Progarchives, the progressive rock ultimate discography
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 House Of The Mind by COMEDY OF ERRORS album cover Studio Album, 2017
4.06 | 22 ratings

House Of The Mind
Comedy Of Errors Neo-Prog

Review by Ludwigvan57

5 stars Another masterpiece from the multi-talented Comedy Of Errors.

I seriously loved their previous album "Spirit" it was perfectly put together and I thought it would be difficult to replicate the complex depth and success of that album but "House of the Mind" gets us there.

First track really sets the pace, after a scene setting melodic slow keyboard intro, the rhythm gets us going at high speed like "Tachyon". After nearly two minutes the vocals come in and the rhythm gets ramped up, strong rock, lots of great keyboard and superb guitar play near the end of this track. Memorable lyrics throughout. Brilliant opener.

The title track is very ambitious. Right from the start there are complex, competing sounds and ideas. Tons of invention here, at times atmospheric , other times pacey and punchy, brilliant guitar leads and outstanding, vivid keyboard work, with counter melodies and a huge range of sound. The music and the lyrics describe a struggle about our feelings and the meaning of our lives. I like "we were lost right from the start" and "call it faith, call it love" and at the end how it's all "safe in the house of the mind". I had to listen to this track a few times before I really got it there's so much in it but I'm there now! Love it.

The instrumental "A Moment's Peace" is just perfect. A clever contrast between the giant tracks on the album. It's a serious, feel good piece, and as always with Comedy of Errors, just a little atmospheric. This is an instant favourite. The fourth track and the shortest on the album is "One Fine Day". An easy, relaxed , dreamy song harking back to childhood (probably). Vocals shine here as always, brilliantly supported by keyboard throughout. Could be wrong but somewhere in the middle of this track, I had a feeling of "Strawberry Fields". Nice one.

For me the highlight of this stunning album is track 5. "Song of Wandering Jacomus" is a bit special. Right from the get go we know this going to be momentous, with the keyboard's magical, cosmic like sounds. Then overlaid with an exceptional guitar section which brings in a classical like climax before it fades away back to keyboard, then overlaid with guitar and later drums before a fantastic vocal entry. So after nearly five minutes of clever, complex build up with all the Band's elements coming together, like an orchestra, we arrive at a familiar sound which to me is unique "Comedy of Errors". It's the relaxed sound of the Band in full swing, "one day we will walk through this world hand in hand". Brilliant. Then there is outstanding guitar and keyboard development which brings us back full circle to the earlier tune and vocals including the classical theme from earlier. Brilliant the way these classical type sounds are integrated into the song. Then it's back to the atmospheric keyboard drifting away to the end. This track is seriously addictive.

The finale is a bonus track "Ever be the prize". The beautiful, cosmic, two minute introduction gives no clue to the pace that arrives to bring in the guitar and vocals with this solid rock song. The song develops with the usual mixture of innovative sounds before exploding into the full "Comedy Of Errors" treatment with exceptional guitar playing and the Band at full throttle. A fitting climax.

An inspiring, brilliant album. I've nothing but praise for everyone in Comedy of Errors but especially Jim Johnston who writes all the songs and isn't afraid to experiment with different styles. Comedy Of Errors just keep getting better and the possibilities for this Band are limitless.


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 Vol. 1 by DR. SPACE'S ALIEN PLANET TRIP album cover Studio Album, 2017
4.00 | 1 ratings

Vol. 1
Dr. Space's Alien Planet Trip Progressive Electronic

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

— First review of this album —
4 stars Scott Heller aka Dr Space takes a break from keyboard duties for cosmic rockers the Øresund Space Collective to deliver `Alien Planet Trip: Volume 1', the first of several promised solo works, and a wild, experimental and moody change of direction it proves to be! Culled from studio improvisations, `...Trip' is heavy on feverish distortion, swirling electronics and rumbling drones all fusing into stormy drifting instrumental atmospheres, actually a galaxy far away from the jam-heavy ØSC LP's and more in the manner of the early Krautrock-era of Tangerine Dream (but probably more resembling a soundtrack to Edgar Froese's most vivid nightmares!), also given a very modern edge.

