1. The Upside of Down is a typically UK sound, a prog-pop rock bordering on funky with its brass and catchy riff. 2. Got Religion, with the Blues Brothers rhythms and the energetic piano, a hint of Grease to further unnerve you, fresh, to be enjoyed on a mountain bike with the wind gently slapping your face; note the velvety and melting keyboard of the time. 3. Estus Pirkle Night opens with piano, yes, David does everything from electric to organ; there's a nostalgic air to this track with the arpeggio break taking me back to GENESIS; the final wild synth solo sets the place on fire and shows that you don't have to have a guitar hero for every song. 4. It's Not the End of the World, the intro is always polished, we understand better what kind of tribute they were; the vocals begin to have their effect and integrate into the instrumentation; The energetic rhythm reminds me of the heyday of AOR with BOSTON, and later TOTO; fresh progressive blood too with this development and its soaring violins, a bit of ELO, a bit of more recent HOGIA, ah, the acronyms are there. 5. Space Force and its warning siren, the fast pad, the piano even more, the synth à la 'Mars Attack', captivating this track, catchy, between jazzy and hi-hat, between cabaret freshness and festive rock bordering on heavy with its frenzied choirs, a breath of fresh air with the enjoyable hard outro. 6. Little Fools for the suave Asian ballad, vocals by Solaria or Natalie, melting the ballad; evolution for the typical crossover track which reveals its prog declination over the course of listening; hints of ELO in the distance for the velvety orchestral base. 7. You'll Never Get to Boston, a funfair organ intro with applause, a sort of "The Persuaders," or when the cinematic beauty lingers; acoustic guitar à la KANSAS, ethereal choirs, and a waltz solo; focused on the chorus.

8. World in Action, a direct attack, a meeting of rock and new wave by the CARS; an easy track with its marshmallow guitar solo, the other on a Japanese keyboard. 9. Watching, a GENESIS track; I'll let you search a bit for the fat and catchy keyboard; always rhythmic with the choirs that show themselves more, in short, it jerks. 10. The Dragon Who Swallowed the Sun, a 60s guitar intro, from the era of gangsters in dark glasses and Piaggios; a solemn air on layers of keyboards. 11. The Devil in ABQ, for its slide guitar sharpening the piano notes; A little harmonica and we find ourselves in Louisiana, a Cajun zone that sounds good with the jerky air inviting us to dance with its thunderous trumpets. 12. Open Minded intro à la COLLINS, a Japanese zest, on JAPAN then the sax reminiscent of Phil and it's off for the repetitive title; here we have to wait for the break to feel the frenzied rhythm. 13. Blame on You for a nervous bluesy rock with a strong 80s feel; lively with the fat synth and dynamite drums; more energetic melodic rock in fact. 14. What the Butler Saw superb dark intro, disturbing, fresh, electric, nervous, in short cinematic; well, the CARS keyboard I insist with its haunting stereo reverb, the guitar riff that comes in announcing a superb solo precisely, it spurts everywhere; fusion of a TOTO, YES, CARS, brief monolithic piece with the heady and rhythmic keyboard for the rest; a beautiful moment gradually becoming wild.

Anekdoten Live in Japan (1998)

Anekdoten is a Swedish progressive rock band composed of guitarist Nicklas Barker, cellist/keyboardist Anna Sofi Dahlberg, bassist/vocalist Jan Erik Liljeström, and drummer Peter Nordins.

Anekdoten is one of those Swedish bands that sparked a kind of new wave of prog in the nineties alongside Änglagård, Pain of Salvation, The Flower Kings, and the metalheads of Opeth and Meshuggah. Those years were very prolific in terms of music and creativity.

But Anekdoten may have been the least popular, creating a unique, obscure, and incredibly original style? a mix of old Mellotron sounds blended with heavy tones. They crafted a kind of old King Crimson vibe with elements of classical music and alternative modern rock.

By 1997, Anekdoten had released two records: Vemod (1993) and Nucleus (1995). Both are arguably their best studio albums, with music that was darker and more haunting compared to their later work.

The band was in a period of reorganization, and it seemed they might consider making music a secondary pursuit. However, after their European tour in 1996, they received exciting news?an important Japanese promoter had invited them to tour Japan, where the band enjoyed surprising popularity. This opportunity breathed new life into the band, giving them a second wind and a chance for a potential breakthrough.

Anekdoten's Official Bootleg - Live in Japan captures the band at their rawest. Recorded in 1997 during their Japanese tour, this live album is an energetic, unpolished collection that showcases the band's intensity and atmosphere, even surpassing their studio sound in some ways.

