Flood, a prog album for the patient. Like "FEEDBACKER" this album is one large song split into multiple parts but unlike "FEEDBACKER" this is much, much much more slower paced, the first track here is a math rock riff that repeats for TEN MINUTES so i hope you enjoy that riff before some sound effects come in and to be honest I'm not the biggest fan of Flood Part 1, and I like Post Rock but I just find the opening track to be waaaayyy to repetitive, not bad I'm sure if your listening to Boris you probably already like Post Rock/Metal but I'm just not into this specific track part two on the other hand has repetition as well but I enjoy it much more the track starts off with these indie like riffs its super relaxing and lasts about five minutes but I like it quite a bit, the second half of the song has some slight change to build up to part three continues the slow acoustic riffing until the metal comes in and after almost 30 minutes of waiting the album gets heavy with this grunge like passage that sounds a lot like THE MELVINS which makes sense considering the band was heavily influenced by them and was the wait worth it? I'd say yes. Part 4 is more metal stuff with some cool soloing at the beginning midway it gets more ambient and drones off into the next part, this track is more ambiance which isn't bad but highlights my problem with the album is that there's too much ambiance, and while it's not bad I'm just left with wanting more metal and the album feels just wishy washy to me, I know that the experience is supposed to have a rollercoaster like structure with the middle being the peak but I'm not into, again I want more metal, but don't let this discourage this album is a monster and a great one at that, is it my personal favorite? No but is it still good yes! Yes it is overall Flood is a great album and an...interesting addition to a prog collection

Boris. A doom metal band band like no other and this release is pretty neat, (with the exception of one track) this isn't the most proggy album of theirs however it's still an excellent album, the sounds here this time are Doom, Punk, and Psych (with a tiny bit of prog). Just like Nick Drake's Bryter Layter album (witch the cover is referencing) it opens with an introduction but instead of a peaceful folk instrumental it's a nine minute doom rock drone and like in typical Boris nature it's repetitive but not in a bad way, it's very effect driven (lots of feedback like usual) and it sounds like if a song off of KING CRIMSON'S "RED" was an ambient track it may be near ten minutes but it is not boring what so ever. The next track is a heavy punk track and I don't know if I'm alone here but the guitar tone sounds a lot like KING CRIMSON'S "LARKS TOUNGS IN ASPIC". The song itself also almost sounds like a punk version of an early BLACK SABBATH song (this album in general does really) the album contines with the punk sound on the next track and is pretty good again has the for-mentioned sounds and if you've listened to there "PINK" album then you'd get some enjoyment out of this. Then comes my personal highlight of the album the track Naki Kyoku is the albums twelve minute prog epic, having influences of Doom/Stoner rock, Psych and even Krautrock there's moments here that sound influenced by Krautrockers CAN and man this track is good and my favorite off the album, any prog fan would get a kick out of this, the album then follows up with the last track, returning to the punk sound and is alright but I'm just left a bit underwhelmed by it after that previous prog epic we just had it's not bad by any means far from it but it's again just a bit underwhelming for me. But in conclusion this is an excellent album, not my favorite from them but still a very solid release

"Free As A Bird" begins the album with a tribute to his mother who died of Alzheimer's disease, which reminds us, among other things, that artists are people like us above all; a title based on an orchestration with violins and acoustic guitar for an air of deep meditation and this warm voice of Gabriel, a bit of sound that Bono himself liked to explore to give an intensity of dramatic spleen; a magnificent and dreamlike title. "Karmatic" starts with a sound a little on the border of what ARENA or PENDRAGON can do; Dave KERZNER adds his touch to the keyboards, while Heiner SCOB does the same for a classic passage on the piano; the guitar solo is worth its weight in gold. "Angel's Call" gives pride of place to Fernando for all the orchestration with a sound of some old GENESIS for the guitars at the start, of the latest MYSTERY just with a voice making me think of that of Jean PAGEAU and especially of the great KING CRIMSON just for using the Mellotron; a song with intense convolutions and well-placed breaks, Indian drums concluding the title.

"New Life" for the eponymous title, a voice which draws on that of the angel GABRIEL, a nervous rhythm, a keyboard from Clive NOLAN which goes to the sounds of the first GENESIS for a jazz-prog space, free-jazz also with a lot of violin, then this break halfway through like GENESIS did so well with this enchanting flute, finally the recognizable guitar of Steve ROTHERY, an intense and controlled melting pot at the same time, a ballad that emerges, a digression, a calm, gentle, soaring, spleen and melancholic musical outgrowth but also gentle and providing relaxation until the finale with acoustic guitar; the flagship song of the album to listen to again despite its fairly predictable composition.

