Phase 1 (Karfagen, 2016)

Karfagen are a stunning band from Ukraine, the brainchild of  multi-instrumentalist Antony Kalugin. One of the most prolific acts I've ever known (21 studio albums during their first 19 years!), they produce mostly instrumental tracks, but this one, coming from their 2026 album "Spektra", also includes a choir section. As usual for Karfagen, this seven movement suite is simply unpredictable and deliciously varied. Classical music inspires many parts of "Phase 1" and if keyboards prevail all along the track, there is a good choice of instruments , such as violin, acoustic and electric guitars, some unusual percussions and, of course, a vocal trio, singing in latin. 

This is Karfagen's eighth studio album.

As you can imagine, tempos, moods and  arrangements are in a perpetual change, spanning from atmospheric to rock moments, including some very good guitar and keyboard solos and many lively interplays. Nonetheless, this is not a collection of sparse compositions. On the contary, there is a strong pattern all along the suite and each passage is there for a good musical reason, enriching the previous one and preparing in a way the next one. A beautiful, invigorating experience.

Funeral (Mice on Stilts, 2016)

 Let's explore something from the dark, even mourning side of prog. "Hope for A Mourning" was the second album by Mice on Stilts, the brainchild of singer, writer and guitarist Ben Morley and one of the most interesting acts from New Zealand in recent years. Sure, the sombre atmosphere of "Funeral" reminds me of some Scandinavian bands from the '90s, but there is a special, thougtful way here, both melancholy and dreamy. 

What a beautiful and inspiring cover art!

Despite the mournful titles of both the song and the album, there is less proper grief than spiritual abandon in this music, like in a  misty dawn over still waters. It's an intimate journey, a dreamlike meditation and still we're far from the minimal approach of ambient music. The melody line and the arrangements are rich and set on a slow paced crescendo that drags the listener's soul through dramatic landscapes and a growing sense of wonder. A beautiful, enriching experience.

Il vento cambia strada (Garybaldi, 2016)

 I'm usually wary when it comes to resuscitate old bands and old musical styles, so I must confess that I put off the purchase of Garybaldi's "Storie di un'altra città" ("Other Towns' Stories") album. And I was wrong. Not only it proved to be a very good work tro my ears, but I appreciated the variety and liveliness of these songs, the humour and the cleverness of the band, mostly based on new and skillful members. You'll find here all the different facets of '70s Italian Prog: jazzy moods, the acoustic feelings, mellow moments and of course rock edges. All in. 

A beautiful cover art by painter Pietro Spica.

I chose for my blog the closing track, a fully melodic ballad reminding me Le Orme or some of the sweetest PFM's songs, but with a slightly acid bonus touch. There are many instruments, including a guest string duo, melancholy keyboards and both acoustic and electric guitars. The bass lines are provided by Angelo Traverso, not exactly a guest musician, being a member of pre-Garybaldi band Gleemen. For sure, "Il vento cambia strada" (meaning "The Wind changes direction") is a magical trip. And this is not vintage.... this is evergreen music!

Entering The Gallery / The Man on The Hill (Huis, 2016)

All progfans know the flourishing Québec prog-scene during the '70s, but that land still offers tasty treats to our appetites (see Mystery, for example). This is the case with Huis, a Montréal-based band founded by keyboardist Pascal Lapierre and bassist Michel Joncas in 2009. As this mini-suite (taken from the album "Neither in Heaven") will prove, Huis mix good melodies and a dynamic sound to conjure up a captivating, everchanging kind of prog, where full-bodied rock passages and acoustic melodies build up emotionally enthralling songs. 

"Neither in Heaven" is the second album by Huis.

This double sided track displays - among other good things -  the usual amount of keyboards, an energetic guitar and a brilliant vocal performance by Sylvain Descôteaux. I'm also sure my progfriends will like the peculiar way the band have to launch their rockiest moments taking advantage of piano accelerations. In conclusion, a well written, well arranged and perfectly balanced music.

