Tag: Songs From the Hard Shoulder

Bryan’s Best of 2022

On By Bryan MoreyIn Big Big Train, progressive rockLeave a comment

This year has been an interesting one for me musically. For much of the middle of the year I was absorbed by older progressive metal music, primarily diving into back catalogs for Meshuggah, Pain of Salvation, TesseracT, and Caligula’s Horse. I found that I wasn’t as compelled by more traditional “prog rock,” at least not in its shorter forms. I did find myself enjoying some of the longer form tracks, like Lobate Scarp’s “Flowing Through The Change” and Ryo Okumoto’s “The Myth Of The Mostrophus.” Much of my favorite new music leaned towards post-progressive music, with a few more traditional picks thrown in as well. I’ve reviewed a lot of music this year and listened to far more, some of which would have made a best-of list in years past where I listened to less music. Alas.

The following order is relatively arbitrary apart from my top album at the end.

GH-2022-cover-1080px-PREVIEWGlass Hammer – At The Gate
The third record in Glass Hammer’s Skallagrim trilogy of fantasy albums doesn’t disappoint. In fact in may be the best of the trilogy. Equal parts heavy and proggy, I think my favorite parts are when the band goes full Rush. You don’t hear many bands really showing a mature Rush influence (as opposed to hearing elements of a Rush sound), and it was great to hear it on this album.

tangent-hard-shoulderThe Tangent – Songs From The Hard Shoulder
The Tangent returned this year with a collection of prog epics (and one R&B, disco, funk track), sure to thrill longstanding fans and possibly scare away the uninitiated. Check out my review of the album: https://progarchy.com/2022/06/28/album-review-the-tangent-songs-from-the-hard-shoulder/. Check out Rick Krueger’s interview with Andy Tillison, as well: https://progarchy.com/2022/05/27/andy-tillison-the-progarchy-interview/.

Lobate Scarp - You Have It AllLobate Scarp – You Have It All
This record was a long time in the making for Lobate Scarp and it’s mastermind, Adam Sears. The record masterfully blends prog with pop sensibility, all while bearing a strong Spock’s Beard influence. My favorite song is the 17-minute “Flowing Through The Change.” Beyond that, I’ve found many of the uplifting lyrics from other tracks running through my mind over the course of the year. Check out Time Lord’s review: https://progarchy.com/2022/05/06/album-review-you-have-it-all-by-lobate-scarp/.

a0006828710_10Dave Brons – Return to Arda
Dave Brons recently released a follow-up to his 2020 Tolkien-influenced record, Not All Those Who Wander Are Lost. Return to Arda looks at nature within Tolkien’s “Middle-Earth” through a celtic progressive rock lens. Featuring vocals from Sally Minnear, and mixing by Dave Bainbridge. Check out the album on Bandcamp: https://davebrons.bandcamp.com/album/return-to-arda.

Gabriel Keller - Clair ObscurGabriel Keller – Clair Obscur
I reviewed quite a few albums from France this year, and this record was my favorite of those. It contains a blend of English and French lyrics with multiple vocalists. The album has a variety of styles, gradually getting darker and heavier as it goes along. Check out my review: https://progarchy.com/2022/11/13/gabriel-kellers-stunning-musical-journey-clair-obscur/.

8716059014463-cover-zoomInhalo – Sever
I reviewed this debut album from the Dutch proggers for the Dutch Progressive Rock Page earlier this year, and it was a very pleasant surprise for me. It reminded me of TesseracT if they were playing just hard rock and not metal. Very atmospheric with a mature sound. I love their wall-of-sound approach. It’s a solid record, and I look forward to more music from the band. Check out my DPRP review: https://www.dprp.net/reviews/2022/071.

