Somewhere beneath the level of timeless masterpiece status lies a group of albums whose quality and merit deserve categorization of something like "near-masterpiece." These are albums that have either achieved a Fishermetric score of between 90.0 and 89.0 or whose high points or quality level make it remarkable enough to remain affixed in my memory.
From the Year 2026, you will find below 9 album releases deserving, in my opinion, of the "near-masterpiece" designation. With this low number of Near-Masterpieces--coupled with my total lack of motivation (or interest) in listening to, much less reviewing, so many of 2026's releases--I've come to realize that my interest in Progressive Rock music is seriously waning. I'm just not enjoying the repetition of old sounds and palettes, the rehashing of old ideas and themes, as well as the homogenous sounds of so many of the favored bands and sub-genres of the 21st Century (NeoProg and retro-symphonic prog seems to win the day). Reading this you will probably be able to understand why this will most likely be the last year of my somewhat-disciplined curation of 21st Century releases.
The Near-Masterpieces:
(Ratings of 90.0 to 89.0)
AETHER III
The Milanese impressionistic prog/J-R Fusion band continues to grow and expand--this time in even more unpredictable directions!
- Andrea Ferrari / Guitars & Keyboards
- Andrea Grumelli / Fretless Bass
- Andrea Serino / Fender Rhodes & Keyboards
- Matteo Ravelli / Drums & Elettronics
1. "Oort Cloud" (6:21) etheric/ambient atmospherics open this one--a long, slow development as Fender Rhodes, heavily-distorted guitar, heavy bass notes and chords, and synthesized "bassoons," "flutes," and other atmospheric noises slowly populate and fill the sound scape. Amazing that this flute is not real (or else it would be credited, right?) Nice diversion but not quite what I was expecting and/or hoping for from this band's third album. (8.667/10)
2. "Vogon" (4:51) smooth Jazz-Rock Fusion that is more in the realm of what I was expecting--add the bonus of an appearance of the great theatric cabaret Jazz artist Claudio Milano to sing/recite in his Demetrio Stratos way the lyrics to a made up language that the Aether gang created themselves (inspired by Douglas Adams' Hitchiker's Guide to the Universe). I love the music! It's quite like that of one of my favorite 21st Century bands, UNAKA PRONG, from North Carolina. Much more sophisticated than the gentle/soothing-yet-dominant Fender Rhodes would reveal. Very happy-go-lucky and up-lifting. (9.25/10)
3. "Cinq Teintes, Quatre Cadres" (8:42) ambient electric guitar picking in a sonicsphere of lush reverb is thickened by the joinder of layers of keys and bass before orchestral drums and electronic keyboard and lead guitar enter to jazzify the music as if Andy Summers and Robert Fripp were together again playing with an electronica keyboard wiz. In the fifth minute things quite down as Andrea Ferrari's guitar work begins to lead the band into a kind of SONAR-scape of Minimalist Math Rock. At 5:20 then we move into a more spacious scape in which Matteo's tom-tom pattern provides the foundational movement for a jazzy Fender Rhodes solo and, later, a weave with Andrea Grumelli's heavily-treated bass and Ferrari's distorted lead guitar in the mix. The heavily-reverbed song ends with the instruments slowly dismantling and slowing down the weave, reminding me a lot of 4 AD's 1980s instrumental band DIF JUZ. Nice piece. (18/20)
4. "La Mélancolie Du Petit Prince" (4:37) over/within Andrea Serino's classical piano ruminations the other instrumentalists add their tracks of untreated fretless bass, computer glitch sounds, and natural and unnatural percussion sounds. It's as if Eric Satie was caught in a sombre-yet-romantic mood playing a piano in an empty French chateau while a group of construction workers and electricians were doing restoration work in and just outside other parts of the piano's salon or grand ballroom. (I can't stop picturing Chantilly.) Or one could compare this to Ruyichi Sakamoto's 21st Century (or life-long) fascination with sound recording glitches--the work he did with Christian Fennesz and/or Alva Noto. Pretty and suitably dystopian for our times. (9/10)
5. "Panta Rei" (8:00) more (a different kind of) piano-founded sound exploration: it's not always harmonically pleasing, always on the edge of being melodic in familiar Western ways, on the edge of being satisfying while never really hitting the "right" notes. It's reminiscent of 1970s exploratory jazz (think Keith Jarrett) and also Smooth Jazz (Ahmad Jamal) yet also totally pleasing--at least, until the fifth minute when Serino and Grumelli lock into a five-note, three-chord progression to support Ferrari's rock-jazz guitar solo (that reminds me of John Abercrombie, Sonny Sharrock, Larry Coryell, and Fred Frith channeling their most aggressive Jimi Hendrix and Ornette Coleman energies). The song ends with Serino's piano, all alone, gently tucking us into bed. Interesting--to say the least. I really like a lot of it, though I've never been a serious fan of the free and loose distorted guitar shredding that Ferrari uses here. (13.5/15)
6. "Swerve" (10:42) thought this song opens with simple, straightforward (almost child-like) Fender Rhodes play, other tracks of synthesizer and guitars soon join in, taking the music into more serious realms. Soon Ferrari seems to be relying predominantly on a heavily-treated (reverb) guitar sound--one that reminds me of Eef Albers on Focus Con Proby's "Wingless" and "Orion" as well as the "infinity" guitars of Michael Brook and Dif Juz. By the end of the fourth minute the song has become a serious Rock-infused Jazz of the 1970s variety, even incorporating time signature slow downs and speed ups, swaying shifts into more stereotypic Rock stylistics while and before re-incorporating more Jazz-expressive sounds, lines, and motifs. Matteo Ravelli's excellent drumming plays hugely throughout this one as does Ferrari's lead guitar while Grumelli and Serino's work provides more of the foundational work to keep this one on the rails. The final motif (presented in slow down mode) sees the blending and turn-taking of all four instruments before Ferrari's last notes sound, decay, and slowly fade away. (18/20)
Total Time 43:13
As a blend of old and new this album stands out as an excellent bridge--one that feels experimental and exploratory while, as alluded to, also firmly expressive, even honorific, of old "classics." This alone makes it a remarkable album but also the fact of the use of totally fresh and original compositions to do so makes it doubly so. Though it's hard for me to say that I like or love this music, I do find it fascinating and I do, very much, appreciate the labor and creativity that went into creating it. This has been a fun and enjoyable album to take my time getting to know but I don't know how much I'll be listening to it once the year passes.
89.90 on the Fishscales = B+/4.5 stars; a near-masterpiece of genre- and stylistic-blending Jazz Fusion. The band continues to explore and progress and I commend them and urge them to continue doing so.
89.90 on the Fishscales = B+/4.5 stars; a near-masterpiece of genre- and stylistic-blending Jazz Fusion. The band continues to explore and progress and I commend them and urge them to continue doing so.
PLANTOID Flare
The Brighton-based band returns with their second album of King Crimson/black midi-like music.
