— First review of this album —

The moniker CYMBALIC ENCOUTERS represents a longer-term concept by drummer and composer Mark Murdock, who currently is residing in Japan. He already has worked with a lot of musicians respectively bands in his career, predominantly deriving from the progressive Jazz Fusion department. Apart from some solo albums this showcases the third effort for that music project, released in 2022. Further main contributors are Percy Jones (fretless bass) and guitarist John Goodsall, both also best known for being members of the band Brand X. Hence it's clear, here we have a highly experienced collective in charge, additionally supported by diverse guest musicians. Exemplarily to name Tim Pepper (The ID) while providing his excellent singing voice resembling Stanley Whitaker and Phil Collins a bit, or Hiroyuki Namba who will serve some considerable synthesizer stuff.

And so we are up to enjoy relaxed and tempered Jazz Fusion, here and there even tending to a Canterbury style. Not too complex, sometimes also offering some funky mainstream imprints. It grooves and swings a lot, room enough for solo explorations available anyhow. The opening title track deserves special attention due to Goodsall's tricky guitar presence. At the moment The Unwelcome Doormat turns out to be my favourite track, shines with some priceless synthesizer contributions. The song The Ending Film At The Endless Theater is faded out ... eh ... to be honest, in a rather careless sudden manner. But wait, probably with intent, when considering the track title? Who until yet missed out any connection to Mark Murdock's approach to produce music, should hurry up as soon as possible. The album 'Cerulean Cathedral' in any case shows a rather unique expression, definitely recommended as an addition to your sophisticated prog music collection.

— First review of this album —

Here is a further soundtrack offering by former Can-keyboarder Irmin Schmidt. His next album will be an autonomous non-soundtrack, but will only follow four years later. The previous Filmmusik albums were collections of selected music from different soundtracks, but this one has all music of the TV series Rote Erde. This series was a major success in Germany, and probably for this reason it was decided to release the soundtrack as full album. As a consequence, unfortunately, most music here cannot stand quite as convincing on its own as the exciting and adventurous Filmmusik 2, 3 & 4. Also, the music is mostly melodic, nicely consumable, and somewhat repetitive, with the main theme used in various ways (as makes sense for a soundtrack). In fact, as a soundtrack, this worked very well, and furthermore the main theme (Titelmusik) is stunningly beautiful (if not exactly progressive, despite the somewhat nonstandard chord progression), so chances are this sold quite a bit better than Irmin's earlier collections; let's not forget all of this came at a time when progressive music wasn't exactly loved by the media.

For the (prog) music lover who wants to listen to this independently of the TV series, however, this is a weaker offering, and Irmin probably agrees with this, as only three tracks found its way on the Filmmusik Anthology 1, 2 & 3 sampler that is probably the best way of buying Irmin's earlier soundtracks these days (the previous Filmmusik albums are almost fully represented there). I adore the main theme, and the album is for sure a good listen and evokes a peaceful melancholic atmosphere, but for 44 minutes it doesn't have that much excitement on offer. Note the presence of Soft Machine's John Marshall on drums, although he doesn't do that much. Michael Karoli is also present again, as are Irmin's usual collaborators Schoof, Dudek, and Ferrara (whose accordion often takes centre stage here). 2.9 stars.

It is very rare these days music artist put out masterpiece and it´s best album as the first release. But it wasn´t in the 60/70ties, with Traffic also for example Family, King Crimson, Dr. John, Magma, Caravan and Comus did that! Also I think Pink Floyd, Wigwam, Faust, the Jimi Hendrix Experience, Captain Beefheart and the Magic Band, Amon Düül II released masterpieces as their first album, although not their best albums. Those were the years when came a huge amount of great music! Of course Traffic members weren´t beginners, Steve Winwood had been in very successful Spencer Davis Group, other members had also earlier bands, but not as known. Anyway Traffic got success in the UK from the beginning and later also in the US. I believe when Winwood, Mason and Wood jammed together with Jimi Hendrix would not decrease their popularity.

