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SteveG 
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 Posted: October 09 2020 at 14:21 |
Midge Ure – Orchestrated Genre: Style: Year: Tracklist | Hymn | 6:56 | | Dancing With Tears In My Eyes | 5:03 | | Breathe | 4:47 | | Man Of Two Worlds | 4:46 | | If I Was | 5:14 | | Vienna | 5:07 | | The Voice | 5:18 | | Ordinary Man | 4:32 | | Death In The Afternoon | 7:06 | | Lament | 4:29 | | Reap The Wild Wind | 4:01 | | Fragile | 6:19 |
I didn't think much of this album before popping the disc into player. These types of orchestral do overs always sound schmaltzy or contrived. But this was excellent. Ultravox was always dramatic and in this case the songs are still bigger than the orchestral arrangements as is Midge Ure's voice . A few are clunkers but the majority are superb.
Edited by SteveG - October 09 2020 at 14:24
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Spaciousmind
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Posted: March 27 2021 at 13:43 |
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I have the Midge URE: Rewind - The Greatest Hits Tour from 2002. Its a pretty good live performance DVD.
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ShW1
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Posted: April 16 2021 at 05:44 |
 BrufordFreak wrote:
Band Name and description: FIVE STOREY ENSEMBLE is a progressive neo-classical band from Belarus coming out of the AltrOck label that rose out of the ashes of RATIONAL DIET in 2012-13. Compositions are mostly by former RD members and Five-Storey core members bassoon/saxophonist Vitaly Appow and pianist/vocalist Olga Podgaiskaja and generally feature accordion, violin, double bass and/or cello, acoustic or electric guitars, some percussion, and classically styled male and female vocals.
Album information: Their first release from March of 2013 is entitled, Not That City. Several videos of music of live and studio performances from Not That City can be found on YouTube.
The Review:
FIVE-STOREY ENSEMBLE Not That City
Out of the ashes of RATIONAL DIET rises this phoenix of incredible power and beauty--in my humble opinion, an album ten times better than the very well crafted albums of its predecessor. Yes, Five-Storey Ensemble is the spawn of RATIONAL DIET. RATIONAL DIET founding member and reed player, Vitaly Appow, and keyboard/vocalist Olga Podgaiskaja, of the final two RATIONAL DIET albums, At Work and On Phenomenon and Existences, are principle composers here, while violinist, Cyrill Christya, and bass guitarist, Dmitry Maslovsky participate on several songs. While I thoroughly enjoyed the Avant/RIO/Modern Chamber musings of RD, I was quick to zoom in on Not That City once it was posted on progstreaming.com. Bam! Was I broadsided! This album blew me away from the opener through to the last song. It’s music is reminiscent of RATIONAL DIET but, like ARANIS, it is much more melodic and its vocals play a much more important role in defining their sound. The vocals here are used more operatically—and really only used in the forefront of four different songs. Whenever the male tenor and female soprano voices perform I find myself reminded of Goreki’s Third Symphony. Even though vocalists Sergey Dolgushev and composer and keyboard player, Olga Podgaiskaja, respectively, employ operatic approaches stylistically, their vocals are often used almost more as additional instruments—which has the tremendous effect of deepening the conveyance of emotions within each song—and each has such a distinct and different contribution to the songs with their voices—often at the same time--that it has the effect of bringing two very different, almost divergent threads into the emotional weave. Without a doubt Not That City is one of my favorite album of the albums I've heard from 2013. It's music excites and mesmerizes me, its constructs surprise and delight--they raise my hopes for the possibilities of music and for the possibilities of humanity. Rating: 5 Stars, unquestioned; six if it were allowed (occasionally). I've not been this excited about a new album since MAUDLIN OF THE WELL's Part The Second blew me away back in '09. Stunningly creative and fresh. |
Prog Appeal:I understand that the music from Not That City is lacking in the "rock" elements that are considered essential to PA's foundation, but I believe this album is so progressive that it should be included on the archives. |
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I defenitely agree with the review above. FIVE STOREY ENSEMBLE - NOT THAT CITY is a 5 stars album, its (even) better than its root - Rational Diet, and I cannot see why this album is not listed in the archievs. its a true chamber rock. BTW they are still here, they have a second album, and now working on their third. I purcheased this album (NTC) back in 2013/14 and, but due to a permanent delay, listening to it just now. It's stunning. Thank you BrufordFrick for a detaild well-written review.
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DamoXt7942
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Posted: May 03 2021 at 20:15 |
 Anthem Of The Sun (1968) - The GRATEFUL DEAD
dAmOxT7942 wrote:
This creation must be called progressive, let me say at first. "Anthem Of The Sun" was released in 1968 as the second album of a US psychedelic live-based Giant GRATEFUL DEAD. Their first eponymous album was out in the previous year, that features authentic blues rock songs plus their original psychedelic titles. Actually my first GRATEFUL DEAD was the first album which did not impress me so badly. And "Anthem Of The Sun" has perfectly immersed me ... even now! In this album they launched their real innnovative psychedelia, not discharged by any other combo in those days. I do not know what a circumstance they studio-recorded under, but this incredible 'outer' atmosphere they shot in the real world should have been one and only. No suspicion they strongly implanted their enthusiasm into our mind.
Reagrdless to say (!), the highlight of this album is on Side A. The whole side, especially "That's It For The Other One - New Potato Caboose" suite forms a wonderful psychedelic grandeur. The very first Pigpen's keyboard opening is quite suggestive. Soft and smooth, slowtempo melody lines and rhythmic bases make us safe and sound. Do not be deceived. They never betray us. The melodic / rhythmic situation alters evetually (such a POOR mixing sounds not bad at all!). Randomized colourful sound starshines catch us. The rhythm section's performance is not strictly precise nor perfectly refined (but loose and vague intentionally) but such an easygoing playing adds good decoration to this song. In the middle dreamy kaleidoscopic part we the audience could get absorbed eternally. And this inexpressible psychedelic aroma provides the following masterpiece "Neo Potato Caboose" very beautiful and delightful one. The first part sounds pretty bluesy, flavoury featuring calm, settled vocals and instrumental streamings. The latter involves fascinating, energetic flexibility by every single instrument, especially ultimate keyboard-oriented fantasy. This suite might be one of monnumental works in the worldwide music scene, I consider (or overestimate?).
