Prog Is Alive and Well in the 21st Century: The 1990s

Though Prog Is Alive and Well in the 21st Century, I have decided to go back and "fill in" the years upon which the 21st Century is built--and not just the "classic" years of 1967-76. Each year will be given its own page, containing reviews of the albums I determine are worthy of recognition (both positive and negative). As usual, these pages will be works in progress, to which I'll be adding information as it comes my way.

My Favorite Albums of 1998:

1. MASSIVE ATTACK Mezzanine
2. CARLOS NAKAI & NAWANG KHECHOG Winds of Devotion
3. BRUFORD LEVIN UPPER EXTREMITIES Bruford Levin Upper Extremities
4. THINKING PLAGUE In Extremis
5. ABRAXAS Centurie
6. THE GATHERING How to Measure a Planet?
7. ANATHEMA Alternative 4

8. CHROMA KEY Dead Air for Radios

9. AYREON Into The Electric Castle

10. TORTOISE TNT

Honorable Mentions:
NIGHTWISH Oceanborn
MORTE MACABRE Symphonic Holocaust
SINKADUS Aurum Nostrum

AIR Moon Safari

NATALIE MERCHANT Ophelia

DEATH The Sound of Perseverence

LIQUID TENSION EXPERIMENT Liquid Tension Experiment

MESHUGGAH Chaosphere

Five Star Prog Masterpieces
(Ratings of 100 to 93.34)

None

The "Minor" Masterpieces
(Ratings of 93.33 to 90.0)

THINKING PLAGUE In Extremis

Though Thinking Plague had been producing albums since 1984, 1998's In Extremis seems to be the album that catapulted the band to the front of the public eye. Verily, the production, composition, and virtuosic performances are at such an astoundingly high level throughout the album, there is little wonder that this album has gained such appreciation. Categorized as "Rock-in-Opposition/Avant Garde Prog," some argue that this group also could fit into the Eclectic sub-genre because of it's King Crimson roots and similarities or into the Experimental/Post Metal as it's style and sound is/was such a precurser of such Experimental/Post Metal bands as UNEXPECT, NEUROSIS, and even MAUDLIN OF THE WELL and DEVIN TOWNSEND. In Extremis is my favorite Thinking Plague album and the one I would play to try to impress someone with their best yet most accessible work.

Line-up / Musicians:

- Deborah Perry / vocals
- Mike Johnson / electric, acoustic, 12-string & lap steel guitars, synth, sequencing, co-producer
- Shane Hotle / piano & synth (4,5,7), Mellotron (7)
- Mark Harris / soprano, alto, tenor & baritone saxes, clarinet & bass clarinet, flute
- Dave Willey / bass (1,2,5,6), accordion
- Bob Drake / bass (3-5), violin (3,4), electric guitar & banjo (4), vocals (3), co-producer and mixing
- David Kerman / drums, percussion
With:
- Kim Marsh / piano & synthesizers (1,2)
- Scott Brazieal / piano & synthesizers (6)
- Sanjay Kumar / synthesizers (3)
- Rick Benjamin / trombone (4)
- Katie Cox / violins (5)
- Mike Fitzmaurice / double bass & erhu (6)
- Kirk Jameson / bass (7)
- Mark Fuller / drums (5)

1. "Dead Silence" (4:03) The first two and a half minutes of this song sound as if they've done a modernized cover of KATE BUSH's "Sat in Your Lap;" the final ninety seconds sound more like KING CRIMSON Discipline-era. (8/10)

2. "Behold the Man" (4:26) is rife with strings of scales runs performed by instrument after instrument while Deborah Perry sings melodically (and sometimes not so melodically) over and within. Awesomely conceived! Again the TONY LEVIN/King Crimson influences are obvious--as are those of PHILLIP GLASS. I really love listening to this song--and it does not grate against me as some of TP's more dissonant songs can. (10/10)

3. "This Weird Wind" (8:03) comes across as some kind of anthemic YES-monster for the first ninety seconds. Then a strange JOHN CALE-like lull and pounce section begins (awesome drums sound!) The keyboard work beginning at 2:20 is awesome--as is the acoustic guitar work that follows. A JON ANDERSON-like male voice presents in that same third minute. The ensuing two-minutes of music continues to build and morph like a condensed, abrasive STEVE HOWE/JON ANDERSON composition--even down to the heavily treated voices and psychedelic section in the sixth minute. 5:45 brings us back to the more straightforward YES style and sounds. Great final minute! Really an outstanding exercise on Yesorcism! YES would/should be proud! (15/15)

4. "Les études d'organism" (14:00) begins as if one had awakened suddenly on a ocean-going vessel during a heavy storm. Then the ensuing wobbly walk around below-decks, trying to keep balanced, while trying to pursue some answers: Is this just a dream or really a dream within a dream? At 2:25 the zoo animals have burst into the ship's hallways! 2:54 you find a lounge in which people are out of it. Back into the hallways, running around the perimeter of the ship--Carnival Lines, of course! 4:30 brings us to some higher functioning, for a moment, before the circus engulfs you again. 5:17 begins the organized entertainment: a bike-rider standing on his seat, doing waterless-water jokes from his hat while riding in a circle. The clowns are doing their best to attract you attention, as are the show girls. Horses riding around the circle with fast-stepping acrobats doing their jumps and flips to and from animal. At 7:50 arrives the elephant, lumbering, plodding, a bit unsteady on the sea-rolling ship, a very good natured, patient elephant, performing by rote all the while looking out into the audience for its saviour. Tensions mount as the elephant stands on its hind legs: immense above the crowd. At 10:25 is seems as if all of a sudden time begins to stand still; you become aware of someone running in from the stormy outside screaming "I'm here! Sophie, I'm here!" The disciplined flow of the circus collapses, the elephant turns and bolts out the door with the young man--sheering the doors from their hinges as it does--revealing the calm, sunny skies outside--your view from your portal window as you awaken from a long night's sleep. (27/30)

