Immersive, emotive and edgy, 'All the Wars' is a 2012 studio album from The Pineapple Thief, the Bruce Soord-led progressive band whose name has become synonymous with nostalgic rage and indie production values (occasionally), and this fantastic studio album confirms just how excellent of a songwriter Soord is, here joined by keyboard player Steve Kitch, longtime bassist Jon Sykes and now-former drummer Keith Harrison. A collection of nine new songs on the standard edition of the album, 'All the Wars' really takes up some of the aesthetic searchings of preceding TPT releases (especially their 2008 and 2010 albums) and expands them in a way that magnifies the group's scope as well as their progressive pedigree - at parts heavy and relentless, at others vulnerable and intimate, there is a great balance between these two forces that are necessarily at play in most of the band's music. The album is replete with gorgeous art rock anthems that take equal amounts of inspiration from Porcupine Tree and Muse but redirect this creative energy into a lush and stimulating presentation.

Of course, this album also utilizes the strength and profound sonic power of a 22-piece string section as well as a choir, adding a touch of symphonic goodness to the mix, intertwining brilliantly with the alt-rock riffs and the solid rock rhythms of the album. The entire album winds back and forth between gripping melancholia and atmospheric, angular guitars, topped by the always-recognizable vocal delivery style of Soord. And just like almost any other album by The Pineapple Thief, 'All the Wars' sounds very good, the production is excellent and vibrant, and you can discern the contribution of the different instruments. This is a less electronic record than its predecessor, which is probably why it is a little more straightforward, and I do believe that 'All the Wars' generally has greater commercial potential than some of the preceding albums from Soord. Some highlights on here definitely include 'Warm Seas', 'Give It Back', 'Someone Pull Me Out' and the magnificent 10-minute-long album closer 'Reaching Out'. The opening track has a punkier sound, while 'Last Man Standing' and 'Build a World' reflect upon a more existential strife, at least from what one could tell from the lyrics, with the entire album being quite honest, mature and richly emotional. Just an excellent work from an excellent band and a strong step forward towards the consolidation of the band's contemporary alternative-progressive sound.

A talented and young French band , Moonshine Blast has made a quantum leap forward in their short career, as their debut 2018 "Reality Fear" certainly showed a lot of promise, mixing modern progressive workouts with more pop/rock tendencies, a common occurrence with inaugural releases. With this album, the foursome rightfully and confidently shored up and tightened their focus, with a more linear style that, frankly, blew me away on first listen, talk about maturity! The quartet has keyboardist and lead vocalist Nicolas Duke shining throughout , Gabin Rock handling the electric guitar chores as well as backing vocals, all held together by a robust rhythm section of Renaud Lyabastre and the impeccable syncopation of Thomas Zecchinon. Any band getting support help from such luminary legends as Colin Edwin and Pat Mastelotto is a stamp of approval that should never go unnoticed. Obviously, the tracks have familiar influences that jump out at the listener, being easily detectable, so I won't bother mentioning them, just think of a stranded volleyball. A dozen tracks spanning 75 minutes, 'wait for the ricochet'. Note : both Moonshine Blast album covers are absolutely stunning , this one especially so.

The title track sets the tone, the key feature of most prog albums, a four-minute rumble into the intensity of muscular rock music, the guitars and drums in perfect unison, Duke's piano adding a tertiary alliance, giving the moody piece a tremendous amount of throttle and thrust. Gabin's whirlwind solo only accentuates the immediacy of a fantastic chorus, built up by ever-elevating verses that, all combined into a solid mass, just seals the deal. As tasty as that was, wait until you feast your ears on the spectacular "Cruel Immission", a world-class ambiance that spotlights a sure-handed piano and a vocal that would consecrate the 'dread of any empty sphere' (synonym time!). The initially forlorn mood eventually develops into murkier realms, the Gabin fretwork in particular rasping like a turbo charged engine in furious mode. The 7 plus minutes could have gone on much longer, it was that entrancing.

Panting vocals are not always well rendered, but on "Only You", the contrast between the chaotic wordings and the smooth as silk chorus is pure genius. A catchy, in your face, radio-friendly and toe-tapping tune that comes across as a statement of maturity in confidence. It's also to the point and brief.

