ECLECTIC PROG

— First review of this album —

'Another Cold & Rainy Night' captures the new line-up (well it was new back then) in Trenton NJ, November 12th , 2002. As with the 'Live In Tokyo' release, it was designed for fans only and was taken from video cam footage. Consequently, the audio quality is of very good bootleg standard as opposed to what one normally expects from a live album these days, but it captures a moment long gone and is so unknown that it wasn't even listed on Prog Archives! The touring line-up by now was Bill Berends (guitar, midi-guitar, vocals), Rich Berends (drums and percussion), Tracy McShane (vocals) and Greg Hagen (bass), all of whom were involved in the final (to date, I ever live in hope) Mastermind album, 2010's 'Insomnia'.

The most recent studio album at the time of this recording was 'Angels of the Apocalypse', which was the first time the band had introduced a female singer, in Lisa Bouchelle , and it was Lisa who appeared on the 'Prog, Fusion, Metal, Leather and Sweat' live release. She didn't have as much impact there as Tracy does here, who also sings on older numbers such as "Brainstorm" in its full 26-minute-long beauty. Having another singer definitely takes the stress away from Bill, who has plenty to worry about musically as it is, and this release captures some of his finest shredding to date. He is having a blast, no doubt, while Greg Hagen is providing a much firmer and rock-based bassline while also taking time to add additional melody. Then at the back there is Mr. Rich Berends, surely one of the finest drummers ever, a combination of Phil Collins, John Bonham, Bill Bruford, Keith Moon and especially Carl Palmer: the man is a legend.

This release may well be for fans only, and I would urge anyone new to Mastermind to try some of their other material first, but there is no doubt this is a worthy release and one I have enjoyed immensely. Talking to Bill he tells me he is going to be making more live material available in the near future and that is something to look forward to.

The first album by the British supergroup UK.

Eddie Jobson, Bill Bruford, John Wetton, and Allan Holdsworth, this is an incredible line up. John Wetton with his very unique and soft voice, Allan Holdsworth... well... its Allan Holdsworth, Eddie Jobson is the classically trained pianist who rivals even that of the great Keith Emerson, and finally the drumming powerhouse Bill Bruford. This is one of (if not the) most skilled lineup in prog history. Everyone in this band has extreme technical skill and such amazing styles. Do I really need to explain why this album is so amazing? Yes? Fine. I'll do it, but I promise it's not needed. So let's go song by song.

In The Dead of Night | The rhythm section that opens the song, then all of a sudden we have Eddie's wall of keys, Bill's swift fills and then the full band, over all this song shows a lot of Eddie's skill on the keys, but we do get some Holdsworth goodness. This is a very good mix of Symphonic Prog and Jazz Fusion, and the genius of Holdsworth just solidifies my point.

By The Light of Day | The bleed from one song to the other just ... wow. This the slower second half of the first song, with some soaring soundscapes by Eddie Jobson, and of course, he solo in the very middle. The large pads at the end of the song that shows another transition from this song to the next.

Presto Vivace and Reprise | Extremely interesting bleed from the previous chord to a very jazzy beat from Bruford, and then all of a sudden we have Eddie Jobson showing us his extreme technical skill on the keys with a blazing keyboard solo. Directly after Eddie's killer keyboard solo, the song does a reprise of the first track and the format returns to the opener.

Thirty Years | A very synthetic and quirky introduction with John's soft vocals. It's a very interesting song that continues through a synthetic intro and then to this jazz fusion bit at the end. Overall, it's a very fluid track that works on this album.

Alaska | The instrumental track on the album, Eddie and his plethora of keyboard sounds. More and more walls of keyboards and it's just... perfect. It gets.more technical again with more Jazz Fusion bits.

Time To Kill | Technical, Jazz Fusion to the max, a good amount of odd times and yet again... all the goodness from the players on this album.

Nevermore | Unbelievable, that's all I can say... this song is just incredible. The opening with John Wetton playing chords in the background with Holdsworth playing the lead on the acoustic. Then it goes to the soft jazz bit afterwords, John's vocals with some atmospheres produced by Jobson. After 2 verses and choruses, the song goes into an instrumental back and forth solo between Jobson and Holdsworth, need I even say that it was brilliant? Yes? Ok, it was brilliant, the amazing lines shared between both players just shows there amazing skill. After the amazing solos, the song goes to the alternative verse then seems to end. The song keeps going to this outro with chords by Jobson, another amazing solo by Holdsworth, great bassline by Wetton, and just impressive drumming by Bruford yet again. Need a perfect prog song? This is that song.

