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 Fate Outsmarts Desire by KAPREKAR'S CONSTANT album cover Studio Album, 2017
4.36 | 31 ratings

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Fate Outsmarts Desire
Kaprekar's Constant Crossover Prog

Review by Corcoranw687

5 stars When I discover a new group and try to get others to check them out (entirely the point of my presence on this and other websites), I first try to compare to other bands to pique interest. Here I was immediately reminded of Big Big Train and Van der Graaf Generator, Only to discover David Jackson himself features heavily on this album! This album is so delightfully British, telling stories of Malcom Campbell and Hallsands. After a lovely introductory track we are treated to Blue Bird, which has to be heard to be believed! I had No idea about these people from the 1920s and their attempts to break the land speed record but this track's combination of spoken word "radio broadcasts", great lyrics and interesting instrumentation had me hooked. I listened to this about 4 times before continuing with the album, completely mesmerized. The rest of the album does not disappoint but my favourite instrumentally must be Houdini, featuring more of that radio broadcast style and sounding more like VDGG than the rest while maintaining a sense of complete originality. I can't think of a 2017 album that captured my interest as completely as this one, you cannot miss this! An easy 5 stars,the lyrics, vocals, all the players are perfect, I can't think of anything to criticize at all. I love this

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 En Directo by TRIANA album cover Live, 1981
3.92 | 3 ratings

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En Directo
Triana Symphonic Prog

Review by TenYearsAfter

4 stars 'FIRST REVIEW OF THIS ALBUM'

Here is a live registration (around 50 minutes) of a concert during the Un Mal Sueno tour by Triana, in 1981. This legendary Spanish band is known for speerheading the prolific Rock Andaluz movement in the Seventies. It started in the late Sixties but was fueled by Triana in de mid-Seventies, many young Spanish music fans took the band in their hearts, due to the poetical lyrics about dreaming of freedom (during the Franco dictatorship in those years), especially in the passionate composition Abre La Puerta. Triana made three pivotal albums between 1975 and 1979 but when this live album was recorded the exciting Rock Andaluz had turned into a polished blend of pop and melodic rock with some flamenco elements, more Pop Andaluz than Rock Andaluz' However, this live album is interesting because half of the setlist contains songs from their highly acclaimed first album El Patio (1975). The other tracks songs are from Un Encuentro (1980) and Un Mal Sueno (1981). The concert was recorded in Madrid, the city where Triana was founded and the line-up featured all three original members, with the addition of a bass player and a guitarist.

1. Recuerdos De Una Noche (extended to 15 minutes) : First the sound of the Hammond organ and flamenco guitar (the distinctive rasgueado technique), accompanied by Jesus his melancholical vocals, this is top notch Rock Andaluz. Then an exciting synthesizer solo and halfway a fine electric guitar solo And finally a psychedelic sounding synthesizer solo and again flamenco guitar, passionate vocals and intense Hammond work, a great start.

2. Tu Frialdad : A ballad with strong, a bit wailing vocals, flamenco rhythm guitar and sensitive electric guitar runs with soaring Hammond, simply beautiful ' Blues Andaluz?

3. Una Vez : Varied and tasteful melodic rock but featuring the distinctive Triana sound (vocals, flamenco guitar) with nice work on piano and electric guitar (howling solo).

4. En El Lago : Another great rendition of an El Patio composition: Hammond, flamenco rasgueado guitar, Jesus his distinctive vocals, halfway another sensational synthesizer solo, culminating in a bombastic, very compelling conclusion, what an outstanding blend of Hammond, howling electric guitar and propuslive flamenco rhythm guitar, unsurpassed Rock Andaluz!

5. Corre : A catchy beat, swinging piano and a bit poppy vocals (not with his usual emotional flamenco overtones), fiery electric guitarwork, this is pleasant melodic rock, no more or less.

6. Abre La Puerta (extended to 12 minutes): One of their best songs featuring the distinctive blend of Hammond (lots of awesome soli), flamenco rasgueado guitar and Jesus his emotional vocals. Halfway strong interplay between senstitive electric guitar and powerful Hammond, supported by flamenco guitar (rhythm and solo), goosebumps, again top notch Rock Andaluz! The final part includes a short drum solo and then again a bombastic eruption with howling guitar and Hammond floods, the crowd loved it!

