Start the Show (99); Under the Big Top (01)
Sacred Clown is a five piece neo-prog band that will gladden the hearts of Genesis, Peter Gabriel, and Marillion fans out there. Billing itself as Theatrical Rock, they fit the bill. You can sample some tasty songs at http://www.thesacredclown.com. , although the website is pretty sparse. I haven't heard any of their albums, but based on the sound clips, I definitely recommended you check them out. {dt}
Ten Commandments (71)
Salamander's "Ten Commandments" is a most interesting
album. Produced in 1971 (but released on CD by The Laser's Edge), it
has all the markings of a post-60's progressive release. Its sound is
heavy on the Hammond organ and the album is fully orchestrated. Ken
Golden from The Laser's Edge compares the organist to Jon Lord which is
not accurate, as Alister Benson lacks the technique of Lord. I would
compare Salamander more directly to Rare Bird's sound, with the
addition of orchestration.
The lyrics are at times direct, and at times vague. (Should we get
philosophical on the issue of adultery? The Bible is clear on this
topic.) However, it is well worth a listen if you like this early 70's
type of sound. I must give them credit for approaching this topic back
in 1971. I know of no other releases by them. A new group from the
90's goes by the same name. {David Cline}
I; II (a.k.a. Different Worlds);
Catatonia; The Robbery of Murder
Another fresh, modern, popular progressive group with Christian members, Salem Hill sounds like a hybrid of Kansas, Marillion, King's X, and Pink Floyd. They are definitely one of my all-time favorite bands. Salem Hill consists of guitarist, keyboardist, and primary songwriter Carl Groves, bass player Patrick Henry, guitarist Micheal Dearing, and drummer Kevin Thomas. They are one of those great bands who seem to get better and better with each and every release, so you may want to start at the end and work your way backwards.
I, II
Salem Hill did eventually release their first two albums, called simply I and II, on CD, although they may be out of print now. I has some nice moments, but it's obviously a freshmen effort. The completists will be pleasantly surprised, but wait until you have the rest first. II is much better, and contains several Salem Hill signature songs. More King's X in flavor than later efforts, II is the perfect album to crank in your car while you barrel down a freeway somewhere. It was re-released in Europe a few years back under the title Different Worlds.
Catatonia
My first exposure to Salem Hill came with their wonderful concept album Catationia. I ordered off the net on a whim, and the disc stayed in my player for six months. I still play it every few weeks. The lyrics hit me like a revelation, a major epiphany, and the music combined the styles of many of my favorite bands. Spiritually, Catatonia hits a home run, covering deep issues, wrapping it's tentacles deep in your spirit as the introspective lyrics take hold. A concept album about breaking out of the existence rut to become aware of spiritual matters, the album touches on many issues modern America is dealing with, including violence in public schools, work day apathy, and inevitably, The Judgement, which is a 9 minute epic prog song that will give you goose bumps like it did me. It's a wonderful album, full of different sounds, styles, and textures. I play the tune Peculiar People quite a bit for my weekly radio show, as it makes a nice single, even with the long, jamming instrumental bridge in the middle. If I could only take one Salem Hill album to my desert island, Catatonia has my vote.
The Robbery of Murder
The Robbery of Murder is a re-recording of an earlier concept piece dealing with a young man's feelings following his father's untimely death at the hands of a drunk driver. The music is wonderful, highlighted by guest violinist David Ragsdale (formerly of Kansas). The album builds with orchestral themes and deeply emotional lyrics that all of us can identify with, whether we've lost loved ones or not. One song has some mild profanity (the two "B" words) as the main character vents his feelings toward his father's killer, but in the end he chooses the path of forgiveness. It's very moving, and far and away one of the best classic progressive rock concept albums around. The spiritual overtones are somewhat muted on this album due to the theme, but the lyrics still hold out hope amidst the struggle. This is probably Salem Hill's most cohesive album, and surely the most beautiful musically. Kerry Livgren told me he has a copy of it, and he said he was refreshed to find a band making such quality progressive music.
