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— First review of this album —

The music of Man Man is some of the goofiest, off-the-wall modern rock around. At the same time, they are also incredibly listenable and easy to get into. Rabbit Habits was my first experience with the band, and what a memorable journey it was! As is already mentioned in the band's Bio, there are a lot of similarities to bands like Samla Mammas Manna, but at the same time there is a little accessibility to be heard, at least as far as this release is concerned. They manage to weave a unique musical web, implementing a vast array of various instruments and noisemakers that I couldn't possibly begin to name, but simultaneously they have a familiarity and relatable nature that very few bands in the genre have. This means they can appeal to more than just one type of audience, and as such are a great starting point for RIO/Avant-Prog newcomers to ease their way in.

Ryan Kattner's rough, versatile voice lends itself incredibly well to the band's music. He can take on any voice role, jumping between traditional singing and high-pitched screaming on a dime, and anything else in between. His piano playing is also very well-implemented, as he plays away with eccentric gusto with the rest of the band members backing him up with virtually every sound imaginable. At one point during one of the goofier (and most enjoyable!) songs, ''Big Trouble'', they simply dropped a bunch of random household items and used that noise as percussion. After watching video footage of the band in the studio making the record, these moments are even more special to me, since it;s clear they simply want to make music with any unconventional means they can think of.

But as mentioned earlier; aside from all the random noises and nutty vocal styles, there is plenty of actual music on Rabbit Habits to enjoy. The songwriting may be wacky and seemingly disjointed at first, but like all great Avant-Garde Rock groups, the genius of the compositions will reveal themselves over time. It just happens that with Man Man's music, you can still enjoy yourself immensely right from the start, even if you don't quite understand what you're hearing.

The best tracks on Rabbit Habits for me are ''Hurly/Burly'', ''Big Trouble'', ''Doo Right'', ''Easy Eats or Dirty Doctor Galapagos'', ''Harpoon Fever (Queequeg's Playhouse)'' (who's opening piano reminds me of ''That Old Black Magic'', and who's initial guitar strumming is reminiscent of ''Wipeout''. What a combination), ''Rabbit Habits'' (A Beatles-esque piano ballad of sorts), ''Top Drawer'', ''Poor Jackie'' (the most beautiful, complex song on the record), and ''Whalebones'' (a wonderful Folk-meets-Jazz ballad featuring a banjo and saxophone). Oh, that's just about all the songs on the album? I see. Well, it's really hard to dislike ANY part of this album, as far as I am concerned, and this record really has no low points.

The musical genres are always rotating between Ragtime piano, Avant-Garde Rock, Jazz, Electronic, 'VIdeo Game' music, and many others. This constant change -up of styles means that you can't possibly get bored of this album, and you might just find yourself humming some of the melodies, despite how unconventional they might be. Man Man have managed to compose a work that infects the listener with its music in the same way the more common Pop song can, yet without sacrificing their unique artistic expression. So how can such an unusual album linger within us for so long? I guess that means these guys can right some damn good music-- conventional or not.

If you haven't heard of Man Man before, or aren't sure if you'd like their music or not, I implore you to dive right in. Especially if you are a Zappa fan (for the sense of humor) or a frequent listener of Samls Mammas Manna (for the musical style), but even if you're not, I think you'd be pretty hard pressed not to like what you hear. There is just something about Man Man's music (and this album in particular) that grabs hold of you and refuses to let go. As immediately accessible as a Pop song, yet as artistically diverse and abstract as a Picasso painting, Rabbit Habits is one musical ride you can't afford to miss. But of course, that's just my oh-so- humble opinion.

I'm not sure how to rate this, 4.5, I guess. I doubt it has the same exact qualities as the most iconic Prog albums out there, yet at the same time, to not call this work progressive or forward-thinking in its attitude would be doing the band's work and incredible injustice. Yet, I need to keep my ratings as realistic and balanced as possible, so I need to take my personal love for this record out of the equation and rate it on its own merits. So 4.5 stars is the closest I can get to calling it a flawless masterpiece (which, on a personal level, I believe to be the case).