Don't look for anything resembling a tune or melodic elements in side-long piece `Five Dimensions Of The Universe'. It's an endless rumbling drone of maddening electronic loops and ringing fizzes spiralling into infinity laced with grumbling guitar distortion provided by two ØSC collaborators Nicklas Sørensen of mellow spacerockers Papir and Richard Orlando of Alien Plenetscapes. Fleeting synth drifts rise and fall like both blowing breezes and raging gales, and guitars eventually twist into stormy wailing reaches and dreamy psychedelic embers. Fleeting moments of light and wonder from trilling and comforting whirring synth caresses reveal themselves in the second half, but overall this wild trip remains darkly colourful and perfectly captures the stark isolation of space the majority of its near twenty-five minute length.

On the flip side, the maddening and immersive `Rising Sun Over Mars' is a nightmarish machine sound collage of unceasing looping sequencer patterns over washes of harsh splintering guitar distortion and bleeding electronics, and the guitars throughout `In Search Of Life On Io' slink from drowsy psychedelic echoing, bluesy smoulders and feedback-strangled ripples, all the while lurching trip-hop-like programmed beats and scuzzy distortion pepper the background. A bonus track is also available with a download purchase through Bandcamp that doesn't fit on the vinyl edition, and `Alien Improv II' is a fizzing Berlin School-modelled howling storm that doesn't sound unlike parts of early Klaus Schulze albums like `Cyborg', only heavier.

With Heller relocating it essentially means the ØSC will be going on something of a hiatus for now, so fans and followers will have these exploratory releases to look forward to, and based on this first volume, it means there's plenty of challenging and experimental space music to come in the future. Well done as always, Scott, bring on volume two!

Four stars for this wicked mind-melt!


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 Stranger Heads Prevail by THANK YOU SCIENTIST album cover Studio Album, 2016
4.09 | 111 ratings

Stranger Heads Prevail
Thank You Scientist Crossover Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

5 stars It took until 2016 for the next album, during which time they got a new bassist and violinist, but even though some personnel had changed they stayed true to what they had been producing on their previous works. They even started this one with an a capella introduction as they had with the last. Again we are being treated to a band that want to mix so many different styles and musical influences that it is superfluous to even mention them, but when Coheed and Cambria lay down next to Frank Zappa who is cosying up to Mars Volta, then one knows that one is in the presence of something quite special indeed. It is fresh, it is exciting, it is invigorating, and most of all it is just great fun to listen to!

This is not a prog band that wants to copy either Genesis, King Crimson, VDGG or Yes, but instead what to get out there and make a name for themselves performing the music they want, and no matter what everyone else may think of it. Interestingly, the vast majority of progheads who have come across their music think that they are amazing, so how come they aren't more well-known? Certainly they had missed me by totally, of which the only advantage I can think of is that now I know about them I have a few hours' worth of music to discover instead of just one album. That they can mix this complexity and intricacy in a way that makes it so easy to listen to is an art in itself, and something that very few bands ever manage. Full of light and shade, dynamics aplenty, this is an incredibly exciting album and one that I could listen to all day. Each time I play it I make more discoveries, with each musician being an integral part to the musical whole. If, like me, this amazing band had passed you by, then now is the time to discover some of the most interesting music you will find in the current prog scene.


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 Maps of Non-Existent Places by THANK YOU SCIENTIST album cover Studio Album, 2012
3.98 | 116 ratings

Maps of Non-Existent Places
Thank You Scientist Crossover Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

4 stars Just one short year after the debut EP, and the band were back with a full-length album of all-new material. The line-up was the same as before, and they had even managed to lift their music a notch, as the listener is dragged straight in with the a capella opening: from there on it just gets even more intense and exciting. It is rare to hear music this complex, invigorating and exciting that is also incredibly commercial. They mix rock and metal with prog, jazz and fusion, not bothering to worry about whether the music fits within any particular genre and not only breaks through preconceived boundaries but smashes them to pieces. This is progressive rock in its very truest sense, with every note and nuance having its place. They combine together far tighter than any band of this size should ever be able to do, and if you don't believe me then listen to the complex introduction of "Feed The Horses": that the song then becomes a Seventies funky pop classic before moving into something else just proves the point.

Sal somehow manages to always stay in control, no matter what is going on around him, and his style certainly adds to the overt commerciality of some of the material. But how can it be commercial when a brass section if playing delicately, there is someone ripping a violin to pieces, and there is also a metal band at full pelt? None of this makes sense unless you are listening to the album, then nothing else matters. In some ways this reminds me of Spock's Beard, not in the way that the music is constructed, but that they are daring to do something different. While the music is heavily arranged, it has to be with this many musicians involved, somehow it is still fresh and exciting. This isn't music designed to smother, but instead is a living, breathing force to be reckoned with. If crossover progressive rock, in its purest form, is what you wish for, then Thank You Scientist are a band that you need to discover immediately, if not sooner.


