Top Albums from the Year 2015, Part 2: The Near-Masterpieces

  Somewhere beneath the level of timeless masterpiece status lies a group of albums whose quality and merit deserve categorization of something like "near-masterpiece." These are albums that have either achieved a Fishermetric score of between 90.0 and 87.0 or whose high points or quality level make it remarkable enough to remain affixed in my memory.

From the Year 2015, you will find below 15 albums releases deserving, in my opinion, of the "near-masterpiece" designation.  

4.5 Stars; Near-Masterpieces

(Ratings of 90.00 to 86.67)

19. COSMIC GROUND Cosmic Ground 2

Great retro electronica/Kosmische Music from ELECTRIC ORANGE's keyboard player, Dirk Jan Müller. 

1. "Sol" (19:23) opens with a couple of minutes of distant-sounding industrial sounds playing around in the background soundscape. In the third minute a TANGERINE DREAM-like computer-synth sequence emerges, rises and proceeds to dominate until around 5:20 when other sounds (organ) are beginning to emerge---though not enough to commit to the weave for a good minute or more. The increasing volume of the top end of the oscillating sound waves (approximately 60 seconds per cycle) is very effective--and the clarity lends to its pleasurability. This is, truly, like a prime TD song (e.g. "Coldwater Canyon" sans electric guitar) only recorded/produced with the advantages of 21st Century technologies. (36/40)

2. "NGC 224" (18:40) awesome electronica in the TANGERINE DREAM vein. The electronic drum sound sequenced sounds a bit 'off' to me but the progressions and evolution of the song throughout its nearly 19 minute length make up for it. (36/40)

3. "Organia" (19:43) opens with wave after wave of synth chords, washing ashore due to the slow flange effect. At the five minute mark the hypnotic rhythm sequence is introduced, slowly rises in sound level, as the synth waves recede. Gradually, other keyboard sounds, notes, riffs, and waves are introduced/added to enrich the sound palate--but the programmed sequence is awesome on its own. Beginning at about the 13 minute mark, the bottom drops out: the music begins to slowly fade (the treble side, for sure) virtually disappears before slowly flanging back to a loud crescendo--a pattern that continues over the next two minutes until we are left with one long sustained bass chord and Mellotron voices. By 15:30 a layered reed-like buzzing sound is introduced and quickly takes over. The rhythm sequence is gone, all that is left is the rise and fall of this ominous buzz chord--which plays out to the end. 

Were it not for the exceedingly slow and drawn out--and fairly simple--development, this would be a sure-fire masterpiece. (36/40)

4. "Altair" (20:09) opens with some sustained, high pitched crystalline notes--could be organ, could be glass harmonium. The weave is joined by some eerie noises and minimalist STEVE REICH-like sounds, notes and chords. Feels like a walk through the night woods in a horror film. Fortunately, there are no "Tubular Bells"-like sudden noises jumping out at you in the first six minutes. In the sixth minute, however, there is a brief four-note riff (arpeggio) from what sounds like a computerized guitar that rises into prominence and dominance in a quite ominous way. It feels as if something is approaching--something mysterious and powerful, if of low and/or tired intelligence, that a woods-walker would want to avoid/hide from. By the 10:00 mark the intruder has passed; it's probably safe to emerge. But we don't. For another minute and a half we wait--until the very last strains of the maurading lurker have passed. Then organ chord changes indicate a slight change of perspective--perhaps one as little as a turn of the head--and then again--but no movement from this safe hiding place. Observation, listening, hypervigilance, heightened senses, distrust and fear keep the woods-walker glued to his spot. Our patience and caution are rewarded as in the sixteenth minute a distant moan or haunting voice is borne on the wind. Not close but not far--and getting closer?! At 16:45 it sounds as if we have launched--running--away--speeding through the woods away from the witch voice, away from the trail of the massive Lurker, running at near break-neck speed through the woods. The run begins to feel timeless, spaceless, as noise and sensory input seem to fade away leaving us . . . in our bed, awake, soaked in sweat. What a dream! What a brilliant musical journey! (36/40)

90.0 on the Fish scales = a near-masterpiece of progressive rock music. The only thing holding that album back from true masterpiece status, in my humble opinion, is its lack of something new, fresh, or innovative to add to the lexicon of the Electronica and Kosmische Musik subgenres.

20. ANNA VON HAUSSWOLFF The Miraculous

Released late in the year (December 13), this wonderful album flew under a lot of people's radars--for a long time. Now, hopefully, the word is out: Anna Von Hausswolff is the real deal!

It's kind of Post Rock prog based in church organ! Accompany this with some very emotional, gut-wrenching vocals and you get . . .  something quite miraculous.

Many will question:  Is this music dark or uplifitng? It is often hard to tell. But it is certainly compelling. And unique. High marks for its unique blending of modalities and sub-genres.

Line-up / Musicians:

- Anna von Hausswolff / vocals, pipe organ, synth, composer

With:

- Maria von Hausswolff / vocals (9)

- Karl Vento / guitar, vocals (1)

- Joel Fabiansson / guitar

- Daniel Ögren / clavioline (1)

- Filip Leyman / synths, drums (5), vocals (1), production & mixing

- Ulrik Ording / drums

1. "Discovery" (8:45) opening with some really deep, almost fog horn blasts from the bass pedals of a pipe organ, a bouncy, ethereal chord then establishes forward movement in a straight time before light drums and higher octave "flute" and organ play establishes a very catchy melody. Heavy guitar and more percussion join in to spread out the power until things come to a gradual stop at 4:30 for a scratchy-synth pause which is sparsely filled with distant "horn," percussives and industrial "space" sounds. At 5:50 the "noise" fades out as electric guitar establishes a slow, note by note arpeggio melody. Percussion is added by 6:30 and then Anna's reverberated voice enters into the mix. Other voices soon join in a kind of "choral" effect as the music ramps up, getting stronger, fuller, and faster. Awesome! Then it's over! (19/20)

2. "The Hope Of Only Empty Men (3:10) simple, two-chord organ foundation which sounds like a standard 19th Century church song is used for the companion to a vocal which is so heavily treated as to sound like an old woman singing while her voice is rendered scratchy and clipped by the old box radio that we are hearing it from. Unusual and, I think, clever. (8.5/10)

3. "Pomperipossa (2:12) organ, whispy voice reverbed far back into the mix, pulsing away as if in a snowstorm, open this song before Anna enters with a voice trying to tell us some tragic story. Very effected and dramatic. (4.5/5)

