{"id":771,"date":"2009-05-08T11:53:14","date_gmt":"2009-05-08T11:53:14","guid":{"rendered":"http:\/\/scientopia.org\/blogs\/goodmath\/2009\/05\/08\/friday-random-ten-may-8th\/"},"modified":"2009-05-08T11:53:14","modified_gmt":"2009-05-08T11:53:14","slug":"friday-random-ten-may-8th","status":"publish","type":"post","link":"http:\/\/www.goodmath.org\/blog\/2009\/05\/08\/friday-random-ten-may-8th\/","title":{"rendered":"Friday Random Ten, May 8th"},"content":{"rendered":"
    \n
  1. Gordian Knot, “Singing Deep Mountain”<\/b>: As frequent readers of my FRTs may have figured out, I’m not typically a big fan of instrumental progrock. Most of the time, I find it to be
    \ncold, sterile stuff – technically impressive, even amazing – but utterly devoid of meaning,
    \nemotion, or feeling. Gordian Knot is one of my favorite counter-examples to show that it’s not
    \nthe vocals that I’m missing; GK manages to create instrumental music that’s got
    \nboth incredible technical virtuosity and<\/em> real feeling.<\/li>\n
  2. Jason Ricci and New Blood, “I Turned Into a Martian”<\/b>: a few weeks back,
    \na commenter on my last FRT suggested that I might like Jason Ricci and New Blood. He
    \nwas absolutely right. One YouTube video I found describes Ricci as “a cross between
    \nMuddy Waters and Frank Zappa”. That’s a pretty dead-on description. Ricci and New Blood
    \nplay incredible blues, with a mixture of other influences, which would be pretty
    \ndecent stuff just by itself. But then Ricci is a nearly supernatural harmonica player.
    \nThe things that the guy can do with a harmonica are just astonishing. And the rest of the band aren’t exactly slouches. Highly<\/em> recommended. (YouTube clip at the end of the post.)<\/li>\n
  3. Spock’s Beard, “The Slow Crash Landing Man”<\/b>: Decent neo-prog. Not a particularly
    \nspecial track, but not bad.<\/li>\n
  4. Riverside, “Before”<\/b>: Riverside is a band I recently discovered via E-music. They’re
    \na phenomenal<\/em> neo-progressive band. Their sound is hard to describe; somewhere between
    \nMarillion, King Crimson, and Porcupine Tree.<\/li>\n
  5. Mono, “mere your pathetic light”<\/b>: another really fantastic post-rock ensemble,
    \nvery much in the “godspeed” vein. Really excellent stuff.<\/li>\n
  6. Frost, “Welcome to Nowhere”<\/b>: Yet another new neo-progressive band for me. I was
    \nordering some CDs, and threw this in on a whim. They’re quite good – a bit on towards the
    \npoppy-end of neo-progressive. If you like Marillion, there’s a good chance you’ll like these guys. In particular, they’re good at the same kind of wonderful transition that Marillion is known for.<\/li>\n
  7. Steve Hackett, “Omega Metallicus”<\/b>: Hackett is always terrific.<\/li>\n
  8. Marillion, “80 Days”<\/b>: speak of the devil, Marillion pops up. As much as I like some
    \nof the new, Marillion influenced neo-progressive bands, when Marillion comes through the headphones, it’s just different. There’s just a depth to them that not many bands can
    \nmatch. Spock’s Beard, Frost, Jadis – they’re good. But they’re not in the same league as
    \nMarillion.<\/li>\n
  9. Tony Trischka Band, “Haunted Hand”<\/b>: Tony Trischka’s first album with his jazz band. I’m a bit biased here, because I know Tony personally, and he’s one of the most genuinely
    \nnice<\/em> people I know. I love his band, and Tony playing jazz on the Banjo is even
    \nbetter than Bela Fleck.<\/li>\n
  10. The Flower Kings, “The Melting Pot”<\/b>: and if you want to make even Marillion sound
    \nlike a bunch of pikers, just put on the Flower Kings.<\/li>\n<\/ol>\n","protected":false},"excerpt":{"rendered":"

    Gordian Knot, “Singing Deep Mountain”: As frequent readers of my FRTs may have figured out, I’m not typically a big fan of instrumental progrock. Most of the time, I find it to be cold, sterile stuff – technically impressive, even amazing – but utterly devoid of meaning, emotion, or feeling. Gordian Knot is one of […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[41],"tags":[],"class_list":["post-771","post","type-post","status-publish","format-standard","hentry","category-music"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/p4lzZS-cr","jetpack_sharing_enabled":true,"jetpack_likes_enabled":true,"_links":{"self":[{"href":"http:\/\/www.goodmath.org\/blog\/wp-json\/wp\/v2\/posts\/771","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.goodmath.org\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.goodmath.org\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.goodmath.org\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.goodmath.org\/blog\/wp-json\/wp\/v2\/comments?post=771"}],"version-history":[{"count":0,"href":"http:\/\/www.goodmath.org\/blog\/wp-json\/wp\/v2\/posts\/771\/revisions"}],"wp:attachment":[{"href":"http:\/\/www.goodmath.org\/blog\/wp-json\/wp\/v2\/media?parent=771"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.goodmath.org\/blog\/wp-json\/wp\/v2\/categories?post=771"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.goodmath.org\/blog\/wp-json\/wp\/v2\/tags?post=771"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}