Tag: District 97

Nick’s Best of 2012 (Part 1)

On By Dr NickIn Uncategorized6 Comments

2012 has been a fantastic year for progressive music. I’ve listened to a huge pile of albums and still don’t feel like I have scratched the surface of all the great material that’s out there at the moment. I know of albums that would probably be on my ‘Best Of’ list if only I’d had the time (and money) to hear them in full before now – Katatonia’s Dead End Kings, Mörglbl’s Brutal Romance and The Void from Beardfish spring immediately to mind. But a list must be produced, so let’s activate the ERTEM and get on with it!

First, some restrictions. My list considers only original releases of full albums from 2012: no reissues or remixes and no EPs. (Hey, I’ve got to simplify things somehow, OK?)

I’ll also split my list into three parts: ‘Highly Commended’, ‘Top 5 Contenders’ and ‘Top 5’. To avoid the paralysis of indecision, only the last of these will actually be ranked; the other two will be listed alphabetically.

We’ll begin with my Highly Commended category: 10 albums that I have enjoyed hugely this year.

AstraAstra – The Black Chord

Follow-up to their 2009 debut The Weirding, boasting higher production values. Variously described as ‘retro’ or ‘classic’ in sound, I suppose because of the liberal use of Hammond organ and Mellotron. I don’t know what you’d call it, but it’s trippy, atmospheric and darned good! The epic title track is particularly splendid.

CrippledBlackPhoenixCrippled Black Phoenix – (Mankind) The Crafty Ape

A big brooding monster of an album from the stoner prog legends, probably their best yet – although I have yet to hear the follow-up that appeared recently, No Sadness Or Farewell. (Yes, you read that right: two albums in one year). Pretty much how I’d expect Pink Floyd to sound if they’d all been born 25 years later.

District97District 97 – Trouble With Machines

Yes, yes, “former American Idol finalist”, blah blah blah. Forget all that nonsense about vocalist Leslie Hunt and concentrate instead on the music – precise, technical and totally absorbing, all crunching guitars and shifting time signatures, with Hunt’s voice weaving intricate and unusual melodies throughout. Top-class prog metal. John Wetton guests on one track.

TheEnidThe Enid – Invicta

How do you even begin to categorise such a unique band? Some people simply don’t ‘get’ The Enid, but if your tastes encompass the classical or symphonic, there’s a good chance you will fall in love with them. This latest release features a wonderful new lead vocalist, Joe Payne. There is high drama here – think opera or musical theatre – but also moments of great beauty and delicacy.

FlyingColorsFlying Colors – Flying Colors

Given my innate scepticism regarding supergroups, I really wasn’t expecting this to be as good as it is. Album opener Blue Ocean starts off like a more upbeat version of a track by The Doors, and Kayla is a superbly catchy pop anthem. There’s even some real, honest-to-goodness prog in here, in the form of long-form album closer Infinite Fire. A thumbs-up to all concerned; on this evidence, the second album really will be something to relish.

SteveHackettSteve Hackett – Genesis Revisited II

What can I say? A set of well-crafted, tasteful reinterpretations of classic Genesis tracks spanning the entire Hackett era, plus new versions of a few songs from his solo career. Call me a heretic, but I think some of them improve upon the originals. There are things on here that will make you smile and probably one or two that will make you frown, but discovering which is part of the fun. See my review for more details!

NineStonesCloseNine Stones Close – One Eye On The Sunrise

The follow-up to 2010’s Traces. Powerful and atmospheric, achieving true Floydian grandeur in places, with plenty of long liquid guitar solos that would would make Dave Gilmour proud. The excellent vocals of Marc Atkinson – sadly now moving on to pastures new – are also worthy of note. Stand-out tracks are probably The Weight and Frozen Moment.

AlanReedAlan Reed – First In A Field Of One

The solo format allows this former Pallas front man’s vocal talents to really shine. Well-crafted songs with a varied mix of styles, successfully blending prog, pop, rock and even folk influences. The finger-clicking jazzy opening of final track The Usual Suspects is unexpected, to say the least!

