Category: Progressive rock

An Interview with SCIOLENT

On By NickIn Progressive rockLeave a comment

Sciolent is a one-man art rock band based in Germany who recently launched a new album entitled “Chiaroscuro.” The 11-track release sees the young musician delving deep into a unique blend of alternative music, progressive rock, and even shoegaze.

Speaking for Progarchy, Sciolent talks about what it took for him to come up with the release. Find out more below.

You launched an album with Sciolent entitled “Chiaroscuro” back in December. How do you feel about the release? 

I was and still am very proud of it. It’s been in the making for a long time and finally releasing it into the world was a strange but rewarding feeling. I received some lovely positive feedback for it and that makes me happy of course. What’s great as well is that I’m still really content with it myself – it’s already my fifth album, but it might be the first one that I still enjoy listening to even after it’s put out. I spent a lot of attention to the compositions and arrangements down to the details and it seems to pay off.

How much of a challenge was it to work on the album?

Quite a big one, to be honest. I started teaching myself how to play guitar and bass during the making so that I could record all instruments except the drums on my own. Doing that, writing and recording the songs, producing, mixing and mastering it all would have already been a challenge, but to do it all while going to university and working on my Bachelor’s thesis and other projects was a wild ride as you can probably imagine. I don’t regret any of it though, it was a lot of fun and especially during lockdown it helped me cope with what was going on and find some meaning and inspiration.

Speaking of challenges, have you set any in the early phase of what has become the final result?

I simply wanted to reach my current potential in composing and arranging and I think I managed to do that. The advantage of taking your time with such a project instead of racing towards a deadline is that by the end you have a much bigger collection of songs to choose from, so you can pick the very best out of them and don’t have to include fillers.

Tell me about the different instrumental aspects that you explore on these new songs.

Well, a lot of it is centered around the interplay of neo-romantic piano figures and spacey guitars. You can hear that combination on songs like Balliamo Sott’Acqua, Our Worst Fears Realized or Slowing Down Time for example. From time to time there are also heavier passages where everything sort of erupts to counteract that melancholic dreamy vibe of the softer parts of the album. With the basslines underneath I tried to play quite melodically (without being too flashy) and weaved in some counterpoints here and there. And for the drums I wanted to find a good compromise between compelling groove and creative drumming – I’m not a drummer so I had to play that on my MIDI keyboard and I don’t know how playable these rhythms would actually be, but I think they feel good in context with the other instruments.

What is your opinion about the progressive rock scene today? 

That’s a tough question for me because I haven’t been too invested in that scene over the last couple of years. I love that Porcupine Tree got back together, Closure / Continuation was a great album and seeing them live was a huge highlight and bucket list experience for me. It’s also great to see what some of the young British bands like Black Country, New Road or black midi are doing. I think there’s a lot of progressive or avantgarde spirit in there, even if some people see them more in the post-punk field. Those genre boundaries seem to become obsolete anyway though, it’s just good to know that exciting new music is being made and – even better – people are actually listening to it!

Let me know about your influences—the artists that in a way shaped and continue to shape your music.

Some of my longstanding influences include bands like Muse, Radiohead, Oceansize, Porcupine Tree, Pink Floyd, King Crimson and Talk Talk. Muse for example were the band that became my introduction to the world of ambitious rock music when I was a kid so they will always have a special place in my heart. For this new album, I think especially Oceansize were a big influence – when I discovered them three years ago, I couldn’t stop listening to them for months. Effloresce and Frames are two of my favourite albums of all time, they just click with me on so many levels and some passages on “Chiaroscuro” are referencing them a little bit.

As of lately, I’ve also been listening to a lot of shoegaze which found its way into “Chiaroscuro” in terms of sound design and dream-like atmosphere. My favourites in that genre are Slowdive and Curve, but there has been and still is loads of talent across so many bands and artists.

Other bands I’ve been digging recently are Wolf Alice, the aforementioned Black Country, New Road, Jockstrap and Just Mustard.

And then there’s also bands and artists that belong more to the pop spectrum like Depeche Mode or Lana Del Rey that I admire. Developing a sensibility for a really good pop song is an extremely important skill to have as a songwriter in my opinion.

What are your top 5 records of all time?

The list changes from time to time, but at the moment it probably looks like that:

  1. Oceansize – Effloresce
  2. Steven Wilson – Hand. Cannot. Erase.
  3. Muse – Origin of Symmetry
  4. Radiohead – OK Computer
  5. Oceansize – Frames or Pink Floyd – Dark Side of the Moon (can’t decide, both deserve a top 5 spot!)

Besides the release of “Chiaroscuro” are there any other plans for the future?

I’m looking forward to potentially play some of my music live, although solid plans about that have yet to be made. Also I’m pretty much constantly coming up with new music, so maybe there will be more of that as well. I don’t think there will be another full album this year, but an EP or some singles are possible. Stay tuned!

“Chiaroscuro” is available from Bandcamp.

Riverside Remind Us Who We Are – ID.Entity – Album Review

On By Bryan MoreyIn hard rock, progressive metal, Progressive rock, progressive rock music3 Comments

Riverside, ID.Entity, InsideOut Music, January 20, 2023
Tracks: Friend or Foe? (7:29), Landmine Blast (4:50), Big Tech Brother (7:24), Post-Truth (5:37), The Place Where I Belong (13:16), I’m Done With you (5:52), Self-Aware (8:43)

It’s been a long four and a half years since Riverside gave us their brilliant Wasteland, an album we seem to have been living in the years since its release. In 2019 I saw the band live for the first time, and I was blown away. It may have been the best concert I’ve ever attended. I was a fan before, but after that I became a FAN. I’m even a member of their fan club, Shelter of Mine, and I rank them up with Big Big Train as one of the finest bands in the progressive rock scene.

