Lars Fredrik Frøislie is the keyboard player of Wobbler, a relatively new but well-respected Norwegian band that has become notorious for their quirky blend of retro progressive rock and symphonic cascades of sound, and Frøislie himself has been one of the engines of this recognizable sound of theirs, with his myriad of synths, keys, pianos and moogs, finally taking the time off the band to record his long-awaited debut solo album - much in the vein of the classic prog acts of the 70s and their keyboard maestros. And 'Fire Foretellinger', as the title of the record goes, is indeed a curious discovery that is very strongly informed by the classic symphonic rock bands of that era (think of Yes, Camel, VdGG), it offers four compositions, four keyboard-heavy arrangements, that explore variations of different themes and offer a plethora of fine sounds and masterful playing, as the ones familiar with the quirkiness of Wobbler might expect.

Nevertheless, this record does not departure from the sound and aesthetic of Frøislie's band and instead offers his unfiltered vision of this style of music, in a place where he is able to freely create and explore the possibilities of the analog world of various keyboards and related instruments, venturing into long movements of complex playing, technical interludes and large, pastoral soundscapes, all ingredients of the style emulating the classic era of progressive rock. The four pieces on here are meant to represent four stories, and while Frøislie handles all the keys, drums, vocals and production duties, he is joined by a guest bassist who also does a pretty fantastic job. Two large pieces bookmark the album, both some seventeen minutes in change, all very symphonic and large-scale, sometimes bombastic and methodological, sometimes mellower and more pastoral, but for sure Frøislie tries out a lot of different techniques and sounds and it is all really good. The two "shorter" compositions on here also present some fine musical episodes, although they seem to be the "safer" trials and almost work as complementary pieces to the two large epics. 'Fire Fortellinger' is a solid, well-executed release that fits perfectly into the retro prog niche, and like other similar albums, it is pleasant and technically impressive, even if this kind of music is not necessarily groundbreaking or vigorously innovative.

Having had fun experimenting with many new electronic enhancements (including keyboards and synthesizers) on his previous solo album, 1976's Majesty Music, we see here Miroslav taking a more serious and more independent approach--using only a single percussionist as his collaborator for each song while relying on his own talents for all the rest of the sound generation.

1. "Watching The Sunset Run" (8:02) a song that plays out more like a Weather Report song than any we've heard from the former WR member (and founder) as Miroslav plays his multiple tracks of basses with some periodic electric piano, ARP synth strings, and MiniMoog contributions with the cymbal-heavy multi-track contributions of long-time collaborator (and fellow Weather Report founding member) Don Alias. A cool song that also comes across as an OREGON/CoDoNa-like song. The melody production is okay, but the constant tension and urgency generated by the rhythm track is quite compelling. (13.75/15)

2. "Bassamba" (2:58) solo bass opens up with some flourishes and riffs before starting up a two-and sometimes three- chord Samba motif which Don quickly fall in line to support. Miroslav's bowed bass occupies the lead position while his electric piano and ARP synth strings add spice in the middle to give it a little Chick Corea flavor. Well done, Mr. Vitous! (9.125/10)

3. "Tiger In The Rain" (8:54) electric piano opens this one, playing a lot like Joe Zawinul (the man had just finished spending six years under the tutelage of his elder and fellow Eastern European)--for a long time before small contributions from Miroslav's other keys and basses as well as Don Alias' bongos and (later) timbales join in. I'm not sure what tiger Miroslav had observed to inspire this song--or if the title was just applied randomly from a saved list of previously generated song titles--but I don't see the connection--unless one were trying to account for the youthful play of a young cub experiencing the fascinating effects of the rain for its first few times. Not as interesting, developed, or dynamic as one might have hoped--and very little bass play! (17.25/20)

4. "Concerto In E Minor" (5:30) ARP strings and congas open this free-flowing, Indian-like song with electric piano and bowed electrified double bass that sounds remarkably similar to the low-end tones of SHAKTI's Shankar with his patented double-neck 10-string violin. There is a bit of a tempo and motif change in the fourth minute as Don and the electric piano start up a new pattern while Miroslav continues soloing with his bowed bass, but then the ARP strings kind of move to the front as Don and Miroslav step back a bit to make room for Miroslav's pizzicato double bass for the song's final minute. Odd and not feeling as "classical" as the title would seem to suggest. (8.75/10)

