From the serpentine beauty of Chile comes this impressive sonic surprise, already gathering rave reviews from the global prog community (which seemingly enjoys sharing the latest buzz) and surely destined to a most successful future. Why, may you ask? At first listen, this veteran prog musicologist rarely gets to sit back in amazement and wonder in silence at first and later out loud, what the hell is this? I am never prone to cussing or even occasionally shaking my head in bewilderment, but Chercan has certainly qualified to bowl me over! Led by a merciless drummer /percussionist in Rodrigo Gonzalez Mera and a robust bass guitar held by Simon Catalan, while top- notch guitarist Roberto Faundez (My nickname would be 'Frippo') and Matias Bahamondes wielding a wonderfully neurotic saxophone, both add all the fiery molten lava soloing one could dream of in the best of nightmares. Vocalist Martin Pena sings like a man possessed and provides added guitar mania. Guests include a string trio.

Exploding like the Chaiten volcano in the Southern Andes, "La Culpa" is a monstrous slap in the face, a hysterically magnificent torrent of Magma-esque fury (not necessarily the band but the molten fire) that settles into sudden introspection, where the fervent glow of Martin's voice soothes the scalding pyre of sound. But it's only a brief reprieve, as the bulldozer guitar barrage reignites into turbo charged vehemence. It's entirely the band's fault, tectonic and strategic as they are wanting to disturb, shock and perhaps even provoke. Martin screams as if the devil was chasing his tail.

Will our chilenos quiet down now, well it's hard to predict, as the speed at which they shuffle from vigor to smoothness on "Caen Las Hojas Blancas" is unpredictably dizzying, 'Frippo' Faundez manhandles his fretboard with impunity verging on hysteria, as if barking at Matias's brass reptile. Hints of experimental (mostly mental) King Crimson definitely come to mind, the Mel Collins-era in particular, the saxophone utterly devastating! I need to check my heart rate as I feel like a F1 engine overheating. Perhaps a week's rest in Vina del Mar might help. "Kalimba" kindly keeps the pace a tad more sedate but only a tease, for as soon as that nasty twitching guitar starts throttling up, the tempo increases once again, egged on by Martin's pleading vocals that exude pain, suffering and revolt. "Desolacion" is where the string trio settles the sorrow factor with a serene moment o reflection on the previous devastation.

It segues lovingly into "Tiempos Paralelos", a hauntingly gorgeous flutter of ornate calm, acoustic instruments galore, cymbals for percussion, delicate sax work and a slightly more subdued emerging bolero-like beat and scat singing that merge into a vortex of symphonic bliss that came as a complete revelation, closed off by a hazy revisit by the strings, bidding adios! Definitely a highlight track.

Plunging back into their signature percussive heavy style, "Las Mentiras del Muro " has the guitars and the drums working in tandem in whipping up a wall (muro) of dense authority, Simon's rubbery bass provides the much- needed foundation for a sax sortie on the softer side of reverie and melancholia. Chercan cannot help relapsing into boisterous flareups of unforeseen irrationality, as it's their trademark feature. Nothing here is remotely close to prog by numbers. Cohesive abstraction are perhaps better suited words to describe this whirlwind.

And to further the need to inflict unexpected joy on avid listeners worldwide, the two part 12 minute+ suite "Relato de Una Obsesion" naturally comes as an extension of their 'keep you on the edge' methodology . "Quimera" suggests a 6-minute journey into the vast and breathtaking expanses of the Atacama Desert, situated in Northern Chile, a plateau that is as arid as it is beautiful. The second section "El Orate" is where the harsh realities of such a desolate climate and topography can get the senses into a state of obsessive frenzy, where guitars, sax, bass, drums and vocals unite as one, in brazen defiance of any challenges nature wishes to impose. Incredible music.

The onus is now on a peaceful finale, all shimmering light and glittering "Colores", a hauntingly serene arrangement that defies all the previous norms established so forcefully up to this point. The acoustic instruments, the delicate strings and the percolating percussive elements, and a vocalist exuding emotional release all combine to finish of this extraordinarily unique recording.

The only comment I can possibly rely on as proof of the impact it had on me is that in a musical world that has assuredly played every note and combination of notes once or many times before, Chercan comes across as a rare bird in the progressive field. Yet, by all accounts, it's a rather common one in Chile, and allegedly very human- friendly. We are so blessed.

4.5 Andean aviaries.

The Dio era continued with strength and confidence, but not without its limits.

"Mob Rules" is Black Sabbath's second album with Ronnie James Dio and marks the beginning of a lineup many fans consider the second best after the original: Ronnie on vocals, Tony Iommi on guitar, Geezer Butler on bass, and Vinny Appice on drums. This lineup would later return for "Dehumanizer" in the 90s and the Heaven and Hell project much later.