- Chloe Spence / vocals
- Tom Coyne / guitar
- Louis Bradshaw / drums
- Nathan Ridley / composition, support musicianship, production
1. "Parasite" (6:27) opening with more than a minute of dynamic guitar-chord ripping rock that sounds like something from a black midi album, in the middle of the first minute the band backs down to reveal the dulcet underbelly of the beast (a pattern that I've now come to know and almost expect from plantoid music). The music is gentle yet subtly hiding its mischevious potential energy despite the lulling into submission of Chloe Coyne's Siren-like voice (all of it shades of my favorite album of the 2020s. Then, just as she's got your floating off to sleep (around 6:25) the band comes pounding back with the machine gun blasts of the artillery to finish us off. Genius deception--like the deadly beauty of the great legends of mythology--most of whom were, of course, women. (9.125/10)
2. "Ultivatum Cultivation" (5:20) more genius in the palette, structure, and delivery of this one--Chloe Coyne is such a vixen of allure and deceit: the way she can draw one in with her amazing voice despite the ambiguity of her (perhaps) devious meanings hidden in her lyrics. It's just such a clever sound! (9.125/10)
1. "Parasite" (6:27) opening with more than a minute of dynamic guitar-chord ripping rock that sounds like something from a black midi album, in the middle of the first minute the band backs down to reveal the dulcet underbelly of the beast (a pattern that I've now come to know and almost expect from plantoid music). The music is gentle yet subtly hiding its mischevious potential energy despite the lulling into submission of Chloe Coyne's Siren-like voice (all of it shades of my favorite album of the 2020s. Then, just as she's got your floating off to sleep (around 6:25) the band comes pounding back with the machine gun blasts of the artillery to finish us off. Genius deception--like the deadly beauty of the great legends of mythology--most of whom were, of course, women. (9.125/10)
2. "Ultivatum Cultivation" (5:20) more genius in the palette, structure, and delivery of this one--Chloe Coyne is such a vixen of allure and deceit: the way she can draw one in with her amazing voice despite the ambiguity of her (perhaps) devious meanings hidden in her lyrics. It's just such a clever sound! (9.125/10)
3. "The Weaver" (4:57) a very simple Math Rock weave over (or is it within? or under?) which Chloe declares her unwillingness to participate in the destruction and/or escape from the disintegrating planet. I really enjoy this song: it has a surprising comforting psychedelic-hypnotic effect on me despite its doomer message and having to work really hard to hear the message. (9.125/10)
4. "Dozer" (6:00) the first song whose setup turns me off a bit (I hate these one-two type of rock drum beats). Chloe and the guitars do their best to quell my aversion--her lyrics about how to personally act when "the sky starts falling down" ("golden" sleep). In the fourth minute the band switches their focus to theatric instrumental soundscaping--which is entertaining in a King Crimson-kind of way--even incorporating quite a long blank space (to imply the silence after the explosion of the "Big One"?)--but then they return to the abrasive Crimsonian palette for the finish before another period of silence ensues--which is soon filled with string quartet work (as if we're on the sinking Titanic!) Conceptually brilliant but not my favorite song. (I do so like a little more charm and marm!) (8.875/10)
5. "Good For You" (6:18) Chloe's delicate, almost child-like breathy soprano opens this as arpeggiated acoustic guitar chords support her. The main melody in her vocal sounds like a delicate post-apocalyptic version of the previous song's melody while the multi-layers of meaning in the lyrics seem to express the dream-like memory of romantic summer evenings with a loved one who . . . is probably not there and may no longer be available. Very interesting. And intriguing. I love the long, unnecessarily-protracted unchanging guitar outro. (8.875/10)
6. "Worn" (3:46) gorgeous air-vocal over interesting undefinable world music hybrid. The intended meaning of the lyrics to this one are beyond the capacity of my puny little language-addled brain. (8.875/10)
7. "Splatter" (2:49) the punk rock side of plantoid. This one could be about werewolves, vampires, or other night creatures but I don't really know. It sounds like something that fits in with the Twilight movies. (8.75/10)
8. "Slow Moving" (4:38) slow rolling music befitting a gentle night on the veranda. This one definitely feels like relationship stuff: unresolved negative patterns or of dysfunction that keep repeating despite having tried to deal with them over. The singer is getting tired of the repetition but she appreciates the reset that day time routines afford and, in the end, admits that she's not dead or "empty"--not yet ready to give up--that she's just "slow," needs time to move. Beautiful and brilliant--both musically and lyrically. My favorite song on the album. (9.375/10)
9. "Daisy Chains" (7:26) an odd song whose lyrics cause me to get stuck on the imagery from the original Frankestein film in which Boris Karloff's monster encounters the little flower-picking girl beside the river/lake. Sorry! But that's how ambiguous the lyrics feel--and how heavy, dark, and noncommittal the music feels. (Moral ambiguity. Just as Mary Wollstonecraft Shelley would have wanted.) The feelings of sadness and horror are revealed in the instrumental outro. (13.25/15)
Total Time 47:47
Total Time 47:47
I've been listening to this album since the day it was released (no, not continuously, you silly!) hoping to find distinctive elements to each and every song but the plantoid formula runs deep, becomes predictable; it's all in the lyrics (to which I am often obtuse--unless I work really hard to. I get the sense that, like many of the young (Gen X & Gen Z) (prog) rockers out there, (as well as many of the young hippy-somethings in the 1960s and 1970s), Chloe, Tom, Louis, and Nathan are quite concerned for the urgent fate of this version of the human race. There is so much in this band's music that conjures up kindredness between some of my other favorite 21st Century bands, like iNFiNiEN (Chrissy Loftus), Oiapok (Melanie Gerber), Bent Knee (Courtney Swain), and even A Formal Horse (Hayley McDonnell). It is quite the concession on my part that I've made this kind of effort to find out what Chloe and Nathan are trying to say with the messages of their lyrics: I have no truer testament to my love and interest of a band than this effort.
ALIO DIE & AGLAIA L'oro di Kronos
Played and performed by Stefano Musso and Gino Fioravanti in 2024-2025. Released digitally by Hic Sunt Leones on May 1, 2026.
Line-up / Musicians:
- Stefano Musso / drones, loops, santoor, monocord, zither, field recordings
- Gino Fioravanti / synthesizer, programming
2. "A Tactile Textures Imprints" (14:41) I am with this song reminded of Mark Isham's amazing soundtrack to the 1985 film, Never Cry Wolf--which shouldn't be a bad thing but when listening to Alio Die music I'm always hoping for a transportative experience out of my body, not one that keeps me firmly planted in my shoes. Pretty, beautiful, though at times when the human-generated sounds jump in, rather scary and alarming. Were sounds of the crackling forest fires, foot stomping military parades, and buzzing of electricity wires absent, this would be a perfect song! (26.75/30)
VESPERO Tej 6.7
JUAN BELDA & THE BIT BAND Memories of a Loser
Line-up / Musicians:
- Juan Belda / all instruments
with:
- Jorge Pardo
- Pelayo Arrizabalaga
- Enrico Barbaro
- Juanjo Ortí
- Javier Colis
- Markus Breuss
1. "I Had a Dream" (2:13) over a recording of a female student's English narration of a dream of hers a NuJazz multi-track weave of multiple horns, synth horns, pianos, xylophones, fuzzy electric guitars, and bass and drums and synthesizer noises all travel together like the start of a marathon race: with each instrument traveling an oscillating path of pitch, all at the same speed, each with their own individual, loose and idiosyncratic expressions of the same directional goal. Interesting. Reminds me of something Markuus Pajakaala would do (especially because of the prominent presence of low-end horns like bassoons or baritone saxophones mixed with multiple tracks of various tuned percussion instruments). (4.375/5)
2. "Memories of a Loser" (3:39) a kind of bleed-over from the previous dream song turns into a kind of loose jazz lounge (or airport piano and sundry instruments and sounds that happen to show up--including honking horns from taxis) all given motion by a rolling bass, drums and piano. There are appearances from quite a variety of "passer-by" guests, including multiple horns, all acting as if they're just walking by and happen to have an instrument to throw into the mix for a few seconds before moving on. Interesting. (8.75/10)
3. "I Want You (She's So Heavy)" (4:04) Yes, that "I Want You (She's So Heavy)"--here rendered by jazzy-blues-rock combo with a very active drummer, multiple guitar, keyboard/synth, and horn contributors, each throwing their Fred Frith-Sonny Sharrock-like interpretations into the increasingly-wild mix. Interesting. (8.875/10)
5. "The Narrow Way" (3:53) faded in BRAINTICKET-like melody pattern of synth/organ and piano with drums and synth-saw bass line in which voices, field recordings, pianos, keyboards, eerie synthesizers, and other instruments weave in and out of each other's presence with almost violent and reckless abandon despite all somewhat following the rising and falling oscillation of the main bass and synth melody line. (9/10)
6. "La máquina de los sueños" (3:32) a cool jazz track that could easily occupy a soundtrack to a street-walking scene in a spy movie: there are tons of supplemental tracks woven in and out, panning across the soundscape, a lot of them treated field recordings of radio and/or passers-by voices. Very cool. (9.125/10)
MYRATH Wilderness of Mirrors
2. "Until the End" (4:03) great power metal with the power of male and female duet vocals: Zaher and guest singer Elize Ryd. The two vocalists do a great job as the band casts forth the excellent Arabian-flavored djenty metal that Myrath excels at. Too bad the chorus borrows that "Enter the Sandman" riff Probably my other top three song. (9/10)
3. "Breathing Near the Roar" (3:34) more Lion King Africanisms with some other overly-familiar metal melody hooks. (8.875/10)
4. "Les Enfants du Soleil" (6:03) children's voices in choir singing in French with acoustic guitar support before Zaher joins in singing an emotional ballad-like vocal . . . until the end of the first minute when a Disco-Arabian hard rock motif takes over. Nice metal bass work! Interesting conglomeration that just doesn't do it for me. (8.75/10)
5. "Still the Dawn Will Come" (5:01) group clapping pattern opens this before the djent-metal guitar riffs, percussion/drums, acoustic guitar, heavy bass and strings join in. Now this is what I've been waiting for--the kind of unique prog metal that Myrath has made uniquely its own. Excellent tune on all levels.
