Tag Archives: new-music

Lunatic Soul Signs to InsideOut

June 10, 2025 bradbirzer

Glass Hammer’s Rogue: Joy in the Midst of Regret

April 2, 2025 Thaddeus Wert

Glass Hammer has returned with a new album, Rogue – due out April 11, 2025. Not surprisingly, given the history of this group, it is a stark departure from their previous several albums. Where the Skallagrim Trilogy rocked very hard, and their most recent work, Arise, was an exercise in space rock jamming, Rogue is jumps out of the gate with a burst of pure melodic bliss.

After listening to Rogue nonstop for four days, I am put in mind of some of Glass Hammer’s most enjoyable musical moments, such as Life By Light (Culture of Ascent), Having Caught a Glimpse (The Inconsolable Secret), and The Curse We Weave (Three Cheers for the Broken Hearted), among many, many others. I am tempted to say Rogue represents a return to form, except Glass Hammer has never fallen out of form – each release of theirs is a self-contained gem of excellence. Instead, let’s just say Rogue is a joyful celebration of beautiful melody.

What If, the first track, sets the stage as the protagonist decides to leave his cold and gray home in the north and head south to find a long-lost love – he is hoping to reignite an old romance that he ended years ago. It is a bouncy song that conveys the hopefulness of our hero as he sets out.

Summer! He’s weary of sleet and snow
Summer! Come now and do not go
He’s heading south to the land of his dreams

The Road South is where reality begins to set in. Has he made a mistake leaving his home? Is that a storm ahead? Musically, this song is reminiscent of classic Alan Parsons Project to me. Oliver Day’s lap steel guitar is outstanding – graceful and fluid without sounding shrill.

Tomorrow is one of the most beautiful songs on the album. As our hero wrestles with the memories of all the wrongs he has committed in the past, a voice reassures him,

All will be fine
God is watching over all you do
His eye is on the sparrow and on you

The accompanying melody is appropriately soothing and calming.

Pretty Ghost and Sunshine feature the gorgeous vocals of Olivia Tharpe, along with another pair of winning melodies. On Sunshine, Fred Schendel gives an outstanding performance on lap steel guitar.

Next up is my favorite track on the album, I Will Follow. This is a driving, upbeat, infectious song with an unshakeable earworm for a melody. It’s one of the best songs in the entire Glass Hammer catalog, featuring layered harmonies that should be listened to on headphones to be fully appreciated.

The Wonder Of It All has a synth-driven opening that I find very appealing. One thing I’ve enjoyed over the past few albums has been Glass Hammer’s incorporation of Tangerine Dream-like interludes that feature very cool rhythmic elements. Lyrically, this song seems to be a turning point for our hero:

Oh, I’m weary, yet I’m blessed
For all you’ve given me
The wonder of it all, I’d have to say
That I was here at all
I’ve done so little to deserve
This life you gave me

One Last Sunrise is a terrific instrumental, and Babb really shines on bass and Taurus pedals. I’ve said it before, and I’ll say it again: Steve Babb is one of the most inventive bassists working in music today.

Terminal Lucidity, at 10:19, is the longest track, and it is primarily instrumental. Synths, electric piano, and electric guitar weave a seductive web of melody that draw the listener in before an energetic jam gets going. Eventually, it becomes clear that our hero is on his deathbed: “Ashes to ashes, dust to dust/I can hear them calling me”. It was a stark and chilling moment when I first realized the true journey being taken!

Rogue closes with the triumphant and joyful All Good Things. Another uplifting melody (underpinned by Babb’s terrific bass work) brings the story to an emotionally satisfying ending:

This life you gave me
I’ll bring it home, you know
Sunshine in the morning sky
Descending from on high

It seems that, for all intents and purposes, Glass Hammer is now primarily a Steve Babb project. He handles some lead and backing vocals, bass, keyboards, Taurus pedals, guitars, and percussion. Longtime musical partner Fred Schendel plays guitar on Tomorrow and lap steel guitar on Sunshine. Babb has collected a stellar cast of supporting musicians: Thomas Jakob and Olivia Tharpe on vocals, Reese Boyd, David Walliman, and Atillio Calabrese all take a turn on lead guitar, and Oliver Day does a phenomenal job on guitar and lap steel throughout. Ariel Perchuk contributes some excellent synth solos, while Randall Williams and Evgeni Obruchkov provide drum work.

Rogue is one of the most ambitious albums Glass Hammer has attempted, and they pull it off with ease – it is an unalloyed triumph in all respects: conceptually, lyrically, and musically. Taken as a whole, this set of songs is the most satisfying Glass Hammer has provided in many years. I can’t stop listening to it! Meanwhile, the concept of a man wrestling with the demons of his past as he faces death would be daunting for anyone to tackle, but Glass Hammer does it with grace and hope. I can’t recommend Rogue enough to listeners who appreciate and are looking for melodic rock that has depth. It’s my favorite album of 2025, and I don’t see that changing any time soon.

Republic of Letters

Spirit of Cecilia’s Best of 2024

December 28, 2024 bradbirzer

Greetings, music lovers and readers of Spirit of Cecilia! 2024 is fast coming to a close, and the SoC crew would like to share their favorite albums of the year. There was a lot of great new music, terrific deluxe reissues, and releases from old favorites. Hopefully, our lists will lead to some albums you will love as well.

Brad: Tad, thanks for starting us off and inviting everyone to participate. Always great to write with you! I’ll just start with an alphabetical listing of my favorite releases of 2024:

“Dogs” by Pink Floyd, as done by Tim Bowness and Giancarlo Erra
Airbag, The Century of the Self
BBT, Flare on the Lens
BBT, The Likes of Us
Bruce Soord, Caught in the Hum
David Gilmour, Luck and Strange
Frost*, Life in the Wires
IZZ, Collapse the Wave
Tears for Fears, Songs for a Nervous Planet
The Bardic Depths, What We Really Like in Stories
The Cure, Songs of a Lost World
The Pineapple Thief, It Leads to This
The Pineapple Thief, Last to Run EP
The Tangent, To Follow Polaris
Tim Bowness, Powder Dry

And, I’m not even including vital re-releases such as the deluxe edition of Synchronicity by the Police; Fear of a Blank Planet by Porcupine Tree; Spectrum ‘97 by Phish; Lament by Ultravox; Bursting Out by Jethro Tull; or This Strange Engine by Marillion.