Influences really step up to the front of the stage on "No Exit", as Nicolas hushed intonations invoke past comfort zones, a no-nonsense 'Pineapple Tree' emotion (ok, so I cheated, sue me), and just when you expect a somber dive into an abyss, the opposite is offered, a breezy and uber-melodic chorus superbly delivered with both verve and authority, Duke is on fire here, proving the case with a delirious multi-layered synth spot.

The two part "Liquid Feels" dominates 8+ minutes, and as such, forms the heavy prog section of the album, I daresay the core, the initial part 1 broods in sonic despondence, with geometrically smooth bass grumbling and some wide guitar slashes , that briefly accelerate into sub-sonic spaces, acting like thrusters focused on vectors. The quartet valiantly tackles tectonic criss-crossing riffs, erupting volcanic beats, and a raging vocal display that will make anyone's blood boil. This then morphs into the second part, acting as an interim instrumental platform , showing off both coherence to the initial mode, as well as intricate musicianship, as we witness the piano and bass lovingly embrace (poetry again), the Gabin guitar acrobatically pirouetting like a lean gymnast and Zecchinon bashing his kit with glee. Simply breathtaking.

It comes as no surprise that a change of attitude is called for , and "Broken Arrow" delivers the goods in spades, a jazzier fragrance within a more conventional format, circular rhythms and melodic lines, easy to follow and simpler to enjoy, with a joyful sing-along quality that shows reverence to past glories of rock music in general (I am thinking along the lines of Traffic), another extensive synthesizer flurry to prickle the ears is most welcome. Loved the audacity to pull this off. Definitely a highlight track among so many!

Get the motor running , head up on the autoroute, "Strangled" has a tinge of punk nastiness, as wrath, frustration and sweat unite to oil up the fretboards, raise the volume on the amps, let Zecchinon beat the living crap out of his skins and Duke yelling like Huw Cornwell in the early days of the Stranglers (coincidence in the title?, non!). A barn- burning rebel scream in the night.

On the thrilling "Fractal" , the rowdy bass guitar takes the concrete lead, blasting moonshine everywhere, a deceptive introduction that will morph into echoing background choirs offering a neo-Gothic cathedral experience, a brusque synthesizer sortie scouring the space between the dome and the arches. The clever detailing is more than welcome, as these four lads sure know how to keep things exciting and adventurous, expertly navigating temper and circumstance, melody and rhythm, a river of constant change within well-defined contextual architecture. Throw in a gloriously expressive voice that never disappoints, and you wave the flag of surrender as far as any potential negatives are concerned. I could stop here and give my 5 stars without hesitation, but there is another 28 minutes of tremendous music left in the tank. Well, seven years is a long time, after all.

"Under Control" emanates a modern sheen that is undeniable, far from retro or cliché, just an insane vocal delivery again with all sorts of electronic accoutrements meant to carefully camouflage the inner rage at the controlling machine, a powerful rejection of the algorithmic dictator that permeates out tools. Fiery guitar sparkles amid mellotron waves can do no wrong.

Now I did warn you about premature climax, as the leviathan 16-minute epic shows up on "The Cell", a piece that you are not allowed to listen to on your phone, as your battery may fry. This convulsive chef-d'oeuvre captures the entire essence of this album as well as the development of the players involved. It possesses all the prerequisites of potential fame in the prog world. Impeccable pacing and preparation, blending all kinds of ingredients into the mix, but at a restrained pace, so as the flavours can permeate both the body and the soul, and creating a composition that encompasses so many prog standards. The entire scope is futuristic, cinematic, organic, eccentric and electronic, unrelenting in its grasp of various hi-tech tendencies, and deadly serious in its deliverance. Urgently passionate, verging on swelling delirium, the arrangement never falters for even one iota, the insistent synths doing nothing else but consolidating the groove. The ambient moments come along as panacea, a medicated form of atonement of past sins, yet still yearning for release. This is one of the finest 2025 epics and we are only halfway through the year. One is completely caught by surprise as the final section enhances a sense of imminent liberation, a breezy, joyful and exuberant vocal and guitar phrasing that throws away the punishing key for evermore. Free at last.

