REVIEW: Riverside - Shrine Of New Generation Slaves (2013)

Progressive Rock: a genus of rock n' roll which embodies instrumental, lyrical, compositional....progress through complexity I suppose. Bombastic suites, time changes, jazz and classical progressions: this is how we've boxed in many a great band since the style's heyday of the early-to-mid 70's. And yet this definition has been changing ever since the 80's: more kids today have been introduced to the "proggier" side of alternative musical styles by bands like Porcupine Tree, Muse and The Mars Volta since Y2K as opposed to Yes or Van Der Graaf Generator. These newer bands are simply better at incorporating other contemporary styles into the classic prog. rock architecture, and that's what moves merchandise. Overall result? The 2000's and beyond have been kinder to the genre than any other decade since the golden era, if not downright affluent.

And yet, we are living in a musical era where the old becomes new and vice versa, a trend never more prevalent or clear to see than in Poland's top progressive rock export, the magnificent and ever prodigious Riverside. Their Reality Dream Trilogy of albums (Out Of Myself, Second Life Syndrome and the particularly fantastic Rapid Eye Movement) are considered to be contemporary classics in the early 2000's 'nu-prog' canon, with each album being a vehicle for the gorgeous vocals of Mariusz Duda and his psychedelic blend of alternative rock atmospherics with a certain edge more akin to modern metal groups like Tool or Deftones.

So here we are in 2013 with long awaited opus Shrine Of New Generation Slaves (or S.O.N.G.S.), an absolutely gorgeous LP sitting somewhere between a condemnation and a concept record, a way station for sounds and ideas heading towards the modern world from an antiquated small town somewhere far behind where people still sing about fairies and jam on Hammond organs. And boy when it works.....you can hear the Earth's crust shifting beneath your speakers.

The past is inescapable, and its hard to deny that Pink Floyd is all over these wicked songs by accident, design and perhaps well-meaning coincidence. Less drugged out spaciness, more snow blind melancholia and the sort of luscious guitar contemplations that paint a sky grey, but I digress. The title track is bluesy, repetitive, and even fires up a bit about midway through. The blood really starts flowing when we come to 'The Depth Of Self Delusion' and 'Celebrity Touch' though: the former is chill yet armed to the teeth with a bassline that could crack concrete and the latter is a woodland headbanger with a killer chorus and some beautiful bridges to burn. What's not to like?

By the time we get to album anthem 'Feel Like Falling' and very dreamy 'Deprived (Irretrievably Lost Imagination)', I'm goddamn elated. Mariusz goes into falsetto of all things on 'Falling', and they bring in some glorious saxophone on the last couple of minutes on the latter of these two tracks....and I'm just wondering why the whole world can't be celebrating this album as much as I want to when these fantastic songs sweep over my room.

We close off S.O.N.G.S with a suite-de-grace in the form of 'Escalator Shrine' (which is what you're seeing on that thar album cover if I'm not mistaken). It's the penultimate statement of the record, a 12 minute promenade of lip-smackin' guitar solos, spacey Hammond mediation and enough jam to soak your toast from crust to crumble. Whew!

I could have asked for a better album to start 2013 off with nor a more splendid collection to introduce other people to the musical institution that is Riverside. Go buy the damn thing: they deserve every penny for something of this caliber.

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REVIEW: KingBathmat - Truth Button (2013)

From the ominous looking logo to the gorgeous, yet heavy psychedelia that characterizes their core sound, KingBathmat are as good a heir to the early 70's heavy metal throne as any contemporary group I've had the pleasure of knowing in the past: think Black Sabbath colliding with the pop sensibilities of a group like Jellyfish or ELO with the force of a cannon fired, tabasco-studded enchilada. The result is delicious, messy and glorious all at once. 'Dives And Pauper' zips along its Eastern scaled riffage and rolling drum work, beating to the ticking of a clock and some nifty synthwork throughout, whilst opening number 'Behind The Wall' might be the best lead off epic I've heard in years.

