Brass Camel has just completed a nationwide tour after trekking 25,000km across Canada. Back home to record their next album, they played a triumphant gig at the Canada Day celebrations yesterday at McLeod Athletic Park.

The band took the stage as the grand finale for the day. They were billed on the program as 70s-inspired rock ‘n’ roll, but I think most of the crowd was unprepared for the heavy prog onslaught that blasted forth from the stage. Is progressive rock the official national genre? From Rush to Brass Camel, the torch of musical liberty is certainly shining like a beacon down from the Great White North. The lucky audience that day got to witness something special.

Brass Camel played six tracks from their debut album Brass, and then finished the show with a track from their forthcoming disc (which apparently has the working title: Camel).

They kicked off the show with “Pressure Cooker,” and to fit the special occasion they threw into the middle of it a version of Canada’s national anthem as a solo section highlighting guitar and synth synergy.

Next up was “I’ve Got the Fox,” complete with an extended scream that must have jolted the audience into realizing they were witnessing something historic, because it was on the order of magnitude of The Who’s “Won’t Get Fooled Again.”

The next tune was the witty prog extravaganza, “King for a Day,” which was introduced by a proggy medley of Canadian musical references. Must stunning of all, there was an extended bit of Rush’s “La Villa Strangiato” included as part of the tribute.

The group sounded amazing. No doubt their close musical bonding on their recent tour is what had them sounding so tight. The only flaw I could notice was in the sound mixing, which I assume was beyond the band’s control at this festival gig. The bass, drums, and synths were louder in the mix than the vocals and the twin guitars.

I was okay with that happenstance, since I know all the songs by heart. Thus, I can fill in any gaps in the sound mix by using my memory and imagination. But it’s a shame that new listeners in the crowd would have missed out on the subtle excellences in the vocals and guitar performances. I noted this missed opportunity during the band’s next song, “Only Love,” which has exhilarating lyrics lifted aloft by guitar heroics. So it was sad that some in the crowd may have missed out on the uplifting enunciation within the song’s chorus: “only love conquers all.”

Brass Camel proved that they were pulling no punches in the prog department when they proceeded to play one of my very favorite songs next: “Last Flight of the Vulcan.” How incredible that they expose a mass audience to this elegant flight of extended musical excellence. Perhaps some kids in the crowd had a sonic epiphany that day which will change their musical tastes henceforth. At the very least, it transported the adults in the crowd over 50 years back in time to the heyday of prog.

Continuing the relentless prog onslaught, “Easy” was up next. This song had the most hilarious introduction of all the tunes in the set. The band tossed out frisbees into the audience, but the kids who caught them threw them right back at the band. After all, if you throw a kid a frisbee, their natural reaction would be to continue the fun game and reciprocate your throw.

This went on for awhile as the band tried to explain to the young frisbee enthusiasts that the frisbees were the band’s gift to them and they could hang on to them, keep them, and take them home. It took some time for this message to get across. Eventually the band gave up and announced, “okay, it’s time to rock!” and they charged ahead into “Easy.” Thankfully, they didn’t get pelted with frisbees as the song got underway. But it sure wasn’t “easy” getting it started!

After playing that dazzling set of a half-dozen killer tunes from Brass, they broke out the double-neck guitars for a mind-blowing preview of their next album. The song was called “Another Day,” and it seemed to supply proof positive that Brass Camel has doubled down on the prog for their next album. The song was so epic that the band ran well over their scheduled stage time. Piercing screams, blazing guitars, 70s synth sounds, and even gong crashes treated everybody to a spectacle as wondrous as any acrobatic airshow.

Anyone who was there to witness this concert knows what a national treasure Brass Camel is. I can’t wait for when the nation’s Rush fans — and everyone else around the world — gets to find out what this band is doing to fly the flag for prog.

Rock on, Brass Camel. I couldn’t have imagined a better way to celebrate Canada Day. We can’t wait to hear your new album. Thanks for keeping the prog alive.

