Back at the end of 2012, when I was compiling my year’s-end list of favorites (then a solitary pursuit, mostly for personal reflection), Steven Wilson’s Get All You Deserve was the only concert video that made the cut. Recorded in Mexico City at the end of Wilson’s initial solo tour, it’s still a ferociously intense — though oddly chilly — set, with tracks from Insurgentes and Grace for Drowning snarled by the glowering artist and meticulously brought to life by an all-star band of players. I had begun following Porcupine Tree when they hit Grand Rapids on 2005’s Deadwing tour, glomming onto them as The Great Progressive Hope and seeing them twice more that decade. So the video struck me as Wilson’s declaration of intent; the Tree was no longer bearing fruit for him, and it was time to make a name and a way for himself.
My thesis here is that, in the last ten years, Steven Wilson has done exactly that. And from the birthday of Progarchy through its tenth anniversary, Wilson’s next moves have consistently captured the attention of the subculture this website serves. As reflected in the frequent coverage of his projects here — whether we loved ’em, loathed ’em, or wound up somewhere in between! That’s why when the Progarchy editoral braintrust bantered about who to consider as our Artists of the Decade, I claimed SW.
Look at the man’s track record these last ten years, kicking off with 2013’s The Raven That Refused to Sing. So many genre boxes ticked here: a thematic album of ghost stories (!) cut live in the studio with Alan Parsons as engineer (!!), its jazz-rock leanings unmistakably influenced by Wilson’s remastering/surround mixing work for historic giants like King Crimson, Jethro Tull, Marillion, Gentle Giant and two or three et ceteras. Impressive writing, great playing, immaculate sound. When I caught that tour at Chicago’s Park West, though, it gave me an uneasy feeling; all too often, it felt like the onstage Wilson was peering into the lives of the damaged (“Harmony Korine,” “Luminol”) and disturbed (“Index,” “Raider II”) with no purpose beyond voyeuristic giggles and lurid thrills.
But then came 2015’s Hand. Cannot. Erase., Wilson’s rock opera portraying a young woman’s inexorable disappearance into the maw of the big city. Not only was this his most fully integrated album musically (reminiscent of his conceptual work with PT, with plenty of intense instrumental fireworks), but his latent empathy came forward again in his treatment of the “based on a true story” subject matter and his lyrics, to the benefit of both the album and the ensuing tour. Live again at Park West, an obviously proud Wilson played the whole thing, engaging with the audience instead of hiding behind transparent scrims and long hair, and even indulged in multiple Porcupine Tree tunes. If a bus had hit SW that year, at least a slice of retro-prog fandom might still be clamoring for him to join Rush and Genesis in the Rock and Roll Hall of Fame.
Porcupine Tree, Auditorium Theatre, Chicago, Illinois, September 20, 2022.
The kick-off of Porcupine Tree’s first Chicago show in twelve years was nothing if not dramatic: a deep drone booming out as automated stage lighting menacingly swept the 3,000+ plus audience, the house lights dimming at the point of maximum tension — then a full-on visual assault from lights and screen, tracking with the slashing hard rock riffs of In Absentia’s “Blackest Eyes”.
At stage left: Richard Barbieri, ensconced in his wraparound nest of keyboards, conjuring up fearsome sonic webs of mist, gloom and abrasive noise as required. At stage right: Gavin Harrison, similarly surrounded by an overwhelming array of drums, cymbals and percussive accessories — and somehow appearing to be able to hit them all at once. And at center stage: Steven Wilson, throwing shapes on guitar as the power chords crashed, scrambling toward the mike on bare feet to chime in with typically sunny lyrics about a serial killer making a move on his desired prey.
It was an impressive opening, but something seemed off, and Wilson quickly acknowledged the state of affairs — sickness had been running through the band, and tonight it was effecting his voice. Promising his best efforts on both the Tree’s back catalog and the whole of their new album Closure/Continuation, singer and band proceeded to a nimble, ominous reading of “Harridan” and a lilting take on “Of The New Day.” Here Wilson’s challenges for the evening became apparent, as congestion and pitching problems crept into passages sung with less than full power. By “Rats Return”, though, Wilson had his voice under control, excoriating the cowardice of political strongmen both at the top of his lungs and in chilling undertones, while vicious fuzzed riffs raged around him.