5. "Pictures From Moravia" (4:49) electric piano and bowed electrified double bass present and each play with the main melody while pizzicato bass and ARP strings add their periodic notes and flourishes. Things get a little heated in the second half of the second minute--especially with the bowed bass--but then shift in the third minute as the MiniMoog and electric piano sneak in for a little more shine. The ARP strings chords tend to spoil it for me; I think the song would have been much better with them left out. (They tend to "date" the music, as well.) (8.875/10)

6. "Sonata For A Dream" (5:39) opening with Armen's sparse, mostly-metallic percussion play, Miroslav focuses on (bombastic) piano as his main conveyor with ARP strings and MiniMoog providing a lot of the lead flourishes and melody. I do like the fact that this song presents a slowly building and more dynamic sonosphere than much of the album's other songs--even evoking some of the feelings that I feel are signatory to the experience of listening to a classical music sonata. (8.875/10)

Total time: 35:52

Despite years of collaborating with others (especially Joe Zawinul but also Herbie Mann and Wayne Shorter), I've always had this sense that Miroslav was a rather fiercely-independent artist, and I think that this album serves as proof of that. With his previous year's album he was still relying on collaborators while exploring new technologies but he was also taking on much more of the musical textures for himself: learning and attempting to take over the keyboards, electronics, and even engineering duties on Majesty Music, but now, with Miroslav we have the butterfly finally, if shyly, emerging from his cocoon to begin to create music that is most all of it his. A very challenging prospect, I've always thought that this "one-man band" approach (and attitude) can have a limiting, even detrimental, effect on the outcome--on the musical product. I've become convinced that collaboration, review, and feedback (even if it's critical), is important to a product that the public can and will connect with. Though Blue Note producer Michael Cuscuna is credited, I have a feeling that this was more Miroslav's solo project.

B/four stars; an interesting and often intriguing album that presents one artist's vision most purely--with only one collaborator--a percussionist--to be held accountable to.

After the controversial "X Factor" in 1995 and "Virtual XI" in 1998 with Blaze Bayley replacing the irreplaceable Bruce Dickinson on vocals and Janick Gers replacing Adrian Smith since 1990's "No Prayer for the Dying", a troubled Iron Maiden shuffle again and summon their two prodigal sons to face the beginning of the new millennium, resulting in "Brave New World" (2000), their twelfth album. Inspired by the eponymous dystopian novel by British writer Aldous Huxley, "Brave New World" revitalised the English band's career, also bolstered by the incorporation of producer Kevin Shirley, who, from his place, would be in charge of reorienting the band's sonic proposals.

On the one hand, songs of immediate impact such as the direct "The Wicker Man" with powerful guitar riffs and Nick McBrain's unrelenting drumming, very appropriate to be chanted live, the fast and rhythmic "The Mercenary", or the galloping and snake-like "The Fallen Angel", overflow with an infectious energy reminiscent of the early days of the band led by Steve Harris.

And on the other hand, the developments of generous length and more elaborate and progressive structures so identifiable from albums like "Seventh Son of a Seventh Son" from 1988, take on particular relevance from the majestic "Ghost of Navigator" and Harris's piercing bass setting the cadence, continues with the restrained fury of "Brave New World" and the duel of the three guitarists, sustained again by Harris' porfiado bass, with the epic and orchestrated "Blood Brothers", another great song ideal to interact with the live audience, with the arabesque riffs of the enigmatic "The Nomad" and its atmospheric middle section, and finally with the introspective and dark epic of "The Thin Line Between Love & Hate".

The futuristic, purplish vision of the city of London cloaked by the image of a cloudy Eddie, beyond being the excellent cover of "Brave New World", symbolises the band's renewed look forward and reconciliation with their grateful and multitudinous fan base.