If I go just by my playlist numbers, I’d have to list “Dogs”, Frost*, IZZ, and, especially, The Cure. In fact, since The Cure first arrived, I’ve listened to almost nothing else. But, I went through such phases with Frost* and IZZ, too. And, really, I can’t recommend the single of “Dogs” highly enough. Bowness and Erra give it just the right beauty and creepiness that a proper Pink Floyd remake so desperately needs.

I must admit, though, I’m totally against the lyrical content of “Dogs.” I can’t believe our entrepreneurs are so bloodthirsty as this. Like or despise Elon Musk, for example, as you will, but he’s not bloodthirsty. In fact, if anything, I think he’d hate to “be dragged down by the stone.” And, he would hate to drag anyone else down by the stone. He definitely wants to win, but he wants to win fairly, by the rules established by society (unless all of society is corrupt, but let’s hope that Pink Floyd isn’t so Marxian as this). Maybe I’m wrong, however. Perhaps, I’m deaf, dumb, and blind, and that I keep pretending. . . Is this how Roger Waters saw his friendship/adversarial relationship with David Gilmour? If so, so very sad. For my money, give me Phish’s “Bouncing Around the Room” as the touchstone song dealing with entrepreneurship.

To be certain, though, I’m also a bit biased on the whole The Bardic Depths release. Given that I wrote the lyrics for it, I’m quite taken with it. Dave Bandanna did an amazing job in composing the music. So brilliant, so beautiful, so mystical, so joyful. Dave brings every song to life, and I’m always stunned to hear my own words given form and made manifest.

And, then, what’s not to love about the new David Gilmour? In fact, when he sings with his daughter, Romany, I’m completely taken. So much better than Dogs, co-written with Roger Waters.. Especially if you listen to something as glorious as “Between Two Points.” I would give anything to have such a relationship with my daughter that I could write something so gorgeous with her. Romany over Roger any day.

And, seriously, this brings me to all the incredible re-releases of 2024. Oh, to be “Prince Caspian” and float upon the waves. Oh, to be Prince Caspian. Dang, Phish was simply brilliant when they were.

I also want to single out Airbag. I don’t know their politics, but it strikes me that with this release, especially, they’re trying to combat conformism and cancel culture. I could be wrong, but I’m willing to take a chance that this is a brilliant counter-cultural masterpiece. One that shakes the conformists of the world to their very foundations. And, who wouldn’t love that bass playing and interplay with the drums? Genius. Thank God for the non-conformists of the world. Airbag sounds like Pink Floyd, in terms of legacy, but they are completely their own band.

If Airbag sounds anti-political, Robert Smith on the new Cure album, sounds confessional. Bless me, Father, I, Robert Smith, have sinned, and something wicked this way comes. Truly, the latest The Cure album is a masterpiece, a true sequel to Pornography and Disintegration. My love and respect for Smith only grows with age.

If Airbag is countering the world and Smith is confessing for us all, then IZZ is proclaiming the inherent goodness of each one of us. I’m not sure what the lyrics are all about on Collapse the Wave, but I feel that John Galgano and Laura Meade are asking us to look at our best selves. Rather than be dour, they find wonder. As far as I can tell, IZZ has been reading a lot of T.S. Eliot and a lot of John Paul II.

Tad: What a great list, Brad! Yours and mine overlap quite a bit, since we are often of like mind when it comes to music. Here is mine, based on how often I listened to each album:

8. Kyros – Mannequin

7. IZZ – Collapse the Wave

6. Jeff Johnson/Phil Keaggy – Spinning On a Cosmic Dime

5. Tears For Fears – Songs For a Nervous Planet

4. Airbag – The Century of the Self

3. Bardic Depths – What We Really Like In Stories

2. The Cure – Songs of a Lost World

1. Frost* – Life In the Wires

I’ve been a fan of Kyros’ music for several years now. They wed 80s sensibilities to 2020s expertise. Mannequin is another great collection of pop/prog.

Like you, I admire IZZ enormously. As far as I can tell, the lyrics to the title track are about quantum physics and faith. Who else but the Galgano brothers could pull off such an ambitious song? They definitely succeed.

Jeff Johnson and Phil Keaggy have collaborated several times before, and Spinning On a Cosmic Dime is the most lighthearted and fun of their albums. Johnson is a master of all keyboards – acoustic and electronic, while Keaggy is one of the finest guitarists alive today. When they get together, magic happens.

The Tears For Fears is primarily a live album, but the five new studio tracks are some of the best songs they’ve ever recorded.

You’ve already said everything I could want to say about the Airbag album. They continue to impress me with their social commentary, and their instrumental chops are outstanding. Their previous album, A Day At the Beach, is still my favorite, but The Century of Self is really, really satisfying.

The Bardic Depths’ new one is also a great album. Listening to it is like having a beer with C.S. Lewis, Tolkien, and the other Inklings. To my ears, it’s the most musically ambitious set of songs from TBD, and I have thoroughly enjoyed listening to it throughout 2024.

The Cure’s album came out of nowhere as far as I was concerned, and I approached it with some trepidation – there’s nothing worse than an old favorite trying to recapture the spark and failing miserably. Robert Smith et al. came up with a fantastic album that easily holds its own with their previous best. Amazing!

Frost*’s Life In the Wires is far and away the most-played album of 2024 for me. I have yet to tire of it, and every time I listen to it I find some new and delightful detail. Jem Godfrey sings all of the vocals on this one, and he is terrific. The beautiful melodies pouring out of my speakers are such a bountiful feast for my ears. The story is fascinating as well – a young man rebels against a world run by AI when he hears a pirate radio broadcast. After tracking it down to its source, it turns out to be an automated program. But then things get weird – he seems to sacrifice himself to become the new source of the radio broadcasts and spark an awakening of humanity. At least that’s how I read it.

