SYMPHONIC PROG

With a new lineup and no guitars, Triumvirat makes a tremendous job in keeping their sound fresh and very progressive. The four songs over seven minutes are all different, remarkable and enjoyable. The string synths are a special treat, just check the atmospheric passages on A Day in A Life and The History of Mystery, the two best tracks of the album.

Another highlight in a completely different mood is A Cold Old Worried Lady, which is basically a song with only piano and vocals (there is a bit of string Synthesizer as well). The piano arrangement is simply impressive and the song very emotional.

Unfortunately, the fortunes of this progressive rock band were changing, as the genre started losing its prominence in the late seventies and the following albums would never reach the heights of Old Loves Die Hard, that, along with Spartacus, represent the best and most inventive part of Triumvirat career.

David Minasian produced a masterpiece in 2010 with the powerful symphonic journey of Random Acts of Beauty, with guest artist Camel's Andy Latimer. 10 years later he has returned and has even surpassed his guest list with the likes of Justin Haywood, Annie Haslam, Steve Hackett and Billy Sherwood, among other prog specialists.

The Wind of Heaven (Prologue) opens the experience with mellotron soaked tranquillity and Haywood's gentle vocals caressing the soundscape. It's a Moody Blues style track with sheer moments of beauty that transport you on the threshold of a dream.

All In is a beautiful, haunting track with mellotrons, Minasian's guitar prowess and sensuous piano. The vocals are heartfelt and inject a transfusion of life to the lyrical beauty. The guitar work is incredible.

Faith Hope Love is an instrumental that includes gorgeous flute over keyboards with a purely pastoral atmosphere. The music is organic, transitioning from staccato passages of guitar into lilting dreaminess on piano.

The Sound of Dreams is a suite in 3 movements and First Movement has the phenomenal vocals of Annie Haslam, sounding as eloquent and lovely as she does on Renaissance albums. I love the lyrics "all the ponds and rivers dance, and nothing is what it seems, their love fills my heart, unfolding into the Sound of dreams". She holds that last note for so long on a high octave note, it is simply breathtaking. The choral synth intonations are uplifting to the soul and Hackett's guitar work is beautiful. The 1st movement is a masterpiece track.

The Sound of Dreams (Second Movement) is an up-tempo instrumental with great basswork from Billy Sherwood. The guitars soar with powerful melodic expression.

The Sound of Dreams (Third Movement) is a showcase for Hackett and Minasian's piano melodies, trading off each other with unity. The musicianship is next level with such talent on display. Hackett plays his Gibson with so much emotional fervour, it is absolutely soulful and sublime to the ear.

Road to Nothingness has acoustic vibrations, piano and mellotron accompanied by floating flute instrumentation. The vocals return of Minasian and he is well accompanied by his son Justin, playing guitars and keys. The lead break is beautifully played with some eloquent fast fret work and string bends that soar and dive.

Room with Dark Corners has the lovely vocals of Julie Ragins, a song about the longing to express passion when night begins to fall in and the desire is strongest. The guitars are wonderful again on this folk prog track sounding like Mostly Autumn in texture.

Hold Back the Rain continues the falling rain motif heard throughout the album, a metaphor for melancholy reflection. I love the bird sounds too creating an atmosphere of a new dawn awakening. The romantic flute and piano chime in and augment the tranquil soundscape. Minasian sings about living without fear, you have the door to open your heart, you and I can hold Back the Rain, erase all the clouds, and whatever we choose we can achieve if we hold onto love and do not waste the day. I love the positive attitude on the album and it's uplifting message of hope.

Twin Flames at Twilight almost clocks into 14 minutes, and is another genuine highlight. The Spanish style acoustic flourishes are joined by medieval flutes with Pastoral nuances. The atmosphere is charged with beauty and mellotrons hover above the clouds like a soaring dove. Synthesisers join a rhythmic guitar and vocals. The song reflects on the grandeur of nature and love intermixed together as one. Then the clouds break into a thunderous barrage of guitar distortion, startling as it's the first metal sound and it works. The aggressive onslaught of lead guitar is tremendous juxtaposed with all the tranquillity that came before it. I love that powerful guitar soloing, distorted and glorious, then acoustics break through returning to the rivers of mellotron. The shades of light and dark are welcome, as though we were caught in the middle of a storm and the sunlight has broken through the darkened clouds to spread its rays of hope over the rain soaked landscape. Minasian sings about passion that slips away like dreams in the Twilight. Acoustics bookend this masterful track.

