The previous album "Fall of the Watcher" released in 2022 made my heart flutter so deeply that an EKG was not necessary in determining the workings of my arteries. So, what? I fell in love again! That is what romantic progressive 'pop' music can do to the melancholic soul, if so inclined. Not only did I place that album very high on the 2022 altar, with a rather emotional review on my trio of sites, I also chased down the previous albums, especially the equally stunning "Erebus" from 2019. What seduced me thoroughly were the unimpeachable (excuse the pun) melodies that seemed to be created with divine inspiration, particularly when paired with a voice that scours the heavens. Robin Peachey has that rare talent in spades, as every word uttered is clear and poignant, tingling the senses way beyond the norm. One doesn't need a lyric sheet to follow his utterances. When notified that a new album was in the works, I felt both exhilarated at the prospect of another sonic jewel waiting to be discovered and yet somewhat worried that the bar was too high and perhaps unattainable. I needn't have bothered, as the new album is a gigantic winner. Both Robin and Paul Johnston have concocted a sophisticated shift in composing and arranging six dark tracks that 'progress' to an altogether denser and more distinctive level, perhaps even gloomier than before and reflective of the currently troubled state of humanity, individually and collectively. Just the song titles alone reflect this painful discourse, as both the music and the lyrics underline both tragic loss and wishful eternity.

Setting the sombre tone with the strenuous "Dark Morality", a ghost emerging from the soul's inner sanctum, waiting patiently as the mournful piano exposes the stark ethics, a rivulet of bass torch lighting the road ahead, Robin softly choosing his imperative words for maximum effect. His trusted electric guitar raises the bodily hairs with doomsday incandescence, the percussive pulse forges ahead as if leading a funeral procession. The outro ends in dissonant confusion and fatal surrender. Maintaining the devastating melancholia, "The Final Time" is just too much for anyone to bear, a cello driving home the stake of despondence, an ultimate meeting of closed eyes. Resonant piano and trembling voice reiterate the bluish haze, as a fluid guitar seeks desperately some kind of positive closure. A heart squeezing melody once again.

The epic, nearly 10-minute title track is the epicentre of this remarkable recording, starting off as a simple story purely sung, with a dire piano as the only partner. The jarring electric guitar is the tool with which the arrangement gets ratcheted up into a whirlwind chorus of atmosphere, passion, and melodic acquiescence. The bleak, almost minimalist mid-section beats like a pained heart, a bass pumping a mild sedative as the pain permeates every pore and sinew. Its haunting, perplexing and brazen in its restrained agony. The duo made sure to keep things from being overproduced with any coats of syrupy gloss, a superb piece that has not a single second of fluff.

Hey, it gets worse. Maintaining the eerie shadows and the sinister sonics on "Meaningless to Worth", the notion of trust is examined, at best a vanishing concept in today's world, where everything is questioned for ulterior motives and agendas. Cannot have the truth without trust, so that means two are down, I am afraid. The second section serves as a hopeful apotheosis, where shimmering keyboards, shivering guitars, and shifting drums, mean more than money and fame.

The sublime vocal on "Die For Me" steps through the void, and is only matched with a sensationally anguished melody for the ages, a pleading declaration of salvation of any ilk. The mood is raised to a turbulent level with a shuddering guitar rant. The kindly Steven Wilson would be green with envy, as this is a dramatic 9-minute masterwork of melancholia with an extra dose of sorrow. The solemn piano mid-section could be either Barbieri or Holzman, with sparse, minimal but beautiful piano, like a soft echo in a fertile valley, as Robin intones 'shouldn't be this way', paralleled all the way through by his querulous guitar. Beyond gorgeousness.

Looking out over the ocean where humanity's destiny lies, the ebb and flow of "Raging Sea" connects land and sea, sky and earth, an ideal of peace where we need to return to. The wavering voice matches the fluctuating words, buoyed by a floating bass line and a surging melody not far removed from Tim Bowness' style. Robin sings with his consuming guitar firmly aimed at the stars above, and letting it cry.

Returned to the Earth have proven persuasively that their musical path is now fully set, fine-tuning, and honing their precious craft towards a future farther from any overt pop sensibilities but also closing in on the apex, a proverbial peak where intelligent and meaningful art can and will prevail. Forever more. A must have release .....