This is a good impression of the legendary Rock Andaluz formation Triana with great renditions of their early work, very well appreciated by an excited crowd. But it is also obvious that 1981 Triana is more Poprock Andaluz than Rock Andaluz, listening to the 1980 and 1981 tracks. Triana disbanded after the tragical death of Jesus De La Rosa in 1983 but their heritage is incredible, just listen to Rock Andaluz bands of the last two decades, from Taifa and Arabiga to Sin Rencor, Mendigo and Calle Silvio, to name a few.

My rating: 5 stars for their early work and 3 stars for the rest, so still an excellent addition if you are up to the exiting world of Rock Andaluz.

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 The Green Side Of The Moon by GREENWALL album cover Studio Album, 2017
4.05 | 3 ratings

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The Green Side Of The Moon
Greenwall Rock Progressivo Italiano

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

4 stars Doing covers of one of the most famous albums of the musical history is not an easy thing. To be successful, if you aren't one of the many "official cover bandsshould preserve the main melodies and if possible the mood. As example, a disco/house version of DSOTM which I have listened to "less than once", was unable to preserve the mood. The reggae version of Easy-Star All-Stars was very successful, I think.

The Green Side of the Moon belongs to the second category: the tracks are all altered, but small parts of the originals have been preserved so that the gap is not too wide and the songs are very recognisable. But this album is not just "another version" of the famous one. It contains extra material which deserves to be examined on its own.

It starts with a storm which replaces the heartbeat, then the main two chords are played by piano and acoustic guitar. The lead vocalist is Michela BOTTI as usual. Her sweet vibrato is very far from the rough voices of Dave and Rog but fits perfectly in what is "Breathe" transformed into an acoustic ballad.

You can't give up to the clock bells and the tic-toc on "Time", but the rototom is replaced by heavy drums and instead f the electric piano there are synth violins. but....a grotesque tempo roeminding of a circus...what the hell? Ok listen to it a couple of times and you'll see. It ends with being one of the most interesting things of the album with the alto sax in charge of keeping the song recognisable. "Breathe Reprise" gives the original some justice. It would be a cover If it wasn't for the echo on Michela's vocals.

"Where's "On The Run"? Moved later. The piano and violin intro of "The Great Gig in the Sky" makes it likely sound as it could have been if PF didn't have the idea of involving Clare Torry, but it includes a reprise of "Time" with a strange effect on Michela's voice. A baroque string quartet (more or less) takes the place of Wright's keys and the sax plays instead of Clare Torry. Good choice, I think. For a fan of Quintorigo like me, this is a very good surprise. The coda reprises "Speak To Me".

"Money" is the jazziest thing released by Pink Floyd. So an orchestral swing version is a good idea, and again, it's perfect for Monica's voice who can show a consistent vocal extension over a huge number of octaves, tendentially on high pitch. Guitar and sax alternates in the riff but the 4/4 part is identical to the original, only the guitar has a distorsion which is not present in Gilmour's version. Back to the 7/4 scat and whistle before Michela is back. Swing guys!

Another drastical change: "Us And Them" starts funky: piano, drums and bass quoting Breathe, then the original melody is restored. Instead of the sax there's a moog now. The song preserves the beauty of the original even with all the differences and a short quote of Burning Bridges from Obscured By Clouds deserves a mention.

"Any Colour You Like" has a bit of dub in the bass line and some funky in the guitar. Even if this is one of the best Pink Floyd's instrumentals, changing it in this way is not a scandal. The guitarist should have had a lot of fun playing it. On the final, instead of fading into Brain Damage, it goes into "On The Run".

The 5 sequenced notes are initially preserved but it doeasn't last too much. Is it Salsa? Whatever it is it's different enough from the original, A different thing. "Brain Damage" is opened by a reminder from Ummagumma: "Sysyphus" intro followed by the two bass notes of Careful With That Axe Eugene and in the back the bells of High Hopes. But the song is still Brain Damage. Also "Eclipse" is not too different from the original. Mainly vocals, keys, piano and drums. "There is not a green side of the moon really...matter of facts it's all green"

