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 Sight Of Day by MOSTLY AUTUMN album cover Studio Album, 2017
4.06 | 56 ratings

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Sight Of Day
Mostly Autumn Prog Folk

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars Twelve studio albums in, with numerous live albums and DVD's slotting in between, and Mostly Autumn are still firing on all cylinders on their most recent set, 2017's `Sight of Day'. With the much- loved Heather Findlay-fronted version of the group truly behind them, the Olivia Sparnenn-led line up is sounding more settled in, inspired and determined to impress than ever, and while `Sight...' may not take the group in many surprising new directions, it shows them honing to near-perfection their expected mix of fancy folk, gutsy prog-rock and emotional vocal-driven song-writing. As always, Olivia and her hubby, the charismatic lead guitarist/frontman Bryan Josh, take the spotlight, but returning member/multi-instrumentalist Chris Johnson also offers welcome contributions that shine, and the album frequently turns out to be a true showcase for the sublime skill of keyboard player Iain Jennings.

Mostly Autumn play their proud prog card right from the opening multi-part title-track, and throughout its fourteen-plus minute length, the band offer everything from the most subtle of Iain's pristine and softly melancholic piano playing and moody symphonic keyboards, Olivia's passionate voice carrying the reflective lyric and Josh's slow-burn ever-building electric guitar reaches across a range of moods. It manages to include two big anthemic passages with both the `And it's the greatest show on Earth...' and `In the blazing sun the music filled the sky' moments proving hugely joyful and chest-beating with Josh and Olivia singing in unison, and they truly takes the piece higher and higher. Make no mistake - right from the first spin, it's clear that fans of the group are going to raise this one up as a Mostly Autumn classic, displaying a mastery of controlled build and expertly delivered drama, and it's going to be a cracker whenever performed live.

Moving on, the verses of the Bryan-led `Once Round the Sun' and his raspy vocal convey embracing `come-together' lyrics but the rest is a muscular rocker lying somewhere between Jethro Tull and Deep Purple with its shimmering Hammond organ and Alex Cromarty's tough pounding drumming, with just a pinch of Angela Gordon's twirling flute. The gently confronting piano ballad `The Man Without a Name' is an Olivia-sung low-key reminder to stay young at heart, and the initially acoustic and lightly bluesy `Hammerdown' lifts to life with a searing Bryan and Olivia shared vocal.

A welcome surprise, `Changing Lives' is written and performed by multi-instrumentalist Chris Johnson, and while it eventually pours on some grander symphonic synths and fiery guitar wailing, the sprightly and up-tempo piece holds verses sounding not unlike a track from alt-country singer Ryan Adams and the chorus is kissed by the radio-dominating version of Fleetwood Mac! `Only the Brave' is a hard dusty country-flecked rocker accompanied by Anna Phoebe's searing violin that bounces with buoyant momentum and reminds a great deal of Pink Floyd's `Sheep', but `Native Spirit' is the other big `prog' moment, a ten-plus minute epic. Pleading for the preservation of nature, old way-of-life and spirit, reflective acoustic guitar passages are contrasted with scorching electric runs, some surprising darker turns in the middle that lead towards dramatic symphonic strings and gloomy synths before a rocking loved-up finale backed to pounding drums and Andy Smith's pulsing bass.

Unexpectedly, `Tomorrow Dies' is heavily electronic and therefore dominated by Iain's keyboards, and it holds an Olivia-sung chorus that could easily sit alongside the poppier moments of German female-fronted indie-prog band Frequency Drift's `Over' album from 2014 (and listen out for a brief heavy flamenco guitar-like burst buried deep in the middle!), and `Raindown' is one of those fancy orchestrated ballad moments that Mostly Autumn deliver on all their albums, and sure enough Olivia excels throughout it with a powerhouse performance. The wistful and joyous `Forever and Beyond' wraps the album, an upbeat tune with an overly pretty melody that perhaps proves just a little too sweet, where the previous grander track would probably have made for a stronger closer, but all good!

