IQ are back with their third studio album in just over a decade, with the same line-up for all three, four of whom who played on 'Tales From The Lush Attic' all the way back in 1983. Michael Holmes has been the only constant through the band's career, but there was a stable line-up from 'Ever' to 'Dark Matter', and it is only the one album after that period, 'Frequency', which truly failed to shine, not bad for a band with the longevity of this one. Peter Nicholls (lead & backing vocals), Michael Holmes (guitars), Tim Esau (bass, bass pedals), and Paul Cook (drums, percussion) along with "newbie" Neil Durant (keyboards) may not be the most prolific, but arguably their output has been the most dynamic and consistent of the band's career. This is not a group who are going through the motions but instead are releasing some of their most important and fascinating music yet.

When I reviewed their last album, 2019's 'Resistance' I said that one of the things that truly stood out for me was the confidence of the band, particularly that of Paul Cook, and here we see that being taken to yet another level. Opener "The Unknown Door", which is the longest song on the album (and one of their longest ever) at 22 minutes, tells you everything you need to know about this IQ. Paul can be hard-hitting, blasting around the kit, or providing emphasis by sitting on his hands and doing nothing, Tim provides complexity with his hands and stability with his feet, Neil has long ago moved away from being compared to Martin Orford and has created his own niche in the band with banks of sounds and a happy understanding of the relationship between overplaying and providing support, while Michael can be bombastic and loud or picking an acoustic. There are multiple layers, the threads interweaving and combining the sounds into a majestic whole, and then at the front is the irrepressible Peter Nicholls. To me he has always been as important to IQ as Geoff Mann was to Twelfth Night, or Fish to Marillion. Yes, each band has released highly enjoyable albums without those frontmen, but were they true to the essence? I think not.

This is not an album from people heading gently into older age but instead is a band who still have something to prove, proudly progressive, moving forward. It is a band working together, with little in the way of flashiness as instead this feels like a collective release with everyone knowing their place in the pantheon and what they need to achieve. Consequently, it is a release which I loved the very first time I played it, and it has grown on me even more with the repeated listenings. There is a presence, a dynamic here which is difficult to explain, a majesty which only comes from a band still on the top of their game after more than four decades.

This may well be their finest release since 'Subterranea', not something I say lightly at all. Essential.

When I recently reviewed 'Asleep or Insane' by Bakelit I explained that I have known Swedish multi-instrumentalist Carl Westholm for years through Carptree and Jupiter Society, although others will probably recognise his name more for his time with Avatarium and Candlemass. After I sent out my normal Christmas update email last December Carl asked if I would like to hear the latest releases from his two new projects, Bakelit was the first and Hollingshead is the second. Carl is the only constant between the two bands, and he again provides organ, electric piano, synthesizers, theremin, backing vocals while this time the band is completed by Tony Naima (lead vocals), Johan Niemann (bass, from Evergrey, Therion and Mind's Eye), and Fredrik Haake (drums, Meldrum, Sideburn, God Is My Co-Pilot). There has been a four-year gap between this album and the debut, during which time original singer Gidon Tannenbaum departed.

I have not heard the debut, and a new vocalist often changes things quite dramatically, so I have no idea if this is should be viewed as a continuation or a new direction, but I am aware it is very dark and deep indeed. Is there such a thing as doom prog? If not, then these guys may have invented a new musical form. Imagine if you will, a cross between Atomic Rooster and Candlemass and you may get some understanding of just how heavy this is, with Niemann playing a bass which sounds as if Lemmy and Chris Squire have come together and produced a sound as filthy as possible, yet somehow the music is wonderfully melodic. There is no guitar here, as there is no room for it whatsoever as the bass, drums and keyboards are so tight and all rammed together at the bottom end, but I can almost guarantee the average punter will not realise that as so few listen carefully these days. Then over the top are wonderful vocals which contain emotion when the time is right, not too high in the scale so it all gels together as opposed to clashing.

There will be quite a few progheads who will find this release way too heavy for their tastes, or the organ just too dated, but if ever someone wants some darkness on a bright sunny day, yet not too much to totally overpower the senses then this is it. Carl asked me to give this some time, but I enjoyed it the first time of playing and it just gets better with repeats. Not for the fainthearted though.

— First review of this album —

A post from Heather appeared in one of the groups I am a member of on Facebook, and the computer in my head started whirring and I immediately thought of a band I haven't listened to in years, Mostly Autumn. Originally signed to Cyclops, I reviewed the first three albums when they were released, but the last I had heard of theirs was the wonderful 'Passengers' from 2003. I was not aware that Heather had left the band after 13 years and eight studio albums to follow a solo career, nor that she had formed Mantra Vega and released albums in different group formats and styles, as well as books, poetry and art. What I did know, though, was that I always loved Heather's vocals and was intrigued to hear what she was doing more than 20 years after I last reviewed her.

