In researching the artistic life of Greg Lake, came across an article from 2010 about the resurgence of progressive rock. Contains some insights from a writer clearly on the “rock n roll” part of the spectrum. Worth a quick read…
Guardian article on resurgence of Prog, 2010
So sad to hear the passing of Greg Lake.
King Crimson star Greg Lake dies aged 69
http://www.bbc.co.uk/news/entertainment-arts-38251936
continued from last night. . .
Andy Tillison Diskdrive, MACHTE ES DURCH. Sadly, this release has gotten very little press, and, yet, as with all things Tillison, it’s simply genius and extraordinary. When thinking of Andy and The Tangent, think intensity and integrity. When thinking of Andy Tillison Diskdrive, think of taste and integrity. On his solo albums (at least this one and the previous one), Andy has been exploring–rather expertly–jazz-rock-fusion. He is a natural and a master.
Ghost Community, CYCLE OF LIFE. I’ve been rather joyously following the trajectory and art of Matt Cohen for almost a decade now. The guy is simply put–the kind of guy you really, really, really want to support. Whatever tragedies the man has experienced, he comes out on top and with an infectious joy. Not only is his bass playing on this album gorgeous, but the album itself is just joy made manifest. Imagine a truly progressive and non-cheesy Styx of 1975, and you have Ghost Community. Probably more rock than prog, it’s what prog needs right now to keep some balance. (Notice, please, that I used some form of “joy” three times in this mini-review!)
To Die Elsewhere is a metal band hailing from Salem, Oregon. The group set out to craft a very honest, direct and personal sound through the use of compelling melodies, aggressive riffs and thundering rhythm sections.
The music featured within their recent release Whispers, is a powerful blend of heavy sounds and gritty textures that blur the lines between Djent, Metalcore and progressive music with an aggressive edge. The stunning artwork designed by Taylor Bates (New Melody Art Design) does a great job at offering a visual interpretation of the sound of the band. Dark and faded, with glimmers of light and a very impressive natural geometry that adds some sophistication to the sound of the band.
The album features 13 explosive tracks that are ablaze with fire and energy, from opening tune “Day I” up to the album’s closing composition, the self-titled tune on the record. “Mask of a Judge” is probably one of my favorite songs on this release, with a really explosive drum intro that dives into some of the most powerful and expressive riffs featured on the entire release. Another track worth mentioning would definitely be “Unfinished”, which begins with a really cool drum groove, to burst into a very heavy sonic assault. These Oregon musicians set out to create a very cohesive album, with songs that stand out on their own, as well as in their “pack” ensemble.
Listen to the album on Bandcamp.
What a year. I would guess that when historians look back to 2016, they will see it as a year of extreme violence and angry populism. Sadly, both the violence and the politics revealed themselves from time to time in the prog world, but not detrimentally so.
Life, dignity, and art remain, however, no matter what the politicians scream. And, praise the Lord we have good music to heal so many hurts of this broken world.
Glass Hammer, VALKYRIE. Not just the best GH album, but one of the greatest rock albums ever made. Susie has never sounded better, and GH has gone well beyond their comfort level to explore a full-blown novel in this terribly moving story. This album strikes that perfect—and all too elusive—via media, balancing beauty and innovation. VALKYRIE is, undoubtedly, my favorite album of the year.
In the next several spots, I have to wrestle with myself. Frankly, any ranking after VALKYRIE, would change day by day and, perhaps, even hour by hour. So, I offer the following loves.
Guamskyy is an instrumental progressive rock/metal project managed by guitarist and composer Christian San Agustin, who is about to release an album titled “Seven Parallels” on December 20th. In an interview for Progarchy, Agustin tells us about his project.
What made you go for the name Guamskyy?
I came up with the name as my Xbox gamertag! Me and my buddies back in high school added “skyy” to the end of a name we’d pick. Because I’m from the island of Guam, it was only fitting for me to choose that name, with my friends agreeing with me. Fast forward from there to a couple years ago with my first EP release “Journey Home” and needing a moniker, there was no better choice.