As usual, this new album is also available as a limited edition double CD set with a thirty-five minute bonus disc. Of the seven tracks included on it, five of them are a showcase for Olivia Sparnenn-Josh being a collection of soft rock songs and classy ballads sung by her, with the soaring chorus of `Moments' and the optimistic (and quite unashamedly poppy) `In Time' being particular highlights. Chris Johnson delivers a sparse alt-country one-take acoustic tune `Pushing Down the Floor' that sounds like it could have come off Ryan Adams superior `29' album, but Pink Floyd fans will most dig Bryan's six minute Pink Floyd-flavoured instrumental `July'. With sparkling and delicately melancholic Rick Wright-like piano and weeping David Gilmour-esque guitar wisps, this beautiful piece could easily pass for an outtake from Floyd's `The Division Bell' album. This is a very worthy bonus collection, and would actually make for a fine EP all on its own.

`Sight of Day' ticks all the right boxes for a Mostly Autumn album, making it a winning collection of their accessible melodic arrangements with frequent displays of instrumental prowess, superior male-female vocal class and all the inward-looking soul-searching lyrics the group is known for. Curious newcomers wanting to hear a strong example of the band and their music could easily be recommended `Sight of Day', and long-time fans will also be in for a treat with a superb album that ranks up amongst their best releases. The prog-rock institution that is Mostly Autumn carries on, stronger and better than ever.

Four and a half stars.

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 Unexplored by PHOENIX AGAIN album cover Studio Album, 2017
3.96 | 8 ratings

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Unexplored
Phoenix Again Neo-Prog

Review by Matti
Prog Reviewer

4 stars The history of this Italian band goes back to the early 80's, but the debut album came out in 2011, and now is the third album out. A new acquaintance for me, and a pretty pleasant one. Neo prog is not very typical subgenre in Italy, even less in Black Widow Records. Well, nor is Phoenix Again typical neo prog. To begin with, they are instrumentally oriented, and the atmosphere is closer to the seventies than the eighties and beyond.

Unexplored contains eight tracks, only two of them featuring lyrics; 'That Day Will Come' is placed right at the beginning. After the little clichéd fast instrumental intro the tempo slows down and the sparse lyrics are sung by the whole sextet in unisono. The next track 'Silver', with some "lie-la-lie-lie" singing, confirms my thought of the resemblance to WISHBONE ASH, except that there are more keyboards. I appreciate the melodic airiness in the band's sound. There are also slightly heavier elements, but more in the vein of modern RPI than heavy prog per se. The hectic fourth track 'Whisky' is my least favourite, but it's nicely followed by a brief and romantic instrumental ballad starring acoustic guitar.

'Valle della Luna' is the longest (8:41) and it progresses without any hurry. Good acoustic guitar again, and plenty of soloing for electric guitars and keyboards. 'To Be Afraid - Ansia' is the other vocal song. In its calmness it reminds me of a CAMEL ballad, concerning vocals too. At nearly seven minutes in length, this track also grows instrumentally. Strong, emotional melodies. The album comes to a harmonic end with peaceful and uplifting 'Great Event'. Oh, now I notice there's a hidden extra track, a little acoustic vignette.

All in all, this album is easy to enjoy. It may lack some originality and truly memorable compositions, but I round my 3½ stars upwards. The band features four guys from the Lorandi family (plus drummer Silvano Silva and keyboardist Andrea Piccinelli). The beautiful cover painting is by the late founding member Claudio Lorandi.

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 Resurgent Resonance by OHEAD album cover Studio Album, 2017
4.00 | 1 ratings

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Resurgent Resonance
Ohead Psychedelic/Space Rock

Review by Progfan97402

— First review of this album —
4 stars Another installment in David Hendry's space rock project OHead. Resurgent Resonance was released five years after the last one, Visitor and it's pretty much in a similar vein, although a bit more calm and more ambient. The overall feel of this album is Porcupine Tree circa The Sky Moves Sideways. A great deal of the more ambient parts of this album reminds me of "Moonloop". "Valley of Veils" bears more than a passing resemblance to Edgar Froese's Epsilon in Malaysian Pale, which I'm sure was totally intentional, as Mr. Hendry was a big fan of Froese/Tangerine Dream, and I'm certain he was paying tribute to Froese as he passed away in 2015. Other parts of the album have a bit of a Berlin School feel to it, while other parts occasionally flirt with heavy metal, particularly "Serpent in the Sky". "Blue Pyramid" and "Blue Pyramid Pt, 2" is close to Pink Floyd and early Porcupine Tree territory, with Gilmour-like guitar and "Moonloop" type of ambience. He gets some guests on this album, most notably John Simms of Clear Blue Sky (yes, the heavy rock band who recorded for Vertigo in the early '70s). The Ozric influence seems less than on previous albums (since Gaia's Garden, at least, as Steps Across the Cortex and Silent Universe is more like a techno/electronica version of the Berlin School sound). If you've enjoyed what Hendry/OHead has been doing since Gaia's Garden, you should give this one a try.

