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 En El Comienzo Del Topos Uranos by NEXUS album cover Studio Album, 2017
3.97 | 71 ratings

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En El Comienzo Del Topos Uranos
Nexus Symphonic Prog

Review by Mellotron Storm
Prog Reviewer

4 stars NEXUS are a band out of Argentina that I have had the pleasure of knowing for over ten years. Lalo Huber is the main man here playing a variety of keyboards including mellotron which I must say is more prominent on here then on any of their previous albums I have heard. It's mostly an instrumental affair with some guest female vocals on one track which are brief. Other than having several different bass players over the years the lineup has stayed very consistent. This album fits in nicely with some of my favourites from them like "Metanoia" from 2001 which is my favourite along with "Perpetuum Karma from 2006, and "Buenos Aires-Free Experience, Volumen 2" from 2007.

There's not many albums that I can actually remember a listening experience with but I still remember sitting in my vehicle listening to "Metanoia" in a parking lot and not wanting to get out to go into the store because I was being blown away by the powerful keyboard sounds. I'd say this album is my fourth favourite from them at this point but over time that may change. 4 stars regardless right now. Kind of strange that this band who usually puts out 70 minute albums created a record half that length but then added 3 bonus tracks to bring it up to around 56 minutes.

"El Ultimo Dia" opens in an incredible way with this powerful and haunting atmosphere but soon it's piano only before the drums and synths take over in this uptempo section. The guitar starts to solo before 2 minutes as the synths step back. Synths are back leading the way to the end and we get some mellotron before 3 minutes.

"La Casa Del Invierno" opens with piano only before the mellotron arrives creating atmosphere. Drums and synths after 1 1/2 minutes as the piano and mellotron continue. Guest female vocals before 3 minutes but they don't last long as the guitar arrives in this laid back section. Piano late to end it.

"Un Cristal Bajo El Agua" opens with piano but the mellotron joins in quickly. How good is the organ that follows. Drums and synths too then guitar. Man I love the mellotron in this one and the organ that brings RPI to my mind. It's more powerful 3 minutes in. This is good. Nice bass too. When it settles back after 4 1/2 minutes I'm thinking GENESIS with those synths at first but that changes quickly. More power before 5 1/2 minutes. So good!

"En El Tercer Planeta" opens with spacey synths but very quickly we get this driving rhythm with some killer drum work. Love those synths too. The bass is upfront as well. Great track! "Huellos" opens with what sounds like church organ but then acoustic guitar leads the rest of the way in this short and mellow song.

"Soplo De Vida" opens with synths and guitar before the tempo picks up with the drums joining in. Man I like the sound here. A good hard rocking start. Mellotron before 3 1/2 minutes. It settles around 6 minutes then it builds. Love the upfront bass and keyboards here.

The three bonus tracks are all really good and fit well with the rest of the songs so I'm not sure why they just weren't included as part of the original album but I'm glad they are on here.

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 Flying Food Circus by BRUNIUSSON, HASSE album cover Studio Album, 2002
3.38 | 9 ratings

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Flying Food Circus
Hasse Bruniusson RIO/Avant-Prog

Review by Zappy

4 stars The name Hasse Bruniusson should ring a bell for every Flower Kings enthusiast. Rising to some fame in the 70s with Swedish avant-garde / progressive-rock group Samla Mammas Manna (also Zamla Mammaz Manna), Hasse later joined The Flower Kings as a frequent guest-musician on the percussions, naturally adding his signature sound to their repertoire.

His compositions are mainly instrumental and tend to lean toward a more humorous and ironic character, yet remain very sophisticated musically and instrumentally, a description quite fitting to Frank Zappa's body of work as well. On this 2002 release Hasse is joined by his Flower Kings band-mate Roine Stolt on guitar/bass and Mats Öberg on synthesizer, each giving this record their personal touch. 'Flying Food Circus' is more focused than most of Hasse's other projects. The compositions are more elaborate and the flow of the entire album experiences fewer playful interruptions than one might come to expect from him.

