New Album Roundup - Spring 2025 (Part 1)

 New Album Roundup - Spring 2025 (Part 1)

More great new albums! There's been so many new album releases over the past month or so, I couldn't wait to do another rundown of the notable album releases I've been listening to lately. These are all albums that have been released over the past 6 weeks or so (I've listened to more than 30, and these are the best ones) and, once again, there are some real gems here. I'll follow up with another late Spring installment around the end of June (for Part2).

Rocking Horse Music Club - The Last Pink Glow

This latest album (their 3rd) follows after their stunning and monumentally great prog rock opera Circus of Wire Dolls (2022), and this is a worthy successor and a great album on its own. Although this new project, which is based on the writings of Jack Kerouac and his Novella 'A Haunted Life' in particular, lacks the full depth and breadth of that previous masterpiece (with its sprawling scope, style, and numerous guest artists), it nonetheless maintains the beautiful songwriting, exquisite production, and impeccable arrangements and instrumentation throughout. Rocking Horse Music Club is a music collective/collaboration based out of Rocking Horse Recording Studios in New Hampshire, USA, led by primary composer/keyboardist (and studio owner) Brian Coombes. Consisting of 11 tracks and 61 min runtime, the Club has delivered another sumptuous feast of an album. This album takes a bit darker, more brooding tone than the previous album, but also features a variety of musical styles, incorporating prog elements with pop, folk, jazz, and blues to showcase various aspects of Kerouac's writing, and featuring the sweet vocals of Justin Cohn throughout. There's only one guest artist featured on this release, but it is a rare treat, Tony Banks (Genesis) contributes his keyboard sounds and artistry, and shares songwriting credit, on the lovely track A Haunted Life, which has a definite Banksian quality. In fact, multiple songs on the album have a mid-career  Genesis feel to them (period from Trick of the Tail to Duke), which reflect the strong influence they have on Coombes' music. But a variety of styles highlight the album, from the slow jazz-funk of It's the Small Things (ala Steely Dan), the rootsy folk-rock of Ballad of Joe Martin, the engaging progressive pop of Changing Channels, to the blues-rock (via Pink Floyd vibe) of Big City Small-town Blues. A darker symphonic prog is evident on If We're Silent And We Listen, an upbeat instrumental prog interlude in Restless Wanderer, and more Genesisian style in the anthemic Splitting Atoms, which builds to an Afterglow-like grandeur. The album concludes with the extended title track for a most satisfying finale. Best Tracks: Changing Channels, Splitting Atoms, Ballad of Joe Martin, It's the Small Things, The Haunted Life, If We're Silent and We Listen. Rating: 4ó

Counting Crows - Butter Miracle: The Complete Sweets

Its been a long time coming, but we finally have a new album from Counting Crows, their first since the fantastic Somewhere Under Wonderland in 2014. And well, it's not entirely new, since the second half of the album was previously released as an EP in 2021 (Butter Miracle Suite One), but still, here's the full album, and it is quite wonderful, and so good to hear new songs from Counting Crows again. The 5 brand new tracks are great and highlight Adam's strong storytelling style and the unique rock vibe of the band, starting with the opener With Love, From A-Z', a delightful blues-rock track, followed by Spaceman in Tulsa, a rousing, rockin', catchy single that would have fit right in on Somewhere Under Wonderland. Boxcars is another roots-rock gem and Virginia Through the Rain is a classic Adam story-song ballad, gentle, endearing, and beautiful. The new tracks wrap up with Under the Aurora, the second single, and another great catchy rootsy rocker with great lyrics. The 4 songs that constituted Suite One round out the album, with Tall Grass being the slower, more contemplative track, Elevator Boots the more traditional rootsy single. Angel of 14th St. brings in a more lush sound with trumpet highlighting the break, which transitions into the rousing closing rocker, Bobby and the Rat-Kings. I do really like the Suite One songs, but I think all of the new tracks are even better and lift the album to a higher level. Overall, this a great album, showing all of the qualities that I love about the band, with a fresh sound, but also right in line with previous classics. This may not be among the band's top 2 or 3 three albums, but that is a mighty high bar, and doesn't take away from the greatness of this new release. A wonderful addition to the band's stellar legacy. Let's just hope it doesn't take another 11 years before the next album. Best Tracks: Under the Aurora, Spaceman in Tulsa, With Love From A-Z, Boxcars, Elevator Boots, Bobby and the Rat-Kings. Rating: 4ó

Solstice - Clann

This UK Neo-Prog band was initially formed back in 1980, but has undergone numerous starts and stops and lineup changes over the years (guitarist Andy Glass being the only member to remain through all incarnations). This is the 3rd album from this latest version of the band, following Sia (2020) and Light Up (2022), and features a tasty mix of folk, jazz, and melodic prog in an upbeat, joyful style that is very accessible and engaging. Featuring the alluring effortless vocals of Jess Holland and great vocal harmonies, as well as highlighted use of violin, guitar and keyboards throughout, the album opens with a couple gently swingin' jazz-rock tracks with a great vibe and feel. But the mix of folk, jazz, and prog is best on display in the wonderful 4th track Frippa. The longest track is Twin Peaks, stretching out at nearly 14 minutes and featuring an ebb and flow and great instrumental prowess of the band members. The album concludes with a bonus track that revives a song from early in their career in a new reimagined form. Overall, it is a wonderful album of uplifting, positive melodic tunes that is sure to make you feel good. Best Tracks: Frippa, Twin Peaks, Life. Rating: 4ó

