Pete Pardo of Sea of Tranquility conducts an in-depth interview of Steve Babb and Fred Schendel, the artists otherwise known as Glass Hammer. While focusing primarily on their newest album, Dreaming City (reviewed on Spirit of Cecilia here), they also cover a wide range of prog-related topics.
Part 1 of the interview:
Part 2 of the interview, in which Steve reveals which GH album is “the Seinfeld of prog rock”:
One thing I’ve learned in my eight years of being an avid Glass Hammer fan is to expect the unexpected. While every album of theirs is consistently excellent, there is not a consistent style that runs from their debut through to their latest offering, Dreaming City. So, I shouldn’t have been surprised at the onslaught of metal that greeted my ears when I cranked up the first track, The Dreaming City. Wait, is this the same group that gave us the light-hearted Chronomonaut last year? Yes, it is, and I like it. Actually, I love it! Under the massive guitar attack I can still hear Steve Babb’s melodic bass pounding away, and Fred Schendel’s keyboards providing bursts of furious punctuation.
The core group of Babb (lead vocals, bass), Schendel (guitars, vocals, keyboards), drummer Aaron Raulston, and singer Susie Bogdanowicz have augmented themselves with Reese Boyd (guitars, vocals), John Beagley (vocals), Brian Brewer (guitars), Joe Logan (vocals), James Byron Schoen (more guitar!), and Barry Seroff (flute). Dreaming City features the largest cast of contributors of any Glass Hammer album I am aware of, yet it doesn’t sound crowded or too busy. It’s a surprisingly lean production, with every instrument locked into the overall groove.
Dreaming City is the soundtrack to a very dark fantasy adventure, with the songs seamlessly flowing into each other, much like 2012’s Perilous. Our hero is a lowly thief, Skallagrim, who awakes in the land of Pagarna, ruled by an evil sorcerer who has kidnapped his love. While in the Dreaming City, he is surrounded by evil ones who want to kill him. At the last possible moment, a sword appears over his head, which he grasps and uses it to save himself.
The sword, named Terminus, is possessed by an angel who provides the hero strength and hope during his daunting quest to rescue his love:
“And the sword is hope that comes from without by divine design, not from within.”
I won’t relate any more of the story, but there is a wonderful twist to it at the end which took me by surprise.
Musically, this is one of the most diverse and satisfying set of songs Glass Hammer has blessed us with. They are brimming with confidence and invention, and every track is a delight to listen to. The aforementioned opener, The Dreaming City, is the heaviest thing GH has ever recorded, while The Lonely World is an aural dose of pure pop. The angelic-voiced Susie Bogdanowicz sings lead on the beautiful October Ballad, while the epic closing track, The Watchman On The Wall, is a glorious and triumphant song that recalls the heyday of Permanent Waves-era Rush.
I could rave about every single song, but I must single out Terminus for special praise. If Rush and The Alan Parsons Project had a love child, Terminus would be it. A propulsive beat and a fantastic synth line serve a hook-laden melody to combine for a compulsive listen. Other highlights include the atmospheric instrumental tracks, Threshold of Dreams and The Tower, both of which are reminiscent of classic Tangerine Dream. But, as I wrote, every single song is outstanding.
What is most impressive about Dreaming City is how all the tracks come together to create a most satisfying whole. This is an album to listen to in its entirety, as it tells the compelling tale of an unlikely hero thrust into a desperate quest to overcome evil, and in the process find hidden strength within himself – with a little divine assistance. In Babb’s words, “This is all about evil people robbing us of our joy – holding it hostage. There can be unfortunate episodes in life where that happens and you can barely even remember what “joy” was like – may even become resigned to the thought that you may never know it again in this life, but determine to look for it nonetheless. So this was an important story for me and I hope it brings encouragement to many.”
Dreaming City is an extraordinary and career-defining work from one of America’s finest rock groups, and I can’t wait to hear what unexpected delights they have in store for us in the future.
The Tennessee-based prog rock band extraordinaire, Glass Hammer, has announced its next studio album, DREAMING CITY.
