My Favorite Albums of 2016
***Author's note: Below you will find two different rankings for this year's albums.
The first list is merely a list consisting of a Top Twenty with a following list of "Honorable Mentions." These 20 are my favorite albums of the year, that is, the albums to which I have formed the greatest emotional attachments. The Reviews that follow are ordered according to my more 'objective' yet personal 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 and metric determination as to what are the "best" albums of the year from a more critical, qualitative, and quantitative viewpoint, that is, without as much emotional attachment as "My Favorite" albums. As always, I am deeply indebted to the vibrant community at ProgArchives.com and the amazing resource of New Prog Releases (http://newprogreleases.blogspot.com/p/2018.html) for leading me to the over 350 new album releases that I was able to listen to over the course of the year.
According to my calculations, 2016 presents Prog World with seven (7) full masterpieces, 18 "minor" masterpieces, and 23 "near-masterpieces"!
The Rankings
(My "Favorites")
3. GHOST MEDICINE Discontinuance
Produced in England, with the full participation of seasoned bass legend, Colin Edwin, comes this project from Atlanta's JARED LEACH and company--including lead and background vocalist and lyricist Sarah Hoefer, amazing drummer and programmer, Scott Prian (who also recorded and mixed the album), and, of course, Colin on bass. Three principle musicians created these incredible weaves of heavy prog rock sound! Only three!!! Amazing!
1. "Crooked House" (9:44) opens with an awesome synth-supported acoustic guitar picking/strumming solo. By the time the first minute comes to an end, the intro gives way to a very fast-paced, intricately performed heavy rock with a slightly Southern Rock flavor. The male and then female vocals that enter around the two minute mark take over the foreground but the amazing YES-like instrumental guitar feast that forms the background goes on--and would command all of the listener's attention were it not for the beautiful melodic voice of Sarah Hoefer and the great harmonies presented by composer/bandleader/guitarist extraordinaire, Jared LEACH. (Remember this name: It is one I guarantee you will hear again!) An interlude of beautiful ANTHONY PHILLIPS-like solo acoustic guitar in the eighth minute feels like it could be the "bookend" of the song's opening intro--but no! The song returns to its top speed heaviness for the final minute and ends on a high note of LED ZEPPELIN quality and ferocity! Amazing song! Incredible opener and introduction to this extraordinary new talent! (20/20)
2. "Shiver" (5:55) opens with a very strong C-W feel and sound--which is only solidified with the entrance of Nashville-like vocal of Sarah Hoefer for the first verse. The instrumental bridge between first and second verses is awesome--and some amazing slide guitar work continues beneath Sarah's singing of the second verse. By the time the chorus and instrumental sections arrive the song has almost lost any Country/Southern feel to it. Astonishing flow and development! The guitar, bass, and drum work on this song are spell-binding, to say the least--so much so that I found myself pushing the repeat button three times when I first heard it! The song's only flow is that Sarah's voice starts to become drowned out by the instruments by the end of the second verse. In my listening history, only BRUCE COCKBURN at his very best rivals this complex, virtuosic sound! (10/10)
3. "Departure" (6:24) opens with a very heavy, fast-driving OCEANSIZE-sounding guitar, bass and drum weave, which backs off a little into more of a heavy PORCUPINE TREE sound as the vocals enter. The instrumental passage at the end of the second minute contains some awesome guitar--which falls into some ALCEST-like guitarscapes beneath the next round of vocals. The next instrumental bridge contains some guitar shredding (two tracks, R & L) that rivals anything anybody has ever done with pick and four fingers. This then segues into a minor-key section that sounds like something between Italia's AKT or East Anglia's FEN or 4AD's DIF JUZ. The instrumental sections are amazing. The vocal sections are weak. (9/10)
26. MOTORPSYCHO Here Be Monsters
The Norwegian prog chameleons are back with another contribution to the psychedelic rock form that they've been working within for the past several albums.
Line-up / Musicians:
- Bent Sæther / bass, guitars, vocals, producer
- Hans Magnus "Snah" Ryan / guitars, vocals, flute (3)
- Kenneth Kapstad / drums
With:
- Thomas Henriksen / keyboards, vocals, mixing
1. "Sleepwalking" (0:57) little piano étude.
2. "Lacuna/Sunrise" (9:46) gentle, gorgeous HAROLD BUDD-like guitar chords coming from two guitars. Bass and drums join in, maintaining the cool, calm demeanor opened with--even when expanded with more guitars (electric, distorted and soloing) and broader spectrum drum play. In the second go round Bent and Hans join in with some nice, gentle vocals. Nicely melodic in a NEIL YOUNG kind of way. The chorus section sounds and feels more like something from THE EAGLES, but the return to the wonderful main motif is immensely comforting. At 5:25 there is a slight scale back into a kind of perpetual STEELY DAN bridge within which a very STEPHEN STILLS-like guitar volunteers quite a wonderful, melodic and sensitive solo--which, in the eighth minute, turns more aggessive--more HENDRIX/ROBBY KRIEGER-like. In the ninth minute we return to the vocal chorus motif for an extended EAGLES-like finish. A mostly beautiful, brilliant song from three of 21st Century rock's premier songsters. Probably my favorite song on the album. (18.75/20)
3. "Running With Scissors" (5:39) strummed 12-string guitars with electric guitar sneakily worked into the mix. Cymbal play slowly turns into full drumming in the second minute. The unusually long instrumental song has a distinctive JESSE COLIN YOUNG/YOUNGBLOODS feel to its sound palette. (8.66667/10)
4. "I. M. S." (7:05) opens with what feels like more piano étude, but then CSN&Y electric guitars, bass and drums begin to join in at the one-minute mark. Very, very CSN&Y-like with some definitely Neil Young-bordering-on-Stephen Stills electric guitar soloing. At 2:20 group harmony/choral vocals enter as the song flies along, soloing guitar cutting back in while the singers are still singing. He's on fire--and his guitar is not very treated: mostly just electrified guitar. The vocals sound very much as if they could have come off of the Death Defying Unicorn album. Around 4:35 the rock portion of the weave cuts out leaving the foundational piano chord progression to entertain us--until the electric guitar joins in for a bit. At 5:52 the full band kicks right back in, jamming with full spectrum sound as if nothing had interrupted their groove. Pretty cool--until the chaotic quick finish. (13.25/15)
90.0 on the Fishscales = B+/4.5 stars; an excellent addition to any prog lover's music collection--especially if you love jamming to those long, soothing psychedelic grooves.
(My "Favorites")
1. TONY PATTERSON Equations of Meaning
2. GHOST MEDICINE Discontinuance
3. MICE ON STILTS Hoping for a Mourning
4. MEER Meer
5. AXON-NEURON Metamorphosis
6. STEVE HAUSCHILDT Strands
7. THE GHOSTS OF JUPITER The Great Bright Horses
8. VANETA Antimemory
9. MOTHER TURTLE II
10. STARSABOUT Halflights
8. VANETA Antimemory
9. MOTHER TURTLE II
10. STARSABOUT Halflights
11. DUNGEN Häxan
12. STARE AT THE CLOUDS This Clear Divide
13. THE MERCURY TREE Permutations
13. THE MERCURY TREE Permutations
14. UNAKA PRONG Margot
15. IAMTHEMORNING Lighthouse
16. UTOPIANISTI The Third Frontier
17. PROMENADE Noi al dir di di noi
18. THE ARBORIST Acrylic Road
16. UTOPIANISTI The Third Frontier
17. PROMENADE Noi al dir di di noi
18. THE ARBORIST Acrylic Road
19. LOST WORLD Of Things and Beings
20. GADI CAPLAN Morning Sun
20. GADI CAPLAN Morning Sun
21. iNFiNiEN Light at The Endless Tunnel
22. MANTRA VEGA The Illusion's Reckoning23.
LA BOCCA DELLA VERITÀ Avenoth
24. AISLES Hawaii
25. GRAVITYSAYS_I Quantum Unknown
26. THE WINSTONS The Winstons
27. ILL WICKER Untamed
28. ANAKDOTA Overloading
29. KAYO DOT Plastic House on Base of Sky
30. ULVER ATGCLVLSSCAP
27. ILL WICKER Untamed
28. ANAKDOTA Overloading
29. KAYO DOT Plastic House on Base of Sky
30. ULVER ATGCLVLSSCAP
31. THENCE We Are Left With A Song
32. WHALEPHANT KaMMA
33. JACK O' THE CLOCK Repetitions of The Old City - I
34. SHAMBLEMATHS Shamblemaths
35. NOSOUND Scintilla
36. AMOEBA SPLIT Second Split
37. ARNAUD BUKWALD La marmite cosmique
38. AMPLEDEED BYOB
39. MYRATH Legacy
40. MOTORPSYCHO Here Be Monsters
39. MYRATH Legacy
40. MOTORPSYCHO Here Be Monsters
Honorable Mentions:
41. YUGEN Death by Water
42. VESPERO Lique Mekwas
43. YVES POTIN Waters
44. RESINA Resina
45. ZHONGYU Zhongyu
46. MATTHEW PARMENTER All Our Yesterdays
47. THE COLIN TENCH PROJECT Hair in a G-String (Unfinished but Sweet)
48. ANTOINE FAFARD Sphère
49. PLINI Handmade Cities
50. INGRANAGGI DELLA VALLE Warm Spaced Blue
50. INGRANAGGI DELLA VALLE Warm Spaced Blue
51. SEVEN IMPALE Contrapasso
52. AKT II (Binario)
52. AKT II (Binario)
53. LOST KITE Remains
54. SIGNAL TO NOISE RATIO Work in Progress
55. HELMUT RÓBOT Kowloon . . . Ciudad amurallada
Special Mention:
WESERBERGLAND Sehr Kosmisch Ganz Progisch--released on SoundCloud during the summer of 2016, this collection of brilliant Kosmisches Musik was retracted once Ketil Vestrum Einarsen (of WHITE WILLOW, JAGA JAZZIST, KAUKASUS, et al. renown) received a contract from a record label (Apollon). It is now slated for release in the Spring of 2017. It would most certainly have made my 2016 Top 30.
55. HELMUT RÓBOT Kowloon . . . Ciudad amurallada
Special Mention:
WESERBERGLAND Sehr Kosmisch Ganz Progisch--released on SoundCloud during the summer of 2016, this collection of brilliant Kosmisches Musik was retracted once Ketil Vestrum Einarsen (of WHITE WILLOW, JAGA JAZZIST, KAUKASUS, et al. renown) received a contract from a record label (Apollon). It is now slated for release in the Spring of 2017. It would most certainly have made my 2016 Top 30.
The Reviews
The Masterpieces
(Ratings of 100 to 93.34)
*****Album of the Year for 2016!*****
1. VANETA Antimemory
A band of young men from the Santa Gabriel mountains of California--self-proclaimed "keepers of the forest"--have decided to go with a change in direction from their previous heavy metal roots into the sophisticated progressive rock alter-ego that the band had been working on on the side. I've not heard or seen any of their previous music or concerts but I hear they were stunning, breathtaking. I, for one, am grateful for their new direction--and their collaboration with Lone Pine Records' producer Bill Fiorella, as together they have come up with one of the more unique and memorable sound styles this reviewer has heard in quite a while. The production, in and of itself, is quite unusual in that all of the instruments and voices are allowed to remain so clearly distinctive no matter how dense the music gets. Every subtle noise in the soundscape is preserved--which is something I adore in music: the subtleties.
A band of young men from the Santa Gabriel mountains of California--self-proclaimed "keepers of the forest"--have decided to go with a change in direction from their previous heavy metal roots into the sophisticated progressive rock alter-ego that the band had been working on on the side. I've not heard or seen any of their previous music or concerts but I hear they were stunning, breathtaking. I, for one, am grateful for their new direction--and their collaboration with Lone Pine Records' producer Bill Fiorella, as together they have come up with one of the more unique and memorable sound styles this reviewer has heard in quite a while. The production, in and of itself, is quite unusual in that all of the instruments and voices are allowed to remain so clearly distinctive no matter how dense the music gets. Every subtle noise in the soundscape is preserved--which is something I adore in music: the subtleties.
The vocal arrangements alone are worth noting as guitarist Chris Durban and vocalist/guitarist Jared Paris and keyboard player Allan Hennessy do some stunning performances in all of the lead, background, and harmony capacities. These are vocals that are incredibly complicated and yet so impressively executed! It's like listening to world class dance choreography!
Also, notably absent are the computer "corrected," effected, "compressed" soundscapes that have become so prevalent in music production over the past 25 years. The acoustic guitars sound like they are in the room with you; the drums sound real and full, not gated; the vocals are natural and raw, not auto-tuned. All in all, Antimemory does a wonderful job capturing an 'acoustic' sound of an electrified rock and roll band. And it works! It's awesome! It helps remind and reinforce my love of the recording styles of those 1970s masterpieces.
Lineup/Musicians:
Chris M Durbin - Vocals, Guitar
Jared Paris - Harmony Vocals, Guitar
Jared Paris - Harmony Vocals, Guitar
Andrew C Sanchez - Drums
Allan Hennessy - Keys, Vocals on Last Ray Of The Sun
Wyatt Martin - Bass
1. "Son of Sorrow" (6:42) opens with a minute of heavily vibrating scared bells before guitars, piano, and bass join in to set the stage. This bass play is awesome! Vocalist Chris Durbin bids us "hello" and sings an impassioned vocal--which is soon joined by the amazing backing harmonies of Jared Paris. This sounds so much like the best of one of my favorite bands of all-time, DOVES from Manchester, England.
The build up to the chorus at 2:40 is awesome--as is the cool down in the first half of the fifth minute--which is followed by an excellent chorus section and then by a searing 45-second long lead guitar solo in the sixth minute which is then followed up by an awesome three-layered chorale vocal section to the song's end.
Incredible song! One of the best things I've heard from 2016! (15/15)
2. "Looking On" (5:06) opens with vocal, rhythm guitar and bass creating a weave that sounds like . At the 0:25 the song kicks into second gear with a very engaging THE MARS VOLTA/STEVEN WILSON foundation. The two-voice delivery of the second verse is so innovative and fresh! Stunning! Another great guitar solo begins rather humanly at the end of the third minute but then shifts into super-man speed in the fourth. The distant acoustic guitar song in the third verse is so cool! It makes it sounds like a Dobro (which I love). The vocal arrangement over the fullness of sound from all band members in the final minute is, again, brilliant! Stunning song! (10/10)
3. "Ferroform" (5:52) opens with a familiar CORVUS STONE-like sound and guitar riff before a second guitar joins in with some fiery riffing. The effected vocal is cool in a hollow Greg LAKE/JIMI WILLIAMS/KING CRIMSON/DOVES "Moon Child" kind of way. As the voice comes to the fore--and is joined by the awesome wailing screams of Jared Paris--the song kicks into full speed--and into a nice long instrumental section in which guitar, bass, keys, and drums resonate in perfect cohesion. Then there is a drop off into a floating, dreamy section that is held together by a Hammond organ and some word being panned around in the background. Guitar arpeggi join in and, eventually, the band emerges out of the fog into it's full speed again (awesome bass line/play!) and then finishes with some thought-provoking piano and guitar notes and chords. Awesome! (9/10)
4. "Child" (8:26) the song's mini-epic opens in a kind of GUNS'n'ROSES-LED ZEPPELIN guitar-oriented way. Even the layered lead vocals have that kind of perfected classic rock feel to it. Into the third minute the Led Zep/G'n'R influences are still strong until there is a sudden shift at the three minute mark into a kind of THE MARS VOLTA/OMAR RODRIGUEZ-LOPEZ Spanish-imbued high energy rock. The guitar play is so cool! So different--like RANDY BACHMAN on "Blue Collar" (Bachman-Turner Overdrive)--before a searing double guitar solo in the sixth minute. Man! I don't know how the band keeps up this coherent, stable intensity! Amazing! There's even some growl vocals behind the lead in this section. And then horns! Awesome horns! A saxophone lead! What a brilliant touch! For the final minute the band recoups and returns to the mature sound and pace of the opening with the song title being sung a few times by the double vocalists. Great, great song! (20/20)
5. "Last Ray of the Sun" (1:26) opens with a solo piano tinkling slowly away before setting up in a kind of "Great Gig in the Sky" (Pink Floyd) chord foundation while pianist, Allan Hennessy, sings the first verse (which turns out to be the chorus). The final 45 seconds finds the rest of the band joining in on this chorus line before letting Allan's piano finish on its own.
5. "Last Ray of the Sun" (1:26) opens with a solo piano tinkling slowly away before setting up in a kind of "Great Gig in the Sky" (Pink Floyd) chord foundation while pianist, Allan Hennessy, sings the first verse (which turns out to be the chorus). The final 45 seconds finds the rest of the band joining in on this chorus line before letting Allan's piano finish on its own.
Beautiful, haunting song! Well deserving of its presence on this album. (5/5)
6. "Mountain Chorus" (5:47) opens with acoustic guitar picking away at two chords--two heavily charged chords--while a second, electric guitar slides and squeaks around far in the background before treated Chris' voice joins in. At 1:45 the voice again 'comes out of the closet' to sing "But it won't save you." The second verse then begins with two harmonized voices singing gently. Drummer Andrew Sanchez' cymbal play throughout this second verse is mesmerizing. I find myself reminded during this beautiful section of some the recent Prog Folk greats, FLEET FOXES, LEAFBLADE, DOVES, AUTUMN CHORUS and THE AMAZING.
6. "Mountain Chorus" (5:47) opens with acoustic guitar picking away at two chords--two heavily charged chords--while a second, electric guitar slides and squeaks around far in the background before treated Chris' voice joins in. At 1:45 the voice again 'comes out of the closet' to sing "But it won't save you." The second verse then begins with two harmonized voices singing gently. Drummer Andrew Sanchez' cymbal play throughout this second verse is mesmerizing. I find myself reminded during this beautiful section of some the recent Prog Folk greats, FLEET FOXES, LEAFBLADE, DOVES, AUTUMN CHORUS and THE AMAZING.
At 3:45 the band suddenly kicks into full gear with some energized bass, drum, guitar, voice and choral work--which plays out till the song's end. Gorgeous song! (9/10)
7. "Antimemory" (3:18) opens with sustained computer synth noise which is then joined by guitar strum, bass, and multiple voices floating and flitting in and around the soundscape. This continues for the first two minutes before all fade out in lieu of sacred bells and shakers. A perfect ending to such a spiritually gut-wrenching album. (10/10)
Despite my high marks for each and every song--(more for their exceptional creativity, originality, beauty and promise)--I still see 'room to grow' for this band and it's sound. It will be difficult to top such an 'out of the blue' debut album, but I feel that this band of so many talents and influences can definitely refine their raw and passionate sound.
The excitement I feel when hearing this album reminds me of how I felt upon hearing Manchester's DOVES debut album first time in the early 2000s (my favorite album of Y2K). This is astonishing music regardless of who is performing it--made even more remarkable for the fact that this is a debut album.
Let the world know it: VANETA is here! . . . and they are a FORCE to be reckoned with!
97.50 on the Fishscales = A/five stars; a masterpiece of progressive rock music and official winner of the title, ALBUM OF THE YEAR!
P.S. I want to have bass player Wyatt Martin's babies. Or, at least his autograph!
7. "Antimemory" (3:18) opens with sustained computer synth noise which is then joined by guitar strum, bass, and multiple voices floating and flitting in and around the soundscape. This continues for the first two minutes before all fade out in lieu of sacred bells and shakers. A perfect ending to such a spiritually gut-wrenching album. (10/10)
Despite my high marks for each and every song--(more for their exceptional creativity, originality, beauty and promise)--I still see 'room to grow' for this band and it's sound. It will be difficult to top such an 'out of the blue' debut album, but I feel that this band of so many talents and influences can definitely refine their raw and passionate sound.
The excitement I feel when hearing this album reminds me of how I felt upon hearing Manchester's DOVES debut album first time in the early 2000s (my favorite album of Y2K). This is astonishing music regardless of who is performing it--made even more remarkable for the fact that this is a debut album.
Let the world know it: VANETA is here! . . . and they are a FORCE to be reckoned with!
97.50 on the Fishscales = A/five stars; a masterpiece of progressive rock music and official winner of the title, ALBUM OF THE YEAR!
P.S. I want to have bass player Wyatt Martin's babies. Or, at least his autograph!
Very nice eclectic prog from Greece. Each time I find myself listening to this album I am blown away by A) how good it is, B) how familiar it is, C) how diverse the styles represented here are, and D) how much it sounds like some long-lost 'classic' from the 1970s--like a new release of a heretofore undiscovered BABYLON tape.
Line-up/Musicians:
- Kostas Konstantinidis: guitars, vocals, midi guitar, ukulele
- George Baltas: drums,vocals
- George Theodoropoulos: keys
- George Filopelou: electric and fretless bass
- Babis Prodromidis: saxophone, flute
- Alex Kiourntziadis: violin
With:
Alexandra Sieti and Maria Mariadou: vocals on (4)
1. "Overture" (1:46) acoustic ditty introducing the epic that follows performed in a kind of Renaissance vocal herald style à la GENTLE GIANT. (4.5/5)
2. "Harvest Moon" (13:08) a song that sounds like it was left off a VAN DER GRAAF GENERATOR or KING CRIMSON album in the 1970s or perhaps a more recent DISCIPLINE/MATTHEW PARMENTER--only with a different vocalist. Great drumming, great keyboard work, great saxophone, great vocals, amazing ending! (25/25)
3. "Ennui" (3:31) a gentle yet insistent STYX/RUSH-like interlude between the album's twin towers. (8.5/10)
4. "Walpurgi Flame" (20:15) Like two songs in one: the first a eight-minute rendering of an amazing though long lost Zeuhl (GUAPO?) warm up, the second a contrasting gorgeous, hope-filled symphonic folk piece with female lead vocalists feeling similar to a CIRRUS BAY song (though it sounds more, in fact, like a song from Chile's AISLES' 2009 In Sudden Walks because of the incredible vocal melodies). Methinks the lyrics refer to the trouble a typical (or particular) Greek individual might have with his country (as well as his species') preoccupation with money and power when, at basic biological status, all are equal. My new favorite prog epic of the year 2016. (40/40)
5. "The Tower" (2:56) a beautiful and incredibly powerful tribute to the shock and confusion of the eye-witness observers of the destruction of New York City's Twin Towers on September 11, 2001. (5/5)
6. "The Art of Ending a Revolution" (14:44) is a decent if fairly bland and simple prog epic about the lesson humans are supposed to learn "the art of smiling while someone is stabbing your back," the art of practicing The Golden Rule, the art of patience with hope, the art of detachment. Nice electric guitar chord progressions, nice vocal, nice message, nice bass play, nice saxophone work--just a nice song. Nice. Like we're expected to be. Despite the chaos and corruption surrounding us.