Turn Up the Night opens the album in a similar spirit to Neon Knights from the previous record. Fast and energetic, but unfortunately not particularly memorable. Voodoo follows as a straightforward hard rock track that does its job, but also fails to leave a lasting impression.

The Sign of the Southern Cross is the first major highlight of the album: a heavy, atmospheric epic that showcases Dio's power and Iommi's mastery of dynamics. E5150 comes next. An eerie instrumental that introduces an ambient, experimental layer to the album. It hints at the more atmospheric direction Sabbath would explore further in the superior "Born Again".

Then comes The Mob Rules, a powerful burst of fast-paced heavy metal that stands as one of the most aggressive and solid songs on the record. It arguably would have made a better opener than Turn Up the Night. Country Girl delivers some darker hard rock with decent energy, but it doesn't fully stand out. Much like Slipping Away, which adds a slightly funky groove and allows Geezer Butler to return to the spotlight with a few tasteful bass flourishes.

Fortunately, the record picks up again with Falling Off the Edge of the World, which may be the second-best track on the album. It has drawn comparisons to Iron Maiden's early style, with some fans noting it sounds like something Paul Di'Anno could have sung, and others calling it the best Iron Maiden song Iron Maiden never wrote.

That strong momentum continues with Over and Over, a slow-burning closer filled with dense, mournful riffs and a powerful sense of emotional weight.

Conclusion: "Mob Rules" is a solid album, featuring strong performances and a rawer, more aggressive sound than "Heaven and Hell". However, it doesn't quite reach the same level of inspiration or consistency. Too many filler tracks prevent it from being truly excellent.

Still, it remains a very respectable entry in the Sabbath catalog, and a key chapter in the Dio era.

Best tracks: The Sign of the Southern Cross, The Mob Rules, Falling Off the Edge of the World, Over and Over.

This album took longer to grow on me compared to Tardigrade which was an instant favorite of mine, but the more I hear the better this one gets. My favorite songs are "Paradise Square" and "White Glove". I wanna mention some of the highlights before I analise each song.

I really love the ending of White glove with it's groovy bass and catchy melodies in the vocals and guitar, it's really nice to listen to. In that same song there's a tone shift that happends towards the end with some tradicional indian instrumets, there's a sitar playing and very interesting sounding percussive instruments, the best part of the this section for me is how naturally it flows with the rest of the music. There's also a very beatiful Änglagård sounding part in Paradise Squares, some amazing piano playing and very bombastic chords using organ and keybords. It's generally a very memorable and well crafted album and I've listened to multiple songs a lot of times even if I've only discovered it last month.

1- "And By the Water" (4:45): It starts with only vocals as they're abruptly interrupted by some very energetic instrumentals. We have an amazing bass and drums with chords in the synths aswell as the guitar playing the melody alongside the keyboards, which is something that appears a lot in songs from Simon Says. This section sounds a lot like something from Gentle Giant like "For Nobody" or maybe something from "Free Hand". The mood shifts pretty rapdly, there's a little guitar solo accompanied by a powerful bassline and then a very clean and atmosferic session on the synths. The vocals play alongside chords on guitar, the vibe gets peaceful but at the same time mysterious, it's very melodic and pleasing, a sound that repeats a lot throughout the album.

I really enjoy the chorus and the vocals in this song, they are very emotional and add to the incredible atmosphere. The song gets more hopeful during the outro, which sounds a lot like Genesis. The ending has a very short but sweet piano melody. It's a very impactful introduction, it really sets the tone for what's to come. The melodies are delicate and intrieguing, the echoes in the vocals give the song a surreal and ethereal vibe and it's overall very well constructed and clean. The guitar solo sound a lot like what you would expect from Änglagård, which is always welcome. But overall, it's not on the same level as the other songs that follow it. (7.4/10)

2- "Paradise Square" (13:43): The start is already very memorable and exciting, the keyboard and guitar complement each other perfectly. I love the falsetto that Daniel Fäldt does in this and some other songs from this band, it's really tasteful and complements the overall vibe and melodies of the intruments. His voice is kinda hard to get used to, he has a very unique timbre and plays a lot with the tone and pitch of his voice in very unique ways, I liked it since my first listen but some people might find it hard to get used to. In general, I think the starts to feel repetive after a while and it isn't as interesting as the rest, it feels a bit empty aside from the drumfills and great vocals but fortunetly the songs gets more interesting pretty quickly.

The section in 3:54 is very emotional, the voice seems sincere, it expresses longing, aswell as hope, anguish and loneliness, meanwhile a very heartfelt piano melody starts playing. The synthesized strings that appear right after makes this section even more dramatic as it resolves in such a brillant way while the drums and bass kick in, it's such an expansive sound, it makes you feel like you are floating, it's a joy that is really hard to describe but the harmony between the intruments and the peaceful vibes are just breathtaking.

