Top Albums of the Year 2007, Part 3: Other Highly Recommended Albums

Other Albums from 2007 Worth Listening To

Below you will find a somewhat-ordered catalogue of the album releases from 2007. These are albums that I have determined to be good or interesting enough to recommend to you, the reader, for your own exposure, awareness, and/or exploration; these are albums that were not, in my opinion, good enough to belong on my "Masterpieces" page, but which, I thought, deserved some credit and attention. 

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

RIVERSIDE Rapid Eye Movement

The followup to one of the 21st Century's peak achievements, Second Life Syndrome. 

Line-up / Musicians:

- Mariusz Duda / vocals, bass, acoustic guitar

- Piotr Grudzinski / electric guitars

- Michal Lapaj / keyboards, Hammond, theremin, backing vocals

- Piotr Kozieradzki / drums, percussion

With:

- Artur Szolc / percussion (1,4,2.1)

- Robert Srzednicki / keyboards & guitar (2.3)

- Part One - Fearless:

1. "Beyond The Eyelids" (7:56) (12.75/15)

2. "Rainbow Box" (3:37) (8/10)

3. "02 Panic Room" (5:29) deep, hard-driving, insistent song with Mariuz' mellifluous voice. (9/10)

4. "Schizophrenic Prayer" (4:21) sounds a bit too similar to Second Life Syndrome--though the best of SLS. Nice vocal harmonies--and great "crazed" vocal at halfway point. (8.75/10) 

5. "Parasomnia" (8:10) solid hard rocker with great drumming and lots of dramatic dynamic shifts. (13.25/15)

- Part Two - Fearland:

6. "Through The Other Side" (4:06) acoustic guitars and bass accompany Mariuz' up-close whispering voice. Definitely a precursor to his LUNATIC SOUL stuff. (8.5/10)

7. "Embryonic" (4:10) acoustic guitars with wind sounds behind Mariuz' sensitive vocal. At 2:15 keys, multiple voice tracks, and upper register acoustic guitar arpeggi get close and personal before giving way to a nice Piotr Grudzinski electric guitar solo. Nice. (8.75/10)

8. "Cybernetic Pillow" (4:46) straighforward heavy rocker with nice electric guitar and Hammond organ features. Freaky psycho synth solo in the second half. (8.75/10)

9. "Ultimate Trip" (13:13) These guys really are good at composing interesting, engaging epics. This one is a great example--dramatic and expository. (They should do more.) (22/25)

Total Time: 55:52

While not as fresh and exciting as the sound achievements of Second Life Syndrome, what the band has proved here is that they're mature and confident in their skills and style. No low points here other than "Rainbow Box" so, another highly recommended album, but, then, no incredible highs, either.

86.74 on the Fishscales = B/four stars; a solid contribution to the Heavy Prog subgenre.

RITUAL The Hemulic Voluntary Band

An interesting album in which the Moomin folk tales of Finnish author Tove Jansson are rendered using a variety of old, traditional folk instruments mixed with modern electricity.

Line-up / Musicians:
- Patrik Lundström / lead & backing vocals, electric & acoustic guitars
- Jon Gamble / grand piano, Rhodes, clavinet, harmonium, backing vocals
- Fredrik Lindqvist / bass, Irish bouzouki, dulcimer, whistles, recorders, backing vocals
- Johan Nordgren / drums, percussion, nyckelharpa, backing vocals
With:
- Lovisa Hallstedt / violin (6)

1. "The Hemulic Voluntary Band" (4:53) opens like a mix of GENTLE GIANT and YES until the JETHRO TULL-like singing verses begin. Quite an unusual use of percussion instruments. Fine imitations creating an unusual and rather unique sound palette delivering a song that doesn't quite stick. (8.5/10)
2. "In the Wild" (5:55) driving, cohesive band construct, with great vocal and melodies. I am rather appreciative of the slowed down piano section in the middle--kind of Freddie Mercury-like. (8.75/10)
3. "Late in November" (4:59) feels like a medieval love song--or something from the band MOON SAFARI. Nice weave; nice vocals. I'd love to hear more of those multi-voiced vocal harmonies. (8.75/10)