After all the emotional warfare , a bucolic acoustic ballad arrives as a blessing ,"When the Wind Blows" is prettiness incarnate, a ballad of majestic melodic proportions, a vocal duet of crushing simplicity. Mellotron enters only to highlight the chorus, all fragility and swoon. As fine a song as one can hope for.

5 Empires of Options

Secret Oyster's third album fulfills the prog potential and direction that was suggested on their previous two albums.

Side One (The Astarte Suite) (what I call the "German" side):

1. "Intro" (2:10) all keyboard for the first 30 seconds, then flanged drums, electric bass, electric guitar and treated sax enter to give it a futuristic (though now dated) feel. Is this an indication that the band is moving more toward the progressive rock domain? (4.333/5)

2. "Stjernerne pa gaden (The Stars in the Street)" (5:41) veering away from the Popol Vuh-like Kosmische Musik they seemed to be exploring on the last album (especially on the second side), the band is still obviously deeply entranced by the new world of synthesizers and electronic effects. (8.75/10)

3. "Sirenerne (The Sirens)" (5:03) though elements here seem to indicate J-R Fusion, the song really comes across more as a dramatic/cinematic prog song akin to the music being made below the border by bands like The Eloy and Grobschnitt. This flow and constancy of this song is making it seem as if the band is trying to create a suite of Eloy-like space/psychedelic music. (8.875/10)

4. "Astarte" (6:28) the theme/suite continues, here developing into a futuristic smorgasbord of synthetics and odd associates (Moog, sitar, electric guitars, reverb saxophones) over hypnotic drum and bass (though still more proggy than Kosmische/Krautrock). I like the slow and insidious build up of tension and volume over the course of the entire six and a half minutes. (9/10)

Side Two (The "French" Side):

5. "Solitude" (4:07) Side Two starts with a SATIE-like piano piece that is supported by some synth and bass. Obviously we're finished with the single-flow theme that was Side One. Pretty and filled with mystery and uncertainty, even frailty, it's a beautiful piece that serves well as a transitional bridge. (9.333/10)

6. "Tango-bourgeoise" (2:47) an odd piece--like something from Kitaro or Tomita in which the band attempts to render some classical piece via electronics. (8.667/10) 7. "Bellevue" (3:20) more silliness made possible through the use of electronics. Nice funk-rock rhythm track. Inspired by the musical explorations of Jean Michel Jarre? (8.75/10)

8. "Valse du soir" (1:55) accordion music! (Or have I been duped into believing that a synthesizer-generated sound is an accordion?!) I love this type of music (as well as the accordion) but should I be impressed or perturbed that this sits pretty on a supposed-Jazz-Rock Fusion (or progressive rock) album? I guess Yes' seminal Fragile album gave rock artists a lot of license, grace, and leeway. (9/10)

9. "Outro" (5:06) back to the hard-driving ELOY-like space rock. Awesome foundation from the rhythm section--as well as awesome play from them--especially Jess Staehr and Ole Streenberg. The interwoven synths, guitar, and sax solos are nice, too. (9/10)

Total Time 36:37

The least Jazz-Rock Fusion of this band's supposed Fusion output. I've read that the band was literally recording the material for this album at the same time as that for Krakenhaus--sometimes splitting their days and nights between the two! Perhaps that is how/why this album comes across as

B+/four stars; an excellent display of two-sided split personalities: the Germanic Space/Psychedelic Prog of Side One and the ambiguous Gallic themes of Side Two. Definitely recommended to all prog lovers.

There is a new band out of South America, with ties to a couple of other wonderful artists. The new band is Chercán and the drummer was in both La Desooorden and Homínido. Both of these bands offered a wonderful RIO / rock setting, and coming from primarily, Chile, I believe.

Upon listening to this new project, and album, Chercán offers a similar sound, but modern and a bit heavier. Still the traditional format rock band, with saxophone, but this is something VERY special.

The overall sound is quite mature,and very complex, yet remaining completely accessible. Still there is that RIO influence, but this has a lot of heavier, modern rock feel to it. The vocals are sung in their native language, and perfectly fits the music. I basically no longer give 5 stars anymore, BUT! This is 5 star music and deserves the recognition of the highest order.

Bravo, Chercán , Bravo indeed!

