Breathe (Silhouette, 2012)

Silhouette come from The Netherlands and their prog rock music has the right amount of strength, melody and changes I like. Take this "Breathe", an eleven minutes song from the album "Across The Rubicon", released in 2012. You'll find powerful guitar riffs, atnospheric passages, a lot of keyboards, an effective rythm section, enthralling solos and - last but not least - well written themes. Sure, this is largely inspired by some British early '80s bands, but good roots make a solid tree, and this one seems to me a fresh and beautiful one.

"Across The Rubicon" is the third studio album by Silhouette.

Keyboardist Erik Laan provides the lead vocals for this track (there are at least three main vocalists in this band) and his voice perfectly matches with the track's texture. Some of the tempo changes are simply perfect and I think this is one of the most welcome features of Silhouette's songs and especially of the longest ones, than never go boring or predictable. In short, if you like very good and highly dynamic neo-prog, this one's for you.

Outlines (The Chant, 2012)

The Chant are a Finnish band born during the 1990s, but their debut album was only released in 2008. This track, "Outlines", features some of their best qualities: it begins like many other post-rock compositions, then it unfolds a succession of diversified and fascinating atmospheres. Being a 7 members band, The Chant can put into their melting pot a good deal of instruments, encouraging an open-minded approach and a well assembled songwriting.

"A Healing Place" was the third studio album by The Chant.

I like the way they alternate full-bodied, thick passages and almost bare vocal-piano or vocal-guitar breaks. Sure, some of their moods aren't brand new and follow the contemporary post-rock trend, but The Chant are more than this, and a warm and definitely prog soul springs up when you don't expect it.

Formas-Pensamento (Violeta de Outono, 2012)

Just a few bands around the world chose the eclectic and winding road to prog this Brazilian band took. From their first psychedelic and Sixties-oriented albums to their latest prog releases, they created their own original and interesting musical world, each record adding some new ingredients to such a spicy recipe. This track opens the album "Espectro" (meaning "Spectre") and fluctuates in and out of space rock, folk ballads, classic prog and fusion with a surprisingly natural and mild mood.

"Espectro" was the sixth studio album by Violeta de Outono.

The soft vocals and the space rock touches provide the atmospheric part, while the instrumental breaks - solos and interplays - add a lively and thrilling side to the track. The psych roots are also there, along with a vague Italian Prog echo. Really, this is a great way to start an album and a brilliant, diversified example of eclectic prog.

Avskjed (Neograss, 2012)

Prog rock is the land of contamination, as we all know, and this Norwegian band is a perfect specimen of such a musical graft. More than this, Neograss promote an unusual and promising blend including prog, of course, and bluegrass, a specially rich and joyous kind of country music. As you can imagine, their Scandinavian origins also provide a bonus atmospheric element.

"Overtru Fra Yttersia" is the fourth studio album by Neograss.

This track, "Avskjed" (meaning "Goodbye"), opens their 2012 album titled "Overtru Fra Yttersia" (that's "Superstition from the Coast") and is a beautiful example of both traditional and modern prog, with all the good old ingredients we love, plus a chamber orchestra and a fresh, lively rythmic addition of folk instruments, especially willow flute and banjo, both played by Emil Bekkevold. Surprising and enthralling, this is real prog, folks!

Elephant (Tame Impala, 2012)

Even if Aussi Tame Impala are considered as part of the 2010s psych wave, their open minded approach to rock and pop music includes many prog elements, ss this "Elephant", taken from the album "Lonerism" will easily prove. The electronic.driven and vintage-sounding keyboard progressions all through the second half of the song are among the proggest music from Oceania in recent years. 

 

"Elephant" was also released as a 12" single.

Well, vintage sounds do require a vintage format, what else?

 

There's a proto-prog scent here, and even an Italian prog taste building up a succulent savoury pie. I also like the way these musicians mix catchy tunes, Floydian bluesy moods and lysergic flashes from the Seventies. If progressive rock is mixing and matching musical sources, Tame Impala surely fit into this blog.

Filium ex machina (Enfant, 2012)

This heavy prog band from Bolivia was basically a trio when they released this track (Horus Set, Luis Aranda and Bernardo Paz), but with a good deal of guest musicians to set up a rich and diversified sound. This song is the title track of the band's debut album called "Filium.Ex.Machina" and provides a strong wall of sound with lighter interludes and a lot of good arrangements.

The album also includes an acoustic version of this song.