The rest of the first set was completely stunning, mixing new tracks with superbly chosen throwbacks like the Floydian angst of “Even Less” and the doomy drive of “Drown With Me”. A zesty “The Sound Of Muzak” had it all: a bitterly hilarious Wilson intro (“21 years ago, I wrote a song about how music was becoming commodified — something you picked up at the supermarket, or as part of a software application. Well, thank goodness that didn’t come to pass!”), one bewilderingly brilliant Harrison drum fill after another, and a spontaneous audience singalong to the choogling chorus. Then it was Barbieri’s turn to stoke the darkly atmospheric “Last Chance to Evacuate Planet Earth Before It Is Recycled”, its instrumental build eerily synced with the video suicide note of Heaven’s Gate cult founder Marshall Applewhite. And after senseless death, mourning: the new “Chimera’s Wreck” finally clicked into place for me as a survivor’s lament, Wilson diving into the depths of human experience, probing extremes in search of exorcism and catharsis. But after that emotional a ride, what do you do for the second half?
Six months in, 2022 is already shaping up as a banner year for new music. My own positive bias prevents me from objectively reviewing The Bardic Depths’ brand new album (though modesty doesn’t seem to prevent me mentioning it; I’m still stoked that I got to participate) — but there are still plenty of fresh releases to cover this time around! As usual, purchasing links are embedded in each artist/title listing; where available, album playlists or samples follow each review. But first, the latest installment in what’s becoming Progarchy’s Book of the Month Club . . .
Big Big Train – Between The Lines: The Story Of A Rock Band: when Greg Spawton and Andy Poole started a band, it didn’t stand out at first; one early concert promoter called the nascent Big Big Train “fairly mediocre” in retrospect. How BBT became a prog powerhouse — through sheer bloody-mindedness, growth in their craft and a keen ear for what world class musicians like Nick D’Virgilio, David Longdon and so many others could contribute — is the tale at the core of this passionately detailed band bio/coffee table book. Standout features include lavish design, with a overflow of revelatory photos; fully rounded portraits of major and minor participants, mostly unfolded through Grant Moon’s thorough interview work; and remarkable candor, especially in a self-published effort, about the human costs of BBT’s rise to genre prominence and mainstream media attention. (Moon’s portrayal of Spawton and Poole’s gradual estrangement, even as their joint project finally gathers speed, is both sensitive and haunting.) Between The Lines covers all of Big Big Train’s great leaps forward and forced backtracks through Longdon’s untimely death, leaving the reader with Spawton and his fellow survivors determined as ever to continue. Not shy about celebrating the beauty and ambition of the music the group has made, on record and in person, it also doesn’t flinch from portraying the price paid to scale those heights.
The Pineapple Thief, Give It Back:on which Gavin Harrison gives his new band’s vintage repertoire a kick up the backside with his stylish stick work, and Bruce Soord willingly “rewires” his own songs with new sections, verses and narrative closures. The results probe further into the moody motherlode that new-era TPT mines and refines: dramatic vignettes simmering with emotional turmoil; lean, mean guitar riffs arching over roiling keyboard textures; and always, those simultaneously airy and propulsive grooves. But while Soord and Harrison take the creative lead, this is a marvelously tight unit at work; Steve Kitch (keys) and Jon Sykes (bass and backing vocals) are indispensable contributors throughout. All of which makes Give It Back another enticing entry in the Thief’s discography — deceptively low-key on first impression, it blossoms into a compelling combination of tenderness and grit. (With plenty of headroom in the mastering to pump up the volume!)
Porcupine Tree, Closure/Continuation: The big news is that this is recognizably a Porcupine Tree album — that’s why, over repeated listens, it works so well. Steven Wilson is as happy and carefree as ever, cutting loose about fraught relationships (“Harridan”), nihilism in high places (“Rats Return”, “Walk the Plank”) and, of course, the inevitability of death (“Chimera Wreck”); plus there’s a spooky take on a Lovecraftian invasion (“Herd Culling”), a compassionate portrait of a man with nothing (“Dignity”) and a drop-dead gorgeous ballad that looks forward in hope and back in regret at the same time (“Of the New Day”). Still, it’s the reconstituted band, mostly writing the music in team formation, that gives the record its core integrity and guts. Wilson’s angular guitar and bass work, seemingly effortless songcraft and vocals that often climb to a wordless falsetto (a legacy of The Future Bites?) are perfectly swaddled in Richard Barbieri’s squelchy sound design and ineffably eerie synth solos, then hurtled forward by Gavin Harrison’s consummate percussive drive — whether he’s cruising the straightaways or leaning into jaw-dropping polyrhythmic curves. Of a piece if not conceptual, Closure/Continuation is never less than well-wrought and frequently awesome, worthy to stand alongside Porcupine Tree’s catalog as either a next or a final chapter in their saga. Now floating like a butterfly, now stinging like a bee, with commitment evident in every note, it may well knock you out.
