Delving further into the experimental and esoteric side of his music, Peter Gabriel delivers one of his most accomplished and influential works with his third self-titled solo album, universally known as 'Melt' or '3'. With a new producer on board and an all-star cast of guest musicians, this record explores some new wave dynamics and offers a reflective and exhilarating art rock sound that is not only unmistakable, but also rather progressive in nature. The ban on the use of cymbals, the obsession over the "discovery" of the right rhythm, and the novel use of various studio techniques for modifying and rendering sound are among the characteristics of one of rock's most innovative early 80s albums, a tremendous experiment replete with cinematic soundscapes and that eerie ambience that Gabriel had been exploring over the course of his solo career.

The multi-faceted nature of 'Peter Gabriel 3' (both lyrically and musically) definitely places its creator among rock music's most successful innovators and visionaries, and while Gabriel himself had more popular works released afterwards, many would rightly argue that none of them ever surpassed the quality of 'Melt'. The album opener 'Intruder' has an almost unsettling Crimson-esque industrial edge, achieved through the use of the gated reverb on Phil Collins' drums and the excellent synth effects. 'No Self Control' sees a more diverse palette of instruments use, which brings an element of eclecticism to the record, while the groovy, progressive rhythms of 'I Don't Remember' manage to emphasize Gabriel's vocals. Robert Fripp's all-encompassing guitar playing suits neatly the new wave experiment that is album largely is, even if the exotic post-punk aesthetic is all over tracks like 'And Through the Wire' and 'Not One of Us', together with the eerie feel of the latter. On 'Games Without Frontiers', Gabriel brings the art rock pedigree through the peculiar mix of synths, percussion, and vocals, which together with the unconventional arrangements render this track and 'Biko' some of progressive pop's most experimental early 80s songs. There is also 'Lead a Normal Life', one of the most ominous and avant-garde pop pieces of the entire PG catalog - and even if some might not treat this record as "the perfect pop album", its significance, edge and vision remain unstirred to this day.

What you might enjoy about Supertramp's really fine self-titled debut album is the naïve eccentrics of the music and the artsy songwriting sensibility displayed by the four band members - here Richard Davies, Roger Hodgson, Richard Palmer, and Robert Millar, with the former two clearly establishing themselves as the creative leaders of the act. An intriguing and promising album by a young English band, this 1970 record is rather different from the classic Supertramp sound of the second half of the decade, with the music here being rather somber, melodic and orchestral at times, virtually displaying all the qualities of a progressive pop recording from the early 70s. The poetic lyrics and the subtlety of the extended instrumental sections are indeed a delightful aspect of this record, whose length also indicates that the band had some progressive ambition from very early on.

As for the songs themselves, the general mood is uplifting and nostalgic, with the band focusing mostly on the song structures and the instrumental parts, which often benefit from the extended use of the organ, the electric piano as well as some woodwinds. Rumor has it that the album's lyrics were written by guitarist Richard Palmer and that nobody else would be willing to engage in this activity. Nevertheless, this is a good example of an early progressive pop effort with some delightful musical passages that could have been inspired by Yes, The Nice, or Traffic - and some fine tunes on here would be 'Aubade', 'Nothing to Show' and the big 12-minute piece 'Try Again'. This rather artsy debut album by a young Supertramp is as peculiar as it is dilettante in nature, and considering the general lack of a clear direction on the album, it is almost surprising that you can hear some really enjoyable and "flowery" prog tunes.

2025 has presented interesting music so far, but not many from symphonic progressive rock. Agropelter is a new band for me, but I am familiar with some of the musician from before. Kay Olsen is someone I have never heard of before. This album flows perfectly from start to finish, and it should be listened to that way. For lovers of classical music, this will be very interesting. Few albums deliver such flawless dynamics and relationship between light and dark, high and low, major and minor. I really enjoyed the piece "Burial Mound", it reminds me of the atmosphere you can sense in a place of worship. A bit too short, but a moody and atmosperic piece. The tracks "Levitator" and "Flute of Peril", is also a nice touch to add some lighter moments before the big workout and the reason to buy this record. The four part epic, which is among the best I have ever heard. The themes jump effortlessly between old space prog to baroque to experimental jazz to cinematic feel. Lovers of AOR need not apply. The production is crisp and the instruments seem well thought out with some strong performances from everyone involved. This album has been on repeat since last weekend, and every spin reveals new details and layers into a complex and interesting world. This never sounds dull and uninspired. Instrumental music should be like this. A future classic and a must own.

Today I'll be reviewing "Ambient Den", the self-titled album by the project of the same name. The album is a collaboration between three Australian prog musicians: multi-instrumentalist/vocalist Ben Craven, Tim Bennetts, keyboardist and vocalist from the bands Seven Day Mask and SUB INC, and drummer Dean Povey of Frankenfido. According to the information I have, the project began during COVID lockdowns. The album is based on a concept of mankind searching for a new home in the cosmos and terraforming a planet for us to live on. While the album is said to be inspired by 70's prog, it maintains the cinematic qualities of Ben Craven's well-respected solo work. Incidentally, Ambient Den is an anagram of the 3 musicians first names: Ben, Tim and Dean. The album contains six primary tracks and 4 single edits and is produced by Ben Craven.

Disclosure: Anne Claire of Bad Dog Productions sent me a digital copy to listen to and review. I receive no other compensation for this. I call it like I hear it! As usual, this is a "cold listen".

Without further ado, let's prepare for liftoff!

Track 1- Future History, Part 1

This is the shortest track at under 2 minutes. It begins with "spacey" sound effects. A gentle synth takes over and backs an acoustic guitar solo. At around 1:15, the music becomes more rhythmic, and an electric guitar solo becomes the focus. The overall sound is very reminiscent of Pink Floyd, especially the guitar and organ tones. A synth sound gives me the impression that we have landed, then a synth drone leads us to the first full track. This is a terrific introduction to the album, as it has me anticipating what is coming next and sets the stage.

Track 2 - For All Mankind

This is the third longest track at 8:16. The drone continues, and synth lead begins over the top. The Floydian vibes continue. The rhythm kicks in and we are at a moderately fast tempo. Lead guitar takes us to the first vocals; we are primarily in a meter of 7 here. I like the vocal tones that are first done solo, then in unison with others. In the second verse, the vocals become harmonized. I am enjoying this! At 3:50, the key and the underlying rhythm changes, and we have a synth feature. Slide guitar follows with the rhythm section accenting underneath, while synths create a nice wash of sound. Another guitar solo takes the spotlight at around 6:20. The solo continues as the vocals sing the chorus as we approach the ending. Wonderful track! I love it!

Track 3 - Provenance

We begin with an accented chord in a moderately slow 4-4. The lead guitar is featured first\. This is a mid-length song coming in at a bit longer than 5 minutes. At around 1:45 the dynamic level eases off, but the lead guitar continues. So far this is shaping up to be an instrumental track, let's see if that proves to be the case. Ben Craven is really showing us his wonderful guitar skills on this one. Definitely some David Gilmour influence here, but not a clone, as his own style comes through. As the track nears the end, delicate, almost classical-style piano takes over. Yes, it is a purely instrumental track. Very nice! A low synth drone connects us to the next track.

Track 4 - Earthrise

This is the second longest one at over 9 minutes. The drone carries over and crescendos into a mid-tempo, atmospheric groove. The vocals are in harmony. I love the soundscapes in this one, and there is a sequenced groove that keeps the song moving in the verses. Just before 3 minutes, the groove stops, and we have an acoustic guitar solo. The groove returns in the second half of the solo, which ends with a slight ritardando (slowing down) then another crescendo to take us to the next verse. At around 4:50, everything but piano drops out initially and we have a beautiful piano solo, joined by some subtle slide guitar. This is followed by the rhythm resuming and an acoustic guitar solo. By 6 minutes the tempo and dynamics pick up and he switches to electric guitar. There is a great moving bass line underneath (played by Craven, I presume). This solo is quite extended and seems to be taking us to the end. While the solo has a definite Gilmour influence, there are a few quicker runs near the end of the solo that are a bit more "shreddy" than Gilmour is known to do. With about a minute left the instruments fade out in favor of a pair of classical guitar parts. Fantastic track!

Track 5 - Terraforming

This is the big epic of the album, clocking in at 16:31. I am looking forward to hearing it, as I have enjoyed the rest of the album to this point! It begins with some basic piano chords in a well-executed rhythm. An acoustic guitar comes in on top playing a solo. Eventually some subtle organ joins as well. At about 1:35 the drums lead the rhythm section in, and he switches to electric guitar with a rotary speaker effect on it. At around 2 minutes in, the music modulates up and the backing arrangement adds more layers. He is now on slide guitar. Nice crescendo at around 2:30. We modulate back to the original key and electric piano takes the spotlight, and the bass is the most prominent that it has been on the album to this point. Just after 3:30, acoustic guitar takes the lead again, joined by choir sounds (mellotron, perhaps?). By around 4:30, the rhythm changes and there is an organ solo. The beat becomes a quick shuffle, and I am reminded of "One of These Days" from Pink Floyd's "Meddle" album, but a bit quicker with slide guitar returning. By around 5:30 there are some "gothic choir sounds". But then we get jazzy! Not sure if we are going to have vocals or not, but I am enjoying it either way! Next, slide guitar and organ trade solos for a bit. Right around the halfway point, there is a brief glorious cacophony, then the guitar plays some un- accompanied licks with band accents in between. The beat soon returns as does the awesome guitar soloing. Around 9:30 the instruments sustain and bring the dynamic level down. Povey plays some nice ride-cymbal rhythms to keep a sense of time, then more rhythms join back in. It is a slow build for the next few minutes with many layers of sound. Just before 13 minutes, the rhythms smooth back out. Acoustic guitar leads take the stage, soon joined by actual vocal "ahhs" in harmony. By 13:25 the vocals are augmented by the synth vocals. Harmonized guitar parts join the dense soundscape. It almost feels like we are ascending to a spiritual plane. At around 14:30, things come back down, and some electric guitar licks take the lead. There are also nice electric piano parts from Bennetts. Things begin to wind down and the electric piano plays some strong chords with a little flourish at the end to close out this dynamic epic instrumental piece (the few vocals are instrumental in nature, so I'll call it an instrumental despite their presence). Incredible track!

