— First review of this album —

What a pleasant surprise.

I expected a toothless new age album here. It is my impression that Clearlight deviated in that direction after the four first albums. But in the case of Messenger Of The Sun, this is not the case. Yes, there are a lot of new age meanderings here. In fact, more than half of this album is new age stuff. The other half, on the other hand............

The other half of this album, and pretty good integrated with the new age melodies, are pure jazz. Jazz like Return To Forever and the likes of them. That means pretty intense jazz which weaves itself around themes and improvises melody lines. Music that makes my heart sings with joy. Talking about vocals........... there is none here. This purely an instrumental album. It is pretty well structured too.

My only gripe, and it is a major one, is that the new age stuff could had been shortened down a lot. Cut off twenty minutes of this album and you have an excellent jazz album with some good references to the new age genre. But then again, Cyrille Verdeaux is the king of the new age genre. I am not fond of this stuff so twenty minutes of this album is pretty much a waste of my time. But this album is still a great mix of new age, jazz and symphonic prog. It is also a suitable movie soundtrack. In short, if this type of music is your music, you should own this album. I have my reservations, though. But this is still a very good album in my view.

3.5 stars

This one is not as prog as the first album, it has been recorded at the trident studio in LONDON ,it displays various kind of styles because VANGELIS asked the guis to renew themselve.VANGELIS plays more piano and added flute and vibe,DEMIS plays a little ac guitar and brings his first song,very romantic of course ,ANNABELLA and LUCAS starts singing and writing with LET ME LOVE LET ME LIVE that will bee a hit in europe he sings throught several other tracks and that will lead to dissensions in the band because DEMIS din't agree.Of course this album contains another pure pop single by VANGELIS,IT'FIVE O CLOCK that would bee a smash hit in europe,DEMIS recalls us he is a trumpet player too on GOOD TIME SO FINE .In fact this recording displays various kind of styles (country,greek folk,psyche rock,pop) because VANGELIS tried to satisfy record company demand but keeping the band creative,but he was allready thinking about a more avantgardiste work (666).I give four stars because of IT'S FIVE O CLOCK;LET ME LOVE,WAKE UP and MARIE JOLIE .

3.5 stars really!!!

Back in the second half of the 70's, even Zappa didn't escape to the giganticism and wanted to put out a 4 vinyl set of new studio and live material, yet unreleased. Despite one or two examples that would take place a few years later, like the Godley & Crème boxset, the industry doubted of the commercial success (not without reasons) of such an ambitious project and refused Zappa the release as such. So Frank released four different album containing this material (sometimes in a different version), but in a willingly disorderly fashion, so that the concept was impossible to reassemble over the Sleep Dirt, Studio Tan, Orchestral Favorites and a live album. Note that his next big projects would be the double Sheik Yerbouti and the triple (but released in two parts) Joe's Garage. This project was finally released after Frank's death by wife Gail and some associates. The least we can say is that this set is extremely well-done and really reflects Frank's (all-too often scatological) spirits of the times and reflecting his general defiance and gratuitous provocation of the well-thinking establishment about many still taboo subjects.

The first disc starts on the splendid jazz-rock Re-Gyptian Strut (on SD), but soon digresses in Modern Classical with Aviation (on OF), the Whole Lotta Love-riffed & Lumpy Gravy influenced Duck Goose and later on the scatological Assholes and Enema pieces - the latter sounding like a killer Frank Marino & Mahogany Rush blues, once past the idiotic intro. The album finishes on a Studio Tan feast, with three tracks from its flipside, including the excellent Take You To The Beach and RDNZL. A worthy first disc, but marred by the juvenile-crappy humour.

The second disc starts on the goofy bluesy Man Like Me, then segues with a few Live In New York tracks (or their studuio version), including the then-censored challenging Funky Whips (with that famous male promise ;o)))), but it is the terrific Flambay (or Flambé from SD) that grabs all of our attention. A while later, Läther (from LiNY) is one of the Zappa proggiest fusion tune almost Canterburian as the awesome Spider Of Destiny (again from SD) is. Closing on an Orchestral Favorite piece, this second disc is much more enjoyable, because the humour segues to the music.

The third disc opens on another SD stand-out piece, the dark and brooding almost- Crimsonian Filthy Habits, but the legendary (but not in my book) misogynistic Titties piece is up next and makes a second reference to Jeff Beck. A little deceiving is the much shorter Ocean Solution (from SD), reduced from 13+ to to 8-mins, even though it remains excellent. The pièce de resistance is the sidelong suite of Greggery Peccary that's closing the set and boxset, with moments of pure bliss, but a lot of that usual dumb humour. The four bonus tracks are not essential (there is a lengthy jam) but don't hinder the album either.

Well Läther is a good set that might happily replace the 4 late-70's albums, but unfortunately the Sleep dirt album tracks are not in the original album form, so you'd have to get that one and the live one as well, if you are a completist. And reversely, if you're a Sleep Dirt aficionado (like me), you'll be tempted to get Läther, at least for the re-arranged SD pieces. I'll pass, though, as I can rent this from the library.