Short, sharp shocks this month: all albums and EPs reviewed below come in under the old school LP limit of 45 minutes! Purchasing links are embedded in each artist/title listing; album playlists or samples follow each review.
Entransient, Ghosts in the Halls: My hometown’s very own prog-metal band lays out the cards for all to see on their Facebook page: “Melodic neo/post-prog rock from Michigan. Influenced by Anathema, Alcest, and Porcupine Tree.” The good news is that guitarists Matt Schrauben & Doug Murray, bassist Nick Hagen, drummer Jeremy Hyde and vocalist/keyboardist Scott Murray refine those influences into a distinctive blend, marked by rich atmosphere and a towering core sound. The opening epic “Parasite” grabs hold immediately with its games of acoustic/electric musical chairs; “Synergize” and “Last Strawman” drive forward without mercy, as Murray testifies fiercely over bare grooves and fuzzed chords alike. More reflective moments like the title track, “Misplaced” and “Where the Shadows Lie” dial down the tempos and the lyrical angst while keeping the edge intact as the band prowls lush, more aerated soundscapes. (Kudos for Hagen’s mixing and engineering, as well as for the mastering work of The Pineapple Thief’s Steve Kitch; the band’s dynamic and textural range is captured with crystalline clarity throughout.) Entransient has an open, readily appealing touch to their music; as they blaze a fresh trail in a style that easily collapses into cliché, they’re well worth a listen.
Envy of None: No, this sounds nothing like Rush, even with Alex Lifeson’s guitar work in the mix. (If that’s what you want, the new anniversary edition of Moving Pictures is now available — and getting glowing reviews from unlikely sources like Pitchfork, for pete’s sake.) Lifeson does provide satisfying crunch, acoustic contrast, and creative lead work in spades, bedding in seamlessly with fellow core players Andy Curran (bass & guitar) and Alfio Annibalini (guitar and keys). They weave a darkly enticing aural mesh that cradles the understated, seductive singing of Maiah Wynne; her breathily fragile volleys, playing off the sticky minimalist hooks embedded in EoN’s web, are what might really ensnare you. Musically, this is all about basic song forms deployed in ambient/industrial/goth/post-rock styles; the seasoned instrumental interplay and Wynne’s preternaturally mature vocal work are what elevate the album above the obvious genre markers. So it’s old-fashioned chemistry and star quality, from veterans and newcomer alike, that turn out to be key to Envy of None’s appeal. Try it on that basis and see if it grabs you.
Harridan and a few of the other new songs have been in play since shortly after the release of The Incident. They initially lived on a hard drive in a slowly growing computer file marked PT2012, later renamed PT2015, PT2018, and so on.
There were times when we even forgot they were there, and times when they nagged us to finish them to see where they would take us. Listening to the finished pieces, it was clear that this wasn’t like any of our work outside of the band – the combined DNA of the people behind the music meant these tracks were forming what was undeniably, unmistakably, obviously a Porcupine Tree record.
You’ll hear all of that DNA flowing right through Harridan.
The new album, titled Closure/Continuation, was completed in September and will be released on Music for Nations/Sony on June 24, 2022. Regular and deluxe CD and LP editions are now available for pre-order at the PT webstore and at Burning Shed. (Burning Shed’s exclusive white vinyl version is already sold out.)
European tour dates have been announced for October/November 2022, with tickets on sale Friday, November 5. Pre-ordering the album through the PT webstore (or just registering there) guarantees pre-sale access this Wednesday, November 3. US and Canada tour dates for autumn 2022 will be announced early next year.
All details above are available via PT’s website. Let the anticipation (and/or the bellyaching) commence …
As previously promised, a look at the big reissues landing in the next few months — especially those available in one or more box set formats. Ordering links are embedded in the artist/title listings below.
The Beach Boys, Feel Flows – TheSunflower and Surf’s Up Sessions, 1969-1971: between their initial impact and their imperial phase as timeless purveyors of fun fun fun, Brian Wilson and his family pursued heaviness and relevance in a market that thought it had outgrown them — at least for the moment. This slice of the Boys’ catalog features less slick, more homespun takes on their timeless concerns (the same amount of girls, less cars, more daily life), with Wilson brothers Dennis (on Sunflower) and Carl (on Surf’s Up) taking the lead. The brilliant moments — “This Whole World,” “Forever,” “Long Promised Road,” “Til I Die” for starters — outweigh the embarrassingly dated ones, and music to make you smile is never too long in coming. Available from The Beach Boys’ webstore as 2 CDs, 5 CDs, 2 LPs or 4 LPs (colored vinyl).
