— First review of this album —

His heavy machinery guitar appearances encourage us incredibly. So glad to find SENMUTH came back with his great post-metallic guitar plays in this creation. Especially the first shot track "Acochiztli Macuilpoalxihuitl" is another crazy masterpiece without any apparent new-age-y approach. Of course his newage expression is essential but sometimes we would like to enjoy his simple (and deeply heavy) post-metal production, wouldn't we? His fuzzy dissonant guitar shout is quite immersive, and melodic eccentricity in the middle moment is pretty impressive. We can completely get drenched and drunken in his square guitar techniques. Such a superbly motivating song is definitely fit for the prologue.

"Хicаlliс Еzticа" features his ethnicity full of bizarre distortion with intensive vigorous guitar explosions as well. Strong curiosity to orientalism and experimentalism should be his massive power and energy for prolificacy. And such a contralateral mixture is also promising. "Сhiconquiаhuitl" is amazingly too melodious, mystic, and calm for his production to involve a big charm that can absorb the audience. Sounds like we are deeply meditating in a dark temple with listening to this song. Meanwhile, in the following "Ixpoluia Tepamitl" we can be caught by his deadly guitar-oriented dark nebula and weird ethnic melodic experiment. Such a mysterious orientality created with percussion and wind instruments is fantastic, also as for "Maxelihui Miqui Аhuiyac", where we join serious urgent impression launched via the song's atmosphere. The last "Tlahuacapa Itech Tlalticpac" is a wonderful combination of heaviness, postrock essence, and newage texture ... regardless of the shortest stuff in this album, potential and encouragement through it should be enormous.

Anyway he's been in hibernation for half a year since the latest album released ... it's a kind of serious situation he's gone out of activity for six months or more. I'm afraid he would have been burnt out whilst finishing this opus. Please come back soon.

3.5 stars. LITMUS released four studio albums between 2004 and 2012 and I have the first three. The debut "You Are Here" is the best in my opinion with Matt Thompson of GUAPO fame adding audio generator and his brother Andy from Planetmellotron adding... well mellotron.

The biggest complaint is how much they sound like HAWKWIND, especially the tunes that "rock". The followup "Planetfall" was a disappointment, with Matt leaving and Andy's mellotron being buried in the mix. "Aurora" their third from 2009 is an improvement over "Planetfall" but just falls short of that fourth star. And again the reason for that is the HAWKWIND worship.

Over half of this 65 1/2 minute album sounds like energetic HAWKWIND but there's also so much good stuff on here. Andy left after "Planetfall" but even he says "Aurora" is a better album than "Planetfall". Highlights are the over 5 minute "Eos" where we get a spacey soundscape that builds and swells and how about the mellotron. "Kings Of Infinite Space" at 8 1/2 minutes is my favourite. A slow build as vocals join in. Just a nice heavy sound eventually.

"Ma:55on Rift" is my final top three and this is trippy and spacey and t doesn't start to move until after 3 minutes as the drums arrive, bass too. Love the depth here before 5 minutes. Some ripping guitar 7 minutes in and mellotron late. The one HAWKWIND-like tune I really like is "Stars" and it's the shortest at 4 minutes. An intense track.

I'm pretty happy to have their debut but this is the next best thing.

— First review of this album —

It is said that the main problem with this band was the strong inner tension established between the electric guitarist, Daniel Sbarra, who favored songs based on heavy riffage, and the Chilean cello player, Carlos Beyris, who preferred a more classical and pastoral approach, with Abuelo playing the difficult role of walking the divisory line, trying to find some balance as singer and bandleader. It is said, also, that the mentioned dispute ended up in an early disbanding, which is a very credible interpretation of the premature demise of this extraordinary group of talented musicians.

Now, if I have to give my own view of the effect that such musical difference seems to have had on the album itself, I have to say that it conducted to a fascinating fusion of both aspects, endly resulting in a completely absorbing listen.

