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 Bruford: Feels Good To Me by BRUFORD, BILL album cover Studio Album, 1978
3.95 | 180 ratings

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Bruford: Feels Good To Me
Bill Bruford Jazz Rock/Fusion

Review by macpurity

5 stars This recording was released 40 years ago! It will soon have a new remastered release later this year as a 6CD, 2DVD box set. So, it seems only fitting that another review be added to honor this rather phenomenal piece of jazz-rock art. If anything, to alert other Bruford fans that new mixes and remasters are on the way. The boxed set will feature this recording, One Of A Kind, The Bruford Tapes and Gradually Going Tornado, along with some other select special additions. It cna be found through a web search and/or a visit to a web site having to do with a scorched outbuilding.

Previous reviews truly hit all the marks, even the not so glowing ones. I can relate to some of the misgivings, but as a whole, the compositions are about as complex as permitted in music theory textbooks. Bruford and company push the envelope in terms of rhythms and compositions.

Bruford's percussion is (ahem) flawless, The late Allan Holdsworth's guitar work is still fun to listen to, including those on-purpose notes that almost sound like errors. No such thing in Allan's delivery. The bass of Jeff Berlin is tight, on the money, and possesses phrasing that rank among the best bassists. Absolutely love Dave Stewart's keyboards and synth sounds. He's a master; as can also be appreciated in his work with Barbara Gaskin. Annette Peacock's vocals do take some adapting to, but once you gain familiarity with the music, you appreciate her style, range and presence. Then throw in Kenny Wheeler's flugelhorn for good measure and some smoothness (especially on Seems Like A Lifetime Ago Part I). With co-production by Robin Lumley, it is a conglomeration of shear mastery.

I bought this one, the first time, brand new, without any in-store listening, in 1977 on vinyl. On forst listen, it knocked my socks off. I played that album a lot through the years and nearly wore it out. Thankfully, I re-purchased it on CD 13 years later, in 1990, and once again enjoyed clear digital sound. This coming October (2017), I look forward to becoming re-familiar with this recording (and others in the box-set), some in the delights of 5.1 DTS surround. So glad that Bill Bruford encouraged a 2017 re-engineering of some representative jazz rock from forty years ago. Seems Like a Lifetime Ago! Indeed!

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 Long Thoughts by ROACH, STEVE album cover Studio Album, 2017
4.00 | 1 ratings

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Long Thoughts
Steve Roach Progressive Electronic

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

— First review of this album —
4 stars Defining American prog-electronic/ambient artist Steve Roach returns at the half-way point of 2017 with `Long Thoughts', another of those slowly unwinding, ever-evolving, lightly psychedelic sound-collages that this master of the genres often delivers with impeccable precision and subtle taste. More along the lines of Roach's `Immersion' series of releases, his recent `Fade to Grey' work or his four-volume `Bloodmoon Rising' set, `Long Thoughts' is a lengthy single continuous electronic aural canvas that weaves a hypnotic spell and concocts a distinctly mesmerizing atmosphere where time seems to blur and stretch on forever.

With no obvious themes or percussive elements appearing throughout this seventy-three minute piece, `Long Thoughts' lurches to life as a drowsy and dream-like surreal electronic ambient soundtrack. An unceasing lulling drone at its core, eerie and lightly stormy thrumming reverberations are rippled with ringing crystalline shimmers and churning electronic caresses. Some moments take on an icy coolness, others a gentler lulling embrace, but all culminate in drifting pools of serenity and mystery, where the most minute of transitions happen so seamlessly they're intangible.

Those after a modern Roach release with more melodic and rhythmic qualities a little closer to a firmer prog-electronic sound should perhaps head to `Skeleton Keys', `Spiral Revelations' or his Robert Logan collaboration `Biosonic' first, alternatively those wanting a more approachable or varied example of the purer ambient styles he works in frequently these days might prefer recent discs like `Painting in the Dark' or `Nostalgia for the Future', released directly alongside this one.

