What an unusual album this is! It is a mixture of ELP-inspired progressive rock and Balinese traditional music. Sometimes the blend is clumsy but most of the time it's excellent and worth your time.

The album was put together in the mid 1970s by Guruh Sukarnoputra, the son of Indonesia's first president Sukarno. He teamed up with members of the group Gipsy to do this one-off album.

It features vocalist/bassist Chrisye and brothers Gaury (guitar) and Keenan (drums) Nasution as well as the talented keyboardists Abadi Soesman and Roni Harahap. Chrisye became a solo star in Indonesia a few years after this album came out.,

The first track Indonesia Mahardikka blends the pomp of nationalist sentiments along with loads of Keith Emerson like synth leads! Gamelan and angklong surface from time to time but mainly it's the Western music that dominates the fusion on this 15 minute track. The guitar solo reminds me of Mick Rogers' playing on MMEB albums.

Another high point is Chopin Larung with its haunting mixture of Western classical piano and Eastern themes.

I also like the frenzied, often hard-rocking Geger Gelgel and Barong Gundah which sees the music get really complex as a deep bass groove interlocks with dynamic, almost confusing gamelan runs.

Indeed it's not easy listening and I get a bit bored when the Balinese orchestra dominates on Janger 1897 Saka and Smaradhana.

All told a fantastic album that should intrigue anyone with prog curiosity. It seems a pity Guruh gave up on music to focus on dance. He then entered parliament and served for over 20 years!

I rate it alongside Giant's Giant On The Move as Indonesia's best prog album.

3.5 stars. GHOST were a six piece psychedelic/folk band from Japan who officially broke up in 2014. Their final live and studio albums were both released in 2007. An eight album run starting in 1990 with a consistent six piece lineup. While this is my least favourite of the four records I own by them, It's basically because this is the most straight up folk record of the four. It's almost like on this sophomore release they decided to get more serious and mature and as a result dropped the krautrock vibe from the debut, along with some of the gimmicks.

A 48 minute album, this was released in 1992 and features ten tracks. Vocals are male and in english. The song titles reveal that psychedelic spirit like "A Day Of Stoned Sunshine In The Union Zoo" which is where the album cover comes in. My favourite track is the longest "Orange Sunshine" at over 7 1/2 minutes. "Mind Hill" the closer is another psyche title. The opener "People Get Freedom" is the shortest at under 2 minutes and it's ethnic sounding and sparse before we get the title track and music that is more to my liking.

I just like their "sound" and spirit. A "live and let live" attitude embracing the spiritual. Psychedelic sunshine my friends. I'm bumping this one up as I truly enjoyed this one, despite feeling they did much better later on. While it never seems like I'm listening to a six piece band, I appreciate the flavours that are brought to the table, especially the flute. Great band!

Breathe Create Beauty - This is a strong introductory track, definitely sets the vibe for the album to come. It's an excellent opener as a short but well written piece. It feels triumphant and reflective, ducking me in and making me want to hear more.

Abode of a God - The intro riff is awesome, and that bass line is super cool. Throughout the song, the orchestration and piano feels very tasteful. They add to the riffs without taking up too much space. Additionally, the vocals are on point; they are a perfect mix of understandable and gravely. All of the arpeggio riffs are well composed, not feeling needlessly complex with interesting harmonies happening underneath. The clean vocals are pretty good as well. My only nitpick is that the whole song is constructed around almost exclusively arpeggio riffs, and although they're good I found myself somewhat wishing there was more variety.

Drop This Planet of Dust - I really appreciate the super heavy opening riff, and the keyboard solo shortly after is really fun. I think this whole intro shows that An Abstract Illusion knows exactly what kind of sound they want to cultivate. This whole song just feels good. I appreciate how concise it is; the sections flow together very well. It is all complemented nicely by a great vocal performance, both growls and cleans. I think the song is a great mix of heaviness and atmosphere.

Illuminate the Path - It has a pretty slow intro, but I enjoy it. It builds into a great verse section. I think it isn't quite as immediately compelling as the other two full tracks so far, but its riffs are still very strong. I am surprised how unique each riff feels. I mean, all the riffs feel distinct enough that I think I could easily identify which one came from what song. I'm a big fan of the use of keyboards on this song. Finally, this song has a perfectly proggy outro, one worthy of the progressive death metal label. Also, I can't get over that bass tone, it fits so well.

Vakuum - I think the intro to this track has the first real guitar solo of the album, and it shreds. I think this one feels like the best demonstration so far of just how skilled all these musicians are. They are clearly putting a lot of intention into the structures of their songs. Almost every section hits perfectly and never sounds exactly like how you would expect it to, in the best way. The slow break in the middle wasn't my favorite, but I do appreciate as a whole how they are balancing the intensity of the album. As with the rest of the album so far, I did not predict where it was going. The epic outro with orchestra hits also caught me completely by surprise.

Talvatis - Definitely a major vibe shift. This song sounds like it could be off of a Porcupine Tree record, but I think it is very effective as an interlude track before the real epic comes next.

Skeletons of Light - Once again, a great use of keyboards on the intro. The trading solos about a third of the way through the song are all incredible. It doesn't feel like soloing just for the sake of it, but rather like each solo and ensuing section was really vital to the larger narrative of the piece. I've said it about other songs on this album, but it just flows together very well. It sounds like we're walking through a dark forest, on our way off to war, but with our loved ones at our sides. Or something. This to me feels like the true end of the album, and the final bits of this song support this idea. It is just so triumphant, there is really no better way to describe the final riffs.

That's the album, plus the fun cover at the end. Overall, this was a real treat to listen to. There was not a single dull moment, and every scream, solo, and breakdown felt completely earned. Ultimately, this is really good music, not much beyond that I can say. 8.5/10

Hugely Promising Debut

I Heard From Lavinia is the unusual moniker of a young singer-songwriter from Milan by name of Lavinia Giancaspero. Milan certainly seems a vibrant scene these days! The debut album is described by the artist as follows: "This Room Has No Doors is a concept album that sees love addiction as its central theme, that emotional state on the border between love and obsession that can lead one person to love the other in a totally unconditional and toxic way, regardless of any kind of abuse suffered on the part of the partner, establishing a real addiction to them. In the course of the songs we find moments in which the protagonist recognizes the harmfulness of the relationship and others in which she expresses her feelings towards her beloved. On the one hand there is a great craving for closeness, and on the other there's fear and desire of detachment from a clearly destructive situation. The empty room, with no way out, therefore becomes a metaphor for the mind and obsessive thoughts that cannot be controlled and from which it's impossible to escape." Heavy stuff.

When I first heard Lavinia, I was initially most reminded of Fiona Apple. Vocally, somewhat, but also in terms of her eclectic songwriting, the attitude, the mix of playing styles, and the darker shade of emotional atmospheres. Like Apple, she has a truly unique style and range with songs that leave you feeling slightly off-kilter or ungrounded, uneasy. "Prelude" is a haunting opener to the album with a cinematic sparseness that cues you to be ready for something big coming. It drops into "Funny" and, again, I'm reminded of the early tracks from Apple with similar lyrical notions ("It's so funny, but I'm not laughing at all") to high-end technical grooves as we heard from the likes of Jon Brion and Matt Chamberlain on Tidal. Here I believe it is Santi Banks who is Lavinia's primary sound collaborator. "Funny" is slow and sultry and just a bit of jazziness, and everyone in the band just smokes in a most tasteful manner. The arrangements and sound quality are similarly top notch.

"If we're going to drown in the abyss, shall we dance anyway?"

"Persistence" is a straight-up perfect piece of poetry delivered beautifully against competing sinewy, vibrant guitar leads and then swelling strings, an emotional powerhouse of a song. "Oblivion" is no less lyrically dramatic, but the music shifts to a catchy, almost Garbage/Shirley Manson type hard electronica vibe. The final three tracks shift down a gear. "Skeletons" and "Old Pictures" both feature slow-burn piano storytelling, gorgeous and always a tug on my heart. She stacks her vocal atop each other on "Old Pictures," self-harmonies that are truly ear candy. "Sinewave" also features slow piano but with a big wave of Insurgentes sounding swell rushing up the middle. (I believe she is a Wilson fan.) Sometimes debut albums have a hard-to-define flavor that comes from that indescribable springtime of youth, with its limitless artistic enthusiasms, and/or from just old-fashioned beginner's luck. Tidal was one. The Kick Inside. Song to a Seagull. This album may or may not be as good as such classics---I would say not quite, frankly, but that's for your taste to decide---and yet it is very much a great debut that enchants in a way that will make you sit up and notice. As of this writing, a CD version is still available on her Bandcamp page, and it features lovely artwork to boot.

When this album first appeared, its cover art filled me with trepidation. COMMON GROUND had looked bad enough, and now Big Big Train seemed to have gone the whole hog, using pure mid-1970s Jehovah's Witnesses ('The Watchtower') style.

As for the music... I still have mixed feelings about it. If anything, WELCOME TO THE PLANET reminds me of such latter-day Caravan albums as BETTER BY FAR, by which I mean: the band's most innovative soloists having flown the coop, there still is space for one or two haunting and quite a few inconsequential songs (in Caravan's case, I consider 'Nightmare' first-rate), and there may even be one or two instrumentals (once again, with Caravan I really appreciated 'The Last Unicorn').

So what have we here, exactly? 'Made from Sunshine' seems to be BBT's equivalent of Stevie Wonder's 'Isn't She Lovely', while 'The Connection Plan' sounds like angst-ridden, violin-driven, mid-seventies 10cc-style 'soft rock'. Matters improve with 'Lanterna', which is a charming ballad with splendid vocal harmonies, and with the touching 'Capitoline Venus', which mainly consists of acoustic 12-string, mellotron and David Longdon's lead vocal. 'A Room With No Ceiling' isn't bad either: a quirky, bass-driven instrumental which turns into a little march that reminds me of National Health. On 'Proper Jack Foster', Longdon's voice sound warmer and more soothing than I'd ever heard before - which makes it all the more sad that this was to be his last studio recording with the band. 'Bats in the Belfry' is a lively instrumental that somehow reminds me of the Who's 'Sparks' (a.k.a. 'Underture'). 'Oak and Stone' is yet another nostalgic ballad with lovely vocal harmonies and very lush mellotron - but then - my goodness what just happened? - Carly Bryant's title track is an out-and-out scary song (about childlessness, it seems); it ends the album on a deep sigh.

Taken all together, I'd say WELCOME TO THE PLANET is an O.K. product which can't hold a candle to earlier and far more ambitious BBT albums like ENGLISH ELECTRIC (parts 1 & 2) or FOLKLORE. One wonders what direction the band might have taken if only David Longdon (and perhaps Carly Bryant as well) had been available for future releases...

KARFAGEN - OMNI (2025)

Review by Roman Gorielov (https://linktr.ee/romangorielov)

What can I say... Here is Antony Kalugin's new album, OMNI (2025). Let's listen - and think.

The album cover sets the mood instantly. Its central triangular figure evokes classic prog imagery - clean, symbolic, and unmistakably rooted in the genre's visual heritage. A simple yet effective design that prepares the listener for a conceptually rich experience.

Track-by-Track Impressions:

1. Omni Overture

The album opens with a grand overture that establishes the mood and outlines the journey ahead. It's cinematic and purposeful - an invitation into the world of OMNI.

2. Storyteller (Part 1)

And then - Richard Sinclair starts singing. Yes, that Richard Sinclair (Caravan, Camel). His voice is instantly recognizable, warm, and melodic, creating a powerful link between the golden age of prog and the modern scene. A wonderful, unexpected gift to longtime fans.

3. Whispers from the Past

Antony and Olha share vocal duties here. The chorus is emotionally profound - what I like to call "global music" - music that resonates deeply and universally. A strong and memorable piece.

4. The Spark

Per Malmberg brings a fresh dynamic to the album's progression. The arrangement is detailed yet clear, with excellent instrumental interplay and precise mixing. A vibrant track full of musical "events", yet never overwhelming.

5. Masterplan

No pause - this track flows directly from the last. Antony sings in his signature "conversational" style. The refrain - "Masterplan? Masterplan?" - is hypnotic. A sharp guitar riff gives way to soft chords and a delicate keyboard solo. The slower section is smooth, melodic, and memorable.

6. Mirror of Souls

A majestic instrumental that begins with a piercing, melodic grace. And yes - that's John Hackett on flute. A gift of a performance.

7. Unchained

A solemn opening gives way to Jean Pageau's rich vocals. The dramatic guitar lines are measured and impactful. The track builds into something monumental before transitioning, surprisingly and beautifully, into a lush melodic section. A highlight of the album.

8. The Cards We Play

Things only get better. The melody soars, and Marco Glühmann's voice enters - instantly gripping. The verse builds intensity, supported by expressive basslines, and then comes the chorus: unforgettable, catchy, and emotionally resonant. You'll find yourself humming it in the kitchen :) One of Antony's finest compositional achievements, and Marco delivers it with brilliance!

9. You and I

Bartosz Kossowicz adds a new emotional color with his distinctive vocals. A sleek, stylish track that adds depth and dimension to the album's soundscape.

10. Storyteller (Part 2)

The finale. Richard Sinclair and Antony Kalugin return for a beautifully lyrical duet that feels like a warm farewell. It's optimistic, reflective, and forward-looking - a calm and confident closing chapter. The mood is elevated, encouraging thoughts of discovery and new horizons.

Final Thoughts:

At just 45 minutes, OMNI manages to take listeners on a remarkably expansive journey. Its blend of rich melodies, conceptual depth, and diverse vocal talent creates something both classic and contemporary.

Antony Kalugin has crafted more than an album - he's built a bridge. OMNI connects the art rock traditions of the 1970s with the textures and sensibilities of modern neo-prog, without remaining static in either realm. It flows, shifts, and evolves - showing all the beauty of prog and the enduring power of music to move and inspire.

Rating: 5/5

A must-listen for prog fans old and new. If you love melody, craftsmanship, and thoughtful arrangements - this is for you.

P.S. A round of applause for all the instrumentalists - professional, driving, and tasteful throughout. A phenomenal collective effort.

I am excited by the album I am about to listen to for the first time today, Magic Pie's new album "Maestro". Kim Stenberg and company last released an album back in 2019, so we are quite ready to delve into some new musical adventures from them.

Disclosure for transparency. After posting my Spotlight on Magic Pie 2 months ago in March of 2025 (Which I will post below the review), Anne-Claire of BadDog productions reached out to me to review and feature some of her artists, but there is no compensation outside of digital files of the music for review purposes, and I choose what I want to write about, and express my opinions freely. I am free to post about any artist, regardless of whether they are represented by her or not.

With that out of the way, let's get a taste of some new Magic Pie! (As usual, this is a cold listen, with the exception of Everyday Hero, which I have heard once.)

Here is the line-up for this outing:

- Kim Stenberg / guitars, vocals - Lars Petter Holstad / bass, vocals - Eirikur Hauksson / lead vocals - Martin Utby / drums - Eirik Hanssen / vocals - Erling Henanger / keyboards, vocals

This is the same lineup as the 2019 album, with the exception of Utby taking over on drums from Jan Johannessen.

Track 1 - Opus Imperfectus Pt. 1, The Missing Chord

Yay! We jump right in with an 18:29 epic. (The album ends with the much shorter Part 2 of this song.) We begin with a low drone, and brass instruments and some subtle cymbal taps. Do we have a full orchestra here? String sounds join in as well, joined by harmony vocals in a choir like manner. A crescendo brings the full band in shortly after the one-minute mark. They play a glorious introduction with some great drum fills from Martin Utby. I believe they are establishing a theme that we will return to throughout the track. There is an amazing unison run on guitar and keys at around the two minute mark. A cool odd-meter groove begins around 2:15. Great piano at around 3 minutes. We go back to a moderately slow 4-4 at around 3:30. Some more lovely piano playing at around 4:00 leads in the vocals for the first time which begin at around 4:15. I love how prog intros often outlast entire standard songs! The first verse has acoustic strumming with 4 on the floor bass drumbeats. Gradually more instruments enter, along with vocal harmonies. The style is best described as such: if Dream Theater, Spock's Beard and the Flower Kings each represent points of a triangle, Magic Pie is in the center of the triangle. There is a nice instrumental turn around between verses at around 5:30. At about the 7-minute point, the tempo slows down and there is a brief instrumental feature. That leads to a very quiet section with vocals and string sounds (perhaps mellotron). The keys continue as Stenberg's guitar takes the spotlight with long sustained chords. The band kicks in heavier at around 8:45. There is a cool siren effect that brings the vocals back in. Eirikur Hauksson has a powerful and slightly gruff tone; he carries the melody well. I like the heavy riff in this section. Cool accent at around 10:10. A new groove begins around 10:45. It gets a bit jazzy, with an electric piano solo. Utby and Holstad keep a tight rhythm for the soloists, as Stenberg returns on guitar. Nice shredding at 13:30 as the groove begins to rock out again. By 14:50 we are getting seriously proggy, and getting a bit more into the DT part of the triangle. Don't get me wrong, everything is pure Magic Pie magic, but I am just providing a point of comparison. In the section around 16 minutes and beyond, there are deep, rich, harmony vocals that remind me of a men's choir. The key changes on the final vocal harmony chord, and synth tones fade out, bringing the amazing opening epic to a close.

Track 2 - By the Smoker's Pole

A few sustained guitar notes begin the song, and the lead vocals soon join in with accompaniment from electric guitar and electric piano each making use of a tremolo effect. Very bluesy at the beginning. More instruments, including bass enter at around 1 minute for the second verse. Nice harmonies around 1:20. They return around 1:50. The drums kick in around the 2-minute mark, but only briefly. They kick back in heavier at 2:45. A melodic guitar solo follows. Nice choir-like effect on the keys! Amazing scale runs at around 3:45. Sustained notes close out this relatively short track. Nice song!

Track 3- Name It to Tame It

This one is a bit longer at 7:10. This starts right out with the full band rockin'! Excellent solo from Stenberg. This one is giving me Deep Purple vibes. Great guitar fills between phrases. Henanger also gives us some fill on the keys. This one rocks hard! Until about 2:40 when it suddenly gets quieter and the keys are featured over a tricky groove. Harmony vocals take over on top of the same groove. We get heavy again at around 3:25. A keyboard solo happens around 3:45, followed by a shredding guitar solo from Stenberg. The riff at 4:20 is awesome! Lots of energy in this one! After a bridge, Stenberg continues his guitar masterclass. What a rocker! Great track!! File this one under heavy prog!

Track 4 - Kiddo?

This is by far the shortest track at only 2:12. It begins with a slow fade-in of wind effects. Keys join, then an acoustic guitar starts strumming along with flute-like sounds. The vocals enter at around the 1-minute mark asking, "Who are you kiddo?". Beautiful harmonies around 1:25. This seems to be warning young people to be wary of "multi- media influencers". Nice short track that leads to?

Track 5 - Someone Else's Wannabe

This is the second longest track at around seven and a half minutes. We begin with a power chord then a swirling keyboard part. More power chords lead to harmony vocals. A very complex run at around 20 seconds leads to a new section. What a dynamic intro! Around the 1-minute mark the first verse begins. Cool groove at around 1:30! Then amazing, panned left and right backing vocals that seem to float above the music somehow! I love the turnaround parts between verses. This is another high-energy song! I am loving this. There is a quieter bridge to give some contrast. This is followed by a smokin' organ solo! Then he switches to synth for some odd-meter prog- tastic playing with Stenberg on guitar. Another quiet section follows as we approach the 5-minute mark. There is a spoken voice saying something I can't make out in the background. Maybe a band member might be kind enough to shed a little light on that? Another spectacular guitar solo follows. Then a closing chorus followed by a keyboard part that fades the song to a close.

Track 6 - Everyday Hero

As the lead-off single, this is the one track I have previously heard. The intro reminds me of "Desperate Times" from Kansas' "Freaks of Nature" album. The vocals come in soon after. This one has a feel somewhere between classic hard rock and 80s commercial metal. Fantastic, stacked harmonies in the pre-chorus. The vocals at 2:10 have a new-wave vibe. I can pick-up some Styx in there too! Stenberg continues to dazzle on guitar as does Henanger on the keys. I just figured out why I keep getting Deep Purple vibes too?Hauksson's voice reminds me a little of Ian Gillan. Superb guitar tag at the end! Another great track!

Track 7 - Opus Imperfectus Pt. 2?Maestro

And we close the album by returning to the last 4:17 of the opening epic. Echoey sustained guitar notes lead the vocals in. More great harmony singing at around 30 seconds and a drum fill leads the rest of the band in. The lyrics "Maestro, your masterpiece remains your legacy for future generations, for all time!" seem quite appropriate here, as Magic Pie have delivered an amazing album, that might even be their best one yet! And I have enjoyed every album they have put out up to this point. The arrangement of this song is incredible. Stenberg needs more recognition as a top-notch guitarist! He continues to impress, as does the rest of the band. I love the harmonized guitar parts with the big half time feel as we reach the close, they land on a minor chord after the triumphant major key segment, and keyboard parts close the album out. Wow, what an amazing finale to an incredible album.

OVERALL IMPRESSIONS:

As I mentioned above, Magic Pie have delivered a masterpiece that shows them worthy of being mentioned alongside fellow Scandinavians The Flower Kings, as one of the great modern prog bands! I loved every moment of this album. I would be remiss if I did not mention Jacob Holm-Lupo's masterful mix-job, well done! If you enjoy a hard rock edge to your prog, I recommend checking this album out without reservation; I'll even encourage it. 2025 is a great year so far to be a prog fan, with so many major releases. But definitely make sure this one is on your list to buy or stream! This is an easy 5 out of 5 stars.

The Electric Light Orchestra found much success in the seventies with their unique combination of pop and classical music, augmented by a dominant string section. Jeff Lynne soon became the driving force of the band, but ELO actually started as Lynne and Roy Wood's creation an offshoot of The Move (which was still in action at the time); the latter left soon after this debut.

Wood, who seems to be able to play every instrument available, and Lynne, share credits and singing here, while the strings are very raw, the cellos constantly chopping and hacking, giving the impression of string-laden lumberjacks, but they have quite a dramatic and fascinating presence, and it also helps that some of the material, particularly Wood's, is very melodious; his "Look At Me Now" and the wonderful instrumental "1st Movement" are two of ELO's best songs of all, while Lynne's opening "10538 Overture" is also a classic. However, it does have uneven moments - "Battle Of Marston Moor" works in places, but not as a whole, and the record loses its unique flavour a bit on side two, which is somewhat more perfunctionary, although Wood's concluding "Whisper In The Night" is quite lovely.

All the same, this is one of the more fascinating and revolutionary debuts around, and well worth pursuing, but from here on in, Lynne took control, and with a few more changes to come, found much fame with many successful releases, featuring a much more streamlined approach, and none sound quite like this.

4.0

Considering I associate mirages with blistering hot climates (deserts etc.), it was a surprise to me that the second album I tried from Klaus Schulze ended up being one of the coldest albums I've ever heard. Composed of just two tracks - both nearly thirty minutes long - "Mirage" feels like the soundtrack to a journey through some sort of digitalized winter landscape, and not one of those happy 'Winter Wonderland' types either. These soundscapes are the polar (ha) opposite of inviting. Instead, they're chilling and ruthless, and despite being texturally dense, still evoke a sense of desolation in all of their mechanical glory.

While I do want to summarize the overall atmosphere of "Mirage" as I've just done, I should also point out that it is not just an hour long trudge through unpleasant synthesizer passages. The first six minutes of the second track consist of little more than several layers of cascading synthesizers, but are they gorgeous. The track evolves further from there, but this first movement, entitled 'Xylotones', truly captivated me and is easily the album's best moment.

It feels like a bit of a boneheaded move to listen to this as the winter fades and spring approaches, but I still felt enveloped by the wintry mood that "Mirage" creates despite listening in the midst a shift away from the season it's meant to portray. I probably would have gotten more out of the experience had I given it a try at a more fitting time of year. Still, if it can make me feel like there's 3 feet snow on the ground when in reality there isn't even a puddle, then it's certainly accomplished something.

4.5 Klause Shulze was definitely one of the fathers of electronic prog.

The Indonesian prog scene of the 1970s does have some bands and albums worth checking out. I think Giant Step's Giant On The Move and Guruh Gipsy's self-titled album are probably the best, and there are also some other good albums by Abbhama and God Bless.

Before all that came Shark Move, who released this record in 1970. Its main songwriter Benny Soebardja was also to lead Giant Step later.

Shark Move's sole album is very raw and unique, yet I think it's a fantastic time capsule. The category may say symphonic prog, but this is clearly heavy psychedelic rock with a lot of fuzz guitar from Benny and great organ playing from Soman Loebis.

It does take some patience though. The downside is that the album was poorly recorded and has a demo feel. It sounds poorly mixed at times and there are issues with the drum sound and other things like broken English and occasionally offkey vocals. It also has three songs in English and four more straightforward ballads in Bahasa Indonesia.

Despite all this, it begins with a wonderful song called My Life. Careening along for nearly nine minutes through guitar freakouts and organ breaks and some tasteful flute, it has a lovely melody and plaintive existential lyrics.

The next best song is Evil War, which captures the anti-Vietnam War feel, and has some great keyboard. However the second half of the album is a bit dull because it has three ballads in a row.

Aside from the album being in two languages, another thing that makes it schizophrenic is that there are five different lead singers on the seven songs, as Benny and Soman alternate with bassist/flute player Janto Diablo, drummer Sammy Zakaria and manager Bhagu Ramchand!

So I don't quite know what to say. It sounds like I am not recommending it highly, but I really do think the high points are worth an investigation.

Maybe you should listen to the more polished Giant Step first and then come for this. Or at least track down just the song My Life to get an idea of what's in store.

This album has some really fantastic moments when it flirts with other genres, like the rising proto-metal opening riff of "Hello Susie", the classically influenced, quasi-Genesis-esque second half of "Cherry Blossom Clinic Revisited" and the sublime raga rock that overtakes the final few minutes of "Fields of People" (which bears a slight resemblance to the coda of "Baba O'Riley" to my ears). I also like the idea of the little snatches of conversation that punctuate the album, since they give the album a semblance of self-awareness that differentiates it from how most progressive rock bands of this era approached their music. All that said, there's just not quite goodness here for me to consider it a classic - more specifically, there are two real clunkers here in the form of "Beautiful Daughter", which is half as long as the second shortest song here yet somehow feels longer than every other song except the disc's other misfire, the shambling blues of "Don't Make My Baby Blue", which at times sounds like the vocals were imported from a completely different song.

4.0

The Move are well known for having had Jeff Lynne in their ranks but he would not join the band until after their second album. In fact, they would get considerably heavier and more rock oriented moving forward, which I wouldn't expect from Mr. Lynne due to his more pop oriented work with ELO after he left The Move. Anyway, this is good. I find it to be slightly overrated though, especially considering the people who have decided to call this a lost psych pop classic. It is mostly in a pop/rock vein with some psych and baroque influences, especially in the B-side. The A-side is decidedly less psychedelic and sounds a lot more like beat music to my ears, a sound that was about 2 years past it's sell by date at this point. Some of the A-side reminds me of what the Who were doing in 66/67. Anyway, I like most of this but I think it would be woeful to call this a psych pop masterpiece.

Review Nº 894

"Dark Side Of The Moon" is an EP of Dream Theater and was released in 2006. It's a cover album made by Dream Theater about the original album, "Dark Side Of The Moon" by Pink Floyd that was released in 1973. As with many Dream Theater's releases, some extras have been packed into this album to add value to it. So, a selection of bonus live performances has been added to it. All are Pink Floyd's covers that the band has performed in several live shows.

As we know it's usual Dream Theater perform on their live shows many songs from many of their favourite prog rock bands. As a way of providing something different and special to their fans, Dream Theater began a series of live covers shows in 2002. Usually, the band performed two nights in the same city, and dedicated part of their second show to cover entirely classic albums. With the advent of their official bootleg label, some of these live performances have been immortalized on albums, like "The Number Of The Beast" of Iron Maiden, "Master Of Puppets" of Metallica, "Dark Side Of The Moon" of Pink Floyd, "Made In Japan" of Deep Purple and "Larks Tongues In Aspic, Pt. 2" of King Crimson.

The EP "Dark Side Of The Moon" is divided into CD 1 and CD 2. CD 1 has the entire live version of the original album. It showcases the band's 25 October 2005 Pink Floyd's "Dark Side Of The Moon" album, performed in its entirety at the Hammersmith Apollo in London, England. CD 2 has seven tracks: "Echoes Pt. 1", "One Of These Days", "Sheep", "In The Flesh", "Rune Like Hell", "Hey You" and "Comfortably Numb". "Echoes Pt. 1" is from "Meddle". It was recorded at the Tower Theater in Philadelphia, Pennsylvania on 2 April 2004. "One Of These Days" is also from "Meddle". It was recorded in Rotterdam, Nederlands on 18 January 2004. "Sheep" is from "Animals". It was recorded in Los Angeles, California on 9 March 2006. "In The Flesh" is from "The Wall". It was recorded in Berlin on 26 February 1995. "Rune Like Hell" is also from "The Wall". It was recorded in Poughkeepsie, New York on 30 December 1998. "Hey You" is also from "The Wall". It was recorded in Paris, France on 25 June 1998. "Comfortably Numb" is also from "The Wall". It's a special version because it was performed with Queensryche. In 2003 Dream Theater worked with Queensryche on a lengthy summer tour. So, this is a version with two singers, three guitarists, a keyboardist, two bass players and two drummers.

Not much needs to be said about "Dark Side Of The Moon". It's a landmark album of Pink Floyd and a landmark of the progressive rock music too. It's one of the best prog selling releases of all time and it's also one of the most influential albums of one of the most influential progressive rock bands in the world. It belongs to the famous trilogy of Pink Floyd albums with "Dark Side Of The Moon", "Wish You Were Here" and "Animals" which are generally recognised as some of the best progressive albums ever made. It's also because Pink Floyd is one of the most famous and respected progressive rock bands in the world beyond the universe of the progressive rock music. Everybody has heard of them.

This is probably the best album of their official bootleg cover series. The band seamlessly and almost effortlessly transitioned from track to track as if they had written the album themselves, and no less, in a real live setting. It truly showcases the band's appreciation and admiration for such a classic album of one of the best prog classic bands ever. They do not foist the solos, tempos, or intricacies that made this album what it really is. The band restrains and plays the album virtually note by note, fill for fill, tempo for tempo. Labrie does a surprisingly stellar job. The vocal lines seem to be perfect for his range. However, Labrie's performance ultimately is what keeps this from being a perfect cover, although it's more than enough, as his overall performance is one of his best I've ever heard. The slide guitar parts in "Speak To Me/Breathe" are provided by Jordan Rudess on his keyboards, maintaining their original luster. His solos in "Any Colour You Like" are also phenomenal. The vocal solo for "The Great Gig In The Sky", as well as backing vocal parts for other songs, was perfectly done by Theresa Thomason. Her stunning replication of this powerful aria sends shivers down my spine, as will the crowd's response to her. She received, literally, the loudest ovation on the entire show. On "Money" and in other parts, the saxophone of Norbert Stachel adds a bit of nostalgia to the final mix.

Conclusion: This Dream Theater's version of "Dark Side Of The Moon" is amazing. The band is faithful to Pink Floyd's original vision, holding back from the kind of instrumental virtuosity that typifies their original material. The band is joined by the guest vocalist Theresa Thomason on "The Great Gig In The Sky" and the saxophone of Norbert Stachel on "Money" and "Us And Them", who substituted Clare Torry and Dick Parry on the original version. Additionally, the extra live performances on CD 2 are also excellent and complete this album. Dream Theater can't be accused of never giving their fans as much as possible. As an official bootleg, the sound quality is excellent and proves that Dream Theater has ensured that their fans are able to witness some of the most unique performances the band had to offer. So, this is an enjoyable release that should be interesting to Pink Floyd's fans and as well Dream Theater's fan base.

Prog is my Ferrari. Jem Godfrey (Frost*)

Pink Floyd mixed by Steven Wilson, the prog mastermind who reveres them as much as his own musical DNA. The ultimate version of unbridled experimental rock from Floyd's psychedelic heyday. Dialogue and other interviews have been removed to delve deeper into the musical crater. The film's restoration is handled by Lana Topham, resulting in a striking visual.

'Pompeii Intro' with a stronger, Wilsonian vibe, I would say, is definitely a Steven mix. 'Echoes - Part 1' from 1971, the two-part 'meddle' with its nightclub vibe around the 8-minute mark, and a souvenir from my cousin, Pink, is also a memory box. 'Careful With That Axe, Eugene' for the ultimate apocalyptic psychedelic surge, the clear, pervasive sound; purists will feel like they're hearing a new album, while fans will note the perfection of the original sound. 'A Saucerful of Secrets' for the famous views of the volcano, the flow of living lava against a backdrop of Nick's eruptive pads, with the piano seeming out of tune and the guitar mimicking a plane in distress. The final Olympian, Pompeian ascent.

'One of These Days' and the check of the mix work with the drums in front, behind, and on the sides, accompanying the keyboard above and below, the perfect omniphonic joy. 'Set the Controls for the Heart of the Sun' and the second personal memory, my essay in French with a teacher who let loose a bit by revealing herself, proposing the album as a dissertation topic. The opportunity to regress to Atmos 45 years later with this track as oriental as possible. 'Mademoiselle Nobs' as an interlude à la 'Seamus' with canine blues to settle down before returning to 'Echoes - Part 2' and its crows and sinister atmosphere; It's on these more psychedelic, soaring tracks that we truly appreciate the instrumental purity.

Note three alternative and unedited tracks on the CD and vinyl editions: 'Careful With That Axe, Eugene' in a more explosive mode, 'A Saucerful of Secrets' in an experimental extension mode, and 'Echoes - Part 1' in a potential radio edit, just to dream a little more.

A pure moment of regressive nostalgia that would make you want to upgrade to a proper stereo system to appreciate current musical technologies, erasing the blur and the breath of recording to retain only the spirit of the musicians in action. A testament to today's youth.

I assume that you were waiting for the latest album by Glass Hammer in some way. Why do I assume? Although sometimes we say sarcastically that what can old hands do, what can they surprise us with, that it will probably be the same again... however (and please admit it to yourself) when such an album appears, we reach for it somewhere in the privacy of our homes to really convince ourselves whether it is as we expected, or whether there is something exceptional, surprising, some breathtaking novelty among the new songs.

You can like Glass Hammer, you can dislike them, but one statement cannot be disputed: they are, without a doubt, a legend of progressive rock in the American version. Although, in fact, a better description would be to say that they are an icon of American progressive rock. If someone asks about the most distinguished progressive rock bands from the New World, Glass Hammer will undoubtedly be among such aces as Rush, Styx, Spock's Beard, Dream Theater, Tool, Echolyn, Kansas. There is probably nothing else that can be said about a band that has twenty-two full-length albums to its credit, including: "Perelandra" (1995), "Chronometree" (2000), "Lex Rex" (2002), "Culture of Ascent" (2007), "One" (2010), "Valkyrie" (2016) and a trilogy consisting of the albums: "Dreaming City" (2020), "Skallagrim: Into the Breach" (2011) and "At The Gate" (2022). The albums listed above do not claim to be the best in any general summary, but in my personal collection they have their deserved place.

Let's consider another "myth" related to Glass Hammer. The band does not present its symphonic and strongly prog-rock face on all of its productions. It cannot be pigeonholed as a band playing symphonic rock. Although one could come to such a conclusion after listening to the Skallagrim trilogy, where strong, almost metal riffs intertwine with keyboard playing, right after the release of the trilogy, their portfolio includes, for example, the album "Arise" (2023), which is an excellent example of "musical exercises" carried out within the style that is usually called space rock. Over the years of its existence (the band's beginnings date back to 1992), Glass Hammer has presented songs on its releases that can be pigeonholed in many ways. And on the latest album - "Rogue" it returns to... melodic songs. I will risk saying (of course, only for the purposes of this description) that on the album we are dealing with a "new" musical genre - synth-prog. In the case of this release, synth-prog is a "mixture" of the styles of Mike Oldfield, Tangerine Dream, symphonic rock, neo-prog and music from the eighties (like new romantic and the like). And I can already feel the breath of ardent fans of progressive music in its "pure" form on my back.

