CROSSOVER PROG

Having been a PG fan for decades, I have to say this album infuriates me. Not because of the music, which is excellent, but because of the formatting. Many people have criticized progressive rock as being pretentious - the songs are too long or too complicated. That has never been a problem with me. I prefer my music intelligent. On i/o, PG has achieved a new level of pretention in giving us two different mixes plus a Blue Ray Audio file that will not play on older systems such as mine. Having two different mixes signifies either that the artist is not sure what he wants his album to sound like or that he is trying to cover all bases for commercial reasons. The artistic reasons given I declare spurious. PG has always included visuals with his music, first with his costuming and performances in early Genesis and beyond, then creating interesting videos. His live shows remain legendary. The Blue Ray included in this package is his way of including visual artists with his music production. All good and fine, no problem. But to put it on a such a format that is incompatible with older systems is too much for me. I understand this format sounds better than older formats, which should be expected. If only I could experience it without buying a new system. Innovation is a good thing, but not in itself, which is what is going on here. Having listened to both mixes I can honestly say I prefer the Dark Side mix to the Bright Side mix and would have preferred the artist had the integrity to release an album worthy of his legacy, a single album. I now have three versions of the same album, an absurdity in itself, one I prefer over the other, and a third I cannot listen to. This nonsense I do not need. Even if I could play the Blue Ray, I would probably only do it once. If I want to watch music I will watch a live performance because, you know, music. I have long disliked having multiple mixes of the same song on a single CD, or even worse, a live version of a song I had just listened to. No, not happy with this album. I repeat that the music is excellent even if it constantly reminds me of music he has released in the past. The album is a culmination of all he has done before. But I won't recommend it because of the pretentions involved. I realize I am likely in the minority on this issue, but that has never bothered me. I will maintain my position even if I am the only one to do so. I hope that Mr. Gabriel will put out another album soon, and not makes us wait twenty years for new music, one that is an album, and not an exercise in pretention.

Hello fellow music lovers. Caught by surprise, this album didn't have much hype before its release apart from the great video of impossible tightrope which is how I found out about the album.

This album seems to be in a similar category to "to the bone" however Steven Wilson as usual has put together an album that conjures up different styles of progy music into one package which I like.

This album,in typical Steven Wilson fashion has absolutely great sonic excellence throughout, songs like "what life brings" has beautiful acoustic guitar and those beautiful lush vocal harmonies I really enjoy more so it's a nicely arranged with elements of rock, Pop and very slightly prog which is a throw back to the "lightbulb sun" album days.

The stand out track for most prog rockers will obviously be impossible tightrope. This tracks has elements that could be a 70's ECM record (but heavier) or something fusiony from a vertigo label album, it also has a great requiem/choir part in the middle and there are individual solos for key, sax and guitar so it explores some interesting territory.

Songs such as Economies of scale, then basically all tracks 7-10 have what I would describe as prog electronica rock but superbly executed in terms of additional acoustic instrumentation,theme of lyrics and arrangement etc. Whether the tracks are rock or electronica type of songs they all have great space, atmosphere and depth with cool guitars, keys and of course Gavin Harrison on drums mixed in there. If your into your audiophile Hi-Fi stuff you will really enjoy this album and it has a lot of dynamic range.

The song "The Harmony Codex" has an excellent monologue which is deep and touching in itself with an interesting audio trick which I forgotten what it's called.

In summary another great album from Steven that covers a lot of ground, has a very high degree of sonic excellence if listened to form start to finish it has a nice flow to it. A nice addition to any music lovers collection.

I rate it 3.75

4.5 stars. ONCE AND FUTURE BAND are from Oakland, California and this is their debut from 2017. Seasoned musicians, in fact a trio here with two guest female backing singers and two guest guitarists, and one of those would become the fourth member on their next record. This is jaw dropping music that took me completely by surprise. The drummer is outstanding and the best musician on here in my opinion but the vocalist has to share the spotlight for just being off the charts good. He's also a multi-instrumentalist as is the bass player both adding guitar and keyboards here.