4 stars

Pike 5: Look Up There

Art Review: What do I see? Eyes that gleam, protect the weak, slunk at your feet. Fear. 1/1

Track 1: Golden Eyes (10:49) Starts off with this cool drum beat and some cool effected guitar. Reverb and maybe some phrases I'm not sure about. The drums are really cool with a lot of variety, switching around. Some ambient lazer like sounds slightly fill the background. The guitar is very present and hops around, stops, and switches it up. Bass is the only backing here for the guitar, so it does feel like a drawn out solo but it's not bad. There is some weird effect going on and I really have no clue what it is but it is. I'll just call it the slunk tube. So we got some slunk tube going on with some nice drums, and sick soloing, but that's it. There really isn't much else to say about this song. The solo is sick and has a lot of good variation but that's about all its giving. 6/10

Track 2: Look Up There (21:38) Now this one is more ambient, airy, no drums in the beginning, and they slowly build up and buckethead solos for 21 minutes. Guitar is really clean, maybe a tad overdriven. Solo just goes and goes and buckethead changes it around a tad here and there, breaking out into slick fast solos or heavier bits with the wah. Song still just sounds the same all the way through. A jam track is basically all this is. 5/10

Overall a very lackluster album with not much content. 4/10

Pike 3: 3' Clearance

Art Review: They got the little chicken baby thing 10/10

Track 1: Griffin's Spike (4:07)

A heavy metal track with a cool intermittent solo, and some robo drums. Buckethead made this song for Blake Griffin the basketball player. Song does go eclectic midway through with some crazy riffing and killswitch action, but it's not too much different then any of his other stuff. Main riff is cool and catchy and the solo is pretty chill. 5/10

Track 2: Rammellzee: Hero of the Abyss (4:00)

This one starts off with some crazy digitech electronica zapping and a heavy riff. Switches over to some cool chugging wah action that's very sluggish. Slunkish? The tempo is slow and the 'abyss' bit really comes through with the deep bends and wah action. Drums sound mildly alive, less robotic then the previous song. 2:18 switches over to some weird wah playing then a sick riff with the heavy wah. Solo comes in with some spice and brings in some eclectic riffing too. Song ends off a little mysterious. 6/10

Track 3: Three Headed Guardian (3:56)

Buckethead straight away with the underlying lick and the solo flying in. Backing comes to the forefront with a nice riff and changes around with the distortion into the next section. More cool riffs. Solo comes back beautifully, really setting in stone with a fast flying riff and back into more heavy metal riffage. Drums are about in the middle of robotic and not. Solo comes in with some super speed and the song changes up drastically with some crazy super fast soloing that goes eclectic as per usual. Fast killswitch action and the drums are just crazy. Weird fast lick into a heavy finisher. Very cool and weird. 7/10

Track 4: Floating Graveyard (3:18)

Some creepy beginning vibrato into a heavy version of the same riff, wah seems to be quite present. The song then goes full metal with heavy drums coming and a sick backing. Switches back to the beginning riff, which transforms into another cool riff, which slides in the solo. Solo is creative as per usual and nothing eclectic comes forth. Song slows back down, back into the beginning riff and finishes off. Would be 8/10 if there was some more soloing but it kinda ends off bland. 7/10

Track 5: Ballad of Jerry Mono (4:55)

Jerry here has seen some beautiful sceneries that grace us, down a beautiful river valley into a soaring mountainscape. Very chill and open and begins to build up into something heavier. Solo guitar comes in the background with a different tone though doesn't last very long. Man this song is beautiful. Thoughts of a world of peace and flowers come to mind, a cottage that looks out onto the mountains perhaps. Around 3:00 it begins to pick up and get a bit faster. Super solo comes in as the song builds. Buckethead does some cool stuff then it actually just slows back down into something more calming. Song basically carries as it was before with a simple solo behind. Ends ok. Kinda faltered near the end. 6/10

