album.asp?id=26650"> Studio Album, 1972
4.75 | 3 ratings
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album.asp?id=26650 - Jazz Rock/Fusion

Review by Collaborators.asp?id=15205 - Nightfly
Prog Reviewer

There's nothing like youthful exuberance mixed with a love for Yes/Genesis/KC.

In the magical mid 70s, a group of high school friends from the suburbs of Paris took their love of symphonic prog, abandoned their educations, named their band after a girlfriend, and really went for it. And they achieved something very nice although success was modest. They were a huge hit in the local auditoriums they played bringing hundreds to their feet cheering.

The band played a heavy symphonic rock with lots of very good wailing guitar, strong rhythm section, and good keys. Their heroes were Yes, Genesis, King Crimson, and Jimi Hendrix. They sound a little like their French counterparts Pentacle, Shylock, and Atoll but they are a young band and you can hear the sound of youth, both its good and bad aspects. But despite some clumsy moments here and there and a poor sound quality of the recording there is much to recommend. They lads practiced a lot and they can play their butts off, especially the guitarist and drummer. They can wail and their enthusiasm is so obvious. Fans of a thick saturated "wet" guitar sound will love this kid's playing bravado, he'll try anything and usually pull it off. He loves a fuzzy Hendrix sound too and often seems to be channeling Jimmy Page as he just rips it up. The bassist is no slouch either and you can hear him well always attempting something animated. Fans of vintage keyboard sounds will have fun too as they are prevalent. Their songs are pretty good from a compositional viewpoint as well, they keep it interesting and fresh. There are some vocals but they are somewhat minimal.

The generous bonus tracks serve up something really tasty. You'll get to hear these guys try and pull off parts of "Ritual" and "Close to the Edge." And yes, they do pretty good job! The Musea folks have done another fine job putting together a booklet with a very nice band history and photos. The sound is as cleaned up as possible considering this album has a reputation for awful sound quality. The sound is what I would call listenable, decent, OK, but certainly not good. I consider this album nearly essential for French prog and symphonic fans despite the sound, but if you absolutely need top notch production in your prog, you'd best pass this gem by. Humorously, the album cover is supposed to depict the band as the winged creature, driving Yes and Genesis (the rat) from their throne in order to assume their place. These guys did not have a self-esteem problem!

Skryvania is a true lost gem that is dripping with passion for symphonic rock and is a real treat. Do get a copy before it goes out of print and becomes impossible to find again. You won't regret it. 3 1/2 stars.

album.asp?id=21188"> Studio Album, 2008
4.41 | 8 ratings
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album.asp?id=21188 - Jazz Rock/Fusion

Review by Collaborators.asp?id=15205 - Nightfly
Prog Reviewer

Welcome to one of the lost gems of early prog! Released in the same year as In the Court of the Crimson King, Mercator Projected marks the debut of of one of the most exciting, authentically progressive acts of the original prog era, now unfairly forgotten by most. Drenched in exoticism, from the stunning cover (depicting a heavily tattooed woman's back) to the evocative title (a Mercator projection is a cylindrical map projection that distorts the shape and size of large objects), in spite of its undeniable rawness the album is a thoroughly exhilarating listen, blending Eastern sounds with jazz, blues, heavy rock and psychedelia in a heady brew that might at first sound dated, but is still deeply intriguing for a discerning music fan.

One of East of Eden's strengths lies in their use of an impressive array of instruments that, at the time, were still not common currency in the rock world. Dave Arbus' electric violin dominates the proceedings, weaving ethereal melodies or bringing a strident note to the compositions, while saxes and flute add a very distinctive character to the band's sound. In the best tradition of the original progressive rock movement (and not unlike KC's seminal debut), the songs on this album are at the same time accessible and experimental, soothing and harsh. While the band don't deny their rock and blues roots, they also push the envelope with their richly textured soundscapes, evocative of many different moods.