Lars Frederik Froislie - Gamle Mester

The 2nd solo album, following the splendid Fire Foretellinger (2023) from Lars, the keyboard player from Norwegian Prog band Wobbler (and previously Tusmorke) is further proof that new classic-style Symphonic Prog is alive and well in 2025. Froislie plays all the instruments (and vocals as well), with just some help on bass (from Nikolai Haengsle of Elephant9), and of course a big emphasis on keys/synths, with the great diversity of keyboard sounds and styles always hitting just the right feel for the song. Containing 6 tracks varying in length from 3 to over 12 minutes each, these are richly textured, complex, and dynamic songs, as Froislie weaves his melodies and compositions with some recognizable touches from previous masters (Genesis, Yes, Jethro Tull, ELP, Gentle Giant, etc.), along with modern Scandinavian influences, but is never derivative, creating remarkably fresh, warm and adventurous songs. Mostly instrumental, but with vocals (in Norwegian) sparingly added where they can be used to best augment the songs. The theme of the album comes from "Den Gamle Mester" (The Old Master), an ancient oak tree and poem, with inspiration drawn from art, literature, and mythology, but of course it is the masterful musical musings that make the album such a joy to behold. A powerhouse of modern symphonic prog and among the best albums of the year. Best Tracks: De Tre Gratier, Gamle Mester, Demring, Medusas Flate. Rating 4.5ó

Bjorn Riis - Fimbulvinter

The 5th solo album for the guitarist from Norwegian Prog band Airbag, Riis delivers more moody, atmospheric soundscapes in line with what his band does, but with a more poignant, introspective, and personal feel throughout. Knowing just when to keep things light or go heavy with acoustic and electric themes, the songs create wonderful brooding and powerful moods, punctuated by great guitar lines and fills. Named after the long winter that heralds Ragnarok, the album opens with Illhug, a beautiful, haunting acoustic guitar piece, which leads into Gone, the most rockin' track with a driving catchy chorus, while still maintaining its haunted mood. Panic Attack is the longest track (at nearly 11 min.) and takes its time to provide a Floydian masterpiece of melancholic beauty. She is a love song of pure and simple beauty, elegantly handled. The title track is the proggiest, an instrumental that mixes heavy guitar riffs with melodic guitar lines and heavy atmospheric soundscapes for a soaring finish. Overall, a wonderful, powerful album. Best Tracks: Gone, Fimbulvinter, She, Panic Attack. Rating: 4ó
 

Great Wide Nothing - A Shout Into The Void

The 4th album from this keyboard-centric Prog Trio from the U.S. I was a big fan of their last album (Hymns for Hungry Spirits, Vol.II, 2023), and this new album is even better. Delightful prog elements masterfully presented in an energetic hard-driving modern rock context, yet still maintains a strong melodic sensibility, with catchy melodies and hooks throughout. A concept album of sorts with a theme dealing with social commentary on our place in the world of today. Sensational keys/synth-work (Dylan Porter), from the backing aura to dazzling solos, always with just the right sounds and voices. Powerful bass and vocals from primary songwriter Daniel Graham, and dynamic drumming backing from Jeff Matthews. Impressive out of the gate with the hard-rocking openers Utopia and Rules of Engagement. The instrumental One Thousand Eyes displays the full-on Prog credentials of the band with a fantastic dizzying piece. The album concludes with the beautiful, powerful, and majestic title track, bringing together the theme of the album. A unique, powerful and excitingly enjoyable album that stands among the year's best. Best Tracks: One Thousand Eyes, Chain of Command, Brain on Fire, Rules of Engagement, A Shout Into the Void. Rating: 4.5ó

OK Go - And The Adjacent Possible

Its been 11 years since the last full album release (Hungry Ghosts, 2014) by this wildly creative and inventive eclectic indie pop band, and the world has been a noticeably less fun place in their absence. Known for their extraordinary, ingenious, and meticulously crafted music videos, the boys do not disappoint in either the music or video department with this latest release, as they go above and beyond again and deliver a fantastic new album and some of the best videos of the year (or even last several years). This is what pop music is supposed to be (and that some of these songs are not topping the pop charts demonstrates the sorry state of charting pop music today). Here they are: 12 well-crafted, imminently tuneful, clever, and catchy songs in a variety of pop styles, incorporating power pop, sunshine pop, synthpop, alt-pop, pop ballads, and dreamy vocal harmonies, with just enough quirks and weirdness to always be interesting and fun. And fun is the key here, just all-out, fun, good-timey pop songs, as even when the songs deal with loss or heartbreak, they still are just catchy and fun. Should be the album of the summer, light, fun, hummable and catchy. Be sure to check out the extraordinary and painstakingly crafted music videos (videos of the year) for Love and A Stone Only Rolls Downhill. Best Tracks: A Stone Only Rolls Downhill, Love, Better Than This, Don't Give Up Now, A Good Good Day At Last, Impulse Purchase. Rating: 4ó