5 caveman spires

A new group of musicians who show extraordinary technicality, who manage to merge the speed, dexterity, sensuality and aggressiveness of a meta-lprog group, yes it's possible! The group that makes you think of HAKEN, TOOL, SYMPHONY X, ETERNITY X, DREAM THEATER of course and RUSH for the prog metal framework; yes you will find all that and much more in this 'Opus' from nowhere.

For once I won't give you the idea of breaking down the titles one by one, no, the album lasting an hour and ten minutes I swallowed it in one go; no I won't tell you if one or the other piece has that little extra, just that you have a few landmark islands, a few masterpieces that make you take off and go very far, but that each title reinforces the lasting impression of having in the hands, or in the hard drive, a major prog metal album of the year 2023, nothing more. Only one piece of advice, listen to it, listen to it and capsize on this.... opus which ultimately bears its name aptly. It's been a long time since a group took me this far.

Due to the popular response of Don's performance at the Monterey Jazz Festival in September of 1966, a record album was quickly prepared for release: 'Live' At Monterey ! This album contained three recordings from September 18th's historic performance with one track ("Concerto for Trumpet" [11:50]) from a live performance that occurred a month later at the Pacific Jazz Festival (10/8/66). The Don Ellis phenomenon was so rabid (with sightings of "Where Is Don Ellis?" bumper stickers rising across the country), and the sales of the first album so encouraging, that Liberty Records was quick to try to assemble a second live recording in order to try to take advantage of the wave of Monterey/Don Ellis buzz. This album, Live in 3 2/3 / 4 Time, was prepared from more recordings from the live performance at Pacific Jazz Festival as well as three songs from a March 27 of the following year. (The list of songs extracted from this performance at Shelly's Manne-Hole in Los Angeles would grow to number eight with the release of an expanded CD version in 2000.) As usual, the highly-charged, amazingly-synchronized and -harmonized arrangements (only two of which are original Don Ellis compositions--though one song, "Thetis," comes from Don's long-time collaborator and friend, Hank Levy) are a marvel to listen to and, I think you'll find, quite often stir one's core enough to force you to get out of your seat and dance!

If you are at all interested in sharing in the experience of those first waves of the truly-groundbreaking Don Ellis Orchestra experience, then I highly recommend finding this album to listen to! Plus, these songs are not available on other albums and are here for your entertainment and amazement.

1. Time to Turn the Page intimate beach to set the scene with the warm, dark organ 2. End of Their Road with this latency which takes me back to the works of Jeff Buckley for the decadent, melancholic rock air, full of sensitivity 3. Harbinger of Sorrow and 4. He's Not Me give off a lively, flayed atmosphere, on a redundant spleen crescendo, the Floydian guitar on a squeaky slide guitar 5. Black & White on a mid-tempo which leers on the depressive moribund air between Cohen and Gilmour; but it is indeed Kristoffer's voice to give a feeling of warm twilight coldness 6. Down We Go for the first of the 2 long pieces, a soft, ethereal crescendo with a fabulous guitar solo as the climax that would make the great David pale; sublime piece, especially if the person no longer plays Floyd songs.

7. Turn It All Around with a fluid sound, frolicking on the works of the Magyar Posse; musical poetry, languorous violin, a nugget that eyes its rise towards a cheerful Philip Glass 8. Means to an End for the spine-chilling symphonic climb 9.Beautiful Decay piano and slide guitar from Louisiana, dark folk rock again, yes it is by going to the depths of the bayous that we can find hope; the organ helps, the violin too and we start dancing arm in arm to ward off bad luck; title to listen to in good mental condition 10. The Brittle Man for the paradoxical title with its symbolic climb onto a musical scaffold, or how to associate black with hope 11. Saturated changes register, the invasive Floydian choirs helping to put you in a trance, the tune with its haunting rhythm flowing endlessly and the keyboard adding a few touches of clarity 12. Empty for the second big title with the fleeting tune that reminds me of one of Alan Parsons, fast but focused; the latent prog intro that 'kills', the one that I loop 3 times before letting the title go further; Kristoffer signs the invasive piece with his voice, the air swirling; the crescendic rise 'finally' explodes the album which I found monotonous, too sinister, even if that was intended; the solo, the solos that emerge from Paul, Marcel and Patrick make me regret that there was not musical light of this kind earlier; in short, slap this last piece.(3.75)