4. "Come Wander With Me / Deliverance (10:49) opens with lone pipe organ playing a breathy mid-range, quickly joined by bass pedals. Halting with a sustained full organ chord, Anna's voice enters in a pretty high octave, singing long, sustained notes. It's almost angelic, before turning almost demonic. But then it moves back into a definite angelic range before finishing in a rather temptational mid-range just as some heavy guitar and synth chords and drum beats take over. This plods along heavily until in the middle of the fifth minute everyone seems to go on sustain--sustain organ hold, sustain guitar chord strumming madly away, sustained drum frenzy--until 5:30 when a kind of djenty/metal sequence pounds its way repetitiously, with increasing insistence, until 6:36 when another crash of guitar and chaos is hit and held, morphing up and down, before Anna's commanding voice returns to explain it all to us. At 8:05 she finishes and a pulsing organ chord signals a return to forward motion--drums and bass instruments pounding away with no mercy. Anna picks up singing again, almost screaming, evolving into near-crazed caterwauls until the song's crashing end. (17.5/20)

5. "En Ensam Vandrare (2:55) two organ notes bouncing back and forth are joined by plucked reverb electric guitar and reverberating wood block hits. Spaghetti Western guitar joins in the second minute, reinforcing melody, before the ensemble begins adding chords into the mix (as well as drums). A nice instrumental étude. (5/5)

6. "An Oath (3:01) breathy organ arpeggio opens this one with two chord bass pattern before Anna enters with a deep, sonorous voice--holding her notes long and with only a slightly vibrato in a LISA GERRARD way. Military drumming joins in for the second verse, then two guitars, more organ, bass organ, and the siren swirl of a synth. (8.75/10)

7. "Evocation (3:07) opens with rocket-launch-like treated bass synth with Anna's wordless scream joining in before an organ breaks in to create a minor eyed fabric for drums and voice to join with. Anna's singing here seems almost calm and narrational. A shift in the beginning of the third minute results in a full organ, multi-level single chord held as it gradually increases in decibels until the end. (8.75/10)

8. "The Miraculous (9:59) a single, calm, sustained, almost church-like organ note opens this song while muffled large engine-like noise doubles up beneath--like an industrial heartbeat--until 1:10 when the organ note shifts up a few keys and is joined by another (and then another, and another, etc.) to form an ominous, ascending minor chord. All the while the mysterious industrial heartbeat continues beneath, within. By the three minute mark the "full" chord has been achieved and Anna begins to play with the note at the top of the mountain, slowly creating a near-melody, before finally actually doing so in the fifth minute. At 4:30 Anna's ethereal voice floats in from above--staying above--where it is joined by treated guitar notes, heavily reverbed spoken words, church bells, and, of course, more deep organ pedal play. In the seventh minute the huge organ chord is eventually deconstructed, just as it was formed, one note at a time, while a few notes are toyed with, taken away and then brought back in differing volumes. Very cool effect! The thrum of the "industrial heartbeat" leaves for a while but then returns at the end of the eighth minute for a bit, but then everything falls away, leaving complete silence, around the 8:40 mark. At 8:57, notes begin re-emerging--almost like an orchestra's pre-performance tuning--before falling away and leaving us in silence again for the final 20 seconds. Powerful and fascinating. (18/20)

9. "Stranger (5:28) opens with the sounds as if an orchestra with all of its instruments, cases, music stands, chairs, etc. as well as the audience are taking down after the end of a concert in a city green. Two chords of strummed acoustic guitar, synthesizer organ, and some simple percussion--all heavily reverbed (as if they were being projected over public address speakers in the same city green) accompany the heavily-reverbed vocal of Ms. Hausswolff (accompanied by her sister in the choruses). Slowly plucked lower strings of an electric guitar solo after the first chorus but then continues throughout the rest of the song. The second verse and chorus are stronger, fuller, with more background vocals and Anna herself ramping up her power. A fairly straightforward--and very catchy, satisfying--indie-folk rock song. (8.75/10)

Total Time 49:26

89.77 on the Fishscales = B+/4.5 stars; a near-masterpiece of progressive rock music; a refreshing album that encourages one to believe that there is great hope for Prog World as shown by the promise coming from our youth. 

21. THIEVES' KITCHEN The Clockwork Universe

Thieves' Kitchen, a trio consisting of Phil Mercy, Amy Darby, and Thomas Johanson (ex-Ångagård), with adjunct members Anna Holmgren (Ånglagård), Johan Brand (Ånglagård) and Paul Mallyon (ex-Sanguine Hum), have created a collection of meticulously crafted and expertly performed songs in the vein of the most complex Canterbury scene and symphonic Yes demanding the highest degrees of difficulty from its musicians. Vocalist Amy Darby's stylings are similar to the palette-clearing effects of a superlative red wine--the backbone upon which each song rests, despite the fact that it is a "lead" instrument. She could be singing about chainsaw massacres but it would feel like walks on the soft floor of a pine forest to me.

1. "The Library Song" (6:47) is a jazzy exploration held strong and fast by Amy's solid vocal--which is oddly mirrored by the lead guitar. Great keyboard play throughout but the drumming and bass play are stellar! (13.5/15)

2. "Railway Time" (7:38) begins with quite a "smokey lounge" bluesy keyboard and guitar duet before evolving into a bass-anchored exposé for Amy's most diverse and adventurous vocal of the album (less sustained notes, more scatting around the scales). Nice shift away from the blues foundation after the mid-song flute solo. This is probably the most melodic and accessible song I've ever heard from TK! (15/15)

3. "Astrolabe" (3:17) is a slow duet that puts the wonderful sympathy of guitarist and founding band member Phil Mercy and pianist Thomas Johnson on full display. (9/10)

4. "Prodigy" (9:07) is full-scale prog song construction on display (á la 1970s YES) with the absolute highest caliber musicianship possible. Great story and lyrics with a rock-solid vocal from Amy. Classic! (18.25/20)

5. "The Scientist's Wife" (19:58) An obvious attempt at the more sophisticated Canterbury sound, this is my least favorite song on the album--and it's still an 8 out of 10! The five-minute opening instrumental section is quite impressive for the excellent play of its interwoven parts--not unlike a KING CRIMSON "Discipline" display--but it then mysteriously disappears in order to give way to a soft acoustic guitar foundation behind Amy's storytelling. A pleasant enough section blessed with Amy's crystalline vocal warmth, but then, though the song builds layers around and with Amy's story line, the song never seems to take off and fly--and feels much the homogenous single movement of what is promised to be a Yes symphony. Impeccable performances by all with some truly jaw-dropping flourishes from Phil's lead guitar and Paul's drum kit but, something is missing. It just feels under-developed, too much unrealized potential. (32/40)

6. "Orrery" (4:41) is another slowed down, scaled down song of mostly gentle piano play, though Thomas's work is beautifully embellished by ethereal flutes, intermittent guitar and bass flourishes and Mellotron, no drums. On a par with Francesco Zago's EMPTY DAYS work of 2013. (9/10)

Stellar musicianship, remarkable sound engineering (instrumental clarity), and quite beautifully sophisticated compositions that impress and engage. Phil and Amy have sure profited from the association/collaboration with Ånglagård, but more amazing are the contributions of Paul MALLYON: he is an AMAZING drummer!

