HEAVY PROG

I got a whim to write a review of this album: "Pictures in a dream" by the Norwegian heavy prog band "Arabs in Aspic 2" from this year 2013. Immediately I got the feeling that this is a strong and talanted band which makes a kind of retrospective progressive hard rock. The thoughts of for example Uriah Heep is hard to don't get. I am not a big fan of the heavy genre but like some Uriah and some Rush stuff. This is a modern band from my neighbour country in the west which mostly sings in English but two of the songs are sung in Norwegian. It features Jostein Smeby (guitar, vocals), Stig A, Jörgensen (Hammond, piano, synth, vocals), Eskil Nyhus(drums, percussion)and Erik Paulsen (bass, fretless bass, vocals) and Rune Sundby participates as a guest singer. The cover is amazing like an expressionist painting with a big head from which other things happen to rise. Like on King Crimsons early efforts there seems not to be any text on the front page.

This is heavy but very melodical and sweet hard rock with high intentions. The groovy organs make this retro style which actually feels honest and original. The first song "Rejected Wasteland- Pictures in a dream" is very good. Most of the tracks are actually worth listen to where you can listen to the meanings of the guitars and in "You are blind" i hear something which perhaps is a theremin. "Lifeguard at Sharkbay" is one of the best tracks with a symphonic ending and a clear melody. I even like "Vi mötes sikkert igjen" where we can here how this music could could have been in Norwegian. I think it works out well.

Over all I must say the musicians are very good and the music has a great flow which is nice to fly in. But I don't like the vocals unfortunately. When they're not to screamy I just don't think they're good. I'm not either a fan of heavy prog in particular so this wasn't the best for me. The qualities of this music could has brought four stars, but I am a partial person so I give it three stars. Let me know your statements about this record!

Its because this is?? 5/5

If you're looking for unique and a top class prog rock album, De-Loused in Comatorium comes in the forefront of that list. It is the best work The Mars Volta have ever put out. The genius mind of Omar Rodrigues Lopez is in full flow here. He must be one of the best prog rock guitarists of 2000s. To combine acidic, retro, complex, melodic music at the same time must require some unique talent which TMV have plenty in tandem. Everything from guitar bass, drums and the synthesizers are so uniquely blended together that most bands do not even come close to what TMV are able to put across in a single song let alone the whole album. How are they able to make such a cohesive music out of all the combinations that I mentioned above is a question that always amuses me. The music is hypnotic at times.

The album starts with a really tense and sharp intro 'Son et Lumiere' and continues to 'Iniertiatic ESP' and like the name suggests the song gets stronger as it progresses. Starting with a very intense melody, the song builds into something really great during its middle parts. If only you listen to the riffs that Omar plays in the song along with excellent drumming, the uniqueness of this album must be crystal clear to your ears. 'Roulette Dares (The Haunt of)' follows which is one of the best TMV songs ever. From starting riff it feels like a real classic. The verses and chorus are at their melodic best and the chorus part where Cedric Bixler-Zaval yells "Exoskeleton junction at the railroad delayed" remains in your head forever once you hear the song. The instrumental part after the chorus with intense drumming of different kind and a long guitar solo is even better and the song flows in the same vein throughout with a superb ending. This is a song which represents Mars Volta on top of their game. An interlude follows in the name of 'Tira Me a las Aranas'. Then another magnificent song follows in 'Drunkship of Lanterns' which starts with a percussion domination. Their Mexican origin in brilliant incorporated in this song with Mexican style percussion and guitar. The song is also brilliant because of the unique atmosphere it leaves on the listener. In the next song 'Eriatarka' they showcase their way of starting with a very slow melody and building it into an intense hard rock part to slow parts back and forth again and again. The tempo and time signature changes in this song are something really to behold and for me this song is one of the best example of use of synthesizer in TMV's music. The next song 'Cicatriz'is again a descent song that almost starts off with almost hip-hop style beat but soon leaves TMV stamp on it with constant tempo changes, awesome background guitar lead and awesome drumming. The middle section of the song is full show-off of their synthesizer skill but it was one moment in the album where I was put off. The song makes up for that in later section with a melodic over the top solo and an awesome ending. Another great song follws in 'This Apparatus Must be Unearthed' which again consists of all the goods that TMV can deliver. The one song that surprised me the most 'Televators' then comes next which is a full ballad. This song again showcases the musicianship and songwriting skills that are on show with the use of banjo as percussion and is a slap on the face of those who complain TMV being less melodic, more annoying and all that. The final song 'Take the Veil Cerpin Taxt' is a fitting end to the album which again is more than a descent song.