Perhaps you’re thinking there goes all objectivity in this review, and perhaps you’re right. Or perhaps Riverside really can do no wrong. I can think of very few bands that have never put out a bad album, especially over two decades of writing and touring. And yet here we are – their eighth album, multiple EPs, a few live albums (including one only available to fan club members), and they’re still putting out winners. Whether they’re heavy, quiet and atmospheric, or somewhere in the middle, Riverside have mastered all aspects of their sound.

Upon first listen, ID.Entity struck me as being a slightly new direction. I thought I remembered the band saying a couple years ago that their next album would be heavier, which made me think it might be more like Anno Domini High Definition, arguably their heaviest album to date. ID.Entity isn’t that heavy, but it’s heavier than Wasteland, which was, to be sure, a different album for Riverside. An excellent album, but different. Their first record without Piotr Grudziński on guitar, after his tragic passing in 2016, but before Maciej Meller joined them as a full member (he toured with them from 2017-2020, joining them as a full member in 2020). This album sounds like a more traditional Riverside album, with guitars taking a more prominent role again.

The more I listen to it, the heavier it sounds. The guitar riffing towards the end of “Big Tech Brother” is brilliantly headbangable. Michał Łapaj’s keyboards come in on top of that at the end, but it doesn’t lighten the sound at all. Łapaj’s touch on Riverside’s sound may be more recognizable than any other keyboardist in progressive metal, besides Jordan Rudess, of course. Łapaj’s signature Hammond along with his other synth sounds have long set Riverside apart from more generic progressive metal crunchers. I was especially impressed when I saw them live. He brings a real tube-powered Leslie speaker (or some similar speaker) to get an authentic Hammond sound out of his modern keyboard.

As usual, Mariusz Duda demonstrates why he’s one of the best bassists in the business. His crunchy bassline to open “I’m Done With You” is extremely satisfying, and it sets the stage for some grittier vocals in the chorus. Much of the song is stripped back a little, with pretty basic drums and a relatively simple bassline, but the guitar and keyboard lines are distinctly Riverside with a very catchy melody. Taken together, the song is actually pretty heavy.

You are not my judge
You are not my God
You are not my own CEO
Why don’t you simply shut your mouth
And take your poison from my soul
Far away

I’m Done With You

Some of the vocal lines on “The Place Where I Belong” are a bit crowded in the quieter parts of the song – a lot of words condensed into a smaller musical space. But it’s a long song – their longest since “Second Life Syndrome,” in fact. And yet the song delights in the final third with this heartfelt lyrical passage:

I don’t have to be the best
Feel pressure all the time
The ‘winner takes it all’ is not my thing
Stop comparing me to someone else’s dreams
Let me stay in the place where I belong
For your bar is set to high
I’m sorry, I’m getting out of this race
Don’t want to take my part
For your bar is set to high
I’m sorry ,I’m checking out of this race
Don’t want to share my part
For your bar is set to high
I’m sorry, I’m getting out of this race
Don’t want to take my part…

The Place Where I Belong

I suppose the ironic thing here is Riverside really are the best.

Lyrically this album touches on themes of disconnection from others via social media and the associated polarization, as well as themes of big tech and government overreach. Considering the band members grew up in the waning days of communism in Poland, their words of warning on “Big Tech Brother” should wake all of us up.

So what’s it like
To stick your head in the sand
To choose ignorance
“I’ve nothing to hide,” you say
“It’s all okay and fine”
Being tracked
Being parsed
Being mined
Modified
Being used
Being searched
Being lied to
Monetised
All that we’ve got
Is not for free at all

When this life for everyone becomes too hard
What we must give in return is a bit too much
Mass control

Big Tech Brother

“Post-Truth” deals with the frustrations of the constant news barrage designed to keep us all perpetually enraged. How do we go on living in a world like this?

In a constant lie
In a constant lie
I live
Can no longer tell
Days from nights

Post-Truth

All these ideas, along with the other songs on the album, share common themes related to how we interact with and through the digital world. How we relate to each other, how media entities influence us, how companies and governments spy on and control us. Extremely relevant lyrics that aren’t pushy but remain a call to wake up to what’s happening. It’s a message pleasantly packaged in Riverside’s signature style of hard progressive rock. Lyrics have been an integral part of Riverside’s appeal to me since I first began listening to them. Thankfully that streak continues on ID.Entity.

This album contains everything I love about Riverside. Duda’s stunning vocals, his intricate bass, Floydian drums, synthy soundscapes and driving organ, and the Floydy guitars. Riffs abound, making it a very enjoyable listening experience to rock out to. With all that, is it too early to declare ID.Entity THE album of 2023? Maybe it is, but other bands are going to have to work awfully hard to top this.

https://www.riversideband.pl/en/
https://riverside.lnk.to/IDEntityID

Album out Friday, January 20, 2023.

In Concert: A Night of Michigan Prog Metal

On By kruekuttIn progressive metal, Progressive rockLeave a comment

Entransient Album Release Party with Imminent Sonic Destruction and Paradigm Shifter, The Pyramid Scheme, Grand Rapids Michigan, January 14, 2023

I gotta admit, it was first-class fun to reconnect with fellow members of the (extremely informal) West Michigan Prog Posse, checking out three homegrown bands at this local 400-capacity venue.