So that’s what I spent my time listening to this past year. I also loved the Ultravox Lament box set and the Talk box set by Yes. It’s nice to have this often overlooked album get the treatment it deserves.

Brad: Yes, Tad, thanks for the reminder about Yes’s 30th anniversary edition of Talk. The last of the Trevor Rabin-Yes era albums, it’s simply beautiful. Clearly, the band was going for a progressive AOR sound at the time, but the production is so very clean. I love the packaging as well for it. Not overblown, but a solid release in terms of presentation. Don’t get me wrong, I love big box sets like Lament by Ultravox, but sometimes the smaller packaging works just as well. For me, Marillion’s and Jethro Tull’s releases–in terms of packaging–hit the sweet spot. Basically small books that fit perfectly on a book shelf.

Thanks, too, for the story about the new Frost*. I’ve listened to it numerous times, but I’d not figured out the lyrics. What a great story! Now, I’ll listen to it with different ears.

I’m so glad we agree on The Cure, on Airbag, and on Frost*. Three essentials of the year.

As it turns out, The Cure also released their brand new album as a live release–Songs from a Live World–as well. Gorgeous. Seriously, what else can Robert Smith do? He simply captures the mood of every era in which he finds himself. And, I, for one, am so fortunate to be alive when Robert Smith is alive.

I would also note that 2024 is an important anniversary date. Kevin McCormick’s gorgeous Squall came out in 1999, a mere 25 years ago! Even the rather snobbish All-Music recognized the brilliance of Squall. As far as I understand it, McCormick is working on a follow-up CD.

It’s also the ten-year anniversary of the genius Scorch by the Tin Spirits. A favorite album. Also, ten years ago, appeared the brilliant Demon by Gazpacho and Anathema’s mediocre to good Distant Satellites.

But, Holy Moses, it’s not just about Tin Spirits. If we go back to the twentieth anniversary of releases, 2004, we get to The Pineapple Thief, Variations on a Dream; Glass Hammer’s Shadowlands; Proto-Kaw, Before Came After; The Tangent, The World We Drive Through; Ayreon, The Human Equation; and Marillion, Marbles. Sheesh, what else do you want?

Carl: Full and necessary confession: 2024 turned out to be year in which I listened to little new prog rock, or rock of any kind. Not for any lack of new and worthy rock music, but 2024 also turned out to be the year in which I fell quite a ways down The Vinyl Rabbit Hole. I’ll likely say more about that in a separate post on my favorite jazz of 2024, but suffice to say that I’ve been haunting various thrift and record stores.

My most listened album of the year was released 30 years ago: Seal’s second album (1994), titled, inconveniently enough, Seal—just like his 1991 debut. A deluxe edition was released, with a remastered version of the album (fantastic), as well as alternative versions of the songs (also wonderful). I listened to this album countless times when it first came out, and I have never tired of it (or of his first or third, titled Human Being). Why has it resonated so strongly with me? I’m not entirely sure, but for me it is a perfect pop/rock album, and it sits squarely in the middle of a trio of albums that I continue to think is one of the finest three-in-a-row rock/pop album families you’ll ever hear.

I enjoyed the new albums by Frost* and Pineapple Thief and if I listened more closely, I’m confident that I would really like them. Both bands have consistently produced accessible, intelligent prog rock of the highest order, so I plan to revisit them in the weeks to come.

Caligula’s Horse’s Charcoal Grace is mysteriously but aptly titled, as the music has a dusky, burnt quality that also shines with many moments of delicate beauty. This Aussie band has been a longtime favorite, and this album adds to a discography rich with ridiculous chops and vocals at the service of exquisitely crafted songs. A keeper.

Keep Me Fed by The Warning, the talented sister trio out of Mexico, is (as they say) a banger. Or a series of bangers, the sort of swaggering, catchy hard rock—with sublime harmonies—that has been sorely missed in recent years. For my money, I prefer their live versions a bit more; they are dynamic performers whose young ages (20 to 25) defy (even bely) the band’s evident maturity and exuberant zest.

Speaking of all female bands, a somewhat guilty pleasure this year has been watching videos of the mind-melting Japanese metal band Lovebites. They have been compared to Iron Maiden and similar metal bands, which makes it all the more strange as I have never cared that particular genre. All five of these ladies are virtuosos, and Miyako Watanabe, one of the two guitarists, was a classical pianist until her late teens, when she picked up electric guitar for the first time. The live album Memorial For The Warrior Souls (2024) and the studio album Judgment Day (2023) are unrelentingly fast, in-your-face, melodic, and—yes—tremendous fun. Check them out live on YouTube and prepare to be amazed.

Myles Kennedy might just be the hardest working and (by all accounts) nicest rocker out there today, and his third solo album The Art of Letting Go is classic Kennedy—powerful, assured, dynamic, moving—with some nice little twists. His is one of the finest rock voices of the past couple of decades, but his guitar playing and song writing are just as polished, varied, and inviting.

The Smile is like Radiohead if it didn’t have all of its members–and if it released albums more quickly. Which is what it is, with Thom Yorke (vocals, guitar, bass, keys) and Jonny Greenwood (guitar, bass, keys) joined by Tom Skinner (drums). Wall of Eyes (released in January) and Cutouts (same session, released in October) are quirky, dark, strangely fun, often weird, always melodic, and never, ever boring. Yorke’s voice is timeless and Greenwood’s playing, which is always so distinctive, is a revelation. And this album comes across to me as even more jazz influenced than their debut—but never in a direct, obvious way. Great stuff!

One of my favorite country artists, Dwight Yoakam, is back with his first new album in almost a decade. Brighter Days finds the Bakersfield legend firing on all cylinders, apparently reenergized by marriage and a young son. Dwight sounds half his age (68) and his band, no surprise, is tight and razor sharp. Every cut is worth the price, with the deceptively simple “I Spell Love” getting a nod from this fan.