Rogue tells the story of one man's fateful journey. "He leaves everything he knows behind him," explains songwriter and band founder Steve Babb, "?and thinks he's coming back to a place where he once knew happiness, but in reality his odyssey takes him somewhere completely unexpected." Babb explains that the ten-track album explores themes of regret and the mortal clarity that comes with age. "?It's a heavy subject for an album, but the music isn't as heavy as our recent releases. Rogue is much more like the Glass Hammer albums that our fans call 'classics.'" That's as much as the band's description of the album goes. And it's probably the music that's the most absorbing element on this record. It surprises with its stylistic combinations, unusual sound and a certain simplicity of arrangement, which (at least in my case) brings the intended effect ? delight in the melodic softness, simplicity of the message and melodic nature of the song.

And what happens if the first track on the album, "What If," sounds like something from the good, classic days of Mike Oldfield combined with the first Glass Hammer albums? The answer is very easy. We get a very cheerful song (with an almost one-minute instrumental introduction), which in its atmosphere resembles romantic synthpop compositions from the eighties. Just don't think that this is taking the proverbial easy way out. Just wait until the third minute for the guitar solo breaking through the delicate, electronic melody to make us, whether we want it or not, immediately let ourselves be seduced by the murmurando lurking in the background and the polyphonic vocals.

And please do not adjust any players because "The Road South" does not allow for even a moment of break. It captivates with the calm sound of synthesizers, which in some way bring us closer to what can be described as a symphony of spheres, and whose apogee is a half-minute guitar solo and the following delicate development of this vocal-guitar story. Maybe it's Alan Parsons, maybe someone else... or maybe it's a somehow changed Glass Hammer...

If you like clear bass guitar passages, then the third track is just for you. "Tommorow" will certainly delight lovers of clear organ lines and... bass, which plays almost its own solo fragments. The organ and bass occupy the entire space of this composition and pull it towards endless contemplation of heavenly beauty.

The song "Pretty Ghost" is a certain breakthrough. Drum rolls and booming bass, electronics, Olivia Tharpe's voice, synthpop rhythms from the eighties. Carefreeness, penetrating rays of sunlight, some subcutaneous joy. And when it seems that we are dealing with some ordinary pop song, in the middle of the song keyboards appear, which from something thoroughly pop create a slightly symphonic mix combined with an unusual, pop vocal.

It is similar with the song "Sunshine". Thanks to the guitar playing in the background, the ballad-pop song gains some drama, which contrasts with Olivia's "innocent" vocals. We are again in music from the eighties, but the guitar solo smoldering in the background is disturbing and absorbing, waiting for the finale, which is a flowing calm.

"I Will Follow" ? this is, in my opinion, the biggest hit from this album. It is proof that the band is still able to write a very catchy song, which, thanks to the balanced combination of two vocals and music, will find its place on every radio station in every music band. And while you're at it, please listen to the band's first albums, I think you'll find a few references.

I hope you haven't even had time to move, frozen in your listening, because it's time for "The Wonder Of It All". It's over seven minutes of travel in space and time filled with wonderful musical passages. I'm not kidding. A slightly cosmic atmosphere, mystery and? the desire to break away, to take off into the world of countless images and associations, into the world of contemplation and amazement at the harmony of the universe. This song simply overwhelms the listener with its majesty.

Please don't stop dreaming... "One Last Sunrise" not only creates an opportunity for this, but is simply a musical dream played. A three-minute, synthesizer, instrumental dream or a sweet dream if you prefer.

Another composition from the album "Rogue" - "Terminal Lucidity" - begins with electronics from the eighties. In several interviews, the band's leader Steve Babb said that his dream on the previous album ("Arise") was to create a composition in the style of Ozric Tentacles. And this is exactly how "Terminal Lucidity" begins - spacey, cosmic, psychedelic. The middle of the song is already "a different story" - heavier, guitar, krautrock. Distorted keyboard sounds, solos in high keys, a load of almost experimental music - as if a tribute to the group Tangerine Dream. The incredible atmosphere is complemented by the words that appear only in the eighth minute: "(...) I had a dream / My life, it seems, is the setting course of the sun / I know it began in brightness / and now the ashes and dust I hear calling me". Please listen carefully to this piece in its entirety - it is almost a musical space odyssey.

The album ends with the song "All Good Things" - a treatise on things past, on the past itself, on everything that will never come back. And at the same time an expression of hope that comes with another sunrise. It is a very optimistic song to end with. One would like to say... to leave. And when you finally think... about halfway through this eight-minute song, that this is the end, the synthesizers begin their story. They destroy this original atmosphere of the ending, and after a moment of anxiety, they lead the listener back to a land where everything seems possible, so real and easy to do, to achieve. Just follow this path... you will surely succeed.

If you now demand that I write a few words to sum it up, I would like to say that I am angry. Angry? because I can't tear myself away from it. Angry because it destroys my previous image of Glass Hammer as a symphonic rock band. Angry because I keep hearing new sounds. Angry because I don't have time for other records. Angry because this record caught my ear. Angry? because angry.

From a formal perspective, it must be added that Glass Hammer is currently a solo project of Steve Babb. On the album "Rogue" he is accompanied by his old collaborators: Fred Schendel, Reese Boyd and David Wallimann (guitarist in the years 2006-2010). Two new vocalists appear: Thomas Jakob and Olivia Tharpe. Oliver Day also plays guitar parts, Argentinian Ariel Perchuck plays keyboards, and Evgeni Obruchkov (who currently lives in Poland, by the way) plays drums. In a word, we are dealing with an international project (vocalists are from the Netherlands and the USA). "It is no secret that Glass Hammer is reborn every few albums," says its leader.

This does not change the fact that I am angry. Angry because... angry.

As I begin to write this review, it is still light outside the windows. The "day shift" is still ongoing. People are still bustling about, taking advantage of the improving, warmer weather. You can see the first leaves on the trees, tulip-like flowers are blooming somewhere there, and the neighbors are wondering whether it is time to start gardening or whether it is too early. After all, "winter" may come, because "darkness" may come. External life begins to balance along the border between day and dark, moving towards "light," bright mornings and the evening grayness that sets in later and later. And internal life?? It seems to be gaining momentum after the long, cold, and sometimes snowy months. The winter barrier of grayness, melancholy, and sadness is breaking through more and more. An annually renewable new life is beginning. The exit from the darkness of winter and turning one's face towards the sunny warmth is beginning. The time of thaw from the darkness of short days is beginning.

And at that moment, after a thirteen-year break, we get a new album by the Paatos group entitled "Ligament". This is the sixth album in the portfolio of this band, which, existing since 2000, describes its musical work as: "(...) Cinematic rock with influences of heavy rock, jazz & electronic grooves". However, compared to their previous albums (e.g. "Timeloss" and "Kallocain"), we get a dark release, full of syncopated rhythms, melodies that are half gothic, half arabesque. The next compositions are full of gigantic bass lines and the very experimental voice of Petronella Nettermalm transmitted through a megaphone. The album does not lack what the band has already accustomed us to: a captivating atmosphere, refined electronic textures and organic rhythms. However, the special feature of this release is the rampant sadness, darkness, anxiety and the aforementioned emphasis on experimental creativity.

Ricard Huxflux Nettermalm ? the drummer of the band ? in one of the interviews cites the time we live in as the reason for this state of affairs, which is full of anxiety, instability and fear: "(...) Yes, there is a lot of anxiety in the world right now (...) Both lyrically and musically, Ligament reflects the anxiety that seemed obvious to convey". It is also worth mentioning here that some of the songs were recorded live without any editing - "(...) Some of the songs were recorded entirely live, which is why we were extremely sparing in using the "copy-paste" techniques (i.e. we limited editing to a minimum) in order to offer listeners the most honest and lively musical journey possible. A lot of the music we hear today is too processed and arranged, and its life cycle is very short. We have to breathe life into it, introduce some typography, otherwise we will get bored with it too quickly. I think we just wanted to get back to something organic." Maybe that's why you can hear some understatement in them, some positive awkwardness and? sincerity.

The very first composition on this album, which seems inappropriate for the current season, "Chemical Escape" is a perfect example of this. It is an incredible trip-hop journey with psychedelic-hallucinogenic accents, supported by Ulf Rockis Ivarsson's hypnotic bass line and nervous drum rhythm. Against such a background, Petronella's voice is delicate, almost weightless, balancing the instrumental tension. The aforementioned "sincerity" meets in the following songs with an introspective journey into the interior of one's own "self".

The slow, disturbing track "Who Am I" with its very restrained vocal line evokes the mood of David Bowie. "Svart" introduces a strong charge of internal anxiety and fear, sounding like the voice of someone calling for help in a situation of being abandoned. If, while listening to this composition, you think of one of the most important vocal and musical experimenters, Björk, then this association is completely acceptable. It is Björk and? Kate Bush that seem to be the closest associations that can be heard in Petronella Nettermalm's vocals.

The association with Björk's voice can also be heard in the song "I Deny", which mixes the gentleness of the musical line with the incredible timbre of the vocal line, making the whole thing sound like a breath of saving brightness in the heart of darkness. There is also no shortage of melancholy and mood on the album.

"Beyond The Forest" is such a very emotional and melancholic composition at the same time, the mood of which is built by the cello line performed by Petronella. An important "addition" here is also the singing of Mikael Åkerfeldt (Opeth), who in a duet with Petronella creates an incredible atmosphere of some kind of joy through proverbial tears in the middle part of the song.

The bass line and trip-hop vocals build the composition "I'm Letting Go" by drawing the listener into the world of a percussion-driven journey. As a result of this "mixing", we get a seemingly melodic composition, which however irritates and every now and then throws you out of listening and some contemplation.

The only description that comes to my mind while listening to the song "November" is "spectacular". This composition is one over four-minute musical passage with gentle melancholy that breaks through the moody haziness. And the unsettling vocals, seemingly gentle, innocent, yet full of absorbing melancholy and breaking through sadness, are intriguing, order you to listen and do not allow for a moment of pause.

"Can You see it? The sick pallor of reflection in Your mirror You still smell it The rotten stench of Your own bitterness Now You don´t even feel anymore Believe anymore And all my dreams were dust, after all... Unjust after all..."

This is a fragment of the lyrics of the title composition from the album ? "Ligament". This composition is the most experimental part of the album. Petronella's vocals processed by a megaphone on the one hand reject, and on the other hand create an atmosphere of total confusion of everything with everything. A mix of fear, chaos, total improvisation, almost punk chaos and synthesizer sounds. And as if to counterbalance, there is an instrumental, very short piece entitled "Post War Limina", which, through its simplicity of arrangement, is a quieting of the previous "musical mess". It is a break between the world of fear and chaos, and the world of harmony and mood.

It is impossible to describe this album in a traditional way. It is impossible to summarize it, it is impossible to "pull out" all the inspirations and associations from it. Without a doubt, it is a perfectly realized album, showing a huge palette of moods and colors. It is similar with the musical inspirations that can be heard. Definitely Björk, Kate Bush, David Bovie. Definitely... a number of other artists and musical styles. However, all of this is processed in a way worthy of attention by Paatos, who returns with a proverbial shield after years of absence. And returning to external and internal life, I must say that this is not a "spring" album. With its melancholy, subcutaneous anxiety, predatory mixed with sadness and gentleness, it stands in complete opposition to the brightness, life born in spring, to bright mornings and long days. Finally, to the ordinary, down-to-earth joy of every moment, of every moment. But at the same time it is a necessary "supplement" to this nascent, unbridled joy. Its yang element, because its ying element... just look out the window... a new day has dawned and things will happen, oh yes they will...

As I finish writing this review it is still light, almost warm, no clouds. And I am very happy about that because I have finished listening to one of the most atmospheric albums of this year and now I am going out into the sun.

AMON DUUL were one of the first Krautrock bands to come out of late sixties Germany. They were like this commune of drugged out hippies who also tried to make some music along the way. Of their five studio albums, four came from the same sessions including this one. You talk about milking a session to death. These sessions were from late 1968 or early 1969. No one remembers. The guys and some girlfriends are all banging on something, with acoustic guitar and vocals also being part of the sound and not much else

If the music itself wasn't bad enough, the sound quality only makes things worse. And naming this "Disaster" could not have been more appropriate. And while I had a glimmer of hope during that very first spin with the opener. That glimmer vanished quickly as this played out for a painful 67 minutes. It's just gets annoying very quickly to hear all this banging and not much else.

This is one of those purchases that I really regret. I'm still kicking myself for not just being content with the one good record they did make in "Paradieswarts Duul" with a different lineup and three significant guests. Two from AMON DUUL II and Hansi from XOHL CARAVAN and later with EMBRYO and more.

Barely 2 stars for this one and a waste of time and money.

One of my favourite albums of all time. I discovered it in October 2005 as I was driving on US1 in New Brunswick NJ. I tuned in to the Rutgers Radio station, and this moody folky song was playing. It grew in intensity and an electric guitar came in howling. It got louder and more avant garde with a squealing cello, strong but dusty drums, solid bass - I was hooked. When the song was over I was stuck at a light and called the station asking what song with that wild scary guitar work. The DJ was "huh"? I described it more and he asked what the vocals were, and I said I didn't remember any vocals, just this long noisy crescendo that started folky and creepy and turned into this psychedelic proggy howlfest. He recognised it and said "Yeah - that was Espers. They're from Philly. That song is called "Flaming Telepaths". I thanked him and bought the CD the next day.

It's brilliant. It's mostly an album of covers, but a very imaginative collection of covers. Normally, people will cover things that are roughly in their wheelhouse of sound. Not this bunch. The singer and acoustic guitarist, Meg Baird, sings like an angel. A very depressed angel. She's also a fine guitarist, and studied with Burt Jansch. Greg Weeks plays electric guitar and synth and sings. Brooke Sietinsons played acoustic rhythm guitar, and is also very good. The cello is played by Helena Espvall who has done a lot of avant garde music since then, including with free jazz people like Alan Sondheim.

"Rosemary Lane" (traditional; arrangement influenced by Bert Jansch) Excellent version of a trad folk song, as it restores some of the darker lyrics that are often left out in more sanitised versions. Meg Baird's vocals shine through this bringing a delicacy to this profoundly sad and bleak trad folk tale of power imbalance, sex, and resignation to a horrible fate.

"Tomorrow" (Vini Reilly; originally by The Durutti Column) The Durutti Column are a whole thing unto themselves and to cover them in this raw folky way is remarkable. Again, Meg's voice is a beautiful thing. A song of longing for different outcomes and alienation of affections.

"Black Is the Color" (traditional; arrangement influenced by The Famous Jug Band) Another trad folk song. This one was covered by Nina Simone decades ago, and is the version I was most familiar. No shade to Nina's genius, but I rather prefer this version. There's something deeply spiritual and yet utterly disquieting about this. Brilliant. Weeks sings some fine and oddly complex harmony here.

"Afraid" (Nico) So, it was trad folk, Durutti Column, trad folk - how do you follow that? With a gloomy goth tune by Nico OF COURSE. The song sounds like a toy - gentle guitars, xylophone, cello - sweet, and yet: Nico's lyrics are just open despair. A wonderful counter to the arrangement.

"Blue Mountain" (Michael Hurley) This song by Michael Hurley is from 1965, and is a classic singer songwriter folk song from that time. Only in the hands of the Espers it is vastly more psychedelic and richer. Weeks sings the lead in this and his vocals are OK, certainly no worse than Hurley's, and Baird's harmonies really make this swing.

"Flaming Telepaths" (originally by Blue Öyster Cult) The centrepiece of the album. Stunning. especially as the original is about as unfolky as a song can get, being a brassy loud track from the Hard Rock band Blue Oyster Cult. Love it. 10 out of 10.

"Dead King" (Espers original) This is the only original on the album, and another version was released on Espers 2. Frankly, I think this version is better - it's a bit more open and direct.

This (and Espers 2) while not technically Prog Rock, is a Top Album in my world - required listening, period.

Band members: Greg Weeks Meg Baird Brooke Sietinsons Otto Hauser Helena Espvall Chris Smith.

With only one studio album released in 2013, CLESSIDRA might already be relegated to Italian post rock history. Luckily this is a fascinating artifact, an all instrumental album with many influences from its principal sub-genre, but subtly incorporating mysterious and temptingly foreboding aspects of world music, chiefly from the middle and far east, as befits the real place names in the tracklist.

The rhythms are consistently the drivers here, accompanied by generally scant, almost minimalist guitar and keyboard touches best acquitted in "Gobekle Tepi", with "Baghdad's Battery" ,"Tunguska Part 1", and "Giza" being nearly of comparable standard. The keys often serve as another base instrument in that sense. Sound effects include canines, insects and human voices sans substrate, which form and dissolve as phantoms. Unfortunately one track ("The Kadath") is essentially a drum solo with equally atonal diversions, and "Ek Balam" is a failed attempt at weaving Frippian lead guitar into the end product.

While its legend is modest, I still recommended "Carta.." for those who enjoy post rock and world music and are tired of being force fed clumsy takes of both.

A sprawling concept double album, or more appropriately, a prog rock opera featuring a wide variety of musical styles. Never heard of them? Well, not many have. Rocking Horse Music Club is a music collective/collaboration based out of Rocking Horse Recording Studios in Pittsfield, New Hampshire, USA. The primary contributors are singer/songwriter Brian Coombes, a veteran prog musician/producer and owner of the Recording Studio; Justin Cohn, singer/songwriter/guitarist, and singer/songwriter/multi-instrumentalist Patrick Gochez, and supported by Brendan Harrisiades (bass), Myron Kibbee and Mike McAdam (guitars), and Eric Wagley (drums), as well as numerous other local, regional, and guest musicians to fill out the instrumentation and sound. The music tells the story of a man who has spent a good portion of his life creating a miniature circus of figurines made of wire, string, and cloth. As he nears the end of his life, he imagines the dolls each telling their own stories, with human thoughts and emotions, which actually reflect aspects of his own life. Thus, the story is told from several different voices (and featuring a series of guest vocalists). On the surface, it is the story of a miniature circus, but it's really about a man looking back on his life, his work, the people, his successes, his failures, his regrets. The different voices also provides the opportunity for many different musical styles. But whether or not you follow or are moved by the compelling story, it is the music that is the show here, and it is quite wonderful and breathtaking throughout. This expansive collection features 22 songs, ranging in length from 1 and a half to 8 and a half minutes each, for a total of over 95 minutes of music (which really doesn't even seem long at all because the songs are so good throughout). Guest artists include: Amy Birks, Tim Bowness, Caroline Carter, Evelyn Cormier (American Idol), David Cross (King Crimson), Kenwood Dennard (Brand X), Chris Difford (Squeeze), John Hackett, Greg Hawkes (the Cars), Noel McCalla (Mike Rutherford/Manfred Mann), Kate St John (Dream Academy), and Rob Townsend (Steve Hackett). Overall, because of the variety of styles, it is a bit hard to categorize or compare to other works (genre-defying?), but the closest may be somewhat along the lines of a concept album by the Alan Parsons Project, featuring light melodic progressive rock, with much pop, rock, and symphonic influences, as well as musical theater, chamber pop, and aspects of jazz and blues, and even a taste of glam rock thrown in. Although it has an original sound, there are brief glimpses of many other bands that pop up, including Genesis, Pink Floyd, Coldplay, Queen, Supertramp, The Pretenders, John Lennon, among others. Overall, the songs are touching and beautiful, with great melodies, themes, and recurring motifs. Of particular note is the impeccable production, arrangements, and attention to detail, always with the seemingly best combination of instrumentation and musical flourishes that are just right for each song, whether that might be strings, horns, clarinet, or whatever, and always most tastefully done. This is not an album that will hit you over the head, but in so many subtle and emotional ways just works immensely well, with just wonderful, beautiful songs throughout. All the songs work here, whether it is a tender duet ballad, such as Would You Be My Downfall, or the more raucous shot of glam rock in It's Not About You. Thus the list of best songs could go on and on, but I have narrowed it down to those I love the most. A truly wonderful album, that needs more love and respect.

Best tracks: Animate in 5/8, So Little Left, Cut From a Different Cloth, It's Not About You, 0300, SY22, Burn, All Shall Be Well, Every Show Must End, To Reach the Other Side, Flowers in November, and really all the rest. Rating: 5 stars

This is quite possibly one of the most beautiful albums I have ever listened to. It had me in tears by the end. It tackles an incredibly dark subject with grace, allowing everyone to connect with the depressing material. It perfectly weaves super heavy moments with beautiful vocals and instrumentation. This album stands as proof that concept albums are an incredibly effective way to tell a story. I highly recommend everyone to listen to this with the lyrics pulled up, and see if you won't start crying.

I think my only nitpick would be that a lot of the riffs don't really stand out too much, they kind of just add more texture. This isn't to say that the music isn't great, it just isn't incredibly iconic. If you played me some of these riffs and told me Opeth wrote it I would probably believe you. Still, I think this doesn't take away from the overall experience at all. It's a crime how underrated these guys are.

9/10

A reputed figure in the Berlin Schule of electronic/kosmische Musik, Peter Baumann was also a member of the classic trio line-up of Tangerine Dream from 1971 to 1977, the same golden period in which they released their seminal albums Zeit (1972), Phaedra (1974), Ricochet (1975) and Stratosfear (1976).

He's now back to recording studios, making his first solo instalment since Machines Of Desire, nine years ago. Baumann never followed the path of progressive rock based in virtuosity and energy, but rather that particular "tangerine" blend of cerebral design with cinematic soundscapes. And this is even more misteriously atmospheric an album than their previous efforts. Nevertheless, and in spite of all the astoundingly rational structure sustaining this music, its flow never stops, always impulsed by human emotion, the more conspicuous by contrast against the ever shifting sonic background. The cover of Nightfall with a sand dune, symbolizes the fleeting nature of our lives and experiences, our existence, according to Baumann himself, but also brings the last Klaus Schulze's album to memory, a non trivial association, since both seem to breathe and float in the same extatic universe.

"The track titles, as with much of my work, reflect the ephemeral, ungraspable nature of our existence", also says the artist. Of course, a strong sense of predictability also emerges from such an existentialist premise. But, in my case, that is not a complaint. In minimalistic affairs like this one, every minor shift in nuance or mood counts. The opener, No One Knows, convoys through the most hieratic desert, guided by sparse woodblocks under a laconic guitar dome. After that, there comes an impressively omnipresent, yet impenetrable choir in Track 2, Lost In A Pale Blue Sky. Perhaps the more dynamic (to say a lot) moments come to fruition in Tracks 3, 4 and 5, On The Long Road, A World Apart and From A Far Land, which, even being sustained by a still very circumspect percussive and harmonic scheme, assume a sort of narrative tension, in a fashion similar to a movie score when the trip procedes through an uncharted land of unmeasurable desolation.

"I love instrumental music because it bypasses any concepts, it is an expression that words can never capture," the artist reflects. "We can't hear music exactly the same way twice, it's always experienced differently, sometimes slightly sometimes substantially. Like a river, never exactly the same". So, it seems like this album extends an invitation to immerse and collaborate in the construction of that unfinished world of agonizing beauty.

— First review of this album —

This Seattle Washington collective began their story with the 2019 "Until They Feel the Sun" album, an excellent debut that was followed up by the equally interesting "Thank you from the Future" in 2022. The veteran crew has remained solidly stable, composed of vocalist Michael Trew, guitarist Dave Webb, John Allday on keyboards, Mike Murphy and Kelly Mynes on bass and drum kit respectively. I am the proud owner of all three, though this will be the first review. It should not come as a surprise to any music fan, but Seattle certainly has a rather legendary musical heritage from Jimi Hendrix, via Heart to all the obvious grunge groups. There must be something in the air, or in Seattle's case in the rainwater. The psychedelic tendency probably stems from the turbulent weather that stretch of land is famous for. One of the main characteristics of Moon Letters is their insistence on originality, though obviously wearing storied influences on their sleeves. They also possess that wonderful prog ability to transition on a dime into sonic variations that defy the laws of gravity, infuse vocal harmonies at the most opportune moment (generally, smack in the middle of a storm) and sprinkle occasional doses of rawness, technical groove, snippet soloing , Zappa- esque controlled insanity as well as various implements around the kitchen sink. Prepare yourself for the unexpected yet very attractive!

This is expertly described on the eventually tumultuous "Energy of the Heart", an opening piece that navigates the various corridors of experimentation, emitting some lighter tangents and then, others more cavernous and harrowing. The quintet has no qualms of showing their mettle but just like with Uncle Frank, it's all about precise teamwork (like the Mariners, Seahawks, Kraken and Supersonics), no one hogging the spotlight, tight like a lid of marmalade. Trew can scream, Webb tortures his fretboard with splintering riffs, Allday doing his octopus thingy, and the rhythmic duo in a tandem turbocharged frenzy. Halfway through, the shift occurs towards a more Gong-like atmosphere, sweeping towards distant stars, waving to the long gone 'pot head pixies', in restrained admiration. On "Silver Dream", the shade becomes vastly different than on the previous piece, a somewhat pastoral sheen, with a more melodic concentration from Webb's slithering leads , the rolling bass fluttering along, wooing synths ululating and a flower-power vocal that reeks sunshine and beads. The pace gradually picks up steam and then gets catapulted momentarily into profound melancholia, a dejected piano accentuating the sorrow, before returning into the previous maelstrom. Through in a clamoring trumpet blast from Allday and Murphy's shepherding bass furrow, the guitar rasping furiously and tingling when exhausted, choir strings adding a touch of symphonics.

'Full speed ahead' bellowed the captain on "Island of Magic Mirrors", a castaway hymn for the Wilsons of this world, with an endless series of sharp reflections, at times blurred by haste, bullied by ramshackle gusto and then comforted by synthesized panacea. The track raises the urgency to unprecedented levels.

After a brief and much-needed rest period on the delicate and brief "Lonely Moon", the band decides to dive bomb screeching into the deepest abyss of angst and insanity, displaying a technical prowess that will require finding one's jaw on the carpeted floor. "In the Catacombs" is nothing short of a blitzkrieg onslaught on the senses, a raging, fulminating bulldozer that shows no mercy and offers no penitence for its actions.

Capping off this entertaining album, the marathon arrives in the form of a 17 minute+ extravaganza that, like most quality epics, integrates all the intrinsic characteristics that make up the mind set of this collective. "Dawn of the Winterbird" is a tectonic plate shift that will test anyone's balance, so it is recommended to sit comfortably and hopefully numb, and embrace the sounds, like one would visiting the gorgeous state's coastline. To say that the arrangement seeks to take one on a mesmerizing voyage is quite the understatement, as the variations are expertly fused together, introducing from the get-go a drop-dead gorgeous melody, with Trew and the backing vocal bench hitting all the pleasure nodes. Webb adds an intricately woven sizzle just to illuminate the sunrise appearing on the horizon. The unexpected somber retreat into a sorrowful stupor is heartbreaking and majestic, skillfully rebooting the celestial melody espoused previously, 'I would never try to hurt you?' and its warm continuance, the fluid electric guitar embracing the transcendence and in complete harmony with the divine vocal expression. Elegance in the shape of a brief piano etude that serves to ultimately enhance the power and the culminating effect of all the passion displayed! This is a masterful composition that deserves a podium finish on the altar of 2025 prog epics and alone is worth the expense to hunt down and treasure this release.

To paraphrase my great grandmother's idol Barry Manilow: 'Looks like you made it'! LOL . A wonderfully conceived and performed musical adventure, certainly worthy of immediate consideration among the other lunar modules in 2025 orbit, around this dark Earth.

4.5 Tired planets

This is the second of two albums by Malaysian psych rock quartet Phlox.

It continues in the same vein from the first album Quiver although I think it has slightly more direction in terms of compositions.

Rain and What Comes After, The Unknown and Pale Blue China are among the best songs by the group which features Hakim Tahar (vocals/keyboards/guitars), Hanafi Rahman (guitar), Syazwan Sazali (bass) and Ahmad Zulikhwan (drums).

I do have to say that the 25 minute title track has great moments but is also quite a drag to listen to. Maybe cos of the stoner-shoegaze vibe.

It will remind you of The Verve and Explosions Of The Sky at times, occasionally turning dense or dark or even progressive but rarely straying from the established laid back mood.

I think we may not hear from them again as this album came out in 2013 and appears to be their last.

Phlox's two albums rank alongside The Strollers' Waiting Is, Damn Dirty Apes' Valve State Dreams. Capt'n Trips And The Kids' The Paraverse, Golden Mammoth's Skycraper Towards The Sun and Martin Vengadesan & The Stalemate Factor's The Knight's Flight as the best of Malaysian psychedelic music.

"Radio Waves" with an ominous off-key sound, definitely a US series; we find the catchy charm of ELO, the Beatles, Barclay James Harvest, Bowie, Kansas, and Jethro Tull for the progressive soaring on the carefree spirit of youth. "Silent Years" with its piano and spaghetti western guitar, vintage sound and lush harmony, the finale with the phrase from the previous track making the connection. "Cul-de-Sacs and Tunnels" is a mawkish pop love song, meaning simple-minded in appearance; the melody is reminiscent of Inspector Gadget and the voice of Tears For Fears with a tune catching up with ELO in overdrive prog. "Boulders on Hills" changes style, aggressive with the syncopated riff worthy of Jethro Tull and the nervous vocals; a tonic tune that changes the game with a solemn piano outro.

"Our Brilliant Next" is a piano-driven track for the soft ballad, swelling with vocal lament, moving from acoustic to frenzy before the captivating jazzy finale; a beautiful progressive exercise. "On We Blur" is a rock ballad with Joe Jackson-esque melodic piano in the background and ELO's backing vocals, repeat; from serene we move to bucolic Charisma, inventive hints of XTC, a zest of Supertramp then a nod to Genesis, you'll recognize it. The exuberant track typical of Albion, enjoyable until its prog-like finale. "Tiny Star" ends the album; besides Big Big Train and ELO as reminiscences, knowing that BBT is much younger than them, this track is simply Echolyn. The musicality, Katie's fresh, catchy, feminine refrain "All you need," a true melodic delight enhanced by a stellar progressive drift. The musical diamond shines even after the finale; a final solo in Pink Floyd style for the split double album of the month.

Echolyn has recorded a very good progressive double album with two great singers; a musical breath of intertwined songs, polyphonic vocals, and chiseled Beatles and Steely Dan choruses; Yes, Haken, and Opeth also manage to create harmony that is both simple and complex. Progcensor origin.

"Time Has No Place": a symphonic, cinematic intro, a train station feel, a melody based on Big Big Train, the Flower Kings, and Gentle Giant, a touch jazzy. The vocals appear with Brett and Ray, a touch of XTC, fresh and varied. The lively piano for the second of the four parts, harmony, an invading Mellotron, a marshmallowy return with the melting sound of ELO. The instrumental, the return of the vocals, the choirs, and the air sinking into a divine space with Ray at the helm. The nostalgic, yet not soporific, vintage prog moment; the intermission and the Beatles-esque vocals all at once, somewhere between pop and prog rock with a hint of Canterbury. The sound of King Crimson, the heavy riff supporting the choirs; a musical festival, a fusion of opera, nursery rhymes, and pastoral sequences, bordering on the styles of prog rock.

«'Water in Our Hands, Pts. 1-4» singular, fruity intro; the sound of the 70s for the voice and the musical structure; already lost in this musical maelstrom where we feel the deconstructed prog of Jethro Tull, technical, invasive. The vocal and instrumental mix makes us lose track of time; a compendium of rock with a captivating jazzy tessitura with bewitching voices; an entertaining space that seems to burst with discoveries in every drawer, like this rapped section, this passage on Genesis with the organ making the hairs stand on end. An acoustic piano interlude à la Joe Jackson with the tenacious guitar riff that flirts with «The Lamb». The six parts go from the epic to the moving for an adventure that took ten years, with many nods to Yes, Genesis above all, on Big Big Train narrating the inevitable passage of time. The Beatlesian finale, fruity and enjoyable xtcian and thirty minutes out of this time. The album that recalls "mei" for its impromptu continuation. Origin progcensor.(4.5)

Sophomore album from this talented Norwegian quartet, formed by two members of Krokofant, the recent 'enfant terrible' of the Norse scene, guitarist extraordinaire Tom Hasslan aka Zappa Finger and Axel Skalstad aka Pheel the Collins on the drum kit. They are complemented by Wizrd keyboardist Vegard Lien Bjerkan aka Wake(up the)man and finally from the band Red Kite, Trond Frones aka Geezer Jeezus playing the bass only on the sabbath. And who dares to say that Scandinavians have no sense of humour, have you not heard of the Finn funny man Ismo? Their eponymous 2022 debut caused a stir, but this latest release has a distinguishing inclination veering towards a Focus influence that shows up between all four players at times, as well as collectively. This band lets loose in intense jam mode, a yearning to have fun in the studio and let the chips fall where they may. The gorgeous cover art certainly satisfies the visual senses.

Hinting humbly at the legendary British band led by Andy Latimer "Camel" certainly underlines the melodic spirit behind that band, the pearly keys and bustling rhythm section settling into a robust groove, the idyllic platform for the electric guitar to begin soaring across the sonic dunes. Whereas the master was famous for long sustained emotional notes, here Hasslan lets it rip with a blistering array of rapid-fire salvos, leaning towards the more focused (sic) standard that will make up the album. The e-piano section is a glittering oasis of sun-drenched streaks, a mirror in the desert showing the way to liquid salvation.

Channeling his innermost Jan Akkerman fantasy on "Pocus", Hasslan goes properly berserk on his 6-string implement with a tour de force homage (two French words creeping into the verbiage-another Gallicism!), though Bjerkan chooses a decidedly jazzier piano and e-piano route on his ivories, while the rhythm section perfectly salutes the Ruiter-Van der Linden attack. Starting out in a breezy lilt with a clavinet introduction, the build-up gradually goes tornado (Happy Birthday Bill Bruford) with a blizzard of peaks and valleys, playfully gathering steam with some patented flurries that recall the finer moments of the Focus 3 album.

"Focus" keeps the foot on the cyclist pedal with a gentler foray into more bucolic workings, that swoon unashamedly into Metheny territory, the finger technique is bewilderingly accurate, mastering both leads, riffs, and flicks of the wrist, just like Jan did and still does today in his golden years. The comprehensive synth solo is quite the skidding workout, with enough shape and bend to thrill the most passive listener. It becomes apparent that the main underlying attribute of this quartet is plain old fun, jamming like there is no care in the world.

Written like this "Oh Jimi", it can only refer to Hendrix , as the spelling 'Jimi' has been permanently retired to the rafters, after he died on September 18, 1970. Kicking into a medieval tinged Jon Lord sounding organ surely ruffles the feathers, injecting the electric guitar with bluesy dexterity, as the pace slows to a grind, and the steady groove is set as the ideal gliding platform on which Hasslan can stretch, steal and borrow those characteristic moaning lines that made Jimi such a legend. A ten-minute rocking roller coaster ride is set in motion with just enough personality to dismiss any overt copycat urges, the keyboard spotlight doing wonders for the atmosphere as well as transitioning into varied mood swings that augur well for the explosive finale, where a Mahavishnu Orchestra - like feel shatters all the illusions.

I enjoyed the debut, but this is a much higher raised bar, easily reached without steroid enhancers or blood packing, just a more focused (oops!) approach that had the courage to add another iconic figure as a final coup de grace. Well played and totally unpretentious.

4.5 concentrations

Prog Rock Canuck (Canadian) Review Lars Fredrik Frøislie album Gamle Mester

The much anticipated follow up to Lar's last album, Fire Fortellinger has finally arrived and it starts off with a bang. An instrumental opener, Demring, that has all the elements of classic 70s prog but with a overall sound that is unique to the composer. In other words, you can hear other influences from the keyboard greats of yesteryear, think Emerson, Wakeman but still distinctively Lar's in the end. It starts off light with the organ, gets heavy and ends light with piano. Plus several twists and turns along the way in this short track. It sets the stage for where the rest of this album is going. A great introduction to this composer's music for anyone new.

The second track is heavy right out of the gate. And the first longer track of the album, its called Jakten Pa Kalydonske Villsvin. Also the first track to have vocals and what a pleasant surprise, the vocals sound so much more confident here than on the previous album. Also fits in better in the overall mix. Many of the instrumental sections in the first two thirds of this track harkens back to an ELP like sound but the last third of the track is my favorite. Much slower and atmospheric. Featuring some beautiful flute work over repeated piano lines.

