My best of, must owns, of 2013

Prog7 - Version 2I realize it’s not the end of the calendar year, but it is the second day of Advent, and it seems like a proper time to list what I love about the music of this past year.  

The year, frankly, has overwhelmed me—but all in a good way.  As someone who has followed prog rather consciously since about 1981 (age 13) and has been exposed to it since about 1971 (age 3), I love the genre.  Frankly, I love many forms of music, including classical, opera, and jazz.  I’ve never learned to appreciate anything about country and rap, and, given that I’m 46, such prejudices will probably remain.

Sometime around age 22 or 23, though, I realized that financially, I was going to have to chose a genre if I wanted to collect and listen with any seriousness.  Perhaps it’s the slight OCD or some other quirk I possess, but I’ve never liked doing any thing half way.  In fact, as my maternal grandparents taught me—whether in taking care of the yard or cooking a meal or baking a loaf of bread or even in helping a neighbor—there’s no sense at all in doing something only partially.  In fact, to do anything partially was to slap yourself, integrity, and God in the face.  If you’re going to do something, do it well.  In fact, do it with excellence, if you possibly can.

So, if I wanted to throw myself into a genre, and not do it halfway, I had to choose between jazz and prog.  I love poetry too much, so prog seemed the best genre, as I find much to appreciate in fine lyric writing.  And, even in psychedelic lyric writing, there’s a joy to figuring out the puzzle of imagery.

And, so choosing prog, I realized soon after that I’d chosen a genre made up a lot of folks like myself—a number of OCD perfectionists!  And, I found that almost everyone making prog was (and is!) deeply committed and intelligent.  And, so were (and are!) the fans.  No one who loves the superficial of life becomes a prog musician, artist, or aficionado.

The problem was, of course, that when I was age 22 (1990), there wasn’t a lot of prog happening.  At least not much new was coming out.  Yet, prog could be found all throughout the rock world—though not always in the likeliest places.  As a genre, though, prog was probably at its lowest point in terms of what was being released.  Yet. . . yet. . . we were only a few years away from Brave and The Light and The Flower King . . .

Flash forward 23 years.  Holy schnikees.  What a year 2013 has been.  Really, could it be better?  Doubtful.  And, as I mentioned in my Preliminary Awards piece a few days ago, an argument could be made that we’ve reached the pinnacle, the Mount Everest of Prog!  I know, I know.  Eric Perry is going to slap me down for being hyperbolic.  Damnit, Eric, I’m from Kansas!  We’re not exactly subtle!!!

Phew.  Ok, I feel better getting all of that out.

Two quick comments.  First, these are in no order, other than alphabetical.  Frankly, these albums are just too good to allow my own will to separate one from another by “better or better.”   With one exception.  I would think any lover of the genre would want to own each of these.  Second, there are several albums that I suspect are wonderful, but do to my loan limitation because of family and work, I didn’t have time to absorb.  This latter list includes releases by Sam Healy (SAND is en route to the States as I type this), Mike Kershaw, Haken, Francisco Rafert, Ollocs,and Sky Architects, I apologize to these artists, as they took the time to contact me, and I was unable to give them credit where credit is due.  In due time, I will, however.


So, the list of the must-own cds of 2013, with two important exceptions.


Ayreon, The Theory of Everything.  I hope to offer a full review of this soon, and I think fellow progarchist Tad Wert will as well.  The earlier series of Ayreon albums—possibly and arguably one of the most complex science fiction stories ever written—seems to have become self contained and at an end.  Now, if I’m understanding the lyrics from Arjen Lucassen’s latest correctly, Ayreon has become a project about exploring the self rather than about the self exploring the universe.  This is not easy listening, in terms of music or lyrics.  The former is a shifting feast of glory, no idea lasting more than two or three minutes before gorgeously transforming into some new idea, and the latter is deeply introspective and intelligent.  I’ve never had the chance to meet Arjen, but I would guess that he must be about as interesting as possible.  For him to keep such a huge range of ideas in one album, musically and lyrically, screams brilliance.  I only have one complaint with this release.  I’m a huge fan of Arjen’s voice, and he relies on the voices of others.  All good, if not outstanding, but I want Arjen’s voice.



Cosmograf, The Man Left in Space.  Phew.  Yes, let me write that one more time.  Phew.  That English chronometric and entrepreneurial demigod, Robin Armstrong, has now released four albums under the project name of Cosmograf.  Each is better than the last.  And, each of “the last” was pretty amazing and astounding and outstanding and lovely and meaningful and . . . you get the point.  The Man Left in Space is existentialism at its best.  Just as Arjen has written one of the finest science fiction stories of the last century, Robin has given us the musical equivalent of of the works of Albert Camus and Gabriel Marcel.  Add to near perfect story telling the musical work of Greg Spawton, Matt Stevens, Nick D’Virgilio, and, among the best, Robin himself, and you have a work of art that will stand the test of time.  A family man who loves speed, Robin also loves excellence.