First up was the Grand Rapids-based Paradigm Shifter, self-described as “an instrumental Metal band taking influences from Hardcore and Progressive metal.” This young trio had chops galore and plenty of decent ideas packed into titles like “Hammer Down” and “Primal Fear”. To this old-codger-in-training, it reminded me (in a good way!) of surf music like “Wipe Out” and “Pipeline” — though played with droptuned, heavily distorted 7-string guitars. The band’s current limitations (computerized drums, extended re-tuning covered by pre-recorded interludes) certainly aren’t impossible to overcome, and if they took their guitar hero posing a trifle too seriously — well, haven’t we all at one time or another? Changing pace for “Leap of Faith”, a rap-rock finale with guest vocalists that sounded like a Linkin Park comeback, Paradigm Shifter was a solid opener, offering something for everyone in a remarkably youthful crowd.

Imminent Sonic Destruction, a Detroit progressive metal band of 15 years vintage, was up next, with the melodramatic oratory of British sci-fi author Michael Moorcock ringing in our ears. Gleefully self-aware as they took the stage, ISD quickly cued us in that their music is completely over the top, and that they’re in on any potential silliness right along with us. Ping-ponging between extravagant, multi-part headbangers, complete with cookie monster vocals (“With Death This Story Ends”, “The Fog”) and tightly harmonized, symphonic power ballads (“Solitude” and the title track from their latest album The Sun Will Always Set) guitarists Tony Piccoli (also a game lead vocalist) and Scott David Thompson (a key harmonizer), bassist Bryan Paxton (doing the growls), keyboardist Pete Hopersberger (pleasingly prominent in the mix vocally and instrumentally) and drummer Pat DeLeon (also of Motor City proggers Tiles) provided one pile driving good time!

And then there was the evening’s hosts Entransient, who I’ve written about previously, both live (opening for Thank You Scientist and Bent Knee at the Pyramid Scheme) and on record (their fine new album Ghosts in the Halls) Tonight, they opted for a slow build, starting with an acoustic mini-set — complete with cello — before firing the big guns. Their consistently sharp songwriting had the broadest range of the night’s bands, as guitarists Nick Hagen and Doug Murray, bassist Matt Schrauben and drummer Jeremy Hyde whipped up a compelling blend of light & shade. And while it took vocalist Scott Martin a few tunes to get the measure of the room, he swiftly hit peak form, belting out new tracks like “Parasite” and “Synergize” along with setlist standbys like “The Weight of Things”. Plus, in the night’s coolest moment, the band played “Take What’s Left” from their debut album — featuring Hagen’s dad Tom, on the most metal clarinet solo I am ever likely to hear.

In between bands, the talk at our table turned to that evergreen topic, the future of progressive music in general and progressive rock in particular. One of my friends made two points: 1) the genre has to take root amongst younger generations for it to prosper, and; 2) the heavier edge that Fate’s Warning and Dream Theater brought into the mix is probably a core component in that future prosperity. Based on the strong performances by all three of the night’s bands and the demographics of the 150-175 people at the show, I have to agree; the heavy is here to stay!

— Rick Krueger

Barricane Release New Single, “Saltwater”

On By Bryan MoreyIn Atmospheric rock, electronic, folk music, post-rock, Prog, Progressive rock, progressive rock musicLeave a comment

From the inbox this morning, we got sent this new single from UK-based band, Barricane. The group is a six-piece based around singer songwriters Rosy Piper and Emily Green. Also featuring Charlie Lane (bass), Chris Alchin (keyboard, acoustic guitar and synt), Hamish Wall (electric guitar), and Gary Neville (drums).

“Saltwater” packs a lot into a mere five minutes. It begins with atmospheric guitars and spacey drums with ethereal vocals over the top before gradually building. The real treat is the ending where the song shifts into a proggy synth space before the electric guitar comes in for a hard rock solo complete with a wall of drums. It’s great. Check it out.

https://barricane.bandcamp.com/track/saltwater
https://www.barricanemusic.com

Asia to Release “Fantasia” Live in Tokyo 2007 3 LP Set in February

On By Bryan MoreyIn Progressive rock, progressive rock music4 Comments

Press Release:

Asia - Fantasia Live in TokyoMulti-platinum selling English supergroup ASIA announce they are to release for the first time ever on vinyl ASIA ‘FANTASIA, LIVE IN TOKYO 2007’ as a 3LP set.  Recorded on Asia’s 25th anniversary 2007 world tour, and featuring the reformed original line-up, FANTASIA, LIVE IN TOKYO 2007 is to be issued on vinyl as a 3LP set with booklet, including band photos, and sleeve notes through BMG Records on 24th February 2023.  

Pre-order it here: https://asiaband.lnk.to/fantasia3LPPR 

Celebrating the 25th anniversary of ASIA’s formation, this exciting 18-track live show from their 2007 world tour features the reformed original line-up pooling the talents of lead vocalist/bassist John Wetton (King Crimson), Steve Howe (guitars, Yes), Geoff Downes (keyboards, Yes and Buggles) and drummer Carl Palmer from Emerson, Lake & Palmer. 

The setlist focusses on their globally successful 1982 debut album Asia and features key tracks Only Time Will Tell, Sole Survivor and their worldwide anthem Heat Of The Moment along with select tracks from their second LP Alpha and one song each from the band members’ previous bands – Video Killed The Radio Star, Roundabout, Fanfare For The Common Man and The Court Of The Crimson King. 