Mental Medication | Almost formatted like an Epic, with continually changing structure, and just... everything an epic usually has, extreme chord changes and so forth. And yet again, we have extreme solos by the wizards of their instruments, Holdsworth and Jobson. Was it the perfect way to end off this album? I say so.

So... my overall thoughts on the album. Why isn't this album in the top 100... no no... scratch that.. top 50. This album is 100% deserving of a place in the top fifty and it's a shame it isn't. It's a brilliant album with amazing songs, an amazing lineup, and of course some of the most impressive prog of the 70s.

Here we have the fourth album from Knifeworld, Guapo and Chrome Hoof keyboard player Emmett Elvin. With this release he provides 6 and 12 string acoustic and electric guitars, bass, pianos, synths, organ, vocals, recorders, casserole and biscuit tin (honest, that's what it says here) and is joined by Alex Thomas (Chrome Hoof, Squarepusher, Badly Drawn Boy) on drums together with Sarah Anderson on (violin, viola) and a couple of additional guests providing vocals. It is an incredibly varied album, moving all over the place, flitting from full on fusion to New Age and out again as the mood takes him.

Elvin is a "proper" multi-instrumentalist in that he is at home on a wide variety of instruments and doesn't feel he has to rely on just keyboards, or just guitar, it is all about the right tool for the job. The best way to describe this album is quirky, as one never knows where the journey is going to lead, but at all times it makes musical sense and rarely becomes experimental, yet is truly eclectic in the way it changes so dramatically. The production is superb, with a real clarity and distance between the different instruments so one never feels smothered but rather that one is being brought inside a full band and being allowed to listen intently whilst the musicians play around them. It is clean music with clarity of purpose and direction even if the listener doesn't know where they are being taken. There are a great many jazz idioms and styles being used, but they are combined with fusion and progressive aspects to make something which is accessible and will be widely enjoyed by many. The use of strings, especially on "Wilsons Demise", is superb, taking the music in a far more organic and indeed orchestral area, but then he can rip through with distorted guitar to take it into a far abrupt and abrasive fashion.

Although I have heard some of Elvin's material with bands this is the first time I have come across a solo album of his and based on this I need to look back at the others as this is incredibly enjoyable on first hearing.

Review Nº 324

'Genesis Revisited II: Selection' is a compilation of Steve Hackett and was released in 2013. As its name indicates, here we are in presence of a selection of tracks which appear on Steve Hackett's studio album 'Genesis Revisited II'.

'Genesis Revisited II' was the twenty-seventh studio album of Steve Hackett and was released in 2012. This is a different kind of album because it has new versions of some original songs of Genesis in his era, plus some new versions of compositions of his solo career. By the other hand, it was a sequel to his studio album 'Genesis Revisited' released in 1996, which largely consists of covers of songs originally made by Genesis, and some solo songs too, but this time with a great variety of guest vocalists and musicians. This compilation includes also some new material, a version of 'Carpet Crawlers' sung by Genesis' vocalist Ray Wilson, which doesn't appear on the original studio album.

So, sixteen years on from the first volume of regenerated classic Genesis' songs comes that second revisited through the back catalogue. Unlike that first volume, where Steve tinkered with some of the arrangements, on the second one he played it relatively straight, maybe too straight. However, Hackett's biggest challenge throughout has been to re-imagine some of Genesis' most iconic pieces and for the most part, the new versions have a fresh vigour and energy.

Whereas being transported back sometimes to more than thirty five years, does it work? Yes, perfectly. It was given to the songs an extra spice with the benefit of modern production techniques and a few extra instrumental flourishes. By the other hand, the option of use several vocalists was a good choice for me. I must confess that I particularly like the new version of 'Supper's Ready' with five different vocalists. Unfortunately, it doesn't make part of this compilation.

The line up on this compilation is Steve Hackett (vocals and guitars), Nad Sylvan (vocals), Roger King (keyboards), Rob Townsend (saxophone, flute and percussion), Lee Pomeroy (bass) and Gary O'Toole (vocals, drums and percussion). It as also some artists as guest musicians: Ray Wilson, John Wetton, Nik Kershaw, Steven Wilson and Francis Dunnery.

