Kruekutt’s 2020 Favorites: New Albums

Here are the albums of new music from 2020 that grabbed me on first listen, then compelled repeated plays. I’m not gonna rank them except for my Top Favorite status, which I’ll save for the very end. The others are listed alphabetically by artist. (Old school style, that is — last names first where necessary!) Links to previous reviews or listening/purchase sites like Bandcamp are embedded in the album titles. 

Nick D’Virgilio, Invisible: No echoes of Big Big Train or even Spock’s Beard to be heard here. D’Virgilio’s long-awaited latest focuses on classy, soulful rock and pop with R&B undercurrents, reminiscent of nothing so much as the pre-Nirvana mainstream; the progginess is in the extended structures, the virtuoso playing and the overall concept. The down to earth storyline, a redemption narrative with some nifty twists, definitely helps make Invisible appealing and relatable.  But it’s the musical means D’Virgilio uses to build out the story — emotive singing, consistently powerful drum work, polished electric piano, loops, bass, bass synth and guitars — that seal the deal. As a result, every single track grabs on tight from the start — not just revealing more depth and emotional resonance with every repeat, but also relentlessly propelling the album forward.

I Am the Manic Whale, Things Unseen: I remain blown away by the energy, humor and sheer delight these young British proggers bring to their story-songs; this third album sounds like their best yet, with crystal clear production by Rob Aubrey.  There’s wickedly cheery satire in “Billionaire” and “Celebrity”, a brooding, atmospheric trip to Narnia in “The Deplorable Word” and unbounded delight in the gift of children in “Smile” and “Halcyon Days”.  Not to mention IAtMW’s very own train song, “Valenta Scream”, laying down a challenge to Big Big Train with (in my opinion) the best lyrical simile of 2020: “Making it look so very easy/Eating up the distance like a cheese sandwich.”  Really. (Check out their free compilation of covers and live-in-studio tracks, Christmas Selection Box on Bandcamp, too.)

Kansas, The Absence of Presence: A real leap forward for a revitalized band; appealing melodies, heady complexity and breathtaking power unite for maximum impact, and it’s a joy to hear all the way through.  Each band member has upped his game multiple notches — David Ragsdale, Zak Rivzi and Rich Williams peel off one ear-catching riff and solo after another, Ronnie Platt sings with smooth, soaring power and commitment (evoking Steve Walsh while being utterly himself), and I could listen to Billy Greer and Phil Ehart’s rolling, tumbling thunder all day.  New keyboardist Tom Brislin is the perfect match for this line-up, dishing up just the right lick no matter what’s required — pensive piano intros, crushing organ and synth riffs, lush textures, wigged-out solos, you name it. Stir in a new level of collaboration in the writing, and you get Kansas unlocking a new level of achievement, making excellent new music more than 40 years after their initial breakthrough.  Recommended without hesitation.

Lunatic Soul, Through Shaded Woods: The perfect Hero’s Journey for this frustrating year. Mariusz Duda’s latest holiday from Riverside’s post-prog heads straight for Mirkwood — ominous, lowering music, echoing the colors and contours of Slavic and Scandinavian folk. Playing all the instruments (frenetic acoustic strums; decorative baroque keys; tasty metallic riffs and electronica accents; unstoppable primal percussion) Duda penetrates the heart of his melancholy, only to discover his greatest obstacle: himself. At which point “Summoning Dance” pivots, echoing Dante lyrically as it turns toward the soul-easing finale of “The Fountain.” Imagine Bela Bartok and Jethro Tull collaborating on a sequel to Kate Bush’s “The Ninth Wave,” and you’ll have some idea of how unique and special this album is. (The bonus disc — currently only available as a Bandcamp download link above and as a Polish import — is essential listening too, especially the hypnotic minimalist epic “Transition II.”)

Pat Metheny, From This Place: State of the art jazz composed and performed at the highest level, this is a unified work of formidable emotional range and intelligence: instantly accessible, inescapably substantial — and above all, incredibly moving. Metheny, pianist Gwilym Simcock, bassist Linda May Han Oh and drummer Antonio Sanchez ride the exhilarating ebb and flow of ten new tunes, their rich interplay locking together with sumptuous orchestral overdubs for awe-inspiring, high-intensity results.  From This Place communicates like mad; confronting knotty, pensive questions of culture, identity and hope, it’s also a deeply satisfying culmination to Metheny’s career-long pursuit of transcendence — music both of its time and potentially timeless, gripping at first acquaintance, deepening its impact with every further listen. 

