Music of 2021

That time of year again, when I look back over the past 12 months from a musical perspective - or what passes for music in my warped imagination!

 

It doesn't need to be said - but I'll say it anyway - that 2021 has been another difficult year for music and musicians, though I have managed to get to a few live events this year, including Hannah Moule & the Moulettes, and a female-fronted (ooh err...) covers band by the name of Led Zeppelina at my local pub, The Greystones, here in Sheffield, and some excellent jazz gigs by Fergus McReadie, George Crowley and Yazz Ahmed, organised by Sheffield Jazz at Crookes Club. The first of these, in July, was my first live music since November 2019. And there was also HRH Prog X, also here in Sheffield, with some excellent sets particularly from Franck Carducci, Arthur Brown, and Colosseum.

Fergus McReadie Trio

Chris Farlowe with Colosseum

I've managed to amass 93 albums released this year, a number boosted by having joined the broadcasting team at Progzilla Radio during the year, presenting a monthly show for 2 hours on the 3rd Sunday evening of the month, sharing some of my musical favourites and discoveries. The show tends to reflect my own preferences, so is dominated by jazz, Progressive rock and Classic Rock.

I've drifted more, over the past few years, towards the jazzier side of the musical spectrum, and this is reflected in the albums I've purchased and acquired during the past 12 months. When it comes to ranking them in any order, this proves, year on year, to be more and more difficult, but there have been some albums that I have returned to more often than others... but more on them to come.

Here's an alphabetic list of 45 albums that have resonated with me over the year:

Lee Abraham     Only Human
Accordo dei Contrari       UR-
Alco Frisbass      Le Mystere du Gue Pucelle
Argos    The Other Life
Big Big Train        Common Ground
Cosmograf          Rattrapante
Graham Costello              Second Lives
Miles Davis         The Lost Concert
Elephant9            Arrival of the New Elders
The Emerald Dawn          To Touch The Sky
Floating Points  Promises
Fractal Mirror    Beyond Borders
Hasse Froberg Musical Companion           We Are The Truth
Frost*   Day and Age
Garden of Live Flowers  Sticky, Sweet and Dirty
Glacier  Isalnd In The Sky
Steve Hackett    Surrender of Silence
Daniel Herskedal              Harbour
John Holden       Circles In Time
Dave Holland      Another Land
Iron Maiden       Senjutsu
Kalman Filter      Moons of Neptune
Gary Kemp          In Solo
Lazuli     Dénudé
Amanda Lehmann           Innocence and Illusion
Lifesigns               Altitude
John McLaughlian            Liberation Time
Fergus McReadie             Cairn
Pat Metheny     Side Eye NYC V1.IV
Mobius Strip       Time Lag
Monarch Trail     Wither Down
Nova Casade      Back From The Brink
Octarine Sky       Close to Nearby
Pasajero Luminoso          Pujol
Chris Potter        Sunrise Reprise
Ske         Insolubilia
Tom Slatter         Escape
Slowly Rolling Camera    Where The Streets Lead
Smalltape            The Hungry Heart
Gerard Smith     Lullabies in an Ancient Tongue
Snowpoet           Wait For Me
Soup      Visions
Three Colours Dark          Love's Lost Property
Trifecta    Fragments
Steven Wilson   The Future Bites

... and if there was to be a Top 5 for the year - in reverse alphabetical order:

Theo Travis - Songs From The Apricot Tree

An evocative and stunning work with Theo where he uses an Armenian Duduk, and ancient double-reed instrument made from a single piece of wood from the apricot tree. Mainly instrumental pieces, he includes a version of David Sylvian's 'Brilliant Trees', sung by the sadly late David Longdon.

Tillison Reingold Tiranti - Allium: Una Storia

A homage to a band whose day never came - a band that Andy Tillison heard in a camp in Italy in the 1970s and whose life was changed as a result - lovingly presented in RPI-style by Andy, Jonas Reingold & Roberto Tiranti.

James Francies - Purest Form

Francies is a young American keyboard playerwho has come to the fore in the jazz world over the past few years, working with Chris Potter and Pat Metheny (both of whose albums on which he appears featuring above). This is his second solo album, and shows a rich and rewarding diversity of style and dynamic throughout.

Rachel Flowers - Bigger on The Inside

Quite simply an outstanding piece of work from a young lady who does not let her blindness hold her back in terms of dexterity and virtuosity. A stunning collection from an amazing and talented multi-instrumentalist who I have no doubt will go from strength to strength in the coming years.