It is fair to say that the most unfairly overlooked Black Sabbath album from the seventies is 'Never Say Die!', which is of course the final album released by the classic lineup of Tony Iommi, Ozzy Osbourne, Bill Ward and Geezer Butler in the twentieth century, and their eighth consecutive studio offering. An interesting album by itself, 'Never Say Die!' concludes the monumental first stage of the British heavy metal progenitors' evolution, and in many ways it does so in a beautiful way. After the experimental, flowery and not-so-consistent 'Technical Ecstasy', we have a return to a more discernible heavy sound here, all while the band still dares to play around with some new ideas and experiment with new genres. Sabbath are joined by guest musician Don Airey, who handles all the pianos and keyboards on the album; and yes, much like its predecessor, this record has a lot of piano playing.

Unlike the group's preceding studio album, 'Never Say Die!' has stronger riffs and a more compelling, guitar-driven sound, topped by the really solid vocal performance of Ozzy. Some of the heavier numbers on here and really effective and the pop-sided experiments of preceding releases are neglected for the sake of a harder, punchier sound, and yet this release has several weak spots, which have necessarily contributed to it being seen as patchy and inconsistent over the years. The title track comes first here and is a more standard hard-rocking number with a lot of commercial potential (maybe Sabbath were indeed trying to land a hit song), while their more sophisticated and exciting writing is reserved for the following tracks 'Johnny Blade' and 'Junior's Eyes', the latter being absolutely brilliant, melancholic and richly emotive. We have a return to the progressive ambition of albums like 'Sabotage' or 'Sabbath Bloody Sabbath', and this is later on confirmed by the jazz-influenced 'Air Dance', a very interesting and really rewarding experiment, and the instrumental 'Breakout', both unusual Sabbath pieces but welcome on this otherwise fascinating album. Other good songs on here include 'Shock Wave' and 'Over to You', where we have a really discernible heavy metal leaning with clean, straightforward sounds and playing.

The entire album is quite good, the cover design by Hipgnosis is excellent, and while the music can get really exciting and unusual, it is true that this is far from the best-sounding Black Sabbath album, with occasional weak moments still present. As an album completely ignored by the band members and later on by many music fans, 'Never Say Die!' has been unfairly treated as the odd one out, while in reality it has several daring moments that redeem its bad reputation.

Camel's Moonmadness. This album places just below CTTE for me, the whole album is an absolute masterpiece, and if you haven't heard it yet, let this be your sign. This album has a eerie, cold, dark sound that is best enjoyed in a thematically matching room. It took me *seven* tries for this album to start to do it for me, but I kept trying to enjoy it because of how much I loved Mirage. I can say with confidence I acquired the taste. I would almost say I forced it on myself, but that's not true, I just had to wait for it to hit. Paying attention to the lyrics helped quite a bit. This is an album you will have to hear multiple times, no excuses. The synth work, guitar, and as a highly unpopular opinion, the vocals (being the best part) are absolutely impeccable. I don't want to dull my point, but this is just beautiful.

Aristillus: This is in my honest opinion, the weakest track of the album. It is completely instrumental, and the sounds don't quite match the rest of the album thematically. Despite this, it is still a very nice sounding track, and contrary to what the thematic discrepancy would have you believe, sets up for the next track well. Not much to say about such a short track. 8.5/10

Song Within A Song: This is after careful consideration, my personal favorite on the album. The vocals are really what do it for me. This is thematically my favorite song ever, you cannot beat being in a dark room with your eyes closed and listening to SWAS. The percussion rides over the slow eerie vocals, the amazing synth work and the climactic jammy instrumental part through the end make this song absolutely amazing, and the reason this is the second review I post. 10/10

Chord Change: This track will really catch you off guard. I chose not to spoil this when I showed it to my friend for the first time. He was indeed surprised. This is a groovy, almost upbeat track. After the trance that SWAS will put you through, Chord Change pulls you right out and yells at you to tap your foot. About halfway through there's a nice pace change, and overall, although not a standout track, it's very memorable, and because of it's surprise attitude in the context of the album, has almost developed a personality in my mind. One that I'm fond of at least. 9/10