6. "The Clown" (4:46) another power metal tune that just sounds too generic to the 1980s Ozzie-era--with weak structure and very little instrumental excitement. The Arabic "background" singing in third minute is what I really came for. (8.75/10)
7. "Soul of My Soul" (3:38) a four-chord ballad that opens like a metal tune but then turns into an early Elton John-like piano-only song for Zaher's first verse. The choruses are where the music ramps up to prog Metal territory while the verses are strings-supported piano dominant, which makes for an interesting contrast--one that feels more familiar from a modern Country-Western or Christian Rock perspective. Overall, it's just a little too Anglo-syrupy. (8.75/10)
8. "Edge of the Night" (4:21) ramping it up again (finally) into the Arabian-infused power metal that I want from Myrath. Great keyboard work from Kevin Codfert. (9/10)
9. "Echoes of the Fallen" (4:02) more of the music that have come to expect and deeply desire from Myrath--at least the opening. Then it goes 1980s techno-New Wave! Then metal orchestra. (8.875/10)
10. "Through the Seasons" (5:48) opening with some traditional ethnic instrument (saz) delivering the song's main melody before the full band takes it up and carries it forward until the choruses. Great orchestra and metal instrument mix. Again, this is more like the music I came here to hear. The choruses are my favorite parts due to the excellent melody lines and clarity of the instrumental palette. The instrumental "C" part in the fourth minute is excellent, highlighted by the Tunisian hand percussion and saz being represented so clearly within the exciting metal music. The song then ends with the solo saz supported only by a gentle harp-like keyboard, which is quite a contrast to the main body of the song but totally in keeping with the song's overall main melody. Excellent construct. Definitely a top three song for me. (9.25/10)
Total Time 46:52
89.375 on the Fishscales = B+/four stars; an excellent addition of ethnically-blended Prog Metal that should satisfy many fans and but for me strikes very little new territory.
89.87 on the Fishscales = B+/4.5 stars; a near-masterpiece of King Crimson-invoking crossover prog that is, in my humble opinion, a bit too dependent upon the lyrical messages than the music or musicianship--especially when compared to their amazing debut album. At the same time I do not consider this a case of "sophomore slumping" just directional shift in focus. I feel strongly that this band has much more wonderful music to give us and they should know that I will always be coming back for more.
Played and performed by Stefano Musso and Gino Fioravanti in 2024-2025. Released digitally by Hic Sunt Leones on May 1, 2026.
Line-up / Musicians:
- Stefano Musso / drones, loops, santoor, monocord, zither, field recordings
- Gino Fioravanti / synthesizer, programming
1. "The Eternal Cycle of Caterpillar" (15:12) this one definitely emerges from out of the primordial soup that was the world of Brian Eno circa 1980--which amazes me since it shows me that technological advances in sound rendering have not really progressed that much farther since that time (perhaps in "surround sound" imaging technologies). I do enjoy this song's cycling through the rainforest/jungle in the middle as well the addition of more immediate and in-front-of-you full-spectrum hammered zither with its low ends, but the deep bass "construction or bomb" thrums that start presenting themselves from 9:30 on are a bit unsettling, even off-putting. Otherwise, this is a very pleasant and enjoyable "Siddhartha in the Prosperous City Acting as the Merchant's Assistant" kind of experience. This is my favorite song on the album (despite its inability to free my spirit beyond the confines of my mind). (27.5/30)
2. "A Tactile Textures Imprints" (14:41) I am with this song reminded of Mark Isham's amazing soundtrack to the 1985 film, Never Cry Wolf--which shouldn't be a bad thing but when listening to Alio Die music I'm always hoping for a transportative experience out of my body, not one that keeps me firmly planted in my shoes. Pretty, beautiful, though at times when the human-generated sounds jump in, rather scary and alarming. Were sounds of the crackling forest fires, foot stomping military parades, and buzzing of electricity wires absent, this would be a perfect song! (26.75/30)
3. "The Ages of Crystals" (16:29) part Laraaji, part Fripp-Eno Evening Star, part Holger Czukay radio sounds and samples, this one has an interesting combination of sounds but, again, one that holds me back from leaving my body. The cumulative effect is to offer the listener a kind of temporal portal to the geological history of the our solar systems' Red Planet--which can be interesting if a bit lonely. (26.75/30)
4. "Raising Memories Suspended Forever" (22:00) there are some elements of this song that remind me of Thom Brennan, some that remind me of Star Wars sci-fi sound effects, and part that are droning along like time-space flight in any music inspired by Vangelis' Blade Runner soundtrack music. Overall, it works okay, I just feel as if I've visited Brawne Lamia's home planet of Lusus (in Dan Simmons' Hyperion sci-fi novel) for a Hallowe'en party. (You know: the planet where gravity is 1.3 times that of Earth.) (How was the party? It was fun but I'm exhausted!) (40.25/45)
Total Time 68:22
Total Time 68:22
Unfortunately, these songs are too loaded with human sounds causing them to anchor my Light Being to constant awareness of my human bodymind. Not what I hope for in my Alio Die music listening experience--which is totally unfair to Stefano (and Gino) in that I do not hold many of my other favorite artists to this same standard. Also, I like my meditational travels to be a little less guided, less prompted, more loose and free-spirited than is the fare of this album: just set me free and my Spirit will know where to take me!
89.81 on the Fishscales = B+/4.5 stars; a near-masterpiece of visually-rich Ambient music from one of our 21st Century treasures (and his frequent collaborator).
89.81 on the Fishscales = B+/4.5 stars; a near-masterpiece of visually-rich Ambient music from one of our 21st Century treasures (and his frequent collaborator).
This Russian band's 17th studio album release! Can you believe they've been pumping them out since 2005! And, despite retaining a consistent core of musicians, they keep evolving.