So this is a pure gem of modern progressive rock music and if you are also a fan of unique prog rock albums like me, this is a must have with The Mars Volta at their freaking best.

Barely a few minutes into their debut song on their debut album, the Windmill do the unexpected, they kick you in the software section of your body and make sure you cringe in delight!

Talk about a spicy opener, humorously entitled "Cinnamon", elevating both the spice and the original Mission Impossible, Barbara Bain-acted vamp/spy. The sweetness is there at the beginning, almost jazzy and then swiftly turning bold and fiery. The bass guitar is unafraid to introduce itself and the solid drumming falls obediently in line. This is a fast- paced and shuffling instrumental exercise intended to limber up the spirit and showcase the quality of the instrumentalists, make no mistake about these guys' chops, they are quality musicians. The synth outbreak alone is remarkable, hinting at past glories and some devilish guitar phrasings. Tremendous introduction to their craft.

"The Colour of Seasons" states a different mood, a fine cross between Collins-led Genesis and some quasi- Supertramp-ish feel, what with the sax and the heavy drumming. The vocal sections are limpid and pretty accessible, whilst the instrumental playing is just off the charts. Not a song that will hit you ASAP because of the Norse-tinged English singing, which may detract at the outset but fades kind of charmingly away. But the subtleties really bring in the warmth behind the nimble fingers.

"A Day in a Hero's Life" is a bold statement, a rambling theatrical play that struts 21 minutes and such with delicious flair. It's not perhaps perfect but it's thunderously played, by inspired and confident players. The bizarre piccolo synth solo is beyond heavenly and celestial especially when the rest of the band kick in, rather boisterously! Pleasures nodes are floating in nirvana again. It's the style selectivity and the sonic structure that curiously inspire, as they display a lot of spirit in the instrumental parts. Fluid guitar rampantly fluttering into the most absurd voice choir you will ever hear, almost like Norse chanting, with a Canterbury/Gentle Giant twist. Very well pulled off and cleverly done. Morten Clason's sultry sax makes multiple entrances, very Floyd of course because of the languid exhortations into psychedelic glory, what with the raging campfire organ carpeting for the fuzzed-out axe solo. Very intense activity within the various segments of the epic, the piece never seems disjointed. Au contraire, the soloing simply inspires to even tighter playing and carving out seductive new ground, especially when the sax goes for an extended blast. This is ultracool, a word I like to cherish since my 80's fix with Ultravox. Keyboardist Jean Robert Viita does some unforgettable work throughout, as his presence is paramount to their colorful sound.

"The Eagle" is a towering symphonic splurge with an arsenal of colorful keys leading the way, swirling guitars joining the simple melody fray, all quite grandiose and majestic. One has the impression of comfortable surroundings, the mood getting slightly funkier with that sensuous sax spreading some urbane perspiration, the soaring guitars grinding effusively and the elegant piano finishing the deal. Truly salivating stuff, with a little hint of Boston's "More than a Feeling" guitar work.

"Don't Be Afraid" is a another heavy melancholic ballad , done superbly with sprawling sentiments that heighten the edge , a trademark that this band will repeat in the future I hope , as they simply revel in such gigantic melodies. The magical flute is strategically placed for maximum effect, certainly painting a Tull effect, what with profound relationship- based lyrics and an insightful vocal delivery. The booming Led Zep Kashmir-inspired section is stunningly fitting, giving the melodious track some well-deserved oomph, taking this piece into the heavens. The flute takes a lovely solo, the organ roils and the guitars explode. Simply perfect music that talks to me.

"To Be Continued?" is a lovely folky melody, issued from the fine Norse folk tradition, hinting at more music to come ?.I actually enjoy final statements that appear as an intro to the next album, something early Mostly Autumn did rather convincingly, as it creates a sense of perpetual change.

A fine opening page to the Windmill's obvious talent, a band to watch intently as their best is yet to come.