From the band’s official description:
Glass Hammer returns to the world of THE INCONSOLABLE SECRET with 2020’s DREAMING CITY. Perhaps the group’s most powerful musical statement to date, DREAMING CITY tells the story of a “desperate man…as doomed as they come” who must fight his way through a spectrum of horrors to rescue his lover. We find out early in the album that the protagonist has only three days to find her before she dies; a dilemma which sets the stage for all that is to come and guarantees an emotional roller-coaster ride for the listener.
For my own longish take on the band:
America’s single most innovative and interesting rock band is also, sadly, one of its least known and appreciated. This needs to end, and the sooner, the better for all concerned. Amazingly enough, the band Glass Hammer is now celebrating its 26th birthday, and it’s about to release its seventeenth studio album. This is an astounding achievement in the world of art and, especially, in the world of rock. To add even more accolades, the band exists because its two founders were and are perfectionists, refusing to compromise on their own vision of what excellence is.
We’re getting close to the present day in our look back at the best music of the decade. 2018 was another bountiful year for prog fans, and, like 2017, it included a couple of surprise reunions along with some reappearing favorites.
We’ve chosen 15 albums to represent the excellence of 2018, so without further ado, here they are in alphabetical order.
Damanek’s second album is even better than their impressive debut. “Skyboat” sounds like a mid-70s Jethro Tull single, and the three-part “Big Eastern” is an epic telling of a family’s saga from their roots in China to their settling in America. Thanks to Damanek, I have become a big fan of Guy Manning.
Another sophomore effort that improves on an excellent debut. Evership II continues their championing of classic prog. Fans of Marillion and early Spock’s Beard will love this.
Gazpacho released one of their all-time finest albums in 2018 with Soyuz. Loosely based on the true story of a doomed Soviet Russian space mission, the music is uplifting, angry, and heroic.
There’s a reason a Glass Hammer album has been featured almost every year this decade: they have consistently produced great music! This entry to their catalog is a sequel to Chronometree, and it showcases their pop skills (think classic Todd Rundgren). “Fade Away”, the majestic finale, is one of their best.
Haken released a 2-CD/DVD set of a great performance in Amsterdam in 2018, where they play the entire Affinity album. Later in the year, they put out Vector, which made quite a few Best of 2018 lists. Haken are at the top of their game, with no sign of fading.
This was a nice surprise! Way back in 2005, John Mitchell (Arena, Frost*, Lonely Robot, It Bites), Pete Trewavas (Marillion), John Beck (It Bites), and Chris Maitland (Porcupine Tree) got together and recorded what many people thought was a one-off album. Lo and behold, they reunited in 2018 and released Radio Voltaire, which ended up being one of the best of the year. Like anything Mitchell is involved in, there are excellent tunes, superb guitar, and a dash of humor.
Tim Morse (no relation to Neal) quietly and carefully self-produces gems of albums every few years. Tim Morse III is a delight to listen to, and I hope he never stops creating music.
If you’ve worked your way through this series, you know that I like North Atlantic Oscillation – a lot. Grind Show doesn’t disappoint, as they continue to hone their unique sound that marries layered harmonies to synth-heavy music. Sort of like what would happen if Brian Wilson collaborated with Kraftwerk.
A fascinating set of songs from the Norwegian group Oak. I would classify it as chamber pop music. They even include “Clair de Lune” in one of their songs, but it doesn’t come off as pretentious. Highly recommended if you are looking for something pretty to listen to.
Wow. This is one of the best albums of the decade, let alone 2018. Vier means “four”, and the songs are divided into four groups: Guedra, The Golden Arc, Vibrational, and Anunnaki. The entire album is one long suite as various themes emerge, recede, and reappear. On their previous two albums, Perfect Beings incorporated some Beatlesque power pop into their music, but this is on another plane of music entirely.
Another surprise reunion. Maynard James Keenan’s side project A Perfect Circle released two incredible albums in 2000 and 2003, and a horrible one in 2004. It seemed like that was that, and they were done. Fourteen years later, they put out Eat The Elephant, which is excellent. Not as metal-oriented as their earlier music, but more subtle. Beautiful melodies and lyrics expressing barely controlled rage characterize this one.