Track 6 - Future History, Part 2

The second part of the bookends of the proper album (not counting the 4 single edits of songs) is considerably longer than the opening part, but still not very long at 5:37. This begins with a funky, phasey, mu-tron groove. This part of it has vocals. There is either an actual horn section, or a convincing synth horn section after the first verse/chorus cycle. The funky groove remains throughout. This one is much more jazz fusion oriented (or even like Toto on "Pamela") compared to the Floydian feel of the rest of the album. The instruments jam out on the groove as the song reaches an end. The instruments get fewer as the song fades out. A cool ending with a very different vibe from the rest of the album. Well done guys!

OVERALL IMPRESSIONS:

I am really glad I chose this one to review! I truly enjoyed every minute of the album. With the exception of the final track, the Pink Floyd feel is strong throughout. Some might call it "derivative", but so what? I was quite impressed that they pulled off a 16 and a half minute instrumental that never got boring (see my review of Jethro Tull's "Curious Ruminant" and you'll see that that can be a tall order sometimes, even for seasoned prog veterans).But still, anyone who liked Pink Floyd inspired music will surely enjoy this, and the 3 band members individual musical personalities still shine through! I'll give this a very solid 4.5 out of 5 stars. This will rank highly in my year end rankings for 2025, I am sure.

Clicked 4, but really 4.5!

Counterclockwise by Faun Fables is a great eclectic folk album from married musicians Nils Frykdahl & Dawn McCarthy. Keeping the eclectic nature of his Sleepytime Gorilla Museum ability, Frykdahl's vocals and music accompaniment bodes well with the beauty of McCarthy's pleasant tone and melody, with great harmonies between the 2. Imagine if The Incredible String Band, Current 93 & Fairpoint Convention had a baby and you kind of get the idea. Their cover of Yes's Wondrous Stories sounds very eerily to the original, with Dawn McCarthy's phrasing and tone being very similar to Jon Anderson's original performance. I'd give this a low to mid 7 out of 10. The track I'd recommend is Washing Song.

'Equus' for its blend of technical metal rock with string instruments reminiscent of Believer, alternating between softness and a grinding edge; an incessant back-and-forth between hard shredding and melting blues, including the delightful final guitar solo; 'Misericorde I - As the Flesh Falls' with its Opethian undertones, featuring instrumental machine gun fire and a stressful growl. The heavy surge is amplified by the melancholic violin before the final earthy return; the string outro as an interlude leads into 'Misericorde II - Anatomy of Quiescence' for the classical chamber quartet duo with Tim on violin. A slow, latent bluesy-post-rock movement with this metallic ballad and its explosive electric guitar break. This avant-garde track from another era seems to come from another band, which appeals with its innocuous but well-integrated blend.

'Suspyre', a death metal ersatz with a striking growl, riding on Dan's explosive triple-pedal machine gunfire. Alana returns as a Hynde-like female guest, attempting a healthy breach of restful musicality; Xenoyr's growl joins in before letting the lucid violin break still look to Believer. The final crescendic rise is pure musical chaos. 'Graal', with its extreme neo-classical intro, recalls the basic formation of many metalheads. Dark/black metal with an invasive growl embellished by the syncopated violin taking over; acoustic guitar break with Martino's rhythmic bass; clashing guitars, machine gunning over 90s-style death metal with a fluid guitar solo. The chilling outro, a martial rhythm stuck in a defeatist violin solo. 'Anhedonia' closes this explosive album with a clear sound, a solemn piano sharpened by the Arabic-tinged vocals; Dalai on cello melts the torrid atmosphere.

— First review of this album —

Alessio Trapella reached out , inquiring about the possibility of reviewing his debut album. He had mentioned that he had worked previously with Aldo Tagliapietra of Le Orme fame. That he also was the bassist for New Trolls as well as Le Orme was enough credentials for me but Alessio adding a picture of himself with a legendary Rickenbacker red double neck monster was a notice for me to agree wholeheartedly. Alessio sings, plays the basses, guitars, harmonica, flute while Luca Chiari mans the guitars, Gianluca Raisi on the drum kit and Ares Savioli completing the group on keyboards for this recording "La Ricerca dell'imperfezione", a very personal, ear friendly, charming, and finely crafted set of songs that has certainly a lot going for it. All the 10 tracks are in the 5?6-minute range, so don't expect any epic, bombastic extended soloing, just solid songs with staying power and lots of diversity.

The first three tracks certainly sets the stage of what kind of groove we are going to get. The bruising bass carves hard and relentless on the opening track, and for me, that is just an ideal settler of any doubts. A gently subdued voice and an echoing piano show that he picked up melody and passion while working with Aldo, the reference obvious. A return to the previous instrumentation serves the mood very adequately indeed. "Freeda" also possesses that slight Le Orme touch, with really terrific vocals, powerful drumming, roiling organ and that rotund bass swirling below it all. A glittering Chiari guitar solo adds fuel to the fire. Next up, a more serene piece, as if it is time for reflection, in a quasi-religious setting, a melodic prayer of sorts to an unborn brother with the ever- present bass guiding the organ and the medieval sounding guitars. Fascinating scene as the mood hardens with pulsating passion.

The ingenious "Bando" for example, possesses a sunny Italian folk tinge, with that classic RPI tradition of incorporating "canzone italiana", a touch of flute and a breezy melodic lilt with tons of vocals and a wholly unexpected gushing Hammond organ solo from Ares that really raised my eyebrows. A brilliant change of pace that showcases the talent here. The impressive "Euridice a Milano" has some entertaining theatrics, loaded with topsy turvy licks, loopy synth lines, stop and go rhythmic pulse as well as simply awesome vocals from Alessio. Startlingly daring and inventive, this piece is halfway through the set list, and I am conquered already, a rare event I assure you. Clocking in at 6 minutes plus, the effusive "Silenzio Azzuro" (Blue Silence) sets out on a softer tone, what with a long and soothing synthesizer intro. Out of the blue (pun intended), the voice explodes in an enthusiastic cry, the guitars pushing the envelope and we have a most enjoyable ride. A child-like voice only serves to enchant even further, a lovely touch.

The bass guitar drops some fine anchor on "Un Amaro", a fantastic piece initially with sparse instrumentation, as the focus is really on the rhythm section as Gianluca pounds effortlessly in following the wild guitar solo, which has a little Mark Knopfler tinge that is most welcome. A jazzy touch compounded with a sublime electric piano venture, scat vocal effects and a fine harmonica extension. Playfully emulating musically the Spanish football small-pass technique of "tiki-taki", the scat singing on "Ti Cat tachi I tachi" is highly original, but the Spanish instrumental flamenco-prog section is a clear hint that the inspiration came from a round ball. I applaud the audacity and the creativity. Truth is the title refers to a specific Milanese tongue twister, only adding to the mystery.

"Regredendo" is the final 'arrivederci', a tale of two sides like Hermes, a first half rather song oriented with agonizing vocals and the second more doom-laden and experimental, as if the spirit of Goblin took over the band, only the booming bass connected the two halves. I was not expecting to love this as much on the first listen, but subsequent auditions have only increased my appreciation for this little jewel. Looking forward to many more future releases from this gifted performer. Bravo Alessio, un bello lavoro.

4.5 Imperfect Searches

Inaugural album from Down Under. a project that features the masterful talent of guitarist Ben Craven, alongside mates Tim Bennetts on keyboards and drummer Dean Povey, all contributing vocals. The chosen musical path is space rock and science-fiction, one of the cornerstone progressive genres, with a superfluity of storied albums by a slew on international bands. This album will be released in late July 2025, and I am privileged to receive an advance file. Let us blast into orbit and boldly go where many have travelled before but where endless discovery awaits. Of course, the spirit of the legendary Pink Floyd, Hawkwind (still going strong more than a half century later), Eloy and countless other space explorers is impregnated into the very fibre of the music displayed. They are claiming to invent or even dare to reinvent the style , the are simply offering a tremendous upgrade.

"Future History part 1 " is the obligatory liftoff, and once the stratosphere is left behind, "For All Mankind" throttles forward into the great 8 minute and some seconds beyond. The set-up is wondrous contemplation emanating from the keyboard command module, booster rocket thrusts from the drum package and the searing /soaring electricity from Craven's guitar settles the agreed upon Warp speed vector. When the crystal-clear whispered vocals enter the cabin, the galactic melody coalesces into mind numbing bliss that cannot fail to please even the most jaded cosmonaut. The swooping synthesizer loops emulate the ever so rapid time travel, a kaleidoscope of coloured shapes and glowing stars zipping by the cockpit with streaking abandon. The repetitive chorus is outright intoxicating and unrelenting, slashed by a myriad of meteoric guitar intrusions, this is an immaculate space rock track that should enter that genre's Hall of Fame.

Now firmly entrenched in full auto-pilot mode, the lush instrumental "Provenance" keeps the sonic journey in full acceleration, a cosmic platform where Craven gets to split atoms with his laser-like bluesy beams, at times sizzling in intensity, swerving with ferocity and scouring for the loftiest realms. Bennetts' piano is a fascinating addition, provide an elegant keyboard-driven rhythmic alliance with the drum percolations, and the solo at the end is simply pure heaven.

Nearly 10 minutes long , the eloquent "Earthrise" reignites the vocalized thoughts of our planetary travelers with an intricate set of lyrics expertly sung, buoyed by a crafty usage of acoustic guitar among the ongoing trembling guitar shafts that dominate the arrangement, never wandering too far from inspirational melodious arches. When the ornate piano tethers itself to the slide guitar, the shaking riffs still in place, the acoustic solo leading straight into an electric spacewalk, yearning to see beyond the crater at the earth awakening from the horizon. Utter magnificence.

The procession towards a whopping colossus, the 16 minute+ extravaganza "Terraforming", comes across as a prefect summary of all what went on previously, compressed into one global planetoid of sound. Obviously, the dimension of this composition gives the players enough room to stretch out their interventions and really let the juices loose. A desperate piano sets the controls to the heart of the sun, with stinging acoustic guitar in tow, the discreetly camouflaged organ creeping in underneath, the Gilmourian flurry in full view , all held together with the sovereign pace of Povey's kit. Toss in some e-piano musings (a perennial fave of this reviewer), choir vocalizing to add majesty as if in doubt and let the groove hit the fan as it may. The extended organ section is an asteroid's throw from the fury of a Brian Auger, as Bennetts simply mauls the lunar daylight (as well as the dark side) out of his instrument, broiling, chugging, humping and destroying the entire span of his ivories within his reach. Engaging Craven's rabid guitar comes as no surprise, as the three just conflagrate into a colossal outburst worthy of a super nova saying sayonara. Talk about a jam, the absolute ferocity of the solos is awe-inspiring, literally blowing water right at the mason (oooh, wordplay again), a complete lapse of reason. The zenith is reached with an apotheosis of emotional utterance that veers on insanity (a mini-Carmina Burana-like choir folly) and a climactic sonic ejaculation that will leave any listener spent. The extended afterglow is all sensual and soporific, with extended guitar notes caressing the senses, as if slowly building up for a second orbit around the sun, as the band sadistically ratchets up the madness. Mercifully, a detailed choral section of aaahs provides only temporary relief to the cosmic melee, this is perhaps the wildest Floyd track not written or played by the famous foursome. Ridiculously awesome, I could not help giggling in giddy astonishment.

