keyed into the drummer: very impressive. Then found myself bewitched by the beautiful and diverse sound textures (helped out by old "friend" from my David Sylvian years, Richard Barbieri). Even nostalgically amused by the "guest appearances" by prog legends Robert Fripp, Alex Lifeson and John Wesley.
1. "Fear of a Blank Planet" (7:31) Drums catch you from the start: Tight! Confident! Who is this guy! Google search! Pretty cool "metal-ish" feel in the guitars, the kick drum style, though mellotron/synths soften it some. Great mellotron background wash! Lyrics kind of cynical and depressing. Keyboard work is subtle but really absorbing. Good hard driving tune with excellent electric guitar and synth soli at the end. The end is the best part (and more typical of older PT, I will find out). The lyrics are amazing--so astute at capturing the zeitgeist of the times. (13.125/15)
2. "My Ashes"(5:10) Very cool intro. Haven't heard that effect/sound since Zep's "Ocean". Chorus enters over a beautifully fluid wash of Floydian mellotron, followed by entrance of drums and electric guitars. The burdens of cultural transmission. I've read Steve can be a bit down, even depressing (lyrically). Love the flowing, floating strings behind the vocals and acoustic guitars (masterful work by Richard Barbieri). A well-constructed song that is, aside from the lyrics, a bit boring. (8.66667/10)
3. "Anaesthetize" (17:42) The first truly proggish feeling song. (Especially due to its 17 minute length.) The drum "arpeggios" underlying the first three minutes are mixed perfectly into the song so as to not overwhelm the listener. (This is a real workout for drummer Gavin Harrison!) The entry of the fuzz guitar chords and snare hit and then excellent electric guitar solo precede an awesome electric piano sequence (Ambrosia?) and some synthscapes just before the more metal-ish drum and bass sounds take over the rhythm. Steve's treated vocals at eight minutes in truly usher in a more fully metal feel (so cleanly recorded!) (really a Nirvana grunge "Feels Like Teen Spirit" section). Awesome Gary Newman "Cars" sound just before this drummer dude really gets to impress us. There's that metronomic click track again. Barbieri/Wilson's synth work is so smooth, subtle, understated but interesting and key! The Floydian end section brought in at 13:20 is very cool, very Wish You Were Here/Animals, complete with brief Gilmour-esque axe solo. The song never really seems to develop into what it promises at the beginning, though it does end well and the lyrics, of course, are powerfully cogent. (30/35)
4. "Sentimental" (5:33) A teen anthem sung by a thirty-forty-something. This is, however, a song that has grown on me. (That piano chord progression is haunting.) Hmm. Simple SimpleMinds/ U2-ish song structure has a feel similar to several other "classic" PT songs. A decent song. (8.75/10)
5. "Way Out of Here" (7:38) is the first of the albums two really great songs. True classics, these are, with really powerful lyrics and vocal deliveries (though sometimes too deep in the mix, due to the treatments). Very catchy chorus lyric and melody. Absolutely stunning guitar solo (Fripp?) is followed by an eerie, here-comes-the-slasher lull before all metal hell breaks loose. And did I mention the drums? This drummer knows his craft--enhancing yet never dominating, with sometimes breathtaking speeds and techniques. (Again: the drums are so well mixed into the music). The long fadeout of ascending string sounds over Harrison's ever-so subtle, yet playful, batterie is brilliant! (15/15)
6. "Sleep Together" (7:30). A quiet little intro is suddenly amped up and made rather eerie by a strong, slow drum beat before Steve's treated voice screeches his forceful though despondent command, "Let's sleep together." The world's about to end, so why not? Second time through the chorus leaves us in outer/inner space with some very interesting multiple synth play. Gavin and Colin rejoin the music to help usher us through a truly unusual "string quartet" (a la Kronos Quartet) exit. Very fresh and creative. Classic prog! Awesome! (15/15)
Undoubtedly outstanding musicianship and sound recording with very impressive composition and of-time-capsule-interest lyrics (computers and iPods). I think Steven Wilson is a genius for captivating the existential essence of our times with his words. Though I may not like the music here as much as others, I do concede to the fact that I think we have in Fear of a Blank Planet a modern prog classic! Also, mega kudos to Gavin Harrison and Richard Barbieri: extraordinary work!
90.54 on the Fishscales = A-/low five stars; an excellent addition of heavy prog to any music collection.