Next we have the Title track. I must say that this instrumental piece, Gamle Mester could have been the opener and swapped places with Demring. Either track would make a great introduction to this composer's music. Very accessible. I played it for a 'non prog rock fan' and she really enjoyed it. All the elements of traditonal prog are here, odd time signatures (7/8 for the win!) and time shifts along the way with punchy drums and Ricky bass, and of course, Lar's multi layered keyboard tracks.

The fourth track, Medusa Flate really hits hard at the start (think ELP/Anglagard) but by the time we get in to the sung verses it surprisingly shifts into a YES like, prog popper. I actually felt like dancing. Half way through we''re back to heavy again and closer to ELP, (Think Trilogy album).

The fifth track, De Tre Gratier is the longest track on the album, and most interesting, start to finish. It opens soft with harpsichord and perhaps electric piano (not sure). Very beautiful start. Next we get heavy and although this sounds like pure Lars, I also hear an underlining framework of something that Yes might have produced. Then we are back to the beautiful harpsichord, and at this point I must beg Mr. Froislie to produce a future album of Harpsichord music. His playing of this instrument is exquisite. We also hear some lovely organ and mellotron through this section. Speaking of the mellotron, this album is certainly for lovers of this instrument. The final instrumental moments is a mixed bag, full of multiple instrument switching as to which is the lead instrument until the piece is over. There's also a slight Jethro Tull sound in spots. Like I mentioned at the beginning of talking about this piece, it truly is the most interesting on the whole album and will be great for repeat listens.

The final track and we're back to a full instrumental. Skumring starts off real soft with very atmospheric piano. It picks up a bit in the middle but never really gets heavy. It's a nice gentle way to close the album. It also leaves you with the urging to start from the beginning again.

Gamle Mester is truly an almost perfect album. I'm really tempted to give it 5/5. And I am delighted to see that in just a couple of days since its official release, it has already topped the Prog Archives chart for 2025. Congrats Lars, you knocked this one out of the park (baseball reference, home run).

— First review of this album —

The Guildmaster could be seen as a folk-spirited little sibling of The Samurai Of Prog, likewise an international progressive rock project by mostly the same production team, but (unlike TSOP) relying on the original compositions of its core members. They are, since the second album Liber de Dictis (2022), Spanish folk expert Rafael Pacha, Finnish drummer Kimmo Pörsti, Italian-livng-in-Finland bassist Marco Bernard and Italian keyboardist Alessandro Di Benedetti.

With the preceding albums I occasionally felt that the Medieval/folk elements and the modern prog rock production were having a tug of war, making me wish for a purer folk approach on some pieces. Now everything is more coherent and unified, rooted on the symphonic prog -- with the blessing of the rich, folky sonic pallette due to the various folk instruments played by Pacha. But what really makes this album my fave of the three is the excellent level of compositions. Being almost as lengthy (64:20) as the 12-track Liber de Dictis, Gathering of Souls has eight tracks, four of them a bit longer.

Pörsti's opening instrumental 'The Crusade of Earl Birger' is inspired by the historic events that took place in the Finnish soil in the mid-13th century and it has a wonderfully dynamic and colourful arrangement. Pacha's long instrumental 'Where Are You?' still improves from that. One moment you may think of Ommadawn-era Oldfield, the next moment has a Wakemanesque synth run, and the cherry on the top is the beautiful wordless singing of Paula Pörsti. Also the third piece is a colourful folk prog instrumental, composed by Pacha.

Di Benedetti's sole composition, epic 'Blood and Oblivion' is an outstanding emotional highlight sung by Yogi Lang of RPWL. Then one more fine Pacha instrumental, after which the album takes a bit more vocal oriented course. Nick Markham (neverheard) sings with his smoky voice the ambitiously proggy 'Mary the Jewess' which however is not among my highlights. Also composed by Pacha is 'Luonto puhuu' where Paula sings in Finnish. This piece has a peculiar atmosphere. Pörsti's second composition 'Sea and Sky' features the mid-70's Phil Collins reminding vocals of John Wilkinson, and a lovely flute contribution of Giovanni Mazzotti.

Now I only need to decide how to round my 4,5 stars. Ok, let's round it up because, as I said, this is the most solid and symphonic Guildmaster album this far. Hats of especially to Rafael Pacha who's at his strongest here.

— First review of this album —

"Me Fish bring" (some cool people will get that). "We got the funk" (more cool people will get that).

Full disclosure: I love Fishmans! And hearing them play live, even if recorded is a wonderful thing, and I so wish I knew the band while in Japan in the 90s.

Fishmans has made several great live albums, and I do count its "98.12.28 Otokotachi no wakare" as my favourite live album of all, but hot dang, this has serious highs too and I would absolutely recommend this to not just fans of Fishmans but many fans of funky and groovy music. It's a wonderful hour and 52 minutes spent, well, for me anyway.

I love the rendition of "Long Season" (I do prefer to return to this live version, and especially the one on 98.12.28, than to the studio album), "Oh Slime" is great and this is a terrific version of "Go Go Round This World!". Like on "Sunny Blue", this can be a really bluesy rockin' album, and it is a very funky release from Fishmans. It is less dreamy than later releases and more in your face, I might say. While I tend to veer towards more atmospheric music, I love this for what it is.

And Honzi (RIP), the violinist and keyboardist shines. She is electrifying. And I really like this drummer's work and the guitars. By the way, the drummer, and chorus contributor Kin-ichi Motegi proves how good he is as a front-man, drummer and vocalist when Fishmans reforms later with surviving members and others (Fishmans+).

This album has groove, and it also plays looser than other Fishmans releases. I like its less obviously structured and controlled dynamics.

An issue I do have seems to be the mastering/mixing. Honzi and other instrumental parts shine, and the chorus is wonderful in "Long Season", but Sato's (RIP)'s vocals are too prominent in the mix. It sounds too forward. It can take away from the instrumental parts. Of course Sato is dearly missed by many... but so is Honzi, which is not to say that Sato was put more forward in the mix due to his status among many fans. And while this is a very energetic performance by Fishmans, I don't feel Sato's vocals were at their best -- I am particularly comparing the vocals here to a live performance from earlier in the same year that also was released much later. "Long Season" off this live has significant sonic quality differences to my ears, and does sound recorded at a different time or times. It sounds later and I find the mixing/mastering better in that, and maybe it was how the equipment was set up. Again, it's a different and wonderful version of "Long Season". than the studio album version or the 1998 live.

Also, while I should take this album on its on merits, fun though this is, it is not as emotionally resonant to me as the December of 1998 concert. That feels more heartfelt, and also bittersweet since Sato's life was so short at the time. There is a kind of weariness and fragility and sensitivity in the 1998 album that I don't find here. But being lively/ energetic is of course not a bad thing commonly.

This album is very lively, very funky, and a good listen. I am giving it four stars because while very good in its own right and having some superb renditions and moments, the mixing could work better to my ear, and it is not as emotionally resonant to me (and lacks the atmosphere) of the 98.12.28 concert, a concert that takes place in the same venue. If you're looking for a harder funking Fishmans than you might know, this album could be the Fishmans album for you. The falsetto vocals, which can be very screechy, seem to be the main impediment some have in enjoying Fishmans. Your ears have been warned.

Room was another one of those short-lived progressive rock bands from the seventies, with their album, Pre-Flight, being the only thing they left us. Looking at the generally positive reviews, along with how the personnel looked as if there was essentially an orchestra playing on this album, I had high expectations. What I received, however, was between a mediocre and simply good album. While this didn't reach my expectations, it still had some charm within it. The players on this album have a very strong sense of musicianship, and they manage to mix heavy blues and symphonic/progressive rock elements in a one-of- a-kind way. The main negative elements come when listening to the actual music, as it isn't bad, but it's also not that good. It lacks true originality at points and get quite bland in some of the tracks. For example, some of the music leans a lot more toward the blues aspects, and while I still like the genre, it's just kind of lackluster when played out compared to the parts of the album.

Moving on to the music, I liked the opening title track, which is a nearly nine-minute-long suite, with the orchestral and dramatic vibes mixing in exceptionally well with heavy prog, creating a solidly great song of ever-changing rhythms and evolving structures that turn and twist into this sort of "hype song" so to speak, as to what I thought would be on the rest of the album. Cemetery Junction also has a very similar thing going on, this time with a bigger focus on the symphonic side. Like I mentioned up above in the first paragraph, the album finds difficulty finding a true direction and sort of slithers in between Jefferson Airplane formulas and a sound that was similar to what Chicago was doing at the time. Where Did I Go Wrong is a bit of a drop-off, being mostly bland and nothing really interesting happening. The same goes for the shortest song on the record, Big John Blues. The rest of the songs bring their own quirky twists and are all around good songs. Some of my favorites include the jazz-rock leanings of No Warmth In My Life and the poetic lyrics of War. However, these are all just good songs, and the title track and Cemetery Junction are the only numbers I would truly consider to be great songs.

In conclusion, it's an alright record that could use some improvement. The title track is a real gem and worth checking out, but the whole album is far from being essential. I will admit, I really enjoyed some of the musicianship on this thing, so that brings my rating up. Overall I would argue a 3/5 is most fitting for this record.

I wasn't expecting a second solo album from Lars Fredrik Frøislie so fast, given the tediously long waits between Wobbler albums (look at the wait between Rites at Dawn and From Silence to Somewhere, literally six years, so the big shock of the three years for Dwellers of the Deep). COVID hits, so slowing down the already slow process for a new Wobbler release (better than being overran by releases like Ayreon or the Flower Kings), so Lars records a solo album in the form of Fire Fortellinger. That one took me by surprise because I was wondering what a solo effort might be like from him. Wonder no more. I was expecting maybe he'd get Martin Nordrum Kneppen of Wobber to do the drum parts, but instead Lars did it, and he even did the vocals. In fact, he did it all aside from the bass parts. I was amazed with Fire Fortellinger, but looking back I felt there was room for improvement but improved he did. I felt on Fire Fortellinger maybe he wasn't completely confident going on a solo venture, but with Gamle Mester he certain has. Once again it doesn't take any rocket scientist to figure out how important Lars is to the Wobbler sound, it's obvious. To me, it sounds like if Tusmørke made full-on symphonic prog in the vein of Wobber with a bit of Jordsjø thrown in. Lars's vocals sound like Benediktator of Tusmørke. Instead of four cuts, here it's six, and it's full of everything you want, lots of authentic vintage keyboards, including Mellotron and even the Chamberlin M1 (I remembered back in 2009 seeing him purchase that Chamberlin from an American seller on YouTube and Wobbler was starting to record Rites at Dawn then, to be released in 2011) and lots of great arrangements. To me the highlights are "Jakten På Det Kalydonske Villsvin", the title track, and "De Tre Gratier". To me, this is some of the finest prog to have come out in recent years, and if you love Fire Fortellinger, get Gamle Mester right away, it's deserving a classic!

The spaces between shimmering

Haeka are a four-piece from Milan featuring Vitorio Zambon, Alberto Guglielmo, Jacopo Scibilia, and Marta Ceccarini. Their debut is entitled "Outer Space" and it was released in 2020, just four tracks in the six-to-ten minute range each. Thus a short album, but that seems to be a badge of honor for Italian bands. Going all the way back to the early '70s, they seemed to realize that less is more. In an era of 75 minute albums, I love the whole short album thing that many of the classics had. Haeka is an interesting variant of modern space rock that carves out its own sound. While I suspect Porcupine Tree may be an influence to some in the band, they don't mention it, and it's not particularly obvious. As of 2025, they are currently working on their second album.

Their debut sound is heavy and augmented with plenty of textural nuance and pauses for breezy escapades. The wildcard of Ceccarini's ethereal vocal and the echo and harmony applied to it create a mesmerizing effect. (The lyrics I could make out were pretty cool too, though I'm not a big lyrics guy.) I was reminded at times of Lagartija, although that band veers more jazzy while Haeka stay more in the spacey rock realm. When the shimmering harmonies near the beginning of "Stable as Change" kicked in, I immediately felt deja vu like I had heard them before but can't say where. But it is so beautiful. Indeed it is the detailed, stellar vocal arrangements more so than even the chops of the instrumentalists that knocked me out---so well sung and recorded. That's not to say the jamming is anything less than impressive. During the instrumental sections of the title track, it was almost like something from The Sky Moves Sideways. The album at different times exudes gorgeous formlessness and other times a sense of fluidity more structured. Heavy, lighter, intoxicating ventures and melodies. Great stuff.

When it comes to talent and ideas in Prog Metal is there a band more adventerous than PoS? Daniel Gildenlow and the boys always bring the goods, but with this 2007 release called "Scarsick" their fans for the most part turned on them. This is one of the most controversial albums on this site, and for good reason. Clocking in at a long 68 minutes and being very wordy(concept album) this was a challenge. The challenge being the disco and rap excursions. Man, they do it so well though.

When I first got into Prog this band was an early discovery as Prog Metal was my gateway into our music. I really enjoyed those first four studio albums but when it came to 2004's "Be" I just couldn't handle it. I mentioned at the time that if I actually had the time "Be" might work for me, but man, so ambitious to a fault. I do feel that Gildenlow is a brilliant composer and lyricist. And that seemed like his "Black Page" album but in a different way. So I gave that one 3 stars and decided to pass on "Scarsick" with the first five collaborators giving this record 1 to 2 stars reviews!

I came back to this band with 2015's "In The Passing Light Of Day" and what a great record. So great I decided to go back and get "Scarsick" and "Road Salt Pt.1", along with a couple of live records. I was back. This isn't labelled as such, but this is "The Perfect Element Pt.2" as that concept is continued here with the same character spewing his venom. Or is that Daniel? I agree with a lot of the lyrics, but also disagree strongly with others. While the music may not be as complex as the earlier records, with more of a focus on the words, this is one entertaining album!

I really don't like the album cover. I felt at first it didn't represent the music very well, as this is upbeat and fun much of the time. Later I realized that the cover represents the title track and "Cribcaged" quite well. The world is sick my friends. And the words here deal with a lot of the greed that seems to run most people's lives. Status is the goal, making a name for yourself, being wealthy. "The best things in life aren't things" is a sign I'll always appreciate that was on a school bill board during the covid lockdowns when I was running around from town to town unvaccinated. Can't believe I'm still alive(yawn).

My favourite track, and others have mentioned it as theirs too, is "Kingdom Of Loss". Some nice contrasts throughout between the fragile vocals and spoken words. Love the guitar after 5 minutes. "Idiocracy" is another standout piece and it reminds me of a Steven Wilson track with the high pitched vocals. The synths are a nice touch, and this is heavy. "Flame To The Moth" continues that heaviness but this one has extreme vocals that I'm not into. Talk about spitting the lyrics!

Controvery? How about the opener "Scarsick" with the first word we hear being "Sick!" then rapping follows. I'm reminded of ALICE IN CHAINS around 2 minutes. Controvery? How about "Spitfall" the second track which brings to mind LINCOLN PARK big time. Such negative and angry lyrics here. But I can relate. Controversy? How about "Cribcaged" with the "f" bombs and ranting. Controversy? How about "America" and while the music is fun and catchy, the lyrics are biting and unfair in my opinion. I like America.

Lastly. Controversy? "Disco Queen" track five. So the first five songs are all controversial for one reason or another. I find the second half much stronger and it brings it up to 3 stars in my world. Oh, that "Disco Queen" song is also the longest for you disco fans out there. A plus. The creativity that Gildenlow brings to the table is astonishing. "Be" and "Scarsick" are not 4 star records in my world, but I am so impressed with all that goes into the lyrics and music. A band that is not afraid to take risks, and they are not worried about offending their fan base. They did it their way. Thanks Frank.

The story picks up where Flight b741 left off, because Phantom Island is nothing less than its sequel. From the cover art, where the flight with the eight little pigs collided, an orchestra of lizards and fish greets them with strings and wind instruments. As Stu Mackenzie and Ambrose Kenny-Smith themselves explained, the songs on Flight b741 were more "outrageous," while those on Phantom Island were more "laid-back." However, they are more compositionally ambitious, once again entering the microtonal world, where multiple notes are used per octave. However, KWLG manages to make one listen and enjoy the music as a festive breath of fresh air, a characteristic they haven't lost since their beginnings.

The inclusion of the orchestra, along with their cocktail of psychedelia, at times recalls the band Love, but there are also progressive, funk, krautrock, and space rock. The title track introduces us to the mood, accelerating toward the end, with a very appropriate coda, which leads seamlessly into the next track, as it gives the impression of listening to an entire recording session without a break, without giving a moment to breathe.

Both Lonely Cosmos and Silent Spirit have flamenco reminiscences; Panpsych, Spacesick, and Aerodynamic reach soaring peaks of deliberately chopped rhythms, woven together in a way that makes you want to see them play them live on the 2025 tour!

Ambrose Kenny-Smith's solo album, In Times, had already foreshadowed the wonderful period they were entering with a fusion of synth-pop, blues, glam rock, and psychedelia that was as Australian as it was thrilling. As usual, KWLG, with their multiple songwriting minds, accustoms us to expecting the unexpected; as King Crimson's Robert Fripp said, it's always the same, always different.

All Is One, and One Is Kalugin

If anyone was still unsure about Antony Kalugin's place in modern symphonic prog, OMNI lands as a direct and elegant answer. There are no empty gimmicks or pretentious concept-dressing here. What you get is a solid, inspired, and — most importantly — cohesive album from start to finish. And yes, it's made up of just two tracks. Want a two-song album done right? This is how you do it: two long suites where every section breathes, evolves, connects, and moves you. No filler, no awkward pauses.

Kalugin remains a creative machine — releasing music at an insane pace, and still keeping the quality consistently high. Actually, he keeps getting better. OMNI isn't just another good record from him — it's probably his best so far. It's got that vintage symphonic prog flavor, but with modern production that feels clean, warm, and alive. Nothing sounds artificial — everything feels organic.

One of the album's biggest strengths is its guest lineup. Richard Sinclair (Camel, Caravan) brings his classic and unmistakable touch. John Hackett adds that pastoral breeze so typical of old-school British prog. And the musicians from Mystery (yes, the Canadians) bring emotional depth and melodic weight right when it's needed. The vocals overall are packed with real feeling — no cookie-cutter singers or cold studio polish here. It's sung from the heart, and you can tell.

As for the musicianship — no complaints. The guitar work shines with tasteful, melodic lines that never overstay their welcome. Every note feels intentional. And the way the album builds its climax is just masterful. It all flows naturally — no clunky shifts or forced transitions. This is an album meant to be heard as a whole — and it earns that.

The "all is one, and one is all" concept isn't just some abstract idea thrown into the lyrics. It's reflected in how the different parts of the album speak to each other — like separate stories from the same shared consciousness. The music carries that message without pushing it too hard. That's its real strength: yes, it's progressive — but it's also human, honest, and full of emotion.

OMNI is a modern gem of symphonic prog. As classic as it is fresh, as technical as it is heartfelt. And once again, Kalugin absolutely delivers.

Music: ★★★★

Lyrics: ★★★★

Execution: ★★★★

Emotion: ★★★★

Production: ★★★★

Artwork: ★★★★

Average: ★★★★

"Out of the Blue" would be ELO's double-platter it is thee piece-de-resistance of the ELO oeuvre. Standouts: the whole thing. The first side is graced with three potential #1's, namely the harmonic myriad "Turn to Stone', the windy rush of "Across the Border" and the delectable melodic curves of "Sweet Talking Woman". Side two moves through jungles and starlight with cyclic cohesion, juiced with a little Theremin tweaking from the Tandy hand ("Steppin' Out") and rowed upstream in a raft of Kongos-like percussion from the Bevan brigade. The second record unveils the wondrous "Concerto For A Rainy Day", a four part triumph launched in the key trills and string twills of "Standin' In The Rain", guided through the corridors of the space age greenhouse effects in "Thunder and Lightning" and relieved in the angular music hall glide of "Mr. Blue Sky". Finally, side four has the band pulling out their wildcards, with an ace in each hand: "Birmingham Blues" is all the latter needed in pop lovers accoutrements, "The Whale" is perfect adjunct to the Intergalactic Touring Band, and "Wild West Hero" is a consummate happy ending of cinematic proportions.

5.0 I recommend for Prog and Pop rock fans. One of my favorites.

"Parasomnia" is the fifteenth full-length studio album by US progressive metal act Dream Theater. The album was released through InsideOut Music in February 2025. It´s the successor to "A View from the Top of the World" from 2021. There´s been one lineup change since the predecessor as original drummer Mike Portnoy has returned to the fold replacing Mike Mangini, who had held Portnoy´s seat warm since 2011, where Portoy left to concentrate on other projects. Although the split with Mangini was amicable, he was in fact fired to make room for Portnoy´s return.

Portnoy was always much more than "just" the drummer in Dream Theater as an integral part of the songwriting team and the production team, and also as one of the most active band members when it came to media interviews, and his return to Dream Theater has made huge waves on the progressive metal scene. "Parasomnia" has as a result been an even more highly anticipated new release from Dream Theater than usual (and it´s not like every Dream Theater album before this one haven´t been met with almost hysterical level fan expectations and media attention). They are indeed the most well known and respected progressive metal band in the world...

Stylistically "Parasomnia" is one of the darker and heavier releases in Dream Theater´s discography along with albums like "Awake" (1994) and "Train of Thought" (2003). But albums like "Metropolis, Part 2: Scenes From a Memory" (1999) and "Six Degrees of Inner Turbulence" (2002) are valid references too if you want something from the band´s past to compare "Parasomnia" to. It´s like the band have consciously looked back at their turn-of-the-century albums and have found inspiration there for this album. At this point James LaBrie doesn´t sing that many really high notes though and it´s probably a good idea that Dream Theater have composed the material to accommodate LaBrie´s voice. He can still sing and he has a distinct sounding voice, which suits Dream Theater´s sound well, but age and years of touring the world have taken a toll on his ability to hit the high notes (which is audible when you attend a Dream Theater concert these days). While it´s not LaBrie´s fault, it doesn´t help make the vocal part of "Parasomnia" more interesting and varied if you compare it to some of the band´s earlier releases, but of course that´s been a tendency for now many albums, so it shouldn´t come as a surprise to anyone.

Other than that Dream Theater are as well playing as ever. Four virtuoso instrumentalists in the same band writing and playing complex progressive metal is always worth the price of admission, but honestly the incredible musicianship doesn´t mask the fact that the songwriting could need some focus and attention. Even better an outside producer would be nice at this point (guitarist John Petrucci is again credited for producing), weeding out some of the less interesting parts and making the band focus on and develop upon some of the amazing songwriting ideas this album also features. While songs like "Night Terror" and "Midnight Messiah" are immediately catchy and memorable, it takes quite some time to get familiar with the remaining material, because it´s either not as hook laden or sometimes have a tendency to wander off into noodly territory, which of course is what we expect from Dream Theater, but it often feels like the technical playing isn´t a means to an end (read: an integral part of the composition), but just there because the band knows that this is what the fans expect.

The sound production is overall well sounding, heavy, and detailed, and it´s not surprising to learn that Andy Sneap is responsible for mixing and mastering "Parasomnia". There´s a heavy metallic tone to the album, which suits the material well. Upon conclusion "Parasomnia" is an album which leaves me biased when rating it. On one hand it´s probably exactly what most Dream Theater fans expected and wanted, but as a more casual fan it would have been nice if Portnoy´s return had brought some of the 1990s Dream Theater greatness with it...but it really doesn´t. This is just another high quality progressive metal release from Dream Theater in a long line of relatively similar sounding but still high quality post-2000 releases from the band. The only time they´ve truly challenged themselves since the early 2000s was with the release of "The Astonishing" (2016), but I guess the fan reactions (mine included) to that album made them think twice about ever experimenting with their core sound again.

While my review may come off as a bit harsh and negative, it should not be misunderstood as if I don´t think "Parasomnia" is a high quality release, because it certainly is. The dream/nightmare lyrical themes which grace all tracks on the album is also well thought out and implemented, and when all is said and done "Parasomnia" is overall a strong release from Dream Theater. A 4 star (80%) rating is deserved.

(Originally posted on Metal Music Archives).

Another great project from Italy this time from Milan. Zio Crocifisso is a young and promising band leaning toward the avant-garde side of progressive music. Their sound is clearly influenced by bands like Sleepytime Gorilla Museum, yet they maintain a distinct and experimental identity of their own.

Their 2024 debut EP initially left me with mixed feelings. It felt somewhat unfinished, and I was left wanting more. However, with this 2025 release, I've come to better understand and appreciate their approach. While the core of the album still revolves around the material from the previous EP, the reordering of the tracks, the addition of new compositions, and the overall cohesion give it a new meaning and a much stronger impact.

Yes, part of me would have preferred a completely new release but the way they've recontextualized their earlier work, complemented by new pieces like Campana di Legno and Trappola per Topi, makes for a compelling and unique listening experience.

Musically, the album moves seamlessly between heavy doom metal passages, intense dissonance, and the sharp clarity of math metal. It's an impressive balancing act that demonstrates creativity and technical skill.

Zio Crocifisso has delivered a fascinating and bold album another strong entry in what's shaping up to be an extraordinary 2025 for progressive music.

Having practically invented a new genre, Christian Vander's Magma went on a 20 year hiatus back in 1984 after having released some of the most original pieces of music in their early years. K.A. was their triumphant return to the new millennium with an album that sounded fresh and modern without any significant innovations but focusing on retaining their characteristic sound and slowly pushing it forward. Magma's music, while loosely based on jazz rhythm patterns seeks to create a grandiose futuristic atmosphere that can sometimes feel rather cinematic. In order to achieve that they employ a choir of female singers to accompany the mostly baritone male vocals, creating an epic sounding wall of chanting in an incomprehensible yet strangely satisfying language. Their blend of jazz and rock borrows pieces from many other genres like prog and krautrock and incorporates them into a well organized structure, like on the closing track K.A.

The relative ease with which Magma seem to be able to create an epic atmosphere which is both highly energetic and seemingly varied is something that has kept them on the forefront of what avant-garde rock is all about. The twenty year pause did not seem to affect them, since their return shows a band that is very mature and knows exactly what to do, the transition into a new musical age though had been a rather steep one when it comes to their general aesthetic. Without losing their aforementioned epic sound, it seems as though the warmth and straightforwardness of their early material is replaced by a colder much more calculated sound which can be disheartening at times. Regardless of that K.A. is still a strong addition to their lengthy discography and a fine entry point precisely as an effect of that modern sound.

4.0

"Of Ascents" with a vintage folk intro, acoustic guitar notes rippling out and opening for "The Illusion of Permanence" flirting between energetic rock and crazy heavy rock, bordering on occult djent with a jerky riff; an intoxicating choir, a fiery growl, the chorus leering at the great PAIN OF SALVATION. A zest of tulle flute before the chopped return of the colorful prog metal sound. The outro between bass and clear percussions of the ambient drums delivers the fatal note. "These Old Wounds" follows with a rumble of the pad and the flute, covering the musical sky on the dark gray. A light flute swing and aerial vocals from the 70s and the modern heavy return on top, just to avoid getting bogged down in regressive nostalgia. The bass break and martial drums before the dynamite folk solo of the 60s and the bouncing guitar, the swelling air of musical lava before the return of this frenetic flute surfing the wild rhythms of the GILDENLOW brothers; regression and innovation. "Black Crow" for the captivating vocal harmony, Josh, Emily and Alana coming to support TD and James by launching into a warm chorus; it fits well with this typical folk sound that follows, a mixture of MEER and psychedelic JETHRO TULL, disconcerting and nostalgic flirting with the 60s. Great art based on vintage keyboards, electronics and wild vocals; a tribal acoustic fade comes to rest our senses before "Hall of Statues" with its melodic Mandarin air, tambourine in front. The vocal is whispered with dark heavy waves on the flute and Barry's bass duo. Decadent prog rock with a nasty atmosphere leading to a pleasant waking nightmare.

"Book of Complaints" for its dark rock feel worthy of GHOST; a track surfing on grunge alternative rock with an expressive undertone, an explosion of sounds bordering on noise, musical chaos, a parable about their turbulent professional and artistic relationships, a touch schizoid. The sound demonstrates their vitality in a short piece; it moves everywhere, as catchy as can be. "Of Ascents (Reprise)" where everything is written to take a break from the previous Book of Complaints and its paradoxical creative madness. "Wykkr Bäsct" for its instrumental slap with bass and violins; a frenetic, playful, folky tune with Barry's extraordinary flute. From the Balkans or Romania, this track is stunning thanks to its big riff, held in the style of Robert's SUICIDAL TENDENCIES. Explosive rock before the finale and "Our Road to Dust" as an epic title, the vocals phrasing over the invasive organ and its Genesis-like undertones, the addictive Tulle flute. Traces on OVERHEAD, between grandiloquence and the air of a fishing port tavern, between steady rhythm and tenderness, distilling to the world this unique sound that is a pleasure to hear. The guitar break is plaintive then scintillating, chopping and going solo with Barry on GENESIS again. Innovative, modern, energetic, and not at all soporific.

EDENSONG has released a little progressive bomb with a strange sound, with the flute as a bonus, and choruses of buccaneering sailors. This second-rate band explodes in your face, offering a concentrated blend combining the power of hard rock with devastating melancholy. Originally on profilprog. (4.75)

"In the Garden" in electro mode, mid-tempo, synths in front with an acoustic guitar pounding out its notes, a sound that directly looks at the 80s atmosphere like 'Subway' with the heavy bass. We move forward calmly with Mike with his captivating, languid voice; the hushed outro on VANGELIS synths. "Dempsey and Makepeace" his obvious 80s; between new wave and the synths used in Z-series films like John CARPENTER, who has become a reference. The chorus is danceable, on DEPECHE MODE, I give leads, or OMD; in short the ghosts of the old tracks have an effect. "Old Mansions" electro, hip hop, ethereal, indie, an ambient synthetic sound with progressive, addictive notes, a touch spatial, cinematic, twisting in the room. A minimalist piano and the electronic hum for this simple but devilishly effective instrumental. 'In Your Eyes (School Love)' is a groovy track based on Sean's funky-sexy vocals and bass for the sober nursery rhyme, in the radio edit tradition, yes, but that of the 80s.

'The Longest Night' with electro keyboards reminiscent of ULTRAVOX, a focused atmosphere; a minimalist, laid- back vibe reminiscent of the work of JAPAN, the reminiscences are flowing. Cloudy choirs à la 10CC, a nostalgic atmosphere, the solemn synth solo taking the lead, captivating before drifting into psychedelic tinkering. The beautiful finale with a distant Gregorian choir, ERA for me. Time contracts for these diffuse and persistent memories. 'VHS Ninja' with its muffled, dark, strange atmosphere, a cartoon turtle? The electronic pad slams, leaving the keyboard notes reverberating, a fitting resemblance to a track on GENESIS's 'Duke'. The spatial, contemplative atmosphere, the talking synth on this second instrumental reminiscent of those of suspense master John CARPENTER. 'Halley's Comet' as an interlude or film finale, the crystalline, metallic, foreshadowing, and divinatory keyboard sound. 'Requiem for My Childhood' is a case in point; the long, ethereal, icy, and gentle piece, ambient and prophetic, about a vanished world, and a slow crescendo creating a dreamlike vintage atmosphere; the keyboard reminiscent of those used on MANFRED MANN'S EARTH BAND. The outro, two-thirds of the way through the planned breakup, resembles a (re)awakening, and the fade-out, like a subliminal message, on the fifth album.

STRANGE POP releases a tribute to the '80s, resisting cold digital with its warm and organic analog sound. An easy- listening album without much pretension that makes you dream and revisit our world of yesterday, yet interesting today. Originally released on Profilprog.

3.5 stars. MAJEURE is the solo project of drummer and electronics musician Anthony Pattera. He is one half of the duo known as ZOMBI and I believe he took the name MAJEURE from that TANGERINE DREAM album "Force Majeure". And that would make sense considering that drums and electronics dominate that record and this project. "Solar Maximum" is his second release from 2012 and Anthony does it all, the the instruments, the production and the composing.

I have his debut "Timespan" from 2009 and feel it's the better record. It's all subjective of course but that one really impressed me with how inventive he was with his use of the electronics, and the way he combined these electronic/synth sounds. It was fun and catchy and a breath of fresh air. This one feels more mature, more level headed. It seems like each track is arranged in a similar way. But I really like his sound. This one is more melancholic and there's less drums compared to his debut.

We get six tracks worth 44 minutes. Plenty of sequencers here along with spacey synths. The latter are just gorgeous on the closer "Solar Maximum 2" as well as on "Extreme Northern Lights". Just beautiful. The song with the most energy is the title track which is also the longest one at 11 1/2 minutes. I quite enjoyed my time with this one but it will be "Timespan" that will be my "go to" MAJEURE album in the future.

To begin, I gave this only 4 stars because...is it really prog? Rock? Neither fits well. Jazz doesn't fit well as a descriptor, either.

I'm writing this review as a realization just struck me, regarding this album: it may be Eberhard's best in terms of artistry, composition, and realization of a vision. There is a conversation to be had at the least. Previously I would have ranked it (except for "Death in the Carwash," strange creature that it is) just below the entire Colours (and THE FOLLOWING MORNING) catalogue, but its consistent level of achievement and integrity struck me tonight. He has albums I like more (though not by much), albums with certainly better tracks (again, however, the margin is narrow), but as an Artistic Statement...the coherence of the group, the individual tracks, the compositions and arrangements, the FEEL of the album...it is only surpassed by perhaps THE COLOURS OF CHLOË and PENDULUM. Perhaps.

It is mysterious and challenging, clear and direct, accessible and welcoming. I feel the lineup are all playing on the same wavelength to a degree we didn't get since the best moments of YELLOW FIELDS, and because of that, Eberhard's compositions -among his best, by the way- truly shine.

Enough gushing - perhaps it is the accompaniment by Two- Hearted Ale, but... consider my 4 stars a hot take and "rage bait" - LATER THAT EVENING deserves 5 stars, but I'm not sure it belongs to prog.

Apparently this took a decade to put together: An hour-long eerie orchestral piece, operatic, celestial, and unmistakably Vander. Although understandably filed under Zeuhl, with the falsetto and chanting vocals, slow repetition and ominous mood, it's a classical and choral piece in its own right. Vander is a multi-instrumental talent, here ditching the drums for piano trills and synthesised classical instruments, and doing it brilliantly. Classical music is a long way from my comfort zone though so my mind eventually drifted elsewhere while listening through it, getting slightly bored despite the often complex nature of it, but there's absolutely no doubting it is brilliantly well crafted.

Derev combines old-school metal and progressive rock with Arab-Armenian sounds. "Buried Voice" opens with a dark alternative, a melody that changes tempo, the vocals flirting with the sounds of Katatonia and Antimatter. The immaculate softness is accentuated by the bass, with Adel amplifying it; a synth break from The Who takes hold, the sound takes off again, captivating, between gray autumn skies and the plains of Kazakhstan. "Cyclone" begins with a cyclical riff, the redundant note both hypnotic and languorous. A classic evolution through the instrumentation bringing musical tension, the lyrics about imposter syndrome. Between doubt and regret, a velvety, melancholic guitar solo to crush any feeling of rebellion. A beautiful progressive exercise, the final fade-out with "Crawl Space" links the cinematic moment filled with a feeling of melancholy, violin, and latent atmosphere. The piano comes from a stressful spatial limbo. "Room 9" explodes, dark prog metal, raw energy, punchy rhythms, a captivating atmosphere with this machine-gun drumming. The riff ticks by, the velvety synth, Armando's sharp guitar solo on a Balkan air; a heavy outro to nod along to.

"Paracusia" with a porcupine riff, velvety synth, and chatty bass, a proven funky instrumental. A true auditory hallucination bringing the guitar to a dynamite jazzy-progressive side. "Tides of Time" is an alternative melancholic ballad with a time signature shifting from 7/8 to 4/4 and a sound reminiscent of the desperate melodic hard rock of the 90s. The guitar solo disarms with its captivating spleen. "Darker Self" with an oriental drum pad, a disarming riff, acoustic with a cajon, everything to send you into a musical trance. A track reminiscent of Soundgarden, Spock's Beard, Rush, and the Von Hertzen Brothers, very varied. The staccato, captivating tune, a sublime guitar solo, further enhances the intoxicating atmosphere. "Trace Within" is ethereal with its Floydian keyboard and gravelly vocals; an atmospheric piece with its airy guitar, a languid vocal duet worthy of Anathema with Hiske as a guest, supported by bursts of piano and a warm darbuka.