Line-up / Musicians:
- Alexander Kuzovlev / Guitars, Saz, Mandoline
- Vladimir Ryabinin / Acoustic & Electric Guitars
- Arkady Fedotov / Bass, Noises, Synths
- Ivan Fedotov / Drums, Percussion, Wavedrum
With:
- Alexander Koryukovets / Button Accordion
1. "Cendo" (5:54) electrified and effected acoustic guitar, fretless bass, gritty synth washes, and waves of cymbal sounds open this before the band launch into a jazz-rockin' motif that is rooted in traditional folk forms and melodies (amplified when Alexander Koryukovets' accordion joins in). The two concurrent lead guitar lines are the song's most distinguishing feature (aside from the accordion and Russian folk feel). Overall, I like it though it feels, compositionally, a little loose and unpolished to me (and the fact that Ivan Fedotov's drumming during song's second half feels out of sync with the rest of the band). At times it's just a bit too messy and cacophonous. (8.75/10)
2. "Issero" (6:21) a very satisfying multi-motif song that starts out very warm and comforting--sounding like a blend of something from Robin Guthrie's chord bank and Paul Speer's atmospheric guitar world before Arkady Fedotov's antelope-like fretless bass enters with Alexander Kuzovlev's Steve Vai/Jeff Beck-like "floating" volume-pedal-manipulated lead electric guitar note play taking up the lead position. While at first I like Arkady's work very much, when he settles in the lowest registers of his sound capacity it muddies the song terribly--detracting from the rest of the weave. From there there are three other motifs, a brief bridge of synth-generated Ozrics/Kosmisches swirly sounds, a heavy fast-moving rocker over which Alex Kuz plays "mandoline" while rhythm guitarist Vladimir Ryabinin chugs along on some deep near-metal chords and then a final return (via folk instrument bridge) to Jazz-lite world music with gentle power chord strums of Vlad's electrified acoustic guitar and Alex Kuz's saz play. Overall I like this one pretty well. (9.125/10)
3. "Joreil" (5:30) Alexander's use of saz as the lead instrument in this is welcome: creating a very inviting, very warm melody within the thick featherbed weave of heavily-distorted and -chorused gentle electric guitar strumming, driving bass and drums and, soon, accordion. Switching to volume-pedal controlled electric lead guitar, Alexander continues some excellent melodic soloing with Arkady Fedotov's acoustic guitar and Alexander Koryukovets' accordion also playing some nice "secondary" melody lines within the rich weave. A very pleasant, pleasing sometimes Greek folk-feeling song. (9/10)
4. "Tio" (7:11) thought Alexander Kuzovlev's staccato lead guitar line provides the lead, I find Arkady Fedotov's bass play the most enjoyable and interesting thread of this song's first motif. In the early third minute the band switches into a new, smoother and more spacious motif as Ivan leads the way with brother Arkady providing the propellant for Alexander Kuzovlev's new approach to his Jeff Beck "Nadia"-like synthesized guitar lead. At the end of the fifth minute the band switches again onto a more forceful, Math Rock weave for a motif that has them traveling at a breakneck speed as Alexander shreds for a bit before settling into a mathematical melody pattern (even doubling it up with a second lead STEVE VAI-like electric guitar line) taking the song to its conclusion. Nice song! (13.5/15)
5. "Akcani" (5:47) a song that is infused with a Russian folk feel not unlike Uzbekestan prog band FROM.UZ's earlier material. I like the use of unorthodox drum and percussion sounds as well as the doubling up of Alexander's main melody line by Arkady and, sometimes, Vladimir and Alexander Korykovets' accordion. The prominent use of the saz in the second half only solidifies the "Eastern" feelings oozing from this song (which I like). (8.875/10)
6. "Plake" (6:53) the sound palette of this one has, for me, an almost-Caribbean flavor--like something one might have heard from world music artists Strunz & Farah or Govi back in the 80s or 90s but the hyper-speed pace provided by Ivan is much different than those artists, and then come the Kosmisches space synthesizer and mandoline sounds mixed into the weave. This is followed by another section with Alexander Kuz playing his volume-pedaled lead guitar followed by more straightforward axe playing for a bit before reverting to the "new" volume-pedal-controlled note playing. I like the world music feel of the first half but have to admit that this is one of those songs on which Ivan Fedotov's drumming just feels incongruous and unfit. (13.25/15)
89.58 on the Fishscales = B+/4.5 stars; another great collection of songs from these excellent musicians and unique craftsmen--once again defying categorization due to their idiosyncratic blending of diverse and eclectic styles and sounds. While not a masterpiece, this is not an album to be trifled with. Highly recommended.
Line-up / Musicians:
- Alexander Kuzovlev / Guitars, Saz, Mandoline
- Vladimir Ryabinin / Acoustic & Electric Guitars
- Arkady Fedotov / Bass, Noises, Synths
- Ivan Fedotov / Drums, Percussion, Wavedrum
With:
- Alexander Koryukovets / Button Accordion
1. "Cendo" (5:54) electrified and effected acoustic guitar, fretless bass, gritty synth washes, and waves of cymbal sounds open this before the band launch into a jazz-rockin' motif that is rooted in traditional folk forms and melodies (amplified when Alexander Koryukovets' accordion joins in). The two concurrent lead guitar lines are the song's most distinguishing feature (aside from the accordion and Russian folk feel). Overall, I like it though it feels, compositionally, a little loose and unpolished to me (and the fact that Ivan Fedotov's drumming during song's second half feels out of sync with the rest of the band). At times it's just a bit too messy and cacophonous. (8.75/10)
2. "Issero" (6:21) a very satisfying multi-motif song that starts out very warm and comforting--sounding like a blend of something from Robin Guthrie's chord bank and Paul Speer's atmospheric guitar world before Arkady Fedotov's antelope-like fretless bass enters with Alexander Kuzovlev's Steve Vai/Jeff Beck-like "floating" volume-pedal-manipulated lead electric guitar note play taking up the lead position. While at first I like Arkady's work very much, when he settles in the lowest registers of his sound capacity it muddies the song terribly--detracting from the rest of the weave. From there there are three other motifs, a brief bridge of synth-generated Ozrics/Kosmisches swirly sounds, a heavy fast-moving rocker over which Alex Kuz plays "mandoline" while rhythm guitarist Vladimir Ryabinin chugs along on some deep near-metal chords and then a final return (via folk instrument bridge) to Jazz-lite world music with gentle power chord strums of Vlad's electrified acoustic guitar and Alex Kuz's saz play. Overall I like this one pretty well. (9.125/10)
3. "Joreil" (5:30) Alexander's use of saz as the lead instrument in this is welcome: creating a very inviting, very warm melody within the thick featherbed weave of heavily-distorted and -chorused gentle electric guitar strumming, driving bass and drums and, soon, accordion. Switching to volume-pedal controlled electric lead guitar, Alexander continues some excellent melodic soloing with Arkady Fedotov's acoustic guitar and Alexander Koryukovets' accordion also playing some nice "secondary" melody lines within the rich weave. A very pleasant, pleasing sometimes Greek folk-feeling song. (9/10)
4. "Tio" (7:11) thought Alexander Kuzovlev's staccato lead guitar line provides the lead, I find Arkady Fedotov's bass play the most enjoyable and interesting thread of this song's first motif. In the early third minute the band switches into a new, smoother and more spacious motif as Ivan leads the way with brother Arkady providing the propellant for Alexander Kuzovlev's new approach to his Jeff Beck "Nadia"-like synthesized guitar lead. At the end of the fifth minute the band switches again onto a more forceful, Math Rock weave for a motif that has them traveling at a breakneck speed as Alexander shreds for a bit before settling into a mathematical melody pattern (even doubling it up with a second lead STEVE VAI-like electric guitar line) taking the song to its conclusion. Nice song! (13.5/15)
5. "Akcani" (5:47) a song that is infused with a Russian folk feel not unlike Uzbekestan prog band FROM.UZ's earlier material. I like the use of unorthodox drum and percussion sounds as well as the doubling up of Alexander's main melody line by Arkady and, sometimes, Vladimir and Alexander Korykovets' accordion. The prominent use of the saz in the second half only solidifies the "Eastern" feelings oozing from this song (which I like). (8.875/10)
6. "Plake" (6:53) the sound palette of this one has, for me, an almost-Caribbean flavor--like something one might have heard from world music artists Strunz & Farah or Govi back in the 80s or 90s but the hyper-speed pace provided by Ivan is much different than those artists, and then come the Kosmisches space synthesizer and mandoline sounds mixed into the weave. This is followed by another section with Alexander Kuz playing his volume-pedaled lead guitar followed by more straightforward axe playing for a bit before reverting to the "new" volume-pedal-controlled note playing. I like the world music feel of the first half but have to admit that this is one of those songs on which Ivan Fedotov's drumming just feels incongruous and unfit. (13.25/15)
7. "Capitli" (4:30) a cool guitar weave, acoustic and electric, with great bass and accordion worked into the weave quite thickly while Ivan provides a wave-like rhythm track beneath it all. Alex Kuz enters in the middle with his lead electric, culminating in a bridge of staccato-chord pulses punctuation to transition us back into the gentler domain akin to the opening. Arkady's fretless lines here are great--matching perfectly Alex's volume-pedal-controled lead noteplay. I like this one very much. (9.125/10)
8. "Far" (6:24) opening with more of Alex Kuzovlev's new Steve Vai/Jeff Beck-borrowed volume-pedal-controlled "centerless" note play, the band soon joins in providing another unusual world music (Caribbean/Yacht Rock) foundational weave for Alex to microtonally bend his notes over. The chorus "B" section finds the band traveling into some jazzier, almost heavy metal pathways while Alex continues his explorations of Steve Vai territory. The fourth minute is quite askew, feeling like a modern rock/metallized take on some of Dick Dale's 1960s Surfer Rock. Interesting! Never boring and, to be honest, not bad! (9/10)
Total Time 48:30
While I like the band's use of more regionally-traditional instruments (saz, mandoline, acoustic guitar, accordion) and the "world music" feels generated by such choices and combinations, I'm not as much of a fan of Alexander Kuzovlev's melody or sound choices. The Steve Vai/Jeff Beck like guitar tone/sound that he's now obsessed with is interesting but, in my opinion, is only a gimmick that should be used sparingly so that it doesn't get old or overwhelming, not on every song. As is not unusual, Ivan Fedotov's drumming, in my opinion, is occasionally unbefitting the music or weave: as if his sense of rhythm is different, even in conflict with, the rest of the band. The best and most consistently pleasing elements of this album's music, for me, are Arkady Fedotov's exquisite bass play and the enriching qualities of Alexander Koryukovets's accordion and Vladimir Ryabinin's comforting acoustic guitar tracks. Obviously, this album, for me, in no way reaches the heights of near-perfection that their 2023 masterpiece De ludo globi did. Still, this is another quite fine album: by no means a dud.
