Mon axiome bleu indigo (Gens de la lune, 2014)

Francis Décamps of Ange fame founded his new band Gens de la lune in order to follow his prog-folk path adding some new elements to the old and beloved musical recipe. As this song will easily prove, a more commercial side of Ange world is possible and it can go on very well with symphonic rock passages and flashes from the Seventies. The first part of "Mon axiome bleu indigo" sounds like a neo-prog song (Marillion, or maybe Gazpacho could do), then goes through major changes and offers a theatrical spoken bridge and a true, majestic symphonic finale.

"Epitaphe" is a real rock opera and feature a lavish illustrated booklet.

Creativity still is the guiding light of Francis Décamps, and if he let some modern arrangements come into his composition, he also keeps in touch with his past glory. And after all, this track closes the manifold concept album called "Epitaphe", following the habits of the Golden Era. The magic atmosphere of old lingers on and the entire band plays with strength and passion. They definitely prog on.

J'ai trové ta faille (Lazuli, 2014)

Lazuli is one of the most inetersting French bands from the years 2000s. This "J'ai trouvé ta faille" (that's to say "I found your weak point") comes from the album "Tant que l'herbe est grasse" ("Until the grass is puffy") and is a charming track, IMHO. Featuring a beautiful melody and a good mix of folk, neo-prog and electronic devices, this song has a discreet and growing strength, even before guest vocalist Fish comes in for the last verse in English.

"Tant que l'herbe est grasse" was the sixth studio album by Lazuli.

The emotional crescendo  of the track is exciting, but these musicians never show off and look after every details of their music, with a keen and subtle craft that's not at all common nowadays. I suppose that's why they constantly progressed from their early records to the latest ones. And that's why this is an accomplished song I highly recommend.

In This Puzzled Roundabout (Arlekin, 2014)

Ok, ok... I can hear some of you saying this is just another Fish-era Marillion clone. But, you see, it happens I like Fish-era Marillion and it also happens this Ukrainian band has a rather original approach to neo-prog, a darker mood and a well balanced sound. Igor Sidorenko is the man behind Arlekin (that's actually a one-man band) and he's got a long, successful experience when it comes to prog rock (Stoned Jesus are the best known band he played in). That's why he knows how to build up a 15 minute epic skipping boredom and mannerism.

The making of this album was rather long, starting in 2008.

"In This Puzzled Roundabout", taken from the album "Disguise Serenades", includes most of my favourite elements: rythm and mood changes, powerful and sensitive vocals, well found and well performed instrumental parts and - most of all - beautiful melodies. Surre, you'll find here many musical solutions coming from British (and Polish) neo-prog bands, but the track is nonetheless an enjoyable and original one, adding to the usual ingredients a fully homemade mixed spice tablespoon. Just get into this puzzled world...

Crowded Corridors (Iamthemorning, 2014)

K-scope records are gathering an excellent bunch of artists around Steven Wilson's multiple projects and this Russian duo is one of their most interesting 2010s acts. Marjana Semkina has a beautiful voice and knows how to intertrwine notes and emotions, while Gleb Kolyadin's piano and keyboards are perfect when it comes to inner and sensitive musical worlds. "Crowded Corridors", taken from the album "Belighted", is a calm but never boring song, drawing delicate and intense watercolours describing the deepest twists of a human soul.

I really like cover arts perfectly matching with the music inside...

Some cultivated reviewers call this kind of music Chamber Prog Rock, but whatever the label they choose, I love the way Iamthemorning change deep and invisible movements of the heart into charming melodies and airy arrangements. Try them yourself and let me know...

Luminescence (Monarch Trail, 2014)

Ken Baird is an excellent keyboardist and composer, with an interesting and rather rich discography of his own. With Monarch Trail he decided to set up a prog rock band and I think his sond improved very much. This track, called "Luminiscence" opens the debut album of the trio, titled "Skye", and it's a proper, full-bodied and well diversified symphonic song. Keyboards rule, of course, but there's also room for Dino Verginella's bass, Chris Lamont's drums and even for an excellent guest guitarist, John Mamone.

A beautiful way to open the band's career...

All in all, this is not one of those synthetic and ambient-like tracks we all listen to when searching for something new: this song has the right amount of emotion and the good old rocky texture I like in a progressive piece of music. And if unfortunately this is not always the case with the rest of the album, I'm wise enough to retain such an exciting and welcome gift from Canada. Thank you boys: you lifted me up.

In principio (Logos, 2014)

So rich is the Italian prog scene of the Seventies that one could neglect more recent additions to our genre coming from the "Bel Paese". That would be sad, as many good bands carry on the progressive verb in Italy and among them I recommend today Logos and especially this song, coming from the album titled "L'enigma della vita". It's a rather long track going through many changes and including both traditional and new sounds. 

