Trollheart's Listening List 2015/2016

Trollheart · 12-15-2015, 09:45 AM

Title: Transitions
Artiste: Time Horizon
Year 2015
Nationality:
Familiarity: 0%
Genre: Progressive Rock
2
Expectations: Ant has already declared this a “meh” album, so I may not have too high expectations of it, but then, I'm never led by anyone else's opinion of an album, so I'll make my own mind up. I do however wonder at the wisdom of having three tracks opening the album that all have the word “only” beginning their title, though I do note Yes's Tony Kaye and Fleetwood Mac's Billy Sherwood are involved, so perhaps it won't be that bad.

1. Only one way: Get very much more an AOR feel from this from the beginning. Vocal is excellent, but I'm hearing Asia so much in this, particularly in the chorus, and now we have trumpeting Downes-like keys. Hmm. Great vocal harmonies certainly. A little derivative? Let's reserve judgement at this early stage, but hold that thought.
2. Only through faith: Very nice soft synth line with twinkly effects, choral vocals, very short so I'm going to assume it's an instrumental. Sort of church organ coming in now, to tie in perhaps with the title and yes, it gives off quite a spiritual ambience.
3. Only today: Ah no, again I hear the ghost of Asia so clearly in this. It's like something off Astra, and that's thirty years old. Vocalist though is emulating John Payne. Some good guitar work from Dave Miller, but now we're getting a very Yes-style keyboard from Ralph Otteson, who's also responsible for the vocals, or most of them at least (seems they have something of an Alan Parsons Project thing going on, and the first track was sung by drummer Bruce Gaetke).
4. Prisoner: There's nothing wrong with these songs, it's just they don't sound anything original and there are so many bands I can compare the musical style to it makes it a little boring. This even has the basic melody of a Yes song, just can't recall which one. Something off Big Generator I think. Or maybe Union. Nice work by Tony Kaye, guesting on the Hammond. Which I guess reinforces the Yes comparisons.
5. The moment is here: We're back with the drummer singing, but despite the somewhat portentous announcement in the title I don't quite feel the excit --- oh wait a minute. This is rather nice. The first song of theirs I've heard that sounds like maybe they actually turned off Asia: the Complete Box Set while writing it, and paused the Yes documentary. I must admit I don't see a huge difference in the vocals, but that's not necessarily a bad thing, ie they can both sing well. Great hook here, first I've been able to grasp. Much of this is down to the superb work from Sherwood.
6. About time: This is a very impressive instrumental, quite appropriate in title to the rest of the album, the previous track excepted.
7. You're all I need: I'm not quite sure if this is getting better as it goes along, or I'm just getting more tolerant. This is still very Asia/Yes hybrid, but there's something intriguing about the tune. Chorus ruins it totally though, changed from Green to Orange. Pity. Damn crappy formulaic chorus! Couldn't they come up with anything better? This should be Green but I can't do it. Not even with that smoking guitar outro. Boo.
8. River of sorrows: I think everyone would expect this to be a ballad. And it is. Sort of a vaguely oriental feel merges with blues, with the very slightest whisper of eighties Dio.
9. Water girl: Seemed like it slipped directly in from the last track, and may very well be another instrumental, with some lovely piano from Otteson and some very expressive guitar from Miller. Another one where they throw off the shackles of Asia comparisons. Nice.
10. Love is here: Gorgeous violin thanks to Mike Mullen, and it would seem we have one more vocalist, though Jake Livgren sounds again quite similar to the other two, making me wonder if where “vocals” are credited on the album they mean backing vocals? Anyhow, this is a lovely ballad, a strong ending to a not overall strong album, but one that may reward repeated listenings.

Final result: I certainly wouldn't go so far as to call this a meh album, as Ant did, but the overreliance on tropes used by the bands mentioned, and others, is a little unsettling. Nevertheless, while this is by no means an amazing album, when Time Horizon settle down and stop just copying their heroes they can write and play some pretty fine music. Maybe they'll get it right on their third album, which I wouldn't be averse to listening to.

Rating:

(Sorry; not a single YouTube exists.)