On first listen I was ready to give this two. "Overblown prog enamoured with the past. Great sound but needs better songs. File under Transatwanktic". But as you can see I've now given it a four. My initial discomfort seemed to be that while this is an EXCELLENTLY produced album- boy they sound good- it's such a "prog" album, in that it does everything prog albums are supposed to do. Big silly concept, really long songs, plenty of musical flourishes, some really cool, some totally uncalled for, earnest singer etc etc and we end up with something that is not really prog in the traditional sense as it rests on the laurels of established successes rather than forging new ground. Repeat listens however make me recognise just how well they've done this though. If you love classic prog sounds with lots of grandiosity and cheese and don't expect to be shocked and surprised, Haken, who sound a bit like James Labrie fronting latter-day Kaipa, will be right up your alley. The dips into circus metal and big band metal (they don't suit the dramatic atmosphere of the songs- but I do like the hilarious shift into a sudden bit of cocktail jazz in The Point Of No Return) and the growled vocals (I don't mind growls but they're totally out of place here) are among the missteps here but that's about it- Streams verses are a little naive and feel as though they were written by someone for whom English is not a first language but its still a pleasant and enjoyable song. Otherwise this is especially strong for a debut. My favourites are Aquarium and the incredible closer Celestial Elixir- I never get tired of that big chorus hitting. The album makes me play a movie in my head- whether it's the story Haken had in mind I'm not sure as I haven't seen an official version of events. But the story I've made up involves a mermaid being strapped to a rocket and launched into the sun. (I'm totally serious- and of course there's context and background to that but I don't want to type out a mini-novel which is only tangentially connected to the music in a review.) And if an album can make me weave a story which involves a scene so preposterous, yet still moves me, well that's good old fashioned prog isn't it. On paper incredibly stupid and excessive, in practice electrifying and emotional. I hold off on the fifth star because there are a few bum notes (in terms of musical choices, not literal ones) and because I would like to see Haken innovating more, but this is a pretty good way to start a career. Worth investigating.

The only (live) Soft Head album is excellent work! Having its roots in psychedelic jazz-rock of early Soft Machine music, this album is in fact Elton Dean's swan song. Plenty of soloing jazzy sax on each composition (with great support of all other musicians, especially - Alan Gowen's electric piano). Obviously more jazzy, than many Soft Machine albums, this album is excellent gem for Elton Dean sax lovers.

I can listen it again and again - fresh, very inspired improvs and possibly the best Elton Dean recordings ever! To be honest, I like all Soft Heap/Soft Head albums, they all are based on Elton Dean sax soloing with great support of Canterbury stars. But this live album is peak of all them for me!

If you like Elton Dean, jazzy side of Soft Machine music or just great sax-led progressive jazz, you must have this album for sure.

My rating is 4,5, rounded to 5!

Wow, I was expecting this.

To be honest, when I heard these guys where reforming, I did do a wee dance.

This was really unexpected. I know their last album was just perfect in everyway, but a 78 minute song, wow, that was something unheard of.

I think this is the longest song ever made, and 2009 was the year of big long songs (Procupine Tree's 55 minute epic The Incident). But which is better...there is only one way to find out...FIGHT!!!! (only Harry Hill fans would understand that).

I. Overture/Whirlwind - A beautiful instrumental stating all the themes, in all their beauty. 10/10

II. The Wind Blew Them All Away -Great song with some amazing vocals from Neal. Very calm and suprising eerie. 9/10

III. On The Prowl - That bassline is very Pink Floyd. Very rocking with a great chorus. 10/10

IV. A Man Can Feel - Suprisingly touching and very joyous. 9/10

V. Out Of The Night - A more rocking subject. Great riffs and instrumental work. 9/10

VI. Rose Coloured Glasses - Has a bit of a country feel to it. Great chorus and vocals provided by the band. 9/10

VII. Evermore - Great vocals. Amazing isntrumental work. 10/10

VIII. Set Us Free - Loving the return of the keyboard theme. Great chorus. Very joyous. 10/10

IX. Lay DownYour Life - Wow, what a riff. Very death march theme. Amazing and very angry vocals from Neal. 10/10

X. Pieces Of Heaven - Pretty kick ass instrumental. Very crazy. 10/10

XI. Is It Really Happening? - Quite laid back and sombre. The instrumental sections are amazing. 10/10

XII. Dancing With Eternal Glory/Whirlwind (Reprise) - Very epic and very beautiful. Great ending. 10/10

CONCLUSION: Definitly a contendor for the best album of last year. Very epic and if you disagree, then you have no soul (their is no such thing as a soul, but you know, metaphorically speaking)

— First review of this album —

Spirals Of Time has been recorded back in 1997 in an old farmhouse in Assisi (Central Italy). This album is the quintessential and the most representative effort from G Gasparetti. The performance provides an imaginative trip through the magical principles of traditional-sacred music from the east and drone ambient electronic experiments. Consequently the content is focused on extended lienar phrases, static-amorphous droning textures. The slow organic movements of sounds seem to relax the bodily tension, they grow up into a bodily performance. The instrumentation reaches mantric like proportions. The subject and the object are like intertwined in a common ritual due to the openness of the musical-metaphorical "shamanism" relation. Spirals of time develops an interesting approach on bodily dialogue in the symbolical musical field. However for current listeners can conceived this one as boring meditative voyage with too much low transtensity, with an innacurate protensity for usual listens. Others can perceive a medium of nonverbal communication. This album can also ravish fans of established ambient dronescapes released by Steve Roach, Alio Die, Vidna Obmana...