"Prelude For Rick" is a short melodic track dedicated to Rick Wright, driven by the sax. It introduces the "album in the album". What is presented as bonus material is effectively an EP. "Il petalo del fiore" has a lot of stuff inside. Melodic like classic RPI but very jazzy in some parts. Excellent performance of the whole ensemble. Andrea Pavoni is a very good composer and songwriter. The arrangements are very well done and the production is excellent. The jazzy mood crosses all the suite, but after a first rhythmic part, the second is slower and melodic. For who likes "Le Orme", jus to mention one. Listening to Greenwall I think that the band has a distinctive sound, influenced by Pink Floyd, Camel, and others, but with their own personality. It sometimes turns into heavy. "Galleria E Uscita" has an uptime tempo which reminds to PFM "E' Festa" also in the sound of the synth. I consider it a hommage. I can hear also a bit of Camel inside. But this is prog, nothing strange. The two final pieces of the suite cross sevreal territories: "Respirare #1 is close to RIO alternated with orchestral when the vocalist reminds to Ennio Morricone, The closure is melodic with the armonies created by Michela and the male backing vocals. The final guitar solo could be Steve Rothary. A lot of things, I say.

Now I can seem heretic: The cover of "Wish You Were Here" is incredible. I'm Floydian, I've grown up with Pink Floyd but I like this cover as much as the original if not more. The Pink Floyd's version is based on acoustic guitar and Gilmour's voice. Here we have a song full of well arranged parts which doesn't betray the original. It deserves a special mention.

The package is as usual very well done: it includes booklets and a DVD with live and studio material. Give them a try.

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 Colours by ABRAHAM, LEE album cover Studio Album, 2017
3.42 | 17 ratings

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Colours
Lee Abraham Crossover Prog

Review by Kingsnake

3 stars This is not progressive rock. This is basically melodic rock, but not really rock, more pop. But not even powerpop. Middle of the road, enjoyable FM-poprock.

The guitarist Lee Abraham is known for his work with Galahad. But this has nothing to do with Galahad. This sounds more like modern melodic rock like Harem Scarem, Overland, Pride of Lions, but also like the oldies: Foreigner, Boston, Europe.

The problem with this is, that progrock-fans will bash it, and melodic rock-fans will regard as too mellow and midtempo. It's enjoyable though. The production is fresh and crisp, the vocalists involved are very good, and the songwriting is okay,

But this is not te kind of album to rock out to. You play it as backgroundmusic, what FM-rock was meant to. Maybe this will find its fans, but I guess not in the prog-community. For what is it, it's okay, not great, but okay.

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 Hosianna Mantra by POPOL VUH album cover Studio Album, 1972
4.19 | 275 ratings

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Hosianna Mantra
Popol Vuh Krautrock

Review by Luqueasaur

3 stars Floaty and serene like a cloud: 7/10

This soothing and borderline meditative release by krautrockers POPOL VUH back in 1972 harnessed widespread acclaim for its new-ageish approach to music. Featuring two short and two long songs and clocking around 37 minutes, HOSIANNA MANTRA is mostly ambient music with heavy influences of neoclassical compositions and style. The record's characteristic is the ethereal atmosphere created by gentle guitar sweeps accompanied by constant piano playing and occasional soprano female vocals (by occasional I mean half of the time).

Now, for all its innovativeness and creative approach to ambient music by using (progressive) rock instruments and even so making minimalistic compositions, it's rather troubling that HOSIANNA MANTRA feels like a 37-minute-long act rather than an album with four allegedly distinct tracks. The quartet sounds too similar, with very little to differ among themselves, and eventually the repetitiveness - a la drone, as aforementioned - gets dragging and dull. It doesn't go as far as becoming unbearable, it just stops feeling enjoyable to listen to after a while.

Still, POPOL VUH's masterpiece is digestible if correctly approached (and by that I mean digested in more than one listen) and is open to revisits that might be often even. What won't matter is which track to check, after all, they're the same.