Riverside survived the dreadful loss of Piotr Grudzinski, their guitarist, and released the very strong Wasteland in 2018. Set in a post-apocalyptic future, this album manages to be hopeful and uplifting.
RPWL started out as a Pink Floyd tribute band, which was obvious on their earlier Beyond Man and Time. On Tales From Outer Space, they just rock out and have a great time. I ended listening to this album almost more than anything else in 2018. “Not Our Place To Be” has a great hook that gets in your ear and won’t come out.
The second outing by this band from Down Under consists of four epics, and there isn’t a wasted note anywhere. These guys are going to be prog superstars very soon.
That completes our look back to 2018. Honorable mentions are Big Big Train’s live set Merchants of Light, Gunship’s Dark All Day, Pineapple Thief’s Dissolution, Tesseract’s Sonder, and Umphrey McGee’s It’s Not Us.
Seven years down and three to go in our look back at the best music of 2010’s. This post features 18 fine albums no self-respecting prog aficionado should be without. Here they are, in alphabetical order.
Southern spacey swamp rock (if that makes any sense!) that sounds relaxed and easygoing until the coffee kicks in. They really stretch out and mine some fine grooves on “Bulls” and “Alabaster”. If the Allman Bros. and Porcupine Tree had a child, it would sound like this.
A prequel to the Ayreon mythos, this 2-disc set is one of the most metallic in their catalog. It rocks incredibly hard, and as usual, Arjen manages to recruit an impressive cast of vocalists. The Ayreon arc of albums is one of the most impressive in rock, and The Source is a fine addition to it.
This was my top album of 2017. It’s an all-instrumental affair by Porcupine Tree keyboardist Richard Barbieri. While it is mostly jazz influenced, it also contains entrancing songs like “Unholy” – a meditative song with wordless vocals that could be a prayer. Nothing is rushed on this record, and I still never tire of listening to it.
We got an embarrassment of riches from Big Big Train in 2017. First, they released Grimspound which continued in the fine tradition of Folkore of celebrating unsung or forgotten heroes. “Experimental Gentlemen” and “A Mead Hall In Winter” are two outstanding tracks from this set.
A few months later, BBT released The Second Brightest Star, which was almost as good as Grimspound. The title track and “The Leaden Stour” are highlights.
BBT also gave away a digital-only release, London Story, which was a 34 minute track that combined several London-related songs. All of this activity was unprecedented for BBT and much appreciated by their fans.
Spirit of Cecilia’s founder and editor Bradley Birzer got in on the prog action in 2017 with this collaboration he made with Dave Bandana. Birzer wrote the lyrics – based on the sci-fi novel A Canticle For Leibowitz – and Bandana played and sang. It is full of majestic synths and great melodies.
Damanek is led by Guy Manning, and On Track is one of the best albums of the decade. Very sophisticated songwriting and playing abounds on this debut. African rhythms and catchy choruses make for a very nice experience. Marek Arnold lends his sax to the proceedings as well.
I was beginning to wonder if Depeche Mode was ever going to make a decent album after Playing the Angel. Fortunately, Spirit has some of their best tunes in years, and they sound energized. Let’s hope it lasts.
I didn’t catch this one until after 2017, but if I had I would have picked it as my favorite of the year. Geoff Downes (Buggles, Yes, Asia) and Chris Braide (Producers) join forces and produce an extraordinary album. The title track is one of the finest epics in the history of prog (and it even features vocals by Kate Pierson of the B-52s!). “Darker Times” has some of the most beautiful harmonies since the Beach Boys’ Surf’s Up. Chris Braide is a fantastic singer – pure and pitch perfect.
This collection of songs from Glass Hammer’s vault turns out to be one of their most fun albums ever. The stomping “Troll” is a hilarious takedown of internet trolls, and “Cool Air” is a marvelous musical version of an H. P. Lovecraft story.
I Am The Manic Whale’s second album is even better than their first. More confident and risk-taking, they succeed on “Strandbeest” and “Stand Up”. If you like XTC and Frost*, you will enjoy IATMW.
