Doris Melton "Reflected Perspective" ALBUM REVIEW [Apple Pie Retro-Prog/ Singer/Songwriter]

by Dean Wolfe, Prog dog Media  (album release September 2023)

Something that is underrepresented in music in general these days is a highly capable female singing keyboardist pounding away on her piano and analog synthesizers in the old school way. 

Enter Doris Melton, who has come 'back to the future' -stepping out of a time-travelling silver DeLorean from the early 1970s with her first solo album firmly in hand. 

Her husband, Matthew Melton who recorded and produced her first solo album is equally time-challenged- revelling in what is now considered antique reel to reel recorders and all manner of non-digital equipment (except for the final transfer for streaming purposes of course). 

Together they are known as Dream Machine and have a couple of great albums (see my review here). Her husband already has some solo albums and now Doris has finally brought forth her own disc. 

So how to describe Doris and "Reflected Perspective"? First- her singing is sort of Abba-esque, but with a psychedelic patina. Her songwriting is very good- there are no tracks deserving to be skipped over- they all have personalities and something to say. One of my favourite tracks is the title track, which is catchy in a cool way. Her keyboard playing is essential to her 'sound' throughout the album. Many of the tracks feature beautiful analog keyboards as well as piano. Also common across the album are instrumental musical sections and interludes sure to excite all the Rick Wakemans and Tony Banks (Genesis) out there. There's even a dedicated instrumental track called Ignus Fatuus. The album is overall kinda poppy- like I said, a proggier ABBA with a kind of lo-fi vibe in a K-Tel records kind of way, and an undeniable prog-influence throughout as well- myself being reminded of ELOY, early Mike Oldfield, and even Kansas. 

Worthwhile to point out there's no click track and the drums are all real which allows for deliberate tempo changes in parts. 

Doris makes no attempt to blend in with current 2023 society-  her vintage clothes and analog attitude are more that just charming as well as intriguing- she's the real deal. You get what you see! 

Is this a perfect album? There are brief moments when it feels like there's just a little too much being crammed in there- a bit claustrophobic. In a couple of tracks the cymbals are a bit too forward or trashy in the mix. A little more breathing room would do the trick. So frankly, little tweaks and adjustments could have been made but this little powerhouse of an album can't be held back. 

I could easily imagine Doris teaming up with Opeth. They would be perfectly complimentary, knowing how far and deep Mikael Åkerfeldt likes to dig into the record crates for his personal collection of original, unique and interesting music (prog, quite often). Doris is currently Netherlands-based so who knows, maybe that could actually happen?

Prog dog scores this Doris Melton album a solid 4 out of 5 dog bones. It's irresistible with repeat listens. I know it's worked its way into my heart- Doris Melton is a true keyboard maven. She comes straight from a parallel universe where ABBA is a prog act with a Roger Dean bubble Logo (like Yes) and mankind recognizes that analog music really is as good as it gets. 

Earworm: Getting Even Part II; Fave track: Reflected Perspective 

Watch my interview with Doris HERE 

Bassoon "Succumbent" ALBUM REVIEW [Avant Instru-Metal Heavy Prog]

 

by Dean Wolfe, Prog dog Media         (Release: Nov. 17, 2023)

This album is so refreshing but not the typical sense. No, more like a shower of dust over a hot elephant, or a beautiful wallow in thick mud for a tired rhino. It's also an album for those not afraid to challenge their ears. 

Bands like Bassoon provide the broad prog genre with alternatives to perennially happy bands like Yes. So you have to leave it to bands like this to explore roads less travelled.  

This is sort of Tool territory, sort of King Crimson territory, a bit ELP-ish in the keyboard sections, but Bassoon are cutting new paths for experimental instrumental rock. They are a trio out of New York: drums, bass, and electric guitar. And they do so much with so little, playing with odd and complex time signatures, driving through dissonant patterns, while maintaining a fresh and purposeful energy. Also there is a creative restraint- it's never noise or craziness just for the sake of being different. The bass is grievously heavy and aggressive at times. The guitar (Sean Moran) is tastefully toned. The drums (John Mettam) are very much explored with as an equal tool of composition. The tension Bassoon creates is compositionally-based rather than through mere harshness- it's a surprisingly smooth and even sounding album- a cohesive collection of songs. 

The last track 'Born to Doom' did point out plainly to me of an obvious influence I overlooked, probably because I'm still not overly steeped in doom metal myself. The band is a C band, meaning the guitars are all dropped two whole tones for a looser 'bendier' quality. 

Prog dog gives this album a solid 4 out of 5 bones. There is no studio trickery here: 3 guys playing their instruments, very well, without an excess of embellishment (dashes of organ or keys on a few tracks played by the bassist Stuart Popejoy)- it's all about composition and performance- meat and potatoes.  There can be no disputing the results: kick-ass satisfying!  It's a balanced listen that finishes with epic-ness. It's not exhausting- quite the opposite, a great disc! Looking forward to seeing this band live and hearing more albums. (Favourite tracks: epic finale 'Born to Doom', 'Succumbent')

Watch my interview podcast with Stuart Popejoy of Bassoon here. 

https://bassoon.bandcamp.com/album/succumbent

Bear Ghost "Jiminy" ALBUM REVIEW

by Dean Wolfe, Prog dog Media  (released 2023).

Bear Ghost, out of Phoenix Arizona, are a very unique high energy trio (nuclear at times)-- a catchy mix of melodic and intricate thrashiness, pop, punk, rock, theatrical and prog. One outstanding feature of this band is the guitarist/vocalist, Ryan Abel who is a singing powerhouse, slightly reminiscent of Freddy Mercury of Queen.  In fact I'd be very surprised if at least someone in this band isn't a huge Queen fan.    

This band is relentlessly tight- just watch one of the live shows on YouTube (or better yet, in person as they are touring). Andrew Heath plays bass and backs up on vocals, and Myke Buttonz in on drums (is that a real name? My auto-correct hated it). There's some additional instrumentations on the album like trumpet, violin, piano, keyboards, ukulele, glockenspiels and other incidentals sprinkled here and there, plus some lovely female vocals.

Bear Ghost's music has a fun and irresistible quality (I doubt there's anyone out there who wouldn't be tempted to sing along in the 'la la la la la' parts on the album's opening track). I noticed in a live video of the band that the audiences sing loudly along with the band on stage and in effect become part of the performance. 

Humour, and to a degree, silliness, is on full display in the band, and without any of those downer irreverence vibes. No, this music is uplifting and can even be triumphant. The final track 'Vulture' is passionate and emotional, and the only 'slow song' on the album, and it's damn good as well. In fact, that's my only 'complaint' about the album- I'd like to hear some more slow songs by the band- just to balance it out a bit, but that's coming from an older music-fan dad dude. (Please note: there's a bonus track at the end of my CD which features an acoustic guitar/vocal song- beautiful!)

