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.

This crafty band from Krakow has just released its eighth album, which I am proud to report owning all of them, starting off with "Egoist" in 2008. Led by inexhaustible keyboardist, composer and producer Krzysztof Lepiarczyk, who has a few solo albums to his name as well as having played with a slew of Polish bands in the past The first four releases had some promising material and insane artwork (Leszek Kostuj), while the last four have garnered higher ratings, especially the amazing "the 7th Dew" released in 2021, as the solid band kept honing their sound. Both prolific bassist Krzysztof Wyrwa and drummer Grzegorz Bauer have played with Ryszard Kramarski Project, Padre and Framauro among others and they form the new rhythmic backbone, a perennial Polish standard that is quite remarkable, with Sabina Godula-Hare expertly handling the vocals duties. Throw in longtime guitarist Piotr Grodecki and new man Pawel Hebda and the stage is set for some typical melodic Polish Neo-Prog, a romantic style they have an indisputable patent on. Not necessarily a concept album per se , but there is an 8-chapter story being told here, in sincerity and humility.

Bauer kicks "Tough Love" into a pulsating mood, a hoppity-hop pleading vocal from Sabina, mostly to underline the 'tough' part of love, as she complains of being pushed away and anguished by the rejection, Wyrwa really carves some growling low-end moans, the synths chirping wildly in overt discontent, while the piano conveys courage and defiance.

Gloomier climes on "Questions", the swirling electronic hushes along, sweeping the unknown under the carpet, as Sabina inquiring about her fate, hoping for some resolution. The electric guitars attempt at various curt rationalizations, in rather exalted turpitude seemingly, before finally giving way with a liberating solo that hits the spot. The instrumental parts are not overtly complex but rely on emotional impact as well as sonic insistence (the manic piano motif) in order to propose any finality.

Showing why Wyrwa is among the most celebrated prog bassist in the country ,"Breakin' Free" shines the spotlight on Sabina's sensitive bluesy implorations, then switches to the soloing guitar pirouettes, a romantic piece that has a heart wrenching touch, appealing to those who actually have emotions in their lives and need to express it. The serpentine bass charms the outro with magnificence.

Keeping the smoky nighttime reflections alive, "In New World" is the ideal segue, as the love story keeps constantly evolving as it always should, no time for boredom and routine. Another heartfelt vocal with a haunting instrumental palette, soft synths whirl in exalted bliss, decorated with that relentless rhythmic support, like a warm embrace that never wants to let go.

With a title like "Strong Woman", one can acquiesce the linear romantic imagery conveyed here, a band that is focused on the multiple chapters that form amorous relationships , the strength of honest feelings and understanding compromise. After all, trust is the single most elusive requirement for eternal love. Another persuasive track, with an insistent fretboard display of beauty and brains, as well as a commanding vocal delivery that does not shy away from expressing innermost feelings. No frills and lots of thrills.

As the album title implies, 'sad songs for upcoming days will always satisfy the incurable romantics , drenched in nostalgia , recollections of times gone by that will perhaps never reappear. "Memory of You" is that mental treasure chest, each human carries (admittedly or not) within their mind and entrenched in the soul. The bluesy guitar caress is achingly sorrowful yet redeeming. Another terrific track.

"Road to Hell" is the longest track presented here, clocking in at 7 minutes + , so it should not come as a surprise that it takes it sweet time to bloom into a full-fledged opus. Misty electronics signal a path through the fog of time, into the darkest abyss, where perhaps evil resides. Piano and voice tremble together in taking that route that the soul may be obligated to wander into. The 'losing myself' chorus is devastatingly poignant, definitely top track material, played on prog radios all over the world. Sabina sings 'Nothing is ever at seems', not exactly a revelation, more like a truism one must always face. A stupendous acoustic guitar wraps around the fleeting piano melancholia, offering solace and comfort.

After such a gut tearing declaration, "After All" an only serve as a final conclusion , a musical shrugging of the shoulders, a taciturn defence mechanism that central Europeans have certainly mastered in spades throughout their interminably turbulent history. The convulsive drum patterns, the eructing bass and the sibilant synths join the forlorn recitative voice in phlegmatic fatalism, the valiant fight a never-ending burden.

This group seeks not to reinvent the prog wheel or boldly go beyond the outer reaches of creativity, preferring to dig deep into the human psyche to find all the necessary stimulation. It's seductive music, perhaps appealing to the feminine mindset, and the emotional quotient that makes us human. I for one, loved it. Oh, and lovely covert art again.

4.5 future blue tunes

Goodbye Robert, goodbye to all vocals; hello to refugees from Ian Carr's Nucleus.

1. "All White" (6:06) opening the album with a very serious, very heavy jazz commitment, the music develops as something that could come off of one of Miles Davis' Second Great Quintet albums or one of Herbie (Hancock) or Wayne (Shorter)'s solo side projects. Though Hugh Hopper's bass is rather dull with its near-metronomic riff repeating over and over, Phil Howard's drumming is quite satisfactory. Mike Ratledge holds down the middle ground more as a mirror and reinforcement for the rhythm section (until the very end) while Elton Dean commands attention with his continuous play of his sonorous soprano sax. Interesting. (8.75/10)

2. "Drop" (7:42) water drop sound effects paired up with delay and echoing organ (Mike Ratledge) and Rhodes (Elton Dean) noodlings make this, to my mind, a further exploration or variation on the Terry Riley-inspired opening and closing sections of Third's "Out-Bloody-Rageous." In the third minute the rest of the band starts to join in and try to establish a syncopated quick-step motif within which Mike continues soloing à la Herbie Hancock while Elton Dean steps in with his kazoo-sounding "saxello" for an extended stream of electrified nasal fuzz play. Interesting. (13.125/15)

3. "M C" (4:57) an introductory barrage of echoing and reverberating electric piano runs is then greeted by Phil Howard's free-form drumming. In the second minute the quartet seems to want to try to pull something together but each musician seems to be, for whatever reason, reluctant: as if standing on the sidelines, watching one another while holding space with ramblings from their own instruments, waiting for the signal to gel and jump into a forward- moving direction. Despite its pervasive feeling of indecision and neutrality, I find myself liking this song quite a bit; it's like a lineup of race horses, caged in their starting gates, waiting for the gun to go off. (But it never does!) Very cool! Great way to end Side One! (9/10)

4. "As If" (8:02) by now I'm getting the distinct feeling that Elton Dean thinks that he's in charge--that this is his album as the "lead" instruments over the top of the relegated-feeling support of the "rhythm section" are overwhelmingly his. On this one it's the alto sax for the first five minutes before Roy Babbington's bowed double bass gets some extended shine (over Hugh Hopper's steady, hypnotic bass line). John Marshall's drumming stands out for its crisp, prominent sound, as well as for his quickness and decisiveness. Yet, despite the sharing of the spotlight, it definitely felt like Elton Dean's song--his decision to give newcomers Roy and John some time to "introduce" themselves. (13.25/15)

5. "L B O" (1:54) an eruption of drumming like something we've heard from Tony Williams and Billy Cobham. Though John Marshall is an impressive drummer, this is not a very winning solo. (4.3333/5)

