Top Albums of the Year 2008, Part 1: The Masterpieces

My Favorite Albums of 2008

(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.  

2008 represents quite a good year of refreshing new music from a very wide variety of styles. My List has one (1) full masterpiece, seven (7) minor masterpieces, and eight (8) near-masterpieces. An okay year for prog!


The Rankings
(My Favorites)

1. NOSOUND LightDark

2. DUNGEN 4

3. JANNICK TOP Infernal Machina

4. DATURAH Reverie

5. UNIVERSAL TOTEM ORCHESTRA The Magus

6. BERSARIN QUARTETT Bersarin Quartett

7. DIAGONAL Diagonal

8. PENDRAGON Pure
9. FROM.UZ The Overlook

10. THOM BRENNAN Stories from the Forest

11. PINEAPPLE THIEF Tightly Unwound

12. SIMON SAYS Tardigarde

13. JEAVESTONE Spices, Species and Poetry Patrol

14. VON HERTZEN BROTHERS Love Remains The Same

15. MAGENTA Metamorphosis
16. MILLENIUM Exist

17. RATIONAL DIET At Work

18. PANDORA Dramma di un Poeta Ubriaco 

19. MOON SAFARI Blomljud

20. THIEVES' KITCHEN The Water Road

21. WILLOWGLASS Book of Hours

22. FARMERS MARKET Surfin' USSR

23. VOTUM Time Must Have a Stop
24. SYRINX Qualia
25. JELLY FICHE Tout ce que j’ai rêvé 
26. FROST* Experiments in Mass Appeal

27. THE QUIET EARTH ORCHESTRA The Quiet Earth Orchestra

28. LUNATIC SOUL Lunatic Soul 

29. BELIEVE Yesterday Is a Friend

30. MOONGARDEN Songs from the Lighthouse

Honorable Mentions: 

DARK SHOT One Shot

SOMA PLANET Bholenath

PANZERBALLETT Starke Stücke

CYNIC Traced in Air

IL BACIO DELLA MEDUSA Discesa agl'inferi d'un giovane amante

The Reviews

5 star Masterpieces

(Ratings of 100 to 93.34)

***** Album of the Year for 2008! *****

1.  UNIVERSAL TOTEM ORCHESTRA Magus

Is the future of 'progressive music' in Zeuhl??

This album is filled with some of the most masterful compositions and performances I have heard in this 21st Century. Absolutley stunning in scope and breadth. The spirits of AREA, KOTEBEL, MAGMA, JANNICK TOP, ALAN HOLDSWORTH, LISA GERRARD, EUMIR DEODATO, and GIOVANNI PIERLUIGI DA PALESTRINA have all been absorbed to bring you this production.

Line-up / Musicians:

- Ana Torres Fraile / vocals

- Daniele Valle / guitar 

- Fabrizio Mattuzzi / keyboards, electric piano 

- Antonio Fedeli / saxophone 

- Yanik Lorenzo Andreatta / bass 

- Uto Giorgio Golin / drums, percussion 

With: 

- Francesco Festi / vocals 

- Antonello Cunego / tenor vocals (3) 

- Mario Libera / tenor vocals (3) 

- Dante Cavazzoni / baritone vocals (3) 

- Emiliano Modena / baritone vocals (3) 

- Adriano Vianilli / vocals (6)

1. "De Astrologia" (19:30) starts awesomely before establishing a fairly straightforward, rather dull and repetitious A part. At 4:25 things shift  to piano and NINA HAGEN-like silly vocals to become--more interesting, more RPI-like. The 6:05 mark ushers in a very Zeuhl-like part with heavy throbbing bass-line and guitar, piano, drums and vocal very MAGMA-esque. This lasts until the 11:20 mark when a synthesizer ushers in a faster, more synth-jazz part. This lasts until 14:13 when piano introduces what appears to be another pulsating Zeuhl section--but, no! At 15:00 the piano starts to jazz it up, at 15:20 is joined by the gorgeous operatic voice of Ana Tores Fraile and later, the wonderful soprano sax of Antonio Fedeli. This is the groovingest section of Zeuhl ever! Awesome piano. Guitarist Daniele Valle had already amply demonstrated his virtuosity earlier in the song but here switches gears to render a more bluesy rock solo. Strange ending. (37/40)

2. "Corenza della percentuali" (17:32) begins with pizzicato strings like lighter moment from a movie soundtrack but then it evolves into what sounds and feels like a song straight from AREA's Arbeit Macht Frei. An amazingly tight avante jazz composition until 4:55 with the first appearance of Daniele Valle's 'one-up-on-Alan Holdsworth' guitar playing over the top of string synths and Zeuhl rhythms. At 6:55 things really slow down as a synth oscillates around the speakers, giving way to an awesome and hauntingly beautiful bass solo (which sounds more like a classical guitar). Ana's operatic voice and some spacey synths join the bass at the 8:54 mark creating a very hallowed, sacred space. 9:40 hears the appearance of an Arabic-sounding drum voice (Francesco Festi?) sounding like the donkey at the end of KATE BUSH's The Dreaming's "Get Out of My House." 12:25 sees a complete return to the hard-driving opening themes--only Ana and Francesco's pairing continues--an awesome effect over the synths and hard-drivng bass line. The last 30 second s of the song see a comical return to the opening pizzicato strings theme. Odd but appropriate. A truly masterful composition. (31/35)

 