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 The Perils Of Time Travel by THANK YOU SCIENTIST album cover Singles/EPs/Fan Club/Promo, 2011
3.74 | 28 ratings

The Perils Of Time Travel
Thank You Scientist Crossover Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

4 stars This New Jersey act are new to me, and I only came across them because I was asked by someone at work what I thought of them. Being unable to answer I took the only course of action possible, and immediately tried to find out more about them. 'The Perils of Time Travel' was their debut release, a thirty-minute-long EP that they released in 2011. Even before the music starts one realizes that here is a band that are somewhat out of left field. While a septet isn't really that unusual in music, the instrumentation being portrayed by some of the line-up certainly is. Sal Marrano (vocals), Tom Monda (fretted and fretless guitar), Greg Colacino (acoustic and electric bass) and Odin Alvarez (drums) can be said in some way to be the "normal" side of the band. They are joined by Russ Lynch (violin and viola), Ellis Jasenovic (tenor and soprano sax) and Andrew Digrius (trumpet, flugelhorn, and synth). Even discounting that the much-maligned flugelhorn hasn't seen many rock outings outside of Jethro Tull or Gryphon, it is certainly unusual to find any band combining strings with brass, and little in the way of keyboards.

What is even more interesting is just how commercial they sound, certainly not what one would expect from a line-up like this. They mix Coheed and Cambria with a gentler version of Protest The Hero and manage to make djent, jazz, pop and prog sound as if they were destined to be together. Yes, they can go off into tangents when they wish to, and Tom is an amazing guitarist, but it is the sheer joy from the music that makes one keep going back for more. Somehow it manages to be inventive, fresh and new, yet managing to stay accessible and soon the listener wonders how they managed to live their musical lives without ever coming across these guys before. Some of these songs could even make it onto rock radio, what on earth is going on?

It is rare to discover a band truly formed and with strong direction on their very first release. What on earth could an album be like?


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 Undestroyed by FREE SALAMANDER EXHIBIT album cover Studio Album, 2016
4.15 | 33 ratings

Free Salamander Exhibit RIO/Avant-Prog

Review by Luqueasaur

5 stars Twisted and eccentric - and highly unique: 9/10

(Brief note to myself and to readers: the reviewing approach, in this case, digresses from what is common for me to do because assuming this is an album with few reviews I must be as pragmatic and utilitarian as possible. I would also appreciate feedback! If you notice poorly constructed sentences, phrases without significance, weird things, or you have suggestions that might help me improve, feel free to PM. I'm always willing to ameliorate)

FREE SALAMANDER EXHIBIT is, before anything, deranged. It is the offspring of SLEEPYTIME GORILLA MUSEUM, a revered underground avant-garde band, so it couldn't differ much from its progenitor. Their stuff is... weird, even for avant-garde standards. So much so they're Avant-prog. Heck, I don't see much difference between these two names, but since anything with the prog suffix equals a more paradigmatic work, then it's fair to put it on them. No, you won't hear grumpy screams or dissonant drums and flutes, not THIS type of paradigmatic, but instead, the absolutely-unique type. For this reason, I felt it was fair to give them a truly high rating, because not only their music is enjoyable but also unlike other metal styles I have heard (and I'm not that unfamiliar to RIO).

UNDESTROYED can best be approximated as experimental death metal with glimpses of post-rock, although the Avant-prog name should suffice to warn that it can't be entirely labeled as such - doing so is not only an offense but also a severe mistake. It is nowhere as speedy or destructive as the image of death metal genre conjures; what it does is feature a dark, uneasy atmosphere, typical to both mentioned genres. The oscillation between soft and hardness confers a fluidity to the album, and are, respectively, unnervingly calm and creative (with many blends and influences, featuring different instruments [also, here's a challenge for ya: If you can spot the Theremin in any music, PM me. Seriously, I'm curious], with special regard to the effing killer flute) whereas the second is not brutal, but instead, evil, angered. What really glorifies FREE SALAMANDER EXHIBIT is that their heavy style cannot be sufficiently named "x" or "y". It is, at best, a dystopic, angered expression of madman's creativity. Creativity articulated through the low-effort wet snarling vocals, intended to sound beastly , and through the rather unpredictable arrangements and compositions, which almost paradoxically feature a lack of deeper technical complexity - the inconsistent structure exists not due to intricate mathematics, but instead, because that's how the band prefers it to be. Visualize this as freedom of composition and not as proposal of deconstruction.