"Awakening" arrives here, a little piano interlude from Heiner, the 2nd refined and clear intro just to launch "Shining Spark" and its ballad which draws more on GENESIS from "Burning Rope" than on a PENDRAGON title; the voice is warm, present, highlighted; the breaks with guitar arpeggios reinforce it even more and Christophe's keyboards give a slightly different sound; cascading title, in streaming notes. The album could be finished here but an extended cover "Free As A Bird Extended" of almost 18 minutes with "Frippian" guitar at the very beginning completes an already positive feeling; it is in fact the magic violin of Hélène COLLERETTE which magnifies this title; the introduction seems to come out of genesis, it's dreamlike, it's relaxing and seems to represent a title in its own right; Gabriel's voice is again highlighted in a moving way, with orchestration reminiscent at times of pieces by LEE SAUNDERS for its post-apocalyptic atmosphere; the arrangements are well in place but a little diffuse, much less refined than those of IN CONTINUUM for its long title at the end of the album. Halfway through, the voice is accompanied by Steve's guitar giving more warmth, more sensitivity while Sarah's angelic voice accentuates the musical break; the end starts with a joust, a confrontation, an osmosis between violin and guitar for a progressive moment of great beauty in decrescendo until the more nervous finale, with imposing orchestration. A fairly complex title in the end, intimate, melancholic and also airy, controversial by the use of string and electric instruments at the same time; a title which raises questions due to the vision it provides inside our heads, a stunning title also to give another image of PROG in general because here we have a cross between classical music and progressive rock in fact .

'Justice, My Tragedy' begins soaring before the metal kick-off with two vocals; backing vocals and riff and a growl; break, fleeting operatic tune, on a heavy Ayreon; Nervous guitar solo and cinematic finale, it's fashionable with a crying baby. 'Child of the Bloodmoon' arpeggios over a dark musical climate accompanied by sound effects, a progressive drift. 'Oldstead' nervous drums and bass for the metal track. 'Broken Puzzle Piece' solemn tune, heavy- rock opera without its magnificence. 'It Lives' is a sort of aggressive and catchy musical magma. 'Despicable' changes tone with a jazz title with soft harmonies, then moving towards hard, thrash for the frenzied riff, reminiscent of Unexpect, electro finale launching 'Knowledge From Afar' for the calm, colorful prog rock piece, alternating pop and energy.

'Celebrations' returns to a cheerful, oriental, intimate cinematic folk base. 'Mother Dearest' title track with prog metal exchange between mother and child; an electric, nervous style and colorful, festive jazzy atmospheres, on Panzeballett for the sax and Sleepytime Gorilla Museum; sweet creative madness. 'Pushed' dark acoustic ballad and tambourine, a final rise à la Anathema. 'Heroes and Charlatans' again with an electro atmosphere then metal bordering on djent; the apoplectic finale. 'Discovery' even heavier, hard heavy, nag supposed to express the little girl's distress, the judge's vocals in 'The trial'; acoustic break which denotes and cottony melodic solo. 'Chain of Consequences' for the final sound which swells, grows, rumbles; the child is banished, yes the story follows the music and vice versa; the guitar solo is strong, tortured, energetic like the decision.

TDW/Dreamwalkers Inc. fuses genres, vocals and modern metal with rock opera; a fantasy metal opera based on a novel by Janneke Stam and the story of a girl found in a forest who will upset her adoptive parents, its moving musical melting pot concept; a bewitching but singular album, more metal than prog.

Boris(Boris's?) album Feedbacker is what I'd consider to be a masterpiece of prog/drone/psych/punk and noise rock music and while Boris is no stranger to these styles of music the styles presented here are at there most mature sound there most complete and definitive sound and is in my opinion the band's best work. Nothing but raw power and emotion flow though this record like on the introduction track here, it's a nine minute drone that builds and builds up until the second track that it flows into, and let me just say that Feedbacker Part 2 has become one of my favorite songs ever, it's this slow psychedelic drone that is honestly just plain beautiful it's repetitive but you don't get tired of it. The songs is colored with slashes of psychedelic effects and then my favorite part of the song is the guitar solo and man it's insanely emotional it sounds like it's trying to be calm yet aggressive at the same time and in my opinion is one of the most emotional pieces of music I've ever heard and this song is completely instrumental then after that calm ordeal the album gets very aggressive again but this time it peaks with a punk/shoegaze (and lots of wah effects) sound jerking you around with the song calming down and jumping up in aggression again and the band's influences (specifically The Melvins) shine here with an almost grunge-y sound. Then part four is easily the noisiest track on here before the track turns into what honesty sounds like metal scraping against each other almost reminds me of something of a Swans or Nurse With Wound record. The song flows into part five and were given a reprise of the melody from part two before getting some changes and the song just perfectly wraps up the album. This multi part album is a MUST for any metal, prog, drone, punk, psych or noise fan and I hope this site brings more people to listen to this masterpiece