Not Everybody's Gold
Salem Hill's fourth CD, Not Everybody's Gold, is their most overtly progressive effort. Although some have criticized it's uneven-ness and the slight change of style, many feel this album is Salem Hill's best. The album kicks off with a bang with the driving instrumental Prelude, showcasing new keyboardist Kevin Ayer's fine classically-trained chops. Next comes the song Riding the Fence, a Carl Groves song about taking a stand for your beliefs. This a rocker, bordering on Dream Theater-esqe in places, with progressive flourishes throughout. Groves' powerful and thought provoking lyrics certainly reflect his faith. For instance, the next song, the Last Enemy Groves celebrates the eternal conquering of death. The chorus intones:
The last enemy shall be destroyed
Put under foot for always
And where is your sting, O death?
O yes, you'll have your day
January, bass player Henry's fine tune, is a proggy rock classic, with a strong bass line and a nice, Wakeman-esque keyboard solo. We Don't Know, a song SH calls their first "love song" slows down a tad with some more pointed Groves lyrics and fine musicianship. Next is one of my favorite tunes, Let Loose the Arrow, written by keyboardist and Zen affectionado Mike Ayers. It really showcases Ayers' deft fingers and fine taste in keyboard sounds, reminding one alternately of such greats as Rick Wakeman and Keith Emerson, yet having a style all his own. Some great vocal harmonies are a highlight. The real treat is the 30 minute epic Suite Hope Suite, perhaps Salem Hill's best song ever (and featuring David Ragsdale on violin). The song explores many themes of life, death, and faith in a progressive feast for the senses. Based loosely on the final chapter of George MacDonald's classic fantasy epic book Lilith, the lyrics evoke the fears and deep longing we have for the afterlife, our sweet hope. All in all, this album should be in every prog fans collection, and will especially appeal to those who enjoy solid spiritual meat mixed with their guitar and keyboard exploits. Ayer's departed after this album.
Puppet Show
After nearly breaking up due to difficulties during the recording of Not Everyone's Gold, the band decided to release a live album in early 2003. Puppet Show showcases the bands ample live talents, and contains a great mix of the band's best tunes. Not everyone likes live albums, but those who do won't be disappointed by this one. It's a double CD, and contains one bonus unreleased track.
Be is Salem Hill's foray into musical genius. Dabbling with dark themes and styles that wouldn't be out of place on Tool's Lateralus, Salem Hill revs the engines and goes full throttle on their latest release. Heavier than past efforts, Be combines alternative rock with Salem Hill's signature vocal harmonies and Kansas-like progressive leanings. Inspired by the stark cover photograph of a lone chair on the beach and a simple word etched in the sand, Be somewhat cryptically follows the story of someone tortured by their search for purpose in life, the desire to be regarded. The stark, acoustic opener Reflect sets the table before the feast starts with the next tune, Symposium. Bounding to a heavy groove, the aural assault begins. The song seems to be about a guy fresh out of the world sitting through a sermon and watching it fall on deaf ears, and it features a cool Beatle-esque harmony laden bridge and a tasty keyboard solo by Carl. Nowhere is Home sounds like it came right off of Catationia, with it's crunch and tight harmonies and hooks. There are hints in the lyrics that allude to the mind of a terrorist or other unstable individual bent on destruction, and it's not exactly uplifting. The Great Stereopticon, which sounds heavy like King's X like musically, deals with spiritual apathy, the spark of life sucked out by the cathode ray infused vicarious life many Americans sleepwalk through. The chorus sums it up:
The spark He gave you -- never a fire; The years of becoming -- when will you be?