Hedvig Mollestad, Ekhidna: The Norwegian guitarist takes her incandescent blend of heavy rock and avant-garde jazz to the next level, triumphantly meeting the challenges inherent in writing for a bigger band and a broader sonic palette. Ekhidna is a bracing blend of tumbling rhythms, killer riffs and brain-bending improv that goes down remarkably smooth, but leaves a fiery aftertaste. Writing for an accomplished sextet of players, Mollestad’s new music doesn’t avoid the expectations raised by its evocation of Miles Davis’ Bitches Brew, sometimes confronting classic genre strategies head-on, sometimes blithely subverting them. Named for the she-dragon of Greek mythology (also called “the mother of all monsters”), this album is monstrous in the best sense — a musical rollercoaster ride suffused with heat, light and heart, recombining the raw materials of jazz-rock and extending its reach into realms of vast new potential. A real breakthrough, and Mollestad’s best effort to date.

Markus Reuter, Fabio Trentini and Asaf Sirkis, Truce: Utterly bracing, a cold slap in the face that kicked off 2020 in the best way possible.  Recorded live in the studio on a single day by touch guitarist Reuter, bassist Trentini and drummer Sirkis,  this is the unfiltered, mind-boggling sound of three virtuosos throwing caution to the winds and just going for it. From start to stop, the music they make is unbeatably heavy, head-snappingly varied, and vividly compelling — whether on the searing stomp of a title track, the brutal mid-tempo funk of “Bogeyman”,  the abstract balladry of “Be Still My Brazen Heart”, or the Police-ified dub freak-out of “Let Me Touch Your Batman”.  Listening to Truce is an hour-long thrill ride with tons of substance to chew on — one you need to experience for yourself, more than once.

Sanguine Hum, A Trace of Memory: Rarely does eccentricity sound so graceful as in the hands of Joff Binks, Matt Baber and Andrew Waismann. Sequenced as a seamless whole, the seven tracks on A Trace of Memory trace a playful trajectory; no matter the giddy succession of off-kilter riffs, the complex counterpoint of Binks’ guitar and Baber’s keys, or the intensity of the musical climaxes, the ebb and flow is consistently welcoming, yet always subtly stimulating. Freed from the broadly goofy, conceptual conceit of Now We Have Light and Now We Have Power, Binks can explore a more allusive lyrical style and spare melodic lines that soar instead of patter; less is definitely more in this context. Sanguine Hum has hit new heights here; listening to this album is like watching clouds travel unhurriedly across a clear sky, and it makes me smile every time. In 2020, this may be the closest you can come to hearing the harmony of the spheres.

Maria Schneider Orchestra, Data Lords: There’s no question in my mind that composer Maria Schneider (based in jazz but embracing musical terrain beyond category) and her orchestra have reached a new artistic pinnacle on this album. Conveying both the bleak potential of online life blindly lived and the bounteous beauty of the life around us we take for granted, Schneider conjures up slow-burning tone poems that, as they catch fire, blaze with fear and dread — but also with hope and joy. Throughout there’s a symphonic sweep, a supple rhythmic foundation and a seamless flow of inexhaustible melody; Schneider’s compatriots inhabit and animate her music with dedicated unity and thrilling improvisational daring; and the high-definition sound lovingly unfolds all of the music’s sophisticated, profoundly moving beauty with breathtaking clarity.

Secret Machines, Awake in the Brain Chamber: Way back in 2004, Secret Machines’ Now Here Is Nowhere was one of that year’s most compelling albums, a ferocious collage of droning space-rock riffs, rampaging Zeppelinesque grooves and unsettling, dystopian lyrics. A stalled major-label career and a revolving door of personnel dissolved the band’s momentum, capped by guitarist Benjamin Curtis’ passing in 2013 — but somehow, this magnificent beast is back. On Awake in the Brain Chamber, brother Brandon Curtis writes the songs and supplies keys, guitar and bass (as well as his patented, heartbroken vocal sneer) while drummer Josh Garza fills all available frequencies with his customary thunder. Whether they’re uptempo sprints (“Dreaming Is Alright, “Everything’s Under”), widescreen ballad-paced crawls (“3, 4, 5 Let’s Stay Alive,” “So Far Down”), or determined drives into the middle distance (“Talos’ Corpse,” “Everything Starts”), these eight taut, sharp tracks hit the sweet spot between hard rock and modern-day psychedelia — tight, mesmerizing, absolutely exhilarating. This one will get your blood flowing.