Technophobia may be the thematic order of the day here within Truth Button and the tunes that comprise it, but these boys certainly know no fear in studio: the album sounds beautiful, and the mixing is a thing of wonder as well. Furthermore, the songs are mindbendingly magnificent, melodic without an ounce of compromise on weight or intensity: such characteristics almost seem like an endangered species at times, even in today's oft crowded world of modern progressive rock.

2013 is already looking up in many a genre, but this release sits right up there with the best of it. Go get it!

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Aмвяosiα - One Eighty (1980)

Whilst not as overtly progressive as this group's legendary self-titled from 1975, this turn-of-the-decade LP is probably their best pure Westcoast record: the biggest singles from here, 'You're The Only Woman' and 'Biggest Part Of Me', are both gorgeous FM radio staples and rank as two of the best songs to come out of the entire damn genre during its heyday. Their grand, proggy past rears itself on a number of great other songs too though, as the killer bass groove of 'Livin' On My Own' and the eerie keyboard chug of 'Kamikaze' demonstrate in spectacular measure.

Essential listening for fans of both Westcoast pop and crossover progressive rock!

NOTE: The below video is just the best I could find. My upload is a CD rip, not vinyl.

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DOCUMENTARY: Prog Rock Britannia - An Observation in Three Movements

Bloody excellent documentary detailing the golden years of Progressive Rock in the U.K. from the late 60's through the late 70's. 'Tis a bit lengthy I admit, but nevertheless a fascinating journey into a much-maligned genre.

Statε Cows - S/T (2010)

A dyed in the wool Westcoast classic for the modern age, at times even outgunning the big dogs in the genre from years past like Steely Dan and Toto in the songwriting department. We certainly are living in strange times though -- Swedes and Nords now do everything from jazzy pop to glam metal better than the country those genres originated in!

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Gabriel Bondage - Angel Dust (1975)

Acid-infused progressive folk rock (the Californian sort) from the decade where such things were almost fashionable. The space rock and jazz influences that work their insidious magic through these arrangements make this something of a cult classic in my eyes, but let the cards fall where they will.

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Brαiи Police - Beyoиd Tнe Wαstelαиd (2006)

Hailing from the vulcan shores of Iceland and picked up by an independent American label back in 2005, these aren't your ordinary Police, no sirree! This fantastic debut is a fine honed arbalest of rock and wailing thunder, invoking at times the souls of more well known ancestors such as Atomic Rooster and Led Zeppelin, yet retaining a specialized gallop that makes them unique in a world full of bands who rumble and quake as hard as anyone in the last century.

Treasures such as this album are peerless things, styles aside. They pulsate, resonate, stand their ground no matter what era somebody decides to pluck them from beneath the layers of silt and forgotten press. Songs such as 'Mystic Lover' and "Thunderbird' would kick just as much ass on radio back in '75 as they would in 2012, and that should be good enough for all and any sceptics.

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Uиitopia - Aяτificiαl (2010)

One of the best progressive rock bands on the planet today happen to be Australian, led by the charismatic, Gabrielesque tone of Mark Trueack, eclectic soundscaping (think the pop sensibility of The Alan Parsons Project colliding headlong with Rush) and, in the context of this particular album, a surprisingly literal take on the concept of an overly-artificed world that has alienated your average person due to excessive technological and multimedia innovations and associated baggage.

Fans of modern progressive rock with big ideas, assloads of sax and a surprisingly immersive sense of songwriting, the line starts here!

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Single Mothers - Indian Pussy (2012)

Primordial, filthy and sounding like something fresh out of an archeological dig for some kind of badass Californian pharaoh, Single Mothers are an L.A. act (led by singer-songwriter Harry Cloud) who are pioneering new, whacky ways to grind your brain to mush with their bizarre, yet beautiful take on buzzed out, modern day psychedelia.