Album starts with gently beats in "Heaven In Your Mind" that is Winwood, Capaldi and Wood composition. Soon comes really melodic vocals from Winwood & Capaldi. Chorus words "guiding your visions to heaven and heaven is in your mind" could not descripe this terrific opener better! In "Berkshire Poppies" mood changes fully: it starts with clumsy waltz, that soon goes into unbridled momentum! Musically very funny piece, but lyrics seem to be quite serious telling that time typical story of escaping the system. Next "House For Everyone" is absolutely one of Mason´s best songs! Starting as somebody is putting music box on you can easily imagine some mechanical dancer beginning to rotate. Very great melodies in this too! "No Face, No Name and No Number" is the most beautiful ballad piece from Capaldi & Winwood in this album. Next "Dear Mr. Fantasy" is the most known song from this album, but I think it´s weakest after "Giving To You". Of course it´s good rocker with great guitar solo from Steve, but really not give a right picture of the album

But in the vinyl B-side greatness continues: "Dealer" is again very melodic piece from Capaldi. Next "Utterly Simple" is again Mason track and the most psychedelic song in this album, where Mason even plays sitar. Direction changes more rock into "Coloured Rain" that has again great vocals from Steve and very intensive solo part. Mason´s last song "Hope I Never Find Me There" is again very melodic and almost as great as "House For Everyone". "Giving To You" is very cheerful jam-piece and ends this awesome album just so well!

I believe this is not five star album to puritan prog lister, but to me who love terrific psych rock as much as great prog this really is!! Somehow I had to listen this many times before I understood it´s genius! Really this isn´t the most trippy psychedelic album, it´s more full of great melodies and really awesome singing and playing! To me all three first Traffic albums and "Low Spark Of the High Heeled Boys" are masterpieces (yes, even Last Exit, I really love also it´s B-side), but all their other seventies albums are four stars albums. So you can thing this band is so dear to me! One reason why I love so much those three first album is Mason, who also composed very great songs, later I think Winwood and Capaldi didn´t have enough ideas. The other story is their nineties comeback album "Far From Home", I have listened it maybe twice and what I remembered, it really hasn´t got that warmth as their old material. Traffic was very succesfull in it´s time, but these days to me it seems it´s little bit forgotten comparing other great bands of those days. I really hope young people, who have found splendor of the Jimi Hendrix Experience, the Doors, Cream, the Who etc. will also find this band, because it is as terrific!

— First review of this album —

I was thinking the other day if I could put together a dream Space Rock band I think I'd start with Germany's own Dave Schmidt a multi-instrumentalist and amazing composer, he does it all. I have so many albums with him on them including this project he did with GROWING SEEDS Andi Heinrich while living in Berlin in the late 90's. GROWING SEEDS is on the site here releasing one studio album in 1997 and an EP in 1999 that Dave Schmidt drummed on. Later in 1999 Schmidt and Andi along with his wife Silk(who also was in GROWING SEEDS playing bass and singing) got together to create the first WELTRAUMSTAUNEN album.

Andi by the way is a singer/guitarist but also a multi- instrumentalist and on this the second and perhaps final release from WELTRAUMSTAUNEN released in 2004 he sings, plays guitar, drums, organ and effects plus he wrote the lyrics while Schmidt composed the music adding guitar, effects, synths, piano, drums and organ. I was just remembering the other day the two albums Schmidt did with Manni and Ax from GURU GURU and how honouring it must have been to be chosen to work with two Krautrock legends.

Top five includes the opener and closer "Black Dove Part I" and "Black Dove Part II" respectively and my favourites. Both vocal tracks although less of them on the shorter closer. Catchy with some great contrasts between the outbursts and trippy sections on the opener. Vocals get aggressive briefly around 5 minutes while he whispers to end it. Man I like all the tunes but another top five is "Floating In Space" a spacey and innovative soundscape that becomes haunting 2 minutes in.