Children of the Dust kicks it up another notch, a duet between Carl and Michael that "disintegrates" into a heavy progressive melodic jam session, then drops down to an acoustic guitar and a simple vocal melody augmented by an oboe or some other woodwind instrument before jumping back into high speed with lyrics that highlight the fallen nature of man and how we wallow in our own depravity. This theme is continued as it segues into the next tune So Human, with it's great Queen-esque vocal lines and harmonies. Those two songs, which seamlessly play off one another, are the creative highlight of Salem Hill's career. The Red Pool is next, and the crunchy guitar and classic rock flavored hooks could have made it a radio staple in the late 80's (and should still today if it got exposure). Lyrically, the red pool appears to signify the blood of the redeemer which washes away the grime of life. Underneath follows, a heavy Tool-flavored groove counterpunched by a quirky vocal line (think Daniel Amos) that sticks in your head with unusually earthy romanticism. It's one of my favorite songs on the disc. Next, the beautiful piano ballad Seattle lilts forth like a John Lennon ditty, singing the praises of the great Northwest city that I grew up in. Is Ichiro really the epitome of Seattle sports icons? As a Mariner fan, I might have voted for Edgar. But that aside, the song really works. After Seattle, Mike Dearing shatters those who nodded off during the lullaby as he belts forth his song of doom, Apollyon. Holy cow, what a dark, heavy beast. Not for the faint of heart, the song exposes the grim reaper in his own words. This is the tune that's guaranteed to bring your wife out of the kitchen with a gasp of "What the heck are you listening to?" A Perfect Light is all Carl Groves, lush chords and tinny keyboard sounds underpinning obtuse lyrics and Beatle-esque harmonies about light refracting off darkness in human nature. Love Wont Save the World is another pretty, classic Salem Hill song about the black hole we are all trying to fill inside, and the fleeting nature of love and happiness. I Didn't Come For You again reprises the heavy King's X-flavored sound as they sing about the worldly philosophy of sacrificing people to reach higher goals. This song breaks into a heavy instrumental part that highlights Kevin Thomas' solid drumming and some fine guitar work. Beings follows, a beautiful, mellow, classic Carl ballad much like To The Hill. Quoting James 4:14, the song shows that despite our human flaws, there is hope. "Propensity for the base. Capacity for such grace. Love could change the world.." sings Carl, with passion tainted by uncertainty, much like life itself. As the surf crashes, the album concludes with Regard Me, and it isn't necessarily a happy note. Despite the offered hope, the hero turns his back to love, shakes his fist at the sky, and walks out to his fate beneath the surf. Much like they did with Catatonia, Salem Hill has created another masterpiece: music to make you ponder life, look within, face the demons, and turn toward the One who has the power to make you free. Hats off, gents. {11/08/03 dt}
You can find Salem Hill sound clips, lyrics, and ordering information at: http://www.salemhill.com/. {dt}
Mimi's Magic Moment (05)
Salem Hill recently released their most ambitious project yet, Mimi's Magic Moment. Throwing aside sensibility and their previous dabbling into mainstream rock, Mimi finds Carl Groves and company at their creative best. Four long, orchestral compositions brimming with the freedom to groove, meander, and jam, yet packed with the melodic vocal genius that sinks this band's songs irrevocably into your soul. This album grips and haunts me, each and every song, and it doesn't get stale after repeated listening. Copious repeated listening, at this point. It's my 2005 album of the year.
Two of these songs I experienced live before I had heard the record (see the concert review here), which was a special treat. This music is different from Be, much more jazzy and old-school progressive. Ripping off their neo badge, Tennessee's Salem Hill proudly resurrects that joyous English spirit of musical creativity last seen in 1973. The Joy Gem, which begins somewhat Kansas flavored, morphs into pure Salem Hill aural bliss, one of Carl's most creative compositions. Telling a cryptic tale of a mythical Gem of Joy fought over by armies, which I interpret as an allegory of the gift of salvation, besmirched throughout the ages by men and institutions bent on molding it to their own image. Its an epic number, with extended instrumental interludes, highlighted by the guest appearance of David Ragsdale (Kansas) on violin. Kevin Thomas' drums are tight and perfectly recorded. Pat Henry's bass thumps and growls as it grooves. Michael Dearing and Carl Groves trade guitar licks and piano, organ and synth solos. And as fine of musicians as they are, Salem Hill seldom showboats, every lick is deliberate and meaningful, and adds to the aurally impressionistic masterpiece that they have crafted. They sound tighter and more polished than ever, and the joy of a band in their prime doing what they love shines through every extended note. Can anything top that?
In fact, amazingly the album gets better with each song. All Fall Down, penned by Michael Dearing, is a song about pride and performance, exposing the lie that popularity brings. He should know, he just finished touring the world for years with country mega-star Gretchen Wilson. Again, the poignant lyrics are gripping, but musically the creativity and freedom expressed grabs you until the song sputters out into flailing cacophony of guitars, signifying the angel crashing to earth under the weight of bloated pride. After a deep breath, the hauntingly gorgeous Stolen By Ghosts takes you by the hand and leads you into the realm of broken dreams. Another Dearing epic, it tells the sad tale of someone burdened by a tragic loss of loved ones. Like an elixir distilled from the Robbery of Murder, this song tugs at your emotions and deepest fears, yet manages to be inexplicably beautiful. Again, Ragsdale's soaring violins lead into Carl's layered keyboard soloing which then trades licks with Dearing's guitars and back around again in the most splendid of freeform jams. Seldom does modern progressive rock music sound as fresh and exhilarant as this. It's rare that a 20 minute song doesn't wear out its welcome, but the last minute of each song is as fresh as the first. This is the same creative freedom that bands like Camel experimented with in the dawn of the 1970's, yet packed with much more lyrical depth and songwriting skill. What is left of me now, all of it stolen by ghosts? That sad refrain echoes long after the disc keeps spinning.