4. "The Groke" (6:06) delightfully ominous--with accordion! But then it sadly disappears. A decent song again employing an unusual palette of percussion. (8.5/10)
5. "Waiting by the Bridge" (4:36) multiple instruments bouncing all around the soundscape over which multiple voices sing the lead. I like the different stuff in the final third. (8.25/10)
6. "A Dangerous Journey" (26:35) some truly wonderful musical palettes and motifs diminished, unfortunately, by the rather silly rat-based libretto. Sometimes it sounds a bit like THE DECEMBERISTS. Wish there were more efforts to layer vocal harmonies as in the 19th minute. This could be a 5 star epic were the lyrics more relevant and the musical shifts more varied stylistically and in tempo. Love the shift to a happy/major key in the 24th minute. (43.75/50):

- Cat & Glasses 
- The Swamp 
- A Curious Crowd 
- Volcano 
- Snowstorm 
- Onion Soup 
- Monster! 
- Balloon 
- A Party Outdoors

Total Time 53:04

86.5 on the Fish scales = solid four star album; excellent addition to any prog rock music collection.

SETNA Cycle I

The sudden appearance of this album of full-blown Zeuhl--with the participation of known MAGMA alumni like James Mac Gaw--came as quite a surprise despite the fairly recent rebirth of the Magma base with the Trianon and Le Triton concerts and the 2004 release of universally recognized Magma masterpiece, K.A. and the decade since the formation and appearance of the British RIO/Zeuhl band GUAPO, and yet, here it is: the first in the 21st Century's New Wave of French Zeuhl bands.

Line-up / Musicians

- Natacha Jouët / vocals
- Florent Gac / Fender Rhodes
- Nicolas Goulay / Fender Rhodes, Minimoog
- Guillaume Laurent / soprano saxophone
- Christophe Blondel / bass
- Nicolas Candé / drums, percussion
With:
- Mathilde Maisse / vocals
- James Mc Gaw / guitar
- Benoît Bugeïa / Fender Rhodes
- Yves Marie Dien / percussions

1. "Ombres" (2:44) opens the album with a Fender Rhodes solo. Interesting in that I'd never heard the xylophone-like quality of the Fender Rhodes as I do here. Zeuhl instruments join in to introduce the Zeuhl sound palette--chunky, distorted bass, sax, and potent drums especially. (4/5)
2. "Tristesse" (4:35) a slow, hypnotic rumbling weave opens this before Fender Rhodes begin embellishing--a little. At 1:20 low sustained buzz notes of a Minimoog enter and draw attention. 2:45 drum shift does little to change the song (and is soon given up). At 3:25 it quiets for the entry of Natacha Jouët's vocals (some double tracked). And then, that's it! (8/10)
3. "Intuition" (13:07) (/25)
4. "Voir" (6:34) dominated by the featured vocals of Natacha Jouët, this one starts out very slowly, very mellowly and simply before building into something more typical of Vander Zeuhl.  (9/10)
5. "Ouverture" (1:22) interesting flow from "Voir" into this using a very familiar Canterbury trick and sound palette. (5/5)
6. "Conscience" (5:05) (8.5/10)
7. "Connaître" (8:12) (13/15)
8. "Être" (6:20) (/10)
9. "Unité" (10:55) (/20)

Total time 58:54

An interesting and delightful foray into Canterbury-spiced Zeuhl music. Far more employment of singular female vocals than I've ever heard in Zeuhl before (before hearing VAK or KOENJI HYAKKEI)--and vocals mixed so far forward (as the dominant track). Overall, Cycles is a very pleasant listen that becomes background music for its fairly mellow structure and palette as well as its hypnotic repetitiousness and lack of any significant, dynamic peaks.  

86.36 on the Fishscales = B/four stars; a solid addition to the lexicon of Zeuhl and a very nice addition to any prog lover's music collection. But wait: this band gets better--way better--with their next release!

FAUN Totem

German "Pagan Folk" band FAUN is one of my favorite 21st Century bands with one of my favorite sounds of all. After rising so fast with their previous three albums, culminating in the sheer perfection that is 2005's Renaissance (one of the finest Prog Folk albums of all-time), the band here find themselves struggling to maintain a cohesive, coherent direction.