'Genesis Revisited II: Selection' has nine tracks. As I wrote before, 'Carpet Crawlers' from 'The Lamb Lies Down On Broadway' is an additional track that didn't appear on the two disc version. It features Ray Wilson on vocals, the brother of Steven Wilson, the vocalist on Genesis' 'Calling All Stations'. This is a good version of the song and it's interesting to hear them together because they never played together before. 'Eleventh Earl Of Mar' is a song from 'Wind And Wuthering', the last Genesis album on which Hackett appeared. Sylvan's voice sounds like an amalgam of Gabriel, Collins with a hint of Fish. This is a version very well improved. 'The Lamia' is one of 'The Lamb Lies Down On Broadway' strongest pieces. It's very idiosyncratically interpreted by Nik Kershaw. The gripping and lush guitar solo receives an upgrade from Hackett's duel with Steve Rothery, two guitars that move around each other, uniting two of the greatest prog guitarists. 'Dancing With The Moonlight Knight' from 'Selling England By The Pound' surprises, before the a cappella singing intro, with a short acoustic intro. This nice idea makes Steve's favorite piece of the old Genesis, appear even more British, to which Francis Dunnery also contributes with his intense vocal line. 'Entangled' from 'A Trick Of The Tail' is a perfect track for the singer Jakko Jakszyk and his warm and pleasant voice. The new recording also remains very close to the 70's original version and thus receives the fascination of the set dream state. 'Shadow Of The Hierophant' from 'Voyage Of The Acolyte' is the single piece that belongs to the solo catalogue of Hackett. Amanda Lehmann takes the vocal helm for this one as she did on the live dates. It's a hauntingly high note on which to end and that remains faithful to the original in content and style. 'Can-Utility And The Coastliners' could be the most underrated piece on 'Foxtrot'. It's wonderful to hear it again and the string section supporting it is excellent. It has an attractive, flowing and vibrant energy and Steven Wilson's vocals bring a new edge to it. 'Afterglow' from 'Wind And Wuthering' with John Wetton on vocals, plods along. It's very well improved and it might, at times, sound even better than the original. 'Blood On The Rooftops' also from 'Wind And Wuthering' is known from various concerts and is presented here enriched with an additional acoustic guitar prelude and string support. Here I miss Phil Collins, really.

Conclusion: 'Genesis Revisited II: Selection' is a selection of tracks of the studio album 'Genesis Revisited II'. I think we can call it a short version of the original album where Steve made an interesting and reasonably setlist of songs. He made a magnificent voyage to the past, between 1972 and 1976, including songs from five Genesis' studio albums, 'Foxtrot', 'Selling England By The Pound', 'The Lamb Lies Down On Broadway', 'A Trick Of The Tail' and 'Wind And Wuthering', which are, in my humble opinion, their best five studio albums and true five masterpieces of the group. He included also a solo track, 'Shadow Of The Hierophant', which is, for me, one of his best tracks ever as a solo artist. So, this is a good compilation but it's better to own the original studio album. Only 'Carpet Crawlers' is worth hearing.

Prog is my Ferrari. Jem Godfrey (Frost*)

Turkey has never been a nation that comes to mind when thinking of more progressive styles of music especially in a rock context but there have been a few acts that have created interestingly progressive music since all the way back in the 70s including Barış Man'on, Moğollar as well as Cem Karaca & Dervişan. While technically classified as progressive rock, these early bands adapted the local flavors of Anatolian rock which infuses the elements of Turkish folk music along with psychedelic tones and textures. However in the 21st century more and more bands have forsaken the ethnic sounds in favor of joining the greater world of prog. Nemrud has become one of Turkey's most recognized psychedelic space rock bands and Replikas has crafted a unique hybrid of Anatolian rock with German flavored Krautrock. 
GEVENDE has become one of Turkey's top prog bands since its formation in the year 2000. Having taken its name from a Kurdish musical instrument, this band started out as one of the many fusionist bands that blended the Anatolian flavors with the compositional heft of progressive rock but over time has steadily decreased the local flavors and adopted a more worldly approach. After the band released its debut 'Ev' in 2006, the band toured extensively through the silk road destinations of Iran, Pakistan, India and even Nepal to give various concerts and then quickly followed up with a European tour. With all that exposure to different cultures GEVENDE found its distinctly Turkish sounds of its early years giving way to a more diverse palette.