Nick Fletcher - Cycles of Behaviour

I have had the pleasure of seeing Nick play many times of the last few year, both as a member of the John Hackett Band and as a solo performer, chiefly on classical guitar. On this, his first rock solo offering, Nick demonstrates his obvious skill in rock, blues and jazz rock in songs and tunes self-penned and in colaboration with John Hackett. John's brother, Steve, says that "Nick... is probably the best jazz rock guitarist in the country. His fluency is astounding... I consider [him] to be an absolute star.", and I have to say that I agree.

So, that's my take on 2021 musically. But what do you think? What have I missed? Let me know, either here or on Facebook.

Here's to 2022!

Nova Cascade - Back From The Brink

I'm sure I've read somewhere - probably on some cheesy inspirational meme somewhere - that out of adversity comes strength. Cheesy though it may be, there is certainly some truth in those sentiments when it comes to this, the third album from the ambient progressive collective known as Nova Cascade.

 

Following on from their earlier albums - 2018's 'Above All Else' and 2019's 'A Dictionary of Obscure Sorrows' - comes 'Back From The Brink', a collection of songs, vocal and instrumental, forged in the white heat of the past 18 months or so of pandemic and lockdown: a task made all the more onerous as Dave Hilborne, the keyboardist and vocalist, was struck down by the virus and still endures the long-term effects of it. The title, 'Back From The Brink', is, therefore, apposite.

Dave, together with his usual associates Dave Fick on bass, and Charlie Bramald on flute, are joined by Eric Bouillette (who played with them on the last album) on violin & guitars, and Lorenzo Poliandri on drums & percussion. As with their previous recordings, the music is immersive, atmospheric and thoughtful; keyboard-driven, yet benefiting from the textures that the violin, flute and guitars bring. This is once more music from the ambient as well as progressive schools, and Dave Hilborne's vocals have an almost harsh yet ethereal quality to them. It is fascinating in that it is both music to soak yourself in, yet also music to engage the mind and spirit; that washes over you and carries you along to new places.

Musically, there are hints for me of the Moody Blues in 'The Minutes After', and of Peter Gabriel's 'Intruder' in 'The Hill', and the epic title track is a well-constructed, multi-sectional piece with reggae rhythms at times. There is a clear progression in all the band's work, with this being the most accomplished of the three albums to date, which I would highly commend to any and to all.

Big Big Train - Common Ground

 For around the last 12 years, Big Big Train have been at the forefront of the UK Progressive Rock 'scene', since the release of their 'breakthrough' album, The Underfall Yard (recently remastered and re-released). During that time the band has developed a line-up of musicians who have produced a steady stream of consistently well-crafted albums, and a trade-mark sound that has delighted and enthralled 'passengers' and others (and has been a bone of contention to others, too.)

The imminent release of a new album from any well-established band gives rise to much speculation and anticipation, none more so when that band has recently undergone substantial personnel changes. Since the warmly-received 'Grand Tour' in 2019, and partly as a consequence of the ensuing pandemic, three key members of the band - Dave Gregory, Danny Manners and Rachel Hall - have departed: all of whom contributed much to the overall sound of Big Big Train. How would their departure affected the feel of the music?

The release of 'Common Ground' answers some of those questions: and maybe the forthcoming tour in 2022 will provide further insights.

Common Ground has been for me a bit of an enigma. It is clearly Big Big Train, yet there are clear and obvious differences in the musical 'feel' of the album. For me, Danny's keyboards and Dave's guitars were an essential part of BBT's sound, as was Rachel's violin in recent years, and that just isn't there any more. Rikard Sjoblom brings his own touch to the keyboards, as do Dave Foster and Aidan O'Rourke to guitars and violin, but it's not the same to me.

Nick D'Virgilio is given more space to showcase his songwriting on the instrumental 'Apollo', and on 'All The Love We Can Give', but there is more than just a hint of Spock's Beard showing itself for me - maybe a direction of travel for the band as the composition duties are more widely shared in future? Big Big Beard, anyone?

David Longdon's voice continues to show great maturity and character, and on 'All The Love We Can Give' he finds a new register which put me in mind of Scott Walker (others mentioned Phil Oakey). His voice harmonises very well with Nick's and with Carly Bryant's, who brings a more forceful female voice to that of Rachel Hall. Greg Spawton's bass seems, to me, just a little more prominent on this album, which is never a bad thing.