But if you're a fan of Mr Roach's subtle and sedate long-form works, `Long Thoughts' is undiluted, pure ambient music that still holds weight and quiet intelligence, and it will prove to be a great reward for the most patient of listeners, a piece that reminds us to step back and slow down in this busy fast-paced blur of a time we live in.

Three stars for casual listeners, four stars for experienced ambient/electronic fans.

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 Lady Lake by GNIDROLOG album cover Studio Album, 1972
4.06 | 313 ratings

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Lady Lake
Gnidrolog Eclectic Prog

Review by Kingsnake

5 stars This is exactly the kind of progressive rock I like to listen to. Flute, guitar, drums, horns, etc. Reminds me of Gentle Giant, Barclay James Harvest, Jethro Tull, Jezda Urfa, Cressida, Caravan and the likes. Not in the vein of the Canterbury sound, but very eclectic and incorporating many, many different styles.

Playful melodies, very tight interplay and outstanding musicianship. Both albums of this band rate very high for me. Of course this kind of music can never reach commercial heights, that will be the reason the band quit after only two albums. But am I glad they at least recorded what they did.

On top of what I already wrote I love the calmer parts, it has a certain folkish and pastoral feel here and there, partly because of the fluteparts.

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 Atomic Roooster by ATOMIC ROOSTER album cover Studio Album, 1970
3.55 | 189 ratings

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Atomic Roooster
Atomic Rooster Heavy Prog

Review by Kingsnake

3 stars Great album but not yet all that great. Somehow I will never be a great fan of Carl's sloppy drumming. That aside the vocals, the bassguitars, the hammond are all really great. Raw, pure and energetic. The songwriting is sometimes really good (Winter, Broken Wings, Friday 13th) but sometimes the band just jams away. But it was the psychedelic era, it's okay.

It's great to hear a hammond-based heavy rock group not sounding like Deep Purple or Uriah Heep. Also I really like the vocals. Really powerful and soulful. Too bad, the singer never really served in a famous band. Another thing I like about this albums is the (sparse) fluteplaying, wich sets this bands apart from other hardrockbands of this age.

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 4 by NOMADIC album cover Singles/EPs/Fan Club/Promo, 2016
4.00 | 2 ratings

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4
Nomadic Heavy Prog

Review by rdtprog
Special Collaborator Prog Metal / Heavy Prog Team

4 stars This four piece band released his first 4 songs EP and they didn't have many troubles to find the title of this one. They have been compared to Rush which is true in some sections but the harder guitar riffs and the presence of the violin make their music quite different. The singer and bass guitars player Tom Heslin is not your Geddy Lee because his voice is more similar to Michael Sadler of Saga, but how many singers sings like Geddy Lee? I think the influence of Saga is more obvious in a song like "Confusion".The songs are melodic with a harder twist in some places of those bands mentioned. It would be interesting to hear a full album that is in the making as we speak because the band has already written more material to complete this first EP. This EP shows some great musicianship and solid songs from a band that is not trying to reinvent the wheel but to adds their little touch to the classic progressive rock music we all love.

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 Atom Heart Mother by PINK FLOYD album cover Studio Album, 1970
3.87 | 1959 ratings

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Atom Heart Mother
Pink Floyd Psychedelic/Space Rock

Review by Luqueasaur

3 stars Not the g-spot yet: 6/10

Don't get me wrong, ATOM HEART MOTHER is far from a bad album. But as far as I'm concerned about PINK FLOYD, expecting psychedelia and outwordly synth-driven grooviness, it's too tasteless. The psychedelic parts are weak and particularly immature as the band was musically directionless. As many before me pointed out, that statement is true; they really hadn't much of a clue on how to proceed with their career when they recorded and released ATOM HEART MOTHER. While Atom Heart Mother stands as a memorable orchestral piece with influences of rock music, the other tracks not only have absolutely NOTHING to do with it but are also shadowed by its grandiosity. In terms of size, as it's a twenty-minutes-long song, and in terms of quality, as their songwriting is lackluster, in counterpart to the maturity of the mammoth symphony. Summer '68 is mildly exceptional, as it retains somewhat the quality of the title track. In the end, that was a fair experiment to PINK FLOYD, as it would help them to choose their musical path. But that's ATOM HEART MOTHER's legacy: an album of transitory characteristics that I honestly believe only fans will really dig it. Don't get me wrong, I don't think it is objectively bad, it's just that it's not good enough to be actively recommendable to non-lovers of PF. So forgive me, my beautiful twenty-fours-minutes-long suite, but I can't be really any more merciful than this.

