CROSSOVER PROG

Like "Eldorado" there are two songs I recognize, probably from listening to FM classic rock stations. "Showdown" is one I really like but wasn't the biggest fan back in the day. Also "Ma-Ma-Ma Belle" is the other one I know and this rocks pretty hard, no doubt a good live track for these guys once upon a time. I can't believe Marc Bolan is playing guitar on this one along with the next tune "Dreaming Of 4000". Marc has been on some good Fusion albums and speaking of that check out the final 30 seconds of "Oh No Not Susan" with the Jerry Goodman-like violin.

Back in the day when I was 17 years old and finding my way musically I did check these guys out by buying "Out Of The Blue" for the very happy "Mr. Blue Sky". Interesting that the RYM site has the four straight albums beginning with "Eldorado"and ending with "Out Of The Blue" as their highest rated. And add "Time" from 1981. I'll take the "The Third Day" thankyou.

By far the most important instrument here is Ruud's wonderfully melodic guitar which can be very Gilmour-ish at times, while at others it is far more direct. This is an album where the music style can almost be defined by a decade, as this is loaded with the Seventies throughout with Ruud providing a masterclass in how to wring emotion from six strings. Following on from Frank's growly vocals on opener "Repentance" we move into the first of three instrumentals, "Slow Down". There are chunks of this which are pure Floyd, while at times we are thrown into the realms of psychedelia. One becomes transfixed at what is taking place, and to say I am surprised that Ruud has produced such a wonderful release with his third album is something of an understatement. Wherever one looks there are touches of real quality, whether it is the fretless bass here, the powering drumming there, the acoustic making an entrance in that place, all brought together with powerful use of melody and never overplaying.

The result is a highly effective and enjoyable release which is a great introduction to Ruud Dielen, and given the step change from his last album it will be interesting to see what the next one brings. This is Seventies rock containing plenty prog elements, and is one I thoroughly enjoyed.

After the opening overture we get the hit "Can't Get It Out Of My Head" and it's a pretty good tune and one I remember from back in the day. I still can't get over how orchestral this album is with that 40 piece orchestra in play. I honestly thought this band would be in Prog Related, so I'm surprised to see them in Crossover although this record by itself leans heavily towards the Symphonic I must admit.

I'm not surprised at the success commercially of this one with the two or three popular tunes and of course being unique with that orchestra. And come on this also brings THE BEATLES to mind at times as well. Jeff was onto something. Just not my thing. 3 stars.

His second offer from 2014, named The day we came to realise being the best so far. Is a concept album, described in his own words " A concept album that tells the story of the survivors of the earth after a nuclear holocaust ", well, that is proving the great art work aswell, I can say is like a rock opera, not far from Ayreon albums

Fernando is a multi instrumentalist, he can handle very well keyboards, piano and even some vocals here and there, but have a pletora of guests here, some of them being from Vanished From Earth band where Refay is member all done a good job in the end.

The music is quite elaborated, specially the instrumental sections, maybe the vocal parts are not quite so strong, only ok, the pieces are long with opening track Balad clocking around 25 min is a winner. Melodic lines combined with more edgy make from this second album a good listen, something between symphonic prog rock and prog metal. Keyboards are all the time used throughout the entire album and in combinatian with the melodic prog metal parts and atmospheric symphonic arrangements and textures giving a worthy album.

Fernando Refay done a good job on this album and I thing worth investigated. 3.5 stars for sure.

It's pretty cool in the liner notes to see seven pictures of what is supposed to be the same person from when he is a boy all the way to being an old man. A gradual process. This is such a consistent record maybe the most consistent of their whole catalogue. Picking a top three would be hard but the one song I seemed to resonate with the most was "All Thats Left" the way it starts out like a whisper to shouting as it were later on.

I have been on THE PINEAPPLE THIEF bus for almost 20 years. When Gavin came on board for the album "Your Wilderness" I think it was like catching lightning in a bottle. With Bruce's already emotional lyrics, then bringing in a world class drummer to the fold, well that first album with him will always be my favourite. The live tour that followed gave us "Where We Stood" a top three for me and again this is an inspired band right here saying look at us now! And how about the wordless vocals from Bruce so unique to those two albums. My top three would also include "Little Man" from 2006 which encapsulates all that went before with some of their best songs and emotion to burn here.

Yes time to get off the bus, it's time. I do recommend this one quite highly though if your already a fan.

