Category: Progressive rock

2023 In Review: kruekutt’s Final Favorites

On By kruekuttIn americana, classical, country, pop, Progressive rock, Rock and Roll1 Comment

Well – that was a longer break than anticipated. (Sometimes, as John Lennon sang, “Life is what happens to you/While you’re busy making other plans.”) Thanks for your patience and ongoing support as we wave goodbye to 2023 and 2024 begins! 

Thanks as well to Time Lord and Bryan for their 2023 wrap-ups. The flow of excellent new and reissued music continued unabated in November and December; below are some further favorites (plus some I didn’t get around to before my last post), with listening links and “micro-quick takes” to match.

The Beatles, 1962-1966 & 1967-1970: The pioneering 1973 compilations get a cutting-edge makeover. The “Red” album expands by 12 tracks — more covers, more George vocals, more from Revolver — and everything’s finally remixed to breathtaking true stereo by Giles Martin. The “Blue” album broadens the picture of the Fab Four’s later years via 9 more tracks, with the archival swan song “Now and Then” (read Time Lord’s elegiac appreciation here) serving as a lovely, definitive coda. Fifty years on, a reminder of what all the shouting was about – and why Beatlemania has never really gone away.  

Kerensa Briggs, Requiem: The first new classical piece I’ve fallen in love with in a long time. Briggs is a young British choral composer with formidable gifts and a direct, appealing style; based in chant and ripened with echoes of the French romantics, her Requiem cuts straight to the heart of grief, consoling the listener’s spirit with its rich settings of Scriptural promises. The Choir of King’s College London, conducted by Joseph Fort, responds vibrantly on the major piece and other short works (including a setting of the Taoist text “Inner Light” that George Harrison nicked for a Beatles B-side). Restorative, uplifting and highly recommended.

Charley Crockett, Live from the Ryman Auditorium: A recent Nashville vacation (including a night at the Grand Ole Opry) triggered a deep dive into all things country — traditional, bluegrass, alternative, modern, you name it. Leaning on his Gothic concept album The Man from Waco, Texas troubadour Crockett and his band The Blue Drifters electrify a sold-out Mother Church of Country Music with this generous, rambunctious set. One of the most eclectic artists in the genre today, Crockett flavors his honky-tonk stew with everything from mariachi to Motown (check out “I’m Just A Clown”), from funk to deep blues, with props to Red Dirt forebears like James Hand and Townes Van Zandt along the way — and his thick, chewy baritone sells it all.  If you crave some down-home listening, you can’t go wrong here.

Peter Gabriel, i/o: Yeah, PG has been promising new music for twenty years — but, boy, has he delivered the goods! Released a track at a time every full moon, the finished album (available in three different mixes) is a hypnotic, seductive delight all the way. Whether on atmospheric opener “Panopticom”, melancholy meditations “Playing for Time” and “And Still”, or upscale worldbeat anthems “Road to Joy” and “Olive Tree”, killer hooks, arresting soundscapes and neoclassic soul melodies abound. It’s Gabriel as you remember him — including those lyrics that swing wildly between sappy motivational speeches and sage advice — freshly retooled and energized, blazing a hopeful, humanistic path thru this century’s chaos.

King Crimson, Larks’ Tongues in Aspic XL: Robert Fripp wasn’t kidding when he called the 1972-73 incarnation of Crimson a magic band. John Wetton on bass and Bill Bruford on drums bring the muscle; David Cross on violin and Jamie Muir on percussion add thrills in the moment. Arguably, the crunching Hendrix-meets-Stravinsky title tracks, menacing balladry of “Exiles” and improvised mojo of “The Talking Drum” set the template for the rest of KC’s career. This 2-CD/2-BluRay set includes a new spatial audio mix by (who else?) Steven Wilson, an “Elemental Mix” that spotlights individual contributions and the complete sessions for nerds like me who want to know how the sausage got made. Explosive, unstoppable stuff.

Marty Stuart and His Fabulous Superlatives, Altitude: Whether backing greats like Lester Flatt and Johnny Cash, riding his “hillbilly boogie” to a successful solo career, or charming Ken Burns’ documentary audiences, Stuart comes as close to the living personification of country music as anybody. Here he and his stellar backing band lay down some serious hoodoo: “Sitting Alone” fuses tight harmonies to a Byrdsy guitar jangle, the title track twangs with abandon, “Tomahawk” joyfully calls down the Second Coming in double time, and a hush descends for the haunting “And the Angels Came Down.” A fresh helping of Cosmic American Music as pioneered by The Grateful Dead and Gram Parsons: sleek, gutsy and deeply satisfying.