Starting off with big applause from a fictitious audience 'The Instrument For A Good Dressage' kicks the record off with a simple melody over an upbeat polka rhythm. After this ironic start the song soon constructs it's path toward a more jazz-based temperament. Playful polyrhythmic and more complex harmonious progressions give way to a jam ending in the main theme. 'The Different Kind of Goodness' contrasts the opener quite well by introducing a softer side with a sweet, folkloric melody played on acoustic guitar, reducing the hurried pass established afore.

The record continues in this manner. Some parts strongly Polka and folklore infused, others leaning towards a more jazz-fusion oriented style. Roine Stolt's guitar playing sticks out and gives this record a collaborative sound, lending Hasse Bruniusson's compositions some The Flower Kings edge on the way. The vibraphone passages on 'Erfarenhelt Von Panopticon' and 'Collect Relapses' occur in unison with guitar and will surely spark a fire with every 'Inca Roads' devotee. On 'A Clown's Opinion' the long player presents itself at its most adventurous. Darker vibes underlay embellished synth passages with frantic melody and rhythm changes. It is here the fan of classic progressive rock will feel most at home.

The simple folkloric elements, even though beautifully executed, might dampen the enthusiasm of those who are looking to listen to a full blown progressive-rock journey. Fans of jazz-fusion break-outs on the other hand (think The Flower Kings 'Unfold The Future') will find plenty to enjoy on this candid release.

Expect highly accomplished musicianship, a great variety of approaches to composition and a good sense of humor.

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 In Hoc Signo by INGRANAGGI DELLA VALLE album cover Studio Album, 2013
4.05 | 230 ratings

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In Hoc Signo
Ingranaggi della Valle Rock Progressivo Italiano

Review by FragileKings
Prog Reviewer

4 stars I probably have more fingers than I have Italian prog rock albums. But that doesn't mean I don't like what I have. One reason why I don't have more is simply that I fear that once I tap into RPI, I may well set myself up for yet even further spending of obscene amounts of money on buying albums. The day may yet come, however. Wallet, watch out!

Well, I may not have many albums and so my opinion of Ingranaggi della Valle's "In Hoc Signo" is by no means based on an extensive background of Italian prog. However, I am familiar with some of the most important classics as well as some more modern material, and I can honestly say that this album here really treads solidly in the line of the classic era of Italian prog. This is a very seventies-sounding album, complete with organ solos, rock guitar, violin, jazzy rhythms, and songs of unpredictable turns and time signature twists. Ingranaggi della Valle has taken all the best lessons in the RPI text books and masterfully created their own classic sound album for the year 2013.

One thing that can always win me over is some pretty hard rocking guitar sound in a non-hard rock context. The early seventies was good for that: organ and hard rock guitar doing a pas de deux to jazz influenced rhythms and drumming. This album so wonderfully revives that sound and style of writing and performing. Add violin as a key instrument and thoughts may go to Premiata Forneria Marconi classic works. There may be more lurking among those serpentine guitar solos and rolling organ keys. "Fuga da Amman" brings to mind some Allan Holdsworth and Bill Bruford in places; "Via Egnatia" draws me back to early seventies Pink Floyd; and the intro to "Jangala Mem" reminds me of classic Saga. "Masqat" really encapsulates that seventies jazz fusion instrumental prog jam style. But then again, much of the album does.

I can only say that to my ears, the music of this album is exquisitely written and performed, a very wonderful blend of classic seventies Italian prog and late seventies jazz fusion. It's definitely worth a four-star rating and I'd not hesitate to suggest a five-star rating to anyone who really adores Italian prog.