5. "Maelstrom" (3:35) begins quite malevolently, dark and heavy, until at 0:45 the vocal harmonizes with some positive chords--obviously there is hope. Return to a quieter, more controlled form of trepidation. The final minute is complete with the all-out struggles and inevitable resignation of the end. Interesting song. (9/10)

6. "The Aesthete" (4:39) or "the me song," sounds like a JANE SIBERRY masterpiece, such a tongue-in-cheek lyric. The steady, strong drums move us forward while the guitars, bass, accordian, and horns try to move us every which way but forward. But when the drums disappear, what then? We are left to float, left to our own devices, left alone. Me, alone. Not really such a scary prospect, if only our heart keeps beating. (9/10)

7. "Kingdom Come" (13:45) YES and KING CRIMSON are what come to mind when listening to this extended piece. A kind of "Gates of the Delirius Red Nightmare," if you will. A remarkable performance by all band members but especially vocalist Deborah Perry. (27/30)

Total Time: 52:31

A collection of uniquely conceived and unusually rendered songs--not one's typical pop or smooth jazz melodies. Avant garde. Out of this world! But stunningly engaging and starkly beautiful! An album I go back to over and over because of the new and unusual--and often excitingly disturbing and unnerving--emotions and imagery evoked herein. This is not abrasive or as are much of the experimental/post, technical or doom metal music I encounter. This is unsettling in a way that is, I believe, to provoke a growth response. If you really want to see music/rock/progressive rock 'progress' then this album is essential for you.

91.30 on the Fishcales = A-/five stars; while perhaps only a minor masterpiece of progressive rock music, this is a masterpiece of avant garde/RIO.

DEATH The Sound of Perseverance

Line-up / Musicians:
- Chuck Schuldiner / vocals, guitar, co-producer
- Shannon Hamm / guitar
- Scott Clendenin / bass
- Richard Christy / drums

1. "Scavenger of Human Sorrow" (6:54) drums open this before guitars and bass carry the melody forward as Chuck screeches in his modernized Brian Johnson fashion. A tempo and mood shift at the three-minute mark opens up an instrumental passage in which guitars and kick drums run ramshod over the vinyl. Then we return to the THIN LIZZY twin-guitars for the next vocal section (especially the chorus). It's like three songs in one, but really three songs artificially sewn together. (13/15)

2. "Bite the Pain" (4:29) a slower, more bluesy guitar-centric lead in is abruptly changed by Chuck's screeches. Then, at 0:45 a tempo shift launches the team onto a controlled race on the autobahn. Guitar pyrotechnics flash in like lightning bolts but we're really concentrating on the two themes--that is, until the 2:20 mark when the lead guitarist is set free--and not rushed--to solo to his heart's content. Impressive! Weird that it never returns to the slowed down theme of the opening 0:45. (8.75/10)

3. "Spirit Crusher" (6:44) rolling bass and cymbal and bass drum play open this slow roller. Even when the guitars join in it keeps its pace, but then it takes a left at the fork in the road, cruising out of the town, thinking it's going to be able to unleash its speed--but, alas! a cop is following! Spirit crusher! Once he turns off the boys decided to drive cautiously for a bit before testing the open road. By the end of the third minute they've decided they can unleash it--but those country roads are a little trickier than expected--lots of twists and turns. And then the cop reappears! Busted! Still, too many songs spliced together. I'd like to see smoother, more "believable" transitions. (8.75/10)

4. "Story to Tell" (6:34) a song of many twists and turns--though always seemingly in a square--like searching for one's navel. A fan favorite, this must be driven by something in the lyrics cuz I'm not seeing it. (8.75/10)

5. "Flesh and the Power It Holds" (8:25) (/20)
6. "Voice of the Soul" (3:42) (/10)
7. "To Forgive Is to Suffer" (5:55) (/10)
8. "A Moment of Clarity" (7:22) (/15)
9. "Painkiller" (6:03) (/10)

Total Time 56:08

I can definitely see why many people think this is Chuck & Co.'s best album: he has definitely refined his band's tight skills and complicated his songs with three or more motifs per--each with their own specific highlights and praiseworthy parts.

on the Fishscales = / stars;

4.5 Star Near-Masterpieces

(Ratings 89.99 to 87.50)

BRUFORD LEVIN UPPER EXTREMITIES Bruford Levin Upper Extremities

How Tony Levin has been able to maintain such enthusiasm, creativity, acitivity, vibrancy, and busy-ness for over 35 years is a true testament to this man's love for music. And he as much as any other modern musician has constantly, aggressively tested the boundaries of his instrument (the 'bass'). Though "B.L.U.E." feels very familiar--KING CRIMSON with some EARTHWORKS--there is a lot of masterful music here. A lot of older themes and sonic rhythms and textures are here explored further or differently. The contributions of David Torn and Chris Botti are wonderful, but it is Levin who continuously draws the listener in. Have you ever seen this man in concert? Even in King Crimson it was always him I was drawn back to watching--so astounded was I that so many sounds were coming from his instrument, so amazing were his personal contributions to the polyrhythms and polyphonics of that band. (Besides, I myself played Chapman Stick for a while.) "B.L.U.E" is an excellent album--perhaps not as highly emotional nor as melodic as some like, but, as for an exhibition of mastery and progressive exploration of musical possibilities, this is a good one.