3. "Les plantes magiques" (7:35) has a more classical chamber or church music feel to it. Piano arpeggios entwined with Ana's wordless mid-range tonings and almost-background alto sax notes. At the 3:20 mark we get a surprise: solo piano accompanying chanteuse Ana with an accompaniment of background female singers all singing French lyrics. At 4:45 a more Zeuhlish operatic section begins: orchestral percussives, synths, operatic male and female voices. Le nouveau opera! Awesome! (15/15)

4. "Ato piradime" (15:51) begins with a very familiar LOREENA MCKENNITT or DEAD CAN DANCE feel and sound until at the 1:35 mark an intricate weave of bass and electric guitar usher in a kind of movie soundtrack sax theme. Shift at 3:07 to a kind of RPI rap. Really! Very engaging and poppy. 5:17: abrupt stop and pause. Solo electric piano chord progression repeats itself until 6:15 when it is joined by a very reedy sax, then by the operatic Italian lyrics of Ana. Quite majestic is her singing to "La Luna"--as is the interplay of the sax. Vocals climax around 9:40 whereupon a heavier jazz groove takes over with Fabrizio Mattuzzi's distorted electric piano bouncing around a little before being joined by bass, drums and soloing lead guitar. Around the 13 minute mark the imitation Alan Holdsworth shows up once more to give a stellar show of what AH could be. The song's final minute allows Ana and Antonio's "La Luna" theme to return to fade. (28/30)

5. "Mors, ultima linea rerum" (6:06) begins with a few seconds of a kind of circus-like sound and feel before unleashing an awesomely powerful heavy prog section, only to segue into a kind of GINO VANELLI/BILLY JOEL pop jazz at the 1:30 mark. Enter an awesome 'Alan Holdsworth' guitar solo, then at 3:05 shift back to the heavy prog theme. 4:20 sees the combination of the jazzy Holdsworthian theme with a truly jazz-Zeuhl repetitiousness. End with another strange kind of fade out. (9/10)

6. "Vento madre" (13:24) reminds me so much of one of my favorite 21st Century albums, KOTEBEL's Omphalos--particularly the "Pentacle" suite. I love the combination of heavy electric guitars, hard-rocking rhythm section with operatic vocals. 3:55 begins a DEODATO-ish electric piano bridge to a very pulsating, deeply engaging, mesmerizing section of Zeuhlish magic. Ana and guest male vocalist Antonio Vianilli. "Salval!" Saxes and electric piano. Enter Sr. Daniele Valle, electric guitarist extraordinaire! Quiet section yields to the return at 10:15 to the opening theme. Let the wild rumpus continue! Dance ye sacrificial lambs! Faster! Faster! Lose yourself in the mélée; come under the spell of The Magus! (29/30)

Total time 79:58

This album is filled with some of the most masterful compositions and performances I have heard in this 21st Century. I cannot imagine anyone not seeing the utterly astounding quality of these songs and these performances. They are so fresh, unusual, creative and mature. Plus, I love it that Zeuhl has an Italian participant! Without question or reservation a solid, strong 5 star contribution to Western music. Perhaps the second greatest Zeuhl album I have had the privilege hearing (thus far).

93.4375 on the Fish scales = A-/five stars; a minor masterpiece of progressive rock music.

I love Zeuhl!

The "Minor" Masterpieces:

(93.3 to 90.0)

2. NOSOUND LightDark

Spacious. Ambient. Simply constructed. I can see why some listeners might not enjoy this album (and, thus, write negative reviews of it). But for one who enjoys PINK FLOYD, PORCUPINE TREE, DAVID SYLVIAN, BRIAN ENO, or AIRBAG, this is a wonderful album. In fact, IMHO, there are several songs on LightDark that may even top the achievements of the afore-mentioned.

Line-up / Musicians:

- Giancarlo Erra / vocals, guitar, keyboards, producing & mixing 

- Gabriele Savini / acoustic guitars 

- Paolo Martellacci / keyboards, vocals 

- Alessandro Luci / bass 

- Gigi Zito / drums, vocals 

With: 

- Tim Bowness / vocals, co-composer/producer (5) 

- Marianne de Chastelaine / cellos (3,6,7) 

1. "About Butterflies and Children" (3:02) is a short instrumental of swirling synthesized keyboards, organ, and, a little later, treated HAROLD BUDD-like piano. Nice, calm piece that definitely introduces the dominant sounds, tempo, and mood of the album. (8/10)

2. "Places Remained" (4:29) begins with a blues drum and bass rhythm and sound before RICHARD BARBIERI-like synths fill the aural spectrum just before we hear Giancarlo Erra's voice for the first time. Wow! I thought it was STEVEN WILSON! At least until the accent becomes obvious. Masterful use of the keyboard synths to fill the background--to hypnotize the listener. And a nice GILMOUR/WILSON guitar solo at the 3:20 mark to the song's end. (8/10)

3. "The Misplay" (4:32) is one of the album's masterpieces containing perhaps the best vocals of the album. It begins, again, with floating keyboard synths and effects masterfully accompanying some heavily treated piano notes. Giancarlo's absolutely stunning vocal work enters over the undulating synth wash to the 2:00 minute mark when pizzicato strings and the same heavily treated piano tinkering from the song's intro take over for the slowly receding vocal. Masterful use of and balance between keyboards/synths, effects, strings (a particularly beautiful cello presence after the 3:02 mark), and recording effects. (Is Mr. ENO on board?) (10/10)

