Looking back at 2020, it’s hard to believe that we lost Neil Peart at the beginning of the year. That loss hit me pretty hard, since Rush’s music has been central to my life from an early age. I talk more about that in my tribute to Peart: https://progarchy.com/2020/01/12/neil-peart-a-misfits-hero/. I start off my year-end review list with a reminder of the loss of Neil because it seems like a fitting way to remember 2020. Peart’s loss represents what so many people have lost this year, whether it be family members and friends due to the virus or jobs lost due to draconian forced business closures that haven’t actually accomplished anything in slowing the viral spread. Not to mention the emotional distress that physical separation is causing many people.
Another thing we lost this year was live music from our favorite bands. Big Big Train had their first North American tour planned for late spring this year. Canceled. Devin Townsend was in the middle of a glorious North American tour with Haken when everything blew up. Canceled. Obviously this list could be expanded to every band that tours. Losing live music makes it even more difficult for bands in a niche genre to spread their music to more people.
But enough lamenting. We still got a lot of great music this year. The following list is in no particular order apart from my number one album at the end. I include both new albums and live records.
Haken – Virus I was a little surprised that I was the only person over at the Dutch Progressive Rock Page to include this one in my top ten list for their annual list. Maybe people were really sensitive about the name of the album, but it was clear that the album was written and completed before the novel coronavirus was a known entity. The music is fantastic. It’s probably their heaviest album to date, but it still has some of their calmer moments. It’s Haken through-and-through, and it makes a wonderful companion to 2018’s Vector. We also get to hear some more about our old nemesis, the cockroach king. It’s pretty cool how they worked in some of those themes. Fantastic album that should’ve received more attention than it did. Check out my review: https://progarchy.com/2020/07/23/haken-goes-viral-virus-album-review-haken_official/
Here are the albums of new music from 2020 that grabbed me on first listen, then compelled repeated plays. I’m not gonna rank them except for my Top Favorite status, which I’ll save for the very end. The others are listed alphabetically by artist. (Old school style, that is — last names first where necessary!) Links to previous reviews or listening/purchase sites like Bandcamp are embedded in the album titles.
Nick D’Virgilio, Invisible: No echoes of Big Big Train or even Spock’s Beard to be heard here. D’Virgilio’s long-awaited latest focuses on classy, soulful rock and pop with R&B undercurrents, reminiscent of nothing so much as the pre-Nirvana mainstream; the progginess is in the extended structures, the virtuoso playing and the overall concept. The down to earth storyline, a redemption narrative with some nifty twists, definitely helps make Invisible appealing and relatable. But it’s the musical means D’Virgilio uses to build out the story — emotive singing, consistently powerful drum work, polished electric piano, loops, bass, bass synth and guitars — that seal the deal. As a result, every single track grabs on tight from the start — not just revealing more depth and emotional resonance with every repeat, but also relentlessly propelling the album forward.
I Am the Manic Whale, Things Unseen: I remain blown away by the energy, humor and sheer delight these young British proggers bring to their story-songs; this third album sounds like their best yet, with crystal clear production by Rob Aubrey. There’s wickedly cheery satire in “Billionaire” and “Celebrity”, a brooding, atmospheric trip to Narnia in “The Deplorable Word” and unbounded delight in the gift of children in “Smile” and “Halcyon Days”. Not to mention IAtMW’s very own train song, “Valenta Scream”, laying down a challenge to Big Big Train with (in my opinion) the best lyrical simile of 2020: “Making it look so very easy/Eating up the distance like a cheese sandwich.” Really. (Check out their free compilation of covers and live-in-studio tracks, Christmas Selection Box on Bandcamp, too.)
Kansas, The Absence of Presence: A real leap forward for a revitalized band; appealing melodies, heady complexity and breathtaking power unite for maximum impact, and it’s a joy to hear all the way through. Each band member has upped his game multiple notches — David Ragsdale, Zak Rivzi and Rich Williams peel off one ear-catching riff and solo after another, Ronnie Platt sings with smooth, soaring power and commitment (evoking Steve Walsh while being utterly himself), and I could listen to Billy Greer and Phil Ehart’s rolling, tumbling thunder all day. New keyboardist Tom Brislin is the perfect match for this line-up, dishing up just the right lick no matter what’s required — pensive piano intros, crushing organ and synth riffs, lush textures, wigged-out solos, you name it. Stir in a new level of collaboration in the writing, and you get Kansas unlocking a new level of achievement, making excellent new music more than 40 years after their initial breakthrough. Recommended without hesitation.
