PROG FOLK

That 2006 debut is one of my favourite releases out of Finland, and an automatic entry into my "best of" folk list when I do that. It has female vocals and more of a nordic vibe to my ears. I just love it. These last two aren't in that league in my opinion, but most feel they are better, so there's that. Depends on your musical taste. This most recent record is worth over 44 minutes, over five tracks.

We get the mammoth, almost 19 minute second track that is the centrepiece. The opener did bring back memories of the debut in the sense that it starts out folky with the flute, then reserved vocals. So it's a surprise when we get an electric guitar solo after 3 1/2 minutes. That's what I remember from the debut. Those folky female vocals and flute before out of nowhere electric guitar. That is where the similarities end between the debut and the two that follow. "Perhonen" is one of my favourite songs on here. How good does this sound at 3 minutes. Vocals join in quickly though. A nice sounding rhythm section with vocals over top. A guitar solo too before 5 minutes.

That third track "Pitkat Jaahyvaiset" is perhaps my favourite for the mellotron and surprising heaviness. It actually gets dark on this one, plus I like the synths as well. The closer is where the former keyboardist returns with some keyboard work plus the opening and closing wind sounds. Apparently viima means wind. An appropriate way to end the album. Mellotron on this one as well. I won't say much about that epic track other than it has it's highs and lows, a mixed bag, but an interesting ride for sure. Overall I like it, just like I like this recording. Nice comeback guys! A solid 4 stars.

Luckily the achievements overrule here. "The Enemy" is reminiscent of LINDISFARNE's best work right down to the ALAN HULLisms vocally and lyrically; the delicate gentility of "Time is Temporary" is even exceeded by the heartfelt ballad "January Man"; and "Cloud Cuckooland" is a send up of the race for failed modernity as nobody can express better.

By this point, Harper had little left to prove, but Man and Myth solidifies his legendary status. Few other artists have scaled multiple summits over the better part of a half century.

Oh yeah, this is so good!

Eight years after their debut album, Spanish band Malabriega has returned with a stunning release whose title 'Frippada Andaluza' suggests its connection to progressive rock or maybe a tribute to one of the genre's icons. This band had already satisfied my senses when I was introduced to their music, due to their great blend of prog rock, flamenco and jazz, with an evident Spanish sound mainly due to the vocals, however, while writing this review I feel really excited with this album, which I'd rank as one of my top prog albums from this still young 2025 so far.

Since the first self-titled track, 'Frippada Andaluza (La mar limpia)', I felt quite attracted to its sound, whose starts with acoustic guitar but with a kind of post-rock feeling that is being built-up while the seconds pass. It wonderfully flows, and then at minute three Juan Castro and his cantaor voice appear adding quite colorful textures and emotional sounds; at the same time, the music is really well-crafted, strings and drums all together taking us by the hand in a blend of prog, alt rock and, of course, a bit of flamenco. This song lasts ten minutes, so as you can imagine, there are some changes in mood and tempo, so in moments you will feel a vertiginous ride, and in others you will feel at ease.

'Tu pelo' starts again with acoustic guitar, then soft bass lines and voice join, later drums and after a minute there is a bridge that is quite attractive, with some lyrics that we Spanish-speakers would love to sing. I like when both acoustic and electric guitar interplay creating beautiful passages. There is also a kind of melancholic sound here, and with the vocals, the emotional side of Malabriega prevails. Joaquín Sáinz delight us with very nice guitar solos here and there.

A folkier sound closer to flamenco comes with 'El duelo', in which Manuel "Noly" Soto delights us with a really delicious spanish guitar performance, and though that Spanish sound is quite evident, I love how the band manages to produce a let's say "universal" sound when rock and prog take over, even with an amazing moment where Sergio Carmona's bass is a true highlight; and then in the ending part with a truly emotional passage.

'¿Qué será?' is divided in halves, the first part provides a soft rhythm, a charming sound, and then in the second one it becomes more attractive to my ears due to its increase of speed and emotions. I might be crazy, but I find in several Malabriega tracks some hints of popular prog rock bands such as Riverside or Porcupine Tree, but mixed with that Spanish sound, the result is amazing.

