This isn't intended to be anything formal. Just a few notes on some music I like. It will likely mostly be prog, though I will probably scatter in some folk too. I think I will forgo five star ratings systems, and just chat a bit.
Progressive Rock
Proto-Kaw ~ Early Recordings from Kansas 1971-1973
Other Genres
Progressive Rock
Flagship ~ Maiden Voyage
2005, Rivel
I stumbled across this recent gem while browsing Lasercd.com, and it has been a revelation. The comparisons to classic Kansas will be inevitable (and well-earned) - from the sailing ship on the CD cover (think Point of Know Return) to the uncanny Kanseque instrumentation of the opening cut, to the closing cover of Kerry Livgren's "Ground Zero" (complete with a guitar solo by Mr Livgren himself).
Still, this is not to be confused with a Kansas tribute album. Lead vocalist Christian Rivel (Narnia) sounds less like Steve Walsh than a softer-toned James LaBrie (venturing at times very nearly into Keith Green territory). And the tips of the hat are surprisingly broad - one hears a bit of Transatlantic early on, and "Hold on to Your Dream" sounds straight out of the Stratovarius playlist (I had no difficulty imagining Timo Kotipelto hitting those notes).
If there is a criticism - and it scarcely seems fair to offer one in connection with such a well-executed album - Flagship's originality is not on the same level as their execution. I would have particularly appreciated a more imaginative approach to vocal harmonies. That said, this is a very fine entry into the progressive rock database, and is a hopeful sign for the growing Christian presence in the field.
Little Atlas ~ Wanderlust
2005, independent
I was put onto this indie prog band from Florida by a note in TCS Daily by National Review writer S. T. Karnick. There are tips of the hat here to classic Yes, although the vocals bear no resemblance to Jon Anderson. But there is also some reminiscence to newer prog giants such as the Flower Kings and Spock's Beard. The musicianship is highly technical without descending into bombast, and reflects sound melodic and harmonic sensibilities.
Lyrically, the project is largely of a sort of artsy-philosophical bent. Although in places the sense appears to be one of hopelessness (witness the lines in "On and On": "from the sea / we came to be / unaware of our mortality... are you enlightened by the wisdom left behind? there is nothing to reassure us anyway - that's the paradox of faith!"), Wanderlust ends on a note that sounds a lot like grace:
why have you chosen to offer safe-haven and sanctuary?
when I've nothing to give you and nothing to offer, how can this be?
sing to me here, sing to me strong
sing to me clear, sing to me longonce I was dead while I was still living, I thought I was free
my feelings imprisoned, but now they're awakened, and you were the key...
All in all, very intriguing.
Neal Morse ~ ?
2005, Radiant
No, it's not that I'm unsure about the title of the album - "?" is really its name. The title reflects Morse's goal of maintaining something of the aura of enigma surrounding the temple, around which his album centers.
For those who prefer a Transatlantic flavour to Morse's usual solo stuff (as I do), ? is the perfect answer. Without simply duplicating the recipe, there is strong reminiscence here to Bridge Across Forever, as well as a pleasing Kansas edge (no, don't think "Dust in the Wind").
Laden with talented musicians such as the incomparable Steve Morse (who some consider the world's greatest rock guitarist), legendary keyboardist Jordan Rudess, Neal's brother Alan Morse of Spock's Beard, and once again super drummer Mike Portnoy (Dream Theater) - a veritable "who's who" of prog - ? is Morse's strongest solo effort to date, forging a bond behind originality and plain catchiness. The presence of Portnoy and the impossibly prolific Roine Stolt (Flower Kings) makes the Transatlantic echoes less surprising, since three of the four members are present here. Solely missing here is bassist Pete Trewevas of Marillion; that instrument is covered ably by Randy George of the Christian prog band Ajalon.
And this all-star cast is not simply putting in appearances. The musicianship is stunning - try listening to "12" over and over. Every instrument in its place, and the virtuosity never descends into mere showmanship.