In 5:57 comes my favorite part, the organ kicks in alongside the guitar as the percussion gets more and more intense with phenomenal drumfills that make this section even more interesting. The organs come back alongside synthesized vocals that sound very similar to those used by Änglagård. The mood chages constantly throughout this song, it's a journey across various emotions, sounds and instrumentations. The ending is very exciting: right after 4 chords are played in sequence, a very mysterious piano melody is played leaving the song in a very ambiguous tone.

Ultimately this is a very well constructed epic with a lot of intensity and softness playing in contrast althroughout. I quite like most parts including the easier to listen and the stranger and bombastic. The vocals are astonishing in this song aswell, very expressive and intense, I specially enjoy the vocals that start in 7:33. Overall it's a very powerful song, but I have mixed feeling about it, it drags on for quite a bit in some section, although, naturally depending on the moment I listen it will strike different emotions on me and it didn't always make me as excited as my first listen, but I still feel that wonder specially during my favorite parts. The piano and keyboards in this song are absolutely fantastic. (9.5/10)

3- Striking a Single note for love (11:08): This one has a very different vibe from all the others. It's has some very easy going melodies and synth sounds accompaning a happy melody in the vocals. It starts off with a more ambient and atmospheric sound as the chords, the groovy bass and drums come in. I love the arpeggios in the synths constantly changing as the melody of the vocals develops, it sounds very modern, fun and catchy. There's some amazing keyboard work and cheerful vocals that contributes to the light atmosphere of this first section.

I love the part when Daniel Fäldt sings "then everything was quiet" as the song is bathed in heavenly chords of synthesized strings, changing the mood to a softer tone in contrast with the exciting part in the start. The vocals start to become more intense and then comes a stunning keybord solo. But as the first section comes to an end it delves into a whole other world as the song begins to stand out among the rest. It develops into a very jazzy section with a very funky guitar, electric organs and improvised keyboards. The time signature changes to 6/4, the percussion is remarkable and complementing the chill vibe of this unique part. The next section develops a lot slower, with just a very simple bass, guitar, drums and vocals in the start. the vocals start off very breathy and quiet as they become stronger and more apparent and the synths come in making this part even more pleasing. Then enters a harminica melody alongside the vocals which sounds incredible and it's an intrument that I rarely hear being used in prog rock so it really caught me off guard in a really positive way.

The part in 9:09 is one of my favorite, the vocals are so lovely and emotional. An amazing solo comes right after making one of the catchiest parts of the song, specially because of the chords which are extremely moving and a delight to listen as the amazing guitar solo plays. The song ends with a march that sounds like a circus song, I don't know why but this song has an underlying circus theme sprinkled throughout. Althought I don't understand the reasoning behind that, it makes this one of the most different and creative songs in the album, it's overflowing with creativity and amazing melodies. (8.6/10)

4- Fly in the bottle (5:48): I really underestimated this song when I first listened to it, I got desinterested towards the start and didn't even give it a proper listen until recently. The guitar in this song is absolutely exquisite and in the introduction it's accompanied by a marvelous oboe line. Initially I didn't like the vocals in this song, because it wasn't exactly in tune and I didn't really like when he sang deeply such as the part where he sings "the wind" but it doesn't really matter, a voice doesn't need to be in tune all the time to be great, I really enjoy the timbre of his voice, the way he sings with emotion and intensity, it adds a lot to the beauty of all their songs. Then comes a very expensive section with synthesized voices as it transitions to synthesized strings as a gorgeous guitar solo plays. The contrapoint during 2:48 really caught my attention by how both synths communicate perfectly. I think that even with this song being really beautiful, it's the guitar and synths that make it above everage, it's very melodic, moving, engaging and increadibly dramatic, if I had heard this song until the end my first thoughts on it would be a lot different, but it still isn't an amazing song in the same level as the other. (6/10)

5- Darkfall (2:35): this isn't a very excting piece on it's own as it works as a transition between "Fly in The Bottle" and "White Glove", but it really stands out among the rest for it's use of sitar and very tense and almost threatning atmosphere. It feels like a disaster is about to happen and it builds quite a beautiful and expansive sounds. Even if it's mostly just an ambient track, some of the synth melodies are really great but it's far from being memorable or even everage. (3/10)

6- White Glove (15:26): Now we finally got to my absolute favorite from this album. The guitar playing in the start is pleasing, the vocals are more emotional than ever, it's such a moving song and it starts in a really promising way. I absolutely adore the strings and piano in 1:46. The chorus has an amasing electric organ, percussion, bass and the vocals are powerful and moving. In 4:31 the song starts to breakdown, the vocalist laughs (which reminds me of the laugh from "The Boys in the Band" from Gentle Giant) and a very dissonant piano starts playing with some funky keyboards. When the bass and the guitar come in it's the most amazing feeling, the chords are fantastic, the energy is potent and then the melody from the chorus comes back again but now with a guitar on top adding another flavour and making it sound fresh.