So Far from Home has the vocals of PJ Olsson from Alan Parsons Project and it is refreshing to hear another approach to the singing. His voice drifts along a ribbon of synthesiser flute and piano.

The Wind of Heaven (Epilogue) is a 10 minute journey of discovery, driven by the gorgeous tones of Annie Haslam. The guitars of Hackett soar over swathes of mellotron. The melody is melancholy and reflective as the lyrics explore meaning in lost love and the spiritual search for truth. The song closes the album on an air of hope and discovery of ourselves.

Overall, the ten year wait was worth it, as Minasian and these prog legends have generated a very special musical experience that is a symphonic delight to the ears.

First Light is a solid start with some solid guitar work from Andy Latimer and the musicianship of Collins, Sinclair, Bardens, and Ward.

You would think with such a lineup this would be a feast of prog but it is not to be. Instead this is a pop driven melancholic album with nothing that delights like Mirage or Snow Goose.

Metrognome is a fun track and I liked Highways of the Sun with its melodic approach.

One of These Days I'll Get an Early Night is quite innovative and Elke is great with Brian Eno's brilliance to propel it along.

Apart from that nothing stands out so this is a rather disappointing album. Worth 3 stars due to Andy Latimers fine contribution.

The opener Lady from Tuscany is a delicious proggy treat with powerhouse vocals and innovative structure. A beautiful piano piece opens Pearls Of Wisdom, a very calming track with Annie's tranquil vocals and keyboards from Mickey Simmonds. It is actually a very majestic wall of sound.

Eva's Pond has sparkling keys and Annie's echoing high vocals driving its beautiful sparse ambient atmosphere.

Dear Landseer is a return to form that features Michael Dunfords excellent guitar work with acoustic flourishes. The drumming finesse of Terence Sullivan is prevalent throughout. Annie provides a happy positive sound along with the harpsichord of John Tout. Annie even indulges in her high octave intonations familiar to those who remember the masterpiece Ashes are Burning.

In The Sunshine opens with cheerful trumpet sounds and Annie in a romantic medieval mood.

In My Life has haunting tinkling piano and an odd atmosphere. Annie sounds beautiful, crystal clear vocals and very emotional. It is a sad song about wasted moments and "things that should have been said, like how much I need you." The romantic lyrics are heartfelt on this album all written by Annie. Draw into the lyrics and they can really touch you deeply.

The Race has a strong percussive beat and is a jolt of energy on the album. The pace emulates a race of course, and it works well after the previous slowpaced meandering.

Dolphins Prayer is ambient violin textures mixed with very slow paced vocals. I believe it's a cry out for saving dolphins. It is OK due to the multilayered vocals, but a bit too brooding for its own good.

Life In Brazil has a fast tempo guitar, and overlaid vocals with an uplifting atmosphere. It sounds a bit pretentious musically, but thankfully the melody has some endearing qualities and I like the ending.

One Thousand Roses closes the album with pretty synth pads and lovely vocals with a dreamy quality. One of the best songs on the album structurally.

Overall, Tuscany is a genuine return to form though not up to the standard of early Renaissance classics.

"In London" is one of the many DVD's released by Genesis and that was released in 2007. It was recorded and filmed at The Lyceum Ballroom, London, on May, 6th 1980. It was taken from one of the many live concerts that Genesis performed when they released the live tour of their tenth studio album "Duke", which was released in the same year.