Speaking of artists aging well, Van Morrison continues his remarkable output, with three albums: Beyond Words, New Arrangements and Duets, and Live at Orangefield. The first is all instrumental and is enjoyable, with some unexpected quirks. The second is a solid collection, featuring collaborations with Kurk Elling, Joss Stone, and Willie Nelson, all to good effect. But the live album, recorded a few years ago, is a revelation, captures a mid-70s Morrison at the top of his powers, featuring (as usual) a crack band and some other-worldly backing vocals. It rewards repeated listens and is a notable testament to Morrison’s brilliance as both a singer and songwriter.

Brad: Carl, excellent choices. I, too, like The Smile, and I, too, (thanks to you) listened to a lot of Seal II as well! I also bought Trevor Horn’s memoir, but I have yet to read it.

Well, folks, this pretty much wraps up 2024 for us. We have a lot to look forward to in 2025. It looks like The Cure will be releasing more music, there’s a new and final season of Stranger Things, and we’ll be celebrating the 50th anniversary of The Lamb Lies Down on Broadway by Genesis. Not only is there a 50th anniversary edition of The Lamb coming out, but the brilliant Dave Kerzner has re-recorded the entire album and is offering it as a 3-cd set plus hi-res download for only $49.99, plus shipping.

Big Big Train will be touring the U.S, and IZZ will be performing some stripped down shows–maybe even in Hillsdale!

I’m sure we’ll continue to give our hard-earned money to The Burning Shed and Rita Kay Drew’s The Band Wagon USA. I highly recommend supporting both of these truly excellent business enterprises. Amazingly enough, each is competitive with Amazon, even with overseas shipping costs.

Tad, Carl, Kevin, Erik, and I wish you all a Merry Christmas (remember, we’re only on day three of twelve), a Happy Hanukkah (remember, we’re also only on day three!), and Happy New Year, everyone!

Music

Frost*: Life In The Wires Is Perfection

October 10, 2024 Thaddeus Wert

Frost* is set to release their fifth studio album on October 18, Life In The Wires, which follows the excellent Day and Age of 2021. Once again, Jem Godfrey is the prime mover, this time handling all of the lead vocals in addition to keyboards and songwriting. John Mitchell returns on guitars, with Nathan King on bass and Craig Blundell on drums. There are nearly ninety(!) minutes of music here, and it is all terrific. Not a single moment is filler.

As Godfrey explains,

“It’s actually a sort of continuation from Day and Age. The first track on the new album starts with the end of the last track from that album “Repeat to Fade,” where the static comes up and a voice says “Can you hear me?” I remember putting that in when we did Day and Age as a possible little hook for the future; a character somewhere out there in Day and Age land trying to be heard. What does he want to say? Can anybody hear him? Day and Age kind of sets up the world that this character lives in and Life in the Wires tells his story”.

The album chronicles the adventures of a young man, Naio, who lives in the near future, in a world dominated by AI. One night, he hears a voice coming out of the static on an old AM radio asking, “Can you hear me?” From that initial contact, Naio goes on a quest to find out who is the person behind the Livewire radio broadcasts. Meanwhile, the AI that runs the world, “The All-Seeing Eye”, is on Naio’s trail, trying to prevent him from connecting with the mysterious man on the radio:

You wanna take me down for hearing voices on my radio
But I have seen your way of life and, thank you, I don’t want to know
You feed the people food and fear to keep them all compliant
But I won’t play your game so now you’ll fight to keep me silent

Interspersed between tracks are nuggets of speech from Livewire Radio broadcaster: “Hey, this is Livewire, voice of the free. And tonight we’re taking calls. Heh! I’m just kidding… Hahahaha!”

That’s the storyline, so what about the music? I have to say, I haven’t been this blown away by an album in years. Day and Age was my favorite album of 2021, and Life In The Wires is even better. Jem Godfrey is the master of crafting attractive and heartfelt songs, and every song on Life In The Wires delivers. Every style is visited here: ballads, straightforward rock, very heavy rock, and, of course, prog. I have listened to the entire album at least two dozen times, and I keep finding new things to delight in.

The boys of Frost* are a mean biker gang in their off-hours. Frost Band photo by Will Ireland

“Evaporator” is an extended, upbeat, almost funky tune with a nice 80s vibe. “Absent Friends” is a gorgeous and delicate piano-based ballad that reminds me of classic Aqualung (the group, not the Tull album). “School (Introducing the All Seeing Eye)” is a blistering instrumental where Mitchell shows off his chops.

Everything reaches a climax with the final three tracks, “Moral and Consequence”, “Life In The Wires (Part 2)”, and “Starting Fires”. “Moral and Consequence” has one of the most irresistible hooks I’ve ever heard. At the end of its more than 8 minutes, I was still begging for more, until the opening chords of “Life In The Wires (Part 2)”. This track is almost 16 minutes of near-perfect prog perfection. It calls to mind the best of Abacab – era Genesis, but, to my ears, it is better produced than that classic album. The closer, “Starting Fires” is simply beautiful – a somber and sweet melody sung to some spare musical backing. It seems as if Naio has connected with Livewire, and they are going to start a resistance to the Eye:

We’re making waves
We’re starting fires
We can’t go back
to Paradise

We’re starting fires
We’re starting fires
We’re starting fires
We’re starting fires

2024 is coming to close, and so far, Life In The Wires is the Album of the Year for me. We’ve been blessed with some great music this year, in particular The Bardic Depths album, What We Really Like In Stories, but my gosh, Frost* has put together an album for the ages.

Here is the official video for “Moral and Consequence”:

Republic of Letters

Political Beats – Yes!!

July 8, 2024 Erik Heter

Our founder, Brad Birzer, recently did a two-part episode of National Review’s music podcast, Political Beats. If you are not familiar, this podcast usually features a guest and a discussion of a particular band.
For this two-parter, Brad and the normal panel discuss the career of progressive rock giants Yes, album-by-album. I’ve conversed with Brad in a group chat about the episode, and he liked my comments enough to ask me to present them here. As such, here they are, unedited save for a few interjections.