"Future History Part2" closes the main album, as the following 4 tracks are single versions of the existing tracks (save for "Provenance"), which is fine for a debut album as one may want to cover all the bases at the onset. The choppy organ/ flickering guitar combo sets the vibe, a psychedelic essay on the impending chronicle of our times, and I am gratefully reporting that it has no pessimistic, gloom and doom feel to it, quite the contrary. Cheery, hopeful, lovingly redolent of a time when smiling, laughing and having a good time was the norm.

As close to a 5 star ever for a debut album, what the galaxy! : 5 environmental lairs

The studio album return of Ian's long-time collaborator, saxophonist Brian Smith. Also, gone from the fold is wonderful bass player Roger Sutton, but watch out: here comes the funky fretless play of New Zealander Billy Kristian.

1. "Gone With the Weed" (3:25) great "smooth" Third Wave Jazz-Rock Fusion of the Herbie/Donald Byrd kind with some cool electric piano stuff underneath and some great trumpet play and trumpet and sax interplay up top. Billy Kristian's adept bass play is obviously being doubled up by guitar and keys while an uncredited rhythm guitar (could this possibly be a wah-wah-ed keyboard?) fills the spaces during the rhythm section's frequent stops and restarts, moving toward an unexpected Disco finish. Excellent energy: so vivacious and fun. (9.333/10)

2. "Lady Bountiful" (9:17) smooth, rolling bass and keyboard foundation provides the safety net for Brian and Ian to take turns up front--Brian using his soprano sax in a very satisfying (not annoying) way with those rich keyboard chords buoying him from beneath. You know I'm not a sax fan but this is quite nice. Piano is next, creating a pond of lullness while everyone steps back to watch for a few seconds. The band returns to support more of Brian and Ian's tandem interplay for a while before another break gives Billy Kristian the spotlight for a bit. Piano and trumpet join in while Billy continues holding down the groove (with embellishments), now playing off of one another, taking the song like this (sans drums) to the end. I like and appreciate this but it's not a very memorable song. (17.5/20)

3. "Solar Wind" (7:33) I love the long, drawn out development of notes, chords, themes, and motifs on this song. There are even some smoothed-over sounds and themes that feel as if they'd come from a Return to Forever album or Jan Hammer's concurrent output. Though everyone performing on this one hits all the stellar highs, I want to give a special shout out to the very satisfying contributions of the percussionists. I love how the rhythmatists of the final run present a motif that sounds like Talking Heads' "The Great Curve" while Brian and Ian play their smooth melodies. (14/15)

4. "Selina" (4:06) the main theme presents a lot like Miles Davis' classic tune from 1959's Kind of Blue, "All Blues," the big difference is a kind of Steely Dan feel and attitude from the keys and sax. The horn section definitely fit right in with the horn melodies of Cannoball Adderley, 'Trane, and Miles on "All Blues." Even Ian's solo with his muted trumpet in the third minute totally conjures up Miles' play on the song in question. The biggest difference here is Billy Kristian's explosive bass lines: they're very different from those of Paul Chambers. Plus the Latin percussion from Richard Burgess. Still, this is a very fun, highly-nostalgic and winning emulation of a great old tune by some great, very capable next-gen players. And great sound engineering! (9.25/10)

5. "Out of the Long Dark (Conception)" (7:29) another long, slow moving mood piece that sees Ian using a mute over his trumpet--and he's occupying the spotlight for the vast majority of this one. Brian is playing a mellifluous flute over the tropical night mood music of the rest of the island cabana band: he's part of the mood but also making his ethereal commentaries/mimicry of Ian's cool muted horn (which reminds me of a lot of Mark Isham's work in the 1980s). Nice melody making, nice trumpet playing with very solid support from the late night cast--especially Neil Ardley's subtle Lyle Mays-like underscoring of Brian's flute and Ian's trumpet. Quite lovely--and perfectly arranged and recorded. Noteworthy. (14.125/15)

6. "Sassy (American Girl)" (5:13) coming across like a Steely Dan number--like a cross between "Peg," "Josie," and "I Got the News"--there are a lot of quirky, happy elements congealing into one funky tune. The Tony Banks Duke electric piano is especially prominent. (9.25/10)

7. "Simply This (The Human Condition)" (4:28) Billy Kristian is locked into a funky groove with Roger Sellers right there with him as Neil Ardley's synthesizer riffs, Geoff Castle's Fender Rhodes, and the horns fill in some of the spaces over the top. Again, I feel the need to bring light to the amazing sound engineering: the imaging makes one feel as if one is sitting on stage with the band playing around you, for you. (9.25/10)

8. "Black Ballad (Ecce Domino)" (6:56) wandering and meandering, stopping and stutter-starting, this jazz song still has more of a Bob James/Freddie Hubbard/Steely Dan Smooth Jazz feel to it than any of the other songs on the album. The riffs that make up the main motif are rather pop-oriented (Steely Dan), the solos pretty and melodic with very little dynamic surprises, and the drumming fairly Steve Gadd-like. It's nice--it's pretty--it's just not as jazzy as I like from my J- R Fusion artists. (13.25/15)

9. "For Liam" (0:58) solo flugelhorn from Ian that sounds like a day- or life-closing homage--a gentle, peaceful bugle call like "Taps."

Total Time: 49:25

A lot more tendresse and emotion-provocative melodie than I'm used to hearing from Ian & Co. but not enough to make it sound syrupy or maudlin--this is not Ian's concession to the trend to create money-making Smooth Jazz or Yacht Rock: the arrangements are still quite sophisticated and jazzy, fully-challenging his wonderful cast of virtuoso contributors

A-/five stars; a minor masterpiece of sophisticated pre-Smooth Jazz Jazz-Rock Fusion. It happens to be one of the greatest albums from the very end of the 1970s that I've heard . . . ever!

1. The Blissful Little Life of Frank Bigbof for the explosive track, avant-garde for the atmosphere; notes of instruments placed end to end, a little jazzy, heavier, much more violent and crazy with the bass and the drums, both aggressive and catchy; the musical comfort zone is reached with this dark Crimsonian hard fusion, with this invasive minimalist cold wave sound, this festive fairground break, this desire to surprise, well, Unexpect comes back to me; the finale worthy of a cinematic soundtrack, in fact. 2. The Short Way Home with its bass line over children's screams; a voiceover and a slow musical drift into an ambient psychedelic alternative mode, solemn and haughty vocals; an agonizing Crimsonian escape. The finale with this post-syncopated guitar solo takes you far, high, beyond, it becomes fruity.

3. Glory Whole in compulsive Latin-jazzy mode with the track Addict for the frenetic build-up. 4. Letter to Sandrine for the Levin-esque bass, see 'Thrak' or 'Discipline'; a repetitive tune alternating with the relative softness of the Noise Box; a sensation of musical cataclysm with an abusive synth fire. Experimentation reaches its peak with the cinematic and explosive crescendic finale for orgasmic trance; the crystalline outro brings us back to prog earth and rests the ear. 5. Atmosphere ... on that of Joy Division; a simple, monolithic, solemn sound reminiscent of the work of Siouxsie Sioux and perplexing with this Olympian keyboard and bass from the Cure in the background. The sound is invented, exported, and is not just noise.

Often instrumental music that feels like waves crashing onto pebbles in a cyclical and uninterrupted fashion, alternating dissonant and melodic notes for inventive psychedelic-post-rock-jazzy. (3.5)

Where to start, right? If this third Queen album (although there were good albums later, with great songs, throughout the 70s, is the last one for me in which they were a freer band, without commitments or ties, without the responsibility of looking for a hit, or speculating as to what was wanted from them) begins with circus-like background music, foreshadowing that we are going to witness magic, and in Brighton Rock Freddie Mercury (one of the greatest singers of all time, without a doubt) gives us the first lesson, changing in a matter of seconds from a high falsetto to a deep imposition!

Soon after, they're joined by Roger Taylor on drums, an incredible drummer, though not as famous as he deserved, in other words, one of the best in a decade where the bar was set very high, full of drummers not only technically excellent but also with their own sound. Bryan May on guitar, already mature from his youth, bringing sweetness and rusticity when needed, psychedelia, hard rock, classicism... and the list goes on! John Deacon on bass, concocting such an important but subtle work, is like Mike Rutherford of Genesis, who was just as good as Chris Squire but, being less pyrotechnic, made himself less present, but he's there, when you break down the listening instrument by instrument.

What makes this album special, among many things, is that each track is distinct; it starts differently; it's multiple albums in one, which isn't easy to achieve. It has so many ideas...and they're developed! Killer Queen becomes intimate and with a certain wisdom, a present piano that enters the mix...plus, the production work, where they alter the voices, is worth noting...with the first references to 19th-century genres, to which they would become so attached during this first, rich period.

Tenement Funster is the song that Roger Taylor, of Zeppelin heritage, composed and sang on every album, always glamorous, epic rock 'n' roll, with a speed that would become the album's trademark. A fast, expressive album... as accurate as the title. Premonitory and magical once again. We can't accuse them of not having warned us.

Flick of the Wrist begins with a classical piano attack, followed by a diabolical, twilight chorus... in another change of register. This whole series of songs were glued together, without respite, Lily of the Valley, a gospel ballad par excellence, dark English gospel, which gives way to Now I'm Here, tight rock 'n' roll executed with a looseness that flows like a spiral of smoke towards the sky... and from heaven we descend to hell, to ascend with the music, again the choirs playing, the voices altering, manipulating us like Gods from Olympus. Because this is In the Lap of the Gods. Immortal theme... fruit of inspiration. Stone Cold Crazy is fast-paced like punk, without being punk, before punk came out, but it was too fast-paced to be simple rock 'n' roll... it was something else, and suddenly the guitar comes out of the speaker and gets into your ears... and the drums sound like a tank chasing it and following in its footsteps.

