Progarchy’s Artists of the Decade: Neal Morse and Mike Portnoy

On By Time LordIn progressive rock11 Comments
Neal Morse & Mike Portnoy: Prog Artists of the Decade (2012-2022)

Progarchy has been here for a decade now. So, we’re celebrating in this October anniversary month by looking back at the past ten years.

Already in this series, “Progarchy’s Artists of the Decade,” we’ve had two strong cases made for Steve Hackett and Steven Wilson. Undeniably, two guys named Steve loom large over the past ten years of prog.

Indeed, those are two eminent artists. Hackett looks back to the golden age of prog’s birth. He draws upon the best of Genesis to make new music and also to keep the Genesis legacy alive. Wilson is a next generation prog polymath whose creativity has exploded over the last decade and given us all many hours of ecstatic listening.

All the same, I am going to have vote for the dynamic duo of Neal Morse and Mike Portnoy as the team whose energy has been unmatched in productivity and prog excellence. The two Steves, prolific as they are, are still no match for the dazzling output from the two men who, ever since they respectively left Spock’s Beard and Dream Theater, have delivered an astonishing stream of recordings for our enjoyment.

I myself have spent more hours over the past decade listening to the many albums that Morse and Portnoy have been involved in—more hours of albums than the two Steves combined. And I have no hesitation in ranking them together as my ten-year pick, despite the mighty works (both concerts and albums) of the Steves of prog.

Two decades ago, Morse left Spock’s Beard. But it was with Momentum (2012), a decade ago, that his output began to dominate my playlists. It was a decade ago that Progarchy started up, as we founders rallied around a shared love of Big Big Train in order to get the word out online about the new birth of prog happening with a new generation after Pink Floyd, Genesis, Yes, King Crimson, Rush, and all the other greats who shaped our formative years.

That Morse solo album included Portnoy on drums. I couldn’t get enough of it, and the solo section on the powerful title track will be forever burned into my mind with its dazzling keyboards by Morse—and Paul Gilbert’s mind-blowing guitar solo. For me, it definitely announced the dawn of a new interstellar age of prog glory, with Portnoy’s kick drums propelling us forward at warp speed overdrive.

But that Morse and Portnoy dominance of my playlists was foreshadowed by the release in that same year, just a couple months earlier than Momentum, of the stunning supergroup debut of Flying Colors’ Flying Colors (2012). That entire album is a masterpiece. My two favorite tracks are “The Storm” and “Infinite Fire,” the latter of which ranked right up there for me with the greatest of Yes. Yes, “Infinite Fire” was reminiscent of Yes because it induced the same ecstatic prog experience when listening to it. And with the Steve power of another Morse adding his guitar into the music, the cathartic axe-work on “The Storm” delivered prog positivity to the max, with a song capable of turning any bad day around on a dime.

Morse and Portnoy went on to apply their indispensable talents to powering Transatlantic’s Kaleidoscope (2014) and The Absolute Universe (2021) into new galaxies of prog. What’s truly amazing is that these two albums could stand on their own to rule the past decade. But sandwiched between them we have an incredible series of albums exhibiting unmatched creativity.

Indeed, Flying Colors itself gave us two more stunning albums, with Second Nature (2014) and Third Degree (2019). But the Neal Morse Band, under another dynamic duo pseudonym, gave Morse and Portnoy another pretext to record albums together. And these NMB albums arguably overshadow the two Transatlantic and the three Flying Colors albums, because Morse and Portnoy shine even brighter, as they step to the forefront even more than they would otherwise do within the supergroup dynamics of the Transatlantic and Flying Colors.

The NMB albums are four in number: The Grand Experiment (2015), The Similitude of a Dream (2016), The Great Adventure (2019), and Innocence & Danger (2021). Stepping back and looking at the sweeping ambition of these four albums, it is unbelievable how much they draw upon the epic prog heritage of epic-length tracks, while still further taking that classical genre to new levels of excellence. Again, just these four lengthy albums could lay claim to dominance of the prog achievement of the past decade of music. But placed alongside Transatlantic and Flying Colors, I think they supply definitive proof that Morse and Portnoy deserve the title of Prog Artists of the Decade (2012-2021).

Morse and Portnoy have a shared love and mastery of the greatest music of decades past. Proof positive may be found on their Cover to Cover albums. Check out their Cov3r to Cov3r Anthology (vols. 1-3), which includes the exuberantly playful discs Cover 2 Cover (2012) and Cov3r to Cov3r (2020) added to the joyous original.