First comment, after listening fully to Part 1 and a little bit of Part 2 (in italics, my additional interjections in brackets]:

Hi Brad – I just finished listening to the first Yes episode and have listened up through the discussion on GFTO in the second episode. I loved the discussion on TFTO, and I think “beautiful failure” is an apt description, although I would also add it was a necessary failure. They found their limits on that album because they tested those limits, and I think that allowed them to be more concise and focused with their next two albums. [Tales from Topographic Oceans was Yes’s most ambitious album, and to paraphrase what Jon Anderson said about it, it was the meeting of high ideals and low energy. It certainly has some brilliant music on it but also has a lot of mindless noodling. Most of the panel thought the first and last pieces of the album – The Revealing Science of God and Ritual, respectively – were the best pieces. For my money, it’s actually the second piece, The Remembering, which holds together best (although even it suffers a little from needless padding). On that note, I think the bass playing in that piece is brilliant, often subtle and understated (not often a Chris Squire trademark), and he says as much that he was proud of that in YesStories by Tim Morse]

I also liked the observation that at times on TFTO, they were fitting the art to the format instead of just letting it flow organically. That’s one reason I’m not as down on the digital formats as some are today, because it essentially removes such restraints an allows the artist to just create without having to adapt the art to the format. I think Gazpacho’s Night is a great example of that, as I just don’t think it would flow anywhere near as well if it had to be adapted to (and possibly compromised by) the LP format. [In line with the discussion above, I think a lot of the problem with TFTO was directly related to this observation. Multiple panelists stated this album could have been better with some editing, but such editing within the limitations of the LP format would have been much more difficult.]

I would have been a slightly dissenting voice in the GFTO discussion with regard to Awaken, which I think is pure, magical, utter freakin’ brilliance and even in a catalog that includes Close to the Edge, it’s my favorite Yes composition. The production, the dynamics of the piece, the playing, the shifts in mood … all of that adds up to me as just an incredible musical journey that leaves me satisfied every time I hear it, and yet wanting more of it at the same time. [This was my biggest dissent with the panel. Not that they disrespected Awaken, but they certainly didn’t see it the way I do. Progressive rock (particularly, symphonic progressive rock) was often described as the fusion of rock and classical music, and this piece more than any exemplifies that fusion in its best form to my ears. The tone and timbre of the instrumentation here (especially with the harp and the church organ) really give it a classical feel in a way that exceeds event hat of Close to the Edge. The crescendo that consumes the second half of the piece, beginning with a few quiet plucks of the harp by Anderson is brilliance, slowly, patiently building to a powerful conclusion. Give it another try. On the other hand, I loved that they all showed so much love to Parallels, my second favorite song on this album, which features incredible playing (and interplay) among Howe’s guitar, Squire’s bass, and Wakeman’s keyboards. I had a lot more to say about this album some years ago on Progarchy, that piece can be found here.]

Will let you know what I think of the rest of it when I finished. Really looking forward to the discussions of Drama and 90125.

Second Comment after listening to Part 2:

Finished the second episode now. Definitely enjoyed the discussion and agreed with a majority of the takes. After Magnification, the only Yes album that has interested me is Fly From Here: Return Trip because of the Drama connection. Drama, BTW, might be my favorite Roger Dean cover. I love the album, although I will admit that the overselling of “Yes” on Tempus Fugit wore on my after a while (but instrumentally, it’s an incredible song). [That’s about my only issue at all with Drama, which is a great album in its own right. I share the sentiments with others on the panel that wonder what might have been had that lineup continued.]

Thought the observation that some of the ideas on Tormato were good ideas poorly executed was a good one. My pick for that would by Onward, which I actually liked much better on Keys to Ascension when Howe brought in the nylon string guitar in place of the electric in the studio version. [Onward is one of many pieces by bands I love that seem to come off better live than in the studio, and Howe’s nylon string guitar on the KTA version is the reason why here. Gates of Delirium is another Yes piece l like better live than in the studio due to some production issues (although the Steven Wilson remaster seemed to fix most of those).]

As for Release Release, I’ve always preferred a cover by Shadow Gallery (from the tribute album Tales from Yesterday) to the original studio version, as it has the punch that the original was lacking. [That song just needed to rock more. While Howe was excellently versatile in many styles of guitar, he didn’t seem to have an affinity for the kind of bone-crunching power chords that song needed, or at least he saved that for Machine Messiah on the next album]

Like you and the rest of the panel, I was pretty disappointed with Big Generator, other than Shoot High Aim Low, it was pretty forgettable. Trivia note: I heard a Rabin interview where he stated that Love Will Find a Way was a song he had originally written for Stevie Nicks, but the rest of the band wanted to keep it for themselves. [Yeah, what a disappointment after 90125. On the other hand, I loved the discussion of 90125, and was happy that nobody on the panel was such a prog snob that they dismissed the album as other prog snobs are wont to do. Sure, it was a lot different from their previous work, but it was undoubtedly Yes, and it was the kind of reinvention that only a band like Yes could pull off in such a spectacular fashion.]

If you’re a Yes fan and haven’t listened to these this two-part episode, I strongly recommend you do so. You won’t be sorry!

Republic of Letters

Collapsing Waves: The Power of IZZ

June 9, 2024 bradbirzer

Spirit of Cecilia loves the prog group IZZ! It’s always a cause for rejoicing when they release a new album, and member John Galgano was kind enough to share an advance copy with us. It’s called Collapse the Wave, and it contains some of the best music they’ve ever recorded. Brad Birzer and Kevin McCormick share their thoughts on this new set of songs.

Brad: I always love doing these with you guys. Kevin, thanks for being my partner here.

I absolutely love IZZ. Indeed, the band represents best what we try to do at Spirit of Cecilia. Art for the sake of intellectual and spiritual edification, understanding the dignity of the human person, and playing like men and women possessed by the muses. Lyrics that read like T.S. Eliot wrote them based on the theology of John Paul II and the philosophy of C.S. Lewis. What’s not to love?

Every part of the band is incredible–from John Galgano’s excellent voice and bass to Laura Meade’s rather heavenly vocals. Tom Galgano (I love that this is a family affair)’s majestic keyboards and vocals, to Paul Bremner’s astounding guitar work, to the two profound drummers, Brian Coralian and Greg Dimideli. Amazing. Astounding. “This is the real thing.”

