NEO-PROG

There have been some changes within DLP, as originally the band was called Deaton LeMay Project, but drummer Craig LeMay is no longer involved. However, keyboard player Roby Deaton is still there and singer Hadi Klani has been on all three releases while bassist John Haddad played on the last one. Guitarists Josh Mark Raj and Ehsan Imani have reprised their session roles, with additional guitarist Frank Jung and there are two drummers in Mike Thorne and Phil Hronas and an additional bassist in Danny Miranda.

When I first came across this band and their debut, I said they reminded me of Kansas, and then with the second added ELP to that mix. Now I think we are going for much more of an AOR feel with classic Styx mixing with Kansas and even some Journey, but much less in the ELP realm. This is a concept album, with the rather worrying story of an A.I. robot giving birth to an A.I baby. The offspring grows up and wants to be part of humanity but is rejected. In its anger, it wants to take revenge on mankind. The question that must be answered: Did mankind create A.I., or is humanity a failed experiment of the digital world? What we perceive as A.I. trying to take over mankind and render us obsolete, might just be that the digital realm trying to take back control of an out-of-control experiment. All of this is wrapped up inside a wonderful musical world packed full of melodies, great performances and stunning vocals. Klani is an amazing singer, the perfect front person for a band who somewhat amazingly are still flying under the radar.

This is class Seventies melodic rock, with a depth and breadth of sound with Roby using lots of different sounds, including a lovely rich Hammond, a rhythm section that provides a firm base, guitars sometimes taking the lead and at others sitting just behind to let others be dominant, and then right over the top there are the vocals which take them to the next level. This is a top class progressive melodic rock act with great songs who may have changed their name but continue to deliver the goods.

— First review of this album —

It should be noted that the most important words on the cover are at the bottom, where it says, "Recreated by Clive Mitten" as what we have here are all the tracks from both 'Fact and Fiction' and Geoff Mann's two final shows in November 1983, of which six tracks became 'Live and Let Live'. On Bandcamp it states, "Re-imagined, arranged, new performances added, engineered, produced and mastered by Clive Mitten". The result is something which is undoubtedly confusing to my ears, as we have music I know very well indeed, but which has additional keyboards (in particular) added, and the mix has been changed.

'Live and Let Live' is one of my all-time favourite live albums, while I believe it is a travesty that 'Fact and Fiction' was not recognised as one of the greatest studio albums of all time as it should have pushed them to superstar status. It has now been more than four decades since both original albums were released, and Clive was an essential part of both so if anyone has the right to revisit and "improve" them then it is him. However, while this may well appeal to many, especially those who have not previously heard these albums, and there is no doubt that Clive is a hugely talented multi-instrumentalist, I found that part of me was enjoying the songs, but a large part was also asking, "Why?".

I appreciate Clive may well feel that due to financial or time constraints the original releases were not exactly as he had wanted them, and Brian, Andy, Rick and Jane could well all be onboard for the changes he has made, but I honestly do not understand the need. The originals may not have been perfect to his ears, but to mine (and many others) they are the twin highlights of Twelfth Night's career, and albums I often revisit which is not something I can say about this release. My ears are so tuned into the originals that I kept questioning the additions/changes and hearing them as something placed over the top as opposed to seamlessly fitting in.

I fully expect to be in the minority, as I am sure there are many fans of the band who will enjoy this reimagining, but while I can never get enough of the Mann, here we have music which I have always thought at being 5* on steroids being somewhat reduced.