The Flower Kings - Love

This latest from legendary Swedish symphonic Prog band The Flower Kings (their 17th album overall and 5th since re-forming in 2019) is a strong entry, and possibly the best of their recent string of albums, but takes a gentler, mellower tone overall than much of their previous work, emphasizing melodies and intricate instrumental tapestries. Consisting of 12 tracks and a 71 minute run-time, the band stretches out on several tracks, creating some moving, emotional themes. Led by longtime members Roine Stolt (guitars and vocals) and Hans Froiberg (vocals) and the welcome recent addition of Lalle Larsson on keyboards, the band weaves their way through a variety of pleasing songs, with the highlights definitely being the fabulous instrumental virtuosity and melodic intricacies, showcased best in the extended instrumental breaks in several songs, as well as in the two all-too-short instrumental tracks, World Spinning and Kaiser Razor. The vocal sections feature some fine melodies and harmonies, but the vocals themselves are just OK, and a bit too extensive, in that in some places the vocals seem to weigh down the songs a bit, and the songs come alive more in the instrumental sections. I would prefer the band to showcase more of the instrumental aspects and use the vocals more sparingly where they can better provide a boost to the songs (a lesson they could learn from Lars Froislie). Still, a solid, very good album, but just doesn't quite compare with the best of their earlier albums. Best Tracks: Considerations, World Spinning, Kaiser Razor, The Rubble, Love Is, Walls of Shame. Rating: 3.5ó

Cosmic Cathedral - Deep Water

Another new album and new band from the legendary and ever-prolific prog icon Neal Morse, and yes, its another winner, a high quality album for Neal and his latest new band incarnation. This time Neal teamed up with guitarist Phil Keaggy, drummer Chester Thompson, and bassist Byron House, just to hang out and jam. But as it was with his last impromptu band, The Resonance (Neal Morse and The Resonance - No Hill For a Climber, 2024), before long the jamming gelled into an album (must be nice). With this band, the music takes a bit jazzier, funkier, and looser vibe than other Morse albums, but still maintains most of the hallmarks of Morse's compositions and style. There is plenty here for fans of Neal to love, and the cool jazz elements provided by the new backing band add some different textures, such as on the Keaggy vocal-led track Walking Into Darkness. The epic Deep Water suite (6 parts, 29 min.) has all the grandeur and sweep of Neal's trademark epics. However, for those that feel Neal has been repeating many of the same musical styles and motifs over the past several albums, they probably won't be convinced otherwise with this new release, but another very good album. Best Tracks: Walking Into Darkness, Deep Water Suite. Rating: 3.5ó

Karfagen - Omni

21st album from this keyboard-centric symphonic prog band led by the extremely prolific Ukranian musician Antony Kalugin. Although Karfagen releases at least one album, sometimes more, just about every year, this one is a bit different. First, although it is broken up into individual tracks, it plays out as one long suite of interconnected songs, and it is more focused on vocals, harmonies, and pop-rock melodies (and contains numerous guest vocalists) than the usual more instrumental-heavy releases. There is still plenty of great instrumental prog on display here (also highlighted by numerous guest musicians, with classic symphonic prog touches throughout, but the vocal melodies and arrangements take center stage here. The result is their most accessible and cohesive release to date. The individual tracks encompass a variety of styles, but it all fits together seamlessly for a wonderful theatrical and cinematic experience. Rating: 4ó

Quick Hits

Glass Hammer - Rogue

A welcome return to more melodic symphonic Prog after dabbling with heavier prog metal influences on their Skallagrim trilogy of albums (2020-2022) for this versatile veteran U.S. Prog band (22 albums!). Mostly mellower melodic prog with an emphasis on vocals (featuring both male and female vocalists) and pop-rock melodies. But the highlight of the album is the longest and most adventurous track, the wonderful, spacey, atmospheric instrumental gem, Terminal Lucidity. Rating: 3.5ó

Rick Miller - Perspective

Another strong album of mellow atmospheric prog from this Canadian multi-instrumentalist, whose musical style is something of a blend of Pink Floyd, Alan Parsons Project, and the Moody Blues. Although this album doesn't quite reach the heights of his previous album, One of The Many (2024), it is still a very good, soothing and somewhat dark, but very enjoyable album that continues Rick's exploration of spirituality, fate, and destiny. Rating:3.5ó

 

Magic Pie - Maestro

The 6th album from Norwegian Prog band Magic Pie, known for their intricate compositions, symphonic arrangements and blend of classic and modern influences. This new album has a definite emphasis  (perhaps too much emphasis) on incorporating 70's-80's melodic and hard rock along with their prog elements. The album contains some brilliant sections, particularly on the more proggy album centerpiece, the 18 plus minute Opus Imperfectus Part 1, of which the concluding Part 2 closes the album, but the album also contains some rather cringey sections with their embrace of generic 70's hard rock on some tracks (particularly Name It to Tame It and Everyday Hero). So, the album has some pretty big ups and downs, but overall, still a good album worth checking out. Rating: 3ó

CEN-Projekt - Carnival of Lost Souls

CEN-Projekt is the creation one person, the talented German composer-multi-instrumentalist Chris Engel. This is another in his series of classic-style symphonic prog, with obvious influences from Genesis, Yes, Steve Hackett, Anthony Phillips, etc. (sometimes a bit too obvious), and he does a wonderful job with it, creating wonderful melodies and compelling instrumental work. Although this album doesn't quite match the wonder and majesty of his wonderful 2024 release The Story of Enja, this is quite good on its own. A bit darker in tone due to the subject matter, but a wonderful journey. Rating 3.5ó