The combination of piano and voice after that is so delighful, an absolute joy to listen. I love the how the piano gets louder and then quieter again as if the listenener was getting closer and backing away from the piano player, I've never seen something like this before and it makes for such a cool effect.

The section in 8:43 is very energetic and it reminds me of the start of "And By the River" but even more engaging. As the synth seems to break and gets quieter, the sitar starts playing a very compelling melody accompanied by a very groovy bass interupted by powerful chords on the synths. The song gets chaotic changing between different sounds but never staying to long in each one. As a chorus of synthesized voices plays we transition into the next section: the bass as strong as ever, so many sounds playing at once as the song changes from a tense mood to a light and carefree one. The development of this section is absolutely insane, it's divine.

Then comes my favorite part of the song: the bass solo. As the solo develops and get more complex, the intruments follow the flow as new intruments enter. The vocals come in and we get to one of the catchier section: it's rich, fun, weird and it makes me feel so much. The backing vocals are lovely and it makes this section even more engaging. This song is overwhelmingly good. (9.6/10)

7- Aftermath (10:02): Very dramatic, it starts off with smashing chords on synth and piano and intense bass and guitar accompaning it. The vocals feel melancolic as a beautiful piano and bass plays. The section in 1:32 is filled to the brim with detail and sounds in the background. The piano and bass that follows are elegant and harmonious. The intense right away gets a bit old quickly and the solo that comes right after isn't really exciting. Even if this song is pretty it's in a similar position to "Fly in the Bottle", it's beautiful but not as engaging as the rest, I'm struggling trying to think of what to say. It's not like it's a bad song, it has a lot of memorable melodies but it's harder to get in your head because it takes a while to appretiate and undertand. I feel like this song would be better before "White Glove" because that would be a much better closing peace. This song has some highlights though: there's a bass solo that uses slap towards the end and like the others the ending, it's mysterious and grandious. Afterall it left me with a bad taste in my mouth, but it'# still great, but nothing more. (6.7/10)