"Born Cross-Eyed" sounds like an oasis momentally. This song was composed / written by Bob, another buffer but strength in The DEAD. Really amazing and catchy, but somewhat hearty flowery mystery should be around the opus. The shortest stuff in this album cannot be avoided but the existence should be important for the whole production definitely.
However, we cannot avoid joining their improvisational opus as if we were at a venue on Side B. In the longest track "Alligator" are various rock elements. The first shot is funky, slowtempo, laidback blues phase. We can easily imagine they played with full of relax and pleasure even in the front of the big audience. Reed whistle blows are also comfortable. And in the middle part the playing situation changes unexpectedly. Uptempo freakout impromptus constructed mainly by Mickey's percussion, Jerry's flexible guitar, Pigpen's psychedelic loose keyboards, completely ring our bells. Such a powerful sound convention should be followed by the last "Caution", another crazy big one. Magnificent improvisation with quirky tape effects is solidified just like kinda vanguard of Krautrock. Not only guitar plays but also voices are mystically trembling in a irregular manner, but splendid sound waves can appeal to us drastically. Really don't know what a situation they played this production under, but surely they provide dreamy, hallucinogenic psychic aroma through the flexible musical advice. It is renowned they played improvisationally on stage 'overnight' for getting unified with the audience. Always wish I could have attended such a tremendous gig in late 1960s. |
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Mirakaze
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Eclectic, JRF/Canterbury, Avant/Zeuhl
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Posted: August 17 2021 at 15:11 |
(cover art ommitted because nudity; no actual bits shown but possibly still too risqué for this forum)
Never
content to work within a single genre for too long, Dani Lee Pearce on this
release has found herself returning to the synthpop style of her work from the
2017-18 period. By no means a regression however, the songs on Unfair Harmonies
are a refinement of a specific approach to songwriting she only touched upon at
the time: each song develops as a gradual construction of melodic snippets and
ornaments that on their own sound strange and defective, but which, when put together, interlock and complete each other like pieces of a jigsaw puzzle even as they
twist and turn in unusual chord progressions and intervals to keep listeners on
their toes. The opening track is particularly powerful in this regard, starting
with synthesized percussion and bleeps until more and more layers are stacked
up to create a powerful, stately, anthemic composition.
The folktronica
arrangements of Pearce’s directly preceding works are now replaced by a synth
palette ranging from chiming textures to electric guitar-mimicking sounds to pure
tones such as the quirky square wave that’s sure to bring a smile to listener’s
faces when it introduces them to “Kind Of A Gremlin”. Even the vocals are
electronically treated to add to the robotic feel of an album that nonetheless feels
full of life and energy.
Highlights
for me are the mantric, hypnotic disco march “In Passion’s Clutch”, and the
closing “Teenagers In A Tennis World” which I find to have the most memorable
hook, and those falsetto notes in the chorus have an irresistible beauty to
them. A highly accomplished effort, in all.
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DreamTechPlus
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Posted: June 19 2022 at 04:33 |
BrufordFreak wrote:
Awesome thread idea! Sorry I hadn't seen it before! Love seeing reviews/recommendations for Prefab, Gaga, etc.!
Band Name and description: FIVE STOREY ENSEMBLE is a progressive neo-classical band from Belarus coming out of the AltrOck label that rose out of the ashes of RATIONAL DIET in 2012-13. Compositions are mostly by former RD members and Five-Storey core members bassoon/saxophonist Vitaly Appow and pianist/vocalist Olga Podgaiskaja and generally feature accordion, violin, double bass and/or cello, acoustic or electric guitars, some percussion, and classically styled male and female vocals.
Album information: Their first release from March of 2013 is entitled, Not That City. Several videos of music of live and studio performances from Not That City can be found on YouTube.
The Review:
FIVE-STOREY ENSEMBLE Not That City
Out of the ashes of RATIONAL DIET rises this phoenix of incredible power and beauty--in my humble opinion, an album ten times better than the very well crafted albums of its predecessor. Yes, Five-Storey Ensemble is the spawn of RATIONAL DIET. RATIONAL DIET founding member and reed player, Vitaly Appow, and keyboard/vocalist Olga Podgaiskaja, of the final two RATIONAL DIET albums, At Work and On Phenomenon and Existences, are principle composers here, while violinist, Cyrill Christya, and bass guitarist, Dmitry Maslovsky participate on several songs. While I thoroughly enjoyed the Avant/RIO/Modern Chamber musings of RD, I was quick to zoom in on Not That City once it was posted on progstreaming.com. Bam! Was I broadsided! This album blew me away from the opener through to the last song. It’s music is reminiscent of RATIONAL DIET but, like ARANIS, it is much more melodic and its vocals play a much more important role in defining their sound. The vocals here are used more operatically—and really only used in the forefront of four different songs. Whenever the male tenor and female soprano voices perform I find myself reminded of Goreki’s Third Symphony. Even though vocalists Sergey Dolgushev and composer and keyboard player, Olga Podgaiskaja, respectively, employ operatic approaches stylistically, their vocals are often used almost more as additional instruments—which has the tremendous effect of deepening the conveyance of emotions within each song—and each has such a distinct and different contribution to the songs with their voices—often at the same time--that it has the effect of bringing two very different, almost divergent threads into the emotional weave. 1. “The Harbinger” (5:51) opens the album with some long, sustained note playing from accordion player, Alexander But’ko. He is then gradually joined by violinist, Anastasia Popova, and oboist, Natalja Malashova, all weaving their magical notes together, slowly, deliciously. At the 2:20 mark pianist, Olga Podgaiskaja, bassoonist Vitaly Appow, and double bass player, Vyacheslav Plesko join in, taking the music into more staccato, rapido mode for several measures before fading back to let the original weave evolve. This cycle of piano- and bass-infused tempo upgrade recurs twice more, before the third occasion, in the third minute, a prolonged, sustained dark theme more suited to PRESENT or UNIVERS ZERO is presented and built upon. This continues until 4:15 when an additional thread of color is provided by male vocalist, Sergey Dolgushev. We then see the song devolve into a final weave coming from Sergey’s plaintive voice and Alexander’s emotional accordion. Awesome song—though it does get drawn out a bit in places. I’ve heard this song in three different formats now, album version and two different live performances with two very different instrumental lineups (one more expanded, like the album version). Each has its strengths and charms. (9/10) 2. “Bondman’s Wings” (2:24) is a short, beautiful and powerful 'folk' instrumental using accordion, bassoon, oboe, and stringed instruments (with some military-like percussion) to tell its tale. Charming!