HEAVY PROG

Rush were one of the few bands who could write a prog-rock epic and get away with it in 1978 amidst the the onslaught of th evil forces of punk rock and disco, forging ahead as if neither even ever occurred. Applying their unique formula of superior musical prowess in combination with well read, thoughtful lyrics, Hemispheres is arguably the Canadian power trios finest hour in their illustrious career. Thematically they began to veer away from Hawkwind-like sci-fi dabblings towards more mythical/philosophical regions. Lyricist/drummer Neil Peart also began to become more spiritual in his writing, displaying more human attributes which forshadowed future Rush projects. Not only did his compelling lyrics contain more depth, the band's musical lskills were also steadily coming to a focal point, becoming more diverse and refined than previous forays into the realms of prog-rock. This was achieved in part by the band's masterful employment of advances in recording and musical gear technology which was advancing at an exponential rate towards the end of the '70s which would usher in the digital age.

Right from the opening chords of the grandiose prelude to the main suite Cygnus X-1 Book II ( a continuation of sorts from Cygnus X-1 from the previous A Farewell To Kings album ) the listener becomes acutely aware that something collossal is about to transpire. Based loosely on Frederick Nietzsche's Book Of Tragedy, Cygnus X-1 Book II explores the complexities and differences between the right and left hemispheres of the human brain which is exemplified by the alluring cover art. Lricist Peart uses the compelling metaphor of two greek Gods, Dyonisus and Appollo, symbolizing the right and left brain hemispheres respectively, dueling for the fate of man. Various musical devices, such as insane chord and time signature changes, arpeggiated guitar runs and modal shifts to suggest various moods and atmospheres which occur as the battle rages. A moderator appears in the form of Cygnus materializes as the not-so-subliminal Cygnus X-1 main theme from A Farewell To Kings is re-visited . The mystical Cygnus rationalizes the two opposing factions and balance is achieved with the world being divided equally into two equal philosophical modus operandis and a new chapter in creation is written. Or something like that. I sometimes think that this would have made a great Star Trek episode with Captain Kirk taking the place of Cygnus. Live performances of this piece back in the seventies were simply mesmerizing.

The second side of the LP offers some respite from the intensity of side one ( although some effect of this is lost in the CD format ) and is introduced by a harder rocking reflective, soul searching autobiographical piece penned by Neil Peart. Circumstances contrasts somewhat with the rest of the work and is more representative of earlier Rush compositions heard on earlier albums such as Caress Of Steel or Fly By Night and this is perhaps why it is appropriately inserted in the middle of the album. Geddy Lee's vocals become somewhat annoying at times which shouldn't bother hard core fans of the band. Barely played in concert for a number of years , for some reason it resurfaced on the first set of the recent Snakes And Arrows tour so it must hold some special signifigance for the band. It also appears as a B side on the 1980 Spirit Of Radio single.

The album concludes with two of the band's undisputed favourites which also offer contrast. The Trees, which lyricist Peart claims is nothing more than a poetic vignette of a bunch of trees fighting like children in a comic strip he once saw, it has been most commonly metaphorically interpreted by fans as a microcosm of oppression and inequality among human beings. A very dynamic piece it features a classically inspired nylon string guitar intro with a sublime middle section building into a sharp crescendo for the grand finale. The closing blowout, La Villa Strangiato, a firebreathing 12 part instrumental monster, incorporates some of it's musical ideas from jazz composer and electronic music pioneer Raymond Scott's standard " Powerhouse " used in Warner Bros. cartoons in the 40s and 50s and was the subject of a lawsuit which went in favour of the band. The title itself takes it's name from a real castle in Italy which was once the home of an Italian aristocrat. Certainly one of the most bizarre rock instrumentals since Focus' off the wall Hocus Pocus from 1971.

A Prog-rock magus opus that appeared in the most dangerous of times when most "dinosaur" bands had gone along with the trends of the day or just faded into oblivion, Hemispheres made it into the North American top 100 charts peaking at #47. It also marked a pivotal point in ther career as their music became more streamined and their lyrics increasingly more concerned with human issues. Although it suffers from minor flaws such as Geddy Lee's vocal hysterics these can be overlooked when it's moments of sheer brilliance are considered. Even at the short running time of 38 minutes much is to be gleaned from subsequent listens from this 1978 jewel from Rush. So send grandmother to the store and PLAY LOUD!

The magnum opus of Rush and perhaps my favorite album of all times.

