Weekly Dose of Prog: Yes - The Yes Album

The Yes Album is a disc that I grew up with; my mother had this one and Yes' greatest hits sense I was a wee babe. Needless to say I could describe this album in vivid detail without actually listening to it again, but why deprive myself of the experience? It has been a while.

Looking at the tracklist before actually beginning listening I immediately recognize family favorites, "Yours Is No Disgrace," "Starship Trooper," and "I've Seen All Good People." Each of these I can sing along with and could probably manage the majority of the song without any music accompaniment. With those three alone (of six), I know I will enjoy this album as a whole. However, as I listen through it, I'm reminded of how great this album truly is.

Weekly Dose of Prog: Acid Rain - Shallow Paradise

Acid Rain took a while to find on the web, as both Metal Archives and ProgArchives list at least three other bands of the same name, all within the progressive vein. I guess naming oneself after a Liquid Tension Experiment song (which is a bad ass song if you haven't heard it) tends to mean that progressive music is your forte. Hell I got the message, the only reason I picked up this album was because of the obvious throwback-name and the interesting album artwork. Yes, I am one of those people that judges a book by it's cover, it's worked pretty well for me so far.

I didn't know truly what to expect from Shallow Paradise, and there is scant within the internet, so I turned to a review off of ProgArchives about their other album, The Descending Line. In a nutshell, the review calls Acid Rain musically a Dream Theater homage - used as a positive description - but that the vocals lack behind the rest. This set the stage for my listening adventure, and while reading someone else's opinion may taint my own, I just look at is as a launching-off point for my own review. After all, how many people can truly claim that they've never read a review before listening to an album? We use other's to meld our own views, it's the way of life.

Weekly Dose of Prog: The Devin Townsend Project - Deconstruction/Ghost

A couple of months ago I featured The Devin Townsend Project's latest (at the time) releases, Ki and Addicted, with an article, now I continue (and finish) the cycle, with the upcoming pair of releases from the madman that is Devin Townsend, with Deconstruction and Ghost. The first two releases were a clever mix of ambient and heavy/extreme metal, with Ki being more on the ambient side of things while Addicted brought elements of industrial music. That first pair was plenty for any other band, but Townsend seems fixated on going above and beyond (Deconstruction and Ghost haven't even been released yet and he's already announced the name of his next record). I'm covering them as a pair because they are being released in that fashion; while they aren't directly linked, the project seems to follow a sweeping style-arc which flows together rather well. If he (Townsend) had released all four at one I'd probably put the entire project into a 'Weekly Dose of Prog.'

While Ki and Addicted seemed more stylistically split, Deconstruction is a more even mix of the metal and ambient music that The Devin Townsend Project is known for. It's also far more eclectic, with the album opening with "Praise The Lowered," a very ambient song, then "Stand," a ten-minute progressive song, light on the ambient but heavy in pretty much everything else, followed immediately by "Juular" which sounds something more like Strapping Young Lad (Townsend's previous band/project) would release, coming across borderline thrash/NWOAHM with bits of lighter vocals (but still heavy instruments, especially the percussion) thrown here or there for effect. Although it sounds weird, it actually works really great, bringing Deconstruction a much more memorable feel then the previous pair of releases. My one complaint of the album, however, are the longer tracks. It seems that the songs that cross the ten-minute marker just can't pull it together well enough to warrant that amount of time. "Planet of The Apes," "The Mighty Masturbator," and  "Deconstruction" are the main examples of this ("Stand" keeps it together pretty well, plus it's just under ten), with certain parts that work very well - namely the beginnings - but they just lose focus, or change styles too much, or have to much out there stuff (spoken word and whatnot - "Deconstruction" anyone?) to be as enjoyable as the rest of the album. Other then that, the album is almost priceless.