Sonically, there's a billion comparisons but no true parallel within these seven cuts. There's a haziness throughout that brings back fond memories of everyone from Sleepy Sun a few years back to Kyuss, the Melvins... and even some of the more bizarre collectives out in Japan such as Acid Mothers Temple and Ghost. Unlike some of these aforementioned acts however, Cloud and co. never repeat themselves, and demonstrate diversity without fail: 'Tae's Watch' is comes across as gloriously pastoral despite some spaced out vocal madness early on, culminating in a blissful guitar solo in the second half of the piece, while instrumental 'Drowning' oscillates waves and waves of distortion that slowly gives way to soaring, choral serenity that soars above the noise.

My favorite cut, however, is the anthemic, chest-thumping 'Helicopter', a song that sounds straight out of the mid 90's in the best way possible. It's marijuana-laced pond scum with a pop sensibility, and I can think of a thousand bands out there who'd have killed to write something this good.

While I'm sorry to say I've never been to L.A., bands like Single Mothers keep giving me reasons to go and stay for a show, and that's not something I can say for just anyone.

Don't wait. Get this NOW...or regret it later!

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Hobson's Choice - New Horizons (1996)

Very obscure American (New Orleans specifically) progressive rock gem from the late 90's that holds a special place in my heart: I ran across New Horizons on accident as a sophomore in high school, a time in my life when I knew very little about music beyond what my friends found on MySpace or heard on the radio...and, alongside the output of bands like Camel and The Alan Parsons Project, it was quite a revelation to these ears of mine!

Sonically, it comes off as a rather thoughtful take on territory previously delved into by Yes, Gentle Giant, and some of  the U.S.'s more interesting 70's progressive rock highlights such as Starcastle, Mirthrandir and Cathedral. That being said, these guys are very much their own beast: the arrangements lean closer to jazz-fusion in places than the high-strung art rock of their influences, and are never anything less than intriguing. While only seven tracks in length, they're all classy and interesting: in particular, 'Raging Sun' is simply superb, a stirring opening number that builds into a gorgeous guitar crescendo about halfway through, while the piano led 'Steps Of Eight' and infectious title track exemplify what I like best in prog rock: twists, turns and oodles of harmony.

These fellas didn't make so much as a splash when they released this album back in '96...not even in the progressive rock community. However, it's a diamond in the rough and a shining example of what happens when good bands get even better ideas and decide to record something interesting with 'em.

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Jasper Wrath - S/T (1971)

Now here's something quite special: one of those rare, mandatory American progressive rock releases from the golden 70's, and a swell place to begin one's journey into the fascinating, labyrinthine discography of singer/songwriter/multi-instrumentalist Jeff Cannata, a very talented fellow who would do quite a few interesting things in the AOR world in the late 80's/early 90's...but that's a story for another day!

Jasper Wrath take the (then) commonplace psychedelic proto-progressive remnants of late 60's whimsy into some rather interesting places for good ol' 71: there's more flute here than a jazz act covering Tull, and in conjunction with the hazy America-inspired harmonies and occasional electronic sequenced (?!) rhythms on bong-burning tidbits such as 'Drift Through Our Cloud', you've got yourself a real diamond in the rough!

Fans of progressive folk that sizzles and smokes, early Kraftwerk and bands such as Caravan and Camel, this is a record that comes with my most sincere blessings.

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REVIEW: The Residents - Coochie Brake (2011)

Around the time that psychedelia was falling out of sorts across the world, there was an emergent force out of the deep bayous of Louisiana who traveled north and west, perplexing the world wherever they went and leaving only mystery and awe upon disembarking from the latest wharfside gig. If The Beatles had changed the way the world saw music from the outside in only a few years before Flower Power met its demise, then this band was shifting new terrain from the inside out...crawling out and about dimensions alien to all but a receptive, whimsical minority.

Since 1969 and counting, an anonymous eyeball-donning outfit known as The Residents have been and still remain the greatest enigma in today's musical world, the godfathers of all that's strange and outside convention in the world of rock n' roll. Sixty-something albums, countless live recordings and many a world-tour later, we are living in the second decade of a new century, and these strange beings from a time before most of us were born continue to dazzle new generations unabated by changes in sonic fashion or whatever major labels decide is worth trending.