(9/10) 3. “The Incommunication” (5:22) alternating female and male vocals as if in conversation—sounds so romantic yet spiritual, almost religious. Sparse instrumentation of long sustained chords accompany the vocal until the two minute mark when a kind of Renaissance courtly music dances us into another dimension. Incredible constructions of seemingly independent instrumental voices all woven into a spacious yet multi-layered tapestry of exquisite beauty! The voices return for the final two minutes, this time woven within the multi-layered tapestry (a bit too much going on here for these ears). (9/10) 4. “To Ringfly” (3:11) begins as a rondo between accordion, bassoon and percussion and plays out very much in that format with the occasional instrument added here or there. (8/10) 5. “A Disappearing Road" (4:42) To pulsing bassoon, and drum are soon woven in with accordion and other woodwinds. The first third is very Baroque/Renaissance processional feeling, but then structure shifts at about the two minute mark, taking on a more squared, constant feel, and then again at the 3:20 mark in which cacophonous strings play wildly over a woodwind section that holds long, long notes in strange discordant harmonies. Interesting and unusual. (9/10) 6. “The Unpainted” (7:57) is a haunting, even disturbing song beginning with simple piano arpeggio, double bass, and intermittent injections of string or woodwind instruments. Just after the one minute mark, the discordant tones of a female vocalist enters in low registers, then slowly climbs, octave by octave, until a minute later she is singing her dirge in her highest soprano register. Piano, strings, and woodwinds work themselves into until at 3:35 drums join in to accentuate the drama. A few seconds later and all has calmed down to 'solo' piano attended very sparsely by injections of winds, strings, percussives and, in the sixth minute, an electric guitar(!)--all painting a picture of the most ominous and despondent tones. The most UNIVERS ZERO-sounding song yet! (8/10) 7. Yesterday Dormant” (5:40) is a classical sounding discourse between male and female vocalists. Very powerful. I love music like this (no matter that it's being sung in a language I neither know or understand.) Kind of reminds me of a more classical sophisticated version of Jon Anderson's "Chagalll Duet", a conversational duet he did with Sandrine Piau from 1994's Change We Must. Beautiful music! Very powerful in the way that Sergey’s tenor is so strong, staccato, and positive while Olga’s soprano is so delicate, melodic and pleading. (9/10) 8. “The Protector” (3:22) uses oboe and piano over rapid hand drumming--all of which makes me feel very at home, as if I were at a Renaissance Faire. The slowed down piano chord hits with cello and percussion section that begins around the 2:20 mark is quite devastatingly sad, a mood that is then quickly dispelled with a return to the opening section. But the song then concludes with a half-a-minute of some very ambiguous chords and feel. (8/10) 9. “Fear-Dream” (3:47) piano, strings and bassoon dominate this one, though accordion, oboe and a little percussion are also involved. It's very powerful and emotional. Electric guitar even joins in for some soloing a couple of times--especially during the last minute. This one reminds me of the music of one of my favorite modern groups, KOTEBEL. (9/10) 10. “Amid the Smoke and Different Question” (6:31) starts out sounding like a Broadway/operetta, even Moulin Rouge-ish. A male vocalist sings over the simple support of long, sustained accordian chords, and later is accompanied by an almost-separate woodwind dance, then another separate, discordant thread comes from strings, and then yet another seemingly unrelated theme arises from the deeper woodwinds. It's as if several small troubadour groups are parading through a town center, criss-crossing at the center, each playing its own little diddy as it passes by where the tenor continues, unphased, singing his plaintive dirge. Brilliant and gutsy! (9/10) 11. “Not That City” (6:57) begins as a rondo between oboe, chor anglais, and bowed double bass and then accordion. Then harpsichord takes over! The other instruments join in in a frolicking folksie tune with the accordion and chor anglais kind of dominating the twin melody lines. The at 2:15 all stops and piano enters to take over lead melody and rhythm making while all other instruments slow down in long languorous sustained notes in gorgeous harmonies. At 3:32 it happens again, everything stops and adjusts to a section in which strings lead the basic rhythm while all else pulse and dance around them (even the double bass and viola). Another shift allows the song to play out its final minute in a very dreamy, mysterious but beautiful way. Incredible song! My favorite on the album. Were I a music theorist I might appreciate and enjoy this even more—it seems so bold and daring. (10/10) Without a doubt Not That City is one of my favorite album of the albums I've heard from 2013. It's music excites and mesmerizes me, its constructs surprise and delight--they raise my hopes for the possibilities of music and for the possibilities of humanity. Rating: 5 Stars, unquestioned; six if it were allowed (occasionally). I've not been this excited about a new album since MAUDLIN OF THE WELL's Part The Second blew me away back in '09. Stunningly creative and fresh. |
Prog Appeal:I understand that the music from Not That City is lacking in the "rock" elements that are considered essential to PA's foundation, but I believe this album is so progressive that it should be included on the archives. |
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Wow, I remember getting this album from CDBaby in 2013, along with an album by Bulbs. Anyone remember Bulbs?
Love, DreamTechPlus.
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AlanB
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Posted: July 15 2023 at 07:25 |
Troika by D'Virgilio Morse and Jennings (2022)
I tried to get this trio added to Progarchives because the three individuals are all prog musicians, but it was deemed not proggy enough. Which is fair, the sound is more Crosby Stills Nash and Young or Simon and Garfunkel, than the usual output of Nick D'Virgilio, Neal Morse, and Ross Jennings.
The idea for this collaboration came together during the covid lockdown, and was at the instigation of Neal Morse, who had wanted to do a more acoustic album for a while. He invited his long-time friend Nick D'Virgilio to come on board, and the trio was completed by Ross Jennings of Haken. Because of covid the album was recorded remotely, making it all more remarkable that the harmonies turned out so well.
So what we have is a collection of pretty much acoustic songs, occasional use of electric guitar and drums, great melodies, fantastic harmonies. Five songs are attributed to Neal, three to Nick, two to Ross, and a final song which appears in two alternative versions, one attributed to Jennings and Morse, and the other just to Jennings.
