The purpose of this blog is to shine a light on music that gets at the heart of what this project is all about...

An interesting exercise is to listen to an album and try to imagine what it must have sounded like in the context of when it was made. Strictly speaking, this is impossible: How can we possibly gauge the visceral impact of In the Court of the Crimson King? Was Kind of Blue just another jazz album in 1959? We can’t comprehend precisely howRobert Fripp and company sounded to a young Bill Bruford when the latter heard the former for the first time in a London club; we can try to grasp it only by analogy. After all, we were there when Nevermind and OK Computer came into the world, and we can still remember the goosebumps...

If one were to ask whom we regard to be the greatest living songwriter working within a traditional idiom, PW has an answer ready-made: Richard Thompson. With all due respect to Joni Mitchell, Neil Young, Bob Dylan, etc., RT is the man. What is even more astounding is the fact that he is simultaneously one of the greatest rock guitarists of all time, whether on acoustic or electric. Well do we recall one of our old compatriots in Buckdancer’s Choice listening to one of his live recordings and insisting that two guitarists were playing. (There weren’t.)...

Ah, Mellotron, glorious Mellotron. As the initial strains of album opener “All You Need to Know” kick in, the Pineapple Thief treat their listeners to lush pads of the greatest analog keyboard of all time (sorry, Hammond organ, no offense). Like Radiohead, the Pineapple Thief know how to use this extremely evocative instrument outside of the overtly prog rock context in which it is customarily heard. In the case of What We Have Sown, that context is equal parts 1990’s pop-alternative and indie-rock exploration...

Possible Worlds greatly admires Kate Bush and her music. In her fierce independence as well as her amazing writing she reminds us a little bit of a British version of Prince. Her music has a sort of wistful quality to it, as if Kate (with her it’s always Kate) has some inner connection or conduit to a realm of fairies and magic (with raw terror lurking just around the corner)...

Spock’s Beard is one of the most important touchstones for Possible Worlds. This is true not necessarily in the particulars of their sound, as the Beard is heavily keyboard-oriented and draws a lot more from the sonics of classic progressive rock than do we. Rather, it is their emphasis on a song-centered approach, in which melodies come first and the frilly bits come after, that we find them so attractive...

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