4. "From Silence to Noise" (15:30) begins with reverse (backward) guitar and keys over a synth-strings wash. At the 2:05 mark there is a synth-strings chord shift opening the door for some delicate cymbols play--soon followed by some slow, well-spaced (and echoed) guitar single strums. FLOYD-ian vocals and bass are soon to follow. One really intriguing aspect of this song is how much attention is earned by the cymbol play--as if it were a solo--due to the fact that everything else in the song is so constant and repetitive; the cymbols are the only thing "moving." Astonishing! The 4:15 mark sees the beginning of some PINK FLOYD ("Comfortably Numb") sound. 4:45 introduces the vocal chorus (with doubled lead and harmonizing vocals). It's so-o-o PINK FLOYD! 6:25 sees a short pause until the 6:40 mark when the drums and keys change activity in a very goosebumpity moment. The bass, drums, and cymbols build and build until at 7:30 everything but the synth-string wash drops away--again pointing all attention to the returning cymbols "solo"  and slow single guitar strums. At the 8:30 mark we are graced with a gorgeous GILMOUR-ish slide guitar solo--which is later doubled in the left channel. At 9:35 the chorus returns. Such a rich swirling of the synthesized strings sounds! It's like being bathed in a healing ether! AT the 11:00 mark the vocals cut out and we are left with the fascinating cymbol play over the thick swirling synths and slow, well-spaced guitar strums. The swirling synths build to a crescendo as the other instruments fade away, then themselves begin to fade while a kind of industrial-sea sound builds, over which the sounds of children playing on  a playground play out to the song's end. Wow! What a trip! (30/30)

5. Another pure masterpiece, "Someone Starts to FadeAway" (8:55) begins with a very emotionally heart-wrenching STEVE REICH-HAROLD BUDD/BRIAN ENO-like background treated piano and ekyboard wash. A brief backward guitar solo plays before guest vocalist TIM BOWNESS (NO-MAN) enters to give an absolutely gorgeous vocal performance--the perfect match to the background music. (It seems to me that a semi-whispering, almost talking approach is when Bowness's vocal talents are most powerful.) Add mellotron at 2:15 as vocals rise an octave--as well as in urgency. At 2:50 enter bass and electric guitar--which turn into arpeggios at the 3:15 mark. The song has such a Before and After Science/Plateaux of Mirror feel to it! Last vocal whispers return at the 3:40 mark. The entrance of a very different electric guitar sound's lead solo at the 4:55 mark plays a very emotional and seemingly improvised--felt--solo for the next two and three-quarter minutes. As the background keys fade, another very different, "clean," jazzy guitar sound is introduced at the 7:35 mark. It proceeds to gently solo to the song's end. So "And Julie With ... "!! Feel it! (20/20)

6. "Kites" (8:31) begins with a now-familiar minimalist simplicity until the 1:40 mark when cello, mellotron, and jazz drums enter. Here Giancarlo's boxed in/treated vocals are the weakest of the album. Unfortunately, the song's foundational synth arpeggios become a bit annoying. The cello, mellotron, and drums are the song's strengths and highlights until the 4:15 mark when an interlude of voice/radio samples (à la HOLGER CZUKAY) fill the space until the music and vocals return at 4:40 with a little more power and urgency. A very DAVID SYLVIAN sounding song. Excellent cello and mellotron work. This song really grew on me with repeated listens. (16/20)

7. "Lightdark" (8:46) begins very similarly to "Someone Starts to Fade Away:" treated piano minimalist play. At 0:40 the vocals enter--again sounding the same as "SStFA." Unfortunately, the chord selection, melody, harmonies, and theatric presentation are far less engaging than on "SStFA." Heavy mellotron use beginning at the 2:40 mark, joined by two soloing guitars at the 4:20 mark--one a "clean" jazzy guitar, the other holding and bending sustained notes with the twang bar. The two play to fade as the sounds of rainfall are mixed with those of birds and café-like background voices and noises. (16/20)

The album that I own has a second set of five songs totalling about 35 minutes in time. I'll review them though they are not included in the original "official" release (and, therefore, not in my points tally)

The last great song, 8. "Cold Afterall" (6:19) begins with the sound of rainfall behind which the female voice of a public address system in a train station (or airport) sound. Oscillating keyboard synth work is joined by strumming acoustic guitar (very PF/PT sounding). Familiar vocals. Nice mellotron-accompanied and vocal chorus at 1:14 to brief jazzy guitar solo at 1:50. Enter drums and bass at 2:05. Very "Wish You Were Here" sounding. 2:52 sees the chorus/mellotron return till 3:55. 4:10 begins the final whispered vocals before the 4:25 entrance of two screaming lead guitars sounding rather like the long end solo of TODD RUNDGREN's "The Last Ride." (From 1974's Todd.) (8/10)

9. "Like the Elephant?" (5:44) is an instrumental that presents a rather different and somewhat welcome change of pace and style. Heavy prog, with a very PORCUPINE TREE beginning (Including familiar keyboard chords and solo sounds, power guitar/bass chord playing.) The highlight, however--and this is a very big highlight--begins at the 3:30 mark. The most uncanny ROBERT FRIPP-sounding guitar solo--complete with awkward pauses, dissonances, and quirky key changes--that I have ever heard. (Moreso, even than NIL). (7/10)

10. "You Said, 'I Am...'" (4:45) begins with a now over-used minimalist piano-to-be-joined by organ and plaintive vocal formula. 1:15 sees the addition of yet another very PORCUPINE TREE-sounding guitar strum with bass and mellotron. Voice fades to allow entrance of cello at 2:05 Again, the constant background (mixed way too far into the front) piano arpeggios get rather annoying. Underused cello. Best Mellotron play on the album. (7/10)

Bonus song (not on original release): "Clouds" (10:34) ends the album with an ambient instrumental. The lead synthesier "buzzing bagpipe" sound becomes rather annoying/grating after several minutes; not even the masterful use of synthesized strings and banked voices can seem to overcome this choice for the lead. Plus, the song drags on longer than necessary. (12/20)

Overall, the album takes one on a very emotional and mostly serene and kind of "urban-pastoral" journey. I like the cohesiveness and consistency of the album--as well as the recording and engineering. Though many criticize this for being derivative or too imitational, I laud NOSOUND for taking PF and PT sound and styles to new and beautiful levels--especially with "The Misplay," "From Silence to Noise," and "Someone Starts to Fade Away."