What a gorgeous album. It begins almost in midsong with Jonas Renske’s warm and hushed baritone singing, “You wait by the river/Days are long” and continues for more than a hour as one song flows into another. Even though there is a superficially languid feel to the music, I always sense the enormous power this band is capable of.
A supergroup composed of King’s X bassist/vocalist Dug Pinnock, Korn’s drummer Ray Luzier, and Lynch Mob’s George Lynch, this is a straight rock album with no apologies necessary. “Breakout” is a killer song.
The second installment in John Mitchell’s Lonely Robot trilogy. “Awakenings”, “Sigma”, and “In Floral Green” are an incredible one-two-three punch early in the album.
Gary Numan followed up the excellent Splinter with the even better Savage. There is a definite Middle Eastern vibe here, and Numan is still the master of the irresistible hook. His band lays down a massive groove on every track. It’s been fascinating to watch Numan struggle with his atheism – for someone who doesn’t believe in God, he sure does yell at Him a lot.
Slowdive were founding members of the “shoegaze” movement in the 90s. They disappeared after1995, and then suddenly showed up in 2017 with this eponymous album. It is as good as their best work from 20 years ago. Here’s hoping they don’t wait another 20 to make another.
Damien Wilson is no longer with Threshold, but that didn’t stop them from producing the fantastic double disc set Legends Of The Shires. “Stars and Satellites” is a fantastic song with layers of guitars and an unforgettable chorus.
Wilson embraces his love for ’80s new wave pop, and comes up with the most consistently enjoyable album of his solo career. His guitar solo on the title track is perfect: concise, melodic, and lyrical. “Pemanating” could be a Tears For Fears single, and “Blank Tapes” is unbelievably sweet and heartbreaking. A great, great record.
That’s our look at 2017, folks. Two more years to go! Honorable mentions for this year go to Dave Kerzner (Static), Godsticks (Faced With Rage), Lunatic Soul (Fractured), Sons Of Apollo (Psychotic Symphony), and Wobbler (From Silence To Somewhere). Add your choices in the comments!
Welcome to Spirit of Cecilia’s retrospective of this decade’s musical highlights! This is the seventh chapter, which covers the best of 2016, and Hoo Boy! we had a bumper crop of great music that year. Here are 20(!) of the best prog and rock albums from 2016, in alphabetical order.
Big Big Train continued its decade-long conquest of progworld with Folklore. A big part of their appeal (aside from their wonderful musicianship and beautiful melodies) is their knack for finding forgotten heroes and paying musical tribute to them. In Folklore, we are treated to the fascinating story of the messenger pigeon, Winkie. “The Transit Of Venus Across The Sun” is another indispensable BBT track.
Blueneck hails from Britol, UK, and The Outpost was one of the standout albums of 2016. Shimmering, slow-building, atmospheric, and majestic music made this a compulsive listen for me. “From Beyond” is a tremendous track.
David Bowie had this album released posthumously. As always, he resists easy categorization. The nearly ten minute title track is full of skittery rhythms, disembodied jazz sax, and disturbing lyrics. A fitting final statement from one of the most talented and creative souls in music.
I did not hear about this group until recently, but I am glad I discovered them. Cyril is from Germany, and Marek Arnold and Manuel Schmid are members. Paralyzed is a fantastic prog album – one of the best of the last ten years. There are hints of classic Genesis in their sound, and I can’t recommend this album enough.
It looks like this is the final offering from the Devin Townsend Project, and what a way to finish! They revisit a DTP classic (“Truth”), and cover a Ween song (“Transdermal Celebration”). In between are some of the strongest songs Townsend has ever written. His vocals can make my hair stand on end, they are so, well, transcendent.
Evership is from my own city of Nashville, TN, but I would add this to our list regardless of their location. These guys write lyrical epics that are performed flawlessly. “Ultima Thule” is a near-perfect song, building slowly and quietly to a roaring conclusion. I can’t wait to hear more from this group.
How about a little fun? Jem Godfrey’s project Frost* released a terrific pop/prog collection in 2016 that I still listen to often. “Closer To The Sun” is one of the most enjoyable and reassuring seven and a half minutes in music.
