In addition to this month’s new music, I’ve taken a few column inches to double back on “Blasts from the Past” — albums that I missed the first time around or haven’t heard in a while, but have become firm favorites as I discovered (or rediscovered) them during the first six months of this year. For new releases, purchasing links are embedded in each artist/title listing, with playlists or samples following each review as available; Blasts from the Past have listening links embedded in each album title.
Tim Bowness, Butterfly Mind: As Bowness mentioned in his latest Progarchy interview, the concept of his 2020 album Late Night Laments‘ was of a fragile refuge, however imperfect, from current societal storms. Butterfly Mind drops those defenses, confronting protest (“We Feel”), polemics (“Only A Fool”), fear of the future (the album frame “Say Your Goodbyes”) and, yes, death (“About the Light That Hits the Forest Floor”) with Bowness’ typically thoughtful, allusive lyrics and rich, warmly delivered melodies. But there’s also a gritty energy welling up from the roots of the music (bassist Nick Beggs and drummer Richard Jupp are a fabulous rhythm section), toughening the musical tendrils nurtured by soloists like Jethro Tull’s Ian Anderson, Magazine’s Dave Formula, Big Big Train’s Greg Spawton and former No-Man bandmate Ben Coleman. Urgent art-rock that compels multiple listens, as beauty takes on today’s ugliness without flinching. Preorder now for August 5th release.
The Dear Hunter, Antimai: having cleansed their palette with 2017’s relatively straightforward All Is As All Should Be, Casey Crescenzo and his crew of emocore/musical theater/prog rockers settle in for some serious world-building. Exploring the dystopian culture that underlies Crescenzo’s short film The Indigo Child from bottom (“Ring 8 – Poverty”) to top (“Ring 1 – The Tower”), his lyrics portray the variations of despair, complacence, and self-deception each imagined caste falls prey to. Honestly, it’s the music that provides sharper differentiation between social strata, with surprising amounts of sonorous brass — plus jazz/funk, R&B and even hip-hop — snuggling alongside TDH’s trademark power chords, mallet percussion riffs and singalong choruses stacked with Beach-Boys-meet-Queen harmonies. It feels a bit like an aural version of a cinematic trilogy’s middle installment — lots of set-up, with the ultimate payoff beyond the horizon — but with TDH’s sonic and structural ambition clicking so often, Antimai is quite a dazzling trip.
Fernando Perdomo, Out To Sea 4: Even with this year’s return of Cruise to the Edge (the series’ initial impetus), this fresh installment of nautically-themed prog instrumentals comes as a surprise — but then it did to Perdomo as well! Written in the heat of inspiration, his new compositions are sure-footed and energized from first to last, immediately appealing while packed with depth. Playing all the instruments, Perdomo lays down powerful, propulsive grooves on bass and drums and sets up sparkling, jangly chordal textures and fires off his arresting themes on guitar with confidence and aplomb. And his guitar solos! Never pat or predictable, always heartfelt and daringly executed, each solo is a ravishing song in itself. The only reason I haven’t mentioned any standout tracks: every single one is equally excellent. If you’ve heard Out To Sea 1, 2 and 3, you’ll definitely want this; if Fernando Perdomo’s name is new to you, you won’t regret giving OTS 4, the high water mark of a really fine run of albums, a spin.
Robert Berry’s 3.2 Alive at Progstock: Berry’s recent posthumous collaboration with Keith Emerson (an extension of his work with Emerson and Carl Palmer in the 1980s band 3) gave him renewed exposure and the chance to command prog festival stages in 2019. Surrounded by chops-heavy compadres Paul Keller, Andrew Colyer and Jimmy Keegan, he delivers with a thrilling mix of 3 and 3.2 highlights, prog classics as reimagined for 1990s tribute albums, solo tracks and even “Deck the Halls” a la 1980s Rush! Plus, Berry’s unpretentious spoken introductions, peaking behind the curtain to reveal how the music came to be, are nearly as riveting as the performances themselves. All in all, this CD/DVD set is a worthy showcase for a remarkably underrated musician, finally in the spotlight after decades behind the scenes. (Watch for a Progarchy interview with Berry about his next project, SiX By SiX, coming soon.)
Blasts From The Past:
- Battles caught my ear opening for Primus back in May; their first two albums, 2007’s Mirrored & 2011’s Gloss Drop, turned out to be especially exciting. Glitchy electronica that defies predictability with every asymmetric loop, candy-coated melody, whipsaw rhythmic shift, and whomping backbeat, with each album meant to be experienced in one extended go. As proggy as dance music gets!
- Tears For Fears’ The Tipping Point inspired a deep dive into the lesser known corners of their catalog. Roland Orzbaal and Curtis Smith’s 2004 reunion, Everybody Loves a Happy Ending (which I never heard at the time), lives up to the same high standards as their latest; unstoppable riffs and hooks abound in killer songs like “Call me Mellow”, “Who Killed Tangerine?” and the delectable “Ladybird”.
- Andy Tillison’s reflections on soul music in his recent Progarchy interview sent me back to Stevie Wonder’s masterful 1970s albums, where Wonder blended soaring melodies, sophisticated chord structures, groundbreaking synthesizer work and heaping helpings of funk rhythms for one innovative, irresistible breakthrough after another. 1976’s Songs in the Key of Life remains Wonder’s most expansive, fascinating and welcoming classic, ranging from the swing of “Sir Duke” to the drive of “I Wish” and “Isn’t She Lovely” to the sardonic classical gas of “Pastime Paradise”. And the songs you don’t know from this double album are just as good — or often better! Sheer genius at its peak.
— Rick Krueger