Big Big Train - Welcome to the PlanetBig Big Train – Welcome To The Planet
This record was bittersweet, being the final Big Big Train record to feature David Longdon on lead vocals. It was also an album of change for the band, with new member Carly Bryant taking a more prominent role on the record compared to Common Ground released a mere six months earlier. The record contains a pleasant blend of the band’s more accessible bits as well as their proggy moments. “Capitoline Venus” is a touching love song, while “Oak and Stone” fits in a long tradition of Big Big Train’s pastoral contemplative tracks. The title track is a bit unlike anything we’ve heard from the band, at least during Longdon’s tenure, reflecting Bryant’s new influence. It took me a few listens, as it took me by surprise at first. But once I “got” it, I really came to enjoy it. Check out my review: https://progarchy.com/2022/01/19/album-review-big-big-trains-welcome-to-the-planet/; and check out Rick’s review too: https://progarchy.com/2022/01/21/ricks-quick-takes-for-january/.

Big Big Train Summer Shall Not FadeBig Big Train – Summer Shall Not Fade
The band’s 2018 performance at the Night of the Prog in Loreley, Germany, has been a bit legendary amongst the band’s fans for years, and I suspect the band decided to release it this year due to Longdon’s tragic passing last year. The concert finds the “classic” lineup of the band playing at or near their best in front of a very large crowd. We’re reminded of how great a frontman Longdon really was. It’s a pleasant way to remember this part of the band’s history. Check out my review: https://progarchy.com/2022/11/05/big-big-train-summer-shall-not-fade/.

Bjørn Riis Everything to EveryoneBjørn Riis – Everything To Everyone
This record dominated my listening early in the year. Riis is an excellent guitarist, and his atmospheric rock is always compelling. Every one of his solo albums is worth listening to for his music, vocals, and lyrics. His albums are melancholic, like most of the progressive rock I’ve heard from Norway. Check out my review: https://progarchy.com/2022/05/09/album-review-bjorn-riis-everything-to-everyone/.

dt-lightwork-front-coverDevin Townsend – Lightwork/Nightwork
Devin may have gone quieter on Lightwork, but the album displays his talent as well as any of his records. His skills as a mixer, writer, composer, guitarist, and singer are on full display. The companion album, Nightwork, has some heavier moments, perhaps to soothe parts of his fan base. Either way, both records are great. Check out my review: https://progarchy.com/2022/12/22/devin-townsend-lights-the-night-lightwork-and-nightwork/.

meshuggah-immutableMeshuggah – Immutable
It has taken me close to a decade of listening to progressive metal before I was able to finally get into Meshuggah, and it happened this year! I’ve long known about them and respected them, but I just couldn’t get it. Maybe me getting into Devin Townsend’s more extreme side over the past couple years helped open that door, but I’m now a big Meshuggah fan. I could even hear a Meshuggah riff (from “Demiurge”) coming from my knife and cutting board when I was chopping celery last week. “Immutable” is a fantastic record, finding the band tweaking their sound a bit without changing their substance at all. “Broken Cog” is heavy, brooding, and atmospheric. The scream of “broken cog” close to the end is absolutely epic. Check out Mahesh Sreekandath’s review: https://progarchy.com/2022/11/25/immutable/.

Porcupine-Tree-–-Closure-ContinuationPorcupine Tree – Closure Continuation
I didn’t get into Porcupine Tree until after their hiatus following 2009’s “The Incident” and subsequent tours. I had no real expectations for this record, since Porcupine Tree has played a lot of different styles over the course of their long career. I kept an open mind, and I was highly rewarded. This album is pure Porcupine Tree without feeling like it’s trying to create a certain sound. It’s just what came about from the members writing and playing together on occasion over the past decade. Upon reflection, I think my dislike for some of Steven Wilson’s poppier solo work might be tempered if he continues to make music like this in other outlets. Check out Rick Krueger’s review of the band’s live show in Chicago: https://progarchy.com/2022/09/23/porcupine-tree-in-concert/.

marillion-ahbitd-1Marillion – An Hour Before It’s Dark
Another record that dominated my listening early in the year. This record is almost as good as 2016’s F.E.A.R. Perhaps not quite, but it is close. It’s one I’ll likely enjoy for years to come. Well written music and lyrics (for the most part – I have my beefs with one track) that ponder the turmoil of the last few years. It’s a hopeful album that has some calls to reflect and change our ways. In the end, it makes you think, as all good art should. Check out my review: https://progarchy.com/2022/03/27/we-still-have-time-marillions-message-of-hope-an-hour-before-its-dark/.