91.67 on the Fish scales = A-/five stars; a minor masterpiece. With each listening I seem to enjoy this album more and more, therefore, it must be a masterpiece! I know it is my favorite album of 2008!

3. SIMON SAYS Tardigarde

Symphonic prog from Sweden very much attempting to replicate the sounds and styles of the Masters of the 1970s. 

Line-up / Musicians:
- Daniel Fäldt / vocals
- Jonas Hallberg / guitars, percussion
- Magnus Paulsson / keyboards
- Stefan Renström / basses, keyboards, vocoder, story concept, co-producer
- Mattias Jarlhed / drums, percussion, co-producer

1. "Suddenly The Rain" (14:47) very solid retro symphonic prog; it's quite original despite the frequent reminders of early Genesis--with solid performances all around and really no weaknesses. (27/30)

2. "Tardigrade" (3:43) vocalist Daniel Fäldt has such an unusual singing style--kind of like Donald Fagen trying to sing Gentle Giant. The instrumental skills on display are superlative--with the Hammond performed especially tastefully--and these boys are tight: hitting those stops and turns with the integrity of a BMW or Volvo. (9/10)

3. "The Chosen One" (5:44) opens as a beautiful, emotional soft song with excellent use of the Mellotron, but at the end of the second minute it kicks into high gear like a KANSAS, YES, or THE FLOWER KINGS song. Great variation and embellishment from the keyboards. Excellent Chris Squire-like bass play. (9/10)

4. "Moon Mountain" (2:33) opens with some excellent solo classical guitar before electric joins as a duet at 0:40. Sounds like something Jan Akkerman, Steve Howe, or Chet Atkins would do. Excellent! (4.75/5)  

5. "As The River Runs" (10:40) I quite like this despite the obviousness of the first half being a "modern" reflection of GENESIS' "Watcher in the Skies" (a song I've never liked much). There's just so much embellishment and tangential in this to make it all its own. Plus, the musicianship and sound engineering are so solid. (18.25/20)

6. "Your Future" (0:29) a surprisingly wonderful little melodic and mellow solo vocoder piece. (5/5)

7. "Strawberry Jam" (2:32) like a high speed intro to something. For the first 45 seconds the rhythm section is on fire. The lead guitarist and flanged bass really burn it up over the final 30. (4.5/5)

8. "Circle's End" (6:19) acoustic guitars, vocal, flute, and Mellotron give this melodic song a bit of a MOODY BLUES feel. Excellent acoustic guitar work, picking and strumming. The synthesizer solo in the fourth minute is quite reminiscent/imitative of Tony Bank's solo in "Stagnation," but then it turns "Entangled" in the fifth and sixth. The vocal is sparse but very confident and tastefully done. (9.25/10) 

9. "Brother Where You Bound" (26:33) (45.75/50)

10. "Beautiful New Day" (0:43) more multi-acoustic guitar strumming over which Daniel gives us a John Paul Jones-like finish. (4.5/5)

Total Time: 74:11

Though I could appreciate what the artists were attempting to do from the first listen, it took me many listens in order to begin to enjoy this album. Kind of like all NEMO albums. I found the vocals especially difficult to adjust to. It was actually their much more accessible song contributions to the Colossus Magazine/Musea Records theme projects that allowed me to begin to engage and enjoy the style and work of this band.

3/8/2023 edit: I've finally made the time to sit down and really listen, really get to know this album and I have to say that all of my previous judgements were premature: this is a true masterpiece of retro symphonic progressive rock music, albeit of the retro/imitative kind. Though early Genesis and, to a lesser extent, Yes are the models for the music and individual styles on this album, the compositions are quite unique, sophisticated, performed at consistently high levels, and admirably well-engineered. I now consider this an overlooked, misunderstood masterpiece from our not-too-distant past. And I now feel remiss that I did not "get" Daniel Fäldt before: he's so confident and laid-back; it really takes guts to sing like that--and to compose the way these guys did--knowing the demands they were putting on their instrumental skills.

91.333 on the Fishscales = A-/five stars; a minor masterpiece of symphonic progressive rock music. Highly recommend to all prog lovers with the requirement that you give this multiple listens.

4. DIAGONAL Diagonal

What a throwback! To think that youngsters of the 21st Century would want to so perfectly, so beautifully, so diligently recreate the sounds of the early days of what we now call 'progressive rock' is, to me, mystifying yet marvelous. It only took me three listens through to truly fully appreciate and absolutely love this album.