Line-up / Musicians:

- Bill Bruford / drums, percussion, and a little keyboards
- Tony Levin / basses, Stick
- Chris Botti / trumpet

- David Torn / guitars, loops

1. "Cerulean Sea" (7:03) iconic industrial pulse with stick rhythm guitar, squealing guitars and trumpet, and totally uncooperative drums for the first two and a half minutes. Then Bill "fakes" a steady rhythm as if to calm and reassure the listener that this is not chaos, not cacophony, not hell. But then, oops! Bill begins to do what only Bill does: he goes off script--goes off on his own path. It's infuriating yet so damn beautiful! I absolutely adore how Bruford sees rhythms and patterns beneath and within the musical legato. Definitely a top three song. Mesmerizing. (14/15)

2. "Interlude" (0:23)

3. "Original Sin" (4:55) Chris Botti seems to be conjuring up the spirit of The Master, Miles, while David Torn shreds and Bill and David keep lazy jazz time. QUITE a contrast from the previous song. Nothing special here except to show the range this album/these guys wish to express. (8.5/10)

4. "Etude Revisited" (4:57) and the jazz continues, this time with Bill doing a little more of what he does best: syncopate his time-keeping and Chris Botti doing some awesome melody-making as the lead instrument. (/10)
5. "A Palace of Pearls (On a Blade of Grass) (5:33) (/10)
6. "Interlude (0:19)
7. "Fin de Siecle (5:22) (/10)
8. "Drumbass (0:54)
9. "Cracking the Midnight Glass (6:06) (/10)
10. "Torn Drumbass (0:54)
11. "Thick With Thin Air (3:28) (/10)
12. "Cobalt Canyons" (3:53) another top three song and perhaps the proggiest on the album. (9/10)
13. "Interlude (0:27)
14. "Deeper Blue (4:12) (/10)
15. "Presidents Day (6:22) (/10)

Total Time: 52:47

I'm so glad we have this album, this testament to the genius of these two forces. (Not to belittle the creative juices of Chris Botti and David Torn--they are forces in and of themselves--but Tony and Bill always seem to get overshadowed by other members of the amazing bands they're in.)

on the Fishcales = / stars; 4 stars--excellent addition to any prog lover's music collection.

ABRAXAS Centurie

I am here reviewing the original language version of this 1998 release--thus, with the vocals performed in the band's native Polish.

Line-up / Musicians:

- Adam Łassa / vocals
- Szymon Brzeziński / guitars
- Marcin Błaszczyk / keyboards (Ensoniq SQ 1+/MR Rack/ASR-10, Prophet-5, Korg X5D, Roland SC-55, Yamaha YFL 211SII), flute
- Rafał Ratajczak / basses
- Marcin Mak / drums, percussion

With:
- Magdalena Krawczak / vocals

- Maria Napiwodzka / oboe

1. "Spiritus Flat Ubi Vult" (3:27) vocal acrobatics similar to BILL NELSON (Be Bop Deluxe) or HANS HÖLZEL (Falco) with nearly quirky musical support. (Very similar to that of .) I like this. A LOT! Definitely a top three song for me. (9.33/10)

2. "Michel De Nostredame-Mistrz Z Salon" (6:47) theatric prog cabaret of the AFTER CRYING sort. Nice array of instruments. Impressive instrumental skills in the "race" section (sixth minute), but not a very cohesive song. (13/15)

3. "Velvet" (4:07) a variation on BLUE ÖYSTER CULT's "I Love the Night" music. Pretty. Sensitivity contrasted by pounded snare hits. (8.67/10)

4. "Excalibur" (7:44) I love the chamber feel to the first two minutes of this but it's a bit slow and plodding. Thank goodness for the ramped up second section. Nice bass play. The vocals, however, lack melody and feel pitchy. The presence of the oboe and the excellent flute play are my favorites. Then, about halfway through, the song settles into a quiet, pastoral passage with picked acoustic guitars and synth washes backing the delicately sung vocals. Excellent! The slow build beneath the flute is cool, as is the full attack in the final 90 seconds. Great "distant cathedral organ" solo to finish! (13.25/15)

5. "Kuznia" (1:49) perhaps a little active warmup/intro for the next song; perhaps simply a wild FALCO/LIZARD-like interlude to unwind with. (4.5/5)

6. "Czakramy" (10:25) opens with a gorgeous soundscape established by picked electric guitar chords, interesting synths, bass, and delicate vocal. About a minute in drums join in and chords of the gorgeous progression become more fully embellished while Adam sings in full rock voice. Electric guitar power chords join in for the first chorus. Back to the fully electrified but beautifully spacious 80s-sounding chord progression for the next verse and then another foray into the cheesy hairband chorus. Halfway through we stop and reset with some windy "outdoor" synth cacophony for about a minute before interesting drum pattern slowly emerges from the background to lead the next section. This is great! So creative! Now Adam sings with a gruffer aggression before (sadly) abandoning it for a mini-chorus. Wild synth solo in the eighth minute! Use that portamento! Slide those notes! Topped off by a perfect ending! Another top three song. (18.25/20)

7. "Pokuszenie" (12:00) industrial metal sounds are arpeggiated over which woman is singing as if to herself until one minute in the full rock band joins in with some bombast before settling back to support Adam's reverbed vocal. It still feels as if the song is not fully formed. And then, four minutes in, we quiet down to a cave-like soundscape within which Adam whispers against stalactite drips until the 5:10 mark when guitars and IQ-like pulsing support rush in--the lead guitar ripping through a sabre-sharp solo--before settling back into a heavy, though plodding section. A sparse, computer-piano supported vocal section then follows, emptying out into a smooth passage with first one and then two guitars soloing together. Excellent! Melodic, emotional, and nicely extended. Interesting and unexpectedly unpredictable enhanced by the entertaining guitar soli over the final two or three minutes. (22.5/25)

8. "Nantalomba" (4:21) orchestral synths, organ, and cymbals open this one. Oboe and acoustic nylon string guitar join in giving it a gentle, pastoral feel. Tympani and arpeggiated keys with power chord guitars jump in at the 1:30 mark. Adam joins in after the two minute mark with chant-like vocals giving it a more ADIEMUS/CIRQUE DU SOLEIL feel to it. Feels like filler more than essential content. (8.5/10)

Total time 50:40

89.09 on the Fishcales = B+/4.5 stars; a near-masterpiece of progressive rock music.