We’re only five months into the year, but Witherfall has just released this weekend what definitely seems mostly likely to claim the title of the prog metal album of the year. The classic heavy metal album of the year has already been claimed by Judas Priest in March, with their untoppable Invincible Shield. The closest rival to Witherfall’s melodic death metal excellence that I can think of so far this year is Unleash the Archers, who gave us their amazing new disc Phantoma in early May. 

With so many great new albums in 2024, it’s hard to pick favorites, especially with Neal Morse’s The Dreamer—Joseph: Part 2 from January still wearing the crown for prog epic of the year, and Big Big Train claiming prog album of the year in March with The Likes of Us. So I’m just going to declare a seven-way tie for the best albums of the year-to-date, and then proceed to explain below my rationale for giving upper-echelon placement to Witherfall’s Sounds of the Forgotten:

Prog Metal AOTY: Witherfall, Sounds of the Forgotten

Classic Metal AOTY: Judas Priest, Invincible Shield

Metal Epic Concept AOTY: Unleash the Archers, Phantoma

Prog Epic Concept AOTY: Neal Morse, The Dreamer—Joseph: Part 2

Prog AOTY: Big Big Train, The Likes of Us

Glam Metal AOTY: Sebastian Bach, Child Within the Man

Doom Metal AOTY: Pallbearer, Mind Burns Alive

Okay, let’s talk about Witherfall. Witherfall gathers together a stunning array of talent: guitarist/songwriter Jake Dreyer, vocalist/songwriter Joseph Michael, bassist Anthony Crawford, drummer/percussionist Chris Tsaganeas, keyboardist Gerry Hirschfeld, and studio-only drummer Marco Minnemann, whom you may be familiar with from The Aristocrats, Jordan Rudess, and Steven Wilson, not to mention Witherfall’s superb previous album, Curse of Autumn (2021). I’ve been following Witherfall’s underrated audio excursions from the very beginning. I count this as their fifth album, taking its predecessors as Nocturnes and Requiems (2017), A Prelude to Sorrow (2018), the substantial EP Vintage (2019), and Curse of Autumn (2021). 

Their latest album is their greatest album—Witherfall’s Sounds of the Forgotten (2024), which I like to think of as built on a spine of seven epic, nicely prog-length tracks:

“They Will Let You Down” [Track 1 (5:59)]

“Where Do I Begin?” [Track 2 (6:30)]

“Insidious” [Track 4 (6:47)]

“Ceremony of Fire” [Track 5 (7:32)]

“Sounds of the Forgotten” [Track 6 (5:23)]

“When It All Falls Away” [Track 8 (6:39)]

“What Have You Done?” [Track 10 (10:19)]

Even if you wanted to pin down Witherfall as melodic death metal, you’d have to admire the perfect pacing along this seven-song spine. The songs alternate between the more demented death forays and the more melodic metal earworms: “They Will Let You Down,” “Insidious,” “Sounds of the Forgotten,” “What Have You Done?” are the four darkest of the spine tracks, whereas the highly melodic, multi-layered vocal choruses of the others pull you into singing along every time (“Where Do I Begin?”, “Ceremony of Fire,” “When It All Falls Away”).

The other three tracks on the album are clearly intros or outros to that seven-track spine, which is evident simply from their time lengths:

“A Lonely Path” [Track 3 (1:33)]

“Aftermath” [Track 7 (1:31)]

“Opulent” [Track 9 (2:45)]

These three snippets are characterized by brief but effective instrumental evocations of mood and atmosphere and by half-sung word paintings by vocal frontman/songwriter Joseph Michael, in which the other half of the vocal timbre is spookily spoken or growled. “A Lonely Path” offers a seamless introduction into “Insidious,” whereas “Aftermath” seals “Sounds of the Forgotten” with a suitably harsh coda. “Opulent” starts off with a nice instrumental break before the final epic “What Have You Done?” as Jake Dreyer dazzles us with more Spanish-style guitar licks, but Joseph Michael also returns at its end with more dramatic vocal narrative.