Some of the songs would be great in Scooby Doo cartoons during the monster chase segments. I hope that doesn't sound mean- I actually LOVE Scooby Doo (some of the remakes are better than others). Props on the album graphics too.

Bear Ghost are so out-of-the-ordinary they may have pioneered a new category of music, a term which they have all around their website and Facebook pages: "Adventure Rock." Prog dog scores this "Adventure Rock" album a more than respectable 4 bones out of 5. (*The score may go up- I like to reserve the right to do this over time if albums soak further into my soul). 

Cyan "Pictures from the Other Side" ALBUM REVIEW [Neo-Prog] (NEW RELEASE- 2023)

by Dean Wolfe, Prog dog Media (album released November 17, 2023)

During the 25 or so years that I was not following the prog music scene, I would occasionally peer over the hedges in case something interested me there. Magenta, a Welsh neo-prog group, was one that caught my ear over at bandcamp.com . 

I've been newly introduced to another related project by Magenta's keyboardist and composer Robert Reed. He has re-assembled a band called CYAN with vocalist Pete Jones (Camel) along with Luke Machin and Dan Nelson, to record a new album called Pictures from the Other Side (an entirely re-writen, re-worked, re-imagined remake of a 1994 release of the same name). 

The first half of the album evokes a modern interpretation of the style of The Alan Parsons Project. Flowing from the neo-prog vein, it's a softer rock - but still quite punchy, with some 80s jazz fusion vibes at times, plus a bit of funkiness. It's well-balanced sounding album- tastefully produced and richly melodic while maintaining a gorgeous and majestic tone overall. The male lead vocals by Pete Jones are flawless performed with occasional slightly-mesmerizing and complimentary female vocals. There are symphonic passages and hints of 1970s Genesis inspiration, but really the scope of the entire album is engagingly varied.

CYAN lean more into 'pleasant' than 'harder edged' with plenty of keyboard/piano work, but some blistering guitar parts as well. There's a bit of fine sax work, as well as harp- it's really quite diverse but without sounding scattered. In fact once you get to the final 2 tracks (at 10 and 18 minutes length)... Yeah! They stitch the album together and bring balance to this universe... in a fun and epic way revealing that the first half album was just a warm-up, finishing on a truly triumphant and fantastic curtain-closing chord. 

Prog dog scores this exceptionally produced album a super-solid 4 out of 5 bones-- overflowing with fine displays of musicianship, some great acoustic piano and synth solos, wind instruments, understated but elegant bass-playing prowess, tasteful guitar soloing, and top tier vocal expositions in both lead and harmonies a-plenty. (Fave tracks: 'Solitary Angel', 'Tomorow's Here Today' and the cinematic Neo-prog epic 'Nosferatu').

T.A.P. "Paradigms" ALBUM REVIEW [Explorative Prog Rock Instrumental]

by Dean Wolfe, Prog dog Media     (Album released October 2023)

I remember my dad had one of the albums by The Ventures in the family collection. It's an instrumental surf-themed rock band from the '60s. Boy, how far we've come in the instrumental rock genre!

T.A.P. is a studio project featuring musicians from various parts of the world who are fluent in the rhythmic and musical language of progressive rock. They share a few things in common: good jam-sense and exceptional creativity. 

What's most interesting to me about this album is its richness and variety and the adventurous spirit that animates it. If you're looking for a jazz fusion album, this is not it, though there are some splashes of jazz. In fact I don't recall hearing that many instrumental prog themed records that are not dominated by jazz-rock. So T.A.P. manages to stay mostly away from those more commonly taken pathways and instead offers up truly unique musical vistas by leaning into ambient, ethnic, blues and psychedelic influences. 

The album meanders purposefully like a smooth volcanic lava flow from tune to tune, from idea to idea, never repeating itself, never treating any one idea as too precious not to follow and see where it takes its host musician. Be it Mike Jobborn on keyboards, synth, soundscapes, drum programming, or Mark Cook on the Stick-like Warr guitar, guitars, basses, drums, soundscapes, synths, samples or strings. Then you've got Suzi James on guitars, basses, oud, flute, random percussion and Gayle Ellett covering keyboards such as Hammond, Moog and mellotron (Ellett is from another instrumental prog band that apparently I need to look into called Djam Karet). A couple of tracks feature drummers in the flesh: Paul Sears (track 5) and Bill Bachman (track 8).  The tracks with drum programming are so good that I was fooled. 

I won't use the word 'metal' as a descriptive here either because the music is couched in rock and hard rock in general. This will be a plus to those who are not fans of djent or super-dense Dream Theater-type electric guitar distortion (just hints of it in parts). 

Prog dog scores this impressive album a solid 3 and 1/2 bones out of 5 bones. I would have given it 4 except we really value drummers in the flesh on all of the tracks if at all possible. We really do love this CD though. It commands your full attention and isn't a 'put it on and ignore it' album just because it's fully instrumental. (Correction: there are some vocalizations on a track or two that are ethereal and used for effect.) There's plenty here to 'study'. It has plenty of musical meat and potatoes and is a rare instrumental offering that proves you don't always have to rely on jazz tropes (except for a bit here and there) to create an instrumental prog buffet. So bring your appetite to this table of solid offerings, it's sure to fill you up. 

my YouTube video version review is here...

Genesis "...Calling All Stations..." ALBUM REVIEW [pop rock/bit of prog] (1997)

by Dean Wolfe, Prog dog Media  (album released 1997)

I had fun reviewing this album. It's one of the few remaining puzzle pieces of the Genesis discography that I had never heard and was hardly aware of til recently. 

It's their last studio album and featured a new lead singer due to the fact that Phil Collins left the band, and before that Peter Gabriel also had embarked on a successful solo career. 

I was surprised how '80s' it sounded being release late in the 90s. Perhaps too early to be retro-80s for America at least where it barely charted and sold poorly. However it did a 'solid decent' in Europe with a tour and some charting success. It was not a success compared to earlier Genesis blockbusters and therein lay its demise in the minds of Rutherford and Banks perhaps. If they'd stuck it out and committed to at least a 3 album run I'm sure there would could have built on the more modest success, because Calling All Stations 'aint that bad of an album. It showed much promise: people would eventually have warmed up to the new singer Ray Wilson's voice which is quite good really. 

However it has to be said Wilson's voice, great as it is, initially didn't fit the Genesis 'brand'. They had 2 singers who have super-unique vocal timbres and could have chosen someone with an equally out-of-the-ordinary sound. Wilson has a more 'standard' or universal-sounding voice. A few more albums as a unit and they could have ironed that out but Rutherford and Banks chose to quit instead, which is a shame. Wilson says he didn't get to have much input into the songs either. 