Bruce Springsteen, Letter to You: As his career trajectory flared, climbed, peaked, then settled into the long tail of legacy-rock stardom, Springsteen never really stopped exploring his core concerns: the ins and outs of freedom and community, their costs and their consolations.  The good news here is that Letter to You digs deeper, pondering the price of escape, love, friendship, loss, grief and jubilation, remembering friends now dead, reviving songs once abandoned. When Bruce has something big to write about, he can cut straight to your heart, even from a secluded home studio in deepest New Jersey, and he’s done it again here. With the E Street Band on fire behind him, Letter to You could be the basis of a tour to top them all for Springsteen; but even if that never comes to pass, this album is something special, a hard-rocking reminder that yes, our days on this earth are numbered — but also that love is strong as death.

Three Colours Dark, The Science of Goodbye: This new collaboration between vocalist Rachel Cohen (Karnataka, The Reasoning) and keyboardist/guitarist Jonathan Edwards (Karnataka, Panic Room) proves elegant, introspective and strangely irresistible; there’s brooding power to the music and a darkly compelling lyrical vision to match.  Lured by Edwards’ lush, disconcerting settings into Cohen’s brave, quietly harrowing narratives of pain, bewilderment, and self-doubt, you wonder how you’ll make it out — which makes the album’s cathartic finale even more delicious. From claustrophobic onset to the inspiring end, The Science of Goodbye rings true as both testimony and art, as Three Colours Dark follow the light that seeps through the cracks in everything to a new day. 

and my favorite new album of 2020 . . .

Revolutionary Army of the Infant Jesus, Songs of Yearning/Nocturnes: I have never before heard anything quite like this album, and found myself returning to it all year.  This loose creative collective from Liverpool has pursued “echoes of the sacred” across three decades, striving to access sonic space where transcendence can invade a stiflingly measured-out world.   Songs of Yearning and the limited bonus album Nocturnes (still available as a pair at Bandcamp) both stake out new territory where rumors of glory can run; brimming with rough-hewn beauty and deep mystery, pairing audacious scope with quiet, insistent appeal, this music is primal and postmodern in the same eternal instant.  As the idols of prosperity and progress continue to totter around us, RAIJ’s latest feels like genuinely good news — a sacramental transmission from, then back to, the heart of creation.

— Rick Krueger

Kruekutt’s 2020 Favorites: Not Necessarily New Albums

This year, I’m starting off my “best of” retrospective with albums that aren’t technically “new” — compilations, live albums, reissues and (re)discoveries from previous years — that grabbed me on first listen, then compelled repeated plays in 2020. I’m not gonna rank them except for my Top Pick, which I’ll save for the very end. The others are listed alphabetically by artist. (Old school style, that is — last names first where necessary!) Where available, listening opportunities are linked in the album title or included below my summary via Bandcamp, YouTube or Spotify.

Big Big Train, Summer’s Lease (compilation) and Empire (live): This year, I’ve bought music from even more far-flung corners of the world than usual — including Big Big Train’s Japanese-only retrospective. Disc 1 features various rarities on CD for the first time: re-recordings old and new (including excerpts from my intro to the band, the Stone and Steel Blu-Ray), plus the “London Song” sequence from Folklore in all its sprawling glory. Disc 2 leans into the post-Underfall Yard era with a solid mix of epics and, um, shorter epics, plus an unreleased instrumental as dessert. It’s all impeccably curated, and (in retrospect) a fitting capstone to the work of recently departed Train crew Dave Gregory Rachel Hall and Danny Manners. In a similar fashion, Empire is a fond farewell — the last concert played by this incarnation of the band (including Cosmograf’s Robin Armstrong) before COVID-19 killed off their first-ever North American tour. Which makes the entire show, brilliantly performed as always, even more poignant, from the rocket-fueled opener “Alive” to the romantic, spiraling coda for the best version of “East Coast Racer” yet. Sorry, there’s something in my eye . . .

The Firesign Theatre, How Can You Be in Two Places at Once When You’re Not Anywhere At All (rediscovery): This spring, my big brother Bob pointed me back to this 1969 classic — quite possibly the single most insane comedy album ever recorded. The half-hour long title track’s surrealistic road trip morphs into a wickedly irreverent (yet oddly touching) patriotic pageant, with stopover cameos from Lewis Carroll and James Joyce; “The Further Adventures Of Nick Danger,” memorized and mimed to by me and my roommates back in college, is a hallucinogenic smoothie of hardboiled detective drama, time travel and the Beatles’ White Album. “Wait a minute — didn’t I say that line on the other side of the record?” Believe me, you need to find out.

