Cult of Luna by the time of this release had already established themselves as one of the “big three” of Post Metal alongside legendary bands Isis and Neurosis. They are known for their consistency and forward thinking approach. For me, they had already been a part of two of my favorite albums of all time, with Vertikal and Mariner (alongside American vocalist Julie Christmas). But their previous albums were no slouch either.
Following those two albums couldn’t have been easy, and I may have been tough on reviewing the follow up, 2019’s A Dawn to Fear and the companion EP, 2021’s The Raging River, which both did grow on me with repeated listens. But sometimes the biggest problem with ambient types of music is that it can get lost in the ambience, and forget about the song at its core. This is not the case with the shorter songs with clean vocals the band has every release for some time now, but some of the longer songs that have great riffs, but ultimately sound very similar.
Following quickly after those two releases, I hoped that this one would have a little more diversity, and while that’s not exactly what I found, I did connect with it a bit faster than with the previous two releases.
First and foremost, the album name, track listing, and album art are quintessential Cult of Luna atmosphere, so much so that you can’t believe it already hadn’t happened. For a band who has traveled musically and lyrically through countryside, cities, and even space, a journey through snow and barren lands is the perfect setting for their cold, dark, moody feel.
“Cold Burn” opens the album much like “The Silent Man” did for A Dawn to Fear and “Three Bridges” for The Raging River. It’s a driving song with brief melodic moments. But what they brilliantly do here is lull you into a false sense of security. When “The Silver Arc” comes in right after with a similar sense of urgency, you think it’s gonna be more of the same. But when it’s beautiful droning middle section complete with a bright bass tone you would hear on a record by The Cure or Tool appears, it hypnotizes you.
“Beyond I” the first surprise of the album comes at the perfect time. I shouldn’t say surprise since soft songs on their album are becoming expected, as well as guest vocalists, but they are what I look forward to since they provide so much needed contrast. Mariam Wallentin’s voice is haunting on this keyboard driven track with no drums. It reminds me of AA Williams, especially on her split with Mono. The band intelligently follow this up with the slow building “An Offering to the Wind”. With the tension and atmosphere of a Western film, the flow of the album starts to take shape, with its peaks and valleys mimicking the very landscape it describes.
After it’s epic climax, the album brings itself down again with the ballad “Into the Night”. Whereas “Beyond I” was more electronic and industrial driven, this one continues the country and western feel the band started on the previous track. It starts slow and brooding, building half way in to a full band ballad, with very unusual chord progressions. It reminds me of Radiohead almost, due to a mellotron keyboard tone, and a crooning vocal style. It is a different style for the band. Very ambient, and it shows their continued confidence in the variety of clean vocals. And while the sporadic appearances on these track listings don’t signify a complete change, this middle dip of forward thinking songs bookended by the heavier, driving tracks is what gives this album its wonderful and consistent flow.
Continuing with this thought process, the band does not just randomly pick it back up with immediate heaviness and urgency. They slowly build it up once more time with the short instrumental “Full Moon”, a beautiful blend of the country and western feel of the last two songs, with the electronic/industrial keyboard heavy tones of “Beyond I” all mixed together. The subtle changes of tone yet constant flashbacks to past themes gives this album cohesion, and flows perfect into “The Long Road Home”, which starts with some incredible slide guitar work.
Eventually the title track brings that intensity felt on the first two songs. The band really take their time on this album, in the best possible way. The title track is filled with fantastic dynamics and the production really shines on this one as you hear layering that simultaneously make you think of the cityscapes of Vertikal, the space of Mariner, and the countryside of Somewhere Along the Highway. Aside from obvious post metal references, bands and projects like Agalloch, NIN, Author and Punisher also come to mind.
“Blood Upon the Stone” the last real song and second longest song, acts as an epic closer, and doesn’t take as long as “An Offering to the Wild” to get going. Using the momentum from the previous track, it gets right into it. The extended middle section with delayed guitars, consistent drumming and subtle keyboard tones turns into an explosion of dissonant and post rock goodness. The vocals return over a repeated melody a builds to an incredible climax worthy of finishing off this group of songs. But Cult of Luna don’t leave you hanging.
The album officially closes with “Beyond II”, which is an ambient piece of drone, classical, and industrial, all mixed together. It was created alongside Colin Stetson who also helped provide soundscapes on “An Offering to the Wild”. Normally I’m not the biggest fan of instrumental ambient noise closing out an album. But after such a massive track and complete journey, I can see the need for it here. It eventually fades out, and leaves you ready to re-experience it all.
It’s always hard for a band to live up to a fan favorite. And while Cult of Luna might be in the fortunate position to not have one distinct one, they have certainly created a mountain for themselves to climb over on each new release. But the band gives off the impression that they don’t care… in the sense that they have nothing to prove, and aren’t making albums for anyone in particular. They do what they want to. Some aspects of that are new, some are what they do best. But they’re not going to completely change over night for new fans, nor are they going to stay the same for the old ones. And each new release has something new to give, but it will always sound like Cult of Luna. It’s up to you how much you want to invest in finding the differences. But don’t expect to write it off entirely as just another new album by them.
The newest album by Manchester Orchestra draws attention to its uniqueness with its album artwork. From the bright pink to the computer generated element, it continues the surrealistic element of its previous release’s artwork, bringing the black and white scheme to a more modern feel.
The music does that too.
Manchester Orchestra has expanded their sound with every release, and have definitely matured as well. Their debut feels dated, from its Polaroid album cover, to its simple production. But the band has always been driven by singer/guitarist Andy Hull’s sense of melody and unique turn of phrase in his lyrics.
Mean Everything to Nothing continued this sound, Simple Math showed its improved production with a greater focus on layering, and Hope and Cope showed the two sides of the band, the hard rock (almost sludgy) interpretations and the stripped down acoustic interpretations of the same songs.
A Black Mile to the Surface was their most cohesive album, with a flow, a mindset, and a purpose. This took their live shows to the next level. Big production, expanded lighting, and some of the most powerful and clear mixes I had heard in years. They utilized this mentality, for their next release.
This album feels like the most pop, produced, and mainstream sounding thing the band has ever done. This might be an instant turnoff for some people who will accuse the band of selling out. But with repeated listens, you realize, there is a lot to uncover.
The album was inspired by the death of a family member, and deals with acceptance, the transition of body and spirit, the afterlife, and hope. This may not be instantly apparent. Despite its more electronic focused sound, simple chord progressions and structures, and familiar techniques with vocals and keyboards, this album doesn’t immediately jump out at you in terms of catchy choruses. Andy’s usual unique lyricism isn’t as obvious either.
The band has expressed that like a movie, it is supposed to be listened to in one sitting. And because of its concept album tendencies, lyrics, themes, melodies, and ideas are repeated. That explains why it initially felt blurred together.
But their previous album had great flow and still had a strong sense of individualism for each song! So why wasn’t this jumping out at me yet?
I knew it sounded good, but after a listen, couldn’t remember any hooks.
This is because the band deliberately wanted to avoid the individualism of the songs. It truly is the opposite of its previous release. Only in understanding the flow of the album, do the themes and catchy melodies reveal themselves, and that is when the album is most enjoyable.
Starting with the big opening of “Inaudible”, the church like vocals sound huge, especially when the rest of the band comes in. This feels more like the beginning of a play, rather than a movie, and transitions into the darker “Angel of Death” which starts with the kind of wordless vocals you’re use to on the radio these days. The driving rhythm hits a big chorus, and reminds me very much of one of my favorite bands, The Dear Hunter.
“Keel Timing” is the funkiest song the band has ever done, and let’s the infectious groove be its main focus. “Bed Head” builds off of its rhythm and melodies while returning to the darker tone of the “Angel of Death” verse. The industrial and electronic tones, high harmonies, and chorus have gotten stuck in my head over and over since first listen. Definitely a highlight of the album.
“Annie” follows with a simple delivery, and brings the album down for its gorgeous first ballad “Telepath”. A short acoustic driven piece, this might actually be the first melody that sticks in your head upon first listen.
“Let it Storm” starts as a ballad that while it doesn’t get heavy, has a profound full band hit in the chorus, while “Dinosaur” has an electronic vibe that reaches a hard-hitting climax towards the end. “Obstacle” follows suit of “Let it Storm” and it’s clear there’s a deliberate reason that the album starts heavier and darker and ends softer and more beautiful. It represents the transition of life, and the acceptance. It strays from the questioning, doubt, and fear, and has a nostalgic certainty. It’s absolutely beautiful.