THE GATHERING How to Measure a Planet?

A band that just kept getting better over the 1990s--especially as they learned to appreciate and serve the tremendous (unique?) talent of their lead singer, the great Anneke van Giersbergen.

Line-up / Musicians:

- Anneke van Giersbergen / vocals, guitar (4,12)
- René Rutten / guitar, Theremin (3,11), didgeridoo (10)
- Frank Boeijen / synthesizer, grand piano
- Hugo Prinsen Geerligs / bass
- Hans Rutten / drums
With:

- Attie Bauw / programming, percussion, co-arranger, production & mixing

Disc 1 (53:50)
1. "Frail (Might as Well Be Me)" (5:04) What a voice! What great atmosphere. (9/10)

2. "Great Ocean Road" (6:20) the heavier, if more straightforward side of The Gathering, Anneke's voice is buried a little in the mix, but the heavy instruments and great chord progressions keep the listener's attention well. (8.75/10)

3. "Rescue Me" (6:22) slow and spacious, Anneke's gorgeous voice has no trouble filling. Again the instruments when they build up begin to bury the vocals. There is nothing very special to this music until the crashing walls of sound and screaming synth solo take over at the halfway point. Here is an example of a fair song made much better by its instrumental passage. (8.67/10)

4. "My Electricity" (3:33) How can they keep settling for two chord simplicity? Yes, it works as a vehicle for such and extraordinary vocalist, but I think the average prog lover is hoping for a bit more. Excellent chorus section with Anneke's voice multiplied. Another stellar vocal. (8.75/10)

5. "Liberty Bell" (6:01) a sparse, spacious guitar-led opening starts out as a slow, plodding vehicle for Anneke's vocal acrobatics (with a rare BEATLES-esque treatment of her voice). The band kicks into a different gear at the 1:00 mark (for the chorus). Back down for the second verse, and then up again for the second chorus. (8.67/10)

6. "Red is a Slow Colour" (6:26) Great music, great lyric, great vocal, great variation, great bridges, great chorus, great solos, great use of instrumental passage--with awesome "orchestra" contributions--just an awesome song. Another top three song. (9.5/10)

7. "The Big Sleep" (5:01) one of the best Gathering songs of all-time and a classic Anneke song. (10/10)

8. "Marooned" (5:56) a standard first half with some nice effects playing out on the electrified instruments. Guitar and vibes take over at the halfway point--over which Anneke eventually continues singing. 'trons and drums rejoin and Anneke's voice gets multiplied. This is better. (8.67/10)

9. "Travel" (9:07) A song that is developed more fully than many of the others uses many more instrumental embellishments and contributions right from the start. (No wonder it was such a concert favorite.) Plus, Anneke leave's many spaces for the instruments to shine--and lots of time for them to develop their solos and textural contributions. A great song; one of my favorites from this album. Plus, at times Anneke really belts it out! (18/20)

Disc 2 (49:29)
10. "South American Ghost Ride" (4:25) very interesting musical opening section--this feels like real progressive rock music! Guitars and synths exploring several pathways while drums and bass hold a steady pace beneath. Anneke doesn't even sing until some vocalise at the end! (8.75/10)

11. "Illuminating" (5:41) rolling bass and interesting drum beat open this before synth wash chords join in. Anneke enters at 0:30 with long-syllabled words. Pretty with interesting soundscape that bursts into something heavier (and not quite as engaging) for the chorus. Multiple vocal tracks are woven together for the second verse--carrying forward into the second chorus. Grating, metallic guitar edges used to open the instrumental passage that follows before Anneke and synth sport vocalise melody lines leading into the third chorus. (8.75/10)

12. "Locked Away" (3:24) trying too hard; yielding nothing special. (8.25/10)

13. "Probably Built in the Fifties" (7:26) industrial soundscape within which Anneke's heavily treated voice is distorted and compressed. It's interesting but the repetitive drum pattern just gets old. The chugging guitars in the second half with Mellotron play are good--followed by a spacey patch in the fifth minute that I like. The final three minutes are quite good: chugging and building, exploring some distant goal before Anneke rejoins and the music fades away into the distance, leaving us watching the horizon. (13.5/15)

14. "How to Measure a Planet?" (28:33) (51/60) = 8.5

Total Time: 103:19

The flaw in the band's approach to song construction is devoting the first half of every song to very banal, simple two-chord constructs for Anneke to sing over before really unleashing the true genius of the band in the second half.

88.33 on the Fishcales = B+/four stars; an excellent addition to any prog lover's music collection

MORTE MACABRE Symphonic Holocaust

A bit of a Scandanavian super group with remnants of Landberk (Fiske & Dimle) and Anekdoten (Berg & Nordins), the individuals here were drawn together by a shared love of dark musical soundtracks to old horror movies--which are honored with the band covering their choice of six songs from old "classic" horror film soundtracks.