Pat Mastelotto and Markus Reuter, FACE (discovery): My New Year’s resolution was to become a MoonJune Music subscriber through Bandcamp; twelve months later, it’s still one of the best musical decisions I made. In recent years, touch guitarist Reuter has become a major contributor to Leonardo Pavkovic’s ongoing quest to “explore and expand boundaries of jazz, rock, ethnographic, avant, the unknown and anything between and beyond,” frequently joined by King Crimson drummer Mastelotto (his partner with Tony Levin in Stick Men). The 2017 FACE (not actually on MoonJune) stands out in the duo’s catalog: a single, 35-minute instrumental travelogue that swiftly spans the globe and its myriad rhythms, aided and abetted by Steven Wilson and associates of David Lynch, Tool and the Rembrandts. Blink with your ears and you’ll miss the transitions from theme to theme and place to place; this one both demands and thoroughly rewards my attention every time. Hopefully, the excerpts linked above will convince you — don’t hesitate to hop on board!

The Neal Morse Band, The Great Adventour Live in Brno (live): every bit as impressive as when I saw this show in Detroit the same year, the NMB’s concert take on The Great Adventure is even tighter, more driven and more finely honed than the studio version. Kaleidoscopic contrasts of rhythm, instrumental color, vocal textures (mainly from Morse, guitarist Eric Gillette and keyboardist Bill Hubauer) and tonality mesh effortlessly with drummer Mike Portnoy and bassist Randy’s George’s badass forward propulsion, mirroring the lyrical highs and lows of the journey to John Bunyan’s Celestial City. The result is sustained, extended, unforced ecstasy in the Czech audience, capturing how Morse’s recent work embodies the ongoing ideal of American revivalist religion. A journey worth taking, whether you caught this in person or not.

Jaco Pastorius, Truth, Liberty and Soul: Live in NYC (live, archival, discovery): 2020 was the year I came across Resonance Records, where “jazz detective” Zev Feldman has been unearthing incredible archival treasures for nearly a decade. Jaco Pastorius single-handedly revolutionized electric bass playing in the 1970s; this 2017 release captures him in 1982, fresh from his boundary-busting stint in jazz-rock titans Weather Report. Fronting a big band of great players — the best New York horns, the drum/percussion duo of Peter Erskine and Don Alias, Othello Molineaux on steel pans and harmonica virtuoso Toots Thielmanns — Pastorius mixes classic tunes with his own soulful writing. It’s a mighty, bubbling noise — jazz, funk, rock, reggae, swing and more, with a groove that never stops and heart behind the flash. Irresistible for anyone with a pulse!

Porcupine Tree, In Absentia (deluxe reissue): Not the Porcupine Tree album that hooked me (that was Deadwing, promised its own deluxe box next year) but, looking back, my firm favorite of the band’s late period. Freshly signed to the American label that brought us Trans Siberian Orchestra, Steven Wilson and company made the polar opposite of a sentimental holiday album, focusing on the inner motivations of — serial killers? What makes that work? Well, how about: the full-on debut of Gavin Harrison’s stylish, rhythmically slippery drumming; Richard Barbieri’s off-center, arresting synth textures and solos; Colin Edwin’s relentless, incomparably steady bass workouts; Steven Wilson’s reignited love of metal slamming up against the songcraft developed on Stupid Dream and Lightbulb Sun, as well as a fixation with Beach Boys-tinged harmonies? Oh, and a clutch of superior tunes that became perennial favorites, both on the main album (“Blackest Eyes,” “Trains,” “The Sound of Muzak”) and the bonus disc (“Drown With Me,” “Futile”). Add in subtle yet superb remastering and you have a near-perfect example of how these boxes should be done.

Pure Reason Revolution, The Dark Third (reissue): At a time when progressive rock’s troops were thin on the ground, PRR provided reinforcements — and a breath of fresh air. It’s still hard to believe a major label released The Dark Third back in 2006; the effortlessly evolving long-form suites, the sweet-and-sour pairings of lush soundscapes and jacked-up beats were a vivid variant on Pink Floyd’s classic palette that turned the bass and drums up to 11. Jon Courtney, Chloe Alper and their cohorts weave the webs of melody and harmony; Paul Northfield’s co-production brings out the cavernous bottom end. The new bonus disc includes both the intriguing student work that led to Sony signing PRR and outtakes that showed up in different forms on later albums. Always an booming, blissed-out listen, now more inviting than ever.