"Wizard Vs.Time" is such a great track. Vocals and strummed guitar from Andi, drums and bass follows. A brighter more upbeat track and check out the guitar, especially after 3 minutes as he lights it up. The title track is my fifth favourite with that catchy beat with gorgeous sounding guitar over top to start. Strummed guitar later with some cool guitar expressions from Schmidt. "Introfernale" is outside my top five but a really good instrumental that I had to mention.

I've become a pretty big fan of this one, just enjoy the variety and the one track I didn't mention is by far the longest one called "Farfisadelic" and what a great song title! A long soundscape that has it's moments but it's not a favourite overall. A solid 4 stars for this release.

Graceful and enjoyable, regardless of post-death-doom metallic soundscape. Such a fascinating impression I've got at the moment I listened to this album. Actually I had a great interest in them just as wondering what their moniker should be pronounced, and their creation far surpassed my expectations really. Not only powerful distorted distracted death-doom-y voices but also their sensitive, flavourful instrumental plays completely catch my heart strictly. Guess they should be obviously inspired by North European Metal like TNT (my love), Entombed (my love), or Opeth (my love of course!) and amazing grace of the 'legends' is set with every single phrase of theirs. Basically death-doom production gives us much excitement and encouragement, but in addition, "Unwavering Resonance" and 0N0's polished works stabilize and tranquilize us mysteriously and mystically. It's no doubt we are invaded and attracted by the North Europe Metal Scene.

First of all please give it a listen. The first step "Clay Weight", much heavier and stickier than the title, is one of masterpieces filled with almost all of their musical components. From the beginning we get pretty impressed and amazed with their dynamic but smooth, delicate melody lines and rhythm basements. Distorted dissected voices are also comfortable for us. No matter how they get metallic or loud, the sound itself would not have any effect but to charm us the listeners. The following "Shattering" is kinda more twisted, more dissonant, and more esoteric ecstasy. Such a magical indication might come from decent, stable, silky drumming I imagine? The titled track is just a beauty, full of elegant guitar progression, supportive rhythm section turf, and vibe of death voices with wondrous choruses. And this fantasy possesses incredible energy and explosive magma. Quite challenging to play such a crazy creation indeed, but they do without anything out of ordinary. The epilogue started with desert-y calmness involves slowtempo but obviously dignified sensitivity. Dry fruity sound texture reminds us of the similar vein to Krauty psychedelia too, but possibly they would not have turned their musical appearance for the polarity. Simply they play pure and clear death doom metal ... This definitely makes sense.

Aside from such a difficult or argumentative discussion, we can easily understand what we feel and what we acquire via their opus. Enjoy.

Here we have the 12th studio album from Astrakhan band Vespero, where we find them moving again in very different directions from what they have delivered previously. We have the same core line-up as for 2020's 'The Four Zoas', in Ivan Fedotov (drums & percussion, wave drum), Arkady Fedotov (bass, synth, noises, vocals, recorder), Alexander Kuzovlev (guitars, saz, mandoline), Alexey Klabukov (keyboards, synths) and Vitaly Borodin (violin, accordion) but have also added Alexey Esin (gusli, MIDI-saxophone) and Sonya Vlasova (vocals). The album has plenty of vocals, but they are wordless, another sound to be blended in with the music which is being taken in all sorts of directions.

For a band who were originally associated more with space rock they have now gone headlong into progressive folk alongside new world and classical to create something which is pushing boundaries so one never knows what is going to come next with the listener being taken along for the ride. The music is incredibly layered, so while the rhythm section would be in the background, we could have violin being joined by another four or five instruments all playing the same melody to create a multi-channel approach. The instruments may be distorted, or clean and clear, playing simple lines or weaving thread of intricate delicacy which have no business at all of being wrapped together.