     Like Ånglagård albums, this one has taken several listens to start to weave their way into my psyche, into my heart. So, give this one some time and you'll be very, very thankful.

89.54 on the Fish scales = B+/4.5 stars. An incredibly well-polished near-masterpiece from a dedicated and deserving group of musicians. Definitely a Top 20 Album of 2015!

22. HOOFFOOT Hooffoot

A short (35 minute) album of wonderfully engaging retro jazz fusion consisting of only two songs, the SANTANA Caravanserai-like (though more sophisticated and modern sounding--and with some awesome keyboard and trumpet play) "The Last Flight of the Ratite" (18:31) (35.25/40) and the more dynamic and melodic but less flowing, still SANTANA-sounding, "Take Five . . . Seven, Six, Eight and Nine" (16:01) The final motif is so Canterbury sweet! (27.25/30).

89.29 on the Fishscales = B+/4.5 stars; a near-masterpiece of progressive rock from the retro-jazz-rock fusion approach.

23. MANNA/MIRAGE Blue Dogs

With a bit of a Canterbury Style music revival picking up steam it is no wonder that the USA’s only true contributor to the sub genre, The Muffins would chime in with a contribution of new music. Only, mid-production one of the band’s members had to excuse himself, leaving Dave Newhouse, Billy Swann, Paul Sears and friends with the decision of whether or not to move forward. Under the guise of the clear reference to the parent band’s 1978 debut album of the same name, Dave and company decided to go ahead and finish the album in progress. Apparently revived by their recent work with Cuneiform label stable mate GUAPO and AltrOck Productions’ HOMUNCULUS RES, as well as Richard Wileman’s KARDA ESTRA projects, Dave and Paul, respectively, have gathered enough impetus and support to self-produce this album of seven songs which come in at a rather brief 36 minutes in length. And boy are we fortunate and am I happy that they did! I’ve been dancing around the house and in my car to the likes of the ear candy opener, “Canterbury Bells” (4:50) (10/10), ever since! Everytime I play this in the house my wife says, “That’s so Seventies!” And I say, “So?!” The bass, drums, and steady yet-syncopated piano chords bounce us along at a nice walking pace while an odd array of horns and percussion build unusual chord and harmonic layers over the top. Just brilliant! Should be a soundtrack to a video/commercial! One of my favorite songs of the year!

2. “Duke Street” (4:47) opens a little more playfully, with a piano playing a little two-bar ditty over and over in a kind of 50s/60s be-bop style—like Duke Ellington (for whom the song is named and who is present via a tape recorded sound clip from an interview of his at the end of the song), Thelonius Monk, or even Paul Desmond. The foundation established, the jazzy brush-played drums, double bass, and multiple horns play in a kind of big band style—playing as a group in chordal unison while single instruments take turns soloing over the top. If I have any complaint about this song it’s that there really is no significant shift of the foundation. (9/10)

3. Muffin Man Redux” (7:23), we find out toward the end, is a jazz song that is built over the ditty that we know as “Do you know the muffin man?” Until the avant shift at the 2:20 mark, the song presents itself as another small-scale big band song—not far from the Glenn Miller or Stan Kenton style. At 3:25 a drum interlude preps us for a kind of carnival-atmosphere in which, at the 4:13 mark, the “Muffin man” theme is presented. At 4:30 the music moves into a very catchy, melodic section with piano, electric bass, and jazzy drums laying another steady foundation over which the  At 5:46, the lone piano seems to be beginning a return us to the muffin man melody—but no! another pretty melodic variation picks up and plays on until the final twenty seconds when a single microphone is used to pick up a man and his ukelele playing and singing out the “muffin man” nursery rhyme before saying “bye bye, everyone” in a condescending as-if-to-children voice. Some great sections to this humorous song. (8/10)

4. “Lost in a Photograph” (4:21) opens with a slow jazz big band foundations, double bass and flute gently standing out the most. At 1:10 a shift brings forth a “chorus” melody from the horn section before a sax takes on the lead duties over the original opening foundation. An eminently enjoyable little dirge that even takes on some nice STEELY DAN hues and in the third and fourth minutes. No complaints here! (As a matter of fact, I would not mind at all if this one went on longer!) (9/10)

5. “Blind Eye” (4:57) is the first song on the album that, to my ears, really sounds like an avant/RIO/Canterbury song. The initial rhythm and sounds established are familiar to me in a kind of BRUFORD/YUGEN way. The guitar soloing that begins in the second half of the second minute is quite angular and discordant. The section that begins at 2:15 is pure avant/RIO in a kind of UZED/PRESENT way. The ensuing section uses some very Middle Eastern or klezmer-type melodic sounds and structures—which is then varied and embellished over for the fourth and first half of the fifth minutes before fading away to leave an electric piano to delicately play out the final 40 seconds. An interesting song but not my favorite. (8/10)

6. “Shwang Time” (4:58) opens with a kind of Pink Panther-meets-James Brown kind of feel as double bass and snare drum play with and off of each other. At 0:49 the rest of the little big band joins in with multiple melodies and being represented simultaneously but woven together in a fun, 1960s kind of way. At 1:55 there is a shift into a more insistent, ascendant bass and chordal progression giving the song a kind of YES-like feel! A tom-only drum section allows for some different horn interplay—eventually morphing into what sounds and feels like a 1920s jazz dance piece (with a film-noire detective theme playing within.) Odd but fun song! (9/10)

7. “Rovian Cue” (4:10) obviously refers to Karl Rove’s cue ball shaped head. Regardless of the meaning of the title, the song has a kind of slap-happy, fun feel like one of Sweden’s DUNGEN’s happy songs or something from Sicily’s current Canterbury revivalists, HOMUNCULUS RES. The piano play in the final minute feels so much like that of VINCE GUARALDI (jazz pianist most famous for the original Charlie Brown television specials’ soundtracks). Next to the album’s opener, this is my favorite song on the album. (10/10)

A late comer to the 2015 catalogue of albums, this is one that is well worth everyone’s listen and patience—it’ll grow on you in a very pleasant way!

