I am a huge Mike Oldfield fan, and have been for over 20 years. My first exposure to Mike’s work was in 1992, when Tubular Bells II was released, and the copy of the live premiere in Edinburgh taped from the telly was an oft rewatched video. So discovering my Dad had Mike Oldfield boxed on vinyl, with the quadraphonic remixes of Tubular Bells, Hergest Ridge (which is probably my favourite album by Mike) and Ommadawn, complete with a bonus 4th record of unreleased or rare material, was a revelation for me, and since then I have collected all of Mike’s releases as they have come out. In fact Mike Oldfield is the only artist whose complete back catalogue (both studio and live) I own. I can’t abide silence, wherever I am there has to be music on for me, it helps me think, keeps me motivated and there’s so much of it out there that you never have enough time to listen to all of it. Mike is a very English composer, his pastoral pieces like Hergest Ridge, Tubular Bells and the later albums like Music from the Spheres or Voyager, follow a line from Elgar or Vaughan Williams. When studying and trying to concentrate for exams, Mike’s beautiful pieces like Hergest Ridge, Incantations, and Amarok were perfect to lose yourself in. Through working backwards I have come to appreciate the work of Vaughan Williams, his Lark Ascending comes from the same idea in England that the mighty Hergest Ridge came from. When I discovered Mike he was embarking on creative resurgence and a mighty purple patch in the late ‘90’s that spawned some fantastic albums like Guitars, Tubular Bells III, The Millennium Bell, as if, freed from his shackles at Virgin he was happy to be creating again. Through his more atmospheric ambient pieces at the start of the century like Tres Lunas, and Light and Shade, Mike has never disappointed, constantly moving on and expressing himself musically. There are very few artists of Mike’s calibre and longevity who can consistently produce great albums. However it’s been a very long wait for this new album Man on the Rocks, his first complete collection of songs since 1989’s Earth Moving, and his first rock album since 2005’s Light and Shade. He’s not been quiet though, in the meantime Mike has released Music of the Spheres, a classical album, performed live at the 2012 London Olympics opening ceremony and has overseen the impressive remastering and reissuing of his back catalogue (currently up to 1983’s Crises, which in its 5 disc set is a beauty) with his first real vocal album Discovery (1984) due soon, which I am really looking forward to.
I mention Discovery because on first glance, Man on the Rocks has a lot in common with its illustrious predecessor, which is my favourite of all Mike’s ‘vocal’ albums.
It has a consistent set of musicians, the same vocalists, and instead of being the man behind all the instruments, we’re getting Mike the band member, rather than Mike the ringmaster. This time however there are no instrumental tracks (unless you buy the deluxe 2 disc set, which features the whole album sans vocals, and is an interesting alternative to the original-guess which set I bought?) and instead of two vocalists alternating leads, or duetting, we have one vocalist, the singularly superb Luke Spiller, frontman with The Struts whose vocal performances are an ideal foil to Mikes music.This album has been out a while (nearly three months to be honest) but as I have been a Man in the rocks myself, instead of writing based on first impressions, this is more of a road test than a review (apt seeing as though the album has spent a lot of the time in the car with me, as I travelled between Kent and Bristol in the midst of a house and job move) and as such the album is a real grower. It also marks a return to the Virgin label for Mike, for the first time since 1991’s Heavens Open (due to his current label, Universal buying Virgin EMI & merging it with Mercury!)
Comparisons will inevitably be made between the opener, Sailing, to Mikes big hit Moonlight Shadow, mainly due to the presence of an acoustic guitar and catchy tune, with lyrics about taking the day off and going sailing, it’s a superb opener, and is reminiscent of the sentiment expressed in On Horseback from Ommadawn nearly 40 years ago, the need for freedom is still the same, the mode of transport is different.