Lunatic Soul, Through Shaded Woods: The perfect Hero’s Journey for this frustrating year. Mariusz Duda’s latest holiday from Riverside’s post-prog heads straight for Mirkwood — ominous, lowering music, echoing the colors and contours of Slavic and Scandinavian folk. Playing all the instruments (frenetic acoustic strums; decorative baroque keys; tasty metallic riffs and electronica accents; unstoppable primal percussion) Duda penetrates the heart of his melancholy, only to discover his greatest obstacle: himself. At which point “Summoning Dance” pivots, echoing Dante lyrically as it turns toward the soul-easing finale of “The Fountain.” Imagine Bela Bartok and Jethro Tull collaborating on a sequel to Kate Bush’s “The Ninth Wave,” and you’ll have some idea of how unique and special this album is. (The bonus disc — currently only available as a Bandcamp download link above and as a Polish import — is essential listening too, especially the hypnotic minimalist epic “Transition II.”)
Pat Metheny, From This Place: State of the art jazz composed and performed at the highest level, this is a unified work of formidable emotional range and intelligence: instantly accessible, inescapably substantial — and above all, incredibly moving. Metheny, pianist Gwilym Simcock, bassist Linda May Han Oh and drummer Antonio Sanchez ride the exhilarating ebb and flow of ten new tunes, their rich interplay locking together with sumptuous orchestral overdubs for awe-inspiring, high-intensity results. From This Place communicates like mad; confronting knotty, pensive questions of culture, identity and hope, it’s also a deeply satisfying culmination to Metheny’s career-long pursuit of transcendence — music both of its time and potentially timeless, gripping at first acquaintance, deepening its impact with every further listen.
Hedvig Mollestad, Ekhidna: The Norwegian guitarist takes her incandescent blend of heavy rock and avant-garde jazz to the next level, triumphantly meeting the challenges inherent in writing for a bigger band and a broader sonic palette. Ekhidna is a bracing blend of tumbling rhythms, killer riffs and brain-bending improv that goes down remarkably smooth, but leaves a fiery aftertaste. Writing for an accomplished sextet of players, Mollestad’s new music doesn’t avoid the expectations raised by its evocation of Miles Davis’ Bitches Brew, sometimes confronting classic genre strategies head-on, sometimes blithely subverting them. Named for the she-dragon of Greek mythology (also called “the mother of all monsters”), this album is monstrous in the best sense — a musical rollercoaster ride suffused with heat, light and heart, recombining the raw materials of jazz-rock and extending its reach into realms of vast new potential. A real breakthrough, and Mollestad’s best effort to date.
Markus Reuter, Fabio Trentini and Asaf Sirkis, Truce: Utterly bracing, a cold slap in the face that kicked off 2020 in the best way possible. Recorded live in the studio on a single day by touch guitarist Reuter, bassist Trentini and drummer Sirkis, this is the unfiltered, mind-boggling sound of three virtuosos throwing caution to the winds and just going for it. From start to stop, the music they make is unbeatably heavy, head-snappingly varied, and vividly compelling — whether on the searing stomp of a title track, the brutal mid-tempo funk of “Bogeyman”, the abstract balladry of “Be Still My Brazen Heart”, or the Police-ified dub freak-out of “Let Me Touch Your Batman”. Listening to Truce is an hour-long thrill ride with tons of substance to chew on — one you need to experience for yourself, more than once.
Sanguine Hum, A Trace of Memory: Rarely does eccentricity sound so graceful as in the hands of Joff Binks, Matt Baber and Andrew Waismann. Sequenced as a seamless whole, the seven tracks on A Trace of Memory trace a playful trajectory; no matter the giddy succession of off-kilter riffs, the complex counterpoint of Binks’ guitar and Baber’s keys, or the intensity of the musical climaxes, the ebb and flow is consistently welcoming, yet always subtly stimulating. Freed from the broadly goofy, conceptual conceit of Now We Have Light and Now We Have Power, Binks can explore a more allusive lyrical style and spare melodic lines that soar instead of patter; less is definitely more in this context. Sanguine Hum has hit new heights here; listening to this album is like watching clouds travel unhurriedly across a clear sky, and it makes me smile every time. In 2020, this may be the closest you can come to hearing the harmony of the spheres.