6. "Pigling Bland" (4:24) a mellower, more-melody-driven near-Canterbury-feeling song in which the rhythmatists are allowed to shift and move, stop and start--and it works really well beneath Elton Dean's saxello soloing: giving the song a very interesting and engaging foundation and, perhaps, pressuring Elton to play something a little more melodic than he normally does. Cool speed shift and new motif for the last minute. I love the Nucleus effect! (9.25/10)

7. "Bone" (3:29) bowed double bass, bubbling electric bass, waves from cymbal crashes, and deep thrumming organ drone notes precede the introduction of some creepy spacey organ notes and "distant" piccolo/ocarina "jungle" noises. The feel here is both early Vangelis and early/proto World Music--perhaps even something inspired by the soundtrack to Stanley Kubrick's 2001: A Space Odyssey. Though I wish it could have developed a little more, I do like it. (8.875/10)

Total Time 36:34

Definitely not as bad an album as many reviewers want to claim: though I am glad the band did not choose to continue to forge a path through the dark woods of avant garde "free jazz," there is a lot of authentic jazz experimentalism going on in these songs--which is admirable for what feels like its genuine sincerity.

B/four stars; a solid collection of experimental jazz/Jazz-Rock Fusion tunes and études that connote advancement and progress for this band. This album result is not unlike some of the experimental albums we all know and lament that were released but we wish had been left in the artists' private libraries yet we also recognize were necessary for the artists' progress. Think Herbie Hancock, Wayne Shorter, Miroslav Vitous, Joe Zawinul, Tony Williams, Toto Blanke, Jan Hammer, John McLaughlin, Jan Akkerman, and many more and the experimental "duds" that they published (as songs or albums) but which served as stepping stones in their growth and development. That is what this album, Five feels like for me.

Bass Communion is the ambient music solo project of Steven Wilson, an outlet for the British musician's more electronic-sided experiments and the home of his explorations of drone-heavy soundscapes and massive washes of atmospheric sound, a side venture that probably dates back to his early collaborative electronic music endeavor known as Altamont. The music of Bass Communion is much in the vein of the German experimental electronic scene of the 70s and the 80s, the kosmische movement with its Tangerine Dreams and multiple outbranches - and what happens is that Wilson combines field recordings, tape experiments and the processing of the recordings of actual instruments, sometimes played by himself, to create these big, moody, spacey pieces of music that are perfectly accommodated for what many would consider "background noise". Now, ambient music can have varying degrees of experimentation and much of the Bass Communion produce is quite avant-garde and fascinating, which is why this project matters not only for fans of Wilson, Porcupine Tree or even prog rock.

So all of this indicates what one shall expect from the 1998 self-titled debut album by Bass Communion, sometimes referred to as 'BCI' (and later reissued in 2001) - an hour-long musical exploration of drony, hypnotic, repetitive and moody compositions that combine all of the abovementioned elements. Collaborators Theo Travis and Robert Fripp add a touch of soprano sax and soundscapes respectively, on two of the four proper pieces that make up this record. The set opens with a short snippet that transitions into 'Drugged', a 13-minute-long moody movement with jazz undertones, occasional guitars and gorgeous "waves" of synthesizer sounds, a more intense and eventful ambient piece that one might expect but one that works really well on its own and within the context of the album. 'Sleep Etc.' is ostensibly darker and more abstract and sees the use of different recordings and effects that help Wilson build up an ominous atmosphere, which is not necessarily the case with 'Orphan Coal'. The tribal percussion sounds that run through this corner of the album give this composition trance-like qualities and a somewhat overwhelming and hypnotic edge, while the closing suite 'Drugged 2' is a massive, more classic-sounding ambient work that is really evocative and beautiful.

The debut album of Bass Communion is excellent and all the recordings on it are daring, experimental and ethereal, just a brilliant longing ambient project by Steven Wilson, definitely a must-have for anyone who might be interested in getting into the genre.

The Softs are now down to one original member and three former Nucleus members! Luckily, the four very talented musicians all have a common desire to make Jazz-Rock Fusion.

Side One: 1. "Nettle Bed" (4:47) a solid and suitably-nuanced, complex, oddly-timed composition which features Mike Ratledge's synthesizer as the main soloist. The main motif cycles around and around just a few too many times before it begins to annoy (despite John Marshall's attempts to liven things up). (8.75/10)

2. "Carol Ann" (3:48) a song that reveals that the band still possesses some of that "old" capacity for creating soul- melting earworm melodies. Mike and Karl on synthesizer and electric piano, respectively, while Roy adds some great melodic bass lines and John . . . sits out. Gorgeous; ascendant into the absolute highest realms that the Canterburians ever achieved. A perfect song to illustrate how unnecessary it is (or ever was) to have to noodle and layer impressively in order to make memorable, likable, and/or beautiful music. (9.3333/10)

3. "Day's Eye" (5:05) a more jazzy song that seems to be founded on a variation of the chord and melody structure of the previous song. Here we have bass, saxes, Canterbury "buzz-saw" organ, electric piano support, drums, and, early and later, excellent baritone sax. Like many reviewers, I much prefer the more jazz-aligned bass playing style of Roy Babbington over the nebulous one of Hugh Hopper. (9.125/10)

4. "Bone Fire" (0:32) seems to be a continuation from the previous (two) song(s), differentiated only by a barely- detectable key shift. (4.625/5)

5. "Tarabos" (4:32) another song in the obvious straight-line recording tape from "Carol Ann" on, this one features some processed oboe or soprano sax over a typical revolving cycle of a Mike Ratledge Canterbury theme. I still can't tell if it's a sax or oboe as we enter the final minute of my third headphones listen to this song--which is pretty extraordinary. My biggest complaint is the same one from the album's opener is the tedium created by the endless repetition of that main cycle--which is why I love the extended "end coda" feel of the final minute. (8.875/10)

6. "D.I.S." (3:02) a percussionist's solo which sounds like a Westerner playing around with the Japanese and or Chinese (or Gamelan) instruments available to him in a Zen Buddhist garden. Interesting but something that perhaps should have been left to John's own private library. (8.6667/10)

Side Two: The Penny Hitch Suite: 7. "Snodland" (1:50) dreamy Harold Budd-like floating electric piano arpeggi paired with wind chime play turns into . . . (4.5/5) 8. "Penny Hitch" (6:40) a minimalist arpeggio of an organ chord that is slowly woven together with TRAFFIC-like bass line, ballad rock drum support, and long-sustained processed (and muted) saxophone notes. Hypnotic but stumbles for its limitation to but two chords that only alternate every minute or so. (8.875/10) 9. "Block" (4:17) in this section of the unbroken flow of the suite Mike's synthesizer tries to match and emulate Karl's saxophone (and Roy's bass) lines! Then he takes over the lead as the band matches his new found fire and intensity. (8.75/10)

10. "Down The Road" (5:48) yet another attempt to stretch a simple yet-catchy drum and bass loop out to make an entire song--a trick that the great bassist John Lee and Donald Byrd's mid-1970s songwriters, Larry and Fonce Mizell, were prone to fall prey to. Not a bad song, just dull and doing little to climb out of its mediocrity. (8.75/10)

11. "The German Lesson" (1:53) 12. "The French Lesson" (1:01) the two songs that rather seamlessly flow one into the other remind me very much of some of the old silly stuff from the band's first two albums only this time filtered through the Terry Riley-imitative synthesizer delays and looping found in Third's "Out-Bloody-Rageous"--sounds and stylings that would become the realm of German artists like Rodelius, Cluster, and Dueter. (4.375/5)

Total Time: 43:15

B+/four stars; an excellent display of the evolution of a Canterbury band who thought it was playing jazz (albeit, a very British form of jazz) turning into more evolved jazz-rock Fusion musicians.