Moonshine, (the second track in his career that’s been called Moonshine) with Davy Spillanes superb whistles, and Paul Dooleys violin, is an emotive track similar in vein to Fairport Conventions My Love is in America, all about the Irish émigrés to American looking for a new life and a taste of freedom, and again Luke’s vocals shine. We then come to the first true classic on the album, the title track, with it’s heartfelt lyrics, Lukes stunning vocals wrench every inch of emotion out of the track, whilst freed from multitracking and long compositions, Mikes guitar absolutely sings, well known for talking through his music, Man on the Rocks is one hell of a personal statement, and the power unleashed through his soloing is probably Mikes best guitar work since his Guitars album back in 1999. With little notes in the booklet about what has inspired the songwriting, I would suggest that the work Mikes been doing on his back catalogue has also given him inspiration, as I haven’t heard his music this fresh, this inspired, this involved and this contemporary since Tres Lunas from 2002.
The band Mike has assembled are also on fire, with John Robinson on drums and Lee Sklar on bass giving the music the solid base on which Mike, who only performs on guitar, keyboards and bass on this album, can build, with the help of Matt Rollings on piano and acoustic guitars from Michael Thompson and co-producer Stephen Lipson, whose deft touch works really well with Mikes music, and means the sound is uncluttered and clear. Working within a band environment is clearly beneficial for Mike’s music, as the strong musical interplay on tracks like Castaway and Dreaming in the Wind showcase the best of all involved. Nuclear, again looking at the darker side of emotions, with Lukes vocals again raging with the lyrics, and Mikes guitar cutting through the track like a scythe is superb. The rocking Chariots, with a great chorus and Lukes great vocals is a gem, and Following the Angels is a beautiful musical tribute to the spirit of the 2012 Olympics. Irene is inspired by the power of Hurricane Irene that passed over Mikes base in Nassau in the Bahamas, and has Luke giving his best Robert Plant throughout. The final track, the beautifully performed and excellently interpreted is a cover of William McDowell’s gospel track I give myself Away, which rounds off a superb collection of tracks. This will be compared to Mike’s previous musical outings, and if you are expecting some of his longer instrumental pieces then you will be disappointed, this isn’t the essence of this album. These 11 tracks are a statement that Mike wanted to make, and with one vocalist, the brilliant Luke Spiller, who is a real find, it hangs together as an album far better than it’s only comparison point in Mikes catalogue Earth Moving, which was a touch disjointed due to the different vocalists on each track. In fact you would have to go back to Discovery to find the last set of Mikes ‘vocal’ works that were this consistent, and this bloody good. This doesn’t sound like the work of a Man on the Rocks, it sounds like the work of a musician at ease with his legacy (which Mike hasn’t always been) and who has his creative juices fired up and ready to show the world what he’s capable of. Lets face it, if you can create Tubular Bells when you are 19, you can pretty much do anything you want to set your mind to doing! In conclusion then, Man on the Rocks is the best Mike Oldfield album since Guitars in 1999, and when taken in context with his entire back catalogue, will rang alongside Discovery, Hergest Ridge, Platinum,Tubular Bells and Amarok as one of the greats.
Rush: My Essential 10 Albums
The game is ON!
Chris Morrissey and our Fearless Leader, Brad Birzer, have issued a “Top 10 Rush Albums” challenge. In fact, Brad’s was pointed right at me via Twitter, so how can I say no?
This assignment was so easy, it was done on my lunch hour.
In order:
1. Moving Pictures (1981). Two months ago this week, I penned what this album means to me. I’ll add no more here.
2. Permanent Waves (1980). Released on January 1, 1980, the album that thrust Rush into the mainstream grabbed my upon my first listen and never let go. Rush managed to blend epics and epic playing with a modern, urgent sound to remind everyone thinking they were just another bloated, long-song prog band that they were instead a progressive, HARD ROCK band.