Tears for Fears, The Seeds of Love (reissue): A marvelously all-over-the-place, widescreen record. Unabashedly pop but also fearlessly expanding the TFF sound into psychedelia (the title track was everywhere back in 1989), soul (big shout-out to Oleta Adams and Tessa Niles, who pushed Roland Orzbaal and Curt Smith to new vocal heights on “Woman in Chains” & “Swords & Knives”), jazz (Nicky Holland & Adams serve up stunningly tasty piano), world music (Jon Hassell’s superlative trumpet on “Standing on the Corner of the Third World” & “Famous Last Words”) and even a touch of prog-funk on “Year of the Knife.’ The squeaky-clean remaster (plenty of headroom and dynamic range) is dandy, but if you need more, the super-deluxe set linked above includes some dynamite rehearsal recordings.

and my Top Pick . . .

Ella Fitzgerald, The Lost Berlin Tapes (live, archival): My recent listening has tacked in the direction of mainstream jazz; if I had to speculate as to why, I’d say I might be looking for less tension and more release during my unobligated time. But what’s on offer is a factor as well. Instead of baking sourdough bread or taking up acoustic guitar during the time of COVID, it’s as if jazz musicians and aficionados have all dug deep in their closets and simultaneously unearthed long lost vintage recordings — which record companies eager to fill their distribution pipelines have snapped up and launched into the wider world. 

This, in my view, is the best of that harvest: an astounding, life-affirming 1962 concert buried in the archives of Ella Fitzgerald’s manager until now. Ella and her fellas (Paul Smith on piano, Wilfred Middlebrooks on bass, Stan Levey on drums) are at their absolute peak, in tune with each other and with an extroverted, enthralled Berlin audience. Every note of this concert radiates warmth and inner joy, even when the mood darkens on torch songs like “Cry Me A River” and Billie Holiday’s “Good Morning Heartache.” And when Ella swings on “Jersey Bounce,” jumps on “Clap Hands, Here Comes Charlie,” digs into Ray Charles’ “Hallelujah, I Love Him So” (resulting in an immediate, complete encore!), then breaks into her trademark scatting on “Mack the Knife,” well, she is unstoppable. I have had no finer feeling listening to music this year; whatever may ail your soul, I believe that The Lost Berlin Tapes are good medicine for it.

But wait, there’s more! Watch for my “new album” favorites from 2020 coming soon . . .

— Rick Krueger

The Big Fall Prog (Plus) Preview, Part 2: Box Set Bonanza!

Since the initial installment of our fall preview, deluxe box set announcements are coming thick and fast. This article includes those mentioned in the preview, plus new announcements that may appeal to our readers. I’ve included approximate list prices in USA dollars (not including shipping), as well as lower-cost options for those who want to hear and support the music without breaking their personal bank. Links are to the ever-ready folks at Burning Shed unless otherwise noted.

King Crimson, Complete 1969 Recordings: 20 CDs, 4 BluRays and 2 DVDs include every surviving note Crimson played in their first year — the seminal debut In the Court of the Crimson King plus the complete studio sessions, extant live bootlegs and BBC recordings. The crown jewels here are new stereo, surround and Dolby Atmos mixes of Court by Steven Wilson. Available October 23 ($210 – $240 list price, depending on your vendor); slimmed-down versions of In the Court on 2 CDs + BluRay (with the new stereo and surround mixes, alternate versions and additional material ; $40) or 2 LPs (with alternate versions and additional material; $35) are already available.

Joni Mitchell, Archives Vol. 1 – The Early Years (1963-1967): Nearly six hours of recordings from before Mitchell released her first album — home recordings, radio broadcasts, and live shows, including 29 songs not previously released with her singing them! Available from Mitchell’s website October 30 as follows: complete on 5 CDs ($65); Early Joni 1 LP (1963 radio broadcast; $25, black or clear vinyl) and Live at Canterbury House 1967 3 LPs (3 sets recorded in Ann Arbor, Michigan; $60, black or white vinyl).

More from Porcupine Tree, Tangerine Dream, Tears for Fears and others after the jump!

Continue reading “The Big Fall Prog (Plus) Preview, Part 2: Box Set Bonanza!”

The Big Prog (Plus) Preview for Fall 2020!

As always seems to be the case, there’s tons of great music coming out between now and Black Friday, November 27. Below, the merest sampling of upcoming releases in prog and other genres below, with purchase links to Progarchy’s favorite online store Burning Shed unless otherwise noted.

