INFRINGEMENT band created by the guitarist of WINDMILL; a basic symphonic sound on ARENA, CAMEL and GENESIS as admitted reminiscences; it is the 3rd album which in my opinion goes on the heavy of PAIN OF SALVATION and the colorful vintage prog of Mr BUNGLE and other BIGELF; the synths and the lyrics leaning towards Neal MORSE.

"White Lies" in 5 parts, a text on the strict religious education of parents, on the heretical side in fact and the desire to escape from it; a piece with the announcing intro in phrasing and crystalline piano. The indoctrination is on its way and launches the conceptual sound, between heavy of time with haunting organs of time, a crazy air like FAITH NO MORE, prog metal. The siren choirs, the witch in heat, the hypnotic riff that plunges into the 70s for a while before extracting the best of them including this last velvety keyboard solo; Genesis-like break and participatory phrasing before launching a fat guitar solo between old neo, with the darkness and the warm vintage sound. The slap mixing neo with the old before leaving for another progressive space where Emil's bass throws sparks on the hot embers. A break of pure happiness with a reminiscence of DEEP PURPLE; a tenacious riff, an organ, the airy, refined rhythm and the enjoyable, orgasmic moment with this wild crescendo; the final vocal on the vocoder, shouted, in any case amplifying and signing an intense and disturbing progressive moment. The finale with the opera-rock choirs of a 'Bohemian Rhapsody', the worn voice, hold on a barely hidden LED ZEPPELIN riff takes us on a confusing track merging vintage heavy rock with a Genesisian air. A magnificent musical heresy that mixes, brews genres to better bewitch before the final haunting piano; I note Alice COOPER, KAYAK see CAST as groups coming to mind.

"Black Science" in 6 parts for the search for perfection, a dead-end attempt hence the search for the family nest; Louisiana gospel at the start, melting organ à la ANGLAGARD, prog takes the lead in this second chapter; we waver to let our ears listen to this archaic sound of today, magnificently boosted. The neo returns to the charge; a bass break suddenly reinforcing the hero's thoughts, the complex, captivating sound with a cheerful and bucolic title, from the Charisma Label of GENESIS. A nervous rise before descending a capella on a divine air, almost new-wave, AND YOU WILL KNOW? for the pop side. The break with Crimson Skies and its detuned wood piano for the dark, intense, stunning air; good luck or not I hear some KING CRIMSON with its famous crescendo. The jazzy finale with the piano flowing all by itself and its military drums leaves 'Dissension' its phrasing on a singular horn in dramatic mode, the moment when the hero understands that returning is the only viable solution; the instrumentation is amazing with these beautiful vintage flights, listen to me this organ which inevitably brings back to the 70s, the beauty is there. The finale with the neo sound of ARENA mystic with the Olympian choirs signs a last velvety guitar solo leading to the firmament.

INFRINGEMENT a sound apart, stacked breaks, vintage instruments, languorous and warm airs. Eclectic, symphonic and grandiloquent neo prog, proving that the prog of yesteryear can be excellent. Originally on Profilprog.

"The Time Machine" grandiloquent, orchestral intro, clockwork; Maria's violin, a touch of piano and Serge's voice for convoluted baroque prog; a time when the rustic flute recalls, in a mixture of emotion and old-fashioned keyboards, the rise worthy of a SAMOURAI OF PROG quite simply, with the majestic symphonic flight. "Apes" returns to the episode of the monkeys; Roine's guitar gives melodic, fruity rock freshness, supported by the neo- classical orchestration; the slightly tribal pad leering at our Origin, Roine fiddling with his guitar to get out squeaky notes before the return of the quickly heady chorus reminiscent of those of MILLENIUM. Final tullian violin and divine keyboards smelling of the epic of the great GENESIS. "The Last Legionary" Marc's military horn, martial tone amplified by Maria's cold violin; on the edge of invasive spleen with the dark orchestration for an autobiographical memory; The solemn music is amplified by Balazs' trumpet and the air of the Balkans; the keyboard launches, a cinematic episode bringing praise and grandiloquence; the finale always beautiful but a tad redundant on a soundtrack. "Painting Mona Lisa" medieval flute and typical lyrical air, Italy is not far away, we could even write RPI. Daniel slips into Leonardo moping; Roberto on guitar boosts this melancholic piece with a nervous riff; Giovanni's flute in the footsteps of JETHRO TULL with an inventive fruity keyboard that was missing in Ian's group; on the edge of baroque opera with a Chamallow taste.

