Recorded on the 1990 Knitting Factory tour, this album features one complete show (DNA Lounge, San Francisco, California) and one nearly complete show (Fasching Club, Stockholm, Sweden) from fairly late in the timeline of the Barnett / Cora / Cartwright / Rupel / Williams line-up. Curlew were a band who had many musicians in their time, with the only constant being George Cartwright (saxophones), and what we have here is the 'Bee' line-up with Ann Rupel (bass), Pippin Barnett (drums), Tom Cora (cello) and Davey Williams (guitar). The vast majority of the music is taken from that album, with just a few from the previous 'North America' but given there had been quite a few changes in personnel between the two that is not too surprising. Although we are treated to the majority of two shows on the same tour, the sequencing is very different and only five songs were played on both nights.

This RIO/avant-garde/free jazz outfit manage to be completely together, as tight as can be imagined while playing complex music, or free and loose as they improvised over the top, meaning each time they played a song it would be different as they reacted to the environment and what was happening around them. But whatever journeys they undertook they somehow always managed to be at the right place in the end. There is little between song banter, normally George saying what the next song is and possibly something about it, but it gives everyone a breather before they blast into the next. "The March (Or Ornette Went to Miles' House and They Didn't Get Along)" is incredibly frantic, massively over the top and absolutely insane, a remarkable piece of music as Ann tries to keep everyone to some semblance of order but fails wonderfully as everyone solos at once and then suddenly, they are all in sync!

This is music for those who love improvised music yet also need some semblance of structure, as this is dynamic and exciting, thought-provoking and necessary, all at once. The crowd were certainly appreciative of what must have an incredible experience, and it is great that 35 years after these events, Cuneiform have made the tapes available.

"The Haunted Life" for the melodic prog rock title, melting, airy vocal from Justin with velvety synths on a layer of Hackettian guitar from Myron; lively progressive finale, symphonic and muscular. "It's The Small Things" follows, air pop love song à la ALAN PARSONS embellished with Wesley's trumpet, inducing a jazzy-soul climate where the bass holds the upper hand. "The Haunted Life" with the delicate piano of Tony, yes GENESIS where his aura is very present; consensual title leaning on 'Ripples' less spleen, a beautiful ballad with airy choirs. "If We're Silent & We Listen" starts on a soft heavy pop rock piece, the guitar riff maintaining a sustained tribal rhythm on layers of keyboards with a string quartet amplifying the solemn side. Final aerial deliquescent fade. "The Ballad Of Joe Martin" sinks into a pop song feel, flirting with old R.E.M., a folk accent with slide guitar on a violin base for a very pleasant fresh tune. "Changing Channels" veers into a soft synth track where the Genesis atmosphere emerges; a no-nonsense pop tune, oozing emotion.

"The Ballad Of Wesley Martin" for the consensual ballad "again" where the sax comes to brighten up, as does the clarinet; otherwise, a tune somewhere between mawkish and marshmallow, simplicity and a vintage 80s tone, a hint of Christopher Cross, from the time when you could drive on national roads for pleasure. "Splitting Atoms" finally surprises me; the melancholic tune, slightly PINK FLOYD-esque, the monolithic keyboard progressing to a captivating crescendo, all of which brings a feeling of bliss. The airy guitar and the high but languid voice amplify the solemn unfolding, leading to a warm, meditative piece. Distant female choirs confirm the Floydian hook. "Restless Wanderers" fast interlude in 7/8 with dynamic keyboard decked out with a galloping sax from Richard flirting with SUPERTRAMP, nostalgia on an Anglican soundtrack. "Big City Small Town Blues" radically changes genre; warm, energetic blues, an organ, a guitar, ZZ TOP with ROZEDALE. A fresh, cheerful air that finally gets you moving. "The Last Pink Glow" eponymous piece, progressive; a text that stems from the work of Jack KEROUAC, having lost his manuscript. Some OLDFIELD, some BARCLAY JAMES HARVEST in the distance, a hint of GENESIS echoing through, and a track with a 70s feel. A beautiful, unpretentious, rustic feel right up to the ambient break, opening with fresh, ethereal, then shear notes. The build-up is contained, leaving a firmer vocal that suits the song's atmosphere; the guitar solo ends up annoying me with its analogy to Tony's 1991 album, which I'm eager to listen to again.

ROCKING HORSE MUSIC CLUB, bordering on Chris REA, BARCLAY JAMES HARVEST, and Christopher CROSS; an eclectic crossover album, a blend of numerous ballads with folk, bluesy, and Americana vibes. Originally on profilprog.(3.5)

Not perfect but some of the best guitar solos from Zappa in this live recording from 1980. I like the small club sound, makes you feel like you're there. The band, as always, is in perfect form and delivers a stellar performance all the way through, but like I said, the star here is the guitar, so if you like a guitar heavy show, you will like this album. The set might be missing most of the 73-74 songs that we like, but we have plenty of recordings from that time that have been released recently like Cheaper Than Cheep so I found the setlist on these two shows from 1980 quite refreshing. The only thing that prevents this to be a 5 stars is that, some of the keyboards sound are very 80's and have not aged very well but they reflect the time very well, when the technology was not there yet. If you're a fan of Joe's Garage album and you're nostalgic of the early eighties sound, this recording is for you. So 4 stars is the correct rating for me. Not perfect but very good performance wise.

I have to admit, Dominion didn't win me over right away. On the first few listens, I found it slow ... almost too slow, and the long, flowing melodies felt like they were leading nowhere. Nothing really grabbed me. I kept waiting for a spark, a moment of punch or urgency, and it just didn't come. I wondered if maybe this album just wasn't for me.

But something kept pulling me back. Maybe it was curiosity, or maybe a vague sense that I was missing something. And slowly, Dominion began to open up. I started noticing how much care had gone into building these soundscapes, how the calm, almost meditative passages weren't empty, but full of intention. They were setting the stage, quietly laying the emotional groundwork.

What I first saw as a lack of energy, I now hear as patience. And when the album finally does break into something more intense ? a sudden chord shift, a soaring guitar line, a subtle rhythmic lift, it feels powerful. Not because it's loud or fast, but because the moment has been earned. There's a sense of release, of something unfolding exactly when it needs to.

Dominion isn't trying to impress. It's not flashy. It asks you to slow down and listen closely, and if you do, it reveals a kind of beauty that's easy to overlook. For me, it went from distant to deeply affecting not through dramatic gestures, but through atmosphere, tension, and careful timing.

Containing a live set taken from an appearance on Radio Bremen, this archival Henry Cow release hails from the band's terminal phase. They'd already had the recording sessions that produced the material which, after some internal strife and dissent, eventually saw the light of day on the first Art Bears album (with the rest of Henry Cow credited merely as backing), and they'd yet to go into the studio to record their swansong, Western Culture. Precisely because it was recorded for radio, the sound quality is solid, and the band are going out on a high, with an extensive improvised segment (titled simply Bremen) at the heart of the set.

Originally made as a free gift to subscribers of the 40th Anniversary Henry Cow box, before being made available separately and bundled in the Cow Box Redux, this is a grab-bag of material which didn't fit anywhere else either on their studio albums or on the various archival live releases the Cow has put out. Material ranges from early demos from before they'd even signed to Virgin to latter-day live material, the latest of which comes from a Radio Bremen appearance hailing from the period after the sessions that eventually got released as the first Art Bears album and before the sessions that gave rise to Western Culture, Henry Cow's swansong.

Moon Letters, old symphonic prog transforming into a psychedelic crossover with touches of classical. New progressive rock.

"Energy of the Heart" is a frontal attack on crazy heavy prog rock with a hint of growl, the fruity tune frantically experimenting with a unique, rhythmic sound, somewhere between uninhibited Zappa, And You Will Know, Moon Safari for its prog wanderings, even the Mute Gods and even Beardfish. The second part is about the bucolic, unique electric Charisma Label madness. "Silver Dream" is more languid in the marshmallow spirit of the '60s, a Genesis-like pastoral melody with reverberating guitar; a slight variation with the vintage keyboard; the moment of gentle madness with its western trumpet amplifying the fusion of genres; the final vibrant symphonic outro. "Island of Magic Mirrors" drives the musical point home, a frenetic bucolic-psychedelic rhythm rushing into a Crimsonian atmosphere blended with the swirling keyboard. A bouncy track with an oriental drift and its crazy heavy rock feel, merging where Michael bellows while John and Dave play it out in a frantic battle. "Lonely Moon" for its soothing acoustic guitar with the orchestral passage, a modern "Horizons," a tune that Steve Howe should appreciate for its purity and simply hypnotic melody.

"In the Catacombs" returns to the electric syncopated rhythm, a cheap way to get an electroshock. A musical assault of notes coming out of nowhere, a latent mini-break, and the rogue wave returns with a vengeance. There's a riff, the frenzied piano, the drums rolling with anger, and a funk-hard tune worthy of Suicidal Tendencies. "Dawn of the Winterbird" in three parts for the reggae-rock-fruity title; a fusion of genres with flowers instead of notes, a solemn air all crazy from the islands where pleasure invites itself. "I Am Not Afraid" with Michael not being afraid of the cold, the icy, ambient, grandiloquent break with its masterful keyboard and the marshmallow drift. "Laughing Stream" with the water carrying musical warmth, Michael's melting voice, the prog sound of the 70s that would have evolved, emerging laughingly today; the sweetness with the contained violence like this mid-course break made of choirs, languid keyboards and drum rolls. "The Portal" with the solemn entrance, flute, drums, fragile vocal. A whiff of the great King Crimson with the crystalline piano associated with Dave's spurting guitar. The keyboard sounds prog while the rest goes on frenzied heavy rock. A modern Genesis passage with fruity guitar shaping the band's sound as it continues its momentum. The eloquent title reminds me of Echolyn for its perfectly executed progressive blend, a piece worthy of a musical maelstrom, an organized chaos.

For the supercharged heavy rock tracks that will delight fans of power with their disjointed, fusional parts. For the epic piece, a captivating prog-psych odyssey plunging into the catacombs of the mind with an unparalleled fusion of genres. Originally released on Progcensor (4.5).

Apart from a couple of guests adding little touches here and there, this album is by the Ars Nova/Nepenthe core trio of Matt Mizenko (basses, guitars, keyboards, programming, vocals), Todd Mizenko (guitars, keyboards, programming, vocals) and Jamie Boruch (drums, percussion). They had broken up at the turn of the century when nothing had been going well for them on a musical basis, and although they had always kept in touch it was only after Covid they decided to work on some songs again, for the first time in decades. They brought in Brett Kull (Echolyn) to assist with the engineering and mixing, and he was the person who put them onto me. There are not many bands who arguably have released three different albums under three different names, but that is essentially what we have here, but it never seems as if Matt, Todd and Jamie have been away from the scene for so long, as this demonstrates just how many hours they spent together in the old days. What we have here is a polished "debut" (it is their first album, but also their third) which shows a band staying true to their roots and possibly getting a little heavier but still having a load of fun and providing quality melodic progressive rock music.

They are still determined to be Neo by ProgArchives, and that is probably the most accurate although there are still high levels of commerciality within, although the guitars are much more to the fore this time. In fact, if they had been put into Heavy Prog they could well have been accepted there as well as this definitely has a much rockier element. I was a little surprised at the vocals, as they are very good, and given they used a guest singer when they were Nepenthe, I had thought they were not confident or good enough to do it themselves, but that is certainly not the issue here at all. I honestly don't feel these guys needed "redemption" from anything they had been involved with previously, but they obviously felt they did, but the decision to work just as a trio without others has obviously been the right one as here it really does feel as if everything has been turned up a notch, with far more complexity in what they are doing.

This album has been getting some positive response so let us hope that continues, and we do not have to wait so long for the next time as if you enjoy rock-based prog with great interlaying of keyboards and guitars being driven strongly by the drums, all with nice vocals and hooks, then this is for you.

