NEO-PROG

Much of what I think here is similar to what I said in my 'Pictures from the other side' review. No matter how much I listen to the main track I fail to find it 'Proggy' enough. Yes, there are the subtleties, but given 24 minutes one expects more of an memorable journey with a grand finale. I mean, it's all very listenable, but it doesn't really grab you. 'All around the World' seems to end up being blues number, which just leaves me cold. 'Cyan' is an instrumental which developes into a Steve & John Hackett type of song, which is good. Ultimately, despite the musicianship and production being superb, they can't hide what is ultimately a weak primary track.

It's difficult to know what to say really. The overriding thing for me is that much of it isn't strictly Prog, but then what is Prog? If the sound is too familiar then we'll criticise it for not being new, but the vehicle here seems to provide the basis for Love songs/Ballards, which surely isn't Prog. Whatever, if you listen to the album a lot then you'll find plenty of Prog subtleties to enjoy, as both the production and the musicianship are first class. The real winner here, and perhaps the most important musical instrument being used here is Peter Jones's voice, which never fails given the tasks thrown at it. These are heightened with the accompaniment of the female voice of Anghared Brinn, and when the pair of them sing together it's absolutely faultless. Overall, it's a pleasant enough listen, but probably not what you are expecting. Sadly, I feel that I can only award it 3 stars because I don't feel that there's enough of what I define as 'Prog' music to justify giving it more.

There are those rare moments when words are hard to come by for someone who feels so much at ease in expressing emotions, thoughts and impressions . Over the course of a quarter of a century writing reviews, I have on occasion published posthumous reviews of bands that have broken up or retired , a reverential look back at a past accomplishment worthy of praise or at the very least, analysis of what made them special. It's altogether a different kettle of fish when a band's final release is announced well ahead of time and the dread of your review becoming an obituary column is unbearably difficult. The only way to soothe that sadness is to contemplate the final opus as a legacy move by an artist well-deserving of putting a punctuation mark to a storied career. "Above All Else" in 2018 was the first instalment of Nova Cascade's prog path, where I instantly fell in love at first hearing that amazing voice and the lush musicianship that elevated it to such grandiose heights. Then came 2019's "A Dictionary of Obscure Sorrows" (now that is a prog title!) , a masterful sophomore release. Raising the bar even further on "Back from the Brink" that came out in 2021, it sealed my loyalty in crimson wax. When the stunning "the Navigator" emerged from the post-Covid fiasco, the key word became outright veneration. Leader Dave Hilborne has a voice of crushing poignancy that cannot leave anyone indifferent, his keyboard skills are equally magnificent, yet the spirit behind the man remains his greatest heritage! His final work is fully dedicated to former universally beloved bandmate Eric Bouillette, who sadly passed way in the summer of 2023, and the personal proceeds from "Boxman' are entirely passed on to the Pancreatic Cancer UK. That is what I call legacy! With long-time companions bassist Dave Fick, Colin Powell shining on both keyboards and guitars ( A Multitude of Two) , and finally newcomer Niko Chikviladze on the violin. Dave takes the Nova Cascade navigation to a mythical Norse ritual sending off! "Boxman" becomes a musical longship (Drakkar) laden with grave goods and tributes and sent adrift where seven blazing arrows are aimed at the huge sails and the pyre illuminates the stars.

