Real (Ephrat, 2008)

Ephrat are a very interesting Israeli band, also known for their opening act to Dream Theater's 2009 show in Israel, and they play a dinamic and varied prog rock, melting classic prog, well found melodies, electronic music and hard rock elements. They take their name from their leader Omer Ephrat's surname, but they're more than Omer's brainchild. This song, taken fron their debut album "No One's Words", is a 18 minutes epic, full of changes in both mood and tempo. You'll find in it all,the above elements and much more. 

This album was released by InsideOut label and featured guest musicians as

 Petronella Nettermalm (Paatos) and Daniel Gildenglow (Pain of Salvation).

Ephrat's eclectic approach to prog is highly enjoyable as composition is always the central part of the band's musical blend. "Real" includes welcome references to the sound of such iconic bands as Pink Floyd and Beatles, but also a touch of world music and even horns. Rich as it can be, this song keeps its own coherence and each musician knows how to enrich the plot and never get too showy. Last but not least, Steven Wilson's mix adds a special brilliance to the sound I surely appreciate.

Seventh Hell (Ars Nova, 2009)

This track by the Japanese band Ars Nova is a treat for those into powerful and dynamic symphonic rock. The Seventh Hell album (also titled La Vénus Endormie on the French market) was a turning point in this act's career, marking a substancial enhancement of their line up, adding new players to the original female trio, even if only the dummer Hazimo was credited as an official  member. This opening and title track is simply bombastic, a huge wall of sound where an apparent chaos is perfectly conducted and finalized to build up a well written and shapely instrumental composition. 

This cover art belongs to the French edition of the album.

Apparently, it seemed too explicit for the international market.

Two main themes and several pleasant interludes follow one another and lead the listener through a musical tour de force. All players show their skills, but no one impose herself (or himself). That's saying something, expecially in the prog rock genre! A moderate electronic touch supplements the traditional paraphernalia of a proper prog band. Of course, Keiko Kumagai shows once more her compositional skills and her keyboards wisely combine the individual sounds into an artistic unity. 

Édentől keletre / East of Eden (Android, 2009)

Even if Hungarian band Android released their debut album in 2009, they have a long history and strong musical roots in the Seventies. The band's two keyboardists (Sándor Milesz and József Tőzsér) drive this title track, but likely the electric guitar solo by János Dudás is the highlight of "Édentől keletre" and gives a special, spiced taste to this maje instrumental work.

Essential and inspiring. A good cover art, IMHO.

That said, there are many other good moments during this 5:30 minutes song: the opening piano arpeggio, the following acid guitar work, the inspiring drums and - last but not least - the basic and effective theme. Anyway, the main reason why this track is worth our attention is the mix of sweetness and toughness it displays, exploiting both the smooth sound of neo-prog and the sharp touch of psych-prog era.

Abstract Malady (Ajalon, 2009)

Ajalon are a very good American trio, playing glorious powerful prog with Christian lyrics and a Seventies mood. Listening to this "Abstract Malady", taken from the album "This Good Place", you'll be no surprised to know that Ajalon started their career signing with Rick Wakeman's label and set up collaborations with Neal Morse. Their flushing kind of music, full of changes and colourful interplays reminds me of Rick's and Neal's passionate compositions and surely include all the main features of the old good progmasters.

 

"The Good Place" was the third studio album by Ajalon.

A special mention goes to keyboardist and guitarist Randy George, equally at his ease when it comes to devilish solos or to relaxed, dreamy parts. This instrumental should describe  an inner malaise, a spiritual mal de vivre and I think it actually does so, lining up harsh and melancholic sections in a well built pattern. A beautiful specimen of prog, IMHO.

The Count of Tuscany (Dream Theater, 2009)

This is a magnificent example of Dream Theater's fully progressive songs and comes from the album "Black Clouds & Silver Linings". True, some distorted guitars and high volume passages are there, but never too intrusive and perfectly mixed with the underlying melodic lines. How beautiful this long track is! The vocal harmonies, the guitars, the unpredictable changes... everything is perfect!

"Black Clouds & Silver Linings" was DT's tenth studio work.

Most of all, this is the brainchild of a well organized band, where each member has its own place and no one uselessly shows off his skills. I like the devilish interplays, the heartbreaking openings on wider horizons and, of course, the atmospheric passages. In short, this is prog rock at its best and even the eccentric lyrics about the Count and his brother are fit into the big picture. Enjoy.