Closing track In the Stable of the Sphinx, a jazzy, sprawling instrumental (also present in a longer version in the 2004 remaster), is possibly the album's masterpiece: mainly guitar-driven, unlike most of the other tracks, it features some brilliant sax and violin work. Flutes take centre stage in the dreamy, hippyish Isadora; while Waterways and Bathers conjure images of Eastern-style languor and sensuality, with lashings of sumptuous violin and keyboard melodies. On the other hand, the bluesy, harmonica-driven Centaur Woman sounds somewhat harsh, and is in my opinion the weakest offering on the album, even though the slightly distorted, dramatic vocals add some interest to the song.

As previous reviewers have already stated, Mercator Projected is not the accomplished work of a seasoned band. However, even in its raw state it shows the promise than East of Eden would fulfill in their sophomore effort, Snafu. It is a great pity that they did not achieve the fame they deserved for their highly individual, creative approach to prog - they could have become as big as Yes or King Crimson, but now they are forgotten by almost everyone but the real aficionados of the beginnings of the genre.

On any account, this album is highly recommended to anyone who likes their prog to be a challenge, even if a bit rough around the edges. Four and a half stars from me for a disc that every self-respecting prog fan should at least try once.

With a careless misclick of the button, I lost a very long and detailed review. This one will be shorter (not Wayne Shorter, though he is also excellent), or at least less detailed. I would not have guessed that it would have taken "Realization" to realize the importance of writing such stuff first using a program such as Word which saves one's wordiness.

"Realization" is my favourite Eddie Henderson album, one of my favourite "Mwandishi players" albums, and I consider it to be an essential Fusion album. The music blends funk, modal jazz, and cosmic "spacey" music/ electronics, in an exhilarating fashion. It is finely nuanced, and while the music is very busy at times, there is space for the music to breathe. It is a stunning effort by Eddie Henderson, as well as those that joined him.

All of the players are in top-notch form, and Henderson is, I think, one of the finest trumpeters in Fusion -- sadly he is not as widely recognised as I think he deserves. To think that music was a side-line for him as he was also a medical doctor. This album, and other albums of his, was not commercially successful at the time, and was largely forgotten and neglected until the later release on CD (his "Anthology" compilation with this and "Inside Out" has been excellently remastered and is well worth getting), There has been some quite recent surge in interest in Henderson's early music by dubbers. His music has been sampled quite extensively -- rub-a-dub-dubbed by DJ George "Dubya" Bush; now there's a thought, lame though it is. In fact, a great many terrific Fusion works are being sampled/ dubbed these days).

This album comes from a really innovative and exciting time in Fusion, and stands, I feel, amongst the very best of its ilk. Other players that Henderson was acquainted with, including the Mwandishi band (see Herbie Hancock's "Mwandishi", "Crossings", and "Sextant") were also releasing amazing material. I see this album as a spin-off or extension of the "Mwandishi" work, and this is a "Mwandishi" band effort (which is not to underplay Henderson's importance to the project under his name). Aside from shared members who came together to work with the former Mwadishi member Henderson, musically it falls into that category. Aside from Hancock's influence (as well as other Mwandishi members), I think Gleeson's work cannot be understated in giving it that cohesive Mwandishi sound (as in the "Crossings" and "Sextant" parts of the Mwandishi album trilogy -- the fusion of electronics).

This is an absolutely essential album for those who like Herbie Hancock and friends Mwandishi trilogy. Aside from "Crossings", "Sextant", and "Mwandishi", albums with a musical relation to "Realization" worth getting include: - Eddie Henderson - "Inside Out" (if you don't have Anthology, Vol. II), and "Sunburst". - Julian Priester's fantastic "Love, Love" and his "Polarization". - Bennie Maupin - "The Jewel in the Lotus" and "Slow Traffic to the Right". - Buster Williams - Pinnacle. and Norman Connors - "Dance of Magic" and "Dark of Light".

Lenny White, who performed on this album, released to my mind one of the most stunning Fusion albums with "Venusian Summer", though he has other excellent works too. Billy Hart's "Enchance is good", and, though different, Pat Gleeson's electronic explorations in "Beyond the Sun" are very good.

Of course mentors to Henderson such as Miles Davis and Freddie Hubbard should need no introduction, but if they both do, you have wonderful discoveries ahead.

A word of warning: I don't recommend "Realization" to those who can't take their jazz more adventurous than Kenny G.

