Thursday, March 23, 2023

2022's Best "Epic" Songs

These are my favorite songs of over nine minutes in length from 2022 studio releases:

1. "432 Bars" - STRANGE POP - (29.5/30) = 9.833
2. "Hypertension" - KING GIZZARD & THE LIZARD WIZARD - (29.5/30) = 9.833
3. "Chariots of the Sun - To Phaeton on the Occasion of the Sunrise (theme from an imagined movie)" - MOTORPSYCHO - (44/45) = 9.778
4. "Raum" - TANGERINE DREAM - (29/30) = 9.667
5. "Time in Your Face" - GREEN ASPHALT - (19.25/20) = 9.625
6. "Until My Wings Turn to Ashes" - JAMBINAI - (19.25/20) = 9.625
7. "Iron Lung" - KING GIZZARD & THE LIZARD WIZARD - (19.25/20) = 9.625
8. "Sacrae Symphonia No. 1" - WESERBERGLAND - (75/80) = 9.5
9. "Fall of the Watcher" - RETURNED TO THE EARTH - (19/20) = 9.5
10. "Der Hauch des Lebens (Parts 1-5)" - KLAUS SCHULZE - (52/55) = 9.455
11. "Emnalóc - ROLAND BÜHLMANN - (23.5/25) = 9.4
12. "I Have Little to No Memories of These Memories" - TOEHIDER - (89/95) = 9.368
13. "Endtime" - HAVEN OF ECHOES - (18.75/20) = 9.375
14. "Achilles" - JOHN HOLDEN - (18.667/20) = 9.33
15. "Summer Queen" - JONAS LINDBERG & THE OTHER SIDE - (28/30) = 9.33
16.  "Part Cloud" - HANNAH PEEL & PARAORCHESTRA - (18.66/20) = 9.33
17. "Polarchoral" - GRICE - (28/30) = 9.33
18 "The Horror" - RANESTRANE - (28/30) = 9.33
19. "Catastasis" (10:50) - ELDER - (18.5/20) = 9.25
20. "Sierra Leone" - MARILLION - (18.5/20) = 9.25
21. "Change" - KING GIZZARD & THE LIZARD WIZARD - (23/25) = 9.20
22. "You Have It All" (14:25) - LOBATE SCARP (27.5/30) = 9.1667 
23. "Seth (Parts 1-7)" KLAUS SCHLUZE - (59.5/65) = 91.54
24. "Die Before You Wake" - BEN CRAVEN - (36.5/40) = 9.125
25. "The Machinery" (10:44) - INNER PROSPEKT - (18.25/20) = 9.125
26. "Be Hard on Yourself" - MARILLION - (18.25/20) = 9.125 
27. "Tra Cielo e Terra" - ALIANTE - (18.25/20) = 9.125
28. "For Yesterday" - BIRTH - (18.25/20) = 9.125 
29. "Obelisk" - IN-DREAMVIEW - (18.25/20) = 9.125
30. "Alda" (20:52) - BREIDABLIK - (36.5/40) = 9.125


Other Great Songs:
"In 256 Zeichen" (19:07) - TANGERINE DREAM - (36/40) = 9.0
"The Mountain" (16:40) - NEIL CAMPBELL - (27/30) = 9.0
"Refuse" - BUBBLEMATH - (18.0/20) = 9.0
"Land of Gold" (13:20) - KARFAGEN (27/30) = 9.0
"Hell's Itch" (13:27) KING GIZZARD & THE LIZARD WIZARD - (27/30) = 9.0 
"Peace Patrol" (10:00) - VON HERTZEN BROTHERS - (18/20) = 9.0
"Oceans of Time" (11:37) - JONAS LINDBERG & THE OTHER SIDE - (18/20) = 9.0
"The Watcher" (9:03) - VERBAL DELIRIUM - (18/20) = 9.0
"Starseeds" (9:17) - ED WYNNE - (18/20) = 9.0 
"Ascent" (9:11) - iNFiNiEN - (18/20) = 9.0
"Alarm Bells" (10:26) - GRICE - (18/20) = 9.0
"Naked Sky" (10:26) - ONSÉGAN ENSEMBLE - (18/20) = 9.0
"Labyrinth 66 Part 1 & 2" (13:07) - DAAL - (22.5/25) = 9.0
"Il Mondo di Fronte" (9:24) - ALIANTE - (18/20) = 9.0
"The Watcher" (9:03) - VERBAL DELIRIUM - (18/20) = 9.0
"Coalescence" (9:47) - ELDER - (18/20) = 9.0
"Assailen" (9:22) - ROLAND BÜHLMANN - (18/25) = 9.0
"Basketball Shoes" (12:37) - BLACK COUNTRY; NEW ROAD - (22/25) = 8.88
"The Lady Tied to the Lamp Post" - THE TANGENT - (35.5/40) = 8.875
"Ice V" - KING GIZZARD & THE LIZARD WIZARD - (17.75.20) = 8.875
"Napalm" (20:12) - RANESTRANE - (35.5/40) = 8.875
"Special Waste" (10:03) - 
INNER PROSPEKT 
- (17.75/20) = 8.875
"Endless Return" (9:54) - ELDER - (17.75/20) = 8.875
"Yndrun" (9:50) - ROLAND BÜHLMANN - (17.75/20) = 8.875 
"Everything" (10:13) - BUBBLEMATH (17.75/20) = 8.875
"Liminal Veil" (9:07) - DREADNAUGHT - (17.75/20) = 8.875
"Merged in Dreams - Ne Plus Ultra" (14:43) - ELDER - (26.5/30) = 8.833
"Reaper Man" (9:20) - GHOST TOAST (17.667/20) = 8.833
"Neon Eye Cage" (9:30) - VERBAL DELIRIUM - (17.667/20) = 8.833
"Godzilla" (43:00) - AUDIO'M - (35/45) = 8.824
"Mona Lisa / Azrael" (12:15) - MOTORPSYCHO - (22/25) = 8.80
"Miles from Nowhere" (25:33) - JONAS LINDBERG & THE OTHER SIDE - (44/50) = 8.80
"Let Them In" (12:15) - HAVEN OF ECHOES - (22/25) = 8.80
"The Changes" (17:06) - THE TANGENT - (30.75/35) = 8.7857
"Flowing Through the Change" (17:24) - LOBATE SCARP - (30.75/35) = 8.7857
"Blue Forest" (9:06) - VON HERTZEN BROTHERS - (17.5/20) = 8.75 
"Moments of Life" (10:28) - PHOENIX AGAIN - (17.5/20) = 8.75
"Time Has a Way" (13:15) - PATTERN-SEEKING ANIMALS - (26.25/30) = 8.75
"Finial" (11:01) - IN-DREAMVIEW - (17.5/20) = 8.75
"Eden Cries" (10:37) RANESTRANE - (17.5/20) = 8.75
"Seen the Sun" (11:41) - ED WYNNE  - (17.5/20) = 8.75 
"Amnis Flows Aeternum" (19:11) - BEN CRAVEN - (35/40) = 8.75
"Rithnál" (10:45) - ROLAND BÜHLMANN - (17.5/20) = 8.75 
"Romantik" (9:31) - FREN - (17.5/20) = 8.75
"Sessapinae" (9:57) - IKARUS - (17.5/20) = 8.75
"Overture" - NEIL CAMPBELL - (17.5/20) = 8.75
"The Dripping Tap" (18:17) - KING GIZZARD & THE LIZARD WIZARD - (35/40) = 8.75
"Over and Out" (21:50) - COLLAGE - (39.25/45) = 8.722 
"Chasing Time" (12:18) - GHOST TOAST - (21.25/25) = 8.70


Also Considered:
"Care" (15:20) - MARILLION - (26/30) = 8.667
"A Needle Tree" (15:23) - KARCIUS - (26/30) = 8.667
"Widdershins" (13:32) - GANDALF'S FIST - (26/30) = 8.667
"Journey Through the Spiral Mind Part 1" (14:10) - DAAL - (26/30) = 8.667
"Omega Lights" (10:05) - GALAHAD - (17.25/20) = 8.667
"Scream Sideways" (10:10) - PURE REASON REVOLUTION - (17.25/20) = 8.625
"Building Heaven" (11:34) - JOHN HOLDEN - (17.25/20) = 8.625
"Snow Globes" - BLACK COUNTRY; NEW ROAD - (17.25/20) = 8.625 
"Osiris (Parts 1-4)" (18:28) - KLAUS SCHLUZE - (34.25/40) = 8.5625
"The GPS Vultures" (17:01) - THE TANGENT - (30.25/35) = 8.643
"Wiosna" (10:26) - FREN - (17.25/20) = 8.625
"Cave" (19:45) - GANDALF'S FIST - (34/40) = 8.5
"The Dripping Tap" (18:17) - KING GIZZARD & THE LIZARD WIZARD - (34/40) = 8.5
"Home Trip" (9:10) - ALIANTE - (17/20) = 8.5
"Land of Green (Part 1)" (11:00) - KARFAGEN - (17/20) = 8.5
"All the Pretty Days" (11:40) - FREN - (17/20) = 8.5
"The Steppe Nomad Space Program" (9:14) - REGAL WORM - (17/20) = 8.5
"The Last Great Adventurer" (10:35) - GALAHAD - (17/20) = 8.5
"Kramatorsk" - COMPASSIONIZER - (25/30) = 8.333
"The Land Before Timeland" (15:00) - KING GIZZARD & THE LIZARD WIZARD - (25/30) = 8.33
"The Ladder" (13:46) - KARCIUS - (24.5/30) = 8.1667
"Paperwings" (13:52) - OAK - (24.5/30) = 8.1667
"Painting Wings" (9:22) - DAAL - (16.25/20) = 8.125
"Chun Li" (9:44) - SOFT FFOG - (15.5/20) = 7.75 
"Ephemeral Arkitecture" (9:22) - JAVIER MIRANDA - (15.5/20) = 7.75
"Turque" (24:23) - FREN (38.5/20) = 7.75
"Cartimandua" (9:10) - ALIANTE - (15.5/20) = 7.75


As yet unreviewed:
"Dhalism" (9:28) - SOFT FFOG Soft Ffog - (/20) = 
"Surface Tension" (17:57) - BUBBLEMATH Turf Ascension - (/35) = 
"Decrypted" (9:57) - BUBBLEMATH  Turf Ascension (/20) = 


Great but too short:
"Worlds Break" (8:30) - DREADNAUGHT - (19.5/20) = 9.75
"Faery Revolution" (8:52) - SILENT TEMPLE - (18.25/20) = 9.125
"Big Beef" (8:32) - THE LIGHT IN THE OCEAN - (18/20) = 9.0
"The Purpose" (8:37) - ELDER - (18/20) = 9.0


*Bold print denotes songs that have risen into my pantheon of All-time favorite "epics."

Wednesday, March 22, 2023

2021, Part 4: Other Albums worth checking out for yourselves



CORRADO RUSTICI Interfulgent

Though this is a one-man project, seasoned veteran Corrado has all the equipment and knowledge to make very polished and sophisticated music from his technology-driven equipment.