One of the more eccentric live sets collected in the mighty Road boxed sets from Henry Cow (later reissued in the Cow Box Redux as well as being made available as a standalone release), this consists of a mighty, epic set of stark improvisation, with The March played as an encore and to reintroduce you to the world of remotely conventional music afterwards. This sort of thing can be terrible if mishandled, but this incarnation of the Cow were so in tune that it has a compelling power of its own, like all of their darkest and most disquieting material, which makes you understand how they could have seen acts like Univers Zero as fellow travellers.

"Atonement Is Nigh" is an EP release (and the first release) by Swedish progressive death metal act An Abstract Illusion. The EP was independently released in August 2014. An Abstract Illusion formed in 2007 and during their formative years featured several members of Exilion (who released their debut full-length studio album "Red Stained Snow" in September 2014). On this EP only keyboard player Robert Stenvall has any connection to Exilion though.

Stylistically the three tracks on the 31:49 minutes long EP are in an atmospheric/progressive death metal style which features both growling vocals and clean male vocals. Keyboards play a central role in the soundscape but the music also features heavy riffs and and harsher parts. It´s a relatively polished and clear sounding release though, which to my ears makes it more progressive metal than death metal.

"Atonement Is Nigh" is quite the ambitious first release from An Abstract Illusion as it opens with the 16:38 minutes long "The Sun Will Bleach All Bones" and as both "Rain" and "Chameleon of the Clouds" runs past the 7 minutes mark it´s safe to say that all tracks on the EP are quite long and all feature many different sections and both loud and more subtle dynamics. The soundscape is predominantly pretty massive though with layers of instruments and vocals creating an almost wall of sound. There´s an epic atmosphere to the music and an orchestral/symphonic classical music element too (created by the keyboards).

The EP features a clear, detailed, and professional sounding production, which suits the music well, although to my ears it´s almost too sterile and some more organic and warm sounding instruments and vocals probably would have made the music a more natural listening experience. When that it said, the sound production suits the material as mentioned above, so it´s probably more a subjective observation on my part, that a more organic sound production would have made the EP a more interesting listen.

Upon conclusion it´s a good quality first release from An Abstract Illusion and although I don´t have the feeling that they hit the ground running, they still present enough intriguing songwriting, high level musicianship, and a professional sound production for me to give a 3 star (60%) rating.

(Originally posted on Metal Music Archives).

1. Unholy Waters keyboard intro by Albion It's clear that a Yamaha CS-80 with Tony's GENESIS sauce allows itself to magnify the break after the classic neo-prog air of the beginning, fruity dynamic changes then incursions on ARENA and YES of yesteryear with the underwater break starting on the typical bass and the enchanting keyboards; the sound returns to the imprint of IQ with the bucolic air Charisma Label; final piano arpeggio bringing the Hackettian guitar solo making you close your eyes to appreciate even more this neo-classical finale with sampled but fresh trumpets; wow, it starts strong. 2. Crossing Pangea with a remarkable synth intro, solemn and colorful, latent too, just enough to keep your ears pricked; then instrumental sections with a cascading guitar solo straightened by the warm, Olympian keyboards; yes 4'30 of pure happiness that starts again; Midway through, a break with fat keyboards spurting their notes everywhere, the bass more Yessian, a heavy side even... and then the latent drift and then now ANGE in the distance with a solo of astonishing sensitivity evoking Hassan's! In short, a huge instrumental there with this fade-out to YES blues. 3. The Following for the consensual nursery rhyme built around the vocal and lacking the madness present in the previous tracks; the piano also sets the rhythm before having the instrumental flight which confirms that these musicians are real musical rascals; in short, ideal as a long interlude.

4. Once There Was ends the album with a 31-minute suite! 11 parts, sections evoking the atmosphere of Albion, Charisma label, on many identifiable bands of the 70s, YES, GENTLE GIANT, ELP, KANSAS and GENESIS for this magical Mellotron; Brief, melting and magnificent intro, nostalgic, making the hairs vibrate; despite this, the atmosphere sounds modern with a rather nervous recorded sound, with solemn electronic escapades flirting with the 80s like on 'Dimension of Darkness', 'Gathering of Shadows' for the spleen break à la MARILLION, overwhelming, 'The Agitation' for the heavy interlude, smashing à la SHADOW GALLERY and FOCUS for the organ, 'Videosyncrasy' for the vocal reminding me of Martin BARRE's singer, in fact it doesn't stop... but it gets a little scattered; this verbal mixing is still a must and also brings me back to the fabulous 'Génération13' by SAGA; 'The Carnival of Doom' as an interlude for the barrel organ and the fusion musical maelstrom; 'Falling in Line' changes line with a BOSTON-style track, yes from afar, but!! the very neo 80s synth like MARILLION you know, then ELYSIAN and HOLDING it's finally good, good return to the verse and my ears send me back to YES and STYX mixed together, astounding! 'What Once Was' now with an interface, an interlude from another planet distilling a dreamlike flamenco that Steve would have made as a double for QUEEN, the dark and dull electro keyboard at the same time, hold on Aragon while a sampled flute soothes the ear in hyperactive saturation; 'Rest Assured' in solemn mode on the poignant vocal; 'Now the Sun' feels like a planned finale. A good 31 minutes don't go unnoticed either. The catchy vocals precede the spatial, soaring, monolithic, and melancholic outro, followed by a return to the dark, muffled, and bombastic keyboard that closes the album with a vanishing piano fade-out; phew, I'm playing it again!!!

A musical journey with varied tempos and time signatures, interludes galore, melodies galore, and slightly wild heavy arrangements, the musicians wanting, I think, to show off their dexterity... In short, a very good album.

Recorded in two sessions at Van Gelder Recording Studios, Englewood Cliffs, New Jersey, in May and June of 1969, where it was engineered by Rudy Van Gelder (of course), I find it interesting that an early or proto- Jazz-Rock Fusion album could be achieved using the seasoned jazz musicians Herbie here employs (which were the same musicians he used on his previous solo album, The Prisoner). This also marks Herbie's first album produced and released by Warner Brothers Records. It was released on December 8, 1969.

