Rick’s Best of the Decade

On By kruekuttIn electronic, jazz, progressive metal, progressive rock3 Comments

I’ve kept a spiral-bound notebook titled “Core Discs: The Honor Roll” since the mid-1990s, when I was deeply into a classical music binge at the height of that genre’s last recording boom. Over the years, as I migrated through jazz (courtesy of the Ken Burns documentary) and country/folk (blame Johnny Cash & Leonard Cohen) back into my earlier love of rock, I find it intriguing that my picks started shifting in tandem with the prog revival of the 21st century, long before I started writing for this site in 2017. But unlike Bryan’s methodology for finalizing his excellent list, when I sat down to pick my ten favorite albums of the last ten years, I looked at my top favorite for each year and said, “yeah, those are all still up there.” Which is why I also decided to just list them by the year of their release (not always the year I first heard them) instead of ranking them from 10 to 1. (Oh, and links to my original reviews are embedded in the artist/album listing from 2017 onward.)

It’s true that, in more recent years, my picks have been busting out of genre boundaries — but, if you’ve been generous enough to sample my wares before, you’ve probably figured that out. And hey, if such a tendency isn’t progressive, then what is? Whether the following list confirms or challenges your preconceptions of “what’s prog”, I fervently believe that every one of these albums is worth checking out — but be warned, your mileage may vary!

So, without further adieu:

2012 – Flying Colors: gotta agree with Time Lord here — this one’s a total winner from start to finish. Neal Morse and Mike Portnoy had captivated me long before this with the first three Transatlantic releases and Morse’s two Testimony albums, but Flying Colors showcased an even broader stylistic range, from the Beatlesque “Fool In My Heart” through the retro-80s prog-pop vibe of “Blue Ocean” and “Kayla” to the cutting-edge Museings of “Shoulda Coulda Woulda” and “All Fall Down”. The album also proved that Morse and Portnoy know how to pick collaborators! Guitarist Steve Morse applied his unique mix of Southern-fried chicken pickin’, fusion a la Mahavishnu John McLaughlin and Purpleish power riffs to winning effect (solidly supported by his longtime bassist Dave LaRue), and vocalist Casey McPherson proved he could run with the big boys, stirring fresh melodic and lyrical flavors into every track, including more familiar constructions like the inspirational “The Storm” and the epic finale “Infinite Fire”. This one also gets nostalgia points for being available at Best Buy stores back in the day (remember when you could get CDs there?).

2013 – Big Big Train, English Electric Full Power: OK, I actually didn’t discover this one until 2016, when the BBT bug finally bit me — more on this in a future post. And while I sort of wish I had done so earlier, maybe hearing EEFP on the British trip my wife and I took the year it was released would have been too much of a good thing! Steeped in a love of their native land and affectionate empathy for its people, Greg Spawton and David Longdon doubled down on the longform approach of 2009’s The Underfall Yard to probe forgotten milestones of British history (“The First Rebreather”, the heart-stopping “East Coast Racer”) and portray unforgettable characters (“Uncle Jack”, “Curator of Butterflies”) against a bucolic landscape (“Upton Heath”, “The Permanent Way”), along with the perennial challenges of the heart (“The Lovers”) and the soul (“A Boy in Darkness”, “Judas Unrepentant”). All in a style that recalled original prog touchstones (looking at you, Gabriel-era Genesis) but blended in the dizzying guitar of Dave Gregory and the wicked drum grooves of Nick D’Virgilio to awesome effect. The two separate volumes of English Electric and the Make Some Noise EP certainly have their charms, but in the scope and sequence of this complete package, Spawton, Longdon and company touched on perfection.

