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Posts Tagged ‘Jack O’The Clock’

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I hope my readers will forgive me if this post is somewhat less detailed than the ones I wrote in the past, as up to the very last moment I was not sure I felt up to writing my usual “Best of the Year” piece. However, I have tried my best to comment on the many highlights of a year that – while utterly dismal in terms of global events – was definitely a bumper year for interesting progressive music.

In my native Italy, leap years are considered unlucky, and 2016 did nothing to dispel this myth, crammed as it was with global turmoil and high-profile deaths. For prog fans, this year will go down in history for the double whammy of Keith Emerson and Greg Lake’s loss, as well as David Bowie’s passing a couple of days after the release of his Blackstar album. On the other and, while many of the protagonists of prog’s heyday have started leaving this planet, the younger generations – though faced with a world increasingly uncaring about music as an art form – have been forging a path ahead for the progressive genre, often displaying the barest of affiliations to the modes of the past. A few of the names that will appear in this post, as well as in many fans’ lists, have received warm accolades in the  “mainstream” press, and are therefore getting exposed to more diverse audiences. In many ways, these artists resemble the original prog generation in their desire to explore and experiment, rather than stick to a tried-and-tested formula as the “retro” acts do.

Even if lately my reviewing activity has been almost non-existent, I have kept in touch with new releases through my regular participation in DPRP’s Something for the Weekend? feature. On the other hand, a lot of highly rated 2016 albums have flown directly under my radar, so anyone who wishes to read further should take the absence of a rather large number of prog fans’ favourites into account – as the title of this post makes it quite clear. As usual, I have not had either the time or the inclination (or both) to listen to many of the albums that are prominently featured in many people’s Top 10 (or 20, or 50…) lists, because the amount of music released during the past 12 months under the increasingly broad “progressive” label was nothing short of staggering. And then, in all honesty, my tastes have been steadily drifting away from the traditional prog still enthusiastically embraced by both artists and fans. While I still have a lot of time for the classics, I am constantly on the lookout for modern music that will redefine the prog label without sounding derivative. In this respect, 2016 was like a 12-month Christmas.

For this edition, I have decided to adopt a similar format to the one used by my esteemed friend and fellow reviewer, Roger Trenwith, on his excellent Astounded by Sound! blog. In this way, I will still avoid the dreaded (though popular) numbered list, and at the same time make it somewhat easier for my readers to pick out albums. Although the order of appearance may partly reflect my own preferences, all the albums briefly described in the following paragraphs are well worth checking out. I have tried to include all those albums that have impressed me during the past 12 months, (many of which have already been recommended by me or my fellow reviewers on Something for the Weekend?) though obviously there are bound to be omissions for which I apologize beforehand. Links to Bandcamp or other streaming services are provided whenever available.

And here we go…

Knifeworld – Bottled Out of Eden (UK) – A real joy from start to finish, as intricate and eclectic as the best vintage prog,  Knifeworld’s third release is yet another winner from prog’s other busiest man, the one and only Kavus Torabi.

North Sea Radio OrchestraDronne (UK)  – Another Cardiacs-related effort, the fourth album by the ensemble led by Craig Fortnam is pure class, brimming with ethereal beauty and sterling performances.

Bent KneeSay So (USA) – The third full-length release from the Boston crew led by charismatic vocalist Courtney Swain boasts interesting songwriting and an almost punky edge, tempered by a sort of  confessional vibe.

Gong Rejoice! I’m Dead! (Multi-national) – Though Daevid Allen may be gone from this earthly plane, he left his beloved creature in the trusty hands of Kavus Torabi (again!), who gives the album a modern edge while paying homage to the band’s decades-long history.

Gösta Berlings SagaSersophane (Sweden) – Released just two weeks before the end of the year, the long-awaited fourth album from the magnificent Swedes (augmented, as usual, by Mattias Olsson) brings 2016 to a close with a bang. 40 minutes of stunningly hypnotic instrumental music by one of the finest bands in the business.

Deus Ex MachinaDevoto (Italy) – Another highly awaited comeback from one of Italy’s most distinctive bands, chock full of energy, melody and outstanding performances – though without any Latin in sight.

YugenDeath by Water (Italy) – The iconic Milan-based ensemble led by guitarist Francesco Zago is back with a dense, austere album that demands a lot from the listener. Modern Avant-Prog at its finest.

ZhongyuZhongyu (USA) –  Seamlessly blending jazz-rock, Avant-Prog, Far Eastern music and improvisation, the debut album by Jon Davis’ Seattle-based quintet (featuring three members of Moraine) is a must-listen for lovers of cutting-edge instrumental prog.

Richard Pinhas & Barry ClevelandMu (Multi-national) – Beautifully atmospheric music performed by a quartet of extremely gifted musicians – guitarists Pinhas and Cleveland plus the extraordinary rhythm section of Michael Manring and Celso Alberti.

Mamma Non PiangereN.3 (Italy) – The triumphant return of the veteran Italian RIO/Avant outfit will put a smile on your face,even if you do not understand the language. Stunning vocal performance from Laura Agostinelli of Garamond.

Jeremy FlowerThe Real Me (USA) – Carla Kihlstedt lends her vocals and violin to this lovely album from a gifted Boston-based musician. Top-class, surprisingly accessible chamber pop.

Finnegan ShanahanThe Two Halves (USA) – A charming, chamber prog-meets-Celtic folk debut for a talented young musician.

The WinstonsThe Winstons (Italy) – Three established indie musicians from Italy pay homage to early Soft Machine inone of the very few unabashedly retro efforts that actually works.

PanzerpappaPestrottedans (Norway) – Avant-Prog that will not scare first-timers away with a distinct new-Canterbury flavour from one of Norway’s most reliable bands

CorimaAmaterasu (USA) – Magma meets punk in the highly anticipated sophomore release of California’s electrifying Zeuhl-ers.

Chromb! – 1000 (France) – The Lyon scene is a real treasure trove of great bands exploring the many facets of the Avant universe – as illustrated by Chromb!’s outstanding third album.

UkandanzAwo (France) – What would happen if you crossed traditional Ethiopian music with RIO/Avant? The answer is Ukandanz –another winner from the seemingly inexhaustible  Lyon scene.

Herd of InstinctManifestation (USA) –  Intense and mysterious, yet pervasively melodic, the Texas band’s third album displays a stronger influence from their Djam Karet mentors than their previous releases.

Emmett ElvinAssault on the Tyranny of Reason (UK) – Proudly eclectic (and unexpectedly fun) effort from the man behind the keyboards of modern prog giants Knifeworld, Guapo and Chrome Hoof.

French TV –  Ambassadors of Health and Clean Living (USA) – Mike Sary’s veteran project’s comeback, recorded with the members of Japanese instrumental band TEE, offers a challenging  blend of RIO/Avant and jazz-rock.

Jack O’ The ClockRepetitions Of The Old City I (USA) – The latest effort from Damon Waitkus’ crew confirms their status as purveyors of unique-sounding chamber rock.

AmpledeedBYOB (USA) – The second album from the Californian band brings more top-notch art rock with plenty of diverse influences

Luz de RiadaCuentos y Fabulas 3 (Mexico) – Ramsés Luna’s collective sounds like almost nothing else, though of course fans of Cabezas de Cera will found a lot to love in this album.

Nicotina Es PrimaveraAnimal Cerámico (Argentina) – From the thriving Argentinian scene, sophisticated yet accessible Avant-Prog from an excellent new band.

Amoeba SplitSecond Split (Spain) – The Canterbury sound gets a 21-st century makeover in this outstanding instrumental album

Half Past FourLand of the Blind (Canada) – The irrepressible Canadians pack more into an EP than many bands in 80 minutes. Quirky, elegant and fun modern prog.

UlverATGCLVLSSCAP (Norway) – The mighty Norwegians’ homage to vintage Krautrock is pristinely beautiful.

a.P.A.t.T.Fun With Music (UK) – Just what the title says. Everything-but-the-kitchen-sink eclecticism rules!

Ill WickerUntamed (Sweden) – Dark, haunting acid-folk inspired by Comus and other Seventies cult bands.

VesperoLique Mekwas (Russia) – Russia’s answer to Ozric Tentacles deploy their whole arsenal of psych/space rock with intriguing world music touches.

PsychoyogiShrine (UK) – Short but sweet 2016 release from one of the UK scene’s hidden treasures – a must for “new Canterbury” fans.

Simon McKechnieFrom My Head to My Feet (UK) –  Another lesson on how to add interest and progressive quotient to the song format from one of the genre’s unsung heroes.

David BowieBlackstar (UK)  – Released just before his unexpected passing, Bowie’s swan song is a riveting testimony to his undimmed creative spirit.

N.y.X.The News (Italy) – Darkly Crimsonian vibes abound in the northern Italian trio’s second album.

Axon/NeuronMetamorphosis (USA) – An eclectic double CD for an excellent female-fronted band in the MoeTar vein.

iNFiNiENLight at the Endless Tunnel (USA) – Third album for another MoeTar-inspired band, with artwork from Tarik Ragab himself.

The Stargazer’s AssistantRemoteness of Light – Mesmerizing, multilayered soundscapes from Guapo drummer David J. Smith.