Weekly Dose of Prog: Giant Squid - The Ichthyologist

With a vocal style reminiscent of Serj Tankian (of System of A Down if I have to make the distinction for anyone), Giant Squid plays a style of new progressive metal. melding the prog with jazz and atmospheric elements, bringing it just a hair's width short of post-metal. There are sounds of strings (cello I believe), keyboards, and other unique sounds - sometimes just a droning melodic melody - that really bring it into a totally different vibe.

I'm not going to lie, the only thing that initially attracted me to this band is the album artwork to The Ichthyologist. Look at it (to the right), that is some awesome shit, and I've said so before. There is another version of the album artwork floating out there (see below), which makes me wonder which is the original, but honestly I don't care, this one is perfect for me.

Weekly Dose of Prog: Gojira - The Way of All Flesh

In my ever-constant search for new and exciting music, as well as being open minded and pushing my own boundaries, I took a chance and decided to listen to Gojira. The band is from France and has been making waves for a number of years. Their latest album, The Way of All Flesh, was seemingly loved by all, every time someone reviews it - even now - it's overwhelmingly positive. They combine progressive elements with death screams, thrash and new wave of american heavy metal (which to me is a mix of thrash and death screams, but I won't get into that right now), which is what got my interest. We'll see if I join in with the masses with love for this group and album.

In the past the only thing I ever heard about Gojira was either just snippets from their songs or reviews on other metal sites. Most of the reviews equated them into the death metal bracket of music, which i absolutely abhor, so I had really no interest to actually listen to the band. This changed very recently because within a week's span two websites had pulled up a song and/or video from the act, to which I gave a quick listen, and discovered that I actually enjoyed the music I was hearing. From that point on it was the simple matter of discovering that I already had their critically-acclaimed 2008 album, and then to actually take the time to hear it - not the easiest task let me assure you.

Weekly Dose of Prog: Wishbone Ash - Time Was

Here's one for you older folks out there, a band that people of my generation have probably never heard of, and I'm willing to bet even a fair chunk of the older crowd never had a chance to listen to this great band. This band was one of the earliest pioneers of dual guitar players, utilizing both as lead and creating an interesting harmony within the melody. Along with this, they incorporated multiple vocalists (three at their beginning) which gave them the flexibility of range, style and layered performances. Using these elements the act combined progressive themes with those of blues rock to create a unique sound. The band I'm referring to of course is Wishbone Ash.


Mixing the emerging themes of blues rock and progressive rock, along with the forming heavy metal scene, Wishbone Ash's songs are all over the place stylistically. I know Time Was is the best of the band, so it may be a little unfair to compare the styles of songs next to each other, seeing as they were pulled from over a twenty year career (at the time of the album's release, 1993), but I'm not complaining about the styles, just remarking that they are there. There is the constant melding of hard/blues rock and progressive rock, sounding at times like a mix between Led Zeppelin and The Allman Brothers Band, but it goes deeper then that. At times I hear tunes of the psychedelic-induced Yes, at other points I hear a vocal harmonized/operatic style closer to Uriah Heep then anything else. Early in the collection, there is a 'call and answer' section (I believe it's the song "Errors Of My Way" but I'm not wholly sure) between the lead guitar and the vocals, wherein the guitar plays a line/lick which the vocals attempt to mirror. I've heard this before in other acts, but in this example it's actually quite a long section, taking up a good chunk of the song. It's something the members spent some time on, not just a four-bar phrase tossed in for fancy.

Weekly Dose of Prog: VYGR - Hypersleep

VYGR is a new band that has been getting a lot of press of late; and while I discovered that they are a bit light on the progressive aspect, several other reviewers hailed their style of music as very much progressive in nature. This is what led to the group being this week's 'Weekly Dose of Prog,' but whichever way you look at it, I'm glad I got a chance to hear Hypersleep.

