Tag: The Quiet Rebellion of Compromise

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.

Oak’s Third Masterpiece – “The Quiet Rebellion of Compromise”

On By Bryan MoreyIn Atmospheric rock, progressive rock1 Comment

Oak, The Quiet Rebellion Of Compromise, 2022, Karisma Records,
Tracks: Highest Tower, Deepest Well (5:57), Quiet Rebellion (4:51), Dreamless Sleep (5:37), Sunday 8 AM (5:54), Demagogue Communion (6:16), Paperwings (13:52), Guest of Honour (7:03)

Oslo’s Oak have been my favorite “new” band since I discovered them in 2016 when they released their 2013 album, Lighthouse, on CD. The album blew me away. I had never before heard rock, classical, and atmospheric music synthesized with such precision and in such a beautiful way. I was equally if not more stunned with their 2018 follow-up, False Memory Archive. It continued their sound, and it saw the band mature as they developed their wall of sound, their compositions, and their arrangements.

In November the band released The Quiet Rebellion of Compromise, a masterpiece standing toe-to-toe with both their previous releases and any release from the giants of the genre (I’m looking at you Marillion, Porcupine Tree/Steven Wilson, Big Big Train). Upon first listen I thought perhaps this record didn’t live up to its predecessor, but that was based upon my mild shock at some of the new elements the band added to their sound. After a few listens, their brilliance convinced me. I don’t typically rate albums for my Progarchy reviews, but in this case I give it a 10 out of 10.

This record includes the atmospheric overtones, the piano, the swelling rock sounds, singer Simen Valldal Johannessen’s deep brooding vocals and his evocative lyrics – everything the previous albums contained. But they’ve included more of the electronic influence to their sound on this record. While always there, it is more pronounced, especially on “Paperwings.” Typically not a genre I listen to, I wasn’t sure how to respond to the electronic elements at first, but after careful listens, I came to appreciate how it fit into the music and into the band’s sound.

Another element I did not expect was the introduction of black metal-style distorted vocals. I don’t listen to black metal, but I’m familiar with the unique form of distortion those vocalists use. It’s different from the type of metal I typically listen to, which tends to use either a grittier distortion (Meshuggah) or a higher-end distortion (Devin Townsend). Black metal vocals are low and smooth, befitting Johannessen’s natural singing voice. To be clear, he uses it on four lines on “Paperwings,” and considering the lyrical content of the album, it fits perfectly. The album covers intense themes of mental health and suicide, with the font used on the album cover based upon handwriting from actual suicide notes. Chilling, to say the least. But the band did their research, consulting scholars and mental health professionals. All that to say, the distorted vocals, while new to Oak’s sound, are used sparingly and to great effect when you consider these lyrics in the light of suicidal thoughts:

One thought takes hold
Seeps out rules all
Lights fade, time bends
One step so it ends

Oak – “Paperwings”

It took me over ten listens before I picked up on distorted growls deep in the mix on other tracks, not singing any particular lyrics – just adding to the band’s wall of sound. I think it appears in two places, and it’s very subtle. I’ll let you listen for it.

I appreciate how the band reach back into their previous work and pull in brief lyrical and musical excerpts, tying this record to those others and creating a sense of continuation. In doing so, Oak create their own mystique – a musical world you can fall into and feel like you’re somewhere else. Interestingly, it makes me feel connected to potential future albums as well.

Musically Oak blows me away. Whether its Johannessen’s soothing piano, Sigbjørn Reiakvam’s intricate drumming, Stephan Hvinden’s atmospheric guitars, or Øystein Sootholtet’s basswork (as well as acoustic and electric guitar and keyboards) – this band stands out. Steinar Refsdal adds some wonderful saxophone, which dances nicely atop the wall of sound created in the swelling instrumental passages that have become a signature part of Oak’s sound.

One of my favorite parts on the album is the bassline in the second half of “Sunday 8 AM.” The first half of the song is a bit of slow burn for me, but when it hits the instrumental part halfway through, I’m in musical heaven. The drums sing, the piano and keyboards build gently, and then that deep bassline comes in – wow. The musical highlight of the year for me. Even when the saxophone comes in on top of that, it’s the bass that steals the show with a memorable line that makes you want to skip back to the beginning of the instrumental passage once the song ends. I can’t even imagine how amazing this would be live.

I’ve mentioned the “wall of sound” a couple of times. What I mean by that is the way the band layer and gradually add (or subtract) musical elements to create a sound more majestic and powerful than any of the parts taken in isolation. Devin Townsend and Steven Wilson are masters of this sound, and I would place Oak up with them in terms of quality and its prominence on their records. It also helps that the album is mixed very well. There is a lot of dynamic range, with the record sounding very clear. They’ve also played a bit with the stereo mix, with some of the programmed sounds or percussion dancing around the mix.

The band use a variety of sounds, some of which have become staples in their music – percussion sounds I haven’t heard other bands use, thus making Oak’s music instantly identifiable for me. By including them on this record, I feel a sense of nostalgia to when I first started listening to Oak five years ago, even if the band have begun to include other elements in their sound. It still sounds unmistakably like them. They also include spoken tracks, probably from other sources like movies, which help add to the mystique. “Paperwings” has a passage with a hypnotist speaking to a patient over a calm musical section, which immediately proceeds a heavier and more chaotic section that eventually includes the distorted vocals. Musically we are drawn into the hypnosis with the subject.

Oak know how to end an album like few bands. “Psalm 51” off False Memory Archive may be one of the best album closers I’ve ever heard. The musical build-up to end the song is absolutely perfect. You’re left completely satisfied. I don’t think “Guest of Honour” is quite that good, but it was a high bar to match. Nevertheless, it’s a great song. The lyrics, “Walking blind through damp corridors / Piercing sounds, of footsteps or guns / Racing heart – I’m wearing you out” have particularly stuck with me, especially that last line.

The physical CD comes in a digipack, making it the nicest of their physical releases thus far. I’m sure the vinyl is even more stunning. I liked the album art from their first two albums a lot more than this, because I felt those fit the band’s aesthetic better. With that said, there’s something very unsettling about the expression on the face of the female bust on the cover, which given the subject matter on the album seems entirely the point. Suicide and mental health concerns are inherently unsettling.

It didn’t take long for The Quiet Rebellion of Compromise to blow everything else out of the way at the top of my best albums of the year list. It’s an album I can listen to over and over again, finding new bits to enjoy and investigate after many listens. That’s one of the things I’ve loved about their previous records. I can keep listening and never grow tired of them, and it appears this record has that same quality. Oak are a criminally under-appreciated band that deserve widespread attention. They’re one of the most imaginative bands in the genre right now, and they aren’t to be missed. Everything they have done is worth paying attention to. It isn’t often that a band like this comes around. Don’t let the close of the year pass without diving into this record.

https://www.oakinoslo.com
https://oakinoslo.bandcamp.com/album/the-quiet-rebellion-of-compromise
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