The voice of Abuelo is maybe an aquired taste, but is also endowed with an extended register and a ductile expressive ability, and both aspects allow him to express the very different moods and energy levels successively created by a band that is always challenging his prowess.

As a listening guide, I suggest you to go for tracks 1 Tirando piedras al río (Throwing Stones To The River), and 3 Estoy Aqui Parado Sentado Y Acostado (I'm Here Standing Sitting And Lying), if you were interested primarily in the heavier side of things (even when they include also classical-like passages), and for tracks 2 El largo día de vivir (The Long Day Of Living) and 4 El muelle (The Dock), in the case you prefer to listen to the calmer stuff first (even when the last one evolves gradually to a fantastic heavy climax).

The entire album is excellent, because of the great performances, notable compositions and outstanding sound quality, and it surely worth the while taken for a careful, intimate, and relaxed listen.

HFMC are back with their fifth album, their second with just the abbreviation HFMC on the cover, with yet again the same line-up of Hasse Fröberg (lead vocals, guitars). Anton Lindsjö (lead guitar, acoustic guitars, backing vocals), Kjell Haraldsson (grand piano, keyboards, backing vocals), Thomas Thomsson (bass, backing vocals) and Ola Strandberg (drums, acoustic guitar, backing vocals). It is certainly no mean feat to keep the same five musicians together over the course of so many albums, especially when the band leader is mostly preoccupied with some outfit called The Flower Kings. Actually, it is remarkable that HFMC have been able to work so much together given just how active The Flower Kings are, but given Roine somehow always manages to find time for other projects perhaps it is not quite that surprising.

One of the major failing of The Flower Kings over the years is the seeming inability to self-edit, and with three lengthy songs we find the latest HFMC release is 70 minutes in length, so pushing the boundaries of a standard CD (long gone are the days when albums would fit on one side of a TDK-90. If you don't know what one of those is then I now feel very old), and while this never drifts as much as some of their releases, there are certainly times when the attention wanders. They are truly crossover in that we get plenty of nice melodies which would not sound out of place in more commercial settings, while they move happily between genres such as folk and symphonic. "Other Eyes" is one of the longest songs on the album, and provides one of the most delicate and enjoyable passages when Hasse is accompanied by acoustic 12-string, and it allows him to demonstrate just why he is so highly regarded. This may not be a classic prog album, but it is certainly enjoyable, with some nice keyboard sounds being utilised, yet there is a feeling that there are times when it is somewhat lightweight and could have done with more punch. Not exactly essential, this is a nice release all the same.

Formed more than 25 years ago in Lyon, Enneade have not exactly been the most prolific of bands and this, their third album, is the first in 11 years. When they released 'Teardrops In Morning Dew' they were a sextet, but since then have lost one member to drop to a quintet, but apart from a couple of guests it is the same line-up as the last one so I have no idea why it has taken so long to get this out. It is surely not due to a lack of musical ability or material as this is a really enjoyable album right from the off. Somewhat strangely, for any album, let alone a prog release, it commences with a single unaccompanied vocal which is then joined by harmonies. When the acoustic guitars came in I was then very much prepared for a folk release, but instead what we have is an album which straddles Neo and Prog Metal while also bringing in other melodic influences.

One would never guess this was a French album as the vocals from keyboard player Christian Greven are clear and unaccented, and overall this comes across as being heavily influenced by the likes of Lifesigns, although with more bite when the time is right. In modern prog terms this is quite a short album as it is only five tracks and 37 minutes long, with only the closing "Autumn" more than ten minutes, but this is actually refreshing and certainly left me wanting more. They strike a really good balance between different styles, but always commercial, and if it were not for the heaviness they would probably be considered by many to be truly Crossover, as there are some delicious melodies within this. It takes repeated listenings to fully understand the depths within this, but it is a thoroughly enjoyable album the very first time it is played and I am sure this will gain many fans within the prog arena. I only hope we do not have to wait another 11 years for the next one.

