Mind over Matter (Us, 2006)

Prog rock ballads are quite rare, so I'm happy to add this "Mind over Matter" to my blog. It's the opening track from the album "The Young and Restless" and has the mellow, pastoral taste of some Golden Era bands (a "Trespass" feeling, if you ask me). The sung melody is simple and effective, while the instrumental breaks are light and redolent. Sure, this is not a musical revolution, but I sometimes indulge to plain and delicate flavours, especially when the musicians know how to write and play their music.

"The Young And Restless" was the fourth studio album by Us.

After all, the Dutch band Us is an experienced one, lining up a rich discography and an indisputable skill when it comes to melodic prog. See how guitars and keyboards melt into a coherent sound in this song and how the vocal harmonies are well found. Six minutes of peace... not a negligible gift nowadays!

Coming Around (The Third Ending, 2006)

Here you are another clever band, a Tasmanian one, playing what the papers call "modern prog", whatever that means. I better like to call it prog, as our genre hates barriers and labels. The Third Ending  surely mix some old and beloved sounds and many contemporary ones, as this melodic song will prove. "Coming Around", taken from the band's self-titled debut album, sounds like a soft rock piece, but with a deeper, introspective twist.

I also like the cover art The Third Ending chose for their first CD.

The theme is well found and well performed (Nick Storr is what I call a gifted singer), and the background sounds are  rich, full-bodied but never pompous, and a fine guitar solo by Andrew Curtis also graces the song. Even if the track is catchy and rather traditional in its pattern, you'll find many smart gimmicks, and even some welcome references to the past glory of rock and prog rock. In short, a pleasant and beautifully packed song, something I'll always ask for. Go on, my Aussie friends!

This Cold Heart of Mine (Wolverine, 2006)

Wolverine represent the melancholy side of prog metal, a rather popular approach in Sweden since the end of the 20th Century. The fusion of distorted guitar riffs, atmospheric interludes and energetic walls of sound is an interesting solution, but, of course, just a few bands know how to create such a daring mix without redundant lines nor useless show offs. That's the case with Wolverine, whose sense of balance is especially strong in this song, "This Cold Heart of Mine", taken from the album "Still".

"Still" was the third studio album by Wolverine.

Well, still is not the right word to describe this track, that's highly dynamic and displays a beautiful series of changes, including metal, darkness, melody and modern prog rock. I'm not into metal, as you may have known reading my posts, but I actually like Wolverine and the other bands trying to play energetic and unpredictable music.

On The Seashore (Little Tragedies, 2006)

If you read my blog now and then, you probably already know I like this Russian band (Маленькие Трагедии is their original name) and their flamboyant kind of progressive rock. This time, however, you'll find a softer side of Little Tragedies, a melodic and pleasant track taken from the album "The Sixth Sense" (originally titled "Шестое чувство") and with a touch of baroque music too. The electric guitar and harpsichord interplay has something magic.

This is the International release of the CD, labelled by Muséa.

Then, of course, the mood changes and a very modern and original rythmic work creates a well found contrast, until the previous mood comes back. Two special mentions, if you please: to the theatrical singing (it's  like Ange sung in Russian instead of French...) and to the howling guitar, a sound that actually digs into my soul. That said, my friend, "On The Seashore" is there for you!

Invincible (Muse, 2006)

A great song by Muse. Even more: a great prog song. An atmospheric melody, a keen and lushing arrangement, a splendid vocal performance by Matthew Bellamy, a vibrating guitar solo and, of course, an old fashioned and still so modern arrangement. I must confess that when I found this song leading the whole planet charts I was impressed and moved. It seemed to me that the music I used to love in my youngest years was back again. And once more successful.

"Black Holes & Revelations" was the fourth studio work by Muse.

Of course, this is a 21st Century song, with all the newest technical solutions and matching with the contemporary musical scene and icons. Still, how many hints from the past I found here! No, I won't even try to write down a list of quotations: that would be useless and unfair. This is a song that clearly shows how evergreen can be that special point of view on music we call prog in want of a proper word. I'm so happy Muse are here to scream their inside world out and to keep on searching new ways for rock.

The Island (The Decemberists, 2006)

From time to time, The Decemberists go epic and this is the case with "The Island", a three part suite included in their "The Crane Wife" album, released in 2006. Moreover, this track is one of the proggest compositions in their whole career, both for its unpredictable architecture and its vintage sounds. A slight acid vein, some good and warm riffs and the usual Colin Meloy's perfect vocal performance are likely to be the first things a prog mind will pick up in the first section, but a further exploration reveals more good reasons to love "The Island".

Another excellent cover art by Carson Ellis, Colin Meloy's wife.

Take the discreet and effective chorus and its vocal harmonies and the oh so seventies keyboard arpeggios plus acoustic guitar touches of the second section: what's that? A "Nursery Cryme" outtake? For sure, it's the greatest tribute The Decemberists ever payed to the Golden era of prog. The third and last part comes back to the folk mood and a relaxed, fresh, old fashioned ballad fills the air. The final viola touch has a medieval scent and enriches such a bare and touchy melody. Believe me, this really is a great song!