BeBop Deluxe, Live in the Air Age:when Bill Nelson’s avant-glam guitar heroics didn’t generate bigger record sales, a live album was the next obvious move for this sterling British quartet. Better chart positions weren’t forthcoming, but 1977’s Live in the Air Age is an exquisite slab of BBD at work — Chuck Berry updated for the Apollo era, with a bit of Bowie/Mercury panache in Nelson’s vocals and blazing solos aplenty. Available from Esoteric Recordings as 3 CDs (adding the complete 1977 London concert) or 15 CDs/1 DVD (adding all surviving recordings from the 1977 British tour and a live television special).
George Harrison, All Things Must Pass: the quiet Beatle exploded on his first album after the Fabs’ breakup, immersing his radiant devotional compositions in Phil Spector’s patented Wall of Sound and drafting Ringo, Badfinger and the embryonic Derek and the Dominoes as his rock orchestra. The new remix scales back the symphonic swirl, brings forward George’s vocals, and gives the rhythm section a kick in the pants; just right to these ears. A serious contender for the single best solo Beatle album, well worth an immersion course. Available from the Harrison webstore in Standard (2 CDs or 3 LPs — limited colored vinyl available as well), Deluxe (3 CDs or 5 LPs), Super Deluxe (5 CDs/BluRay or 8 LPs) and Uber Deluxe (5 CDs/BluRay/8 LPs/various bespoke gimcracks/”artisan wooden crate” — you don’t wanna know what it costs) editions.
The Elements of King Crimson – 2021 Tour Box: the 7th annual compilation of tidbits from the Discipline Global Mobile archives, doubling as a concert program. This year’s selection of rarities focuses on the nine drummers that have called King Crimson their musical home (sometimes two or three of them at once). Studio snippets – like the one with Fripp, John Wetton on bass and Phil Collins on drums – live tracks, oddities, previews of coming attractions, and more. Available from Burning Shed or on Crimson’s current USA tour.
Lee Morgan, The Complete Live at the Lighthouse: never a mass media superstar, Morgan was nonetheless a jazz icon — one of the finest trumpeters of his day who played with heroes of the music like Art Blakey and John Coltrane, recorded more than 20 albums as a leader for Blue Note Records, and even managed to score a Top 25 pop hit with his funky “The Sidewinder.” This box (another product of jazz archivist Zev Feldman’s boundless energy) sets forth an entire weekend’s worth of recordings by Morgan and his dedicated, powerful 1970 band. Bennie Maupin on reeds, Harold Mabern on piano, Jymie Merritt on bass and Mickey Roker on drums bring the sophisticated, challenging compositions and spirited solos and backing; Morgan takes it from there, lyrical and fiery in turn. This is a great potential entry point if you want to explore jazz as a newbie, and a serious desert island possiblility for those already into the music. Available from Blue Note’s webstore as 8 CDs or 12 LPs.
Clive Nolan and Rick Wakeman, Tales by Gaslight: keyboardists Nolan (Pendragon, Arena) and Wakeman (Yes, Strawbs) box up their out-of-print concept albums Jabberwocky (with dad Rick W. reciting Lewis Carroll’s nonsense verse) and The Hound of the Baskervilles, adding a bonus disc collecting rough drafts of a 3rd album based on Frankenstein. Separate booklets and art prints for each of the 3 CDs included. Theatrical as all get out, and surprisingly good fun if you’re in the mood for Victorian-flavored melodrama. Available from Burning Shed.
Marillion, Fugazi: the band’s 1984 album, perceived as a “sophomore slump” at the time, is much more than a bridge between the feral debut Script for A Jester’s Tear and the early masterwork Misplaced Childhood, with plenty of gripping moments to recommend it. A new remix by Andy Bradfield and Avril Mackintosh compensates handily for the production nightmares recounted in this deluxe edition’s copious notes. Also includes a complete live set from Montreal; the CD/BluRay version adds bonus tracks, documentaries, and a Swiss television concert. Out September 10; pre-order from Marillion’s webstore as 4 CDs/BluRay or 4 LPs.