Art is something that, at first, seems to have no purpose at all?but once we touch its essence, it can turn an ordinary full-moon night into the most sublime moment of the day. Suddenly, the mundane is redefined and becomes beautiful and profound. That is the power of good music: it invites us to reflect, to question, and to understand. This album does that with a mastery that borders on the transcendental. The synthesizers take us on an intergalactic journey, guiding our souls with melodies that echo in our minds like cosmic waves. There are long tracks that never become tiresome. On the contrary, the emotion poured into them and their formal complexity make time pass more quickly, always drawing you toward the next chord. There is one piece that, to me, stands out above the rest: "Blue", my favorite on the album. A true masterpiece. A call to reality in its purest and most beautiful form. The piano solo is a whisper of Chopin. It reminds me of Étude Op. 10 No. 1 in C Major. It is magnificent?supremely elegant. Without a doubt, the best piano solo I've ever seen intertwined with rock. It is completely hypnotizing and overwhelming in its depth. After hearing it for the first time, I sat in silence, motionless. At its core, it is phenomenal. Certainly one of my all-time favorites. I believe that alone is enough to give it 5 stars. Well-made art has the power to transform.

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

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

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

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

Heavy space/psychedelic rock that satisfies the prog qualities of those looking for music to remind them of their old HAWKWIND, ELOY, PINK FLOYD, and BOWIE (and even early PORCUPINE TREE) heroes.

1. "Cyclical Night" (12:35) interesting. Not bad. Definitely retro-NeoClassic . Everybody on board is sufficiently skilled and versed to pull of solid, polished song that sounds as if it could've come from a 1970s album. Roger Lopes has a strong if-familiar voice and laid back singing style (somewhere between BLUE Ã?YSTER CULT's Eric Bloom, FIELDS OF THE NEPHILIM's Carl McCoy, and IRON MAIDEN's Bruce Dickinson). There's even a bit of BÃ?C's "I Love the Night" quality and feel to the overal sonosphere. The spaciousness and maturity of this song make it quite comforting, even inviting. It just keeps getting better with each and every listen! And the warmth of the wrap-around sound is so amazing! (22.75/25)

2. "Digital Coma" (17:19) mostly soundtrack-like synthesized space and weather sounds for the first seven minutes: it's like we're floating in the silence of space, hearing the internal computer and machine-generated sounds of our otherwise-uninhabited, barely-functioning, life-support vessel. (It's also quite like Vangelis' music during the scenes in Blade Runner in which Deckard is hunting Sebastian, Pris and Roy in the derelict hotel in the Ninth Sector.) Then the prog song that emerges (and carries through to the end of the 17+ minutes) is one that reminds me very much of the music from one of my favorite Smooth Prog albums from the past 15 years: LIFESIGNS' wonderful self-titled 2013 debut. In the 12th minute the music comes to fullness with a FLOYDIAN palette before going down a kind of BÃ?C tangent in the 14th. The instrumental sections that follows is quite powerful: with perfect electric guitar serving as our guide--within a sonosphere of some very protective bass and keyboard guards. At 14:20 we return to the Lifesigns/Floydian pastiche--complete with strong Floydian background vocal choir (all from Kim Chandler?) The song ends surprisingly, rather suddenly, on a couple of kind of simple guitar riffs, leaving me scratching my head as to what was just (supposed to be) happening over the last 17 minutes. Elements of this song are absolutely great--especially the amazing sound engineering. (It really does feel as if you're inside a sphere of virtual reality in which everything is occurring around you, coming at you, comforting you, from every possible direction.) There are some elements that don't quite work (for me). But the good far outweigh the questionable. (33/35)

3. "Violeta's Dream" (23:44) this one comes across as a total extrapolation of the spaciest of Pink Floyd: the original aim of Steven Wilson's Porcupine Tree project taken to the next levels--taken far beyond Steven/Tree, Bruce Soord, Riverside, Mystery, Airbag or anyone else in NeoProg's Floydian Universe has ever accomplished. To me, it's like taking Floyd into the Eighth Dimension. It is not, however, always the best choices of construct and sound palette to achieve such attention and honor: there are plenty of segments and motifs that fall back onto fairly simple structures and/or minimal sound palettes. It does feel like traveling through someone else's dream but a dream that is often mundane and forgettable. (39.75/45)