3. Hemispheres (1978). The group’s most progressive album, sporting just four tracks in the vein of “Close To The Edge,” is fantastic from start to finish. They just played their asses off on this one. While most will point to “La Villa Strangiato,” the oft-played “The Trees” or even the album-side sequel to “Cygnus X-1” as the best tracks, I’ve always been partial to “Circumstances” the same way I’m fond of “Entre Nous” on “Permanent Waves” (both side two openers, by the way).
4. A Farewell To Kings (1977). Yes, I’ve now listed my top four Rush albums in reverse chronological order of release, but for me, 1977-81 was truly the band’s landmark period. “Xanadu” alone makes this a great album for me, as does “Cygnus X-1”, but while I rarely – which is to say, never – make a fuss of lyrics on albums, the sad truth is that Neil Peart’s lyrics in the title track ring true more and more with each passing year.
5. Power Windows (1985). While some may give “Signals” and Grace Under Pressure” a hard time for various song-related reasons, my issue with both of those albums wasn’t the songs…it was the production. Both sounded either flat and/or muddy to me, but all that changed in the first few seconds of “The Big Money,” the opener to “Power Windows.” Heck, they could have just called it “The Big Album,” because producer Peter Collins – referred to by the group as “Mr. Big” – and his team just made this album shine. Huge tracks and big themes populate this gem of a release.
6. Roll The Bones (1991). After the synth and sequencer-heavy “Hold Your Fire,” producer Rupert Hine was determined to get Rush back to its power trio roots and certainly did so with “Presto,” but for me, “Roll The Bones” took it one step further. Yes, there are songs on “Roll The Bones” that probably rival those on “Presto” – “Show Don’t Tell” vs. “Dreamline” and “Superconductor” vs. “The Big Wheel” – but in “RTB” we got our first instrumental since “YYZ” with “Where’s My Thing,” plus “Roll The Bones” features not one, but two brilliant tracks that tug at the heartstrings in “Bravado” and “Ghost of a Chance.” Those more than make up for the last two tracks on the album – “Neurotica” and “You Bet Your Life,” which I can do without.
This brings me to the point when I have to really think about what the last four are and in what order. Thinking…comparing…contrasting…okay, here goes:
7. Counterparts (1993). I can’t believe I’m putting this before the album at #8, but aside from a production superior to the previous two releases – “Presto” and “Roll The Bones” – and despite a bunch of standout tracks, Rush saved it’s best for last with the highly-emotional “Everyday Glory.” Prog bands rarely get points for squeezing emotion out of songs, but Rush just nailed it with this sad-yet-hopeful track.
8. Signals (1982). Certainly one of the biggest 180-degree turns made by a prog band between albums – rivaled by the “Drama” to “90125” succession – Rush’s first attempt to wedge its formidable musicianship into an album’s worth of shorter tracks was a triumph. We can point to the beautifully-structured “Subdivisions” and the band’s only U.S. Top 40 hit in “New World Man” – written only to balance out the lengths of the two sides as bands were still considering vinyl back then – but how about Alex Lifeson’s blazing solo in “The Analog Kid?” How about Geddy Lee’s and Peart’s work in “Digital Man?” How about Rush’s first attempt at a four-on-the-floor track with “The Weapon?” Owwwwooooo! Scaddddy! 🙂
9. Grace Under Pressure (1984). A somewhat muddy production mars Peter “Hentor” Henderson’s time with the band, and if you read Peart’s notes from the GuP tourbook, this one was certainly recorded under pressure, but Rush continued to explore how to fit their chops into shorter tunes and mostly succeeded with gems such as “Distant Early Warning,” “Red Sector A,” the jazz-tinged “Red Lenses” and “we can still fit 5/4 into a song” with “Kid Gloves.” Once again, the band saved its best for last with the amazing “Between The Wheels” with its haunting intro and verses, giving way to a gorgeous, big chorus (note: I’m a sucker for a big chorus).