Anteater · 12-15-2015, 10:29 AM

The reason 'The Moment Is Here' is any good is because Time Horizon is covering a better band - one of Sherwood's late 80's groups called World Trade who originally wrote the song. Me saying a record is "meh" simply means there's nothing remarkable about it rather than it being terrible. But I expect really good hooks in my AOR / prog crossover stuff...and these guys just don't deliver.

That Waken Eyes album sounds pretty competent by the way. Bit o' early 90's Fates Warning in there.

Trollheart · 12-15-2015, 11:16 AM

Quote:

Originally Posted by Anteater

The reason 'The Moment Is Here' is any good is because Time Horizon is covering a better band - one of Sherwood's late 80's groups called World Trade who originally wrote the song. Me saying a record is "meh" simply means there's nothing remarkable about it rather than it being terrible. But I expect really good hooks in my AOR / prog crossover stuff...and these guys just don't deliver.

In fairness, had this been referred to me via "Love or Hate?" I'd probably have given it a Like but not a Love. For me, meh means pretty much what you say, but if I find something decent in among the dross it can often lift it out of mehland and into Like City or even Lovetown. Not so with this one though. Thanks for the info on that track, didn't know that. They are very Asia for much of the album though aren't they?
That Waken Eyes album sounds pretty competent by the way. Bit o' early 90's Fates Warning in there.[/QUOTE]
I'll be keeping an eye on them for sure.

Trollheart · 12-15-2015, 12:09 PM

Title: Delusion Rain
Artiste: Mystery
Year 2015
Nationality: Canadian
Familiarity: 75%; I've heard and enjoyed two of their, until now, five albums
Genre: Progressive Rock
6
Expectations: If it follows on from the quality of the previous two albums, it should be really good indeed. Mind you, I've known bands to change lineups, but not entire lineups! Nobody, other than founder and guitarist/keyboardist Michel St-Pere, remains from the band that recorded 2012's The World is a Game, although in fairness the band has pretty much consisted of St-Pere and vocalist Benoît David since 2010. Still, to see David go is a wrench; he's best known of course as being the replacement for Jon Anderson in Yes, but recently had to quit that band due to ill health. The album is, as ever, pretty much written entirely by St-Pere, with a new vocalist in place, though whether Jean Pageau is a permanent replacement for David or just another cog in St-Pere's rotating lineup is open to question. I do see that Benoît Dupuis (keys) and François Fournier (bass) return from the lineup that recorded One Among the Living, so that's something of a relief.

1. Delusion rain: True to progressive rock form, though there are only six tracks here, one is twelve and a half minutes, one is nineteen and a half and this one is ten, so we're not exactly talking about short songs here. An understated opening with somehow a hint of menace in the dark keys of St-Pere gives way to a powerful guitar intro then a very Yes-like vocal harmony backed by simple electric piano. When he takes the vocal on his own though, new boy Jean Pageau, who also takes a stint on keys and, Gabriel-like, tootles on the flute too, sounds like a credible replacement for Benoît David, maintaining the sound I've come to expect from Mystery over the years. The phantom fingerprints of Pink Floyd's “Echoes” can certainly be detected in passages here, and there's some great instrumental work as ever.
2. If you see her: In contrast to the opener, this is a nice little simple love song driven by a delicate twelve-string from Sylvain Moineau and an answering electric from St-Pere. Short by Mystery's standards at a mere six minutes and change, again some very Yeslike vocal harmonies enhancing the song rather than detracting from it.
3. The last glass of wine: Another lovely twelve-string joined by what certainly sounds like violin, but it hardens up quickly on electric guitar and I doubt this will be a ballad, despite being another six-minuter. Like the way they namecheck themselves in the lyric. Very aching and passionate song. Slight edge of “Kashmir” here.
4. The willow tree: This is the big one. Almost twenty minutes long. The album has been great so far, but may stand or fall on this; after all, it's almost a third of the full running time. As expected, there's a long instrumental intro, and it's almost three minutes before Pageau comes in with the smooth vocal, pulling the song along at, initially at first, a gentle, relaxing pace. Seems to be about an old gardener who tends trees but never falls in love, and regrets it as he nears the end of his life. Picking up tempo now in the fifth minute and bringing in some flute from Pageau as it hits a semi-eastern feel with a soaraway solo from St-Pere. Some very Genesis keyboards too and the extended instrumental break lasts well into the ninth minute, but even when it breaks down on soft piano and Pageau comes back in, we have another ten to go. The melody here sounds very familiar, but I can't quite place it. Marillion maybe? I think so. Like many prog rock tracks, this one is extended to its almost silly length by the addition of plenty of long instrumentals, but whereas these can be often technical wankery and showing off, I feel everything here works. Though it is still possibly too long.
5. Wall Street King: Not surprisingly, there's a political/economic theme to this, and it's attended by a mostly angry guitar and a very dark vibe. Lovely guitar and piano ending.
6. A song for you: And one more epic to close. This runs for over twelve minutes, so expect, again, a lengthy instrumental beginning. Sort of a semi-ballad with a lot of emotion in the vocal from Jean Pageau and some fine keyboard work from Michel St-Pere.