I was soon playing 'Wildflower' and fell into a world where all that mattered was the voice, and the voice was all that mattered. This is mostly a true solo album, with Heather accompanying herself on acoustic guitar and occasional piano and percussion with just Troy Donockley (yes, I know he is in Nightwish, but for me he will always be the guy from Iona), providing a wonderfully emotional vocal and Portuguese Mandola to the lilting duet, "Still Burning". This is an acoustic album, containing a few elements of folk, quite a bit of Americana, a touch of Country and Western, and a ton of beauty. The album is bookended by Heather leaving a message on voicemail, welcoming us and reminding us we are all loved, and although there may be some who will not like this element, it works well to both bring us into the album and leave us with a positive message.

Positivity is a common element throughout this release, as while there are times when it wants us to think, it is never negative or mournful. This is particularly true of the last song, "Love Is All", which is a capella with just a few bird sounds to provide backing. It is uplifting, all-encompassing and incredibly powerful. It is if Heather is in a warm summer's glade, the birds in the trees, and we are sat entranced at her feet, caught in her spell. Although I have found myself enjoying this in the car, there is no doubt the best way to listen to this is on headphones when one has the time to immerse oneself in the world she is creating with her voice.

Having not heard any of Heather's releases in more than twenty years I can see from this that I have been missing out and will have to investigate her Bandcamp page further. For those to whom the name Heather Findlay is new I can assure you this is an album very much worth investigating. If you enjoy acoustic music with wonderful female vocals and lyrics with meaning, then this is simply essential.

1. Bracing for Impact for the prog metal intro that's searching for itself, that DEEP PURPLE-esque rhythm made me listen, it's like ZZ TOP in the distance and that divine keyboard, well, everything is in place to produce typical prog rock. 2. End of the Road for the beautiful long melodic track that lacks creativity; yes, I feel like I'm on the latest FLOWER KINGS; well, no more, it's like Neal MORSE, yes, on familiar ground. The guitar solo is heartwarming, thanks to Luke for adding some pep. 3. Cosmic Love for its latent, progressive intro, quickly erased by the new-wave electro keyboard, yes, very invigorating; with Randy and John, we get our money's worth. 4. We Got the World in Our Hands, beautiful intro and consensual track, damn! It's going around in circles, it's beautiful, but it lacks the spark to captivate, because my ears still remind me of the sound of the Albion bigwigs who had a lot of fun jamming together on consensual prog rock, ideal for prog fans not looking for new sounds.

5. All That Glitters Is Not Gold for the accordion and the captivating chorus that you'd think you'd already heard elsewhere; the best track for the crescendo that deviates into the proven prog metal side, finally showcasing Göran's voice and the guitar solos that really enjoy themselves; the sax à la 'West Side'; in short, I did well to resist. 6. Gotta Lose This Ball and Chain for the calibrated ballad that reignites the debate on the sound of yesteryear; it's beautiful but conventional, we've already heard that, and what's new? It's clean, without any smudges, but I don't find the air that would make me swoon, or rather, I can't find a sound that would distinguish them from the FLOWER KINGS or BIG BIG TRAIN, pillars of a movement losing creativity. 7. Transmutation (The Constant Change of Everything) with its intro, yes, I'll leave you with that; after that, it's the trap track that seeks to melt the listener with numerous guests... and it works. Between Steve HACKETT's guitar and Andy's Hammond, I thought I heard a GENESIS tune, with Dina's vocals and Amanda's help, Nick's pad parts, how can you remain unmoved? Yes, but too much can kill too, so let's be careful! The velvety, melting, melting mid-track disappointed me, repeating the clichés of symphonic prog; The very beautiful jazzy-ethno-crazy jam suite can be shocking to have such a diversion on ZAPPA, PATTERN, MORSE again. The finale is worth its weight and captivates, bewitches the listener. (3.75)

An album by musician Mathieu Torres, who also performs under the name String Theory, recounting the crash of a passenger plane in the Alps, a code name for a harrowing moment. Okay, let's get back to M'Z and his "Emancipés du vide?" for a musical melting pot of pop, rock, jazz, hard rock, and music shaped by genres ranging from Canterbury to Drum 'n' Bass, Rock in Opposition?in short, a diverse, ambient blend bordering on rock, pure and simple. A melancholic fusion with touches of progressive metal, a juxtaposition of complex sounds, layers of fat, invasive synths bringing a dark side, energetic, eclectic crescendi, all accompanied by guitar that is happy, sad, or both at the same time.