— First review of this album —

I received a request earlier this year to review the debut album by Cheat The Prophet, a progressive band I had not previously heard of. Nothing strange there, as it is not unusual for bands to contact me, but I realised they had previously been active in the Nineties as Nepenthe, whose album I had reviewed (1997's 'Everything Was Beautiful and Nothing Hurt'). However, on doing some digging I could see that Nepenthe themselves had originally had another name, Ars Nova, so now I am listening to their debut album from 1993.

The 1993 band comprised Matt Mizenko (bass), Todd Mizenko (guitars), Jamie Boruch (drums), Eddie Konczal (keyboards), who all performed on the Nepenthe release, plus singer Keith Watlington. In these days of glossy magazines devoted to prog music plus all the websites devoted to the topic, it can sometimes be difficult to remember that when this album was released none of that existed and the only publicity came from underground fanzines and word of mouth. I ran 'Feedback' and felt I had a very good handle on what was happening in the UK, a pretty good idea of Europe, but only had contacts with a few record labels in the States so unless an album was released on something like Kinesis or Magna Carta, I never heard it. Consequently, this album is new to me, and I was simply blown away by just how good it is. Here we have a prog band who are certainly not performing as if it is a debut, bringing together the idea of Neo with the commerciality of Crossover plus melodic rock stylings which makes this an album which is still relevant and enjoyable today, more than 30 years after it was released.

Not all prog albums from back then have aged well, as some were pretty much demos, but here we have something which is well produced and a load of fun the very first time it is played and just keeps getting better. True, it is a commercial and very American style of prog, but is one I have enjoyed a great deal, and it is strange to come across this only because I was sent an album to review which had been released 32 years later. Well worth investigation if this style of prog is to your liking.

4.5 stars. PASKINEL is the solo project of one Patrick Dufour who's nickname happens to be Paskinel. He's brought along one of his ALCO FRISBASS members Frederic Chaput making this a duo with six guests helping out. The third member of ALCO FRISBASS Fabrice Chouette guests on one track playing organ. We also get lap steel, sax, violin, flute and bassoon from the guests.

ALCO FRISBASS released three studio albums and I feel each album was not as good as the previous one. So yes their debut is the one for me, and this PASKINEL album does rival it. I love how uniform it is with really just that one track "L'echo Noir" sounding somewhat different with the guest bassoon and violin. There is so much going on with each track. Tons of sounds. Dufour playing electric piano, organ and synths, while Chaput adds guitar and bass. There is distortion in those organ sounds at times bringing Canterbury to mind once in a while.

This is all instrumental and we get eight tracks worth 50 minutes. So many keyboard sounds here, it's awesome! My favourite song is the title track. Such a warm sound as we get electric piano, bass and beats. Guitar joins in then Canterbury organ around 2 1/2 minutes. The bass here and throughout is really good. Upfront and dirty. Mellotron too at times like at 5 1/2 minutes on here. "Belle En Tete" opens with a bass line as electric piano joins in then organ. This sounds great, and we get guitar a couple of times later on.

My second favourite track is that one that is a little different "L'echo Noir". It's the bassoon that brings the darkness while violin, upfront bass and electric piano lead the way. Love this track! Very RIO sounding as in UNIVERS ZERO. Nasty bass 3 minutes in and I like when the tempo picks up late with guitar. "One O'clock" might be the shortest piece on here but it sure has plenty of energy. That second track needs to be mentioned "Tartempion" with the guest flute and Canterbury organ later on. But it's the mesh of sounds all working together that is so impressive. So much going on.

This will go down as a top ten for 2023 in my musical world. And my favourite when including the three albums by the parent band ALCO FRISBASS. Not sure about that cover art though.

Welcome Inside The Brain's Re:Creation struck me like a forgotten memory from the late 60s, with sounds that feel familiar and completely new. There's a softness and classic elegance reminiscent of The Moody Blues, Pink Floyd, and Procol Harum, without being superficial. This album has an emotional charge and nostalgia I haven't felt in a long time. It's a deeply heartfelt and moving work where every instrument shines, especially the guitars and keyboards, which are simply phenomenal.

I had heard their previous album and it was solid, but Re:Creation takes everything to another level. It's as if these guys had supported Pink Floyd in Pompeii, with the same atmospheric depth and cinematic mystery. Still, Welcome Inside The Brain isn't a relic of the past: they're a modern band from Leipzig, Germany, and this third full-length album is, in my opinion, their masterpiece to date. It's bold, cohesive, and perfectly balances darkness and light.

What makes Re:Creation so special is its ability to fuse classic tones with modern sensibilities. Franky's vocal work is really strong and fits perfectly with the band's style. Lennart Jahn's keyboards?Hammond organ, layers of Rhodes, and Mellotron?provide that outstanding classic prog sound, while Georg Spieß's guitar work intertwines hypnotic riffs, distortion-laden grooves, and moments of delicate psychedelia. The rhythm section, with Johannes Niklas on drums and Jacob Müller on bass, is powerful yet inventive, driving each song forward with dynamic shifts that keep you hooked. The vocals are warm and expressive, blending seamlessly with the rich soundscape.

The production is great, organic, and lively, allowing each instrument to breathe naturally. It's clear the band has given this record their all: it's the work of musicians who understand their roots yet have a voice all their own.

If there's a modern prog rock album that proves the genre can remain emotive, adventurous, and timeless, it's Re:Creation. Welcome Inside The Brain has delivered something really special here.

Maneige went through a second phase starting with Ni Vent... Ni Nouvelle where they were going for a more electric approach and for shorter pieces. Even with that, I can still tell it's Maneige. Libre Service - Self Service was their second album and there was a very rare version of this album with a more cartoon gas pump on the front cover that was instantly removed, probably because they felt it people weren't going to take that cover seriously, so a new cover was in its place, the one we're all familiar with. They take on a more funky approach (that use of slap bass is quite noticeable on this album), with Latin rhythms (which will scare some people away, but it actually works quite well, but other pieces they find themselves hearkening to their older sound. What I find really interesting is how the opening part of "La Belle Et La Bête" sounds like the theme song to TV series Unsolved Mysteries, although that one was American and didn't appear until the late 1980s. I also found "Noéme" reminding me strangely of Echolyn, those piano chord progressions sounds like something off As the World. "Bagdad" unsurprisingly has a Middle Eastern feel to it. "Les Péntocles" is a great proggy piece, and a favorite of mine. The second half of the album at times hearkens back to the sounds of Ni Vent... Ni Nouvelle, if not occasionally their Harvest-era material. This is a rather accessible album, but they didn't sacrifice quality, even if the lengthy suites of their first two albums were long gone. I am a minority, but I actually prefer Self Service over Ni Vent, as I rank it up there with Les Porches as my favorite Maneige album.

Fifteen short months after their brilliant debut album "Golden Fragments," FRAGILE (YES, we miss you) is back with their second album, "Beyond." The silver lining of the global health crisis is that musicians have more time to compose, although in FRAGILE's case, it's clear that the drafts of the new tracks were already well advanced when "Golden Fragments" was released.

Barely two minutes into "Beyond," the eponymous track, clocking in at twenty-one minutes and fifty-six minutes, there's no hesitation, we find ourselves on familiar ground (at least for those who made the effort to listen to the first album): Claire Hammill's voice (like an Annie Haslam who hasn't suffered the ravages of time), Oliver Day's Howardian guitar, Max Hunt's protean keyboards, including remarkable piano playing (more John Tout than Rick Wakeman), and the gurgling of the synthesizer around the fourteenth minute, a bass guitar worthy of Chris Squire no less... this isn't La Redoute's catalog, even if it sounds like it!

My only criticism of this very long piece (9/10) is that it's far too heavily sung for my taste, even though Claire Hammill is an excellent vocalist (she sings for fourteen of the twenty-two minutes; the main and final instrumental part is found in the second half and is absolutely remarkable in terms of symphonic progressive music).

The second piece, "Yours and Mine," at fourteen minutes and a bit, follows in the same vein, with the same inspiration, the same creativity, the same (damn?) Yessian influences (you can't change your ways, and when you love, you don't count!), a piece enhanced by a beautiful two-minute instrumental introduction before Claire Hamill's diaphanous voice takes over, like the ethereal voice of a child or, at most, a young adult, a musical canvas that never tires (10/10).

We're already coming to the last track, but there were only three: "The Golden Ring of Time" (10/10), almost as long as the previous one, with an instrumental opening of just over two minutes, a track where the London band's influence is more pronounced, especially for Oliver DAY's six-string guitar. If Steve HOWE needed support, he's there here (the funny thing is that Oliver didn't compose the track, which was written by Claire HAMILL and Max HUNT). Progressive with a symphonic tendency, without the sometimes pompous symphonic side, and still with that rare, beautiful voice that makes me simply adore FRAGILE.

We can't close this review without highlighting the remarkable iconographic work of Steve MAYERSON (as on the band's first album), a sort of hidden spiritual son of the illustrious Roger DEAN: mayersonart.wixsite.com/home.

We dedicate this first album to the memory of our old friend Tom DAWE, who founded the band a long time ago...

"Golden Fragments" is the first original album by FRAGILE, a tribute band to...YES, obviously present on European stages since the late 1990s, who decided to take the plunge into original compositions while maintaining the YES trademark in spirit and music. It's worth noting that singer Claire HAMILL has lent her voice to albums by Steve HOWE, Jon ANDERSON, JON & VANGELIS, and WISHBONE ASH, so she's on familiar ground.

Without prejudging what's to come, a minute and a half is enough to understand where we're going and how we're going there! All the brilliance and vision of the great British band are there, I mean the great British band, not the pale imitation that has been offered to us in 2020 and for several years now... The opening track, also the longest on the album, delightfully immerses us in our past fantasies. It's all there: the Howardian six-string played by Oliver Day, the Squirian four-string handled by Max Hunt, the Wakemanian keyboards under the agile fingers of the same Max Hunt, and the percussive drumming of Russ Wilson, which is more reminiscent of Bill than Alan... All of this is brightened by Claire Hamill's magnificent vocals, as if Jon Anderson had mutated into a feminine voice, with octaves inaccessible to most of the singers we usually encounter (10/10).

Obviously after this unmissable gem, we have to come back down a little to appreciate at its true value the second piece "Blessed by the Sun/Hey You And I And" whose title is a real reference to one of the anthology pieces of the historical and miracle YES, there too, we believe it, impressive mastery demonstrated by this FRAGILE (9/10). A little less exciting the "Five Senses" which follows, perhaps because sung by a male voice in its first part, that of the omnipresent Max HUNT and simply vocalized by Claire in its second part under a plethora of guitars worthy of who you know (8/10). We move on to "Heavens Core" with a mix of male and female vocals this time, with the former dominating, and here it's the keyboard instruments that dominate, combining the bombast of the seventies with an overall sound much more rooted in the 2000s, a piece that could have escaped from "The Ladder" (8/10). This is followed by the obligatory acoustic interlude "Open Space," which we'll just say they couldn't help themselves... (no rating intentionally).

The penultimate track, "Time To Dream/Now We Are The Sunlight," returns to the story, with the exception of the female vocals, featuring lots and lots of synthesizers, in layers for the first three minutes and a brilliant, burning explosion for the rest under the pressure of Oliver Day's guitar, who treats us to a sumptuous performance of his instrument, all worthy of the best period of their big brother (9/10).

The second epic that closes the album, "Old Worlds And Kingdoms/Too Late In The Day," has little to envy the first epic in terms of musicality. It's introduced by a delicate piano, in true Yessian style, before Claire Hamill ignites our senses with her high-pitched voice, accompanied by Oliver DAY's ethereal guitar, which multiplies like Steve (sorry, the comparison can't be avoided). A truly beautiful composition that captures the best moments of the London troupe at its peak. In short, a progressive gem for women (10/10).

I didn't know what to expect from FRAGILE, but let's just say it's a success, a beautiful and surprising satisfaction.

Part of the expansive range of Henry Cow archival releases that first saw release in the Road boxed sets before getting individual releases (and recompiled in the Cow Box Redux), Later and Post-Virgin is, as the name implies, a grab-bag of material from the twilight years of Henry Cow. Virgin and Henry Cow had become mutually unhappy with their contractual relationship, and Virgin agreed to release Henry Cow from their remaining obligations in mid-1977, after having breached the contract by refusing the Cow access to the Manor to record their next album.

