Universal (Anathema, 2010)

 Arguably one of my favourite tracks by Anathema, "Universal" has a very atmospheric mood, a beautiful musical theme, a dreaming guitar, some splendid keyboards and even a shoegaze-like section. No doubt, when it comes to slow paced and majestic sounds this Liverpool band is among the best you can find over there. Not only they know how to write and perform good music, but they also have sort of a Mida's touch and they totally deserve their success. 

"We're Here..." was Anathema's eighth studio album

Take this track (from "We're Here Because We're Here" album), for example: it flows away like springy water and cleverly skips redunancy thanks to a series of slight and effective changes, consistent and surprising at the same time. Building up a song is never easy, but Anathema know how to handle this and how to mix prog rock and mainstreap pop. Brilliant!

Falling to Pieces (Nine Stones Close, 2010)

A very intense and intimate song from Nine Stones Close, a project leaded by Dutch multi-instrumentalist Adrian Jones. It comes from their second album titled "Traces" and includes some of the band's highlights, namely beautiful melodies and great guitar dreaming solos by Mister Jones. But there's more than this. I especially like Mark Atkinson's vocals, full of inner emotions and perfectly balanced between delicate and tense moments.

Nine Stone Close already have a considerable discography.

A prog ballad isn't an easy thing to do, believe me: Jones and his friends have to mix plain sung sections and instrumental breaks keeping the coherence of their song and they surely succeed there. "Falling to Pieces" has a melancholy, even pessimistic mood, but it also features a strong spiritual perspective, building up a sentimental trip through sorrow and hope, a strong emotional experience that only good prog can add to an apparently simple track.

Custody of The Knave (Argos, 2010)

Argos are one of the most interesting prog bands from the 21st Century German scene. Certainly influenced by both first and second generation progressive rock groups, they developed their own style, an introspective and challenging mix of symphonic rock, neo-prog and experimental music. This song, taken from the album "Circles", actually dig into the listener's soul and reminds me of VDGG,Hammill solo ballads and also The Flower Kings.

"Circles" was the second studio album by Argos.

It's a moving and well written song, including essential and effective drumming solutions, atmospheric passages, very good vocal harmonies, a beautiful, sad piano, some spiritual keyboard touches and, of course, a stunning vocal performance by Robert Gozon. Please don't hesitate and listen to other songs by Argos: you'll find many different musical worlds and (what's more) you'll appreciate the way this band can touch you giving new life to prog.

Dreaming Light (Anathema, 2010)

Anathema are a very well established band and their musical evolution from metal to atmospheric prog is universally known. I could have chosen more intricated and longer tracks to put here, but I'm fascinated by this plain and dreamy song. It comes from the album titled "We're Here Because We're Here" and features one of the best melodies Anathema found in their career, IMHO.

"We're Here Because We're Here" was th eight CD by Anathema.

Light is an important topic of the entire album, as the cover art proves very well and the video for this song is also based on alternating shadows and lights. Its arrangement highlights are the atmospheric, ethereal keyboards by Les Smith (leaving the band soon after this CD), the dreaming, Gilmour-esque guitar solo (thanks, Mr. Vincent Cavanagh!) and - last but not least - the clear, moving vocals by Lee Douglas. Six minutes of wonder.

Sparkling / 花火 (Fragile, 2010)

Chinese rock scene specialises more and more in post-rock acts, and some of them show many interesting progressive sides. This is the case with Fragile (well, the name isn't necessarily inspired by the Yes album...), a band that surely knows how to create delicate atmospheres, unpredictable changes and slow, majestic crescendos. "Sparkling" comes from the debut EP of Fragile, called "White Shadows" and is a charming instrumental, based on a well found series of chords and including some delicious breaks and a mandolin-like electric guitar à la Steven Wilson.

As many other young bands, Fragile debuted via Bandcamp site.

This kind of music is somehow dangerous as it can easily slip into a mere ambient sound, but Fragile are clever enough to skip such a risk, thanks to a good deal of musical diversions along the usual post-rock path. They like coherent tracks, but they know that coherence doesn't mean boredom. Hope to listen more from these Hong Kong musicians.

The Darkest Hour (Crystal Palace, 2010)

Crystal Palace are a German band ranging between electronic prog and neo-progressive rock, specialised in arcane moods, guitar riffs and very good melodies. "The Darkest Hour" (not to be confused with the IQ's song bearing the same title, also featured in this blog) is one of the best ways into this group's sound. The electronic intro is followed by a well found sung theme, enriched by mysterious keyboards and strong guitars. The subsequent instrumental bridge is based on distorted guitars, then a wide open chorus shows how good Crystal Palace are when it comes to mix melodies with heavy rock.