Maria Schneider Orchestra, Data Lords: There’s no question in my mind that composer Maria Schneider (based in jazz but embracing musical terrain beyond category) and her orchestra have reached a new artistic pinnacle on this album. Conveying both the bleak potential of online life blindly lived and the bounteous beauty of the life around us we take for granted, Schneider conjures up slow-burning tone poems that, as they catch fire, blaze with fear and dread — but also with hope and joy. Throughout there’s a symphonic sweep, a supple rhythmic foundation and a seamless flow of inexhaustible melody; Schneider’s compatriots inhabit and animate her music with dedicated unity and thrilling improvisational daring; and the high-definition sound lovingly unfolds all of the music’s sophisticated, profoundly moving beauty with breathtaking clarity.
Secret Machines, Awake in the Brain Chamber: Way back in 2004, Secret Machines’ Now Here Is Nowhere was one of that year’s most compelling albums, a ferocious collage of droning space-rock riffs, rampaging Zeppelinesque grooves and unsettling, dystopian lyrics. A stalled major-label career and a revolving door of personnel dissolved the band’s momentum, capped by guitarist Benjamin Curtis’ passing in 2013 — but somehow, this magnificent beast is back. On Awake in the Brain Chamber, brother Brandon Curtis writes the songs and supplies keys, guitar and bass (as well as his patented, heartbroken vocal sneer) while drummer Josh Garza fills all available frequencies with his customary thunder. Whether they’re uptempo sprints (“Dreaming Is Alright, “Everything’s Under”), widescreen ballad-paced crawls (“3, 4, 5 Let’s Stay Alive,” “So Far Down”), or determined drives into the middle distance (“Talos’ Corpse,” “Everything Starts”), these eight taut, sharp tracks hit the sweet spot between hard rock and modern-day psychedelia — tight, mesmerizing, absolutely exhilarating. This one will get your blood flowing.
Bruce Springsteen, Letter to You: As his career trajectory flared, climbed, peaked, then settled into the long tail of legacy-rock stardom, Springsteen never really stopped exploring his core concerns: the ins and outs of freedom and community, their costs and their consolations. The good news here is that Letter to You digs deeper, pondering the price of escape, love, friendship, loss, grief and jubilation, remembering friends now dead, reviving songs once abandoned. When Bruce has something big to write about, he can cut straight to your heart, even from a secluded home studio in deepest New Jersey, and he’s done it again here. With the E Street Band on fire behind him, Letter to You could be the basis of a tour to top them all for Springsteen; but even if that never comes to pass, this album is something special, a hard-rocking reminder that yes, our days on this earth are numbered — but also that love is strong as death.
Three Colours Dark, The Science of Goodbye: This new collaboration between vocalist Rachel Cohen (Karnataka, The Reasoning) and keyboardist/guitarist Jonathan Edwards (Karnataka, Panic Room) proves elegant, introspective and strangely irresistible; there’s brooding power to the music and a darkly compelling lyrical vision to match. Lured by Edwards’ lush, disconcerting settings into Cohen’s brave, quietly harrowing narratives of pain, bewilderment, and self-doubt, you wonder how you’ll make it out — which makes the album’s cathartic finale even more delicious. From claustrophobic onset to the inspiring end, The Science of Goodbye rings true as both testimony and art, as Three Colours Dark follow the light that seeps through the cracks in everything to a new day.
and my favorite new album of 2020 . . .
Revolutionary Army of the Infant Jesus, Songs of Yearning/Nocturnes: I have never before heard anything quite like this album, and found myself returning to it all year. This loose creative collective from Liverpool has pursued “echoes of the sacred” across three decades, striving to access sonic space where transcendence can invade a stiflingly measured-out world. Songs of Yearning and the limited bonus album Nocturnes (still available as a pair at Bandcamp) both stake out new territory where rumors of glory can run; brimming with rough-hewn beauty and deep mystery, pairing audacious scope with quiet, insistent appeal, this music is primal and postmodern in the same eternal instant. As the idols of prosperity and progress continue to totter around us, RAIJ’s latest feels like genuinely good news — a sacramental transmission from, then back to, the heart of creation.