'Kırınardı' is the band's four album (if you count the 2014 original soundtrack 'Monochroma') and still features the same lineup of Ahmet Kenan Bilgi' (guitar, vocals), 'mer 'zt'yen (viola), Can 'mer Uygan (trumpet), Okan Kaya (bass, lute, cumbus) and G'k'e G'r'ay (drums) since the band's inception which is a miracle in its own right. GEVENDE's sound has evolved quite a bit since its debut which engaged in a unique blend of Anatolian rock, psychedelic folk and avant-prog with the following 'Sen Balık Değilsin ki' got more wild with heavier doses of prog rock and avant-garde jazz as well as moments of post-rock. 'Kırınardı' tamps down the jazzy elements and produces a more dreamy progressive folk styled album with only the final tracks 'Domino' and 'Vertigo' offering some more upbeat rockers.

Despite its international recognition, GEVENDE has remained a Turkish band and has experienced all the turbulence of recent years. This album came out in 2017 and reflects the detached escapist tendencies in full fusion form. According to guitarist / vocalist Ahmet K. Bilgi', the album was crafted to create a space for hope amongst incessant worries about daily survival. 'Omeias' begins with some ethnic flavors but the album quickly becomes a more contemplative mix of atmospheric synthesizers and proggy grooves and rhythms reminding me somewhat of a more ethnic version of Porcupine Tree especially around the 'Lightbulb Sun' timeline as the production is impeccable and the space rock effects are in full gear but much of the album is on the folkier side with light fluffy melodies enveloped by acoustic passages and intricately designed interpolations of percussive drive. While not as jazzy as the uptempo albums of the past, the trumpet offers a smooth jazz pastiche to the mix.

In addition to the five main players there are also guest musicians that provide saxophone sounds, violin, viola and cello so this album has much more of a chamber rock feel than previous albums. While every song is excellent the album does feel a little disjointed in that the first seven tracks are sung in the Turkish language and are more ethereal and contemplative while the final two tracks 'Domino' and 'Vertigo' are much more energetic, return the ethnic flavors accompanied by hefty rock guitar grooves and are sung in English (i think!) Overall this is a great album although a little puzzling why it is bookended with such different sounds. Probably could've had the tracks placed better but not a real biggie as GEVENDE are talented musicians that deliver some excessively atmospheric awesomeness.

While small in number, the Finnish progressive rock scene of the early 70s was robust enough to create a viable market at least within Finalnd's territory. The movement was kicked off by Wigwam in 1968 but several artists followed including Pekka Pohjola, Jukka Tolonen and Tasavallan Presidentti. While not nearly as popular as the aforementioned artists during those early years, the Lähto based HAIKARA (Finnish for "stork") has none the less weathered the decades well and is considered one of the most artistically creative progressive bands to emerge from the fertile golden age of prog.

This band was founded by Vesa Lattunen (vocals, guitar, piano), Markus Heikkerö (drums) and Timo Vuorinen (bass) in 1971 but would soon add the two additional members of Vesa Lehtinen (vocals, tambourine, cowbell) and Harri Pystynen (flute, saxophone) who previously played in Charlies. The band released its self-titled debut in 1972 and experienced minor success although never experienced much recognition outside of Finland but nonetheless crafted an extraordinarily unique sound unlike any prog band in all of history actually.

Consisting of only five tracks, HAIKARA composed a unique mix of King Crimson inspired prog that utilized heavy rock guitar and complex time signature changes mixed with pastroral folk sections but the most unique feature of HAIKARA's sound was the inclusion of a brass section as well as cello which included five additional session musicians to create a larger than life sound for a band in a rock context. Sounding somewhat like early Chicago mixed with King Crimson and Genesis, HAIKARA delivered melodic catchy tunes based on Finnish folk music only played on rock instruments with the contrapuntal backing of a brass section.

Beginning with the oom-pa-pa polka brass heft of "Köyhän Pojan Kerjäys - The Beggings Of A Poor Boy," HAIKARA establishes a veritable brass rock sound with only slight prog complexities and although all lyrics are in the Finnish language, the soulful vocal tradeoffs of Lattunen and Lehtinen evoke a passionate display of instantly catchy ear hooks that are augmented with a thick brassy bombast that adds a touch of angularity from time to time however the album becomes more complex as it proceeds with the following "Luoja Kutsuu - The Lord Asks For You" generating a more sophisticated flair of progginess which only continues as the other three tracks all clock in around the ten minute mark and engage in some serious labyrinthine compositional zigzagging accompanied by nice instrumental interplay.

