In The Name of God (Aragon, 2004)

I do think Aragon are an underrated band. These Australian musicians (all born in different European countries) surely like traditional neo-prog atmospheres and melodic songs, but they also know how to write and perform excellent songs, like this "In The Name of God", taken from their 2004 album "The Angels Tear". The acoustic first half is a beautiful and peaceful moment, based on warm and charming chords. The keyboards rise up slowly and the song gets deeper and depper, until the guitars come in for the "rock break".

"The Angels Tear" was the sixth album by Aragon.

The final section is more diversified, but still is down tempo and melodic, with an acid twist here and there. Really, I find  here some 9 minutes of musical pleasure, crowned with the sax solo between minute 7.30 and 8.00... so good! And what about the final gilmour-esque guitar/sax interplay? Well, it tells me: "quick, play this once more!" I'll surely obey.

პროლოგი / Prologue (სინათლის წელიწადი / The Light Years, 2004)

I was simply fascinated when I came to listen to this band (their original name shold be pronounced Sinatlis Tselitsadi) from Georgia (the European Georgia, not the USA State) and especially to their debut album called " გზა ცისკენ " (pronounced Gza Tsisken and meaning "Sky Way"). At that time of their career those musicians were far into Symphonic rock and I reckon the entire album is worth your attention, so I put its Prologue here, as it announces all their best features.

The Light Years were a sextet in this album.

 

You'll surely appreciate a captivating recurring riff, some spacey keyboards, a syncopated bridge à la Kate Bush and a heartbreaking string section formed by two violins and one cello. The changes are all well found and even better done, and this opening track creates an electric expectation mood, surely the best viaticum for the following songs. I really like this intro and the whole album... too bad the band decided to get into some major sound changes in recent years! Well, artist must choose freely their own way... I certainly will listen to their future works.

Harvest of Souls (IQ, 2004)

Taken from the album "Dark Matter", this long suite is another IQ's track I listen to from time to time and I like each time more. First of all, there are excellent melodies sung by Peter Nicholls with his peculiar and sensitive voice, then the instrumental sections are all enjoyable and each one adds a different point of view to a manifold and touching picture. This suite is divided into six sections, rather diverse in tempo and in mood. The first one, First of The Last, has an early Genesis, liquid background on which it flows with grace.

"Dark Matter" surely is among my favourite albums by IQ.

The following sections liven up the song or take it back a fairy mood, but always change something and enrich the song. The large amount of vintage instruments is another special feature of "Harvest of Souls", but - as I said before - the best thing here is the unpredictable (and still so natural) series of conflicting moods lined up all along the track: nostalgy, anger, sweetness, fear... I feel them all running down my spine!

Ocean Cloud (Marillion, 2004)

One of the most moving Marillion songs ever, this long epic comes from the album "Marbles" and deals with the personality of Don Allum, the first man to row the Atlantic in both directions. Including dreamy and rarefied instrumental sections, this track also features hearty vocals by Steve Hogarth and a manifold collection of keyboard effects. Of course, Steve Rothery's solos are among the highlights of "Ocean Cloud" and I won't forget to mention here some beautiful tempo changes and, last but not least, the heartbreaking lyrics, where Don Allum's sensations seem to be directly taken from his heart.

Strangely enough, Don Allum never was worthily recognised

for his double achievement. Jist this plaque and a song...

Even if this man payed his stunning achievent with his own life (he died from a stroke following the deprivations he suffered during his rows) the track is never pathetic and depicts the close relationship this man created with the sea and the natural elements. That's why the music constantly changes: it follows the everchanging and unpredictable sea...

Chapter II: Crowd on Sale (Ken's Novel, 2004)

This is a highly dynamic track by Belgian band Ken's Novel, taken from the album "Domain of Oblivion". Full of solos, devilish interplays, energetic guitars, dreamy interludes and earthy vocals, this track can be considered as a modern approach to progressive rock, both up tempo and melodic, not so far from the rockiest side of neo-prog. I also see a crossover and electronic sound in this track, based on irregular rythms and passionate themes, so that this is the less boring track I can imagine. 

"Domain of Oblivion" is the third album by Ken's Novel.

"Crowd on Sale" has an enthralling allure and such a beautiful, a manifold texture, a bright mood and a polite orchestration, along with a skillful performance by the entire band. If you like progressive rock the way it chould be, this song is for you.