Oak - The Quiet Rebellion of Compromise1. Oak – The Quiet Rebellion Of Compromise
Oak never disappoint me. Their latest record finds them evolving their sound a little bit, but it is still definitively Oak. Their layered soundscapes, haunting vocals, and thoughtful lyrics have kept them at the top of my list of favorite newer bands since I first heard them in 2016, and they’ve only confirmed that for me with this record. They’re a band that deserves far more recognition from the prog world. Check out my review: https://progarchy.com/2022/12/14/oaks-third-masterpiece-the-quiet-rebellion-of-compromise/.

steven-wilson_limited-edition-of-one_bookMy favorite prog book of the year was Steven Wilson’s Limited Edition of One. Breaking the mold of rock artist memoirs, Wilson (and Mick Wall, who helped him in the writing process) created a post-modern masterpiece. I typically dislike anything deconstructive (in an academic sense), but Wilson turned it into an art form. He combines memories with lists of his favorite music, books, and movies along with more philosophical commentary on his career and on music in general. Check out my full review of the book: https://progarchy.com/2022/05/08/more-than-a-memoir-steven-wilsons-limited-edition-of-one/.

I only went to one concert this year: Steve Hackett. Interestingly, Hackett was the last concert I saw before governments shut everything down for Covid. The band played the Seconds Out setlist, along with some of his solo tracks. It was a brilliant show, with Hackett clearly demonstrating that his band is the best thing touring right now. He even released a live album from the tour that is well worth checking out. Check out my concert review: https://progarchy.com/2022/04/27/live-again-steve-hackett-plays-st-louis-4-26-22/. And check out Rick’s concert review too: https://progarchy.com/2022/05/06/steve-hackett-in-concert-from-spectral-surrender-to-seconds-out/.

This best-of list feels woefully incomplete considering how much excellent music was released this year… Muse, The Flower Kings, Six by Six, Ryo Okumoto, The Bardic Depths, Cosmograf – all great records, but the above list really captured my attention for one reason or another.

Hopefully 2023 will be another great year for prog. As usual for me, music has been an escape, a sedative, a lighthouse in the storm. With 2022 being one of the most difficult years of my life, music provided much needed comfort and direction over the course of the year. I suspect that will continue in the new year.

Merry Christmas and Happy New Year, everyone. Thanks so much for reading.

Album Review – The Tangent – Songs From the Hard Shoulder

On By Bryan MoreyIn Andy Tillison, progressive rock, The Tangent4 Comments

tangent-hard-shoulderThe Tangent, Songs From the Hard Shoulder, Inside Out Music, June 10, 2022
Tracks: The Changes (17:06), The GPS Vultures (17:01), The Lady Tied to the Lamp Post (20:52), Wasted Soul (4:40), In the Dead of Night / Tangential Aura / Reprise (Bonus Track) (16:11)

The Tangent never cease to inspire, amaze, and mystify. Two years after Auto Reconnaissance, the band’s follow-up Songs From the Hard Shoulder might be their proggiest yet. Auto Reconnaissance was my favorite Tangent record since 2015’s Spark in the Aether, and Songs From the Hard Shoulder is a more than worthy successor. But where Auto Reconnaissance may have been a great place for new listeners to jump into the band’s work, this record may be a bit daunting for that. It is, after all, made up of three epics each over 17-minutes long, one shorter track, and a 16-minute bonus track cover of a UK song mixed with some Tangential noodling. This isn’t a record for the fainthearted, but it will reward you if you give it the chance. 

