Praise for Unsung Genius: Jeff Beck

My "Celebrating Some Unsung 'Masters'" series is intended to shine the spotlight on artists who, in my opinion, continue to be under appreciated. While not necessarily in any particular order, I feel compelled to write about the artists that I feel A) the most personally geeked about and B) are most deserving of the added attention and appreciation.

Jeff Beck was (he died a few months before I began writing this--though I had placed him on this list back in 2013) the most innovative, fluid, and gifted guitar genius I've ever heard. His play seemed to come from a universe different than anyone else; his solos tapping into forms and constructs that no one else on the planet has ever come close to, ever. He was to guitar play what Roger Federer was to tennis: simply the most gifted, beautiful, elegant player on the stage (and we're not talking about his look or attire)--and the stage, by the way, is where Jeff excelled, where his magic could really (maybe only) be seen and appreciated. Even back in the 1960s when he was playing with The Yardbirds, the stories of his creative prowess and imaginative skills are the stuff of legend. More than any other individual guitarist of the past 50 years, "Jeff Beck" has been the first and quickest response to the question, "Who is the greatest [or best] guitarist on the planet?" His skill and imaginative play are often cited as "totally unique" in the world of music. 

I will never forget my personal introduction to the music and guitar playing of Jeff Beck. In the Fall of 1973 my brother Brian went away to a boarding school for his freshman year of high school. My brother had always been a much more adventurous music listener and collector than I, his tastes much more rock-oriented than my own CKLW pop and Soul/R&B predilections, often introducing me to albums he'd purchased by the likes of artists like the Rolling Stones, Iron Butterfly, The Allman Brothers Band, and The Beatles, but when he came home for the Christmas holidays at the end of 1973, he was packed with milk crates of albums from a much more diverse bandwith of names than I'd ever heard of despite the fact that I had begun regularly spinning my radio dial among the FM stations now that WRIF had joined WABX as two album-oriented rock 'n' roll radio stations. Now present in Brian's collection were bands like Mountain, Alvin Lee, Humble Pie, Black Sabbath, Led Zeppelin, and Jeff Beck. Jeff Beck Truth, Jeff Beck Rough and Ready, Jeff Beck Group or "Orange" as all of his flock call it, and Beck, Bogart and Appice. Not much of a fan of heavy or raw, blues-rock rock 'n' roll, I was able to hear something special in Jeff's music--especially in his unique and unusual way of getting sound out of an electric guitar. To this day, the "Orange" album remains steadfast among my list of all-time favorite albums. 

    During a recent review of Jeff's career discography (including guest appearances on other people's studio albums and live on stage concerts) and interviews, it became obvious both A) how revered and respected he is--by everyone--as well as B) how passionate and respectful he was of music, music history, and musical talent. Also, it is amazing how genuine are his humility and self-deprecating humor at all times. 

    If you've been living under a rock and have never really heard or experienced any of Jeff's music or guitar play, I urge you to YouTube the songs "Going Down," "Freeway Jam," "Cause We've Ended As Lovers," "Nadia," or, better yet, just plug in the entire video recording of his 2007 performance, Live at Ronnie Scott's. I guarantee you won't regret it; you will be amazed and astonished--or watch any of the footage or commentary and interviews from the tributes and tribute concerts that have flooded the media since his passing. Of the Olympian Gods of guitar I'd call Jeff the equivalent of one of the Big Three: if not Zeus, a place that might be better suited to someone like Jimi Hendrix, then his brother, ruler of the water domains, Poseidon. (Interesting proposition to create a pantheon of 12 "gods of guitar" quicksilver-fast John McLaughlin as the messenger god, Hermes, Eddie Van Halen as the Vulcanic God of the Forge, Hephaestus, Pat Metheny as Apollo the Sun God, etc., etc.) Better yet, watch Rick Beatto's YouTube video that he made just before Jeff died, entitled "Why JEFF BECK is UNCOPYABLE".

Kate Bush

Though I'd (unwittingly) seen Kate in concert (in November of 1978, as the opening act at a Peter Gabriel concert in Nancy, France), I had no clue as to who Kate Bush was and never really connected with the name or music until I first heard the amazing song "The Dreaming." This would have been 1982, during my years in graduate studies at Michigan State University in East Lansing, Michigan. As was my custom, it had become part of my beat to stop in at at least one of the record stores after classes were over--this one called Wazoo Records, beneath the Cnetre Pompidou-like parking garage a block from the world's most beautiful college campus. This would have been 1982, either late August or early September, as the song was released (in the US) as a promotional single the week before the release of the album of the same name. I loved that album--played it to death--always on the headphones, always in the intimacy of my own privacy due to the incredibly nuanced sound engineering. 

The following year I started a job working in a record store in Gaithersburg, Maryland ("Waxie Maxie's") in 1983. That was the year that I started reviewing each year's albums, rating them metrically song-by-song and in toto. The Dreaming came out as the "best" album of 1983. At the time I thought The Dreaming the best album I'd ever heard and for many years it remained the highest rated album I ever reviewed. Every moment of every song feels so personal, so heart-felt, so carefully- and intentionally- crafted. 

On an interesting aside, for years (at least 20) I proclaimed "Get Out of My House" as the best song I'd ever heard. It was so powerful--told such a powerful story--from several perspectives--in a very cool, theatric way (like all of the songs from The Dreaming). I was sure it was about rape--the first and most powerful feminist "me too" song ever! You can imagine my terrible disappointment, years later, when I found out that it is not, in fact, about rape. But, it always worked for me as fuel for my own hatred of the violence inherent in the biological programming of my own sex, something I'd developed and cultivated from an early age (perhaps even and issue or sentiment I'd carried forward from previous lifetimes). Anyway, I still think this is one of the most creative storytelling contrivances I've ever heard. Leave it to Kate to help reveal even more of the hidden power of music! 