Glass Hammer embraced their inner Rush and put together a challenging concept album based on the trauma suffered by a WWI veteran. Suzie Bogdanowicz never sounded better, the band rehearsed all the songs before recording, and it shows. They really fire on all cylinders.
Haken took a time machine back 30-odd years ago for Affinity. There all kinds of vintage synth sounds and nods to ’80s hair bands that make Affinity a hugely enjoyable record. Of course, they still have their 21st century wall of sound on great songs like “1985” and “The Architect”. This is one of Haken’s best albums, and it is scary how good they are.
The second album from Adam Wakeman’s and Damien Wilson’s project was a stunning set of songs. There are rough blues (“Polluted Alcohol”), straight ahead metal (“Kill You With Kindness”), and complex prog (“The Science Within Us”). “Secular Soul” is the kind of song that forces you to stop what you’re doing and just listen.
One of the biggest surprises of 2016 was the triumphant return of Kansas. This was no cashing in on nostalgia – this was a truly excellent album that successfully compares to their classics from the ’70s and ’80s. Welcome back, boys!
These guys started out as Synaesthesia, and morphed into Kyros. Whatever they call themselves, Adam Warne and Co. are some of the most talented songwriters and musicians working today. Vox Humana was a 2-disc concept album about a scientist who creates an artificial human, and the problems that ensue. Highly recommended.
The Similitude Of A Dream was the Neal Morse Band’s second album, and it was a monster. Over 2 hours long, it told the story of John Bunyan’s Pilgrim’s Progress. Upon its release, it was immediately hailed as a prog classic.
Opeth’s Sorderess topped a lot of critics’ Best of 2016 lists. With this album, Opeth laid to rest any remains of their death metal past, and jumped headlong into prog.
In 2016, Pineapple Thief released what I consider to be their finest album to date, Your Wilderness. Bruce Soord came up with a diverse and satisfying set of songs that really rocked (“Tear You Up”). Gavin Harrison plays drums, and he kicks them into high gear.
Radiohead rediscovered melody on A Moon Shaped Pool and came up with a beautiful album. String quartets, gentle synth washes, and massed voices combine for one of their finest hours.
Australia’s Sean Timms (keyboards) and Danny Lopresto (vocals, guitar) lead this marvelous new prog band. Their debut was one of the best albums of 2016, with “The Bridge That Binds” the standout track.
I listened to this album by Syd Arthur more than practically anything else in 2016. It is a funky, catchy set of songs that remind me a bit of Talking Heads. I dare you to sit still while listening to “No Peace”.
And finally, an offering from an old veteran: Vangelis. He can veer dangerously close to cheesy romanticism, but Rosetta is one of his best set of songs in his long career. He composed them to accompany the European Space Agency’s Rosetta spacecraft that successfully landed on a comet. It is appropriately spacey and atmospheric.
Whew! I hope this long post convinced you that 2016 was one of the best for great music. Let us know in the comments below what you enjoyed back then.
We’re midway through the decade – thanks for joining us on our journey through the musical highlights of the 2010s!
In terms of music distribution, compact disc sales continued their steep decline. In 2000, 943 million CDs were sold. By 2015, that number had dropped to a little over 100 million. iTunes (and mp3s in general) was fading fast as Spotify, Amazon Music, and Apple Music attracted listeners to their streaming platforms. What these trends mean for artists remains to be seen. As it gets harder to earn income from recorded music, will that discourage new artists from getting started?
On the other hand – stepping back and taking a longer view of history – perhaps we’ll look at the 20th century as an aberration in terms of the financial rewards many recording artists were able to garner. For most of recorded history, musicians and composers have had to struggle to survive, and even the the most gifted relied on wealthy patrons.
Fortunately for us in the 21st century, there is no shortage of great artists producing fine music, and 2015 was a good example. So here are the highlights of that year, in alphabetical order.
Casey Crescenzo has released five of his planned six acts. Act IV: Rebirth In Reprise is my favorite so far. As usual, there is everything but the kitchen sink here. “A Night On The Town” is the key track as it swings like a Gershwin composition before an exhilarating rock motif takes over.