In any case, you must give these guys a listen. Music this diverse and interesting deserves to be heard by everybody, and in my opinion also deserves a place on every music enthusiast's shelf.

Very happy listening.

Yeti is an album that keeps surprising me. Not for its music, but for the fact that even though it has all ingredients to make me fall in love with it, I'm still waiting for it to make a pass at me.

It starts excellently. Soap Shop Rock part 1 really sounds like a piece of dirty blues rock that you won't be able to tidy up even if you use an entire shop's worth of soap. Part two is ok as well and starts like it's taken from a Floyd live outtake from the same year. The track features some talking vocals and noisy guitar playing. Some inspired flashes at the end excluded, it doesn't thrill me the way other kraut rock bands like Can and Guru Guru tend to do. The vocals in the following sections leave me completely cold. In fact only the sections that feature Chris Carrer's violin stand out.

A couple of short psychedelic tracks follow of which Archangels Thunderbird is the most remarkable. It has a very cool and groovy guitar riff that rocks the house. Also the vocals are surprising, sounding not entirely unlike a crazed version of Jefferson Airplane. The first half of Cerebrus features ethnic percussion and Indian influenced acoustic guitars. It's quite a typical feature in kraut rock (and psychedelic rock in general) but it doesn't really captivate me here. The second half of the song is rather pointless. Short tracks like The Return of Ruebezahl and the electronic experimentation of Pale Gallery are more convincing. Especially that last one has an amazing sonic texture that is easily 10 years ahead of its time. I'd rather expect this on a post rock album from Tuxedo Moon or the likes then on something from 1970.

The Yeti Improvisation is a solid psychedelic jam with a short electronic start followed by a brief section with abstract guitar sounds that all post-rock bands have shamelessly nicked and made endless variations on. At the core of the improvisation sits an outstretched jam that is ok but less surprising. The last 5 minutes are more experimental again. Well, you certainly can't blame Amon Düül II for a lack of creative and innovating ideas. Yeti Talks seems like a continuation of the same improvisation or an outtake from a similar jam. It has a great early Floydian vibe and while not as stellar as the Umma Gumma live tracks, it comes close. Sandoz in the Rain ends the album with another Indian flavoured ethnic track.

I have a bit of trouble rating this album. Going by my appreciation of it I would have to give 3 stars, but that feels rather short for such a groundbreaking album. I'll grant a 4 and hope that someday it will truly convince me that it's worthy of it.

Ommadawn is Oldfield's best album. The approach hasn't changed compared to the previous two albums: two side-long tracks with fluidly flowing Celtic folk symphonc prog, replete with inspiration and Oldfield's sensitive playing, especially on guitars and keyboards.

The first part is just perfect and the album would have been an undisputed 5 star if the second part had been equally strong. It alternates between very slowly brooding melancholic sections and cheerful folksy tunes, featuring plenty of great vocal, synths and guitar arrangements. It's a very atmospheric track, ending on a swirling finale with a tribal percussion and gorgeous vocals and guitars.

The second part is excellent as well but, while entirely pleasant, it doesn't feature the gripping highlights of part one. On Horseback ends the album with a warm pastoral folk song, complete with a children's choir and high singalong campfire potential.

Ommadawn is the album to get if you want to discover Oldfield's qualities as an arranger and composer. 4.5 stars, probably 5 in this sub.

Panopticon continues the personal sound that Isis had found on Oceanic. It's a mellowed out version of Neurosis-alike post-metal, or brain metal as I sometimes tend to call it. The music is not too heavy generally and features lots of brooding post-rock parts, with a keen sense for melody and tension building. It's mainly instrumental, with only a few short sections with gruff vocals.

So Did We for example kicks the album off in a stately fashion and is one of the better parts of the album. Also In Fiction, Wills Dissolve and Altered Course are very strong and atmospheric. The main Isis asset is to work out brooding pieces with rich harmonic and semi-dissonant chords and to build those up to a forceful climax. They do that very well on those tracks.