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 Enter the Chicken by BUCKETHEAD album cover Studio Album, 2005
4.03 | 10 ratings

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Enter the Chicken
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE & JR/F/Canterbury Teams

4 stars When one encounters an album titled ENTER THE CHICKEN it does bring to mind many inappropriate thoughts especially when delving into the unorthodox musical world of BUCKETHEAD as he sallies forth with yet another mind-blowing album displaying his utmost e-cluck-tic tendon-sees and in this case finds himself in a near perfect syzygy of human and chickenness on his 14th studio album that goes under the name BUCKETHEAD & FRIENDS which finds Señor Cabeza Con Cubo in full collaboration mode offering up a fine pallet of distinctive sounding offerings with a different vocalist on every single track. This is the only album to emerge on Serj Tankian's (of System Of A Down) Serjical Strike label and finds the great Serj contributing his songwriting skills on many of the tracks as well as lead vocals to the alternative metal opening "We Are One."

While Serj is the main producer and label owner and occasional contributor to this e-cluck-tic plethora of plenty, this is really an album that lets the contributors take the lead with BUCKY supplementing his talents where requested, therefore this could possibly be the most diverse sounding BUCKETHEAD album in his gargantuan discography. The other major player on this one is Dan Monti, who has been a regular in the early BH years and on this one he is a significant force in the songwriting department as well as hanging out in the producer's den. The fact that Serj Tankian was involved in this project made this release a lot more known around the world than it would have been otherwise. Likewise BH has a more accessible sound as this is less progressive and experimental as most of his releases and is the perfect introduction into the world of? THE CHICKEN WHISPERER :o

While vocalists are aplenty and BUCKETHEAD obviously is the guitarist it remains a true cooped up mystery as to who plays the other instruments as no credits are given. Generally speaking this is an alternative metal album in the vein of not only System Of A Down in the heavy riffing but basically has that downer 90s vibe that includes a range of influences including trip hop, ambient, indie rock, ambient as well as alternative metal. On the more up side is the inclusion of funk and classic 80s metal. Of course, this is a BUCKETHEAD album and it is an orgy of influences that offers a smorgasbord of styles and genre bending grinding sessions at any given juncture of the album. Each track leads to another totally new sonic experience which is both its strength and because of misplaced tracks, its weakness. While i'm totally enthralled with the short female operatic "Intro" followed by a very System Of A Down type alternative metal track which goes places they never dared as well as the following punk infused "Botnus" with Death By Stereo lead singer Paul Efrem Schulz (which contains a killa guitar solo to die 4) and the following metal rap "Three Fingers" with a stellar performance by Saul Williams (and a nice Hendrix tribute on guitar), things begin to change on the fifth track "Running From The Light."

While i really love that particular track as it adds a new dimension to the mix with the Ethiopian ethnic style of Gigi and Maura Davis lending a feminine alternative rock dimension to the album, and i can even appreciate the trip hop psychedelic feast of "Coma" which features the feminine charm of Iranian American singer Azam Ali doing a psychedelic duet with Serj, things go too far on the awfully cliché and utterly boring track "Waiting Hare," which offers the most saccharin and Alannis Morrisette wannabeism one could imagine. This is another duet with Serj and the worst track on the album. Thankfully the usual BH sardonic qualities pick up on the brief freak folk "Funbus" before jumping into the hyper aggressive "The Hand" which features none other than Maximum Bob finding a second life after his appearance on the debut Mr Bungle album. The album ends with one of the BH's most famous tracks and a staple for live performances. "Nottingham Lace" is a funky rocker that defines his most recognized style. It begins with the same eerie female vocals that began the album only accompanied by aggressive metal riffing in a funk rock form and transmogrifies into more familiar BH territory with rock, metal, funk and ample guitar soloing finding progressive ways of intermingling together.