Envy of None - Stygian Waves

Subsantial improvement over their self-titled debut album (2022) on this 2nd album from this pop band featuring former Rush guitarist Alex Lifeson and and vocalist Maiah Wynne. Although still showcasing an atmospheric and immersive sound, the darker tone and greater variety in the style and arrangement of tracks lifts this album up from the occasionally dull or monotonous sections of the 1st album, with better grooves and melodies and encompassing soundscapes. Rating: 3.5ó

Missu Kissu - Having Fun in Hell

Debut EP from this colorful indie alt-rock trio from Rochester, NY, featuring 9 short tracks showing a variety of styles incorporating folk, punk, pop, and rock. It's a bit all over the place, from catchy folk-rock to punkish rants and biting lyrics from guitarist Animal Planet to mellow sweet-sounding pop-folk ballads from bassist Robiwan, as well as some video game foolishness and quirky bits. Has its ups and downs, a bit rough around the edges, but overall a strong debut from an interesting indie band. Rating 3ó
 

McStine and Minneman - III

Impressive third collaboration between prog vocalist-multi-instrumentalist Randy McStine and drummer Marco Minneman, easily their best and most diverse, blending elements of pop, prog, art rock, and alternative, as well as mixing traditional melodic songs with bold experimentation. Rating: 3.5ó

 

BB’s Rating scale:

1ó – Terrible, torturous to have to listen to

1.5ó - Poor, not worth your time

2 ó – Fair, maybe a couple half-way decent songs, but sub-par overall

2.5ó – Average, OK, meh, not bad but not that good either

3ó – Good, solid album, several good songs, but not spectacular. Certainly worthy, but may not be something you come back to very often

3.5ó – Very good album. Some stellar tracks, very enjoyable overall

4ó – Great album, filled with great songs, one that you will want to come back to over and over again

4.5ó – Excellent album, beyond great, superb in every way, just short of a masterpiece 

5ó – A Masterpiece, among the greatest albums of its type, and has stood the test of time

 Lots of great stuff here, and that's just a taste (several others I couldn't even get to. Check out some of these for some great listening. More great music coming out every week. Will have an another update in 6 weeks or so.

Steven Page - 2025-04-17 - Orono, ME - Concert review

 

Steven Page,  Live, Collins Center for the Arts, University of Maine, Orono, ME, April 17, 2025

Last week I got the chance to see Steven Page (formerly of Barenaked Ladies) perform at the Collins Center for the Arts in Orono, Maine. It was a great show. Steven performed with his trio, with Craig Northey (The Odds) on guitar and backing vocals, and Kevin Fox on cello and backing vocals. Although cello may seem like an odd instrument for a pop-rock group, it actually was quite a nice touch, as it was able to fill in the bass parts as well as provide backing strings and flowing counterpoint lines, really filling out the sound for a trio. Steven was in fine voice and the show was a great mix of classic Barenaked Ladies songs and selections from Steven's stellar solo work. As would be expected from Steven, there was also much humor and banter among the performers (who have been friends and performing together for many years), providing a very entertaining evening. The show lasted nearly 2 hours with 19 songs (and between song banter). The setlist (detailed below) provided something for everyone, with the beginning and end of the show dominated by Barenaked Ladies favorites, and the middle highlighting some excellent songs from his albums Page One (2010), Heal Thyself Part I: Instinct (2016), Discipline: Heal Thyself Part II (2018), and his most recent, Excelsior (2022), which is a wonderful underappreciated album (the album was released in a small Canadian label and didn't get much attention, but is a great album that deserves to be sought out), and the three songs from Excelsior played here (Golden Age of Doubling Down, Something About Me, and How Much is Enough?) exemplify the strength of the album. I recorded just a few songs from the show to post here (and on Youtube), with the first being The Golden Age of Doubling Down, a delightful, insightful, and applicable song for our times. 

  

The Golden Age of Doubling Down

Steven closed the main part of the show with the BNL classic Brian Wilson.

Brian Wilson

The encore consisted of Enid and Call and Answer, with Steven starting out on piano.

 Call and Answer

 All in all a wonderful show that highlighted Steven's excellent songwriting skills, feel for great pop melodies and song structure, and vocal prowess throughout his career, and the performance by the trio provided the perfect accompaniment to the songs. And the Collins Center was a great venue to see this act, with its smaller size and more intimate setting, and great acoustics, providing a wonderful experience. Steven also gave a short interview session prior to the concert, where he talked about his music, upbringing, and experiences over the years. A great time. 

Setlist: Steven Page, 2025-04-17, Collins Center for the Arts, Orono, ME

1. It's All Been Done (BNL)
2. A New Shore
3. Jane (BNL)
4. Alternative Girlfriend (BNL)
5. The Golden Age of Doubling Down (N)
6. What a Good Boy (BNL)
7. Gravity
8. The Feelgood Strum
9. Linda Ronstadt in the 70s/Someone Who's Cool (Craig)
10. Something About Me
11. No Song Left to Save Me
12. Where Do You Stand?
13. Tonight Is the Night I Fell Asleep at the Wheel (BNL)
14. How Much Is Enough?
15. Bull in a China Shop (BNL)
16. The Old Apartment (BNL)
17. Brian Wilson (BNL)
Encores:
18.    Enid (BNL)
19.    Call and Answer (BNL)