Unfortunately it turns out to be the third Isis album in a row that is not entirely satisfying. While the approach to each song is very similar, the quality of the material is not. Backlit for example doesn't have one aspect that makes it remarkable, it mainly consists of predictable post-rock doodling, weak metal riffs and annoying vocals. Also Syndic Calls is pretty average.

Overall this album consist mostly of excellent music and is one of Isis' best. But there is also some average material that might be good enough for fans of the style but that is only mildly engaging for post-sceptics like myself. 3.5 stars

— First review of this album —

It was a bit unusual to hear this competent, energetic vintage jazz rock fusion on the album, recorded in year 2009. But from other hand, there were some really pleasant moments in it - not too many modern bands are playing such music (at least - on good level).

Guitarist David Hines is openly influenced by Allan Holdsworth (who participated on his debut album as guest musician). So, music of this, second release, is in fact played on the same key. All musicians are professional, so the music is of good quality. Sound quality is excellent as well.

The main problem with this album for me is there are not enough new ideas or at least - own face. Good quality remake of great guitar fusion from 70-s is pleasant to listen, but easy to forget at the same moment last song was finished.

I think this album is good listening for classic guitar-based jazz-rock fusion lovers ( without expectation for even small innovation). For fusion researchers - pleasant, but secondary listening.

Osada Vida seem to like their concept albums. Following on from 2008's The Body Part's Party, the Polish quartet return with Uninvited Dreams with the theme of nightmares running through it.

The first thing I noticed was the vast improvement in the sound over their last album and the band plays tighter too. They still seem to occupy similar territory to their fellow countrymen Riverside; prog metal instilled with atmospheric keyboard flourishes. Despite no shortage of powerful metal riffs the guitars don't take over completely and there's still plenty of space for keyboards, which while often forming a backdrop for the guitars take a front seat occasionally with a mixture of modern synth textures, piano and Hammond (?) organ.

Most of the songs are around the ten minute mark and the band takes the opportunity for plenty of instrumental breaks which are in the main inventive and maintain the listener's interest. Childmare (A Goodnight Story) contains an excellent and lengthy guitar solo from Bartek Bereska showing what a good player he really is. Osada Vida's weakest area is the vocal work of bassist Lukasz Lisiak which can't be described as anything more than adequate. They are helped however by the inclusion of some female backing vocals from Natalia Krakowiak who adds another dimension to Lisiak's slightly monotone delivery.

Apart from the title track which opens the album, I did find it took a few listens for most of the material to sink in, thinking it a little ordinary at first. It's worth sticking with as after a few plays it starts to reveal its secrets. No such problems with Uninvited Dreams though, with its contagious hook on the chorus.

Overall while not in the same league as their countrymen Riverside, Osada Vida have made an album that is a step up from their last one, which although I found it enjoyable enough hasn't been off the shelf much once the dust settled and it was out of my recent purchases area. I suspect Uninvited Dreams will have longer lasting appeal. 3 ½ stars.

The Electric Light Orchestra is without a doubt one of my favorite bands simply because of the sheer number of phenomenal songs in their catalogue. Face the Music contains several of those, and only has one song I do not like at all. For all the pop elements of this record, the band shows their adventurous side by opening with not only an instrumental, but a terrifying first minute and a half. Much of this album is typical ELO- well-dressed progressive pop tunes with old school rock and roll married to classical music. Face the Music is essential for fans of the band (although they would likely already own it), and is also a great starting point for anyone who has not heard much from them. Although not flawless, this album makes for a wonderful yet terse listening experience.

"Fire on High" One of the creepiest bits in all of music is the first ninety seconds of this incredible instrumental. Hellish industrial noises juxtaposed with some of Handel's Messiah, all underneath a bed of harrowing strings- this is the stuff of which nightmares are made. And those chilling reversed words are paralyzing (Drummer Bev Beavan warns, "The music is reversible but time is not. Turn back. Turn back. Turn back. Turn back;" it was the first of many pokes from Jeff Lynne at religious groups having a fit over backmasking). Abruptly the piece proper begins: Spiraling strings and a wonderful electric guitar theme is the catharsis for the intensity that precedes it, and then it all explodes into that well-known acoustic chord progression, flanged drums, and sweet violin, a part which was frequently used for athletic events and carnival rides. In a final display, the choir sings the title of the song.