ENTER THE CHICKEN has been a long time favorite in the BH disco, not because it's the weirdest or wildest but because i love these all too rare collaborative efforts with BH that allows him to step outside of his own weirdo zone and focus on what others are interested in hearing. The results are that he is corralled into a more accessible arena and likewise his avant-garde tendon-sees force the other artists on board to add a little freakazoid persona to their main staples of existence. Except for the badly placed mellower tracks in the middle, i find most of these tracks to be quite the pleasing experience of melodic metal with lots of interesting back alley visitations. This album was released twice. Once in 2005 with the standard 11 tracks ending with "Nottingham Lace" and again in 2008 with the bonus track "Shen Chi" which is nothing more than a funky industrial type rocker that has a decent melody and a few progressive twists and turns in its brief 2 minute and 49 second duration. While i find it to be pleasant it's hardly worth seeking the version with this extra track down especially if it's significantly more expensive. The original album is where all the real goodies lie.

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 Where Are We Captain?... by WAVEMAKER album cover Studio Album, 1975
4.00 | 1 ratings

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Where Are We Captain?...
Wavemaker Progressive Electronic

Review by Progfan97402

— First review of this album —
4 stars Wavemaker was one of many projects created by people who worked at the BBC Radiophonic Workshop, in this case Brian Hodgson and John Lewis. They created Electrophon Studios, so no surprise many albums recorded by these people were recorded there, including In a Covenant Garden by Electrophon (Hodgson and Dudley Simpson), and Zygoat (American Burt Alcantara with Hodgson and Simpson), and of course both Wavemaker's albums. Where Are We Captain is the first and to be honest his is more or less a continuation of the sound created by Zygoat. There is a strong reminder of Synergy here, so this sounds like the UK answer. If you enjoy Zygoat, there's no reason not to enjoy this album. "Double Helix" is some really great and adventurous piece of progressive electronic. "Lodestar" features some interesting synth sounds, while "Wavemaker" is more simply tripped out sounds. The music has that rather hi-tech futuristic sound overall. I'm glad to see these musicians working for the BBC Radiophonic Workshop did much more than create music and sound effects for Doctor Who, but went out of their way to record albums that were available to the public. Sure Wavemaker can get a little cheesy at times, but there's no denying great stuff making Where Are We Captain? a worthy addition to your collection. Unfortunately it's never been reissued, luckily original LPs can still be had for a reasonable price.

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 Melancholy Beast by PYRAMAZE album cover Studio Album, 2004
3.22 | 13 ratings

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Melancholy Beast
Pyramaze Progressive Metal

Review by Warthur
Prog Reviewer

3 stars The debut Pyramaze album finds the Danish unit offering a style of prog-tinged power metal which won't be new to many listeners; right down to Lance King's Bruce Dickinson/Geoff Tate-esque vocal delivery, the various ingredients of this musical mix have been brought together in a broadly similar fashion by many groups before and since, and Melancholy Beast doesn't do very much we haven't heard before. If you are addicted to this style of music and simply cannot get enough of it, it may be worth a look, but otherwise you aren't likely to come back to this very often after hearing it once. Competent, but not transcendent.

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 On We Sail by SAMURAI OF PROG, THE album cover Studio Album, 2017
5.00 | 5 ratings

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On We Sail
The Samurai of Prog Crossover Prog

Review by Matti
Prog Reviewer

5 stars I'm pleased to be the first one to review this brand new album. The more so, because I sincerely feel that the full rating is justified! It's amazing how The Samurai Of Prog have maintained such a fast-paced activity in recording, without wearing out in the artistic sense. While the double album Lost and Found (2016), based on unrealeased prog compositions of the 70's bands mostly from North America, is actually still demanding more listening rounds -- I've had some feelings of tiredness with that one --, the multi-national prog-Gasthaus have now released their most mature work. This is a beautiful and perfectly balanced 65-minute set of finely crafted symphonic prog. That's right: symphonic. Don't always trust the given sub-genre. If you're still new to this band that originally was "only" a project for covers of well known prog classics, now is a perfect moment to jump on board.