 

The lyrics in Spanish add a colourful flavour to the big picture, and so do the vague references to King Crimson and Van Der Graaf Generator. It's a coherent and thick kind of prog rock, full of passionate vocals and experimental twists, but always aware of the importance of communicating visions and emotions to the listeners. The open line-up of Enfant could be a bonus resource for the band or maybe an Achille's heel, depending on their future choices. Let's hope for the best.

The Sunset Gate (Glass Hammer, 2012)

Glass Hammer are one of the most coherent and enduring bands out there. This song comes from their "Perilous" album, kind of a long suite divided into 13 tracks, each one also can be considered as a stand alone piece. "The Sunset Gate" opens the concept, based on a perilous journey beyond the cemetery gates. It is interesting to say that the song titles, when read in sequence, form a charming poem, complying with metrics and rhyme rules. "The Sunset Gates" is a very good track, featuring a long and atmospheric instrumental intro, starting with an acoustic set, soon improved by the electric instruments.

"Perilous" was the thinteenth studio album by Glass Hammer.

When Jon Davison's vocals come in, the magic is perfect (and after all it isn't so easy to become a member of Yes, is it?) and the melodies are so well found and performed that I completely forget the slight lack of originality many listeners impute to Glass Hammer. Dark and charming, this track lines up majestic moments and confidential passages with the right amount of good taste such a deed involves.

Monumentum Valley (Tompox, 2012)

Hungarian band Tompox have a peculiar career: founded by ex bass player of Solaris Tamás Pócs as a live act intended to play Omega repertoire, they gradually found their own way and released new materials. This suite, coming from their debut album "Hungarian Eclectic" perfectly represents the keyboard-based kind of prog those musicians like. Relaxing themes and atmospheric passages rule this epic (and most of Tompox songs) creating a fluid and enjoyable stream of music well supported by a lively rythm section and enriched by a rough electric guitar.

Tompox were born around 2008 and released this album in 2012.

The suite is divided into two parts and I especially like it when Ádám Tasi's flute draws delicate and airy soundscapes and, of course, when Pócs' bass guitar comes in, breaking or enhancing the synth melodies. All in all, the track is never boring nor redundant and it provides a diversified and joyful way to spend 18 minutes or so.

Relic of The Modern World (Presto Ballet, 2012)

I like this American band very much. Born as guitarist Kurt Vanderhoof's tribute to prog rock Golden Era, this act soon became popular and a prog people's beloved pet. If you'd like to know why, just listen to this suite, the title track of their 2012 album. You'll surely find a rather heavy rock overture (well, Kurt's mother band was called Metal Church, after all...), then here you are an astonishing journey through Progressive Wonderland, including soft and colourful drops of Genesis, full-bodied harmonies à la Yes and open wide melodies reminiscent of Kansas.

"Relic of The Modern World" was PB's fourth official studio album.

Even so, nothing is trivial here and you'll likely be surprised at each turning point. This epic also has its own coherence, assured by returning themes and well found variations. I can't tell my favourite jewels in such a shining crown, but I surely die for the piano & voice section starting around minute 13:00 and the original mix of Supertramp and Spock's Beard it brings into the suite. And what about the following ballad-like part? A treat. Useless to go on putting music in words: you'd better listen to this and let me know...

Introducing The Past (Gorgo, 2012)

These Gorgo actually are an interesting band. They come from Ukraine and they play a full-bodied prog rock with folk and electronic elements. This "Introducing The Past" is the instrumental intro of the album "The Clash of Ages" and is full of dynamic solutions. As the album deals with different eras and civilisations of our human race, this overture has a rich, almost festive sound, and many instruments and effects contribute to the big picture.

Gorgo released their second album with Muséa label.

Those who like short and effective prog tracks will find here their cup of tea, and also those who like crossover prog will be satisfied enough. In fact, this track belongs to the sunny side of prog, somewhere between Spock's Beard and Minimum Vital, but with a strongest electronic approach. This joyful track is something I listen to when I need an extra dose of energy. Try it, then let me know if it worked...

Lover's End Pt. III: Skellefteå Serenade (Moon Safari, 2012)

Here you are a very well set up suite by Moon Safari, released as a stand alone EP in 2012. Even if there are no credited parts, this is definitely a suite with recognizable sections, recurring themes, vintage instrumental passages and interesting vocal harmonies. Firstly, this third installment of "Lover's End" is by far the longest and more complex one, the longest epic by the band, actually. Secondly, it's an excellent one, if you ask me, mostly down tempo, but with many accelerations and some heavier (well, kind of...) moments.