Out now:

Simon Collins, Becoming Human: after 3 solo albums and Sound of Contact’s acclaimed Dimensionaut, Phil Collins’ oldest son returns on vocals. keys and drums; his new effort encompasses rock, pop, prog, electronica and industrial genres. Plus an existential inquiry into the meaning of life! Available on CD from Frontiers Records.

John Petrucci, Terminal Velocity: the Dream Theater guitarist reunites with Mike Portnoy on drums for his second solo set of instrumentals. Plus Dave LaRue of the Dixie Dregs and Flying Colors on bass. Expect lotsa notes! Available on CD or 2 LP from Sound Mind Records/The Orchard.

The Pineapple Thief, Versions of the Truth: Hot on the heels of their first US tour, Bruce Soord and Gavin Harrison helm TPT’s latest collection of brooding, stylized alt/art rock, honing in on the post-truth society’s impact on people and relationships. Available on CD, BluRay (with bonus track plus alternate, hi-res and surround mixes), LP or boxset (2 CDs/DVD/BluRay) – plus there’s a t-shirt!

Rikard Sjöblom’s Gungfly, Alone Together: Sjöblom spearheads a thoroughly groovy collection on vocals, guitar and organ, with Petter and Rasmus Diamant jumping in on drums and bass. Heartfelt portraits of daily life and love that yield extended, organic instrumental jams and exude optimism in the midst of ongoing isolation. Available on CD and LP (black or deep blood red vinyl).

[Upcoming releases follow the jump …]

Continue reading “The Big Prog (Plus) Preview for Fall 2020!”

The Progarchy Interview: Tim Bowness, Part Two

In Part One of this interview, we dug deep with Tim Bowness about his latest album, Late Night Laments, released by Inside Out on August 28.  Our concluding segment has more about the new album, but also catches up on Tim’s other recent projects, as well as an update on Progarchy’s favorite online music shop, Burning Shed.  As with Part One, a transcription follows the jump.

Continue reading “The Progarchy Interview: Tim Bowness, Part Two”

The Progarchy Interview: Tim Bowness, Part One

Tim Bowness is no stranger to Progarchy: he’s graced us with multiple interviews over the years, including a three part epic in early 2019.  Back then, we talked about his stylish, enticing album Flowers At The Scene, which made my list of favorites for the year.

Tim’s latest effort, Late Night Laments, is released on CD and LP (available on both regular and transparent blue vinyl) by InsideOut Music on August 28.  As on Flowers At The Scene, Bowness’ songs delve into the psyches of protagonists at the end of their rope, framing their desperation with lush, atmospheric textures — but this time around, subtle variations in soundscapes and storytelling both sharpen the focus and broaden the impact of the music.   Paradoxically, it’s a subdued, concentrated listening experience that packs an intense emotional punch.

I was grateful to speak with Tim via online video this time around; as before, he was glad to talk about his multiple musical endeavors and generous with his time.  In Part One of the interview, we focus on Late Night Laments; a transcription follows after the jump.

Continue reading “The Progarchy Interview: Tim Bowness, Part One”

New and Noteworthy on Bandcamp!

Nearly six months into the worldwide coronavirus epidemic, Bandcamp continues to be a lifeline for musicians.  Since March, fans have purchased more than $75 million worth of music and merchandise there  — including more than $20 million from four Bandcamp Fridays, when the website has waived its fees for artists and labels.  Last week, the announcement was made that Bandcamp Fridays will continue for the rest of 2020.

So (as your pocketbook permits), what’s worth your hard-earned cash on August 7, September 4, October 2, November 6, or December 4?  From my Bandcamp collection and wishlist, a few suggestions:

iatmw things unseenI Am the Manic Whale, Things Unseen:  I’m blown away by the energy, humor and sheer delight these young British proggers bring to their story-songs; this third album could be their best yet, with crystal clear production by Rob Aubrey.  There’s wickedly cheery satire in “Billionaire” and “Celebrity”, an atmospheric trip to Narnia in “The Deplorable Word” and unbounded joy at the gift of children in “Smile” and “Halcyon Days”.  Not to mention IAtMW’s very own train song, “Valenta Scream”, challenging Big Big Train with (in my opinion) the best lyrical simile of 2020: “Making it look so very easy/Eating up the distance like a cheese sandwich.”  Really.