I was unsure whether I should do some research on the key-playing composers unfamiliar to me, but I'll leave that up to you. 'On We Sail' is written by Kerry Shacklett. Lyrics and vocal melodies are by TSOP's vocalist-violinist-flautist Steve Unruh). There are classic prog elements hinting at Kansas, ELP, Yes and Genesis. Unruh (perhaps comparable to Tommy Eriksson of Ageness) is not my favourite vocalists in contemporary prog, but on this album his slightly nasal voice is not overused. 'Elements of Life', composed by Octavio Stampalia (Jinetes Negros), is a very dynamic, tempo-shifting track with an emphasis on instrumental power.

'Theodora' is composed by Luca Scherani and sung by Michelle Young. She has a beautiful voice to match with the excellent playing. Not necessarily a highlight for me as a composition, but highly dynamic, as always with TSOP. The edginess is rounded by a soft ending featuring flute. 'Ascension' is an instrumental written by David Myers. Wonderful melodies for analog synthesizers (reminiscent of Willowglass), flute etc. Fresh, lively - simply lovely! 'Ghost Written' is composed by Sean Timms, dueted with Unruh by Mark Trueack (Unitopia / United Progressive Fraternity). Lots of violin and flute. 'The Perfect Black' is a melodic, slightly Hackett-reminding instrumental composed by Oliviero Lacagnina. The inclusion of fine instrumentals is indeed an essential strength of this album. Aforementioned Shacklett returns as a composer and multi-instrumentalist on the warm-hearted song 'Growing Up'. 'Over Again' is David Myers' sensitive piece for solo piano. The final track 'Tigers' was composed by Stefan Renström (one of the TSOP collabrators that passed away before the release of this album). 10½ minutes of passionate prog sung by Daniel Fäldt.

I confess: it was today that I received this album, but I've been listening to it again and again already. I think this is going to be among the finest prog releases of 2017. A strong recommendation!!

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 In the Region Of The Summer Stars by ENID, THE album cover Studio Album, 1976
3.67 | 3 ratings

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In the Region Of The Summer Stars
The Enid Symphonic Prog

Review by ProgShine
Collaborator Errors & Omissions Team

2 stars After reviewing all the new released The Enid albums I have a different idea about the band. Their latest album Invicta (2012) is really good. And was sad to hear about the Robert John Godfrey disease. But truth be told, In The Region Of The Summer Stars (1976), The Enid first album, is a 'love or hate' case. Probably because is soaked in Classical Music, and then we can see that was always the band intentions since the very beginning,

But, on the other hand, for some people, like myself, the 'too much classical music' feeling is bigger than the 'Prog Rock' feeling, and this kills my enjoyment. I like bands that do a crossover of sound in the Symphonic area. but I like the middle term, not just one side of the coin. And despite the fact that we have many nice moments in the album, the overall feeling is that something went wrong. Is way to orchestral for my taste.

I can see why so many 5 stars the album receives, but I just can't cope with them.

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 Ocean by ELOY album cover Studio Album, 1977
4.20 | 901 ratings

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Ocean
Eloy Psychedelic/Space Rock

Review by Seyo
Special Collaborator Honorary Collaborator

4 stars Back in my younger days in the 1980s I was introduced to ELOY with "Poseidon's Creation". I still remember when we made fun of the lead singer's bad English pronunciation when he tried to utter the lyrics "son of god and daughter of earth", but ended up sounding like "zanofgot end totrofhrth". Although musically listenable along the line of other prog rock obligatory stuff, I considered them a blatant FLOYD derivatives, who did not deserve my special attention. And what also pissed me off was that many considered them as a part of Krautrock movement, which I always found a bit offensive. Apart from the fact that they come from Germany, there is nothing else to align them with the true innovators like KRAFTWERK, CAN, AMON DUUL, NEU, FAUST... ELOY is basically an Anglo-American space-rock/symphonic prog that just happens to be played by a German band.

I just revisited my 10 years old negative review of the compilation "Timeless Passages" here on Progarchives, and found it a sort of contravening to my recent, generally affirmative, individual albums reviews. Perhaps I have developed a soft spot for ELOY finally, or I have become dumber and more lenient in judgements with growing old. Or I have developed a more sympathetic attitude towards Frank Bornemann's singing. Or it is maybe just a question of different perspective. Nonetheless, I nowadays enjoy listening to ELOY more than I did back in the past. Floyd ripoffs? Maybe, but who cares? It sounds nice and relaxing, even demanding to some extent. And how not to love this iconic cover artwork depicting the Hellenic deity Poseidon holding a skull-staff while his head is decomposing into a galactic formation? A concept album again? Yes, why not? Some ancient Hellenic mythology this time - Poseidon, Logos, Atlantis, Creation, Incarnation, Gregorian Earth-time... Naive and childlike? Yes, just like the behaviour of nowadays politicians and world leaders... so where is the problem?