“Way Back” continues this and lulls the listener, not to sleep, but more like through a trip in the clouds. And this all sets up the final “The Internet”, which reminds of their previous album closer “The Silence”. While it never reaches the same climax of that one, it see similarities in melodies and lyrics, as well as it’s airy and twangy guitar tone. It ends with an allusion to “The Boy Who Cried Wolf”, something that has made appearances throughout the album.
It’s a fickle album in who it will impress and who it won’t. People who like the band already will like it with repeated listens, and people who like pop music will like it, as it is their most accessible album to that group. But to certain fans of rock who have not gotten into them yet, this might not be the best choice of an introduction. The mainstream elements might be a turnoff, and they might do better to come back to it after they’ve experienced previous albums (Cope and A Black Mile to the Surface for the rock and metal fans, their first two and Hope for the acoustic or indie crowd).
That being said, there’s enough to digest here that it is a rewarding album with repeated listens. It is fun to connect the dotes in terms of shared lyrics and melodies between songs. There’s enough to appreciate in terms of beautiful melodies, production, and thought-provoking lyrics. And these songs are gonna feel huge in a live setting.
It may seem repetitive at first, but I implore you to give the album another try if it wasn’t for you on first listen. It might not be the catchiest album they’ve done, but it is an excellent step for the band in terms of pushing themselves and will reward them with acclaim and popularity in the long run.
I explained this list in part 1, so there’s not much more to add. I would like to put a quick reminder that this is a “Favorites” list, not a “Best” list. And while how good a movie is has a lot to do with its placement, I’m also biased, and take cultural significance and current events into consideration, in addition to how much I actually enjoyed it.
The purpose of this list is to share and discover, more than to actually say what movies are better than other ones.
That being said, let’s get right to it. Starting at #22 and going down to #1.
22. Amores Perros (2000)
The first full length film by Iñárritu, and first film in his “trilogy of death” sets the stage beautifully. A fine example of hyperlink cinema, we see three separate stories interconnected, each with their own hardships and heartbreaks. It is a masterful demonstrations of the skills he has utilized his whole career.
21. Borat Subsequentfilm (2020)
Now I know what you’re thinking. Yes, this one is not better than the first one. Yes this is not better than many of the other films it’s above. That being said, this movie was so needed in the year 2020, to draw attention to how much the country had changed in 14 years. To draw attention to how ridiculous American politics had become. To remind us of a time when we used to laugh and PC culture hadn’t gone gone to its full extreme. In other words, this film was necessary.
20. Tie – In the Mood For Love (2000)
Considered one of the greatest movies of all time, it’s simple premise and compact running time allows all the focus and attention to be on the emotional state and passing glances of its two main characters. Combine that with some of the smartest cinematography I’ve seen in a while and you’ve got a love story for the ages.
20 Tie – Portrait of a Lady on Fire (2019)
I had to put these two movies together. If you’ve seen them, you’ll understand why. This recent French film has become a modern classic and fan favorite. An unlikely love story filled with subtle gazes and emotional weight. Great scenic views and matching music.
19. The Ballad of Gregorio Cortez (1982)
A young Edward James Olmos plays the titular character, based on the true story of a man who became a folk hero after a misunderstanding with the law. From the chase to the trial, this is a well-made piece of cinema, and the deliberate lack of translations to put you in the shoes of the characters was a brilliant choice.
18. The Cabinet of Dr. Caligari (1920)
The oldest film on this list, and one of the most important horror films of all time, it is known for its extensive use of German Expressionism (a style that Tim Burton was inspired by) and its unique narrative structure that has inspired legions of copycats. Still brilliant to watch all these years later.
17. The Irishman (2019)
Martin Scorsese returned to his award winning formula of Goodfellas and Casino, this time at a running time of 3 and 1/2 hours, and the inclusion of Al Pacino with Pesci and De Nero. And while the movie didn’t receive the awards to show it (unfortunately competing in the year of Joker and Parasite), it might be the quickest 3 and a 1/2 hour movie ever. I even watched it again a few days later!
16. ¡Alambrista! (1977)
The second film by Robert M Young (Gregorio Cortez) to be on this list, and another eye opening story. And while this one isn’t based on one true story, it is a story we see every day. Following a young man who crosses the border in search of a better life, it shows examples of bias, stereotypes, bilingual challenges, and occasional human kindness. Enhanced only by watching it with a woman who encountered a very similar journey in her life.
15. Shoplifters (2018)
Winner of the 2018 Palm d’Or at Cannes, this film covers many themes later explored in Parasite. But this movie doesn’t go the thriller route. Instead, this drama about family brings up many questions about the word and if “blood” is really thicker than water. Some moments of light-heartedness, some moments of tragedy. Worth every bit of praise.
14. Angst (1983)
This film was banned in Europe for extreme violence. Thankfully, it got a bit of a resurgence due to Gaspar Noe’s recommendation. Watching it, you can see many of his trademarks in it. The dark humor, the camera angels, the storytelling, the pacing. Following a recently released serial killer, we are constantly on edge waiting for him to kill again.
13. Les Diaboliques (1955)
Hitchcock fought for the rights to make the novel into a movie, but lost out to Henri-George’s Clouzot. In turn, this film adaptation actually inspired Hitchcock in the making of Psycho. And it can be felt when watching this. It is a classy, stylish thriller with elements of psychological horror that keep you guessing all the way until it’s dramatic ending. Fun for any fan of films like Vertigo.
12. The Night Porter (1974)
Twelve years after WWII, a former SS Officer and a woman who was a teenage girl in a concentration camp cross paths. What results is a movie that blends erotic drama and psychological thriller. With flashbacks to the war intercut with a country still trying to recover all those years later, it has strong political messages. It also has a lot to say about S+M, guilt, regret, and Stockholm Syndrome.
11. Knife in the Water (1962)
Roman Polanski’s first feature length film is a subtle game of cat and mouse between two men and a woman. A married couple bring a hitchhiker on board their boat for a night at sea. These are the only three characters in the film, and all the action takes place on a boat. It is a mental game and the tone changes slowly over time. And the ending leaves off with a question. Lots to say about expectations of people’s roles in life, as well as brain vs brawn.
10. Canoa: A Shameful History (1976)
Like Gregorio Cortez, Japon, and ¡Alambrista!, one of the biggest discoveries of the year for me was emotional charged and devastating movies from or dealing with Mexico. Canoa is based on a true story about students who were attacked in a small village due to fear and stereotypes. Shot in a documentary style, it is brutally raw, feels extremely real, and says a lot about politics, religion, and how blindly following can lead to massacres such as the Holocaust.
9. The Man Who Laughs (1928)
Perhaps best known as the inspiration for the Joker’s smile, it is an adaptation of a Victor Hugo novel, and feels very much like The Hunchback of Notre Dame. A romance with twinges of German Expressionism (providing elements of horror), drama, and a bit of action. It conveys so much emotion despite being a silent film. A lot of that is from the eyes of Conrad Veidt, which show joy and fear even when you can’t see his mouth.
8. Y Tu Mamá También (2001)
Alfonso Cuarón had already made three films by the time this one got released, but it quickly became his signature film. It’s blend of a road movie and a coming of age story paired with its depiction of sex helped issue in a new generation of Mexican directors that were getting attention from around the world. Some great performances including a young Diego Luba. Gorgeous cinematography and a look into gender roles as well as finding yourself.
7. Wait Until Dark (1967)
I had been wanting to watch this one forever. It was well worth the wait. A thriller featuring Audrey Hepburn as a blind woman trying to outsmart thieves in her home. Most of the action takes place in the apartment and feels like watching a play, but it keeps you on the edge of your seat the entire time. Contains one of my favorite movie moments of all time.
6. Burning (2018)
This movie messed with my head for a while after watching it. After 8 years, acclaimed South Korean director Lee Chang-dong returned with what is arguable his masterpiece. A blend of romance, psychological thriller, mystery, and drama, we follow a young man who quickly falls for a girl and fights for her attention. The pacing is outstanding, it’s well acted, has beautiful cinematography, and changes tone like it’s nobody’s business.
5. La Haine (1995)
One of the most intense films I watched this year felt right at home in the political turmoil of 2020. Following a group of friends the day after riots over the shooting of a Middle Eastern, everything is touched upon. From racism to sexism, to politics, religion, classism, age-ism. Gender gaps, gentrification, media control. From movie references to great music. You can break down every scene of this movie and find something incredible, but most of all, you can also find something current/relevant.
4. Belle de Jour (1967)
Luis Buñuel accomplished something amazing when he created a film about a sexually-repressed woman with masochistic fantasies who toys with the idea of working at a high-class brothel, and didn’t do it in a trashy way. Even at its most perverse moments, class oozes out of every scene. The dream sequences blend in a gorgeous/surreal fashion, and it is another perfect performance from Catherine Deneuve.