Dear friends, good day to all of you! The year 2025 has come, and it's brought us new creations, new music. In addition, among the new wonderful musical creations, I want to write you now about the album of very famous band, they are Roz Vitalis and they are from St. Petersburg, and this album was created in the progressive rock style. The album "Dedication to BigNick" is the 12th in a row. This album is dedicated to the musical producer and big friend of the band - Nikolay Bogaychuk who died some time ago, it's so sad! Music of thе new album is rather similar to sound to the music of another creation of the main author of the idea of Roz Vitalis Ivan Rozmainsky - the Compassionizer project. But another similarity is that musicians from both projects who took part in the recording of the album live and work in different cities and some of them are even in different countries. Therefore, the album was recorded separately in different parts basically, and all the recordings were mixed together then. Also basically all the material was recorded in 2017-2024 years. This disc has both similarities that emphasize the signature style of the band, and differences. Similarities: different styles: yes, not all compositions are only prog rock. There is also salon piano music, piano sketches. The compositions are divided into several parts. Each track has topic. In addition, of course, using of special effects, which made studio music as it plays live. The differences are that there are almost no guitar parts on this records, fewer brass instruments, and much more various of keyboards. The length of the tracks is also not very long, and also we have two short pieces perhaps this is similar to the previous albums, but the absence of long tracks is a difference. The average length of the tracks is 4 - 6 minutes. Dear friends! This is a great album! You will really like it! Next I would like as I did before to tell you, dear friends and listeners, about each composition separately. The title composition "The Tragedy of The Ancient Spring (Extended Version)" lasts almost 6 minutes, many Roz Vitalis tracks have such length. It begins very lyrically. After the first sounds started to play we hear something as birds have fluttered in front of us, something is really connected with antiquity. We hear an orchestra, the romantic sound of brass instruments, we feel spring. But the music develops, keyboards are added, they sound separately and together with the brass instruments, then the drums are started, they have a rather "metallic" sound and their sound by the way even becomes a "rock-style", it is very interesting when the rhythm changes and a new melody cycle develops, the violoncello comes to the foreground. The melody approaches a certain overflow, the tragedy occurs and the first composition smoothly transfers into the second one. The second composition "Captivated (Atmospheric Version)" has a bit of a space music introduction, also it looks like something comes to us from ancient times. The rhythm of the drums at the beginning is a little bit, I would say, even like African. The guitar startes gently: first are single chords, then we listen to a solo. The drums begin to beat out a classic rock rhythm, the harpsichord is added very beautifully from time to time. Then various keyboards and brass instruments come to the fore, I counted about 3 different keyboards, and how many can you count? Yes, of course, a very pleasant track, I am really "enchanted" by these beautiful melodies and the arrangement! The third composition with the intriguing title "Target (LP Version)" begins smoothly and calmly: we hear keyboards and brass instruments. But after 1.5 minutes the melody "hardens": a restless rhythm of the drums is added, the melody begins to "load", the bass guitar begins to come to the foreground. Several times the rhythm calms down and the melody even becomes a little quieter, but then the melody starts to become fast and "loaded" to a certain limit again. At the end of the composition we hear a short culmination and that's it's final. We hear a gong strike and music stops! What? Perhaps the goal has been achieved? The fourth and sixth compositions "Teach me thy statutes (Part I)" and "Teach me thy statutes (Part II)" are essentially musical sketches on the piano. The first is short - about half of minute, the second is longer, about 1.5 minutes. In the first, the musical theme is outlined, in the second - it develops. In the second part, it is necessary to note rather complex and fast chords. Probably only a virtuoso can play them. On the previous album "Quia Nesciunt Quid Faciunt" (2023) there are also two musical compositions - sketches. Probably the musicians decided to continue using them on the new album, I will repeat my idea from the review of the previous album, so that you, dear listeners, could feel that the work of the Roz Vitalis band is very diverse! The name of the fifth track is "Loneliness-Bringing Power". The composition begins with electric keyboards, such a slightly ominous beginning, slide guitar and brass instruments are connected. At some point the melody stops, the sound of instrument is similar to an electric organ sound, it echoes with violins (or violoncellos), the melody develops again, goes in a spiral, acquires new special effects. Then it speeds up a little, changes a little and intensifies. It is worth noting the special role of the bass part in this composition, starting from the middle. The ending sounds unusual: the final chords, they are held back and then released, a strong sound is obtained like a beep, the rhythm stops. And that's all. The power that brings loneliness has come or has dried up, depending on what is felt more by each person. The seventh track "The Threesunny Light Power (Very Abridged Version)" also starts a bit harshly, we hear the electric organ again. It plays as if it were rocking on the waves! Gentle and beautiful! Then a bell sounds, the melody is picked up by the piano, a bit like a Chinese tea ceremony, like in the previous album in the composition "Beautiful", the notes sound very quickly, these notes of the melody echo are the chords that border it. It is very similar, you know, to a polka that sounds in a palace somewhere in the 18th-19th century. And in the third part of this nice composition we hear a bell that sounds with a different rhythm. The sound however is quite "metallic", it is divided by channels and the effect of transition from one channel to another is used. Ivan Rozmainsky recorded this bell 16 years ago. The composition by the way was recorded a long time ago in 2004 in an extended version, and its short version was produced in 2009, which sounds on the album in a specially adjusted version. The eighth track "Resilience (Expanded Version)" begins at a fairly fast tempo with classic drum rhythm, a repeating melody core that develops and acquires new sounds. At the end, the melody falls silent, special effects come to the foreground. The final iridescent chord hanging for 10 seconds and a break. You know, it seemed to me that this piece is like a person's life: it develops in many ways in a circle with an increase trend. These special effects are the moment of a person's transition to another dimension, maybe clinical death, when there is a choice to stay here or leave. And this final part of this track is unfortunately death, it is the transition of the soul to another state, to another dimension. And the final ninth composition, which is on this album, called "Silence is Waiting (Thy Statutes Version)", continues this mystical theme, which I spoke about, describing the previous track. The melody is gentle, calm, contemplative. You can hear long background keyboards, a strumming of short keyboard sounds in the foreground. There are no drums, this once again emphasizes the duration of the sounds. As in the track "Premonition" from the previous album, we hear the breath of the galaxy and the sounds of the space ether! You know, I have a feeling that this is an extraterrestrial melody. The soul is already there, it hovers, flies above the earth or is already in heaven, in space, in paradise! These 2 compositions: 8 and 9, it feels like they are about the earth and extraterrestrial life of Nikolay Bogaychuk, to whom this excellent album is dedicated. Dear friends! Thank you for your time and take care of yourself! Listen to wonderful well-done music!

John Lodge leads his 10,000 Light Years Band through an impressive set of Moody Blues songs that were recorded during the summer of 2019. Lodge took part of The Royal Affair Tour in the United States. Additional tracks were recorded during his US tour dates that followed.

The 44 minute set opens with Steppin' in a Slide Zone. Lodge and his band rock harder here than the Moodies typically did performing this song live. Duffy King's soaring guitar work really stands out. Saved by the Music quickly follows as an early highlight. This is Lodge's only solo track which is from the 1975 album Blue Jays released by Lodge and his Moody Blues bandmate Justin Hayward during the Moodies 5-year hiatus in the mid 1970s.