Line-up / Musicians:
- Oliver "Sa Tyr" Pade / vocals, bouzouki, nyckelharp, Celtic harp, acoustic & electric guitars, zither, didgeridoo
- Fiona Rüggeberg / vocals, recorder, whistle, bagpipes, sallow flute, fujara
- Elisabeth Pawelke / vocals, hurdy-gurdy
- Niel Mitra / synths, sequencer, sampler, computer, drum programming, sounds, Fx
- Rüdiger Maul / percussion (tar, riq, davul, panriqello, darabukka, timbau)
With:
- Johannes Schleiermacher / cello (2,4,6,9,11) 
- Jennifer Evans Van Der Harten / Celtic harp (6)
- Hamid Khezri / dutar (8)

1. "Rad" (3:57) nice mood music opens this before heavily treated vocals of Oliver and Fiona enter singing a near-spell chant. Variations of voice effects and tandems (sometime using Elisabeth) continue as music drones along. It's actually quite effective if you were gathered around a fire at midnight trying to imbue certain spells into the ether. Nice play on the sallow flute by Fiona. (8.75/10)

2. "2 Falken" (4:59) odd electronic percussion effects (or programs) at the base of this one while Elisabeth sings in a voice that is far too effected by reverb etc. A very strange (for Faun), almost shoegaze song. (8.25/10)

3. "Sieben" (4:11) as if trying to sound primal/native/deep indigenous. Layers of Oliver's voice doing several things (drones, singing of lyrics, and vocalise) are alternated by dual voices of Fiona and Elisabeth. Interesting weave: hypnotic, but the sound is a little too processed (electronically). (8.5/10)

4. "November" (4:49) with guitar and cello, this one plays out as a far more common, standard, albeit modernized folk song--almost sounding like British Post Rock band MIDAS FALL. Pretty, soothing, but, in the end, fails to develop enough to maintain interest--and no extra. (8.5/10)

5. "Tinta" (4:52) here we find Faun in its more familiar element: the interpretation of an ancient song and tradition with Elisabeth leading in her breath-taking Renaissance voice and style. Percussion instruments build in the second half as do the layers of female voices. Brilliant rendition but there is still something that falls short of potential. (8.75/10)

6. "Unicorne" (4:21) Elisabeth Pawelke singing in French, an old love song. What a talent! Thank goodness the band was willing to work with her deepening attraction to these ancient forms and traditions. Beautiful and heart-wrenching. (8.75/10)

7. "Karuna" (3:21) a folk instrumental which lacks the band's usual unity and enthusiasm. (8.5/10)

8. "Gaia" (6:18) drawing from the East/Middle Eastern musical traditions, the band try on yet another ethnicity with grace and respect. However, the band comes up short in this rendition, offering instead what feels like a floundering mish-mash of multiple styles--ending up sounding like a JONATHAN GOLDMAN trance song. Stands strong and alone for just that: as a trance song. (8.5/10)

9. "Zeit Nach Dem Sturm" (5:57) soothing vocal weave over weird percussion choices. Too repetitive and drawn out. (7.75/10)

10. "Der Stille Grund" (3:07) an a cappella duet between Fiona and Elisabeth. The jewel of perfection of the album. Now this is what Faun is all about, to my mind. (9.25/10)

Total time: 45:52

I find Totem quite disappointing considering the meteoric rise Faun had achieved from 2002's Zaubersprüche to 2005's Renaissance. After the first two over-electrified songs smack you in the face, the album calms down into simpler song structures that place more emphasis on the vocals--which is similar to their approach on their previous album, Renaissance. But this time there is a lack of power and conviction. There are even several occasions in which I hear obvious instances where the vocal harmonies and musicians' timing are off kilter. Again, disappointing. The lack of emotion conveyed is, to my mind, indicative of intra-band discord. This is Lisa Pawelke's last album with the band--after she had finally achieved prominence and more front time with her vocal talents. She will be missed for an album or two, but, thankfully, the band reloads and comes out better than ever with Buch der Ballladen (2009),  

Eden (2011), and Luna (2014). The album ends with two songs that are most interesting for the way in which they illustrate the contrast of styles the band has explored: the Goth metal-ish "Zeit nach dem Sturm" and the a cappella female vocal duet between Lisa and Fiona, "Der stille Grund"--perhaps a farewell gesture to Lisa, who left the band to pursue more concentrated studies in classical training. While Totem is a decent, listenable album, it's just not as powerful or engaging as its predecessor.

     I now see another issue with these song choices in that they are often attempts to render ancient songs from a variety of cultural and ethnic traditions (a good thing) sometimes modernized with electronic treatments (interesting but sometimes overdone) and sometimes conveyed very conservatively ("Tinta" and "Unicorne") which, in their original forms and styles, can be very trying for the listener if one is not privy to the language being spoken/sung. While I deeply appreciate and enjoy the band's dedication to resurrecting and interpreting these amazing old songs and traditions, they may have spread themselves too thin with this collection. The typically complex layers of instrumental weaves the band had been doing on Zaubersprüche and Licht are gone; it's as if Fiona was off doing something else instead of displaying her extraordinary talents on an astonishing and ever-expanding palette of instruments and more intrigue and attention to Neil Mitra and his electronifications given.

