Deadwing2112
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Soundoffs 364
Album Ratings 364
Objectivity 57%

Last Active 06-14-20 4:09 pm
Joined 09-24-19

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Average Rating: 3.93
Rating Variance: 0.29
Objectivity Score: 57%
(Somewhat Balanced)

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5.0 classic
Alice in Chains Dirt
The band plunges down the rabbit hole of drugs, depression and despair and delivers a decade defining classic. Rooster is Jerry Cantrell's song writing masterpiece.
Black Sabbath Master of Reality
The opening toggle repeat of Tony Iommi's coughing fit from lighting up a blunt illustrates the band's state of collective mind during the Master of Reality recording sessions. After delivering back to back hit albums a year earlier, Black Sabbath was afforded increased studio time to experiment and retool its growing signature sound. The investment paid off handsome dividends with a classic album as the outcome. Iommi down tuned his guitar to reduce the chronic pain in his playing fingers. The heavier tone was matched by Geezer Butler on bass and these changes effectively spelled off Ozzy Osbourne's improving vocals. Sweet Leaf, After Forever, Children of the Grave and Into the Void are highlights. However the sleeper change of pace, psychedelic folk artistry displayed in the deep cut Solitude is fantastic and provides Osbourne an opportunity to demonstrate his potential vocal range.
Cream Disraeli Gears
An interesting slice of history exists with the album title, Disraeli Gears. It was an erroneous reference from a roadie responding to Eric Clapton's interest in purchasing a bicycle. The band members found it comical and hence their second record had its namesake. Although still blues rock at its core, psychedelia is also heavily present throughout its track list. This combination along with Jack Bruce's unique vocal delivery creates an ominous almost dangerous atmosphere. The iconic opening bass riff to Sunshine Of Your Line is practically inseparable to Martin Scorsese's Goodfellas classic sequence of Jimmy Conway (Robert De Niro) at the bar plotting his next maneuver. Ginger Baker thunders that drum kit throughout this affair like a mad viking rowing to shore, eager for battle.
Failure Fantastic Planet
A true 90s cult classic of isolation, despair and heroin addiction. The bass heavy mix still sounds fresh at current date. This album will continue to stand the test of time.
Genesis Selling England by the Pound
Selling England by the Pound represents the creative peak for the progressive rock band Genesis. The continuity and flow from one track to the next is seamless and makes this an incredible experience for the album's listener. Steve Hackett's guitar solos are an obvious highlight along with the keyboard and piano accompaniments provided by Tony Banks. This is a band firing on all cylinders musically yet sadly represents the beginning of the end for this ensemble.
Genesis The Lamb Lies Down on Broadway
The Lamb Lies Down on Broadway is an ambitious concept double LP largely written by Peter Gabriel with the musical score composed by his bandmates. This was a break in tradition with the more communal approach to the band's songwriting routine and although the results are astonishing, it contributed to the departure of the lyricist. This fantastical fable accounts for the salvation of Rael, a gang member guilty of an unmentioned violent crime. This initiates a gritty journey that is rather purgative and cruel; involving loss of identity, dehumanization, sexual molestation, castration and a life risking attempt to save his brother from drowning, only to realize John was actually Rael. The concluding fate of the central character is left ambiguous purposefully. The band is far more expansive in sound compared to previous albums and particular noteworthy, Tony Banks' keyboards begin to hint of a more pop synthesizer nature to be heavily featured in the post Gabriel era of Genesis. This would be the last album to feature the classical lineup of the band.
Jethro Tull Aqualung
Aqualung is a timeless classic demonstrative of the golden age of 70s progressive rock at its finest with expert musicianship, creative meaningful lyrics intertwining riff heavy cuts and folk. The heady theme of socioeconomic disparity opens the record and very much representative on the iconic album artwork. In addition overt contrasting of controlling organized religion versus personal theological beliefs is examined critically through Ian Anderson's lyrics. The breakout star here is Martin Barre and his exceptional guitar work.
King Crimson In the Court of the Crimson King
The Grateful Dead have been billed as a long strange trip. Yet the truly strangest belongs to Robert Fripp and his ever revolving ensemble. The art work perfectly mirrors the opening classic cut. King Crimson may not have exactly invented the progressive rock genre but it certainly contributed to its launch.
King Crimson Red
An incredible conclusion for the 70s era representation of the band and extraordinarily bookends In The Court of the Crimson King. One More Red Nightmare dabbles with a funk disco back beat and the concluding de/reconstruction of Starless is simply sublime. Collins and McDonald on saxophones supercharge this record's engine.
Neil Young Everybody Knows This Is Nowhere
Neil Young's first album with Crazy Horse reveals a classic laid back late 60s vibe celebrating a slower pace to everyday living. The hits here are obvious and have been much discussed elsewhere (Cinnamon Girl, Down by the River, Cowgirl in the Sand) however the deep cut Round & Round (It Won't Be Long) with Young trading off vocals with Robin Lane is an amazing reassuringly lullaby and rather metaphoric closing to the peace and love decade.
Nine Inch Nails The Downward Spiral
Angry. Raw. Remains the undisputed king of the industrial electronic genre. A remarkable accomplishment and gift bestowed to us by Trent Reznor. The mud and muck of Woodstock '94 is simply the best live representation by Nine Inch Nails of this record.
Nirvana Nevermind
The official soundtrack of Generation X. A stone cold classic.
Nirvana MTV Unplugged in New York (DVD)
The performance that made covers from The Vaselines, Meat Puppets and Lead Belly cool and showed an another side to grunge rock going acoustic. It was the performance of a lifetime for a visibly fragile and at times anguished Kurt Cobain. Tragically he was already gone from us by the time MTV could air the performance. Nirvana's walk off following its legendary cover Where Did You Sleep Last Night was a moment of a band at its summit with its beloved vocalist emotionally and physically utterly drained.
Nirvana MTV Unplugged in New York
The performance that made covers from The Vaselines, Meat Puppets and Lead Belly cool and showed an another side to grunge rock going acoustic. It was the performance of a lifetime for a visibly fragile and at times anguished Kurt Cobain. Tragically he was already gone from us by the time MTV could air the performance. Nirvana's walk off following its legendary cover Where Did You Sleep Last Night was a moment of a band at its summit with its beloved vocalist emotionally and physically utterly drained.
Pearl Jam Ten
The debut album that helped define anthemic grunge. And the band spent the rest of its career steering clear away from its commercial success.
Pink Floyd The Dark Side Of The Moon
The intro and outro are a simple isolated bass drum representing the beating of a human heart. And everything encapsulated from within is simply one of the most recognized and successful rock albums of all time; as indicated by its 950 weeks or more on the Billboard 200. The Dark Side of the Moon is the masterful pinnacle statement from Pink Floyd after a long and rather uneven apprenticeship of mixed accomplishment from its previous seven studio albums. It is a sonic journey through the human mind, soul and the fear and wonders that bind us all; acceptance of mortality, consumerism and greed, preservation of sanity and the violence of war. These themes are intricately interwoven into the texture of the songs expertly seguing one after the other with tremendous evocative emotion. In the beginning, lyrical pronoun context interchanges between "I" and "You" frequently, effectively bridging the band's fears and beliefs as parallels to the audience's before inevitably uniting in the aptly titled "Us And Them". It is suggestive that much of our fears, doubts and anxieties are expounded upon us by leaders, the true mad men of the world, held by and large unaccountable. The album concludes that everything truly mattering on this planet and relevant toward the survival of our existence is collective and universally shared. Is there illumination to follow after this life experience? Perhaps that is best answered by Gerry O'Driscoll's, "It's all dark". Just like the moon.
Porcupine Tree In Absentia
Porcupine Tree's prog rock masterpiece. Beyond exceptional musicianship. Blackest Eyes, Trains, The Sound of Muzak, The Creator Has A Mastertape, Collapse The Light Into Earth..... the tracklist is amazing.
Porcupine Tree Fear of a Blank Planet
Fear of a Blank Planet is a concept album borrowing the grim ideas presented in the novel Lunar Park. The tracks are thematically linked upon the challenges of childhood in a modern technological context with overexposure of drugs and media platforms. Anesthetize represents the beating heart of the record and features Alex Lifeson (Rush) later followed by Way Out of Here with Robert Fripp. The closer Sleep Together is perhaps Steven Wilson's most emotionally charged vocal delivery in the Porcupine Tree discography.
Rush Moving Pictures
The proof in the pudding that a progressive rock band can have crossover commercial appeal and success. Established fans since day one recognized Moving Pictures for its perfection as did those listening to Tom Sawyer on the car radio. And despite the classic rock format overplaying the cuts from this album, it still holds up elegantly in current times.
Soundgarden Superunknown
Arguably the finest album recorded in the 90s. Nevermind may have ignited a rock revolution, Ten may have been more commercial and Mellon Collie perhaps the most artistic however Superunknown sits at this particular era's peak. And Like Suicide contains the most empathic lyrics ever for a bird striking a window.
Spiritualized Ladies and Gentlemen We Are Floating in Space
Jason Pierce orbits his personal world of depression and despair.
Stone Temple Pilots Purple
The band silenced the majority of its critics with this absolute gem of a sophomore album. Interstate Love Song and Vasoline in particular cement STP's legacy as one of the finest 90s rock bands. Every cut here is worthy of a single release.
The Doors The Doors
Social unrest, rebellion and the controversial Vietnam War created the perfect storm for the emergence of The Doors self-titled debut. The synergy of Jim Morrison's booming vocals and poetry coupled with the understated yet critical musicianship of Ray Manzarek, Robby Kreiger and John Densmore is remarkably captured here with classic radio hits Break On Through and Light My Fire. Copolla's Apocalypse Now perfectly utilizes the hauntingly beautiful and macabre The End to illustrate war is hell, later followed up by Oliver Stones' recreation of its memorizing impact when performed live. And it would be a mistake to overlook Soul Kitchen and The Chrystal Ship as fine deeper cuts. The Doors represented the other side of the 60s proving the decade's idealism and new ideas were a facade about to be crushed by darker unforeseen entities. Morrison had his own demons and tragically succumbed. But this album will stand testament to his youth, vision and potential.
The Jimi Hendrix Experience Are You Experienced
Are You Experienced is a stone cold classic and celebration of rock music. The singles from this album will be played and replayed as long as there are radio airwaves, online streaming and whatever else future format will be created. Jimi Hendrix of course is the legendary guitarist and front man for the group. However Mitch Mitchell (percussion) and Noel Redding (bassist) deserve full credit as quality backing musicians to Hendrix's wizardry. Along with Cream, they helped establish the power trio concept in rock.
The Stone Roses The Stone Roses
After a decade of cold commercial synth driven MTV freeze dried industrial offerings, The Stone Roses self-title debut reverses the tide spectacularly. This is a revered album for its jangle guitars, swagger and Madchester presentation. This is the one..... yes indeed it was.
U2 Achtung Baby
Despite its stellar reputation of arguably owning the 80s music industry, U2 boldly reinvents its image (largely abandoning its political themed lyrical content) and reconstructs its already popular sound (built around Edge) to launch Achtung Baby. This represents the band at its creative peak. And it has been an unfortunate decline ever since.

4.5 superb
Airbag Identity
Had Pink Floyd continued its commercially successful Wish You Were Here trajectory with productive Waters-Gilmour collaborations and equally important contributions from Richard Wright and Nick Mason, its tail end discography might resemble Airbag's emotionally charged Identity. Unabashed Gilmour disciple Bjorn Riis honors his hero with stellar guitar solos concentrating on quality rather than quantity. Tonality and pacing of the album falls between a less robust Porcupine Tree and more relaxed Riverside, especially with the vocals. Jorgen Hagen's keyboards enlarge Airbag's presence to a majestic entrancing soundscape. The choice cut here is How I Wanna Be, an intoxicating and beautiful track of isolation and pleading for resolution.
Alice in Chains Facelift
Alice In Chains introduces itself to the world with a debut metal album. Heavy riffs presented with the peerless inimitable throaty wails of Layne Staley. A reissue is long over due.
Atlantean Kodex The Course Of Empire
Epic heavy metal is difficult to perform authentically without accusations of excess and self-indulgence. This is an incredible album to be enjoyed by all metal fans new and old. Play loud!
Black Sabbath Black Sabbath
What a moment it must have been for a rock fan to unseal this record, drop the stylus and listen to the thunder, lightening and first few bars of thumping guitar riff back in 1970. The opening track self titled to the album and band introduces everything identifiable to Black Sabbath and its innovation of heavy metal. The influence of this album is seemingly never ending as bands to this day strive to recreate and expand upon the doom metal universe created by Tony Iommi, Bill Ward, Geezer Butler and Ozzy Osbourne. And speaking of Oz, don't miss his harmonica solo on The Wizard.
Black Sabbath Paranoid
Paranoid is the follow up to Black Sabbath and released also in 1970, solidifying the band's position as a premier heavy metal band forging successfully into a new musical genre. The hits here are obvious with War Pigs and Iron Man (to be utilized many decades later by Marvel). However the deep cuts are nearly as precious with the psychedelic wispy Planet Caravan and creepy crawler Electric Funeral.
Cats In Space Scarecrow
Scarecrow is an entertainingly epic AOR record fueled with 70s nostalgia and influences from Supertramp, Electric Light Orchestra, Boston and Queen. And yet it easily holds its own identity primarily by its incredible expansive sounding production style and Paul Manzi's charismatic presence behind the microphone. Jupiter Calling, The Mad Hatter's Tea Party, Broken Wing and Scarecrow easily slide into any popular FM classic radio set list.
Cream Fresh Cream
Tribal and ferocious sounding especially in 1966, Fresh Cream solidifies Jack Bruce, Ginger Baker and Eric Clapton as the power trio of all power trios. And for those curious, N.S.U. is an acronym for Non Specific Urethritis. Baker shines behind the drum kit during his legendary solo on Toad.
Devin Townsend Ocean Machine: Biomech
The behind the scenes saga of recording Ocean Machine is almost epic as the album itself and certainly worthy of a documentary. Allegedly the project was nearly thwarted by limited recording time due to the studio owner's ritualistic afternoon booze sessions with actor Antonio Banderas. The situation deteriorated to the point of Townsend dubbing the master tape and fleeing the scene. Ocean Machine is a thick tapestry of guitar metal brilliance interlaced with electronic ambience. Townsend's diverse vocals range from operatic to harsh and everything in between. Highlights include Seventh Wave, Regulator, Funeral, Bastard and The Death of Music. A groundbreaking virtuoso performance delivered by Devin Townsend.
Dream Theater Images And Words
James LaBrie joins the fold and Dream Theater's course is altered forever. Images and Words serves as the band's reboot and delivers a magnificent album combining the best elements of both rock and metal in the progressive context. The musicianship is top notch and remarkably the band sounds seasoned beyond its years. The opener Pull Me Under received considerable commercial attention however the record itself is solid and delivers the goods one track after another.
Dream Theater Awake
Awake is a brash aggressive progressive rock studio effort with metal tendencies. Mike Portnoy is a tour de force behind the drum kit, John Petrucci's riffs rage and James LaBrie's vocals find a new edge. However the unsung contributor, Kevin Moore wrote Space-Dye Vest, perhaps representing the best of the bunch in the track list. And internal studio squabbling led to his departure from Dream Theater. Extra credit is warranted to The Silent Man, the third movement of a trio suite, features a wonderfully performed and soothing acoustic ballad.
Evership Evership
Eight years. One hundred recorded hours. A vision coming to fruition. And it is all very well done indeed. The eponymous debut of Evership is a modern day operatic retro progressive rock masterpiece led by multi instrumentalist song writer Shane Atkinson and superbly talented vocalist Beau West. Thematically linking the steampunk elements perhaps inspired by Rush's Clockwork Angels, Evership is a journey of land, sea and air seeking a lost love. Atkinson's song writing at times is very much in the vein of Neil Peart with Greek mythological references and introspective summations. West's delivery of the lyrics is reminiscent of Freddie Mercury, especially when accompanied by keyboards. The heart of the instrumentation is anchored in the 70s golden era of progressive rock with elements of Queen, Styx and Kansas with heaviness in the guitar passages somewhat bringing Savatage to mind. This is a well crafted and produced album oriented rock album intended to be listened in its entirety.
Failure Fantastic Planet Live
A remarkable and faithful live presentation of Fantastic Planet by a reformed and highly motivated Failure.
Failure The Heart Is a Monster
After a nineteen year hiatus, the most overlooked band of the 90s unleashes The Heart is a Monster, the sequel to its criminally underrated classic, Fantastic Planet. Failure leaves behind the overt heroin addiction references, however surges forward with its dystopian journey into the psychological abyss with Hot Traveler, Atom City Queen, Counterfeit Sky and Mulholland Drive (a nod perhaps to David Lynch). This album hits even harder than Fantastic Planet with the bass mixed to an absolute maximum.
Frost* Milliontown
Milliontown is the debut release by British progressive rock super group Frost*, comprising of members from Arena, Kino and IQ. However its collaborative sound is distinguishable on its own and falls somewhere between American counterparts Spock's Beard and Dream Theater. The epic twenty-six minute six segmented closer Milliontown is the album's crowning sonic achievement however Black Light Machine and the delicately performed Snowman also shine. Credited with the song writing, Jem Godfrey expresses beautifully melancholic lyrical prose, as exemplified by Snowman; "Death has done her work this morning, Cutting me back down to size, Frozen in this winter warning, Gentle in its own demise" Frost* has crafted an intelligent thought provoking work of art.
Galahad Seas of Change
Seas of Change is a forty two minute album consisting of a single track divided into twelve components. As well, there are two additional extended tracks: Dust and Smoke serving as bonus offerings. The reoccurring thematic link weaved is current England at a social crossroads causing riff, division, anger and confusion. Many critics have presumed Seas of Change is a political commentary on Brexit; and yet the album is ambiguous and vague with regards to any direct reference. Galahad is a well seasoned veteran progressive rock band and expertly incorporates almost every recognizable element within the genre into this sprawling, however never uninteresting symphonic neo progressive masterpiece. Stu Nicholoson's vocals very much remind one of Peter Nicholls and indeed the music itself seems to pay homage to many rather current UK based outfits such as IQ, Pendragon, Steven Wilson (Porcupine Tree), Arena, Cosmograf, Marillion, Frost* and Lonely Robot. Nicholson's simple yet powerful lyric, "What is done is done.... or is it?" Indeed a brilliant composition of work.
Garbage Garbage
The band that dared to add intelligent pop, dance floor swagger and Shirley Manson's dark noir sex appeal to a grunge genre wallowing in its drug addicted generation x despair. Stupid Girl is a classic single with an even better David Fincher like video representation (credit Samuel Bayer's vision). And celebrated Nevermind producer Butch Vig is a monster behind the drum kit. A killer debut from a band still going strong in 2020.
Genesis Foxtrot
Foxtrot eloquently bookends Nursery Cryme with its continuance of elegant classical sounding progressive rock. Peter Gabriel's confidence as lead man has obviously grown with each successive album and Foxtrot is no exception. The musicianship of Collins, Rutherford, Banks and Hackett is tight and professional in the sense one having an experience at a symphony or opera. The closer Supper's Ready is a masterpiece and defining piece of prog rock at its very finest.
Haken Visions
Visions viscerally impacts harder and ascends in stature compared to Haken's predecessor debut release, Aquarius. However yet again, the band presents a fully fleshed out, intelligent concept album examining one's fear of inevitable mortality along with associated subconscious premonitions and consequential avoidance behavior. The album titled track serves as a stunning drawn out closing act, drawing upon all the technical and evocative superior details of progressive rock when instrumentally performed passionately.
Hole Live Through This
Emotionally supercharged, ultimately exhausting that leaves one completely drained. But undeniably raw, naked and honest. Never to be duplicated.