Stunning progressive visual document

Without question one of the most original, progressive titles released in 2007. This is an audio and video (cd/dvd) psychedelic event that will blow the minds of anyone interested in avant-garde, psych, or space music. I say music, not rock, because this is not rock and roll. It is experimental sound. Understand this is not a normal concert. It is an event as bizarre as a drug trip, as a UFO light show from '67 London. Total, unfettered improvisation. Here is what went down. The band rented a large warehouse and each member set up their instruments far away from one another. Then they hung these lace curtain dividers up between the members so that they could not make eye contact with one another. The audience was brought in to sit all around the band and the hall was darkened. On the lace curtains were projected images by a "liquid lighting team" and this visual art completely amplifies the mystery of the collective experience happening. Once in place, the doors were closed and the audience not allowed to move until the performance was over. It was really kind of spooky I'm sure as the cavernous hall created great reverberations in sound that added to the aura.

There were no written songs performed, there is no set list. "Overture" is one complete and total improvisation. The members had to come up with the evening's performance on the spot, listening to each other in the dark without being able to get the usual cues. Feeding off the energy of the crowd and trying to channel back and forth. It doesn't always work but it is fascinating. It is not loud or rocking for the most part. Most of the sounds are rather quiet and created by tabla, flute, acoustic guitar, lute, recorder, along with electric guitar, bass, drums, piano, bells. From the CD booklet: "This is nothing but a spiritual conversation between the members, which passes through the senses of the audience, thereby filling the space. The audience is an important "medium." The intention of the arrangement, positioning the players in parallel at a distance from one another, is to connect every member's sound image spiritually, as eye contact with one another is prevented. This is a meditative task. The primary acoustic feature of this space is the length of reverberation. Its tremendous reverberation of 13-15 seconds is the same as that of a limestone cave. Each feels the echo, or remaining spirit of the sound we might say, sensually and spiritually, and each overlaps his individual echo upon it."

The sounds you will hear are chaotic, frightening, dissonant, lost, wandering, rarely melodic, sometimes beautiful, always challenging. This is not for the faint of heart or someone looking for a good rocking time. It is for the very patient listener of unapologetic, slowly moving, pure improvisation. It is very difficult to offer any comparisons. It doesn't sound anything like Ummagumma, Rubycon, or free jazz in a traditional sense, but it possesses the spirit of all three at the same time. The lights literally breathe to life on the curtains as they roll and twist creating surreal silhouettes of the audience members. Images like lava lamps spill onto huge surfaces, a perfect flower appears on a wall above your head, images of people suddenly appear on the support columns, designs of all kinds are constantly changing with the music very slowly. So fantastic are the visual images that they are as important as the music itself. It's for people who want to lay on the living room floor alone and take in this experience on the television (and is presented in 5.1 surround dvd as well as stereo.) This is not a DVD you want to watch with other people unless you are certain they will sit still and shut up for 90 minutes.

It is very hard to be surprised by an album anymore, to be caught off guard, to see something unlike anything you've ever seen before. Ghost has managed to pull off a free-from visual rave as bizarre as Laurie Anderson's "Home of the Brave." In the end, the wonder of the event plays out like a beautiful religious service more than a rock concert. It is a breathtaking event. Not everyone is going to like it, in fact quite a few will not. Yet, if daring explorations into improvisation are a pillar of progressive music, this must be considered a masterpiece. Just not the kind you'll sing along to in the car. And yes, this title has extremely low PSAF (progger spouse acceptance factor) so be warned.

Welcome to one of the most obscure gems released in the last few years - courtesy of a musician who, in spite of his decades-long career and impressive curriculum, is still thought of as a sort of young whippersnapper. In fact, Jakko M. Jakszyk is almost 51 years old, and has shared a stage or a recording studio with many a revered protagonist of the progressive rock scene. Unfortunately, most of the bands he has played with over the years are of the positively obscure kind. Before he joined the 21st Schizoid Band in the role that was of Robert Fripp, Jakszyk had been little more than what in my native Italy we would term as an 'illustrious unknown', in spite of his short-lived tenure in a relatively high-profile band like Level 42.