85.5 on the Fishscales = B/four stars; a good album of modern-renderings of ancient songs that falls short by being too undecided as to commitment to electronic effects and for lacking the enthusiastic instrumental embellishments established so impressively on their previous three albums. On Totem, Faun seems to be struggling to find its (new) identity. Unfortunately, Lisa Pawelke is gone after this album, and the band finds themselves really struggling (to find that identity) until it all finally comes together in the Prog Folk perfection that is 2011's Eden's Luna.

DEVIN TOWNSEND Ziltoid the Omniscient

This is such a fun, funny, satirically melodramatic supervillain album I can't help but love despite my innate, seemingly unalterable aversion to harsh "metal" sounds (mostly bullet speed kick drum pedalling and constant, abrasive, 'infinite sustain' guitar and bass guitar power chords). The whole premise of a pimply teen 'Starbucks' coffee server's daydream revolving around the command order of a 'perfect' cup of coffee is hilarious. And Devin plays it out--both musically and lyrically--to perfection. For some reason this album makes me think of QUEEN's Flash Gordon soundtrack.

While I personally chart only two five star songs--"Solar Winds" and "Hyperdrive" (and half of "Color Your World")--the rest are such seemless contributors to the the gag/story that I wouldn't rate the rest with less than four stars. Though listening to this all the way through leaves me with quite some aural numbness, the story is worth it. The only Devin album, yet, that I will call a masterpiece--as much for its brilliant concept and cohesive presentation of such as for the obvious talent of his musicianship. I just wish he'd do something non-metal, non-heavy, non-tech/extreme. Maybe an all-acoustic "unplugged" album!?!?!?

SATELLITE Into the Night 

The third of a trilogy of albums originally intended as a solo outlet for former COLLAGE drummer Wojtek Szadkowski, SATELLITE has taken on a life of its own--and a valid place in the pantheon of Neo Prog artists. Hearing the powerful performances of former COLLAGE vocalist Robert Amirian, former COLLAGE keyboardist, Krzysiek Palczewski are always worth giving a COLLAGE/SATELLITE album a chance. This one is no exception. Interesting that it's the work of Satellite mastermind, drummer Wojtek Szadkowski, that is really the weak spot of this music. No matter, still a pretty decent album of Heavy or maybe even somewhat Neo prog.

Line-up / Musicians:

- Robert Amirian / vocals, vocal arrangements
- Sarhan Kubeisi / guitars, arrangements
- Krzysiek Palczewski / keyboards, arrangements, mixing & co-producer
- Jarek Michalski / bass

- Wojtek Szadkowski / drums, arranger & co-producer

1. "Into The Night" (6:54) (13.5/15)
2. "Dreams" (13:48) too sprawling and loosely threaded together to warrant high marks. Even the highly touted final four minutes is flawed in its drawn out simplicity. (24.5/30)
3. "Downtown Skyline" (6:16) (8.5/10)
4. "Lights" (2:15)
5. "Don't Go Away In Silence" (7:36) great melodic guitar soloing. (13.5/15)
6. "Heaven Can Wait" (9:04) a metallic opening that I'm captivated by turns into something disappointing in its simplicity and predictability. One of the poorer vocal arrangements and integrations I've ever heard from the Satellite world. Nice guitar shredding before the strummed acoustic guitar- and electric piano-based middle passage. (17/20)
7. "Forgiven And Forgotten" (6:07)

Total time 42:00

The opener, title song, "Into the Night" shows us right off the bat that this is going to be an enjoyable listen to some beautiful, powerful music. The excellent bass playing of Jarek Michalski is well worth noting, as is the guitar work of Sarhan Kubeiski (though he is no MIREK GIL). The sound production is quite a step up from the band's 2003 debut. 

Album highlights: 1. "Into the Night (6:34) (9/10);" 3. "Downtown Skyline" (6:15) (8.5/10), and; 5. "Don't Walk Away In Silence" (7:40) (13.5/15).

85.56 on the Fishscales = B/4 stars; a good, solid album but nothing Earth-shattering to write home about. Still, an excellent addition to any prog lover's music collection.