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 Carnival In Babylon by AMON DÜÜL II album cover Studio Album, 1972
3.55 | 166 ratings

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Carnival In Babylon
Amon Düül II Krautrock

Review by friso
Prog Reviewer

3 stars Amon Duul II is a band I love because I just can't get my head around their songwriting and way of thinking. "Carnival in Babylon" is said to be a more straight-forward song-based album, but it's still very vague when it comes to sound and format of the songs. On this album the band seems to have taken an interest in the English folk-rock of the late sixties. Songs like' All Years 'Round', 'Tables are Turned' and in a lesser way opening track 'C.I.D in Uruk' all sound like a heavily drugged up version of Fairport Convention. I love that band and I'm loving this. The short song 'Kronwinkl' is a nice little progressive rock cut, albeit a bit directionless. Which - by the way - applies to all songs on this album. Ending track 'Hawknose Harlequin' is a spacey jam band track that sound like early Pink Floyd. The last track to mention is 'Shimmering Sand' which sounds like a moody psychedelic track, but fails to impress due to poor performances of every-one involved. Listening to the album I wonder if the obscuring sound of the production enhances the music, or if perhaps a remix & remaster could result in a miraculous re-emergence of its hidden beauty. Follow-up album (and one my all-time favorites) 'Wolf City' would show some similarities in sound. Carnival in Babylon is however way more stretched-out, laid-back and folky, missing out on the fierce moments that would define their finest moments. Still, I find myself listening a lot to this album. It incites the drive to 'get it', whereas that just might be impossible. The pristine folk influences combined with the totally drug-out performances & sound are beautifully beyond comprehension. Three and a halve stars for that I guess. And I must say, I love the artwork and the inner sleeve photo of the band in a purple garden.

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 On Track by DAMANEK album cover Studio Album, 2017
4.11 | 18 ratings

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On Track
Damanek Crossover Prog

Review by Kingsnake

5 stars When I put on this album, the first thing I thought was: "hey, this sounds like Unitopia and United Progressive Fraternity".

When I looked at the personel, I saw it's the same guys. I like this kind progressive rock very much. I know Guy Manning from UPF and Marek Arnold and Sean Timms from Unitopia and UFP. I especially like the percussion (also a guy from Unitopia) and the saxophone

The songs are romantic and have a pop/soul kind-of vibe, like Talk Talk, Sting, Peter Gabriel, Tears for Fears and Paul SImon.The music is somewhere between intelligent pop, jazz (even jazzfunk), world, rock and progrock. Because pop isn't what it's used to be, I love that progrock musicians fill the gap with this kind of prog-pop.

I think I will play this record a lot, like I played Unitopia and UFP.

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 Per Aspera Ad Astra by TAPROBAN album cover Studio Album, 2017
3.78 | 78 ratings

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Per Aspera Ad Astra
Taproban Rock Progressivo Italiano

Review by kev rowland
Special Collaborator Crossover Prog Team

4 stars I don't know what it is about many Italian progressive rock bands, but they can make it seem as if the Seventies have never gone away. And with their fifth studio album, Taproban are again producing something that makes an old progger like me just smile from the start to the end. The Mellotrons and classic keyboard sounds are there in abundance, and one can just imagine Rick there with his long blond hair and cape just joining in the fun for the hell of it. The keyboards are deliberately high in the mix, but this is very much a band album, operating in an ELP-style format (although keyboard player Gianluca De Rossi is actually the singer here). There are times when the keyboards do take a back step to allow bassist/guitarist Roberto Vitelli his time in the spotlight, while drummer Ares Andreoni is always kept high in the mix.

But, the star and centre stage will always be Gianluca, and the reason that there aren't many vocals on the album is that there simply isn't any need. For the most part this is classic Italian keyboard drive progressive rock that sees no reason at all to move past 1977, and is going to stay in that mid-Seventies period thank you very much (although there are some keyboard runs that are more early Mark Kelly than Keith Ermeson). I find it hard to comprehend that this is the first time I have come across these guys, which just goes to show just how much music there is out there at the moment. If like me this is a name that you haven't come across before, then if you enjoy classic keyboard progressive rock then this is one you should discover.

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 Sol Niger Within by THORDENDAL'S SPECIAL DEFECTS, FREDRIK album cover Studio Album, 1997
4.15 | 119 ratings

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Sol Niger Within
Fredrik Thordendal's Special Defects Experimental/Post Metal

Review by Luqueasaur

5 stars What is this relentless, chaotic and beyond-comprehension avant-metal?: 9/10

MESHUGGAH's dj000nt master FREDRIK THORDENDAL lets loose his inner demon (not like he already doesn't do it on Messhugah) and showcases his extreme guitar wizardry with some of the craziest experiments and techniques and pitches and melodies there is to do with a guitar.