About to Fade (AltaVia, 2016)

Italian prog never dies. It even evolves and conjures up new landscapes. This is the case with AltaVia, whose rather eclectic approach to prog never betrays our favourite genre's roots. This track, taken from the album Kreosote, features a fully enjoyable mix of classic prog, space rock and - why not? - mainstream pop-rock. Andrea Stagni's keyboards and vocals follow the narrow and winding path between familiar sounds and contemporary moods, building up a fairy (but never too fragile) musical architecture.

 

Kreosote is the second studio album by AltaVia.

 

The rest of the band is also up to such a tricky task: please take Mauro Monti's hearty guitar solo or the creative rythm solutions provided by Giuliano Vandelli and Marcello Bellina. This everchanging song has the spicy flavour of the Seventies and the fragrant taste of a freshly baked cake. That's exactly the kind of musical food I just can't get enough.

The New Kings (Marillion, 2016)

"The New Kings" was a Marillion fans' favourite from the very start and for many good reasons, IMHO. Firstly, the leading melodies are excellent, enjoyable and far from trivial. Secondly, the plot of this suite, divided into four movements, is coherent and diversified. Thirdly, the instrumentation is rich and intriguing, including a string quartet, a hammered dulcimer (played by Hogarth) and some beautiful backing vocals.

"The New Kings" was the F.E.A.R. album leading single.

Last but not least, the lyrics about the illegal gain underworld are topical like never before. The warm and well mixed acoustic / electric sounds are fascinating and richly arranged, full of sharp changes and liquid solos, the way Marillion have to be both classic and modern. After all, the F.E.A.R. album is likely the band's proggest work in twenty years... excellent news, no doubt.

King of Hearts (Drifting Sun, 2016)

A little neo-prog today. Drifting Sun are an International band including French, British and American members and based in the UK. I happen to like their rather eclectic approach to a sub-genre usually considered as an immutable canon. Listening to this song, taken from these musicians' "Safe Asylum" album, you'll find some Fish-era Marillion and IQ hints, but also a sprinkling of metal riffs and some Asia-like epic sounds. 

"Safe Asylum" was Drifting Sun's fourth studio album.

The melodies are well found and the ever changing arrangements add a less predictable side to this band's music. Peter Falconer's vocals perfectly match with the music and its contrast-based pattern, while the rest of the band plays as one, even if some very good solos  and even better duos enrich the track. In short, if ever you're into enjoyable, creative and inspiring (neo-)prog, this song and this band were made for you. Anyway, they surely were for me. 

Don't Go Deep Into The Forest (Aican, 2016)

These Russian musicians really got me. Their approach to music is original and challenging, featuring a great deal of moods and inspiration sources. Even without keyboards, their 2016 second album is full of progressive treasures and musical charms. This title track, for example, ranges from modern prog to space/ambient music, including some metal hints here and there.

Lena Kotek is responsible of this beautiful cover art.

The arcane background of the song, the strongly effected riffs and the sweet, even melodic sections build up a long and evocative journey through an inner forest of sounds and emotions. I especially like the final part of this epic, a beautiful specimen of guitarist Vitaly ‘Krikston’ Pereladov's eclectic style, including dreamy, distorted and even bluesy elements, beautifully supported by the rythm section, namely Roman Varaksin and Max Shein. Believe me: this is worth your next twenty minutes of spare time.

Intoxicatingly Lost / 沉醉不知處 (Zhaoze / 沼澤, 2016)

Zhaoze (Chinese for "marsh") finally produced in 2016 a CD aimed to the International market and this is its title track, a 12 minutes instrumental. The blend of traditional and rock instruments set in a post-rock frame is fascinating and the beautiful variations bring a rather progressive mood into the song, a mood that is also invigorated by a dreaming electric guitar.  The creative drumming and the firm bass lines also beong to the rock side of Zhaoze, so that one couldn't label this instrumental as a mere atmospheric song.

This beautiful cover art reminds me of Eastern watercolors.