Track 6: H.D. Autopsy (3:17) Starts off pretty heavy with some slightly quiet drums. Then an evil eclectic dark worldian solo comes out and the noises from beyond begin to chorus the sky. I can definitely see an evil doctor jamming out to this noise creation. Heavy bit is pretty good, and around 1:10 it switches over to something more listenable. Buckethead does some weird killswitch action then a sick solo comes in. Some heavy stuff jumps around and the solo keeps working. Song actually ends up being quite formatted in the later half and the solo is not very crazy. Just some fast whole fretboard riffing that swirls into the shadows of the slunk abyss. Ends off with some eclectic tapping. 6/10

Track 7: Droid Hunt (2:44) Ok, I'm in some sort of chamber where I am being turned into a cyber-slunk-o-tron-o-matic in front of a crowd of hungry chicken people. Back into some funk from buckethead with a little groovy riff then immediately my mind is being drilled into by the great master computer. Back to some groovy metal bits then a solo from beyond appears. This song reminds me of like all of the other songs on this album. Some weird stuff or normal riffage, then later an actual solid solo. This solo isn't too bad, some interesting stuff going on here with the vibrato, and its quite noisy. Not too notable. 5/10

Track 8: Battlefields (3:11) Another metal track with heavy riffing. This one is a tad groovetastic in its riffing style but nothing too great. Riffs go around and do some cool double layering stuff. Stuff gets quite heavy but nothing very interesting. Solo around 1:50, nothing NOTABLE. Man this one is just like the others. Very medial. Ending is kinda cool, but its really not hitting the spot. 5/10 but more like 4.5. Maybe 4.75.

Track 9: Handprint Ornament (2:46) Some slower atmospheric stuff with lighter drums. Guitar playing is pretty ok. Picks up midway through buts its about the same the whole way through. Just an atmospheric solo. End is good, more emotion. 4/10

Track 10: Harpoon the Goon (2:28) This one is another HEAVY metal rocker. It's got some weird riffage and it's also nice and groovy. ABC I love metal songs like you and me. Most of these would be good if not crunched into one album. Just boring to listen to 5 songs that sound similar. This one had some nice upbeat backing, drums are hella robotic, solo is nice. 5/10

Track 11: Critical Leg Assignment (2:33) Ok so back to the churning master. Some weird industrial super sensitive string ionizer from the backyard of bucketheads beast box. Name of the song is quite odd. Heavy riffing comes in a bit later. Weird stuff does not stop there with some weird 'soloing' and a funky bass backing. Eclectic riffing appears with the stupid goofy riffing which is so stupid. Very good. Weird stuff just happens here. This is a weird town. Ends off weird. 7/10

Track 12: Siamese Butterfly (1:54) Palm muted guitar with some ok drums. Goes around fast like a little dog then does some riffing like a dying water man thing from the glopian bellows of shadow cave. Yeah this is a bit creepy and just avante all over. Not too bad, music for a mad frenchman with a little yipper dog that pees on your shoe. 6/10 nice.

Track 13: X-Ray (0:49) My ears hurt. Just like if you put your head into a microwave and ended up speaking microwavenese, and now everyone thinks you're weird and a robot. 5/10

Overall a 6/10. Alot of repetitiveness but some of the weird songs were actually pretty good.

A year after The Hook, on which band leader and composer Jukka Tolonen takes a step further away from his folk and world music-tinged preferences toward harder, heavier rock.

1. "Jimi" (9:30) quite an obvious homage and imitation to rock guitar's greatest trailblazer and innovator, the rhythm section is surprisingly sparse (much less chaos than that which Noel Redding and Mitch Mitchell routinely generated) and Jukka's performance is far less dynamic or technically impressive than Jimi's easy-going temporal mastery. This, unfortunately, the first half of this song feels like a teenage garage band's early attempts at exploring Jimi territory. Since Jukka was 23-years old at the time of these recording sessions, I must admit to being a little disappointed. And, no: even with warmup and synchronizing, the trio never really achieve those magical, masterful levels of the Jimi Hendrix Experience. (17.125/20)