Once upon a time, I would argue for Neal Peart as the GOAT. But listen to all of the above albums, and then you will realize how Portnoy extends that noble heritage of the savvy prog group drummer into an unmatched variety of ensemble collaborations.

Over the past decade, Portnoy is apparently the hardest working drummer in show business. Of course, he always has time for working with Neal, as when the two of them snuck in their work on Sola Gratia (2020). This shows us again, Portnoy’s humility is pretty much the archetype of the drummer’s Platonic form. He seemingly has no ego, always willing to play on what is officially called a Neal Morse solo album or a Neal Morse Band collaboration. But Portnoy is clearly the indispenable other half of Morse’s past decade of output. What’s amazing is that Portnoy is happy just to play drums and let his playing speak for itself.

Let Portnoy’s discography of collaborations conclude the case I am making in this post. Consider his unmistakable sound as part of Adrenaline Mob (three albums: 2011, 2012, and 2013); as part of Metal Allegiance (three albums: 2015, 2016, and 2018); as part of Sons of Apollo (two albums: 2017 and 2020); as part of BPMD, American Made (2020); with John Petrucci, Terminal Velocity (2020); with Liquid Tension Experiment 3 (2021); and as part of The Winery Dogs (three albums: 2013, 2015, 2017).

That’s fourteen more albums of Portnoy added to the fourteen I already mentioned above! 28 albums over a decade? Sounds like we have a winner here, an equal partner with Morse who more than carries his weight in every collaboration.

Morse and Portnoy have been the dominant artists in my past ten years of listening. The stats from my Apple Music app tell me so. So here’s my Progarchy salute to congratulate them both. Other bands and other artists come and go. But these two have left a permanent mark of excellence. And I get the feeling that they are working away together on even more new music. Excelsior!

Progarchy’s Artists of the Decade: Steven Wilson

On By kruekuttIn art rock, electronic, progressive rock7 Comments

Back at the end of 2012, when I was compiling my year’s-end list of favorites (then a solitary pursuit, mostly for personal reflection), Steven Wilson’s Get All You Deserve was the only concert video that made the cut. Recorded in Mexico City at the end of Wilson’s initial solo tour, it’s still a ferociously intense — though oddly chilly — set, with tracks from Insurgentes and Grace for Drowning snarled by the glowering artist and meticulously brought to life by an all-star band of players. I had begun following Porcupine Tree when they hit Grand Rapids on 2005’s Deadwing tour, glomming onto them as The Great Progressive Hope and seeing them twice more that decade. So the video struck me as Wilson’s declaration of intent; the Tree was no longer bearing fruit for him, and it was time to make a name and a way for himself.

My thesis here is that, in the last ten years, Steven Wilson has done exactly that. And from the birthday of Progarchy through its tenth anniversary, Wilson’s next moves have consistently captured the attention of the subculture this website serves. As reflected in the frequent coverage of his projects here — whether we loved ’em, loathed ’em, or wound up somewhere in between! That’s why when the Progarchy editoral braintrust bantered about who to consider as our Artists of the Decade, I claimed SW.

Look at the man’s track record these last ten years, kicking off with 2013’s The Raven That Refused to Sing. So many genre boxes ticked here: a thematic album of ghost stories (!) cut live in the studio with Alan Parsons as engineer (!!), its jazz-rock leanings unmistakably influenced by Wilson’s remastering/surround mixing work for historic giants like King Crimson, Jethro Tull, Marillion, Gentle Giant and two or three et ceteras. Impressive writing, great playing, immaculate sound. When I caught that tour at Chicago’s Park West, though, it gave me an uneasy feeling; all too often, it felt like the onstage Wilson was peering into the lives of the damaged (“Harmony Korine,” “Luminol”) and disturbed (“Index,” “Raider II”) with no purpose beyond voyeuristic giggles and lurid thrills.

But then came 2015’s Hand. Cannot. Erase., Wilson’s rock opera portraying a young woman’s inexorable disappearance into the maw of the big city. Not only was this his most fully integrated album musically (reminiscent of his conceptual work with PT, with plenty of intense instrumental fireworks), but his latent empathy came forward again in his treatment of the “based on a true story” subject matter and his lyrics, to the benefit of both the album and the ensuing tour. Live again at Park West, an obviously proud Wilson played the whole thing, engaging with the audience instead of hiding behind transparent scrims and long hair, and even indulged in multiple Porcupine Tree tunes. If a bus had hit SW that year, at least a slice of retro-prog fandom might still be clamoring for him to join Rush and Genesis in the Rock and Roll Hall of Fame.