Jane's Addiction Nothing's Shocking
The journey immediately begins with the opening epic sonic vibe to Up The Beach with Perry Farrell serving as your spirit guide until safely landing with the sardonic Pigs In Zen. And in between is the chilling descent into Ted, Just Admit It... followed later by the eternally blissful Summertime Rolls. Always relevant, timeless and intriguing.
Jethro Tull Thick as a Brick
Ian Anderson unintentionally composes a progressive rock landmark by poking fun at the genre through channeling his inner 8 year old alias Gerald Bostock. And rather than laughing at Jethro Tull's musical satire, enthusiasts of the band embraced the album wholeheartedly.
King Crimson Lizard
The instrumentation is spectacular especially the trombone, flute and saxophone sprinkled throughout the record. Extra credit for the appearance of Jon Anderson's vocal delivery on Prince Rupert Awakes, the 1st of 4 segments to the impressive Lizard suite.
King Crimson Larks' Tongues in Aspic
King Crimson travels to the furthest outer rim of experimental progressive rock and finds success with Larks' Tongues in Aspic. The eloquent percussion performed by newcomer Jamie Muir dominates the opening sequence to the album's namesake cut, thus creating an ominous spiritual apparition that floats across the entire record, somewhat invoking Mike Oldfield's Tubular Bells (also released in 1973). Easy Money (belted by John Wetton on the album) is also a featured asset and frequently performed on current day concert setlists.
Led Zeppelin Led Zeppelin
Arising from the ashes of the New Yardbirds, Led Zeppelin's debut ends the 60s with an audacious fusion of bass heavy rock riffs with the blues soul howl pierced by Robert Plant. Louder, heavier and more thump reinvigorating the British rock scene with controversy and intrigue most likely not witnessed to the genre since the eruption of The Rolling Stones. The hits here are obvious but the appreciable deep cut is Your Time is Gonna Come with an incredible opening performed by unheralded John Paul Jones on organ.
Led Zeppelin Led Zeppelin II
Incredibly Led Zeppelin follows up its impressive debut with II later in the same year, 1969. The band is far more explosive, expressive and expansion in its sound, in particular Jimmy Page's sure fire solo halfway through Heartbreaker and John Bonham's drumming exhibition throughout Moby Dick. Robert Plant howls like a mad man possessed throughout the Lemon Song.
Led Zeppelin Led Zeppelin III
In its third studio release, Led Zeppelin branches out from its blues rock template and successfully fuses psychedelic folk and acoustic with tremendous satisfaction, demonstrating the band's musical versatility and talent. The obvious hit is Immigrant Song, a hard rock classic with the engine revved by Jimmy Page's riffs and Robert Plant's primal howling. Decades later, Immigrant Song proved its holding resolve as a key feature in Marvel's Thor: Ragnarok soundtrack. The album's track list is impressively strong throughout, containing Friends, Celebration Day, Since I've Been Loving You, Gallows Pole, and Bron-Y-Aur Stomp. Experimentation with incorporating the quieter rock genres was a further commercial boom, transforming the band into a globally recognized rock n' roll super power.
Mansun Attack of the Grey Lantern
Attack of the Grey Lantern was originally envisioned by songwriter/vocalist Paul Draper as being a conceptualized record regarding a vigilante pursuing retribution toward the wrongdoers of a town. The idea was somewhat abandoned when song structuring became problematic for Draper. However it is of no significant matter as The Grey Lantern represents 90s Britpop at its finest and certainly most diverse. The opener The Chad Who Loved Me and closer Dark Mavis serve as symphonic bookends to a track list serving one infectiously melodic groove after another. Taxloss stands out for its tribute to the Beatles Taxman and Tomorrow Never Knows. Disgusting is Draper at his most sardonic wit and oddly was never released as a proper single. A smattering of recollections of Blur, Oasis, Stone Roses, The Verve, Massive Attack and The Longpigs appear throughout the album, representative of an almost perfect collage of the genre in its time. An audacious and bold debut statement from an unfairly overlooked band.
Marillion Misplaced Childhood
Generally regarded as the neo prog gold standard of the 80s decade. It also happens to be one of the best all-time within the progressive genre.
Marillion Fuck Everyone And Run (F E A R)
A grower that requires multiple listens from start to finish as a complete record. Mark Kelly is noteworthy on the keyboard and Rothery is excellent as always on guitar. h absolutely shines during El Dorado's Demolished Lives and F E A R. (parts iii and iv of the suite). Considering its 2016 release, the lyrical concerns are quite prophetic during current times.
Marillion Script For A Jester's Tear
A splendid whimsical neo prog debut clearly showing its influence from Gabriel era Genesis. The vocals delivered by Fish are enthusiastic and soar over the mix. Steve Rothery demonstrates skill on guitar however Mark Kelly really shines on keys to deliver the overall retro feel to this record.
Marillion Clutching At Straws
The album represents progressive rock excellence yet the concept material is sad by nature and perhaps pseudo autobiographical in terms of what the band was experiencing at the time of recording. This also draws a close to the Fish era of Marillion and the existence of the band itself was in question. Fish channels a rather tortured character in Torch facing alcoholism, family dysfunction and commercial failure with his band. Steve Rothery emerges as a beast on guitar lead. Extra credit for the album artwork depicting scene changers John Lennon, Robert Burns, Dylan Thomas, James Dean, Truman Capote, Lenny Bruce and Jack Kerouac. Clutching at Straws is an elegant sunset for Marillion's first phase in its career.
Metallica Kill 'Em All
Building upon the demonic mythology of Black Sabbath and the popularity of the NWOBM, Metallica retooled and revved up metal's engine and invented thrash in the process. The studio recording and production process will remain controversial to the end of time. However Kill 'Em All is what it is: an incredible thrash album to kick start a legendary career. Its legacy is unquestioned as Hit the Lights, The Four Horsemen and Seek & Destroy remain staples in the live set list .
Motorpsycho The Crucible
A little over 40 minutes of sludgy progressive rock-metal mastery. Unfortunately it was recorded in a phone booth.
Nirvana In Utero
Following up Nevermind is an insurmountable task and yet Nirvana eloquently pulls it off while staying true to its live and authentic sound. The angst and pain residing within the soul of Kurt Cobain is on full display. And while he rests with the angels we are blessed to have this record as testament to his life's work. All Apologies is the best - and saddest - sound off in rock history.
O.R.k. Ramagehead
This is the third release from the super group members of O.R.k. and it is a gem. Lorenzo Esposito Fornasari's vocals hit the stratosphere registry akin to Chris Cornell. This is a well crafted progressive art rock album with hints of background bands King Crimson and Porcupine Tree.
Oasis Definitely Maybe
Every once and awhile, a little unknown band heralding from England hits the airwaves and becomes a global phenom. Most are simply a blimp on the screen. And a rare few such as The Beatles and The Rolling Stones endure in hearts and minds forever. When it was all said and done, Oasis ended up somewhere in the middle. However Definitely Maybe cannot be denied its importance for reigniting Britpop with all the piss and vinegar hurled by the Gallagher brothers. The anthemic rock guitar hooks are insanely infectious and recorded at roof rattling decibels. Although the track list is disjointed, Definitely Maybe represents the desperate hope of a band hitting it big and reaching rock n' roll's summit. Noel provided the lyrics. Liam with his hands clasped behind his back, snarled out every word back into the microphone. After all, is it worth the aggravation // to find yourself a job when there's nothing worth working for? This debut put Oasis on the map. Raw and ferocious with an arrogant all or nothing attitude to boot. They would never record another one quite like it again.
Oceansize Effloresce
Effloresce is the expansive and complex debut released by criminally short lived, multiple genre crossing Oceansize. This is one dense and attention demanding, ambitious project. And for those who persevere and comply to the band's criteria, crossing the goal line on Effloresce is equally exhausting and superlative. Mike Vennart's lyrics are not at the forefront and rather serve only when to complement a song's progression, as evident in the excellent and possibly best track of this entire affair, the fabulously titled Women Who Love Men Who Love Drugs. To classify this band into any genre beyond progressive is futile as it seamlessly flows from one niche to the next, effortlessly encompassing alternative rock, prog rock - metal, electronica, shoegaze, post rock and ambient. Had Steven Wilson envisioned his Porcupine Tree, No-Man, Bass Communion and Blackfield projects into one band, it might have somewhat sound texture descriptively resembled Oceansize.
Opeth In Cauda Venenum
A true throwback progressive rock album requiring multiple listens for this reviewer's full appreciation. The growls are long dormant however the clean vocals have improved leaps and bounds.
Our Lady Peace Clumsy
The sophomore record offered by Our Lady Peace is clearly its career summit. A rare 90s commodity is an album without filler and Clumsy delivers in spades. The partnership of Raine Maida and Mike Turner produced sterling singles with the opener Superman's Dead, Automatic Flowers, 4am and Clumsy. However the most chilling performance is saved for the closer Car Crash, a must listen in live performance for diehard fans.
Pearl Jam Yield
The band sounds more relaxed and at ease resulting in a thoroughly enjoyable rocker. Less challenging than No Code, Yield delivers terrific cuts including a worthy single (and rare video) Do The Evolution. Personal highlight is In Hiding with its absolutely gorgeous outro.
Pink Floyd The Piper At The Gates Of Dawn
"The one with Syd". And everything else that follows would never be the same as the debut.
Porcupine Tree Up the Downstair
Operating as Porcupine Tree, Steven Wilson ups his game with this sophomore offering providing elegant psychedelia and Floydian guitar tones.
Porcupine Tree The Sky Moves Sideways
The musicianship flourishes as a truly fleshed out band. The continuity of the Pink Floyd inspiration remains however Steven Wilson begins to discover his signature guitar metal riff toward the back half. At times the extended repetitive instrumentals appear slightly self indulgent. A terrific listen nonetheless.
Porcupine Tree Signify
Porcupine Tree sets aside its epic Floyd heav(en)ily soundscapes in lieu for its signature prog metal riffs. And the result is predictably spectacular especially Dark Matter.
Porcupine Tree Stupid Dream
Stupid Dream opens with Even Less and never lets up. Progressive rock at its finest. Extra props to the Jethro Tull nod during Tinto Brass...0096 2251 2110 8105...
Porcupine Tree Deadwing
This record has always been a bit of a mystery as it was initially recorded with a concept in mind for a movie seemingly never produced. In addition, an actual Deadwing LP was quite coveted by record collectors for sometime before its reissue. For this listener, Arriving Somewhere But Not Here is quintessential Porcupine Tree at its finest. Although a little disjointed preventing it from being a true classic, Deadwing is sublime.
Porcupine Tree The Incident
The Incident is a collaborative suite anthologizing various tragic events envisioned only as Steven Wilson could. The tone and mood is classically brooding, depressingly dark and not immediately accessible as recent previous albums. In addition an EP is attached to this project of completed fleshed out songs unrelated to The Incident's concept. With this record, Porcupine Tree has forged into progressive metal, perhaps influenced by Wilson's involvement with Opeth. Ultimately this proved to be Porcupine Tree's final studio project and it has been received by mixed reviews.
Psicomagia Psicomagia
Jazz psychedelic rock fusion executed with precision at a frenetic pace. Features Brian Ellis on tenor saxophone, Tyler Daughn on keys and spoken poetry by Bernardo Nunez. El Paraiso may be a small label but churns out quality instrumentals from its collective.
Radiohead The Bends
After experiencing the duality of a lukewarm response to Pablo Honey and the massive popularity of its single "Creep", Radiohead was all but earmarked to becoming a one hit wonder. Touring incapacitated Thom Yorke with significant illness and after a lengthy absence, the band was somewhat under pressure from its label to deliver a studio follow up. The Bends exceeded all expectations and elevated Radiohead beyond its mediocre grunge status to a more elevated progressive and artful status. In addition, creative video releases for Just, High And Dry and Fake Plastic Trees were on regular MTV rotation. However the quieter moments on the album are perhaps the most gorgeous and harder impacting. The cuts (Nice Dream) and Street Spirit (Fade Out) play out as gentle lullabies perhaps signalling the end of the band's guitar crunching era and bridging toward its next phase represented in OK Computer.
Riverside Out Of Myself
Out of Myself is an impressive debut statement by Riverside. And it immediately places the band in the upper echelon of the who's who currently performing progressive rock music. Piotr Grudzinski's guitar tone is mesmerizing during the guitar solos especially in the majestic opener The Same River. Mariusz Duda's vocals are somewhat understated yet not thin and appreciatively unpretentious.
Riverside Second Life Syndrome
Second Life Syndrome is a breakout performance for lead lead guitarist Piotr Grudzinski, providing electrifying solos on Volte-Face, Second Life Syndrome and Reality Dream III in particular. Since its debut, the band has developed an even heavier and more complete sound, paying off huge dividends for the listener's enjoyment. The hybridization of progressive rock meets metal works fantastically. And this perhaps will prove to be the band's highest achievement.
Riverside Rapid Eye Movement
Rapid Eye Movement is the final installment of Polish progressive rock band Riverside's exquisite Reality Dream Trilogy. Beyond the Eyelids, 02 Panic Room and Parasomnia are all terrific progressive rock extended tracks incorporating atmospheric guitar tones from the late Piotr Grudzinski. However the true standout track is the epic closer, appropriately titled, Ultimate Trip. This thirteen minute plus behemoth sonic journey is perhaps the band's magnum opus studio track.
Rush 2112
The label wanted a record with palpable radio hits. Rush double downed and presented 2112 instead. Then hit the road to let the people decide. The rest is history. Forever afterward the band released music on its own terms. And for that reason the bond between Rush and its fans became unbreakable.
Rush A Farewell To Kings
Xanadu is a joyous experience of extended progressive rock excellence bookended by favorites A Farewell to Kings and Closer to the Heart. An incredible album from a band at a creative peak.
Rush Hemispheres
Arguably the pinnacle of sophisticated almost seemingly impossibly complicated progressive rock book ended with Cygnus X-1 Book II and La Villa Strangiato. And the effort took its toll on the band as the power trio would never attempt to re-climb this mountain of composition difficulty.
Rush Permanent Waves
Rush's discography in the 70s is an embarrassment of riches. And even more impressive is the band's evolution of its records and willingness to change and experiment as it entered the 80s. After the incredible complexity of Hemispheres, the band was eager to pare down a bit and increase its accessibility without alienating its loyal fan base. This was the result and to this day, somewhere out there a FM station is broadcasting The Spirit of Radio. For a transitory record, this is sublime. With the best yet to come next.
Secret Machines Now Here is Nowhere
A short lived band criminally underrated produced at least two records that should stand the test of time. The debut here is one of them. Simply check out Youtube for sampling of the raw energy presented in its live performances. Highlights include First Wave Intact, Sad and Lonely, The Road Leads Where It's Led and Now Here Is Nowhere. A vinyl reissue appeared sometime ago and is a worthy pickup.
Secret Machines Ten Silver Drops
Ten Silver Drops takes the baton from The Road Leads Where It's Led and crosses the finish line. This is an epic, expansive space rock experience delivered by only a power trio. Alone, Jealous and Stoned is the anthem for every jilted lover under the age of 25. The melancholic Daddy's in the Doldrums is a brooding tapestry accentuated with grinding guitar and swirling keyboards. Brandon Curtis' confessional yelp, I hate pretending I'm like you regarding perhaps a drug purchase, is anxiety inducing to the maximum.
Soen Lotus
Reminiscent of post-Heritage Opeth with shades of Tool and Riverside, Soen has created a career defining record in Lotus. No filler. All killer.
Soundgarden Badmotorfinger
Badmotorfinger is the result of hard work from a promising young band determined to make its mark and capitalize upon its major label signing. Here the band is confident upon discovering its own sound and flourishes.
Soundgarden Down on the Upside
After releasing back to back titans Badmotorfinger and Superunknown, Soundgarden closes out its 90s career with an almost classic Down on the Upside to complete the triumvirate. Blow up the Outside and Burden in My Hand are the obvious standouts however the show stealer is the fun and overtly aggressive Ty Cobb.
Spock's Beard The Light
Originally self financed to appease only the band, Spock's Beard releases an epic and sprawling progressive rock album in an era dominated by grunge. The influences of the usual 70s suspects are obvious (Genesis, Emerson Lake and Palmer, Pink Floyd, Yes) however Neal Morse and gang pull it together to find their own unique sound and future compass. If anything else, it is quite shocking to listen to Morse scream f bombs continuously throughout The Water. Almost as though Morse channels Roger Waters' (hmmm....) Pink (The Wall) mental breakdown. The Light is a career defining achievement.
Steven Wilson To the Bone
Steven Wilson progifies his inner pop soul as only he can.
The Allman Brothers Band The Allman Brothers Band
The debut eponymous album of The Allman Brothers Band (eventually) launched southern rock into the stratosphere with intelligent lyrics and expert musicianship owing to deep gratitude and appreciation for the blues. Whipping Post is the obvious cut with the most sizzle. It took awhile for the public to appreciate this record but once it did, there was no looking back for the band.
The Beatles Please Please Me
Please Please Me is the debut album of an obscure Liverpool pop outfit that would simply be remembered as the most influential and important rock band in history. The Lennon-McCartney / McCartney-Lennon songwriting tandem is presented for the first time along with cover tracks from blues and soul. Twist and Shout closes the album exuberantly and personifies Beatlemania ensuing at the time. Aside from its historical significance, the tightness of the band especially the harmonization of John Lennon and Paul McCartney is simply remarkable.
The Black Angels Passover
A solid debut without a trace of filler. Dark psychedelia with the obvious influence of the Velvet Underground. Choice cuts are Manipulation and the extended closer Call to Arms with a hidden Jimmy Cliff cover at the end.
The Claypool Lennon Delirium South of Reality
Had the Beatles follow the road traveled by George Harrison, this is the album that would have been inevitably produced. Wildly weird, wonderful and psychedelic to the max. The vocals performed by Sean Lennon powerfully evoke and emulate his late father.
The Doors Strange Days
Sex, strangeness, isolation, despair and the end of times thematically link on Strange Days, the sophomore offering from The Doors. Robby Krieger pens another hit single, "Love Me Two Times" and Jim Morrison delivers the closing epic, "When The Music's Over" in stunning fashion. Ray Manzarek and John Densmore are brilliant maintaining the backbone rhythm, allowing Morrison to dramatically shine behind the microphone.
The Smashing Pumpkins Mellon Collie and the Infinite Sadness
The sublime art rock album of the 90s. Corgan was at his creative peak recording this masterpiece.
Tool Fear Inoculum
Danny Carey's polyrhythm drumming clinic alone is worth the price of admission.
Weezer Weezer
Rivers Cuomo arrives on the 90s alt rock scene and introduces a little melodic fun and geek paranoia into his casual surf pop rock sound. This was extremely refreshing at a time of surplus overtly serious grunge bands. Buddy Holly and The Sweater Song are instant classics and still relevant to this day however the closer Only in Dreams is the silent killer on the record.
Yes The Yes Album
The Yes Album is aptly titled and representative of the band's maturing signature sound that would laud it commercial success and critical approval. Steve Howe replaces Peter Banks as lead guitarist and the impact is immediately measurable as evident by his solo performance on The Clap. Yours Is No Disgrace, Starship Trooper, I've Seen All Good People and Perpetual Change are the bulwark of this record and would reside on concert set lists for decades. The interplay between Howe and Chris Squire on bass is breathtaking. Jon Anderson's vocals take authoritative charge behind the microphone. However Tony Kaye and his Hammond organ would leave Yes to be replaced by the more flamboyant Rick Wakeman and his cutting edge Moog synthesizer. As terrific as The Yes Album proves, the band has yet to deliver its absolute best.

4.0 excellent
Aerosmith Aerosmith
A comedy of errors almost thwarted this promising debut eponymous release by Aerosmith. Shoddy production values and a last minute thrown together album cover by the label nearly buried the band. The vocals performed by Steven Tyler lack his signature screech and scream only later to be self described as imitating Kermit the Frog. Eventually rock fans did discover classic tracks Dream On and Mama Kin as the record would ascend double platinum in sales. This is early 70s rock at its most primal.
