This week I'll be reviewing the third and latest a;bum by Seattle based proggers, Moon Letters, titled "This Dark Earth". The band was formed by members of various other Seattle area prog Bands in 2019, and they released their first album that same year, called " Until They Feel the Sun". They followed it up in 2022 with "Thank You from the Future". The band is made up of the following members:

- John Allday / keyboards, vocals, trumpet - Mike Murphy / bass, vocals - Kelly Mynes / drums, percussion - Michael Trew / lead vocals, flute, congas - Dave Webb / guitars, percussion

I have heard a few songs frome their first two albums that I liked, but I have heard none of this one, so as usual, this is a cold listen.

Disclosure: This review was requested by Anne-Claire of Bad Dog promotions, which I have had a loose association with since March 2025, but as always, I "call it like I hear it" and receive no compensation for the review.

Lets's get listening!

Track 1 - Energy of the Heart

We begin with a snare fill that brings the band in on a moderate tempo. But at around 35 seconds in the temp increases dramatically. With an intricate run from the musicians. The vocals join at around the one minute mark, with 2 parts. The rhythm guitar plays a bit of Randy Rhoads style at times. It's heavy bit not really metal. At around 2:40, there is a funky bass groove from Mike Murphy, and then some really cool analog synth sounds that come straight from the disco era. The band is super tightr in that instrumental section. The vocals resume afterwards As per the title, this is a very high energy tune! At 3:30 the tempo slows down and there is a trippy guitar break leading to a terrific vocal harmony section. The guitar and then the synths take the spotlight next. This leads us to a peaceful ending. Fun opening track with a quirky, unique vibe.

Track 2 - Silver Dream

This begins with the band playing tightly together on a riff reminiscent of the Flower Kings. We go into a 6-8 vibe, but it feels like we occasionally skip a beat. At 1:20 it goes into a few measures of odd meter. This feels a bit like an early rock ballad but through a kaleidoscope. At a little after 3 minutes Dave Webb gives us some rapid right hand tapping. Following that, only Michael Trew's vocals and John Allday's piano continue. A freaky keyboard riff takes us to a heavier section with almost Black Sabbath vibes. The tempo double times, then we have a trumpet solo! Up next the guitar and keys trade licks. This is a fun track with many twists and turns. I believe we have a mellotron choir are we reach the ending accompanying the guitar. Cool track!

Track 3 - Island of Magic Mirrors

The vocals on this one kick right off with the band at a rapid tempo. Great harmonies over odd meter changes. At around 1 minute the tempo slows down for some spacy guitar. A quirky bass riff brings the tempo back up. I keep using the word quirky, as I can't think of a better word to describe what I am hearing, but I mean it as a complement! We have a fun wah-wah solo at around 2 minutes, with lots of interesting sounds accompnying. Murphy and Mynes are a tight rhythm section holding all of the musical mayhem together. This one gives me some Zappa vibes at times! I love the line "My wings are melting as I see your face!" Man, I don't know what kind of synths Allday uses, but they sound straight out of the 70s! (again, a complement.) The closing riffs ended the song on an exciting note! Loving this album so far.

Track 4 - Lonely Moon

This is a very short track at 2:10. We have acoustic guitar for the first time, accompanied by the bass. Some keys follow soon after. This appears to be a briefe acoustic interlude. There are significant contributions from the bass, though. Nice peaceful track!

Track 5 - In the Catacombs

Harmony vocals and lead guitar kick-off the festivities here. The guitar riff follows with an almost hair metal groove. There are lots of rhythmic twists and turns, then?DOUBLETIME! There is a lot of complex instrumental interplay going on here. Rapid-fire rund pop in between vocal phrases. There is a bit of 7-8 as we cross the 2-minute mark. After it drops to nearly nothing, Trew has a mighty scream over some extremely precision playing. This may only be a 4 and a half minute song, but damn, too many shifts to describe here. WOW! Very impressive.

Track 6 - Dawn of the Winterbird

And here we have the 17:18 closing epic. This one begins with a somewhat tropical groove, Each of the opening verses ends with sustained vocal harmonies while the beat is kind of "suspended". After 2 verses, we go into 5-4 then 7-8. The 7-8 is a modified Bolero beat to my ears. The beat straightens out to 4-4 at around 3:15. Next there is a mellow section with keys accompanying the vocals (possibly mellotron). After a pause of a few seconds, a new section begins with clean guitar in an almost "Little Wing" feel at first, then the rhythm section kiosks in. Just before 6 minutes, the guitars get heavier sounding, and we get a half-time feel. This has a nice groove here at around 6:30. The intensity kicks up by the 8 minute mark. Nice guitar fills here. At around 8:50 the sound gets much bigger. Then about 9:25 there is another pause and the music gets more mellow. We start getting heavier again after the 10 minute point. The vocals return at 11 minutes with a mellow-phasey guitar part accompanying. Nice piano at 12 minutes. Then we rock out by 12:30. Cool instrumental interplay around 13:30. Nice long, sustained vocal note around 14:35. I believe we are building toward a big finish at around 15:50. Yep, intensity building around 16:30, then it eases off around 17:00 as we round out this nice epic. Well done!

OVERALL IMPRESSIONS:

A very strong album from Moon Letters, indeed. I need to check out the first two albums more thoroughly. They have a lot of eclectic influences. These's some psychedelia, some "golden-era" classic prog, some 70s cheese (in a fun way), and even 80's hair-metal in some of Dave Webb's guitar stylings. They bring it all together into their own unique style. Allof the musicians and vocalists are strong. I truly enjoyed that. Not quite instant classic level, but very good; a fun listen. I'll give it a 4.25 out of 5 stars. I have a feeling Moon Letters will continue grow and evolve as a band!

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Thanks! Prog On!

clicked 4, but a little better at 4.25

OM were formed in 2003 by the rhythm section of the legendary Stoner band SLEEP. Yes, the same band who gave us that over 60 minute track called "Dopesmoker". That would be drummer Chris Hakius and bassist/vocalist Al Cisneros. And for three straight albums it would just be the two of them, and no guitars! When Chris Hakius left after that third record Emil Amos from GRAILS was brought in to replace him.

Of course if you call yourself OM you know there's a spiritual context to the music, and that was brought more forward at this point with their fourth album "God Is Good". Even adding guests for the first time, giving us some different flavours like flute, tambura and additional vocals. The tambura and additional vocals were added by Robert Aiki Aubrey who plays a big role here on "Advaitic Songs". It's interesting to me that there has been no followup album to this 2012 release. I get that this is a monster album and impossible to equal, but I'm still surprised.

They really expanded their sound here, and changed it in the process. Bringing in a lot of strings in the form of cello and violin will do that. More ethnic sounds too. This beast is on another level. I was blown away after that first listen on a number of fronts. The production is off the charts first of all. My floor boards have never shook like when this record was on. Yet there is space between instruments.

This is dark and mysterious. And heavy in it's own way. And while we get some guitar here, it's really just adding another layer to be honest. I don't know if I ever heard the guitar on here. It blends in. The duo by the way who are both multi- instrumentalists and both add piano. The cover art has the same theme as "God Is Good" and this one has John the baptizer on it. He never cut is hair, not even once. Probably wore a turban being a humble man. And like Jesus he was hated by the religious leaders for calling them out for who they really were.

To quote another reviewer "OM plunder Abrahamic and Dharmic imagery, Eastern Mysticism and Biblical texts in their quest to bring the sense of awe to the listener. "Advaitic Songs" doesn't preach a particular faith to you; it merely asks that you consider the concept of faith itself." When the band visited Israel prior to the making of this album they were inspired big time by the many Holy sites they visited. Prompting them to play non-stop at a bar in jerusalem for over 5 hours. That overall experience no doubt brought a lot of inspiration to the recording process for this record. Again this album is on another level. Inspired.

The opener "Addii" is different from the rest with those guest female vocals which at times are wordless. I actually prefer the male singing on the rest of the album but this is a great way to start us off. Ethnic percussion and cello take over after a minute as she steps aside briefly. Piano and a more powerful sound after 3 minutes. Can I just say here that the bass is a huge part of the sound on this record. I mean, the bass and drums really form that foundation and groove.