To be sure, IZZ and Glass Hammer are my two favorite rock bands from the U.S. If anything, I just can’t believe that IZZ isn’t HUGE! They deserve to be adored and well loved. Frankly, they should be as loved here in the States as Big Big Train is in the U.K. and Europe.

I also love how the band–though unique in its own sound–reflects the loves of the members of IZZ: Gentle Giant, Genesis, ELP, Yes, Jethro Tull, and others. In other words, they readily blend tradition with innovation, no mean feat in 2024.

My own history with the band goes back over a dozen years now. In fact, I was introduced to the band by their 2012 album, Crush of Night. I’m not sure, now, how I came across it. It was probably a submission to Progarchy, and I was reviewing for CatholicVote and The Imaginative Conservative, then, too. Man did I fall in love with that album or what? To me, it was (and remains) a perfect album. Composition, lyrics, mood . . . everything rock deserves. To this day, it remains one of my all-time favorite albums. And, it was a part of a trilogy of albums, including The Darkened Room from 2009 and Everlasting Instant from 2015. A trilogy of albums! Aside from Riverside and Glass Hammer, what band does this anymore? Dang, I loved it.

And, here’s just a sampling of the lyrics from Crush of Night:

I could run only half the way

Though she loved me more than I can say

How could I falter?

How could I fall?

Though I’d remember I would not call

When I was young she said, “Pick out the toys

That you want

I’ll see what I can do

Did I take care of you?

By the way

A dollar or two can go a very long way

Use it to buy anything you want.”

The droning sound of the rosary

Etched in my heart

More than a memory

In one of my more obnoxious (or daring!) moments, I wrote the band the year I was living in Colorado (2014-2015 academic year), and they responded by sending me several of their CDs! I still remember opening the mail box in Longmont and discovering such a rich treasure trove. It meant everything to me. This act of kindness predisposed me toward the band, of course, and I immediately back ordered everything–going all the way back to album no 1, 1998’s Sliver of the Sun. If these guys were going to support me, I was most certainly going to support them.

Two other things convinced me of IZZ’s greatness. First, I bought their live DVD, simply called IZZ LIVE, and I devoured it. [If amazon.com is to be believed, I ordered it on May 4, 2013] I couldn’t believe how cooly normal (and normally cool) these people looked. They didn’t look like long-haired metal heads but like normal, professional people. I would’ve been looking at a video of my history department colleagues. Yet, what they were doing on stage was definitely beyond normal. Cool, sure. But, not normal. Extraordinary passion and talent manifests itself in that DVD. It’s still one of my favorite live concerts, and I would’ve given a lot to have been there at the recording of it. Thank the Good Lord, they preserved the show.

Second, in 2012, I had also listened to and reviewed John Galgano’s gorgeous solo album, Real Life is Meeting. I thought Galgano was as great alone as he was in his band. The man simply brims with creativity and integrity. Then, we started corresponding through email and social media. Again, Galgano stunned me as a truly genuine person. I know almost as much about Galgano’s love of the Mets as I do about his love of prog!

But, Kevin, I’ll shut up for a minute and let you jump in.

Kevin: Well this is my first exposure to IZZ. What strikes me immediately is the variety of music on this new release, Collapse the Wave. The opening, “We Are 3rd,” is an expansive track that covers a lot of prog ground in its eight and a half minutes running. The keys and drums harken to mid-era Genesis with the guitars and melody lines more-styled on Yes’s similar mid-era work. The bass lines offer an excellent grounding to the dense textures and carry wonderful counter-melodies. And then about two-thirds of the way into it the tune opens up to expose a piano ostinato and glockenspiel in tandem and highlights the lyric:

Coming to the brink of change

The past is shifting out of range

The wind is at our back

It’s a beautiful moment and definitely one my favorite sections on the record.

Musically there is a great deal of variety on the record. “We Are 3rd” and “Brace for Impact” have a relatively heavy guitar leads, but with many contrasting sections. “Brace for Impact” in particular has moments reminiscent of King Crimson’s angularities, which almost reprises in the final track “And We Will Go.” Elsewhere we hear solo piano accompanying voice in both “So Many Voices” and “Deep Inside.” The latter piece shifts into a folk-like arrangement with acoustic guitar and bass.

The title track, “Collapse the Wave” shows hints of jazz meeting Kansas at their most jam-bandish, eventually settling into an almost reggae back beat, the drums holding a tight groove. There are moments that even feel like latter-day XTC—a sound heard again later on the album in “Soak Up the Sunlight.”

I really like the acoustic passages used by IZZ on this record. The aforementioned piano echoes later in the guitar intro to “Sometimes Sublime.” They definitely know how to shift between contrasting styles and thus melding them into their own sound.

Brad: You’ve covered the music brilliantly, Kevin. Thank you! I love your analysis. I will admit, I’d not thought of Kansas and being a jam band. But, relistening to “Collapse the Wave,” I totally agree. This could be something (updated, of course) off of Leftoverature.

And, speaking of jam bands, maybe there’s a bit of Phish in here! Oh, those East Coasters. . .

I already noted this above, but when it comes to IZZ, I especially appreciate the vocals and the lyrics. That the band has three vocalists gives us a Yes “Leave It” or Yes, “All Good People” vibe. As much as I love the Galgano voices, I’m especially taken with Laura Meade. Her solo album from last year, The Most Dangerous Woman in America, remains a favorite, even though it’s a bit poppier than IZZ. It’s hard not to fall in love with her–arguably one of the greatest vocalists in rock music today.

Well, there is so much more we could say about IZZ and Collapse the Wave. But, probably the best thing we can do is recommend it. And, we HIGHLY recommend it. Yes, I’m shouting at you. It comes out in a just a few days, and you can pre-order it here: https://izzmusic.bandcamp.com/album/collapse-the-wave

What are you waiting for??? Pre order it!

Republic of Letters

The Tangent’s PO90’s “The Single”

April 10, 2024 bradbirzer

Republic of Letters

We Really Like The Bardic Depths’ “What We Really Like In Stories”!