SternpostStatues Asleep (Sweden) – Ethereal, sophisticated chamber-pop reminiscent of Robert Wyatt.

Yawning ManHistorical Graffiti (USA) – A stunning instrumental “desert rock” album recorded in Argentina from an excellent southern California outfit.

Iron MountainUnum (Ireland) – Post-rock meets folk-metal  in this intriguing instrumental album.

Vaults of ZinKadath (USA) – HP Lovecraft-inspired Avant-Zeuhl-Metal.

Thank You ScientistStranger Heads Prevail (USA) – Energetic prog-pop from New Jersey’s wrecking crew.

The Mercury TreePermutations (USA) – Intricate, guitar-based modern prog from a band in constant development.

EdensongYears in the Garden of Years (USA) – The long-awaited second album from the New Jersey band will not disappoint fans of hard-edged prog.

ShamblemathsShamblemaths (Norway)  – Ambitious debut from another promising Norwegian outfit – eclectic prog at its finest.

Seven ImpaleContrapasso (Norway) – A darker, more intense follow-up to their highly praised debut.

Disen GageSnapshots (Russia) – Eclectic, guitar-based instrumental prog with a playful edge.

Factor Burzaco3.76 (Argentina) – New versions of older material from Argentina’s leading Avant-Prog outfit.

BubuResplandor (Argentina) – A short but highly satisfying comeback from a band that fully deserves its cult status.

GriotGerald (Portugal) – The concept album reinterpreted in modern art-rock terms.

Mothertongue – <em>Unsongs (UK) – Exhilarating, brass-led progressive pop.

AfenginnOpus (Sweden) – Haunting Scandinavian prog-folk.

Violeta de OutonoSpaces (Brazil) – Psych-space meets Canterbury with a South American flavour.

The Observatory – <em>August Is the Cruellest (Singapore) – Moody, melancholy post-rock inspired by T.S. Eliot’s poetry.

MacroscreamMacroscream (Italy) – The second album of this Roman six-piece hovers between tradition and quirkiness.

Il Rumore BiancoAntropocene (Italy) – RPI with an edge for the full-length debut of this band from Verona.

Syndone Eros e Thanatos (Italy)Cinematic RPI with echoes of Van Der Graaf.

Mad FellazII (Italy) – For fans of the jazzier, funkier side of Italian prog.

Alex’s HandKünstler Sch***e (USA) – Another Avant-punk opus from the Seattle crew.

Horse LordsInterventions (USA) – African-inspired polyrhythms and a saxophone that sounds just like a guitar. Oh my!

Za!Loloismo (Spain) – A percussion-driven mix of styles with an almost tribal flair.

GoatRequiem (Sweden) – African rhythms (again!) meet psychedelic rock with interesting results.

Sparkle in GreyBrahim Izdag (Italy) – A celebration of multiculturalism through rock, electronics and a lot more.

Savoldelli/Casarano/BardosciaThe Great Jazz Gig in the Sky (Italy) – One of the most brilliant ideas ever for a tribute album. Jazz and Dark Side of the Moon are a match made in heaven!

Pluck & RailTrigger (USA) – A fine roots/folk album featuring Frogg Café’s Andrew Sussman

TilesPretending 2 Run (USA) – The ambitious return of  the Detroit heavy proggers is a double CD package put together with the utmost care.

Sonus UmbraBeyond the Panopticon (USA) – Heavy yet melodic, atmospheric comeback from the Chicago-based septet led by Luis Nasser.

Mike KershawWhat Lies Beneath (UK) – Melancholy, atmospheric song-based progressive rock

Matthew ParmenterAll Our Yesterdays (USA) –  A collection of classy, deeply emotional songs from Discipline’s mainman.

Fractal MirrorSlow Burn 1 (The Netherlands) – Another laid-back album of song-based modern art rock

iamthemorningLighthouse (Russia) – Ethereal and delicate offering from the highly-regarded Russian duo.

MarbinGoat Man and the House of the Dead (USA) – Eclectic, high-energy fusion from one of the progressive scene’s busiest bands.

Though as a rule I generally mention albums I have heard in their entirety, this year I will make an exception for a handful of interesting albums that – for some reason or another – I have managed to listen to only partially:

Stick MenProg Noir (Multi-national) – Waiting for King Crimson to release some new material, here is a feast for lovers of touch guitars and intricate polyrhythms.

MoulettesPreternatural (UK) – Mythical creatures inspire this slice of  exciting, hyper-eclectic “wonky pop”.

The Sea NymphsOn the Dry Land (UK) – The second of the “lost” albums by Cardiacs’ spin-off trio is elegiac and whimsical.

Bob DrakeArx Pilosa (USA/France) – A collection of bite-sized Avant-Pop songs from one of Thinking Plague’s founders.

Free Salamander ExhibitUndestroyed (USA) – The much-anticipated return of some former members of Sleepytime Gorilla Museum hits all the right buttons.

Three Trapped TigersSilent Earthling (UK) – Hypnotic yet surprisingly melodic take on math-rock.

Although, as I pointed out in the introduction,  in my list there are quite a few of what the average prog fan would consider glaring omissions, I believe that the majority of the music mentioned above has the potential to appeal to anyone but the most hidebound listeners. It might not be “your father’s prog”, but it is definitely worth a try if you want to expand your musical horizons – and support a bunch of highly deserving artists (and the independent labels that keep up the good work in spite of all the setbacks) in the process.

Before I bring this rather lengthy post to a close, I would like to spend a few words on the question of reviews, or lack thereof. As much as I would love to start reviewing again on a regular basis, I do not see myself resuming that activity – which was of great comfort to me in difficult times – on the scale of the earlier years of this decade. In a person’s life there is probably a time for everything, and my career as a reviewer was probably fated to be a short (though intense) one. I will keep this blog alive on behalf of the many bands and artists whom I wrote about in the past few years, and for publishing the occasional piece like this one. However, I believe it is time to pass the torch to other reviewers, who are much more prolific and reliable than I have been since 2013 or so. I will keep up my contributions to Something for the Weekend? as a means of spreading the word about new music, as well as occasionally adding some band to the ProgArchives database. In the meantime, while we wait for the first 2017 releases, I hope my readers will discover at least one new band or solo artist by browsing my suggestions. Happy listening, and a great 2017 to everyone!

 

 

 

 

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Music Is My Only Friend – 2015 in Review

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First off, I feel the need to apologize to my readers for the string of rather depressing titles given to my “Year in Review” posts. No matter how optimistic I try to be at the beginning of a new year, life always finds a way to disappoint my expectations. 2015, though, was special – for all the wrong reasons. Even now that things are going somewhat better (though far from ideal), I still occasionally feel the urge to withdraw from everyone – hence the not exactly uplifting title of this piece.

This sorry state of affairs obviously impacted my inspiration as regards writing reviews and the like. My blog was neglected for most of the year, with only 9 posts in 12 months, and the few label owners who regularly sent me their material took me off their mailing lists – which contributed to my feelings of isolation, even if I cannot blame them for that. Music remained nevertheless a constant source of comfort, thanks to the ready availability of new (and not so new) material on streaming services such as Progstreaming and Bandcamp. This allowed me to listen to most of the albums I was interested in, and keep in touch with a scene that I have been steadily supporting for the past few years. Some days I had to force myself to listen, but thankfully things got easier with time.

Although full-length reviews were thin on the ground, I kept up my collaboration with Andy Read’s excellent weekly feature Something for the Weekend?, as well as my activity as a member of the RIO/Avant/Zeuhl genre team (also known as ZART) at my “alma mater”, ProgArchives. In the second half of the year i was able to resume writing longer reviews, not only for my blog, but also for DPRP – though not yet on a regular basis. On the other hand, our concert attendance hit an all-time low. To be fair, ProgDay 2015’s extremely high level of quality more than made up for the many other gigs that we ended up missing. The only other show we attended was The Muffins’ one-off performance at the Orion Studios in mid-May, which unfortunately I was unable to enjoy as much as it would have deserved.

As usual, the amount of new music released in 2015 under the ever-expanding “prog” umbrella was staggering, and required a rather selective approach. The year just ended further proved that the scene is splintering in a way that, while it may help people more effectively to find music that appeals to their tastes, may also in the long run cause harm – especially as regards the live scene. Festivals in the US have further shrunk in number, with the cancellation (and apparent demise) of the NJ Proghouse Homecoming Weekend leaving only ROSfest and ProgDay still standing. Europe seems to be faring somewhat better (though one has to wonder how long this will last), and festivals appealing to a broad range of tastes within the prog spectrum continue to be reasonably well-attended.

On a positive note, websites dedicated to prog are going strong, as is the rather controversial Prog magazine (whose fan I am definitely not). It remains to be seen if what has always been a niche market (even in the Seventies, when bands that enjoyed commercial success were just the tip of a very large iceberg) will be able to keep up with such a vast output in the following years. In some ways, as I also observed in last year’s post, going underground has freed progressive rock from the constraints of appealing to market tastes, but (in my view at least) the opportunity for almost everyone to produce an album and put it on Bandcamp or Soundcloud poses a lot of questions as regards quality control.