Airbag All Rights Removed
All Rights Removed expands upon its Floydian landscape from its predecessor Identity and delivers yet another enjoyable sonic journey. This time around, the vocals delivered by Bjorn Riis are bit less David Gilmour and tad more similar to Steven Wilson, however his guitar tone is all Gilmour all the time.
Airbag A Day At The Beach
The lineup has been reduced to a power trio and features guest bassist Kristian Hultgren from Wobbler. Moody new wave synth emulating from the keyboards are featured far more dominantly on this album somewhat decentralizing Gilmour clone Bjorn Riis' excellent guitar work. The atmospheric modification is evocative and expansive for Airbag, shifting its gears a little further from Pink Floyd and latching toward the eeriness presented in later day Pineapple Thief or Fear of a Blank Planet era Porcupine Tree. The album thematically conceptualizes a man visiting a beach and pondering a permanent break from his rigid lifestyle perhaps in the military as suggested in the opener Machines and Men. For Riis enthusiasts, his rich guitar solos are fantastic in Sunsets and Megalomaniac. A Day At The Beach is a welcome new development for Airbag to be enjoyed equally by established loyalists and new fans.
Amplifier Trippin' with Dr. Faustus
Amplifier never fails to serve up delicious hook happy psychedelic spacey prog rock. Trippin' with Dr. Faustus delivers the goods. Think of Hawkwind, Super Furry Animals and Secret Machines purified by a Ninja Blender. Serve and enjoy.
Amplifier Amplifier
With a track list opening with Motorhead, Airborne and Panzer, one would presume to be bombarded with decibel piercing metal speed freak riffing with death growls superimposed. However the self titled debut of Amplifier reveals infectious psychedelic space progressive rock with great hooks. Sel Balamir and his talented ensemble provide one hell of a rocket ride into the heavens.
Astral TV Chrystal Shores
If there was another Tron movie, this might be the soundtrack. 70s German influenced electronica recorded beautifully.
Big Big Train Grand Tour
Meticulously performed and recorded. Probably the only band capable of making its predecessor Genesis rock like Metallica in comparison.
Black Moon Circle Psychedelic Spacelord
46:56 minutes of psychedelic stoner rock bliss. Every trick of the trade is utilized in the construction of this seemingly never ending but always relevant track.
Blackfield Blackfield
Blackfield is the eponymous debut of Steven Wilson's side project band co-led with Aviv Geffen. Original members also included Daniel Salomon, Seffy Efrati and Tomer Z. Noteworthy are the appearances by Gavin Harrison and Chris Maitland behind the drum kit. This project is somewhat a bridging between Porcupine Tree and Steven Wilson's solo output. The song structures are more streamlined with simplified melodies and perhaps less cryptic lyrical content. Geffen's vocals complement Wilson and augment the listener's emotional attachment to the record. Highlights include the self titled album track, Hello, Cloudy Now and The Hole in Me. Wilson's guitar solos soar throughout this set.
Blind Melon Blind Melon
Shannon Hoon adds optimistic hippiness into the despairing world of 90s grunge. No Rain was the band's obvious huge breakout single and an arguable top 10 release representative of the decade. However the real gems on the record contemplate the intricacies of family inner relationships. Time is an absolute gorgeous closer.
Bush Sixteen Stone
Considered rather derivative by many a critic upon its initial release, it is surprising how well Bush's debut record has held up over time. As for Rossdale's front man qualifications beyond his looks, pay a visit to Youtube for the band's impressive Woodstock performance.
Cats In Space Daytrip To Narnia
The third studio release from Cats In Space (think Supertramp meets Jellyfish) almost feels like two EPs merged into a full length. The first half is dedicated toward a loose concept incorporating the world of Narnia followed by a seven part suite featuring the escapades of Johnny Rocket. The atmosphere is kept light, fun with well thought out lyrics expressed in ever so 70s grandiose fashion by Paul Manzi.
Chris Bell I Am The Cosmos
Chris Bell was lost to the world before he truly got established in the music business. And even though his time was tragically cut far too short, he still delivered this solo effort perfectly complementing his immense contributions toward the beautiful failure of Big Star. As for the track sharing the album's title.... the most perfect 70s self aggrandizing power pop tune ever written bar none.
Chris Squire Fish Out of Water
Discounting Chris Squire's Swiss Choir holiday record, Fish Out of Water is the only true original studio solo recording released by the Yes bassist during a brief band sabbatical following the 1974 Relayer tour. The who's who alumni on the album includes Bill Bruford, Patrick Moraz, Andrew Pryce Jackman and Mel Collins along with members of the London Symphony Orchestra. Squire provides an accessible slice of progressive rock with this album including pop elements in Hold Your Hand and is forgiven for slight over indulgence in the lengthy Safe (Canon Song) instrumental sections. It is truly a shame this was the only Squire exclusive offering however appreciative that this Yes offshoot project exists at all.
Cosmograf Mind Over Depth
Robin Armstrong is an often overlooked talented musician and that is a shame. His Cosmograf discography is quite excellent and remarkable for a primarily one artist type effort. A long standing running theme of space metaphorically representing isolation is employed to his work. However Mind Over Depth utilizes the vast darkness of the ocean illustrating the despair and anguish of depression and self-doubt. A quality offering. Colin Edwin formerly of Porcupine Tree helps out on bass duty.
Cynic Kindly Bent to Free Us
Kindly Bent to Free Us is the aptly titled third and presumably final studio release by progressive metal band Cynic. This record is a branch offshoot away from its metal roots clearly expressed in the well received Focus (1993) and follow up Traced in Air (2008). The band's off again/on again turbulent existence and dormancy suggestively masks the evolution of its more atmospheric and expansive sound; somewhat making this long anticipated a release rather shocking and confusing to its fan base. Clearly a progressive rock template with clean vocals replaces the more familiar and popular angst metal, harsh vocal presence. For some, this simply isn't the Cynic expected and obtusely unwilling to accept. However repeated listening and the passage of time yield a returnable sustenance of excellence and maintains a freshness with this reviewer six years after its release. Rest in peace Sean Reinert.
Darkwater Human
Human follows the playbook for a professionally recorded, top tier, melodic progressive metal album. Everything here sounds fantastic. Standing in its way from being a true classic is not emotionally connecting with this listener.
Devin Townsend Empath
Empath is Devin Townsend's magnum opus for his wall of sound.
Dream Theater Distance Over Time
After leaving many fans disheartened with The Astonishing, Dream Theater strikes back with its redemptive "Who's Next" offering.
Eagles Desperado
"Jeez, they've made a [expletive] cowboy album!" Jerry Greenberg, Atlantic Records President after listening to the final cut, quintessentially summarizes the general first reaction. Desperado represented perhaps the singular largest risk from the Eagles, an eyebrow raiser considering its leaders Don Henley and Glenn Frey were ambitious and calculating towards fulfilling their desires for commercial success and accolades. After a critically well received and financially rewarding debut Eagles record, it was generally assumed by the label that the band would produce a similar knockoff as its follow up. Wrong. And the record has stood the test of time, eventually earning grudging respect and achieving double platinum status in the United States. Desperado was aided by Linda Ronstadt's cover and the general profile of the album elevated. Although not a concept album, the mythos of the American cowboy analogous to the fate and plight of musicians is examined throughout. The back cover artwork depicts the musicians dressed as dead outlaws gunned down by triumphant musical executives guising as lawmen. Henley of course shines on vocals, greatly accentuated by harmonious choruses shared with Frey, however the understated Randy Meisner is wonderful on lead in Certain Kind of Fool. Extra credit to Bernie Leadon's terrific banjo picking providing a somewhat segue from one passage to the next.
Eagles Eagles
The communal approach to songwriting and lead vocals is the predominant charm of the eponymous debut Eagles. Take It Easy, Witchy Woman and Peaceful Easy Feeling are the celebrated singles, however Randy Meisner's lead vocals on Most of Us Are Sad, Take the Devil and Tryin are unfairly overlooked and often ignored in the band's canon. Credit to Glyn Johns for the warm and inviting studio production and capturing the strength of the band's incredible harmonies during its country rock infancy. Over time, the vocals were diverted almost exclusively to Don Henley. Although effective and understanding considering Henley's velvet smooth vocal delivery, this change was at the expense of the band's original intent of equally shared contributions and later created tension resulting in lineup changes.
Elder (USA-MA) Omens
Expanding upon the original niche genre associated with a band on the rise is always a tricky proposition. The risk of alienating the already established fan base can be a weary potential consequence. The Gold and Silver Sessions EP clearly established a breakout pattern in musical styling for Elder. Omens is the full length studio release a year after G & S, cementing the band's legacy of succeeding in a genre cross over. The stoner doom vibe is dialed down considerably in favor of progressive rock meanderings with even alternative rock lyrical tendencies surfacing. The tracks are extended with lengthy instrumental passages primarily designed to elevate the tension for a rewarding rock out conclusion. The center jewel is Haylcon, with its easy on the ears tonality of guitar riffs harmonized with the synths faithfully kept in sequence by the driving drum kit in the background, fondly recalling the best of Secret Machines. Omens is the result of a band daring and succeeding at opening up its playbook.
Elephant Tree Habits
The guitar tonality strikingly familiar to Smashing Pumpkin's Siamese Dream (which perhaps was borrowed by Hum, another Illinois based band) juxtaposed by mod cool synthesizers and the capable harmonized vocals of Peter Holland and Jack Townley will land Habits on more than a few best of 2020 annual listings. Elephant Tree establish a psychedelic doom template and incorporate elements of stoner desert rock, dream pop with a pinch of ambient to deliver its own signature sound. Sails, Bird and Broken Nails stand above the pack.
Emerson, Lake and Palmer Emerson, Lake & Palmer
The debut offering from a legendary progressive rock outfit somewhat suggesting that the band alternatively be named Keith Emerson with Lake and Palmer. Keyboards here dominate the album and although performed exceptionally appear somewhat pretentious and overshadowing the other two members. Greg Lake's vocals are perfect yet oddly underused at the expense of lengthy electronic noodling. Carl Palmer shines on his drum solo halfway through Tank. The closer Lucky Man is clearly the hit single when egos dial down and a genuine "the music matters most" communal understanding is reached. Make no mistake, these are exceptional performers. And make no mistake, they know it also.
Emerson, Lake and Palmer Tarkus
The best of Emerson, Lake and Palmer is crafted in the twenty minutes and thirty five seconds of the seven part suite album title track, Tarkus. Instrumentals are interwoven with lyrical sections to share the tale of the armadillo hybrid tank waging battle with the manticore only to be ultimately defeated and reimaged as an aquatarkus. The 70s indeed were a glorious decade for progressive rock imagination. The Battlefield movement showcases Greg Lake's excellent guitar solo and it is a rather shame that the listener does not get to experience his work more often. Tarkus as a complete album tends to suffer similar to Rush's 2112 with a lengthy career defining song serving as the singular A side offering with the flip side to the record being somewhat of lesser quality. Jeremy Bender and Are You Ready Eddy? only serve purpose that the band did not always take itself completely serious.
Engineers Engineers
This is the eponymous debut full length album released by Engineers and a celebrated nostalgic trip around the block for the 90s shoegaze genre with an indie - progressive rock twist. Very much in the vein of the Pale Saints, Galaxie 500 and Slowdive. An immersive floating in space headphone experience.
Evergrey The Atlantic
Evergrey has hit upon an impressive groove here. An enjoyable slice of progressive rock.
Genesis Nursery Cryme
With Hackett and Collins finally entrenched in the lineup, Genesis wastes no time introducing its leap of improvement opening with The Musical Box. Nursery Cryme is a statement from a band finding its groove and locking in masterfully for at least the next three albums.
Genesis A Trick of the Tail
A reluctant Phil Collins replaces Peter Gabriel as the band's front man and meets the challenge admirably. Genesis drops the intricate story line of Raul in New York and returns to its whimsical roots of merry olde England akin to Nursery Cryme, Foxtrot and Selling England by the Pound. A Trick of the Tail is a rather brave and impressive last stand for Genesis' classic progressive rock signature sound, eloquently proving to the band and its fans that it can still deliver the goods sans Gabriel. The album charges out of the gate with the terrific Dance on a Volcano, followed by the wonderfully underrated Hackett acoustic guitar driven Entangled. Also noteworthy are Ripples, the album title track and closer Los Endos. However the future pop direction of the band is hinted in the ballad Squonk where Collins proves his salt behind the microphone. The keyboards are a bit more pronounced overall here and that would greatly impact the future of the band's lead guitarist. Yet another changing direction for Genesis down the road.
Gentle Giant Acquiring the Taste
Acquiring the Taste has one of the worst suggestive album artwork covers of all time however thankfully the progressive music contained within it is simply remarkable. The opener, Pantagruel's Nativity is a French fable from the book Gargantua and Pantagruel by Francois Rabelais, a favorite author of the band apparently with another story, The Advent Of Panurge later appearing on Octopus. One envisions this album played from start to finish in live performance at Carnegie Hall with all the instruments laid out in full display. And that musical inventory would include the following: 6-string electricc guitar, 12 string electric guitar, 12 string electric wah-wah guitar, mandolin, bass, donkey's jawbone, Minimoog, piano, Hammond organ, Mellotron, harpsichord, electric piano, celeste, clavichord, xylophone, vibraphone, tympani, cello, maracas, tambourine, alto saxophone, cowbell, clarinet, trumpet, tenor saxophone, violin viola, electric violin, Spanish guitar, skulls, organ bass pedals, drums, gong, descent recorder, treble recorder, tenor recorder and finally an obligatory triangle. The personal choice cut here is The House, the Street, the Room with the absolute ruthless guitar solo at the song's midpoint.
Gentle Giant Gentle Giant
The eponymous debut of Gentle Giant provides nearly every appreciable asset normally treasured by progressive rock fans and yet remained in the castle dungeon without ever receiving its due accolades. This is superior musicianship and quite impressive considering its status as the band's inaugural studio release. Nothing At All is an epic nine minute experience and features a terrific drum solo courtesy of Martin Smith. Why Not? begins as a progressive number and shifts mid tempo into somewhat a southern blues time frame that would seem more in line with The Allman Brothers. The lyrics are fanciful of merry ole England during a time that no longer exists. And until today this reviewer missed the obvious Alucard ananym for Dracula. These lads are clever and cheeky.
Gentle Giant Three Friends
Three Friends. Three Shulman brothers. Autobiographical? Perhaps. Gentle Giant dial back the progressive sophistication and opt for a more streamlined song structure in their third album. And it pays off handsome dividends. The guitar riff laid down in Prologue is unexpectedly heavy as is the psychedelic tone later deployed in Peel the Paint. The story outline is simple; three friends in school go their separate ways, feel alienated in their new and diverse lifestyles and reconnect. This is an enjoyable and far more accessible listening experience to this wildly adventurous outfit.
Grateful Dead The Grateful Dead
Grateful Dead's debut album (awkwardly self-titled with a "The") is an expertly performed mishmash of covers and original band written recordings. The Golden Road opens the record with a hippy feel good sunshine disposition, very representative of the San Francisco musical scene. Following the lead cut are various country rock psychedelic tinged offerings that demonstrate the growing chemistry of Jerry Garcia and Bob Weir trading off vocals and guitar progressions. This is a quintessential 60s record without the cultivated Grateful Dead sound trademark.
Green Carnation Leaves Of Yesteryear
After a fourteen year studio recording absence, Norwegian veteran doom metal band Green Carnation release Leaves of Yesteryear. The album features three new tracks (Leaves of Yesteryear, Sentinels, Hounds), a reworked previously released song (My Dark Reflections Of Life And Death from their debut album Journey To The End Of The Night) and closes with Black Sabbath's Solitude. If the track list appears a bit short, be assured that Hounds and the reworked My Dark Reflections of Life And Death are over twenty five minutes with the remaining combining for eighteen plus minutes in addition. Despite the extended layoff and uncertainty clouding the band's continued existence, Green Carnation have completed yeoman's work without seemingly missing a beat. The opening album titled track proves beyond a shadow of the doubt the tightness of the band. Often unfairly ignored perhaps this release will garner the recognition owed to this lineup.
Guilt Machine On This Perfect Day
On This Perfect Day is the debut release by the Guilt Machine consisting of Arjen Lucassen (guitar, bass), Jasper Steverlinck (vocals), Lori Linstruth (songwriter, guitar) and Chris Maitland (drums). Unlike the sprawling and rather complicated expansive lineup associated with Lucassen's more recognized Ayreon project, this trimmed down musician roster provides a concise and accessible auditory experience, dialing down the pomposity. The lyrics are rather melancholic, introspective and thematically linked to existentialism along with regretful decisions in life leading to guilt, remorse and shame. "Shut down the guilt machine and wash your conscience clean of yesterday" implores Steverlinck during the opener Twisted Coil. Self-forgiveness. Moving Forward. One more trip around the sun. Well done.
Haken Aquarius
Aquarius is the debut album of the progressive metal band Haken. Its lengthy compositions tackle the concept of a mermaid sold into circus servitude only to later die a martyr in the cause against global warming. There is clear influence of Portnoy era Dream Theater with the musical tones and texture yet the vocals delivered by Ross Jennings are far more operatic rock by nature. Clocking past 70 minutes is quite ambitious and may appear a bit demanding to a new audience however progressive rock fans will appreciate this unique ride.
Haken Vector
Muscling up the sound while trimming down the clock time yields a winning combination for Vector.
Haken L+1Ve
An impressive live performance recording. Definitely in the wheel house for 70s progressive rock fans lamenting over the rarity of 15 plus minute songs. Visions is a revelation.
In Continuum Acceleration Theory
In Continuum is really an ensemble of guest musicians assisting Dave Kerzner to finish an album intended for disbanded Sound of Contact. The result is an impressive sci fi progressive rock album showcasing the talents of his vast lineup. Released on New Year's (2019) Day.
In Continuum Acceleration Theory Part Two: Annihilation
Guest musicians for Dave Kerzner's Acceleration Theory project: Matt Dorsey, Marco Minnemann, Nick D'Virgilio, John Wesley, Jon Anderson, Michael Sadler and on and on. The 20 minute 4 Part Annihilation track is marvelous.
Indukti S.U.S.A.R.
A project involving Riverside's Mariusz Duda will always garner attention and progressive rock meets metal Indukti certainly benefit from his presence. S.U.S.A.R. delivers a sonic range beginning with gentle passages of harp (Anna Farber) entwined with violin (Ewa Joblonska) and ending with sharp hitting metal guitar riffs and drum rolls. Riverside's influence looms over Freder, Cold Inside and Shade, non-coincidentally also featuring Duda's vocals. The remaining tracks are instrumental in nature. Wawrzyniec Dramowicz (percussion) and Maciej Jaskiewicz (guitar) are an effective 1-2 knockout duo with Tool ferocity. However it is ultimately Jablonska's violin enveloping the overall imminent distress and urgency throughout the track list. This purposeful tension draws in the listener akin to Jonny Greenwood's There Will Be Blood soundtrack. An excellent debut release servicing the auditory expectations for Riverside, Tool and King Crimson enthusiasts.
ISON Inner - Space
Gorgeously recorded shoe gaze - dream pop with layered vocals akin to Cocteau Twins. To be listened while enjoying a summer sunrise at the beach.
Jane's Addiction Jane's Addiction
It takes major cojones for a band to debut itself with a live record featuring Lou Reed and Rolling Stones covers. Yet that is exactly what Jane's Addiction did as its introduction to the world. The band is at high octane here with a tribal feverish fervor during Jane Says, I Would For You, Chip Away along with unique re-imaging of Rock N' Roll and Sympathy.
Jethro Tull A Passion Play
The greatest fault for A Passion Play is that it is not Thick As A Brick - The Sequel. Jethro Tull was accused by more than a few critics for overreaching in its concept album documenting Ronnie Pilgrim's journey to the afterlife interrupted midway by a fabled hare missing his glasses. Ian Anderson cannot be accused of never being ambitious in his songwriting. Jethro Tull fans should not be dissuaded nonetheless and can enjoy this album as it is.
