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