Some of my readers will undoubtedly notice the absence of some of the year’s higher-profile releases. As I did last year, I decided to avoid mentioning albums I had found disappointing or just plain uninteresting, as well as those I have not yet managed to hear. A lot of other people have mentioned those albums in their own Year in Review pieces, and I think there is no use in pointing out the negative instead of concentrating on the positive. Compared with some of the previous years, 2015 started out in rather low-key fashion, with many highly anticipated releases concentrated in its second half. On the other hand, the first part of the year brought albums that are very well worth checking out, though they may never enjoy the status of other discs. It was also a year that, while prodigal with very good releases, mostly lacked genuine masterpieces. On the whole, I feel I have just scratched the surface, as perusing the myriad of Best of 2015 lists published on the web constantly reveals some album I have not heard of before.

As I mentioned in last year’s post, my tastes have been steadily moving away from “standard” prog, though a few albums that qualify as such have been included here. In fact, my personal #1 album of the year was released by a band that first got together in the late Seventies, and is probably closer to “conventional” prog than people would expect from me. However, Hands’ masterful Caviar Bobsled is a unique album that does not really sound like anything else, definitely fresher and more modern than a lot of highly praised albums by artists who have been active for a much shorter time.

Having promoted US prog for a while now, I am glad to report that the American scene produced some fine specimens over the past few months – with the NY/NJ region being again very much in evidence. Brilliant releases from The Tea Club (Grappling), 3RDegree (Ones & Zeros Vol. 1) and Advent (Silent Sentinel) highlighted the work of bands that have reached full maturity in terms of musicianship and compositional flair. To this outstanding trio I would also add Echolyn’s I Heard You Listening (more of a slow grower than their career-defining 2012 album) IZZ’s stylish Everlasting Instant, as well as a couple of well-crafted albums with a more traditional bent, both recommended to keyboard lovers – Kinetic Element’s sophomore effort, Travelog, and Theo’s debut, the dystopian concept The Game of Ouroboros.

All of the above-mentioned albums offer plenty of sophisticated music with great melodic potential, standing at the crossroads between tradition and modernity. The contemporary US scene, however, is also rife with cutting-edge artists that constantly challenge the perceptions of their intended audience. Works such as Upsilon Acrux’s highly charged Sun Square Dialect, the hypnotic math-rock of BattlesLa Di Da Di, Stern’s gloomily haunting Bone Turquoise, The Nerve Institute’s idiosyncratic Fictions (containing previously unreleased material), Ben Levin Group’s “pronk” opus Freak Machine (featuring most members of Bent Knee), Jack O’The Clock’s Outsider Songs (a collection of quirky covers), and Andrew Moore Chamber Works’ intriguing debut Indianapolis (steel drums meet chamber rock) proved the vitality of the US avant-garde scene. Thinking Plague (whose new album is expected in 2016), reissued their seminal debut, In This Life, while two albums involving previous or current members of the band – Ligeia Mare’s Amplifier and +1’s Future Perfect (the latter one of the many projects of keyboardist/composer Kimara Sajn) – helped to make the wait more bearable. Another fine Avant-related album (though in a more song-based vein), Omicron, came from former Alec K Redfearn and the Eyesore’s vocalist, Orion Rigel Dommisse.

New, highly eclectic releases by “jazzgrass proggers” Galactic Cowboy Orchestra (Earth Lift) and Yes-meets-country trio Dreadnaught (the EP Gettin’ Tight With Dreadnaught), Marbin’s fiery Aggressive Hippies, Djam Karet’s supremely trippy Swamp of Dreams, Fernwood’s delightful acoustic confection Arcadia, Mammatus’s monumental stoner-prog opus Sparkling Waters, and ethereal chamber-folk duo Fields Burning’s eponymous debut also illustrated the versatility  of a scene that is all too often associated with heavily AOR-tinged music.

On the other side of the Atlantic, the British scene has been experiencing a renaissance in terms of creative modern progressive rock. Top of the heap, and definitely one of the best 2015 releases as far as I am concerned, were two Cardiacs-related albums: William D. Drake’s superb Revere Reach, one of those rare discs that are impossible to label, as well as being a delight from start to finish, and Guapo’s hypnotic, surging Obscure Knowledge. Thieves’ Kitchen’s stately, poignant The Clockwork Universe, with its original take on “classic” prog modes, completed my personal trinity of top 2015 British releases.

The runners-up, however, are all quite deserving of attention from discerning prog fans. Richard Wileman’s über-eclectic Karda Estra regaled its followers with a whopping three releases – the full-length Strange Relations (recorded with the involvement of The Muffins’ drummer extraordinaire Paul Sears), and the EPs The Seas and the Stars and Future Sounds (the latter also featuring Sears). Guitarist Matt Stevens’ The Fierce and the Dead made a comeback with the intense EP Magnet, and A Formal Horse’s second EP, Morning Jigsaw, provided a British answer to Bent Knee and MoeTar. John Bassett (of Kingbathmat fame) produced an exciting follow-up (simply titled II) to the 2014 debut of his instrumental, stoner-prog solo project, Arcade Messiah; in a similar vein, the cinematic psych/space of Teeth of the Sea’s Highly Deadly Black Tarantula. To further prove that the modern British prog is definitely not steeped in nostalgia, Colin Robinson’s Jumble Hole Clough brought us more of his quirky, electronics-infused antics with A List of Things That Never Happened, and Firefly Burning a heady dose of drone-folk with their latest effort, Skeleton Hill.

Plenty of great music also came out of continental Europe. From Scandinavia, one of the year’s most eagerly anticipated albums – Anekdoten’s Until All the Ghosts Are Gone – delivered amply in the quality stakes, as did the scintillating electro-jazz of Jaga Jazzist’s Starfire, Pixel’s warmer, more organic Golden Years, the rambling, keyboard-based jazz-rock of Hooffoot’s debut, Agusa’s space-rock workout Två, the quirky Avant-Prog of Simon Steensland’s A Farewell to Brains, Necromonkey’s all-electronic extravaganza Show Me Where It Hertz, and another long-overdue comeback – Dungen’s sunny Allas Sak – as well as guitarist Samuel Hällkvist’s highly original effort Variety of Live, recorded with an international cast including Pat Mastelotto and Richard Barbieri. Dungen’s guitarist, Reine Fiske, also appeared on elephant9’s highly praised Silver Mountain – the only album mentioned here that I have not yet managed to hear. Heading east, the intriguing, though not widely known, Russian scene produced the haunting psychedelic rock blended with shamanistic chanting of Ole Lukkoye’s Dyatly, The Grand Astoria’s ambitious crossover The Mighty Few, and the lush symphonic-Avant of Roz VitalisLavoro d’Amore.

The thriving French scene presented Avant fans with Unit Wail’s psyche-Zeuhl opus Beyond Space Edge, Ni’s electrifying Les Insurgés de Romilly, Ghost Rhythms’ elegant Madeleine, and Alco Frisbass’ Canterbury-inspired debut. Switzerland, on the other hand, seems to have become a hotbed for all forms of “post-jazz”, with two outstanding Cuneiform releases – Schnellertollermeier’s exhilarating X, and Sonar’s more understated Black Light – as well as IkarusEcho and Plaistow’s Titan. Germany brought the omnivorous jazz-metal of Panzerballett’s Breaking Brain, and Belgium Quantum Fantay’s pulsating space trip Dancing in Limbo. From the more southern climes of Greece and Spain came Ciccada’s lovely, pastoral sophomore effort, The Finest of Miracles, the intriguing Mediterranean math rock of El Tubo Elástico’s eponymous debut, and Ángel Ontalva’s sublime, Oriental-tinged Tierra Quemada.

Italy, as usual, did its part, turning out a panoply of albums of consistently high quality. Fans of the classic RPI sound found a lot to appreciate in La Coscienza di Zeno’s third effort, La Notte Anche di Giorno, Ubi Maior’s ambitious Incanti Bio-Meccanici, and also the harder-edged Babylon by VIII Strada. Not A Good Sign’s comeback, From A Distance, combined Italian melodic flair and Crimsonesque angularity, while Pensiero Nomade’s Da Nessun Luogo introduced haunting female vocals into jazzy/ambient textures. The very title of Slivovitz’s All You Can Eat illustrated the boisterous eclecticism of the Naples-based outfit, and feat.Esserelà’s classy debut Tuorl was a welcome addition to the ranks of modern jazz-rock.

2015 was a great year for fans of the Canterbury sound, witnessing the release of the third installment of the Romantic Warriors documentary series (aptly titled Canterbury Tales) just a few months after the passing of Daevid Allen, one of the scene’s most iconic figures. Moreover, two outstanding Canterbury-related albums came from two vastly different parts of the world: Blue Dogs, the debut by Manna/Mirage, The Muffins’ Dave Newhouse’s new project, and Sicilian outfit Homunculus Res’ brilliant second album, Come Si Diventa Ciò Che Si Era (with Newhouse guesting on the epic “Ospedale Civico”). The latter is one of the finest 2015 releases from my native Italy, a distinction shared with the supremely elegant chamber-rock of Breznev Fun Club’s second album, Il Misantropo Felice (both albums were released on the ever-reliable AltrOck Productions label), and with OTEME’s beautiful comeback, L’Agguato. L’Abbandono. Il Movimento.