 

A view over Skellefteå, I presume.

As usual with them, Moon Safari mix acoustic and electric instruments with the best taste you can imagine, and get a well balanced, round, pleasant blend, the sort of music you could pick out as a Serenade... a long, tricky, intriguing one, to say it all. As the cover art suggests, this is also perfect for a relaxing tea time. By the way, Skellefteå is Moon Safari's own town, in the North of Sweden.

The Boat Song (Agam, 2012)

If you never listened to Agam, this song will be kind of surprising for you. This Indian band from Bangalore mixed the traditional Carnatic music with old good progressive rock and the final effect actually strikes me. The vocal performance has a strong ethnic taste, while the vocal harmonies, the rythmic background and the instrumental interplays sound like prog heroes from the past.

"The Inner Self Awakens" is Agam's debut album.

There's an incredible electric guitar solo by Praveen Kumar in the second half of "The Boat Song" I simply adore and the rythm section has the right beat to support Harish Sivaramakrishnan's passionate voice. The final result is an enthralling piece of music, something you hardly can label, full of Eastern and Western influences, but no doubt original and intriguing as only prog can be.

The Prism (Stratospheerius, 2012)

Stratospheerius was born by the eclectic genius of American (and Russian born) Joe Deninzon, ranging from jazz to classical music and from rock to experimental sounds. This is taken from the album "The Next World" and is an enthralling electric violin driven song (that's Deninzon's favourite instrument, of course) I could put somewhere in between Frank Zappa and Kansas, but with a pinch of Curved Air. There are a catchy riff and a good sung melody, but also cultivated and dance refererences.

This is the first album Deninzon credited to the band. Previuosly,

 he released three works as Joe Deninzon or J.D & Stratospheerius.

You're probably thinking this is a bit of a mess and you're not completely wrong... proggish music with a DJ at the turntables! Nonetheless, "The Prism" - like other good songs from the same CD - really rocks and also Deninzon's voice is warm and good, while also the band show up their talents. If you're into eclectic, litterally crossover prog, and if you also like sing-along tunes, this is definitely for you.

Another Day (Mystery, 2012)

The Canadian Mystery are also known for their vocalist, Benoît David, who sang with Yes from 2008 to 2012 and faced the very difficult task to replace Jon Anderson. David was also a member of Mystery between 1999 and 2014. But this beautiful suite clearly shows that these Canadian musicians deserve some more attention and actually do an excellent progressive rock. "Another Day" comes from the album "The World Is A Game"and, while credited as a long single track, it features different moments and varied sections, and also some recurring themes.

"The World Is A Game" is the fifth studio album by Mystery. 

David sings it very well, kind of an answer to some criticisms he received during his Yes experience. Another special mention naturally goes to Michel St-Père, the man behind Mystery, who wrote the song and played both keyboards and guitars. He balanced very well hard and mellow sections and also managed to enrich the sound with guest musicians like Marilène Provencher-Leduc whose sweet flute graces the most atmospheric moods of this suite or the drummer Nick D'Virgilio of Beard Fish and Big Big Train fame. A very good listening, if you believe me.

First Distraction (Kaipa, 2012)

When Kaipa came back with their new "Vittjar" album, I was pleased by their somewhat surprising new songs. They were getting back to folk roots and on to new, harder sounds. This strangely titled song perfectly illustrates both directions. It begins with an acoustic section, featuring Aleena Gibson's beautiful voice, then the electric guitars come in and the rythm rises up for a few moments. A third mid-tempo section features two sung verses divided by a guitar driven instrumental part and ends up with an enthralling violin solo by guest musician Elin Rubinsztein.

"Vittjar" was the 11th studio album by Kaipa

and the sixth one after their reunion in 2002.

The following violin - electric guitar interplay is one of the best moments of the track and the abrupt reprise of the first theme is also excellent and closes such a multi-coloured song. A bit of this and a bit of that, but also a clever pattern, increasing the main theme value and its unpredictable variations. Javisst!

We Are What We Are (RPWL, 2012)

With such a title, one couldn't decide whether RPWL are assuming or modest, but their "Beyond Man And Time" CD is so beautiful an album (search in this blog for more) that I'm ready to accept both solutions. This song, in particular, is a brilliant example of  what I'd call a modern progressive rock style, with its pulsing rythms à la Peter Gabriel and the splendid guitar work gracing the long instrumental section.

Maybe their best album to date...

