NEO-PROG

— First review of this album —

Here we have the latest project from French writer poet, vocalist and lyricist Thierry Sportouche (Anoxie, Silver Lining, Silver Hunter), who is best known in the prog scene for running the indispensable Acid Dragon progzine. Here he has joined forces with Florida-based keyboardist/composer Stephen Gilbert-Rivera (Azureth, Cosmic Singularity), while Norwegian based Kenneth Aspesl'en (Blue Lynx, Wasted) guests on two tracks. With Thierry providing vocals and flute, Stephen keyboards, and Kenneth vocals (on one track), bass, guitars, drums on the two tracks he is involved with, here we have a prog project which is looking backwards to the Seventies, bringing in some classic ELP sounds and styles.

Opening number 'On The Prowl' is one of the weakest, with the vocals and keyboards not really gelling, but in many ways it is false representation of what the rest of the album is like as from here on in there are some very positive elements indeed. To my ears it is a shame that Aspesl'en is not more involved as 'Reason of Truth' is where the guys really come alive, with the additional instrumentation providing a much broader and heavier approach. Here we have a band really firing on all cylinders, powering through the longest song on the album, the keyboards rising, guitar crunching, drums providing the backbone and vocals perfectly in sync. Contrast that to the far more thoughtful and restrained 'Intermission', where Thierry talks us through man's stupidity, then allows Stephen to provide some lovely, layered, keyboards which are both delicate and passionate, with the sung section perfectly capturing the moment.

They even manage to bring us a prog track which is only just slightly longer than 2:30, which is highly unusual, yet works well. This is an interesting project, and I certainly hope it does not take as long for the next one to come out (this took more than three years), and for that one they need to get Aspesl'en onboard as a full member as that is the direction they should be moving in as it is just so powerful.

— First review of this album —

Norfolk-based prog band Mother Black Cap were formed back in 2004 by long-time friends, guitarist Martin Nico and keyboard player Bob Connell. Over the years there have been a few line-up changes, plus they broke up for a while, but are now back with their latest album which also features Andy 'Fizz' Bye (lead vocals, bass) and drummer Dave Dietrich (who has since been replaced by Martyn 'Mac' McCarthy. What make this such an intriguing album in that the guys are following one of the most criticised subgenres within the prog scene, Neo, and not only that but they are actually reaching more into the Eighties than the prog boom of the Nineties.

I never understood why so many people had something against the genre, as in many ways I felt it made perfect sense as we moved away from the overblown nature of the Seventies and combined that with the independent ethic which came out of punk and then the indie and metal scenes. Sure, there was much more rock guitar and a different emphasis than what had come previously, but to me this is music actually progressing and changing its form. Now here we are with an album from 2023 which actually could have come out 40 years earlier. More Tamarisk than Marillion, more Haze than Twelfth Night, with a singer who is more rough and ready than many, this takes us back to a time when the prog scene was alive and well in pubs, even though only a select few knew about it and even less were writing about it. Not for these guys the anthems and swathes of keyboards of many, as instead of polish we have guys playing from the heart and doing exactly what they want. At one time this would have only been available on a grubby much-copied tape, but thanks to modern technology this can be grabbed in full digital splendour from their Bandcamp site, and if you look back at the old days with pleasure (I was playing a Tamarisk live recording just the other day) then this is for you.

MINDGAMES - MMX (5/5)

While perhaps not quite as compelling as their previous work "Actors In A Play", the album maintains the signature Mindgames atmosphere with its well-crafted compositions and overall positive vibe.

What truly sets MMX apart is the band's unwaveringly positive attitude throughout each track. The musicianship is top-notch, with each piece brimming with catchy interplay and solid execution. There isn't a dull moment to be found here, every track is a winner, especially "The Pendulum".

While "MMX" may not reinvent the wheel, it doesn't need to. It's a testament to the band's consistency and craftsmanship that they can deliver such a consistently enjoyable listening experience. From start to finish, "MMX" is a testament to Mindgames' evolution as musicians and songwriters while staying true to the essence of what makes them great. Mindgames has once again delivered a valuable addition to the genre, earning an easy five-star recommendation as a neo-prog.

This release underscores Mindgames' status as a truly great band deserving of wider recognition within the prog community. While some may debate whether MMX surpasses the brilliance of Actors in a Play, there's no denying that it stands as a beautifully composed album and a strong contender for the best of 2010.

If you're looking for some good old classic progressive rock you can't miss this Leviathan album. Born in the mid-80s in Rome, they were among the first bands in Italy to join the new wave of Prog Rock. Originally recorded in 1988, Heartquake is the reissue of the band's debut album of the same name. Of the original lineup, only the vocalist, Alex Brunori and percussionist Andrea Monetta remained, to whom were added Andrea Amici (keyboards, in the band since 1990), the guitarist Fabio Serra and the Sienese bassist Andrea Castelli fresh from the experience with Il Rovescio della Medaglia, one of the most iconic bands of the prog rock scene made in Italy. The result is an album with a classic sound but extremely original. From the first song we understand the solidity of the band which manages to perfectly calibrate virtuosity and groove. The references to Genesis' style are evident without losing originality and freshness. The second piece is extremely interesting and brings to mind bands like Cressida or Camel. The title track is also excellent in which the band's chemistry is evident. An excellent album, well recorded and worthy of five stars. My hope is to be able to hear a new work from the Italian band soon. FabArt

Review Nº 766

'Live From Loreley' is a DVD of Marillion that was released in 2004. It was taken from a recorded live show performed at the Freilichtbuhne Loreley, St. Goarshausen, Germany on 18 July 1987. The recording session was made during the first part of the 1987 'Clutching At Straws' live tour, showing the band at the peak of their best commercial success.

The line up on 'Live From Loreley' was the usual at the time: Fish (vocals), Steve Rothery (guitars), Mark Kelly (keyboards), Pete Trewavas (bass) and Ian Mosley (drums). It had also the participation of Cori Josias (backing vocals).

'Live From Loreley' is a live show that comprises songs from their four studio albums recorded by them up to that point, 'Script For A Jester's Tear' from 1983, 'Fugazi' from 1984, 'Misplaced Childhood' from 1985 and 'Clutching At Straws' from 1987. It includes also non-album's songs, which were released on their debut EP 'Market Square Heroes'.

The cover of the album uses the original 1987 concert poster designed by Mark Wilkinson, a British graphic designer which is best known by his cover art created for a number of British bands, like Marillion and Fish. It shows the central character from the cover of their single 'Incommunicado', taken from their fourth studio album 'Clutching At Straws'.

From the 'Live From Loreley' live tour were released four live documents. It was released a 1987 VHS tape version with thirteen tracks, a 1995 CD + Video Double Pack with twelve tracks on the CD version and thirteen on the VHS Video version, because 'Incubus' wasn't included on the audio CD version, a 2004 DVD version with fourteen tracks, and a 2009 double audio CD version with eighteen tracks, much more complete because it includes four new tracks that had been omitted from the previous versions, 'White Russian', 'Fugazi', 'Garden Party' and 'Market Square Heroes'.

So, 'Live From Loreley' is a DVD with fourteen tracks. About the tracks chosen to be performed in the live set we can say that 'Slainte Mhath' was released on 'Clutching At Straws', 'Assassing' was released on 'Fugazi', 'Script For A Jester's Tear' was released on 'Script For A Jester's Tear', 'Incubus' was released on 'Fugazi', 'Sugar Mice' was released on 'Clutching At Straws', 'Hotel Hobbies' was released on 'Clutching At Straws', 'Warm Wet Circles' was released on 'Clutching At Straws', 'That Time Of The Night (The Short Straw)' was released on 'Clutching At Straws', Kayleigh' was released on 'Misplaced Childhood', 'Lavender' was released on 'Misplaced Childhood', 'Bitter Suite' was released on 'Misplaced Childhood', 'Heart Of Lothian' was released on 'Misplaced Childhood', 'The Last Straw' was released on 'Clutching At Straws' and 'Incommunicado' was released on 'Clutching At Straws'.

The set list is very interesting, as it differs significantly from 'The Thieving Magpie (La Gazza Ladra)'. The focus here is more on 'Clutching At Straws' than on 'Misplaced Childhood'. So, there's relatively little overlap in the song selection between both live albums. Fish interprets the pieces with a lot of expression and power and I don't think that he falls off in any way compared to the interpretations on the other recordings that I know. Fish is also dressed appropriately in a brightly coloured Jester costume and heaves his massive figure across the stage. Also, the background singer doesn't bother me at all. She's used subtly and supports the pieces well dosed. The stage is wide and illuminated with many colours. The enthusiastic crowd, at that time were about 18,000 spectators, was offered something not only musically, but also visually. The picture on the DVD looks a bit fuzzy and glaring in certain colour tones, particularly with a lot of red, but is otherwise okay. However, it doesn't meet today's standards. But that hardly matters, because the music is able to grab. The sound on the DVD is okay. It's not a real 5.1 sound, but a subsequently highly mixed surround sound, but it makes a good impression. Additionally, the DVD offers as an extra, a Photo Gallery from the band at the time.

Conclusion: To see again 'Live From Loreley' after so many years is a very nostalgic experience for me. It represents unfortunately the last live tour of the band with Fish. As I wrote in other occasions, I like of both Marillion's lines up with Fish or Hogarth. However, with Fish on board Marillion is a completely different kind of band. And when I see this DVD is totally clear for me, this is the Marillion that I love most. On 'Live From Loreley' we can see a band doing a great live performance, where all musicians are great and know what they are doing on stage. However, what impressed me most was the stage performance of Fish. It shows an artist with an absolute control of the stage and the audience. In Loreley, he fully demonstrates that beyond his great vocal capacity he also owns a great and impressive personality on stage. In relation to the video and the sound of the DVD, I must say that they're excellent, in the same quality line of the concert.

Prog is my Ferrari. Jem Godfrey (Frost*)

Canadian band Mystery released their eighth studio album 'Redemption' in 2023, adding up another valuable piece of music to their incredibly consistent discography. A band that is currently quite recognizable within the progressive rock community, Mystery have actually been around since the second half of the 80s, however, releasing their first studio album in 1996. For a history that has lasted for more than thirty years, naturally there have been numerous lineup changes, with guitarist and founding member Michel St-Père being the sole constant one for all these years. And in 2023, with a solid lineup that has been around for the last decade, Mystery present a fantastic follow-up to their 2018 album 'Lies and Butterflies', a record that still resonates strongly with many people who are familiar with it, which is what will probably happen with 'Redemption', too.

While their style may broadly be described as neo-prog, they do take in some influences from symphonic rock and hard rock, but the thing with Mystery is that one always knows what to expect, to a certain extent, and they have become incredibly consistent and excellent at delivering precisely this brand of very emotive and melodic neo-prog, full of cinematic guitar playing, thoughtful lyrics, and warm, lush and beautifully produced soundscapes, necessarily being able to deliver both the memorable hooks and the long, intricate epic pieces, always bringing in some great vocalists, including Jean Pageau, the one singing on 'Redemption'. As for the songs and the album, this record has been recorded over the course of five years, carefully crafted by honing some old recordings of songs left unfinished, or by introducing entirely new material of gorgeous and intelligent modern prog rock - all of the band's qualities are gorgeously displayed on songs like track one, 'Behind the Mirror', which is a melodramatic and dynamic piece, with smart bass playing and lovely sweeping guitars. The shadowy undertones added by the keyboards surely enhance the atmosphere not only on this song, but on the entire album all throughout.

Then comes the emotive splendor of the title track, a more haunting piece featuring a great vocal performance by Pageau. 'The Beauty and the Least' is a mini-epic clocking in at around nine minutes, with Mystery slowly building up a tense fabric of soundscapes, climaxing in a dramatic instrumental section unfolding in the second half of the song. 'Every Note' is a lovely ballad-type entry from Mystery, something familiar for them, as they manage to write memorable shorter pieces, in which they never compromise the usual richness of the music that is associated with them. 'Pearls and Fire' is a 12-minute composition going through multiple movements, simply a neo-prog delicatessen. 'My inspiration' is a hopeful and more playful piece that occasionally could remind someone of IQ, or another great band from the higher ranks of neo-prog. 'Homecoming' displays a welcoming, warm playing, topped by the excellent vocals and the great hooks. The 20-minute-long closing piece 'Is This How the Story Ends?' is a stylish outro for a fabulous album in which a very experienced band decidedly displays their craft of composing textured and memorable progressive rock defined by strong melodies and playful sonic intricacy.

One of the many neo-prog bands that sprang up in Poland in the 1990s, QUIDAM which started out as a simple blues rock band named Deep River when founded in 1991 in the city of Inowrocław and then transmogrified into a bonafide musical force by the time this self-titled debut was released in 1996. The core members of Maciej Meller (guitar), Radek Scholl (bass) and Rafał Jermakow (drums) got the whole show on the road but soon after would be joined by keyboardist Zbyszek Florek which would slowly but surely move QUIDAM closer into the world of IQ, Marillion and Arena rather than the more accessible rock sounds that dominated the 1970s.

It was the arrival of lead singer Emilia Derkowska in 1995 that really turned the band in a more melodic direction and with the addition of flautist Ewa Smarzyńska the stage was set for serious symphonic prog workouts. The band was a hot ticket on the live scene and won many awards at festivals in Poland which led to this eponymously titled debut which features nine tracks at a lengthy playing time of 65 minutes. The grand finale "Płonę" serves as the behemoth prog icing on the cake. Immediately after the release of the first QUIDAM album the band launched a successful tour which was especially popular in the Netherlands and earned the band more accolades in the world of neo-prog.

Reviews were also quite favorable for the band's mastery of complex symphonic elements that shrouded the beautiful female led vocal melodies and intricate changes in moods, dynamics and even tempos which led to very original sound that was clearly within the world of neo-prog but crafted a distinct Polish flavor. While most European neo-prog bands delivered their lyrics in English, QUIDAM defiantly crafted their songs in their native Polish which offered a unique stylistic approach given that linguistic rhythms shape musical accompaniments. The influences of both Pink Floyd and Camel are ubiquitous and are actually more in the forefront than other neo-prog bands as the guitar parts deliver a space rock approach and the synthesized atmospheres lead to the Camel playbook.

Despite the obvious influences though, QUIDAM's members were excellent songwriters and catchy pop hooks embedded in epic prog sophistication accompanied by Emilia Derkowska's enchanting vocals in the Polish language proved to be the winning formula. The opening track "Sanktuarium" with its heavy guitar riffs has proven to be the band's most recognized and beloved tracks of its entire career with its instantly addictive hooks and the sensual flute parts that grace the mid-section. The album remains strong for the first half of the album but then with the beginning of "Nocme Widziadla" the album falters with moments of cheesiness and on "Niespełnienie" in particular the Floydian influences are a bit too much.

The following "Wakocze" also sounds like a throwaway ballad however the combo effect of the all instrumental short track "Bijące Serca" and the closing prog behemoth "Płonę" recapture the momentum of save the entire second half from complete ruin. This was definitely a great beginning for one of Poland's most revered neo-prog bands but in the 90s artists were obsessed with filling every minute of available CD time which often led to a less than perfect album. QUIDAM's debut is the perfect example and could've used some serious editing in the middle section however even the lesser tracks are ok. It's just an uneven album in terms of quality. The early phenomenal tracks overshadow the tracks in between. A very promising debut that would lead to a few more albums before the band broke up in 2002 before reforming in 2004.

— First review of this album —

I am totally proud of being a huge fan of this Hungarian band since their East of Eden debut in 2009 , not because we share the same language and culture but mainly because they have progressed over the years, not only constantly fine tuning their craft but also for taking the relatively rare decision to remake better versions of that initial East of Eden album by rerecording it 10 years later and then, doing exactly the same thing, in the same timeline with Midnight Ball (2011-2021). They listened to my advice, I guess! Perhaps, their 2016 album Man Maschine will get a refurbishing job, especially on the bass guitar parts. Only Android and time will tell.

This 2024 effort is an all-instrumental release, and I can hereby announce in the clearest terms, that it's their finest effort yet, as they have reached the promised land that was so obvious all along. Android are sitting definitely on the prog podium, with a tight unit composed of the highly talented keyboardist Jozsef Tozser, lead guitarist maestro Janos Dudas, bassist Zoltan Nikolin and drummer Orban Mezo. A quick word on the latter two, who along with the vastly improved production, have now the chance to shine as brightly as possible, elevating their presence and talent to impeccable levels. Eschewing a vocalist, the spotlight rests firmly on the soloists as well as the foundational rhythmic section to excel and boldly go beyond the pale. Jozsef in particular has courageously stepped up his game, as his piano and synthesizer work has matured with unbelievable confidence and this mostly due to the melodic content of the compositions. Dudas has always been a phenomenon, so he just keeps on dishing out tasty licks and clever leads, without sounding like someone else, as he does possess a personal style of his own. A dozen tracks, including a final 4 track suite that seals the deal, offering an enchanting blend of classical prog symphonics with a modern sheen (they are called Android after all).

A series of five tracks set the tone for the proceedings, a never-ending climb into a wordless instrumental script, giving Jozsef a lot of sonic space to dazzle the ivory board. His delicately docile intro on "PreGenesis" conjures up various images of child-like fantasy, a heady first impression before the strident guitar elevates the mood on "Genesis", bringing along the spinning bass groove and the snappy drums into the fray, as the baby learns to utter its fist words. The third level ratches up the storm on "Chaos and Order", a highly structured guitar rampage among the synthesized symphonics, initiating a glorious theme drenched in classicism, while the steadfast bass keeps the foundation equally melodic. Next flight up, "A Kind of Joy" coalesces all the preceding compositions into one intense paroxysm where both soloists challenge each other in creating a stunning dialogue that is full of exuberance and bravado. The fifth and final floor is the penthouse epic, nearly 8 minutes long, where the "War and Peace" theme offers the musical equivalents of the two contrary states of conflict. The stage is illuminated for the fierce clash between the malicious guitar and the slippery synthesisers, the devilish bass pushing the cunning drums into even more manic levels of syncopation. Off the charts entertaining, mostly on the heavier side, but a silky piano and a serene electric guitar section show off the passive side just enough to keep the listener in perpetual attention, as that amazing main melody returns, rightfully magnificent and stately. The finale on the screeching axe is quite the ride. An excellently constructed 5-part suite that pleases both the ears and the mind.

Shift into new sonic territory on "Feels Like Feels", where the acoustic and electric guitar compete for predominance, Dudas being quite the distinctive player. Tozser takes his turn on the synthesizer, carving a sweet roller coaster solo. The two combine to create this moody, cocky, defiant but ultimately charming piece, with some jazzy tendencies, only congas and mild percussives to add the rhythmic spice. A timely intermezzo in the form of a classic, highly recognizable acoustic guitar piece by Sainz-Villegas, "Spanish Romance" sounds innocuously simple but is actually quite the tour de force to play. It is also quite beautiful in its crushing emotionalism. The variation is in a rockier style with a punitive delivery that raises the roof on passion and then suddenly veers into a spectral veneer of e-piano that basks in introspection before another Dudas foray that agonizes once again. The romantic ride ends in exhaustion. A terrific 7-minute progressive masterpiece. This came as a wholly unexpected revelation, as "Incomplete Farewell" has a strong bluesy feel and somehow rings a bell. Dudas expertly caresses his guitar, extirpating excruciating notes full of pain and distress, once again dueting with Tozser's synth, as they go back and forth in complete musical copulation. Nikolin grumbles underneath like a spurned lover, while Orban grins accordingly. The 3 part "Metamorphosis" is another intelligently crafted 12-minute suite, a sultry violin making a slithering entrance sounding very Hungarian before part 2 thunders into the limelight like Deep Purple on a mission. The heavy metal pounding drums propel the guided missile bass and the thick fretboard slashes. Growling organ and a whistling synth serve up some respite before the evocative piano and the Blackmore-inspired lead guitar rams the arrangement like a swarthy bull looking for some fighter in search of a proper goring. Ole! The band has fully mastered the sonic power spectrum, comfortable in rampage as in clemency. Part 3 brings back the violin for a wholesome classical inspired finale. Brilliant!