An interlude appears with 'Reencuentro', a short instrumental track with a charming sound led by strings, it will put a smile on your face. It leads to 'La levedad del ser' that has a darker sound, then that prog/alt rock sound begins and the song naturally flows, adding different figures and notes while the seconds pass, even with a very nice acoustic guitar solo. It's a powerful track, however I think it is easy to dig and enjoy.

'La libertad' brings indeed an atmosphere of freedom, I picture myself in an open air place enjoying life while listening to this with headphones and loving what my eyes see surrounding me. These guys know how to create a great balance of emotions, how to place the softer moments and the ones full of energy, and how to provide those feeling with and without vocals / lyrics.

Another great example of that balance comes with the amazing 'Reflejo Vacío', in which we can also appreciate a magnificent work by Raúl Gómez on drums, and that beautiful blend of acoustic and electric guitars. It is also a kind of multi-cultural experience, because that flamenco essence worderfully merges with that modern prog rock sound that comes from different parts of Europe, I mainly remember the UK, for instance. There is an amazing change of direction here, in an amazing instrumental passage that lasts only for a while, however, it makes a big impact. This is a hell of a song, truly amazing. This great album finishes with 'Calamidad' which might be the most Spanish song of all, first with the flamenco sound and then with the metal oriented one, without leaving aside that prog rock soul this band has. For the first time they bring spoken words which, of course, produce different textures and emotions. At minute three there is even a kind of spacey / atmospheric sound that takes us to a brief journey until it becomes heavier with the bass and drums. Yeah, I will name again the popular Porcupine Tree, because any fan who likes that project might feel enchanted by what Malabriega offers here, with their distinctive Spanish sound.

Great, great album, I encourage my readers to listen to it, I bet you will find a positive surprise, quite different from your daily musical experiences.

The title track is consummate travail for ostensibly celebrating the miracle of our existence, and might have worked better in a poetry slam, or honestly any other format. The next couple of songs don't fare any better. Ultimately, the only true standouts here are the provocative protest folk "Black Cloud of Islam" and the tutorial that is "For Longer than it takes", but "Berlin" and "Ghost Dance" qualify as appealing enough near misses.

Given its appearance during a relatively quiescent era for Harper, "Once" serves as, at a minimum, a placeholder to be replaced by another a few years down the line, and at most a reminder of his dogged oneness and wholeness.

The too frequent spoken tracks are dour and he cusses altogether too much, which no amount of anger (and he has more than his share) can justify. Luckily, the title cut serves notice that everything will be at least all right, and he also hits that sweet spot occupied by a few of DAN AR BRAZ' contemporaneous works on "Miles Remains" and "Evening Star", which effectively erase the memory of the kooky ISB style of "The War came home tonight". I get the sense that the dissolution of his relationship inspired the most exemplary tunes here, even if it also whelped aforementioned profanities.

When you enter into any form of relationship with Harper, you get the whole man including the parts you could do without. Still, this is a laudable effort that proves the existence of a third option in the title.

When two friends started their first steps in music with the sole ambition of playing songs of their favourite band, Pink Floyd, couldn't imagine they would become as one of the leaders of the revival movement of the prog rock of the 70's. It was trying to learn the delicate Pink Floyd melodies that the two English of York friends, Bryan Josh (vocals, guitars and keyboards) and Liam Davison (vocals and guitars) created the basis of what would be Mostly Autumn. For the band to become perfect, joined to them some other band's members like Iain Jennings (vocals and keyboards), Kev Gibbons (whistles - an instrument widely used in Celtic folk), Bob Faulds (fiddle), Stuart Carver (bass), Alan Scott (drums) and specially Heather Findlay (lyrics, vocals, guitars, whistles, bodhran, tambourine and a lot of charisma and sensuality).

In 1998 they released their debut studio album 'For All We Shared', which won fans immediately, and began to receive invitations from festivals dedicated to progressive rock music worldwide. With the sudden notoriety and with each new album, it became visible the growth of the band and the unanimous recognition was obtained with the release of their third studio album 'The Last Bright Light' in 2001, considered their best studio work to date. Despite several changes into their line up, the backbone of the group and the spirit of the music continue keeping the flame burning very high.