The best part of the song begins with the eery Twilight Zone-like synth over which David Strathairn reads Edward R. Murrow's famous anti-Eugene McCarthy speech from the 2005 film, Good Night, and Good Luck... and then the powerful final two minutes. (27/30)
This is one of the most brilliantly conceived and realized concept albums I've ever heard. I hope it gets the attention it deserves--both musically and moral-politically.
95.65 on the Fishscales = A/five stars; a true masterpiece of progressive rock music and an album that should be heard around the world--especially in times like these.
2. "Harvest Moon" (13:08) a song that sounds like it was left off a VAN DER GRAAF GENERATOR or KING CRIMSON album in the 1970s or perhaps a more recent DISCIPLINE/MATTHEW PARMENTER--only with a different vocalist. Great drumming, great keyboard work, great saxophone, great vocals, amazing ending! (25/25)
3. "Ennui" (3:31) a gentle yet insistent STYX/RUSH-like interlude between the album's twin towers. (8.5/10)
4. "Walpurgi Flame" (20:15) Like two songs in one: the first a eight-minute rendering of an amazing though long lost Zeuhl (GUAPO?) warm up, the second a contrasting gorgeous, hope-filled symphonic folk piece with female lead vocalists feeling similar to a CIRRUS BAY song (though it sounds more, in fact, like a song from Chile's AISLES' 2009 In Sudden Walks because of the incredible vocal melodies). Methinks the lyrics refer to the trouble a typical (or particular) Greek individual might have with his country (as well as his species') preoccupation with money and power when, at basic biological status, all are equal. My new favorite prog epic of the year 2016. (40/40)
5. "The Tower" (2:56) a beautiful and incredibly powerful tribute to the shock and confusion of the eye-witness observers of the destruction of New York City's Twin Towers on September 11, 2001. (5/5)
6. "The Art of Ending a Revolution" (14:44) is a decent if fairly bland and simple prog epic about the lesson humans are supposed to learn "the art of smiling while someone is stabbing your back," the art of practicing The Golden Rule, the art of patience with hope, the art of detachment. Nice electric guitar chord progressions, nice vocal, nice message, nice bass play, nice saxophone work--just a nice song. Nice. Like we're expected to be. Despite the chaos and corruption surrounding us.
The best part of the song begins with the eery Twilight Zone-like synth over which David Strathairn reads Edward R. Murrow's famous anti-Eugene McCarthy speech from the 2005 film, Good Night, and Good Luck... and then the powerful final two minutes. (27/30)
This is one of the most brilliantly conceived and realized concept albums I've ever heard. I hope it gets the attention it deserves--both musically and moral-politically.
95.65 on the Fishscales = A/five stars; a true masterpiece of progressive rock music and an album that should be heard around the world--especially in times like these.
3. GHOST MEDICINE Discontinuance
Produced in England, with the full participation of seasoned bass legend, Colin Edwin, comes this project from Atlanta's JARED LEACH and company--including lead and background vocalist and lyricist Sarah Hoefer, amazing drummer and programmer, Scott Prian (who also recorded and mixed the album), and, of course, Colin on bass. Three principle musicians created these incredible weaves of heavy prog rock sound! Only three!!! Amazing!
1. "Crooked House" (9:44) opens with an awesome synth-supported acoustic guitar picking/strumming solo. By the time the first minute comes to an end, the intro gives way to a very fast-paced, intricately performed heavy rock with a slightly Southern Rock flavor. The male and then female vocals that enter around the two minute mark take over the foreground but the amazing YES-like instrumental guitar feast that forms the background goes on--and would command all of the listener's attention were it not for the beautiful melodic voice of Sarah Hoefer and the great harmonies presented by composer/bandleader/guitarist extraordinaire, Jared LEACH. (Remember this name: It is one I guarantee you will hear again!) An interlude of beautiful ANTHONY PHILLIPS-like solo acoustic guitar in the eighth minute feels like it could be the "bookend" of the song's opening intro--but no! The song returns to its top speed heaviness for the final minute and ends on a high note of LED ZEPPELIN quality and ferocity! Amazing song! Incredible opener and introduction to this extraordinary new talent! (20/20)
2. "Shiver" (5:55) opens with a very strong C-W feel and sound--which is only solidified with the entrance of Nashville-like vocal of Sarah Hoefer for the first verse. The instrumental bridge between first and second verses is awesome--and some amazing slide guitar work continues beneath Sarah's singing of the second verse. By the time the chorus and instrumental sections arrive the song has almost lost any Country/Southern feel to it. Astonishing flow and development! The guitar, bass, and drum work on this song are spell-binding, to say the least--so much so that I found myself pushing the repeat button three times when I first heard it! The song's only flow is that Sarah's voice starts to become drowned out by the instruments by the end of the second verse. In my listening history, only BRUCE COCKBURN at his very best rivals this complex, virtuosic sound! (10/10)
3. "Departure" (6:24) opens with a very heavy, fast-driving OCEANSIZE-sounding guitar, bass and drum weave, which backs off a little into more of a heavy PORCUPINE TREE sound as the vocals enter. The instrumental passage at the end of the second minute contains some awesome guitar--which falls into some ALCEST-like guitarscapes beneath the next round of vocals. The next instrumental bridge contains some guitar shredding (two tracks, R & L) that rivals anything anybody has ever done with pick and four fingers. This then segues into a minor-key section that sounds like something between Italia's AKT or East Anglia's FEN or 4AD's DIF JUZ. The instrumental sections are amazing. The vocal sections are weak. (9/10)
4. "Desert Spring" (8:54) has some very interesting sound and structure. I especially like the atmospheric treatment of the guitars and the presence of acoustic guitar. The song's instrumental sections contain some of the heaviest soundscapes of the album--more than Porcupine Tree at their heaviest--and then some of the album's most sensitive, atmospheric sections, too. Yet they work. Together! In the seventh minute there is a very GENESIS-like feel to the soft, atmospheric section as it slowly climbs back into full soundscape. And then Sarah's wonderfully impassioned vocal falls over some of the album's most straightforward neo-prog section (not unlike MAGENTA, MOSTLY AUTUMN or MANTRA VEGA). (18/20)
5. "Beautiful World" (4:00) opens with some soft, delicately played acoustic guitar--sounding a lot like many of the 1980s guitarists from Windham Hill--or Steve TIBBETTS and/or the late, great Michael HEDGES. The ensuing voices (Jared with Sarah in harmony b vox) present a spacious story with Jared's voice sounding quite beautiful--not unlike Britain's Tony PATTERSON. Though an all-acoustic guitar based song, this one plays out quite well. John Martyn or Tim Blake might have liked this one enough to cover it. (9/10)
6. "Broken Corridor" (5:01) despite solid sound and song structure, there is nothing new or innovative about this one; it feels like something that's already been done. It opens with some Southern Rock Dobro-like guitar fast-picking--which then becomes the pace and melodic structure of the whole band sound. Things quiet down enough for the vocal to enter--first the male, in a REM-like sound, and then Sarah for the second verse. The breakneck speed is, I have to admit, impressive. By the third verse Sarah and Jared are sharing the lead. The drumming and guitar play during the instrumental passages rival anything Gavin Harrison and former DIXIE DREGS' axeman Steve Morse have done. Amazing duo! (9/10)
6. "Broken Corridor" (5:01) despite solid sound and song structure, there is nothing new or innovative about this one; it feels like something that's already been done. It opens with some Southern Rock Dobro-like guitar fast-picking--which then becomes the pace and melodic structure of the whole band sound. Things quiet down enough for the vocal to enter--first the male, in a REM-like sound, and then Sarah for the second verse. The breakneck speed is, I have to admit, impressive. By the third verse Sarah and Jared are sharing the lead. The drumming and guitar play during the instrumental passages rival anything Gavin Harrison and former DIXIE DREGS' axeman Steve Morse have done. Amazing duo! (9/10)
7. "Discontinuance" (11:14) opens with spacy synths, computer-like percussive sounds before being joined by gentle acoustic guitar arpeggi and bass guitar. Sarah Hoefer's HEATHER FINDLAY-like voice enters at the end of the first minute to deliver the first verse of the song. Lively drums and more playful bass accompany the second. Then, at 2:30, everything stops to start a very PORCUPINE TREE/KING CRIMSON-like heavy instrumental section. All instruments are cruising at very skilled levels for two minutes before a slight switch allows the presentation of a more traditional electric guitar solo--albeit, a brief one, as things soon back down to allow drums and bass, synths and Sarah's vocalizations to haunt us beautifully. At the beginning of the seventh minute everything shuts down to make way for acoustic guitar arpeggio fast-picking and slide guitar in background with synths and bass in support. (Colin Edwin is masterful!) Echoes of screechy, scratchy electric guitar sounds open the ninth minute before the acoustic guitar picking takes on another few phrases. Then a great wall of sound, like a tidal wave rushing onto the shore, fills the soundscape during the tenth minute before fading into a slow fade into guitar amp feedback, static, and distant guitar tunings till the end. Amazing song! One of the album's other top three. (20/20)
95.0 on the Fishscales = A; a five star masterpiece of progressive rock music and one of the most astonishing albums of the year if not the decade! Again, people, remember this name: JARED LEACH is the New Kid on the Block and a force to be reckoned with for a long while, I surmise!
4. THE GHOSTS OF JUPITER The Great Bright Horses
Nate Wilson, why haven't I heard of you before? Your genius and mature songwriting skills have surely been developed over time. Your gift for endless strings of melodic hooks--both vocally and lyrically, as well as instrumentally--are so far beyond most young artists. Are you older--or perhaps just an old soul come to comfort us in these horrific times? I love this album. You've masterfully blended and combined so many sounds from days gone by, modern times, creating a halcyon world for our blissful escape. Bands like TAME IMPALA, DUNGEN, THE AMAZING, PINK FLOYD, MIDLAKE, DOVES, THE FLAMING LIPS, JOHN LENNON, THE CLIENTELE, ALAN PARSONS PROJECT, and many, many others come to mind while listening to this gorgeous music.
1. "The Great Bright Horses" (6:45) blending so many great sounds and styles with seamless transitions from one melodic hook to another. (14.25/20)
2. "Boundless Time I" (4:12) channeling the DUNGEN and JOHN LENNON (9.5/10)
3. "Lyra" (5:18) an instrumental channeling DUNGEN mixed with PINK FLOYD --or vice versa. (9/10)
4. "Toward the Silent Sun" (5:18) sounds very much like MIDLAKE's glorious music from their 2014 album Antiphon sprinkled with quite a little TAME IMPALA. (9.5/10)
5. "The Golden Age" (5:07) has the musical edge of something from the late 1960s by PAUL REVERE AND THE RAIDERS with the heavily reverbed vocals of APP or THE CLIENTELE. (8.5/10)
6. "Equuleus" (2:32) heavily echoed piano, soft drums, flute, and, later, organ, evoke a kind of ERIK SATIE-meets-STEVE AND DAVID GORDON feel on this gorgeous albeit brief instrumental. (5/5)
7. "Towers" (3:40) acoustic guitar with slide electric and very catchy piano riff beneath the mellifluous vocals that takes on a feel like an AMAZING song. (9.5/10)
8. "Boundless Time II" (6:32) fades in with two channels of slide guitars and beautifully flanged drums and bass beneath. Piano joins in the second minute to become the lead instrument while guitars settle back in support. Organ, too, joins in to support piano. A stop and lull at the two and a half minute mark allows the unleashing of a REINE FISKE/JIMI HENDRIX-like passage of flaming guitar before organ and synth take over in the fourth minute setting up a little drum soloing. Lots of panning of the drums between brief organ sections. Reminds me of Nikitas Kissonas's METHEXIS songs. Return to AMAZING sound with awesome bass and drum playing over the final section. (9.5/10)
9. "The Eastern Glow" (8:40) opens with bass riffing and jazzy drumming in a Canterbury way before multiple guitars and multiple keyboard tracks (synths, organs, piano) and, eventually, dreamy voice join in. Great melodic hooks from each and every instrument, in each and every section. Major shift in the music and pacing after the three minute mark before there is a complete gap--which is then filled by plaintive piano play, setting up a "Great Gig in the Sky" like melody line which is then picked up and taken to great heights by pedal steel guitar. Gorgeous! A song I like to play twice before starting the album over (which I often do immediately). (20/20)
I don't know if a more engaging, melodic prog rock album can be created to top this, but here we are!
95.0 on the Fishscales = A/five stars; a veritable masterpiece of gorgeous psych-folk prog rock.
6. MICE ON STILTS Hope for a Mourning
With their second album release, Mice on Stilts has improved and polished their recorded sound dramatically. The music here sounds like a cross between BON IVER and THE DAVE MATTHEWS BAND merged with the more atmospheric sides of ULVER and TOBY DRIVER. The songwriting is more diverse on this album and each song has far more depth in terms of sound development and exploration. This is the kind of growth and improvement one likes to see from a young band!
Line-up / Musicians
1. "Khandallah" (6:50) one of the most powerful album opening songs ever! (15/15)
2. "Orca" (8:10) opens with the first 90 seconds sounding like a nice DAVE MATTHEWS song. A great ULVER-like key change at the three minute mark--and then the awesome shift in which a chorale of voices join in to sing the chorus at the end of the fourth minute. An ambient section of reverse guitar notes gives a brief break before sax-led full-band section reintegrates us with the main motif. Awesome Post Rock-like finale of building sound over a repeating chord progression. (14.25/15)
3. "The Hours" (3:45) a gently picked steel string guitar opens this song before some tinkling piano notes join in as Ben sings with his lower register voice mixed quite forward of the guitar and piano. Definitely more of a folk song. (8/10)
4. "And We Saw His Needs Through The Casket" (6:43) opens with solo piano establishing a gorgeous albeit haunting and depressing song foundation. It sounds almost classical. Ben starts to sing toward the end of the first minute in a very deep, almost Tom Waits-like voice. Multiple voices and horns join in for the second verse. The lead vocal is amazing with its emotion and intent but then add in the choral voices as And then at the four minute mark the song shifts completely with upper octave shifting piano dyads, bass and guitar chords providing the new base for an all-chorale lead. Powerful and amazing! Simply has to be heard in order to understand! (14.25/15)
5. "YHWH" (7:20) opens as a quite, delicate guitar-based song before going full "metal" around the one minute mark with loud, sustained distorted electric guitar strums. This reminds me of KAYO DOT or OCEANSIZE! Especially with its sparse vocals and predominantly instrumental nature. (13.5/15)
6. "Hope For A Mourning" (6:40) The finish is very GODSPEED YOU! BLACK EMPEROR-like in its orchestrated feel but then finishes with--surprise!--almost a full minute of silence allowed at the end of the song. (13.5/15)
7. "Funeral" (11:40) A wonderfully paced song in which the music and vocal and story are perfectly matched in telling this very emotional story. Reminds me a lot of sound and feel from the debut STARSABOUT album also reviewed on this page as well as some of THE CURE's more emotional music on "Disintegration" and after. A perfect song and probably my favorite on this amazing and excellent album. (20/20)
8. "Monarch" (6:20) simple, soft, spacious, atmospheric, yet amazingly melodic and emotional, this is an awesome ULVER or TALK TALK like song and a perfect ending to this beautiful and amazingly emotional journey! Thank you, Benjamin! This is exactly what music--or any art--in it's most perfect form should do! (10/10)
Total Time 56:21
What makes this album so exciting, so masterful, is the numerous "unexpecteds": unexpected key or chord changes, unexpected dynamic shifts, unexpected instrumental uses or shifts, unexpected vocal stylings, unexpected recording techniques, and, of course, unexpected lyrical directions. So refreshing and often flamboyantly breathtaking! How weird is it that the shortest and simplest song is the "worst"?!!
94.35 on the Fishscales = A/five stars; an undeniable masterpiece of progressive rock music.
5. "Kernel" (4:16) opens with lots of gentle arpeggi and soft drum play in a kind of celebration of 1970s jazz-lite. Once the vocal and lead guitar parts enter and take over, the rest of the band amps things up (especially the drummer!) and accelerates to all-speed ahead. Still some quirky pauses, temp shifts and sound samples liven this one, making it quite unpredictable. ANTIQUE SEEKING NUNS-like. (9/10)
6. "Pantera" (6:47) more fast-picking guitar and intricate bass and drum play over which Matteo sings in a style that seems both out of time and yet old. Amazing how fresh and refreshing this music is! I am quite reminded of the Chilean band AISLES with their twin masterpieces from 2010's In Sudden Walks, "Summer Fall" and "The Maiden." (14.25/15)
7. "Crisantemo" (7:53) sounds almost like a classical music piece from the Romantic era as written by COLIN TENCH. (13.5/15)
93.42 on the Fishscales = A/five stars; a masterpiece of progressive rock music.
6. "Eyes" (6:04) for the first two minutes contains some trip-hoppy drum sequences playing beneath the more constant presence of some floating plucked guitar chords and Amanda's singing. Then the music breaks into a more jazz-metal flow with lots of picking, plucking of strings while Amanda continues doing her Amy DARBY thing. At 4:00 the weave begins to sound like a DEVY TOWNSEND wall while Amanda's now treated voice falls a little back in the mix. Dreamy! At 5:00 things return briefly to the more dynamic, voice forward sound, before falling back into the dreamy style to the song's end. (9/10)
7. "Erasure" (5:54) opens as a duet with Jeremey's picked electric guitar and Amanda's voice. At the one minute mark the song kicks into a more poppy, almost Latino style while Amanda continues her story telling in and interesting alternating middle and low voice style. The instrumental portion of the third minute finds a much more jazzy Latin-like style with the use of several more complicated time signatures. The final minute of guitar weaving sounds again like a milder, less processed version of DEVIN TOWNSEND. (9/10)
8. "Postlude I" (7:48) opens with synth strings and orchestra instruments playing a beautiful stop-and-go, flow-between-octaves song. Glockenspiel and woodwinds take the leads during the first two minutes, but then low range winds take over before oboe and violins take their turns. In the fourth minute French horn horn-led horn section next get their say. Bassoons, flutes, and clarinets get a turn around the five minute mark. Beautiful melodies and harmonies are presented and woven in and out of simple and many-layered weaves throughout the course of this gorgeous piece of music. (15/15)
Using the now institutional Fishermetrics, the first CD with a total time of 46:13 is alone worthy of the "masterpiece" status.
6. "Kafka" (7:43) is the only song that really doesn't work for me--and this is true on multiple levels. There are so many things going on, so many different styles and sounds, and, for some reason, they just don't gel as well as one would hope. A bit like a Dan Britton (CEREBUS EFFECT, DELUGE GRANDER, BIRDS & BUILDINGS, ALL OVER EVERYWHERE) song: Proggy but a little too esoteric. (10.5/15)
7. "Eulogy" (4:53) gets the prog back on track with a nice prog ballad in the Bill GILLHAM/CIRRUS BAY style. (9/10)
8. "Postlude II" (8:13) closes the second album out with another classical piece. Performed by orchestra, this one opens in a kind of DELIUS/ELGAR/BRITTEN pastoral style before detouring into a full-on blues-rock dirge--a folky version of a Clapton song, perhaps. Beautiful metaphor for the stylistic melange that is the entirety of this beautiful album. Well done, Ohio! (Nice vocal, Amanda! Nice guitar lead, Ryan! Amazing composition, Jeremey!) (20/20)
Line-up / Musicians:
- Johanne Margrethe Kippersund Nesdal / vocals
- Knut Kippersund Nesdal / vocals
- Eivind Strømstad / guitar
- Åsa Ree / violin
- Ingvild Nordstoga Eide / viola
- Ole Gjøstøl / piano
- Morten Strypet / bass
- Mats Lillehaug / drums
1. "Night by Day" (5:17) incredibly beautiful, full-spectrum symphonic sound with vocals sung in English from several sources, male and female. I cannot imagine this song being improved upon. (10/10)
2. "Solveig" (4:24) a pop-folk song fronted by stunningly enigmatic vocalist Johanne Margrethe Kippersund Nesdal (I can't tell if she's folk, blues, rock, cabaret, or pop/R&B--though at times her singing remind me of both of Anna Jobs BENDER from the Swedish family band INTROITUS and of DAM KAT of CHILRDN OF PARADISE). (8.75/10)
4. "Ghost" (4:49) acoustic guitar and violin open this one, dancing and weaving with one another in quite a lovely (almost Gaelic) fashion. Knut's turn in the lead reveals a very folk-oriented song--doubled up by Johanne Margrethe's background harmony vocals from the second verse on. Beautiful folk song reminiscent of the masters of the late 1960s and early 1970s. Almost on a par with songs by Crosby, Stills, and Nash and WOBBLER. (9.25/10)
5. "Dover Beach" (4:35) a song that immediately brings me to an oceanside beach--opening like a Joni Mitchell song before amping up into the upbeat Jazz-Canterbury territory of INNER EAR BRIGADE or even iNFiNiEN. Brilliant singing by uber-talented Johanne Margrethe Kippersund Nesdal with some equally awesome backing by the rest of the band--especially drummer Mats Lillehaug. (9.75/10)
6. "Akrasia" (2:03) piano and Johanne Margrethe = reminders of Courtney Swain. I LOVE the interplay of violist Ingvild Nordstoga Eide between Johanne Margrethe's singing passages as well as the fascinating chord play by pianist Ole Gjøstøl. Amazing song! (5/5)
7. "Grains of Sand" (5:49) another gorgeous jazzy iNFiNiEN-like upbeat song that sucks me in from beginning to end. Awesome interplay and performance contributions from every musician, with strings, guitar, and vocalists in the limelight. The vocal arrangements and Johanne Magrethe's lead are so much like iNFiNiEN and Chrissie Loftus! (9.5/10)
8. "I Surrender" (4:15) strummed guitar chords with pop rhythm track and straightforward lead vocal from a male (but is it Knut?) makes one feel as if we're going for a stage performance here--even when the chorus amps up and the "big" voices of the full band choir step up am I reminded of musical productions like GODSPELL or A CHORUS LINE or RENT. Great melodies (and piano and bass play). (9/10)
9. "Sorry for the Kiss" (3:14) What an intriguing title! And then to open with 90 seconds of laid back semi-jazz instrumental music before I begin to realize that this is probably an instrumental. While the main melody, established in the first measure, plays without break from start to finish, "background" instruments such as strings and drums move slowly to the foreground and become a bit flashier (though never what I'd call "soloing") to the end. (8.75/10)
1. "Shapes and Objects" (a symphonic creation with full orchestral support) (38.5/40)
3. "Death of Mr. Winter" (1:05) quirky and angular--a perfect foil for the previous songs. A bit like JACK O' THE CLOCK. (4.5/5)
4. "Intertwined" (3:30) an awesome multiple acoustic guitar étude--not unlike a WILLIAM ACKERMAN song, only on high doses of cafeine. Andy Didorenko on full display. (9/10)
3. "Magnetism" (7:29) DEPCHE MODE 30 years later! Even the vocal sound is stylized remarkably like that of DAVE GAHAN. No more need be said! (13.5/15)
4. "Rings of Earth" (8:40) opens with some synthesized drum sequence and multiple layers of synths before Toby's treated voice--mixed slightly back of front and center--enters. At 1:10 the music shifts a bit and Toby's voice comes slightly forward. This is so like early SIMPLE MINDS! Especially the rhythm programming. ("Promised You a Miracle" comes to mind.)