AltrOck (whose 2016 schedule looks mouthwatering, to say the least) is also responsible for two of the year’s most distinctive albums: the ultra-eclectic, vocal-based Everyday Mythology by Loomings, a French-Italian ensemble put together by Yugen’s Jacopo Costa, and multinational quintet Rêve Général’s stunning debut Howl (the latest endeavour by former Etron Fou Leloublan drummer Guigou Chenevier). Another debut related to the original RIO scene came with Logos, by English-based quartet The Artaud Beats, featuring drummer Chris Cutler and bassist John Greaves; while Stepmother’s wacky, Zappaesque Calvary Greetings spotlights another multinational outfit, which includes legendary drummer Dave Kerman.

Though in 2015 the latest incarnation of King Crimson released Live at the Orpheum (recorded in LA during their 2014 US tour), there seems to be hardly any new material in sight from the legendary band. Luckily, last year brought a few KC-related albums that are well worth exploring – especially for those who favour the band’s harder-edged output: namely, Pat Mastelotto’s new trio KoMaRa’s dark, gritty self-titled debut (with disturbing artwork by Tool’s Adam Jones), Chicago-based math-rock trio Pavlov3 (featuring Markus Reuter) with Curvature-Induced Symmetry…Breaking, and Trey Gunn’s haunting, ambient-tinged The Waters, They Are Rising.

Other, less widely exposed countries also yielded a wealth of interesting music during the past year. Out of Chile (one of the most vital modern prog scenes) came the good-time Avant-Prog of Akinetón Retard’s Azufre; while, on the other side of the Pacific, Indonesia continues to produce high-quality music, brought to light by Moonjune Records’ irrepressible Leonardo Pavkovic. Guitar hero Dewa Budjana’s Hasta Karma and Joged Kahyangan , and keyboardist Dwiki Dharmawan’s So Far, So Close showcase the unique fusion of Western jazz-rock and the island nation’s rich musical heritage.

No 2015 retrospective would be complete without a mention of the many losses sustained by the music world during the past year. The passing of legendary Yes bassist and founder Chris Squire was undoubtedly a traumatic event for prog fans, while the demise of heavy rock icon (and former Hawkwind member) Lemmy a few days before the end of the year was mourned by the rock community at large. Though, of course, the heroes of the Seventies are not getting any younger, neither of these seminal figures was old for today’s standards – unlike jazz trumpeter Ornette Coleman and bluesman B.B. King, who had both reached respectable ages.

As I stated at the beginning of this post, most of the music I have recommended would not qualify as “real prog” for many listeners. It does, however, reflect the direction my tastes have taken in the past few years, and I hope it will lead to new discoveries. Whenever possible, I have provided links to the artists’ Bandcamp pages, where my readers will be able to stream the albums (and hopefully also buy them). For the vast majority of the artists mentioned in this article, music is a labour of love rather than a day job. Though progressive music is alive and well in the second decade of the third millennium, and 2016 already looks very promising in terms of new releases, the scene – now more than ever – needs to be supported if we really want it to survive.

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Our highly-awaited yearly appointment with ProgDay came at the end of a very trying 12 months, which had drained a lot of strength and enthusiasm out of me. Though when we came back from last year’s edition things in my life had looked promising, they took a turn for the worse at the beginning of 2015, resulting in depression, burnout, and estrangement from people. As my followers will have noticed, this sorry state of affairs resulted in an unprecedented dearth of posts (only three between January and August), which reflected my gradual loss of interest in music. Though I forced myself to keep up to date by listening to new releases on Progstreaming and Bandcamp, most of the time it felt like going through the motions, and most of those albums left very little impression.

After dealing with so much negativity, I was understandably worried about not enjoying the event as much as I wanted to, even if I had been looking forward to it much more than the previous year. However, I should not have worried about feeling uncomfortable around people, as I felt definitely more inclined to be sociable than I had in 2014, and thoroughly enjoyed the company of good friends I had not seen for a while.

During the weeks leading up to ProgDay, I had been dreaming of walking in the dew-drenched grass, enjoying the cool breeze of the morning hours – instead of gasping in the heat and wilting in the humidity as in the past four years. My wishes were to be almost miraculously fulfilled, as, weather-wise, things could not have been more perfect. Sandwiched between two spells of hot, humid weather, Labor Day weekend brought pleasantly cool temperatures that made being outdoors a real delight. The threat of thunderstorms (especially on Saturday) made us hold our breath for a while, but for some mysterious coincidence Storybook Farm managed to avoid the turbulence that affected most of the area. We only saw rain on Sunday evening, and even then it did not last long. After a couple of years of near-neglect, the farm had finally new owners who seemed to be taking much better care of the place (I particularly loved the chicken coop, and the soft, carpet-like grass). The lush greenery was polished to a bright sheen by this year’s abundant rainfall, which also kept the ever-bothersome dust to a minimum.

Though attendance was somewhat down from last year, and a few familiar faces were missing, the festival still felt like a family reunion. Band announcements had come a bit later than usual, but that had not put any dent in the enthusiasm of ProgDay’s core of staunch supporters. For many of us, the festival is the high point of the year, a near-magical time spent almost on a different plane, away from the turmoil of everyday life, with a group of like-minded people that we have come to see as family of sorts. This feeling was never put so much to the test as in the past 12 months, with the untimely deaths of the wife of Phil Stauffer Todd (one of the festival’s most loyal supporters) the day after the end of last year’s fest, and of 23-year-old Sarah Jean Tatum, who with her twin sister and parents had stood behind the merch table since ProgDay’s beginning, in February 2015. Unfortunately, more sorrow was to come our way during this edition – but more about that later.

Opening act Eccentric Orbit found most of the attendees basking in the morning breeze and reconnecting with old friends. The Boston-based instrumental quartet, led by the husband-and-wife team of Bill and Madeleine Noland (whose MIDI wind controller attracted a lot of attention) offers an intriguing modern take on symphonic prog, inspired by classic science-fiction movies such as The Day the Earth Stood Still. In spite of having sustained a grievous loss in 2010, with the untimely passing of drummer and founding member Mark Cella (replaced by Tamandua’s Rick Landwehr), they resurfaced in 2014 with their positively-received second album, Creation of the Humanoids. While their swirling, deeply cinematic keyboard soundscapes might translate better in an indoor setting (perhaps with the aid of visuals), and the band as a whole need to work a bit on their stage presence (often a sore point with prog bands), the majestic, heavy yet melodic music was undeniably top-notch, with Tom Benson’s violin adding even more interest to the overall texture. Their confidence grew steadily throughout their set, whose second half was particularly impressive, featuring a cracking version of Genesis’ “Unquiet Slumbers for the Sleepers… In This Quiet Earth”. Indeed, an excellent opening to ProgDay 2015 by yet another fine representative of the thriving US progressive rock scene .

Louisville’s own Ut Gret (my biggest discovery of the past few years) took to the stage next, highly anticipated by most of the audience after the splash made by their stunning 2014 album, Ancestor’s Tale. I was elated when they were announced earlier this year, knowing their reputation as a very entertaining live act. Though the belly dancer that appears in some of their YouTube videos was not part of the ProgDay expedition, their ace in the hole was the presence of singer/violinist Cheyenne Mize – a beautiful, charismatic young lady in a flowing, caftan-like gown, provided of an absolutely mesmerizing voice. Ut Gret’s definition of their music as “pan-idiomatic” is no idle boast, as they seamlessly combine multiple influences in an organic – and highly individual – whole, supported by a varied instrumentation centered around Jackie Royce’s tireless bassoon. Their set – by far the longest of the festival – included most of Ancestor’s Tale, as well as material from their previous albums (such as the gorgeous “Souvenir City”), and a tribute to King Crimson (one of leader Joee Conroy’s main sources of inspiration, together with The Muffins and the whole Canterbury scene) – all performed flawlessly, but with oodles of warmth. They closed their set with an exhilarating version of “Walk the Plank”, and the standing ovation they got at the end was fully deserved. Without any doubt, Ut Gret were one of the very best bands to grace the Storybook Farm stage in the six years we have been attending the festival, and I hope to have the opportunity to see them again soon.

When the weather is as hot as it was for the past 4 editions of the festival, the 3 p.m. slot is generally the worst, as people’s enjoyment of music is impaired by the unrelenting assault of the heat and humidity. This year’s mild weather made things easier for all the bands on the lineup; however, as far as I am concerned, Portland’s The Mercury Tree were the only disappointment (in relative terms, seen the overall high level of quality) of this year’s edition. I was familiar with the youthful trio’s music, as I had reviewed their debut album, Pterodactyls, for DPRP, and listened to their more recent output on Bandcamp. They have talent, energy and plenty of good ideas, but – for some reason – on the ProgDay stage they felt compelled to sacrifice to the current trend for over-the-top vocal antics, and infused their songs with totally out-of-the-blue, bloodcurdling shrieks that were unlikely to endear them to the more conservative members of the audience. Other attendees also noticed their over-reliance on loops and other effects. On the other hand, the band members clearly enjoy being on stage, and already handle their instruments remarkably well. Their youth will allow them plenty of time to develop their musical approach though I would definitely prefer them as an instrumental band.