Initially soaring, acoustic prog rock, reminiscent of Floyd, this group evolved under the influence of Dave, its progenitor; over time the sound expanded and Rosanna brought the progressive range to the top on the post- covid 'Aura' . Why this preamble, but because Linda, her next, also has a very beautiful voice which fits admirably with the IO Earth sound!

this album has metallic power, progressive breaks, intimate prog folk variations with passages of saxophone, flute from Luke; Adam launches crystalline and solemn scales of borderline grandiloquent piano and Dave calmed down by distilling his devastating solos at the right moments without drowning us with super guitar-hero notes. An album that can be listened to smoothly, without latency, from which I will highlight 'The Child', 'Changes' and 'Sunshine' for this intense work between delicacy and fury.

An album more prog metal than crossover but a very good album that should not be forgotten and which will last in their discography. (4.5)

— First review of this album —

While I dive into Santana albums from 1972 to 1987 on 2 compilations of 10 CDs, ratings will come after each 3-4 listnings of each album, maybe some comments aswell. This compilation have releases from 1978 to 1987, issued in 2009

First spin - Inner secrets from 1978, not bad at all as many pretend to be, really, like it from start to finish, pieces like Dealer / Spanish Rose or Stormy with superb guitar solo by Santana and some very cool vocals by Greg Walker- 3.5 stars for sure

Marathon - 1979, again 3.5 stars is famous for great instrumental Aqua Marine for good reason, another highlights another instrumental Marathon or Lightning in the Sky. Very nice guitar work , no worries for me about if is or not a Santana album as sound and atmosphere.

Zebop - 1981! -3.5 stars for sure, another worthy Santana album but here things move slightly to some more mainstream AOR direction but still Santana sound is here like on E Papa Rè, and instrumental ones are in front here like Tales of Kilimanjaro or Primera Invasion. Nice one

Shango - 1982 - 3 stars - Now Santana on some pieces sounding like Journey same period like on Hold on or Nowhere to Run, while instrumntal Nueva York stands as highlight. Still ok most of the time, Shango is kinda easy listning compare with older material, but not bad at all really at least for my taste.

Freedom - 1987 - 3 stars, this is typical 80s mainstream rock album with some latin, pop rock and R&B sounds. Again overall forgettable release for Santana, but not entirely dull, there some very cool moments like instrumental Mandela or the opening Veracruz, the rest are unintristing but not that really bad.

So, from this period for me Inner secrets from 1978 is the winner for sure and overall compilation is a worthy one to have. 3.5 stars

Review Nº 775

Brand X is a British progressive rock band that was founded in London in 1975. Brand X was a jazz fusion band active between 1975-1980 and 1992-1999. The members included the noted Phil Collins (drums), Percy Jones (bass), John Goodsall (guitar) and Robin Lumley (keyboards), besides many other musicians that collaborated with the band all over the years. Brand X recorded and released their debut studio album "Unorthodox Behavior" in 1976. The album was positively received by the jazz/fusion fans worldwide. Afterward, the band hit the road for multiple tours in the UK. In 1977, Brand X recorded and released their sophomore studio album "Moroccan Roll", an album also very well received.

"?Featuring Phil Collins" is a compilation album with thirteen tracks that was released in 1996. It comprises tracks that belong only to their first two studio albums. So, from "Unorthodox Behaviour" we have "Nuclear Burn", "Euthanasia Waltz", "Running Of Three", "Born Ugly", "Unorthodox Behaviour", "Smacks Of Euphoric Hysteria" and "Touch Wood". From "Moroccan Roll" we have "Hate Zone", "Sun In The Night", "Why Should I Lend You Mine (When You've Broken Yours Off Already)", "...Maybe I'll Lend You Mine After All", "Malaga Virgen" and "Macrocosm".