I still can't believe how good this record is. It is consistently great to be truthful and yes bands like ELO, 10CC and STEELY DAN came to mind the latter more for those sophisticated, thought provoking lyrics. Yet as catchy and poppy as it is, it also exhibits some demanding compositions with long instrumental breaks revealing a very proggy band with chops. I mean you can focus on the bass which I love or the drums or synths or vocals and just be blown away. The guitars on here are good but not on that level in my opinions. We get seven tracks and just under 39 minutes.

And like I said consistent. First listen I kept waiting for the throw away, the "I wish they didn't go there" song but it didn't come! I have trouble picking a top three because of this and to pick a top five out of the seven seems silly but I do have a favourite "Hide & Seek" which is about this beautiful girl named Sarah and the lyrics are so witty and well done. This is the first track where they slowed things down and it's track three. Hearing is believing but this is so good. It's so meaningful! There are so many sections on this album where it's the combo of drums and synths or drums and bass leading the way and it's the synths and drums late to end this one.

I have to mention the next song "Rolando" for that jazzy start and yes this drummer could be in a Jazz band he's that good. Drums and bass only at one point here. The other track where they slow it down to great results is "Magnetic Memory". The vocals and sound are a beautiful thing. More great drumming on that instrumental break. The bass is most impressive on the closer "Standing In The Wake Of Violence". The vocals are a little different here too. ELO comes to mind the most on "I'll Be Fine" and that opener "How Does It Make You Feel" could have been a hit despite being six minutes long. The vocals kill.

It doesn't look like I can get a physical release of the followup at this point but man I'm pretty content with owning this.

So (pun intended), here we have it. This is Peter Gabriel releasing his inner Phil Collins in this magnificent double vinyl disc (single cd) album. It was after his parting from Rosanna Arquette that PG released this, one of his finest albums, with several oblique references to the breakup (break down?) of his relationship with the said RA. While certainly not as explicitly painful as PC's expressions on the same subject, Gabriel does get his point across in some of his compositions here, "Come Talk To Me", "Love to be Loved", "Blood of Eden", "Only Us" and "Secret World". That's nearly half the album. But whereas his old mucker PC gets his own point on the subject across very clearly and in simple terms, Gabriel broadcasts the same message here, in utterly compelling complexity. Did I say, "complexity"? Simply put, once this album goes onto the turntable (or into the cd player), the listener can't stop listening, to everything, and again listening to everything, until the end of song number twelve. And then listening again, just to try to take it all in. The musical quality here is just so good that its great. Yes, it does have to be said that like all great albums, US requires more than just a couple of spins for the listener to appreciate all that it has to offer (reference The Lamb Lies Down On Broadway as an example). But if the listener can invest a little more time that would be required by, say, something akin to a Take That offering, then the rewards will be exponentially more. A Big Five Stars Here for this magnificent album.

3.5 stars. This one did grow on me but I still prefer the compilation of unreleased material from this era that was an archival release in 2003. They are from Denmark and they formed in 1967 so it took some time to get this debut out in 1972. A hard rocking band with the organ dominating along with the guitar and vocals. Very much of it's time but these guys were talented and adventerous, maybe not so much on this record but some of that unreleased music shows how talented they were.

So we get seven tracks over 42 minutes and this is a five piece band with some guest flute on a couple of tracks. The lead singer adds some percussion but he's there to sing while the bass player takes the lead vocals surprisingly on two tracks. There's not really a track for me that stands out. It's pretty consistent I'm just not always sold, just my tastes. There are some extended instrumental sections where they jam usually with the guitar soloing over top. The only instrumental is "Prelude" a short piece just over a minute long. The bass isn't always upfront on this record but when it is I'm impressed.

If you like hard rocking music from the early seventies I would suggest you check this out. There's a lot of 4 star reviews here that would suggest this is worth investigating.

Hi fellow Prog rockers and music lovers. Steven Wilson, early into his solo career comes out with an album that has every bit of sophistication, imagination and production quality of the great albums we know and love from the golden age of prog rock with a slight sense of contemporary.

Featuring some guest musicians that we are all well acquainted with such as Jordan Rudess (Dream Theater) and Steve Hackett (Yes) and the somewhat familiar lineup of long time collaborators Nick Beggs and Theo Travis the musicianship is high quality but in some parts more so in terms of creativity and or imagination rather than "sport" playing although they have their individual moments to shine in their own right.