Though I am reasonably well-informed about the current prog scene, Saturday’s headliners were an unknown quantity to me. Chilean outfit Tryo, however, has enjoyed a long and distinguished career in its home country, spanning almost 30 years. The energetic three-piece from Valparaíso were perfect as a closing act because the high adrenalin quotient of their sound – a powerful, eclectic blend of rock, jazz and metal with recognizable touches of Chilean folk music, and a natural flow that made even epic-length tracks such as “Fuenteovejuna” easy to follow – kept people on their toes at the end of a long day of music. With their impressive stage presence and seamless interplay, guitarist Ismael Cortez, bassist Francisco Cortez and drummer Felix Carbone regaled the crowd with a sizzling performance. Though their command of English was sketchy at best, they had no trouble communicating their infectious enthusiasm to the audience. Their first US appearance, made possible by the support of the Chilean Ministry of Culture, was definitely an unqualified success, and made US prog fans aware of the wealth of interesting progressive music coming from Chile and the rest of the South American continent.

At the end of the set, we headed back to the hotel, and had an excellent dinner at a lovely Korean restaurant – then sat through the first hour of Romantic Warriors III – Canterbury Tales, Adele Schmidt and Jose Zegarra Holder’s outstanding documentary about the Canterbury scene. After a good night’s sleep (better than I expected anyway, having been plagued by sleep problems for the past few months), we were ready for another day of music.

Sunday’s opening act was probably the only truly unfamiliar one for most attendees – though two out of its three members were old acquaintances of US prog fans. Veteran French Chapman stickist Pascal Gutman’s latest project avails itself of the contribution of two talented Mexican musicians – drummer Kiko King (formerly of Cast) and multi-instrumentalist Ramsés Luna (formerly of Cabezas de Cera). In contrast with the brash energy of the previous day’s closing band, Pascal Gutman Trio’s music was understated yet riveting, and exquisitely beautiful – suffused with the warmth of world music influences, the stately elegance of jazz and the muted atmospheres of ambient. Kiko King, who had played at ProgDay with Cast in 2003, acted as a spokesman, conveying the band’s delight at having been invited to perform. The crowd responded in kind, expressing their appreciation in no uncertain terms – proving that the discovery hitherto unknown music is a big part of what prog festivals should be about. As a Chapman stick fan, I will be definitely looking forward to their forthcoming album.

Alongside Ut Gret, Avant-Folk ensemble Jack O’The Clock was my most anticipated band on the lineup. When I discovered them in 2013 through their second album, All My Friends, I hoped I would get a chance to see them on stage. My expectations were not disappointed, as the black-clad Oakland quintet (featuring two very talented ladies in bassoonist/flutist/vocalist Kate McLoughlin and violinist Emily Packard) delivered a career-defining performance, mostly based on unreleased material. Their interpretation of the prog lexicon is highly individual, and – like leader Damon Waitkus’ androgynous voice – may be somewhat of an acquired taste. With their unusual instrumentation (which included a gently lilting dulcimer, but no keyboards) and subtly multilayered, gorgeously melancholy compositions that blend Americana, chamber music, avant-garde and many other elements in a unique tapestry, this 21-century version of traditional storytellers was mesmerizing to watch. Even if they do not sound remotely like “classic” prog, bands such as Jack O’The Clock represent the future of progressive rock. It remains to be seen whether the notoriously nostalgia-bound fandom will get behind them.

Next were Marbin, the Chicago-based quartet known as one of the busiest bands in the US (with over one thousand shows played since its inception), and the brainchild of ultra-talented Israeli musicians Dani Rabin (guitar) and Danny Markovitch (sax). They took to the stage almost unannounced, at a time when I was struggling to stay awake. Being familiar with most of their music, I was expecting a highly technical, high-energy performance, and was not disappointed, as the band’s stagecraft is honed to perfection, and the cliché “well-oiled machine” seems to be tailor-made for them. On the other hand, there were no surprises, as their music has always failed to fully connect with me, and this time was no exception. Based on Rabin’s fiery guitar solos and Markovitch’s gutsy sax forays, the band’s sound is hard-driving yet accessible, with some intense bluesy moments highlighted their versatility. However, the most entertaining aspect of Marbin’s set were the main duo’s storytelling skills. Their rather wild tale of how their forthcoming album came to be titled Aggressive Hippies was hilarious, and created a bond with the audience that belied the slightly daunting quality of their chops-heavy music.

Belgian quartet Quantum Fantay was the only band in the lineup that I had already seen, at our first NEARfest in 2009. Though their participation to ProgDay 2011 had been sabotaged by Hurricane Irene, the band were obviously keen to make up for lost time, and many in the audience seemed to have a soft spot for their brand of pulsating, ethnic-tinged space rock. Undoubtedly excellent musicians and seasoned performers, brimming with enthusiasm and an effortlessly easygoing stage manner, the band delivered the goods and encouraged people to get up and dance – in itself no mean feat after a full day of music. As to myself, by the time they stepped on stage I was feeling even sleepier, and found myself almost dozing off in my lawn chair. Just like Ozric Tentacles (to whom they have often been compared), Quantum Fantay play the kind of music that holds my interest in small doses, and after a while their pulsating rhythms and whooshing keyboards started to sound a bit samey. In spite of these drawbacks, however, theirs was a very entertaining performance, and a good send-off to ProgDay’s 21st edition.

The following day, after having taken our leave from our friends, in the hope of meeting them again in 2016, we headed north feeling tired but in many ways regenerated after such a wonderful weekend. This was particularly true of myself, who felt the festival had been the start of a new, hopefully more positive chapter for me in my life.

While in the six ProgDay editions we have attended the band selection committee has always delivered in terms of quality, I believe this year was particularly bountiful, with top-notch performances and a wide range of musical styles to please the most demanding fans. As it has often been the case in the past few years, ProgDay 2015 showcased a wealth of female talent, with five outstanding ladies gracing the Storybook stage over the weekend: Madeleine Noland (Eccentric Orbit), Jackie Royce and Cheyenne Mize (Ut Gret), Kate McLoughlin and Emily Packard (Jack O’The Clock). The two bassoonists, who once again proved the enduring charm of the combination of rock and chamber/classical instruments, deserve a special mention – hence the title of this review. The performances of Jackie Royce, with her engaging manner and talent for comedy, and the elfin Kate McLoughlin were among the highlights of the whole weekend. So much for all the tiresome Internet discussions about women and progressive rock being mutually exclusive…

At the end of my review, I would like to extend my heartfelt thanks to the organizers for all their hard work and dedication, and state once again that they can always count on our support. For the sake of the US progressive rock scene, it is essential that ProgDay continues, even if it will never draw the crowds that NEARfest used to. Besides the consistently great musical offer, the sense of community is a heartwarming reminder of the truly important things in life.

This year’s edition was a bittersweet one, in the light of the heartbreaking news we received on Saturday afternoon. During the Ut Gret set, we learned that our dear friend Djalma Carvalho (a regular reader and supporter of this blog) had passed away in the days before the festival. We had first met him at Progday 2011, and hoped to see him again some time this year, as he was due to come to the US again after a two-year hiatus. Though we will never see him again sitting in his customary place, right in front of the stage, his gentle nature and deep, abiding love of music will live forever in our hearts. Therefore, I wish to dedicate this review to him and to his best friend, Michael Inman, hoping he will find comfort in my words.

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While searching for a suitable title for my customary “year in review” essay, I thought of something that would convey the general mood of my 2014 while emphasizing the role that music had in helping me out of a bout of potentially severe depression. This is how I came out with this title (shared by a song from Rainbow’s iconic Rising album) and the image that goes with it. The first six months of the year were spent in a sort of daze, in which I tried to keep up with listening and reviewing new music, but was increasingly consumed by a job assignment that ultimately got me burned out. Over the summer months I gradually withdrew from social life, and lost most of my interest in music – to the point that, when ProgDay was approaching, I almost decided to bail out and stay home. The low number of posts on my blog bears witness to this sorry state of affairs – which was thankfully brought to an end by a very enjoyable ProgDay experience. Music, as usual, did help me out of a black hole, and so did the friendships I have made over the years thanks to this lifelong passion of mine.

After such an introduction, it will not come as a surprise that many of this year’s highly regarded albums escaped my attention, and even those I did manage to hear did not impress as much as they would have in a different situation. This 2014 overview may therefore contain some glaring omissions, for which I apologize. Keeping track of the staggering number of new releases in the progressive realm is difficult under normal circumstances, and even harder when real life gets in the way.

Although my full-length reviews have become a much rarer item, since February 2014 I have been regularly providing recommendations for an excellent new feature (the brainchild of DPRP longtime collaborator and editor Andy Read) by the name of Something for the Weekend?. Dedicated exclusively to progressive music available for free streaming on invaluable resources such as Progstreaming or Bandcamp, this weekly feature has allowed me to promote the work of many outstanding artists – as well as exploring a lot of exciting new music that might have otherwise flown under the radar. Going back to ProgArchives, the thriving website where I started my career as a reviewer back in 2005 (and also met my husband), after a four-year absence has also been very beneficial in terms of discovering new music and cultivating fulfilling relationships.