And in review, the list of my other favorite releases and reissues of the year, covered in previous Quick Takes (links are to my original articles):

Stay tuned, won’t you? With new albums due soon from Neal Morse, The Pineapple Thief, Steve Hackett, The Bardic Depths and Big Big Train (not to mention BBT’s first US tour this March), the Rockin’ Republic of Prog is ready for a banner year!

— Rick Krueger

Best Albums of 2023 — #10: Moon Safari, Himlabacken Vol. 2

On By Time LordIn Progressive rock1 Comment

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!

Best Albums of 2023 — #9: District 97, Stay for the Ending

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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.

Best Albums of 2023 — #8: Tanith, Voyage

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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!

Best Albums of 2023 — #7: Mutoid Man, Mutants

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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.

Best Albums of 2023 — #6: Neal Morse, The Dreamer — Joseph, Part One

On By Time LordIn Progressive rock1 Comment

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?

Best Albums of 2023 — #5: Joel Hoekstra’s 13, Crash of Life

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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.

Best Albums of 2023 — #4: Trevor Rabin, Rio

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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.

Best Albums of 2023 — #3 Daisy Jones & the Six, Aurora 

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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.

Bryan’s Best of 2023

On By Bryan MoreyIn Progressive rock3 Comments

We’ve come to the end of yet another fine year in prog. It has been an extremely difficult year for me personally and professionally, and that’s been reflected in my output here at Progarchy. I wish I had had the bandwidth to write many more reviews this year, but such is life. I currently find myself unemployed (my temporary job ended at the end of 2023 due to lack of funding) and many months in to a thus-far fruitless job search. This year’s musical output has been a soundtrack through some incredibly uncertain times. Here are some of my favorites, in no particular order apart from my top three albums at the end.

soen-album-1300x1300Soen – Memorial

While not as good as their last few albums, this record has still been in frequent rotation for me. It has more quiet and orchestral moments than they typically include, but there is still a lot of their heavier crunchy prog metal riffing and signature melodies. Soen isn’t a band to be missed.

The-Final-Flight-Live-at-LOlympia-TransatlanticTransatlantic – The Final Flight, Live at L’Olympia

I’ve long preferred Transatlantic’s live work to their studio albums. Their studio albums are great, but this is a band that is best experienced live. While I’ve never seen them live in person and perhaps never will as it sounds like this could be the end for them, their live albums are always a treat. They are especially good for long car rides. I remember listening to KaLIVEoscope on a long car ride home from college back in the day, and just a few weeks ago I listened to The Final Flight during a long drive to eastern Tennessee to meet a special someone in person for the first time (at least something has gone well for me this year). The complexity of the music and the skill of the musicians keep your brain occupied on the long open roads. Transatlantic create a fourth version of their epic The Absolute Universe with this live outing, adding in a final set featuring a Whirlwind Suite, “We All Need Some Light,” and a medley from their first two records. It’s a great way to get into Transatlantic’s music for the uninitiated.

a3333831894_10Dream the Electric Sleep – American Mystic

I’ve been following Dream the Electric Sleep since 2014, and I think American Mystic is their best album. It’s more concise and more focused with subtle variety. It’s distinctly American prog, reminding me of the heavier prog of American prog bands of the 70s and 80s. Their vocal harmonies are definitely worth noting. Check out my full review at the DPRP.

bbt-ingenious-devicesBig Big Train — Ingenious Devices

While not exactly a new album, Big Big Train’s Ingenious Devices caught my attention and held onto it tightly. The band worked for years revisiting their “mankind and machine” trilogy of “East Coast Racer” (off 2013’s English Electric: Part Two), “Brooklands” (off 2016’s Folklore), and “Voyager” (off 2019’s Grand Tour). They re-recorded most of the instrumentals and added full string sections to the first two (“Voyager” was recorded with full strings). They also added a short track to bridge “East Coast Racer: with “Brooklands,” and they added a live version of “Atlantic Cable” featuring new singer Alberto Bravin. The mix is phenomenal, and it’s great to hear these songs set apart on their own. A must listen for Big Big Train fans. Check out my DPRP review.

haken-faunaHaken – Fauna

Haken’s Fauna is somewhat of a mixed bag for me. It’s a solid album throughout, but it leans a little too much on the softer side, but when it gets heavy and creative it slays. “Elephants Never Forget” is simply fantastic – one of Haken’s best songs. Check out my full review.

harmony-codexSteven Wilson – The Harmony Codex

This album grew on me slowly. At first I was mildly indifferent and then grew to like it, as opposed to my immediate and lasting distaste for The Future Bites. I think The Harmony Codex rather tactfully blends the spacey progressive elements of Wilson’s abilities with the pop edge that strongly influences his recent work. I don’t know if it was commercially successful for him, but the final product is a solid record that actually sounds more familiar. No it isn’t Hand. Cannot. Erase., but I think it’s his best solo record since then. But it isn’t for everybody, namely Progarchy’s Time Lord. Rick Krueger found more to enjoy.