It stands to reason, then, that last year's Coochie Brake (the titular marshland where this band supposedly spent their youth) may be the first time any relatively normal music-faring individual has encountered this esoteric ensemble...and they couldn't have found a better starting point.

To elaborate, The Residents only create (basically) two kinds of albums: those which are satirical in nature and/or those which tell some kind of bizarre, sometimes unfathomable tale. Enthusiasts of this bunch will regale you with praise upon their 70's period, the decade where some of this group's unquestionable classic additions to the canons of avant-garde rock were unveiled and released (the ambient histrionics of Eskimo, the unsettling Not Available, the synth-haunted Fingerprince), all of which were concept albums. Coochie Brake continues that tradition via an untypically semi-autobiographical account of the band's beginnings in their swampy homeland.

And it's a hell of a trip, like a dream you were thoroughly immersed within before the waking world reeled you back into the open air of day-to-day sense & logic. Sludgy guitars straight out of the fevered murk, horns, glittering electronic landscapes that juxtapose and enhance the production, topped by menacing monologues echoing above the dim, rich mixture in...Spanish? Guttural mantras reverberate like flesh-formed didgeridoos, and it's all so deliciously voodoo and indifferent to anything the group has done before, much less what anyone else is doing musically at the moment.

It's weird to the point of obsession, and richer than anything this one-of-a-kind act has done in decades. You could die happy with just this on repeat, cycling unto eternity as vague aspirations disintegrate with dawn's untimely arrival at your windowsill.

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Thε Gяεαtεst Show On Eαяth - Horizons

Early jazz-rock progressive crossover stuff, kind of like a more psychedelic Chicago or BS&T taking on Emerson, Lake & Palmer songwriting conceits with a West Coast twist. Tasty!

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REVIEW: Storm Corrosion - Storm Corrosion (2012)

41 years ago, at the dawn of the age of all things progressive and weird in underground music, there was a band out of Kent called Comus who recorded & released a strange little record, titled First Utterance, to a lackluster market despite enthusiasm from people such as a then-coming-into-prominence David Bowie. It was an arcane, mad, even frightening album at times: the roars and blistering raw lyricism of Roger Wooten, in contrast to the strange, off-kilter acoustics and ethereal woodwinds, made for the kind of legendary release that only comes around in a genre once in a blue moon, and all you need to do is punch in the album at a site like RateYourMusic to see just how many people appreciate it's disturbing brand of acid folk in the realms of all things rootsy and stripped down.

Around the same time as First Utterance hit shelves (few as they were), singer/songwriter Scott Walker had begun to gain something of a cult audience thanks to his increasingly haunting take on baroque folk & pop with albums such as Scott 3 and Scott 4. The man has continued his decent into musical madness over the last few decades, has legions of fans across the world, and was even the subject of a documentary back in 2006!

Why is it, then, that when two individuals as prominent as Steven Wilson (Porcupine Tree) and Mikael Akerfeldt (Opeth) come together to make a wonderful, wonderful album that stands just as tall as the classic stuff I just mentioned, they get slapped around with negative reviews across the blog and review sphere by the very same type who are just as quick to praise the ghostly tuneage of the distant past?

In an age where music has become so pathetically disposable in the mind of your average listener and attention spans have waned to the point of oblivion en-masse, this record serves as 2012's ideal musical litmus test for the initiated and uninitiated alike: the people who get it will be in for a treat beyond treats, and the rest will simply shake their heads in bemused, even disappointed confusion.

From my perspective, Storm Corrosion is a modern day encapsulation of that part of the 70's that a lot of people don't appreciate like they should, the kind of esoteric, pitch-black self indulgence that either alienates your sensibilities...or sets them on fire in a way few LPs can. These six cuts, orchestrated and led by Akerfeldt's ever immersive guitar work, emanate a black forest from your speakers that lets in only a sliver of sunshine at the best of times: you won't see much unless you give yourself time to let your eyes adjust.

