Rolling Stone has a decent list: 50 Greatest Prog Rock Albums of All Time

But I propose we subdivide by eras of prog, and do 50 for each wave…

Lana Del Rey has released a new single, “Honeymoon,” from an LP forthcoming in September:

The song is the title track from her upcoming third album and is a departure from the psychedelic guitar numbers that lined 2014’s “Ultraviolence,” which was mostly produced by the Black Keys’ Dan Auerbach. The arrangement this time is noticeably jazzier, suggesting that her upcoming work could deviate from the ’60s pop sound she’s favored in the past.

You might say that Lana’s so prog she doesn’t do concept albums, she’s so meta she’s a concept artist — a continually self-manufactured ironic persona. What’s interesting is that with her the irony is never simply a one-dimensional surface-exploration trick. There’s always something more beneath the artfully constructed surface.

Perhaps her tragic diva persona works best with orchestra and strings, but then again “West Coast” from Ultraviolence was actually a top-notch mellow groove pop single.

The Prog Report actually has a pretty great Top 50 list up for the 1990-2015 (Current Prog) Era.

I would have put Wilson, and not DT, in the #1 slot.

And, after seeing Mr. Prog on his current tour, I would put “Hand” (instead of “Raven”) in that prime position, keeping “Raven” at #2.

There are errors (e.g., Meshuggah) and omissions (e.g., BBT, Underfall Yard) but overall it is an impressive chronicle.

I would challenge fellow Progarchists to refine their own personal Top 50 lists for the Current Era.

I myself am going to start monkeying with a playlist that takes a representative track from each of my own 50 choices.

And what about the idea of dividing the history into Three Eras?

Should we speak of Three “Waves” of Prog as we chronicle its history?

Happy Bastille Day (July 14, 1789), prog fans!

Here’s Rush to help you celebrate…

And here’s the guy to help put it all into perspective…

Veruca Salt is back!

The band’s original line-up was last together on 1997’s Eight Arms to Hold You, their sophomore album that had the super-fun track, “Volcano Girls,” which (in the memorable phrase of Estelle Tang) was “deployed … like a grenade filled with superglue and silly string.”

Tang has an excellent review of the new album at the link above which also includes a nice look back at the band’s history.

Wow, can you believe that “Seether” happened back in 1994?

So far, after my first listen to Ghost Notes, I am loving it.

Welcome back, gang!

Louise Post – guitar, vocals (1993–present)
Nina Gordon – guitar, vocals (1993–1998, 2013–present)
Jim Shapiro – drums (1993–1997, 2013–present)
Steve Lack – bass (1993–1998, 2013–present)

Taken by surprise today with this happy news from Spock’s Beard:

The Oblivion Particle

Spock’s Beard’s 12th studio album set for release August 21, 2015 on InsideOut Music.

01. Tides of Time (7:45)
02. Minion (6:53)
03. Hell’s Not Enough (6:23)
04. Bennett Built a Time Machine (6:52)
05. Get Out While You Can (4:55)
06. A Better Way To Fly (8:57)
07. The Center Line (7:05)
08. To Be Free Again (10:24)
09. Disappear (6:36)

10. Iron Man (special edition bonus track)

From the InsideOut Music press release:

2015 finds Spock’s Beard returning with The Oblivion Particle, scheduled for release August 21st on InsideOut Music. The band’s twelfth studio album sees them drawing from their core essence while stretching out into some exciting new territory.

According to bassist Dave Meros, it’s not a matter of how much the album recalls past Spock’s material, but how much it differs. “I think the opening track ‘Tides of Time’ is classic Spock’s in terms of arrangement and style, but everything else is fairly different. That said, the whole album is still within the parameters of what people expect to hear from us.”

Among the nine new songs are “To Be Free Again,” a dramatic, cinematic epic; “Bennett Built a Time Machine,” a quirky adventure tale about time travel; “Hell’s Not Enough” with its fiery emotive plateaus and “Get Out While You Can,” a more straight ahead yet no less impactful powerhouse.

The Oblivion Particle finds the band answering the needs of their creations by utilizing the considerable versatility of each member. In addition to Ted Leonard’s soaring vocals and Dave Meros’ distinctive bass, Alan Morse adds autoharp, banjolele, electric sitar and mandolin to his array of instruments, drummer Jimmy Keegan takes over lead vocals on “Bennett Built a Time Machine” and Ryo expands his arsenal of keyboard sounds throughout the album. In addition, virtuoso Kansas violinist David Ragsdale lends his touch to the album’s majestic closer, “Disappear.”

As with the previous album Brief Nocturnes and Dreamless Sleep, The Oblivion Particle was recorded at The Mouse House and produced by Rich Mouser, Alan Morse and John Boegehold, a band collaborator of many years.

Ultimately, The Oblivion Particle has all the trademarks of a classic “grower,” with a considerable depth that continues to unfold after many listens. This proves Spock’s Beard to be an amazingly compelling band some 20+ years after their formation, and one that continues to be a leader in the prog rock field, just as they have always been…

Their previous album, Brief Nocturnes and Dreamless Sleep, was one of the best of 2013, and also one of Spock’s Beard’s best albums ever.

So, I am really looking forward to The Oblivion Particle!

Metal Mondays: Tyr — “Cemetery Gates” (check out this awesome Pantera cover!)