Total Time 48:30
While I like the band's use of more regionally-traditional instruments (saz, mandoline, acoustic guitar, accordion) and the "world music" feels generated by such choices and combinations, I'm not as much of a fan of Alexander Kuzovlev's melody or sound choices. The Steve Vai/Jeff Beck like guitar tone/sound that he's now obsessed with is interesting but, in my opinion, is only a gimmick that should be used sparingly so that it doesn't get old or overwhelming, not on every song. As is not unusual, Ivan Fedotov's drumming, in my opinion, is occasionally unbefitting the music or weave: as if his sense of rhythm is different, even in conflict with, the rest of the band. The best and most consistently pleasing elements of this album's music, for me, are Arkady Fedotov's exquisite bass play and the enriching qualities of Alexander Koryukovets's accordion and Vladimir Ryabinin's comforting acoustic guitar tracks. Obviously, this album, for me, in no way reaches the heights of near-perfection that their 2023 masterpiece De ludo globi did. Still, this is another quite fine album: by no means a dud.
89.58 on the Fishscales = B+/4.5 stars; another great collection of songs from these excellent musicians and unique craftsmen--once again defying categorization due to their idiosyncratic blending of diverse and eclectic styles and sounds. While not a masterpiece, this is not an album to be trifled with. Highly recommended.
I know nothing of this artist but I have had many encounters with idiosyncratic creatives like him, so I feel somewhat steeled, if not totally qualified (who is?), for the experience of listening to this album.
- Juan Belda / all instruments
with:
- Jorge Pardo
- Pelayo Arrizabalaga
- Enrico Barbaro
- Juanjo Ortí
- Javier Colis
- Markus Breuss
1. "I Had a Dream" (2:13) over a recording of a female student's English narration of a dream of hers a NuJazz multi-track weave of multiple horns, synth horns, pianos, xylophones, fuzzy electric guitars, and bass and drums and synthesizer noises all travel together like the start of a marathon race: with each instrument traveling an oscillating path of pitch, all at the same speed, each with their own individual, loose and idiosyncratic expressions of the same directional goal. Interesting. Reminds me of something Markuus Pajakaala would do (especially because of the prominent presence of low-end horns like bassoons or baritone saxophones mixed with multiple tracks of various tuned percussion instruments). (4.375/5)
2. "Memories of a Loser" (3:39) a kind of bleed-over from the previous dream song turns into a kind of loose jazz lounge (or airport piano and sundry instruments and sounds that happen to show up--including honking horns from taxis) all given motion by a rolling bass, drums and piano. There are appearances from quite a variety of "passer-by" guests, including multiple horns, all acting as if they're just walking by and happen to have an instrument to throw into the mix for a few seconds before moving on. Interesting. (8.75/10)
3. "I Want You (She's So Heavy)" (4:04) Yes, that "I Want You (She's So Heavy)"--here rendered by jazzy-blues-rock combo with a very active drummer, multiple guitar, keyboard/synth, and horn contributors, each throwing their Fred Frith-Sonny Sharrock-like interpretations into the increasingly-wild mix. Interesting. (8.875/10)
4. "El lado oscuro de la calle" (3:31) synth- & electric guitar-generated noises, programmed drum/percussion, bass, and Holger Czukay-like random radio-recording tracks fed into the same David Torn/Stephan Thelen/SONAR-like Future Possible Jazz Musics mix. I happen to LOVE this! Sounds like the kind of music a self-assured terrorist might be listening to on his noise-cancelling headphones as he cased out a target airport, train station, bus depot or the like. (9.333/10)
5. "The Narrow Way" (3:53) faded in BRAINTICKET-like melody pattern of synth/organ and piano with drums and synth-saw bass line in which voices, field recordings, pianos, keyboards, eerie synthesizers, and other instruments weave in and out of each other's presence with almost violent and reckless abandon despite all somewhat following the rising and falling oscillation of the main bass and synth melody line. (9/10)
6. "La máquina de los sueños" (3:32) a cool jazz track that could easily occupy a soundtrack to a street-walking scene in a spy movie: there are tons of supplemental tracks woven in and out, panning across the soundscape, a lot of them treated field recordings of radio and/or passers-by voices. Very cool. (9.125/10)
7. "Ostinato en Em" (2:36) hypnotic left-hand piano pattern is congested with many other layers of horns, guitars, drums, percussion, more piano tracks, all spewing forth their vomit and excrement like a scene of exhaust plumes flowing thickly into the air from factory smokestacks, all moving synchronously in the same direction, same pattern. Excellent, though I wish it would've morphed or transitioned. (4.625/5)
8. "El trapecio" (3:16) jazz drums with descending chord bass line over/within which everything but the kitchen sinks thrown in from the listening drone flying around the airspace outside a busy mega-high-rise apartment complex. Okay as a dumping ground but under-developed. (8.75/10)
9. "Onda Media" (3:15) the soundtrack to an hour in the life of an airport's robotic floor cleaner/vacuum, all recorded, filtered through a high-speed playback feature so that the sound and visuals are moving in 3x speed. We're starting to travel beyond the boundaries of what is acceptable as dance and entertainment music: something that would be more appropriate to a 22nd Century Ornette Coleman, John Zorn, or Sonny Sharrock (which is beyond my tolerance or enjoyment capacity). (8.667/10)
10. "El final del camino" (2:57) the musical interpretation, capture, and/or expression of the cacophony of modern world mall life? (8.75/10)
11."Los platos rotos" (5:15) drums and drones: the first playing free jazz, the second providing stable observer perspective. This one actually grew on me--began making sense as well as achieving NEON HEART-like sublimity for me. Why this one and not some of the others I cannot explain. Perhaps the grounding, pacifying effect of the heavily reverbed Fender Rhodes or dreamy infinity notes coming out of the electric guitars helping to balance/offset the angsty drum play. (9.25/10)
12. "Ambient Loser" (1:57) gentle guitar and horn lullaby with glitch percussives. (4.5/5)
13. "Carnaval" (3:35) a Latin percussion display with incidental synth-generated noises thrown in every few seconds for spice and futuristic sci-fi effect. Interesting. (8.875/10)
Totla Time 43:42
Totla Time 43:42
I really enjoyed the journey arc through "real" modern world soundscapes that this album took me through. Though there are several songs I would call "keepers"--that I will look forward to when they come up in my random shuffle playlists--a lot of it feels like études or attempts to capture a single emotion or random life situation--which is not wrong or bad, just not universally appealing.