In the Autumn of 1985, I happened to be in England--I was actually in a car, being driven to Cheltenham by a Brit friend named Andrew--when I first heard "Running Up That Hill," which, the radio DJ announced, was the first song (and album) by a female artist to ever debut in the Number One position on the UK charts. That song was so different! And so infectious. (It still is--as we all witnessed in 2022 when it became a #1 hit worldwide due to its use as a character [Sadie Sink's "Max Mayfield"] theme song in the Netflix series Stranger Things!) Needless to say, Kate's penchant for creating incredibly personal and often-archetypical and cinematic video interpretations for her songs--especially her hits--is quite unusual and, for a time, unusually prolific--even though this was definitely the MTV/VH1 era. Many of Kate's most memorable (and popular) videos came from Hounds of Love. Unfortunately, I often find many of her videos to be embarrassingly hokey, the dancing and movement almost grotesquely exaggerated as if in parody to her intended meanings, so now I usually avoid them.

     A few months later, back in the USA, I had the weird and serendipitous (or was it?) occasion to be standing next to the phone inside a record store in Ann Arbor, Michigan, when Kate called just to chat up her latest album with whomever might answer the phone. If memory serves, she had just taken a ship across the Atlantic (she had always expressed her hatred/fear around flying)--which in itself was actually a news-worthy item at that time. Apparently, she was calling a random list of record stores across the US from some place in New York City at the request (demand) of her record label. Small talk ensued: literally the weather!); nothing else of substance was parlayed. Too bad. (I remember wanting so badly to grab the phone from the store employee--if only to express my gratitude for her ground-paving creativity). Anyway: What are the chances? I'm not sure Kate believes in coincidences. (Something about her words and music make me believe that she has a Jungian worldview--perhaps even naturally/inherently so.) 

After my record-store discovery of The Dreaming and now bolstered by the arrival of Hounds of Love, I began to seek out Kate's back catalogue of studio albums. I will not lie: The Kent-born artist's first two albums have always been impenetrable to me--even nearly-repulsive; no matter how much I've tried, it has been very difficult for me to find any source of enjoyment and pleasure from Lionheart and/or The Kick Inside. These albums issued forth a barrage of very quirky pop songs--songs that seemed poised to garner attention and praise from an exclusively British (or maybe exclusively literate or lyrics-oriented) audience. In fact, with all of the inside colloquialisms and English-only references contained in many of the songs, it felt as if she was courting an almost-exclusively British audience. It wasn't until I found her Never For Ever album that I felt any kind of connection to her previous music (though the British bias remained odiously obvious.) This is when her toes first crossed over into the "proggy" side of music's landscape.

     Kate's evolution into "progressive" sound and music devices and constructs coincides with her discovery of the Fairlight CMI in 1979. (Thank you, Peter Gabriel!) This one of the major events that aligns with the beginning of her unique and rather imaginative experimentation with sound engineering. It was also the transition time in which she began shedding many of the mainstay band members that had become the "KT Bush Band"--those musicians who had been touring with her through 1979. These were guys who had arrived via previous bands like TAME (Del Palmer and Brian Bath) and The Bay City Rollers and Pilot (David Paton and Ian Bairnson--the latter of whom also guested with Renaissance on "Ashes Are Burning") and Preston Heyman. Though bassist (and now-boyfriend) Del Palmer was kept on, the rest were now being replaced or worked into "shared" duties with more skilled and accomplished musicians like journeyman Max Middleton (Gary Moore, Cozey Powell, Jeff Beck Group, Nazareth, Hummingbird), session man/guitarist Alan Murphy (Rod Stewart, David Bowie, Ace), drummers Preston Heyman and Stuart Elliot (who had played with Steve Harley & Cockney Rebel, Al Stewart, and Alan Parsons Project) along with various family members (including brother Paddy, who played quite an assortment of traditional folk/Celtic instruments) and myriad "big name" guests (Morris Pert, Geoff Downes, Duncan Mackay, Larry Fast, John Giblin, Roy Harper). The result is her 1980 release, Never For Ever. Suddenly, Kate's music had become much more interesting, much more enhanced and sophisticated, with many songs fully able to stand up on the music alone--not existing to serve only as pop vehicles for her acrobatic vocals and quirky story lines--the mastery of which would first reach the public in the form of her first masterpiece two years later.

The majority of people consider Hounds of Love to be Kate's masterpiece but it grew old on me: it sounds dated and has always remained oblique to my sustained interest and enjoyment. Even at the time of its release, with so many shining examples of quirk genius and originality, I found it hard to give repeated listens--especially to Side One with all the hits. Side Two, "The Ninth Wave" suite, however, has always held my undivided attention. The odd and often-awkward videos that came out with the album may have also posed as considerable elements to the souring of my enthusiasm for the album. But, when The Sensual World came out, in 1989, I was held captive--not in the same intimate way that The Dreaming had intoxicated me but in a more shock and awe-struck kind of way: for the expression of genius in her chosen topics and subject matter; for her unique song and sound designs as well as the odd, raw performances she'd managed to inspire from her rather unusual lineup of collaborators. Once again she'd opened with a song that I knew instantly was a timeless classic: one of the most sultry/seductive songs ever created by an intellectual white woman. This then paves the way for a remarkable (and often obtuse) musical journey: (I purchased the CD format right off the bat--which contained an eleventh song, "Walk Straight Down the Middle" as its "bonus" song) ten more unique and separate "worlds" to walk through--including one about Hitler(!). The experience was like traveling through a complex labyrinth that is mined at every turn with video game dingers, pop out clowns and monsters, and plenty of incredible musical rewards, surprising and (I should think) delighting the adventurer from start to finish (assuming one can find her/his way out). 