"Waterfall" Lynne has been quoted as saying that "Waterfall" was "a bit of a favorite" of his, and with good reason. This is a gorgeous song with the trademark ELO sound, one which rivals beauties like "Telephone Line," "Can't Get It Out of My Head," and "Strange Magic." In fact, the gentle opening of "Strange Magic" is referenced in the beginning here. It's too bad that with these lush melodies and this gorgeous yet simplistic arrangement, this song often gets overlooked on compilations. The refrain has a Queen element in terms of complex harmonies and falsetto vocals.

"Evil Woman" Probably the first Electric Light Orchestra song I ever heard, this is also one of my favorites (but my list of favorites for this band is embarrassingly long). Intriguingly, the ELO's first worldwide hit was a song Lynne himself admitted to writing as filler for the album, having penned it in a half an hour. It uses an extravagant orchestral introduction dominated by dominant seventh chords and a lead vocal giving the opening line. Afterward, it has a simplistic but effective chord progression, a lightheartedly bitter verse, and a quite stylish chorus with some excellent backup vocals. The instrumental section has light piano over that same bouncy rhythm, along with some dazzling strings. The brief string interlude comes from elsewhere on the album, and is played backwards and through a flange effect- effortless.

"Nightrider" Over somewhat dark strings, Lynne sings a sweet, occasionally falsetto melody. Soon the song lodges into a pleasant groove, with the late bassist Kelly Groucutt singing some of the lead vocals. Not long after the start of the third minute, the listener can hear the terse string interlude utilized on "Evil Woman," only this time played forward and without the heavy effects.

"Poker" Quite different from anything else on this record, this is a heavy rock and roll song with a synthesizer lead just before the first verse. The vocally versatile Groucutt handles the main singing duties. One of the riffs has a Led Zeppelin-like quality, as it is reminiscent of "Kashmir."

"Strange Magic" One of the most delicate ELO songs there is, this has that lovely introduction that is almost like a Hawaiian lap steel guitar. The graceful singing and the exotic sitar through a flange offer subtle complexities to this beautifully placid song. Multiple vocal parts during the fading refrain is a spectacular way to end the piece.

"Down Home Town" Showcasing their "strange magic" in the studio, ELO employs an effective backmasking transition- the original sound is the from "Waterfall," by the way- but unfortunately, this slipshod rocker is the weakest on the record. For some reason they incorporate excerpts from "Dixie," the volume of which can be a tad painful relative to the rest of the music.

"One Summer Dream" Following an orchestral introduction, ELO displays once more their uncanny ability to write bittersweet songs bathed in an efficient simplicity that allows the work to be unforgettable. This airy piece is not bogged down by excessive instrumentation, but just floats along a sleepy and nostalgic melody.

Dead Winter Dead was the first and so far only post-Criss Oliva album that I have purchased. After hearing Edge Of Thorns I felt like pushing forward in my exploration of Savatage and since this album received the most praise both here on Prog Archives and many other websites it felt like the obvious choice for me.

The main question here was whether Jon Oliva could once again recreate the magic of Streets by pushing things even further? It was safe to say that Dead Winter Dead had the symphonic elements that I missed so much on Edge Of Thorns but the songwriting on this album just isn't on par with any of the previous Savatage releases that I've heard so far.

This is once again a concept album but the story isn't as apparent as it was on Streets and I needed to actually read the lyrics in order to even understand the basic elements of the concept. Still, if there is anything that Jon Oliva knows how to do it's writing those gorgeous ballads. His ability to convey the right feelings to the listener is flawless and he does so on a few occasions like This Is The Time (1990) and the concluding track Not What You See. These compositions do make me want to love Dead Winter Dead more but I just can't get past some of the lesser parts like Starlight and the title-track. Come to think of it, the whole middle section of the album feels sloppy which is the first time I experience this on a Savatage release.