The first twenty minutes of the album (A side of the vinyl: "Poseidon's Creation" and "Incarnation of the Logos") is perhaps the pinnacle of ELOY music. Spacey keyboards, minor chord atmosphere, odd time signatures, "galloping" bass, ominous drumming and tasty guitar fillings are impeccably played and produced, and without unnecessary strings and choirs from the previous album. B side bogs down a bit and some parts get boring. "Atlantis Agony..." is really agonising for the first never-ending 8 minutes, then finally something starts to develop and brings this album to a close on a decent note. "Ocean" is perhaps the best ELOY album, actually very close to "Dawn", but again for many reasons, some of which still standing from my old negative review, I cannot give the highest score. Yet, for this type of genre it is an essential listen. 4 and 1/2 stars.

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 A Grounding In Numbers by VAN DER GRAAF GENERATOR album cover Studio Album, 2011
3.41 | 424 ratings

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A Grounding In Numbers
Van Der Graaf Generator Eclectic Prog

Review by Orpheus-keys

3 stars A Grounding in Numbers marks a slight change of direction for VDGG and this change of direction is evident in both the lyrical content and the musical changes occuring throughout. It is their second album as a trio after saxophonist David Jackson left the group and the absence of saxophone on this album was a very important change of direction for the group. Guitar parts are more prominent than ever here and the production is far less bulky due to no brass instruments clogging up the mix.

'Your Time Starts Now' is an archetypal Hammill ballad full of Hugh Banton's droning organs, Guy Evans' tranquil dirge-esque drum fills and wistful displays of lyricism. For a progressive rock group to start their brand new album with a ballad is, generally speaking; a bold move, - nonetheless it works well here. 'Mathematics' is a short song where Banton's organ swirls are the dominating factor, much like the 'Still Life' VDGG-period. 'Highly Strung' is a fast-paced bolshy rocker which wouldn't be totally out of place on a Hammill solo album ala Nadir's Big Chance, - the lyrics deal with the stream of consciousness one undergoes whilst experiencing a panic attack and the accompanying music is also very busy and cluttered. 'Red Baron' is a nice little ambient piece which allows Banton and Evans to take centre-stage for a little while. Temporary relief from the harshness of VDGG rockers is, however, very short-lived, as it is followed by 'Buncho' which is probably my least favourite on the album due to it sounding awfully cluttered and directionless. 'Snake Oil' is a massive improvement, clocking in at around six-minutes. The second half of this track is among some of the finest moments in VDGG history, showcasing dynamic syncopated rhythms in multiple odd-time signature and tempo- changes, - not totally disimmilar to that of 'Man-Erg' from Pawn Hearts. 'Splink' is another ambient instrumental piece with a fairly strong opening melody; however quickly it vanishes into nothingness. 'Embarassing Kid' is another bolshy Hammill-led rocker with tons of aggression and focus. 'Medusa' is a nice ballad which feels underworked as the opening three minutes have a lot of potential and could have easily been developed into a longer piece. 'Mr Sands' is my personal favourite on the album, - for it never becomes stale and oozes with strong riffs and syncopated rhythms throughout. 'Smoke' and '5533' seem to submerge into one another, - the former being a three-minute quasi-80s disco track with odd vocal melodies and whispered lyrics whereas the latter is perhaps slightly more futuristic, fitting with the esoteric space-age theme of the lyrics. 'All over the Place' finishes the album off and it's one of the longest tracks on the record. It starts nicely with gentle harpsichord layering before dwindling away into a fairly mediocre mid-section. Thankfully the track redeems itself with a fairly stonking organ riff which closes the album nicely with a punch.

Overall, a varied and eclectic mix of VDGG's talents, - however none of them are truly embraced to the fullest leaving the listener perhaps a tad disatisfied. One of their most jumbled releases to date which is full of great ideas but seldom do they truly come into fruition. An album that VDGG purists will very much enjoy but newcomers will more than likely be uninterested.

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