The next shift in the third minute is pretty cool--multiple synths doing multiple things while a gradually increasing multiplicity of Tobys shout out, "Rings of Earth."* Then things return back to the second part before a ROBERT FRIPP-like heavily distorted guitar solo begins. The vocals become really cool with multiple voices layering and even harmonizing. Another outstanding song--perhaps more favored than "Amalia's Theme"! (20/20)
5. "Brittle Urchin" (4:32) opens with a heavily treated midi-bass skulking slowly over some distant background synth chords. A minute in, Toby's voice--in a fairly clear mix--leaps out at us with some more synths and slowly strummed guitar chords also present themselves very forward in the mix. At 2:30 drums and heavy bass chords join in. Toby continues singing in this pretty, mellifluous voice. It sounds like a PETER GABRIEL song! This is actually a very pretty, sedate song for TD! And a very pleasant end to an album. (10/10)
95.0 on the Fishscales = A; a five star masterpiece of progressive rock music and one of the most astonishing albums of the year if not the decade! Again, people, remember this name: JARED LEACH is the New Kid on the Block and a force to be reckoned with for a long while, I surmise!
4. THE GHOSTS OF JUPITER The Great Bright Horses
Nate Wilson, why haven't I heard of you before? Your genius and mature songwriting skills have surely been developed over time. Your gift for endless strings of melodic hooks--both vocally and lyrically, as well as instrumentally--are so far beyond most young artists. Are you older--or perhaps just an old soul come to comfort us in these horrific times? I love this album. You've masterfully blended and combined so many sounds from days gone by, modern times, creating a halcyon world for our blissful escape. Bands like TAME IMPALA, DUNGEN, THE AMAZING, PINK FLOYD, MIDLAKE, DOVES, THE FLAMING LIPS, JOHN LENNON, THE CLIENTELE, ALAN PARSONS PROJECT, and many, many others come to mind while listening to this gorgeous music.
1. "The Great Bright Horses" (6:45) blending so many great sounds and styles with seamless transitions from one melodic hook to another. (14.25/20)
2. "Boundless Time I" (4:12) channeling the DUNGEN and JOHN LENNON (9.5/10)
3. "Lyra" (5:18) an instrumental channeling DUNGEN mixed with PINK FLOYD --or vice versa. (9/10)
4. "Toward the Silent Sun" (5:18) sounds very much like MIDLAKE's glorious music from their 2014 album Antiphon sprinkled with quite a little TAME IMPALA. (9.5/10)
5. "The Golden Age" (5:07) has the musical edge of something from the late 1960s by PAUL REVERE AND THE RAIDERS with the heavily reverbed vocals of APP or THE CLIENTELE. (8.5/10)
6. "Equuleus" (2:32) heavily echoed piano, soft drums, flute, and, later, organ, evoke a kind of ERIK SATIE-meets-STEVE AND DAVID GORDON feel on this gorgeous albeit brief instrumental. (5/5)
7. "Towers" (3:40) acoustic guitar with slide electric and very catchy piano riff beneath the mellifluous vocals that takes on a feel like an AMAZING song. (9.5/10)
8. "Boundless Time II" (6:32) fades in with two channels of slide guitars and beautifully flanged drums and bass beneath. Piano joins in the second minute to become the lead instrument while guitars settle back in support. Organ, too, joins in to support piano. A stop and lull at the two and a half minute mark allows the unleashing of a REINE FISKE/JIMI HENDRIX-like passage of flaming guitar before organ and synth take over in the fourth minute setting up a little drum soloing. Lots of panning of the drums between brief organ sections. Reminds me of Nikitas Kissonas's METHEXIS songs. Return to AMAZING sound with awesome bass and drum playing over the final section. (9.5/10)
9. "The Eastern Glow" (8:40) opens with bass riffing and jazzy drumming in a Canterbury way before multiple guitars and multiple keyboard tracks (synths, organs, piano) and, eventually, dreamy voice join in. Great melodic hooks from each and every instrument, in each and every section. Major shift in the music and pacing after the three minute mark before there is a complete gap--which is then filled by plaintive piano play, setting up a "Great Gig in the Sky" like melody line which is then picked up and taken to great heights by pedal steel guitar. Gorgeous! A song I like to play twice before starting the album over (which I often do immediately). (20/20)
I don't know if a more engaging, melodic prog rock album can be created to top this, but here we are!
95.0 on the Fishscales = A/five stars; a veritable masterpiece of gorgeous psych-folk prog rock.
5. IAMTHEMORNING Lighthouse
The young duo of classically trained musicians from St. Petersburg, Russia, Gleb Kolyadin and Marjana Semkina, are back again with their third album (not including an EP and live recording) since 2012--this one enlisting the capable help of seasoned veterans Gavin HARRISON on drums, Colin EDWIN (PORCUPINE TREE) on bass, and Canadian Vlad AVY on guitar. They even got RIVERSIDE's Mariuz DUDA to contribute a vocal to half of one song!
The most striking difference in the feel and sound of this album comes in a shift back toward the classical and folk music sounds and structures that made their debut album so striking and refreshing. I am not sure if this shift back is due to the mixed fan response they received from their more rock-oriented second album, Belighted, or their own gut feelings, but surely the choice of hiring the engineering talents of Tori AMOS-experienced Marcel Van LIMBEEK, and Neil PICKLES for the mixing and mastering helped.
The KSCOPE connection is great, and the studio recording and production is amazing, but I like this 'new' return to their original sound much better, and I'm sure it's production has something to do with that. Gleb's classically-influenced piano playing is prominent throughout the album--which is a strength--especially if you've seen some of the videos of their live performances: iamthemorning music is very powerful when it is broken down into the acoustic versions in which they were composed. Marjana's vocals have also improved--her amazing range has increased in strength in all directions, but her confidence and mastery in making exciting and daring vocal arrangements has also grown tremendously. It is truly a wonder, a privilege, to behold.
1. "I Came Before the Water, Part I" (1:41) opens with rippling stream water sounds before Marjana's angelic voice enters in her upper registers, announcing her folk-mythic presence while being accompanied only by orchestral strings and quiet electronic keyboard. Awesome start! I am excited! This sounds like a very mature, very composed, very centered iamthemorning. (5/5)
2. "Too Many Years" (5:10) is a piano and orchestra supported song which is notable for Marjana's layering of multiple vocal tracks of her own voice in several parts for some harmony support to her lead--to amazing effect. I can't remember hearing her do this with such great outcome before! How she has grown and matured!
The contributions of bass, drums and strings are wonderfully enriching to the mood and the late arrival of the double-reed French bombard is awesome. Great song. (9/10)
3. "Clear Clearer" (4:35) opens with eery background noises, electric bass, woodwinds and electric keyboard establishing a mysterious musical foundation. At 0:45 Marjana joins in with a more powerful (but not dominating) version of her voice. After another 45 seconds hand drums, piano, and other metallic percussives bring up the decibels level a bit. This is the first occasion on the album in which I am reminded of the waltzy song construction style that was so joyfully present on the iamthemorning debut album, ~.
Soloing electric guitar takes front and center in the final stretch over Marjan's whispering vocalizions panning right and left in the background, though all instruments eventual fade and drop out to allow for a charming little woodwind finale. Brilliant song! Great, memorable melodies! (10/10)
4. "Sleeping Pills" (3:44) opens with Marjana's angelic voice holding these amazing notes, singing like an angel straight into one's soul, with some simple piano chords arpeggiating beneath. Background vocals--(Marjana's or the "Perezvony" Choir's?)--join in as singular classical instruments also make their presences known as the chorus begins. Then, with the second verse we are treated to a JOHN TOUT-like piano solo and haunting background violin solo just before the Perezvony Choir enters to perform its chant-like magic. Stunning! Hand drums, piano, fretless bass, and drum kit join and gradually build in intensity to the song's (IMO, premature) end. Gorgeous! And so refreshingly ingenious. (10/10)
5. "Liberetto Horror" (2:14) has a kind of cabaret-burlesque feel to it--frolicking piano, sexy vocals--only the b vox and flutes and, later, strings, shift us away from this stage-like tease extravaganza. But it's too late: Marjana and Gleb have long ago seduced me. Fun song! (4.5/5)
6. "Lighthouse" (6:19) opens with a kind of SATIE/CLAUDE BOLLING-like jazzified classical piano speeding up and down the keyboard before Marjana's whispery voice enters front and center (singing right into my ear! So intimate it makes me blush! Only KATE BUSH has been able to effectively do this before. As a matter of fact, the KATE BUSH comparisons should consider as the piano and voice combination is strikingly similar to a few of Kate's bare bones piano and voice song styles).
At 3:55 the duet format ends as strummed guitars, strings, harp, drums, bass and background vocals join in--eventually giving center stage to a beautiful if less-forward-than-we're-all-used-to vocal by RIVERSIDE's Mariuz DUDA. When you know his voice is coming, you expect some heavy, dramatic shift, but instead the vocal and song play out very smoothly, almost soporifically.
The amazing first half makes this song a timeless classic, a master class in classical folk duet; aside from the wonderful wisps of background vocal work (by multiple tracks of Marjana and some Mariuz), the second half is a little too mellow and monotonous. I feel the anticipation (and expectation) for something more emotional, even bombastic. It could've been better but it's still amazing. (Is that possible?) (9/10)
7. "Harmony" (5:19) is an instrumental that has a wonderfully symphonic feel that is quite strongly reminiscent of John TOUT-era RENAISSANCE. John HACKETT-like flute solos, tuned percussion, and, eventually, full rock band and solo electric guitar grace this gorgeous song. (No offense, Marjana, but Gleb has the potential for a solo album/career.) (As do you!) (10/10)
8. "Matches" (4:18) is the first song on the album which opens with a very familiar feel and style--fast-moving piano fingering with Marjana's delightfully acrobatic voice dancing a bit too far back in the mix (I've always wished her voice to be a little more front and center, a little more over the piano in the mix). Switch to electric piano is interesting, but then back to grand piano as the drums and fretless bass of Gavin HARRISON and Colin EDWIN, respectively, take prominence (though only for less than a minute before the song fades out). (8/10)
9. "Belighted" (3:20) opens with Marjana's delicate voice singing with the accompaniment of only a harp for the first verse. Glockenspiel (electronic keyboard?) and background voices join in for the second verse. Then full strings orchestra makes their entry for the chorus and successive verses. Enter bass, hand drums, and woodwinds and what a magical weave of dreaminess we have just before Gleb's piano and electric guitar take the fore ground in some nice counter-melody play. Wow! I don't want it to end. This band, these songwriters are at the very top of their game!!! (10/10)
10. "Chalk and Coal" (4:57) is a dramatic, almost Broadway show tune-like composition that contains a strain of spoken vocals that are treated to sound like whispered or muted radio samples throughout the background of the song. It's brilliant!--as are the trumpet soli in the second and fourth minutes.
Electric guitar I also love the decision to have a long fadeout with Gleb's jazzy piano riffs repeated over and over while only being accompanied by a flanged percussion hit as time keeper: Simple, bold and powerful. Incredible! (9/10)
11. "I Came Before the Water, II" (2:56) is an incredibly emotional near-a cappella performance by Marjana--the only instrumental support coming from a very slow build of orchestral strings that begins in the second minute--just as Marjana shifts her singing into a very high octave (she opened the first verse of this reiteration of the album's opening song & lyric in a mid-range voice).
The song closes with the same water sounds from the opening song. Stunning! Utterly gut-wrenching! And haunting! (in a good way) (10/10)
12. "Post Scriptum" (2:44) is the album's finale in which Marjana's voice is used to wordlessly sing the song's Russian folk melody in tandem with strings and woodwind while Gleb tickles the ivories and Colin and hold their steady beat behind. Haunting. (5/5)
In my humble opinion, Gleb and Marjana have come out of their shell, into their own state as mature butterflies, to fulfill the amazing and unique potential they exploded onto the scene with back in 2012. The return to piano- and "classical folk"-based sound styles is much welcomed but more, the display of ingenious musical ideas is made felt throughout each and every song--so many choices in structure, sound and restraint that only masters of their craft can ever achieve. And yet, they are still so young! With their confidence and creative beasts released; I can see a long string of masterpieces in iamthemorning (or Gelb Kolyadin and Marjana Semkina)'s long and illustrious career(s).
94.76 on the Fish scales = without hesitation or argument, this is a five star masterpiece of progressive rock music, essential for any prog lover's music collection; A. An album that I will be listening to regularly for years to come.
Marjana and Gleb are focusing their energies on giving attention to the under-attended ills of those suffering from psychological illness, so, for those of you with a friend or loved one with some mental illness, this album might just be a perfect balm ... or tonic. Compassionately conceived and intended, Beautifully rendered, this is music for healing and wholeness.
6. MICE ON STILTS Hope for a Mourning
With their second album release, Mice on Stilts has improved and polished their recorded sound dramatically. The music here sounds like a cross between BON IVER and THE DAVE MATTHEWS BAND merged with the more atmospheric sides of ULVER and TOBY DRIVER. The songwriting is more diverse on this album and each song has far more depth in terms of sound development and exploration. This is the kind of growth and improvement one likes to see from a young band!
- Benjamin Morley / vocals, guitar
- Rob Sanders / drums
- Sam Hennessy / viola, cello
- Aaron Longville / saxophone, clarinet, trumpet
- Joseph Jujnovich / effects, backing vocals, guitar
- Brendan Zwaan / piano, keyboards, organ, music, lyrics
- Tim Burrows / bass guitar, acoustic guitar
- Calvin Davidson / synthesizer, saxophone, guitar
- Guy Harrison / trumpet
With:
- Catherine Walker / backing vocals
- Esther Tetlow / backing vocals
- Rob Sanders / drums
- Sam Hennessy / viola, cello
- Aaron Longville / saxophone, clarinet, trumpet
- Joseph Jujnovich / effects, backing vocals, guitar
- Brendan Zwaan / piano, keyboards, organ, music, lyrics
- Tim Burrows / bass guitar, acoustic guitar
- Calvin Davidson / synthesizer, saxophone, guitar
- Guy Harrison / trumpet
With:
- Catherine Walker / backing vocals
- Esther Tetlow / backing vocals
1. "Khandallah" (6:50) one of the most powerful album opening songs ever! (15/15)
2. "Orca" (8:10) opens with the first 90 seconds sounding like a nice DAVE MATTHEWS song. A great ULVER-like key change at the three minute mark--and then the awesome shift in which a chorale of voices join in to sing the chorus at the end of the fourth minute. An ambient section of reverse guitar notes gives a brief break before sax-led full-band section reintegrates us with the main motif. Awesome Post Rock-like finale of building sound over a repeating chord progression. (14.25/15)
3. "The Hours" (3:45) a gently picked steel string guitar opens this song before some tinkling piano notes join in as Ben sings with his lower register voice mixed quite forward of the guitar and piano. Definitely more of a folk song. (8/10)
4. "And We Saw His Needs Through The Casket" (6:43) opens with solo piano establishing a gorgeous albeit haunting and depressing song foundation. It sounds almost classical. Ben starts to sing toward the end of the first minute in a very deep, almost Tom Waits-like voice. Multiple voices and horns join in for the second verse. The lead vocal is amazing with its emotion and intent but then add in the choral voices as And then at the four minute mark the song shifts completely with upper octave shifting piano dyads, bass and guitar chords providing the new base for an all-chorale lead. Powerful and amazing! Simply has to be heard in order to understand! (14.25/15)
5. "YHWH" (7:20) opens as a quite, delicate guitar-based song before going full "metal" around the one minute mark with loud, sustained distorted electric guitar strums. This reminds me of KAYO DOT or OCEANSIZE! Especially with its sparse vocals and predominantly instrumental nature. (13.5/15)
6. "Hope For A Mourning" (6:40) The finish is very GODSPEED YOU! BLACK EMPEROR-like in its orchestrated feel but then finishes with--surprise!--almost a full minute of silence allowed at the end of the song. (13.5/15)
7. "Funeral" (11:40) A wonderfully paced song in which the music and vocal and story are perfectly matched in telling this very emotional story. Reminds me a lot of sound and feel from the debut STARSABOUT album also reviewed on this page as well as some of THE CURE's more emotional music on "Disintegration" and after. A perfect song and probably my favorite on this amazing and excellent album. (20/20)
8. "Monarch" (6:20) simple, soft, spacious, atmospheric, yet amazingly melodic and emotional, this is an awesome ULVER or TALK TALK like song and a perfect ending to this beautiful and amazingly emotional journey! Thank you, Benjamin! This is exactly what music--or any art--in it's most perfect form should do! (10/10)
Total Time 56:21
What makes this album so exciting, so masterful, is the numerous "unexpecteds": unexpected key or chord changes, unexpected dynamic shifts, unexpected instrumental uses or shifts, unexpected vocal stylings, unexpected recording techniques, and, of course, unexpected lyrical directions. So refreshing and often flamboyantly breathtaking! How weird is it that the shortest and simplest song is the "worst"?!!
94.35 on the Fishscales = A/five stars; an undeniable masterpiece of progressive rock music.
7. PROMENADE Noi al dir di Noi
Another great find for Italia's risk-taking, forward-thinking music label, AltrOck Productions! These creative musicians have a cool confidence that belies their youth.
Line up/Musicians:
Matteo Barisone : Vocals and Keyboards
Gianluca Barisone : Guitars
Stefano Scarella : Bass and Saxophone
Stefano Scarella : Bass and Saxophone
Simone Scala : Drums
1. "Athletics" (10:32) a fast-paced, complex instrumental opens the album as if to say: "We can play!" And, boy! can they! (18/20)
2. "Il Secondo Passo" (6:43) a scaled down, gentler song, with very delicate play from all band members and a great, understated vocal from lead singer, Matteo Barisone. The best song on the album. (15/15)
3. "L'albero magico" (4:33) starts out as another gentler song with some really nice guitar and fretless bass (Chapman stick?) interplay. The drum work also really shines on this one--not for its flash or demonstrativeness but for its solid support and subtle contributions. A top three song for me. (9.5/10)
4. "Roccocò" (5:48) Harpsichord! Renaissance minstrels/troubadours! A very fun 'period' piece--complete with farmers market noises and orchestration! (9.5/10)
5. "Kernel" (4:16) opens with lots of gentle arpeggi and soft drum play in a kind of celebration of 1970s jazz-lite. Once the vocal and lead guitar parts enter and take over, the rest of the band amps things up (especially the drummer!) and accelerates to all-speed ahead. Still some quirky pauses, temp shifts and sound samples liven this one, making it quite unpredictable. ANTIQUE SEEKING NUNS-like. (9/10)
6. "Pantera" (6:47) more fast-picking guitar and intricate bass and drum play over which Matteo sings in a style that seems both out of time and yet old. Amazing how fresh and refreshing this music is! I am quite reminded of the Chilean band AISLES with their twin masterpieces from 2010's In Sudden Walks, "Summer Fall" and "The Maiden." (14.25/15)
7. "Crisantemo" (7:53) sounds almost like a classical music piece from the Romantic era as written by COLIN TENCH. (13.5/15)
93.42 on the Fishscales = A/five stars; a masterpiece of progressive rock music.
The "Minor" Masterpieces
(Ratings of 93.33 to 90.0)
8. UTOPIANISTI The Third Frontier
The next (third) album from the incredibly talented Finnish avant jazz composer/bandleader, Markus Pajakkala. I find myself liking this album much better than the previous albums because of it's cohesive flow. On II each and every song sounded and felt so different--which makes a lot of sense considering the use of completely different musicians on each and every song. Also, the increased presence of the operatic vocalization of female vocalist Suvi Väyrynen (on three songs) gives the album a bit of a Zeuhl (UNIVERSAL TOEM ORCHESTRA) or Canterbury (AMANDA PARSONS, ELIZABETH GASKIN and THE NORTHETTES) flavor--which I love. I just think Markus has probably matured, clarified his vision, and polishing his songs as well or even better than before (he has always shown impeccable attention to detail in the engineering room).
