New Album Roundup - Fall 2024

New Album Roundup - Fall 2024

Before moving on to the best of the year reviews and assessments, here are my favorite albums and picks from the Fall of 2024 (October and November releases). Many more great albums to check out.

Versa - A Voyage A Destination, Part 2

This is the 4th album from this Canadian Prog band led by multi-instrumentalist-vocalist Matthew Dulmage. This follows as a direct continuation of their previous album, A Voyage A Destination (Part 1) from 2022, but I think this album improves upon that quite good album in almost every aspect. It is a mainly instrumental album that features acoustic instrumentation (piano, flute, violin, horns, etc.) in their arrangements. It is filled with beautiful, soothing melodies and harmonies that provide a welcome respite from the harsh, aggressive, violent world around us. Most songs start plainly and simply but build with delicately intricate melodies and harmonies, as well as build throughout the album to reach impressive heights in the later tracks. Vocals are used sparingly, but quite  effectively, and often treated as another instrument in the lush sound profiles, and adds substantially to the whole. Also includes contributions from some notable guest artists, including Ross Jennings (Haken), Sam Vallen (Caligula's Horse), and Michael Trew (Moon Letters). Although some have labelled this as a type of post-rock, I don't hear that at all. It's too melodic and structured for post-rock, more along the lines of New Age, but with a strong prog aesthetic and appeal. Overall, a joy to listen to, and all the tracks merge into a wonderful sonic experience, from the short Prelude to the epic-length Artemis. Best Tracks: Artemis, Destination, Flew the Coop, Breaking and Entering. Rating: 4ó

Oddleaf - Where Ideal and Denial Collide

Impressive debut album from this French progressive rock band featuring a symphonic prog style that mixes elements of classic 70's prog (Camel, Yes, Genesis, Renaissance) with a modern prog aesthetic (Big Big Train, Wobbler). Keyboard-driven songs (from composer-keyboardist Carina Taurer) highlighted with flute (Mathieu Rossi), exquisite lead female vocals from Adeline Gurtner, and nice multi-part harmonies form the core of the band's sound. Equally comfortable and proficient with the vocal and instrumental sections of the tracks (and closing the album with a wonderful 11 minute instrumental), the album soars with great melodies and wonderful instrumental solos and passages. A great new contribution for any fan of Symphonic prog that combines the best from old and new styles to create some all new classics. Best Tracks: Back in Time, Ethereal melodies, Coexistence-Part 1, Life. Rating: 4ó

Kite Parade - Disparity

Kite Parade is the creation of Andy Foster, as he writes and sings the songs, plays virtually all the instruments (guitars, bass, sax, keyboards, etc.), and coordinates all the parts. And he has thrived with his own brand of progressive pop, mixing superb prog elements with accessible pop melodies and classic rock vibes. With this, his 3rd album in 3 year, a concept album dealing with aspects of the disparity of wealth around the world, he has reached new heights, and produced his best album yet (and so far, each album has been better than the last), with dynamic, catchy songs and wonderful technical wizardry throughout. For this album, Andy has added a bass player (Marcin Pallider) and drummer (Jimmy Pallgrosi) to provide a livelier feel, as well as some noteworthy guest vocalists in Christina Booth (Magenta) and Lindsey Ward (Exploring Birdsong). It all works here, as the songs flow together to make a wonderful album. Best Tracks: Broken, Make It Beautiful, This World is Mine, Is There Hope?, Forgotten Youth.  Rating: 4ó

Frost* - Life in the Wires

Frost* returns with this follow-up to their 2021 release Day and Age, a sprawling double concept album (14 tracks, 86 minutes). As masterminded by keyboardist-vocalist Jem Godfrey and ably assisted by John Mitchell (guitars-vocals), Nathan King (bass), and Craig Blundell (drums), Life in the Wires tells an all-new story set in the same imaginary world as Day and Age, following a character through various adventures in an AI-run dystopian world. Musically, this contains many elements from the earlier Frost albums (especially Milliontown) as well as the later ones, in their somewhat edgy progressive pop style. I found this to be somewhat structurally and stylistically reminiscent to some of Neal Morse's concept albums. There are many great and brilliant moments throughout the album, both in the vocals and instrumental sections, and numerous highlights. However, there are also some problems that keep this from being a completely satisfying and consistently entertaining experience. The length of the album is an issue, as there is a sameness to several songs, and the album doesn't flow well, with many abrupt transitions, not only between songs but also within them. The recurring spoken word sections from the DJ character also are intrusive and disrupt the flow and feel of the album, and it just took too long to get to the one of the album highlights, the extended track Life in the Wires part 2. A couple of the songs just don't work or are annoying (Idiot Box). Overall, there are several great songs here, with many highlights, enough to make a great album, but for me at least, there wasn't quite enough to justify the extended length of the album. Best Tracks: Life in the Wires Parts 1 and 2, This House in Winter, The Solid State Orchestra, Moral and Consequence. Rating 3.5ó
 
Rosalie Cunningham - To Shoot Another Day

This is the 3rd solo album from the former leader of UK Prog band Purson, and with this album, composer-multi-instrumentalist-vocalist Rosalie has crafted an endlessly interesting, creative, and entertaining album that is one of the year's best. An uncategorizable mixture of many different styles, with a pop sensibility at the forefront, but so many intriguing twists and turns not only between songs but within them as well. With a sound that combines 60's psychedelia with elements of rock, jazz, blues, nostalgia, and eclectic pop, there are delights to be found in every song. Rosalie's vocal style is somewhat of a fluid mixture of Chrissie Hynde, Kate Bush, and Michelle Shocked resulting in a unique sound, and her compositions and arrangements are always interesting and surprising. From the James Bondian aspects of the title track, various occurrences of Beatles-like melodies, quirky vocal theatrics, eclectic bits of old-timey nostalgia, to unlikely combinations of styles within songs, it all works, providing musical oddities that still manage to be accessible and catchy fun. Great sound and production, and also great musicianship throughout. Best Tracks: Heavy Pencil, In the Shade of the Shadows, To Shoot Another Day, It's Good to be Damned, Denim Eyes, The Smut Peddler. Rating: 4.5ó