A1. "Wiggle Waggle" (5:48) sounds like one of those rollicking R&B/Jazz-Lite songs that populated so many "hip" films of the late 1960s--like Peter Sellers' The Party. Great performances from trumpeter (9/10)

A2. "Fat Mama" (3:45) sounds like an inspirateur for Eumir DEODATO's future "Also Sprach Zaarathustra - 2001" international hit. I find it curious that the performances of the two electric guitarists has gone uncredited (and unrecognized) all these years. The fuzzy guitar-like sound accompanying the rhythm track start to finish could be a heavily-distorted sax but the appearance of a second guitar in the middle of the second minute is unequivocally an electric guitar--making it obvious that there are two rather distinct guitar sounds occurring throughout the song in the background within the rhythm section. I'm guessing that somehow Billy Butler and Eric Gale were somehow forgotten when compiling the credits for the album. Nice, steady work from the rhythm section and some great smooth Fender Rhodes play from Herbie with cool punctuation and enhancements from the horns here and there throughout. (9.2510)

A3. "Tell Me A Bedtime Story" (5:00) a song that bodes well for future Pop- and Smooth-Jazz/Easy Listening star (and producer) BOB JAMES, it is a lovely Fender Rhodes-dominated song with syncopated Latin-suggested rhythm and cinematic "LA Smooth" horn arrangements that definitely predict Bob's Smoth Jazz. This is the first song on which the drumming really strikes me as perfect--and it's brushwork! Johnny Coles' trumpet work and Joe Henderson's flute playing are also quite sublime. Beautiful. Definitely a top three song for me. (9.5/10)

A4. "Oh! Oh! Here He Comes" (4:05) another early-funk song with a clear influence on DEODATO's upcoming music. Amazing! Sounds like DAVID AXELROD's 1968 landmark album, Song of Innocence, which, of course, was facilitated by the core work of LA's famous session band, The Wrecking Crew. Buster Williams' electric bass line was lifted a decade later by John Entwistle for The Who's hit song, "Eminence Front." The rhythm guitar work (again: uncredited) is esssential but the bass and drumming are so great: just like the work of The Wrecking Crew (Carol Kaye, Hal Blaine, and Don Randi, specifically). My favorite song on the album. (9.75/10)

B1. "Jessica" (4:11) beautiful old time lounge piano jazz that starts out with trombone establishing the main melody over Herbie's piano. The main melody does sound familiar--as if from a classic film theme song ("Summer of '42"?) or perhaps a Bill Evans song. Joined by flute and more intricately arranged and performed horns, this kind of stuff doesn't get any better than this--even if Bill Evans were in the leadership position. Too bad the piano is not very well recorded (or just sounds crappy). My other top three song. (9.5/10)

B2. "Fat Albert Rotunda" (6:27) funky jazz-R&B with plenty of percussion and rhythm guitar flare. (The rhythm guitar is uncredited but sounds a lot like the style and work of Eric Gale.) Buster Williams' electric bass play is a little messy, but Herbie is really rockin' it with his Fender Rhodes and the horn accents and diversions provided Joe Henderson, Johnny Coles, and Garnett Brown are perfect. (9/10)

B3. "Lil' Brother" (4:25) more David Axelrod/The Wrecking Crew-like cinematic funk-R&B fare with some highly spirited performances coming from the guitarists and horn players--especially Joe Henderson and Arthur (C.) Clarke on his Space Odyssey baritone sax. In fact, the band is so animated as a whole that Herbie's electric piano is mostly drowned out by the others! (9.3333/10)

Total Time: 33:59

Nothing gives one the idea of the influence a particular artist may have had to his contemporaries until you hear a popular and acclaimed album from the era that you've never heard before, which is the case with this album for me. The music on this album shows me how much influence the L.A. scene was having on Herbie (particularly from film, television, and David Axelrod and The Wrecking Crew's influence) but it also illustrates how much a single album can influence another future star, in this case the one and only Eumir Deodato as well as fresh Berklee grad Bob James.

A/five stars; a wonderful, amazing, eminently engaging and enjoyable excursion through the late 1960s world of film and television score music making performed by one of Jazz's most adventurous and trend-following artists. Though this is early funk, and very cinematic-like, it definitely has its place in the development of that which would become Jazz-Rock Fusion--particularly influential to the nurturance and development of the funky side of J-R F. I have to say, this is one of my favorite type of Jazz-Rock Fusion styles, so it will come as no surprise to see that Fat Albert Rotunda has lept into my top 20 masterpieces of First Wave Jazz-Rock Fusion.

The great compositional diversity and the overall sophistication of Iron Maiden's writing on their third studio album was perhaps inspired by the addition of the relentless metal vocalist Bruce Dickinson, making his impressive debut on 'The Number of the Beast' from 1982, one of the really important and influential heavy albums of the decade, and the release that became the British group's critical and commercial breakthrough. While Maiden's first two albums had been more straightforward, stomping and energetic, 'The Number of the Beast' finally sees the five-piece band exploring and developing their more adventurous, unpredictable and musically exciting pieces, on an album that introduces a myriad of bold sounds, excellent and iconic riffs, some ubiquitous choruses and several intriguing stories narrated by the powerful and operatic vocals of Dickinson.

'The Number of the Beast' takes equal amounts of inspiration from the classic rock acts of the 70s as it does from progressive rock, which bassist Steve Harris is especially partial to, and this definitely pushed the band to explore longer-format songs with more unusual structures (think of 'The Prisoner', '22 Acacia Avenue' or 'Hallowed Be Thy Name'). Of course, it is Dickinson's fabulous performance and capacities that really match the ambition of the instrumentalists in the band, resulting in a record that attempts to push the boundaries of the genre even further. Yet at the same time, 'The Number of the Beast' had great commercial potential and success, featuring several rock staples that have become some of the most recognizable Maiden songs - think of the entire side two. And while many critics and fans refer to this record as the most important metal album of the decade, a more moderate overview of it might consider how much more compelling and sophisticated it is compared to previous Maiden efforts, how consistent and melodic their music has become and how impactful Dickinson's addition is for the band; or in other words, 'The Number of the Beast' represents that "quantum leap forward" in terms of Iron Maiden developing their signature sound.

I like this album a lot. King Buffalo are playing a kind of psychedelic stoner rock. On this debut album, they were deploying a nice mix of lighter and "more stoner" moments as well as shorter and longer songs. "Sleeps on a Vine" or "Goliath" (both part together) might give you a good example what to expect. Their calmer moments, e.g. "Down From Sky" have me thinking of early Tea Party (in their more silent moments, of course) minus the oriental ornaments.

Nothing too progressive, really, but what I would like to describe as "organic stoner rock", if that might be a thing...

Nice artwork, too. I guess that's a part of the namesake constellation integrated there. So yeah, it's kind of space rock, too ;-)

COMPUTERCHEMIST is the project of Dave Pearson who is from the UK. He had been in bands since the 80's before going solo in 2006. I like that he plays bass, guitar and drums and adds them to his inventive use of electronics. I reviewed his 2008 album "Icon I" where Dave does it all. So it was interesting to see he actually hired a drummer for this album. We still get bass and guitar from Pearson but he's upped the ante with this move.

"Signatures I" was released in 2013 along with "Signatures II" which I hope to review soon. This one is a long one at over 75 minutes covering eight tracks. It's just not as consistent as "Icon I" in my opinion, but there are several tracks I am really into. The first of those would be "Szoltmatic-10" with the opening thunder and melancholic synths. Tripping along here as sequencers drive this along. Guitar arrives around 5 minutes in, then it's the sequencer/drum show after 7 1/2 minutes. The drummer's last name is Szolt which is of course in this song title.