"State Of Non-Return" about the expulsion of man from Eden is awesome! Especially before a minute when it turns heavy, nasty even. The male vocals are perfect. Sort of sung and spoken and deep. I like when the violin comes in after 4 minutes to be joined by cello a minute later. "Gethsamane" mentions both the great prophet Ezekial along with the Pharisee Nicodemus. The latter helped Joseph take down my Lord's body off the cross. It was an incredible act of bravery for Joseph to ask Pilate if he could do this, placing Jesus in his own personal tomb. Jesus just needed it for a few days. Man, this is dark and powerful music. So moving, and the droning of the tambura creates the atmosphere. Wordless vocals too after 2 minutes then vocals at 4 minutes.

"Sinai" fits nicely with "Gethsemane" in the sense that both have plenty of droning tambura. Melchizidek is mentioned here and I think that's perfect. As he is possibly the most mysterious person in the Bible. He was the King and Priest of Salem(Jerusalem) and Jewish tradition tells us he was Noah's son Shem. What!? He was honoured by Abraham who bowed before him and gave him a tenth of the spoils he just received.

Lastly we get "Haqq Al-Yaquin" which continues in the style of the three previous tunes. Flute on this one before 7 minutes. This album just shot up to my top three for 2012. Unique is the word. Heavy, dark and mysterious as well.

A single-track, 47-minute journey

Malleus, aka Enrico Ragni, is an artist from Fabriano, Italy. He appears to be less than prolific in terms of album releases, but he has other irons in the fire, notably running a studio and being an expert in the ancient art calligraphy. Opera Totale is certainly an interesting entry to ProgArchives, a single 47-minute instrumental piece that deserves to be better known than the obscurity from which it currently resides. From just a surface-level glance of reading about him, he strikes me as a self-made eccentric not unlike Antonio Bartoccetti in the sense that he has a grandiose sense of expression, is described using words like esoteric, psycho-music, paranormal activity, and creating music based on "research" into psychology and other fields. From a sound perspective however, he doesn't project the same dark or occult fascination that Bartoccetti did. The music of Malleus seems to be more light than dark.

The notes say that Malleus employed nearly a thousand people from different backgrounds in the creation of this single work which took over a decade to compose and two more years to record. And it certainly sounds like it. Massive in scope, constructed in painstaking detail, and nearly impossible to truly absorb in just a few spins, this is one of those albums one should plan on giving time to decode and appreciate. As sprawling as one of Mike Oldfield or Vangelis's grandest recordings, with touches of the unusual ala Opus Avantra or Pholas Dactylus, and falling perhaps somewhere near modern classical music, Opera Totale is a feast that doesn't wish to be pigeonholed. While a keyboard-led album I suppose, any and every instrument, sample, and sound is employed to build up this drama that has a hugely theatrical personality, like a strange orchestral score to a bizarre film. The vocals are wordless buy they are just wonderful throughout, both the lead vocalist Donatella Duranti and the choir vocals. Last, ambient sound is used to help add moods and plot to the affair: wind, rain, church bells in the distance, birds and insects chirp away.

While it doesn't sound like RPI and is nearly impossible to put neatly into a genre box, I eventually fell for Opera Totale wholeheartedly. I say eventually because it did take some time for me to get there. It's not one of those albums you "get" on the second play. It requires patience for the beauty to unfold, not unlike the way Topographic Oceans or Incantations demands fans of easily-accessible prog-rock slow down and assume the musical lotus position. Enjoy the journey.

"Regurgitation Of Blood" is the first demo recording by Finnish death metal act Demilich. The demo was independently released in April 1991. It was recorded and mixed on the 30th of March 1991. Demilich was at that point a trio and "Regurgitation Of Blood" doesn´t feature their future trademark twisted guitar harmonies. "Regurgitation Of Blood" features only one track which is the 6:26 minutes long "Uncontrollable Regret Of The Rotten Flesh".

While it´s maybe a bit unusual for a band to put out a one-track demo, Demilich felt they were in a bit of a hurry to get something out there, as contemporary Finnish death metal artists like Demigod and Sentenced had strong demo releases out, and there was a sense of competition in the mind of band leader/main composer Antti Boman, who wanted to be recognized as one of the most unique artists on the scene.

While "Uncontrollable Regret Of The Rotten Flesh" certainly sounds like Demilich and also features some of the laid-back heavy grooves of the subsequent releases, there is a strong Carcass influence here too, which isn´t as dominant on subsequent material from Demilich. "Uncontrollable Regret Of The Rotten Flesh" is still quite the impressive composition featuring many twists and turns and Boman´s otherworldly burbing growling vocals are already in the making. The demo features a pretty lo-fi, murky, and unpolished sounding production job, and it´s not always easy to make out what´s happening. It´s still a both effective and charming release though, and for all the warts and faults of the demo I still think a 3 star (60%) rating is warranted.

(Originally posted on Metal Music Archives).

To give a "masterpiece" rating to an album feels so responsible that I realize I don't remember the last time I did so; and even though I unreservedly apply the M-word to the 2015's A Umbra Omega, I was skeptical about DGH's ability to pull it off again. On the one hand, bands rarely succeed twice in a row, and on the other, DHG was severely (as I thought) wounded by Aldrahn's departure. But of course one shouldn't just expect Black Medium Current to be A Umbra Omega minus Aldrahn. What we get is somewhat different, as one would expect from an ever-evolving band -- less chaotic, with a lot more emphasis on the atmosphere. Initially it wasn't clear how well this works, but the test of these two years gives me the confidence to call this a 4.5-rounded-up-star album.

Vocals are now done by Vicotnik, and while the range of insanity delivered vocally has shrunk compared to previous efforts, the vocals are still extremely varied and marvelously outlandish. Mostly done in the traditional Black Metal style, they constantly shift in unexpected way, providing one of the main hooks for experimentally inclined ears. And for you normies out there, they also offer a nice melodic hook, as repeated listens reveal. The best example must be the solemn "chorus" of Halow, but this really applies to every song. More generally, the music is of course rooted in Black Metal, however is very proggy and experimental, with ample use of synthesizers, a busy rhythm-section, elements of electronic music, atmospheric breaks and actually pleasant-sounding masterful mixing (boo, untrve).

Speaking of atmospheric breaks, the strongest part of the album must be its ambiance. As you would expect from the band, it is surreal. The music and most notably the vocals convey the faintly mournful alien feeling; it feels partially sorrowful and partially like an emotion of a being from the vast space out there beyond our comprehension. The most concise expression of this must be the beginning of the epic Abyss Perihelion Transit (also check out its music video). Play the first 5 seconds, and I am no longer here. The interlude Voyager could serve as a non-metal, very mild introduction to the same. This may be a step back from A Umbra Omega in terms of experimentation (which still means a lot), but a step forward as far as atmosphere and cohesion are concerned. As expected, the band's sound keeps morphing and evolving.

All in all, one of the best Avant-garde Black Metal I've heard and one of the proggier albums of 20's. One of those that you can both successfully put on the background and rely on the atmosphere and melodies, and enjoy actively, picking out more and more details and intricacies. Looking forward to hearing the next one in 2035...

That Old Brian Surgery

Is this ELP's best album? No, it isn't. But it remains one of the most important records in progressive rock, both in its time (1973) and even today. It's a cornerstone of classic prog, an inspiration for hundreds of bands. That said, it hasn't aged well in some respects. The production is flawed?often sharp, overly saturated, and at times downright abrasive. Still, it features one of the most iconic album covers in rock history.

Brain Salad Surgery was created at the peak of the band's fame. I first knew ELP through their hits, and you can tell the success had given them a sense of overconfidence. The album leans heavily into experimentation, blending free jazz, prog, and extended improvisation. It has a raw, almost garage-like aggression to it.

Especially when I listen to "Toccata" today, it feels heavy and boring?very experimental and out of place. I admire the work of Ginastera, but this adaptation was too much. That was the overconfidence of Keith Emerson in full display. The album is a monument to the ambition and excesses of a band flying high at the time. Then again, Emerson, Lake & Palmer were always a supergroup?and with each album, they pushed their sound and compositional style further. That boldness surrounded the band from the beginning. It couldn't be any other way. That much was already clear with their 1971 interpretation of Pictures at an Exhibition.

During the writing sessions for Brain Salad Surgery, Greg Lake invited Pete Sinfield, his former collaborator in King Crimson, to join the project as a lyricist. Sinfield co-wrote the lyrics for "Karn Evil 9" and "Benny the Bouncer," helping shape the sci-fi concept of the suite and giving it the name "Karn Evil 9." At the time, Sinfield was working on a solo album, and Lake offered to release it through their new label, Manticore, in exchange for Sinfield's contribution to the lyrics. The famous line "Welcome back, my friends, to the show that never ends?" came from these sessions and became one of the band's most enduring phrases. Sinfield's presence added depth to the album's themes and helped balance the complexity of Emerson's music with a strong conceptual thread.