Jethro Tull This Was
An excellent blues rock debut which suggests very little of the progressive direction the band would follow afterwards. However the upper grade musicianship - complete with flute - clearly auditions towards a promising future for Jethro Tull. "This Was" is perhaps never a more apt debut album title in modern rock history. And that drum solo concluding Dharma for One is not to be missed.
Jethro Tull Stand Up
Ian Anderson gains control and directs Jethro Tull towards a more progressive rock sound. Martin Barre's guitar is featured and the difference is noticeable. Anderson's vocals still lean blues however elements of rock and folk sprinkle throughout, providing hints of greatness to arrive soon. The band is remarkably tight, a hallmark to continue down the road.
Jethro Tull Benefit
The album opens with the flute and remains a prominent instrument throughout, representative of the band's newfound identity in sound with a more serious and lyrical content. As well, the band's birth sound of blues rock is now very much in the rear view mirror. Ian Anderson has established himself not just as the dancing, singing flutist but also the embodiment and soul for Jethro Tull.
Jonas Munk & Nicklas Sorensen Always Already Here
The obi strip adorned to the outside of the album jacket reads "Compositions And Improvisations For Synthesizers And Electric Guitar". And the description is pretty much hits the target. The production quality from El Paraiso Records is always impeccably clean and this album exemplifies that standard. Perfect background ambient-drone-electronica-guitar interludes while reading or simply relaxing.
Kanaan Double Sun
Double Sun is the aptly titled second offering of the year released by Norwegian instrumental rock trio Kanaan. Accessible and enjoyable, Double Sun delivers a swirling psychedelic experience sprinkled with kraut-space-post rock elements seemingly effortlessly interwoven. Ingvald Andre Vassbo is exceptionally talented behind the drum kit and provides the metronome backbone from start to finish. Extra credit also earned for the insanely eye catchy album cover artwork.
Kansas Kansas
The eponymous debut of Kansas shows its roots directly from the album artwork, a cropped painting depicting abolitionist John Brown. This is an actual portion of a mural at the Kansas State Capitol in the band's hometown Topeka. The progressive roots of the band are already well into development here with aggressive time signature changes, symphonic instrumental passages and impressive vocals delivered by front man Steve Walsh. Journey from Mariabronn, Apercu and Death of Mother Nature Suite illustrate the band's progressive chops however the deeper cut Belexes flexes a bit more muscle bordering into metal territory.
Kansas Song for America
Song for America is a wonderful kaleidoscope of boogie blues, country and even symphonic classical musings welded into a progressive rock context. The album self titled track is an raucous celebration of this fusion albeit perhaps overblown to those taking this a bit more serious than necessary. However the money track here is actually the closer, Incomudro - Hymn to the Atman with sweeping synthesizers and a terrific drum solo performed by Phil Ehart. Steve Walsh on vocals provides the much needed rock presence to the entire affair.
King Buffalo Repeater
Repeater is a twenty four minute hypnotic inducing three track EP released by King Buffalo. The album self titled song is a sprawling thirteen minute psychedelic journey perfect for a long winding desert road trip under the stars. With its Black Angelish bass line, tribal drum patterns and blissfully stoned vocals delivered by Sean McVay, Repeater (song) is the missing key to David Lynch's Lost Highway. Too Little Too Late is an instrumental with a terrific Apocalypse Now recalling helicopter whirling guitar effect before seguing into the final track. Centurion evokes the imagery of a tribe stalking and hunting down its prey in the dead of night. King Buffalo effectively lulls the listener under its spell to experience its carefully crafted sonic journeys. Quite a powerful work of art on display here for only three tracks.
King Buffalo Dead Star
Red star. Waning Star. Dead star. One thing is for certain, King Buffalo are bonafide rock stars. The opening riff to Red Star Pt. 1 & 2 immediately hooks you into a seductive psychedelic trance and never ceases during its sixteen plus minutes. It is a slow burn of a cosmic journey with patiently building guitar interludes reminiscent of a pacified Tool. Sean McVay's delivery of vocals is nearly spoken word, kept simple and powerfully evocative not unlike a Jim Morrison spellbinding experience. Echo of a Waning Star is a serviceable downshift in pace segueing into Ecliptic featuring Richard Wright mindful synthesizers. Dan Reynolds on the bass steals the show on Eta Carinae (a multiple dying star phenomena) with McVay landing lyrics with staccato precision. The closer Red Star is a gorgeous Bic lighter waving in the night air number with a soft acoustic approach. Whether this a LP or EP is up for debate. However there is no argument that Dead Star is infectiously entertaining and certainly warranted repeated listening.
King Crimson Discipline
Robert Fripp yet again retools King Crimson with recruitment of Adrian Belew and consquentially a sound shift towards a more art work frame. Belew's influence is obvious right from the opening track Elephant Talk, structurally and lyrically in style with his previous band, Talking Heads. Collaborating with Belew reinvigorates Fripp, the band itself and Discipline is a bit of a hidden gem in its storied discography.
King Crimson In the Wake of Poseidon
A very worthy and oddly underappreciated follow up to King Crimson's fabulous debut album. Do not miss out on The Devil's Triangle - a wonderful 3 part suite of progressive rock at its finest.
King Crimson Starless and Bible Black
Improvisational jazz prominently resides in Starless and Bible Black, featuring the musicianship talent of King Crimson. Aside from The Great Deceiver and Lament, the tracks were recorded in live performance. The more appreciative moments of this record are its quieter moments, often involving a single instrument, patiently building up to a crescendo with accompaniment at the appropriate moment to great effect. Trio accomplishes this perfectly. Admittedly the album is not immediate or accessible by its nature and demands concentration from the listener. Not unlike learning a second language, once locked in, a new world opens: ruled by the Crimson King.
Leprous Tall Poppy Syndrome
Tall Poppy Syndrome is the impressive debut release of Norwegian progressive metal band Leprous. Einar Soldberg is a talented singer however the band successfully utilizes Tor Oddmund Suhrke and Oystein Landsverk behind the microphone for harsher vocals and effectively layering and diversifying to the band's betterment. Passing, Not Even a Name, Tall Poppy Syndrome and the wonderfully epic closer White are all highlights.
Lonely Robot Under Stars
The third and possible final act of John Mitchell's solo Lonely Robot project further explores the adventures and isolation of the astronaut also known as the lonely robot that exists within all of us. Another well crafted emotionally provoking progressive rock album with inspired guitar performances by Mitchell accompanied by Craig Blundell's expert drumming.
Long Distance Calling Dmnstrtn
Dmnstrtn is an EP released by German post rock, progressive instrumental metal band Long Distance Calling. The four tracks presented offer a glimpse into the band's emotional evocative style of instrumentation with repeating sequences ultimately reaching crescendo for full impact. Embedded into the background of song structures often feature additional sound effects that augment a direct connection to the listener. Fire In The Mountain includes an Orson Welles narrative from the 1962 motion picture, "The Trial" as an effective substitute for lyrics. Likewise The Very Last Day concludes with a spliced excerpt from a more recent move, "A.I." Without vocalized lyrics, these instrumentals including brief spoken words complete the band's messages. Amsterdam, Venice, New York.... forever lost.
Magic Pie Fragments of the 5th Element
Quality musicianship accompanied by thoughtful lyrics. The quieter interludes draw out the emotional depth. Deserves a larger audience and support base.
Messenger Illusory Blues
Illusory Blues is the debut release by Finnish progressive folk rock band, Messenger. As noted by several reviewers, the percussion work performed by Jaime Gomez Arellano is simply brilliant and shines throughout the entire track list. Messenger provides a unique psychedelic instrumental kaleidoscope complemented with folk vocals, somewhat reminiscent of a Jethro Tull experimental project.
Monkey3 Sphere
Sphere is the sixth studio release from Swiss instrumental rock band Monkey3. The opener Spirals perfectly launches the listener's mind for a sonic journey outward to the heavens only to safely return at the record's equally impressive closer Ellipsis. Monkey3 has perfected the blend of blissful ambient droning crafted by Spacemen 3 with crunching guitar riffs familiar with Long Distance Calling. Fans of all instrumental rock genres are strongly encouraged to familiarize themselves with this band's discography. Expertly executed with complete confidence. Punch your ticket and join Monkey3 for the ride.
Monster Magnet Dopes to Infinity
An album that really stood out and made room for itself in the glut of a post grunge surplus. Dopes to Infinity reintroduced stoner space rock and even scored regular rotation on MTV with its Negasonic Teenage Warhead video. Try not cracking a smile at Wyndorf's repeating chorus, "I talk to planets baby".
Mystery Lies and Butterflies
A terrifically produced neo prog rock album intertwining Marillion, Pink Floyd and Genesis influences into its own now well earned branded sound. Choice cut is the epic 15 minute closer Chrysalis.
Mystery Live In Poznan
The folks in Poznan certainly maximized the value of the asking ticket price with this performance containing no less than seven songs clocking over twelve minutes. Live performance of progressive rock can certainly be a challenge to match slick studio production. Mystery hits the mark here.
Mythic Sunship Changing Shapes
Changing Shapes is a live album recorded at a 2019 Roadburn concert. The musicianship is stellar in particular saxophonist Soren Skov. The sonic layering is quite impressive especially taken into consideration that this performed live and not in studio. Elements of King Crimson, Hawkwind, Spiritualized and even some psychedelic swirling guitar work in early Grateful Dead are all interwoven and present. This is an incredible work of jazz fusion into space rock and psychedelia.
Nad Sylvan The Regal Bastard
For those familiar with Steve Hackett's ongoing Genesis Revisited Tour, Nad Sylvan admirably covers both Peter Gabriel and Phil Collins' lyricist duties. The Regal Bastard closes out Sylvan's "vampire trilogy" in stunning prog fashion. Extra props to the impressive musicianship lineup on the album. Choice cut is the album's namesake.
Nirvana Bleach
Simply put: the $606.00 billed for recording this album was the best bang for the buck spent by Sub Pop. And it lays a solid foundation for the real big one to follow afterward.
Nirvana Incesticide
Incesticide had the unenviable duty to follow up the massively successful Nevermind. It was an assortment of outtakes, Peel sessions, covers (Molly's Lips) and b-sides in attempt to hold fans over until the release of In Utero. Big Long Now and Aneurysm are terrific and re-appear on concert track lists down the road.
Nirvana Nirvana
This is essential only to diehards for obtaining the lead cut You Know You're Right. The remaining compilation in all probability is already possessed. So much in so little time. Such a shame.
Nirvana From the Muddy Banks of the Wishkah
A raw live performance stripped from any studio cleansing and presented in its muddy unadulterated glory. Primal rawk at its finest.
Nosound Sol29
Sol29 is the debut release of ambient progressive rock project Nosound, recorded and performed by multi-instrumentalist Giancarlo Erra and bassist Alessandro Luci. The influence of Up the Downstair era Porcupine Tree is obvious with even Erra's Italian accented vocals patterned in the ethereal wispy delivery of Steven Wilson. The ambient textures cloak the album in a meditative pulse lowering aural landscape best enjoyed with the lights dimmed and a favorite beverage at your side. Wearing Lies on Your Lips along with instrumentals The Moment She Knew and Sol29 earn podium honors.
OSI Office of Strategic Influence
Donald Rumsfeld forms a controversial federal agency of misinformation and Jim Matheos (Fates Warning) steals its name, Office of Strategic Influence for his new super group. Recruited for this album were Mike Portnoy (Dream Theater), Kevin Moore (Chroma Key), and Sean Malone (Cynic). The foundation is progressive metal however subdued with atmospheric ambience and droning guitars layered with cryptic vocal passages, inducing an almost hypnotic headphone experience. Extra credit for recruiting Steven Wilson (Porcupine Tree) as lead vocalist for the wonderful extended Shutdown track. Too often projects involving musicians from critically acclaimed, established bands fall flat and rather disappointingly mediocre. OSI quickly establishes its own identity and niche in the progressive rock universe.
Our Lady Peace Naveed
A bright light from the Canadian rock scene emerged in the 90s with Our Lady Peace dropping its debut Naveed. The first half of the album is near classic status with Birdman, Supersatellite, Starseed, Hope and Naveed seemingly timeless and relevant in live performance today. Raine Maida's signature nasal warbling on lyrics and Mike Turner's self-recognizable rifffs take root on this debut. Naveed deserves a modernized reissue and expansion (if any related material exists in the proverbial band vault).
Pattern-Seeking Animals Prehensile Tales
Pattern-Seeking Animals a.k.a. Spock's Beard Redux return in less than a year with their sophomore juggernaut Prehensile Tales. Ted Leonard and gang collectively bring their A games to the studio and deliver a surprisingly delightful and engaging album to combat the doldrums of current pandemic uncertainties. Leonard is simply fantastic behind the microphone and quickly moving up the ladder of who's who elite progressive rock vocalists, complimented quite effectively on harmonies by Jimmy Keegan. John Boegehold's songwriting is top shelf throughout the track list diverse with spiritual awakening, vampires and sinking ships. Raining Hard In Heaven opens the album with a get up on your feet bass groove, a rather calculated risk that pays off for its uptempo sincerity. Unlike its predecessor, the musicianship here is far more expansive including well suited timed horns and strings, adding a little color and pizazz to Here in My Autumn and later in the spaghetti western vibing Why Don't We Run. Lifeboat and Soon But Not Today are extended long playing progged out to the maximum concluding tracks that entertain without pretension or self-indulgence. Pattern-Seeking Animals may have just conquered the most fun prog rocker of 2020.
Pearl Jam Vs.
The band consciously ditches the commercial built for arena rocker structure and opts for a lesser accessible yet highly rewarding option instead. The bandwagon perhaps is no longer overloaded but those who stay are committed to the career ride.
Pearl Jam Vitalogy
Even more so than Vs, Vitalogy pushes Pearl Jam further away from its debut arena rocker blueprint. And proves once again, a successful decision. Not For You is a ferocious counterpoint to those desiring Ten II. And yes, Spin the Black Circle really sounds great on the turntable although I could live without ever listening to Bugs again.
Pearl Jam No Code
Often unfairly viewed upon as the redheaded stepchild of the band's discography, No Code is perhaps Pearl Jam's most diverse and eclectic album. Head phones required.
Pearl Jam Gigaton
Gigaton provides as much fan service as Pearl Jam will ever permit. And in the end, it is as close to the band's Who's Next as we will probably receive. The earlier single release for Dance of the Clairvoyants caused ripples for its overdubs and disco lite bass yet indicated a willingness for a veteran band to exhibit experimentation. The track list unsurprisingly is a take down on the current state of affairs. The anarchistic anger and consequential activism is rejuvenated in Eddie Vedder's lyrics with the band itself showing punch and energy seemingly a bit lost since the days of Yield. For the greying PJ fans, enjoy this one for what it is.
Pendragon (UK) Love Over Fear
Pendragon leave behind its recent foray into progressive metal and return to its accessible neo prog roots like a pair of comfortable slippers. Extra credit recognized for additional instrumentation such as violin and saxophone to enrich the record's soundscape texture.
Pink Floyd Meddle
Meddle is a proverbial crossroads for Pink Floyd's career as it contains throwback psychedelia from its past along with down the road classic song structure that defined its future commercial success. Fearless is a terrific track interlaced with Liverpool F.C. fans singing You'll Never walk Alone and of course Echoes is a 23 minute psychedelic ear feast. No word yet if Steve Marriott's dog received royalties for vocal performance on the maligned Seamus.
Pink Floyd A Saucerful Of Secrets
Early Pink Floyd albums are a bit of surprising contrast to the more familiar later works. This is a dense psychedelic work of art with a bit more emphasis on the musicianship of Richard Wright and Nick Mason. The organ and choir appearing toward the final minutes of A Saucerful of Secrets is divine.
Porcupine Tree Lightbulb Sun
Sandwiched between critically acclaimed Stupid Dream and In Absentia lies Steven Wilson's manic depressive classic Lightbulb Sun. This is an album illustrating the depth of talent from its individual performers. Richard Barbieri's synth work cements the angst tone from start to completion. And the baseline from Colin Edwin provides a memorable opening to Hatesong. The record ends with a mournful Feel So Low accentuated by Emmeline Brewer's cello with an almost resigned sigh to Wilson's vocal delivery. An album for a late and rainy evening after arriving home from a breakup date.
Porcupine Tree Voyage 34: The Complete Trip
Our man of the hour Brian experienced thirty three delightful LSD trips. However on Voyage 34, he was totally shattered and Steven Wilson wrote a two part concept EP chronologizing Brian's twelve hour rocky journey. This is unlike anything else in the Porcupine Tree discography and some very well may prefer chewing plastic flashbulbs instead. The opening familiar bass line to Another Brick In The Wall Part II is somewhat ironic perhaps a direct nod to Pink Floyd and would be immensely satisfying if ever performed by Rogers Waters himself in an actual Steven Wilson performance. "The Complete Trip" is really two tracks with the other two provided as remixed versions.
Psychotic Waltz The God-Shaped Void
Quite possibly the comeback album of the year from a long dormant band. And certainly a successful transition toward a heavier rift metal musical template compared to earlier eclectic progressive rock tendencies. The vocals are solid yet blended a bit too far back into the mix unlike earlier albums where presented upfront. Hopefully this new label deal will include reissuing the back catalog, a long overdue and much necessary endeavor.
Psychotic Waltz A Social Grace
A Social Grace is the independently released debut of progressive metal band Psychotic Waltz. Heavy metal riffs in rapid changing time signatures present intrigue, novelty and unexpected maturity for a relatively inexperienced and unknown band at the time. Buddy Lackey/Devon Graves behind the microphone is an interesting vocal hybrid of Chris Cornell and Mike Patton. The opener ... And the Devil Cried is a perfect introductory microcosm of the band's signature metal sound that sets it immediately apart from either metal or alternative rock bands of the time. Also noteworthy mentioning is the only ballad on the album, I Remember which provides temporary reprieve from the assault to the auditory senses. The additional instrumentation incorporating tambourine, piano, vibraslap, flute and keyboards augment to this debut's uniqueness. Highly recommended to those fatigued from the current "sameness" presented in this genre.
Pure Reason Revolution Eupnea
A decade separates Eupnea from the last studio release by Pure Reason Revolution and it is an impeccable return. The harmonies provided by Jon Courtney and Chloe Alper are impressively ear catching. The instrumentation captures an immediate accessibility without sacrificing progressive elements in either rock or metal capacities. The melodic undertones of Eupnea emulate a faint underlying of the 90s shoegaze without any prolonged droning. This is a thoroughly enjoyable listening experience and hopefully another long sabbatical does not interrupt the band's next studio recording.
R.E.M. Chronic Town
R.E.M. was essentially born in a record shop during a chance meeting between Michael Stipe and Peter Buck. Remarkable. Chronic Town is the debut EP, interestingly enough produced by Mitch Easter of Let's Active fame. And it is quite a coming out party, with the operative word "charm" most apt descriptor for the infectious jangle pop hooks, layered vocals and intelligent lyrics. Gardening At Night is a live recorded track and exemplifies a band already tight in its sound with a front man confident behind the microphone. A solid introduction for a band that would achieve global recognition and fortune in the years to follow.
Rick Miller Belief In The Machine
Veteran of the Canadian progressive rock scene, Rick Miller delivers another quality record with his signature Gilmour-Hackett stylized guitar playing. Belief In The Machine leans heavily toward the instrumental scale with effective but minimal lyrical delivery. Extra credit for the album's steampunk artwork.
Riverside Wasteland
Mariusz Duda is incapable of recording a poor album. Riverside soldiers forward without its lead guitarist Piotr Grudzinski. The tone is different yet remains effective.
Rod Melancon Pinkville
A hidden gem of 2019 worthy for more recognition. Melancon is a throwback story teller in the fashion of Bruce Springsteen (Nebraska) and Johnny Cash. The spoken word verses bring to mind Patterson Hood of earlier Drive-by Truckers albums.