Album artwork is by legendary designer Roger Dean, who produced all the ASIA original albums covers.   Continue reading “Asia to Release “Fantasia” Live in Tokyo 2007 3 LP Set in February” →

Album Review – Haven of Echoes “The Indifferent Stars”

On By Bryan MoreyIn Progressive rockLeave a comment

Haven of Echoes, The Indifferent Stars, 2022
Tracks: Sirensong (6:11), The Orator’s Gift (4:49), Stasis (5:31), Endtime (9:03), The Lord Giveth… (6:02), Let Them In (12:15)

UK and German duo Haven of Echoes have created a compelling blend of moody synth and bass-based prog. The group is a new project featuring UK-based Paul Sadler on vocals and electric guitar and Germany-based Andreas Hack on all other instruments. Sadler wrote the lyrics and vocal lines while Hack wrote and arranged the music, as well as produced and mixed the album. Their music is perhaps best described as melancholic progressive rock. Sadler is known for his work with progressive metal band Spires, while Hack is known for his work with Frequency Drift. The band was joined by electric harpist Nerissa Schwarz (Frequency Drift) on “Stasis” and “The Lord Giveth…”, the latter of which she wrote.

The opening of the record quickly shows how Hack has no intention of making “The Indifferent Stars” sound like a typical “prog” album. While one might be tempted to start the record with some soaring guitars, Hack chose a wall of drums with strings filling in the rest of the space. As the album progresses, it becomes clear that the approach to rock music is a bit more roundabout. Bass and drums create a solid rhythm section, but even the bass is very understated. The layers of synth sounds and Sadler’s layered vocals are what drive the record forward. The balance of delicate sounds with heavier broodiness create a unique and compelling sound.

“Endtime” has a melancholic brood to it with an interesting chant style to the singing in the second half. The song starts more upbeat before taking a dramatic turn in the second half. Sadler’s voice really shines, with his vocal layering done very well. A lot of times a singer harmonizing with himself doesn’t work very well, for me at least because it sounds so obvious, but Sadler sings in a couple different styles, which almost makes it sound like there are multiple vocalists. As such the vocal performances on the entire record stand out and make it an album worth listening to. On top of that, Sadler’s lyrics are interesting and intelligent, drawing the listener into reflection.

All man’s desire is nothing but fire

“Endtime”

As the longest track on the album, “Let Them In” has room to move through various musical themes. It can be elegant and gentle one minute with vocals over calm piano, while the next minute it’s building on top of heavier guitar, bass, darker piano, and a wall of synths. Before you know it, it’s back in a calmer space built on a layer of cleaner piano, bass, and guitars. The closing guitar solo real seals the deal.

The album was superbly mixed by Hack. There’s a lot of depth and clarity in the mix. There is a layered effect to it that invites you to dig deeper on repeated listens. There’s much to uncover in the subtle bass, dancing cymbals, and myriad keyboard sounds.

If I had a complaint, it would be the lack of electric guitar leads. Sadler only plays on the last track, and his solo is very good. I think it would have added another layer to the album if he played throughout. The record gets its depth and heaviness from a mix of moody synths and low bass. There’s nothing wrong with that – in fact the result is very interesting. But some more guitar solos wouldn’t have hurt either.

It’s clear that Sadler and Hack are an extremely dynamic duo. Sadler’s lyrics and vocal talent are a perfect match to Hack’s musicianship and skill as a producer and mixer. The band’s sound is built by a wall of sound, combining all the instruments to create an effect, rather than any particular instrument standing at the forefront. Their goal is more about the overall sound than the individual parts, as it should be. The result is worthy of your time and attention.

https://havenofechoes.com
https://frequencydrift.bandcamp.com/album/the-indifferent-stars

Peter Gabriel Is Back!

On By Connor MullinIn Progressive rockLeave a comment

I suppose he never actually left, but i/o will be his first album of original material since 2002’s Up. It’s great to hear from you, Peter!

An Evening with Lingua Ignota

On By Bryan MoreyIn Progressive rockLeave a comment

Lingua Ignota, Live at Union Transfer
Philadelphia, PA
December 15, 2022
8:30 pm

Concert review by Bob Turri

We arrived a half hour early or so on a rainy, dreary Thursday night in Philadelphia. Lingua Ignota, the enigmatic singer/multi-instrumentalist was scheduled to play two sets. In some ways a perfectly fitting scenario as to what we were about to experience. Lingua Ignota’s most recent album, Sinner Get Ready is a stunner of an album. Using central Pennsylvania as a backdrop, it evokes an emotional sound with religious overtones and conflicting emotions. I first read about Lingua Ignota in Prog Magazine. The reviewer mentioned some of the Pennsylvania references, wondering why an artist like this would choose to live there, but also ended the review by saying you should at least listen to the album once. This piqued my interest, and I ordered the album directly from her website. Her voice is somewhat Nico-esque but the emotional delivery and range is what hooked me. There is almost a reverent quality to her sound steeped in dark mysticism.

Union Transfer was the Spaghetti Warehouse prior to being turned into one of Philadelphia’s hippest musical nightspots. Because of the cavernous nature of the venue, the sound quality has been questionable in the past, but on this night, there was only a piano in the center of the stage with one spotlight on it. An email was sent on the day of the show letting attendees know the show would start on time. Not much after 8:30 the lights went dim, my eyes focused on the stage waiting for Lingua Ignota’s entrance. Much to my surprise a lone light shaped like a candlestick with a beaming almost fluorescent light at the top appeared in the middle of the floor and there was Lingua Ignota breaking into her first song, sung a cappella, which sounded like an African-American spiritual.