Like your four adored children, you simply can't choose a favorite song here, you just enjoy each for their uniqueness. But that doesn't stop The Future Me from completely blowing you away, even as you're still reeling from Ghosts. Ripping into a Frippishly layered repetitive jam, which Carl then solos over on guitar and then synthesizers, the song builds musically for several blissful minutes before the vocals finally kick in. Groves and Patrick Henry's words expound upon juxtaposition between the futility of religious arguments and failures and the gloriously perfect recreated beings we will someday become, that endless battle within the human soul. This is deep, introspective stuff, most likely over the head of the casual listener that doesn't take the time to think through the depth of the poetic revelations. And the music has the depth to match, the fruit of musicians in sync and enjoying one another as they go off on creative musical explorations that mirror perfectly the spiritual searching displayed in the words. The song builds to a fantastic crescendo, highlighted by special guest Fred Schendel's (of Glass Hammer) lightning-fast piano solo. Mimi's Moment is indeed Magic and it is unlikely that you'll hear an album as powerful and satisfying as this anytime soon. {dt}
Milagro
Call Carlos Latino prog, if you will. I heard him confess Christ as his Lord in person back in 1984, and this particular album, Milagro, is incredible. The 10 minute epic song Somewhere in Heaven just rips, but it also preaches the cross uncompromisingly. I'm sure other albums of his have some great stuff as well, but this is the only newer one of his I own, and so I'm open to reviews of others if you have them. He no longer professes to believe in Jesus (he's into new age meditation and channelling), so watch his newer stuff if you find new age offensive. {dt}
SM I, SM II, Legend Part 1, Legend Part 2
OK, now I have these, thanks to Pendragon. All I can say is, wow. What do you get when you mix melodic piano, orchestra, creative symphonic arrangements, spoken-word scriptures and intense gothic lyrics out of Revelations with meaty, heavy guitars? Well, you get the Soundtrack to the End of the World, as Savior Machine calls their epic Legend series. I guess it's progressive symphonic gothic metal, if you have to narrow it down. Based on end time eschatology and Revelations, this music is not for the casual listener. There is so much to hear and it's so carefully arranged an orchestrated, that you have to delve in with both feet to appreciate it. Their concerts are theatrical treats like early Genesis used to do, and are incredible from what I hear if you ever get a chance to see them. Legend is certainly the most unique music I have heard in a while, and there is so much of it (L1 and L2 max both CD's), that it's going to take me a while to absorb it all. The I and II albums are supposed to be even more progressive. Available for sale through Pendragon Merchandising, USA: http://www.pendragonusa.com. {dt}
They are an interesting band, but in my opinion too stuck in their "doomsday" rock, and have a tendency to become repetitious / monotonous in their songs, which I consider a minus. {joseph garvi}
Seeds
A Christian folk-rock group, their music creates a certain atmosphere (at least on their
first CD) and they swerve a little to the left or right enough in their arrangements to
warrant being mentioned on a progressive list. This is soothing music music with a
spiritual message. It is mellow and soothing, but not boring. It's an easy disc to listen
thru to the end. One song has an interesting flute solo instrumental section that's
reminiscent of Tull. {M.T.}
Maze
A Christian AOR and prog band that has hints of Kerry Livgren, Ten Point Ten,
Whiteheart, and others. You can hear samples of their music by looking them up
on CD Baby and www.garageband.com , or
get more info by going to http://www.musicofjesse.com
Shadow Gallery; Carved in Stone; Tyranny
Prog-metal band from the Magna Carta label.