Ben Folds - Sleigher

A surprisingly quick return from Ben Folds, and with a Christmas-themed album no less (just a year after What Matters Most, following an 8-year gap from his previous album). Although ostensibly a Christmas album, not surprisingly, it is not exactly traditional, as it features an eclectic mix of mostly original songs (7 of 10 songs are original), and as Ben describes it, the album examines the passage of time through the lens of Christmas, reflecting on memory, loss, and longing as it explores the variety of ways the yuletide season marks the chapters of our lives. Thus, this is more a Ben Folds album that happens to be set at Christmas, rather than a Christmas album. But Ben does deliver some great songs, and a couple that could become Christmas classics. Ben's originals span a variety of styles, both humorous and heartfelt (and include 2 piano instrumentals), but always engaging and enjoyable. Ben's songwriting has developed to include more classical stylings while still retaining abundant pop appeal. Even among the 3 covers that are included, only one is what would be called a traditional classic (The Christmas song), with the other 2 being relatively obscure novelty songs from the 50s and 60s. Best Tracks: Sleepwalking Through Christmas, Christmas Time Rhyme, We Could Have This, Me and Maurice, Waiting For Snow. Rating: 4ó

Beardfish - Songs For Beating Hearts

This celebrated but previously disbanded Swedish prog band from the 2000's has now returned for their 1st album since 2015 (when keyboardist Rikard Sjoblom left to join Big Big Train), and with their original lineup back intact. And they return with a stellar new album that returns to some of their classic prog roots and adds in some more folky influences and a comfortable 70's feel. The centerpiece of the album is the extended 5-part Out in the Open (20 min), which goes through various changes and moods, delivering some emotional and heartfelt sections. My favorite song is the more acoustic and folky In the Autumn, with its rich melodic flow. Torrential Downpour is another highlight, featuring the most heavy and dramatic mood and vocals. For me, the ambitious title track, Beating Hearts is less successful, although the string quartet sound and arrangement is wonderful, the song is burdened with an unappealing melody. These plus the evocative Ecotone sequences all add up to a quite wonderful album overall,  and the very welcome return of Beardfish. Best Tracks: In the Autumn, Out in the Open Parts 1-5, Torrential Downpour, Ecotone - Norrsken 1982. Rating: 4ó

Von Hertzen Brothers - In Murmuration

For this 9th album from the 3 Von Hertzen siblings from Finland, and following their great previous album, Red Alert in the Blue Forest (2022), the boys have taken a much different approach, unleashing a full-on hard rock album, with much less of a prog emphasis and fewer folk influences. Which, for me, is a bit disappointing, and leads to a less impressive album than their previous one, as those more folky and proggy aspects were what I loved most. Nonetheless, there are some great tracks here, and they still have a great sound and style, just a more hard-rocking and classic rock direction on this album. And they certainly unleash the power and high-energy bangers throughout this dynamic rock album, yet they still retain their great melodic sensibilities and harmony vocals. Several high-quality, high-powered rockers here, but I still prefer the more subtle and evocative side of the band, such as in the closing track, Wait For Me. Overall, a fun rockin' album, with catchy songs and great musicianship. Best Tracks: Wait For Me, Tightrope Walker, Ascension Day, Beneath the Silver Stars. Rating: 3.5ó

Neal Morse and The Resonance - No Hill for a Climber

Celebrated progger elite Neal Morse is back once again, and with a totally new band this time. With the recent uncertain status of Neal's other band-related projects, Transatlantic and the Neal Morse Band (due to Mike Portnoy leaving to re-join Dream Theater), the ever-active Neal found some new mates to hang with, a group of local musicians Neil started jammng with that became this new project. And this new blood has revitalized Neil's music to some degree, as he delivers his best album since the last Neal Morse Band outing, Innocence and Danger (2021). Constructed with opening and closing mammoth-length epic tracks with shorter songs in-between, Neal has once again  concocted an engaging, satisfying album of world-class prog. And this new band is more than just back-up for Neil, as they make great contributions with stellar playing, soloing, and additional new elements. Sure, it still sounds quite a bit like several other Neal Morse projects, but there are some new wrinkles here, and when the music is this good throughout, it's hard to complain that it should somehow be different. It all pretty much works here, with great songs, jamming, and emotional heft throughout. One minor complaint is that neither one of the epic tracks fully justify their extended lengths (at 21 and 29 min., respectively), they contain many wonderful and brilliant moments, but also have some lackluster or less appealing sections that could have been cut or reduced. Overall though, a wonderful album that presents a new band and indicates some possible new directions for Neil. Best Tracks: Ever Interceding, Thief, No Hill for a Climber, All the Rage. Rating: 4ó

Joe Deninzon and Stratospheerius - Imposter!