"Nuclear Burn" is a great track where Collins and Jones erupt in unison. Phil and Lumley enter to introduce us to the song and Goodsall who, together with Lumley, exudes a wonderful solo. The 70's jazz fusion flavour is perfectly audible here. "Touch Wood" opens with intricate guitar as piano comes in. It's a piece with a great delicacy where Lancaster's nuances with his soprano sax the Goodsall's acoustic guitar and the Lumley's keyboards, which fill us with warmth, especially at the end of it. "Hate Zone" begins with a solo by Collins that kicks it for several seconds. Jones then joins in on the euphoric piece, followed by the rest of the band. This is a very hard grooving track that clearly moves towards the jazz rock style. "Euthanasia Waltz" is a calm track. It follows the repertoire with a melodious and dynamic piece that finds Goodsall playing captivatingly and where the acoustic guitar is the dominant instrument here. Collins and Jones' cuts are stunningly precise. "Running Of Three" is a piece where the band makes a rhythmic melodic experience. It's a fast track where bass and drums play intriguing roles. Keyboards share the melodic work with a guitar solo of rock in the middle. The overall impression is a jazz jam piece. "Sun In The Night" is a laid back piece, one of the few pieces of the band that has words. It's a very rewarding track with some pleasant sitar and great, spacey vocals from Collins. The intensity grows as the song progresses. This is a peculiar, but yet fascinating piece of music. "Born Ugly" is a groovy number where the band shares a bit of funk without getting too far apart. It can be best described as improvisation session music with a structure. The middle part is a bit psych as the band weaves a large soundscapes with growing intensity. "Why Should I Lend You Mine (When You've Broken Yours Off Already)" is an excellent instrumental full of surprises ranging from its varied dynamics to the curious percussion and the always virtuous and extended sound of Jones's fretless bass. Lumley and Goodsall's solos move within an environment where everything seems to levitate, really. "...Maybe I'll Lend You Mine After All" is a brief piece, a slow track, a logical continuation of the previous track. It could well be the coda of the previous one. Both parts give a lot of atmosphere to the track. "Unorthodox Behaviour" is another piece that sounds like an improvised jam. It begins quiet and even hesitating and builds up a tension that it's broken up suddenly by Phil's drumming. A dialogue develops between the guitar and the keyboards and where bass and drums occasionally pop in. "Malaga Virgen" is one of Brand X's greatest tracks ever due to its complexity and the way it holds together as a piece. It switches between the fast and slow, and the loud and quiet parts. The interplay is exceedingly virtuosic, especially the solo segments by Jones and Lumley. "Smacks Of Euphoric Hysteria" is probably the least euphoric songs in the all repertoire of the band, but it's highly attractive too. It has a slow groove. There's an obvious intention to give to each musician the same time in the centre spot but Phil's drums are in the front, really. "Macrocosm" is a celebration of the fusion genre, being intricate and uplifting and a showcase for the individual skills of all musicians. It shows why Brand X has been one of the jazz fusion bands with great relevance for so many decades.

Conclusion: "?Featuring Phil Collins" is a very good compilation album of Brand X. It has some of the best tracks by the band. However and despite of that, we cannot say that "?Featuring Phil Collins" is a compilation album very well representative of Brand X because, as I mentioned above, it has only tracks that belong to their first two studio albums. This is pretty evident if we look to title of it. Who are used to with the entire career of Brand X knows that Phil Collins only participated entirely on the first two studio albums of Brand X, "Unorthodox Behaviour" and "Moroccan Roll", due to his commitments with Genesis when he replaced Peter Gabriel in the vocal role. Anyway, "?Featuring Phil Collins" is very well representative of that period of the band and represents an excellent intro to the band and their great music.

Prog is my Ferrari. Jem Godfrey (Frost*)

A different RPI, younger, modern, with a more accentuated rock connotation, aggressive instrumentation and incisive breaks, without denying their original sound. When the RPI allows itself to evolve and not stay within its singular constraints, we have this album which puts a good dent in the anthill and gives new prog blood to this musical genre which can produce very beautiful things; less jazzy variations, more rock and this RPI sparkles with joy for this new decade. Creativity is good for forgetting that this group started in the 70s!

Lanzetti always sings very well with a depth which seduced me, the orchestration is therefore more rock and honors Anglican prog rock, perhaps their transalpine friends will hate them for precisely that? The album has less classical wind and string instruments and allows to give musical pep, musical novelty which should keep them in the ears of today's progues.