The album has a very early 70's vertigo swirl record production sound to the music that I would classify as eclectic/prog/fusion rock and in my view is more a night time album where you have the time and lack of distractions so one can really dig deep into the music because there is a lot of great content along with quite long tracks.

I give this Album a solid 4 stars and in my view it is definitely SW's best prog/eclectic fusion rock album which conjures up all the elements of a classic vertigo swirl album from the early 70's and beyond with added requiem/choir parts , beautiful use of space/atmosphere along with some contemporary programming of course has a beautiful audiophile engineering production standard throughout the album as we have come to expect from this artist.

Definitely get this album, you will not be dissapointed but approach with an open mind and allow enough time to hear the whole album as it has a flow to the tracks. This album definitely grew on me after a few full album listens and now its my favourite from Steven. GET THE SURROUND SOUND VERION AND ENJOY IN 5.1

Over the years I have found Arne Schäfer (lead & backing vocals, electric & acoustic guitars, keyboards, bass, orchestrations) and Eberhard Graef (drums & percussion) to be a little hit and miss with some albums worth investigating, others somewhat in the middle, and others definitely ones to avoid. However, I did really enjoy the last two, so I had high hopes of this one, only to feel somewhat let down. Although they are rightly deemed to be crossover on PA, they have always had a high amount of neo in their style and have been seen as being somewhat at the forefront of the 90's revival in their native Germany. I think the best word to describe this album is "bland", as while there is nothing awfully dramatically wrong with it there is also little here to get excited about.

I found I kept thinking of one of Clive Nolan's many projects he used to undertake, with somewhat of a theatrical bent, but not delivered in anything like the same degree. Even when Arne has the guitar wailing and the drums are driving forward as on opener "No-one But Ourselves", it just feels somewhat staid and almost formulaic. Four of the six songs on this set are more than ten minutes in length, something any proghead will gladly sink their teeth into, yet they meander without direction or emotion, leaving the listener unsatisfied yet bloated at the same time. Let us hope this is just a one-off and the next one finds them with more bite and verve, but this just feels there is not enough clarity and space and the arrangements have been layered in the hope that something will come out of it, but it didn't.

1. From the Undertow intro to the burning rope, latent, aerial, crystalline piano, a good GENESIS encore in fact; we get into the subject and it's better than the sound of the group 2. Lucky Me with Kim on vocals, you have to get used to it, hard for me; Well-calibrated marshmallow romance with an intoxicating Banks vibe 3. The Lie as an ersatz of a Genesisian title, I'll let you guess which one but yes I'm starting to think of scraps of titles that he kept in his computer 4. After the Lie on a more airy, fresher, fruity piece, the title that we are releasing in the spring; in fact it could be a GENESIS with Chester hitting the barrels; All that would be missing is a guitar solo from Mike who was almost as discreet as Steve when there were still 5 of them, a dynamite consensus title which is really not bad at all, for anyone who doesn't yet know GENESIS!! 5. A Curious Feeling continues the dynamic and then there were three, like falls from this album, but good falls! with paradoxically more long pieces, strange or done on purpose, in any case a real joy 6. Forever Morning and an instrumental in addition to the intro; majestic, Vangelisian, admirable, of the primary symphonic which sends you with two very high chords,

7. You continues on the same musical line with an innocuous verse-chorus followed by a flight of synths, yes more modern, a little brightened up of the genre and the cruise has fun; the solemn tone reinforces the experienced side of the group which knows what it is playing, in short admirable; the finale with the notes that flow, that roll like on a... GENESIS, we even have the impression of hearing the archangel's flute to tell you 8. Somebody Else's Dream for the Chris and Tony association, the vocal flirting between a TOTO and an AOR group, yes you have to look a little; otherwise I'm waiting for the instrumental part, suddenly crystal clear piano and the flight... too fast, disappointment in fact; yes Tony alone makes me vibrate more 9. The Waters of Lethe and the 3rd instrumental which once again stands out; the grandiloquent symphonic side with the Vangelisian touch which does not leave one indifferent, and this progressive escapade which goes well beyond prog, an Olympian neo-classical feeling 10. For a While nursery rhyme for the piano, the ballad is all, the source dries up? 11. In the Dark for the Genesisian finale, yes I assume, an almost more beautiful ersatz space which closes with this grandiloquent organ rise which makes you grow hair on your skull, a bucolic and enjoyable pleasure in fact.

