Before I continue, the argument over what progressive rock is and is not is a huge and divisive topic that I am unwilling to engage here. The albums that follow don’t necessarily fall into the neat characteristics of traditional progressive rock music. Instead, these are all albums that I discovered through progressive rock avenues - either from websites dedicated to the style or from rhizomatic connections to other progressive rock groups.
Functionally, a lot of this music floats between the car and the house, although it feels a little indulgent to subject the whole family to some of this stuff. Still, as is often the case, I have found much of my favorite music this year by searching in progressive rock circles.
Wobbler - From Silence to Somewhere: Wobbler’s most recent release is another example of retro prog that transcends mere imitation. Their distinctive sound delves into heavier realms on From Silence to Somewhere than in the past, bringing to mind the riff-driven work of Rush in the mid-70’s.
Barock Project - Skyline: This album's clean, bright approach to late Neo-Progressive rock did not initially appeal to me at all. Its strong songwriting and clever musicianship, however, has really grown on me, revealing depths that continue to deliver.
Bent Knee - Say So: Bent Knee seems like a band full of great musicians with just too many ideas. There are times when the concept pops into focus with dramatic results, but overall Say So feels too uneven to rise above mere moments.
Big Big Train - Folklore: Although occasionally marred by goofy lyrics, the positive critical responses to Folklore are largely deserved. Fans of progressive rock in the vein of Genesis will likely connect with this album, especially if a sprinkling of Celtic overtones in the mix sounds appealing.
The Knells - Knells II: With a guitar player who seems to have broken off the the knob off somewhere between Jimmy Page and Hemispheres-era Alex Lifeson, I find a whole lot of like about this album from an instrumental perspective. Even more interesting is the classically trained women's trio that collectively function as the lead voice.
Cheer- Accident - Putting off Death: This is another album that is almost derailed by its own eccentricity, but is grounded by the obvious technical prowess of the band’s members. The album has a certain sonic relationship to Bill Bruford’s 70’s solo work, which I have a longstanding relationship with.
Soup - Remedies: Remedies is my early contender for album of the year. It's distinctive balance between Pink Floyd, post-rock, and pan-Nordic bleakness makes everything that I've been listening to pop into sharper focus.
Functionally, a lot of this music floats between the car and the house, although it feels a little indulgent to subject the whole family to some of this stuff. Still, as is often the case, I have found much of my favorite music this year by searching in progressive rock circles.
Wobbler - From Silence to Somewhere: Wobbler’s most recent release is another example of retro prog that transcends mere imitation. Their distinctive sound delves into heavier realms on From Silence to Somewhere than in the past, bringing to mind the riff-driven work of Rush in the mid-70’s.
Barock Project - Skyline: This album's clean, bright approach to late Neo-Progressive rock did not initially appeal to me at all. Its strong songwriting and clever musicianship, however, has really grown on me, revealing depths that continue to deliver.
Bent Knee - Say So: Bent Knee seems like a band full of great musicians with just too many ideas. There are times when the concept pops into focus with dramatic results, but overall Say So feels too uneven to rise above mere moments.
Big Big Train - Folklore: Although occasionally marred by goofy lyrics, the positive critical responses to Folklore are largely deserved. Fans of progressive rock in the vein of Genesis will likely connect with this album, especially if a sprinkling of Celtic overtones in the mix sounds appealing.
The Knells - Knells II: With a guitar player who seems to have broken off the the knob off somewhere between Jimmy Page and Hemispheres-era Alex Lifeson, I find a whole lot of like about this album from an instrumental perspective. Even more interesting is the classically trained women's trio that collectively function as the lead voice.
Cheer- Accident - Putting off Death: This is another album that is almost derailed by its own eccentricity, but is grounded by the obvious technical prowess of the band’s members. The album has a certain sonic relationship to Bill Bruford’s 70’s solo work, which I have a longstanding relationship with.
Soup - Remedies: Remedies is my early contender for album of the year. It's distinctive balance between Pink Floyd, post-rock, and pan-Nordic bleakness makes everything that I've been listening to pop into sharper focus.
