By neglected, I don’t mean by the world. I mean, by me.
In a few other posts, I have had the privilege of listing my top albums, in the order I loved them. My 2017 list goes, from no. 10 to no. 1: Anathema, The Optimist; Bjorn Riis, Forever Comes to an End; My Tricksy Spirit; Ayreon, The Source; The Tangent, The Slow Rust of Forgotten Machinery; Cosmograf, Hay-Man Dreams; Glass Hammer, Untold Tales; Newspaperflyhunting, Wastelands; Dave Kerzner, Static; and Big Big Train, everything released in 2017!
There are, however, a number of great releases from the year that I simply did not have time to grasp fully or immerse myself in the way I think necessary to review properly. None of this, however, should suggest–to my mind, at least–even a kind of lesser quality or second-hand citizenship in the world of Prog, or in the republican anarchy that is progarchy.
For what it’s worth, I thought each of the following extraordinary as well, and, I hope, when Kronos allows, time to embrace each in the way it deserves.
Lifesigns, Cardington. I think John Young is a treasure of a musician and composer, and I’m honored to travel this world at the same time as he. Intelligence radiates from everything the man does, and, even better, it’s an intelligence utterly in the service of good things. The first Lifesigns was a shock of joy to me. This one as well, though I’ve just not had the time to dive into it.
When I listen to Lifesigns, I actually think of Young and the band as the anti-Radiohead guys. Imagine the darkness of Radiohead and then do exactly the opposite, in terms of melody and lyrics. And, you might arrive at Lifesigns. My favorite track on this new release is nine-plus minute “Different.”
Continue reading “Some Neglected Music of 2017, Part I” →