3. Blind Chance (1987)
I haven’t delved into Krystof Kieślowski’s crowning achievements (Dekalog/Three Colors Trilogy) yet, but after The Double Life of Veronique, I had high hopes. This brilliantly structured film introduces you to a character, shows an event, and then shows three different possible/potential outcomes. Each one has its own trials and consequences. Whether politics or religion, or love or self discovery, it challenges the ideas of fate with simple differences and simple crossovers. Would this have made a difference? What about that? Who’s to say for sure.
2. Carnival of Souls (1962)
The sole movie directed by Herk Harvey (who also plays the all-important ghoulish figure), a man more known for his work in making instructional films. And what a legacy he left. This low budget, independent horror film has inspired countless directors, especially those that have mimicked its ending. But up until that point, you are subjected to wonderful imagery, use of music, use of location, use of film techniques all whirled up in a style of a constant dream-like state. Blending shadows and nightmarish images with its simple concept, it has quickly become one of my favorite films of all time.
1. The Night and the Hunter (1955)
Putting these movies in an order of some kind proved to be a challenge. But from the start, no film could convince me to change my mind about what would be #1. As much as I loved every movie in the top 10, and especially that tight-nit top 5, this movie blew me away. The ultimate battle of good and evil, accentuated not only by the haunting performance Robert Mitchum, but by German Expressionistic influence. There are some shots in this movie that could never be replicated. Some of the most beautiful frames I’ve ever seen lie in this film. On top of the cinematography, it is smart, intense, and timeless. One of the most underrated films of all time, even despite its acclaim from people in the indus
A special shoutout to directors Ingmar Bergman (Hour of the Wolf, Wild Strawberries, Cries and Whispers, The Virgin Spring, Winter Light, The Magician, The Silence, Through a Glass Darkly), Dario Argento (Phenomena, The Bird with the Crystal Plumage, Deep Red, Tenebre), Yorgos Lanthimos (Dogtooth, The Lobster, The Killing of a Sacred Deer), Michael Haneke (Cache, Funny Games (1997), Code Unknown, The Piano Teacher), and Nicholas Winding Refn (Bronson, Only God Forgives, Pusher 1 – 3) whose films I deliberately left off to keep this list fair and even. I didn’t want to overcrowd it with too many films from the same directors, and many of them would have overtaken the top slots. I recommend checking the movies mentioned here, as some of them are incredible and worth it.
The thrilling conclusion to the my last post. As stated in my previous entry (I suggest reading that one before reading this one), I have taken liberty with some terms, and essentially combined what some would call Neo-Prog (new bands influenced by 70s Prog) and Post-Prog (bands inspired by other styles that have progressive tendencies) together to make a more cohesive list.
Aside from that, Nothing else new needs to be said so let’s get right to it! Starting at #9!
9. Riverside – Second Life Syndrome
Riverside are Poland’s greatest progressive export, and picking an album by the was actually even harder than picking one by The Flower Kings. I love every album by these guys equally. Every album so far has shown a different side of this multi-faced band. So I tried going with the one that I felt covered all the bases, while still demonstrating the Riverside sound.
Their debut Out of Myself shows the boys at their most Pink Floyd with a soft and delicate sound on most tracks. Rapid Eye Movement introduced a dark electronic sound. Anno Domino High Definition was their most compact and frantically paced, while Shrine of New Generation Slaves was their most organically classic rock. And Love, Fear, and The Time Machine is probably their best choice as most balanced.
But Second Life Syndrome will always be the essential Riverside album in my mind. Taking the ambience from their debut and adding in inspirations from Tool and Dream Theater, this album is a monster of a listen. From the iconic intro (“After”) into an all out showcase of what this band is capable of (“Volte-Face”) and then bringing it down with a beautiful ballad like “Conceiving You”, they are only mentally preparing you for the 15+ minute masterpiece that is the title track. Divided into three parts, it is everything you love about the band: relatable lyrics, aggression, emotional soft spots, and an experimental jam session.
The second half is equally impressive with another ballad (“I Turned You Down”), a progressive instrumental (“Reality Dream III”), another epic track (“Dance with the Shadow”), and the fragile but intense outro “Before”. You can’t go wrong with this insanely talented band, but I always return to this one as my personal favorite by them.
8. Neal Morse – Sola Scriptura
I already made the Genesis connection with my Spock’s Beard review in part 1 of this list. But I’ll reiterate it here. When Neal Morse left the band, they got drummer Nick to replace him on vocals. And Neal’s solo career has done as well as “The Beard” as they’ve continued on their way, like Peter Gabriel’s did. The big difference is obviously that Neal’s solo career incorporates Christian Rock, after finding Jesus, detailed on his Testimony albums. And Neal has balanced his time between Christian solo albums, and Prog solo albums, among other projects.
I know many people who get turned off by the Christian aspect, but they are missing out on some really great music. And it doesn’t get better than his concept album about the life of Martin Luther. This 4 song album contains three epics (2 of them passing the 20 minute mark) and one lone ballad. Fans of Neal’s work won’t be surprised by either. He is a master of multi-part epics with all his projects (“So Many Roads” from Lifeline and “World Without End” from Momentum almost helped pushed their respective albums on this list alone!), and his albums usually contain at least one orchestral/emotional ballad to provide a breath between all the prog.
This particular albums contains some of the heaviest riffs and moments that Neal has ever been a part of, as well as some of the most incredible melodic and simultaneously technical musicianship that you will ever come across. This is thanks to an all star cast consisting of Randy George on bass, Mike Portnoy on drums, and Paul Gilbert on occasional guitar solos. Everyone gets their moment to shine. Neal gets his keyboard and piano solos, Randy has his aptly titled “jam”, and Paul’s three sections are among the highlights.
To try breaking down each section would be too long. This album is full of memorable melodies, brilliant transitions, and some of the best performances these musicians have ever put to record (and with their extensive individual histories, that’s saying something!). I invite you to get past the lyrics if Christianity or talk of God is not your thing, because the musicianship will astound you, and Neal’s sense of composition will leave you all feeling warm inside. From the overture to the last lines of the album, this album is perfection.
7. Frost* – Milliontown
How do I follow up such bold allegations on my last review? With the brilliant debut of one of the most under-appreciated bands on this list. That being said, this band might have the most to do (besides Marillion) with the actual definition of Neo-Prog, since many of the people who have played in it have also been members of Arena, IQ, It Bites, and Pendragon. So how did Frost* come to be?
It was formed by Jem Godfrey who is more known as a producer responsible for many British #1 hits such as “Whole Again” by Atomic Kitten. But Jem showed his own chops when Frost* released this album in 2006. Frost* has changed lineups, broken up, reformed, and changed sounds on each of their albums, and while their second one Experiments in Mass Appeal might actually be my personal favorite by them (I tend to flip flop back and forth), I can’t deny the mastery of the album that started it all.
It all starts with “Hyperventilate”, a 7 and a half minute jam session with equal parts of melodies and technicality. “No Me No You” starts off almost sounding punk before going into an explosive chorus. “Snowman” is a ballad that shows that what makes this album so brilliant is the production. The songs would sound simple if it wasn’t the ever present electronic elements filling up the empty space. And the tones Jem gets out of his keyboard are unreal.
The other brilliant trick is going back and forth between John’s warm vocals and Jem’s sharp ones. “The Other Me” picks it up again, starting with some interesting blues slides. “Black Light Machine” is a masterpiece, with one of the greatest guitar solos of all time (easily a top 10 for me) and its unique multi-part structure is a roller coaster of emotions. But it all leads up to the 26 and a half minute title track, that starts with a perfect movie soundclip to set the stage, and goes through a serious of memorable sections that rivals any of Neal Morse’s 20+ minute epics. Not bad for a band’s debut album!
6. Transatlantic – The Whirlwind
What is the formula for an album to beat some of the already incredible albums on this list? Easy. You make a supergroup featuring 4 band members that have already been on this list, with other bands of course. Transatlantic is the incredible combination of Neal Morse, Mike Portnoy, Pete Trewavas from Marillion and Roine Stolt of The Flower Kings. This is their third album, and honestly, their 2nd one, Bridge Across Forever could have easily been its place. That album is structure very similar to Sola Scriptura. 4 songs, 3 epics (2 over 20 minutes), repeated themes and motifs throughout, and the lone orchestral ballad. So, why did I choose this one?
