More progressive rock album releases from 2024. These are albums that are well worth your investment of time while not, in my opinion, belonging in the masterpiece discussion. Some of these releases were interesting enough to inspire me to write reviews, some only earned song ratings, many are included because they've been listened to, judged "worthy" of serving notice, but just couldn't get me excited or engaged enough to warrant the effort of a full review. I apologize. But, as I said, I chose to include them because I deem them interesting enough for you, my readers, to know about them and know that I recommend that you might listen to them yourselves in order to form your own opinions. Lord knows I am well aware that there are as many different musical preferences as there are humans; I do think that I know music that might interest others.
A band I've liked and followed since their 2018 sophomore album, II - From Sea and Beyond--they do melodic symphonic NeoProg right!
Line-up / Musicians:
- Roberto Vitelli / bass, keyboards
- Giacomo Anselmi / guitars
- Mattias Olsson / drums, percussion
- John Wilkinson / vocals
With:
- Tomas Bodin / keyboards (6 outro)
- Clive Nolan / keyboards (1 intro)
- John Hackett / flute (5)
- David Jackson / saxophone & wind instruments (3,6)
- Graeme Taylor / acoustic guitar (3 prologue)
- Bob Hodges / keyboards (5)
- Stefano Vicarelli / mellotron, minimoog, additional keyboards
- Riccardo Romano / backing vocals, 6 & 12-string acoustic guitars (2,5)
1. "Northwards" (6:50) very nice prolonged instrumental opening diminished by poor vocals at the end. (13.3333333/15)
2. "Tundra" (6:44) decent prog music is diminished by poor vocals. (8.75/10)
3. "Crystallized" (5:13) extended chorused 12-string guitar opening takes its time but eventually develops into a nice . VDGG-saxophonist David Jackson can still blow! It's sad for me to say this, but this is an example of a song that is "saved" by not having any vocals! (8.875/10)
4. "Arctica" (4:17) having multiple vocal tracks helps! (9/10)
5. "Stranger Skies" (12:18) sounds so much like a song as if GENESIS were trying to go back to Gabriel-era song constructs only using Peter as the flutist only and Phil Collins as the lead singer! The problem. comes, of course, when 1980s Genesis tries to go back to early 1970s sounds and engineering techniques: they can't! It is, however, a pretty decent NeoProg epic! I've never heard flutist John Hackett go this crazy! The final "movement" of 80 seconds is, however, a little too over-the-top in its Ant/Genesis 12-string guitar worship. (22/25)
6. "Another World" (11:43) a NeoProg song that feels as if it has its feet straddling between the music of Sean-Filkins-era BIG BIG TRAIN and Jem Godfrey's FROST*. GREAT contributions from David Jackson and Matthias Olsson on drums. (17.875/20)
Total Time 47:05
88.70 on the Fishscales = B/four stars; an excellent collection of finely crafted and performed NeoProg songs.
Hard to believe that it's been over five years since Neige's last Alcest album! Was it worth the wait? We'll soon see: this one's a grower--getting better with each listen!
Line-up / Musicians:
- Stéphane Paut / vocals, guitar, bass, keyboards, composer & arranger
- Jean Deflandre / drums, percussion
1. "Komorebi" (6:40) opens with every bit of the anthemic power that we've come to expect from Neige's music over the last 15 years, but, unfortunately, this one ends up lacking the bite and beauty of Stéphane's early stuff. The guitar-chord-mirroring vocals render it a bit too much into the realm of Devy Townsend music and the drumming gets a bit too active, domineering, and demanding (mixed too far forward) during the mid-section. (8.6667/10)
2. "L'Envol" (8:02) check out the beautiful animated art that accompany this song on YouTube. Musically it's rather bland and same-same Alcest. I really like the occasional screams and squeals coming from the guitar, but Stéphane's performance with his human voice is just too mundane and unengaging. I do, however, like the use of acoustic guitars without all of the screaming electric guitar chord strumming. I also like Jean Deflandre's more-subdued, "accompanying" drums as opposed to his torrential barrages of artillery fire. (13/15)
3. "Améthyste" (8:31) great drumming. Pitchy vocals (the humane ones). The mix in the sixth minute is perfect--just like the early Alcest albums. (17.5/20)
4. "Flamme Jumelle" (5:23) perhaps the best realized song on the album due to a great sonic palette and some fine engineering. Sounds a bit like OCEANSIZE's "New Pin" (which is good!). The music is interpreted by a pair of twin sprites in a beautifully-choreographed dance video on YouTube. (8.875/10)
5. "Réminiscence" (2:51) piano! (heavily-treated, of course). With Stéphane's tender, beautiful vocal this makes for a moving listening experience despite its brevity. (9/10)
6. "L'Enfant de la Lune" (7:28) with this pretty female-narrated intro I was really hopeful but then the guitars and drums burst into a fairly straightforward pattern with Neige singing "normally" in his mid-range within. The drumming is actually a bit annoying--until the instrumental passage and chorus, but then Jean falls back into his Animal-like barrage. They're definitely much more interesting and less pugilistic in the instrumental passages--especially from 3:55 on. Otherwise, this is a pretty solid and engaging song. (13.5/15)
7. "L'Adieu" (4:52) plays out like a beautiful good-bye song. The heavily-treated slow-picked guitar arpeggi are awesome--very reminiscent of something from the past. (9/10)
I have to admit that either this album just kept getting better the deeper I got into it or else I was (once again) falling under the numbing warmth of falling snow the more I remained immersed in Neige's world.