Like my colleague prog reviewer Guillermo says, the release of this DVD is really very strange. And like him, I also bought this DVD in a legit record shop in my town. So, and apparently, it seems to me that it will be an official release from the band, apparently recorded and filmed by a TV Broadcast. However, the quality of the sound and the images of the DVD haven't quality enough in order to be considered made by a TV Broadcast. However, this is a much better version than the initial Japanese edition, released some years ago, where the technical problems were much worse.

"In London" has twenty-one tracks. The first track "Deep In The Motherlode" was released on "And Then There Were Three?". The second track "Dancing With The Moonlight Knight" was released on "Selling England By The Pound". The third track "Carpet Crawl" was released on "The Lamb Lies Down On Broadway". The fourth track "Squonk" was released on "A Trick Of The Tail". The fifth track "One For The Vine" was released on "Wind And Wuthering". The sixth track "Behind The Lines" was released on "Duke". The seventh track "Duchess" was released on "Duke". The eighth track "Guide Vocal" was released on "Duke". The ninth track "Turn It On Again" was released on "Duke". The tenth track "Dukes Travels" was released on "Duke". The eleventh track "Dukes Ends" was released on "Duke". The twelfth track "Say Its Alright Joe" was released on "And Then There Were Three?". The thirteenth track "The Lady Lies" was released on "And Then There Were Three?". The fourteenth track "Ripples (Pt. 2)" is an extract of a track released on "A Trick Of The Tail". The fifteenth track "In The Cage" was released on "The Lamb Lies Down On Broadway". The sixteenth track "Slippermen" is a very short extract of a track released on "The Lamb Lies Down On Broadway". The seventeenth track "Afterglow" was released on "Wind And Wuthering". The eighteenth track "Follow You, Follow Me" was released on "And Then There Were Three?". The nineteenth track "Dance On A Volcano" was released on "A Trick Of The Tail". The twentieth track "Los Endos" was released on "A Trick Of The Tail". The twenty-first track "I Know What I Like" was released on "Selling England By The Pound".

"Deep In The Motherlode" is the opening number. Genesis likes to begin shows with a song from the previous album than the one they're touring for. The opening lines of "Dancing With The Moonlit Knight" provides a dramatic link to "Carpet Crawlers". Both "Squonk" and "One From The Vine" are effective pieces of dramatic musical narrative. But the weight of the show falls upon the "Duke" suite. It was a daring decision to play all of the new music in one set, "Behind The Lines", "Duchess", "Guide Vocal", "Turn It On Again" and ending with the instrumental "Duke's Travels" and the conclusion of the piece "Duke's End". Collins' dramatic sensibilities follow on "Say Its Alright Joe" and "The Lady Lies". After the "Ripples" fragment they play an old medley with "In The Cage" and ending with "Afterglow". The show proceeds with "Follow You, Follow Me" and comes to a great finale with "Dance On A Volcano" and "Los Endos" with the drum duet between Thompson and Collins. "I Know What I Like" is the encore that closes properly this live show.

Genesis always enjoyed playing in smaller venues in London. For instance, "Wind & Wuthering" was released in January 1977 with several shows at the Rainbow theatre. This venue also dictates the style of video made. Watching footage from the late 70's, it's apparent that the light show takes up as much interest and screen time as do the band. But this video has many more close ups of the band and the dramatic narrative of the music is much more emphasized.

Conclusion: "In London" is a great DVD despite some low quality of its sound and images. It has a very good selection of tracks that includes tracks from their last six studio albums until that moment. It has tracks from two albums of Gabriel's era, tracks from the two albums with Hackett era and tracks from their best two albums after the departure of those two members of the band. Sincerely, apart "Follow You Follow Me", that despite be a good track, it should never have been part of the musical catalog of Genesis but only be part of the musical solo career of Phil Collins, all the rest of the DVD is great, even the less progressive parts. So, if it wasn't due to some poor technical quality of the sound and images on the DVD, and I wouldn't have any kind of problems to rate it with 5 stars and considers it truly a masterpiece.