Steven Page - vocals, acoustic guitar, piano

Craig Northey - electric guitar, backing vocals 

Kevin Fox - cello, backing vocals 

On the Scene for Seventeen: 17 years of BB Chronicles

 

On the Scene for Seventeen

Hey there, here we are in mid-April once again, which means it's Anniversary time for BB Chronicles. It's been 17 years since I started this somewhat misguided endeavor, and here I still am, stumbling along with my musical musings. 17 years, that's like a millennium for internet blogs, and throughout its ups and downs, highs and lows, I am still here sporadically putting out my limited content, and trying to help make some great lesser known music heard by more people. Hopefully, there have been things of interest for you to read and listen to here. But yes, the commentary is all my own opinions on music, so take note that your mileage may very much vary. Those that have followed this for awhile have probably noticed that the content has somewhat changed over the last couple years, with much less emphasis on concerts and live music posts, and focusing more on new album reviews, rankings of bands and artist's catalogs, and miscellaneous commentary on classic or underappreciated musical artists. And this will continue, as I have pretty much stopped collecting live bootleg recordings (just don't have time to sort through and listen to them) and focused more on released albums, both old and new. I still may post some live shows of interest once in awhile, just not that often. Of course, my past postings of shows are pretty much still available, although dead and dying links continue to be an issue that I try to fix as much as possible. But most of the new posts will be about those things that have dominated the past year or so: reviews, rankings, occasional old out of print albums, and discussion of underrated artists. Hopefully that kind of content is appreciated. 

Anyway, once again, as I have each year at this time, I also want to take this time to thank and celebrate all the others out there who have made so much of this great music, and those that have made it freely available for others.So, to all the other bloggers, tapers, forum posters, and music fans out there, and most importantly, to all the great artists and musicians that have created and performed this wonderful music, and certainly to all that have stumbled upon these pages, find something of interest and hopefully come back again, I offer a huge and heartfelt Thank You. And again, I implore everyone to purchase all the official releases of your favorite artists, as well as, wherever possible, go see them live in concert. The music and commentary here serves to supplement, not replace, all of their officially released music. They are supported by fans like us. 

So, I will continue to carry on here, pretty much as I have, and I hope there are things here that are of interest that will keep you coming back for more, and to always be excited about all the great music all around us. As always, thanks for your interest and support. Take care, it's a brutal world out there, and we need our music to make it through. 

New Album Roundup - Early 2025

New Album Roundup - Early 2025 Edition

Here we are through the first quarter of the year already, and there has been an abundance of notable album releases over these first 3 months and I've been doing my best to keep up with them. I've listened to more than 30 new albums so far this year, including many new albums from long-time musical artists and legends, as well as some new artists. So, once again it's time to take a look at some of the noteworthy albums released so far this year, based solely on what I have listened to and how much I have enjoyed them. Here is my New Album Roundup - Early 2025 Edition

Pattern-Seeking Animals - Friend of All Creatures

Originally began as on offshoot of Spock's Beard (featuring current and former members Ted Leonard, Jimmy Keegan, Dave Meros, John Boegehold) in 2019, this band has forged their own way, creating their own sound and style, to become one of the premier modern melodic progressive rock bands. This is their 5th album (over just 6 years), and continues their reign of producing high quality 'music that's progressive and intricate while keeping things immediate and melodic' (in the band's own words). Another batch of wonderful songs that are a joy throughout, beautiful and well-played, with great vocals and musicianship, and the full range of emotions, dynamics, and instrumentation. Although not quite my favorite of theirs (that would be 2022's Only Passing Through), this is a great album nonetheless, and maintains the high bar established by each of the previous albums. Masterful melodic prog. Best Tracks: Down the Darkest Road, Words of Love Evermore, Days We'll Remember, Another Holy Grail. Rating: 4ó 

Jacob Roberge - The Passing

A new voice in progressive rock, Canadian composer-vocalist-multi-instrumentalist Jacob Roberge has emerged with his 1st album, a grand excursion in the melodic symphonic prog tradition. The first half of the album features shorter songs and a more acoustic approach with prominent piano, acoustic guitar, winds, and strings, with soaring melodies and classical themes, but also some lulls and dull passages. The album picks up as it goes along, with Empty Traces, part 2 a highlight, but the album really soars with the epic-length (32 min.) title track, consisting of multiple sections, styles, and dynamics, encompassing the best of symphonic prog, embracing  the styles of the classic bands (Yes, Genesis) as well as more modern influences (Big Big Train and especially Neal Morse) to produce a wonderful majestic track that satisfies on every level. It moves seamlessly from one section to the next, with beautiful melodies and rousing instrumental passages, and culminating with a grand majestic finale. This track is superb and more than makes up for some inconsistencies in the early tracks, producing a very good and satisfying album experience. It will be interesting to see what this rising artist does next. Best Tracks: The Passing, Empty Traces Part 2. Rating: 3.5ó