4. "Blue" (14:46) Tangerine Dream-like electronic piano and spiraling church organ chords fill the first two minutes of this before the full rock band ensemble kicks into gear. The song that ensues sounds like some solid NeoProg that could come from any number of second-tier NeoProg bands. (Bands like Grand Stand, Silhouette, Cosmograf, Galahad, Drifting Sun, Gandalf's Fist, Comedy of Errors, Evership immediately come to mind.) There are passages in which I'm reminded rather strongly of both Giancarlo Erra's NOSOUND and Jason Hart's I AND THOU projects of the last decade. It's nice, with great sound, but rather simple music and a less-fully-developed sound palette. Nothing to write home about. Gabriel D'Incao's grandiose Gershwinian classical "grand piano" solo in the tenth through thirteenth minutes comes as a bit of a surprise (I'll bet he'd been sitting on that little gem for many years), but it serves as a very nice little interlude and reset. The return to rockdom for the finish is not as pretty or satisfying as one might hope. (I think I like Gabriel's solo piece better.) (26.125/30)

5. "Voice of God" (16:53) now the band is back on track: a wonderful, fully-formed and full-surround sound visceral experience with some very proggy music. (Great drumming, guitar play, and wordless vocalese, courtesy of Kim Chandler. Is this the band's homage to Floyd's "Great Gig in the Sky"?) In the middle of the fourth minute the music suddenly stops and then restarts with a vocal-led motif that feels like something off of a lost SEAL album. Incredible! The sixth minute brings heavy power chord explosions before the underlying piano leads us into a race-against-time instrumental passage in which guitar, piano, and percussion take turns leading the way--often in theatric, even jazzy, time-syncopated ways. Pedro D'Incao's searing electric guitar now sounds like a cross between that of cookin' Carlos Santana and Stephen Thelen/SONAR's David Torn. The ninth minute sees the piano-leadership taking the music into a bit of a Billy Joel pop-jazz direction, and then, thereafter, the band trying to bring it back to progland. But first we have to have another classical piano interlude (starting at 10:00). Spacey pitch-warped synth riffs and synth chords join Gabriel's gentle, pensive Chopin-like piano play, keeping me, as a prog hopeful, satisfied--reminding me somewhat of some of Rick Wakeman's interludes in his (or Yes's) prog music. At 12:20 "horns" help us emerge out into a Floydian "Light" for a gorgeous section of "As Sure as Eggs Is Eggs"-like prog orgasm and ecstatic rapture. Return Ms. Chandler's vocalese to the mix, culminating in a scream of seeming-relief, and then a piano, synth, and cymbal crashing finish/dénouement. Well met, boys (and girl), well met! Not quite what I'm expecting beyond the Pearly Gates but a nice human version of that which might be. (31.75/35)

Total Time 85:17

As with the fellow-2025 release from the DOCTORS OF SPACE, Fusing Your Synapses, there is true innovation going on throughout this album. For me it is in the engineering feat of complete surround sound--what I've come to call "the sonsophere," that is, the effect of the sounds coming from the instruments feeling as if they are surrounding, engulfing, swirling, even guiding you--from all directions--directions which change, are somehow able to change (like the old-fashioned "panning" effects one could manipulate on the engineer's sounding board only in all dimensions). I've been hearing and feeling more and more of this effect in the studio productions of recent years (thanks to my wonderful Soundcore Space Q45 noise-cancelling headphones) and am not sure how the sound engineering technologies have accomplished this--what enables them to manipulate sound "directionality" the way they seem to be doing--but it is amazing! It is fulfilling an achievement that I've been seeking, wondering if possible, waiting for, since my Brian Eno audiophile days of the late 1970s. This is, in my opinion, a revolutionary achievement in sound delivery technology. While I'm not ready to grant Atomic Time full credit--nor their engineering and production crew--but they have definitely presented sound in the complete fullness as I've never heard it until now: 85 minutes of complete and total musical immersion. Amazing!

A-/4.5 stars; a minor masterpiece of highly creative retro-respective NeoProg that presents Prog World with some truly extraordinary sound innovations. I urge everyone in the Prog community to check this album out--especially if you have good headphones--and especially the first two songs. Highly recommended!