"Corporatosaur" just sounds really cool with the electronics and guitar. Drums will kick in around 5 1/2 minutes then the guitar cries out. Really good! It turns spacey late to end it. "Six Phase Mains" is another highlight with the drums and sequencers doing their thing with spacey synths providing atmosphere. Some nice synth sounds here and the guitar around 3 1/2 minutes is a bonus. The closer rounds out my top four. "Landform 2012" is the shortest one on here but it's quality. Sequencers and drums as the guitar joins in. It's a great recipe my friends.

The one track I didn't really like was "Broken Daliuette". COMPUTERCHEMIST has been a really nice discovery. I like guitar and real drums in my electronics and Dave delivers the goods. And the man can compose a song, I'll say that.

With the possible exception of one track, this is an album of covers, but of the also rans rather than the classics, based on the dubious choice of artists with whom SHEARWATER had toured in the decade prior to release. Since I had already invested too much time in the reviewing exercise before my compatriot gently broke the news to me, I am hereby shattering my unwritten rule that states such albums are beneath my station and best to pretend it's not part of the truly "official" discography of major releases. After multiple listens, my policy is as intact as ever, but here we are.

LIke a musical Stockholm Syndrome, "Fellow Travelers" attempts to persuade us that those late nights with guitars and groupies are as important to us as to them. It's a sentimental move by Meiburg and co and I am not averse to shmaltz but prefer it in the music. It's a given that Shearwater's versions are generally superior to the originals, other than COLDPLAY's "Hurts Like Heaven", but that's about all I can say. The highlights are two heavier numbers "I Love the Valley Oh" and "Natural One", with "Tomorrow" almost reaching that plateau, and "Mary is Mary" the best of the balladic as it sounds most like what the group might do on its own, or at least might have done 10 years earlier. "My F'd up Life" isn't terrible either,. with vocal emphasis that could have passed for PETE MORTON. Too bad they didn't tour with him.

This isn't prime time Shearwater in any manner and, while a case could be made fo rounding up in support of the "making something out of nothing" argument, I didn't ask them to attempt it, and I can't help feeling duped into a bargain trip when I would have rather stayed home.

From Second Wave to the new century

While the roots of Mosaico date to around 2000, it was not until 2014 that their debut album was released. That long period of time and the age of the band members might explain why this Third Wave RPI release often reminded me of the Second Wave, which, while we all may have differing opinions on the history, in my mind is the period from the late '80s to early '00s. This was the period when those bands carrying the torch for the '70s "Classic" First Wave began to make their own mark. Excitement was building. Mellow Records was releasing lots of lost RPI gems on compact disc giving new fans the chance to hear this work. By the late '00s and on, we had entered a third wave of RPI in my opinion, with lots of new and successful releases which were increasingly heavy and now incorporating even metal influences of bands, moving beyond the Neo-Prog and Symphonic-heavy '90s in some cases.

Vola, clearly a Third Wave release if we're looking at calendars, still has much Second Wave vibe to it. It reminds me of some of those old Mellow Records artists I heard early in my RPI journey, bands like Cooperative Del Latte, Mindflower, Tilion, and Pierpaolo Bibbo. This is a marvelously melodic and assessable mix of symphonic with lighter folkish touches in the feel and instrumentation. "Lenti Passi" was far and away my favorite, great chorus and bubbly bass. The approach is to have a modern sound with expected nods to the spirit of classic RPI, most notably in the keyboards and the acoustic/electric guitar tradeoffs. Even a fair amount of accordion! The playing is impressive as are the vocals, all in Italian. As for the composition specifics, I would direct you to both Andrea and Michael's excellent reviews. They seem to have a bit more enthusiasm for the songs of Vola than I do. I do think it's good, but three stars is best I can do.

For me this was quite hard to get into, I wasn't immediately drawn by the vibes, the vocals and intrumentation, it interesred me but didn't seem to be above everage at first. It was quite hard to write this review as I had to settle my mind to make a proper analysis. I had conflicting opinions altroughout as I found some moments amazing and some very underwhelming and it's mostly because of the vocals. It's rare to find a band with two main vocalists and throughout the songs they are spread out in an uneven way, while Jan Erik sings in "Writing on the Wall", Nicklas Barker sings in most others except "Our Days are numbered". Nicklas's vocals are are far from ideal and it's much worst than Jan's vocals, his voice doesn't stand out, it killed the vibe in some of the songs because he just can't follow the intensity and beauty created by the instruments. The way he sings bothers me a bit, he streches the notes and make them deeper in the end, completelly losing the impact.

Aside from this minor issue, I quite like most of the songs, they are pretty, exciting and specially surprising as most constantly changed in very unique ways. I absolutely love the use of flute in this album but it's a shame it's only used in two of the songs and the others have a more traditional prog metal feel to them although there are a lot of melodic and quieter songs throughout. There are a lot of memorable moments, a lot of powerful melodies. My only major criticism aside from the voice is how little songs used exotic intruments like saxophone and flute because I really enjoyed the moments in which they were used.

1- Shooting Start (10:11): The song starts off with a pretty surreal mood, as lush chords play with the sound of running water. Then comes a heavy riff in the guitar accompanied by an interesting chord progression on the keys, the vibe is generally very Riverside like. Then comes a very dissonant guitar melody, the atmosphere is tense and the synth sounds are fascinating, it all creates a very rich atmosphere as the song travels through different solos and sounds, it's a joy to listen and it creates a very promising introduction. The instruments get quieter and the vocals come in.

I don't know if that's an unpopular opinion but I don't really enjoy the vocals from this band, the voice fits the vibes and the atmosphere pretty nicely but I don't really enjoy listening to it. It feels robotic and lacking in emotion and intensity, for me it's surviceable at best. Depending on the song it can sound a little better, but in general it bothered me almost all the way through. I don't like the vocals on this one but some moments are an exception, like the chorus, which I really enjoy. Speaking of the chorus I really enjoy the chords on guitar, the bass and percussion, even if it's far from my favorite part of the song.

I really like the part that follows, the riff is a blast and the guitars get intense and exciting. I specially like the sound made by the ride on drums and the pause between the riffs which leaves space for the percussion to shine. Next comes the synths and then the guitars take the spotlight, developing the melody in frenetic and unique ways. The song gets more intense, the riff moves to the background as we shuffle through guitar and keyboard solos, it's the most remarkable part of the song, the energy is impeccable.