The song-writing throughout is what you would expect, in that it is high-class, musically and lyrically. Opener 'The Strangest Times' is David Longdon's take on the past 18 months; similar in style to 'Alive' (from Grand Tour), and bringing in the BBT memes of fields, brooks and woods. 'Apollo' and 'Endnotes' both give space to the Brass ensemble to fill out the sound as only they can. 'Headwaters', the other instrumental track, gives Rikard some scope to explore the piano, though it doesn't quite have the jazz-tinged edge that previous piano pieces have had. 'Atlantic Cable' - a song about the laying of telecommunication links between the UK and US - also picks up the theme of Common Ground and our common humanity that echo through the collection: "we see the same stars/ walk the same ground/ lit by the same sun/ we could be one" [Black with Ink]; "we make new common ground/... we look up at the same stars/ see further as one." [Atlantic Cable]

And am I alone in spotting that the last line of the lyrics to 'Endnotes' - "down the river/ to the sea" almost echo the title of the band's first album, 30 years ago...?

Gerard Smith - Lullabies in an Ancient Tongue

 As a genre, Progressive Rock has been around now for over 50 years: many hold that King Crimson's 'In The Court of The Crimson King' was the first album of that genre - others go back a little further and cite The Beatles' 'Sergeant Pepper...' or The Moody Blues' 'Days of Future Passed' as the nascent release. Wherever it started, the genre has been growing and developing - progressing, perhaps - over the years, with each generation drawing from the past and influencing the future in their own particular way.

Into that great succession comes the new album from Gerard Smith, a Michigan native of Irish roots and a founder member of Bill Grogan's Goat, who gives us a wonderfully eclectic selection of songs that takes as its title a line from the aforementioned King Crimson album - "Lullabies in an Ancient Tongue."

Don't let the title fool you, though: this is not collection of sleep-inducing tunes - far from it! The opening track, 'Standing Stone', comes in with a bang, and carries on with a driving rhythm and almost growl-y vocals, and the album proceeds with shifts in tempo, time-signatures and texture within and between songs, which is uplifting and keeps you on your toes. The nearest any of the songs come to a lullaby is 'Sweet Dreams and Soft Mornings' (which appears in two versions on the album), but even this, with its multiple time-signatures, would make rocking a child to sleep difficult!

Drawing on the Progressive tradition, there are hints of Hawkwind, Genesis, and (of course) King Crimson in the music, but the 'ancient tongues' go further back too, with folky tinges in the guitars, mandolin, whistles, and even Uilleann pipes, and it's that mix of traditional and more contemporary musical themes that makes this a very alluring album of excellently written and constructed songs, and one that I would heartily recommend.

To listen to, or even to buy, the album go to Bandcamp.

Nick Fletcher - Cycles of Behaviour

I first came across Nick Fletcher a number of years ago now when he was playing classical guitar alongside flautist John Hackett in a Methodist Chapel in Sheffield, and I must say I was impressed by his musicianship and his ability then. That respect has only grown as he stepped up as the guitarist with John's eponymous band, playing electric guitar then, and over the last few years I have seen Nick's confidence and competence flourish in this role.

His new album, Cycles of Behaviour, comes out of a most unprecedented year, due to the restrictions placed upon us all by the global Coronavirus pandemic. It had, apparently, started life as another collaboration with John Hackett, following on from their 2018 offering, 'Beyond The Stars', but the logistic difficulties brought on by Lockdown led to it being more of a solo project, though John does share some song-writing credits alongside his contributions on voice, flutes and some keys. Nick & John are joined by Dave Bainbridge on Hammond & Mellotron, Caroline Bonnett on Keys & backing vocals, Tim Harries on bass and Russ Wilson on drums.

The opening instrumental title track comes in with a bang and settles into a jazzy groove with some dextrous experimental flourishes and sweeping Hammond chords. Musically it is strongly reminiscent of the jazz rock of Bruford, with some exhilarating guitar and keyboard fills: a great start! Next comes 'Heat is Rising', the first John Hackett collaboration, and a rockier tune with some pop overtones, but a strong riff-driven base and a soaring solo midway through. 'Hope in Your Eyes' is a stunning piece: gentle, reflective and reminiscent of Steve Hackett's Spectral Mornings for me in many places, with some beautiful flute work from John, but also where Nick demonstrates his influence from the late Alan Holdsworth, particularly in the solo from about 4:30 in - soul-stirring! 'Tyrant and Knave' is a harder-hitting tune, with a strong beat and heavier guitar, but losing none of the lyrical quality of the whole album. A gentler, blues-y section in the middle of the song gives the listener a breather for a while, before the main theme is restated at the end.