10. Snakes and Arrows (2007). The batch of “new millennium” Rush albums have been a bit of a mixed bag for me. “Vapor Trails” was the album the band simply had to make (and get through) in the wake of Peart’s personal tragedies, and it was reflected in that fragile recording. While many welcomed the first full concept album from Rush in “Clockwork Angels,” I guess I was well past the point where I wanted to absorb a concept album, plus I find myself skipping through a lot of the tracks save for “Caravan,” the title track and the magnificent “The Garden.” In between those two albums is the best of the bunch, and while there are some forgettable tracks for me, I do love works such as “Far Cry,” “Bravest Face,” “Armor and Sword,” “Workin’ Them Angels,” and “The Way The Wind Blows.”
Well then, I’m sure to be lambasted for ignoring “2112,” let alone the releases before it. They all have their respective places in Rush history and in moving the band towards what they’d become, but they just don’t do a ton for me. If it makes anyone feel better, though, “2112” would have come in at #11.
So…there. Back to work(in’ them angels). You can lambast me for that.
My Top 10 Rush Albums–Ranked
Just today, our own progarchist and professional classicist and philosopher, Chris Morrissey, challenged us to name our top ten Rush albums. Not alphabetically, but actually in the order we love them.
So, I feel up to the challenge.
As I hope I’ve been clear in my writings here and elsewhere—I love Rush, and I have without interruption since I first heard MOVING PICTURES back when I was in detention in 7th grade! Yes, that was the spring of 1981, only a month after the album came out.
I can never offer enough thanks to my fellow junior high detainees, Brad and Troy, for introducing me to this band. At the time, they were shocked I knew everything about Genesis and nothing about Rush. Thank God for their evangelism.
Now, thirty-three years later, I would give much to call Neil Peart my older brother. That said, I can state unequivocally that in my own life, Peart’s lyrics have shaped me as much as any other great artist and thinker. Really, he’s up there with St. Augustine for me. As a Catholic boy (well, middle-aged, graying, Catholic man), this is saying a lot!
Of course, such a list is subjective, and I might be tempted to follow up tomorrow with a slightly different list. Regardless, here it is: as of June 30, 2014.
Grace Under Pressure. Coming out in 1984, this album has ever since defined the meaning of excellence and seriousness for me. I love the music, the flow, and, especially, the lyrics. Not only have the lyrics prompted innumerable great conversations with friends, but I proudly wrote my major liberal-arts core paper (sophomore year in college, 1987-1988) using nothing but the lyrics from this album. I argued that Neil Peart was a modern stoic, a philosopher of antiquity born in the modern world. I earned an A!
Moving Pictures (1981). I’m sure this isn’t controversial, except that most Rush fans would probably rate it number one. It means a great deal to me, and it has formed me—for better or worse—in my own understanding of integrity.
Clockwork Angels (2012). What a feast for the mind and the ears. The flow of the album is gorgeous as are the lyrics. Really, a great story—more of a fairy tale than anything else. The story is essentially the story of Hemispheres, but it’s told with much greater finesse. That it came at 38 years into their career is astounding, and it proves that the desire of each member of Rush to improve himself and his skills has not been a pipe dream. Highlight, the single most un-Rush like song, is “The Garden,” a statement of republican liberty and individualism. And, “Wish Them Well,” is the closest Rush will ever get to hippie/Beatle lyrics. Let the air drumming commence!
Power Windows (1985). As someone who loves both prog and New Wave, I heartily approve of Power Windows. Lifeson’s guitar has much more in common with The Fixx than it does with Rush’s output in the 1970s, but it demonstrates and reveals a real willingness to explore new areas of music. It’s fusion of New Wave and Prog was rivaled only by Yes’s Drama. And, the lyrics. . . sheesh. Neil is at his best.
Signals (1982). I know a lot of old-time Rush fans think little of this album, as they see it as a betrayal of the “true Rush.” But, schnikees has it meant a great deal to me. The lyrics, especially, have given me great comfort. Even this spring as I had make a major life decision, Peart’s words, “there are those who sell their dreams for small desires.” The entire first side is masterful musically as well. I don’t think side two is as strong, but it’s still quite good.