You see, while VYGR (pronounced Voyager) have progressive tendencies, they really fall more into the post-metal aspect of the genre. The songs have a tendency of being long and drawn-out (not a complaint), mixing in sludge and doom for good measure. This is the style of sludge I like by the way, the vocals are growly but semi-understandable and go with the music very well. It's not like the growing trend of pointless screaming and incomprehensible growls that have become so popular nowadays. It reminds me of Baroness, only less prog and much more doom-oriented.

Weekly Dose of Prog: 3 Headed Monster - 3 Headed Monster

Work's been pretty brutal of late, and as such I'm putting together this week's 'Weekly Dose of Prog' very last minute. This week's isn't going to be a big one, and I'm working hard on getting something of substance out on time (my first draft was very short). As it stands, this will be short and sweet. I'll try to get back on my feet for next week, as I do enjoy writing these.

3 Headed Monster was an instrumental progressive metal band that I discovered randomly several years ago. I don't really remember how I found them, or why I would give them a listen above so many other bands (it probably had something to do with the band name and the album artwork). Whatever the case I discovered the act and I am glad I did.

With the many previous instrumental acts I've heard and reviewed here the constant remark I make is whether or not the band in question can pull off being entertaining for the long hall. Some acts can handle this, with consistently evolving melodic progressions and an equally impressive guitar/drum relationship, while others fade out into nothingness, with repetitive riffs and the like. 3 Headed Monster plays on both sides of the fence, with some tracks being very entertaining and memorable, while others simply are not.

Weekly Dose of Prog: The Devin Townsend Project - Ki/Addicted

My knowledge and experience with Devin Townsend and his various 'projects' is limited at best. I've only heard a couple of his albums, all from his progressive side, and the only one I actually remember listening to with a 100% assuredly is Ziltoid The Omniscient, and that is ...well, a special case to say the least. So the should-have-been double album of Ki and Addicted will be my return to this crazy individual's bi-polar induced mind. Fare me well.

As a man who has released numerous albums all over the genre spectrum, you never really know what you're getting from Devin Townsend on any of his albums. He's released extreme music as Strapping Young Lad, and various styles of progressive music (including ambient records) under different makes of his name: originally as Devin Townsend, followed by a short reprieve as The Devin Townsend Band, and now currently The Devin Townsend Project. Each name takes on a slightly different style and skill of album released, but my own experience is admittingly limited, something that I hope to rectify over the coming weeks.

Weekly Dose of Prog: Guilt Machine - On This Perfect Day

Have to thank That Devil Music for this one, their great review is what tipped me off to the fact that this band even existed! Go check them out if you haven't had the chance yet, a great group of writers who actually know what they are talking about! Sometimes a rarity in today's world.

Arjen Anthony Lucassen is nothing if not a genius. His musical project, Ayreon, is one of my favorite progressive metal bands out there right now. On top of this epic project, he is also the frontman of a few others; Ambeon, Star One, Stream of Passion, and Guilt Machine - some of which may pop up again on another 'Weekly Dose of Prog.' While most of these projects were short lived, this is still an accomplishment by any measurement. And because Guilt Machine is what That Devil Music introduced me to, that is where I'll begin.

Fans of Ayreon will hear familiar sounds and themes throughout On This Perfect Day, and this is to be expected, as they both have the same person at the helm. However, Guilt Machine seems more dedicated to the lighter side of metal, not having any of the crushing themes that popped up on Lucassen's previous works. Compensating for this, the album takes upon aspects of ambient and industrial music. Neither is too overpowering, and if you were to listen to a segment of a song at random odds are you wouldn't hit an ambient or industrial passage. This new 'look' brings the sound and feeling of the record to a new level, adding credence of this is a different project. I actually like it quite a bit.