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 Der Grosse Rote Vogel by PINGUIN album cover Studio Album, 1972
4.95 | 2 ratings

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Der Grosse Rote Vogel
Pinguin Krautrock

Review by DamoXt7942
Forum & Site Admin Group Avant, Crossover & Neo Teams

5 stars An excellent, authentic German psychedelic album featuring dreamy organ / keyboard / mellotron, ethnic / mystic percussion, quirky jazzy saxophone vibes, and magically addictive flute wind. Another Krautrock obscure fantasia with a weird ( but interesting, impressive) pic-printed sleeve has touched my heart obviously. Bringing complicated anti-pop melodies and phrases seasoned with folksy atmosphere and jazzy taste to the forefront sounds like a late-60s Krautrock superstar Xhol Caravan meets another obscure German psychedelic combo Air ' in the first track 'Der Gro'e Rote Vogel', delicious oriental flute melody opens the cage of the 'big red bird', and the melodic texture is leaning towards Air's folksy one. Their jazzy flavour is in the similar vein to Xhol Caravan (but not so improvised nor passionate as Xhol). Their soundscape is not so dissonant as other Krautrock acts but well-composed and crystallized.

Anyway, the following one 'Die Angst' or the third track 'Der Frosch In Der Kehle' is cool jazz rock tinged with psychedelic organ sounds harmonized with tight rhythm sections. Brilliant saxophone movements are crazy strict and sharp-edged especially in the second track ... just like "Yeti" by Amon Düül II. On the contrary, the first shot upon B Side 'Der Blaue Wind' is kinda warping floating keyboard-stream-oriented psychedelia without any rigidity. Very charming are heavenly xylophone footprints and distorted air. 'Die Nachtmusik' is slightly pop-flavoured but rhythmically tight like ones upon A Side, The last 'Der Traum' is potentially critical in the former part but fascinating and lovely in the latter, with complex sentences all over the track. Totally mentioned, Krautrock fans might get immersed in their strict, tight sound reaction and feel it be a pity that they had soon disappeared. Worth having a listen.

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 Konnekted by STICK MEN album cover Boxset/Compilation, 2017
3.91 | 3 ratings

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Konnekted
Stick Men Eclectic Prog

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars With good reason you may number the STICK MEN project among the acclaimed King Crimson offshoot family. There are definitely diverse transitions to notice, and this not exclusively concerning the line up. Luckily their output is also evidently differing. This compilation offers more straightforward compositions. That means not that overly 'intellectual', like it is with Robert Fripp having a horse in the race. An album which is designed for digital download solely, for what I know. Obviously compiled as an appetizer for the (prog) masses. Hence on the one hand we have some live recordings, such as deriving from the Midori and Roppongi shows taking place in Tokio. This is mixed up with some excerpts deriving from their studio albums, and two previously unreleased song versions.

The album is going to start with the encouraging centerpiece Prog Noir from their current eponymous studio effort, on this occasion though in a live outfit. Musically rather differing, while provided with more ambient flavour, the wonderful Shades Of Starless features David Cross on violin and sees Markus Reuter using his touch guitar like a synthesizer. While listening to Time's Insane Ashes I'm always excited about Tony Levin's stick playing. Solid drumming by allrounder Pat Mastelotto is guaranteed too, let's take the exemplary jam Annapolis here for example. Sailor's Tale then excellently features Mel Collins on saxophone. Recommended! Overall 'Konnekted' is a highly entertaining song collection offered by those three exceptional prog musicans.

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 L'Agguato, l'Abbandono, il Mutamento by OTEME album cover Studio Album, 2015
4.04 | 4 ratings

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L'Agguato, l'Abbandono, il Mutamento
Oteme RIO/Avant-Prog

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl,Neo & Post/Math Teams

4 stars Two years after the debut, after Giannotti has worked with NICHELODEON on "UKIYOE - MONDI FLUTTUANTI", the OTEME are back with their chamber rock orchestra. Like the debut album, there's a certain connection with King Crimson, but this time the melodic aspect is even more important since the opening track.

The album contains 7 very short songs, two longer that scores about 5-6 minutes and what in the vynil days would have been called a side-long track, scoring over 25 minutes.

The tracks are separate, not fading one into the other, but the album presents a good continuity and can be enjoyed in one shot. The vocal harmonies built by Stefano GIANNOTTI and Emanuela LARI are a bit more present than in the debut album. Together with the chamber orchestra arrangements they constitute the trademark of this band. "Camminavo", the track #3 is the perfect example. Listen to it and you'll know what I mean.