February 5, 2024 Thaddeus Wert 2 Comments

Bardic Depths Stories

In this post, Kevin McCormick and Tad Wert discuss The Bardic Depths’ new album, What We Really Like In Stories. It is the third album from them, and it features songwriting by Dave Bandana and Gareth Cole, with lyrics by Bradley Birzer.

Tad: Kevin, it’s great to be reviewing this album with you! I know you and Brad go way back in your friendship – did you ever imagine he would someday be the lyricist for a British progressive rock group?

Kevin: Thanks Tad–great to be writing it with you as well. It was definitely a surprise when Brad first mentioned he was writing lyrics for a rock recording—we had a good laugh! But in retrospect it seems a natural step. We shared a love of the early prog music from the start of our friendship and he writes constantly, albeit in a more academic setting than rock lyrics. So it’s not as much of a stretch as you might think. One of his favorite aspects of Tolkien’s and Chesterton’s writings are their poems. And he’s a huge fan of T.S. Eliot. But I think his collaboration with Dave on the Bardic Depths albums is a great fit and I’ve enjoyed watching the development of the concepts and sounds over the years. You know, the first album started out as just a friendly experiment. Dave had some music he had written and asked Brad for a lyric to put with it.

Tad: Kevin, I always enjoy learning the “behind the scenes” details of albums, so thanks for sharing those.

Okay! Let’s talk about What We Really Like In Stories. As I mentioned, this is the third album from The Bardic Depths, and I think they just improve with every release. I really, really like this one. First, I think these are the best lyrics Brad has written yet. Every song is a tribute to an author, and taken as a collection they illustrate Brad’s love for various genres, primarily fantasy and science fiction. The title track refers to C. S. Lewis and J. R. R. Tolkien, who are responsible for two of the most popular fantasy series of the twentieth century: The Chronicles of Narnia and The Lord of the Rings, respectively. Birzer imagines them discussing their literary aims over a drink and a smoke in the local pub:

Could we write fiction
That might combine these things:
A love of history; a desire to debate the defenders of the modern world
Promote one’s philosophical and religious thoughts
Could a modern writer create art but not be over blatant?

“You’ve Written Poetry My Boy” is about Ray Bradbury (The Martian Chronicles, Something Wicked This Way Comes, The Illustrated Man, among many others), and refers to some praise that Aldous Huxley gave him. “Vendetta” is dedicated to Alan Moore, who put together the graphic novel, V for Vendetta. “Old Delights” is a delightful little song in honor of midwestern American author Willa Cather, while “The Feast Is Over” recognizes the genius of pulp writer Robert E. Howard (Conan the Barbarian stories). “Stillpoint” pays tribute to Walter M. Miller (A Canticle for Leibowitz), and the last track is about British fantasist Robert Rankin.

In other words, this is a very literate collection of songs, and they celebrate some of the greatest bards of modern times. I was an avid reader of Bradbury, Lewis, Tolkien, Howard, and Miller when I was in high school, so it is a joy to see them properly honored by The Bardic Depths. I’m not familiar with Rankin’s work, but I am certainly going to check him out now.

Kevin: Without a doubt this new album is a real step forward for the band. Everything from the songwriting, to the instrumental performances, to the production is excellent. You can see the maturation process as the band really seems to blend and complement one another so well. The vocal harmonies are tight and solid. The lead lines are powerful and expressive and carry the songs into new spaces.

I think my favorite track at the moment is “You’ve Written Poetry My Boy.” It opens with a beautiful arpeggiating twelve-string guitar evoking memories of early Genesis. But it is soon joined by an equally-beautiful soprano sax (if this is a keyboard patch it’s an extremely natural sound). The unlikely pairing dance around each other’s lines and set up the entrance to the tune proper. Again there are hints of Genesis here, but the band seems to have found a sound of their own. And I love the variety in the instrumentation–string pads, piano, organ, and I think I hear some harpsichord in there. And then mid-song there is a shift to a minor section which briefly darkens the mood and serves as a platform for a sax solo, only to pass through back to the main theme. Shifts like this can be clunky sometimes in prog bands, but TBD avoid this pitfall by carefully crafting the transition compositionally.

Overall I must say that I hear hints and suggestions of so many great prog bands throughout this album. Those hints position the album in a space that sits well with other classic recordings yet still retains its own voice. Moments of the Floyd and Supertramp peak out here and there, and there’s a bluesy hard rock sensibility in the final track, “Whispers In Space,” and some even some techno in Stillpoint. Some of the vocal work has shades of Big Big Train. But again, there is a TBD color in the sound that holds everything together as a part of the larger work.

Tad: Kevin, I knew you had excellent taste – “You’ve Written Poetry My Boy” is my favorite track as well! And that is Peter Jones on clarinet and alto sax. I too hear glimmers of classic Genesis (the Steve Hackett years) in this song, and I find that very appealing. There’s no wonder they chose this track to be the first single.

I also want to give a shoutout to Gareth Cole’s guitar work throughout the album – it is truly stellar. His solos in Vendetta are spectacular – driving, melodic, and pure. His slide guitar in “The Feast Is Over” is terrific!

To wrap things up, I think we can agree that What We Really Like In Stories is a big leap forward for a group that improves upon excellence. They seem to have really gelled as a unit – Dave Bandana, Gareth Cole, and Brad Birzer are at the top of their form as far as songwriting goes, and Peter Jones’ vocal and instrumental contributions are wonderful. I also like Dave’s vocals on “The Feast Is Over” – he’s got an “everyman” sound that is quite inviting.

Before we close, I’d like to mention how interesting Kevin Thompson’s artwork is. The style is somewhat primitive and whimsical, which complements the songs perfectly. Stylistically, it reminds me of the cover art for the Beach Boys’ Smile album. Thompson’s painting is of a cozy room with a fire blazing away, and piles of books on a table. The authors are the ones featured in the songs, and there are needlepoint hanging that spell out the “The Bardic Depths” and “What We Really Like In Stories”. I’m intrigued by the clock on the mantel: the numbers aren’t the standard 1 through 12! Instead, they run 2, 3, 5, 7, 11, 13, 17, 19, 23, 29, 31, 37.

