Bryan’s Best of the Decade, 2012-2022

As we here at Progarchy continue to celebrate our tenth anniversary, we’re moving from talking about our favorite artists of the decade to our favorite albums. Since 2014 I’ve compiled a “best of” list highlighting my favorite music of the year. Looking back, I still stand behind my lists because they represent where I was with music at the time. But now as I look back and try to compile a top ten for 2012-2022, my list looks a little bit different. The following list reflects my views and tastes regarding the last ten years as they sit right now. It’s all very fluid and subjective.

But enough blathering. On with my top ten. The only limit I put on myself was I didn’t want to repeat artists, because otherwise it would all be Big Big Train or Neal Morse and Mike Portnoy. Limiting myself to one album from each of those artists was difficult, but I’ll steer you back to my yearly best of lists at the end of the article, for those artists abound in those lists.

[Headline links, for those that have them, link to Progarchy reviews, articles, or interviews associated with the album.]

10. Pain of Salvation – In The Passing Light Of Day (2017)Pain of Salvation - Passing Light of DayI missed this album when it came out, although I remember reading about it in Prog magazine. I came to appreciate Pain of Salvation with their 2020 album, Panther, which was my top album of the year. I finally started to dig into their back catalog this summer, and I’ve been blown away. In The Passing Light Of Day is a brilliant tour-de-force of emotions. Some of the lyrics I think are too sexually explicit, which is primarily why I rank it at number 10 and why I almost kicked it off my top ten. But the music and melodies are so good, and most of the lyrics are incredibly profound. I also think Ragnar Zolberg brought a lot to the table and was a great balance to Daniel Gildenlöw.

9. The Neal Morse Band – Innocence and Danger (2021)
The Neal Morse Band Innocence & DangerIt was hard to pick one of the MANY albums made by Neal Morse and Mike Portnoy  over the past decade. They’re all just so good, so I took the easy way out and picked the most recent. I think this is the most well put-together of all the Neal Morse Band albums. “Beyond the Years” is one of the finest pieces of music to come out of the last several years.

8. TesseracT – Portals (2021)
tesseract-portalsPortals is a brilliant album. It is unique on this list for being a live release, but it is also unique for being a live-in-studio release – a product of the pandemic. I suppose that’s why I don’t rank it higher on this list, but I’ve been listening to it a ton since it came out. I even broke down recently and bought the fancy deluxe CD/DVD/Blu-ray edition. I think most of the tracks on here sound better than they do on the original albums. The album also introduced me to the band, as well as to the world of djent. The way the band blends djent riffs with Floydian spacey motifs is just perfect. One of the finest bands in the world right now.

7. Haken – The Mountain (2013)
haken mountainI go in spurts when listening to Haken (like I do with many bands). The Mountain has a magnificent blend of metal with splashes of 70s golden age prog. Songs like “Atlas Stone,” “The Cockroach King,” “Falling Back to Earth,” and “Pareidolia” have become prog metal classics, in my book. I’ve come to think Haken isn’t as compelling in their quiet tracks as bands like Riverside of TesseracT, but this entire album is still very listenable nine years later.

6. Marillion – F.E.A.R. (2016)
arton33729Marillion’s F.E.A.R. was my introduction to the band, and I’ve thoroughly enjoyed diving back into their catalog. I’d have to say I think this is one of their best with Hogarth. Their latest album, “An Hour Before It’s Dark,” comes very close to it, but “Reprogram the Gene” knocks it down a peg for me. F.E.A.R. combines musical prowess with cultural critique to wonderful effect, even if I may disagree with Hogarth at points.

5. Riverside – Shrine of New Generation Slaves (2013)
riversideI had a hard time deciding which of Riverside’s three studio albums from the past decade to choose. Love, Fear and the Time Machine and Wasteland are both brilliant, and if I had allowed myself to choose multiple albums from the same artist in a top ten, Wasteland would probably be here too, but I think Shrine edges both of them out. It’s heavy, both musically and lyrically. Several of the songs turn into real earworms for me, and I’m never disappointed when I return to this record. And it’s another one on this list that I discovered several years after its release.