So let's get to the album which is quite long with 11 songs clocking in at over an hour- some are stronger tracks (like the title track and the 8 minute There must be some other way are some of my faves) and some are weaker tracks (like Ship Wrecked, Not About Us with its boring acoustic guitar intro and committee-written feel). Repeat listens do improve this album. One word that has always applied to Genesis is 'epic', and not just the prog pieces. Pop rock was turned into epic pop prog-tinged rock by bands like Genesis, Saga, Asia and Yes in the 80s. Calling All Stations should have been more consistent in its' epicness- that would be an easy standard to weigh which tracks should be tossed or re-tooled.

I did find myself wondering 'what ever happened to Rutherford's epic bass playing?' on this album. He used to be one of the best- right up there with Chris Squire- in the 70s. Now he just bumps along on all the root notes with very little adventurousness. Oh well....

Another thing I noticed while listening to this album I that I was reminded of a band I've been discovering recently called Pattern-Seeking Animals - and also Spock's Beard- whose drummer, Nick D'Virgilio is all over this album (along with Nir Zidkyahu). 

On tracks like The Divding Line Phil Collins' ghost hangs in the air with the production choices featuring the big drum sounds he carved out with producer Hugh Padgham in the 80s. Kind of part of the whole Genesis brand as well. 

So yes, there's more 80s than 90s here, and basically zero 70s Genesis feels. If you were an 80s Genesis fan, and you are open to a new singer, you might be surprised and should enjoy this album with repeat listens. It's not garbage! It holds together and keeps it interesting melodically (the occasional boring bits zoom by quickly). It's nicely produced overall and I believe is a 'decent solid' effort by Rutherford/Banks plus the 'new guy'. They should have tried at least one more album together. I like it. Prog dog score is 3 out of 5 bones. 

Video version of this review on prog dog channel here: https://youtu.be/0fH38j3vpcE

Trevor Rabin "RIO" ALBUM REVIEW [prog-pop rock/eclectic]

by Dean Wolfe, Prog dog Media    (album released October 6, 2023)

In a press release about his new album 'Rio' Rabin stated: “I wanted to get into many different areas. Of course there are ‘prog things’, but overall there are a lot of styles going on.” So he's softening the blow to those expecting 40 solid minutes of 'Yes 2.0' minus Jon Anderson and crew. 

I can easily classify as one of those Yes nerds with unrealistic expectations, so let's do this review from that perspective: It sucks! No! I'm just kidding! It's actually very good! Perhaps not on the first listen as much due to the album's diversity, but like any good album, repeat listens have been required to catch it all for what it is- a bunch of Trevor's songs. 

After the first couple of tracks that have all the satisfying flavours of Big Generator/Talk and Union era Yes (and get revisited throughout the album) we move into the 'other styles' Trevor was talking about. Most surprisingly perhaps are the fierce chicken plucking tracks and even one track that is downright country western- but not to worry, Trevor screws around with them so much - in a good way- as to satisfy most prog fans. 

There are plenty of jazzy moments as well...and bluesy moments. Trevor totally owns all of these moments. His vocals are satisfying to listen to - he can still really belt it out and serve it all up with his own winsome style. His ceaselessly good....no, great guitar work dominates the album- and it's downright awe inspiring. This album reminded me of how much I miss Trevor's guitar work. There's steel string acoustics in some songs too. 

The prog dog score is 4 out of 5 bones. A pleasantly surprising energetic and radiant album. It feels a bit disparate or project-like as solo albums often tend to be. He's not the next Sting or Phil Collins- two examples of singers who broke free of famous bands and styled their own stand-alone brand. Mostly Rabin comes across as a hard-working remarkably great guitarist and creative songwriter/producer who sings well and he does it all in good fun. 

Trevor obviously enjoyed creating this album. That gets communicated well in the final product. You can also feel the ghost of Chris Squire hanging over this album, and Alan White in parts too. Open minded Yes fans should enjoy what Trevor offers- cool, twisty, catchy songs sprinkled with proggy pop delights and sensibilities.

Link to the video review: https://youtu.be/Bt9weC-mL78 

Nine Skies "The Lightmaker" ALBUM REVIEW [prog rock from France]

 

by Dean Wolfe, Prog dog Media  (NOTE: review is google-translated into French below, merci)

If you are at all like me, you will feel a special anticipation from the first moments that The Lightmaker unfolds before your ears. You are taken by the hand and guided through a majestic journey of a lifetime as nine different voices share their experience and lessons with you, though they are actually the same person: Rudy, who has lived 1000 different lives, and is now on his 1001st and last. What has he learned? What will he share? 

The kinds of profound emotions and musical scenery is, as you can imagine- vast, varied and heartfelt. The several different lead singers and indeed each member of the band have reached deep into their souls as this album marks an important turning point for Nine Skies. It's the first album created since the untimely departure of Eric Bouillette. He was a pillar in the band- doing songwriting and performing guitars, piano, keyboards and violin, but the remaining members are bravely forging ahead. If he is able to hear the results in the hereafter where he may reside, I'm convinced he is delighted with the results. 

As a big Yes and Steve Hackett fan, plus Opeth, I felt right at home with this album. The Alan Parsons Project-style of featuring different vocalists was a brilliant move and contributes to the album's profound narrative. There's plenty of excellent musicianship here as well. Bass guitar-wise there's some lovely fretless work as well as a 3 string chord/fingerstyle bass solos like on The Wanderer.  Guitar-wise there is are plenty of acoustic steel-sting passages featuring soothing and beautiful chord parterns and progressions, as well as tons of tasteful electric guitar sections and some great, and occasionally epic solos. The keyboards and synths feature prominently as well, layered throughout including a remarkable and iconic solo in Chaotic. The drums also fit so well into all of the songs- as everything does, in this well produced and well mixed album. 

Prog dog Scores this gorgeous album 4 1/2 out of 5 bones. It is at once epic and modest, and I predict this album will find its way into the hearts of many fans of the progressive rock genre. It's a new high water mark for prog in 2023.

https://nineskiesmusic.com/

https://nineskies.bandcamp.com/album/the-lightmaker

the video of this album review here: https://youtu.be/_0Vf01jR2Ek

Si vous êtes comme moi, vous ressentirez une attente particulière dès les premiers instants que The Lightmaker se déroule devant vos oreilles. Vous êtes pris par la main et guidé à travers le voyage majestueux de votre vie alors que neuf voix différentes partagent avec vous leurs expériences et leurs leçons, bien qu'il s'agisse en réalité de la même personne : Rudy, qui a vécu 1000 vies différentes et en est maintenant à sa 1001e. enfin. Qu'a-t-il appris ? Que va-t-il partager ?