Line-up / Musicians:

- Reine Fiske / guitars, violin, Mellotron, Fender Rhodes
- Nicklas Berg / Mellotron, Fender Rhodes, Theremin, sampler, guitar, bass
- Stefan Dimle / bass, Mellotron, Moog
- Peter Nordins / drums, percussion, Mellotron
With:
- Yessica Lindkvist / voice (4)

- Janne Hansson / waves Fx (7)

1. "Apoteosi del Mistero" (4:16) sounds like a practice/getting-to-know-each-other song for the quartet: an Anekdoten song to jam with. (TONS of Mellotron!) It is nice to hear Reine Fiske mixed into the Anekdoten sound--though he is being very conservative here. (8.25/10)

2. "Threats of Stark Reality" (2:59) the first of the album's two original compositions, a gathering of individual ideas rendered into a spacey, somewhat eerie cinematic cacophony. (4/5)

3. "Sequenza Ritmica e Tema" (7:02) this one sounds like a Landberk song that the band has chosen to jam over: All of the requisite subtle spaces are present though, being an instrumental, this is more interesting for noting where, when, and how each individual decides to contribute their solo ventures.The final two minutes are the most interesting with all individuals exploring interesting expressions before coming together for a cohesive finish. (13/15)

4. "Lullaby" (8:02) tense and temporal, the spacious music is familiar to us from both bands, but then vocalist Yessica Lindkvist enters to offer her soothing vocalise "la-la"s. I love how the 'trons follow her and the other keys play off her in a kind of French cinematic way. Definitely a top three song for me. I love Stefan Dimle's sparse, laid-back bass contributions. He has the "Hole" discipline! (13.5/15)

5. "Quiet Drops" (6:43) This must've been one of the guitarist's cover choices as the guitar play is so focused and sublime; there is a Roy Buchanan mastery to Reine Fiske's lead play. I don't know the film from which it was taken but it must've been sublime! My favorite song on the album. (10/10)

6. "Opening Theme" (2:50) this one sounds like an informal practice jam that happened to be the best recorded version. (4.25/5)

7. "The Photosession" (7:10) ocean shore sounds are soon joined by smooth guitar note picking. Pretty. Soon cymbal play, incidental background guitar notes, and bass join in--and then Fender Rhodes and other keyboard synths. Reine's dreamy incidental notes are such a perfect complement and fulfillment to the "organized" foundational structure delivered by the other three gentlemen. My other top three song. (14/15)

8. "Symphonic Holocaust" (17:51) the other original composition (30.5/35) = 87.14

Total Time: 57:17

Bonus track on 1998 LP release:
9. Suoni Dissonanti (3:21)

While I have memory of liking this album upon first hearing it a decade ago, upon diving into it on a deeper level for this review I am surprised at how I am now finding it.

88.64 on the Fishcales = B+/4.5 stars; a near-masterpiece of cinematic prog from an all-star collaboration that this music lover would love to see/hear again.

Other Excellent Albums

(Ratings of 87.50 to 85.0)

NIGHTWISH Oceanborn

The Finnish metal rockers suffer not a sophomore slump. As a matter of fact, this one is better than their debut from the year before.

Line-up / Musicians:

- Tarja Turunen / vocals
- Emppu Vuorinen / guitars
- Tuomas Holopainen / piano, synthesizers
- Sami Vänskä / bass
- Jukka Nevalainen / drums, percussion
With:
- Esa Lehtinen / flute
- Plamen Dimov / violin
- Kaisli J. Kaivola / violin
- Markku Palola / viola
- Erkki Hirvikangas / cello

- Wilska / "Devilvoice" & "Pharaohvoice"

1. "Stargazers" (4:28) nice power metal with Tarja's operatic vocals over horrible drumming and drum sound. (8.25/10)
2. "Gethsemane" (5:22) same music as before with more keys and sparser drums. Some real Tarja highlights here. (8.75/10)
3. "Devil & The Deep Dark Ocean" (4:46) different, more machine gun drumming than previously, more theatric with deep voiced male opening before Tarja enters--like a conversation--or battle. Not good but not laughable. (8.5/10)
4. "Sacrament Of Wilderness" (4:12) actually prog-like--with some 1980s elements--until, that is, Tarja enters. Her vocal performance alone takes this one to another level. (9/10)

5. "Passion And The Opera" (4:50) back to full metal before becoming more like a 1980s metal song with operatic vocals over the top. The best instrumental passage on the album in the middle followed by Tarja's operatic vocalise. (8.5/10)
6. "Swanheart" (4:44) a pretty folk ballad with Tarja's heartfelt vocals--in multiplicity. Now this is praiseworthy! Quite like something from a modern Lloyd-Weber rock opera. Flawless. I could listen to music like this forever. (9.75/10)
7. "Moondance" (3:31) pretty electric piano--not unlike something John Tout would play to open a Renaissance song--quickly turns into a Russian mazurka dance at breakneck speed before reining in to bucolic piano and flute for the second minute. Tarja doesn't even join in--its an instrumental! (8.75/10)
8. "The Riddler" (5:15) feels like a variation on the previoius song's melody theme, more power chords present and, of course, Tarja's power voice. A pretty standard 90s power rock song were it not for the exceptional talents of Miss Turunen. (8.5/10)
9. "The Pharaoh Sails To Orion" (6:26) Another theatric power tale with growlish male vocals to offset the female and choral responders. Much better than the "Devil & the Deep Dark Ocean". (8.75/10)
10. "Walking In The Air" (4:04) the famous cinematic song from The Snowman. Not as good as the original or many remakes I've heard, it is pretty good. (8.5/10)
11. "Sleeping Sun" (5:30) (/10)

Total Time: 53:08

There are frequent reminders from the keyboards of the cheap computer keyboards available in the 1990s (à la Polish band COLLAGE).

87.25 on the Fishcales = B/four stars; a very nice addition to any prog lover's music collection--especially valuable for the record of the extraordinary talents of one Tarja Turunen.

AYREON Into The Electric Castle

AYREON is, of course, Arjen Anthony Lucasson flagship project (though it is one of many). Arjen's vision and perseverance for prog operas is legendary (and, one might say, prolific) and this one of his finest, if not his finest.