Worth mentioning is that the album has a solidly abrasive metallic foundation but it doesn't mean all songs are like that. Here's the fun of Avant-prog: the tracks are stylistically individual, with very little similarities between them aside most fundamental unconscious level (the inclination of adjectives that each song provokes; in this case, crazy and darkness). FREE SALAMANDER EXHIBIT makes it implicitly clear that they are not proposing a common concept, so the tracks are highly unattached among themselves.

Lyrics are cynical, sometimes humorous, sometimes revolted, but unanimously acidic and sarcastic. The topics covered are approached in a unique fashion, with FLE's own twisted interpretation. They seem to be the type of band that uses music as a form of expression over a form of art; so they're less methodical with things such as beauty and shape. This is reflected in the lyrics that do seem unorganized and which wordplay is rather confusing (there are some German words here and there, for instance), and in the structures, that sometimes makes no damn sense. Not a complaint.

Unreliable Narrator, featuring a common structure (verse-chorus-verse-chorus) begins blasting in the powerful guitar and maddened vocals. Lyrics are focused on the unreliability of religion, as well as the premise of "one true faith" and of trusting the gods because let's be honest almost all gods of almost all religions did some really horrible things. The riffs are simple and even catchy, but the structure, as I mentioned, is iffy. In general, it can be characterized as AGGRESSIVE, SLOW, and PHILOSOPHICAL. (9/10)

We're then presented to The Keep. A construction that provides safety from whatever is there in the outside world, which, on FSE's world, is highly willing to destroy you. Not any lighter from any other track aside the lack of growled vocals, however, the clear singing substitutes its guttural counterpart as aggressively. Probably the best flute demonstration in the entire album. You can think of it as GLOOMY, ATMOSPHERIC and FIERCE. (7/10)

The Gift is a ferocious anti-modern rant against contemporaneous technology such as smartphones, going to so forth as calling the Silicon Valley visionaries "Utopian-cyber hippie" (we can all agree that's an unique way of describing Steve Jobs) who gave a revolutionary tool comparable to Prometheus giving humans fire, but also to opening the Pandora box and unleashing unfathomable evil: now the masses are robotized and live in virtual realities. The vocals are perversely angered, barely distinguishable growls (as usual), and there's an overdose of humor and cynicism, going so forth as breaking the fourth wall in two different fashions. It begins with a high-pitched guitar bridge, proceeded by an absolutely orgasmic guitar introduction to the main riff. The gentler midsection showcases the grandiose flute accompanying the sung vocals, which does sound so mystical and perverse. It is also the prime moment to observe FSE's dadaist composition style, because, frankly, this song is hardly coherent. In my opinion, it is solidly the high point of the album, being VIOLENT, HUMOROUS, and incomparably UNPREDICTABLE. (9/10)

Time Master is the most jocular track of them all. Under many approaches it is divergent to the whole: sane, old-school influenced sonority (as opposed to the post-rock homogeneity), atmospherically light - especially the vocals - and uses comical brass instruments and vocal passages. FREE SALAMANDER jokes with the concept of time: treated as a commodity, but simultaneously, it is vital to us as it is non-renewable, and how do we use our time to enjoy or to waste it, selling it to the Time Masters so we can feed our family - at the expense of not living at all. HUMOROUS, COMPLEX and ANOMALOUSLY LIGHT. (8/10)

Undestroyed begins caroler (world's cutest instrument, glockenspiel, accompanied by flutes), antithetical to the preceding hoarse, tense vocals and deeply dysphoric lyrics that corrupts the song to a drums-led transition, the pathway to, finally, the second half. Angered, sometimes clear sometimes growled singing is initially led by industrial, periodical metal riffs, but as the singer announces he is undestroyed, the mood quickly destabilizes into nonsensical guitar distortions scrapes, randomized sayings, and a return of the Jolly glockenspiel, which progressively sweeps the maddened anarchy beneath its soothing, delicate sound. GENTLE (glockenspiel intro), TWISTED and BLASTING. (7/10)