The Whirlwind is something all its own. This 77+ minute epic song is split up into 12 parts, each of them memorable on their own, but of course this album is accomplished off of the sum of all its parts rather anything individually. Every member of this band is familiar with concept albums, and every member is familiar with “suite” composition. So it’s no surprise how well all the parts fit together.
From the “Overture” and the uplifting “Whirlwind”, to the gorgeous “The Wind Blew Them All Away”. Through the jam session of “On the Prowl”, the Flower Kings sounding “A Man Can Feel”, and the Spock’s Beard sounding “Rose Covered Glasses”. And onwards through the dark and emotional “Is it Really Happening?” to the grand finale of “Dancing with Eternal Glory” and the “Whirlwind Reprise”. It is an absolute ride.
It is a band that utilizes all the strengths of all the members. All 4 provide vocals at different times. Mike’s drums sound organic and full. Roine and Neal fully take command with their alternating vocal styles as well as their well thought out guitar and keyboard solos. And Pete always knows when to shine through, either with his warm vocal tone or standout bass tone. And for those of us in the year 2020, it seems like they will be revisiting this album’s style and structure on their next album in 2021, so be on the lookout for that!
5. Steven Wilson – Grace for Drowning
Where do I start with summarizing my love for all things Steven Wilson? Most known for his work in Porcupine Tree, Steven has had a career some of us can only dream about. Between No-Man, Blackfield, Bass Communion, Continuum, IEM, Storm Corrosion, and his solo career (not to mention his guest appearance amd wonderful remixes of classic albums), he has had the ability to work with some of the greatest musicians on the planet, experiment, and satisfy all his creative desires in regards to different styles of music. From prog, to pop, to drone, he has done it all. And while his fans cry for the return of Porcupine Tree, his solo albums have pushed him into uncharted territory.
I struggled between this and Hand.Cannot.Erase, which would probably be the fan favorite. And why not? It was a brilliant concept album inspired by a documentary of a true story and contains some of the most exciting moments he’s ever done. However, Grace for Drowning is still my personal favorite, so I’m going for it.
The beauty of this album is that it is 2 albums, both around 40 minutes each. Steven listened to his own advice and didn’t make an album of emotional depth too long. Instead, he split up the songs, creating two well-crafted albums, each with their own unique flow. They both start with contrasting instrumental build ups (the gorgeous and lush title track and the haunting “Bella de Jour”, named after one of my favorite movies).
“Sectarian” is a dark and heavy jam session, showing off the chops of the incredibly talented musicians. I forgot to mention that Steven has quite the group of guys backing him up on these discs (Jordan Rudess on keys, Theo Travis on flute and sax, Tony Levin AND Nick Beggs on bass, Steve Hackett from Genesis, Trey Gunn AND Pat Mastelotto from King Crimson, as well as others). Each album has its own gorgeous title track (“Deform to Form a Star” and “Like Dust I Have Cleared From Eyes”), which are the first song with lyrics and the last song on the last album, respectively.
“No Part of Me” is an electronic based song with a dark and heavy second half. Similarly, “Track One” is an acoustic piece with a surprising dark ambient second half. “Postcard” is the typical gorgeous but sad Steven ballad. But it is the darkest moments that really set this album apart: The uncomfortable industrial sounding “Index”, the hypnotic dark jazz “Remainder the Black Dog” and the centerpiece, the 23+ minute “Raider II” about the BTK killer. Steven brilliant introduces the motif on disc 1 with its 2 minute prelude, which simultaneously acts as a break for that album. But when it comes back, it’s a full force song of heavy riffs, flute solos, anxiety raising quiet moments, and quite possibly Steven’s heaviest vocal delivery (aside from Porcupine Tree’s “Futile”).
If you haven’t heard this one in a while, it demands another spin. I guarantee, you’ve forgotten how good this one is.
4. Anathema – Weather Systems
I think the greatest irony of this album being so high is that Anathema has never considered themselves Prog. In fact, aside from Pink Floyd, the members admit to never growing up with bands like Rush or King Crimson. And yet, they constructed an album that is so perfectly a Prog-like concept album, that it became one of my top 2 favorite albums of all time. If I had to do “desert island pick”, BTBAM Colors would be my heavy pick and this would be my soft pick. Unfortunately, I had to leave behind my personal bias, and rate this fairly.
Anathema started out as a death/doom metal band, and over the years slowly transitioned from goth, to alternative rock, to this gorgeous blend of orchestral rock. Having more in common with Coldplay and Radiohead than Jethro Tull and Genesis, they released a string of albums from 2010 to 2014 that in my opinion is hard to beat. And while We’re Here Because We’re Here and Distant Satellites are just hairs below in my opinion, this album has a beauty that is just unmatched.
The overall theme simultaneously compares the the loss of a loved one with the changing of the seasons. Comparing the powerful emotions felt between two connected human being with the powerful effects of Mother Nature conjures up a ton of beautiful imagery. And the music and the lyrics work hand in hand to compliment the touchings of such a heartfelt subject. It starts with the two part “Untouchable”, in a brilliant format that they recreated on their next album with “The Lost Song”. Starting off with an in your face acoustic melody, it is a string of upbeat emotional melodies building up to a climax. When the song drops, part two comes in, and a ballad version based on the melody and lyrics is sung, first by Daniel (male) and then by Lee (female). This call and response is like a communication with the other side.
“The Gathering of Clouds” returns to the fast paced, almost frantic acoustic style and the transition into “Lightning Song” is genius. This song showcases Lee’s ethereal vocal style with some of the best harmonies and a huge ending. “Sunlight” brings it down for a bit, but the incredible balance of post rock, indie, hard rock, and folk keeps you on your toes. “The Storm Before the Calm” breaks all that with a dark turn from left field, with its hypnotic electronic element.
“The Beginning and the End” and “The Lost Child” counter all the brightness of the early songs, almost like the winter of the album. It shows their goth influence but in a more mature way than that of their early albums. They’ve got beauty, restraint, and a blistering guitar solo by Danny in the former, while the latter ends with some vocals in the stratosphere. This all leads to one of the best ending songs I can think of.
“Internal Landscapes” starts with a soundclip of a man recounting his “near death experience” before the band comes in and ties the album all together with its final lyrics, “I was always there, and I will always be there”, sending you off with a feeling of peace and hope. All in all, one of the most emotional experiences and one of the best ways to spend 55 minutes of your life.
3. The Mars Volta – Francis the Mute
One of the more well known bands on this list, The Mars Volto broke through the mainstream despite their eclectic and experimental sound. One of two bands formed from post-hardcore band At The Drive In, this new project allowed the band to branch out into more progressive territories. They famously stated wanting their debut to sound like Pink Floyd’s Piper at the Gates of Dawn, and while that’s not the album that comes to my mind, an hour long concept album was not a bad start for them!
Utilizing the incredible flow of the first album, they tried a different approach with their second album, and this is where they really shined. Frances the Mute at heart is a 5 song album, though the title track did get left off and the last song was split up on CD and Digital versions. But this album’s structure has always reminded me of another classic Prog record: In the Court of the Crimson King. So if you’ll indulge me, let me explain.
Frances the Mute starts with a bang. After lulling you in, it surprises you with its blend of jazz, hard rock, avant-garde, and Prog. It alternates between English and Spanish lyrics and has some of the most unique dynamic transitions of any album on this list. There are long ambient transitions between each song, including analog style tape warping and loops. If “Cygnus” is this album’s “21st Century Schizoid Man” with its heavy jazz, then it brings things down with its 2nd track ballad “The Widow”.
And while it may sound nothing like “I Talk to the Wind”, it creates the same effect. At heart, “The Widow” is an ambient blues jam, with a ripping solo to prove it. Things pick back up with “L’Via”, a heavy but catchy song with Latin rhythms and a haunting soft section. And again, has nothing remotely to do with King Crimson’s masterpiece “Epitaph”, they both have that middle album boost, because track 4 in both cases, are where things get really similar.
“Moonchild” and “Miranda” both start off with few quiet lyrics before extended tinkering sessions, or in Volta’s case, their attempt at a Spaghetti Western. In both cases, an unexpected hit signifies the fifth in final track; in Crimson’s case, the epic title track, and in Volta’s case, the 33 minute “Cassandra”. Cassandra might not be the band’s signature song, but it is epic beyond all belief. Flute and saxophone solos that would make Crimson happy, multi-part sections, and a fusion of genres inspired by albums like Bitches Brew by Miles Davis.