Dear Friends is that warrior's repose, that almost anticipated elegy, preceded by the joyful Misfire, almost a song of happiness, because the sun rises and everything changes again. At times, everyone is together, an indecipherable mass of sound, and at others, each person contributes separately like members of an orchestra. "Bring Back That Leroy Brown," one of my favorite moments, playful and danceable! A ragtime with swing from the 1920s! Freddie sings as if everything were tinged with black and white...and that's what happens every time you listen to it. The power of great bands to take us on a journey with them wherever they wish!

She Makes Me (Stormtrooper In Stilettos), with the beautiful voice of Bryan May, whose contribution is equally important not only to the music but to the spirit of Queen. of this wild, unpredictable Queen, who took us from the Opera to the dangerous slums where Jack the Ripper roamed. In The Lap Of The Gods...Revisited and the end arrived, melancholic, somewhat jazzy, but always with a lot of feeling and strength, it seems that the whole life was contained in a song of three minutes and forty-six seconds, isn't it? And those classical piano notes, and that strumming guitar, to which the chorus joins... a theatrical atmosphere again, so affectionate to this long-haired Freddie who is the one who carried out the magic, that hits us like a sheer heart attack.

I am bored as hell in my room so why not do an album review, eh?

Deafheaven, a band that managed to surprise the world of black metal by making it mainstream. Or at least as mainstream as it can be. Their 2013 album of Sunbather certainly left a mark on many, and while it wasn't as big as Taylor Swift's Red or A$AP Rocky's LONG.LIVE.A$AP, to say it didn't leave a mark on metal culture would be a disservice. Not only had they popularized styles of post metal and blackgaze, they certainly gave them a crowd for new generations.

As for me, I got into the Deafheaven train very, very late. I had listened to Sunbather before, but never really indulged, until their 2025 album of Lonely People With Power. And honestly, I really like their style. They take the kinda styles that pervade Alcest and Ihsahn, and take it into this very emotional direction that somehow feels less aggressive and more lonely, almost absent.

Not to say it isn't angry, as most metal is quite heavy hitting in that front. But Lonely People With Power, I'd say, shines not with aggression, but rather with attrition. It's a tour de force of more introspective metal, rather than the full crux of a black metal cacophony. Certainly one could point to the post metal influence to be responsible, but even that genre can be extreme. Look at Neurosis and Cult of Luna.

No, I'd say this falls more in line with Earthside's Let the Truth Speak, being an almost pretty metal record. I know the main appeal of black metal is the grime and grit the genre has. Raw production, intense melodies and riffs, and a general feeling of bleakness. I can understand why some might not like Deafheaven turning the black metal wheel and turning a murky genre into one that all the Instagram influencers can enjoy.

But at the same time...what's wrong with prettying up a genre like black metal? I mean, if it sounds as good as this, then I see no harm. Heck, if it turns the genre more mainstream and more people get to hear it, then so be it. One day the Tiktok pageant star who listened to this record on a whim because she saw it on the charts might be a massive Mayhem fan tomorrow! Ok maybe not Mayhem because of the church burnings, but still! I think we're too hard when it comes to something becoming more mainstream, because the idea of a crowd getting bigger feels wrong. And I can get that, believe me. Having something dense expand can be very scary, especially since newer people like different things. But still, I rather not be a gatekeeper because that just ruins the fun. I don't want to be some douche and bar the entry to a musical genre just because the one wanting to enter is a "normie". We were all normies once, I was too for crying out loud! I got into progressive rock because of a Japanese anime! That is the most normie thing ever!

Ranting aside, the point is, this record gaining popularity and notoriety isn't a bad thing, and change should be accepted rather than diminished.

What isn't good though is how top heavy this record is. Yes, despite my praise, this album does suffer from the infamous top heavy syndrome. After Amethyst I feel like the album kinda just does more of the same as its first half, so it never really sticks out well in my book. There are good songs from the second half, but none that can compare to the likes of Magnolia and Heathen.

Still, though, Deafheaven really struck a cord with me for this record. A very beautiful black metal piece that, while a bit bloated, can be a fun time. A sure fire recommended pick.

Best tracks: Doberman, Magnolia, Heathen

Worst tracks: Incidental I, Incidental III

This is the earliest album I own by this Norwegian trio. "Little Lucid Moments" was released in 2008, and it's hard to believe that they had released a dozen albums before this one. These guys have been releasing music since 1990. My first experience with this band was "Heavy Metal Fruit" a record that I just couldn't get it into. So I thought maybe this band just isn't for me until Todd from the site here actually sent me audio clips of "The Death Defying Unicorn" and I was sold.

I wish this had been the record I bought first. We get four long tracks ranging from over 11 minutes to over 21 minutes. And while this is far from being revolutionary music, it works quite well for my tastes. It's just hard to believe how simple but good this is. A lot for of jamming on this one and the guitar leads the way most of the time. They change it up enough to make it interesting but I get that many Prog fans would be left wanting more.

I just really enjoy their sound here. Mostly led by the guitar and drums but two of the members add keys, mostly for atmosphere. Then an guest adds fx to the proceedings. The bass could be more upfront, and I should mention we get vocals on here as well. A very uniform sounding record which I like. There really isn't a weak song or even a favourite for me. It's all good! Very consistent. I felt like I was taking a chance on this one, but when it went on sale I bit. Really glad I did.

The second solo studio album of Roger Waters was released in 1987 and unlike its predecessor from a few years earlier, the concept record 'Radio K.A.O.S.' aims to be an inherently "modern" work that echoes the stylistic and production values of the late 80s, with its blatant use of programmed drums, mechanical feel and a slight preference for the saxophone over the guitar. Stylistically this is an art rock release that utilizes a lot of electronic sounds, together with various studio effects, tapes and the like - all intertwined into Waters' hefty concept, which is neither as captivating as some of his previous concept records, nor it is as explicit as you might expect it to be. Still, the conceptual side brings a more interesting edge to the album, which comments extensively on monetarism as well as popular culture and politics, and utilizes the morse code both sonically and visually, through the album art.

As a Roger Waters album, 'Radio K.A.O.S.' tends to be a bit too predictable and musically austere, which makes the comparisons to 'Pros and Cons' and 'The Final Cut' difficult, given that all three of the aforementioned records are flawed in one way or another. Occasionally, the conceptual edge overshadows the musical inspiration here, which results in some incredibly dull and uninspired tracks, which are further butchered by the frantic desire to "dress" the music in the typical production qualities of the late 80s (think of the opening track 'Radio Waves', or 'Four Minutes', which are just bland). However, this album does work rather well as a continuous listening experience, and most of the songs on here make more sense in the context of the record itself, with some mostly very good entries being 'Who Needs Information', 'The Powers That Be' (Waters is indeed a fine songwriter here), and 'Home'. Yet overall, 'Radio K.A.O.S.' is a generally inconsistent and a stylistically unrewarding effort, even if it offers several interesting musical ideas and somewhat of a unique concept, it seems to be all about that Roger experience!

What an absolute banger of an album. Kansas is basically this only american prog band who had some success. While this album wasn't the hit they got later in their career with Leftoverture, I think it's by far their best

Can I Tell You is a fantastic way to start the album. Amazing violin work, and it sets up the sound of this album perfectly (3/3)

Bringing It Back is another piece in a similar style, which even more crazy violin work. (3/3)

Lonely Wind is a ballad, and a damn good one at that. One of the softest piece the band made, a sort of precursor to Dust In The Wind. (4/4)

Belexes is right back into the vibe of the beginning of the album. Great track but not much more than that (3/4)

Journey From Mariabronn is a fantastic track, and their first real prog piece. Crazy keyboard and violin work again (8/8)

The Pilgrimage is the weakest song on the album. It's just not as epic as the others (3/4)

Apercu is RAD. By far the greatest song on the album, and imo the greatest song the band ever did. It's a masterpiece of prog rock. (9/9)

Death Of Mother Nature is technically the end of Apercu, making it a massive 18 min track. I think this part is slightly less amazing than Apercu, but it's still good enough to make the 18 min suite one of the greatest thing this band ever did. (7/8)

TOTAL: 40/43 = 93. Easy 5 stars, a must for everyone

If you want dark and deep music it doesn't get any darker nor deeper than this. This is one of my favorite dark ambient albums by Lustmord, simply because it's even darker, even more ambient than his usuall output. I expect this to be too much (or too little as this is sound of space and darkness, a long ominous shadow cast on your apartment or wherever you are lstening...) for a lot of people , but for ambient (especially dark ambient) fans this is great stuff. Why this is reviewed on a prog site I have no idea though!

"Storie Invisibili": The Sonic Soul of Banco del Mutuo Soccorso Between History and Contemporaneity.

Banco del Mutuo Soccorso, the indomitable bastion of Italian progressive rock, delivers to the public "Storie Invisibili" (The Saifam Group, February 28, 2025), a work that doesn't merely serve as another discographic piece, but stands as the crowning achievement of a conceptual trilogy dedicated to human existence. Following the metaphorical journey of "Transiberiana" and the ode to love of "Orlando: Le Forme Dell'Amore," this final chapter delves into the folds of ordinary lives, elevating individual stories to universal mirrors of our era.

Textual Content: Voices from the Shadows, Universal Truths The beating heart of "Storie Invisibili" lies in its profound conceptual matrix, conceived by Vittorio Nocenzi with contributions from Michelangelo Nocenzi and Paolo Logli. The album proposes to give voice to the voiceless, to narrate those "invisible stories that newscasts don't tell." The twelve tracks are lyrical frescoes that interweave personal experiences with historical moments and contemporary themes, demonstrating a rare capacity to connect the micro to the macrocosm.

"L'ultimo Moro dell'Alhambra" is a striking example: the story of the Moriscos' expulsion from 1492 Spain resonates with dramatic topicality, explicitly recalling the situation in Palestine. This isn't mere historical evocation, but a bridge between past and present, a warning about the cyclical nature of human suffering. "Sarà Ottobre" addresses the October Revolution of 1917, not with rhetoric, but through the disillusionment of two young people who see ideals of social justice betrayed by a new, ruthless tyranny. "Studenti" captures the unease and distrust of new generations occupying European universities, a generational cry that finds echo in direct and heartfelt lyrics. "Casa Blu" is a punch to the gut, narrating a Ukrainian's survival under bombardment, making the listener participant in an ongoing tragedy. "Il Mietitore" is a hymn to the dignity of agricultural labor, highlighting the struggles of those who feed the world. Finally, "Capo Horn" closes the album with a powerful metaphor of the unknown and Dante's "mad flight" toward knowledge, a call to exploration and transcendence of human limits.