Echolyn - Time Silent Radio ii, Time Silent Radio vii

Legendary U.S. Symphonic Prog band Echolyn has emerged after a ten-year absence with not one, but two new albums, their 10th and 11th (released not as a double album, but 2 separate albums), returning with their unique rockin' prog sound, mixing classic melodic rock and power pop with sumptuous symphonic prog for a wonderful set of albums. TSRii consists of 2 epic-length tracks (16 and 29 min.), whereas TSRvii has 7 shorter tracks (that's where the titles come from). The two lengthy tracks ebb and flow and take their time to develop through multiple musical sections and themes, but never lose focus, remaining consistently enjoyable and entertaining throughout their musical journeys. But the other disc, TSRvii, is even better, as the songs are brighter, punchier, with more emphasis on melody and catchy rock tunes, but still with plenty of proggy goodness throughout. All the tracks are great (but my faves are listed below). Echolyn's music may have many varied influences throughout, but yet they have created their own unique style, as they don't sound quite like anyone else. I'm not all that familiar with the band's earlier catalog, but I love this album, especially TSRvii, and I will be returning to it often throughout the year. Best Tracks: ii:Water in Our Hands. vii:Tiny Star, On We Blur, Boulder on Hills, Radio Waves, Cul-de-Sacs and Tunnels. Ratings: ii:4ó , vii: 4.5ó

Coheed and Cambria - Father of Make Believe

Coheed and Cambria is a U.S. rock band that has been around since 2002, but is hard to categorize due to the wide variety of styles they play. All of their albums are concept albums, or more accurately, part of an interrelated series of concept albums that tell a larger story. This is their 11th album overall and 3rd in the Vaxis Series. I can't begin to say just what the story entails (haven't heard the previous albums), but musically, it is all over the place, with a little bit of everything, and I really liked this one. It opens with a beautiful folk ditty (Yesterday Lost), then follows with a driving power pop rocker (Goodbye Sunshine), then a melodic hard rock gem (Searching For Tomorrow). Full-on heavy prog of the title track is next, followed by a sweet ballad which swells to an anthemic power ballad (Meri of Mercy). Then comes the fierce onslaught of metal and punk metal in Blind Side Sonny and Play the Poet. One Last Miracle is a fine hard rocker and Corner My Confidence tones things down with a lovely, folky, acoustic charmer, before a catchy 80's style pop-rock single (Someone Who Can). Then comes the powerful concluding suite, Continuum, which is broken into 4 parts, each with its own style and vibe, wrapping up with So It Goes, a wonderfully bouncy and catchy pop song. And surprisingly, it all works. The vocals from Claudio are wonderful throughout, whether dripping with honey on the pop-oriented songs or screaaming and growling on the heavier tracks, he is great. And the arrangements are also spot-on, covering many different styles, showing the versatility of the band. What is most impressive to me, though, is the melodic sense that runs through all the songs, with engaging, catchy melodies, whether gentle pop or hard rock, and even the heavy metal, that melodic sensibility shines through, creating a very satisfying collection of songs. The only musical comparison I can think of would be something like a much heavier The Dear Hunter, showing that kind of variety, versatility, outrageousness, and melodic sense. However, because of the range of types of songs, it may be that those who prefer the heavier aspects of the band may not appreciate the more pop-oriented tracks, and vice versa for those enjoy the more poppy tunes, so I don't know how this fits in with their other albums, but I am very impressed. Best Tracks: So It Goes, Father of Make Believe,  Goodbye Sunshine, Corner My Confidence, Searching For Tomorrow. Rating: 4ó

Steven Wilson - The Overview

As one of the biggest names in modern Prog, it's always interesting to hear what Steven Wilson is up to, and this album had additional expectations as it was hyped as Steven's 'return to prog' after multiple albums experimenting with different musical forms, with mixed results. On this album, Steven tackles the concept of The Overview, which has to do with a state of awe and transcendence reported by astronauts while viewing Earth from Space. And if Steven was attempting a musical depiction of that experience, I don't think he succeeded. But for me, Steven Wilson has always been hit and miss, as he has produced some brilliant music, but also a lot of just OK stuff over the years. On this album Steven serves up a mixture of sounds and themes that span through his history, from the more atmospheric, spacey early work of Porcupine Tree through to the more experimental pop of recent years. As usual, the production and sound is impeccable, but for me at least, the results are similar to past work in that it is extremely up and down, equal parts good and disappointing. There are only 2 album side-long tracks here, but yet they don't really hold together as cohesive pieces, more as a collection of shorter pieces just placed together, some of which work and some that don't. It seems to be put together from various pieces and ideas he had lying around. The best parts are really good, with some great melodies, proggy elements, and pop-rock arrangements, whereas the weaker parts are somewhat dull or not very interesting. Overall, maybe about half of each full track was enjoyable for me, about 15-20 minutes out of the 41 min length. I know many consider Mr. Wilson to be a musical genius, and I'm glad that Steven is able to do whatever kind of music he wants to do, but once again, these musings strike me as being just pretty good, and a bit underwhelming. Rating: 3ó

Motorpsycho - Motorpsycho

You never quite know what you're going to get from this prolific (28 albums overall, and 16th album in the last 17 years) eclectic Norwegian prog band, with their ever-shifting styles that incorporate heavy doses of psychedelic, indie, and prog rock, along with forays into ambient, atmospheric, acoustic, pop, jazz, punk, metal, krautrock, space-rock, and so on. Although their last couple albums have had a lighter pop-oriented touch, this album gets back to heavier aspects and their psych, prog, and hard rock roots, but also contains bits of everything from their past and still maintains their melodic sensibilities and that Motorpsycho sound, in this expansive self-titled double album (11 tracks, >81 min.). This one has it all, and they pull out all the stops, in various moods and styles, from the dark psychedelia of the opener Lucifer, Bringer of Life, to the throwback pop feel of Stanley (Tonight's the Night) to the heavy guitar riffs (and Jimi Hendrix vibe) of The Comeback and the psych-prog journey of Balthazar. Then there is the epic-length (21 min) Neotzar, with its mix of jazz, prog, and psychedelia in a mesmerizing and a bit creepy blend. But there's still more with the lighter, brighter Core Memory Corrupt, and the driving groove of Three Frightened Monkeys, before the melancholy pop of Dead of Winter closes the album out. Another wonderful, eclectic album from Motorpsycho. Best Tracks: Balthazar, The Comeback, Stanley, Core Memory Corrupt, Dead of Winter, Neotzar. Rating: 4ó   