2. "Django" (2:34) blues-rock musical motif that is set up to make room to show off Jukka's fast, clean-picking electric guitar prowess--with, of course, a bit of the folk-jazz perspective that Django Reinhardt was known for. There is quite a little in Jukka's style and sound that would compare him to Steely Dan stalwarts Denny Dias and Jeff "Skunk" Baxter as well. There just needs to be something a little more to elevate this song into a finished or fully-developed state. (8.875/10)

3. "Hysterica" (6:33) entering the fray of full-on rock-oriented jazz-rock. Nice horn section arrangements, nice drumming from Esko Rosnell, and impressive guitar play from Jukka--at times sounding a bit like Steve Howe, at others like a caffeinated B.B. King. Overall, the song has a bit of a cheesy television soundtrack/advertisement sound and feel, but the skill levels are pretty high with the band hitting all the changes and speed demands with admirable synchronization. Esa Kotilainen's MiniMoog solo in the last 90 seconds makes the song sound a lot like something from American band Starcastle. (8.875/10)

4. "Tiger" (7:02) opens with a fast-moving blues rock bass line (courtesy of Pekka Pohjola) repeating itself over and over in an unusual time signature as other instruments slowly, carefully join him. By the time the second minute rolls around there are percussion (agogo!), Hammond organ, saxes, and guitar playing a jazz-rock "Peter Gunn"-like motif. Airy flutes take over at the top of the motif in the third minute for a bit before a bridge takes us into a more R&B-like motif over which Pekka performs a brief but impressive bass solo before the horns take their turns. I love the awesome abrasive rhythm guitar strum-striking Jukka is doing here! Then Jukka finally takes a solo: it's okay. (I don't really like the Stephen Stills-like muted jazz guitar sound he's chosen here.) Great drumming from Esko Rosnell throughout. What an awesome rhythm section! This song makes me wish Pekka Pohjola were around for the whole album (which is not always my reaction to Pekka's presence). Easily the best song on the album: just great from start to finish. Even the cat-like cacophony at the end with Jukka rock-soloing over it is entertaining. (14.25/15)

5. "Silva The Cat" (4:50) a song that was even released as a 45-rpm single back in the day, it's cute and melodic, quite simple, tow-chord song--which makes it understandable that is would/could be popular as a teeny-bopper radio dance tune. The fuzz guitar soloing over the top from the second half of the second minute to the is, to my ears, a bit annoying. I'm also not really happy with this simplistic tune on a Jazz-Rock Fusion album: it feels as if Jukka is pandering, debasing himself by selling out to the pressures for mass popularity, lowering his standards to an embarrassing level. (But, then, so many artists were doing the same--succumbing to the pressures from their record companies to try to make money.) (8.5/10)

6. "Windermere Avenue" (7:15) slowed down and straightened out, the sound and feel of this one almost lands this in Yacht Rock territory. The folky reeds and synth weave and Surfer Rock bass melody seem to substantiate this. Jukka's guitar solo doesn't start until the fourth minute and it's a bit smooth and easy--like a 461 Ocean Boulevard-era Eric Clapton solo. The main piano-based melody keeps bringing me into easy listening crossover country-rock tunes and artists like "Rhinestone Cowboy," Kenny Rogers, and even Charlie Rich. (13.25/15)

Total Time: 37:44

One great song (that would become a concert staple and much-covered song by other up-coming artists over the decades), three solid if-odd ones, and two "throw away" songs does not, in my opinion, make for a great album. After his previous two solo efforts, I find myself greatly disappointed with this one (the growth was not as significant as I'd hoped for and, perhaps, expected).

B/four stars; a sorely inconsistent album of eclectic styles and sounds that proves to be quite a disappointment after the promise shown by Jukka's previous two albums. Recommended for "Tiger" and the three other solid, if-less-jazzy jams.