The setlist is a blend of tracks from Vemod and Nucleus, leaning heavily on the darker, heavier side of their sound. From the crushing riffs and tortured Mellotron of "Nucleus" to the ominous, creeping tension of "The Old Man and the Sea," the band conjures a mood of brooding menace that fans of King Crimson's early '70s era will feel right at home with.

The album's rough, bootleg-quality sound won't win over audiophiles?it's raw, and the mix can feel chaotic. But in the end, the listening experience is more than interesting; the rawness suits Anekdoten's sound, emphasizing the band's urgent energy. You can feel the sweat and intensity of the performance, with the crowd's enthusiasm bleeding into the recording. It's an authentic snapshot of a band at full throttle.

Nicklas Barker's guitar work cuts through with angular, jagged riffs and piercing solos, while Jan Erik Liljeström's bass throbs and snarls, carrying a weight that drives the band's darkest moments. The Mellotron?arguably Anekdoten's signature sound?is a constant, droning presence, wrapping tracks like "Karelia" and "Wheel" in a haunting, oppressive atmosphere. Drummer Peter Nordins is a force of nature, propelling the band with a mix of precision and aggression.

The album is a great listening experience in my opinion, one of the best live records I've ever heard. This record was my entry point to Anekdoten, and even today, I find everything else I've heard from them different and less enjoyable than this album. Don't misunderstand me I think their entire discography is amazing, but the energy displayed on this record is hard to match. That's why this album is so incredible.

While I have a huge appreciation for melancholic music that has a beauty to it, this isn't it. When the music drifts into that depressive state, I'm out. And of course their anti-God stance basically takes away any of that true light that humans are drawn to. This is a negatively dark album, like all of their music. And while I agree this is a huge upgrade over their debut, I'm just not into their cold and empty sound. That debut was extreme all the way. This second release at least has contrasts to that extreme side of their music. Clean guitars and vocals have a place here.

They were a five piece on that debut, but that one guest Martin Powell who added violin becomes the sixth member here on album number two. He also adds piano making him an important part of their change in sound. This record has plenty of violin and piano. We get just under an hour of music over seven tracks. This album is hugely influential. That doesn't mean it's good of course, it just means that a young band at the time like KATATONIA suddenly has new heroes, along with PARADISE LOST who were from this same period. Some bands mention early ANATHEMA as well, again this is all during the early nineties.

So we get lots of slow and repetitive music that has more in common with DEAD CAN DANCE than the Prog Metal going on at this time. They are about creating as depressing a mood as possible. Hopeless music. I think there are comparisons to be made between this band and KATATONIA. Both released debuts that were their most extreme, and both are my least favourites. Album number two for both would be what hard core fans consider their best. Their classic records in "Brave Murder Day" and "Turn Loose The Swans". Both bands bring in clean vocals and music that is less abrasive that at least create some good contrasts. But it's the third albums from both where they find their signature sound and where I feel they start releasing their best music.

Like KATATONIA's "Brave Murder Day", 3 stars is all I got for this one. Now "The Angel And The Dark River" is another story.

Astounding sounds prevail on Haken guitar player Charlie Griffiths's debut solo album titled 'Tiktaalika', a crossover prog metal opus with five-star guest appearances, and for some listeners a fascinating marriage between 80s thrash grooves and tech-prog complexity, this album reveals the artist's love of thrash, alternative and technical metal, all abundant here as the stylistic diversity and playing range of Griffiths impress from start to finish - this is a masterful work from a seasoned player who is confident and capable enough to put together such an ambitious project, featuring some of the genre's most recognizable and gifted musicians, namely Thomas Giles, Darby Todd, Jordan Rudess, Rob Townsend, Danïel De Jongh, Vladimir Lalić, and Neil Purdy, while the album has been mixed by Adam "Nolly" Getgood, formerly part of djent outfit Periphery.

The 'Prehistoric Prelude' introduces a ravaging riff that transitions into 'Arctic Cemetery', a technical, brutal and gloomy number with great vocals from Thomas Giles and some awesome guitar playing and production, followed by 'Luminous Beings' and its quirky textures more pertinent to the recent Haken material and their signature brand of prog metal. What comes after are arguably the two centerpieces of the record, the 8-minute tracks 'In Alluvium' and 'Dead In the Water', both of which feature the vocals of Vladimir Lalić. The former is a strong epic with Devin Townsend-esque polyrhythms mashed with a very upfront, modern metal production, a dazzling guitar tone and a ballsy swagger that elevates the piece into a roaring prog metal anthem, while the latter of these is an absolutely killer track replete with gnarly riffing, wacky shifts and hefty sax notes, or else, an in-your-face prog pomp. Another highlight is the instrumental title track (a Dave Mustaine-attempted Dream Theater epic), an all-around prog homage that is equal parts menacing and impressive, the irony aside. Some may also enjoy the gritty technical metalcore of 'Crawl Walk Run', while the closing track works as a coda and provides for a nice framing of the entire album, which is excellent and highly recommended for all enjoyers of the prog metal genre.