Armed with a tantalizing guitar riff and some spooky electronics that surely define the weirdness we currently live in, "Hope Is" shatters the apathy with a masterful exposition of modern prog and indicating the direction it should be going in the future, Marta's sung words of courage in the face of the darkest hours ahead provide some semblance of panacea. The rhythm section marshals a fair bit of ferocity, as Michal's hardwired guitar spirals into the skies above. Nice prog wake up slap in the face. Immediately addictive due to the repetitive "Stay Human" chorus, and pronounced charmingly as hew-man, the arrangement is dreamingly minimalist with the lightest percussion accompaniment and an equally resonant stinging guitar line. Eventually, the pressure builds up with careening synthesized sonics that sound like war sirens blaring, exhibiting a kind of looming doom that cannot fade away, actually revving up into a slow churning frenzy. A genius track that would have worked on a classic Floyd album of your choice.

Definitely a highlight, "Insomnia" slices through the soporific atmosphere where a mournful violoncello rakes the nerves, as sleep will not arrive regardless. The fear of the unknown is not exactly ideal for slumber. The lead guitar is wretchedly uncomfortable, a turbulent sense of dismay within the notes, as the brutal riff compounds the pain and the lead vocal cries out both scared, scarred and in dire need of relief. Absolutely terrific. Exposing strong electronic tendencies that set the tone for the next sonic horizon, "Trail" is an introspective voyage seeking understanding, perhaps even finding wisdom somewhere down the road, that clanging rhythmic pulse adding to the suspense. As the slide guitar scorches the path ahead, increasingly furious, and intense, the mood shifts to a sudden respite, a clearing where the danger arrives unannounced with frightening heaviness, recalling some of the finer Porcupine Tree onslaughts. I collapse exhausted. After such fierce intensity, "Welcome" is most refreshing, a brooding neo-gothic lament with Kornel Poplawski on the microphone, dark cloudy electronic orchestrations that add to the submissive nature of the arrangement. The second half relives the earlier vocal instrumentally, with echoing e-piano and screaming guitars, one can imagine a modern prog version of Bauhaus.

Another killer track (as if the others weren't), the sombre "Queen" is seriously disturbing, a funereal, dystopian, slightly deranged composition, where the dense music is heavily laden with doom and gloom, the anxious voice in abject surrender. The tortured axe solo verges on insanity, the zombie growls to be dreaded, the bass and drum in mortal ruin. The rambling nature of "Perfect Run" comes across as a scamper towards some kind of salvation, fleeing impossible dread and mental or physical invasion. The wandering tone is both positive and negative, as is typical with the human brain, always subjected to the extremes. A chugging train headed towards freedom but lingering pain at what was left behind, both unknowns that need to be confronted. The tragically overwhelming anthem "Don't Surrender" suggests that hope can only come by vanquishing the fear, replacing it with courage, determination and will power to carry on. Spoken words, surely prayers and oohing choruses offering comfort.I could not help to close my tired eyes and envision the immense suffering that has been going on in the Ukraine, for which this album could definitely be a role model. Perhaps some of us far away from that reality should stop complaining about their frivolous problems. Case in point, the album continues with "Simple Pleasures" the longest piece presented here and a fitting call for peaceful understanding that we all inhabit this blue planet, we breathe the same air, and we all hope, I said HOPE, for a better life for our children. Yes, it's a turbulent world where opinions override facts, where agendas overcome decency and respect, and endless glorification of self needs to be vanquished. When will we learn that hope is simply not enough.

The tragically simple "Dolina" reflects over the valley that lies ahead, sung in Polish and accompanied by solemn strings. 5 victims of our expectations

Fairy Tale releases this 2nd digital EP to keep people waiting, ideal for their fans.

He began his recording career in 1984, with One of the Many being his 18th album and undoubtedly one of his most ambitious achievements. As he has been doing in a prolific manner, Miller delights his audience with charming, polished, and passionate musicality. As always, the clear influences of names like Pink Floyd and Moody Blues are evident; however, they coexist with his own musical direction and commitment to artistic integrity, as well as a strong desire to explore the unknown. This is a journey through rich and textured soundscapes that challenge conventions and expand the horizons of auditory perception?therefore, it is worth remembering that good headphones are always welcome.

"Atrophy" begins the album by smoothly sliding into a world of sounds where time becomes a mirage and emotions intertwine in a magical dance. "Atrophy" is more than just a song; it's a transcendental journey through the realms of melody and narrative. In this sonic oasis, Miller's music flourishes in its fullness, blending a palette of sounds that captivate the senses and soothe the soul. Meanwhile, Miller delves into the perspective of someone who is experiencing an emotional struggle with memory loss.