Musicians / Lineup:
Corrado Rustici: Electric and Acoustic Guitars, ©Sophia-guitar, Keyboards, Inuk, Beats programming, Synthaxe-Voice in “Khetwadi Lane”.
Alex Argento: Additional Keyboards, Synth solo in “Halo Drive”

1. "Halo Drive" (4:43) (/10)
2. "Night of the Jackal" (5:41) very interesting for the "vocals" that sound as if some female Middle Eastern singer like Ofra Haza were being siphoned through a guitar (as Peter Frampton made so famous in the mid-1970s). When it comes time to shred, I must say, Corrado still impresses: speed, melody, employing all the tricks of the master soloist. (8.75/10)
3. "The Man from Yorkshire (Dedicated to A.H.)" (3:59) reminds me of a cross between the musics of ALLAN HOLDSWORTH, MARK ISHAM, and BABYFACE. (8.75/10)
4. "Black Swan" (3:56) far more techno-reliant, this could be a JEFF BECK song. (8.5/10)
5. "Anna" (4:44) piano and synth guitar tracks weave to create this ruminative beauty. It makes me feel as if Allan Holdsworth were alive and well--and that he had finally discovered Pat Metheny's gift of expressing "voice" and melody in his music. The shredding might be a little excessive for this music.(8.75/10)
6. "Interfulgent" (4:31) sounds like a house techno-"cover" of some R&B hit--guitar doing all the work of the vocals. It's good, polished, but feels a little like Adult Contemporary or soundtrack music. (8.5/10)
7. "Khetwadi Lane" (4:01) (/10)
8. "ZuZu Blues" (4:28) (/10)
9. "The Waters of Enceladus" (4:52) (/10)
10. "G. on a Sunny Day" (5:01) (/10) 

on the Fishscales = / stars;




NEAL MORSE BAND Innocence & Danger

One of the most driven, prolific artists in the world of progressive rock music is back with another album of professional grade songs performed and recorded, as always, at very high levels of proficiency and competency.

Line-up / Musicians:
- Neal Morse / vocals, keyboards, guitars
- Eric Gillette / guitars, vocals
- Bill Hubauer / keyboards, vocals
- Randy George / bass
- Mike Portnoy / drums, vocals

CD 1 - Innocence (48:47)
1. Do It All Again (8:53) (/20)
2. Bird on a Wire (7:23) (/15)
3. Your Place in the Sun (4:12) (/10)
4. Another Story to Tell (4:50) (/10)
5. The Way It Had to Be (7:14) (/15)
6. Emergence (3:12) (/10)
7. Not Afraid, Pt. 1 (4:54) (/10)
8. Bridge over Troubled Water (8:08) (/15)

CD 2 - Danger (50:53)
1. Not Afraid, Pt. 2 (19:30) (/40)
2. Beyond the Years (31:23) (/60)

Total Time 99:40

While I appreciate the artistry and drive Neal exudes, I just that I connect with virtually nothing he does musically, melodically, or ideologically. The compositions and performances are top notch--mentally quite admirable; the heart just doesn't connect with mine.

on the Fishscales = / stars; 





AZURE Of Brine and Angel's Beaks

A band that is new to me has come up with one of the better Prog Metal albums I've heard from 2021.

Line-up / Musicians:
- Chris Sampson / vocals, guitar
- Galen Stapley / guitar
- Bella Lee / bass
- Sam Calder / drums
- Adam Hayes / additional percussion 

1. "A Night of Superlunary Gazing (1:08) (/5)
2. "Self-Crucifixion (3:56) (/10)
3. "Ameotoko I - The Curse (9:03) (/20)
4. "The Jester Who Cheated Death (3:03) (/10)
5. "Lustre: Siphon of Umbra (6:15) (/10)
6. "Outrun God" (3:04) (/10)
7. "Mercy (6:33) (/10)
8. "Of Brine and Angel's Beaks" (4:55) shoreline waves, acoustic guitars, and impassioned vocals  (/10)
9. "A Sailor Will Learn (7:44) (/15)
10. "Cup of Poison (7:32) (/15)
11. "The Jellyfish (2:50) (/10)
12. "Ameotoko II - Cloudburst (7:22) (/15)

Total Time 63:25

on the Fishscales = / stars; 




MOTORSYCHO Kingdom of Oblivion

Prog's most prolific power trio is back with their 24th studio album release since 1990. My concern is: Can they come up with something fresh--something innovative that will surprise me--or am I about to hear more Motorpsycho being Motorpsycho?

Line-up / Musicians:
- Bent Sæther / lead vocals, bass, guitar, keyboards, drums
- Hans Magnus Ryan / lead guitar, vocals, keyboards, mandolin, violin, bass
- Tomas Järmyr / drums, vocals

1. "The Waning (Pts. 1 & 2) (7:29) (/15)
2. "Kingdom of Oblivion" (6:56) (12.75/15)
3. "Lady May (3:21) (/10)
4. "The United Debased (9:03) (/20)
5. "The Watcher (5:04) (/10)
6. "Dreamkiller (5:15) (/10)
7. "Atet (2:17) (/5)
8. "At Empire's End (8:36) (/20)
9. "The Hunt (5:46) (/10)
10. "After the Fair (1:58) (/5)
11. "The Transmutation of Cosmoctopus Lurker (10:55) (/20)
12. "Cormorant (3:38) (/10)

Total Time 70:18

on the Fishscales = / stars; 





BIG HOGG Pageant of Beasts

Glasgow's retro-prog rockers with questionable Canterbury strains turn more toward the likes of BLOOD, SWEAT & TEARS and CHICAGO for this year's inspiration. 

Line-up / Musicians:
- Justin Lumsden / electric guitar, vocals
- Sophie Sexon / flute, vocals
- Ross McCrae / trombone, electric piano
- Richard Merchant / trumpet, cornet, flugelhorn
- Nick Gaughan / drums, percussion, synthesizers, backing vocals; guitars, bass & keyboards (7)
- Martin Beer / electric bass, double bass, autoharp
With:
- Lavinia Blackwall / vocals
- Mike Hastings / acoustic guitar, space guitar (7)
- Phil Cardswell / trumpet solo (6)
- Rory Clark / 2nd flugelhorn (6)
- Georgia Seddon / chant
- Ian Sexon / spoken words


1. Golden Beasts (0:30) horns like Chicago or Frogg Café! Nice album intro (though might've been better as an interlude). (4/5)

2. "Here Come the Moles" (4:55) funk with horns! Tower of Power, the JBs, or Billie Preston. But then female vocalist Sophie Sexon (or is it Lavinia Blackwell?) joins in in the third minute displaying her pretty but very pitchy voice. (8.5/10)

3. "Man Overboard" (3:46) light, fun, and melodic like the fun side of Canterbury--with horns. Sounds most like Dutch band SUPERSISTER. A top three song. (9/10)

4. "Smoking Again" (3:51) raspy male vocalist reminds me more of a blues-rock singer like Dr. John or  What is this? (7.75/10)

5. "Willow's Song" (3:33) never thought I'd hear this song from anyone other than DOVES. Though an okay arrangement, the song put on display the flaws in female vocalist Sophie Sexon's pitch-imperfect voice. (7.75/10)
 
6. "Red Rum" (3:03) horns with bluesy guitar and rhythm section. Once again, I'm reminded of FROGG CAFÉ--without the vocals. (8.5/10)
 
7. "All Alone Stone" (5:24) gorgeous flugelhorn, trumpet and Fender Rhodes-led intro leads into sensitive KHAN/MAGIC BUS-like song. Very nice piano chord progressions and fuzz bass/space guitar. A top three song for me. (8.75/10) 

8. "Magistellus" (4:17) jazz-rock (with background horns) and double female lead vocalists makes for a pleasant song. The compositions are showing signs of greater sophistication. (8.5/10)

9. "Wyverns" (4:31) sounds like a wild stage jam with several riffs and themes starting and shifting seemingly unbeknownst to the other players. Somehow, it all kind of works. (8.25/10)
 
10. "Bouffant Tail" (1:12) should have been titled something like "male soloists jizz on a chalkboard." (2/5)

11. "Cat Fool" (3:20) the song Burt Bacharach and Daevid Allen never recorded together (or apart). Now we know why. (8/10)

12. "Too Much Belly Not Enough Paw" (0:45) very nice cinematic outro. My final top three song. (4.5/5)

Total Time 39:07

81.43 on the Fishscales = C/three stars; some nice music to try out for yourselves. 



MAQUINERIAS Media Banda

Line-up / Musicians:
- Florencia Novoa / vocals
- Cristián Crisoto / alto saxophone, soprano saxophone, bass clarinet, alto flute, vocals
- Christian Hirth / drums & percussion, electronica
- Rodrigo Aguirre / tenor saxophone, traversa flute
- Tomás Ravassa / piano, keyboards, synthesizer
- Aurelio Silva / electric guitar
- Rafael Chaparro / tenor saxophone, baritone saxophone, choir
- Felipe Martínez / electric bass
With:
- Consuelo Schuster / vocals
- Pablo Ilabaca / vocals
- Felipe Ilabaca / bass
- Daniel Muñoz / vocals, percussion
- Sebastián Jordán / trumpet
- Marcelo Maldonado / trombone

1. "Perro Chico Malo (5:42) (/10)
2. "Godzilla (5:23) (/10)
3. "Canción Formal en 7/8 (5:23) (/10)
4. "Buhardillas (1:43) (/5)
5. "Maquinarias (5:01) (/10)
6. "Fulano (6:24) (/10)
7. "Suite Recoleta (8:03) (/15)
8. "Señor Gorro Capucho (2:40) (/5)
9. "El Dar del Cuerpo (8:21) (/20)
10. "Adolfo, Benito, Augusto y Toribio (4:45) (/10)

Total Time 53:25



DREAM THEATER A View from on Top of the World


Line-up / Musicians:
- John Myung / bass
- John Petrucci / guitars, additional vocals
- James LaBrie / vocals
- Jordan Rudess / keyboards
- Mike Mangini / drums

1. "The Alien (9:32) (/20)
2. "Answering the Call (7:35) (/15)
3. "Invisible Monster (6:31) (/10)
4. "Sleeping Giant (10:05) (/20)
5. "Transcending Time (6:25) (/10)
6. "Awaken the Master (9:47) (/20)
7. "A View from the Top of the World (20:24) (/40):
- i. The Crowning Glory
- ii. Rapture of the Deep
- iii. The Driving Force

Total Time 70:19




MONARCH TRAIL Wither Down

Canadian Ken Baird making his third attempt to broadcast to the world his reverence for all-things Tony Banks. 

Line-up / Musicians:
- Ken Baird / piano, keyboards, vocals, composer
- Kelly Kereliuk / guitar
- Steve Cochrane / acoustic guitar
- Dino Verginella / bass
- Chris Lamont / drums

1. "Wither Down" (10:53) like something from Tony Banks' first solo album (though perhaps a bit better). The vocals are near-unlistenable--reminding me of Chris Squire's pitchy, strained, solo attempts. (15.5/20)

2. "Echo" (5:59) a little more complexity here. (8/10)

3. "Canyon Song" (6:32) not seeing any above average quality or creativity here. (7.75/10)

4. "Waves of Sound" (11:00) pretty but seems to exist solely for the purpose of placing the listener into a Mellotron coma (which can be a very pleasant place to be). Love the treated vocal, French lyrics, and free-walking bass. (16.75/20)

5. "Megalopolitana" (15:18) Kudos for Ken's sidemen for doing their best to breathe some life into this one. Some of the instrumental activity is rather interesting. The vocals (and lyrics) weigh it down (again). (24.25/30)

6. "All Kinds of Futures" (6:47) To give Ken some credit: He is one of the more gifted Tony Banks imitators--as well as one of the more spot-on Genesis re-creators.  (12.25/15)

Total Time 56:29

A collection of very pretty music that sounds exactly like most of the TONY BNAKS/GENESIS-worshipping Neo Prog coming out in the late 1970s and early 1980s. Competent, rich in full keyboard sound, and pleasantly melodic but, ultimately, too derivative/imitative--and poor sound quality.