Line-up / Musicians:

- Arjen Lucassen / electric & acoustic guitars, mandolin, bass, Minimoog, Mellotron, keyboards, vocals, producing & mixing
- Jack Pisters / sitar
- Roland Bakker / Hammond organ
- Robby Valentine / piano, synth solo (CD1: 2a,3a; CD2: 4), Mellotron (CD2: 6a)
- Clive Nolan / synth solo (CD1: 3c)
- Rene Merkelbach / synth solo (CD1: 5; CD2: 7), harpsichord (CD2: 2)
- Tom Scherpenzeel / synth solo (CD2: 5c)
- Taco Kooistra / cello
- Ernö Olah / violin
- Thijs van Leer / flute (CD1: 3c,4; CD2: 2,3)
- Ed Warby / drums
VOCALS (and characters):
- Edwin Balogh (as Roman)
- Sharon den Adel (as Indian)
- Jay van Feggelen (as Barbarian)
- Fish (as Highlander)
- Anneke van Giersbergen (as Egyptian)
- Arjen A. Lucassen (as Hippie)
- Edward Reekers (as Futureman)
- Damian Wilson (as Knight)
- Robert Westerholt (as Death)
- George Oosthoek / (as Death)
- Peter Daltrey (KALEIDOSCOPE) (as the Voice)

CD 1 (47:25)
1. "Welcome to the New Dimension" (3:05) Narrator (Peter Daltry)'s verbal intro to the story. Long. Nice atmospheric pastiche beneath.
2. "Isis and Osiris" (11:11) one of the finest prog epics of the 1990s with amazing performances from all of the participating vocalists. (21/20):
- a) Let the Journey Begin
- b) The Hall of Isis and Osiris
- c) Strange Constellations
- d) Reprise
3. "Amazing Flight" (10:15) a long poetic verbal introduction from the Narrator leads to a blues-rock-based song that wanders into territories traveled by Heavy Metal artists like Van Halen, all the way to art rockers like early David Bowie. (17.5/20) :

- a) Amazing Flight in Space
- b) Stardance - highlighted by Sharon den Adel's and Anneke van Geirsbergen's vocalese performances over the atmospheric treated-electric guitar arpeggi.
- c) Flying Colours - highlighted by Thijs van Leer's dynamic flute play as well as the bass, piano, and guitar soloing.
4. "Time Beyond Time" (6:05) interesting mélange of styles from heavy metal, bombastic classic rock, and even a little anachronistic Baroque. The gentle "Space Oddity"-like acoustic guitar sections are the best parts. The interplay of all of the guest vocalists playing their roles is also interesting (if a bit confusion--especially when you're blocked from hearing the lyrics and, thus, living outside of the story). (8.75/10)
5. "The Decision Tree (We're Alive)" (6:24) a cool song that could've come off one of Pink Floyd or Alan Parsons Project's more heavily-engineered albums. After Peter Daltry's commentary, the song bursts into a pulsing, very classic rock motif with synths and guitars presenting the almost-Scottish melody lines together in a kind of Starcastle or early Ambrosia way. The dialogue passing between the Highlander (Fish) and the Barbarian (Jay van Feggelen) is entertaining as is the duelling solos between Rene Merkelbach's synth and Arjen's electric guitar. (8.875/10)
6. "Tunnel of Light" (4:05) somebody else called this XTC/Phil Collins-like song a Beatles song for Beatles haters" or something to that effect. A large part of the cast participates in this one with the two female leads singing their parts together in harmony. A little out of place and, frankly, boring.(8.66667/10)
7. "Across the Rainbow Bridge" (6:20) another song that sounds and feels as if it came out of the late 1970s or early 1980s transition years from "hard rock" and "heavy metal" to what I believe is now called "classic rock" or hair band rock. (8.6667/10)

CD 2 (57:10)
1. "The Garden of Emotions" (9:40) highlighted by the beautiful and intricately woven lead vocals of Sharon and Anneke, this confirms for me that this album is really just a theatric storytelling that is clothed in music. (17.75/20) :
- a) In the Garden of Emotions
- b) Voices in the Sky
- c) The Aggression Factor
2. "Valley of the Queens" (2:25) a brief interlude of anachronistic troubadour music over which Anneke and Sharon weave their not-insignificant charms. (4.5/5)
3. "The Castle Hall (5:49) monster/B-movie horror schlock. Is this the soundtrack to an action/adventure, solo quest video game? Not developed enough. (8.66667/10)
4. "Tower of Hope (4:54) after the Narrator's update, enter the electronically-rendered Scottish musical weave. After 90 seconds of pixie music, the power metal guitar chords riff into the picture, ushering in a multi-part vocal conversation within some very poppy melodies. Robby Valentine's keyboard work, solo and foundational, is pretty good. (8.66667/10)
5. "Cosmic Fusion" (7:27) nice lead vocal performance from Sharon den Adel (and, later, Anneke) in the ethereal first movement. "The lie" becomes the motivation for the shift into chugging metal zone with Death's growl vocals. The slightly funky Steve Vai-like third movement, The Passing of an Eagle, is one of the musical high points of the album. (13.5/15):
- a) I Soar on the Breeze
- b) Death's Grunt
- c) The Passing of an Eagle
6. "The Mirror Maze" (6:34) (/10):
- a) Inside the Mirror Maze
- b) Through the Mirror
7. "Evil Devolution (6:31) (/10)
8. "The Two Gates (6:28) (/10)
9. ""Forever" of the Stars" (2:02) (/5)
10. "Another Time, Another Space" (5:20) (/10)

Total Time: 104:35

Unfortunately, the star of the show is the Narrator (Peter Daltry). He's very entertaining--though some of his effectiveness is owed to the engineering effects used to treat his voice. The sound of the album (it's engineering) is all top notch even if many of Arjen's sounds and styles are drawn quite obviously from other previous rock artists and eras. The story is by far the dominant thread throughout the album, which suffers a bit for its somewhat unclear line and goal.

on the Fishcales = / stars;

ANATHEMA Alternative 4

Once upon a time these guys were angsty/angry twentysomethings. And their raw, powerful music reflected this.