"Reset" was the fifth studio album by Crystal Palace.

This energetic and diversified track also includes a spacey interlude, introducing an acoustic guitar-driven ballad, that sounds even more beautiful there, and is followed by an excellent final section, displaying a dreaming guitar (getting more and more Gilmour-esque), a relaxing set of keyboard chords and very good vocals. Crystal Palace may not be the most original act out there, but they forged out their own approach to prog.

Journey of The Shaman Part 1 (Nemrud, 2010)

This is the first part and opening track of the concept "Journey of The Shaman", released by Turkish band Nemrud. It is both part of a longest suite and a suite itself, divided into four parts (In The World of Dreams, Beginning of Divine Inspiration, Revival and A Stone in The Ocean). I actually like the crossover approach to prog these musicians show and develop with keen coherence. Heavy guitars, floydian atmospheres, changing rythms and moods, experimental passages and psychedelic riffs... everything here is suspended between tradition and innovation.

The musical coherence of this album is surprising for a debut work.

The creative ratio of such a track is important and the listener will be susrpised at each turn of the musical corner, so that the mythical, almost religious concept is never too aethereal or merely spiritual. There are flesh and bones here, a solid ground on which the inspiration of Nemrud builds up a fantastic castle. Beautiful, that's the simplest word for it.

Far Away (Disperse, 2010)

Poland is currently home to neo-prog and to many other progressive rock variations. A good reason to thank prog fans from that Country, but also an excellent reason to explore the local rock scene and pick up some good songs for my blog. This one, "Far Away", is one of my favourite tracks by Disperse, a young and interesting act. It comes from their debut album called "Journey through The Hidden Gardens", including some average songs and some really good ones, especially this one. It surely will remember you some well known neo-prog bands like IQ and Shadowland, but I think there's a distinctive mix of energy, rough guitars and polite sounds that are worth your attention.

This album also includes some heavier songs.

These musicians surely have a good sense of measure and know how to change the tempos and the moods, how to open new musical landscapes and how to buid up a coherent architecture. I like the way they melt rythmic solutions and melodic themes searching for a perfectly balanced song. A track like this one actually brings me far away the daily, material world and disperse my darkest thoughts. Thank you for that!

Skellig (Mr. Gil, 2010)

Ex-members of Polish band Collage definitely have a busy life. Guitarist Mirek Gil, for example, founded both Believe (see in this blog) and Mr. Gil, two very different bands, as the first ones bring on a traditional neo-prog music, while the latter released some unpredictable albums. "Skellig" is the title song of Mr. Gil's second studio work and is a keyboard-free album. Here Mirek's guitars are the leading instruments, especially his deaming electric guitar, mixing Hackett's and Gilmour's ways... not to mention Rothery's!

Each album by Mr.Gil has its own taste... that's why I like them!

 

The rythm section is also very good: in this song both drummer Wojtek Szadkowski and bassist Przemas Zawadzki contribute to the big picture with their neat and discreet work. Finally, the warm vocals by Karol Wroblewski match with the sensitive and emotional melodies. I also appreciate that the lyrics here are in the band's native language: this stresses the confidential mood of the track and adds a natural, inner side to this beautiful prog ballad.

Az átutazó (Tabula Smaragdina, 2010)

We can condider these musicians as a Hungarian act, even if one of their fouders, multi-instrumentalist   Akos Bogáti-Bokor, actually belongs to the Hungarian minority living in Romania. Their prog rock is a very pleasant one, firmly rooted into the synphonic ground and based on very good melodies. The vocals in Hungarian language are gentle and sensitive, while the acoustic instruments - especially the guitar - cleverly add their warm sound to the electronic keyboards.

The title of this album means "Beyond Words".

The title of this song - taken from the album "A Szavakon Túl" - means "The Passenger" and I do see a long distance feeling in it. The Yes-like intro is followed by many different moods and the whole track has a diversified and never boring architecture. Surely the bass lines - also played by Bokor - liven the song and so Zsigó László's percussions do. An interesting, somewhat unexpected way to go synphonic... and a magic gate to modern Eastern European prog.