80.48 on the Fishscales = C/three stars; a nice collection of pretty exhibitions of Tony Banks worship that could be relegated to the "collectors only" pile if it weren't for the accuracy of it's Genesis recreation. 




FRAGILE Beyond

I love the work of Claire Hamill, Oliver Day, and Max Hunt, and I enjoy a lot of music that emanated from the band YES--I might even be interested in seeing a tribute band if one came close to me--but bands motivated by near-perfect replication of a single band's sound and songs, though impressive, usually bore me. (How many Yeses, Genesises, King Crimsons and Focuses do we really need?) I listened with great interest to this band's debut release from last year, Golden Fragments, but, in the end, dismissed it as four talented artists who had too much time on their hands during COVID lockdowns. But now, with a 2021 release to follow up, I am thinking that these guys are serious! They really want to create new Yes-like music.

Well, the plastic sound of the drum heads weren't enough to drive me crazy, the Yes similarities are just too close--even with Claire's crystalline female voice on top. If there's one saving grace, the bass play is neither mixed as far forward or as busy as his Yes -counterpart, the late great Chris Squire. A 21-minute multi-part epic followed by two fourteen minute suites. The former is respectful and unobtrusive--and not over the top bombastic--more like a MAGENTA composition--and I have to admit that Ms. Hamill's performance is rather charming. Oliver Day adds enough of his own style and sound selection to not be too obvious as a Steve Howe replicant and multi-instrumentalist Max Hunt does an admirable job with several key tracks, including the bass and background vocals. I'd give it a (39.25/45) rating--(It would have been higher were it not for the too-near "Starship Trooper" finale).

2. "Yours and Mine" (14:26) unfortunately, sees the band trying a bit too hard to get really close to several famous Yes songs--perhaps even to merge several. And then Claire's lackluster Heather Findlay-like vocal practically ruins it. (Sorry to be so direct, Ms. Hamill, but, what a corny lyric! I feel so embarrassed and pandered to! I'll have to go back to the magic of "Icicle Rain" and Voices just to clear my head and cleanse my palette.) (24/30)

3. "The Golden Ring of Time" (14:09) Max is no Rick Wakeman. Then they have the gall to steal Chris' melodic hook from Schindleria Præmaturus! And those galloping plastic drums! There's just a series of instrumental hooks lifted directly from Yes songs and flaunted as if this were truly a song of homage. A fair song if I weren't so distracted by every other minute's presentation of Yes-familiar riffs. Still, this is the most memorable song of the album--and thus my favorite. (26/30)

80.24 on the Fishscales = C/three stars; for curious Yes fans only.  




APOGEE The Blessing and The Curse

Line-up / Musicians:
- Arne Schäfer / lead & backing vocals, electric & acoustic guitars, keyboards, bass, orchestrations
- Eberhard Graef / drums & percussion

1. Out of Control (5:09) classic rock from the early 1970s that turns to tyring to be proggy until the almost laughable shift to super-simplisitic music foundation. Horrible vocals! Like a drunk, poorly recorded Andy Tillison.
2. Congealing Ground (13:39) some crazy VDGG stolen riffs and themes! 
3. Hard to See (12:24)
4. The Blessing and the Curse (16:03)
5. The Inspiring Tune (15:23)

Total Time 62:38

Absolutely awful vocals over some nicely constructed, well-performed, though incredibly derivative, music. I hate the way they have even blatantly stolen famous riffs and sounds from old classic prog bands. Get a better vocalist (or enhanced sound effects/auto tune) and some better lyrics and we might have something here.




LANA LANE Neptune Blue

Line-up / Musicians:
- Lana Lane / lead vocals
with:
- Erik Norlander / keyboards, backing vocals
- Jeff Kollman / guitar
- Mark McCrite / rhythm and acoustic guitars, bass, backing vocals
- Don Schiff / NS Stick
- Greg Ellis / drums, percussion
- John Payne / backing vocals

1. "Under The Big Sky
3. "Really Actually
4. "Come Lift Me Up
5. "Bring It On Home
6. "Don't Disturb The Occupants
7. "Lady Mondegreen (She's So Misunderstood)
8. "Miss California
9. "Someone Like You (Psych Version)
10. "Far From Home
11. "Neptune Blue





NICHELODEON Incidenti - Lo Shianto

Line-up / Musicians:
- Claudio Milano / all vocals sounds (2,3,4,5,6,7,9,10,13,15,16), vocals noises & reciter introductions (11,12), screaming (12), backing vocals & vocals effects (8), diamonica & piano (9), percussion (4,16), synth (6,13), field recordings (4,9,15), electronics (13,14,15,17)
- Paolo Siconolfi / editing, mixing, mastering, sound designer (1-17), electronics (2,4,6,8,9,13,15), field recordings (4,11)
- Erica Scherl / violin (2,4,7,8,10,11,12,15,16)
- Evaristo Casonato / oboe (2,4,7,8,15,16), flutes (4,7,8,16), contralto saxophone (7,16), English horn (16)
- Paolo Tofani Krsna Prema / iPad (3,16)
- Vincenzo Zitello / theremin Moog (4)
- Laura Catrani / soprano (1,14)
- Coucou Sèlavy / one thousand voices/theatre (11,12)
- Dalila Kayros / extended vocals (15 from 06.07.089 to 09.01.140), field recordings (14)
- Cinzia La Fauci / ghosts' voices (8 from 00.43.081 to 01.25.495)
- Stefano Luigi Mangia / extended vocals (15 from 06.09.782 to 07.12.642)
- Massimo Silverio / lead vocals (8), cello (8,9), electric guitar (9)
- Paola Tagliaferro / all mothers' voices (8 from 0.11.371 to 0.32.362 & from 03.03.293 to 03.25.955), zither (8,14)
- Paola Tozzi / vocals (17)
- Vittorio Nistri / synth, electronics (15,17), classical guitar (15), pre-edit (15)
- Stefano Giannotti / synths (5,9), electric piano (9), prepared piano (7), drums & percussion (9), harmonium (9)
- Gianni Lenoci / prepared piano (5)
- Camillo Pace / double bass (13,15)
- Francesca Badalini / grand piano (4,16), prepared piano (4)
- Andrea Grumelli / fretless bass, basses (2,4,15)
- Andrea Quattrini / drums & percussion, electronics (4,7)
- Stefano Ferrian / electric guitar (3,15)
- Raoul Moretti / electrified harp (15)
- Andrea Murada / self built percussion, percussion from all over the world (16)
- Fabio Amurri / piano (7)
- Pierpaolo Spirangle Caputo / electrified self-built ghironda (4-16)
- Mimmo Frioli / drums & percussion, pre-edit, recording (3,10,11,12)
- Giovanni D' Elia / bass (3,10,11,12)
- Danilo Camassa / classical & electric guitars (10,11,12)
- Mauro Corvaglia / electric self built guitar (3)
- Domenico Liuzzi / tenor saxophone (3,15), bassoon (15,16)
- Max Pieretti / synth - closing section (7)
- Fulvio Manganini / Stick (7)
- Alessandro Palma / drums (16)
- Ulisse Tonon / accordions (7,14), electrified accordion (14), prepared piano (14)
- Sisto Palombella / accordion (1)
- Claudio Pirro / electric & acoustic guitars (2)
- Marco Lucchi / Mellotron (8)
- Luca Olivieri / glockenspiel (4,15)
- Lorenzo Sempio / guitars, guitar synth, noises & amp, effects (1,8)
- Jody Bortoluzzi / synth, suggestions (8)
- Ivano Nardi / drums & percussion (15)
- Franco Poggiali / synth (17)
- Daniele Onori / electric & acoustic guitars (17)

1. "Not Me - Non Esistono (Senza Valore #1) (3:31)
2. "NichelOdeon - How Hard Tune! La canzone dei soli (Senza Valore #2) (2:38)
3. "This Order - Variations on The Jargon King (Senza Valore #3) (5:22)
4. "NichelOdeon - Il Barbiere degli Occhi (Senza Valore #4) (7:36)
5. "Not Me - Con Dedica (Senza Valore #5) (2:55)
6. "Not Me - Senza Ritorno (Senza Valore #6) (3:22)
7. "NichelOdeon - La Scatola (Senza Valore #7) (6:49)
8. "NichelOdeon - L'ultima Sigaretta - Fantasmi ad Argun (Senza Valore #8) (5:22)
9. "NichelOdeon - Idiota - Autoritratto (Tadzio's Death - Senza Valore #9) (2:42)
10. "This Order & Coucou Sèlavy - Ho Gettato mio Figlio da una Rupe perché non Somigliava a Fabrizio Corona (Senza Valore #10) (12:11)
11. "Not Me - Sabbia Scura (Senza Valore #11) (4:11)
12. "Not Me - Del Mondo gli Occhi - New Moses (Senza Valore #12) (1:03)
13. "InSonar - Nyama - Gettarsi Oltre (Senza Valore #13) (10:10)
14. "NichelOdeon - La Montagna e il Trono (Senza Valore #14) (5:17)
15. "Not Me - Out Let - Viae di (s)PHjga (Senza Valore #15) (3:36)

Total Time 76:45


2020, Part 4: Other albums that are worth checking out for yourselves



LEAFBLADE The Goddess with Child




PSYCHOYOGI Dangerous Devices

Expressing stylistic approaches in the same category as CARDIACS, KNIFEWORLD, and AMBITIOUS LOVERS.

Line-up / Musicians:
- Chris Ramsing / Guitar, Vocals
- Justin Casey / Drums, Percussion
- Izzy Stylish / Bass
- Toby Nowell / Trumpet, Alto & Soprano Sax (1,2,4,5,6,9,10)
- John Macnaughton / Alto & Tenor Sax (3,7,9,11)

1. Dangerous Devices (4:45)
2. One Way Track (3:11)
3. Master Plan (4:08)
4. New Frontier (2:57)
5. Sooner Than Now (4:12)
6. Common As Muck (2:27)
7. Shadows (4:22)
8. Moron (1:46)
9. Tender Loving Way (2:20)
10. Lament (0:53)
11. Words Unspoken (4:14)
12. Plastic Palace (0:22)

Total Time 35:37

B-/3.5 stars.




FRAGILE Golden Moment

Original stuff from long-time YES tribute band. What makes this group and album particularly exciting is the presence of prog veterans Claire Hammill and and, more, the presence of young guitar phenom Oliver Day (from JOHN HOLDEN).

Line-up / Musicians:
Claire Hamill - Vocals
Oliver Day - Guitars
Max Hunt - Vocals, Keyboards, Bass, Guitar, Percussion
Russ Wilson - Drums/Percussion
With
Clive Bayley (Mabel Greer's Toyshop) - Vocals (4, 6)

1. "When Are Wars Won?/Surely All I Need" (12:17) (21.75/25)
2. Blessed By The Sun/Hey You And I And (6:40)
3. Five Senses (4:34)
4. Heaven's Core (6:29)
5. Open Space (2:31)
6. Time To Dream/Now We Are Sunlight (6:29)
7. "Old Worlds And Kingdoms/Too Late In The Day" (11:24) (17.25/20)

Total Time 50:24



FRENCH TV 

The 13th album release (12 studio albums) since 1983 from these excellent Lousiville-based Avant/RIO musicians.
 