RPWL Tales From Outer Space
An excellent progressive rock concept album detailing an encounter with extraterrestrials by the band members. Very much in the melodic vein of a David Gilmour lead Pink Floyd era record.
Rush All The World's A Stage
All the World's a Stage is the first live album released by Canadian progressive rock band Rush. It was recorded over the period of three performances at Massey Hall, Toronto during June 11-13, 1976. The double LP served as a buffer while the band was recording 2112's follow up A Farewell to Kings. The essence of Rush's high energy output and dedication to reproducing its attention to detail during studio sessions is entirely captured here in live performance.
Rush Grace Under Pressure
Grace Under Pressure finds the blend of keyboards and guitars that seems to satisfy Rush's 80s experimentative muse and fans still on board following Signals. Neil Peart's percussion artistry in particular on Red Lenses is mesmerizing.
Sacri Monti Waiting Room for the Magic Hour
Waiting Room for the Magic Hour is the long awaited sophomore release by Sacri Monti. The influence of Black Sabbath is obvious however a kaleidoscope of other classic bands including Cream, The Doors, Led Zeppelin, The Allman Brothers and The Stooges also loom. Affirmation in particular is stunning.
Samsara Blues Experiment Long Distance Trip
Long Distance Trip is the debut studio release by German psychedelic stoner rock band Samsara Blues Experiment. Middle eastern influences set the tone immediately with a tasty sitar opening sequence in Singata Mystic Queen followed by layering of wah wah guitar riffs. Largely instrumental by nature, Christian Peters guttural vocals are sparse and intermittent utilized simply to add atmospheric doom into the psychedelic kaleidoscope. Clearly produced and recorded with headphones in mind, the mix tends to alternate left and right channels to great effect. So sit back, relax with your favorite indulgent and hit play.
Slift Ummon
Ummon is the dynamic sophomore album released by French psychedelic rock power trio Slift. The album artwork cover is undeniably striking with its sword dragging gargoyle like hood ornament trekking across the cosmos. This is one thick slab of a listening experience of seventy three gloriously tripped out minutes invested into the eleven tracks of retro 70s spacey psychedelia laced with garage rock and progressive metal. Clemence Lagier's vocals at times are rather difficult to decipher and buried into the instrumental mix. However there is no denying the band's raw energy and enthusiasm into this record, possibly heralding Ummon as its genre's best of the year.
Sonar Tranceportation Vol. 1
This recording is clean, clean, clean and clean as though you were listening to the instrumentation live in studio. Highly recommended for those who enjoy minimalist sounding progressive rock with precision and intensity.
Sonar Tranceportation Vol. 2
Tranceportation Vol. 2 is the follow up release to 2019's Vol. 1 and was recorded by Sonar with David Torn during the same studio sessions. Once again the tritone guitar playing is on full display. Although Torn is the featured musician, the true heart of the band is bassist Christian Kuntner who steals the auditory senses every time while performing. Sonar's sound is very much in debt to King Crimson's Robert Fripp and his "frippertronics technique". A little research revealed that band guitarist Stephan Thelen was a student of Fripp's guitar workshop. Clearly he graduated at the head of the class.
Sons of Apollo MMXX
There is a much appreciative duality towards MMXX provided by Sons of Apollo. This record encompasses modern progressive metal with old school hard rock sensibilities. The musicianship is peerless. And the vocals provide actual substance instead of bland derivative cliches.
Sound of Contact Dimensionaut
Dimensionaut is the singular release by now defunct progressive rock band Sound of Contact. The songwriting partnership of Dave Kerzner and Simon Collins yielded a concept album of a "dimension traveler" exploring the inner workings of humanity. Subsequently the dimensionaut must confront his unclear future to either continue his isolating explorations or rejoin his partner for companionship. The album self titled opener followed by Cosmic Distance Ladder are atmospheric and rather resembling of Floydian ambience intermixed with Steven Wilson tonality. However from Pale Blue Dot onward, Dimensionaut takes on the persona of later day Genesis, especially with Simon channeling the vocals (along with his talent behind the drum kit) of his father. The comparison to Genesis is not to be taken as glib or a critical jab. There are no 80s overproduced synths with Sound of Contact (credit to Nick Davis on the mixing, a Genesis veteran). For progressive rock fans somewhat disappointed with the direction ultimately chosen by Genesis, Sound of Contact offers a rather fun "what if" alternative. Even the closing four segmented suite Mobius Slip seems to be a tribute of the golden era of Phil's band. Unfortunately the Kerzner - Collins tandem was not long lasting. However Kerzner's lyrics that would have been utilized for the next record ultimately was recorded as the double album In Continuum project and also provides a well worth listening experience.
Soup (NOR) Live Cuts
An emotionally infused post - prog rock live performance residing more toward complete instrumental with vocals only minimally added for dramatic effect. Somewhat of a cross between Radiohead and Muse. The musicianship is simply superb.
Southern Empire Southern Empire
After the collapse of Australian progressive rock band Unitopia, keyboardist and songwriter Sean Timms joined forces with Danny Lopresto (vocalist), Cam Blokland (guitarist), Jez Martin (bassist) and Brody Green (percussionist) to form Southern Empire. This eponymous self titled debut consists of a brief opener (Show Me The Way) following five lengthy compositions of neo-progressive rock. The Bridge That Binds clocks in nearly thirty minutes and is subdivided into nine suites detailing our collective questions, concerns and wonderment of a shared mortal experience. Timms' uplifting and rather obliquely spiritual songwriting especially for The Bridge That Binds seems to channel his inner Neal Morse. Lopresto's vocals (backed by impressive harmonies) are a highlight very much rivaling Ted Leonard recent work with Spock's Beard and Pattern-Seeking Animals. Southern Empire seems to emulate the finer progressive aspects of those two aforementioned bands along with later day Yes and Transatlantic influences. Silky smooth and highly enjoyable, a definite recommendation to those for an affinity toward current trending progressive rock music.
Spaceslug Reign Of The Orion
If Soundgarden recorded a follow up in the vein of its debut Ultramega OK, it might have sounded like Reign of the Orion.
Spidergawd V
Hard driving 70s straight forward rock n' roll featuring baritone (Rolf Martin Snustad) and tenor (Peter Kraft) saxophones. Would fit in nicely with Jim Ladd's nightly set list on Deep Tracks.
Spock's Beard The Kindness Of Strangers
The Kindness of Strangers restores the song arrangements into suites as demonstrated in the debut, The Light. Neal Morse's song writing is inching towards a more spiritual, theological point of view, perhaps spurred by the band's producer, Kevin Gilbert unexpectedly passing away during the recording sessions. Morse's lyrics are also a bit cryptic, open to listener interpretation and perhaps thematically linked without an obvious concept save perhaps questioning true meaning, purpose and self-reflection. Nick D'Virgilio absolutely shines throughout the album, especially in Harm's Way and clearly establishing himself as one of rock's finest current drummers. Al Morse's versatility as a skilled guitarist along with cello, also impresses. The highlight is June, a wonderful introspective pop fused to progressive rock track, opening with a tender acoustic guitar sequence and vocal harmonies that would easily fit into any popular classic rock radio format.
Spoon Hot Thoughts
Britt Daniel dials back the paranoia and adds a bit of pop to the indie rock.
Steve Hackett Spectral Mornings
As Genesis evolved further into its commercial successful synth pop work, departing guitarist Steve Hackett delved deeper into prog rock. This solo effort is of course excellent and the recent Steven Wilson remix provides an extra spark.
Steven Wilson The Overview
Space: the final frontier. This is the voyage of Steven Wilson. His new mission: To re-visit his earlier progressive rock template in a thick as a brick double track homage without a trace of pop persuasion. And provide Miles Skarin a sonic soundtrack for viewing Earth from space, hence the cognitive overview effect. A term of double meaning; existential to philosophical matters of heavenly bodies but also self-reflection for fanfare nostalgic trenched musical composition from days past. Returning to his terrestrial roots, Astronaut Wilson relaunched to the stars. Mission Overview is a success. And a nod to fellow progressive rock astronauts who adamantly remained in Wilson's orbit since On The Sunday Of Life...
Stone Temple Pilots Core
Unfairly and flat out erroneously labeled as a Ten copycat upon its release (yes I remember) time has proven that this debut album solidly stands on its own.
Stone Temple Pilots Tiny Music... Songs From The Vatican...
Stone Temple Pilots liberate themselves from the rather narrow and cynical scope of the grunge genre by embracing its art rock inner child with terrific success. Weiland is perhaps at his best with Bowie like glam appeal behind the microphone. Highlights include Pop's Love Suicide, Big Bang Baby and Art School Girlfriend.
Sturgill Simpson Sound and Fury
This album is pure unadulterated fun. Sturgill Simpson borrows the spirit of ZZ Top and mixes it with the riffs that should be written by The Black Keys. And the animation sequence of the entire album is now available on Netflix and is absolute gold.
Suns of the Tundra Murmuration
Four years after the release of the excellent Bones Of Brave Ships, Suns of the Tundra return with the sleek and powerful Murmuration. This is a far more alt-rock vocal leaning album coupled with progressive metal riffing. Special commendation for the record's mixing of these tracks to distinctly highlight the vocals and instrumentation. Bonus track "Pond Life" is a blast from the band members' former outfit Peach. For best results, play loud.
Swallow the Sun When A Shadow Is Forced Into The Light
Swallow the Sun continue its run with the dark end of macabre doom and melodic metal intermixing clean and guttural vocals. Melodically finds the neutral ground between present Anathema and Opeth while maintaining the ferocious growls to augment the emotional despair.
Thank You Scientist Terraformer
Terraformer resides in the deep end of the swimming pool for progressive jazz rock. At an album length of 84 minutes, the listener deserves a PhD for perseverance. Thank You Scientist really should consider a producer outside themselves for their next record to help trim the fat.
The Bardic Depths The Bardic Depths
Debut eponymous album from a talented international roster of seasoned musicians delivers solid dividends in the progressive rock genre. Cosmograf artist Robin Armstrong participates on this record coincidentally entitled The Bardic Depths and perhaps subtly linked to last year's release Mind Over Depth. Cerebral thoughtful lyrics are penned by Brad Birzer and influenced by the writings of several authors including C.S. Lewis and J.R.R. Tolkien. Birzer weaves the concept of friendship through turbulent times. Dave Bandana's nasal twinged vocals deliver Birzer's lyrics effectively and provide a nice break from the rather conventional and homogenized signing provided in the plethora of new progressive rock acts. The strength of the musicianship (extra credit to Peter Jones on saxophone) enables the band to incorporate ambient and jazz textures into its progressive mix to enhance the listening experience with a focus on the entirety of the record in lieu of single tracks. In an era of rather mediocre "super group" offerings, The Bardic Depths deliver an effort that actually matters and cannot be ignored. Once the pandemic has passed, the real challenge is for this group to tour. Should it do so, don't miss out.
The Doors Waiting For The Sun
The excess of rock 'n roll celebritydom clearly has taken its toll on front man Jim Morrison during the recording sessions of Waiting for the Sun, the third studio album released by The Doors. Oddly the album titled track is not released until two albums later, Morrison Hotel. Despite Waiting for the Sun's diminished status compared to its previous predecessors, it was the band's only album to achieve number one status in the charts, largely off the strength of Morrison's hippy happy single Hello, I Love You. Spanish Caravan is a wonderful baroque folk track with the band in complete unison behind Morrison's almost mystical baritone vocals. However the front man's sobriety seems short-lived. Morrison's vocals are rather slurred and inconsistent during the protest song, The Unknown Soldier and the orgy ode, Five to One. Ray Manzarek's accompanying sound effects achieved by his keyboard on The Unknown Soldier adds depth to the inevitable murder committed by the war machine. The little mentioned deep cut Summer's Almost Gone is perhaps analogous to the deteriorating state of Morrison himself and oddly brings to mind Nirvana's Sliver as a recount of a possible childhood memory. My Wild Love envisions the band under the influence of hallucinogens, sitting cross legged, surrounding a crackling campfire, tribal chanting harmoniously at the dead of night. Waiting for the Sun is confirmation that The Doors, especially the fragile Morrison, were peeking through the keyhole to the afterlife on the other side.
The Dream Syndicate The Days Of Wine And Roses
In an era of mercifully dying disco and the crude emergence of hair glam bands, the Paisley Underground was a haven for jangle pop enthusiasts determined to write honest songs and perform music artfully, bypassing significant commercial recognition. The Dream Syndicate were at the forefront of this movement and this debut is a treasure trove of some of the best from this early 80s genre. Steve Winn's vocal delivery is somewhat mixed mutt of Lou Reed and Bob Dylan, as is his storytelling lyrics most evident in the closing album titled track. Other highlights include Tell Me When It's Over, That's What You Always Say and the Kendra Smith lead vocals on gentle Too Little, Too Late.
The Feelies Crazy Rhythms
Crazy Rhythms is the debut album released by The Feelies, an avant-pop band with a bit of jangle. The studio recording is nothing short of spectacular, in particular the wonderful, pristine guitar tones. There is a jittery, almost insecure vibe consistent throughout the track list, as though the band members are aware of their lightening caught in a bottle during the sessions and not wanting to let it escape. The Boy with the Perpetual Nervousness, Moscow Nights, Raised Eyebrows and Crazy Rhythms are all exemplary standouts. The Beatles cover, Everybody's Got Something to Hide is a neat interpretation and on the reissue, always check out The Rolling Stones' Paint It Black. Although most likely inconspicuous in 1980, the cover is now rather recognizable and clearly inspired Weezer's own debut artwork (The Blue Album).
The Flower Kings Back in the World of Adventures
Back in the World of Adventures is a sequel to Roine Stolt's The Flower King but the debut of his fully fleshed out band, The Flower Kings. The blueprint to the band's sound is somewhat reminiscent to its American peers, Spock's Beard however far more melodically guitar driven than Neal Morse's keyboard dominance. Highlights include the opener, World of Adventure, Go West Judas, Theme For A Hero and the dramatic closer, Big Puzzle. This is an ambitious release for a newly formed band to demand over seventy minutes of a listener's concentration. Yet due to the infectious enthusiasm of the band's effort, it pays dividends for veteran listeners of the progressive rock genre.
The Neal Morse Band The Great Adventure
At this stage of the game, you are already know what you are going to get with a Neal Morse album..... check that - double album.
The Neal Morse Band The Grand Experiment
The Grand Experiment is aptly titled as Neal Morse and friends uncharacteristically arrive to the studio without any preparations and work start to finish on this debut release. This project differentiates itself from Morse's solo output as it is far more collaborative and less overtly theological. The faith based themes are present however not soap boxed presented and the sincerity is beyond reproach. Alive Again is twenty six minutes of classic Neal Morse mastery of the long progressive track track. And it is so well composed and recorded, that it is worth the price of admission alone. Extra credit for Mike Portnoy's drumming rhythms during New Jerusalem, serving as a nice homage to Collin's Take Me Home. Uplifting, confident and purposeful, The Grand Experiment is indeed a successful one.
The Only Ones The Only Ones
The eponymous debut entitled The Only Ones celebrates rock n' roll in post punk fashion with its minor legend hit Another Girl, Another Planet. Peter Perrett delivers the vocals in a deadpan nasal twinge, complimenting the band's melodic rhythms and snappy guitar tones. Perrett's self loathing commiserated during No Peace For The Wicked may have inspired but never surpassed by Rivers Cuomo.
The Pineapple Thief Hold Our Fire
This is a close to the vest live performance of the studio album Dissolution with 3000 Days added as the closer. As always Gavin Harrison's work behind the drum kit is sublime. Unfortunately the album title may forever be confused with the studio album Hold Your Fire by Rush.
The Pineapple Thief Dissolution
Bruce Soord is in Cohen's Everybody Knows mode of utter despair. White Mist is a revelation as is Gavin Harrison.... yeah that drummer with the other "PT" band. Worth checking out: the alternate versions.
The Raconteurs Help Us Stranger
Jack White brings back the icky thump and driving beat to this surprisingly fresh record by his Raconteurs. Nothing particularly fancy just straight forward enjoyable rock.
The Rolling Stones The Rolling Stones
The Stones long and storied journey started rolling with this eponymous debut covering American blues and Motown songs. Most notable are Now I've Got a Witness and Little by Little credited to Nanker Phelge, a pseudonym for the band and Tell Me (You're Coming Back) as the first attributed Jagger/Richards songwriting collaboration. The band's genuine appreciation for blues contributed toward building their own incredible bedrock of rock classics shortly thereafter.
The Saints (I'm) Stranded
The Saints were the Australian unsung heroes of the punk rock movement, inauspiciously overshadowed by the Sex Pistols, Ramones and The Clash. And yet no less important. The album titled opening track I'm Stranded burns the house down with its brash take no prisoners ferocity. However the real strength of the band's talent is found during its Replacements zen transformative Messin' With The Kid. Closing with Nights In Venice is the auditory experience of a stage set destroyed unrivaled since Cobain's emergence decades later.
The Spacelords Spaceflowers
Spaceflowers fits very nicely as the third accompaniment to Liquid Sun and Water Planet. This German band has truly found its unique sound blending 70s Hawkwindish spacey riffs to its psychedelic stoner rock template.
The Who My Generation
My Generation is the debut album from The Who and introduces a bit of rock 'n roll garage snarl into the British invasion of American blues. Roger Daltrey's cleverly installed stutter drives home Townsend's lyrical defense of youthful rebellion and counter culturalism in the landmark single My Generation. Included also are the reinterpreted James Brown covers I Don't Mind and Please, Please, Please along with a spirited I'm a Man tribute to Bo Diddley. However the band's developing musical chops are on full display in the instrumental The Ox, especially by percussion maestro Keith Moon. This debut immediately establishes The Who as a force to be reckon with in the years to follow.
Thom Yorke Anima
Melancholic electronica with beeps and blips underlying Yorke's mournful lyrics. The type of record that one discovers something different after each and every listen.
Toundra Das Cabinet Des Dr. Caligari
In order to appropriately review this work of art released by the Spanish post-rock instrumental band Toundra, frame of reference must first be established. This is a proposed soundtrack to the 1920 German silent horror motion picture; a rather disturbingly macabre and eerie visual experience somewhat similar to Nosferatu released two years after. As well the track list coincides with the dividing acts in the movie. An insane physician hypnotizes his assistant in order to commit murder perhaps suggestive of the violence and oppression of a tyrannical government sending its youth to the trenches of World War I. At the conclusion it is revealed that the story is a fabrication and the character providing the false exposition is identified as delusional. The film is brilliantly unsettling and importantly historic in the motion picture industry. Toundra captures the haunting essence of the movie rather beautifully, matching the shadowy staging and uneven prop design along with the over illuminated facial expressions of the silent actors. However to truly appreciate the album, it must be experienced while watching the film (available on Youtube and Vimeo). Consequently without the visualization, the depth and emotion are completely lost and succumb to repetitive riffing lacking context.
Vennart The Demon Joke
After the closing the door on Oceansize, Mike Vennart soldiers forward with his solo debut The Demon Joke, impressively meeting rather imposing expectations while exploring new musical terrain. Vennart opens with the grandiose and expansive Two Five Five and immediately captivates the listener's full attention. The remnants of the Oceansize template progressive rock eclectic riffs remain in place however are complemented with electronica and keyboards, infusing the quirky indie pop beeps and bleeps of the early 2000s. By enriching his musical tapestry, Vennart has already carved out a niche unique upon itself. This debut is a triumph.
Wilco Ode to Joy
Ode to Joy is Wilco's meditative lullaby with alluring background beeps, blips and clicks that accompany Jeff Tweedy's soulful whispering. This is ASMR for alt country fans pining for the earlier days of the band.