The second album from Swedish proggers MAZE OF TIME entitled 'Lullaby For Heroes' (2008) has featured the tempo changes, the variety of melodies within each individual composition and brimming with various musical ideas. Light and versatile parts intermingle with harder material in wonderful symbiosis. Mixing calm fragments with more uptempo progressive stuff allows the talents of Alex Jonsson on keyboard department, Robert I Edman on guitar, Jan Persson on bass and Thomas Nordh on drums/percussion to shine. The lead vocals provided by a new singer Jesper Landen (who's evoking Uriah Heep frontman Bernie Shaw) sometimes are a little fragile then that is a small enough price to pay. If you bought their previous CD and liked it, this new opus will by no means disappoint you. And if somebody did not buy their previous offer yet, heck, then they have just got to run off and buy both albums.

MAZE OF TIME are a five-piece band hailing from Stockholm, Sweden. These guys know what they aim to do and what they are capable of... Their first album 'Tales From the Maze' (2006) was a complex mid-paced work with hints of Kaipa, Pink Floyd, TFK, IQ, Galleon, but also Deep Purple and Uriah Heep - though with pastoral melodic parts from the golden book of Genesis. If you wanna releash to some Mellotron, Moog, Hammond, Rickenbacker bass, soaring guitar and tight drum fills, all is here. The high standard instrumentation is supplemented with emotive vocal delivery. As a whole, solid stuff that manages to pay homage to the greats of the 70's era but also give their own spin on modern progressive rock.

Phantom Limb is what happens when an amputee still feels their leg or arm after the amputation and it's not there. It's also the name of the third album by this Swedish jazz rock/prog band. It seems less fusion than say, Mahavishnu Orchestra, for example, and it's here it's not about how fast they can play, for those who thought fusion was technical showoffmanship, which Hooffoot isn't. Apparently, Bengt Wahlgren uses his share of authentic keyboards (the inner sleeve clearly sees him with a Hohner D-6 clavinet, as well as a Fender Rhodes electric piano. I think I also see a real Hammond organ as well, not a Clavia Nord Stage). This go around the album consists of four lengthy pieces, and they are all of equal quality. No filler, nothing that seems out of place, and if I love the sound and they keep that quality throughout, it deserves that five-star rating. The music is very retro sounding, and if I didn't know better, I would have guessed this was from 1972. I have a hard time describing the music, I can't be reminded of those big name American fusion acts, or the British jazz rock and Canterbury scene, but it clearly hearkens from that era of music and they even got that vibe (the problem I have with some retro-prog is they forgot that vibe, and some unwelcome modern elements creep in, but I can forgive a lot of them when many of those musicians weren't even alive during that era therefore not always getting the gist). My only gripe about this album, which hardly affect the rating and it's the vinyl. Nowhere any mention of side one and two on the label or any info. The only way to tell is the etching on the runoff that states "A" and "B". Also, side one both cuts are of similar length, but side two, the first cut is obviously shorter. Other than that, it's the music that matters. All the music on this album is of the highest quality and if you already own their previous two albums, you need to get this one!

What we have here is a new band formed by ¾ of Anchor and Burden, namely Markus Reuter (Touch Guitars S8 and AU8, Loops and Soundscapes), Alexander Paul Dowerk (Touch Guitars U8 Deluxe and S8) with Asaf Sirkis (drums and percussion, vocals). Bernhard Wöstheinrich is the person missing, but I have no idea where he would have been able to fit in his keyboards and electronics as this music is intense and comes at the listener like a solid slab of thought with no room at all for anything additional. The instruments and musicians are clearly defined, yet at the same time it feels as if they been synchronised and arranged in such a manner that all oxygen has been take out of the room. That is not to say there is no room for dynamics or the use of space, but it is all carefully controlled and massively intense.

All involved are known for their improvisational abilities, but this feels as if the guys started with ideas and have then finessed and rehearsed them to take it to a new level. It is quite heavy, without being metallic, and the shifts in tempos and polyrhythms take the listener's breath away, and if there was ever a bastard child of King Crimson and Robert Fripp then surely this is that band. This is British extreme progressive music being given a huge Berlin twist and turned into something which is futuristic and creative, somehow bringing together the mechanical and the emotion to create something which has the drama of Rammstein but the inventiveness and play of live free composition. It is an album I get more from each time I play it, and while this will not be for everyone, those who want their music to be more challenging and outside the mainstream prog will find much here to enjoy.