Like most albums you truly treasure, Hemispheres was first introduced to me when I was young by my dad who is as close to a Rush fan-boy you can get without actually being Canadian and hitting people in the mouth on skates(I'm sorry, Canada, that was cheap).

Most of the records that I've listened to since I was a kid are nowadays kept in their dusty corners, cherished but used up. Hemispheres on the other hand has survived all through my life, shifting only in how I view the album, its messages and its music.

At first this was all about the melody for me. I remember being six years old and my daddy playing the opening track on the highest volume possible on his insane stereo-set(this story is also in direct correlation with my present day tinnitus) loving the almost video game like melodies represented within. Then I got older and learned English, only to find that the record I had loved all my life had words of wisdom and meaning within it. As I got even older and started studying philosophy and ideologies it became even better when I for the first time began to comprehend the entire scope of its stories.

Later on I began studying music and again; revelation! I had always known that Rush were supposed to be a band of high musical standards and its hard missing the fact that Niel Peart is highly thought of as a drummer, and again the record grew.

I think that this is the prime example of what makes a classic and what truly constitutes for a five star rating. It gets better as time passes and represents not one but all aspects of what a great album should be about; melody, song structure, production, musicianship, soul, lyricism and perhaps most importantly a sense of "wholeness". Each of these aspects are present here and done so in a virtuoso manner.

For me it never gets better than this. Now or twenty years ago, it makes no difference; Hemispheres is a timeless classic.

Masterpiece! 5/5

What has always bothered me with Porcupine Tree is the amount of songs they cram into each release. I mean, strength in number is all well, but when you put 16 tracks on an album you are bound to either have a strain of monotony or schizophrenia, I think both are apparent in most of the works of Steve Wilson and his incredible band. Fear of a Blank Planet is therefor welcomed with open arms by me; finally a record with a reasonable amount of songs and a sound that remains consistent throughout the entire listen. This is really the one album of Porcupine Tree to get, since it's the most wholesome of their releases to date.

I don't think there is much else to add really. Anyone who listens to more than two minutes from any of their releases will understand that this is both virtuoso instrumentalists and top notch songwriting.

A fantastic record! 4/5

Enough has been written about this album. All I can do is try to summarize my feelings for The Mars Volta and De-loused in the Comatorium.

This is the benchmark for all progressive rock that will be done in the first century of this millennium. Our children will grow tired of us moaning about how much better The Mars Volta were than the newer school of rock and roll in the future.

It features top of the line musicianship and almost unparalleled rock-drumming from Mr. Theodore. If you like the opening songs, just go ahead and get it and never look back. However, do not believe too much of this band. Peel back the phenomenally crisp and clean production and you are still left with an earth shattering album, true. But look even further in and you might cringe at the absurd amounts of pretentiousness and polish in their music.

For me The Mars Volta is the best rock band in the world, theoretically. In practice they are just another gang of crazy, crazy, crazy skilled musicians who have their ups and downs. The fault lies in me never being able to measure them on their own merit instead of the unreasonable hype that surround them. When it comes down to it, I don't "feel" their music, I'm merely impressed by it.

This is my only review of any of The Mars Volta's releases, made so I can have my peace with them. Yes, they are as good as you've heard. Move along, nothing to see here.

(I can't in good conscience give this album a five star rating after all I've written above; no matter how important and fantastic it may be. In theory; yes it deserves five stars--in practice; hells nay!) 4/5

It's easy to miss The Fall of Troy in the steady stream of metalesque prog-outfits out there. When discussing music with fellow metal-lovers I'm surprised to find that a rather few of them have heard this treat of a band. Well, I say band, but to me they are pretty much this album. Where all the other albums have been sketchy and sometimes downright mediocre, this one hits the mark in all the right places.

The music on Doppelgänger(and of TFoT) can be described as something like Mars Volta on amphetamine. It's wild, it's intense and sometimes almost atonal. Thomas Erak's guitar work is very imaginative and fun to listen to; this coming from a guy who generally dislike guitar driven music. He plucks, strums and sweeps his way through the songs at a breakneck tempo, but unlike other guitar players of his extremely high standard, the songs never suffer from that fact, never torturing you with endless screeching solos that make your ears bleed.Everything on Doppelgänger has a place and a purpose.

The level of musicianship on the album is superb, with the bass actually taking a very prominent role in the mixing. The band being a trio does a lot for the overall sound and feel of the music; keeping the music from becoming to ecstatic, grounding the sound a bit.

