HEAVY PROG

"Preceding" with a syncopated sound, a frenetic staccato pad, Steven Wilson on one side, the raging bass on the other, an electric tune followed by a honeyed groove. An instrumental full of amphetamines, the sound reminding me of OSI in some way; real lyrics taken from the trial and the court is open. "The Trauma" follows, OPETH in sight; riff, electric, a propulsive pad for vitamin-packed progressive metal. Simon uses his clear voice as he pleases to move and attack the magnitude of the story; the languid acoustic guitar amplifies the perceived pain with the targeted growled final vocal. "Families are Forever" contemplative tune with the acoustic guitar supporting the melancholic keyboard, depressed voice then a hellish growl for a time, like a foreshadowing undertow. The synths are warm and captivating, with a djent feel, an acoustic exploration and a growl explosion, creating a weighty, oppressive instrumental atmosphere. The guitar brings the track to a head, distilling a message of hope. The solo melts into the feeling, oozing with melancholy, and the hairs suddenly stand on end. The Genesis-esque keyboard suddenly amplifies the pastoral atmosphere; a stunning piece combining emotion, aggression, and sensitivity. "Conflating Memories" features an ostinato guitar, an ethereal vocal variation followed by a folk flute entrechat; a fluid, consensual, monolithic melody that gradually builds and builds, the highlight of the track taking its time... It's time for Auver's hushed, rich, joyful, intense, and intimate keyboard solo, all within. The vocals return and launch Edvard's guitar solo to capsize any potential recalcitrant, as does the final fade-out vintage organ.

"The Malevolent" with the participation of Ross from HAKEN on a sound... of HAKEN and OPETH in addition doom; the solemn, Dantesque chorus, the captivating choirs, concentrated to give a little more madness and publicity to this group of which I had spoken as one of the best first prog albums upon its release. "Ghosts of Yesteryear" continues, mysterious intro, electro-jazzy-rock air, the bass and the djent guitar at will. The drum pad maintains a hellish rhythm during these two minutes before Simon speaks softly of a terrible drowning: flute, keyboard and lead guitar to erase this terrible moment, delicious climate becoming explosive with the tenacious riff. A concentrate of clarity, sweetness, languor and dynamite. "Waving at the Sky" also continues for the eponymous title; redundant acoustic on an atmospheric synth pad, languor of the vocal, rise of the piece. The opening section is conventional, latent, supported by synthesizers worthy of Porcupine Tree. The vocal break with effects and its drum variation launches into the hypnotic, enterprising, repetitive keyboard solo; the syncopated keyboard gives way to a growl for a moment before returning to a more academic sound, resolutely modern, symphonic, and solemn with its distant elegiac choirs. The rise never ends, like the horror enunciated, but the music is there to lift one to heaven and greet those who will be there. The outro fades in for a languid vibration of our crazy society; dive into its musical drawer like medicine.

AVKRVST has created a conceptual album without being a concept; a prog rock album of the 2020s with a tenuous, fleshy, captivating, malleable, and catchy sound, flirting with OPETH. A sound guiding one toward exaltation and reflection; A true evolution of today's prog sound. Originally from Profilprog.

For me this was quite hard to get into, I wasn't immediately drawn by the vibes, the vocals and intrumentation, it interesred me but didn't seem to be above everage at first. It was quite hard to write this review as I had to settle my mind to make a proper analysis. I had conflicting opinions altroughout as I found some moments amazing and some very underwhelming and it's mostly because of the vocals. It's rare to find a band with two main vocalists and throughout the songs they are spread out in an uneven way, while Jan Erik sings in "Writing on the Wall", Nicklas Barker sings in most others except "Our Days are numbered". Nicklas's vocals are are far from ideal and it's much worst than Jan's vocals, his voice doesn't stand out, it killed the vibe in some of the songs because he just can't follow the intensity and beauty created by the instruments. The way he sings bothers me a bit, he streches the notes and make them deeper in the end, completelly losing the impact.