Introspective retro prog with a captivating, innovative melancholy. A charming, contemplative, progressive, melodic, and alternative opus, a stunning album oozing with a progressive vibe; a new sound that refers solely to their ideas and pushes back the prog trend. An avant-garde album to keep an eye on. Originally released on Progcensor.

This week has an album that I have been looking forward to for a couple of months, since Hasse Fröberg put up a video of the pre-release single "How Can You Leave Us Now". The full album was released 5 days ago (as I type this? it'll be 10 days when I publish it). The album is called "Love". Please see my Spotlight on the band's long and complex history (Scott Rich on Facebook). The line-up for this album is mostly consistent with the previous album "Look at You Now" from 2023. (That album has one of my earliest, much more informal reviews on Facebook.) The only exception being that keyboardist Lalle Larson is now listed as a full member. The full line up is as follows:

- Roine Stolt / vocals, electric, acoustic, 6- & 12-string guitars, ukulele - Hasse Fröberg / vocals - Lalle Larsson / grand piano, Rhodes piano, Hammond B3, synthesizers - Michael Stolt / bass, moogbass, vocals - Mirko DeMaio / drums & percussion

With: - Hasse Bruniusson / percussion - Jannica Lund / vocals - Aliaksandr Yasinski / accordion - Jacob Collier / "world choirs"

There are two tracks over 10 minutes in length, while the rest range between 2 and 8 minutes in length. This is a mostly cold listen, having only heard "We Claim the Moon" and "How Can You Leave Us Now" previously. Without further ado, let's listen!

Track 1- We Claim the Moon

This begins with some sound effects fading in, then some marimba (I think), before a cut time beat and a cool riff with a 60's vibe kicks in. Great organ sound at around 40 seconds. The vocals from Hasse Fröberg begin at around 1 minute, before the riff takes back over. Beautiful arranging as we get ready for the first verse. There is more marimba or whichever similar percussion instrument that is prior to the vocals coming in fully. This is a high energy track! Nice harmonies around 2:30. The dynamic level comes down around the 3 minute mark, and Hasse sings with a jazzy backdrop. I love all of the dynamic shifts. The rhythm goes to a halftime beat before 4 minutes. Lots of full, lush chords there. It comes way down at around 5:15 and there is a very cool keyboard feature from Lalle Larson. There is a big finish at around 6:10, but then some sequenced synth sounds keep going that take us to the fade-out. Great, high-energy opening track!

Track 2 - The Elder

This is the longest one at 11:10. The title reminds me of 1981's "(Music From) The Elder" by KISS, the closest they ever got to prog, but I digress?

A glockenspiel melody starts us off here, establishing the melody that is soon repeated by vocals in harmony. I believe Hasse & Roine are alternating on vocals here. This one has an inspirational ballad vibe to it. After a verse/chorus, there is a pause then a drum fill leads us to a melodic guitar solo. There is a new melody following, starting with Roine's voice, then Hasse's. Things begin to build up at around the 4 minute mark. But then mellow out with a keyboard feature. The next verse is slightly more up-tempo. Another guitar solo follows. A sustained power chord takes us to ethereal keyboards, then a variation of the chorus, before an instrumental section begins in true FK's style. The instrumental brings us to a quieter vocal section sung by Roine. Then there is another keyboard feature. The music gets "big" at 10 minutes. This is a quintessential Flower Kings track. After a few guitar flourishes, the track fades out on sustained synth chords. A good solid FK track; I enjoyed it, even if it didn't blow me away.

Track 3 - How Can You Leave Us Now!?

Piano chords start us off, and Michal Stolt joins on fretless bass. Roine's vocals begin at around 40 seconds in. After a verse, there are classically influenced flourishes, joined by guitar, then synth. A harmony vocal section joins next. The drums have been limited to cymbal rolls and occasional accents so far. The drums become steady around 3:30 or so. Lead guitar joins in at just before the 5 minute point. A quieter section resolves the song. Good ballad. I can see why that was the lead off single.

Track 4 - World Spinning

This is one of the two tracks that are sub-3-minutes, and the shortest overall at 2:10. A nice amalgam of keyboard tones starts this off. Lalle Larson's presence is really felt on this album. There is a neat "hopping" tone before one minute. This seems to be a keyboard solo. I like it. I get some Wakeman influences. I wouldn't have minded a bit more of that.

Track 5- Burning Both Edges

This is the third longest track at 7:50. Foreboding sounds start this off, but they are softened by the keyboard sounds. Hasse is singing in a dreamy high-register tone. Nice key change at 1:45! I like the arrangement at around 2:15 with the layers of sound there. There are occasional panned synth flourishes over the vocals. This is a mid- tempo so far. The instrumental break around 3:40 is quite nice. Vocals return by 4:10. A guitar solo begins at around 4:35, that gives me Carlos Santana vibes. Synth takes back over around 5:15. Great run at 5:38. Excellent FK's BIG moment around 6:15! I think this one is my favorite so far! The ending has a nice crescendo. Great track!

Track 6 - The Rubble

This one has a bluesy vibe. I like the contrasting vocal and instrumental sections. Cool groove at 1:50. I like the conga drums. The chorus has a catchy hook "walking in the rubble, getting into trouble". At about 2:40 we have a guitar solo, followed by keyboard/guitar harmonies. We begin leading up to the finish at around the 4 minute mark, but it kind of just fizzles out. Pretty good, but I would have liked a more defined ending.

Track 7- Kaiser Razor

This is the other one that clocks in below 3 minutes at 2:32. An organ chord fades in and we get a big dramatic FK intro. Following that the piano takes the lead, with a nice drum pattern from Mirko. I like the rhythms in this. Excellent guitar run just before 1:30. This seems to be a nice little instrumental. It would make a good intro to an epic. Roine's guitar playing is on fire here. Great track, but I want more of it! I'm wondering if Kaiser Razor is the guy on the album cover?

Track 8 - The Phoenix

A slow fade in leads to a big strummed acoustic chord, then a slow tempo is established with bass & keys joining in. The vocals begin for a verse, then the drums join in. This seems to be a bit of a duet between Roine & Hasse. Roine takes a nice melodic guitar solo at around the 2 minute mark. Awesome harmonies around 3:10. The instruments fade out to bring us to a close. Beautiful ballad.

Track 9 - The Promise

A slow organ melody starts us off, then Roine begins singing with acoustic guitar and organ. There are some wonderful harmonies as we progress. There is accordion at around 1:20, then the band kicks in with a faster tempo. The sound is very charming. The drums drop out and the others play some call & response type melodies. Another verse follows. As we approach the ending there is a moment where they sing the word "celebrations" over and over in harmony. The instruments bring us to the conclusion of the song.

Track 10 - Love Is

Clean electric and unique vocals begin the song. The synths and other instruments play a few figures, then we get another BIG FKs moment, before the first full verse begins. Roine and Hasse are sharing vocal duties on this. Nice drum fill from Mirko at 2 minutes. That leads us into a transitional part, followed by what I can best describe as a "circus band march". Vocals join that beat. By 3 minutes we have returned to a more rock tone. Great accents at around 3:15. Lots of various melodies and tempo changes are happening here. Mirko gets a moment of unaccompanied drumming at around 5 minutes. This one has a very classic FKs sound. Great track!

Track 11 - Walls of Shame

This begins softly with some free time sound effects and guitar licks. The verse begins to give us some rhythm. The beat gets stronger as we proceed. Hasse seems to be taking the lead in the vocals on this one but Roine's voice is present too. This one is more mid-tempo. Nice wah-wah guitar solo around the 3 minute mark. This song is also signature FKs in sound. Roine and Hasse may be the only constants for the FK career, and Roine's brother Michael (an early member of the line-up) returned a couple of albums back, but Lalle and Mirko are doing a great job at creating the classic FKs tone. Hasse is giving a top-notch vocal performance as the song reaches its climax. Fantastic track!

Track 12 - Considerations

The final track is the second longest at 10:15. A drum fill leads us in, with what sounds like a mellotron in the prominent role. Roine's lead guitar takes over and by 1 minute he is using a slide. I love the piano and guitar flourishes during the transition from the intro to the next section. Things get quiet and dreamy keys and glockenspiel make a bed for the vocals, which are in a low register. I believe that this is Michal Stolt on lead vocals here; he sounds like a lower range version of his brother. There are some question and answer vocal harmonies as we proceed. Nice tempo change after 3 minutes. The instrumental sound is pure FKs, but Michael's vocal sound brings a new color to the palette. Roine takes a guitar solo around 5:30. Lalle follows with a fantastic synth solo. The music pauses briefly at 7 minutes, and there is a flute sound and harpsichord in a very classical sounding section, with Michael's vocals resuming. Then we get a big FKs guitar-led melodic instrumental section. Things seem to be building to a climax as the mellotron returns. There was a nice sweep picking arpeggio from Roine right around 9 minutes. Things quiet down before a crescendo brings us to the closing. Harmony vocals sort of float by in the final seconds. Amazing track!!

OVERALL IMPRESSIONS:

This is a solid album overall, even though some of the songs along the way do seem a bit mellow and not as energetic as I might have preferred. That said, the songs are all well-written, arranged, and produced. It kicks off energetically on track 1, then eases off for a bit on tracks 2 and 3, before picking up again on tracks 4-7. It eases off again on tracks 8 and 9 then finishes strong on the final three tracks. 2, 3, 8, and 9 aren't bad, just not as strong as the others to me. I'll give this a 4.5 out of 5 stars. Roine and company are still a force to be reckoned with in the prog world!

Clicked 4 but really 4.5!

The twenty-fifth 7-inch record by Indexi was released at the end of 1980. At the same time, this was the 11th single released by Jugoton. Graphic designer Ivan Ivezic prepared a multicolored combination (blue, green, red, and yellow) for the cover, which seems to evoke a modernist artistic image of a setting sun on the horizon. Consciously or not, the image also indicates that Indexi were at the twilight of their career at this point, at least when it came to their recording and concert activities. They were acting less and less like a cohesive band, and would gather only occasionally for performances at popular music festivals. They had long since ceased to be considered a rock group worthy of attention, and during the year of the fierce breakthrough of the new wave in Yugoslavia (in 1980, notable records were released by Azra, Pankrti, Prljavo kazaliste, Paraf, while the Belgrade trio - Sarlo akrobata, Elektricni orgazam, and Idoli recorded material for the "Paket aranzman" LP, which soon dominated the radio waves and charts), they were almost not mentioned at all in the media and music press. Consequently, this single went largely unnoticed. Although not stated anywhere on the record itself, these are two songs that Indexi performed at festival events, two years apart. The recording studio is unknown to me, although records from the RTV Sarajevo phonotheque indicate that it was likely the Sarajevo studio. At this time, the band still consisted of: Slobodan A. Kovacevic - guitar, Davorin Popovic - vocals, Fadil Redzic - bass guitar, Nenad Jurin - keyboards, and Djordje Kisic - drums.

The hit track on the A-side, "Njene oci, usne, ruke" ("Her Eyes, Lips, Hands"), represents another compositional contribution by the Belgrade schlager maestro Aleksandar Korac, with lyrics by the little-known Ivica Vidric. Indexi performed it on June 28th at the "Vas slager sezone" festival in Sarajevo, and according to phonotheque data, it was recorded in the studio on March 20th, 1980. As I have already pointed out in reviews of earlier singles, Korac's name was not a guarantee of the musical quality we were accustomed to from Indexi, and his works too often approached the border of good taste. Music critic Ognjen Tvrtkovic shared a similar opinion, writing in Oslobodjenje daily on July 1st, 1980, immediately after the festival: "Indexi continue to profane themselves by performing sloppy schlagers by A. Korac, which even a high standard of interpretation does not save from swift oblivion." However, listening to this track today, after several decades, reveals some interesting musical details. The arrangers Kovacevic and Ismet Arnautalic, a former member of the band, were certainly responsible for the "high standard of interpretation" of this song. It has a strong, almost danceable rhythm with a bass guitar featuring a pronounced disco groove. The drums are somewhat muffled, and a particularly interesting detail is that the rhythm of the song is maintained throughout, almost metronomically without pause, by small hand percussion instruments - maracas and a ratchet. The guitar occasionally interjects with its melodic riff, supported by synthesizers whose tones sometimes venture into rhythmic electropop. Popovic frequently uses his famous vocal vibrato, and backing vocals also appear in certain places, making it difficult to say whether it's his multitracking or if Redzic joins in with his well- known falsetto. Despite justified criticism of Korac's "signature," the song still sounds solid today, although it is certainly not a great achievement, and indeed, as time would show, it was quickly forgotten. At the time of its release, "Njene oci..." was nevertheless a minor hit, as evidenced by a video clip from the Sarajevo studio that can be found on YouTube.

The B-side features a song that was not released for the first time here. "Oj, Neretvo" ("Oh, Neretva") is a patriotic song with lyrics by Miso Maric, evoking memories of the Partisans and their battles from World War II. The phonotheque records the recording date as October 29th, 1978, and it was performed in November of the same year at the "Festival of Patriotic and Revolutionary Songs" in Zagreb. It first appeared on a festival "cocktail" album in December 1978. Indexi had tried their hand at this genre before ("Jugoslavija" and "Zivjela Jugoslavija"), which was a common practice for many popular performers at the time, especially in the period immediately following the death of Yugoslav President Josip Broz Tito (he died in May 1980). Since Indexi did not have enough new material at the time, Jugoton's editors decided to re-release this older composition for the commemorative occasion. As for the song itself, let's first set aside the heart-rending and for-the-moment "commissioned" lyrics. The musical texture is quite impressive and falls within the framework of a somewhat "lighter" intoned symphonic prog rock, typical of Indexi. A somber and serious atmosphere is emphasized by the striking of (tubular?) bells, while the guitar sobs a mournful melody. The drums and bass enter powerfully into the sonic picture, accompanied by an acoustic guitar. Kovacevic embellishes the track with a beautiful guitar solo, but the part of the chorus where they sing "Sutjeska, Neretva" is not very good, both due to poor intonation and awkward rhymes in the lyrics. Nevertheless, this song, at least in its basic musical part composed and arranged by Kovacevic, deserves a passing grade.

PA rating: 2/5 Personal rating: 3/5

Well-Produced Emptiness

Even In Arcadia is one of those albums that, on paper, should be huge ? a mix of hip hop, R&B, trap, pop, djent, atmospheric textures, and a vocalist with a super distinctive voice. It all sounds ambitious, but the execution ends up feeling like a mash-up of the most overused elements from each genre, without that "something" to make it stand out.

From the start, the album shows its cards: smooth beats, tightly processed guitars, familiar melodies and vocal tricks. But as it goes on, the whole thing starts to drag. I honestly struggled to finish it. Not because it's "bad", but because it just feels empty. There's a constant emotional disconnect, a lack of soul ? especially compared to the last record, where every song felt like a personal confession.

Vessel is still a talented performer, no doubt, but here his vocals fall into the same patterns ? melodically and lyrically. The autotune and heavy vocal processing don't help either. Instead of adding emotion, they end up hiding it. And it's not like autotune is the enemy ? when used intentionally, it can actually work ? but here it feels more like a stylistic crutch than a creative choice that gives weight to the music.

There are moments ? some instrumental bits, cool harmonies, nice vocal lines ? where you feel like something great could happen. But it doesn't. The ideas just float there, unresolved and undeveloped. They get lost in predictable song structures or get buried under layers of production that don't let the music breathe.

The lyrics, meanwhile, aim for something honest and personal, but too often end up sounding like a string of social-media-ready one-liners. It feels more preachy than cathartic, and doesn't really connect with the music in a meaningful way.

Even In Arcadia isn't a trainwreck, but it is a letdown. A collection of nice little fragments with no clear direction, watered down. It tried to do too much, but in the end, it leaves you with almost nothing.

Music: ★

Lyrics: ★★

Execution: ★★★

Emotion: ★

Production: ★★★★

Artwork: ★

Average: ★★

Pleasant but not world-shaking live album from Sky, available in various editions - the most complete being the one included in the Studio Albums 1979-1987 boxed set from Esoteric, despite the fact that it's not a studio album and isn't from that time period. In fact, it hails from 1990 and captures the last lineup of the band as they headed towards a dignified but not spectacular fade-out to their career; despite playing live at this time they didn't feel they had the material to knock out another studio album and decided to put the project to bed. The material here tends towards the gentler "easy listening jazz fusion" side of their sound, so don't expect pyrotechnics, but then again they were never that pyrotechnic of a group to begin with.

It's been said by at least one person whose insights I value that artists who lost their way in the 1980s often found the plot again in the 1990s. Unfortunately, once the audience skedaddles it's hard to recover their trust. For SALLY OLDFIELD, "Natasha" seems self aware in its circling back to matching generally mystical lyrics with more suitable arrangements and production, including the return to her hypnotic repetitive figures best exemplified in "In the Presence of the Spring", her best track in a decade.

Even on the opener, with all its technological flare, the percussion and shout-chanted vocals seem to correct the errors of the prior two or three releases, with even her silky voice on the rise. The dreamy ballad "Natasha" is by several accounts an ode to herself as she is sometimes known by this name, perhaps a clever alteration of her middle name "Patricia". "Clear Light" is a trance like brief incantation, so by the time we get to the ripoff of a tune from her first album, it's obvious that at least some of what's here is in the same league.

Slipping in at just under 3.5 stars, "Natasha" is a mature effort that suggests this experienced singer, songwriter and musician has found inspiration in sincere self reflection.

Cosmograf is a very consistent project, but I noticed recently that I tend to love an album, then just enjoy the next, then love the following one, and so on. So, starting with the first one I heard, The Man Left in Space, I loved it, then only partially connected with Capacitor, then adored The Unreasonable Silence, and on and on. That trend has stopped, however. I absolutely loved 2022's Heroic Materials, and now Robin is launching The Orphan Epoch on May 23rd, and it is close to tying with Mind Over Depth as my favorite from him.

Robin Armstrong of the UK is the brains behind the project. When I say "brains", I really do mean that since Cosmograf is lyrically heady and precisely composed in a way that only a perfectionist could produce. He brings with him fantastic drummer Kyle Fenton, and Peter Jones guests on saxophone on one track.

This album represents some changes in Cosmograf. I mean, the sound is basically the same: progressive rock with some edge. But I sense something different, not so much an evolution as a full realization of the project's style. Robin doesn't seem shy about flexing his guitarist muscles anymore, and the keys, too, are gorgeous and played with aplomb. With the excellent rhythm section, towering saxophone spot, and continued strong lyrics, this album feels more completely Cosmograf.

The album addresses the divide that society wants to place between groups of people. This choice is most often binary, never nuanced or accounting for other ideas. They want to herd us into one of two labels, which I suppose would make it easier to control. The Orphan Epoch sets this as a foundation but then discusses young people and the disconnection and disinformation that is fed to them as they grow to become the next generation. What future awaits? Can the world handle such toxicity and lies?

The album has seven songs and they are all terrific. The singles "Kings and Lords" and "You Didn't See the Thief" are both outstanding; I love how hard the former rocks, and how the backing vocals add a sense of sobriety and history. Robin's guitar solo near the end is pure fire. The latter is even better, though, with its reserved character, electronic tone, and robust instrumental. What a great song!

But, you know, those aren't even my favorites. I love the opener "Division Warning", a pumping and powerful track with celestial keys and a sense of urgency. "We Are the Young" follows with more of an acoustic sound, but that marches into a whirling organ atmosphere of choices and confusion and melody.

My favorite track on the album is "Seraphim Reels", feeling a bit like a 2000s Porcupine Tree song with an injection of saxophone. I absolutely adore how Peter is featured throughout; Robin's voice is perhaps the most vulnerable and expressive that it's ever been. It's honestly a quieter track for the most part, but Peter lays down a thrilling, gritty sax solo that blows me away every time. I love how Robin's guitar takes its lead, ending the track in a deeply satisfying way.

The last two tracks on the album are both winners, too. "Empty Box" is a softer song that mostly floats in dark spaces with Robin's vocals. I like how it briefly erupts near the end, but the song works very well as an introspective break in the music. The closer "The Road of Endless Miles" doesn't try to impress with fancy tricks; no, this piece is pure and golden rock with fantastic guitar work, a memorable rhythmic hook, and an ambience that makes me want to listen forever. Between the gorgeous piano and melodic guitar work, the song easily becomes a favorite even if just because it sounds so damn attractive.

Cosmograf's albums are always worth the time, and it feels like Robin is only getting better at what he does. This album is quintessential Cosmograf, more so than anything else he's produced. Combine that with some of the feelings of Porcupine Tree's Fear of a Blank Planet, and you have a potent record that prog rock fans absolutely must hear.

'Curious Ruminant' finds Jethro Tull's Ian Anderson yet again floating on a cloud of neo-classical massage parlour music. This one however is a solid set of melodic, flute-tinged rock in the style of the group's late 70s Folk-themed albums like 'Heavy Horses' and 'Songs From the Wood'. In slight contrast to the previous two studio releases, this 9 track album is somewhat more concise and accessible- the only cons being Anderson's failing stage whispers and the lightweight production which undermine the muscularity of the band- particularly the guitars. This sameness of approach does not serve Ian Anderson well and I strongly believe that a different producer with a younger set of ears would energise the Tull sound next time. Having said that, this third album in as many years is a step above the previous two.

SONAR invited David Torn back for the second straight studio album after the success of 2018's "Vortex". Here we are a year later with "Tranceportation-Volume 1" but this time the music has been composed with David Torn in mind. Despite this fact I still prefer "Vortex" to this one. I was really hoping this album might crack my top three SONAR related albums, but no. A solid 4 stars but this one doesn't move out of it's comfort zone, being quite uniform sounding throughout, to the point each track sounds very similar.

I still have "Vortex" and "Three Movements" as my favourite SONAR records then add Stephan Thelen's "Fractal Guitar" and you have my top three. Love the tritone guitars and bass on this one. A five piece lineup including Torn as we have three guitarists with both Stephan Thelen and Bernhard Wagner playing tritone guitars. Torn doesn't. He has his electric plus adds live looping. Christian Kuntner on bass is a big improvement with his tritone bass to the FRACTAL SEXTET bass sound. And I found that band to be too minimalistic.

It is pretty cool the atmosphere and spacey sounds that are created through the guitars. No keyboards here. Manuel Pasquinelli is like a Swiss clock on drums and percussion. This album sounds amazing clocking in at a tidy 39 minutes over four tracks. I won't describe the tracks as I will be repeating myself constantly. A top ten for 2019 but I will take Stephan Thelen's "Fractal Guitar" also from 2019 over this in a heartbeat. This music is incredible to listen to when driving I might add.

The general lyrical theme on this 1988 album seems to relate to how much better the world would be if we were just honest with one another, as people and entities, and relied on our instincts. Well...if this didn't work in 1968, it wasn't going to work 20 years later. If only that were the biggest problem here.

"Instinct" isn't a whole lot different from its predecessor "Femme" in its polished production and arrangements, though perhaps with a tad less backbone, a possible consequence of Oldfield ceding many of the songwriting credits to others. The very good but hardly a near classic "House of Silence" is a credible cross between CHRIS DE BURGH and LOREENA MCKENNITT, while "Oleanders" reflects a path she might have followed to greater recognition. Most of the rest is forgettable synth pop blessed with a voice that deserves better, even on the collaboration with JUSTIN HAYWARD. If Sally had only trusted her instincts, which works better in art than in real life, what might have been?

Colosseum's boisterous prog-jazz-blues blend really shines in a live context, and whilst I wouldn't say this is enormously better than their top-grade studio albums (Valentyne Suite and Daughter of Time), it's a decent summation of the best aspects of their sound. It's particularly good that Chris Farlowe got this opportunity to further showcase his vocal contributions, because he'd only joined on Daughter of Time and it would have been a shame if that had been the only outing for him as frontman of the first incarnation of the group. Lost Angeles is a particular highlight, with Farlowe wringing genuine emotion out of the track as the band play like the world is ending (which for them, in a way, it kind of was).

'Lumpy Gravy' is a very interesting Zappa album for several reasons. First of all, it is the first album credited to Zappa's name alone, and is a very fascinating example of complex in-studio editing of tapes; then, the 1968 version actually follows an orchestral release that was commissioned to the extravagant leader of the MOI the previous year, a mini-album on which Zappa was not actually allowed to perform due to his contractual obligations to Verve, and a work that had to be re-arranged for similar reasons, leading the avant-garde rock composer to use bits and pieces of it for the reimagined work, the one we know as the '68 version of 'Lumpy Gravy'. Finally, this is a very unnerving and fastidious sound collage concept-record that despite some obvious flaws, carries important characteristics of Zappa's distinctive, dense style, replete with comically cynical snippets of spoken word, and surreal musical passages that touch upon some of his earlier work, yet anticipate several experiments of the near future. The laborious editing of the countless tapes and the fact that an "orchestra" of hired musicians performed the entire work makes it an even more bizarre Zappa album than it already is!

Is this contemporary classical, the work of a genius, or the master tape of a madman? In any case, 'Lumpy Gravy' is a demanding, intense listen that carries the listener throughout numerous shorter pieces of music, orchestral arrangements, spoken word interludes, and blatant musique concrète intrusions. There is a patchiness to the two big pieces, a general discontinuity between all the different elements making up the re-arranged version of the album. And while the dialogues might seem hilarious and wittily sarcastic, there are some seriously good musical motifs, especially on side one, yet not always sitting perfectly well with the hazardous arrangement (or lack thereof) of all the other disparate sonic experiments. As impressive and curious as this album may seem, it is also a fragmented work that lacks the coherence of preceding releases of Zappa, which hinders its listening to an extent - nevertheless, it has to be one of the strangely "essential" avant-garde albums of the late 1960s.

With a compositional sophistication on full display and an array of compelling tunes, right after being signed by a new label, Caravan released their second studio album 'If I Could Do It All Over Again...' in September of 1970, with the record becoming one of the all-time classics of the Canterbury scene. Following up on the band's playful psychedelic-pop debut, this release seems much more like an ode to innocence and boyhood perhaps, yet it exhibits a much more progressive approach to the various pieces of music on here, ranging from minute-long interludes to long and winding jazz-rock instrumental bonanzas. Of course, there is an eclecticism and an ingenuity to this album, as it all seems quite experimental, daring and somewhat provisional, with the music here paving the way for future recordings like 'Nine Feet Underground' or 'L'Auberge du Sanglier'. Narrowing down the psychedelic elements and expanding their musical vocabulary with jazzy tropes, Caravan had delivered a promising and expansive work very early on in their career.

The lineup featured here is the same as on the band's debut album, yet the musicianship and the chemistry between the band members seems ameliorated by far, as one could tell while inhabiting the headspace of the gorgeous arrangements here, always sufficiently elaborate but never really technically pretentious or overindulgent. There are also several catchier tunes, the "remnants" of that brilliant debut album - just breathe in the laid-back euphemisms of the opening title track. An interesting song lulls gently for eight good minutes in the face of 'And I Wish I Were Stoned', while the organ-heavy 'As I Feel I Die' works excellently and still sounds quite cerebral, as opposed to the outdated soundscapes of the preceding song. A 10-minute mini-suite closes off side one, this one is a less successful patchwork of sounds. 'Hello Hello' by Richard Sinclair is a fairly good pop number, while the centerpiece here is the gargantuan 14-minute jazz-rock suite 'Can't Be Long Now', simply capturing the band at their most extravagant and forward-thinking. Needless to say, 'Limits' is a lovely little closing piece, on an album that sounds impressive and adventurous for 1970, with its jazzy swindles and carefree pop tunes, just a fantastic LP.

Planet X indeed felt like they created music out of the Planet Earth (at that time). Heavy music with three virtuoso players, each getting the needed spotlight and the metal meets prog meets jazz approach was a novelty back then. Metal is present by the dense drumming and heavy riffing. prog is mainly represented by complex rhythms and keyboard wizardry while jazz isn't to be found in the pure form, however some Holdsworth inspired playing (last track) can be heart; also there plenty of soloing.

My two complaints are: riffing seems to be intentionally really heavy (unnecessarily) and half of the compositions aren't that memorable (Moonbabies will improve that). Tracks are extremely diverse with constant changes and challenging the listener to find the binding chain. Fortunately, after a few listens, you're going to find a motive or two in every track. The most demanding track is the ultra complex "King of the universe" joined by the likely fretless bass in the slow middle section between the frenetic start and ending. The "Chocalate" - not Chocolate is actually the most accessible track bordering on fusion similar to the action packed exhibition on "2116". 3.5 stars are guaranteed from me.

Sky's final studio album seems them taking a 1980s take on one of the earliest brands of progressive rock endeavour - adding rock instrumentation to classical music. This feels like a step down compared to The Great Balloon Race, which had been something of a return to form - here we're either dealing with a fairly standard take on Mozart with band contributions too subtle to be transformative, or the band jamming away with the orchestral guests pushed into the background.

It's a fun whistle-stop tour of some of the highlights of Mozart's discography, and I guess doing the whole "rocking the classics" thing which was popular in the early days of prog with updated 1980s instrumentation is original, but it feels unambitious - not in terms of the musical presentation, because that at least is doing something new by setting the band against a full orchestra (though isn't the point of their rock-classical blend that they can achieve orchestral sounds without resorting to that?), but in compositional terms, since it feels like you don't take this path unless you're well and truly out of original songwriting ideas and want to resort to something perennially popular.

The finale of the Radio Gnome Invisible concept and practically the dissolution of the classic Gong line-up comes in 1974 with the third part of the trilogy ''You''.Pierre Moerlen's younger brother Benoit joined the band on percussion and Daevid Allen decided that this would be more of a team effort.He recalls: ''...I was contributing a lot of the material, that it was too much my original creation. It was time we created something completely together, so we booked up a cottage in England...we connected so strongly together out of the improvisations, we just improvised and recorded it...''.The album was recorded at the Manor Studios in London in July 1974 and was released on Virgin in October.Simon Heyworth, who had collaborated with Mike Oldfield and Clearlight, helped with the production of the album

This was denitely the most intense of all Gong albums, extremely dense in sounds and sights and an amalgam of jazzy improvisations, spaced out experiments and psychedelic weirdness. Tim Blake offers some of his best synthesizer work to be delivered in a Gong album, very cosmic and cinematic with some nice guitar parts by Hillage and the occasional jazzy tastes as proposed by Didier Malherbe's elegant flute lines and powerful sax assaults.''Master builder'' is a masterpiece of the style with great sax work over the guitar and synth moves, while ''A sprinkling of clouds'' may sound a bit hypnotic with its extended synth soundscapes, but ends up to be another Gong weirdness with a full jazzy background and the flute/sax prevailing in the second half.Additionally the sweet vocal parts and the light interplays connect the band for the first time with the delicacy of the Canterbury scene.''The Isle of everywhere'' and ''You never blow yr trip forever'' are the two long cuts (over 10 minutes each) dominating the flipside of the original LP.You cannot blame Daevid Allen for carrying ''...some wonderful acid and we took this acid together as a group...'' back at the time, the result was a pair of cosmic, trippy and deeply psychedelic Jazz-oriented pieces with narcotic rhythms, some funky injections and excellent guitar work by Hillage, while the second cut contains some of the most complex themes executed by Gong in a combination of Heavy/Psych Rock, Fusion and Space Rock with ethereal female voices, flute-led soloing and intricate guitar/sax moves.

Epitomizing what Space Fusion is all about (along with Clearlight).Propably the best part of the Radio Gnome Invisible trilogy, the team effort had done good to the final result, which contains all of the Gong familiar elements: Psychedelic colors, jazzy interventions, poppy vocals and spacious landscapes.Strongly recommended.

10cc set the stage with the opener "Une Nuit a Paris", an 8 minute multi-part track, sophisticated musically yet silly in it's ultimate delivery, taking inspiration from the cabaret/cafe sounds of it's title's city. And so it goes for aptly titled The Original Soundtrack, much of its contents on one hand riveting, on the other hand disposable, sort of the musical equivalent of a brilliantly filmed comedy. No doubt this is a release that will reveal more with each listen, 10cc showing themselves as intelligent musicians with a tongue in cheek agenda. Other highlights for me so far have to be the danceable "Blackmail", rockish "The Second Sitting for the Last Supper", and of course the hit soft-rock ballad "I'm Not In Love" - with it's synthesized vocals and disembodied middle section, a gloomy departure from the rest of the album.

3.78 rounded to 4 its iconic

A collection of eccentric pop rock tunes sandwiched between a mediocre yet seemingly popular opener and, to a lesser extent, closer. Every track from A2 to B4 is this odd Beach Boys/Frank Zappa crossover where you can't quite tell how seriously the band is taking it, but in that aspect it rivals Sparks (my favorite band) in its eclectic take on pop music, not to the levels of parody where 10cc feel like they're better than the music on the radio, but rather, are so appreciatory of the music that they were built upon, that the jabs feel more in good fun. Those Beach Boys harmonies and manic bridges are not laughing at, but with, the 60s, and I think that's not only intriguing, but 10cc does it very well here. Clockwork Creep keeps me moving, and Somewhere in Hollywood should be one of the great progressive pop songs. Alas, it is not, and that's a shame, because it and many other songs here are amazing. Sure, it is sort of the same shtick as The Mothers of Invention, but the 70s sensibilities add a lot to the sound, and give it that extra kick to be something grand. Add in a hint of glam, and you have something that really is a hit with me. I find that opening track too "hard rock" to get the feeling I desire, so it is a shame that's considered the hit here, and there are certainly some lyrics that haven't aged the best (Hotel, in particular, has some eyebrow raises in it) but it tends to be so fun I can't help but enjoy it all. Just a great record, I love their voices. Eric Stewart, Kevin Godley and Lol Creme are all fantastic vocalists.

While she is to be commended for resisting the typecasting that overshadowed the surprise success of her 1978 debut "Water Bearer" and hit smash "Mirrors", like so many others during the mid to late 1980s, SALLY OLDFIELD did so by conceding to the mainstream to her own detriment. While a few well turned lyrics and compositions can compensate for oozy production and arrangements, as in "Silver Dagger", "Marlene" and "Two Different Drummers", and she does offer one minor classic in "Andromeda Rising", even her perennially sweet and versatile voice make most of this femme fatale a bit of a turn off.

10cc's debut album is a much forgotten art pop gem from the early 70's, now considered faintly uncool a listen to this album is a timely reminder of the bands obvious genius with melody and witty wordplay, this LP is pop at it's best, up there with the very best, for critics who dubbed them too clever their debut is for the most part incredibly lean and focused and eschews the overtly artsy leanings of later efforts, "The Dean And I", Johnny Don't Do It", "Sand In My Face", "Donna" and of course "Rubber Bullets" are pop perfection whilst the band show a fine understanding of the rock/blues genre on both "Ships Don't Dissapear" and "Headline Hustler", the influences are for the main part American and in particular The Beach Boys yet it still sounds resolutely English (mostly thanks to the lyrics which owe more than a passing debt to the dry wit of Noel Coward amongst others), Recorded in 1972 this album sounds as fresh now as it did then, a joy from start to finish, all lovers of great pop music should check this little gem out, its an art rock classic.

3.99

No jest - pure time travel

Legend goes that I Giullari Di Corte (The Court Jesters) were born on a stormy night in distant 2002. After many years of inactivity, they came together again in 2017. What a revelation to hear this album released on the eve of the COVID years. For when the trippy opening subsides and "Nautilus" leaps from your speakers, it feels like you're experiencing some vintage RPI from the dawn of the '70s. While it may be symphonic prog, this is old school RPI of the gritty, slightly garage variety delivered by just three men, Alessio De Angelis, Matteo "Divac" Ballestrazzi, and Paolo Zacchi. This is not highly refined, "pretty" bench RPI with soft pillowy background, violin, and angelic harmonies. This is sweaty jamming with a hearty appreciation for hard rock along with the symphonic swirl.