Kerry Livgren has long been one of my favorite guitarists and lyricists. Next to Rush, Kansas was one of the first prog bands I ever heard. I think my first prog concert may have been Kansas (minus Livgren). I was so fascinated by Livgren and his conversion-to-Christianity-story that I wrote a paper about him for Dr. Brad Birzer’s Christian Humanism course in college in the fall of 2015. Besides Livgren’s magnificent lyrics, I also drew heavily from his autobiography, Seeds of Change, for that paper.
Back in August of this year, Livgren self-published, via his Numavox label, a new book entitled Miracles Out ofSomewhere. It isn’t a typical memoir or autobiography. It does not follow a chronological structure. Rather it is a collection of 40+ short personal stories that demonstrate examples of miraculous events in Livgren’s life. Most chapters are dedicated to one story, but there are some that contain multiple brief stories centered around one theme.
Stories range from what might be considered coincidences all the way to full-blown “only God could have done this” miracles. I had known about Livgren’s 2009 stroke, but I never knew how serious it was. The doctors told him it was as bad a stroke as a human could have. The initial brain scans after the stroke showed that half his brain tissue died. Brain scans taken two years later showed the majority of that tissue was alive and perfectly healthy. Even the doctor didn’t believe the medical explanation he came up with to explain it to fellow medical professionals. Livgren still struggles with some issues related to the stroke (he had to find a new way to play “Dust in the Wind” for an appearance with Kansas last year), but for the most part he made a miraculous recovery.
The book ends with excerpts from the last few years of his journal entries as his wife dealt with an equally serious health crisis: breast cancer and heart failure caused by the cancer treatment. The surgeries and treatments worked for the cancer, but her heart was initially left in very poor shape. But, just eleven months ago they found out her heart is now completely normal after she almost needed a heart transplant eight months earlier.
Stories range to the more lighthearted as well, such as Kerry’s first time driving the Kansas tour bus after he joined the band in their early days. The steering barely worked, and the brakes were almost non-existent. After cresting a hill they found themselves hurtling towards a freight train, forcing Kerry to stand on the brake pedal with all his weight. The bus stopped a mere three feet from the tracks. Robby Steinhardt caught the whole thing on audio recording, but sadly that tape is gone.
The story about Livgren being reunited with his “Dust in the Wind” guitar a few years back, after selling it decades ago, is also a fun story, as is the one about Kansas’ first LA party with industry bigwigs. Dave Hope decided to jokingly mock a girl with a Farrah Fawcett hairdo, so he shouted “Hey Farrah.” The girl turned around, and she turned out to be Farrah Fawcett.
Miracles out of Somewhere is hard to put down. Livgren’s writing is so inviting. I felt like I was having a conversation with him. Since the stories are arranged in no particular order, the book jumps around a lot. As such it helps to have a basic knowledge of Livgren’s life and the history of Kansas. Even so that isn’t required to make this an enjoyable read. The storytelling is so good that the reader is quickly drawn in and taken back in time.
Livgren’s faith is intimately embedded in these stories, but I wouldn’t call this a religious book. He’s just telling the stories from his perspective, and his faith is inseparable from that perspective. As a Christian myself I can’t help but appreciate that aspect of the stories, but even if you’re not a Christian, don’t let that stop you from reading this book. If you’re a fan of Kansas and Livgren, you’ll enjoy it.
The book itself is just a simple paperback, likely printed by a print shop near Livgren’s home in Kansas (it’s also available as an ebook). Perhaps it lacks from some grammatical editing that a publisher’s editor could’ve added, but we’re talking about a periodic missing apostrophe and a run-on sentence here and there. As it is, the book has the charm of someone writing these stories out as-is and sending them to you. In a way it made Livgren feel closer than if the book was highly polished by a big-name publisher.