Prog is my Ferrari. Jem Godfrey (Frost*)

"Come And See The Show: The Best Of Emerson, Lake & Palmer" is a compilation album of Emerson, Lake & Palmer that was released in 2008. It has three tracks from their eponymous debut studio album, two tracks from their third studio album "Trilogy", four tracks from their fourth studio album "Brain Salad Surgery", one track from their fifth studio album "Works Vol. 1", one track from their sixth studio album "Works Vol. 2" and one track from their debut live album "Pictures At An Exhibition". It has also a track never released on any of their studio albums, "Peter Gunn".

So, "Come And See The Show: The Best Of Emerson, Lake & Palmer" has fourteen tracks. "Karn Evil 9 (1st Impression - Part 2)" is a track from "Brain Salad Surgery". "Karn Evil 9" is a great opus. It's divided into three movements or impressions. Here we have only the "First Impression Part 2". It's an instrumental track featuring Emerson on piano sounding like jazz and Palmer's drumming showing his percussive great skills. "Lucky Man" is from "Emerson, Lake & Palmer". It's a ballad for acoustic guitar. It's a song with acoustic guitar, beautiful singing and a great synthesizer solo towards the end. It's one of the best songs written by Lake. It became as one of the band's most commercial and accessible tracks in their career. "From The Beginning" is from "Trilogy". It's a beautiful acoustic song featuring Lake on vocals and guitar with some participation of Emerson in the end of the track. It's a song with a simple structure. We can say this is one of the best compositions written by Lake for the band. "Knife-Edge" is from "Emerson, Lake & Palmer". It's based on the first movement of Leos Janacek's "Sinfonietta" classical piece. This is another piece with a great showcase by all band's members, with particular emphasis to great bass lines. "Hoedown" is from "Trilogy". It's a highest moment on that album, one of their best and most beautiful compositions. It's largely an instrumental piece much over piano in the beginning, heavily influenced by the classical music. In the middle, the music blasts with all instruments playing in continuo. This is an amazing track. "Jerusalem" is from "Brain Salad Surgery". It's a classical British church hymn. This is a band's arrangement of Charles Hubert Parry's hymn, based on the prologue of William Blake's poem "Milton". This is a great version of the original piece. "C'Est La Vie" is from "Works Vol. 1". This is a well known acoustic song. It's probably the most similar in style to Lake's ballads on their earlier albums. I like it, especially of the amazing voice of Lake. "Still... You Turn Me On" is from "Brain Salad Surgery". This is the obligatory acoustic number on that album. It's a Lake's classic acoustic ballad in the vein of "Lucky Man" and "From The Beginning". It's one of Lake's best ballads. A big radio hit in U.S.A. "Tank" is from "Emerson. Lake & Palmer". It has a Palmer's small but beautiful studio drum solo. Basically, the piece showcases Palmer's unique drumming style and features one of the few drum solos on a studio album. It also marks the first appearance of the Emerson's famous Moog synthesizer. "Fanfare For The Common Man" is from "Works Vol. 1". It's a great interpretation of a classical piece of Aaron Copland re-arranged for rock. Copland's original is great and ELP didn't make a bad job on the arrangements. Synths are heavily used, especially in the later sections. It sounds like early ELP, being experimental and heroic. "Toccata" is from "Brain Salad Surgery". This is an instrumental track based on the fourth movement of Alberto Ginastera's "1st Piano Concert". This is a modern classical piece created by an Argentinean composer and rearranged by Emerson. This is a great interpretation by the band, really. This is a live version. "Peter Gunn" is a non-album's track. It's an instrumental by the American composer Henry Mancini. The song was written for the television program of the same name. Emerson, Lake & Palmer decided to release a cover of the song on their live album "Emerson, Lake & Palmer in Concert". This is a live version and is really a great cover. "Nutrocker" is from "Pictures At An Exhibition". It's a jazz variation of a Tchaikovsky theme. This is a showcase of the band's disposition to light things up after an extended, demanding display of serious music. It's a re-elaborated version of a "Nutcracker" section, yey another example of the trio's interest in exploring the roots of the chamber music and translates it into a rock context. This is a live version. "I Believe In Father Christmas" is from "Works Vol. 2". It's a nice song, one of the best moments on that album. It's a ballad based on a Sergei Prokofiev's theme with good arrangements and ironic controversial lyrics about the negative effects of the commercial Christmas.

