Krautrock?! From España? You got me curious!

1. "First Piece" (2:07) a gentle birth-of-the-universe-like ambient intro. (4.375/5)

2. "Second Piece "(3:23) one continuously droning piece that digs deep and never lets go. A piece that MASERATI would be quite proud of! Awesome! (10/10)

3. "Third Piece" (4:21) the use of the piano buried deep within the Trip Hop electronica is pretty ingenious. This piece reminds me very much of the Massive Attack song, "Everywhen." (9/10)

4. "Fourth Piece" (5:31) very much something rooted in the world of the 1990s Trip Hop scene: like a MASSIVE ATTACK song that's been sent through an engineer's effects box as a whole, complete song, and added to, here and there. The synth sword-spark swipes and strikes along with the drum and bass additions in the second minute also feel old school despite their heavily-processed sounds. I'm glad that the song's composers have adhered to some kind of ABABCAB form so that we, the listeners, get a break from some of the Star Wars/2001/Alien creepy sounds. Otherwise, I consider this song very entertaining. (9/10)

5. "Fifth Piece" (2:08) this one seems to owe its rhythm track to Graham Sutton and Mark Simnett and their BARK PSYCHOSIS project. The field of swarming and travelling bees, however, is all their own. (4.5/5)

6. "Sixth Piece" (2:36) a highly-processed 1980s techno drum-and-bass beat is given astral creepiness by the droning guitar strumming and vocal "oo-aah-oos" floating around within the mix (somewhere in the background but still in the center of the brain). (8.875/10)

7. "Seventh Piece" (2:17) the floaty vocals carry over from the previous piece but the rest of the music turns more future Industrial tech--as if we're inside an engine room or huge power plant. Then an intense radio signal enters at the end, clearing the soundscape of its chaos (maybe ending lives in the process). (4.5/5)

8. "Eighth Piece" (2:57) for the first 1:20 this is pleasant and gentle--a welcomed interlude--but then all hell breaks loose over a disco bass drum line. A little too grating and irritating, despite the calming "center" provided by the gentle piano notes. (8.6667/10)

9. "Ninth Piece" (2:50) a droning hallway white light in which we have to check to see (hear) what's behind every door we pass. (8.75/10)

10. "STAR" (11:45) steady clouded cymbal hits backed with scratchy, droning synth as an even more grated ride cymbal rises slowly into the mix, to the foreground, with a severely-mangled Hohner organ-like bass line also slowly joining the party in the third minute. Electro-cymbal crashes pick up in the fourth minute as more active heavily-distorted electric guitar strummed chords also rise and join the mélange. The drums/drummer becomes more active around the 5:00 mark as his drums very gradually emerge from out of the din of distortion. A second electric guitar, also heavily distorted, arises out of a different channel, playing a different melody in short rotation. In the eighth minute a very deep, full, and heavy distorted bass begins to rise and join the field, playing a three-note melody that mirrors that of the most recent electric guitar. At the nine minute mark the instruments begin to leave, just as they came: one at a time, only much more quickly in their fade out/removal than the way they came in. Very much what I think of when I think "Krautrock": music for which the engineering is every bit as important as the instrumental performances (maybe more). A cool listening experience but I'm not sure I need to hear this song again. (22.5/25)

Total Time 40:00

The music certainly drones on: it's all instrumental--without lyrics or vocals--created by a three-man ensemble, but somehow it never gets boring, managing to always maintains its tension and engagement. It feels as if the authors intend the album as a one-listen, one "suite" listening experience; thank goodness the album tends to alternate heavy, cacophonous "pieces" with gentler, almost-ambient ones.

I get why this is welcome/included in the datatbase of a progressive rock music sharing site; I get that this is a direction that Krautrock could have, might have taken (may still be on!) Like many of the original musics and albums that became labeled as "Krautrock" there are often elements or sounds or technologies more developed by the Berlin School of Progressive Electronic Music. The same can be said for this album.

A-/4.5 stars; if you're into the history, current state, and future of Progressive Electronic Kosmische Dance Musik, this is an album you will not want to miss. If you're looking for cinematic space electronica, this may also be for you. If you're looking for musicianship over production and engineering, this may not be for you. I would, however, recommend that you check it out!