Van der Graaf Generator, The Charisma Years, 1970-1978: VDGG may have shared the stage with Genesis in each band’s formative years, but they were a thoroughly different beast. Peter Hammill’s desperate existential narratives and the wigged out instrumental web woven by David Jackson, Hugh Banton and Guy Evans made for a unique, highly combustible chemistry — bonkers dystopian sci-fi narrative over free jazz one moment, raggedly soaring hymns to human potential the next. This 17 CD/3 BluRay set collects the band’s 8 studio albums from the Seventies, adding extensive BBC sessions, a live show from Paris, all surviving television appearances “and more.” Now available from Burning Shed; the four newly remastered albums in this box (H to He Who Am the Only One, Pawn Hearts, Godbluffand Still Life) are available as separate CD/DVD sets for those wanting a lower priced introduction to this underrated band’s indescribably stirring music.
The Beatles, Let It Be: the Fab Four’s star-crossed attempt to return to their roots – recording live in front of movie cameras – ultimately became their first post-break-up release, drenched with Phil Spector’s orchestral overdubs to cover the rough spots. With a new 6-hour Peter Jackson documentary on the sessions hitting Disney Plus Thanksgiving weekend, Apple unleashes a fresh stereo remix (the 4th in the series that kicked off with Sgt. Pepper’s 50th anniversary). Super Deluxe versions also include 27 sessions tracks, a 4-track EP and a test mix of Get Back, the proposed original version of the album. Out October 15th; pre-order from the Fabs’ webstore in Standard (1 CD or 1 LP), Deluxe (2 CDs with selected bonus tracks) and Super Deluxe (4 CDs/1 BluRay or 4 LP/1 EP) editions. (The companion book of photos and transcribed conversations from the sessions, Get Back, is released on October 12.)
Emerson Lake and Palmer, Out of This World – Live (1970-1997): a compilation of key live shows in ELP’s history: their 1970 debut at the Isle of Wight Festival; a career peak show at the 1974 California Jam; the 1977 full-orchestra extravaganza at Montreal’s Olympic Stadium; 1992’s comeback concert at London’s Royal Albert Hall; and a previously unreleased 1997 show from Phoenix, Arizona. Out October 29; pre-order from ImportCDs as 7 CDs or 10 LPs.
Joni Mitchell, Archives , Volume 2 – The Reprise Years (1968-1971): more archival recordings from the early days of Mitchell’s recording career. Home and studio demos, outtakes, unreleased songs, her Carnegie Hall debut and much more — a complete acoustic set recorded by a enraptured Jimi Hendrix, anyone? Out October 29; pre-order from Mitchell’s webstore on 5 CDs or 10 LPs (4000 copies only), The Carnegie Hall concert is available separately on 3 LPs (black or white vinyl).
Genesis, The Last Domino? Yet another compilation of Genesis’ greatest hits, fan favorites and core album cuts, released just in time for their first US tour in 14 years. No real surprises in the track selection, but the blurbed promise of “new stereo mixes” of four Gabriel-era classics is intriguing. Out November 19; pre-order from Genesis’ webstore on 2 CDs or 4 LPs. (The UK version of this compilation, out September 17, sports a slightly different track list.)
Elvis Presley, Back in Nashville:the King’s final sessions in Music City, stripped of overdubs a la last year’s From Elvis in Nashville box, that yielded material for three years worth of albums. 82 tracks encompassing country/folk, pop, religious music and Christmas music. Out November 12; pre-order from the Presley webstore on 4 CDs or 2 LPs.
In the Works (release date forthcoming):
Robert Fripp, Exposures: another exhaustive (and potentially exhausting) set from Discipline Global Mobile. This one promises to cover Fripp’s “Drive to 1981,” including his guest-star-heavy solo debut Exposure, the ambient Frippertronics of God Save the Queen and Let the Power Fall, and the egghead dance music of Under Heavy Manners and The League of Gentlemen. Tons of live gigs promised to supplement rarities and studio outtakes.
Marillion, Holidays in Eden: the new Marillion album (now officially titled An Hour Before It’sDark) may push this further back on the release schedule, but Steve Hogarth’s second effort with the boys (an intriguing effort that tried and failed to go commercial) is next up for the deluxe reissue treatment.
Porcupine Tree, Deadwing:a promised deluxe set in the vein of 2020’s In Absentia. Internet gossip flared up when Steven Wilson, Steve Barbieri and Gavin Harrison were rumored to have reset the band’s legal partnership earlier this year; who knows how or when the Tree may blossom again?