Conclusion: "Come And See The Show: The Best Of Emerson, Lake & Palmer" is another good compilation album of ELP. It has some of the best tracks recorded on some of their best albums, the albums that belong to their best and most progressive phase and the albums that belong to the golden era of the band. We may say that all those tracks are great in their own way. But, in addition, we can also say that the four tracks that don't belong to those albums are also good. I sincerely like especially of "Fanfare For The Common Man", but even "C'Est La Vie" and "I Believe In Father Christmas" are nice too. Finally, the ELP's version of "Peter Gunn" is a nice cover too. So, 3 stars for this compilation.

Prog is my Ferrari. Jem Godfrey (Frost*)

This is a long one at over 67 minutes, and the critical track is the 19 minute "8945", at least it was for me because if I loved it like most do then this is a 4 star album. It's a political tune about the dropping of the bomb on Hiroshima including samples of American leaders explaining why they did it. I don't know, I just feel that the song loses it's way. Just my opinion. Favourites are "Cold" and "Darker" and I like that GENESIS vibe on the short "Lost Anger". The opener is short and not one I'm into.

So not nearly as consistent or as interesting in my opinion as their debut, but still I really like their sound, and it would be cool if they made a comeback sometime in the 20's while I'm still breathing.

1. LAND OF THE CHAMELEONS The first song introduces the mood and feel rapidly. Antony sings almost immediately soon followed by the background singers enhancing this world we just stepped into. Naturally we get the spirited keyboards backed and supported by the sparkling guitar. Mel Collins type saxophone playing also ensues making this song a crystal and clear intro to this new collection.

2. AGORA BY DAY This 10 minute track to my ears has a familiar tone and temperament. Within 2 mintues we hear several themes all combining, blending and furthering a captivating chain of musical elements, leading into a fast paced mixture of keyboard, guitar and vocals reaching an endearing climax.

3. MY SHADOW The soft touches of the keyboards takes us to Antony's quiet singing and the ghostly guitar strains of Max Velychko. The gift of Mariya Panasenko's voice heightens the timbre of the piece with Marek Arnold from 'Damenek' playing saxophone adding to the mix.

4. DIOS PYROS PART 2 A sombre interlude running at 3 minutes. A blend of piano and saxophone that brings an air of curiosity. A certain bounce in the piano enters here backed by long synth notes ending in a wonderful and quiet bass guitar moment.

5. INTO THE KALEIDOSCOPE An anthemed symphonic intro begins this 11 minute track. Mostly keyboard driven with touches of guitar in the background enhanced by gracious saxophone . I do get hints of 'Dragon Isle' here a little which is no bad thing. In fact it highlights Antony's development. I also suggest to anyone to watch the video of this on Youtube. The animation is astonishing and incredibly inventive. Picture and sound truly complement each other.

6. JOURNEY TO A SHRINE This track to me is the reason to own this album. It has become one of my favourite Karfagen tracks. It begins with cold, delicate guitar tones that warm you up into a heated and exciting wealth of musical pleasure and enlightenment. After pulling back midway to a soft and endearing path, it then leads into an ethereal climax that leaves you breathless.

7. 2 MINUTES BEFORE THE DAWN This now brings us to the end of the album with another short track taking us to the dawn and with the warmth of the rising sun.

Again, Antony has brought to us his scope of symphonic beauty to the highest of quality. This is an outstanding addition to the Karfagen library, to any library. His music grasps his fantastical themes with passion and vigour. His music permeates the listener with joy, excitement, comfort and beauty. I gauge this album very high and would think Antony himself would be very proud of his accomplishment here.