Another year, and not one, but two Gazpacho releases. Molok is another dark concept album about the ancient demon utilizing modern technology for his nefarious purposes (I think). The fact that Molok has some of the prettiest music Gazpacho has ever made makes the concept go down easy. Night Of The Demon is a live set where the band really cooks. It’s a perfect introduction to them, if you’re curious.
Another year, and not one, but two Glass Hammer releases. The Breaking Of The World is another peak for them (how do they keep doing that?) with essential songs “Mythopoiea”, “North Wind”, and “Nothing, Everything”. Double Live is a terrific no-frills live performance. Susie Bogdanowicz and Carl Groves are excellent singing classics like “The Knight Of The North” and “If The Stars”, while the band rocks tighter than a tick.
A new band from Reading, England, I Am The Manic Whale sprang fully formed from the brain of Michael Whiteman (the band name is an anagram of his). This is an impressive debut with songs celebrating subjects ranging from 10,000 year clocks to the joys of parenting messy toddlers. “Princess Strange” is an inspiring take on cyberbullying. A true delight to listen to, and worthy of a large audience.
Veteran proggers Karnataka enlisted new singer Hayley Griffiths for Secrets Of Angels, and she really lit a fire under them. Opening track “Road To Cairo” has a killer middle eastern riff that is as satisfying as Led Zep’s “Kashmir”. The title track is also excellent.
The keyboardist and composer from Sound Of Contact struck out on his own and produced this wonderful Floydian sci-fi epic. Put it on, and imagine you are back in 1977, hearing a fantastic new prog masterpiece.
John Mitchell’s (Arena, Frost*, It Bites) first album in a trilogy about an astronaut lost in space. One of the best albums of the decade, Lonely Robot features John’s excellent vocals and stellar guitar work. Every song is memorable, but “Oubliette” and “Are We Copies?” are standouts.
The first album from The Neal Morse Band is one of the best of the decade. First, it is NOT a Morse solo record – this is a band effort with all members contributing to the songwriting. Second, Neal found a young multi-instrumentalist in Eric Gillette who is simply phenomenal and spurs everyone to new heights. “Alive Again” may just be the finest epic Neal has been involved in.
This was my favorite album of 2015, and I still listen to it fairly often. Riverside pulled together their metal and hard rock roots with Mariusz Duda’s gentler Lunatic Soul excursions, and came up with a winning mix. Add in some nods to ’80s new wave, and this is a very fine record.
A document of Rush’s 40th anniversary tour, where they played songs from every phase of their long career. The stage set began filled to the brim with props and effects, and they gradually shed them as they worked their way back to the first shows they played in a high school auditorium.
Subsignal’s The Beacons Of Somewhere was a highlight of 2015. Straight-ahead prog rock with awesome melodies. “Everything Is Lost” is an excellent song, as is the multi-part title track. Every time I listen to this marvelous album, I hear new details that delight.
Tesseract toned down the more extreme metal aspects of their music for Polaris, and that made a huge difference. Daniel Tompkins has always been a terrific vocalist, but on this album he really shines. “Dystopia” soars, and “Tourniquet” is a gorgeous cacophony of sound. “Phoenix” makes me want to drive 100 mph. A great album that earned Tesseract a well-deserved wider audience.
Steven Wilson’s Hand.Cannot.Erase caused the biggest stir in progworld in 2015. It was his breakthrough album, catapulting him into the mainstream, and deservedly so. That said, the subject is so emotionally harrowing (the true story of a young woman who died alone in her apartment, and wasn’t discovered for three years) that I have a hard time enjoying it.
A box set that contains recordings of seven concerts from 1972. Yes was touring in support of Close To The Edge, and this is a fascinating document of a young and hungry band at the peak of their powers. Yes, the setlist stays constant, but it is fun to hear how their performances evolved over a short period of time, and how they dealt with onstage setbacks, like a local FM radio station taking over their PA system!