1. "Voodoo Mammoths From Neptune" (4:25) has such clarity in its sound production! It is an odd, cinematic piece with a nicely extended introductory section which allows the listener to get hooked in for the ride. Simply stunning sound! (9/10)
2. "Dr. Gravity's Evil Plan" (4:01) treads more into cinematic jazz like a good spy thriller--or a spoof of a whodunnit. Great ensemble timing opens before multiple trumpets are given solo lines--at the same time! At the end of the second minute some nice organ play bridges into the next section. (Again, the clarity of sound distinction is remarkable!) Awesome organ play gives way to flute while the background ensemble keeps things so tightly glued together! How Markus gets this kind of collaboration from his band is remarkable! Awesome, simple bass line near the forefront holds it all together so well. (10/10)
3. "Universe For Dummies" (5:52) opens with some staccato arpeggi from the electric bass before the wonderful vocalise of Suvi Väyrynen betrays the composer's Canterbury intentions. Great weave of some quite disparate threads--like from horns, vibraphone and electric guitar--breaks into full force at the one minute mark. Very much like a song from INNER EAR BRIGADE. Great soli (and from some odd instrumental choices/sounds) parade around the foreground while bass and organ continue tip-toeing around with the foundational bob and weave. Truly an astounding song! (10/10)
4. "White Dwarf" (1:24) slows things down as an electric piano (Rhodes?) solos slowly before being joined by reed instruments. Cool sound! (4.5/5)
4. "White Dwarf" (1:24) slows things down as an electric piano (Rhodes?) solos slowly before being joined by reed instruments. Cool sound! (4.5/5)
5. "Life As We Thought We Knew It" (4:55) opens with a metronomic electric piano riff which is built upon by horns, vibes, guitars and cymbals. Very pretty. At 1:32 the volume turns up though the play of the horn section gives it all a kind of CHICAGO feel--if however briefly. At 2:38 things get more serious. This could be right off of FROGG CAFÉ's 2010 classic, The Bateless Edge (which makes me beg for the presence of some lyrics--like "Terra Sancta"). Nice song! (9/10)
6. "A Hundred Rabbits" (5:03) opens with a little funk coming from the rhythm section of bass, drums, congas, vibes and clavinet. These are shortly joined by horns and woodwinds and, a bit later, the synth-horn-like vocalizations of Suvi. Things are toned down a bit toward the end of the second minute to allow for the isolation of a flute solo. HUBERT LAWS would be proud! A little bass solo bridges our way into a protracted solo from a seething electric guitar. HENDRIX would be proud! Awesomely woven into the funky horns until it finally fades away into the background so that Suvi and the horns can take us out. Awesome song! (10/10)
7. "Spanking Season" (2:33) the first song I heard from the album has vocals! Odd, cabaret-like vocals--not unlike the stylings of HUMBLE GRUMBLE, PINGVINORKESTERN, KNIFEWORLD or MAJOR PARKINSON. Fun, funny, laughable and eminently clever song! Great solo from a 'Space Invaders' synthesizer toward the end. (9/10)
8. "13 Demons In The Disco Dimension" (3:12) opens with some odd radio clip before a campy melody and odd time rhythm establish a kind of Zappa-esque envirnoment--sophisticated, highly disciplined, and sleek. Not my favorite song but I truly respect and understand it. (8/10)
9. "The Last Reflection" (7:00) Has a bluesy soul and proggy feel to it, as the whole band seems to ride as one wave while the drums are free to play beneath! The delicate part in the fourth minute which opens up space for the vocalise soloations of the gorgeous voice of Suvi Väyrynen is perfection! Great restraint is shown throughout this song from both the composer and his musicians. Even the climax starting at 5:15 shows great emotion and sympathetic feel from all: horns, bass, drums, organ, electric guitar--I can really feel it from all of them! Amazing! (15/15)
All in all, Markus Pajakkala has packaged together a masterpiece of incredibly well contrived and well executed theatric jazz. Consistently, this is one of the best ensemble performances of very sophisticated music that I've heard in a while. Definitely one of the funnest albums of the year (so far).
93.33 on the Fish scales = A/five stars; a true masterpiece of progressive music.
9. AXON-NEURON Metamorphosis
Classic symphonic prog of the first order from Ohio's Jeremey Poparad and company. They possess a sound somewhere in the same ballpark with Germany's FREQUENCY DRIFT, Sweden's INTROITUS and Norway's WHITE WILLOW due in part to the presence of exceptional female lead vocalist in Amanda Rankin (though her singing style is more akin to that of THIEVES' KITCHEN's Amy DARBY). The guitar sound is a bit deeper, djenty--probably due to the presence of composer/producer Jeremey Poparad's 9-string electric guitar and full, deep bass sound. All songs are incredibly well constructed, recorded, performed and possess wonderful melodic and harmonic sensibilities.
Line-up / Musicians:
- Amanda Rankin / voice
- Ryan McDermott / 6-string electric guitar
- Jeremey Poparad / 9-string electric guitar, acoustic guitar ("Koan"), 6-string electric guitar ("Silence", "Eulogy"), mandolin ("Silence"), electric bass, and glockenspiel
- Steven Miller / keyboards
- Dylan Gomez / percussion
CD1
1. "Prelude I" (6:28) is a classical music composition performed by acoustic orchestral instruments. (9/10)
2. "Euclid" (4:31) opens with harp-like arpeggi before a metal band orients us in a different direction. Djenty yet melodic, we are quickly introduced to the Amy DARBY-like vocal stylings of singer Amanda Rankin. The song breaks into several sections, though all continue to revolve around variations of the central arpeggiated chord progression from the intro. Brilliant! (9/10)
2. "Euclid" (4:31) opens with harp-like arpeggi before a metal band orients us in a different direction. Djenty yet melodic, we are quickly introduced to the Amy DARBY-like vocal stylings of singer Amanda Rankin. The song breaks into several sections, though all continue to revolve around variations of the central arpeggiated chord progression from the intro. Brilliant! (9/10)
3. "Suspicions" (5:48) again structures itself around variations on a gentle four-chord jazz progression that is established in the opening--which is beautiful and hypnotic. Amanda's vocals here are her first attempt to get grungy--which doesn't work very well. Her voice is too pure and crystalline to rough up. Still, the song has many memorable and haunting elements that make it rise above the mis-matched vocal choices. Nice drumming and keyboard work on this one. (9/10)
4. "Shattered" (5:58) opens with plucked bass and upper octave piano play setting up for Amanda's delicate vocal. The song shifts into second gear at the one minute mark, and then into third with full band and orchestral instruments shortly thereafter. Nice jazz guitar leads throughout the song. The arpeggiated piano chord progression is quite lovely, quite engaging. Amanda's melody line, as well. At 3:20 things shift into a heavier gear. Nice! I find realizing that I wish Amanda's vocal had been mixed differently in the sonic field--more full and slightly forward. Nice electric guitar soli at the end of the fifth minute. This could be a masterpiece! (9/10)
4. "Shattered" (5:58) opens with plucked bass and upper octave piano play setting up for Amanda's delicate vocal. The song shifts into second gear at the one minute mark, and then into third with full band and orchestral instruments shortly thereafter. Nice jazz guitar leads throughout the song. The arpeggiated piano chord progression is quite lovely, quite engaging. Amanda's melody line, as well. At 3:20 things shift into a heavier gear. Nice! I find realizing that I wish Amanda's vocal had been mixed differently in the sonic field--more full and slightly forward. Nice electric guitar soli at the end of the fifth minute. This could be a masterpiece! (9/10)
5. "Koan" (3:42) opens with some nice acoustic guitar picking, over which Amanda begins singing in her upper registers. Quite lovely. As the full band and orchestral instruments join in I am definitely feeling the genius of this "big band" approach. This is a classy old-time jazz song with some modern instrumental twists. In fact, it is the orchestral strings and not the vintage and modern rock/jazz instruments that steal the show on this one. One of my favorites! (10/10)
6. "Eyes" (6:04) for the first two minutes contains some trip-hoppy drum sequences playing beneath the more constant presence of some floating plucked guitar chords and Amanda's singing. Then the music breaks into a more jazz-metal flow with lots of picking, plucking of strings while Amanda continues doing her Amy DARBY thing. At 4:00 the weave begins to sound like a DEVY TOWNSEND wall while Amanda's now treated voice falls a little back in the mix. Dreamy! At 5:00 things return briefly to the more dynamic, voice forward sound, before falling back into the dreamy style to the song's end. (9/10)
7. "Erasure" (5:54) opens as a duet with Jeremey's picked electric guitar and Amanda's voice. At the one minute mark the song kicks into a more poppy, almost Latino style while Amanda continues her story telling in and interesting alternating middle and low voice style. The instrumental portion of the third minute finds a much more jazzy Latin-like style with the use of several more complicated time signatures. The final minute of guitar weaving sounds again like a milder, less processed version of DEVIN TOWNSEND. (9/10)
8. "Postlude I" (7:48) opens with synth strings and orchestra instruments playing a beautiful stop-and-go, flow-between-octaves song. Glockenspiel and woodwinds take the leads during the first two minutes, but then low range winds take over before oboe and violins take their turns. In the fourth minute French horn horn-led horn section next get their say. Bassoons, flutes, and clarinets get a turn around the five minute mark. Beautiful melodies and harmonies are presented and woven in and out of simple and many-layered weaves throughout the course of this gorgeous piece of music. (15/15)
Using the now institutional Fishermetrics, the first CD with a total time of 46:13 is alone worthy of the "masterpiece" status.
CD2
1. "Prelude II" (7:25) continues the previous disc's pattern by opening with a composition that is composed and performed by a full orchestra. Percussion and pulsing lower strings notes establish the almost PHILLIP GLASS foundation over which violins and woodwinds play their weave of melodies. A more Baroque sound establishes itself in the third minute before making way for a more theatric, liturgical sparsely instrumented sound around 3:30. AT 4:20 we are returned to the more modern sounds and structures of the opening. It reminds me of NORTH SEA RADIO ORCHESTRA's "Berliner Luft" or "Mitte der Welt." Beautiful piece! (15/15)
2. "Silence" (7:23) opens with warmly picked electric guitar with accompaniment of trilling strings. The melody established feels quite theatric--as if we are getting ready to see an emotional love scene from Brigadoon or The King and I. Amanda's entry and presence confirms this as she gives us the warmest, most emotional performance of the album (thus far). The Post Rock-like drumming and full strings accompaniment are highlights, again. The piano solo in the fourth minute is too cheezy--over the top. Luckily Amanda's stunning performance helps us to quickly forget this. In my opinion, this is the first song in which the instrumental soli have negatively affected the overall outcome of the song, one in which the vocal could have been left to more sparse accompaniment. Amazing performance, Amanda. Amazing orchestral arrangement, Jeremey. Maybe that's all you should have concentrated on. (13.5/15)
3. "Kronos" (7:35) is my favorite song on the album. It has a WHITE WILLOW-FREQUENCY DRIFT like feel to it with Kashikura TAKASHI (TOE)-like drumming, CHICK COREA-like keyboard work, James Bond murder-mystery-like orchestration, and Amanda Rankin's beautiful vocal work (which, again, I find myself wishing were mixed more prominently into the soundscape). (15/15)
4. "Summit" (8:00) has the musical feel of a good OCEANSIZE song. This may be the best progressive rock song on the album. The guitar and bass interplay is remarkable for the precision of their 'conversations'. Neither the lyric nor the vocal add much; this could've been a great instrumental. (13.5/15)
5. "Keepsakes" (6:40) opens with some delicate percussion play into which a few sparse keyboard and guitar noises and/or chords are mixed. A delicate, slow, breathy vocal by Amanda Rankin ensues which is mirrored, note-for-note, by a heavily chorused lead electric guitar. Crazed jazzy electric piano play is going on beneath. Brilliant song! So unique and unusual! Psychedelic. On display here is yet more of diversely creative genius of everyone of these musicians and songwriters. Amazing! (15/15)
6. "Kafka" (7:43) is the only song that really doesn't work for me--and this is true on multiple levels. There are so many things going on, so many different styles and sounds, and, for some reason, they just don't gel as well as one would hope. A bit like a Dan Britton (CEREBUS EFFECT, DELUGE GRANDER, BIRDS & BUILDINGS, ALL OVER EVERYWHERE) song: Proggy but a little too esoteric. (10.5/15)
7. "Eulogy" (4:53) gets the prog back on track with a nice prog ballad in the Bill GILLHAM/CIRRUS BAY style. (9/10)
8. "Postlude II" (8:13) closes the second album out with another classical piece. Performed by orchestra, this one opens in a kind of DELIUS/ELGAR/BRITTEN pastoral style before detouring into a full-on blues-rock dirge--a folky version of a Clapton song, perhaps. Beautiful metaphor for the stylistic melange that is the entirety of this beautiful album. Well done, Ohio! (Nice vocal, Amanda! Nice guitar lead, Ryan! Amazing composition, Jeremey!) (20/20)
A stunningly original and mature album. I consider this a veritable masterpiece of eclectic and/or symphonic progressive rock and yet I can see where this band and its composer/producer have room to grow. Can't wait to see what they bring in the future!
92.93 on the Fish scales = A/five stars; a masterpiece of progressive rock music.
10. MEER Meer
A new collective from Norway with some gorgeous symphonic pastoral music. Not big on flashy instrumental solos, more on varied structured compositions
- Johanne Margrethe Kippersund Nesdal / vocals
- Knut Kippersund Nesdal / vocals
- Eivind Strømstad / guitar
- Åsa Ree / violin
- Ingvild Nordstoga Eide / viola
- Ole Gjøstøl / piano
- Morten Strypet / bass
- Mats Lillehaug / drums
1. "Night by Day" (5:17) incredibly beautiful, full-spectrum symphonic sound with vocals sung in English from several sources, male and female. I cannot imagine this song being improved upon. (10/10)
2. "Solveig" (4:24) a pop-folk song fronted by stunningly enigmatic vocalist Johanne Margrethe Kippersund Nesdal (I can't tell if she's folk, blues, rock, cabaret, or pop/R&B--though at times her singing remind me of both of Anna Jobs BENDER from the Swedish family band INTROITUS and of DAM KAT of CHILRDN OF PARADISE). (8.75/10)
3. "Shortcut to a Masterpiece" (3:53) a heavier rocker on which Johanne Margrethe's voice reminds me quite a little of that of BENT KNEE's amazing Courtney SWAIN. Solid song. (8.75/10)
4. "Ghost" (4:49) acoustic guitar and violin open this one, dancing and weaving with one another in quite a lovely (almost Gaelic) fashion. Knut's turn in the lead reveals a very folk-oriented song--doubled up by Johanne Margrethe's background harmony vocals from the second verse on. Beautiful folk song reminiscent of the masters of the late 1960s and early 1970s. Almost on a par with songs by Crosby, Stills, and Nash and WOBBLER. (9.25/10)
5. "Dover Beach" (4:35) a song that immediately brings me to an oceanside beach--opening like a Joni Mitchell song before amping up into the upbeat Jazz-Canterbury territory of INNER EAR BRIGADE or even iNFiNiEN. Brilliant singing by uber-talented Johanne Margrethe Kippersund Nesdal with some equally awesome backing by the rest of the band--especially drummer Mats Lillehaug. (9.75/10)
6. "Akrasia" (2:03) piano and Johanne Margrethe = reminders of Courtney Swain. I LOVE the interplay of violist Ingvild Nordstoga Eide between Johanne Margrethe's singing passages as well as the fascinating chord play by pianist Ole Gjøstøl. Amazing song! (5/5)
7. "Grains of Sand" (5:49) another gorgeous jazzy iNFiNiEN-like upbeat song that sucks me in from beginning to end. Awesome interplay and performance contributions from every musician, with strings, guitar, and vocalists in the limelight. The vocal arrangements and Johanne Magrethe's lead are so much like iNFiNiEN and Chrissie Loftus! (9.5/10)
8. "I Surrender" (4:15) strummed guitar chords with pop rhythm track and straightforward lead vocal from a male (but is it Knut?) makes one feel as if we're going for a stage performance here--even when the chorus amps up and the "big" voices of the full band choir step up am I reminded of musical productions like GODSPELL or A CHORUS LINE or RENT. Great melodies (and piano and bass play). (9/10)
9. "Sorry for the Kiss" (3:14) What an intriguing title! And then to open with 90 seconds of laid back semi-jazz instrumental music before I begin to realize that this is probably an instrumental. While the main melody, established in the first measure, plays without break from start to finish, "background" instruments such as strings and drums move slowly to the foreground and become a bit flashier (though never what I'd call "soloing") to the end. (8.75/10)
10. "Valentina in the Sky" (9:04) sounding a bit like countrymates NEEDLEPOINT or Texas band MIDLAKE, we have an interesting pop-jazz song with Knut in the lead vocal and full band choral support over some quirky Indie-pop. Great drumming and bass playing throughout with wonderful strings (and flute?) arrangements in accompaniment. Then there is an odd stoppage at 4:30. When the music gradually re-introduces itself it is with rapid piano arpeggi and what sounds and feels like full-orchestral arrangement carrying the song, the melody, the everything! Beautiful! And quite cinematic. (Making me desperate to see the movie!) At 6:40 orchestra backs down as drums, bass, and guitars slowly build with Johanne Margrethe and Knut (and whoever else is going uncredited) chanting a line over and over. Then strings and full band increase their dynamics as Johanne Margrethe takes a lead role over the choir until the song closes out with a fully-orchestrated finish. Wow! (18.75/20)
Total Time 47:23
Total Time 47:23
I don't know where these guys came from (Hamar), or why I've never been led to them before now (it's September 2023) but here is yet another AMAZING band (and album) that has flown under everybody's radar! It's so disheartening! And what an amazing force is chameleonic vocalist Johanne Margrethe Kippersund Nesdal. Please check this band out!
92.86 on the Fishscales = A-/five stars; a masterpiece of jazzy folk-pop symphonic music--truly progressive and yet feeling oddly familiar and comforting; something I would think that every self-proclaimed prog lover would find joy and amazement in.
11. LOST WORLD BAND Of Things and Beings
A band that has always had a gift for melody and beauty has now vaulted into the upper echelons of prog world with this release of complex, well-recorded and produced, symphonic prog. Whereas their sound was always a little unpolished and their songs a little too syrupy sweet, this one shows a significant leap in both sophistication and maturity. The new sound is like Mike Oldfield only better; Lost World has gone where we all wished (and thought) Mike would go (but didn't).
Line-up / Musicians:
Line-up / Musicians:
- Andy Didorenko / all guitars, violins, keyboards and vocal
- Vassili Soloviev / flute
- Konstantin Shtirlitz / drums
- Alexander Akimov / percussion
1. "Shapes and Objects" (a symphonic creation with full orchestral support) (38.5/40)
I. "Random Objects in the Sun" (3:20) impressive dynamics. I find myself reminded of Mike Oldfield's Incantations only on a much more sophisticated level. The song just keeps getting better as it goes! Amazing instrumental appearances. (9.5/10)
II. "Moving Dots" (3:15) the andante of this symphony--with vocals, flutes, acoustic guitars and orchestral contributions all helping with the syncopated weave. Then, half way through, it shifts into a smooth, upbeat orchestral piece. Awesome! (9.5/10)
III. "Water Circles" (4:31) a kind of rondo with guitars, violins, and flutes trading the melody with orchestral percussion and drums helping out along the way. Incredible song. We are not worthy! Would that Mike Oldfield ever climbed to such heights! (10/10)
IV. "Time Squares" (3:10) the dénouement and climax. Perfect! (9.5/10)
2. "When the Time is Still" (4:18) Gorgeous arrangement. (9.5/10)
3. "Death of Mr. Winter" (1:05) quirky and angular--a perfect foil for the previous songs. A bit like JACK O' THE CLOCK. (4.5/5)
4. "Intertwined" (3:30) an awesome multiple acoustic guitar étude--not unlike a WILLIAM ACKERMAN song, only on high doses of cafeine. Andy Didorenko on full display. (9/10)
5. "Of Things and Beings" (0:51) another quirky odd JACK O' THE CLOCK-like song with a heavily treated multiple tracked vocal. (4.5/5)
6. "Watchbird" (6:08) a full out, Chris Squire chunky bass prog en force. Not my favorite song or style of Andy's but it does display his ability to write and perform at a very high YES-like level of rock dynamism. The violin adds a true EDDIE JOBSON/UK-ness to the song. (Great drumming, Mr. Shtirlitz!) (9/10)
6. "Watchbird" (6:08) a full out, Chris Squire chunky bass prog en force. Not my favorite song or style of Andy's but it does display his ability to write and perform at a very high YES-like level of rock dynamism. The violin adds a true EDDIE JOBSON/UK-ness to the song. (Great drumming, Mr. Shtirlitz!) (9/10)
7. "Simple as"
I. "One" (2:13) pastoral, hand percussion with flute and acoustic guitars. Amazing flute(s) and guitar(s) weave. Gorgeous! (5/5)
II. "Two" (1:41) The feast continues! A little more up tempo this time. Like a Michel Legrand/Jean-Pierre Rampal/Alexandre LaGoya composition. Amazing! (5/5)
III. "Three" (1:46) the third of the trilogy steps into a more metronomic (though off tempo) medieval troubadour feel and sound. Again, the jazzy sound of Legrand/Rampal/LaGoya is strongly brought to mind. (4.5/5)
8. "The Structure of Madness" (4:05) a return to heavier, electrified rock--this time of a style more akin to bands like MAHAVISHNU ORCHESTRA, ELP, BRUFORD, URIAH HEEP, even RUSH. Wonderful performances by all instruments--especially drums, electric guitars, and bass. A definite masterpiece of progressive rock by a certifiable master of musical composition and performance.(10/10)
9. "On Thin Ice" (3:33) treads into the almost-'pop' style and sound of previous albums like 2009's Sound Source and 2013's Solar Power. By has this band/musician matured! (8.5/10)
10. "Downpour "(3:12) aggressive violin, guitars and bass open this song before the drums enter full throttle to drive this one to crescendoed highs (with notable valleys of meek dynamics). Impressive but not memorable or even very likable. (8/10)
This is by far and away the best album Lost World has released and one of the best albums I've heard from this year. (Oops! I guess it was a late 2016 release!) Excellent sound recording and production throughout (which was a weakness of past recordings). And despite Andy's virtuosity, his flute player and drummer are both on an equal level!