The past year saw my personal tastes shift even further away from traditional prog, and wholeheartedly embrace the new incarnations of the genre. While this does not mean I have stopped enjoying classic prog, I recognize that, in the second decade of the 21st century, the genre needs to look forward rather than backward if it is to survive. Speaking of which, having resolutely moved underground is probably the best thing to happen to progressive rock in the past few years. In spite of the many difficulties they face, many progressive artists now produce music to please themselves first and foremost. Without having to obey the constraints of the “market”, artistic creativity can be given free rein, so that we can expect the next few years to be generous with high-quality releases.

My personal “best of 2014” spans different subgenres of prog, with a pronounced emphasis on the eclectic and experimental side of things. Though often labeled as RIO/Avant, my album of the year – Ut Gret’s marvelous Ancestor’s Tale – is the best Canterbury album to be released in a long while (though the band hail from Louisville, Kentucky), and introduced the prog audience to the stunning vocal talents of songstress Cheyenne Mize. Incidentally, another two of my favourite 2014 albums came from bands that have occasionally been associated with the Canterbury sound – though. Like Ut Gret, neither hails from that part of the world. Moraine’s  Groundswell, is their most mature work to date, showcasing the Seattle quintet’s unique brand of ethnic-tinged, contemporary jazz-rock. On the other hand Italian quartet Accordo dei Contrari’s comeback album, AdC , saw them explore heavier territories, though retaining the exquisite sense of melody that distinguishes Giovanni Parmeggiani’s compositional style.

As a whole, 2014 was an uncommonly good year for eclectic releases that avoided the “old wine in new bottles” syndrome. Knifeworld’s sophomore release, The Unraveling, spearheaded this highly individual approach to the creation of progressive rock. Also appearing on Gong’s latest effort, I See You, Knifeworld mainman Kavus Torabi seems poised to replace Steven Wilson as the busiest man in prog, though with a much more genuinely innovative attitude. Torabi’s longtime collaborator and bandmate Emmett Elvin’s Bloody Marvels was true to its title, delivering a series of deeply cinematic, atmospheric pieces mostly performed on acoustic instruments, released on independent British label Bad Elephant Music – which in 2014 distinguished itself as one of the foremost purveyors of interesting progressive fare. Together with Elvin’s album, guitarist Matt Stevens’ Lucid and Trojan Horse’s “pronk” assault World Upside Down proved that the British isles have got more to offer than endless variations on the neo-prog gospel. As for Sound Mirror, the highly touted second album by “new Canterburians” Syd Arthur (their first for the revamped Harvest label), I only managed to get hold of it when I had already started writing this piece: my initial impression is positive, though the album is definitely in a more mainstream vein.

One of the biggest surprises of the year, mentioned as a favourite by many prog fans, came from Norwegian outfit Seven Impale: their furiously sax-driven, full-length debut, City of the Sun, combines echoes of King Crimson and Van Der Graaf Generator with an endearingly zany sense of humour. Fellow Norwegians Major Parkinson’s “cabaret rock” opus Twilight Cinema also drew a lot of rave reviews, as did Swedes Pingvinorkestern’s heady melting pot Push. Spain’s ebullient Cheeto’s Magazine offered more Zappaesque, genre-bending goodness with their debut, Boiling Fowls, while French outfit PoiL’s Brossaklitt went beyond Magma and their offspring, with lyrics in an invented language set to an explosive mixture of punk, jazz and RIO/Avant. From the eastern reaches of Europe, Russian quartet Uphill Work’s third album, Missing Opportunities, struck a fine balance between the traditional song form and eccentric avant-garde.

The sprawling US scene achieved its fair share of cliché-busting releases, such as Atomic Ape’s frenetic debut, Swarm (introducing a revamped lineup of Orange Tulip Conspiracy), or Jack O’The Clock’s mysterious Night Loops, a rather different album from last year’s folksy All My Friends. Bent Knee’s Shiny-Eyed Babies reinterprets art rock in thoroughly modern fashion -occasionally reminiscent of their fellow Bostonians Schooltree, though in a darker, more experimental vein. The Pacific Northwest scene produced the melancholy folk-prog of The Autumn Electric’s Flowers for Ambrosia (featuring Phideaux’s keyboardist Johnny Unicorn) as well as the furious “pronk” of Alex’s Hand’s The Roaches and Badwater Fire Company’s eponymous debut, the elegant eclecticism of The Mercury Tree’s Countenance, and the experimental jazz-rock of Fang Chia’s Where Would You That We Gather?. From New York City came the dirty funk of Tauk’s Collisions and the Zappa-inflected jazz-rock of Trout Cake’s EP Ultrasounds (recommended to fans of Frogg Café). Somewhat more appealing to prog traditionalists, Resistor’s To the Stars blends a lot of diverse influences (think Kansas, Iron Maiden and Jethro Tull jamming together with a very 21st-century attitude) for one of the year’s most intriguing “crossover” offerings, while Dream the Electric Sleep’s powerful second album Heretics treads in grunge/alternative territory. Minneapolis quartet  Galactic Cowboy Orchestra also released a new album, Zombie Mouth, and at the end of August wowed the ProgDay crowd with their sparkling brand of “jazzgrass art-rock”.

Instrumental progressive rock in its many forms continues to be a source of interest and delight. After 2013’s psychedelic opus, The Trip, Djam Karet celebrated their 30th anniversary with the über-laid-back Regenerator 3017, while their label Firepool Records brought to the prog audience’s attention the riveting self-titled debut by Spoke of Shadows, the latest project by Warr guitar wizard Mark Cook (of Herd of Instinct fame) in collaboration with renowned session drummer Bill Bachman. One of the year’s undisputed highlights, however, came once again from the cold climes of Sweden, with Necromonkey’s mesmerizing second album, A Glimpse of Possible Endings – complemented later in the year by a career-defining appearance at ProgDay.

Alongside Moraine’s pristine album, the ever-reliable Moonjune Records provided at least another entry to my personal “best of 2014” list: Belgian songstress Susan Clynes’s delightful debut, Life Is… – a must-listen for fans of Kate Bush and Tori Amos, but also for lovers of contemporary jazz. Keeping up his efforts at promoting the Indonesian progressive jazz-rock scene, Leonardo Pavkovic also brought us the latest opuses from established guitar heroes Tohpati (Tribal Dance) and Dewa Budjana (Surya Namaskar), as well as rising star Tesla Manaf’s self-titled debut, and simakDialog’s Live at Orion (capturing a gig that I was lucky to attend). Another live album, The Third Set, came from Chicago whizz kids Marbin, one of the busiest bands on the planet; while the European scene gave us drummer Xavi Reija’s thunderous Resolution and the majestic modern jazz-rock tour de force of Machine Mass Trio’s Inti.

Milan-based label AltrOck Productions kept its unflagging tradition of delivering high-class material to sophisticated prog listeners looking for distinctive musical experiences: besides the already-mentioned Ut Gret, Accordo dei Contrari and PoiL, the re-release of Geranium by Russian folksy RIO/Avant outfit Vezhlivyi Otkaz, the jazz-rock-meets-space-rock craziness of Wrupk Urei’s Kõik Saab Korda, the almost impenetrable, yet fascinating Avant of Factor Burzaco’s 3, enhanced by Carolina Restuccia’s vertiginous vocals.

Indeed, 2014 was a great year for bands fronted by female vocalists. One of the most anticipated releases of the year was undoubtedly MoeTar’s scintillating Entropy of the Century, a quintessential modern art rock effort showcasing Moorea Dickason’s jaw-dropping vocal skills. Kate Bush fans certainly found a lot to love in Russian duo iamthemorning’s delicate, haunting Belighted. In a similar vein, the debut of Swedish band Nomads of Hope (including two former members of late Seventies band Kultivator), Breaking the Circles for a While, marries folk and medieval music with haunting trip-hop suggestions, while Finnish outfit Aalto’s Ikaro introduces elements of Tuvan throat singing and North Indian raga. Many accolades were also received by Homínido‘s debut Estirpe Litica, another highly eclectic effort featuring some former members of Chilean band La Desoorden.

Plenty of interesting new releases came both from newcomers and seasoned protagonists of the thriving Italian scene: among the many worth mentioning, Fabio Zuffanti’s somberly ambitious La quarta vittima, Alex Carpani Band’s modern symphonic 4 Destinies, FEM’s lush concept Sulla bolla di sapone, Nodo Gordiano’s intricate Nous, Agora’s lovely slice of acoustic jazz-rock Ichinen, Greenwall’s melodic yet whimsical Zappa Zippa Zuppa Zeppa, the space-tinged classic RPI of LogosL’enigma della vita, Tacita Intesa’s dramatic, self-titled debut. On the other hand, Lagartija’s Amore di vinile and Marco Machera’s Dime Novels explored the successful union of prog and singer-songwriter music, while Periplo’s debut, Diario di un malessere passeggero, offered an intriguing slice of stylish chamber rock. Sadly, the Italian prog scene suffered an irreparable loss in February, when legendary Banco vocalist Francesco Di Giacomo was killed in a car crash.