4.5 Future Episodes

--------------------------------- 3.85/5------------------------------------------ 'Insomnia 'promises so much but fails to deliver all those promises. Having said that it is quite above your average prog metal album. It is also a great improvement from their previous album 'Aquarius'. Haken combine keyboard dominated heavy rock with influences of jazz. The keyboard work is really praiseworthy. At times Haken's music is simply majestic which prove that there is enough talent on show but (I call it arrogance) at times it is hard to stay focused with so much going on with their sound and you get lost. Bass playing and drumming are descent but Ross Jennings' vocal still needs improvement. If Haken can work on these flaws and concentrate a little more on songwriting and lyrical content (too cheesy at times) there is no telling how good this band really can be. Talking about this album, it opens up with a descent opening track 'Premonition'. 'Nocturnal Conspiracy' follows the opening which is one of the stands out song of this album along with 'Insomnia' and 'Portals'. While 'Nocturnal conspiracy' showcases band's ability to build up a song from a slow mellow start into a more darker and heavy tune, the other two start with killer keyboard leads and just keep on delivering goods until the end. I just love the way the song 'Nocturnal Conspiracy builds up and find it one of the best written song by the band. Apart from these, the songs 'Deathless' and 'Mind's Eye' are slower more catchy songs which are good enough and 'Shapeshifter' doesn't harm the album as well. But one song that I wish was not in this album is 22 minutes final track 'Visions' which is tooooo long. It becomes unbearable at times. The song contains the entire element that Haken have been able to do all the goods and bads including killer keyboard playing, continuous drumrolls and great drumming yet its length hinders the song. Yes this is a good progressive album and considering the improvement the band have shown from the previous album, I' really looking forward to their next work.

Black Widow is always going to be associated with one song, which has given title to this double CD compilation which attempts to provide the definitive anthology of the band. Overall it has to be said that it works very well in that respect, apart from the fact that it doesn't list the original source of all of the songs, just the years, which is the one failing that I can find. The booklet folds out and there are plenty of photos and reprinted reviews and album covers etc as well as a history of the band. Musically it starts with two tracks from the band before they became Black Widow, when they were known as the slightly less threatening Perky Gee! (their exclamation mark, not mine). At this time they had a female lead vocalist in Kay Garrett, but she left during the recording sessions of the debut BW album, 'Sacrifice'.

Who knows what the band would have done if Pesky Gee! had been more successful as while the Uriah Heep-style hard rock and Clive Jones sax are easily recognisable her vocals give the band a different, more polished, edge. Track three is actually from 1999, taken from a Black Widow tribute album where the band is also credited with providing some new songs but were actually Kip Trevor backed by Pendragon (!). It is of course "Come To The Sabbat" and "Sacrifice" that are the songs that are probably best remembered now; although at the time a much bigger fuss was made over the fact that the band used to sacrifice a naked woman onstage after simulated sex with the lead singer! And critics say that Tatu are shocking!!

In fact there are two versions of "Come To The Sabbat" as well as the 'proper' version there is also the demo from 1969 which features Kay as well as two previously unreleased songs from her unreleased 1971 solo album. This album is easily the most complete attempt at providing a complete history of the band and although it is annoying that there aren't enough track details this is still an interesting release.

Originally appeared in Feedback #73, Jun 03

'Salisbury' has been given the same treatment as the debut, although in this case the track listing has gone from 6 to 13. It is another powerful album although to my ears not quite as good as the debut. But it does include "Lady In Black" which went on to sell millions of copies as a hit single. The title song was over sixteen minutes long and even included an orchestra! The American album cover is somewhat more stark and eye-catching than the British tank which had to be changed as it was too violent for the US!! It is interesting to read the comments by Ken about the first song on the album, its' importance etc. The words are the same on both UK and US releases but the song wasn't as 'Bird Of Prey' opened the UK version, and that was replaced by "Simon The Bullet Freak" in America which was actually on Side Two.

Originally appeared in Feedback #72, Feb 03

This looks like the beginning of a new series of Uriah Heep reissues which this time sees them with extra tracks and in a slip sleeve. I think that this is the third time that I have reviewed these albums, firstly for the 1995 reissues and then for the boxed set of seven of their albums which was released as 'You Can't Keep A Good Band Down'. So what is it on here that would make the average punter go out and buy them (again)? Well, Rob Corich has been let loose on all of the material again and he has a real love for the band as well as skill in the studio so they are now sounding better than ever. The booklets are packed with information and photos as well as details about each number and there are copious extra songs. The original debut only had eight songs, and the American version dropped "Lucy Blues" and replaced it with "Bird Of Prey" (which is a different version to that on 'Salisbury') as well as changing the name of the album to plain 'Uriah Heep'. That version is included here as well as another seven bonus cuts taking album to 16, although "Gypsy" is now available three times. Also included is the most famous review in history, the one that starts with "If this group makes it I'll have to commit suicide". All of the lyrics are included and there are comments from Mick Box, Ken Hensley and Paul Newton about the album. Surely this must now be as complete a release of the album as can be imagined with the slip even showing both of the UK and US album covers. But if Rob finds more tracks then maybe this isn't the end?