Les émotions profondes et le décor musical sont, comme vous pouvez l'imaginer, vastes, variés et sincères. Les différents chanteurs principaux et chaque membre du groupe ont pénétré au plus profond de leur âme car cet album marque un tournant important pour Nine Skies. C'est le premier album créé depuis le départ prématuré d'Eric Bouillette. Il était un pilier du groupe – il écrivait des chansons et jouait des guitares, du piano, des claviers et du violon, mais les autres membres vont courageusement de l'avant. S'il est capable d'entendre les résultats dans l'au-delà où il résidera, je suis convaincu qu'il est ravi des résultats.

En tant que grand fan de Yes et de Steve Hackett, ainsi que d'Opeth, je me suis senti comme chez moi avec cet album. Le style Alan Parsons Project consistant à présenter différents chanteurs était une décision brillante et contribue au récit profond de l'album. Il y a aussi beaucoup d’excellente musicalité ici. En ce qui concerne la guitare basse, il y a un joli travail sans frette ainsi que des solos de basse en accords/fingerstyle à 3 cordes comme sur The Wanderer. En ce qui concerne la guitare, il y a de nombreux passages acoustiques en acier avec des partenaires et des progressions d'accords apaisants et magnifiques, ainsi que des tonnes de sections de guitare électrique de bon goût et des solos formidables, parfois épiques. Les claviers et les synthés figurent également en bonne place, superposés, y compris un solo remarquable et emblématique dans Chaotic. La batterie s'intègre également très bien dans toutes les chansons, comme tout, dans cet album bien produit et bien mixé.

Prog dog Note à ce magnifique album 4 1/2 sur 5. Il est à la fois épique et modeste, et je prédis que cet album trouvera sa place dans le cœur de nombreux fans du genre rock progressif. C’est un nouveau record pour le prog en 2023.

Android Superstation "This Side of Nowhere" ALBUM REVIEW [alt-rock/pop-punk crossover prog]

by Dean Wolfe, Prog dog Media    [album released 2020]

Android Superstation, a four-piece indie band out of Orange County California, are brimming with potential as their 2020 debut disc "This Side of Nowhere" testifies. 

This band leans toward the epic but paints with a broad palette and a wide stylistic diversity of influences evident from track to track, yet the album holds together well. It's sort of pop-punk (Blink 182) meets full-on rocking Muse meets soulful Pink Floyd meets occasional symphonic prog- thanks mostly to their exceptional keyboardist Heather Moore and her acoustic piano performances which provide many of the album's highlights (like at the end of 'After You' or throughout 'Collide'). Moore also sings lead, but sadly on only one song. Let's hope they spotlight her vocals on more tracks for their sophomore album.

Lead singer Danny Day Church excels in power pop vocals (and I love how easy it is to make out every word he is singing). I would love to hear even more of his softer side to balance out the one-volume dynamics of that genre. The slow track that finishes the album 'The Other Side' is a stand-out example, as well as the longest of their songs (at 8 minutes) 'Collide'. 

A couple of the album's songwriting and performance high points are 'Fractured' and 'Alive' which demonstrates many of Android Superstation's diverse strengths in relatively short and focussed efforts. 

'Through the Darkness', the only song with lead vocals sung by keyboardist Heather, has a chorus that really delivers, and features some great dissonant haunted piano lines recalling scary movies. I feel like more of these kind of tracks would serve the band well, with the great soft to loud dynamics. 

More people need to know about Android Superstation. The band's website has some super cool comics worth checking out. They have a YouTube channel featuring recent performance of a strong new track called 'Human' which confirms they continue to forge forward with strong songs.

This is a very very impressive debut album for a young indie band out-of-the-gates, therefore Prog dog Scores it  3 1/2 bones out of 5 bones. 

https://www.androidsuperstation.com/

Ora Cogan "Formless" ALBUM REVIEW [ambi-pop, singer/songwriter, americana]

by Dean Wolfe, Prog dog Media  [album released August 22, 2023]

The very unique Ora Cogan's new album feels like it was recorded in secret and hidden places off the beaten and over-trodden paths of so much modern music- perhaps in an old cabin nestled in the British Columbian wilds. She thrives in her unhurried atmospheres of dreamy, gauzy melodies, occasionally urgent and summoning the listener into active engagement. At other times sweetly crooning you into a meditative state of relaxation. 

There's many moments to be treasured on "Formless". It arrives steeped with both decipherable and indecipherable influences: some smokey country rock/Americana (almost Neil Young-ish), and some 80s pop rock (reminiscent of Andy Summers and The Police in some of the electric guitar work).

The soulful and rich 'Ways of Learning' is a heart-warming duet featuring Luz Elena Mendoza of Y La Bamba. The song at times lavishes you with gentle vocal harmonizations. JP Carter expands the palette with textured trumpet imprinted with echo, delay and distortion.

'Dyed' is a revisit with the same stand-out song released on her EP late in 2022. At first I wondered why redo it? But now I feel blessed to have both versions. It has been produced to be less ethereal and more rhythmically pronounced for the toe-tappers. 

Prog dog score: "Formless" gets a tasty 4 1/2 out of 5 bones. It's varied but cohesive, adorned with Ora's trademark dreamy sweet vocals, a plethora of humble and interesting instrumentations and guest performances. It pulls back the curtain on Cogan's intimate and exotic (but grounded) world. 

https://oracogan.bandcamp.com/album/formless   

http://www.oracogan.com/

See my video version of this review on prog dog channel: (link T.B.A.) 

The Mommyheads "Coney Island Kid" ALBUM REVIEW [indie-prog-pop]

by Dean Wolfe, Prog dog Media    [album released July 31, 2023]

This solid new album from The Mommyheads is so full of fresh creative twists and turns I can only surmise every single member of the band is a full fledged record producer. And because of this it's hard to imagine that there wouldn't be a little something for everyone here on this 15th release from a band I'm embarrassed to admit I've not come across until now.

Coming out of NYC they do have a sort of overall big city kinda grit, but also earthy vibes. The prog influences are indie-pop flavoured. There are even touches on jazz, like on the track Onset MA which has - like all the songs on this album- brilliant and powerful moments that defy the most cynical of music critics. 

Let me sum up my assessment process of this album as I re-listen to it: It's like being on the hook-end of a fishing rod that undeniably and ever-so slowly reels you in. The real question is 'Will I get scooped up out of the water in a net and get tossed into The Mommyhead's fridge for dinner?' 

Only time will tell I guess but it is encouraging to me that a band with a long history like The Mommyheads can still knock 'em right out of the park. 

"Coney Island Kid" is a concept album, and so all of its intriguing compositions are somehow bound together with this theme. There are interesting little snapshots of recordings from the famous amusement park binding the tracks all together as well. I've always found old amusement parks strangely creepy at times, so the album cover was initially creepy to me as well. After some spins of the disc it's just totally cute to me now. That little child has a sweet, expectant and innocent expression oblivious to the scary old gargoyles and ghoulish faces surround her. This is a powerful image. 