— First review of this album —

THE BLACK NOODLE PROJECT is the name of a present French Progressive rock band, located in the Paris suburbs. It was first initiated in the year 2001 by guitarist and singer Jérémie GRIMA, who hired a real group shortly thereafter. And three years later, the result of their chemistry is now available to the audience, through the office of the Musea label. Deeply influenced by the works of PINK FLOYD, the music of the first album "And Life Goes On..." (2004) appears to be both atmospheric and dynamic, reminding a seducing modern form of Progressive rock. Filled with piano notes and luminous guitar flights, the melodies are to be sipped with obvious pleasure. So, why wait any longer ?... After the critical acclaim received by "And Life Goes On...", the second album "Play Again" (2006) goes one step beyond. Both more original and personal, this masterpiece is full of intense atmospheres and surprising melodies ! The Floydian influences are still present, but more discrete, through a sense of slowness, a sort of "quiet despair" and melancholy. With worked-out arrangements and sound effects, the band keeps the balance between heavy riffs, delicate guitar arpeggios or piano parts, and airy keyboards. Let's mention a good and expressive singer (English singing), and you'll get the kind of album that is too rarely heard. Sometimes near PORCUPINE TREE's kind of inspiration, THE BLACK NOODLE PROJECT has its own identity. Great stuff ! The new OSKAR edition in digi-pack have 2 originals live bonus track.

— First review of this album —

This digipack album contains a 12 tracks CD, recorded in february 2009, during the Black Noodle's tour in Poland, and a DVD including about one hour of live footage, a 30mn documentary about the tour, a video clip, and a video teaser from the album Eleonore. Jeremie, singer and guitarist of the band : "The band is very proud to show this side of its work on a audio and video material. Every show that has been played in Poland has been a great experience shared with a warm and enthusiast audience. The band has given what we can consider as its best concerts during this tour so it is great to have it now available for everyone. We hope it will decide even more people to come and experience our live shows, which are a mandatory and complementary side of our studio works".

'Under The Red And White Sky' - John Wesley (7/10)

Released in 1994, 'Under The Red And White Sky' was devised and endorsed by Steve Rothery (of Marillion fame) to showcase the talents of one John Wesley, a gifted singer/songwriter that rose to wider spread attention when he was enlisted as a guitarist for prog giants Porcupine Tree. While certainly a listen separate from the bands and work he might be more well-known for, the solo work of John Wesley is something that any fan of Porcupine Tree (or someone looking for high quality singer/songwriter music) owes it upon themselves to check out.

Having worked my way backwards through this man's discography (from most recent to the debut) 'Under The Red And White Sky' appears to be one of the couple of Wesley releases that really distinguishes itself as being something both relatively well executed and intimately written. Especially for a essentially one-man effort, it is rare (and yet a pleasant surprise) that a songwriter's first steps treading in the waters of recording would be among his finest. Here, it isn't necessarily that the songs themselves are outwardly superior to those on following albums like 'The Emperor Falls' (although in many cases, that rings true.) What really makes 'Under The Red And Blue Sky' shine out for Wesley is the passionate performance he presents the compositions with.

I have always thought of John Wesley as a strong singer and musician, but some of his music seems to get stuck in the rut of a strict by-the-numbers adherence to the song structure; rarely letting the music really ring out. Here, Wesley's voice really soars; further intensified by some great instrumental arrangement to make a well covered (although certainly not dense) soundscape. Instrumental cameos from the Mellotron (among others) demonstrates that John Wesley is indeed rooted in the progressive scene, although his style may sometimes suggest otherwise.

While 'Under The Red And White Sky' doesn't seem to have much bearing in terms of overall album flow, the music does range from the rocking to the soft, although many of the songs seem to fit into little 'archetypes' that Wesley seems to have set for himself ('acoustic, sensitive love song,' 'soft rocking blues number' etc.) With this in mind, Wesley seems to have found a style that works for him; a musical outlook he scarcely seems to wander out of. While the inherent lack of true variety may turn some off of this man's work, his down-to-earth approach to making music comes as a real source of refreshment in a world where flash seems to be valued over substance.

The true highlight of the album does not rest in any song in particular (although some tracks such as 'None So Beautiful,' 'Rome Is Burning,' and 'Silver' stand out to my ear) but moreso the lyrics themselves. The first few times listening to this album, it felt like it was content to slip into the background while I was working. However, giving the lyrics a real listen instantly captivated me; with his words, John Wesley tells stories.

While John Wesley's musical scope may seem limited, the man is very good at what he does, and it is clear that he approaches his music with passion and a really sincere, heartfelt attitude. This man is a poet with a guitar.