Final result: Pretty much as expected, which is excellent. Despite a somewhat fluctuating lineup and a new vocalist, Mystery as ever rides on the direction of Michel St-Pere, who also wrote the six songs here, and as long as he is involved they will survive, and more, produce excellent albums like this one. Another reason why Canada should not be discounted for its progressive rock output (this is the country that gave us Rush, after all!) and why you should listen to Mystery if you like classy, intricate but not overblown prog rock with a real message in the lyrics.

Rating:

DwnWthVwls · 12-15-2015, 10:35 AM

You're bad at YouTube Trolly.

These work in the US, idk about for you:

Water Girl

Only Today

Trollheart · 12-15-2015, 11:14 AM

Quote:

Originally Posted by DwnWthVwls

You're bad at YouTube Trolly.

These work in the US, idk about for you:

Water Girl

Only Today

Thanks. No there's a list but I'm not allowed play them in backwards Leprechaun Land it would seem. Any chance a mod could paste those into the review for me? Thanks.

And thanks DWV.

DwnWthVwls · 12-15-2015, 12:47 PM

Listened to Riverside and Lanterns

Also, got in the Half Moon Run album and moving onto Julia atm. I'm looking forward to reading your thoughts on the album compared to mine.

Trollheart · 12-15-2015, 01:19 PM

Quote:

Originally Posted by DwnWthVwls

Listened to Riverside and Lanterns

Also, got in the Half Moon Run album and moving onto Julia atm. I'm looking forward to reading your thoughts on the album compared to mine.

Cool! Just about to write the review for Half Moon Run as we speak...

Trollheart · 12-15-2015, 04:29 PM

Title: Anthracite Fields
Artiste: Julia Wolfe
Year 2015
Nationality: American
Familiarity: 0%
Genre: Contemporary Classical
? (see “Bitesize” for an explanation, plug plug!)

Expectations: I thought contemporary classical was a reasonably safe bet. Yeah...

1. Foundation:It's very quiet for most of the opening (runs for like nineteen minutes) apart from some clashing drums and piano I think that break out, then a low male vocal choir starts chanting, getting faster and more insistent, then female choir coming in too. Some more music added in now, guitar I think and maybe oboe or clarinet as the female vocals take over. We're about ten minutes in now. Big punching vocal in the fifteenth minute, attended mostly by stabbed piano and now the male vocal choir is advancing into the piece, the two eventually joining for a choral rendition to take the track towards its end. Not really my kind of thing, but good for what it is.
2. Breaker Boys:This one's only (!) fourteen minutes long, and starts off more boppy and uptempo, getting right into it with a peppy clarinet and double vocal from the male and female choir. Sort of think I preferred the first track already! Yeah, it's only four minutes in but I already don't like this much at all. There's nothing of the gentle undertones of the first track in this; it's just a little too lively. Okay, suddenly it's beginning to settle down on a slow male choir. Wolfe uses something she calls the Bang On A Can Allstars and to be honest, in minute nine it sounds like that's exactly what's happening, as female vocals rise into the mix. Now it takes off into a sort of rocking rhythm somewhat in the vein of “We didn't start the fire” to a degree. Yeah, liking this less as it develops.The stupid chant of “I am the king of the castle” at the end does nothing to change my mind.
3. Speech:Something of an Indian twist to this, more choir work , skow doomy percussion. Meh.
4. Flowers: Nice acoustic guitar start, soft and flowing, gentle voices. Some very nice violin and cello, a lot more relaxed.
5. Appliances:And a twelve-minuter to end. It's been something of an endurance test and I can't really see this one making it any easier an experience for me. Sort of broken-up vocals here, with some nice but slightly distorted piano. Gets pretty intense, but to be honest I'm just waiting for it to be over now.