Once again, I easily could have doubled the length of this post. I left off excellent albums by Bruce Soord, Downes Braide Association, Echlyn, Izz, and Perfect Beings, among others. Let us know what your Best of 2015 list is in the comments!
As I mentioned in Part 2 of this series, 2012 is when the floodgates open for prog releases. This post features 15 albums from that halcyon year, and it barely scratches the surface! So let’s dive into the great music 2012 had for us, in alphabetical order.
Anathema followed up the wonderful We’re Here Because We’re Here with the even better Weather Systems. Featuring a weather-related song cycle – “The Gathering Of The Clouds”, “Lightning Song”, “Sunlight”, and “The Calm Before The Storm” – Anathema produces a prog classic.
After a 2-year absence, Big Big Train returned in a big way with English Electric, Part 1. David Longdon is now fully integrated into the band, and his songwriting sparkles, particularly on joyous romps like “Uncle Jack”. One of BBT’s finest hours, ever.
All of the disparate styles Devin Townsend played with on previous albums is synthesized in this masterpiece. Power pop, metal, gospel -it’s all here in one big beautiful mess.
This album topped a lot of critics’ Best of 2012 lists, and rightly so. Every song is perfect, and “Some Memorial” may be the best they’ve ever done. This is a classic prog record that will still be lauded decades from now.
This effort from the prog supergroup comprised of Neal Morse, Mike Portnoy, Steve Morse, Dave Larue, and Casey McPherson was a very impressive debut. Everyone participating subsumed his personality in service to the group, and the result was a lot of fun – reminiscent of the best of ’70s arena rock.
This is a somewhat obscure gem by John Galgano, the bassist of Izz. It’s a quiet, beautiful, philosophical collection of songs that is truly charming. There is a lot of depth and solace in these songs.
Glass Hammer continued its winning streak with the third album to feature Jon Davison. Perilous is one long song chronicling the adventures of two children trapped in a, well, perilous land populated by malignant beings. The music is appropriately exciting and compelling.
John Mitchell (Arena, Frost*, Lonely Robot) took over It Bites’ reins for this marvelous concept album about a young man confronting his past and his tortured relationship with his father. “Wallflower” is one of his finest songs.
Arjen Lucassen (Ayreon, among many other projects) released this solo effort in 2012, and it featured his love of science fiction themes. Many years in the future a cryogenically preserved man is revived and brought up to date with all the changes that have occurred in society while he was frozen. Along the way, Arjen gives us a history of rock while an evil Rutger Hauer narrates. Great fun.
I’ve written a full post on this excellent band, and this is one of their best albums. It’s a perfect introduction to Mystery if you’ve never heard them. “Another Day” is a 19 minute song that ranks with the best epics in the genre.
The second album by Kscope’s North Atlantic Oscillation still has their impossibly angelic vocal harmonies from the debut, but there is an undercurrent of unease in songs like “Savage With A Barometer”. Utterly unique sound, and one of the best albums of the decade.
The fourth (and final?) album from the Office Of Strategic Influence. Jim Matheos (Fates Warning) and Kevin Moore (Dream Theater, Chroma Key) collaborate on another fine collection that is somewhat somber but always melodic. If you need music for a rainy afternoon, O.S.I. is the perfect choice.
Another supergroup, this time composed of, surprise, producers. Trevor Horn, Lol Creme, Stephen Lipson, and Ash Soan (with a uncredited Chris Braide on vocals) combine to produce a wonderful pop confection. Too bad they only lasted for one album.
In 2012, we had no way of knowing this would be Rush’s final album, but what an album to go out on. It was meant to be the soundtrack to a Kevin Anderson sci-fi novel, but it works well as a standalone work of art. Rush pulled out all the stops on their tour supporting it, and it remains a high point of their career.
This was a complete surprise – after decades of inactivity, the ’80s synth band Ultravox reunited in 2012 and put together this terrific set of songs. It was as if they never left, still at the top of their form. If you loved Vienna and Rage In Eden, then this is a must-have album.
That’s 15 albums from 2012, and I could have added many more. District 97, Downes Braide Association, Gazpacho, Headspace, Izz, KingBathmat, Pineapple Thief, Porcupine Tree, Storm Corrosion, Threshold, Time Morse, and Yppah all released outstanding records. Let us know what your favorites of 2012 were in the comments!