In November of 1978, while an undergraduate at the University of Notre Dame, I had the opportunity to attend a lecture at Washington Hall on the campus by Dr. Timothy Leary. His topic was "Avoiding the Pitfalls of Terminal Adulthood" (or something along those lines given my present, 45 plus year removal from the event.) During his presentation, Dr. Leary had Pink Floyd's "Dark Side of the Moon" playing in the background. A young boy (perhaps his grandson?) frolicked on the stage.

The following day, I found myself in the South Bend airport, preparing to fly home for Thanksgiving. At the same time, roughly, Dr. Leary arrived to head to the next location on his tour. I couldn't resist the opportunity to shake his hand, and remark, "Dr. Leary, the Moody Blues were wrong, you're not dead . . . !" Not particularly amused, Leary responded, "Nice Suit."

Six years earlier, Mike Pinder, Ray Thomas, Graeme Edge, John Lodge, and Justin Hayward had issued forth their second musical deliberation regarding Dr. Leary, "When You're a Free Man" on "Seventh Sojourn." Their earlier "Legend of a Mind" on 1968's "In Search of the Lost Chord" contained a certain amount of satiric, but reverential treatment of Leary's propagation of LSD and psychedelics as a "shortcut" to spiritual, mystical insight.

In 1972, as Mike Pinder and The Moody Blues' "When You're a Free Man" emerged, Dr. Leary had endured any number of incarcerations for his advocacy of and promulgation of psychedelics and other prohibited pharmacological substances. Through the recent scientific studies of the efficacy of psychedelics, under carefully controlled situations, in the treatment of depression and post-traumatic stress disorder, some aspects of Leary's cause may be subject to reconsideration. Pinder's "When You're a Free Man" pays tribute to the once and future, "Give Peace a Chance" Leary, symbol, for Pinder and The Moody Blues, of a "love that will last an eternity."

I would also like to suggest that Mike Pinder's role on "Seventh Sojourn," not only in his two compositions, "When You're a Free Man" and "Lost in a Lost World," but also in his instrumental contributions bears recognition.

Since 1967's "Days of Future Passed," Pinder has fashioned a lead, almost mystical role for the Mellotron. On "Seventh Sojourn," with the addition of the Chamberlin, this function has intensified. In support, accompaniment, and accentuation, Pinder's Mellotron and Chamberlin dominate the proceedings, not only in his two compositions, but also in "You and Me" and "I'm Just a Singer in a Rock and Roll Band." Hayward and Edge's "You and Me," with its layered vocals of Hayward, Thomas, and Pinder, corresponds to Yes' contemporaneous "And You and I."

In addition to Mike Pinder's considerable contributions to this album at the Chamberlin and Mellotron, Thomas, Lodge, Hayward, and Edge all contribute substantially to each other's songs. "The Land of Make-Believe" begins and ends with Ray Thomas' flute; at certain points during "I'm Just a Singer in a Rock and Roll Band," I hear his saxophone. During this final song, of the original album, Hayward delivers a potent guitar solo, and Lodge performs an almost legendary bass line joined by Edge's dynamic, gradually forceful drums.

In "The Land of Make-Believe," Hayward exalts, "Fly little bird up unto the clear blue sky" in a fashion evocative of Yes' "sister bluebird" from "Starship Trooper."

How do you know but ev'ry Bird that cuts the airy way, /Is an immense world of delight, /clos'd by your senses five?

William Blake

"Seventh Sojourn" is the imaginative interregnum upon which the Moody Blues landed in 1972, drawing upon the musical tapestry established in their previous six albums. As with any collective effort, the five "Moodies" had attained a point in which their creative process had reached an uneasy path. However, the final product, this seventh "refuge" need not to have necessarily translated to the six year hiatus between it and 1978's "Octave." Hayward and Lodge's 1975 "Blue Jays" certainly functions as a de facto Moody Blues album. By the release of "Octave," Mike Pinder found himself no longer interested in touring, opening the door for Patrick Moraz's tenure with the band.