The melody is catchy and original - not a very common combination, I daresay - and the whole band act as one, with the precise gear of a Swiss clock, even if those guys are German! Another very good omen: this is a rather long track (more than 9 minutes), but apparently you reach its end in the blink of an eye. It suggests the cheering consideration that prog rock is always ready to absorb the music buzzing around and nonetheless to keep on its old, recognizable way. Good luck, RPWL!

Speak (I And Thou, 2012)

This is the 12 minutes opening track from English musician Jason Hart's musical project and album of the same name. This guy is a current (2013) member of Renaissance's latest incarnation, played in Rufus Wainwrigth's band and gathered some good musicians for this CD, including Marillion's Steve Hogarth covering a Wainwright's song.  This project really is a Multi-National one, as most of the musicians involved are well known American session men. I was really impressed when I first came to listen to this record. It reminded me the Alan Parsons Project, but with a more prog band twist. This song, in particular, is based on an excellent sung melody and the eventual instrumental variations show how much Jason learned listenting more and more to his '70s and '80s models and how much he created his own trademark anyway.

 

A colourful waterfall: the art and the music are one.

And it's a painting by Annie Haslam...

 

One of the best features in "Speak" is the bass work, by John Gargano, supporting and enriching Jason Hart's piano and assorted keyboards. Another winning point is the neat and round sound, so deep and definite, just like a scented spring evening. This isn't an adventurous song, nor an experimental track, but we all need sometimes a little musical rest. And this is the best one I can imagine for me.

Preludium (Quaterna Réquiem, 2012)

Quaterna Requiem is a Brazilian band whose core members are keyboardist Elisa Wiermann and drummer Claudio Dantas, not to mention Kléber Vogel's splendid violin. They produced some very good albums, like "O Arquiteto", whose opening track "Preludium" I'm introducing here. It's an eleven minutes instrumental track (weel, the whole album has no vocals), full of epic and also romantic atmosphere, gradually rising up from the piano intro through the guitar-driven middle part to the keyboard festival  finale.

This is Quaterna Réquiem's fourth studio album.

There's no definite melody in this song, but its architecture is excellent, with different sections following one another, liked by keys and a measured mood, never too morn and never too bombastic. I like the keys, the guitars and their original interplays in this track, and I also recommend it for its exciting cavalcade rythm, something classical and modern in the same time. They didn't change prog history those guys, but they surely added something good to it.

Pink Beatles in A Purple Zeppelin (Arjen Anthony Lucassen, 2012)

Progressive rock is always seen by mainstream rockers as a deeply serious and even morn genre, but I think that proggers have more fun instead. Arjen Anthony Lucassen, the Dutch multi-instrumentalist behind Ayreon project, shares my opinion and this song proves it. "Pink Beatles in A Purple Zeppelin" is a musical divertissement taken from the album  "Lost in The New Real", one of the few CDs Arjen released as a soloist. First of all, this catchy melody is an excuse to pay the author's respect to his (and our) rock heroes, but there's more than this, as the lyrics deal with an interesting subject (and a real nightmare for many composers): the lack of new musical ideas. Poor Lucassen sings:

Every song's been sung before,
Every note's been played,
Every chord's been strung before,
And every melody's been made.

 

Even the album cover was pure fun!

So, what can a musician do by now? Well, prog rock found the only answer to this: if everything has been done, we can still mix up those patterns, melt down those styles. In Arjen's own words:

I just think of what I like
Any blend will do.
They reproduced what's in my mind
But it feels like something new.

That's exactly what proggers do: they merge different worlds and make something that really sounds new. And... they have fun, of course!

Summoned by Bells (Big Big Train, 2012)

I'm a proud fan of Big Big Train's "English Electric" musical project. I found in it the progressive soul and a lot o good themes and melodies. This track is taken from the first part of the band's victorian fresque, and I especially like it. At first, David Longdon's beautiful voice is surrounded by such a rich choice of sweet instruments and Genesis-like sounds that the harsh guitar introducing the bridge comes like a surpise. The rest of the song flows away pleasantly between the two banks of tradition and innovation.

"English Electric" was released into two full length CDs plus an EP.

I highly recommend the complete set with beautiful arts.

The dramatic tempo change around minute 6:40 is another unpredictable passage and the following wind section is pure magic to me. Andy Poole's electric guitar switches from Hackett to Fripp in a moment and when the track fades away you'd ask for more. A special mention goes to Nick D'Virgilio and his drums, giving a strong and lively colour to BBT's music, but what's really amazing is the perfect mix of the band's skills. Really, this is another excellent song from one of the best prog bands out there.