Adapted from my DPRP review

What are the highs and lows of RökFlöte, and will it be considered a winner, or a loser, by the band's supporters?

On the evidence of its compositions, Jethro Tull have created a success that many Tullsters will adore. The album contains numerous aspects that comfortably fit the "new old Jethro Tull album" moniker. In this respect, it ticks many of the accepted boxes and will probably exceed expectations.

For example, the guitar is high in the mix. There are musical references to specific passages from past Tull albums and allusions to the styles of previous Tull releases.

The band's performance is fresh and uninhibited. Anderson's flute playing is impeccable. There are frequent occasions when the fearsome interplay between flute and guitar is simply magnificent. This release regularly contains outstanding instrumental passages. The tunes are melodic and lyrically astute. Although the album regularly vibrates the chest and rocks the senses, there are still many interesting changes in pace and direction.

The Perfect One and Cornucopia are probably the prettiest tunes on the album. They certainly provide the album with a different set of colours. The Perfect One journeys gently through sun-shadowed passages and rolls and shifts with purpose in heavier flute-splashed squalls.

RökFlöte is probably the most convincing that Jethro Tull have sounded as a collective since their Roots to Branches release. The band's lively and outstanding performance outweighs anything from the Dot Com era, or from Ian Anderson's TAAB2 and Homo Erraticus releases. There is a vigour, excitement and sparkle to the band's performance that has arguably been missing for years.

The combination of Joe Parrish-James' upfront guitar tones, with Anderson's virtuoso flute performance works fabulously. Whether by accident or most likely by design, there are many junctures when Parrish-James adopts a style and a muscular tone that Martin Barre might have utilised, had he been involved.

Parrish-James' outstanding and prominent contribution to the overall mood of the album is a significant reason why RökFlöte might be positively received by that section of Tull aficionados who lamented the departure of Barre. RökFlöte contains no acoustic tunes. Indeed, Anderson very rarely plays acoustic guitar in concert these days, and the few acoustic guitar parts on the album are credited to Parrish-James. It might be assumed that an absence of the short acoustic tunes that Anderson is renowned for, would have a noticeable detrimental effect on the success of the album. That it does not, says something about the sequencing of the tunes and the quality of the all-out rockers such as Wolf Unchained and The Navigators.

Both tunes have a relatively straight-forward hard-rock style, that on a cursory listen comes across as much too simplistic to have been composed by Anderson. However, as might be expected, both tunes do not stick to a predetermined hard-rock script. In this sense they exude the essence of what Jethro Tull are all about; creative melodies, unusual progressions and fine instrumental embellishments.

The Navigators begins in an upbeat fashion and has a biting flute riff that gives it a similar sort of snarling appeal as Roots to Branches' Dangerous Veils. The Navigators stridently exhibits power flute blowing, in an exciting display of metallic, silver-tubed virtuosity. For good measure, its concluding section satisfyingly channels some of the mysterious Eastern vibes that were prominent in Roots.

Both Wolf Unchained and The Navigators offer a chain of excellent opportunities for the group to stretch out in a succession of satisfying, gilt-edged instrumental breaks. Despite the success of these leather-stained rockers and the overall appeal of the many flute and guitar interactions, I certainly missed the changes in pace and earnest appeal that the delightful acoustic numbers offered in The Zealot Gene.

However, despite RökFlöte generally being a much harder-edged album, melody is never sacrificed, or replaced by brash aggression. For example, the gently evolving Cornucopia is forged and sculpted by an enchanting flute line. This recurs, floats and flutters elegantly, to highlight the tune's appealing initial melody. For some reason, its eloquent nature and reflective ambience recalled some of the beauty of Stand Up's Reasons For Waiting.

So will Tull fans get what they want, what they really really want?