Violinist Joe Deninzon (current member of Kansas) shows his versatility with his own band here, singing lead vocals and playing a variety of string instruments (violin, viola, cello, guitar, bass), and backed by a stellar band, including keyboard plyer Bill Hubauer (NMB, We Came From Space) and drummer Jason Gianni (NMB). Here, Joe and the band serve up great symphonic prog with a classic rock spirit and vibe. Not surprisingly, some of the songs have a definite classic Kansas sound and feel, whereas other songs go in some different directions. But it's not all Joe and his strings, as the whole band really shines, especially Bill Hubauer's keyboards and Michaelangelo Quirinale's scorching guitars. Definitely a hard-rocking edge and spirit throughout, but plenty of great melodies and vocals as well. Guest artists include Randy McStine, Michael Sadler, Rachel Flowers, and others to further enhance the experience. Delivers great rockin' prog with a Kansas edge.  Best Tracks: Imposter!, Chasing the Dragon, Voodoo Vortex parts I & II, Frame By Frame. Rating: 4ó
     
Other Noteworthy Entries

Dawes - Oh Brother!
Apparently now down to a duo, the Goldsmith brothers deliver a solid, enjoyable album filled with clever songwriting. But overall, it all sounds a bit too familiar and doesn't quite live up to their past successes. 3ó
The Coward Brothers - The Coward Brothers
Elvis Costello re-teams up with T-Bone Burnett to play The Coward Brothers and create this sort of 'greatest hits' album for this imaginary pseudo-legendary roots music duo through the years (There's also an Audible radio play that tells their made-up story). An interesting and intriguing project, 20 short songs of various styles, producing some gems, but also many throw-away ditties.  3ó
Weather Systems - Ocean Without a Shore
Somewhat of a reincarnation of Anathema (and taking their name from one of their best albums), Daniels Cavanagh and Cardosa have re-formed in their spirit, providing orchestral rock, electronica, atmospheric prog elements, and vocal harmonies. Good, well-crafted but not extrordinary.  3ó

Isbjorg - Falter, Endure

Danish Neo-Pog band deliver keyboard-driven catchy, melodic progressive pop. 3.5ó

Samurai of Prog - The Time Machine
Another quite tasty album of symphonic prog from this prolific morphing multi-national prog collective, featuring many guest stars. 3.5ó
The Mommyheads - One-eyed Band
Fun, quirky power pop from this veteran indie pop band. 3ó
The Smile - Cut-Outs
Thom Yorke and Johnny Greenwood's 3rd outing as the Smile improves upon the previous offerings. Some pretty good stuff, but still not great. 3ó

 

Some Late Additions

Circuline - C.O.R.E.

Great mix of styles from sweet pop melodies to darker heavier aspects and instrumental flourishes throughout from this U.S. Prog band. Both male and female vocalists provide a rich tapestry. 4 ó  

Jupiter Fungus - Garden Electric

Greek band that features mostly instrumental classic 70's-style prog rock with abundant flute and extended jamming. 3.5 ó  

The Winstons - Third

Singer-songwriter-inspired progressive pop with Beatlesque style and quirky arrangements.  3.5ó

WIZRD - Elements

Mostly instumental prog mixing classic and modern elements. 3ó

Metal Fatigue - No thanks, Just not for me

Opeth - Last Will and Testament
Mur - Mur 

BB’s Rating scale:

1ó – Terrible, torturous to have to listen to

1.5ó - Poor, not worth your time

2 ó – Fair, maybe a couple half-way decent songs, but sub-par overall

2.5ó – Average, OK, meh, not bad but not that good either

3ó – Good, solid album, several good songs, but not spectacular. Certainly worthy, but may not be something you come back to very often

3.5ó – Very good album. Some stellar tracks, very enjoyable overall

4ó – Great album, filled with great songs, one that you will want to come back to over and over again

4.5ó – Excellent album, beyond great, superb in every way, just short of a masterpiece 

5ó – A Masterpiece, among the greatest albums of its type, and has stood the test of time

 

Yes, it's been a pretty great year for new music overall. What did you think? OK, that's it for now. I am trying to put together another Christmas collection and hopefully that will be ready to upload soon. After that I will present my overall ranked favorites for the entire year in the year-end wrap-up. Until then, happy listening!

 

New Album Roundup - Capsule Reviews and Comments - Early 2024

New Album Reviews - Early 2024

Hey, it's time to through some of the best albums of the year so far. I usually spend the first month or so of a new year catching up on recommended albums from the previous year that I missed or had not yet heard, and that was certainly true for this year, as there were several albums that came out right near the end of the year, as well as several interesting albums I heard about in various year-end lists that I was not familiar with. So, I had been listening to dozens of 2023 albums through the early weeks of 2024, as I waited for the new crop of 2024 albums to start coming out. So, before highlighting the best of the new 2024 albums, Here are a few of the best of those 2023 albums that I did not hear until 2024.

2023 late arrivals:

Regna - Cinema (2023) 

Regna is a relatively new progressive rock band, from Barcelona, Spain. This is their first full-length album, following an EP, Meridian (2015). And this band certainly bases its sound on the classic Prog of the early 1970's, harkening back to the style of Yes, Genesis, Camel, and others of the time, but also adding some modern elements as well. Their strength is their musicianship and instrumental prowess, with dazzling displays of proggy goodness, as exemplified on their 20-min epic, Accolade. However, the vocals are a bit of a weak spot, as they are just OK, functional but nothing special, and with a single vocalist, there is little in the way of harmony or backing vocals throughout. But overall, the strength of the songs and playing provide a very good album of classic-style prog. Best Tracks: Tangent, Accolade, Spyglass. Rating: 3.5ó

Lalu - The Fish Who Wanted to be King (2023)