OUTER LIMITS Stromatolite

Excellent Neo Prog bordering on symphonic jazz fusion from these Japanese virtuosi. The violin is such a glorious instrument!

Line-up / Musicians:

- Shusei Tsukamoto / keyboards, Mellotron, pipe organ, vocals
- Nobuyuki Sakurai / drums
- Takashi Kawaguchi / violin, viola
- Tadashi Sugimoto / vocals, bass, contrabass, cello, Grand Stick
- Takashi Aramaki / guitar, vocals

1. "Cosmic Velocity" (4:33) I violin lover's dream! A top three song for me--right out of the blocks!(9/10)

2. "Consensus" (6:33) great music, horrible vocal and lyrics! Luckily, it gets better as it gets deeper into the song. (8.25/10)

3. "Lullaby" (4:34) reminds me of "Book of Saturdays" from KC. Not a great vocal but wonderful neo-baroque music throughout. Another top three song. (8.75/10)

4. "Algo_Rhythm.C" (5:22) not as full or finished as the previous songs; more Neo Prog-like. (8/10)
5. "Caprice" (violin solo) (1:32) Wow! (5/5)

6. "Spiral Motion" (6:04) great rondo-like start--makes you hunger for the rest--but then it goes awry with cheesy distorted guitar strums and pipe organ. Once the violin has rejoined, it gets better, but still very flawed--a lot of too-simple play from the support instruments--organ and violin are doing all the work. Bombastic full organ sequence helps; a new motif is established within which a veritable Robert Fripp guitar solo plays. Then violin. Wow! What a difference that second half makes. Still, flawed by the embarrassingly simplistic foundation. (8.25/10)

7. "Dahlia" (6:47) another more aggressive, angular guitar-driven King Crimson-like intro which shifts rather suddenly (and unexpectedly) into a more melodic vocal section. The vocal here works in a David Sylvian kind of way. The instrumental section in the middle is amazing--with Fripp-like guitar and amazing synth and violin soli. Even the a cappella vocal bridge works. Combination Yes and KC. Probably my favorite song on the album. (13.75/15)

8. "Pangea" (5:05) MIKE OLDFIELD-like with its medieval-sounding banked horns--it sounds like some kind of a processional at a castle. Even the incidentals enhance the Oldfield flavor. I love the presence/contributions of the Stick. (8.5/10)

9. "Organ Small Works No. 4" (pipe organ solo) (3:28) good but I've heard better. (TPE & Anna von Hausswolff). (7.5/10)

10. "Constellation" (9:54) opens as if it came from YES' 90125--organ, searing guitar soling, Moog and synth strings banks, and even Steve Howe mimicry. Here, however, the keyboard sounds do feel too aged/outdated. Once again the arrival of the vocals notes a diminishment of the quality of the music. Still, a very competent and ambitious imitation of the prog masters' 1980s mantle--even down to the famous Yes harmony vocals. (16/20)

Total Time 53:52

#7. "Dahlia" is not on all releases of Stromatolite. On some releases the album ends with:

"Lunatic Game" (4:48) a very ELP-like song--even down to the Greg Lake-like vocal. (7.75/10)

The music and musicianship throughout this album just feels so effortless, so second nature to these performers.

84.54 on the Fishscales = B/four stars; a mixed bag of products, some stellar and virtuosic, some amazingly simple, unfinished, and contrived. Highly recommended for your own assessments.

RETROSPECTIVE Spectrum of the Green Morning

Finally! An album whose absence from the PA radar is shocking to me! "Between RIVERSIDE and PEARL JAM" is so accurate! Try the free downloads, "Regret and Frightened Child" (5:39) (9/10) and "Enemy World Vision" (7:40) (15/15) from www.last.fm.com and you will discover an absolutely amazing sound of this somehow not-yet-'discovered' band from Poland!

The 2007 EP shows signs of 'imaturity'--mostly in production and lack of variation in composition and sound--though song 6, "Have in Mind" (7/10), is different in its keyboard (a poor-man's electric piano) intro & foundation, and song 3, "Pink Elephant Missed" (6/10), is also different in that it has a more rock'n'roll feel to it--like PEARL JAM trying to do LED ZEPPELIN. Song 2, "Some Kind of Hope," (6/10) sounds a bit too much like "Regret..." and "Enemy..." though is flawed in its having less polish in the recording mix. Song 4, "Waking Up in the ZOO," (8/10) is quite good with tight RIVERSIDE-like drums and bass and an interesting ALEX LIFESON/RUSH-sounding guitar cranking out the power chords. The vocalist is excellent--very much like a cross between Eddie Vedder and Mariuz Duda (which becomes more Eddie Vedder-like in their next album)--though the lyrics of several of these songs could use a little boost. This is definitely a band that needs/deserves to be heard. If you like RIVERSIDE, you will love this album! Highly recommended.