"E=MC2" changes tone with the majestic guitar and keyboard, expressive symphonic rock; well Clive gives his voice in a solemn way surrounded by a majestic guitar, it is often the case I agree; from baroque we move to the genesis with the basic keyboard which will swell to bring us on a meditative air, a path of doubt, disturbing staging on this title, ''theatrical''. "Moon" on an instrumental variation and the voice-over intro of NASA, conquering with the lively violin. The central break is soaring with the fat, melodic synth; it starts again on an emphatic tone where the guitar vibrates with a thousand lights seconded again by the violin for the lively and rhythmic finale. "Madiba's Life" as an interlude-intermezzo, Chopin's grand piano speaking of Mandela on a pleasant air; a pause before the "Future" and the delicate voice of Christina of MAGENTA to close this second annual chapter; a mid tempo that becomes energetic, her voice giving hope in a better world. Between modern and baroque, between rhythm and emotion, vibrant music with a synth solo like in the good old days of the 80s; it looks towards neo prog and gives a new freshness in this closed musical world; a last dark piece by the violin, fresh and full of hope by Christina.

THE SAMURAI OF PROG releases its second album this year with a feeling of obligatory repetition; a progressive album that draws on art-rock, rock opera with no less than five different vocals. A darker album than the one from the beginning of the year, contemplative. A good album that brings nothing new to its predecessor. Originally on Profilprog.

This is essentially one 40-minute piece that has been separated into 8 tracks for convenience, with no pause between them, and the tracks have been numbered to imply no significance beyond the sequence, which is critical. It's a symmetrical work, both in terms of recurring themes but also in which the first couple of tracks are inductions, both referencing the doom metal roots unexplored since their debut album, the last two wrap up the package, and the middle 4 form the core of the exercise. While metal is more or less absent after track 2, this is in no way a gentle opus, which was a description that could have been applied to the last few albums much more readily. It may often be rambunctious, even raucous, but is also drop dead gorgeous. Interestingly, the band is now composed of 5 members rather than one or two plus guests, which may have led to the synchronicity of the performance.

The pinnacle is the combination of III-V. III begins with a melancholically breathtaking theme on viola, joined by piano, other keys, guitar and rhythm, morphing as it goes. We then return to the original melody quietly at first then heavily, with vocals finally appearing in the last minute and they orchestrate the closing to perfection, and - spoiler alert - they do this again magnificently to end track VII. To me, it's also the most Russian sounding of the works of this Russian group, bringing back memories of old records my parents had. Yet somehow IV is even a touch better, and the longest at over 8 minutes. It incorporates the vocal melody much sooner, and its crescendos are propelled skywards by the background vocalizations of Alina Roberts who had enhanced a prior release. I have mentioned that it was sometimes hard to delineate the boundaries of songs on those albums, yet here, when the tracks were presumably an afterthought, they actually deliver both within and between. I could go on, but I've gushed so much already that you probably need to detour around me anyway.

I was by no means sure that KAUAN had the seeds of a masterpiece within them as I aired the previous 4 albums, all more than worthy enough to convince me to keep listening for FOMO. "Pirut" means "Devil" in Finnish, and it seems like Pirut has been at it again, luring us into wanton temptation with this exquisite cohesive work that so eclipses the prior efforts by KAUAN that it can only be awarded 5 stars. And I didn't mention TENHI even once.