As the old idiom goes, there is nothing new under the sun: all that has been done has already been done. There will always be evil-sounding baroque folk that seems aimless to someone more accustomed to listening to Blink-182 or whatever Pitchfork is currently on board about. But when people lack knowledge and cannot contextualize or step back, you can bet that gems like this will get swept under the rug and given a poorly-labeled reputation that scares away new audiences who might very well love the music at first stream.

Unplug from the media machine and let this sucker spin without preconceptions, because Storm Corrosion defies the temporary and boils like a dream come true. Your mileage may vary, but this is a sonic experience that was built to last.

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Sυиbiяds - S/T (1971)

Jazz-fusion and Krautrock are known for occasionally coalescing into brilliant crossover bands and projects when the stars are right, but Sυиbiяds's uncanny craft with flute/guitar emphasis at the height of the early 70's is the kind of reckoning you need to hear to believe. Remember to pick your jaw up off the floor before you go!

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Dя. Joни - Locкεd Doши (2012)

I won't be the first to say this, but the good voodoo doctor has proven to be a fine musical cure to many a folk's musical malaise over the decades: got a taste for some jazzy Happy Hour blues? 1978's City Lights cleans your clock all nice and spiffy-like. Feeling strange and swamped? '71's The Sun, Moon & Herbs will haunt you long after the thunder stops a'rollin'.

That being said, The Night Tripper really outdid himself here. A fresh, young ensemble cast brings the spookier elements out into the open against a plethora of bone-tight grooves and plenty of other meaty embellishments that, if nothing else, will take you out of your head and deep into the bayou where you belong. Monstrously good!

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Bluεs Cяεαtioи - Dεмoи & Elεvεи Childrεи (1971)

There ain't no cure for the summertime blues, but there's more than enough ironclad acid-blues rock to go around on this excellent proto-prog. proliferation, not unlike a more straightforward rarity that belongs to a grand pantheon previously populated by the magnificent Flower Travellin' Band and Black Sabbath.

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Aмвяosiα - S/T (1975)

Mixed and partly produced by the legendary Alan Parsons, this glorious sun-dazed West Coast progressive pop debut is not only one of the best albums of the 1970's, but remains one of the best art rock crossover records in the entirety of recorded music history.

Intriguingly, although outfits like The Alan Parsons Project and Toto would be influenced by this album's sound to a substantial degree in the second half of the 70's, nothing sounds quite like it before or since. 'Nice, Nice, Very Nice' sports an addictive groove and some Kurt Vonnegut derived lyrical content, resulting in one helluva good idea, but it's on fine-tuned cuts like 'Holdin' On To Yesterday' and strange sprawlers along the lines of 'Drink Of Water' and 'Mama Frog' where this band's uncanny talent at blending killer melodies with proggy pathos is unveiled to a glorious maximum.

Many albums come great, yet will not last long in the grand scheme of things. An album this perfect, thankfully, doesn't seem to have that kind of problem. It's a tried and true American progressive rock classic, and still just as distinct and wonderful sounding today as it was nearly forty years ago.

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Hαшkшiиd - Spαcε Bαиdits (1990)

Another vacuum packed classic from the lords of space rock, complete with a (then) fantastic new frontwoman Bridget Wishart. Unlike past releases though, this one emphasizes atmosphere and post-punk obstrusiveness in favor of shredding asteroids to dust with amp n' axe in hand. That being said, the opening 9-and-a-half minute astral grind of 'Images' is worth the price of admission in and of itself, a classic in all but name.

Although this album's reputation is one that is unfairly maligned, more astute listeners will give it the attention it deserves and let those solar winds take them for the ride of their lives.

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Boввy Lylε - Tнε Gεиiε (1977)

Smooth groovin', tripped out jazz-fusion masterpiece from the late 70's, complete with psychedelic keyboard ebb/flow and space horns! Easily on par with the best of Lonnie Liston Smith as far this sort of vibe goes, so don't pass it up!

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