75.0 on the Fish scales = 3.5 stars rated up for the anthemic songs, "Regret and Frightened Child" and "Enemy World Vision".

THE REASONING Awakening

I came across The Reasoning a couple of years ago at the suggestion of other ProgArchives reviewers who said that if I liked Pure Reason Revolution (because of their vocal harmonies) then I'd love The Reasoning. Well, I like them fine but they are in no way the same league or even the same kind of music as PRR! The Reasoning, IMO, are more like a rock group who have prog elements, whereas Pure Reason Revolution's The Dark Third is an example of multi-talented prog musicians who are (now, with Amor Vincit Omnia) exploring more rock structures. Don't get me wrong, I like this album, I play it (or songs like "Chasing Rainbows,"  "Aching Hunger," and "Playing the Game") repeatedly, and I consider "Within Cold Glass" to be a truly GREAT song, but The Awakening is not in the same "masterpiece" category I consider The Dark Third to be in. 

3.5 stars marked up to for its consistency throughout.

NIGHTWISH Dark Passion Play 

Though Nightwish music is always a bit too heavy metal for my tastes, I cannot help but admire their incredible musical constructs, the amazing talents of their lead singer(s), and the immense scope of their to involve orchestra. If you're okay with the heavier side of prog, I highly recommend all Nightwish albums. if you are a bit turned off by over-the-top theatric metal productions, at least give this one a chance. To me, this is much more enjoyable than Aryeon/Arjen Lucassen projects--more polished, cohesive and perhaps even ambitious, too. Or even try out the first and last songs, "The Poet and The Pendulum" (13:55) (27.5/30) and "Meadows in Heaven" (7:10) (9/10). Then judge. Beautiful arrangements, that's for sure.

EPICA The Divine Conspiracy

Another female fronted theatric metal band whose albums explore some seriously demanding compositional and performance territory, like NIGHTWISH. Both groups put out amazing productions in 2007. NIGHTWISH, to my ears, sound a bit more polished instrumentally and symphonically, but the vocal arrangements of The Divine Conspiracy may top Dark Passion Play. (The use of male voices--even growls--seem to fit, work well, within the context of the music and as a contrast to the amazing female vocals of "mezzo soprano" SIMONE SIMONS.) I do not like the keyboards used by Epica (despite the often wondeful 'orchestra' sound accomplished), and the in-your-face machine gun fire kick drum is a detractor, but everything else is wonderful.

Album highlights: the more sensitive, sedate, "Chasing the Dragon" (7:40) (13.5/15); the Arabian-tinged "Fools of Damnation: The Embrace that Smothers, Part IX" (8:42) (17/20), and: the epic title song, (13:57) (25/30).

THIS WILL DESTROY YOU This Will Destroy You 

A powerful debut album from these Post/Math Rockers. Great sound production throughout. Rough and raunchy or ultra-clear whenever they want it, there are moments of MONO's beauty, MOGWAI's punch, SIGUR RÓS's style with RED SPAROWES overall consistency and the sound and production reminiscent of post-Kiss Me, Kiss Me, Kiss Me THE CURE. Also, there is some great JOHN MARTYN-like electric (any Echoplex here?) guitar work. 

Favorite songs: "They Move on Tracks of Never-ending Light" (6:56) (9/10) and"Villa del Refugio" (7:06) (9/10).

BLACK BONZO Sound of the Apocalypse 

Line-up / Musicians:
- Magnus Lindgren / lead vocals
- Joakim Karlsson / acoustic & electric guitars, bouzouki, flute
- Nicklas Ahlund / Hammond, piano, Mellotron, synthesizers
- Anthon Johansson / bass
- Mike Israel / drums & percussion, Indian chanting
With:
- Adrian Holmström / saxophone
- Will Steffen / speech

1. Thorns Upon a Crown (6:51)
2. Giant Games (5:56)
3. Yesterday's Friends (7:10)
4. The Well (6:18)
5. Intermission - Revelation Song (1:59)
6. Ageless Door (5:23)
7. Iscariot (7:22)
8. "Sound of the Apocalypse" (13:01) (24/25)

Total Time 54:00

One great song, the epic finale, title song, "Sound of the Apocalypse", among eight okay--not even good or great--rock tunes. 'nuff said. 