"Time Goes On" is a track that exudes an aura of serenity and introspection from the moment Rick emerges with his first piano notes. The delicacy with which the music unfolds and its sense of fluidity and movement is extremely fitting with its narrative suggesting a reflection on the nature of death and the fear it often evokes. Meanwhile, guitar and violin dance in perfect harmony as they lead a grand piece - despite its short duration.

"The Lost Years" is the kind of dynamic and multifaceted music that brilliantly navigates an emotional rollercoaster full of heartwarming sonic twists and turns. A thematic exploration of nostalgia and regret, highlighting the intricate web of past relationships and how memories can persist, haunting and shaping present life. The guitar lines are the best on the album, sounding like a confession and delivering truly raw emotion. Its dreamlike ending is like bidding farewell to something precious and irreplaceable.

"She of the Darkness" is an incredible instrumental track led by wonderful flute work. Its ethereal chords echo like the gentle sigh of wind through the trees, evoking a sense of serenity and contemplation. This celestial melody is then enriched by the dense orchestrations that surround it, creating a rich and lush sonic tapestry that fills the space with a feeling of grandeur and majesty. Guitar, piano, and a brief "guitar attack" complement the track wonderfully well.

"One of the Many" has a beginning that is hard not to evoke Pink Floyd, enveloping us in a sonic haze while ethereal vocal effects add a celestial dimension to the composition. It addresses the challenges of the digital age and highlights the role of technology and media in today's society, as well as the importance of critical discernment when consuming and sharing information. With its unique fusion of captivating melodies, intelligent lyrics, and an incredible sensitivity to sound, it is a classic example of Miller's talent in creating sublime music.

"Perchance to Dream," with its over 13 minutes, is the epic of the album. It's not just a musical journey, but an emotional odyssey that transports us through a myriad of feelings and profound reflections, where Rick Miller skillfully uses each musical element to create an immersive sonic experience in a lyrical theme that addresses both dreamlike and real elements. It's also possible to include a contemplation on the essence of life and how we perceive the world around us, conveying an enigmatic atmosphere, longing, and reflection on existence, leading listeners to ponder the essence of reality and human experience. Anguishing guitar lines, delicate flutes, atmospheric keyboards, and a solid rhythmic section create majestic soundscapes, where the deeper we sink into its sad and melancholic melody, the more we are transported back in time, to a place where smiles were easier and the world seemed simpler.

"Wonderlust" is a composition that overflows with emotion and depth, evoking a complexity of feelings and images that speak directly to the soul. In this invitation to explore the mysteries of existence, we find a sublime blend of melancholy, beauty, and introspection. It's a soundtrack for meditation where the focus is on life's journey delivered in a mix of beauty and sadness, and even an attraction to the unknown. Each of its elements is essential, from the incisive guitar to the stirring cello and celestial choir; everything works in perfect harmony to create a sensational auditory experience.

"Another Time" not only closes the album musically but also serves as a gateway to personal reflection and introspection. It invites us to dive into the depths of our own experiences, recognizing the beauty and complexity of human life. Acoustic and accompanied by some cello flourishes, along with a moderate beat from the rhythm section, it's a beautifully melancholic conclusion to a brilliant album.

One of the Many once again showcases Miller's ability to weave complex sonic elements with melodic sensitivity, offering richly detailed and nuanced layers to be explored. The intricate instrumentation and sophisticated arrangements provide a rich and immersive auditory experience, rewarding even the most discerning listeners and progressive music enthusiasts with a musical journey that never fails to surprise and impress.

On the other hand, for casual listeners who may not be as familiar with progressive music, One of the Many offers an accessible and inviting entry point into an intriguing sonic world. The captivating melodies and memorable hooks make the music instantly appealing, providing an auditory experience that is both stimulating and rewarding.

This album with Arne Schäfer and Eberhard Graef at the helm uses all the progressive, pompous, bombastic and melodic archetypes to bring us into the timeless prog universe; a bit of Supertramp, Barclay James Harvest for the dated sound and vintage Scandinavian groups who use various organs to make us regress even more. A bluesy-soft atmosphere, a riff that we would see on a Floydian prog metal, on a Deep Purple for the 'Emotional Feedback', yes I forgot there is Pink blood here, so RPWL too on top of that of Genesis for the divine flute which comes to add its grain of note; pop rock from the end of the 60s...they succeeded by releasing long tracks, 4 of more than 10 minutes including the last 'The Turning Point' with this famous tune from another group; I'll let you guess which one An album that smells of sweaty vintage and can be listened to very easily.(3.5)