Ideas of emotional themes, freedom in a sick world?this is what his music takes us to; a violent and acerbic critique of our world, of our Kleenex society, translated into these singular pieces. Colorful art rock without real drawers, original and captivating compositions, an uncompromising sound, overflowing with creativity with its heroes bearing the signature of Steve VAI and Joe SATRIANI, no coincidence given the riffs and tunes offered. A sound allowing one to dream or meditate at low cost on these different instrumental pieces but brought together in a conceptual way. (3.5).

'Profondo Rosso' is a soundtrack album to the Dario Argento movie of the same name, arranged and performed by the Italian progressive rock band Goblin, a progressive rock act led by organist Claudio Simonetti, also featuring the talents of well-known Italian musicians Fabio Pignatelli, the band's bassist, and Massimo Morante, the guitar player of the collective. This 1975 release is the first official release under this band's name and has since become one of the obscure but rather intriguing places of the Italian prog rock scene; the genre indeed has a rich history of movie soundtracks, and this happens to be one of the most ingenious and original ones to have even graced the Continent. Being a psychological horror movie, the music to 'Deep Red', as would go the translation, is quirky, intense and spooky, bringing in a variety of influences like progressive rock, fusion and even proto-metal, all making up for an eclectic work of great scope.

The original album release lasts for just about thirty minutes and features seven separate tracks, the first one of which is the title track with its menacing organ work and solid but minimal rhythm section working its way through in the background. 'Death Dies' comes second here and is a suspenseful piece that takes advantage of various percussive instruments until the main riff gets introduced, a really effective song. 'Mad Puppet' with its unusual and rather haunting opening actually develops into a trippy krautrock-inspired instrumental, unlike 'Wild Session', which is precisely where the prog rock pedigree of Goblin is completely prevalent, from the wicked introductory section to the quirky interplay between the keys and the bass, to the unhinged sax solo at the final section of this instrumental. 'Deep Shadows' is then the most experimental number on here, technical but haunting, leading to the two shorter closing pieces 'School at Night' and 'Gianna', both of which have this classical crossover feel and provide an excellent ending to this gorgeous soundtrack album from the mid-70s.

'Iron Maiden' is the 1980 eponymous debut album by the legendary British heavy metal band, a record that proclaims the initiation of the NWOBHM movement in many ways, and displaying the ferocity and aggressive approach of those very early metal albums from the beginning of the decade, being informed by and combining elements of both punk and progressive rock, it has since been received as a critical success, having also brought significant amounts of attention to the then-young metal band upon its release, lauded by both fans and critics as a "cult classic". The music on this very first Maiden album is indeed quite heavy but also very rough and unpolished, with difficult-to-appreciate production values, occasional muddy riffs and silly choruses, it is an imperfectly perfect debut album, if that makes any sense. Featuring a unique early lineup with Steve Harris, Dave Murray, and vocalist Paul Di'Anno, Maiden was also then-composed of Dennis Stratton, a guitar player who would leave the band afterwards, and drummer Clive Burr.

What is there to say about the music on here except the fact that this is an early heavy metal music that introduces a variety of interesting influences to the world of heavy rock, serving as somewhat of a blueprint for an entire movement to come. Still, as influential as 'Iron Maiden' may be, this album is definitely not universally appealing, having significant problems in the production and songwriting departments. It opens with 'Prowler', a ballsy and fast-paced number, one of the better songs off the album, followed by the catchy 'Sanctuary', a fine homage to Judas Priest (or even Motorhead) and just a tad bit banal for what concerns its contents. 'Remember Tomorrow' is where we hear the Rainbow lesson on full display, a decent number with great guitar work that anticipates a lot of what the band would go on to explore in the future. 'Running Free', or the revved up R'n'B song of Iron Maiden, is followed by the most far-reaching piece on the album, the 7-minute 'Phantom of the Opera', a more complex and dramatic entry, still played live by the band. 'Transylvania' is a great instrumental arranged by Harris, 'Strange World' is the album's ballad, a good piece of metal music. 'Charlotte the Harlot' is indeed a bit silly, also the riffs here are not as pungent as on other places of the album, and the closing title track is more forgettable than it is impressive, despite the fabulous and ferocious bass playing. A really fine and important metal album from the early 80s that has not necessarily aged too well, 'Iron Maiden' is the first step towards the crafting of the band's signature style of heavy and technical arena rock.