"Keeping Moody Blues music alive" with a series of tributes to his former Moody Blues bandmates, Lodge launches into Legend of A Mind (written by Ray Thomas). The trippiness of the original song's arrangement is perfectly captured by Jason Charboneau's cello and Alan Hewitt's keyboard mimicking the flute solo. The next three tracks Sunset (Mike Pinder), Late Lament (Graeme Edge) and Nights in White Satin (Justin Hayward) form a mini suite from Days of Future Passed. Sunset is energized by the sounds of tabla and tambura that blend perfectly with King's guitar soloing and Hewitt's orchestration. Lodge's voice also gets a little echo treatment. This is another standout. With guest narration from a pre-recording of Edge, and guest vocals from John Davison singing the Moodies signature song, there's a very different character from the originals but everything works for the most part.

Continuing with the 1981 hit song Gemini Dream that Lodge originally sung with Justin Hayward, the band does a fine job rocking out. From 1972's Seventh Sojourn is the hit Isn't Life Strange, another song where Lodge originally traded vocals with Hayward. Here, Lodge sings all the lines himself, and with his band, they do a magnificent job with this classic rock power ballad.

Coming near the end of the set is I'm Just a Singer (In a Rock and Roll Band), which retains all the energy of the original. For the encore, Lodge doesn't stray far from the Moodies tradition of closing the show with Ride My See-Saw. Lodge and his 10,000 Light Years Band sound like they've had a wonderful time, bringing back guest vocalist Jon Davison to join in to help sing the chorus.

This is a solid set, through a little short with just 10 songs. Maybe there's a deluxe version in the works with more tracks.

Taking a moment to appreciate what the band Lifesigns have done with their self-titled debut album, a record of brilliant English melodic rock and a must-have for anyone who is even remotely interested in progressive rock. A John Young-led band, Lifesigns have seen several lineup changes over the years, but the musicians playing on the gorgeous debut album are Nick Beggs (bass, backing vocals) and Martin Beedle (drums, percussion), joined by co-producer Steven Rispin; the contributions of Steve Hackett, Thijs van Leer, Jakko Jakszyk and Robin Bouly are noteworthy, too. So this 2013 release is all about the long-form composition, made up of five intense and emotional as well as crushingly beautiful songs, always very melodic and compelling, with the main trio achieving a fine balance between excellent vocal melodies, vocal harmonies and masterful instrumentation - at times symphonic, at others more eclectic and atmospheric but somehow always very attractive and engaging for the listener.

Furthermore, 'Lifesigns' just oozes that English aesthetic - the music on here is simultaneously nostalgic, evocative of the classic era of prog (think of the most melodic ventures of Yes, Tull, Floyd or The Moody Blues), but also very modern, timely and intricate, which for me places Lifesigns in the same "nest" as artists like Steven Wilson, Big Big Train and Steve Hackett, recognizable for their distinctive style, melodic approach and overall eclectic inclinations. The keyboards are the leading instrument here, with John Young constructing these lush, embracive soundscapes that navigate the overall sonic journey, while the guitars, as occasional as they may be, provide for these textured, elegant wide notes (think of David Gilmour or Steve Rothery's playing), which is really reminiscent of many neo-prog records from the 90s. Nick Beggs' playing is as great as usual and his backing vocals as well as harmonic work here is quite pleasant, there is a fine interplay between his voice and Young's.

Each song on here is a treat, which also makes it difficult to pinpoint a particular highlight. 'Lifesigns' is an excellent prog record that draws inspiration from a vast array of styles in the genre, and the amalgamation of the members' excellent playing and overall approach has certainly contributed to this album being as impressive as it is - an accessible, intricate, unpredictable and melodic rock classic.

3.5 stars. While I have some stone cold favourites from Spain I will admit that I am not into that flamenco style at all. So that affects my enjoyment of a lot of bands from this great country. IMAN CALIFATO INDEPENDIENTE is a four piece band that play a symphonic/jazz style. Like their debut this is all instrumental pretty much save for the final track. And there's a big change after that 1978 debut as the bass player/vocalist leaves. Funny though that this significant change really has little influence on the sound of album number two, as this new musician plays bass and sings in a similar manner as the previous guy.

So a lot of synth led music here, with guitar leading the way often. But the bass and drums really drive this thing. I understand they were known as simply IMAN to a lot of the fans, and this word is highlighted on the album cover here. They sort of followed the blue print of their debut with four tracks and leaving the vocal song until last. Should have stuck it in the middle in my opinion as I feel the vocal tracks on both records are the weak links. This record is also quite shorter than the debut clocking in at just over 34 minutes.