Days Between Stations, In Extremis.  This one was a complete surprise to me.  A review copy arrived in the mail, courtesy of the band and the master of American prog PR, Billy James.  I was intrigued by the cover [que, background sound, Brad’s mother: “Never trust a book by its cover. . . “], though I frankly don’t like it that much.  It’s by the famous Paul Whitehead, but it’s a little too psychedelic for my tastes.  But, then, I looked at the musician list.  Holy smokes!  Tony Levin, Billy Sherwood, Colin Moulding, and Rick Wakeman.  How did this come about, I wondered?  Sherwood and Moulding sing on the album, and neither has ever sounded better.  Indeed, they seemed to have been created and birthed for this album.  Overall, In Extremis is symphonic prog at its best.  At 8 tracks over 70 minutes, the album never lags.  It flows together beautifully and movingly.  There are some of the most gut-wrenching passages, emotionally, I’ve ever heard in a prog album.  And, the two main members of the band, Oscar Fuentis Bills and Sepand Samzadeh, know exactly when to linger over a musical part and when to move on.  The high point: The Eggshell Man.  I have no idea who or what he is, but I’d like to meet him.


firece spooky action

The Fierce and the Dead, Spooky Action.  Four great guys—Matt Stevens, Kev Feazey, Stuart Marshall, and Steve Cleaton—making the best music possible for two other great guys, David Elliott, European Perspective Guy (I think this is official superhero name) and founder of Bad Elephant Music, along with the hilarious and artful James Allen.  Matt Stevens is a stunning person and artist.  It’s been fascinating and heartening to watch him struggle as he makes his way into the profession.  He very openly asks about opportunities.  Should he pursue fame first or art first?  I always know where Matt is going to land.  Probably many of us do.  He always comes down on the side of art, knowing the fame will follow when it follows.  I hope and pray he never changes his mind or soul regarding this.  There are lots and lots of folks out there—not just progarchists—cheering these guys on.  As my close friend and fellow progarchist, Pete Blum, has said, nothing has hit him so hard since the days of Zappa.  And, for Pete, this is a massive and important statement.  Everything on this album is wonderful.  In particular, I’m quite taken with Parts 4 and 5, a continuation of a theme that Matt and the guys started with Part I, their 19 minutes epic from their very first release.  TFATD, not surprisingly, also seems to have started somewhat of a sub genre within prog, the prog instrumental album.  In otherwords, what TFATD is doing is roughly equivalent to what progressive jazz was in the 1960s and 1970s.  A good sign for the health of all concerned.  In particular, newly emerging bands such as Ollocs and Rafert are also releasing instrumental albums, all of them quite good.


"Pure Flower Kings, pure prog and Kingly epic."

The Flower Kings, Desolation Rose.  This release surprised me as well, but not for the reason Days Between Stations did.  As far as I know, I own everything Roine Stolt has made or contributed to since about 1994.  Every side project, everything.  So, there was never a question about whether or not I would buy the new Flower Kings album.  I would certainly list Space Revolver (2000) and Paradox Hotel (2006) as two of my favorite albums of all time.  Stolt always has the power to release wonder in me.  Whether it’s the wonder about the first day of creation (Unfold the Future) or John Paul’s Pizza (Space Revolver), I love the libertarian, hippie, playful spirit of Stolt and the band.  Really, think about the members of this band.  Stolt, Bodin, Reingold, Froberg, and Lehrmann.  Already reads like a “supergroup.”  Not that they can’t be as serious as they can be trippy. One only has to listen to “Bavarian Skies” or the “Ghost of Red Cloud” to know just how deep they can be.  What surprised me about the new album, “Desolation Rose” is just how political and angry it is.  I don’t disagree with the anger or the politics.  In fact, I think I totally agree.  But, “Desolation Rose,” lyrically, is about as far away from “Stardust We Are” as one could possibly imagine.  This diversity just demonstrates how talented this Swedish band really is.  The entire album builds until it reaches its highpoint (in terms of intensity) in “Dark Fascist Skies.”  The final two songs, “Blood of Eden” and “Silent Graveyards,” offer a rather calming denouement.