89.0 on the Fish scales = B+/4.5 stars; a near-masterpiece of progressive rock music. One of the year’s 20 best!

24. NEEDLEPOINT Aimless Mary

The third album release from these nostalgic Norwegians, this is the first with drummer Olaf Olsen, a move that makes a difference. (Not that previous drummers were bad, it's just that Olaf makes the listener stand up and listen. A lot.)

Line-up / Musicians:

- Bjørn Klakegg / guitars, bass, voices

- David Wallumrød / keyboards, clavinet, synthesizers, percussion, voices

- Nikolai Hængsle Eilertsen / bass, synthesizer, guitar, voices

- Olaf Olsen / drums

1. "Fear" (5:47) opens with a Motown-like motif and sound before turning Curtis Mayfield and then, with the vocals, a funked up early YES or ELP-like song. (8.5/10)

2. "Why" (6:12) Love the affected accent in the vocal sounding like a Reggae Tim Buckley. Very much like the Boston dream prog-pop band, GHOSTS OF JUPITER. Great melodic hooks in both the vocal and the instrumental threads. Also a great sing-along lyric. Easily my favorite song on the album. (9.5/10)

3. "Soaring" (8:15) sounds like a collaboration between Mark Isahm, David Torn, Ståle Storløkken and The Amazing. (13.5/15)

4. "Shattered into Memories" (5:01) jazzy psych-pop over strong swirling Hammond organ play. Lots of interesting guitar sounds used, as well--jazzy hollow-muted strings, as well as continuous fast-running bass play. Interesting. (8.5/10)

5. "Aimless Mary" (5:44) sounds like a song from some mid-1960s British psych-pop band--maybe The Zombies, The Animals, or The Soft Machine or even the first Yes or Hatfield albums. (8.75/10)

6. "Half Awake" (4:33) deeper into the simple psych-folk world--the first half could be a Tim Buckley, Syd Barrett, or Donovan song, the second Arthur Brown or even Steeleye Span or the Pentangle. Spooky, gripping song. (9/10)

7. "Imaginary Plane" (3:22) opens like something off of THE AMAZING's 2011 album, Gentle Stream--thought the vocal performance is more reminiscent of AL STEWART. Nice. Love the 1972-4 Stevie Wonder-like synths. (8.75/10)

Total Time 38:54

The band's eclectic retro psychedelic sound continues to evolve, to experiment. Organ sounds and the use of more electronic-based soundscapes seem to dominate this album. 

88.67 on the Fishscales = B+/4.5 stars; an excellent addition of dreamy jazz-psych-pop to any prog lover's music collection. 

25. DUNGEN Allas Sak

After a five year hiatus in which band members freely and productively explored other musical projects, Sweden's Dungen is back with a new set of wonderful yet more mature, more diverse musical offerings. Band leader Gustav Ejstes's instrumental choices, recording techniques, and stylistic palette have expanded considerably since 2010's Skit I Allt

1. "Allas Sak" (3:29) opens the album with a couple great hooks: high pitch Rhodes piano arpeggi, a repeated series of descending slide notes on the electric guitar, and then syncopated electric guitar strums. Once the full band joins in and lead singer and principle songwriter Gustav Ejstes begins to sing, all sounds like the Dungen we've come to know and love. Some odd horn in the "C" solo slot feels fresh and new (Gustav on tenor sax?). (9/10)

2. "Sista Festen" (2:25) is a bongo-based song set up for Gustav's multi-layered, harmonized vocals and some Reine Fiske guitar soloing. (8/10)

3. "Sista gästen" (2:40) is a kind of set up for layers of wind instruments (multiple flutes, saxophone) and electric guitar work, Gustav's forward but whispered vocal and some Michael Giles-like drum play. Very interesting to hear electric guitar woven in with the "horn section" of flutes and saxes! (9/10)

4. "Franks Kaktus" (5:40) is an awesome bongo-based flute and electric guitar face off. Ejstes and Fiske bring the best out of each other--and the support crew of drummer Johan Holmegård and electric bass player Mattias Gustavsson are so solid. This is one awesome song! (10/10)

5. "En gång om året" (4:32) begins with pretty solo electric piano play, establishing the melody that Gustav soon picks up with his solo Swedish vocals. At 1:12 the rest of the band joins in for a few seconds before flutes, mellotron and acoustic guitar establish a kind of BEACH BOYS feel. Some amazing effects are used on Reine Fiske's slow but emotional soling in the song's final minute. Such a gorgeous, mature composition! Don't miss this one! Quite outside the usual Dungen wheelhouse!(10/10)

6. "Åkt Dit" (3:00) begins with piano and bass making moves around one another before the song kicks into nice with some really nice drumming, great vocal melodies (sung in Swedish), and awesome tenor saxophone contributions. Is that Reine Fiske on the Mellotron? (9/10)

7. "En Dag På Sjön" (4:13) is a piano-based instrumental jam set up for Reine Fiske and drummer Johan Holmegård to go ape crazy over. It feels as if it were an edited piece from a longer whole band jam--faded into as all four instrumentalists are hitting on all cylinders. Nice, and not excessive. (9/10) 

8. "Flickor Och Pojkar" (3:10) is another instrumental, this one a little more delicate and soft. It opens with a xylophone sound (Rhodes piano?), flute and some kind of strummed percussive (later becoming the strummed acoustic guitar?) maintaining a floral quality to it throughout. (8/10)

9. "Ljus In I Min Panna" (3:57) is a pretty straightforward rock song with Reine Fiske's fuzz guitar lead playing throughout, though more in the background than on "En Dag På Sjön." Este's singing in the first half of the song is less melodic, more monotonous. Nice jamming to end, but definitely the weakest song on the album. (7/10)

10. "Sova" (8:34) opens with slow moving, floating organ chords supported by simple, basic rhythm section, while a heavily-treated vocal joins in (singing in Swedish) within the first minute. This one has an almost PROCUL HARUM feel to it. Harp and some of Reine Fiske's finest lead guitar work on the album help fill the gaps between singing parts. The background organ work in the fifth minute is quite interesting: at times quite a bit like carnival music, at others almost reverent, church-like. Over the top RF's truly psychedelic lead work slowly takes us off-world, into other dimensions. (The other instruments somehow magically disappear as if to support and/or enhance this effect.) Extraordinary song. (18/20) 

I do think this is Dungen's most diverse, varied and mature set of songs--less hard as Ta Det Lugnt, not nearly as poppy as Skit I Allt, more eclectic than 4. Great album. If you love the Dungen sound but want to see the band continue to grow and experiment, don't miss this album. Your wish has arrived!