For less than $15 (a little more if you live outside the US – for international shipping) this book is a bargain. It’s only $4 for the ebook. With everything going on I found it to be a welcome escape to a seemingly simpler time (no era is ever as simple as it can seem in hindsight). Some of the stories are heavy, but the miracles God has worked in Kerry’s life bring a smile to my face and peace to my heart. If you’re sick of the negativity and want rest for your soul… well, Kerry would be the first one to tell you to turn to Jesus. But after you’ve done that, give Miracles Out of Somewhere a go. It’s a must-read for Kansas fans, and it’ll brighten your day.
For all that Kansas can’t (and shouldn’t) shrug off the legacy of their golden days, especially the double whammy of Leftoverture and Point of Know Return, they’ve built up quite a track record beyond the hits over the decades. The live set that followed the big albums, Two for the Show, is still thrilling; the 1980s version of the band fronted by Steve Walsh and guitarist Steve Morse changed up the sound without diluting the essence on Power and In the Spirit of Things; the original line-up reunited for a triumphant set of new Kerry Livgren compositions on 2000’s Somewhere to Elsewhere. And 2016’s The Prelude Implicit proved a first-class return to sustained action. The new recruits, guitarist/songwriter Zak Rivzi and singer/keyboardist Ronnie Platt, jelled nicely with Kansas’ long-term bedrock (stalwart violinist David Ragsdale, bassist/vocalist Billy Greer) as well as the band’s remaining founders (piratical guitarist Rich Williams and progressive rock’s most criminally underrated drummer, the brilliant Phil Ehart).
The good news is that Kansas’ latest, The Absence of Presence, is another great leap forward; appealing melodies, heady complexity and breathtaking power unite for maximum impact, and the whole album is a joy to hear. Each player has upped his game multiple notches — Ragsdale, Rivzi and Williams peel off one ear-catching riff and solo after another, Platt sings with smooth, soaring power and commitment (evoking Walsh while being utterly himself), and I could listen to Greer and Ehart’s rolling, tumbling thunder all day. New keyboardist Tom Brislin is the perfect match for this line-up, dishing up just the right lick no matter what’s required — pensive piano intros, crushing organ and synth riffs, lush textures, wigged-out solos, you name it.
But it’s how all these ingredients blend that makes The Absence of Presence compulsively listenable; the writing is more collaborative this time around (Rivzi and Brislin on music, Brislin, Pratt and Ehart on lyrics), and the band navigates the twists and turns of the tunes with pin-sharp focus. The multi-sectioned title track, the instrumental “Propulsion 1” and the unexpected up-tempo groove of “The Song the River Sang” (with Brislin on lead vocal) revel in Kansas’ proggier side. “Throwing Mountains” “Jets Overhead” and “Circus of Illusion” prove solid rockers, laced with unpredictable musical curveballs that set up the compelling, aspirational lyrics. And the obligatory power ballads “Memories Down the Line” and “Never” are earworms you may not want to shake, with words and melodies that bring home the heartfelt sentiments without bogging down in sticky sweetness.
In short, The Absence of Presence shows Kansas unlocking a new level of achievement, still going strong and making excellent new music more than 40 years after their initial breakthrough. Recommended without hesitation; this one has already hit my shortlist for this year’s favorites. Listen for yourself below.
Hardly breaking stride, Inside Out Music ramps up their summer schedule with a fistful of new releases (some of which had to be rescheduled due to manufacturing delays). Unless otherwise noted, links go to CD versions of these upcoming albums available at Burning Shed; LP and download editions will also be available.
Pain of Salvation, Panther (August 28). Two years in the making, the latest installment of prog metal plus from Daniel Gildenlow and company.
The Tangent, Auto Reconaissance (August 21) From the ever-fertile mind and fingers of Andy Tillison and his cohorts: jazz, humor, narrative, modern R&B, pop, funk/soul, and a 28-minute epic about England.
Happy birthday America! You aren’t perfect because humans aren’t perfect, but you’re the best form of government we’ve come up with yet. May you outlast those who wish to destroy you from the inside and from the outside.
Kansas – ‘Point of Know Return’ Anniversary Tour Resumes March 1st
Photo credit: EMily Butler Photography
KANSAS INTRODUCES KEYBOARDIST TOM BRISLIN AS NEWEST MEMBER OF ICONIC BAND
KANSAS RETURNING TO STUDIO IN AUGUST
ATLANTA, GA – KANSAS is excited to announce keyboardist Tom Brislin as the newest member of the band. Brislin replaces departing keyboardist David Manion.