Line-up / Musicians:
- Vincent Cavanagh / vocals, guitar, piano, keyboards
- Daniel Cavanagh / guitars
- Duncan Patterson / bass, piano, keyboards
- Shaun Steels / drums
With:
- George Ricci / violin
- Andy Duncan / drum loops (3)

1. "Shroud of False" (1:37) badly recorded piano. (4/5)

2. "Fragile Dreams" (5:32) very repetitive CURE-like music. (8.5/10)

3. "Empty" (3:00) FIELDS OF THE NEPHILIM-like with a powerful, impassioned vocal performance from Vince. (9/10)

4. "Lost Control" (5:50) more raw power and emotion. Another great lyric and vocal performance. (9.25/10)

5. "Re-Cnnncet" (3:52) interesting and well-executed tightrope walk between aggression and delicacy. (Perhaps songs/music like this provided the inspiration for Toby Driver and Maudlin of The Well.) (8.75/10)

6. "Inner Silence" (3:09) return of the poorly recorded piano sound with cheap-sounding synth strings in the background. Back down the volume of the guitar power chords and you have a song and palette more akin to the songs the band was producing in the 2010s. This one doesn't do much for me. (8.5/10)

7. "Alternative 4" (6:18) cool soundscape to open this one: distant, echo drums; rolling bass, distant floating synth notes. Vince's vocal starts out rather starkly; his voice does not lend itself well to narration-like approaches to singing. Not enough development; a failure for creating a truly creepy/eerie atmosphere. (8.25/10)

8. "Regret" (7:58) opens with cool acoustic guitar play over background synth washes. Entry of organ, bass, and vocals sounds so much like PINK FLOYD. Even the use of echo on the vocal is straight out of the PF playbook. After 90 seconds, the song begins to spill over into CURE-ish territory. (This is so much like the 2009 debut album/sound of AIRBAG!) When the pace picks up and the electric guitar power chords and drums kick in it becomes more ... generic. Vocalizations in the sixth minute do nothing. Roger Waters again comes to mind when the strumming acoustic guitar re-enters. (I keep waiting for Vince to ask, "Is anybody out there?") Then things amp up back into Fields of the Nephilim territory. (12.75/15)

9. "Feel" (5:28) 1980s power chords over Hammond organ. When Hammond is solo I feel as if I'm listening to 1970s URIAH HEEP. The song's simplistic chord structure is saved only by Vince's stellar little chorus: it stabs straight to the heart! "The now I'm coming back" line makes me think of all the bands on XM/Sirius radio's OXYGEN channel. (8.75/10)

10. "Destiny" (2:14) beautiful closing song. (4.5/5)

This is, to be sure, an album of powerful music--powerful, emotional performances. While I love the more atmospheric and subdued sounds and approaches of a lot of their 21st Century songs, I have to admit that their 20th Century version was very, very good.

86.58 on the Fishscales = B/four stars; an excellent addition to any prog lover's music collection and a strong product from a maturing ANATHEMA.

TORTOISE TNT

As the concept of Post Rock catches hold, one group of musicians in Chicago are really exploring its "confines" like no one else.

Line-up / Musicians:
- Dan Bitney / bass, guitar, percussion, vibes, marimba, keyboards, baritone saxophone
- John McEntire / drums, modular synthesizer, ring modulator guitar, electric harpsichord, keyboards
- John Herndon / drums, vibes, keyboards, sequencing
- Doug McCombs / bass, bass 6, guitar, lap steel
- Jeff Parker / guitar, bass
- Dave Pajo / bass guitar, guitar

1. TNT (7:32)
2. Swing from the Gutters (5:52) (/10)

3. "Ten-Day Interval" (4:43) a Steve Reich-like minimalist exploration on tuned percussion instruments. Reminds me of the opening of Peter Gabriel's "San Jacinto." Bass and piano eventually join in, pulling the song into a slightly different direction. (9/10)

4. "I Set My Face to the Hillside" (6:09) playground noises are joined by organ, Sergio Leone guitar and hand percussion instruments. Definitely a Sergio Leone soundtrack item. Pretty and, like Pink Martini, a little eccentric. (8.5/10)

5. The Equator (3:42) (/10)

6. A Simple Way to Go Faster Than Light That Does Not Work (3:34) (/10)

7. "The Suspension Bridge at Iguazu Falls" (5:38) for its first minute this song sounds as if the Gentle Giant crew were stuck trying to find the right chord progression. Then Andean-sounding wind percussives take the soundstage before bass, synth, vibes, and hi-hat and rimshots join in to establish a little Latin Caribbean jam session. At 3:25 electric guitars join in and redirect a bit before letting everybody re-settle into the jam. (8.75/10)

8. Four-Day Interval (4:45) (/10)

9. In Sarah, Mencken, Christ and Beethoven There Were Women and Men (7:29) (/15)

10. Almost Always Is Nearly Enough (2:41) (/5)

11. Jetty (8:22) (/20)

12. Everglade (4:20) (/10)

Total Time 64:47

on the Fishscales = / stars;

CHROMA KEY Dead Air for Radios (1998)

Dream Theater and Fates Warning keyboard player takes a solo, leadership direction.