Where The River Meets The Sea (Black Bonzo, 2004)

Black Bonzo know how to revive old prog sounds and how to give them an evergreen aura. This track, "Where The River Meets The Sea", coming from the album "Lady of The Light", is a very good example of such a virtue. Acid guitars, ethereal vocal harmonies and vintage keyboards build up a suspended atmosphere not too far from early King Crimson's songs. The guitar, however, is different from Fripp's model, and the keyboards have a greatest variety too.

"Lady of The Light" was Black Bonzo's debut album.

That's why I can't label this track as a musical clone and I actually think it's one of the best and most original reinterpretations of the Masters canon. Surely Magnus Lindgren's calm and dreamy voice plays a central role in such an effort, but the warm and fluid texture of the track is also important and for sure it is one of the most fascinating features of Black Bonzo's prog rock. I hope these notes will suffice to arise your progressive attention.

Unbound (Phenom, 2004)

It seems that the neo-progressive verb also conquered India. At least, it fascinated and inspired this Bangalore based band. "Unbound" is the title track of their debut album (their only one to date) and proves how joyful and eclectic their music can be. These musicians know how to alternate in their songs different moods and rythms and also how to write catchy themes and interesting variations.

Young people loving and playing prog. A future for our genre.

Sure, there are no musical revolutions here, but this song has a strong and sparkling energy, the power of youth. I see here new blood for progressive rock and we must accept hints of pop and easy rock as a part of our beloved and manifold genre. I actually welcome those adding a new perspective to prog and still paying their tribute to the Masters. That's what Phenom do.

Vulcano (Index, 2004)

Do you like vintage sounds and dynamic prog instrumentals? If you do, here you are the opening track of the album "Identitade". This is by an excellent Brazilian band called Index and actually this music brings me back to the good ol' prog days. Nonetheless, there are many original touches in "Vulcano" I'd like to stress here. 

 

With "Identitade", Index released their third studio work.

The symphonic parts are cleverly mixed with some jazzy influences and in the melodic sections it seems to me like Genesis met Camel somehow, somewhere. These four musicians are excellent: the guitar and keyboard solos can't hide the puzzling rythm section work. No time for useless embroideries: all passages, even the richest ones, are aimed to a coherent and enjoyable plot, an exciting and never self-indulgent architecture. Try it, my prog friends, I'm sure you'll like it.

It Is Just Me (OVNI, 2004)

It rarely occurred to me to find such a diversified song, including so many different styles and moods. I don't know if all the bands coming from El Salvador are as flushing in their music as OVNI are... in this case, that would be kind of a prog paradise! Back to the song, "It Is Just Me" comes from the album "Humanos pero no terrestres", whose title ("Humans But Not Terrestrials") insists on the alien topic we also find in the band's name, as OVNI means UFO in most latin languages.  After all, the track is sub-titled The Visitor Meets The Terrestrials, and almost all OVNI's discography is about close encounters with alien races.

This was the band's third studio album.

As I said before, this track is like a prog encyclopedia, including symphonic, jazz, melodic, neo-prog and even folk passages. That's why the band actually did a miracle building up a coherent song, a well set up 12 minutes track, exploring all those different worlds still keeping one definite musical direction. OVNI exploit each genre's rythm and mood to fit them in their own big picture. If you don't believe me, well, just listen to this.

Kuch Hai (Mizraab, 2004)

How many (metal) prog bands do you know coming from Pakistan? And how many good ones? May as it be, Mizraab are an excellent way into Karachi less known but interesting rock scene. As I'm not specially into prog metal, here you are a rather melodic song fron their concept album "Maazi, Haal, Mustaqbil " or, in Urdu alphabet, ماضی، حال، مستقبل , meaning "Past, Present, Future". I admire the suspenced mood of this track, and also the perfect mix of electric and acoustic guitars throughout the composition.

Mizraab are getting more and more popular in their own Country.

Even if this band has no keyboardist, the background effects are rich and arcane, with an intriguing pinch of Arab music inside. All the rest, however, is purely prog, paying respect to such masters as Rush and Dream Theater. That said, this band is highly original and offers its own blend of atmospheric, ethnic, bombastic and melodic rock. The composer, singer and guitarist Faraz Anwar surely has a lot of strong ideas, an eclectic voice and plays guitar very, very well, as the solos of this track will prove even to the most demanding prog lovers. Enjoy.