Oh, the jazz. Besides Andy Tillison’s lyrics, my favorite aspect of The Tangent’s music is their use of jazz. It permeates their sound, but it doesn’t overpower the rock. Theo Travis’ work on saxophone and flute particularly stand out to me on this record. It’s always brilliant, but it strikes me as more prominent here. Or maybe I’m just noticing it more this time around. Either way, it’s great. 

The instrumental jamming is front and center on this record. It’s always been there, but it is unmistakably the core of this record. How could it not be with songs this long. “The GPS Vultures” is a 17-minute long instrumental! But don’t let that fool you. It never bores. It ebbs and flows, as any longer track should. There are solos from every band member, there’s experimentation, and there’s general jamming. Maybe some of the crinkly experimental passages of computer-synth noise could be excised, but those don’t last long. 

Lyrically “The Changes” finds Tillison wrestling with the last 2+ years, how we dealt with that, and what we do going forwards. He uses personal stories from the band to give an example of what it is they lost during lockdowns before pointing out that his story is just one of millions. He points out that things weren’t so hot before all this, so what’s the point in going back to the way it was? In an interview with Progarchy, he made sure to explain that he wasn’t making a political statement but rather a cultural critique. After all, cultural critique is where he excels, in my opinion. 

Speaking of that, “The Lady Tied to the Lamp Post” is peak Tillison. The song tells the story of an encounter Tillison had with a homeless woman, and he uses that story as a lens to comment on the social crisis of homelessness. It’s a powerful track, particularly near the end when he reminds the listener that all of us aren’t much more than a few clicks of a mouse on somebody’s computer screen before we too are out on the streets. In the end he calls for more humanity in the way we treat those less fortunate than ourselves.

At over 20 minutes, this song covers a lot of ground. It opens quiet with Tillison singing over a mix of light drums, piano, and subtle guitar. It moves into a much more fast-paced section that’s pure prog, as Tillison tells more of the story. At 9 minutes in, Tillison delivers an especially passionate high-note that certainly surprised me. A second longer instrumental passage follows, most of which is good. There’s about 30 seconds that we probably could have done without, but it moves into an industrial-sounding passage that works quite well. The fast-paced section with Steve Roberts’ drums leading the way returns to finish off the story. 

Tillison’s vocal delivery really sells the story on this track, as well as on the opening song. Throughout the album he uses his various styles of singing, including his regular voice, his talk-singing, and his shout-singing when he’s really worked up. He uses these to accentuate his particular points, adding in an element of acting to the performance. Is his voice for everyone? Probably not, but it sounds great to me. 

If you’re like me you might be surprised at “Wasted Soul.” In his interview with Progarchy, Andy explained how much of an influence Earth, Wind & Fire and other African American music from the 1970s was on him musically. This song is pure 70s funk and soul. That’s not music I’m particularly well-versed in, but “Wasted Soul” is a great track. It has a catchy up-temp beat with a great horn section. It shows the versatility of the band, and it’s a fun closer to a somewhat weird record. 

I’ve listened to this album a lot over the last month or two, and I’m still not sure if I like it better than Auto Reconnaissance or not. The last album had a more accessible balance of shorter tracks to longer ones, but I’ve found myself engrossed with Songs From the Hard Shoulder each time I’ve put it on. Andy’s lyrics almost always draw me into reflection (I’ve been turned off by some of his more overtly political lyrics in the past), which is always a good thing. This is art, after all, and good art should make you think.  The icing on the cake with The Tangent is stellar music performed by one of the most unique bands on the scene today. They really don’t sound like anyone else, even when they’re wearing their influences on their sleeves. Their sound is their own, which makes them a joy to listen to. While Songs From the Hard Shoulder might be difficult for newcomers to get into, it’s still a great album I’ll be happy to return to for years to come. 

https://www.thetangent.org