Spanning a colossal 28 minutes+ instrumental , "The Choice" is the spark that will engulf the listener into a spectral voyage of profound emotional release, ambient keyboard colorations orchestrate a canvas of vivid sonic imaginary, pierced by the magical serenity of the violin , pools of piano providing occasional stability but the ethereal qualities exhibited are soothing comfort that sets the mood from the outset. When Fick settles into the appropriate deferential pace, time seems to vanish from the focus, unneeded and unwanted, as the anesthesia takes gently effect. The evolution of the piece swerves into symphonic bliss, Niko exuding a strong classical presence, as the transition arrives to a universe of absolute gorgeous melodies. With a shift in the drumbeat, the tingling transition to an elevated electronic atmosphere gives Colin Powell the opportunity to make his electric guitar glitter like molten strands of gold, helped along by choir mellotrons in the distance. The rhythmic pulse deliberately expands in vigor, as if wispy clouds ahead announce a change of weather, rivulets of restrained piano announcing the upcoming gale and ultimately unleashing a furtive guitar barrage. Bubbling synthesizers keeps the arrangement on unending periphery, always proposing a slight hint of expectation, various voice effects entering the fray, and the tempestuous guitar raging, thoroughly engaged, as the epic reaches a level of paroxysm that does not overstay its welcome, always offering new choices. This roller-coaster ride mimics the bouncy waves, a river of constant change. The final section is loveliness incarnate, a melody so exquisite, words are difficult to come by. The heavily stringed and choired outro is grandiose and wholehearted. If this is not the epic of the year, I surrender.

When Dave reaches for the microphone on "Smoking Gun", that incredibly hushed and frail voice hits your soul, causing profound tinges of legendary Strawbs frontman Dave Cousins, a voice anchored in romantic expression of the highest order, and though perceived as sensitive, it exudes immense authority. Tick-tock drumming, a looping and elastic bass and an echoing piano unite in a conspiracy to never surrender (like I did on "the Choice") on "If You Don't Succeed", a brooding patchwork of endless beginnings, searching for the proper outcome, resolute in their craft and succeeding one final time. Footsteps that lead to another realm.

The scourge of inhumanity is to be found on "Sentry", as any discourse on the futility of war finds a scholarly home in my realm, as an eternal student of conflict and the reasons behind it, proprietor of a colossal library right next to my enormous prog collection. As a hopeless romantic fool, I find nothing glorious in bloodshed, a wasteful exercise that became evident in visiting various military cemeteries as well as interviewing a long list of veterans over the decades. A song of mourning that affected me greatly.

The instrumental anguish on "As It Was & Is" serves as a perfect post-scriptum to the above carnage, the sorrowful violin from Chikviladze and the desolate piano expressing wordless agony. Another drop dead (excuse the bad pun) melody that gets just retribution with a whiplash guitar salvo from Colin, and some synthesized confusion from Dave, the orchestral backdrop raising the curtain on the proceedings.

The title track is where reverence seeks to impose its dominion and what better instrument that the mighty pipe organ, a personal favorite ever since "the Six Wives of Henry VII" was purchased so long ago. This is where that old tradition of looking at the LP artwork helps in defining the music within becomes apparent. The inspirational artwork is not only visually beautiful but also very a propos, as it contains all the clever hints needed to comprehend the story (oh so, 70s prog!) of how each life is a colliding enigma of potential opposites , depending on which cards are dealt, as well as which one you choose to play. The extremes go from a wooden box to a spectral palace beyond the suspended bridge on the horizon. The human condition is an endless maze of comfort and agony.

The French (RIP Eric) say "terminer en beauté" (finish in style but the Gauls are so much more expressive) and how appropriate to finalize the album and a career with "The End of the Line", a stirring and positive exit ramp instrumental that shines ever so brightly, a brisk percussive pace, glitter riffs, swooning bass support and an applauding piano, with Colin polishing off a masterful 'merci beaucoup'.

Nothing to look forward to more in the future than to regularly revisit all the Nova Cascade albums, as these works offer not only aural satisfaction but a much-needed artistic form of panacea for a constantly troubled world. 5 Deck of cards

IQ's Dominion isn't just another entry in their storied discography?it's a declaration. A bold, emotionally charged, and musically expansive journey that might just be their finest hour. Or at least, their finest 53 minutes. It's rare for a band decades into their career to sound this vital, six long years after the previous album 'Resistance', but IQ have always played the long game, and with Dominion, they're playing it on their own terms.