I'm making an educated guess but surely XTC fans would readily embrace this music, and Neal Morse Band fans. Same goes for fans of later Beatles and even Genesis a la 1974 thanks to some bass work reminiscent of Michael Rutherford's crunchy Rickenbacker bass. 

As far as the pallette of colours employed here, synthesizers and keys do play a serious role. Several tracks also feature steel string acoustic guitars, possibly dobro?, plus of course electric guitars, plenty of great vocal harmonies, and very in-the-pocket drums and electric bass. The lead vocals are very good- expressive, quite likeable. I find something about his voice familiar but frustratingly I can't pin it down. Is it a Don McLean "American Pie" kind of voice? Perhaps, but more mature and seasoned. 

The tagline on the band's Twitter (X) is "We’ve played thousands of shows to hundreds of people". Too many great bands suffer this fate! This would not be for lack of talent as musicians or songwriters. Nor for lack of effort- they were signed to Geffen records for an album, for heaven's sake!... which received plenty of glowing reviews from some high places. 

Prog dog Score: "Coney Island Kid" by the Mommyheads is a solid 4 out of 5 bones. It's inventively written, creatively produced and performed, full of pragmatic groove and mature verve. Anyone searching for intelligent, catchy music that grabs you on first listen- what are you waiting for? 

to see a video interview with the Mommyheads' Andy Elk: https://youtu.be/Npwz1LsmdrQ

to see a video version of this review: https://youtu.be/atO4N4O-gRQ

Space Kitchen - "Space Kitchen" ALBUM REVIEW [basement prog rock/ pop]

by Dean Wolfe, Prog dog Media   [album released April 14, 2023]

It's not often I trip across a new band of younglings that remind me of E.L.O. and Camel. Even more cool, the singer kind of sounds like Joey Ramone, so there's a tinge of a punk or new wave 80s attitude. Mix this all together and you get Space Kitchen, a band out of Ontario Canada that's genuinely fun to listen to.

Lots of newer prog bands are exploring the harder metal territories of the genre, but Space Kitchen proves there's still young visionaries who are inspired by the under-represented poppier and straight forward classic rock sounds of the 70s and 80s.

This band is not tied down by the popular ProTool grids of today- there are timing changes and fluctuations that allow the music to breathe as sections and movements evolve. There are plenty of rich vocal harmonies as well.

"So nice to be here, but I’m going home" reads a line of lyrics that perhaps captures the vision of the band- staying true to an inner vision that goes against the norms of popular music.

Tracks 1 and 2 are 'up' beat songs, 3 gets darker and tracks 4 through 7 unapologetically explore the prog domain.

Another treat to the ears about this band is the generous use of piano and keyboards like in I Love You Baby which also features a soulful guitar solo.

Songs like Zoo Keeper, short as it is, is large, broad, menacing in parts, with jangly guitars and dark synths and drums that rattle the cages.

With The Moving Picture I have to ask: Do we have a new inspired prog classic? Space Kitchen reveal they have a substantial vision featuring some intricate ELP-ish 70s prog vibes, epic bass riff lines... rousing stuff.

The Squig is a great little instrumental where Space Kitchen breaks out the rock organ, and Sun Tower...hold on tight to your horses folks. Some Genesis and Steve Hackett vibes- with some great bass lines.

The self-titled album, which is EP length, resolves perfectly with Pain Goblin and  some absolutely brilliant reversed bass. At that point you may feel impelled, like me, to restart the album- I find two listens in a row at least are needed.

I quite like the production - it’s a bit home-spun and garagey but it is a tad dry at times- needing some engineering tweaks to add more energy and space to the drum kit or keyboards for example. All that is quite forgivable however as Space Kitchen are full of promise if they are going to stay the course for the long run. It seems they are an indie band without any label at the moment, but for how long till they come knocking?

Prog dog Score: We give Space Kitchen's debut album a score of 3.5 out of 5 bones. It's fresh, fun and intelligent prog-influenced music for a new generation of music fans. 

Jeff Pearce "Skies and Stars" ALBUM REVIEW [Guitar Pedal Ambient, Electronic Guitarist]

by Dean Wolfe, Prog dog Media      [album released September 13, 2019]

I fall to sleep to this instrumental CD quite often. Normally that might not count as a vote of excellence, but seeing as I work lots of midnight shifts that's a very good thing. 

It has 3 tracks and the second is my favourite at 24 minutes. The first track at 28 minutes is more swirly ethereal while track 2 is more drone-ish with more textures in the lower registers. 

If you're new to ambient guitar music you might be surprised at how un-guitar-like it sounds. Often the artist is volume-sweeping and 'swelling' so that the actual 'attack' sounds of the pick on strings is not featured. Instead you get long stretched out loops of almost any variety of keyboard-like tones and swashes. 

Jeff is a long-time ambient guitarist based out of Indiana and has been releasing albums since 1993. Allmusic calls him "one of the top two electronic guitarists of all time". 

Prog dog Score: Rating ambient albums like this is difficult because they vary so much in approach and result and can be interpreted very differently from listener to listener. We settled on 3 1/2 out of 5 bones. As long as you're looking for an album that doesn't vary, divert or jolt you- and you seek a consistent sleep-accompanying (or work accompanying) musical and melodic ambience, you should enjoy this album by one of the greats. 

Lispector - "The Return of the Old Flame" ALBUM REVIEW [lofi synth pop livingroom rock]

by Dean Wolfe, Prog dog Media    [album released June 22, 2023]

Home recording is something worth championing. It's a logical first step for an artist to cut their teeth and learn the ropes on a micro scale of what might happen should you land a full blown major-label type music career. Albums like Lispector's 'The Return of the Old Flame' prove you can still master your trade on any scale and create near masterpieces- whether your music is heard by hundreds, millions or even billions. You don't need the most expensive available equipment to capture visionary talent. 

I've been captivated by Lispector's new home-produced synth-pop album for the past few weeks and it's safe to say it's gone deeper than a mere infatuation. 

Lispector is Julie Margat, a visionary one-person music-making indie rock machine. She's based in Bordeaux France but sings mainly in English. She's a prolific songwriter and self recordist with a large back catalog of material. 

Her new solo album is her 22nd (released June 2023) called The Return of the Old Flame. It's both downloadable and streamable, but better yet would be to enjoy it in its DIY glory on an analog cassette. Her first edition sold out immediately upon release and a second edition is shipping September. 