I was worried that perhaps a Yeti (aka Abominable Snowman) had lunched on Yak , as it often does according to myth, but Martin Morgan has resurrected his Tibetan muse variant , much to our sonic delight. The YAK is back ! After a 10-year absence, the previous "Quest for the Stones" being quite a corker, we get new music from this gifted multi-instrumentalist. Six tracks+ 2 previously unreleased bonus ones , for a total of 54 minutes of tantalizing old school prog. Martin states in the liner notes "The music was produced and recorded by pressing keys on a range of keyboards in a rather peculiar and precise order"! Truth be told in that inimitable British manner, is just what you get.

The sumptuous title track is symphonic instrumental music of the highest order, as all the classic ingredients are staunchly in place, a smooth ambiance of lush synthesizers, organ flows, pungent keyboard bass and drum programming that does not comes across at all as rhythm boxes. Martin has the listener soaring with a cross- pollinating series of adventurous escapades that sets the foundational melodic content for the entire opus. Not surprisingly then, I segued my review with the next track, the self explanatory "Crimson Camel", which might not require pulling out Excalibur out of the stone and slicing up the gordian knot nor questioning the fumbling AI god to bless us with his wisdom. This is pure 100% unadulterated prog bombast that could easily have easily added a Genesis extension, as one particular melody does hint at a famous old school track . This is velvety satin bliss and assuredly a perennial prog radio show request. On the celestial "Heaven's Gate", Martin displays a more subtle edge, the swooning sounds come across as one floating on a cloud carpet of past jubilations. The forlorn piano, a chugging drum pattern and a guitar synth main melody are the main culprits, squeezing a vast array of emotive tangents without any hint of bluster or alacrity, a cottony vortex that reaches for the stars above. Its excruciatingly beautiful. The reverential "Long, Long Ago" exerts a more textural demonstration, the endless synthesizer flashes are occasionally bullied by some precise organ interventions as well as some judiciously placed e-piano. The scope is definitely less epic and yet highly sad with serene melodic aspirations that rekindle fond memories of prog's early days. An outro with solemn choir mellotron hits the spot as the vaporous reminiscences fade into the horizon.

Deflecting slightly from the more bucolic and pastoral sentiments expressed up to now, on "Maddox Street", we naturally get a more urban, I daresay cosmopolitan ambiance that espouses the hustle and bustle of city life, plenty of bombarding images and sounds, here now and then gone for ever. There is an exhilarating pace without any senseless excess, underscoring a keen sense of fun as opposed to showing off technique. The rollicking continues on "The Best Years", as if in concert in a pub , with a strong party, rock' n roll, funky blues organ running rampant all over the place and a popping bass adornment. Here the onus is on nostalgia, as the past definitely can be the cradle of the best years of our lives, a kaleidoscope of smiles, laughter and enjoyment. Imagine a proggy Booker T and the MGs or a rockier vocal-less Oblivion Express for the musicologist out there!

Two bonus tracks , first "Aragorn" which was set aside from the debut 2024 album , thus featuring then collaborators Dave Speight on drums and bassist Gary Bennett, a robustly rearranged and extended workout that cannot fail to impress, with its attractive symphonics . The nearly 10 minute "Flight of the Noldor" is a mini-epic that was never previously released, presumably kept for just the right opportunity, such as finishing off this magnificent opus on the highest note possible. The piano makes a gracious appearance, setting the controls to the heart of the adventure, as Martin shows off not only subtle restraint but keeps the variations unexpected, some flute patch sections that fall close to where the Ghost and Geese may play, a countryside fair perhaps, where all are dressed in rural garb. The cover art of a parish parson wielding his cricket bat completes the image completely. The organ playing is straight out of the timeless British school (Banks, Greenslade, Wakeman, Jobson, Bardens, Wright etc..). This is real natural music, spontaneous ,unpretentious, no glossy uber-production that may sterilize the sound and devoid of any cliché.