Originally appeared in Feedback #72, Feb 03

Seeing as how Klaus Hess is not involved, and that Jane have acquired the 'Peter Panka' prefix I can only assume that there is either two versions of the band on the road, or that Klaus and Peter have had a dispute as to who owns the name. Certainly when they were building the reputation of the band in the Seventies as one of the most important German rock bands they were the leaders with many hired hands, but now Peter is there with three others and Klaus not in sight. In fact they have just been touring with Birth Control who is another mainstay from that genre.

Recorded in Germany, there is no doubting the love that the crowd have for what the band are doing. But as a live album it contains one of my pet dislikes, namely the way that it fades in and out. I know that it is rarely totally live but I like to imagine that it is. As for the music itself, I have to say that for the most part it is pretty ordinary and there is little here to get excited about. That it is well played and produced is never in doubt, and the crowd just lapped it up, but I doubt that they would have got the same reaction in the UK.

This tour was to promote 'Genuine' which was also released on SPV earlier in the year but having heard this that is not an album that I am going to rush out to discover. If you are a fan then this will be indispensable but that is certainly not the case if you are not.

Originally appeared in Feedback #71, Dec 02

Clear Blue Sky made an impact in the early 70s with their debut then released a couple more, in 1990 and 1996, and disappeared. 2013 sees a return for the band some 17 years later. This is odd for any band but as long as they want to produce great new rock, no one should have reason to complain. There are some excellent songs on this latest offering "Don't Mention Rock 'n' Roll", and some incredible lead work too by John Simms, also an accomplished lead vocalist.

Immediately a 70s guitar riff pummels on the title track and 'Boneshaker'. There are blistering lead guitar solos on 'Warlords' and 'Rising With Light' over an incessant 70s distorted riff. The catchy chorus's even have an old school sound like the heavy 70s scene of Budgie, Cream or Led Zeppelin. The riffs are thunderous, the guitars are dirty and the vocals are like Robert Plant. The riffs crank along with a ton of distortion and attitude, such as on 'Where Are You?', with its manic bassline and an insane lead guitar solo. Simms makes his axe scream with wild sustain and very fast hammering. This has a Black Sabbath feel and the theme is occultic but overall the atmosphere is darkened by the synths.

A blues feel is prominent in a lot of the songs, notably the full blown 12 bar blues of 'Dare to Dream' reminding me of Budgie, Blue Oyster Cult, Spirit or Masters Apprentices. The organ grinding is a nice touch but one can never ignore the fret melting lead guitar outbursts. 'The Wheel of Time Comes Around' is more relaxed in the intro but soon launches into heavy riffing and a pulsating bassline over steady percussion. The instrumental break has nice Rush like harmonics reverberating, and sinuous bass with punctuating drums. The lead guitar is phased and hammers out improvised licks with some electrifying speed picking and upsweeps.

'Song of the Universe' closes the album with some preternatural effects eliciting deep space atmospheres. The vocals are more psychedelic too along with the trippy lyrics; "gazing at the sky, infinity, something incredible, mystery, time and space, once so fragile but now so strong, going home where I belong." The lead guitar is spacier and this one really is out of the box compared to the heavy prog offered previously. Overall the album is a nice heavy dose of 70s style rock with prog influences. The lead breaks are killer and worth hearing and of course it is always nice to see a classic 70s rock band returning to the scene.

'Opposition' came out in 2001 and the band had grown to a musical six-piece with the inclusion of Kim Finney on keyboards and John Tallent on percussion. It is interesting in the booklet to see that Jonathan Fleischman (lighting and stage show design) and Audre (artwork and web design) are all credited as band members. I must mention the booklet design, as it is one of the finest you will see, with great artwork accompanying each set of lyrics. The booklet has also been printed on a different quality paper to normal so that it is not glossy which gives it a tactile sensation reminiscent of old album covers.

Musically the band has decided to move into a darker and heavier sphere, with Karin's distinctive vocals rising over the top. While some songs tend to fit a bit more neatly into the neo- prog mould (although not completely by any stretch of the imagination), there are plenty of other influences such as Ozric Tentacles that clearly come through. Of the two I felt that in many ways this was the more complete album, one that makes more sense when listened to in it's entirety, but in some ways some of the sheer experimentalism and therefore 'difference' of the previous album are missing.

Originally appeared in Feedback #70, Oct 02