Spirit of the Water: Although not particularly memorable, this track is both theme cohesive and defining, and the vocals are once again present, making for a very pretty and slow moving, cold track. another good one to listen to in the dark. I'm not sure why it's so forgettable in my mind, it doesn't really seem to be the fault of the contents of the track itself, as they're awesome even in isolation. The flute work in particular really shines through, and maintains a great sound. Unfortunately, for that lack of memorability, this track will get a small deduction. 8.7/10

Another Night: A return of SWAS like vocals pull you right into that same trance. this time it feels a little less smooth, but it's still awesome. It's actually pretty hard to criticize this track for being sudden or harsh when Chord Change gets off scot-free. I also have to admit, I absolutely love the start, where it slowly fades in, only to surprise you with that amazing riff, foreshadowed by the faded drums. The difference in the vocals from SWAS makes this track feel new and like they're using the same theme, with a new sound to keep you interested. I like it, and the slow breaks are shockingly beautiful. I strongly believe that this track has earned a high rating. 9.8/10

Air Born: This was one of the few tracks that I could tell was special in the first couple listens. It really shows off what Camel did right with the vocals on this album, and I honestly think it's haunting beauty may match SWAS. Like so much of the album, the flute pairs nicely with the synth and ambient sounds. There's really not much that can match the sound of the instruments fading out, before everything comes in at once, leading to another climactic song ending, that is melodically and thematically very pretty. 10/10

Lunar Sea: This track is another absolute banger, the synth and percussion, as well as the guitar make this track a stand out instrumentally for the atmosphere of escaping the darkness, it feels like things might warm up someday, and the bright work of all instruments make this an even more groovy track than Chord Change. Although I think they missed out on the chance to have another beautiful vocal track as the finale to such a wonderful album, it's nothing against this amazing song. 9.5/10

GOMA were a five piece band from Spain who managed to release just this one album in 1975. The title is the date the band was formed, and also the date the album was released, exactly one year later. This is an album with some different styles which is fine, but the production is not. The sound quality is lacking at times affecting my enjoyment. We get four of the guys singing lead or harmonies. And besides the usual instruments we get sax.

And that sax sounds like it was influenced by GONG around 1 1/2 minutes in on the opener, sounding quite silly. This after a guitar led start. After the sax steps aside we get another complete change as the organ leads the way. High pitched multi- vocals join in as well. More silly sax then it gets dissonant. The guitar lights it up before 6 minutes then a calm. It never does kick back in after this.

While the opener was a good track marred by some bad production, the closer which is almost the same length at over 11 1/2 minutes is just simply disappointing. Just not a lot going on for extended periods here.The opening reserved vocals and sound are boring to say the least. Going on far too long. A tough listen overall. Probably my favourite track is "Madre Tierra" and especially later when it turns heavy and the sax gets dissonant. Even the bass is on fire here. Lots of acoustic guitar on this track as well. The other middle track, also about the same length at over 8 minutes impresses more then those long opening and closing tracks.

A good album but that closer drags this down. Even if it was better this would be 3.5 stars at most. The production doesn't help in all of this. Not quite the lost classic I was hoping for.

This is my personal favorite album of all time. It's a drum that's been beat to death, but for anyone deciding whether or not to listen to this? Just give it a try. If you find a dark room, a nice pair of headphones and an open mind, this album--specifically Jon Anderson-- will sing to you. This album features amazing work from all members of the band, and each member preforms at their absolute best on this record. I know my review will get drowned out by the thousands of accompanying 5 stars "This is the best thing ever," but it really is. It is honest to god the best thing ever. Give it a shot and tell yourself what you think.

Close to the Edge: Subjectively the best song ever composed, this is actually on the shorter side for a one side epic. That length is used perfectly however. The quality of the first track cannot be overstated. No, it's not flawless, but I think it's as close as you're gonna get. This song is really what the album is all about. I think if you need cohesive lyrics to enjoy a record, this might not be for you. I think lyrics are an extremely important part of progressive rock music, but I would also argue that the lack of sensible lyrics works to this tracks advantage. Don't let the lyrics scare you away, they're no deal-breaker by any stretch of the imagination. 10/10