Aside from this minor issue, I quite like most of the songs, they are pretty, exciting and specially surprising as most constantly changed in very unique ways. I absolutely love the use of flute in this album but it's a shame it's only used in two of the songs and the others have a more traditional prog metal feel to them although there are a lot of melodic and quieter songs throughout. There are a lot of memorable moments, a lot of powerful melodies. My only major criticism aside from the voice is how little songs used exotic intruments like saxophone and flute because I really enjoyed the moments in which they were used.

1- Shooting Start (10:11): The song starts off with a pretty surreal mood, as lush chords play with the sound of running water. Then comes a heavy riff in the guitar accompanied by an interesting chord progression on the keys, the vibe is generally very Riverside like. Then comes a very dissonant guitar melody, the atmosphere is tense and the synth sounds are fascinating, it all creates a very rich atmosphere as the song travels through different solos and sounds, it's a joy to listen and it creates a very promising introduction. The instruments get quieter and the vocals come in.

I don't know if that's an unpopular opinion but I don't really enjoy the vocals from this band, the voice fits the vibes and the atmosphere pretty nicely but I don't really enjoy listening to it. It feels robotic and lacking in emotion and intensity, for me it's surviceable at best. Depending on the song it can sound a little better, but in general it bothered me almost all the way through. I don't like the vocals on this one but some moments are an exception, like the chorus, which I really enjoy. Speaking of the chorus I really enjoy the chords on guitar, the bass and percussion, even if it's far from my favorite part of the song.

I really like the part that follows, the riff is a blast and the guitars get intense and exciting. I specially like the sound made by the ride on drums and the pause between the riffs which leaves space for the percussion to shine. Next comes the synths and then the guitars take the spotlight, developing the melody in frenetic and unique ways. The song gets more intense, the riff moves to the background as we shuffle through guitar and keyboard solos, it's the most remarkable part of the song, the energy is impeccable.

After that comes a very emotional part, the chords expand, the guitar is mysterious and emotional and the drums continue to deliver as we get to a quieter section. The vocals really resemble those from Elder and I mean this as a criticism and also as a compliment because as is the case with this band, Nick's vocals are a double-edged sword, although they are melodical and strengthen the surreal vibes of the songs he clearly hasn't trained enough to sing specially in his early albums like Lore and Dead Roots Stirring. I get the same vibe from the vocalist of this album, his voice has a nice sound and timbre but he's awfully out of tune sometimes and it's not as emotional as Nick's voice even if they share a lot of the same problems. It's hard to get used to, it's not horrible but far from ideal as sometimes it feels like the songs would be better as intrumentals rather then featuring vocals at all. His voice almost sounds great but something in it's sound bothers me, it doesn't really follow the complex emotions of the songs and seems rather empty compared to the intrumentation.

the beautiful development of the melodies and specially the percussion in this next section really cought my attention. It's a stunning and harmonious section, but as the ending comes closer we get to the climax. Breathtaking chord progression, drums and vocal melodies, it's one of the best parts but it's followed by an even prettier keyboard solo as it end with ethereal echoey guitars playing together. It's overall a really beautiful song, although it didn't impact or interest me as other albums I've listened recently, but I can clearly see it's value and amazingly intelligent compositions. It's a really promising introduction. The album gets a lot more interesting and diverse after this song but it has a lot of fantastic and memorable moments (8.5/10)

2- Get Out Alive (7:32): Kinda blend intro, but fortunetly it gets more interesting really quickly. In 0:29 a tasteful riff comes in, the Elder vibes are really strong in this one. I don't like the vocals in this part, they feel streched, forced and just not pleasing.

I specially loved the part in 2:14 as the chords get louder and expansive, giving the sensation that you are floating or laying down looking at the sky full of stars. The development from this part onwards is a delight with very tasteful keyboard work and an intense and unique percussion, the song expands again in another incredibly surreal and floaty section. The ending has pretty chords and guitar but it's not really that interesting. In general, I'd consider this a very skippable song with not a a single moment that I'd consider impactful or memorable, but it's still great and melodic. (6.8/10)

3- If it All Came Down to You (5:52): Now we get to one of the my favorites. The atmosphere is breathtaking, the guitars are emotional and moving and the strings in combination with the flute is just perfection. I enjoy the vocals in this song more than the previous ones, they are more expressive and intense specially with the echoes. The melodies are very memorable, the vibes are chill, the guitars and chord following the flow of the vocals are magnificent. This song doesn't stop delivering.

I specially like the part of the lyrics where the vocalist sings "If it all came down to you" and a divine solo plays, it's so exciting and joyful. The flute solo by Theo Travis is heartfelt, dramatic, flowing and powerful, definetly one of the highlights of the whole album. As it comes back not long after it seems more innocent, light and sincere, it feels like exploring an unkown wonderland filled with beauty as the phenomenal melodies in both flute and guitars reflect. This song could be longer, but as it is, it's incredible. (9.5/10)

4- Writing on the Wall (9:03): I remember this song feeling like it lasted 15 minutes instead of nine for draging on too long in some section, but I will listen to it again to properly analise it. Really exciting intro, amazing chords and bassline, surprising and exciting chord progression, thrilling use of guitar and in general adding to the memorable melodies throughout. The drum groove is a delight.

I'm pretty sure there's a different vocalist in this song, both have a similar voice but I feel that this song's vocalist has a more remarkable and emotional voice, it feels like night and day compared to the last and it makes this song a lot more enjoyable. His voice is brighter, melodic, softer and generally prettier. The section from 1:45 to 4:28 is an absolute pleasure to listen, flowing melodies, amazing vocals, beautiful falsettos, guitar and synths.

The next section is wondrous and fascinating with Anekdoten's usual incredible chord progressions, guitar solos and percussions. The rhythm during the solo really caught my attention as it feels so full of life and hopeful following the everchanging melody of the guitar solo it accompanies.

The middle section between solos drags on for a while but then the next solo comes crashing through the door with amazing drumfills, keys and guitars, it's just so exciting, specially in the way it develops from an easy going melody to a more dramatic and tense melody in the end, absolutely incredible. I really underestimated this song in my first listen and I feel that it's even better than "If it All Came Down to You". (9.6/10)

5- Until All the Ghosts are Gone: The flute has more space to shine during the beginning as it plays only with a couple of guitar sounds. It floats between higher and deeper notes and then develops into an outstanding melody. The next section is breathtaking, the guitar accompaining only the vocals, creating a melancolic and powerful atmosphere as the chords and percussion come in. The harmonies are surreal and delicate as the drums and strings come crashing in.

The next section has an amazing guitar and the vocals get prettier and prettier. The flute solo accompanied by the voices is breathtaking and the guitar solo right after comprements the melody of the previous solo and makes it brighter and more intense. The voices and xylophone melodies in the end blew me away as a hopeful flute lays in the end. It's in a similar position to "If it All Came Down to you", it's in the shorter side but it still goes to a million different places and atmospheres.

It's really hard to decide which one I prefer, but I think this one is just a little bit less impactful, I enjoyed the use of flute in this song more and it has lot of memorable moments, but it stills suffers from the same problem in regards to the vocals and in this perspective I prefer "If it all Came Down to You", but it's really hard to decide as both had moments that really impacted me. I can't really point out what makes me feel this way but I think this one is a little worst but both are fantastic. (9.4/10)

6- Out Days are Numbered (8:39): Wow this one is amazing, most of the heavy riff reminded me a lot of Riverside, specially the synths solos accompanied by heavy guitars. This one is a joy to listen, it's starts off pretty chill with amazing guitars as the synths and xylophone. The song instantly changes as synthesized voices come in as they are inturrepted by an incredible bassline, exciting percussions and guitar melodies. The song keeps getting more intense as the chords change rapidly and the guitars play in harmony with the intense bassline.

The synth solo is exquisite and the riff that follows is even better. The dissonce on the chords and guitar are so exciting, it creates such an intense and interesting atmosphere. After that comes a quieter section that develops a little slower, it's the first time we hear saxophone being used in this album as it accompanies a moving guitar riff and drums, it's flowing back and forth as it slowly get more intense. The Änglagård and Shamblemaths vibes are stronger in this one specially with such expansive percussions, chords and use of saxophone. As the song gets more intense and it seems like it's screaming accompaining yhe growth of the melody.

This song takes longer to apreciate, but the synthesized voices and the slow and fantastic progression in the end as the guitar and sax get louder and more intense are an absolite joy to listen. Overall it's one of my favorites even if it didn't impact me as much as "Writing on the Wall", "If it All Came Down to You" and "Until all the ghosts are gone", it has some moments that are in the same level or even better than these songs. (9.1/10)

I know in my Lucro sucio; los ojos del vacío review that I said The Mars Volta has no bad albums. Well I wasn't wrong, but I wasn't entirely honest either. They don't have any bad albums, but also, why does Que Dios te maldiga mi corazon need to exist?

Now I get making acoustic versions of tracks previously released. I mean, look at Marillion's Less Is More, or Nine Inch Nail's Still. There is a market for acoustic renditions of tracks, so I don't mind the fact The Mars Volta made an acoustic record. What I do mind though is that this came out one year after their self titled returnal album, featuring all the tracks from that album. So really, they didn't have time to let the new album ferment before releasing this, which is?weird.

I mean, I like it. I like the focus on the salsa aspects that their self-titled had, and I think the acousticness it has does make it feel a bit more personal. But at the same time this feels like it would fit more as a bonus CD for a deluxe edition of the original album.

Also I find it so bizarre that this has a generally higher rating than its former release. Like I know the new Mars Volta sound was a bit divisive for a lot of people but?I cannot in good conscience say that this album's version of Que Dios te maldiga mi corazon or Equus 3 is better than the previous ones.

This doesn't feel like a canon Mars Volta album, but the fact it is just confuses me. I like the album, but it just?exists. Which is weird to say for something by this legendary band.

Best tracks: Blacklight Shine, Graveyard Love, Vigil,

Worst track: Que Dios te maldiga mi corazon

If you ever want to hear what it means to go beyond the typical rock format and get into philosophy, this album is something you should consider. The first side is a story about the different ways people combine their tribal energies to create a society. Using rational reasoning or the pursuit of pleasure, we cannot find a balance unless will merge our two directions into a unified whole. Rush decided to go full sci-fi fantasy with a story based on Greek mythology. Side two is basic prog rock with shorter songs and good hooks. After this album, the band never wanted to go into a total prog rock fantasy story again. This was their peak at being the reigning kings of rock fantasy. It is interesting and makes for an exceptional music experience. It also is self indulgent and pompous. Something prog rock excels at. This is Rush at the peak of prog rock.

Giant On The Move is an album from 1976 which I think is the best Indonesian prog album of all.

It has a much better sound than the DIY album by predecessor group Shark Move and much better songs than the first Giant Step album as well as the ones that came after.

It is more consistent and exciting than the Guruh Gipsy album or Abbhama's Alam Raya. And I like it quite more than God Bless's Cermin.

The down side is that even though the vocals by the great Benny Soebardja are quite a bit stronger than before, his pronunciation is still really difficult to get past.

It's quite a shame as he got his friend Bob Dook to write the lyrics in English. And I guess this happened a lot in the 1970s as there are bands from Italy, Germany, Hungary and Japan singing in poor English.

Regardless the music is pretty exciting, with prog influences as well as immense slabs of Deep Purple shining through.

Originally there were only four songs on the LP - Giant On The Move, Air Pollution, Decisions and Waste Time. They are all good but you are better off getting the expanded version with nine tracks.

The album begins with Farewell Today which is a barnstorming opener with nods to ELP and Deep Purple. There is great synth and organ work from Triawan Munaf and some powerhouse drumming from Haddy Arief. Lots of great shifting dynamics too.

It sets the tone for the rest of the album by having a lovely melody yet flawed vocals in terms of diction.

The title track Giant On The Move has great organ sounds and piercing guitar solos, and even a Beatlesque bridge. It has some of Benny's best singing.

I would deem Fortunate Paradise and Air Pollution as among the best songs here. The former starts off with some lyrical classical piano before it calls to mind the heavy psych of Shark Move with some of Benny's best melodies and unison guitar leads featuring Albert Warnerin. The latter kicks off with a two minute drum solo from Haddy Arief and is another very Deep Purple soundalike.

Similarly Liar begins with heavy guitar riffing and more ELP influenced pomp rock. Then there are quiet synth runs, although the heavily phased acapella vocal la is not my favourite part. It's unpredictable as there is suddenly some Brian May influenced guitar and then a funky bass-led outro.

Allusion Way is another schizophrenic composition with a strong Purple influence. Pounding riffs and a great combo of synth and organ.

Decisions has more heavy riffs, bristling synths, acoustic guitar and some great flute from bassist Adhy Sibolangit, while So Long has a nice bass/organ/piano/acoustic guitar arrangement.

Overall this really is one of the best gems of the era and of the Asian region. I would love to hear a remastered/remixed version with clearer vocals. Not to mention Shark Move's My Life as a bonus track!

Why haven't I reviewed this yet? I reviewed most of The Mars Volta's albums and I haven't gotten to Deloused yet?! Guess I should get my priorities straight.

Unlike what some may believe this is technically not their first musical venture, that being Tremulant EP, which came out a year before. There we would get a rough draft of what The Mars Volta would make in their following debut LP, being a mix of post-hardcore frenzies with unique prog and art rock sensibilities.

This is arguably probably their most At The Drive-In styled album in their discography, as its post-hardcore sound has a similar edge to that of Relationship of Command, though obviously with a more prog edge. I believe what really appeals to me about this record is that it basically kick-started a new movement for progressive rock as a whole, that being the subgenre of alt prog. This wasn't the actual first alt prog album out there as Coheed & Cambria's The Second Stage Turbine Blade came out a year prior, but that record was more focused on emo and pop punk, rather than a full blown entwining of prog rock and alt rock. In a way, Deloused in the Comatorium was the first to have done it, which definitely gives it staying power.

And its fusion of post-hardcore and prog rock is really good I think. Obviously it's a bit different from the band's future workings, especially since the next album, Frances The Mute, would bump the progginess by a wide margin, but for what it is worth Deloused, at least I think, combines punk with prog really well.

In fact, I'd argue this album is the band at their most Pink Floyd inspired. Noctourniquet would be a bit close due to its more psychedelic sound, but weirdly enough Deloused just has the same edge that you may find off of Dark Side of the Moon, or Animals for me. It's mostly because of the space rock infused production, which makes everything feel like it comes from space. Pretty perfect for an album that is themed around a man falling into a coma and having to fight his way out of it.

Though, I do prefer what they would do later on. More of a personal thing with The Mars Volta more than anything. I still really like this album a whole lot, but I cannot deny and say I don't much rather prefer their wild and jazzy stuff.

In fact, I'd argue this album is a bit clean, which does work for its debut status as it is the band trying to wrangle as many fans in, but still I am more fond of the wild side that the Mars Volta has. It only really gets crazy on the same tier as something like Frances or Bedlam on a few occasions, and only towards the end. I think the 2003 live EP (simply called Live) does a good job at bridging the gap between the two by making some tracks on here feel more akin to what they'll sound like later on.

Obviously, different strokes for different folks. The debate between whether Deloused or Frances is the better album has gone through circles and circles around the internet, and honestly speaking, that debate never quite mattered to me. Even though I prefer Frances, Deloused has its own strengths too. It is an incredibly well made debut for an equally incredible band. Really, loving it is a given.

Best tracks: Inertiatic ESP, Drunkship of Lanterns, Cicatriz ESP, This Apparatus Must be Unearthed, Take the Veil Cerpin Taxt

Worst tracks: Son et lumière, Tira me a las arañas

This is the second album from this Norwegian band. The music features heavy progressive elements and strong melodies, showcasing some breathtaking moments. 45 minutes that go so fast that you want more. There is the use of clean vocals and occasional growls throughout the album. Also, I enjoyed the loud bass sound and the cool drum parts. The band can go on a fast pace with some heavy passages and slow things down with some beautiful acoustic guitar parts. The songs have a natural flow in them that keeps you focused until the end. You can hear some influences from the Swedish school of Opeth and Anekdoten, which gives you an idea of how the music sounds here. If all the songs are excellent, and you don't want to skip any one of them, my favorites would be the angry "The Trauma" and the last one, "Waving to the Sky," displaying all the elements that the band uses on the previous songs with some tempo changes. The presence of Ross Jennings on one song brings the Haken influence, but I don't think it represents the sound of the album here.

Despite my rating, if you're into Stoner Rock I would recommend this record. If you're not? Well, it all just seems so one dimensional and samey. WEEDPECKER are a four piece from Poland and this is album number two from 2015. Two guitarists, bass and drums is the setup here, with a new bass player on this sophomore album. A lot like the debut except that Haldor Grunberg added synths to this recording. Haldor is the man who engineered, mixed and mastered this album.

I feel like this is a band who has been finding their way as it were, when it comes to their sound. The addition of synths here helps, but on the next record both guitarists would be adding synths to great results. Then on the most recent record they employed a full time keyboardist, dropping one of the guitarists. They just keep getting better. And while I rolled my eyes the first time I heard their name, I have gotten used to it(I suppose). Also, if that band name inspired the cover art here, then I'm all in. I just think the cover art is the best thing about this recording. Like a Lord Of The Rings inspired picture isn't it? I wouldn't want to be drifting down that river and seeing these giant woodpeckers looming over me(lol).

Love the picture on the actual cd as well. Both guitarists add vocals here. And they sound either distant, or mixed low in the sound. It works, but I often am thinking "is that vocals?" When it gets heavy the guitarists turn on the distortion. I much prefer the clean guitar passages. The bass isn't that upfront or the drumming for that matter. Its all about the guitars. We get seven tracks worth about 47 minutes. On the closer we close to 3 minutes of silence when it ends, only to kick back in after 7 1/2 minutes. I'm not big on stuff like that, and only found this out by accident.

A good album, but it really feels like it's lacking when it comes to the Stoner Rock style. In other words, there's nothing new or outstanding here in my opinion.

A two-part show, Fauna in its entirety, followed by a best-of of their consistently progressive tracks, oozing complex arrangements and intelligent, intuitive, and explosive melodies.