Track list:
1. Everything I Am (Morse): A bright start with a chorus that sticks in your head 2. Julia (Jennings and Morse): This is the song that also appears in longer form as a bonus track attributed only to Ross Jennings. Ross submitted it to Neal but he didn't feel it fitted the style of the album so he shortened it and tweaked it. The bonus track version is longer and quite different, both versions are excellent. 3. You Set My Soul On Fire (D'Virgilio): Another nice song, though in my opinion not as good as the first two. 4. One Time Less (Morse): Very catchy, bouncy song 5. Another Trip Around The Sun (Jennings): Another catchy tune, Neal's favourite vocal trick of counterpoint vocal lines a la Gentle Giant is used in the middle of this song. 6. A Change Is Gonna Come (Morse): Taking the tempo down now, this is very much in the vein of a 1960s protest song 7. If I Could (D'Virgilio): Yet another catchy tune, nice use of keyboard here (a windkey, whatever that is). 8. King For A Day (Jennings): Probably the heaviest song on the album, and one that it took me a while to get into. 9. Second Hand Sons (Morse): Another heavier track, this one is better than King For A Day. Puts me in mind of Neil Young's "Southern Man" at one point. 10. My Guardian (D'Virgilio): Still a bit on the heavier side, though less so than the previous two songs. Nothing special about this one. 11. What You Leave Behind (Morse): Beautiful song to finish. Acoustic guitar based, great vocal harmonies, lovely message.
I can totally recommend this album to anyone who likes CSNY and similar bands. I understand a second album from this trio is due out later this year. I look forward to hearing it.
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moshkito
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Posted: January 17 2024 at 07:29 |
DamoXt7942 wrote:
Anthem Of The Sun (1968) - The GRATEFUL DEAD |
Hi,
Nice to see this ... and it has some of the things that had made so many bootlegs famous, because of the long/longer/longest version of various pieces of music ... there are some really nice things here, and it's a shame that we have limited "progressive" to a specific set of the same things, because there is stuff here that is quite a treat and shows how so much of the "progressive" music grew up.
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Music is not just for listening ... it is for LIVING ... you got to feel it to know what's it about! Not being told!
www.pedrosena.com
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FlashBack2210
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Posted: March 15 2024 at 09:18 |
I came to this forum from a Google search for "post-metal", knowing nothing about progressive music. My goal here was to talk about a band that released their debut track in the instrumental post-metal genre. This group is EXISTENTIAL DEAD from Finland.
However, I was just told that this track is not progressive music. Although this is post-metal, and post-metal is listed on the main page of the Prog Archives website. That's why I'm also writing in this thread. In any case, let the forum administrators judge whether I posted my information here correctly. I don't hope that I haven't violated the forum rules. If this is so, then I apologize.
Band: EXISTENTIAL DEAD is a promising one-man band from Finland in the instrumental post-metal genre. The band was founded in 2023 in Finland.
Album: The debut is Cold Hands (Single, 2023).
Album's cover:
Review: EXISTENTIAL DEAD is a mixture of rocking riffs with the atmosphere of a cold northern forest. The group captivates with a unique vision, fresh sound and a piercing world that you want to dive into again and again.
It's similar to a lot of what you've heard, but it's still very new and original. Quite a bright, driving sound, multi-layeredness and virtuoso control of the instrument make you listen carefully to the composition every time you listen to it.
Raiting: 5 of 5.
Prog Appeal: I think it might appeal to progressive music fans as they are open to new things in their playlist.
Edited by FlashBack2210 - March 16 2024 at 10:01
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MellotronBoy37
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Posted: March 15 2024 at 19:14 |
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I sugesting the Brazilian singers, Beto Guedes, Lô Borges and Milton Nascimento... And The Slip Band from Massachusetts, EUA. I think too in a 14 Bis keyboardist, flávio Venturini, but he makes a pop álbuns after 1993, without Prog references. Only a one-off songs in your albums.
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Dapper~Blueberries
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Posted: March 30 2024 at 20:35 |
 Philip Glass - Philip Glass Solo (2024) Genres: Minimalism Score: 4/5 In the realm of minimalism, many artists have crafted unique symphonies within their own space of expertise. From Reich’s droning repetitions, to Arvo Pärt’s holy machinations, minimalism, despite its repetitive nature, has showcased a level of singularity within the artists it houses. I sort of get intrigued when I see an album with the minimalism genre attached to it, especially with more modern records. So I certainly was quite interested in Philip Glass’ solo performance this year. In the realm of classical music, Glass is a man that needs no introduction, being a man with quite the repertoire of works under his belt, Glassworks if you will. The Photographer, Music With Changing Parts, Einstein On The Beach, and his humongous Music in Twelve Parts showcase his quite thrilling output of distinct minimal music that is hypnotic, ambient, and introspective, but with his intriguing styles of composition that takes cues from elements like Brian Eno, or even sometimes moody chamber jazz. I have known of Glass from his Glassworks album, but I never decided to go back into his line of works until I decided to listen to this record. The title here is very straightforward; It’s Philip Glass playing his songs on the piano alone. There is no string attached with this type of thing, it is as straight as the line can get. However, despite the simple nature of this record, I find the music here to be anything but. Glass certainly has a mastery when it comes to the piano and composition, so in his wake of expertise you get some very well done works of piano music. You get the opening movement from Glassworks, Mad Rush and the Metamorphosis suite from Solo Piano, and Truman Sleeps from The Truman Show OST. Glass has played these older songs for quite some time, and many artists have too, but I find Glass’ interpretations here to have quite the delicacy that pushes this record to a rather beautiful spotlight, feeling like a waltz of sorts for Glass as his fingers dance on the piano with grace, and effort. Also nothing feels like they drag. Each movement never overstays their welcome, and whilst some may be slightly longer than their originals (Mad Rush going from 13 minutes to 16 minutes), I never felt they were too long, and despite repeated listens I have never felt the album get sluggish at any point. However, there is one thing that makes this album not feel as though it were the best, and that is because I find minimalism works paired with an orchestra, and not a singular person. Many of Philip’s works, such as Glassworks or The Photographer work very well with an entire movement backing his compositions up, and this goes with every other minimalism composer. However, if played by themselves, they certainly are beautiful, but they never quite meet the same marks, textures, and ideals for me when it comes to minimalism, even beyond to classical music. The beauty of classical music, for me, is having all these people play all these instruments within a large compositional effort to create very rich and beautiful music. It’s the beauty of unity. While I can certainly say Glass does know beauty, I just don’t quite find a solo effort to be as enriching as with some more helping hands. Philip Glass Solo is a rather interesting record within 2024, even despite it being in a sea filled with stuff like Banshee, or Of the Last Human Being, or A Lonely Sinner. It is quite the unique element I have reviewed, and while I may not fully be on board with the more singular element that this album plays upon, I can certainly enjoy this effort, no matter what time or day. Best tracks: Mad Rush Worst tracks: N/A
Edited by Dapper~Blueberries - April 02 2024 at 09:02
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D~B
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suitkees
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Posted: March 31 2024 at 04:24 |
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^ Nice read, thanks! I'm also one who is difficult to convince by solo (or one-instrument) works, but sometimes it works out quite well (e.g. Pärt...). Of the minimalists I've always preferred Reich over Glass - he seems to me a bit more adventurous/intriguing in his music. Glass is generally a good listen, though.