3.5 stars. I really can't talk about this Swedish avant band without talking about Lars Jonsson. He often goes by Lach'n Jonsson and he's a multi-instrumentalist, vocalist and sound engineer. He owns his own label Bauta Records, as well as his own studio called The Forest. Lars was quite active in the 80's being apart of this band ZUT UN FEU ROUGE as well as UR KAOS. He also released a couple of solo records in the 80's. The album covers for all three projects have a similar black and white theme to them. And the albums from these three projects were all released on Bauta Records and all recorded at The Forest.

We get a four piece here with a sax player, and the bassist also adds sax. The music is inspired by RIO, and post punk is a strong flavour. This band formed in 1980 and released a mini album in 1983 before this their only studio album of the 80's called "Who's Afreud". They released a compilation album in 1986 on cassette only. They did reunite and release an album in 2019 that I haven't heard. The music here is often catchy and uptempo, with plenty of humour. I would think that SAMLA MAMMAS MANNA were a big influence.

We get seven tracks per side with the second side being a side long suite broken down into seven parts. The liner notes have the lyrics for this suite translated into english and titled "Seven Sleepers Of Ephesus". As far as side one goes my favourite is that closer "Sken Av Alg". It has this catchy rhythm with horns over top along with strings and vocals. The intro for it is quite atmospheric. As far as the side long suite goes, I like a couple of tracks including "Tid Bredvid" for the depth of sound thanks to the bass. Vocals and whistling follow. Lastly "Ater Uppstandelse" rounds out my top three. This one has multi-vocals, pulsating organ and drums standing out.

All in all a pretty good album but I get why Lars was more focussed on UR KAOS after this release. And in my opinion the best thing that Lars is on is that final release from UR KAOS in 1999, a masterpiece of avant. "Who's Afreud" is good, but not 4 stars good in my musical world.

Another masterpiece Spanish Prog

Noah Histeria's Hautefaye is a remarkable addition to the Spanish progressive rock scene, showcasing the band's ability to blend technical math metal with the lush soundscapes of neo-prog. This album is an instant masterpiece, characterized by intricate compositions and a refreshing sound that feels both innovative and familiar.

From the outset, Hautefaye captivates with its complex rhythms and emotive melodies, drawing listeners into a sonic journey that ebbs and flows through various moods. The peaceful landscapes crafted within the music provide a stark contrast to the technical prowess displayed, creating a dynamic listening experience that keeps audiences engaged.

Despite its diverse influences, the record maintains a cohesive identity, reflecting Noah Histeria's unique voice in the genre. Fans of progressive rock will find much to admire in this album, as it pushes boundaries while honoring the roots of the style. Hautefaye is not just an album; it's an exploration of sound that invites repeated.

Review originally published at www.therocktologist.com

Oh, nostalgia, embrace me one more time.

The album's title speaks for itself; it is no secret that Mr. Wakeman has been, is, and will forever be linked to Yes, one of our favorite bands ever, but I assume he is happy with it (so are we).

Well, this is about a medley that he composed and performed at every of his concerts from the "Final Solo Tour" that took place in North and South America, including of course, Mexico City. As I've read, and perfectly knowing his skills, each of those performances had slight differences, so every audience could enjoy a one-and-only performance of what now is a recorded track. That medley contains excerpts from over 20 songs of that lovable and highly praises Yes catalogue, of course, the catalogue in which the keyboard wizard was featured.

So the Yessonata is an exquisite trip to the past, a tribute to nostalgia, an emotional rollercoaster of memories. Wakeman took his favorite piano to create and record this 20-minute piece / medley where his hands, fingers and creativity do the talking. There are no sung lyrics, however you might sing in your own head everytime you recognize one of the short snippets. Is it progressive rock? Not really. Is it classical music? Not really. But don't try to label it, you know, it's Rick Wakeman and his endless creativity, his sense of humor, his history and longevity, a one- of-a-kind musician.