Ancient Veil was founded by Alessandro Serri and Edmondo Romano in 1995 after the killing of Eris Pluvia. A music with folk, jazz and classical roots is marked, especially a sound that smells of the RPI with saxophone and classical wind instruments; in good French I immediately return to Angelo Branduardi and his folk, medieval tunes; I am thinking of the well-known Rondò Veneziano who did not hesitate to cross the rubycon of variety to give an overview of what Italy could create as a genre around baroque, rock and classical; yes some will cry foul but Ancient Veil remains in the RPI straitjacket with the primarily orchestral, jazzy, folk, cottony sound giving pride of place to flutes and other saxophones. Quite diverse but also boring in fact because it remains in this niche from the beginning to the end of the 18 titles without any sequence; yes the low hurts of these titles which lack soul and become remarkably similar over time. To give a more positive note, listen to 'La Nuova Aurora' the last track with a fabulous energetic guitar solo which makes me say that a little more of this rhythm in the album would have been beneficial. Those looking for a little novelty will be left wanting, those who like this vein will undoubtedly find this album perfect, but will not be objective. (2.5)

4.5 - Pure Arjen's fun

I've been a fan of Arjen Lucassen's music for twenty years now, first discovering his work through Ayreon's 'The Human Equation' and then backtracking to albums like 'The Final Experiment' and 'Into The Electric Castle', still favorites of mine to this day. I've followed all of his projects since then, and enjoyed them all, as while each one explores a different avenue of his musical vision, they all share the same basic DNA. Supersonic Revolution is his latest venture, and it's a case of false advertising in some ways, as I was led to believe this was some sort of campy glam rock album. Lyrically, this act are all about immortalizing their 70s youth with kitschy lyrics about the good old days, and the basic touchstone here is definitely a 70s hard rock-inspired sound, but it's far heavier and faster than I expected it to be, with a lot of shredding guitars and insane keyboard runs that immediately brought to mind Star One. The fact that vocalist Jaycee sounds a good deal like Russell Allen only strengthens the comparison, although this guy could easily sing for Tygers Of Pan Tang, too. He's got a killer rasp and a hell of a range, and he makes these tunes soar in unexpected ways, just the perfect voice for these bluesy, fist-pumping anthems.

The production is modern and polished like a silver platter, so it certainly doesn't sound like an album you dug out of your father's beat up old record collection from the attic or something. It's also a lot more progressive than you'd expect given the album cover and logo. I'd heard this was like Ayreon doing The Sweet or some [&*!#], and it really isn't. Beyond the obvious prog sounds Arjen brings to the table, the main bands this plays off of are Deep Purple from their 'Machine Head' days and the first three Rainbow albums. Former After Forever keyboardist Joost van den Broek exclusively plays the organ here, channeling his inner Jon Lord, and does a hell of a job of dazzling the listener with some of the most intricate and effortless playing you're likely to hear. Guitarist Timo Somers of Carthagods fame is a real find, laying out these bluesy riffs like [%*!#]ing Criss Oliva in his prime with plenty of cheeky pinch harmonics and shredding like the bastard child of Marty Friedman and Eddie Van Halen. It's a gloriously controlled racket that brings a kind of unruliness that Arjen wouldn't have managed if he'd handled axe duties on this (he serves as songwriter and bassist here).

Song wise, the whole album is dynamite, kicking off with a pedigree banger in 'The Glamattack', a double-bass-led anthemic assault that has some serious power metal vibes, especially during the chorus, which rocks massively. Then we have the hair-raising title track, one of the catchiest tunes on the album, before we're treated to the most blatant Purple-esque track in 'Burn It Down' and the most intricate and proggy cut here, the excellent 'Odyssey'. This one is pure Star One, chugging along with a mean groove and some superb vocal lines from Jaycee. Later cuts like 'Holy Holy Ground' hit the same kind of highs, while 'Came To Mock, Stayed To Rock' injects a bit of humor into the mix, but it's a killer boogie number that closes out the album before we have a slew of covers that are cool, but not really essential. I must say I'm pretty impressed with this. It's been stuck in my CD player for two weeks and it's been a huge pick-me-up during this rainy English winter. Those thinking this is some glam-inspired cringe fest need a blast of 'The Glamattack' to blow back the cobwebs, as anyone familiar with Arjen's work in Star One and Ayreon will find much to rock out to here. Let's hope they produce a follow up.