"Bianco Richiamo" is another highlight; the melody is strong with the lazy percussion in the background leading this instrumental to an unexpected follow-up as the "first" title track "L'Agguato" is. This is more challenging, I think it would be perfect for a contemporary ballet. The trilogy proceeds with "L'Abbandono". Once again, listening to this band I think to DEBUSSY. Not an easy listening also this, but the Arabesque progression has something magic. The last part of the trilogy: "Il mutamento" digs in the realm of concrete music. Nothing to envy to ART ZOYD, initially, but it's incredible as a bossa-nova interlude changes the mood leading to the return of the vocals after three instrumentals. Again the harmony produced by the two vocalists on "Dopo La Pioggia" is remarkable.

Now the suite: more than a suite is a very long song. Extremely good with consistent melodies and instrumental interludes flowing seamlessly with few exceptions but very well balanced. I must mention the high pitched voice of Emanuela LARI who in this song has also the possibility of singing out of the background. Honestly I don't know how to define this music without writing trivialities. I can mainly say that once you open the door of this magnetic song, you can't exit before it's finished...well, this is what epics are for isn't it?

A less than two minutes long coda remided me to "TERRE II", the last album of the French saxophonist JULIAN JULIEN. I would have placed this nice piece of music in a different place of the playlist, as after the epic it may seem a filler but it's not.

I like the debut a lot, but this second album is even better. Wear a good headphone and relax.

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 Il Giardino Disincantato by OTEME album cover Studio Album, 2013
4.49 | 5 ratings

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Il Giardino Disincantato
Oteme RIO/Avant-Prog

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl,Neo & Post/Math Teams

4 stars When a couple of weeks ago Claudio Milano has gifted me of the second album of OTEME I promised a review, but when I went to the band's page on PA, I have realized to have not written one about the debut. I was sure to have done it before.

So now I'm here relistening to an album that really impressed me when the ZART team evaluated the band for inclusion. First of all, I want to mention the lyrics. Non-Italian listeners will unlikely have the possibility to hear how deep and poetic they are, but in any case the beauty of this album is in the melodies, the armonies and the arrangements.

It goes from Crimsonian atmospheres, passing by a possible influence of BANCO DEL MUTUO SOCCORSO, to reach soundscapes and chords reminding even to Claude DEBUSSY.

The kind of instruments used: harp, strings, oboe, clarinet, give some songs a chamber-rock mood but never too challenging. The influence of bands like ART ZOYD that the band itself consider as a source of inspiration can be found in the orchestration, but there's a lot of melody in all the tracks and it's not as dark.

It's a dreamy soundscape whose melodic integrity survives even in the most unusual chord passages. An example over all is "Dite A Mia Moglie", with a bossa-nova base of classical guitar reminding to the Tropicalia movement of Tom ZE' as base for Frippistic passages. Who has enjoyed the Itaian band AKT, will likely find similarities.

This album has no flaws and no fillers. The alternance between percussive and relaxed moments is well balanced and also the voice of Giannotti is well inserted in the mix so that it can considered an instrument itself.

A note apart for the title track: it's the peak of an excellent album. The instrumental part lead by the clarinet in a jazzy crescendo fading into a harp solo is amazing. People not familiar with Avant music can find in this album a good starting point.

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 In Dulci Jubilo by OLDFIELD, MIKE album cover Singles/EPs/Fan Club/Promo, 1975
4.00 | 5 ratings

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In Dulci Jubilo
Mike Oldfield Crossover Prog

Review by Matti
Prog Reviewer

4 stars After the instant success of Tubular Bells Mike Oldfield moved to countryside, where he recorded the albums Hergest Ridge and Ommadawn. His fourth album Incantations would be released no sooner than in 1978. During this mid-70's period he recorded some (rather uncommercial) singles oriented to folk music. 'In Dulci Jubilo' originally appeared as a B-side of Don Alfonso, and Mike re-recorded this German traditional Christmas carol with the recorder player Leslie Penning.