A debut album with a title like that will definitely get the Rogue's attention, and as transatlantic telepathic waves often work well, the band contacted this writer for a review of their impending release. Oddleaf has been working on this work for over 4 years, a courageous form of dedication, as the first album can be quite a challenge in breaking through the competition with a new twist to the vast panorama of styles that Prog can offer. Keyboardist whiz Carina Taurer and Mathieu Rossi on flute /electronic flute performed their due diligence by playing mostly medieval music for a decade and deciding to plunge into a Progressive rock project that fit their vision. Filling out the group, Olivier Orlando handles both bass and guitars, with drummer Clement Curaudeau and vocalist Adeline Gurtner completing the line-up. The Oddleaf sound is a melange of styles, ranging from the bombastic to the pastoral, with a focus on mostly ecological themes. A piano and flute introduction sets the mood right from the start on "The Eternal Tree", with a whooshing mellotron blast to sizzle the senses, some electronic flute branches and a sense of adventure that blends gingerly into the nearly 12 minute long epic "Life". The lead vocalist glides into the busy arrangement with a newborn gentleness that does not fail to impress, a sudden organ rush thrilling the ears as it chops through the booming rhythmic forest of sounds from the guitars, bass and drums. Mathieu Rossi reintroduces his electronic version of the fabled silver instrument into the mix, which evolves quickly into an absolute whirlwind tour de force that slams fiercely and then veers back into more idyllic shades where the acoustic guitar and flute rule (always a genius combination). The chorale breeze finally scours the horizon as the cycle nears it natural end, as the flute hushes its long last breath. Such is life, enjoy while it lasts! The rustic meanderings on "Ethereal Melodies" announce the softer side of the band's muse, with the piano and flute swaying in feudal-tinged joyfulness, the tempo raising when the chorus kicks in with quite the sonic elevation, thanks to the massed male and female backing voices. The uplifting centerpiece melody is breathtaking, the denouement never predictable but effortlessly accessible. Olivier Orlando unleashes a grizzly-bear guitar rant that reverberates with passionate glee. The synthesizer flutter outro is priceless. The colossal 14 minute + epic is next, as "Back in Time" tackles the core essence of what this French band seeks to achieve, a perfectly balanced style that incorporates all the elements that are found in the vast panorama of sounds that prog has to offer, with controlled restraint in building up the tension. A decidedly Middle Ages feel is presented, the bass carving hard in the undergrowth near the moat, the trilling flutes and quavering synths dancing the gavotte, the burning organ thrashing the banquet hall, torches aglow, a merry time being had by all. Back in time, seeking refuge in your childhood, and believing in fairy tales, indeed! As far as adventurous spirit goes, this is quite the number! The ornate piano and pied-piper flute lead the way, through the drawbridge as the booming bass guitar faces the dragons head on. Carina ravages her keyboards with heroic ardour, the intense rhythm never far from "endiablee"! A tremendous slice of prog, I giggle in nervous enjoyment?. A slight intermezzo with the habitual "Prelude" before leaping headfirst into battle on the implacable fury of "Coexistence -Part1", opening up with smoking hot mellotron cavalrymen, knighted guitar lances, bass bombards hurling cannon balls into the fray, synthesized archers invading the sky with their deadly arrows and the organ- drenched war flags aimed at the enemy. Coexistence? Pas tout de suite! The skirmish dies down and the solemn aftermath is expressed by a solitary flute hovering over the ravaged plain, the consequences of human folly overtly depicted by a dissonant cacophony of angry blasts from all of the instrumental interveners. This was the piece that confirmed my delight with this incredible debut, as the themes are rigorously illustrated, reigniting the prologue mellotron tempest, an instrumental 'chef d'oeuvre' that should conquer many hearts and minds among the prog troubadours, minstrels, raconteurs and even the odd 'jongleurs'. 4.5 Bizarre plants

Perhaps the most varied live set given an official release from the Flo and Eddie incarnation of the Mothers, this includes performances of live standouts of the time ranging from King Kong to Billy the Mountain to the deliciously rare Sofa Suite (featuring concepts which would later get recycled in albums as late as One Size Fits All or Joe's Garage). Various classic tunes from the Mothers back catalogue fill out the running order, and those who particularly dislike the "groupie routine" as captured on the Fillmore East album will be pleased to know that it's scaled back somewhat here - snippets show up here and there in the running order, but it no longer takes up a tranche of stage time, Zappa and the group instead cramming in more in the way of instrumental workouts, to the benefit of the experience as a whole.

The set sounds pretty good for a mono source recording - apparently the Carnegie Hall management weren't happy about hosting Frank, which meant he had to make his own arrangements to record the set rather than relying on the venue's own facilities. Fortunately, Frank was an exacting sort of dude when it came to making his own recordings, so this sounds pretty decent, with Zappa himself doing what he could to slip in some stereo processing and get the best out of the tapes.