Louis Goodwin aka Merkaba is a member of the growing one man instrumental progressive metal movement. Merkaba is a new project considering that it started back in June this year, and in such a short time Goodwin managed to write a self-titled EP which consist of nine songs and which brings a mix of electronica and djent / progressive metal. Goodwin sets himself apart by focusing on atmosphere rather than the intricate virtuosity of similar artists. The music utilizes relatively straightforward “djent” rhythms mixed with sustained synths and delayed clean guitars all dripping with reverb. The beauty of the layers is undeniable, with little to no dissonance to be found.
“Merkaba” definitely succeeds in what it was trying to do. The EP greatly benefits from more emphasis on clean delayed guitar sections that give the music a nice dynamic range. This is a record whose tracks slowing and steady grow until they burst with emotion yet always make sure to keep a super chill vibe. The songs aren’t in a hurry, and instead let you soak in the atmosphere and emotion of a truly chill, yet much more than ambient, experience. It has such a wonderful vibe about it, like profound discovery and the mystery and beauty of the universe. It’s great music to let your imagination run wild.
Listen to “Merkaba” on Bandcamp here.
Mike Portnoy has shared on his social media that he is off to Florida to begin writing a new Flying Colors album with his bandmates. I’m very excited to hear this, to say the least. I love their music, and I was blown away when I saw them live. I’m definitely looking forward to their new album.
Off to Florida to begin writing @FlyingColors album #3 with Deez Guyz…can’t wait to see what we cook up this time! pic.twitter.com/hPbSfGdVE9
— Mike Portnoy (@MikePortnoy) December 5, 2016
Among the Progarchy editors, I happen to be the resident metalhead. So, on that basis, here is my list of the 10 best metal albums of the year. I have listened to them many times with the utmost enjoyment. They each have aspects that grab you right away, while other aspects must grow on you over time. In any event, they are all musical achievements of the highest quality, and I give them each my highest recommendation.
The albums below are listed in chronological order. As each month of the year went by, it was clear which album I was listening to the most and enjoying the most. So, on it went to my Top 10 Metal playlist. By November it was abundantly clear, simply from my daily listening habits, what my top 10 picks for the year are. So, here they are, but please note that I will also publish a supplementary “pure prog” Top 10 list later on this month. For now, here is the metal list.
Megadeth — Dystopia ★★★★★
Holy Grail — Times of Pride and Peril ★★★★★
Haken — Affinity ★★★★★ Continue reading “The Top 10 Metal Albums of 2016”
By 1977 Jethro Tull was beginning to wear out its welcome in punk-crazed Britain, but the band was still in its prime creative period. Since 1971’s Aqualung, Tull had been working toward a singular brand of progressive rock, fusing its blues and jazz leanings with the sound and presentation style of traditional songs to create, in the hands of Ian Anderson and his cracked, acerbic writing and vocalizing, an often wickedly pointed baroque folk songbag. Songs from the Wood gave full voice to Tull’s rural idylls, and provides a kind of bookend to what the Incredible String Band began with 1968’s The Hangman’s Beautiful Daughter: a freeform referencing of traditional song without going all trad arr (leave that to the Fairports and Steeleye….). The lyrical and electrical possibilities had ripened as Dylan‘s revolution took a turn towards more European forms, and Tull’s often exaggerated English-ness pervaded both songwriting and production: if Traffic’s “John Barleycorn” gave the impression that the band was plugging directly into the Yorkshire dales, Jethro Tull’s entire catalog depended on the conceit that you might see them — grubby around the edges — performing as a troupe on any given corner of any given English village on any given May Day. Disturbing. Liberating. And when Martin Barre goes to eleven on his Les Paul, thundering.
The live version of Songs from the Wood‘s “Velvet Green” was not included on 1978’s concert album Bursting Out, even though it was performed during that same tour, but was one of the many lovely additions that made the boxset Twenty Years of Jethro Tull (1988) so fascinating and worthwhile. If the band was ever in better form live, they were never captured so well as here on “Velvet Green,” a tune of some finessing, with all members of the band playing multiple roles. Part morris dance, Bach concerto, and dazzling 70s progressive musicianship, the song is a reverie of countryside and sex, rendered in the film without, ironically, Anderson’s trademark flute-between-the-thighs histrionics (his hands here are perhaps, um, full enough, with actually playing said flute and a Martin slot head acoustic). It is one of their finest moments, and as performances go — sympathetic to the song and to the strengths of its players (even though Barre doesn’t even get near a guitar!) — hard to think of a comparison.
Progarchy 