The album opens with the monumental "The Unknown Door," and in doing so, throws down the gauntlet from the very first note. A 20-minute-plus tour de force, it might well be the band's greatest epic ever?a bold statement, but one that stands up under repeat listens. The beautiful horn intro, followed by Neville Chamberlain's unnerving war declaration speech, sets a tone of mystery and grandeur, like a curtain lifting on something vast and unknowable. After a 'rubato' vocal section, reminding me of the beginning of 'the road of Bones', the piece really lifts off at 5:00 with heavy rhythms and great guitar/synth work. Another escalation around 9:00 where the band moves into even heavier territory. Twelve minutes in, the track plunges into a breathtakingly intricate rhythmic section, a whirlwind of precision and tension that showcases the band at the height of their compositional powers. After a climax the horns return, announcing a more intimate section with vocals accompanied by accoustic guitar only, gradually building up to a more rhyhtmic section with Nicholls once again singing his favourite(?) lyric line consisting of just one word: 'Now', around 19:00 finally creating room for a wonderful symphonic and majestic ending, with a solemn, cathedral-sized church organ arriving to bring the piece to its emotionally towering conclusion, although the final seconds are again reserved for just the voice of Nicholls and the accoustic guitar of Holmes. This isn't just a song?it's a universe, and stepping through The Unknown Door changes how you hear the rest of the album.

"One of Us" follows with a more introspective, human-scale focus. Wrapped in melancholic melodies and Peter Nicholls' aching vocal delivery, it explores themes of belonging, exclusion, and quiet resilience. There's a sense of emotional gravity in its simplicity, making it one of the most quietly affecting moments on the record.

The mood turns sharper and more assertive in "No Dominion," a track that bristles with energy and defiance. As the title suggests, it plays like a direct counterpoint to the album's name?questioning power, identity, and legacy in a compact, driven burst. Neil Durant's synth textures shine here, adding a restless undercurrent that pushes the song into darker, edgier terrain without ever losing IQ's unmistakable melodic sensibility.

On "Far From Here," the band shifts into lyrical high gear, weaving wordplay and socio-political commentary into another haunting prog epic (stretching nearly 13 minutes). The standout line?"What if the right had nothing left, would the left get nothing right?"?crackles with ambiguity, wit, and relevance. Directional, ideological, and emotional meanings twist together, reflecting the confusion and contradiction of modern life. It's IQ at their smartest and most subtly confrontational.

The album closes with the sprawling, cinematic beauty of "Never Land." Part elegy, part promise, it builds slowly and confidently toward a shimmering, hopeful conclusion. It's the kind of song that doesn't just finish an album?it stays with you long after the final note. Glowing with layered instrumentation and emotional heft, it's a fitting final chapter to an album that feels like a journey, both outward and inward.

Musically, Dominion finds IQ in peak form. Mike Holmes' guitar work is expressive and precise, switching effortlessly between soaring leads and atmospheric textures. Neil Durant's keyboards are lush, intelligent, and emotionally attuned, while the rhythm section of Tim Esau and Paul Cook is as tight and inventive as ever. And at the center of it all, Peter Nicholls remains a singular presence?part narrator, part guide, always compelling.

Dominion is everything you would want from a modern progressive rock album: ambitious, intelligent, beautifully constructed, and emotionally resonant. IQ haven't just crafted a collection of songs?they've built a world. One with doors both known and unknown. And it all begins the moment you step through the first one.

"Garden of Eden" is a family breakup with a fierce vocal, and a rock rhythm behind it. The grating violin break is disorienting before the solo, followed by a religious vocal rise, reminiscent of Klaus NOMI, mantra-like and depressive. A striking heavy suite, interesting with its colorful dark prog side. "The Letter" has a nervous riff, a basic monolithic keyboard, a quest for an impossible love before the electronic musical space surfing ARAGON; a prog- metal rock mode with the depressive violin. "Meadows of Silence" with its metronomic title, punchy rock for the vocals and electro; a classical, religious break, a Dantesque explosion with the inhuman bombardment. Bruno's guitar solo amplifies the drama by letting the song drift into the dark finale, into a latent atmosphere.

