(By the way, if you are wondering at the absence of Big Big Train’s magnificent English Electric: Full Power, remember that I am excluding rereleases of older material; without that restriction, it would most certainly be up near the top of my list!)
The debut release from the formerly-dubbed Concrete Lake, featuring two alumni of The Tangent: guitarist Luke Machin and bassist Dan Mash. Be prepared for a rollercoaster ride through a dizzying array of different musical styles as this album jumps effortlessly from prog metal shredding to jazz to salsa (yes, really!) and back again. It’s bonkers, but I love it to bits.
A minor change in direction for Poland’s premier prog rockers finds them flirting with more straightforward hard rock, blues and even jazz influences in places, to great effect. The resulting album is more cohesive conceptually than any of their previous work and touches on similar issues to those explored by The Tangent’s latest opus. Disc 2 of the special edition features over 22 minutes of instrumental music quite different in tone from the main album but highly enjoyable nonetheless.
An accomplished follow-up to 2010’s Diving Bell from Joff Winks, Matt Baber & Co. Sanguine Hum’s sound calls to mind Turin Brakes, Pierre Moerlen’s Gong, the layered electronica of North Atlantic Oscillation and even Porcupine Tree in their more reflective moments. It’s captivating, however you describe it, and the songs on this album are beautifully constructed. Apparently, the band have two album’s worth of new material already written, which bodes well for the future.
The best release yet from the ‘Steely Dan of prog’, offering a more coherent vision than their earlier high points Not As Good As The Book and A Place In The Queue. With music loosely inspired by Stravinsky’s Rite Of Spring and a thought-provoking, opinion-polarising message regarding the mundanity of the daily grind and our role as wage slaves, this is a progressive tour de force as far as I’m concerned.
Quite simply, Steven Wilson’s finest work to date. Opting for a live recording approach over meticulous overdubs has paid off handsomely and the music frequently builds to a thrilling intensity as this masterful band of players feed off each others’ energy. It is difficult to pick out highlights from something so consistently brilliant, but Guthrie Govan’s guitar solo in Drive Home really does take the breath away, leaving us wondering how in the name of prog Wilson is going to better this.