Vittorio Nocenzi's vision is clear: art must be a "megaphone" for marginalized causes, a rebellion against the commodification of the soul and obsession with crime news. The lyrics aren't merely narratives, but philosophical declarations promoting a "new Humanism," repositioning the individual at the center while critiquing biased information management. This textual depth elevates the album beyond mere entertainment, transforming it into social and philosophical commentary of rare lucidity.

Sonic and Stylistic Content: The Evolution of Banco's Prog Stylistically, "Storie Invisibili" sits firmly within the Progressive Rock genre, but with a maturity that balances the genre's intrinsic complexity with renewed immediacy. The choice to restore the "dual keyboard" configuration, with Michelangelo Nocenzi alongside his father Vittorio, is a crucial stylistic element. This configuration isn't mere nostalgic recall, but a functional choice that enriches the album's harmonic and timbral fabric, allowing intricate overlays and instrumental dialogues.

Vittorio Nocenzi's keyboards are, as tradition dictates, the sound's fulcrum. His masterful use of piano, Moog, and Hammond organ creates symphonic atmospheres, virtuosic passages, and enveloping sonic carpets. Tracks like "L'Ultimo Moro Dell'Alhambra" and "Sarà Ottobre" are true progressive gems, rich with ideas and nuances, featuring rhythms that accelerate and transform. Michelangelo Nocenzi, described as his father's "musical alter ego," contributes a fresh touch while remaining deeply rooted in Banco's DNA, ensuring both continuity and innovation.

Tony D'Alessio's voice is another pillar. His performance is excellent, expressive and capable of conveying the texts' intense emotions. Although D'Alessio suggested more "immediate" and "accessible" language, the album doesn't renounce musical complexity. This apparent contradiction reveals a sophisticated strategy: making profound conceptual themes accessible to a broader audience without diluting the sophistication that defines Banco.

Filippo Marcheggiani's guitar distinguishes itself through expressive work, with incisive riffs like "Il Mietitore" and guitar inlays supporting the melodies. The rhythm section, composed of Marco Capozi's bass?an "impeccable metronome"?and Dario Esposito's drums, influenced by Jazz and Electronics, proves a "winning card" in enriching tracks with dynamic and innovative pulsations.

The album presents a variety of compositional approaches: from more direct songs like "Studenti" to atmospheric and moving prog ballads like "Il Pittore" and "Solo Meraviglia." "La Casa Blu" shows an incursion into more pop sonorities, but always with elegance and sophistication that maintain firm progressive identity. "Spiegami Il Cielo" exemplifies a highly intricate and virtuosic piece, with impactful instrumental digressions demonstrating the band's professionalism and executive mastery.

In summary, "Storie Invisibili" is a work that consolidates Banco del Mutuo Soccorso's position as a vital and innovative force in the progressive landscape. Through masterful fusion of profound lyrics and rich, dynamic instrumentation, the album not only closes a trilogy with coherence and mastery, but establishes itself as a "masterpiece" that continues exploring the genre's boundaries, demonstrating that Banco is, and remains, "Un'idea che non puoi fermare."

Ian Carr continues onward in his relentless pursuit of expanding the horizons of all that is possible from his grand idea of fusing elements and styles of various musics into the jazz-rock idiom.

1. "Rat's Bag" (5:51) a little "Space Race" blended with a little Cosby Kids funk into an Average White Band form. Great funk tune. (9.125/10)

2. "Alive And Kicking" (9:30) percussion play, saxophone play, with Moog bass and wordless vocalese coming from Bob Bertles provides two minutes of entertainment as Ian and the band "warm up." In the third minute the band emerges from the chaos and fog of the intro into a Marvin Gaye-like motif with horns, wah-wah rhythm guitar, congas and full- fretboard electric bass play all contributing to the dance-and-work-it pace and drive of this engaging tune. In the fifth minute, Ken Shaw is given the green light to launch into a solo that starts out kind of jazzy but becomes, over time, quite searing and soaring in its rock nature: Ken is really flying--urged on by the excellent support of bass, drums, percussion, Fender Rhodes and accenting horn section. The band moves back to the main theme in the eighth minute before a wild crash/crescendo of cacophonic choas is unleashed by all instruments, all at once, at the 8:00 mark. Out of this slowly, gradually, emerges a kind of minimalistic arpeggio weave from Ken with Ian soloing alone above it. A great tune. (18/20)

3. "Rachel's Tune" (7:05) a song with DEODATO-like charm and earworm grooves and riffs that sink in and won't let go, the funk, the jazz, the fusion, the radio-friendly AWB sound--they're all here. Bob Bertles gets the first solo on his soprano sax, then Geoff, Ken, and Ian. (13.5/15)

4. "Snakehips Etcetera" (10:32) a great, melodic bass line is accompanied by congas and simple drum play to help found that which will become a Bitches Brew-like motif. The level of creative inputs into this song by each musician is off-the-charts virtuosic. (17.75/20)

5. "Pussyfoot" (4:06) flute in the lead over the rollicking Jazz-funk-fest offered by this one. It sounds quite Freddie Hubbard or Laws Family-ish. Bob can really play the flute! And the full-band support is great (if less creative than that which will emerge on this lineup's next album, Alleycat.) (9.125/10)

6. "Heyday" (7:45) down-home country 12-string guitar play opens this one sounding like something from one of Britain's early Folk Rock musicians is joined in the second minute by folk-jazz traps, multi-octave bass and Fender Rhodes lines. At 2:12 Ian and Bob join in (using multiple tracks) to form another thread made up of two different horn section lines. Meanwhile, Ken continues his 12-string legato until 4:25 when the horns break up the song's momentum and everybody switches to a new, more New-Wave/R&B motif over which Bob Bertles solos on his alto sax. A very pleasant, almost Brian Auger-laid-back-like motif that also harkens back to the blues rockers and jazz-rockers of the 1960s (Otis Redding, Wilson Pickett, the Memphis horns, Chicago, Blood, Sweat & Tears). Fun tune. (13.5/15)

Total Time: 44:49

Whilst a great album of individual performances and tons of creative experimentation, the band has yet to really gel into cohesive union; that would come with the next year's Alleycat. What I like best about this album is the comprehensive consistency from the rhythm section--especially Roger Sutton's excellent funk grooves, but the way they are all supported and enhanced by Roger Seller's drums, Geoff Castle's keys, and the ensemble's percussion contributions. It's a very consistent, high-level funk fest from opening note to the end of the penultimate song, "Pussyfoot." The two Rogers make one heck of a duo!

A-/five stars; a minor masterpiece of funky Jazz-Rock Fusion and a clear indicator of things that are to come.

In the fragmented landscape of Italian progressive rock in '77, when many historic bands were abandoning experimentation for more commercial sounds, this hidden gem by Stefano Testa emerges from obscurity. "Una Vita Una Balena Bianca E Altre Cose" represents one of the last authentic expressions of Italian symphonic prog - a work that deserves rediscovery far beyond its current status as a coveted collectors' rarity.

Historical Context and Genesis: Born from the creative vision of Rome-born, Porretta Terme-raised Stefano Testa, this album emerged during the turbulent years of 1976-77, a period marked by ideological contradictions, political militancy, and intense cultural ferment in Italy. Published by the small Disco Più label in just 1,000 copies, the album remained commercially ignored despite its artistic quality and profound commitment - a fate that befell many progressive Italian works of the era. Testa, influenced by British progressive acts, Italian singer-songwriters of the caliber of De André and De Gregori, and literature, created a work that breaks the classical patterns of Italian chanson to embrace broader, more structured forms with a clear progressive vein.

Concept and Literary Inspirations: The Melvillean reference in the title proves no mere coincidence: the album unfolds as an existential journey through soundscapes that evoke both oceanic immensity and philosophical introspection. The central theme revolves around existence and its challenges, symbolically represented by Melville's "white whale" - an emblem of titanic enterprise and endless existential battle. The album draws profound inspiration from writer Cesare Pavese, whose final moments become the subject of the opening suite "Una Vita" (over 16 minutes), fusing profound lyrics with sophisticated orchestrations. The texts range from existential reflections ("Risveglio," "Notturno") to literary homages like "La Ballata di Achab" (inspired by Moby Dick), culminating in intensely intimate moments of pathos such as the heart-wrenching "Ninna Nanna," dedicated to a child who died prematurely.

Musical Architecture and Sonic Palette: Testa's compositional maturity shines through layered arrangements where vintage keyboards create evocative sonic tapestries. The album features rich musical variety: expansive instrumental sections, orchestral arrangements crafted by expert Franco Chiaravalle (known for his work in Neapolitan music), and the presence of the Portici Trio on guitars. Classical prog instruments include Alberto Monpellio's Moog and Marco Coppi's flute, resulting in a balanced synthesis between progressive sonorities and Italian cantautorato tradition, achieving rare elegance and depth. Despite presumably limited resources, the production maintains clarity that enhances each instrument without losing the "warm" analog patina of the era. Remarkably, the recording sessions were swift but intense: music tracked in one week, vocals in a single day - testament to the quality and preparation of both artist and supporting musicians.

Track Highlights

"Una Vita" (16:09) - A monumental suite narrating Cesare Pavese's final life chapter through vocals and orchestra "Risveglio" - Existentialist reflections with intense atmospheres "La Ballata di Achab (Moby Dick)" - An epic homage to Melville's famous character "Notturno" - Crepuscular, emotional and melancholic "Difficile Chiamarti Amore" - Intimate reflection on feelings "Il Dio Sulla Ferrovia" - Closer to pure progressive with marked narrative tension "Ninna Nanna" - Heartbreaking, poetic closure dense with pathos

Production Notes and Collaborators: The album benefits from Franco Chiaravalle's sophisticated arrangements, which lend an original and refined touch to the compositions. The Portici Trio, an acclaimed acoustic guitar trio, enriched the sound with delicate textures. The cover, defined by Testa himself as "classical, mythological and barbaric at the same time," was created by Mauro Milani, adding evocative visual completion to the work.