"The Last Lullaby" with the backbeat of the pad, the verse from "Eyes of Ebony" serving as an intro for the band to settle in; and then "Taurus" follows with its bells before giving way to all the tracks from "Fauna," recreated and transcribed with fantastic precision, with the addition of the crowd noise. The musicians' skill never stops: "Nightingale" is captivating, "The Alphabet of Me" with its stellar trumpet. "Sempiternal Beings" for its hyperspatial and joyful energy. "Beneath the White Rainbow" and its rich digressions between metal and prog, "Island in the Clouds" for Ross's vocals, as fluid as ever, and energy to spare. "Lovebite" continues with the romantic, danceable, eclectic pop-rock hit. "Elephants Never Forget," which has become, for me, one of the most beautiful prog metal tracks of the new millennium for its numerous reminiscences and its creative madness, a blend of velvety vocals and pugnacious riffs to achieve a tremendous level of musical excitement. "Eyes of Ebony," with its intro's latent tempo and fleeting vocals, and "Crystallized," for the 18-minute track, quivering between softness and palpitation, flirting with the shores of DREAM THEATER. Overflowing energy, a dreamlike a cappella sound before the apoplectic finale. Note that it is included as the last encore on the Blu-ray, as it was in the concert. This oldest track in their discography serves as a momentary happy ending before what follows.

"Puzzle Box" for the vocals infusing harmony to its climax, the 12.7 snare drum very present. "Earthrise" and the dynamite, explosive air making nod with its VAN HALEN-style tapping with the fat synth behind. "Cockroach King" for one of the songs imbued with the band that gave them recognition, heavy prog rock invading with djent riffs. "Cockroach King" is sublime with Ross in top form accompanied by disconcerting jazzy touches. "Nil by Mouth" and its progressive instrumental, close your eyes, no keep them open to admire the work of the show-light with the apocalyptic finale. "1985" for these bass/guitar riffs worthy of YES providing the heaviest moments of the entire concert. "The Strain" and "Canary Yellow" from the album 'Virus' intersperse "Strainwreck" with a keyboard and drum jam, a pure live performance allowing the rest of the band to retreat for a fleeting rest. "Drowning in the Flood" for its heavy rock verses bordering on grunge and its majestic, progressive finale. "Visions" concludes this epic live performance with the title track, 20 minutes of enlightened vocals, breathtaking guitar solos leading to the firmament, and polyrhythmic throws of Ray's pads; in short, a musical epic, a masterpiece.

HAKEN, a sound fusing 50 years of prog, in short, a live album to own urgently and read as a bonus. Originally on Profilprog.

This week I'll be reviewing the third and latest a;bum by Seattle based proggers, Moon Letters, titled "This Dark Earth". The band was formed by members of various other Seattle area prog Bands in 2019, and they released their first album that same year, called " Until They Feel the Sun". They followed it up in 2022 with "Thank You from the Future". The band is made up of the following members:

- John Allday / keyboards, vocals, trumpet - Mike Murphy / bass, vocals - Kelly Mynes / drums, percussion - Michael Trew / lead vocals, flute, congas - Dave Webb / guitars, percussion

I have heard a few songs frome their first two albums that I liked, but I have heard none of this one, so as usual, this is a cold listen.

Disclosure: This review was requested by Anne-Claire of Bad Dog promotions, which I have had a loose association with since March 2025, but as always, I "call it like I hear it" and receive no compensation for the review.

Lets's get listening!

Track 1 - Energy of the Heart

We begin with a snare fill that brings the band in on a moderate tempo. But at around 35 seconds in the temp increases dramatically. With an intricate run from the musicians. The vocals join at around the one minute mark, with 2 parts. The rhythm guitar plays a bit of Randy Rhoads style at times. It's heavy bit not really metal. At around 2:40, there is a funky bass groove from Mike Murphy, and then some really cool analog synth sounds that come straight from the disco era. The band is super tightr in that instrumental section. The vocals resume afterwards As per the title, this is a very high energy tune! At 3:30 the tempo slows down and there is a trippy guitar break leading to a terrific vocal harmony section. The guitar and then the synths take the spotlight next. This leads us to a peaceful ending. Fun opening track with a quirky, unique vibe.