Lalu is a prog band formed and lead by French keybordist-composer Vivien Lalu. This is their 4th album, following closely after 2022's Paint the Sky, and their 2nd album to feature premier vocalist Damian Wilson (Ayreon, Star One, Headspace, Threshold) and he shines throughout the album. Although this band has been designated as progressive metal, this most recent album is really not that at all, fortunately, as it is more melodic and contains more elements of AOR style rock. I would call it more of a mixture of melodic rock, Neo prog, and classic symphonic prog, with some more modern, heavier, and jazzy elements as well. And it is quite wonderful, a delight from start to finish. There is certainly more than enough great classic proggy instrumental flourishes throughout to satisfy the prog fans, but also maintains solid melodic lines and themes (to not scare away the non-prog rock fans), as well as a diversity of styles, creating a fun, entertaining and unique blend of driving, rockin' prog songs, from the shorter, jazzy instrumental, Reversal of Fortune, to the many highlights of the more epic length Amnesia 1916 and title track. Best Tracks: Amnesia 1916, The Fish Who Wanted to Be King, Deoxyribonucleic Acid, Digital Fear, Reversal of Fortune. Rating: 4ó .

David Longdon -  Wild River (2023 Remastered Reissue, originally released 2004)

David Longdon was the wonderful lead vocalist, songwriter and multi-instrumentalist from the prog band Big Big Train who died in a tragic accident in late 2021. This is the rerelease of an earlier solo album he made prior to his joining Big Big Train. David was one of the best vocalists around, with a pure, heartfelt, majestic quality, but was also a fine instrumentalist, playing guitar, keyboards, harmonica and flute. On this early album, from 2004, his vocals, songwriting, and playing are all in fine form, as he moves through songs of varying styles. Although overall, it might be classified as light rock or pop, he mixes in various styles and influences, including folk, pop, blues, classical, and rock, and all the songs have interesting arrangements and strong melodies. Although this is not quite in the prog style of Big Big Train, the qualities that David brought to the band are clear throughout, from his songwriting and melodic sense, to the intricate arrangements that bring out the best of each song, to of course, his fantastic vocals. This is a great album from a great artist in the early stages of his career. Best Tracks: This House, Vertigo, Mandy, Falling Down to Earth, Honey Trap. Rating: 4ó

2024
It is still early in 2024, but there have already been many great new albums released in these first few months. Here are some of my favorites so far:

Neal Morse - The Restoration: Joseph Part 2 

A solid, and improved follow-up to last years's The Dreamer: Joseph Part 1. Once again, Neal has brought in many guest vocalists (Ted Leonard, Matt Smith, Jake Livgren, Nick D'Virgilio, Ross Jennings) to round out the cast of characters in his biblical prog rock opera telling of the story of Joseph, along with his Neal Morse band cohorts guitarist Eric Gillette and keyboardist Bill Hubauer to enhance Neal's own multi-instrumental musicianship. Although a long album (16 tracks, 75 min), and certainly dramatic and theatrical in nature, Neal tries to keep things interesting by varying the tempo and musical styles from song to song. That and the different vocalists, keep things moving through the various stylistic choices of Morse and Co. Mixing in familar prog elements (reminiscent of Spock's Beard, Gentle Giant, ELP, etc) with hard rock, choirs, vocal harmonies, orchestration, jazz, and even a bit of latin swing, as only Neal Morse could.  Although much of this may seem quite familiar to other projects from Morse, he still manages to surprise occasionally, and entertains quite consistently, as it builds to a rousing and satisfying conclusion, and saves the best songs for the last sequence. Better than expected. Best Tracks: My Dream, the Argument, Make Like a Breeze, The Brothers Repent, Restoration, Everlasting, Dawning of a New Day. Rating: 3.5ó

Ellesmere - Stranger Skies

This is the 4th album from Ellesmere, lead by Italian progger Roberto Vitelli, and is firmly in the style of classic symphonic prog ala Genesis and Yes. Vitelli has assembled an accomplished band of musicians  perfectly suited to the prog workout displayed here, with all the intricate instrumental passages and soloing to make successful prog, and are joined on this album by vocalist John Wilkinson, who sings in a voice and style suspiciously similar to Phil Collins. Thus, all the pieces are there, the vocals are fine and the instrumental sections do achieve a grandness and virtuosic satisfaction. However, to me, it just seems a bit too ordinary and run of the mill, and just going through the motions. What is missing here are great songs, as the songs and melodies here are just ok, nothing special. They just are not very engaging or compelling. Great playing all around, but the songs themselves just don't do much for me. Still enjoyable to listen to, but I can't get too excited about it, even with some great musicianship on display. Rating: 3ó   

Kyros - Mannequin
Kyros, a UK progressive pop band, lead by the vocals and keyboards of Shelby Logan Warner, has embraced 80's style synth-pop on this, their 5th album. But this is synthpop re-imagined from a decidedly bold progressive rock perspective, for a style that sounds new, but is also quite familiar as well. Very catchy beats and melodies collide with edgy vocals and prog flourishes throughout. Starting off with a more gentle acoustic pop song (Taste the Day), the album moves to an energetic synthpop instrumental (Showtime) before the main features and core of the album take hold, an impressive display of progressive synthpop brilliance for the next 6 songs. Unfortunately, the album falters on the final 2 tracks, when the band goes much darker and heavier (more prog metal) on Technology Killed the Kids IV, which apparently is a continuing series from previous albums, but which does not fit or work at all here, and completely ruins the vibe and feel of the album. The final track, Have Hope, is hyperactive and disjointed, and although has some nice moments, is too much of a chaotic mess. Up until those final 2 tracks, this is a really great album, but have to downgrade it due to the poor finish. Best Tracks: Esoterica, Illusions Inside, The End in Mind, Ghosts of You, Liminal Space, Digital Fear. Rating: 3.5ó