Overall, RökFlöte can be placed in the middle ranks of Jethro Tull and Anderson's thirty studio album discography. This assessment probably reflects RökFlöte's exceptional and slightly unappealing facets and all points in between. Yet, this album's overall excellence outweighs any negligible reservations that might arise. The fact that it succeeds on so many different levels and in so many appealing ways, is probably much more than any Tullster could reasonably expect in 2023.

Mildly progressive without being overly technical, "Surreal" is almost entirely instrumental. Lots of keyboards, as expected, and some fun guitar work. My biggest complaint is that it is mostly instrumental. The title track is the only one with any vocals, featuring, of course, Lana Lane. It's a good song, and at over ten minutes long, it's a long welcome break from the instrumental pieces. Even this song, though, has a long instrumental bit in the middle. Another favorite is "Unearthly," if only because it has some unusual instruments and some Asian-type influences. The last track, "El Gran Final," has more energy than the other tracks.

The album as a whole is a bit lighter than other Norlander projects. The album is pleasant to listen to, with some nice melodies. I'm not generally a huge fan of instrumental progressive rock, and there's nothing here that's particularly original or excellent. That being said, I do like this. 3 stars.

Even for a band like Motorpsycho, I bet it'd be hard to make another album that could live up with an amazing trilogy as good as the Gullvåg trilogy. So, for their 2021 follow up record, the band would release Kingdom Of Oblivion, an album that would be a lot denser than its predecessors, while still trying something new.

What is found on Kingdom Of Oblivion is a lot more rooted in hard rock and heavy psychedelic rock sounds, like Heavy Metal Fruit and The Crucible, though the difference here is that the rock aspects are a lot more focused on here than those two records. What I like about Kingdom Of Oblivion is that it feels like a strong tribute to the old hard rock sounds of the 70s and early 80s with bands like Led Zeppelin, Rush, Deep Purple, and Black Sabbath, whilst also paying some homage to the stoner rock scene of groups like Queens Of The Stone Age, Kyuss, Clutch, and Elder. It all feels like this one tribute to all those great bands whilst also keeping in touch with their Norwegian prog rock sound.

I also really like how more rock focused this is compared to other releases. The more heavy prog nature this album composes is quite the treat to my ears, and the more guitar driven pieces like The Waning, The United Debased, and At Empire's End are always a treat to listen to.

However, I feel as though this album doesn't really get those strong strokes of genius their other records deal with for me. While the music on here is good, I don't think there are any really amazing moments found within, or any moments that made me really excited, unlike what could be found on Here Be Monsters or Little Lucid Moments. It feels like the band took a few steps back in terms of musical prowess that, while it definitely has great songs to be found, do not quite hold a candle to some of their masterpieces before.

Despite my critiques, I do think this is a very enjoyable album. Definitely not their best, but not their worst. I think any Motorpsycho record can certainly still be enjoyable, even the ones I am not quite fond of, so if you want some fun hard prog rock music then check this one out.

IQ, JADIS, ASIA, BIG BIG TRAIN, ARK, ARENA and others, here are the few groups that speak to you and in which IQ members have also worked. IQ is one of the neo-prog dino bands that could have exploded even more than MARILLION if..... but hey, we won't repeat the past; good IQ it's prog because it's melodic, with a drawer, it's worked compositions that take you to the Charisma Label space, that of Lewis, of the rabbit, of the man in the hat. So if I put it in OMNI it's because it cleared the way for the next mega 'Subterranea', cult album more than UFO in fact, you follow me ok ... it's normal and the reason for this 'tip'.