An internationally acclaimed musician, Brislin has performed and toured with a variety of artists, including Yes (appearing on Symphonic Live), Meat Loaf, Debbie Harry of Blondie, Camel, Renaissance, Dennis DeYoung formerly of Styx, and many others. For years he fronted the band Spiraling and produced his debut solo album Hurry Up and Smell the Roses.
Most recently, Tom co-founded the progressive rock group The Sea Within. Along with guitarist Roine Stolt of The Flower Kings, bassist Jonas Reingold of the Steve Hackett band, and drum star Marco Minnemann, they released their first album in 2018 on Sony/Inside Out Music, joining KANSAS on the label’s roster. Tom has also formed Gold Rotation, a collective of diverse musicians and songwriters who premiered with a performance at Progstock Festival in 2018.
KANSAS original member and drummer, Phil Ehart comments, “We are extremely excited for Tom Brislin to be the newest member of KANSAS. We think KANSAS fans will really enjoy what Tom brings to the band. Rehearsals for the spring have been going great. We cannot wait to get back out on the road and perform for KANSAS fans. Then, it’s into the studio in August to begin a new KANSAS album, and back out on tour in September.”
Brislin adds, “It’s an honor to be asked to join a such legendary band as KANSAS. Their music has been in the soundtrack to so many of our lives, and their repertoire has enduring depth, beauty, and power. I’m thrilled to perform the classics and I’m equally excited to be a part of the new music that KANSAS creates.”
Brislin’s first performances with KANSAS will be aboard the Rock Legends Cruise in February, followed by March 1 in Baltimore, MD at the Modell Lyric where the band will be resuming the Point of Know Return Anniversary Tour. The band will perform a set of KANSAS Classics at shows throughout the summer, before returning to the studio to begin a new KANSAS album in August 2019.
A complete list of announced 2019 KANSAS tour dates is listed below. Ticket & VIP Package information can be found at KansasBand.com
SPRING 2019 KANSAS POINT OF KNOW RETURN TOUR DATES
March 1 Baltimore, MD The Modell Lyric
March 3 Wilkes-Barre, PA F.M. Kirby Center
March 8 Des Moines, IA Hoyt Sherman Place
March 9 Peoria, IL Peoria Civic Center Theater
March 15 Salina, KS Stiefel Theatre for the Performing Arts
March 16 Salina, KS Stiefel Theatre for the Performing Arts
March 21 Charleston, WV Clay Center for the Arts & Sciences
March 23 Louisville, KY Louisville Palace Theatre
March 29 Beaver Creek, CO Vilar Performing Arts Center
March 30 Denver, CO Paramount TheatreApril 2 Tucson, AZ Fox Tucson Theatre
April 4 San Diego, CA Balboa Theatre
April 6 Los Angeles, CA The Orpheum Theatre
April 7 Santa Barbara, CA The Arlington Theatre
April 10 Oakland, CA Paramount Theatre
April 12 Portland, OR Arlene Schnitzer Concert Hall
April 13 Seattle, WA Paramount Theatre
April 24 Vancouver, BC, Canada The Orpheum
April 26 Edmonton, AB, Canada Northern Alberta Jubilee Auditorium
April 28 Calgary, AB, Canada Jack Singer Concert Hall
April 30 Saskatoon, SK, Canada TCU PlaceMay 1 Regina, SK, Canada Conexus Arts Centre
May 3 Winnipeg, MB, Canada Burton Cummings Theatre
May 10 Rockford, IL Coronado Performing Arts Center
May 11 Fort Wayne, IN Foellinger TheatreSUMMER 2019 KANSAS CLASSICS DATES May 17 Ocala, FL Square Cultural Center
May 18 Coconut Creek, FL Seminole Casino Coconut Creek
May 24 Biloxi, MS Beau Rivage Resort & Casino
May 30 Bethlehem, PA Sands Event Center
May 31 Atlantic City, NJ Hard Rock Hotel & Casino
June 1 Atlantic City, NJ Hard Rock Hotel & Casino
Tom Timely has written, produced, and released a single under the title, “The Elf King.” Unfortunately, at the moment, it seems only to be available as a Facebook video. Here’s hoping Timely will move it to Youtube.