The melancholy starts with the opener "Dawn" with those synths swirling right out of the gate joined by a bass line then vocals. Drums after a minute but it's just before 2 minutes that we get a full sound including organ. It settles then builds. "Rain On The Moon" is where the guitar gets some attention, but first atmosphere which is replaced by synths and bass. Again followed by vocals and organ like the opener. Catchy as well. I like this a lot. Back to that earlier relaxed and melancholic sound as contrasts continue. The piano is a nice touch after 3 1/2 minutes and the sound is so uplifting 6 minutes in. The vocals after 7 minutes could not be more passionate.

The Brook" opens with mechanical sounds then piano takes over, then a calm with percussion and atmosphere. Processed vocals almost speaking are next then it turns powerful and all instrumental. A calm around 7 minutes then later the synths buzz with bass and beats in tow before it turns powerful and experimental after 8 1/2 minutes. It's powerful again before 10 minutes then settles late. "Loneliness" opens with vocals only before the music swells so beautifully. Oh my, thankyou. Such emotion and soaring guitar late. Skip to the closer "Dusk" which is mostly vocals, piano and mellotron. Nice.

Saving "The Story Of Nobody" for last, as this almost 18 minute track shows a band with some great ideas. Inventive is the word at times. Slow to start with cymbal clashes and sparse piano. Some random drums too but it won't be until before 2 minutes that the drums get active as the atmosphere and piano continue. Bass and drums then lead. So good. Then we get vocals. I like that prolonged section with the guitar leading then mellotron before 9 minutes with reserved vocals. The guitar is crying out after 11 1/2 minutes, and the vocals and sound are amped up here. After 14 1/2 minutes we get mellotron and bass as a voice cries out repeatedly "Mr. Nobody?", then it kicks in a minute later.

Six tracks worth 50 minutes, and this is a very solid 4 star record in my world.

"The Equilibrium of Time "sets the oars onto the sea green waters (pun intended) as Leon engages the various keyboards into a gentle paddle, steering towards electronic pools of synthesized flutter, that instantly recognizable monotone beat and a delightful cello and strings transition that arouses the orchestral spirit. Rivulets of troubled piano engage the roiled swells with a bombastic sensitivity, streaking organ waves splashing against the hull and finally, the screeching seagulls appear, swirling wildly overhead, Edoardo using his avian guitar skills. Franklin's bass interjecting a new compass heading and the flotilla moves into finally quiet seas.

You can feel the eyebrows raised in recognition on the splendid "A Day of a Different Sort", that languorous guitar- led evocation of the bluesiest of cloudy atmospheres, a panting run, an engine coughing into revs, a crash and a new horizon that stretches as far as the eyes can see, the electric guitar wooing and seducing the inner ear canals, penetrating the brain with contentedly numb anaesthesia, the various keyboards combining in kaleidoscopic colorations. The solo is resolute, unflinching, dramatic and eventful.

A spontaneous segue into the "A View from a Different Room", a balmy, keyboard intense foray that can only lead to an exhilarating series of saxophone solos from Helliwell, a visceral fretboard cascade and Leon's grandiloquent symphonic synthesizer expanse. The tingling e-piano, the bird effects and that winding down saxophone and drumbeat are exemplary additions to the arrangement. The mood gets quite experimental on "Dance of the Pink Elephants", Franklin's wicked fretless bass carrying the load, the mammoth percussive bulldozer relentlessly in pursuit, a weaving slide guitar and that churning organ assault. They all combine in a psychedelic trance -like subjugation of the senses as the pachyderms wave goodbye and return to the jungle. Osibisa on pinpricks.

The title track is a much livelier essay, the ornate piano upfront and center, the slide guitar carving a gorgeous melody, growing in symphonic grandeur and reaching a final paroxysm of absolute contentment. For all you insane Grantchester meadow lovers, the classic "Brain Damage" offers a devoted rendition, with a vocal that differs thankfully, massive choir work, the familiar chortling effects there as a proper vestige of 'one of those days' in the distant past, the keys are wobblier and thus quite exciting.

Leon Alvarado has chosen a successful path in experimenting with his deep-rooted musical influences, as well as creating enough personal originality to make this a most worthy acquisition for the curious prog aficionado. Note also the glorious artwork by Synergy Design, very chill indeed!

4.5 adjusting drifts