   

While only three songs from The Sensual World remain on my all-time "Kate" playlist, they are three of my Top 10 all-time favorite Kate Bush songs--a number that is higher than any other of her albums. And, talking about collaborators, two of these songs, "Never Be Mine" and "Walk Straight Down the Middle," contain remarkable performances from bassist Eberhard Weber while "Never Be Mine" also includes the magical and unseemly fit of Trio Bulgarka. 

     Other than The Dreaming, there is no other 20th Century release from Kate that I hold in so high esteem as The Sensual World.

1993 brought The Red Shoes. For me this has always been--and continues to be--a complete-throwaway album. Perhaps there was a lot of turmoil or distraction in Kate's world; perhaps it was an album that was being rushed by some external or internal clock or deadline, but, to me, it's almost unlistenable.

     Then Kate took a break: a 12-year break. During this unusually long spell she also saw the end of her long-time romantic relationship with collaborator/band mate Del Palmer (who, sadly, just passed away at the beginning of this month of January of 2024), the death of her mother, her flame and marriage to guitarist/collaborator Danny MacIntosh, and the birth, in 1996, to her one and only child, son Albert "Bertie" MacIntosh. One cannot say that she wasn't busy.

2005's release of the double disc entitled Aerial is another amazing journey into genius song-rendering (especially Disc Two). While Disc One has a wide variety of song styles, each occupying and representing its own universe, and all providing interesting and totally mature and masterful songwriting, it is the "single flow" lineup of songs built within the concept of a single day in the life of a child immersed in Nature that hits it out of the park (and previews the styles and approaches used on her next album six years later). The journey is so engaging, so enticing and mesmerizing, that one finds one as unaware of the passage of time as a if one were a child passing a single day. Kate's intimate vocal and piano play, often augmented by simple traditional folk instruments, hand percussion, and/or Michael Kamen's exquisite orchestral work as well as the little spoken samples of birdsong and human speak (performed by the family: Kate, Dan, and Bertie himself) make for such a warm and engaging listening experience. Definitely another masterpiece in the artistry of Commander of the Most Excellent Order of the British Empire Catherine Bush.

In 2011 the world received another surprise with the unexpected drop of 50 Words for Snow: an absolute master class in sound engineering and aural comfort and familiarity; for me, it was like being invited back into the womb of one of humankind's most maternal beings--even the typical corny-schmaltzy subject matter and verbiage passed through with flying colors due to the nature of the healing sound bath her music buoyed us in. Though the music is not always as exciting or dynamic as that of her first 20 years, I feel as if this sadly underrated album from the last decade displays a mastery of sonic perfection that has rarely been achieved in the history of studio albums. Each and every song invites the listener into the same universe as the singer-pianist; one feels no distance or separation from the performer--in fact, feels as if you are there in the center of the studio--perhaps even being treated to a a private concert performance all on ones own.   

Looking back over Kate's distinguished career, I think that it is through her collaborations that she really excelled; gathering virtuosic musicians around her in order to not only help her realize her musical visions but in order to trust in their seasoned abilities to offer cogent contributions of their own based upon their own experience and mastery. Some of my favorite collaborations on Kate albums have been with the likes of Swedish bass player Eberhard Weber, Danny Thompson and his loyal double bass, Victoria, Trio Bulgarka (who were members of the Bulgarian State Radio and Television Female Vocal Choir, the group that the London-based independent record label, 4AD, made world-famous in 1986 and 1988 with their release of two international best-selling albums under the Le Mystère des Voix Bulgares title) and her son, Bertie. Other notable collaborations have occurred with with David Gilmour (her founder and long-time champion and friend), Peter Gabriel, Mick Karn, Steve Gadd, and Elton John.

 

I think my adult-life-long infatuation with Ms. Bush also stems from the fact that she was born a month after me in 1958 into place and family that I idealized with a kind of elevated mediæval reverence. She is one of those people that I'd love to thank personally, face-to-face, for her not insignificant contributions to my life. Though I have been unable to find any kind of access point that would allow me to enjoy any single song from The Kick Inside or Lionheart (despite the fact that I do comprehend the ways in which these two albums express the extraordinary uniqueness of this idiosyncratic artist), it really wasn't until her 1980 discovery of and experimentation with the Fairlight CMI (thanks, Peter Gabriel!) that she began to express herself with any kind of music that might be considered "progressive," and, in my opinion, it wasn't until The Dreaming that she actually crossed the line over into Prog World--and, while I've never been much of a fan of The Red Shoes, at least she was still using forms and sound palettes that prog lovers might be accepting of, something she was not doing (mostly out of ignorance) for those first two pop albums. 

These are my 20 Favorite Kate Bush songs:

1. "Blow Away" - Never For Ever
2. "The Sensual World" - The Sensual World
3. "Snowflake" - 50 Words for Snow
4. "Running Up That Hill" - Hounds of Love
5. "Somewhere in Between" - Aerial
6. "Get Out of My House" - The Dreaming
7. "Experiment IV" (12" version) - The Whole Story
8. "Walk Straight Down the Middle" - The Sensual World

9. "The Dreaming" - The Dreaming

10. "Never Be Mine" - The Sensual World

11. "Prologue" - Aerial

12. "Lake Tahoe" - 50 Words for Snow
13. "Delius" - Never For Ever
14. "Houdini" - The Dreaming

15. "Aerial" - Aerial

16. "Waking the Witch" - Hounds of Love

17. "Night of the Swallow" - The Dreaming

18. "Wild Man" - 50 Words for Snow

19. "Nocturn" - Aerial

20. "Army Dreamers" - Never For Ever

Aisles

 My favorite band from South America.