fractal mirror

Fractal Mirror, Strange Attractors.  I’ve already had a chance to write a long review of this excellent album on progarchy, and it was (and is) a great honor do so.  Strange Attractors is not only one of the best releases of 2013, it’s the freshman release of a brand new group.  Three folks—all of whom met one another through the internet prog community (how cool is this!)—makes up this band.  Leo Koperdraat, Ed Van Haagen, and Frank Urbaniak.  But, we have to add a fourth.  It’s art comes from Brian Watson.  This is really important.  Not only is Watson an amazing artist, but he also creates an image for the band in the way one associates Yes with Roger Dean, Talk Talk with James Marsh, and Jim Trainer with Big Big Train.  It’s one of the joys of prog.  The art can be (and should be!) as beautiful and meaningful as the music and lyrics.  But, back to the music.  The three members of Fractal Mirror have created a stunning progressive soundscape, gothic and heavy in tone, but light in the space created.  I realize this sounds like a contradiction, and I wish I had the ability to explain it better.  I don’t, sadly.  It’s really not like anything I’ve heard before.  Suffice it to state, it’s quite refreshing and welcoming in its own intensity.


leah otherworld

Leah, Otherworld.  This is the only EP to make the “best of” list this year.  It’s also the only release I’m listing in which the artist (Leah McHenry) doesn’t consider herself a progger.  She places herself more in the metal camp, and this becomes obvious in the final song of the EP, “Dreamland,” a beauty and the beast duet with lots of metal “growling.”  Whatever one wants to label Leah’s musical style—and I would call it a cross between Sarah Maclachlan and Arjen Lucassen—it is very artful.  Leah’s voice could haunt a moor!  So much depth, truth, and beauty in every note.  The EP is only five songs long—Shores of Your Lies, Northern Edge, Surrounded, Do Not Stand, and Dreamland.  The first four possess a very Celtic/Nordic northern edge to them.  In fact, I called my initial review of the EP, “On the Northern Edge of Prog.”  I’m not bragging, but I am rather proud of this title.  it seems to capture exactly what Leah is.  Arjen Lucassen, if you read this blog, please look into Leah’s music.  I could see the two of you working very well together.  Leah, as it turns out, is also about as interesting a person as one might find anywhere.  Since Otherworld first arrived at progarchy hq, it’s been in constant listening rotation, and I pretty much have every note and lyric memorized at this point.


Kingbathmat OTM

Kingbathmat, Overcoming the Monster.  When we first started progarchy just a little over a year ago, I received a note from Stereohead Records of the U.K., asking me if we’d be interested in reviewing a cd by Kingbathmat.  Sure, I thought.  Of course.  Only the dead wouldn’t be intrigued by a band with that name.  Well, since then, I’ve not only listened to about as much Kingbathmat as exists (still missing a small bit of their back catalogue, but this will be rectified at the beginning of 2014, when the new tax year begins!).  I love these guys.  I’ve had the chance to get to know John Bassett and Bernard (he seems to have several last names on the internet!).  What incredible guys.  Really a band of Peart’s “Tom Sawyers.”  Mean, mean stride, never renting the mind to god or government.  Smart, insightful, unafraid.  Frankly, these are the kind of guys I would want next to me should I ever find myself under fire.  As with Leah, I’m not sure that Kingbathmat is perfectly prog.  But, then again, if it’s “perfectly prog,” it’s probably not prog at all.  Kingbathmat mix a number of styles, many of them heavy, to form a mythic maze of musical inspiration.  They are by far the heaviest in my list for 2013.  The “Tom Sawyer” reference is not just lyrical.  Parts of Kingbathmat pay great homage to early and mid-period Rush.  Of all Rush albums, Counterparts is my least favorite.  That doesn’t mean I don’t love it.  I’ve been a Rush man since 1981, and I will die a Rush man.  So, any criticism is relative.  But, if you could imagine Rush entering the studio with the music of Counterparts, the lyrics more intense than culturally sensitive, and a producer who wants to rock, really rock, you’d have an inkling of what “Overcoming the Monster” is.  Every song is a joy.  Not in the precious, sappy sense, but in the satisfying, just sense.  Everything is really quite perfect: vocals, bass, guitar, drums.  Since I first received a copy of OVERCOMING, I’ve probably listened to it every other day.  After a hard day of teaching (a job I love) or writing something scholarly, there’s nothing quite like putting this cd on, sitting back, and saying, “yeah, it was a good day.”