88.66 on the Fishscales = B/four stars; an excellent addition of artistic prog metal music for the prog lover's music collection.
The third and, supposedly, final installment of the Books of Airoea--a project that was conceived 25 years ago by a group of high school friends--some of whom found success in the music world in bands that include Wobbler, Tusmørke, Jordsjø, and the Samuel Jackson Five.
Line-up / Musicians:
- Andreas Wettergreen Strømman Prestmo / vocals, guitars, bass, synth, organ, glockenspiel, percussion
- Henrik Harmer / drums & percussion, synth, backing vocals
- Regin Meyer / flute, organ, piano, backing vocals
- Jon Andre Nilsen / bass, backing vocals
- Thomas Hagen Kaldhol / guitars, mandolin, electronics & sound effects, backing vocals
- Aleksandra Morozova / vocals
With:
- Lars Fredrik Frøislie / keyboards, organ, Mellotron, piano, synth
- Kristoffer Momrak / synth
- Håkon Oftung / organ, clavinet, Mellotron, strings, electric piano, synth
1. "Magical Chronicle" (6:09) pure WOBBLER pastoral folk sound palette over which Andreas sings in a folk-focused KERRY MINNEAR-like voice with beautiful harmonized support from the group choir. Jazz-tinged guitars and syncopation join in and establish a quirky WOBBLER/GENTLE GIANT motif until 2:30 when bass and flute are left alone (with some cymbal support) to establish their own version of the previous motif over which the vocal ensemble (with Andreas in the lead) return to give a YES/WOBBLER-like performance. Well met! (9.125/10)
2. "Skyslumber" (7:26) opens with an atmospheric soundscape of space sounds. Around the two-minute mark guitar and vocal enters, creating a folk rock sound similar to, but more melodic than, the album's opener. The harmonized vocals are much more delicate. At 3:35 the lead guitars become a little more aggressive though still jazz-tinged folk rock sounding. The vocal harmonies turn YES/WOBBLER-like for the fifth and sixth minutes as the music continues to drift into the feeling of some 1960s guitar-led jazz-rock. In the seventh minute, however, the music quite suddenly reverts back to the atmospheric soundscape of the song's opening section. It's nice, interesting. but it feels jerky, or maybe incomplete. (13.25/15)
3. "Cloudship" (6:57) volume controlled electric guitar notes (reversed?) are supported by strummed acoustic guitars and YES "And You And I"/Close to the Edge-like synth wash chords. When the voices enter it sounds a lot like the acoustic portion of YES' "I've Seen All Good People." In the second half we're exposed to syncopated guitar strums while choir vocals and spoken verse fill the forefront and bass pedal thrums shake the foundation. The song then returns to the acoustic instrument strums and folk percussion for the reversed guitar notes to usher us out. A very cool and effective folk song that definitely conveys a convincing woodland faerie effect. (13.5/15)
4. "Empress of the Sun" (4:47) a real folk rocker--using a little of the power, pace, and melody and chord progressions of Jeff Beck's "Bolero." In the fourth minute the music turn a little klezmer as a guitar solos. Then the band relinquishes pace and forward movement so that harmonized vocals can fill and morph for a few seconds. Then the "Bolero" strumming resumes for the quick finale. (8.75/10)
5. "Lost in the Palace Gardens" (7:58) gentle "Norwegian Wood"-like acoustic instrumental motif with lots of strumming and plucking folk instruments. At the end of the first minute vocals enter with electric bass and drums tagging along. Not your most engaging melodies. This is one of those songs that helps me wish that I heard lyrics--then it might become more precious; it's sad that I can't connect more with this song since it has such a beautiful folk rock spirit. Plus, it kind of starts to drag after six or seven minutes of the same three bass notes and the same mandolin melody playing over and over without break. (13/15)
6. "Epilogue" (1:04) ocean shore wave and bird sounds.
