SYMPHONIC PROG

Luiz Alvim is a Brazilian keyboardist and composer with a background in classical piano. He has performed live and recorded with a diverse range of artists. Progressive rock is often defined by intricate compositions, virtuosic performances, and a willingness to push boundaries. The LAB Experience, led by Luiz Alvim, takes this philosophy to a new level by completely omitting guitars, one of the genre's most fundamental instruments. The result is an album that challenges conventions while maintaining the depth and complexity that fans of progressive music crave. The album consists of a mix of original compositions and reinterpretations of previous works, enriched by contributions from various guest musicians.

Well, as a huge vintage keyboards aficionado it took very little time to get excited about this instrumental first album by The LAB Experience (only keyboards, bass and drums), what a great sound, and what a skilled musicians.

The first 3 tracks A Long Time Ago, m.a.r.i.k. and Parallel Dimensions deliver bombastic mid-tempo beats featuring dazzling synthesizer runs and swirling Hammond organ, backed by a powerful and dynamic rhythm-section, the interplay is awesome, often Japanese Gerard (the era as a trio) comes to my mind.

The fourth composition The Mind starts with a fat synthesizer sound, then the music delivers more variety, with several breaks, including Mellotron violins, blended with a fat bass sound and propulsive drums, and a short but swinging bass solo.

Next Future Dreaminess, first an ominous spacey climate, like horror soundtrack, then accellaration with Hammond, followed by soaring strings and slow rhythm, spacey synthesizer flights. Halfway a mid-tempo beat and lots of keyboard pyrotechnics, fuelled by a powerful bass. In the second part a break with Mellotron violins and a growling bass and propulsive drums, how exciting.

Then the epic composition Astral Zenith. It opens with a majestic Hammond organ and tremolo Leslie sound and concludes with tender piano runs, in between lots of shifting moods (from dreamy to bombastic) featuring Vintage Keyboard Heaven: Mellotron violins eruptions and soaring Mellotron flutes, dazzling pitchbend driven Minimoog synthesizer flights and spectacular Hammond organ soli, topped with amazing work on bass and drums, wow!

And finally the short The End, a beautiful piece built around tender Grand piano, tastefully blended with soaring Mellotron violins, dreamy bass work, and a churchy Hammond sound.

What a stunning debut album, highly recommended to all keyboard aficionados!

For me this kind of new bands is the reason that I stil write about prog since 1992, obrigado Luiz!

What strikes me most about OMNI is its balance it manages to be both complex and accessible, grand yet intimate. The compositions weave in and out of symphonic prog, jazz-fusion, folk, and ambient textures, all while maintaining that unmistakable Karfagen identity.

Melodies soar with emotion, rhythms evolve organically, and the instrumental interplay is just stunning. There's a story in every track sometimes meditative, sometimes playful, often uplifting. The transitions are seamless, and the dynamics flow like a well-told narrative. It's cinematic, but never overwhelming. It breathes.

The production is crystal clear, giving every instrument its space. It feels like you're inside the music, not just listening from the outside. That's a rare thing.

And while I'm grateful for the YouTube upload (thank you again, Antony!), this is one of those albums that deserves to be held in your hands. The artwork, the liner notes, the tangible presence of the CD or vinyl it completes the experience.

In short: OMNI is a triumph. A modern prog gem that pays homage to the classics while boldly forging its own path. I'm already on my third listen and discovering new layers each time.

"OMNI Part 1" on the first side features "Omni Overture," a clean synth from the GENESIS era, with thumping drums; a thunderous, airy intro that adds energy; it's sure to get people talking with its telltale brass. "Storyteller (Part 1)" follows, with Richard from CARAVAN and CAMEL singing with his suave voice on a marshmallowy track, aka melting, velvety, "Canterburyen." Softness and rhythm for new prog rather than symphonic prog: the important thing is to be carried. Michel ST-PÈRE (MYSTERY) and John HACKETT come to throw their notes to inflate the piece in modern mode. "Whispers from the Past" in folk variation with female voices and romantic choir; a flute, an air, a melody from medieval times. The interlude to settle down, in the vein of SUNCHILD. "The Spark" with Per MALMBERG (SALVA) as guest vocal, sound of ELO and again of GENESIS 3rd version. The brass amplifies the funky-groovy period of certain groups of the 80s, TOTO and the AOR which shines through, EARTH, WIND & FIRE on the other. The instrumental finale with Antony's keyboards shows his dexterity, his creation; FLOWER KINGS for the finale. "Masterplan" continues, keyboards in front; Soapy, cottony, apparently like Bodin, and Antony for me, singing too, in short, SUNCHILD with a rather common sound. The drift and the finale are worth much more, the nervous guitar setting this track alight before the flavor of the melting keyboard. "Mirror of Souls" concludes, a cinematic symphonic soundtrack with a grandiloquent baroque air; unrestrained prog with John's bucolic flute.