The point of this comparison is not to show that they cheated. It’s to show that despite mainstream success, The Volta’s forward thinking approach and unique combination of sounds ties everything together, just like it did when Crimson came out with their groundbreaking approach in the late 60s. This is a monster of an album and deserves to be on a list alongside more “traditional” Prog bands like Marillion. Not to mention it has Flea from the Chili Peppers playing trumpet, John Frusciante on two guitar solos, and cover art by the late great Storm Thergerson. What more do you want?!
2. Radiohead – Ok Computer
If you were to look at the song lengths of this next album alone, you’d think I was crazy for putting this so high on a Prog list. But there’s just no denying the importance of OkComputer. Radiohead is without a doubt the most well known band on this list, but have always tried to find a way to push or reinvent themselves with every release. When this album came out in 1997, grunge and Brit pop were all the rage. And while this album has elements of both, it’s progressive tendencies introduced a whole new generation of music listeners to forward thinking styles of music.
Referred to as “The Dark Side of the Moon of the 90s”, it really does feel like a revamped version of the themes tackled on that classic album. To all the things that already made us go crazy (war, time, money, literal mental illness), we could now add the growing developments of computers and the foundations of cyber wars, fear of micro-chips, chat rooms and eventual social media groundwork, as well as substance abuse of any kind of mind altering narcotic, and so much more. And the music pushed all this.
Between Thom York’s slightly off, but also hypnotic vocals and the wide range of guitar tones and production techniques, the band was in the perfect balance between their early guitar-driven rock and their later experimental/electronic phase. Starting off with “Airbag”, drawing you in gently with a slightly upbeat rhythm the way “Planet Telex” did on their previous release, it is an introduction to the kinds of weird tones and unique melodies that you’re in for. But that all changes with “Paranoid Android”.
Possibly one of the greatest songs of all time, it is a dark, nihilistic journey through 3 distinct sections with some of the best transitions I’ve ever heard in my life. Think of it as a grunge “Bohemian Rhapsody”. Not operatic, but just as exciting. “Subterranean Homesick Alien”, a play on a Bob Dylan song name, is an ethereal tune with some of nicest use of octaves on a guitar (alongside “Killing in the Name of” by RATM). “Exit Music (For a Film)” is one of the saddest sounding songs I can think of, which is unusual placement before the catchy “Let Down”, but somehow works.
“Karma Police” is a classic everyone has probably heard with a chord progression straight from “Sexy Sadie” by The Beatles. Next is a brief interlude spoken by “Microsoft Fred” (Im dating myself by remembering this) before picking up with “Electioneering”, the most rocking song on the album. “Climbing Up the Ways” is a “wall of sound” style song with elements of drone, trip hop, dub, and punk. “No Surprises” is a ballad that plays around with pop music of the 50s and 60s, conjuring up the “white picket fence American dream”.
“Lucky” is another dark ballad, with beautiful use of Mellotron sounding choirs, tremolo, slide guitar, and a soaring solo, and in that sense, probably has the most to do with Prog aside from “Paranoid Android”. It all ends with “The Tourist”, which has a slight jazz feel to it. Like the lyrics, everything “slows down” and gently lulls the listener to a full and complete stop before it is ok to take off their seatbelts or lap bar restraint. And though the songs aren’t your traditional “prog songs” it’s hard to deny the diversity and thought process involved.
With influences ranging from Bitches Brew by Miles Davis, to Elvis Costello, to REM, to PJ Harvey, to CAN, The Beach Boys, even Ennio Morricone, Radiohead (as Steven Wilson once described) “snuck up” on music journalists with ambitious albums that proved that concept albums could be cool again. And if it wasn’t for Ok Computer, we probably wouldn’t have had this next one…
1. Porcupine Tree – Fear of a Blank Planet
I tried to balance this list with influence, mainstream appeal, ambition, uniqueness, as well as personal bias. That being said, there was no way this wasn’t going to be #1. One of my top 5 favorite albums of all time, and Steven Wilson’s second appearance on this list. If Ok Computer was Dark Side of the 90s, here’s Ok Computer of the 2000s.
By 2007, Porcupine Tree had already released a string of great albums and were getting more and more popular with every tour. What once was a joke side project for Steven while he worked in No-Man had now become his main focus. In Absentia and Deadwing were already being viewed as modern classics and were going to be hard to top. But while both of those albums balanced the pop aspects with their new found appreciation for heavy metal (courtesy of working with Opeth and the discovery of Meshuggah), Fear of a Blank Planet (a nod to the famous album by Public Enemy) pushed them into darker territories.
Fear of a Blank Planet is a concept album based on the book Lunar Park by author Bret Easton Ellis (famous for Less Than Zero and American Psycho). It’s lyrics describe a lost generation stumbling around malls with no real direction in life. Self medicating with prescription pills or other forms of drugs, as well as alcohol and sex just to pass the time. It is a dark and nihilistic look at growing problems with a generation raised on social media and only knows of what they are shown. In other words, the album does justice to the Bret Easton Ellis writing style.
The 6 song album is paced beautifully, taking hints from the Court of the Crimson King structure I mentioned above. The first song is the title track, which might be the most punk rock sounding song the band has ever done. Aggressive guitar playing, in your face lyrics, a Robert Fripp style guitar solo, Gavin’s incredible drum fills scattered throughout, and Colin’s bass and Richard’s keys filling in all the empty space gracefully.
The second song is a simple ambient ballad called “My Ashes” providing breathing room between the monster third track “Anesthetize”. This three part song is “Paranoid Android” on steroids. They both start with mid tempo sections and unusual chord progressions, the middle section is by far the heaviest, with some truly crushing riffs seemingly coming out of nowhere, and the last section is the soft reflective moment.
“Sentimental” was originally going to be another multi-part song before being cut down to a second ballad to provide more rest before the last two songs. It is among the catchiest Porcupine Tree choruses. “Way Out of Here” starts out soft before blasting with a string chorus. impressive middle section, and another fantastic guitar solo. And “Sleep Together” is one of the darkest songs by the band, with its unusual sounds, Middle Eastern and Indian influence, and climatic buildup towards the end. A fitting finale.
I’m tempted to break it down more and talk about every little thing I love on it, but it is best experienced as a whole. It perfectly encompasses the pop sensibilities of bands like Coheed, Dear Hunter, Radiohead, and Mars Volta, while equally paying tribute to the Prog that has come before it. Influenced from 70s bands like King Crimson, Rush, and Pink Floyd, while balancing modern influences like Tool and Nine Inch Nails, and even incorporating electronic and industrial music like Tangerine Dream and Massive Attack. It is one of the most perfectly balanced albums I can think of.
Well, it looked like my last list caused a bit of controversy but also was helpful to a few people. So I’ve decided to speed up the process for my next list. The difference between Prog Metal and Neo-Prog Rock is essentially that while Prog Metal (as the name would suggest) is a combination of the progressive genre with heavy metal (that started with Dream Theater, Queensryche, and Fates Warning but has grown substantially from there), neo-Prog is essentially a resurgence of the classic 70s Prog sound of Yes, King Crimson, Genesis, and many others.
Neo-Prog started in the 80s with Marillion, and still continues to this day. I must admit (at the risk of losing my credibility) that I did not include albums from a lot of other founding neo-Prog bands, because they didn’t have the same widespread influence, so let me give them a shoutout right now (I’m so sorry Jadis, Pallas, IQ, Arena, Pendragon, Twelfth Night, and a few others. You all deserve better). The reason I choose to specifically focus on Neo-Prog is because…
Well… frankly…. the progressive genre has expanded so much that there are so many different kinds of Prog these days. Bands that have very different approaches and inspirations are all kind of lumped together, from Muse to Opeth, from Mastodon to King’s X, to Karnivool and Periphery, Prog has become kind of blurred. And that’s not a problem for people who are now learning of new bands that way. But for a reviewer making a list, I strictly want to focus on bands that created albums that have a very direct link to the 1970s classic Prog sound.
Now many of these bands may still have their own approach, and may have included techniques or styles that would never have happened in the 70s or appeared on a 70s album, but that’s ok. as long as the link is direct and make sense, I’ll allow it.
Also, I’ve decided to split this up into two parts because of how long the last list came out to be. So here we go! Here’s my list of the 18 essential Neo-Prog Rock albums!
18. Dredg – El Cielo
Dredg had one of the more interesting string of albums to look at (5 from 1998 to 2011). What makes them so interesting is how much they changed from album to album while still retaining the band’s character. From the harsh heavy sound of their debut, Leitmotif (which looking back isn’t too far off from that of their good friends Deftones), to the alternative rock on Catch Without Arms, to the electronic pop sound on their final album Chuckles and Mr. Squeezy.