When drawing parallels to who these guys reminded me of, my brain first flashed to Exploit's very rare Crisi album (where an original vinyl will cost you thousands if you believe Discog). Like Exploit, this is three-piece that thrives on an inventive and workmanlike approach to jamming to get where they're going, although Exploit used no guitar and these guys do. Other sound comparisons could be Capitolo 6 and Osage Tribe. I saw someone mention Le Orme, but I feel that is a more distant comparison. Not too many albums these days will eschew the myriad modern influences of the last few decades such as prog-metal and PT-type stuff, but the largely vintage instrumental Presi di Coscienza took me on a mind-trip to the fall of 1970, imagining a couple of barefoot teens sitting in an upstairs room cranking out the latest metamorphosis of rock, drifting into what we now call RPI. This is a unique and special album that frankly easily exceeds what Exploit did even if it falls a bit short of the Orme tag some give it.

I love the melancholic lilt in the many melodic adventures they undertake, so many beautiful piano/keyboard runs backed by fiercely belted-out bass lines and lively drumming. Vocals are used sparingly but effectively throughout. It is the large middle section of this album (from "Sherlock Holmes" through "Il Messicano") that shines the most, a truly excellent run of music. I found the second track and the last two tracks somewhat less convincing, but that's just me. I appreciated the symphonic/keyboard-led material more than the hard rock/guitar-led stuff. In any case, there is great potential here. The production could be criticized I suppose as there are times I feel the sound is too thin, and yet the compositional creativity and obvious passion for authenticity surpass all concerns about sound. This album brings the sauce, and we shall blast it down the halls of the villa. Really in the 7/10 range for me, but a whisker shy of getting to 4 stars. A second album is in the works, so keep your ears to the ground for that one.

Perhaps the last truly consistent album in the Dave Byron era of the band. The band have scaled down their compositions somewhat but some of the material such as 'Seven Stars' can clearly be heard in the DNA of the British metal bands of the 80s- Iron Maiden in particular. Highlights include 'Pilgrim' and the soaring 'If I had the Time' which finds vocalist Byron in full peacock-like flight on the word 'siiiinggggg!'. Truly one of his best vocal performances. 'Stealin'' is a catchy, rollicking road trip of a hit single which displays the trademark sonic Heep casserole of swirling organs, wah-wah guitar, operatic vocals and the censorship worthy line 'I done the ranchers daughter' which allegedly prevented the band's natural ascendancy in puritanical America.

Fans of Trevor and his tenure in Yes would welcome this album. It has all the hallmarks of his time in the band- the big choruses, high-octane guitar playing, cinematic keyboards and multi-layered vocal harmonies. All of this would be somewhat meaningless if the songwriting wasn't up to scratch but Rabin delivers on that front as well ('Big Mistake' has more than a few echoes of 'The Calling' from the Yes 'Talk' album). 'Goodbye' even feels like a cheeky nod to the style of guitar rag associated with Steve Howe. The playing throughout is excellent and this album could easily be a successor to the heavily under-rated Yes 'Talk' album or an indication of what an album with Jon Anderson and Rick Wakeman might have sounded like had that window not closed so quickly.

Nearly 50 years into their career, British rockers Magnum sound more invigorated than they have ever been. Blasting out of the gates, the opener 'Where Are You Eden?' sets the tone for the album with 'Kashmir' style strings, serpentine guitar shredding and an urgency that is palpable. 'You Can't Run Faster Than Bullets' is another highlight while the title track is vintage Magnum with an atmospheric middle 8 worthy of Marillion or Rick Wakeman. Continuing this thoroughly consistent album are ballsy, 'in your face' rockers like 'House of Kings' which slips into an impressive display of Chick Corea jazz piano and even features a burst of saxophone in the out-tro worthy of Ornette Coleman. Elsewhere, 'Man' has an atmospheric synth intro before launching into the snarling riff. This is an exceptionally energised version of Magnum with some old stalwarts having moved on and replaced by younger blood. 'The Serpent Rings' is full of fist-pumping anthems from start to finish.

Were Magnum ever strictly speaking, a Prog band? Well, no. The influences of Queen, Yes, and Jethro Tull were self- evident as was and still is the unmitigated knack for Beatle-esque melody. This band however, always enjoyed rocking! From the debut album 'Kingdom of Madness' to their decidedly playful hard rock album 'Rock Art', Heavy Rock was the backbone to their music. So while we always get a consistent album from Magnum- and this is a strong one- We never know just which way the dynamics will tilt towards Prog or Metal.

With a handful of lighter moments to break up the bombast, this British warhorse have delivered another consistent later period release. Continuing from the progress of the previous album, songwriter Tony Clarkin has proven adroit at crafting great bridges and pre-chorus sections even if they are housed in a formula Rock structure. The songwriting overall does suffer a little with this recent bout of Prince-like prolificism because there are only so many riffs and chord progressions that can be used in a hard rock context. Having said that, the formula is shaken up a bit with different tempos and feels and there is a strong sense that this era of the band is building up some serious momentum.

Merit points here particularly at the business end of the album which features two decidedly foot-stomping numbers 'Crazy Old Mothers' and the Uriah Heep-ish 'Gypsey Queen' and one thing that you cannot accuse this band of is lacking conviction. Elsewhere 'Afraid Of The Night' captures a classic Magnum vibe from the band's early period. 'Your Dreams Won't Die' is likewise a memorable track with poignant lyrics and an uplifting melody.

Magnum do share similarities with the aforementioned trailblazers Uriah Heep in that they continue to crank out albums regardless of whether they make the charts or not. I just wish they would use more shade and colour in the arrangements like the best Prog Rock bands do but I am picky because I have been a fan for 27 years!

'We're hopelessly confused/Wisdom's had its day' sings Bob Catley in one of the album's more balladic moments. This lyric seems to tie in visually with the cynical air of confusion which is also visually evident in the Rodney Mathews cover art and has been somewhat of a through-line for this prolific yet darker incarnation of Magnum since the band reformed in 2001.

There is nothing wrong with the music of course, it is solid and reliable as always. This is perhaps part of the problem. This is a band after all which honed a very unique stadium rock sound with gutsy, bravura vocals, smart lyrics and hooks abundant enough to cloak Tony Clarkin's entire collection of hats. The Magnum of old had a very positive, life-affirming quality to their music and while some of the themes were dark it was never overwhelmingly so. For the most part however, this album is a little bit leaner and less bludgeoning than the previous one (2012's 'On the 13th Day') and the occasional regurgitation of stock AOR riffery is broken up with a fresh integration of bubbling electronic synth passages and uplifting middle 8's ('Falling For the Big Plan' features some truly impassioned vocals from singer Bob Catley). 'Too Many Clowns' taps into the playful heavy rock found on the 1994 'Rock Art' album and offers some much needed respite from the themes of mortality and despair while 'Midnight Angel' treats its dark lyrical matter with subtle, ambient keyboard textures which sounds refreshing.

'Don't Fall Asleep' conversely seems to herald the album's second half which slides back into comfortable heavy rock and lament-filled ballad territory.

For the most part, this album from Magnum continues along the same path mapped out from the punchy rock sound of 'Brand New Morning' but delivers a handful of surprises in the arrangements to energise the tried and tested formula.

Some Magnum albums can be hard to evaluate when there are a lot of commercial rock cliches onboard. The influence of bands like Journey and Foreigner seem to be worn on the sleeve as such with the heavy pomp rock posturing on display. This is solid and expertly crafted as expected, following very hot on the heels of 2009's 'Into the Valley of the Moonking'. The material this time is predominantly hard rock lightly peppered with power balladry and despite having just 10 tracks, it feels somewhat flabbier than the previous album. The title track has tension and drama while 'Freedom Day' continues the dark undercurrent of cynicism and world- weariness but most surprising this time is the track 'The Last Frontier'- a mellow track with a great melody and anthemic strings which delivers some much needed variety amid the doom and gloom. Thematically, this album dwells in lament and mortality, often wallowing in the passing of time as evidenced visually by the memento mori in the Rodney Mathews cover art. It is this sense of artistry that sets Magnum apart from the aforementioned North American AOR supergroups- The lyrics are smart, measured, insightful and prose-worthy. The music is therefore elevated by this and not just relegated to FM radio playlists.

Magnum's fourth new album since reforming has a sharper focus than the impressive but overwrought 'Princess Alice and the Broken Arrow'. There is more space and variety in the arrangements and an air of mysticism which is also reflected in the excellent cover art by Rodney Mathews. Lyrically, songwriter Tony Clarkin is still reflecting on mortality and bittersweet reminisces but sometimes this is at odds with the music (such as the songs 'All my Bridges' and 'Time To Cross That River' which does feature a beautiful acoustic guitar solo), while 'Take Me To the Edge' is a sure-fire Magnum rocker in the finest tradition. The title track is an interesting excursion into blues-rock which never feels forced or inauthentic for a band known for Pomp Rock anthems. 'Cry To Yourself' is decidedly melodic and Beatle-esque while 'If I Ever Lose My Mind' should please fans of early Magnum with its escalating sense of drama and heavy riffing. Elsewhere the shuffling 'No-one Knows His Name' is another highlight while some tracks follow the tried and tested hard rock approach like the AC/DC-ish closer 'Blood On Your Barbed Wire Thorns'. This is a Magnum album for the uninitiated and the faithful alike.

Continuing the punchy heavy rock sound of 'Brand New Morning', Magnum deliver an album which is heavy in a cynical rather than playful way but is not lacking in the hooks that this band are known for. 'When We Were Younger' is an introspective opener which sets the mood for the rest of this 11 track album. 'Eyes Wide Open' has an urgency belying a band of this vintage. Other highlights include 'Be Strong' with its use of funky clavichord reminiscent of Stevie Wonder's 'Superstition' and the wonderfully anthemic 'Desperate Times' with its cascading vocal harmonising. This album does start a trend somewhat for the band. A tendency to follow the 'more is more' approach in the arrangements but songwriter Tony Clarkin has never been one for self-indulgence at the expense of the song and the album outstays its welcome only by two or three songs.

Magnum appear to be somnambulating through tepid pop songs and half-baked efforts at restoring their Prog credentials here and the results are inconclusive. Uncharacteristically but perhaps fitting for the concept, the album opens with the slow burning brooding pop of 'Stormy Weather' (not the jazz standard) followed by some lightweight rockers before stumbling on one of its few highlights 'The Flood'- a song that builds into a crescendo of thudding drums and heavy guitar. 'Broken Wheel' is another ballad but has some charm about it while 'Just One More Heartbreak' perhaps not consciously channels a riff from the Midnight Oil song 'Brave Faces' (was Clarkin an Oils fan at that point I wonder?).

Elsewhere 'Only In America' offers a cynical view of the band's time trying to court the coveted US market and it does all this with a reasonable funk groove and a chorus that sounds like Asia.

Where is Magnum in all of this you may ask? The title track is one of the few songs that comes to life before it falls to sleep again in a haze of keyboard ambience, leaving only the catchy, melodic 'Prayer For A Stranger' and the lukewarm but agreeable groove of 'The Long Ride' where singer Bob Catley deepens his range to a chilled Bowie or Icehouse warble.

Perhaps most significantly for this album, Rodney Mathews has been commissioned for the cover art again for the first time since 1985. I dare say however, that more depth can be found in the artwork than most of the music contained therein.

Magnum tunesmith Tony Clarkin is no novice when it comes to delivering great hooks and melodies. It therefore made little sense for their record company to hire a crack team of hot LA songwriters to would make the band more accessible.

The previous album 'Wings Of Heaven' broke into the UK Top 5 and the band did this on their own terms with a set of songs that were catchy yet retaining the British quirks that made them unique.

This follow-up squeezes the band dry with saccharine production and lacklustre material. There is however a handful of catchy songs ('Rockin Chair','Heartbroke and Busted', 'Mama') and some cuts that demand re-appraisal ('Only a Memory', 'Reckless Man', 'Born To be King') but the approach to my ears at least, never seems to gel. Magnum were better off being Magnum.

There are many parallels between Magnum and Uriah Heep. Both bands dabbled in a fantasy world of escapist album covers and Proggy arrangements that augmented their desire to rock. Both bands also enjoyed low-key to moderate success on the world stage while grazing the Top 20 in their home territories with seminal album releases. With Heep it was the 'Demons and Wizards' era, Magnum the late '80s 'Wings of Heaven' era where the band cracked the Top 10!

Despite Tony Clarkin's ability to mine the AOR sheen of Kansas/Boston/Foreigner/Toto/Survivor/REO Speedwagon, this is as popular as the band would get commercially.

This compilation of the Birmingham band's 1978-1983 output was my first introduction to Magnum via a record club purchase. I was trying to find a 'mystical metal' band to listen to and take under my wing. Upon receiving this item and putting it on, I was immediately struck by how diverse the material was. It wasn't consistently heavy enough to be called metal yet it wasn't total sellout AOR like Boston or Foreigner either. The band were sufficiently interesting and quirky but a little frustrating for a 17 year old pair of ears. I was obviously impressed with heavy rock anthems like 'The Spirit' and 'Soldier Of the Line', equally intrigued by Jethro Tull-esque 'Firebird' and the dirty riffing and operatic vocals of 'Kingdom Of Madness'. The opener 'Great Adventure' culled from the Magnum II album was also hard to define with its Queen vocal operatics and fiddly arrangement more in line with early '70s prog rock. Magnum have always straddled this wall between good-natured AOR hooks and snarling yet controlled guitar licks. This compilation is a great place to dip your toes into the Tolkein-esque fantasy world of the band before their 1985 breakthrough album 'On a Storyteller's Night'. The best cuts from each album are included and rare singles like the heavy AOR gallop of 'Back To Earth' make it all the more worthwhile.

In Australia, finding a Magnum album was like the proverbial needle in the haystack, although I occasionally got lucky (I found 'Sleepwalking' in a CD store on a such a day!).

This album (despite being a Top 5 hit in the UK) was nowhere to be found on antipodean shores but I procured it second hand for $2 on cassette somewhere and couldn't wait to hear it.

Expecting hard hitting metal to blast from the speakers, I was immediately let down by the perfectly manicured AOR politely filling the room. This presented a quandary. How could I bang my head and pump my fist to music that sounded like John Farnham or Michael Bolton?

However, I played it again and realised the subtlety of the approach was actually a good thing and yes, I could still mime holding a lighter to inspiring romantic ditties like 'It Must Have been Love' and enjoy the guilty pleasure moments like when the guitar chimes in on 'I'm never gonna give you up...DA DA DA DA' in 'Start Talking Love'. The keyboards on this album too are more atmospheric and economical and usually soar in at key emotional moments in the song. The varied and prose-worthy lyrical content also elevates the music above the conceptually banal bands such as Asia who by this stage had dissolved into a fog of riff-laden AOR drivel.

This brand of punchy AOR with catchy melodies and impassioned vocals is worth the investment especially if you are a fan of this band. Aside from the solid hit singles including 'Days of No Trust', 'Wild Swan' and the excellent momentum of the closing track, the World War themed epic 'Don't Wake the Lion', it's a lean yet muscular album with dynamics and bombast in equal measure.

Vigilante is in general more pop-rock oriented and made for FM radio playlists to schedule alongside Starship or Mr Mister. Smack bang in its time and preening the band for success.

Produced within an inch of its dated '80s life by Queen drummer Roger Taylor, this is a peculiar follow-up to the fan favourite 'On A Storyteller's Night'. Addressing the unicorn in the room, the cover packaging is hideous and looks like it was designed for a Mattell toy promotion. Rodney Mathews was sadly not on hand for this one and the kowtowing to record company demands has clearly undermined the band's music and visual image. Next item on the agenda: The songs. Some of them are very good ('Midnight You Won't Be Sleeping' and 'Lonely Night' in particular.)

Others are drenched in the syrupy production and at best come off like '80s TV show themes by Mike Post ('Sometime Love') while rockers like 'Holy Rider' and 'Red On The Highway' fair slightly better and at least offer some guilty pleasure for the listener. Magnum would improve on this approach for their next album (the Top 5 breakthrough 'Wings Of Heaven') but this was probably the necessary step to get them up the stairwell.

From the fantasy cover art by Rodney Mathews to the bigger production (Kansas producer Jeff Glixman) and focused songwriting, 'Chase The Dragon' is an album that deservedly put Magnum on the map. Songs such as the medieval war-themed opener 'Soldier Of The Line', 'The Spirit' and 'Sacred Hour' would become live staples for decades to come while uplifting rockers like 'On the Edge of the World' struck a perfect balance between the guitar and keyboard histrionics. The album cracked the UK Top 20 but it would be a slightly bumpy road to the bigger success they enjoyed in the late '80s.

While songwriter Tony Clarkin is somewhat still wearing the Prog and AOR influences on his sleeve, the British quirks that set the band apart from the obscenely commercial US bands were well and truly in place here. The expanded edition is worth investing in as it includes the excellent galloping heavy rock song 'Back To Earth', 'Hold Back Your Love' and live versions of some of the songs- although the guitar appears to be somewhat thin in the mix. Also, the original release of this album contained 8 songs and clocked in under 40 minutes making it more emphatic than some of the group's current releases which-while solid- would not be hurt by some self-editing and fresh production choices.

Magnum II is a slicker, more polished album than the band's debut but it is also a mixed bag and somewhat lacks the energy and spontaneity. Despite this, some of these songs are classics in the group's cannon; 'Great Adventure', 'So Cold the Night', and 'Firebird' reflect a Jethro Tull and Queen influence in the acoustic and electric contrasts, vocal operatics and tongue- tripping flute workouts while the intro to 'If I Could Live Forever' conjures up images of knights on a misty battlefield before the song proper gives way to a more prosaic song structure better suited to Journey, Styx or Boston.

Other songs like 'Foolish Heart' lapse into an indistinct and not overly memorable rock shuffle, the likes of which had already been well-worn by bands like Kansas. The album's closer 'All of My Life' tells a story and builds up quite a head of steam with Tony Clarkin's guitar gallops and Bob Catley's explicit Robert Plant yelps of 'push, push, puuuush!' letting prog fans off the hook.

Magnum II is essentially half Prog/half commercial fare but despite the obvious potential of the band, fans were not won over either way.

Released in 1978 when Punk and New Wave had well and truly usurped the '70s rock dinosaurs, this is somewhat of an oddity. A Prog style hard rock album occupying its own existence outside of time and fashion. As such, it's an exemplary debut despite its slightly dated production. Songs like cracking opener 'In the Beginning' and the title track are bursting with energy and a purpose that would drive Magnum's best material. 'All That Is Real' is a beautiful ballad that comes of age suddenly before returning to its beginning sentiment. 'Invasion' sounds like the grandiose pomp rock lovechild of Queen and Rainbow. 'The Bringer' is another cracking track that perfectly blends the Prog Rock fantasy and atmosphere with the hard rock thrust and bombast. An impressive debut from one of the most consistent yet often overlooked rock bands. Vintage Magnum.

It has become apparent on the last two Maiden offerings that the band is at the very least, trying to find some new tricks to spruce up its bombastic prog-metal approach. On this double disc, there is a respectful display of bluesier guitar solos and other musical interludes and motifs which certainly help keep things fresh. The continuing problem since 2006's 'matter of life and death' however, seems to be the lack of self-editing in the music itself. On classic albums like 'Powerslave', and 'Seventh Son', short, punchy numbers would dominate proceedings, making the listener appreciate the 2 or 3 epics on display. This balance was lost somewhat with a 'back to basics' approach in the early 90s. Fortunately, the approach was found again on 'Dance of Death' (Not coincidentally the group's finest album since 'Seventh Son'). While there is much to recommend on this double album, particularly Bruce's triumphant vocals, it appears that the band has al but lost it's ability to craft trailblazing 3-4 minute anthems in the 'Piece of Mind' tradition and is now in somewhat of a rut of excess despite it's commendable efforts to deviate from the formula.

This would probably be the greatest metal album ever made...for a fresh pair of ears. Unfortunately we live in a generation now where things are forgotten not much sooner than they arrive. Iron Maiden hit the jackpot with the near excellent previous album 'Dance of Death', which can quite easily be ranked among the group's best but this follow-up has darkened the tone a little and retreated back to the sheer tedium of protracted concept songs, with little variation. Having said that, there is certainly much to recommend. 'Brighter Than a Thousand Suns' is one of the heaviest songs the group has recorded and recalls the aggression and dynamics of Piece of Mind. Elsewhere it is business as usual and that business has become bogged down a little.

Upon its release, I genuinely hoped that this would be a brave stab at the slightly darker, edgier sound and themes of the Peter Gabriel era- all foxes in dresses and games of croquet with human heads! The new singer Ray Wilson certainly has Gabriel's croaky warmth but aside from a cracking burst of guitar riffery on the title track, musically this is a very static album. Weirder still, it is an album distinctly lacking in direction. Not quite a pop album because the hyper-famous Phil Collins has left the band and taken all the catchy hooks with him (Perhaps only 'Congo' but little else) and it's not quite Prog either. The song 'The Dividing Line' feels like a call to arms for the old fans but it arrives out of a fog of string pads and nondescript melodies a bit too late in the album to provide hope. The drummers sound like Phil Collins, the vocals sound like Peter Gabriel but the music is a pea-souper of vagueness and if you manage to get through its interminable running time, you kind of wish you'd just listened to Foxtrot or Duke.

What became the final studio album by this '70s prog trio was an album more shamelessly commercial than 'Love Beach' but better than that album by a whisker due to 'Hand Of Truth', 'One By One', 'Street War' and the studio re- recording of 'Pictures At An Exhibition' (which itself was a bonus track recorded in 1993 for a box set).

All of the aforementioned tracks are ELP songs in spirit and performance. The rest of the album however, is sketchier. Greg Lake's heartbreaking ballad about a lost- presumably murdered little girl- called 'Daddy' feels too heavy to be on an ELP album and as effective as it is, seriously disrupts the momentum. 'Heart On Ice' is syrupy, lame AOR which also feels like fodder for a Greg Lake solo project while 'Give Me A Reason To Stay', 'Change', and 'Gone Too Soon' don't fare much better- the latter being particularly devoid of character. ' 'Thin Line' does offer Palmer a chance to show some chops but as a song, is more reminiscent of 'The Gambler' from 'Love Beach' in its use of female backing vocalists. 'The Man with the long black coat' is a cinematic take on a Bob Dylan song and if nothing else, it does suit Lake's darkly nicotine affected voice. A very sad ending whimper for a once restlessly energetic supergroup.

Black Moon is by no means 'classic ELP' but it does contain elements of the trio's classic sound in the cinematic title track, funky Hammond workout 'Paper Blood', the Prokofiev appropriation 'Romeo And Juliet' and some pleasant, acoustic numbers from Greg Lake- 'Affairs Of The Heart' being the most memorable. The instrumental 'Changing States' has its moments too but is diminished somewhat by Palmer's over-reliance on electronic drumming while 'Better Days' feels like an attempt to modernise the band-with mixed results. The album is slickly produced and the material is largely streamlined AOR infused with liberal dollops of Hammond and String synth pad but Palmer's watered-down percussion and Lake's darkly broken voice may spoil enjoyment for some of the older fans.

This album finds the Canadian power trio honing their synth-laden sound and masterfully pulling off some excellent tracks like the massive capitalist statement 'The Big Money', Cold War mini-epic 'The Manhattan Project' and the musically athletic 'Marathon' which features some career best playing from Geddy and Neil. Why I haven't mentioned Alex is because his guitar lines blend into the synthetic sounds making it increasingly difficult to know where he is. Despite the superb opening act, side two is comparatively indistinct and lacking in memorable hooks? 'Mystic Rhythms' with its dark timbres arrives too late to save the album from being a winning home run and the clinical, precise production does leave the listener a little bit cold.

This latest Sun Tzu-themed blockbuster (albeit loosely themed) doesn't reach the peaks of their 82-88 glory era (except for perhaps 'The Time Machine' which is one of the highlights of the album's 82 minute record-shattering running time).

Elsewhere, 'Death Of The Celts' aims for an 'Infinite Dreams' level of epic grandeur and bombast while the 8 minute title track (a quickie for Maiden) is an uplifting, minimal fuss anthem that oddly doesn't seem to outstay its welcome. Traces of epics like 'To Tame a Land' can be heard in 'The Parchment' and there is a somewhat mid-tempo plodding to the proceedings which can test the patience a little- although this charge can be laid at ANY millennial Maiden release.

Overall, what you get is the same as always since their reformation with Bruce- a solid, sprawling experience where the motto seems to be 'more is more'. Some self-editing wouldn't exactly harm them next time because (and this should be noted) this music doesn't do anything that the band haven't done in a much shorter, more concise format anyway. Why waste the format if there is nothing new happening? Perhaps it's their age or the mileage but I do wish Iron Maiden would get to the point quicker like they used to!

The current incarnation of Yes has come some way (including through a global pandemic) in restoring some artistic credibility following the tepid 'Heaven And Earth' album from 2014. The production on this album is somewhat generic but warmer and most of the songs have the high standard of musicianship we expect from this 50 year old Prog institution.

Torch-holder and founding member Chris Squire has passed away since the last album and Jon Anderson is now a man in his late '70s who is clearly not interested in gruelling touring schedules. Instead of the mystical Yes brand of enlightenment, we are given songs about climate change such as the opener 'The Ice Bridge' which features a very decent demonstration of guitar and synth interplay from Steve Howe and Geoff Downes who seems to channel his inner '70s Prog synth wizard with class and precision.

Following tracks 'Dare To Know' and 'Leave Well Alone' aim for the sublime beauty that was on ample display in the band's '70s material- the latter only occasionally falling flat thanks to a stiff groove made worse by stabs of stodgy '80s synth brass. Keyboardist Geoff Downes, after a great start seems to become more diminished in his role as the album progresses (reminding me somewhat of Keith Emerson on ELP's 'Love Beach').

As this is now Steve Howe's legacy version of the band, the guitarist suitably rises to the occasion and his soloing and acoustic work is exquisite throughout. No complaints there. Less convincing though are the vocal melodies and hooks- of which very few take hold ('Future Memories' and 'Leave Well Alone' are exceptions). Less compelling still are the bonus tracks on Disc 2 which would scarcely make Asia B-side fodder- The ill-advised Beatles paen 'Mystery Tour' gets the 'Circus of Heaven' award for irritating fluff but even 'Circus of Heaven' can't compete with some of the woeful, cringeworthy lyrics here.

Singer/Lyricist Jon Davidson has shown no true personality again and I honestly wish that he would forget about trying to sound like Jon Anderson (listen to the ersatz way he enunciates words like 'heart' and 'fu-u-uture' if you need proof of this approach). So once again, this functions like a coffeehouse version of Yes despite the fact that the band are trying a bit this time. Davidson doesn't help matters either with his plaintive lack of expression- even Jon Anderson's voice had something resembling grit when the music called for it (remember when he was pissed off with the music business and formed ABWH?!)

The elaborate packaging for this album too- it must be said- smacks of desperation as if Steve Howe is saying "Look! This is the real Yes". If only that were true... It is more of a Beach Boys album without any Wilson brothers...

Despite these complaints from a long-time fan who got off on 'Talk' and even 'Union', it is nonetheless a pleasant, competent effort but Yes at their best, were always much more than that.

Following Anderson Bruford Wakeman Howe's impressive eponymous debut and successful tour of 1989, it was decided to cut losses and join the 'Yes West' line-up for an album and tour.

In perhaps, the most gargantuan event in the group's history.. Anderson, Bruford, Howe, Kaye, Rabin, Squire, Wakeman & White embarked on the massive Yesshows 91' World Tour which by most accounts- was massively enjoyable and successful.

The album they toured on however, was a little less functional...although it does hold the distinction of being the last Yes studio album to make the Top 10 in the UK- proving that the venture was well promoted and received.

Most of its tracks were by the ABWH line-up (some spruced up with Squire's distinct, articulate backing vocals) and the rest were by the Anderson, Kaye, Rabin, Squire, White team- of which 'The Miracle Of Life' fairs best.

This was the first Yes album I ever bought and I liked most of the ABWH tracks. The musicians seemed to be firing on all cylinders- especially Bruford with his sophisticated metric drumming and use of electronic percussion hardware. 'I Would've Waited Forever', 'Shock To The System', and 'Silent Talking' are all great tracks musically.

Here's the rub though- Steve Howe's prodigious guitar playing is great on its own but Bruford really does pull the music in exciting directions at times which only hinted at the direction the ABWH lineup could have taken on their second album were it not for the corporate suits and 'Yes-men' getting involved...Talk about creative 'Coitus Interruptus'! But that's Yes for you...

For a more consistent example of how these two musicians excel when working together, listen to Howe's solo album 'Turbulence' released the same year (1991).

Another problem here is Rick Wakeman's keyboards. Where are they? There are so many session players on this album, it is sometimes hard to know who is playing what and no less than 14 people are listed as playing keyboards and synths.

Mostly, the ABWH tracks sound somewhat sabotaged by prototype trance loops and synth presets at the expense of good playing...a fact that has clearly incurred Wakeman's wrath over the years. It is worth mentioning also that there is no point on this album where all 8 Yes members play together. So Union therefore is quite a farrago of Yes styles- some successful, others not.

This was the latest Yes album when I first became a fan! To this day, it still holds up and I think it is an energetic, spirited take on the Yes sound for the '90s.

From the opening track 'The Calling', the band are in fine foot-stomping form with great melody and knotty interludes to spare. White's drums are higher in the mix than usual which re-inforces the band's backbone after some lightweight albums.

The beautiful vocal harmonies of 'I Am Waiting' send shivers down the spine, while 'Real Love' and 'State Of Play' have a welcome splash of metal riffing, electronic percussion and funky drum loops.

'Walls' (co-written by Supertramp's Roger Hodgson) feels like the only true concession to a commercial pop format while 'Where Will You Be' is polished and cinematic.

Last but not least we have the 15 minute suite 'Endless Dream' which begins dauntingly with knotty keyboard and guitar passages before moving through an escalating melody and climax.

This album neatly closes the Trevor Rabin era of Yes (although the guitarist would tour with Anderson and Wakeman some years later) and it is arguably his finest album with the band and certainly the last time Yes dared to look forward artistically rather than backwards.

This is Yes in all but name. We have here an explosion of ideas-some lengthy and suite-like- performed by 4/5ths of the classic Yes line-up that recorded 'Fragile' and 'Close To The Edge'.

Jon Anderson seems particularly fired up by a disdain for the capitalist mechanisms of the music industry on the opening track 'Themes' which features lyrics like 'Be gone you ever-piercing power play machine!' and 'I am out at thee with a vengeance!'.

After years of amassing solo projects under their collective belts, Bruford, Howe and Wakeman sound inspired and driven playing in the same room. Wakeman's keyboard wizardry then blasts through the speakers on the cinematic 'Fist Of Fire' like a long lost friend!

Next is the multi-part 'Brother Of Mine' which is fine but doesn't do quite enough to justify its running time. This is followed by 'Birthright', a song where Jon Anderson waxes lyrical about the nuclear testing in South Australia in the 1950s.

Musically, the band are in top form here with Howe's stinging guitar lines matched with Bruford's tribal polyrhythms against a backdrop of Wakeman's painterly keyboard layering.

As with a lot of Yes albums since the glory era, things become a bit inconsistent after this point and the middle sags considerably with some decorative, feathery material. The latin-infused 'Teakbois' picks up the pace a bit but feels more like a Jon Anderson solo venture than a true group effort.

Things are salvaged though with the hard-rocking suite 'Order Of The Universe' which hammers things home with a big drum sound, kitchen sink percussive clangs, hard-rock guitar and cheesy but epic synth brass. This track is also the closest Anderson's choirboy vocals have come to sounding 'gritty'!

The closing track 'Let's Pretend' rounds things off nicely with a spare arrangement of vocals and acoustic guitar and the whole production is packaged in a fantastic canyon fantasy landscape sleeve by Roger Dean. What more could a Yes fan ask for at this point?

This 1997 release is surprisingly not the album its bland cover and obvious rushed packaging suggested... Oddly enough its promotional sticker claimed it to be the first Yes studio album since Talk- In his intrinsic, erratic relationship with Yes, Wakeman left the group half way through the 1996 reunion tour and is replaced by Billy Sherwood.

Fortunately, Howe stayed on and once again contributed some fine guitar work, in a seemingly deliberate reaction against the last two live/studio Keys To Ascension albums.

The accent on songs and not epics this time is what makes this for the most part- an enjoyable listen. The opening track 'New State Of Mind' stomps in with a big riff and lushly blended vocal harmonies and is followed by the title track which succeeds in blending the Progressive and commercial elements of the band in more compact form.

This approach continues with 'Universal Garden' which feels like an updated version of 'It Can Happen' from 90125 a decade earlier, an impressive song in its own right. 'Fortune Seller' is the killer deep cut for me- great playing from Squire and White, richly layered Beach Boy-esque vocal harmonies and some gorgeously tasteful jazz picking from Steve Howe. This is a fun album in many ways and perhaps deliberately eschews the trappings of the band's Prog Rock excesses in favour of more concise songwriting.

In this respect, both Squire and Billy Sherwood deserve credit for re-inventing the wheel and not following the well- worn path- this beginning as a songwriting project between the two of them. As with most Yes albums since the 70s, it is nowhere near perfect and there is also a handful of trite filler material like 'No Way We Can Lose', "Man In The Moon', and 'Loveshine'.

The better moments ('Open Your Eyes', 'Universal Garden', 'Fortune Seller', 'Wonderlove','From the Balcony', 'The Solution') certainly make up for it and make it worth investigating for any fan of Yes. NB: My version of the album also included an extra 10-15 minutes of tropical rainforest sounds with occasional bursts of isolated vocal harmonies. Was this just music for a CD ROM or DVD menu, does anyone know??

Call me a cynic, but this whole Steve Hogarth style of Marillion music seems to be on auto-pilot where cinematic keyboards and lyrics about humans not engaging with one another (the sightly annoying 'I put my arms around her' refrain in 'Murder Machines') have taking precedent over memorable hooks and melodies.

I find some of Hogarth's lyrics to be pretentiously outré such as the aforementioned 'I put my arms around her/and killed her with love' but in earlier times, the melody and arrangement was king so the lyrics and even Hogarth's nasally delivery were tolerable (1995's excellent 'Afraid Of Sunlight').

This is not to say that some of the material lacks merit. This is a seasoned progressive rock band and 'Sierra Leone' for example, has some charm and warmth (at least the first parts).

The album opener 'Be Hard On Yourself' also surprises a little with the use of a choir- although its remaining segmented parts are less distinct and merely re-iterate the first part (a problem with most of the song suites).

'Murder Machines' has a light funky groove but it takes a back seat to the lyrics. So as with the group's previous album FEAR and most of SOUNDS THAT CAN'T BE MADE (apart from the extraordinary 'Gaza'), the most dangerous thing about Marillion's brand of airy, synth-laden Prog Rock is the lyrics.

Musically they are still of a very high pedigree as this album demonstrates, but if you are a bit too familiar with this incarnation of Marillion, you may want to skip this one.

Bombast and studio trickery are all very good but what about the songs? Well, the songs on Queensryche's second album-while not all winners-certainly reach some emotional and artistic peaks. 'Walk In the Shadows' is a terrific opening rocker with some truly stratospheric vocals from Geoff Tate but then we are treated with the Proggish power ballad 'I Dream In Infrared' followed by a flashy polyrhythmic drum groove that anchors the riff heavy 'The Whisper'. 'Gonna Get Close To You' is a voyeuristic cover complete with earth-shattering Phil Collins drums and a sleazy Geoff Tate vocal but it is after this point in the album that the songwriting quality dips a little.

Even In Arcadia by Sleep Token is a great move into more mainstream territory for the mysterious project. The rollout of singles on this album and the campaigning was perfect, but when it comes to the finished project, it does start to verve into predictable song formats. But while the ending does show more experimenting promise, the real clincher of this album is the production, performances and lyrics. While not overall being a thrill ride, the quality of material is fantastic with great creative choices throughout with pristine glimmer. On this album Vessel is more comfortable with his own voice, possibly linking to the concepts and themes, overall creating a great almost cinematic narrative. Great mix of styles proving that these guys deserve the attention that they have been currently getting. Lyrically the album is perfect, with great use of language and imagery. While not as grabbing as their previous album, this is still a great follow up and by far no slouch. I'd give this a low to mid 8 out of 10.