2014 – Dave Kerzner, New World: another late arrival in my collection, this is the album that convinced me a genuine prog-rock revival was afoot beyond the continuing efforts of Morse/Portnoy and Steven Wilson. Kerzner’s mastery of cinematic soundscapes was evident from the first Floydian flourish of “Stranded” to the closing upward spiral of “Redemption”; his ability to involve guest stars like Steve Hackett and Keith Emerson, as well as quality players like guitarist Fernando Perdomo and Nick D’Virgilio (him again!), bore impressive results; and his intuitive grasp of pop hooks proved a solid foundation for irresistible shorter songs like “The Lie” and “Nothing”. Stir in longer, brooding tracks “Into the Sun”, “Under Control” and “My Old Friend” (in memory of performer/producer/polymath Kevin Gilbert), and you had a consistently gripping effort. Whether in its single-disc or deluxe double-disc format, New World aimed high and hit every target that a latter-day concept album could — thoroughly immersive, richly compelling and a breakthrough kick-off for Kerzner’s ongoing solo career.

2015 – Steven Wilson, Hand. Cannot. Erase: speaking of latter-day concept albums . . . Seems like *everyone*, especially the ex-SW fans who think he lost the plot with To The Bone and The Future Bites now cite this as his best effort; me, I remember the online ruckus when “Perfect Life” became the pre-release single. (“IT’S! TOO! POP!” As I’ve said before, if only they had known . . .) But as Bryan mentions in his article, Wilson struck conceptual paydirt with the true story of Joyce Carol Vincent’s lonely death, unearthing both the bleakness and the beauty inherent in a life of urban isolation. His sharp, highly committed writing met its match in the blistering playing of his band: guitarist Guthrie Govan (“Regret #9), keyboardist Adam Holzman (“Home Invasion”) and singer Ninet Tayeb (“Routine”) all have some of their best recorded moments featured here. HCE’s enduring appeal does partially stem from its similarity to Porcupine Tree in their prime — but both Wilson’s musical growth in the intervening years and his return to a humane lyrical vision after the voyeurism of Insurgentes and Grace for Drowning were what made the difference then, and now. The melancholy inherent in the final track “Happy Returns” still feels like we’re mourning a life, lived and lost, for real.

2016 – Marillion, FEAR: that rare example of a band hitting a creative and commercial peak simultaneously. Marillion as a band got even more serious about musical substance here, with lush, detailed sonic backdrops adding depth and resonance to their smash-cut collages. All of which fused seamlessly with Steve Hogarth’s lyrical concerns — for example, the opener “El Dorado” built from self-satisfied, affluent peace to twitchy paranoia, as the lyrics and music stewed in the pressure cooker of an over-connected, unsettled world. The heartfelt road narrative of “The Leavers” made a consummate live epic that captured the special relationship between the band and its fans, while ominous closer “The New Kings” (capped by H’s heartbroken refrain, “Why is nothing ever true?”) still seems way too spooky — and way too relevant six years later. Since its release, FEAR’s success has enabled Marillion to go from strength to strength both live (as I witnessed in 2018) and with their equally powerful follow-up, this year’s superb An Hour Before It’s Dark. Which testifies to its ongoing impact, then and now.

Continue reading “Rick’s Best of the Decade” →

Bryan’s Best of the Decade, 2012-2022

On By Bryan MoreyIn progressive metal, progressive rock4 Comments

As we here at Progarchy continue to celebrate our tenth anniversary, we’re moving from talking about our favorite artists of the decade to our favorite albums. Since 2014 I’ve compiled a “best of” list highlighting my favorite music of the year. Looking back, I still stand behind my lists because they represent where I was with music at the time. But now as I look back and try to compile a top ten for 2012-2022, my list looks a little bit different. The following list reflects my views and tastes regarding the last ten years as they sit right now. It’s all very fluid and subjective.

But enough blathering. On with my top ten. The only limit I put on myself was I didn’t want to repeat artists, because otherwise it would all be Big Big Train or Neal Morse and Mike Portnoy. Limiting myself to one album from each of those artists was difficult, but I’ll steer you back to my yearly best of lists at the end of the article, for those artists abound in those lists.