Continue reading “Progarchy’s Artists of the Decade: Steven Wilson” →

Progarchy’s Artists of the Decade: Steve Hackett

On By Bryan MoreyIn progressive rock6 Comments

In pondering ways to celebrate Progarchy’s tenth anniversary, Steve Hackett was one of the first names that came to mind when thinking about top solo artists in the progressive rock world over the past decade. Of all the artists and bands from the “golden age” of progressive rock still hitting the touring circuit, Steve Hackett and Yes stand out in terms of output and the quality of live performances. What pushes Hackett into the lead, in my opinion, is the stellar solo material he has released over the past ten years in addition to the magnificent “Genesis Revisited” live tours and live albums. Other artists in the contemporary scene may have more of a direct influence on the prog scene today (I’ll leave it to my friends here at Progarchy to talk about some of them), but Hackett has been a shining example of someone who both embraces his musical past while still exploring new musical territory in an engaging way. 

It all started back in 2012 with the release of Genesis Revisited II, a double album of Genesis songs and a few Hackett solo tracks re-recorded by Hackett and a revolving cast of top-tier progressive rock artists. The subsequent live tours and live albums (Live at Hammersmith, 2013; Live at the Royal Albert Hall, 2014) showed that audiences were hungry to hear Genesis’ classic catalog in a live setting with an original member of the band. The following years have seen five more live albums and as many solo albums.

The icing on the cake for the live shows was Nad Sylvan, a phenomenal Swedish singer whose voice bears an uncanny resemblance to both Peter Gabriel and Phil Collins while still retaining its own signature tone. The closer you listen, the more you realize he has his own voice, as his brilliant solo records have shown, but in a live setting, it doesn’t get much closer to the real thing than Hackett’s touring band with Sylvan on vocals. Collins can’t sing like that anymore, and Gabriel won’t touch the material with a ten-foot pole. Thankfully Hackett and company have no such restrictions or reservations. 

Roger King and Rob Townsend have been the other two stalwarts of this touring band over the past decade, with both (particularly King) playing prominent roles in Hackett’s solo material as well. King is an underrated wizard on the keyboards, matching Tony Banks note for note. Townsend’s arsenal of blown instruments adds extra layers to the Genesis music, as well as offering a fresh and unique take on some of the tracks with the inclusion of saxophone. Even purists have to admit that Hackett’s subtle tweaks to the songs don’t take away from the magic of the performance. 

Hackett’s band has also featured a rotating cast of bassists, all of whom have been phenomenal. Whether it was Nick Beggs, Roine Stolt, Lee Pomeroy, or now (my favorite) Jonas Reingold, they’ve all blown the roof off.

Steve Hackett

Continue reading “Progarchy’s Artists of the Decade: Steve Hackett” →

A Note From Our Founding Father

On By Bryan MoreyIn progressive rock2 Comments

This afternoon I received a lovely email from Brad Birzer, one of Progarchy’s founders, and he gave his permission for me to post it for you all to read:

I just want to offer—for what it’s worth—my sincere thanks and congratulations to Progarchy on its tenth anniversary.  I am very proud to have been one of the founders of the website.  We—that is, the first five editors—originally formed to promote the work of Big Big Train (to be the ultimate fan site!), but we decided almost immediately to promote the best of prog.  We wanted to explore prog lyrics and philosophy, and we also wanted to be a website that sought the good, the true, and the beautiful in progressive rock (and related) music.  Specifically, we wanted to praise what we loved, rather than criticize what we disliked.  I’m so glad to know that Progarchy is in such good hands, ten years after its founding.

– Brad Birzer

Progarchy Celebrates 10 Years!

On By Bryan MoreyIn progressive rock2 Comments

October is Progarchy’s anniversary month, and this year marks a very special milestone for us: 10 years! Progarchy’s editors (myself, Chris Morrissey, and Rick Krueger) colluded to come up with ideas to celebrate this momentous occasion. Over the next few weeks, expect to see articles from us talking about our favorite albums and artists over the past decade and at the end of the month, Progarchy’s band of the decade (our longtime readers probably won’t have to guess too hard about who will get that coveted prize). I’d also like to encourage our other writers to join in the fun, especially with your favorite albums of the last ten years. 