The Pineapple Thief - It Leads To This

Another great album from veteran prog band The Pineapple Thief lead by composer-gutarist-vocalist Bruce Soord, who have really been on a roll since the addition of drummer extraordaire Gavin Harrison (Porcupine Tree) in 2016. This new album is even stronger than their quite good previous couple albums, Giving it Back (2022) and Versions of the Truth (2020), but doesn't quite reach the pinnacle of Dissolution (2018), which I consider to be their masterwork. This album saw a closer working relationship between Bruce Soord and Gavin Harrison in crafting the songs for the album, actually writing together in the same studio for the first time. The album starts with Put it Right which sets the mood and atmosphere for the album with a soft understated cool, but dark vibe and develops into a slow boil throughout the song. But the album really takes off with the middle series of songs, starting with the title track and its blend of atmosphere, melody, and rhythms. The intensity builds with The Frost amid heavier riffs. Throughout, the understated vocals and melodies of Soord mixed with the dynamic drumming of Harrison, and the rhythms and riffs of the rest of the band create rich and satisfying soundscapes, even with the undercurrents of darkness and unease. This album is a real grower, in that it may not knock you out on first listen, but its subtleties and intricacies develop and is richly rewarding with repeated listens. The band seems even more of a cohesive coordinated unit than on previous albums creating a wonderful listening experience. My only mild criticisms would be that 1) it doesn't stray very far from what they've done previously, similar in style and substance (but so very well done), and 2) It just seems a bit too short (8 tracks, 40 min). It ends rather abruptly, and it just seems it could use one more song to round it out. All in all though, Another gem of an album. Best Tracks: It Leads to This, Every Trace of Us, All That's Left, The Frost, To Forget. Rating: 4ó

Steve Hackett - The Circus and the Nightwhale

The latest from guitarist extraordinaire Steve Hackett (and something like his 30th album), this one is a concept album with a story based on Steve's own life experiences, and is something special, his best album in many years. At 74, and a career spanning more than 55 years, Hackett seems to be stronger than ever, with his Genesis Revisited tours and regular releases of live and new solo albums. This album mixes together songs of many different styles, ranging from classical guitar stylings to dark and ominous heavy prog metal riffs, as well as lighter more melodic pop and rock, with international stylistic flourishes, strong harmony vocals, and yes, even some Genesis-reminiscent passages. Steve has his powerhouse backing band (same as his touring band) as well as some guest artists to bring these songs to life, and the result is a tour de force album of delights, 13 tracks comprising a compact 45 minutes, telling his story in one of the prog highlights of the year.   Best tracks: Enter the Ring, Wherever You Are, Ghost Moon and Living Love, Get Me Out, Into the Nightwhale. Rating: 4ó

Dirt Poor Robins - Firebird

Dirt Poor Robins are a totally unique band from Louisville, KY, and are essentially the married couple of Neil and Kate DeGraide writing and performing all the songs. They bill themselves as a Theatrical/Cinematic/Singer-Songwriting Rock Band and make genre-defying music, incorporating pop, rock, jazz, prog, musical theater, and nostalgia (music of the 1920's, 30's, 40's, and 50's), usually in elaborate concept albums. Very theatrical, cinematic, but also quite accessible, they weave compelling story songs of varying styles. With this latest album, The Robins create a futuristic sci-fi scenario rooted in pop styles from the 1980's, yet again, encompassing many different styles and genres, but with a bright and exuberant sound throughout. This album may be their most entertaining and accomplished work yet. From the pop gem opener, Political, through to the majestic closer Firebird (based on Stravinsky's Firebird theme), this is a wonderful album, even with a couple of overwrought ballads I did not care for, it is all part of the experience. The only other band I can compare them to is The Dear Hunter, as they both feature that musical diversity and theatricality aspects, yet are so compelling and accessible.  Best Tracks: Political, Holy Roller, So Long to Yesterday, Firebird, You'll Never Hear it Coming. Rating: 4ó

Albion - Lakesongs of the Elbid

Another somewhat new band releasing their first full-length album. Originally formed in 2019, released an EP, Pryderi in 2021. And what a fantastic album this is, with a unique and exciting sound that the band calls folk metal, which mixes Old English-style folk music with classical, hard rock, and prog metal for a rousing sonic journey. But it is much more than that, with a wide range of styles and influences, featuring songs ranging from traditional folk with acoustic guitar and vocal harmonies to a rockin' Sea Shanty all the way to full-on progressive metal, but on most songs creating an exhilarating blend of multiple styles in a bold symphonic prog. This band features guitarist-flutist-vocalist Joe Parrish-James, who has been guitarist for Jethro Tull for their 2 most recent albums, but recently announced he was leaving Tull to concentrate on his other band, Albion. Although there are several similarities with Tull, in that both bands feature a mix of acoustic folk and hard rock, with prominent flute and symphonic arrangements, Albion's sound is uniquely its own, with only occasional similarities with Tull. Actually, the modern band that they are a bit more reminiscent of is the Von Hertzen Brothers. Several songs start out in a mostly folky mode, but then build or explode into full-on symphonic prog powerhouses, while still retaining folk elements. A stunningly good album. Fresh, invigorating, exciting, and exemplifies what Progressive rock is all about. Best Tracks: Pagan Spirit, The Dream of Rhonabwy, Lyn y Fan Fawr (Sister Lake), Arthurian Overture, Camlann, Canens (Maya). Rating: 4.5ó