'Desolation Sound', the shortest track in the collection, opens the second half of the album with a mournful drone and a plaintive flute, with synthesised guitar chords and a sound that brought to my mind early Steve Hackett again. 'Interconnected' is another co-written piece, and is a complete change of tempo, with up-beat flute and some Byrds-like jangly guitars, and some quite quirky lyrics. Again, midway through there's a shift down in tempo and some haunting alto flute before the beat re-launches. 'Annexation' sees the classical guitar appear in the opening section, alongside the flute, and strings on the keyboards, before a heavier, more riff-laden electric motif emerges which drives along quite magnificently with an almost Eastern European feel to it. The album closer is the epic 'Philosopher King', the third Fletcher/ Hackett composition, and a driving blues-fuelled monster it is, with a strong David Gilmour flavour to it in the vocal passages and in the mind-blowing guitar work, but with its own distinctive moments such as the skip-y section at about 4:00 which almost seems to have a nod to Supper's Ready at one point. The last 5:00 of the song is just stunning, as first the flute and then the guitar build in a way similar to Comfortably Numb - jaw-dropping, goose-bump inducing sublime beauty, which feels like it could go on for eternity, and just fades away soaring in flight...

On the CD sleeve, Steve Hackett writes that "Nick... is probably the best jazz rock guitarist in the country." Having seen the two of them on stage together, when Steve guested with John's band at a CRS show in Maltby a few years ago, I can only concur, and I may be bold enough to say that there were times on stage when Nick not only held his own with Steve but possibly surpassed him. Along with Steve, I would say that "I consider Nick Fletcher to be an absolute star", and this album underlines his quality. My album of the year so far...

Checking For Echo Project - Life & Other Short Stories vol. 1

 

Following on from his debut solo album project of last year - The War is Never Won - Jon Farley has used the last year of lockdown to good effect and produced Volume 1 of his new project, Life and Other Short Stories, a collection of 6 new songs alongside 3 covers and a spoken word coda. Alongside his own contributions as songwriter, drummer, bassist, guitarist and keyboardist, Jon elicits the help of ten other musicians to produce a thoughtful, evocative set of songs, chief among whom is Suzi James (Fearful Symmetry) whose guitar work throughout is exemplary.

The covers included are of Frost*'s 'Saline', IQ's 'Red Dust Shadow', and Long Earth's 'My Suit of Armour', and each of these brings a new depth to the overall feel of the album, and I find Freedom To Glide's Andy Nixon's vocals on 'My Suit of Armour' particularly well-suited and quietly powerful.

It would be fair to say that this is not a Friday night party album: the general mood is one of reflection, and Jon's piano-led writing lends itself to this. That mood does lift occasionally, when Suzi "lets go" in 'Stillborn' and 'Seen But Not Heard' (and these, to me, seem to be when there is a need for escape in the song), but it is generally subdued. The subject matter overall is, for me, about escape and longing; trauma; the barriers that we erect to get through life; and the hot-button topic of mental health, and these are approached through the lenses of relationships, childhood, homelessness and the delicate subject of stillbirth.

The album opener, 'Stillborn', is, for me, the strongest song in the collection - certainly the one that touched me the most. In my working life as a Christian Minister, it was a subject that I'd had to confront on a small number of occasions, and it is handled so sensitively here. The song starts with a gentle heartbeat in the background, and has a quiet, soothing melody as the mother waits expectantly, but then an abrupt change of dynamic with loud and slightly off-beat guitars breaking the peace, as if there's a battle going on (maybe there is...). The climax is back to the quiet , but a different quiet, and the heartbeat slowly slows and stops.

One of the strengths of this album is the use of 8 different vocalists, who each bring their own distinctive 'voice' to Jon's songs and arrangements; another is the guitar work throughout of Suzi James (as already mentioned). But without the song-writing these would count for nothing, and Jon is both thoughtful and thought-provoking is his lyrics, and wistful and stirring in his melodies. This is music which makes you think.

All proceeds from the sales will go to support the work of Help Musicians and Stage Hand ,and the album is available at Bandcamp from 7th April 2021, with vol. 2 hopefully available later this year.

John Holden - Circles in Time

 Over the past few years, John Holden has gained a much-deserved reputation for producing some finely-crafted Progressive music, in the vein of the classic era of the genre, on the strength of his first two albums: 'Capture Light' (2018) and 'Rise and Fall' (2020). That reputation is now further enhanced with the imminent release of his third offering - 'Circles in Time'.