AISLES Beyond Drama (2023)

Chile's 21st Century prog stalwarts are back with yet another lineup change. ("And then there were three.") Founding members guitarists Germán Vergara and  Rodrigo Sepúlveda are still with the band as is drummer Felipe Candia. 2012 addition Daniel Concha is back on bass as is keyboard player Juan Pablo Gaete (2014), but the band has had to find a new vocalist. Israel Gil has been brought in to try to fill Sebastién Vargara shoes.

This album is actually a collection of individual songs that the band worked on and released as singles, one by one, over the time span of early 2021 through February of 2023.

 
Line-up / Musicians:
- Israel Gil / vocals
- Rodrigo Sepulveda / guitars
- German Vergara / guitars, vocals
- Juan Pablo Gaete / keyboards
- Daniel Concha / bass

- Felipe Candia / drums

1. "Fast" (4:38) love the "fade in" fast-strum two chord progression that the song opens with but the mix remains too muted and distant for my likes. When keys and vocals join the rhythm section, it's with a MOTORPSYCHO-like sound and feel. Very cool! (I love Motorpsycho.) Despite its flaws (sound engineering) this is a great, catchy song with lots of impressive (and loveable) subtle nuances (keyboard, bass, and drum flourishes). Great drumming from Felipe Candia. (8.875/10) 

2. "Megalomania" (6:25) styled very much like a KARNIVOOL or LEPROUS song (the main melody is practically lifted from the Aussie band's "We Are"--one of my favorite songs of the 2010s), the instrumental palette/soundscape is far too weak and thin to pull it off (as is the voice of lead vocalist Israel Gil), and yet the imitation (borrowing) of the afore-cited Heavy Proggers continues. Still, I do enjoy the slap and percussion styles used on the guitars and bass as well as the drum exhibition around the six-minute mark. (8.75/10)

 
3. "Thanks to Kafka" (4:18) Pleasant but not very memorable (other than the lyrical line of literary homage). At this point in the album my jury is still out on Israel; here he's impassioned but the vocal isn't mixed well into the mix of the song (it's buried too much in the mix--behind the bass and lead guitar). I do, however, appreciate the lyrical intent. (8.6667/10)

4. "Disobedience" (7:18) I love the set up and rhythmic foundation of this one: fast-moving drums with thoughtful phrasing from the bass and keys with great vocal deliveries. Reminds me of early PAATOS. And the reach for heaviness really works on this one. I love the FIXX-like chords used for the awesome chorus motif. Great tune! Definitely a top three song. (14.25/15)

5. "Time (A Conversation with My Therapist)" (6:40) quite a melodically captivating song. Once in, you're stuck--but it's such a nice, soul-balming place. I think I could stay here forever. (Aisles has always the ability to do that to the listener with their music.) A top three song for me. (9.5/10)

6. "The Plague" (11:06) opening with those delicate, virtuosic guitar notes is so magical--so much of what I think of when I recall Aisles. (Which makes me think that this song may have been carried forward from a long time ago.) I love the atmospheric soundscape established to back Israel's MARCO GLÜHMANN-like (Sylvan) vocal delivery. As a matter of fact, the whole song to this point has a LOT in common with the music of SYLVAN. The chorus starts out a little blandly but then Israel and Germán (and others) come forward to win the day. Great drumming, keys, and thrumming bass beneath the lead guitar solo in the fifth minute. Then begins the echoed guitar chord play that feels signatory to this band. Very powerful use of choral voices in the sixth and ninth minutes (reminding me of MOTORPSYCHO). Great, emotional song. Almost a top three song. (18.5/20)

7. "Surrender" (6:44) a beautiful piano intro is soon joined by the rest of the band with such mature subtlety. What a gift is this band! Israel enters with an equally delicate vocal, but then everybody amps up for the brief chorus preview (with some awesome lead guitar riffing). Man the bass sounds so great on this album: I love how forward and full those notes are coming from Daniel Concha. Just a beautifully constructed, performed, and engineered song. My only complaint is that the drums aren't as forward as the bass. (Felipe is also such a master of subtlety in his drum play.) The instrumental passage in the fifth minute is good, just not as blow-me-away good as the rest of the song (though the drums come through a little better). The vocal delivery sounds so heartfelt--even from German on background vocals! My favorite top three song. (9.75/10)

8. "Needsun" (2:09) fades in as if coming from a previously recorded song--a sentimental salvage job by the band. (It's gorgeous--with great drumming and powerful vocals--so I can see why.) (4.5/5)

9. "Game Over" (6:28) melodic yet using an industrial sound palette to get its syncopated CRIMSONIAN ideas across, this was one of the band's last single releases before completing and compiling this album. It's interesting--and very much like the condensed style of Jem Godfrey's FROST* releases of the past decade--with some great electric guitar playing (also in a John Mitchell style)--but I find myself missing/wanting Israel/the band's vocals! Fortunately, the song just keeps getting stronger as it goes along--until it wins you over! Impressive! (9/10)

Total Time 55:46

I must admit to being prejudiced against the possibility of liking this album as I have such love and admiration for the music (and lineup) of the band's 2009 incarnation and album, In Sudden Walks, but I'm won over. This music is great. It's different, but 14 years later you'd kind of hope that a band would grow and develop--not repeat the same sounds and songs over and over. Aisles have accomplished this in spades. I'm so glad the band persevered during the COVID years (and years of political and internal turmoil in Chile and within the band, respectively) to polish, perfect, and publish these songs!