Big Big Train - The Likes of Us

Big Big Train, one of the premier prog bands of the 2000s, has been through a lot over the past few years. In 2019, half the band (including guitarist Dave Gregory, Andy Poole, Danny Manners, and string player Rachel Hall) quit, leaving the remaining core members (David Longdon, Greg Spawton, Rikard Sjoblom, and Nick D'Virgilio) to regroup and refocus. They did so brilliantly, coming back with the great album Common Ground in 2021, and showing some new directions. However, in late 2021, the band was devastated by the tragic accidental death of lead vocalist-multi-instrumentalis-composer David Longdon, and put the future of the band in doubt. But they have regrouped once again, adding vocalist and multi-instrumentalist Alberto Bravin, as well as Dave Foster on guitar, Oskar Holdorff on keyboards, and Claire Lindley on violin, and released this latest album, and it is another triumphant return for the band. Alerto Bravin brings a different presence to the band, as he doesn't try to sound like Longdon, but has his own style and commanding voice that all his own. He also has added substantially in the songwriting, playing, and arrangements of many of the songs on the album. Although forging on in some new directions, the album maintains the the essence of what makes Big Big Train great, with beautiful melodies, soaring instrumental passages, evocative narratives, and sweeping majestic themes, maintaining effective use of strings and horns, as well occasional bursts of heavier prog instrumental sections. From the shorter more rock-oriented Oblivion, to the beautiful ballads like Love is the Light, to the pastoral splendor and symphonic grandness of Light Left in the Day, to the magnificent epic Beneath the Masts, which has everything one could want in an epic-length BBT song (and will take its place among their greats), the album delivers another astounding chapter in the musical adventures of BBT, and continues their reign, at least for me, at the top of modern progressive rock.  Best Tracks: Beneath the Masts, Miramare, Light Left in the Day, Oblivion, Last Eleven. Rating: 4.5ó

Quick Hits:
Here are some more new albums worth checking out, but ones that I didn't have time to review in full, didn't like as much, or just didn't have much to say about. So here, are just the briefest of comments on these still quite worthy albums.

Caligula's Horse - Charcoal Grace (Inventive, dynamic prog metal album, but too much metal for me) 3ó 

ALMO - Reconciliation (Heavy Prog Metal, mostly heavy metal, not enough prog) 2ó

The Smile - Wall of Eyes (another set of half-baked, underdeveloped 'art rock' songs, more like demos or rehearsal sessions, but marginally better than 1st album) 2.5ó

Everything Everything - Mountainhead (Bright, bouncy, modern synthpop, just not that memorable or compelling) 3ó

The Last Dinner Party - Prelude to Ecstasy (Well-done drama pop, just not something I can connect with) 3ó

Emerald City Council - Motion Carries (fun, pop-oriented, accessible, melodic prog rock. Recommended) 3.5ó

Karfagen - Mesages From Afar: Second Nature (More well-crafted and engaging keyboard-led prog from Anthony Kalugin) 3.5ó

The Bardic Depths - What We Like in Stories (gentle melodic prog, nice vocals and arrangements, literate lyrics) 3.5ó

Monkey3 - Welcome to the Machine (Well-done instrumental psychedelic/space-rock inspired by Pink Floyd) 3.5ó

Drfting Sun - Veil (musically impressive prog songs, marred by creepy, distracting vocal performance) 3ó

Professor Caffeine and The Insecurities - Self-Titled (Invigorating, inspired indie rock, with elements of Prog) 3.5ó 

Mesa Verde - All is Well (Pleasant, mostly gentle, laid-back, but complex and quirky, indie pop, gets better as it goes on) 3.5ó

BB’s Rating scale:

1ó – Terrible, torturous to have to listen to

1.5ó - Poor, not worth your time

2 ó – Fair, maybe a couple half-way decent songs, but sub-par overall

2.5ó – Average, OK, meh, not bad but not that good either

3ó – Good, solid album, several good songs, but not spectacular. Certainly worthy, but may not be something you come back to very often

3.5ó – Very good album. Some stellar tracks, very enjoyable overall

4ó – Great album, filled with great songs, one that you will want to come back to over and over again

4.5ó – Excellent album, beyond great, superb in every way, just short of a masterpiece 

5ó – A Masterpiece, among the greatest albums of its type, and has stood the test of time

So, that's it for now. A lot of really good stuff already this year, with more on the way. What have you been listening to this year? What are some of your favorites thus far?

New Album Reviews - Spring 2022

New Album Reviews - Spring 2022

The Flower Kings, Marillion, D'Virglio Morse Jennings, Pattern-Seeking Animals, Kaprekar's Constant 

There’s been a slew of important new album releases in the world of progressive rock this Spring, and several of them are quite noteworthy. Here’s my takes on the new albums I’ve been checking out recently.