Shadow Gallery mixes classic prog riffs and metal together on
all three of their albums. Their lyrics are complex, but there is an undeniable Christian
influence on many of their songs. On the first album, (self-titled) check out "The
Dance Of Fools" and "Questions At Hand". On the second, called
Carved In Stone, check out "Cliffhanger" and "Don't Ever Cry, Just
Remember". On the most recent, Tyranny, there are too many references to
mention. As for the music, there is intricate guitar work by Brendt Allman and Gary
Wehrkamp, and blistering keyboards by Chris Ingles. Mike Baker is
underrated as the vocalist, and you can't count out Carl Cadden-James, the band's
bassist/lyricist either! I would recommend any of these albums; at worst they won't
offend, and at best they'll be uplifting (and have you jamming,as well!) {christopher
lindsley}
From the Toybox; River to the Sea (2005)
Dan Merrill, Jeff Miller, and Buzz Saylor make up this prog-pop band that has been compared to Genesis, Toto, Steely Dan. Their latest album also features guests Tony Levin (King Crimson, Peter Gabriel) and Buck Dharma (Blue Oyster Cult). They are also featured on the CPR Volume 2 CD. For more information, go to http://www.simonapple.com
Fireflake (1975); Goodbye October (1976); Listen to the Peace (1977); Something New Under the Sun (1979); The Passion (1980); The Virgin (1981); Cut (1981); Feed the Hungry Heart (1984), Alpha and Omega (1986), Song of an Exile(1988), Father (1990), Kiss The Tears (1991), Beautiful or What?! (1993), Solo (1994), My Heart Shall Journey... (The Best of..., 1997), City of Peace - The Complete Work (1997, a double album consisting of Moriah and My Every Breath, which were previously released separately as part 1 and part 2 of this work); Light of the World (19997); Intimate Strangers (1998); Poems/7 Hills (2000); I Dream of Peace (2001)
Adrian Snell is a veteran musician and keyboard player who has released a myriad of albums with progressive rock overtones or at least meanderings since 1975, all of which reflect his Christian world view. His web page is www.adrian-snell.com or http://www.oneway.nl/adriansnell/
Snell is not a progressive artist per se, at least these days, but he is important to everybody who loves the music of Iona, as they draw from the same musical well. Also the fact that Dave Bainbridge, David Fitzgerald and Joanne Hogg (the nucleus of Iona) worked first together on Snell's Alpha and Omega project, is of significance. Not all Snell's albums can be labeled as progressive, but some for sure, especially Alpha and Omega, Kiss The Tears and City of Peace. On all these and several other albums, previous and former Iona members participate: Dave Bainbridge, Dave Fitzgerald, Martin Neil, Tim Harries, Mike Haughton, and Terl Bryant. His music is very romantic and beautiful, although he very often addresses serious historical issues. {Hubert Jakobs}
Song of an Exile
Adrian Snell is an English Christian music veteran who's various albums that are consistently creative. He has successfully mixed Celtic and world music with interesting epic themes and has included various past and present members of Iona on his records (the band actually met playing on one of his albums). I only have one of his albums, Song of an Exile, and it is a good one, if a little heavy lyrically. It's a concept piece in which poems written by Jewish children during the WWII holocaust are put to music. Some of it certainly has an Iona feel, since they participate. Recommended for fans of Iona {dt}
The Passion
In Europe, Adrian Snell’s “The Passion” is well known by lovers of progressive rock music. In fact, it’s considered a classic in this genre for many Christians. Although the album is over 20 years old, there have been some live performances of it in recent years. On this concept album about Easter, you hear Adrian Snell as Jesus, but also choirs, orchestra (the Royal Philharmonic Orchestra), pop songs and prog rock of the better kind. Listen, for example, to “Golgotha”, an instrumental masterpiece with the fabulous grandmaster, Simon Philips, hammering on the drums. It's mind dazzling! Also “Betrayal," “The Trial,” and “Judas’ Song” are all very progressive songs. A number of various talented rock singers contribute to the record, which makes it even more interesting to listen to. {Patrick Vogelaar}
The Virgin
The Virgin, Adrian’s 'Christmas' concept album, is less well-known and rvery hard to find. For prog-lovers, however, it’s a must for the music collection. This album also features the Royal Philharmonic and Simon Philips on drums, and is even more progressive than Passion. “Journey to Bethlehem” and “Kill all the Children” both feature Simon Philips at his best, along with experimental synth solos.
Other more or less progressive albums of Adrian Snell are “Cut “(also with orchestra and ex-Marillion-drummer Ian Mosely), “Alpha and Omega” and “Song of an Exile” (with later Iona members Dave Bainbridge and Dave Fitzgerald).
