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 paws.  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 paws. 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  |     released 1986

A-ha must have felt some pressure on this release, their sophomore album. I was one of those teenage fans in 1986, eager to hear what came next after a year-long wait.

I bought the cassette and was pleasantly surprised. When you only have one album from a band, your perception can get a bit “set,” making it harder to imagine them outside the boundaries of that first record.

Scoundrel Days is a very cool track. They know how to build goosebump-inducing intros, and Morten wastes no time—he’s soaring straight into the first chorus, like a young horse breaking into a full, joyful run across open ground. The only odd moment for me is a kind of yodel-like vocal flourish. A Norwegian thing? A European thing? Or just me noticing it too much?

I've Been Losing You is a real refresher. A-ha may be synth-pop, but here they lean into a very live-sounding drum kit rather than something trapped in a box of buttons. The result is a strong, straightforward rock feel, anchored by a solid bass line and a very satisfying chorus.

The drum machine never fully disappears, though. It’s still very present on tracks like The Swing of Things. Morten, at points, even brings to mind David Sylvian-era Japan—perhaps a subtle influence showing through.

They also show they can still push energy and edge on Manhattan Skyline, a deceptively structured track. It starts like a ballad before the chorus arrives with grit and crunch. The contrast is striking and very well handled.

The album isn’t without its weaker moments. October has some interesting found-sound textures, but feels like a slightly awkward attempt at something in the vein of Sting’s “An Englishman in New York.” And despite a decent chorus, Maybe Maybe feels out of place—almost like a novelty track, which may or may not land better with younger listeners.

On the stronger side, several tracks sit comfortably in the “fun but still atmospheric” category: The Weight of the World, Manhattan Skyline, and Soft Rains of April, which evokes a rain-soaked, Blade Runner-like mood.

Cry Wolf is an effective dance track, even if it doesn’t necessarily aim beyond that. Nothing wrong with that.

PROG DOG SCORE: 3 / 5 dog bones

Not a classic, but a solid sophomore effort—some filler, yes, but also a few genuinely strong highlights.

6/2/23 orig. published.

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

by Dean Wolfe, Prog dog Media         released 1985

There’s nothing quite like a debut album arriving alongside a breakout single that becomes a genuine juggernaut. It established this young Norwegian trio on the world stage in June 1985.

I bought Hunting High and Low on cassette as a teenager. Take On Me, their first single, is an irresistible synth-pop track that has held up remarkably well. For me, it still carries a strong sense of optimism.

There are four other standout songs on the album, though the remaining five don’t quite move the needle in the same way. That’s easy enough to forgive—very few bands arrive fully formed on a first record.

The title track, Hunting High and Low, is a passionate, string-driven ballad with carefully shaped buildups and a strong vocal performance from Morten Harket. His voice is distinctive: controlled and expressive when restrained, but capable of becoming almost overwhelming when fully released.

Living a Boy’s Adventure Tale is a more subdued, slightly darker track—almost Cure-like in its mood—with a sweeping chorus. Harket also leans further into his falsetto here. On a purely production note, the snare sound is excellent.

The Sun Always Shines on TV hits with real impact. Outside of Take On Me, it’s arguably the album’s defining moment and carries much of its overall weight. The intro alone is iconic. Strong melody, strong performance—everything feels fully realised. Without it, the album might have been easier to dismiss as a one-off success.

Stand and Face the Rain, the closing track, is also solid, with interesting melodic turns, layered backing vocals, and a synth texture that leans into something more atmospheric and uneasy.

For whatever reason, A-ha didn’t receive much sustained appreciation in America beyond this album and its follow-up, which feels like a missed opportunity in hindsight.

PROG DOG SCORE: 3.5 / 5 dog bones.

A key 80s synth-pop record—uneven, but anchored by several major tracks that still carry weight.

5/30/23 orig. published

My Top 30 Songs of All Time (personal picks)

By Dean Wolfe, Prog dog media |

These songs have become integral to my life, particularly during my formative years, evoking strong emotions from specific times. They are all excellent songs, but the personal connections make them special (Spotify playlist link is below).

They range from prog rock to pop to classical to soundtracks to jazz fusion to electronic to disco/funk...

Stay tuned for my top 30 albums list in the near future....

For the story behind my list picks, see my video here!