Weekly Dose of Prog: Beardfish - Mammoth

Even though the group has been around for a decade, I have never listened to Beardfish before. Not only that but before about a year ago, I hadn't even heard of them in the first place. I stumbled upon the group trolling through the ProgArchives archives (kind of a pun), found their album artwork interesting and they had some decent reviews on the site. I did some more research, and found that either you love the group or hate it, with little heard from anything between. On top of all this, each group is very vocal of their particular view, making for some pretty interesting (and at times funny) articles/forum posts/flame wars. Alright Beardfish, I am intrigued, you pulled me in. Now either wow me or let me hate you, seeing as that is the only two possibilities...

...And I am wowed. Mammoth, Beardfish's latest release (just this past week) is an amazing display of eclectic progressive rock, delicately dancing into progressive metal occasionally but still keeping the lighter side of things firmly grasped. I say it's eclectic progressive because almost each song is a part of a different subgenre of the progressive movement; there are long, outlandish pieces with movements and frequent time-signature changes, there are more straight-forward rock n' roll style songs, jazzy tacks incorporating the saxophone, and even a light a fluffy piano piece. All of this and more, summed up into one word: eclectic. Which to me translates to 'fun.'

Weekly Dose of Prog: Sherman Burns - The End Is All

I was having a hard time deciding on an act/album for this week's Weekly Dose of Prog, so much so that I ended up going through the 2011 albums I have playing the first tracks of albums to see what appealed to me. I got to Sherman Burns (rather quickly; there haven't been that many prog releases yet this year) and started with "Bone," and was intrigued. So with The End Is All I went.

This is their first release (available for pay-what-you-want at their BandCamp Page), so other then listing to the first track, I have no idea exactly what to expect, as their is very little press out there about them. I could only find a few articles that even make mention of this band, and then nothing in the way of a true review. so hopefully I am the first! What I end up hearing is a blending of progressive metal, groove/thrash licks, and some hardcore themes for good measure. I suppose that's a little like groove-oriented mathcore, but then again, I'm not a big listener to the genre so I can't truly tell. Regardless, I am enjoying this particular foray into ...whatever genre this is.

Weekly Dose of Prog: Borean Dusk - Borean Dusk

Trying something a little different today, Borean Dusk melds progressive metal with folk sounds and melodies (keeping with my Current Trend of folk). Oh yea, it's all instrumental too, although I wasn't expecting it to be that way when I first started the album. Keeping you all on your toes.

The songs off of Borean Dusk are all very long, with four tracks coming in at almost a hour long (although Metal Archives has a much different track listing then my copy does, but mine matches with their website, so I think I'm right), so there are some evolutions of tracks, which add to the interest and liveliness of the entire album. It is through these progressions of sound and style that really kept my attention focused. Borean Dusk didn't fall into the crux of so many other instrumental acts, of coming off dull, repetitive and/or boring.

I'll tell you what, I was initially surprised by Borean Dusk, as the first sounds came off very folk. Their debut album begins with a quick acoustic melody with light drums, coming off as a semi-jig, of the old Irish/Celtic tradition. After a minute or so, the song, "Wolf-Totem," moves into the electric realm, and much heavier drums, but I know that first lick is what will stick in my head. As the song progressed I started to pick up some resemblance of Iron Maiden's sounds, most notably their song "Transylvania," followed directly by what sounded like a blacksmith's hammer striking steel, bringing about the end the song. Kind of an interesting progression.

Weekly Dose of Prog: Queensryche - Operation: Mindcrime

Along with the folk bender I've been on, I've also been diving heavily into the progoverse (that's progressive universe for those who didn't get my cleverness). Bigelf, Agalloch (ok that's sort of a mix of folk and prog) and now Queensryche have all popped up in my playlists, and are all great in very different ways (60s/70s prog, black/folk/doom prog, and hard rock/hair metal prog, respectively). I like to mix it up.

Upon listening to the two of the best Queensryche albums (best by common knowledge, although long-time fans of the band may disagree), Empire and Operation: Mindcrime, I came to the realization that the latter of the two, is really out there. I am surprised that with the way it's constructed, how much press and acceptance it's received, both at the time (1988) and now. It is dark and brooding, is still in the vein of hard rock but has so many stylistic twists and turns you can't help but call is progressive. It's a great release, something that is still heralded over two-decades later, but I still can't believe that it was ever as big as it was.