Line-up / Musicians:

- Kevin Moore / vocals, keyboards, bass (1,2,6-9), co-producer
- Jason Anderson / guitar
- Joey Vera / bass (3-5)

- Mark Zonder / drums

1. "Colorblind" (4:51) cool low end. (8.5/10)

2. "Even The Waves" (6:33) nice laid back lead guitar in the instrumental section. (8.5/10)

3. "Undertow" (4:49) A little more sophisticated and interesting. A top three song. (8.75/10)

4. "America The Video" (4:29) cool synth-funk rhythm track. A little more variety and emotion in Kevin's vocal here goes a long way to make things more engaging. (8.5/10)

5. "S.O.S." (5:24) nothing very exciting or special here. The pacing of Kevin's songs are too similar--kind of slow and plodding--without much variation over the course of each song. (8/10)

6. "Camera 4" (3:49) cool computer keyboard programming and sampling. I'm just not sure of the object/message here. (8.5/10)

7. "On The Page" (4:21) My favorite song on the album. (9.5/10)

8. "Mouse" (5:10) weird and confusing. Builds nicely but never really wows us. (8.5/10)

9. "Hell Mary" (4:02) Steven Hawking-like computerized voice describing an atomic bomb like explosion that produces an unexpected visual phenomenon--some kind of fireball projectile hitting the sun. (8.25/10)

Total Time: 53:28

85.55 on the Fishcales = B-/3.5 stars; an nice aural experience that I don't think anyone needs to go out of their way to acquire.

Other Highly Recommended Prog Albums

(Other albums recommended by prog lovers)

ARENA The Visitor

Line-up / Musicians:
- Paul Wrightson / vocals
- John Mitchell / guitars, backing vocals
- Clive Nolan / keyboards, backing vocals, programming & co-producer
- John Jowitt / bass, backing vocals
- Mick Pointer / drums

1. A Crack in the Ice (7:25)
2. Pins and Needles (2:46)
3. Double Vision (4:24)
4. Elea (2:36)
5. The Hanging Tree (7:09)
6. A State of Grace (3:26)
7. Blood Red Room (1:47)
8. In the Blink of an Eye (5:29)
9. (Don't Forget to) Breathe (3:40)
10. Serenity (2:10)
11. Tears in the Rain (5:43)
12. Enemy Without (5:05)
13. Running from Damascus (3:44)
14. The Visitor (6:13)

Total Time 61:37

LIQUID TENSION EXPERIMENT Liquid Tension Experiment

A veritable supergroup--or three-quarters of future Dream Theater with bass player extraordinaire, Tony Levin, stepping in for John Ro Myung--stepping out into more proggy, psychedelic realms.

Line-up / Musicians:
- John Petrucci / guitar
- Jordan Rudess / keyboards
- Tony Levin / bass, Chapman Stick, electric upright bass
- Mike Portnoy / drums

1. Paradigm Shift (8:54)
2. Osmosis (3:26)
3. Kindred Spirits (6:29)
4. The Stretch (2:00)
5. Freedom of Speech (9:19)
6. Chris and Kevin's Excellent Adventure (2:21)
7. State of Grace (5:01)
8. Universal Mind (7:53)
9. "Three Minute Warning" (28:31) (55.5/60):
- Part 1 (8:20)
- Part 2 (4:02)
- Part 3 (5:18)
- Part 4 (4:20)
- Part 5 (6:31)

Total Time 73:54

SPOCK'S BEARD The Kindness of Strangers

Line-up / Musicians:
- Neal Morse / lead vocals, piano, synths, acoustic & electric guitars, co-producer
- Alan Morse / guitar, cello, Mellotron, vocals
- Ryo Okumoto / Hammond, Mellotron
- Dave Meros / bass, vocals
- Nick D'Virgilio / drums, percussion, vocals
With:
- Eric Brenton / violin (1)
- Jackie Suzuki / violin (1)
- Melissa Hasin / cello (1)
- Tom Tally / viola (1)

1. The Good Don't Last (10:02) :
- a) Introduction
- b) The Good Don't Last
- c) The Radian Is
2. In the Mouth of Madness (4:44)
3. Cakewalk on Easy Street (5:01)
4. June (5:26)
5. Strange World (4:18)
6. Harm's Way (11:03)
7. "Flow" (15:48) (28/30):
- a) True Believer
- b) A Constant Flow of Sound
- c) Into the Source

Total Time 56:22

Albums on the Fringe of Prog World

MASSIVE ATTACK Mezzanine

The presence of iconic singer Elizabeth Fraser (Cocteau Twins) on three songs doesn't hurt.

1. "Angel" (6:18)
2. "Risingson" (4:58)
3. "Teardrop" (5:29) (9/10)
4. "Inertia Creeps" (5:56)
5. "Exchange" (4:11)
6. "Dissolved Girl" (6:07)
7. "Man Next Door" (5:55)
8. "Black Milk" (6:20) (9/10)
9. "Mezzanine" (5:54)
10. "Group Four" (8:13)
11. "(Exchange)" (4:08)

GARBAGE Version 2.0

Loosing the hits "I Think I'm Paranoid," Push It," "Special," and "Tempation Waits" onto the world, this, their second album, exhibited no signs of any sophomore jinx. "Sleep Together" and "You Look So Fine" are also outstanding.

AIR Moon Safari

Source of the international dance groove, "La femme d'argent," this album blazed the trail for a new flood of European techno-pop into the US and world markets.

JEWEL Spirit

A wonderfully perfected selection of diverse songs from

1. "Deep Water" (4:17)

2. "What's Simple Is True" (3:36) (8.75/10)

3. "Hands" (3:55) (9/10)

4. "Kiss the Flame" (3:18) (10/10)

5. "Down So Long" (4:15)

6. "Innocence Maintained" (4:09)

7. "Jupiter" (4:20)

8. "Fat Boy" (2:56)

9. "Enter from the East" (4:05)

10. "Barcelona" (3:55)

11. "Life Uncommon" (4:57)

12. "Do You" (4:23)

13. "Absence of Fear" (3:43)

14. "This Little Bird" (2:43)

Prog Is Alive and Well in the 21st Century

Sunday, November 12, 2023

Prog Lists: My 40 Favorite Albums from the 1990s

Thursday, August 18, 2022

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