Line-up / Musicians:
- Katsumi Yoneda | guitars
- Pat Strawser | keyboards
- Mike Sary | bass, loops, samplers
- Jeff Gard | drums (1/3-1/5), all drums (2)
- Mark L.Perry | drums, percussion (1/1, 1/2, 1/6)
with:
- Ludo Fabre | violin (1/1, 1/3)

CD1: SORT OF LIVE IN THE STUDIO: 45:02
1. "Unexpected Secrets of the House of Mystery at the Witching Hour" (8:33) what if ATOMIC APE and 1984 JEAN-LUC PONTY merged? (17.75/20)
2. "This Decadent Poetry Is Awful" (5:01) (/10)
3. "Stubby Index Finger" (7:55) (/15)
4. "The Museum of Worthless Inventions" (7:44) (/15)
5. "That Jigsaw Puzzle is Tearing Our Family Apart" (6:25) (/10)
6. "A Cornucopia of Riches" (9:23) (17.5/20)

CD2: LIVE IN THE STUDIO: 62:59
1. "Ghost Zone/Noble Obelisk" (8:31)
2. "This Decadent Poetry Is Awful" (5:01)
3. "The Odessa Steps Sequence" (9:44)
4. "Look at the Bears! Look at the Bears! Look at the Bears!" (9:20)
5. "Conversational Paradigms" (7:44)
6. "That Thing on the Wall" (8:52)
7. "Black Pit" (3:56)
8. "A Cornucopia of Riches" (9:51) a redo of the same song from CD1. (/20)

Total Time: 108:01

One of their most accessible and best produced albums. Great lineup of musicians Mike Sary has attracted to his studios. 




Q-BIZM Corduroy Shorts

Wonderful psychedelic funk-jazz rock music from Italia. As if enmeshed with 

Line-up / Musicians:
Francesco Corrias - drums
ETN Hunyady - guitars
Filippo Gaetani - bass, guitars, vocals
Francesco Longhi - keyboards
Alessandro Riccucci - saxophones
Stefano Lunardi - violin
Thomas Murley - vocals, sound effects
With
Antonio Denti - spooky guitar (2)
Tommaso Gaetani - acoustic guitar (1)
Valentin Gerlier - acoustic guitar (7)

1. "Black Truck" (3:41) As if a little of the MOTORPSYCHO virus infected King Gizzard & The Lizard Wizard while performing the soundtrack for the film, The Commotions. (8.75/10)
2. "3131" (3:58) A little SIMPLY RED fused with THE STYLE COUNCIL for a funky instrumental. Brian Ellis would love this! (8.75/10)
3. "Just A Man" (3:48) The Who? Paul Weller? Tame Impala? Catchy melodies. (8.25/10)
4. "Funkraum" (3:22) P Funk Allstars/Average White Band instrumental. Nice work on the Hammond. (8.5/10)
5. "The Ghost Of Castlesea" (2:19) a very interesting change of pace: acoustic guitar picking! (4.5/5)
6. "Warning" (3:18) this could easily be either THE BEATLES or PAUL McCARTNEY. (8.25/10)
7. "Kyodo Shuffle" (3:27) sounds like something from Nikitas Kissonas' The Fall of Bliss. (8.25/10)
8. "Punkache" (3:50) STEELY DAN "Black Cow" chords and instruments. Very pretty. (8.75/10)
9. "Blues" (3:16) AC/DC!!? or TREE TOPS? Wow! Another song that really surprises me. (8.5/10)
10. "Roggen Roll" (4:12) earlier STEELY DAN with a bit more smooth jazz/adult contemporary feel to it. Jazz instrumental. (9/10)

Total Time 35:11

I must admit that Francesco Corrias' drumming stands out as the wonderful glue it is for this very solid album of psychedelic funk--one that is laced with quite a few surprises. 

B/four stars.



TERRAPIN Zero Repercussions

Greek retro Prog Folk in the folk rock traditions of the 1970s (Strawbs, Eden, Roy Harper)

Line-up / Musicians:
Vassilis Bas Athanassiadis - vocals, electric guitar, 12 string acoustic guitar, cümbüş, Korg Monotron
George Tzivas - drums, percussion
Kostas Sidirokastritis - backing vocals, bass, keyboards, electric guitar

1. In The Fields Of Unknown Graves (5:26)
2. Hymn (5:39)
3. (Prolonged Accusation) Mind Probe (3:26)
4. The Woods (5:54)
5. Infinite Trajectories (5:20)
6. Early Morning (7:10)
7. Epithalamion (4:06)
8. Graciously (4:58)

Total Time 41:59



MECIEJ MELLER Zenith

Line-up / Musicians: 
Maciej Meller (Riverside, Quidam) – guitars, mandolin 
Krzysztof Borek – vocals 
Robert Szydło – bass guitars 
Łukasz Damrych – keyboards 
Łukasz Sobolak – drums 
With
Szymon Paduszyński – backing vocals (3)

1. Aside (8:44)
2. Knife (4:39)
3. Plan B (4:11)
4. Halfway (5:10)
5. "Frozen" (5:40) (8.75/10)
6. Fox (6:40)
7. Trip (8:02)
8. Magic (1:52)

Total Time 44:58





SECONDS BEFORE LANDING Cosmonaut

Simple but pleasing and quirky Neo Prog inspired by a space theme. The music is gorgeous and very nicely engineered. It is mostly very relaxing and lyrically interesting, but perhaps a little overly simple and spacious.

Line-up / Musicians:
- John Crispino / Vocals, Drums and Percussion, Synths, Bass Synth, Loops and Effects
- J.D. Garrison / Bass
- Guy Bar Tor / Bass
- Eric Maldonado / Lead Guitars
- Steve Schuffert / Lead Guitars
- Rick Witkowski / Rhythm and Acoustic Guitars
- Jamie Peck / Steinway Piano, Saxophone, Clarinet Solo
- Vanessa Campagna / Vocals

1. Weightless (0:40)
2. Life (3:02)
3. My Best Friend (5:25)
4. March In to Klushino (5:07)
5. Training (1:59)
6. Waterfall (3:37)
7. "Close to Heaven" (5:48) nice BLUE NILE like sound palette. (9/10)
8. Yuri Speaks (1:20)
9. 36 Dogs (5:30)
10. It's Time Now (5:30)
11. One Minute to Launch (2:51)
12. Answer Me (5:22)
13. Cosmonaut (8:31)
14. Oh How I Miss You (3:00)
15. The End (3:22)

Total Time 61:04

Competent and listenable if not terribly sophisticated.

B-/3.5 stars; an album worthy of your own judgment. 




CARY GRACE Lady of Turquoise

Some interesting spacey-psychedelic sound arrangements of some very simple, very traditionally constructed blues songs. The reviews of my previous two esteemed reviewers fail to mention the commanding vocal allure and lyrical delivery that Cary possesses that is strikingly similar to that of Siouxsie Sioux. There may even be some uncredited small debt owed in the sound palette to the Banshees (and Cure). Also agreed that Cary's lyrics and vocal delivery are the most remarkable part of this music. 

Line-up / Musicians:
- Cary Grace / vocals, synthesizers, acoustic guitar, electric guitar, organ, sampling, sequencing, electronics, sound effects
- John Garden / electric guitar, Prophet-5, drums
- Steffe Sharpstrings / electric guitar
- Victoria Reyes / organ, piano, backing vocals
- Graham Clark / electric guitar, electric violin
- Steve Everitt / string arrangement, electric guitar, lap steel
- Ian East / saxophone
- Andy Bole / bouzouki, laouto
- Andy Budge / bass
- David Payne / drums

CD 1 (45:33)
1. "Khepera at the Dawn" (4:08) the lead guitarist in this bluesy instrumental neither stays with the rhythmists nor with the established melody. S/he might be able to get away with it were s/he really Jimi Hendrix, but . . . Nice sound palette; next take, please. (8/10) 
2. "Letterbox" (4:35) acoustic guitar turns four-chord Jeff Beck/Jimmy Page. Interesting sound palette.(8.5/10)
3. "Without a Trace" (5:50) interesting lyrics and delivery; interesting take on John Lennon's "Imagine." Dream on. (8.25/10)
4. "Into Dust" (5:21) what if Hendrix were to have played on Procul Harum's "Whiter Shade of Pale" as Siouxsie Sioux crooned. In the fourth minute it tries to turn religious with church choral chant of lyric, "body and soul." (8.75/10)
5. "Afterglow" (6:11) whisper-spoken poetic lyrics over basic, sparse and spacious blues rock. Hypnotic--until the 3:10 mark when Cary and the band leap back into the here and now with convincing force. Too bad the instrumentalists wander off book (off universe) in the final two minutes--otherwise a kind of cool song in a Anne Clark kind of way. (8.75/10)
6. "Film Noir" (7:18) more Anne Clark-type of musical-poet experience. (12.5/15)
7. "Costume Jewellery" (extended version) (12:10) strummed guitars (electric & acoustic) and violin appear before drums and bass join in. After the first verse it turns into a kind of imitation of Jimi Hendrix's "Third Stone from the Sun" (or else The Pink Fairies' "I Wish I Was a Girl"). (20/25)

CD 2 (46:37)
8. "Moonflowers (Fade to Black)" (6:55) (12/15)
9. "Sacrifice" (10:24) nice lead guitar work in the second half over this middle school blues rock practice jam. (16/20)
10. "Memory" (4:09) she's no Nina Hagen--despite using the chords and mood of "Der Spinner." The lead guitar in the L channel sounds like Brian May. (8/10)
11. "Castle of Dreams" (11:19) the first uptempo song on the second disc relies on a disco beat and Supertramp bouncing keyboard. The L channel guitarist wishes s/he were Robin Trower. Again, Souixsie and the Banshees and the late 1970s come to mind--even and especially the stripped down mid-section. Nice choral vocals. (16/20)
12. "The Land of Two Fields" (2:08) birds and a guitar being tuned over a KRAFTWERK sequence/loop. Turns kind of CAMEL-esque. Why isn't there more of this on the album? (4.5/5)
13. "Lady of Turquoise" (11:42) back to the post-punk, early Goth 70s. You half expect ROBERT SMITH or ROBERT JAMES to start singing. With 11 minutes of that drum and bass line, the musicians have no choice but to solo--otherwise they'd go crazy (or to sleep). Go John Hughes! (15/20)

Total Time 92:10

It feels to me as if everything on this album, song titles, lyrical phrases, instrumental sounds, rhythms and chord progressions, guitar soli, and even the vocal stylings are copies of something or someone else from rock's past--usually quite iconic things. The music is too simplistic to really be classifed as "prog" as it is more akin to the classic blues rock that was evolving parallel to the serious progressive rock pioneers--musicians like Jimi Hendrix, Randy California, Eric Clapton, Robin Trower, Frank Marino, and At times it's good, at times interesting, but mostly I find it redundant. But, then, I'm not a lyrics guy, so perhaps I'm missing something earth-shattering in the message. Otherwise, I'd heard music just as good as this from a band in my middle school. (Okay, maybe the lead guitar and lead singing are a little better here.) 