Time to Understand (Anima Mundi, 2010)

No doubt Anima Mundi is the most observant prog band from Cuba and this "Time to Undestrand" will easily prove how much they like progressive masters and how well they re-elaborate their models. You'll find here - and in the rest of "The Way" album - an up-to-date version of prog, full of tension and emotions. Virginia Peraza's keyboards are bombastic and also sensistive, while Carlos Sosa's vocals are somewhere between Steve Walsh and Perter Gabriel and Roberto Diaz plays very well a vast choice of electric and acoustic guitars.

"The Way" was the third Anima Mundi's studio album. 

Sure, around minute 6:00 we come across another Apocalypse in 9/8-ish quotation (Someone should list all of them, someday), but they soon exploit it in an original and pleasant way. And then, here you are a heartbreaking atmospheric section, featuring very good vocals too, finally leading to an excellent dreaming guitar solo. Many changes, many well found sounds, many good melodies... this definitely is one of my favourite prog tracks of the '10s. Try it and let me know your impressions, my prog friends.

Sur l'Océan couleur de fer (Alcest, 2010)

Alcest is the brand name of French multi-instrumentalist Neige, who usually sings, plays all the instruments and writes both music and lyrics. This track, whose title means "On The Iron Coloured Ocean", comes from the album "Ecailles de Lune" ("Moon Scales") and features lyrics by Paul-Jean Toulet and is a calm, nocturnal song we could label as "post-rock" piece, following the current definitions.

This was Alcest's second studio album.

Even if the whole song goes on the same (very down) tempo, the listener's attention is kept alive by the delicious, subtle guitar variations and by the keen succession of sung and instrumental parts. It isn't a music for the adventurous souls, I daresay, but there you are some 8 minutes of dreams, a charming trip along Wonderland paths. Close your eyes and have a go...

Retorno (Equilibrio Vital, 2010)

Prog from Venezuela and a good prog too. Equilibrio Vital is a triple life band, with two good albums during the '80s, then a reunion in 2003, and another one in 2010, the year of this track, the title song of their fourth studio album. There's a deep melodic soul in "Retorno" ("Coming back", in English, a title that perfectly matches with the band's history), but the main feature seems to be the atmospheric and surprising changes between acoustic and electric moments, framed in a clever musical pattern.

This cover art was even more intricated than the music inside.

I really like the alternate 12 string guitars and keyboards, but when they also add a flute somewhere in the song, well, I definitely give up and love this track. In that very moment I thank the guys from Muséa label that gave new life to Equilibrio Vital, so that they could go on along their colourful and pleasant path. Try their music, my friends, they're actually worth your attention.

In The Wake of The Moon (Galleon, 2010)

Galleon like to change and even if their music always keeps its more or less traditional neo-prog path, they know how to diversify the moods, the tempos and the sounds too. Here, in this 2010 album title track, they choose a melodic, slow, rather melancholy way, making the most of a beautiful theme and following a lunar inspiration both in music and lyrics.

This is the ninth studio album by Galleon.

 

Nostalgy and sweet sadness rule the song and I rarely listened to a more beutiful track into such a dark mood. A million light years from the bombastic prog rock of Galleon's first CDs and even so a fully Galleon song, with all the intense and keen keyboards / guitars interplays they are famous for. Please listen to this at night, in a cosy room, looking out from the window at a starry sky. If you don't have the cosy room nor the starry sky, well, close your eyes...

Tesla (Unitopia, 2010)

Unitopia come from Australia and they play a good, both traditional and unpredictable progressive rock. This "Tesla", taken from the album "Artificial" is a perfect starter for Unitopia's music with its 13 minutes or so of duration time. You'll find a thousand different influences here, from Golden Era bands to neo-prog heroes, so that the mood, the rythm and the tempo constantly change. The listener is engaged in a furious trip across the progressive universe and more: electronics, fusion, melody, ethnic flashes, classical piano, traditional rock... kind of a musical roundabout!

"Artificial" was the third studio album of the band.

Still, all those elements are so pleasantly linked and so well played that they seem to come to us naturally. Unitopia follow the widespread path of bands like Flower Kings and Spock's Beard, but their speedy and lush composition way only belongs to them. There are solid melodies, well found arangements and a clever architecture in "Tesla" that Nikola Tesla himself would find... electrifying! Sure, Unitopia pick up things we all know too well, but they do so in style, I daresay, and they constantly improve. A good omen.