91.79 on the Fishscales = A-/five stars; a minor masterpiece of progressive rock music. Aisles continues their stellar contribution to 21st Century progressive rock music. My #11 ranked album of 2023 and my #2 favorite album of the year. 

AISLES Hawaii (2016)

This true 21st Century band releases its fourth studio album: a double album conveying a rather dour and emotional perception of the chaotic, slow demise of our planet, our species, the band's home country of Chile, as well as for the band and perhaps some of the individual members of the band (especially the Vergara brothers). 

Line-up / Musicians:
- Sebastian Vergara / vocals
- Rodrigo Sepulveda / guitars
- German Vergara / guitars
- Juan Pablo Gaete / keyboards
- Daniel Baird-Kerr / bass
- Felipe Candia / drums

Voice actors on "Club Hawaii":

- Matthew Baxter / Newcomer 

- Sebastián Vergara / Club Regular 1 (spoken & sung)

- Germán Vergara / Club Regular 2

- Rebecca Bell / Announcer

- Sebastián Vergara / Steward

• 
  

1. "The Poet Part I: Dusk" (10:06) a solid construct--complete with the band's now familiar impeccably-woven sophisticated multi-layered instrumental construction. I'm not so fond of the hard-drivin' straight-forward rock rhythm choices nor the multi-voice approach to lead vocals. (17.5/20)

2. "The Poet Part II: New World" (4:18) gorgeous melodies created by Sebastian Vergara over this surprisingly simple (but adequate) song construct. Great drumming. Not sure Daniel Baird-Kerr's bass playing style is the best fit for the band. Not the most polished or best engineered song the band has produced, but it's still a winner. (9/10)

3. "Year Zero" (4:36) nice dreamy two-guitar, two channel foundation with solid bass presence and background drumming over which Sebastian sings in a high pitch (and frail-sounding) voice. (Is he sick? Is his [heretofore amazing] voice failing?) Nice Berlin School-like synth patterns takes over in the third minute, at first supplanting the two guitars while Sebastian sits back on the sidelines, later re-introducing the two guitars for a bit before they yield to the piano that finishes the song. Interesting! (8.875/10)

4. "Upside Down" (4:53) piano with bass and delicate drumming open this before guitar strums and big tom-tom hits signal the entry of double-tracked lead vocals (both Sebastian, I believe) mirroring the piano. It's like a stage musical's central aria. It's okay, just not the Aisles we all (in the prog community) want to here Still, the topic expressed in the lyrics is quite heavy and, therefore, appropriately expressed with serious passion. Nice solos from the two guitarists and synth player in the fourth minute. (8.6667/10)

5. "CH-7" (12:33) oddly sparse and simple music behind a rather passionate vocal performance by Sebastian Vergara. Unfortunately, Seb's voice (which is surprisingly lacking any melodic "hooks" to gain our interest and enjoyment) is not enough to carry the song all by itself. (I swear: On this album it feels as if Sebastian's voice is failing--this despite his sincere passion behind many of the messages he's trying to convey.) But carry it he does: for over six minutes--and when the musicians begin to offer more to the soundscape it still feels thin (though it does, admittedly, take a noticeable amount of pressure off of Seb's performance). The musical construct beneath the song's instrumental passage in the ninth minute is rather laughable for its syncopation minimalism--despite everyone's participation. When everybody kind of congeals in the tenth we finally feel a bit of the inviting warmth that I've come to associate the band with. Finally! This section persists into the twelfth minute before taking a turn down a faster-paced downhill street. Unfortunately, the sound palette chosen throughout this song is one that never quite wins me over. Too bad! That instrumental finish was almost worth it. (21.875/25)

6. "Terra" (8:03) nice gently-picked acoustic guitar with fluid fretless bass and sustained volume-controlled pedal steel guitar chords open this one giving the listener quite a relaxing, almost lullaby-like setting. Sebastian's voice enters matching the angelic music with great delicacy, amazing vulnerability. Gorgeous. At the four-minute mark a "sonic boom"-like noise enters--as if signaling the event of some disaster. At 5:40 the vocalist (not Seb?) enters with an almost-operatic tenor, amping up the tension and drama of the song. He is soon joined by Sebastian and multiple other voices in harmonized choral form while the piano and strummed acoustic guitars keep time and the drums, bass, and odd synth noises create a very unsettling chaos--at first in the background, but then usurping the soundscape for the finish. A song of lament and regret? on behalf of the planet? Interesting and unique. This is the kind of creative song creation that keeps me coming back for Aisles music. (13.5/15)

7. "Pale Blue Dot" (9:53) tick-tocking percussion with layers of guitar and synth play over which Sebastian eventually joins--singing his long-held notes in a clear, frail, high register. The music that bridges to a new variation at the three-minute mark is a bit circus-like, while the next motif is more of a standard rock musical experience with Sebastian singing more in front of the mix (with his melodic flow feeling a bit forced and even, at times, incongruous with the musical landscape). Still, there is something not quite right with the musical coherence here: as if the Sebastian and the rest of the band are on two different, diverging paths of musical vision. In the final quarter of the song, there are even several instances in which Seb tries reaching for high power notes and fails to achieve pitch accuracy. (17/20)