1.' The Darkest Hour' begins quickly on synths to show the paw of the group; Martin indicates that he listened a lot and adored GENESIS, its freshness with ambient sounds of APSARAS; in short, Peter, whom many have decried, arrives with his progressive voice, he returns for the greatest pleasure after the Menuel getaway; the break is provided, complex, it reminds you that it took you time to integrate and ingest it, Mike's solo just what you need; brief delicate nugget. 2.' Fading Senses' in 2 parts, the syrupy melody and the prog incursion as one dreams of it, drum roll, gripping bass then the incisive guitar; the arrival of the nervous keyboard, the choirs, remember, it doesn't stop, the synth-guitar fusion, the oriental getaway in the background, a candy. 3. 'Out of Nowhere' connects, another progressive sign, the drums-synth on an obvious title of GENESIS, we are well inside. This heavy riff that made me prick up my ears 'at the time' in prog in the text, a proto-fusion prog metal before its time, don't forget it at the time when the progs snubbed the hard; that's said. The air on an 'Abacab' which goes to the countries that we all have in mind and that we hide from others. Small paradox in the progueux who thinks he has the best discography and who can't stand that the other next door speaks better about the group he venerates, in short. Genesis finale. 4. 'Further Away' for the big track that opens the B side for those who stayed on vinyl, it will allow them to put this LP on the turntable with a joint of CBD like in 'The Sons of Man'; consensual title for me, yes! Maybe because I'm always waiting for this obvious break that comes halfway through, diabolical with these explosions and this Wallian organ, with this Andalusian arpeggio, with Peter and his bucolic voice to the point that one would say a hit in another album; well I won't say more about this title, everything is sensitive, subjective, dreamlike and purely personal; and then I don't want some people to take my prog dreams and incorporate them, no but; only the final too long and redundant. Pearl for those who did not understand. 5. 'Leap of Faith' title in which I find the most sound of Gabriel, look at the clip it looks like his eyes inside. Well, I'm waiting for Mike's solo and I'm diving back into the sound of GENESIS 'Selling', anyone following me? Ok it's pure IQ too, good the guitar does its job accompanied by other instruments without showing off too much and Peter knows how to leave his place 6. 'Came Down' goes on, again not to let the breath fall, yes a little lame but isn't the goal to make you think about why and how this album is good? Title that comes in happy ending, a goodbye we had a good time together, like on the end of 'Wind and Wuthering'... remember.

IQ has signed an important album, pushing its limits to compose rare, beautiful, good, divine neo-prog, that's said. If there were to be only one, take this one, it smells like IQ, firm at the edges and creamy in the middle, yes that's also the zik prog, you can taste it. (4 at 4.5 for the original album).

Starcastle's debut album exhibits intense Yes vibes, and while many shun this band for lacking originality, but this did not bother me all that much. This record just feels like a more fun version of Yes. If 'Fragile' or 'Close to the Edge' were happier, I feel it would be very similar to this album. The record kicks off with 'Lady of the Lake', which features some very Yes-esque guitar and ELP-like keyboards. I love this guitar riff because of how dumb it sounds. It feels like an intro to one of those dragon shows on PBS Kids. There is some great experimentation in the middle of the track, and it ends the way it starts. 'Elliptical Seasons' feels way too fake, and doesn't feel like there was much effort put into it by the band. The lyrics are okay, but definitely trying way too hard to be Yes. This song has its moments, but feels like a fusion of Queen and Yes, and in my mind, is not a great mix. And besides, Anderson and Mercury would be fighting for the stage, anyway. The next track is 'Forces', which starts with some very mediocre vocals, but the brief keyboard solo disposes of the contents in the 'musical trash' bin. Some bland melodies follow. At some point there is a very funky guitar solo, which is in my mind the highlight of this song. 'Stargate', which runs at just under three minutes, feels like another PBS Kids intro, except this time is much longer. This melts into 'Sunfield', another blegh happy-go-lucky track. Good lyrics and musicianship, when you can get past the fact that this is quite unoriginal. Ends perfectly, though. 'To The Fire Wind' is one of the best songs on this album. I love the lyrics, silly harmonies, and guitar. The last track on this album is 'Nova'. It is the shortest song on the album, and exhibits some great, technically impressive percussion skills. After about a minute, the synth enters the scene, and seconds minutes later the guitar comes and the track ends. A fun little ending to a fun little album.