Witchcraft Witchcraft
Crank up the bass, turn down the lights, indulge in your favorite vice, sit back and enjoy this retro 70s stoner rock eponymous debut by Sweden's Witchcraft. Stylistically similar and very much in tribute to Pentagram, Magnus Pelander and friends add a heavy dose of Black Sabbath resulting in brooding riff laden tales of witches, demons, angels and snakes along with obligatory Pentagram covers; Please Don't Forget Me and Yes I Do. Original written highlights include It's So Easy and Her Sisters They Were Weak. Extra credit for recording the album on analog gear. The fuzz and distortion layer even more sludge to the doom and gloom atmosphere.
Yuri Gagarin The Outskirts Of Reality
Spacey stoner rock with interesting metal thrash riffs intermixed throughout the cuts. At times a challenging yet enjoyable listen. Turn the lights low while dialing up the volume on this interstellar journey.

3.5 great
Abigail's Ghost Selling Insincerity
Selling Insincerity is the debut release by American progressive rock band Abigail's Ghost. These Berklee College students must have really dug In Absentia and Deadwing, as the Porcupine Tree influences are beyond obvious. However the guitar hooks, terrific bass lines and Joshua Theriot's vocal talent impersonating Steven Wilson somehow escape the derivative label by simply being too interesting to ignore. Ironically the metal over rock guitar riffs predate Porcupine Tree's dalliance with progressive metal found in The Incident. Perhaps now with a debut album under its belt, Abigail's Ghost will find its own identity on the follow up.
Anderson/Stolt Invention of Knowledge
Invention Of Knowledge is four suites (album self-titled, Knowing, Everybody Heals, Know) divided into nine tracks by a collaboration of Roine Stolt's Flower Kings and legendary Yes vocalist Jon Anderson. Jonas Reingold (Flower Kings), Daniel Gildenlow (Pain of Salvation) and Nad Sylvan also contribute. Progressive rock fans somewhat disappointed in latter day Yes studio releases should be enthralled with this record pointedly hitting on every prog expectation bullet point. Although there is nothing truly ground breaking, Invention Of Knowlege meticulously delivers sixty five mood lifting minutes of quality symphonic progressive rock.
Antimatter Saviour
Saviour is the debut release by UK dark rock outfit Antimatter formed by ex-Anathema bassist and songwriter Duncan Patterson and Mick Moss. This album is a bit of an outlier for Antimatter's discography as it contains elements of ambient electronica, goth and trip-hop not representative elsewhere. The macabre mood oozes with melancholy, alienation and death. Atmospherically, this listening experience resides somewhere between early Portishead and current Anathema. Flowers is the track of choice with its haunting lyrics, "I had a dream, far away from here // Far away from you, far from all the pain // With strength in numbers, the sad betrayal braves // Return to desecrate those memories // And there you were taking flowers from my grave" Extra credit to Hayley Windsor and Michelle Richfield alternating on lead vocals.
Arena Songs From the Lion's Cage
Songs From the Lion's Cage is the debut record by the neo progressive rock supergroup, Arena. Leading this project are ex-Marillion Mick Pointer and Pendragon's Clive Owen. Old Testament references thematically link across the track list along with a four part instrumental, Crying For Help. Steve Rothery of Marillion appears as a guest soloist on IV and his guitar presence could have been utilized far more expansively. As vocalist, John Carson amply tributes Fish at every twist and turn behind the microphone. Although not wholly original and perhaps rather derivative around a few rough corners, this is an above board studio effort. The closer Solomon is a rather extravagant listening experience.
Astral TV Travelling the Circuits
Soothing electronica to ease the soul and calm the mind.
Ayreon The Final Experiment
The Final Experiment is the debut release by Arjen Anthony Lucassen's Ayreon project. It is a progressive rock opera divided in four acts with a plot centered upon a 6th century blind minstrel, Ayreon who is gifted time telepathy visions from future scientists in order to prevent a seemingly inevitable global dystopia. Ayreon shares his visions in song verse and is ostracized by his local community however ultimately ends up in King Arthur's court to warn of the impending doom. Merlin, the court wizard deems Ayreon a fraud and heretic, consequentially curses the minstrel into silence. Ultimately Merlin reverses his position and foretells more future warnings will arrive. The songs are performed by multiple guest vocalists, adding to a more expansive and dramatic listening experience. Although well executed, the Final Experiment seems to take itself a bit too serious at times, risking a sense of pretentiousness. There is an acoustic track set list as a bonus on the reissue of this album that dials down a bit of the overt seriousness and is quite enjoyable.
Big Star In Space
A largely misunderstood album and fortunately given new life with a reissue courtesy of Omnivore Recordings, the torch bearer of Big Star's legacy. In Space continues Alex Chilton's weird and wonderful progression from Third and better solo efforts such as Like Flies On Sherbet with the band's line up at time of recording. The power pop cross merges with Chilton's fascination of doo wop, garage and rock 'n roll. The rest of the band, presumably with great effort from Posies participants smooth out Chilton's erratic tendencies as best as possible for melodic compromise. This is not early Big Star pleasing stuff by any means. However Chilton was never the type of musician to continue onward with anything routine simply for either commercial or nostalgic purposes. Take it or shove it, he would most likely counter. Worth a revisit on the turntable.
Bjorn Riis A Storm Is Coming
Bjorn Riis delivers another solo offering very much in tribute to the stylized guitar signature - along with vocal delivery - belonging to David Gilmour. The Sabbath like riffs that momentarily enter and abruptly exit during When Rain Falls and Icarus add a much needed spontaneity and energy. Quality work yet again from an overlooked guitarist.
Bob Dylan Bob Dylan
The eponymous debut of Robert Allen Zimmerman's stage name launches the most storied songwriter/troubadour musical career in American history. This is a covers acoustic album, typical of a 60s recording studio debuting a new musician, along with two originals written by Bob Dylan. Talkin' New York is a self biographical account by Dylan upon his arrival to Greenwich as a budding young musician. The second offering, Song to Woody, is a self penned tribute to Dylan's muse and inspiration.
Bob Mould Sunshine Rock
Bob Mould gets off his porch chair, stops yelling and shaking his fist at the kids who step on his lawn and enjoys the sunshine. Sunshine Rock, Sunny Love Song, Camp Sunshine.... the bright ball in the sky is clearly on Bob's mind here. His most joyful optimistic jangly album in the canon.
Bruce Soord All This Will Be Yours
Bruce Soord dives back into his abyss of melancholic despair accompanied by a more stripped back instrumental presentation compared to his Pineapple Thief configuration.
Caligula's Horse Moments from Ephemeral City
Moments From Emphemeral City is the debut album independently released by Australian djent, progressive metal band Caligula's Horse. It has since been reissued by Inside Out Music, the band's current label. The consistent djent heavy riff throughout most of the album induces a trace of auditory exhaustion from perhaps overuse. Clearly the highlight track here is the epic eleven minute track Alone in the World where the tempo eventually downshifts with a gentle keyboard brief solo followed by excellent overlapping vocals by Jim Grey. Alone in the World concludes with a terrific atmospheric expansive guitar solo from Sam Vallen. The follow up track Ephemera is an effective acoustic based piece before the album recommences with its bruising assault. Grey and gang possess oodles of creative natural ability and potential to breakout of the djent boombox if so desiring.
Caligula's Horse Rise Radiant
Rise Radiant opens with The Tempest and Slow Violence, typifying the aggressive hard edged progressive metal template associated with the previous studio releases by Caligula's Horse. And then Salt changes the game with its downshift in tempo allowing for a more expansive presence in the instrumentation and Jim Grey's vocals. For the band, it is a moment of revelation and discovery. Perhaps this change was in the band's conscious during Resonate with Grey's crooning, "Did the music die in the quiet? Or did it give me room to resonate?" Indeed it does. The Ascent concludes the album with a ten minute plus epic showcase of the band's talents borrowing from the past while infusing new expansive elements into the foray. Peter Gabriel's Don't Give Up bonus cover track is a complete change of pace with pop elements and Grey's duet harmonizing with Lynsey Ward. A quality release from a band seemingly now eager to step outside its boundaries.
Desert Mountain Tribe Ep
This is a self released EP by the English psychedelic rock band Desert Mountain Tribe. Borrowing a little from The Dandy Warhols and a whole lot from The Black Angels, DMT avoids the derivative label with its high energy output on these tracks. Especially take note of Rolling which was also released as a video and is viewable on Youtube. An excellent start for a promising act.
Dream Theater Live At The Marquee
The first live album released by Dream Theater is an abbreviated set list combining tracks from the first two studio albums. This provided fans an opportunity to listen to James LaBrie perform vocals (albeit re-recorded after the concert in studio) on A Fortune in Lies and The Killing Hand in lieu of Charlie Dominici. Mike Portnoy is an absolute beast behind the drum kit during his A Fortune in Lies solo. John Petrucci and Portnoy also kill on Bombay Vindaloo, an improvisation instrumental that has not been studio recorded. The raw energy of the band is nicely captured on this recording, especially Portnoy and Petrucci, however it would have been more satisfying to have released the concert in its entirety.
Elder (USA-MA) The Gold and Silver Sessions
Instrumental stoner psychedelic rock that must have been produced in the middle of the desert. The final three or so minutes are truly epic.
Electric Eye Pick-up, Lift-off, Space, Time
Pick-Up, Lift-Off, Space, Time is the debut release by Norwegian psychedelic rock band Electric Eye. Instantly brings to mind the mystical middle eastern tonality of the Beatles' Tomorrow Never Knows from the Revolver album. Other shared influences include the bombastic grooves of The Big Pink, vocal stylization from The Jesus and Mary Chain and psychedelic atmospheric presence of The Black Angels. Although there is no filler, stand out tracks include Lake Geneva, Tangerine, Kruskontroll and Electric Eye. Immediate and accessible, this is a must listen for fans of this genre.
Emerson, Lake and Palmer Trilogy
Greg Lake's vocals always set a course and purpose for this notorious (for some) and legendary (for many more) progressive rock band. And unfortunately, Lake was underutilized and simply overpowered by his band mates, lending to rather self indulgent spiraling instrumentals. Keith Emerson's exquisite work behind his various keyboards would greatly benefit from the principle of less is more. Sometimes this seems to be an individual performance by Emerson fit for Carnegie Hall (Fugue) or a dusty cowboy salon (The Sheriff). And speaking of The Sheriff, Carl Palmer's unintentionally recorded expletive at the beginning is priceless.
Fatal Fusion Land Of The Sun
Land Of The Sun is an interesting cross sectional exhibition of 70s classic blues rock honoring acts such as Deep Purple, Uriah Heep and Traffic. While proceeding through the track list, stylistic change begins to emerge as progressive rock sets root and sprouts, clearly influenced by stalwarts such as Kansas, Genesis and Pink Floyd. The four suite segmented Broken Man is a fantastic thirteen plus minute excursion of prog detailing the conviction and execution of an innocent prisoner and his consequential haunted spirit. The album closer Out To The Fields is also multi-segmented, serving as a celebration of instrumental retro progressive rock. Knut Erik Grontvedt's bluesy rock vocals are uniform throughout the album and reminiscent of Steve Winwood. This is an excellent foray into the 70s classic and progressive rock genres and quite stunning for a debut album independently released.
Gazpacho Bravo
Bravo is the debut album independently released by Norwegian art rock band, Gazpacho. Members originally belonged to a local Marillion fan club and self-produced a tribute song, receiving accolades and gaining attention as a potential promising act. Bravo is subdued affair of melancholic tranquil lyrics and almost hypnotic supporting instrumentation, similar to The Pineapple Thief, Radiohead, Sigur Ros and seemingly strongly influenced by Muse. Novgorod is a clear standout, co-written with shared lead vocals by Esther Valentine. The vocal layering and harmonies on this track are gorgeous.
Genesis Trespass
Albeit pre-Hackett/Collins, Trespass lays down the blueprint for future classic Genesis records. Rather underrated in the band's discography cannon especially with The Knife in its presence. Tony Banks is most prominent on the keys throughout the record.
Godsticks Inescapable
Heavy broody guitar riffs with a thick underlying bass line define this progressive metal cross over 90s alt rock stylized record. Darren Charles on vocals is eerily reminiscent of Brother Cane's (remember them?) Damon Johnson. Extra credit for Daniel Thompkins backing vocals on Denigrate.
Grateful Dead Anthem of the Sun
Anthem of the Sun is an early pivot point toward exploration and discovery in the Grateful Dead's experimental journey with psychedelic music. The recording of this album splices live and studio performances on the tracks creating a very dense fog like listening experience. The band added Mickey Hart as its second percussionist for this album lending a more primal beat throughout. Pigpen McKernan's keyboard work is a treat and also provides enthusiastic vocals on blues flavored Alligator and Caution. Producer David Hassinger recused himself leaving the band to produce the record on its own. Consequentially, the overall listening experience is thwarted from achieving maximum potential of these tracks and Anthem of the Sun was not a commercial success. In 1972, Phil Lesh remixed the album in attempt to improve its sound quality.
Graveyard (SWE) Graveyard
The eponymous debut release by Swedish hard rock band Graveyard serves up homage to the pioneering days of Black Sabbath, Blue Cheer and Pentagram in convincing fashion. This studio recording is rather representative of everything 70s retro relatable with analog warmth and attention to musicianship performance without over reliance on software post editing. Elements of psychedelia, stoner and blues rock are subtly blended into the band's compositions. Choice cuts recommended are Evil Ways, Lost in Confusion and Satan's Finest.
Horisont Sudden Death
The album art makes quite a statement, an iconic Jofa hockey helmet stabbed with a switch blade to match the menacingly titled "Sudden Death". Ironic imagery and titling considering the rather infectiously joyous retro 70s hard rock instantly bringing to mind Bad Company, Boston, Foreigner and Thin Lizzy. Clearly the song writing is dedicated toward teenage concerns revolving around fast cars, lost loves and living life inconsequential, rebellious and free. Axel Soderberg is a man possessed behind the microphone belting out one rocker after another. Personal choice cuts include the insanely positive vibed Revolver and the rather Rush like entitled instrumental Archaeopteryx In Flight. Sudden Death fits the bill for those seeking a temporary escapism from present realities for classic rock nostalgia at its finest.
IQ Tales from the Lush Attic
IQ is often overlooked however historically deserves co-credit along with better known Marillion for stubbornly keeping the progressive rock door open during the early 1980s. Often dubbed the neo prog genre, it is rather ironic that both of these bands would release their inaugural albums in 1983. However unlike the more commercially successful Script for a Jester's Tear, IQ's own offering Tales from the Lush Attic presents an earthier and grittier side to progressive rock. The album is loosely thematically linked in concept to dystopic isolation and the yearning to reconnect with a loved one. Peter Nicholls tries his best to emulate Peter Gabriel to mixed effect. The album ambitiously opens with a 20 minute suite in The Last Human Gateway as a somewhat hommage to Supper's Ready. Although a bit thin sounding not atypical for the 80s, this really deserves to be properly re-evaluated from the 2013 remaster by Giant Electic Pea not yet obtained. It is ironic that while bands such as Marillion and IQ were forging against insurmountable odds to preserve and honor early 70s progressive rock, legendary art acts such as Genesis transitioned into pop while others from King Crimson, Yes and Emerson, Lake and Palmer collaborated into a "supergroup" as Asia to great commercial success. And to much credit, IQ and Marillion still survive and perform to this day.
IQ Resistance
1:48:32 run time.
Producer: JJ Abrams?
It is all very well done but one has the sense of listening to this before....
IQ The Wake
This sophomore record is driven by a rather philosophical thematically linked concept of man's gradual acceptance of his own death, reviewing his past life experiences and stepping out from the concealing shadows towards the eternal light, ultimately confronting his unknown spiritual future. The lyrics are simply wonderful however as a developing young band, the musicianship is not yet equal to the task of delivering a masterpiece. The heavy influence of early Genesis from its debut steadfastly remains although IQ relies far more on keyboards for driving its melodies than guitar. Perhaps an interesting future project for the now veteran and far more versatile band would be to re-envision The Wake in a recorded live performance of its entirety.
Jethro Tull War Child
After achieving commercial success with the previous triumvirate studio albums (Aqualung, Thick as a Brick, A Passion Play), Jethro Tull drops War Child and was met with a thud by critical response. Without a true thematic connecting link and restoring traditional track length sequences makes the album less captivating as its predecessors. Perhaps the critical reception would have been more positive with a marketing approach more akin to The Who's Odds & Sods, considering War Child is a similar collection of material originally derived from previous studio sessions not included on the intended albums. The reality is that the musicianship is indeed meeting Tull standards and the overall disappointment to the record more indicative of unrealistic expectations.
Kadavar (DE) For the Dead Travel Fast
This is a dark, haunting, menacing stoner psychedelic album albeit loses some steam towards the back half. Alice Cooper needs to do himself a favor by boarding a Germany bound jet and record with these fellows.
Kanaan Odense Sessions
Odense Sessions is the sophomore follow up to the excellent debut Windborne. This psychedelic post rock trio deliver four extended cuts of sublime instrumentation, joined by Causa Sui's guitar player Jonas Munk. El Paraiso Records seems to do no wrong with this musical genre.
Katatonia City Burials
Originally envisioned as a solo project, Jonas Renske apparently reconsidered and recorded this project with his long time band mates instead. City Burials is quintessential Katatonia and a very fine representation and delivery after thirty years into its career. Not unexpectedly, this is a rather somber lineup of tracks. Yet the veteran band of doom progressive metal channels an energy and dare suggest.... melody into its chorus and interlude structures, escaping its self imposed dirge structures that appear a bit too frequent in past releases. City Burials might not win Katatonia any new fans however should more than appease its loyal ranks.
Kepler Ten Delta-V
Delta-V is the debut release by British progressive rock band Kepler Ten. John Mitchell's (not of Lonely Robot) recording of this album is simply fantastic and warrants full credit for the expansive atmospheric sound presence. Steve Hales behind the drum kit is monstrous with terrific guitar interludes by Richie Cahill. The opening and closing tracks (Ultraviolet, Red Skies Rise) are pure progressive rock delight however the remaining track list is actually hard rock, complimented by James Durand's rough edged vocals. A highlight track worthy of mention is Swallowtail, the acoustic ballad fully deserving of an official release. This is an impressive debut of interest to both progressive and classic rock fans.
King Crimson Beat
Only King Crimson could have the audacity to release an early 80s new wave album with progressive elements thematically linking authors of the Beat Generation. Other than the excellent Requiem closer, Beat is far more an Adrian Belew - Talking Heads record than an expected Robert Fripp - King Crimson offering. Discord was apparently an issue in the studio with tension between Belew and Fripp over the direction and guitar work of the project. And yet Beat works to the extent of delivering a novel and pleasing follow up to Discipline but a bit of a yearning for a return to the glorious court of the Crimson King.
King Crimson Islands
An uneven rather transient record very much representative of the band's changing and evolving lineup. The musical fusion leans much further toward the jazz improvisation spectrum than rock seemingly agitating some of its fanbase. Sailor's Tale is the obvious staple to the affair however the harrowing almost gothic dirge Formentera Lady is most apt scoring for a future Hannibal Lecter cooking montage scene.
King Crimson Three of a Perfect Pair
Adrian Belew's art rock influence of King Crimson's 1980s output cannot be overstated as it can be difficult to ascertain where Talking Heads ends and the mighty Crimson begins. Three of a Perfect Pair closes out this era's trilogy with a somewhat surprisingly large number of instrumentals (Nuages, Industry, No Warning, Lark's Tongues in Aspic Part III), demanding the utmost attention of the listener's auditory senses preening through the sound distortion and track deconstruction. Satisfaction is experienced when the third installment of Lark's Tongues in Aspic closes out this album and dropping the curtain altogether on this particular era of the band, reassuringly led by Robert Fripp's signature guitar line. One is left with the premonition that the next era of the Crimson experience will restore past ways.