Production is also something that must be mentioned, high lighted and elevated on this album. In an age of polish upon polish upon polish it's so great to hear production that keep the edges in the sound picture. Where their other albums focused on a more bland, main streamed production, Doppelgänger stands out as rough and gritty, something that helps the music a ton, as the open feel of the mixing gives the very hysteric songs room to breathe.

What makes me want to recommend this album, unlike their other works, is that I think that this release actually has some kind of musical relevance in this age. TFoT stand out from the masses with their rather unusual mix of hardcore, metal and rock. The mix in itself has been done, quite often by now, but the way it all comes together for Doppelgänger is amazing.

There's something in here for everyone and it deserves its spot in any serious record collection!

4,5/5

This is really just a placeholder until I think of something better to write. Porcupine Tree is a band I've been pretty lukewarm about. I think all of the elements are there for a pretty awesome band, I just think that those elements are used in pretty predictable and traditional ways. There are a few good songs here in Deadwing "Lazerus", "Arriving Somewhere...", and "Mellotron Scratch" all good songs. It just seems like transitions into metal in most of the songs seems a little forced, and the metal sections themselves are only fair to middling. Nothing that will knock my socks off. Steven Wilson's lyrics also leave a lot to be desired. However, the way the songs work together and the general ambiance of the album to amount to an amusing if not interesting listening experience.

I finally get a good amount of music of Porcupine Tree after two years of hearing a lot of talking about this band but just listening a few random songs, so I will start reviewing their material and I choose to start with this albums, as some reviews said this was one of their heavier stuff... well, this is not heavy in any means... but lets see...

The first two track are quite good, fresh and with great mood, but then the album becomes very average, soft and without any brilliantly you can expect from one of the most beloved bands in this site. I guess people just turn to over rate something that can't stand the taste of time... I mean, is not a bad album, but I found that most of the material is very forgetable... Some moods are very interesting, but maybe what I feel wrong about this album is that is not heavy, there are just few moment in which you can actually feel the energy of heaviness... I even feel that an average alternative rock band could match this effort very easy.

To be fair, I have to say Wilson voice is very catchy and sticky, it's easy to follow his leads... the band in general sounds very tight and OK but the albums has no brilliantly at all... the production is not that great, even I don't hear what's the great thing about Gavin performance... he just play good, nothing that shine... The songs that really worth from this album are just Dreadwing, Shallow and Arriving Somewhere But Not Here... the rest is very forgetable material, not bad, but really, sometimes I wonder if PT are really heavy prog... I like a lot more Oceansize, which is band who can manage very well the different moods by being heavy, melodic and alternative depending on the songs... so, this is my first approach to PT, I am not impress, not even close, so I'm looking to "In Absentia"... maybe that album I can enjoy more... 3 stars is very fair... even when this is not a heavy prog...

My history: 1971 - Bowie 1974 - 1979 Yes, Genesis, etc 1980 - now mainly Classical music.

This is the first album for 30 years from a new band that I rate highly. It's fairly bleak stuff though not depressing (like late 70's Pink Floyd). I'm giving it 4 stars because of Steve Wilson's desire to rekindle some of the old prog rock traditions. I felt tempted in giving it 3 stars for the following reasons: 1. sometimes heavy metal guitars just for the sake of it. 2. at times they run short of ideas. 3. i found it a tad boring after about 8 listens. However, I gave it 4 stars because it has some inspired moments particularly in tracks 1 & 3. I do understand that my knowledge of music at this time dwarfs my knowledge in 1980 but I feel this is a fair judgement.

I've stretched myself, now stretch yours:

Chrome - Alien Soundtracks (1978) Half Machine Lip Moves (1979)

Shostakovich at 29 years old - Symphony No 4 (Prog rating off the Richter scale)