Although the band was dissatisfied with the demands of the Atlantic label, that frustration led them to form their own label, Manticore. But once independent, the pressure shifted inward. They now had to deliver something truly worthwhile in a limited time, since a gigantic tour was already planned to promote the album?along with a setlist that included all their past hits. At that moment, many of their peers were releasing hugely successful live albums, and ELP was falling behind. The band felt the urgency to catch up and outdo everyone, and Brain Salad Surgery was the product of that ambition.

Brain Salad Surgery was released in the UK on 7 December 1973 through Manticore Records, The band released "Jerusalem" as a single, backed with the outtake "When the Apple Blossoms Bloom?", but it was banned by the BBC and failed to chart. Despite its ballad potential, "Still?You Turn Me On" was not chosen as a single because Carl Palmer didn't appear on it.

The structure follows a familiar ELP formula: long epics, a softer pop ballad, a country-style piece, and a single aimed at being a hit. But unlike earlier works, this one feels strangely rushed?as if it was put together quickly despite its complexity. That tension between polish and chaos is part of what makes it unique, but also why it divides listeners.

I'm not going to tell the story of the H.R. Giger cover?everyone already knows it. And I'm not going to do a song-by-song breakdown for obvious reasons. I just want to say that this is the last great studio record from Emerson, Lake & Palmer. The album has a lot of great moments and a few letdowns. It may be the weakest of their first cycle, but it remains a strong, essential record. It hasn't aged very well, yet it's still a masterpiece and one of my all-time favorite listens.

'Tremulant' is the debut EP released by The Mars Volta in 2002, the very first glimpse into the world of this exotic and unorthodox rock band, and the initial idea of what this post-hardcore and progressive-oriented collective had been interested in musically. Rising from the ashes of the recently broken-up band At the Drive-In, The Mars Volta was conceived by the key members of the acclaimed hardcore punk group from El Paso, Texas - guitarist Omar Rodríguez-López and vocalist Cedric Bixler-Zavala. Defying categorizations and breaking boundaries from the very beginning, 'Tremulant' is an undisputably excellent release that initiates that "classic" period for the band, and in many ways, anticipating the musical ventures of their soon-to-come debut studio album.

Made up of just three songs, we have 'Cut That City' opening up the 20-minute-long set, an interesting composition that begins with these oozing tones of effects and programming that rapidly transition into a psych-fusion explosion of riffs and an exploration of strong melodies, as the vocals are initially run through some sort of a trippy, distortive filter effect (that the band would reiterate on several occasions later on in their discography). The post-hardcore aggression and energy of At the Drive-In is combined with a sophisticated writing that hints at the band's Latin rock influences, too - the music is definitely daring and experimental as it becomes hard to draw comparisons to other contemporary acts. Second track 'Concertina' is similarly compelling, flowing nicely between mellow, more atmospheric episodes, and expansive, guitar-driven soundscapes replete with this rattling power that is also communicated through the idiosyncratic vocals of Zavala. Third and final track 'Eunuch Provocateur' is by far the most epic and adventurous entry on the EP, a masterful psych-prog suite that explore jazz keyboards, frantic punk rhythms and marvelous, sweeping guitar licks. Once again we see the extensive use of trippy in-studio effects as well as a lot of electronic undertones. The entire 'Tremulant' EP is a boundary-crossing work that sets the tone for the group's innovative debut album released the following year (and whose title is foreshadowed in the lyrics of the final song).

Released some five years before their debut album, 'I AM' is the 2007 debut EP by English progressive metal band Headspace, fronted by Damian Wilson, and featuring the talents of Adam Wakeman handling all the keyboards, guitar player Pete Rinaldi, bassist Lee Pomeroy, and drummer Rich Brook (the same five-piece band that did 2012's 'I Am Anonymous'). The style of this four-track extended play is precisely what one might expect from the band upon hearing their debut album (or even their sophomore release) - melodic progressive rock with heavy guitars, upfront riffs, dazzling keyboard leads and occasional acoustic interludes. All of this is topped by the excellent production on any Headspace release as well as the fine songwriting, emotional depth and instrumental intricacies that these Englishmen do offer.

Opening track 'Never Let Go' is the most conventional song on this EP, definitely a more accessible progressive metal number with a strong chorus and flamboyant riffs, or in a word, nothing overly mind-blowing. 'Sane Life' then starts off rather softly and we have a lovely interplay between the acoustic guitars and the stabs of electric piano in the beginning, as the songs then follows with a fine groove and some tremendous vocals from Damian Wilson. Wakeman also manages to grace the song with some symphonic notes that work quite well in this set-up. Third track 'Symbol' features some heavier guitars and introduces a more alternative rock flair to the EP - this is a good example of the strong songwriting of the band. Final track 'Sober' impresses with its Yes-like vocal harmonies and quirky acoustic interludes, and with its eight minutes of running time stands as the most sophisticated and melodic piece on here. Headspace really do manage to craft an intelligent mixture of melodic progressive rock with heavy tendencies here, as the music does not necessarily go into a prog metal direction all the time, and this four-track debut EP is the perfect taster for what this five-piece band is best at.

The 'galactic earl' is back, Robin Armstrong having carved a rather illustrious career for himself, on the strength of his mastery of two major factors for any kind of success (personal or artistic) : quality and consistency . Owner of pretty much his entire discography, I hold him personally responsible for providing me and my battered soul, countless days of unmitigated sonic joy, with such glorious productions as The Man Left in Space, Capacitor, The Hay-Man Dreams, among many others, and most especially his previous album Heroic Materials which I consider to be an outright prog classic. "The Orphan Epoch" features, as per norm, Robin's multi-instrumental prowess on everything but the drum kit, here held by long-time collaborator Kyle Fenton as well as asking Peter Jones to blow some sexy sax on "Seraphim Reels".

Piano to plunge into the "Division Warning ", a temperamental etude that launches a devastating surge of enraged guitars and even angrier vocals, the venomous solo flung two steps away from madness, the echoed distance in the voice ominous , oh my Robin is really pissed off! Fenton's depth charge concussions are petrifying as well. A merciless onslaught that finally subsides into abject solemnity. I feel already bereaved and it's only the opening track.

Thankfully, "We Are the Young" is easily more nostalgia than Armageddon, laced with a deep melancholia bordering on romantic souvenirs of times gone by in a flash, bullied by the next 'important' event. The piano maintains its haunting recollections of lost melodies, and the tired voice somehow urgently searches for something or someone. Robin doing some loving caresses on his fretboard, a bluesy feel to the flickers of his wrist, until fate hits the fan and the marching drums lead the parade into an expanse perhaps near the Waters Wall, the bass flirting with grumbling disaster, the electric guitar spitting out rancid slivers of aggression and an organ no longer in the confines of a church. A very cohesive sense of confusion, perhaps an eventual epitaph for the elderly.

Wailing voice and weeping saxophone meet in agreement on "Seraphim Reels", and they certainly hold on to each other like two lovers on the bow of the Titanic, the scorching solo guitar carving up all the emotions of the universe, as the dreams always seem different from what it seems. Peter Jones erupts into blistering scream on his saxophone, a brassy voice that compares to none, Robin gliding on his axe's neck, bending strings and dripping sweat, tears and blood.

A grandiose feeling of cavernous disassociation rules on "Kings and Lords", massive choir work in particular expressing the voice of the land. The drawbridge is lowered, and the teaching begins, the muscular riffs establish a foothold on the coat tails of the truth, the bass curtailing any form of objection to the path ahead, with Fenton pummelling like a man possessed. Its an angry, heavy and a tad insane blast of hissing prog. The mood remains gloomy on "You Didn't See the Thief", not surprising in the world of unending lies and distortions, Robin hitting the highest notes on the microphone whilst the atmosphere maintains tenseness as expertly shown by the intimidating bass revolt underneath the scratched surface. This polarity between the extremes is compelling and beguiling , traits that keep the listener on the brink, never quite knowing what comes next , even after multiple listens. It makes his compositions timeless and adventurous, always dancing close to the edge. An oasis of ambient reflection is more than welcome , and "Empty Box" is far from being devoid of any ennui or fluff, it's an incredibly poignant track that works more on a subliminal level, as if deeply ensconced in some soporific trance, touching not flexed muscle but grey matter instead. The guitar pyrotechnics underline the internal torture of solitude, just long enough for the appearance of some blessed panacea. Gorgeous.