Progarchy

I’d like to thank all our readers over the years, especially those who keep coming back. We recently surpassed 1.2 million all-time page views, which is pretty great for a little blog-based site like ours. We’re a pretty bare-bones operation. We don’t have a lot of fancy programming skills like some sites have, but we have talented writers, and I like to think over the years Progarchy has added a unique flavor to the prog world through our styles of reviews. 

Of course I also want to thank the artists we review and interact with. We wouldn’t have anything to write about without you. 

Stay tuned over the coming weeks as we look back over the past ten years, which has been one of the most productive and enjoyable decades in the history of progressive rock. The output has been immense, and some of the music has been on par with the output of the “golden age” decade of prog beginning in the late 1960s. It has been incredibly exciting to witness all of this from the review seat. We hope to continue to do this for many years to come, which requires both musicians interested in making this music and people interested in listening to it. So keep playing, listening, and reading. 

Prog on, citizens of our merry republic! (And subscribe via email if you haven’t already.)

Rick’s Quick Takes for September

On By kruekuttIn Ambient, americana, art rock, Big Big Train, Cosmograf, Insideout Music, progressive metal, progressive rock, Robin Armstrong1 Comment

Another month of thoroughly enjoyable releases across the progressive spectrum from quiet to loud, from controlled to anarchic — often all in the same album! As always, order links are included in the artist/album title listing, and streaming audio or samples follow the review.

Cosmograf, Heroic Materials: Robin Armstrong’s latest concept album speaks softly and hits home hard. As a World War II fighter pilot recalls the challenge he rose to as a young man and laments the passing of his golden era, he also sounds the alarm about the challenges the generations who’ve followed have inherited. Throughout, Armstrong’s lyrics are simply stated yet deeply affecting, sung with real gravity and soul. And as the music patiently unreels, it becomes impossible to pick out a standout track; each brooding acoustic interlude, each stinging electric solo, each cinematic ebb and flow leaves its indelible mark. Elegiac in its evocation of past glories, urgent in its call to action today, breathtaking in its poised blend of fragility and strength, Heroic Materials is a riveting listen and a thing of beauty, already on my list of favorites for this year.

Dim Gray, Firmament: a Norwegian band that’s getting a broader push courtesy of Kingmaker Management, with an opening slot on Big Big Train’s recent tour (to say nothing of Oskar Holldorf’s filling BBT’s keyboards/backing vocals slot live) and their second effort released through the English Electric label. Kingmaker knows how to pick ’em; Holldorff, guitarist Hakon Høiberg and drummer Tom Ian Klungland whip up a mighty noise on Firmament’s 12 succinct tracks, with Holldorff and Høiberg’s ethereal, evocative singing launched above one swirling, quasi-orchestral crescendo after another. From opener “Mare” to finale “Meridian”, middle-aged farts like me might hear echoes of Phil Spector’s Wall of Sound, Brian Wilson’s pocket symphonies and Avalon-era Roxy Music, while younger listeners may catch hints of Fleet Foxes’ seamless, potent vocalises and Sigur Ros’ relentless ensemble builds. Whatever Dim Gray’s influences, the trio’s pin-sharp ensemble and pacing, thrilling sense of dynamics and undeniable gift for melody make for an arresting sound, with impressionistic lyrics that complement the sweep and yearning of the music. Here’s an album that not only dreams big, but actually delivers.

Steve Hackett, Genesis Revisited Live – Seconds Out & More: by my count, this is Hackett’s sixth live set since the Genesis Revisited concept revived his worldwide touring mojo a decade ago, beating out even Rush’s late career live output. Too much of a good thing? Arguably — but on the other hand, both Bryan Morey and I raved about this tour when it hit the Midwest this past spring, so I can also argue that more is better! With Amanda Lehmann complementing his usual merry men on second guitar, Hackett and band rip through a set of solo classics (and I wholeheartedly include Surrender of Silence tracks “Held In the Shadows” and “The Devil’s Cathedral” in that description) that climax with Lehmann’s floating vocals and Craig Blundell’s jaw-dropping drum workout on the vintage “Shadow Of The Hierophant”. Then it’s nirvana for Hackett-era Genesis fans, with the entirety of their 1977 live masterwork reprised (and sometimes gently, sometimes deliriously reimagined) in one go. Gorgeous sound whatever the format, and nicely hi-def visuals on the BluRay; it all does what it says on the cover, with Hackett’s usual flair and panache. See you next year for the Foxtrot At Fifty set?