"Lost Horizon (Ghosts Endgame)" in three parts; A chilling violin with the disappointment of the lonely hero ending his life and throwing his writings into the sea. A solemn, depressive air, the piano then the gravelly voice over a stern progressive rock; a neo-break with an expressive, narrated, Wallian, melancholic vocal. The variation with the martial percussion lets out a final languid guitar solo flirting with an excellent ANGE. "Tempest" as an instrumental interlude explains the opening of the lyrics and a beautiful velvety keyboard solo. A passing siren enhances the languid violin solo before the melting organ and then the nervous guitar. Will she decide to read these lyrics? The choirs arrive, the piano becomes austere, will it be read?

Eye 2 Eye did the job, a good job with a conceptual album on long cinematic, captivating passages, alternating softness and explosion reminiscent of PULSAR, PINK FLOYD, LACRIMOSA, with a unique and singular sound very endearing over the course of listening. origin on progcensor.

I usually wouldn't take the time to write bad reviews but I feel compelled to here. Track 7 describes accurately my humble opinion of those that have gushed about this album so far.

The album is built around overly simplistic synth passages which can mostly be played with a single finger, and a rinse- and-repeat composition where every track is an attempt at building an atmosphere around a basic ballad and including one of the aforementioned synth passages and a final bit of Floydian (in style but not in likeability) guitar. The worst part is the lyrics. I commend anyone willing to have a go at writing lyrics not in their native tongue, but it often results in an incredibly simplistic and often not scanning result - no different to me attempting to write an intricate and passionate love song with my C in GSCE German and the help of google translate. At times the lyricism makes you physically cringe - see The Mirror for one of the most sickening ballads I've ever heard.

The end result is an incredibly derivative attempt at a neo-prog rock opera. Even for fans of neo-prog, 80s synth, or the symphonic pomp, there are dozens and dozens of far better modern efforts out there.

Review Nº 891

"Breakfast In Biarritz" is the second live album of Arena and that was released in 2001. While their previous debut live album "Welcome To The Stage", which was released in 1997, was totally focused on their first two studio albums "Songs From The Lion's Cage" and "Pride", this their new live release was essentially focused on their newest two studio albums, their third and fourth, "The Visitor" released in 1998 and "Immortal?" released in 2000, respectively.

The name of the album "Breakfast In Biarritz", might be slightly a bit confused because this live album was recorded at the Paradiso, Amsterdam, Holland on Tuesday 17th October 2000, during the European of their "Immortal?" live tour, and not in France. The title of the album refers the place where the band had a day of during the "Immortal?" live tour.

"Breakfast In Biarritz" has ten tracks plus four bonus tracks. The second track "Crack In The Ice", the third track "Double Vision", the fifth track "Serenity", the seventh track "The Hanging Tree", the eighth track "A State Of Grace" and the ninth track "Enemy Without", are all live versions of tracks recorded on their third studio album "The Visitor" that was released in 1998. The first track "Moviedrome" and the sixth track "The Butterfly Man" are two live versions of tracks recorded on "Immortal?" that was released in 2000. The fourth track "Midas Vision" is a live version of a track recorded on their debut studio album "Songs From The Lion's Cage" that was released in 1995. The tenth track "Crying For Help VII" is a live version of a track recorded on their second studio album "Pride" that was released in 1996.

So, as I mentioned above, with the exception of "Midas Vision" and "Crying For Help VII", all tracks on "Breakfast In Biarritz" are from their albums "The Visitor" and "Immortal?", which are in general considered two of their best studio albums, in what I also agree. About the performance on the album, and as happened with their debut live album "Welcome To The Stage", there's no real live atmosphere because the pieces are interpreted very closely to the studio original. There are hardly any variations, either in terms of content or sound. But, the performance is good and some of the pieces are really fun, such as "Crack In The Ice", "Midas Vision" and the rocked version of "Crying For Help VII".

"Breakfast In Biarritz" has two CD's. The CD 1 has the ordinary tracks. The CD 2 has the four bonus tracks, three live versions of three studio songs plus an Arena's documentary. The first track "Chosen" and the third track "Friday's Dream" are live versions of two tracks recorded on "Immortal?". The second track "Elea" is a live version of a track released on "The Visitor". The fourth track is a multimedia section with over thirty minutes of live footage, the history of Arena and interviews with all band's members. It was originally made for French Television and its quality is very good.