My favourite track here is the opener. I like the melancholic synths that they use often, plus this song just seems to work no matter if it's the mellow and trippy bits, or the sections they let their hair down and play. Some nice contrasts on that 10 1/2 minute opener. I like the electric piano on track two as well as the guitar solo on track three which shows how talented this guitarist is, as this is fast and fluid. Not big on the vocal led closer though.

This band has a lot of fans and for good reason. I find this second album to be the best of the two simply because it's more consistent. No it doesn't reach the highs or the lows of the debut.

Review Nº 903

"Emerson Lake & Palmer In Concert" is the third live album of Emerson, Lake & Palmer and was recorded at the 26 August 1977 at the Olympic Stadium, Montreal, Canada, which is featured on the front cover of the album. However, "Emerson Lake & Palmer In Concert" was released in November 1979, following Emerson, Lake & Palmer's break up.

"Emerson Lake & Palmer In Concert" is an album taken from their "Works Vol. 2" live tour, the last live tour released by Emerson Lake & Palmer before the breakup of the band. So, this is a live album that, consequently, features essentially tracks that were released on their two last studio albums, at the time, "Works Vol. 1" and "Works Vol. 2", both of 1977.

Emerson, Lake & Palmer hired a 70 piece orchestra for some concerts of this tour, but eventually they had to dismiss the orchestra due to budget constraints that almost bankrupted the band. On this live release, the orchestra performs on tracks "C'Est La Vie", "Knife Edge", Keith Emerson's "Piano Concerto No. 1" and on "Pictures At An Exhibition".

"Emerson Lake & Palmer In Concert" has eight tracks. The first track "Introductory Fanfare" is a very short track composed by Keith Emerson and Carl Palmer and represents the theme to open the concert and is pleasant enough to introduce the live show to the audience. The second track "Peter Gun (Henry Mancini)" is a version of a classic TV theme song of an American private eye television series which aired from 1958 to 1961. It was never released on any of their studio albums and frequently the band opened with this song on the "Works Vol. 2" live tour. A slightly edited version of this live recording was included on the 1980 "Best Of" compilation and released as a single in some countries. The third track "Tiger In A Spotlight" was originally released on their sixth studio album "Works Vol. 2". The fourth track "C'Est La Vie" was originally released on their fifth studio album "Works Vol. 1". The fifth track "The Enemy God Dances With The Black Spirits (Excerpt From "The Scythian Suite" 2nd Movement - Prokofiev)" was originally released on "Works Vol. 1". The sixth track "Knife Edge (Adapted From Janacek's "Sinfonietta" was originally released on their eponymous debut studio album. The seventh track "Piano Concerto No. 1 (Third Movement: Toccata Con Fuoco)" was originally released on "Works Vol. 1". The eighth track "Pictures At An Exhibition" was originally released on their debut live album with the same name "Pictures At An Exhibition".

We can analyse "Emerson Lake & Palmer In Concert" by two different and distinct perspectives, the choice of the tracks that were taken from their musical repertoire, and the live performance itself. So, in relation to "Introductory Fanfare" I don't have anything special to say about it except that it represents a very nice introduction to the show. About "Peter Gun" I really like it. This is a piece very interesting and pleasant to hear and represents a new and fresh way to represent a song so famous at the time that it was made. "Tiger In A Spotlight", is a live version leftover from the "Brain Salad Surgery" sessions and despite being taken from "Works Vol. 2" is a fun Rock'n'Roll and blues tune, interesting and pleasant to hear. Still, it doesn't bring anything new and exciting to this live show. "C'Est La Vie" is a great track, a very well known track, one of the most known of the band. As we know, this is a Lake's song, one of his best contributions to the band. It represents probably the highest point on the album and this live version is also, in my humble opinion, slightly better than the original studio version. "The Enemy God Dances With The Black Spirits" is, as I mentioned above the band's treatment of a Prokofiev's suite, is also a very nice track. This is a very storming and dramatic interpretation by the band. Although this isn't properly a brilliant piece, we can say that it brought, somehow, a breath of fresh air to the show. "Knife Edge" represents another great choice because finally we have a live version of a song chosen from one of their greatest masterpieces, his debut eponymous studio album. This always was a very exciting track to hear. "Piano Concerto No. 1 (Third Movement: Toccata Con Fuoco)" was also a great choice because it represents, for me, one of the few highest points on "Works Vol. 1". Sincerely, I always loved this piece. "Pictures At An Exhibition" undoubtedly represents another great moment on this live show. "Pictures At An Exhibition" represents one of their finest moments. This is a very interesting version because it's performed with the addition of the orchestra.