She likely recorded her album in her bedroom or living room, like most of her previous albums, dating back to her earliest work with rudimentary four-track tape machines. I don't know the production specifics of this album (I will ask when I get to interview her and find out) but I'm assuming she's working on a laptop and in the digital realm now, although the hand-crafted feel and charm persists.  

There's lots of Casio-sounding synths going on, (though she mentions the Yamaha brand) plus electric guitars and bass and at least a couple of different drum machines. There's something I find completely charming about her low-energy casual vocal style (*not implying low effort). It sounds like how you expect someone to sing when you're vocalizing in an apartment somewhere in France and trying not to disturb the neighbours during your hours of inspiration. 

Julie Margat's music buzzes with me on a deep and dreamy- happy level. Listening to her warm and economical songs, I feel as though I've spent an afternoon in her cozy French living room, resting my cold drink on a coaster atop her coffee table while she busily tracks tunes at her keyboard. The music creates an instant atmosphere that draws me in and makes me feel right at home.

She's gifted with a perpetually youthful sounding singing voice. Knowing how long she's been at it- since the late 90s, I know she can't still be 23 years old, but that's where you might peg it.  

Self Driving Car is a standout track off the album for me- I listened to it on a loop more than a few times.

Prog dog score: a solid 4 1/2 out of 5 bones. It's an astonishing but simple musical statement of a songwriter fully in her stride across the living room studio floor- a dextrously crafted home-spun near-masterpiece of synth pop.

https://lispector.org/

To see my interview video with Julie Margat: https://youtu.be/xF38KCZCgxc

Yes - "Open Your Eyes" ALBUM REVIEW (1997) [symphonic prog-rock/pop]

by Dean Wolfe, Prog dog Media   [album released November 1997]

Yes is one of the greatest bands of all time, but here we have an album that in some respects can be held up as an example of how NOT to produce this legendary band. It is overwhelmingly positive and uplifting with song titles like Love Shine, No Way we can Lose, Wonderlove, and New State of Mind...but does it open our eyes to who Yes really is? 

This album supports my thesis that Yes are at their best in an analog tape-based studio like back in the 70s, where options are limited, forcing the band to make key decisions that uphold only the fundamentals that make Yes 'Yes'. 

And what are those fundamentals? One essential would be Chris Squire's bass, which on this album gets softened and squashed back into the mix instead of being like a massive stone boulder integral to the Yes sound that it is. It needs to be a foundation- along with the drums, for the rest of the band to build up and out from. The drums are not too bad sounding but seem to lack oxygen and space at times. 

Another fundamental to the Yes sound is Jon Anderson's vocals which are largely great on this album and I can't find much to fault with them (as with almost anything he has done in his long career). There does seem a lack of leadership from the keyboard department though, and after some research this is self-explained. Several people are credited on keyboards including Igor Khoroshev, Jeff Porcaro of Toto, and mostly by Billy Sherwood (who was tasked with the heavy load of recording and mixing as well). Not that the keyboards weren't interesting and tasteful throughout the album but you can sense the effect this had on the album as a whole. By the conclusion of the album Sherwood was officially part of the Yes line up.

Another Yes hallmark are the multi-part complex harmonies and backing vocals. There are plenty here, maybe even much more than usual and done thicker than usual as well, like on the opener New State of Mind.

The Open Your Eyes album is undeniably ambitious and heart-warming. There are loads of great Yes moments. I enjoy Steve Howe's work on this album which is refreshingly varied and diverse as he happily pecks away at his guitar. In fact I'm surprised Steve made out as well as he did on this album. Really, Open Your Eyes is a Trevor Rabin- appropriate album. It could have benefited from his powerful Van Halen-like tones blasting from stacks of Marshall amps- a vibe Steve Howe has mostly avoided- except for the Yes Drama album of course (which ironically foreshadows and predates the Rabin-dominated 1980s Yes). The story is that Howe and Anderson came into the album late, as Squire and Sherwood had worked out much of it already according to Wikipedia). 

Open Your Eyes is a rather playful pop prog rock album. In many respects this album doesn't lack anything- much was brought to the table, but there are no side-long epics, or any longer songs in fact. It has an abundance of great melodies and Yes-y ideas but unfortunately they don't get to shine to their maximum potential.  

Love Shine is great example of a song with fantastic potential but again, the vision was not carried through. The back up 'shine' vocals sound like they're coming out of a closet, and the synth bass line is so squashed it's almost inaudible. The song sounds rather two-dimensional, yet compositionally-speaking there's some truly inspiring sections and Howe is shining. Overall it's a really great tune that suffered an unfair fate.

Man in the Moon is a total anomaly on this album, and a real skipper, or should I say run fast and far in the opposite direction when you hear it playing. It is the worst- the very worst song under the Yes moniker ever produced. 

Prog dog score: Barely 3 bones out of 5.  It's not a total face plant, but certainly when you ponder the potential that was there, it's a real hair puller. Don't hurry to hear this album if you haven't, but for Yes super fans/ complete-ists it's an essential part of their history and needs to be appreciated for what it is. Maybe someday the album will get a total remix and remaster as it so deserves. 

For the video version of this review go HERE! 

Buck's Moonlight Revival - self-titled - ALBUM REVIEW [concept album/ lo-fi alt-folk]

by Dean Wolfe, Prog dog Media     [album released June 27, 2021]

When I think about concept albums lo-fi folk isn't the first thing that springs to mind. Cue Buck's Moonlight Revival- a couple (Eric and Caitlin) shacked up in a house in Kingston Ontario with loads of 'vintage' gear including an 8 track Tascam 488 tape recorder as the centrepiece (thought there might be a cat there who would feel otherwise).

Add to that mix: a taste for atmospherics that hearkens stark and barren landscapes not unlike the icy north, sweet and wispily lilting female vocals, gently picked acoustic guitars, analog synths and layers of bowed instruments of any stringed variety, plus a touch of harmonica and saw (of the tree-cutting variety).

The lyrics are adapted from the poems of singer Caitlin's grandfather who yearned that one day they could be put to music. 

The album flows from track to track. It's meant to be enjoyed as a whole. The only break is in the very middle of the album when either the tape or vinyl record would need to be turned around- something that is novel to the recent generation who know only the world of streaming (but a resurgence of cassette decks and record players are bubbling underneath the surface and gaining popularity among younger folk).

There is a great relaxing simplicity to this record. There are no drum machines, no real percussion of any kind, except for the natural rhythms evoked by Eric's fingerstyle guitar and baritone ukulele pickings between long breaks of atmospherics utilizing found sounds and backward tape meanderings. This self-titled album evokes a feeling of soul-searching as if you are gently becoming aware of a long lost memory. It's full of buzzes and vibrations, breezes and birds, haunting echoes and soothing singing. 

Prog dog score: 4.5 / 5 bones.  Buck's Moonlight Revival is no less epic for its quietness. It marks an exciting (but calming) start to this couple's career. May it be long and prosper.