Glockenspiel meets us for a second ride, Atheists' Potluck. We have learned a lesson, though: we can't trust FREE SALAMANDER EXHIBIT with a glockenspiel. So it will anticipate something evil, right? Not... really. At most, it predicts a beautiful although terrified song, with dark non-distorted riffs, followed by even darker but distorted riffs. There's tension in the air and your gut feelings make you go uneasy... the clear, indisputable influence of post- rock becomes pristine, which is why I thought it would be fair to claim on the beginning their leaning towards this genre. It sounds kinda like Nirvana-dark or Alice-In-Chains-heavy, maybe? I don't know, I'm not good with post-rock. Nonetheless, a GLOOMY and rather DEPRESSING (I think those are synonyms, but still, you know what they say: redundancy means emphasis) track. (8/10)

Military trumpeting and the sound of horses' cavalcade preludes Oxen of the Sun a counter-intuitive 6/4 intro arrangement. Seems simple, but... it doesn't SOUND really that simple. Reminds me of Proclamation by GENTLE GIANT (bold to compare FSE to those gods, eh?). Growling dives into downright death metal guttural. The music develops into a crushing section with high complexity and unforeseen weight, mildly death metal; on the verses, especially. An eerie commodity is brought in the midsection: a shredding guitar solo, technical to the brim, which sounds SO spectacular especially for its scarcity. It announces an unexpected twist to pure technical death violence (including the typical blast beat), especially on the vicinities of the solo. Following a few overwhelming riffs and squeals (and return to normality), the song and album are over. (9/10)

UNDESTROYED... the cover is introspective, with the seemingly twisted canids (or are those rabbits?) and the eccentric coated chick. Twisted and eccentric. Is there any better way to describe to FREE SALAMANDER EXHIBIT?


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 Centre-Ville by GAROLOU album cover Studio Album, 1982
2.02 | 9 ratings

Garolou Prog Folk

Review by kenethlevine
Special Collaborator Prog-Folk Team

2 stars With the double entendre of the title signifying a shift to the bland stylistic center of 1982 rock, and an abandonment of essentially rural folk for city glitz, "Centre-Ville" did nothing to stymie the perhaps inevitable collapse of GAROLOU's initial run. Displaced from a field with few professional purveyors to a weedy city lot, they abandoned all folk roots and homogenized their sound, notwithstanding a fun reggae-tinged opener and an above average ballad "Aller-Retour". Rockers like "Terre" and "Je Savais Pas" are utterly without distinction. Perhaps the album's most notable "first" is that of first GAROLOU album to contain an English lyric, on the closing "Seul au Centre Ville", the only waking moment of a piece so light that it rivals the mellowest fare by mid 1970s AMAZING BLONDEL. You'll wish you'd been allowed to sleep right through it.

It appears that the band spirited somewhat out of retirement in the early 1990s with a fine live disk that conspicuously omits anything from "Centre Ville", if only because this made so little impact in 1982 that it could not be resurrected even by occult ritual. If "Centre-Ville" isn't totally awful, it also isn't worth seeking out by anyone but unapologetic fans, who all appear to have gone uptown by this point.


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 Chapter One by CELL15 album cover Studio Album, 2014
4.18 | 15 ratings

Chapter One
Cell15 Crossover Prog

Review by progrocks2112

5 stars 6.24.17 I had the pleasure of witnessing Cell15 live. Now I am not a writer, musician or related in anyway to music other than being a fan. But today was also special because it was a memory for my 2 daughter's. I have been inducted into CLUB C. Window is closing so a memory had to be made. Now to the show. From the opening bell I was more impressed by the soul of this relatively new band then I was listening to a digi download. Bob Richardson, the founder, guitarist Shane Jones, drums,Kevin Thomas and former EoS bass man Dan McDonald round out what I believe is a power stroke of pure wizardry. I will say the most emotional track by any means is Manny's Gone Home. Being Ill has it's downs and few ups and the 1st time I heard this track it had my 57 yr old behind in tears. It was felt the same way by my oldest daughter as we were 'bawling bookends' at our table. Let's step back to chapter one, if you're a keyboard guy this is driven with a force that needs to be recognized. The entire set was an experience I for one shall never forget, the music, the outpouring of a soul, precise guitar playing and an intense McDonald who plays with as I had said to him with anger. Poor strings had their ass handled. Power keys and the recognizing my daughter's birthdays will live within me for what time I have left. Two new songs were introduced as well and I wonder if I'll get to hear a 2nd CD. Hard driven rock with a progressive lining, how can you go wrong. The only downside to today was they didn't play enough. A concept album should be heard in its entirety to make any real sense. I am only a fan as I had said and I am certainly be fan of this outfit. Look for them on band camp and maybe CD baby but good luck in getting a hard copy. I'll end by saying thank you to a group of hospitable fellas and in particular to Bob, who is responsible for a 5 star listen and putting the right guys in the right places'.