8. "The Structure of Madness" (4:05) a return to heavier, electrified rock--this time of a style more akin to bands like MAHAVISHNU ORCHESTRA, ELP, BRUFORD, URIAH HEEP, even RUSH. Wonderful performances by all instruments--especially drums, electric guitars, and bass. A definite masterpiece of progressive rock by a certifiable master of musical composition and performance.(10/10)
9. "On Thin Ice" (3:33) treads into the almost-'pop' style and sound of previous albums like 2009's Sound Source and 2013's Solar Power. By has this band/musician matured! (8.5/10)
10. "Downpour "(3:12) aggressive violin, guitars and bass open this song before the drums enter full throttle to drive this one to crescendoed highs (with notable valleys of meek dynamics). Impressive but not memorable or even very likable. (8/10)
This is by far and away the best album Lost World has released and one of the best albums I've heard from this year. (Oops! I guess it was a late 2016 release!) Excellent sound recording and production throughout (which was a weakness of past recordings). And despite Andy's virtuosity, his flute player and drummer are both on an equal level!
92.80 on the Fishscales = A/five stars, a masterpiece of progressive rock music!
12. JACK 'O THE CLOCK Repetitions of the Old City - I
I really liked 2013's All My Friends but it showed signs of the band not firing on all cylinders yet--not everyone seemed able to rise up to composer Damon Waitkus' expectations. I'm glad to report that, while this is, sadly, only the second Jack O' The Clock album I've listened to, immaturity and scattered energy are no longer at issue: the band is performing Damon's compositions seemlessly, flawlessly, and Damon's composition and production skills are at his most masterful high.
Line-up/Musicians:
Damon Waitkus - vocals, guitars, hammer dulcimers, guzheng, flute, piano, pianet, mandolin, percussion, wine glasses
Emily Packard - violins
Kate McLoughlin - bassoon, vocals, flute
Jason Hoopes - basses, vocals, zither
Jordan Glenn - drums, percussion, marimba, vibraphone
With
Sarah Whitley - samples (2)
Fred Frith (Henry Cow, The Residents, et al.) - electric guitar (6)
Darren Johnston - trumpet (5, 8)
Jonathan Russell - bass clarinet (7)
Andrew Strain - trombone (8)
1. "I Am So Glad To Meet You" (1:37) Damon Waitkus singing multiple tracks in his unusual, warbly, ANDY GIBB-like voice over an atmospheric echoscape. (3.75/5)
2. "The Old Man And The Table Saw" (10:30) a refreshing prog folk composition that sounds like no one else, proclaims (or reconfirms) that Jack O' The Clock is unique to folk and progressive rock music. (18/20)
3. "When The Door Opens, It Opens On Everything" (12:08) opens with a very folk/bluegrass-sounding acoustic guitar intro. At 1:15 the music shifts to a kind of AARON COPELAND/EDGAR MEYER sound in support of Daimon's vocal. Kate McLaughlin's bassoon plays a nicely prominent role in this one. Stellar performances by all band members in this mesmerizing composition. I even hear echoes of some of the sounds, melodies, and dueling of John McLaughlin's SHAKTI music ("Get Down and Sruti" from Natural Elements) on this one. (23.75/25)
4. "Epistemology / Even Keel" (5:45) opens sounding far more like an old WEATHER REPORT or JONI MITCHELL soundscape. But then all that dissipates in lieu of Daimon's nursery rhyme-like vocal. Not quite a cappela, it is supported rather sparsely with bird- and animal-like sounds created by acoustic instruments. The second half ("Even Keel"?) uses an electric jazz guitar and acoustic guitar to provide the foundational support for Daimon's voice. Double bass, shrill violin chirping, bassoon and flute provide occasional and intermittent accents and support. I like this song a lot. It's certainly a top three song. (9.5/10)
5. ".22, Or Denny Takes One For The Team" (6:58) opens as if we are getting to unleash a high-speed Celtic reel, but when dulcimer, electric bass and drums enter to support and mirror the established lead melody of the violin, it feels more rock like. At 1:30 everything shifts into a dreamy MARK ISHAM-like section. Violin and cymbal play support the baseball reference section as sung by Daimon and his support chorus. A lot of FLEET FOXES similarities in this middle section. I like it very much. The story here feels very dream-like, as if imagination (and time) is toying with the recollection of some past memory. My favorite song on the album. (15/15)
6. "Videos Of The Dead" (7:21) opens with bass and low tom thumping a slow, straight 2/2 time while the guitar of prog legend Fred Frith slide over and between. While the time signature gradually shifts, and the song develops, it is still fairly sparse and simple when Daimon's simple vocal begins. At 2:50 things become heavier, more insistent as first the low end and then the middle of the soundscape fills a bit. Flute solos in the fourth and fifth minutes while the song shifts and other instruments snake around beneath. When Daimon returns to sing at the end of the fifth minute, a full Nu-grass kind of jam is mounting an assault beneath him. then, suddenly, at the 5:40 mark, order is restored just when I thought (and hoped) that wild chaos was about to break open. Awesome, even amazing song. My other top three song. (14.25/15)
7. "Whiteout" (2:28) a foundation of odd sounds (including synths, zithers, bass clarinet, bowed double bass, and what sounds like a backwards flowing solo electric guitar throughout) supports the slow, treated play of a hammered dulcimer. (9/10)
8. "Fighting The Doughboy" (13:42) starts out with a bit of an odd, gangly plod-and-hop sound that might have come off of a MAHAHIVSHNU ORCHESTRA or JEAN-LUC PONTY rehearsal during the 1970s. By the end of the second minute it's feeling more like a UNIVERS ZERO song. But then lyrics/vocals appear. At 4:30 the song suddenly steps into a straightforward rhythm--but only for about half a minute, when it returns to the syncopated UZed sound, style and pacing. Horns, violin, vibes, and bassoon are all quite prominent. At 6:30 another foray into straightdom provides a section with some interesting background vocal activities and harmonies--and even a lead vocal from a different male (Jason Hoops?). At 8:20 a kind of calypso foundation begins over which SHANKAR-like violin melody leads before a flanged Daimon Waitkus vocal slowly emerges (and continues moving into the foreground--with accompanying vocalists). At 10:30 new section begins with a sound that is reminiscent of some of JONI MITCHELL's jazzy-world music from the mid 1970s. Voice samples from the likes of Martin Luther King, Jr. are interwoven among the Dixieland party that ensues--and plays out to the song's end. Intriguing song! High marks for creative originality. (27/30)
9. "After The Dive" (3:38) a very cool, unusual song with great, delicate performances from all--and a nice vocal from Daimon. (9/10)
Total time 64:07
Total time 64:07
92.32 on the Fishscales = A-/five stars; a minor masterpiece of prog folk and progressive rock music. This band is maturing, gelling into one of the most compelling masters of the modern prog scene.
More outstanding djenty atmospheric prog out of Australia. Like country-mates KARNIVOOL and Polish prog masters VOTUM, these musicians know how to create great melodies and moods within heavier musical walls of sound--and they are even better at building over or deftly interspersing their songs with awesome atmospheric, almost shoegazey passages!
Line-up / Musicians:
- Keelan Butterick / Vocals, Guitar
- Seb Key / Guitar, Vocals
- Evan Jackson / Bass
- Jacob Grindrod / Guitar
- Cassandra Key / Drums, Piano, Percussion
1. "Prelude" (0:42) opens the album with some atmospheric guitar notes and constant keyboard soundscape in order to set up the barrage of sound that is unleashed at the beginning of #2. (4.5/5)
2. "The Falling" (3:31) opens with some full-brunt walls of sound very similar to the VOTUM and KARNIVOOL style of recent years. Great vocal also fitting into the VOTUM "First Felt Pain" style. At 2:50 the tempo is downshifted a few steps before falling away for a soft little atmospheric keyboard end. (9/10)
3. "Concurrent Abreaction I: Presage (The Hunter)" (8:22) opens strongly with vocals joining in soon after. But the song pauses and slows before the first minute is out for a sustained reset before returning to the opening pace and heaviness. It's a bit like being in a car that is driving in traffic--stop lights and all.
The totally atmospheric section that begins at the end of the third minute is so cool--rolling, jumping bass lines and drums playing off one another while the guitar arpeggi and keyboard backgrounds accompany the soft vocal. At 4:34 the djenty bass and guitars return for a little display of their own. The vocal that eventually tries to join in is, unfortunately, a bit incongruous. Another soft, atmospheric section begins at the six minute mark--this one less pretty, less satisfying than the last--and soon gives way to another barrage of djenty guitar.
The shifts from heavy, djenty walls of sound to atmospheric, almost Shoegaze soft sections throughout this song are quite interesting--and, now that I'm used to them, awesome. (18/20)
4. "Concurrent Abreaction II: Ocean (6:31)" opens very sedately, spaciously, until the very end of the second minute when some slow, heavy guitar-based walls of sound establish themselves in a kind of FOREIGNER "Double Vision" way. All ensuing song development is slow and methodical with nothing much very surprising or exciting save for a return at the 4:40 mark (to the song's end) to the shoegazey-atmospheric sound of the opening. (12/15)
5. "Concurrent Abreaction III: The Outside" (6:20) opens with some atmospheric guitar play over an interesting uneven time signature bass and drum rhythm. The vocal that joins in repeating "inside my thoughts" is a nice touch. As a matter of fact, this is the first song in which the lyric and vocal perfectly match the music being expressed beneath. At 3:34 the djent wall of sound is unleashed in a KLONE/ALIC IN CHAINS way--with vocalist reaching up to scream his lyrics along with the escalation in sound volume. This is, however, but a brief crescendo before all falls back to the more floating atmospheric levels of the opening section. (9/10)
6. "Concurrent Abreaction IV: Lucah" (4:26) is a song that again reminds me of a YANN LIGNER-led KLONE song for its first two minutes. Then it becomes a totally different song--an instrumental that contains some gorgeous ROBIN GUTHRIE-like atmospheric guitar chord play and guitar effects--for over a minute before returning to the KLONE-like grungy heavy metal sounds introduced in the opening section. The heavily treated GUTHRIE-like guitar can be heard contributing single note arpeggi throughout. This is awesome! One of my top three songs for the album. (10/10)
7. "Concurrent Abreaction V: We Lie In Shadows" (5:41) opens with some fun drum exercises before the shoegaze guitar sound joins in. Long, sustained FRIPP-like guitar notes accompany and soar over the other guitar, bass, and drum play. Beautiful! This is another beautiful albeit heavier version of a COCTEAU TWINS/shoegaze-styled song. Even the heavier buildups in the second minute take nothing away from the incredible syncopated, stop-and-play melody and rhythm play here. As a matter of fact, the densification that occurs at the end of the third minute within the multiple arpeggiating guitars is stunning! And the SYLVIAN-esque atmospherics in the middle of the fifth minute, too! Probably my favorite song on the album. (10/10)
8. "Concurrent Abreaction VI: Sehnsucht" (4:03) is an ENO-esque ambient ocean raft ride in which long note harmonized vocals and Fripp-like sustained lead guitar notes waft in and out of the gorgeous foundational music. Certainly a top three song for me. (10/10)
9. "Dead Letters" (2:27) is an instrumental that sounds like a reprise of an earlier theme played slightly more clearly and with different approaches to the drums, keys, and guitar sounds used. Still, gorgeous with memorable melodies used throughout. (10/10)
10. "Cutting The Ties" (5:33) is a rather low profile attempt to tie up loose ends and end the concept album on an even keel. Such a great sound! (9/10)
92.27 on the Fish scales = A-/five stars; a minor masterpiece of progressive rock music. I love this album! Stare at the Clouds has produced a masterpiece of atmospheric djent.
14. DUNGEN Häxan
A brilliant new collection of songs composed/created in an analog domain as a soundtrack to what is believed to be the oldest surviving full-length animated feature film, from 1926, "The Adventures of Prince Achmed" by Lotte Reiniger.
A brilliant new collection of songs composed/created in an analog domain as a soundtrack to what is believed to be the oldest surviving full-length animated feature film, from 1926, "The Adventures of Prince Achmed" by Lotte Reiniger.
Line-up/Musicians:
Gustav Ejstes
Reine Fiske
Johan Holmegard
Mattias Gustavsson
1. "Peri Banu vid sjön" (3:01) an atmospheric experimentation in dronescapes with bass and simple drumming. Nice. (8.5/10)
2. "Jakten genom skogen" (4:10) is an amazingly soothing though uptempo two-chord acoustic guitar-based instrumental jam drenched heavily with Mellotron and incredible percussion work. One of my favorite songs I've heard from all year. Not to be missed by any prog lovers! (10/10)
3. "Wak-Wak's portar" (1:35) heavily distorted electric guitar strums and pans while free-form flute 'child's play' form this wildly psychedelic song.
4. "Den fattige Aladdin" (0:30) sounds like someone listening to flute over the radio or television.
5. "Trollkarlen och fågeldräkten" (4:30) sounds like a VINCE GURALDI TRIO or KOOP loop over which guitar(s?) and organ(/synths?) are racing in a wild tapestry. Cool! Psychedelic entropy. (9/10)
6. "Grottan" (0:58) eery space music culminates in
7. "Häxan" (2:48) plays like a funeral march over which folk themes are explored. "The Witch" to be sure. (9/10)
8. "Aladdin's flykt över havet" (0:59) is a brief synth and Mellotron play over toms and bass. This one sounds like it could come out of a Miyazaki/Studio Gibli film. More of this! (9.5/10)
9. "Kalifen" (4:37) starts out sounding very much like the organ, drums and bass tracks to PROCUL HAREM's "Whiter Shade of Pale"--which came from a Bach melody, if I'm not mistaken. By then end of the third minute it has shifted into something more jazz experimental--almost SUN RA or LARRY YOUNG like. Awesome song! (9.5/10)
10. "Achmed flyger" (4:33) piano, Mellotron and upbeat drums and bass make this uptempo instrumental another winner. The true adventurer in this one is the Mellotron (especially in trying to keep up with that piano). The main melody is quite familiar. Awesome jam--like an ANEKDOTEN live jam. (9/10)
11. "Aladdin och lampan, del 1" (0:49) heavily treated solo piano. It's pretty. And still quite DUNGEN/ESTES-like.
12. "Aladdin och lampan, del 2" (1:12) flute and upright piano take the leads for this one--over bass, drums and acoustic guitar. Nice flute play. Strange fade out into 'radio background' while "del 1" returns.
13. "Achmed och Peri Banu" (3:10) broody, moody, and deeply emotional, this gorgeous song sounds like it could come out of some Greek tragedy film--except for the KOOP-like bass play. Incredible song! I feel like crying! (10/10)
14. "Andarnas Krig" (6:21) the only long song on the album, it opens with some Hendrix-like feeback & distortion strums of electric guitar. Alone. At 0:40 the rest of the band kicks in to create a jam that is truly reminiscent of the best psychedlia from the late 1960s and early 1970s (both CREAM and NEKTAR come to mind). The pace gradually picks up until, by the fourth minute, the speed is almost breakneck. Just when you wonder whether they can go any faster or if the guitar shredding (literally) can get more frenetic, everything starts to 'crash' and 'fall apart.' (What kind of animated film was this??!) But then the phoenix gathers up its ashes and begins to pull itself back together for one more sprint into frenzied chaos. Wow! Quite free for all; quite a jam. THE WHO at their most violent. Makes one wonder what the studio looked like after this song was over! Amazing! (9.5/10)
92.22 on the Fishscales = A-/five stars; a minor masterpiece of progressive rock music and one film that I definitely want to see (if it has this soundtrack attached to it)!
15. MANTRA VEGA The Illusion's Reckoning
This has been a truly surprising find for me. I know most of the members of this "band" (Heather Findlay, Dave Kerzner, Alex Cromarty, Chris Johnson, and Dave Kilminster) as well as the supplemental contributors (Troy Donockley, Irene, and Arjen Lucassen) but never have I enjoyed any of them as well as I do on this album, in this presentation of music. It's as if these seasoned prog rockers have stripped down all of their music to the barest of constructs and forms. The end result is stunningly beautiful, breathtakingly simple, deeply engaging and hauntingly memorable. I found myself utterly astonished--moved to my core--with the discovery of each and every song. I couldn't wait to start over from the beginning once it was over!
1. "Every Corner" opens the album in a totally surprising way--beautiful music with Heather Findlay talking over it--very much like STEVEN WILSON's "Perfect Life" from 2015's Hand. Cannot. Erase. And it works! Well! What a way to open the album! (9/10)
2. "Island" (5:53) (9/10) and especially its reprise, 9. "Island (reprise)" (1:42) (5/5) are gems straight out of the KATE BUSH playbook.
3. "Veil of Ghosts" (6:48) is the most musically complex, heavy and uptempo song on the album (if you can believe that)--and it's "low" point (though it has some truly magical parts--like the double keyboard solos beginning around the three minute mark). (12/15)
4. "Lake Sunday" (6:10) is just as simple and lazy as you might expect from this title. Heather Findlay's vocal in the opening verse gives the song it's country/Linda Rondstadt "Blue Bayou" feel but as soon as the chorus enters it shifts. (8/10)
5. "Mountain Spring" (6:09) comes at you like a great Joni Mitchell or Christoffer GUNRUP/THE AMAZING song. And then the Mellotrons and chorus hit--it's awesome! CROSBY, STILLS, NASH & YOUNG heaven! Flutes, muted lead electric guitar a la Stephen Stills. Wonderful! (10/10)
6. "In a Dream" (5:20) opens with spacey background keyboard washes and reversed notes of electric guitar before giving way to Celtic flute and strummed acoustic strings and Heather Findlay's folkish vocal. With Troy Donockley's flute play, piano, and anthemic adult & children's choral support, this turns into quite a powerful song--with the message that "we are made of star light." Quite a RENAISSANCE feel to this one, as well. (9/10)
7. "Learning to Be Light" (5:03) is gorgeous in a FLEETWOOD MAC/Stevie NICKS way, hauntingly beautiful in a TOBY DRIVER way. (10/10)
8. "I've Seen Your Star" (6:00) is gorgeously delicate like something from an old SHAKTI (gentle John McLaughlin guitar style) or JAN GARBAREK (wooden flutes) or even K.D. LANG (vocal) album. (10/10)
10. "The Illusion's Reckoning" (9:54) has vocal moments that remind me of the ascendant moments of LULU's amazing 1967 rendering of "To Sir With Love" and others like KATE BUSH in at her absolute best--which is all enabled by the simple musical constructs around and behind her. Heather's amazing vocal melodies are supported throughout by absolutely crushingly beautiful instrumental and choral chords. Brilliant solos from keys in the fifth and ninth minutes. This gorgeous song makes the album end on such a high! Awesome! I am in heaven! (19/20)
I want to make a special comment here: I have never been much of a fan of Heather Findlay's vocals--they just never grabbed me. Until now. The song style used here is the absolute perfect winning formula for her talents: not mixed within the music but isolated above and in front of the minimally constructed instrumental music. Also, because of the chordal structures and keyboard dominance, this album is a real delight for all you Kevin Moore/CHROMA KEY fans.
Though this is an album of kind of pop-oriented simple melodic music, it is rendered proggy by the amazing cast of seasoned prog veterans. They have simplified their musical delivery but done it in such a refined and masterful was as to still have created wonderful music for the progressive rock fanatic.
92.0 on the Fish scales = A-/five stars; a minor masterpiece of progressive rock music.
92.0 on the Fish scales = A-/five stars; a minor masterpiece of progressive rock music.
16. LA BOCCA DELLA VERITÀ Avenoth
A group of Italian prog veterans release their first (and only) album. Avenoth shows a band that has worked long and hard to practice and perfect some very-refined compositions.