Renaissance, Scheherezade and Other Stories: coming from Esoteric Recordings, the folk-prog quintet’s finest hour in the studio, melding orchestral grace with an Arabian Nights theme for the half-hour title track. If this is in the vein of other recent Renaissance issues, hope for a multi-disc set with a bonus live set and a surround remix.
This year, I’m starting off my “best of” retrospective with albums that aren’t technically “new” — compilations, live albums, reissues and (re)discoveries from previous years — that grabbed me on first listen, then compelled repeated plays in 2020. I’m not gonna rank them except for my Top Pick, 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!) Where available, listening opportunities are linked in the album title or included below my summary via Bandcamp, YouTube or Spotify.
Big Big Train, Summer’s Lease (compilation)and Empire (live): This year, I’ve bought music from even more far-flung corners of the world than usual — including Big Big Train’s Japanese-only retrospective. Disc 1 features various rarities on CD for the first time: re-recordings old and new (including excerpts from my intro to the band, the Stone and Steel Blu-Ray), plus the “London Song” sequence from Folklore in all its sprawling glory. Disc 2 leans into the post-Underfall Yard era with a solid mix of epics and, um, shorter epics, plus an unreleased instrumental as dessert. It’s all impeccably curated, and (in retrospect) a fitting capstone to the work of recently departed Train crew Dave Gregory Rachel Hall and Danny Manners. In a similar fashion, Empire is a fond farewell — the last concert played by this incarnation of the band (including Cosmograf’s Robin Armstrong) before COVID-19 killed off their first-ever North American tour. Which makes the entire show, brilliantly performed as always, even more poignant, from the rocket-fueled opener “Alive” to the romantic, spiraling coda for the best version of “East Coast Racer” yet. Sorry, there’s something in my eye . . .
The Firesign Theatre, How Can You Be in Two Places at Once When You’re Not Anywhere At All(rediscovery): This spring, my big brother Bob pointed me back to this 1969 classic — quite possibly the single most insane comedy album ever recorded. The half-hour long title track’s surrealistic road trip morphs into a wickedly irreverent (yet oddly touching) patriotic pageant, with stopover cameos from Lewis Carroll and James Joyce; “The Further Adventures Of Nick Danger,” memorized and mimed to by me and my roommates back in college, is a hallucinogenic smoothie of hardboiled detective drama, time travel and the Beatles’ White Album. “Wait a minute — didn’t I say that line on the other side of the record?” Believe me, you need to find out.
Pat Mastelotto and Markus Reuter, FACE (discovery): My New Year’s resolution was to become a MoonJune Music subscriber through Bandcamp; twelve months later, it’s still one of the best musical decisions I made. In recent years, touch guitarist Reuter has become a major contributor to Leonardo Pavkovic’s ongoing quest to “explore and expand boundaries of jazz, rock, ethnographic, avant, the unknown and anything between and beyond,” frequently joined by King Crimson drummer Mastelotto (his partner with Tony Levin in Stick Men). The 2017 FACE (not actually on MoonJune) stands out in the duo’s catalog: a single, 35-minute instrumental travelogue that swiftly spans the globe and its myriad rhythms, aided and abetted by Steven Wilson and associates of David Lynch, Tool and the Rembrandts. Blink with your ears and you’ll miss the transitions from theme to theme and place to place; this one both demands and thoroughly rewards my attention every time. Hopefully, the excerpts linked above will convince you — don’t hesitate to hop on board!
The Neal Morse Band, The Great Adventour Live in Brno (live): every bit as impressive as when I saw this show in Detroit the same year, the NMB’s concert take on The Great Adventure is even tighter, more driven and more finely honed than the studio version. Kaleidoscopic contrasts of rhythm, instrumental color, vocal textures (mainly from Morse, guitarist Eric Gillette and keyboardist Bill Hubauer) and tonality mesh effortlessly with drummer Mike Portnoy and bassist Randy’s George’s badass forward propulsion, mirroring the lyrical highs and lows of the journey to John Bunyan’s Celestial City. The result is sustained, extended, unforced ecstasy in the Czech audience, capturing how Morse’s recent work embodies the ongoing ideal of American revivalist religion. A journey worth taking, whether you caught this in person or not.