Total Time 34:21
Of the three album releases that make up the Songs and Tales of Airoea trilogy, this one hits far more appealing chords with me.
88.65 on the Fishscales = B/four stars; an excellent adventure into sophisticated faerie folk music. Highly recommended for all Folk Rock lovers.
A nearly-30-year old Britain-based band that broke up in the late 1990s and then reformed a dozen years ago has now produced six high-quality NeoProg albums. This is their second album with Greek vocal sensation John "Jargon" Kosmidis singing their Matthew Parmenter (DISCIPLINE)-like lead vocals.
Line-up / Musicians:
- John 'Jargon' Kosmidis / vocals
- Ralph Cardall / guitars, mandolin
- Pat Sanders / keyboards
- Jon Jowitt / bass
- Fudge Smith / drums & percussion
With:
- Suzi James / violin (2,4,8)
- Costas Molvalis / choir (2)
- Katerina Tepelena / choir (2)
- MIchalis Latousakis / choir (2)
- Spyros Petratos / choir (2)
- Ben Bell / choir (4)
- Charlie Bramald / choir (4)
- Chris York / choir (4)
1. "Veiled" (2:00) produced as if a vinyl or wax recording with clicks and pops, this "orchestrated" piece almost sounds like a Christmas carol or soundtrack piece for a Hallmark Christmas movie. (4.375/5)
2. "Frailty" (12:05) opens with some bombast and a full-on NeoProg sound palette. Once into the fullness of the song it sounds like hairband classic rock blended with Matin Orford-era IQ and Arjun Lucassen's AYREON while trying to be Rick Wakeman/Fragile-era YES. Not bad, not annoying or cloying, just not anything new or refreshing here. (22/25)
3. "Eros and Psyche" (5:12) there is definitely nothing special here. In fact, the musical instruments feel so separate and fragmented that I wonder if they knew what they were going to sound like before the final mix was presented. Jargon's lyrics may be something worth attending to but I'll never know. (8.66667/10)
4. "The Thing" (7:49) a sea shanty! The story fits. The full-male naval choir chorus would seem to indicate as much. Might this song be inspired by the AMC television series, The Terror? Nicely executed. (13.375/15)
5. "2-Minute Waltz" (2:00) a classical piano show piece. Probably from Pat Sanders' middle school piano recital that he couldn't perform because he was ill or due to a death in the family. (4.375/5)
6. "Through the Veil" (5:45) another bombastic, theatric song that feels as much relevant to a West End theatric production or a Pete Jones album. The soundscape is just a little too sterile, even bordering on stark (in terms of each instrument's isolation from one another). Nice 1980s drumming (sound). (8.75/10)
7. "The Old Man" (5:44) Another well-composed and crystalline-engineered song that feels totally headed for a theatric debut. Who was that singer for the 1980s band ABC? Martin Fry? That's who Jargon sounds like. Even when Jargon stops singing and the instrumentalists ramp things up for some soloing it still sounds as if there are probably stage characters in motion. (8.75/10)
8. "Cirkus" (6:34) bouncy Hammond chord hits and military drumming open this one, giving Jargon a circus macabre stage upon which to relay his story. I do like this PETER HAMMILL voice styling much better than his previous ones: it really adds to the creepy feeling that he's trying to reel us into his spell and pull one over on us. Though I'm still not super enamored of the music, I like this song best of all the other son the album. (8.875/10)
Total Time 47:09
Total Time 47:09
A little too theatre-dramatic for my tastes, this is still very finely crafted and performed music impeccably rendered by the engineers (despite the frequent feelings of sterility).
87.96 on the Fishscales = B/four stars; a very nice collection of very-well-polished theatre songs that most prog lovers will love--especially those with an affinity for stage musicals.
Adrian Jones finally comes out of COVID hibernation to revive his band of old--recruiting previous members Adrian O'Shaughnessy, Christian Bruin, and Brendan Eyre as well as importing some new members for the rhythm section.