Final result:I wouldn't want to put down what she does, as I'm sure this is a great composition, but it is definitely not for me. I prefer my music a bit more, shall we say, musical? Frownland probably loves this, which tells you how much I don't. It's clever, it's deep, it's well-produced, but it's not something I'd listen to again.

Rating:

DwnWthVwls · 12-15-2015, 04:39 PM

^I was bored with it after 15 minutes. Didn't listen to the rest.

12-15-2015, 09:45 AM	#1 (permalink)
Trollheart Born to be mild Join Date: Oct 2008 Location: 404 Not Found Posts: 26,996	Title: Transitions Artiste: Time Horizon Year 2015 Nationality: Familiarity: 0% Genre: Progressive Rock 2 Expectations: Ant has already declared this a “meh” album, so I may not have too high expectations of it, but then, I'm never led by anyone else's opinion of an album, so I'll make my own mind up. I do however wonder at the wisdom of having three tracks opening the album that all have the word “only” beginning their title, though I do note Yes's Tony Kaye and Fleetwood Mac's Billy Sherwood are involved, so perhaps it won't be that bad. 1. Only one way: Get very much more an AOR feel from this from the beginning. Vocal is excellent, but I'm hearing Asia so much in this, particularly in the chorus, and now we have trumpeting Downes-like keys. Hmm. Great vocal harmonies certainly. A little derivative? Let's reserve judgement at this early stage, but hold that thought. 2. Only through faith: Very nice soft synth line with twinkly effects, choral vocals, very short so I'm going to assume it's an instrumental. Sort of church organ coming in now, to tie in perhaps with the title and yes, it gives off quite a spiritual ambience. 3. Only today: Ah no, again I hear the ghost of Asia so clearly in this. It's like something off Astra, and that's thirty years old. Vocalist though is emulating John Payne. Some good guitar work from Dave Miller, but now we're getting a very Yes-style keyboard from Ralph Otteson, who's also responsible for the vocals, or most of them at least (seems they have something of an Alan Parsons Project thing going on, and the first track was sung by drummer Bruce Gaetke). 4. Prisoner: There's nothing wrong with these songs, it's just they don't sound anything original and there are so many bands I can compare the musical style to it makes it a little boring. This even has the basic melody of a Yes song, just can't recall which one. Something off Big Generator I think. Or maybe Union. Nice work by Tony Kaye, guesting on the Hammond. Which I guess reinforces the Yes comparisons. 5. The moment is here: We're back with the drummer singing, but despite the somewhat portentous announcement in the title I don't quite feel the excit --- oh wait a minute. This is rather nice. The first song of theirs I've heard that sounds like maybe they actually turned off Asia: the Complete Box Set while writing it, and paused the Yes documentary. I must admit I don't see a huge difference in the vocals, but that's not necessarily a bad thing, ie they can both sing well. Great hook here, first I've been able to grasp. Much of this is down to the superb work from Sherwood. 6. About time: This is a very impressive instrumental, quite appropriate in title to the rest of the album, the previous track excepted. 7. You're all I need: I'm not quite sure if this is getting better as it goes along, or I'm just getting more tolerant. This is still very Asia/Yes hybrid, but there's something intriguing about the tune. Chorus ruins it totally though, changed from Green to Orange. Pity. Damn crappy formulaic chorus! Couldn't they come up with anything better? This should be Green but I can't do it. Not even with that smoking guitar outro. Boo. 8. River of sorrows: I think everyone would expect this to be a ballad. And it is. Sort of a vaguely oriental feel merges with blues, with the very slightest whisper of eighties Dio. 9. Water girl: Seemed like it slipped directly in from the last track, and may very well be another instrumental, with some lovely piano from Otteson and some very expressive guitar from Miller. Another one where they throw off the shackles of Asia comparisons. Nice. 10. Love is here: Gorgeous violin thanks to Mike Mullen, and it would seem we have one more vocalist, though Jake Livgren sounds again quite similar to the other two, making me wonder if where “vocals” are credited on the album they mean backing vocals? Anyhow, this is a lovely ballad, a strong ending to a not overall strong album, but one that may reward repeated listenings. Final result: I certainly wouldn't go so far as to call this a meh album, as Ant did, but the overreliance on tropes used by the bands mentioned, and others, is a little unsettling. Nevertheless, while this is by no means an amazing album, when Time Horizon settle down and stop just copying their heroes they can write and play some pretty fine music. Maybe they'll get it right on their third album, which I wouldn't be averse to listening to. Rating: (Sorry; not a single YouTube exists.) __________________ Trollheart: Signature-free since April 2018