What We Really Like In Stories is a contender for album of the year in my book. The subject matter of the songs is thought-provoking while remaining playful, while the musicianship is first-rate. This is one album I’ll be enjoying for years to come.

Here’s the video for “You’ve Written Poetry My Boy”:

Republic of Letters

Heart Land Mines, Vol. 1: Dave Kerzner’s Love Letter to the Past

January 27, 2024 Thaddeus Wert

Heart Land Mines

In this, our latest dialogue, Brad Birzer and Tad Wert discuss the new album from the multi-talented Dave Kerzner, Heart Land Mines, Vol. 1. Kerzner has been involved in many different projects, all of them excellent. Besides his solo albums, he was also a member of Sound of Contact, Arc of Life, and In Continuum. He rivals Neal Morse and Mike Portnoy in the number and variety of musical ventures he participates in.

Tad: Brad, when I read Dave’s liner notes to Heart Land Mines, Vol. 1 and saw that these were songs from the 90s that he wrote after a relationship with a girlfriend broke up, I had low expectations. But I have really enjoyed this album from the first time I listened to it! It doesn’t hurt that Kerzner has a great ear for a musical hook – “Dreaming In LA” sounds like classic Bad Company to me, but better.

This album is proggy – Kerzner’s voice has that laconic quality that always recalls David GIlmour – but it’s primarily a straightforward rock album that would be at home on an FM radio station in 1975. There’s a lot of acoustic guitar – “Back To One” sounds like an Eagles hit with its vocal harmonies. Anyway, maybe I’m emphasizing its retro qualities a little too much, but I find myself really taken with them!

Brad: Tad, thank you so much for asking me to do this review of Kerzner’s Heart Land Mines. I’m sorry to be late in replying. Since you first invited me to write this, I’ve been to the University of Louisville and back. Not quite Tennessee, Tad, but still a beautiful city and state! I gave lectures on sociologist Robert Nisbet and fabulist J.R.R. Tolkien, and I had a blast while I was there–especially seeing one of my long-time friends, Gary Gregg. He’s not a progger, but he is a brilliant guy.

As far as I know, I have everything Kerzner has released (at least if bandcamp is to be believed), and I’ve been a huge fan of his since the deluxe edition of New World came out. Wow, do I remember when that came out–I was utterly blown away by it. Indeed, that album would rank as one of my all-time favorites, and I go back to it frequently. I also really enjoyed Static and would also rank it very highly in my all-time lists. His In Continuum albums also move me and have a high place in my rankings.

From my perspective, Kerzner is ELO progged up, and Pink Floyd popped up. He has an infectious way about creating an ear-friendly riff while also complicating the matter in the proggiest fashion. And, his production is always crystal clear and fetching.

For whatever reason, however, I’ve not been able to get into Heart Land Mines. I’ve listened to it now three or four times, but it’s failed to grab me in the way that Kerzner’s previous albums have.

I will say, however, that you’re absolutely right, if this were 1975, Kerzner would be huge on Album Rock Radio. On the album, he clearly embraces the ethos and sound of Led Zeppelin, the Eagles, Bad Finger, etc.

Don’t get me wrong. I really like Heart Land Mines, but it’s yet to become a part of my being in the way that his other albums have. At this point, I’m happy to move on to his other albums and consider Heart Land Mines a labor of love, but not of genius.

Please tell me why I’m wrong!

Tad: Brad, as always, you have the perfect phrase to describe an artist’s work: “ELO progged up, and Pink Floyd popped up” is Kerzner in a nutshell!

I wouldn’t say Heart Land Mines is a work of genius, but gosh, I think it’s a blast to listen to. It serves as a reminder of how far pop music has fallen since the 70s. We both agree Heart Land Mines would be a huge hit on mid-70s AOR. Today, it appeals to a niche audience. I know, I know – in the 70s guys our age were complaining about how great big band music was, and how awful radio was!

Anyway, I have enjoyed Kerzner’s semi-autobiographical musical journey here. He took what seems to be an ugly breakup of a relationship and turned it into a very catchy set of songs. “Manic Calm” has an irresistible guitar riff (I’m a sucker for a descending scale) that I can listen to over and over. “Eye Of The Storm” is the best Pink Floyd song since “High Hopes”. And I love the way he reprises a couple of songs to pull everything together into a cohesive package.

Like you, I’ve tried to buy everything Kerzner has put out, but it’s hard to keep up with the guy! Sound of Contact’s eponymous album was near-perfect progressive rock, but it looks like personality clashes have kept them from ever getting together again. I have both of his In Continuum albums, and I like them a lot, but to my ears, neither of them have any melodies that are as memorable as some of the ones on Heart Land Mines.

I agree that Heart Land Mines is a labor of love (or maybe broken love!), but I find it to be a thoroughly pleasurable listen. Sometimes, that’s all I want or need. I’ve always had a soft spot for power pop, and if a song’s melody doesn’t grab me, I have a hard time getting into it. Kerzner is a fantastic songwriter, I am so glad he decided to dust off these old tunes and record them.

Brad: thanks for the good words and the reminder, Tad. You’re absolutely right, Heart Land Mines is a work of AOR genius, and it would’ve been a massive hit–along with Hotel California–in the 1970s. Too bad for Kerzner that he’s temporarily out of joint!

For what it’s worth, I’ve given Heart Land Mines a few more listens since I wrote the first reaction, and the album very much continues to grow on me. I would say that the album not only embraces The Eagles and Bad Company, but also, to a certain extent, Elvis Costello.

Overall, it’s a delight of influences. I even hear bits of Stone Temple Pilots and Steely Dan and other bands from the 1980s and the 1990s.

Kerzner is never shy about his debt to other bands, but these debts seem quite blatant and serious.

Regardless, I’m so glad to live in the same world as Dave Kerzner Whatever I think of this particular album, I know that my life is immensely better because of his music.

Tad: And on that note, I think we’ll bring this joint review to a close. Spirit of Cecilia readers, if you haven’t yet experienced the magic of Dave Kerzner’s music, you should check out his first solo album, New World; if you like it (and we think you will!), then Heart Land Mines is a worthy followup.

Here’s the official video for “Eye Of The Storm”: