NEO-PROG

Galahad have been around for some decades as of now and have in recent years become one of the English modern progressive rock bands that are consistently putting out great material - from the highly-acclaimed 'Empires Never Last' to the more accessible 'Battle Scars' and the frequent releases during the current decade, this band has been navigated by vocalist and founding member Stu Nicholson and longtime drummer Spencer Luckman, with keyboard player Dean Baker also featuring on all of their albums since the mid-90s. 2018's 'Seas of Change' happens to be the tenth proper studio album by this group and in the very spirit of the progressive rock genre, it features one massive 42-minute twelve-part composition, a guitar and keyboard-driven mammoth of a song that encapsulates in itself the sound of modern progressive rock, while it also dares to examine a few tones that are more pertinent to the neo-prog movement, which Galahad had been a part of since their early days.

Now, this piece really works like a "movie for the ears" as it is split in twelve interrelated segments that discuss the state of English politics and dissect the difficulties of the grim [ongoing] situation of the country. Stu Nicholson is, of course, considerate and reflective, and he never goes into the preachy direction - he is merely externalizing the frustration and concerns of many. And the epic music that supports his concept is a perfect representation of that modern progressive rock sound that comes to define many of the bands that consistently put out strong albums. It can be very melodic, atmospheric and introspective, which is counterbalanced by the stabbing keys and the heavy guitars, which are prominent in the output of a lot of 21st century neo-prog acts. The main riff on 'Seas of Change' is infectious and is often used as a transition between two different sections of the song, and while the band carefully and effectively build up the piece, enframing it with that majestic refrain heard in the beginning, followed by some expansive prog sections and more acoustic ones, the entire epic is an all-encompassing piece that offers a little bit of everything; furthermore, it is one of the best-produced and most eclectic works of Galahad, which is certainly commendable. The CD edition features two extended edits of the 'Dust' and 'Smoke' sections off the main piece, which are a nice addition and offer an expansion of two of the main album themes. 'Seas of Change' is a great work overall, one that really approaches and rivals the scope of the excellent 'Empires Never Last'.

In 1990 Geoff had the idea of releasing 'I May Sing Grace' and 'Psalm Enchanted Evening', his second and third solo albums after leaving Twelfth Night (originally only on vinyl), as one CD. He felt that 'In One Era' would be the right title, explaining it as follows "In One Era, a pun of course. I do not know if you use the phrase 'In one ear and out of the other', it refers to a statement that no-one listens to!". This did not happen in Geoff's lifetime, but in 1994 Malcolm Parker worked with Andy Labrow to produce a set as close to Geoff's original concept as possible. Two tracks had to be dropped to make them fit onto a single CD, and the two albums were made available as 'In One Era', but it has long been unavailable, and it is only through the reissue series from Brian Devoil that this is now again seeing the light of day.

The cover has been changed, although it is still very much in the same vein as the original, the two missing tracks brought back in the correct places, plus this includes three tracks from Geoff's first post-TN band 'The Earthlings', which have never previously been released, as well as some live recordings and demos.

Geoff had a unique vocal style, and will always be one of my favourite singers, artists and poets and managed to pull together a lot of different styles in a way totally his own. Certainly, he was the most off the wall Christian artist to promote his faith through music. He was still developing his solo styles at this time, and elements can be seen that came through in his later works. Far more immediate than albums such as 'Second Chants', there is no doubting the Mann's talent. Geoff recorded albums incredibly quickly, with the two on here taking less than two weeks in total! There was never a sense of rush, but rather that he knew his own mind very much and what he wanted to achieve. It is also great to hear the additional tracks, as any lovers of the Mann can never get enough and to be presented with "new" material more than 30 years since his life was cut tragically short by cancer is immense.

I really enjoyed hearing the demo to "Piccadilly Square" for the first time, one of my all-time favourite tracks, whilst the version recorded with The Earthlings is very different indeed. There are three versions of "Flowers", with cuts by both The Bond and Godstars, and the result is the most complete version of these two albums ever released. Absolutely indispensable for fans of Twelfth Night and Edmund Geoffrey Mann.

The Outsider, Numen's fourth studio album, is a bold and ambitious work that marks a significant evolution in the band's musical journey. Departing from the more melodic and neo-prog character of Cyclothymia, this two-disc rock opera embraces a richer, more experimental sound, reminiscent of their debut Samsara. Spanning nearly two hours, the album follows Paul, a man adrift in a superficial, materialistic world, whose unresolved conflicts push him toward a tragic point of no return.

Musically, The Outsider is a triumph of variety and sophistication. While rooted in classic progressive rock, the album expands its palette with flutes, oboes, trombones, strings, and layered orchestration, creating a lush and dynamic sonic landscape. The arrangements shift constantly between light and shadow, grandeur and intimacy, offering an emotional and thought-provoking experience that rewards repeated listening.

The addition of Alba Hernández as lead vocalist is a revelation. Her voice brings warmth, nuance, and emotional depth, marking a clear and refreshing contrast with former singer César Alcaraz. Alba doesn't just sing?she inhabits the character and becomes a vital force in the narrative.

Equally exciting are the guest appearances by Nacho Mañó (Presuntos Implicados), who adds elegance and musical sensitivity, and Steve Rothery (Marillion), whose iconic guitar work lends epic weight and poignancy to key moments. Their contributions feel organic, never gratuitous, enhancing the album's emotional arc.

With its compelling story, cinematic scope, and masterful performances, The Outsider is not only one of the essential prog releases of 2025, but arguably Numen's most accomplished and resonant work to date.

1. Unholy Waters keyboard intro by Albion It's clear that a Yamaha CS-80 with Tony's GENESIS sauce allows itself to magnify the break after the classic neo-prog air of the beginning, fruity dynamic changes then incursions on ARENA and YES of yesteryear with the underwater break starting on the typical bass and the enchanting keyboards; the sound returns to the imprint of IQ with the bucolic air Charisma Label; final piano arpeggio bringing the Hackettian guitar solo making you close your eyes to appreciate even more this neo-classical finale with sampled but fresh trumpets; wow, it starts strong. 2. Crossing Pangea with a remarkable synth intro, solemn and colorful, latent too, just enough to keep your ears pricked; then instrumental sections with a cascading guitar solo straightened by the warm, Olympian keyboards; yes 4'30 of pure happiness that starts again; Midway through, a break with fat keyboards spurting their notes everywhere, the bass more Yessian, a heavy side even... and then the latent drift and then now ANGE in the distance with a solo of astonishing sensitivity evoking Hassan's! In short, a huge instrumental there with this fade-out to YES blues. 3. The Following for the consensual nursery rhyme built around the vocal and lacking the madness present in the previous tracks; the piano also sets the rhythm before having the instrumental flight which confirms that these musicians are real musical rascals; in short, ideal as a long interlude.

4. Once There Was ends the album with a 31-minute suite! 11 parts, sections evoking the atmosphere of Albion, Charisma label, on many identifiable bands of the 70s, YES, GENTLE GIANT, ELP, KANSAS and GENESIS for this magical Mellotron; Brief, melting and magnificent intro, nostalgic, making the hairs vibrate; despite this, the atmosphere sounds modern with a rather nervous recorded sound, with solemn electronic escapades flirting with the 80s like on 'Dimension of Darkness', 'Gathering of Shadows' for the spleen break à la MARILLION, overwhelming, 'The Agitation' for the heavy interlude, smashing à la SHADOW GALLERY and FOCUS for the organ, 'Videosyncrasy' for the vocal reminding me of Martin BARRE's singer, in fact it doesn't stop... but it gets a little scattered; this verbal mixing is still a must and also brings me back to the fabulous 'Génération13' by SAGA; 'The Carnival of Doom' as an interlude for the barrel organ and the fusion musical maelstrom; 'Falling in Line' changes line with a BOSTON-style track, yes from afar, but!! the very neo 80s synth like MARILLION you know, then ELYSIAN and HOLDING it's finally good, good return to the verse and my ears send me back to YES and STYX mixed together, astounding! 'What Once Was' now with an interface, an interlude from another planet distilling a dreamlike flamenco that Steve would have made as a double for QUEEN, the dark and dull electro keyboard at the same time, hold on Aragon while a sampled flute soothes the ear in hyperactive saturation; 'Rest Assured' in solemn mode on the poignant vocal; 'Now the Sun' feels like a planned finale. A good 31 minutes don't go unnoticed either. The catchy vocals precede the spatial, soaring, monolithic, and melancholic outro, followed by a return to the dark, muffled, and bombastic keyboard that closes the album with a vanishing piano fade-out; phew, I'm playing it again!!!

A musical journey with varied tempos and time signatures, interludes galore, melodies galore, and slightly wild heavy arrangements, the musicians wanting, I think, to show off their dexterity... In short, a very good album.

Great Wide Nothing - A Shout Into The Void Country: US Year: 2025 Time: 45:45 ****1/2

1. Utopia (5:38) 2. Rules of Engagement (5:39) 3. Chain of Command (4:13) 4. Brain of Fire (5:38) 5. One Thousand Eyes (7:13) 6. Parting of Ways (6:36) 7. You're Not In (4:39) 8. A Shout Into The Void (6:06)

What does "prog punk" sound like? If you ask me, I'd say look no farther than "A Shout Into The Void" or any of Great Wide Nothing's albums.

Great Wide Nothing has been on an upwards trajectory ever since their debut album " The View From Olympus." Mixing the instrumental passages and keyboard focus of prog rock with the DIY aesthetic and straight-to-the-point nature of punk. 2023's "Hymns For Hungry Spirits Vol. II," was an outstanding album so naturally, I was hyped to hear where they would go next.

This Atlanta-based trio of Daniel Graham (bass, vocals), Dylan Porper (keyboards, vocals) and Jeff Matthews (drums, vocals), have given us an album that is packed with energy, emotion and diversity a plenty.

"Utopia"starts off the album and features aggressive vocals, pounding drums, rambunctious synthesizers, and a beautiful piano interlude! May take the listener a few listens to truly appreciate this great song.

Follow up "Rules Of Engagement" features a wonderful chorus, and has single written all over it. Another great song.

Following "Rules Of Engagement" we have "Brain Of Fire" which has an anthemic melody that sticks in your mind for a long time. Third great song in a row.

Next We have "One Thousand Eyes" the longest track of the album. "One Thousand Eyes" is aggressive, very dynamic and shows the musical skills of Great Wide Nothing and should be played at maximum volume.

The energy continuous on "Parting Of Way" which drifts into prog self indulgence, which may be a good or a hindrance depending on your musical tastes. Might make for a future concert favourite?

The next song "Your Not In It" may be the weakest song musically on the album, but lyrically it's the most fierce. "Either everyone is in denial or everybody is [%*!#]ing high."

The closing title track starts as a piano ballad. As its pace increases it continues in a calming reassuringly way, telling us that we all testify that we tried to make this world a better place which is, for me, all to the good. Great Wide Nothing has given us another unique album that stands among the year's best.

Recommended Tracks: Rules of Engagement, Brain of Fire & A Shout Into The Void.

Review Nº 904

Marillion is a British prog band formed in 1979 in Aylesbury, Buckinghamshire, England. The band was formed under the name Silmarillion, using the title of JRR Tolkien's literary work. They shortened their name to Marillion due to the legal rights. Their career is divided into two phases, separated by the departure of Fish and the arrival of Hogarth. In Fish's era, Marillion released four studio albums, "Script For A Jester's Tear", "Fugazi", "Misplaced Childhood" and "Clutching At Straws". In Hogath's era, until the album that I'm going to review now "Marbles", Marillion released eight studio albums, "Seasons End", "Holidays In Eden", "Brave", "Afraid Of Sunlight", "This Strange Engine", "Radiation", "Marillion.com" and "Anoraknophobia", already reviewed by me on Progarchives, with the exception of the last three.

So, "Marbles" is the thirteenth studio album of Marillion and was released in 2004. The line up on the album is Steve Hogarth (vocals, hammered dulcimer and guitar), Steve Rothery (guitar and bass), Mark Kelly (keyboards), Pete Trewavas (bass and acoustic guitar) and Ian Mosley (drums). It also had the participation of Carrie Tree (vocals).

With "Marbles", Marillion has finally found their new identity and delivered an excellent body of work. "Marbles" is a bit like "Brave", which was probably the most appreciated release by this line up to date. The music on "Marbles" is softer and more atmospheric than on their Fish's era works, almost spacey in parts, elegant and relaxing. The impeccable rhythm section is omnipresent but never in the way. Some songs are very approachable and a few are radio-friendly. But, despite those occasional pop overtones, each piece contributes significantly to the overall opus and you'll find this very cohesive work starts out sounding good, and improves with each listening. It's more like a journey than an album.

"Marbles" has fifteen tracks. "The Invisible Man" is an epic track with 13 minutes. This is an excellent track where Rothery, along with Kelly, let loose to take us into a beautiful masterpiece. It hasn't got the biggest hooks, but it's an impressive piece. "Marbles I" is the first of the "Marbles" tracks, they're just four shorter tracks serving as interludes between tracks. "Genie" is an obscure pretty good song. It's one of the positive sounding tracks with a slightly poppy feeling. This is an underrated track on the album. "Fantastic Place" is a beautiful piece with a fine guitar and a very well constructed orchestration, with an emotional ending that awakens even a feeling of joy. This is one of the best ballads they've ever written. "The Only Unforgivable Thing" is a quiet track and I would even say it's quite trippy with the guitar and keyboard effects after the chorus. As a whole, the song is very beautiful. "Marbles II" is the second "Marbles" interlude. It's more intense than "Marbles I" that does crescendo as we delve more into the track. "Ocean Cloud" is another epic track with almost eighteen minutes, the lengthiest of all, which gives the feeling of being watching a film with the imaginative power that it awakens in the listener. "Marbles III" is another small, intimate and almost acoustic interlude track that makes the connection with the following track. "The Damage" is one of the strongest tracks on the album, a breath of fresh air on the album. This is a track that sounds quite different from the usual Marillon's sound but that they manage to make it work very well. "Don't Hurt Yourself" is a good listen song, an upbeat if slightly forgettable song in comparison to some of the others on the album. "You're Gone" is driven by a poppy, electronic drum beat and follows a straightforward structure. I really like it and it's a popular live song. "Don't Hurt Yourself" and "You're Gone" are examples of pop music that is very accessible, but at the same time of great quality. "Angelina" is a radio-friendly track, very nice to hear and that will be another key to the band's wider acceptance by the new generations. "Drilling Holes" is one of Marillion's trippiest tracks. It has a more psychedelic vein where the biggest highlights are the keyboard works. "Marbles IV" closes the sort of suite "Marbles" ending exactly as "Marbles I" has started. "Neverland" is another epic, a very beautiful and emotional track. This is an amazing song from the start to the final climactic finish.

Conclusion: I'm one of those Marillion's fans who prefers Fish's era. When they released their EP "Market Square Heroes" and especially "Script For A Jester's Tear", it was a blessing for all Genesis' fans starved of that type of music. When Hogarth took over, the band changed, and I didn't like them as much as I did before, as happened with many of the fans of that era. However, with "Marbles" I changed my opinion. It isn't as good as "Script For A Jester's Tear" and especially "Misplaced Childhood", but it's clearly Marillion's best studio work since "Clutching At Straws". So, with "Marbles", the band released their most significant album since "Brave", being for many and where I include myself, the best work in Hogarth's era. Basically everything they can offer the best and was shown in previous works is possible to be found in "Marbles", an eclectic mix of styles in a moment of creativity and inspiration where some highlights, all tracks have something to offer. It makes "Marbles" an album easily appreciated from beginning to end.

Prog is my Ferrari. Jem Godfrey (Frost*)

Taking a moment to appreciate what the band Lifesigns have done with their self-titled debut album, a record of brilliant English melodic rock and a must-have for anyone who is even remotely interested in progressive rock. A John Young-led band, Lifesigns have seen several lineup changes over the years, but the musicians playing on the gorgeous debut album are Nick Beggs (bass, backing vocals) and Martin Beedle (drums, percussion), joined by co-producer Steven Rispin; the contributions of Steve Hackett, Thijs van Leer, Jakko Jakszyk and Robin Bouly are noteworthy, too. So this 2013 release is all about the long-form composition, made up of five intense and emotional as well as crushingly beautiful songs, always very melodic and compelling, with the main trio achieving a fine balance between excellent vocal melodies, vocal harmonies and masterful instrumentation - at times symphonic, at others more eclectic and atmospheric but somehow always very attractive and engaging for the listener.

Furthermore, 'Lifesigns' just oozes that English aesthetic - the music on here is simultaneously nostalgic, evocative of the classic era of prog (think of the most melodic ventures of Yes, Tull, Floyd or The Moody Blues), but also very modern, timely and intricate, which for me places Lifesigns in the same "nest" as artists like Steven Wilson, Big Big Train and Steve Hackett, recognizable for their distinctive style, melodic approach and overall eclectic inclinations. The keyboards are the leading instrument here, with John Young constructing these lush, embracive soundscapes that navigate the overall sonic journey, while the guitars, as occasional as they may be, provide for these textured, elegant wide notes (think of David Gilmour or Steve Rothery's playing), which is really reminiscent of many neo-prog records from the 90s. Nick Beggs' playing is as great as usual and his backing vocals as well as harmonic work here is quite pleasant, there is a fine interplay between his voice and Young's.

Each song on here is a treat, which also makes it difficult to pinpoint a particular highlight. 'Lifesigns' is an excellent prog record that draws inspiration from a vast array of styles in the genre, and the amalgamation of the members' excellent playing and overall approach has certainly contributed to this album being as impressive as it is - an accessible, intricate, unpredictable and melodic rock classic.

"Cry Boudica" Arabic intro, Japanese sound, bewitching like a battle hymn; it starts with melodic prog metal with female vocals, a bit redundant. The break goes back on progressive paths calibrated with a well-delivered synth drum; the guitar solo shows great skill and impresses rebellion, good start. "The Final Redoubt" for these mysterious and catchy noises, bringing the rhythm with the breath and the pad; the most with a melodic metal band is this progression avoiding boredom on repetitive titles, in short it starts strong. Laura high warrior priestess harangues her troops, the guitar spleen on Riverside. "Footprints" crescendo, bells, this little something full of energy that makes the ear prick up. Mirko's solo is a plus to not plunge into repetition with the solo that unfolds; The bass is pulsating and the keyboards are fluffy. "All There Is to See" for the neo-classical cello intro, Laura sings divinely, supported by the electric piano. Clive does everything but doesn't put himself forward on his keyboard parts. A choice, a mistake? A beautiful, intimate, consensual ballad. "When My Eyes Are Closed" follows the same solemn hymn narrating tolerance, the vocal flirting with Bonnie Tyler; an acoustic solo from Simone doesn't really get going with this too-short symphonic finale.

"To the Victor Go the Spoils" superb cinematic intro from the time of Arabian Nights, with a church bell background and a tribal pad punctuating the attack, an Andalusian note with the acoustic arpeggio and Laura in a trance, an incantation of the Pythia. Volleys of violins and the band innovates with a classically tragic riff, howling, meowing like in Ulthar where you have to give milk to the cats. The captivating instrumental peak, forcing you into a trance; a violin finale with the sound of minstrels. "Never Burn the Cakes" for the medieval folk side with Clive and Laura on vocals, lacking breath. "The Last Arrow" in the Pendragon style with a rocky Clive-Nick on Mirko's martial drums; a solemn synth break, it feels like Arena; Simone's solo and the fade with the colorful final arrow, very beautiful. "Deep" with Laura singing divinely, a zest of Kate Bush. A sad tune on Clive's keyboard for the contemplative nursery rhyme. "Blood Moon" drums forward, Laura and Clive, it's a bit lacking. The red moon, symbol of the war scene, is featured with Simone's guitar solo stealing the show.

The second CD, with mixed covers, including "Dorian Grey (Re-Visit)" from 1992's Shadowland, may be a welcome addition to this good but repetitive album for fans of the deluxe editions. Originally released on Progcensor (3.5).

The sheer beauty of Marillion's acoustic album 'Less Is More' is what makes it a very special entry in their discography, an album that represents one of the most intimate and vulnerable experiences of the band playing stripped-down versions of some deep cuts as well as a few better-known tracks. These heartfelt, at times even improvisational performances, as well as the excellent delivery and production of this project, are among the valued attributes of an album that has been quite misunderstood by many - perhaps some seek within 'Less Is More' that daring and innovative sound, or the genre-defying compositions of the band's iconic albums, while not accounting for the fact that this record is all about the inverse of these principles.

The song selection is rather interesting, as we have eleven new arrangements of songs from 'marillion.com', 'Anoraknophobia' and 'Afraid of Sunlight' among others, as well as one previously unreleased acoustic track called 'It's Not Your Fault', a song with a very lamentable tone; and at the same time, albums like 'Marbles' and 'Holidays in Eden' are not represented here at all, while tracks from 'Brave' and 'Seasons End' are only features ones - all of this goes to show that the tracklist for 'Less Is More' was carefully curated to capture a particular atmosphere, and not to necessarily satiate the fans' desire to hear the most popular songs yet again. Most of the songs on here are quite sorrowful, honest and cathartic, with some particularly noteworthy performances being the ones of 'Interior Lulu', 'The Space...', 'Hard As Love', 'Quartz' and 'If My Heart Were a Ball', the renditions of these songs are very curious and manage to breathe some new life into these otherwise-excellent Marillion songs. But really, the entire collection has a very particular feel to it that has to be "caught" and contemplated, there is a very sincere presentation on these love poems, which most of the songs on here are, and this can be quite powerful when executed as brilliantly and professionally as Marillion do it here.

Recorded in November of 2022, Frost* give us a live DVD/2CD (the blu-ray is now out of print?) with offerings from their latest studio release "Day and Age". Five songs from "Day and Age", one each from "Falling.." and "Experiments.." and three from "Milliontown". Not a band with great stage presence but they are really tight and they all shine, but man... Blundell the drummer, is on fire! All band mates less Blundell have t-shirts that have their name, date of birth and gender printed. Kind of funny and notable that they have a quirky sense of humor. Highlights include, "Day and Age", "Black Light Machine" and the epic "Milliontown". The DVD audio (stereo and DD 5.1) mixes and video are well done. Unfortunately, there are no bonus features which would have been appreciated, but overall this is a must have for all Frosties.