Dr. Leary may have passed away in 1996, but that "legendary" mind endures. Somehow, almost 55 years later, the voices of John Lennon, Yoko Ono, and Timothy Leary (among others) resonate from that hotel room in Montreal's Queen Elizabeth Hotel on June 1, 1969, proclaiming "Give Peace a Chance." Perhaps, today, this exhortation may be equally, if not, more important than in 1969 . . . .

Thom Yorke is an artist who benefits from a certain aura. Not that the "Rock Critic" microcosm cries genius with each new appearance of the character?but not far off. The man who knew how to embody from the beginning of the 90s the successful mixture of the disillusioned revolt of Kurt Cobain and the charismatic but disturbing British elegance of Bowie , never compromised, tracing his path to integrated artist impervious to carrier currents. And yet, the group Radiohead, of which he is the singer, has achieved the feat of combining both massive public success and an ambitious artistic approach. But, no more Radiohead today, at least for now. So we find our Thom as a member of The Smile with his Radiohead sidekick Jonny Greenwood and drummer Tom Skinner . So, is this set a way to record an excess of musical ideas, a laboratory for creativity, or a real group with a vision and its own identity? The Smile's second studio album, 'Wall Of Eyes' seems to tip the scales towards the third possibility.

A light and swaying acoustic guitar rhythm opens the eponymous track "Wall Of Eyes". It is around this rhythm that the group will develop its ideas, featuring a zig-zag harmonic progression and the support of strings trying to put everything back on the right path. Under a hypnotic and uniform aspect, the title presents a real complexity which seems to be the direction chosen on this record.

Arrival of the atmospheric electronic elements so characteristic of "Teleharmonic". Once again the group adopts an almost jazz attitude, based on great freedom of expression in a space of immense dimensions. Don't look for the verse-chorus-bridge format here, the codes are largely ignored.

A priori more traditional in format in the guitar-bass-drums vein, "Read The Room" combines an atypical rhythmic twist with a repetitive riff and freewheeling drums. I haven't mentioned it yet, but Thom Yorke 's voice is of course the element linking the whole, incredible in amplitude and expression, his forays into the bass in particular are remarkable.

In the same vein, "Under Our Pillows" is even more reminiscent of Radiohead, and Thom Yorke once again surprises with his ability to lay fluid and accessible singing over an ever-changing rhythm and harmony. The title gradually evolves towards a hypnotic turn which can recall certain psychedelic experiences from the time of Jimi Hendrix for example ("Third Stone from the sun").

"Friend Of A Friend" is one of the highlights of the record with its unusual start in low voice, joined by a piano and drums with a very rhythmic approach. The piece is also the subject of an orchestral crescendo which will of course recall "A day in the life", an inevitable reference on this kind of figure.

On the long lament "I Quit", a few electronic, percussive or orchestral elements seem to break the torpor of a development that is a bit too flat.

Second peak of the album (in my opinion), "Bending Hectic" is built in part around a vaporous guitar plan marked by a "bend" towards infinity adding tension to the velvety atmosphere. The title is enhanced by the orchestral arrangements, completely free drums, and singing that flies towards the stars (or rather towards the ground given the lyrics: "The ground is coming for me now"). The title ends in a saturated deluge that we didn't see coming.

The closing track "You Know Me!" sees the piano return as a central element accompanying Thom Yorke 's high-pitched vocals . This ensemble evolves towards almost Indian sounds with the support of the London Contemporary Orchestra, and thus closes this album on a new hypnotic note.

'Wall Of Eyes' is the testimony of a group, although recently formed, perfectly in control of the space it grants itself. He navigates freely between Rock, Jazz, Electro, Pop, and many other musical genres, to create a style of his own. Certainly, those nostalgic will find that the Himalayan peaks of Radiohead have not been reached, but The Smile drives home with this record the point of asserted independent creativity.

Review originally posted on www.progcritique.com.