For those who regard the Flo and Eddie lineup as an obnoxious farrago of over-intrusive comedy rock which didn't include nearly enough of the instrumental musicianship of Mothers lineups prior to and in the wake of Flo and Eddie's involvement with Zappa, the full live sets from their stint in the group the Zappa estate have dug up from the vaults really go the extra mile in redressing the balance, and this Carnegie Hall show in particular shows that Zappa and the Mothers' progressive chops were not as diluted in this era as they're often regarded as being, with an exceptionally good version of King King and a truly epic Billy the Mountain stretched out with extensive solos and improvisations. On the whole, it might be the best moment of the whole era.

"Chaos" and here we go for a unique prog metal; neither too redundant, nor too flirting with neo groups; a voice apart, a guitar solo that smells of MYSTERY but more nervous, a piece that would send you back to the ARENA side; listen to it to get your idea, I remain silent there. "Paralyzed" latent piano intro to keep the progressive link; metronomic synth, a few touches of Floydian guitar with the most beautiful effect to rock; it starts with melodic bluesy prog metal, the stuff that doesn't make waves; hold on a moment TOTO, another JOURNEY, KANSAS, STYX; the piano outro and languorous voice to end in peace. "Westminster Bridge" continues with the lavish atmosphere, heavy riff, old hard rock from the 70s, a zest of AOR and the neo heavy soft air, predominant part of FM keyboards. A progressive conglomerate with already a very beautiful aerial solo from Michel. "Requiem for the Last One" and the symphonic orchestral intro, more than 2 minutes, keyboards in front; a title that gives pride of place to the instrumental prog metal variation. This piece flirting with the 10-minute mark sends on varied prog territories, on the border of prog metal; more recent, more dynamic, worked.

"Crossroads" solemn, majestic intro, grandiloquent piano, it rocks; the giant ballad swells and unfolds a crescendo. This monolithic piece easily passes with a prog metal sound that looks at metal with the synthetic finale boosted with amphetamines. "The Miracle" begins with a goldsmith piano, delicate with an acoustic guitar, the rest is a ballad typed FOREIGNER with this cottony sound of the 80s; simple, effective. "Burning and Drowning" hop a note from Marianne FAITHFULL yes Lucy's ballad; perfect start to go, mix between voice and keyboards, sharp rhythmic bass; the sound increases, the riff heavy, a solo suddenly goes on a melodic prog metal refrain. This group has found its style, its own sound; the warm voice anesthetizes the few restraints that one could find. "Failing" choirs, latency, instruments in progressive order, here we go; the fleshy, charming, opulent keyboards; the guitar as a bonus in the US prog metal register, the one that goes from the ballad to the nervous riffs. A guitar solo from ARENA cuts through the air, Michel showing the extent of his talent. A whirling and languorous organ solo from the old days when one could laugh at the mastery of the musicians; pleasant crystalline yessian break highlighting Sylvain helped by a Gabrielesque flute, simple and superb.

HUIS offers a new register with nervous titles accompanying the melodic ones that were their signature before; powerful AOR, boosted ballads, melodic and punchy pieces favor a potential regression for many nostalgic progueux. Originally on Profilprog.

HAASTA was recently founded as an instrumental trio on a post rock, math rock vein with the guitar going on colorful, jazzy, progressive and innovative sound experiments.

"Maguro" track that prints the sound of the group; synths credited as guests, fat, catchy, in the style of MINIMUM VITAL in addition psychedelic; the guitar speaks more than it releases its notes; also leading the Peruvian flute of Ushuaïa of departure, a singular moment that flirts on fruity jazz-bossa-rock a little symphonic; the bass and the drums apart, surprising progressives; break with the guitar daring the hard tone like on the flights of TANGERINE DREAM; only track with voice-overs also; flute of Ushuaïa in outro to close. "Gyddanyzc" on a musical work between disaffected LEVIN and THE CURE era 'Faith' for the reverberant guitar; electronic music is animated with this guitar that sets fire; it is hypnotic on the repetitive works of Robert FRIPP; the finale with Jon's energetic sax and some waves. "Żuk" where we can feel the synth that supports Aleksandra's magical guitar; aerial blues with a fruity, cheerful pop-rock sauce; the mid-course break sounds math-rock, it's easy; innovative this instrumental sound, this guitar that searches for itself, distilling twirling notes without seeking speed or technique; just sensitivity. "Wiosenny" continues, here I go, SANTANA that emerges from this fresh blues-rock title, on a melting melody; the finale lets Aleksandra's tapping parade without restraint. "The Long White Cloud" for the interlude with original LP cracking, on KNOPFLER, cute. "Moa" continues pushing the arpeggio on this tune reminiscent of DIRE STRAITS; the most this flight of SNIFF'N'THE TEARS then on the APSARAS who evolved between electronic music and cottony rock; the guitar surfs on different styles while still bringing this musical freshness.