This album was originally planned to have a long song cycle on one side and some shorter songs on the other side. The song cycle would be made up of "Behind the lines", "Duchess", "Guide vocal", "Turn it on again", "Duke's travels" and "Duke's end". It wasn't to be, but during the tour that followed the band did play the song cycle as they had originally intended it. It was the absolute highlight of the Duke live shows and the album would have been a lot better had it included the songs this way.

The album opens like the song cycle opens with the excellent "Behind the lines" with its two minute intro leading into the drum machines of the great ballad "Duchess" with its coda "Guide vocal". Then we get three solo compositions with Mike Rutherford's "Man of our times", Phil Collins' "Misunderstanding" (the first song he wrote for Genesis, also the band's first US hit single) and Tony Banks' "Heathaze". Then comes the great "Turn it on again", as far as I know the only single ever with a 13/4 time signature. Then it goes again with "Alone tonight", "Cul de sac" and ". The album ends in a great way again with "Duke's travels" and "Duke's end". Had they left the medley as it originally was (and how it was again on tour), the medley have made it a great Genesis album. But this conversion of pop and prog made some fans lose interest l. This is one of the albums that made die hard Genesis fan to lose interest but I love it. 4.0

Devastatingly beautiful, mellotron-heavy, grief-swollen, and excruciatingly abrasive - this is the sound presented by Swedish band Anekdoten on their 1993 debut album 'Vemod', one of the most significant and far-reaching albums of the progressive revival of the nineties. This is a dark, desperate and melancholic work that exhibits certain qualities pertaining to gothic rock, but at the core of 'Vemod' lies the epic, technical writing that Anekdoten mastered gracefully, jazz-tinted rhythm sections, scorching dissonance with aggressive riffs counteracted by the swirling mellotron soundscapes and gorgeous cello parts, or in a word, a fabulous work of progressive excellence, unique in its style, approach and mood, definitive of its era, and allowing this incredible band of talented Swedish musicians to go on and develop this particular groove of their own, their compelling style that blends progressive rock's complexity and theatrics, with the moodiness and ingenuity of the alternative and gothic scenes.

On 'Vemod', the cathartic musical journey of the Nicklas Berg-led quarter develops swiftly within a dense framework of sounds that harken back to some of those classic mid-70s progressive rock albums, dark and menacing, eager and visionary, and as the band exhibits a taste for King Crimson and Goblin, among others, the listener surrenders himself to an audacious rendition of these classic sounds - heavy, distorted and evidently sorrowful, rendering this debut album a fascinating and important part of the Swedish progressive scene. Manic opener 'Karelia' is a signature piece from Anekdoten, a song that introduces and encapsulates perfectly what this entire album is all about. Followed by the drab and epic 'The Old Man and the Sea', the mellotron-heavy sound dominates the atmosphere, whereas numbers like 'Where Solitude Remains' and 'The Flow' reveal the technical capabilities of each member. Tender and acoustic-driven shorter songs grace this album, too, offering an antidote to the otherwise dense nature of the longer compositions, and how could one forget to mention the pensive and mournful tone of 'Sad Rain'. 'Vemod' is a mesmerizing, hypnotic work with a unique, ominous atmosphere and a recognizable, unique sound, not much more that you can ask for from a progressive rock album.

'Kraftwerk 2', the follow-up to the German band's 1970 debut release, is by far the least characteristic album of their 70s output. Generally continuing the krautrock experiments initiated on the self-titled predecessor, this record is a mish-mash of random noises and instrumental patches sown together in a moderately confusing way, resulting in a work that is above all patchy and monolithic with certain hypnotic qualities, mechanical and lacking a clear direction, especially in comparison to the album coming before it. As the band approach a more ambient domain of sound, the listener gets the least electronic and most abstract work of the group's earliest proceedings.

Ralf, Florian and Conny Plank are once again responsible for the creation of this work, this time lacking a drummer as nobody would be interested in providing a rhythm section to the random swirls of musique concrète, quite ubiquitous on 'Kraftwerk 2', an album that bolsters various effects, tapes and tape echo, molding a palette of unusual sounds from their guitar, flute and violin recordings. 17-minute opener 'Klingklang' is indeed a great peace that goes through different shapes but ultimately ends up being enjoyable enough to be understood, while 'Atem' is simply constructed from recordings of breathing. It is the four tracks on side two that dare to go into a more exploratory direction, and the overall impression is of a poorly conceived bulk of sounds, with occasional glimpses of intrigue and intelligent stitching. This recording is inferior to the debut album, which is why it has been mostly ignored by the band members and critics alike.