Reception and Legacy: Despite its artistic merit, the album failed to achieve commercial success, hampered partly by Testa's reluctance to perform live and the progressive decline of interest in authored progressive rock during this period. It was reissued only in 1994 by Mellow Records, finally garnering attention from enthusiasts and collectors. Testa would compose a sequel, "Decadenza e Morte di Andrea il Traditore" (1979), never officially released, testifying to his continued desire to experiment with complex storytelling. His artistic journey continued with 2012's "Il Silenzio del Mondo," demonstrating ongoing creative vitality decades after this seminal work.

My Critical Assessment: While the album occasionally suffers from certain prolixity in extended instrumental passages, it demonstrates enviable stylistic coherence. Testa never succumbs to virtuosity for its own sake, maintaining unwavering focus on overall musical narrative. The work possesses that expressive sincerity and compositional sophistication that distinguish genuinely inspired art from mere technical exercise.

My Final Verdict: "Una Vita Una Balena Bianca E Altre Cose" stands as a precious rarity in Italian progressive rock - a work of authored music with a progressive soul that speaks directly to true connoisseurs of '70s music and culture. It lacks the innovative force of the genre's absolute masterpieces, but compensates with profound emotional resonance and literary sophistication rarely found in the Italian panorama. This album represents a silent testament to an unrepeatable creative era, perfect for those seeking in progressive rock not merely technical complexity, but genuine emotional and intellectual depth.

A true collector's gem that rewards patient listening and literary sensitivity - essential for devotees of Italian symphonic prog and an absolute treasure for collectors of rare '70s gems.

Alio DIe is very productive, I try to keep up with his releases but a lot is just too bland for my ambient taste, this however is one of his best releases, this is long form ambient (40min +) at it's best, very relaxing, always flowing and evolving soundscape without directly changing, many instruments and recorded sounds (field recordings) but don't think of it as that, as it all is turned down and comes and goes in many layers of sound, softly mixing into a stream of sound, which is what we who enjoy ambient like. Very good, if you like this sort of stuff ;)

Great Herbie Hancock- and Miles Davis-inspired Jazz-Funk. I tell you: Ian Carr is one of THE least appreciated/most under-credited contributors to that which we call "Jazz-Rock Fusion"; the man consistently takes the genre into dimensions not-yet-imagined--and does so with bands that express a level of skill and virtuosity that is, in my opinion, unequalled and unparalleled in the world of J-R Fusion!

1. "Phaideaux Corner" (6:20) bass-master Roger Sellers has perfect control of all that is The Funk. Funk Jazz does not get much better than this! Even from The Average White Band! (9.5/10)

2. "Alleycat" (14:05) for the first couple of minutes of this song I find myself thinking that Ian & Company had been studying Herbie Hancock's transition to funk-infused Headhunters music as well as some Steely Dan, but then it devolves into more of an exhibition of studies of Miles and Freddie Hubbard peppered with a few forays into pop- familiar styles and riffs. The musicians are having a ball: each exploring their own melody and accent lines as they feel drawn--especially guitarist Ken Shaw (both on rhythm and lead). The simple pop-rock-oriented motif that fills the final four minutes is great for Shaw to shine but rather schlocky for jazz-rock fusionists. (27.5/30)

3. "Splat" (11:40) another song that definitely unfolds as if it were a copy/imitation of Herbie Hancock's new Headhunters funk style, but then at the 1:30 mark we are treated to an odd and unexpected space-interlude for about 45 seconds before the band jumps right back into the funk. The accent work of the horn section and the animated conversations between Roger Sutton's bass, Ken Shaw's guitar, and Geoff Castle's Fender Rhodes are quite entertaining, even humorous. And did I mention the great drumming and percussion play from Roger Sellers and Trevor Tomkins? A great composition that is made even better by the wonderfully-engaged contributions of every single one of the musicians. A song that again reminds me of Ian Carr's genius at taking a style and making it better-- taking it to unforeseen results--with the highest caliber of confidence, sophistication, and virtuosity. Not even Herbie ever took his funk as far or as high as this! (20/20)

4. "You Can't Be Sure" (4:10) Ken Shaw's 12-string acoustic guitar played country-pickin' style (to sound almost like a mandolin) with Ian's muted trumpet and Roger Sutton's baritone bass lines interplaying with him come across as a great field conversation from the cotton fields of the American South. Not my favorite style of music, and not necessarily a song worth copying, learning, or emulating, it is definitely a display of creative virtuosity. (8.75/10)

5. "Nosegay" (4:40) a racing Fender Rhodes-led display of amazing funk/R&B dexterity and virtuosity. Brian is on fire, but then, so are Roger Sellers, Roger Sutton, Geoff Castle, and Ken Shaw's amazing rhythm guitar work on the wah-wah. Jazz, rock, Fusion, music doesn't get much better than this--nor musicianship get more impressive. I'm not one to wax rhapsodic about keyboard work very often, but Geoff Castle's work both leading the way and in the soloist's spotlight are attention-commanding--worthy of high, high praises. (10/10)

Total time 40:55

A/five stars; a full-on masterpiece of Third Wave Jazz-Rock Fusion: Ian has once again taken the ideas spawned by others (Herbie Hancock, Miles Davis) and expanded upon them in ways that leave the progenitors IN THE DUST!!

JOVIAC, melodic prog metal, with a nod to Dream Theater and ACT, is playful prog pop metal. A melodic and progressive structure, fiery riffs, and delightful lyrical flights.

"Level 1" with its instrumental intro punctuated by soft guitar, on "Entrez lesaccusés"; marshmallow guitar shimmers in the Satriani space, a groovy staccato, and a distinctly neo-classical zest. It has a strong whiff of Dream Theater from the introduction of the jazzy keyboard-drums and the associated djent beat in 7/8 time. "Haven" follows with a piano arpeggio gradient for the radiant melody that serves as the opening to "B.O.M.B." with accompanying vocals, proof of their prog roots. A striking catchy chorus, djent mixed with modern synth with a fresh, funky touch. The rhythm brings Joviac into the era of the new sound of the decade; Viljami bewitches me, reminding me of the sounds of Tesseract. "Burn," ah, that intro that could have been played by Iron Maiden, that compulsive rise of instruments, a bit of guttural, then the syncopated side found in Haken, the rhythmic background on Dream Theater. A text on mental suffering experienced like a Wallian wall; a fresh, invigorating, energetic drift, a zest of Muse to introduce the break with this piano note drifting to the Orient, Orphaned Land. An enthusiastic progressive vein, full of links up to the guttural vocal; crystalline sweetness for the twirling, playful, and devilishly progressive finale, melting vocals on A-Ha.

"Canvas" for the 80s radio pop track, a soft melody on Toto, Tears for Fears, incredible this change due to the nostalgic keyboards evoking Saga in the background; A softness flirting with AOR bands for the direct finale, then on to crystalline acoustics. "Shine" follows suit, symphonic synth combined with soft djent for the fruity, distinctive chorus; the guitar hints at those of Animals as Leaders. A percussive, dynamic piece, navigating two musical modes with the instrumental finale. "Level 7" as an instrumental sequel to the first, a rhythmic tune worthy of Suicidal Tendencies, funky and bouncy with the guitar and new wave keyboards with trumpets. Riffs, progressions à la Porcupine Tree, heavy metal à la Dream Theater. A special mention goes to Rudy and his explosive drum kit. "Open Eyes and Mind" is an a cappella intermission by Viljami accompanied by a gospel choir; it doesn't fit into the baritone range to amaze, but its harmonic capacity is such that it easily captivates. "Once" for the second major piece; Vocals riffing on Haken and Temic, melodic then choppy. Ambient drift, djent, choppy synth, everything even returns on "Level 1." The break takes off into a cottony space where Viljami excels, creating a bucolic atmosphere of introspection, Queen guitar. It wanders affectionately until the second break where the keyboard reigns supreme, vintage organ then piano, a tribute to shivering neo-classical, to Savatage. Solemn, dithyrambic, and enjoyable symphonic music.

Joviac offers a selection of choices, somewhere between prog metal, AOR, djent, languid pop wave, and introspective alternative rock, with a fresh sound that cleans out the drawers, moving from Dream Theater to Haken and Periphery, Circus Maximus, and Voyager. Originally released on Progcensor.

Elleven, a band formed in 2001 with two former members of Chandelier, wanted to showcase Julia Graff, who deserved partial recognition for this slightly atmospheric progressive pop.

"Contact," with its latent, gentle atmosphere and prominent electro-pop synth, beats with new-wave sounds. The Gilmourian guitar arrives late, slowly, and matches the marshmallow sound. Julia's languid vocals are enhanced by the soaring acoustics; the sloping notes are jazzy if it weren't for the melancholic guitar; a second heavy- psychedelic break elevates the song, which was missing. "Persuasiveness," a hypnotic, high-pitched, and insightful hang, with sharp guitar, a hint of Minimum Vital, rhythm with the heavy bass, and a soft air with the vibrant synthesizer. A beautiful exercise in a more accessible, fresh, and pop-like style. "Attraction" changes direction with the short track, featuring train station hall sounds and ethereal vocals, followed by "Unvertainty," a synth pop-rock tune worthy of The Cranberries, even shorter as a choral interlude. "Desire" lingers, with ambient space, deep bass worthy of Alan Parsons, and enchanting piano, with Julia's voice as sensual as can be. An exotic blend of captivating emotions in a latent tune, a beautiful crescendic rise, and the final, energetic guitar solo tearing the air from its notes; an airy, symphonic melancholy, à la Pink Floyd, that lifts the album off the ground.

"Venture ~ Clash ~ Clarity," for the second of the three long tracks; an atmospheric, languid atmosphere; a romantic, suave, and erotic twist with the snare drum, juggling sensuality and the agitation of words. A latent track, subdued, then fiery, with Carsten's insistent guitar, oozing with melancholy; the long finale. "Deception" for the atmospheric dark rock track, Banks-esque keyboard, Mason-esque pad, and furious guitar. A blend of gentleness and controlled aggression from Julia. "Release" takes a turn worthy of Anathema's third period, overwhelming; a metronomic, emotional, and captivating keyboard, an atmospheric basic sound, and staccato vocals for a slow melodic decline reminiscent of Pendragon and New Age. A risky pairing with the fiery finale. "Conciliation" for the finale, with its long crescendo, moves forward with this painful story by offering a warm, airy atmosphere, a sign of openness and sharing. The cinematic, spatial outro is a sign of hope.