Karmakanic - Transmutation

What began as a side project for The Flower King's bassist, Jonas Reingold, in 2002, has developed over the years into one of the premier modern symphonic prog bands, and they are back again, after a 9-year absence with this, their 6th album, and Jonas and band have brought along many wonderful prog guest artists to help out, including Steve Hackett (and members of his touring band), Andy Tillison (The Tangent), John Mitchell (Frost, It Bites, Lonely Robot), Randy McStine, Nick D'Virgilio, and Simon Phillips, to produce one of the best albums of the year so far. It opens with a burst of energy in the brief, but powerful rockin' instrumental Bracing For Impact, and then continues to get better and better with each subsequent track, End of the World is a beautiful song (although goes on a bit too long), then Cosmic Love gives a somewhat throwback 80's single sound, like something from Yes' 90125 period, but they are just getting started, as each of the rest are great, culminating with the sensational Prog epic title track (23 min), which is stunningly brilliant from beginning to end, with everything you could want in a prog epic, from tender acoustic sections to glorious majestic themes to incredible soloing and exciting instrumental passages, including a dazzling middle section that manages to channel Genesis as a jazz fusion band, then reprising earlier themes for an emotional and majestic finale. Just brilliant, and one of the best epic-length prog tracks ever, that can stand among the all-time greats. What I really love about this band and album is that they are extremely creative and inventive in their arrangements, production, and instrumentation, able to turn even fairly simple themes and melodies into wonderful, exciting pieces with their intricate, detailed handling. Just love this album, my absolute favorite of the year so far and sure to be in the running in the end for best album of the year. Best Tracks: Transmutation, Gotta Lose This Ball and Chain, All That Glitters is Not Gold, We Got The World in Our Hands. Rating: 4.5ó

IQ - Dominion

Another veteran prog band returning after an extended absence (6 years since last album) with this, their 13th album. It contains all the parts and pieces you expect from these professionals and all the components of a great Neo-Prog album: excellent musicianship and instrumental prowess, great range of dynamics and moods, emotive vocals and majestic themes, and wonderful sound and production. Unfortunately, it is still somewhat disappointing, as the songs themselves are just nothing special, and fail to create engaging melodies or compelling themes. They seem to be going through the motions of what has worked in the past, but the songs just fall somewhat flat. The opening 22-min epic is OK but doesn't really go anywhere, and despite fine individual efforts from all involved, it just seems quite ordinary. Best track is Far From Here, which almost reaches another level, but can't quite sustain it. There's nothing bad here, it is all fine, pleasant, and well-done, good, it just doesn't inspire or excite, and is thus underwhelming. Rating: 3ó 

AlisoKrauss and Union Station - Arcadia

Alison reunites with Union Station for their first album together in 14 years, and the results are quite beautiful, but also just a bit disappointing. The album features tracks alternating between Alison's sweet, pretty ballads and the band's Appalachian folk songs sung by new vocalist Russel Moore, and they are all quite good. The band provides great back-up with impeccable runs and fills from Jerry Douglas, Ron Block, and departing member Dan Tyminski, but considering this is one of the best bluegrass bands around, the band isn't given much chance to really stretch out. There are no instrumentals and no real rip-roaring bluegrass tracks (or much fiddle from Alison), and only just a few songs that could even be considered bluegrass. Those few uptempo tracks are the highlight of the album. Still very good, but was hoping for more actual bluegrass from this reunion. Rating: 3.5ó
 

Quick Hits

Dim Gray - Shards

This Norwegian Prog band follows up their wonderful 2022 album, Firmament, with this, their 3rd album, which continues exploring their blend of atmospheric, emotional soundscapes with lush symphonic backing and soaring melodies. The album culminates with its best (and longest) track, Attakula. Although a very fine album, for me it doesn't quite reach the same heights as Firmament, as the songs are not as dynamic, interesting, or eclectic as on that album, with a bit more sameness throughout. But a very enjoyable listen nonetheless. Rating 3.5ó

 

Dream Theater - Parasomnia

OK, I'm not a big fan of Dream Theater or Prog-Metal in general, so maybe it's not surprising that I was not very impressed with this new album, their first since drummer extraordinaire Mike Portnoy re-joined the band. There is no denying the excellent musicianship on display here and the sound is great, but there is just too much metal and not enough prog influences present here to work well for me. Rating 3ó

 

 