"OMNI Part 2" opens with "Unchained," marking the beginning of the second side, like in the days of CDs, LPs, and cassettes. Jean Pageau (Mystery) adds his voice, a moment of latency over a piano coulis; a slow drift and the melting solo arrives; it's very bucolic, very culinary, very neo-prog too. This solo is just perfect, rising in intensity and emotion; from reliable sources, it's definitely Max Velichko (Inside the Sound) who's having a blast on it. Jean takes control for a while but the solo explodes the song musically; melancholic outro piano and keyboard calmly bringing "The Cards We Play" with a new change, flute from John, singer Marco GLÜHMANN (SYLVAN) with his stamped prog voice, Richard for his bass and Michel coming to deposit their progressive doses. Antony amalgamates everything as a conductor to make this title the central spearhead of this side worthy of a baroque rock opera without naming it. Dark outro flute, guitar, keyboard and "You and I" appears, Bartosz KOSSOVICZ (COLLAGE) working his voice between that of Steven WILSON and FISH; an intimate, spleen, captivating new prog. The guitar solo returns to the emotions of English neo prog, more languid, sweeping away the question of having so many beautiful voices on this side; very warm. "Storyteller (Part 2)" ends the album with a chorus of velvety voices for the bucolic, rustic track; Richard radiates the most, as does Antony; the tune seems to have come straight from a Robert Wyatt album.

KARFAGEN releases OMNI, a musical journey that takes Antony's personal work far back with this blend of symphonic, aesthetic, and fantastical rock. Originally on profilprog (4.5).

"What If?" shakes my ears, a return to the GLASS HAMMER of the past, more melodic, less heavy, sung with the fruity sounds of Yes, acoustic guitar, and electronic keyboard worthy of 80s BOSTON. The vibes of Mike OLDFIELD are compelling for this bright, airy, symphonic track with a bucolic guitar solo. "The Road South" opens with a tune by BARCLAY JAMES HARVEST, RADIOHEAD, and a soaring atmosphere of ALAN PARSONS; gone is the prog-metal sound that boosted me, back to the keyboard-laden sounds of 70s-80s YES and ELP. "Tomorrow" is a text oozing with religious hope, a tune leaning towards pop love song with velvety synths and a pervasive bass. A hint of Jon Anderson on the holiday air of these bucolic, marshmallow bells. "Pretty Ghost" continues, a few notes from the cruise s'amuse to emphasize the cheerful tune. Olivia takes the stage accompanied by the Yessian bass, a languid 80s pop tune and her Genesis-esque keyboards like in the band's early days. Fresh without overthinking it, but so far from the sound of the last two albums. "Sunshine" continues with Olivia, YES exploding into reminiscence with the pad and plaintive lap-steel guitar. A languid vocal ballad for 80s regression with this thoughtful keyboard smelling good of THE CARS. A progressive finale on a marshmallow slope hurtling down the notes of a country meadow. "I Will Follow" is a classic organ intro. YES, yes again, although U2 fans will have been listening for a while. The punchy rhythm, velvety keyboards, and diverse hooks give this track a measured power. Layers of vocals, Oliver's vibrant melancholic guitar solo, and Steve's keyboards amplify the progressive side.

"The Wonder of it All" is an 80s-style intro, reminiscent of The Cars; I insist on the fresh use of the keyboard. The cinematic intro lets the velvety vocals unfold on the slopes of Alan Parson's, oozing melting marshmallow over a serious lyric. The keyboards bring the AOR-oriented, alternative, nostalgic break, harking back to the original Glass Hammer, sumptuous even if it lacks pep for me; the final keyboard is redundant and hypnotic. "One Last Sunrise" with the interlude, YES-style, coming from the Centaur star; electronic atmosphere, which is moreover, easy to access, bordering on new age. The unfolding of the air in fade on a vulgar drum machine embellished with bewitching keyboards, chiming with the dark outro. "Terminal Lucidity" matrix-like intro, soaring, obvious on OZRIC TENTACLES. A title winking at 'The Return Of Daedalus' by Arise, with the spaceship coming out of a black hole... In short, space rock full of electronics bordering on krautrock where the sounds of TANGERINE DREAM come to light. Velvety, distorted, on 'Tron'. The heavy guitar solo spurts from this black hole precisely, immense; Ariel's keyboard solo a tad hypnotico-oriental, bluffing. A little space-time later it's a bewitching alien western. The piano sets the scene after 8 minutes, introducing a solemn symphonic aria where vocals were not required. A grandiloquent moment with choirs, bells, and piano blending into the space of our psychedelic memory. "All Good Things" closes the album, with Alan Parson's vocal phrasing, ELO, and The Beatles. A sad, languid aria that evolves with the instrumental parts of Ariel on keyboards and Oliver on guitars. The solemn piece, a testament to the hero's journey, is effectively brought to life by this divine, captivating, psychedelic break. Prog like the good old days, with melancholic sequences that make you cry with joy and realize that beautiful music is still present today.

