It's been a while! I still kinda catching up on things, but I've worked out a plan that should get me back on track before the end of the year. And for once, I'm not reviewing any metal! All three of these albums are ones I have been looking forward to, each for their own reasons, but it is nice to see some older styles still be represented by artists both old and young. Let's get this prog rock article started!
So we finally have the latest from this guitar legend. There's been some talk from him about maybe moving beyond Pink Floyd, and getting a producer who has no interesting in respecting Gilmour's past. However, I don't think he can really escape it, especially with an album like this. Once again, David takes us through another bluesy journey, this time with an emphasis on themes of aging and mortality.
Those looking for Pink Floyd vibes will certainly find them here and there. The title track, which features a recording from Rick Wright as a basis, feels like it could have come off of Division Bell, and "Scattered" references some of the band's 70s ideas, including a heart beat and that reverby piano from "Echoes." As for the rest, the album tends to drift between his last two. "The Piper's Call," "Sings" and "Yes, I Have Ghosts" feel like a folky variation on the songs fom On An Island, while some of the darkness of Rattle That Lock shows up on "A Single Spark" and "Dark and Velvet Nights." The latter one actually gets pretty funky. If there's one that maybe feels like an odd duck out, it's "Between Two Points," which is sung by David's daughter Romany. It's an interesting song, but the production feels much more modern, like a contemporary pop song. I didn't mind it, but folks who like their Gilmour material to feel classic may find it jarring.
Of course, Gilmour hasn't lost a step in his guitar work. He still has his tasty licks and legato-style solos, so fans will get their fill for sure. However, I feel like this album was more focused on the song-writing than the solos, and I think it makes the album feel a little more whole. I don't know if I can really compare it to his other albums too well; I'd have to really dig in deep to compare. However, on it's own, it's a solid album that shows how well Gilmour is aging, despite what the lyrics might imply.
So the story goes that the Band Geeks were just a cover band who happened to include a lot of Yes covers. When Jon Anderson joined up with them, fans were talking about how good they were at playing classic Yes stuff. Then they announced an album, and despite that pretty terrible cover art, they did end up recording something that sounds like classic Yes.
While Jon Anderson's singing and lyrics give this a heavy Yes-like tone, I do wonder if maybe the rest of the band is trying a little too hard to be like Yes from multiple eras. Obviously, there's some classic Yes stuff, mostly Tales of Topographic Oceans or Going For the One, but there elements of their 80s pop sound, especially on "Shine On," and even some symphonic flourishes making me think of Magnification. The Band Geeks are due a lot of credit, as they're playing is definitely spot on. They are eager to sound like the classic members of Yes, with keyboard runs like Wakeman, basslines like Squire, and guitar solos like Howe.
I guess my main concern is whether this stands on its own as good music or if it's just reminding me of music I already love. I know I struggled with Arc of Life's two albums, to say nothing of what Yes has been doing lately, for the same problem. However, I can't deny that Jon and the Geeks have worked out the kinks and made something that really clicks with me here and there. "Shine On" has a lot of good energy on it, "Build Me an Ocean" sounds like it comes from The Living Tree, and the 16-minute epic "Once Upon a Dream" sounds like a sequel to "Awaken." I get the feeling that if I listen to this more, I'll start to come around on it, but for now, it's a solid collection of tracks that fans of classic prog will probably enjoy.
After loving their last album so much that it was my album of the year for 2019 (and checking out their first), I was pretty excited to hear they had a new one in the works. However, this came out back in February. I didn't plan to set it aside for so long, but life happens. In any case, I'm finally catching up. Despite the five year gap, these guys haven't lost a step.
As if the title wasn't obvious, these guys have a very Pink Floyd influenced sound, mixing in elements of post-rock, stoner rock, and even some crushing, Tool-like segments. However, they are able to weave this together so that it all flows really well. Their tone remains intact, drifting between mysterious and uplifting as the songs build and breakdown. There is a stronger mechanical feel in the songs (matching the title), but it's only sprinkled in here and there, adding another layer to their iconic wall of sound. Another factor I love about this band is, while they are experts at creating a solid spacey atmosphere, they aren't afraid to jam it out for a bit, freeing up the band to let the guitars go wild for a while. Playing this stuff live must feel liberating.
I'm not going to lie: this is a Top 5 contender for the year. "Ignition" gets things started perfectly, "Collision" is a solid follow up with the mechanical bits, "Kali Yuga" dips pretty deep into their atmospheric side, "Rackman" builds up really well, and "Collapse" is a good closer with a lot of fun Pink Floyd references and excellent transitions and dynamics. I don't know if it's quite as good as Sphere, but it's very close, and certainly a standout album for 2024.