Caress of Steel (1975). Man, is this album wacky or what? And, in large part, I love it for being so weird. Musically, it’s unlike almost anything else out there—by Rush or anyone else. There’s as much acid folk on this album as there is hard rock and prog. But, really, By-tor? Snowdog? The Necromancer? I have no idea what Geddy, Alex, and Neil were thinking or smoking when they made this, but, wow, does it all work.
Vapor Trails (2002). This album is nothing if not a pure statement of life. “I’m alive,” Neil screams in every beat and every lyric of this album, especially after the horrific tragedies he suffered. And, he most certainly is a live. From the opening drums to the massive swirl of guitars and Geddy’s vocals throughout, this is a work of artistic brilliance, meaning, and drive. I never tire of this album.
Snakes and Arrows (2007). Again, this is part of Rush 2.0, the band that remade itself after Neil’s double tragedies. Everything in Snakes and Arrows is perfect. Again, the flow of the album just works brilliantly. And, the fusions and various styles are just fascinating. Neil’s lyrics are a bit angrier than usual, but still quite a effective.
A Farewell to Kings (1977). What’s not to love? The entire album reeks of integrity. Kevin McCormick, on this site, has explained in loving and intricate detail the musical importance of the album in ways I never good. But from the first notes of the guitar to the dire plight of Cygnus, I’m in!
2112 (1976). As Drew commented on Chris’s original challenge, 2112 is a tough one to rank because side one is so radically different from side two. I agree. But, side one is so incredible that it makes up for any flaws in the album. Who can’t just start head-banging when the Overture begins? Who doesn’t want to just hate the priests? And, who isn’t disheartened when the Solar Federation reassumes control. Sigh. . . sci-fi loveliness.
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Long to longish progarchist posts on Rush
Hold your Fire -Rush’s finest? by Tad Wert (*progarchy’s single most popular post ever)
https://progarchy.com/2014/04/24/rushs-finest-album-hold-your-fire-until-youve-read-my-analysis/
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Erik Heter on Moving Pictures as Synergy
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Discovering Rush on their 40th anniversary by Eric Perry
https://progarchy.com/2014/04/25/discovering-rush-the-40-year-old-virgin/
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The first Rush album reviewed by Craig Breaden
https://progarchy.com/2014/02/22/rushs-first/
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A review of A Farewell to Kings by Kevin McCormick
https://progarchy.com/2013/01/21/rush-a-farewell-to-hemispheres-part-i/
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A review of Power Windows by Brad Birzer
https://progarchy.com/2013/12/14/power-windows-rush-and-excellence-against-conformity/
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Kevin Williams on Clockwork Angels Tour
https://progarchy.com/2013/11/24/rushs-clockwork-angels-tour-straddles-the-80s-and-the-now/
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Brad Birzer on Clockwork Angels Tour
https://progarchy.com/2013/11/27/rush-2-0-clockwork-angels-tour-2013-review/
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Erik Heter on Clockwork Angels Tour Concert in Texas
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A review of Vapor Trails Remixed by Birzer
https://progarchy.com/2013/10/05/resignated-joy-rush-and-vapor-trails-2013/
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A review of Grace Under Pressure by Birzer
https://progarchy.com/2013/02/21/wind-blown-notes-rush-and-grace-under-pressure/
(please support these incredible sites and the fine humans who run them!)
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Power Windows: http://www.2112.net/powerwindows/main/Home.htm
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Rush Vault: http://rushvault.com/
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Rush is a Band: http://www.rushisaband.com/
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Cygnus X-1: http://www.cygnus-x1.net/links/rush/index.php
All Rush Albums as ranked by 3RDegree’s Robert James Pashman @3RDegreeONLINE
To help you think about my “Top Ten Rush Albums EVER” challenge, here is a repost of a most excellent Facebook post by 3RDegree’s Robert James Pashman:
All Rush Albums as ranked by 3RDegree’s Robert James Pashman:
[from October 3, 2013 at 2:33am]
Caveat — even not so good “albums” have some, even many great “songs” so take the tendency toward judging Rush (and other bands) by ALBUM with a grain of salt.