This album is tied to together neatly, both thematically and musically, without trivializing its content with unrelenting sameness. And as always with Morse recordings, the work is rife with lush vocals (check out the beginning of "In the Fire") and a diversity of balladeering and hard rocking. Lyrically, I would also have to say this is one of Morse's best efforts. At times on his solo work, I feel a bit of triteness in places, but that is largely absent here. All in all, a wonderful effort from one of Christian music's prog pioneers, and an instant favourite in my personal collection.
In short, highly recommended.
Proto-Kaw ~ Early Recordings from Kansas 1971-1973
2002, GrandyZine / Cuneiform
This is the album - if such it can be called - that kickstarted the long-gone dreams of "Kansas II", the incarnation of Kansas immediately antedating the group that broke it big. These long-buried gems were dug out of the vault by Kerry Livgren a few years ago and created enough of a stir that the band was re-formed thirty years after the fact. A stunning dream-come-true story.
As for the music here, it does bear definite resemblance to the earliest officially-released Kansas studio albums - Kansas, Song for America - but has more jazz inflection and is more experimental. And of course, Lynn Meredith's voice is nothing like that of Steve Walsh.
Truthfully, although the original recordings were demo quality at best to begin with, and the years were not kind to the analog tape, the music is eminently more listenable than I expected. In fact, much of it sounds less dated than Kansas, the studio album closest in time to this work. I fully expected this to be something only for the archives of the avid Kansas collector, but I was wrong. This stands tall in its own right.
Pursuit ~ Quest
2005, independent
As I write this (August 2005), this is a rather new album I picked up a few weeks ago. Pursuit is an independent Christian progressive rock act that represents part of the rapidly growing "C-prog" movement in the United States. Their music is fairly heavy, falling largely into the "prog-metal" vein. For those not familiar with the melodic side of metal, don't let the "metal" moniker scare you: this rocks hard but is complex, very musical and melodic.
I haven't particularly spent much time analyzing the lyrics of Quest. Musically, I hear some strong resemblance to Symphony X, although admittedly those are large (impossible, really) shoes to fill, and Symphony X has considerably more tonal variety and a bit more upfront keyboard work. Still, these guys have really good chops.
Vocally, no resemblance to Symphony X (thank God, as far as I'm concerned;too much growling for my taste, except on V: The New Mythology Suite). Actually, I am hearing WhiteHeart (an old CCM band from the late 1980s and early 1990s) in the vocals, although I can't name the particular singer offhand. (WhiteHeart went through a few.)
In a number of places, I can sense where Pursuit has just nearly landed the left hook but missed by a whisker. I think the album is an excellent indication of a group of artists that together should have a strong musical future. As they expand their tonal palette and build on their skills, Pursuit could be very formidable indeed. But as it is, Quest itself is a very listenable and enjoyable piece of work.
Redemption ~ Fullness of Time
2005, Sensory
One reviewer at progressiveworld.net named this the best album of the year (2005). In the burgeoning field of progressive metal, Redemption is emerging as a solid contender as one of the top artists. Fullness is their second outing, and the group is showing fine form in terms of wedding complexity and melody. Fate's Warning vocalist Ray Alder takes the mic here, and does a fine job.
There is no questioning the musicianship here. And I have to say I find it enjoyable when I'm in a mood for something a bit heavier.
Maintaining originality in the prog metal subgenre is a difficult balancing act. It takes a bit of time for the album to hit its stride in that sense. The two opening tracks, while of very high quality, wrestle a bit to break out of prog metal cliché ("Threads" is Dream Theater, to me; "Parker's Eyes" travels other well-established paths). That said, Fullness of Time moves forward into fresher territory; the massive "Sapphire" is a 15+ minute standout, and the four-part epic title track (which closes the album) is unquestionably a convincing high point.