Albums from Y2K that Are, IMHO, Over-rated

PHIDEAUX Doomsday Afternoon

I have listened to this album, these songs, over and over for the past two years and I'm finally ready to say it: I don't get it! I don't understand the prog fascination with/ appreciation for this album! "Microsoft Deathstar (1 and 2)" sound so much like something from the 70's, yet: haven't we had enough of the 70s? (And what's with the two-note woofer-filling bass womps that appear in virtually every song?) While I do understand and appreciate the technical prowess of Phideaux' constructions, I just don't find them emotionally engaging or pleasing to my ears. And I LOVE 'classical music.' Perhaps if I were a lyrics-appreciating listener I would like this collection of songs better, but musically these songs are just plain, good, but plain. I have yet to feel any connection to the melodies or songs here. I appreciate the classical and ethnic themes and influences, and love the clear production. (Though, perhaps it's a bit too sterile!?) 

    With so many familiar melodies, so many interesting shifts and changes, it's surprising that I find the most monotonous song on the album, "Thank You For the Evil" (18/20) my favorite. Perhaps it's because it stays constant long enough to convey a feeling, a mood--to make its point. And what's all the hype about the 'amazing' female vocal performances? Come on, people! (I guess they're better than/help distract from the lead male.)

**** Four stars, rated up for clarity, consistency, and talent. Phideaux definitely knows his way around an engineering board.

OCEANSIZE Frames 

Many reviewers rate this as Oceansize's (so far) masterpiece. I have to disagree. This album shows a much more abrasive, less melodic, more uniform sounding Post Grunge group. Both of the previous albums are much more melodic, experimental, diverse, and engaging. With Frames, I think the group is becoming more self-defined and self-indulgent and less concerned with listener popularity or appreciation. This is even more apparent with the follow up, Self-Preserved While the Bodies Float Up. To me, their masterpiece was by far and away Everyone into Position.

Line-up / Musicians:

- Mike Vennart / vocals, guitar

- Steve Durose / guitar, vocals

- Richard "Gambler" Ingram / guitar, keyboards

- Steven Hodson / bass, keyboards, cymbals

- Mark Heron / drums & percussion

With:

- Paula Simpson / violin (4,5)

- Justin Lingard / viola (4,5)

- Semay Wu / cello (4,5)

1. "Commemorative T-Shirt" (8:37) Amazing drumming! What an opening song! Not as melodic as the stuff on their previous two albums, more hard-driving. (17.5/20)

2. "Unfamiliar" (6:32) another song that is very heavy, the song structure and style sounding very much like classic rock. When the vocal enters I'm reminded of HAIRCUT 100's "Fanstastic Day." The more delicately-constructed minimalist instrumental middle is great--until it goes full power chord. (8.6667/10)

3. "Trail of Fire" (8:06)  a BIG AUDIO DYNAMITE "E=MC2" sound-alike. The best song on the album. (18.25/20)

4. "Savant" (8:07) true Post Rock in the BARK PSYCHOSIS/Godspeed You! Black Emperor tradition. When Mike's trumpet-muffled vocal joins in there is a definite DOVES feel, but the rest of the  song is pretty boring--despite some great individual performances from the guitar, bass, and, of course, drums. It's like the band is trying to hard but nothing is congealing, nothing is meshing. (13/15)

5. "Only Twin" (7:22) straightforward formatted (and boring) Post Rock. (13/15)

6. "An Old Friend of the Christies" (10:19) a ten-minute instrumental that plods along like a SWANS song but, surprisingly, I like it! All of the space allows for the nuances of individual instruments to really come through and shine: the bass, the subtle guitar and keyboard notes and sounds (and vibrations). Even the heavy duty power chord progressions that take over at the five-minute mark don't spoil the interesting stuff. And then at the seven-minute mark everything falls away except for the plodding drums so that the original sparse soundscape can slowly re-establish itself. This time the music builds up faster, with a little more gradual thickening coming from each instrument (and even an introduction of a Mellotron bank of strings in the tenth minute). (17.75/20)