9. THORK Nula Jedan
An album from the French mood-masters who created the band NIL, the leadership of the brothers MAURIN (one of which has by this album left the project) have given way to that of Sebastien FILLION (with the help of brother/cellist Arnaud) to produce this enigmatic collection of hard-to-describe songs. The music is modern, perhaps "ahead of its time" in its odd, sometimes ethereal, sometimes jazzy sounds and passages. It can thus be said with some confidence that this is truly progressive rock music as its songs take the listener to places and in directions that you have likely never travelled before. While listening through this album I find myself reminded at times of DEAD CAN DANCE, FIELDS OF THE NEPHILIM, AKT, STING, LUNATIC SOUL, STEVE JANSEN and, of course, NIL.
An album from the French mood-masters who created the band NIL, the leadership of the brothers MAURIN (one of which has by this album left the project) have given way to that of Sebastien FILLION (with the help of brother/cellist Arnaud) to produce this enigmatic collection of hard-to-describe songs. The music is modern, perhaps "ahead of its time" in its odd, sometimes ethereal, sometimes jazzy sounds and passages. It can thus be said with some confidence that this is truly progressive rock music as its songs take the listener to places and in directions that you have likely never travelled before. While listening through this album I find myself reminded at times of DEAD CAN DANCE, FIELDS OF THE NEPHILIM, AKT, STING, LUNATIC SOUL, STEVE JANSEN and, of course, NIL.
Line-up / Musicians:
- Sébastien Fillion / vocals, guitar, bass, synths, piano, Fender Rhodes, programming, whistles, glockenspiel, percussion
- Arnaud Fillion / cello, oud
- Claire Northey / violin
- Samuel Maurin / bass, fretless bass (8)
- Philippe Maullet / drums, percussion (1,8)
With:
- Violette Corroyer / backing vocals (1,3,8)
- Hugo Quillet / trumpet & flugelhorn (6,8)
- Jérôme Blanc / trombone (6,8)
1. "Ex-Slave" (12:47) (24/25)
2. "Ici" (5:36) (8.5/10)
3. "La Lumière" (9:10) incredible blend of gentle approaches from voice, percussion, bass, background vocals, oud, strings, keys, even drums--all topped off with an awesome electric guitar solo in the second half. (19/20)
4. "J'aurais Pu" (4:37) wonderfully deep LUNATIC SOUL-like atmospherics with vocoder-treated voice. (8.5/10)
5. "Danse Des Airs" (6:20) gorgeous intro with keyboard weave and then powerful entry of bass and rest of band. Even the jazzier third section fits and retains the engaging beauty and allure. (9.5/10)
6. "Au Ciel" (7:09) awesome ethereal vocal from Sébastion Fillion over shape-shifting strings weave. (14/15)
7. "Revoir" (7:51) (13/15)
8. "01" (8:13) (12.5/15)
9. "Ces Rêves-là" (4:22) (7.75/10)
Total Time: 66:05
90.19 on the Fish scales. A refreshingly original musical journey--with amazing sound engineering.
10. VIOLETA DE OUTONO Volume 7
Ever since I discovered this group with 2012's Espectro I have been in love. At the time my all-time favorite album from the classic "Canterbury Scene" was KHAN's Space Shanty and with Espectro I thought I was hearing a reincarnation of the one-off Hillage, Greenwood, Stewart & Peachy collaboration. Volume 7 only solidifies this feeling. While others note some kind of PINK FLOYD sound or feeling to them, I only hear the wonderful sounds of KHAN (and maybe a little CARAVAN). And yet, Brazil's Violeta De Outono, are a major force in and of themselves--and have been since the mid-1980s.