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 The Parallax II - Future Sequence by BETWEEN THE BURIED AND ME album cover Studio Album, 2012
4.20 | 242 ratings

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The Parallax II - Future Sequence
Between The Buried And Me Tech/Extreme Prog Metal

Review by Luqueasaur

4 stars Shout from the top of your lungs, "we're not just crappy metalcore", BTBAM...: 8/10

BETWEEN THE BURIED AND ME's metalcore tendencies fuse with a hyperactive technical death metal to create dynamic tracks that stray far from generic metal on THE PARALLAX II. I was truly apprehensive about giving them a shot because their annoying fan base kept idolizing them and "metalcore" scared me. But, as Wicket puts it on his review, BTBAM has a particular way of making non-metalcore fans enjoy their music, regardless of the listener's distaste for the genre. Mostly because they just take certain characteristics of it; their music is rooted on metalcore, but it also offers several other influences that, all fused together, stray far from the sameness, fake emotionality or immaturity the genre can connote.

Over an hour long, its dynamism and metamorphic rhythms, patterns, arrangements, and melodies - albeit not really different among themselves - was able to keep me actively hooked and particularly entertained. Granted I had little idea of what was going on, mostly due to the confusing lyrics or disorientating, boastful wall of textures, but it genuinely a good experience. Assuming I had been tortured by a "musical crisis" (I was having a hard time genuinely enjoying music) and they took me out of it, it's safe for me to assume that their output is pretty entertaining.

The band clearly opted to separate their avant-garde (due to lack of better term) highly technical extreme metal expression on the longer tracks, which are pretty obviously the limelight of the album. Highly eclectic, sonically intense and offering a vast array of sounds, there's no sleepy moments while listening to them, mostly because if you ever felt lightheaded the powerful lead guitars or the melodic rhythm ones would blast you back to your place, awake and well. The shorter tracks are mostly there for conceptual purposes, functioning as a tool of cohesion. They offer profound lyrics, perfect as a tool of immersion on the context BTBAM constructs. Musically, though, they fall short, I don't feel the band works well with softer music.

All's good so far, but I do have a critic. I felt the concept was poorly expressed. The lyrics are convoluted and cryptical, I barely could understand the general idea they were trying to propose. In my opinion, concepts, at least at its very fundamental level, should be easily identifiable on the first spin. Naturally, there's no issue with details being harder to spot, but the problem is that both the very structure PARALLAX II is based upon, as well its details, remained shady to me even after I finished the album.

THE PARALLAX II should be listened in its entirety at once. I can't imagine trying to give the songs a shot on shuffle, or individually, I feel as if its magic and pompously noisy capacities wouldn't be enjoyed to the max if done so. And, pretty obviously, more than one listen is imperative to really absorb it (although roughly all prog albums are like that so I'm sure you're aware of this condition). Nonetheless, I highly recommend giving it a shot. At once, or not, as you will, really, but just don't let the "this is metalcore" or "this is too long" prejudices fool you. BTBAM is pretty dope.

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 Goodbye To The Age Of Steam by BIG BIG TRAIN album cover Studio Album, 1994
3.37 | 151 ratings

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Goodbye To The Age Of Steam
Big Big Train Crossover Prog

Review by The Crow
Prog Reviewer

3 stars After two interesting demos, Big Big Train released their first full length album back in 1994. And the project started good!

I must say that the production of the album sounds professional. The only problem I find in terms of sound is the dated and unfitting sound of the keyboards in some songs. I think for their attempt to create a melancholic neo-prog approach to music the keys are too strident and too much early 80's oriented. And while in other acts like Pendragon or Arena that's not a big deal, in the music of Big Big Train sounds just incorrect.