DIAGONAL released their self titled album back in 2008 and followed that up with a lot of live gigging. This "Roadburn Live" album is an important document as to how incredible this band was in a live setting. Recorded in April of 2008 this seven piece band was on fire. Sax player Nick Whittaker commented "I remember that was one of the shows where everything just clicked. We were playing live a lot at that time and you can really hear how tight we were in both the written and improvised sections. We'd recorded the debut a few months earlier and we were so confident with the songs and how to get the most out of them on stage."

If you don't have their first two albums you really need to check them out. They are very different from each other though. This is such a talented band with Alex Crispin leading the way on keyboards and vocals. Essentially we have two guitarists, two keyboardists, bass, drums and sax. As far as the keyboards go, Crispin plays farfisa organ while Ross Hasek adds synths. This is a 43 minute album that contains the whole debut album less the over 7 minute "Deathwatch" which was replaced with the previously unreleased "Heavy Language" at almost 7 minutes. This recording is archival, not being released until 2022 and it was mixed and mastered by Alex Crispin.

The love for this one was immediate, not so surprisingly given my appreciation for their debut. They combined the first two songs from that debut "Semi Permeable Menbrain" and "Child Of The Thundercloud" for an awesome 20 minute ride to get us started. Man, I am so into the vocals and sound here. The closer "Pact" at almost 11 minutes is just about as good. If the two shorter pieces were more my thing I'm going 5 stars. But they aren't. They are both shorter at 7 and 5 minutes but both are also fairly abrasive with that guitar style. I even thought of Italians GARDEN WALL when I first heard "Cannon Misfire". Both are good, but not great.

Luke Foster needs to be mentioned on drums along with his rhythm partner Daniel Pomlett on bass. I'm sure this show would have been talked about for months. The added sax along with the farfisa and vocals would have made this band's sound somewhat unique at the Roadburn festival. And this is a very 70's sounding performance. Easily 4 stars.

Sky lost another co-founder between Cadmium and this, John Williams electing to step away from the group, and rather than simply replace him the remaining four members decided to take the empty seat as an opportunity to experiment, working in a range of guest musicians here and there as the compositions demand. This actually ends up working quite well! There's an extra injection of energy that comes in here, a sense of the unexpected which hasn't really been around since Sky 2, and whilst it wouldn't endure, it did at least refresh the group's sound enough to make The Great Balloon Race decidedly worth it.

Love, the latest Flower Kings album, finds the band in a gentle and low-key mood. Whereas the band's back catalogue is full of energetic, rambunctious, extremely busy and intricate music, Love finds Roine Stolt and company not averse to kicking back, calming down, and keeping it simple. That isn't to say they've stopped being prog by any stretch of the imagination - after all, think of how Yes, one of the Kings' major influences, wove moments of gentle beauty into their music in between the outbursts of technical wizardry, something which has always been something of a factor in the Kings' music.

Just because the pendulum's swung towards a quieter and more introspective approach doesn't mean this has become easy listening, mind - this is an album of melancholic contemplation of the state of the world, shot through with a strong vein of optimism and hope which is just the message we need to hear in the present moment. It's not a top-flight classic, but it surprised me at a point in the band's career when I wasn't expecting to be surprised, and that counts for something.

Chris Farlowe's turbocharged lungs drive Colosseum's music to the next level on Daughter of Time, the last studio album of their original run. Joining on lead vocals, Farlowe comes across like a more sombre, less excitable Arthur Brown, which I suppose makes sense since both Colosseum and the Crazy World of Arthur Brown had a somewhat similar approach to taking the blues and, rather than trying to reproduce it directly and appropriate it, instead inject a good dose of psychedelia and make it good and weird. It's overlooked next to Valentyne Suite, perhaps because it doesn't have an epic track comparable to the title track of that one, but that seems unfair, since I reckon it's about on a par.

Frøislie has long been celebrated as the PROG MESTER, a true master of vintage keyboard arts, known for his work with Wobbler and his reverence for the classic sounds of the 70s prog scene. with his latest solo release, Gamle Mester, Frøislie steps into darker, more introspective territory, drawing deeply from the well of Scandinavian prog that flourished in the 90s ? one of the greatest eras in the genre's history.

Opening with the epic "Demring," Frøislie immediately establishes a more brooding, atmospheric tone that feels like a spiritual successor to the foreboding passages of Änglagård and Landberk. This track, in particular, evokes the same cold, melancholic textures that defined the Swedish masters of that era ? in my opinion it's a significant shift from the more jubilant, folk-tinged brightness of many Wobbler compositions. Yet, this change feels entirely organic, as if Frøislie is tapping into a long-simmering creative reservoir, rich with vintage Mellotron, searing Hammond organ, and haunting flute lines that echo through the icy Nordic mist.

Previously released tracks like "Gamle Mester", "Kalydonske" showcasing Frøislie's unparalleled ability to weave complex, adventurous compositions that blend the warmth of analog synths with the sharp bite of raw, Scandinavian atmosphere. It's hard to describe in words what the scandi prog sound is. It's this fusion that sets him apart, making him one of the few artists today, if not the only, who truly capture the spirit of classic prog while pushing its boundaries into a completely new, shadow-laden territory.

For fans of adventurous, keyboard-heavy prog with a taste for the darker side of the genre, Gamle Mester is a triumphant return to form. Frøislie has crafted an album that not only stands tall alongside his past work but also pushes the boundaries of what modern prog can be. It's the kind of record that demands repeat listens, revealing new layers of complexity and emotion with each spin ? a true contender for album of the year in the progsphere.

"A Sonication" is the seventh full-length studio album by German death metal act Obscura. The album was released through Nuclear Blast in February 2025. It´s the successor to "A Valediction" from 2021. Only lead vocalist/guitarist (and band founder) Steffen Kummerer remains from the lineup who recorded the predecessor. "A Sonication" was released in the midst of a storm of controversy regarding the songwriting credits, as some former members of the band accused Kummerer of using parts they had written. Parts which according to them, Kummerer had promised to remove from the compositions.

Songwriting controversy or not, Obscura sound more or less like they have done since the release of their second album "Cosmogenesis" (2009). Technical death metal with a progressive edge, influenced by 80s/90s death metal acts like Death and Pestilence (the technical death metal albums by those artists) albeit appearing in a more contemporary skin and sound. Obscura have lifted the foot from the technical playing pedal though, and "A Sonication" overall sounds a bit more straight forward than what Obscura have released since "Cosmogenesis", although "A Valediction" also leaned that way. There are a lot of melodic death metal tendencies here too, and although Obscura have always been quite a melodic inclined technical/progressive metal act, they have increased the melodic death metal elements on "A Sonication". The vocals as usual vary between snarling raw vocals and deeper growling. There are occasionally some raw shouting and slightly more melodic tinged singing on the album too.

Although the material on the 8 tracks, 39:07 minutes long album is overall well written and the album features high level musicianship and a crisp, sharp, and detailed sound production, it´s still like something isn´t right. Obscura sound a bit tame and uninspired and "A Sonication" is an album lacking fire and passion. For a death metal release this is pretty limb, and although no one should ever expect to hear Suffocation or Cannibal Corpse brutality on an Obscura album, a bit more bite and intensity wouldn´t have hurt. It´s not a bad quality release, but it does sound a little sterile and lacking in energy. A 3.5 star (70%) rating is still deserved, but this seems like a crossroads for Obscura, and It´ll be interesting to see where they go from here.

(Originally posted on Metal Music Archives).

On their fourth album the band heads towards a more progressive rock direction. Their first three albums all had progressive elements but most of the material was just folk rock kind of stuff. I like their style change even if their previous albums all include some very nice material as well. Grave New World still has a bit of their original folk style left which is nice. But mostly this record is a prog rock disc from the start to the end.

Some of the highlights include "New World", "The Flower and the Young Man" and "Tomorrow" for example. Fantastic songs and those aren't the only great songs this album has to offer. Several very good songs are found from this LP. On the other hand there are still some tracks that don't have anything special to offer but luckily most of the material is solid.

This is slightly better than 3,5 stars so I guess I'll give this album four stars. Grave New World is a very nice progressive rock album even if it's definitely not one of the true diamonds of the genre. A solid listen however.

I love Flying Teapot to death and I think it's a great starting point into Gong, but Angel's Egg seems to take what Flying Teapot did, compacted it, and made it more complete. There are plenty more shorter excursions here, but they work so well and many songs perfectly flow right into each other. The perks I notice here are Steve Hillage's guitar work (quite fascinating if you ask me), the percussion fest on "Love is How Y Make It", and the overall silliness of everything which is retained from their previous work. With titles like "Sold to the Highest Buddha" and "Eat That Phone Book Coda", you can tell this group aren't taking themselves too seriously, and I love them for it.

Pretty much everything from "Flute Salad" and onward is where I really start to get into Angel's Egg. Even the bonus track on the CD version I have ("The Ooby-Scooby Doomsday...") doesn't slow the album down a bit. "Prostitute Poem" might be my lone gripe, but that gets quickly drowned out by everything else on Angel's Egg. This is a lighter, goofier, way-less-serious side of progressive rock that is worth checking out.

4.0

Twenty years after the first 'S&M' concerts, and Metallica team up once more with the San Francisco Symphony Orchestra for a musical extravaganza, as metal meets classical in the ultimate musical collaboration.

Containing two CD's and a DVD of the concert, 'S&M2' lives up to its predecessor, but is as different as it is similar. Besides advancements in technology allowing for much, much better sound and picture (on the DVD), the band have this time, taken the performance from a concert hall to a huge arena, and with thousands of Metallica fans in attendance, the audience participation really enhances the experience, especially on the ending of 'The Memory Remains'.

The differences don't stop there. What's noticeable on the DVD, is that, unlike the first 'S&M', where Metallica were in their late 30's, battling shifting musical trends, addictions, and personal strife, and "taking a risk" with the whole endeavour, this time the band are now all in their late 50's. They're sober, a cohesive unit, and they've done this before, and you can see how they seem so much more relaxed this time around. Conductor Edwin Outwater's visual energy is infectious, and the orchestra musicians are no doubt, absolute professionals, but I can't help but feel like the pep talk backstage was something like "hey, don't worry, just have fun".

If any risks are taken this time around, it's the middle segment which sees the orchestra given time to shine. With classical pieces, a double bass tribute to Cliff Burton, as well as an orchestral version of 'The Unforgiven III', which sees James Hetfield go guitar-less. I don't think this has happened since he burnt his arm in the early 90's?

While sentimentality and nostalgia will always make me prefer the first 'S&M' over this one, the reality is that 'S&M2' is every part it's equal. Featuring classics such as 'One', 'Enter Sandman' 'For Whom the Bell Tolls' and 'Master of Puppets', as well as newer songs, 'The Day That Never Comes', 'Moth Into Flame', and 'Halo On Fire' (which sounds incredible with the orchestra), the CD's and DVD make for a fantastic audio and visual experience, and this is as essential a part of any Metallica collection as the first. Will the band still be around in their 70's for part three? Let the waiting begin!

Review Nº 893

Marillion is a progressive rock band that was formed in 1979 in UK. Marillion had its origins in the early 80's presenting itself as the main representative of the new generation of the English progressive rock, as it was in decline since the appearance of the Punk Rock Movement and the New Wave, in addition to the abandonment of the style made by many of the classic prog bands, such as Genesis, Yes and Emerson, Lake & Palmer. They're one of the founders of neo-prog.

"Afraid Of Sunlight" is the eighth studio album of Marillion and that was released in 1995. Here again the band was faced with the challenge of continuing after the release of a very well finished album, "Brave". Although in its own way, Marillion remained within an excellent quality level. All tracks here are melodic, well written and beautifully produced, although on "Afraid Of Sunlight" the sound is much softer than in the Fish's era and even in the early Hogarth's era albums. Containing beautiful soundscapes, the songs are beautifully harmonized and are simply transposed into one another with organic textures, taking the listener in a musical ride that eventually erupts with good emotional intensity. So, all in all, "Afraid Of Sunlight" is an album that has emotions, complexity, excellent lyrics ad good instrumentation.

The line up on "Afraid Of Sunlight" is Steve Hogarth (lead and backing vocals, keyboards and percussion), Steve Rothery (guitars), Mark Kelly (keyboards), Pete Trewavas (backing vocals and basses) and Ian Mosley (drums and percussion). "Afraid Of Sunlight" is an album that had also de participation of Barbara Lezmy, Wendy Page and Hannah Stobart (backing vocals), as three guest artists.

"Afraid Of Sunlight" has eight tracks. The first track "Gazpacho" opens with the Rothery's chiming guitar figure and Trewavas' hyperactive bass line, as Hogarth introduces the themes that will emerge over the next seven tracks. This seemingly jaunty tune with its chiming guitars floats along on a deceptively cheery melody and with some great hooks. The second track "Cannibal Surf Babe" is a fun and silly stomp that recalls the 60's surf music and features some pretty awesome Beach Boys. While this could seem the album's throwaway track, there's nothing wrong with a bit of fun on the album. It has good lyrics with highly unconventional music for Marillion. The third track "Beautiful" was chosen to be released as a single. This is a melodic ballad which might not be to everyone's taste, since it's quite sentimental. It's a nice pop song with good melody and a simple naive text with few extremely broken treatments of the chosen meter. It would have fit in well on "Holidays In Eden". The fourth track "Afraid Of Sunrise" is a true gorgeous track. This is a completely atmospheric song, which is particularly noticeable with the lively bass from Trewavas and the broom drums from Mosley. It's one of the best tracks on the album and features some really enjoyable fretless bass work. This is probably one of the highlights on the album. The fifth track "Out Of This World" is another huge highlight. The lyrics get really personal and in the midst of this calm, cascading soundscapes of songs hides one of the most beautiful guitar solos that Rothery has ever played. The final consists of a carpet of keyboard sounds with all sorts of samples and around it, nothing for the impatient, but absolutely great for the intensity of the mood. The sixth track is the title track "Afraid Of Sunlight". This is another highlight, possibly one of my favourite tracks on the album. It's again a slow ballad, but this time tranquil and reflective, with some great evocative imagery. The track is further distinguished by a sprawling, grand chorus and a stupendously beautiful middle section. This is pure sonic nirvana music. The seventh track "Beyond You" is another heart on sleeve song, I think this time on the subject of love. This is almost a personal piece for the band, and especially for Hogarth himself, for a long time. According to Hogarth own statements, he simply couldn't sing it live. The lyrics are top notch with a haunting melancholy. The eighth track "King" closes the album bringing all the threads together in rumination on the attention seeking. It forms the massive conclusion, the dangers of fame, Kurt Cobain and Elvis form the thematic framework, along which we can see the claustrophobia. It concludes with a gloriously oceanic, noisy, a soaring build up. This is perhaps the strongest single track on the album.

Conclusion: Despite a disappointing commercial performance, the album was critically acclaimed as one of the band's best ever. From the opening track to the closing one, the album is an authentic musical journey, a perfect blend of different musical approaches that goes from progressive rock to pop. "Afraid Of Sunlight" has no weak points and it's the final proof that Marillion are meanwhile in a class of their own. It has a timeless quality and an effortless melody, not to mention that beautiful all around glow. In retrospect, "Afraid Of Sunlight" will proves to be a perfect divider between the first Marillion with their strong purely progressive atmospheres, and the futures projected towards a genre closer to rock than prog. The still unbroken courage to take risks against the too narrow die hard supporters ennobles the five.

Prog is my Ferrari. Jem Godfrey (Frost*)

Phlox is a Malaysian psych rock quartet featuring Hakim Tahar (vocals/keyboards/guitars), Hanafi Rahman (guitar), Syazwan Sazali (bass) and Ahmad Zulikhwan (drums).

Their first full length album Quiver shows them finding a middle ground between Pink Floyd, Ozric Tentacles and some Britpop bands like The Verve (themselves very PF-influenced).

The recurring Quiver (in three parts) offers a darker twist to the trippy motifs, while Speak To Me soars unexpectedly. Where You Go and Inside Outside continue in the same vein.

I also find Morning Dreams and Everything Kills You to be charmingly deranged acoustic guitar excursions.

Although I prefer the follow up album YWNTS, this is still a good place to start.

The Malaysian psych scene is very poorly documented but there are interesting albums.

Phlox's two albums rank alongside The Strollers' Waiting Is, Damn Dirty Apes' Valve State Dreams. Capt'n Trips And The Kids' The Paraverse, Golden Mammoth's Skyscraper Towards The Sun and Martin Vengadesan & The Stalemate Factor's The Knight's Flight as the best of Malaysian psychedelic music.

This is the first Stalemate Factor album and while it's enjoyable, very little of it is progressive rock. Rather it's more of a singer-songwriter folk and blues rock album that doesn't give much indication of the prog direction that would be showcased on later songs like The Battle Of Emerald Skye and The Horizon Myth.

That said, I still have a lot of time for the songwriting here. Of interest is Across The Moors which rolls along for more than 7 minutes which no sign of percussion. Instead it relies on classical guitar, harpsichord, violin, viola and organ. Another highlight is Wisdom Of A Lie which gets very psychedelic towards the end.

Aside from that there is socially conscious material like the blues-tinged Affirmative and the heartbreaking Song For An Abused Child. Snow Sculpture is an engaging ballad and the Beatles influences are clear on Petunia and Baby Doll.

The Stalemate Factor always stood out on the Malaysian rock scene, and one listen to the album will show you why.

It's also noticeable that this album has a lot of guest performers behind the core trio that make up the band. I have to say that one or two songs seem to suffer from weak production but overall I really enjoy this album. Just that it's not very prog at all. That comes later.

— First review of this album —

Mysteria Noctis came to life in Como in 2011 on the initiative of Alessio Negretti, Alberto Negretti and Giacomo Piccinini, inspired by bands such as Opeth, Porcupine Tree and Dream Theater. After a long time spent in the rehearsal room and a good live activity on the local scene, in 2015 they self-produced and released a debut full length album entitled "Higher Dimensions" with a line up featuring Alberto Negretti (vocals), Alessio Negretti (guitars), Matteo Menafro (keyboards), Pietro Francoli (bass) and Giacomo Piccinini (drums).

It's a still immature work where death and black metal sounds prevail although the band try to blend them with many other different influences, from jazz to prog. Wild, raw sections characterized by growl and screamed voices alternate with calmer acoustic passages and symphonic digressions throughout the five long tracks of the album. "Decadence", "Cry Of The Ocean", "Iter Mentis In Deum", "Logos" and "Of Flames And Eternity" give life to a kind of suite full of interesting ideas, although not always musically coherent. Nonetheless, for the band this was just the starting point...

— First review of this album —

The follow up of Mysteria Noctis' debut album is "Quid est veritas?", an EP that was released in 2017. It represents a step forward and an important change of direction in the style of the band when compared with the previous work from 2015. It was released on the independent Areasonica Records label with a confirmed line up featuring Alberto Negretti (vocals), Alessio Negretti (guitars), Matteo Menafro (keyboards), Pietro Francoli (bass) and Giacomo Piccinini (drums). Here the musicians leave back most of their death and black metal influences in the search for a more personal style. According to the band, this work is "focused on the search for Truth, in the deepest and most absolute sense of the term. It's the human journey towards the light that drives away the unknown, a path that tries to get closer to knowledge but is strewn with obstacles and rarely reaches a definitive conclusion in the span of a single lifetime".

The title track is a long suite sung in Italian (despite the title being in Latin) for which the band also shot a video directed by Simone Sacchi. It depicts the regrets that emerge from foggy memories and from the ashes of an arrogant ego obsessed with knowledge and blinded by greed. But the truth is that a man will never understand the nature of what lies behind the veil of the senses...

The second and last track, the lively "Swinging Mind", is shorter and is sung in English. In the own words of the band, "two progressive rock songs with two different perspectives, different styles that manage to complete a story by making the most of the combination of the tension and restlessness that form the background to the first song and the pinch of madness and instability that unfold during the second"...

Daal's from the Underground

This happens from time to time: when a band we like releases two albums at once. This year, DAAL did just that, and unlike Echolyn, whose double release didn't entirely convince me, DAAL delivered two powerful and contrasting works.

DAAL has been one of the most consistent progressive bands of recent years. Since 2018's "Decalogue of Darkness," perhaps their masterpiece, they have maintained a high standard, with previous works like "Dodecahedron" (2012) also standing out. Their music is hard to define: dark, immersive, and primarily instrumental, built around the sonic vision of keyboardist Alfio Costa, with support from Davide Guidoni, Ettore Salati, and Bobo Aiolfi.

Live: "Waves from the Underground" was recorded in 2023 at Studiosette in Rome and consists of improvised sessions. It includes reinterpretations of older tracks like "Brain Melody" and "Decalogue Part I," but in this live jam format, they take on a new life. The tracks on "W.F.T.U.," each referencing a specific historical date and geographic coordinate, add a conceptual layer, making the album more than just a typical live album.

Musically, this album explores a rawer, more experimental side of DAAL. It leans toward late-'60s German electro-prog, space rock vibes reminiscent of Hawkwind, and the avant-garde tension of bands like Art Zoyd. It's the perfect counterpoint to the dense and claustrophobic Decoding the Emptiness. Where that album plunges you into darkness, this one offers energy, risk, and freedom.

In a year in which DAAL has already released one of their best studio efforts, Live: Waves from the Underground arrives not as an afterthought, but as an essential accompaniment: an expansion of their sound and spirit. Personally, I've been listening to it more often. I enjoy the exploratory, improvisational side of progressive music, and this album fills that need perfectly.

I really enjoyed this record even more than Decoding the Emptiness, I'm more into the experimental side but both records are truly outstanding.

Decoding Daal

These things happen from time to time: when a band we like releases two albums at once. Well, this year Echolyn did it? and in my opinion, it wasn't a good decision. But I'm not here to judge them, because I want to talk about Daal, the Italian band, another of my favorites.

Daal has been releasing excellent albums for years. Since 2018's "Decalogue of Darkness"?perhaps their best work?they've demonstrated remarkable consistency. That doesn't mean their earlier material is weak; on the contrary, their discography has virtually no low points. One of them is 2012's Dodecahedron, another magnificent album.

Immersing yourself in Daal's sound is like immersing yourself in a dark and gloomy world of impressive sonic quality. Their musical skill takes you through shadowy realms, occasionally opening up to brighter or denser spaces. The band uses their instrumental prowess to create a kind of sonic exploration: an interplay of light and darkness. Their music is difficult to define.

Led by keyboardist Alfio Costa, who creates the tones and atmospheres, Daal's sound is primarily instrumental. He is accompanied by Davide Guidoni on drums, Ettore Salati on guitar, and Bobo Aiolfi on bass. While vocals are rare, this time they feature contributions from Joe Sal and Alphabeard, who provide texture on two tracks instead of taking center stage.

Decoding the Emptiness is a complex and diverse album, particularly claustrophobic, but that's part of the experience Daal seeks to offer. It sometimes offers no respite with its dark, disjointed cadences, but musically it is extraordinary: a journey of the mind and spirit to those corners we often avoid, but somehow find strangely comforting. The performance is masterful and, as I said, constantly surprises you. It transports you through changing landscapes, creating a deep and unique connection, like discovering a hidden secret in each track.

Decoding the Emptiness undoubtedly sits on the darker side of progressive rock, but in a way that is highly rewarding for those who appreciate the genre's more cinematic and experimental nuances.

This album doesn't strive for catchy melodies or traditional structures. Instead, it builds dense soundscapes with vintage synthesizers, layers of mellotron, percussive textures, and melancholic atmospheres. It leans toward avant-prog and symphonic dark prog, referencing bands like Goblin, Univers Zero, and the more haunting side of King Crimson. Despite being primarily instrumental, it tells a compelling story, almost like the soundtrack to a psychological thriller or an art film.

Decoding the Emptiness might be Daal's best album to date: its layers of density and darkness are so well realized that the album stands as a true milestone in the genre.

This is the second and last, more "pop rock" oriented album by Mezquita. They've bumped up their arabic influences but've dropped the progressiveness that the first album had almost entirely, with average lyrics and "easier" vocals, so if you're looking for progressive rock, check out the first album.

Their closing track, "La montaña, La Ciudad" is very reminiscent of their first album, with long instrumental breaks and the return of the original poetic lyrics and vocals, and is about as progressive as this album gets.

The opening "Cuento Árabe" isn't really progressive, but it's very catchy and Arabic, and one of my favorites of the album.

"La Última Juerga" is probably nothing too special, but it reminds me of Mana, specifically their song "Oye Mi Amor". That's all.

Camel followed up their eponymous debut album with the brilliant 'Mirage', released in March of 1974 by the classic lineup of Andrew Latimer, Peter Bardens, Andy Ward, and Doug Ferguson. This second studio album seems to be following closely in the footsteps of the band's melodic and moody first album from one side, but from another it also introduces an array of new and exciting sounds, this time with an even greater influence from the Canterbury scene, especially Caravan and their jazz-tinted explorations. Composed of just five tracks, two of which are multi-part suites, 'Mirage' is naturally one of the more accessible and successful Camel albums, with its strong melodies and chiseled arrangements, through which the listener could appreciate the majestic interplay between the guitar work and the organs; just wonderful musicianship from a band that tends to focus more on melody, structure and mood, rather than technicality and flamboyancy, which might also be the reason why this recording lacks some of the bombastic and cathartic qualities associated with the progressive rock genre.

The entire album flows evenly and is a rather enjoyable listen, starting off with the up-tempo rocking opener 'Freefall', one of the more straightforward Camel songs, definitely carrying great commercial potential. Yet the musicianship and the prudent playing on this track are never compromised. This one is followed by the first instrumental on the album called 'Supertwister', a song that sees Andy Latimer's enchanting flute playing, a nice addition to the sound palette of the album and a really mellow piece. The three-part suite 'The White Rider', closing off side one, might as well be the most exciting number on here, the instrumental work on this track is relentless and the gorgeous melodies seem to be in-tune with the aim of the song, simply an excellent work of prog. 'Earthrise' is the second instrumental off the album, a more ambitious and more complex arrangement here, that showcases the more experimental side of Camel's music. Finally, there is the iconic epic 'Lady Fantasy', seen by many as one of the hymns of 70s prog rock. A worthy piece of music, this three-part song carries some excellent and memorable sections as well as some of the most relentless Andrew Latimer playing yet. The entire 'Mirage' album is a very eclectic Camel release and an excellent one, too, but it also seems to be a bit one-dimensional and safe, always moody and never overly flamboyant - its strengths lie in the excellent songwriting and tremendous instrumental work, and despite the lack of experimentation, 'Mirage' remains not only a Camel essential but also a 70s prog gem.

Altesia is a fairly newer band within the prog mythos, forming in 2017 in Bordeaux, Nouvelle-Aquitaine, France. Now the reason I am reviewing an album from this fairly obscure prog metal act is simple?I just felt like it. Also because their next album, The Somnambulist, is coming out next month, and I kinda wanna review their first two albums before then.

Altesia's debut album sets the status quo for what the band's sound is gonna be. In a way, they're as if you took some of the more rocking songs from Dream Theater or Haken, and put that as a focus, creating a prog metal sound that's easier to get into on the spectrum. I don't have a problem with this, especially since I like the sound they got going on. It may not be mind blowing, super intense, or any of the in-between, but it's still fun to listen to in my personal opinion.

The band also shows a good willingness to be eclectic, trying some new things with each song to see what sticks. After all, a debut doesn't always have the right sound right away, and a band should always experiment to see what sticks. Some of the best bands out there, especially in prog rock, don't always have the right sound off the bat. Look at Renaissance, or Genesis, or Pink Floyd, or hell even Dream Theater. This band draws quite a bit from Dream Theater (a bit heavily I might add but I'll get into that later), and that band didn't have their sound down pact, having their first album be more in-line with symphonic metal and AOR than what they're known for now.

I also really like the keyboard work on here. They work very nicely in tandem to the guitars, and give the album a more unique style. I especially like the organs at the beginning of Amidst the Smoke, which give the song a pretty haunting intro.

The longer tracks are also really nice, especially Reminiscence and the epic of Cassandra's Prophecy. Cassandra's Prophecy is a 17 minute epic, so it was bound to be a favorite of mine, but Reminiscence is also a highlight here. It changes quite a lot, and over the course of its runtime, you can go from fairly great prog metal jams to jazzy synth works, to even a moment that feels like it came out of a funk metal song. It's symphonic, eclectic, and pretty fun. Easily the best track on the album for me.

Though, while listening to this album, I start to realize how much it kinda just sounds like Dream Theater, or any of those other fairly standard prog metal bands out there. Obviously I am fine with some derivatives, I mean, I like retro prog a lot, and that sound draws heavily from symphonic prog bands of old. But also MAN does this debut make Altesia kinda sound like Haken copycats, which they aren't, but still there is definitely some overlap in sound, which I think kinda harms the album.

Also, while I do like that they're more softer in their metal approach, I kinda wish they got a bit heavier. They kinda do it on Hex Reverse, with some harsh backing vocals, which are pretty awesome all things considered, but I kinda wish they really delve into some heavier sounds here and there for some surprise factor. At least it seems like, with their single of Her Ghost In Limbo, their up and coming album will go full throttle into the heavy metal aspects of the band, so that'll be exciting to see.

Despite being derivative and not all that intense, Altesia does prove on their debut they're a capable band creating great progressive metal. Not an amazing record, but I'd be damned if I said I didn't like what I heard from it.

Best tracks: Reminiscence, Amidst the Smoke, Hex Reverse, Cassandra's Prophecy

Worst track: Pandora

I didn't think I'd be into newer progressive rock, as I was obstinately stuck in the '70s. And the fact that Dream Theater's Metropolis Pt. 2 didn't impress me that much didn't help, as I was put off by heavier, newer prog works. I now realise how much I've been missing out on.

Conceptually, Frances the Mute is a complex, fascinating and engaging tale that's supposed to be 'learned' - what I mean by this is that its story isn't quite clear with only a few listens. In this way, it maintains a great replay value, like Pink Floyd's The Wall, for example, which is the golden standard for concept albums in my opinion. This may be recency bias, but Frances the Mute's story is almost as beautiful and memorable as The Wall (even though it doesn't match the songwriting of Roger Waters), which is quite high praise. I look forward to further listens, as I'm pretty enthralled by this album that I've listened to it around three times already.

But the aspect of it that truly mesmerised me is the soundscape and the musicianship of the members. It blends some of my favourite things to be heard in a prog rock album, like free jazz elements, use of synthesisers, excellent guitar work and the liberal use of avant-garde sounds. However, I usually dislike it when prog music is on the heavier side. But, while I didn't enjoy it to the fullest, this heavier album was enjoyable to listen to. Undeniably, this album was very ambitious in using elements that are not often heard in most mainstream prog albums. This makes Frances the Mute a difficult album, which is a good thing when it comes to prog. However, the maximalist approach to the album's musical features also includes a few things I dislike. I found most conclusions of the songs that featured extended sound effects to be a drag to listen to. I felt that these parts made the songs a bit too long. This is one of the reasons I'm giving the album four out of five stars.

My favourite part of Frances the Mute is the amazing prog epic Cassandra Gemini, which I think is the best song on the album. It might be one of the best prog epics I've heard.

In summary, while it (unsurprisingly) fails to reach the heights of albums such as Close to the Edge by Yes or In the Court of the Crimson King by King Crimson - albums that set the bar very high, it's still an amazing record that most prog fans will enjoy, if they tolerate heavier, lengthier compositions.

Recorded in December of 1970, this was Ian Carr's relatively-new "jazz-rock fusion" project's third album release (though many cite Chris Spedding's Ian-Carr-less album from 1970, Songs Without Words as another Nucleus album, which would make Solar Plexus the band's fourth release). Here we see the final appearance on Nucleus/Ian Carr albums of Karl Jenkins, Chris Spedding, Jeff Clyne, and drummer John Marshall while at the same time we see the significant contributions of a number of hired guests to thicken and give variety to Ian's band's sound.

1. Elements I & II (2:12) full-on experimentation with the latest advances/offerings from the world of electronics: here a VCS3 synthesizer, courtesy of Keith Winter, joined by bowed double bass, flanged electric guitar notes, and metallic percussion noises. Interesting and, actually, rather structured! (4.5/5)

2. Changing Times (4:44) so many elements here that refer to other songs, other artists--like HERB ALPERT, OLATUNDE BABATUNJI, HUGH MASAKELA, BURT BACHARACH, and so many others An absolutely brilliant blend of so many styles and sounds: like a brief history of Jazz-Rock music! I'm glad! If anyone in the early Fusion world had a grip on where Jazz-Rock Fusion was coming from and the many, many arms and tentacles it could reach into, it was Ian Carr. A complete visionary! (9/10)

3. Bedrock Deadlock (6:52) opens sounding like a song from mediæval church music with oboe and bowed double bass dancing around one another in a kind of pre-tango pairs dance. Quite lovely--and brilliant! At 1:49, then, the classical music intro ends, there is a pause, and then a full band jumps into a weird motif that forces enters the listener to enter into a mish-mash of early-Beatles psychedelia. At 3:48 a horn section of saxes starts up a new expression of the main melodies--which is then countered by Ian Carr's own competing melody presentation from a horn section that he leads. Mix into the weave Chris Spedding and Jeff Clyne's own competing thread and we have a really cool, really beautiful weave of doubled up melodies--all supported by the rhythm play of John Marshall's drums paired up with Chris Karan's conga play. Cool mathematical exercise! (9.5/10)

4. Spirit Level (9:20) opening with another anachronistic weave of multiple "old" instruments that lasts about 60 seconds before turning into a little sprite-like dance between guests Tony Roberts' bass clarinet and Ron Matthewson's bass--which goes on for about two and a half minutes while late-night jazz brushed drums eventually join in as well as harmonically-arranged horn section. The bass clarinet and bass continue on well into the sixth minute before the band slides into a slightly more substantial jazz motif with sticks being used on the drum kit and Ian stepping up into the lead position while Chris Spedding, Ron Matthewson, Chris Karan, and the other horn players all fall into interestingly creative support roles. Another interesting song that sounds and feels like a journey through several time periods and styles. (18/20)

5. Torso (6:12) a song that feels somewhat rooted in the popular "beach rock" that became popular in the 1960s. There is also a Spanish hue to the song--quite like the Animals version of the classic tune, "Don't Let Me Be Misunderstood" (and the later version by Santa Esmeralda) as well as The Mamas And The Papas' chords from "California Dreamin'" and future [June of 1971] hit, "One Fine Morning" by Canadian band Skylark. A real rousing, rollicking, and engaging tune that makes you want to get up and move! (9.5/10)

6. Snakehips Dream (15:16) a song that starts out as if borrowing an old James Brown R&B motif to ge t started: bass, drums, two rhythm guitar tracks (on the left: more rhythm-oriented with lots of strumming of fast-changing chords; on the right with more jazz sounds and intonations. I'm guessing that Eumir Deodato and his guitarist John Tropea had this in mind when playing/recording for "Also Sprach Zarathustra (2001)"). Weird to just be noticing how there are virtually no keyboards on this album! The first four minutes of this are just as described: all R&B exploration of a theme, but then horns enter and start to fill some spaces and accent others until Brian Smith branches off into the sunlight to posit a smooth tenor sax solo over the hep R&B jam. At the 8:00 mark two different horn groups break off to perform a call-and-response passage that serves as a bridge to Ian's turn to solo--this time on a flugelhorn. Meanwhile, Chris Spedding's two guitar tracks continue to improvise, exploring and entertaining just beneath the lead and rhythm sections. (27/30) Total Time: 44:36

As suggested above, Ian Carr's vision for Jazz-Rock Fusion's potential is about as complete as anyone's that I've encountered: where others are imitators or simply jumping on a bandwagon with the other "cool kids" (like Miles, Freddie Hubbard, Art Farmer, Sonny Rollins, Herbie Mann, Jack DeJohnette, Donald Byrd and even Herbie Hancock (who was really more into exploring the latest and greatest technologies), Ian is actually totally committed, invested, and immersed in the movement--which I really admire. On Solar Plexus one can see Ian growing: spanning two worlds at the same time, with one foot still drawing from all that was fresh and innovative in the pop-jazz world of the 1960s while the other is in the forward-thinking, potential-realizing of his own imagination.

A-/five stars; another minor masterpiece of cutting-edge, exploratory Jazz-Rock Fusion from one of the true leaders and apostles of the movement.