1. Beatles - A Day in the Life 
2. Yes - Awaken 
3. Mike Oldfield - Tubular Bells 
4. Rush - YYZ
5. Alan Parsons Project - Time 
6. Genesis - Dancing with the Moonlit Knight
7. Pink Floyd - Welcome to the Machine
8. Kate Bush - Sat in Your Lap
9. John Lennon - Imagine 
10. King Crimson - frame by frame  
11. ELP - Karn Evil 9
12. Peter Gabriel - Shock the Monkey
13. U2 - The Unforgetable Fire 
14. Steve Hackett - Clocks, The Angel of Mons
15. Bruford - Five G
16. Nash The Slash - Wolf
17. Bee Gees - Stayin’ Alive
18. Japan - Gentlemen Take Polaroids
19. David Sylvain - Orpheus 
20. Pat Metheny Group - Minuano (six eight) - Still Life (Talking) 
21. The Police - Walking on the Moon
22. Van Halen - Panama 
23. Vangelis - Heaven and Hell movement 3 (Theme to 1980 show Cosmos)
24. Mozart - Confutatus 
25. Eagles - Hotel California 
26. Heart- Magic Man
27. Stevie Wonder - I wish
28. Saga - Don’t Be Late 
29. Abba - Dancing Queen 
30. A-Ha - Take On Me

Honourable Mentions: 

1. TOOL - Lateralus 
2. John Williams - Star Wars theme A New Hope 
3. Tangerine Dream - Rubycon
4. Hans Zimmer - Dream is Collapsing 
5. Hans Zimmer - Cornfield Chase 

https://open.spotify.com/playlist/59AhuwLfptAw5WODziJsWP?si=da4b966445964d3e

Dream Machine - "Living The Dream" ALBUM REVIEW (retro-prog pop psych 2022)

 

By Dean Wolfe, prog dog media  [album released June 3, 2022]

Dream Machine, a.k.a. the winsome and energetic husband and wife team Matthew and Doris Melton, are not simply nostalgic for the past. They fully embrace the lifestyle, honouring the warmth and immediacy of the analog empire from yesteryear in their home studio and Fuzz City Records label. 

Draped in apparently vintage clothing, surrounded by living relics of the glory days of a more tactile music technology, they have been busily performing, recording and releasing albums. They live in defiance of the prevalent digital paradigm (though they still cross the bridge to bring their analog music offerings to the digital realm, and they host an entertaining YouTube channel as well).

Their most recent release (and my introduction to Dream Machine) is called Living the Dream. It is a concept album exploring the many aspects of dreams. It is not easy to categorize but the 'in a nutshell' description might be: upbeat melodic retro-synth-laden psyche pop with scattered splashes of 70s prog.

It's got a dozen tracks which feature drumming and percussion by Billy Odyssey. The Meltons exchange lead vocals and do lots of trade offs and back ups as well. Doris is the keyboardist and Matthew plays electric guitar and bass. There's lots of tasty distorted guitar riffs and fills. Same with the keyboards. In fact much of the album is keyboard-centric. There's several rather fun keyboard solos. It's a very animated album- energetic might be an understatement. They have plenty to sing and the spirit to carry it through. 

When I'm flipping through my record collection and I need a zap, or I'm having a party, I'll reach for this one. I know that I'll get several guests asking "What is that record? I like it. Is it from the 70s? late 60s?"

The album is very playable and lacks a single dud. In fact the last 2 tracks of the album may be my favourites, or at least they are very strong compositions. A couple of the tracks at least have ear-worm hooks for example Until Tomorow usually plays for hours in my brain after the vinyl has gone silent. 

Tracks like Dreamin' It Over particularly show off their 70s prog influences- which include bands like Eloy for Doris. She introduced Matthew to a lot of prog rock which is a rabbit hole he had yet to explore. 

The only thing lacking on the album is a good slow song, maybe a ballad, to break up the songs and give listeners a breather.

The Prog dog score is 4.5 out of 5 paws.  This is a modern benchmark of upbeat lo-fi indie achievement- a fun retro-feeling album that doesn't know when to quit (not to mention it's my prog-party go-to album)!

https://dreammachine432.bandcamp.com/album/living-the-dream

check out my 1/2 hour interview/prog chat with Dream Machine HERE