Finishing off in raw mode is portrayed on the possessed "The Road of Endless Miles", a no-nonsense expression of pure emotion, no hint of theatrics, no frills, the melodic piano almost honky-tonk and the guitar definitely rock n roll. But it's the heartfelt vocals that really sets this track and album apart, Robin can alter his tone seemingly at will, in order to fit the right mindset. Not surprising for a master musician who is savagely uninterested in compromising his craft. We are therefore blessed once again to listen to his magical music, hallowed be thy name! 5 stray times

Originally born as a folk-rock duo, the Norwegian art/post-rock band formed in 2013 by four members. Now their new 2025 album, titled "The Third Sleep," is here!

Their previous work featured a post-rock sound with a somber tone and a clear yin-yang dynamism, with vocals directly expressing introspective emotions and a solid guitar and bass that issue a warning to society based on the human state of mind. This time, the theme is further developed, addressing social complacency and personal conflict.

While their previous work had an aggressiveness similar to that of progressive metal bands like Opeth and Anathema, the band was more impressed by its somber outlook, which delved increasingly into the inner world. This work is characterized by a poetic and extroverted narrative that openly expresses a critique of modern society. Based on post- rock with a cool, Scandinavian feel, the development and arrangements are eerily consistent, encompassing a wide range of genres, from electro and melodic rock to classical and alternative music.

This is a great work that evolves the band or makes it more compelling. Highly recommended.

Rites At Wobbler

Wobbler is one of the best new bands in the purest form of classic progressive rock. Norway, their home country, is fertile ground for music in generes black metal, death metal, progressive in all its forms, and nearly every other genre out there. Wobbler embraces its role as the great new great prog Nordic band.

Formed in Hønefoss, Norway, in early 1999, Wobbler set out to recreate the musical spirit of the early 1970s, focusing on authentic vintage instruments and compositional styles from the progressive rock era of 1969 to 1974. Inspired by bands like PFM, King Crimson, Gentle Giant, Yes, Museo Rosenbach, and ELP, they quickly developed the foundation for what would become their debut Hinterland. After a brief hiatus between 2001 and 2003, they returned with a demo recorded at Lars' studio and released it online.

Lars Fredrik Frøislie is the mastermind behind Wobbler, and the band's distinctive sound is due to the warmth of Frøislie's vintage keyboards, Lars Fredrik Frøislie's huge collection of vintage keyboards the band used only pre 1975 instruments completely avoiding MIDI and relied on classics like the Mellotron, Chamberlin, Hammond organ, Minimoog, Rhodes piano, clavinet, ARP, piano, and harpsichord.

The band is completed by Andreas Prestmo on vocals, Morten Andreas Eriksen on guitars, Kristian Karl Hultgren on bass, Martin Nordrum Kneppen on drums, and the aforementioned Lars Fredrik Frøislie on all kinds of analog keyboards. Rites at Dawn is heavily inspired and influenced by a mix of Yes and the Italian progressive music of Banco del Mutuo Soccorso. In addition to a very unique sound and some mild modern progressive, this is a departure from their previous albums.

Rites at Dawn, Wobbler's first major album their third, following Hinterland (2005) and Afterglow (2009). Rites at Dawn, released in 2011, is a much more thoughtful, concise, and mature work than their previous albums.

Rites at Dawn went somewhat unnoticed by the public, due to the obvious influences that many didn't understand or preferred to criticize instead of praise, and in a certain way the band didn't propose anything new, but Rites at Dawn is Wobbler's hinge for albums more appreciated by critics.

Although not a concept album in the strict sense, Rites at Dawn carries a strong thematic cohesion. Its lyrics revolve around nature, inner awakening, and the cycles of life and transformation, giving the album a philosophical depth that connects the songs in mood and meaning.

The lyrics (written by vocalist Andreas Prestmo) often explore cycles of life, day and night, rebirth, and spiritual or natural rites. There's a consistent mood and philosophical tone running through the album, and musically it's very unified, with recurring motifs and seamless transitions between songs.

The record open with Lucid A brief instrumental prelude that sets the atmosphere with delicate textures and a mysterious mood. La Bealtaine ? A celebration of rebirth and nature's awakening, full of dynamic shifts and vintage keyboard flourishes. In Orbit ? A more cosmic and introspective piece, exploring inner journeys and featuring complex instrumental interplay. This Past Presence ? Gentle and emotional, it blends acoustic and electric sections, reflecting on memory and time. A Faerie's Play ? A playful, baroque-influenced track with intricate rhythms and a whimsical spirit. The River ? The longest track, a sweeping piece that encapsulates the album's themes of flow, transformation, and return. Lucid Dreams ? A short, peaceful outro that mirrors the opener, closing the cycle on a meditative note.

Rites at Dawn is my favorite Wobbler record and marks my personal return to Nordic prog music. I know it's not their best?that honor goes to From Silence to Somewhere and the main reason is the sound. Maybe it's because it was a home made recording, and you can note. The magic of that kind of recording usually lies in not noticing whether it was made with high or low resources but here, it's noticeable. Even so, it's a great record, and I truly enjoy and appreciate.

Second album for these Dutch veterans, looking forward to another great opus as the debut "Mask" was quite the revelation , garnering high marks from both fans and critics alike. Led by keyboardist and radio DJ Ron Lammers, whose inner circle connections certainly help in getting on board names from famed bands like Cliffhanger, Novox, King Eider, Sylvium, Ulysses, Odyssice, Broers/Klazinga and Knight Area , namely Mark Smit, one of the top prog vocalist in the Netherlands as well as remarkable guitarist Rinie Huigen and bass playing maestro Gijs Koopman. Completing the crew , we have Jens van der Valk (guitars), Masaki Shimakawa (violin), Judith van der Valk (flute) and drummer Jan Grijpstra .

Unabashedly grounded in the symphonic /neo-prog style, Ron guides his impressive keyboard skills throughout the compositions, initiating the mood perfectly on the opener "Alpha", where all the participants get to involve themselves without any hesitation. Richly blanketed in massive swirls of mellotron, the influence clearly in the Tony Banks school of dynamics, Smit gets to handle the story with his usual mastery, flute adornments not far away, the guitars weaving a discreet sonic fabric that sets up the fabulous instrumental break, initiated by Koopman's pugnacious bass delivery. Straight out of the Wind and Wuthering style, the smooth as silk symphonics are delightfully alluring. We are in familiar territory, and we like it!

Down time on the flute, as a pastoral scene of a stream flowing gently enters the mind, the electric guitars performing in unison, a rumbling bass winking at them in agreement, and a steady, cymbal splashing beat forging the pace. "Beauty of Nature" could not have had a better title, as the plethora of combined notes shine like a multi- faceted diamond facing the sun. A stunning instrumental concoction, not far from Steve Hackett-land. To segue into an acoustic, almost medieval intro on "Backbone" proves beyond any doubt, that mastering the progressive rock flow is an art in itself. The elegant violin has a searing beauty that shimmers long enough for the lead guitar to take over and shoot for the stars. Smit's gentle voice warms the heart as it seeks reflection on times gone by, held together by a convincing main melody that never lets go. The build-up to the majestic chorus comes as no surprise, expected and revered for its generosity and humbleness, the flute providing the smooth skin to the flesh, the spine now fully garnished. The soaring lead outro with mellotron is divine.

Smit sings fluently in French on the "Ses Lunettes Noires" (Her Dark Glasses), welcoming a new twist in the proceedings, showcasing Lammers' piano work and some heavy romanticism straight out of the classic 'chanson francaise' style. Boundaries are flung way wide, encompassing a broader appeal, yet still weaponized by a series of stunning guitar solos that screech pain like only love can. A very daring move that rewards in spades. After such an oblique chess strategy, "Intense" comes across as the most straightforward piece here, a tortuous guitar foray leading the charge with dense keyboard carpeting to ensure the good equilibrium of the 'foundation', the rhythm section pulsating with glee, and the ideal set-up for another performance from the talented vocalist.

The epic "Rubberband" and its 10 minute+ expanse keeps the flow in check , like all the dams in the country, whipping up a deliberate frenzy of sound, the intervening musicians working as one, as if emulating total football. The well-crafted arrangement naturally traverses a variety of alterations, such as the sublime flute, acoustic guitar and mellotron passage that is to succumb over, whilst maintaining a stellar focus (the Dutch master are never faraway) on the melodic content, a lengthy instrumental preparation built to deliver the platform for the main vocal section, where Smit gets to shine once again. The precision of his tone is admirable, a glittering example of climbing the ladder in emotional involvement, taking us all to a higher plateau. The instrumental background is perfectly in tune with the mood. A terrific piece of music.