This is an intriguing instrumental line-up, a father and son team are not exactly a common occurrence, Jopheus Burtonshaw being a 20-year-old keyboards/synthesizer prodigy, who also holds down bass and guitar duties , while his dad Rick operates the drum kit. They are joined by vocalist Curtis Adamczyk. While clearly imbued by the progressive tradition that encompasses the golden years as well as the modern school, the focus here is heavily synthesizer-centric but not the robotic mechanical version, preferring the effervescence of past giants like Emerson, Wakeman and Banks. There is plenty of piano, organ and mellotron as well as an arsenal of synths, just in case the symphonic side needs some support. The father holds down the rhythm section with experience garnered over a long career in music yet surely buoyed by his young offspring's exuberance. The opening piece as well as title track of this debut album stamps the credentials on their style, a surprisingly mature form of symphonic/neo prog of the highest order, propelled by not only overt passion but an ability to handle all kinds of challenging twists and turns, lively contrasts filled with mini solo spotlights that frankly are astounding. The piano work is virtuosic and defiant, remindful of a teenage Eddie Jobson with Curved Air, while his mastery of the various synths is mind boggling, both in accuracy and fury. Vocals and electric lead guitars emerge on "Dawn of Acquiescence III", shining a different light on Jopheus' compositional skills by creating a lyrical opus with enthusiastic singing that hits the mark on multiple levels. There is an obvious layering of keyboards, with solemn contrasts that include fluid piano playing. "Inertia" tips towards a more acoustic tangent, a desperate lament that shimmers in a pool of gentle torpor, loaded with tons of string mellotrons, the vocals despondent and apathetic, perhaps mirroring the title's full meaning.

The epic is a definite highlight as "Where the Lack of Logic Lies", runs eleven minutes plus of unrushed lavishness, a slowly blossoming symphonic arrangement that shows no haste or waste, building up a gradual frenzy that will eventually lead to endless horizons of discovery. The elder Burtonshaw marshals the rhythmic pace, with percussive detailing as well as hard thumping, slipping unexpectedly into a robust bass-led jazz groove, where the organ and the e-piano get to shine brightly in the spotlight. Not to be benched for too long, the synths and the mellotron enter the fray with little restraint. The alternating contrasts between ambient and bombastic make this arrangement a winning proposition. The vocal finale is appropriately forsaken, underlining the subject matter but blends well with the instrumentation as it fades into the mists of time. "The Grey Room' is a brief piano etude that impresses once again, the kid can play, of that there is no doubt. Targeting a more neo angle, "The House Within Itself" maintains the sorrowful lament that still reveals a fair amount of instrumental pace and shows off the ability to veer into variations that remain consistent with the arrangement. The synth solo edges towards virtuosity on a grandiose and bombastic scale, the ornate piano once gain appears to soothe the senses with some romantic interventions that settle the score.

Combining a total of nearly 14 minutes, "Consequences", the intermezzo "Bridge to Suffering" and "Suffering in Serenity" is a 3-part suite that runs the gamut of stylistics this band is capable of achieving, initially carving out a reflective ambiance, laden with sensitive orchestrations that are impressive for such a young musician. The sentimental concentration of piano and mellotron is certainly nothing new in the prog universe but when played with such melodic bravado, it can only be admired for its continued reverence to style. This may just be my favorite section on this extensive album, the melancholic nature certainly appeals to me, a flashback to Mike Rutherford's debut solos album, the vastly underrated "Smallcreep's Day".

This is where a tiny caveat comes into play, the 72 minutes of playing time is perhaps just too much for a debut album, in my humble opinion and would have been better served with a shortened version. The final three excellent tracks, "Alone", the ambient "Mistwell" and "Direlight" came across as overkill , though I must be stated for the record that the latter piece is an absolutely excellent finale, a daring and courageous synthesizer symphony, with tingling medieval acoustic decorations that impress, to say the least. It gets pretty intense in the final stretch, a masterful finishing touch. A band that needs to be ardently followed, rarely have I been so impressed by a debutant prog band with as much raw potential as this.

4.5 square waves

1. Entity, with its impeccable technique, blends modern DJent breakdowns with sounds from Dream Theater and Symphony X with classical orchestration; it seems limited by the lack of vocals, and then the flood of notes makes you forget all that. The barrage of guitar riffs combined with the triple pedal has something to do with it. 2. Nexus, like a flash, with a brutal blastbeat for a prog metal sound based on edgy Olympian lyricism, driving the point home and sending it into space. 3. Irradiance, for the slowing tempo, shows neo-classical symphonic sounds with disconcerting brass; a funky undertone for vitality and the quick passage of time, a catchy track that's easier to play for the prog.

4. Gemini for the Symphony X atmosphere again with the guitar boost plunging into a much stronger sound, bordering on djent, power metal and heavy prog rock with the heavy passages of the fat and catchy riffs, amen. The Egyptian atmosphere is very present; mid-course interlude of fusion/flamenco. 5. Möbius for the title reminding me the most of neo-classical fusion with the crystalline piano and its NASA voices, at the start then the guitar ravages worthy of a Patrick Rondat; another atmospheric break before the final melted with the intoxicating keyboards. 6. Eclipse follows on the conventional prog metal and bam, this Van Halen air, yes I can't help but write it; a little groovy from et al croisiere has fun to disturb a little more and you have the summary of this last title pulling on the 80s between nostalgia and grandiloquence; Again, the mid-track break is dark, cinematic, a Mars Attack tune to leave and then come back... or be completely disintegrated; a symphonic touch and the finale by Eddie, who also played synth.

ETRANGE, cinematic instrumental French progressive metal. VELHON and DEADALE, whose real names I won't mention, offer a unique album that's among the stars with touches of nostalgia. (3.25)

In effect a NUCLEUS album, I can see, however, how/why Ian Carr dropped that moniker for this album in that only one musician (other than himself) remains from the original Nucleus albums (Elastic Rock and We'll Talk about it Later). (Brian Smith.)

1. "Belladonna" (13:42) an album that sounds very much as if it is taking its cues and inspiration from the post-Bitches Brew work of Joe Zawinul & Wayne Shorter (who had just launched their WEATHER REPORT project with both the self- titles debut and 1972 release, I Sing the Body Electric, both having been released prior to Belladonna's July recording sessions) and especially, Herbie Hancock, whose Mwandishi and Crossings albums had also both been released prior to Belladonna's recording sessions. (In case you were wondering, Chick Corea's Return to Forever album had its European release in September of 1972, two months after, Belladonna came out.) While Brian Smith's soprano sax is the real start of this show, Gordon Beck's peaceful Hohner electric piano is a key component to its success. While Brian's play and melodies are quite pleasing, even enjoyable, the song never gets elevated into anything but a long late night contemplative--and, perhaps a fitting inspiration for Vangelis Papathanassiou for the spacey "New Age" music that would occupy his attention for the rest of his life. (26.333/30)

2. "Summer Rain" (6:13) after a 90-second slow and deliberated intro in which Ian's trumpet and Brian's tenor sax set the melodic groundwork, this song is blessed by a dynamic breakout performance on the "dirty" Fender Rhodes by a Kiwi age-mate of Ian's, Dave MacRae (who would stay with Ian for the next three Ian Carr/Nucleus albums). I find myself not only absolutely mesmerized by this piece, but actually loving both the sound and melodies created by Dave and his Fender Rhodes. (It's the same sound that French downtempo chillout band AIR used so successfully on their massively-popular 1998 debut album, Moon Safari.) Bass, jazz guitar (mixed far-left into the background) and chill drums progress throughout the length of the song. Weird to hear Allan Holdsworth--the Allan Holdsworth--relegated to playing rhythm/background jazz guitar using neither his own trademark scales nor his own "trademark" sound. (9.6667/10)

3. "Remadione" (3:48) flutes take up a full two minutes of this song's opening while dirty Fender Rhodes electric piano (L) and more rock/proggy lead electric guitar gently support. The third and fourth minutes see the full band engage in another AIR-like downtempo motif while Dave and Allan ramp up considerably their "duel." (9/10)

4. "Mayday" (5:41) opening with the "Shaft"-like cymbal play and over all sound of Bitches Brew and Mwandishi/Crossings, Allan is strumming away wildly in the background while Dave MacRae and Gordon Beck. At 3:35 the band's rhythm section feels as if it finally "falls into" the song's main motif--which is an awesome jazz-rock groove while Brian continues soloing. The finish is tailed off with a coordinated horn section riff and poof! It's over! I'm not so great a fan of Brian's sax solo (most of the time I don't even hear it) but the bass and double keyboard play are awesome. (9.125/10)

5. "Suspension" (6:15) opening tracks dedicated to bamboo flutes, electric pianos, and percussion sounds is kind of cool--definitely evoking garden and/or Japanese/Asian images/feelings. Roy Babbington's bass enters around 1:15, soloing on its own as if trying to find its place in the mix, but then suddenly at 1:55 he "falls into" a steady riff that becomes the foundation for the rest of the song--and which Allan Holdsworth doubles up with his own lowest octave strings. Meanwhile the bamboo flute and Gordon Beck's dreamy Hohner electric piano continue to explore the background but now we add Ian's trumpet up front left and, soon, Dave MacRae's dirty Fender Rhodes in the right channel. The bamboo flutes disappear as Ian and the two electric pianos continue to explore their passions on their own tracks with their own separately effected instruments (Dave's Rhodes getting particularly wild--sounding like a wile organ or heavily-treated lead guitar). Despite a rather mundane and pastoral opening, this one became something quite interesting--especially with that cool Fender Rhodes sound flailing aggressively away in the final third. (9.125/10)

6. "Hector's House" (4:33) though definitely firmly rooted in the rock traditions, this one has one of the more convincing jazz-rock feels to it--all built on a riff and motif that is not so far from the opening song, "Song for the Bearded Lady" from We'll Talk about it Later. Brian Smith really tears an awesomely-smooth high-speed performance on his soprano sax in the second and third minutes while Allan Holdworth really rips up the soundwaves in the fourth with his jazz-rock guitar shredding. Once again there are such highs in this song to offset the lows/deficiencies. (9.125/10)

Total Time: 40:12

One of the most significant outcomes of the making of this album is the meeting of young Allan Holdsworth and elder statesman Gordon Beck as the two would forge a life-long friendship that would result in their collaboration on no less than four albums over the next few decades.

A-/five stars; a minor masterpiece of highly-creative First or Second Wave Jazz-Rock Fusion.

— First review of this album —

"Vulnera", the second full length album by Mysteria Noctis, was released in 2020 with a renewed line up featuring Alberto Negretti (vocals), Alessio Negretti (guitars), Giacomo Piccinini (drums), Gioele D'Adda (bass) and Mattia Di Lorenzo (keyboards) plus the guest vocalists Eleonora Ferrari, Vittorio Iannaco and KDone. It confirms the departure from the decidedly black metal sound of the debut work offering a music style difficult to pigeonhole. Throughout the album you can find metal passages alternating with melodic sections and a prog rock veined with touches of electronic music and classical influences. The music and lyrics try to reflect anxiety and restlessness: in fact, according to the band, the protagonist of this work is "the man, caught in an intimate and at times desperate search for himself who inevitably clashes with his fragility and helplessness"...

The opener "Am I Here?" refers to the art cover and evokes bees all around and inside the head of the protagonist. It's a piece expressing a strong sense of bewilderment... Then it's the turn of "Thoughts", a piece that expresses an inner search that remains unsatisfied. Next comes the nightmarish "A Supplication", a long, complex track where the protagonist is on his knees in front of a jury, put on a hopeless trial leading him to the death penalty...

On "Ultimo canto" (Last singing) the rhythm slackens and the vocals turn from English to Italian. It's a touching ballad about love and death featuring a guest female vocalist who duets with the band's singer. The music and lyrics conjure up a spectral atmosphere as the protagonist answers the irresistible call of the Grim Reaper without fear...

On the following "Night Light" the rhythm rises again bringing demons and fears for an infernal ride into the night. This song is sung in English while for the next one, the melodic "Nell'anima" (In the soul), the band chose again their mother language to express the heat of an inner fire that burns inside the soul and makes the protagonist look up at the sky to overcome a sense of obscure, thundering solitude and uneasiness...

The last track, "Red Sea", is the most ambitious of the album and the most accomplished of the lot. According to the band, this composition was inspired by the classical form of the sonata and features some guest vocalists. Eventually it brings a pinch of optimism and some rays of light after the previous dark atmospheres. The journey comes to an end as the protagonist wakes up under a new sun...

On the whole, an interesting work that deserves a try.

Unique, expressive and visionary, Can's debut album (credited to The Can on the animated album cover) is one of the truly fascinating rock releases of 1969, the sole early album by the band with original vocalist Malcolm Mooney, and one of the earliest examples of what the British media would go on to define as krautrock - in reality, a branch of experimental music with repetitive rhythms that might go on for a few minutes or for a good twenty-something or so, with various vocal, guitar-based experiments and effects playing over them, resulting in an indulgent, challenging and crafty amalgamation of psychedelic patterns and unusual soundscapes, always utilizing the traditional rock instrumentation, with the occasional use of more unorthodox instruments. It seems like 'Monster Movie' by Can is all about that delightful, frivolous and smirky experimentation, wherein the Hamburg-based band and its members come off as bold innovators, carrying the progressive spirit all throughout.

All four tracks appearing on the album have their distinctive characteristics, which all add up to the eclectic nature of 'Monster Movie', an album for which it would be more difficult to trace the influences of, rather than go on and understand how much of popular music has been influenced by it and by Can's trippy, expressive, and mechanically repetitive music. Opener 'Father Cannot Yell' is an accomplished krautrock staple, with its avant-garde psych-experiments and lightweight references to the Velvet Underground, as we see how Can would use tape experiments, improv and sound layering to create pieces of music that work in an almost-monolithic way. The use of reverb and various other guitar effects is prominent on the album, and the second track is a good example of that, with the elegiac tones of Michael Karoli's playing swaying in-between the sounds of the song. A more upbeat and shorter third piece 'Outside My Door' redirects the listener to the pomp of psychedelia, leading you towards the final, 20-minute-long closing track 'You Doo Right', the epitome of the entire album, a musical monolith of experimentation and tape editing, with wailing screams and stomping guitar flares, this is a gorgeous, startling and eerie piece of music that could have only appeared on a Can album. And with all this in mind, how could one oversee the gritty debut album of this rather unconventional German band, blending a variety of genres and techniques, and offering music that is nothing short of achingly compelling.

Yep, this is a studio album. And this is your cue to request, "Please explain this better."

I transcribe here the words on their website, in this regard: By the release of Over the Underworld [the previous album], the discography had grown well, and yet no real possibility of playing live was in the near future. Combining his infatuation for non-traditional album concepts and the then very present desire to release a nice-sounding live album, Sean decided to create a "fake show", complete with pre-show banter, dialogue and audience participation. ​ "It was a lot of fun to make," Sean reminisces. "I believe it included the most voiceover guests for any album we've done.

Now for my review: starts as if they were recording someone entering an establishment where a show is about to begin. You can clearly hear the door been opened, the individual passing through the peanut/soda seller, and sneaking into the crowd. Just when the instruments are being prepared. That's the opening track.

Rhythmic sections are very robust and consistent on the second track, with well developed changes of harmonies. Full-bodied vocals, with interesting nuances in textures, volume and combination of long and short notes. There's a point where an excellent guitar solo comes along, and a bit after that, the "audience" applauds. The frontman, on the end, says "Hello everybody, welcome to the illusory palace, and welcome to the show".

When they open the next song, the bass delivers a simple but effective rhythym, before the entrance of the full cuisine, which is a bit heavier now, specially on the bass itself. Synthesizers economically but effectively stitch together the composition. Otherwise, there are moments when this instrument backs up, in order to give more space for the dialogues between the drums and guitar. Right on the middle of this track occurs an abrupt change, with a gorgeous erudit piano carrying alone the song. But quickly been accompanied by synths emulating strings, gentle and sweet. A little after that the drums accelerate a lot, during a short period. A bit henceforth, a variety of cadences and key signatures are performed. Well, the composition here is a bit confusing and lost, but nonetheless it's still a good effort.

A fingered guitar and soft touches on the piano are the start of the fourth track. The music grows some steps, before fabulous vocal harmonies, on a more melodic mood, are executed by two musicians. The drums keeps up with this proposal. A nice guitar solo, with clean and inspired notes, appears. The vocal timbres are velvety. Great music! On the end there are applauses, what happens on all tracks. I think it would be strange if there wasn't, 'cause it's included by the musicians themself. Well, here, on the end of the cheers, the frontman thanks "them" and says that the next song is a tribute to a friend. I can't help myself of thinking playfully: "is it an immaginary or a real friend?"

The cadence is almost a march on the entrance of the next song. The turning points on the harmonies are well constructed and grow firmly. Suddenly they shut this enterprise down and jump to a melancholic and quite diggy playing on the acoustic guitar. The lyrics are about poisoning, death and other mournful content. The sound mass gets higher, but not enough to distance them from that lugubrious mood. On its half they speed up, centralizing the composition on the magnific vocals. On the other hand, they soon present very inventive instrumental key signatures. That's before the synth brings back the dismal framing. It's a pity their are moments when they don't explore more of this hipnotizing enterprise. Anyway, the chant and the instrumental are always creative and diversified. Onn the end bass and the emulation of a half-harpsichord-half-synth make a solid tenebrous partnership. High level on practically all it's near 12min.

The beginning of the 6th track has a metal-oriented guitar. Bass seems to be competing with him, making them get tangled up. The drums doesn't find its place, this time. They all get better from the guitar solo henceforth, and when the synth assumes the main role.

Vocals reach high notes on the next song, and this is a good entrance. Both bass and guitar are heavy, but none of them are making a speedy execution, resulting in a superb partnership. Drums play some simple, sober, nice turnovers, with elegant cadences. Almost on the end they blend amazing harmonies. The frontman seems excited when he says "Alright, thank you so much. We're gonna leave you with some more, it's called The Great March".

What a start on this one! A chorus backwards precedes a perfect combination between the cymbals, guitar and a "dark" synth. Some seconds later, the chorus rises its dramaticity. Impactful chant switch with grandiose instrumental. This is really stunning! And a superb choice as the "closing" of the show. How impressive are the subtle and rich changes on bass and drums from one moment to another. When everything is already magnific, a delicate and charming piano enters. Spectacular! Guitar, more melodic here, is also on a high standard. Some moments later, there's this snippet somewhat more simple, but it's very short, and they return to awesome changes of harmonies and arrangements. On the 10th minute the arrangements low down a bit on creativity, the key signatures get mixed up without cohesion. With 12min the group gets more prog metal, the bass and drums together result in an odd musicality. So, these ups and not-so-ups (I'd write 'downs', but it would be unfair) make this track at least a little too long. When they reach the 15th minute there's an acoustic section, and a very different chant is improved, with a metallic tone. Now the band is delivering a very beatiful and hopeful song, I even want to sing along. The already expected applause follows, and the frontman is affected: "Wow... you guys are unreal!" And after a short pause amends: "Alright, let's do one more".

The last one has an exciting and stimulating AOR musicality, very vocal-oriented. With 1min the singer calls the audience to sing along. And what an amazing tone they reach, hehe! They make a duet, with the frontman performing the refrains, and the audience assumes the chorus.

Smart and original album. For this part I'll give'em a 4,8. Musically, I choose a 4 stars rate. Final rating 4.2.

A vastly mature psychedelic pop-prog graces the two sides of the self-titled debut album by English band Caravan, with the Canterbury scene innovators releasing their very first work as early as September of 1968, which is rather incredible to think about, as this timing is right around the dawn of the progressive movement and the steady, gentle fade of the psychedelic rock craze. With a strong, ostensible inspiration coming from Pink Floyd's 'Piper' without a doubt, as well as throwing in a couple of references to The Doors, 'Caravan' is a delightful treasure of an album and a great precursor to the excellent fusion-y music the band would go on to explore during the 70s, and while this rather short (and imperfect) studio recording only gives us frail traits of the mighty Canterbury scene, it remains an interesting glimpse into that transitional period of the late 60s, for its proto-progressive blueprints.

With the songs centered around the protruding Hammond organ sounds as well as the strong melodies and vocal harmonies, 'Caravan' is a record that is much in the style of the early Soft Machine 'Volumes' as well as some of those Cream and Floyd-ish exploratory pop tunes. The band's very own debut album already positions Caravan as a band aware of their fine songwriting capabilities, as they explore them quite interestingly and present a lush collection of moods and tones, with some songs being whimsical and uplifting, while others are being more pensive and even gloomy. Album opener 'Place of My Own' is melancholic and distantly menacing, a great song, while 'Ride' might turn out to be too trippy for some tastes. A string of three absolutely excellent numbers follow on side one, and the already impression of the album is of a very consistent, well-organized work. Just three songs on side two, among which the 9-minute closing suite 'Where but for Caravan Would I?' stands out as the first really impressive piece with more complex, challenging arrangements from Caravan. And as poor as the mixing is, and as distracting as this can be, 'Caravan' is a worthy anticipator of the Canterbury scene and a fine late 60s work that still echoes the tastes of The Wilde Flowers and the entire psychedelic rock ooze.

The Adekaem, a Polish duo founded in 2013, features synths accompanied by guitar solos reminiscent of Camel, Aragon, and Marillion, creating a distinctive neo-prog sound. Their music takes them to the grandiloquent territories of Pink Floyd psychedelia and the atmospheric electronic music of Kitaro, creating a cinematic fusion.

"Pictures from Sierra Morena" features a solemn symphonic instrumental attack, featuring piano, keyboards, and emotive guitar; a Wallian phrasing explains the story of Potocki's novel in seven layers where the music clings to different cinematic waves, one of which features reverberating bass and Hang. Andalusian and Asian airs follow one another on a mysterious melodic foundation, with a finale composed of slightly overly dry pad rumbles and a tearful guitar. "Sea" is a vibrant, mystical, Olympian, and long intro, setting the mood with metallic, electronic neo- prog, featuring Daniel's distinctive vocals. The finale features a solo guitar and melodic keyboard duet. "Wrath" is a basic piano ballad; evolving into edgy prog metal with an 80s sax contribution, Krzysztof's guitar supporting a melancholic style, adding more depth and offering new neo-prog. "Lady of the Glade" is a lacy Genesis-esque arpeggio; a consensual pop-rock tune enhanced by its orchestral country-style variation, led by trumpet for a solemn feel. The orchestral part with violin and flute harks back to the prog rudiments of yesteryear with 10cc-style choruses; a beautiful, conventional fresco that unfolds and never ends with final bells. "By the Barrow" features approaching electro pads, a guitar screaming with melancholy, bucolic keyboards, a fitting sweetness, the disconcerting flute for the haunting melody, Daniel following the folkloric line.

The Adekaem draws closer to the bands Genesis, Camel, and ELP, which they cherish; melodic, melancholic, musical emotions, and world music atmospheres are the highlights of this melancholic album, which occasionally reeks of Anglagard. Origin on progcensor (3.5)

After five albums, which I believe is not just my opinion but generally are regarded as some of the best in our beloved music, it was time for their first bum note (or should I say album), or, to be more precise, half-bum. The band had released two years ago the monumental Point of Know Return which contains the monster-hit Dust in the Wind that literally everybody has heard once in their life even if they live at the most remoted place in the world. This time the band decided to produce the album themselves and I don't know if the lack of an experienced producer played a role, although I would bet that it was more the pressure of coming up with a song that would draw about an equal response as Dust... did. On this album there are some typical Kansas songs like the opener On the Other Side, A Glimpse of Home, Away From You and Angels Have Fallen (which are also my favourite ones), How My Soul Cries Out For You and Stay Out of Trouble that rock harder but aren't something remarkable, especially the latter which features mainly one and only riff responsing to every line Walsh sings and it becomes somewhat wearisome whereas the former features some interesting theme and time changes and finally the radio-friendly People of the South Wind and Reason to Be which were actually the two singles of the album. People... was the first one, it didn't make an impact and the label figured that Reason to Be (which due to the acoustic guitar drew some parallels with Dust in the Wind although, to my ears, it's closer to The More Fool Me by Genesis - which doesn't belong to their best moments). Strangely enough, I don't consider People... as a bad choice because it balances finely between commerciality and quality, I can clearly see hear it in my mind's ear even at summer night clubs blasting through the speakers, it's so upbeat but still not your every-day radio single. Anyway, the album falls short due to the massive quality of their first five albums or else it isn't that bad and it deserved something better. In restrospect, it was a transitional album to the most commercial and less inspired 80s era that the band would follow.

— First review of this album —

Among certain artists in one's genres of choice and among most artists in the genres whose company one does not choose, can be a tendency to produce seemingly impenetrable opuses, leaving one wondering what one is missing that presumably makes other listeners kvell as if they composed, arranged, produced and performed it themselves. Such disks can jettison us into unrecognizable worlds in which one must find food, shelter, and a modicum of the pleasures that one can only seek when both food and shelter are present, without any idea of how to go about it. LARKIN GRIMM's first couple of albums were like that for me, amorphous thought bubbles of either very low or very high sentience from which wails would escape via the wrong, or perhaps, no filter at all. Then there are the ones to which, with the effort affordable on a lengthy road trip courtesy of spotify on repeat, one adapts to the few originally obscure clues and is rewarded many times over. "Chasing an Illusion" worked in this manner for me.

With the early acoustic days behind her, and a generally warmer and more controlled voice and style reminiscent of SALLY OLDFIELD among others, Grimm again engages a band of master musicians, who elevate each and every track. The sprinkling jazz tinged harps of "Fear Transforms into Love" and "I Don't Believe You", companion pieces that highlight her expanding vocal skills; the joyous should-have-been-a-hitness of "Beautifully Alone" that resonates among the perennially single on yet another solo journey; the ambient ballad "A Perfect World"; and the closer and title track with its heaving sax and anguished screams which seem to have brought Grimm full circle all epitomize the secrets herein, revealed with gracious subtlety or hurling impact as needed.

Given that "Chasing an Illusion" is still Grimm's latest as of this writing, eight long years later, one can be both simultaneously optimistic and concerned for her future, but hopefully she will yet return with a work that is just as fantastically real.

I finally got a chance to spend some time with an AURORA CLARA record. "Transformation" was released in 2019 and is in fact their debut. They have since released three more albums, pretty much on a yearly basis after their sophomore release. They are a five piece band based in Spain, but they are truly a multi-national band with all five musicians being from different countries. They are led by virtuoso guitarist Raul Mannola who was born in Brazil but has spent his life living in Finland before recently moving to Spain. And it's so cool he got to spend some time playing with the legendary jazz guitarist Jukka Tolonen who also hails from Finland.

Raul released a solo album back in 2002 called "Aurora Clara" which of course is where the band's name came from. He is a major John McLaughlin fan which comes through in his style but this man is a diverse player. Many of these musicians have a flamenco background and have accompanied various dancers before arriving in this band. The biggest surprise for me is the abundance of flute on here. I'm not big on his style. Very fluttering and dancing. I prefer it when the keyboards or guitar are soloing. Just my tastes.

It must have been a dream come true for Raul that violinist Jerry Goodman guests on the opener here. The band's very first song actually has the incredible talents of a MAHAVISHNU ORCHESTRA member! Raul adds in the liner notes "My gratitude to the Master of masters, John McLaughlin-to whom "Song To John" is dedicated-for giving me joy and inspiration for so many years." This is a 56 minute album with six tracks. And the opener "Aktur" certainly has a different flavour with the added violin from Goodman.

This is an extremely melodic recording that is very well played. My favourite musician on here is drummer Marco Anderson from England. The man has been around, playing in various musical styles. All I know is that he is incredible at what he does. The joy of this album is the playing of it's five members. I can just focus on any one of them and be impressed. Even the flautist, who isn't always dancing around with his flute. This is a mature release to say the least. In fact that closer is maybe too mature as they end the album with a ballad, my least favourite song on here. Lots of piano and acoustic guitar on it.

I really enjoy the keyboardist on here. He plays mainly piano and synths and does both extremely well. That electric piano especially. According to RYM this debut here is by far their highest rated of their four albums, with the next three dropping in value with each release. So yes get this one if you can. My favourite track is probably the opener with Goodman on it, but this is a fairly consistent recording other than the closer. If you're into jazz fusion this really needs to be heard. A solid 4 stars.

I can't exactly remember how I discovered this highly obscure and unknown artist by the name of Serge Ramses, but I do know that I became interested in it from the very captivating and interesting art on the album cover. For starters, I just want to quickly say that (for me at least), I never really understood progressive electronics. Unless something truly stands out or is revolutionary, most albums in this genre rely on the atmosphere and experience. So it came as no surprise to me that when I did get around to listening to this album, I was generally unimpressed by it. Sure, it had its interesting moments and had some fascinating passages woven into the music, but most of it lacks originality, and it generally brings little to no remarkably different material to the table. Most of it can be described as a less polished and in-depth work by Tangerine Dream or Klaus Schulze. I did enjoy the cold and hypnotic feel of the opening minutes of When The Birds Die Away, but Ramses doesn't seem to change this and continues the basic structure of the song throughout most of the album. 

In conclusion, the album could've used something to spice it up, but it's an alright album in the end. I would like it more if the songs were longer and more textures were added in, but I'm assuming Ramses' life after this has been lost to time and there will most likely never be a remastered version to add these factors. This is a high 3/5 to a low 3.25/5 for me. If you like the more popular progressive electronic music out there, or if you want progressive electronic music that is a bit more concrete in the overall audio itself, you'll probably enjoy this, but it's far from being an essential. 

The Bishop's Sacrifice is the second album by this band, and with one notable exception, it's not really very prog rock at all.

While the first album is folky, the third one psychedelic and the fourth the most consistently progressive, this one is generally a hard rock album with songs that are largely about politics, philosophy or religion.

The core band for this record is Martin Vengadesan on vocals/acoustic guitar/bass/keyboards, Joshua Rayan on electric guitar and Andrew Sagayam on drums.

So I gotta say, everything really rests on the 22 minute long song called The Battle Of Emerald Skye. It begins with a solo acoustic guitar performance, and has several notable subsections as an anti-war tale unfolds.

You will be able to spot the influence of Pink Floyd in its more melancholic moments, as well as bits of Led Zeppelin and maybe even Iron Maiden. It's got loads of Hammond organ, some Moog synths and a fantastic sitar guest appearance from Kumar Karthigesu. It all ends in an epic chaotic garage punk like jam!!!

It's got its flaws too. Parts of it feels draggy and not all of it sounds well recorded or mixed. So full marks for ambition, but not all there for execution.

Elsewhere you have a funk rocker called Hazard A Guess with some nice electric piano and an excellent double tracked guitar outro. Thirty Pieces Of Silver and Stained Glass are catchy rockers that deal with religious/agnostic themes. Both songs also have Eastern-sounding guitar solos from Joshua. I guess that makes sense for a band that has ethnic Indians from Malaysia!

Then there are a string of in-your-face socialist songs like Call To Arms which has some heavy organ that owes a debt to Jon Lord's sound. The Peasants' Revolt is set in 1381 when the farmers and workers of England rebelled against the authority of teenage king Richard II and his oppressive nobility. It begins with a bass solo but does send up sounding increasingly frenzied and slightly ackward.

The Revolution Will Devour Its Children is another historical tale, specifically about how the French Revolution fell apart with different factions like the Girondists and Jacobins taking turns to fall to the guillotine. Musically the song has classical motifs and a duelling electric piano/electric organ solo, as well as more prominent drums.

And then there is a subtle ballad called The Final Hours Of Salvador Allende which was written in memory of the late democratically elected Marxist president of Chile. It's quite moving although it's yet another song that makes you think the band could do with a stronger vocalist.

Overall it continues the pattern of gradual improvement, although I would always ask newcomers to start with The Rook's Siege album before wandering this way.

One of my favorite bands is back with another patented one-two punch of releases, a tradition they have mastered once before in 2018. By the way, the second 2025 release is a "Live :Waves from the Underground", performed at the Studiosette in Rome in October 2023. Their previous 2022 release "Daedalus" was a universally praised masterpiece, garnering high marks for technical merit as well as artistic Impression. The great news is the line-up remains the same, : the amazing Alfio Costa on a variety of keyboards, drummer extraordinaire Davide Guidoni, scintillating guitarist Ettore Salati and Bobo Aiolfi on the thunderous bass guitar. The 8 tracks also include 2 vocal guests but is really an instrumentally centric opus of the highest order. The title track catapults immediately into a musical path that is anchored on the symphonic side of things, but in a soundtrack-like manner, with dense atmospherics that show neither haste nor hysterics, though the mood can be quite surly and despairing, driven, as it is by tectonic drum fills and colossal torrents of blazing mellotron. There is a distinct aroma of the Crimson King and Italian stalwarts Goblin in the emanations presented here, in that a sense of trepidation and doom perseveres like a dense fog that seeps into the pores of the unforgiving. Ettore even peels of a glistening guitar line that sears the mind and even persists on the next piece "Attic Clouds" , a rhythmically oblique thrashing of confusion and looming dread that would fuel any horror flick known to man. The gruesome mood is mechanical yet greasy as if rolling on well-oiled lubrication, a reptilian motion that remains methodical until the ideal moment is ready and the release coiled to strike. Briefly only echo and resonance, Bobo marshals the drum parade, Davide clanging in the distance, as the feisty mellotron appears out of the darkened skies, pouncing mercilessly on the defenceless senses.

Complete change of pace on the opening vocal of "Twilight", a tenebrous requiem of glinting piano and harrowing voice, with subtle synthesized orchestrations, that metamorphoses into a pyrotechnic guitar meteor amid the trembling stars. There is a tranquility in the serene bass ruffle that seeks only to reassure, fomenting an eventual entrance for Ettore to display some dexterous picking, crystalline and awe-inspiring in its subtlety. I did mention a notion of scary movie earlier, didn't I ? Well, "Horror Vacui" certainly fits the bill, a mellotron- infested cascade, shoved along by a suitable bass trough, suddenly exploding into a fiery storm of Crimsonian vehemence and immediately dismissed by a romantic piano interlude, only to reignite another round of volatile destruction. Obdurate, erratic and teasingly serene , you never have any clue where this may be going, like Charon on the river Styx, destination and destiny unknown.

The cavernous "Simulacra" offers bombast in a variety of exploratory directions, as if offering another red nightmare, adorned with spooky synth pools of perspiration and slashes of incisive blades of sound carving into the brain. Images of somber reptiles slithering along Roman mosaic tiles, heading towards the roar of the arena nearby, where the starving lions await their next lunch. Gruesome effigies crucified along the road to freedom, impudent crows cawing with disdain.

The sultry femininity of "Mademoiselle X" comes as a most welcome distraction, the curving bass highlighting the softness of skin, the aroused mellotron caressing like a silky veil, building up into a glowing sonic image of beauty incarnate. Then the seductive lead guitar joins in on the flattery, the atmosphere veers into carnal exuberance. An extraordinary track that deserves the gift of eternal love, devotion and surrender.

The next 13 minute onslaught has a title that leaves no room for questioning ,"D.O.O.M" diabolically smashes into the soul with a searing display of pyrotechnics that unexplainably (but not really surprisingly) comes to a grinding halt, enough time for a forlorn piano to exalt gently, and then reignite into a magnificent melody, a pattern that will be repeated until the very end. From eloquence to eruption we go, back and forth in a domineering and deranged gait, a roller coaster of emotions from the two polar extremes, a challenging exercise in contrasts. Toss in a variety of sonic effects and noises to further confuse and numb the mind into subservience, the rash guitar takes over the pace, rambling along with the bruising mellotron, nasty bass currents and demonic drumming outro from Guidoni that fades into the sunset.

There is a bonus track , "Return from the Spiral Mind" , a variation of the previous album's mainstay, the 2-part epic "Journey through the Spiral Mind" which spanned a chunky 22 minutes. Here , the onus is closer to Floydian investigations, albeit in a more biting setting, with Alfio displaying his talent on a variety of keyboard instruments. There is less 'sturm und drang' fright than on the main album, hence coming across as a calming exit, a warmer touch and a guarantee of more future music from this impeccable Italian powerhouse.