Line-up / Musicians:
- Fabrizio Marziani / lead vocals, rhythm & 12-string guitars, flute
- Roberto Bucci / lead guitar, backing vocals
- Jimmy Bax / Hammond organ, Mellotron, ARP Prosoloist, digital synth, piano, backing vocals
- Massimo Di Paola / piano, keyboards, synths, backing vocals
- Guglielmo Mariotti / Rickenbacker bass, Moog Taurus, 6- & 12-string guitars, backing vocals
- Ivan Marziani / drums, percussion
1. "Intro 2161" (2:06) A space-textured interlude with all kinds of tape loops of historic statements strung along over the top. (4.25/5)
2. "Ouverture" (2:03) a nice instrumental Neo Prog intro/interlude. (4.5/5)
3. "Contro Luna e Luce" (4:11) a slowly developing 1970s GENESIS-like tune with Italian lyrics sung in a fairly typical RPI bombast over the top. (8.5/10)
4. "La Suite dei Tre Pianeti" (17:43) opens with a soft steady three minutes with calm, steady singing. This is followed by a transition into a section with a full URIAH HEEP-like sound palette. At 3:30 this shifts into something speedy but then quickly dies down at 4:00 to a quiet Hammond organ church sound with Roye Albrighton lead guitar picking over the top. AT 5:00 another shift into a kind of PINK FLOYD mode. More nice slowly developing sustained lead guitar work before another bridge at 6:12 which is followed by an extended "Hey, You"-like sequence of 12-string guitar chord arpeggi with other things happening over and above. At 8:45 we segue into a section supported by some aggressive music with very (over?)active drums. This is a very strong, repetitive guitar riff over which singer and several keyboard instruments and even the drums get to solo for over three minutes. At 12:00 things stop and a similar Hammond riff sets up the next, still aggressive theme. This time the electric guitar once again gets to explore a long solo with his sustain and volume pedal before the keys take it back over. At 13:45 things empty out and slow down again--this time plodding along with bass in the lead riff, added by Hammond and MiniMoog before jazzy piano takes over the fast paced baseline riff at 14:45. This is all too much like EMERSON, LAKE AND PALMER (perhaps a bit heavier), just endless show for the instrumentalists with very little making sense or reason to me. Very accomplished musicianship and composition just not sustaining its interest or meaning. (30.5/35)
- a) Il Pianeta Vuoto - soft (4/5)
- b) Due Gambe Come Noi - mercurial (9/10)
- c) Il Pianeta Ostile - heavy/aggressive (8.75/10)
- d) Voyager 1977 - still heavy & aggressive (8.75/10)
5. "Avenoth" (8:12) a patchwork of diverse and mercurial themes and dynamics that works very nicely. (13.5/15)
6. "La Festa" (3:59) opens like an attempt at replicating an older musical form with "antique" sounding instruments, but then in the second minute the prog instruments enter and keep up the near-pagan/Celtic feel. (8.5/10)
7. "Antico" (2:29) a classical guitar solo (and later, duet) that feels like something straight off of ANTHONY PHILLIPS' Private Part & Pieces III: Antiques (4.5/5)
8. "La Deportazione degli Avenothiani" (9:55) slow, steady, and firm establishment of a heavy, somewhat aggressive Neo Prog palette, with chunky bass play and great drumming while keys and guitars play around over the top. Vocalist Fabrizio Marziani enters at the three-minute mark singing a very typical RPI vocal. At 4:00 a slow space unfolds held together by sustained Hammond chords, military snare drumming, chunky bass melody and HACKETT-like volume pedal guitar notes soloing over the top. When things ramp back up at 5:15, Roberto Bucci's guitar becomes more prominent and forceful before giving way to the Hammond for a spell. Roberto gets another extended solo in the seventh and eight minutes while the music builds beneath him. Then, at 7:50, a 'tron and rolling Hammond base setup a MiniMoog solo that takes us to the song's finish. So GENESIS/TONY BANKS! A great prog epic. (19/20)
9. "La Rivolta - Il Massacro dei Terrestri" (12:55) one cannot deny the tightness of this band, the dedication to their craft, the number of hours they must have put into the composition, construction, adaptation, arrangement, and performance of these songs--especially one like this with so much going on at breakneck speed and on so many levels and layers. The theme commenced in the sixth minute is a step back--a chance for the band members to "rest" and regroup. By 6:40 we are launched forward again, in full, though not quite as high-geared as the opening five minutes. Keyboard maestri Jimmy Bax and Massimo Di Paola are surely having a field day with their synthesizer and organ dueling. At 8:45 the music cuts out for Jimmy to establish a new, very deliberate theme using his raspy Hammond. Very intricate syncopation ensues for the whole band to have to kowtow to before Mellotron and searing electric guitar enter to steer the band through the trouble. Another great prog epic. (25/25)
10. "Perduto Avenoth" (5:48) an very thickly "orchestrated" organ dirge that sets up a bluesy foundation over which lead guitar and some MiniMoog get to show their stuff. Standout guitar soloing. It is amazing that some artists can "orchestrate" a song like this--with computer keyboards--and fool me into thinking that it's actually an orchestra. Well met! (8.75/10)
11. "Reprise (Speranze Distorte)" (10:23) acoustic guitars picking away with a little bass, rising church organ, and DUANE ALLMAN-like guitar. Several different motifs are explored, most of them in a similarly methodical pacing, allowing for slower, more prominent exposure of individual instruments--both background and foreground. This is good stuff! And the themes that are recapitulated are memorable and, thus, recognizable and welcomed--something that not all symphonic arrangements can say. A slow, spacious section in the seventh minute that is founded in picked and then strummed acoustic guitar, is, for me, quite reminiscent of LE ORME's Felona e Sorona. It's beautiful (and so 1970s feeling). In the ninth minute the Mellotron-drenched prog ensemble returns, albeit slowly, gradually, with piano now taking over and amplifying the acoustic guitar's arpeggi--but the, rather suddenly, at 9:20 a fast arpeggiating Hammond organ takes over and speeds us to the end. A fairly perfect symphonic prog song--now and then! (20/20)
Total time: 77:39
91.875 on the Fishscales = A-/five stars; a masterpiece; an essential album for any prog lover's music collection. This album may present the single best Italian band to ever create prog epics.
17. SHAMBLEMATHS Shamblemaths
From Trondheim, Norway?! No way! This vocalist must be THE STRAWBS' Dave Cousins! The sax and rhythm section has the youthful vigor and sound of SEVEN IMPALE!The music has the quirky yet complex adventurous of THE TEA CLUB!
As a matter of fact, this is exactly what I hear when I listen to this album: the dynamic saxophone-assisted drive of youth as in countrymen Seven Impale playing with the musical experience and breadth of diverse styles as The Tea Club with a strong foundation in the tremendous wisdom of folk traditions and impassioned messages of The Strawbs (with, of course, the voice of Dave Cousins in the lead). (*A parenthetical addendum to this last statement: It is obvious to me [and other reviewers] that the lyrical content presented herein may be intended to convey a somewhat tongue-in-cheek message--that Simen and Eirik may not, in fact, be so purely and selflessly uplifting or inspiring to the human audience as was Dave Cousins.)
Nevertheless, this is truly an astonishing album--nearly flawless in composition (despite it's symphonic complexity and wide ranges of dynamics), performance and sound engineering. Three prog epics, each worthy of consideration for admission into the Prog Hall of Fame, yet each also standing alone in their own stylistic form and sound.
Line-up / Musicians:
Line-up / Musicians:
- Simen Ådnøy Elliingsen / electric, acoustic and Spanish guitar, alto, soprano and baritone saxophones, vocals, zither, jaw harp, percussion, occasional keyboards, sundry implements-
- Eirik Mathias Husum / bass guitar
Guests:
- Eirik Øverland Dischler / keyboards
- Halvor Lund / Hammond organ
- Jon Even Schärer / drums
- Colin Howarth / tenor sax solo (3c, 3d)
- Karl Yngve Lervåg & Helene Hesselberg Rendal / choir (1a, 1j)
- Marit Høye Ådnøy / vocals (3a)
- Jan Røe (member of TiaC) / guitar parts (3b)
- Eivor Ådnøy Elliingsen / baby vocals (2e)
1. "Conglomeration (or: The Grand Pathetic Suite)" (26:54) (52.5/55)
- a. "Bloody Racket" - opens as a djenty Tech Metal song that turns into a metallic MAGMA-ish Zeuhl song with choir singing "Bloody Racket." Brilliant synthesis and pretty flawless imitation. The future direction of Zeuhl?
- b. "Your Silly Stare" - feels like an attempt at a JETHRO TULL style though it turns into more of a high energy Van Der Graaf Generator sound.
- c. "A Mockery in the Making" - "a broken man" section falls into the realm of THE FLOWER KINGS or even MARILLION--though the instrumental section in the eight thru tenth minutes feels more like SEVEN IMPALE.
- d. "The Different Tastes of Sick"
- e. "A Mockery Well Made"
- f. "Life Is Tough (When You're Me)" - is simple, melodic and very funny ("I've nothing left to say but I say it anyway..." using familiar sound.
- g. "Saucy Tiara Woman!" - an skillful instrumental display that is trying to be JETHRO TULL and HEART and yet becomes a little HARMONIUM-like with the soft, sustained background sax--before, that is, all hell breaks loose with shredding electric guitar solo.
- h. "Another Pear of Ice" -
- i. "Con-girl Omen Ratio 1" -
- j. "Overture" -
2. "A Failing Ember" (9:27) the album's shortest song, full of mundane and quirk, starts out with
- a. "Never Innocent Again"- a three-minute acoustic guitar-based song with a very repetitious vocal melody.
- b. "The Winding Stair" - starts out with an odd-tempo SEVEN IMPALE sound that gets heavier like MYRATH or ORPHANED LAND before suddenly switching off at 4:45.
- c. "Three Flowers" - Two lone solo acoustic nylon-stringed guitars playing in a near-Spanish style before multiple tracked vocals enter and sing with/over. Some odd rhythms, instruments and styles filter in and out over the next part culminating in a baby's babeling over some odd organ/Mellotron sounds.
- d. "Deus Caritatis" - the final 25 seconds of Latin "gregorian" chanting. (17/20)
3. "Stalker" (19:55)
- a. Stalker Begins
- b. Bad Conscience Underneath Your Gown
- c. Stalker: Persistance
- c. Stalker: Persistance
- d. Stalker's Lullaby
- e. Stalker: The Harrowing
- f. Stalker: Inevitable Anticlimax and Fade-Out
The final epic opens with some Mediterranean-sounding guitar and Burt Bacharach-soundtrack vocals (uncredited female included!) before a nicely grooving Neo prog rock jam opens up at 1:08. Then at the 2:00 mark it shifts into a more scaled back, acoustic-base for support of a vocal section. The heavier chorus section that launches at the end of the fourth minute (and again at the 5:00 mark) is reminiscent of some RIVERSIDE riffs. At 5:42 some heavier electric guitar chords and bass begin a slowly-ascending-chord interplay that results in a throbbing organ and sax--and, later--electric guitar-synth--duet at the fore. The baseline riff persists throughout the mid-section sounding a lot like RIVERSIDE's "Second Life Syndrome" while the saxophone solos.
At the end of the fourteenth minute a solo nylon string acoustic guitar combining Steve Hackett's "Blood on the Rooftops" with Steve Howe's "Awaken" riff breaks down the flow. The male vocal brings us back into full band until at 15:20 saxophone and organ take us through no less than three transitory passages before we come to the Inevitable Anticlimax and Fade-out. Nice song if not as fresh or inventive as the album's first song. (36/40)
91.74 on the Fishscales = A-/five stars; a refreshing and exciting minor masterpiece of progressive rock music.
18. TONY PATTERSON Equations of Meaning
Lovely Neo Prog drawing from 70s ALAN PARSONS PROJECT, 80s GENESIS, and current day STEVEN WILSON with plenty of lush keyboard arrangements and ethereal vocal displays.
The drum machines may drive you crazy but the songs are definitely all gorgeous, mature constructs--they will quickly dig their way into your brain and never leave--you will never want them to; they are addictive.
The drum machines may drive you crazy but the songs are definitely all gorgeous, mature constructs--they will quickly dig their way into your brain and never leave--you will never want them to; they are addictive.
Line-up/Musicians:
Tony Patterson (ReGenesis, Nick Magnus, John Hackett): vocals, piano, keyboards, guitars, orchestrations, flutes, programming, extras
Tony Patterson (ReGenesis, Nick Magnus, John Hackett): vocals, piano, keyboards, guitars, orchestrations, flutes, programming, extras
With:
Nick Magnus (Steve Hackett, John Hackett): programming (2, 11), keyboards and programming (3)
Andy Gray: guitar solo (7)
Brendan Eyre (Nine Stones Close, Riversea): piano (10)
Adrian Jones (Nine Stones Close): slide guitar and guitar solo (11)
Doug Melbourne: mopho synth solo (5)
Siobhan Magnus: vocals (5)
Fred Arlington: horn and sax (9), sax (2), horn (5)
1. "Ghosts" (4:01) an instrumental that captures the quintessential sound of the gorgeous electric guitar stylings of STEVE HACKETT--both Genesis-era and solo--before giving way to a more cinematic song style. Gorgeous. (9.5/10)
2. "The Magdalene Fields" (5:59) opens with an obvious "Entangled" GENESIS/ANTHONY PHILLIPS sound before the gorgeous AMERICA-like voice harmonies enter. The key shift down into the rather disappointing chorus are this song's only flaws. Otherwise, beautiful--especially the ethereal section beginning at 4:08. (9/10)
3. "Each Day a Colour" (4:48) opens with some gorgeous spaciness very much like the work of Steven WILSON's PORCUPINE TREE in the 1990s ("The Sky Moves Sideways" and Signify come to mind). When the band's rhythm section and vocal join in it still has a bit of the WS feel but also a kind of California dream-pop feel not unlike that of bands like PORNO FOR PYROS and WEST INDIAN GIRL. The keyboard work, chord progressions, and 'light' rhythmic approach make this another absolutely gorgeous song. (10/10)
4. "Cast Away" (2:35) again we find Tony and company masterfully replicating the STEVE HACKETT songs style when Steve is at his most melodic and intimate. Another absolutely hypnotic, dreamy gorgeous song. Flawless. (9.5/10)
5. "The Angel and the Dreamer (i.vision, ii. journey, iii. reprise)" (7:02) feels like a long lost song from one of ALAN PARSONS PROJECT's earlier days--Pyramid or even I, Robot era--even with the ANTHONY PHILLIPS-like 12-string presence in the middle. (9.5/10)
6. "Beneath a Perfect Sky" (5:09) casts such a hypnotic spell of lush beauty that you may find yourself pushing the 'permanent repeat' button and lying down to sleep in a poppy field ... forever. Echo-y repeat piano chords, intermittent synth washes, Mark ISHAM-like percussive keyboard sequencing, languid drum pace, Kate Bush-like background vocal incidentals, laid back Tony Banks-ian synth soloing, even a lazy trumpet solo, all contribute to the magic here. (9.5/10)
7. "Sycophant" (5:23) reminds me of the cinematic work of Poland's LEBOWSKI over-lace with an intermittent Hogarth-like vocal. Pretty good song! (8/10)
8. "And When the Sky Was Opened" (2:07) could've come off of one of STEVEN WILSON's spacier 1990s albums. Really cool. I'd love to hear a 10 to 20 minute version of this. (5/5)
9. "Pilgrim" (5:24) another hypnotic technologically created beat (quite similar to that of STEVEN WILSON's song from Hand. Cannot. Erase., "Perfect Life") whose dreamy music, melodies, and vocal don't quite stand up to some of the album's other gems. But it's still great! (I love the slow, single-note piano play at the 4:00 mark. Very dreamy!) (8/10)
0. "As the Lights Go Out" (2:44) is a pretty little piano-based song embellished by the occasional contributions of synths and flutes. (9/10)
11. "The Kindest Eyes" (6:30) again replicates the beautiful harmony vocal stylings that were so perfectly perfected by AMERICA in the early 1970s--but Tony here does only that: replicates; he offers nothing new, exciting, special or innovative. It's just okay, maybe even a little disappointing for its lack of buildup or climax. It would never be a radio hit in the way that AMERICA songs were.(9/10)
91.43 on the Fish scales = A-/five stars; a minor masterpiece of progressive rock music. This is without a doubt a collection of very beautiful, well composed songs. In fact, this is one of the most beautiful collections of beautiful songs I've come across in a long time. Astounding and spell-binding.
2. "The Magdalene Fields" (5:59) opens with an obvious "Entangled" GENESIS/ANTHONY PHILLIPS sound before the gorgeous AMERICA-like voice harmonies enter. The key shift down into the rather disappointing chorus are this song's only flaws. Otherwise, beautiful--especially the ethereal section beginning at 4:08. (9/10)
3. "Each Day a Colour" (4:48) opens with some gorgeous spaciness very much like the work of Steven WILSON's PORCUPINE TREE in the 1990s ("The Sky Moves Sideways" and Signify come to mind). When the band's rhythm section and vocal join in it still has a bit of the WS feel but also a kind of California dream-pop feel not unlike that of bands like PORNO FOR PYROS and WEST INDIAN GIRL. The keyboard work, chord progressions, and 'light' rhythmic approach make this another absolutely gorgeous song. (10/10)
4. "Cast Away" (2:35) again we find Tony and company masterfully replicating the STEVE HACKETT songs style when Steve is at his most melodic and intimate. Another absolutely hypnotic, dreamy gorgeous song. Flawless. (9.5/10)
5. "The Angel and the Dreamer (i.vision, ii. journey, iii. reprise)" (7:02) feels like a long lost song from one of ALAN PARSONS PROJECT's earlier days--Pyramid or even I, Robot era--even with the ANTHONY PHILLIPS-like 12-string presence in the middle. (9.5/10)
6. "Beneath a Perfect Sky" (5:09) casts such a hypnotic spell of lush beauty that you may find yourself pushing the 'permanent repeat' button and lying down to sleep in a poppy field ... forever. Echo-y repeat piano chords, intermittent synth washes, Mark ISHAM-like percussive keyboard sequencing, languid drum pace, Kate Bush-like background vocal incidentals, laid back Tony Banks-ian synth soloing, even a lazy trumpet solo, all contribute to the magic here. (9.5/10)
7. "Sycophant" (5:23) reminds me of the cinematic work of Poland's LEBOWSKI over-lace with an intermittent Hogarth-like vocal. Pretty good song! (8/10)
8. "And When the Sky Was Opened" (2:07) could've come off of one of STEVEN WILSON's spacier 1990s albums. Really cool. I'd love to hear a 10 to 20 minute version of this. (5/5)
9. "Pilgrim" (5:24) another hypnotic technologically created beat (quite similar to that of STEVEN WILSON's song from Hand. Cannot. Erase., "Perfect Life") whose dreamy music, melodies, and vocal don't quite stand up to some of the album's other gems. But it's still great! (I love the slow, single-note piano play at the 4:00 mark. Very dreamy!) (8/10)
0. "As the Lights Go Out" (2:44) is a pretty little piano-based song embellished by the occasional contributions of synths and flutes. (9/10)
11. "The Kindest Eyes" (6:30) again replicates the beautiful harmony vocal stylings that were so perfectly perfected by AMERICA in the early 1970s--but Tony here does only that: replicates; he offers nothing new, exciting, special or innovative. It's just okay, maybe even a little disappointing for its lack of buildup or climax. It would never be a radio hit in the way that AMERICA songs were.(9/10)
91.43 on the Fish scales = A-/five stars; a minor masterpiece of progressive rock music. This is without a doubt a collection of very beautiful, well composed songs. In fact, this is one of the most beautiful collections of beautiful songs I've come across in a long time. Astounding and spell-binding.
19. THE MERCURY TREE Permutations
Quite different and refreshing syncopated prog in the OCEANSIZE and quirky TODD RUNDGREN/STEVEN WILSON and even TOBY DRIVER vein of song and melody construction, this is very interesting and refreshing music to listen to, to study. The enigmatic lead singer can sound as dissonant and chromatic as avant/RIO singer ELAINE DI FALCO or he can burst forth into his death metal growls or he can sound as pure of voice as TEARS FOR FEARS' Curt SMITH. I really like this!
Line-up / Musicians:
- Ben Spees / guitar, keyboard, voice
- Connor Reilly / drums
Quite different and refreshing syncopated prog in the OCEANSIZE and quirky TODD RUNDGREN/STEVEN WILSON and even TOBY DRIVER vein of song and melody construction, this is very interesting and refreshing music to listen to, to study. The enigmatic lead singer can sound as dissonant and chromatic as avant/RIO singer ELAINE DI FALCO or he can burst forth into his death metal growls or he can sound as pure of voice as TEARS FOR FEARS' Curt SMITH. I really like this!
Line-up / Musicians:
- Ben Spees / guitar, keyboard, voice
- Connor Reilly / drums
- Oliver Campbell / bass, voice
- Aaron Clark / space guitar
- Tony Mowe / alto and baritone saxophone
1. "Symptoms" (6:59) opens the album with an edgy weave of instrumental sounds and rhythms--though there is a bit of a djenty base to it all. Once the vocal's odd melody and odd sound enters and establishes its place, the song takes off in a PROGHMA-C kind of full-speed ahead way. Heavily distorted guitars, heavily echoed vocal, this could be straight off of a KAYO DOT album. The rapid fire guitar and keyboard arpeggi in the fifth minute are replaced by a new section of Bill NELSON-like quirky-odd vocal melody. The two sections alternate into the sixth minute, shift key and scales, taking on somewhat more of a DEVY TOWNSEND sound and feel through to the end. Unusual, perhaps even unique song. (13/15)
2. "Exhume The Worst" (4:56) is a very odd sound and feeling "love song." PORCUPINE TREE would have loved to created this one. Some interesting and odd almost BEACH BOYS background vocals end the chorus section before the song returns to a chunkier bassed version of the opening. At 2:30 we hear the vocalist's first scream/growls. The multiple guitar leads interwoven in the fourth minute's instrumental section are fascinating--so unusual! Odd, edgy song that I'll probably end up loving more than I do now. (8.66667/10)
3. "Permutations" (10:42) Opens with some vascillating keyboard notes and "tuneless" guitar notes before the vocal talks to us. Acoustic guitars and spacey keyboards enter and establish an odd rhythm and pacing before layered voices contribute a kind of rondo of the repetition of a lyrical phrase. At the two minute mark plucked strings bring in a dissonant series of rising and falling arpeggi while an almost punk-like bass and GG vocal harmonies sing over the top. Djenty lead guitar solo ends and leaves us in a vacuum into which the "tuneless" guitar notes return. Vocals. At 4:30 we actually hit a very beautiful section--vocally and soft minor key instrumental weave--which builds and builds into a very violent crescendo at 5:30 and is then sustained for 30 seconds before returning to the "beauty" melodies of a recapitulation of the "vacuum section." Interesting section with reversed lead guitar at the end of the seventh minute leads into heavy weave over which a more dissonant vocal harmony is sung. The djenty rhythm section is danced within by the rapid-fire "plucked strings arpeggi until at 8:53 everything quiets down into a MAUDLIN OF THE WELL-like acoustic section with breathtaking beauty, both vocally and melodically. Gradually electric walls of sound build around the falsetto vocalizations before playing out to the song's end. Wow! What an odd, interesting ride! (18/20)
4. "Ether/Ore" (4:08) has such an odd electro-pop percussive foundation over which treated and untreated vocals, saxes, keys and guitars play--an odd weave--kind of early TODD RUNDGREN-esque while at the same time being again somewhat near the Bill NELSON/BE-BOP DE-LUX zone. Brilliant but odd as shit! (9/10)
5. "Placeholder" (4:32) familiar piano and bass chords give this a bit of a jazzy feel but the vocals are so TOBY DRIVER-like! I am thinking that this is by far the most accessible yet psychedelic of all songs thus far. A really cool, odd, yet gorgeous song. Gabriel RICCIO (THE GABRIEL CONSTRUCT) would love this one. The yelled near-rap in the final minute sung over the long drawn out angelic vocals in the background is awesome. Maybe my favorite song of the year! (10/10)
6. "Unintelligible" (5:06) has some of the feeling of ZA! and OCEANSIZE in its rappiness. (8.875/10)
7. "Sympathesizer" (4:42) has some cool full-wall of sound foundation (not unlike those used by Terria-era Devin Townsend) over which all kind of odd and creative sounds and instruments are added. (8.875/10)
8. "Seek And Release" (5:46) shows some RADIOHEAD influence. And OCEANSIZE. Again, yet another song that develops in a hitherto uncharted territory, unpredictable and utterly surprising and exciting. (8.875/10)
9. "Prometheist" (9:00) has a Post Rock-with-oriental-instruments sound with Bill NELSON like vocals and, later, angular, djenty bass and guitars. Then there is a CARDIACS kind of sound and feel. But then this could be a KARNIVOOL or VOTUM song! How hard to pin! This is so weird!