Elleven offers ethereal progressive pop where the ambient atmosphere exudes emotion in spades. A musical landscape offering gentleness and moderate power. The technically flawless album is a bit long on its tracks, which can unfortunately detract from the concept.

"Intro" cinematic, short, animated city background, a latency and "King of Fools" bursts in, drum kit raging, guitar shearing with Domenik coming to twist everything with his chopped voice; supercharged, melodic heavy prog metal. The break features in turn Andreas, Alex then Tobias on a sustained prog space, closer to just heavy; a big tonic ballad, a snarling but melodic vocal, so as not to stress the aging prog. Note the text on the need for tolerance. "The Forgotten Part I" starts on the DREAM THEATER in their heavy phase, with the heavy, metallic guitar; it was only an intro because the acoustic and the piano take position. Story of Gaia angry at her human sons hurting her. The piece starts again in fury, the elements unleashed. The guitar variation, oozing with melancholy, moves before launching into a torrent of embers accompanied by Tobias' keyboard. "Inside His Room" has an Olympian gait on HELLOWEEN, bordering on the gritty hard rock. The intro brings the calm vocals and a restrained air; the sharp guitar solo calms the ardor before the electric finale. "Will You Remember?" a latent intro, yes OCEANSIZE for the post-rock psychedelic atmosphere; the slide guitar and the captivating vocals before the apoplectic rise. A tenuous crescendo, voiceovers before the final metallic ballad with hoarse voices, on SYMPHONY X. "F 40.8" with Vibram SHANKAR, yes EVERGREY, SILENT SKIES, REDEMPTION, Max ENIX, in short, a well-crafted instrumental with the fluffy keyboard and the airy guitar, Sebastian's bass keeping the rhythm. Reminiscent of our national Patrick RONDAT.

"Underneath Grassroots" on a radiant, latent electric base, whispered KISS vocals, delicacy of reverberating notes. The outro on the syrupy synth for the nostalgic ballad. "The Fall" now with the repetitive, melancholic air, quickly erased by the energetic rise and the latent climate of the keyboard. The second derivation with the soaring synth and the aerial guitar amplify the grandiloquent side of this piece with these demonstrative pads. The crystalline piano-keyboard drift moves away from prog metal for a while and makes you want to replay. "The Forgotten Part II" with the religious cinematic, storm and church choir; a rise in power, on SYMPHONY X, the piano on SAVATAGE, immense with the Dantesque riff starting this 20-minute title; the keyboard in the background adds depth to the piece, memory on ETERNITY X, SAVIOUR MACHINE. A spacey, tribal break with Rob Leland's spoken word announcing the calamities of Mankind over a melancholic, neoclassical air; a return to hard metal with SONS OF APOLLO to explain the power of the drums and the furious guitars. The shouted vocals flirt with a bubbling growl; the tune deviates into a compulsive space, a machine gun with explosive bullets. The solos arrive, guitar and keyboards for the solemn, joyful progressive moment; the notes spurt out, burst forth from everywhere, and create a feeling of well-being before ending on a final vibrant note, harassing the hypnotized, trance-like ear.

PHILOSOPHOBIA: heavy, melancholic, modern progressive metal with hints of DREAM THEATER, PAIN OF SALVATION, THRESHOLD, and KAMELOT. A confirmation that amplifies all the good things I wrote about the eponymous album. Originally published on Profilprog.

For some fans, Camel's 'Moonmadness' is the epitome of the band's early sound, while for others, this is the first misstep along their path, and what is undoubtedly true, is that out of the four classic albums released by the original lineup, 'Moonmadess' is the least exciting and characteristic one. Following the success of 'The Snow Goose', an entirely instrumental record, Camel return to a more familiar presentation, with an album that is stylistically more similar to 'Mirage' yet features a good amount of long, complex, atmospheric instrumentals that are also filled with breathtaking guitar solos, which is definitively one of the recognizable elements of symphonic prog. The long-form compositions on this album are indeed quite well thought out and can get very dreamy and aloof, but there is an element of unbridled melancholy and an overall lack of personality that render 'Moonmadness' somewhat of a tedious listen. Other classic prog album that work in a similar way have to be 'Trespass' and 'Tormato'.

Here the set opens with a short and spacey instrumental theme that gives way to the symphonic ballad 'Song Within a Song', a piece that features lush textures, some fine flutes by Andrew Latimer, and a gorgeous melody that is taken up and explored in-depth later on in the instrumental section. The second and final part of this song is also quite interesting, with Peter Bardens taking the lead with his more intricate and a bit Canterbury-esque synth playing. The instrumental 'Chord Change' is enjoyable and the jazz drumming really adds something new to the mix, but the overall feel here is of nothing exceptional happening, which almost certainly also applies to the short Bardens piece 'Spirit of the Water', one of the most sorrowful episodes on 'Moonmadness'. And the conclusion of side one brings back the familiar problem with the vocal department in Camel, which has perhaps always been lackluster and the main reason for the band's lack of characteristic personality.

Side two of 'Moonmadness', on the other hand, is significantly better - just three longer pieces, these mini-suits explore different textures that are more pertinent to the band's style from earlier albums like the debut or 'Mirage', with the focus here being on the instrumental parts. The splendid soloing and the beautiful melodies persist, with 'Another Night' being one of the high points on the album. The closing instrumental piece 'Lunar Sea' might as well be treated as the signature piece off the record, a semi-prog exercise that offers some great keyboard sounds. And as much as this record happens to be the most uneventful and uninspiring of the first four Camel LPs, it also marks the end of the classic era of the band, with excellent bassist Doug Ferguson leaving the band after its release.

A Swan Song Befitting Michele

Quite the bummer for me to discover this very cool band only to immediately learn that they have called it a day, though understandably so. In March of 2022, the band announced that drummer Michele Capriolo passed away after battling a terrible illness for some time. In the same announcement, they made clear that the Old Rock City Orchestra would not continue without him. The band they started in 2009 would complete their final album, Ipsilon," recorded in 2021 with Michele, and then gently turn the page. Pouring through their decade of social media photos, it was abundantly clear to me that this was far more than a band. They were a very tight-knit family of friends who loved music but perhaps loved sharing the ride of youth even more. Against that sad backdrop, I hear their music for the first time. But, alas, the sadness turns to joy.

Joy indeed. Old Rock City Orchestra is that somewhat rare blend of crossover attributes that I love. So many third-wave bands sound pretty samey to me with paint-by-numbers "prog" overdo, oversized outside influence, and an emphasis on making really sure we know they have chops galore. I won't name names but my eyes glaze over quickly with those releases. On the other hand, Old Rock City start with memorable melodies and dress things nicely with playing that is superbly measured, restrained when needed, and thoughtfully crafted in the finest "art rock" tradition. There are nods to the past, for sure, but Old Rock City isn't stuck there. Some have written that the delightful keyboardist/vocalist Cinzia Catalucci has a voice like Kate Bush or Silvana Aliotta, but I thought first of Silvana Idà (from the fantastic Apoteosi RPI album) with maybe a touch of Judie Tzuke-ish art-pop sensibility. Her impressive keyboard instincts combined with the tasteful and colorful guitar work of Raffaele Spanetta are presented very well by Michele Capriolo's nimble, nuanced percussion.

This elegant and engaging work begins and ends so beautifully. Both the opener "Y" and the second half outro of closer "We'll Be One" consist of perfect instrumental sections that honestly made me long to hear more extended passages. And that's not knocking the vocals at all, but just enjoying the instrumental interplay throughout. While I didn't totally buy that the vocals sounded like Kate, I will agree that "No Way," "Stranger," and "Fly Away" all have some of the spirit and vibe of the Lionheart-Never for Ever era Kate, primarily in the bouncy piano-rock and vocal inflections. Thus it is a safe bet that Kate fans should enjoy this album. But what I personally loved was just the songwriting and unique playing styles of Cinzia and Raffaele, which complimented each other and the material so well. "Diamon" along with its gorgeous, life-affirming nature video proves the band would also excel at soundtrack work. From lighter jazz-pop dalliance to snappy rhythms, rock, and prowess on piano and occasional Deep Purple-sounding "dirty" organ runs, the album is simply awash in interesting yet accessible art rock avenues.

To Cinzia and Raffaele, I would like to send my appreciation from the American Heartland, but also my sincere condolences on the loss of your friend and collaborator. This final album is a valiant and worthy tribute not only to Michele but also to the Old Rock City Orchestra. Best wishes to you both on future endeavors.

Forgotten Silence - Thots (⅘, 94/100)

Forgotten Silence are best described as an experimental death metal band from Brno, Czech Republic formed in 1993. Their debut album "Thots" was self-released in 1996 (initially on cassette, later re-issued on CD). The band had already forged a status as free experimenters. "Thots" is a tightly focused concept album drawn from Isabel Allende's novel The House of The Spirits which only strengthens that claim. The titles of the songs recall characters and themes from that story, suggesting a narrative of cruel reigns and the indomitable human spirit. They dropped the unique gurgling growls which were present and a big standout on "The Nameless Forever?The Last Remembrance". To counteract this decision they recruited Hanka Nogolová (a female vocalist). In 2009 a remaster brought "Thots" to a wider audience.

Musically, "Thots" defies the norms of the 90s. It's often described as an avant-garde or progressive death metal album. It features the death metal aggression but fuses it with experimental and jazz-influenced elements. The album's sound constantly shifts, one moment you're listening to a mid-paced song with harsh growls and the next you're listening to soothing acoustic passages or keyboard-driven ambience.

The vocal interplay is especially striking to me. Harsh growls alternate with melodic almost eerie female vocals which adds a gothic twist to the music. Ferocity along with acoustic and jazzy interludes keeps the album unpredictable. The instrumentation is rich and varied, which drags you further into the album.

The lineup on "Thots" include: - Hanka Nogolová / vocals, voice - Radim Chrobok "Chrobis" / voice, narration - Pavel Urbánek "Medved" / guitars - Jan Friedman "Marty" / keyboards - Alexandr Nováček "Krusty" / bass, vocals - Miloslav Nahodil "Milon" / drums

The guitar playing ranges from heavy, dissonant riffs to a more melodic and latin tinged acoustic passage. The keys (Hammond and Mellotrons alongside synth washes) often take the lead in creating tension and melody. The way all of the instruments weave around each other is done so well on this album, their sound almost reminds me of the Swedish "Progg" movement with the slogan that everyone can play. The bass and drum grooves lock on to each other to anchor the groove. While the guitar and keys weave counter-melodies on top. The female vocals float over the mix rather than to dominate it and the harsh growls add a sense of brutality in the mix that you can't go without. Overall the musicianship is unusual, technical, complex and adept. They're avoiding pointless soloing and flashyness by constantly serving the song's arc.