89.46 on the Fishscales = B+/4.5 stars; an excellent collection of one artist's personal and very modern perspectives of the world as he sees/experiences it. Some of these often-unusual and hyper-stimulating songs are bound to connect while some are bound to rankle: each listener will experience it differently, according to his/her/their own personal experiences and moods. I do recommend the experience: who knows what you'll get out of it!
89.46 on the Fishscales = B+/4.5 stars; an excellent collection of one artist's personal and very modern perspectives of the world as he sees/experiences it. Some of these often-unusual and hyper-stimulating songs are bound to connect while some are bound to rankle: each listener will experience it differently, according to his/her/their own personal experiences and moods. I do recommend the experience: who knows what you'll get out of it!
The Tunisian prog metal band's sixth studio album since they burst onto the scene with 2007's excellent debut, Hope. The core remains intact as does their excellent compositional blend of djenty metal with sophisticated instrumental lines and vocal sounds and melodies coming from the traditions of their Arabian backgrounds.
Line-up / Musicians:
- Anis Jouini / bass
- Malek Ben Arbia / guitars
- Zaher Zorgati / vocals
- Morgan Berthet / drums
- Kevin Codfert / keyboards, piano, vocals
With:
- Elise Ryd / vocals (2)
- Charly Sahona / acoustic guitars (1-6, 8, 10), electric guitars
- Cheikh Diallo / backing vocals (1, 3)
- Radhi Chaouali / violins & qraqeb (8)
- Fehmi Mbarki / saz (10)
- Myrath Orchestra / violins and altos section
- students from Glanum Rock School (Saint remy de provence) / choir (4)
- Frank Serafine / choir (7)
- Wassin Bibi / choir (7)
- Galya Nikolaeva / choir (7)
Line-up / Musicians:
- Anis Jouini / bass
- Malek Ben Arbia / guitars
- Zaher Zorgati / vocals
- Morgan Berthet / drums
- Kevin Codfert / keyboards, piano, vocals
With:
- Elise Ryd / vocals (2)
- Charly Sahona / acoustic guitars (1-6, 8, 10), electric guitars
- Cheikh Diallo / backing vocals (1, 3)
- Radhi Chaouali / violins & qraqeb (8)
- Fehmi Mbarki / saz (10)
- Myrath Orchestra / violins and altos section
- students from Glanum Rock School (Saint remy de provence) / choir (4)
- Frank Serafine / choir (7)
- Wassin Bibi / choir (7)
- Galya Nikolaeva / choir (7)
1. "The Funeral" (5:36) sounds like old school (late 1970s 1980s power metal lite) with some Mark Truack, Ozzie Osborne, and Peter Gabriel's Lion King-like African interests. At 1:20 the band switches out of intro/overture mode and ramps up into a fairly standard metal vamp for Zaher Zorgati to do what he and Ozzie Osborne do so well. The choruses are a bit more developed though they do reincorporate the Disney themes and extra layers but also amplify the Ozzie reminders. (The band's video for this song is kind of cool.) (8.75/10)
2. "Until the End" (4:03) great power metal with the power of male and female duet vocals: Zaher and guest singer Elize Ryd. The two vocalists do a great job as the band casts forth the excellent Arabian-flavored djenty metal that Myrath excels at. Too bad the chorus borrows that "Enter the Sandman" riff Probably my other top three song. (9/10)
3. "Breathing Near the Roar" (3:34) more Lion King Africanisms with some other overly-familiar metal melody hooks. (8.875/10)
4. "Les Enfants du Soleil" (6:03) children's voices in choir singing in French with acoustic guitar support before Zaher joins in singing an emotional ballad-like vocal . . . until the end of the first minute when a Disco-Arabian hard rock motif takes over. Nice metal bass work! Interesting conglomeration that just doesn't do it for me. (8.75/10)
5. "Still the Dawn Will Come" (5:01) group clapping pattern opens this before the djent-metal guitar riffs, percussion/drums, acoustic guitar, heavy bass and strings join in. Now this is what I've been waiting for--the kind of unique prog metal that Myrath has made uniquely its own. Excellent tune on all levels.
The best song on the album. This is what I came here for. (9.375/10)
6. "The Clown" (4:46) another power metal tune that just sounds too generic to the 1980s Ozzie-era--with weak structure and very little instrumental excitement. The Arabic "background" singing in third minute is what I really came for. (8.75/10)
7. "Soul of My Soul" (3:38) a four-chord ballad that opens like a metal tune but then turns into an early Elton John-like piano-only song for Zaher's first verse. The choruses are where the music ramps up to prog Metal territory while the verses are strings-supported piano dominant, which makes for an interesting contrast--one that feels more familiar from a modern Country-Western or Christian Rock perspective. Overall, it's just a little too Anglo-syrupy. (8.75/10)
8. "Edge of the Night" (4:21) ramping it up again (finally) into the Arabian-infused power metal that I want from Myrath. Great keyboard work from Kevin Codfert. (9/10)
9. "Echoes of the Fallen" (4:02) more of the music that have come to expect and deeply desire from Myrath--at least the opening. Then it goes 1980s techno-New Wave! Then metal orchestra. (8.875/10)
10. "Through the Seasons" (5:48) opening with some traditional ethnic instrument (saz) delivering the song's main melody before the full band takes it up and carries it forward until the choruses. Great orchestra and metal instrument mix. Again, this is more like the music I came here to hear. The choruses are my favorite parts due to the excellent melody lines and clarity of the instrumental palette. The instrumental "C" part in the fourth minute is excellent, highlighted by the Tunisian hand percussion and saz being represented so clearly within the exciting metal music. The song then ends with the solo saz supported only by a gentle harp-like keyboard, which is quite a contrast to the main body of the song but totally in keeping with the song's overall main melody. Excellent construct. Definitely a top three song for me. (9.25/10)
Total Time 46:52
While the quality of the compositions, performances, and overall production are still up to the excellent standards the band has established over their 20 year career, I feel that there is not enough new or refreshing innovation here to level it a masterpiece; there is a lot that feels old, rehashed, and/or reliant on old patterns and habits.
89.375 on the Fishscales = B+/four stars; an excellent addition of ethnically-blended Prog Metal that should satisfy many fans and but for me strikes very little new territory.