Even if I have grown away from classic symphonic prog, a few 2014 releases brought a breath of fresh air in a subgenre that can often sound stale. Kant Freud Kafka’s No Tengas Miedo brought to mind The Enid’s unique brand of majestic, classical-inspired prog, while Deluge Grander’s powerfully choral Heliotians – printed in only 205 hand-numbered, hand-painted LP copies –distilled the very essence of the modern DIY ethos. Those disappointed with Yes’ recent lackluster recording efforts found a lot of enjoyment in Heliopolis’ bright, feel-good debut, City of the Sun. Australia’s The Merlin Bird’s offered lovely female vocals and pastoral textures in their second album, Chapter and Verse, while Eccentric Orbit went for an all-out, ELP-style keyboard assault in Creation of the Humanoids.

2014 also brought some interesting solo projects, with the brilliant heavy fusion of Dean Watson’s Fantasizer!, the eclectic jazz-rock concept of Superfluous Motor’s Shipwrecked, the hauntingly intimist album by  Bodies Floating Ashore (aka Matt Lebofsky of miRthkon/MoeTar/Secret Chiefs 3 fame), and Simon McKechnie’s brainy, Crimsonian tour de force, Newton’s Alchemy.

Unfortunately, some of this year’s notable releases still remain unheard to this day: for instance, Univers Zéro’s Phosphorescent Dreams (released by an obscure Japanese label, and therefore very hard to find), Gong’s I See You, Secret Chiefs 3’s Ishraqiyun: Perichoresis, KaukasusI, and all of Cuneiform Records’ 2014 output. Other high-profile albums have been discussed in detail by most prog websites, but will not be mentioned here for a number of reasons. I have also refrained from mentioning albums I did not particularly enjoy, because I find negativity ultimately pointless, and also because quite a few fellow music writers have already published comprehensive “year in review” pieces covering many of the albums that have not found a place here.

No “year in review” piece would be complete without a mention of live performances. Even if my personal concert-going activity was very limited in comparison to previous years, 2014 was quite generous in terms of festivals and shows, with the continuing success of ROSfest, the return of Baja Prog (unfortunately suspended for 2015), the second editions of SeaProg and the NJ Proghouse Homecoming Weekend (both confirmed for 2015), ProgDay’s 20th edition, and the Orion Studios‘ marvelous 20th anniversary celebration – as well as the welcome addition of A Day of Prog Art Rock Showcase, organized by the New England Art Rock Society(NewEARS) in the Boston metropolitan area, and Chicago’s two-day Progtoberfest.

My commitment to Something for the Weekend? provided the incentive to explore and actively look for new music to recommend to the feature’s steadily increasing number of readers (50,000 were reached a couple of weeks before the end of the year). What I jokingly call my “collection” of interesting new music bookmarks is also steadily growing. Bandcamp, in particular, is like an underground treasure trove that more and more artists are using to give exposure to their music, embracing a model that rules out any kind of financial gain, but thrives on positive feedback and direct communication with fans. Actively seeking out challenging new music, and making a point of listening to at least one album a day (preferably early in the morning, before I start getting ready to go to work) has become a pleasant routine that has helped me to keep in touch with the scene.

Since many of the albums mentioned in this essay are available for streaming, I hope this lengthy feature will encourage at least some of my readers to click on the hyperlinks and listen to those artists, and perhaps invest a few dollars (or any other currency) to buy a CD or two. As much as I enjoy the classics, I firmly believe that the future of progressive music lies with these people, whose dedication to music often means struggling with less than favourable circumstances, including the lack of support on the part of their intended audience. This essay is dedicated to them, with my most heartfelt thanks for the gift of music and its positive effect on my life.

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An Embarrassment of Riches – A 2013 Retrospective

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As the title of this post suggests, 2013 was another bumper year for progressive music – perhaps without as many peaks of excellence as the two previous years, but still offering a wide range of high-quality releases to the discerning listener. On the other hand, it was also a year in which the need for some form of quality control emerged quite sharply. The sheer number of releases that might be gathered under the “prog” umbrella made listening to everything a practically impossible feat – unless one wanted to risk some serious burnout. As modern technology has afforded the tools to release their own music to almost anyone, it has also fostered a sense of entitlement in some artists as regards positive feedback, even when their product is clearly not up to scratch. 2013 also evidenced the growing divide within the elusive “prog community”, with the lingering worship of anything Seventies-related in often sharp contrast with the genuine progressive spirit of many artists who delve deep into musical modes of expression of a different nature from those that inspired the golden age of the genre.

While, on a global level, 2013 was fraught with as many difficulties as 2012, personally speaking (with the exception of the last two or three months) the year as a whole was definitely more favourable – which should have encouraged me to write much more than I actually did. Unfortunately, a severe form of burnout forced me into semi-retirement in the first few months of the year, occasionally leading me to believe that I would never write a review ever again. Because of that, I reviewed only a small percentage of the albums released during the past 12 months; however, thanks to invaluable resources such as Progstreaming, Progify and Bandcamp, I was able to listen to a great deal of new music, and form an opinion on many of the year’s highlights.

I apologize beforehand to my readers if there will be some glaring omissions in this essay. As usual, my personal choices will probably diverge from the “mainstream” of the prog audience, though I am sure they will resonate with others. This year I have chosen to use a slightly different format than in the previous two years, giving more or less the same relevance to all the albums mentioned in the following paragraphs. Those who enjoy reading “top 10/50/100” lists will be better served by other websites or magazines: my intent here is to provide an overview of what I found to be worthy of note in the past 12 months, rather than rank my choices in order of preference.

Interestingly, two of my top 2013 albums (both released at the end of January) came from the UK – a country that, in spite of its glorious past, nowadays rarely produces music that sets my world on fire. Although the magnificent Gothic cathedral of Guapo’s History of the Visitation and the lyricism and subtle complexity of Thieves’ Kitchen’s One for Sorrow, Two for Joy may sound wildly different, they both represent a side of the British progressive rock scene where the production of challenging music is still viewed as viable, and image-related concerns are a very low priority.

Indeed, in 2013 the UK was prodigal with interesting releases for every prog taste. Among the more left-field offerings coming from the other side of the pond, I will mention Sanguine Hum’s multilayered sophomore effort, The Weight of the World – one of those rare albums that are impossible to label; Godsticks’ intricate, hard-hitting The Envisage Conundrum; the unique “classical crossover” of Karda Estra’s Mondo Profondo; The Fierce and the Dead’s fast and furious Spooky Action (think King Crimson meets punk rock); Tim Bowness’ Henry Fool with Men Singing, their second album after a 12-year hiatus; and Brighton-based outfit Baron (who share members with Diagonal and Autumn Chorus) with their haunting Columns. A mention is also amply deserved by volcanic multi-instrumentalist Colin Robinson’s projects Jumble Hole Clough and Churn Milk Joan – whose numerous albums are all available on Bandcamp. The prize for the most authentically progressive UK release of the year, however, should probably be awarded to Chrome Black Gold by “experimental chamber rock orchestra” Chrome Hoof, who are part of the Cuneiform Records roster and share members with their label mates Guapo.

The US scene inaugurated the year with the late January release of Herd of Instinct’s second album, Conjure, a completely instrumental effort that saw the basic trio augmented by Djam Karet’s Gayle Ellett on keyboards fleshing out the band’s haunting, cinematic sound. Ellett’s main gig (who will be celebrating their 30th anniversary in 2014) also made their studio comeback with The Trip, featuring a single 47-minute track combining ambient, electronics-laden atmospheres (as per self-explanatory title) with a full-tilt psychedelic rock jam. Later in the year, Little Atlas’ solid Automatic Day and Sonus Umbra’s brooding Winter Soulstice brought back two bands that had long been out of the limelight. From the US also came a few gems that, unfortunately, have almost flown under the radar of the prog fandom, such as The Knells’ eponymous debut with its heady blend of post-rock, classical music and polyphony; Jack O’The Clock’s intriguing American folk/RIO crossover All My Friends; Birds and Buildings’ über-eclectic Multipurpose Trap; The Red Masque’s intensely Gothic Mythalogue; and the ambitious modern prog epic of And The Traveler’s The Road, The Reason.

The fall season brought some more left-field fireworks from the ever-reliable AltrOck Productions and Cuneiform Records. miRthkon’s Snack(s) and ZeviousPassing Through the Wall, both outstanding examples of high-energy modern progressive rock by two veritable forces of nature in a live setting, were preceded by Miriodor’s long-awaited eighth studio album, Cobra Fakir, premiered at ProgDay in an utterly flawless set. More RIO/Avant goodness came from Europe with Humble Grumble’s delightfully weird Guzzle It Up, Rhùn’s Zeuhl workout Ïh, October Equus’s darkly beautiful Permafrost, and Spaltklang’s unpredictable In Between. From Sweden came Necromonkey’s self-titled debut, an idiosyncratic but fascinating effort born of the collaboration between drummer extraordinaire Mattias Olsson and Gösta Berlings Saga keyboardist David Lundberg.