GLASS HAMMER returns to this gentle sound after their heavy trilogy, which had so much to talk about. A melodic album with a nod to the 80s, new wave to regress without getting too lost in the twists and turns of the Dinos. Original profilprog (4.5).

Occasionally, I have given it some thought if I should regard it as an excellent addition to any prog music collection or as good but not essential. My mind can't reach any conclusion, so I left this task to my heart.

With a perfect title like "Bracing for Impact", do not expect an ambient xylophone lullaby , but rather a volatile onslaught of gruesome Andy Tillison organ surges, assassin-based bass guitar meanderings from the maestro and incessant drum bashing of the highest order that last 2 and a half minutes and gets all the juices flowing. Keyboardist Lalle Larsson and Krister Jonsson add impressive details to the opening salvo.

Next up is not only a masterpiece track , on the verge of becoming a classic with more airplay, the mesmerizing beauty of "End of the Road" possesses all the ingredients to be a gourmet prog epic. Absolutely every second has staying power, seduction, and melodic content. Geri Schuller defines the ravishing theme on piano (which will take a bow at the end as well), the platform for Simon Phillips to decorate his syncopating technique, Luke Machin showcasing both acoustic and electric guitars, and a vocal barrage of the highest order : Randy McStine and John Mitchell trading the microphone, expressing the 'days of wonder' of 'the end of the road' with succinct passion. Jonas keeps everything nice and tidy as befits a musician of his stature (the images of his red Rickenbacker will remain forever imprinted on my soul). The acoustic guitar reprise with the piano is two steps from heaven genius as the theme detonates for another, more tectonic recap, Machin swerving madly on his lead guitar showcase. I have been humming this melody even in my sleep. You will too. One of the finest tracks for 2025 and beyond.

Craig Blundell takes over the kit on stunning "Cosmic Love", with John on the vocal, Randy on the guitar with Jonas handling the pulse, layering a great harmony chorus to boot, as once again the melody is immediately engrained into the mind of the listener. A slight hint of Spooky Tooth's classic oldie "The Mirror", which is a major compliment. The next trio of pieces could have been a suite loosely put together , as the overall style is similar. "We Got the World in our Hands" has Simon back on the drum stool, John playing a sensational 12 string acoustic and singing, with Jonas twirling in the background. Easy to follow with a few twists into creative sidebars, an inspirational chorus that sounds most comfortable and Krister peeling off an oblique run on his fretboard.

"All That Glitters Is Not Gold" incorporates old pal Tomas Bodin on keyboards, with addition of guest flute, saxophone and accordion, Jonas whipping out his fretless bass for our pleasure. Another crushingly attractive melody solidifies the chorus , that sonically widens with powerful riffs courtesy of Jonsson's axe technique that give off a darker atmosphere that is most welcome. Rob Townsend plays the sax part with his usual aplomb, with Blundell propelling like a turbo charged speedboat.

Original Karmakanic vocalist Goran Edman handles the bluesy "Gotta Lose this Ball and Chain" with his intricate growly voice supported with plenty of backing vocalisms, the molten riffs and athletic drums (Phillips) verging on Led Zeppelin and once again, lest I repeat myself, a theme that sticks the landing immediately! Guest guitarist Sven Cirnski rips a solo that hits the mark, and the finale is a showstopper. Another delicious chapter of this amazing release.

