Hello (Blackfield, 2004)

Surely I wasn't the only puzzled prog fan when Blackfield project took life, featuring the Israeli pop idol Aviv Geffen side to side with the new progressive hero Steven Wilson. Nonetheless, Blackfield survived and can now be considered as a remarkable success, both in artistic and commercial aspects. This song, "Hello", is the closing track of the band's self titled debut album and I think it's one of the shortest and simplest songs in this blog. But it's also a very beautiful one, perfect in his own genre.

Oh... what a tender band this is!

"Hello" isn't an adventurous composition, but its fascinating, Floydian ballad structure is exalted by Geffen's soft voice and a clever arrangement, featuring a slide guitar, a quiet piano, a pinch of strings and a short and effective Gilmour-esque solo. There's a kind of magic in such a discreet song, based on its melodic solid ground and on its small sized and rather sad sense of wonder. No, you definitely don't need 15 minutes to build up a good (and proggy) song, especialy if Steven Wilson is involved.

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. 

Je suis d'ailleurs (Atoll, 1974)

Taken from their first album "Musiciens-Magiciens", this "je suis d'ailleurs" ("I'm from Elsewhere" in English), is probably one of Atoll's most original songs, with its mysterious opening, followed by a  syncopated rythm and a series of amazing musical inventions. If the first half of the song (more than 4 minutes) is drum-driven, then a gentle ballad opens the space and the keys come in, painting an aerial picture. The final part is once again ruled by highly creative, somehow experimental percussions. There's nothing trivial here, and the whole song is deep and evocative, like an arcane ritual, but never unpleasant or puzzling... just intriguing and anticipating.

This was the debut album of Atoll.

The contrast between the central melodic part and the challenging rest of the song suggests the image of a beautiful island surrounded by a dense and frightening ocean of fog. The best way to end up this introduction is to put here the complete (and very short) lyrics of the song (I apologize for my rough translation):

An adrift ship, / bridges of light / with an opalescent reflection / light the Oceans.

 

Crossing the seas of time / I found the land / there, straight ahead / in the heart of the Universe. / I'm from Elsewhere, / I'm from Elsewhere.

The Dance (Alquin, 1973)

Taken from Alquin's second work "The Mountain Queen", this rather long song (more than 13 minutes) is an unusual example of Dutch golden era prog with an eclectic approach. There's a continuous duel between Hammond organ and electric guitar here, but the rest of the band also contributes with creative bass lines, delicate vocals, beautiful cymbals and a pinch of winds.

Alquin released four albums between 1972 and 1976,

then two more in 2005 and 2009.

The tempo is usually up, with slow, arcane interludes and some well found changes, while the general mood couldn't be more '70s, including some King Crimson, early Pink Floyd, psych and Canterbury inspirations. Nothing is writtene, here, and the band knew very well how to amaze the listener, offering vivid solos and ballad-like themes following one another in a fluid and slightly acid atmosphere. Just close your eyes and you'll see hippy festivals and long haired youths everywhere! Well, this is not a deadly sin, after all...

300 songs up to date!

...By the way, this little blog reached its 300th prog song. As usual, I take the time to say thank you very, very much to you all. If you keep on visiting this blog, well, it's not for me, it's for this addicting music we call progressive rock!

Reminiscencias de un mundo sin futuro (Iconoclasta, 1985)

These Mexican guys are now pretty well known and appreciated worldwide and they actually deserve that. "Reminiscencias de un mundo sin futuro" (meaning in English "Memories of a World without Future"), comes from their second album "Reminiscencias" (that is "Memories") and is a seven parts and 18 miunutes suite. Its intricated interplays, its abundance of moods and changes make this track something like a compendium of many prog rock different styles. So, you'll find here synphonic passages, slightly jazz improvisations, acoustic and lunar interludes, hints of Genesis and ELP, but also original choral arrangements and a pinch of Italian prog.

A beautiful album, including our excellent suite.

Nonetheless, this epic is perfectly balanced and surely has its own character, marked by beautiful guitars driving the music, a light but effective keyboards background, a recurring theme and also a tasteful architecture. The apocalyptic subject of the song suggests some dramatic passages, but there's a firm sense of measure everywhere and this is the last (but not least) credit I'm happy to assign to this band's music.

Get 'em out by Friday (Genesis, 1972)

An unpredictable, unfailing musical reservoir still providing inspiration to so many musicians today. Taken from "Foxtrot", this is one of the most theatrical Genesis' tracks, featuring a Peter Gabriel's histrionic performance, where several character come to life before our very eyes (or ears?), each one with his distinctive temper and voice. The sci-fi lyrics are about speculation and greed, partially inspired to a pair of SF novels and short stories from the pulp magazine golden era. But if Gabriel and his ironic plot amaze the listener, it would be unforgivable to ignore the musical contents of "Get 'em out by Friday".

I don't need to introduce this album nor its cover art, I suppose...

Not only there are three spendid themes and a lot of interesting instrumental passages, but the rythm work is simply astonishing, featuring a series of changes, unusual tempos and intricate bass and drum lines and interplays. Each time I listen to this track I walk in an upside down fairy tale and I'm sure I'll never be tired to get in.