It’s impossible not to be floored by the band’s instrumental virtuosity. The central track in the seven-song spine, “Ceremony of Fire,” thrills me to no end with its soloing section, because the emotions I feel during that excursion parallel the excitement I once felt when I first heard the guitar-bass-drums interaction on some classic Rush tracks. The ecstasy induced by the guitar-bass-drums interaction on “Ceremony of Fire” is consolidated by the track’s sudden tempo change and downshifting into Joseph Michael’s magical bridge. That magic lasts right to the final notes, with concluding guitar and organ chords that invoke the heights of musical mysteries. If hearing one song will get you to buy the album, this is the winner.

But while all the musicians contribute to making this Witherfall’s most astounding album, it is perhaps Joseph Michael who leaves me with the mightiest impression here. Yes, it was Jake Dreyer’s guitar playing that drew me to the band, since it is rare to find such shredding talent anywhere that also deploys itself in service of unusually brilliant songwriting. But with Sounds of the Forgotten I have to declare that Joseph Michael is the one who has now stepped forward and truly achieved his own personality. By “personality” I mean that, no matter who he may remind you of here and there, he has a distinct voice that has attained an incomparable individual incarnation. Some examples of iconic musical personalities: Ozzy, Dio, Rob Halford, Chris Cornell, Freddie Mercury. When you hear these guys, they sound like themselves. Same with Joseph Michael, who I would venture has joined the pantheon with this latest performance. The range of what he does on this album is quite something to hear. Screams, shrieks, growls, whispers, howls, layered choruses, he does it all. He’s thereby the perfect frontman to epitomize Witherfall’s overall chameleon-like musical abilities.

I’d advise ordering the CD direct from DeathWave Records, which was created by Witherfall headmen Joseph Michael and Jake Dreyer. I did, and it was most gratifying to receive the CD in the mail in advance of the official release date, along with a bunch of extra goodies like snazzy art and band photo postcards, a band name sticker, and an Anthony Crawford Witherfall guitar pick.

The disc doesn’t have a bonus track, but maybe it will eventually be released with the cover version of Aerosmith’s “Kings and Queens” that the band unveiled earlier. If I could advise the band, I would tell them to release a full album of covers, including their own past covers. The thing about Witherfall’s versions is they put their own stamp on the songs and they morph them into their own delightfully demented renderings. What’s the point of doing a cover if you don’t unexpectedly transform the song into a new reward? Witherfall knows the secret to making a good cover. Witness their contrarian takes on Boston’s “Foreplay/Long Time” (from the Curse of Autumn era) and Tom Petty’s “I Won’t Back Down” (from the Vintage era). I say we need more. In the meantime, enjoy one of the best albums of the year: Witherfall, Sounds of the Forgotten. ⭑⭑⭑⭑⭑ = 10/10 = A+.

It’s been worth the wait. Moon Safari is back with the equivalent of a prog double album. It’s got a killer single with “Emma, Come On,” and it’s got a killer epic with “Teen Angel Meets the Apocalypse,” and it’s got everything in-between.

I’m not kidding. This album has everything but the kitchen sink, with all kinds of tiny details that show a true love for the craft. There’s a sax solo on “Forever, for You”, groovy time signature changes on “Between the Devil and Me”, an effective spattering of 80s synth drums on “Blood Moon”, and an hilarious soundalike Van Halen synth part on “198X”.

But if you want big, then three out of the nine tracks are over ten minutes long. You get more than you bargained for, making this the ultimate prog bargain of the year. It’s like a decade’s worth of music-making and music-enjoying all on one disc.

The album is endless joy and endless fun. Come on, Emma, and prog on with Moon Safari. What a great way to close the year. See you in 2024!

District 97 released their greatest album yet in 2023. It was a magnificent leap skyward into the upper echelons of the prog stratosphere.

From start to finish, this is a perfect album, showcasing every strength in the band. First and most obvious are the vocal skills of Leslie Hunt, which have never been better.

But everyone shines as her vocal effect radiates outwards. Take her vocal duo with guitarist Jim Tashjian on “Mirror,” which is extremely powerful and emotional in its force. Alternatively, the track “X-Faded” shows she can achieve powerful effects even with understated singing.