It must be said that Adrian in the last 10 years has left behind his progressive rock roots. It’s a pity I think! {Patrick Vogelaar}
Spock's Beard (USA - TN)
The Light (95); Beware of Darkness (96); The Kindness of Strangers (97); Day for Night (99); V (00): Snow (02)
Spock's Beard, an American progressive rock band fronted by Neal Morse, has been part of the new progressive rock revival. Taking bits and pieces of the traditional progressive sounds of early Yes and Genesis, and mixing it with pop sensibilities vocally, Spock's Beard has quickly become one of the more popular bands of the prog genre. A few years back they were signed to Metal Blade records, giving them greater exposure and distribution. Although their first album, The Light, contains some very abrasive profanity on one song, the rest of the Beard's discography is well worth obtaining, especially V and Snow. Neal Morse, the mastermind of the band, became a Christian a while back, and quit the band. He has a couple of solo albums out on Radiant Records, and is working on a new one with Kerry Livgren. (http://www.radiantrecords.com). Spock's Beard has carried on, and new album by them is due out this spring. See more info on the band at http://www.spocksbeard.com.
Snow
Spock's Beard has released a progressive rock double concept album of epic proportions with their new release, Snow. The two CD's are packaged in an amazing hard cover book, with pages and pages of creative color photos and great graphic design that follows the story line. And what an interesting story it is. The songs detail the experiences of a young man called Snow, due his albino countenance, and his "ministry" in Central Park in New York City. Seeking to change the world, Snow sets off from his rural upbringing and experiences the big city for the first time. Snow is gifted with Words of Knowledge, the ability to see prophetically into a person's life, their past and their future. Using this gift, he speaks hope and encouragement and healing into the lives of thousands of street people, becoming a phenomenon much like the early 20th Century Revivalists. However, as Snow's influence increases, he becomes caught up in the pride that so often comes before the fall, and ends up struggling himself with the same addictions that he had helped others overcome. From the place of brokenness that comes from realizing our own weakness human frailty, Snow has a re-awakening. The friends that he had previously helped rally around him and help restore him, and there he finds the true purpose for his life. Mixing allegory and spiritual metaphor, Morse's lyrics are cryptic enough to lure in the dire pagans, yet contain enough meat to uplift strident evangelicals. Spock's Beard successfully avoids the "Christian band" tag, while artistically portraying many elements of the faith and struggle of a somewhat odd street minister. So does this album live up to the expectation of progressive rockers? Well, the pop and rock elements far outweigh the progressive jam sessions, but that does not mean the album sucks. On the contrary, much like Marillion and other neo-prog, Snow is very accessible listening, with melodies and hooks that lodge in your brain, and enough odd time signatures and counterpoint melodies and extended keyboard soloing to flesh it out into an orchestral epic. Some have complained that the album is too long and could have been trimmed down. I for one enjoy its length, and the story and songs move cohesively and intelligently toward the spine-tingling conclusion, where Morse ecstatically sings the worshipful lines of Wind at My Back heavenwards. This album certainly ranks right up there with epic rock concept albums like Tommy, The Wall, and The Lamb Lies Down on Broadway, and is just as satisfying. {dt 10/1/02}
Steelwind (USA)
Heaven's Calling
Steelwind is an independant Christian hard rock band in the Kansas-Vinyl Confessions or Power vein with one CD out called Heaven's Calling. It's rock with slightly proggish tendencies, and they consider their influences to be Styx, Night Ranger, Boston, Dokken, Stryper, & Petra. They definately know how to rock, with a full on wall of guitars on the title track, and the musicianship and vocals are tight. They are currently in the studio recording the follow up CD to their debut. Sample two complete tunes from Heaven's Calling at: http://artists.mp3s.com/artists/119/steelwind.html Also, more info can be had at their website at: http://www.steelwind.net/
Stevens, Sufjan (USA)
Illinoise (05)
Here is the promotional introduction to Sufjan Stevens new album, Illinoise:
Like the self-proclaimed "Spiderman" who climbed Chicago's Sears Tower with no harness, Sufjan Stevens scales dusty prairies, steel factories, and two hundred years of history in the second installment of his 50 State Project, "ILLINOIS", a 22-track anthematic tone poem to The Prairie State.