Fantastic instrumental album with a deep classical core courtesy of Luciano Basso, nurtured in a venetian Conservatory. A fusion of all kinds of strings, pianos and keys, with very solid drums heavying it all up. Songs like Promenade I and II are melodically perfect, each playing over an initial, simple tune in which every instrument participates, both ending abrupty and leading to beautiful Voci, the title track and best part of the album. This beautiful song starts with a dramatic environment-setting piano, flawlessly followed by some keys and drums. A short piano solo is slowly accompanied by an electric guitar, blending together in a passionate duo, with some strong bass/drums work on the rear, before falling into the initial melody, perfectly enclosing the 11-minute track. The following song, Echo, fuses some early dreamy voices and strings with a more jazzy middle part, with Bassos' keyboard ever-present, masterfully directing the song. In a nutshell, a very solid and highly original work of late RPI.

A few months after "Orchid", Opeth's second album, "Morningrise", sees the light (or darkness...). Keeping that combination of the most inhospitable metal tonalities constantly contrasted and complemented with acoustic oases (or lakes...), the Swedes led by Mikael Akerfeldt deploy their instrumental arsenal over a thematic base that runs through mossy and gloomy landscapes of nature and mortality in extensive pieces with no respite in between. Each song is carefully thought out, and despite their lengthy running times, the band manages to keep them gripping and intriguing throughout.

From the opening "Advent" and its light jazzy touches when the decibels drop in intensity, the confessional melancholy of the black-metal "The Night and the Silent Water", the overflowing and demonic "Nectar", and the versatility of the huge "Black Rose Immortal" that runs through all the metal and folk nuances of epic tinges, the band builds an impassable, hostile instrumental wall that suddenly dissolves to give way to gentle, arpeggiated touches of sanity, and rebuilds again with the same virulence in a cycle that repeats itself over and over again. Akerfeldt again shades his guttural vocals with more passages of clean vocal development, accompanied by Peter Lindgren with whom he shares saturated and bent guitars, Johan De Farfalla's well-assembled bass and Anders Nordin's, at times, less corrosive percussion than on "Orchid".

The album's closing track is reserved for "To Bid You Farewell", an aching ballad unplugged and given over to a sober rhythmic development that towards its last stretch features a dramatic dose of guitars to give it an even greater emotional charge, something that will be repeated in the band's later works.

With the participation of the influential and prolific Dan Swano, responsible for the bipolar and very successful production of the album, "Morningrise" represents another step forward in Opeth's career.

3.5 stars

Back in 2019, I had reviewed his preceding album "Zodiac", which I had enjoyed as it contained a vast amount of interesting progressive influences, mostly in the instrumental displays, a non-vocal area that I suggested he continue to focus on. Ruud returns with this offering, garnished with another splendid cover from Ed Unitsky and a seven worthy tracks that set the bar higher than ever before. Ruud handles pretty much all the instruments, various keyboards (mostly synths and mellotron), a strong bass underpinning as well as rather impressive guitar skills, both on electric and acoustic versions. He is aided by drummer Kike Paglia throughout the release.