But it would be internal creative differences that would slaughter the Cow in due course; though the wide range of performances this draws on leads to a certain lack of unity, that lack of unity itself reflects what was going on with band. Note in particular the presence of Joan and On Suicide - two songs which would see the light of day on the first Art Bears album, when after being recorded with Henry Cow a band dispute broke out over the song-oriented direction and eventually the compromise reached was that Krause, Cutler, and Frith would use the Art Bears project name for the material and the rest of Henry Cow would be credited as guests (in a sort of reflection of the process that saw Slapp Happy and Henry Cow merge).

The upside of the tensions within the band is that you get a decidedly broad range of material here, with different band factions each pushing their own material. It might not quite as gel as more harmonious moments chronicled in these live releases, but we're still dealing with competently executed and creatively interesting music turned out by a seasoned group whose creative fires were still burning hot at this point.

Blending together two sessions for Swedish radio, this was originally released on the second Road boxed set from Henry Cow before being made available separately (and also included in the Cow Box Redux). As a result of being recorded for radio broadcast, it's one of the better-sounding live discs to have emerged from the Cow archives, and reveals the late-era band in fine form, with a mixture of familiar Cow compositions, improvisation, and a dynamite cover of Phil Ochs' No More Songs. The latter makes you wonder whether Henry Cow realised their time as a unit was almost up; sure, they had one more studio album in them, but Western Culture was very much the end of the line, one last go-around together before the Cow name was put to rest. (John Greaves, indeed, had already left by this point.) If they did have a sense of impending mortality, they wear it well.

After the disjointed and underwhelming Seventh Star, The Eternal Idol marked a much-needed return to form for Tony Iommi!

Despite a turbulent production process that involved multiple producers, lineup changes, and even a change in lead vocalist midway through recording, the final result is far more coherent and focused than one might expect.

Right from the start with The Shining, it's clear that this album is aiming to reconnect with Black Sabbath's darker roots. The production is much improved over Seventh Star, and the guitar tone is heavier, more oppressive, and closer to the band's classic style. New vocalist Tony Martin makes his debut here, and what a debut it is. His vocal style, reminiscent in moments of Ronnie James Dio, is powerful, dramatic, and perfectly suited for the material. Though relatively unknown at the time, Martin would go on to become arguably the third most important frontman in the band's history.

Ancient Warrior is perhaps the best track on the album. With a haunting, slightly eastern flair and some of Iommi's most inventive riffing in years, it builds a dark and mystical atmosphere. Hard Life to Love follows with a more straightforward hard rock feel, featuring some stoner-adjacent riffs that are enjoyable, if less remarkable.

Glory Ride is the album's weakest point, a bland and overly glossy hard rock song that feels more like Europe or Survivor than Sabbath. Thankfully, Born to Lose restores some energy with a fast-paced delivery and strong vocals, even if the songwriting itself is relatively simple.

Nightmare brings things back into more atmospheric territory. Originally intended for the Nightmare on Elm Street 3 soundtrack, it features excellent guitar work and a brooding tone that fits the band much better than the radio rock attempts earlier on the record.

Lost Forever is a solid uptempo heavy metal song, but at this point the album does begin to show signs of fatigue. Fortunately, the title track, Eternal Idol, closes things on a high note. It's a doomy, brooding epic that captures the sense of dread and weight that made the early Sabbath records so memorable. The slow-burning riff, mournful atmosphere, and expressive vocals make it a true highlight.

Conclusión: The Eternal Idol is clearly Iommi's attempt to reclaim the darkness, low-tuned guitars, and groovy heaviness that had been mostly abandoned in Seventh Star. With Tony Martin stepping in confidently as frontman, this album feels more focused, more traditionally Sabbath, and more promising.

While not without its flaws, it started a hopeful new chapter for the band back in 1987.

Best tracks: The Shining, Ancient Warrior, Nightmare, Eternal Idol.

After touring the London underground circuit, the band founded in 1975 by bassist Steve Harris, Iron Maiden, finally released their debut album in 1980, simply titled 'Iron Maiden'. The name was inspired by the torture device of the same name described by French novelist Alexandre Dumas in his 1867 work 'The Man in the Iron Mask' and brought to the big screen in 1929 by American director Allan Dwan.

Iron Maiden's successful breakthrough had a lot to do with the boldness and originality of their raw and vigorous sound, which they unashamedly and fearlessly displayed in direct songs charged with voltaic energy, such as the opening track "Prowler", the pseudo-punk "Sanctuary", the intense and lively instrumental "Transylvania", the stark "Charlotte The Harlot" and the eponymous and overflowing "Iron Maiden". Pure metal, where Steve Harris's relentless and aggressive bass and Dave Murray and Dennis Stratton's machine-gun guitars interact and complement each other perfectly, setting the stage for Paul Di'Anno's unique vocal range, a mixture of raspy street rage and clean melodic lines, to describe everyday situations of marginalised and displaced characters.

But it is in the middle of the album where Iron Maiden gives clear indications of their particular vision of the future, with sound structures that go beyond the traditional guidelines of the genre, incorporating not only electro-acoustic nuances into their powerful guitar riffs, as in the introspective "Remember Tomorrow" or the splendid "Strange World", but also melodies that encourage audience participation in live performances, as in the cheeky and lively "Running Free", and above all, elaborate instrumental displays and galloping rhythm changes very much in the progressive vein, as in the epic and dramatic "The Phantom of the Opera", surely the best track on the album and one of the earliest examples of the band's versatility and ability to explore and navigate the infinite paths of the rock universe.

"Iron Maiden", whose cover image features the faithful and anthropomorphic Eddie in punk mode, is now considered a cult album and a cornerstone of the New Wave of British Heavy Metal. Widely acclaimed, the album climbed to #4 in the UK charts and marked the beginning of the Maiden dynasty worldwide.

3.5/4 stars

It isn't everyday for a band to reach out to me in order to review something from their catalog. However, I suppose my name has reached a few figures in the prog rock community, as a new band hailing from Chile has requested I check out their self-titled debut record. Now, that alone got me intrigued, and certainly set an expectation for what is to come. However, what I didn't expect was for this debut to be really awesome!

Debuts nowadays tend to be pretty high quality, since bands nowadays kind of know what they want, but obviously they can change over time and improve on what they have made in the past. I doubt Chercán will be any different, but dang they came in swinging! From the first track alone, I knew I was in for a great time, with a great mix of old school jazzy prog rock, with a more modern day experimental edge that one could see from the modern age of rock music.

While I feel like this is too modern feeling to be coined retro prog, one can tell this group was inspired by a few notable legacy bands from South America, namely I can pinpoint inspiration coming from Invisible, Bubu, and La Máquina de Hacer Pájaros. However, they don't just take their styles and run. No. They take those styles, and do so many backflips with them that they turn it into something super original: a dark jazzy escapade that is rich within bombastic symphonics.

Matías Bahamondes' saxophone skills certainly won me over here. In fact, the whole band is very skilled, which surprised me a ton since most of the members, to my knowledge, never played in any other band. Which just baffled me because this album feels like it was made by a group of people that at least had a few years under their belts, but no! These are newbies! Well, actually, one isn't, that being Rodrigo González Mera, as he was the drummer for the band Homínido. However, Homínido hadn't made any albums since 2016, so Chercán is his first project in almost a decade, so if anything he's practically playing it fresh.

Funny thing too, he was actually the guy who messaged me on RYM that asked me to review this record. So, hey, that's pretty cool.

But genuinely, this debut is amazing. It genuinely surprised me the first time I heard it, and it still surprises me now. It is just a genuinely wonderful record. The only thing that sort of holds it back, at least for me anyways, is that they sometimes can dip a bit too much into a sort of King Crimson-esque sound. Not to say there is anything wrong with pulling from one of the greats, but I think the intro to Kalimba feels just a bit too much like the beginning to Larks' Tongues In Aspic Pt. 1.

But minor nitpick aside, Chercán is certainly a band I will be on the look for in the coming years. If this is their debut, then who knows what their magna carta will be? Latin American prog will always be a guilty pleasure for me, so seeing it still going strong in this modern age of progressive rock music blesses my heart! Genuinely listen to this one, you won't leave disappointed.

Best tracks: La culpa, Caen las hojas blanca, Las mentiras del muro, Relato de una obsesión. Parte II: El orate

worst track: Desolación (En)

All of Steve's live material is so great. As per usual, the first part is some of his personal work with some recent material represented. Sounds great and a well balanced selection. The second portion being Genesis material, is also well balanced and played. The light show, the stage, the sound, the musicianship, everything shown on this live video shows exactly why this guy keeps being able to fill large venues around the world. Keeps the spirit of the 70's Genesis material alive much better than did Genesis of the 80's and beyond. If he keeps making these live albums and videos, I'll keep buying them!

SHEARWATER's first album of original material since the island arc is a high voltage (for them anyway) shocker that effectively counteracts the pallid "Fellow Travelers". While that misstep was based on decent covers of mediocre tracks by also rans who happened to tour with Meiburg and co, "Jet Plane and Oxbow" pays homage to artistic and commercial giants who helped shape this fascinating cooperative.

FRom the very first notes of the hypnotic "Prime", a transformation from largely acoustic to electric keyboards is apparent, and these form many of the hooks that help make the album so appealing. From the 1980s synth pop of "Quiet Americans" to the 1990s jangly pop of "Only Child", through to the ENO/CAN THIRD EAR BAND (and somebody else in the infectious chorus I can't put my finger on though it's driving me crazy) extravaganza "Filaments" to the TALK TALK chatter of "Backchannels", the echoes of the usual suspects abound. A big surprise is how much "Pale Kings" sounds like a low key RUNRIG without the Scottish lilt.

While the last 4 tracks are relatively flat, particularly the busy work of "Glass Bones" and the irritating vocal effects of "Stray Light at Clouds Hill", I can readily forgive these meanderings, particularly on aerial view.

3.5 stars. Miroslav Vitous should need no introduction to Jazz fans out there. He's from the Czech Republic learning his instrument at the Prague Conservatory. He won an international competition in Vienna which included a scholarship to the Berklee College of Music in Boston. He moved there in 1966 and then movied to NYC after that. It was in New York that he would work with Miles Davis, Stan Getz, Chick Corea, Charlie Mariano and more. Miroslav is such a talented bass player.

Vitous released two solo albums in 1970 before joining WEATHER REPORT. "Purple" is the second of those and really it's a stepping stone to that first WEATHER REPORT album. In fact, two tracks on "Purple" would be on that WR debut. Those would be called "Water Lilie" and "Seventh Arrow". His first solo record was called "Infinite Search" and it's a much better album than "Purple". It has a pulse at least. We have John McLaughlin playing on both, but on "Purple" he's just briefly on one track and unless your listening closely you will miss it. You can't miss his playing on "Infinite Search", lets put it that way.

Also that debut had the great Joe Henderson on sax. No horns on "Purple". And it also had Herbie Hancock on keyboards. That truly was a band effort, while "Purple" is a trio for three of the songs, and a duo for the other two tracks. "Purple" is very ECM-like. Minimalistic and sparse. The only grit is the bowed bass from Vitous. I don't have the patience for this stuff. Thankfully it's just over 36 minutes. This record was only released in Japan as Vitous sold the rights to it to Sony in Japan. It was re-issued once in 1974 then crickets until 2024 and the release of this album on cd for the first time.

And what an embarrassment when you compare this re-issue to say what the MPS label has been releasing of late. MPS has done it right with detailed liner notes, taking pride in these old jazz recording, while Sony has done as little as possible. I opened the liner notes to see two blank/white pages. It reminds me of buying cds in the 90's and seeing that once in a while. So I get the original front and back cover and that's it! Two of the tracks here are covers as well. We get Ron Carter's "Mood" which is ballad-like(aren't they all) and Wayne Shorter's "Dolores". The closest artist in my opinion to what I'm hearing here is Eberhard Weber's solo music, but he did it much better.