Nevertheless, Wind Distorted Pioneers introduces correctly the style of the band, despite its dubious initial guitar melody. Melancholic melodies, piano-based sections and some folk elements. Pure Big Big Train! And typical is also Head Hit the Pillow, which starts with a long instrumental introduction with old-sounding keyboards. After that, at 2:28 we can hear an excellent chorus and good bass playing. Fine song!

Edge of the Known World is not so good, because the more rocking tracks of the album are curiously also the worst. Despite the good and complex initial riff and the neo-prog elements, this song is not remarkable. Landfall's start is also very neo-prog at the beginning, especially in the keyboards. After that we can find a beautiful song dominated by the excellent voice of Martin Read and acoustic guitars. The keyboard is a bit annoying in the chorus, but the inspiring guitar solo accompanied by a fine piano melody compensates that.

Dragon Bone Hill is a dreamy instrumental tune played with Spanish guitar and delicate keyboards, and it gives way to Blow the House Down. This song starts very beautifully, just voice and keys in the first two minutes. After that the track becomes a bit more conventional, but very good nevertheless. The instrumental progression is remarkable, and the great melody of bass and keyboards which appear at 4:09 too.

Expecting Snow is another harmless instrumental with Spanish guitar, but this time with drums and bass and some acoustic chords. Not really special. Blue Silver Red is also a bit irregular, with great sections like the one which starts with the words 'So sorry'', and others which are not so good, specially the rockier ones. Nevertheless, this song has another mature and intense instrumental work. This band was good since the very beginning!

Losing Your Way starts with an epic keyboard, and even more epic guitar melody, which leads to another good song. The fans of Marillion will be specially delighted with this one! The acoustic guitar solo is the top of the track, which ended the album in its first edition.

Because Far Distant thing is an extra song added in the remastered edition, obtained from the demo The Infant Hercules. Not a bad one, but pales in comparison with the rest of the album despite the good electrical guitar works which contains. And Expecting Dragons is a new track made specially for this re-edition with the actual line-up. Is a mixture between Dragon Bone Hill and Expecting Snow, adding Big Big Train's modern elements like flutes, strings, better production and D'Virgilio.

This reissue contains also a longer version of Losing Your Way, but I honestly prefer the original.

Conclusion: a good album from a very talented band! The true personality of the band is here, despite being their first official full lenght. So, the melancholic mixture of neo-prog, folk, pop and symphonic prog will surely delight not only the fans of Big Big Train, but also to curious listeners desiring to know the origins of this gifted group of musicians. In my opinion is also not a bad place to start with them!

The unfitting keyboard sound which ruins some sections, alongside some repetitiveness prevent this album to receive four stars. But It's a good album, even very good sometimes, and it has a great singer who sings very catchy vocal lines and a very versatile and delightful guitar work.

I'm willing to hear more of this band!

Best Tracks: Head Hit the Pillow, Landfall, Blow the House Down, Losing Your Way (short version)

My Rating: ***

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 Morte Di Un Amore by RANDONE album cover Studio Album, 2002
3.61 | 36 ratings

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Morte Di Un Amore
Randone Rock Progressivo Italiano

Review by The Crow
Prog Reviewer

2 stars I tried to like this album, but I obviously failed in the attempt!

The style of this album is like some kind of strange mixture between romantic Italian pop with some elements of progressive, symphonic and electronic rock. The production of the album is very good, and every instrument sound just fine. That what's my problem with this record? Let's talk about the songs.

Visione introduces the mood of the album, where the voice of Randone is the protagonist. The song contains good arrangements of keyboards, giving some symphonic feeling to the composition. I personally do not like the voice of Nicola, I find it just too strident and even annoying sometimes. He sings with passion his good lyrics, but I just can't bear his singing in this album! Sorry. The ending of the song has a fine atmospheric work with synthesizers, in the vein of Tangerine Dream but with tons of sound effects (wind, wolfs, cats?)