Angel's Hidden Plan (Moonrise, 2009)

When it comes to atmospheric and keyboard-driven neo-prog, Polish bands are second to no one. Moonrise is the brainchild of multi-instrumentalist Kamil Konieczniak, who gathers a different crew for each album of his project. This track comes from the album "Soul's Inner Pendulum", released in 2009 and is a very good example of Moonrise's melodic and dreamy music. The sung theme "Angel's Hidden Plan" is excellent and sung by Łukasz Gall in a very light and serene tone.

"Soul's Inner Pendulum" was the second album by Moonrise.

Keyboards provide the background mood, but other instruments get the foreground, including Darek Rybka's sax and, most of all, Marcin Kruczek's guitar. The dreamy solos remind me of Steve Rothery's touch, and after all the entire song has a Marillion-like atmosphere and also some Pendragon inspiration. Derivative elements don't worry me if there are a solid composition and a coherent architecture. I do think this is the case with Moonrise and especially with "Angel's Hidden Plan".

Pereskesije (Portman, 2009)

A very modern and lively track this "Pereskesije" is. Taken from the same titled album by Croatian band Portman, it perfectly illustrates their music, richly arranged, treble edged and nonetheless featuring some traditional prog sides. Porcupine Tree, Pink Floyd, King Crimson and Hogarth-era Marillion could be some of the sources of Portman's inspiration, but you'll find this song mostly original and innovative.

"Pereskesije" was the debut album by Portman.

 

A tricky guitars interplay, some beautiful dreamy keboards and a little distorted guitars are the trademarks of "Pereskesije", and I also like the rythmic crescendo of this song, specially driven by a splendid bass guitar. There is a constant tension and an underlying sense of wonder that impress me and I'm sure you'll appreciate too. A very unusual and post-everything way to go prog.

Frequency (IQ, 2009)

"Frequency" is the opening and title track from IQ's album released in 2009. When I first listened to it and I immediately recognised the fully-IQ syncopated intro, I was somehow deceived and ready to label this track as another average specimen of this band's style. Then the plot of "Frequency" striked me, its themes, changes and progressions paraded and in a feww minutes I was in love with it.

"Frequency" was the tenth studio album by IQ.

True, this track features all the main traits of IQ, but it's so well thought out and so well performed that it shines as one of the brightest stars in contemporary neo-prog sky. Highly dynamic and unpredictable, this is the sort of musical clockwork I like, full of intricate patterns and emotional peaks. That's why once again I'm grateful to IQ.

Sounds That I Hear (Airbag, 2009)

Atmospheric prog has a very long and glorious history, from the late '60s pastoral tracks to Porcupine Tree and Steven Wilson. Today, many Norwegian bands follow these moody examples and Airbag are among the most successful of them. "Sounds That I Hear" is likely to be the more optimistic song from the album "Identity", but it also exists as a two part mini-suite from a previous EP, released in 2005. The 2009 version, however, has a more coherent plot and surely sounds better, that's why I put it here.

"Identity" was the first full-length album by Airbag.

The sung theme is excellent, the intro is moving and the Gilmour-esque final guitar solo shines like the brightest pearl. It isn't easy to perform a seven minute slow tempo song avoiding boredom and redundancy, but this is exactly what Airbag did in this closing track... a dreaming way to say goodbye until the next time!

Ouroboros (Kotebel, 2009)

Here you are a fully symphonic rock suite, packed with acoustic and electric instruments, thrilling walls of sound, assorted keyboards and fast guitars. But this isn't a derivative piece of music: it has its own character and a tasteful experimental background. Kotebel come from Madrid, but their multi-instrumentalist leader Carlos Plaza is from Venezuela. They search for something new, but never go too far and never stress their listeners with useless strangeness.



"Ouroboros" was the fifth studio album by Kotebel.

The orchestra-like arrangements are lively and diversified, but a rocky soul gives to this composition a full-bodied texture. Some of the moods from this suite are arcane and unpredictable and if they all are classically-driven, there's an ever changing effect in "Ouroboros" I always like in a prog rock epic. It's impossible to single out the main inspirational source for this band (some could be The Enid and ELP) and this is a very good omen to me...