With lush folk passages trading off with psychedelic jamming sessions graced by fuzzy guitar soloing and soft brassy contrasts, HAIKARA's debut literally stands in a world of its own which is why it has been deemed on the classic Finnish prog album's to emerge from the 70s and while the band didn't find much success beyond this meager selling debut album, history has been kinder in recognizing its innovative musical motifs decorated with the varying rock, jazz and folk aspects. Out of all the Finnish bands that emerged in the earliest part of the 70s, HAIKARA is by far the most eclectic of the bands but unfortunately never made it to the level of bands like Wigwam who actually found recognition outside of Finland.

This is an album that is perfectly represented by its album cover art. It retains a bit of homegrown folklore as represented by the verdant countryside complete with wildlife but also displays a darker side and like the dragon in the sky a sense of awe that offers unexpected surprises that provide a startling contrast to the more familiar sounds. Lots of really excellent musicianship on this one as the band can effortlessly change from emotive acoustic driven folk passages to bombastically jagged soundscapes that pull out the big guns with heavy uses of frenetic tempos, excess guitar distortion and ample use of unorthodox time signatures. This is a brilliant album for sure and one of Finland's best examples of early prog.

CZESŁAW NIEMEN was one of Poland's most celebrated musicians of the 20th century having released dozens of albums ranging from rock and roll, psychedelic rock, progressive rock, folk, avant-garde jazz and even electronic music. Primarily known for his soulful vocal abilities with a wide range and interesting intonation, NIEMEN was a national phenomenon as a rock balladeer who was one of the most successful singer / songwriter acts to emerge on the Polish scene. NIEMEN was born in Stare Wasiliszki in 1939 which then was still a part of Poland but was annexed to the Belarusian areas of the Soviet Union after the second World War but NIEMEN was ethnically Polish so he relocated within the newly establish Polish borders before engaging in his fruitful career.

While in the Western world he is primarily known for his more adventurous musical offerings in the world of progressive rock and jazz, NIEMEN started off sounding like the Polish version of Motown on his debut DZIWNY JEST TEN ŚWIAT which translates into "This World Is A Strange Place," a phrase that never seems to be untrue. At this point in NIEMEN's career he was inspired by 60s soul acts such as James Brown and Percy Sledge and after winning the 5th Song Festive in Opole in June 1967 with the title song from this debut album which was considered a protest song, his career was launched and would stay on the scene until his death in 2004 at the age of 67.

This album is basically a fun pop record of soulful beat music with a touch of blues rock and psychedelia in the Motown style that dominated the 60s and 70s. This was very much a product of Poland and all lyrics were exclusively in the Polish language but at this stage NIEMEN was already quite adept at adapting his emotive vocal style into the Western pop music paradigm. DZIWNY is a fun little romp through 12 tracks that sounded exactly like what was popular in the West in the year 1967 when this was released. In addition to vocals, NIEMEN also played piano and organ accompanied by a backing band of four members who handled guitar, bass, drums, percussion, sax as well as an additional backing vocal group. All tracks are quite catchy and instantly addictive although the Polish language adds a very exotic flavor to a somewhat familiar style of music.

For fans of progressive rock and NIEMEN's more adventurous musical explorations you can skip the first three albums and begin with the 1970 release "Enigmatic" but if you are at all interested in NIEMEN's earliest offerings based in catchy Motown inspired soul music then i have to highly recommend these early albums because they give you a sense of what the Polish music world was like in the 60s before the more diverse sounds began to emerge in the 70s. While this one is hardly an essential album in any sense of the world, it's really a great display of NIEMEN's ability to craft soulful addictive pop hooks augmented by his charismatic singing style and poetic songwriting skills but given that the lyrics are exclusively in Polish, that aspect of the music will be absent. Still though, great 60s beat album for sure.

3.5 rounded down

MARSUPILAMI which formed in 1968 had humble beginnings as a mere folk band that formed out of the ashes of the R&B band Levitation in Taunton, England but quickly emerged as one of the most progressive bands when prog was still in the cradle. The lauded self-titled debut which debuted in 1970 was already miles ahead of the fledgling proto-prog groups and took progressive rock to new heights only a year after King Crimson shocked the world with its dazzling debut "In The Court Of The Crimson King." Meanwhile MARSUPILAMI which was named after the Belgian comic character was crafting some of the earliest examples of prog reaching its logical conclusion. Steeped in mellotron drenched symphonic prog blended with jazz-rock, hard guitar rock and unexpected hairpin turns and rich in time signature changes, MARSUPILAMI may not have become a household name but was without a doubt the most sophisticated prog band to emerge at such an early stage.