4. Oak – False Memory Archive (2018)
Oak false memory archiveOak is my favorite new band of the last decade. Both their 2013 (2016 release on CD) album Lighthouse and 2018’s False Memory Archive are brilliant albums, if not perfect. This record was my top album of 2018, and Lighthouse was my top album of 2016 (I didn’t realize at the time it had been released digitally earlier). The Norwegian melancholic aesthetic is dripping from both albums. It was hard to pick one of the two, but the closing track on False Memory Archive, “Psalm 51,” is one of the finest album closers I’ve ever heard. I think that gives this record the edge.

3. Devin Townsend – Empath (2019)
Devin Townsend - EmpathI was blown away by Devin Townsend’s Empath when it came out – so much so that I bought the 2CD deluxe version that year and the super deluxe version when Inside Out funded that project the next year. The record masterfully blends all the aspects of Devin’s career into a truly unique and truly Devin experience. It has the heavy bombast of Strapping Young Lad at points, yet it’ll soar into orchestral and even operatic highs elsewhere – or even at the same time. Pure musical theater in the best way. Devin’s vocal performance on “Why?” is stunning, and the message of hope on “Spirits Will Collide” is always a pleasant reminder that life is worth living. The production side of things, with Devin’s famed “wall of sound,” is unmatched in his career, or anyone else’s for that matter.

2. Steven Wilson – Hand. Cannot. Erase. (2015)

Steven_Wilson_Hand_Cannot_Erase_coverHere we come to one of the truly great albums of our time. I would certainly rank this in a top 10 best albums of all time. Back in 2015, this album was my number 3 pick, with The Tangent’s “A Spark in the Aether” coming in at number 1. Now I still think that’s a great record, and I wrestled with whether or not to include it in my top 10, but I think over time Wilson’s masterpiece has proven to be a generational album. Both the music and the story sound fresh, even seven years and many listens later. The themes of isolation and loneliness in city life (or life in general) will always be relatable. Someone 100 years from now could listen to this record, and while they may miss some of the references (even I still miss some of them), the underlying theme will still connect. That’s what places this record up there with the likes of Pink Floyd’s The Wall.

1. Big Big Train – English Electric: Full Power (2013)
Big Big Train English Electric Full PowerThe defining band and defining album for the last decade of prog. Looking back, this record was the one that got me into the contemporary progressive rock scene. Returning to it today is a special treat, as I hope it always will be. It contains everything you might want out of a quintessentially “English” progressive rock band. It has the rock, the folk elements, the complex musicality, the well-told stories. And then there’s David Longdon’s voice, showing us his command of the material and his command of the upcoming several years in the prog scene. When I traveled to England in 2015 (which to me felt like a longer distance between its release than it feels between now and that visit – it’s weird how your perception of time changes as you grow older) I really wanted to listen to this album while being out in the hedgerows and fields. I can still remember sitting on a bus traveling between towns listening to English Electric (I wrote more about this in a piece back in 2016). There are a lot of good emotions connected to this record for me. But beyond that, Big Big Train showed us all that they were THE powerhouse in the new generation of prog bands. They were who all the younger bands were going to look up to for the next decade, and they did it all themselves. Sure, the journey began when Longdon boarded back in 2009 for The Underfall Yard, but English Electric was where they really picked up steam. Every album since has been magnificent, with many topping my best of lists in the ensuing years, but this one will always be the quintessential Big Big Train album for me.


As a coda to this review of the past decade in the best of prog, I want to give you the albums I picked as my favorites for the years 2014-2021 (I didn’t start my best of lists until ’14). I’ll include links to those lists as well. I find it interesting how I’ve “discovered” albums and bands even within the last year that have soared up my list, even if I missed them when they came out. Better late than never.