My personal affection for Yak is that uncanny ability of being just as enjoyable hearing music as listening music, background or intensive analysis both yield the same amount of satisfaction, and for more technical moments, let me assure you that Martin Morgan can play with the very best ivory "pressers' out there. Some naysayers will perhaps find this music style dated but my feeling remains that what was done yesterday is already passé by the time the sun rises the next day. I thoroughly enjoyed this retro mood and look very much forward to the Yak coming back, again in the future.

5 rosé prelates .

It's hard to have nice things to say about a band that uses AI art on their album cover. It makes one wonder how much effort they're willing to put into anything else they're working on, and based on the general reception of this album elsewhere I wonder if the reviews were AI generated as well. This album drowns the listener in wearisome bar long chords backed up by what I have to now assume are melodies generated by arpeggiator, which is just as well because if the mix were better you'd be forced to confront every other dreadful part of these tracks. This album simply doesn't merit more effort in reviewing it.

This is my first acquaintance with Subsignal and I really don't know why it took me so long because of the sheer presence of the guitar god Markus Steffen and the incredible voice of Arno Menses (both ex-Sieges Even). Still, the connection to Sieges Even is hardly noticeable since the music is far more strightforward but equally blissful, most of the times at least. From the acoustic intro right until halfway the album, the band puts together a five-song run which is one of the best I have ever heard, crammed with heavenly melodies that will leave no living, feeling soul cold. Not saying that after that point it becomes indifferent, it's just that these songs hit me in the feels. The band clearly aims for songwriting, the amazing skills of Markus Steffen are expressed this way, too, the voice of Arno Menses is pure bliss all over and his lyrics are also very important to pay attention to. They are dubbed as a neo-prog band, but to my ears their music has shaken off its clichés, mostly the ones that emanate from the keybord styles and sounds. One of my favourite albums of 2023 so far!

Now In A Minute is an amusing Welsh phrase meaning something will happen soon, but maybe not immediately - and is an intriguing blend of urgency and procrastination. Given their recent history, it seems an appropriate and playful title for second studio album from the Welsh melodic prog rock band The Mighty Ra. Their 2022 debut, All Secrets Known, from these seasoned and experienced musicians, was a highly enjoyable affair, and their live debut at that summer's Prog For Peart festival was well-received. A live album from that performance, Live Secrets, captured their on stage energy, and this was followed by the Controlling The Burn EP in March 2023.

However, the departure of keyboardist Rob Wilsher for Karnataka at that time, seemed to pull the rug from under the band, and certainly affected their forward momentum. Although Rob was able to fulfil a number of live shows for a time, the need for a suitable replacement keyboardist, and even the resolve of the band to continue its musical vision, was sorely tested. Line-up changes are a constant feature of most prog rock bands, and whilst some survive them intact, others are less successful. However, it is pleasing to see that with the recruitment of Jeremy Robberechts on keyboards, to join founding members Andy Edwards (guitar & vocals), Dave Rowe (bass, pedals & vocals) and Rob Griffiths (drums), the band seem back on track, with the new Now In A Minute album not only being another great release, but showing a band successfully balancing their previous signature sound with a refreshingly different feel at times.

Although I would still describe them as melodic progressive rock, like many on the current UK prog circuit The Mighty Ra are musically informed by the classic UK heavy and hard rock sound of the 70s and 80s. However, there is no doubt that they incorporate progressive flourishes (particularly neo-prog), have a propensity for extended and more complex compositions at times, an ability to sprinkle other genre influences (such as psychedelia and jazz) and follow an eclectic approach to lyrical content and subject matter. Having an expressive keyboardist doesn't necessarily make a band 'prog', but it does broaden and deepen their musical range. Whilst Rob added a symphonic rock style to the band's debut (I likened it to Mark Stanway's contribution to the pomp rock of Magnum at the time), Jeremy's approach is more akin to the Hammond organ vibe of the likes of Jon Lord (Deep Purple/Whitesnake) and Ken Hensley (Uriah Heep). The result is a heavier, classic rock sound on the album at times, but without losing that expansive and exploratory musical vision that prog offers the discerning listener.