The band wasted no time conjuring up a second coming and had no intention of tamping down its eclectic tendencies in order to forge a crossover appeal. On the contrary the band upped the ante and crafted an even more dynamic mix of disparate musical elements that took things to the next level by adapting its musical vision to a large-scale epic tale that recounts the gladiator fights of Ancient Rome. With the same lineup as the debut which consisted of Mike Fouracre (drums), Fred Hasson (vocals, harmonica, bongos), Leary Hasson (keyboards), Richard Lathan Hicks (bass), Dave Laverock (guitars) and Jessica Stanley Clarke (flute, vocals), the band expanded its lineup to include Pete Bardens on various percussion as well as producer, Mandy Riedelbanch on tenor and alto saxophones and flute and even more percussion along with poet Bob West who provided lyrical inspiration as well as extra vocals. An English band that settled in the Netherlands, MARSUPILAMI crafted another dazzling display of eclecticism that somehow found ways to allow melodic structures to shine through the bizarre shifts in dynamics, tempos and musical motifs in unthinkable opposition.

ARENA appeared in 1971 and was a couple years ahead of the prog world which peaked around 1973. While many prog bands were just getting started and shedding their psychedelic 60s rock sounds, MARSUPILAMI was already crafting expansive slabs of complexity that found lush pastoral mellow sounds as heard from Genesis mixed with complex symphonic prog arrangements in the vein of Yes' more demanding material with moments of heavy rock bombast, folk-tinged flute workouts (a la Focus) as well as elements of classical and jazz. The music follows the tale of the themes focused on the Roman Coliseum where gladiators battle it out and even recounts a Greek minstrel whose destiny if a violent untimely death. The album took the thematic approach of a veritable rock opera and teased out the musical processions into a complex labyrinth of shifting musical motifs that showcase the Hasson brothers' extraordinarily brilliant compositional skills which unfortunately went over the heads of too many at the time despite some of the most stunningly adventurous musical moments in all of early prog.

Consisting of only five tracks, two of which exceed the eleven minute mark, ARENA is a wild eclectic ride through the early world of the progressive rock world making this sophomore offering even more adventurous than the already bold debut. "Prelude To The Arena" begins with jarring noise that sets the tone for the pins and needles mood for the album's adrenalizing adventures. The sounds quickly shift into hard rock guitar stomps, a quick narration and some sizzling guitar solos along with some of the most energetic and trailblazing drum performances in early prog. But just as quickly as the band gets firing on all pistols, the music shifts into a mellow flute-driven pastoral performance of acoustic guitar, mellotrons and sensual contemplation however even that doesn't last for long and the band jumps back into a heavier rock mode with demanding intricate melodic developments laced with angular jazzified chord progressions. The album only gets wilder after the opening track which happens to be the shortest.

"Peace Of Rome" offers a moment of hypnotizing repetitive percussion with howling keys ushering in a more dynamic shift to frenzied bass groove and demented keyboard style reminiscent of Van der Graaf Generator. Like the opener this track continues the labyrinthine stylistic shifts as it narrates the tales of the Ancient atrocities. The following title track and "Time Shadows" are the focus of the climactic drama of the Roman experience which alternates placid flute runs with nail-biting horror from the keyboard and mellotron darkness. With countless stop / start shifts into completely different musical styles and unpredictable time signature deviations from the norm, these two tracks showcase the extreme excesses that MARSUPILAMI was tackling before bands like Genesis, Gentle Giant and Jethro Tull were getting their prog workouts firing on all pistons. Fiery trade-offs between improv fueled jamming sessions and the passionate vocal performances of Fred Hanson accompanied by the ethereal backing femininity of Jessica Stanley-Clarke with the occasional sax solo thrown in for good measure is the stuff that prog dreams are made of.

The album closes with the seemingly tame sounds of "Spring" which offers a respite from the frenetic shifts that preceded. While a dangerous cacophonous roar of instruments clash at the beginning, the track ultimately simmers down to find an ostinato bass groove maintaining a consistency for the track's run while the instrumentalists take turns adding melodic counterpoints. It's actually understandable why MARSUPILAMI had a difficult time catching on at this early stage as even a hardened progger like myself has required many years of listening to this one for it to fully sink in but after it gestates in your soul and you can come back to it time and time again it unleashes its transcendental beauty and casts a spell of magnanimous beauty as if you have entered the fabled city of Shangri-La and this was the divine musical path to heaven. While it's understandable why this musical maze of prog ingenuity went over the heads of fans back when it was released, it does baffle me that this one hasn't earned its just desert some fifty years after it was created. This is without a doubt on of the earliest pinnacles of prog rock expression and for me still remains one of the best albums that symbolizes the world of crazy complex prog on steroids. This was unfortunately the last stop for this excellent band. This is for advanced prog aficionados only. Newbies stay away!