Index II (Index, 2004)

Index are a very interesting Symphonic rock band from Brazil, as this suite, coming from the album "Identidade", likely will prove. Leaded by guitarist Jones Junior of Quaterna Réquiem fame, and keyboardist Otaviano Kury, those musicians like a vintage prog full of Hammond and Mellotron, but also dreamy guitar solos, flutes and a very good rythm section. All this track - split into four parts -  is equally divided between this lovefor the past heroes and a genuine quest for intricate plots and inner landscapes.

"Identidade" is the band's third studio album. 

Some passages are actually excellent, like the bass guitar solo starting around minute 9:10 or the following wall of sound graciously introduced by the flute. Everything is as it used to be, but there's that special freshness coming from Youth conviction and that bright taste springing out of the pleasure they enjoy by playing their music. A good trip into a past era we all love.

Limites (AlexL, 2004)

The Brazilian multi-instrumentalist and composer Alexandre Loureiro released his only solo album "Triz" with a crowd of other musicians in 2004 and it seems to me this record still represents an original and eclectic approach to progressive rock. Take this track, called "Limites" ("Limits" in English), for example. It starts like a Genesis' Trespass-era song, including pleasant vocals in Portuguese, then an instrumental bridge reminds me of Robert Fripp's most dreaming moments.

"Triz" includes 12 sketches exploring many sides of prog.

When vocals come back, the harmonies sound a little like Gentle Giant, then the delicate folkish touch comes in once again to end up the song like a fairytale. Many influences, but a strong, definite personality re-interpretating the whole prog history in a modern and essential way. I actually recommend this song - and the album too - to all my most open-minded friends.

The Tain (The Decemberists, 2004)

One of the most hard to label bands, for this very reason the Decemberists are the proggest band one can imagine. Not only their music comes from unexpected fusions and explorations, but they also like to revive past glorious sounds by updating them with bravery and good taste. "The Tain", for example, is a suite divided into five parts featuring King Crimson's echoes and Gentle Giant's hints, along with a folk soul and a pop freshness.

"The Tain" was recorded in 2003 and released as an EP in 2004.

The melodies are plain and well found, while the instrumental bridges are full of original ideas, clever reprises and unpredictable changes. As always with them, we also find some brilliant lyrics (Colin Meloy is also an excellent novelist) based on the Irish legendary tale Táin Bó Cúailnge, and a lot of literary and cultural references. The way The Decemberists have to joyfully play with such a rich material transforms any moment of their music in a childhood's dream and - that's unavoidable - in a terribly serious matter.

Blame (Red Sand, 2004)

OK, OK, I know... this sounds like that famoud band, this is so easy, this isn't adventurous at all. I see your point, but I like "Blame" all the same. Let's say these notes are just to explain to myself why on Earth I like it so much. The problem is that Simon Caron really cares about his music, he loves it, feels it, refines it. Most of all, he puts all his deepest feelings inside it. "Blame", for example, isn't just a collection of moods and atmospheres (you'll find some very good ones here), it's a soul honestly, directly displaying its sorrows and delights.

This album includes three long tracks plus a "cameo" one.

You don't need any special devices to express your inner feelings and if you master your favourite genre's basic, well, that will be enough, IMHO. "Blame", taken from Red Sand's debut album is exactly like that: 12 minutes of good old neo-prog filled with genuine emotions and nursed like a baby by a loving mother (or father, if you better like). I think these are the main reasons why you'll find this song - and some more by Red Sand -  in my blog.

The Butterfly Plague pt.1 (A Journey) (Wilton Said..., 2004)

Wilton and his band are from Canada and I listened to their records some years ago. He's a very eclectic guy, Wilton, as he likes to explore all the musical worlds he comes across and to mix them down in his own tracks. So the subtitle of this song says it all: it's a journey through different lands, a joyous trip featuring so many landscapes and so many changes... nonetheless, this instrumental piece has its own style and keeps on going straight ahead like a musical locomotive from station to station and from inspiration to inspiration.

This guy from Toronto actually made some good music.

Wilton keyboards are very well supported by the other members of the band (especially by Chris Reid's guitars) and some of the mood changes are simply perfect. If ever you feel like listening to something out of the schemes and built on a solid proggy ground, well, try this one, if you please, and your ears will enjoy some 7 minutes of pleasure. It isn't so easy, these days...