In addition, The Mighty Ra have always had a cutting lyrical edge to them, not least their diatribe against organised religion, conformity and conspiracy theories on the debut album's closer, A Bigger Lie. On the latest album it comes through even stronger. With the anti-establishment zeal of the old, Sons of Glyndŵr, they tackle both the modern and historical world head-on, with an "I'm as mad as hell, and I'm not going to take this anymore!" attitude (for those old enough who remember Peter Finch's character in the 1976 film Network.) There is a feisty angst from Andy and Dave that would do Roger Waters proud, and it provides a refreshing and edgy counterpoint to the band's instrumental virtuosity.

There are 8 tracks in total, providing a recognisable musical style, but not without a diversity of musical and lyrical ingredients to add flavour and spice. Gods of Reality starts the album powerfully, with slab of energetic, swaggering, classic hard rock. An observation of the world as it really is - where power, greed and wealth go hand in hand. Andy's no-nonsense, sneering vocals add their scorn, with Dave adding a megaphone delivered manifesto later, to further emphasise the tone of the catchy chorus: "So, bow, To the gods of reality. At the feet, Of the gods of reality." Andy's guitar soloing shines brightly, backed by Dave and Rob's insistent rhythm and Jeremy's stabs of organ. There is a distant hint of Zeppelin's Kashmir at times too, and a powerful anthematic finale to boot.

By contrast, Mr. Disingenuous, starts with a lovely, smooth, jazzy, Steely Dan vibe and a sauntering bass and drum rhythm, peppered with rising guitar-led surges. Andy's vocals have a laid-back, understated feel, but gradually build in intensity through to the arrival of the chorus. The song is another rant against the modern world, focusing on the lies spun by advertisers, marketeers and politicians to deceive every one of us. Television presenters, shopping channels, even the news - just tune in and be misled! "Here's Mr, Disingenuous. Mr. Insincere. Master of the Universe, And everything we fear."

After a dreamy, mid-point interlude, the rich instrumental interplay builds nicely, with flowing retro organ and more exceptional melodic guitar playing, climaxing in a soaring solo and a powerful reprise of the chorus. A multi-faceted angst-ridden epic that has impressed when played live previously but really comes into its own on the album.

The departure of keyboardist, Rob Wilsher, clearly had quite an effect on the band, and the very personal New Wheel, mixes the regret and disappointment at this change in personnel, with the determination to adapt, search for a new band member and defiantly continue with the band's musical vision - ultimately culminating in this album. "A new wheel in the machine. Another player in the dream. We will find you. And begin again." Instrumentally, the track has a real Deep Purple feel, with a nice rumbling bass and Jon Lord-like keyboard thrusts and proggy noodlings from Jeremy - who asserts this own style well, accompanied by dynamic guitar riffs and another glorious solo from Andy, prior to an intense climax.

Sakuru is a Japanese-tinged composition from Dave, that compares the human condition to that of the cherry blossom that bears the song's title. It looks at life v death, evolution, sustainability and considers vibrant beauty, brief fulfilment, sad demise but its ultimate longevity in its intriguing lyrics. Interspersed with exotic spoken words and a mediative Japanese haiku poem, musically it has another Purple/Heep 70s hard rock feel, with a memorable, repeating "She is Sakura" vocal motif. Once again, organ chords, sad dreamy synths, more dynamic guitar and a strutting rock character intertwine throughout, along with more impressive and extended guitar soloing to close this vibrant melodic rock track.

Fashoda is a story-driven song, recalling a stand-off incident between Britain and France in the Sudan in 1898. Effectively an imperialist power play between the two countries, curtailed by the withdrawal of the smaller French expeditionary force from an isolated British fort on the Nile. It ultimately had some significance in the run up to the First World War, and later conflicts in Africa. It is an interesting topic for further exploration and does highlight the band's progressive tendencies to incorporate historical themes and off-kilter content into their melodic prog rock. Musically it builds up a nice head of steam over Rob's cantering drum patterns, with some nice changes in pace, ambience and intensity, lush organ and piercing, heavy guitar riffs. An Eastern-edged musical atmosphere rises from the hot sands later, with some pleasing keyboard patterns from Jeremy adding to an exotic finale.