5 Decrypted voids

Australian formation Unitopia was founded in 1996 by Mark Trueack (vocals) and Sean Timms (keyboard and guitar) after they were introduced by a mutual friend who noticed that the two had similar tastes in music. The story goes that as soon as Timms heard Trueack sing, he knew they had to do something together. In 2005 Unitopia released their first album entitled More Than A Dream, followed by The Garden (2008), Artificial (2010), One Night In Europe (2011), Covered Mirror Vol 1: Smooth As Silk (2012) and recently Seven Chambers (2023).

This review is about the The Garden 3-CD remaster digipack, including a live disc and a new song entitled Tears From The Garden.

Disc-1 : My highlights.

The Garden (22:29) The first part contains a percussive climate with vibraphone that reminds me of Peter Gabriel solo. Then a swinging rhythm featuring heavy guitar riffs and powerful vocals, embellished with fiery saxophone, powerful vocals, Hammond, steel-guitar solo and sparkling piano. The interplay between rock guitar and Hammond is exciting rock. The second part of this epic composition delivers lots of shifting moods, from dreamy to bombastic, tastefully coloured with a soft bass solo, a swinging piano solo and a powerful saxophone solo. In the end intense vocals and Mellotron choirs in the vein of 76-77 Genesis, wow! The great dynamics, fiery guitar, Hammond and sparkling piano often evokes Spock's Beard, also due to the inspired vocals of Mark Trueack.

Angeliqua (9:50) This mid-long track starts with a sultry saxophone and a angelic female voice in an Arabesca climate, pretty hypnotizing. Then a swinging rhythm with Hammond and fat rock guitar riffs, followed by a mellow part with dreamy vocals, in a Neo-prog atmosphere. Next again rock guitar and Hammond, turning into dreamy with classical orchestrations, jazzy acoustic guitar solo and saxophone. Finally a heavy eruption with swirling Hammond solo and biting rock guitar, how exciting! . Amelia's Dream (3:22) First a voice, then a mellow climate with tender classical guitar, classical orchestrations and flute, wonderful, another musical face of this amazing band.

Disc 2 : My highlights.

Journey's Friend (6:29) A tight mid-tempo with fiery guitar and flashy synthesizer flights, wah-wah guitar and Hammond, and powerful saxophone, in a Neo-Prog atmosphere. Then dreamy piano and vocals, again Spock's Beard comes to my mind.

When I'm Down (5:41) After a spoken voice intro the mood shifts to bombastic with powerful vocals and spectacular synthesizer solo, the undertone is melancholical.

In the short track This Life (4:45) the focus is on a biting wah-wah solo, another wow!

Don't Give Up Love (7:48) is a varied and dynamic song with beautiful classical orchestrations (Mellotron-like soaring strings), a swinging break with distorted voice and spectacular synthesizer soli.

Disc 3: live + new track Tears From The Garden.

Unitopia is an excellent band on stage, in my opinion even more impressive than on the studio-albums, and the crowd loves it! Highlights are the two versions of The Garden (USA and The Netherlands), the band in its full splendor.

Tears From The Garden (New 2020 Recording, 3:54). A wonderful mellow piece featuring tender classical guitar, sounds of nature and romantic vocals, embellished with sparking piano runs, soaring strings and flute.

Conclusion about CD 1-2-3 : To me Unitopia sounds as a good and experienced band, the accessible sound is often close to Neo-Prog but in between room for lots of more complex musical ideas, dynamics and variety, topped with strong vocals. And live this band rises to the occasion, CD-3 is in fact a kind of 'best of' on stage. Highly recommended!

— First review of this album —

"Vespro" is the third full length album by Mysteria Noctis and was self-released in 2025 with a confirmed line up featuring Alberto Negretti (vocals), Alessio Negretti (guitars), Giacomo Piccinini (drums), Gioele D'Adda (bass) and Mattia Di Lorenzo (keyboards). It marks another step forward for the band, the musical fabric is very rich and variegated blending progressive rock with touches of electronica, synthwave, rap and black metal. According to an interview with the band, "Vespro is a concept album that tells the story of a man who, driven by an anonymous letter, sets out to find the sender. along the way, he embarks on a journey that forces him to confront his past. The central theme driving the entire story is that of choices and their consequences?". The art cover by Giacomo Tagnin gives a visual form to the atmospheres of the album...

The opener "Ombre dal passato" (Shadows from the past) sets the atmosphere. An acoustic guitar intro and a tormented voice open the album evoking a trembling hand writing a letter full of poisonous questions, addressed to a man who has changed over the years and seems to have forgotten his past. When the rhythm increases the image and perspective change. Night falls and the voice of the person who received the letter can be heard. The evil evoked by the sender envelops the protagonist like a shadow that takes his breath away. The journey in search of the mysterious sender begins, and the departure is described by the following short instrumental "Discesa" (Descent)...

"Anatema" (Anathema), on an apparently cheerful rhythm with echoes of eighties synthwave, describes the torment of the protagonist, visibly shaken by the mysterious call from his past and the shadows it evokes. The protagonist questions himself and questions his glass muse (a sort of woman-city metaphor of his present) on the opportunity to leave and begin a dangerous journey. The need to leave becomes more and more pressing, even if the response of the glass muse is extremely disturbing, a dark omen of perpetual damnation where the synth-wave echoes veer towards black metal hints...

"Ritorno" (Return) paints in music and words the protagonist who, alone and lost, travels along the traces of his past. Faces hidden in the fog watch him and hide the identity of the mysterious author of the letter. Afflicted by too many unanswered questions, by the memory of broken dreams, sacrifices and abandonments on the roads of his past, the protagonist goes on and on with many doubts but without fear...

A delicate piano passage introduces the following "Valzer d'inverno" (Winter waltz), a piece that describes the passion of a brief and intense relationship, a romance with a woman soon forgotten by the protagonist, a woman among many. What remains of that love story? The flames of passion have now given way to ashes and disenchantment, to broken dreams and broken promises, deceptions and betrayal. What remains is just a face that fades into the fog and perhaps a veil of nostalgia and regret...

"Ricordi?" (Do you remember?) begins with a short drum passage. It is a caustic piece that evokes the anger of a forgotten friend and rival of the protagonist in the race for success. A friend that the protagonist has ruined and humiliated. A sacrificial victim who has developed a deep hatred towards him. The meeting with his shadow is another ominous omen about the end of the journey that the protagonist has undertaken...

"Il processo" (The trial) opens with a slow and mournful marching pace. A hostile voice introduces the trial and invites the accused to face the charges. A rapped vocal part summarizes the accusations and invites the protagonist to look at that betrayed and forgotten woman who now takes care of her (and his) son and at the trampled and humiliated rival. The price of success is damnation, the verdict is one of condemnation. But the author of the letter is not among the jurors. He is still waiting for the protagonist at the pass...

The long, complex "La villa" (The villa) tells of the end of the journey. In fact, the journey ends in a dark and remote villa, the tomb of an unforgiving past. The piece opens with strong classical influences and then turns to threatening, heavy atmospheres. Growling, rap, operatic and theatrical voices combine to describe the scenes of an inner hell where you can find resentment and repentance. The protagonist feels that he is not alone in the villa but is welcomed only by dark presences. Four rooms are open. In one he sees the woman he left pregnant with his child, the woman he abandoned, in another room there's an innocent man who ended up in jail because of him, in the third a neglected friend who hanged himself while he was having fun at a party. In each room screams and damnation. In the last one the author of the letter awaits him...

The disquieting "L'ultima porta" (The last door) describes the protagonist ready to cross the last door and meet his fate. Of all the shadows, that of the author of the letter is the most feared. In the end, the most feared shadow turns out to be that of his soul. Now the protagonist understands that he is the monster who caused so much pain and inside a mirror he sees his soul dying. All the lights go out, between fear and remorse. It is his soul that wrote the letter, it is his hand. The man the protagonist was looking for is none other than himself. But when the final credits roll, the protagonist can still choose between forgiveness and oblivion...

The last track, "L'ombra" (The shadow), opens with powerful electric guitar riffs and a fast pace. The protagonist's hand still trembles as he writes the final words of a farewell to himself. He realizes he is the monster and condemns himself to death. Perhaps there is another path of penance and forgiveness, but will forgiveness be enough to save him from himself? The conclusion is left to the listener. The night falls among the shadows of the past and an ink-stained letter...

On the whole, a very good work that deserves a try.

French violinist records an album for MPS in the Netherlands with an international all-star cast. Here we find Didier deciding to reach backward toward a more classic acoustic-oriented jazz, sounding very much like the music Stéphane Grappelli and the great European jazz violinists of the 1950s and 60s. Didier even goes so far as to cover several jazz "classics"--as if he feels he has to prove himself to the Jazz community.

1. "Vieux Pape" (5:19) opening with a sound palette and style that sounds completely acoustic Sixties, this Didier composition is highly melodic and richly-full with the busy, virtuosic jazz musicianship of pianist Gordon Beck, bassist Niels-Henning Orsted-Pedersen, and drummer extraordinaire, Tony Williams while Didier puts in a performance that would make him worthy for competition with the great Jean-Luc Ponty. Beck's wonderful piano play is capped by a solo that finds me thinking of the late, great Chick Corea. Lovely! Then Niels-Henning Orsted-Pedersen takes a turn in the spotlight and he's also quite wonderful--projecting lovely melody despite moving along the fretboard of his stand- up double bass at breakneck speeds. (9.25/10)

2. "Autumn Leaves" (5:24) a fully-jazz expression of the jazz classic (which was originally composed by Frenchmen Joseph Kosma and lyricist Jacques Prévoert when titled "Les feiulles mortes"--meaning "dead leaves"). Great performances--especially if you like high quality jazz musicianship. Also, I never really realized how wonderfully this song's main melody lends itself to expression on the acoustic violin. A kind of revelation! Gordon Beck's pristine solo in the second minute is so clean, crisp and yet beautiful. And Niels-Henning Orsted-Pedersen's walking bass line so perfect for holding it all together. (9.3333/10)

3. "La Manufacture De Sucre Engloutie" (3:50) gorgeous piano chord play opens this song--a composition credited to both Gordon Beck and Didier. Listening to this song truly is like being in the presence of humans possessed with a direct line to otherworldly beauty. I can definitely see how anomolous music mathematician Allan Holdsworth forged such a deep and lasting bond with Mr. Beck. (9.75/10)

4. "New World" (5:04) composed by Didier's brother, Francis, the ensemble really has fun with this one--especially, methinks, Didier and Tony. A great listen of impressive musicianship. (9.25/10)

5. "The Last Blade Of Grass" (4:26) the first song to sound a little like J-R Fusion with electrified violin, electric guitars, this song is attributed to guest fusion guitarist Jean-Michel Kajdan. Jean-Michel's performance is particularly impressive for its fiery dexterity as well as emotional expressiveness. Matter of fact, the rest of the band seem rather sleepy when set beside J-M's play: as if they're all stunned, standing in jaw-on-the-floor shock, as they go through their motions perfunctorily while Jean-Michel plays. In fact, it takes a full 20-to-30 seconds after Jean-Michel pauses for the others to re-focus and put some passion back into their own play--including the next soloist himself (Didier)! In the end, everybody gets up to speed and the song finishes well, but those first two minutes were extraordinary! (9.3333/10)

6. "My Memories Of You" (5:40) interesting that this Francis Lockwood-penned song title and sound, chord progressions all sound like a song of a similar name that would find its way onto Vangelis Pappathanassiou's soundtrack for the 1982 sci-fi film Blade Runner. This duet between the Lockwood brothers finds the one using electrified violin, the other using a standard grand piano. (8.875/10)

7. "Giant Steps" (2:10) an interesting sprint through one of the giants of jazz history. (4.5/5)

8. "Pent-up House" (2:31) a Sonny Rollins song that Django Reinhardt and Stéphane Grappelli made their own on which guitarist John Etheridge quite capably takes the role of Django, while Didier, of course, takes that of Stéphane. Quite a respectful and faithful rendering. (9.125/10)

9. "Zbiggy" (6:55) a tribute to the recently-deceased Polish-born jazz violinist Zbigniew Seifert. Perishing of cancer at the age of 32, "Zbiggy" had been an early pioneer of electrified violin sounds and an active member of the "free jazz" movement though he contributed significantly to the J-R Fusion albums of Volker Kriegel, Jan "Ptaszyn" Wróbleweski, Jasper van 't Hof, Joachim Kühn, Hans Koller, Charlie Mariano, and Glenn Moore's Oregon. Didier's song here allows his collaborators (Tony Williams, John Etheridge, Gordon Beck, and Niels-Henning Orsted-Pedersen) to also pay tribute to their lost compatriot. Kind of a two-chord high-speed, dynamic vamp that allows for lots of soloing. (13.375/15)

Total Time: 41:19

It's all great acoustic jazz--maybe "rock" can be tagged onto the descriptive referents, but it's really just jazz. To me, this album is more of a retrospective tribute to Jazz history than a step forward in the evolution of Jazz-Rock Fusion. At the same time, after repeated listens I've come to appreciate the absolute genius of the performances of these jazz stalwarts. Beautiful!

A/five stars; while not what I would consider an expression or full-fledged Jazz-Rock Fusion, this is without a doubt a wonderful expression of music, musicianship, and jazz of the absolute highest quality and must, therefore, be extolled as a masterpiece of music--general Götterdämerung-ed music--no matter what genre or category you choose to assign it to. It's challenging for me to label this "essential: a masterpiece of progressive rock music" when it's not progressive rock music--it's jazz--but, since it's here on PA and we're all in the business of exposing one another to great music in general (not just progressive rock) I cannot let this incredible album go unadvocated.

Soon after the release of their debut album in 1966, the Mothers of Invention followed that up with the brilliantly weird and often undecipherable 'Absolutely Free', an early staple of experimental rock that once again displayed the originality of the band and their effortless and satirical approach towards rock music, all while playing some of the most fascinating music to have come out of the late 1960s. Much like 'Freak Out!', the music on here is adventurously avant-garde and offers several completely unorthodox pieces of rock and pop music, with the MOI drawing in influences from all over the place (blues, psychedelia, garage rock, classical and fusion references grace the two sides of the original LP). Besides, this time we have an eight-piece band working itself around, plus a ton of guest musicians, with virtually every single member of this wicked art collective contributing to the bedazzling and disturbingly surreal passages of music and their corresponding sceneries, since the earliest music of Zappa and the Mothers is incredibly vivid and resembling what we could refer to as "a film for listening".

Herein, many of the shorter pieces actually make up for longer suites, led by a certain musical motif around which the rest of the compositions are developed, which in many regards works as the anticipation of the progressive rock style and what the bands associated with it would go on to experiment with later on. Not an easy album to dissect or digest, similarly to the debut, 'Absolutely Free' still has some really fine pieces like the great suites 'The Duke of Prunes' and 'Call Any Vegetables' on side one, with a strong display of Zappa's improvisational style of play, and the garage-prog collage of sounds found on side two ('Brown Shoes Don't Make It') with all of its quirky accompanying shorter tracks. The strengths of this album overshadow its downsides for sure, which is very likely why this release is well-respected and seen as a significant part of the classic MOI catalogue, and despite its obvious but cheerfully chaotic and patchy flaws, 'Absolutely Free' indicates a desire for rebellion as well as a vision of ominous quirkiness that we just cannot ignore.

The Lockwood brothers--20-year old violinist, Didier, and his older keyboard-playing brother, Francis--team up with monster bass player Bunny Brunel and recent Zeuhl artist Patrick Gauthier to produce an album that was inspired by Jean-Luc Ponty's work (especially his collaboration with Frank Zappa for King Kong: Jean-Luc Ponty Plays the Music of Frank Zappa) and probably that of Michal Urbaniak, and perhaps even Italian fusion artists Arti E Mestieri, David Cross (King Crimson, Clearlight), and Darryl Way (Curved Air). Though this album's original vinyl release was listed under Didier and Francis' surname, "Lockwood," later reissues (as early as 1980) tend to list the band as "VOLKOR"--though I know not why.

1. "To-Morrow" (2:15) opens with some super funky bass from Bunny Brunel--deep water bass, I have to call it. With the establishment of the main motif dueling solos ensue between Didier's electrified violin and Patrick Gauthier's Moog. This felt like a complete song despite being only two minutes long! (9.375/10)

2. "Astral Trip" (5:30) a great foundation presents fecund ground for Didier and to fly--while drummer Kirt Rust and, to a slightly lesser extent, Bunny Brunel also seem to fly underneath. Francis gets the next solo on his electric piano in the fourth minute and then Bunny in the fifth (which merely magnifies the prowess of power drummer Rust's extraordinary skill). Cool song with some great things accomplished with tempo changes over just two chords rotating over and over! (9.25/10)

3. "Elbow" (7:00) opening with some super-funky effected-bass establishing both the melody and pace before distorted Moog synthesizer starts to squawk its way into the groove. Drums and echo- and delay-treated-electric violin are next, the former playing a straight-time near-Disco beat while Didier provides melodies to counter Patrick's squawking synth. In the fifth minute Bunny and Kirt slow things down as Francis' Fender Rhodes stabilizes things with regular chords played in a Zeuhlish progression while Didier really goes to Jean-Luc Ponty town with his screaling violin. Cool shift--which allows Kirt to show more of his skills and creativity on the batterie. Patrick re-enters with that saw-squawk Moog for the final 30 seconds as the engineers give the song a slow fade. (13.75/15)

4. "What's The Matter" (2:15) multiple tracks given to Francis' distorted Fender Rhodes while Patrick puts on display another of the highly-unusual sounds that he's discovered on the Moog--this one sounding as if a calypso steel drum were filtered through a garbage disposal. An unique little novelty piece. (4.375/5)

5. "Volkor" (6:05) a Jazz-Rock Fusion piece that is structured and paletted like a Zeuhl song with a fairly constant/rigid Fender Rhodes four-chord progression and deep bass line towing the line while Kirt's drums race frenetically-along and Patrick's Moog and Didier's reverb-violin trade barb's up top. A shift in motif (but not sound palette) occurs at 5:30 but this just leads to a slow fade-out from the production crew. Cool song with great play from Bunny, Kirt, Patrick, and Didier. (9.125/10)

6. "Yellow Faces" (3:35) sonosphere-dominating underwater bass and spacious time-keeping rock drums provide the fertile medium for Didier to solo on his ever-increasingly-reverberated electric violin. It's cool, with a great sound palette, but ultimately a little monotonous in its one dimensionality: like another experimentation or étude. (8.75/10)

7. "Green" (3:50) another cute, quaint, and yet interesting little sound experiment (more in palette--due to another one of Patrick's sonic discoveries on his Moog) that ends up never changing, never developing into a full song, always feeling like another étude. (8.875/10)

8. "Naita" (4:20) the Lockwood brothers performing a spacious duet: Francis' dirty Fender Rhodes more supporting and reactive to his brother's wonderful soaring, plaintive work on the heavily-treated electric violin. In the fourth minute Francis picks up his involvement--almost sounding as if he's providing structure and pace for the rhythm section to join in--but it never happens. The song dies with Didier's last sad note as Francis' last echoed-chords filling the sonosphere. (8.75/10)

Total Time 34:50

Some amazing experimentations with sound and sound textures are occurring throughout this exciting, inventive album but there are two tendencies that render my overall impression one of words that are not all superlatives: 1) the clear Jean-Luc Ponty-ness of Didier's sound and stylistic approach to his violin play and 2) the fact that so many of the songs (three of them) feel incomplete--as if the brothers were so enamored of their sound creations that they figured a little blurb of these rather unique (and entertaining) sonic experiences was deserving of public preservation.

A-/4.5 stars; a near-masterpiece of innovative and experimental Jazz-Rock Fusion that never seems to reach its fullest potential.

The Lockwood brothers--20-year old violinist, Didier, and his older keyboard-playing brother, Francis--team up with monster bass player Bunny Brunel and recent Zeuhl artist Patrick Gauthier to produce an album that was inspired by Jean-Luc Ponty's work (especially his collaboration with Frank Zappa for King Kong: Jean-Luc Ponty Plays the Music of Frank Zappa) and probably that of Michal Urbaniak, and perhaps even Italian fusion artists Arti E Mestieri, David Cross (King Crimson, Clearlight), and Darryl Way (Curved Air). Though this album's original vinyl release was listed under Didier and Francis' surname, "Lockwood," later reissues (as early as 1980) tend to list the band as "VOLKOR"--though I know not why.

1. "To-Morrow" (2:15) opens with some super funky bass from Bunny Brunel--deep water bass, I have to call it. With the establishment of the main motif dueling solos ensue between Didier's electrified violin and Patrick Gauthier's Moog. This felt like a complete song despite being only two minutes long! (9.375/10)

2. "Astral Trip" (5:30) a great foundation presents fecund ground for Didier and to fly--while drummer Kirt Rust and, to a slightly lesser extent, Bunny Brunel also seem to fly underneath. Francis gets the next solo on his electric piano in the fourth minute and then Bunny in the fifth (which merely magnifies the prowess of power drummer Rust's extraordinary skill). Cool song with some great things accomplished with tempo changes over just two chords rotating over and over! (9.25/10)

3. "Elbow" (7:00) opening with some super-funky effected-bass establishing both the melody and pace before distorted Moog synthesizer starts to squawk its way into the groove. Drums and echo- and delay-treated-electric violin are next, the former playing a straight-time near-Disco beat while Didier provides melodies to counter Patrick's squawking synth. In the fifth minute Bunny and Kirt slow things down as Francis' Fender Rhodes stabilizes things with regular chords played in a Zeuhlish progression while Didier really goes to Jean-Luc Ponty town with his screaling violin. Cool shift--which allows Kirt to show more of his skills and creativity on the batterie. Patrick re-enters with that saw-squawk Moog for the final 30 seconds as the engineers give the song a slow fade. (13.75/15)

4. "What's The Matter" (2:15) multiple tracks given to Francis' distorted Fender Rhodes while Patrick puts on display another of the highly-unusual sounds that he's discovered on the Moog--this one sounding as if a calypso steel drum were filtered through a garbage disposal. An unique little novelty piece. (4.375/5)

5. "Volkor" (6:05) a Jazz-Rock Fusion piece that is structured and paletted like a Zeuhl song with a fairly constant/rigid Fender Rhodes four-chord progression and deep bass line towing the line while Kirt's drums race frenetically-along and Patrick's Moog and Didier's reverb-violin trade barb's up top. A shift in motif (but not sound palette) occurs at 5:30 but this just leads to a slow fade-out from the production crew. Cool song with great play from Bunny, Kirt, Patrick, and Didier. (9.125/10)

6. "Yellow Faces" (3:35) sonosphere-dominating underwater bass and spacious time-keeping rock drums provide the fertile medium for Didier to solo on his ever-increasingly-reverberated electric violin. It's cool, with a great sound palette, but ultimately a little monotonous in its one dimensionality: like another experimentation or étude. (8.75/10)

7. "Green" (3:50) another cute, quaint, and yet interesting little sound experiment (more in palette--due to another one of Patrick's sonic discoveries on his Moog) that ends up never changing, never developing into a full song, always feeling like another étude. (8.875/10)

8. "Naita" (4:20) the Lockwood brothers performing a spacious duet: Francis' dirty Fender Rhodes more supporting and reactive to his brother's wonderful soaring, plaintive work on the heavily-treated electric violin. In the fourth minute Francis picks up his involvement--almost sounding as if he's providing structure and pace for the rhythm section to join in--but it never happens. The song dies with Didier's last sad note as Francis' last echoed-chords filling the sonosphere. (8.75/10)

Total Time 34:50

Some amazing experimentations with sound and sound textures are occurring throughout this exciting, inventive album but there are two tendencies that render my overall impression one of words that are not all superlatives: 1) the clear Jean-Luc Ponty-ness of Didier's sound and stylistic approach to his violin play and 2) the fact that so many of the songs (three of them) feel incomplete--as if the brothers were so enamored of their sound creations that they figured a little blurb of these rather unique (and entertaining) sonic experiences was deserving of public preservation.

A-/4.5 stars; a near-masterpiece of innovative and experimental Jazz-Rock Fusion that never seems to reach its fullest potential.

Lars Fredrik Frøislie is the keyboardist for iconic bands like Wobbler, Tusmørke, White Willow, and projects like The Chronicles of Father Robin. Lars never stops?he's always creating something interesting. He owns an impressive collection of analog keyboards, including a Chamberlin Mellotron, which is almost impossible to find. Well, he's got one.

This is his second solo album in two years. The first, Fire Fortellinger, received very positive reviews. Frøislie, a lover of '70s prog?especially Italian prog?decided to sing in his native Norwegian, which gives the music a unique touch.

Once again, as with the previous album, Frøislie plays all the instruments, including vocals, and he does it remarkably well. He shares duties again with bassist Nikolai Hængsle and flutist Ketil Einarsen.

Gamle Mester is a bit stronger than Frøislie's previous album. The music is now more complex and slightly less folk-oriented. The keyboards take on a new dimension, and the compositions are inspired by mythology?the power of the gods over mere mortals.

The album feels warm and shares many similarities with Wobbler?except this time, Andreas Prestmo is missing. For fans of that band still waiting for something new, this record helps fill the void, but at the same time, it stands strong on its own. Personally, I think this album is changing certain parameters more than simply repeating what's already been done. I don't know how, but there's a lot of originality here, even though it clearly carries many influences. Lars Fredrik Frøislie, despite wearing his inspirations on his sleeve, manages to stand out and carve out a world entirely his own.

A great record to keep in mind in this extraordinary 2025.

— First review of this album —

A Wonderful Nightcap

Claudio Fucci was born circa 1952 in the town of Carosino near Taranto, later living in Milan. He started writings songs in the late 1960s, and by the '70s he was collaborating with the likes of Come Le Foglie and Banco. After the release of his own 1974 self-titled work produced by Eugenio Finardi, he would work with keyboardist Dario Piana again on the Le Mani project. But aside from a soundtrack project, it would be over 30 years before Fucci followed up his 1974 debut. The resulting Synkretiko is a country mile from anything resembling 21st century progressive rock, but it is a surprisingly warm and engaging return for Fucci nonetheless. This is not a progressive rock album even to the extent of his earlier work, but it is a good pop/rock album with a heavy dose of that wonderful Italian touch. It's very well decorated with two dozen great musicians including his old buddies, Eugenio Finardi and Dario Piana.

Synkretiko is an album for people who already know they like stuff like Battisti, Stephano Testa, Mario Barbaja, Gigi Pascal, or Gianni D'errico. The songs run the typical pop song template and length, but they are catchy, fun, and colorful. "Graffiti Italiani" is a festive opener with a bouncy folk feel adorned with fiddle. "Il Silenzio E Il Tuono" is another with a folky-country rock vibe that sounds great with Fucci's gregarious voice. "Sebastiano" is more bluesy with raucous electric guitar and organ that reminded me of Faces "Stay with Me." "Come Un Poeta" veers into a light and melodic jazz groove. And "Via C. Baroni" is a grand, romantic-sounding ballad. As you can see, the album's style is free and engaging, but the quality is very high. These songs will stick in your ears for days after. For such a late entry in the game, Fucci succeeds here. If this is to be his nightcap, it is sweet on the lips indeed. La musica della vita!

Gone are both founder Yochok'o Seffer and recent acquisition Didier Lockwood, here come percussionist Michel Séguin, wind player François Debricon, trombonist Hamid Belhocine, and a young Manu Katché on drums (the first recorded presentation of the future superstar).

1. "Merci Jacky" (7:20) opens with a Smooth Jazz-like feeling before Jaco Pastorius-like bass joins the percussion and steady one-chord electric piano motif. Key change at 0:50 continues the one-chord foundation approach while Gérard Prévost and Michel Séguin continue to impress (especially the former). 2:00 the reins are handed over to "Faton" for a solo that could come from lighter J-R Fusion players like Donald Fagen, Michael Omartian, or Greg Phillinganese. chord progression sequence in the fourth minute leads into a much more developed motif (though it feels the same because the drum and percussion lines are much unchanged) but trombone and saxophone now join in while the keyboard/synth and bass lines are now more sophisticated, melodic, and, frankly, interesting. Fuzz synth mirrors bass play for a score of seconds before circus-like sounds and chord progression take us into the dismantling finish. Nice, fun and light. Good opener. (13.25/15)

2. "Typhareth (Beauté)" (12:44) I love the presence, prominence of trombone coming from unconventional trombonist Hamid Belhocine. The flanged bass (with its great solo in the eleventh minute) is cool, too--especially due to the loving support that Faton's hypnotic keyboards play below him. This is a very easy-going, gentle and melodic tune which lulls the mind into perhaps failing to notice all of the lovely subtleties going on in the soil and underbrush. Truly a lovely song. (23.75/25)

3. "Troupeau De Bisons Sous Un Crane" (3:32) Hand claps and congas! A light, fun, and upbeat tune that seems to reflect a carefree, fearless Cajun-like attitude. Nice! A little Weather Report feel to this--and so nice to hear a lower- register saxophone for a change! (8.875/10)

4. "Binah / Comprehension Feminine" (5:04) dreamy ethereal combination of piano, flute, and EBERHARD WEBER-like flanged electric bass start this one out as cymbals and metal percussives add to the effect while flutes, percussives, change, trombone enters. At 3:00 there feels like a shift in temperament: as if the sun has come out and there's a reassurance that everything will be okay. But then it goes back to the more dreamy, less settling motif for the final minute. Nice! Interesting! Creative. (8.875/10)

5. "Les Temps Changent" (8:44) keyboard, congas, and café chatter open this for about 30 seconds before bass, drums and horn section enter to move the song forward--but slowly, with lots of stutter steps and shifting, twisting dance moves--before finally letting Faton lead us into the pedestrian lanes of the cobblestone shopping area of la vieille ville. As we walk the troupe gets more stylish, more swaggy and cocky with its self-assured, attention-getting footwork and audaciousness. I love it: These were the Seventies! This is a perfect representation of the Black-positive attitudes that styles, clothing, and music were expressing at the time--and François Debricon's expressive tenor saxophone solo in the seventh minute is the perfect cherry on top! This is followed by an ensemble finale which feels as if it were choreographed by Mandy Moore for a street scene in La La Land. (18/20)

Total Time: 37:24

Like reviewer/friend John Davies, I find much more hiding in this music than what might appear at first listen: besides eminently-impressive musicianship from all involved, there are plenty of compositional and improvisational intricacies that might be masked by the easy-on-the-ears melodic sensibilities that François offers the listener.

A-/five stars; a minor masterpiece of Third-moving-into-Fourth Wave Jazz-Rock Fusion. Very engaging and upbeat while being deceptively intricate and sophisticated.

Yes -Tor -Mato

Tormato is the album with which Yes closed out the extraordinary decade that saw them reach the peak of progressive music and become the legendary group they are today. Tormato is an album I have a special affection for, as it was my entrance into this great band. Although many consider it mediocre, I've always found it extraordinary?not quite on the level of Close to the Edge or Fragile, but far better than what the band would go on to produce in the mid-eighties.

Tormato came after a glorious period for the band. They had just recorded an incredible album Going For The One and completed an extremely successful tour. By then, Yes was already considered one of the best bands in the world, almost on the same level as giants like Led Zeppelin and Black Sabbath. That's why, when they entered the studio to record Tormato, Yes had carte blanche to do whatever they wanted.

It's important to place ourselves in the historical context of 1978. The musical landscape had changed drastically. It wasn't just disco anymore?punk and new wave were now dominating the market and leaving a strong impression. Yes wasn't punk or new wave, but people still liked them. The Police were the band of the moment?everyone liked them, and many wanted to be like them.

After Going for the One, which featured the return of the band's prodigal son Rick Wakeman, things seemed to remain stable?at least on the surface. The problem was that the band had no new music composed. Everything they had was discarded, as the members couldn't agree on the sound they wanted for this new record, which already had a working title: Yes Tor, named after some hills near Dartmoor, Devon, close to where Steve Howe lived.

The cards were on the table, and the players were ready. Wakeman arrived at the studio with a range of new polyphonic keyboards, which significantly reduced the amount of gear he needed. The Polymoog and the Birotron would come to define the album's sonic character. Meanwhile, Chris Squire had discovered the Mu-Tron pedal, which gave his bass a distinctive, more modern effect?closer in line with the evolving sounds of the time. Steve Howe opted for single-coil guitars to create a sound that was softer yet more piercing.

Production duties were handed back to Eddie Offord, who hadn't worked with Yes since Relayer in 1974. This album wasn't just another record?it felt more like a reunion of old friends, eager to show off their new toys but lacking a clear direction. As the days passed and ideas floated in and out, the sessions turned increasingly frustrating. Chris wanted to sound like The Police, Alan White was pushing for a heavier rock vibe, Steve aimed for something more experimental, Rick wanted to explore his new keyboards, and Jon Anderson?curiously?didn't even want to sound like himself. He was trying for a deeper tone, searching for something different.

After those endless sessions, very little could be salvaged. The material was taken to Eddie Offord, who ended up abandoning the project because he found it dull and uninspired. Eventually, the band had to take over the production themselves. Slowly, out of that chaos, Tormato began to take shape. But why Tormato, if the album was supposed to be called Yes Tor?

Although the original plan was to have Roger Dean design the cover, he never really connected with the band's vision this time. Instead, as with Going for the One, Yes contacted Hipgnosis again. The final concept came from a photo featuring a smashed tomato, which immediately struck a chord with the band. It symbolized their frustration, mockery, and protest toward the whole recording process. For years, it was believed that the band members themselves had thrown tomatoes at the photo in anger. In truth, it was Aubrey Powell from Hipgnosis who hurled tomatoes at his own creation, frustrated after it was rejected by other bands. Yes empathized with that gesture, and Yes Tor becoming on Tormato.

The music on Side one opens with "Future Times / Rejoice", composed entirely by Anderson, whose lyrics here are unusually direct. The track features Chris Squire using the Mu-Tron pedal, adding that now-iconic touch to his bass tone.

"Don't Kill the Whale" originated from a bass line and acoustic guitar part created by Squire, which Anderson developed further using a poem he had written. The lyrics were inspired by a TV program about saving tigers, which led him to write about whale conservation. Their friend Terry Doran also played a role in sparking the theme. Wakeman added a Polymoog sound resembling whale calls, which shaped the track's unique identity. The song was an instant hit and it was the first major hit for the band since Roundabout.

"Madrigal" is a short, delicate piece driven by Wakeman's harpsichord, written at Anderson's suggestion to explore the madrigal form of English evening song.

"Release, Release", originally titled The Anti-Campaign, was co-developed by Anderson and White and reflected the social and political unrest of the time. The song features automatic double tracking on drums and a live crowd sample?allegedly from a football match?to energize the instrumental break. It caught the attention of Atlantic Records president Ahmet Ertegun, who even suggested the whole album follow its more straightforward rock sound. Anderson later admitted the song was difficult to perform live due to the vocal range it demanded.

On the other side starts with "Arriving UFO", a sci-fi-inspired track based on a theme Anderson developed after watching Close Encounters of the Third Kind. Wakeman composed the instrumental midsection.

"Circus of Heaven" tells a whimsical story aimed at children, complete with unicorns, elves, and a circus arriving in a quiet Midwestern town. The story was inspired by Ray Bradbury and was something Anderson shared with his son Damion, who voices the child at the end. Musically, the song is notable for Squire's reggae-style bass line.

"Onward" is a lush ballad written entirely by Squire, featuring orchestral arrangements by Andrew Pryce Jackman. Squire considered it one of his best compositions, and it was later revived on stage in 1996 with a new acoustic intro by Steve Howe called "Unity".

Finally, "On the Silent Wings of Freedom" closes the album on a high note, built around Squire's bass with a distinctive Mu-Tron Envelope Shaper effect, giving it a driving, pulsating energy.

As a side note, some original cassette and 8-track editions included a hidden track called "Richard", written by Anderson. Though it was omitted from later reissues.

In the end, Tormato it is a fascinating record in the Yes story. It's an album born from frustration, and experimentation, but it still carries moments of brilliance musical extremes hated by many and loved for others. While it may not reach the heights of their masterpieces, it reflects a band trying to adapt, to evolve, and to remain true to themselves in a rapidly changing musical world. For some, it's a misstep. For others? like me?it's a misunderstood gem, full of character, tension, and charm. And above all, it marked the last time this classic lineup would record together until much later, making Tormato both an ending and a turning point in the history of Yes. I still believe that this record needs more love from the fans.