An engrossing musical road trip, "Illinois" takes you through ghost towns, grain mills, hospital rooms, and the City of Broad Shoulders, with guest appearances by a poet, a president, a serial murderer, UFOs, Superman, the goat that cursed the Cubs, and Decatur's famous Chickenmobile. Sufjan weaves variegated musical styles (jazz, funk, pop, folk, and Rodgers and Hammerstein-like flourishes) and the textures of 25 instruments into a tapestry of persons and places famous, infamous, iconic and anonymous. Invoking the muse of poet Carl Sandburg, "Illinois" ushers in trumpets on parade, string quartets, female choruses and ambient piano scales arranged around Stevens' emerging falsetto.
If that doesnt pique your interest, I don't know what will. Illinoise is a concept album about the State (Stevens plans to record albums for all 50!, he's done two so far), with beautiful lyrics, harmonies, (real!) orchestral instrumentation including all sorts of cool stuff like flutes, banjos, accordians, saxes, oboes and glockenspiels. Stevens is definitely a Christian, yet his record is receiving airplay all over and even on television (the O.C.). With crazy song titles like "A Conjunction Of Drones Simulating The Way In Which Sufjan Stevens Has An Existential Crisis In The Great Godfrey Maze" and "The Black Hawk War, Or, How To Demolish An Entire Civilization And Still Feel Good About Yourself In The Morning, Or, We Apologize For The Inconvenience But You're Gonna Have To Leave Now, Or, 'I Have Fought The Big Knives And Will Continue To Fight...", off-beat arrangements, instrumental overtures, Brian Wilson-like genius and the like, its as endearingly eccentric as any prog album you've ever heard. And if you are actually from Illinois and get all the references, even better. If you like Daniel Amos, Danielson Famile, Marc Catley, Frank Zappa, Joe Jackson, They Might Be Giants, or or any other artists "off the beaten path", pick this up. Its certainly progressive, just not maybe in the old-school-derivative wank on the moog type of way, more jazz-folk-choral-alt-rock fusion. This is a beautiful, brilliant unique record that gets under your skin and wont leave you alone. It is definitely worth exploring for all fans of unique music. {dt}
Stolt, Roine (Sweden)
The Flower King
This disc kicked my butt when I picked it up. If you don't have
it, get it ASAP. Every song is about turning from spiritual darkness to the Flower King
(identified positively in the song Humanizzimo), and the music is just stellar classic
prog rock. This is the early solo album that was later to germinate into the Flower
Kings band. Some of the newer Flower Kings stuff sounds a bit quickly composed, but you
can tell Roine really put some thought into this solo album. A guitar driven album,
the cohesion of the songs and themes works well, carrying the listener on blistering
journey of spiritual discovery.There is some fabulous guitar playing by Stolt, especially
on the instrumental songs. He really makes his tone sing, alternating between Howe-like
inflections and Gilmour type emotion. I miss TFK's Tomas Bodin's tasty keyboard leads a
tad, but Roine does a passable job himself as he plays everything but the drums and sax.
Here's what Stolt himself had to say about the creation of the CD:
In early 1993 I decided to record some songs, that can be classified as symphonic rock,
for a possible future release on CD. When I wrote "The Flower King" I had no
doubt that it was meant to be the title song for this record. In a way I wanted it to be a
statement - like "I support the good forces, love, light and kindness". I wanted
it to come out as an alternative/opposite to the countless destructive, dark n' evil
hardcore death-trash-speed-black'n suicidal metal music of today.
So I created "The Flower King" ' Prophet, Healer, Hippie, Joker, Spacetraveller,
The Great Gardener and possibly....son of God. In a time where sometimes power and money
are our only Gods, we have to stop and ask ourselves- 'who's side am I on" ,with what
do we feed our heads, what becomes of our children when violence, greed selfishness and
terror display everyday on television? It's about time we move in a new direction, now,
before it's too late.
Stolt is defininitely not an "evangelical" type Christian (he may be closer to Jon Anderson in philosophy), but the message in these songs is crystal clear. Here some of the lyrics to the title track:
"We believe in the light, we believe in love
every little precious thing
We believe you can still surrender
you can serve the Flower King"
"We believe in the heart, we believe in healing
in a house where angels sing
we'll unite the divided and the fallen one
will serve the Flower King"
Even more revealing are the lyrics from the gorgeous 20 minute epic Humanizzimo, a concept piece about the struggles with our humanity and the redemption available through the blood shed on the Nail.
Part D of Humanizzimo, The Nail:
Say a prayer for the human racewhen looking down from a wheel in
space.....