After finishing she quietly moved through the crowd and entered the stage, sat at her piano and started playing. The piano strings had been treated with metal objects and chains which gave a somewhat dissonant percussive sound as she struck the keys. She played a number of songs, mostly new, as far as I could tell, and went from one song to the other. The audience, mostly made of art school graduates or attendees, with some older folks thrown in to boot, was mostly transfixed throughout the first set and barely clapped, yelled or said anything. Lingua Ignota was completely silent except for her singing and piano playing. She ended the first set with a magnificent version of the Gavin Bryar song ìJesusí Blood Never Failed Me Yetî, and left the stage.

After a short break the second set began. This was different using taped music, piano, additional vocals, and possibly synthesizers, holding court utilizing the candle stick beaming lights, adjusting them now and again, and singing her head off, although her voice sounded like it might need a rest as she has been on tour for a while. There is a somewhat perplexing quality to her stage show and visuals. The projection screen throughout the second set consisted of Christian evangelical gatherings, spontaneous baptisms, people I’m guessing speaking in tongues, and evangelical preachers in a constant loop.

Her lyrics dive into religious topics and icons such as Jesus Christ, Satan, blood, the body, and the sacraments. It almost felt at times like being at a church service, but it was difficult to discern what the sermon was. Anti-Christian, pro-spirituality, or just a commentary on how religion can either guide or misguide people. It’s difficult to say but the way the music, singing and lyrics are presented, in such an emotional heartfelt way its hard not to get caught up in this.

In the same email that told everyone to get to the show on time it mentioned that Lingua Ignota was considering dropping her stage moniker and using her real name, Kristin Hayter. I think this would be a good idea as the Lingua Ignota persona may have reached a limit and it would be very interesting to see what this dynamic performer and singer might do next. The second set ended with an encore of the Dolly Parton song, “Jolene.” Again, her beautiful voice, expressed in many different octaves was captivating. The crowd during the end of the second set started to wake up, catcalls, whistles, and yelps began to be heard, and Ms. Hayter thanked the Philly contingent and said this time around was much better than the last visit. It’s tough to shake off our demons, but if there is one artist worth watching, you might want to tune in.

https://linguaignota.net/home

Kruekutt’s 2022 Favorites

On By kruekuttIn afro beat, americana, art rock, avant-garde, Big Big Train, books, Cosmograf, electronic, Insideout Music, jazz, jazz rock, pop, Progressive rock, Robin Armstrong, vernacular music2 Comments

A few notes before I dive in: items I’ve reviewed here are linked to the relevant Progarchy article via the artist/album title; If I didn’t review an item here or elsewhere, it’s marked with an asterisk (*) — but I hope the capsule description and listening/order links will encourage you to check it out!

My favorite new music of 2022:

  • Dave Bainbridge, To The Far Away: A thrilling, ravishingly beautiful album about love, longing, hope and a future. Lyrics of rich simplicity cradled in a lush orchestral blend of rock, prog and Celtic folk. My interview with Bainbridge is here.
  • Big Big Train, Welcome to the Planet: what turned out to be BBT’s final effort with the late David Longdon consolidates the widened horizons of Grand Tour and the intimate subjects of Common Ground, casting an epic light on the everyday glory of family, community, joy and loss.
  • Cosmograf, Heroic Materials: Elegiac in its evocation of past achievements, urgent in its contemporary call to action, breathtaking in its poised blend of fragility and strength, Robin Armstrong’s latest is a riveting listen.
  • The Flower Kings, By Royal Decree: TFK’s third double album in a row, this is the sound of Roine Stolt and company refreshed and revisiting their optimistic roots, soaring on the wings of one marvelous melody after another. As much a joy to hear as it must have been to create.
  • Mary Halvorson, Amaryllis & Belladonna: free jazz guitarist Halvorson hits a major label with two albums — teaming with a boisterously simpatico sextet on Amaryllis, then dancing atop and around modern classical textures from the Mivos Quartet on Belladonna. Audacious and engrossing, this music will open your ears real good!
  • Dave Kerzner, The Traveller: confident, appealing songwriting with hooky yet sophisticated melodies and structures, Kerzner’s best, widest ranging vocals to date and perfectly judged contributions from a stellar guest list. Letting his new songs sell themselves and keeping proceedings to the point, he both satisfies us and leaves us wanting more. 
  • The Delvon Lamarr Organ Trio, Cold As Weiss: An immediately accessible reboot of a classic jazz trio format. Organist Lamarr, guitarist Jimmy James and drummer Daniel Weiss are thrilling players who never fail to make their instruments sing. Funky, catchy bite-size tracks with great individual playing and razor sharp ensemble. 
  • Marillion, An Hour Before It’s Dark: The front half of Los Marillos’ latest has more swagger than they’ve mustered in a while; the back half’s meditative downshift climaxes with the sweeping smashcut finale “Care,” as power chords and massed choirs climb heavenward. Unique as anything in their catalog, and another thoroughbred winner.
  • Pure Reason Revolution, Above Cirrus: this fifth album reveals PRR at their best, consistently upping their game to the next level. For every moment of blissful harmonies and glidepath atmospherics, there’s an equal and opposite moment of feral guitar/drum slammin’ — and when they layer the two together, look out! Well worth buckling up for the ride.
  • The Smile, A Light For Attracting Attention: A Radiohead side project worth your while. Thom Yorke overflows with apocalyptic dread; Jonny Greenwood’s off-kilter instrumental instincts are keener than ever; Tom Skinner’s skittering beats relentlessly drive the grim, lush soundscapes forward. Music for our contemporary dystopia, irresistibly sucking you in.
  • Tears For Fears, The Tipping Point: Roland Orzbaal & Curtis Smith’s catchy-as-always comeback goes for catharsis via unstoppable rhythms, unforgettable choruses and naked vulnerability on every single track, Devastatingly gorgeous, uncompromising art-pop that will haunt you long after every listen.
  • And my Top Favorite of the year — Wilco, Cruel Country. A double set that detours from Jeff Tweedy’s thoughtful dad-rock toward Nashville and Bakersfield, the tactile interplay of the band and Tweedy’s quizzical, empathetic probes of societal alienation elevate this to an album of genuine tenderness and subtlety, gathering strength and heart as it unrolls. After a digital-only release this year, it’s finally coming out on LP and CD January 20!