So I can't say it was worth the wait. It wasn't. But you ECM label fans will find plenty to enjoy here.

Proto-progressive psychedelic pop is how you might want to describe the music on the second studio album of the legendary Yes - following up on their self-titled debut release, 'Time and a Word' from 1970 is a definitive improvement over the band's first effort, despite the fact that is resembles it quite a lot, both musically and structurally. The interesting mixture of original material and covers of pop and rock artists of the recent past is once again at stake here, however, this time with the inclusion of a small orchestra, which appears on most of the album and adds that flair of complexity and sonic intensity that the band would more thoroughly explore on future releases. The innocence and innovation of these early Yes album is what makes them delightful listens, as you understand the progression of their sound and the increasing ambitions of the talented musicians making up the five-piece band.

Primarily written by Jon Anderson, 'Time and Word' is a rather accessible album that often sees the use of extended instrumental sections, longer songs and the symphonic inclinations of the band - of course, sometimes the ambitious instrumental sections may not be as elaborate or impressive as on some of the band's classic albums, but the overall ambition of this record is something to appreciate. The gorgeous refrains, the fine vocal harmonies and the excellent bass playing grace the fine songs composed by Yes here, with 'Then', 'Everydays', 'The Prophet' and 'Astral Traveller' being particularly noteworthy. At the same time, the extended use of the orchestra often diminishes the role of Peter Banks and his guitar playing, which is far from dominant, and would become the reason for his leaving. Furthermore, there is little to no strong keyboard leads, which eventually indicates a possible lack of compelling ideas from Tony Kaye, whose playing is also undermined by the string sections and the orchestral interludes. All of this goes to show that 'Time and a Word' is a transitional Yes album, one that showcases how ambitious the band's music was becoming and who were the weak links in there.

'Soundtracks' is German band Can's second release, although not their second studio album - the aforementioned is a compilation of music written for various films, five to be precise, that feature for the first time new vocalist Damo Suzuki, while original singer Malcolm Mooney appears on two of the seven album tracks, formerly the voice of the band on their 1969 debut album 'Monster Movie'. And the successful post-psychedelic krautrock experiment continues with 1970's 'Soundtracks', an interesting collection of diverse compositions that on the surface seem to be somehow directionless and even a bit disorienting, especially knowing that this LP is made up of commissioned works for different movies, and was never meant to be as album-oriented as the debut album, elements of which are to be discovered all over this very decent collection.

With the introduction of Damo Suzuki, it is very interesting to see how his strangulated, odd vocal delivery fits the jam-based, experimental music of Can, becoming increasingly more intricate and labyrinthian, and on this album this aspect of the band's sound is opposed to the significantly different vocal style of Mooney, which ultimately becomes limited for the musical scope of the krautrock innovators. As for the music on the album, we have an overall eclectic sound that explores different corners of the band's musical interests - opener 'Deadlock' is definitely dark and nostalgic, and the upfront guitars sweep around rendering the atmosphere of this song hefty and remorseful, while tracks like 'Tango Whiskyman' and 'Don't Turn the Light On' offer a more upbeat post-psychedelic sound, more similar to the music on 'Monster Movie'. 'Soul Desert' is groovy and repetitive and works rather finely, despite the irritative qualities of the vocals. Then there is the 'Mother Sky' suite from 1971's 'Deep End' movie, with its fifteen minutes of fusion energy, manic guitar playing, and hypnotic rhythm section, definitely one of the essential Can works. The final song on 'Soundtracks' features Mooney and his soulful delivery, on a song that is more downtempo than the rest of the record.

This entire album is strange but rather good in parts, which is why it has remained many Can fans' favorite (or guilty pleasure). The major highlight has to the be 'Mother Sky' piece, which echoes the excellent experimental ventures of the band's 1969 debut.

Review Nº 905

Kollektiv was a German progressive rock band from Krefeld that was originally formed in 1964 under the name of The Generals. Mainly influenced by British music, they began playing beat music. However, as the time went by, they decided to risk themselves towards more experimentations and thus entirely changing their musical direction. In 1970 the band changed their name to Kollektiv. With this new name, the band released their debut and only album with the same name in 1973 that featured a jazzistic sound with a taste for space rock, involving a lot of experimentation and jamming, going nearly the same way of bands, like their compatriots Embryo. "Kollektiv" is an excellent fusion album and one of the most creative in the German scene. They disbanded in 1975, despite some few posthumous reunions.

The music on "Kollektiv" is close to the music of the pre-Kraftwerk album "Tone Float" of Organisation and of the two early Kraftwerk albums. "Kollektiv" is a spacious fusion of rock and jazz involving unusual structures for the time and using electrified flute and saxophone. At least the Dapper's flute with its alienated effect is reminiscent of Florian Schneider's playing on "Kraftwerk 1" and "Kraftwerk 2". But, the similarities are largely exhausted, although all three productions are characterized by a similar herbaceous and experimental atmosphere. But "Kollektiv" is an album that also reminds me of Neu!, and of course, the days of the experimentalism of Pink Floyd, the times of "Ummagumma".

This all instrumental album really knows how to soar into the depths of space. There's nothing too loud or musically complex here but rather seductive and transcendental. Kollectiv musically blends soft flute with flowing bass guitar and drum lines. Here, Kollektiv played edgy, raw jazz rock on their debut, dominated by the "cosmic" playing of Dapper on flute and sax and the bluesy, spacey electric guitar by Havix. Added to this is the driving rhythm work of the Karpemkiel brothers. Dapper has connected his wind instruments to all sorts of effects devices, so that their sounds waft and reverberate from the speakers in a very varied way, meditative, aggressive, mysterious or simply very jazzy rocking. Otherwise, the jamming is virtuoso and colorful, dreamily gliding along to exhilarate rushing along, especially in the two lengthy numbers. We also can say this is one of those albums where all the four instruments work to perfection.

The line up on "Kollektiv" is Jürgen Havix (guitar and zither), Klaus Dapper (flute and saxophone), Jürgen Karpenkiel (bass guitar) and Walemar Karpenkiel (drums). "Kollektiv" also had the participation of Axel Zinowski (guitar), Volkmar Hahn (violin), Christoph (electric piano) and Georg Funke (bass guitar), all as guest musicians.

"Rambo Zambo" opens the album with heavily processed flute soloing before jumping into high energy avant-funk with more flute work that takes you on a nearly twelve minute voyage. The grooves are laid down by the brothers Karpenkiel and effect tripped out flute and guitars rambling psychedelically in the front. This pretty much sets the tone for the rest of the album. "Baldrian" is slightly tamer. It's a very atmospheric piece with hypnotic, spacey and deeply psychedelic soundscapes. It's a laid back and a slightly bluesy track with its wah-wah sax and reverberated slide guitar. It delivers dreamy and psychedelic soundscapes. "Försterlied" is a short and bizarre track that is underlain with an equally bizarre poem by Robert Gernhardt. This eccentric experiment with humorous vocal improvisation closes out the first side of the album, giving way to the band's side long three part opus, "Gageg". "Gageg" is divided into three parts, "Andante", "Allegro" and "Pressluft", which seamlessly merge. The name comes from the fact that the piece originally arose from a sequence of the tones G,A,G,E,G. It has a more composed feel than most in the side one. It's full of tripped out effects, mixing floating flute lines and guitar disharmonies in a relative calm tempo. But, it still is mostly a vehicle for flute, sax and guitar soloing. It begins slowly before building into another intense avant-jazz funk work. "Andante" is very atmospheric and is the part that sets the stage. "Allegro" is the part that brings a laid back jam for both flute and guitars. The final part "Pressluft" that takes about eleven minutes to conclude, starts with an angular, King Crimson's guitar riff over which drums jazzily riff and with more sax plays in the front. This is clearly the best track on the album.

Conclusion: "Kollektiv" is truly one of the best and most original albums that were released in Germany in this genre, Krautrock with a jazz/rock vein. It's largely instrumental and devoted to dynamic prog injections with some flowing, spaced out sessions. The music is cool, imaginative, intense, improvised and still fresh after all these years. It's spacey but melodic, elevated yet rocking, innovative, progressive in the best sense, consequent in the realisation of intent, forging new musical territory without denying its roots. The musicians did not set great store by making the kind of music that would match with the common stereotypes. The intuitive jazzy improvisations on the album introduce some sunny, enchanting flute parts and groovy sax solos. It's an adventurous and talented effort with a sound that is really refined and sophisticated contrary to most of krautrock albums. It's highly recommended to all Krautrock fans.

Prog is my Ferrari. Jem Godfrey (Frost*)

Galahad have been around for some decades as of now and have in recent years become one of the English modern progressive rock bands that are consistently putting out great material - from the highly-acclaimed 'Empires Never Last' to the more accessible 'Battle Scars' and the frequent releases during the current decade, this band has been navigated by vocalist and founding member Stu Nicholson and longtime drummer Spencer Luckman, with keyboard player Dean Baker also featuring on all of their albums since the mid-90s. 2018's 'Seas of Change' happens to be the tenth proper studio album by this group and in the very spirit of the progressive rock genre, it features one massive 42-minute twelve-part composition, a guitar and keyboard-driven mammoth of a song that encapsulates in itself the sound of modern progressive rock, while it also dares to examine a few tones that are more pertinent to the neo-prog movement, which Galahad had been a part of since their early days.

Now, this piece really works like a "movie for the ears" as it is split in twelve interrelated segments that discuss the state of English politics and dissect the difficulties of the grim [ongoing] situation of the country. Stu Nicholson is, of course, considerate and reflective, and he never goes into the preachy direction - he is merely externalizing the frustration and concerns of many. And the epic music that supports his concept is a perfect representation of that modern progressive rock sound that comes to define many of the bands that consistently put out strong albums. It can be very melodic, atmospheric and introspective, which is counterbalanced by the stabbing keys and the heavy guitars, which are prominent in the output of a lot of 21st century neo-prog acts. The main riff on 'Seas of Change' is infectious and is often used as a transition between two different sections of the song, and while the band carefully and effectively build up the piece, enframing it with that majestic refrain heard in the beginning, followed by some expansive prog sections and more acoustic ones, the entire epic is an all-encompassing piece that offers a little bit of everything; furthermore, it is one of the best-produced and most eclectic works of Galahad, which is certainly commendable. The CD edition features two extended edits of the 'Dust' and 'Smoke' sections off the main piece, which are a nice addition and offer an expansion of two of the main album themes. 'Seas of Change' is a great work overall, one that really approaches and rivals the scope of the excellent 'Empires Never Last'.

"Woe" is the second full-length studio album by Swedish progressive death metal act An Abstract Illusion. The album was released in September 2022 through Willowtip Records. It´s the successor to the July 2016 "Illuminate The Path" debut album. Both "Illuminate The Path" and the August 2014 "Atonement Is Nigh" EP were independent releases, so "Woe" is An Abstract Illusion´s first label release. "Woe" is a concept release consisting of one hour long track divided into seven sub-tracks.

The first thing I notice when listening to "Woe" is that An Abstract Illusion have increased the death metal brutality compared to the preceding releases and "Woe" is by far their most heavy, brutal, and raw release yet. That doesn´t mean they have shed any of the progressive rock/metal elements of the past, but to my ears a better balance exists on "Woe" between the death metal elements and the atmospheric and epic sounding progressive metal sections. The vocals still vary between death metal growling and clean male vocals. The keyboards have a dominant role in the soundscape but again they aren´t quite as dominant as they were on earlier releases, and An Abstract Illusion seem to have gained the knowledge that less is more and that epic keyboard chords and piano runs just work better when they aren´t being used all the time.

"Woe" features a powerful, heavy, and detailed sound production. It´s in the more polished end of the production spectrum when it comes to death metal productions, but for this type of music a multi-layered, professional, and clear sounding production is just what is needed. While six years may be a few years too long between albums, I´m happy to report that An Abstract Illusion have spend every second of those six years honing their skills as composers and writing an intriguing and varied progressive death metal album. This is a nice step forward for the band although not everything is perfect here. The 11:33 minutes long atmospheric "Tear Down This Holy Mountain" is for example a bit too ambient and uneventful for longer parts of the track, but overall An Abstract Illusion have struck gold here and fans of atmospheric/melodic progressive death metal are recommended giving this album a listen. A 3.5 - 4 star (75%) rating is deserved.