[Headline links, for those that have them, link to Progarchy reviews, articles, or interviews associated with the album.]

10. Pain of Salvation – In The Passing Light Of Day (2017)Pain of Salvation - Passing Light of DayI missed this album when it came out, although I remember reading about it in Prog magazine. I came to appreciate Pain of Salvation with their 2020 album, Panther, which was my top album of the year. I finally started to dig into their back catalog this summer, and I’ve been blown away. In The Passing Light Of Day is a brilliant tour-de-force of emotions. Some of the lyrics I think are too sexually explicit, which is primarily why I rank it at number 10 and why I almost kicked it off my top ten. But the music and melodies are so good, and most of the lyrics are incredibly profound. I also think Ragnar Zolberg brought a lot to the table and was a great balance to Daniel Gildenlöw.

9. The Neal Morse Band – Innocence and Danger (2021)
The Neal Morse Band Innocence & DangerIt was hard to pick one of the MANY albums made by Neal Morse and Mike Portnoy  over the past decade. They’re all just so good, so I took the easy way out and picked the most recent. I think this is the most well put-together of all the Neal Morse Band albums. “Beyond the Years” is one of the finest pieces of music to come out of the last several years.

8. TesseracT – Portals (2021)
tesseract-portalsPortals is a brilliant album. It is unique on this list for being a live release, but it is also unique for being a live-in-studio release – a product of the pandemic. I suppose that’s why I don’t rank it higher on this list, but I’ve been listening to it a ton since it came out. I even broke down recently and bought the fancy deluxe CD/DVD/Blu-ray edition. I think most of the tracks on here sound better than they do on the original albums. The album also introduced me to the band, as well as to the world of djent. The way the band blends djent riffs with Floydian spacey motifs is just perfect. One of the finest bands in the world right now.

7. Haken – The Mountain (2013)
haken mountainI go in spurts when listening to Haken (like I do with many bands). The Mountain has a magnificent blend of metal with splashes of 70s golden age prog. Songs like “Atlas Stone,” “The Cockroach King,” “Falling Back to Earth,” and “Pareidolia” have become prog metal classics, in my book. I’ve come to think Haken isn’t as compelling in their quiet tracks as bands like Riverside of TesseracT, but this entire album is still very listenable nine years later.

6. Marillion – F.E.A.R. (2016)
arton33729Marillion’s F.E.A.R. was my introduction to the band, and I’ve thoroughly enjoyed diving back into their catalog. I’d have to say I think this is one of their best with Hogarth. Their latest album, “An Hour Before It’s Dark,” comes very close to it, but “Reprogram the Gene” knocks it down a peg for me. F.E.A.R. combines musical prowess with cultural critique to wonderful effect, even if I may disagree with Hogarth at points.

5. Riverside – Shrine of New Generation Slaves (2013)
riversideI had a hard time deciding which of Riverside’s three studio albums from the past decade to choose. Love, Fear and the Time Machine and Wasteland are both brilliant, and if I had allowed myself to choose multiple albums from the same artist in a top ten, Wasteland would probably be here too, but I think Shrine edges both of them out. It’s heavy, both musically and lyrically. Several of the songs turn into real earworms for me, and I’m never disappointed when I return to this record. And it’s another one on this list that I discovered several years after its release.

4. Oak – False Memory Archive (2018)
Oak false memory archiveOak is my favorite new band of the last decade. Both their 2013 (2016 release on CD) album Lighthouse and 2018’s False Memory Archive are brilliant albums, if not perfect. This record was my top album of 2018, and Lighthouse was my top album of 2016 (I didn’t realize at the time it had been released digitally earlier). The Norwegian melancholic aesthetic is dripping from both albums. It was hard to pick one of the two, but the closing track on False Memory Archive, “Psalm 51,” is one of the finest album closers I’ve ever heard. I think that gives this record the edge.