It's always great to hear of a new release from veteran prog rockers (I'm two months late to say this). coming back in action with their own brand of returning to form but with only two of the original three. After having two pandemically conditioned albums in the can from Yay! (2023) to Neigh!! (2024), it's time for them to get back in their spaceship once more and return flight with their latest sole self-titled release.

From prog, cabaret, krautrock, pop-orientated, alternative rock, freak-out sessions, and psychedelic adventures, the band have gone back through the adventures once more to prove themselves that they can kick plenty of butts with mesmerising punches that come out of thin air

When I mention the krautrock genre, I could possibly tell Motorpsycho were listening to bands such as AMON DUUL CAN on 'Balthazaar'. They take listeners aboard the cosmic train into halogenic improvisations that bring to mind the two Michael's; Karoli and Rother. They combine the compositions between 'Mother Sky' and 'Hero' into one. Plus, adding in a bit of Hawkwind's curricular into the bees' knees of a heavy jam session.Then, a touch of the alternative rock vibes of the 1990s and going into a sing-along gem for 'Stanley (Tonight's The Night)' and 'Core Memory Corrupt'. You can just imagine these two songs being played during that time frame in the 90's.

The starting track kicks things off with a bang as they make the jump to light speed returning back to who they were years ago. Bent's revved-up bass sets up the course to light speed as they return to the Heavy Metal Fruit-era during their Rune Grammofon years, making sure that everything in our solar system is going according to plan as Ingvald and Hans lead the way to add in elements of flaming fire inside their hearts and minds to carry on more missions that awaits them.

But, wait a minute! What's going on? Do I sense a tip of the hat towards the geniuses of Led Zeppelin's heavy riffs that come into mind when it comes to 'The Comeback?' oh hell yeah! Reine Fiske leads the charge with Olaf Olsen in hot pursuit. Boy, do they know their source materials or what? Then, everything becomes a surreal nightmare when it comes to the ominous dark, clouds that are about to come in. From the haunting, folky lullaby on the 'Bed of Roses' to the 21-minute apocalypse 'Neotzar (The Second Coming)'. Oh, they got the machine guns all revved up and ready to attack.When Thea Grant channels her Lotte Lenya approach in the Cabaret textures, she imagines herself, singing this song during the events of The Threepenny Opera by Bertolt Brecht and composed by Lotte's husband Kurt Weill. You feel as if Pirate Jenny walking alone in the streets of Germany in 1928, singing alone in a brothel, knowing that things are going to be different for the first two minutes of corruption to take over.The band switches gears as Motorpsycho gets back into their space shuttle as they ride off into massive solar power. Bent's mellotron, Hans' heavy guitar riffs, and Ingvald coming back into the forefront, this is no jam session folks, this is as heavy as far as the eye can see. Somehow, the heaviness moves into a gentle, classical, and ambient under watery effect as if you're in a dream.

Like something out of David Lynch's movies, Motorpsycho imagine themselves doing a film score inside their minds, creating this dark, surreal, yet almost nightmarish terror that's unveiling in front of your eyes. It then reaches a volcanic eruption, waiting to explode at any second as all hell is about to break loose in this rumbling effect the band walk into.I can't tell if its Bent or Hans playing the lead section on the guitar. If its one of them, they are taking it to the nth degree, going on this hypnotic mode as if they're not making a stop signal by returning home to Earth whilst channeling the arrangements of America's 'A Horse with No Name' for 'Three Frightened Monkeys' that come into shape but making it a mid-fast shuffle that'll burn your brain cells, nonstop.

This is a very engaging listen the whole way through, these guys create eclectic masterpieces, lengthy compositions and overall great music. These guys produce a piece that resemble some of their earlier work while bringing in new energy.

5.0

Following the ground-breaking Mysterious Traveller--many prog and jazz-rock fusion lover's all-time favorite Weather Report studio release--was no small challenge.

1. "Man in the Green Shirt" (6:28) I really love the interplay of drumming, percussion, bass, and electric piano in this song. The horns are nice, and the weird synthesized Nature sounds entertaining, but it's the great coordination of high speed play from the rhythmatists that impresses and engages me the most. (9.375/10)

2. "Lusitanos" (7:24) opening with quirky comi-funk before synth, keys, and horns present a WR-type of melodic/chordal statement. Between regular repetitions of this chorded theme Wayne and Joe take turns adding their respective solos but the sonic field is so layered that it's almost full: practically burying any soloist's attempts. But then the band thins it out, keeping only the bare bones, so that Wayne and Joe can trade solos on soprano sax and piano, respectively--Joe even going so far as to solo twice: as if duelling with himself! Then Wayne takes a turn on his tenor sax: first within the full band weave, then with the open field laid out for him. No matter who's soloing, Joe is always adding quirky little sound injections from his circus collection of synth and hand tools. Alphonso Johnson's bass is creatively effected but it seems to handcuff him into playing some rather simple lines and a lot of single tone repetitions. (13.125/15)