Like its predecessors, the songs on this album are written mainly by John, with lyrics by John and his wife Elizabeth, but the realisation of John's vision is enhanced, as ever, by a stellar cast of musicians and others, some of whom have worked with John in the past - Marc Atkinson, Zaid Crowe, Oliver Day, Nick D'Virgilio, Peter Jones, Sally Minnear, Jean Pageau, Joe Payne & Vikram Shankar - while others are new to John's work on this album - Robin Armstrong, Frank van Essen, Eric Potapenko & Henry Rogers.

The album opens with 'Avalanche', and opens with drive and pace - crashing, tumbling drums and cascading guitars - before settling into a steady pace as Jean Pageau's vocals enter. The chorus is a good hook, and gives a memorable structure to the song, which explores the the odious habit of trolling on the internet, and the impact that such activity can have.

'High Line' is a contemporary romance, set in the heart of New York City. Musically it puts me firmly in mind of Steely Dan, with a wonderful jazzy vibe and stirring vocal harmonies, both ably provided by Peter Jones, whose sax playing really sets the mood. We end with interplay between Peter's sax and Frank Van Essen's violin.

Inspiration for songs comes in many ways, and 'The Secret of Chapel Field' was sparked by the discovery of a gravestone in a village church commemorating the life of a young girl who was the victim of a 19th century murder/suicide. The story unfolds like a Victorian ghost story, as Marc Atkinson narrates and Sally Minnear takes the role of Mary, the young victim. There's a sombre, pastoral feel to the music, perhaps fitting bearing in mind the subject matter, but evocative, nonetheless.

'Dreams of Cadiz' is an instrumental track, rooted in the flamenco tradition of Spain,and Oliver Day brings some emotive acoustic guitar to add to, and dance with, the piano. There's a tantalising light and shade in the music, that builds as the music grows and bass, keys & drums are slowly added to the mix. Not a typical flamenco tune, but one that evokes the Andalucian spirit quite delightfully.

'Circles' is, I suppose, the nearest we get to a title track, and it focusses thematically and lyrically on thee drudgery at times of coping with recurring ill health: physical, emotional or mental. A nagging heart-beat seems to pervade the song, and the use of echo helps to reinforce the incessant nature of pain and dis-ease, yet Sally Minnear's voice brings a gentler and more 'manageable' air to the theme. And I'm left wondering whether the support the song references towards the end is solely human, or if there's some spiritual element there too (but maybe that's just me...?). 

The final track, 'KV62', is an epic of just short of 20 minutes that tells the story of the discovery in 1922 of Tutankhamun's tomb in the Valley of the Kings in Egypt by Howard Carter. For someone of my 'vintage' this evokes memories of the exhibition in London in 1972, which was fascinating for an 11-year old boy. The opening chords evoke the Middle East and take us to the burial some 3,300 years ago, with the richly sonorous tones of Jeremy Irons, as we accompany the young King on his journey to the afterlife. From there we are whisked away to the 1920s, as Carter and his sponsor, Lord Caernavon, wrestle with the decision whether to continue their search for the tomb. Joe Payne & Peter Jones tell the tale well, as the search bears fruit and the inevitable media circus ensues. The music continues to set the mood for the tale, building to a stirring crescendo as the site is opened and the treasures revealed, and moving to a melancholy conclusion as Carter is left to die in obscurity.

As always, John tells a wonderful story - or series of stories - and this collection is a delight, lyrically, conceptually and musically. It has been a pleasure to listen to this new set of songs, and I would commend it to any who appreciate fine musicianship at the quieter end of the Progressive spectrum. I can see this album featuring highly in lists in 10 months time, and if this is a sign of what 2021 has in store, it should be another classic year.

So, how's 2021 shaping up?

 Last year was, I think I mentioned in my last post, a strange year for most if not all of us. Many of the effects of 'Lockdown' on us - as individuals and as a society - are yet to be fully realised, but one thing I've noticed about myself is what I can best describe as an increased 'meh' to most things. The tedium of spending so much time in the same space, with little interaction with anyone other than the one closest to me, and very little change in scenery other than for my daily walk - usually over the same route - is perhaps beginning to have consequences for my overall mood and demeanour.

There have been some positives to this almost house arrest: I've got a lot more reading done than in previous years; I've spoken to my mother on the phone more frequently than I have done; I've explored more of Derbyshire during the brief respites between lockdowns. But I've missed just popping out for a day trip somewhere, or to visit family; I've missed going to gigs and meeting friends for a drink and a chat; heaven help me, I've even missed shopping!