"Dorożka" with the cracking intro, the synth reminiscent of that of ARAGON, memory; syncopated air, redundant, invasive, hypnotic; the prog is not there but is declined on an energetic progressive base putting the confusion in the melody, a djembe bringing relief; the fat synth finale that dares to answer the guitar for the fruity jazz-prog vitaminized gig. "Kurki" with the crazy bucolic clip still reminding me of MINIMUM VITAL for the video and the hilarious rhythm; the drums are not forgotten and hit until the finale passing in reggae before flying away on an aerial guitar solo. "Atlantis" appears, a softness, an ambient progressive showcase, a variation of spatial, crystalline notes; there is the spirit of the GUITAR ORCHESTRA of 1991 releasing the ambient album with swirling arpeggios, mischievously repetitive; the final bass on a SERRA-like air, aquatic, subwayesque. "Spaceship" fruity arpeggio for the rock prog jazzy soul base, an unclassifiable air where many prog followers of MAHAVISHNU ORCHESTRA and RETURN TO FOREVER risk stopping at a standstill like Médor in hunting season. "Jellyfish" not the group but the last title which is also the sweetest to my ears, jazz prog swing, but does it matter? Jan's notes accompany Igor while Piotr uses a very typical Flugelhorn, the kind of brass that I hate and which sets the place on fire, helped at the end by the bursting drums, a brief moment of pleasure.

HAASTA releases a musical gem where the notes are scattered, favoring reveries full of emotion, those where sensitivity takes precedence over technique; rhythms that evolve, slow down, collide, jerk, melting and swirling melodies; a crazy trio that dares progressive freshness by captivating the ear with wild sounds. An album that goes off the beaten track by giving the slap for progressive bewitchment leaving speechless in front of so much beauty. Origin on Profilprog.

"Time" is the most focused and introverted album since "Eldorado" or "On the third day". Frankly, I'm quite glad he got rid of the string section as this was bringing nothing more than colouring to the sound. With the basic 4-group band, each of the members apart from the bass player is more audible, that goes in particular for the excellent keyboard contribution and trademark powerhouse drumming which is so typical for 80's ELO. Songwriting on "Time" is less derivative of Beatles and 70's hooks. We hear more new wave, album rock and conceptual thinking. And do you recognize the Orbison's vocal influence on Lynne?

Less commercialism in the record is directly proportional to the increased album depth. Many listeners consider this rightfully to be one of ELO's highlights. Former prog rock roots are recognizable in the prologue and epilogue tracks whereas the obligatory rock'n'roll number is characterized by the distracting "Hold on tight". Essential listening for ELO fans and any ambitious pop listeners.

The soundtrack music is actually much better than the film itself and offers rewarded listening even when flops are inevitable. Newton-John has a pleasant and passionate voice highlighted in the first two tracks be it the mystical melody "Magic" or the conventional duet of "Suddenly". Coming up is the misaligned "Dancin'" and the average two other tracks but they don't offend either. ELO starts the better half of the album. All their contributions are above average with first two top-class selections that wouldn't have been out of place on "Discovery". "Don't walk away" is a mellower track before the anthem-like and a bit pompous "All over the world". The title track is one of Lynne's pop career highlights with pure 100% ELO ingredients and dramatic Newton-John voice. Vocal harmonies by ELO and piano playing are memorable, too. The end of the track is breathtaking and innovative in pop, when I was a kid I associated it with turning on the engine which is about to start to the universe. Overall, this is a rather achieved pop album and certainly a must for 70's ELO pop fans.

Out of the blue is Jeff Lynne's and ELO's what "Songs in the Key of Life" meant to Stevie Wonder. An ambitious double LP with many artistic directions, maybe trying to please multiple fan groups, maybe demonstrating Lynne's touch that turned everything to gold.

I think this is the first album with excellent production which would become one of the greatest Lynne's strengths in the 80's.

"Turn to stone" is a fantastic uplifting classic ELO starter and the instrumental highlight is Tandy's moog accompanied by typical string arrangements.

It's over returns to the mid-70's album rock with symphonic opening and mildly progressive chorus. Similar to the brilliant "Mr. blue sky" it contains many music ideas packed together and great arrangements.