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The razamataz is a pain in the bum
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FlashBack2210
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Posted: April 10 2024 at 11:24 |
Since I still don’t know for sure whether the EXISTENTIAL DEAD band’s work is progressive music (the application to be added to the archive has not yet been processed, I have not received any feedback from the site administration), I am posting their second single in this thread.
Band: EXISTENTIAL DEAD is a promising one-man band from Finland in the instrumental metal / post-metal genre. The band was founded in 2023 in Finland.
Album: Unreality (Single, 2024).
Album's cover:
Genre: Melodic metalcore.
Review: The sound is completely new compared to the first single. From the first seconds the track is already catchy with its light and melodic piano intro. Here, somewhere in the background you can hear the cries of birds (apparently this is a reference to the cover of the single), as well as something similar to the sound of the sea. In the main part of the track there is already more action, and here the sound becomes very rich, expressive and even heavy. All thanks to the metalcore guitar riffs that still resonate. Breakdowns and dissonances are added to them. It sounds extremely cold and depressing, but at the same time very sincere.
Despite the fact that this is instrumental music and there is not a single word in the song, you believe the musician, as if he is telling you his story. It's amazing how EXISTENTIAL DEAD deftly moved from instrumental metal and post-metal to melodic metalcore. It feels like he can play a wide range of metal. Surely the band has a few more tracks in store in different types of metal music.
Raiting: 5 of 5.
Prog Appeal: I think it might appeal to progressive music fans as they are open to new things in their playlist.
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moshkito
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Posted: April 10 2024 at 13:25 |
DamoXt7942 wrote:
... Anthem Of The Sun (1968) - The GRATEFUL DEAD
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Hi,
Completely agreed! But in the end, I think there is a disconnect that says that California and NY do not fit the "progressive" molds!  |
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Music is not just for listening ... it is for LIVING ... you got to feel it to know what's it about! Not being told!
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Dapper~Blueberries
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Posted: May 11 2024 at 20:31 |
 Infinite Desires - Donny Benet (2024) Genres: Synthpop, Synth Funk, Funktronica, Sophisti-pop In the past few years 80s inspired music has become a lot more of a norm, mostly due to nostalgia for such a generation. It is mostly synthwave and synthpop stuff, as that is what 80s music was kind of like aside from post punk and glam metal. We have gotten big bands like Muse trying to be all hip with Simulation Theory. MGMT and Tame Impala’s bigger releases in the 2010s had elements of new wave and more pop focused R&B. This year we even saw a more proggy version of a synthpop sound with Kyros’ Mannequin. However, the one I am rather surprised to hear in my recent listening habits happens to be from an album swap. I gave my swapper David Sylvian’s Secrets of the Beehive since they liked more pop oriented music, and they decided to give me Infinite Desires by Donny Benét, as I told them I wanted to review something from this year. Now, I am not a huge fan of making negative reviews. A pretty obvious fact as my lower ratings are pretty few and far between, and I hopefully will keep things that way since I rather spread positivity with music. However, since I wish to review music that I get swapped with...I am gonna have to be honest here and say I am not a fan of this one. There are definitely things I quite like here in some aspects. There are some nice tracks I like such as Forbidden Love, and Wait Until It Rains Tomorrow which have quite the nice moody and almost sensual feeling that I can get into. Multiply and Consensual Love are also pretty good, having this nice funky undertone with bass work that I am actually pretty fond of. Even though I am not a huge fan of this album I can certainly see the effort Donny has put into it. However, this album, even with the tracks I like, feels extremely one note. Most if not all songs kind of sound the same to me, barring maybe some slight differences. It is probably the biggest thing holding it back in my mind, as by the end of the record it felt like everything was just repeating a formula with the bare minimum amount of change and progression. It is honestly something you shouldn’t do, even in a pop context. Look at Pulling Rabbits Out of a Hat by Sparks. That album isn’t really loved, heck I have seen more hate for it to be honest, but even that album still has a lot more dynamic and shifting tracks. Infinite Desires just doesn’t have that, heck I’d say it is very finite really. They all have kind of a similar tempo going on too, making everything feel blurred in their own way, with the tempo being quite slow so that each song makes me feel like 10 minutes just went by instead of four or five. Now I love my longer music but every song just feels way longer than they are and should be. In fact, several times I had to double check to make sure the song I was listening to wasn’t actually 12 minutes or something. The worst offender of this same song and dance type sound has to be So Long. When I heard that nice intro I thought I was gonna get a nice, Japanese city pop inspired song, something like an Australian take on the sounds of Masayoshi Takanaka or Taeko Ohnuki. But when it just came back with that same old synthy pop styled funk grooves, it really was just sour for me, and this was by the second run through of the album when I realized my bitterness to this track. Believe it or not when I first heard this record in its entirety I liked all the songs on here, but after a few more listens it just became less fun. The album also just feels weirdly...cliche? Maybe stereotypical is a better word, stereotypical for the 80s I mean (even though this came out in 2024). The tracks' lyrical mobility is very miniscule, and just feels so one note, just like the music itself. A political song here, a few love songs here, maybe squeeze in a sexy song and a break up song there. It honestly just feels so corporate, even with its better moments, and I really wish I didn’t have to describe it like that since I certainly feel like Donny has worked quite hard on this, but the presentation, the lyrics, the music, everything just feels so commercial. You could say 80s pop music was just like that, but that is just not true, very not true in fact. Do records like Hounds Of Love, So, or Gentlemen Take Polaroids sound corporate to anyone even though they are of the same link as Infinite Desires? I really wanted to enjoy this record, and for a moment I did, but that moment passed. I can see the talent, it is as shining as a gold tooth, but like one it is hidden behind a veil of, sadly, mediocre lips. Maybe someday I will give Donny more of a shot, like how I did with Todd Rundgren. As of right now though, I have to pass on further notice. Best tracks: Multiply, Forbidden Love, Consensual Loving, Wait Until It Rains Tomorrow Worst track: So Long Rating: 2/5