Russian progressive rock bands often bring in classical forms and do sometimes mix with folk, but here we have an album which does it all so very well indeed. The booklet contains a woodcut artwork for every song so one can understand where the band was coming from, while the song titles themselves are in a mix of different languages from English to Esperanto, Bulgarian, Estonian and others, with the title being in Esperanto where it means "dream" (why create a language to be the international norm when English is spoken pretty much everywhere? Go figure). To have the dream to go with this music one must have previously consumed copious amounts of red wine along with strong cheese way too late at night, as yet again Vespero have created an album which is vibrant, exciting, and so very unusual indeed.

Here I am writing about an album which has been out for roughly a year, yet so far there is not a single review on PA which makes me both annoyed and incredibly disappointed. This is Tom's eighth album, and I have reviewed the previous three to this one, yet for some strange reason he is in the underground of the underground. I know he is self- effacing and never takes himself too seriously, nor does his record label come to that, but here we have a true English progressive artist combining elements of Geoff Mann and John Dexter Jones to create music, which is lyrically powerful, musically moving, and progressive in its truest sense as he stamps all over the different sub genres in his refusal to conform.

He brings in a few guests to add their touches on a different track each, but primarily this is Tom (vocals, guitar, keyboards) with Michael Cairns (drums) and Keith Buckman (bass). He has taken this album in a much heavier area, with far more crunching guitars yet never really moving into prog metal as there is too much eccentricity in his music for that to take place. While there are four tracks at the 5?6-minute mark this album is bookended by one at 12:36 and another at 19:12 which allows Tom to spread his musical wings and go for it. There is no doubt this is one of the most diverse yet also direct albums he has produced to date, hence my annoyance that this is flying so far under the radar as to be mining tunnels. He is not conforming to any particular norms, but instead is doing whatever he wants. When asked about the album he said, "I've always been an indoors kid. Escapism, whether books, music, or computer games, has always meant a lot to me. With the awful year we've all had, I felt like an album full of high energy rock songs about spaceships was the escapism we needed."

There is no doubt he is correct, and here he displays yet again that he really is an incredible talent who should be far more widely known within the scene. This is a great album, one which all progheads who enjoy the eccentric English style of many of our great acts need to discover today.

I think this is Steve's 28th studio album, which is probably more than the combined output of those he left in Genesis, but although I saw him play earlier this year none of this material was featured as he was touring his highly popular Genesis Revisited shows. So, when it comes to prog he has two back catalogues that are very different, while he is still releasing new and wonderful music even though he is now in his seventies. Over the last 40+ years he has released music from many different styles, being one of the few prog musicians to go the whole hog and write and record classical music, and he can play solo acoustic classical performances as well as standing in front of an electric band, and in many ways this album is a coming together of his past while also looking in new directions.

He provides nylon, steel string & 12-string guitars, oud, charango, sitar, harmonica, and vocals, and is joined by one of his touring line-ups with Roger King (keyboards, programming & orchestral arrangements), Rob Townsend (saxophone, clarinet), Jonas Reingold (bass), Nad Sylvan (vocals) and Craig Blundell (drums) while he has also brought in additional musicians which includes two more drummers in Phil Ehart (Kansas) and Nick D'Virgilio (Spock's Beard etc). Musically he is moving through tribal, New Age, classical and prog, but surely the whole album should be deemed as progressive as he is truly pushing boundaries and mixing and blending styles together to create something which is vital and hugely impressive.

Many old progheads, like me, will have a strong fondness for his early solo albums as they were released when we were teenagers and had a massive impact on us. However, unlike many of his contemporaries from back then he has continued to tour and record incessantly, and his current output is to the same high standard as it has always been. When asked my favourite period of Genesis, I always give the same answer, Hackett (as opposed to the normal Gabriel or Collins) and there is no doubt that he has continued to develop and deliver even since leaving that entity. Listen to his music with an open mind and discover that Hackett is still pushing himself and his followers yet even though he keeps moving this is always identifiable and part of his canon as opposed to being removed. One never knows what to expect from his albums, except they will always be sheer class, and this is no exception.