And You and I: And You and I has been described before as "the quintessential Yes song" by some commenter on Youtube. While it's always a good idea to take opinions on that side with a heavy helping of salt, it is to some degree really the case. This song is symphonic, beautiful, emotional, and according to my friends stepdad, a ripoff of the people who made Roundabout... brilliant opinion. In any case, this track really shines, and Anderson's usual grand and eerily beautiful vocals make this track another one of my favorites of all time. 9.5/10

Siberian Khatru: This track is really catchy, but it's not the bad kind of catchy. It's the kind of song that sticks with you because it's such a sonic joy to listen to. After the arguably lyrically significant And You and I, this track is a nice break back to the meaningless hogwash of the title track. Unlike the title track, this one really doesn't feel like it's about anything, which is a minor setback, but I don't believe this song was meant to be meaningful, so it won't take too strong a hit in my rating for that reason. 9/10

If you're familiar with the album, and considering getting it on vinyl, I highly encourage this decision. A good copy will run you about $10 at the time of writing this if you stop by a local record shop with it in stock. Even on the old paper thin 70's discs the grooves on this one track well and sound great. I highly encourage grabbing it.

An album that was recorded at Todd Rundgren and Moogy Klingman's "Secret Sound Studio," produced by Miroslav, and released by Arista Records in 1976, quite possibly in November. This was Miroslav's first record made with Arista and perhaps his first encounters with--or, at least, use of, the MiniMoog (via Todd & Moogy's in-studio equipment).

A1. "X Rated" (3:25) a catchy funk-jazz tune with some great musicianship--with the surprise inclusion of the Urszula Dudziak-like wordless vocalese coming from Israeli-born vocalist/keyboardist Rimona Francis. A great, solid song with some wonderful surprises (besides the delightful female vocalese): Lenny White's smooth yet syncopated drumming, Miroslav's funky, soloing electric bass play, the predominance of so many synth sounds, and the smooth yet not annoying sax play of Jaroslav Jakubovic. Yeah, it's Disco, but at least it's interesting--and progressive. (8.875/10) A2. "See You, November" (3:25) a gentle pop-jazz tune with wonderful conga-based music (great work from percussionist David Earl Johnson) and Jaroslav's breathy sax (double tracked--or chorused) played over some pretty extraordinary Latin Jazz bass playing and innovative synthesizer stylings from Kenny Bichel. Not only is it a mesmerizingly soothing, beautiful song, but Miroslav's bass playing is really something to behold. (9.75/10)

A3. "Majesty Music" (4:35) an edgier song that is dedicated to the late, great Duke Ellington (who passed on May 24 of 1974), this one veers more toward jazz and free jazz that has everybody kind of flying around like loose canons despite the fairly solid groove being laid down from Rimona Francis's droning string synth and Gerry Brown's (poorly recorded) drumming. Miroslav and Jaroslav seem to be having the time of their lives. Great musicianship doesn't automatically make for a great, listener friendly song--especially when there are deficiencies in the sound engineering department. (8.875/10)

A4. "New Orleans" (3:20) funky bass--coming from two different bass players, both playing at the same time! and Lenny White's wonderfully smooth and easy drumming supporting more wordless "vocalese" coming from not only Rimona but Miroslav's MiniMoog and Jaroslav's "distant" sax. Miroslav's work on heavily-effected super-funky clavinet and Fender Rhodes are also extraordinary. (9/10)

A5. "Do You, Don't You, Won't You" (3:00) a fun, disco-driving funk song that sounds like something straight out of a contemporary Michal Urbaniak album. Bowed bass, electric bass, layers of synthesizers (including bass notes/chords?), Lenny White's disco drumming, Jaroslav's three different saxophones and flute, all serve to make for a light and freeing little dance tune. The ABBA-like ending is a bit weird. (8.875/10)

B1. "Best Friends" (4:10) high-speed guitar and double bass (both coming from Miroslav) with sensitive and highly- skilled and amazingly-nuanced drums from Gerry Brown, fast-playing congas from David Earl Johnson, while Jaroslav screams out with his tenor sax as if he's some kind of John Coltrane or Pharoah Sanders. Interestingly, the song kind of smooths out--especially with regard to Jaroslav's sax play--for the final 45-seconds. Wow! Let's hear that again! Not necessarily a favorite but such an impressive display of skills and interplay! And it just keeps getting better with each listen! (9.375/10)