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Dapper~Blueberries
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Posted: June 16 2024 at 09:11 |
 But Here We Are - Foo Fighters (2023) Genres: Alternative Rock, Power Pop, Post-Grunge, Shoegaze It’s not easy to lose anyone, especially a friend you had in such a tight knit group. It is certainly a gross feeling whenever a loved one passes, and it’s an even worse feeling having to endure through the grief. However, when grief comes, so can strength, and with strength coming through for Dave Grohl and the rest of the Foo Fighters after the loss of their drummer, Taylor Hawkins, they managed to create one of their best, and most thrilling releases since Echoes Silence Patience & Grace. This record is one built around the grief of Taylor’s death, which comes into play through the honestly pretty great lyricism, and rawness this album brings. Each song feels like a funeral speech for a singular body, giving this album a very ghost-like feel to me, almost in the same vein to I Should Have Known off of Wasting Light. This feeling persists until the two finale tracks, The Teacher and Rest, which is where the band goes full throttle into their moods, creating some brilliant pieces of music. I was kinda surprised The Teacher is this good of a song. They aren’t a band I’d expect to make a long song such as this, but the direction they chose for it fits extremely well. It’s moody, it has elements that feel like a love letter to the classic hard rock scene of Rush and Deep Purple, and the more modern alt scenes of groups like Coheed & Cambria and My Chemical Romance. It does feel like a cross between 21:13, Speed King, and Welcome to the Black Parade. It is a sound that I don’t think Foo Fighters could ever replicate again, especially due to the emotional weight the song has, but I sort of wanna see this type of song executed more since it’s very fun. Really there is no bad track on here, since all of them are just quality written all over them in terms of instrumentation and writing...but not production wise. When I say this album is raw, it’s definitely raw–for modern standards at least. This certainly doesn’t come close to their debut, but here’s the thing. With their debut, the almost punk nature of it all offers a unique blending of their grunge roots with the popular, more shoegaze oriented alternative rock that was big in the early to mid 90s, so the sharpness was warranted. And do not get me wrong, the messy production does give this album some charm, but also I kinda wished most of the songs didn’t sound so lofi and rough. It is kinda distracting for me, and ends up making all the songs, while still absolutely stellar, not reach the same masterpiece levels as I wish they could be. However there is one song that actually benefits from this very messy production, and that is Rest. Like The Teacher, I did not expect this kind of low ladenned, post rock-esque track on a Foo Fighters album, but it simply delivers. It is quiet and a bit slow in the first half, but it absolutely goes hard in the second half, with an almost Mogwai wall of noise, though still with that Foo Fighters charm and attitude to not make it sound too foreign. It absolutely benefits the production in all facets, and it makes for one of the best tracks in pretty much all of Foo Fighters history. I really like this record. While I didn’t think of it as a late career masterpiece, I can certainly see why many say it is. It has nothing but banger after banger, with some very stellar song writing to boot, and an aura unmatched by any of their releases before. 101% check this record out, even if you aren’t particularly a fan of Foo Fighters I bet you’ll have a fun time with this one. If this is the band moving forward, consider me curious for what may come. Best tracks: The Teacher, Rest Worst tracks: N/A Rating: 4.5/5
Edited by Dapper~Blueberries - June 16 2024 at 09:15
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Hrychu
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Posted: June 16 2024 at 11:49 |
Dapper~Blueberries wrote:
But Here We Are - Foo Fighters (2023)
Genres: Alternative Rock, Power Pop, Post-Grunge, Shoegaze
It’s not easy to lose anyone, especially a friend you had in such a tight knit group. It is certainly a gross feeling whenever a loved one passes, and it’s an even worse feeling having to endure through the grief. However, when grief comes, so can strength, and with strength coming through for Dave Grohl and the rest of the Foo Fighters after the loss of their drummer, Taylor Hawkins, they managed to create one of their best, and most thrilling releases since Echoes Silence Patience & Grace.
This record is one built around the grief of Taylor’s death, which comes into play through the honestly pretty great lyricism, and rawness this album brings. Each song feels like a funeral speech for a singular body, giving this album a very ghost-like feel to me, almost in the same vein to I Should Have Known off of Wasting Light. This feeling persists until the two finale tracks, The Teacher and Rest, which is where the band goes full throttle into their moods, creating some brilliant pieces of music.
I was kinda surprised The Teacher is this good of a song. They aren’t a band I’d expect to make a long song such as this, but the direction they chose for it fits extremely well. It’s moody, it has elements that feel like a love letter to the classic hard rock scene of Rush and Deep Purple, and the more modern alt scenes of groups like Coheed & Cambria and My Chemical Romance. It does feel like a cross between 21:13, Speed King, and Welcome to the Black Parade. It is a sound that I don’t think Foo Fighters could ever replicate again, especially due to the emotional weight the song has, but I sort of wanna see this type of song executed more since it’s very fun.
Really there is no bad track on here, since all of them are just quality written all over them in terms of instrumentation and writing...but not production wise. When I say this album is raw, it’s definitely raw–for modern standards at least. This certainly doesn’t come close to their debut, but here’s the thing. With their debut, the almost punk nature of it all offers a unique blending of their grunge roots with the popular, more shoegaze oriented alternative rock that was big in the early to mid 90s, so the sharpness was warranted. And do not get me wrong, the messy production does give this album some charm, but also I kinda wished most of the songs didn’t sound so lofi and rough. It is kinda distracting for me, and ends up making all the songs, while still absolutely stellar, not reach the same masterpiece levels as I wish they could be.