1. "Além do Sol" (5:20) introduces us to the nostalgic sound of this band with lightly picked arpeggios on the electric guitar, Hammond organ, bass and drums. The vocalist has a bit of a STEVE HILLAGE sound to his voice--which is lightly doused in reverb and mixed into the background (as it usually is). The first instrumental solo, taking place in the third minute, goes to the Hammond, followed by the HILLAGE-like guitar in the fourth minute. Neither are anything too extraordinary but both are so perfect in further enhancing the KHAN-like nostalgia feel. If KHAN had ever continued, this is what they would have sounded like. (10/10)
2. "Caravana" (4:34) opens with a mellow vocal section using a melody line familiar from Pink Floyd's "Breathe" before amping up into a full out Canterbury jam and then returning for the end to the opening section. Great organ and guitar play with solid support from the rhythm section. Great pre-digitized sound to the recording. (10/10)
3. "Broken Legs" (3:08) a fairly straightforward pop/rock song with some jazzy rhythm guitar work, 1960s sounding vocals and slide guitar work. Could be off of an early BARCLAY JAMES HARVEST or REO SPEEDWAGON album! (7/10)
4. "Eyes Like Butterflies" (6:02) opens with organ, picked electric guitar, flanged lead guitar strums, and slow-paced drumming. The bass almost has the melody lead--sometimes distracting me from the vocal. The chorus melody is gorgeous, if understated. Piano, organ, and Southern Rock-like lead guitar riffs pop out from time to time making this song a real pleasure from the standpoint of unpredictability. Really a cool composition--again one that could have come from an early 1970s blues rock band like the ALLMAN BROTHERS. (8/10)
5. "Em Cada Instante" (5:12) great Canterburian jam in the middle. (9/10)
6. "Pequenos Seres Errantes" (7:49) opens with some sliding guitar notes floating, echoing around the soundscape in the vein of DAEVID ALLEN in the GONG pre-Radio Gnome Invisible era. As it evolves it continues to develop in the vein of a couple of the space jams from Camembert like "Fohat Digs Holes in Space" or "Tropical Fish" only with synths taking the place of the saxophones. Great song--one in which the drumming and bass also stand out for the fact that they are mixed farther into the foreground. Even the vocal sounds psychedelic-Daevid Allen-esque. Awesome song! (15/15)
7. "Ponto de Transição" (3:48) is another rather simply constructed melodic pop-rock song. The vocal has a bit of a melancholy feel to it (though I don't know its content since it's in Portuguese). Piano, bass, drums and guitar--slide for the ABACAB solo. (7/10)
8. "Fronteira" (10:19) is an awesome jazz-tinged Canterbury-styled epic with multiple instrumental jam sections featuring the HILLAGE-like guitar lead and all-pervasive presence of the almighty Hammond organ. Great drumming on this one. Some great fast-paced sections balanced by equally great slow, spacious and delicate sections. (19.5/20)
90.0 on the Fish scales = B-/4.5 stars; a near-masterpiece of progressive rock music. These Brazilians have mastered a sound that is, for me, one of the most engaging of all of progressive rock. And, should you find yourself liking this album, then you simply must check out 2012's masterpiece, Espectro--my favorite album of that year.
2. "Caravana" (4:34) opens with a mellow vocal section using a melody line familiar from Pink Floyd's "Breathe" before amping up into a full out Canterbury jam and then returning for the end to the opening section. Great organ and guitar play with solid support from the rhythm section. Great pre-digitized sound to the recording. (10/10)
3. "Broken Legs" (3:08) a fairly straightforward pop/rock song with some jazzy rhythm guitar work, 1960s sounding vocals and slide guitar work. Could be off of an early BARCLAY JAMES HARVEST or REO SPEEDWAGON album! (7/10)
4. "Eyes Like Butterflies" (6:02) opens with organ, picked electric guitar, flanged lead guitar strums, and slow-paced drumming. The bass almost has the melody lead--sometimes distracting me from the vocal. The chorus melody is gorgeous, if understated. Piano, organ, and Southern Rock-like lead guitar riffs pop out from time to time making this song a real pleasure from the standpoint of unpredictability. Really a cool composition--again one that could have come from an early 1970s blues rock band like the ALLMAN BROTHERS. (8/10)
5. "Em Cada Instante" (5:12) great Canterburian jam in the middle. (9/10)
6. "Pequenos Seres Errantes" (7:49) opens with some sliding guitar notes floating, echoing around the soundscape in the vein of DAEVID ALLEN in the GONG pre-Radio Gnome Invisible era. As it evolves it continues to develop in the vein of a couple of the space jams from Camembert like "Fohat Digs Holes in Space" or "Tropical Fish" only with synths taking the place of the saxophones. Great song--one in which the drumming and bass also stand out for the fact that they are mixed farther into the foreground. Even the vocal sounds psychedelic-Daevid Allen-esque. Awesome song! (15/15)
7. "Ponto de Transição" (3:48) is another rather simply constructed melodic pop-rock song. The vocal has a bit of a melancholy feel to it (though I don't know its content since it's in Portuguese). Piano, bass, drums and guitar--slide for the ABACAB solo. (7/10)
8. "Fronteira" (10:19) is an awesome jazz-tinged Canterbury-styled epic with multiple instrumental jam sections featuring the HILLAGE-like guitar lead and all-pervasive presence of the almighty Hammond organ. Great drumming on this one. Some great fast-paced sections balanced by equally great slow, spacious and delicate sections. (19.5/20)
90.0 on the Fish scales = B-/4.5 stars; a near-masterpiece of progressive rock music. These Brazilians have mastered a sound that is, for me, one of the most engaging of all of progressive rock. And, should you find yourself liking this album, then you simply must check out 2012's masterpiece, Espectro--my favorite album of that year.
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