Ici, Maintenant (Nemo, 2006)

This song by Nemo comes from their "Si - Part 1" album and is one of the best examples one could find of their lively, diversified and rather aggressive kind of prog. I like this track very much, expecially because of its everchanging moods. The piano and the effective sung theme open "Ici, Maintenant" ("Here, Now" in English), then a bombastic wall of sound breaks the atmosphere and empowers the melody.

This edition included both installments of the "Si" concept.

The following steps are lined up in a very clever way: heavy prog, electronic effects, delicate piano touches, rythmic crescendos and, of course, the main theme reprises. It's a little musical jewel combining rock and melody, just the way prog should be. I can't say I love Nemo's whole production, but songs like this one, well... I adore!

Save Our Land (Vantasma, 2006)

Believe it or not, a growing number of Indonesian bands play prog and even neo-prog. Take this Vantasma, strongly influenced by IQ, Pendragon & friends, but with their own recognizable mix of keyboard progressions and guitar solos. This song is taken from their debut album called "Beyond Fallen Dreams" and is a very well written and performed example of progressive rock. Opik's vocals are strong and rather high-pitched, in the vein of some metal-prog acts when the music gets heavier, but also sensitive and even delicate when the volume gets down.

The Indonesian Progressive Society produced this debut work.

The track is rather long (some 13 minutes) and diversified, and its instrumental sections really are good and highly dynamic. I also like the way these musicians prepare the tempo changes, and their taste for bright largos, something reminding me of Kansas. Vantasma learned their lesson very well and picked up all they needed to bake a fragrant, tasty musical cake ready for my little afternoon prog tea!

Buscando algo de novo (Spin XXI, 2006)

Here you are a very late debut album for a Brazilian band whose roots go back to the '70s. They disbanded, re-united, changed their name al least two times... and finally they released the album "Contraponto" in 2006. A very good example of vintage prog revisited and empowered with some modern devices. After all, this track is called "Buscando algo de novo", something like "Searching for Something New". And there is something new, I think, especially in the theatrical and passionate performance of vocalist Kakao Figueiredo, but also in some of the guitar effects.

"Contraponto" also was one of the band's previous names.

Luckily for an old man as I am, many other things are well known and very good: the mood changes, the fusion od acoustic and electric instruments, the effective keyboards and a good deal of melodies. The moment I like above all the rest is the Banks-like keyboard solo just before the final section, that also is a recommended highlight of this song. So, if you feel like diving into the old prog sea, please, enjoy yourself.

Un senso all'impossibile (La Maschera di Cera, 2006)

Among the many Fabio Zuffanti's projects, La Maschera di Cera found its way to my heart since their very first record. Even if I like all their works, my favourite one probably is "LuxAde", a concept album about Life and Death, loosely linked to the Greek myth of Orpheus. The whole album is a gem, IMHO, with the '70s taste that's this band's trademark, but the short suite "Un senso all'impossibile" (meaning "A Reason to the Impossible", some 10 minutes of length) is one of the most poetic and darkest symphonic tracks you can imagine.

"Luxade"was the band's third studio album.

This mini-suite is sharply divided into two sections called Teatro di follia and Il Ricordo ("Theatre of Madness" and "The Memory", respectively) There's an excellent main theme, a very melodic one, going through many variations and graced by a flute-driven arrangement. I also like the vintage keyboards sections, so close to my old Charterhouse friends, and still perfectly fresh and convincing. Despite the strong flute presence and the abundance of slow tempos, this track isn't a mellow one, and has a gloomy, suspended, original atmosphere. If you didn't know the band, that's an inviting gate to their music.

Awakening of The Elements (Lost World, 2006)

Lost World are among the most interesting Russian prog acts and the title track of their second studio album is an excellent proof of their skills. These musicians know how to mix traditional progressive rock and modern sounds, creating a diversified and enthralling soundscape, based on the perfect fusion of all instruments. This instrumental composition features in fact a brilliant wall of sound, swinging like ocean waves, but also some gentle, liquid passages (an intro and an interlude).

The three founding members of Lost World are classically

trained musicians. And one can guess that by their music...

 

The main theme is catchy and well found, the flute work is pure fire and some lightly distorted guitars provide a strong background for the vaguely ethnic solos of Andrii Didorenko's electric violin. The percussions are also very good, tracing unpredictable patterns all along the track. To my ears, this is simply beautiful music, even if the four natural elements really are an abused subject, but here they suggest a thrilling joie de vivre that's not so usual in prog rock.

Don't Tell Me (Believe, 2006)

Another spin off band set up by a Collage member, guitarist Mirek Gil, another very good one. Believe's music is a well played and well arranged neo-prog (you know I don't like this label, but it's useful anyway), with a clever succession of up tempo walls of sound and relaxing breaks. This song, taken from the album "Hope to See Another Day", is a good example of these eclectic and melodic compositions, featuring a catchy melody, sung by Tomek Rozck on a stentorean and neat tone.