Nosound, Afterthoughts.  Giancarlo Erra might be the anti-Kingbathmat.  Erra, an Italian demigod of sound in his own right, loves silence and space as much as Kingbathmat loves walls of Rush/Soundgarden-like sounds of thunder!  Indeed, Erra has a lot of Spirit of Eden and Laughing Stock in him, a lot of Arvo Part, too.  If there are three notes, maybe there should be two.  If there are two notes, maybe there should be one.  If there is one note, maybe you should let silence have its say.  I’ve been following the work of Giancarlo Erra for almost a decade now.  He always entrances and entices me.  He creates soundscapes so powerfully delicate that one wants to drown in their dreamlike, twilight quality.  He’s also every bit the lyricist Hollis was at his best.  He’s also really a complete artist.  He not only writes his music and lyrics, he creates his own packaging, is a rather jaw-dropping photographer, and even designs his own computer apps.  I was thrilled that Kscope just re-released his early masterpiece, Lightdark (2008), remastered.  As with Lightdark, Afterthoughts just flows.  Gentle, punctuated, quiet, loud, emptiness, walls.  Listening to Afterthoughts is akin to standing on a peak in the Idaho Rockies, watching a violent storm pass under you in an adjoining valley.  Nothing is unneeded, and nothing needs to be added.  Afterthoughts is what it is, another Erra masterpiece.


Two more to go, but supper’s ready . . . .

Through a Glass, But Not So Darkly: Fractal Mirror

Art by Brian Watson.  Courtesy of Fractal Mirror and Watson.
Art by Brian Watson. Courtesy of Fractal Mirror and Watson.

In one of his most famous books, The Everlasting Man, G.K. Chesterton noted that men (persons; let’s not be sexist!) never come together merely by mutual consent for some advantage or personal gain, at least in the beginning.  Long-term societies–civilizations–do not arise out of some abstract compact in which every person agrees to help every other person.

Instead, society–and, hence, civilization–arises when two or more persons find themselves as brothers (sisters, too!) in arms, defending what they believe sacred.  Once they recognize they’re each fighting for the same thing, they trust one another, and society is born.

Call it the romantic in me, but Chesterton’s origin story is a lot of more compelling than, say, John Locke’s.

What does this have to do with Fractal Mirror, you might very well be asking?  Everything.

As many readers of progarchy know, this site arrived in the world out of an intense love for Big Big Train and a desire to let others know about Greg, David, and co.

Not surprisingly, our progarchists have found that we actually really love all kinds of music, especially when it apprehends or reaches toward the beautiful.  Not just BBT, but Cosmograf, Talk Talk, The Reasoning, Cailyn, Kingbathmat, TFATD/Matt Stevens, Ayreon, The Tangent, 3RDegree, Gazpacho, Neal Morse, Transatlantic, The Flower Kings, Nosound, Oceansize, Riverside, Rush, Spock’s Beard, Sanguine Hum, Glass Hammer, and the list goes on.

Some folks love prog for the innovations, and we progarchists (speaking broadly and a bit presumptuously) generally see the innovations as subservient to the drive for truth, beauty, and goodness.

It was almost exactly one rotation around the sun ago that the first post appeared at progarchy.  Since, citizenship in our little quasi-anarchist polis has grown wildly.  Amen.


Art by Brian Watson.
Art by Brian Watson.

As with progarchy, Fractal Mirror began out of a love for BBT, especially as a community formed around the BBT Facebook page.  It’s one of the most interesting–and one of the most neglected aspects–of the current prog scene.  Though this third wave of prog is now roughly 20 years old, tight communities have been growing within around, above, below, and near it for just as long!

Probably no current prog group, however, does this better than BBT.  While the conversation can take an odd turn here or there, BBT’s FB page hosts and encourages some of the best discussion of music, culture, and history anywhere.  Never a dull moment at the BBT FB page, administered, interestingly enough, by everyone’s favorite Swedish progarchist, Tobbe Janson.

There are more connections, some of them rather intimate.  Leo Koperdraat inspired much of the writing for progarchy from and with his own many reviews written for DPRP (our heroes), while Frank Urbaniak (drummer) and Brian Watson (artist) are citizens of perfect standing in the pseudo-anarchical progarchy.

[Progarchy, it should be noted, has no border guards, border fences, customs officials, or TSA agents]

After reviewing and talking about music for years, DPRP’s Leo Koperdraat (voice, guitars, keyboards, and lyricist) decided to create a band.  He and Ed Van Haagen (bass and keyboards) have been playing together for years, and the two recruited Frank (drums and lyrics on one song).  Throw in Brian’s always stunning artwork (and the lyrics on one song), guest spots by Don Fast (an unofficial fourth member of the band and brother of famed keyboardist, Larry Fast) on guitar and Charlotte Koperdraat (Leo’s daughter) on vocals, and some advice from Nosound’s Giancarlo Erra, and the result is a thing of brilliance, a thing of beauty, a treasure, frankly.