88.18 on the Fish scales = B+/4.5 stars; a near-masterpiece of upbeat progressive rock music.

26. ZA! Loloismo

This refreshing and creative album reminds me of the wild freneticism of LES NEGRESSES VERTES or THE CLASH or THE BEASTIE BOYS only putting them together with a modern technological bent—all kinds of samples and some Zeuhl and industrial drums and bass, while, at its core, this is Post Rock! (At least, the first side is.) Just the kind of shot in the arm that Post Rock needs! All coming from Spanish artists Spazzfrica Ehd (drums, keyboards, vocals) and Papadupau (guitars, trumpets, samples, vocals).  A little avant-punk Post Rock rap loloiza anyone? 

1. "La maquinaria está engrasada" (4:54) deep computer generated bass and group shout-chanting over changing, shifting time signatures of a loud industrial-sounding drum kit. (9/10)

2. "Badulake" (3:33) opens with a frenzied Zeuhl-like sound crescendo before almost settling into a straightforward song structure--almost, because it does not. Odd and intermittent effects and odd instruments/samples are introduced throughout the song. No set rhythm or melody is ever really established for any duration longer than about 20 seconds. It can be jarring and unsettling but oh so fascinating! Post Rock has NEVER sounded this raw and abrasive! (8/10)

3. "Empatando" (4:14) opens with MARK ISHAM/JON HASSELL-like treated trumpet which is gradually joined by full out drums and some bass and other sampled "percussives." (Remember all the odd noises PETER GABRIEL would sample to use in his rhythm tracks? These guys have taken it to a new level.) The syncopated "bridge" starting at the 2:40 mark lays the transition into the salmer group singing before the return to the Post Rock build. This sounds like the Spanish version of GIFTS FROM ENOLA. (9/10)

4. "Mundo Estrella" (3:27) If JIMI HENDRIX were to have played with THE CLASH and bass player JANNICK TOP while being produced by Trevor HORN this is what I think it would sound like. Awesome song! (10/10)

5. "Sancha" (5:01) is the album's closest thing to straightforward Post Rock, with guitar and drums doing all the work, but the constantly shifting odd time signatures make this one no walk in the park. Awesome song. (9/10)

6. "Hablas como Autechre 1" (2:03) is the modernization of THE BEASTIE BOYS, 2.0. Odd rap-like rhythms and shouted chorus chants (the title words). (8/10)

7. ""Hablas como Autechre 2" (3:30) is a varied version of the rhythms and sounds but same effects as the previous song only with no vocals and more keyboard/computer noises woven into the fabric of the song. (9/10)

8. "Loloismo" (2:44) very high energy like a punk song from the late 70s only using more modern computer technology. The lyrics are shouted by the group chorus loloiza style, like the punk groups and The Clash and Les Negresses Vertes would. (9/10)

9. "Captain Rondo" (1:34) is a computer keyboard exhibition over funky bass and drums groove. Group chanting joins in after about 30 seconds. The final 25 seconds are more interesting keyboard interpretations. (8/10)

10. "Don Autoleyendas" (2:44) is pure 90s hip hop rap with treated horn section a la YOUNG MC and THE BEASTIE BOYS--and it is awesome!! (10/10)

11. "¡Aquí huele a Assufre!" (4:51) pens with didgeridoo and trumpet sounding as if he is tuning or practicing scales. Toms and cymbols enter in a kind of African rhythm to provide foundation for the group rants and ensuing solo spoken voice. Halfway through the song some ADRIAN BELEW-like guitar noises are presented for a bit before the song returns to percussives--both hand and electronically generated--and heavily distorted electric bass guitar with the intermittent group chanting of the title words. The weakest song on the album (musically) but still interesting. (8/10)

Many will question the inclusion in "progressive rock" of this music--especially Side 2 of the album--but it is so refreshing, so fun and creative I cannot deny this wonderful album a place in my lists of Masterpieces.

88.18 on the Fish scales = B+/4.5 stars; a near-masterpiece of progressive rock music.

27. UNREAL CITY Il paese del tramonto 

Line-up / Musicians:
- Emanuele Tarasconi / piano, Hammond, synth, Mellotron, harpsichord, theremin, clavinet, vocals
- Francesca Zanetta / electric & acoustic guitars, Mellotron
- Dario Pessina / bass, bass pedals, backing vocals & spoken voice
- Frederico Bedostri / drums & percussion
With:
- Rossano Villa / trombone, accordion
- Fabio Biale / violin

1. "Ouverture: Obscurus fio" (5:02) (8.5/10)
2. "Oniromanzia" (9:02) (17/20)
3. "Caligari" (10:05) (17.5/20)
4. "La meccanica dell'ombra" (9:17) (17.5/20)
5. "Il nome di lei" (8:25) (18/20)
6. "Lo schermo di pietra (Kenosis)" (7:54) (13.25/15)
7. "Ex Tenebrae Lux" (20:35) (36/40):

- i. Gelida imago mortis 
- ii. Ciò che disse il tuono 
- iii. Processo secondario 
- iv. Ab Aeterno

Total Time 70:20

This album has disappointed me. I raved about the fresh new voice coming from Unreal City's debut album two years ago but still felt that the young men had some growing to do. The 'growth' on display here is not the direction I hoped for. Here I see far less presence of vocals--which mystifies me when such an outstanding voice as Emanuele Tarasconi is available. Plus, there is often a poor mix of vocals into the music (recording, engineering sound mix is not yet a strength of theirs). I find myself reacting irritably to an unusually long list of "old" or "cheap" keyboard sounds (as if trying to step into the shoes of 1970s BANCO DELLA MUTUO SUCCORSO using keyboards from the 80s or 90s like Casio and Ensoniq). Also, sometimes there seems to have been the choice made to go the easier route rather than the more impressive and complex way. Too bad! Then there are other times where rather odd and unusual, even discordant choices were made to fit passages into songs in ways that just feel . . . odd and discordant. Still, this is not a bad album by any means. There is a high standard of ideas and performances on display here. There are even a few five star songs, like "Il nome di lei," "Lo schermo di pieta (Kenosis)," and the album's ultimate epic, "Ex tenebrae lux." I would just like to see/hear less jumping around, more cohesive coherence--and less reliance on the sound and sounds of their RPI predecessors. 