Line-up / Musicians:

- Alex Crispin / lead vocals, piano, organ, synth, percussion 

- Nicholas Richards / guitar, percussion 

- David Wileman / electric & acoustic guitars, percussion 

- Ross Hossack / Mellotron, synth 

- Nicholas Whittaker / alto saxophone, clarinet, flute, recorder, backing vocals 

- Daniel Pomlett / bass 

- Luke Foster / drums, percussion 

With: 

- Liam Watson / synth 

- Robbie Wilson / trumpet

In "Semi-Permeable Men-brane" (10:54) I hear PROCUL HARUM, PINK FLOYD, HAWKWIND, even ARGENT, TRAFFIC, BLIND FAITH, BALCK SABBATH, MAHAVISHNU ORCHESTRA, CHICAGO, SANTANA, CARAVAN, THE MOODY BLUES, and so much more! And yet, it is all its own--totally new and fresh! Amazing song/jam! (18.5/20)

2. "Child of the Thundercloud" (8:49) starts off with clarinet and piano--taking us into a completely different realm of music--taking on a very jazz fusion feel as the rhythm section joins in. But then vocals give it a very definite TRAFFIC/MOODY BLUES (with a little ELP) feel. Then, halfway through we're taken to a very spacious Nursery Cryme-like section, which then turns into the 'thunderstorm' that YES and CAMEL never did (but probably wish they had). Then the seven minute mark yields yet another shift--to a kind of NEKTAR/GONG-like outro. Wow! (19/20)

3. "Deathwatch" (7:18) starts like a FLEET FOXES song before rhythm section and saxophone join in. A very spacey, sparsely instrumented section ensues which allows the group to showcase its vocal talents. Then at the four minute mark a slow jazzy Canterbury-like song builds until is devolves in a KING CRIMSON-esque kind of way. Awesome. (14.5/15)

4. "Cannon Misfire" (5:32) is my least favorite song on the album, but is still quite impressive both compositionally and instrumentally. Sounds a bit like BILLY COBHAM, TONY LEVIN, DAEVID ALLEN, ROD ARGENT, and MEL COLLINS jamming together. (8/10)

5. "Pact" (14:00) is the album's longest song at 14 minutes. It starts out with a bit of a feel as if TONY BANKS and ROYE ALBRIGHTON helped out on ELP's Tarkus--at least until the JIMI HENDRIX/STEPHEN STILLS vocals come it. Then PROCUL HARUM becomes the dominant influence/model. At 6:15 the music disappears leaving a very familiar ("Close to the Edge") space filled only with a single oscillating organ chord which is played over by a flutish-sounding synth(?) and, later, by some incidental vibes and percussives.This lasts for over 5 minutes before the song climbs back out of the grave with some THIN LIZZY like dual guitar marching. A good song. It just has a little too much 'drag' for me and not enough of the previous songs' mood, tempo, and stylistic changes to keep me mesmerized. (26/30)

Total Time: 46:33

DIAGONAL is definitely a band to watch. I have a feeling they could do just about anything they wanted to and excel. IMHO, this album is one for the ages: a near masterpiece--which is borne out by its 91.05 on the Fishscales.

5. JANNICK TOP Infernal Machina

Consistently one heck of a powerful journey. IMHO, MDK is the only Zeuhl album to do it better.

Line-up / Musicians:

- Jannick Top / bass, cello, cellobass, percussion, voices, co-producer 

With: 

- James McGaw / guitar 

- François Delfin / guitar 

- Thibault Abrial / guitar 

- Jim Grandcamp / guitar 

- Fabien Colella / keyboards, computing, co-producer & mixing 

- Mathias Lecomte / grand piano 

- Christian Vander / drums 

- Damien Schmitt / drums 

- Marc Chantereau / percussion 

- Klaus Blasquiz / vocals 

- Natalia Ermilova / vocals 

- Veronika Boulytcheva / vocals 

- Stella Vander / backing vocals 

- Himiko Paganotti / backing vocals 

- Antoine Paganotti / backing vocals

"Part I" (7:23) is majestic, mysterious, melodic, beautiful. Cave raindrops! Relaxing piano! Bowed bass! Very Coltrane-esque feel to it. And then the magical voices of Bulgarian folk singers is introduced! Great opening! (14/15)

"Part II" (4:29) introduces the vocal which reminds me of the diotonic stylings of the female folk singers of Les Voix Mystères de Bulgarie coupled with some very powerful chords from the electric bass. Could build a little faster. (8.5/10)

"Part III" (4:13) starts with distorted electric guitar rhythm chords, bowed bass, and intense 'Bulgarian' chanting (and screaming--is that you, Stella?). Shifts at 2:20 to deep metal-like electric power chords from the rhythm section accompanied by female voices. A brief but oh-so effective pause at the 3:00 minute mark opens the door for the full-band unified pulse of ecstatic marching. Amazing! (10/10)

"Part IV" (4:15) introduces (with an electronic crash) a slower, more methodic, plodding pace with a now-male chorus (among whom is the unmistakable voice of MAGMA's KLAUS BLASQUIS) and piano to go along with Jannick's bass. This is Zeuhl! But the development is poor and too slow. (7/10)

"Part V" (5:09) is amazing for its pulsing bass, slow and steady drums, and electric guitar chords. The low male breath-chants, a few 'Bulgarian' voice chants, and a Math Rock section of guitar chords usher in a change in tempo--and with it a real sense of immediacy, even urgency. Like, "Oh my God! It's happening!" Piano enters, playing it's mezzo register cycle of chords and notes repetitiously, and cycling guitar chords and fervent drumming pick up as the song gets into its second half. (10/10)

"Part VI" (5:53) increasing density of sound as the music becomes steady and almost metallic, very slow but brutal pacing--before beginning a slow build up in the third minute. Piano enters in a tinkling way, and then Bulgarian singers. In the fourth minute a new melodic chord enters for a minute before we revert to the insistent, pulsing bass theme of the previous song. Back to the melodic chord section before transitioning to Part VII. (10/10)

