It’s been a grim old half-year, hasn’t it?
If you were to hunt for any positives to come out of lockdown, one of the few might be the increased opportunities it has afforded many of us to sit down and listen to music, in lieu of social or outdoor activities. Indeed, this simple act seems more important than ever as a means of raising spirits and maintaining one’s mental health in these troubled times.
The pandemic has wrecked the live music scene for the moment, and made the business of recording new material much more challenging, but it doesn’t seem to have stemmed the flow of new releases too much just yet, thankfully. So here’s a round-up of twenty things that have particularly caught my ear over the past six months.
Note: wherever possible, links in this piece are to the relevant Bandcamp page (or, failing that, to sites like Burning Shed or Music Glue).
Let’s start with stuff that might be regarded as ‘mainstream prog’. The epitome of this has to be The Red Planet by Rick Wakeman – an album that ploughs a much proggier, Moog-laden furrow than the maestro’s other recent, piano-based work. It’s a delight from start to finish, and my only regret is that I opted for the digital release rather than the CD or vinyl with their distinctive cardboard pop-up covers.
Also firmly and squarely in the ‘mainstream prog’ camp lie Pendragon‘s latest, Love Over Fear, and Masters Of Illusion by Magenta. The former is easily the band’s best work for quite a while and features gorgeous aquatic-themed cover art (see below-left). The latter is an intriguing concept album paying tribute to Bela Lugosi, Lon Chaney, Christopher Lee and other stars of classic horror movies. Even better than both of these is the splendid Things Unseen, by I Am The Manic Whale, an album that is uplifting and light in tone yet also satisfyingly intricate. Highlights are the 19-minute epic Celebrity and the touching paean to a newborn infant, Smile.
I’ve avoided lumping new Glass Hammer album Dreaming City in with the aforementioned ‘mainstream prog’ releases, only because this album has a pleasing, harder-than-expected edge to it. I’ll admit that Glass Hammer’s output hasn’t always clicked for me, but I’ve very much enjoyed the heavier tone here, as well as the forays into electronica. Heavier still, and just as engrossing, are Inescapable by Godsticks, and Jupiter Hollow‘s latest, Bereavement.
What else has grabbed my attention? Pure Reason Revolution‘s comeback album Eupnea stands out, as does Celexa Dreams by Kyros – an even better album than 2016’s impressive Vox Humana, I reckon. Earworm Rumour and the dramatic In Vantablack are especially noteworthy. If you enjoy slap bass and plenty of synths, you should definitely check this one out!
The pop and contemporary music influences that have shaped Celexa Dreams are even more prevalent in another couple of this year’s quality releases: The Empathy Machine by Chimpan A, and Valor by The Opium Cartel. Chimpan A is a side-project of Magenta’s Rob Reed which has been dormant since a 2006 debut album. This long overdue follow-up is a slick, smooth, highly palatable mix of prog, pop, electronica and dance beats, with excellent vocal performances. Valor, meanwhile, is a more straightforward homage to the pop music of the 1980s, but is no less elegant or enjoyable for all that. Elegance is also the watchword in Modern Ruins, by Tim Bowness & Peter Chilvers. This is minimalist art rock at its finest, with Bowness as soothing and seductive as he’s ever been.
Instrumental albums have very much been on my radar this year: not just Rick Wakeman’s aforementioned offering, but also material from younger, less established acts. Zopp’s eponymous debut release is a superb slice of jazz-tinged, Canterbury-inspired prog, featuring guest appearances from Andy Tillison and Theo Travis (Andy also engineered and co-produced this one). Much more squarely in jazz territory lies the Jazz Sabbath project, from Rick’s son Adam Wakeman. This imagines an amusing alternate history in which Black Sabbath made their name by ripping off the songs of jazz pianist Milton Keanes! The version of Iron Man on here is especially entertaining. Finally, I can’t leave the Instrumental category behind without mentioning Final Quiet, from the gloriously-named Flies Are Spies From Hell. This is post-rock, but with more delicacy and subtle variation than is generally found in that particular sub-genre.
Funnily enough, my favourite releases of 2020 so far would mostly not be categorised as prog. Chief amongst these is Darkness Brings The Wonders Home by Smoke Fairies – a moody, mesmeric album in which minor keys, intertwined guitar parts and vocal harmonies combine to bewitching effect. Stand out tracks are Coffee Shop Blues, Chocolate Rabbit and Chew Your Bones. Equally compelling is Jonathan Hultén‘s acoustic solo album Chants From Another Place, a haunting, mysterious work that taps into obscure folk and choral traditions.
Folk influences also permeate two other 2020 releases that are particularly dear to my heart: Let It All In by Baltimore band Arbouretum, and The Life Of The Honeybee And Other Moments Of Clarity, from Glasgow-based Abel Ganz. The former deftly blends americana, psych and even krautrock, courtesy of the pulsating, hypnotic 11-minute title track. The latter is a majestic and beautiful prog album that somehow improves upon the mood-enhancing, sunny, summery feel of its 2014 predecessor. I guarantee it’ll lift your spirits if you give it a spin. It’s hard to pick a favourite track, but the epic Sepia And White is truly spectacular.
I’ll finish with a shout-out for KOYO, a band local to me, whose new album You Said It has been on constant rotation at home. This is more direct and punchy, and less psychedelia-influenced, than its 2017 predecessor. Overall, it’s not especially proggy, though album closer Against All Odds definitely leans in that direction, while Out Of Control wouldn’t sound out of place on Steven Wilson’s To The Bone. In fact, it’s easy to imagine Wilson producing an album like this, were he to opt for a grungier, more alt rock direction on some future release. However you want to label it, this is a hugely engaging, lively and enjoyable listen, and one of my favourites of the year so far.