(Originally posted on Metal Music Archives).

Finally, the moment has arrived to do a review of this band, having the previous 3 albums in my collection, and somehow not getting my thoughts down on paper (paper?) . This quintet has always possessed an original sound, mostly due to vocalist Maartje Meessen rather original tone and her bandmate Eleen Bartholomeus (guitar, synths) , guitarist Ingo Dassen, bassist Ingo Jetten and drum stool director Bob Van Heumen. Six short tracks are the ideal set- up for a monster title track extravaganza of over 20 minutes that really seals the deal, stretching way beyond any previous comfort zone. Adding strings only elevate the orchestral qualities to be found littering the pieces.

The haunting acoustics on "The Settlement" easily set the mood, Maartje's swooning wail a soothing revelation, as the echoing shudder moves along in a contemplative furrow, the glistening slashes of electric guitars giving it a wide birth and establishing the atmospherics which will dominate this recording throughout. Case in point, the clever e- piano droplets on "The Build", a more raucous rampage with overarching keyboard symphonics, amid the criss- crossing riffs, a stunning track that could easily have been stretched out with a more elaborate arrangement. In all fairness, these two initial impressions can and should be considered as one mini-suite.

Catching the ears completely by surprise, the twangy pedal steel guitar ornamentations from Jetten perfectly exemplify the meaning of the title "A New Life", a sunshiny diversion into sweet harmonic flight. The percussion- laden "The Warning" includes audacious raspy guitars colliding with flute meanderings, dense wall-of-sound atmospherics and a driving rhythmic throb.

"Derailment" is a darker sonic train wreck, brooding and despondent in a rather attractive manner, as the piano somehow conveys a positive hope, as orchestral sheets attempt to smother the slippery e-guitar swirls. Segueing perfectly into "Chaos/The Slip Away", the intensity rages on mightily with overflowing mellotron cascades, dam- busting dual heavy guitars unchained, spoken word confusion and escape, leading to a pleading vocal, all at a throttling pace.

All these half-dozen vignettes (that could have easily developed into much more expansive epics) eventually and as promised, give way to the stunning "Babel" and its rather towering (excuse the pun) conviction. The main melody wastes little time in establishing its credentials, with a masterful vocal delivery, as well as a restrained energy that proves my earlier point about the vignettes potential embellishments. The soft flute contrasts slam headfirst into opulent wind-blown mellotron, never a bad idea in my book, and just as the arrangement kicks in to full gear, a sudden acoustic guitar and voice duet changes the mood in an instant, the astute band playing the contrast game faultlessly, daring to infuse strings as well as the countrified pedal steel for another spin around the polder. Van Heumen and Jetten then take over the controls of the rhythmic onslaught, progressively raising the temperature on the underbelly, as the Middle Eastern flute and percussives dance along for the ride. Patiently waiting for the right moment to enter the fray, the dual fretboards come charging through the sandstorm, as if propelled by historical zeal. After the tempest, silence. Back to a sense of normalcy, I am reminded at times of recent Anathema in the keyboard/guitar combinations, as the emotions slowly buildup once again, the piano marking the pace, the lead guitar unable to hold back its emotions, both weighty and heartfelt, constantly adjusting the throttle, as if impatiently searching for an oasis of peace. Without question, one the finest 2025 epics, an exhilarating exploration of power and substance, full of vigorous intensity and profound reflection.

All in all, a thrilling 40-minute album that has gone on in my mind, a lingering sense of enjoyment long after the last note was played. Called afterglow, I think.

4.5 Towering nights

Chops Galore

Moto Perpetuo is an instrumental fusion band from Lombardia who have been playing together since the 1990s. They've been playing live for years, and they finally released their full-length debut, Untitled, in 2023. The reason for the ambiguous album title is that they would prefer the entire experience of listening to them be in the court of the listener. They didn't want to impart any preconceived notions. "Why Untitled? Because it is an album without a real definition, just like the genre we play. Untitled, as instrumental tracks without lyrics should be." Fair enough then.

The album reminds me of many of the Italian fusion/jam albums I've come across: AIIR, Bella Band, D.F.A., Free Wave System, Kaleidon. Not being a jazz expert by any means or measure, I'll confess that fusion sometimes becomes an experience that blurs together into a similar sounding stew. I don't dislike it. On the contrary, it's pretty awesome. It's just more difficult to discuss. This is an album of technical performance prowess with a nice mix of stylistic shifts and loads of emotion coming through in the playing. For sure in the lead guitar as you'd expect, but also in every position. Some songs are more traditionally jazzy while others offer shots of chunky groove/funk or delicate classical touches. That is the part where I feel some of that lovely RPI intoxicant coming through, and that is where they win me over. There is a ton of piano playing on this album and a small bit of violin, and the beauty in these sections is undeniable. If you are into varied and impeccably performed instrumental rock, this is a release you'll not want to miss. I thoroughly enjoyed it.

The main melody wastes little time in establishing its credentials, with a masterful vocal delivery, as well as a restrained energy and the soft flute contrasts slam headfirst into opulent wind-blown mellotron, never a bad idea in my book, and just as the arrangement kicks in to full gear, a sudden acoustic guitar and voice duet changes the mood in an instant, the astute band playing the contrast game faultlessly, daring to infuse strings as well as the countrified pedal steel for another spin around the polder. Van Heumen and Jetten then take over the controls of the rhythmic onslaught, progressively raising the temperature on the underbelly, as the Middle Eastern flute and percussives dance along for the ride. Patiently waiting for the right moment to enter the fray, the dual fretboards come charging through the sandstorm, as if propelled by historical zeal. After the tempest, silence. Back to a sense of normalcy, I am reminded at times of recent Anathema in the keyboard/guitar combinations, as the emotions slowly buildup once again, the piano marking the pace, the lead guitar unable to hold back its emotions, both weighty and heartfelt, constantly adjusting the throttle, as if impatiently searching for an oasis of peace. Without question, one the finest 2025 epics, an exhilarating exploration of power and substance, full of vigorous intensity and profound reflection.

4.5 Towering nights

It's a magnificent album of music overall. It obviously has a notable progressive rock content, but it goes far beyond that?both in terms of composition and in terms of production and sound. Many well-established bands would dream of breaking the norms of production and composition the way they have managed to. Every track is meticulously crafted, with layers that reveal new details on each listen. The album flows seamlessly from start to finish, offering moments as delicate as a baby unicorn's bottom and others as hard-hitting as a concrete building. There's a fearless approach to creativity here ? a refusal to be boxed in by genre or convention. The musicianship is top-tier, but never self-indulgent; everything serves the greater musical vision. Please, give them a chance and let's start putting these people where they truly belong ? at the very least, at the level of recognition they genuinely deserve. This is not just music; it's a statement.

The only SBB recording without leader Jozef Skrzek, in which he was replaced on Fender piano and polymoog by guitarist Piwowar. The performance took place in Nove Zamky, now in Slovakia. Skrzek reportedly had to travel later and separately due to some obligations at home and missed his connecting trains. Piwowar proves to be a surprisingly competent keyboardist. However, this change in the line-up also changed the whole sound of the band, with fewer heavy complex harmonies and a more airy jazz style. The album turned out surprisingly well, though, and is definitely not just a collector's item for SBB fans, but an excellent recording in its own right.

JUPITER FUNGUS are from Greece and they pay homage to the bands and music of the 70's like DEEP PURPLE, FOCUS and JETHRO TULL. Essentially a duo of vocals/keyboards and flute, they managed to get three more musicians to play on this record making them a five piece. I have the legit cd and I would not know this from the liner information as it shows the five members as part of this band. The guitarist and drummer are from LUCIFER'S CHILD with the guitarist coming from another band I won't even repeat due to my world view. Oh, and this was recorded and mixed by him at his Pentagram Studios.

I like that we get four long tracks with the shortest being just under 10 minutes. This is very much either flute or organ led. So yes, DEEP PURPLE and JETHRO TULL came to mind often. I do not like the flute style as it dances all over the place, fluttering away. I love flute but not in that style. Same with the Hammond, I just have never been a big fan of organ led music like this. The guitarist hardly causes a blip here. The keyboardist adds vocals and they are okay, but often mixed low.

The cover art actually impresses me more than anything I hear. The flautist did this and he clearly has a talent. Such a detailed picture that I have to applaud. It's a little bigger than the cover too, as it expands to the back some. So right from the first spin I knew this would be a challenge. If it was just the flute, or just the organ, but it's both giving me problems. My favourite musician on here is easily the bass player George Papageorgiou. Just love his tone, and how upfront he is. A talent for sure.

I won't describe what I'm hearing here as I would be repeating myself a lot, but I feel this album will get a lot of Prog fans exited who are more into FOCUS and TULL than I am.

Without losing the memory of their herculean and visceral past, still present, Iron Maiden nourishes "The Final Frontier" (2010), their fifteenth album, with elaborate structures with undisguised progressive components and nuances adapted to the new millennium, visually notorious from the cover where the anthropomorphic Eddie evolved in extraterrestrial predator mode inhabits a devastated and hostile futuristic space environment.

This sensation is reflected in the heavy and gloomy synthesizer-based atmosphere of the introductory "Satellite 15...", marking an unprecedented experimental facet of the English band, after which the most direct and effective tracks flow, impregnated with the band's primordial DNA, like its continuation, the avant-garde and homonymous "The Final Frontier', the galloping "El Dorado" and "The Alchemist", the plaintive "Mother of Mercy", and the splendorous half-time of the emotive "Coming Home".

And it's from there that the songs become especially polished, with the mystical "Isle of Avalon" where Steve Harris' infallible bass and Nicko McBrain's millimetric hi-hat mark the extensive introduction to a middle section starring the lucid riffs and solos of the trio Dave Murray, Adrian Smith and Janick Gers, as well as the convoluted and determined "Starblind", the tempestuous odyssey "The Talisman" and its crystalline acoustic intro accompanying the settled and impostured singing of the rejuvenated Bruce Dickinson before the instrumental display in which the three guitars flirt with each other, and the vigour of the introspective "The Man Who Would Be King", loaded with melancholic textures. Along the same route, the wind-blown 'When the Wild Wind Blows' kicks off a definitive epic in which Harris' bass and the trio's guitars advance slowly but surely, following Dickinson's vocal story, and then explode into a determined instrumentation that flows splendidly and infinitely until it returns to the same winds to conclude, in my opinion, the best track on the album.

The very good "The Final Frontier" is not so much more than "Brave New World", but not so much less than "Dance of Death" or "A Matter of Life and Death", and its success in the charts (#1 in the UK and in 27 other countries...) was a reaffirmation of the validity and popularity of one of the most emblematic Heavy Metal bands.

3.5/4 stars

As one of the really fine experimental art rock albums of the early 70s, Roxy Music's 'For Your Pleasure' is also quite significant for its masterful bridging between prog and glam - the daring in-depth exploration of unorthodox ideas, the extended song lengths and the focus on intricate instrumentation, extended soloing and technical acuteness, are combined with the relentless sexualization of the album's lyrical content, and the evocative all-around imagery of the band and their produce, which is a rare sight during this period in the development of rock music. There is an eclectic combustion of styles on this album, which might be an overall more focused and better-executed record than the band's famed self-titled debut album. The supposed clash between Ferry and Eno here, furthermore, is more of an abstraction rather than an actual source of conflict, and I do believe that their differing artistic visions had navigated this album into its more obscure presentation.