The title track is the coup de grace (please, it's a French word, its pronounced 'coo de grass') takes the exalted listener on a magical 23-minute progressive rock exploration that seeks the raise even further a most lofty bar. Throughout its length, many guests get to shine: Lalle Larsson, Andy Tillison, Geri Schuler, Tomas Bodin and Roger King show their keyboard skills, Steve Hackett shows up on his patented nylon acoustic for a brief spot, along with Jan-Olof Jonsson on acoustic and Krister taking another lead solo flight, Nick D'Virgilio manning the drum side of things , Rob on sax, and the amazing Dina Hoblinger trading the lead vocal with John, with backing help from Amanda Lehmann. Jonas does his reputation proud with some scintillating interventions on his instrument. Do not worry, this mammoth track flows like a majestic iceberg in glacial waters, at times gleaming, then shimmering, always glimmering, unafraid to boldly veer from prog to symphonics on a dime and a jazzy piano spotlight from Schuler this side of Herbie Hancock. The vocals are spectacular, the lyrics deep and the overall tempo is next level genius. Roine, this is a modern epic!

An extraordinary addition to this year's top of the podium finalists for 2025, one of easiest five-star attributions ever. This finely-tuned Prog automobile needs zero repairs or maintenance.

5 conversions

The vocals? Absolutely stellar. With Marco Glühmann and Jean Pageau lending their voices to this project, the emotional depth reaches a whole new level. They bring so much feeling and character, it's impossible not to get goosebumps. There are moments on this album that literally touched my soul ? those quiet, emotional passages that stretch into infinity. You just close your eyes and feel.

At the same time, OMNI is such a loving tribute to the roots of progressive rock. You can hear the spirit of the classics, but it never sounds dated ? it's alive, inspired, and full of heart. Karfagen have created something truly special here.

If you love prog, melody, emotion, or just great music ? do yourself a favor and listen to this masterpiece. Then listen again.

I truly hope OMNI brings you the respect you so clearly deserve! It's been amazing to witness all the progress you've made over the past few years. Releasing such an outstanding statement like OMNI is, without a doubt, a major success. And with this album, you've undeniably stepped into the high league of progressive rock.

OMNI is a release that holds magical depth, filled with so many beautiful melodies ? something so rare in the modern prog genre. While many bands drift through chord sequences and layers of sound, I love when there's melody in music ? it's the heart, the core.

Speaking of the melodic core in OMNI, it almost feels like a musical. There are guiding themes, and all the excellent musicians involved feel like actors ? each one playing their role with meaning and precision.

I've listened to the album so many times that it's hard to pick a favorite track. They all work perfectly together, forming a cohesive suite. But if I had to choose just three, they would be:

"Whispers from the Past" ? A charming and hypnotic, almost medieval acoustic ballad. I especially want to highlight Olga Rostovska's voice ? absolutely beautiful!

"The Cards We Play" ? A true prog rock hit! It hooked me the moment it was released as a single. Marco Glühmann's vocals and Michel St-Père's guitar work bring magic to this 8-minute gem ? pure progressive rock delight.

"Storyteller (Parts 1 & 2)" ? I love both parts, but the second one brings tears to my eyes. A touching father-and-son story, full of emotional highs and lows? what a powerful acoustic piece.

"Dreams that broke, we turned to gold, Wounds that healed, stories told. Through the tears, through the strife, We penned the poems of this life."

I highly recommend this album. In my opinion, it will remain a bright chapter in prog rock history.

1: What If: The album starts with a very melodic song, which reminds me a lot of older Glass Hammer albums. Very good song. 2: The Road South: This song is very melodic and symphonic and very peaceful, a lot more peaceful than the last song. A good song, however not as good as the last one. 3: Tomorrow: This song is very atmospheric and faster than the previous song. The song slows down after the beginning. I like this song more than the previous one. 4: Pretty Ghost: Not a bad song, however not my favorite either. 5: Sunshine: This song is again very peaceful and atmospheric. I like this song, however not as much as some of the others on this album. 6: I Will Follow: This song begins with organs and it begins very peacefully and when the drums come in, the song becomes faster. I like this song. 7: The Wonder of it All: This song is faster and very atmospheric. I like this song. 8: One Last Sunrise: A very peaceful and atmospheric song. I like it. 9: Terminal Lucidity: An atmospheric song. Really brings on a journey. I feel like there's some Tangerine Dream influence in it? I like it a lot. 10: All Good Things: This song is peaceful, it also seems to bring on a journey, very good song. Probably my favorite song on this album.

Conclusion: A very good album, with lots of great melodies and its a very atmospheric album. Rating: 4/5.

A composer who adores BACH, CHOPIN on one hand, PINK FLOYD, KING CRIMSON, and GENTLE GIANT on the other, for an original creation that showcases the progressive signature of the great classical composers who have bathed the ears of artists from the 1970s to today; a little regressive moment for those who adore keyboards above all and the classical golden age.