Conclusion: "Emerson Lake & Palmer In Concert" isn't really a bad album as some say. But, it has mainly three problems. First, it was released before the breakup of the band. Second, it was an obligated release by their record label. Third, it was taken from a "Works" live tour. And as we know, the "Works" albums aren't properly the best and most representative of their career. Still and despite all this, I really think that we are in the presence of a good live album. The choice of the songs is very good and balanced, since we are in the presence of a live album that represents a "Works" live tour. However, in my humble opinion, the live performance, despite being good and very professional, isn't as brilliant as it should be, lacking some energy and some ability to improvise. Still, I think it deserves 3 stars.

Prog is my Ferrari. Jem Godfrey (Frost*)

"Cry Boudica" Arabic intro, Japanese sound, bewitching like a battle hymn; it starts with melodic prog metal with female vocals, a bit redundant. The break goes back on progressive paths calibrated with a well-delivered synth drum; the guitar solo shows great skill and impresses rebellion, good start. "The Final Redoubt" for these mysterious and catchy noises, bringing the rhythm with the breath and the pad; the most with a melodic metal band is this progression avoiding boredom on repetitive titles, in short it starts strong. Laura high warrior priestess harangues her troops, the guitar spleen on Riverside. "Footprints" crescendo, bells, this little something full of energy that makes the ear prick up. Mirko's solo is a plus to not plunge into repetition with the solo that unfolds; The bass is pulsating and the keyboards are fluffy. "All There Is to See" for the neo-classical cello intro, Laura sings divinely, supported by the electric piano. Clive does everything but doesn't put himself forward on his keyboard parts. A choice, a mistake? A beautiful, intimate, consensual ballad. "When My Eyes Are Closed" follows the same solemn hymn narrating tolerance, the vocal flirting with Bonnie Tyler; an acoustic solo from Simone doesn't really get going with this too-short symphonic finale.

"To the Victor Go the Spoils" superb cinematic intro from the time of Arabian Nights, with a church bell background and a tribal pad punctuating the attack, an Andalusian note with the acoustic arpeggio and Laura in a trance, an incantation of the Pythia. Volleys of violins and the band innovates with a classically tragic riff, howling, meowing like in Ulthar where you have to give milk to the cats. The captivating instrumental peak, forcing you into a trance; a violin finale with the sound of minstrels. "Never Burn the Cakes" for the medieval folk side with Clive and Laura on vocals, lacking breath. "The Last Arrow" in the Pendragon style with a rocky Clive-Nick on Mirko's martial drums; a solemn synth break, it feels like Arena; Simone's solo and the fade with the colorful final arrow, very beautiful. "Deep" with Laura singing divinely, a zest of Kate Bush. A sad tune on Clive's keyboard for the contemplative nursery rhyme. "Blood Moon" drums forward, Laura and Clive, it's a bit lacking. The red moon, symbol of the war scene, is featured with Simone's guitar solo stealing the show.

The second CD, with mixed covers, including "Dorian Grey (Re-Visit)" from 1992's Shadowland, may be a welcome addition to this good but repetitive album for fans of the deluxe editions. Originally released on Progcensor (3.5).

IMAN CALIFATO INDEPENDIENTE were a four piece band from Spain playing a symphonic/jazz style of music. This is their debut from 1978 and they would follow this one up with their final release in 1980 which I like better. There are vocals on here provided by the bass man but there's not a lot of them. This is very much synth led with an excellent bass player. Yes, there's plenty of guitar provided by Manuel Rodriguez who had previously been in GOMA who released one album in 1975.

The bio here states that the band's origins came at a convention by a meditation guru that they all attended. I would not connect this music with that dynamic, but hey they all lived in one house and it would certainly help that they were on the same page as far as their lifestyles goes. We get four tracks worth around 42 minutes.

The opener at almost 21 minutes really sets the tone for me. And it's not a good tone. From the almost silence to start this record off to distant children's choir that slowly increases in volume until I can at least hear it properly, I just found this whole suite like this. Those almost silent or very quiet calms. It's almost 3 minutes into this song before we get normal volume sounds. Starting off on the wrong foot as they say. This is so slow in developing that it's almost 7 minutes before we get a consistent melody.

"Darshan" at 8 1/2 minutes doesn't do a lot for me either. I do like that lush melody to start. This is mellow stuff but it will get more energetic with synths leading. "Cerro Alegre" is probably my favourite. Piano and acoustic guitar to start but when the electric guitar arrives I'm smiling. Piano and bass then lead after 3 minutes before it slows right down. I like the section where it picks back up with guitar leading again. It settles late. The closer is the shortest song at 5 1/2 minutes and it's fairly mellow to be honest, and features some reserved vocals. Both the vocals and sound turn more passionate before settling again. It's very symphonic sounding to end it.

I'm going against the grain here with the 3 stars but this is not a 4 star record in my music world. Their next record is closer to that rating though.