  • 2014Flying Colors – Second Nature  – I saw them live right after this was released. It’s a great record and a great band, but the poppier edge doesn’t stick with me as much as the records on my list above do.
  • 2015 – The Tangent – A Spark in the Aether – I shared above how Wilson’s Hand. Cannot. Erase. has grown in my estimation. I still think this is one of The Tangent’s finest records.
  • 2016 – Oak – Lighthouse – Even if its original release was 2013, this record still dominated my listening in 2016 and was my album of that year.
  • 2017Big Big Train – Grimspound, The Second Brightest Star, London Song, Merry Christmas EP – Enough said. Brilliant band. Brilliant music. Brilliant year for them.
  • 2018 – Oak – False Memory Archive
  • 2019 – Devin Townsend – Empath
  • 2020 – Pain of Salvation – Panther – I still think this is a great album. I listened to it yesterday at work, in fact. It was my intro to the band, and maybe I was shocked by how different it was from everything else I had been listened to in the genre. I’d still rank this record extremely highly, but I don’t know if I would put it at the top of the list if I were making a 2020 list today.
  • 2021 – Big Big Train – Common Ground – What can I say? I like Big Big Train.

Thanks for reading through all this. If you’ve been a prog fan throughout this past decade, I hope this brought back some good memories. If you’re new to prog, consider every album mentioned in this post as your homework over the coming weeks. Prepare to be blown away.

Here’s to hoping the next decade is even better.

Bryan’s Best of 2021

We’ve come to the end of another year, and what a horrible year it has been. Really the only positive thing I can think of from this year is the music. In addition to all the non-music nonsense that has gone on this year, we lost from legends in the prog world, none hurting more than the tragic and completely unexpected death of David Longdon. That one will hurt for a long time.

I usually write my best of lists in no particular order, with my top pick(s) at the end. So without further ado…

Robby Steinhard Not in Kansas AnymoreRobby Steinhardt – Not In Kansas Anymore

Robby Steinhardt was another prog legend we lost unexpectedly earlier this year. He hadn’t been active in music for quite some time, but that was about to change as he was finishing up his first solo album and had plans for a tour. Sadly the latter was not to be, but we did end up getting his solo album in the fall. It’s a great record, and it shows what a key player he was in Kansas. His vocals are stellar, and his violin playing is second to none. This record has a bit of the magic that I think Kansas lacks without Steinhardt. There are more musical influences at work than just Kansas on this record. It’s not a solid 10/10 throughout, but it is a very good record. Check out my review and my tribute to Robby.

Devin Townsend Galactic QuarantineDevin Townsend – Devolution Series #2 – Galactic Quarantine

Devin Townsend has been a busy bee this year. In addition to working on three new records this year, he released two minor releases of live material. The first is an acoustic album (see my glowing review) from a show he did in Leeds in 2019. It’s a raw and emotional take on his music. The Galactic Quarantine album is one of his live-streamed albums from 2020 with the musicians playing live on green screens across the world. The music is blisteringly great, with a surprising amount of Strapping Young Lad material played. Devin humorously engages with his virtual audience, which makes the music come to life a bit more. This has been one I’ve returned to quite a bit this year. Perhaps an unorthodox release, but it would make a really good entrance point for the uninitiated to the heavier side of Devin’s music. Check out my review.

8250379_e4a1fc34c7Soen – Imperial

It turns out we never reviewed Soen’s latest album, which was released in January. The Swedish prog-metal supergroup can do no wrong. Their songs are catchy, memorable, and thoughtful. They can be both heavy and contemplative, and in my book they rank in the upper echelon of progressive metal. This record has been on repeat all year.

Atravan - The Grey LineAtravan – The Grey Line

Sticking with the progressive metal theme, Atravan was a pleasant surprise at the beginning of the year. This is the first Iranian band we’ve ever reviewed here at Progarchy, and they’re fantastic. I’m so glad the band reached out to us. They make metal in the vein of Riverside – heavy, spacey, wall of sound. Definitely a band that deserves recognition, although I worry what too much recognition could do for them with the repressive Iranian regime. Check out my review.