JUZZ (II)
Line-up / Musicians:
- Rosolino Marinello / saxophone tenor
- Virxilio da Silva / guitar
- Álex Salgueiro / Vocals, Continental, Mellotron, OB6, DX7, flute
- Xan Campos: Rhodes Poly D
- Felix Barth / electric bass
- Iago Fernández / drums
1. "Das Cabinet" (7:34) quite simple, even as the layers are added to give the weave kind of mobius strip rondo feel, but then everybody realigns within a straightforward chord structure so that some of the individual instruments can actually render proper solos--none of which are too exciting or erudite until the guitar solo in the sixth minute (which reminds me a lot of the sounds and stylings of the Samsara Blues Experiment). Decent though it feels rather staid and conservative until the psychedelic final two minutes. (13.333/15)
2. "Nostalxia adolescente" (10:44) a song that starts out kind of dull and monotonous gradually builds up steam generating interest through great chord progressions, it's nice Yacht Rock sound palette, great bass and Rhodes play from Felix Barth and Xan Campos, respectively, as well as a really nice guitar solo from Virxilio da Silva. Xan's Rhodes solo is spoiled a bit by his sound choice being a bit too "dirty" (distorted). The multiple horn work and sophisticated whole-band chord work that follows is nice but the drumming just feels so unenthusiastic, even lazy. Emptying into a solo synth violin bridge in the eighth minute we come out with a gentle, dreamy guitar and flute-led motif that would sound really nice were it not for the rather annoying bass drum metronome beneath it all. Still, this is a song that I thought was going to bore me but ended up impressing. (18/20)
3. "Supernova" (7:55) reverbed delicate electric guitar notes provide a dreamy, spacey opening bed of star stuff for the drums, keyboards, bass, and sax to add their own sleepy-seductive contributions. There are roots here in some of the original experimentations and explorations of the Jazz-Rock Fusionists of the 1960s and 1970s as well as the early Electronicists (who became lumped under the New Age categories). At 5:50 you get the feeling that the song is coming to a close when the band chooses to leap into a more firmly-committed presence--which is exciting--but then it kind of fizzles and settles into something rather routine and ordinary. (Like a star?) (13.333/15)
4. "Alto do Paraño" (5:49) as I was first listening to this tune while not paying close attention I suddenly thought I was listening to something from Jesse Colin Young and the Youngbloods or a Jimmy Webb song. But then the synths and wordless vocals come in and now I'm in some Harry Nilsson soundtrack (though other minor artists from the 1980s and 2010s also flit in and out of consciousness--too quickly, unfortunately, to identify--Lyle Mays being one of them). In the fourth minute, the main chord progression, sound palette, and melodic themes are very well established, so it becomes time for solos: Rosolino Marinello's tenor saxophone, to be specific, the rest is just ear candy repetitions of the Smooth Jazz hooks already established. Very sweet. (9/10)
5. "Despois do final" (4:02) Xan's dirty Fender Rhodes opens this one with a chord progression that Virxilio soon joins, followed by the end of the first minute by the full band in a standard four-chord rock progression while Virxilio and Rosolino weave their repetitious versions of the main melody line. Nice but nothing so great to prompt me to write home. (8.875/10)
Total Time: 36:09
Total Time: 36:09
These are no more than simple pop/rock song constructs that are given a psychedelic Smooth Jazz-Rock coating. Nice, often beautiful, but, I have to admit, rather disappointing when compared to the tremendous energy and potential being displayed on their debut album.
ANGINE DE POITRINE Vol. II
From my beloved Breton borough of Rennes, these two adventurists are grabbing hold of the live-looping and Math Rock world in a way that approaches avant-garde and Zeuhl! Ooo la la! Vive la France!
Line-up / Musicians:
- KHN de Poitrine / electric microtonal guitars
- Klek de Poitrine / drums & percussion
2. "Mata Zyklek" (6:10) microtonal Surfer Rock! Something that also feels familiar from some of the sillier Japanese Zeuhl and King Gizzard & The Lizard Wizard forays into microtonalism as well as the klezmer-type of music recorded by Mr. Bunghole, Humble Grumble, Estradasphere, and Farmers Market. The sporadic group lyrics interspersed rather randomly in the background feel very Japanese, humorous, and Rock-in-Oppositional. (8.875/10)
Line-up / Musicians:
- KHN de Poitrine / electric microtonal guitars
- Klek de Poitrine / drums & percussion
1. "Fabienk" (6:31) opening with a chromatic sequence of oddly-effected microtonal guitar "notes," drummer Klek de Poitrine soon joins in with his sharp, syncopated staccato beats while the two take a minute to fit into each other's world. When the do, the settle into a near-funky, near-Maserati groove that also feels a bit like "My Sharona" meets The Cardiacs. The groove winds and wends away in a kind of polyrhythmic mobius strip with little injections of noise and riff flourishes but mostly staying mathematically-disciplined until the wordless vocal chord ending the song. (8.875/10)
2. "Mata Zyklek" (6:10) microtonal Surfer Rock! Something that also feels familiar from some of the sillier Japanese Zeuhl and King Gizzard & The Lizard Wizard forays into microtonalism as well as the klezmer-type of music recorded by Mr. Bunghole, Humble Grumble, Estradasphere, and Farmers Market. The sporadic group lyrics interspersed rather randomly in the background feel very Japanese, humorous, and Rock-in-Oppositional. (8.875/10)
3. "Sarniezz" (4:36) slow, heavy, plodding bass notes open this while Klek responds accordingly. Then after about 15 seconds the duo pick up the pace and establish a catchy little motif that grooves and rocks until a second guitar track enters playing some crazy mid-range arpeggios on repeat. Stop and starts and changes in the rhythm section pacing give off the illusion that the song is changing but the guitar parts are actually staying on rather constant rotation until 3:20 when they take a break for a funny little Japanese-like injection of quirky command foreign language vocals. The music intensifies a bit as more layers are looped in until the duo brings it to a close. (8.875/10)
4. "Utzp" (6:51) back to a motif that feels totally inspired by quirky klezmer-informed artists (like the ones mentioned above). Again, the weave gets a little more interesting as the layers are added, thickening nicely (at times reminding me of the guitar entwinement of The Outlaws' "Green Grass and High Tides"), but, in the end it's just the same rhythm loop they started the song with (speeded up at the halfway point). (13.25/15)
5. "Yor Zarad" (6:30) this one has a bit more spice to offer: changing melody lines, changing instrument palettes, changes in rhythmic configurations and speeds, and not quite as much microtonal expression--what little there is sounds more like the work of a sitar or some other un-fretted, suspended high-tension string. I wish there weren't elements that remind me of Kenny Loggins' guitar riffs on the song "Footloose." The hard-driving Zeuhlish final minute is my favorite part. (9/10)
6. "Angor" (6:17) with a title like that one can't help but think that this band is aware of if not inspired by the (Japanese Zeuhl) band Koyenjihyakki. But the music is a bit more rudimentary: yes, it's exploring some complex polyrhythms expressed through a minimalist mathematical weave, and, yes, there's an obvious effort to conjure up some Classic Rock dual guitar weaves (think Thin Lizzy or Lynyrd Skynyrd), and, yes, there's almost a primal Native American beat to its overall pattern, and overall it does feel more like an homage to American Classic or Southern Rock. (8.875/10)
Total Time 36:55
Total Time 36:55
I definitely liked this music the first time I listened to it way more than I have in the successive listens. Probably because it was so fresh and refreshing. But over time the simplicity of the song constructs begins to become obvious. The weirdness of it all must have been masking this fact. In the end I feel strongly that this could easily become great music: with more collaborators, more tracks, less linearity and more winding and development. Their odd sound makes them feel sophisticated and virtuosic but they may in fact be fairly new to music, to their instruments, to their craft. They have a shtick (which you will see should you seek out their live performance videos) and ideas; I'd just like to see more dimensions added to both.
89.23 on the Fishscales = B+/four stars; an excellent collection of somewhat retro, somewhat futuristic/RIO Math Rock tunes that many will find quite entertaining, perhaps even enchanting.
THE BARDIC DEPTHS Some Things Are Worth Remembering
89.23 on the Fishscales = B+/four stars; an excellent collection of somewhat retro, somewhat futuristic/RIO Math Rock tunes that many will find quite entertaining, perhaps even enchanting.
Peter Jones and his Bardic Depths collaborators are back with their fourth studio album release of this decade.