A consummate ballad is called for , as "Life" is ultimately what relations are all about, as there is no existence in solitude. Maintenance of the solemnity is paramount, and the pace is kept respectful and endearing. The glittering dual acoustic guitars finally succumb to an outgoing voiced theory. Dutch lace.

Finishing off the album is the second longest track, just a hair under the 10-minute mark "Omega" and sits well within the classic neo-prog tradition, emitting a robust Pendragon/Knight Area/IQ texture. It's heavy on the vocal side, as Smit is giving time and space to tell his tale, The final segment exploding into an electric eruption of stringed splendor, as fretboards and keyboards combine to shatter the mold, as the wind affords a final wuthering.

Definitely and enjoyable escapade that will reward with many more spins, a third album would be most welcome. 4.5 basic instincts

— First review of this album —

I am writing this review because its a shame that there is still no review for this wonderful album. Of course,I am a bit biased because Warhorse has legendary status in central Bosnia and is very important band here. Beside personal taste and nostalgia,why 5 stars for this album? Its not one more excellent addition to a collection but a collection is deficient without Warhorse albums,including this one,therefore essential.For many years we have been missing Warhorse live material and then a wonderful gift came. Playing is superb and singing is fantastic. Album is a bit on the rocky side too,but to hear "old" (they will never be actually old) songs so many years later and so superbly played years later is something extraordinary and would yet be enough to deserve minimum 4 stars. Additional new songs and covers take the album to the bright side. Combination of straight rock and straight british 70's Prog in some songs is on this album genial. There were reunions of Prog bands from 70's ,but this one really stands out in my opinion. Live albums are ...live albums of studio songs ,but this has additional musical ingenuity characteristic to top prog studio albums recorded live. I am personally very hard to give a masterpiece etiquette but listening this album many many times and never finding a distasteful moment on complete album with a critical taste acquired by 40 years of listening prog means it is for me an essential and very dear album.Bravo Warhorse!

I saw that this one doesn't have any 5 star review yet, so I decided to do something about it. This is such a glorious splendid album that has been special to me from day one (it was pretty new when I bought it about 20 years ago), and is still among my favourites. It can be thought of as a mix of post rock and the Frank Zappa albums I like most, Hot Rats and Grand Wazoo. It's almost fully instrumental and features a really big sound with brass, woodwind, loud drums and percussion, but never dominating the guitars and keyboards too much. Marimba and Glockenspiel play a good role, too. There are sensitive moments, too, you get stronger contrasts than on your average post rock album, but it is all very organic. It may not have the quirky spontaneity of Zappa's legendary band, but arrangements and melodies are absolutely gorgeous. This album is very much its own beast with a focus on melodies that is rarely found in post rock and (somewhat) jazzy instrumental music, and I just love the musicality with which they develop their material. This may be my favourite way to use a brass section, very subtle in many places but full power when it matters. They also manage to deliver great crescendos in much shorter time periods than most post rock bands. My impression is that every second of this is well thought through and balanced. I still love to marvel at how they develop these pieces 20 years later (I totally disagree with the one who wrote it sounds dated). Perfect powerful mood music. I saw them live touring this, and it was spectacular. Their later albums are good, but for me this is Jaga Jazzist's masterpiece.

Phantom Island by King Gizzard & The Lizard Wizard is a great rootsy psychedelic rock and pop album with symphonic textures and proggy arrangements. Very much a follow up to their previous album Flight b741, it takes the rootsiness of that album and fleshes it out with fantastic musical and vocal arrangements. Alot of fun but not as catchy as their earlier material, but easily still proves that these Australians are one of the most interesting bands going today, able to tackle any style while being overly sincere. I'd give this a mid 7 out of 10. Best song: Grow Wings & Fly

Chercán is a Chilean quintet that plays a lush, complex, and engaging variety of progressive rock. Things are densely layered and smartly composed, and the band incorporates jazz and sounds from their homeland. Everything about this record really impresses me.

"La Culpa" kicks things off with an energetic and exciting passage. The drums thump and roll, and guitar and sax lend some wonderful grit. The vocals are powerful, and the melody stands out above the complex backing. Things calm down as the song progresses, and they skillfully incorporate some significant jazz elements. Entering the final two minutes, the energy picks back up, building to an impressive climax.

Wobbly jazz influences are evident from the first moments in "Caen Las Hojas Blanca". The rhythm section displays amazing dexterity, and palm-muted guitar and sax add tension. The occasional blast of distortion or a metallic riff helps to keep the listener guessing about what may come next.

Following the squalling conclusion of the preceding cut, "Kalimba" provides a nice contrast, with the titular instrument plinking out a pleasant little pattern. Saxophone helps flesh out the somewhat minimal arrangement in this song's early moments, and strings and drums eventually join to add some more weight. Chercán again demonstrates their ability to gradually ramp things up, and the string arrangements are especially impactful here.

Following a brief interlude of strings, "Tiempos Paralelos" draws significantly from Chilean music. Gentle, pattering drums and subdued strings give this song's opening moments a pastoral feel. Gradually, distorted guitar makes its way in, and the song bursts forth into an emotive storm. The drum pattern does not change much throughout, lending a fantastic sense of continuity to this piece.

"Las Mientras Del Muro" has a more upbeat opening and has a groovy, funky infectiousness to it. Even in the song's mellower moments, its underlying energy is irrepressible. The conclusion is absolutely pummeling, and the guitar line sounds straight out of a doom metal cut. Mixed with the band's jazzy leanings, this makes it exciting and interesting.

What comes next is the two-part, 13-minute "Relato De Una Obsesión". Part one, subtitled "Quimera", opens with a sitar drone and some tabla. Wiry guitar and bass soon enough weave their way in, and the multilayered vocals give this passage a dreamlike quality. Things evolve slowly, but never does it feel like the band is dragging their feet or meandering. Those Indic touches linger throughout this first part, but guitar, sax, and strings all grow in prominence throughout it.

Part two, "El Orate", flows naturally out of part one, but a rock rhythm finally gains prominence. Distorted guitar and wailing saxophone firmly take the lead, and the vocals soar. The slow build of part one is paid off in this exhilarating second half.

Chercán's debut ends on "7 Colores". It's a mellow balm after the fiery conclusion of the last song, with gentle vocals, clean guitar, and violin predominating. The arrangement is still complex and dense, but it doesn't beat you over the head. This is a great way to wrap things up.

Chercán is a fantastic album that has immediately launched itself into contention for the top of my best-of-2025 list. The band does an excellent job of evolving the songs smartly, and the balance between bombast restraint.

Review originally published here: theeliteextremophile.com/2025/06/16/album-review-chercan-chercan/

4.5 stars. This might be my favourite of the band's four studio albums. I always felt that Britain's DIAGONAL were psychedelic based, and this album shows them embracing that side of their sound in a big way. They have incorporated much more in the way of spacey sounds, kosmische and post rock. No less than four of the guys add synths. And this has always been a large six piece band with many of them being multi-instrumentalists. I love that this is 36 1/2 minutes long, over five tracks. They kept the title simple, consciously thinking of SOFT MACHINE doing the same.

I have to give a shout out to Cobbler Records for the very attractive package we get here. Alex Crispin recorded and mixed this record. And this was a surprise that they followed the previous album "Arc" from 2019 so quickly. There guys usually take their time between albums. But they wanted to keep the momentum going and so started the sessions for "4" only a year after the sessions for "Arc". The results speak for themselves.

"Amon" is a reference to AMON DUUL II, again a conscious step into kosmische music. Crispin is on bass and vocals here, and the two guitarists are prominent. But it's the sax that is the wild card when it comes to this band. It adds so much not only to this recording, but of course all of their albums. The organ leads after the guitars step back, and Luke Foster our very talented drummer takes care of that. He adds electric piano on another track. It turns very spacey late to end it with the synths dominating.

I really like the next track "Chroma" . It's one of two instrumental tracks, and shows the band's interest in jazz with the sax having it's way. Crispin not only does his usual bass and vocals stuff, he adds electric piano and synths. Those wordless vocals just hit the spot with me, so into this sound. A lot of depth here and mid-paced. "Spinning Array" is very psychedelic sounding and quite catchy with the vocals being prominent. The sax player adds a Chinese wind instrument along with flute. A rare song where he's not playing sax. The band says this song is the connection with the previous album "Arc".