It seems like every song explores new and different realms, such that this is a rich record that repays repeated listens. Especially to savor the integral contributions of Tim Seisser on bass and Andrew Lawrence on keyboards to Leslie’s vocal tapestries.

Most impressive to my ears is the new sound to Jonathan Schang’s drum kit. It’s like he’s been studying the timbres of Bill Bruford most carefully, because that’s who his drumming reminds me of on this record. Everything he does is perfectly controlled and wonderfully musical in effect.

Most remarkable is the fact that “Deck is Stacked” even includes a drum solo (to complement the song’s lyrical theme about never compromising musical vision in spite of a heartless and rigged music industry): Schang’s drum solo is never boring (even though 99.99% of drum solos eventually are); instead, it is unbelievably so musical and so inventive and so beautiful that it holds up after repeated listens as the consummate work of art that it is.

Hearty congratulations to District 97 on this magnificent achievement in 2023! We are eternal fans after Stay for the Ending. The final track, “The Watcher,” seals the deal on District 97 being able to command the heights of prog metal for the year.

Tanith delivers with sci-fi and fantasy lyrical themes galore on their epic retro-metal quest, Voyage. Vocalist and Bassist Cindy Maynard steals the show with her lead turn on “Mother of Exile,” but every track is a standout. If you aren’t pumping the air by “Falling Wizard,” there’s no hope for you.

Don’t overlook this album, because it’s a hidden gem from 2023. Russ Tippins supplies tandem vocals with Maynard that give this band a unique flavor. Together with Keith Robinson on drums, they invoke the greatest traditions of rock trios. Excelsior!

This metal album will thrash you into a good mood if you can handle it. “Unborn” and “Siphon” are two particularly bone-crushing tracks that deliver supreme heaviosity that you can rarely get elsewhere.

But everything here is so much fun, and there’s something for everyone. You just have to like smart and wry heavy metal at its best.

Be sure to play “Memory Hole” as you fight back against the oligarchs’ attempts to erase history. The closing track, “Setting Sun,” is good, but not as show-stopping as “Bandages,” which closed 2017’s War Moans. Okay, so what; you’ll just have to go get that album too, and play them both back-to-back.

Neal Morse does it again with his best release of 2023, the first installment of his Joseph epic based on the story in the book of Genesis. Potiphar’s wife steals the show, sung convincingly by Talon David. But everyone rocks out thoroughly, orchestrated by Morse to unbelievably even greater effect than usual. The jaw-dropping guitar solo at the end of “Wait on You” by Eric Gillette is worth the price of admission alone, but you’ll be glad you came for the whole show. Can I get an amen?

Superstar guitarist Joel Hoekstra created a magnificent showcase this year for his skills on the solid rock album Crash of Life. With vocalist Girish Pradhan fronting the songs, it’s a remarkable display of virtuosity and supreme song-craft. The title track “Crash of Life” is particularly memorable. But the whole disc is superb from beginning to end.

At last, Trevor Rabin makes a long overdue solo album. The big revelation here is just how much Yes owed to Rabin for rejuvenating them back in the 80s. So much of that dynamic songwriting is echoed on Rio, along with a wealth of musical ideas that get stuffed into its ten songs.

There’s more going on here than a hundred songs on ten albums by ordinary artists. “Push,” “Paradise,” “Thandi,” and “Egoli” are particular favorites, but there is nothing second rate anywhere on this disc. It’s an abundant supply from a musical genius that repays repeated listens.

This one was a real surprise. A novelist tells the story of a fictional band from the 70s. Then it gets made into a documentary drama on Amazon Prime as a mini-series. But the actors performing as a band make a bunch of killer songs that become an irresistible album.

How unlikely is it that art imitating art takes on a life of its own? This “fake” album is better than most of the real albums released in 2023. It’s as if the pretense of fiction freed the actors and musicians and artists to dispense with all negativity, so that they could celebrate all that is good and glorious in rock music.

So many favorite tracks here, but would it kill you to try “Kill You to Try” from this album? You might never look back from looking back.