Of course, Brian Eno is very prominent on the best tracks off 'For Your Pleasure', and his playing seems to be sprawling into punk, prog, and classic rock, while Phil Manzanera, for example, delivers some substantial solos as well as multiple fine riffs. Andy Mackay dares to play out of key on a few occasions, which gives the album an avant-garde touch, while the rhythm section is working tightly and does not shy away from being minimal, metronomic, or simply punctuative. For what concerns Ferry's vocals, independently of how much one might be into his singing style, it is a fact that his performance is exquisite, and he really experiments with his voice throughout this entire album. Obviously, 'Do the Strand' and 'The Bogus Man' are the best album tracks, perhaps depicting perfectly the band's bold amalgamation of glam, pop, prog and avant-garde. 'Strictly Confidential' and 'In Every Dream Home a Heartache' are also really fine attempts at having an unusual but compelling rock sound that diverges from the standard, blues-based formula and tries to introduce a novelty sound with an inherent progression. At the same time, the trivial 'Grey Lagoons' and the punk-backed 'Editions of You' are far from impressive, which lets the otherwise-excellent album down a little. Nevertheless, 'For Your Pleasure' is a unique and important album from the early 70s that above all introduced a fascinating synergy between glam rock and prog.

In 1990 Geoff had the idea of releasing 'I May Sing Grace' and 'Psalm Enchanted Evening', his second and third solo albums after leaving Twelfth Night (originally only on vinyl), as one CD. He felt that 'In One Era' would be the right title, explaining it as follows "In One Era, a pun of course. I do not know if you use the phrase 'In one ear and out of the other', it refers to a statement that no-one listens to!". This did not happen in Geoff's lifetime, but in 1994 Malcolm Parker worked with Andy Labrow to produce a set as close to Geoff's original concept as possible. Two tracks had to be dropped to make them fit onto a single CD, and the two albums were made available as 'In One Era', but it has long been unavailable, and it is only through the reissue series from Brian Devoil that this is now again seeing the light of day.

The cover has been changed, although it is still very much in the same vein as the original, the two missing tracks brought back in the correct places, plus this includes three tracks from Geoff's first post-TN band 'The Earthlings', which have never previously been released, as well as some live recordings and demos.

Geoff had a unique vocal style, and will always be one of my favourite singers, artists and poets and managed to pull together a lot of different styles in a way totally his own. Certainly, he was the most off the wall Christian artist to promote his faith through music. He was still developing his solo styles at this time, and elements can be seen that came through in his later works. Far more immediate than albums such as 'Second Chants', there is no doubting the Mann's talent. Geoff recorded albums incredibly quickly, with the two on here taking less than two weeks in total! There was never a sense of rush, but rather that he knew his own mind very much and what he wanted to achieve. It is also great to hear the additional tracks, as any lovers of the Mann can never get enough and to be presented with "new" material more than 30 years since his life was cut tragically short by cancer is immense.

I really enjoyed hearing the demo to "Piccadilly Square" for the first time, one of my all-time favourite tracks, whilst the version recorded with The Earthlings is very different indeed. There are three versions of "Flowers", with cuts by both The Bond and Godstars, and the result is the most complete version of these two albums ever released. Absolutely indispensable for fans of Twelfth Night and Edmund Geoffrey Mann.

The Kingdom of a buffalo

I've been listening to King Buffalo for many years, and today they stand as one of the best stoner and psychedelic rock bands out there. With six albums, a handful of EPs, and several live recordings, King Buffalo has steadily carved out a path for themselves, maintaining a solid and evolving sound. The band is always led by their extraordinary guitarist, vocalist, and keyboardist Sean McVay, whose skills as both a musician and composer continue to grow with each release. Alongside him, Dan Reynolds on bass and keyboards, and Scott Donaldson on drums, complete this power trio?each member playing a fundamental role in shaping the band's sound.

Among their impressive discography, one album stands out as a bold leap forward: Dead Star, their third record and also their most progressive. Here, King Buffalo commits to crafting longer and more intricate compositions. "Red Star Part 1 & 2" opens the album with 17 minutes of mantric, meditative sound, as the band takes you on a journey through dark and dense space?layers of delay- and distortion-soaked guitars, deep Taurus pedal drones, and looping drums that echo the atmosphere of Obscured by Clouds-era Pink Floyd. At the same time, there's a certain emotional isolation reminiscent of 2112 by Rush, combined with the sheer weight and force of eternal Black Sabbath. It's an album that reveals how far the band is willing to push their sound while still staying true to their roots.

"Echo of a Warning Star" is a more meditative track, driven by vocals that faintly recall Simon & Garfunkel's Scarborough Fair, yet with a unique twist that makes it their own. "Ecliptic" dives into a 70's krautrock vibe, which is one of the most fascinating aspects of King Buffalo?they are unafraid to explore any sound they like, and they do so with substance and confidence. "Eta Carinae" leans more into classic Black Sabbath territory, with a heavy riff reminiscent of Tool, delivering a crushing song with incredible solos and textures. The title track, "Dead Star," feels like a mourning song, almost like a lullaby for a dying star, filled with melancholic and Rush-like atmospheres. The album closes with an edited reprise of the opening track, tying the journey together perfectly.

Dead Star is one of King Buffalo best work , showing their ability to blend stoner, psychedelic, progressive rock, and even krautrock into a emotional experience. It's an album that rewards multiple listens, revealing new layers each time.

— First review of this album —

Here we have the fifth album from Eclectic Maybe Band, a collective organised by Univers Zero bassist Guy Segers who brings together a pool of creative progressive musicians to either play and improvise on his compositions or collectively compose live in the studio, with further work then often taken by Segers later. The physical release contains not only the lyrics for those songs which have vocals but also details who plays on what track which is important given no two songs have the same line-up and there may be as many as a dozen musicians involved in one piece of music.

In some ways it is reminiscent of Øresund Space Collective and their approach to space rock, while the way the music is constructed and brought together is similar to the work undertaken by the late Robin Taylor, except in both cases this feels far more earthy and real with less emphasis on electric guitars and synthesisers. In some ways it feels like the clashing together of multiple worlds with RIO and free jazz on one hand, progressive rock and avant on another, all coming together in an album where one never knows what is going to happen next, and often that includes not only the listener but also those involved in the performance. There are nearly 30 musicians involved in this particular project, and while musically it does fit in well with the imagery conjured up by the album title and photos, it is also out of left field and quite different to what many in the genre are producing and is all the better for that. Overall this is a great piece of work which need to be played on headphones and really listened to, as this is an unusual and jagged piece of work which somehow is also rounded and surreal.

The Nucleus takeover is nearly complete: Soft Machine founder and only remaining original core member Mike Ratledge only participates on two of this album's eleven songs; newcomers Alan Wakeman and John Etheridge make their marks with bells on!

1. "Aubade" (1:51) the addition of guitars, courtesy of newcomer John Etheridge, is a game changer for this band--as demonstrated by this opening duet between Etheridge and Alan Wakeman, another newcomer. Sounds like the PAUL WINTER CONSORT to me. (4.375/5)

2. "The Tale of Taliesin" (7:17) piano arpeggi and symphonic rhythmic accents from drums and bass make this feel like a prog piece from a long-lost ELP-CAMEL collaboration. A three-part suite, upon hearing the fiery electric guitar work throughout the mid-section of this song is just weird (despite Allan Holdsworth's indomitable presence on Bundles): not the Soft Machine I think of when I conjure up the essence as my brain categorizes it. Interesting and well-made; it's very proggy (which is, in my opinion, quite a departure from the Jazz and Jazz-Rock Fusion explorations of the previous eight albums). (13.5/15)

3. "Ban-Ban Caliban" (9:22) establishing itself like a train starting up from a standing/loading position, this song has a foundational rhythm track that seems massive: like a blunt force projectile that has relentless and insidious power. Sax takes the first solo, then John Etheridge's soaring guitar. The song's power and drive is so like that of Jean-Luc Ponty's "Egocentric Molecules" (which is much more familiar to me) from his 1978 masterpiece, Cosmic Messenger that it adds fuel to my theory that Jean-Luc must have been a voracious devourer of music new to the Jazz and Jazz- Rock Fusion world and that he was not at all shy about borrowing ideas from others. Bass player Roy Babbington and drummer John Marshall even gets some shine in the third quarter before keys and rhythm guitar try to step in--but the rhythm section's momentum is simply too much for any interlopers or intruders. Monster song! (18.875/20)

4. "Song of Aeolus" (4:31) the sound of winds, bleeding over from the weather system that was the decay of "Ban-Ban Caliban," this song slowly establishes itself as a slow, emotive guitar-led song that foretells all guitar-centered New Age music of the next 20 years--especially that of Ray Gomez, Hiram Bullock, and Paul Speer. Beautiful if more Adult Contemporary/Smooth Jazz that Jazz-Rock Fusion. (9/10)

5. "Out of Season" (5:32) what starts out as piano and acoustic guitar duet that sounds a lot like the "New Age" music work of David Lanz and Paul Speer--even moreso as the song develops and the other musicians join in--as John Etheridge adds a track of electric guitar to the mix. Again: pretty and emotionally-engaging but a far stretch to call this either Jazz-Rock Fusion or Progressive Rock. (8.875/10)

6. "Second Bundle" (2:37) layered and looped keyboard experimentation that recalls some of the work Ratledge and Jenkins had done with their Terry Riley inspiration. Sounds nice. (4.4375/5)

7. "Kayoo" (3:27) another Five "D.I.S."-like display of percussion play from and for John Marshall. This one has a more defined transition to full-on drum kit play: John exhibiting more Billy Cobham-like skill at presenting "song" and "melody" than on previous solo attempts. Still, however, not a song that really stands well on its own. (8.667/10)

8. "The Camden Tandem" (2:01) John Etheridge's machine gun guitar spews forth a spray of notes to try to match/keep up with the snare play of Mr. Marshall. In the second half he pauses to inject some blues notes, chords, and scales before the two go off into machine gun territory again. (4.375/5)

9. "Nexus" (0:49) a bombastic lead in to . . .

10. "One over the Eight" (5:25) a funk jazz tune that Roy Babbington and John Marshall lead the band into so that Alan Wakeman can blow on his ultra-cool reverb sax. Etheridge and Jenkins's support is strongly aligned with what the funk requires as Wakeman kills it with his sax. If only Sanborn, Kenny G, and Najee had this kind of support crew--this kind of songwriting--and this kind of presence! What a great song! Makes me want to jump and dance till the cows come home! (9.75/10)

11. "Etika" (2:21) another acoustic guitar composition--this time performed on two guitars, over two tracks, by John Etheridge tout seul. I like the transition into John McLaughlin territory in the second half of the song. Well done! (4.75/5)

Total Time 45:13

The new members have helped The Soft Machine to usher in an entirely new and quite different sound. Here they have taken on a much more symphonic mantle manifesting a sound that is much more aligned with progressive rock than their old Canterbury or even Jazz-Rock Fusion leanings.

A-/five stars; another mixed bag of materiel that has some very new-feeling elements at use (including entering/pioneering the Adult Contemporary/New Age world as well as crossing over into more generic prog territory) but of a very high quality of compositional and performative maturity.

4.5 stars. COMPUTERCHEMIST is the project of British multi-instrumentalist Dave Pearson. A man who has been part of bands since the eighties. He decided to go solo in the mid 00's and has released around 9 studio albums since then. He has had guests helping out minimally in the past but on the two "Signature" albums he released in 2013 he collaboarated with drummer Zsolt Galantai. The first "Signature" release was good, but this second edition is so much better in my opinion.

Part of the appeal on this one is the guitar. It's almost like Dave decided with Zsolt on drums he could focus more on the guitar. He plays bass and of course electronics here too. The result is amazing. I love those guitar expressions that bring to mind RADIO MASSACRE INTERNATIONAL and Manuel Gottsching. Another long one at just under 70 minutes over eight tracks. This is a uniform sounding album which I really like, very consistent. The exception to the "uniform" sound is the opener "Strangeness In 13" where I'm reminded of "Tubular Bells" with that piano sound and style. We do get drums and guitar and some melancholy here.

The next two tracks are incredible and my top two. "Goodbye, Moszkva Ter" where we get more intensity with the drums pounding away as spacey synths and guitar play over top. Really good! "Floor Zero" opens with a sample of a woman speaking over a intercom, like at an airport. Heavy beats and sound take over. I like the drumming here, but man those guitar expressions starting before 4 minutes contain a lot of "wow" moments. "Commution" opens with some experimental sounds from the guitar I believe and whistling? Drums join in and a guitar melody comes out of this. Suddenly piano only but the guitar returns to lead. Synths play the same melody the guitar did earlier as synths and guitar take turns leading.