Much like its author, "The Bruised Romantic Glee Club" (released in 2006 to a lot of critical acclaim, and become unavailable soon afterwards, due to the record label going under) enjoys cult status among prog fans, though not many people have been able to listen to it. I was lucky to find a copy (at a very inviting price too, considering it is a double album) in one of the music stores I used to visit regularly when I lived in Rome. And what a great purchase indeed.. The album is an offering most dedicated prog listeners will be able to appreciate, with all the trademark features of our beloved genre, plus a healthy (though not excessive) dose of melody and accessibility. Moreover, fans of cover versions will be absolutely delighted by the contents of CD2 - a stunning collection of classics by the likes of King Crimson, Soft Machine and Henry Cow, performed by some of the stalwarts of the original Canterbury scene.

Right from its cover, a gorgeous, muted snapshot of Jakko walking on Brighton beach at sunset, "The Bruised Romantic Glee Club" is a thoroughly classy package. Everything - the pictures, the detailed liner notes, the graphics, the music - is designed to appeal to listeners of sophisticated tastes, who look upon an album as a complete experience. I would not hesitate to call it a beautiful album, not only on account of the very accomplished nature of the music contained within, but also of the stories behind each of the song. Like many Canterbury albums, it has a very personal, intimate feel, as conveyed by the title itself.

From even a casual reading of the liner notes, Jakko comes across as a very sensitive, vulnerable human being, consequently bruised by life, but keeping up his optimistic side. Some of the stories attached to individual songs are very moving indeed, especially those related to his family. As many adopted children, he got to meet his real mother much later in life, not long before her untimely death. This part of his life story is the subject of the haunting instrumental "When Peggy Came Home", dedicated to the burial of his natural mother's ashes in her birthplace in Ireland; while the following song, "Highgate Hill", is centred around Jakko's own birth in a hospital in the titular area of London.

Musically speaking, the first CD features a number of songs and instrumental tracks performed by Jakszyk and a handful of high-profile guest musicians - namely Porcupine Tree drummer Gavin Harrison, Mel Collins, former Level 42 bassist Mark King, double bass legend Danny Thompson, and even His Majesty Robert Fripp. Canterbury keyboard king Dave Stewart also performs on one track ("Doxy, Dali and Duchamp"), as well as on most of CD2. Comparisons to other bands or artists are anything to easy to draw - I have read one review comparing some of the songs on "The Bruised Romantic Glee Club" to David Sylvian's output, and I find myself in agreement with such a remark. Though Jakko does not have Sylvian's distinctive voice, I find his vocals are the perfect foil for the album's elegant, somewhat understated musical mood. I could also sometimes hear echoes of Jakko's current band, The Tangent, especially their more Canterbury-inspired tracks.

On the other hand, there is a distinctly jazzy feel running through the album, both in the songs and in the instrumentals. The marvellous "Catley's Ashes", driven by Mark King's pneumatic bass, is richly laced with Mel Collins' masterful saxophone; while the melancholy "The Things We Throw Away" features Jakko's long-time friend and former bandmate Lydon Connah, and the majestic "Srebrenica" is based on the traditional music of Serbia. Infused with sadness and loss, the atmospheric, rarefied "When We Go Home" (dedicated to the artist's adoptive mother, Camille) features Fripp on electric guitar, as well as Camille's own recorded voice.

All the songs are of consistent high quality, with a particular mention for the title-track and the already mentioned "Highgate Hill". Admittedly, they sometimes border on pop, but we are talking about an adult, well-rounded kind of pop, and definitely not about anything overtly easy or commercial. Jakszyk also deserves kudos for his skills as a lyrics writer, something not precisely common in the prog world. While he lays his soul bare, he hardly ever descends into mawkishness, and occasionally injects some humour in the overall wistfulness of his musings.

There is not much that can be said about CD2, if not that it is quite magnificent. The quality of the 'raw material' alone would guarantee excellent results, but what really makes these versions special is the obvious love lavished on them by both Jakko and his distinguished guests. It would be very hard for me to pick out a highlight, though the cover of Henry Cow's "The Citizen King" is nothing short of stunning, capturing the blend of wistful beauty and biting irony of the original to perfection. Jakszyk's Oriental-tinged take on King Crimson's "Pictures of a City", featuring Indian percussionist Pandit Dinesh (another former collaborator of the artist), also wins points for inventiveness; while "Islands", remarkably faithful to the original, fits perfectly within the album's stylishly melancholy atmosphere.