 

It's a beautiful cover art, isn't it?

The acoustic intro and the dreaming electric guitar solo surely are classic features, but the ethereal, spacey mood of some keyboard backgrounds, the jazzy piano and the folk flavour of several guitar touches enrich the big picture. Some more strong points: beautiful  and fully exploited melodies, pleasant vocals and rythmic changes. I do think you'll find even more listening to this song and you'll probably try the entire CD. Something tells me yo won't be deceived.

Death Room (Gazpacho, 2014)

As I might have written somewhere in this blog, Gazpacho are a constantly improving band and "Demon" surely is one of my favourite 2014 albums. It was difficult to choose the first song from it to put here, but "Death Room" is a three part suite and I'm partial to suites, as you may remember. As the rest of the CD, this is a diversified song, including rock, folk, melodic and pop elements. 

 

"Demon" was the eighth studio album by Gazpacho.

It's a rather dark song (well, there's a "Demon" concept, after all...) lining up soft and hard moods and a very rich rythmic texture with bass guitar and percussions at their best. Melodies are very good and the band knows how to exploit their themes, going in and out them and building up a coherent and riveting plot. More than this, "Death Room" creates an entire magic world and its good and bad characters through a stunning series of musical details and conflicting sounds. Last but not least, Jan Henrik Ohme's vocals are simply perfect. Well done, boys!

A Room with A View (Anubis, 2014)

This song by Australian band Anubis comes from the album "Hitchhiking to Byzantium" and is a long and mostly dreamy epic, featuring a lot of good musical themes with very well found changes throughout. Anubis come from strict Floydian worship, but they're getting more and more original. "A Room with A View" still feature Gilmour-esque guitars, but also pleasant piano touches, catchy country verses and flute zigzags à la Ian Anderson.

 

Being the follow-up of a very successful album, this work was

a serious challenge for our Aussie proggers...

 

The final picture is rather diversified but never incoherent, with a bonus Brit-pop smell now and then, a melodic trend I definitely like. Each theme is well exploited and cleverly linked to the following by by wide open instrumental passages and especially guitar solos. A sunny side of prog, a catchy and also smart way to write and perform our favourite genre today. IMHO, that's to say.

It All Becomes Clearer (Harvest, 2014)

Another band from the 2000s that I actually like very much. This time they're from Spain and this song comes from their album called "Northern Wind". This title says it all, so please don't expect Flamenco rock or sunny, Mediterranean moods: these musicians are on the windy, wintery, all-British side of prog. A classic keyboard-oriented prog meets a celtic female voice and a rather indie rock background. All in all, this music is pleasant and emotionally strong, with clever tempo changes and a good deal of instrumental parts.

This "Northern Wind" was the third studio work by Harvest.

Rough riffs and delicate melodies, essential piano touches and effective chords, these are the main ingredients of a savoury dish, with some good and never too long electric guitar solos to top the pie. These clear and neat sounds seem to me like a cool breeze coming from the sea, a refreshing whiffle announcing the stormy season. Oh, please stop me: I'm getting maudlin!

Labyrinth of Doors (Mechanical Butterfly, 2014)

How many excellent prog bands play and write music out there? Surely more than I can imagine and each time I come across one of them I feel happy... then, of course, I put their music here, in my blog. So let me introduce you to Mechanical Butterfly, an Italian band that actually deserves more and more attention. This track, the instrumental "Labyrinth of Doors", comes from the album "The Irresistible Gravity" and is a spectacular, lushing, still well balanced display of prog. A steampunk background meets a stunning instrumental performance and a perfectly conceived song architecture.

Giuliana Pulvirenti signed this cover art. Another winning point.

A main "fast and furious", heavy mood is enriched here and there by more delicate and somehow Victorian interludes. This is just boiling lava going up and down my spine... so that when I discovered that these musicians live near the Mount Etna I definitely wasn't surprised. Not at all, I daresay. But I bet you'll be all surprised by this dynamic, energetic, blazing piece of music!

Kaleidoscope (Transatlantic, 2014)

I know Transatlantic epics may be too long and too intricate, even for prog ears. But I actually like this "Kaleidoscope", despite its huge duration time. It's a seven part suite, a real one, not a random rhapsody, nor a collection of songs without pauses. Not only the melodies are good and the players among the best ones in the worldwide prog scene, but there is a strong structure, a beautiful architecture supporting this song. The different moods, tempos and themes are lined up following a pleasant scheme and the returning riffs and lines punctuate this composition giving a variated and coherent shape.

"Kaleidoscope" was the fourth studio album by Transatlantic.