 

LINKS: Stay tuned for the interview with BMR on the Prog dog channel. 

https://www.bucksrevival.com/

Yes - "Mirror to the Stars" ALBUM REVIEW [Prog Rock]

by Dean Wolfe, Prog dog Media      [album released May 19, 2023]

I've enjoyed most of Yes' modern day albums up to and including The Ladder (1999), Magnification (2001) and Fly from Here (2011). However when Heaven and Earth came out (2014), I didn't race to buy it (for whatever reason) but waited to hear the word on the street- which turned out to be an almost unanimous 'nothing to see here' (I'll be digging in to review it this year though). 

Then The Quest came along (2021) with it's interesting first single that caught my ear. Reviews on YouTube seemed fairly positive, if reservedly so. Seeing how beautiful the Roger Dean artwork design was, I was tempted to buy the vinyl (I haven't yet, but I'll review the full album this year).  

Which brings us to today in 2023 and the release of Mirror to the Stars. It marks the first Yes studio album in 50 years without mainstay Alan White on the drum throne due to his passing, and the second album without the late and great Chris Squire on bass, replaced by Billy Sherwood. 

Praises for this album seem fairly universal across YouTube. I also did a reaction video to the first intriguing 'single' Cut From the Stars (click here for the video reaction). Now, as I dive into the full disc, the main question on my mind is: will the rest of the album be as good? Will it be an upbeat affair?

Overall it's very 'new' sounding material for modern Yes, and by that I mean there is a distinct unfamiliarity about it. They've successfully carved out some new paths here, to my delight. It will, I believe, earn itself a unique place in the Yes discography of about 22 studio albums. 

Does it match Yes in it's prime with classic albums like Close to the Edge? Come on! Can anyone match that, never mind the modern Yes? Many have tried, and frankly that's an unrealistic expectation. Does it bring something distinct and fresh to the table? Actually yes, it does. It is compositionally unique, varied and progressive. Is it super edgy? I couldn't honestly just blurt out 'no' to that. I have to think about it. It is edgy as far a progressive music is concerned, but not edgy literally. It's got a soft edge compared to the world of modern prog and it's many new extremes. 

What's different from a majority of the Yes discography on this album is the missing vocals of Jon Anderson, by many considered the authentic voice of Yes. I tend to differ on that position. After all, Yes is expected to be around in various incarnations hopefully for decades or centuries, if the original vision for the band pans out. This requires some humility and open mindedness for all Yes fans- even me, I admit. 

Jon Davison has a softer, gentler voice than Anderson- even if they have a similar timbre, which is a huge consideration since Yes are expected to perform many of the old classics live- and they are a busy touring band still. On songs like Luminosity Davison's vocals are quite appropriate (great synth work as well), but on All Connected for example, I can't help but miss Jon Anderson belting it out. 

I can only touch on lyrics briefly as I don't focus on them like I do on composition as a writer myself... Hmm... Yup, they're fine. Oh, wait. Circles of Time is exceptional as a reprieve from our current attention-demanding culture..."I'm caught in a circle of time..." Howe plays beautiful acoustic guitar as well as ambient pedal steel reminiscent of To Be Over (Relayer). I really think this song, soulfully sung by Davison is going to garner attention from outside the Yes circle. 

Someone in the band sounds hauntingly similar to Chris Squire, by the way, and I have to admit I like that. It's really hard even for me to adapt to the changing faces of Yes, despite all my pontificating. 

Mirror to the Sky, the 13 minute track and namesake of the album deserves special attention. It's solid and generally in the Yes tradition, but a much softer-edged affair. It doesn't have the intensity and bite of the Gates of Delirium or the gravity of Awaken, but it is a thoughtful and gently inspiring piece incorporating symphonic strings. It keeps interesting throughout with a great variety in the dynamics- Howe's solo work being consistently a pleasure to the senses and the tune finishes on a strong note- perhaps hinting more long Yes songs are to come?

The new drummer Jay Schellen is great. Since a majority of the album is upbeat we get to enjoy his work on all tracks except Circles of Time which is a quiet song at the end of the album. (By the way, I'm not reviewing the 3 bonus tracks- just the main album itself).   

The production is great. Everything sits well together and sounds alive. Still, I have long-wished Yes would bring back retired producer Eddy Offord. Better yet, I wish they would return to an analog tape-based studio, as I consider it to be part of the classic Yes sound. There are plenty of lush sections, even some very elegant parts featuring actual symphonic musicians performing as with the Magnification album. 

The album is full of compositional surprises -one can't absorb it all in one listen. There is a tendency to be unpredictable and newfangled, even if in a retro-rock way such as Living Out their Dream which shows some influences from surf-rock to my ear, taking into account Howe's playful leads on guitar.  A breath of innovation has encircled the Yes camp.  There's lots of harmonies on the album- another characteristic of the classic Yes vibe. 

Steve Howe's work on the album is great too. He sure loves his fuzzy slide guitar. Personally, I've always yearned for him to don some heavier guitar tones now and then- even a bit of a more metal sound, but that's never going to happen- and doesn't seem part of his DNA. No harm done though- Howe is one of the greatest benefactors to rock guitar ever. 

I have to wonder, what triggered the band's new greatness? Did Steve Howe have an epiphany? Howe is not slowing down in output despite his age. He's as prolific as ever- owing in part to his life-long healthy vegetarian diet and lifestyle. He would look cool if he smoked a pipe like JRR Tolkien though. He's on that wise-wizard level (maybe Rick Wakeman can loan him a cape or two from his closet?).   

Living out the dream seemed a bit 'different' to me  on first listen, but with repeat listening I'm digging it- along with the rest of this album.  The bass has some cool goings-on: great guitar solo, and I like the conga slaps. 

Overall my expectations have been exceeded, though they weren't too high I'll admit. Onward and upward, I say.

(Again to be clear, I am not listening to the bonus tracks for this review as I want to focus on the main work of the album alone and will save them for listening to somewhere down the road. I'm interested to see how well the main disc can stand on its own). 

The Prog dog score: Mirror to the Sky gets a strong and full-flavoured 3.5 out of 5 bones. They've carved out a very respectable stand-out unique album that compliments and enriches an already expansive discography. It's might just earn back some straying Yes fans as well as garnering some new respect and appreciation. 

For the video version of this review on YouTube click HERE

Pyramid Theorem "Beyond the Exosphere" ALBUM REVIEW (prog rock/metal)

by Dean Wolfe, Prog dog Media   [album release August 21, 2020]

Having grown up in St. Catharines Ontario, home of Neil Peart, and having lived in Toronto, I kind of consider Rush 'my band' in the way sports fans are endeared to their city teams. Once I got familiar with Dream Theater out of neighbouring USA- I looked at them as an American version of our Rush. 