Continue reading “Bryan’s Best of 2021”

TesseracT “Sonder” Binaural 3D Mix

I have heard the future of audio. It is here, and it is called binaural sound.

The occasion was my purchase of the deluxe 2CD edition of TesseracT’s new album Sonder, which comes with a second disc containing the binaural 3D mix for headphone or earbud listening.

Bassist Amos Williams explains:

“The concept is to push past the restrictions of a stereo headphone mix and create an accurate ‘3D’ space in which positioning outside of the normal Left Right axis can occur. This is something that every artist that uses in ear monitors on stage wishes to recreate; the real and accurate positioning of instruments. We immediately felt that this technology could be applicable to us in the studio. TESSERACT loves to bring what it does in the studio to the stage, but this time it’s experimenting with bringing a live element to the studio.”

I’ve been listening to the album since my fellow Progarchy editor Carl turned me on to it. I absolutely love it, and every track is brilliant (“Smile” especially was an instant favorite that made me smile), but now listening to the new mix I feel like I am hearing the songs in a new way, with much more space and clarity in the mix. (And on “Orbital,” the vocals are above you… how cool is that…)

Here’s a good Web page with an introduction to the tech:

“Everything changes when you put on your headphones: your natural ability for spatial hearing becomes seriously weakened. You can still have a feeling of sounds coming from the left and those coming from the right, and of sounds that are closer or more distant. But you lose the ability to distinguish between front and back, up and down. And you get the impression that all sounds are kind of strung on a string between your ears. Audio geeks call this in-head localization. The reason for the loss of spatial hearing when using headphones is that they neutralize the acoustic influence that the shape of your body, your head, and your outer ears have on the sound you’re hearing.

Another flattening effect is that headphones ignore the room acoustics. Depending to the physical characteristics of the room, any sound including those played back over loudspeakers creates a reverb. And you always hear the direct sound waves mixed together with the reverb of the listening room. Since the sound from your headphones only passes the ear canal, the acoustic „footstep” of the listening room doesn’t affect your hearing.

Finally, the music is spatially “locked” to your head and not to the external world: left always stays left in your perception, regardless of the direction in which you turn your head. In contrast, with loudspeaker playback, the spatial sound image is locked to the external environment, where the loudspeakers are located.

Luckily, smart people have found a way to make binaural 3D hearing possible even with headphones. The short story is: they figured out how to simulate the acoustic influence of your body.”

Read further at the link above about the mathematical solution to the problem: convolution.

I predict binaural 3D mixing is the future of prog audio:

“In less than five years, 3D spatial audio is expected to revolutionize our standard for multimedia listening. Similar to how high-definition television has enhanced the everyday viewing experience, binaural 3D sound is expected to reshape our listening experience and redefine the production of music, movies, radio, and television programming – and yes, VR, AR and mixed reality content as well.”

Time for Steven Wilson to get to work on a bunch of new mixes…

The beautiful, subtle flight of One Thousand Wings

Making my way through the November 2013 issue of Prog (#40) a couple of weeks ago—it takes a while for it to swim across the Pond and trudge through the heartlands to the West Coast—I came upon a short review of the album, “White Moth Black Butterfly” (WMBB henceforth), from the group One Thousand Wings. I noted that the group was headed by ex-Tesseract vocalist Dan Tompkins, whose talents I discovered last year (Tesseract’s 2012 EP, “Perspective”), and then read that the reviewer believed WMBB to be “an absolutely essential work” and, in sum: “Experimental, accessible and quite brilliant, this ranks high among this year’s progressive releases.”onethousandwings_wmbb

Having now listened to WMBB a dozen times, I’d say the reviewer, if anything, undersells the brilliance of Tompkins’ album. And it is, really, Tompkin’s album, as he wrote nearly all the material, played most of the instruments, sang most of the vocals, and co-produced/mixed/edited as well. The One Thousand Wings Band Camp site tags WMBB with descriptives including ambient, cinematic, electronic, and experimental, and they indicate that while the album is “prog,” it is not guitar-driven, features nothing that resembles a solo, and is not really “rock” in any obvious way. While we tend to avoid needless labels here on Progarchy.com, I would suggest “ambient/folk electronica prog.” That aside, simply listen to the album on the Band Camp site.