A handful of songs on "Thots" are lengthy and divided into multiple parts. "Blanca: The Endless Desire" (10:56) and "The Old Memories (The House of The Spirits)" (14:21) are sprawling epics that flow between ferocity and melancholy. Each song unfolds into segments, building peaks and plateaus rather than sticking to your average verse-chorus structures. Shorter interludes like "Tres Marias Part II" and "The Awakening" act as bridges that maintain narrative momentum. This approach is common in Prog and prevents the music from becoming too monotonous. Even the more predictable death metal riffs are given unexpected twists by sudden tempo changes, abrupt pauses and instrumental breakdowns. "Thots" almost feels like mere noodling at some points.

The album's concept is woven deep into the lyrics in a sense that's very well done. It also shines through in the music. Drawing narratives of The House of The Spirits as previously mentioned, the lyrics portray characters under a cruel regime. The music reflects this with moments of twisted brutality which later give way for brief moments of warmth and vulnerability. In this sense Forgotten Silence and "Thots" are suggesting that even under cruelty, human empathy and creativity peek through the cracks. An idea telling us that the soul can never fully be silenced, a concept underlined by the album's recurring shifts from harshness back to subtle melodies.

Forgotten Silence's sound on "Thots" is unique, but there are some hints and influences coming from other early Prog/Tech Death Metal contemporaries. Fans of Cynic, Atheist or Opeth will recognise a similar pattern willing to blend brutality with jazzy fusion elements. Just like Cynic and Opeth, Forgotten Silence uses changes in time signature, modal guitar harmonies and extended song lengths to tell a story.

Within their regional scene, Forgotten Silence stood apart by refusing to play by the rules. While other Czech acts of the 90s explored Death-doom, gothic or folk metal fusions, "Thots" leaned heavily into a more niche genre which was just starting to appear. Avant-Garde Death Metal, they threaded in jazz, latin and oriental motifs. Long before modern tech bands embraced eclectic influences, Forgotten Silence were mixing Flamenco like guitar playing, Eastern European melodies and a fusion inspired framework into a death metal framework. The only bad thing I have to say about this album is the production. It's by no means bad, it's just not the pristine production we usually get in prog.

"Thots" is as unorthodox as it is musically sophisticated. Its unpredictability and ambition earned it a cult status, and decades later it still sounds just as fresh. For fans of the more brutal side of Prog this is an absolute gem. A claustrophobic, cinematic journey that rivals well known Prog Death classics. It may not appeal to purist death metal fans, but for those intrigued by the boundary-pushing experiments of 90s metal "Thots" is definitely worth a listen.

Review Nº 910

"Concert Classics Vol. 4" is the third live album from UK and was released in 1999. It was recorded in 1978 from a live show in Boston, Massachusetts in the USA. It was released on CD in 1999 under the same name and was also re- released in Japan on CD in 2007 as "Live In Boston". It was also re-issued under the name of "Live In America".

The sleeve notes date the concert as 11 September 1978 performed at the Paradise Theatre in Boston. However, that date is wrong because it was on 11 July 1978. The track listing is also incorrect because the real name of the sixth track should be "Presto Vivace/In The Dead Of Night" instead of "In The Dead Of Night". "In The Dead Of Night" was originally a track divided into three parts "In The Dead Of Night", "By The Lord Of Day" and "Presto Vivace And Reprise". So, "Presto Vivace", which originally was the third part, was played as a bridge to the first part of the track "In The Dead Of Night". The problem with these errors is this was probably a release without the approval of the band.

As many of us know, UK was a progressive rock supergroup with a very short life that was formed at the end of the classic progressive musical era. It was formed by John Wetton and Bill Bruford after the release of "Red" by King Crimson and Robert Fripp decided to suspend the activity of the band. Initially UK was formed by both musicians with Eddie Jobson and Allan Holdsworth. Jobson was the ex keyboardist/violinist of Roxy Music. Wetton knew him from his work with Roxy Music in 1976. Bruford recruited the guitarist Holdsworth who had played with him on his solo debut studio album "Feels Good To Me". So, the four musicians released the eponymous debut studio album of UK in 1978.

After only one album the line up of the band changed drastically. Bruford and Holdsworth left and Terry Bozio entered the group. The concerts by the first line up were bootlegged many times, especially since these gigs featured material that would be released on their second studio album. The show on this live album was broadcast on the radio and recorded in 1978 in Boston. The bootleg character is still preserved, because of the real cheap layout of the bootleg and the mistakes in the track listing. Besides, the CD has been withdrawn from the markets already, because there's a dispute between Concert Classics and EG Records over the rights to it. So, if you get a copy, you have a collector's item on your hands. Still, you can get a copy of the Japanese edition "Live In Boston" but for a higher price.

"Concert Classics Vol. 4" has seven tracks. "Alaska" was released on their eponymous debut studio album. "Time To Kill" was also released on their eponymous debut studio album. "The Only Thing She Needs" was released on their second studio album "Danger Money". "Carrying No Cross" was also released on "Danger Money". "Thirty Years" was released on their eponymous debut studio album. "In The Dead Of Night" was also released on their eponymous debut studio album. As I wrote before, the real name of the track should be "Presto Vivace/In The Dead Of Night". "Caesar's Palace Blues" was released on "Danger Money".

So, "Concert Classics Vol. 4" offers a live recording of the original UK line up, between their debut album and "Danger Money". The opener "Alaska" and "Time To Kill" come in a routine version because they come from their debut. But then it follows with "The Only Thing She Needs", which should only get its final form on "Danger Money", has a furious Holdsworth playing. The difference is even more blatant with "Carrying No Cross". Here the entire instrumental middle section is different, again a breathtaking Holdsworth. One thing becomes clear in these two pieces. Holdsworth was responsible for the jazzy note on their debut. Without his guitar riffs the music of UK takes on a different character. On "Thirty Years" Holdsworth is all over the place and Bruford rules. The instrumental section is brilliant. "Presto Vivace/In The Dead Of Night" was given to it a new interpretation of the original piece, which is nice. It has some extra key parts here and there, which is very nice. On "Caesar's Palace Blues" the tempo and character were later completely changed on "Danger Money". This live version has nothing to do with the furious virtuosity of the version on "Night After Night".

Conclusion: "Concert Classics Vol. 4" is a great live album and an extraordinary addition to any prog collection. It's a pity that UK hasn't decided to release this live album by themselves. The sound quality is very good and the song quality is also excellent. The best tracks from UK are almost all present here as well as very interesting early versions from three of the "Danger Money" tracks. I wonder what else was played on that night, because it would have fitted very well on this live album. From a historical point of view this album can be considered the missing link between the first and the second studio UK albums. In conclusion, if you don't have any version of this live album, buy it, as long as it's available. Probably, the only version that you can get is the Japanese edition "Live In Boston", as happened with me. However, despite being a little bit expensive, I assure you that it's worth giving some more extra money to have it.

Prog is my Ferrari. Jem Godfrey (Frost*)

Babal have found a new home at Fruits de Mer, and I can definitely see how their strange angular psychedelic style fits in well with the rest of that eclectic roster. Karen Langley (vocals, lyrics, arrangements), Rob Williams (guitars, guitar synth, programming), and Jon Sharp (drums) have now been joined by two guests with Paul Smith on acoustic bass and Chris Gill (Band of Rain) on bass. Apparently, Chris is a good friend of the band and gigged with them last year. Babal are back with a sound which in the current market is undoubtedly their own, bringing in elements of both Beefheart and Talking Heads while then mixing their own unique style, so they sound like no-one else, yet at the same time have some very powerful messages to share, all wrapped in angular melodic music which is of their own making with a soundscape bringing in the listener so the words can take hold of the brain.

The opening song, "One Big Family" is a sad indictment on social media and what it has done to humanity, "eye sockets sore, mind in chaos, thoughts flying round, like a bird in a cage, manic with facts and terrible rage! Nowhere to go, I can't turn the page!". It is not unusual for me to be sat in a coffee shop and see a group of people sat at a table nearby, all invested in their phones as opposed to talking to the real humans next to them, and while social media has undoubtedly been a boon in many ways, I do believe that like vaping we will not understand the true evils for many years yet to come. Other themes include mortality, the plight of the planet and the ignorance of many, poverty consciousness and more.

Given what Rob and Karen have gone through health wise, it would be very easy for them to sit back on their laurels and reflect on a music career which has always been exhilarating and exciting, yet with their seventh album as Babal, and their eleventh overall (they were originally known as Wise Children, then as Babble) they have produced one of their most cohesive, immediate and socially aware albums yet. We need bands like Babal, who refuse to let us sit back and let our brains rot but instead want us to actually think and then go out and do something positive. Superb.

It seems to me that the older I get (I have been reviewing for the best part of 40 years and am technically a "boomer"), the more I seek out music which defies the norm and is far away from the mainstream. I have long since stop listening to modern "pop" music for pleasure, and while in my thirties did not understand the more extreme forms of metal, now I am in my sixties I seek them out with fervour. Possibly that is why I am so drawn to the releases of eclectic avant prog jazz outfit Anchor and Burden, for whom uncompromising live composition is the path they seek to travel, even though it is far more dangerous, unforgiving and treacherous than the highway.

Markus Reuter (Touch Guitars AU8 and S8, Soundscapes), Alexander Paul Dowerk (Touch Guitars S8), Bernhard Wöstheinrich (Keyboards and Electronics), and Asaf Sirkis (Drums and Percussion) continue to push the boundaries of what is expected in modern music, using dissonance and technique to create something which is incredibly compelling. I must confess I do not know if they have the album title first, and then compose with that in mind, or if they listen back to what has happened in the studio and then come up with the words to describe it, but whichever way around it is, there is no doubt that this release certainly makes one feel as if we are at great depths, our oxygen is running out, and we start to see strange things around us. Is it oxygen deprivation which is causing us to hallucinate, or is it that our heightened senses are seeing a reality which was not previously visible? Who knows, but there is no doubt this is an album which needs to be played in darkness, with no interruptions, when one can feel totally immersed in the threating world being created far below the surface of the sea.

This is possibly their most complete release to date, wonderfully inspiring, dramatic, and showing just what can happen when musicians are totally connected to each other and refuse to play by accepted norms.