When inserting the second bonus CD into your computer, it will automatically start the Internet Explorer, play an intro tune and will offer you several options. You can visit the Verglas and Arena sites or the site of Legend Productions, the company who produced the interactive section, or you can drop to these companies an e-mail. However, the most interesting thing on this part of the second CD is the fact that you can start the documentary about the group instantly.

The documentary is nicely designed with lots of floating images, flipping collages and even an animated version of the "Immortal?" CD covers. In this documentary, the band's members, mainly the two founding members Clive and Mick, take you through the history of the group, the writing process, portraits of the band's members and speak about their new album "Immortal?". These interviews are shot backstage at a concert, in a pub and in what I think is Clive's Thin Ice Studio. The story is alternated with footage of the band live on stage or sound checking. Although, some of the music is completely unrelated to the period or albums discussed, and therefore it's somehow a bit out of context with the real historical perspective, which is a shame. Unfortunately, all the footage also features the new line up, which is comprehensive, but I preferred to see some film material with the right lines up, because as it's a documentary about all group's history, I would like to see some film material with the right lines up. Anyway, this is an interesting thing to see.

Conclusion: The second live offering from Arena is as good as the first one is. Like with their debut live album, the track selection for this live set is also excellent. All their studio albums, until that moment, are represented here with one track from "Songs From The Lion's Cage" and one track from "Pride", and where their greatest masterpiece "The Visitor" is amply represented with six out of ten tracks from that album, besides the two excellent tracks from "Immortal?". So, "Breakfast In Biarritz" is like "Welcome To The Stage" an excellent album, despite the changes on the line up of the group. Both new band's members Rob Sowden and John Mitchell are perfectly well on it. Mitchell is truly an amazing guitarist and together with Nolan, he is the brightest star in the band. Sowden made a great job especially when he had to sing songs originally performed by Paul Wrightson and John Carson. This is highly recommended.

Prog is my Ferrari. Jem Godfrey (Frost*)

Proud owner of all eight studio albums, this veteran band proves the famous adage that time waits for no one, having launched their career in 1984 (hi, George!) with the still lovely after all these years "Silent Dance" release. Then came "New Life" in 1992 and "Circles" in 1997. With guitarist Andy Glass leading the band through a bevy of altering lineups, including the brief presence of the celebrated Clive Bunker on that final recording, the band suddenly found itself at a crossroads , unable or unwilling to fight o, desperately in need of a reflective pause and resource some creativity. Thirteen years went by in quiet anonymity, Andy gathering around him players that still form the band today: sensational violin and viola player Jenny Newman, Steve McDaniel on keyboards as well as the perennial rhythmic duo of Robin Phillips on bass and drummer Pete Hemsley. The album "Spirit" not only reignited their career but was a wonderfully solid progressive album that excited the prog world immensely. From the whopping opening tune in "Salomon's Bridge", to the epic title track, their redefined sound lit quite the fire, that continues to this day. Four more gloriously tasty albums followed, the stupendous "Prophecy" in 2013, the lush 2020 "Sia", the luminous "Light Up" in 2022 and now "Clann" in 2025. The latter three albums feature the lovely and talented Jess Holland on lead vocals and complete the Sia trilogy. All that patience and hard work has paid off handsomely, as Solstice reigns supreme in the prog world, love by critics and fans alike for their resolute courage in believing in their craft! Their concerts are ebullient affairs full of positive feelings , a trait desperately in need of today.

"Firefly" spirals like glittering insects in the early evening darkness, providing electric excitement, a smooth 'light up' groove that would embolden even the dourest of souls, Jenny' violin fluttering mightily, the vocals from Jess Holland this side of gently seductive , a solid bass and drum foundation, colored by McDaniel's keyboard pastels . And here is what makes this band so special, everything displayed is deliriously smooth and velvety , until Glass enters the fray boldly, very much like Carlos Santana in his heyday, taking over the arrangement and making his guitar soar and emote like no tomorrow. A folkier side of Camel, mixed with some incisive axe manipulations.