1. "Symptoms" (6:59) opens the album with an edgy weave of instrumental sounds and rhythms--though there is a bit of a djenty base to it all. Once the vocal's odd melody and odd sound enters and establishes its place, the song takes off in a PROGHMA-C kind of full-speed ahead way. Heavily distorted guitars, heavily echoed vocal, this could be straight off of a KAYO DOT album. The rapid fire guitar and keyboard arpeggi in the fifth minute are replaced by a new section of Bill NELSON-like quirky-odd vocal melody. The two sections alternate into the sixth minute, shift key and scales, taking on somewhat more of a DEVY TOWNSEND sound and feel through to the end. Unusual, perhaps even unique song. (13/15)
2. "Exhume The Worst" (4:56) is a very odd sound and feeling "love song." PORCUPINE TREE would have loved to created this one. Some interesting and odd almost BEACH BOYS background vocals end the chorus section before the song returns to a chunkier bassed version of the opening. At 2:30 we hear the vocalist's first scream/growls. The multiple guitar leads interwoven in the fourth minute's instrumental section are fascinating--so unusual! Odd, edgy song that I'll probably end up loving more than I do now. (8.66667/10)
3. "Permutations" (10:42) Opens with some vascillating keyboard notes and "tuneless" guitar notes before the vocal talks to us. Acoustic guitars and spacey keyboards enter and establish an odd rhythm and pacing before layered voices contribute a kind of rondo of the repetition of a lyrical phrase. At the two minute mark plucked strings bring in a dissonant series of rising and falling arpeggi while an almost punk-like bass and GG vocal harmonies sing over the top. Djenty lead guitar solo ends and leaves us in a vacuum into which the "tuneless" guitar notes return. Vocals. At 4:30 we actually hit a very beautiful section--vocally and soft minor key instrumental weave--which builds and builds into a very violent crescendo at 5:30 and is then sustained for 30 seconds before returning to the "beauty" melodies of a recapitulation of the "vacuum section." Interesting section with reversed lead guitar at the end of the seventh minute leads into heavy weave over which a more dissonant vocal harmony is sung. The djenty rhythm section is danced within by the rapid-fire "plucked strings arpeggi until at 8:53 everything quiets down into a MAUDLIN OF THE WELL-like acoustic section with breathtaking beauty, both vocally and melodically. Gradually electric walls of sound build around the falsetto vocalizations before playing out to the song's end. Wow! What an odd, interesting ride! (18/20)
4. "Ether/Ore" (4:08) has such an odd electro-pop percussive foundation over which treated and untreated vocals, saxes, keys and guitars play--an odd weave--kind of early TODD RUNDGREN-esque while at the same time being again somewhat near the Bill NELSON/BE-BOP DE-LUX zone. Brilliant but odd as shit! (9/10)
5. "Placeholder" (4:32) familiar piano and bass chords give this a bit of a jazzy feel but the vocals are so TOBY DRIVER-like! I am thinking that this is by far the most accessible yet psychedelic of all songs thus far. A really cool, odd, yet gorgeous song. Gabriel RICCIO (THE GABRIEL CONSTRUCT) would love this one. The yelled near-rap in the final minute sung over the long drawn out angelic vocals in the background is awesome. Maybe my favorite song of the year! (10/10)
6. "Unintelligible" (5:06) has some of the feeling of ZA! and OCEANSIZE in its rappiness. (8.875/10)
7. "Sympathesizer" (4:42) has some cool full-wall of sound foundation (not unlike those used by Terria-era Devin Townsend) over which all kind of odd and creative sounds and instruments are added. (8.875/10)
8. "Seek And Release" (5:46) shows some RADIOHEAD influence. And OCEANSIZE. Again, yet another song that develops in a hitherto uncharted territory, unpredictable and utterly surprising and exciting. (8.875/10)
9. "Prometheist" (9:00) has a Post Rock-with-oriental-instruments sound with Bill NELSON like vocals and, later, angular, djenty bass and guitars. Then there is a CARDIACS kind of sound and feel. But then this could be a KARNIVOOL or VOTUM song! How hard to pin! This is so weird!
Absolutely awesome guitar and bass parts in the sixth and seventh minutes! The last 90 seconds play out in a kind of spacey, latent-power play--one is never sure whether or not the band is going to leap back out into dynamic decibelia! (18/20)
10. "Deep Five" (10:32) employs some King Crimson basics that have become widespread throughout prog world in the last 30 years over which a deceptively emotional, beautiful and understated vocal establishes itself. This singer is a special force! And the vocal harmonies are equally amazing.
10. "Deep Five" (10:32) employs some King Crimson basics that have become widespread throughout prog world in the last 30 years over which a deceptively emotional, beautiful and understated vocal establishes itself. This singer is a special force! And the vocal harmonies are equally amazing.
The polyphonic instrumental weaves in the fifth minutes are quite wonderful--as is the keyboard and bass'n'drum section that follows. Gamelan like percussives and buzzing synths and synth water sounds play in the soundscape over the steady, insistent drums and bass. This is heaven!! What an awesome way to close out this revelatory album. Brilliant!! (20/20)
Even though I am blown away by this fresh new music, I have a feeling that this is a real grower--that it will climb in my esteem with each and every listen. Really cool stuff! Heavily recommended to all prog lovers. This is one gift that will keep on giving for a long, long time! Check it out! This one is pushing the envelope--in all directions!
Even though I am blown away by this fresh new music, I have a feeling that this is a real grower--that it will climb in my esteem with each and every listen. Really cool stuff! Heavily recommended to all prog lovers. This is one gift that will keep on giving for a long, long time! Check it out! This one is pushing the envelope--in all directions!
91.33 on the Fish scales = A-/five stars; a minor masterpiece of progressive rock music.
Line up/Musicians:
91.13 on the Fishscales = A-/4.5 stars; a minor masterpiece of progressive rock music. Not quite fulfilling the promise and potential shown in their debut but I do consider this a step forward. I look forward to seeing/hearing more vocals and dynamic variation in the future (and as much Shanti Colucci as possible, of course!).
20. INGRANAGGI DELLA VALLE Warm Spaced Blue
Warm Spaced Blue is the band's sophomore release from a group of young Italian virtuoso musicians who are drawn to create progressive rock music in the tradition of their RPI forefathers. Here is a band that has fulfilled the promise shown in its debut album. Ingranaggi della Valle burst onto the prog scene in 2013 with their amazingly mature concept album, In hoc signo. That album served notice that seriously talented musicians in Italy of a new generation were desirous of creating serious progressive rock music. Whatever reason impels them to do this is unknown to me. I just know I am exceedingly happy that they do.
- Davide Savarese / vocals, glockenspiel and dry Rhodes MkV on "Ayida Wedo"
- Mattia Liberati / Hammond B3, Mellotron M400, Mellotron M4000, Fender Rodhes Mk V, MiniMoog, MiniMoog Voyager, piano and backing vocals
- Flavio Gonnellini / electric guitars and backing vocals
- Alessandro Di Sciullo / electric and acoustic guitars, Moog Minitaur, Mellotron M400, Mellotron M4000, Roland TR 808 and TR 909, Akai MPC Touch, Korg Kaoss Pad KP 3, electronics, backing vocals.
- Marco Gennarini / violins and backing vocals
- Antonio Coronato / electric bass
- Shanti Colucci / drums and percussions
With:
- Fabio Pignatelli / electric bass and bass effects (1)
- Florian Lechter / narrator's voice (2)
- Paolo Lucini / traverse flute solo (6)
- Stefano Vicarelli / modular synthesis (5)
1. "Call For Cthulhu: Orison" (9:24) opens up this album with a wonderful display of the growth and maturity these musicians have achieved--especially in the compostitional department as the band here uses much more use of space and slower development than In hoc signo. I have to admit to being rather surprised that the band chose to open with what is, for all intents and purposes, an instrumental like this (the first seven minutes) as the voice of lead singer Davide Savarese is one of the things I look forward to most. Still, a great song with a great sustained buildup and climax. (19/20)
2. "Inntal" (10:34) opens slowly, almost delicately, even as the song moves into full-band mode, but the dynamic build up is there, they're just taking their time. By the break and ensuing slow down at 2:25 they have established a solid foundation--one that was considerably lighter than what follows as a dark, heavy YUGEN-like feel emerges with the second section. As things amp up, Mellotron vocals and violin taking leads. The meaning and significance of the recording of spoken German in the sixth minute is lost upon me, as is the vocal that follows, but it flows. Nice guitar solo in the ninth minute. Great drums throughout, as usual. (This guy is a god!) (18/20)
3. "Call For Cthulhu: Through The Stars" (3:13) opens with ominous sounds of distorted, heavily treated bells and organ which are eventually joined by slow treated/distorted piano notes. More ambiguous than scary. (I don't know what their intended effect was.) (7.5/10)
4. "Lada Niva" (8:49) a complex song that displays this band's amazing compositional skills (as well as drummer Shanti Colucci's extraordinary skills). the only flaw with this song is that the vocal feels somehow unfinished. Untreated, it feels as if it should have a little something to help it fit into the song. (20/20)
5. "Ayida Wedo" (5:52) opens with what sounds like a fast paced electronic sequence which is quickly joined by heavily riffing guitars, bass, and drums before Mellotron signals a change. Everything drops down to bass and drums before unhurried electric piano and electric guitar arpeggi join in. This is the drummer's showtime. (And he is impressive!) Then at 2:30 things quite down again for a little bridge from the vibes before a new set of instruments--synths and heavily treated guitars--take over the previously established melody (and add some really beautiful stuff to it). (It's still the drummer on display, though.) Another quiet interlude at 4:20 sets up the final run--which includes a repetitive bass and synth sequence playing steadily while the drums and other incidentals add their wildness. Interesting and cool song in a NOT A GOOD SIGN way. (9/10)
6. "Call For Cthulhu: Promise" (6:44) a surprisingly simple and emotional beginning to the album's final song (the drums don't even appear until the 1:30 mark!) with acoustic guitar and organ supporting Davide's plaintive vocal. It's trying to be eery but it's failing (for me). It's also like it's trying to be a Zeuhl song.
After the soundscape really fills up around the 3:40 mark it finally begins to succeed in expressing the heaviness of its theme. And then there are some subtle shifts starting at the five minute mark--little individual inputs, each admitted one at a time, which turn the song's mood into a more positive, hopeful feel. The ending section saves the song! (12.75/15)1. "Call For Cthulhu: Orison" (9:24) opens up this album with a wonderful display of the growth and maturity these musicians have achieved--especially in the compostitional department as the band here uses much more use of space and slower development than In hoc signo. I have to admit to being rather surprised that the band chose to open with what is, for all intents and purposes, an instrumental like this (the first seven minutes) as the voice of lead singer Davide Savarese is one of the things I look forward to most. Still, a great song with a great sustained buildup and climax. (19/20)
2. "Inntal" (10:34) opens slowly, almost delicately, even as the song moves into full-band mode, but the dynamic build up is there, they're just taking their time. By the break and ensuing slow down at 2:25 they have established a solid foundation--one that was considerably lighter than what follows as a dark, heavy YUGEN-like feel emerges with the second section. As things amp up, Mellotron vocals and violin taking leads. The meaning and significance of the recording of spoken German in the sixth minute is lost upon me, as is the vocal that follows, but it flows. Nice guitar solo in the ninth minute. Great drums throughout, as usual. (This guy is a god!) (18/20)
3. "Call For Cthulhu: Through The Stars" (3:13) opens with ominous sounds of distorted, heavily treated bells and organ which are eventually joined by slow treated/distorted piano notes. More ambiguous than scary. (I don't know what their intended effect was.) (7.5/10)
4. "Lada Niva" (8:49) a complex song that displays this band's amazing compositional skills (as well as drummer Shanti Colucci's extraordinary skills). the only flaw with this song is that the vocal feels somehow unfinished. Untreated, it feels as if it should have a little something to help it fit into the song. (20/20)
5. "Ayida Wedo" (5:52) opens with what sounds like a fast paced electronic sequence which is quickly joined by heavily riffing guitars, bass, and drums before Mellotron signals a change. Everything drops down to bass and drums before unhurried electric piano and electric guitar arpeggi join in. This is the drummer's showtime. (And he is impressive!) Then at 2:30 things quite down again for a little bridge from the vibes before a new set of instruments--synths and heavily treated guitars--take over the previously established melody (and add some really beautiful stuff to it). (It's still the drummer on display, though.) Another quiet interlude at 4:20 sets up the final run--which includes a repetitive bass and synth sequence playing steadily while the drums and other incidentals add their wildness. Interesting and cool song in a NOT A GOOD SIGN way. (9/10)
6. "Call For Cthulhu: Promise" (6:44) a surprisingly simple and emotional beginning to the album's final song (the drums don't even appear until the 1:30 mark!) with acoustic guitar and organ supporting Davide's plaintive vocal. It's trying to be eery but it's failing (for me). It's also like it's trying to be a Zeuhl song.
91.13 on the Fishscales = A-/4.5 stars; a minor masterpiece of progressive rock music. Not quite fulfilling the promise and potential shown in their debut but I do consider this a step forward. I look forward to seeing/hearing more vocals and dynamic variation in the future (and as much Shanti Colucci as possible, of course!).
21. ILL WICKER Untamed
Wonderful Prog Folk from Sweden--some call it "Acid Folk" for its similarities to the newly (and only minimally) electrified folk music of the late 1960s and 70s. A very welcome addition to the 2016 catalog of prog releases because this is a sound that is, unfortunately, all too rare in prog world today. This is true Prog FOLK music. The band uses a lot of acoustic instruments and multi-voice vocals weaving in and around each other in a manner that is quite reminiscent of the original folk bands who tried electrification, who tried "progressive" experimentation--and especially those bands that used more complex and idiosyncratic instrumental weaves, like THE INCREDIBLE STRING BAND, SPIROGYRA, and COMUS. From Sweden, this is the band's second release after the encouraging debut of 2014's Under Diana. The band's sound and lyrical choices are the closest thing I've heard to Germany's pagan folk masters, FAUN, yet singing mostly in English as opposed to Faun's German and many old and ancient language explorations.
Wonderful Prog Folk from Sweden--some call it "Acid Folk" for its similarities to the newly (and only minimally) electrified folk music of the late 1960s and 70s. A very welcome addition to the 2016 catalog of prog releases because this is a sound that is, unfortunately, all too rare in prog world today. This is true Prog FOLK music. The band uses a lot of acoustic instruments and multi-voice vocals weaving in and around each other in a manner that is quite reminiscent of the original folk bands who tried electrification, who tried "progressive" experimentation--and especially those bands that used more complex and idiosyncratic instrumental weaves, like THE INCREDIBLE STRING BAND, SPIROGYRA, and COMUS. From Sweden, this is the band's second release after the encouraging debut of 2014's Under Diana. The band's sound and lyrical choices are the closest thing I've heard to Germany's pagan folk masters, FAUN, yet singing mostly in English as opposed to Faun's German and many old and ancient language explorations.
Line-up/Musicians:
Emil Ridderstolpe - vocals, guitar
Ebba Wigren - percussion
Adam Grauman - drums
Emma Lagerberg - vocals, reed organ, fiddle, glockenspiel
Thea Åslund - vocals, fiddle, viola d'amore
Hampus Odlöw - mandola, accordion, vocalsThea Åslund - vocals, fiddle, viola d'amore
Ebba Wigren - percussion
Adam Grauman - drums
1. "I Was Here When The Sea Was Young" (2:40) is a fast-moving upbeat tune with some very complicated weaves of both instruments and vocals. A great opener and my favorite song on the album. (10/10)
2. "The Charm On Your Chest" (8:07) opens with a brisk pace but then turns into an exercise in subtlety and beauty. Throughout the second, third and fourth minutes I am filled with feelings of walking alone in an enchanted and beautiful woods. At 4:10 when the percussion hits intimate a change, I envision coming out of the woods to the vision of a beautiful lake below me and mountain hillsides beyond. But then the music makes feel as if I need to run--as if I am being pursued and need to escape. Violin, mandolin, and acoustic guitar shine above the organ and percussion as the pursuit becomes more intense in the seventh minute. Horses! closing in! Is it me they're after? The voice of a spirit enchanter asks me what I'm experiencing--why I'm choosing this adventure. And I stop--all sources of terror and fear disappear--they were all of my own creation. Nice journey. And what a story it seems to be telling of young love. One of the most emotionally powerful musical pieces I've ever heard; a vertiable prog masterpiece. (15/15)
7. "Min Levnads Afton" (6:36) a gorgeous MEDIÆVAL BÆBES-like rendering of a traditional Swedish folk song. My second favorite song on the album. (14.5/15)
These are very polished and professional folk musicians, people! Well worth checking out. And this, their second album, shows much improvement in composition, performance refinement, and sound engineering. An album that deserves to be heard--and one that deserves to be ranked among Prog Folk's classics! Certainly one of the finest Prog Folk albums of the new millenium!
91.05 on the Fishscales = five stars; A-; a minor masterpiece of Prog Folk music.
2. "Same River Twice" (5:59) opens with a bank of synthesized female voices that are soon joined by sequenced electronic percussives, a variety of arpeggiated keyboard lines, and a loose, almost syncopated bass line. The weave is rich and symphonic; more than minimalist though it has some of those sensibilities, too. Toward the end of the third minute the sequencer programs begin to feel very TANGERINE DREAM-like. (8.75/10)
3. "A False Seeming" (3:19) every ten seconds or so a lush synth chord comes rushing forward like a concussive wave from distant beginnings, washing right over/through the listener. It's an amazing half-comforting, half-exfoliating experience. Brilliant! (9.25/10)
4. "Ketracel" (4:34) straight out of the TD/KLAUS SCHULZE world of early video game soundtracks, the VANGELIS-like buzzing-synth in the lead position calms and reassures--until the two-minute mark when synth/computer pops and glitches take over the sound scape and all other seem unnatural to the musical world yet possible to a computer generated Neo-Jurassic world. Awesome! (9/10)
5. "Time We Have" (5:50) a near-exact replica if a chordal sequence and sound palette of MARK ISHAM from his 1982-5 period (Vapor Drawings and soundtracks to the spacious films, Mrs. Soffel, Country, and Never Cry Wolf). Beautiful! (9.5/10)
6. "Strands" (5:17) beautiful and melodic in a happy, almost New Age way. The John Serrie School of Space Electronica. I'm in heaven! (9.5/10)
7. "Transience Of Earthly Joys" (6:43) heavily treated piano and Mellotron voices yield a very familiar HAROLD BUDD/BRIAN ENO-like soundscape. (8.5/10)
8. "Die In Fascination" (4:21) waves of particles washing through the ocean of space, this is very VANGELIS/ROACH/RICH-like. A little too boring. (8.25/10)
Total Time 42:36
2. "The Charm On Your Chest" (8:07) opens with a brisk pace but then turns into an exercise in subtlety and beauty. Throughout the second, third and fourth minutes I am filled with feelings of walking alone in an enchanted and beautiful woods. At 4:10 when the percussion hits intimate a change, I envision coming out of the woods to the vision of a beautiful lake below me and mountain hillsides beyond. But then the music makes feel as if I need to run--as if I am being pursued and need to escape. Violin, mandolin, and acoustic guitar shine above the organ and percussion as the pursuit becomes more intense in the seventh minute. Horses! closing in! Is it me they're after? The voice of a spirit enchanter asks me what I'm experiencing--why I'm choosing this adventure. And I stop--all sources of terror and fear disappear--they were all of my own creation. Nice journey. And what a story it seems to be telling of young love. One of the most emotionally powerful musical pieces I've ever heard; a vertiable prog masterpiece. (15/15)
3. "Untamed" (6:29) opens with the instruments establishing a perky pace like a ballad, but then, surprise!, when the vocals (presented in multiple voice harmony) take their turn the instrumental support becomes quite sparse and quiet. This pattern continues, somewhat, though the instrumental support becomes more prominent ver the course of the song. The instrumental section that begins at the end of the third minute is quite nice, with some surprise chords thrown in beneath the soloing violin. And then, at the beginning of the fifth minute, the vocals return in a joyful and unusually constructed four- or five-part harmony. The collective instrumental and vocalise play to the songs end is rather steady and beautiful. Great song. (13.5/15)
4. "Silent Impulse" (7:13) starts out as a slow song with kind of eery, drawn out multilayered vocals singing over some simple instrumental accompaniment (acoustic guitar and violin). But the second half of the song--about the time the singers finish their work--turns into a jam with a build up of slowly increasing speed and dexterity. (12/15)
5. "Earth Child" (7:59) opens with quite a medieval feel and sound as hand drums and acoustic instrumentation repeat a brief little pattern a few times. The song then develops into more of an instrumental jam until, surprisingly, at 1:19 some very playful, festive (drunk?) vocals (led by a bacchanalian male) enter and follow along with the jamming instruments. Just as quickly and surprisingly, the music slows to a crawl at the two minute mark. The music and ensuing vocals sound almost ritualistic, give cause for a little fear and trepidation. But then the forward march signal is given and the band returns to cantoring along the path. Definitely the most COMUS-sounding song I've heard on the album. The mandolin soloing at the end of the fifth minute is refreshing. The wild orgy continues until at the end of the seventh minute everything slows, quiets, like the calm after all of the drunken regaliers have fallen asleep and the fire's flames begin to die down for lack of attention. Cool musical story tellling! (13.5/15)
6. "The Trials Of Madame Dillner" (5:11) opens as a kind of traditional folk song with standard accompaniment, single vocalist (male), and brief bridges of instrumental soli (mostly violin) between the vocal verses. In the second half of the second minute female background singers mirror the lead vocalist and mandolin joins the violin's melody making. AT 2:45 there is a shift in the foundation to more broadly fill the bass end (congas, bass, organ, lower register violin play). The vocals begin sounding so Dylan-cum-Judy Dyble-esque! Nice traditional folk song. (8/10)
7. "Min Levnads Afton" (6:36) a gorgeous MEDIÆVAL BÆBES-like rendering of a traditional Swedish folk song. My second favorite song on the album. (14.5/15)
These are very polished and professional folk musicians, people! Well worth checking out. And this, their second album, shows much improvement in composition, performance refinement, and sound engineering. An album that deserves to be heard--and one that deserves to be ranked among Prog Folk's classics! Certainly one of the finest Prog Folk albums of the new millenium!
91.05 on the Fishscales = five stars; A-; a minor masterpiece of Prog Folk music.