MARSUPILAMI might sound like an exotic breed of Australian mammal, or maybe an Italian pasta, but they're really an English Prog-Rock band. They might not be quite as exotic as their bandname implies, but their music is pretty extraordinary. Their bizarre name derives from an obscure Belgian children's comic character. Marsupilami had a relatively brief lifespan with two albums to their credit:- "Marsupilami" (1970) and "Arena" (1971). It's their first eponymously-titled album that our attentions are focused on here, which features five long suites of music, varying anywhere between six and eleven minutes in length. Let's dive into the deep end now and check it out.

"Dorian Deep" has an eerie opening, sounding like a wind blowing over some vast windswept plain. Be prepared to be taken on an unpredictable journey into hitherto unexplored soundscapes of musical mayhem and delight. If this awesome 8-minute-long opening is anything to go by, this could well turn out to be an album of Astounding Sounds, Amazing Music - to paraphrase Hawkwind. "Dorian Deep" is such a perfect blend of all of the ingredients you'd expect from the very best of Prog- Rock, that it's almost impossible for any self-respecting prog aficionado not to like this. Not only will it delight Progressive Rock fans, but there's something here to suit Psychedelic Rock and Krautrock fans too, which is inevitably the reason why Marsupilami have found themselves in the Eclectic Prog section of ProgArchives. It's practically impossible to pin them down to one particular genre. If this band were ever pigeon-holed, then it would have to be a VERY big hole to include the tremendous variety of music on offer here. "Dorian Deep" is as multi-faceted as The Picture of Dorian Gray. It's the spooky musical equivalent of a crazy LSD-induced acid trip, so get ready for a wild ghost train ride on a Journey to the Centre of the Eye. This creepy manic music verges on hysteria, and almost goes off the rails - a bit like this album review. It may send a shiver up the spine and bring you out in goosebumps, so don't say you weren't warned!

Hallelujah Freedom! Be wild, be free, because it's time to celebrate another great piece of music with "Born To Be Free". This is a flighty flute-driven melody which opens as a fairly laid-back Jazzy refrain. Get ready for some more Marsupilami magic though, because barely midway through the song, freedom reigns with a wild excursion into supersonic Jazz-Rock territory with the afterburners glowing on full power. This tremendously inspiring music will take you soaring up into the stratosphere, where you can slip the surly bonds of Earth and touch the face of the Prog Gods. You can always expect the unexpected though with the complex and endlessly unpredictable music of Marsupilami, because there's a return to calmer Jazzier climes again for the extended play-out session. "Born To Be Free" has all of the unpredictability and latent energy of an untamed sleeping Lioness named Elsa, but that's another song and movie altogether.

Tie me kangaroo down, Sport! Never in the field of prog has so much been achieved by so few. Again, this scintillating sextet venture Where Eagles Dare to fly and other prog bands fear to tread with the inspirational epic: "And the Eagle Chased the Dove to its Ruin". The sound of the haunting ethereal organ in the opening instils the music with something of a religious devotional air. This first impression is soon shattered though by a crazy journey into the wild uncharted territory of prog. If Marsupilami were Australian, then this wild untamed music would represent a Walkabout in the wilderness of the baking hot outback. Marsupilami are as wild as a wandering band of wombats and wallabies. This extraordinary song may be less than seven minutes long, but there's plenty of exploring to do in this endlessly diverse piece of music. It's a song and album you'll want to boomerang back to again and again. Be prepared for the very sudden ending though.

When in Rome, do as the Romans do and learn Latin, and then we can translate the title of the opening suite on Side Two: "Ab Initio Ad Finem (The Opera)", which literally means "From the Beginning to the End" (with a little help from Google Translate). It might be an opera (in brackets), but you won't hear the likes of Pavarotti, Domingo & Carreras on this outstanding piece of music. This par excellence song and album is worth three tenners of anyone's money. The music opens to the tinkling sound of a musical box and this 11-minute-long epic is indeed a musical box of delights. This song has everything! There's something here for the hippyish Folkies, the psychedelic acid-heads, and even the religious spiritualists amongst us too. Above all though, this is a Progressive Rock masterpiece of unparalleled pomp and glory. From the beginning to the end, this album has been an absolute phantasmagorical dream of a prog-fest, which could give any of the major prog bands a good run for their money.