I guess that Dead Winter Dead will remain somewhat of a mixed bag of a concept album where some sections are almost as great as anything on Streets while the others just completely miss the mark. This is why I award it the good but non-essential rating.

***** star songs: This Is The Time (5:40) Not What You See (5:04)

**** star songs: Overture (Instrumental) (1:50) Sarajevo (2:31) Doesn't Matter Anyway (3:47) This Isn't What We Meant (4:12) Mozart And Madness (Instrumental) (5:01) One Child (5:14) Christmas Eve (Sarajevo 12/24) (Instrumental) (3:24)

*** star songs: I Am (4:32) Starlight (5:38) Memory (Instrumental) (1:19) Dead Winter Dead (4:18)

Stimulating music. Wonderful journey.

The Prog Metal scene is now saturated by many clone bands of Dream Theater and Symphony X, which can be a little disappointing but at the end, there are really good bands that shines on the shadows of those other great bands. Pagan's Mind is maybe the best example of a derivate band with it's own talent.

This was the third album I have the chance to hear of them and was a wonderful experience to hear the freshness of their performance, the talent of the musicians and the developing of the concept. Yes, they seem to repeat themselves with all this Gods Aliens conceptual album with the shinning eyed girls on the cover sleeves, but the music on it's own is great. They construct great moods and the music worth for itself more than trying to compare with the great leagues of Prog Metal.

In a time when is difficult to escape the shadow of Dream Theater influence, this band is bold enough to accept their influence and tries to bring something new and they succeed in their 3 last albums. This one in particular is almost a back to back to Celestial: Calling. The music, sound, performance and production are almost the same. This is not a bad thing, because they have a very high standard for their music and production, so if you enjoy quality Prog Metal music, you will appreciate this band for sure. I want to point at the singers voice, versatile, energetic, aggressive and original, seem to have enough space to grow and he is a wonderful singer.

On in on, the album is great. If you like Prog Metal you have to check this out. This is maybe one the best bands of the sub-genre. Quality, good songwriting, excellent performance and stimulating compositions is what you will find in this album. 4 stars because for me, their masterpiece is Celestial: Calling. Everything good in this album is great in that another one. Great album still...

Algebra are an Italian prog band from Benevento that was formed in early eighties on the initiative of keyboardist Rino Pastore and drummer Salvatore Silvestri. Well, this band is not one of the most prolific ones.... After a debut album in 1994, "Storia di un Iceberg", in 2009 they released this second work for the independent label AMS/BTF, "JL", inspired by Richard Bach's book "Jonathan Livingston Seagull". The present line up features Mario Giammetti (vocals, acoustic and electric guitars, bass), Rino Pastore (keyboards), Roberto Polcino (keyboards, accordion), Francesco Ciani (drums, acoustic and electronic percussion) and Maria Giammetti (alto and soprano sax, flute). In studio they were helped by some prestigious guest musicians like, among others, Steve and John Hackett, Aldo Tagliapietra, Lino Vairetti and Goran Kuzminac that contributed to enrich the sound. Algebra are great fans of Genesis, but the music on this work is definitely less derivative than on their previous one. It's conceived as a long suite and features some really good melodic and emotional passages...

It was morning, and the new sun sparkled gold across the ripples of a gentle see... The opener "Il molo deserto" (The deserted pier) begins softly, two flutes wake up, then an electric guitar solo (played by Steve Hackett) soars like a flight of seagulls... On the next track the vocals of Aldo Taglipietra, on a calm background, draw the imagine of a solitary gull, who doesn't care for food like the others... "His name is Jonathan and he loves flying / He flies far away / To touch lightly new horizons"...

Next comes "Il volo perfetto" (The perfect flight) where the emotional vocals of Osanna's leader Lino Vairetti describe Jonathan's practice until the notes of a sax solo lead to the light and delicate instrumental "Aria nuova" (New air). We can lift ourselves out of ignorance, we can find ourselves as creatures of excellence and intelligence and skill. We can be free! We can learn to fly!