Track 2 - Silver Dream

This begins with the band playing tightly together on a riff reminiscent of the Flower Kings. We go into a 6-8 vibe, but it feels like we occasionally skip a beat. At 1:20 it goes into a few measures of odd meter. This feels a bit like an early rock ballad but through a kaleidoscope. At a little after 3 minutes Dave Webb gives us some rapid right hand tapping. Following that, only Michael Trew's vocals and John Allday's piano continue. A freaky keyboard riff takes us to a heavier section with almost Black Sabbath vibes. The tempo double times, then we have a trumpet solo! Up next the guitar and keys trade licks. This is a fun track with many twists and turns. I believe we have a mellotron choir are we reach the ending accompanying the guitar. Cool track!

Track 3 - Island of Magic Mirrors

The vocals on this one kick right off with the band at a rapid tempo. Great harmonies over odd meter changes. At around 1 minute the tempo slows down for some spacy guitar. A quirky bass riff brings the tempo back up. I keep using the word quirky, as I can't think of a better word to describe what I am hearing, but I mean it as a complement! We have a fun wah-wah solo at around 2 minutes, with lots of interesting sounds accompnying. Murphy and Mynes are a tight rhythm section holding all of the musical mayhem together. This one gives me some Zappa vibes at times! I love the line "My wings are melting as I see your face!" Man, I don't know what kind of synths Allday uses, but they sound straight out of the 70s! (again, a complement.) The closing riffs ended the song on an exciting note! Loving this album so far.

Track 4 - Lonely Moon

This is a very short track at 2:10. We have acoustic guitar for the first time, accompanied by the bass. Some keys follow soon after. This appears to be a briefe acoustic interlude. There are significant contributions from the bass, though. Nice peaceful track!

Track 5 - In the Catacombs

Harmony vocals and lead guitar kick-off the festivities here. The guitar riff follows with an almost hair metal groove. There are lots of rhythmic twists and turns, then?DOUBLETIME! There is a lot of complex instrumental interplay going on here. Rapid-fire rund pop in between vocal phrases. There is a bit of 7-8 as we cross the 2-minute mark. After it drops to nearly nothing, Trew has a mighty scream over some extremely precision playing. This may only be a 4 and a half minute song, but damn, too many shifts to describe here. WOW! Very impressive.

Track 6 - Dawn of the Winterbird

And here we have the 17:18 closing epic. This one begins with a somewhat tropical groove, Each of the opening verses ends with sustained vocal harmonies while the beat is kind of "suspended". After 2 verses, we go into 5-4 then 7-8. The 7-8 is a modified Bolero beat to my ears. The beat straightens out to 4-4 at around 3:15. Next there is a mellow section with keys accompanying the vocals (possibly mellotron). After a pause of a few seconds, a new section begins with clean guitar in an almost "Little Wing" feel at first, then the rhythm section kiosks in. Just before 6 minutes, the guitars get heavier sounding, and we get a half-time feel. This has a nice groove here at around 6:30. The intensity kicks up by the 8 minute mark. Nice guitar fills here. At around 8:50 the sound gets much bigger. Then about 9:25 there is another pause and the music gets more mellow. We start getting heavier again after the 10 minute point. The vocals return at 11 minutes with a mellow-phasey guitar part accompanying. Nice piano at 12 minutes. Then we rock out by 12:30. Cool instrumental interplay around 13:30. Nice long, sustained vocal note around 14:35. I believe we are building toward a big finish at around 15:50. Yep, intensity building around 16:30, then it eases off around 17:00 as we round out this nice epic. Well done!

OVERALL IMPRESSIONS:

A very strong album from Moon Letters, indeed. I need to check out the first two albums more thoroughly. They have a lot of eclectic influences. These's some psychedelia, some "golden-era" classic prog, some 70s cheese (in a fun way), and even 80's hair-metal in some of Dave Webb's guitar stylings. They bring it all together into their own unique style. Allof the musicians and vocalists are strong. I truly enjoyed that. Not quite instant classic level, but very good; a fun listen. I'll give it a 4.25 out of 5 stars. I have a feeling Moon Letters will continue grow and evolve as a band!

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Thanks! Prog On!

clicked 4, but a little better at 4.25