Cняysτα Bεll - Tнis Tяαiи (2011)

David Lynch, lord and master of strange cinema and curious futurisms, has found a dark new voice to mold and craft for the early 21st century. This wouldn't be the first time he's taken a direct role in shaping sonic identities as a producer either: some of you might be aware of one of his earlier musical collaborators from his time in and around Twin Peaks, the sumptuous queen of space pop Julee Cruise and her fantastic debut outing Floating Into The Night from 1990.

Miss Bell here, however is an entirely different animal than most dream poppers, though not unlike Cruise as far as pace goes. She's skittery, tense, arresting as hell vocally and an intriguing complementary to the musical angles of dubstep and the dread heralding of early 90's Nick Cave. And when it works, it'll knock your friggin' face off: tracks like 'Bird Of Flames', for example, sounds like something Scott Walker locked up in his garage for a few decades before handing off the mix to Burial.

All in all, this is a gorgeous debut effort that evokes plenty of positive comparison with past post-punk and dream pop icons without sounding like any particular one of them, and feels refreshing as hell compared to a lot of what gets touted around on the singer-songwriter front these days. Happy Halloween folks!

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Κiиg Cяiмsoи - Disсipliиε (1981/2011)

My favorite KC album by a country mile, and wonderfully remastered as part of the 40th Anniversary series courtesy of Steven Wilson of Porcupine Tree, as well as Robert Fripp himself.

I could give you fifteen billion reasons to own this record if you haven't gotten it already. Besides the fact it's one of my favorite albums of all time that is. Lets see...the fact its a rare poster child of sorts, representing the brilliance of post-infancy New Wave merged with unparalleled proggy. complexity and melodious intent would be one. Another one would be that every song is goddamn perfect, including but not limited to the jazzy swing of ballad 'Matte Kudasai' and tribal-led transcendence of 'The Sheltering Sky'.

Or....I dunno, you could just take my word for it and give it a fighting chance?

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Kαмεloτ - Gнoѕτ Opεяα (2007)

One of the best prog. metal/power metal hybrid records to come out in recent years, which is a real surprise considering several notable commercial leanings present within. The culprit for why this works? The fact that Roy Khan and his uncanny talent to bring out ridiculous vocal power at the drop of a hat carries the singles and filler alike with ease, and the rest of the band ain't no slouch either.

I'll let the following preview speak for itself, but I really can't recommend this band (and, in the context of this post, Gнoѕτ Opεяα) enough. This band got big for a damn good reason.

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Blαck Couиτяy Coммuиioи - S/T (2010)

Debut vehicle from one of the few legitimate rock supergroups to emerge in the last decade. Unlike all-style-no-substance ensembles like the overhyped Chickenfoot and the disappointingly weaksauce Them Crooked Vultures, the all-star cast of Blαck Couиτяy Coммuиioи brings to mind the best years of Led Zeppelin with a heavy dose of progressive rock explorations and arrangement not unlike Uriah Heep or Lucifer's Friend.

Based around the lineup of ex-Deep Purple vocalist Glenn Hughes (AKA The Voice Of Rock), keyboard wiz Derek Sherinian, guitar god Joe Bonamassa and some nobody drummer named JASON BONHAM (*hint hint*), this is one record you folks don't want to let slip away from your filthy mitts.

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Toѕнiki Kαdoмαtѕu - Oи Tнε Ciτy Sнoяε (1983)

Another City-pop classic in the vein of Toshi-kun's 2010 masterpiece I posted awhile back, though this one was actually made in the decade it sounds like. Enjoy a smorgasborg of swirling synths, layered choruses, tides of bass and surf guitar and plentyyyyy of groovy post-disco drumlines for the ear to feast upon!

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Βεyoиd-O-Mατic - Τiмε Τo Gετ Up (2010)

Everything you love about 60's acid rock, space and psychedelia in all its innumerable mutations is encapsulated in this beautiful sounding vehicle of haze. Or maybe you could just crack open some Sleepy Sun into a Fleet Foxes marinade and set to Blend. Either way, you'll want to light up to this....and I don't mean just literally.

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A Flocк Of Sεαgυlls - S/T (1982/2011)

Yeah, those guys with the big hair. Yeah, the album with THAT song. Nevertheless, blending New Wave and Space Rock was a pretty rad idea back in the early 80's...and, in my opinion, still relatively fresh today. But hey, what do I know right?