The Flower Kings – By Royal Decree

This is the 15^th album from veteran Progressive rock band The Flower Kings, and 3^rd since their 2019 reformation with this current lineup. This is a double album, as each of their previous few have been as well, so it is quite expansive and contains a lot of music, 18 tracks of mostly shorter songs (thus, no long epics that they are somewhat known for) coming in at ~96 minutes of music. First, the album sounds great, and the musicianship and lush arrangements are superb throughout. The instrumental passages and sections within songs are the real highlight here, as they generally raise the level of the songs. Unfortunately, I have a bit of an issue with many of the songs themselves, particularly many of the verse and chorus sections, as they tend to be somewhat lackluster and just not very memorable. Overall, it’s quite pleasant and enjoyable, but not much more than that. For me, most of the songs pass by without generating much enthusiasm, doesn’t grab my attention, and just kind of fade into progressive background music. The album doesn't really take off until near the end of the first disc, with a great sequence of songs: 'We Can Make it Work' is a bright little pop ditty that is elevated by the unique instrumentation and wonderful arrangement (use of xylophone, various guitar fills, and vocals), followed by 'Peace on Parade', a great instrumental that shows what this band is capable of, too bad there are not more like this here, and then the disc closer 'Revolution', another album highlight. Disc 2 continues with hit and miss tracks, but includes several more highlights. So yes, overall, the album is quite good, and contains many great moments, but it is just not great overall. I do not think it measures up to their best work. There are several fine songs here, but also many just OK ones.  Best tracks: 'Peacock on Parade', 'Revolution', 'Evolution', 'We Can Make It Work', 'The Big Funk', 'Funeral Pyre', 'A Million Stars'. Weaker Tracks: 'World Gone Crazy', 'Blinded', 'The Soldier', 'The Darkness in You', 'Moth'. Rating: 3ó.

Marillion – An Hour Before It’s Dark

This is the 20^th studio album from Prog mainstays Marillion, but their first since F.E.A.R. in 2016. I have to admit that although I was a fan of the early days of Marillion (with vocalist Fish) in the ‘80’s, I haven’t really followed the band through the Steve Hogarth years, so was not very familiar with what the band has done in recent years. This album pushes forward presenting commentary on all the pressing issues of the day with an immersive sound and dark and moody atmosphere. But this album also offers a bit more hope than some of their previous ones, with very emotional and stirring lyrics and music. The album features four suites of songs covering 4 major themes, as well as a couple of standalone songs. Marillion fills the musical spaces with their own version of a wall of sound, as keyboards and synths fill the background creating a dark, flowing, moody atmosphere throughout. The music often reminds me of a somewhat gloomier version of those ‘80’s synth-pop bands like Tears for Fear and Talk Talk. At other times, there are definite similarities to U2, both in the music and emotional heft of the lyrics. There are certainly some powerful sections here and an immersive sound and feel throughout. One of the problems I have with it, however, is that it is a bit too much of that same brooding atmosphere throughout the entire album. And whether they are being somber and sad, rocking out, or being uplifted with a heavenly choir, the tempo barely changes, staying at the same slow mid-tempo pace. There is no question that these guys are very good at what they do, and they create lovely immersive soundscapes and emotionally charged moods. But, overall, it is just not my thing, and for me most of the songs go on a bit too long and without enough differences between the songs. However, the final epic suite, 'Care', is magnificent, and works beautifully, raising the entire album several notches. It starts with a funky beat and vibe reminiscent of Talking Heads and then proceeds through several different sections of ebbs and flows leading up to a magnificent soaring emotional finale. By far the highlight of the album, and possibly a highlight of the band’s career, as this one works on all levels. The rest of the album also has some stellar moments, but just not quite my cup of tea overall.  Still, a very good album, and I’m sure fans of this kind of sound will rate it much higher.  Best tracks: 'Care', 'Be Hard on Yourself'. Weaker tracks: 'Reprogram the Gene', 'Murder Machines'. Rating: 3.5ó

D'Virgilio, Morse, Jennings - Troika

This is a collaborative project between three illustrious veteran Prog rockers Nick D’Virgilio (Spock's Beard, Big Big Train), Neal Morse (Spock's Beard, Neal Morse band, Transatlantic, Flying Colors), and Ross Jennings (Haken), but the resulting album is not what may be expected from this union. Here, rather than creating a Prog epic, they break out their acoustic guitars, bongos, 3-part harmonies, and catchy pop-rock hooks, for a wonderfully light, breezy, and refreshing album, with many of the songs more reminiscent of Crosby, Stills, and Nash or America than anything from the Prog realm. It's a fun album, with clever arrangements, instrumentation, and vocal arrangements. The first 2/3 of the album keeps this light acoustic pop vocal feel. Later in the album they do start to rock a bit harder, especially on the much heavier 'Second Hand Sons', but these tracks are, surprisingly, less successful, and mainly serve to disrupt the flow and fun spirit of the rest of the album. Still, overall, a very good album and a nice change of pace from some of the rather downbeat and dreary music out there. Best tracks:  'Everything I Am',' Julia', 'You Set My Soul on Fire', 'Another Trip Around the Sun', 'If I Could', 'What You Leave Behind'. Weaker tracks: 'Second Hand Sons', 'My Guardian'. Rating: 3.5ó.