"Stellate" is quite dense and sax led. The guitar lights it up after 2 1/2 minutes. That density is scaled way back by the 4 minute mark or so as the rhythm section impresses big time. Guitar is back at 5 minutes. So good. Finally we get the closer "Totem" an almost 12 minute piece that builds slowly. Love the wordless vocals here. That build ends around 5 minutes as they change it up. Vocals and guitar get their spotlight as this plays out in what feels like a jam.

Right now I have this in my top five for 2021. I have liked every thing I have heard from this band. This might be my favourite. The "Live At Roadburn" needs a mention as well.

I had a really good first impression when hearing this release for the first time, 'cause I was also considering that Poland wasn't the most remarkable prog land on the 70's. So, I gave it some more listens and decided to review it.

Starts with a sad violin, enhanced by the synthesizer. Therefore begins a dark atmosphere, which grows up, until it gets to a phenomenal toccata on the keys, accompanied by drums. Vocals are a bit difficult to get used to, not only because it's on native language, but also for the reason that it's not much melodic. Musically, still on the first track, they improve some good turnovers on bass, drums and keys. Violin somewhere becomes more accelerated and cheerful. These ideas are followed for almost all the composition. On the last seconds they subtly change arrangements, approaching the mood even more to a celebration.

The fast rhythym of the next track has good interventions from guitar, and versatility on drums. Which is presented as a guide for the bass. There are many vocals, that are even harder to swallow. Some snippets on the second half presents some fabulous violin performances. Close to the end, all musicians collaborate massively.

A beatiful piano, going from melodic to andante, sews the main steps on the beginning of third track. Vocals now are half-toned, and whilst adopting notes a bit longer, make them much more acceptable. On it's half, the keyboard player migrates to synths. Bass, very kind and inspirated, switches magnificently between timbres and tones. They accelerate close to the end, with more presence of the violin, and bass becomes intense, making the whole picture almost apotheotic.

There's more swing, including on the violin, on the first moments of the fourth track. Vocals are on half-tone again, fortunately, and the drumming delivers some inventive key signatures, On the other hand, guitar playing, that started with a good rock vibe, becomes repetitive, and the drummer loses creativity. On the end, when violin comes more to the front scene, the composition improves again, but not so much. Weak track.

An amazing violin opens the next track, with many layers of music, and the other musicians offer a consistent cuisine. This composition makes it very clear how they benefit from leaving the vocals more indented, because it actually happens, or even choosing to execute them exclusively instrumental. I don't know if they would be able to mantain a high level musicality without vocals, since I noticed that on some tracks they lose strength towards the middle and beyond.

An annoying siren is the first sound on the sixth track. A speedy rhythym is developed, with a firm/full-bodied violin, and a relevant bass. Vocals are all over the place. A moment before it's half they change some harmonies, and gradually go back to the first ideas of this song. Henceforth, they get very dull and repetitive. They even bring back that horrible siren, that manages to be even worse.

The last track has an electronic, monotonous and unvaried proposal. Along with the filters on vocals, all looks too much artificial. With no doubt, the worst song of this work.

This record is convincing, almost memorable sometimes, but the two last tracks are awful, taking back at least almost one whole star from my first impressions. So, if the album was made only of the tracks from 1 to 6, it'd receive, IMO, a 3.9 stars. But I'm reviewing it's entirety; therefore, my final note is a 3.2 stars.

Listening to this album was not simply about hearing music ? it was a journey through emotions, images, and inner states. Though I am not an expert in this genre, I approached each composition with openness, letting the sounds speak to my feelings and imagination. What follows is a personal reflection on the atmosphere and emotions each piece evoked in me.

1) The Tragedy of the Ancient Spring A sense of a new beginning arises. Maybe it's about a new period of life or rethinking life, which appears in a bright light. The sound of greatness and heritage fills the soul. Next, the listener hears a transition into a piano section, which creates the feeling of action and gradual movement. Afterward, a development into faster, more dynamic sound appears, and a sense of potential and growth is felt. Finally, the composition ends with a mysterious and hypnotic feeling.

2) Captivated The beginning immediately captures attention. Sleeping or dreaming, the listener seems to awaken from hypnosis. The image of someone inspired arises. He decides to take action in order to get his object of desire. There's a sense of enthusiasm and great effort to handle one's obsession, its nearness evokes a sense of greatness. But there is a confusion and perhaps disappointment, which are the finishing part. Realization and fatigue fill the ending of the composition.

3) Targe A gradual deepening into something mysterious is replaced with soft sounds that prepare the listener for the next part. Its speed and instability induce the feeling of torments of the soul. Uncertainty creates a motive for searching the solution. Harsh sounds make a listener feel on alert, nudging the listener to keep searching and moving forward.

4) Teach Me Your Statutes. This composition can make you feel deeply sad. The listener experiences mutual misunderstanding, disappointment, and desperation while listening to this. Though these are often seen as negative feelings, the strength and beauty of them cannot go unnoticed. In the second part, there is development. Transition to hardly notable sounds and thrill create the tension and anxious atmosphere. Perhaps the beginnings of love or commitment are the most fitting context to experience this feeling.

5) Loneliness-Bringing Power The composition starts gradually, preparing the listener for something important. The slow melody creates a comforting atmosphere. It transitions into something unknown and challenging ? perhaps loneliness. It flows into taking on a challenge and a way to achieve something meaningful, bringing new discoveries and experiences. The denouement brings a sense of joy and happiness.

6) Three Sunny Light Power The beginning immerses the listener and suggests a great power. As it builds up, the feelings of enthusiasm and inspiration arise. It can be determination to create and live. It motivates to enjoy life and to be in the moment. This part ends with the sound of bells. The bells give a final polish to what has been achieved and bring the feeling of satisfaction.

7) Resilience The soft sounds gently awaken the listener in the beginning of the composition. The atmosphere conveys calm, stability, and peace of mind. Subtle hints of mystery transit the listener to loading into realization and meaning. It then gives way to a graceful finale. The feeling of probable resilience can inspire confidence and a quiet sense of satisfaction.

8) Silence Is Waiting It starts in a similar way to the previous composition. There is a hypnotic quality here as well. It creates a perfect atmosphere to meditate and clear thoughts. A sense of peace comes over the listener. The cosmic sounds evoke space, making the listener feel weightless and far removed from earthly concerns.

Each composition on the album felt like a chapter in an emotional and spiritual narrative ? sometimes uplifting, sometimes sorrowful, but always sincere. This album offers more than sound; it offers space for reflection, imagination, and inner movement.

A Lackluster Farewell

Heaven & Earth is, without a doubt, Yes's worst album. It lacks any groove, has no memorable songs, and the band sounds completely flat, making the experience painfully dull. While it's notable for being Chris Squire's last album with the band, that fact alone doesn't justify it. The album remains a disappointment.

Alan White, Chris Squire, and producer Roy Thomas Baker passed away some time later. We all know the legacy and presence of White and Squire, but not everyone knows that Baker was also behind the legendary and unreleased Paris Sessions, the "lost" Yes album planned between Tormato and Drama. Baker also produced classic albums for Queen, Journey, The Cars, Foreigner, Cheap Trick, Smashing Pumpkins, and many more. So, naturally, I had high hopes. That only compounded the disappointment.

The road to this album wasn't easy either. Vocalist Benoît David left the band due to a respiratory illness, forcing the cancellation of the final shows of the 2011-2012 tour. He was replaced by Jon Davison, recommended to Squire by Foo Fighters drummer Taylor Hawkins. Before even thinking about recording, the band took advantage of Davison's vocal range and intimate knowledge of classic material with tours that included the complete versions of Close to the Edge, Going for the One, The Yes Album, and Fragile. These shows were executed with impressive precision and artistry, bringing new energy to old masterpieces. But behind the scenes, everything was falling apart. Chris Squire was visibly exhausted and would soon be diagnosed with leukemia. Alan White was also going through difficult times, that would later lead to his death.

Against this backdrop, the band decided to record what could be their last album together. There was even talk of reviving the Paris Sessions or bringing in guest musicians, but in the end they opted to work only with their existing lineup and focus on new material. The results were disappointing from the start.