As I have already stated at the beginning of my review, it will be probably next to impossible for people to get hold of this album, at least for the time being. However, should you find it second hand, or in the bargain bins of some music store, do not let it escape your clutches. "The Bruised Romantic Glee Club" can be easily counted as one of the best releases of the first 9 years of the new millennium, a prog album that pays homage to a glorious past, and at the same time feels thoroughly modern. With its intimate, confessional quality, and lush, tasteful music, it should appeal to most prog fans, except those who hate anything resembling melody. Four well-deserved stars, with a 'virtual' half one given out as a bonus.

— First review of this album —

God, this is insane! Well, not really, but it is zany.

No review of this album would be complete without discourse on the lyrical themes of this irreverently titled French album ("God is Insane"). Unfortunately, French is not my lingua franca, and so, perhaps, an analysis of the music shall suffice (well, it won't, but...) However, not being a musicologist, and being rather tone deaf, I shall not be able to offer much in the way of learned observations of the music. Oh, I could bluff my way through it, focusing on tone, rhythm, harmony, and texture to make myself seem semi-intelligent, but instead I shall vaguely focus on my vague impressions, tangential commentary, and share my love of the music. Anyway, if music is the universal language, and French is the language of love, perhaps my love of this French music shall suffice.

This is a very good album to my ear, and this highly collectible and eccentric vinyl obscurity deserves a proper CD release. Since Duffard was able to secure the necessary requirements for such an ambitious and accomplished release with a large and talented group of performers, it is surprising that there is so little information readily available about him. However, he had worked on a project with Pascal Lami before who was quite a popular French pop artist, and so he must have been quite connected within the music industry. Both projects utilized a large array of performers, some of which worked on both.

I might say that this theatrical avant/ folk/ pop/ rock/ jazzy/ operatic/ Zeuhl-related album sounds as if it is Henri Gougaud meets Magma, meets Laurent Thibault, Pierrot Lunaire, and Ripaille. Additionally, I might say that it meets Hellebore, Zao, Ange, Schonberg's Les Miserables, Arthur Brown, Gyorgy Ligeti, Jerry Goldsmith and Claude Francois for a philosophical and ecclesiastical discussion over a cup of tea (champignon infused perhaps) . I could do this, or use a different set of names, but that seems excessively silly and I fear that it would not provide much help besides. Moreover, I would probably miss the best examples! More correctly, and inarguably, it is composer Pascal Duffard meets all those who participated on his project, and with some research on all those names, I could provide a more useful list than the one I presented. Suffice to say, I like to think of this project as an avant French answer to Andrew Lloyd Weber's "Jesus Christ Superstar." Musical theatre of the absurd in another way to describe this dramatic, wacky, and beautiful recording. Whether you think it absurdly good is another matter. Each vocalist plays a role in the pantomime which is unfolding -- from folk/pop to dialogue, to opera to chant, to laughter and ecstasy (each section has a dialogue of sorts with contrasting textures and tone, and the whole album feels cohesive despite jarring interjections/ juxtapositions and diverse musical expression). It seems a terrific concept even if the finer points of the concept elude me.

The album opens with a trippy, spacey piece (a la some music in "2001: A Space Odyssey") with bleeping electronics that would suit some acid-enhancing sci-fiish movie from the late 60's/ early 70's. From there, it moves into dramatic, operatic, weird free jazzy territory interspersed with experimental avant madness and beautiful poignant-sounding chanson and acoustic passages that provide good contrast and a satisfying playfulness. Bombastic, pretty, strange, pretty strange, and I think pretty wonderful. I also discern a delicious sense of irony in the proceedings.