In order to provoke a little of bit of curiosity in you, dear readers, I will just mention a few of the songs featured here, because it is way better for you to discover and rediscover them everytime you play the track: Awaken, Wonderous Stories, And You And I, Roundabout, Siberian Khatru. I insist, a nostalgic yet exquisite journey. And what a luck we could hear it on concert.

But the album don't finish there, because there is a second 20-minute track, another medley that takes highlights from one of the most popular and precious albums from his solo career, so here you won't hear excerpts from over 20 songs, not, just different passages and daring blends from his acclaimed 'The Myths and Legends of King Arthur and the Knights of the Round Table', this medley is entitled 'The King Arthur Piano Suite', which of course, sounds quite different from its original recordings, considering his bombastic work with keyboards, which were not used for this record.

Yeah, I love it, and though it is nothing "quite" original, it still is original and only Wakeman could have put this together.

On an additional ending note, it is beautiful to see a Roger Dean artwork for this album, love the long-time partnership.

Enjoy it!

I am very new to Wishbone Ash. The early albums quickly caught my ear, this one however has not. I am currently listening to it for the very fist time as I type this. It isn't bad music, I am halfway through and everything has sounded mediocrely average. The singer sounds sleepy, if someone wanted to call this album boring. I would give it to them. However, if you can enjoy David Gilmour's solo albums, you might like this one. Gilmour in PF is a class act, but as a solo artist, I find his music boring(save a few tracks). Like Gilmour's music, this album needs energy because its putting me to sleep! Who knows, maybe the next time I play it something could change. Enough perhaps to give it a two star rating. But for now, this is something I would not show to anyone. You can find music of this caliber in your local bands.

"Lyckantropen Themes" is a soundtrack album release and the sixth full-length studio album by Norwegian experimental music act Ulver. The EP was released through Jester Records in November 2002. It´s the follow up release to the two 2001 EPs "Silence Teaches You How To Sing" (September 2001) and "Silencing The Singing" (December 2001). "Lyckantropen Themes" is the original soundtrack for the short film "Lyckantropen" by Steve Ericsson.

After the two relatively experimental ambient EP releases, "Lyckantropen Themes" is slightly more inviting and easy to digest. It´s of course still an experimental and slow building ambient music release, but the generally shorter song lengths make this soundtrack album an easier listen than the longer and more directless ambient experiments of "Silence Teaches You How To Sing" and "Silencing The Singing". Especially the former is a demaning listen. I guess you could describe "Lyckantropen Themes" as a continuation of the most subtle and ambient moments featured on "Perdition City: Music To An Interior Film" (Ulver´s fifth full-length studio album from March 2000).

"Lyckantropen Themes" is a much less dramatic but unfortunately also less interesting release than "Perdition City: Music To An Interior Film", but for an ambient soundtrack album, it´s certainly a pleasant enough listen. Dark, melancholic, and ambient music, designed to make the listener chill out and float away. A 3 star (60%) rating is warranted.

(Originally posted on Metal Music Archives).

"Dei ricordi, un museo" is the first solo album by Stefano Lupo Galifi, historic vocalist of Museo Rosenbach, and was released in 2021 on the independent AMS Records label with a line up featuring along with Stefano Lupo Galifi (vocals) also Luca Scherani (piano, organ, keyboards, flute), Marcella Arganese (guitars), Gabriele Guidi Colombi (bass) and Folco Fedele (drums) plus Alessio Calandriello and Irene Spina (backing vocals). Rather than a solo album, in this case it would be more correct to speak of a team effort involving numerous musicians from the current Italian prog scene who are also members of bands like La Maschera di Cera, La Coscienza di Zeno, Il Tempio delle Clessidre, Ubi Maior or Panther & C.. In particular, Luca Scherani and Gabriele Guidi Colombi have tailor-made for the singer's voice music and lyrics suited to his exuberant vocality, perfectly in line with his musical history. Marcella Arganese contributed to the composition of the title track and took charge of the beautiful art work of the cover and booklet, inspired by the content of the lyrics...