However there is one song that actually benefits from this very messy production, and that is Rest. Like The Teacher, I did not expect this kind of low ladenned, post rock-esque track on a Foo Fighters album, but it simply delivers. It is quiet and a bit slow in the first half, but it absolutely goes hard in the second half, with an almost Mogwai wall of noise, though still with that Foo Fighters charm and attitude to not make it sound too foreign. It absolutely benefits the production in all facets, and it makes for one of the best tracks in pretty much all of Foo Fighters history.
I really like this record. While I didn’t think of it as a late career masterpiece, I can certainly see why many say it is. It has nothing but banger after banger, with some very stellar song writing to boot, and an aura unmatched by any of their releases before. 101% check this record out, even if you aren’t particularly a fan of Foo Fighters I bet you’ll have a fun time with this one. If this is the band moving forward, consider me curious for what may come.
Best tracks: The Teacher, Rest
Worst tracks: N/A
Rating: 4.5/5 |
This album somehow slipped under my radar and I missed it when it was released. I'm listening to the single "Rescued" at this very moment. The songwriting is great but what I especially appreciate is that ~27+ years later, that 90's rock fingerprint still prevails in Foo Fighters' music. One of the good sides to being a super famous legendary rock band is that you can sometimes make a risky move by creating something in a musical style the popularity of which is on a decline compared to how big it was in the 90s, that is only gonna successfully sell if you have enough "cred" and are guaranteed the level of exposure worthy of a legendary band, otherwise, you're gonna be left in the dust and no one is gonna bother listening to your "retro" album. As for the "raw" production, I don't mind it considering who is producing the album. Greg Kurstin is a genius but he sometimes can get a bit too carried away and overproduce whatever he's working on, making it too "pristine" or "sterile"
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“On the day of my creation, I fell in love with education. And overcoming all frustration, a teacher I became.”
— Ernest Vong
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Dapper~Blueberries
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Posted: June 23 2024 at 20:35 |
 Abriction - Banshee (2024) Genres: Blackgaze, Electronicore, Post-Rock, Witch House, Shoegaze Score: 4.5/5 With the advent of the internet, people have been able to find both new and old music much more easily. That is something I probably said a few times before, and really, it is a mere fact in the grand scheme of things. We constantly and consistently find new albums and artists to sink our teeth into, whether it be a new top album we saw on a chart, or by happenstance from a friend online. We see things, we hear things, and we find things 100 times quicker than 50 years ago. This can obviously lead to some interesting finds, which is kinda how I found my way to reviewing Abriction’s Banshee. I haven’t actually quite heard much from the blackgaze genre, or even reviewed anything relating to it. The closest I have gotten was Sorni Nai by Kauan, but even then that is kinda reaching on my part. In fact I have not heard much from the blackgaze genre, aside from one or two Alcest and Trhä records. I really should listen to more of the genre, cause as evident with Banshee, Abriction shows a fun, very intense recording that does make me highly interested for more. This record is a trip. Even just going through the first track feels like a whole ‘nother experience entirely. You get all the best flavors of shoegaze, black metal, post-rock, and even some slight twiddling of house music here. You get the loud screams that I think works wonderfully for the entire record, the appropriately lo-fi mixing of shoegaze, the long drones and timbres of post-rock/metal, and the electronic elements of house, all mashed together within a single song, with the ones afterwards taking bits of this ideal and working something new. It all works together very well in my book, with each of these genre defining elements capturing an interesting picture of what Meredith Salvatori has been doing ever since she made her first record under the Abriction name. What I also really enjoy about this album is that it has this certain vibe that I really resonate with. It feels very cold and desolate, but also weirdly robotic (not in a bad way mind you). The music sounds like a robot or a rogue AI, in a cold winter landscape, trying to escape from a bunch of humans who desire to use it for spare parts for some war machine. It has tension, drama, and a thrill that makes me want to dive into it more. If this is what blackgaze is like then I am more than willing to go through a lot more of it. If there is an issue I have with this album, it may be the amount of tracks here. I kinda steer wary of records that have more than 10 tracks, mostly since it makes albums feel a little bloated with no real purpose. This is sadly one of those albums, where I feel like 13 tracks in an hour is a bit much. It makes everything feel longer than it may need to be. Even their last record of Interstates from last year kinda had it better in this regard, being only 9 tracks long, and from my last listening experience it did make that album feel a lot smoother despite it being a bit longer than this one. I don't really know how one could fix this, after all I think every song here is pretty great, but maybe make the last three or four tracks into some kind of melody of sorts. That way the album doesn’t feel too bloated, and it could allow for some interesting progressions from one part to another. This is an album that intrigues me upon a genre I never explored much of, and it does things quite amazingly. Sure it may have a fault or two, but I think it is a really enjoyable experience in the long run, and may be one of the better metal releases from this year. Certainly recommend to those who enjoy this sort of music, or even regulars of black metal and shoegaze scenes. May not be everyone’s cup of tea, but I think it is worth a shot. Best tracks: Pale Morning Horizon, No One Cares, Redshift Worst tracks: N/A
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Dapper~Blueberries
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Posted: July 07 2024 at 13:05 |
 The Art of Noise - In Visible Silence (1986) Genres: Electronic, Synthpop, Art Pop, Electro, Progressive Electronic, New Wave Score: 4/5 Likewise with Todd Rundgren, a band or artist can be redeemed in the long run. If I don’t like an album they have made, I can always see about another one. The Art of Noise so happens to be another musical venture that has been redeemed in my eyes. I wasn’t too big on their debut of Who's Afraid of the Art of Noise, just viewing it as being an album with little value other than the 10 minute track in the middle. I guess they have improved quite a bit after that though, as In Visible Silence does showcase much needed renovations. The reason why I didn’t like their debut all that much was because it all felt too calculated, and while in some aspects that does pop up here, In Visible Silent feels a lot more organic in its electric focus. It takes what I love from Moments of Love off the previous record, and shapes it into a very balanced album that I never felt was too organized, or even too unorganized. The use of sound collages and new wave soundscapes makes this record very fun to me, with a more playful demeanor to boot. It has a general ebb and flow that I heavily enjoy, with songs that