While on MESHUGGAH his guitar is vicious and his riffs are neutron-star dense, on SPECIAL DEFECTS Fredrik's style is experimental as if he's testing how far he can go with his instrument's electronic sonic capabilities. Would it be far- fetched to call him the modern JIMI HENDRIX and SOL NIGER WITHIN metal's response to Woodstock's Star Spangled Banner? Possibly, but then again not even Hendrix would be bold enough to create such a manic, rhythmical and complex (and sciency) release, so they're pretty even when it comes to ingenuity.

While I must admit in some moments it feels rather dragging and isn't on my accomplished cats list, SOL NIGER WITHIN is, in most parts, what I expect from avant-metal: the unexpected, creativity, complexity; well done and without corny weirdness-for-the-sake-of-weirdness. And some damn sweet guitar solos, too.

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 Wiesbaden 1972 by EMBRYO album cover Live, 2008
4.00 | 10 ratings

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Wiesbaden 1972
Embryo Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

4 stars This is an archival live document of EMBRYO playing in Wiesbaden back in 1972 but not released until 2008. We get the legendary duo of Roman Bunka and Christian Burchard, the latter I just found out passed away a month ago sadly. Dieter Miekautsch plays electric piano mostly. He played as well with MISSING LINK and MISSUS BEASTLY. Hansi Fischer from XHOL CARAVAN and XHOL plays sax on that last 21 minute plus track. Klaus Gotzner adds percussion he would go on to play drums in TON STEINE SCHERBEN. It was strange reading all these song titles and not recognizing them but Uwe points out in his excellent review that some of these songs and sections would appear later under different names. By the way, if you don't have EMBRYO's first six studio albums you need to rectify that, all classics. Happy birthday Uwe!

"Ouverture Marimbasaz" is as the title suggests filled with lots of marimba from drummer Burchard along with saz from guitarist Bunka. A very ethnic sounding track that blends into "Sunrising" where the saz and marimba continue. Drums arrive around 3 1/2 minutes as they continue to jam. Like SOFT MACHINE they go from one song to the next in this live setting without missing a beat. It blends into "Dieter Plays" where we get guitar after 2 minutes as the drums pound away, bass too then keyboards from Dieter. So the first three tracks really aren't my thing but man these last four songs are very much my thing.

"Space To No Place To Go" features drums and guitar leading the way making this more my thing. I like that sound a minute in with bass and drums as the guitar solos over top. Really good! Check out that guitar 2 minutes in, oh my! A calm after 3 minutes with guitar expressions and atmosphere. The bass starts to come to the fore. Some spoken words before 5 1/2 minutes and then it kicks in again before 6 minutes, vocals too. The guitar lights it up 6 1/2 minutes in.

"Andalucia Si" continues with the bass, guitar and drums as keys join in quickly. This sounds amazing. It settles after 2 1/2 minutes with some impressive guitar. Some vocals then it starts to build. So good! A jazzy section that I recognize takes over after 4 minutes. Not worthy as we get more vocals. Guitar to the fore 5 1/2 minutes in. Love this relaxed jazzy sound, reminds me of NUCLEUS.

"Master Plan Of Pharoa" features bass and drums with guitar playing over top. The guitar actually reminds me of Carlos Santana here. And man that guitar really steals the show on this 9 1/2 minute track. Keyboards before 2 1/2 minutes as the guitar steps aside. Vocals after 3 1/2 minutes and they will come and go. Love that guitar 7 minutes in and there's a jazzy section a minute later.

"Pygmaen Uberall/ Back From Africa" ends the album with a 21 plus minute tour de force. Bass, percussion, drums and more to start. Guitar just before a minute and it will impress as this plays out. Sax from Hansi arrives before 7 minutes and continues until 9 minutes in when the guitar takes over. Sax is back before 11 minutes then we get drums only after 11 1/2 minutes then bass and more as it builds. The guitar really shines the rest of the way, man Roman has some skills. Some fuzz 19 minutes in as it settles back. Some vocals after 20 minutes as it comes to a close.

A really excellent archival release as we get both their World Music leanings along with classic sounding EMBRYO. While I prefer the latter by far this is a really solid album. And it's pretty cool to get all these songs I haven't heard before but there is some familiarity regardless.

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