Pattern-Seeking Animals – Only Passing Through

This is the 3^rd album from Pattern-Seeking Animals, following their self titled (2019) and Prehensile Tales (2020) albums. The band was formed in 2018 and consists of current and former members and collaborators of Prog stalwarts Spock’s Beard, including guitarist and lead vocalist Ted Leonard, Dave Meros (bass), Jimmy Keegan (drums), and John Boegehold (synthesizers, guitar, mandolin). Apparently they formed to develop songs they were writing that didn’t necessarily quite fit for Spock’s Beard, which gave them opportunities to explore various other musical directions. They incorporate a lot of pop and power pop sensibilities in establishing great hooks, melodies, and vocals, but also mix in good bits of jazz, folk, classical, and film score prowess, but also never abandon their eclectic Prog approach (with plenty of odd-time curves and proggy instrumental breakouts) . Each successive album has been better than their previous one, and here on their third they really soar. Great stuff throughout. What I am most impressed with is how imaginative and inventive the songs and arrangements are. They put in whatever extra instrumentation and arrangement flourishes that will enhance each song (horns, mandolin, sitar, bassoon, violin, cello, specialty percussion).  Even the songs that seem like they will be relatively straight-forward pop/rock songs go into very interesting and unexpected directions (such as ‘Much Ado’, which starts out as an all-out rocker, and then drops into a cool acoustic vibe for the vocals and builds back into a rockin’ anthem). From the very opening notes of ‘Everdark Mountain’, I was hooked, with its unique dark woodland prog sound, and it just takes off from there. Although the album is a bit frontloaded (The very best songs are all in the 1^st 5 tracks), it is nonetheless great throughout, with the mini-epic ‘Time Has a Way’ probably the highlight. The album also includes two ‘bonus tracks’, which are also quite good, but I think it was a good call to classify these as bonus tracks and not an actual part of the album, as they are both a somewhat different style, and decidedly less ‘proggy’ than the rest of the album, with ‘I’m Not Alright’ being a straight rocker, and ‘Just Another Day at The Beach’ being a fun, lighter pop-rock ditty. Overall, this is certainly one of the best albums of the year so far, and was my fave of the year for a while, that is until I heard the next album (below). Best Tracks: 'Time Has a Way', 'Everdark Mountain', 'Much Ado', 'I Can’t Stay Here Anymore'. Weak Tracks: None. Rating 4.5ó.

Kaprekar’s Constant – The Murder Wall

Wow! What an unexpected fantastic gem of an album. This is the 3^rd album from Kaprekar’s Constant, a ‘musical collective’ from the UK started by childhood friends and multi-instrumentalists Al Nicholson and Nick Jefferson in 2017 that specializes in their own brand of ‘symphonic melodic progressive rock’ that features beautiful melodies, grand themes, lush arrangements, and great vocals, in addition to a passion for history and storytelling. And the results on this album are just fabulous. In addition to all the guitars, bass, piano, and keyboards provided by Nicholson and Jefferson, the band features wind player extraordinaire David Jackson (of Van der Graaf Generator) on all sorts of saxes, flutes, whistles, recorders, and just about anything he can blow into. Also featured are the dual lead vocalists Bill Jefferson and Dorie Jackson (daughter of David), who have contrasting vocal sounds and styles but blend well whether singing together or separately. Rounding out the band are Mike Westergaard on keyboards and Mark Walker on drums and percussion. And OK, no, I had never heard of these guys prior to about a month or so ago, but so glad I found them (thanks to an enthusiastic review from Scot at The Prog Corner (Youtube channel) I just had to check them out. Thanks Scot!). This is a concept album with all the songs dealing with stories about various attempts (both successful and unsuccessful) by mountaineers to scale the North Face of The Eiger Mountain, known as the Murder Wall, due to all those that have lost their lives on it. Although this may sound like a very dark theme, the music is anything but dreary, filled with beauty from simple melodies to majestic anthems. There are 17 individual relatively short songs (a total of 74 minutes of music), but many of the songs are part of multi-song suites, as the album tells the true stories of 6 different attempts to scale the mountain (dating from 1935 to 1962). But you don't necessarily need to follow or care about the lyrical content, as the beauty of the songs and arrangements carry the show (but you probably will want to find out more about these events after hearing the album, as the stories are quite compelling). Musically, probably the closest comparison to other contemporary bands would be Big Big Train, especially their more pastoral aspects, as they share Kaprekar's Constant's feel for beautiful melodies and arrangements, grand themes, as well as their penchant for British history and storytelling. Another band with some similar aspects might be Moon Safari. As far as more classic Prog bands, I can hear some similarities to bands such as Camel, Renaissance, and such works as Anthony Phillip's The Geese and The Ghost. Although maybe a bit too laid-back for many Prog fans (and this album is even a bit less ‘proggy’ than their previous albums), I found it to be brilliant and enthralling from start to finish, filled with such beautiful and inspiring music, it is just breathtaking. If you enjoy any of the bands mentioned here, you should really like this album. The music is quite accessible, with much in common with good pop-rock and folk-rock, but just much more thoughtful, elegant, and majestic than anything you would hear on the radio. It's hard to pick out the best tracks, because they all are great, and fit together to make the whole thing flow so well. It really needs to be heard in its entirety from beginning to end. For me, this is unquestionably the best album I've heard so far this year, and will be hard to beat on a best of the year list. Fantastic from start to finish. Best Tracks:  'Tall Tales by Firelight', 'Failure Takes Care of Its Own', 'Another Man's Smile', 'Hope in Hell', 'Third Man Down', 'A Silent Drum', 'The Stormkeeper;s Daughter', 'Endeavor/Mountaineers/Hall of Mirrors'. Weak tracks: None. Rating 5ó.

What did you think about any of these albums? Or are there other recently released albums that have been especially great for you? Let me know your picks and views.

BB’s Rating scale:

1ó – Terrible, torturous to have to listen to

1.5ó - Poor, not worth your time

2 ó – Fair, maybe a couple half-way decent songs, but sub-par overall

2.5ó – Average, OK, meh, not bad but not that good either

3ó – Good, solid album, several good songs, but not spectacular. Certainly worthy, but may not be something you come back to very often

3.5ó – Very good album. Some stellar tracks, very enjoyable overall

4ó – Great album, filled with great songs, one that you will want to come back to over and over again

4.5ó – Excellent album, beyond great, superb in every way, just short of a masterpiece 

5ó – A Masterpiece, among the greatest albums of its type, and has stood the test of time