81.25 on the Fishscales = C/three stars; a good collection of very standard blues-rock songs over which a talented lady sings and plays her guitar.




COMPASSIONIZER Caress of Compassion

Mood- and place-evoking instrumental soundscapes from the ever-creative mind of Ivan Rozmainsky (ROZ VITALIS).

Line-up / Musicians:
- Serghei Liubcenco / guitar, doira, rubab, recording
- Leonid Perevalov / bass clarinets, clarinets, recording
- Ivan Rozmainsky / conception, keyboards, percussion, recording
- Natalia Fyodorova / gusli
- Yurii Groiser / drums, programming
- Stanislava Malakhovskaya / harp
- Oleg Prilutsky / trumpet

1. "The Whole Creation Travaileth in Pain Together (7:16)
2. "Street Out of Sleep (3:22)
3. "How Poems Lose Relevance (4:15)
4. "Caress of Compassion (Part 1) (3:22)
5. "Beware of Evil Workers (3:47)
6. "Heart to Heart Talk (4:04)
7. "Sinkhole (3:29)
8. "Caress of Compassion (Part 2) (2:13)
9. "1907 (5:14)
10. "When It Is Too Late to Love (3:06)
11. "My Soul as a Thirsty Land (5:13)
12. "Caress of Compassion (Part 3) (3:04)

Total Time 48:25

Interesting and evocative of the isolation that survival from the Coronavirus of 2020 has demanded across the globe. To me, the music feels like a cross between the 2020 releases of ANNA VON HAUSSWOLF, LUNATIC SOUL, and old, creepy KARDA ESTRA. Boy! COVID-19 has certainly changed us! I'm always interested in Ivan's music; his albums always contain interesting creative music (and often a masterpiece or two), but there's something impressionistic (which is not necessarily bad) and incomplete or unfinished about many of his compositions--which leaves me wanting more, hoping for . . . completion. This album is perhaps his most demonstrative of this trait.

on the Fishscales = / stars; 




COLLAPSE UNDER THE EMPIRE Everything We Will Leave Beyond Us

Line-up / Musicians:
Chris Burda - drums, Keyboards
Martin Grimm - guitar, drums

1. "Ark Of Horizon" (5:13)
2. "Red Rain" (4:09) (8.25/10)
3. "Seven" (3:26)
4. "Resistance" (7:27) a very good cinematic PR song. (13/15)
5. "Destruction" (6:31) good Post Rock; nothing very powerful or innovative, though. (8/10)
6. "Everything We Will Leave Beyond Us" (4:52) great song for which the band put together an AMAZING video under the title of "Beyond Us." My vote for The Best Prog Video for 2020. (9.25/10)
7. "A New Beginning" (4:53)
8. "Another Earth" (4:37) good Post Rock with power and atmosphere. (8.5/10)

on the Fishscales = / stars; 






SAMSARA BLUES EXPERIMENT End of Forever

Apparently this album is the band's swan song: the end, forever. It's been a good ten years!

Line-up / Musicians:
- Christian Peters / vocals, guitars, keyboards
- Thomas Vedder / drums, percussion
- Hans Eiselt / bass, backing vocals

1. "Second Birth" (10:58) (17/20)
2. Massive Passive (6:00)
3. Southern Sunset (6:46)
4. Lovage Leaves (4:17)
5. End of Forever (7:55)
6. Orchid Annie (8:24)
7. Jumbo Mumbo Jumbo (6:47) *

Total Time 51:07

* bonus track

on the Fishscales = C+/2.5 stars; a fair but disappointing submission to Prog World--one that shows me the failure of a band to progress and improve since its arrival ten years ago. Good riddance and good luck, former members of the now-disbanded Samsara Blues Experiment. 




KLAUS MORLOCK The Memory Chamber

Back to Panegra and the 1974 disappearances of Lilly . Klaus has a little obsession.

1. The Still Point" (3:56)
2. Limerigg '76" (2:40)
3. You Again" (2:02)
4. Ladybird's Journey" (3:47)
5. Ladybird's Ascension" (4:33)
6. Everything's Fine" (1:06)
7. Together at Last" (2:16)
8. "The Memory Chamber" (12:01) ethereal organic analog music with Nature sounds throughout.Pleasant but nothing new or exciting here. (19/25)

on the Fishscales = / stars;






ISOBAR Isobar

Anytime Mattias Olsson shows up you should pay attention, so I did. The result is solid by nothing new or exciting--and, being all instrumental, needing something "more."

Line-up / Musicians:
- Malcolm Smith / guitars
- Marc Spooner / keyboards
- Jim Anderson / bass
- Mattias Olsson / drums
With:
- Evan Weiss / trumpet (2,6,8,10,13)
- Lonnie Cory / trumpet (4,5,7)
- Ben Bohorquez / saxophone (2,6,8,10,13)
- Tony Abena / saxophone (4,5,7)

1. Weekend of Mammals (4:17)
2. Control Mouse (4:28)
3. Major Matt Mason (4:57)
4. Off the A6 (5:32)
5. Dinky Planet (6:32)
6. Mais Daze (3:26)
7. New Math (3:45)
8. 79¢ (5:07)
9. Dinner Ain't Ready (5:07)
10. Elves Are Go! (4:10)
11. AP Alchemy (9:22)
12. Uncanny, The (3:37)
13. Isobars (5:26)

Total Time 65:46

on the Fishscales = / stars; 




OTTONE PESANTE DoomooD

"Brass Metal"! From Italy!




on the Fishscales = /4.5 stars; 




RING VAN MÖBIUS The 3rd Majesty

Line-up / Musicians:
- Thor Erik Helgesen / Hammond L100, Fender Rhodes, Clavinet D6, Moog Satellite, tubular bells, theremin
- Håvard Rasmussen / bass, effects
- Dag Olav Husås / drums, timpani, percussion, effects

1. The Seven Movements of the Third Majesty (22:06) :
- a. Universal
- b. Spectrum
- c. Reaction
- d. Bilateral
- e. Zenith
- f. Strife of the Icons
- g. Altitude over Azimuth
2. Illuminati (5:33)
3. Distant Sphere (11:11)
4. "The Möbius Ring" (9:01) great organ and bass play beneath the Ozzie Osborn-like vocal performance. (18/20)

Total Time 47:51

on the Fishscales = /four stars; 




PENCARROW Growth in the Absence of Light

Line-up / Musicians:
- Justin Chorley / drums
- Tonnie ten Hove / guitars, vocals
- Anthony Rose / keyboards
- Todd Thompson / bass

1. "In Medias Res" (5:26) long and deliberate atmospheric rise leading to an instrumental that reminds me of Pure Reason Revolution's The Dark Third. (9.5/10)
2. "Portrait of My Intimate Frailty" (5:42) the music bleeds in from the previous song but quickly finds some heavily distorted guitar chords--almost metal. At the three minute mark it takes a turn to become totally dominated by the arpeggiated chords of a dreamy Fender Rhodes and scratchy electric guitar. At 4:30 Mellotron, bass, and drums join in. (The drums are not in synch with the rest.) Pretty decent song. . . for a fairly simple instrumental. (8.75/10)
3. A Meeting of the Shadows (7:20)
4. Time Dilation (6:13)
5. Stasis / Flux (7:58)
6. Silent Beauty: Bittersweet Memories of Embrace (7:01)
7. New Light (4:33)
8. Memory Terminal (2:05)
9. Twins Paradox: Confessions of a Capitalist Lover (5:10)
10. Deep Abandon (3:55)
11. The Approaching Shade (5:14)

Total Time 60:37

A band to watch.

on the Fishscales = 3.5 stars; 




PHAROAH OVERLOAD 6

Doom Disco-Krautrock?

Line-up / Musicians:
- Tomi Leppänen / all instrumentation
- Jussi Lehtisalo / all instrumentation
Featuring:
- Aaron Turner / vocals

1. Path Eternal (6:34)
2. Arms of the Butcher (5:09)
3. Without Song All Will Perish (8:14)
4. "Tomorrow's Sun" (6:13) (8/10)
5. Blue Light Hum (13:59)

Total Time 40:09

I'm not sure this works. I know it doesn't work for me. 

on the Fishscales = /three stars; 




PULL DOWN THE SUN Of Valleys and Mountains

Prog Metal not far off from the music of KARNIVOOL, only less sophisticated, less polished, less mature.

Line-up / Musicians: 
Koert Wegman – Guitar, Keys, Vocals
Jason Healey – Guitar
Stefan Bourke – Drums

1. "Aka" (1:31) (/5)
2. "Whare Ra" (5:13) simple Post Rock metal palette (not unlike SLEEPMAKESWAVES) that only blossoms at the BLACK SABBATH-inspired two-minute mark but then fails to go anywhere. Nice sounding. It could be so much more. At 4:13 is the first time we hear the death growls--mixed within the walls of sounds (which is kind of novel, kind of cool). (8.5/10)
3. "Of Valleys And Mountains" (4:29) simple grunge metal with death growls for vocals. (8.25/10) 
4. Tūrehu (5:10)
5. Light In Water (2:48)
6. Weta (5:05)
7. Kēhua (5:23)
8. Utu (4:51)
9. Oro (1:41)
10. Ngaro (5:41)
11. "Salt Of The Earth" (8:21) outstanding (19/20)
12. Inoi (10:29)

Total Time 60:42

on the Fishscales = /three stars; 




MARY HALVORSON'S CODE GIRL Artlessly Falling 

Lounge jazz sounding a lot like the music of eccentric Annette Peacock or John Lurie.

Line-up / Musicians:
Amirtha Kidambi - voice
Maria Grand - tenor saxophone, voice
Adam O'Farrill - trumpet
Mary Halvorson - guitar
Michael Formanek - bass
Tomas Fujiwara - drums, beer cans on track 2
Robert Wyatt - voice on tracks 1, 3, 5

1. "The Lemon Trees" (07:14) Robert Wyatt's voice is sounding so old! (12/15)
2. "Last-Minute Smears" (08:57) pure lounge jazz with only the breathy Annette Peacock-like voice of Amirtha Kidambi singing. (8.5/10)
3. "Walls And Roses" (03:32) heavy Hendrix-like blues-rock within which RW and Amirtha Kidambi take turns vocalizing between guitar shredding that sounds somewhere between Hendrix and Larry Coryell. Very interesting. (8.5/10)
4. "Muzzling Unwashed" (10:50) microtonal electric guitar play over free form jazz drums and double bass.Trumpet joins later as music shifts more to old-style jazz forms beneath, in support. (17/20)
5. Bigger Flames (05:15)
6. Mexican War Streets (Pittsburgh) (10:39)
7. A Nearing (10:29)
8. Artlessly Falling (07:16)

Great musicianship on a selections of widely-variant jazz-based prog songs.

on the Fishscales = /3.5 stars;




NICK PROL & THE PROLETARIANS An Erstwhile Alphabestiary: Book One 

Line-up / Musicians:
- Nick Prol / vocals, lyrics, guitar
- Ben Spees / bass, synth, backing vocals
- Connor Reilly / drums
With:
- Dave Newhouse / horns
- Mohadev / stunt guitar
- Oliver Campbell / stunt bass, screams
- Jerry King / stunt trombone
- Jack Tickner / additional stunt guitar
- Kavus Torabi / narration
- Thymme Jones / narration
- Bob Drake / narration