"Forgotten Memory" opens with sequencers and spacey sounds from the guitar. Drums and bass replace the sequencers. "Smeem" opens with sequencers and more. Almost a bluesy vibe here surprisingly. This trips along with synths and drums, then the guitar starts to solo before 5 minutes. Keys and guitar will take turns leading. "The Needs Of The Many" is all about the beats and pulses with spacey synths over top. Guitar around 3 1/2 minutes to the end. "Bongo In 4" ends it, and the start is interesting with the percussion, atmosphere and more. Guitar before 2 minutes. Just a feel good sound to this one.

This will be part of my "best of" electronic list if I get to it. I'm so impressed with the guitar playing on here, in fact it takes Dave's music to another level.

"Illuminate The Path" is the debut full-length studio album by Swedish progressive death metal act An Abstract Illusion. The album was independently released in July 2016. It follows the release of the August 2014 "Atonement Is Nigh" EP. An Abstract Illusion are down to a trio on "Illuminate The Path" and only lead vocalist/drummer Christian Bergl'nn, keyboard player/vocalist Robert Stenvall, and guitarist/bassist Karl Westerlund remain from the lineup who recorded the "Atonement Is Nigh" EP.

Stylistically the material on the 8 tracks, 69:42 minutes long album continues the atmospheric/progressive death metal style of the preceding EP. The keyboards are still very dominant in the soundscape but the growling and clean vocals also add to the sound when they appear. The guitars, bass, and drums more seldom take the frontseat and often function as backing to the keyboards and the vocals. There are exceptions though and it's not that you can't find strong riffs, beatiful leads- and harmonies, and powerful drumming on the album, but those instruments just aren't the focus of the music. Piano runs and epic and darkly symphonic keyboard atmospheres make "Illuminate The Path" a layered, busy, and massive listen. When you discuss progressive death metal it's always Opeth which comes up first, but An Abstract Illusion sounds only very little like Opeth. Instead I'd look towards the Danes in Iotunn but add more keyboards and a less extreme edge.

Most tracks are long and the album is a continuously adventurous listen. Three tracks exceed 10 minutes in length, "Skeletons of Light" being the longest featuring a 16:20 minutes long playing time. The quality is high for the duration of the album and as "Illuminate The Path" features high level musical performances, and a clear, professional, and detailed sound production it's upon conclusion a high quality debut album from An Abstract Illusion. It's maybe a bit too polished and lacks some bite/rawness, but if you enjoy atmospheric/melodic progressive death metal in the more polished (less brutal and gritty) end of the scale, "Illuminate The Path" could be right down your alley. A 3.5 star (70%) rating is deserved.

(Originally posted on Metal Music Archives).

A very menacing and impressive album, maybe even intimidating. Spanish heavy prog rock supreme. I didn't know how to listen to it, it is totally overwhelming. After a few spins I couldn't listen to anything else, I just simply couldn't. If they make prog like this in Spain, I'm seriously considering migrating. Heavy and distorted guitars in a beautiful setting of sounds and vocals. It's a pity I don't understand Spanish, but the lyrics are delivered with much urgency. I can make out some of it, but not all. There are also more quiet sections that flow naturally within the overall sound and setting. I have deep admiration for this exciting album. It's so good I bought the download on the band's site, and the CD on the label's site (both on Bandcamp). Please listen to this, you won't regret it. Be quick if you want to grab the CD, because it's a limited edition of 200. Still dumbfounded and flabbergasted, that this music exists.

Sigilu is a experimental/art rock band formed as a duo by Nacho Cuesta (vocals/vocals), formerly of Tierra de Cinco Minutos, and Pablo Saavedra (guitar/drums), from the indie pop band Técnicas Manuales. They currently perform as a trio, including bassist Ángel Boquete (drums).

Although they claim to be influenced by '70s progressive music and Tool, their sound is far from that of a so-called retro- prog band. As can be seen in the opening track, "Neuropa," which kicks off with an explosion of extremely distorted bass and a harmonizing vocal, this is a work with a distinctive and stimulating style, similar to the internationally known "Brutal Prog," where passionate post-rock/metal simmers and concentrates, while downtempo/dub/noise rock/hardcore are seamlessly blended. On the other hand, the vocals are surprisingly song-like, and along with the Spanish singing, can be considered a variation on the symphonic progressive/heavy metal that the Mylodon label specializes in. A band to watch, and a magnificent album, "Beta."

Is it basic to say Dark Side Of The Moon is one of the greatest albums of all time? Yes, but there's a reason, it's because it just is. DSOTM is one of the rare prog albums to have massive commercial success. That alone is good, but the music on it is unreal. It was Floyd's breakthrough album for good reasons, it's one of their most adventurous musically and thematically. Let's go in depth

Speak To Me/Breathe is one of the best ways to start an album. The heart beat with the screams that climaxes into that slow Dorian groove is nothing but iconic. Obviously we have to point of the vocals by Gilmour, nothing less than magical. (4/4)

On The Run is the transition and probably the only track I can realistically take off points, it serves it's purpose, and represents the stress of life fairly well, it's just maybe a tad long for me. (2/3)

Time is time, there's just nothing else to say, it's one of the greatest tracks of all time and you know it. I rarely give attention to lyrics, but this one it's a must. Gilmour's solo is arguably his greatest ever and the fact it's essentially the last time we ever hear Rick's vocals on a Floyd song make this even better (7/7)

The Great Gig In The Sky is obviously one of the greatest vocal performances ever and Rick's piano is nothing but extraordinary (5/5)

Money is the most Rock track on this album, and one of the rare instances of Floyd using odd time signatures. It's great, not necessarily perfect by all means but a good track that everybody knows (5/6)

Us and Them is my favorite, and in my opinion has the greatest chord progression I know. The fact every single chord in the verse uses the note D is genius (8/8)

Any Colour You Like is another transition song and technically the 3rd reprise of Breathe (though less obvious this time). It uses some cool sounds which I like but again it's mostly just a transition (2/3)

Brain Damage/Eclipse is still in my opinion the greatest way to end an album. The chromatic moves in Brain Damage and the epic reprise of all the theme in Eclipse makes this for the perfect finale to a perfect album (6/6)

FINAL SCORE: 40/43 = 93. Easy 5 stars, it's iconic for a reason

A highly creative, sophisticated, and far-more-advanced version of the 1990s' Grunge scene and its Tool and The Mars Volta spawn.

1. "Neuropa" (8:16) What the heck am I listening to? Reprocessed versions of Hendrix solos? Stripped down variations of songs/sounds from countrymates, ZA!? Maynard James Keenan and TOOL's latest expression of their wild, extra- visionary ideas? Whatever it is, they have my complete and undivided attention! And then, suddenly, out of the blue, at the five-minute mark, they go into the deep recesses of TOOL's inner world--a place I didn't know other humans were allowed to visit. Amazing! How do they enact much less envision this stuff? (18.875/20)

2. "Gracias Y Perdón" (5:56) sounds like something from NIRVANA or one of the other Grunge bands of the early 1990s. Very deeply impressive. (9.25/10)

3. "Sagitario A" (6:38) how do they do this? How can they get away with it? How can they so easily, so deftly, switch motifs while introducing entirely/completely new/fresh sound palettes and stylistic themes each time? (9.25/10)

4. "Tribu Virtual" (4:26) the first song that seems to get a little stuck in one universe (this one quite similar to those created by ALICE IN CHAINS, only evolved 30 years on). (8.75/10)

5. "SeñalRuido" (5:49) a song that feels quite conformist to the TOOL universe, despite its (usual) radical motif switches. What imaginations: both structurally (compositionally) but also--more--in terms of sound engineering choices and tricks! I feel as if I'm listening to a Jimi Hendrix of the engineering console: it's all so new, refreshing, and utterly astonishing to me! (9.125/10)

6. "Lloviembre" (5:00) a bare-bones, more starkly-laid out guitar palette that sounds much like Chris Isaak's "Wicked Ways," but then Layne Staley-like vocals and Danny Carey-like drum layout take us to the third minute's transition into guitar-bass-n-drum power trio heaven: like listening to a modern, more sophisticated ROBIN TROWER on heavy psychedelics! (Oh! Robin was on mind-altering substances already? Then he would appreciate this one!) The computer noise finish seems to prep us for the next tune--one that is focused on some of the issues of AI. (9/10)

7. "[i.4]" (5:26) though we start out in a world of simple blues-rock guitar, the technological sound manipulations begin in the second half of the second minute--and they really boggle my mind! What a brilliant (and great) enhancement to the stark guitar world. At the end of the third minute, then, we move into a motif with a base of heavily-distorted fuzz guitar which is then expanded with multiple other tracks of guitars, bass, drums, voices, and effects--piled on! So creative! (9.25/10)

8. "Concursología" (5:22) back to the Grunge of the 1990s yet anchored in the heavy metal of the 1980s (Red Hot Chili Peppers, Metallica) and even 1970s (Black Sabbath and King Crimson). A truly mind-blowing (and mind-bending) song! How, I mean, HOW can they do this?!?!? And then they have to top it off with some sound-bending engineering tricks to bridge us into the next song! (10/10)

9. "Epílogo" (3:16) sounds like HYPNO5E's 2018 master class in cinematic adaptations, Alba - Los hombres errantes. But then the induction of electronic and engineered track manipulations renders it unto yet another parallel yet different universe. (8.875/10)

Total Time 50:09

This band is definitely taking Grunge and Tool-like tech Metal into new dimensions. Their ability to smoothly deceive us into letting them morph and apparate from one style and sound palette to another in the blink of an eye--over and over throughout the course of each and every song--is uncanny: akin to that of a master magician. Apparently, their previous album--their 2017 debut, Singularidad o barbarie was an exhibition of electronic experimentation, but this one is a demonstration of innovative sonic engineering unlike most anything you've ever heard! Beta is definitely an album that needs to be heard! Spread the word! Sigilu is ready to lead you into new and different dimensions of sound (and reality)!

A/five stars; a minor masterpiece of mind-blowingly-creative sound manipulation delivered in a musical style that might be called 21st Century Grunge TOOL-point-three-million-and-two.

I didn't know much about this band despite the high acclaim it has received for its two previous albums and a review of high praise I wrote in 2018 for their 2017 release, Son. I know they come from Ukraine. Whether or not they are made up of refugees living outside of their war-torn country and recording this in the relatively-safe studios of a neighboring country or trying to live and create while still within the hazardous confines of their homeland, I do not know. Achieving the release of an album of this quality, I would assume, would be quite challenging under the latter conditions.