Keeping the upbeat positive vibe, the shuffling and breezy "Life" comes across as a complex simplicity, interwoven grooves that eventually build up into more atmospheric pools of reflection, learning to breathe and enjoy the ride. When the symphonics kick in with the violin/viola led orchestrations, it is clear to anyone that this piece is exceptional. Glass launches this into a restrained shadow with a slow-paced crescendo before reverting to the original expansive pace. The harmony vocals from Ebony Buckle and Dyanne Crutcher only adds to the joy.

Deciding that having fun is always a good thing, the brassy funk-rock of "Plunk" comes as a bit of surprise, very addictive with clever lyrics and a very urban American style, sunshine warming the air. Glass delivers an almost Holdsworthian flurry of notes from his screeching guitar , backing vocals in full tow, including some chanting choruses at the end. Surely fun in a live setting !

From Funky town to Bluesville, "Frippa" is not an homage to the Crimson King but a rock song full of choppy riffs, stop and start pacing, rippling Hammond bursts , a swirling violin and impressive vocalizations from Jess and the girls. A synthesizer solo a la Foss Patterson (Camel) takes briefly over, before Glass goes ballistic on his fretboard with a blistering fireball of notes, another violin spot for Jenny to shine on , and all converge to the fold for the finale.

"Twin Peaks" is not only the final piece but also an epic 14-minute jewel that crowns this album with high marks, as it's a stunner! The first three minutes are an introduction to a shimmering celestial portal, where acoustic guitars, exquisite violin and divine vocals coexist in complete adoration. A breathtaking melody helps the cause. The repeated 'come away' chorus from the feminine trio is a soothing balm of panacea that seduces profoundly, taking this second level even higher. Andy kicks it further up the ladder, with an emotive display, all sense and sensibilities. With a third variation being an electronic transition that defies expectations, the dreamy echo of a pained voice amid the bubbly synths becomes another moment of bliss. The fourth level introduces a nearly Oldfieldian vocal feel, genuinely intoxicating and hypnotic, taking the listener to another galaxy, with drums beating in the valley below. The circle is complete with the glowing reprise of the main 'come away' melody, and I must say, if this leaves anyone indifferent, and ear doctor (or in proggy terms, an otolaryngologist) would be of great benefit. Fluffy synthesizer clouds put this incredible piece to bed. I am on my knees, in reverent fulfillment! This final track will surely go down as one of the most intriguing and beguiling pieces of 2025, hands down. 4.5 tribes

Brave has been one of the most acclaimed Marillion album from the start in fact, it used to be even more acclaimed back in the days when the 1980s Marillion sounded dated and this still didn't. Naturally, Brave has begun to sound a little dated itself, while the 1980s Marillion has almost turned kind of fresh. Anyway, this one was a brave album, as it introduced a new kind of Marillion that had left the 1980s and Fish's ghost behind, instead presenting us a new progressive rock hybrid that was recognisably 1990s.

The opening "Bridge" doesn't really get going, but the following "Living With the Big Lie" and "Runaway" are already better. Then there is the lengthy "Goodbye to All That", which features some nice fragments, but I quickly learned to skip it. "Hard as Love" is not actually my favourite either. Instead, "The Hollow Man" and the 8-minute "The Lap of Luxury" are high quality music, while "Paper Lies" is not much worse. but "The Great Escape" and "Made Again" close the package with a high note. This is a Magnum opus of progressive rock and music and general. Mariilion created this album with a narrative and created It perfectly. 5.0

Second album from this UK Neo-Prog band. Guitar-heavy melodic progressive rock, with a definite leaning towards the sound and style of Rush (particularly the 80's version of Rush, with more keyboards, less proggy structure). Fine playing and musicianship, but the songs and style just didn't click with me. Single vocalist with no background or harmony vocals at all, so not a very full sound. Came across more as Rush wannabes without the needed songwriting skills. If that vibe and style is appealing, you will probably really like this, but it is not really for me. Not bad, just not that great. Rating 2.5