leave me more intrigued than the last. Another thing I found to be quite enamoring is the production value has increased ten fold, with rich and powerful mixes that makes this record even better. Their first record certainly had a fine production value, but I felt like it wasn’t the greatest, which has heightened by lack of love for it. Here, though, every track, even the lackluster opening of Opus 4 sounds excellent, both while listening with headphones, and just out in the open air. It has a very 80s production, so you get a bit more reverberated drums and keys, but that is sort of the charm that decade has for a lot of people, and for myself included. Not to mention it was released during the year with Peter Gabriel’s So and Cocteau Twins’ Victorialand, so high quality production on pop projects were certainly on the minds of most people. However, I do feel like the record does drag a bit here and there, especially on the 7 minute tracks, and if I am gonna be honest, I am still not overly enthused with this style of electronic music. I still do really like this album, but this sound isn’t quite what I go for most often then not. It most likely will grow on me, I mean it probably has been growing right now, since the other day I listened to this group’s third album and thought it was really good, so I don’t know for certain, but right now it isn’t quite what I want to delve into from now on in the electronic music scene. Maybe an album here and there though. Definitely an advanced effort compared to their first one. I really did enjoy my time here, and who knows, maybe one day I will listen to an album from this group that could be an absolute masterpiece, and win me over on their intriguing sounds. I recommend this one to those who like groups like Kraftwerk, Depeche Mode, and Massive Attack. Best tracks: Legs, Backbeat, Peter Gunn, Beatback Worst tracks: Opus 4, Instruments of Darkness
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Dapper~Blueberries
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Posted: July 09 2024 at 22:58 |
 Joanna Wang - Hotel La Rut (2024) Genres: Progressive Pop, Geek Rock, Art Pop, Cabaret, Zolo, Twee Pop, Singer-Songwriter, Power Pop, Progressive Rock Score: 4.5/5 Going through new releases that 2024 has given way too, one could not prepare themselves for being thrown into the equivalent of a collage art piece in musical form, however my curious brain saw this very flashy, very funky album cover and knew I just had to check it out. Honestly, glad I did, because this is certainly one of the more fun records this year has to offer. Joanna Wang is a Taiwanese pop artist, starting her career in 2008 with the conveniently titled Start From Here. Ever since, she has slowly progressed her artistic sensibilities into an interesting direction, at least that is how it seems. The only other album I have heard from her is House of Bullies, which is also pretty fun, so this is mostly just based on what RYM says. That being said, she must’ve really gone to some surreal art exhibition that she really liked when creating this album as it is seriously some wild stuff! Let’s play a drinking game. Take a shot every time a completely new genre pops up. Actually, on second thought, scratch that, you’d probably get alcohol poisoning by track 14. I kid, but really this album has so many shifts in genres that I feel like I just entered into a completely new album each time. This is not a diss on the record mind you, because what is on here is seriously some impressive stuff most of the time. You obviously get more pop rooted songs here, especially with the shorter lengths, but you also get They Might Be Giants-esque geek rock, cabaret, a singer-songwriter styled method to it all, some fun bits of various progressive rock and pop styles, vocal jazz, goofy zolo and power pop mixes, and so much more that listing it all would make this paragraph longer than any of my other reviews. You’d be surprised, probably just as much as me when I first heard this album, on how spectacular everything fits together. With the shorter song lengths you get a good dose on everything Joanna wanted to put into this cartoon of a record. I absolutely love what she deploys here, evidently, and I think every song shown here can be my all time favorite if I am gonna be totally honest. Maybe a few are a tad weaker than some, but I think with how eclectic this whole thing is you cannot go wrong with anything this album throws your way. Right now, as of writing this review, my favorite tracks are He's Given Us the Freedom to Do What's Right, Tina's Hausu, and Strange Beast. He's Given Us the Freedom to Do What's Right feels like a classic progressive rock track, though with an almost Oingo Boingo charm to it all. I love the keyboard work here, especially since it almost feels akin to something out of the Italian prog scene. The lyrics feel almost like a mishmash of elements from Yes and ELP. Very weird and trippy, but with a sensibility that makes it weirdly understandable. I love it. Tina's Hausu is straight up a scene from a cartoon. Like, the intro to the song gives me Ed, Edd, ‘N Eddy vibes. Also, I really do like more Halloween themed music, so this kind of song was immediately up my alley. It honestly sounds as if Cardiacs made a Halloween-themed song and it was covered by The Cardigans. If that doesn’t make you intrigued, I have no idea what to tell you. Lastly is Strange Beast, the longest song this record has to offer, being four minutes in length. I guess this does lead me to some critiques on this album, as I do wish the songs here were a bit longer. I am not really asking for massive, 10 minute suites on each track, as even I think that is very excessive, but maybe bump a good most of them up by another minute. Maybe that extra minute can make them even better? What we have now is still really amazing, but they feel a lot more like snack sized candies at the gas station than the king sized candy bars that I crave more of. That said, Strange Beast is very cool! It is another more progressive rock track off this record, but they really go full throttle on it. The quiet, almost folksy opening that weaves through an emotional spectrum of a hushed sadness that slowly goes into an atmospheric keyboard solo, one that could even challenge the greats like Richard Wright. It goes back to the more softer elements introduced, but instead of leading to another keyboard solo, Joanna checks a mark on a prog to-do-list and gives an absolutely killer guitar solo. When I first heard this song, my mind was blown away. I was so used to the quick moving tracks from before that this more slow ladenned song honestly shook me to the core. This song alone honestly made me debate whether or not to call this record a masterpiece. I decided not too, but truth be told it was a close one. Honestly speaking, this record is incredible in most facets. This, and Kyros’ Mannequin feels like how more pop music should be, though with their own takes on such an idea. Mannequin explored more of the longer, more experimental side of the pop coin, while Hotel La Rut is the opposite, exploring the faster, more hooky side. Both do an amazing job though, and I think both do hold a special place in my heart in their amazing and fun music. Hotel La Rut is an album I couldn’t recommend more of! If you like groups like Cardiacs, They Might Be Giants, Oingo Boingo, and Alvvays, you are sure to enjoy this one a lot. Heck I’d say give this one a shot no matter what you like, since it is an experience and a half. Best tracks: He's Given Us the Freedom to Do What's Right, Tina's Hausu, Strange Beast Worst track: The Wish I
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