The opener "Cuore (Dei ricordi, un museo parte 1)" (Heart - Of memories, a museum Part 1) sets the atmosphere. It starts by a dreamy piano passage, then the music and words evoke the image of a homeless, a man whose house is a bench in the park. The yellow lights of the city feed the silent and thick mud that covers his past. Then, suddenly, appears the image of a lent helping hand and of emotional doors that are opened by a good heartened person. There's a strong sense of empathy, questions about family and identity and the figure of a forgotten son who reappears from the past...

The hermetic "La morale cede" (Morals give way) evoke a crimson wire from which pain and time are hanging. There's the image of a running man on a golden beach, but at the end of his path there is nothing but pain. Then comes the image of a woman who walks with a heavy pace on her lost soul. Male and female are just two arrogant halves, coherent with their desires but far from each other. And morals give way...

"La stanza e l'angolo" (The room and the corner) is a melancholic, disquieting track that deals with the fear of the unknown and the need for a shelter from the outside world. On the delicate piano pattern, heartfelt vocals tell of a man scared by someone who's knocking at his door. He stands still, silent and motionless, then he retreats in a corner of his room with his hands on his face. He waits for the unexpected knocking noise to fade out...

The beautiful title track, "Dei ricordi, un museo (parte 2)" (Of memories, a museum Part 2), is a long, complex piece that describes a man walking in the wood, in a light rain. His hands sink into the sand and the feeling of the sand falling through his hands brings back memories of old childhood games. Then he comes out of the wood and pushes open an creacking red gate. A driveway leads to an old empty house. A quivering rainbow feather flies around him and its flight opens the way to memory. A relentless wave of memories overwhelms him. Soon, the flow of memories turns into a museum...

"Le due linee gemelle" (The two twin lines) is another hermetic, dreamy piece that portrays in music and words a charismatic artist suspended between past and future. Voice and silence for the show are like the hidden depth of two twin lines. An idea of courage and the unawareness of maturity stem from an unsolved, enigmatic past and an unknown future...

"Sterile" (Sterile) starts by a beautiful acoustic guitar arpeggio and the vocals in the forefront. It's a wonderful piece that depicts a winter landscape and evokes an atmosphere of decadent resignation. The pungent smell of burnt wood and ash fills the air as a freezing breeze crystallizes the thoughts. In the morning the protagonist wanders aimlessly in the forest with the heavy burden of his existence weighing on him, reacting like a hunted deer whose blood stains the ground, unconsciously helpless. That blood is so similar to ash, black dust under the protagonist's feet. Then he searches for a way out of the labyrinth of the forest. Eventually, around him he can hear the noises of the industrialized world that soothe his pain in a sterile wait...

The final piece, "L'amante" (Dei ricordi, un museo parte 3), begins softly and evolves into a sensual crescendo. Music and words try to describe a controversial and morbid relationship that charms and upsets the protagonist. Dragged into a spiral in which senses and reason are lost, overwhelmed by the spells of his mistress, the protagonist is subject to dangerous emotional storms. Storms overflowing with a desire from which he tries to escape with mixed success...

On the whole, a perfect exercise of style and a real treat for Italianprog lovers.

The band's first release--it's debut--first released in the UK on Atlantic Records on July 25, 1969.

Yes the cover band. (Only two songs.)