"Hope to See Another Day" was Believe's debut album.

 

Two instrumental passages enrich the song, the first one including a beautiful Mirek Gil's electric guitar solo and the second one graced by Satomi's piercing violin. Like many other prog tracks of the same kind, you can enjoy this one as a plain song, but you can also go down the surface and find the underlying, discreet complexity of its structure.

The Statue (Mindgames, 2006)

If I had to choose a single song as a modern prog rock digest, I'd probably pick up this Mindgame's epic. Taken from their second album "Actors in A Play", "The Statue" begins with a church organ intro, then goes through many different moods somewhat related to some of the greatest artists in our beloved genre, without being a derivative work. There's a fresh, even joyful feel throughout the 16 minutes of the song, a clever distribution of the musical ingredients and a highly creative mix of old and new sounds.

This was Mindgame's second album. I do recommend it.

Those Belgian guys like melodic prog, but they also know how important is to surprise the listener and they do it very, very well. This suite isn't a straight line, it's a zigzag through a puzzling land so that you'll find a great energy and something new at each and every corner. Last but not least, Mindgames play well and I especially like Bart Schram's clear and pleasant voice, Tom Truyers' manifold keyboards and Rudy Vander's beautiful electric guitar solos. Believe me or not, this is a brilliant track.

Two Demons (Little Tragedies, 2006)

My... this is a dramatic, flushing, highly dynamic symphonic rock suite! Some 28 minutes of crazy keyboards, bombastic guitars, fiery drums... those Russian musicians (once called "Paradox") don't miss a thing! Taken from their "New Faust" 2-CD opus, "Two Demons" is as devilish as its title suggests, a chain of scales and progressions to leave breathless the more resistant of prog fans. Most of the track is instrumental, but some Russian lyrics enrich the song's sturdy texture now and then.

I can't help but recommend these guys... a force of Nature!

Sure, Gennady Ilyin's keyboards rule, and after all our friend is the band's founder, leader and composer, if you see what I mean. Of course, the rest of rhe crew also works very hard (and very well), they never take a rest for some 15 minutes, I mean it. So, when the beautiful, down-tempo section comes in, the poor listener really needs it. And here he'll fully appeciate Alexander Malakhovsky's dreaming guitar. In short, if your're looking for some quiet, pastoral prog, please, look elsewhere, but if you do like burning lava, fast fingers and strong emotions, with a final touch of melody, well, this is definitely for you.

La terra dell'acqua (Premiata Forneria Marconi, 2006)

"Stati di immaginazione" ("Imagining States" in English) is my favourite PFM's album after their reunion in the late '90s. This "La terra dell'acqua" ("Water's Ground") is the opening track, an istrumental trip of more than 8 minutes intended to comment the images coming from an Italian TV program and concerning Venice and its destiny. Of course, this music can't be limited to a descriptive use and this track is a real prog masterpiece, starting with dreming keyboards and evolving into a polirhytmic and flushing composition with so many different moods and tempos.

"Stati di immaginazione" was PFM's 16th studio album.

I recommend the violin solo by guest Lucio Fabbri and the stunning Franz Di Cioccio's drumming, creative and unpredictable. Sure, I can't forget the electric guitar solo Franco Mussida mounts in the finale like a shining gem in a precious crown. Precious, yes, this is the word for such a beautiful, both romantic and aggressive track, showing once again how great PFM are.

Falling (Paatos, 2006)

This Swedish prog (or post-prog, as some say now) band was born as an offspring of Landberk and rapidly became a successful act. This song, taken from the album "Silence of Another Kind", is a good example of their production: gloomy, slow tempo, atmospheric and featuring Petronella Nettelmalm's hypnotic, melancholic vocals.

Paatos protecting themselves from the Swedish winter.

Her whispering voice flows on the freezing keyboards and some beautiful acoustic guitar chords. The melody is well written and charming, perfectly fitting with the mellotron sond. Despite the northern crepuscular mood, this song is deep and moving like a children's fairy tale. I highly recommend it to all the sweetest prog lovers out there.

Hyperventilate (Frost, 2006)

Frost are a singular band: following the unpredictable moods of leader Jem Godfrey, they disband, reunite, dissolve and revive two times a week. Even so, this track - taken from "Milliontown", their first album - is one of the best prog instrumentals I've heard in recent years. I recommend it for many reasons and, first of all, its intriguing architecture. Beginning with a piano tune, the song build itself before your very ears, gradually growing in rythm and complexity.

Here's the group's line-up in 2006... a real supergroup

featuring members from IQ, Arena and Kino.

It's a real tour de force, challenging and enthralling, packed with original arrangements and brilliant variations, where a prog lover finds exactly what he's looking for. There's an accurate alchemy in "Hyperventilate", so that even in the loudest moments the track retains a recognizable plot, where each instrument shines on its own. Last but not least, like every good (prog) rock song, this track gives me a generous charge of pure energy. What else could I ask for?