Probably the most polarising of the band releases up to that point, the album sees Genesis, now as a trio, trading some of their grandiose, complex ideas for increased pop sensibility. Maybe due to the fact that Collins and co. weren't exactly sure in which direction they want the music to go, ...And Then There Were Three... sits awkwardly in the canyon between progressive rock and pop rock, somehow being neither and both at the same time. While the fusion of the two genres was done better on the next album, Duke, this LP spawns a few very worthwhile tracks (Down and Out, Snowbound, The Lady Lies) in between filler and failed ideas. A classic transition-era album. 4.0 it Is forgotten about sadly.

'Time Requiem' is the 2002 self-titled debut album by Swedish progressive power metal band, Time Requiem. Formed by keyboard player Richard Andersson, the band plays a style very typical of progressive metal, with a strong neoclassical influence, and an emphasis on powerful vocals and fantasy-themed lyrics.

The most prominent aspect of Time Requiem's music is shredding, and it comes in boatloads! Andersson and guitarist Magnus Nordh are absolute beasts on their instruments, furiously ripping up the chromatic scale at every opportunity. It makes for some lavishly flavoured riffs and colourful solos, but sadly it does get a little repetitive after a while.

Most of the songs are very strong and well-written, but also rely on similar tropes. At times, they sound very reminiscent of other bands, such as Symphony X, Dream Theater and Stratovarius. But if you can accept a group wearing its influences on its sleeves, then you might just enjoy tracks such as 'Watching the Tower of Skies', 'Time Requiem', 'Milagros Charm', 'Visions of New Dawn', 'The Aphorism' and the absolutely psychotic instrumental, 'Brutal Mentor'.

'Time Requiem' can be challenging to sit through in one go, especially if you're not keen on the sheer technicality of the music, but perseverance and repeated listens can be rewarding. Over time, the album grew on me, and while the band offers nothing new or unique, this is a very solid debut, and I'm excited to hear where things will go with future releases.

Pink Floyd's 'Atom Heart Mother" made in 1970 is perhaps their most progressive record. The title song suite on the first side could easily be categorized as avant garde-prog. On this track the band enhances its psychedelic song- writing with the soulful guitar of David Gilmour, the beautiful Hammond organs by Richard Wright, a layer of orchestration (mostly copper), a very modern choir performance in the middle section and one of the most psychedelic recording sounds ever. The orchestration by Ron Geesin sounds modern/atonal and fits in perfectly with the abstract sound of the music. Like most epics the songs has a dark/horror section in which a bomb seems to explode. After it the band launches a section of studio manipulations that allows them to create an explosion of parts that are fading in and out. More compelling than any tape manipulations ever done by Zappa. The ending section of the 'Atom Heart Mother' combines the band, the orchestra, the philip Jones brass ensemble and the choir in order to maximize on its main theme; not unlike the beautiful ending of 'Tubular Bells'. Its such a journey to listen to this. This Pink Floyd masterpiece has such a distinct atmosphere that there is simply almost no recording that sounds anything like it. I only used it once as a reference in a review, for the Italian 'Il Paese dei Belocchi' album, which I can also warmly recommend. I also like the fact that not even all Pink Floyd fans seem to like Atom Heart Mother that much, whereas this is not at all like their post-Meddle smooth recordings. Instead, this album is recommended to listener of psychedelic (acid) music, eclectic prog and Avantgarde-prog

"If" is a nice English folk-style song with a hint of Pink Floyd vibes. "Summer '68" and "Fat Old Sun" are also beautiful, sweet melodies that continue to evoke the pastoral vibe of this album. "Alan's Psychedelic Breakfast" is the worst track on here. There doesn't seem to be anything wrong with it, but it's a little tedious and doesn't seem very planned out. Plus, the breakfast noises are sort of off-putting for the casual listener. Anyway, the last track is worthy of existence, but probably not worthy of being on this excellent album. The first four tracks are better than Pink Floyd's first two psychedelic albums, Meddle, Wish You Were Here, Ummagumma, and any post-The Wall albums, mainly because the first four tracks evoke such a unique mood and stick to it. With the last track, it's about the same as WYWH, Meddle, the debut album, and the sophomore album. 5.0 definitely one of their trade mark albums, and along with Animals both are my favorite offerings by Pink Floyd. Lulabelle the third looks like she likes the album too.