1. New Life (3:18)
2. Foreword by the Author (4:55)
3. "Apropods" (3:04) (8.5/10)
4. "Birth Gourd" (1:43) (4/5)
5. "Cludges" (4:29) (8/10)
6. Duggers (2:44)
7. Emitones (2:57)
8. Filnosses (1:31)
9. Golooms (3:02)
10. Hildges (2:41)
11. Intristics (3:50)
12. "Jelonomi" (3:22) dirty, heavily distorted instruments--even the drums! (8.5/10)
13. Kigangs (1:06)
14. Loshnongs (4:56)

Total Time 43:38

I liked their debut much more!

on the Fishscales = C/2.5 stars




LUCID PLANET II

Psych

Line-up / Musicians:
- Michael / guitar
- Darcy / production, guitar, synth
- Luke / vocals, bass
With:
- Chris Cameron / drums & percussion
- Jade Alice / backing vocals
- Dan Richardson / flute, didgeridoo

1. "Anamnesis" (12:24) the multiple layers of vocals are the highlight for me. (22/25)
2. Entrancement (5:33)
3. Organic Hard Drive (9:38)
4. Offer (4:14)
5. On the Way (9:37)
6. Digital Ritual (4:57)
7. Face the Sun (11:48)
8. Zenith (9:55)

Total Time 68:06

on the Fishscales = 3.5 stars; 



BREIDABLIK Omicron

Very pleasant and impressive Prog Electronic music that patiently establishes itself with some very rich yet-smooth Tangerine Dream-like sounds that are masterfully woven together 

Line-up / Musicians:
- Hakon Oftung / guitars, flute
- Morten Birkeland Nielsen / synths, acoustic guitar, drum programming

Equipment:
-Synthesizers and drum machines / Novation Bass Station 2, DSI Mopho, DSI Prophet 08, Waldorf Streichfett, Waldorf Blofeld, Korg Minilogue, Korg Volca Sample, Korg Arp Odyssey, Korg Microkorg XL, Gakken SX150, Roland SC88VL.
- Guitars and flute / Ibanez G200ECE-NT classical guitar, Furch S22 acoustic guitar, Fender Stratocaster, Yamaha flute.
- Effects and controllers / Waldorf 2-pole, Electro-Harmonix Mel-9, Zoom G3, Digitech Polara, Boss DD-20, Boxx RV-5, Arturia Keystep, StepSequencer ST-S01, Shure SM57 microphone.

1. "Omicron Pt. 1" (22:24) such great, clean sounds used but ultimately the music does not stand up to that of the masters it tries to emulate. (38/45)
2. "Omicron Pt. 2" (20:46) (/40)

on the Fishscales = /four stars; 




CHROMB! Le livre des merveilles

Line-up / Musicians:
- Léo Dumont / drums, percussion, objects
- Camille Durieux / keyboards, synths, vocals
- Lucas Hercberg / bass, synth, vocals
- Antoine Mermet / alto saxophone, delay, synths, vocals

1. "Le livre des merveilles" (4:10) part CARDIACS, part Brutopianisti, part barber shop quartet. I'm certainly entertained by it. (9/10)
2. "Le fleuve Brison" (9:07) (/20)
3. "Les chevaliers qui apparaissent" (12:05) (/25)
4. "La souvenance d'Achille" (7:44) (/15)

Total Time 33:06



2017, Part 4: Other Albums Worth Checking Out for Yourselves



MYSTERIOUS CLOUDS Panic on the Noon Meridian

Line-up
Dedric Moore - bass, guitars, vocals, programming, percussion, keyboards
Delaney Moor - keyboards, synths, vocals, guitars, percussion
   With
Mika Tayana - drums, percussion, keyboards, guitars
Aaron Osborne - drums, percussion, bass
Matthew Hayden - drums, percussion
Adam Davies - guitar

 Zach Bozich - keyboards, synths 

1. Clear Refection (6:21)

2. Leave The Sun By 3 (3:54)
3. Cosmic Discovery (0:59)
4. Schrif Moves Slowly At 8 (2:50)5
5. Interdivide (3:56)
6. 610 Half Life: End Of ID (4:35)
7. 7PM Dissolve (2:25)
8. Visions Of 10 (1:38)
9. 1158 Cosmic Time (2:29)
10. Panic On The Noon Meridian (2:25)
11. Holding Panic Tight (5:57)
12. In The Shadows At 1 (6:17)

Total Time 43:46




WE BELIEVE IN HYPERSPACE Purple Sea

Good ol' psychedelic rock from a new band from Switzerland. Though the main feature, the 34-minute "Purple Sea" suite is mostly instrumental. The opening section is interesting for its vocals and new sound and rhythm twists.

Line-up
David Zurbuchen - Vocals, Guitars, Synthesizers, Effects
Reto Maissen - Bass, Synthesizers, Effects

Andreas Rosch - Drums

Tracklist:
1. "Purple Sea (Part 1) (6:51) heavy, distorted guitar power strums followed by gentle, sensitive picked arpeggi and cymbol play with insistent kick drum rhythm turns more aggressive with return of distorted guitar strums. Nice male singing voice enters with a NEKTAR-like sound and story. Very simple and raw music, but a gifted storyteller with a pleasant voice can make such a difference! Adequate lead guitar solo though the guitarist has a lot of room for growth. Memorable song and melodies. Don't like the shift/change with a minute or so to go. (8.5/15)


2. "Purple Sea (Part 2)" (9:42) building on chord sequence, melody and sounds of the first song, the added synth explorations and slide guitar make this song quite good! And no sudden shifts or disruptions in this one. (9/20)


3. "Purple Sea (Part 3)" (3:03) plays out almost like a West Coast jam from the 1960s--in both sound and proficiency! (7.5/10)


4. "Purple Sea (Part 4)" (12:39) slowed down blues rock. A ROBIN TROWER/DEEP PURPLE adventure? I like it when the guitarist "let's go" in the third minute. From that moment on his playing seems more real, more soul/heart-driven. And you can feel the shift in the music as a whole as the bass player falls under the spell of the same soul groove. That ninth minute is magical! David is channeling someone from a higher realm! Here you go, guys! The rest of the song is, unfortunately, come down and recovery. (9/25)

5. "Purple Sea (Part 5)" (2:34) resuscitation of rhythmic pace and bass line from "(Part 3)" with a fuzzier lead guitar sound. Nice finish! (3..75/5)

6. "Morning Star" (12:41) a filler, warm up song, waste of the listeners time. (6/25)

Total Time 47:30


A band to watch? (Keep practicing, boys!)

79.17 on the Fishscales = C+/high three stars; an interesting and welcome addition to prog world.




RED SUN The Wind, The Waves, The Clouds

Instrumental (mostly) psychedelic Post Rock from Italy

Line-up:
Eno - Guitars
Fredo - Drums, Synth, Vocals (4)
Mirco - Bass
Riccardo (Da Captain Trips) - Lead Guitar (5)

1. "Artic Wind" (7:08) (8/15)
2. "Hidden Currents" (6:10) (7.5/10)
3. "The Clouds" (5:31) the best song on the album. (9/10)

4. "Holy Mountains" (5:46) spoken words and Arp synthesizer dominate this almost punk rock song. (8/10)

5. "The Jagged Coast Of Wales" (6:04) another above average song which shows this band's potential. (8.5/10)


6. "Aurora" (8:16) again there is this old, 1970s British feel to this song--construction and sound. It's nice, but the lead instrument--the Arp synth--does little to develop the song. And then when the guitar displays the chorus section you know that this song is just begging for lyrics and vocals. Could be a great song. The muted final two minutes perhaps shouldn't even be there. (16/20)

7. "Waves Of Sand" (6:18) another song that just begs for further development, for maturity, experimentation, layering, and risk. It's the seed for what could be. (6/10)

Total Time 45:13

A band with some growing to do.

78.57 on the Fishscales = C+/3.5 stars; a good album that shows potential.




MACHINES DREAM Black Science

Good Neo sound though both production and composition have some growing/maturing to do.

Line-up / Musicians:
- Craig West / lead vocals, bass, producing & mixing
- Rob Coleman / lead guitar
- Brian Holmes / piano, synths
- Jake Rendell / acoustic guitar, backing vocals
- Ken Coulter / drums
With:
- Jakub Olejnik / vocals
- Jenny Gauvreau / backing vocals
- Chris Belsito / backing vocals 
- Josh Norling / sax
  
1. "Armistice Day" (1:34)

2. "Weimar" (10:41) fair though typically bombastic intro disappears for guitar arpeggi and PINK FLOYD-like vocal. Again, the intention behind this song is appreciated, it's just rendered as nothing PF, Porcupine Tree, or The Pineapple Thief hasn't already done--and here with, unfortunately, inferior sound production. The presence of a harpsichord sound excites me but nothing comes of it. Power chords, old synths, and guitar leads all sound far too familiar. (7.5/20)

3. "The Cannons Cry" (4:18) the simplicity and melodrama of this song are hard to take seriously. The best parts are the Eisenhower speech clips. (7.5/10)

4. "Heavy Water" (8:36) like an extended song from CHROMA KEY's Dead Air for Radios or a good BIG BIG TRAIN song from before 2007. (8/20)


5. "Airfield On Sunwick" (For Wojtek) (6:11) a solid song with better vocals and sound quality improved by use of heavy metal electric guitar work & sound. Probably my favorite song on the album. (8/10) 

6. "Black Science" (8:17) Too predictable, too prog-by-numbers. Like the "berimbau" sound prominent in the first half and use of sax in the second. Good second half. (8/20)

7. "UXB" (4:59) A little heavier RIVERSIDE/SYLVAN-like sound works nicely! (But, that bass! Ouch!) Another top three. (8/10)

8. "Noise To Signal" (8:47) too much; as below. (7/20)

Total time 53:23

A decent album that is cursed by overpretentious lyrics, poor unexceptional lead vocals, poor sound production (especially in the presentation of the drums sound), and often prog-by-numbers song construction and performances. Still, nice keyboard and guitar play. A band to watch!

77.14 on the Fishscales = C+/3.5 stars; a decent album but overall, not worth recommending to others.




CARBON 7 The Autumn Men Empire

Totally improvised music that was recorded in one session in 2017 that really fits the Kosmisch Musik revival scene. Great drumming, solid bass play, and very creative keyboard play.