1. "Діти / Children" (7:01) Hearing this beautiful song--an ode to humankind's insidious loss of innocence--I can definitely hear others' references to Québecois (prog) folk singer-songwriter SERGE FIORI. The slow build into progginess for the instrumental middle 90 seconds is what makes it prog. Amazing lyrics. Knowing what Volodymyr and his Ukrainian compatriots have been having to deal with while their homeland is being shredded by war and violence and how the realities of his friends, relatives, and fellow Ukranians must be skewed by the daily psycho- spiritual pressures and predicaments they're placed in only augments the weightiness of these lyrics. And then add into the mix the sincere and genuine feeling Voldoymyr manages to deliver in his singing and we have quite a powerful song here. (14.25/15)

2. "На відстані / At Distance" (5:08) sounds so much like Polish Heavy Proggers BELIEVE and their last couple of amazing albums. Volodymyr definitely has a great singing voice. The lyrics about living in a fog of death (ghosts), fatigue, and numbness are powerful. A nice song that I could see providing the balm of an anthem for his countrymates. (9/10)

3. "Буревій / Hurricane" (6:26) again I am struck by the similarities between Volodymyr's singing voice and those of Collage, Quidam, Satellite, Mr. Gil, and Believe: sometimes lead vocalists Robert Amirian and Karol Wróblewski. Here he uses Nature as a metaphor for the time and conditions in which the horrible effects of war can be left behind, even forgotten: in Nature the hurricane leaves behind . . . Nature. The lead guitar and chamber strings are great but are a bit drowned out by the prog rock mid-section and rock rhythm section. (8.875/10)

4. "Відрада / Refuge" (5:34) though populated with some threads of more delicately-played guitars (acoustic) and piano, the bass and drums--and vocals--still render this one a prog song, though lyrically it's more like a song of longing and future hope--the song has a kind of feel and structure that reminds me of American pop radio songs from the 1970s and 80s--the rock "power ballads" that classic rock and "hair bands" used to "crossover" into radio-friendly domains. A complex and well-designed tapestry. (9/10)

5. "Після війни / After the War" (4:44) sounds like Natalie Imbruglia's "Torn" mixed with Goo Goo Dolls' monster hit "Iris." The lyrics are rather self-explanatory but choose not to touch on the possibilities of scars, bitterness, regret, the need for vengeance, and future attitudes. (8.875/10)

6. "Час / Time" (5:29) powerful and emotional song that reminds me of some of Jimmy Webb's great songs from the 1960s & 70s again superimposed upon by a Goo Goo Dolls-like instrumental palette. How does humankind rise above the endless cycle of war and conflict? Is it possible? It's conceivable but given the way humans are wired, is it even practicable? Yaroslav Gladilin does a great job of grounding the song in rock foundations while the strings and piano move on to more chamber-like embellishments. And yet the song returns, over and over, to a delightful kind of chamber folk foundation (something that reminds me of ARCADE FIRE's classic Funeral album). It's as if Volodymyr & Company have something to teach us! The lyrics definitely flow from the present tense of future nows that was explored in the previous two songs into something more philosophical--about what possibilities lie ahead. Brilliant! (9.375/10)

7. "Істини / Truths" (8:57) piano, acoustic guitars, and strings open this song--a NOT A GOOD SIGN-like piano arpeggio motif--while Volodymyr sings in an impassioned Karol Wróblewski-like voice. The band amps up into a heavier, more full sonosphere in the the third minute with strings enhancing and further amplifying the two chords of the chorus. providing a gorgeous foundation for Volodymyr's public airing of his worries about the same issues I asked in "After the War" and "Time": Can humankind rise above the emotion-based cycles of war: heal the scars, get over the bitterness and regrets, sublimate the strong urges for vengeance and retribution--can they (we) ever achieve a "higher" state of detachment and universal love while still occupying these brute animal human bodyminds? With this heavy prog metal buildup and crescendo of the album's penultimate song Volodymyr & Company are not leaving me with much hope. A powerful song with a great, thick weave and some great guitar and vocal performances. (18.75/20)

8. "Не опускати руки / Don't Give Up" (6:16) the lyrics of this delightful and quirky final song are a bit fatalistic and cynical yet realistically pragmatic: make the most of now for tomorrow you (or your loved ones) may be gone. No, there's nothing new in Volodymyr's message but the music he chooses to deliver it in belies some hope and resignation to the process which does restore some hope. Live! It's life; it's just life, so live it while you've got it. Great song. Great finish--both the big chorus and the gorgeous chamber strings. (9.667/10)

Total Time 49:35

I respect Volodymyr and the band's gift for heart-wrenching Jimmy Webb-like melodies and unexpected hooks while, at the same, enriching and embellishing the musical weaves with layers of folk and classical themes and sounds. The musicians and engineers do a great job delivering some great BELIEVE-like prog rock while accommodating perfectly Volodymyr & Company's unique vision for thickly layered tapestries that are the end result. Mega kudos, señoras and señores! You have truly achieved something remarkable--something historical! Would that it helps you and your peoples persevere and heal!

A/five stars; an exceptional masterpiece of richly-textured progressive rock music that is greatly enhanced by carrying a relevant and meaningful message.

"Extracts" takes us straight to the mid-70s TANGERINE DREAM vibe with its dark, binary sound, embellished with distant reverberating guitar notes. Keyboards rule, followed by deep, ethereal choruses. These excerpts are a taster of her discography. "Interlocutor" is hypnotic, reverberating, and catchy, with its bouncy bass notes. "Regulo 75" with its syncopated pad, metronomic bass-keyboard-percussion, a slow derivation of the Mandarin sound with its dark aquatic sounds; the ending erases the oppression. "Primatonal" is an ephemeral ambient intro bringing the archaic flute to the forefront of the synth. "Shift" for its abrasive crescendo between the reverberating bass and its nostalgic sounds, flirting with JARRE, SCHULZE, and TANGERINE DREAM once again; an underwater finale.

"Corollary" brings a cheerful air to the whirring synths, reminiscent of the mid-70s mandarin era and its fade-in. "Vessel Redux" makes you close your eyes and try to figure out which TANGERINE DREAM track it is. As a fervent fan, I'll let you guess, but the slammed doors are a welcome clue. The sound could last an entire side: metronomic, hypnotic, captivating, Schulz-esque. "Flame" is an addictive electronic melting pot, a synthetic wave following the thread of old sounds with this recent ultrabass chord that makes you sway before the trance.

Brendan Pollard doesn't invent anything new, but keeps the electronic movement going: hypnotic, jerky, and syncopated. A tribute album immersed in the sounds of the aforementioned bands and keeping alive the hope of a revival. An ease of listening adorned with nostalgic technicality with flute, cinematic ambiances, Mellotron and Olympian choirs of the time.

"Preceding" with a syncopated sound, a frenetic staccato pad, Steven Wilson on one side, the raging bass on the other, an electric tune followed by a honeyed groove. An instrumental full of amphetamines, the sound reminding me of OSI in some way; real lyrics taken from the trial and the court is open. "The Trauma" follows, OPETH in sight; riff, electric, a propulsive pad for vitamin-packed progressive metal. Simon uses his clear voice as he pleases to move and attack the magnitude of the story; the languid acoustic guitar amplifies the perceived pain with the targeted growled final vocal. "Families are Forever" contemplative tune with the acoustic guitar supporting the melancholic keyboard, depressed voice then a hellish growl for a time, like a foreshadowing undertow. The synths are warm and captivating, with a djent feel, an acoustic exploration and a growl explosion, creating a weighty, oppressive instrumental atmosphere. The guitar brings the track to a head, distilling a message of hope. The solo melts into the feeling, oozing with melancholy, and the hairs suddenly stand on end. The Genesis-esque keyboard suddenly amplifies the pastoral atmosphere; a stunning piece combining emotion, aggression, and sensitivity. "Conflating Memories" features an ostinato guitar, an ethereal vocal variation followed by a folk flute entrechat; a fluid, consensual, monolithic melody that gradually builds and builds, the highlight of the track taking its time... It's time for Auver's hushed, rich, joyful, intense, and intimate keyboard solo, all within. The vocals return and launch Edvard's guitar solo to capsize any potential recalcitrant, as does the final fade-out vintage organ.

"The Malevolent" with the participation of Ross from HAKEN on a sound... of HAKEN and OPETH in addition doom; the solemn, Dantesque chorus, the captivating choirs, concentrated to give a little more madness and publicity to this group of which I had spoken as one of the best first prog albums upon its release. "Ghosts of Yesteryear" continues, mysterious intro, electro-jazzy-rock air, the bass and the djent guitar at will. The drum pad maintains a hellish rhythm during these two minutes before Simon speaks softly of a terrible drowning: flute, keyboard and lead guitar to erase this terrible moment, delicious climate becoming explosive with the tenacious riff. A concentrate of clarity, sweetness, languor and dynamite. "Waving at the Sky" also continues for the eponymous title; redundant acoustic on an atmospheric synth pad, languor of the vocal, rise of the piece. The opening section is conventional, latent, supported by synthesizers worthy of Porcupine Tree. The vocal break with effects and its drum variation launches into the hypnotic, enterprising, repetitive keyboard solo; the syncopated keyboard gives way to a growl for a moment before returning to a more academic sound, resolutely modern, symphonic, and solemn with its distant elegiac choirs. The rise never ends, like the horror enunciated, but the music is there to lift one to heaven and greet those who will be there. The outro fades in for a languid vibration of our crazy society; dive into its musical drawer like medicine.

AVKRVST has created a conceptual album without being a concept; a prog rock album of the 2020s with a tenuous, fleshy, captivating, malleable, and catchy sound, flirting with OPETH. A sound guiding one toward exaltation and reflection; A true evolution of today's prog sound. Originally from Profilprog.

The Outsider, Numen's fourth studio album, is a bold and ambitious work that marks a significant evolution in the band's musical journey. Departing from the more melodic and neo-prog character of Cyclothymia, this two-disc rock opera embraces a richer, more experimental sound, reminiscent of their debut Samsara. Spanning nearly two hours, the album follows Paul, a man adrift in a superficial, materialistic world, whose unresolved conflicts push him toward a tragic point of no return.

Musically, The Outsider is a triumph of variety and sophistication. While rooted in classic progressive rock, the album expands its palette with flutes, oboes, trombones, strings, and layered orchestration, creating a lush and dynamic sonic landscape. The arrangements shift constantly between light and shadow, grandeur and intimacy, offering an emotional and thought-provoking experience that rewards repeated listening.

The addition of Alba Hernández as lead vocalist is a revelation. Her voice brings warmth, nuance, and emotional depth, marking a clear and refreshing contrast with former singer César Alcaraz. Alba doesn't just sing?she inhabits the character and becomes a vital force in the narrative.

Equally exciting are the guest appearances by Nacho Mañó (Presuntos Implicados), who adds elegance and musical sensitivity, and Steve Rothery (Marillion), whose iconic guitar work lends epic weight and poignancy to key moments. Their contributions feel organic, never gratuitous, enhancing the album's emotional arc.

With its compelling story, cinematic scope, and masterful performances, The Outsider is not only one of the essential prog releases of 2025, but arguably Numen's most accomplished and resonant work to date.

Bjorn Riis - Fimbulvinter Country: Norway Year: 2025 Time: 44:22

****1/2

Tracks: Illhug (1:43), Gone (8:34), Panic Attack (10:56), She (6:33), Fimbulvinter (8:59), Fear Of Abandonment (7:36)

Bjørn Riis, guitarist for progressive rock band Airbag, has returned after 3 years with his most personal album yet Fimbulvinter. On this new record, he handles vocals, guitars, bass, and keys. and brings with him fellow Airbag drummer Henrik Bergan Fossum as well as Arild Brøter, and Kai Christoffersen on drums as well.

The record hinges on the concept of mental fragility, interpreting the pain and anxiety that precedes a breakdown ? just as how, in Norse mythology, the Fimbulvinter precedes the end of the world.

The album kicks off with "Illhug," a brief beautiful, haunting and delicate acoustic instrumental.

Following "IIIhug" we have the first signal "Gone", which has the steady drive that some Airbag songs have. This is a song up tempo, a nice rhythm section with fabulous bass playing. Lyrically it deals with a person who has been running all his life. This one is one of the heavier songs musically on the album.

Next we have "Panic Attack." This song has a particularly oppressive atmosphere, it really grabs you by the throat, both musically and lyrically. You can feel everything that a person feels when having a panic attack. On the one hand you feel the modesty, on the other hand you feel the powerlessness. An emotionally powerful song.

After all the experiences of Panic Attack, you now get some air again with the next song, She. "She" stands out for its sincerity and emotional depth, highlighting Riis's ability to convey raw feelings through subtle arrangements and heartfelt melodies. Honestly he does this so well.

The effects of cold winds and dark clouds blow through the introduction to the title track, "Fimbulvinter," before thudding percussion, bass and a dulled trudging guitar riff stomp all over this track, Swooping and dipping, tearing us away from the forlorn beauty of the previous track and leading us into an uncertain dark place. Best song on the album.

The closer "Fear of Abandonment" is another favorite. It feels vulnerable and the vocals are hushed and uncertain. The end of the album can feel a little hopeless, just like a long winter before the end of the world, and I think Bjørn intentionally ends the album this way.

This album has immense depth and one can only applaud Riis for his bravery and honesty. Highly recommended.