It sounds joyous and fresh. It begins in a very modest way with recorders and simple percussion, but towards the end Mike lets his electric guitar take the lead role, making it instantly recognizable as his version. The B side features 'On Horseback' which ends the Ommadawn album. I have always liked it. A naiive and happy appraisal of riding a horse. The children of the local pub owner fit in very nicely.

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 A Billion Years Of Solitude by SKY ARCHITECT album cover Studio Album, 2013
4.01 | 163 ratings

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A Billion Years Of Solitude
Sky Architect Heavy Prog

Review by poslednijat_colobar
Prog Reviewer

5 stars New creative peak of the band as of its release

In the best year of the prog for the decade - 2013, the Dutch eclectic grandmasters Sky Architect came out with their best album up to that date - A Billion Years of Solitude /later surpassed by Nomad/. This album suggests complete ideas of music developments and shaping of constant style of songwriting and musicianship in the eclectic field for the youngsters. The production avoids lots of flaws and inconsistencies of the early immature Sky Architect containing in the first two albums. They are playing with the tunes and tonalities here, but still are not masters with tempo shifts in VDGG/GG/Beardfish/Anglagard/Yes manner /what later will happen in their fourth effort - Nomad/. The Space rock/Post rock flavour is strongly emerging in A Billion Years of Solitude. Strong recommendation for 10s prog lovers. 4,5 stars

One of the best albums out of the best year of the decade - 2013!

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 From Silence to Somewhere by WOBBLER album cover Studio Album, 2017
4.41 | 13 ratings

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From Silence to Somewhere
Wobbler Symphonic Prog

Review by Progfan97402

5 stars The wait was so long for Wobbler I simply assumed they broke up. Instead it simply took six years for them to follow up the great Rites at Dawn. Original guitarist Morten Andreas Eriksen had been replaced by Marius Halleland, which was truly the right move for the band. Nothing wrong with Morten, but if they needed a new guitarist, then they needed one compatible with the band, and of course Marius certainly fits the bill! He's at home with electric as the more calm Anthony Phillips or Steve Hackett acoustic end of things. Lars Fredrik Frøislie is up to his usual bag of tricks with the analog keyboards, with plenty of Moog, Hammond organ and Mellotron, as always. Lars seems to be a busy man, also involving himself with White Willow, Tusmørke, Opium Cartel, and others. This is a wonderful followup, with some incredible and intense playing from all around. The title track stretches to 20 minutes, and it doesn't bore you. This band figured out how to do a wonderful 20 minute piece. They had a little trouble on Hinterland with the 27 minute title track as it was a bit overlong for some. Not here. This is some incredible stuff, with some medieval stuff going on with the recorder, as well as some Änglagård moves and lots of great jamming. "Rendered Shades of Green" is a really doomy sounding piano and Mellotron-dominated piece that's very short. "Fermented Hours" is nothing short of incredible, the intensity is incredible. They are certainly no slouches here. "Foxlight" demonstrated the new guitarist knack for those gentle acoustic parts as well as more rocking electric guitar parts, and with some medieval stuff on krumhorn towards the end with that Gryphon or Gentle Giant feel to it. They really topped it here. This is bound to be a classic as far as I'm concerned. The only drawback is we'll probably have to wait another several years for another release. The huge wait for something new from Wobbler got me thinking the still-obscure Jordsjø had appeared on the scene creating similar type of prog to fill the void (hopefully they won't stay totally obscure for long, I hope they get as much recognition as Wobbler, they already now have a deal with Karisma Records, which From Silence to Somewhere was released). With so few releases from Wobbler, it's probably good as well. They could have been The Flower Kings clogging the discography with overlong CDs (frequently double CDs clocking at over two hours) and that meant serious hit and miss, and it's clear Wobbler didn't want to go that way (quality over quantity). There is no doubt about it, From Silence to Somewhere is Wobber's crowing achievement and a must have!

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