The recording sessions were chaotic. Steve Howe has been vocal in his criticism of the process and producer Roy Thomas Baker's erratic behavior. Baker seemed disengaged, often leaving the room mid-session, showing little enthusiasm, and repeatedly telling the band "that's enough" with a disinterest that frustrated everyone. He pushed Davison particularly hard, demanding endless vocal takes and insisting on over-producing tracks with excessive effects and unnecessary autotune. As the deadline approached, the band rushed to finish the recording just before a North American tour, forcing them to complete the mixes remotely over Skype, no less which Howe later attributed to a lack of cohesion and missing elements in the final product. Only "Subway Walls" stands out as a track with any impact. The rest feels unfinished or empty. Even promising material was discarded simply due to lack of time.

What was initially envisioned as a pleasant project, perhaps even a farewell of sorts, turned into something else entirely. Nothing good came of it. Billy Sherwood tried to step in to help with the final mix, but at that point, there was nothing left save the band. What we hear today barely resembles Yes; it's as if the band's sound had a flat tire.

It's a sad way to say goodbye to Chris Squire's legacy; not with a bang, but with a shrug.

After I reviewed the most recent release by Anchor & Burden, 'Afterglow', I mentioned to Alexander Paul Dowerk (Touch Guitars S8) that I had not heard the previous album, which is why I am now listening to their 2024 release, 'Extinction Level' He did also say, "It's for sure some of the most uncomfortable and brutal music out there. You are stronger than most humans!" so I knew I was in for an interesting listen. He is of course joined by Markus Reuter (Touch Guitars AU8 and S8, Soundscapes), Bernhard Wöstheinrich (keyboards and electronics), and Asaf Sirkis (drums and percussion), and the quartet have set out to create music which is not only jagged and heavy, but refuses to conform to any preconceived ideas of what the end result should be like, apart from it being avant garde and incredibly powerful.

This is music which holds no hope or light for those lucky enough to come across it, as this is deep and passionate, jagged and abrasive, a horror show for the ears and the mind follows, creating images which once seen cannot be forgotten. Goblin may have made a name for themselves with the stunning soundtrack to 'Suspiria', but this is on a totally different level with far more menace and music which is coarse and harsh, ripping into the ears as a grater would make mince out of an arm. It is not supposed to be pleasant, it is not supposed to be middle of the road radio pap, but instead is music which is deliberately challenging, asking questions of ourselves as listeners, whether we are mature enough to take on board what is being presented, where we have to decide whether we can find comfort in the extreme, or if our brains find we cannot make sense of it at all. When music has no limits, no boundaries, there is no safe place for the listener to hang onto, and when musicians as skilled and tuned into each other as these, the only thing to do is put this on repeat until nothing else exists, nothing else matters. It is meant to be challenging, it is meant to be extreme, and needs to be heard ? yet another incredible release from Anchor & Burden.

So the masters of gothic, 'dark-progressive' rock are back with their thirteenth studio album - 'Nightmares as Extensions of the Waking State' is the latest installment in the discography of Katatonia, as the mighty Swedish band has been steadily releasing new material over the last couple of years. Yet this new record happens to be their first without longtime guitar player and founding member Anders Nystrom, who is replaced by Nico Elgstrand and Sebastian Svalland, following the departure of the group's second guitarist the year before. And the main question here would be how has this change affected the band's music? With Nystrom being somewhat detached from the stylistic ventures of the group's more recent material, this new album really feels like a continuation of 'Sky Void of Stars' and 'City Burials' - given the title of the new album, the music can get very dark, dream-like and moody, occasionally featuring a lot of ambient, mellower moments.

As much as 'Nightmares' is a guitar-driven album, there really are no big, prominent riffs, unlike the band's 2023 release. It seems that among all the ominous soundscapes, complex emotionality and drab dreamscapes, there is a general lack of infectious hooks, and the album ultimately becomes uneventful every now and then. Still, it has to be said that the sound and the production on 'Nightmares' are rock-solid as usual, and the presence of punctuative, haunting keyboards and effects and tribal-like jabs of percussion are quite enjoyable elements of the overall sound, contributing to that gloomy, dream-like feel and image that this album aptly pursues. The vocal work of Jonas Renkse is excellent all throughout, and you can occasionally catch glimpses of an Opeth-y influence in the guitar work, especially on the heavier tracks. Opener 'Thrice' is a dark, muscular song that sets a promising tone for the record, while other really strong number on here include 'Wind of No Chage' (kind of satanic and ritualistic sound), 'Lilac' (with its alternative edge), 'Departure Trails' and 'The Light Which I Bleed' (darker and mellower, with a greater use of electronics and ambience) and the Swedish-language track 'Efter Solen', more of solemn hymn of introspection.

'Nightmares as Extensions of the Waking State' does indicate that Katatonia are in a state in which they feel comfortable with their style and have little to no intention of exploring sounds and moods that are significantly different from what one would expect from them. And with this in mind, this new album offers a fine collection of new material with enjoyable aspects to it - nevertheless, in the context of their catalogue as well as their most recent output, this is not their best work, neither in terms of scope, nor in terms of substance.

In the second installment of the Island Arc, Jonathan Meiburg and company hit their purple patch, with a well curated and balanced blend of balladry and abandon. While one could argue that MIDLAKE's 2006 classic "Trials of Van Occupanther" was influenced by earlier SHEARWATER, it seems more likely that "Rook" deftly incorporated influences from their fellow Texans, particularly on the luscious and lucid title cut and on the masterpiece "Home Life". In historic contrast, the other peerless saga "The Snow Leopard" dives back into the nearly obscured past of early prog (think PROCOL HARUM's "A Salty Dog") like a musical comfort food. The above are my current go to's for on-demand frisson. The rockers haven't been left aside either, as the BOWIE like "Century Eyes" hits home and hard. The piano arrangements remain obligatory listening whether you play or not, and the strings are folded in with sensitivity. A strategic coup.

After an absence since the last album of new material with the 'Age of Amber', Oliver Rusing released the latest Karibow album 'PanTerrania.

Usually I would review an album soon after it is released while it is fresh in my mind but this double disc album has a lot to absorb and I wanted time to clarify my initial thoughts when I first heard it. These thoughts were that I was hearing the best Karibow album so far. I listened to this a few times and then gave it a break for quite a few weeks and now I wanted to see if my thoughts were still valid. Is this the best Karibow album? I will reveal this at the end. The first disc is titled 'Worlds of Illusion' and it contains 9 tracks running at 56 minutes. The second disc is titled 'The Last Illusian' and no that is not a spelling mistake. This runs at 51 minutes and in essence is one song broken into 10 parts.

The first track PanTerrania acts like an intro with a Middle East feel which merges into the following song 'Simplify Yourself'. Beginning with guitar that is reminiscent of 'Run Like Hell' by Pink Floyd. A magnetic hook embraces you and coerces your mouth to sing the chorus when it begins. This song truly sets the tone for the whole album and make no mistake, there is no lull following.

'Ordinary Gods' follows and deserves the description of 'epic'. It wouldn't less with 'God' in the title. This 10 minute long song exemplifies Oliver's style with hills and valleys, an amalgamation of music smoothly sewn together seamlessly. I believe I counted three guitar solos in this song alone. In my opinion the guitarist that creates the best melodious guitar solos is Michael Schenker (UFO & MSG). Oliver's solos are up there and each one is woven magic and stands apart. They are like songs within songs.

The other aspect Oliver creates is different levels of depth. You can listen to the surface and enjoy this road or you can listen with more depth hearing the underpinning expression of piano, organ, lyre or bass bubble up that exposes the creative intelligence of Oliver's composing. It is this kind of music making that is a magnet to those of us that admire layers and draw us into hopefully hearing something we haven't heard before.

I'm also propelled to mention Oliver's singing. If there was a room full of 100 singers and they all sang at the same time and I was blindfolded, I'm sure I could find Oliver without problem. His voice is soulful and passion exudes successfully in communicating his story. I'm not really into lyrics, I prefer the music to take me but when I do take notice of his words I can hear his phrasing with meaning and experience that direct the story and mood. I shall also mention Oliver's drumming. How many multi-instrumentalists do you know that also plays the drums? He delivers exciting drum fills and even the general rhythm is inventive that gives that other level of depth I earlier spoke of.

I need to speak of the guest musicians on this album also. Ian Crichton of Saga fame plays a stunning guitar solo on the song 'Genes From Another World', Andy Tillison (The Tangent) offers his keyboard skills and Monique Van Der Kolk gives lovely vocal performances on 'Illusian' and 'Nothing Shall Remain'. I haven't specified many of the individual songs here mainly because they are all very high quality and it is hard to separate them from each other. Yes you have your heavy songs, your ballads and epics however they are all multi dimensional.