Jaco Pastorius, Truth, Liberty and Soul: Live in NYC(live, archival, discovery): 2020 was the year I came across Resonance Records, where “jazz detective” Zev Feldman has been unearthing incredible archival treasures for nearly a decade. Jaco Pastorius single-handedly revolutionized electric bass playing in the 1970s; this 2017 release captures him in 1982, fresh from his boundary-busting stint in jazz-rock titans Weather Report. Fronting a big band of great players — the best New York horns, the drum/percussion duo of Peter Erskine and Don Alias, Othello Molineaux on steel pans and harmonica virtuoso Toots Thielmanns — Pastorius mixes classic tunes with his own soulful writing. It’s a mighty, bubbling noise — jazz, funk, rock, reggae, swing and more, with a groove that never stops and heart behind the flash. Irresistible for anyone with a pulse!
Porcupine Tree, In Absentia(deluxe reissue): Not the Porcupine Tree album that hooked me (that was Deadwing, promised its own deluxe box next year) but, looking back, my firm favorite of the band’s late period. Freshly signed to the American label that brought us Trans Siberian Orchestra, Steven Wilson and company made the polar opposite of a sentimental holiday album, focusing on the inner motivations of — serial killers? What makes that work? Well, how about: the full-on debut of Gavin Harrison’s stylish, rhythmically slippery drumming; Richard Barbieri’s off-center, arresting synth textures and solos; Colin Edwin’s relentless, incomparably steady bass workouts; Steven Wilson’s reignited love of metal slamming up against the songcraft developed on Stupid Dream and Lightbulb Sun, as well as a fixation with Beach Boys-tinged harmonies? Oh, and a clutch of superior tunes that became perennial favorites, both on the main album (“Blackest Eyes,” “Trains,” “The Sound of Muzak”) and the bonus disc (“Drown With Me,” “Futile”). Add in subtle yet superb remastering and you have a near-perfect example of how these boxes should be done.
Pure Reason Revolution, The Dark Third (reissue): At a time when progressive rock’s troops were thin on the ground, PRR provided reinforcements — and a breath of fresh air. It’s still hard to believe a major label released The Dark Third back in 2006; the effortlessly evolving long-form suites, the sweet-and-sour pairings of lush soundscapes and jacked-up beats were a vivid variant on Pink Floyd’s classic palette that turned the bass and drums up to 11. Jon Courtney, Chloe Alper and their cohorts weave the webs of melody and harmony; Paul Northfield’s co-production brings out the cavernous bottom end. The new bonus disc includes both the intriguing student work that led to Sony signing PRR and outtakes that showed up in different forms on later albums. Always an booming, blissed-out listen, now more inviting than ever.
Tears for Fears, The Seeds of Love (reissue): A marvelously all-over-the-place, widescreen record. Unabashedly pop but also fearlessly expanding the TFF sound into psychedelia (the title track was everywhere back in 1989), soul (big shout-out to Oleta Adams and Tessa Niles, who pushed Roland Orzbaal and Curt Smith to new vocal heights on “Woman in Chains” & “Swords & Knives”), jazz (Nicky Holland & Adams serve up stunningly tasty piano), world music (Jon Hassell’s superlative trumpet on “Standing on the Corner of the Third World” & “Famous Last Words”) and even a touch of prog-funk on “Year of the Knife.’ The squeaky-clean remaster (plenty of headroom and dynamic range) is dandy, but if you need more, the super-deluxe set linked above includes some dynamite rehearsal recordings.
and my Top Pick . . .
Ella Fitzgerald, The Lost Berlin Tapes (live, archival): My recent listening has tacked in the direction of mainstream jazz; if I had to speculate as to why, I’d say I might be looking for less tension and more release during my unobligated time. But what’s on offer is a factor as well. Instead of baking sourdough bread or taking up acoustic guitar during the time of COVID, it’s as if jazz musicians and aficionados have all dug deep in their closets and simultaneously unearthed long lost vintage recordings — which record companies eager to fill their distribution pipelines have snapped up and launched into the wider world.
This, in my view, is the best of that harvest: an astounding, life-affirming 1962 concert buried in the archives of Ella Fitzgerald’s manager until now. Ella and her fellas (Paul Smith on piano, Wilfred Middlebrooks on bass, Stan Levey on drums) are at their absolute peak, in tune with each other and with an extroverted, enthralled Berlin audience. Every note of this concert radiates warmth and inner joy, even when the mood darkens on torch songs like “Cry Me A River” and Billie Holiday’s “Good Morning Heartache.” And when Ella swings on “Jersey Bounce,” jumps on “Clap Hands, Here Comes Charlie,” digs into Ray Charles’ “Hallelujah, I Love Him So” (resulting in an immediate, complete encore!), then breaks into her trademark scatting on “Mack the Knife,” well, she is unstoppable. I have had no finer feeling listening to music this year; whatever may ail your soul, I believe that The Lost Berlin Tapes are good medicine for it.