The direction, arrangements, and performers are very good, as is the production. Although I fully want to give it five stars as it's one of my favourite albums, I find the finale a bit of a letdown. I would not expect an epic, majestic finale, but I would have liked it to end on a very dramatic note. Instead, it tails off and fizzles; not necessarily in a bad way, however. It may work well for the concept, but I would have liked something grander (perhaps of the Grand Guignal variety). The way it ends is just a bit too anti-climactic for me. So I give it four stars for the lack of "kaboom." The Earth getting blown up at the end due to a deus ex machina, now THAT'S a finale, but, though a rather Prog concept, may be too Hollywoody (especially if "the guy" and "the girl" were to live happily ever after against all odds). Considering that the vinyl can set one back hundreds of dollars, one may expect plenty of "bang" for the buck! If only there was a sequel....

album.asp?id=26761"> Studio Album, 1971
4.00 | 2 ratings
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album.asp?id=26761 - Jazz Rock/Fusion

Review by Collaborators.asp?id=15205 - Nightfly
Prog Reviewer

album.asp?id=16391"> Studio Album, 2007
4.16 | 6 ratings
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album.asp?id=16391 - Jazz Rock/Fusion

Review by Collaborators.asp?id=15205 - Nightfly
Prog Reviewer

This wild Texan quartet is one of the pleasant surprises of the new millennium and so far from two albums only, they managed to raise a few eyebrows in the prog world. While the artwork of Things To Come is a bit misleading (we are far away from the usual spacey prog, there is a cosmic feel to it), somehow it does it no disservice either. Notice the rotten human skull on the lower left corner.

The classic prog quartet plays an instrumental Zeuhl, that can remind what a few newer Cuneiform label groups are doing: I am thinking of Nebelnest or later Djam Karet or even the later Guapo (but without the post rock), but there is a rough, raw and unrefined feel that makes it veer to some RIO intonations: Present comes to mind here. Four tracks only, but all over the 9-minute-mark, the group develops a wild mix of semi-Zeuhl music (from Magma to Univers Zero are obvious historical influences here) to more conventional groups like Crimson. Yeti never lets up throughout the 46 minutes of this album, even if there is a much quieter passage in Go Like This.

This album gives me a small dilemma: while not essential (far from it), I like it enough to give its fourth star, but cannot bring myself to recommend this album, but to confirmed fans of the genre. Hence I will stick to the 3,5 stars.

Pandora, along with French band Nemo are one of my favourite more recent discoveries. If you enjoy Italian Symphonic Prog on the heavier side then Pandora could be the band for you.

On 7 tracks in just over an hour, Pandora have produced an exciting album that for the most part doesn't sit still for too long, with a myriad of time/tempo changes, including lots of instrumental passages. The vocals are good but it's the instrumental sections where their true strengths lie. Just listen to 11 minute long instrumental Pandora as proof. They blend classic symphonic prog with heavier, sometimes metal elements to produce a lively, dynamic and inventive sound. But the metal side never dominates being used as colour so it's never overpowering. Acoustic guitar is also well used adding to the light and shade element like on Breve Storia di San George which captures the band at their most mellow. The same can be said for Salto nel Buio, for the first 10 minutes or so of this epic, until a blistering instrumental finale takes over.

All band members excel on their instruments with some blistering guitar and drum work which contrasts well against the 2 keyboard players who sound like and play strongly in the seventies tradition.

With the influences that go to make up the Pandora sound you may think they won't be the most original band and this to a large extent is true. However they blend their seventies prog and heavy rock so well which nicely updates the sound to leave us with an excellent symphonic prog album for the times. A very mature first album, I'll really look forward to the next.