8. "Still Alive" (4:46) an emotional radio-friendly song that does a great job at expressing the insecurities and unknowns of daily life in these frail "three-minutes-to-midnight" era of human existence. (9/10)

9. "Nostalgia" (2:11) Perfectly understandable considering the flow and concept behind this album. We all want to feel the security of nostalgic escapes to past memories or past art forms. This song conveys this rather effectively while still expressing the underlying tension (pace) rushing us through a process of escapism. (4.66667/5)

10. "Club Hawaii" (7:22) a very interesting, entertaining, and effective theatric musical play. Quite brilliant--and emotional! (14.5/15)

11. "Falling" (2:11) solo piano over which Sebastian sings in a very high, delicate, almost feminine operatic way. With progress into the song, Seb's vocal definitely expresses more masculinity--though of a very vulnerable emotionality. (4.5/5)

12. "In The Probe" (6:53) interesting and, yes, a bit depressing with a single destabilized guitar occasionally strumming some disharmonic chords and a very sparsely-employed drum machine rhythm track serving as the only two instruments, but, again, it is very effective considering the psychological and emotional goals of the band on this album. I'm very much reminded of the stark soundscapes of TALK TALK's TIM HOLLIS as well as the delicate vocal abilities of Marillion's Steve Hogarth. Very effective. Thank you, Sebastián. You have served commendably. (13.33333/15)

Total time: 77:45

Despite the space of three years since the band's last album, a lot of the music on this album feels forced--as if the idealistic fire that was present in 2009 (on In Sudden Walks) is flickering. However, knowing the cynical space the band was in during its making--about their native Chile, about the planet, about the future of Sebastián's participation with the band--I can better understand (and forgive--as well as learn to grow with) the often sparse, stripped-down soundscapes employed in their musical expressions here. 

89.01 on the Fishscales = B+/four stars; an admirable and quite emotional ride through a band's cynicism and decay. A listening experience that requires attention but then, after several listens, can be truly and fully enjoyed for the artistic expression it is. Highly recommended to any prog lover. My #37 ranked album of 2016 and my 25th favorite. 

AISLES 4:45am (2013)

The band's third studio album sees them taking on a new bass player. While the rest of the lineup reamins constant, there are a lot of guest performers to help the band on their journey--here taking a step toward back to the shorter more radio-friendly pop-oriented songs that they burst onto the scene with on their debut.

Line-up / Musicians:
- Germán Vergara / Guitars, Vocals and Keyboards
- Felipe Candia / Drums and Percussion
- Rodrigo Sepelveda / Guitars and Vocals
- Sebastian Vergara / Lead vocals
- Alejandro Melendez / Keyboards
- Daniel Baird-Kerr / Bass

With:
Constanza Maulén / Vocals (Tracks 1, 3 & 8)
Alejandro Barría / Cello (5, 8 & 9)
Nelson Arriagada / Contrabass (5, 8 & 9)
Valentina Maza / Viola (5, 8 & 9)
David Nunez / First violin (5, 8 & 9)
Diana Brown / Second violin (5, 8 & 9)
Track 3 Voice Actors [DJs] / Chris Trout, Nicoló Rossi, Trinhity Tran
Track 2 & 10 Voice Actors [Mom and kid] / Soraya Castillo

1. "4:45am" (4:06) like a late 1970s AOR song from ART IN AMERICA or RUSH. I have to admit to being a little surprised at the directional choice exhibited by this song--obviously chosen to represent the band's new vision/sound in its being the album's opener. The extraordinary musicianship and dedication to complex minutia is, of course, still obvious, but this is definitely more of a pop-oriented song. (8.75/10)

2. "Gallarda Yarura" (4:32) a long guitar-centric instrumental that could very well have supported vocals makes me wonder if lyricists were either preoccupied with other parts of life or whether Sebastian Vergara was not as heart-fully engaged in the project. (8.666667/10)

3. "Shallow and Daft" (4:52) there's quite a bit of 1980s jazz-pop in this one--sounding a lot like HOWARD JONES, ICEHOUSE, and/or JOHNNY HATES JAZZ. Interesting choices for radio samples they included in the final minute. Melodically quite pleasing but technically and instrumentally quite a step down from the complexity of their past stuff. (8.5/10)

4. "Back my Strength" (4:54) 1980s BRIAN FERRY! Such a simple four-chord song that I feel quite disappointed. Even the beautiful little delicate passage in the middle is diminished by the standard radio fare that it is sandwiched between (though I do like the homage to WHITESNAKE in the instrumental guitar solo). (8.5/10)

5. "The Sacrifice" (5:08) lone acoustic guitar being gently picked shows promise--raises my hopes. Sebastian's delicate vocal (later harmonized) matches perfectly. Gorgeous. But, it never really develops into anything more than this (which leaves it locked out of the prog world, relegated to pop-stage craft). Even the buildup and crescendo in the fifth minute is not enough--more emotion than compositional genius. (8.75/10)

6. "The Ship" (0:57) ship noises--more engine and industrial gear than water.