Il Pentimento Di Dio Dolo La Fine del Mondo is a reggae/ska song with not much to comment about beyond the weird vocals and ecclesiastical choirs. Tuttle le Mie Stelle is a romantic acoustic song with beautiful neo-prog keyboards after the chorus. Not really special, but one of the best tracks of the album nevertheless. L'Infinito is a bit darker, but pretty forgettable as well despite the fine guitar solo.

Un Cieco starts with the dolphin's cry, and it contains a good acoustic melody and strong and uplifting chorus. It's one of the most progressive songs of an album that's not really progressive, and also one of the stronger in songwriting. La Giostra is another dramatic song, which talks about the horrors of Auschwitz and contains one of the best instrumental works of the album, especially in the beautiful accordion section.

Strananoia is pure folk-rock with some influences of celtic music. It remembers me to the great Spanish band Celtas Cortos, but very far from their quality. Nevertheless, it contains an interesting final electronic-influenced section. Amore Bianco is another Italian pop-rock song with some fine guitars with slide, but which is not really interesting, leave alone progressive.

Morte di Un Amore is stronger since the beginning, containing some symphonic arrangements and good vocal melodies (despite the singing is so annoying as always) This time even the reggae is good, because it leads to a great electric guitar work and more instrumental and symphonic passages. This album is obviously better when Randone is not singing! And that's maybe the reason Morte di Un Amore is my favorite song of the album. Is the longest one and with the fewer proportion of sections with vocals. The long final atmospheric section bring back the melodies and the Tangerine Dream influences of Visione.

Conclusion: if you like romantic Italian pop, and acts like Franco Battiato, maybe you'll find Morte di Un Amore interesting. But don't expect something like Premiata Forneria Marconi or similar groups, because this album is not so progressive and it's also very far from the quality of this classics.

It's interesting and times, and I consider that Randone had tons of potential despite it's improvable singing. For this reason, I'm eager to hear more albums of this man. But I can't really recommend Morte di un Amore apart from Italian prog completionists!

Best Tracks: Un Cieco, La Giostra, Morte di un Amore.

My Rating: **1/2, rounded down to two stars.

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 Music From Left Field by CARTOON album cover Studio Album, 1983
4.11 | 14 ratings

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Music From Left Field
Cartoon RIO/Avant-Prog

Review by Harold Needle

5 stars "Music from Left Field" is the second, and - unfortunately - the last album by the crazy american drums-keys-guitar trio by the name of Cartoon. For this release, they actually have two "bonus" musicians, who play woodwinds and violin. And while this album shares some similarities with their debiut from '81, the addition of woodwinds and violin really puts Cartoon in a new, fresh perspective.

First of all, I believe that the new instruments made it much easier for Cartoon to fully express their weird, cartoonish musical desires. The goofy bassoon (or is it a bass saxophone? I'm not sure) and quirky, fidgety violin match Cartoon's vision extremely well. Secondly, "Music from Left Field" sounds much richer and even symphonic (to a certain extent), compared to a rather raw and crude debiut (which is a masterpiece anyway). Cartoon actually sounds a lot like Univers Zero on this album. I think the closest album to compare would be "Ceux Du Dehors" - very simillar, gloomy atmosphere, created by acoustic chamber masterminds. However - the band's name indicates the differences between them and UZ. While dark and scary, their music is also less serious, or - sometimes - even not serious at all. But the atmosphere and overall feeling are quite in the same vein.

This album offers a plenty of different moods - from heavenly, almost minimalistic ambient, through clumsy circus music (which should leave you scared of circuses for the rest of your life), symphonic music, complex disturbing chamber-prog, hypnotising free rock/jazz, pure goofiness, grand musical void... some moments will make you crack a big smile, while others will make you scared and paranoid. And the best thing is - most of them will make you BOTH!

My recommendation: get this album and wait for the night to come. Once it's dark outside, turn off the lights, lay down on the bed, close your eyes, and just let the music play. It's an experience worth at least a thousand circus tickets.

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