But it was their 2nd album El Cielo that is considered a crowning achievement. A concept album about dreams and sleep paralysis, it is inspired by one of Salvador Dali’s most famous paintings. It is a diverse album with unique transitions (done mostly by a series of interludes). It ranges from pop, hard rock, and post rock influences, but is always focused. From the catchiness of “Same ol’ Road” and “Sanzen”, to darkness of “I’m Sorry But it’s Over”, and ends on the glorious high note of “Whoa is Me” and “The Canyon Behind Her”. It starts off strong, ends strong, and takes you through many wonderful places throughout.
17. The Dear Hunter – Act II: The Meaning of, and All things Regarding Ms. Leading
We continue this list with a band who is more likely to be called indie rather than prog, but that doesn’t take away from the truly progressive things that these guys are doing. Multi-album concept albums based on a story that the singer created, 9 EPs with 4 songs each based off of moods and feelings associated with each color in the color spectrum, live transitions/jam sessions between songs that would make any band jealous, and a lack of fear when it comes to attempting/incorporating new styles of genres into their already diverse sound.
Act II is the 2nd in a 5 album concept cycle. Musically and lyrically picking up where the first part left off, we follow a boy who travels to the city after the death of his mother. There he falls in love with a prostitute and encounters heartbreak, one of many tragic events in this characters life. The band compliment with hard rocking tunes like “The Procession” “The Church and the Di’e”and “Dear Ms. Leading”, vaudeville style songs like “The Oracles on the Delphi Express” and “Vital Vessels Vindicate”, progressive moments (“The Lake and the River” and “The Bitter Suite”), ballads (“”Evicted”, “Where the Road Parts”, “Black Sandy Beaches”, “Red Hands”), and even upbeat pop tunes like “Smiling Swine”.
It is a phenomenal record, worth every second of every listen, and blends genres like folk, rock, blues, and jazz like it’s nobody’s business. The lyrics are emotional and require multiple spin to full digest.
16. Coheed and Cambria – In Keeping Secrets of Silent Earth: 3
Like The Dear Hunter, Coheed is probably more well known as an indie or “emo” rock band due to the pop punk aspects of their first album. And while those aspects are still a part of the band to this day, they have more than proven their Prog credentials.
This second release (and continuation of their “Amory Wars” saga) by the band not only shows improved songwriting and production, but also longer songs, and concepts within concepts. Starting with the epic battle cry that is the title track, we are treated to a few shorter tracks ranging from upbeat happy tunes, to darker songs with great dynamics and transitions like “The Crowning”. And aside from the well-known hit single “A Favor House Atlantic”, the second half sees the band channeling the attitude of bands like Rush.
From “The Camper Velourium” Trilogy which gets darker and angrier with each song, to the two 9+ minute epics “The Light and the Glass” and “21:13”, the band shows their knack for melodies, harmonies, instrumental moments, riff-writing, chord progressions, and tie-ing stories together by bringing back motifs from earlier songs.
15. 3 – The Ghost You Gave to Me
Poor 3. This band has never been given the recognition they deserve. Perhaps they were cursed with the hardest band name to “google”. But anyone who’s seen them live knows that they are a talented group of musicians, who interestingly blend funk, flamenco, hard rock, and space rock, all in a tight package that sounds like no other band.
Going into this list, I thought I was going to put their 2007 release The End is Begun. That or 2004’s Wake Pig perfectly showcase the balance between the band’s early sound and their later darker and heavier style as well. But their most recent release (which is now 9 years old) is the most focused released in terms of their Prog side. With a string of catchy hard rock tunes, they showcase their odd times and syncopation. But the real champions of the album are “One With the Sun”, “It’s Alive”, and “Only Child”, which showcase the band’s transitions, bright and ambient tones, build ups, and songwriting.
Plus, ending with the brilliant all-encompassing lyrical ballad of “The Barrier” really brings the album closure, as it almost acts as a recap of everything the band had done so far. The world needs more 3!
14. The Flower Kings – The Sum of No Evil
Going into this list, I knew this was going to be one of the most challenging tasks: picking a single album by The Flower Kings. These prog masters not only have an extensive catalog, but consistent as well. Known for long albums, double albums (Paradox Hotel, Unfold the Future, Stardust We Are), albums that flow through like 1 long song (Flower Power, Space Revolver) it is impossible to pick an essential album by the band.
So out of pure bias, this one has always stood out in my mind as my personal favorite. The problem with most albums by the band is that with so much material and lots of short interludes, their albums can sometimes feel overbearing and all over the place. In my opinion, this is the band at their most focused. No filler. Just 6 great songs.
With only one song written by Thomas Bodin and the rest written by frontman Roine Stolt, it doesn’t have as much diversity as some of their albums do, but it is no slouch. The album is full of beauty, melody, technicality, musicianship, moments of flash, moments of much needed rest, and hints of the darker tone the band started using. This is one of the best starting points for a new fan and is still a fan favorite as well.
13. Beardfish – Destined Solitaire / Mammoth
Since this is unlucky #13, I’m gonna go ahead and cheat on this one. Actually it has nothing to do with the number and everything to do with the fact that I literally can’t pick a winner between this two. It’s not that these are the most perfect albums ever, but they are so equally matched together that it would be a great injustice to separate them. These two albums represent the band’s transition from their sprawling double albums to the dark and heavy albums they ended their career with.
Beardfish are a Swedish progressive rock band with traces of everything 70s. From Genesis and Zeppelin, to Deep Purple and Frank Zappa. Perfectly blending the hard rock elements with the quirkiness and technicality of their heroes, they reached acclaim with Sleeping in Traffic Part 1 and 2.
Both albums start with strong progressive instrumentals, “Awaken the Sleeping” harkens back to Gentle Giant and Focus, “The Platform” showing hints of modern metal like Mastodon. Both albums have their signature songs (“Destined Solitaire”/“And the Stone Said: If I Could Speak”) ballads (“Tightrope”), grooves (“In Real Life There is No Algebra”), and plenty of epics that showcase so many styles of the band. They always know when to bring it down with a short time, but there’s so any catchy melodies on these albums that it’s hard to even know how to summarize them.
RIP Beardfish. Many hopes that the world gets to see you again some day.
12. Antimatter – Fear of a Unique Identity
This might be a divisive choice. Some might say that this band isn’t even progressive. Some might say that this isn’t even the band’s most progressive album. Antimatter started out as a collaboration between Mick Moss and Duncan Patterson, formerly of Anathema. This album was the first without Duncan, and was Mick’s time to prove that he could lead the band all on his own.
He exceeded all expectations, with an album that was heavier than anything the band had done thus far. Combining the electronic, dark wave, gothic, and acoustic elements of previous albums, Mick tied it all together in a very Pink Floyd-like way. A clear and focused theme of modern life, excellent production, beautiful tones, emotional delivery, and a strong album from start to finish.
While it may not have anything to do with Yes or Jethro Tull like many of these albums do, it is a rare treat to hear such a well put-together album, and that is very 70s of Mick and the boys. One of my all time favorite albums and worthy of the recognition.
11. Spock’s Beard – Beware of Darkness / X / Brief Nocturnes and Dreamless Sleep
If you thought my answer for Beardfish was cheating, you’re gonna hate this one. Spock’s Beard is one of the most loved American progressive rock bands to be influenced by the 70s style. Coming out of Los Angeles in 1992, they had the talent, the counter-melodies of Gentle Giant, and a twisted/dark sense of humor. They’ve also been blessed with the ability to reinvent themselves multiple times.
After a string of successful albums with Neal Morse, they pulled a Genesis and had their drummer Nick become their singer. After he left, the band recruited Ted Leonard from Enchant. And so I give you my pick of the essential albums from each era of the band, because each accomplished singer deserves a shoutout for what they all brought to “The Beard”.
Beware of Darkness is their second album with Neal and the most balanced in my opinion. I could have picked any from the Neal era really because they are all so unique, but this one has always stood out to me. It features a George Harrison cover in their style, the quirky “Thoughts” which continued in parts on later albums, the epic “The Doorway”, a showcase of the band’s classical style guitar sounds, a ballad, a band staple in “Walking on the Wind”, and a heavy and epic closer with “Time Has Come Today”.
Nick took a while to fit in, if you ask me. Some of the albums drag on and don’t gel quite right. But X shows the band at the most confident that they had been in quite some time. Three epics full of introspective lyrics, technicality, and beautiful moments (“Edge of the In-Between”, “From the Darkness”, and “Jaws of Heaven”), a fun song in “The Emperor’s Clothes”, the excellent instrumental “Kamikaze”, and the remaining two or three songs (based on the version you get) are catchy and memorable. From start to finish it’s a joy to listen to.