12-15-2015, 12:09 PM	#4 (permalink)
Trollheart Born to be mild Join Date: Oct 2008 Location: 404 Not Found Posts: 26,996	Title: Delusion Rain Artiste: Mystery Year 2015 Nationality: Canadian Familiarity: 75%; I've heard and enjoyed two of their, until now, five albums Genre: Progressive Rock 6 Expectations: If it follows on from the quality of the previous two albums, it should be really good indeed. Mind you, I've known bands to change lineups, but not entire lineups! Nobody, other than founder and guitarist/keyboardist Michel St-Pere, remains from the band that recorded 2012's The World is a Game, although in fairness the band has pretty much consisted of St-Pere and vocalist Benoît David since 2010. Still, to see David go is a wrench; he's best known of course as being the replacement for Jon Anderson in Yes, but recently had to quit that band due to ill health. The album is, as ever, pretty much written entirely by St-Pere, with a new vocalist in place, though whether Jean Pageau is a permanent replacement for David or just another cog in St-Pere's rotating lineup is open to question. I do see that Benoît Dupuis (keys) and François Fournier (bass) return from the lineup that recorded One Among the Living, so that's something of a relief. 1. Delusion rain: True to progressive rock form, though there are only six tracks here, one is twelve and a half minutes, one is nineteen and a half and this one is ten, so we're not exactly talking about short songs here. An understated opening with somehow a hint of menace in the dark keys of St-Pere gives way to a powerful guitar intro then a very Yes-like vocal harmony backed by simple electric piano. When he takes the vocal on his own though, new boy Jean Pageau, who also takes a stint on keys and, Gabriel-like, tootles on the flute too, sounds like a credible replacement for Benoît David, maintaining the sound I've come to expect from Mystery over the years. The phantom fingerprints of Pink Floyd's “Echoes” can certainly be detected in passages here, and there's some great instrumental work as ever. 2. If you see her: In contrast to the opener, this is a nice little simple love song driven by a delicate twelve-string from Sylvain Moineau and an answering electric from St-Pere. Short by Mystery's standards at a mere six minutes and change, again some very Yeslike vocal harmonies enhancing the song rather than detracting from it. 3. The last glass of wine: Another lovely twelve-string joined by what certainly sounds like violin, but it hardens up quickly on electric guitar and I doubt this will be a ballad, despite being another six-minuter. Like the way they namecheck themselves in the lyric. Very aching and passionate song. Slight edge of “Kashmir” here. 4. The willow tree: This is the big one. Almost twenty minutes long. The album has been great so far, but may stand or fall on this; after all, it's almost a third of the full running time. As expected, there's a long instrumental intro, and it's almost three minutes before Pageau comes in with the smooth vocal, pulling the song along at, initially at first, a gentle, relaxing pace. Seems to be about an old gardener who tends trees but never falls in love, and regrets it as he nears the end of his life. Picking up tempo now in the fifth minute and bringing in some flute from Pageau as it hits a semi-eastern feel with a soaraway solo from St-Pere. Some very Genesis keyboards too and the extended instrumental break lasts well into the ninth minute, but even when it breaks down on soft piano and Pageau comes back in, we have another ten to go. The melody here sounds very familiar, but I can't quite place it. Marillion maybe? I think so. Like many prog rock tracks, this one is extended to its almost silly length by the addition of plenty of long instrumentals, but whereas these can be often technical wankery and showing off, I feel everything here works. Though it is still possibly too long. 5. Wall Street King: Not surprisingly, there's a political/economic theme to this, and it's attended by a mostly angry guitar and a very dark vibe. Lovely guitar and piano ending. 6. A song for you: And one more epic to close. This runs for over twelve minutes, so expect, again, a lengthy instrumental beginning. Sort of a semi-ballad with a lot of emotion in the vocal from Jean Pageau and some fine keyboard work from Michel St-Pere. Final result: Pretty much as expected, which is excellent. Despite a somewhat fluctuating lineup and a new vocalist, Mystery as ever rides on the direction of Michel St-Pere, who also wrote the six songs here, and as long as he is involved they will survive, and more, produce excellent albums like this one. Another reason why Canada should not be discounted for its progressive rock output (this is the country that gave us Rush, after all!) and why you should listen to Mystery if you like classy, intricate but not overblown prog rock with a real message in the lyrics. Rating: __________________ Trollheart: Signature-free since April 2018