 

mcstine minnemannMcStine and Minnemann: left-field, shreddy art-pop to get your adrenalin flowing. Randy McStine (guitars, vocals, other stuff) and Marco Minnemann (drums, vocals, other stuff) prove steady hands on the steering wheel for wild rides like “Your Offenses” and “Activate”, as well as the stark ballad “The Closer”.  Sure, the songs are short; they’re also stuffed to the gills with ethereal melodies and harmonies, woozily evocative lyrics, ear-grabbing riffs, impossible  drum fills, freaky collages of sound and radical mood shifts.  Don’t expect to focus on anything else while you’re listening to this — just hold on tight and have fun.

 

sancious eyes wide openDavid Sancious, Eyes Wide Open:  a charter member of Bruce Springsteen’s E Street Band, Sancious led the critically acclaimed trio Tone before tackling wingman duties for Peter Gabriel and Sting.  The focus of Eyes Wide Open (finished before lockdowns and protests swallowed news feeds whole) on today’s cultural unrest proves eerily prescient; the vocal tracks “Urban Psalm #3” and “If” and the instrumental “War in Heaven” are ambitious statements on universal human dignity that can lay claim to the moody, magnificent heights of Marvin Gaye’s What’s Going On.  Sancious sings on half the tracks and plays burning guitar and keys throughout, fusing jazz, rock and gospel into winning combinations, atop unbelievably funky drumming by Vinnie Colaiuta, Will Calhoun (Living Colour) and Michael Bland (Prince).  

 

spiraling transmitterSpiraling, Transmitter:  Back in the early 2000s, Tom Brislin (now tearing up the keys in Kansas) led this obscure, wonderful power-pop band in between side gigs with Meat Loaf, Yes and Camel.   On this re-release from 2002, Brislin’s sardonic, appealing vocal delivery perfectly matches the bone-dry wit of “The Girl on Top (Of the Piano)”, “The L Word III” and “(Get Your Own) Holy Grail”.  And the music is built to match: irresistible hooks, propulsive rhythms and riffs that take unexpected detours, every sonic crevice crammed full of nifty synth riffs, effects and solos.  This is unbelievably catchy, unbelievably sharp stuff.   (Check out Brislin’s new, punky public service announcement too!)

 

tmt still aliveTiger Moth Tales, Still Alive/A Visit to Rockfield:  This isn’t the Tiger Moth Tales album Peter Jones planned to release this year — but it’s definitely one that fits the moment.  His gift for melody and innate hopefulness gives these six new tracks (well, five plus a reprise) an effervescence and a glow that can warm the coldest heart.  There’s a beautiful, broad range of expression here, from the optimistic fortitude of the title track and the epic sweep of “The Mighty Fallen” to the rhythm box-laden goofiness of “Whistle Along.”   The bonus DVD features Jones and TMT in session at the legendary Rockfield Studios.  Enjoy this love letter to the world from deepest Nottinghamshire.

 

soft machine baked potatoMoonJune Records: Soft Machine’s Live at the Baked Potato is the latest release from global impresario Leonardo Pavkovic.  On this beauty, the Softs’ explorations are every bit as daring and delectable as when I heard them live in 2018.  Plus, there are plenty of other face-melting instrumental jazz/rock/avant/ethno albums coming soon from Stick Men, touch guitarist Markus Reuter, guitarist Mark Wingfield and a host of other international talents!  Watch for more news at the MoonJune Bandcamp page, or do what I did; subscribe and get everything MoonJune releases for a year!

 

— Rick Krueger

Kansas, The Absence of Presence

For all that Kansas can’t (and shouldn’t) shrug off the legacy of their golden days, especially the double whammy of Leftoverture and Point of Know Return, they’ve built up quite a track record beyond the hits over the decades.  The live set that followed the big albums, Two for the Show, is still thrilling; the 1980s version of the band fronted by Steve Walsh and guitarist Steve Morse changed up the sound without diluting the essence on Power and In the Spirit of Things; the original line-up reunited for a triumphant set of new Kerry Livgren compositions on 2000’s Somewhere to Elsewhere.  And 2016’s The Prelude Implicit proved a first-class return to sustained action.  The new recruits, guitarist/songwriter Zak Rivzi and singer/keyboardist Ronnie Platt, jelled nicely with Kansas’ long-term bedrock (stalwart violinist David Ragsdale, bassist/vocalist Billy Greer) as well as the band’s remaining founders (piratical guitarist Rich Williams and progressive rock’s most criminally underrated drummer, the brilliant Phil Ehart).