"La gogna" (Stand to Center) describes the reaction of the flock against the strange attitude of Jonathan. "Jonathan Livingston Seagull! Stand to Center!" The Elder's words sounded in a voice of highest ceremony... "Jonathan Livingston Seagull", said the Elder, "Stand to Center for Shame in the sight of your fellow gulls!"... "For his reckless irresponsibility", the solemn voice intoned, "violating the dignity and tradition of the Gull Family"... The solemn threatening voice of the Elder and the puzzled one of Jonathan are interpreted by Rino Pastore and Mario Giammetti with passion, then a delicate flute passage leads to another beautiful instrumental "I gabbiani non volano al buio" (Seagulls never fly in the dark). Jonathan Seagull discovered that boredom and fear and anger are the reasons that a gull's life is short, and with this gone from his thought, he lived a long fine life indeed.

"Un'altra dimensione" (A new perspective) opens with a delicate organ sound, then synthesizers and an electric guitar solo introduce the voice of Goran Kuzminac who sings describing the meeting between Jonathan and two radiant gulls that show him the way for an higher knowledge, "Come with us they said to him / One school is finished, and the time has come for another to begin / And they disappeared together into the night". Well, Goran Kuzminac is one of my favourite Italian singer songwriter and it was a true pleasure for me to listen to his contribute on this album!

Next comes "Al naufragio del mio sogno" (The shipwrecked dream) that features the operatic vocals of Gianfranco Casiero soaring from a dreamy atmosphere and melts in the exotic percussive pattern of the short instrumental "Un battito d'ali" (A single flap of wings)... "I'm still alive / Into the caresses of every wind breath". So this is heaven, he thought, and he had to smile at himself. It was hardly respectful to analyze heaven in the very moment that one flies up to enter it.

On "Ciang" (Chiang) the intense voice of Italian rocker Graziano Romani describes a new leg of Jonathan's path to perfection and the meeting with the Elder Gull Chiang... "I am Chiang and I am the Elder Gull / I am here to teach you to fly / You will go to heaven / When you will reach the perfect speed". "We choose our next world through what we learn in this one. Learn nothing, and the next world is the same as this one, all the same limitations and lead weights to overcome... Heaven is not a place, and it is not a time. Heaven is being perfect!".

"Il fattore tempo" (Working in time) is a beautiful jazzy instrumental where Maria Giammetti's saxophone evolves upon a background of counter-bass and piano. Those who put aside travel for the sake of perfection go anywhere, instantly. Remember Jonathan, heaven isn't a place or a time, because place and time are so very meaningless... The following track, "Il richiamo" (The callback), is about Jonathan's need to come back to his old flock to show to other young seagulls what he has learned and to teach them how to fly... Hope and nostalgia mixed together in a delicate ballad with a beautiful finale where sax and electric guitar take the lead.

On "Fletcher" lyrics describe the meeting between Jonathan and his new student, Fletcher. New sensations and feelings, new thesis overcoming old rules while exotic notes of saxophone lead to the delicate instrumental "Soffi da Oriente" (Blows from the East)...

"Un'infinita idea di libertà" (An unlimited idea of freedom) is another excellent instrumental, joyful and relaxed in the meantime, while the following "Ritorno allo stormo" (Back to the flock) begins in a more elaborate and dramatic way... "Break the chains / They keep the thoughts in prison / Then the body will be free too".

"Presa di coscienza" (Awareness) is beautiful piece about hope... It tells about the meeting between Jonathan and a gull with a broken wing, Maynard... "If you want to fly / Open your wings / And take it easy"... And Maynard, the injured gull took off towards the sky, into the wind! "Nel vento della grande montagna" (In the Great Mountain wind) is another short instrumental that slightly reminds me of Le Orme's "Aliante" and features John Hackett on flute.

You need to keep finding yourself, a little more each day, that real, unlimited Fletcher Seagull. He's your instructor... A moment later Jonathan's body wavered in the air, shimmering, and begun to go transparent... "L'addio" (Goodbye) and the following complex instrumental final act "Atto finale" are a perfect epilogue for a very good album that could give you the chance to rediscover an amazing book...

On the whole I think that this album could be an excellent addition to every prog collection.