This may not or is not a true review but it is a factual account of an experience


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 Huono Parturi by HÖYRY-KONE album cover Studio Album, 1997
4.23 | 136 ratings

Huono Parturi
Höyry-Kone RIO/Avant-Prog

Review by Norbert

5 stars Huono Parturi is the second studio album by Finnish progressive /avantgarde rock band Höyry-Kone. The title of the album means "Bad barber", just look at the album artwork... The album featuring 11 tracks is about 49 minutes long, at least my copy. I have the one relasesed by Nordic Notes in 2013, I had to wait some time to get my hands of a copy of Huono Parturi. The music is performed by the often operatic male vocals, two guitars, bass, violin, cello, flute, drums (Anders Nordin from Anekdoten makes a guest apperance in two tracks beside Teemu Hänninen, the band's drummer), plus the wind ensemble in the purely jazz track called Baksteri. Beside cello player Marko Manninen the trained tenor singer and violinist Topi Lehtipuu deserves a special mention, but the musicianship is outstanding on this album. The album starts with a beautiful rendition of Beata Viscera by Perotin the Great. He was a composer of the 12th, early 13th century, one of the earliest known composers. Topi really shines here, I think Perotin would be pleased with this performance. Terva-Antti Ku Häihin Lähti suddenly explodes after the Perotin piece, and the other tracks of Huoni Parturi with the exception of the mentioned Baksteri are in more in less in the vein of the explosive second track. The music is somewhat similar of King Crimson and some classic avantgarde artists like Zappa or Univers Zero, but far heavier, than any of the mentioned artists, and Höyry-Kone certainly had the sound of their own. Some of the tracks are instrumental, some of them are supported by the gorgeous vocals of Topi Lehtipuu, but really all compositions are very impressive. Weird, quirky, really powerful and playful, an absolutely fantastic album, one of my 10 favourite albums of the Nineties.


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 Mathematical Mother by UNIVERSAL TOTEM ORCHESTRA album cover Studio Album, 2016
4.44 | 49 ratings

Mathematical Mother
Universal Totem Orchestra Zeuhl

Review by kev rowland
Special Collaborator Crossover Prog Team

5 stars

This band was originally formed as an offshoot of Runaway Totem, which probably goes some way to explaining why they released their debut in 1999, their follow-up in 2008, and this their third in 2016. They are often described as Zeuhl within the prog world, but I'm not convinced myself that the term has a great deal of merit outside of Magma, so let's instead keep this simple. However one wants to classify this album, or whatever sub-genre one wants to put it in, it can all be said in one little word, "beautiful".

Whether it is the soaring classical vocals, the perfect piano accompaniment, the amazing bass, or the move between jazz, fusion, funk, classical, Arabian and progressive styles, it really is the only word that matters. This is a delicate album with instrumental passages that are dynamic and powerful, with vocals that can be strident or fragile, with everything always working together in perfect harmony. Some of the guitar on opener "Terra Cava" is sublime, and it shows that even proggers can shred when they wish to, it's just that they often don't want to. At fourteen minutes long, this is an epic song in so many ways, not just in length, but in the sheer complexity and the way that all the passages make sense individually and come together to create a whole that is breathtaking both in its complexity and melody.

'Mathematical Mother' is a very special album, one that is incredibly complex and intricate, yet also very easy to listen to, and totally enjoyable the very first time it is played. Let's hope we don't have to wait quite so long for the next one.


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Absorbtion Lines by Jet Black Sea album rcover
Absorbtion Lines

Jet Black Sea

Eternal Cycle by Drifting Sun album rcover
Eternal Cycle

Drifting Sun

Erosion by Cydemind album rcover


Kick Out The Jams by Cosmic Fall album rcover
Kick Out The Jams

Cosmic Fall

Take Me Home by For All We Know album rcover
Take Me Home

For All We Know


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