3. Devin Townsend – Empath (2019)
Devin Townsend - EmpathI was blown away by Devin Townsend’s Empath when it came out – so much so that I bought the 2CD deluxe version that year and the super deluxe version when Inside Out funded that project the next year. The record masterfully blends all the aspects of Devin’s career into a truly unique and truly Devin experience. It has the heavy bombast of Strapping Young Lad at points, yet it’ll soar into orchestral and even operatic highs elsewhere – or even at the same time. Pure musical theater in the best way. Devin’s vocal performance on “Why?” is stunning, and the message of hope on “Spirits Will Collide” is always a pleasant reminder that life is worth living. The production side of things, with Devin’s famed “wall of sound,” is unmatched in his career, or anyone else’s for that matter.

2. Steven Wilson – Hand. Cannot. Erase. (2015)

Steven_Wilson_Hand_Cannot_Erase_coverHere we come to one of the truly great albums of our time. I would certainly rank this in a top 10 best albums of all time. Back in 2015, this album was my number 3 pick, with The Tangent’s “A Spark in the Aether” coming in at number 1. Now I still think that’s a great record, and I wrestled with whether or not to include it in my top 10, but I think over time Wilson’s masterpiece has proven to be a generational album. Both the music and the story sound fresh, even seven years and many listens later. The themes of isolation and loneliness in city life (or life in general) will always be relatable. Someone 100 years from now could listen to this record, and while they may miss some of the references (even I still miss some of them), the underlying theme will still connect. That’s what places this record up there with the likes of Pink Floyd’s The Wall.

1. Big Big Train – English Electric: Full Power (2013)
Big Big Train English Electric Full PowerThe defining band and defining album for the last decade of prog. Looking back, this record was the one that got me into the contemporary progressive rock scene. Returning to it today is a special treat, as I hope it always will be. It contains everything you might want out of a quintessentially “English” progressive rock band. It has the rock, the folk elements, the complex musicality, the well-told stories. And then there’s David Longdon’s voice, showing us his command of the material and his command of the upcoming several years in the prog scene. When I traveled to England in 2015 (which to me felt like a longer distance between its release than it feels between now and that visit – it’s weird how your perception of time changes as you grow older) I really wanted to listen to this album while being out in the hedgerows and fields. I can still remember sitting on a bus traveling between towns listening to English Electric (I wrote more about this in a piece back in 2016). There are a lot of good emotions connected to this record for me. But beyond that, Big Big Train showed us all that they were THE powerhouse in the new generation of prog bands. They were who all the younger bands were going to look up to for the next decade, and they did it all themselves. Sure, the journey began when Longdon boarded back in 2009 for The Underfall Yard, but English Electric was where they really picked up steam. Every album since has been magnificent, with many topping my best of lists in the ensuing years, but this one will always be the quintessential Big Big Train album for me.

As a coda to this review of the past decade in the best of prog, I want to give you the albums I picked as my favorites for the years 2014-2021 (I didn’t start my best of lists until ’14). I’ll include links to those lists as well. I find it interesting how I’ve “discovered” albums and bands even within the last year that have soared up my list, even if I missed them when they came out. Better late than never.

  • 2014 – Flying Colors – Second Nature  – I saw them live right after this was released. It’s a great record and a great band, but the poppier edge doesn’t stick with me as much as the records on my list above do.
  • 2015 – The Tangent – A Spark in the Aether – I shared above how Wilson’s Hand. Cannot. Erase. has grown in my estimation. I still think this is one of The Tangent’s finest records.
  • 2016 – Oak – Lighthouse – Even if its original release was 2013, this record still dominated my listening in 2016 and was my album of that year.
  • 2017 – Big Big Train – Grimspound, The Second Brightest Star, London Song, Merry Christmas EP – Enough said. Brilliant band. Brilliant music. Brilliant year for them.
  • 2018 – Oak – False Memory Archive
  • 2019 – Devin Townsend – Empath
  • 2020 – Pain of Salvation – Panther – I still think this is a great album. I listened to it yesterday at work, in fact. It was my intro to the band, and maybe I was shocked by how different it was from everything else I had been listened to in the genre. I’d still rank this record extremely highly, but I don’t know if I would put it at the top of the list if I were making a 2020 list today.
  • 2021 – Big Big Train – Common Ground – What can I say? I like Big Big Train.