A Crack in The Ice Part I & II (Adventure, 2009)

Founded by multi-instrumentalist Odd Roar Bakken (playing mainly guitars and keyboards), this Norwegian act is another good example of the Symphonic revival of the 2000s. This "A Crack in The Ice", taken from the album "Beacon of Light", is split into two parts and is a blazing, enjoyable series of tempo changes, instrumental solos and theatrical, melodic sung themes. The vintage prog underground of the song is mixed with a heavy rock soul and a rock opera atmosphere, so that the big picture has its own dense and warm flavour.

Well... that's what I call an epic cover art!

Strangely enough, this suite opens on a fast-tempo basis, then it finds its own calmer and melodic path, on which the guitar and the keys perform alternate and beautiful solos. The lead vocalist has a powerful voice and the backing singers provide an extra energy that I appreciate very much. What else? The Great North strikes again...

Continuum (Govea, 2009)

A powerful trio from Mexico, Govea are graced by keyboardist Salvador Govea's classically inspired compositions. This "Continuun" is taken from the band's first album ("Danza urbana") and perfectly shows how Govea successfully tried to merge classical measures and jazzy improvisations. The final result is not far from the Italian prog style, and well framed into the symphonic rock and vintage '70s wave. "Continuum" is an instrumental track, based on a brilliant theme and going through some original rythmic variations.

"Danza urbana" was Govea's debut album.

That's why I think you won't be surprised to know that the drummer of this trio is Victor Baldovinos, a member of the jazz-prog act Iconoclasta. The third musician, bassist Luis Arturo Guerrero, works very hard to add some more agitation to the big picture. The only word I found to describe such a process is shaken melody. But music is more important than words...

El llarg revolt (L'Herba d'Hamelí, 2009)

Here you are a fascinating, rather original mix of classic prog, Catalan folk and good melodies. This band comes from Barcelona and the song I'm introducing here is part of their album "Inversa Visual". You'll find in it almost all the old progfan's favourite features: tempo changes, eclectic interplays, strong '70s influences, very good performances, a sensitive lead voice... plus, the lyrics in Catalan language, something that's not so usual, after all.

"Inversa Visual" was the band's fourth studio work.

How many excellent instrumental passages! Some of them also include acoustic instruments, so that these musicians are also reminiscent of Mediterranean bands like Premiata Forneria Marconi, Triana or Minimum Vital. That said, the final effect is absolutely original and enthralling. More than 17 minutes of pure progressive joy, one of the best thing I've ever heard from Spain... excuse me, from Catalunya!

23 Minutes of Tragedy (Izz, 2009)

A perfect atmospheric song, rather dark but with a warm feeling inside. This is how I could describe this track, coming from the album "The Darkened Room". And no, don't you worry, this doesn't last 23 minutes... just 7 or so. And I think you won't regret to spend 7 minutes of your precious time listening to this song. It features great keyboard effects, a bright guitar solo, a very good vocal performace and many other prog favourites. 

"The Darkened Room" was the fifth studio album by Izz.

Even if you will easily find here all the main neo-prog standards - IQ's ones, mostly - these New York guys have their own way to hand them in. I especially recommend their rythmic kaleidoscope and their excellent melodies, two virtues you won't always find in the same song or even in the same band. That's why "23 Minutes of Tragedy" (and many more tracks by Izz) is unlikely to bore a prog fan.

The Lie And The Liar (Ageness, 2009)

Pleasant, sweet but never sweetish, Ageness' music seems to me a sensible compronise between neo-prog melodies and symphonic rock arrangements. These Finnish musicians like IQ and Marillion, but also Rush and Genesis (Igeness would have been a perfect anagram of the latter), so their music is well balanced and doesn't sound monotone at all. I like their largos and the skilled guitar solos  by Speedy Saarinen (once again, nomen omen...).

This album came after an eleven years hiatus. It's the last one to date. 

But then, this is a mature track, coming from the band's fifth studio album,"Songs from The Liar's Lair", showing how much a well attended musical clockwork can be refined year after year. This doesn't mean Ageness are a cold hearted band: they always add the right dose of soul and emotions to their best songs - such as this one - and the vocal performance is an excellent way to succeed in this. A very good and captivating way to prog, I'd say.

The Cult of Birdman (Blank Manuskript, 2009)

Blank Manuskript come from Austria and their debut album was inspired by the mysteries of Easter Island and titled "Tales from an Island - Impressions from Rapa Nui". This track, in particular, is about the Birdman, so often engraved on Rapa Nui's ancient monuments. I actually like this one, because of its diversity. You'll find melodic passages, jazzy impovisations, atmospheric sections and effective riffs. The concept of the album comes to the foreground during the spoken section, which is part of a longer narrative.