Line-up / Musicians:
- Dave Bandana / vocals, keyboards, bass
- Peter Jones / vocals, clarinet, alto saxophone
- Gareth Cole / 12-string, electric & acoustic guitars, vocals
- Tim Gehrt / drums, vocals
2. "Fallen Leaves" (3:03) GENESISian 12-string-with-organ and anachronistic melody lines open this as harmonized vocal "doo-doo-doo" lines become woven within the instrumental weave. As this pattern continues--throughout the entire song--I find myself rather surprised--and delighted. It's a really cool and fairly inventive (if étude-like) piece. (8.875/10)
3. "Arribabok" (4:48) borrowing a lot from George Harrison/The Beatles' Indian-influenced soundscapes (which were later further developed by the likes of Daevid Allen with his GONG and other projects as well as Steve Hillage and even Peter Gabriel and David Torn). I love Gareth Gole's Torn-Hillage-like guitar tone and play in the third minute. The vocal and congestion and crescendo at the end of the third minute reminds me of both Peter Gabriel's world music and Karl Jenkins' ADIEMUS music. Nice sax play by Peter in the fourth minute and then a nice dénouement and return to the original palette in the final minute. (9.125/10)
4. "October Sun" (8:12) More excellent vocal-centric NeoProg music that reminds me of the fine fare of both FISH ON FRIDAY and TONY PATTERSON (as well as Dave Longdon-era BIG BIG TRAIN). Though the song construct and instrumental play is rather simple and sedate, the bass and vocal work is quite excellent. I understand how solid, comforting "bedding" of easy-to-digest music can serve as an excellent foundation for the exploration/expression of more sincere ideas above it--and this does happen in this song's second half--and I understand the talent and skill it takes to render such a "bedding"--so I am not as critical of this habit or tendency as I used to be (always looking for the sophistication and instrumental virtuosity in each song). I actually really appreciate the way the band has constructed and rendered this song. (17.75/20)
5. "From Empty Trees" (4:41) an instrumental opening that sounds like something Tony Banks would have done for Genesis (or himself?) back in the breakout period of the band's popularity. Gareth's guitar work in his lead time during the third minute is okay but nothing very innovative--and the ascending four-chord motif that follows feels so much like Tom Johnson's "Uncertain Smile" ending jam from his 1983 The The album, Soul Mining (with that amazing piano solo from Jools Holland). (8.75/10)
Line-up / Musicians:
- Dave Bandana / vocals, keyboards, bass
- Peter Jones / vocals, clarinet, alto saxophone
- Gareth Cole / 12-string, electric & acoustic guitars, vocals
- Tim Gehrt / drums, vocals
1. "Islands" (8:37) excellent and fresh feeling music based on NeoProg sound palette and stylings. I really like the construct, feel, and flow of this song though it does lag a bit in places. (18.333/20)
2. "Fallen Leaves" (3:03) GENESISian 12-string-with-organ and anachronistic melody lines open this as harmonized vocal "doo-doo-doo" lines become woven within the instrumental weave. As this pattern continues--throughout the entire song--I find myself rather surprised--and delighted. It's a really cool and fairly inventive (if étude-like) piece. (8.875/10)
3. "Arribabok" (4:48) borrowing a lot from George Harrison/The Beatles' Indian-influenced soundscapes (which were later further developed by the likes of Daevid Allen with his GONG and other projects as well as Steve Hillage and even Peter Gabriel and David Torn). I love Gareth Gole's Torn-Hillage-like guitar tone and play in the third minute. The vocal and congestion and crescendo at the end of the third minute reminds me of both Peter Gabriel's world music and Karl Jenkins' ADIEMUS music. Nice sax play by Peter in the fourth minute and then a nice dénouement and return to the original palette in the final minute. (9.125/10)
4. "October Sun" (8:12) More excellent vocal-centric NeoProg music that reminds me of the fine fare of both FISH ON FRIDAY and TONY PATTERSON (as well as Dave Longdon-era BIG BIG TRAIN). Though the song construct and instrumental play is rather simple and sedate, the bass and vocal work is quite excellent. I understand how solid, comforting "bedding" of easy-to-digest music can serve as an excellent foundation for the exploration/expression of more sincere ideas above it--and this does happen in this song's second half--and I understand the talent and skill it takes to render such a "bedding"--so I am not as critical of this habit or tendency as I used to be (always looking for the sophistication and instrumental virtuosity in each song). I actually really appreciate the way the band has constructed and rendered this song. (17.75/20)
5. "From Empty Trees" (4:41) an instrumental opening that sounds like something Tony Banks would have done for Genesis (or himself?) back in the breakout period of the band's popularity. Gareth's guitar work in his lead time during the third minute is okay but nothing very innovative--and the ascending four-chord motif that follows feels so much like Tom Johnson's "Uncertain Smile" ending jam from his 1983 The The album, Soul Mining (with that amazing piano solo from Jools Holland). (8.75/10)
6. "A View" (6:18) a gorgeous NeoGenesis weave of arpeggiating keyboard and acoustic and electric guitars with solid low end support from well-coordinated bass and drums also sees some excellent synth strings orchestra and old Mellotron threads in the weave as Peter sings with his usual folk-bard-like approach. Nice weave of multiple other guitar and keyboard lines topped off by a nice heavily-reverbed sax solo from Peter in the fourth minute which is then followed by a fine electric guitar solo. Peter's voice and vocal styling is so classic, so powerful, so iconic. It's no wonder he's been the vocalist of so many 21st Century NeoProg classics. (8.875/10)
7. "Harder to See" (4:09) a little more sophistication, syncopation, and frequent key changing makes this an interesting tune--especially when attending to Peter's vocal (he's got to be spot on for this one!) Once the pattern of the four chord motif is established (almost Van Morrison "Moondance"-like), the music becomes more familiar and, thus, comfortable. The chorus and follow-up dénouement and fade out come easily but are not quite the finish one might hope for. (8.875/10)
8. "Rewind" (9:21) this one opens up as another acoustic guitar- and piano-dominated weave that incorporates a four-way vocal approach, lead and harmonies, reminding me of MOON SAFARI as well as bands like Crosby, Stills, Nash & Young or even Wobbler and The Beach Boys. Nice instrumental work in the instrumental section from the third minute to the fifth and then again after 4:40 when things switch to a more ambient/atmospheric palette. (Who's playing the flutes?) This is very psychedelic in its pastoral dream-like feel--very similar to some of Steve Hackett's best stuff ("Cinema Show," Wind and Wuthering, and his early solo albums). Interesting that the the rest of the song (and album) plays out with this atmospheric instrumental weave--five minutes of it (not unlike that odd prolonged ending to "Dancing with the Moonlight Knight")! Luckily, it's really nice! The boys are obviously serious students of the masterpieces of prog's Golden Age. (18.5/20)
Total Time 49:09
Total Time 49:09
The band's NeoProg music has continued to develop, progressing into more sophisticated and original realms of prog--that remind me of both Peter Gabriel and Fish On Fridays. With any lineup that includes prog-savant Peter Jones one cannot help but have high expectations. The problem comes with the frequent disappointments that come with the feelings of "underdeveloped," "not fully-realized" or "falling short" of possible potentialities.
89.1667 on the Fishscales = B+/4.5 stars; an excellent album of creative, top-notch NeoProg from some of England's most reverential and proficient veterans. Highly recommended--especially if you like the NeoProg sub-genre where it might be considered an essential masterpiece.
The Metric Rankings
The Masterpieces:1. ARNAUD BUKWALD Mars Caravan - 96.01
2. CROWN LANDS Apocalypse - 94.21
3. QUIVIRA Quivira - 94.04
4. ED O'BRIEN Blue Morpho - 93.17
5. ASCETA The Fool Leading the Blind - 93.08
6. SINGLELITO In Absence of Velocity - 92.94
The Minor Masterpieces:
7. FISTFIGHTS WITH WOLVES Sea Shanties for Future Sailors - 92.03
8. PAT METHENY Side-Eye III+ - 91.87
9. DOMi & JD BECK Who Asked? - 91.25
10. TOM PENAGUIN Tom Penaguin II - 91.18
12. OZRIC TENTACLES Harmonic Mind - 90.29
13. ADVENT HORIZON Falling Together - 90.26
14. ELDER Through Zero - 90.19
15. TELEGRAPH Topography of Mind - 90.15
16. THE EMERALD DAWN The Land, The Sea, The Air (Volume II) - 90.14
The Near-Masterpieces:
18. AETHER III - 89.90
19. PLANTOID Flare - 89.87
Other Great Albums:
JUAN BELDA & THE BIT BAND Memories of a Loser - 89.46
MYRATH Wilderness of Mirrors - 89.375
JUZZ (II) - 89.36ANGINE DE POITRINE Vol. II - 89.23
THE BARDIC DEPTHS Some Things Are Worth Remembering - 89.17
Albums to Try for Your Selves:
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