88.10 on the Fishscales = B/four stars; an excellent addition to any prog lover's music collection. 

28. VOLA Inmazes

Who says djent isn't prog? I STRONGLY disagree. Denmark's Vola demonstrates a refreshing album of progressive rock music by melding the keyboard techno-wizardry of the 1980s with an outstanding rhythm section of djenters who absolutely refuse to play anything in a straight time. Think TEARS FOR FEARS or DEPECHE MODE teaming with MESHUGGAH, TOOL, or PROGHMA-C and you'll have a pretty good image for the aural soundscapes these guys paint on Inmazes.
     The album starts out much more heavily, more djenty, and then starts to show more of the band's 80s synth-pop roots in the second half.

1. "The Same War" (5:19) opens with some truly abrasive industrial djent sound before opening up into a full-on TOOL-like onslaught. When the vocals of guitarist Asger Mygind enter I am immediately struck by the similarity of his tone and sense of melody to that of David Gahan of the 1980s New Wave band, DEPECHE MODE.
     I need to point out that throughout the album the work of the bass, drums, and djent guitar play is absolutely top notch and amazing. I love the unpredictable syncopated and multi-octave guitar melody at the four minute mark. (9/10)

2. "Stray the Skies" (4:13) opens rather melodically, hooking the listener in with the album's most haunting melody, before sliding into a very heavy, very djenty, almost abrasive A Section. The Chorus returns us to the opening melody and synth chords, but then the following section becomes even more sparsely djenty. Back and forth the music goes, start to finish. Awesome contrast! (9/10)

3. "Starburn" (6:05) opens with some spacey atmospherics joined by an electronic tuned percussion arpeggio before the djent crew brings down the wrecking ball. This one even incorporates some vocal growls/screams. The shift at 1:55 into the melodic and harmonic realm of 1980s New Wave is a bit incongruous and perhaps denotes the weakest moment/transition of the album--the only place where the djent-New Wave partnership might not work. The prolonged guitar djent chord play that plays out over the second half of the song is interesting but never really goes anywhere new or fresh. Unfortunately, this is the album's low point. The good news is: it is virtually its only one! (7/10)

4. "Owls" (5:51) opens with a prolonged TOOL-like drum, bass and guitar section. When the vocalist joins in the band once again tries to marry the melodic, almost syrupy New Wave vocals with the abrasive, syncopated and less-than predictable staccato of its djent rhythm section. Here it works pretty well. Early SIMPLE MINDS on steroids. (8/10)

5. "Your Mind as Helpless Dreamer" (5:21) opens with perhaps the most high energy, ambitious rhythms and pace. Fast-paced midi-ed keyboard chords join in (in a NEW ORDER kind of way) while the vocals are presented with a much heavier, more aggressive fashion--very similar to the wonderful sound and work of Australia's KARNIVOOL. This song is working and barreling along on all cylinders! (10/10)

6. The delicate and techno-edgy "Emily" (3:01) plays out like a very emotional Roland Orzabel (TEARS FOR FEARS) masterpiece--though it has strong DEPECHE MODE leanings, too. Beautiful song. (10/10)

7. "Gutter Moon" (3:55) opens with a treated (compressed) keyboard riff before spilling out with some rather restrained djenty-yet-fuzzy bass and guitars. The B section takes on more of a DREAM ACADEMY/PREFAB SPROUT feel and synth pop sound. Then the djent rhythm section comes out in almost full force as the melody, vocals and synth keys sustain their 1980s sound and feel. Nice, interesting song. (9/10)

8. "A Stare Without Eyes" (4:58) opens heavily, though compressed, before settling into a melody sounding very much like a DEPECHE MODE song, just heavier. The lead vocal starts out heavily treated before coming somewhat forward for the first chorus. By the second A Section all holds have been taken off of the vocal, the song remains heavy but still retains this familiar DEPECHE MODE feel to it--as if the Mode merely upped their angst and aggression and let it show in the treatments of their instruments. Not quite as catchy with melodies here, but a good song. (8/10)

9. "Feed the Creatures" (5:37) opens heavily before letting all abrasive sounds drop away in lieu of sustained organ chords and computer-pop noises acting as percussives to support the delicate Jonas Bjerre (MEW)-like vocals. The heavy chorus at the three minute mark followed by the delicate piano chords and gorgeous soft vocal over the heavier TEARS FOR FEARS-like electro-rhythms is brilliant! Amazing! Great song. GReat blend of sounds and technology of the 80s, 90s and 21st Century. (9/10)

10. "Inmazes" opens with an odd keyboard pulsing between two chords in a straight time before it is joined by fairly straightforward electric guitar playing a fairly dissonant and discordant arpeggio. The tension is enhanced when the full band joins in with its full heaviness and PORCUPINE TREE-like sound (think "Blackest Eyes") and odd time signature playing over the still audible, still pulsing odd keyboard of the opening. The vocals that ensue are very much in the vein of those of DEPECHE MODE's David Gahan or even NEW ORDER's Bernard Sumner. I like the long, even outro, too. Great song! (9/10)

A wonderfully refreshing album from a group of young Danes who are attempting something quite ambitious in their blend of New Wave techno-synth pop with TOOL/MESHUGGAH djent. The point is:  They succeed! Wonderfully!

88.0 on the Fish scales = B+/4.5 stars; a near-masterpiece of progressive rock music.

29. SEVEN STEPS TO THE GREEN DOOR Fetish 

Fetish is a collection of very nice collection of diverse modern Neo Prog with very theatric overtones. This young German outfit of seven members wants to entertain you with their style, their storytelling, their musicianship. And they do pretty well here, but, they have a little maturing to do--a little refinement and skill-building to do. But they have a wonderfully creative spirit being expressed through their music--not unlike the Bender family band, INTROITUS. I also find myself feeling a kind of THIEVES' KITCHEN familiarity during several parts of several songs. Female lead singer, Anne TRAUTMANN, has a bit of the Amy DARBY (Thieves' Kitchen) feel while also quite a striking similarity to 80s pop jazz singer, BASIA. Still, some of the band's passages are a bit too imitative of past masters, which makes me a bit afraid for the direction they could travel in the future--a la American band Glass Hammer.