"Part VII" (4:23) sees an insidious increase in tempo--and urgency--as Persian horns carry a religious melody into the sacred ritual. WOW!! This is AMAZING! It just keeps building and slowly speeding up, adding layers to layers--subtle piano and more! At 3:20 searing guitar solo with amazing bass & rhythm chord progression in background. Cycling back to 'Persian' horns, male breath chants, female 'Bulgarian' chant, all weaving together with frenetic drumming and electric guitar soloing like Sir ROBERT of FRIPP at his stool-offing best. (10/10)

"Part VIII" (3:49) is like a cooling waterfall flowing down over the hot coals--piano and cymbol play doing most of the cleansing. At 1:45 there is a shift in rhythm section to syncopated pulses of bass and low male voice grunts. The piano and cymbols continue their flood of erosive notes. 3:20 and 3:50 see more nods to CHRISTIAN VANDER/MAGMA sound & style. Returns to the very same piano single note pounding of "Part VII" with the now VANDER-crazed drumming going crazy behind and some MAGMA-like choral work dispersed here and there. This is really the drummer's song. Awesome ascent of scale by TOP's bass chords in the song's final minute. (9/10)

"Part IX" (4:42) sees an inversion and minoring of the musical/piano chords while the same frenzy of drums and other rhythms go on all around it and the repetition of a monotonic pattern of staccato choral notes. Becomes very MDK-like in the middle section with CV going bat-shit crazy over a very hypnotic piano chord progression. (Wish this section would go on forever!) Back to recapitulation of first section for the final 75 seconds. (8.75/10)

"Part X" (3:11) continues the frenzy party of "Part IX" with gutteral male vocals chanting low on the spectrum with otherwise little or no difference (more cymbol crashes, increased vocal volume, variation in vowel sound used for staccato vocal notes, guitar chords become patternized, circular). But those drums! The insistence of the male grunts rises in the second half. Piano continues to repeat its circular note play ad nauseum. (8.25/10)

"Part XI" (4:27) sees a transition to rhythm guitar rock chords, deep throbbing bass line, more 'controlled' drumming, a return and interweaving of several previous vocal lines (male choir, female choir, and Bulgarian), along with the introduction and intertwining of a new vocal line--which ascends to take us to the culmination point of ecstasy. (8.5/10)

"Resolution" (5:33) seems to be a kind of driving disco-version of "Part VI" and "VII" with the Persian horns and male vocal grunt pattern. At 1:50 the electric rhythm guitar chords and female 'Bulgarian' voices take a turn before giving way to the 'Persian' horns and male grunt section for fifteen seconds. Back and forth the female and male chanting trade again and again into the final minute of the song when we are reunited with the 'cave raindrop' music of the opening song to close. A wild ride Jannick & Co. put us through! (9/10)

Total Time 55:30

90.40 on the Fish scales = A-/five stars; a minor masterpiece of progressive rock music. This is definitely an excellent addition to any prog music collection--it is amazing music--Zeuhl or not. Definitely one of the best albums from 2008.

 6. PANDORA Dramma di un Poeta Ubriaco 

The debut album from these modern prog artists. My question is: Am I listening to RPI? or is this really Heavy Prog, Prog Metal, or even Neo Prog? Some of the sounds used here are quite dated (especially the keyboards).

Line-up / Musicians:
- Corrado Grappegia / vocals, synth, organ, piano
- Christian Dimasi / guitar, backing vocals
- Beppe Colombo / synths, Hammond organ, backing vocals
- Claudio Colombo / drums, percussion, bass, Chapman Stick, acoustic guitar, synth

1. "Il Giudizio Universale" (7:37) opens with 90 seconds of someone dialing through a radio that is playing, catching all kinds of international flavors in both talk and music formats. Then a heavier, 1980s hairband-like sound palette burst upon the scene, exposing several somewhat familiar styles--including one that is heavily dominated by a Hammond organ. In the fourth minute things smooth out until at 3:45 a new theme shoots forward over which guitar, synth and voice take turns leading. This is very solid, very polished heavy rock/heavy prog. In the sixth minute, things back off and a nice potential-energy passage holds the forward motion as Corrado Grappegia tones down his vocal a bit. But then things get inexplicably heavy/djenty again for the final wordless minute. Odd! (13/15) 

2. "March to Hell" (5:59) more heavily paced music, this one, and instrumental, is a little slower, which, to my ears, feels more similar to the heavy palette of Neo Proggers PALLAS, TRANSATLANTIC, or PENDRAGON. In the middle it takes a strange turn into a faster gear over which Hammond and synth take turns soloing. Machine gun bullet kick drum play makes me feel as if this is really not RPI but Heavy Prog or even Prog Metal. Dated keyboard sounds take turns soloing over the final two minutes. (8/10)

3. "Così Come Sei" (8:21) sensitively picked steel-string guitar solos for the first minute before being joined by bass and wavering pitched synth and then vocals. Corrado sounds much older, more mature on this one--and way more classic RPI in his style. Nice instrumental section in the third and fourth minutes--very solid rhythm section and great melodies from the lead synth. Great transition to a in the end of the fifth minute followed by some cool drumming and organ play. As near to a perfect RPI song as there could be and a top three song for me. (20/20)