Line-up:
Dennis Bruhn- Drums
Ron Tindle- Keyboards
Chris Vreeland- Bass

1. "Florida Lee" (26:36) I like the jazzy, BRIAN AUGER-like last six minutes best. (40/50)

2. "Rube Rick" (9:57) great CAN-like groove with great drum play in second half. (16/20)

3. "Sofa Cleese" (8:28) fretless bass establishes the song over the first minute before other instruments slowly, subtly join in. Feels/sounds more like a set up for a guy trying out the variables on a new keyboard. (12/20)

4. "Home Eric" (20:48) PINK FLOYD/SANTANA-like opening with great bass and drum interplay while synth plays. In the fifth minute we hit stride and really click as keys give us some meat to latch onto. In the sixth minute, just before stagnation sets in, there is a welcome keyboard shift. Man this is great drum and bass interplay! Keys get boring again until eleventh minute. They even get rhythmic and soloistic in the fifteenth. Great bass octave shift as organ deepens its chords. Great last two minutes as the band decompresses and processes. Unfortunately, I hear lots of keyboard mistakes throughout--as if Tindle is totally unpreprared, unrehearsed, and fumbling through it. It'd have been nice if he'd have worked out some sounds and chords and solo content beforehand. (32/40) 

5. "Mark Surrealius" (31:32) more awesome bass play with solid drum support and interesting keyboard experimentation--but, again, it sounds as if that is all the keyboard player came to do: press a new sound on his Korg computer keyboard every minute or two. Some good sounds but very little technical or compositional support to the rhythm section. Cool sounds in the sixteenth minute but then nothing to transition to but beeps and buzzes. Sad! Pretty synth wash at the very end of the seventeenth minute, accompanied by a slow-softening of the rhythm section, which is then followed by a nice, catchy organ-led chord progression--which, unfortunately, devolves into some horrible soloing. Another sawing synth sound in the twenty-fifth minute that goes nowhere. Even the fast arpeggi and sliding notes at the end of the 28th minute fail to impress or engage. An attempt at "Dodo/Lurker" keyboard solo in the 29th minute?! and then another TONY BANKS-like solo right after! So sad! (48/60) 

I would take all of this music, remove the keyboard tracks, keep all of the bass and drum tracks

Total Time 97:21

76.0 on the Fishscales = C/three stars; good . . . with potential.




KSHETTRA Five Mothers

Russian drum 'n' bass jazz drivers incorporate a lot of guests and traditional folk instruments to support their hard-driving, hypnotic East-meets-West instrumental jazz. 

Line-up
Boris Ghas - bass, poem (5), samples (4)
Viktor Tikhonov - drums, Oxoma synth (1,5,6,7), samples (3,4,7)
  With
Ramille Mulikov - sax, trumpet, trombone
Nikolai Samarin - synth (4,5), double bass (1), mandolin (4,7), sitar (8)
Eugeniy Mikhalchenko - voice (5) 

1. "Conception" (2:01) Oxoma synth étude (3.5/5)

2. "Garura Lila" (3:55) full band, jazzy, almost uptempo "White Rabbit"-like start. Turns Latin funky. Another étude? Poor trumpet play! (7/10)


3. "Cikada" (5:43) avant jazz/attempt at KING CRIMSON rhythms? Yet, there is a straightforward melodic sense trying to be conveyed here. Nice bass-centric effort. The drumming impresses though he's no Bill Bruford. (8/10)


4. "Godzindra" (9:53) some Indian sounds and rhythm and melodic attempts. No. The heavier, non-Indian psychedelic sections are the best. Flute is all from samples. Other horns are live and quite rudimentary. (15/20)


5. "Walk Under The Moon" (13:19) atmospheric space soundtrack using the Oxoma synth. Fair. I'm not really very impressed with this synthesizer. (22.5/30)


6. "Umbra" (6:32) very solid avant jazz exploration. Probably the only song on the album that shows the band's potential. (8/10)


7. "Mechanoya (12:00) an impressive cinematic psych jazz groove with a wasted final three minutes of industrial noise. (21.5/25)


8. "Crossing (1:08) another Oxoma synth étude to bookend the album. (3.5/5)

Total time 54:31


75.61 on the Fishscales = C/three star album.




SOEN Lykaia

A multi-national band based in Sweden, this is SOEN's third album of LEPROUS/KARNIVOOL/VOTUM-like progressive metal music. Excellent sound production makes this album a joy to listen to--as do the variations in styles, yet there is something missing to bring this up to a level with the aforementioned masters of atmospheric prog metal.

Line-up
Joel Ekelöf - vocals
Martin Lopez (ex-Opeth) - drums and percussion
Stefan Stenberg - bass
Lars Åhlund - organ and rhodes
Marcus Jidell (Royal Hunt, Evergrey, Astrakhan) - guitars


01. "Sectarian" (5:55) vocals and heavy metal music sound very much like countrymates LEPROUS. A little too straightforward and monotonous. (7.5/10)

02. "Orison" (7:07) the sound here is very much like TOOL and then KARNIVOOL with the chorus. Nice lead guitar work--both the djenty riffing and the delicate picking. (8.5/15)

03. "Lucidity" (6:36) a kind of PINK FLOYD/AUTUMN CHORUS spacey folk mix, this is definitely a highlight for me. (9/10)

04. "Opal" (6:46) opens JUST LIKE the first song! The little multi-guitar riffs beneath the singing are rather annoying. The music and musicianship in the chorus sections are so simple. Despite the interesting guitar soloing in the fifth minute and the CY CURNIN-like singing over empty space in the sixth, this is nothing to write home about. (7.5/15)

05. "Jinn" (5:41) a nice change in the mix with the delicate sung voice more forward from the start. The music builds beneath and that works well. Nice chorus section, too. Lots of nice, interesting changes over the course of this song, including a few Middle Eastern flavors. A top three song from me. (9/10)

06. "Sister" (5:30) interesting for the heavy guitar parts contrasted with the use of a breathy, delicate singing voice--at least until the "Sister" choruses. It works. (8.5/10)

07. "Stray" (5:38) nice sounds, structures, speed, excellent guitar work and great vocal. i love the delicate interlude in the second half of the fourth minute. Another top three for me. (9/10)

08. "Paragon" (6:25) slow, spacious, yet heavy, almost bluesy, with a soft, delicate voice used again for delivery of the lyrics. Organ solo before distorted guitar chords usher in the chorus and screaming GILMOUR-esque lead guitar solo. Perhaps a little too Floydian (until the end). (8/10)

09. "Gods Acre" (8:10) another slower paced, more spacious song that sounds very much like Australia's top notch TOOL-inspired band, KARNIVOOL, only not as nuanced or sophisticated. The song plays out more like a very straightforward, four-chord stoner-rock song. Their usual break-down, soft section at the two-thirds mark is getting a little too predictable and, thus, old. (12.75/15)

Though singer Joel Ekelöf has a top notch voice--with excellent clarity, diversity, and control--his deliveries of the lyrics are a little too straightforward. I'd like to see more quirks and ticks to help me take notice, otherwise he's just a white bread version of Ian Kenny or Einar Solberg. As a matter of fact, it feels as if all of these fine musicians are playing it a little too conservatively most of the time. I hope that in the future they will break out and add some fire and idiosyncracy to their recorded songs.

75.50 on the Fishscales = C/three stars; a solid if straightforward collection of atmospheric metal.




FRENCH TV Number Twelve, Operation: MOCKINGBIRD

I have to admit to liking this one more than most of their previous catalogue. The music has simplified and rounded it's acute, often jagged, edges in favor of an almost Smooth Jazz sound and feel--almost. The problem, however, comes in the feeling I have--almost constantly--that I'm listening to outtakes and experiments of Al Di Meola, Jan Hammer, and their collaborators in the early to mid-1980s.

Line-up:
Mike Sary: bass, loops, samples
Katsumi Yoneda (TEE): guitars
Mark L. Perry: drums
Patrick Strawser (Volare): keyboards
   With
Ludo Fabre: violin
Karl Ledus: sax, flute
Nico Fabre: keyboards  

1. "Ghost Zone" (2:29) synth wash-supported solo electric guitar opens the song while orchestral-like percussion play around in the background and wings. Is this a live-with-orchestra recording? (7.5/10)

2. "Noble Obelisk" (5:37) by the time the main instrument comes (electric guitar) in and the song has established its textural signatures, I am finding myself thinking of Jan Hammer, The Crusaders, and Al Di Meola. But the song never really settles into any kind of groove. As a matter of fact, you might say that by song's end I'm very confused as to what I just heard--what it's compositional purpose was. (8/10)

3. "Urgent Fury" (8:32) almost a parody of 1970s funk jazz fusion (led by such artists as the members of The Crusaders, Hubert & Ronnie Laws, Bob James, and even Jan Hammer and Al Di Meola) 
(15/20) 

4. "Tree Incident" (7:40) again the music of Al Di Meola in the early 1980s comes to mind as I listen to this one. It's nice, pretty, with very competent musicianship, but something just feels old and borrowed. (12.75/15)

5. "Golden Pheasant Of The Infinite Reach" (10:41) interesting synth opening is spoiled by appearance of vintage keyboards, many of which are of that inferior sound gradient that I dislike from the late 1989s and 1990s. Plus, the song never really goes anywhere--other than the more melodic parts that sound as if they might be better served as a support vehicle for a Patti Austin or Teena Marie vocal. (15/20)

6. "Nimrod Dancer" (8:33) the Latin rhythmic structure and sounds once again bring up the Al DI MEOLA sound. Violin adds a Jean-Luc Ponty presence, otherwise, this is so Al Di. (17/20)

7. "Vigilant Sentinel" (10:40) (14/20)

8. "Silent Years" (3:48) old synths attempting a "pretty" almost minor-keyed Satie-like song. Nope. (6.5/10)

Total Time 58:00

74.375 on the Fishscales = C/three stars; a good album of vintage sounding jazz fusion.




STARSABOUT Longing for Home

It sounds as if Piotr and Joanna and the boys have decided to pursue the more poppy avenue of their sound in a kind of THE CURE/THE CHURCH/BLUE NILE fashion. I have to admit to being a little disappointed--though I wish them every iota of success possible to them. They are SO talented!

Favorite songs: "Hourglass" (5:30) (8.5/10); "Blue Caress" (6:34) (8.5/10), and; "Million Light Years" (the second half) (8:38) (17/20).




HADAL SHERPA Hadal Sherpa

Instrumental space prog rock from Finland. Nice music, nice sound; lots of room to grow. Sounds a lot like very simpified CAMEL crossed with early NEKTAR and/or URIAH HEEP. 

Favorite song: "Ikaros" (7:49) (13/15)




DELUGE GRANDER Oceanarium

An album of oddly recorded instruments (everything muted, compressed, or dampened at the high end?) composed in a style that sounds like the pretentiousness of a 1970s soundtrack to a porno film. The whole time I'm listening to this album I feel as if it's 1970 and I'm sitting in a basement practice studio in Poughkeepskie, New York, or Waterloo, Iowa, listening to the local Symphony Orchestra run through a rehearsal of a locally produced rock opera that was composed in the by some local who is heavily inspired by Mike Oldfield. Weird.

Line-up
Dan Britton: keyboards, guitars, other instruments (1-8)
Dave Berggren- electric guitar (6)
Neil Brown-trumpet (8)
Steve Churchill-oboe (1,7)
Brett d'Anon- bass, guitars (1-8)
Brian Falkowski- saxophone (3), flute (4,5), clarinet (8)
Denis Malloy- bass clarinet (1, 2, 3, 8)
Corey Sansolo- trombone (1)
Natalie Spehar- cello (2, 4, 5, 8)
Zack Stachowski- violin (4, 5)

Though almost every song on the album has interesting and enjoyable parts, section, themes, or performances, no song is fully satisfying start to finish. Is Dan trying to have his music sound like it came from a 78 rpm recording from the 1920s?
  