Evening Games (Satellite, 2004)

Here's another excellent epic by Satellite, from Poland. "Evening Games" is the title track of their 2004 album and has all I like in a (neo) prog song. Let's see: many mood and tempo changes, atmospheric and heavy passages, beautiful keyboards, an excellent guitar work, effective and passionate vocals. Should I ask for more? Well, there is more. Actually, there are very well found melodies and some emotional peaks. The technical skills are important, no doubt, but it's only when a tack moves me that I'm compelled to listen to it again and again.

"Evening Games" was the second album by Satellite.

This happened with "Evening Games" and its 16:45 minutes litterally fly away in the blink of an eye. Those guys know how to mix old and familiar prog sounds and innovative solutions, bombastic riffs and pastoral paintings. Last but not least, they succeed in keeping such a long song under control, meaning their musical architecture is strong and perfectly planned: each passage finds its place in the big picture. Not so easy, my friends...

Hello (Blackfield, 2004)

Surely I wasn't the only puzzled prog fan when Blackfield project took life, featuring the Israeli pop idol Aviv Geffen side to side with the new progressive hero Steven Wilson. Nonetheless, Blackfield survived and can now be considered as a remarkable success, both in artistic and commercial aspects. This song, "Hello", is the closing track of the band's self titled debut album and I think it's one of the shortest and simplest songs in this blog. But it's also a very beautiful one, perfect in his own genre.

Oh... what a tender band this is!

"Hello" isn't an adventurous composition, but its fascinating, Floydian ballad structure is exalted by Geffen's soft voice and a clever arrangement, featuring a slide guitar, a quiet piano, a pinch of strings and a short and effective Gilmour-esque solo. There's a kind of magic in such a discreet song, based on its melodic solid ground and on its small sized and rather sad sense of wonder. No, you definitely don't need 15 minutes to build up a good (and proggy) song, especialy if Steven Wilson is involved.

The Invisible Man (Marillion, 2004)

Marillion did a great work with their album "Marbles", released in 2004 and this opening track is one of the CD peaks. Starting with a pulsing rythm and a sad melody, it goes through many changes, so many and so strong that one could describe it like a rhapsody or a brief suite. The first tempo change is by far my favourite, when the pulse leaves place to a floydian atmosphere and Hogarth sings an excellent theme the way we all know, with his inner, almost painful feelings. And there is more than this. Next change, next big surprise.

"Marble" was also graced by this strange and effective artwork.

Now the rythm has some oriental smell and the singer keeps on charming the listener with a precious helping hand from Mark Kelly's keyboards and an increasing, distressing tempo. Then, third dramatic change and here's another world, no far from a soul ballad, with a penetrating electric guitar provided, of course, by Steve Rothery and a sweet piano. At the end of this section, the rythm increases once more and the cried out loud finale letterally runs over the listener. What else could I say? Just this: listen to this song if you're searching for a strong musical experience.

Envy (Magenta, 2004)

"Seven" was and still is my favourite album by Magenta. Rob Reed, Christina and friends don't conceal their aim is to make some more music in the wake of their prog masters, the likes of Genesis, Yes, Pink Floyd and so on. Nonetheless, they have their own style, like in this beautiful song. This style is based on Christina's pure voice, but also in some celtic musical elements and in the spiritual vein of Steve Reed's lyrics.

"Seven" dark cover art.

"Envy" is part of a concept album exploring the seven deadly sins; really it is a well structured down-tempo and keyboards driven song, that Christina sings extremely well with her priestess-like voice. Some Genesis quotes are perfectly mixed with an airy atmosphere, somewhere in the middle between Pink Floyd and Clannad. The band became very popular after this CD. I do think they deserved this.  

Neverland (Marillion, 2004)

This is a Hogarth's era Marillion track, a very beautiful one IMHO. I like it all... I like the music they wrote, the simple and profound lyrics, Hogarth's intense vocals, Rothery's guitar solo... all! This is one of those tracks you can listen to when you want ot leave the earthly condition and fly away. It's a fantastic trip in an ethereal dimension somewhere between the clouds and the stars, in the Neverland of your inner childhood. The song is taken from one of the best recent Marillion's records, "Marbles", and I highly recommend the whole album to your attention.

 

A Marillion's promo shot for "Marbles".

 

Of course, Marillion's songs are not all like this one, but when they actually forge such pearls I can't help wondering why they're not a worldwide sensation. But then... maybe I better like them to stay what they are: the best hidden jewel of the English Prog-Crown.