1. "Beyond and Before" (4:50) a long-time opener to Yes concerts (even in their previous incarnation as Mabel Greer's Toyshop) the song is notable for Chris Squire's already loud, chunky bass play and the band's three part harmony vocals (start to finish). Really this is a pretty decent--and surprisingly proggy--song. Definitely a top three song. (9/10)

2. "I See You" (6:33) a blues-rocker cover of a Byrds song whose rendering could've come from CREAM is notable for the jazzy Robert Fripp-like muted guitar tone used by the ambling play of Peter Banks as well as the first (sparing) display of Jon Anderson as a lead vocalist (the majority of the song's vocals are delivered in three part harmony). The instrumental fourth and fifth minutes shows more of Chris Squire's chunky bass as well as some of Bill Bruford's jazzy drum chops. Peter Banks is impressive as a jazz/electric-classical guitarist! And those serious rock guitar chops in the sixth minute definitely preview the shoes that Steve Howe eventually steps into. (8.875/10)

3. "Yesterday and Today" (2:37) a more pastoral jazz-folk sound that bears more resemblance to the delicate songs proffered by The Moody Blues and The Beatles only these are far more acoustic-anchored than anything I know from these other bands mentioned. Quite delicate and lovely--with great melodies and wonderful layers of jazz- and folky-nuances. Definitely my favorite song on the album. (9.75/10)

4. "Looking Around" (3:49) full-on Yes with some of the raw heaviness and Hammond organ-dominance of URIAH HEEP. Great chord progressions, bridges, and nuanced transitions as well as harmony vocals in between Jon's lead lines--not too far from the Hollies and Crosby, Stills, and Nash stylings of the same period. (8.875/10)

5. "Harold Land" (5:26) opens with more Hammond organ-featuring music with a bit of a Country&Western twang to it--especially in the bass and simplistic guitar strumming pattern, but then things shift at the 1:20 mark into something that sounds more Gospel liturgical as Jon enters singing the lead (backed with Peter and Chris in true backing fashion). Jon's vocal sounds a lot like the folk vocals of some of the 1960s great female singers like Jacqui McShee, Judy Dyble, Maddi Prior, or Linda Thompson. (8.75/10)

6. "Every Little Thing" (5:24) heavier music with some Hendrix and Winwood-like jamming up front and frenetic rock drumming behind. Impressive musicianship over a Beatles song (making it almost unrecognizable as originally coming from the Fab Four)! (8.75/10)

7. "Sweetness" (4:19) a song that opens with gentle organ, acoustic guitar, and upper register electric bass weaving with delicate drum play beneath over which Jon sings a bluesy vocal with some very nicely arranged (and performed) harmony vocals supporting him. The collective sound of the instruments begins to thicken and harden in the third minute but then, rather suddenly, things revert to the delicate thinness of the opening. Interesting song. (8.75/10)

8. "Survival" (6:01) one of my all-time favorite Yes songs--even from first hearing it back in 1975 or 76 when I purchased the Yesterdays album. I love all parts of the suite (shades of things to come!) I especially love the fact that there are two rather distinct motifs introduced and explored before a vocal ever enters--and then the amazingly surprising vocal that Jon enters with! And then the way it builds--with the vocals doing the work!--to the two parts of the angelic chorus! Sublime! And so unique! (9.5/10)

Total Time 38:59

Overall, this album offers a very impressive introduction of a set of very skillful musicians who, together, have a very unique, creative, and surprisingly mature style of composition and song rendering. The skills and ranges of Peter Banks, Jon Anderson, and Tony Kaye all come shining through while those of Chris Squire and Bill Bruford still seem to be shaping and developing (though there are plenty of glimmers of brilliance from both throughout the album).

A-/five stars; a surprisingly mature and skillful display of song-crafting: it's not the full brilliance of future Yes, but, when compared to all of the other music produced in 1969, this is amazing! Especially for the definite expression of creativity offered to the world. This is definitely an album of what I would call full-on "progressive rock" music! In my opinion, had they never done another album after this, they would still hold a prominent place in the history of progressive rock music for this album alone.

After listening to SO MANY albums from the 1960s over the past three years (mostly for the sake of research into the histories of Prog Folk, Jazz-Rock Fusion, the prog epic, the "first prog album," and proto-prog), I can say with clear confidence that this is one of the best and most complete prog albums of the 1960s!