Can we put an end to the mindless war, do they still remember what they're fighting for?
With the blood of Jesus on the nail, we turn the balance on a scale
In pain and fearless suffering lies a message from the King of Kings
See the mindless masses so dangerous. Saying "you don't belong here-you are not one
of us"
soon the cities crawl, living under the gun, and they feed on hate for the different one
Chorus:
With the blood of Jesus on the nail, we turn the balance on a scale
In pain and fearless suffering lies a message from the King of Kings
Did someone pray for the long lost souls, or the tired ones who lost their goal
When the seventh angel rise his sword, can you hear the one voice of the Lord..
The whole album is really quite brilliant and I recommend it
highly. Check out
http://www.geocities.com/SunsetStrip/Palladium/6284/
flower kings for lyrics, etc. It is available for sale through cdnow or
Pendragon Merchandising, USA: http://www.pendragonusa.com. {dt}
Sunny Day Real Estate (USA - WA)
How it Feels to be Something On (98)
Emo modern rock band from Seattle with a prog twist that I once read described by a reviewer as a cross between Radiohead's OK Computer and Genesis' Selling England by the Pound. I guess that's somewhat accurate, and I enjoy it, although parts of the album tend to drone monotonous at times. Lead singer Jeremy Enigk's much publicized conversion to Christianity broke up the band once, but after several years they reformed to put out this gem. The lyrics aren't blatant, but they are interesting, and the only profanity is on a song title and not in the lyrics. Impress your alternative friends with a tasty hypnotic hybrid of middle-eastern, progressive, and modern emo rock. {dt}
Still Standing
Imagine late 80's Petra with an Emerson-wannabe playing keyboards.
Michigan-based Sweet Crystal is an evangelical hard-rock band with progressive
leanings. Most of the songs are in standard meters with some progressive style
keyboard flourishes here and there. The album starts off with a cover of Chris
Eaton's CCM tune, Do You Believe In Love, which sort of sets the tone, although
not really in a good way. The band sounds dated, more than anything, and the
standard AOR fare doesn't do much for me until a live tune comes on toward the
end called Stand Up and Shout, which has some jamming prog-style keyboards. The
last two songs on the disc are nice rock instrumental tracks, which again have
progressive synth solos. Stylistically (and lyrically) Sweet Crystal remind me
a bit of older Petra and other 80's Christian rock. Marq Andrew Speck has
a capable somewhat raspy rock voice, but it is his keyboard work that stands
out. While not exactly breaking new ground, Sweet Crystal should appeal to
fans of Foreigner, Journey, Petra, and those of you that long for the days
before new wave, glam metal and grunge. You can find out more information at
http://www.sweetcrystal.com {dt}
The Allegory of Light (03)
Syzygy is an extremely talented classic progressive rock band from Ohio that pulls no punches musically on their splendid second release, The Allegory of Light. Formerly called Witsend, Syzygy has the chops of bands like Dream Theater, but they have the emotion and sensitivity of 'Selling England' era Genesis. Made up of virtuoso Carl Baldassarre on guitars, bass and vocals, Sam Giunta on pianos and synths, and Paul Mihacevich on drums and vocals, Syzygy sounds like...hmm.. well, in places they sound slightly like other bands, but overall they are really quite unique. The vocals parts are a bit Moody Blues-like, very early 70's sounding. Lyrically, they sing about God ( Master of Light), suffering (Beggar's Tale), and unfulfilled love (Forbidden), but the vocal parts are fairly insignificant as the majority of the album is full-on progressive instrumental meandering. All three members call themselves Christians. Baldassarre elaborated a bit on his personal perspective in an email to me:
Musically is where The Allegory of Light really blows me away. It has those unpredictable, constantly evolving musical progressions that I've always loved from bands like Happy the Man or Liquid Tension Experiment. While the total shred-fest of bands like Dream Theater or Cairo that just showcase chops gets old for me after a while, Syzygy manages to mix that caliber of musicianship with mellower, more emotive instrumental segments. This is a much more balanced attack, and ultimately more satisfying to my ears. I have a hard time imagining any real prog fan not liking this album, although if you are solely into hum-able vocal melodies and pop-flavored prog, you may find it a bit too left-field musically. Syzygy gets a huge thumbs up from me, I haven't been able to dislodge it from my CD player, which to me is the ultimate test. Go to http://www.syzygymusic.com for more information on the band. {dt 10/03}