I’m never a fan of labels or of categorization.  Prog generally needs no descriptives to modify it.  Retroprog, crossoverprog, etc., seem so bloody (may my English friends forgive me for employing their perfect word) redundant to me.  I’m fully with Andy Tillison on this.  Prog means everything can be thrown in the mix.  It’s music as art, and art as music.  In the same way that Arvo Part uses amplifiers to make a point in modern symphonies, so a rock artist should feel free to employ anything traditionally classical to underscore the drama of the music.

Prog, by definition, means breaking boundaries.


Art by Brian Watson
Art by Brian Watson

This written, even if I wanted to label Fractal Mirror’s first release, “Strange Attractors,” I’m not even sure how I would do so.

I can, however, state unequivocally, it’s gorgeous, stunning, moody, intense, brooding, uplifting, punctuated, driving, subtle, sustained, lush, flowing, inspiring.

One might call it New Wave/prog or alt rock/prog.  Indeed, as I listen repeatedly (it’s rather addictive), I’m reminded much of the intensity of Peter Murphy or Robert Smith (Faith-era), the lushness of Reverberation-era Echo and the Bunnymen, the wall of sound of My Bloody Valentine, the punctuations of The Fixx, and the vocal sensibilities (though the voices sound NOTHING alike) of Andy Partridge on “This World Over.”

It would be fair, however, to label this music as moody, lulling, serious, and accompanied by waves of sound rather than a wall of sound.  Ten tracks long, none of the songs meander, ranging from 2:56 to 5:42 minutes in length.

Yet, there’s a coherency to the album as a whole, and if an engineer–a la Todd Rundgren–might connect it all, one song to another, it would work just as well.  Coherence without sameness.

The famed Rhys Marsh mastered “Strange Attractors,” and it shows.  Each of the musicians is in top form.  I’m especially taken with Koperdraat’s anguished vocals, Van Haagen’s fluid bass, and Urbaniak’s spacious drums.  Each remains distinctive and alive, but always forming a coherent whole.  Each offers a uniqueness as a part of a whole.  Hard to explain, frankly, but it’s a fundamental part of this excellent album.

As some progarchists have noted, the number of releases that are prog or prog-related (those labels again!) is sometimes overwhelming, as though drinking from a fire hose.  Fractal Mirrors MUST NOT get lost in this current deluge of goodness.  It’s distinctive, and it needs a market.  No, let me put that better.  Right now, Fractal Mirror is looking at all distribution options.  A record company would be foolish to pass this one up.  These guys are at the beginning of something vital, ready to spring forth into the world.

I’m deeply honored to be a part of the BBT and the progarchy community, and I’m equally honored to know that something so gorgeous and meaningful has arisen out of these communities (Ave, Gregory Mark Aurelius Spawton!).  Leo, Ed, and Frank–highest kudos to you.  And, thank you–for trusting me with such glimpses of the rotating spheres. . . .

FM web image
Art by Brian Watson.

For more information, contact Leo at:

Fractal Mirror Arrives

FM web imageLeo Koperdraat of Holland posted this on Big Big Train’s Facebook page tonight.  Nice.  And, very exciting.  The drummer is even our own progarchist, Frank Urbaniak, and the artist is our own progarchist, Brian Watson.  A progarchical band!  Ok, I really can’t claim them–but I am rather happy to be associated with them–Brad (ed.)


Dear BBT friends,

Just a year ago I had build up enough courage to post a song me and a friend had made. We have been making music for ourselves for about 20 years but this group made me feel confident enough to post one of these songs. With all the talk that happens here I would not expect you to remember it.

However we got a lot of positive remarks and the best thing that happened was that one of the members of this group was so positive about our music that he volunteered to become our drummer.

And now one year later we are called Fractal Mirror, the ten songs that we hope will be on our first album have been mixed and mastered by the excellent Rhys Marsh from Rhys Marsh and the Autumn Ghost and finally one of our tracks will be featured on the New Species Vol X cd that will be part of the next issue of Classic Rock Society Magazine. Without this fabulous group of BBT fans none of this would have happened and on behalf of Fractal Mirror I would just like to say:

THANK YOU! BBT fans and GregAndyDavidNickDanny andDave for creating this wonderful platform called Big Big Train group!!

We will now be looking for a deal with a record company that is willing to release our first album, Strange Attractors.

Fractal Mirror are:

Ed Van Haagen: Bass, Keyboards and Programming
Leo Koperdraat: Voice, Guitars, Keyboards and Lyrics
Frank L. Urbaniak: Drums, Percussion and Lyrics
Brian Watson: All Artwork (Brian has been responsible for a lot of the booklet art that was part of The Tangent’s Le Sacre du Travail)
Andre de Boer: Video Art.

fm cover web