Last Night On Earth begins with a funky, later-era Pink Floyd feel, with Dave taking over vocal duties. Lyrically, it is nicely ambiguous. Is this an escape from a dying Earth and a venture into space, or are we talking about death and a move to the next phase, for better or for worse? A farewell or even a salute to the past? "On this last night on Earth, this last night on Earth." The music sways and dances over Gilmour-like guitar patterns, with a more progressive/psychedelic vibe, especially during the more reflective later section and then an expressive saxophone burst from Myke Clifford.

Revolution is a refreshingly upbeat call to arms from the band, with almost a pop-prog It Bites character, mixing exuberant driving rock, with some nicely judged proggy keyboards, changing rhythms, playful melodic guitar and engaging vocals from Andy. Lyrically, it is essentially a shout of, 'hang on, the people don't want war!' "Carry on to the end of the earth, Fighting for truth and what it is worth. Revolution is here, I've seen it today, The voice of the people with something to say."

The album closes with Stories Of Old. Beginning with gentle acoustic guitar and flute-like synths. There is a contemplative feel to the music as Andy's vocals consider the stories of old, retold, of adventures, hopes, fears, dreams, places and people ? but whether they are true or not remains to be seen. Rob's marching drums set the scene, and Jeremy adds delicate piano notes over a background keyboard wash, creating a melancholic and slightly uncertain atmosphere. There is some expressive ensemble playing from all the band prior to a more powerful, yet rueful. return to the lyrics, a moving closing guitar solo and an almost resigned acoustic guitar-led audience rendition of one of the verses (producing a persistent earworm in the process). "It's the same old story we tell, In the book we could write, That would tell it so well. All the places and people we've seen, And everything we could have been." It is a pleasantly different end to an album that has more light and shade than you might have thought, given its overall driving melodic prog rock template.

With Now In A Minute, The Mighty Ra have produced another highly enjoyable album bursting with the infectious drive of classic-era UK hard rock, but with a progressive sparkle throughout. Contemporary, engaging and edgy lyrics, extended, virtuosic instrumental passages and a musical tightness within the band to be admired, the Welsh melodic proggers seem rejuvenated. If I can appropriate a classic Thin Lizzy song - "The boyos are back in town - spread the word around!"

(From 'The Progressive Aspect')

Formed in 1992 with keyboardist Manuel Más and others, the veteran Spanish progressive/symphonic rock band disbanded in 2000 and reunited in 2013. Following the departure of vocalist César Alcaraz and guitarist Marcos Beviá in 2020, the band welcomed new vocalist Alba Hernández and guitarist Juanjo Herrera. Their new album, "The Outsider," released in 2025, is now available on Astronomy Recording Music in Spain.

This album, completed with a fresh start following a lineup change, is, as announced from the beginning, a conceptual rock opera spanning two CDs and almost 100 minutes in total. While previous works have focused on Marillion-style neo- prog-rock, leveraging César's vocal quality to portray subtle shifts in emotion, this album takes a radical turn, featuring Alba's natural, clear, and beautiful voice, evolving into a refreshing classic symphonic-melodic rock sound reminiscent of Magenta/Karnataka.

Occasional touches of electronica hint at the experimentalism of their debut and the current trend toward post-rock. Some tracks also feature live string and brass instruments performed by guests in addition to the band members. The acoustic arrangements and diverse keyboard work add a grand scale to Numen's signature sound, which intertwines melancholic melancholy and fantasy. Despite its length, the album never slows down, masterfully incorporating the contrast between light and dark to create a dramatic fluidity. Its well-crafted structure exudes the experience of a veteran, making it a masterpiece, undoubtedly representative of the symphonic progressive of 2025. Marillion's Steve Rothery also makes a guest appearance on "White Lies." An essential album.