7. "Intermission" (5:02) the opening weave here seems to suggest that "Side 2" might be more proggy.I love this! The long sustained notes up front make me think that there might be an electric violin involved. Something we might have heard from BRUCE COCKBURN when he had HUGH MARSH working with him. I even love the more percussion-oriented reprise at the end. Great instrumental! My favorite song on the album. (9.5/10)

8. "Sorrow" (6:57) acoustic guitars being picked with more traditional percussion sounds (like talking drum!) and Sebastian and harmony vocals worked into a nice gentle weave. I love the deep throb of the bass play. The interplay of the two or three guitarists alone is magical! I don't really like the way Sebastian's voice is compressed and held in the back. And why is the beautiful female vocalist's name (Constanza Maulén) uncredited? My other top three song. (13.375/15)

9. "Hero" (8:11) a slow methodical progression of blues-rock guitar arppegi (using a soundscape quite similar to that of THE GATHERING on the twin towers of "Analog Park" and "Herbal Movement") with support drums and bass and frenzied synth noises flitting in and out turns into a more familiar Aisles style at the 90-second mark with some cool time and thematic twists and turns accented by guitar, synth, percussion, and vocalise flourishes here and there and ended by an almost Gregorian chant bridge at the four-minute mark that takes us into a very ENIGMA-feeling cave/cathedral place for a minute or so. Drums and distant power chords and aggressive but distant guitar play join in during the sixth minute as DAVID GILMOUR/BRIAN MAY-like strummed chords and RICHARD WRIGHT-like synth solos a bit. At the seven-minute mark the joinder and presence of the string quartet becomes quite noticeable. The final minute sees the song resort to beautiful classical guitar being picked over the remnants of the string quartet. Nice ending to a surprisingly long instrumental. hard to believe that these formidable vocalists did not create anything magical to complete the fully-dimensional realization of this one! Still, I call this a win--and it definitely pleases one's prog sensibilities! My second favorite song on the album. (18/20)

10. "Melancholia" (10:41) a little slow in its distorted blues-rock orientation, the full and theatric story and lyrics get a bit lost in the one-dimensional three-chord music that plays pretty much from start to finish. I like the way the instrumental portion of the music recedes over the final 90 seconds while the vocals lag behind, staying forward. (17.333333/20)

Total time (55:19)

Were it not for "Side 2" (the last four songs) this album would not be worth any prog lover's while.

87.02 on the Fishscales = B-/3.5 stars; a bit of a disappointment; as if the band was torn as to which stylistic direction(s) to go and was also kind of forcing an album out while lacking inspired, fully-committed contributions from the full complement of collaborators.

AISLES In Sudden Walks (2009)

The band now have found/hired not only a drummer (Felipe Candia) but a bass player (Felipe Gonzales) thus freeing up founding member Rodrigo Sepulveda to concentrate on guitar playing to go along with his compositional and engineering/production roles. 

Line-up / Musicians:

- Rodrigo Sepulveda / guitars

- Felipe Candia / drums

- Alejandro Melendez / keyboards

- German Vergara / guitars

- Luis Vergara / keyboards

- Felipe Gonzales / bass

- Sebastian Vergara / vocals

1. "Mariachi" (9:59) a mini-television romance telenovela--complete with the grevelly voiced old man and tortured young nymphomaniac. The music, as fine as it is, seems so subordinate to the teleplay going on in front. It would not surprise me to find out that these guys were, in fact, studio musicians for the making of soundtracks for some of Peru's telenovelas. (17.333/20)  

2. "Revolution Of Light" (4:41) the album's only weak point--and it is, unfortunately, quite weak. (7.5/10)

3. "Summer Fall" (9:56) One of the best prog epics of the year! (19.5/20)

4. "The Maiden" (9:28) Another incredible epic that really puts some earworms into your brain. (19/20)

5. "Smile Of Tears" (4:00) (8.75/10)

6. "Hawaii" (14:58) Yet another great prog epic! What a treat! What an album! (27/30)

Total Time: 53:02

AISLES' second album, In Sudden Walks, is brilliant! It is symphonic, melodic, ethnic, emotional, well performed, well engineered and recorded, beautifully sung, and very fresh and new feeling--very much, I think, (like MAD CRAYON's beautiful Preda,) due to its ethnic influences. Three of the album's six songs clock in at around 10 minutes with a fourth at nearly 15--and all are of the highest caliber symphonic prog. Only one song--one of the shorts, "Revolution of Light" (4:41) (7.5/10)--falls short of the standard and feel set by the rest of the album. I love "Mariachi" exploitation of the overt sexuality so typical of Latin American television. "Summer Fall" (9:56) (19.5/20) and "The Maiden" (9:30) (19/20) should, IMHO, be in everyone's playlist of classic prog epics. Their multi-layered instrumental interplay is so pervasive and playful, with so many twists and turns yet with equally as many returns to very catchy melodic hooks, while all the while threaded together by some great, almost mythic, lyrics sung in absolutely beautiful vocal performances. "Hawaii" (14:58) (27/30) is often pacifying, calming, dreamy, though it too has its tempo and mood changes (in the second half). Overall, an incredibly enjoyable and engaging listening experience. Highly recommended!!

I quite agree with fellow reviewer Cesar Inca: this little gem was one that was sadly overlooked from among the 2009 harvest. But: It's not too late!

90.08 on the Fishscales = A-/five stars; a minor masterpiece of truly unique progressive rock music and definitely an essential acquisition for any prog music lover's music collection. MY #12 ranked album for 2009!

AISLES The Yearning (2005)

As far as I know, this is the band's first album.