After reading how excited fellow reviewer Finnforest was about this band, i thought i better listen to their debut that i just hadn't gotten around to yet.The cover art does depict a future apocolyptic planet earth,and there are serious lyrics about how we as individuals need to stop and think about the future of our planet and our lives.The title of this record does have some meaning in that regard.The music itself absolutely blew my mind!We all have our favourite bands,and it's so cool to find a new band who pushes all the right buttons for us.Well it's like this band knew my every musical desire,and then recorded it.Thankyou CHAOS CODE! The record starts with "The Cave" a song about people who live their lives indoors wathching TV,and not even bothering to answer their phone.And although on the surface the lyrics can be amusing,they are dead serious about this problem.The song starts off mellow enough,with keys,acoustic guitar and drums.Then some aggressive guitar comes in.I love the tone of his guitar.Vocals come in with acoustic guitar and mellotron.Nice.The soundscape is so beautiful after 6 minutes."Heights of Time" is about the dishonour of destroying our past,our history, just for something new and mass produced.The vocals here are unique sounding,almost like the singer for the German band NOEKK,but not quite.The guitar and vocals are very passionate 4 minutes in.Good tune."Antidote to Entropy"is an amazing instrumental.Flute,keys and mellotron are great!The guitar comes in,i love the tone,did i mention that?Some odd metered drumming,and it's awesome!We are treated to some organ,and angular guitar melodies.It then gets very pastoral and beautiful with flute,before some amazing guitar comes in,and the song ends with more angular guitar melodies.Nice."Days of Reflection" has some great lyrics.Gentle flute to open and light drums, and i'm thinking of SINKADUS right about now.Waves of mellotron come in as vocals do too 3 minutes in.This is so uplifting!The melody gets intense with organ and drums before becoming mellow again with acoustic guitar,flute and vocals."A Silent Scream" features dark lyrics,and opens with acoustic guitar,flute and vocals.The guitar to follow almost soars as drums and passionate vocals follow.More great guitar,and check out the melody 6 minutes in!It's Heaven,there are no words."Gravy Fries" is another instrumental.Sax leads the way with odd metered drumming and unique guitar melodies.This is a reserved but killer track."The Devil's Trombone" is the final and longest song on the record.This has a dark Rio feel to it.The mellotron and sinister guitar sounds are incredible!The drumming is fantastic too.Mood and tempo changes are drastic.Angular guitar melodies and some eerie female background vocals along with the FLOYD like lyrics,bring a haunting end to a ride that i'll never forget.A ride called CHAOS CODE.

What a breath of fresh air this album is. Saena are 5 talented musicians from Mexico and this is at present their only album though from the sound they skilfully produce its clear there's no lack of experience here. They produce a refreshing blend of symphonic Prog with classical, folk and jazz touches and a latin flavour, most noticeable with the vocals of Margarita Botello which are often without words, becoming more of an additional instrument. The instrumentation is often acoustic based - acoustic guitars, piano, accordion, drums and violin; the violin in particular being dominant in their sound much of the time. It's not all acoustic though with bass guitar, electric guitar and keyboards adding to the sound.

Musically the album has a similar feel throughout and without going into detail of every track opener Astromelia is as good a representation of Saena's sound as any. Opening with Botello's wordless vocals the band come in, expertly weaving piano, guitar, bass, violin and drums with a light touch weaving all the afore mentioned influences into the sound and at almost 9 minutes giving ample scope for the musicians to stretch out.

The album is enjoyable for its entire 68 minute length but personal favourites are the 12 minute Venenos Y Antidotos with its jazz inflected piano and swooping violin part. Drummer, Adrian Zarate adds a subtle light jazz touch perfectly in keeping with the overall sound. Cosecha has a beautiful haunting melody, heavily piano and violin based alongside Botello's vocals until changing tack as electric guitar comes, which has a bit of a King Crimson feel, alongside organ, violin, bass and drums turning it into one of the albums most dynamic pieces. Final Del Juego offers a bit of diversification from the prevalent feel of the album with an almost dischordant guitar riff at times, piano, violin, bass and drums expertly weaving around it - once again having a bit of a King Crimson feel to it in places.

I thoroughly enjoyed this cd and anyone wanting to experience some symphonic prog with a difference would be advised to check out Saena. I'll certainly have no hesitation in buying their next album, this one being a strong contender to make my top 10 albums of 2008.

album.asp?id=27513"> Studio Album, 2010
4.00 | 5 ratings
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album.asp?id=27513 - Jazz Rock/Fusion

Review by Collaborators.asp?id=285 - Dick Heath
Special Collaborator Jazz-Rock Specialist

album.asp?id=22941"> Studio Album, 2009
3.98 | 18 ratings
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album.asp?id=22941 - Symphonic Prog

Review by Collaborators.asp?id=15205 - Nightfly
Prog Reviewer

album.asp?id=27302"> Studio Album, 2010
4.09 | 14 ratings
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album.asp?id=27302 - Rock Progressivo Italiano

Review by Collaborators.asp?id=15205 - Nightfly
Prog Reviewer

Hauntingly beautiful

Getting myself to give 5 stars is like pulling teeth as I feel such ratings should be excruciatingly rare. Nothing worse than those retailer site user reviews where 80-90% of the reviews for every CD are "5 stars!" And with that said I don't think I've ever had an easier time awarding masterpiece status to an album as with this first Pererin disc. I am proud to back up one of my favorite Reviewers Kenneth Levine in his wonderful review.