4. "Pandora" (11:43) another instrumental in which a long spacey synth opening which is eventually joined by male voice reciting something in Italian as drums and bass establish quite a tight and polished musical bass over the next 90 seconds. Then guitars and keys join in with synth leading in the establishment of melodies while metal guitar and piano hold up the middle ground. Very solid. At the end of the fifth minute everybody drops out for an "old time saloon" piano solo. At the six minute mark we burst back into heavy prog, and then Hammond and synth strings led section very reminiscent of classic RPI à la MUSEO ROSENBACH or LE ORME. The organ slowly performs a steady rising arpeggio sequence similar to the one Tony Banks does in "Apocalypse in 9/8." Very nice composition impeccably performed and fairly well recorded. (18.5/20)

5. "Breve Storia di San George" (6:39) delicately-picked and -strummed acoustic guitars with synth flute and (dated) synth strings providing the lead melodies. After two minutes of this pastoral beauty, guitar and harpsichord take more control of the fore as Corrado sings in another performance that would fit perfectly into a classic RPI album like MAXOPHONE's. The final minute turns tribal--gypsy, paisano, or Native American, I'm not sure. A beautiful song for which my only complaint is in the dated keyboard-generated sounds of flutes and strings. (9/10)

6. "Dramma di un Poeta Ubriaco" (9:05) sounds of agua con gazeta being poured into glasses on the wooden table top precedes an outburst into rock-ified classical music that sounds very much like the TRANS-SIBERIAN ORCHESTRA. At 2:40 we stop that and move into a more BILLY JOEL "Just the Way You Are" keyboard base before Corrado enters singing in a raspy, strained "older" voice again. Some of the melodies here are either Russian or from very deeply traditional folk traditions. The bombastic "orchestrated" final section sounds nice, conveys the operatic power that it's meant to, and then backs the plaintive lead synth and buzz saw lead guitar in a nice Mellotron-like way. This is, however, the only part of the song that I enjoy. Not my favorite. (16.5/20)

7. "Salto nel Buio" (13:45) steel string acoustic guitar played delicately--almost harp-like--before banked strings chords enter and the guitar begins producing a progression of slowly arpeggiated chords. Slow build and transfer of instruments over the next two minutes. Very pleasant pace and instrumental palettes throughout, with opportune switches for vocal passages in the fourth and fifth minutes and, later, for some folk-sounding passages. In the ninth minute, unfortunately, the band chooses to go back to a heavy/prog metal palette and style. The band does, however, remain tight and focused, delivering an excellent (if TFF "Carole of Bells" like) motif--but then it goes cheesy exaggerated lounge jazz with less than two minutes left. (28/30)

Total Time 63:09

90.40 on the Fishscales = A-/five stars; an album of much more diversified sounds and stylings that I expected. This makes it sometimes difficult to categorize as "RPI" as it is not always the case, but, overall, I'll give in to that assignation.

7. FARMERS MARKET Surfin' USSR

Besides having the best song titles, hands down, of any album EVER, their is some absolutely stunning music here. Fast "punk jazz" with an undeniable Slavic flavor, the music here reminds me of Markus Pajakkala's 2017 Brutopianisti album, only far more engaging. The music obviously, and intentionally, imitates (or parodies) known styles and motifs from Western music--with none more than the Dick Dale-led California surfer music scene of the 1950s and 60s--but also spy music styles and themes used in James Bond and other spy films of the 1960s and 1970s. All the layers here seem infected by the rapid-fire staccato and tremolo-crazy styles pioneered by Dale's style, though Eastern European and Middle Eastern (even Romani and klezmer) sounds , scales, and charts are also all-pervasive. Definitely a jazz combo as instruments like accordion, horns, banjo, and all kinds of percussives and traditional folk instruments are central and layered throughout every song, the music even spans the breadth of the 20th Century with nostalgia exhumed from the early jazz of the 1920s, the Big Band jazz eras, and the Django Reinhardt-type of Gypsy Jazz.

Line-up / Musicians:

- Stian Carstensen / accordion, guitars, banjo, tamura, bagpipes, flute, percussion, bass, vocals

- Finn Guttormsen / bass, percussion, vocals

- Filip Simeonov / clarinet, trumpet

- Jarle Vespestad / drums, percussion

- Nils Olav Johansen / guitars, vocals, synthesizer

- Sidsel Walstad / harp

- Trifon Trifonov / saxophone

- Jai Shankar / tabla

- Ola Kvernberg / violin

- Arve Henriksen / vocals

- Julie Peneva / vocals

- Nadia Vladimirova / vocals

- Sonia Iokova / vocals

1. Surfin' USSR (4:49) 

2. Surfin' USSR Part 2 (2:46) 

3. Lodtschitze Mini Maritza (Ferry Cross the Mersey) (5:07) 

4. Anyone Who Remembers Vladiwoodstock Wasn't There (4:34) 

5. Dissident Harmony Sisters' Camel Call (1:37)

6. To Hell and Baku (3:57)

7. Tractor Tracks Across the Tundra (1:15) 

8. From Prussia with Love (4:08)

9. Red Square Dance (7:47)

10. The Dismantling of the Soviet Onion Made Us Cry... (3:21) 

11. Kalashnikov Wedding (2:50)

12. Steroid Train Trip (2:21)

13. Meanwhile Back at the Agricultural Workers Collective (4:58) 

14. Ladyboy's Night at the Cultural Relativism Saloon (Fremling) (2:05) 

15. One Day, Son, All I Own Will Still Belong to the State (6:09)

16. Yagoda (2:35)

Total Time: 60:20

If you like your music lively, fast, technically wizard, jazzy, predominantly acoustic, upbeat (generally), cerebral, and to give you a smile on your face, then this masterful album would definitely be worth your checking out. It may not be the type of music you want to listen to every day, but for that change of pace, ear- and eye-opening listening experience, you needn't go any further than this album.