Ted Leonard made quite the impression with his first album with the band. Continuing the confidence and strong songwriting of the previous album, it felt like he had been in the band for years. His emotional and heartfelt delivery highlighted the band’s playing. From Enchant sounding songs like “Hiding Out” and the ballad “Submerged”, to the Nick led Spock’s Beard sound of “A Treasure Abandoned” and “Something Very Strange” even back to the Neal era sound of “I Know Your Secret” and “Waiting For Me”. It even has another edition in the “Thoughts” saga.
If I had to pick just one I’d give the Neal album the nod for the classic sound, but I have to give props to all three eras/singers.
10. Marillion – Misplaced Childhood
Picking a single album from Marillion’s discography is not an easy task, and yet, Marillion fans would most likely gravitate towards this one. Despite its love and acclaim, it doesn’t truly show all sides of Marillion. The first two albums were straight Genesis worship. The next two was the band’s “classic sound”, the next few saw the band’s new singer trying to continue that sound while also trying to be more mainstream, and since then the band has balanced long progressive albums with the introspective alternative rock sound similar to U2, Coldplay, and Radiohead. And while not every album is a classic, they’ve adapted beautifully with the times.
And while I wanted to pick one album that showcased singer Steve Hogarth and all he’s done for the band, I just couldn’t pick one album that reaches the same level of acclaim of this Fish-era masterpiece. Breaking away from just their love of everything Phil Collins and Peter Gabriel, the band showed that they were competent songwriters with Fish’s emotional lyrics and Steve’s Gilmour-like solos. The first of two Marillion concept albums written by Fish, the album looks at love, success, acceptance, and lost childhood.
The album starts with the gentle and delicate “Pseudo Silk Kimono” and travels through some of the band’s most memorable songs: its biggest hit “Kayleigh”, the touching “Lavender”, the multi-part “Bitter Suite”, and the triumphant “Heart of Lithuanian”. The second side flows as well as the first side, not as mainstream but equally as memorable. The upbeat “Waterhole” and “Lords of the Backstage” lead to the epic “Blind Curve” and the album ends on a high note with the title track and “White Feather”.
I would love to do an in depth review of this one and a few of the Hogarth releases such as Brave, Afraid of Sunlight, Marbles, and Somewhere Else. For now, enjoy this album and my in depth review of Clutching at Straws, which is also on this blog spot.
That’s it for part 1. Stick around for part 2 with albums 1-9. I should have it up soon.
Sleeping Beauty is the directorial debut of Australian novelist and screenwriter Julia Leigh. Before the film, her novels The Hunter and Disquiet received critical acclaim, with the former being adapted into a 2011 film of the same name staring Willem Dafoe.
Sleeping Beauty first premiered at the 2011 Cannes Film Festival and was the first entry to be screened in competition. It was also the first Australian film in competition at Cannes since Moulin Rouge! in 2011. It was released in Australia later that year before premiering in American theaters for a limited release.
The film stars Emily Browning as Lucy who is a university student who has a number of odd jobs. These jobs range from working at a coffee shop, making photocopies at an office, volunteering as a test subject at the medical research lab at the university, and attending high-class bars in order to offer herself as a sex partner.
Later she responds to an ad and meets Clara who explains what the job will be. Lucy will be a freelance server at high-class dinner parties, but dressed only in lingerie. Down the line, she gets offered a different job. In this job, she will drink tea that will make her fall asleep, and then lie down in bed alongside paying customers.
This movie is slightly based off of a 1961 novel by Japanese author Yasunari Kawabata. That book followed a lonely man named Old Eguchi who continuously visited a house like this in hope of something more. This movie reverses the viewpoint, and in doing so is able to look at a lot of different themes and ideas will still getting to the ideas that fueled the book and the majority of its content. Because of that, this movie has a lot of heart to it.
I think it is easy to miss that because of the subject matter. People could easily dismiss it for being pornographic, but director Julia Leigh is able to capture the heart and soul of not only what Lucy is going through, but also the different reasons her customers attend these kinds of places. Looking through the minds of the male clients, is it about control, gaining something that was lost, living in something that they never had, being able to feel young again, being able to feel desired or wanted, etc. This is one of my favorite elements of the movie. This is only enhanced by Emily’s excellent acting, as she goes from a person who appears to be a blank slate (except for with certain people) to emotions that finally let out towards the end.
For being a drama, it gives off an uneasy feeling throughout, using surrealistic flowing shots and camera angles, but also by playing on a more humanistic type of horror than most things we are used to seeing from horror movies. It deserved to be as talked about as it was at the Cannes Film Festival, and the vast threshold of mixed reviews shows that the director definitely did something right. If people’s views of a film are so extreme, she did what all directors aspire to do, and that’s: get people talking.
If you have already seen this film and didn’t care for it, I highly recommend you giving it a second chance, and you might find something there that you missed before. If you have never seen the film, go into it with an open mind. Think about what the director is trying to say. A lot of people have analyzed this film, but there is always more room open for interpretation about it.
(Review originally posted by That Metal Station. Here is the link)
THE DEAR HUNTER – Act IV: Rebirth In Reprise
Rating – 9.5/10
THE DEAR HUNTER started their career with three albums in a row that all told a story about an unnamed character from birth, through adolescence, and into adulthood. The idea of a multi-album concept is very progressive sounding, and would remind a listener of bands like Coheed And Cambria. However, musically, it is hard to compare this band to others, as they blend various different styles including progressive rock into their brand of indie rock. Act III was released in 2009, and many fans highly anticipated the next installment in the series. After stepping away from the story two albums in a row, they finally returned six years later, to the excitement of the fans. The music returns to the styles seen on previous Act albums; however Act IV sees the band continue to incorporate more and more diversity into their already diverse style. At just under 80 minutes, this album goes from hard rockers like The Old Haunt and the first half of A Night On The Town to ballads likeWaves and The Line, to electronic sounding songs like Wait, to funky songs like If All Goes Well and King Of Swords (Reversed) to waltzes like Remembered, and finally to circus sounding music in all three parts of The Bitter Suite. It is nothing short of amazing how Casey and the gang are able to blend the styles in a flowing and cohesive way. Certain songs stick out much more, but it is obvious that those were intentional choices because they are what make this album interesting and entertaining from start to finish. This is definitely one of my favorite albums of the year so far, and an album that I can see myself returning to over and over again. If you have not checked this band out, do yourself a favor, because this band really knows how to consistently challenge themselves and put out quality music time after time.
After the excellent performance that happened the previous night, I was eager to get to The Troubadour in West Hollywood and experience it all over again. This time however, I would get to experience the performance of Act III, my favorite album by the band. I got to the venue around 6 o clock, and lined up with a few other fans. Many faces were quite familiar from the previous night, and I could tell that they were thinking the same about me. The friendly demeanor of the fans mimicked how pleasant they were in the line the previous night, and we went in around 7 PM. It was my first time in The Troubadour, which is pretty surprising considering I have been to pretty much every other venue in Hollywood. The fans quickly took their places. Some people grouped up nice and close to the stage, while others raced upstairs to get a great seated view. The sold event showed its true colors, as the crowd packed in nice and tight. It was significantly smaller than the previous night, but the closeness excited many people at the thought of no barriers/spaces between them and the band.
Opening the show again was Naive Thieves. For any other band, this would be a tough situation. They faced playing a crowd who had seen them the previous night, they were going to play the same setlist to the same crowd, and they are aware that most people in the venue went to both nights to see completely different sets by The Dear Hunter. Not being able to give the audience that same kind of diversity, they gave the set their all with their confidence, charm, professionalism, and likability. Cameron handled the situation by making jokes that were continued from the previous night. It was easy to see that they were much more comfortable in a smaller venue that had a bar atmosphere. Because of this, they seemed to have a much better set. The cheers from the audience echoed more, and the band could not help but smile. A highlight in the set was towards the beginning when Cameron dropped his guitar pick. My friend pulled one out of his pocket and handed it to him. Cameron responded by dedicating a song to him. There was a good vibe from both the band and the audience throughout the set. The songs/order were the same, but no one seemed to mind at all.