But wait, there’s more! Watch for my “new album” favorites from 2020 coming soon . . .
Since the initial installment of our fall preview, deluxe box set announcements are coming thick and fast. This article includes those mentioned in the preview, plus new announcements that may appeal to our readers. I’ve included approximate list prices in USA dollars (not including shipping), as well as lower-cost options for those who want to hear and support the music without breaking their personal bank. Links are to the ever-ready folks at Burning Shed unless otherwise noted.
King Crimson, Complete 1969 Recordings: 20 CDs, 4 BluRays and 2 DVDs include every surviving note Crimson played in their first year — the seminal debut In the Court of the Crimson King plus the complete studio sessions, extant live bootlegs and BBC recordings. The crown jewels here are new stereo, surround and Dolby Atmos mixes of Court by Steven Wilson. Available October 23 ($210 – $240 list price, depending on your vendor); slimmed-down versions of In the Court on 2 CDs + BluRay (with the new stereo and surround mixes, alternate versions and additional material ; $40) or 2 LPs (with alternate versions and additional material; $35) are already available.
Joni Mitchell, Archives Vol. 1 – The Early Years (1963-1967): Nearly six hours of recordings from before Mitchell released her first album — home recordings, radio broadcasts, and live shows, including 29 songs not previously released with her singing them! Available from Mitchell’s website October 30 as follows: complete on 5 CDs ($65); Early Joni 1 LP (1963 radio broadcast; $25, black or clear vinyl) and Live at Canterbury House 1967 3 LPs (3 sets recorded in Ann Arbor, Michigan; $60, black or white vinyl).
More from Porcupine Tree, Tangerine Dream, Tears for Fears and others after the jump!
Back on March 20, Bandcamp waived its share of all sales, in order to support artists whose livelihoods were effected by the COVID-19 pandemic (especially because of cancelled live shows and tours). The results were astonishing: $4,300,000 in sales of downloads, CDs, LPs and merch, 15 times a normal Friday’s take.
On May 1, June 5, and July 3 (the first Friday of each month), we’re waiving our revenue share for all sales on Bandcamp, from midnight to midnight PDT on each day.
(Over 150 artists and labels are offering discounts, exclusive items, merch bundles, and more this Friday.)
It may sound simple, but the best way to help artists is with your direct financial support, and we hope you’ll join us through the coming months as we work to support artists in this challenging time.
And, in case you’re wondering, there’s tons of recorded goodness available at Bandcamp from these Progarchy-favored artists:
Indian progressive rockers Rainburn are a band who sit firmly within that region of emotive music which crosses the line between the plaintive sound of Porcupine Tree and the bluster of cinematic indie. Now on their second release, Insignify out on November 7th, they return to the age old trope of the concept album with a narrative, which feeds into the at times explosive music.
Telling the story that deals with issues of existentialism, the significance of human life, narcissism, craving importance, insecurity and the search for reason, you may consider it all a bit convoluted. At nearly 50 minutes long it does test your patience and you may find yourself drifting away from the main theme. Give it some due listening though, and you’ll find a concept which works to keep your attention.
Although thematically it’s difficult to keep up, within the music you find a way to enjoy this album. Cinematic in not just scope, but in drive, the peaks and troughs of a film are recast within some wonderful playing. Particularly good are the plaintive guitar solos, feeding off a classic sound developed by masters of prog, and given new life here. They are moments which lift the album to another level and become moments of transcendent emotion.
Rainburn can do heavy too and on the tumultuous end of “Suicide Note”, the devastating centrepiece of the album, they bring a new heaviness to prog rock which only the metal maestros dare explore. Unafraid to raise the tempo, it’s fascinating to listen to the way the band use their music as a kind of soundtrack of emotion, rather than a classic style of songwriting. They may veer on the more predictable side of prog, but at least they do it well.
There is plenty on Insignify to excite prog fans. It’s always difficult to deliver emotional music such as this without veering into cloying territory and with a concept verging on the slightly pretentious, you’re edging towards dodgy terrain. All dues to Rainburn for pulling this off in the main though, and if you’re willing to give it the time you’ll find plenty to keep you coming back. Pour yourself a drink, stick your headphones on, and lose yourself in the story for a while. You’ll enjoy it.
Like Rainburn on Facebook and stay in the loop for more from this great group.