22. STEVE HAUSCHILDT Strands (2016)
Before Steve turned master synthesizer of styles (with 2018's Dissolvi and 2019's Nonlin), he was a producer of top notch John Serrie-like space soundscapes.
1. "Horizon Of Appearances" (6:33) gorgeously rich John Serrie-like textured waves with off-world percussion and strings serving as animals or twinklings. Gourmet food for an active imagination like mine. Blade Runner 2049 could've used music like this. (10/10)
2. "Same River Twice" (5:59) opens with a bank of synthesized female voices that are soon joined by sequenced electronic percussives, a variety of arpeggiated keyboard lines, and a loose, almost syncopated bass line. The weave is rich and symphonic; more than minimalist though it has some of those sensibilities, too. Toward the end of the third minute the sequencer programs begin to feel very TANGERINE DREAM-like. (8.75/10)
3. "A False Seeming" (3:19) every ten seconds or so a lush synth chord comes rushing forward like a concussive wave from distant beginnings, washing right over/through the listener. It's an amazing half-comforting, half-exfoliating experience. Brilliant! (9.25/10)
4. "Ketracel" (4:34) straight out of the TD/KLAUS SCHULZE world of early video game soundtracks, the VANGELIS-like buzzing-synth in the lead position calms and reassures--until the two-minute mark when synth/computer pops and glitches take over the sound scape and all other seem unnatural to the musical world yet possible to a computer generated Neo-Jurassic world. Awesome! (9/10)
5. "Time We Have" (5:50) a near-exact replica if a chordal sequence and sound palette of MARK ISHAM from his 1982-5 period (Vapor Drawings and soundtracks to the spacious films, Mrs. Soffel, Country, and Never Cry Wolf). Beautiful! (9.5/10)
6. "Strands" (5:17) beautiful and melodic in a happy, almost New Age way. The John Serrie School of Space Electronica. I'm in heaven! (9.5/10)
7. "Transience Of Earthly Joys" (6:43) heavily treated piano and Mellotron voices yield a very familiar HAROLD BUDD/BRIAN ENO-like soundscape. (8.5/10)
8. "Die In Fascination" (4:21) waves of particles washing through the ocean of space, this is very VANGELIS/ROACH/RICH-like. A little too boring. (8.25/10)
Total Time 42:36
90.94 on the Fishscales = A-/five stars; a masterpiece of modern Progressive Electronic music and perhaps even a masterpiece of progressive rock music in general. Definitely an album that I'd highly recommend for anyone open to the spacey potentialities of modern computer synthesizer music.
23. KAYO DOT Plastic House on Base of Sky
My first listen to any Toby Driver music project is always so darn humbling. Every time. And Plastic House on Base of Sky is definitely no exception to this pattern. Surprise, shock and awe are invariables in my range of responses.
Toby does things with sound, with music, that are beyond any conceptual imaginings that I could ever have for the scope and bounds of musical expression--and I think I have a pretty good imagination! I can honestly say that every single Kayo Dot album has caught me totally unprepared. I'm never sure whether or not I really like the music I'm hearing but I am ALWAYS floored and awed by it. Creative genius. Expanding the horizons of musical possibilities like nobody else in the 21st Century.
Taking ten steps further into the realm of techno-electronic music than they did on 2014's Cofffins on Io, Toby Driver and company have once again put forth a challenge to all lovers of progressive rock and progressive music: Is this good? Is this progress? Is this prog? I can hear the arguments from both sides lasting for years to come. I, for one, like the constant unpredictability of Toby and the projects, themes, and musical directions he has chosen. To my mind, he is one of the very few truly "progressive" artists in the music industry today.
Line-up / Musicians:
- Toby Driver / vocals, bass, synth, guitar, producer
- Daniel Means / saxophone
- Keith Abrams / drums
With:
- Ron Varod / guitar (5)
- Lemuel Bardor / harpsichord
- Bree Eng / pipe organ
- Duggan Elston / Hammond organ
- Valentin Dublev / Mellotron
- Gloria Hattifer / celesta
- George Chamdles / Rhodes
- Sage Riesman / violin
- Stacey Winegyn / violin
- Roman Celine / viola
- Dabe Wyche / viola
- Alexis Travelion / cello
- Landen Chelengs / contrabass
- Charmane Tressel / glass harmonica
- Bhin Turmes / trumpet
- Ephraim Narata / flugelhorn
- Stelvio Nebulli / hand percussion
- Guillaume Veltaj / hand percussion
- The Adirondack Twilight Choir / chorus vocals
1. "Amalia’s Theme" (7:33) is an amazing song of layers upon layers of--as if five different songs are all playing together as one--each "song" playing in their own channels (tracks), oblivious to one another, and yet the blend, the weave, works as a cohesive single song. This is so difficult to describe. This is techno pop taken to the next level, 70s BOWIE or 80s DEPECHE MODE elevated to meaningful sophistication. Awesome melodies, awesome effects, awesome instrumental weave, awesome synth solos, topped off by one of my favorite vocals from Toby. One of my favorite songs of the year! (15/15)
2. "All The Pain in All the Wide World" (10:09) Cool sounds can't save the discordant disconnect between music, melody and lyric on this one. Perhaps it is intentionally done, but it makes for a very difficult listening experience when one feels pulled apart in three and sometimes four or five directions all at the same time. Again, this may have been the desired effect KD had here, but I find it more than I choose to take. Perhaps it'll grow on me. (14/20)
3. "Magnetism" (7:29) DEPCHE MODE 30 years later! Even the vocal sound is stylized remarkably like that of DAVE GAHAN. No more need be said! (13.5/15)
4. "Rings of Earth" (8:40) opens with some synthesized drum sequence and multiple layers of synths before Toby's treated voice--mixed slightly back of front and center--enters. At 1:10 the music shifts a bit and Toby's voice comes slightly forward. This is so like early SIMPLE MINDS! Especially the rhythm programming. ("Promised You a Miracle" comes to mind.)
The next shift in the third minute is pretty cool--multiple synths doing multiple things while a gradually increasing multiplicity of Tobys shout out, "Rings of Earth."* Then things return back to the second part before a ROBERT FRIPP-like heavily distorted guitar solo begins. The vocals become really cool with multiple voices layering and even harmonizing. Another outstanding song--perhaps more favored than "Amalia's Theme"! (20/20)
5. "Brittle Urchin" (4:32) opens with a heavily treated midi-bass skulking slowly over some distant background synth chords. A minute in, Toby's voice--in a fairly clear mix--leaps out at us with some more synths and slowly strummed guitar chords also present themselves very forward in the mix. At 2:30 drums and heavy bass chords join in. Toby continues singing in this pretty, mellifluous voice. It sounds like a PETER GABRIEL song! This is actually a very pretty, sedate song for TD! And a very pleasant end to an album. (10/10)
90.625 on the Fish scales makes this album another five star minor masterpiece of progressive rock music. Thank you, Toby, for never getting stuck in a rut, for being ever-lured to explore new pathways, for going beyond where anyone has ever gone before, for feeling that you always have to test yourself (against yourself)!
24. STARSABOUT Halflights
1. "Halflight" (6:07) opens with some spacey, slow-strummed guitar chords before the rhythm section and dreamy vocal (and background guitar notes) join in and establish the full soundscape. I love the spaciousness that these artists are not afraid to use. (9/10)
2. "Every Single Minute" (6:06) is an upbeat, bouncy guitar-based piece with a very nice Robert SMITH-like vocal to it. The song builds sonically in a Post Rock kind of way. Is it Post Rock?
3. "The Night" (4:54) has an haunting earcandy/brainworm of a melody and acoustic guitar chord progression. Very emotional despite the somber, almost-lackadaisical vocal. Gorgeous. (10/10)
4. "Black Rain Love" (7:01) lead singer Piotr TRYPUS dirges over an incredible spacious guitar while bass and drums subtly stay back--until the end of the second minute when everybody steps forward and the song becomes a full-out Indie prog. What awesome singing! (13.5/15)
5. "Escaped" (5:47) opens like some spacey Post Rock (Japan's MONO comes to mind) before toms play. Nice sound though it plods along a little--fails to develop --unless one counts the addition of electric guitar strums and leads over the same four chords that repeat over the course of the entire song. (7/10)
6. "Sway" (5:01) opens with a little interplay between the two electric guitars--which establishes itself as the foundation for the song's verses. The ROBIN GUTHRIE guitar sound used for the chorus is quite good. There is an awesome reed-like dual electric guitar soli in the fourth and fifth minute. Throughout the song I love the bass play and space guitar. Nice song! (9/10)
7. "20 000 Miles" (5:47) is an awesome little very pretty instrumental that has a BLUE NILE kind of sound and feel to it. (10/10)
8. "Bluebird" (7:55) has the band trying on a heavier sound for a bit of a change of pace. Not quite as charming or engaging as the previous, more downtempo stuff. Again, very Post Rock sounding--like the awesome German band, COLLAPSE AGAINST THE EMPIRE. (13.5/15)
What potential!
90.0 on the Fish scales = A-/4.5 stars; a minor masterpiece of progressive rock music.
24. STARSABOUT Halflights
My love for these songs just proves how much of a sucker I am for any CURE/CHURCH-like music--no matter how simple the song formulae are. Space is such a beautiful place!
1. "Halflight" (6:07) opens with some spacey, slow-strummed guitar chords before the rhythm section and dreamy vocal (and background guitar notes) join in and establish the full soundscape. I love the spaciousness that these artists are not afraid to use. (9/10)
2. "Every Single Minute" (6:06) is an upbeat, bouncy guitar-based piece with a very nice Robert SMITH-like vocal to it. The song builds sonically in a Post Rock kind of way. Is it Post Rock?
I really like the instincts of this bass player (Pitor IGNATOWITZ): laid back yet contributing to the melodic structure in a big way. (9/10)
3. "The Night" (4:54) has an haunting earcandy/brainworm of a melody and acoustic guitar chord progression. Very emotional despite the somber, almost-lackadaisical vocal. Gorgeous. (10/10)
4. "Black Rain Love" (7:01) lead singer Piotr TRYPUS dirges over an incredible spacious guitar while bass and drums subtly stay back--until the end of the second minute when everybody steps forward and the song becomes a full-out Indie prog. What awesome singing! (13.5/15)
5. "Escaped" (5:47) opens like some spacey Post Rock (Japan's MONO comes to mind) before toms play. Nice sound though it plods along a little--fails to develop --unless one counts the addition of electric guitar strums and leads over the same four chords that repeat over the course of the entire song. (7/10)
6. "Sway" (5:01) opens with a little interplay between the two electric guitars--which establishes itself as the foundation for the song's verses. The ROBIN GUTHRIE guitar sound used for the chorus is quite good. There is an awesome reed-like dual electric guitar soli in the fourth and fifth minute. Throughout the song I love the bass play and space guitar. Nice song! (9/10)
7. "20 000 Miles" (5:47) is an awesome little very pretty instrumental that has a BLUE NILE kind of sound and feel to it. (10/10)
8. "Bluebird" (7:55) has the band trying on a heavier sound for a bit of a change of pace. Not quite as charming or engaging as the previous, more downtempo stuff. Again, very Post Rock sounding--like the awesome German band, COLLAPSE AGAINST THE EMPIRE. (13.5/15)
What potential!
90.0 on the Fish scales = A-/4.5 stars; a minor masterpiece of progressive rock music.
25. ARNAUD BUKWALD La marmite cosmique
A brilliant and totally fresh smorgasborg of avant jazz/jazz fusion song stylings from French composer/musician Arnaud Bukwald. The journey that Arnaud takes one on through the songs on this album is quite nostalgiac as there are familiar sounds, riffs, and stylings in virtually every song. And yet, the music is totally fresh, new, and unpredictable. The compositions and arrangements work very well throughout.
1. “Chop suey” (2:15) opens the album on a wild and crazy percussive journey with xylophone and drums leading flutes and synths along like lemmings over the cliff. Then a jazzy JERRY LEE LEWIS-like piano section ushers in vocals, horns, psychedelic electric guitar lead and drums for about 30 seconds before a toilet flush signals the end and exit. (3.5/5)
2. “Dedicated to Hugh” (3:10) (Hopper? or the same ‘Hugh’ of Robert WYATT’s 1972 dedication on his first MATCHING MOLE album?) Ça m’est égal, for in the end this is a truly wonderful instrumental tribute to all Canterbury artists of the late 60s and 1970s—so perfectly composed and performed. (10/10)
3. “Mars caravan” (3:06) opens with a voice sample from a 1950s-60s film about alien/(Martian) before turning into a kind of film score soundtrack to a credits roll or film montage of alien visuals. Very dramatic, even melodramatic, à la ENNIO MORRICONE or someone else of that ilk. (8.5/10)
4. “Gran Torino” (3:39) ventures into the funk jazz fusion found in a lot of late 60s early seventies film and television themes (especially Black exploitation and disco-era cinema.) Very catchy, dance-groovy. (9/10)
5. “Time and space” (2:11) opens with heavily spaced flute and then Fender Rhodes piano play before a vocal (!) from a very deep GREG LAKE-like voice. The second minute turns into quite the upbeat 70s television theme song. Very fun song! (5/5)
6. “Fairy Tales” (10:23) opens with its first two minutes feeling very much like a section out of ELP’s “Tarkus.” The next section shifts gears and moods into feeling like GENESIS’s “Watcher in the Sky mixed with Mike Oldfield’s tubular bells. Then, at the end of the fourth minute we get to hear the sounds of birds, woodsy-lumberjack sounds, and then crackling sticks over the fire next to the babbling brook. This is then replaced by the gradual fade in at the 4:50 mark of strummed mandolin, harp, and woodwinds, before a more rollicking orchestrated section bursts in at 5:48: double bass, orchestral strings, tympani and orchestral percussion—which are soon joined by a jazzy horn section but the, just as quickly, all is dropped in favor of an extended section of some strum-play on the strings inside a piano. Slowly a mysterious organ enters in the background before tribal drum play and piano percussives play over the top. The final 45 seconds of the song engage a Moog synth solo played with tubular bells and church organ.
Not all of Arno’s influences/references are clear to me. He’s told me that Cyrille Verdeaux, Art Zoyd, Gong, and Ange are among his all-time favorites—all of whom are not as familiar to me as they could be—thus I suspect that some of the references I miss are from nods to those bands. (18/20)
7. “Cirrus sequence” (9:26) opens with a combination of STEVE HOWE acoustic guitar harmonics play with David Gilmour “Wish You Were Here” blues guitar lead and synth play common to TANGERINE DREAM work taking turns and then woven together. Clever and awesome!
After the 3:40 mark, the Wish You Were Here” section ends and an eerie, spacey “screaming alien howler monkey” section plays out over the same crackling fire noises from the previous song to the end of the song. Again, I am disappointed to say that this reference is lost upon me. But it is unique and interesting. (16/20)
8. “Téton effrayant - sauerkraut” (16:57) is a tribute to the Kosmische Musik (aka “Krautrock”) happening in the musk schools and hippie ashrams in Germany in the late 60s and early 70s. Bands like CAN, ASH RA TEMPEL, NEU!, AMON DÜÜL, and even FAUST can be heard in this one. The shifts in the play of the rhythm section in this one are particularly noteworthy and fascinating. You can tell Arnaud gave great attention and love to the details of this one. Synths, percussions, saxes, and effects all play such critical roles in the weave of this one. It is hypnotic as well as trippy (like a circus-like acid trip). The Kraut rock fathers would be proud!
At 8:10 there is a break leading into another GENESIS-like organ-synth and martial drum-led “Watcher of the Skies” section before the previous Kosmische rhtythm reestablishes itself to support various independent appearances from Keith Emerson synth, Mellotron,
Another break at 10:30 yields a very airy-empty space wash out of which a “rocket takeoff” rising synth not appears and leads us into a very spacey, Berlin School of Electronic Music section. Could be straight out of any of TANGERINE DREAM, Manuel GöTTSCHING or the KLAUS-meister’s 1970s masterpieces. Brilliant! Masterful end with avery slowly decaying synth sequence. My favorite song on this wonderful album! (33.5/35)
90.0 on the Fish scales = A-/4.5 stars; a minor masterpiece of progressive rock music and excellent addition to any prog lover’s music collection.
26. MOTORPSYCHO Here Be Monsters
The Norwegian prog chameleons are back with another contribution to the psychedelic rock form that they've been working within for the past several albums.
Line-up / Musicians:
- Bent Sæther / bass, guitars, vocals, producer
- Hans Magnus "Snah" Ryan / guitars, vocals, flute (3)
- Kenneth Kapstad / drums
With:
- Thomas Henriksen / keyboards, vocals, mixing
1. "Sleepwalking" (0:57) little piano étude.
2. "Lacuna/Sunrise" (9:46) gentle, gorgeous HAROLD BUDD-like guitar chords coming from two guitars. Bass and drums join in, maintaining the cool, calm demeanor opened with--even when expanded with more guitars (electric, distorted and soloing) and broader spectrum drum play. In the second go round Bent and Hans join in with some nice, gentle vocals. Nicely melodic in a NEIL YOUNG kind of way. The chorus section sounds and feels more like something from THE EAGLES, but the return to the wonderful main motif is immensely comforting. At 5:25 there is a slight scale back into a kind of perpetual STEELY DAN bridge within which a very STEPHEN STILLS-like guitar volunteers quite a wonderful, melodic and sensitive solo--which, in the eighth minute, turns more aggessive--more HENDRIX/ROBBY KRIEGER-like. In the ninth minute we return to the vocal chorus motif for an extended EAGLES-like finish. A mostly beautiful, brilliant song from three of 21st Century rock's premier songsters. Probably my favorite song on the album. (18.75/20)
3. "Running With Scissors" (5:39) strummed 12-string guitars with electric guitar sneakily worked into the mix. Cymbal play slowly turns into full drumming in the second minute. The unusually long instrumental song has a distinctive JESSE COLIN YOUNG/YOUNGBLOODS feel to its sound palette. (8.66667/10)
4. "I. M. S." (7:05) opens with what feels like more piano étude, but then CSN&Y electric guitars, bass and drums begin to join in at the one-minute mark. Very, very CSN&Y-like with some definitely Neil Young-bordering-on-Stephen Stills electric guitar soloing. At 2:20 group harmony/choral vocals enter as the song flies along, soloing guitar cutting back in while the singers are still singing. He's on fire--and his guitar is not very treated: mostly just electrified guitar. The vocals sound very much as if they could have come off of the Death Defying Unicorn album. Around 4:35 the rock portion of the weave cuts out leaving the foundational piano chord progression to entertain us--until the electric guitar joins in for a bit. At 5:52 the full band kicks right back in, jamming with full spectrum sound as if nothing had interrupted their groove. Pretty cool--until the chaotic quick finish. (13.25/15)
5. "Spin, Spin, Spin" (4:07) electric guitar, strummed acoustic guitar, and harmony vocals again remind the listener of the great folk-infused psychedelic blues-rock of the late 1960s--and not just CSN&Y or THE BYRDS but many other lesser known and obscure bands. I love the eclectic feel of this. So many bands come to mind! And what a great, rock solid rhythm track from the bass, drums, keys, and rhythm guitars: everyone is in perfect synchronization! Another favorite. (9.333333/10)
6. "Sleepwalking" (0:56) more piano étude.
7. "Big Black Dog" (17:42) Quite contemplative, dreamy opening four minutes is followed by a quite typical MOTORPSYCHO up-ramp. Then the vocals re-enter in the band's group "screamed" chorus/harmony style. The chord progression here is so much like THE CARS "Moving in Stereo" (which I'm sure is no intention of Bent & company). Two heavily-treated squrealing electric guitars duel until 11:30 when things drop down to an ominous calm within the storm. This motif then slowly builds with percussion and squrealing synth-guitar returning to lead the way to a rather unsatisfactory crescendo around 11:40 followed by an immediate return to the "Moving in Stereo" motif for some Mellotron display. Things stop at 15:45 for a return to the opening gentle guitar weave motif and some beautiful, gentle, harmonized vocals. (31/35)
Total Time: 46:12
Total Time: 46:12
90.0 on the Fishscales = B+/4.5 stars; an excellent addition to any prog lover's music collection--especially if you love jamming to those long, soothing psychedelic grooves.
Hey,
ReplyDeleteI came here for your review of "Lighthouse" since I bought the album this morning, and I was blown away to see you review the Mercury Tree! Having known the lead singer and songwriter (Ben Spees) for almost 20 years and having a pretty significant history with the band's development, I can fill you in on a couple things.
1) Dude's a major Porcupine Tree fan - he's the one who showed *me* Porcupine Tree 10 years ago. So any resemblances are fully intentional.
2) He also has a very wide-ranging set of influences, very far beyond prog. When he started music under the name Electric Doormat in the late '90s/early 2000s, he was smitten with They Might Be Giants and XTC, making a lot of electronic-based stuff with accordion (Ben's a killer accordionist) and with rudimentary guitar. The longer his songwriting went on, the better he got at guitar to where he's this monster now...but his start was nowhere close to prog. I think it definitely helps his songwriting to be that omnivorous.
3) One of the band's drummers, Mike Byrne, went on to be the Smashing Pumpkins' drummer for a few years recently.
4) They can pull their songs off live - when I saw them a few years ago, even the other bands were commenting on-stage how en fuego they were.
I haven't picked up their last couple albums because I used to get them for free as a friend of the band and I got lazy, but it sounds like I need to rectify that. There's no way I can be objective with it after all these years, but good music is good music.
(I provided some acoustic guitar texture to one of his Electric Doormat songs, the Mercury Tree used to cover one of my songs regularly in their live shows, and last time I spoke to them they were interested in my collaborating with them. I really hope they remember and actually extend the offer. Ben also credits me with getting him interested in asymmetrical time signatures those many years ago - he revealed long after one of his songs that he'd written in 5/8 specifically to impress me. I'd had no idea, but it was a fine song.)
I'll be checking out the other albums you reviewed, as your tastes seem to be impeccable.
-Brandon Isleib
Earth Dyed Red on Soundcloud and some other places
Thanks, Brandon! And now to find out that TMT was just in Chicago!-with my friend Gabriel Riccio and his band, The Gabriel Construct, opening for them! Wow!
DeleteI hope my reviews are able to open your ears to some other bands! Thanks for the comment.
Drew