1. Moving Pictures 1981
I’ve fought this forever, claiming my fave as Permanent Waves but its appeal is undeniable. Too obvious because it’s their best seller but it’s Rush at its Rushiest and is practically a greatest hits collection on its own. When there’s a Rush best of collection made, it’s often interesting to see what song from Moving Pictures is left off of it. Has probably the best album side ever made by anyone.
2. Permanent Waves 1980
I think this is the archetype for Moving Pictures and has an even better epic song on it than Moving Pictures does (“Natural Science” being better than “The Camera Eye”). Has 2 radio staples (“The Spirit Of Radio” and “Freewill”) and even 2 out-of-character love songs (or relationship songs) that are both home runs (“Entre Nous” and “Different Strings”).
3. Power Windows 1985
This one is chock-full of orchestration, keyboards and even a choir (all on “Marathon”) and has some of the best Peart lyrics ever committed to paper. It was used as a teaching tool in schools even. Some saw this as the apex of the band getting in too deep with keyboards and far away from what made them great, but I see it as the band successfully staying relevant, strongly melodic and not afraid of dressing up the songs any way they saw fit.
4. A Farewell To Kings 1977
Probably the most interesting Rush album as it incorporates keyboards for solos and effect and includes lot of sci-fi overtones. The staple “Closer To The Heart” sneaks its way into the madness too.
5. Hemispheres 1978
More of the same from the previous album but with slightly more “filler” moments and perhaps a bit too much repeating of themes on the side one long epic.
6. 2112 1976
Many would have this higher but that’s probably based on how good side one’s title track epic is. It’s sort of legendary now if you’ve seen the documentary how this is the album that they held up a big middle finger to the music industry and got rewarded for it from fans and never had to answer to the “suits” again. For that alone, it’s totally cool.
7-9. Signals 1982, Grace Under Pressure 1984, Hold Your Fire 1987
I think all of these are pretty equally interesting, incorporating the keyboards of the time and reggae and pop stylings. I think Signals gets a little “samey” synth-wise, whereas GUP and HYF offer more variety but Signals has great lyrics and a few of their best (“Subdivisions”, “Losing It”) and their only Top 40 “hit” (“New World Man”). GUP has a dark feel to it and HYF the excellent underrated “Open Secrets”.
10. Clockwork Angels 2012
A band staying relevant decades into their career. The title track is one of their best songs ever. The album hasn’t a clunker really and it’s got an over-arching theme. It’s their first entire concept album.
11. Counterparts 1993
The best from the 90s. Has their answer to grunge (“Stick It Out”), a too-wordy but excellent emotional masterpiece (“Nobody’s Hero”) and their best instrumental out of the many they put out in the 90s (“Leave That Thing Alone”). Also has one of my favorite dark horse tracks with “Double Agent”.
12-13. Snakes & Arrows 2007, Presto 1989
Two of the best of the “medium quality” Rush albums. S & A‘s “Far Cry”, “Armor & Sword” and “Spindrift” are hard hitting, excellent tracks and Presto‘s “Show Don’t Tell” signified the band with the guitar and the riff in the forefront after many albums with Alex sharing space with keyboards. “The Pass” is one of Rush’s most emotional and melodic tracks with “Available Light” a close second.
14. Vapor Trails 2002
Strange with its orchestrated and overdubbed bass and guitar tracks on almost every track but has the standout “Ghost Rider” and ultra-strange “Freeze”. At this point, we were just happy to have them back.
15. Fly By Night 1975
Lots of interesting proto-prog (as pertaining to Rush only) mixed with single length tracks.