King’s X, Three Sides of One: “Calling all saviors/And I’m shouting at God/Oh won’t you come and save us/Don’t you think we need you now/So let it rain, to wash the fear away.” dUg pinnick’s vocal testifies while his bass thunders, Ty Tabor’s guitars chime and howl like lightning, Jerry Gaskill’s drums crack open the earth and sky. And the apocalyptic “Let It Rain” is only the start for a trio that’s lost none of its power. King’s X’s first album in fourteen years, Three Sides of One’s rock is thick, gnarly, punchy and unbelievably tough no matter the tempo or texture, always locked into a sweet groove that carries you along. With Pinnick’s gospel-rooted shouts complemented by Tabor and Gaskill’s spindly, psychedelic harmonies, the band prowls the waterfront of life today, calling out the hucksters of “Festival” and the digital overlords of “Swipe Up”, commiserating with “all the lonely people” of “Give It Up” and “Holidays”. Stir in the drained cynicism of “Flood Pt. 1” and the dystopian parable “All God’s Children” and you have a compelling vision of societal despair. Human love (“Take the Time”, “She Called Me Home”) offers respite, but there’s no closure in sight; as pinnick preaches on the final track, “The whole world is crying for love/Every everywhere.” Lighting candles and cursing the darkness with alternate breaths, King’s X rocks on regardless — and I consider that heartening in and of itself.

Continue reading “Rick’s Quick Takes for September” →

Porcupine Tree In Concert: Not Closed, Continuing

On By kruekuttIn art rock, Heavy metal, progressive metal, progressive rock3 Comments

Porcupine Tree, Auditorium Theatre, Chicago, Illinois, September 20, 2022.

The kick-off of Porcupine Tree’s first Chicago show in twelve years was nothing if not dramatic: a deep drone booming out as automated stage lighting menacingly swept the 3,000+ plus audience, the house lights dimming at the point of maximum tension — then a full-on visual assault from lights and screen, tracking with the slashing hard rock riffs of In Absentia’s “Blackest Eyes”.

At stage left: Richard Barbieri, ensconced in his wraparound nest of keyboards, conjuring up fearsome sonic webs of mist, gloom and abrasive noise as required. At stage right: Gavin Harrison, similarly surrounded by an overwhelming array of drums, cymbals and percussive accessories — and somehow appearing to be able to hit them all at once. And at center stage: Steven Wilson, throwing shapes on guitar as the power chords crashed, scrambling toward the mike on bare feet to chime in with typically sunny lyrics about a serial killer making a move on his desired prey.

Left to right: Richard Barbieri, Steven Wilson and Gavin Harrison, live onstage in Chicago.

It was an impressive opening, but something seemed off, and Wilson quickly acknowledged the state of affairs — sickness had been running through the band, and tonight it was effecting his voice. Promising his best efforts on both the Tree’s back catalog and the whole of their new album Closure/Continuation, singer and band proceeded to a nimble, ominous reading of “Harridan” and a lilting take on “Of The New Day.” Here Wilson’s challenges for the evening became apparent, as congestion and pitching problems crept into passages sung with less than full power. By “Rats Return”, though, Wilson had his voice under control, excoriating the cowardice of political strongmen both at the top of his lungs and in chilling undertones, while vicious fuzzed riffs raged around him.

The rest of the first set was completely stunning, mixing new tracks with superbly chosen throwbacks like the Floydian angst of “Even Less” and the doomy drive of “Drown With Me”. A zesty “The Sound Of Muzak” had it all: a bitterly hilarious Wilson intro (“21 years ago, I wrote a song about how music was becoming commodified — something you picked up at the supermarket, or as part of a software application. Well, thank goodness that didn’t come to pass!”), one bewilderingly brilliant Harrison drum fill after another, and a spontaneous audience singalong to the choogling chorus. Then it was Barbieri’s turn to stoke the darkly atmospheric “Last Chance to Evacuate Planet Earth Before It Is Recycled”, its instrumental build eerily synced with the video suicide note of Heaven’s Gate cult founder Marshall Applewhite. And after senseless death, mourning: the new “Chimera’s Wreck” finally clicked into place for me as a survivor’s lament, Wilson diving into the depths of human experience, probing extremes in search of exorcism and catharsis. But after that emotional a ride, what do you do for the second half?