Line-up / Musicians:
- Adrian 'Aio' O'Shaughnessy / vocals
- Adrian Jones / guitar, bass
- Christiaan Bruin / keyboards
- Brendan Eyre / keyboards
- Joachim van Praagh / bass
- Lars Spijkervet / drums
1. "Birds, Insects & Kites" (3:39) a long, spaced-out intro in which drummer Lars Spijkervet gets plenty of time to show off his unique rhythmic style before and as Adrian's blistering slide guitar solos toward the end. It's great but I was kind of hoping for more. (8.875/10)
2. "The Veil" (1:48) guitar and key atmospherics. (4.375/5)
3. "Ghosted" (4:22) a slow and spacious old blues-based tune with teased out vocals and teased out guitar notes à la David Gilmour, Paul Speer, and Nick Barrett. At 3:40 the song seems to end but, no! Piano and weird "bird" noises drag it into a long descent into a vacuous black hole (at least, on the video). (8.875/10)
4. "Angel of Flies" (7:40) starts out for its first couple minutes sounding more like an homage to the Berlin School of Progressive Electronic music. At 2:10 the "glass shatters" as drums and guitar chords unleash a surprisingly spacious WHO-like rock motif over which Adrian "Aio" O'Shaughnessy sings in a voice that seems to come straight out of the great hairbands of the 1980s. His long hold of vowels is reminiscent of singers like Sammy Hagar, Bruce Dickinson, and David Coverdale. The searing guitar play over the wonderfully-inventive drum pattern helps elevate the song even further. Nice power piece. (13.5/15)
5. "In Remembrance" (2:00) well-spaced piano notes fill a large chamber before bowed bass and/or ebowed guitar notes are added to create a tension-filled discordant cinematic feel. (4.5/5)
6. "Frustration/Sedation" (11:55) a song of almost standard Bob Dylan/Rolling Stones sound that drags on and on without ever really doing much but drawing out a long "Free Falling"-like motif. The performances are all polished and sound great but they lack power, vigour, and effect. Then there is the recitation of a list of "-tion"s from Aio carried out over the last three minutes as the musicians try to amp things up (a little too late, IMO). Nice guitar soloing in the finally 90 seconds (again, a little too late). (21.25/25)
3. "Ghosted" (4:22) a slow and spacious old blues-based tune with teased out vocals and teased out guitar notes à la David Gilmour, Paul Speer, and Nick Barrett. At 3:40 the song seems to end but, no! Piano and weird "bird" noises drag it into a long descent into a vacuous black hole (at least, on the video). (8.875/10)
4. "Angel of Flies" (7:40) starts out for its first couple minutes sounding more like an homage to the Berlin School of Progressive Electronic music. At 2:10 the "glass shatters" as drums and guitar chords unleash a surprisingly spacious WHO-like rock motif over which Adrian "Aio" O'Shaughnessy sings in a voice that seems to come straight out of the great hairbands of the 1980s. His long hold of vowels is reminiscent of singers like Sammy Hagar, Bruce Dickinson, and David Coverdale. The searing guitar play over the wonderfully-inventive drum pattern helps elevate the song even further. Nice power piece. (13.5/15)
5. "In Remembrance" (2:00) well-spaced piano notes fill a large chamber before bowed bass and/or ebowed guitar notes are added to create a tension-filled discordant cinematic feel. (4.5/5)
6. "Frustration/Sedation" (11:55) a song of almost standard Bob Dylan/Rolling Stones sound that drags on and on without ever really doing much but drawing out a long "Free Falling"-like motif. The performances are all polished and sound great but they lack power, vigour, and effect. Then there is the recitation of a list of "-tion"s from Aio carried out over the last three minutes as the musicians try to amp things up (a little too late, IMO). Nice guitar soloing in the finally 90 seconds (again, a little too late). (21.25/25)
7. "Golden Hour" (1:30) piano and "distant" reverb guitar interlude. (4.375/5)
8. "Dusk" (10:48) spacious slow-build atmospheric music that makes me envision RY KOODER teaming up with NO-MAN to lay their modern interpretation of Glen Campbell's version of Jimmy Webb's "Wichita Lineman." Aio sings in drawn out notes with a sound and passion that makes him sound like AXL ROSE at his most blues-rockishness. The song builds, peaks, and reverts to spaciousness in which Aio Rose injects his long-note two syllable words to the end. Fair but not anything here that is very new or innovative. (17.5/20)
Total Time 43:42
Total Time 43:42
An album of nice sounding music that with very mature and professional performances that just happens to be too spacious and monotonous, start to finish.
87.63 on the Fishscales = B/four stars; a very nice addition to any old time prog rocker's music collection.
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