12-15-2015, 04:29 PM	#9 (permalink)
Trollheart Born to be mild Join Date: Oct 2008 Location: 404 Not Found Posts: 26,996	Title: Anthracite Fields Artiste: Julia Wolfe Year 2015 Nationality: American Familiarity: 0% Genre: Contemporary Classical ? (see “Bitesize” for an explanation, plug plug!) Expectations: I thought contemporary classical was a reasonably safe bet. Yeah... 1. Foundation:It's very quiet for most of the opening (runs for like nineteen minutes) apart from some clashing drums and piano I think that break out, then a low male vocal choir starts chanting, getting faster and more insistent, then female choir coming in too. Some more music added in now, guitar I think and maybe oboe or clarinet as the female vocals take over. We're about ten minutes in now. Big punching vocal in the fifteenth minute, attended mostly by stabbed piano and now the male vocal choir is advancing into the piece, the two eventually joining for a choral rendition to take the track towards its end. Not really my kind of thing, but good for what it is. 2. Breaker Boys:This one's only (!) fourteen minutes long, and starts off more boppy and uptempo, getting right into it with a peppy clarinet and double vocal from the male and female choir. Sort of think I preferred the first track already! Yeah, it's only four minutes in but I already don't like this much at all. There's nothing of the gentle undertones of the first track in this; it's just a little too lively. Okay, suddenly it's beginning to settle down on a slow male choir. Wolfe uses something she calls the Bang On A Can Allstars and to be honest, in minute nine it sounds like that's exactly what's happening, as female vocals rise into the mix. Now it takes off into a sort of rocking rhythm somewhat in the vein of “We didn't start the fire” to a degree. Yeah, liking this less as it develops.The stupid chant of “I am the king of the castle” at the end does nothing to change my mind. 3. Speech:Something of an Indian twist to this, more choir work , skow doomy percussion. Meh. 4. Flowers: Nice acoustic guitar start, soft and flowing, gentle voices. Some very nice violin and cello, a lot more relaxed. 5. Appliances:And a twelve-minuter to end. It's been something of an endurance test and I can't really see this one making it any easier an experience for me. Sort of broken-up vocals here, with some nice but slightly distorted piano. Gets pretty intense, but to be honest I'm just waiting for it to be over now. Final result:I wouldn't want to put down what she does, as I'm sure this is a great composition, but it is definitely not for me. I prefer my music a bit more, shall we say, musical? Frownland probably loves this, which tells you how much I don't. It's clever, it's deep, it's well-produced, but it's not something I'd listen to again. Rating: __________________ Trollheart: Signature-free since April 2018