Among the myriad of prog-metal releases of the year, another UK band, Haken, stood head and shoulders above the competition: their third album The Mountain transcended the limitations of the subgenre, and drew positive feedback even from people who would ordinarily shun anything bearing a prog-metal tag. Much of the same considerations might apply to Kayo Dot’s highly anticipated Hubardo, though the latter album is definitely much less accessible and unlikely to appeal to more traditional-minded listeners. Fans of old-fashioned rock operas found a lot to appreciate in Circle of Illusion’s debut, Jeremias: Foreshadow of Forgotten Realms, a monumentally ambitious, yet surprisingly listenable album in the tradition of Ayreon’s sprawling epics, rated by many much more highly than the latter’s rather lacklustre The Theory of Everything.

Some of the year’s most intriguing releases came from countries that are rarely featured on the prog map. One of my personal top 10 albums, Not That City by Belarus’ Five-Storey Ensemble (one of two bands born from the split of Rational Diet) is a sublime slice of chamber-prog that shares more with classical music than with rock. Five-Storey Ensemble’s Vitaly Appow also appears on the deeply erudite, eclectic pastiche of fellow Belarusians (and AltrOck Productions label mates) The Worm OuroborosOf Things That Never Were. The exhilarating jazz-rock-meets-Eastern-European-folk brew provided by Norwegian quintet Farmers’ Market’s fifth studio album, Slav to the Rhythm, was another of the year’s highlights, guaranteed to please fans of eclectic progressive music. From an even more exotic locale, Uzbekistan’s own Fromuz regaled their many fans with the dramatic Sodom and Gomorrah, a recording dating back from 2008 and featuring the band’s original lineup.

In the jazz-rock realm, releases ran the gamut from modern, high-adrenalin efforts such as The AristocratsCulture Clash, Volto!’s Incitare by (featuring Tool’s drummer Danny Carey), and keyboardist Alessandro Bertoni’s debut Keystone (produced by Derek Sherinian) to the multifaceted approach of French outfit La Théorie des Cordes’ ambitious, all-instrumental double CD Singes Eléctriques, the sprawling, ambient-tinged improv of Shrunken Head Shop’s Live in Germany, and the hauntingly emotional beauty of Blue Cranes’ Swim. Trance Lucid’s elegantly eclectic Palace of Ether and the intricate acoustic webs of Might Could’s Relics from the Wasteland can also be warmly recommended to fans of guitar-driven, jazz-inflected instrumental music.

Leonardo Pavkovic’s Moonjune Records, however, proved throughout the year as the most reliable single provider of high-quality music effortlessly straddling the rock and the jazz universe, with the triumphant comeback of Soft Machine Legacy and their superb Burden of Proof, The Wrong Object’s stunning slice of modern Canterbury, After the Exhibition, and Marbin’s sophisticated (if occasionally a a bit too “easy”) Last Chapter of Dreaming. Pavkovic’s frequent forays into the booming Indonesian scene brought masterpieces such as simakDialog’s fascinating, East-meets-West The 6th Story, and I Know You Well Miss Clara’s stylish Chapter One – as well as Dewa Budjana’s ebullient six-string exertions in Joged Kahyangan. Dialeto’s contemporary take on the power trio, The Last Tribe, and Dusan Jevtovic’s high-octane Am I Walking Wrong? also featured some noteworthy examples of modern guitar playing with plenty of energy and emotion.

Song-based yet challenging progressive rock was well represented in 2013 by the likes of Half Past Four’s second album, the amazingly accomplished Good Things, propelled by lead vocalist Kyree Vibrant’s career-defining performance; fellow Canadians The Rebel Wheel’s spiky, digital-only concept album Whore’s Breakfast;  Simon McKechnie’s sophisticated, literate debut Clocks and Dark Clouds; and newcomers Fractal Mirror with their moody, New Wave-influenced Strange Attractors. New Jersey’s 3RDegree also released a remastered, digital-only version of their second album, Human Interest Story (originally released in 1996). Iranian band Mavara’s first international release, Season of Salvation, also deserves a mention on account of the band’s struggles to carve out a new life in the US, away from the many troubles of their home country.

Even more so than in the past few years, many of 2013’s gems hailed from my home country of Italy, bearing witness to the endless stream of creativity of a scene that no economic downturn can dampen. One of the most impressive debut albums of the past few years came from a young Rome-based band by the name of Ingranaggi della Valle, whose barnstorming In Hoc Signo told the story of the Crusades through plenty of exciting modern jazz-rock chops, without a hint of the cheesiness usually associated with such ventures. Another stunning debut, the wonderfully quirky Limiti all’eguaglianza della parte con il tutto by Sicilian outfit Homunculus Res, delighted fans of the Canterbury scene; while Not A Good Sign’s eponymous debut blended the angular, King Crimson-inspired melancholia of Änglagård and Anekdoten with that uniquely Italian melodic flair. After their successful NEARfest appearance in 2012, Il Tempio delle Clessidre made their comeback with  AlieNatura, an outstanding example of modern symphonic prog recorded with new vocalist Francesco Ciapica; while fellow Genoese quintet La Coscienza di Zeno made many a Top 10 list with their supremely accomplished sophomore effort, Sensitività. Another highly-rated Genoese outfit, La Maschera di Cera, paid homage to one of the landmark albums of vintage RPI – Le Orme’s Felona and Sorona – by releasing a sequel, titled Le Porte del Domani (The Gates of Tomorrow in its English version). Aldo Tagliapietra’s L’angelo rinchiuso saw the legendary former Le Orme bassist and frontman revert to a more classic prog vein, while iconic one-shot band Museo Rosenbach followed the example of other historic RPI bands and got back together to release Barbarica. Even PFM treated their many fans to a new double album, though scarce on truly new material: as the title implies, PFM in Classic: Da Mozart a Celebration contains versions of iconic classical pieces performed by the band with a full orchestra, as well as five of their best-known songs. Among the newcomers, Camelias Garden’s elegant You Have a Chance presents a streamlined take on melodic symphonic prog, while Unreal City’s La crudeltà di Aprile blends Gothic suggestions with the classic RPI sound; on the other hand, Oxhuitza’s self-titled debut and Pandora’s Alibi Filosofico tap into the progressive metal vein without turning their backs to their Italian heritage. Il Rumore Bianco’s Area-influenced debut EP Mediocrazia brought another promising young band to the attention of prog fans.

However, some of the most impressive Italian releases of the year can be found on the avant-garde fringes of the prog spectrum. Besides Francesco Zago’s project Empty Days (featuring contributions by Thinking Plague’s Elaine DiFalco, as well as most of his Yugen bandmates), OTEME’s superb Il giardino disincantato – a unique blend of high-class singer-songwriter music and Avant-Prog complexity – and the sophisticated, atmospheric jazz-rock of Pensiero Nomade’s Imperfette Solitudini deserve to be included in the top albums of the year. To be filed under “difficult but ultimately rewarding” is Claudio Milano’s international project InSonar with the double CD L’enfant et le Ménure, while Nichelodeon’s ambitious Bath Salts (another double CD) will appeal to those who enjoy vocal experimentation in the tradition of Demetrio Stratos.

My readers will have noticed a distinct lack of high-profile releases in the previous paragraphs.n Not surprisingly for those who know me, some of the year’s top-rated albums (such as The Tangent’s Le Sacre du Travail, The Flower KingsDesolation Rose and Spock’s Beard’s Brief Nocturnes and Dreamless Sleep) are missing from this list because I have not yet had the opportunity to listen to them. Others have instead been heard, but have not left a positive enough impression to be mentioned here, and I would rather focus on the positives than on what did not click with me. In any case, most of those albums have received their share of rave reviews on many other blogs, websites and print magazines. I will make, however, one exception for Steven Wilson’s much-praised The Raven Who Refused to Sing, as I had the privilege of seeing it performed in its entirety on the stage of the Howard Theatre in Washington DC at the end of April. Though the concert was excellent, and the stellar level of Wilson’s backing band undoubtedly did justice to the material, I am still not completely sold about the album being the undisputed masterpiece many have waxed lyrical about.

In addition to successful editions of both ROSfest and ProgDay (which will be celebrating its 20th  anniversary in 2014), 2013 saw the birth of two new US festivals: Seaprog (held in Seattle on the last weekend of June) and the NJ Proghouse Homecoming Weekend (held in Dunellen, New Jersey, on October 12-13). As luckily both events enjoyed a good turnout, 2014 editions are already being planned. There were also quite a few memorable concerts held throughout the year, though we did not attend as many as we would have wished. In spite of the often painfully low turnout (unless some big name of the Seventies is involved), it is heartwarming to see that bands still make an effort to bring their music to the stage, where it truly belongs.

On a more somber note, the year 2013 brought its share of heartache to the progressive rock community. Alongside the passing of many influential artists (such as Peter Banks, Kevin Ayers and Allen Lanier), in December I found myself mourning the loss of John Orsi and Dave Kulju, two fine US musicians whose work I had the pleasure of reviewing in the past few years. Other members of the community were also affected by grievous personal losses. Once again, even in such difficult moments, music offers comfort to those who remain, and keeps the memory of the departed alive.

In my own little corner of the world, music has been essential in giving me a sense of belonging in a country where I will probably never feel completely at home. Even if my enjoyment of music does have its ups and downs, and sometimes it is inevitable to feel overwhelmed by the seemingly never-ending stream of new stuff to check out, I cannot help looking forward to the new musical adventures that 2014 will bring.

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