P.S. - This is the 2011 remaster.

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Tнεo Tяαvis - Hεαяt Of Tнε Suи (2001)

Everyone's favorite modern prog. saxophonist decides to get cooking John Coltrane-style, ensuing in tasty treats for new and old jazz addicts alike. Yummmmz!

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Octobεя Pяojεct - S/T (1993)

Shimmering early 90's alternative folk pop-rock with a New Age touch here and there, distinguished in twelve gorgeous tracks via great arrangements, performances and the unbelievably sumptuous, yet powerful voice of one Mary Fahl. AMG (All Music Guide) gave this record a pathetic 1 1/2 stars out of 5 for "predictable naturalistic imagery" on the lyrical front, but guess that shows how much they know about good music eh?

If you like distinctive records that don't fit too easily in a box and enjoy the sort of pleasure one receives listening to classic records that even your Indie friends have overlooked, then this debut might just be the set of cuts you're looking for.

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Eяic Tagg - Drεamwalkiи' (1982)

Classic early 80's Westcoast, somewhere between Ambrosia and Toto stylistically but never anything less than warm and, as the title implies, dreamlike at times. Mr. Tagg had become somewhat popular in L.A. circuits due to his vocal contributions to guitar extraordinaire Lee Ritenour's 1981 classic record Rit, and in turn the man produced this wonderful set of songs that bring out the best in this bloke. Groovy stuff!

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Faτεs Waяиiиg - Iиsidε Ouτ (1994)

An idiom like "progressive" metal has always seemed rather silly to me, if for nothing else than I've run across more innovative metal albums without that sort of label than those bearing it. Excessive technicality doesn't always lend itself to solid songwriting nor give you a backstage pass to compelling atmosphere, so why bother puffing out your chest as if it were some kind of war medal?

That being said, "progressive" metal wouldn't exist without this particular ensemble, for better or for worse. Unlike the stream of inevitable imitators that followed in the 90's though, they've never cut a metal record since 1983 that has been anything less than listenable. In particular, I consider this 1994 release the hallmark recording of their second decade and an exciting taste of what Ray Adler and co. could do in a more melodic, less-thrashy context. Every track is a smorgasborg of blistering guitar, punctuated drumming and killer leads on both the vocal and bass fronts, and a few cuts have even become melodic metal classics as time's gone on ('Island In The Stream', 'Monument').

Immersive and surprisingly unpretentious, Iиsidε Ouτ is a gem best not forgotten in the winding annals of metaldom.

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Ѕτevε Hαcкεττ - To Wαtcн Tнε Sτoямs (2003)

Everyone's favorite Genesis guitarist has had quite the solo career over the last forty years, and is considered one of the most "technically" skilled on the planet as far as playing goes. If I were to pick out a favorite release from that vast body of wonderful work though, I'd have to go with this post-2000's sucker punch of a record. It's dark, interesting and full of a strange sort of life that gets it leaping right off your speakers.

From the gorgeous middling ballad 'Rebecca' to the proggy. pop-rock of 'Brand New' and through the industrialized Talking Heads tribute 'The Devil Is An Englishman', it's rare to see an artist at the top of his creative form at this late point in his career. My recommendation for this one is quite high fellas: Stevie's voice has gotten better with time, his playing more spastic and daring, and his influences broader as he's come of age. To Wαtcн Tнε Sτoямs is the summation of a lifelong musical aspiration to evolve and grow beyond sterility, and I'll be damned if it isn't a glory to behold.

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Jαguαяεs - El Equilibяio Dε Los Jαguαяεs (1996)

Bloody swell debut from one of Mexico's best alternative rock institutions, and probably sounds even more potent to one's ears I 'xpect if you actually know any goddamn Spanish.

Buenas noches amigos.

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Lεoи Waяε - Mooи Ridε (2008)

The man who single-handedly crafted the sound of artists such as Marvin Gaye and Minnie Riperton back in the day hits the ground running with this late-noughties witching hour escapade, complete with velvet grooves, bongo percussion, wah-wah bass and slick licks. Although our boy Ware has never been a vocal giant, jazzy Quiet Storm gems like 'A Whisper Away' and 'Smoovin' are right at the top of the neo-soul pyramid, and it's the sort of mood music that's ideal for downtown drifting. Dou itashimashite!

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