The journey begins with "Repentance", a raucous, wake-up call opening salvo with chunky riffs galore, reptilian guitar strokes that screech, bellow, and hassle as if kneeling at a shrine in atonement, with featured vocalist Frank van der Borg bellowing his inner pain. It's a nervous piece, full of piss and vinegar, with a choppy rhythm and an oblique guitar solo to finish of the remorseful outcry. The extended arrangement on the 8 minute + "Slow Down" initiates a slide guitar rant that might be greasy enough for some fried chicken and grits session with the local Louisianna sheriff, a cool Muscle Shoals influenced keyboard tag along, and a swampy drum beat. And then, it swings into a slow blues reflection that would make Gilmour blush with envy, as the bass and organ indicate a new horizon ahead, reducing speed and contemplating another hot afternoon under the blazing sun. Ruud excels at restraining his fretboard caress, highly evocative and deeply adventurous. Damn, the man can play. A final nod returns to the initial free for all, that had initiated this piece. Another extended composition, "The True Story" incorporates some simple yet pleasingly dissonant phrasings, some Celia van Onna harmony vocals in the background at first, before grasping the microphone in between ghostly fretless bass flurries, and letting her carry the swirling tune further. This is a track that would fit nicely into more 90s alternative rock sensibilities, not too far from the Cure, Portishead, or Peter Murphy feel, but armed with a more omnipresent lead guitar solo that goes on quite the tear. Another excellent tune.

Three gripping instrumentals follow in quick succession, and frankly, the real core of this release becomes most apparent. The nasty "Howling at the Moon" provides a more direct rock approach, complex and insistent rifferama not withstanding, it's a spiralling staircase of sound that also possesses a dense appreciation for sustained sonic pressure, a somewhat schizophrenic Stones meet Bauhaus feel. The title track settles into more cinematographic realms, a brooding soundtrack for some undefinable yet perilous excursion, unsure whether to choose introspective or extraverted scenarios. Slithering fretless bass runs a la Mick Karn (always my weakness!), tingling Asian intonations, thrilling percussives, and circuitous keyboard slivers, this could have been on an 80s Japan album, like Tin Drum! The third is the influential "Battlefield", suggesting a strong visual that meanders into sustained jazz-rock domains before skirting into heavier moods, looping axe runs, howling choir mellotron cascades and that unrelenting bass that just shoves this forward. Ruud experimentation is a true joy to behold, as his mastery of the electric guitar is unquestioned, unafraid to sizzle for extended periods as well as shifting the mood at will. Good show!

The nearly 9-minute finale "Beautifully Broken" settles the issue for me. Ruud is a master musician who does not necessarily need to rely on vocals, especially at the risk of deviating the interest away from his main focus. This was the case on previous albums but here it is smartly dosed as Celia does the final chapter absolute justice. Being a huge fan of female prog voices as they often, comparatively speaking, shine way brighter than the male counterparts. Don't start a fight here, there are exceptional masculine singers, and we all know who they are! But the ladies always seem to belt it out with sublime effect. This is definitely a more symphonic piece, contrasting glacial effects with a romantic warm mood, superb drumming for added corpulence and a heavenly, gut wrenching and emotional guitar solo that defines this artist to the fullest.

The third time is such a charm, Glorious Wolf becoming an act that has unquestionably arrived at its destination and is very deserving of having a much wider and appreciative audience.

4.5 Odd voyagers

The mid to late 80s delivered a plethora of amazing music to go around. I mean we got classic art pop beauties like Hounds Of Love, So, and Disintegration; some seriously fantastic prog stuff like On Land And In The Sea, Clutching At Straws, and Les Morts Vont Vite; excellent and heavy metal stuff like Master Of Puppets, Killing Technology, and No More Color. This era of music was a maturing act for many artists, with some slowly morphing their sound into new ways that changed the whole history of music entirely. One of the best bands to mature within this time frame of sounds and styles has to be Talk Talk.

Started in 1981 by the late Mark Hollis, Talk Talk was once your typical new wave group, creating rather catchy poppy hits. However, by their second record, It's My Life, they showed that they are more than capable of making more than the usual 80s affair of synthpop and new wave, and make more artistic statements that go against the commercial grain. Their third effort, two years after their sophomore wonder, projected the band's trajectory into a genre defining giant of rock and pop music, with The Colour Of Spring.

The Colour Of Spring is my personal favorite release from this band's discography. Sure, it may not be the lush and ambient Spirit of Eden, nor is it the highly defining post rock wonder that is Laughing Stock, but it has its own atmosphere that I think I enjoy much, much more.

The main take away from this album is the beauty. Every song, whether it is the more pastoral April 5th, to the more catchy Give It Up, gives this album a sort of mystical and seasonal energy that usually warms me up. It is strange, this album's whole thematics are based on the season of Spring, yet I find myself listening to this more in the fall and winter time, but I guess an album with such a lonely sound fits well with some more lonely seasons.