After that comes a very emotional part, the chords expand, the guitar is mysterious and emotional and the drums continue to deliver as we get to a quieter section. The vocals really resemble those from Elder and I mean this as a criticism and also as a compliment because as is the case with this band, Nick's vocals are a double-edged sword, although they are melodical and strengthen the surreal vibes of the songs he clearly hasn't trained enough to sing specially in his early albums like Lore and Dead Roots Stirring. I get the same vibe from the vocalist of this album, his voice has a nice sound and timbre but he's awfully out of tune sometimes and it's not as emotional as Nick's voice even if they share a lot of the same problems. It's hard to get used to, it's not horrible but far from ideal as sometimes it feels like the songs would be better as intrumentals rather then featuring vocals at all. His voice almost sounds great but something in it's sound bothers me, it doesn't really follow the complex emotions of the songs and seems rather empty compared to the intrumentation.

the beautiful development of the melodies and specially the percussion in this next section really cought my attention. It's a stunning and harmonious section, but as the ending comes closer we get to the climax. Breathtaking chord progression, drums and vocal melodies, it's one of the best parts but it's followed by an even prettier keyboard solo as it end with ethereal echoey guitars playing together. It's overall a really beautiful song, although it didn't impact or interest me as other albums I've listened recently, but I can clearly see it's value and amazingly intelligent compositions. It's a really promising introduction. The album gets a lot more interesting and diverse after this song but it has a lot of fantastic and memorable moments (8.5/10)

2- Get Out Alive (7:32): Kinda blend intro, but fortunetly it gets more interesting really quickly. In 0:29 a tasteful riff comes in, the Elder vibes are really strong in this one. I don't like the vocals in this part, they feel streched, forced and just not pleasing.

I specially loved the part in 2:14 as the chords get louder and expansive, giving the sensation that you are floating or laying down looking at the sky full of stars. The development from this part onwards is a delight with very tasteful keyboard work and an intense and unique percussion, the song expands again in another incredibly surreal and floaty section. The ending has pretty chords and guitar but it's not really that interesting. In general, I'd consider this a very skippable song with not a a single moment that I'd consider impactful or memorable, but it's still great and melodic. (6.8/10)

3- If it All Came Down to You (5:52): Now we get to one of the my favorites. The atmosphere is breathtaking, the guitars are emotional and moving and the strings in combination with the flute is just perfection. I enjoy the vocals in this song more than the previous ones, they are more expressive and intense specially with the echoes. The melodies are very memorable, the vibes are chill, the guitars and chord following the flow of the vocals are magnificent. This song doesn't stop delivering.

I specially like the part of the lyrics where the vocalist sings "If it all came down to you" and a divine solo plays, it's so exciting and joyful. The flute solo by Theo Travis is heartfelt, dramatic, flowing and powerful, definetly one of the highlights of the whole album. As it comes back not long after it seems more innocent, light and sincere, it feels like exploring an unkown wonderland filled with beauty as the phenomenal melodies in both flute and guitars reflect. This song could be longer, but as it is, it's incredible. (9.5/10)

4- Writing on the Wall (9:03): I remember this song feeling like it lasted 15 minutes instead of nine for draging on too long in some section, but I will listen to it again to properly analise it. Really exciting intro, amazing chords and bassline, surprising and exciting chord progression, thrilling use of guitar and in general adding to the memorable melodies throughout. The drum groove is a delight.

I'm pretty sure there's a different vocalist in this song, both have a similar voice but I feel that this song's vocalist has a more remarkable and emotional voice, it feels like night and day compared to the last and it makes this song a lot more enjoyable. His voice is brighter, melodic, softer and generally prettier. The section from 1:45 to 4:28 is an absolute pleasure to listen, flowing melodies, amazing vocals, beautiful falsettos, guitar and synths.

The next section is wondrous and fascinating with Anekdoten's usual incredible chord progressions, guitar solos and percussions. The rhythm during the solo really caught my attention as it feels so full of life and hopeful following the everchanging melody of the guitar solo it accompanies.

The middle section between solos drags on for a while but then the next solo comes crashing through the door with amazing drumfills, keys and guitars, it's just so exciting, specially in the way it develops from an easy going melody to a more dramatic and tense melody in the end, absolutely incredible. I really underestimated this song in my first listen and I feel that it's even better than "If it All Came Down to You". (9.6/10)

5- Until All the Ghosts are Gone: The flute has more space to shine during the beginning as it plays only with a couple of guitar sounds. It floats between higher and deeper notes and then develops into an outstanding melody. The next section is breathtaking, the guitar accompaining only the vocals, creating a melancolic and powerful atmosphere as the chords and percussion come in. The harmonies are surreal and delicate as the drums and strings come crashing in.

The next section has an amazing guitar and the vocals get prettier and prettier. The flute solo accompanied by the voices is breathtaking and the guitar solo right after comprements the melody of the previous solo and makes it brighter and more intense. The voices and xylophone melodies in the end blew me away as a hopeful flute lays in the end. It's in a similar position to "If it All Came Down to you", it's in the shorter side but it still goes to a million different places and atmospheres.

It's really hard to decide which one I prefer, but I think this one is just a little bit less impactful, I enjoyed the use of flute in this song more and it has lot of memorable moments, but it stills suffers from the same problem in regards to the vocals and in this perspective I prefer "If it all Came Down to You", but it's really hard to decide as both had moments that really impacted me. I can't really point out what makes me feel this way but I think this one is a little worst but both are fantastic. (9.4/10)

6- Out Days are Numbered (8:39): Wow this one is amazing, most of the heavy riff reminded me a lot of Riverside, specially the synths solos accompanied by heavy guitars. This one is a joy to listen, it's starts off pretty chill with amazing guitars as the synths and xylophone. The song instantly changes as synthesized voices come in as they are inturrepted by an incredible bassline, exciting percussions and guitar melodies. The song keeps getting more intense as the chords change rapidly and the guitars play in harmony with the intense bassline.

The synth solo is exquisite and the riff that follows is even better. The dissonce on the chords and guitar are so exciting, it creates such an intense and interesting atmosphere. After that comes a quieter section that develops a little slower, it's the first time we hear saxophone being used in this album as it accompanies a moving guitar riff and drums, it's flowing back and forth as it slowly get more intense. The Änglagård and Shamblemaths vibes are stronger in this one specially with such expansive percussions, chords and use of saxophone. As the song gets more intense and it seems like it's screaming accompaining yhe growth of the melody.

This song takes longer to apreciate, but the synthesized voices and the slow and fantastic progression in the end as the guitar and sax get louder and more intense are an absolite joy to listen. Overall it's one of my favorites even if it didn't impact me as much as "Writing on the Wall", "If it All Came Down to You" and "Until all the ghosts are gone", it has some moments that are in the same level or even better than these songs. (9.1/10)

After the collapse of the "Born Again" lineup, Black Sabbath returned in 1986 with "Seventh Star", a strange and controversial chapter in their history!

Originally intended as a Tony Iommi solo album, it was released under the Black Sabbath name due to label pressure. As a result, the record feels disconnected from the band's legacy, both in sound and spirit.

Right from the start, In for the Kill sets a tone that has little to do with the classic Sabbath sound. It's a fast, cleanly produced heavy metal track, with Glenn Hughes delivering a strong vocal performance. However, it leans more toward the Gary Moore of the 1980s ("After the War", "Wild Frontier") than anything resembling early Sabbath. Things quickly get worse with No Stranger to Love, a forgettable soft-rock ballad that fails to justify its presence on any Sabbath record.

But luckily, Turn to Stone is a highlight! With its NWOBHM energy and powerful riff, it feels like it could have belonged on one of the Dio-era albums. It's one of the few tracks that leaves a solid impression. Sphinx (The Guardian) follows as a short mystical instrumental that sets the stage for Seventh Star, a mid-tempo heavy track with eastern flourishes and one of Iommi's best performances on the album. These two songs offer a glimpse of what the record could have been.