Kingston Wall Kingston Wall I
I is the debut record release by Finnish psychedelic alternative rock band, Kingston Wall. Although never uninteresting, this is a rather uneven affair and obvious the band is constructing its ideas into an identifiable signature sound. Fire is an exuberant and proper tribute to The Jimi Hendrix Experience, a clear influence of Kingston Wall's guitar tones. The album closer, Mushrooms, is a twenty one minute suite divided into eight segments and is a psychedelic drenched journey containing middle eastern instrumentals worthy to the album artwork cover.
Kino Picture
Picture is the debut release by collaborative neo-progressive rock band Kino, consisting of Pete Trewavas (Marillion), Chris Maitland (Porcupine Tree), John Mitchell (It Bites, Arena, Lonely Robot, Frost*) and John Beck (It Bites). Clearly aimed for accessibility, the song structures are more pop stream lined in nature with flecks of alternative rock. The opener Loser's Day Parade is the clear cut track of choice providing nine minutes of melodic ear candy, convincingly showcasing the talents of each individual band member. Progressive fans might find the record a bit too mainstream considering the pedigree of this particular band. However oddly Kino in 2005 was a bit ahead of the curve for progressive rock musicians to bond together in projects geared outside their established genre.
Live Throwing Copper
An imperfect record with inconsistencies common with the 90s trend to fill the compact disc to capacity. It does deliver cuts such as Selling the Drama, I Alone, Lightening Crashes and an epic unappreciated White, Discussion (nicely appears in the Virtuosity soundtrack) that stand the test of time. Ed Kowalczyk's vocal delivery resides somewhere between routine post grunge hybrid with a nasally Michael Stipe. And for the most part, it works.
Lunatic Soul Lunatic Soul
This is the eponymous debut of Mariusz Duda's solo project Lunatic Soul. Duda invests heavily into electronic keyboards as the principle collective staple to the ambient dark nature of the record intermixing instrumentals with those with haunting vocals. There is no trace of the guitar progressive rock driven nature of Riverside as Duda alternatively pursues tribal percussion driven instrumentals with various wind instruments sprinkled along with occasional vocalized but lyric less harmonies. The theme of death and the afterlife floats like an apparition throughout the track list. One senses this is just a starting point for Duda to investigate further into his eclectic non-Riverside musicianship.
Magenta We Are Legend
We Are Legend is reminiscent of a glory era Yes album mixed with hints of Mike Oldfield and Pink Floyd, fronted by incredibly talented vocalist/story teller Christina Booth. The massive opening track Trojan and closer Legend are thematically linked invoking a dystopian futuristic tale of the band members waging battle against sea machines. Colours, the bridging song temporarily interrupts the narrative channeling the artist Van Gogh's downward interpersonal hell. This is a demanding yet rewarding listening experience.
Magnum The Serpent Rings
The Serpent Kings excels at maintaining the delicate balance of quality driven rock infused with progressive and metal elements. Bob Catley's well preserved and time tested larynx is the reliable linchpin locking down Magnum's consistency throughout the track list as clearly demonstrated by the opener Where Are You Eden? Extra credit to the wonderful cover artwork delivered by Rodney Matthews, capturing the essence of the band's dedication to medieval fantasy themes.
Marillion Fugazi
Fugazi was apparently a bit of a struggle to finish in the studio with Fish quarreling with new drummer Jonathan Mover over the direction of the album. Consequently Mover was replaced with Ian Mosley. This is synth heavy material presented here and would have benefited with far more presence from Steve Rothery's guitar work. The topics of assassins, failed friendships and marriages are predominant and a clear indicator that personal world of the band's lyricist was beginning to crumble.
Marillion Seasons End
Seasons End represents a significant career fork in the road for Marillion. Lyricist and revered front man Fish, besieged by personal issues and conflict with his band mates, is replaced by Steve Hogarth (forever after referred to as h). EMI recruits John Helmer as co-writer for many of the tracks presented. The band consciously transitions toward a more contemporary progressive rock sound to better complement h and leave behind its Fish dominated neo prog legacy. This is a considerable risk and for the most part, musically succeeds albeit alienates a portion of the fan base. Although not a true concept album, Seasons End thematically discusses political turmoil, environmental concerns and current global discourses. The overt pop commercial nature to Hooks in You contrasts the rest of the album and somewhat distracts from a rather impressive reintroduction to the h fronted band.
Monarch (USA-CA) Beyond the Blue Sky
Monarch delivers a cheerful psych rock album that conjures pleasantries of sun, sand and ocean as escapism from enduring yet another drab winter day.
Motorpsycho Lobotomizer
Lobotomizer is the debut full length record released by Norwegian progressive jack of all trades rock band, Motorpsycho. Very much an album of its time, the intermix of bass heavy metal meets grunge is readily apparent. Grinder, Hogwash, Home of the Brave and TFC are directly in the vein of Soundgarden's raw Ultramega OK - Louder Than Love era. Snah's wailing vocals even bring to mind Chris Cornell. A more than decent start to a spectacular band's diverse and progressively eclectic career.
Muse Showbiz
Showbiz is the debut release by progressive art rock band Muse. The track list is an intriguing composite of the British music scene in its time; the unmistakable similarity in Matthew Bellamy's vocals to Thom Yorke, the vulnerable keyboard arrangements a la Coldplay and the sincerity of Travis. The album oscillates grandiose ferocity with intimate tranquility and provides an auditory roller coaster of unpredictability. Yes the template to Radiohead's The Bends seems a bit transparent and borrowed. However there is no denying Muse's intent to carve out its own place in the Brit art rock world one anguished Bellamy lyric at a time.
Mystery Theatre of the Mind
Theatre of the Mind is the debut release by Canadian contemporary progressive rock band Mystery. A loosely knit examination of the subconscious mind is thematically weaved throughout the track list, very much expressed in album oriented rock fashion. Influences such as Styx and Journey are very evident. Vocalist Gary Savoie and guitarist Michel St-Pere flash genuine brilliance.
Neal Morse Jesus Christ The Exorcist
Former Spock's Beard vocalist Neal Morse exhibits his faith in this double LP progressive rock musical. Interestingly enough, current Spock's Beard lyricist Ted Leonard is front and center on this album's vocals. The topic at hand will resonate differently for individual listeners. The music itself as a progressive rock feature can be appreciated across the board.
Neil Young Colorado
Perhaps the most improbable reunion studio release of the year is brought by Neil Young and Crazy Horse after a seven year furlough. The amps are turned down without the brash foot stomping fuzzed out guitar distortion normally expected. Colorado inspires reminiscing of old friends and journeys from long ago while huddled around the camp's fireside.
Neil Young Neil Young
The self titled solo debut of Neil Young arrives shortly after his departure from country rock outfit Buffalo Springfield. As noted in several reviews, it is rather uneven not surprisingly, considering the recording difficulties using a new stereo encoding system gone awry causing anxiety for a 23 year old already self-conscious with his vocal delivery. The album was subsequently remixed and re-released. The musical flavor is country rock with some odd moments of over production with added string instrumentation that distract from the heart of the song structures. The Loner and The Old Laughing Lady are recognizable as long stays in future concert set lists. However Young finds his stride with the simple yet lengthy acoustic closer, Last Trip to Tulsa which may have helped carry him over to much better results with his next album also featuring Crazy Horse.
No-Man Love You to Bits
Steven Wilson trolls his Permanating haters with a full blown disco No-Man record.
North Atlantic Oscillation Grappling Hooks
Grappling Hooks is the debut album released by Scottish post-progressive electronic rock band North Atlantic Oscillation comprised of Ben Martin and Sam Healy. Synth, electronica and plenty of drum fills predominate this hook and groove laden sonic landscape with Healy's dream pop stylized vocals heavily resonating with reverberation. A smattering of cameo influences fade in and drift away such as Radiohead, The Big Pink, Sigur Ros, The Flaming Lips and Super Furry Animals. Clearly produced with headphones in mind, Grappling Hooks is an auditory excursion best enjoyed nestled into the barcalounger with the feet up and head tilted back.
OSI Free
Free is the follow up to the critically acclaimed eponymous debut of OSI and presents noteworthy changes in the band's lineup and overall musical direction. Bassist Sean Malone has exited stage left and replaced by Joey Vera. This is not without consequence as OSI drifts away from its prominent progressive metal riffing toward a direction more consistent with Kevin Moore's Chroma Key electronic based project. Mike Portnoy remains behind the drum kit however seems rather buried and neglected in the techno heavy mix. As well Jim Matheos on guitar is less of presence and largely utilized only in secondary capacity to the keyboard tech heavy compositions. The album self titled track is a bona fide metal rocker yet presents more of anomaly with the remaining track list. Moore's deadpan monotonous vocals involve a lot of chorus repetition reminiscent of Nine Inch Nails' Trent Reznor. This is heavy handed melancholic electronica perhaps not for every day listening yet remarkably on point for those seeking momentary escapism from the daily rat race.
Pattern-Seeking Animals Pattern-Seeking Animals
Alumni members of Spock's Beard form a new band to record more melodic emphasized songs. Progressive elements are somewhat downplayed in lieu of a straightforward rock approach. Vocal layering and harmonies provide a much appreciated spark here. Fans of their (former) daytime band will enjoy this offering.
Pearl Jam Binaural
After an energetic and well balanced effort in Yield, the follow up Binaural comes off a bit aloof, disjointed and perhaps an indicator of band burnout. Even the recording itself is produced in a suffocating compressed manner with the Eddie's vocals at times buried in the mix completely. And that is a shame since the song structure and lyrics are caliber quality as indicated later in the fair more spirited and energized delivery presented in Live at Benaroya Hall. The recent LP reissue does far more justice to the album than its original brickwalled CD release.
Pendragon (UK) The World
The introductory keyboard bars on the album's opener, Back in the Spotlight convey a maturing and confident Pendragon. The World establishes the band's neo progressive rock signature sound and ability to record a fully fleshed out record. The band follows a loosely knit theme of whimsical journey, adventure and romance while maintaining a rather airy and non-pretentious attitude. In addition, the rite of passage for any progressive outfit to produce long compositions is successfully achieved by The Voyager (twelve minutes) and the three segmented suite, Queen Of Hearts (twenty-one minutes). And We'll Go Hunting is a sweet and quiet affair, quite appropriately concluding this listening experience. Pendragon does not reinvent any wheel to its genre however it does just fine establishing its niche and connecting with its growing number of followers.
Pink Floyd Atom Heart Mother
Despite the collective loathing of this record by Roger Waters and David Gilmour, Atom Heart Mother is hardly rubbish and a cornerstone toward the development of the elements that made Pink Floyd a huge commercial success afterward. The album's self titled opening track provides a terrific Gilmour guitar solo introducing its signature sound. As well a backing choir is utilized on the track, also later to be used frequently on hit singles. The short yet sweet If written by Waters is poignant. The church bells opening and closing Fat Old on the Gilmour track is a nice touch of studio engineering and similarly employed to great success in the band's future. These developmental findings should not be trivialized and are crucial towards the band slowly leaving behind its psychedelic 60s foundation for a more creative and powerful presence in the 70s.
Pink Floyd Obscured By Clouds
The album with two titles. Originally a soundtrack project for La Vallee, a French motion picture, it was later decided to be released as Obscured Clouds. Seven studios into the band's career and Pink Floyd finally establishes what would be recognized later as its memorable signature sound in a consistent manner throughout the record. Nearly all the psychedelic elements from its early era music have been vanquished and David Gilmour's guitar playing is clearly front and center in the song structures presented. Highlight's included the underrated Wot's... Uh the Deal?, Childhood's End and Free Four. A balance in musicianship is presented here with Gilmour, Waters, Mason and Wright all clearly locked into a groove that is complementary of each other while individually shining in their own right. Obscured Clouds is the final brick in the wall for the band's development to its breakout release, Dark Side of the Moon.
Porno For Pyros Good God's Urge
For awhile it appeared Perry's new band would not survive beyond its blunt and sinister shadowy debut which did score Pets and Cursed Female as noteworthy hits. All the more surprising that Good God's Urge was in fact released and surprisingly a 180 redirect, featuring far more positive and dream like imagery recalling the faint ghost of Jane's Addiction. Tahitian Moon and Kimberly Austin are among Perry's finest work. Go find the vinyl reissue for a more enhanced listening headphone experience.
Queensryche The Verdict
With Todd La Torre firmly entrenched as vocalist, Queensryche returns with another stabilizing workmanlike record satisfying its loyal base along with new interested rock fans. La Torre certainly has the rock pipes to push his lyrics a bit more pronounced in the mix.
Radio Moscow Radio Moscow
The debut eponymous album from Radio Moscow showcases the enormously gifted potential of Parker Griggs (lyrics, guitars, percussion) in his quest for blues rock revival. Reminiscent of John Mayall & the Bluesbreakers, Canned Heat and early Black Keys. Deep Blue Sea is a killer track that would have fit perfectly for a Sopranos' Bada Bing scene. This record was produced by Dan Auerbach (Black Keys).
Ride This Is Not a Safe Place
An impressive return to form for a veteran shoegaze band and much improved upon the previous Weather Diaries. Although obviously not in the same stratosphere as Nowhere (note the album artwork harkening back to the band's glorious debut), this latest release represents the heart of the band's signature sound of shoegaze blended with flecks of madchester, trihop and grunge.
RPWL God Has Failed
God Has Failed is the debut release of German progressive rock band RPWL, disciples of Pink Floyd. Initially formed as a tribute band performing covers exclusively, RPWL branched out with its own original material albeit play it close to the vest to Floyd song structure and lyrical content. Sound bites of media coverage are interspersed throughout the tracks to loosely convey a thematic linkage of the fallacy of violence and consequential spiritual discourse. Yogi Lang and Kalle Wallner are two for the price of one David Gilmour as Lang is a vocal doppelganger with Wallner's guitar leads quintessential Gilmourish to umpteenth degree. At times RPWL seem a bit too cute with the Pink Floyd adulation especially sandwiching the lyrical phrase, "set the controls for the center of the sun". Choice cuts include the interspersed Hole in the Sky Parts 1-3, What I Need Parts 1-2 and the gorgeously knocked out of the ballpark, Farewell.
Rush Power Windows
Incredible musicianship at full display with insightful well thought lyrics penned by Neil Peart. Unfortunately the entirety is awash in 80s synthesized production. Sort of like a perfectly grilled filet mignon shellacked in chocolate frosting.
Rush Fly By Night
The Neil Peart reign begins here. Immediately something has changed with Rush as evident by an ode to By-tor and Snow Dog. Although clearly not perfected, the progressive elements are introduced.
Rush Caress Of Steel
Rush dipped its toe deeper into the expanded universe of progressive rock and nearly drowned. Tour support plundered and critics railed. Despite the album's stature as the ugly step child in Rush's discography, COS warranted a far better fate.
Rush Signals
The record's opener Subdivision is introduced with a synthesizer as Rush wastes no time demonstrating it has shifted its musical tone in a major way. As well, the lyrical messages are current states of address and observation in lieu of Tolkien and science fiction references. Rush was very much a band of its times throughout its long and distinguished career, shifting its sound voluntarily and following its influences. Signals is an apt title of this particular era.
Rush Roll The Bones
With a little less keyboard and a bit more amped up guitar production, Roll the Bones provides a welcome return to its fan base yearning for 70s power trio rock. Neil Peart's lyrics are more statesman, reflecting upon what once was and perhaps more importantly what now is. Resignation of self mortality is rather recurrent and perhaps suggestive to simply enjoy and live in the present moment. The exaggerated ballyhoo over a few stanzas of spoken word a.k.a rap during the album's self title track is retrospectively rather comical.
Saga (CAN) Saga
This is the eponymous debut album by Canadian progressive rock band Saga. Keyboards predominant over guitar presence throughout the track list leaving a rather futuristic interpretation borrowing from mod rock and post punk. Michael Sadler's presence on vocals clearly shines, in particular during the quiet moments of Nice Ice. Will It Be You and Tired World serve as Chapters Four and Six respectively in the band's cross album series project entailing the chronicles of Albert Einstein.
Siena Root A Dream of Lasting Peace
Proudly boasting that this studio recording only utilized analog equipment, Siena Root delivers a faithful authentic retro late 60s to early 70s blues rock album. The Hammond organ looms large throughout the track list and Matte Gustafasson's vocals perfectly capture the mystic nostalgia for the time period. A Dream of Lasting Peace begins very much in the vein of John Mayall & the Bluesbreakers meets The Doors however later onward a harder rock presence emerges somewhat akin to Deep Purple. Siena Root are true chameleons of classic rock.
Silverchair Frogstomp
A rather remarkable debut by Australia's Silverchair simply because its members were teenagers at the time of its release. Obvious influence includes Nirvana however the band does just enough to maintain its niche in the saturated post grunge era. Imagine a teenage Daniel Johns performing Suicidal Dream in current times - it would land him an intervention rather than a record deal.
Solar Fields Undiscovered Stories
If Michael Mann directed a Dolph Lundgren training montage inside a planetarium, this would be its soundtrack.
Spell (CAN) Opulent Decay
Op-u-lent: adjective - ostentatiously rich and luxurious or lavish. An interesting word that I will now borrow and add to my future vocabulary. This is the third release from Vancouver based hard rock - metal retro act Spell and it is rather difficult to define. The track list is a rather uh.... opulent variety of mixed rock and metal fused together and delivered in a homogeneous format. The album was apparently recorded on analog tape that adds a retro early 70s warmth along with enhancing a gloomy atmosphere. The highlight track is Imprisoned By Shadows with a melodic guitar gallop riff and an appreciative nod to Iron Maiden. Cam Mesmer's vocals are noticeably demonstrating more range and depth on this album yet as apparent to Spell's wishes are mixed evenly into the instrumentation rather than over it. Perhaps on the band's fourth effort the vocals will ride a bit louder for a more dynamic effect.
Spock's Beard Beware of Darkness
Beware of Darkness is the follow up to the debut The Light by American progressive rock band Spock's Beard. The opening album titled track is a George Harrison cover completely fleshed out with a backing choir and more or less stylistically "progified" by the band's evolving trademark sound. There are no screams of unsuspected profanity here by Neal Morse (see The Light for further explanation) and the band despite sounding more expansive is a bit more energetically subdued compared to its debut release. Interestingly, the cut Thoughts is the first of a cross album thematically linked suite that reappears in the album V and Neal Morse's solo release Momentum. This is a solid yet somewhat overlooked record compared to Snow, V and The Kindness of Strangers.
Steven Wilson The Future Bites
At 53 years of age, Steven Wilson realizes his pop aficionado under his own name. An unabashed and non apologetic ABBA enthusiast, Wilson has long embraced pop as the yin to his prog yang. No-Man's recent Love You to Bits and Wilson's To The Bone all but inevitably foreshadowed The Future Bites. The opener Unself seemingly serves as a brief acoustic dirge to the minimization of prog guitar riffs while Self launches into full blown pop exploitation. Purists clinging to Deadwing will deride this career direction of course however a live post pandemic performance will prove much of this album's content will seamlessly co-habitat with the set list.
Subsignal Beautiful & Monstrous
Beautiful & Monstrous is the debut album released by Subsignal, founded by former Sieges Even members Arno Menses and Markus Steffen. The album title track is the clear cut record highlight exemplifying the range of Menses' vocals and individual musician talents of each band member. As well, The Last Light of Summer is a gorgeous ballad with terrific vocal over layering harmonies and would serve as a tremendous concert closing number. This is a well produced and mixed album creating a pleasant and enjoyable listening experience. The studio recording captures each instrument at its highest electrifying potential. The band needs to further explore its creative vein in order to separate itself from the pack of current progressive rock acts. Its debut is not necessarily derivative in the absolute sense but it does encroach upon past familiarity.
Sugar Beaster
Bob Mould shifts gears leaving behind the experimental Husker Du for the more melodic song structure offerings in Sugar. And it works. The recording is excellent and well produced. Highlights include Judas Cradle and the sentimental yet simple Walking Away.