Line-up / Musicians:

- Lars Köhler / vocals
- Anne Trautmann / vocals
- Marek Arnold / keyboards, organ, piano, sax, soprano flute
- Martin Schnella / bass, guitars (acoustic, electric & baritone), vocals
- Ulf Reinhardt / drums, spoken parts
With:
- Melanie Mau / vocals (1-3,8,9)
- Stephan Wegner / vocals (3)
- Annemarie Schmidt / vocals (5)
- Sören Flechsig / vocals (5,6,9)
- Lars Bergerow / vocals (5,7)
- Alicia Pfeiffer / vocals (7)
- Arno Menses / vocals (8)
- Elisabeth Markstein / vocals (9)
- Antonio Vittozzi / guitar solo (9)
- Steve Unruh / violin solo (9)
- Luca Di Gennaro / synth solo (9)
- Daniel Mash / bass guitar solo (9)

- Justo Suarez / percussion

1. "Possible Delayed" (0:38) (4.5/5)

2. "PORN!" (8:50) (17.25/20)
3. "Still Searching" (9:55) very tight, mature composition that, unfortunately, lacks the big hook. (17.75/20)
4. "Inferior" (7:03) (13/15)
5. "Imprisoned" (9:08) (17/20)
6. "Bound in Chains" (8:53) like a combination of MYSTERY and DEVY TOWNSEND. My second favorite song on the album. (18.25/20)
7. "Last Lullaby" (9:01) FREQUENCY DRIFT- and THIEVES' KITCHEN-like (18/20)

8. "Set in Motion" (8:39) jazzier fare. Then heavy. I hear QUEEN and NEMO. Amazing final three minutes. My favorite song on the album. (18.5/20)
9. "Ordinary Maniac" (16:10) FREQUENCY DRIFT- and THIEVES' KITCHEN-like (25.5/30)

Total Time 78:18

87.79 on the Fishscales = B+/4.5 stars; a near-masterpiece of complex, theatric progressive rock music. Nice complex song structures that often sound and feel formulaic and don't always pack the punch or hook the listener the way one would hope. Perhaps a bit too theatric.

30. LEPROUS The Congregation 

I'm going to agree with the many reviewers here who are extolling the virtues of this album. It is, in my opinion, a very powerful Prog Metal album which displays the continued refinement and maturation of these musician/songwriters. Vocalist Einar Solberg continues to show virtuosic mastery of his craft--yet with continued refinements in his restraint, control, and use of space and simplicity. All powerful developments for the overall impact of the songs here.
     Coal was a real step forward from Bilateral and Tall Poppy Syndrome which both had a lot of elements of quirk, humor and pop woven into the song and melody structures, but The Congregation seems to show of a band that is finally comfortable with its style--a band that knows and uses its strengths through and through.
     While I find this overall a very powerful album, there are weaker songs and then there are absolute masterpieces.

5 star songs: "Rewind" (7:07) (10/10); "Slave" (6:38) (10/10); "Moon" (7:13) (9/10); "The Flood" (9/10); "Down" (6:26) (9/10); "Lower" (4:34) (9/10), and; "Red" (6:36) (8/10).

Album of the Year? I don't know. It's a great one! "Rewind" and "Slave" are must hears! Two of the best of the year, to be sure!

87.27 on the Fish scales = B/four stars; a wonderful contribution of heavy progressive rock music.

321 KING GIZZARD & THE LIZARD WIZARD Quarters !

One of only two 2015 album releases from these psychedelic Aussies, Quarters ! shows a much more organized, cohesive, and diversified jam band than before. 

 

Line-up / Musicians:
- Stu Mackenzie / vocals, guitar
- Joe Walker / guitar, bass - Cook Craig / guitar
- Ambrose Kenny-Smith / harmonica, vocals
- Lucas Skinner / bass
- Michael Cavanagh / drums, congas
- Eric Moore / drums, percussion

1. “The River” (10:10) almost a Dave Brubeck “Take Five” feel to this one! I love the laid back singing and groove—the way Stu sings following his own guitar note-play. The jazzed-up instrumental section set to its Latin rhythm track in the fourth and fifth minutes is awesome! The emptyied-out passage in the sixth minute is a bit unusual, but I suppose it supplies (in the true jazz sense) a decent segue back to the singing motif. Love the “The River“ shouts punctuating the back during the eighth minute before the next descent into quietude—and then the SANTANA-like slow jam to close out the song. Nice job! (18.25/20)

2. “Infinite Rise” (10:10) a little too monotonous with its eight minutes of repetitious two-chord guitar-strum-and-vocal cadence and intermittent animal noises. Could’ve come from a GRATEFUL DEAD concert jam. (15.75/20)

3. “God Is in the Rhythm” (10:10) recorded as if from the early 1960s—British R&B-influenced rock—something like The Pretty Things or The Yardbirds might’ve done. It’s very interesting as a retro-replicant, but not so much for bringing anything new to the 21st Century (though I do like the Jerry Garcia-like guitar work in the choruses and instrumental interludes). (17.5/20)

4. “Lonely Steel Sheet Flyer” (10:10) The vocals of this gently swaying psychedelic music remind me a little bit of ARCADE FIRE or THE ANNUALS; the feel of the music like some of WEST INDIAN GIRL or PERPLEXA’s more sedate stuff. A very pleasant, engaging song for the first five minutes. Then a kind of break occurs before we return to a prolonged instrumental section using pretty much the same pace and rhythms as the first half. Definitely a laid back Australian beach song. (17.75/20)

Total Time 40:40 

Hard to believe this is the same band that did I’m in Your Mind Fuzz the year before! Though still a little loose in a GRATEFUL DEAD-like jam-tradition, there are some fine construction and instrumental performances here.

87.18 on the Fishscale = B+/four stars; a wonderfully refreshing journey into retro-psych rock and quite an improvement on their previous year’s releases. Highly recommended!