Listening to WMBB, three other artists come to mind, the first two perhaps expected; the third likely not. Although Tompkins does not sound like Jeff Buckley, I would recommend to this album to Buckley fans, as Tompkins, first, has a tremendous and distinctive voice—clear, piercing, soothing, aching, lovely, strong, subtle, powerful—and, secondly, creates a distinct world, something Buckley did as well on “Grace” (one of my favorite albums, regardless of genre). I should note that the aforementioned  “Perspective” EP includes an impressive cover of Buckley’s “Dream Brother,” which can be viewed/heard on YouTube.

Secondly, there is a fleeting whisper of Radiohead’s Thom Yorke in the mix, specifically, his 2006 solo album, “The Eraser”. That album was far more abrupt and percussive and obviously electronica-ish than WmBB, but there are echoes (even if only in my head). But while “The Eraser” has a more overtly bristling and edgy quality, WMBB is guarded, like a candle fighting against an inevitable night. If Yorke is angry and sometimes snarling, Hopkins is wounded and searching; many of the songs might simply be described as “laments”. Finally—and this is strange—I’m reminded of George Michael. Much of that is due to vocals on songs such as “Equinox”, where Hopkins sounds just like Michael—at least a younger version (not the “Symphonica” version, from what I’ve heard). Take it for what it is!

Instrumentally, WMBB is a beautiful mixture of electronica and acoustic, with deep swells, rich textures, and subtle touches and details, usually in the form of tasteful acoustic guitar or ringing piano. As for lyrics, which is something I’m always interested in, it’s hard to tell as many of them are hard to make out. But the song titles—”Ties of Grace”, “Midnight Rivers”, “Certainty”, “Omen”, “Faith”, Paradise”—suggest some heavy duty rumination, perhaps just as much metaphysical as relational. Again, highly recommended!

The Best of 2013 (IMHO)

What a bountiful year 2013 has been for good music. All the albums on my Best Of list are destined to become classics, I’m sure!  So, let’s count them down, all the way to Number 1:

TesseracT11. TesseracT: Altered State. I’ll kick the list off with the most unabashedly heavy album, but one that has grown on me over the past few months. Ashe O’Hara is a terrific vocalist, and the band lays down a multilayered bed of crunching guitars, drums, and bass for him to soar over. The songs are divided into four groups, “Of Matter”, “Of Mind”, “Of Reality”, and “Of Energy”.  These guys know their mathematics, as well! One of the songs is “Calabi-Yau”, and the artwork includes the E8 Root System, a hypercube, and an Apollonian sphere. Best track: “Nocturne” (Check out the moment of transcendence at 3:14) –

RiversideSONGS10. Riverside: Shrine of New Generation Slaves. Mariusz Duda’s side project, Lunatic Soul, has had a pronounced effect on Riverside’s music, and that’s all to the good, in my opinion. SoNGS is more melodic and varied than anything they’ve produced so far, and even though it came out early in 2013, it still stays close to my sound system. Go for the two-disc set, which adds two extended tracks that flirt with ambient jazz. Best track: “Feel Like Falling” –

Raven That Refused to Sing9. Steven Wilson: The Raven That Refused To Sing. Very few artists push themselves as hard as Steven Wilson, and TRTRTS is another leap forward for him. I’m thinking at this point he’s left the world of prog, and he is his own genre. Not everything works – “Luminol” is too much Yes-jams-with-Herbie-Hancock for my taste, but when he clicks, no one comes close. Best track: the achingly beautiful “The Raven That Refused To Sing” –