This is Porcupine Tree's unsung hero album, too often neglected by the "latest release" aficionados, who forget that this was another great leap forward from the majestic "Signify" and its live companion "Coma Divine". Steven Wilson wastes little dilly-dally in getting the message across in grand fashion hurling the oppressively brilliant "Even Less", a true PTree standard played at each of their concerts to this day. Yes ladies, it's that spectacular! A rushing riff pummeled forward by that steamroller rhythm section, some suave singing in that desperately apathetic voice and a miraculous guitar launch that exudes all the power and rage of social alienation. Great here, even greater live, I assure you! "Piano Lessons" has a pretty psychedelic Donovan quality to it , poppy weirdness allied with hushing beauty , a prog ballad with that unique British feel for the oblique, a groovy guitar fill decorating the whole. The title cut is very short electro blip and then we have the pastoral "Pure Narcotic" that hints at Anthony Phillips whilst fragile and whimsical, a good but not great track. "Slave Called Shiver" has that patented Colin Edwin-led bass groove that worms through the doom and gloom, pushing the plastic sonics and the jaded voice along. Tossing in a few Beatles-ish quotes ("More followers than Jesus Christ") and a lashing Wilson guitar rampage that devastates with impunity, the bass still rumbling audaciously, this is another classic and amazing live. In my opinion, this is way better than the poppier melancholics they like to mix into the stew. The monumental "Don't Hate Me" is another unparalleled PT jewel, a spacier mood with punchy drums, very arid at first only to better explode with a genius theme, a melody achingly painful , a wounded soul looking for some kind of empathy. The chorus is simply to die for, like a shining star in the cosmic universe, leading to a stunning Theo Travis flute and then sax solo, giving this a plethora of convulsive blush that wanders deep into the psyche. Amazing live as well! The next tracks can only pale in comparison, "This is no Rehearsal" being a jaunty issue with a wah-drenched axe solo that shivers and twitches. "Baby Dream in Cellophane" is very Fab Four reminding us that all Steve Wilson songs have a John Lennon tinge, lest we forget; forever flirting with the outskirts of breezy psychedelia. "Stranger by the Minute" is in the same vein, a solid melody on a simple carousel with some snazzy guitar solos and some smart lyrics. "A Smart Kid" is a somber tune floundering in minimalistic simplicity, Wilson's resonating and cool voice showcased as a weapon of sheer construction, different tones at will seemingly. The man can sing, heavy breathing and all but supplies a superb axe solo once again. The ominous "Tinto Brass" is a welcome return to the highway star riffery they do so well, Edwin buzzing intensely and Maitland pounding energetically, flute flutterings at 12 o'clock high and sibilant synths paving the way for some turbo-charged guitar slashes. Darn good music, this! "Stop Swimming" is another occasional live standard, a slow crawl build-up to a fabulous lyrical observation, hurting words and sorrowful souls collide in obvious copulation, hungry for another embrace. The notable instrumental restraint is utterly indescribable, synth heavy and impenetrable, the forlorn voice doing all the damage until the inevitable scream bellows from the inner self, an uncontrolled vortex of upward spiraling harmony. The only thing I cannot fathom with Wilson is why is there only one DVD of their live experience out there? Is he like Fripp when it comes to cameras in a concert hall, or what? 4.5 Idiotic delusions

I think part of the reason i relate so well to this band is that i'm a Canadian who has to put up with a long winter every year just like these Swedes.There's almost a longing that can be felt in this music,a longing that only us Northerners who spend up to 4 months in snow,ice and cold can possibly understand.LANDBERK continue to drift from their progressive roots on this their final album.This is very much an atmospheric and melancholic affair with a rich full sound.We still get lots of mellotron just not as much as before.I was reminded of PAATOS at times which isn't surprising since some of the band members here would go on to form that band. "Humanize" opens with some atmosphere as mellotron and a beat take over.Vocals follow.This song seems to drift along.I like the plodding yet prominant bass. "All Around Me" is about being stuck in the middle of winter.Sounds build as vocals join in.Processed vocals and mellotron before 2 minutes then back to the previous sound as contrasts continue.A calm before 5 1/2 minutes that sounds amazing.Fiske plays some intricate melodies before 7 1/2 minutes as it continues calm to the end. "1st Of May" is a date that is very meaningful because you know winter is dead and gone.So yes we get more energy here as drums pound, and the vocals are more passionate too.Mellotron after a minute with some excellent guitar in tow. "I Wish I Had A Boat" is melancholic as reserved vocals come in.What a gorgeous track with the mellotron and atmosphere. "Dustgod" is really the first uptempo track and the drums and vocals stand out.A feel good tune.The guitar takes the lead before 4 1/2 minutes to end it. "Dream Dance" is the only song on here i was familiar with from the "Progfest 95" album.A bass intro as guitar is strummed.Drums then vocals come in.This is catchy yet dark and mysterious.An incredible sound after 3 1/2 minutes with that relentless beat along with guitar and mellotron. "Why Do I Sleep" opens with laid back guitar as drums and bass join in.Vocals arrive around a minute.This is a hypnotic and melancholic track and i love it.Things get more passionate late. "Indian Summer" features a beautiful opening guitar melody as soft vocals join in.The vocals stop and all that's left is the lone guitar melodies. Check out tszirmay's review which describes the music much better.Thankyou LANDBERK and Thomas for the meaningful music.