"Haul ar yr Eira" is one of those completely enchanting masterpieces that is perfect in every way, that encompasses the things that make an album a lifelong pleasure. First off, remember that this is folk music. It's not acid-folk, it's not Comus, and it doesn't rock. Yes it has some progressive elements but do not expect something like Harmonium because this is much closer to folk than to prog. If you accept that and like folk music you are in for a treat. Pererin (meaning "pilgrim") in this set of traditional music attempts to preserve the Welsh roots and culture while offering some delicate modern touches of electric guitar/folk rock and progressive arrangements. The vocals and instrumental work are simply superb and this first album features the pristine angelic vocals of Nest Llywelyn, who I really missed on the other Pererin recordings. Each track is augmented flawlessly with acoustic and electric guitars, occasional drums and bass, flawless harmonies, keys, flute, and mandolin. The electric lead guitar is very sensitive and atmospheric. The songwriting is also out of this world literally with these melodies that are instantly emotionally moving and perfectly crafted. I was in love with this music on the first play. I also admire their intention of preserving the past in a world where increasingly distinct cultures, language, and the "old ways" are in danger of disappearing into time. That's really what is important about this recording, the fact that you have in your hand something authentic to another time and place, a document as much about preservation as art. From the Welsh vocals to the traditional arrangements, from the perfectly telling cover art to the obvious care of the musicians, "Haul ar yr Eira" is a masterpiece.

It may sound corny to say this, but this album like few others gives me a deep sense of spiritual peace. It is literally healing to a worried mind or a wounded soul. I would suggest sampling the Pererin catalog sooner than later if interested, as these titles will at some point be very challenging to find, if not already the case. Purely magic, wholesome, fulfilling, and culturally historic.

What an unexpected pleasure it was to hear that Francis Lickerish had a new project on the go and was to release a new album as Secret Green. Lickerish will be well known to fans of The Enid having been one of the founding members back in the seventies and into the eighties. He's gathered together an excellent band featuring the ethereal vocal talents of Hilary Palmer who had briefly played with Lickerish back in the eighties in Rutterkin. Helping out Lickerish in the guitar department is Jon Beedle and on drums is matt Hodge. William Gilmour plays keyboards and Lickerish also plays some keyboards, lute and bass.

Not surprisingly Lickerish has brought his Enid influences into the music which is a refreshing blend of classical, symphonic prog and medieval folk. The music is brilliantly executed, the band creating an album of immense beauty. The sound is incredibly dynamic from powerful symphonic bombast to as quiet as you can imagine. This is no better demonstrated than on opener Prelude with its orchestral and extremely long fade in coming from total silence to a climatic crescendo topped by Lickerish's distinctive guitar sound. It's straight into the powerful opening of Ecchoing Green, a track of enormous breadth and containing all the grandeur of The Enids music with the added bonus of Hilary Palmers beautiful voice.

It's an album full of highlights over its 74 minutes though the first 3 tracks set a high standard that is never beaten but sometimes equalled. Palmers St Mary's Cathedral, Glasgow chorister experience is put to good use, multi-tracking her voice to great effect on the excellent On Merlin's Ground, another track of extreme dynamics. Tom O'Bedlam by contrast is a relatively simpler piece with more of a folk influence than the more classically inspired tracks preceding it, though not abandoning the set tone altogether.

Without going into every track individually and repeating myself, you probably get the idea by now of the breadth and scope of this excellent album where the folk elements sit comfortably alongside the largely orchestrated music. If you have ever enjoyed the work of The Enid then To Wake The King is an album you'll almost certainly want to own. It's an album of immense originality with few if any parallels in music today apart from the inevitable Enid comparisons of course. An album destined to be one of the highlights of 2009.