Somewhat astoundingly, Timely begins his video with “Introducing A Prog-Rock Masterpiece,” all in Tolkienian, Elven script.
Indeed, he writes on his Facebook post:
My new song! Remind yourself of an earlier time over and over…until it becomes your reality. Think of the things you could do if you had the key to unlock the past….You could change things! Some call it nostalgia, I call it the key. Check out my song and see if it takes you back.
So, kudos to Mr. Timely for possessing so much confidence. His pronouncement of “introducing” a “classic” reminds me of the founding father Benjamin Franklin when he wrote, rather proudly, that he possessed the virtue of humility.
Some things, simply put, cannot be bestowed on one’s self. Anyway, I’ll just take this as Mr. Timely’s enthusiasm.
The single, “The Elf King,” is quite excellent, introducing us to some very Yes-ish bass, combined with Kansas and Genesis-like keyboards throughout much of the song, though harpsicord is the first instrument the listener hears. I can’t quite place the voice, but Timely (I’m assuming it’s Timely on vocals) has a Styx-like feel to me. While the entire middle and sections sound very reminiscent of Tony Banks’s work on Gabriel-era Genesis, the song itself seems to have been a long, forgotten part of Leftoverature.
Since I’ve referenced Yes, Genesis, Kansas, and Styx, you might very well get the opinion that this is pure nostalgia prog. Heck, even Timely himself admits the element of nostalgia. Yet, this song is definitely more than a sum of its parts, and no one of the bands mentioned above could’ve written this song as is. Thus, there’s a real genius in the way Timely pulls all of this older pieces together into a new whole.
I have a feeling Timely might very well have introduced a masterpiece. What say you???
Here we are again, folks. We find ourselves at the end of another great year for prog. Sadly, we’ve had to say goodbye to some amazing artists this year, including John Wetton, but we at least have their music by which to remember them.
I know I’ve been a bit quiet here at Progarchy lately due to beginning graduate school this fall. Hopefully things settle down going forward, and I’ll be able to contribute more. For now, here are my favorite albums from 2017 in vaguely ascending order.
After failing to post any “Favorite Music of 2015…” lists last year, I’ve decided that I should avoid elaborate explanations for my choices, but simply note a thing or two about each release that captured my ears and held my attention. I’ve also decided to post three separate but fairly short lists: Prog/Rock, Jazz, and Everything Else. In short, I’m trying to kill my propensity for overkill. I suspect I’ll fail! Here, first, are my picks for favorite prog & rock albums of the past year (give or take a few months):
• “The Prelude Implicit” by Kansas | This is, I think, one of the best feel-good stories in prog of 2016. After all, Kansas could have just kept touring and playing the same old—ranging from good to great to classic—tunes. Instead, they produced a very good, even great, album. As I wrote in my Progarchy.com review: “In short, the band has found a commendable and impressive balance between old and new, with plenty of prog-heavy, classic Kansas-like passages, but with an emphasis on ensemble playing over solos. … Kansas is to be commended for embracing their past while clearly moving forward with a confident and often exceptional collection of songs. Highly recommended for both longtime Kansas fans and for those who like melodic, well-crafted prog that puts the emphasis on memorable songs and musical cohesion over theatrics and solos.”
•“Secrets” by Ian Fletcher Thornley | I was initially flummoxed by this album, expecting a variation on the hard-rocking, high energy music of Big Wreck and Thornley, both fronted, of course, by the prolific Canadian singer, guitarist, writer, and producer. I finally listened to it late one night, in the dark, and I finally heard it on its own terms: acoustic, reflective, mellow, mournful, defiant, sad, and yet shot through with a sense of cautious hope. Thornley demonstrates that his remarkable writing skills are equal to his vocal prowess, which is an aural wine bearing hints of Big Country (“Frozen Pond”), Chris Cornell (“Feel”), Peter Gabriel (“Stay”), Bruce Springsteen (“Just To Know I Can”), and Jeff Buckley (“Blown Wide Open”). In the end, this is a modern blues record featuring every shade and hue of sadness, longing, and loss.