Line-up / Musicians:
- Sebastian Vergara / lead & backing vocals, flute
- German Vergara / electric & acoustic guitars, basses, backing vocals
- Luis Vergara / piano, keyboards
- Alejandro Melendez / keyboards, piano, drum programming
- Rodrigo Sepulveda / electric & acoustic guitars, basses, backing vocals, drum programming

1. "The Wharf That Holds His Vessel" (11:21) a song that feels to me, start to finish, as if I'm listening to a band playing in the orchestra pit for a theatric stage musical; this would/could quite easily pass for an overture! (17.5/20)

2. "Uncertain Lights" (4:05) a very nice opening with very delicate vocal track sung over beautifully picked classical guitars and synth three-way weave. The harmony vocals here are also quite sublime. These musicians are so talented! So skilled! The only song on the album that really puts on display the amazing vocal arrangements so well-developed and exploited in their future songs. Quite mature SIMON & GARFUNKEL-like songwriting. (8.875/10)

3. "Clouds Motion" (7:07) here's the first song that conjures up for me more references to "classic rock" bands like JOURNEY or RUSH. It's also the first song to drop a few of those melt-my-knees gorgeous riffs, chord changes, bridges that the band becomes so adept at with their future albums. A top three song. (13.5/15)

4. "The Rise of White Sun" (4:57) A 1990s sound palette (or one quite like 1978's BABYLON) doesn't totally spoil another heart-felt vocal from Sebastian Vergara. It's comforting to comprehend how much more fluent Seb becomes with the English language (especially it's pronunciation) as well as with creating highly melodic vocals and vocal arrangements in the future. (8.75/10)

5. "The Shrill Voice" (4:59) portends some of the band's extraordinary future music with the unusual quick-mixture of multiple motifs in short spaces of time--and then repeating them throughout the song from time to time. Not Seb's best vocal, the street voice is interesting, but it's the driving motif that follows 1:50 that is, for me, my first real glimmer of the genius of this band: an extended heavy PINK FLOYD-like instrumental passage that sucks one in and entertains with the numerous surprise instrumental and vocal flourishes and nuances. Despite the many out-of-date instrument sounds chosen, this one serves, as another top three song. (8.75/10)

6. "The Scarce Light Birth" (7:34) a near-GENESIS-like ballad format in which we see the capture of some of Sebastian's most seductive vocal melodies yet. My third favorite song. (13.125/15)

7. "Grey" (16:37) almost completely flat and unexciting. (25/30):
- i. The Yearning
- ii. Unit Land
- iii. Path of Gleams

Total Time 56:40

Hearing these songs makes me wonder how much time these musicians spent together (or separately) as theater musicians, as cover band for "classic rock" music like Journey, and how long they worked on these songs. They certainly have a tremendous amount of courage and "maturity" in order to take on these fast-changing, multi-themed, unusually-complex and multi-dimensional songs. The chapter-like/epic storytelling flow of each and every song is quite extraordinary. Unfortunately, the band has not yet mastered its capture of great "earworm" melodies in the way it will in their next albums. Also, the "dated" computer keyboards and poor effects chosen for the drums do affect my enjoyment of the music. Again, I apologize to the band for not getting the songs whose commitment to the words/lyrics/message is paramount: it's your music that I've grown to love; I know not your intended messages! 

86.82 on the Fishscales = B/four stars; an excellent debut album from this totally unique theatric symphonic band.

Prog Lists: My 40 Favorite Albums from the 1980s

These are my 40 favorite prog-related albums of the 1980s: They're not all pure prog but all have contributed greatly to the forms and sounds that has became known as "progressive rock music."

1. COCTEAU TWINS Tiny Dynamine/Echoes on a Shallow Bay (1985)

2. THE FIXX Reach the Beach (1983)

3. DAVID SYLVIAN Brilliant Trees (1984)

4. THE CURE Disintegration (1989)

5. PAT METHENY GROUP Still Life (Talking) (1987)

6. COCTEAU TWINS Treasure (1984)

7. SIMPLE MINDS New Gold Dream: (81-82-83-84) (1982)

8. ESKATON 4 Visions (1981)

9. RYUICHI SAKAMOTO Ongaku Zukan (Illustrated Music Encyclopedia) (1984/6)

10. DAVID SYLVIAN Gone to Earth (1986)

11. TALKING HEADS Remain in Light (1980)

12. THE MOON AND THE MELODIES The Moon and the Melodies (1986)

13. FLAIRCK Gevecht met de Engel (1980)

14. ANTHONY PHILLIPS 1984 (1981)
15. PAT METHENY & LYLE MAYS As Falls Witchita, So Falls Wichita Falls (1981)
16. KING CRIMSON Discipline (1981)
17. KATE BUSH The Dreaming (1982)
18. TEARS FOR FEARS The Hurting (1983)

19. TEARS FOR FEARS The Seeds of Love (1989) 

20. SOLSTICE Silent Dance (1984)

21. KATE BUSH The Sensual World (1989)

22. MANUEL GÖTTSCHING E2-E4 (1984)

23. PAT METHENY GROUP First Circle (1984)

24. THE POLICE Ghost in the Machine (1981)

25. PROPAGANDA A Secret Wish

26. BRUCE COCKBURN Stealing Fire (1984)
27.. FRANKIE GOES TO HOLLYWOOD Welcome to the Pleasuredome (1984)

28. XTC The Big Express (1984)

29. ANTHONY PHILLIPS & ENRIQUE BERRO GARCIA Private Parts & Pieces III:  Antiques (1982)

30. STYLE COUNCIL Confessions of a Pop Group (1988)

31. MR. SIRIUS Barren Dream (1987)

32. AMENOPHIS Amenophis (1983)

23. BRUCE COCKBURN Big Circumstance (1988)

34. PETER GABRIEL Passion (Original Soundtrack Music from the motion picture The Last Temptation of Christ) (1989)

35. XTC Mummer (1983)
36. HOWARD JONES Human's Lib (1984)
37. U2 The Unforgettable Fire (1984)

38. JANE SIBERRY No Borders Here (1984)

39. LOS JAIVAS Obras de Violeta Parra (1984)

40. SBB Memento Z Banalnym Tryptikiem (1980)