I find this album to contain some of Mark's best vocal performances. His voice has always reminded me of Phil Collins, but in a more deeper and sophisticated tone, similar to, say, Brian Wilson. The Beach Boys do feel like an inspiration to the more vibrant Talk Talk sound, especially if you compare this record to Surf's Up. Though, whereas Surf's Up is a rainy, somber record, Colour Of Spring definitely feels lighter, foggy, but still carries out the same sadness that could be found in that 1971 classic. If you like the more experimental side of that California band then certainly check if this album is up your alley.

Now for the 100 dollar question on why I believe this record to be a masterpiece. Simply, it has all to do with the final three tracks of Give It Up, Chameleon Day, and Time It's Time. Give It Up is this smooth, almost jazzy synthpop land of groovy hooks, drumlines, and impressive keyboard works. It is a 5 minute rendezvous of some of the best, more poppy music that Talk Talk has ever produced in my opinion, one that, while certainly a lot more accessible on this album, definitely still creates an aura of cold spring days.

Chameleon Day is a sheer contrast to Give It Up, something a lot more quiet, desolate, and reflective, oftentimes feeling mournful and grim. This is where Mark's vocals take a more front seat in the endeavor, creating a beautiful and melancholic work of art, one that I think truly gives him a particular edge to some of the best performers of the 80s, like Kate Bush, Peter Gabriel, and Elizabeth Fraser. His dramatic heights on this track in particular cause an almost emotional whirlwind to flow through me.

The last song is that of Time It's Time, the longest track on the album clocking in at over 8 minutes. This feels kind of like a combination of the last two tracks, featuring atmospheric dream pop workings with nice?groovy synth and drums works. It swirls through a series of varying pop degrees that whirl through emotions of peace, thought, and soon, happiness. This song can certainly warm anyone up, and perfectly encapsulates the feeling of waking up on the first day of Spring for me. The snow is almost all melted, the sun is a lot brighter and hotter, trees are starting to grow a bit more leaves, and a lot more life is starting to sprout and about. Really, this song feels like the inner workings of Mother Nature, morphing the winter snow into white and pink tulips, allowing deer and fauna to rise up out of hibernation. It is a beautiful ending to a beautiful album.

Certainly do check this record out if you haven't, as it is certainly one of the biggest achievements to ever come out of the world of pop music. With a multitude of great songs, scores, and emotions packed into this, it is a wonder how this isn't as talked about in the grand scheme of the 80s. Certainly deserves a bit of light.

¿Cuanto tiempo más de paranoia y soledad? (How many more time of paranoia and loneliness?) Pedro Aznar, Track 8.

This is an album easy to be loved by both the Symphonic and the Fusion progtribes. And not in any concessive or self-indulgent way. It's rather like if those two main undercurrents converge in one powerful, yet effortless musical flow of amazing ideas, where the composers never fail, and also never repeat themselves, being always able to retain the listener's attention with a new fresh change of signature or with another unforeseeable melodic turn. Not only the intruments shine brightly, but also the vocals, which open the album in great choral manner, and just keep setting the emotional tone from there on. And talking abut vocals we come now to talk about the lyrics, which are another strong point here, at least assuming that you are prepared to deal with the picture of alienation of all sorts. From society, from mankind, from friendship, from radio, from city, from life itself, just be ready to poetry singing to exclusion from everything that matters. Or don't be, if Spanish is not your thing. In any case, the music conducts proceedings in its own language with pristine clarity.

La Grasa De Las Capitales is an atmospheric recording, but containing myriads of moods and moments, instead of only one. So, we have two symphonic mini-suites opening and closing the tracklist, full of power and virtuosism the first, and subtle melodic nuances the last. Track 2, San Francisco y el Lobo, brings an exquisite vocal melody on acoustic guitar. Track 3, Perro Andaluz (so titled after a Luis Buñuel movie) merges tuneful melody, classical arrangements and final fusion workout, all with stunning elegance. Track 4, Frecuencia Modulada, is the light number, making fun of the FM music of the era, but never diluting the musicianship, as shown in the tremendous vocal performance by Lebon. Track 5, Viernes 3 AM, is a quintessential García song, underlined by one of the best fretless bass lines by Aznar. Track 6, Noche De Perros stretches on towering basslines, culminating on the strength of Lebon electric guitar. Drummer and percussionist Oscar Moro shines all over the album, but Track 7, Los Sobrevivientes is where he leaves a unique mark to an atmospheric feel like no other.

A deeply dark, somber masterpiece. Lots of nice melodies too, but just don't stay there in the surface, listen hard and go under, you won't be disappointed.