1. "A Numbered Rat, A High Ledge, And A Maze Of Horizons" (11:32) opens with a bit of an ELP flare before going symphonic X-Files, Spaghetti Western, and Karda Estra. (17/20)

2. "Drifting Inner Skyline Space" (8:28) Sounds like a Sergio Leone-George Martin lovefest--until Mike Oldfield and John Barry (Midnight Cowboy) squeeze their way in. (17/20)

3. "The Blunt Sun And The Hardened Moon" (15:25) Hawkwind meets Sergio Leone. Nothing new here. (22.5/30)

4. "Finding A Valley In A Gray Area On A Map" (3:24) Unfulfilled portentousness. (7.5/10)

5. "Finding A Shipwreck In A Valley In An Ocean" (6:20) Aimless and meandering. (7/10)

6. "Tropical Detective Squadron" (14:10) Seriously?! This must be the "tension reliever"… or from the Steven King comedy soundtrack. (19.5/30)

7. "Marooned And Torn Asunder" (8:06) one of the three best songs on the album--even if it is a Mike Oldfield ripoff. (12.75/15)

8. "Water To Glass / The Ultimate Solution" (12:31) What is the point to stringing together all these odd, unusual, and incongruous themes? Showing off the disconnected wanderings of an ADHD mind? (18.75/25)

Total Time 79:56

While Dan is obviously an accomplished musician and mature composer, I wonder about his sound sensibilities as there has never been a release that he's been associated with that has what is in my opinion "good" sound. (I have my own standards, of course). What is meant when contributing artists are credited with "other instruments" and "compositional contributions" (Dan Berggren, Patrick Gaffney, and Christopher West)? Is it all composed on GarageBand?

76.88 on the Fishscales = C/3.5 stars; interesting but "unfinished"…or "unpolished."




CIRKUS Wild Dogs

135 minutes of music constructed and sounding like the quirky, moodshifting way that early GENESIS did with the poor sound quality similar to that of from Genesis to Revelation, Trespass, or BABYLON's 1979 self-titled album . . . or worse. There are some GREAT ideas here but all are either poorly or incompletely developed and embellished and are rendered horribly unto reproducible sound. The vocals are interesting for their delicacy and artistic stylings yet the singing is highly fragile, often strained and missing notes off-key. Once again, I am astounded at the music fellow listeners will give five stars. Were this music finished (polished), engineered and produced to professional standards this might be a four or 4.5 star album but, as is, this is no better than a 2.5 or three star album.

Songs worth repeated listenings:  the 80s techno-aided title song, 9. "Wild Dogs" (7:17) (12.75/15); 12. "Sanctus" (11:22) (17/20); 15. "Broken Promesses" (4:53) (8/10) and, for its choral section, 13. "Harlequins" (11:45) (20/25).

The only people I would recommend trying this album out would be people who really miss the very early music of FAMILY, GENESIS, BABYLON, and their imitators. I'd recommend bands like early MARILLION, CITIZEN CAIN, THE WATCH, CLEARLIGHT, or even THE WAITING ROOM before I'd recommend anyone going here.

2.5 stars; for 




ORION Le survivant

A melodically successful offering of poor-sounding prog-by-numbers New Age Neo Prog. 

Line-up
Patrick Wyrembski: acoustic guitar, vocals
Janusz Tokarz: vocals, keyboards
Michel Taran: keyboards, vocals
Alain Pierre: synth guitars, vocals
   With
Pierre-Jean Horville: guitars, composition
Paul Cribaillet: piano
Eric Halter: bass guitar, double-bass
Cédric Affre: drums
Emmanuel Della Torre: vocals

1. "Big Bang" (8:38) horrible two-chord rock with horrible sound production and cheezy rock music and lyrics. Sudden and unexpected shift at 6:00 leads to a completely different sound and style that is very nice, very pretty (though still rather simplistic/prog-by-numbers). Saved from a far worse rating by the final two and a half minutes. (15/20)

2. "Cumulostratus" (4:17) opens with New Age jazz sound coming from drums, bass, and acoustic guitar (and, soon, piano). Nice piano-guitar duet--almost Pat Metheny like--in that first minute. Very nice melodies. I don't really like this GOBI/SHASTRA-sounding nylon string guitar sound. The piano solo section gives the piano (obviously an electronically duplicated "piano" sound) a live, onstage at a piano bar sound. Again, this is pure and simply a nice tropical piano bar instrumental song. (8/10) 


3. "Peur Du Vide" (6:32) again opens with cheezy Neo-prog sounds and construction. The pseudo-metal electric guitar strums are just too cheezy and take the song down every time they enter. The DAFT-PUNK-like treated vocal is not attractive here. Like a beginner's THE BOX. Some nice subtleties within the song. The keyboard and guitar solos show that this band has some talent. If they could only improve their song composition and find a different engineer or producer. (7.5/10)


4. "Les Ravageurs" (3:38) same simple bass and drums from the previous song? Odd almost ICEHOUSE sound and structure with a kind of singing style and sound reminiscent, again, of THE BOX. (7/10)


5. "Mère Nature" (3:47) BRUCE COCKBURN did this song way better in 1977. It was called "Homme brûlant". (7/10)


6. "La Planète Des Fous" (4:28) now let the gimmicks (toy piano) and quirks begin! Over the course of the first minute I find myself waiting for the song to settle into a groove--to get past the introduction section. It never happens...not even at 2:55 when the horribly distorted guitar (are they trying to get DAVID GILMOUR's sound?) power chords seem to indicate a possible change. Cool synth sounds at the halfway point but the drums are painful! (6.5/10)

7. "Le Dernier Arbre" (6:30) piano, bass and nice drumming open this in jazzy chord progression for the first 45 seconds. Then things shift into a standard slow rock ballad pace and four-chord structure. Gentle singing and seering lead guitar work throughout are less than companionable. At 2:20 the music returns for a few seconds to the cool jazzy progression from the opening, but then it all settles back into the slow ballad format. Wish they'd spend more time exploring that jazzy opening style.(7.5/10)

8. "Le Survivant" (7:35) the title song and it sounds like a demo? Is this a joke? Is this to illustrate to us the kind of sound reproduction quality we'll have at our disposal in a post-apocalyptic world? Wow! They saved the worst for last! The tracks don't even match up with one another! I would be embarrassed if this were my released as my finished, "polished" product! At 3:40 the song shifts into a much better section--though this, again, sounds so derivative of THE BOX's sound and style. And then, quel disappointment, it plays out the same to the song's end! (9/15)

Total Time 45:25

One of the year's singularly over-hyped albums! Unbelievable! 


71.25 on the Fishscales = C-/low three star album; not something I would recommend to anyone unless they have a ton of time and want to hear everything that's available throughout the year.




LUNATIC SOUL Fractured

The programmed drums/percussives absolutely do not work for me. Nor does the new upbeat, poppy sound. Mostly repulsive. Artists are allowed to grow--I am the first in line to promote that desire and tendency. This is not the direction I would have chosen for such a genius of sound and atmosphere. What a waste of an orchestra.

Line-up
Mariusz Duda (Riverside) - vocals, instruments
    With
Sinfonietta Consonus Orchestra, conducted by Michał Mierzejewski (3, 6)
Marcin Odyniec - saxophone

1. "Blood On The Tightrope" (7:19)
2. "Anymore" (4:37)
3. "Crumbling Teeth And The Owl Eyes" (6:42)
4. "Red Light Escape" (5:43)
5. Fractured" (4:36)
6. "A Thousand Shards Of Heaven" (12:17) (/25)
7. "Battlefield" (9:05) (/20)
8. "Moving On" (5:14) 

Total Time 55:33



   
COMEDY OF ERRORS House of the Mind

Neo Prog of the first order with a bit too much familiarity and simpleness where and when divergence and experimentation could have made it so much more interesting. Plus, the production is flawed by sterile sounding individually-separated instruments.

Line-up:
Joe Cairney - Vocals
Jim Johnston - Keyboards
Bruce Levick - Drums
Sam McCulloch - Guitars
Mark Spalding - Guitars

1. "Tachyon" (6:21) the cheap imitation piano sound used in opening does not bode well for this album. The bouncy "Dreamer"-like piano foundation in part 2 does not inspire any more hope or confidence. We're already almost two minutes into this and it still doesn't feel ready to "start"--and yet the vocals enter in the third minute--distant multi-voiced 80s/Thomas Dolby-sounding voices melodically duplicated by a synth. By the fourth minute we at least have a little more fully developed weave established. The vocal melody just doesn't crack it. (8/10)

2. "House Of The Mind" (14:47) a decent prog epic that, unfortunately, shows little novelty or freshness. (25.5/30)

3. "A Moment's Peace" (4:15) Wow! does this belong on a New Age/Adult Easy Listening radio stream, or what? And not even a word much less lyrics despite the ABACAB set up. (7/10)

4. "One Fine Day" (2:48) Seriously! This is the finished product? This is the vocal of a professional? It sounds like a demo by some one-man garage band! (3/5)


5. "Song Of Wandering Jacomus (13:47) nice atmospheric instrumental opening for the first four minutes. The third section that begins in the fifth minute is too syrupy--even before the sappy vocals enter. The guitar and keyboard work is decent. It's just those vocals... Horrible build and peak. Too bad. This one had potential. (22.5/30)

Total Time 41:58

Bonus song (on CD): "Ever Be the Prize" (9:00) decent song. If it only didn't sound like IQ trying to be GENESIS... (8/10)


75.0 on the Fishscales = C/three stars; an acceptable addition to the Neo Prog catalog--though nothing I'm going to shout out about.




MONARCH TRAIL Sand

I'm sorry, but all I hear here is cheap, rudimentary rehashing and imitation of old songs and bands--especially the first Neo Prog bands: late 70s Genesis, Marillion, IQ, Pendragon, and Spock's Beard. The sound production is poor (especially the drums! Awful!), the melodies and solos all feel stolen and soul-less. And I've been going back to this album over and over since I first saw it last summer on Progstreaming! 

Line-up / Musicians:
Chris Lamont: Drums
Dino Verginella: Bass
Ken Baird: Keyboards, Vocals, Guitar (5)
With:
John Mamone: Guitar (3,4,7)
Kelly Kereliuk: Lead Guitar (7)
Steve Cochrane: Acoustic Guitar (7)

1. "Station Theme" (3:52) I'm listening to old IQ, right? Flashy keyboard work. (8.5/10)

2. "First Thoughts" (3:22) two minutes of voice and synth wash chords before a nylon string guitar solos. Really? Is this a joke? Are we doing a demo for the band here? Or proving our IQ chops? (7/10)

3. Back To The Start (7:11) a bad Tony Banks or Steve Hackett song from one of their solo albums. Or a demo version of a Genesis song or Genesis cover. Bass and drums are fairly solid here. But such poor sound! Even the only existing BABYLON album from 1979 is way better than this! (10.5/15)

4. "Missing" (6:29) I'm listening to 1990s Spock's Beard, right? Absolutely nothing new here; everything sounds old and used up. (8/10)

5. Charlie's Kitchen (7:43) a Vince Guaraldi jazz lounge song twisted and turned proggish with a horrible sounding non-acoustic piano. How...?! The synth soli are all stolen! Can one sue for such blatant plagiarism? (Just kidding: I know you can't.) (9/15)

6. Another Silent World (2:10) a decent synth exercise but it's only two minutes long, so not much time to screw things up. (4/5)

7. "Sand "(24:31) The first song I heard from this album. I thought I was going to play it on my radio show on several occasions but every time I would re-listen to it before broadcast I would reject it with a feeling of embarrassment and revulsion: it's just not up to my standards of sound, creativity, and originality. (37.5/50)

Total Time 55:18

The keyboard player is talented. He just needs better equipment. And way better recording/processing gear. I just cannot comprehend the praise that this album is earning!

74.28 on the Fishscales = C/three stars; not worth recommending to others.