Hells Bells! Get ready for the wild men of prog to unleash Merry Hell for our final descent into the maelstrom. It's another Latin-themed 10-minute-long epic: "Facilis Descencus Averni", which translates as "Descent To Hell". It's a very apt title, as all Hell is let loose in the wildest and most unrestrained piece of music on the entire album. This epic suite represents a crazy helter-skelter ride into the darkest depths of prog and psychedelia. Don't despair though, because there are several uplifting Folky and Jazzy interludes thrown in for good measure to pull the listener out of the dark abyss. The crazy laughter and off- kilter vocals of the psycho singer only adds to the manic intensity and brooding atmosphere of the music. Even more bizarrely, there are brief spoken-word pieces too, voiced in an unmistakable charming English accent. This superb closing suite is undoubtedly a magnificent album highlight, combining all of the elements heard in earlier songs into an all- encompassing strange but magical Witches Brew of enchanting beauty and sheer delight. It's prog, but not as we know it.

Put another tinny on the barbie and drink a toast to the weird and wonderful music of Marsupilami. They're a breed apart. Join them as they go ape- crazy with an intoxicating blend of Wild in the Jungle Jazzy psychedelia and proggy Folk. Marsupilami explore the Outer Limits of Prog-Rock, so expect the unexpected. This superb debut album has to be heard to be believed. Dare you explore The Twilight Zone of Prog where nothing is quite as it seems!??

This is the second album by THE WORM OUROBOROS, a highly enjoyable, instrumentally oriented band from Minsk, Belarus. I'm not familiar with their debut Of Things That Never Were (2013), so let's get straight to the music on this beautiful 74-minute album. The opening piece 'Cycles' -- which is also the longest at 14 min. -- will bring a happy smile to anyone who's fond of Canterbury-flavoured CAMEL and the joyously melodic style of early 70's CARAVAN. The warm soundscape quickly grows from acoustic guitar & flute centred delicate intro into a dynamic and yet relatively mellow ensemble playing full of happy melodies reminiscent of beloved albums such as In the Land of Grey and Pink or Mirage. This is not to say that the group would closely imitate either of the mentioned bands, but I believe that they are openly influenced by them, among several other prog bands of course, to have shaped their own individual identity. Especially the flute and organ have nice solistic moments. Towards the end the going gets a bit more intense, after which piano leads us back to the elegance akin to classical music and modern chamber jazz. A lovely album opener indeed, but the whole will have more variety and edge to offer.

Flute is occasionally well present also in the next track which has more muscle so to speak. I agree with a previous review that the guitar part may remind the listener of Robert Fripp and the Crimso classic 'Starless', again without tasting like imitation. 'Stone and Lydia' has a simple synth intro (is it perhaps some old Saga song I'm thinking of?) leading the way to eclectic instrumental prog with rhythmic complexity. The electric piano nicely underlines the retro feeling. Despite all its sudden turns the piece never loses its focus. The very classic organ sound (think of Soft Machine's Third, for example) is central on many moments in 'Quest of the Kingfisher'. The composition has a strong sense of a heroic adventure.

Before I end up trying to describe each piece... I'm really fond of the way this wonderful band manages to make music that is both complex and joyfully fresh; a rare balance between surpriseful eclectism and a warm, happy, melodic atmosphere not very difficult for any prog listener to dive into. The band is basically a trio of two multi-instrumentalists and a drummer; of the guest appearances worth mentioning are especially the vibraphone (5, 6) and xylophone (8) parts of Alexandra Gankova, and Vitaly Appow's bassoon (7, 8). The 8th track, 'The Whistler Shrill', is the richest one when it comes to the arrangements. Like ART ZOYD but more accessible, just like octopus-4 says in his review. The only other track to contain any vocals is 'Ascension' in which the falsetto voice operates somewhere between Kobaia and Canterbury (Robert Wyatt!). This excellently executed album deserves 4½ stars from me, and it's a very tough choice which direction I should round it up. I firmly believe this is something one doesn't easily get bored with on repeated listenings -- there's so much going on -- but maybe my enjoyment mostly stays on the level of "wow, that's great" instead of "oh my goodness, how I love this music!", hence I'm rounding it down. A strong recommendation!