The good news is that Kansas’ latest, The Absence of Presence, is another great leap forward; appealing melodies, heady complexity and breathtaking power unite for maximum impact, and the whole album is a joy to hear.  Each player has upped his game multiple notches — Ragsdale, Rivzi and Williams peel off one ear-catching riff and solo after another, Platt sings with smooth, soaring power and commitment (evoking Walsh while being utterly himself), and I could listen to Greer and Ehart’s rolling, tumbling thunder all day.  New keyboardist Tom Brislin is the perfect match for this line-up, dishing up just the right lick no matter what’s required — pensive piano intros, crushing organ and synth riffs, lush textures, wigged-out solos, you name it.

kansas band shot

But it’s how all these ingredients blend that makes The Absence of Presence compulsively listenable; the writing is more collaborative this time around (Rivzi and Brislin on music, Brislin, Pratt and Ehart on lyrics), and the band navigates the twists and turns of the tunes with pin-sharp focus.  The multi-sectioned title track, the instrumental “Propulsion 1” and the unexpected up-tempo groove of “The Song the River Sang” (with Brislin on lead vocal) revel in Kansas’ proggier side. “Throwing Mountains” “Jets Overhead” and “Circus of Illusion” prove solid rockers, laced with unpredictable musical curveballs that set up the compelling, aspirational lyrics.  And the obligatory power ballads “Memories Down the Line” and “Never” are earworms you may not want to shake, with words and melodies that bring home the heartfelt sentiments without bogging down in sticky sweetness.

In short, The Absence of Presence shows Kansas unlocking a new level of achievement, still going strong and making excellent new music more than 40 years after their initial breakthrough.  Recommended without hesitation; this one has already hit my shortlist for this year’s favorites.  Listen for yourself below.

— Rick Krueger

2019 Prog (Plus) Preview 2!

More new music, live albums, reissues (regular, deluxe & super-deluxe) and even books about music heading our way between now and Christmas?  Yep.  Following up on my previous post, it’s another exhaustive sampling of promised progressive goodies — along with other personal priorities — below.  Click on the titles for pre-order links — whenever possible, you’ll wind up at the online store that gets as much money as possible directly to the creators.

Out now:

Andrew Keeling, Musical Guide to In the Court of the Crimson King, 10/50 Edition: composer/musicologist/online diarist Keeling’s revision of his 2009 book (the first of a series acclaimed by King Crimson’s Robert Fripp).

Marillion with Friends from the Orchestra: 9 Marillion classics re-recorded by the full band, the string quartet In Praise of Folly, flautist Emma Halnan and French horn player Sam Morris.  Available on CD.

A Prog Rock Christmas: Billy Sherwood produces 11 holiday-themed tracks from the typical all-star cast (members of Yes, Utopia, Flying Colors, Renaissance, District 97, Curved Air and more).  Download and CD available now; LP available November 1.

 

October 25:

King Crimson, In the Court of the Crimson King (50th Anniversary Edition): featuring brand new stereo and surround mixes in 24/96 resolution by Steven Wilson.  Available in 3 CD + BluRay or  2 LP versions.  (Note that the new mixes will also be included in the Complete 1969  CD/DVD/BluRay box set, which has been delayed until 2020.)

Van Morrison, Three Chords and the Truth: 14 new songs from Van the Man, available in digital, CD or LP versions.

Neil Young & Crazy Horse, Colorado: the first Young/Horse collaboration since the 2012 albums Americana and Psychedelic Pill, available in CD or 2LP versions.

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Tool, Fear Inoculum

My history with Tool?  Checkered.  I didn’t tune in during their initial rage-metal period at all; if I had, I probably couldn’t have got past the vulgarity or the in-your-face attitude.  King Crimson opening for Tool (in my mind, Tool closing for King Crimson) got my attention in 2001, and I thought that Lateralus was a nifty hunk of knotty art-metal, with lyrical directions that began to clear a path through the bile.  10,000 Days?  For me, a loooong album that started strong, then meandered through one bizarre, tenuously connected detour after another.  It wound up giving me a headache (also my consistent reaction to The Mars Volta).  So no, Tool has typically not been my cup of tea.

Which is why I’m completely — and delightedly — flabbergasted by Fear Inoculum, Tool’s first album in 13 years.  Beyond being as heavy, brainy and cathartic as one might expect, this is deeply thoughtful, richly layered, compelling music — a satisfying, unified work from start to finish that also rocks like a truck full of bricks.  If this is what Danny Carey, Justin Chancellor, Adam Jones and Maynard James Keenan have been aiming for all these years, it’s been well worth the wait, because they’ve nailed it.

Continue reading “Tool, Fear Inoculum”