'Heroes Never Die - The Anthology' is the debut compilation album of Mostly Autumn and was released in 2002. It provides an introduction to the band's music using re-recorded material from their first four studio albums 'For All We Shared' and 'The Spirit Of Autumn Past' of 1999, and 'The Last Bright Light' and 'Music Inspired By The Lord Of The Rings' of 2001. So, this anthology of Mostly Autumn isn't properly an ordinary compilation from the band but a revisit to some of their essential songs with new arrangements to produce a definitive introduction to Mostly Autumn's music.

The line up that participates on the anthology is Bryan Josh (lead and backing vocals and lead guitars), Heather Findley (lead and backing vocals), Iain Jennings (backing vocals, keyboards, piano, Hammond organ and synthesizers), Angela Goldthorpe (backing vocals, flute and recorders), Andy Smith (bass guitars) and Jonathon Blackmore (drums).

'Heroes Never Die - The Anthology' has twelve tracks. 'Never The Rainbow' is from 'The Last Bright Light'. It's a great fast rock song with a nice memorable catchy tune, nicely sung by Findlay and a good guitar work by Josh. 'We Come And We Go' is from 'The Last Bright Light'. It's a soft acoustic mellow ballad so characteristic of Mostly Autumn. It's a nice song with a catchy melody, reach vocal harmonies and a fine guitar work. 'Please' is from 'The Spirit Of Autumn Past'. It's a great song with great vocal harmonies, nice guitar work and a good keyboard performance. 'The Spirit Of Autumn Past' is from 'The Spirit Of Autumn Past'. This is the highlight of 'The Spirit Of Autumn Past'. It's a song with wonderful vocal harmony and chorus, one of the best pieces made by the band. This is a shorter version. 'Evergreen' is from 'The Spirit Of Autumn Past'. It has all the ingredients of a Mostly Autumn's song, strong and nice vocal harmonies, a slightly rockier tempo, the guitar style of David Gilmour and the unequivocal voice of Findlay. 'The Riders Of Rohan' is from 'Music Inspired By The Lord Of The Rings'. It's an uplifting and joyful rolling piano melody, sung in a friendly voice by Findlay. 'The Great Blue Pearl' is from 'The Spirit Of Autumn Past'. This is a very beautiful song with catchy chorus and Pink Floyd harmonies. It's a slow ballad introduced by Hammond organ and a nice guitar riff that features a superb guitar solo in Gilmour's vein. 'Noise From My Head' is the only original track on the anthology. It was never released on any studio album of the group. It's great and pleasant to hear. 'Half The Mountain' is from 'The Last Bright Light'. It's a nice song, another brilliant song with beautiful instrumental passages, great guitar work and powerful vocal parts. 'Shrinking Violet' is from 'The Last Bright Light'. It's a wonderful ballad superiorly sung by Findlay and a fantastic choral work on the back and a real superb guitar performance by Josh. 'Goodbye Alone' is from 'Music Inspired By The Lord Of The Rings'. It's a calm melancholic piece, with a good instrumentation and a nice guitar solo at the end. 'Heroes Never Die' is from 'For All We Shared'. This is the best song on their debut album and one of their best compositions. This is a great epic with a sumptuous final especially provided by the final guitar solo of Josh.

Conclusion: 'Heroes Never Die - The Anthology', is a compilation with some of their best tracks re-worked, re- crafted and re-recorded which has now been substituted by the double CD compilation 'Catch The Spirit ' The complete Anthology', released in the same year. In reality, 'Heroes Never Die - The Anthology' is an excellent collection of songs of some of the band's earlier musical works, the first four studio albums of the group, and as Bryan Josh wrote, we can considered those four studio albums the first chapter of the musical career of the band. Concluding, 'Heroes Never Die - The Anthology' has a truly astonishing collection of songs where every song is simply amazing. So, this is a great introduction to the band. Anyway, 'Catch The Spirit ' The complete Anthology' is the perfect introduction to the band.

Prog is my Ferrari. Jem Godfrey (Frost*)