On the whole, this is a thoroughly enjoyable listen, and I can foresee Fullness finding my CD player often. It is thoughtful, musical, and the performance is competent and passionate. But be aware that the philosophy here is one of self-salvation, as becomes clear in the four-part epic title track. "Fullness of Time" goes from brokenness and rage to self-healing. Granted, it speaks of receiving with grace the things we can't change - but that grace is one's own, and not a gift received:
now I know that I cannot turn back and change the past
and that the only choice to save myself
is changing what I carry from it
everything I did to myself
everything that's been done to me
I'll turn my back on that and walk awayand left with only me
at last I see the answer
and what I need to be
letting go, I destroy my shell
embrace my heart and free myself
http://www.ivorygate.com/redemption/
Tr3nity ~ Precious Seconds
2005, Cyclops
Here's a nice little album that falls somewhere between neo-prog group Under the Sun and classic Kansas. The climactic twenty-minute "The Last Great Climb" sounds remarkably like an up-to-date "Song for America" (title track from Kansas's sophomore effort).
Other Genres
Ona Meyer ~ Holding
2005, independent
Released in late December 2005, this album features a newcomer with a tremendous voice. Building largely upon a sort of piano-pop base, Ona demonstrates fine ability to incorporate a broad variety of genres on this debut release, and displays a beautiful, versatile voice that ranges from delicate to passionately powerful.
Holding opens with the instrumental "Andromeda III," a gentle piece with a surprising Celtic lilt.
"Inconnu," the second cut, comes across as a subtle but effective protest (whether intended or no) against various forms of violence, including war and abortion: "Seven years ago / there was a baby inside and she said no / It seemed the thing to do then / and now in tears, in her mind / she wants to kiss that little one goodnight / But what can she do? / Inconnu."
The wedding song, "Endless As the Sky," follows with an Indigo Girls-esque feel and harmonies. Sumptious.
"Staggered," which appears in two mixes on the album, is aching in its beauty, and the hook-laden "Glass" brings a bit of Annie Lennox to my mind. A second instrumental (Holding contains three) , "4 am," features a gorgeous guitar lead by Jeff Noel, and is the most driving cut on the album.
Holding is a very listenable album, and Meyer knows how to play well to her own strengths. Some might say the album is a bit too laden with slow songs, but the material enables Meyer to display her fine voice, which effectively reaches for a wide range of emotions with a beauty that rarely fails to strike a nerve. The only exception is "Together Again," where the vocals sound somehow off to these ears, particularly early in the song.
This is not a "Christian album," and readers should be aware that the CD graphics show the artist with an exposed back.
That said, if you are looking for an album that provides a broad and deep demonstration of the beauty of the female voice, check out Holding. It's a breath of fresh air in the present milieu of interminable dance music and unendurable alternative ugliness.
http://www.cdbaby.com/cd/onameyer
Jamie Soles ~ Memorials
2006, independent
Jamie Soles, a recording veteran with nearly a dozen albums to his credit, has outdone himself with his brand new (June 2006) release, Memorials. Although he is billing this as a kids album (joining earlier releases Good Advice, The Way My Story Goes, and Up From Here), Memorials is not at all childish. It is a maturely written, arranged, produced, played and sung work that may well represent a new high point in Jamie's musical career.
Jamie has long drawn upon his family for vocal support, and the maturing of his oldest children has afforded him the luxury of the maturing of his vocal arrangements as well. The result is a fuller, more interesting sonic development with a range of voices. Oldest son Judah, a fine boy soprano, even contributes a solo effort on "Jealousy Test." In addition, Jamie's wife Val is in top form here, and the marked Celtic leaning of many of the songs suits her well; the harmonies on "I Will Remember" verge on spine-tingling.
Lyrically, Memorials is built upon the theme of the signs God appointed between Himself and His people (and the corresponding false signs of the faithless). After establishing the theme in the snappy opening title cut, sundry signs and rites of Scripture are explored, from the rainbow ("I Will Remember") to Passover ("Take a Lamb") to the ascension offerings of the law, frequently called "burnt offerings" ("Up in Smoke") and much more, stretching all the way to the closing "Unto My Memorial," drawn straight out of 1 Corinthians 11's treatment of the Lord's Supper. On the negative side (counterfeit memorials) are such standouts as "Plain of Shinar" (a lighthearted treatment of Babel) and "Last Supper at Endor," a penetrating look at Saul's consultation of a medium on the eve of his death.
If you're looking for songwriting that is soundly and richly biblical, enjoyable for the whole family, and well-crafted, Memorials is an excellent choice. And with eighteen top-notch songs, it's a bargain, as well.
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