16. Roll The Bones 1991
Some of Rush’s best and worst songs are on this thin-sounding album. It’s probably their most overrated—if only because it did well at the time. “Face Up”, “Neurotica” and 2 others are just horrible. There’s way more interesting things about some of the worst tracks on other albums but these lesser-known RTB tracks are borderline embarrasing.
17. Test For Echo 1996
“Driven”, “Time & Motion” and “Totem” are really interesting but the rest of the album is just meh. Judging from Rush’s set lists, I think they agree with me.
18. Caress Of Steel 1975
They get an “A for effort” here but ultimately failed at the time only to try again and succeed with 2112. This album interests me when I hear it if only because I know it the least and it sounds “new”.
19. Rush 1974
Not bad, just not quite Rush yet.
Going the extra mile for Aisles
One of the most challenging parts about being a prog reviewer is trying to ascertain how many times you need to listen to a particular album before you feel confident enough to deliver a balanced, fair appraisal of what it is all about.
I have never reviewed an album on the strength of one listen, no matter how discordant or lacking it may be. A lot of work goes into every release so I feel a sense of responsibility and respect for the artiste(s) in giving their work a thorough listening before committing my thoughts to type.
On the other hand, some of the most interesting albums are the ones where you feel no matter how many times you play them, there will be something more for you to discover the next time you give it a run-out. One example came in the post in the spring all the way from South America. It was the new album 4.45am by a Chilean band called Aisles and I am always up for hearing the work of a band I might not have encountered before in my prog travels and travails.
Aisles have been in existence for 11 years and this is their third album following The Yearning in 2005 and In Sudden Walks in 2009. The band line-up currently comprises brothers Sebastián Vergara (Vocals) and Germán Vergara (Guitars), Rodrigo Sepúlveda (guitars), Alejandro Melendez (Keyboards), Daniel Baird-Kerr (Bass) and Felipe Candia (Drums).
Now regarded as one of the best prog bands in South America, Aisles are deeply influenced by bands such as Marillion, Genesis, Pink Floyd and if you listen carefully to 4.45am, you might even hear echoes of Queen, a touch of 80s electronic pop and shades of Radiohead, another of their favourite bands. However there is no mistaking the strong Latin American vibe, especially from some beautiful acoustic guitar work and subtle rhythms, that run seamlessly through their music.
There is another paradox in that I was going to recommend this as essential summer listening because it is an ideal album to which to soak up a sunny afternoon with its sultry Latin American atmospherics (which it is).
However, the actual concept of the collection is very much on the dark side, the worst day of your life in fact. The songs centre on exploring and challenging what motivates people to get through the day, starting with the title track 4.45am, the time perceived as being on the cusp of night and day.
The clues as to who is the central character in the song can be found in the album’s stunning artwork by Omar Galindo with Gallarda Yarura a beautifully pitched instrumental which starts with a scolding mother, the piece focusing on her small but rather menacing-looking son.
There are some clever touches in the infectiously catchy Shallow and Daft about a popular radio DJ which questions his motives in return for the love his listeners send him. There’s personal fear and loathing in Back My Strength in which Germán Vergara turns up the vocal intensity to great effect.
Delicate acoustic guitar and ethereal vocals are the hallmarks of The Sacrifice, again another cry for help gazing out to sea, the lyrics show. No surprises then that the next track is the brief crashing waves of The Ship which blasts straight into the mesmeric instrumental Intermission, its insistent riff overlaid with artistic sonic effects.
At this point, Aisles take a slight fork in the road, with three slightly longer compositions, Constanza Maulen joining Sebastián on vocals for the heart-rending Sorrow, full of despair and lost hope over a gentle Latin rhythm.
Instrumental Hero shows how they have mastered the art of atmospherics, building gently, shifting through a few gears with the help some subtle synths and deft guitar work.
The ten minute long Melancholia brings the album to an end, again the piece being a closely woven but haunting piece with plaintive harmonies which is dedicated “To my mother.”