Jethro Tull - Curious Ruminant

Ian Anderson and his current assemblage as Jethro Tull are back with their 3rd album in the last 4 years, and this is the best of those three, as it has more elements reminiscent of the old Tull (more folk and rock elements, return of the acoustic guitar, etc.). It's a good listen, quite enjoyable. The instrumental sections, in particular, are quite good, with stellar flute work and a stronger guitar presence than other recent albums. However, it is still a far cry from classic Tull. Anderson's vocals have greatly deteriorated and are somewhat distracting (should do more instrumentals) and overall, the songs are just not as memorable. Thus, it's good, but not great, and not really something you will probably want to go back to again and again. Rating: 3ó

Ringo Starr - Look Up

The beloved Beatle, at 84 years old, is back with his 21st? solo album. This time he has gone full country, with surprisingly good results. Ringo made a smart choice in bringing in Americana and Roots music guru T-Bone Burnett to produce and oversee the project, as T-Bone has set-up a crack team of musicians and guest artists, as well as  impeccable production and arrangements that provide a stellar backdrop to augment Ringo's somewhat limited vocal abilities. It sounds great, with lovely backing and support, and Ringo's voice works fine on these country songs. Thus, it is probably Ringo's best album in many years, but still, just not something that holds much interest for  me (not being a country fan). Rating: 3ó

Mostly Autumn - Seawater

This veteran U.S. Prog Folk band, releasing their 15th album, an expansive 76 min affair, and it is quite an enjoyable listen, if you are OK with its limitations. I would describe this as dramatic, atmospheric folk-rock with prog elements, and it is filled with simple but effective songs and engaging melodies that are given lush treatment. Great emotional vocal performances, and the contrasting styles, and interaction of the main female and male vocalists are the main highlights of the album. Unfortunately, several of the songs are stretched-out much longer than they should be through repetition rather than musical inventiveness. Even the mostly effective epic-length (19 min) Pink Floyd-inspired title track is much longer than needed. Good, but could have been much better. Rating: 3ó
   
Brian D'Addario - Till the Morning

Brian D'Addario of the Lemon Twigs steps out with his first solo album, but continues pretty much along the same lines as the band as there is not much that distinguishes this from an actual Lemon Twigs album, which is both good and bad. Great if you love the throwback 60's-inspired sunshine pop of the duo, with sparkling arrangements and uniquely odd melodies, complete with assistance from brother Michael who produced and provides harmony vocals, but disappointing if you were looking for something a bit different, and the songs are not quite up to the level of the previous recent LT albums. Sounds great, but again, I am somewhat put-off by the pretty but oddly unpleasant and decidedly uncatchy melodies preferred by the D'Addario brothers. Rating: 3ó

Ghost of the Machine - Empires Must Fall

Second album from this UK Neo-Prog band. Guitar-heavy melodic progressive rock, with a definite leaning towards the sound and style of Rush (particularly the 80's version of Rush, with more keyboards, less proggy structure). Fine playing and musicianship, but a single vocalist with no background or harmony vocals at all. If that vibe and style is appealing, you will probably really like this, but it is not really for me. Not bad, just not that great. Rating 2.5ó

 

Sometime on February - Where Mountains Hide

Debut album from this instrumental prog metal trio that tries to impress with lightning fast runs and fierce virtuosity, but impressive instrumental skills alone don't translate into a satisfying album, and these musicians seem more intent on speed and flash than songwriting or creating music. These instrumental pieces just seem rushed, harsh, and overfilled with complexity and arbitrary notes, but not much musical sense. Rating: 2.5ó

 

Sam Fender - People Watching

Fine collection of catchy, insightful storyteller songs from this British singer-songwriter with an American-style Heartland rock sound, marred somewhat by the overly slick and finely polished pop production that takes away from the grit and authenticity of some noteworthy and heartfelt songwriting. Very enjoyable songs, but the intrusive wall of sound production gets in the way more than it helps. Rating: 3ó

 

 

Untold Stories - Wind & Memories

Solid debut album from this relatively new band from Bulgaria that features what I would call melodic rock with prog elements. Lead by Daniel Eliseev, features a mixture of art rock, hard rock, prog melodic rock. opens with a couple tracks that are mostly melodic rock, but then comes the extended title track, which is full-on Neo Prog, and the highlight of the album. Continues with variations on these rock mixtures for a quite good, but not great listening experience, as some cliches and sameness intrudes, but overall a fine debut. Rating: 3ó

 

BB’s Rating scale:

1ó – Terrible, torturous to have to listen to

1.5ó - Poor, not worth your time

2 ó – Fair, maybe a couple half-way decent songs, but sub-par overall

2.5ó – Average, OK, meh, not bad but not that good either

3ó – Good, solid album, several good songs, but not spectacular. Certainly worthy, but may not be something you come back to very often

3.5ó – Very good album. Some stellar tracks, very enjoyable overall

4ó – Great album, filled with great songs, one that you will want to come back to over and over again

4.5ó – Excellent album, beyond great, superb in every way, just short of a masterpiece 

5ó – A Masterpiece, among the greatest albums of its type, and has stood the test of time

OK, that should do it for these 1st three months. Some really good stuff here. There were several others I listened to, but these were the highlights. Bands that I was really impressed with and need to check out the rest of their catalog include Karmakanic, Echolyn and Coheed and Cambria
Interestingly, there seems to be a flurry of epic-length tracks (14 min or longer) this year, after several years of declining numbers (probably due to streaming issues). But they are certainly back this year, as just with these albums I reviewed here, there were 14 epic tracks here, and most of them very good, some real classics.

So, what did you think about any of these albums? What are your favorite albums so far this year?