My favorite reissues of 2022:

  • The Beatles, Revolver Special Edition*: No Revolver, no Sergeant Pepper — no prog? Regardless of what ifs, the Fabs’ great leap forward of 1966 was brilliant in its own right, dragging pop headlong toward the avant-garde. Here it gets a subtle yet effective remix, with fascinating studio outtakes framing the cutting-edge results.
  • Tim Bowness & Giancarlo Erra, Memories of Machines: an irresistible mix of unflinchingly intimate art-rock and lowering ambient backdrops. Ten years on, original arrangements and track lengths are restored, Erra’s textural work is inched forward — and as always, Bowness breaks your heart with his ringing couplets and his stoic voice.
  • My Top Favorite Reissue of the year: Robert Fripp, Exposure/Exposures. The guitarist’s 1979 return to active duty after a post-King Crimson sabbatical, binding together a disparate set of songs and guest artists with his innovative ambient Frippertronics. Whether by itself or as part of a gargantuan box set that chronicles Fripp’s entire “Drive to 1981,” it’s a wild, worthwhile listen in and of itself, while providing distinctive previews of coming attractions.
  • Marillion, Holidays in Eden Deluxe Edition*: my introduction to the band (I first saw them live on the US tour promoting the album), Holidays was partially a product of record company pressure for hit singles, but it also has plenty of Marillion’s trademark ambition, power and lyricism. A fresh remix complemented by exciting live shows on both audio and video.
  • Soft Machine, Bundles*: Add blazing young guitarist Allan Holdsworth to one of the pioneering British jazz-rock bands, stir in quirky compositions by keyboardists Karl Jenkins and Mike Ratledge, and stand by for fireworks! This fresh reissue also includes a hot live set featuring Holdsworth’s successor John Ethridge (still active with the Softs today).
  • Wilco, Yankee Hotel Foxtrot Super Deluxe Edition*: The album that put Wilco on the map (after they were dropped by their label), YHF mutated from Americana through dream-pop to electronica-tinged folk-rock as band members and producers came and went. Eight discs that copiously chronicle the recording process, plus blistering two live sets.

My favorite (re)discoveries of 2022:

My favorite live album of 2022: Big Big Train, Summer Shall Not Fade*. Equal parts power and grace, BBT’s 2018 headlining gig at Germany’s Night of the Prog may be their best live release yet. Playing to their largest crowd ever, David Longdon commands the stage; Greg Spawton and Nick D’Virgilio provide a muscular foundation; Dave Gregory, Rikard Sjobom, Danny Manners and Rachel Hall serve up one delightful moment after another. Bryan Morey’s review nails it; this is indispensable.

My favorite rock documentary of 2022: In The Court of the Crimson King: King Crimson at 50*. The most unconventional band of the last five decades gets the most unconventional documentary possible. Crims past and present weigh in on “living, dying, laughing, playing and rocking out”, with Robert Fripp providing the ever-present focal point in a particularly puckish fashion. There’s also a deluxe edition with live Crimson video (both in the studio and at 2019’s Rock in Rio festival) and four bonus CDs of soundtrack cuts, rarities, etc.

My favorite books about music of 2022:

  • Vashti Bunyan, Wayward: Just Another Life to Live. Singer-songwriter Bunyan’s unlikely late-60s odyssey from Swinging London to the Hebrides forms the heart of this evocative narrative. Laboriously traversing the heart of England, she gains understanding of the natural world, of human kindness and cruelty — and of her own sturdy inner core.
  • Dan Charnas (with musical analysis by Jeff Peretz), Dilla Time: The Life And Afterlife Of J Dilla, The Hip-Hop Producer Who Reinvented Rhythm*. In Charnas’ telling, Dilla emerges as an innovator who laid down new paths for neo-soul and conceptual hip-hop, via his subtle yet unsettling variations on previously straight-up rhythms. Peretz’s equally innovative graphic depictions of rhythmic innovations across the decades buttress the page-turning narrative.
  • Robert Fripp, The Guitar Circle*. More a philosophical tome than a how-to book, though still remarkably practical, Fripp’s highly conceptual explanation of his process (as unfolded in Guitar Craft courses and Guitar Circles) won’t be for everyone. But those who dig in will grasp where this eternally questing musician is coming from better than ever before.
  • David Leaf, God Only Knows: The Story of Brian Wilson, The Beach Boys And The California Myth*. The third edition of Leaf’s lifework chronicles The Beach Boys’ journey from surf-rock through eccentric art-pop to the dead end of nostalgia, then sidesteps to Wilson’s solo comeback, culminating in the completion of his masterwork Smile. Not in the least objective, but comprehensive, even-handed toward the rest of The Beach Boys, and heartfelt.
  • Grant Moon, Big Big Train – Between The Lines: The Story Of A Rock Band. How BBT became a prog powerhouse — through sheer bloody-mindedness, growth in craft and a keen ear for musical contributors — is the tale told in this richly detailed bio/coffee table tome. Both a celebration of the music made and an unflinching look at the price paid for a dream.