Southern Empire Another World-CoverSouthern Empire – Another World

The Aussie band’s first record since 2018 finds them with a new vocalist – Shaun Holton. He has a great voice, but former vocalist Danny Lopresto’s voice is so unique and one of my favorite elements from their last album. As such it’s been hard for me to like Another World as much as I like Civilisation. With that said, it’s still a solid album with moving melodies and a stellar almost 20 minute-long track blending heavy with symphonic prog. Definitely worth checking out.

Moon Safari Himlabacken Vol. 2Moon Safari – Himlabacken Vol. 2

Finally! After wondering for ten years “whatever happened to Moon Safari,” the band returned this month with the follow up to 2013’s Himlabacken Vol. 1, an album I don’t listen to frequently but will always have a warm spot in my heart because it came out around the time I really started getting into newer progressive rock. Vol. 2 is even better than it’s predecessor, making the decade-long wait worth it. The 21-minute “Teen Angel Meets the Apocalypse” is the finest long track I’ve heard this year. I’m a sucker for intelligent writing, and this song incorporates influences (and lyrics) from T. S. Eliot’s masterpiece “The Wasteland” (a poem that also inspired Genesis’ “Cinema Show”). The subtle inclusion of the melody from “London Bridge is Falling Down” throughout the song is itself a nod to part of “The Wasteland”. The song is great and a must listen. Nobody does vocal harmonies better than Moon Safari.

riverside IDE3. Riverside – ID.Entity

Riverside have yet to make a bad album. They’re all great in their own way. ID.Entity finds them taking a synthier approach to criticism of modern technosociety, and it works really well. They still get heavy when they need to, especially with Mariusz Duda’s vocals on “I’m Done With You.” It’s a solid album throughout and shouldn’t be missed. Check out my full review.

molybaron_somethingominous2. Molybaron – Something Ominous

This album was the unexpected musical surprise of the year for me. I liked the band’s previous album, but I wasn’t as much a fan of the lyrics. This time around, it seems western government’s tyrannical overreach during the Covid-19 debacle has made vocalist and lyricist Gary Kelly rather based. The songs are short, but that doesn’t keep this from being a prog metal funfest. Kelly’s vocal acrobatics make the album thoroughly entertaining. “Billion Dollar Shakedown” is a magnificent teardown of modern society’s incestuous elitist blend of government and big business marching in lockstep to ruin all our lives. “Breakdown” is a refreshing and real take on mental illness, and it’s been a bit of a themesong for me since it was released. The title track points out how the elites are pitting the rest of us against each other instead of against them. “Daylight Dies in Darkness” takes a spacier tone before building into heavy metal. It’s a fantastic smashmouth rock n’ roll heavy metal album. The only thing I don’t like is it’s only 38 minutes long – it’s so good I want more. Check out my review.

tesseract-war-of-being-album1. TesseracT – War Of Being

Unfortunately I never got around to reviewing this one, but I did review their concert. This is such a fantastic album – the band’s best to date. It’s also their heaviest since their debut. Singer Dan Tompkins demonstrates that he has one of the best voices in the business. One minute he can sing high like Matt Bellamy from Muse and the next he’s doing distorted vocals a la Devin Townsend. He even learned new methods of distorted vocals for this album, enabling him to create different sounds for the different characters, since this is a concept album. I’m still trying to figure out the story, but the djenty crunch is a headbangers dream. Everything about the record is great, and it easily tops my year-end list.

So there you have it. TesseracT was the only concert I went to this year, and it was a banger. I bought tickets to the upcoming Big Big Train show in March, so hopefully I’ll be able to make it to that (life is pretty crazy right now being between jobs). I didn’t read any prog books this year, but I plan on starting Geddy Lee’s “My Effin’ Life” tonight. Hopefully the new year will suck less for me, and I hope it’s a good one for you all.

Thanks so much for reading and sticking with us here at Progarchy this year, even though our output was rather thin compared to last year. Hopefully we’ll get things rolling again in 2024.

Happy New Year, and prog on!.