Weekly Dose of Prog: Bigelf - Cheat The Gallows

I've gone into Bigelf before, but now that I've listened to Cheat The Gallows a few times, some of the more subtle nuances have come into the foreground. The album begins and ends with 'the show' theme, something sort of like Sgt. Pepper's Lonely Hearts Club Band from The Beatles, but it's not an oppressive theme. It just adds to the ambiance.

Cheat The Gallows is an interesting mix of prog, psych and 70s hard rock. Songs like "Blackball" and "Superstar" strike me as a little more progressive version of Aerosmith, with simple and catchy verses and choruses. While songs like "Gravest Show On Earth" and "The Evils of Rock & Roll" come across as something more akin to the late 60s rock, albeit much heavier. In my original breakdown of the group I equated them as a mix of Pink Floyd and The Beatles and I really do have to stick to my guns, just this time I'm adding in the hard rock aspect.

Weekly Dose of Prog: Periphery - Periphery

Of the blossoming sub-sub-sub-(sub?)-genre of djent there are three forerunners, that is three fairly well known names/bands that are leading the curve, Cloudkicker (which I've already gone into), Animals As Leaders, and Periphery. Djent, for the majority that don't know (I just recently discovered the term) is a new genre of progressive metal which the only continual classification I can find is that the guitars are frequently palm-muted. That's it. Other then that the only thing that is frequently seen (that I've noticed) is it's all pretty damn fast, a large selection of the groups are instrumental, and I'm going to be the first to throw out that it's got a splash of industrial mixed in. I don't think that the genre is big enough or has evolved enough to know exactly what it is, what makes it up, and what bands really fill the void (hell apparently Meshuggah is included some how). As time passes we will have more acts popping up to further describe the sound and style of djent, and I look forward to it, because the genre isn't half bad.

Weekly Dose of Prog: The Decemberists - The Hazards of Love

(I'm also including this article in my 'Favorite Albums' list, because well... it is)

Usually known for their folk melodies - and some great ones at that - for their 2009 release The Decemberists went all out. While still keeping true to their folk roots with The Hazards of Love, they insert much more progressive elements into the album. For long-time fans (such as myself), the addition of the progressive sound is not wholly unexpected, with previous songs branching into this genre ("The Mariner's Revenge Song" being the first to pop into my mind), it's just the scope of the progressiveness that caught me off guard. The Hazards of Love is a rock opera in any possible description (again not wholly unexpected, as The Crane Wife had some rock opera elements within, just not to this extent), with a full cast of character revolving around a diverse and evolving plot.
Even before putting this record on again, I am already struck by the memory of the opera. The lyrics of "The Wanting Comes in Waves/Repaid" (mostly the chorus/title line), and the repeating melody of the Queen's theme; the heavy guitars of this section are great, much heavier then anything else The Decemberists have done, and the repeating melody (whenever she makes her appearance), heard throughout the album, is what I love about progressive concept albums.

I was in a bad mood and really didn't want to write this article (I put it off til the last minute again), but by the second song - or first true song after the intro track, "Prelude" - I had a bit of a smile on my lips. I was still a bit pissed but the lulling effect of Colin Meloy's voice does wonders for my soul. Something about the folksy guitar, overlayed with his velvety voice, really reaches me. This is one of the main reasons I like The Decemberists, I believe. With any other singer, something fundamental would be missing, the bit that makes The Decemberists, The Decemberists. The Hazards of Love is my favorite release by the band, and one of my favorite albums of all time. I've heard it several times now, and it always brings about a circle of emotions from me; smiles and a bit of head bobs at the begging, goosebumps and sort of introspective at the climax, and a bit melancholy at the last song, as it all ties in together. Simply superb.