A/five stars; a masterpiece of a very specific sound and style that definitely belongs in the Folk-Jazz-Rock Fusion category. Incredible artistry and cohesion from the collective.

P.S. Just get your jollies from reading those titles! Genius! 

8. DUNGEN 4

Having recently discovered the work of guitar genius REINE FISKE, I've been trying to backtrack through anything and everything he's touched in the past 20 years. (LANDBERK, MORT MACABRE, PÄATOS, THE AMAZING, DUNGEN--are there more? If so, please let me know!!) Having now been through the Dungen catalogue, I am going to try to start my review process. Though Tio Bitar is in-your-face amazing, I am, in truth, a lover of more pacific, melodic, beautiful music--even within prog world. Thus, I am here to report that this album, 4--their fourth studio album--is my favorite. It is the one I play the most, the one I play start to finish, the one I find humming along with throughout and at least half a dozen melodies long after the speakers have gone quite. It is a masterpiece of retro-reverent prog music--one which not only masterfully gathers and uses an incredible array of sounds that were new to bands of the 60s & 70s, but uses them in a way that has, IMHO, produced music FAR suprassing that of its predecessors. Perhaps if the psychedelia bands of the 60s and early 70s were still producing (that type of) music, they might attain the heights of DUNGEN (and THE AMAZING). But, I doubt it. Difference: They wouldn't have Reine Fiske. Or the outstanding rhythm section that is bassist Mattias Gustavsson and drummer Johan Holmegard. Nor would they have the creative drive and multi-instrumental talents of Gustav Ejstes. This album is so good that I'm not even going to rate the individual songs as all but two earn 5 stars in my book. Listen to this band! Start with this album if you need a softer, more melodic starting place--or go right to Tio Bitar if you're ready for the mind-blowing renaissance of HENDRIXness.

Total Time: 37:30

Line-up / Musicians:

- Gustaf Ejstes / piano, strings (1,2,7), flute (7,8,10), percussion (1,3,5,8,10), organ (10), vocals, composer & producer 

- Reine Fiske / guitar, bass (1,3,7), percussion (2) 

- Mattias Gustavsson / bass (4,8,9) 

- Johan Holmegard / drums, percussion (3,5,8) 

With: 

- Anna Järvinen / backing vocals (5) 

- Fredrik Swahn / bass (6) 

5 star songs: 1. "Sätt Att Se" (4:45) (10/10); 2. "Mälerås Finest" (2:22) (9/10); 3. "Det Tar Tid" (4:16) (9/10); 6. "Fredag" (4:20) (10/10); 8. "Mina Damer Och Fasaner" (3:43) (10/10), and; 9. "Samtidigt 2" (4:39) (10/10).

4 star songs:  4. "Samtidigt 1" (3:15) (8/10); 5." Ingenting Är Sig Likt" (2:59) (8/10); 7. "Finns Det Någon Möjlighet" (3:55) (8/10), and; 10. "Bandhagen" (3:23) (8/10).

90.0 on the Fish scales = A-/five stars; a minor masterpiece. Absolutely essential . . . to the future of progressive music.

9. MAGENTA Metamorphosis

In another obvious tribute to bands and music of the past, Magenta release this 2008 album with not one but two epics of over 20 minutes in length.

Line-up / Musicians:
- Christina (Murphy) Booth / lead vocals
- Rob Reed / keyboards, acoustic & electric guitars, mandolin, bass, recorders, backing vocals, engineer, mixer & producer
- Chris Fry / lead guitar
With:
- Martin Rosser / detuned guitar
- Troy Donockley / Uilleann pipes
- Tim Robinson / drums
- Steff Rhys Williams / backing vocals
- Matthew Everett / violin
- Helina Rees / violin
- Louise Evans / viola
- Claudine Cassidy / cello
- Abigail Blackman / cello

1. "The Ballad Of Samuel Layne" (20:17) The album's opener is a satisfying, upbeat, melodic, easy going piece that seems to be about the psycho-spiritual perspectives of a battlefield death of an average Joe soldier--maybe from World War I or even the Iraqi and Afghani conflicts. The "heavier" instrumental section that begins at the eight minute mark is quite good as are Christina Booth's fairly laid-back vocals throughout. The second half drags on a bit---especially the "we are all forsaken" section--but overall this is a very nice musical journey with plenty of interesting instrumental and compositional choices. (35/40)

2. "Prekestolen" (03:43) flows straight out of the end of "Samuel Layne" with synth background, delicate guitar, bass, and keyboard sequenced percussion sounds. It has a bit of a Peter Gabriel "San Jacinto" feel to it--even when Christina joins in with her singing. Troy Donockely's Uilleann pipes take it into a slightly different direction, but the song ends with a still eery PG feel/sound. (8/10)

3. "Metamorphosis" (23:15) opens so much like the Big Big Train 'heavy' sound that will become so familiar in the 2010s. The Yes and Genesis nods are frequent and flagrant--and yet Rob Reed's work is superb--and contains just enough of his own flair and flourish to not feel plagiaristic. (46/50)

4. "Blind Faith" (6:01) is probably my favorite song on the album. Nice atmospherics, alternating with heavy bridges and a melodic chorus--quite catchy hooks, too--not unlike the Massive Attack "Pearldrops" song used for the theme of the TV show "House." (10/10)

Total Time: 53:16

If you can get past the familiar feel and sound that is so common to the Neo Prog subgenre (here, mostly YES and, to a lesser degree, GENESIS), this is quite a nice album.

90.0 on the Fishscales = B=/4.5 stars; a near-masterpiece of progressive rock music.