3. "Between the Thighs" (9:33) the Weather Report circus show continues as Joe seems pretty set/obsessed with incorporating as many unusual quirky sounds and instruments into his songs as possible. So far in three songs, almost 24 minutes of music, there has really never a minute passed without some randomly fresh sound being injected haphazardly into the mix. It's almost like he's going for a citation in the Guinness Book of World Records for the most instruments played (or included) in a single song (or album). (Being a big fan of Andreas' Vollenweider's "busiest multi- instrumentalist I've ever encountered," Pedro Haldemann, as well as Pat Metheny's legion of upper-stage multi- instrumentalists, Mr. Zawinul may find that he has a little competition.) So many times on this album I'm hearing riffs and samples that predict the cumulative breakout that 1977's "Birdland" will be for them. The best funk and groove in this song is, for me, in the song's final minute. (17.75/20)

4. "Badia" (5:20) reaching into the orient for inspiration. (It's okay: the band had now been there--on their tours-- several times.) Odd percussion, reeds, sqealy synth, pregnant bass couplets, cymbal play, and treated horn and mzuthra make for an interesting and very spacious weave. Melodica and oud are also prominent. How confusing it must have been for dynamic creatives like Alphonso Johnson and Leon Ndugu Chancler to have been so shackled like this. (8.75/10)

5. "Freezing Fire" (7:29) funk that finally taps the tremendous skill and potentialities of the relatively untested and untried bass funk master. A song that grooves and flows, feeling a little more like a Jazz-Rock Fusion tune, despite the continued barrage of incidentals injected as accents throughout the length of the song. Again, it's the drum 'n' bass unity that interests and impresses me, not the parade of creative sound injections that Joe (and Alyrio?) can muster. Just give me Alphonso and Ndugu and I'd be a happy camper! Great foundation; weird and "novelty" level entertainment. (But, Joe: I don't come to your albums for surprise and novelty: I come for the grooves and weaves!) (13.3333/15)

6. "Five Short Stories" (6:56) one of those interesting-but-ultimately-off-putting musical equations (or masturbatory exercises) that Joe and Wayne like to work through with their band. Slow and methodic, sometimes melodic; definitely cerebral and mathematical. Quite the challenge to stay engaged/interested--especially over seven minutes. (13/15)

Total Time: 43:10

The smooth, careful, and calculated side of Jazz-Rock Fusion, here presenting a lot of interesting ideas (many of which will be more fully developed on future albums). With Joe and Wayne monopolizing all of the compositional duties I think they still had not realized what they had on their hands with the recent acquisition of 24-year old bass genius Alphonso Johnson. As demonstrated on Eddie Henderson's Sunburst album that was recorded and released at about the same time as this one, the kid is nothing short of a creative genius; he has ideas, he has the chops to star--to lead-- and he has a bag of his own compositions bursting at the seams (two of which ended up on that Sunburst album). Don't get me wrong: the compositions on Tale Spinnin' are all fine, mature, presenting ground for a lot of great performances and some rather memorable songs and riffs, they're just not quite as dynamic and powerful as those on Sunburst. I think it a terrible thing that Joe and Wayne "wasted" so much talent that came their way (though many would look at it as "mentored," "groomed," or "developed"). There is some great music here, just too much entertainment-oriented circus noise.

B/four stars; an album of sophisticated, busy, multi-layered music that is often overly-gilded in what amounts to circus entertainment tricks. Too bad! as I LOVE the bones and richly constructed first layers of a lot of this music.

Beginning around "Pyragony X", Amon Düül II began embarking on a more streamlined prog sound - more accessible, less weird, and generally less interesting, if still quite good. By the end of the '70's, however, this lineup pretty much petered out, leading to the far more intriguing version known as Amon Düül (UK). But II still had one more album to do, and "Vortex" was the result. And you know what...a lot of fans dislike this one (as they do all the '80's Amon Düül releases), but forget all of that. "Vortex" is a fantastic album, easily the best one Düül II had made since "Hijack". It is still more (cough) commercial (cough) than that one, but what on earth. It is really one outstanding work and a great way for Düül II to go out. Of course, Amon Düül II would return in the '90's, but this was a fine swansong for them and a fitting signpost for what Amon Düül (UK) would go on to achieve.

4.0