B2. "Streams And Fields" (3:04) two tracks of congas from David Earl Johnson with synth and bowed electric bass, Vangelis-like synth strings chord-washes, synth bass, and English boys choir-like vocalese from Rimona, and, later, sax from Jaroslav, this is really a carpeted interlude for Miroslav to play with his electronic effects on his bowed bass. But it is pretty cool! My favorite part is actually Rimona's almost-worded vocalese at the end. (8.875/10)

B3. "Folks" (4:40) Miroslav's pensive electric piano is soon joined by Jaroslav's "Funny Valentine" melody from his alto sax as Miroslav adds some synth strings and, finally, some double bass. But that's just the intro: at 1:20 piano and drums (courtesy of Bobby Goldman) and congas establish a comfortably-paced convertible-cruisin' groove within which the piano and Rimona's uncredited vocalese present melodies before Jaroslav's delay/echoed alto sax enters to finish off the radio-friendly smooth groove. Nice tune. (8.875/10)

B4. "Mount Shasta (Part II)" (3:57) electronic animal and space sounds and Flintstones-like Beatnick drums and congas reads: Star Wars Cantina (though it also reads Michal Urbaniak and Herbie Hancock). Jaroslav's echoed baritone sax gets an increase on its volume in the second half of the second minute, making it the lead animal in the stampede. (8.75/10)

B5. "Requiem For My Mother" (5:04) like a musical ode for a sunrise or sunset, synth strings chords, bass notes, plaintive salivay sax, and piano make this song quite gentle, respectful, and contemplative if not as emotional as I'd expected (from the title). (8.875/10)

Total time: 38:40

An album of very solid, consistent, mature and adventurous compositions of which two stand out head and shoulders above the rest. I love hearing Miroslav branching out: trying more instruments, incorporating more synths and electronic effects, while also showing how he is mastering the Latin and funk styles.

A-/five stars; a full-fledged minor masterpiece of Jazz-Rock Fusion. Miroslav is moving forward: toward the funk and electronic--and it's working!

Another new discovery, this time from Brazil, band of brothers who have come up with a rather exquisite album. What makes this album particularly beguiling is the fact that there are only five monster tracks, ranging from 23 minutes to 12 and a half. The two brothers is question are actually father and son Gabriel D'Incao (keyboards, synths) and paternal guitarist Pedro D'Incao adding a solid rhythm section (it's always percussive in Brazil) of bassist Fernando Lima and Humberto Zigler on drums. The vocal department consists of Roger Lopes and Kim Chandler on backing vocals. The band explores the distances between silence and sound, diving deeply into the subconscious with organic soundscapes verging on ambient, in essence travelling to the extremes in search of some new definition of progressive music. Needless to state, these musicians do not need to be rushed or forced to hit one between the eyes, believing that anticipation is the greatest form of pleasure.

"Cyclical Night" is the shortest track here, yet it unfolds like a serene staircase that perhaps leads to heaven or maybe even hell, it depends how upside down one may feel. Venturing out from the gate in overtly natural surroundings, the build-up finally arrives at a confluence of intervening sonorities that reek of classic prog rock, such as the harsh guitar slashes, relayed by pounding bass and drum activity, strident synthesizer revolutions and Roger's grave intonations, that can even verge on rage. As the mood settles, Pedro peels of a glittering lead guitar solo, all shimmer and shine, a solitary light glowing in the obscurity, a beacon of a hope that leads one back to the starting point, a comfort of roads already travelled. Gabriel, in fine harmony with his bro, attacks the synth with another simmering solo, just in case. The dense breathing-like atmospherics also waver between hope and dread on "Digital Coma", an apocalyptic digression that is unafraid of tackling the modern-day psychosis of being hooked online, self-bombarded with endless and often useless data, that ultimately hides the fact that the algorithms are spying on you. All it takes is a click, a password and your soul has been sold. Thank you Lucifer.com, Mephistoles.org and Satan.net! The initial industrial foray is hugely experimental, neurotic if not outright chaotic, a soundtrack for a dysfunctional machine that wants to 'put you in a coma with some dirty love' (as Zappa once famously said). Halfway through, pleasant music appears, as if in counterpoint to all the previous confusion, a despondent voice skirting over the serene arrangements, fighting off the apathy and searching for salvation. Like a mechanical version of a welcome to the machine that yearns for some melodic harmony, the piece dives headfirst into sheer beauty, expressed with bombastic exultation and natural rebellion. The sizzling pace gets ratcheted up with some brutal background swells of raging noise, thunderous bass and drum detonations exploding with impunity, as the electronic keyboard undertow suggests some kind of bravery and fight. The finale is sumptuous both emotionally and sonically, this is Modern prog at its finest, daring to span noise and harmony with focused attention, as backing vocalist Kim Chandler does some spirited wailing as if awakening from what seemed like eternal torpor.