Unfortunately, the second half of the album drags. Danger Zone is flat, formulaic hard rock, with verses that go nowhere and a chorus that feels like something out of a B-grade action movie. Heart Like a Wheel is a slow blues number that features some thick, expressive guitar work, but overall lacks inspiration. Angry Heart starts strong with a punchy riff and some promising keyboard work, but collapses under a syrupy chorus. Finally, In Memory ends the album on a somber, forgettable note, more melancholic than memorable.

Despite these flaws, Iommi's guitar playing is consistently excellent, and Glenn Hughes brings a unique voice to the record. The production is polished, perhaps too much so. Crystal clear but sterile, lacking the grit and weight expected from a Sabbath release.

Conclusion: "Seventh Star" should never have carried the Black Sabbath name. It's a sometimes competent but generally directionless album with a few redeeming tracks. A curious footnote in the band's history, more notable for its context than its content.

Best tracks: Turn to Stone, Seventh Star, In for the Kill.

Advertised as a Nucleus album but, without Ian Carr's presence, I don't quite see how. Plus, it's kind if a shame that Chris never expected (or wanted) the music from these Harvest Records'-"forced" studio recording sessions to be published. (Apparently, the album's producer leaked it to a Japanese company who published it unbeknownst to Chris. In fact, Chris claims to have not found out about the existence of this publication for three or four years.)

1. "Station Song" (14:39) long John Coltrane-like opening with everybody meandering every which way like a pack of rats that have been discovered hiding under a rowboat, the trombone of Paul Rutherford is given the greatest prominence, occupying the lead position for the first two and a half minutes before giving way to John Mitchell's piano play. Roger Potter's jazzy double bass and John Marshall's drumming are also top notch as they hold everything together beneath John's DON PULLEN."Sinner Man"-like piano play. Trombone again takes the lead in this increasingly "Sinner Man"-feeling piano-based song. Chris Spedding's wewird CZ&W jazz guitar sound slowly fills the gap made by the quiescence of the rest of the band in the tenth minute and gradually becomes quite animated and reckless in its abandon. Then things slow down again, with everybody spacing out, before assuming a blues groove for the final two minutes (including a ridiculously-long finish). Not a great song. (26/30) 2. "Plain Song" (4:40) a great song on which Chris and Roger Potter jam as a duet on acoustic guitars (steel string acoustic and mandolin) and bowed double bass, respectively on something that sounds like a cover of PINK FLOYD's "Wish You Were Here" (pre-dating David Gilmour's classic by three or four years) as performed by Jimmy Page and Roy Harper for on Roy's Stormcock. An album highlight (despite its awkward sound rendering). (9/10)

3. "Song Of The Deep" (8:50) another song that feels more grounded in the Post Bop of the late Sixties with John Mitchell's piano play, Roger Potter's double bass, and John Marshall's drumming sounding much more jazz-based than rock or even Jazz-Rock. Chris's guitar is rendered rather oddly in the final mix with far more prominence and credibility being given to the centrally-located trombone of Paul Rutherford. Once again John Mitchell lays down some awesome Don Pullen-like piano play, which is, for me, the highlight of the song. (17.75/20)

4. "The Forest Of Fables" (1:12) experimental guitar and piano sounds--not conventional playing or styling. Like Don Pullen and Phil Collins running through ideas that would end up serving The Lamb Lies Down on Broadway's "The Waiting Room." (4.375/5)

5. "New Song Of Experience" (8:22) this song sounds and feels like a combo of lounge musicians giving a jazzy mash up of a DOORS pop song ("Light My Fire"). Though John Mitchell is playing electric piano on this one, he's still throwing those riffs and tactics that I'm so familiar with due to my love of Don Pullen's piano stylings. The guitar playing on this feels so infantile as to seem to express a self-sabotaging element into the music. (Did Chris want this album to fail?) Still, Paul, the two Johns, and Roger perform rather respectably despite Chris' "mood." Even the way the final sound and mix are rendered seem to indicated a half-assed attempt at polish or completion. (17.5/20)

6. "I Thought I Heard Robert Johnson Say" (3:14) a song of various sound tracks that all feel like experimentations that might end up on TALKING HEADS' Remain in Light. Cool and funky before Brian Eno's white funk was even a thing. (9.25/10)

Total time: 40:57

I'll say it again: I'm not sure why reviewers and historians want to include this within the aegis of Ian Carr's Nucleus. And, sadly, Chris hardly ever feels into it! Also, I do feel saddened as, once again, an artist's product has been undermined or even usurped by the label/production company (much as artists like Frank Zappa, John McLaughlin, John Fogerty, Nektar, Midnight Oil, Prince, and many, many others have claimed to have been taken advantage of at varioius points in their careers).

B-/3.5 stars; some great individual performances over mostly less-than-polished compositions (or, more often, what sound like practice jams) does not make for a great album. Recommended only if you must.

The debut studio album release from Ian Carr's Jazz-Rock Fusion brainchild. Recorded before MIles Davis' Bitches Brew had been released and before (Ian claims) he or his band members had even heard In a Silent Way, the spirit of fusion expressed on this album is very much ahead of its time with lots of interweaving of dynamic instrumental play coming from multiple electrified or electrically-effected instruments. There are some quite iconic riffs and grooves on this album that many Jazz, Jazz-Rock Fusion, and even Prog lovers will, no doubt, recognize.

1. "1916 " (1:11) such an epic opening! Like a signature song for some radio or television show! Great display for John Marshall's talents. (5/5)

2. "Elastic Rock" (4:05) this laid back piece sounds and feels like something from Miles Davis' Kind of Blue 2.0--at least, it starts that way: it's the feel as, obviously, Miles' original had neither electric piano, electric bass, nor any type of guitars; it's all about the feel. But then as Chris Spedding takes on his solo the music plants itself firmly into the post- Post Bop world of Jazz-Rock Fusion. Great song with great use of accenting horn "section." (9.25/10)

3. "Striation" (2:15) a really enjoyable duet of fascinating interplay between Jeff Clyne and his bowed double bass and Chris Spedding's finger-picked electric guitar. (4.75/5)

4. "Taranaki" (1:39) upper-register electric bass, gentle electric guitar and electric piano chord interplay driven by hi- hat & rimshot rhythm over which Ian and Brian also dance a beautiful duet with flugelhorn and tenor sax. Amazing! (5/5)

5. "Twisted Track" (5:15) gentle electric guitar picking carrying over from the previous song is soon joined by bass, cymbals, and breathy horns usher this into Jimmy Webb territory: if Burt Bacharach arranged Miles Davis to play a Jimmy Webb song! Pretty cool! Ian & co. were definitely creating some very sophisticated and beautifully woven tapestries! Somehow even Chris' bent C&W guitar notes work in the intricate mix of this song. (9.333/10)

6. "Crude Blues, Pt. 1" (0:54) Karl Jenkins' oboe and Chris' gentle jazz electric guitar make for strange but beautiful bedfellows as they introduce this one.? (4.5/5) 7. "Crude Blues, Pt. 2" (2:36) ? which turns into a "cool" 1960s Beatnick-turned-Hippie tune as the full band joins in. More solos from Karl as Ian, Chris, and Brian, populate the middle-ground above this groovy keyboard-less rhythm track. (4.5/5)

