Auktyon - Ptiza (1994)

One of the most marvelous little art rock gems to emerge in the mid 90's, Auktyon are a weird ensemble from Russia who cross Post-punk/New Wave ethnicities with strange, yet gorgeous jazz and Eastern European folk tangents. Or maybe it's polka-progcore with slicked back bangs and a pinstriped jumpsuit.

Whatever tag floats your boat though, these Ruskies have quite a bit of staying power on this 1994 release (translated as Bird here in the States and elsewhere) despite the relative inaccesibility of their material. Only one song reaches the 6 minute mark at least, which is a good thing for the ADD among your ranks! Be prepared for a straight up blast of rock instrumentation, Clash-y yet lounge-laden vocals, some wailing saxophone and a lot of traditional instruments (including a xylophone) to keep the jams movin'.

Hence, those looking for something fun, foreign and not too long will have the night of a lifetime with Auktyon!

Listen Here - "Дорога"

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Quidam - Alone Together (2007)

 

In the wake of bands like Marillion and IQ in the mid 80's, there has since arose a subgenre of progressive rock known as "neo. prog" which is characterized by a variety of things - 70's Genesis-like dramatics, lots and lots of keyboards, and an abundance of influence from more popular forms of music like pop and metal to name but a few.

Poland's Quidam, however, are a different beast entirely from most bands that fall under the neo prog. moniker. Flute, bass, beautifully melodic guitar and a rather busy drumkit are but a few of the things at play here which make for a very lively sound, an approach that honed to perfection on their final and perhaps most accomplished studio album, 2007's Alone Together. The lead vocalist has a pleasant, oceanic timbre that ebbs and flows, floating somewhere between Peter Gabriel, Sting and Scott Walker in range whilst still retaining a certain unique compatibility with both the quieter and louder tempos throughout.

Fans of bands like Porcupine Tree, Riverside, Pink Floyd or some of the more electronically influenced prog. bands out there such as Brother Ape will feel quite at home with this bunch, and people curious about how accomplished modern prog. can be shan't be disappointed either.

Listen Here - "Kinds Of Solitude At Night"

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Chris Rainbow - Home Of The Brave (1975)

One of my favorite 70's albums of all time, Home Of The Brave was a masterful collection of progressive pop songs from Chris Rainbow, a rather eclectic singer/songwriter who would later go on to relative prominence in his career as one of the several most-heard vocalists for The Alan Parsons Project.

Solo-led records with material this catchy yet varied are a near extinct species as of 2010, but Rainbow cut some fine tunes back as a young man. It certainly helps that he sounds of a helluva lot like Brian Wilson when he opens his mouth to the mic, except with a greater perchance for atmosphere at times than his more famous counterpart. Still, The Beach Boys have most definitely been a rather strong influence on this record, with particular kudos to the piano-drenched 'On My Way' and the soft-funk surf vaudevillian swagger of 'Mr. Man'. My favorite song however, is the record's emotionally stark yet lamenting 6-minute 'Glasgow Boy', which open with a rainstorm and subsequently plays out like a long-lost Beatles gem..or perhaps a reallllly good Scott Walker B-side. Quiet, yet magnificent all the same.

Enthusiasts of obscure classics, atmospheric psychedelic pop and Walls of Sound, I dedicate this post to all of you.

Listen Here - "Tarzana Reseda"

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Deacon Blue - Raintown (1987)

One of the more involving concept albums I've laid ears across in recent times, Raintown was the mega successful debut of atmospheric Scottish pop-rock ensemble Deacon Blue, led by vocalist/guitarist Ricky Ross and co-singer Lorraine McIntosh.

And boy is this one hell of a debut. Musically I've found myself reminded while listening to these guys of something like a cross between the best aspects of The Blue Nile and post-punkers The Chameleons, with shimmery Johnny Marr-esque guitar soundscapes breathing like a loud wind blowing parallel to the tide of watery keyboards. And, of course, the rough voice of Ross is contrasted against all this slickery by leading and subsequently being led through refrains courtesy of McIntosh's vocalizing.

The songs themselves are Springsteenian minatures through and through, tours that weave amidst the melancholy and occasionally heartbreaking lives of those who live in the decaying, urban sprawl of Glasgow, Scotland. 'Chocolate Girl' stands out immediately due to its punkish, steel guitar countryisms, while 'Ragman' and compositions like the title track are gorgeous slices of late 80's key-driven pop with a bit of lyrical bite to boot.

If any of these numbers or previously described features sound even the slightest bit delectable, I would suggest digging in pronto. Hare today, gone tomorrow, as the nursery rhyme tends to go...

Listen Here - "Raintown"

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Thin Lizzy - Black Rose: A Rock Legend (1979)

I'm not gonna lie bros...Thin Lizzy are probably the coolest and most underrated rock band on the planet next to Wishbone Ash, and this late 70's classic is a grand springboard into their rather sweet discography.

The magic is a combination between the soulful yet powerful delivery of Phil Lynott and the legendary guitar work of bluesman Gary Moore, but even the greatest musicians can fall flat on their faces unless the songs kick ass. Black Rose, thankfully, delivers on all counts - from the funky bassline and harmony guitar of 'Waiting For An Alibi' to the plodding snarl of the suite-esque 'Roisin Dubh', everything snaps together with collective finesse as though it were meant to be. What more could ya want?

Go hard tonight with Thin Lizzy or be square, bitches. They sound even better on meth!

Listen Here - "Waiting For An Alibi"

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Nitro - O.F.R. (1989)

An album so ridiculously full of itself that you almost want to be it, Nitro's debut 1989 extravaganza O.F.R., an apt acronym for Out. Fucking. Rageous,, is probably the best party metal album of the 80's despite it's perchance for vocals so high and over-the-top nuts that even somebody like King Diamond might as well be Tom Waits.

This record is hair metal that's been fired up to the fucking max, nuff said, from the guitars to the percussion to the songs themselves. The drums chatter toward Mach 5 at the best of moments and keep time like a sundial even at its rare sedated segueing, shining especially on the speed metal pieces like the title track and 'Bring It Down'. And in all honestly, I can't think of any other hair metal album that even comes close to touching the intensity of most of this record's material. For this, I blame the incredulously talented Jim Gillette - his pipes are beyond peer and dimension when it comes to cheese & crackers.

Listen and judge for yourselves though. Persoanlly, I think fans of that good ol' 80's heavy metal (NWOBHM, etc.) and over the top insanity will think they've hit the motherload tonight!

Listen Here - "Bring It Down"

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Kruger Brothers - Between The Notes (2009)

Want to hear a virtuoso guitar player, bassist and banjo master have beautiful duels around a campfire somewhere near the Catskill Mountains? What if the trio could sing really well on top of that? Done and done!

For that wandering Americana bard in all of us, the Kruger Brothers are here to serve. Seeing them in concert back in September was a hell of a treat too!

Listen Here - "When I'm Dead My Dearest"

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