TheReasoningThe Reasoning – Adventures In Neverland

Reviewed elsewhere in the hallowed pages of Progarchy. A real statement of intent from a band still mourning the disappearance of former guitarist Owain Roberts. I might quibble with the production, which needs to be more crisp and dynamic, but the songs are very good – particularly those on the second half of the album.

ShadowOfTheSunShadow Of The Sun – Monument

Debut album from ex-Reasoning guitarist/singer Dylan Thompson’s new band. More straight metal than prog, with only hints of The Reasoning here and there. A very enjoyable blend of heavy stuff with one or two quieter and more mellow pieces. Definitely worth a listen.

Neal Morse, Chicago, October 12, 2012.

On By bradbirzerIn Uncategorized7 Comments

Last night, fellow Progarchist Mark Widhalm, our lovely and patient wives, and I had the wonderful privilege of enjoying six hours of live progressive rock.  We saw District 97, Three Friends (Gentle Giant), and Neal Morse.

Here are two photos from the event.  The first is of Three Friends.  The second is of Neal Morse.

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Sorry about the poor quality of the photos; I took these with my Nokia phone.  I also got to see Chicago celebrities (well, at least they’re celebrity in the Birzer house), Mike and Sarah D’Virgilio.  I glimpsed Neal Morse’s manager and Facebook friend, Chris Thompson, from a distance, but he was a man understandably on a mission, and I didn’t want to interfere with his direction of the show.  “Hey Chris, it’s me, Brad, your Facebook friend!”  Yes, I can be obnoxious, but this might have gone a little too far, even for me.

A few quick impressions–Gary Green was one of the single finest guitarists I’d ever seen as was his bassist, Lee Pomeroy (of It Bites).  The music of Gentle Giant was rather mind-boggling and profound.  It was, I think, rock at its highest art.  Steve Hayward has been encouraging me to immerse myself.  Add Steve’s suggestion with actual performance, and I’m sold.  Now, another band to explore in its entirety

But, we went originally to see Neal Morse and Mike Portnoy.  The other music was just an excellent fringe benefit.

Neal Morse is a wonderfully talented madman.  I pretty much hung on his every word and action on stage.  His energy, his talent, and is ability to direct and lead his band is probably beyond compare.  While I’m sure I’m not the first person to place supernatural ability on a great show man, but Morse’s showmanship did seem to be animated by something well beyond (and above) this world.  I know this probably sounds absurd, but there was glow about him that I’ve only seen (once at most) on truly holy persons.

And, while I’ve always considered Mike Portnoy one of the world’s best drummers (along with Nick D’Virgilio and Neil Peart), I’ve always also thought his studio records seem more mechanical than soulful.  Watching him in action convinced me, rather strongly, that he’s a man as full of soul as he is of ability.  In judging his abilities, I realized I should never allow his precision and perfectionism to detract from his power and radiance of soul.  Having him and Neal Morse on the same stage was overwhelming, to say (write) the least.  These are two powerful personalities who served as critical poles of incarnate myth.  Because of my seating, I had a perfect view of Morse but a poor one of Portnoy.  Had I been able to choose between one or the other to focus on during the concert, I would’ve been rather torn.

The two men, despite clearly being perfectionists and powerful personalities, are obviously the best and most trusted of friends.  At one point, two obvious Mike Portnoy fans yelled something at the end of a very powerful moment in Morse’s Testimony.  Morse was a bit taken aback (as was the entire audience), and I would guess that the audience as a whole lost a story of some kind because of the interruption.  Portnoy stood up from his drumkit and yelled directly at the two: “There will be no heckling at a Neal Morse concert.”  He did it with great humor and strength.  Needless to write, no one yelled like that again.

Everyone in Morse’s band, not surprisingly, was an expert and multi-talented musician.  Randy George didn’t move around much, but he played his bass with confidence and skill.  All of the musicians, though, were equally good, and the most impressive part of the whole night were the vocal multipart harmonies which Morse directed with passion.

This was probably the best concert I’ve ever seen (Three Friends as well as Neal Morse).  Yes, I’m still basking in it.