As we have seen recently with the demise of Debenhams & Arcadia Group stores from what's left of our High Streets, shopping is now increasingly, and perhaps irreversibly, happening more on-line - as is meeting, working and worshipping. Will a return to 'normality' see that change back? Only time will tell.

Music has not totally stopped: new music has arrived this year, and there are four albums so far this year that have aroused my interest in some shape or form.

The first is the latest from Australian Mark Healy, who records under the name 'Hibernal', a sci-fi post rock project from Brisbane. The albums are a combination of instrumental, cinematic music and dystopian sci-fi stories which are always a delight to listen to, the music enhancing the tale very effectively. So far there have been seven such stories, and 'Infiltrators' the latest, is both disturbing, engaging and heart-warming in content. I would highly recommend any or all of them for your listening pleasure.

Secondly is the fifth album, and the first since 2014, from Prog 'supergroup', Transatlantic. Their latest offering - The Absolute Universe - comes as a 65-minute single CD, subtitled 'The Breath of Life' (Abridged Version) and/or as a 91-minute double CD, subtitled 'Forevermore' (Extended Version), and as a 97-minute 'Ultimate' blu-ray version. Only a Prog band would feel that 65 minutes is abridged, and needs extending to 91 minutes, or even 97! The music is typically Transatlantic, with clear vocal contributions from ex-Spock's Beard front-man Neal Morse and Flower Kings' Roine Stolt. There's nothing to my ears particularly surprising about this collection: it is cinematic, epic prog, emotively played and sung, and Neal manages to work his spirituality in as expected, but not in an overtly cloying way. There are subtle differences between the two versions, other than the running time which, for the completist, probably means that both are needed. The only oddity for me is that the closing track on both - a song called 'Love Made A Way' - has a closing chord that lasts almost 2 minutes (with other stuff happening over it)! If you like Transatlantic, you'll probably like this...

Steve Hackett has been nothing short of prolific over the past 10 years, with 5 studio albums, regular tours and 6 live albums from those tours, and he has now released his first collection of classical guitar music since 2008's 'Tribute' - 'Under A Mediterranean Sky'. This is wonderfully evocative - perfect for a dank, drizzly February afternoon - conjuring-up as it does the warm sun and azure skies of Italy and Spain.

And finally comes one of the most anticipated albums so far of this year, and one, like its predecessor, of the most 'Marmite' albums: Steven Wilson's 'The Future Bites'. Wilson has a way of managing to attract and repel equally; to strike both anticipation and disdain in the hearts of his listeners. The issue for many (I venture to state) is that his more recent albums haven't sounded like Deadwing, or anything else that Porcupine Tree recorded, but then if Progressive music continued to sound like it always has done, would it be 'progressive'? Wilson, it seems to me, is pushing the door (and sometimes the walls as well) of 'progressive' music, and perhaps taking it a step or two further. In The Future Bites there are 'flirtations' with Pop, and with EDM, but there are also - particularly in the Deluxe Edition 3-disc set (a concept that he wickedly appears to send up in the excellent 'Personal Shopper') some clear echoes of PT at their best. This is a telling critique of (post)modern life and its (at times) obsession with celebrity, 'retail therapy' and social media. It is a record which grows with listening: yes, one that jars at times musically, if one is not used to the different styles and genres used, but a forward-thinking piece of progressive music in a time of uncertainty and stagnation.

There has been other music this year, but there'll be time for that later (some of it's not released until March!). But let me know what you think...

Music of 2020

It would be fair to say that 2020 has been the strangest of my 60 years of life. Most of the time has been spent confined to home, which should have given me more time to devote to listening to music in all its variety and wonder. However, this has not been so - my consumption of music seems to have been constrained by Lockdown, rather than enhanced. Add to that the total lack of any live music this year - when I should've been enjoying Nick Mason, Jeff Beck, Brand X, Summer's End and a couple of iterations of HRH Prog, among many others I'm sure - and you begin to see how different the year has been.

So, it's been a quiet year - I've only managed to acquire 67 albums this year: my lowest tally since 2011, and some of them have left me feeling a bit flat to be honest. But of those 67, here's 20 that have stayed with me and left more than a fleeting impression on me this year. Putting them into any kind of rank seems somewhat churlish, as my particular 'favourite' seems to fluctuate depending on my mood/ sobriety/ particular whim, so they are simply listed alphabetically.

Abel Ganz - The Life of the Honey Bee

Six years on from their spellbinding eponymous album, this is a beautifully touching collection of songs that reminds me of just what great songsmiths these guys are.

Stand-out track - Sepia & White

Anubis - Homeless

An album from this Australian band is always worth the wait, and this offering doesn't disappoint.