The 12-minute finale is a condensed scorcher with big power chords, twinkling piano, serpentine synthesizer lines, rambunctious bass colorations, and perfectly encompasses the sheer quality and enjoyment of the performed material, nothing sounds wasted or redundant, but rather exciting and ardent, with at times, a fiery intensity. Skillfully interspersed are snippets or orchestrations that would make Liszt proud. It is obvious that a lot of work went into creating this opus and profound kudos must be offered to the boys! This band has progressed naturally over the years to become a real powerhouse in Progressive Rock. Along with Djabe, Ghost Toast and Deposed King, the Hungarian prog scene is thriving again, just ask Steve Hackett. Highly recommended instrumental offering. 5 Home-made palinkas

In the midst of the complex context faced by the bands that were the standard bearers in the revitalisation of the progressive movement, not only to resist the onslaught of the new musical currents of the decade, but also to deal with the scepticism that lurked in the specialised critics regarding the originality and value of their initiatives, IQ released their second album, "The Wake", in 1985. A conceptual work related to the sensitive and mysterious transition from earthly life to the unknown afterlife as a plot (a theme that with the corresponding hostile, bloody and thunderous nuances is also dealt with by Opeth in their "My Arms, Your Hearse" from 1998) to develop a proposal that goes through moments of darkness, despair and luminous hope.

Already from the energised and initial "Outer Limits" with Tim Esau's low and disturbing bass hits simulating the beating of a heart about to be extinguished accompanied by Martin Orford's eighties synth artillery and Paul Cook's raw drums, and the melodic verses of the eloquent Peter Nicholls reinforced by Mike Holmes' brief but determined guitar solo in the aggressive "The Wake", the influences of the Genesian universe sifted by IQ's particular style overfly the album; both in the changing "The Magic Roundabout" and Orford's anguished and anxious keyboards backed by Esau's marked bass in its prolonged and forceful introduction, and in the world music essay of "Corners" with the interesting sitar as protagonist, a piece in the style of the Peter Gabriel of those years.

And without leaving aside their progressive streak as a guide, IQ was not aseptic to the musical trend of that time, new wave elements (of bands like Cure or A Flock of Seagulls for example) are perceived in the guitar riffs of the extensive "Widow's Peak" and above all in those of the accelerated "The Thousand Days", before bringing the album to a close with the emotive optimism of "Headlong", one of the pieces that began to cement the style that would help define the Englishmen over the years.

Although "The Wake" is a good album, as well as a key piece for the consolidation of the band and the Neo Progressive movement, in my opinion it is a step below the freshness and daring that their debut album "Tales from the Lush Attic" brought with it.

3/3.5 stars

This fantastic young German group continues to impress. On their second album, it's immediately evident that the band is willing to push their boundaries further. Their flirtation with Canterbury becomes more pronounced, and their delightful singer exudes a newfound boldness. Right from the start, the saxophone emerges, leading us into a melodic journey reminiscent of the pride Caravan would feel if they had produced it. While the group's style is labeled as neoprog, don't expect just another Marillion clone; instead, you're greeted with a remarkably mature band that effortlessly navigates styles evoking Camel, Caravan, Beardfish, Pink floyd, Big big train, Phideaux, Khan and King crimson. Attempting to describe this eclectic mix is a challenge in itself. The songs seamlessly blend together, creating a captivating flow throughout the album, prompting you to check your CD player to track your progress. Their ability to transition from tranquil subtlety to intricate complexity is admirable, never compromising the underlying melodies. The enchanting vocals complement the music flawlessly, never overshadowing the instrumental prowess. There's ample room for musical exploration, allowing each track to evolve organically. This marks yet another triumph for the burgeoning German band, deserving of wider recognition. Bring on more!

I can't give them anything less than a five-star rating. It's impossible to rate them lower when I've been listening to the album non-stop since I discovered it, and every time I do, I sit back and thoroughly enjoy it.