Buscando sombras (Chaneton, 2010)

"Buscando Sombras" ("Searching for Shadows" in English) comes from "Sombras distantes" ("Distant Shadows"), the third studio album of a very interesting prog band from Argentina, called Chaneton, that's their founder and guitarist's last name. This musician is also known for being a member of Mandragora, an internationally praised local band. You'll immediatly recognize the Genesis, Fish era Marillion and also Pendragon inspirations in this song (not only here, to be honest), but also its strong emotional content.

This band debuted in 2000 and also released a Genesis tribute CD.

Not so many neo-prog musicians know how to move the listener and how to avoid useless technicalities and a cold display of spacey atmospheres. Chaneton fill their songs with something I'd like to call the human touch and they succeed in communicating inner feelings and warm sensations. Of course, Alex Chaneton's guitar solos are their best feature, but the rest of the band isn't a mere filler: they all play well and earnestly. That will be more than enough for me.

Waiting for The Axe to Fall (Phideaux, 2010)

No doubt Phideaux Xavier is one of the most surpising and somewhat puzzling prog artists out there. This "Waiting for The Axe to Fall" suite, from the 2009 album "Number Seven" is an example of the eclectic and rich kind of music he makes. Please note this suite only exists in the 2010 remastered edition of the album, while in the original release you only had it as four self standing songs, following the opening theme of the concept CD. Classic prog, electronic pop, piano soul... how many moods and genres in just one song! And still, how clever Phideaux is in keeping the whole lot under control and in assuring a perfect coherence to the track...

Well... even the cover art is puzzling, isnt'it?

All those inspirations, all those musical worlds seem to flow naturally, as they were all born in the same era and from the same father. Unpredictable? Yes. Chaotic? Not at all. Each time I listen to this song I like it more. It seems to me Phideaux has so many feelings inside his soul and he likes to share them all with the listener, kind of a moving side of prog. Look at the piano work in "Waiting for The Axe to Fall": poetry, pure modern poetry. IMHO, of course.

Celestial Elixir (Haken, 2010)

In 2013, "The Mountain" CD by Haken surely was a sensation in the small but widespread prog community. But the band already had its own history and fans, as this suite, coming from their first album "Aquarius", can easily prove. This song is one of the best ones in that debut collection, featuring sweet and hard moments, a band's trademark. Unlike many other productions of the years 2010s, "Celestian Elixir" collects many different inspirations and lines up a succession of different moods.

It's a pretty disquieting cover art, isn't it?

 

More than this: Haken show unusual instrumental skills (see the guitar around minute 10), an excellent taste for unusual arrangements and the old, good wall of sound. Their metal elements are never too pervasive: here, for example, you'll find a traditional progressive rock, vaguely influenced by Dream Theater and maybe some scandinavian bands, and a good fusion between acoustic and electric moments... and even some funny vaudeville touches. They developed a more personal style in the following releases, those guys, but this one still remains as one of their more amazing songs.

Beyond, Within (Glass Hammer, 2010)

The more Glass Hammer went on in their career, the more they were Yes-oriented in their music. The album "If" could easily be a Yes' outtakes collection, but please take my opinion in its positive sense. This "Beyond, Within", the opening song of the album, for example, is an excellent song, both structurally unpredictable and rhytmically dynamic. All is "Yes" here, sure, but never a bare replica of the band's most important model. Take Jon Davison's voice: it surely sounds a lot like Jon Anderson's (and he subsequently won the biggest prize to be the third lead singer of Yes), but it also has its own character, more stingy and jazzy than Jon's, maybe more dynamic and certainly less heavenly.

 

"If" was Glass Hammer's eleventh studio album.

The track is perfectly balanced in its fast and slow moments and the band plays in admirable harmony, always giving to each instrument its own and well deserved space. Last but not least, the sung and instrumental themes are very, very good ones, and this is one of the best reasons to buy a record, after all.

A Kid Called Panic (Moon Safari, 2010)

Taken from Moon Safari's third studio album "Lover's End", this rather long song (some 13 minutes) has everything I like in this band's music. Catchy and choral sung melodies, excellent instrumental passages, a fresh and joyful mood, in short: the strength of youth. Despite its title, this song is a light trip into colourful realms, with a touch of proto-prog era and even - now and then - a Beatles-like composition and arrangement.

A fresher face for symphonic rock. That's what Moon Safari is.

All the rest is pure symphonic rock, with enthralling keyboard / guitar interplays, a creative drumming, a discreet but effective bass line and an overwhelming fantasy throughout the track. When listening to this, I feel my faith in prog rising up and I need to press the back button on my CD player to restart the song. Should I say more?