Stand-out track - Home.

Dinosaur - To The Earth

Having been nominated for the Mercury Prize with their debut, Together , As One, jazz quartet Dinosaur continue to produce stunning contemporary jazz, rooted in tradition but pushing boundaries.

Stand-out track - To The Earth

Dyble Longdon - Between a Breath and a Breath

Two of the most distinctive and distinguished vocalists in the UK - Big Big Train's David Longdon and former Fairport Convention member Judy Dyble - produced a touching collection of songs which was, sadly, to be Dyble's epitaph. Truly heart-wrenchingly beautiful.

Stand-out track - Whisper

Fish - Weltschmerz

Another epitaph of sorts, as Fish draws to a close a career that spans nearly 40 years, as part of Marillion and as a solo artist. His lyrical dexterity is still as strong as ever, and he finishes on what is probably his strongest album to date.

Stand-out track - Garden of Remembrance

John Holden - Rise and Fall

Proving, with the 'difficult second album', that his critically-acclaimed debut was not a flash in the pan, John Holden brings another exceptional collection of songs to birth (with a third due to land early next year).

Stand-out track - Leap of Faith

I Am The Manic Whale - Things Unseen

Another strong album, touching thematically and musically on the 'classic' Prog of the 1970s but picking up themes a little more contemporary in a way that is sometimes twee, sometimes tongue-in-cheek, but always entertaining.

Stand-out track - Celebrity

Lionel Loueke - HH

One man (and his guitar)'s tribute to his mentor, Herbie Hancock. Loueke gives his own particular interpretation of Hancock's music, with a couple of self-penned homages. An understated yet stellar project.

Stand-out track - Watermelon Man

Lunatic Soul - Through Shaded Woods

Riverside bassist Mariusz Duda's side project goes from strength to strength with this seventh outing. Stunning, atmospheric music.

Stand-out track - Summoning Dance

John McLaughlin, Shankar Mahadevan, Zakir Hussain - Is That So?

Heavily influenced by Indian musical forms, this is a trippy exploration of meditative music from the musical maestro.

Stand-out track - The Beloved

Pat Metheny - From This Place

Metheny continues to produce complex, atmospheric, cinematic music of the highest quality in his own distinctive style.

Stand-out track - America Undefined

Pendragon - Love Over Fear

The neo-Prog stalwarts produced a set of great songs, possibly their best for many years, to show that there's still life and creativity around.

Stand-out track - Truth and Lies

Verneri Pohjola - The Dead Don't Dream

A solid collection of modern jazz magic, at times clearly (to me) channelling the spirit of Miles Davis.

Stand-out track - Monograph

Chris Potter - There is a Tide

Tunes written and performed solely by Chris during Lockdown. This is such a wonderful, uplifting collection of tunes, and just what we all need on these dark winter days as we wait for an end to this year of isolation and misery.

Stand-out track - Like A Memory

Pure Reason Revolution - Eupnia

In a year that saw the re-release of their seminal album, The Dark Third (with extra tracks) we also were delighted to receive new material in their inimitable Proggy/ psychedelic/ dance style.

Stand-out track - Silent Genesis

Sanguine Hum - A Trace of Memory

Atmospheric, intelligent, thoughtful Prog, played as only this band can. They should be a lot bigger than they are, imho.

Stand-out track - Still as the Sea

The Tangent - Auto Reconnaissance

An album from The Tangent is always worth waiting for, and this year's offering was no exception. As always, a stunning collection of songs from Andy & the rest. Further reflection here.

Stand-out track - Jinxed in Jersey

Alexa Tarantino - Clarity

Excellent, proficient, melodic - would love to see what she does with the songs live, and the pianist blows me away! My only criticism (if it is such) is that it can seem a little like 'jazz by numbers' at times - hence the desire to hear it played live. I'm not denying the obvious talent on show, just how it's allowed to express itself (if you see what I mean...)

Stand-out track - Through

Wobbler - Dwellers of the Deep

Norwegian masters who tap into the soul of classic Prog, whilst bringing their own particular take to it, this continues the fine tradition that has been present throughout their catalogue.

Stand-out track - By The Banks

Zopp - Zopp

Clearly and lovingly influenced by the 'Canterbury' sound of the 1970s, this is a wonderfully evocative collection of songs that thrills and excites.

Stand-out track - V

So, there we have it. Another year over, a new one just beginning (to almost quote Mr Lennon...). Despite the constraints placed upon us by the blessed virus, there has still managed to be some outstanding music produced, and these are just some of the offerings I've enjoyed over the past 12 months. My list may not appeal to everyone, but maybe there's something here that you've missed - as I'm abundantly sure there's lots I've missed.