Full POwer8. Big Big Train: English Electric: Full Power. Much has been written on this site about the sheer wonderfulness of this collection. The care that went into the accompanying booklet is a joy to behold. The resequencing of songs works well, and the new opener “Come On Make Some Noise” is as fun as a classic Badfinger single from the 70’s. I’m a Tennessee boy, but I could easily spend the rest of my days in the pastoral Albion depicted in BBT’s Full Power. Best Track: “Uncle Jack” –

Cosmograf TMLIS7. Cosmograf: The Man Left In Space. A sci-fi concept album about the dangers of all-consuming ambition and the isolation that results, this is a very satisfying album both musically and lyrically. One of the most-played discs of the year in my household. Best track: “Aspire Achieve” –

Ayreon TTOE6. Ayreon: The Theory Of Everything. A recent release, so I haven’t had a chance to fully absorb this sprawling work. Arjen Lucassen is the Verdi of progressive rock, composing magnificent operas that explore what it means to be human in today’s dehumanizing times. For TTOE, Lucassen gathered the most talented roster of musicians and vocalists yet – including John Wetton, Rick Wakeman, Keith Emerson, Jordan Rudess, and Steve Hackett. The story itself leaves behind the sci-fi thread that previous Ayreon albums followed to chronicle the travails of a small group of family and colleagues torn apart by autism, deception, envy, academic ambition, and pride. Throw in a dash of the supernatural, and this is a very thought-provoking work. Best track: “Magnetism” –

And now it’s time for the Top Five!

Kingbathmat OTM5. Kingbathmat: Overcoming the Monster. This band has been very prolific lately, releasing Truth Button and Overcoming the Monster in a matter of months. OTM is a fantastic set of songs about the different “monsters” we all encounter in our day to day lives. Most impressive of all, Kingbathmat have developed a truly unique sound that is accessible yet new. I can’t wait to hear the next iteration of it. Best track: “Kubrick Moon” –

Sound Of Contact4. Sound Of Contact: Dimensionaut. I’m sure SoC’s vocalist and drummer Simon Collins is tired of comparisons to Genesis (he’s Phil’s son), but that is what first strikes the hearer of this outstanding album. Fortunately, repeated listening reveals SoC’s extraordinary talent in their own right. The songs themselves are perfectly constructed gems, and the production is top-notch. The band moves effortlessly from straight pop (“Not Coming Down”) to the most complex prog epic (“Mobius Strip”). Best track: “Pale Blue Dot” –

days between stations3. Days Between Stations: In Extremis. I’ve already written a full review of this immensely rewarding album in an earlier Progarchy post. Suffice it to say that this is already a classic. And Sepand Samzadeh is one of the nicest guys in the prog world! Best track: “Eggshell Man” –

Sanguine Hum2. Sanguine Hum: The Weight of the World. If XTC and Jellyfish had a child, Sanguine Hum might be it (with Frank Zappa for a godfather). This album is simply a delight to listen to, from start to finish. It’s one that reveals new details, regardless of how many times you hear it. Their secret weapon is Andrew Booker on drums. Reminiscent of Stewart Copeland’s work with The Police, Booker has a light and inventive touch that often becomes the lead instrument. The entire band generates an organic sound that is seductive and playful. Best track: “The Weight of the World” –

Album of the Year 

Haken1. Haken: The Mountain. Until a couple of months ago, I had never heard a note by this band. Fast forward to now, and there hasn’t been a 48-hour period when I haven’t listened to this album, in its entirety, at least once. An extraordinary meditation on the importance of never giving up on overcoming obstacles, The Mountain is a deeply moving work. Musically, it is progressive metal in the same vein as Dream Theater, Devin Townsend, and even Rush. Every single song is indispensable, but if I had to pick one, it would be “Pareidolia” –

Well, reader, thanks for hanging in there to the bitter end. I hope I’ve affirmed some of your own opinions and perhaps piqued some interest in an artist or two you’re not aware of yet. Here’s hoping 2014 is as good as 2013!