The first half of "Kaleidoscope" (lest's say parts 1, 2 and 3) are strongly influenced by Roine Stolt, while the second half seems less "Flower Kings-oriented" and each musician and author adds his own recognizable musical world to the big picture: Neal Morse's prog ballads, Mike Portnoy's energetic crescendos and Pete Trewavas' unpredictable changes. Different souls and different stories are just like one here, and the bonus gift is... emotion!

Heretics (Dream The Electric Sleep, 2014)

"Heretics" will luckily be considered the consecration CD for this Kentucky based band. And I do think they're mature enough to leave the wannabe status and enter the modern prog bands inner circle. As this title track can easily prove, they play a rather rough and keenly assembled kind of prog, definitely XXIst Century branded, but also reminiscent of the glorious past (especially of King Crimson, I daresay).

"Heretics" is the band's second studio album.

The saturated electric mood of this song is charming. The bass and the rythm guitar underline a discreet, effective background work (no keys, but a ton of beautiful guitar effects) and some crying solos. From the leading wall of sound to the final suspended landscapes, all is essential and perfectly in tune. These guys work and re-work their materials until they find that sound, that bridge, that distorsion. They're never trivial and never predictable. This and their taste for good melodies are enough for me. But then, I know, I'm just a simple progfan.

Two Souls Dancing (Wasaya, 2014)

Wasaya is the name multi-instrumentalist Tarek Shehabi chose to release his 2014 album called "Garden of Doubts". This track, "Two Souls Dancing", is an energetic and up tempo instrumental in which I appreciate Tarek's skills, epecially when it comes to electric guitars. Some keyboards are very good too. This Syrian musician also knows how to change the rythm and to enchain different themes in order to enrich and diversify the song.

Michael Al Asmar created this effectve cover art.

 

The music flows ahead like a rising tide and it communicates the strongest vitality with no volume surfeits. And after all, wasaya means "wills" in English... something I feel in this dense and tight music. As it was written and recorded in Damascus during the long civil war that ravages Syria, I also read a message of hope in this song.

God Has His Reasons (Empty Yard Experiment, 2014)

I was pleasantly surprised when listening to this Emirates band's debut album in 2011, but their second work "Kallisti" in 2014 was even better than the previous one. Full of post-prog slow motions, but also brilliant in its rock moments, this GHHR (or "God Has His Reasons") is a splendid, modern example of unpredictable music. Not only this is not a mere reproduction of the band's models, but it also includes many original variations on them.

"Kallisti" features 14 charming songs.

The electric guitar rules the tempos and the moods and changes from the Porcupine Tree's reflections to a full metal prog sound, while the measured and clever keyboards provide the essential background and - more than this - a claustrophobic atmosphere on which the official video builds up a fascinating modern fairy tale. Hope to see and listen to more of that... don't you?

Obsolescence (Abel Ganz, 2014)

This is one of my favourite suites released during the '10s and surely is a most interesting piece of music. Divided into five different but perfectly matching parts, "Obsolescence" represents the Scottish band's new deal at its best. The folk and acoustic elements come with a modern and brilliant prog sound and the final result is worth the greatest attention. Not only there are excellent melodies and beautiful vocal harmonies, but the listener is overwhelmed by the flushing instrumental parts, bright and delicate, that's true, but also dense and colourful.

This self-titled album was the band's sixth studio work.

The different moods and the diversified rythmic solutions add a special value to the song, also enriched by graceful lyrics depicting the inner echoes suggested by the most intimate moments of a day, from dawn to dawn,. Close Your Eyes is the title of one of these song sections and I actually think one should close the eyes and follow the pure streaming of such a charming suite. The album including this pearl was released thanks to an Internet fundraising campaign... a very good reason to be grateful to the net, I daresay.

The Road of Bones (IQ, 2014)

I really liked IQ's album "The Road of Bones" since I first listened to it. And I think its title track is one of the best songs in it. It's a perfect case of prog rock crescendo, coming out of a dark, scary mood and rising up to a full, energetic wall of sound. Peter Nicholls' voice leads this course, bringing out one of the best vocal performances in the band's history, from the softer tone to the most powerful singing. The rythm section also offers a remarkable contribution, including broken tempos matching with some intriguing Eastern xylophone effects.

 

"The Road of Bones" is IQ's eleventh studio album.

The lyrics are also gloomy, as they provide an inside look on a serial killer's life and feelings. That's why the crescendo here isn't a mere question of style, as it stresses the psycopath's perverse story:



The shadow crossed my face
All the features came to waste
Shallow graves I mark with stones
As I walk for the road of bones.

And when the wall of sound, the distorted guitars, the bombastic keys and all the rest come in, the listener actually sees the man going along his morbid path. Another magic and progressive spell.