Now that we are nearing the end of another decade, it seems appropriate to take a look back at some of the fine music that was produced in the past ten years. This is the first of ten posts – one for each year – of the decade that went from compact discs through mp3 files to streaming. So, in alphabetical order, here are some notable albums from 2010:
It’s nice to kick off our list with my favorite album of 2010! What a great collection of songs that proudly announced the new, sleek, and sophisticated Anathema. This album was a peak in their career, as it explored the mystery and loss that is inextricably bound up in the death of a loved one.
The patron band of Spirit of Cecilia? Looking back at this “EP” (the playing time runs a generous 41:00), it’s hard to believe how far BBT has come. And yet, this contains indispensable songs from their canon like “British Racing Green” and “The Wide Open Sea”. This is definitely NOT a stopgap released to please fans between full albums.
The debut collaboration between the Shins’ James Mercer and Danger Mouse, Broken Bells managed to transcend both the Shins’ and Mr. Mouse’s other work. The opening notes of “The High Road” never fail to bring a smile to my face. Off-kilter pop that is timeless.
Neil Finn is one of the greatest songwriters, ever. This album by Crowded House is a fitting swan song to their career: somewhat subdued and very sophisticated pop.
Devin Townsend is a gifted and restless soul who is constantly exploring new areas of music. In 2010, his Devin Townsend Project released this slab of power-pop-metal that is one of his most enjoyable listens. It doesn’t hurt that Anne Van Giersbergen lends her angelic voice to the proceedings, and “Supercrush!” has one of the most addictive hooks in the history of rock.
The third album from Engineers was a definite letdown after the glorious shoegazey roar of Three Fact Fader. Adding Ulrich Schnauss seemed to have smoothed off the rough edges and introduced an “ambient” element. However, it was still one of the better releases of 2010.
This was my introduction to Norwegian proggers Gazpacho, and I admit I wasn’t particularly impressed. However, I gave their earlier album, Night, a listen, and Missa Atropos started to make sense. Now they are one of my favorite groups.
The first Glass Hammer album to feature Jon Davison on vocals, and it is a wonderful work. An album I never tire of listening to, and it has some of their finest songs ever, including “If the Stars/If The Sun”. The cover art is a hoot.
The second effort by Riverside’s Mariusz Duda continued the atmospheric and world music vibe of the first. In this chapter, the soul of the person who died in the first album finds a home after wandering around in the afterlife. A great listen on headphones.
This was Pineapple Thief’s bid for the prog big leagues, but it missed the mark. Bruce Soord’s songwriting had tightened up quite a bit, but his best work was still ahead of him (i.e. Magnolia, Your Wilderness, Dissolution). If you were a PT fan in 2010, though, this was a very nice listen, and the Storm Thorgerson cover was intriguing.
And we wrap up our stroll down Memory Lane with the kings of early 2000s prog, Steven Wilson’s Porcupine Tree. This was a recording of a 2008 concert, released in 2010. They play the entire Fear of a Blank Planet album along with other songs from their vast catalog, and it is a phenomenal performance. If anyone wonders what all the commotion about Porcupine Tree was about, this is the one work that proves how great they were.
I hope this post brought back some fond memories of the beginning of the decade. These are personal favorites – if you have others, let us know in the comments!
Tomorrow, our wonderful poet-in-residence, Kevin McCormick, is turning 52. Just a good deck of cards.
On November 22, the website turns one. How great is this? Too great, to be sure.
Very recently, some excellent music has shown up in the Spirit of Cecilia mailbox. New Flower Kings, new Cure (well, new live Cure), new Elbow, new old Peter Gabriel, and new old Dukes of Stratosphear. Some new Bruce Soord, too. A blessing of riches. If all goes well, Glass Hammer’s remixed and renewed LEX REX should show up tomorrow.
Reviews forthcoming. . .
And, of course, expect great pieces from Tad, Erik, Mahesh, Richard, and Alex and others! All to the good.