And in closing . . .

If you’re interested, check out these recordings I played or sang on that were released in 2022:

— Rick Krueger

Bryan’s Best of 2022

On By Bryan MoreyIn Big Big Train, Progressive rockLeave a comment

This year has been an interesting one for me musically. For much of the middle of the year I was absorbed by older progressive metal music, primarily diving into back catalogs for Meshuggah, Pain of Salvation, TesseracT, and Caligula’s Horse. I found that I wasn’t as compelled by more traditional “prog rock,” at least not in its shorter forms. I did find myself enjoying some of the longer form tracks, like Lobate Scarp’s “Flowing Through The Change” and Ryo Okumoto’s “The Myth Of The Mostrophus.” Much of my favorite new music leaned towards post-progressive music, with a few more traditional picks thrown in as well. I’ve reviewed a lot of music this year and listened to far more, some of which would have made a best-of list in years past where I listened to less music. Alas.

The following order is relatively arbitrary apart from my top album at the end.

GH-2022-cover-1080px-PREVIEWGlass Hammer – At The Gate
The third record in Glass Hammer’s Skallagrim trilogy of fantasy albums doesn’t disappoint. In fact in may be the best of the trilogy. Equal parts heavy and proggy, I think my favorite parts are when the band goes full Rush. You don’t hear many bands really showing a mature Rush influence (as opposed to hearing elements of a Rush sound), and it was great to hear it on this album.

tangent-hard-shoulderThe Tangent – Songs From The Hard Shoulder
The Tangent returned this year with a collection of prog epics (and one R&B, disco, funk track), sure to thrill longstanding fans and possibly scare away the uninitiated. Check out my review of the album: https://progarchy.com/2022/06/28/album-review-the-tangent-songs-from-the-hard-shoulder/. Check out Rick Krueger’s interview with Andy Tillison, as well: https://progarchy.com/2022/05/27/andy-tillison-the-progarchy-interview/.

Lobate Scarp - You Have It AllLobate Scarp – You Have It All
This record was a long time in the making for Lobate Scarp and it’s mastermind, Adam Sears. The record masterfully blends prog with pop sensibility, all while bearing a strong Spock’s Beard influence. My favorite song is the 17-minute “Flowing Through The Change.” Beyond that, I’ve found many of the uplifting lyrics from other tracks running through my mind over the course of the year. Check out Time Lord’s review: https://progarchy.com/2022/05/06/album-review-you-have-it-all-by-lobate-scarp/.

a0006828710_10Dave Brons – Return to Arda
Dave Brons recently released a follow-up to his 2020 Tolkien-influenced record, Not All Those Who Wander Are Lost. Return to Arda looks at nature within Tolkien’s “Middle-Earth” through a celtic progressive rock lens. Featuring vocals from Sally Minnear, and mixing by Dave Bainbridge. Check out the album on Bandcamp: https://davebrons.bandcamp.com/album/return-to-arda.

Gabriel Keller - Clair ObscurGabriel Keller – Clair Obscur
I reviewed quite a few albums from France this year, and this record was my favorite of those. It contains a blend of English and French lyrics with multiple vocalists. The album has a variety of styles, gradually getting darker and heavier as it goes along. Check out my review: https://progarchy.com/2022/11/13/gabriel-kellers-stunning-musical-journey-clair-obscur/.

8716059014463-cover-zoomInhalo – Sever
I reviewed this debut album from the Dutch proggers for the Dutch Progressive Rock Page earlier this year, and it was a very pleasant surprise for me. It reminded me of TesseracT if they were playing just hard rock and not metal. Very atmospheric with a mature sound. I love their wall-of-sound approach. It’s a solid record, and I look forward to more music from the band. Check out my DPRP review: https://www.dprp.net/reviews/2022/071.

Big Big Train - Welcome to the PlanetBig Big Train – Welcome To The Planet
This record was bittersweet, being the final Big Big Train record to feature David Longdon on lead vocals. It was also an album of change for the band, with new member Carly Bryant taking a more prominent role on the record compared to Common Ground released a mere six months earlier. The record contains a pleasant blend of the band’s more accessible bits as well as their proggy moments. “Capitoline Venus” is a touching love song, while “Oak and Stone” fits in a long tradition of Big Big Train’s pastoral contemplative tracks. The title track is a bit unlike anything we’ve heard from the band, at least during Longdon’s tenure, reflecting Bryant’s new influence. It took me a few listens, as it took me by surprise at first. But once I “got” it, I really came to enjoy it. Check out my review: https://progarchy.com/2022/01/19/album-review-big-big-trains-welcome-to-the-planet/; and check out Rick’s review too: https://progarchy.com/2022/01/21/ricks-quick-takes-for-january/.

Big Big Train Summer Shall Not FadeBig Big Train – Summer Shall Not Fade
The band’s 2018 performance at the Night of the Prog in Loreley, Germany, has been a bit legendary amongst the band’s fans for years, and I suspect the band decided to release it this year due to Longdon’s tragic passing last year. The concert finds the “classic” lineup of the band playing at or near their best in front of a very large crowd. We’re reminded of how great a frontman Longdon really was. It’s a pleasant way to remember this part of the band’s history. Check out my review: https://progarchy.com/2022/11/05/big-big-train-summer-shall-not-fade/.