Weekly Dose of Prog: Frank Zappa - Apostrophe (')/Over-Nite Sensation

So I haven't been keeping up with my progressive music and writings. This week has been hectic with doubles at work, dealing with the government and being sick, so instead of writing a Weekly Dose of Prog about some new artist I found, I'm going into the classic range, with Frank Zappa's double album (complied such in the era of CDs anyway), Apostrophe (')/Over-Nite Sensation.

Keeping with the usual eclectic Zappa theme, Apostrophe (')/Over-Nite Sensation, is an experimental/avant-garde/progressive mess - in all the right ways. The songs vary wildly in style, composition, tempo, and thought pattern, and truly the only thing keeping the album together is the complete disharmony within the tracks themselves; they are so uncollected, that they fit together perfectly. What intrigues me most about the album is the title. You see Over-Nite Sensation was released a year prior to Apostrophe (') so I don't know why on the re-issue they would reverse not only the titles but the song numbering as well. Maybe it sounded better this way, as The Saga of Nanook of The North is a great opener, but truly I don't know, and probably never will.

Weekly Dose of Prog: Haken - Aquarius

Continuing my review of some of the best progressive albums of 2010 (so says ProgArchives) I come onto Haken and the number two album of the year (when I saw the list, it is always updating, and they are in fact number one at the time of this writing), Aquarius. The album, and thereby the band (as this is their first release), is a really well put together semi-symphonic, progressive metal release. It is filled with powerful vocals, mostly clean but able to growl or reach guttural tones when needed, there is a heavy piano hand present throughout, being more of the central focus point then any other instrument. The guitars and bass - while present - seem to play a lesser role then most rock/metal albums, subbing in keyboards and strings for the majority of the moving melodies. It brings an interesting view and twist of the prog genre, that in itself is something, to bring a example of a genre that is almost defined by it's individuality of bands and albums.

Weekly Dose of Prog: Hypnos 69 - Legacy

I originally thought that Hypnos 69 were a stoner act, and why not? The act has been getting a lot of attention on the various stoner and doom websites I read, so it would be easy claim to make. Later, I was scrolling through the Prog Archives best of 2010 list and saw Legacy within the top 5! Ok, so maybe they're a progressive stoner doom or something, something to warrant being included within Doommantia or The Obelisk. Nope. What I found out is that they are straight progressive rock band, akin to something more out of the early 70s then the modern era of the genre. Well, I was (and am) not disappointed by that in the least, I love me some prog, as I've mentioned on many an occasion, so I had no problem settling down and grabbing an ear-full of what Hypnos 69 had to offer.

The first thing of note on Legacy is the scope; these are some epic songs that Hypnos 69 recorded. The two longest songs, "Requiem (For A Dying Creed)" and "The Great Work," bookend the production, coming in at 17:51 and 18:27 respectively. These are also the group's best songs, capturing their attention to detail and their impressive musicianship. The opening track starts off calm and with a level of beauty, incorporating the keyboard as the central point. The music ebbs and flows nicely, as epic progressive music must to retain any semblance of attention from the listener.
The final song is by far their most progressive work, and consequently, their best piece. "The Great Work" lives up to it's name in a big way, using several instruments, horns and woodwinds, in noticeable positions throughout. I'm not sure if any of these are used earlier in the album, and if they are it isn't to a fully noticeable degree until this song. I know there is flute used throughout the album, but this song brings in saxophone, and I'm guessing at a xylophone as well (can't quite place it). Amongst the instruments there are some beautiful melodies performed, equaled with some great vocals. The song moves from a keyboard and flute focus, into a full-band electric configuration, then ends with a jamming jazz melody. There obviously is more, but this review is off of one listen, and I couldn't possible pull everything I want to out of an almost twenty minute song. This is the song I would go back to hear later, when I'm hunting and choosing singles, this is the one I'd like to pop up on my iPod from time to time.