Having been able to overcome the difficulties of their previous week, Northern Faces made it out for their direct support slot. Many people I talked to in the crowd had never heard them before, and were looking forward to finally getting that chance. They came out on stage to the sound of prison sirens and spotlights going back and forth. It was a great introduction as the band began to play “Cops Come”. The band played a blend of indie rock that had a pop element, as seen in certain songs like “Alone and Forgotten”. It seemed like the music was very radio friendly, while still retaining the creativity that you would expect from a band opening up for The Dear Hunter. They went through their set which had a nice amount of diversity. Some songs like “Wait, Wait, Wait” were upbeat and almost danceable. Their bass player would also provide tambourine and backup vocals while both of their guitarists would split up the vocal duties. Their vocals blended nicely, as heard in songs like “Brother” The guitar tones were great, and the guitar solos had a strong blues influence. The bass also had some interesting tones, that could often time sound like a synthesizer. The last song of the set, titled “Finding Hope”, had a post-rock element to it, as it built up with a repeated phrase and uplifting chord progression. The band had the ability to get the audience to sing along with their songs even though most of the audience members had never heard them before. From the strong entrance to the strong finish, the band played an extremely enjoyable set overall and it had a lasting impression.
The crowd began to shout for The Dear Hunter, who slowly and quietly made their way onto the stage to get their equipment ready. They did not walk out to any intro music like I had originally expected to. Instead, the lights went dim, and Casey softly went into “Writing On a Wall” before the full band joined in. The energy from the crowd could already be felt. It was obvious that the setting made a big difference. Everyone began to jump around as the band played “In Cauda Venenum”. I can’t tell you if it was because the venue was smaller or because the crowd was much more excited than the previous night, but something was definitely different that night. The cheers seemed louder. The singer from the audience seemed fuller. There were more arm gestures coming from the audience. And the band could definitely feel all of this. Casey made remarks between songs about how crazy the crowd was, and how unforgettable this show was. The energy continued throughout the set during songs like “The Tank”, “Mustard Gas”, and “He Said He Had a Story”. During songs like “What It Means to Be Alone”, the crowd would sway, and it was almost impossible to not sway along with them as the crowd surrounded you. People danced during songs like “The Poison Woman”, “This Beautiful Life”, and “Go Get Your Gun”. Aside from the energy during the heavier songs, equally memorable were the ballads of the night such as “Saved”, “Son”, “Father”, and “Life and Death”. The crowd sang loudly and emotionally. It was evident how much these songs meant to the people in the audience, and reminded me of how most people were while watching Act II. Like the previous night, I felt content by the end of the album, but was very glad to know that there would be an encore. Casey came back out and performed a song from the upcoming Act IV album. However, he performed it as a solo acoustic piece, which both satisfied the audience and left them excited to hear the finished version. It was an amazing moment, and Casey seemed very happy with how the crowd responded. Finally, the rest of the band came back out, and they finished the night off with “Whisper” from their most recent album, Migrant. I thought this song seemed more like a typical encore song, and it really helped solidify how amazing this concert was.
Overall, it’s hard to compare these two nights, because they both had their pros. I’m really glad that I got to experience both albums back to back and fully appreciate how intricate and elaborate they are. The nights gave me a deep appreciation to how great a live band The Dear Hunter are. They really know when to keep the set flowing with some jam sessions, or when to take a break and address the crowd. The nights also gave me new appreciation to The Dear Hunter fans, for their dedication and respect. From the great setlists to the great openers, these two nights were a wonderful experience. It was hard facing the next day knowing there would not be another show to go to, but I look forward to knowing there will be an upcoming tour in support of Act IV.
Act III: Life and Death
Writing on a Wall
In Cauda Venenum
What It Means to be Alone
The Tank
The Poison Woman
The Thief
Mustard Gas
Saved
He Said He Had a Story
This Beautiful Life
Go Get Your Gun
Son
Father
Life and Death
Encore:
Waves (New song, performed as an solo acoustic piece by Casey)
The Dear Hunter have established themselves as being one of the more ambitious bands currently in rock music. Their style blends elements of indie, alternative, and progressive rock while touching open virtually every other style of music in the process. They are also known for their ambitious concept albums, such as The Color Spectrum, which was a 9 EP album consisting of 4 songs for each color in the spectrum. The music tackled a different musical style to elicit the feeling of those colors. But the concept that helped get them famous was their ongoing Act series. They have released 3 albums which tell the story of a character known as “The Dear Hunter”, and the band is anticipating Act IV this summer. To help promote that, the band embarked on a mini tour where certain venues got to see Act II or Act III in its entirety. Luckily, Los Angeles was one of those areas that got both, and I was able to attend back to back Dear Hunter shows to see some of my favorite albums live.
The first night took place at The Glasshouse in Pomona. I had previously seen The Dear Hunter at this venue before, so I got a brief feeling of deja vu. The line started to form an hour before doors opened (with some people getting in line 3 hours early) and the excitement could be felt by the people who associate Act II as their favorite album by the band. People were friendly and had no problem talking to strangers in the line.
The doors opened and the venue filled as people secured their spots for the show. The first band to go on should be a familiar face for any fan of The Dear Hunter. That band was Naive Thieves. Aside from the involvement of lead singer Cameron on The Color Spectrum, The Dear Hunter takes them out on tour any chance they get. This was going to be my third time seeing them, both previous times were opening for The Dear Hunter as well. They took the stage and played an 8 song set. Their music is a nostalgic blend that is reminiscent to music from the 1950s. It consists of elements of doo-wop with current indie rock. It is the perfect music to listen to on a beach and drive around in your car with the windows down. It seemed like most people were already familiar with them and knew what to expect. The crowd was filled with people singing along, bobbing their heads, or swaying side to side. In between, Cameron made chit chat with the audience and even made jokes about how they’re not used to a quiet and respectful audience because they mostly play in bars. The set consisted of some of their standard songs, as well as a couple of new songs that have yet to be released.
Up next was Brian Marquis. Originally, Northern Faces was supposed to take this spot, but they had van trouble in Utah and were stuck there for the night. Luckily, The Dear Hunter asked their good friend Brian to fill in for night, and he seemed more than ready for the challenge. He was a solo musician who played guitar and sang by himself. He also played harmonica for certain songs. What stood out most was his incredibly powerful voice. The style was indie based singer/songwriter style, reminding me of when Casey of The Dear Hunter plays solo shows as well as popular bands such as Mumford and Sons or The Lumineers. For certain sections, he would not sing into the microphone, but he could still be heard throughout the venue which is a more than decent sized room. Songs like “Drink You Up” seemed to touch the hearts of the audience, while songs like “From Boston” had them laughing the whole time. He told stories in between and even poked fun at the upcoming Dear Hunter album. It was a great set, and it was great to see a bill where all three bands were friends.
Finally, it was the time that everyone was waiting for. The Dear Hunter took the stage, and began their epic album, Act II: The Meaning of, and All Things Regarding Ms. Leading. The band walked out to the intro music from the album and went straight into “The Procession”. The band has always been extremely tight live, and I have always admired the ability to jam between songs. This gives their concerts a flowing feeling instead of awkwardly stopping to talk to the audience. However, seeing the band play an album in its entirety took that to a whole new level. They were all focused on getting ready for the next track, and used the ambient or jam sessions to tune. There were only a handful of breaks where Casey would ask the audience how they were doing and mention that Act IV would see a summer release. The band flowed through favorites such as “The Oracles on the Delphi Express”, “The Church and the Dime”, “Smiling Swine”, and “Red Hands”. But it was the epic tracks like “The Lake and the River” and the entire “The Bitter Suite” which showed the strength of the songwriting. The technicality with the engaging melodies really transcended well live, and helped create an atmosphere like no other. The fans sang every lyric throughout the album, and would get excited as every knew song started. Many fans were excited to hear songs that have never been played live before such as “Dear Ms. Leading”, but I was extremely excited to hear one of my favorite songs by them, “Black Sandy Beaches”, performed as a full band, something I had never seen before. But the time the albums closer, “Vital Vessie Vindicates”, was played, I couldn’t believe that the journey had been complete. I was feeling content, but luckily the band came back out for some encores. The first one was “Bring You Down” from their most recent release, Migrant. The second one was “Home” from the White EP of TheColor Spectrum. Casey acknowledged that it wasn’t the obvious choice for an encore, but he felt that it was the most fitting. I have to agree with him. It left me feeling really good, and left me feeling really excited about seeing them all over again the next day. Casey asked how many people would be at the next show and it seemed like the whole room. In conclusion, leading up to this show, I was more excited to see Act 3 than Act 2 cause I liked that album more. But this show really made me fall in love with Act 2, and now it is a much harder decision to say which album I like more.
Act II: The Meaning of, & All Things Regarding Ms. Leading
The Death and the Berth
The Procession
The Lake and the River
The Oracles on The Delphi Express
The Church and the Dime
The Bitter Suite 1 and 2: Meeting Ms. Leading and Through the Dime
View of the Sunrise 