 

32. KLONE Here Comes the Sun

10% 1976 BLUE ÖYSTER CULT, 10% 1990 THE CURE ~1990, 20% FIELDS OF THE NEPHILIM around 2004, and 60% 1992 ALICE IN CHAINS, Klone represents a very welcome if nostalgic musical hybrid all blended very much into a progressive rock package. I can only imagine the awesome power this band must pack live in concert as lead singer Yann Linger's voice must surely fill any auditorium! Even in "softer" songs like "Nebulous"--no, maybe more in softer songs like "Nebulous"--Yann's LAYNE STALEY-like voice stands out as the main attraction. It is not often that one comes across that kind of commanding presence in a front man, but Yann Linger has it--just as Layne Staley had it. (In my humble opinion, Staley was probably the most distinctive, central representative of the 1990's "grunge" movement--yes, even more than Eddie Vedder or Kurt Cobain.)

Here Comes the Sun flows with such addictive power that one cannot help but want to hear more once one has started. Just a great sound, top to bottom, with the addition of a great saxophone player and great sound engineering and production. This is surely one of the gems of 2015! It simply must be listened to in order to be believed!

Five star songs: 4. "The Drifter" (6:13) (10/10); the ALICE IN CHAINS-like 8. "Come Undone" (4:25) (10/10); 1. "Immersion" (5:11) (9/10); "Grim Dance" (5:27) (9/10), and; the instrumental 6. "Gleaming" (2:53) (9/10).

Four star songs: 9. "The Last Experience" (7:18) (8/10); 5. "Nebulous" (5:53) (8/10); 2. "Fog" (4:48), and; the POLICE "Messsage in a Bottle"-like "Gone Up in Flames" (3:59) (8/10).

87.0 on the Fish scales = B/four stars; a great contribution of progressive rock music.

33. LA CURVA DI LESMO La Curva di Lesmo

Fabio Zuffanti is back--and this time with one of his better productions--thanks to the inputs of so many other Italian professionals--especially Stefano Agnini, the variety of vocalists, guitarist Fabio Gremo, and the others from La Coscienza di Zeno--as well as a veritable all-star lineup of members of top notch Italian prog bands like La Maschera Di Cera, Finisterre, Eris Pluvia, Il Tempio Delle Clessidre, Höstsonaten, Saint Just, Analogy, and Nickelodian. 

Line-up / Musicians:
Stefano Agnini (La Coscienza Di Zeno): keyboards
Fabio Zuffanti (Finisterre, Höstsonaten, La Maschera Di Cera)

 - With:

Beatrice Antolini: voice (1)

Gabriele Guidi Colombi (La Coscienza Di Zeno): bass (1)
Laura Marsano (La Maschera Di Cera / Zuffanti): acoustic and electric guitar
Andrea Orlando (La Coscienza Di Zeno / Finisterre): drums
Fabio Gremo (Il Tempio Delle Clessidre): classical guitar (2, 3)
Domenico Ingenito (La Coscienza Di Zeno): violin (2)
Loris Lombardo: percussion (2)
Max Manfredi: voice (2)
Edmondo Romano (Eris Pluvia): flutes (2)
Claudio Roncone: voice (2)
Luca Scherani (La Coscienza Di Zeno / Höstsonaten): accordion, strings arrangements (2, 3)
Jenny Sorrenti (Saint Just): voice (2, 3)
Sylvia Trabucco (Höstsonaten): violin (2, 3)
Matteo Merli: voice (3)
Claudio Milano (Nickelodeon): voice (3)
Jutta Nienhaus Taylor (Analogy): recitative (3)
Boris Valle (Finisterre): piano (3)

1. "La Posa Dei Morti" (8:26) (17.25/20)

2. "L'isola Delle Lacrime" (17:14) (29.75/35)

3. "Ho Rischiato Di Vivere" (26:24) (44/50)
     i. Ho Rischiato Di Vivere - Parte Prima
    ii. Ritratto Di Donna In Nero
   iii. Memoriale
   iv. Gargoyle
    v. Ho Rischiato Di Vivere - Parte Seconda

86.67 on the Fishscales = B+/4.5 stars; a wonderful new addition to the kingdom of progressive rock music in the Italian operatic tradition. Definitely worth checking out for your selves.

The Rankings for 2015
 

1. LA COSCIENZA DI ZENO La notte anche de giorno

2. MONOBODY Monobody

3. METHEXIS Suiciety

4. CICADA Light Shining Through the Sea

5. JAGA JAZZIST Starfire

6. ANEKDOTEN Until the Ghosts Have All Gone 

7. OZRIC TENTACLES Technicians of the Sacred

8. MAGMA Slag Tanz

9. THE PSYCHEDELIC ENSEMBLE The Sunstone

10. BATTLESTATIONS The Extent of Damage

11. ALIO DIE & LORENZO MONTANÀ Holographic Codex
12. SYLVAN Home
13. CORVUS STONE Unscrewed 

14. MYSTERY Delusion Rain

15. NEMO Coma

16. NATIVE CONSTRUCT Quiet World

17. CICCADA The Finest of Miracles

18. 3RDEGREE Ones & Zeroes, Part 1

19. JAM IT! Following the Unknown

20. COSMIC GROUND 2

21. ANNA VON HAUSSWOLFF The Miraculous 

22. THIEVES' KITCHEN The Clockwork Universe

23. HOOFFOOT Hooffoot

24. MANNA/MIRAGE Blue Dogs

25. NEEDLEPOINT Aimless Mary

26. DUNGEN Allas Sak

27. ZA! Loloismo

28. UNREAL CITY Il Paese dell Tramonto

29. VOLA Inmazes

30. SEVEN STEPS TO THE GREEN DOOR Fetish

31. LEPROUS The Congregation

32. KING GIZZARD & THE LIZARD WIZARD Quarters !

33. KLONE Here Comes the Sun

34. LA CURVA DI LESMO La Curva di Lesmo

35. THE AMAZING Picture You

36. THE TEA CLUB Grappling

37. SVETAMUZIKA Present Simple
38. STEVEN WILSON Hand. Cannot. Erase.
39. ABIGAIL'S GHOST Black Plastic Sun

40. PANZERBALLETT Breaking Brain

Honorable Mentions:

VAK Aedividea

HOMUNCULUS RES Come si diventa ciò che si era

PROGRESSION BY FAILURE Sonic Travelogue

TOE Hear You 

ABSTRAKT Limbosis 
ADVENT The Silent Sentinel 

NATIVE CONSTRUCT Quiet World

Special Mention:

THE NERVE INSTITUTE Fictions (originally published in 2009)