This is not an album I could have reviewed properly after just a few plays. It was worth going the extra mile for Aisles as it needed a lot of careful listening and understanding, but in the end, it passes muster as a real “dark horse” album. Give it a go below and see what you think.
What Matt Cohen and Eva Brann Have in Common
For regular progarchy citizens, please forgive this unusual post. As some of you might know, the founding editors of progarchy are also each deeply immersed in the world of the Liberal Arts, the greats of Western Civilization, and liberal education. It’s what we do when we’re not progging out. Promoting liberal education by day, prog by night.
Every once in while the world of antiquity and the world of progressive music meet and harmonize. Here is one such example. Two weeks ago, I had the incredible privilege of seeing Dr. Eva Brann, tutor at St. John’s College, Annapolis, and widely regarded as the foremost proponent of liberal education in the world. No exaggeration.
Here’s her talk–well worth reading. http://www.theimaginativeconservative.org/2014/06/odysseus-patron-hero-liberal-arts.html
But, of course, how could I think of Odysseus and not think of my favorite The Reasoning song, a song I’ve listened to at least weekly since it came out? “A Musing Dream.”
So, a huge salute to Homer, to Eva Brann, and to the Cohens for advancing so much beauty, truth, and goodness.
Top Ten Prog Over Ten Minutes Long ★★★★★
In order to meet the challenge of listing my own Top Ten Prog Albums EVER, I imposed upon myself an additional requirement over and above the ones Brad specified.
Each album on the list, I insist, must contain at least one song that is over ten minutes long.
And so, given that sonnet-like constraint, here is my list:
★★★★★
Big Big Train — The Underfall Yard (H/T: “The Underfall Yard” [22:54] and “Victorian Brickwork” [12:33])
Kate Bush — Hounds of Love (H/T: “The Ninth Wave” [= Side Two of the LP, clocking in at 27 minutes])
Flying Colors — Flying Colors (H/T: “Infinite Fire” [12:00])
Genesis — Foxtrot (H/T: “Supper’s Ready” [23:06])
Haken — The Mountain (H/T: “Pareidolia” [10:51] and “Falling Back to Earth” [11:51])
King Crimson — Red (H/T: “Starless” [12:26])
Rush — A Farewell to Kings (H/T: “Xanadu” [11:12] and “Cygnus X-1” [10:26])
Sound of Contact — Dimensionaut (H/T: “Möbius Slip” [19:36])
Transatlantic — The Whirlwind (H/T: The entire album is one song 78 minutes long! Or take “Dancing With Eternal Grace” [12:04])
Yes — Fragile (H/T: “Heart of the Sunrise” [11:33])
★★★★★
If I were allowed doubles then maybe I would substitute Yes’ Close to the Edge for the Haken and Big Big Train’s Far Skies Deep Time for the Sound of Contact.
But can I instead invent a new challenge?
How about the “Top Ten Rush Albums EVER”, ranked not alphabetically but in order of preference?
Jacob’s Ladder
Jules Evans in a recent post — “Is pop music bad for your soul?” (June 25, 2014) — has some interesting observations. For example:
For ordinary people, pop music was our equivalent of Jacob’s Ladder. It was our way to climb up and see beyond our lives, to connect with the deeper and darker emotions which the shiny world of capitalism did not allow us to express during the week. Our way to express our loneliness and longing for togetherness, our way to express our hope for a better world. Pop music, not classical music, kept spirituality alive in the dry decades of the 20th century, and (to quote Dylan) it ‘got repaid with scorn’.
Read more at: Philosophy for Life
The Art of Brian Watson
Many of you might know (and you should!) Brian Watson from his excellent reviews over at the Dutch Progressive Rock Page. He also, happily, reviews for us. Indeed, he’s an extraordinary progarchist. A man of law and order, he’s also a man of high writing and artistic talents. He’s also a genuinely great and interesting guy (guy is Kansan for “real person”). So glad he created this for us. To check out Brian’s other works, check out his Facebook page, Plan A Art.
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