Supertramp Supertramp
The self titled debut of Supertramp is a hidden gem unfairly ignored due to the larger commercial success that would follow the band afterward. Similarly to Jethro Tull's "This Was", the first Supertramp offering is completely different from its more famous later releases. The beauty of this record is its smooth subtlety of unharried melodic blues rock tinged with psychedelia, reminiscent to early offerings of Traffic and Ten Years After. The tracks effortlessly flow one after the other, leaving the listener with a perfect companion for completing a taxing assignment deadline or a lonely long night driving down the interstate. The exchange in vocals between Richard Davies and Roger Hodgson on Maybe I'm a Beggar wonderfully complement its escalating tempo. Melodic progressive pop enthusiasts will also enjoy Richard Palmer's terrific guitar work on Nothing to Show and the epic twelve minute Try Again. The album concludes with a wonderful Beatlesque outro reprise of Surely. Had Supertramp end up being a one and done outfit, this record would be coveted by enthusiasts.
Swervedriver Future Ruins
This is the second release since Swervedriver reformed and it is a subtle affair, washing lo-fi into its shoegaze template. At times recalls Dinosaur Jr and Sebadoh.
Temples Hot Motion
Temples abandon the somewhat sweeter pop flavor from their previous album Volcano to return to a more straight forward retro psychedelic format similarly found on their debut. What is presented here is quite well done however a shade non-memorable.
The dB's Stands For Decibels
Stands for Decibels is the debut release by power pop band, the dB's. The recording of the album is very much in the vein of typical early 80s engineering of the sound a bit thin at times however the dB's were all about guitars and guitars, mercifully leaving out synthesizers. The songwriting duo of Peter Holsapple and Chris Stamey provides sharp, quick lyrics supported by instrumentation that would later serve as a foundation for Southern jangle. In particular, I'm In Love is a terrific Stamey penned power pop ballad.
The Dream Syndicate How Did I Find Myself Here?
Paisley Underground legends return after a 29 year layoff with this impressive studio release. The jangle pop crossover with desert rock still sounds fresh and vital. Perhaps album titled song "How Did I Find Myself Here" sounds a bit reminiscent of Stones Roses' Fool Gold but no major complaints here.
The Flower Kings Waiting For Miracles
An encouraging return to form from a band previously on hiatus. The lineup is retooled and sounds re-energized on these 10 new tracks (excluding the bonus material).
The Lucid Dream Songs of Lies and Deceit
Songs of Lies and Deceit is the debut release of the English psychedelic rock band, The Lucid Dream. The album opener How's Your Low When You're Alone? immediately launches into an unfettered washed out guitar drone sequence recalling Spacemen 3. As the album advances, the musical direction twists to a hybrid of Jesus & Mary Chain meets The Brian Jonestown Massacre. An energetic yet hypnotic listening experience.
The Mute Gods Atheists And Believers
Nick Beggs is upset with worldly current affairs. Notable cuts include power pop tinged One Day featuring Rush's Alex Lifeson, a Steven Wilson influenced prog rock instrumental Sonic Boom and Beggs' airing of grievances in Twisted World Godless Universe.
The Night Flight Orchestra Aeromantic
A melodic album oriented record with intensity maximized at full throttle combining trace elements of epic metal with a hefty dose of disco beat and thump. Bjorn Strid behind the microphone is a force to be reckoned. This is Supertramp on speed.
The Pineapple Thief Abducting the Unicorn
After leaving Vulgar Unicorn, Bruce Soord began his own project, The Pineapple Thief and subsequently was released on the small Cyclops label. Originally titled Abducted at Birth, the label requesed it change to Abducting the Unicorn to tie the project somewhat back to his former band for marketing familiarity. Kscope Records reissued the album in 2017 and reverted back to the original title. As for the album itself, it serves as a building template toward far superior releases later by Soord/The Pineapple Thief. However Abducted at Birth is not without its highlights especially the 20 minute slow burn Parted Forever. Soord is clearly searching for the band's signature sound and at times succeeds with brooding dark lyrics layered with dense mood yet minimal guitar tones somewhat vacillating alternative rock with a more progressive approach.
The Pineapple Thief 137
137 represents a creative transition away from the seemingly Smashing Pumpkins' influence and more towards a Radiohead "The Bends" era with a progressive rock twist. And for the better part of this album, the change is appreciative and honest to the artistic nature of Bruce Soord. 137 might also be mistaken for a Gazpacho release with its tranquil interludes and atmospheric presence. The expansive PVS is a clear highlight showcasing the band's growing confidence in its maturing signature sound, indicating a promising future of exciting studio releases.
The Reverse Engineers Atomic Kid
A nice fusion of progressive - alternative rock with a vocal delivery straight out of the early 90s. The influence of Counterparts era Rush is very prominent with a sprinkle of poetry reminiscent of The Tragically Hip. Charles Cote on bass is a beast.
The Rolling Stones 12 x 5
12 x 5 is the sophomore American studio release for The Rolling Stones and provides much the same rhythm and blues covers as the debut. However on this version of the second release, the band does include five original offerings, three of which are credited solely to Mick Jagger and Keith Richards. The band is still clearly developing its skill set musically and finding its songwriting foothold. Covers such as Time Is on My Side and It's All Over Now would remain popular staples in live performances.
The Tragically Hip The Tragically Hip
The eponymous EP debut of the The Tragically Hip reveals above board production value and streamlined bar rock with booming guitar riffs and a strong vocal performance by Gord Downie. Although not reflective of the far more poetic and philosophical artful presence that would develop records later, this is an unsophisticated enjoyable listen. Last American Exit, Evelyn, Cemetery Sideroad and Highway Girl offer a glimpse into the band's promising future.
The Who A Quick One
A Quick One is most memorable for the wildly creative psychedelic Boris the Spider and perhaps more importantly A Quick One While He's Gone laying down the future framework to the band's hallmark achievement Tommy. The closer is a nine minute track comprising six movements lyrically involving a relationship gone astray and ultimately reconciled. This sophomore release provides another stepping stone towards classic Who bombastic signature sound for the incredibly run of albums (The Who Sell Out, Tommy, Who's Next, Quadrophenia) to follow shortly thereafter.
This Winter Machine A Tower Of Clocks
Herald opens the album in grandiose epic fashion and strikes the vein of Rush's Xanadu. The rest of the album is a bit uneven in its energy and overall largeness in sound. However when firing on all cylinders, the musicianship and vocals present unbridled potential in the years to follow. Extra props to the fantastic album artwork.
Vanden Plas The Ghost Xperiment: Awakening
An enjoyable blend of progressive rock and metal that never insults or assaults the listener. Andreas Lill is a beast behind the drum kit.
Yes Yes
The debut eponymous record by Yes is a better than average late 60s offering showing hints of progressive rock laced with psychedelia and blues. It is a fun and rather relaxed affair, at times demonstrating overdubbed Jon Anderson vocals and harmonies including Squire and Banks. Obviously the best of Yes arrives later however it would be a mistake to bypass their first studio effort altogether.
Yes Time and a Word
Time and a Word is a conscious shift toward progressive rock and an important stepping stone toward future classic Yes records. However this sophomore release should not be trivialized for its own qualities as the musicianship is rounding out in fine fashion with much improved vocal delivery by Jon Anderson. The album opener is a Richie Havens cover (No Opportunity Necessary, No Experience Needed) and followed later down in the track list with Stephen Stills' Everydays. Oddly, Yes did record the competent Dear Father, an original but elected to keep it off the album (later appears in a reissue series). Peter Banks leaves following the studio recording and is replaced by Steve Howe. Although only the second album in the young band's career, it represents a critical stage of transition of its lineup and direction.

3.0 good
Acid Mammoth Under Acid Hoof
Under Acid Hoof is the sophomore release by Greek doom metal band Acid Mammoth led by father - son duo Chris Bablis Jr. and Sr. The sludge riffing performed by Sr. is very omnipresent Black Sabbath while Jr. performs credible young Ozzy like vocals with a tinge of K.R. Starrs (Uncle Acid & The Deadbeats). Disparity is sparse between the rather homogeneous five tracks as this mammoth seems to plod only at one pace.
Astronoid Astronoid
Dream pop - shoegaze stylized vocals mixed with metal and brickwalled so thick that Kevin Shields would suffocate.
Blind Ego Preaching To The Choir
A rather straight forward hard rock solo effort delivered by RPWL's guitarist Kalle Wallner. File alongside Pattern-Seeking Animals and Flying Colors.
Bush Razorblade Suitcase
The follow up to the monumental commercially successful Sixteen Stone still elicits divisive comments. The production is comparative rawer, the lyrics more abstract and song structure harsh and unpolished. Swallowed and Mouth are either interpreted brilliant or simply lazy. Judge for yourself.
Cosmograf End of Ecclesia
End of Ecclesia is the debut release of Robin Armstrong's Cosmograf project. Its production is rather humble and near home demo quality. The rudimentary aspects to his progressive work style are well on display here, especially evident in Evolution Railroad, Return to the Sea Parts 1 and 2, Flowers In My Hair and The Dark That Follows the Light. As with most Cosmograf releases, End of Ecclesia has ongoing theme, here examining spirituality, religion and the hypocrisies and fallacies of man. This might be well worth a future re-recording to produce a fully realized and more complete sounding album.
Eloy The Vision, The Sword And The Pyre Part 2
Eloy releases the second half of its Joan of Arc epic. A rather take it or leave it conclusion to the concept double LP with its underlying repetitive synth riff somewhat reminiscent to the Peter Gunn theme.
Flying Colors Third Degree
Listening to Flying Colors is reminiscent to experiencing Audioslave or Velvet Revolver. Passable music for sure but far less interesting than the full time bands of the "super group" members.
Hole Celebrity Skin
Courtney dials down her grungy despair in lieu of melodic pop sheen to mixed results. And decades later proves to be a financial payoff as the record's namesake nails down the scoring for Captain Marvel's end credits.
It Bites The Big Lad In The Windmill
The Big Lad in the Windmill is the debut release by heavy on the pop, light on the progressive rock band It Bites. The intelligence of the lyrics and musicianship abilities are equally betrayed by stereotypical 80s production; shellacked to the maximum with heavy in the mix synth keyboards. Calling All the Heroes secured the band a bonafide commercial hit, however All In Red, Screaming On The Beaches and You'll Never Go To Heaven aged better. Francis Dunnery is perfectly acceptable on the main vocals and there are pleasing harmonies intermixed throughout the track list. Perhaps this represents the closest a progressive rock act (even on this furthest outer realm) could be converted into a Broadway musical.
Jordan Rudess Wired for Madness
Wired For Madness Parts 1 and 2 sound like a disc 3 left off The Astonishing. The cut Just Can't Win featuring Joe Bonamassa is an unintended lounge lizard follow up to the Stone Temple Pilots' Kitchenware & Candybars. And finally the album cover artwork is the worst in progressive rock since Love Beach.
Klone Le Grand Voyage
Newly signed to Kscope, Klone sheds off its progressive metal roots for a sleeker alt-rock vibe with clean vocals. There is not a weak cut in the mix but alas lacks a truly memorable one. Noteworthy nods to The Doors with opening to thunder akin Riders of the Storm and concluding with covering The Spy.
Leprous Pitfalls
Synth heavy and dramatic vocals represent a major shift from previous albums. The second half outperforms the first and splits the rating down the middle for the entirety of Pitfalls as a consequence.
Marillion With Friends From The Orchestra
The production and recording of this project are superior. H and the band are in fine form as is the orchestra. However there is nothing truly unique about these versions of songs previously from other albums. This compilation is for completists and Marillion diehards. Considering there are only 9 tracks (albeit including the lengthy Ocean Cloud as its closer) on the record, it seems a follow up is likely.
Maserati Enter the Mirror
A Warning in the Dark is the catchiest song one will listen to this year, sung by Mr. Roboto.
Moonrise The Lights of a Distant Bay
The Lights Of A Distant Day is the debut album of Polish neo-progressive multi-instrumentalist Kamil Konieczniak's project Moonrise. Predominantly an instrumental album with Lukasz Galeziowksi providing occasional vocals, Moonrise provides Camel meets Pink Floyd guitar hooks layered with keyboards. Galeziowski's lyrics and delivery are serviceable however the project may have been better exclusively instrumental. The guitar work is above board and clearly the strongest attribute although the electronic drums should be replaced with a traditional kit and experienced percussionist.
Pendragon (UK) The Jewel
The Jewel is the debut of UK based neo progressive rock band Pendragon released in 1985. Higher Circles is a rather rough inauspicious opener with its thin 80s over reliance on outdated (perhaps even then) utilization of synthesized keyboards and derivative pop structure. However improvement progresses throughout the album with Alaska, Circus and The Black Knight in particular. Although this was not a commercial success, The Jewel does serve Pendragon as a foundation to build upon a more sophisticated neo prog template for later and higher quality studio releases.
Pink Floyd Ummagumma
A double LP with the first half containing excellently recorded live performances is somewhat tarnished by a hodgepodge eclectic experimental recordings on the back end. And really it is a shame because the fate of Ummagumma as a simple live release would have been favored critically far better. Astronomy Divine, Careful With That Axe Eugene, Set The Controls For The Heart Of The Sun and A Saucerful Of Secrets capture the band in its early post Syd experimental career stage. The live performance is hauntingly beautiful in its macabre psychedelic presentation and at times trance inducing like The Doors. However all is not lost on the much maligned studio effort. The Rogers constructed Grantchester Meadows is interestingly whimsical and somewhat Genesis reminiscent. The personal highlight while combing through the second record here is Gilmour's The Narrow Way - Part 3. The vocal overdubs and instrumentation serve somewhat as a template for the future and far more commercially successful "Pink Floyd Sound" down the road. If this deep cut had been kept secret and released on one of the many career archive box sets available now, it would be heralded as a classic.
Porcupine Tree On the Sunday of Life
A rather ominous debut for a band achieving impeccable future acclaim. Several cuts present incomplete and quite frankly nonsensical. And then it happens: Radioactive Toy fires on all cylinders. The rest is history.
Radiohead Pablo Honey
Regarded as the ginger step child of the Radiohead discography, it is often unfairly derided as derivative grunge era dirge. And that is simply untrue. Certainly not as creative or genre redefining as a masterpiece such as OK Computer, Pablo Honey (an homage to the Jerky Boys) has its own simple earnest charm of infectious jangle pop hooks cross linked with the distortion drenched guitars of its time. The breakout single is of course Creep as it spoke out for the silent anguish of introverted teenagers and twenty somethings residing in the front rows of high school and college class rooms craving to be recognized other than for textbook nerds. Yorke was singing full throttled for the geeks, freaks and creeps that yearned to be cool and extroverted as Kurt Cobain's rebellious Smells Like Teen Spirit but could never pass the sniff test. Other choice cuts here Stop Whispering, Anyone Can Play Guitar, Vegetable and Prove Yourself. Pablo Honey warrants more respect.
Rush Hold Your Fire
Hold Your Fire is aptly titled for a record released by a power trio forgetting it was a power trio. The MTV video for Time Stand Stills (witness the carnage on Youtube if you must) personifies this album perfectly. Fortunately in this record's aftermath, the band members have an epiphany to reconsider its addiction to synthesizers.
Rush Rush
This is the debut Rush album prior to the arrival of Neil Peart. At the time, listeners often confused its songs for belonging to Led Zeppelin. Hard Working Man is the standout rocker of the bunch and stayed in the band's live playlist for years to come.
Rush Presto
The ingredients were here for a return to form Rush comeback with the exception of a leader at the helm capable of producing a rock album without the 80s elements. As a consequence, the promise fizzled away with Presto as synthesizers continue to dominate over Alex Lifeson's guitar work and unnecessary Geddy Lee overdubs. This could have been something far better had a producer insisted upon 70s analog rock warmth instead of stereotypical 80s cold synth. Presto is indeed thin and might as well go poof altogether.
Soen Imperial
Soen diverge further from its Tool influenced origins and move toward a rather derivative, paint by the numbers hard rock - metal fusion of non-offending albeit unmemorable tracks. A deliberate effort to polish and streamline for a more mass commercial appeal consequently diminishes the unique identity of the band.
Steve Hackett At the Edge of Light
The crusader of annual thematic Genesis Revisited live concerts returns with another studio album that falls a bit short to The Night Siren. The instrumentation is of course classic Hackett albeit a bit too uncomfortably familiar to past efforts. And perhaps it would be advisable to include Nad Sylvan as his vocalist for future solo albums.
Tame Impala The Slow Rush
Every cut recorded on The Slow Rush is fully capable of being licensed out to the mad men of the world responsible for selling hatchbacks and mini vans. The intriguing promise presented by Innerspeaker and Lonerism is dead.
The Black Keys Let's Rock
There once was so much more with so much less when it was just Dan, Patrick and a shoestring recording budget.
Videodrones Atavistic Future
Five cuts of competent electronic synth compositions oriented toward potential science fiction soundtracks. It is a fun listen albeit won't be a frequent one revisited.

2.5 average
Drive-By Truckers The Unraveling
A political no-holds barred record ultimately falling flat and uninspired. Despite a reasonable layoff following America's Band, DBT sounds forlorn and defeated in its state of the union messages presented here. The rambunctious energy from far better efforts such as Southern Rock Opera and The Dirty South leave memorable impressions inspiring further thought and more importantly tangible change. The Unraveling feels just that; the cause is already lost and not worth the fight.
Frost* Others
The Falling Satellites studio sessions yielded at least six songs not included in the finalized track list. Four years later and prior to the impending 13 Winters, Frost* releases this teaser EP (in digital form only at time of review) aptly titled Others. Clearly these were the weakest of the bunch and undeserving to be included on Falling Satellites, begging the question of how any of this material will be utilized for 13 Winters. The industrial rock, electronica and pop elements weigh heavily on these tracks with scant evidence of the progressive rock that made Milliontown so memorable. Sometimes genre fusions work and other times do not. The quietly executed closer Drown is clearly the best of the worst and actually instills restored hope for the band's future direction. However if you ever pondered what a mash/cut up of Billie Eilish backed by Stabbing Westward with James Bond strings in the background, Eat is your track of choice.
Hole Nobody's Daughter
In reality, Nobody's Daughter is a Courtney Love solo effort branded Hole to garner larger public interest. Skinny Little Bitch temporarily revives the grrrrrl punk rock from the debut Teenage Whore however the album cannot maintain its energy. Letter to God (noteworthy song writing credit to the incredible Linda Perry) is a 5 star track trapped on a 2.5 rated record and extra props to Kellii Scott (Failure) for working the drum kit. For those curious, check out Love's live performance of Letter to God on Youtube.
IQ Nomzamo
An album representing a frustrated band with a significant identity crisis beginning with Peter Nicholls exiting stage left and replaced by Paul Menel. Nicholls' departure coincides with a band surrendering its neo progressive rock roots in lieu for a Menel led jangle pop oriented song structure. At times the band seems at odds with its new front man in attempt to maintain a hold to its progressive past, as evident in the album titled track and Common Ground (an ode to World War I veterans) while presenting an entirely different pop direction in Passing Strangers. Even the production is rather muddied with Menel's capable vocals mixed into the music rather than more suitably above in order to better listen to the lyrics. Rather nobly, Nomzamo thematically discusses apartheid, racial segregation in South Africa. Unfortunately both the lack of musical congruity and production of the album itself tend to distract and bury Menel's message altogether.
Pendragon (UK) KowTow
KowTow clearly is an early crossroads effort delivered seemingly halfheartedly by a young band experiencing a significant identity crisis. Although the production is indeed an improvement over its debut The Jewel, the effort ironically only emphasizes the rather dated 80s commercial pop elements to Pendragon's detriment. Whether the aim for pop radio friendly glory was the idea of the band or its management is anybody's guess, KowTow represents a step backward. The Haunting is a redeemable track accentuating the neo progressive rock potential and provides a life ring for future optimism.
Pink Floyd More
A mixed bag of eclectic cuts, mostly instrumentals for a soundtrack that is almost as forgettable as its accompanying movie. Obviously not a starting point to appreciating Pink Floyd but it does indicate what the band was willing to do in order to earn money during its infancy.
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