7. "Sleeping Dogs and Dead Lions" (6:42) More than just djenty, this is tech/metal!?! The second motif, switching over in the second minute, is mellower, more melodic and nuanced, but the dirty, grungy metal stuff--with attempted death metal growls--is hard to swallow. At least the death metal growls bring it all into focus. A surprisingly abrasive song, I admire the band's courage to experiment. The second half is more interesting for its polyrhythmic instrumental weaves. Great skills. (8.875/10)

8. "The Frame" (10:08) this opening instrumental section is longer and more drawn out than anything by Japanese Post Rockers MONO! It's not until the third minute than any other instruments other than the opening ultra-slow-picked guitar starts to do anything. Then synths take over the foundational psychedelic creation as Mike's trumpet-muffled voice joins in. Mellotron in the fourth minute feels weird (and bass and synth definitely feel out of sync with the rest of the song). Mike's vocal just seems to drag on--singing as if he's in his own universe, oblivious to any other instruments or keys. Weird. And more than dissonant: these guys are incongruous. It's so odd that I find there to be COLDPLAY elements to this weird song. (17.25/20)

Total Time 65:53

Bonus track on the special edition (?):

9. "Voorhees" (11:11) the only odd/unusual song on the album (for it's Asian theme/doves singing intro) (17.33333/20) 

I'm sorry, but some of the songs on this album sound as if two or three old tracks that had been laying around from previous years were (rather badly) spliced together ("Savant," "Only Twin," "Sleeping Dogs and Dead Lions," and "Voorhees," ) and the best song on the album, "Trail of Fire" (the only five-star song, IMHO), has some rather incongruous and innocuous sections to it. Gone are melody, variety, and experimentation of "Everyone into Position" (unless you want to call venturing further into the land of dissonance and repetition 'experimental'); here a harder edge and dissonance reign. There's even a song or two I hope to never hear again in this lifetime ("Sleeping Dogs and Dead Lions" and "The Frame"). I still love (the concept of) the drummer who hates to play in straightforward time signatures, the repetitive math rock guitar arpeggios are still catchy (if played ad nauseam), but something like 'charm' or 'charisma' is missing from this album.

      There is a lot of music on this album--the nine songs average about eight and a half minutes each--but much of it fails to engage and win me over--especially as they 'develop' into either noise and cacophony or endless repetition that feel more like Chinese water torture than Divine balm. Good, I guess, but not great or even excellent.

87.75 on the Fishscales = B/four stars; a solid album that, at the end of the day, for some reason, disappoints this prog lover. After Everyone Into Position, I was thinking this band had the chance to ascend to the very top of the ranks of Prog World elite. Sadly, it just wasn't meant to be. 

THE FLOWER KINGS The Sum of No Evil 

One of the few TFK albums that isn't so over-the-top imitative, has a bit of a distance from YES. 

Line-up / Musicians:

- Hasse Fröberg / vocals, guitar

- Roine Stolt / electric & acoustic guitars, keyboards, vocals, producer & mixing

- Tomas Bodin / grand piano, synth, Minimoog, Hammond, Mellotron, Wurlitzer, Rhodes

- Jonas Reingold / bass

- Zoltan Csörsz / drums

With:

- Ulf Wallander / soprano saxophone

- Hasse Bruniusson / marimba, glockenspiel, percussion

1. "One More Time" (13:05) Despite some catchy melodic riffs and typically impressive instrumental performances, this song is too inconsistent: full of as many lows as highs (maybe more). (21.75/25)

2. "Love Is the Only Answer" (24:29) very competent but slightly under-inspired prog-by-numbers. (42.5/50)

3. "Trading My Soul" (6:25) an interesting but ultimately structure-lacking, too-scattered song in which space and disparate motifs are seemingly haphazardly pasted together. Still, it's better than some of the other songs on the album! (8.75/10)

4. "The Sum of No Reason" (13:26) (27/30)

5. "Flight 999 Brimstone Air" (5:01) like one of YES's more abrasive songs or passages (from Going for the One or Tales from Topographic Oceans). Impressive playing and musicianship but another dud in terms of listener enjoyability. (8.75/10)

6. "Life in Motion" (12:34) (21.5/25)

Total Time 75:00

Despite great instrumental performances (as usual), The Sum of No Evil is still not a great album--it still has the usual scattered feel of other TFK albums, but here there is less cringe-in-embarrassment-cuz-it's-so-stolen-from-the-masters music. 

86.83333 on the Fishscales = B-/low four stars.