And after all the plot of "Intoxicatingly Lost" is a strongly structureted one, lining up crescendos and calandos, still interludes, interesting interplays and sweet passages. The final flute section  surely is one of my personal highlights from this track, featuring a perfect specimen of melodic deconstruction without any useless tangles. In short, this song is worth our attention and will encourage further explorations on Zhaoze planet.

Aloft (Van Der Graaf Generator, 2016)

When listening to old progressive heroes in their most recent incarnations we often tend to underestimate their newest songs, comparing them to their classic records (and - alas! - to our memories of youth). That would be unfair with this song, the opening track of "Do Not Disturb" album, released by VDGG in 2016. Not only the melodies are beautiful, but they're cleverly arranged and (useless to say) sung with all Peter Hammill's sensibility and deepness. 

 

"Do Not Disturb" is the thirteenth studio album by VDGG.

The instrumental parts are interestingly diversified, exploiting a good deal of sound effects and passing through many tempo changes. As usual with this band, there are no ornamental passages and all is strictly functional to another inner, emotional journey by this stunning trio. And if it sounds like the Seventies are back... well, that's even better!

Beyond The Ridge of Time - The Suite (Moma, 2016)

I wonder how many proggers live in Sweden... apparemtly there are more prog rock musicians than inhabitants in that lucky Country.  Please add to their growing list Moma (or Music Of Modern Artists), an original mix of classic influences and modern temptations. This track - the longest one in their Soundcloud selection - seems to me the best gate into such a diversified world. The suite is divided into five sections spanning over some 16 minutes of duration. Beginning with a melodic, almost neo-prog atmosphere, "Beyond The Ridge of Time" goes through many major changes, including electro-pop, experimental post-rock, spacey Floyd and so on.

Moma's melodies are always well found, also in shorter tracks.

Too many disparate things, maybe? Not at all: Moma manage to keep a strong control on their materials and the architecture of the suite has a pleasant, recurring and well balanced pattern. Those guys would please Pendragon and Procupine Tree fans in a row... a stunning achievement, if you please! The warm vocals also provide a guiding light during a musical journey I appreciated very much and I recommend to all my progressive friends. I bet we'll hear more of Moma.

Light in The Doorway (Atom Orr, 2016)

I immediately liked the opening song of Atom Orr's EP "Light in The Doorway", but listening to the following tracks I liked them too, so I took my time and finally decided to come back to my first coup de coeur. So here you are the EP's title track to begin with. Christopher Hoffee, the man behind this project, actually set up a little jewel, a modern way to progressive rock  that also pays respect to some of the past Masters.

This interesting EP includes four long and diversified songs.

 

Take the intro: a heartbreaking syncopated rythm, something between Yes and IQ, that suddenly leaves its place to a more relaxed and ethnic-flavoured passage that reminds me of Gong and George Harrison. And then... the first theme comes back, with an added dose of energy and an electronic coda. A coherent song, featuring a very well balanced mix of old and new, and also a hearty, sensitive vocal performance. This is what prog will need to go on: an open-minded approach with a feeling.

Tapwala (Alms, 2016)

Alms are a one-man band, created and animated by Spanish multi-instrumentalist Aitor Lucena. As Alms, he released the album "Beyond" in 2013, while the song I'm introducing today comes from his sophomore work titled "An Irosmic Tragedy". "Tapwala" is - as usual with Alms - a flushing and increasing collection of acoustic and electric sounds, a colourful fresco, starting with a Dante's quuotation and going through many changes and even more moods. When you put so many ideas in one song, it's easy to lose control and to create an unsettled series of musical sketches.

"An Irosmic Tragedy" was released on January 2016.

 

Well, Airton is able enough to wrap up a well conceived and well organized epic, where each moment starts at the proper time and each theme is fully exploited and cleverly fitted into the great picture. And this with an unusual, ironic taste, lining up symphonic crescendos and horror movie soundtracks. More than this: each instrument represents a different perspective over the same musical landscape, so that "Tapwala" is a musical kaleidoscope, a precious casket full of surprises. Try it, my prog friends: it's... irosmic!