Many guest musicians grace the eight tracks of this album.

Just after this section you'll appreciate an excellent guitar solo, but there are many pleasant moments during this 12 minute song. In particular, I like the piano work and the main riff reprises, matching so well with the rest of the track. The abundance of instruments and their neat sound are also among the strongest points of "The Cult of Birdman". A very good discovery I made with Blank Manuskript, and I do hope you'll like them too.

The Maiden (Aisles, 2009)

Proggers are rising in Chile, definitely. Aisles is a good specimen of such a rich and inviting spring, and this track, taken from their first album "In Sudden Walks", is worth our attention. There are three main influences I perceive: the golden era prog (the Masters, of course), the '80s/'90s neo-proggers, including the most recent Marillion's evolution, and -last but not least - a hint of Italian prog, especially PFM, I daresay.The result is a very pleasant and changing song, with different moods in it and a keen choice of sounds.

Aisles' debut album was released in 2004. This one in 2009.

The vocals are very good, discreet and sensitive, with a scent - just a scent, I swear it - of brit pop I never dislike. There is also a well brewed mix of electric and acoustic guitars, something giving an original taste to the band's sound. The keys (the band line up two keyboard players) and the rythm section are very good too, and those guys never forget how important the tempo changes are  in progressive rock. Listen to this, my friends, 'cause they're growing very fast, those Aisles boys, and I'm sure we will hear of them more and more. 

Shadows of The Past (Neverness, 2009)

This is the 11 minutes closing track from Neverness' third album (the first one in English), titled "The Measure of The Time". Those Spanish boys treat me with a spacey up and down tempo song, floating on an ocean of keyboards and featuring in the first part a pleasant distorted guitar, something not so easy to do, but then this is my own opinion... and I'm not at all into metal. The sound is neat and deep, the tempo changes are as surprising as they should be and the main theme is very good.  Of course, I adore their atmospheric passages, where Javier Nieto shows a bouquet of guitar effects.

This cover's not so original, but the music inside has its own taste.

There's also a sweet piano & voice section between minutes 8 and 9, flowing into a bombastic and still melodic wall of sound, a perfect finale for the song. Two more special mentions go to Nieto's vocals, not mighty maybe, but always perfectly tuned to the lyrics and to  Víctor Pérez, whose keyboards provide a mixed background, reminiscent of the '70s and also not so far from some Dream Theater's solutions. A good track for the ecstatic minds.

Don't Forget Us (Flamborough Head, 2009)

Taken from their album "Looking for John Maddock", this 8:21 minutes instrumental includes all the best qualities I recognize to Flamborough Head. Mostly, there's a real passion for melodies, something they never forget and they always put as a foundation stone in each song of theirs. Take the flute intro of this track: sweet and essential, this theme works as a fil rouge all along the song, even when the keyboards come in to twist it.

"Looking for John Maddock" was the sixth FH's studio album.

Even then, that melody is there and you know it will no doubt reappear, sooner or later. In fact, it comes back magnificently via the final dreaming guitar solo, and this seems like a fulfillment, a glorious prog seal closing the track. Soft but never sweetish, mostly down tempo and still varied, brilliant and modern in its sound, nonetheless reminiscent of the '70s, I do think this song is a perfect way to approach this band's music and also to start a new day.

In Taberna (Wobbler, 2009)

Wobbler are a brilliant specimen of the so-called vintage prog bands, producing songs in the style of the '70s symphonic bands and often using their models' same instruments. This is exactly the case of this highly dynamic song, coming from Wobbler's second album "Afterglow". It's a majestic, mostly up-tempo instrumental track, driven by keyboards and especially Mellotron. All the main features of classic prog are here: the epic wall of sound, some slightly jazzy sections, a few romantic and foggy moments, flute, violin, jeegs, folk roots and even a glimpse of Dark Ages.

A very good cover art, by Trine, Kim Design Studio and Wobbler.

These Norwegian guys are really clever and they know how to change the tempo, the instruments, the mood, even the models of their flushing music. I especially like the way they link so many different riffs in a sort of modern rhapsody. Maybe they lack somehow in coherence and melodies, but they excel when it comes to real progressive fun!