Farewell 2020, and let's see what delights 2021 brings us!

Fearful Symmetry - Louder Than Words

Every so often strange coincidences happen to me. The other day two new albums arrived in the post, both of which had drawn on interesting literary sources for their inspiration. One was the eponimous debut from The Bardic Depths, which looks lyrically to The Inklings - notably Tolkien & Lewis - something that many outside the progressive community would tend to expect of the genre. As Mike Barnes observes in the recently published magnum opus on the genre in the 1970s, 'A New Day Yesterday': "Progressive Rock - isn't that about wizards?"

 The other albums was another debut recording by Suzi James & Jeremy Shotts, who go by the name of Fearful Symmetry, who look to William Blake as their muse. Blake is not a poet that I am very familiar with: I know Jerusalem, of course, and am aware of 'Auguries of Innocence', which begins with  the lines "To see a world in a grain of sand, and heaven in a wild flower; hold infinity in the palm of your hand, and eternity in an hour." And there is The Tyger, which gives us the phrase 'Fearful Symmetry'.


Like The Bardic Depths, Fearful Symmetry are what I would call an enhanced duo. Jeremy is the lyricist, plays bass on one track and provides vocals on the opening song and backing vocals throughout, and Suzi plays guitars, bass, keyboards and backing vocals throughout. They are joined by Sharon Petrover on drums and a variety of others on vocal and instrumental duties.

They describe the album as 'an affectionate homage to classic prog', and this they manage to achieve without producing a copy or a pastiche. They list their influences as including Yes, Genesis, King Crimson, Camel, Steve Hillage, Steely Dan, Return to Forever, Mahavishnu Orchestra, Van der Graaf Generator & Dream Theater, and there are times when these are clear, but also where others are (to me at least) equally apparent.

The album opens with the title track, 'Louder Than Words', and Blake's influence is underlined from the off as the strains of Parry's setting of Jerusalem, before some strident guitar. There are shifting rhythms at times, and good interplay between keyboards and guitar. Melodically it reminded me of 'I Am The Walrus' at times, and lyrically it is a little obscure: this could be due to the Blake theme, rather than a nod to Jon Anderson, though.

'Form And Substance' is the first of four songs to feature Yael Shotts on vocals, and her voice suits the style and content of the album well. There is a strong boogie element to this song - it rocks well - and leaves me with a smile.

'Innocence' may be a nod to the Auguries that I referred to earlier, but it is a gentle, almost pastoral song most of which is the work of Ian Stuart Lynn, who provides, vocals, piano, soprano sax and strings along with Matthew Rutherford (double-bass) and Amanda Truelove (cello). This has a delightful 'hippy' feel to it, reminiscent for me of early Moody Blues, with jazz influences in the instrumental break, and gorgeous lyrics: "In our Gethsemane there's no betrayer, Here is no enemy; In No Sense; In A Sense; Innocence." Perhaps my favourite track on the album...

'Ceaseless Strife' harks back to Jerusalem - "Ceaseless strife/ expands my life/ in mental fight/ we seize the light.". Vocals are provided by Ray Livaat, and the intro riff put me in mind of Steve Hackett's 'Myopia'. The chorus has some odd timings, but has a jazzy feel, particularly in the piano solo.

'Rule of Reason' sees Yael back on vocal duty, some lilting piano arpeggios to open up and strong bass, and two guitar solos of contrasting style back-to-back, one by Suzi and the other from Ben Azar.

'Damn, braces; bless relaxes' is the enigmatic title of the only instrumental track on the album, a tune which shifts from 7/8 to 6/8, and has for me a distinct Hatfield & the North feel in the guitars.

'Orc And Luvah' is a slower song, with perhaps a Libertarian theme, and some tight and appealing vocal harmonies in the chorus.

'City of Art' is the song with Jeremy on bass, and features some echoing, almost duelling guitars that sounded to me very reminiscent of Steve Hillage.

Suzi says of the album: "We wanted to create something from past - and some current - influences that would be new but would feel familiar", and this they have done. There are echoes of the heyday of Progressive music, but not in a way that overpowers the music and gives it an unnecessary air of nostalgia. There is a sufficient 'rock' element to please a wider audience, while not being afraid to plough more adventurous furrows. Like much 'prog' it benefits from repeated exposure and reveals more layers with each listen.

You can listen to, and even buy, a copy here.