Continue reading “Porcupine Tree In Concert: Not Closed, Continuing” →

IOISH Plans on Hypnotizing You with “What You Need It For”

On By NickIn progressive rockLeave a comment

Indian instrumental experimental act IOISH has launched a new single from the forthcoming album “In Waves.” The music video for “What You Need It For” is streaming now. You can watch it below.

The single, mixed and mastered by Brett Caldas Lima, marks the 10th anniversary of IOISH.

Commented the founder Vaibhav Bhutani: “I always had a vision to make an audio-visual themed album, but I did not have the resources for it. Now that I am done with my degrees, I can just go for it. For this album, I got some of the best people in India and around the world, like Shantanu Sudarshan, whom I’ve known since more than a decade, and I’ve always considered him as the best drummer in the country. On the bass is Nikhil Rufus Raj, a veteran in the local music scene. I’ve looked up to his music since I started playing. He’s a brilliant musician and a great guy! On this particular track we have Meredith Moore who plays for giants like Paul McCartney, Mumford and Sons, Robbie Williams, and Josh Groban to name a few. I came up with the basic structure of the song and send it to other musicians to add what they can to it. I believe that collective effort is what makes something grow! Also, we have Brett Caldas Lima on the mixing/mastering duties, he’s just an overall legend.”

As a sound therapist Bhutani realized the importance of music in its purest form which is to be instrumental in its existence. 

He goes on saying: “I believe that as there is nothing or rather no one else that can distract one from their thoughts while listening to music without lyrics. Interestingly enough, I noticed how many people are actually scared to feel something and use certain type of music to escape. I just want people to know and acknowledge what they are feeling as that awareness can help us grow a lot as humans, as a collective group of individuals.”

Bhutani already plans on the next single.

He admits: “As I earn from my day job I do need some time in between releases to earn back the investment. The next song is almost ready. Also, this album is divided in three parts (three songs each). This part of the album deals with the emotions that I had to let go of. The next part will be of the emotions I hold on to, and act up in the moment. And the final one will be about the stuff that makes me want to get up and do something with this thing called life. I am working on the projection mapping material for the live set. As I am a huge Amon Tobin fan, you can expect something along the lines of what he does combined with Sigur Ros.”

The new single “What You Need It For” is streaming now. Watch the video below, or stream in on SoundCloud, Spotify or Apple Music here.

IOISH online:

Website
Facebook
Instagram

Background:

IOISH’s sound is a mix of soulful guitars layered with atmospheric textures that are soaked in melodious grooves and riffs evoking a progressive rock feel. The combined elements make for an immersive and moody trip for the audience. One that they can immediately engage with.

Over the years IOISH has played alongside bands like Tides From Nebula, I Am Waiting For You Last Summer, The Ocean Collective, Intervals and As I Lay Dying during their Indian tours. 

Album Review: @SolaceSupplice “Liturgies Contemporaines”

On By Bryan MoreyIn Atmospheric rock, progressive rockLeave a comment

Solace Supplice - Liturgies ContemporainesSolace Supplice, Liturgies Contemporaines, June 15, 2022
Tracks: Le Tartuffe Exemplaire (5:12), Sunset Street (4:12), A Demi-Maux (4:03), Les Miradors (6:46), Cosmos Adultérin (3:57), Schizophrénie Paranoïde (3:14), Au Cirque Des Âmes (4:10), En Guidant Les Hussards (4:19), Liturgies Contemporaines (3:53), Dans La Couche Du Diable (4:46), Marasmes Et Décadence (4:33)

[Edit: I discovered just after finishing this review and posting it that primary band member Eric Bouillette passed away last month. Our deepest condolences to his family and the band. He was an incredibly talented musician and artist.]

For my third review of recent French releases (see 1 and 2), I bring you Solace Supplice’s Liturgies Contemporaines. Ok, I’m cheating. The band is technically based in England, but the lyrics are in French and the primary players are French. The album has a solid soundscape that is both moody and epic, with a variety of musical textures and sounds.

Primary members Eric Bouillette and Anne-Claire Rallo are members of Nine Skies, a fine band that has made some waves in prog circles in recent years. Both are multi-instrumentalists, with Bouillette playing guitars, keyboards, and violins as well as singing. Rallo plays keyboards and bass. They are joined by Jimmy Pallagrosi on drums, Laurent Benhamou on saxophone on a couple tracks, and Willow Beggs (Nick Beggs’ daughter) on bass on several tracks.  

