This past year was chock full of first world problems for many of us, myself most included. At the pace I’m buying music, my iPhone is full and stays full. Often times I have to shuffle out one album off to get a new album onto it, given the limited storage space. After all, having over 2200 songs on the go with me just isn’t enough. I’m going to have to upgrade from the 32 GB model to a newer 64 GB model. Sigh.

Many first worlders with iTunes installed on their computers received an unrequested U2 album, while others among us (myself included) actually had to make the effort to download it. And some of those that received it inadvertently didn’t want it … and actually had to go through the trouble of deleting it! Oh the humanity or something.

And then there is the problem that plagues virtually every reader and writer involved with this website – too much good prog, too little time. This past year gave us another bumper crop of outstanding releases. In fact, the problem was so bad, when I look around at some of the other year-end lists here, I notice a lot of albums (and band) of which I wasn’t even aware. There are many more to which I have given a listen or two, but have not fully digested. And then there are back catalogs to go through (I’ve spend the last two years working through Gazpacho’s back catalog, now I’m starting on Ayreon’s). So as the calendar flips to 2015, once again I find myself in the hole as far as keeping up with new developments in prog. It’s tough, I tell you. (Insert tiny, sarcastic violin music here).

But never fear, first worlders – there are a number of albums I did get to this year, ones that I listend to numerous times and thoroughly loved, albums that spent time (or still do) in heavy rotation.

One of the heavy rotation albums was Cosmograf’s Capacitor. Coming of an excellent release last year, Robin Armstrongand Co. upped their game with an even better album in 2014. Heavy and brooding in parts, introspective in others, the ensemble cast that plays on this album made it some of the best music of 2014, while Armstrong provided one of the most interesting concepts. It all adds up to a great album.

Prior to this year, my score with IQ was 1-1. The first IQ album I purchased was Dark Matter, which was excellent. The second was The Seventh House … which just didn’t do it for me. Consider the score now 2-1 – or maybe even 3-1 – after Road of Bones. Russell Clarke and Dave Smith both gave us reviews that were spot on. This was a stunningly good release. And why did I up my score to 3-1? Because the bonus disc, had it been released separately, would have been an excellent album on its own. This is what you call good value – a great concept album (disc 1) and an album of great songs (disc 2). This is also what you call “not to be missed.”

Gazpacho decided 2014 would be the year they freaked out their listeners, releasing what was (by their own account) the strangest album of their career, Demon. This album had a great concept behind it. It also differed somewhat in tone and timbre from their previous albums but nevertheless still had the trademark Gazpacho sound. As Mr. Wert mentioned, it takes a little bit of work, but it’s well worth the ultimate reward.

 I don’t always understand the distinction between an LP and an EP, a question that came to mind with Haken’s Restoration EP. In the days when vinyl was king, this would have been considered a full album, clocking in at over 34 minutes in length. EP or LP, this was one of my favorite releases of the year, with three excellent tracks. The best of these in my opinion is Crystallised, a bloody good epic that is one of the best long form pieces of at least the last five years. I don’t know if this is available on CD, but it’s less than $3 USD on Amazon for a digital download, so there really is no reason not to pick this up and give it a shot.

My instrumental album of the year goes to Cailyn’s Voyager. This is almost unfair, as I was predisposed to liking this just knowing the inspiration behind it. But even if you are not a space geek like me, you should give this one a listen because Cailyn delivered a great work including both her own originals as well as some reinterpretations of Holst’s work from The Planets. My own review is here if you want to read more. But seriously, you should just give this a listen.

One of my new discoveries this year was the duet from St. Petersburg, Russia, iamthemorning. Their new album Belighted was one of my favorite finds this year. I love their style of “chamber prog”, what a great niche they have carved out for themselves. And Marjana Semkins voice is beautiful, silky smooth and irresistible. Most of the music is pretty mellow, although they do make space for an excellent rocker, The Howler. I really like this act, and I’m very much looking forward to what they will do in the future.

Mariusz Duda, the creative force behind Riverside, returned this year with another chapter in his solo project, Lunatic Soul. Walking on a Flashlight Beam was a worthy release, even if it wasn’t quite as good as the first Lunatic Soul album. Just about anything Duda does these days is worth the attention given to it, and this album is no exception. The songs are very moody, as one would expect, with Gutter being one highlight, while the haunting Sky Drawn in Crayon is probably the best track on the album.

My final entry for this piece is the excellent Ode to Echo by our favorite proggers from Tennessee, Glass Hammer. This album continues a streak of exceptionally strong releases that begun in 2010 with If. There is one quibble I have with this album though, although I do not think it’s the fault of Glass Hammer proper. That quibble is the continued monopolization of Jon Davison’s time by Yes. I’m not going to be one of those guys that says “it’s not Yes without Jon Anderson”, and I do think Davison is about as good a vocalist as they could get in Anderson’s absence. Still, I feel Davison’s home should be with Glass Hammer, whose last four releases (particularly Perilous) have been better than anything Yes has done in … ages. I read a few years ago that upon discovering Davison, the core of Glass Hammer told him that he was the vocalist they had always wanted – and I can certainly understand why. And it really stuck in my craw a few years ago when, on a Cruise to the Edge that included both of his bands, Yes would not allow Davison to perform with Glass Hammer. That was a very disrespectful move, if you ask me, one lacking in grace and class. Yes, I think it’s time for you to take a break, and maybe even consider retiring, as you have nothing left to prove and you’ve had a great career. And Mr. Davison, I think it’s time for you to go home to Glass Hammer and focus your creative energies where they will be best put to use.

There were a number of other albums I heard this year by bands such as North Atlantic Oscillation, Fire Garden, Enchant, and John Basset. But given the limited time and the overwhelming volume of good prog, I just haven’t been able to give them my undivided attention as of yet.

So another year of first world problems – insufficient iPhone storage space, unwanted free albums, and more incredibly good music than I could ever listen to – has come to an end. Still, I’m going to be thankful that I don’t have it as tough as these guys:

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