Bjørn Riis Everything to EveryoneBjørn Riis – Everything To Everyone
This record dominated my listening early in the year. Riis is an excellent guitarist, and his atmospheric rock is always compelling. Every one of his solo albums is worth listening to for his music, vocals, and lyrics. His albums are melancholic, like most of the progressive rock I’ve heard from Norway. Check out my review: https://progarchy.com/2022/05/09/album-review-bjorn-riis-everything-to-everyone/.

dt-lightwork-front-coverDevin Townsend – Lightwork/Nightwork
Devin may have gone quieter on Lightwork, but the album displays his talent as well as any of his records. His skills as a mixer, writer, composer, guitarist, and singer are on full display. The companion album, Nightwork, has some heavier moments, perhaps to soothe parts of his fan base. Either way, both records are great. Check out my review: https://progarchy.com/2022/12/22/devin-townsend-lights-the-night-lightwork-and-nightwork/.

meshuggah-immutableMeshuggah – Immutable
It has taken me close to a decade of listening to progressive metal before I was able to finally get into Meshuggah, and it happened this year! I’ve long known about them and respected them, but I just couldn’t get it. Maybe me getting into Devin Townsend’s more extreme side over the past couple years helped open that door, but I’m now a big Meshuggah fan. I could even hear a Meshuggah riff (from “Demiurge”) coming from my knife and cutting board when I was chopping celery last week. “Immutable” is a fantastic record, finding the band tweaking their sound a bit without changing their substance at all. “Broken Cog” is heavy, brooding, and atmospheric. The scream of “broken cog” close to the end is absolutely epic. Check out Mahesh Sreekandath’s review: https://progarchy.com/2022/11/25/immutable/.

Porcupine-Tree-–-Closure-ContinuationPorcupine Tree – Closure Continuation
I didn’t get into Porcupine Tree until after their hiatus following 2009’s “The Incident” and subsequent tours. I had no real expectations for this record, since Porcupine Tree has played a lot of different styles over the course of their long career. I kept an open mind, and I was highly rewarded. This album is pure Porcupine Tree without feeling like it’s trying to create a certain sound. It’s just what came about from the members writing and playing together on occasion over the past decade. Upon reflection, I think my dislike for some of Steven Wilson’s poppier solo work might be tempered if he continues to make music like this in other outlets. Check out Rick Krueger’s review of the band’s live show in Chicago: https://progarchy.com/2022/09/23/porcupine-tree-in-concert/.

marillion-ahbitd-1Marillion – An Hour Before It’s Dark
Another record that dominated my listening early in the year. This record is almost as good as 2016’s F.E.A.R. Perhaps not quite, but it is close. It’s one I’ll likely enjoy for years to come. Well written music and lyrics (for the most part – I have my beefs with one track) that ponder the turmoil of the last few years. It’s a hopeful album that has some calls to reflect and change our ways. In the end, it makes you think, as all good art should. Check out my review: https://progarchy.com/2022/03/27/we-still-have-time-marillions-message-of-hope-an-hour-before-its-dark/.

Oak - The Quiet Rebellion of Compromise1. Oak – The Quiet Rebellion Of Compromise
Oak never disappoint me. Their latest record finds them evolving their sound a little bit, but it is still definitively Oak. Their layered soundscapes, haunting vocals, and thoughtful lyrics have kept them at the top of my list of favorite newer bands since I first heard them in 2016, and they’ve only confirmed that for me with this record. They’re a band that deserves far more recognition from the prog world. Check out my review: https://progarchy.com/2022/12/14/oaks-third-masterpiece-the-quiet-rebellion-of-compromise/.

steven-wilson_limited-edition-of-one_bookMy favorite prog book of the year was Steven Wilson’s Limited Edition of One. Breaking the mold of rock artist memoirs, Wilson (and Mick Wall, who helped him in the writing process) created a post-modern masterpiece. I typically dislike anything deconstructive (in an academic sense), but Wilson turned it into an art form. He combines memories with lists of his favorite music, books, and movies along with more philosophical commentary on his career and on music in general. Check out my full review of the book: https://progarchy.com/2022/05/08/more-than-a-memoir-steven-wilsons-limited-edition-of-one/.

I only went to one concert this year: Steve Hackett. Interestingly, Hackett was the last concert I saw before governments shut everything down for Covid. The band played the Seconds Out setlist, along with some of his solo tracks. It was a brilliant show, with Hackett clearly demonstrating that his band is the best thing touring right now. He even released a live album from the tour that is well worth checking out. Check out my concert review: https://progarchy.com/2022/04/27/live-again-steve-hackett-plays-st-louis-4-26-22/. And check out Rick’s concert review too: https://progarchy.com/2022/05/06/steve-hackett-in-concert-from-spectral-surrender-to-seconds-out/.

This best-of list feels woefully incomplete considering how much excellent music was released this year… Muse, The Flower Kings, Six by Six, Ryo Okumoto, The Bardic Depths, Cosmograf – all great records, but the above list really captured my attention for one reason or another.

Hopefully 2023 will be another great year for prog. As usual for me, music has been an escape, a sedative, a lighthouse in the storm. With 2022 being one of the most difficult years of my life, music provided much needed comfort and direction over the course of the year. I suspect that will continue in the new year.

Merry Christmas and Happy New Year, everyone. Thanks so much for reading.