I know I am not as close the prog scene as I used to be but must admit to being amazed to realise this is the tenth studio album from a band I have never heard of. Formed by multi-instrumentalist Simon Caron back in 2004, this neo-prog outfit is also an active touring unit where they are joined by additional musicians, but whereas the last album (2019's, 'Crush The Seed') was by a quintet, here we find them operating as a trio. All three played on the last album, with Simon Caron here taking on additional roles and now providing guitars, bass, and keyboards alongside drummer Perry Angelilo and singer Steff. Hailing from Quebec, Simon produced it himself but then brought Michel St-Pere (Mystery, Huis) to mix while it was mastered by Richard Addison.

The bass is very powerful in this, reminiscent of when Neil Pepper was in Galahad, adding additional elements and runs which provide something of a funk element at times, and while polished neo-prog is the main approach there is also plenty of Floyd in what they are doing, combining different sub genres together to create something which is both approachable and interesting at the same time. It has the American polish which is reminiscent of the bands which broke out of the scene in the 90's, and although I have seen comments likening them to the early British scene, to my ears it is from that viewpoint as opposed to a direct influence. It never sounds like a multi-instrumentalist plus others, as this has a real band feel but the keyboards are not as dominant as one would normally expect within this style, allowing the ears to concentrate more on the vocals which are pleasant with nice harmonies and edge.

It does not have the bite one would normally associate with this style, and there are times when they fall between neo and Floyd and end up with something which can be bland and wash into the background, but there are also times when it is very interesting indeed. The result is a prog album which can be played in the background and not frighten anyone, but with not quite enough focus to be truly enthralling throughout.

— First review of this album —

Irmin's next soundtrack collection of 1983 came as a double LP, accordingly numbered 3 & 4. Jaki LIebezeit and Michael Karoli of Can are again present as well as this time temporary Can and ex-Traffic percussionist Rebop Kwaku Bah, along with further long standing collaborators of Irmin, namely Manfred Schoof and Gerd Dudek. Famous Indian percussionist Trilok Gurtu has a guest appearance.

This album is similarly eclectic and top quality as the previous Filmmusik 2. As an additional bonus we have vocals on some tracks, mostly done by Irmin himself, who is clearly not a singer, however he has a mysterious deep voice that works pretty well when used in the right places (which he does). In fact I love these songs (You Make Me Nervous, Mary In A Coma, Moerderlied) a lot. For all its quality, Schmidt's instrumental music can be quite abstract, experimental, and up in the air, and the tricky but memorable singing melodies (and particularly the whistled one in Mary In A Coma) give the listener something to cling to. Mary could almost get away as a single but has some properly confusing instrumental stuff thrown in. Moerderlied is a diabolical murder story delivered as a calm but nervously shivering waltz, and my favourite track. We also hear Jaki Liebezeit speaking in Fuerst von Atlantis.

Most of the remainder in rather experimental, with free jazz and contemporary classical influences, but mostly carried by the phantastic and hypnotic drum and percussion work that not only Can fans will love; once more Can values are generously delivered. An element that Can hadn't used is the wind instruments by Dudek, Schoof, and Ferrara, partly pretty atonal, but still very breathing and lively. And there's more melancholic and dreamy Irmin piano, which gets its highlight on the 14 minutes Aller Tage Abend Walzer together with Ferrara and Dudek on accordion and sax, a fascinating mix of slow lyrical parts, crescendos, and atmospheric interplays using mysterious harmonies.

Once more I say that most of this is very valuable, atmospheric, and fascinating, with maybe the odd inclusion that follows more a film logic than a "listen to it on its own" logic. Some of Schmidt's music here may sound close to some other of his material, but his music is for sure very characteristic, he doesn't sound like anyone else.

The material is, as far as I can see, fully on the Filmmusik Anthology 1, 2 & 3 sampler, which is on bandcamp. 4.2 stars.