The record opens with an old English-language clip from the BBC. The song quickly dives into a fast-paced guitar-driven gallop, with that BBC clip popping up again periodically. I liked the inclusion of that clip because it elevates the scope of the record just a bit – makes things feel a little bit more epic. 

The title track, “Liturgies Contemporaines,” is probably my favorite on the record. It is brooding and atmospheric, slightly reminiscent of Steven Wilson or Porcupine Tree. The vocals and guitars really shine over the repeating keyboard line and simple drum riff. Bouillette’s vocals really stand out on this song. The tone he creates on this is rather different than on the rest of the record, and I think he sounds best on this song. Sometimes his vocals are a bit monotonous when singing the French lyrics, but his voice is very dynamic on the title track.

Lyrically the album leans on the more obscure, allowing for more interpretation. It also helps that they’re in French, forcing English listeners to either dig deep (lyrics posted on their website), or just appreciate them for the way they sound. Bouillette’s style of singing works well on “Dans La Couche Du Diable.” The song starts quieter with piano and acoustic guitar, over which he gently sings. A pounding guitar and drum riff kicks in with a marching beat, and the vocals march along with it. The result is quite effective, especially as the song builds towards the end. The track swells towards the end as the keyboards swirl in the background. With a little extra working at the end, I think it would have made a better ending track to close the album, as “Marasmes Et Décadence” doesn’t go much of anywhere musically for most of the song until the guitar solo, bass, and keyboard solo kick in at the end. “Dans La Couche Du Diable” sounds more like an album closer to me. 

Bouillette’s guitar work is dynamic throughout the record, with clean solos on “A Demi-Maux” and grittier shredding on “Les Miradors.” The atmospheric guitar on the title track really shows the range of his capabilities, with the guitar contributing to the soundscape and standing center-stage in the second half of the song. The band scatter in some unexpected musical moments to keep us on our toes. Bouillette’s violin on “Au Cirque Des Âmes” has a gypsy jazz feel to it, and the saxophone on “En Guidant Les Hussards” adds a jazzy and atmospheric sound.

I’ve found Liturgies Contemporaines compelling on repeated listens. It has a solid rock drive with multiple textures and a variety of sounds that manages to remain cohesive. The title track really makes the album for me – I just wish it were longer. The songs could have also been edited to flow together a little better, as the general production value strikes me as being a concept album. All the same, the record is worth multiple listens for fans of contemporary prog. Certainly fans of Nine Skies will want to check it out, if they haven’t already. 

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Glass Hammer Release Video from Upcoming Album “At The Gate”

On By Bryan MoreyIn progressive rock, progressive rock musicLeave a comment

Glass Hammer news from the band:

‘The Years Roll By’ is the first of two music videos from the band’s new concept album.

The Years Roll By is the opening track on Glass Hammer’s At The Gate concept album —set for release on October 7th, 2022.

Bandleader Steve Babb said the following about the new album: “At The Gate completes our sword and sorcery inspired trilogy that began with 2020s Dreaming City. We followed that up with last year’s Skallagrim—Into The Breach.”

For the uninitiated, he went on to explain. “It’s the story of a scarred and battered thief, Skallagrim, who’s had his memory stolen along with the love of his life. He’s got to fight unimaginable horrors and slay hideous creatures and sorcerous villains if he’s ever to reclaim either. Finally, at the end of the last album, his memory is returned, but he finds himself cursed to wait one thousand years for a chance to find his lost love! At The Gate picks up at the end of his tale as he prepares to face the ultimate challenge of his life—to finally rescue his girl and defeat the evil being who has imprisoned her.

“Of course, as with any Glass Hammer concept album, there is more to it than a simple plot. On the surface, it appears to be about magic swords and heroes, but it’s actually a story about confronting evil, how to survive it, and how to face despair and heartache.

And most importantly, it’s about why the pursuit of profound and lasting joy in an often joyless world is worthwhile, even when all available evidence suggests it cannot be found.”  

Babb says he chose to open the album with a ballad. “…something ethereal, something reminiscent of what our fans call classic Glass Hammer. The Years Roll By fits the bill, I think. Of course, there’ll be plenty of metal and prog on the new album. The next music video I plan to release hits really hard!”

Autographed copies of At The Gate are available for pre-order on the Glass Hammer Store website. www.glasshammer.com