Now comes along Pyramid Theorem out of Toronto and what comes to mind is: Canada's 'Dream Theater?'

Not sure if the band would agree with this assessment, because they wear their Rush influences openly, but thankfully not in an overtly copy-cat fashion. They seem true to themselves. 

First of all the musicianship across the board here is catastrophically good i.e. 'impressive...most impressive'.  However you can only get so far on chops alone. Instagram is full of multitudes of faceless guitarists performing jaw-dropping calisthenics that will discourage as many newbie musicians as inspire them. What has to be acknowledged is that without 'the song' it's all just a thin sandwich. 

So that's what I looked for- and found- in Pyramid Theorem's third album 'Beyond the Exosphere'--- substance and body that will hit the spot- and deliver...truly meat and potatoes prog of the ballsy kind. The first place I found it was in the songwriting which is strong melodically speaking. Pyramid Theorem are symphonic as often as they are hard rock riff-driven. The keyboards capture the spirit of classical music at times, with fat choral choral samples in Closer to the End for example. And Monster starts off with appropriately monstrous riffs. There's some duelling solos between guitars and keyboards here and there, reminding me of Dream Theater. Overall there's good variety of feel across the album without excess fat or tedium. 

The vocals are excellent thoughout- strong, clear and powerful (no growling that I'm aware of in the band). There's lots of terrific harmonizing as well- in fact a majority of the singing is done harmonized. That was a slight point of confusion for me.  Is there a single dominant lead singer? The album credits three singers in the band of four (not the drummer, no surprises, he keeps busy enough without having to sing).  I'm sensing there is perhaps an effort to share the singing rather than any one vocalist becoming the focus. It works for me! Marketing-wise, I don't know if the cigar chomping business execs would approve of no obvious poster-boy singer in the band, swinging his mic in circles. 

I like the lyrical content- with timely comments relative to the lockdowns in progress when the album was released in 2020 for example. "We raise our voices!" Yes! 

One additional comment before we score the album. Symmetry. This album as a whole has got it. As the end track fades off into the sunset, the aftertaste is sweet. 

Prog dog Score: Prog fans, rejoice! Pyramid Theorem delivers the meat and potatoes. Beyond the Exosphere -being on the dense side instrumentally- requires repeat listens to parse out all of the tasteful substance, so let it grow on you. We give it a resounding 4 1/2 out of 5 bones. This is an excitement-worthy album from an excitement-worthy band.

https://www.pyramidtheorem.ca/

My reaction videos to the entire album HERE. 

A video version of this review is HERE 

A-ha - "Scoundrel Days" - ALBUM REVIEW (Synth Pop, 1986)

By Dean Wolfe, Prog dog Media  | 

A-ha must have felt the pressure on this release, their sophomore album. I was one of their new teenage fans eager to hear more from this band after a year-long wait back in 1986. 

I bought the cassette and was pleasantly surprised. When you only have 1 album from a band, your perceptions can get plasticized- making it hard to imagine new music outside the limits if their first album.

Scoundrel Days is a very cool song. They know how to create goosebump-inducing intros. Singer Morten wastes no time and starts soaring right away into the first chorus- a sonic equivalent of a young mare running at full speed jubilantly across a wide expanse. The only single odd element of the song to me was when he made a kind of yodel. Is this a Norwegian or European thing? Is it just me? 

I've Been Losing You is a real refresher. A-ha may be synth pop but they kind of go all out with a very live-sounding drum kit, as opposed to the one that's in a metal box with buttons on it. A super-solid chorus paired with a gratifying straight-ahead 'real' bass-line rock beat. 

Still, the drum machine was not abandoned on this album. It's very much alive on tracks like The Swing of Things. Morten almost sounds like David Sylvian in Japan in one part- a nod towards his influence perhaps. 

They prove you can still rock out with a drum machine and distortion guitars on Manhattan Skyline which is a deceptive little track. You think it's a ballad and then the chorus gets downright crunchy and messy. It's amazingly well pulled off, a juxtaposition of contrast. 

This album isn't without a couple of clunkers like October which has some cool found-sound recordings but feels like a failed A-ha attempt at Sting's 'An Englishman in New York'. Also, despite having a good chorus, there's the deplorable Maybe Maybe which is an odd-man-out song. It comes off like a silly children's song (which I suppose is not disappointing for the youngest A-ha fans?).  

A lot of the tracks could be characterized as fun, but not necessarily lacking depth or passion- like The Weight of the World, Manhattan Skyline or Soft Rains of April which evokes a strong sense of atmosphere and a rain-soaked Blade Runner world perhaps. 

Tunes like Cry Wolf make for an irresistible dance track, but not much else (Nothing wrong with that, though).

PROG DOG SCORE: 3 / 5  out of 5 bones.   Not a classic, but a fine collection of songs -a decent sophomore followup to their debut with some very special highlights. 

A-ha - "Hunting High and Low" - ALBUM REVIEW (synth pop, 1985)

by Dean Wolfe, Prog dog Media |

There's nothing like when your debut album and first single are juggernauts of success. It established this young Norwegian trio anew on the world stage back in June 1985. 

I bought A-Ha, Hunting High and Low on cassette when I was a teenager. Take on Me, their first single, is an irresistible synth pop song that is standing the test of time. For me, it captured a genuine essence of optimism.

There are 4 other outstanding songs on the album as well, but the remaining 5 barely move the needle. Of course, that's easily forgiven. How many bands have a perfect first album?

Hunting High and Low, the song that is also the album's title, is a passionate and beautiful strings-supported ballad, full of interesting buildups and a fantastic singing performance by Morton Harket. He has a unique, powerful voice that is beautiful when restrained, and can almost overwhelm when let loose. 

Living a boy's adventure tale is an interesting and more gentle tune, almost goth-dark or Cure-ish, with a wonderful sweeping chorus. Morten displays more of his falsetto prowess here. On a production note: the snare is perfect. 

The Sun always Shines on TV is a song that strikes like lightening- a true highlight on the album apart from Take on Me. It also gives the album a majority of its overall weight. The intro alone is iconic. It has a strong melody and amazing vocal performance. If this track weren't on this album, we may have been forgiven to think A-ha might just be a transient flash in the pan without too much to say. 

Stand and Face the Rain- the final track- is strong one too, with cool melodic twists and amazing backing vocals that fold in around themselves. The synthesizers are haunting.  

In America for whatever reason A-ha was not appreciated much beyond this and their sophomore release. A shame really. Stay tuned for further reviews as I explore the rest of their discography in the coming weeks and months. 

Prog Dog Score: 3.5 out of 5 bones - A major synth-pop 80s classic with enough strong tracks to be a better-than-bearable listen.