The epic nearly 24 minutes of "Violeta's Dream" constitutes the core of this masterwork, an exercise in undisputable restraint, not shying from overt sonic innovation, firm in its inherent originality, and even daring to boldly travel beyond the mundane. As rest meets calm and as peace encounters sleep, eventually the reverie has taken hold, the magic can begin. As biological as experimental music can be, the sounds seek both entrance and embalm, creating that comfort bubble in which only inspiration can be found. Pedro settles into a guitar phrasing that finally attains its goal, exploding into an apotheosis of sound, evocative of early King Crimson, with mellotrons ablaze in rapturous bliss, Roger offering a forlorn voice, and Kim a moody counterpoint. Whatever digital coma you may have been jailed in, freedom now clearly has taken over, free at last to wander the drawers of the mind, where long buried memories, furtive glances, and urgent musical notes await the hungry heart. Gabriel rips off a synth solo that just slays all the inner dragons. Flute patches astound, gentle drum fills rebound, and the whole arrangement steadfastly yearns for a new passage to a promised land. Meeting unexpected resistance, the greying riffs become dark with envious fury, a developing mind storm that can often lead to a gruesome nightmare. It grows into a heavy tempest eventually, making the Bible Black starless. The glaring void reverts to eventual confusion and then silence, back to the beginning and another day at the office. Spectacularly ballsy.

Echoing piano gracefully adorns the redolent "Blue", an alternate method yet same goal: to entrance, charm and subdue any negative after thought that may linger in one's psyche. The bass guitar gathers in the musicians for a hugging huddle, pondering the next move, offering up an almost alternative 80s sound with the deadpan voice and just when you have this pegged, a wild synth rages into the forefront, the bass louder and nastier, like a serpent ready to bite. Definitely the most 'accessible' track here, its azure effusiveness is highly attractive until it detonates into venomous irrationality on the guitar front. The stop and start methodology is flawlessly suited to confuse, stun and then formulate a gothic-like cathedral setting, where the colossal melody can take root and extol its rich virtues on both the believers and the rebellious lot. A spotlight is suddenly aimed at Gabriel's piano, doing a modern-day version of a Liszt etude, all technique and emotion, passive/aggressive in its details. The extended time allotted for him to shine on the ivories comes as a most welcome addition to the ongoing evolution of this piece.

The final epic "Voice of God" has a width of 17 minutes minus a few seconds and concludes the proceedings on another jubilant creation. With its bombastic and overarching symphonics, as well as the insertion of aria vocalizing from Chandler that verges on screaming (hello Clare Torry), the divine piano once again sets up Roger's impassioned vocal delivery. The arrangement gets a heavy-jazz treatment, with assorted tonal complexities that redefine avant-garde, an intensity settles into the confessional, as the higher authority seeks to exert as much dominion as possible, in order to provide ensuing redemption. Naturally, the mood relapses into reverential contemplation, with introspective piano musings that collide with overarching orchestrations. The adamant voice echoes as it fades into the celestial realms, the lead guitar bidding farewell, a final act of absolution. Kim Chandler does her operatic acrobat bit to perfection, soaring mightily into the stars. What a voyage this has been.

Maybe not the absolute best album of 2025, but definitely, without question, the most surprising discovery of the year, by a longshot. The level of creativity displayed here already could put many bands to shame, a consistently evolving creature of compositional extravagance that is defiant and bold. It's a long album that will reward the adventurous listener over, and over, and over?.

5 submersible commotions