"Sweet talkin' woman" is noteworthy for its futuristic robotic vocals, great harmonies and catchy rhythmic chorus.

"Across the border" shows has a bit of country flavour and creative synths. "Night in the city" is a generic ELO workout with major/minor chord variation and decent string arrangements.

"Starlight" starts a bit sloppy but during its 4:30 time it flourishes into a memorable chorus. It is a soothing track that brings emotional balance.

"Jungle" is a silly one-of-a-kind ELO track with playful drumming and screaming Lynne's vocal. Though it's very catchy, it doesn't have the substance of other ELO tracks on the album.

Then come two heartbroken tracks - the robotic vocal symphonic led "Believe me now" which could be an intro to the vastly elegant "Steppin' out" with McCartney-like bass guitar. It is an effective ballad though the chorus is slightly generic.

The more ambitious Concerto for a rainy day contains several tracks and starts on a solemn note - the accessible largely instrumental and experimental "Standin' in the rain" goes into several directions but is well baked by Lynne.

If you expected this to continue in the same vein, then you'll be disappointed by the poppy "Big wheels". It seems that the concerto was largely a lyrical concept and not a trip into the past ELO's music.

"Summer and lightning" is a decent if not exceptional track. "Mr. Blue Sky" is exceptional though thanks to its complex rhythmic structure and first-class vocals, it also later refers to the symphonic music on the album.

Out of the remaining tracks, the progressive keyboard led "The whale" which could be sonically linked to being in the sea, is worth mentioning. Synthesizer textures and the collaboration between the keyboards and strings is outstanding - this is how you make an accessible atmospheric track.

"Wild west hero" has an increasing chorus and excellent vocals, a country instrumental piece. The final minute sounds like an album culmination with Lynne giving his best in vocals.

This is an excellent album and showcases one of the best pop double albums of the 70's.

ELO albums between 1975-1977 were the pinnacle of Jeff Lynne's songwriting and trademark sound with orchestra. While 1975's "Face the music" still had last hints of prog baked in the cake, 1976 is fully streamlined.

The first X tracks are prime examples of Lynne's exceptional songwriting which included Beatles, classical music and contemporary album pop/rock music.

"So fine" features an updated disco beat by Bevan and Tandy contributes with funky clavinet. "Telephone line" belongs to the best group ballads with excellent vocals, great string arrangements and soaring melody.

"Do ya" is a re-recording of the Move version. The tracks is cleaner, well arranged but doesn't bring much added value.

"Shangri-la" as track title sounds deceivingly unconventional and the start is quite unspectacular with a more generic classic motive with lack of tension. Synths alongside strings are quite pleasant though however after the 4- minute mark we are coming to the overblown pinnacle of the album with strings, moog and ornate singing (Lynne sounds a bit like Orbison).

4-4.5 stars granted to this well executed work and 2 stars for prog-rock ELO fans.

A great Farewell

Cornonstipicum is the last release from the Argentine band MIA. MIA (Músicos Independientes Asociados) is a progressive rock group led by piano player Lito Vitale and his sister Liliana, on vocals and percussion .

Cornonstipicum is MIA's best work, featuring a strong progressive sound and a journey through music that mixes folk, progressive rock, and jazz. The great instrumentation in the album help each track create vivid images and emotions.

La Coronacion Del Farre - The opening track sets the tone with great keyboard work. The guitar and bass lines create a sense of celebration and greatness. The way the instruments work together shows MIA's talent in mixing traditional and modern sounds. Imagen III - This acoustic track has a more thoughtful sound, with a gentle, haunting voice guiding the melody. The soft music brings feelings of nostalgia, creating a reflective moment on the album, with keyboards adding depth.

Crifana Y Tamilstenes - This song mixes simple and complex rhythms, showing the band's versatility. The interaction between voices and instruments creates a lively conversation, moving between energetic parts and quieter moments. It feels like an adventure through different landscapes.

Las Persianas - Just 50 seconds long, this piece has a sound like Gentle Giant.

Piedras De Color - A piano solo featuring Vitale's impressive skills.

Cornonstipicum - An epic track that lasts almost 20 minutes, showcasing great teamwork and the unique sound of analog electronic keyboards blending with folk elements and amazing voices.

Cornonstipicum by MIA is an instrumental masterpiece that highlights the band's creativity. The album brings emotions and images to life through sound alone and shows Lito Vitale's growth as a musician from his debut at 14 to now at 18. This last record leaves the door open for future bands and the next generation of musicians in the Argentine rock scene.