Now I have come to the end of the review and after much thought and listening I have come to the conclusion that this is the best Karibow album to date. The creation of such a long album of high quality is not lost on me and wouldn't be to any other listener who listens to music of many depths.

Amplifier's new album puts extra Rock into Psychedelic/Space Rock, and fills it to overflowing. It's a relentless series of heavy, riffy soundscapes that fill your head with truly psychedelic sonic experiences. Constantly changing and interesting, but all with a non-stop thumping pulse. These have always been ingredients of Amplifier's music, but for me 'Gargantuan' reaches a new level of intensity. I am absolutely hooked on this band and, among a few hundred other fans in their December 2024 Livestream Concert, I realised I was a cult follower. What an amazing output from now just two band members.

Verdict: One of the best albums yet from this stupendous band.

Around the time that Jonathan Meiburg decided to devote all his energies to SHEARWATER and buddy Will Sheff returned to focus his on OKKERVIL RIVER, came this first installment of the Island Trilogy, arguably the peak output of this project, though most of those accolades are more sagely allocated to the subsequent pair.

Comprised in the main of very low energy, at times imperceptible numbers not dissimilar to much of a certain 1971 KING CRIMSON album, "Palo Santo" is not unexpectedly at its best when its pulse rises above 50, though most everything has merit given enough time and attention, the question being when is enough? Comparisons to TALK TALK, mid period FLEETWOOD MAC (where Peter Green, Danny Kirwan and Bon Welch still jam somewhere off planet), WOVEN HAND ("Red Sea Black Sea") DAVID SYLVIAN (in style not vocally) and AISLES (in vocals not style) are all possible.

My picks here are "Red Sea Black Sea", "White Waves", "Seventy Four Seventy Five" and "Johnny Viola", with special kudos to whoever is playing the piano, but as a whole, it's here that Meiburg and company seem to be speaking for themselves more than ever, and with a certain botanical healing quality, just a little bit too quietly to reach some of us.

Twenty years ago when I was very limited in my music knowledge I thought Radiohead was a force to be reckoned with. For a long time I thought that everything from "The Bends" to "Hail To The Thief" was 5 star music with the exception of "Amnesiac". Now I have listened to many more rock bands I no longer think that Radiohead is anything special. I am glad that "Ok Computer" still holds up remarkably well. That album is still five stars. So last night I decided to listen to "In Rainbows" to see how that holds up with me.

There are ten tracks in the album and I only liked four of them. These four tracks are "15 Step", "Body Snatchers", "Nude" and "All I Need". All those tracks I rated at a solid 3 stars except for "Body Snatchers" at 3.5 stars. Thinking about it now, "Nude" could very well be rated lower, maybe 2.5 stars.

The rest of the tracks range from bad to mediocre. "Faust" is horrible, with a name like that you'd think you're in for something good and spooky like with "The Pyramid Song". "House of Cards" is almost boring, a tune that can be done by any you can name. "Videotape" has some cool noises, but it doesn't quite reach Tangerine Dream levels of noise. Not that Tangerine Dream is anything special, but at least they can make their noises rise to a solid three stars for most of their albums.

The main problem with the album is that its rather mellow and somewhat simple. I used to love Radiohead, but they are a one album wonder to me now. But I am still happy that a band from the 90s could pull off a five star album. I can't think of another band from that decade that has. "The Verve" came very close at a 4.5 stars with the gorgeous "A Storm In Heaven". Radiohead peaked with OK Computer, but they experimented too much after that and quickly started going downhill ever since. Don't get me started on A Moon Shaped Pool, I still choose The King Of Limbs over that one and that is saying something. 2.5 stars for In Rainbows. An okay listen at best.

Less aggressive and raw than the well-known and successful "Oceanic" and "Panopticon", Isis adds in "In the Absence of Truth" (2006), their fourth album, more elaborate and melodically complex structures, almost as a natural consequence of their musical maturity, and which has in "The House of Leaves" (2000) by the New York writer Mark Danielewski, a novel that combines terror, satire and love in unconventional narrative dimensions, its inspirational reference and thematic axis.

There is thus a special attention from the band to expand their sonic universe and add some nuances with the more prominent percussive contribution of Aaron Harris and the incorporation of clean vocals in the generally guttural ranges of Aaron Turner accompanying the over-saturated guitar riffs of Mike Gallagher, as in the opening and soaring "Wrists Of Kings", also with Jeff Caxide's most notorious bass lines in the choking and ferocious "Not In Rivers, But In Drops" and in the anguished melancholy of "Dulcinea", whose stormy final stretch with the full band is surely one of the album's best.

True to their bleak experimental streak, the Bostonians also generate toxic and thick specters of sound to envelop Gallagher's distorted guitars on the extended intro of "Over Root And Thorn" and the hypnotic, watery "1000 Shards", and then digress, from Bryant Cliff Meyer's electronic contributions, into the ethereal cosmic atmospheres of the instrumentals "All Out Of Time, All Into Space" and "Firdous E Bareen", sheltering in between the intriguing and disturbing "Holy Tears".

And finally the anxious "Garden of Light", an intricate construction in which again Harris' hyperactive percussion guides with great fluidity all the melody, and Gallagher's guitar riffs and Turner's raspy voice tension the development to the maximum leading it to an overflowing instrumental climax and its progressive dilution in an atmosphere of deep affliction until its conclusion.

"In the Absence of Truth" is a very good album, which on its release was critically acclaimed and commercially lived up to the achievements of Isis' previous works.

3.5/4 estrellas

I am a huge fan of what Magic Pie does. They do a lot and cover alot of stylistic ground. I see some reviewers mentioning Deep Purple I would agree with a caveat. That is that I hear much more Uriah Heep in echoing any retro vibes. Thats not a bad thing in my house. They are of a handful of modern bands I keep up with. Ever since I heard The Suffering Joy Magic Pie is my goto for "modern prog". I offer no long winded verbal here. They always tick all my boxes musically. Great musicianship tied firmly to great arranging and writing skills ,these gentlemen deserve to be the next big thing.Small twists and turns like some spots where they change up tempo or a big chorus of background vocals are placed and performed near perfectly.

EARTHSTAR's debut is one of those albums that has never been re-issued and therefore fetches some crazy prices from collectors. It was originally released on Moontower Records in 1978, a Country music label based in Nashville. EARTSTAR was led by Craig Wuest, and the band was based in New York. He had been corresponding with Klause Schulze prior to the release of their debut. Klause suggested that the band would do well to move to Germany where he could help out, and where this type of music was more accepted.

So this six piece band released "Salterbarty Tales" before moving to Europe, and by all accounts this one is very different from the three studio albums that would follow. And it's so rare that it gets dismissed or overlooked. It's dominated by synths and piano with some flute, violin, bass and percussion sprinkled throughout. There is no mellotron or the rare birotron on this one. And I find it to be very inconsistent. No sequencers or the variety of keyboards that would follow.

The band moved first to France where they would start to record the next album "French Skyline" and that title is based on their brief stint in France. Moving then to Germany, Klause Shulze would get heavily involved, co-producing that record and playing keyboards on it. So basically half of it was recorded in France, and half in Germany. A much more intense album by all accounts where mellotron, birotron, sequencers dominate, yet these sounds were completely absent on the debut.

The opener "Splendored Skies And Angels" is a nice start where synths dominate throughout. The next track "Serindego" is over 9 minutes of nothing but grand piano throughout. Maybe 2 minutes would have worked. The next two short tracks are similar sounding with "Salterbarty Overture" having an orchestral vibe and the latter "Wee Voices Touch" featuring some flute. "Broken Chain Of Euphoria" ends side one, and it's my favourite. I like how experimental it is early on, almost like free jazz in the sense that each musician seems to be doing their own thing. Percussion on this one too, then it turns spacey with different flavours.

"Canyon Nebula" is the 22 minute plus epic on here. A lot of ebb and flow when it comes to the synths. The one synth sound I like here sounds like a distant helicopter, and it will come and go throughout. I will say that the next tune "Night Tones" is quite interesting with those jagged-like synths that pierce the spacey atmosphere. Piano before 2 minutes and this isn't nearly as good. More piano, sounding classical on the short "Sunsets" that I'm not a fan of before the one minute closer that is much better.

I clearly got the wrong album as "French Skylines" sounds so much more like what I am into when it comes to electronics. Obviously the participation of the master Klause Schulze helps with that as well.