Thanks for reading through all this. If you’ve been a prog fan throughout this past decade, I hope this brought back some good memories. If you’re new to prog, consider every album mentioned in this post as your homework over the coming weeks. Prepare to be blown away.

Here’s to hoping the next decade is even better.

An Interview with Vaibhav Bhutani of IOISH

On By NickIn progressive rockLeave a comment

Indian experimental project Ioish, formed by songwriter Vaibhav Bhutani, has just launched a new single taken from the upcoming release. Bhutani talks for Progarchy about new music, challenges, and more.

You are to launch a new full-length album entitled “In Waves”. How do you feel about the release? 

Thanks for asking! Well, I am too excited for it as this I the first time I am making something as big as this, in terms of collaborations with other musicians and producers.

Where does the new record stand comparing to your previous releases?

Well, its more organic in terms of the instrumentation of the whole track. This song is based more on “real” instruments whereas the previous one was more inclined towards this electronic space but still inclined towards the progressive music space.

How much of a challenge was it to work on the newly released single “What You Need It For”?

It was not a challenge but more of a rush, a feeling of being nervous in the starting as the whole line up was new but as things unfolded I started realising what my expectations really should be so I started focusing on that and that is when the fun part started. It’s like you wake up just to do that not because you have to but because you want to.

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

Well, The past decade has been hard. I had unreal expectations out of music, especially the kind we make, in a country like India where listening to music is a luxury to be honest. Doesn’t matter if its Bollywood or if its western. If you can choose what music you can listen to in this part of the world, I am sure you’re doing pretty well. So making a space and getting accepted by the people here was obviously a challenge but now I don’t see music as a service that I am providing to everyone but I rather see it as something that I can use to let my train of thought out. Apart from that, I was diagnosed with Rheumatoid arthritis about a decade ago when I was 20 but that actually helped shaped the sound of the band so I is it really a problem?

What is your opinion about the progressive rock/metal scene in 2022? 

In India? I haven’t heard many progressive bands that I can personally relate to, rather there are some other bands that sound HUGE. Overall around the world, well we have bands like The Ocean who we got to share stage with which is a band that I love. I got to watch tool at Download Festival 2022 which is an experience I cant ever forget. I mean music in its nature should be progressive in my opinion the verse chorus-formula is for marketing.

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

Oceansize, Vessels, 65daysofstatic and Toe mixed with a lot of pop music ranging from Kanye West to Taylor Swift, I love sounds. Everything is inspiring if the intent of the sound resonates wtih you and I believe if you listen properly, and pay attention, there is no way it wont resonate with you until your ego is holding on to something that’s not letting you be a part of that space. That is my belief. For example some people hate bands like Coldplay but they don’t even know why. Maybe its not the band but the memories you keep locked away in their music

What are your top 5 records of all time?

Oh wow! The top position is shared amongst two bands. Here it goes:

  1. 10,000 days, TOOL / Frames – Oceansize
  2. Meteora – Linkin Park
  3. Graduation – Kanye West
  4. Crack the Skye – Mastodon
  5. Colours – Between the Buried and me / Continuum – John Mayer

Besides the release of the album, are there any other plans for the future?

We plan to take this live! I am working on a visual part of the songs too. I am also a huge fan of Amon Tobin and VR/AR stuff so I am trying to incorpate technology and arts like no one has ever done before. Starting off with a projection mapping set which would include some AR elements, fingers crossed!

IOISH online:

Website
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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” →