Hello and welcome to the first edition of Progscars!

Fifteen imaginary awards to give out to the most interesting progressive rock and metal music to come out in 2017. I decided to do this for fun but also to build awareness of bands and artists.

Today we explore the best collaborations or guest appearances on prog songs of 2017. Sometimes a guest appearances on a song from a well-known (or not) artist can complement the band so well as to make it an album highlight. And sometimes a collaborations could actually be a common feature of an album. Today we’ll look at a few great examples covering each scenario.

Disclaimer:

  1. Everyone has different definitions about which band, album and song is progressive and which isn’t. For simplicity, I have stuck to bands classified as progressive rock or metal either on rateyourmusic.com or sputnikmusic.com and occasionally based on what I think.
  2. When it is says Song in the title, it specifically means a song belonging to an album by a band classified as progressive based on point 1. I’m also sure there are a few songs on this list (and the ones to come) that are 4/4 and hardly classify as a ‘Prog Song’ but I’ve included them nevertheless.
  3. Albums in December 2017 haven’t been considered! So no Diablo Swing Orchestra. Mainly because I was too busy exploring earlier albums that I might have missed out. I’ll include them in the next edition.
  4. If you spot errors anywhere (mostly in the technical side of things), let me know. I’m always open to criticism – constructive or destructive.
  5. EPs or Live Albums not considered for any of these lists.

 

Criteria for Judgement:

The chemistry between the band’s original music and what the guest appearance or collaborator can offer is the most important criterion. Remember only one guest appearance or collaboration per album (or I’d just end up listing just Ayreon songs here). A collaboration on more than one song in the album can help too. Coincidentally but not very surprising, you would have come across most of these artists in a previous list, as an unconventional instrument is usually from a guest or collaborator – so for reasoning I’ve just linked the previous lists.

Now that that’s over with let’s get down to business! There are one just missed, four nominations and, of course, one winner. The number of noms would change depending on category.

JUST MISSED

Nita Strauss on “Serotonin” (from Synapse by Angel Vivaldi)

Why? Already mentioned here.

#5

Raphael Weinroth-Browne on “The Last Milestone” (from Malina by Leprous)

Why? Already mentioned here.

#4

Pierre Mussi on “Cheval” (from Savage Sinusoid by Igorrr)

Why? Already mentioned here.

 

#3

Paul Masvidal on “Living Waves” (from Aathma by Persefone)

Why?

As someone who adores Cynic, I cannot put into words the excitement that overcame me when I learnt that Paul Masvidal would appear in the album of the one of the best tech/prog death bands today (“Assuming the mantle?”). And the result is “Living Waves”, which appears as a Cynic tribute with the vocoder vocals but is Persefone at heart in terms of instrumentation. He also plays the first solo from 4:15.

#2

Ninet Tayab on “Pariah” (from To the Bone by Steven Wilson)

Why? 

Steven Wilson struck gold in this collaboration with Ninet Tayeb, someone who he’s been in touch with for a while. He hasn’t had many collaborators on his albums in the past, but the songs that feature them are my favourites on To The Bone. Ninet’s raspish voice compliments Steven’s well on “Pariah” and the high note at 3:25 is extraordinary.

 

#1

Tommy Karevik on “The Day that the World Breaks Down” 

(from The Source by Ayreon)

Why? 

In an album that features so many collaborators, most ones long-time but some new, choosing one could have been a nightmare. But my mind was made the moment the video of “The Day That The World Breaks Down” came out. As a humongous fan of Tommy Karevik from his Seventh Wonder days, I could easily identify his voice and I anticipate his sections every time I listen to The Source. Sort of unfair to choose songs from the album, but I chose this one as it is the longest and hence has a few more Tommy sections than the others. And the song rules too.

Has to be mentioned – Hansi Kursch is a very close second – he has one of the most unique voices in the industry.

 

So which are your favourite collaborations from 2017?

Would love to hear from you! Let me know either in the comments here, on Facebook (Preferably) or on Instagram. You can follow me on Spotify (You might get a sneak peak of the awards a day in advance!)

Here’s the Spotify playlist of all the above tracks:

 

The first EIGHT awards are already out!

Best Bass Performance in a Song here.

Best Debut Album here.

Best Outro of a Song here.

Best Production on an Album here.

Best Intro to a Song here.

Best Use of Electronica in a Song here.

Best Use of an Unconventional Instrument in a Song here.

Best Instrumental Song here.