8. "1916 - The Battle of Boogaloo" (3:04) take the opener of Side One and then turn it into a multi-track three- and four-part rondo and you might get an idea of the feel of this one. (9.25/10)

9. "Torrid Zone" (8:40) built over a bass-and-guitar earworm riff that keeps the listener engaged (more like hypnotized!) John Marshall and Ian really get to shine on this one: Ian in a very FREDDIE HUBBARD-like sound and style, John recorded with one mic?! Karl and Chris get a little more animated (on the left and right, respectively) as Ian plays on (just as Freddie would). Great groove; great performances! (18.25/20)

10. "Stonescape" (2:39) muted trumpet opening feels like something straight off of Kind of Blue but then electric piano joins in. Double bass and brushed drums join in later. Cool little late night BILL EVANS-like song. (4.625/5)

11. "Earth Mother" (5:15) repeating some previously-explored riffs and themes that were used in the "Crude Blues" suite (including the presence of Karl Jenkins' oboe)--performing variations on them like the restatements, inversions, and modulations that occur in the recapitulations of classical music movements. Nice work from Karl. (8.875/10)

12. "Speaking for Myself, Personally, in My Own" (0:54) a skillful John Marshall drum solo that bridges "Earth Mother" and "Persephone's Jive." (4.375/5)

13. "Persephones Jive" (2:15) great little jazzy-gem to finish things off. I love this (still a continuation of Side Two's tape- jam). Ian, (distant) Brian, Chris, and the rhythm section are all firing on all cylinders on this one. (4.625/5)

Total Time 36:18

It had been a long time since I'd heard this album and I'd completely forgotten how amazing it is. Though I have not yet tried to substantiate this, I have a feeling that the music on Side One was all recorded in one straight session as was the same for Side Two--the separations and song "breaks" thereby being artificially created in the engineering room.

A-/five stars; a minor masterpiece of Jazz-Rock Fusion and a landmark album in the history and evolution of the burgeoning melieu.

Triana, the start of my Rock Andaluz quest.

In the late 70s I visited the house of the #1 Dutch proghead Peter van der Laan. After I had told him about my passion for flamenco he showed me the first three albums from Spanish formation Triana that he has ordered directly from the band. During my first listening session I was blown away, I had never heard this unique blend of prog and flamenco, what a discovery! Now to the early 90s, when I had contacted #1 Spanish proghead Angel Romero, via an add in the Spanish prog magazine Sirius. Due to his increasing dust allergy he had to get rid off his extensive prog vinyl collection. I asked him "Do you have music like Triana?", I will never forget his answer, "Yes, of course, we name it Rock Andaluz", that was the start for my Rock Andaluz quest. Angel send me LP's from Cai, Azahar and Medina Azahara, I was in Rock Andaluz Heaven! A few years later I discovered Greg Walker his Syn-Phonic and Ken Golden his Laser's Edge (both Holy Grail mailorder services for progheads) and noticed a lot of Rock Andaluz bands, I bought CD reissues from Mezquita, Iman, Gualdalquivir and Vega, wow. And a few years ago I searched for Rock Andaluz on Google and stumbled on the awesome Spanish prog label 5Lunas, the owner Juan Antonio Vergara is very determined to release early and new Rock Andaluz (and also Spanish prog). So I purchased interesting new Rock Andaluz bands Qamar, Sherish, Anairt and Randy Lopez, and early Rock Andaluz bands Montoro and Mantra, awesome. Now back to Triana, my first Rock Andaluz love.

In comparison with their debut El Patio (1975) this successor entitled Hijos Del Agobio (1977) sounds a bit less elaborate, and no 6+ minute compositions, all 8 songs are between 3 and 6 minutes. Nonetheless it is wonderful and varied Rock Andaluz. Most tracks deliver slow beats and compelling atmospheres featuring strong Spanish vocals (with that typcial melancholical flamenco undertone), howling electric guitar runs, lush vintage keyboards and a dynamic rhythm-section. But also some fluent mid-tempo beats with powerful vocals and intense electric guitar. And even an experimental composition with propulsive percussion and spacey Moog synthesizer drops. The most fascinating moments are the blend of symphonic rock and the flamenco guitar, less omnipresent than on El Patio but still a huge bonus, a thrilling prog experience.

For me bands like Triana, Mezquita, Medina Azahara and Alameda are not symphonic rock, Neo-Prog, jazzrock or folk rock, these bands are Rock Andaluz, due to the very distinctive Spanish vocals and the flamenco elements, blended in an unique way with progressive rock. A big hand for Triana that paved the way for the development of the exciting world of the Rock Andaluz, check out 5Lunas and discover how still alive Rock Andaluz is, 50 years after El Patio!

L'heptade is Harmonium's final studio album, and in my opinion one of the greatest albums ever made. It's difficult to top their previous album, but this album just has everything you want in a prog album. It's deep, explorative, melodic, beautiful, you name it. Some of the charm might be lost with the language barrier as the whole album is in french, especially because it's a concept album, but I still think it should be an universal experience. Let's go in depth

Prologue starts this album with a beautiful orchestral piece by Chotem. It perfectly sets up the mood for the album, a pretty good opening overall (4/4)

Comme un fou is one of the many great tracks on this album, it's very energetic and overall one of harmonium's greatest creations (8/8)

Sommeil sans rêves is essentially a transition by Chotem again, which is perfectly acceptable (1/1)

Chanson Noire is the jazziest part of this album, with Subirana engaging in some pretty cool sax and clarinet solos. Another absolute classic of Quebec's music (8/8)

Le Premier Ciel is straight up the greatest song on this album in my opinion. It's the only one to feature Normandeau (an original member who was essentially sacked for this album) but when then Locat's keyboard solo at the end might be one of the greatest in prog's history (11/11)

L'Exil is the final track on the first disc, and it's also the weakest one. It's still very greatest but with the competition on that disc and the fact this song has a little too much emptiness to it makes it my least favorite on that side (11/13)

Disc 2 is a lot more ambiant, for the better or for the worse, Le Corridor is for the better though. It's the only track the female signer Fauteux sings lead and the delivery is insane. The final portion of the song is another instrumental part, it's very great (8/8)

Lumières De Vie is the weakest song on this album, and that's saying something. Yes, it's long and there's often not much going on, it's an aesthetic that some people don't like. It's decent, but what totally saves this track is the final minute, the song is just a massive buildup to one of the greatest guitar solo of all time. If only it was longer, this track would have been insane (11/14)

Comme un Sage is essentially the final track of the album, and it delivers. It's also a classic in Quebec's music, and while more ambiant than disc 1, on this one it feels perfectly natural. Its one of the most recognizable melody on this whole album, it's just a great closer (14/14)

Epilogue is obviously just the official end with another instrumental track by Chotem, it's pretty good. (2/3)

TOTAL SCORE: 78/84 = 93. An easy 5 stars, not just one of the greatest Quebecois album, one of the greatest albums of all time