I deeply enjoyed the debut "Life is A Killer" as well as the follow-up "Icy Skies" by German musician and producer Georg Hahn, both highly rated by the community, but the reviews have been lukewarm. Why, may you ask? We are all fully aware that the progressive panorama spans pretty much every other form of music, incorporating every sound known to the ear and the brain. We all look for deep musicality, technical proficiency, lyrical and melodic beyond any norm, passionate atmospheres, clever originality as well as adhering to respectful orthodoxy in some cases. The most controversial style remains the neo/crossover pigeonhole because of its apparent closeness to accessible, lighter material, which can open a pandora's box of potential negatives. Let's name a few, just for fun: cliched structures, unimaginative playing, predictable flow, limited surprises and most of all, the big #1: boring. This causes a problem for artists in that genre, as they have a much higher bar of expectations to meet and even surpass. We all clearly can understand the difference between a song and a piece of music. In other words, they are compelled to write songs as well as great music. Not an easy task at all. The most successful ones are those who have managed to create timeless tracks that stand the test of time, even if they may be considered way less exuberant than, say Tarkus or Red. Thankfully, we have had a plethora throughout the decades of such luminaries, so we certainly can offer a bit of latitude. Essay done and over with!

Now (FINALLY GEORG!), I am eagerly enthused to write my first review of this supremely talented artist. I fell in love with 7-minute gems tracks such as "She", "Remember Me", "I'll Be There", and "Life is A Killer" off that delicious first album, astounded by the massive melodic content, profoundly drenched in melancholic reflection, the impeccable vocals and the first-rate instrumental backing, obviously an undeniable sense of Genesis, a dab of Supertramp , as well as recent sonic offerings by Drifting Sun, Believe, Riversea, Mystery, RPWL, Sylvan, etc? With "Painter", we just might have found the effort that will silence even the harshest detractors. Among the usual collaborators, Todd Sucherman of Styx has been a perennial member on the drum kit since day one, a solid rhythmic propeller. Johnny Beck (Violent Jasper, Sylvan, Single Celled Organism, and Marco Gluhmann) takes care of the guitar chores and does a sterling job on a few selected tracks.

The longest piece is the opening title track, clocking in at 7 and a half minutes and really setting the tone for the entire opus, as it's a microcosm of what was expressed earlier in my rant. Intensely melodic, creatively intricate, garnished by an Erlend Krauser lead guitar solo, both luminous, fluid and artistic and backed with stupendous choir work (Billy King), reminiscent of the intoxicating "She" finale. Achingly crushing vocals wrapped in melancholic splendour, "Something New" proves that Georg can sing like the wind, flourishing orchestrations abound as both Beck and Krauser intertwine their fretboards, a romantic journey into peaceful introspection that seeks a very much needed and better vision of the future. "Why" upholds the dream , eerily close to Steven Wilson-like balladry, highlighted by meaningful self-analysis and asking the questions that defy logical or cliched responses, the trumpet in second section shatters whatever confusion that may have settled into comfortably numbness, with a harsh Beck/Sucherman onslaught that lasts long enough to slap one back to reality. Beck's solo is particularly efficient. "What Kind of Place" continues the inquisitive temperament, not far from recent Peter Gabriel attitudes, the orchestral constituent up front and center, daring one to envision a gentler and kinder universe, perhaps reverting to ancient virtues (the positive ones) that may be on the verge of extinction. A perfect segue into the more elaborate "Listen", the listener is led into a solemn affair, that gradually elevates into a hymn-like resolution, with impossible bass undertow, sparkling piano infusions, and a sublime vocal, hitting the higher notes with impunity. The neo-classical instrumental section preserves the angelic request to ingest feelings instead of spewing dribble. The melody lingers on, haunting and echo-laden with a sense of eternal quest, the Beck guitar flinging the outro into the stars.

A rotund bass line greets the redolent "Sunrise", as with every single melody crafted on this list of songs, that seem to have been written by the voices of the perennial beyond, 'something deep inside' comes across as a thoroughly earnest emotion that yearns to be expressed, the piano being the prefect companion and lover. The choir is an added detail that works in ideal tandem with the orchestral inserts, a trait that is indicative of this artist style. With violin stressing even more the romantic idyll on "My Way to You", the classical orchestration finds a heightened evolution, a brief, warm and graceful torch song that hits the starry-eyed listener in the heart with passionate zeal. Detlef Boesche's Hammond provides the cathedral-like feel, the horns from Boris Havkin neatly adding pomp and circumstance.

With all this ongoing (and soothing) melancholic onslaught, there comes a time when the pressure needs to explode into chain-busting liberation, and "Child of the Universe" perfectly exemplifies the urge for resolution, kicking off with a ringing guitar riff in order 'to open your eyes', Sucherman in full bodied support, throttling unapologetically into a groove that eventually reaches majestic and grandiose proportions, the symphonics present yet delicately subdued. The mellotron cascade comes as an impeccable boost amid the crushing rapid-fire exonerations. Pretty close to Porcupine tree's classic "Anesthetize" in many ways. As mentioned many times in my long writing career, when the PAM (Passion, Atmosphere and Melody) is this overt, how can one not resist? Perhaps a final warning to all the gentler animals out there, the ephemeral "Wolves" seals the deal on the meaning of that 'love' thingy, a notion that remains elusive in dissection and comprehension, since the dawn of time. And so be it.

With the abundance of endlessly nihilistic, doomsday-inspired verbal self-immolation, revering the web preacher that espouses constant kneeling at the shrine of negativity, relief can only come with hope. And no hope is more effective that the ideal of love. As an unrepentant romantic, I certainly found immense comfort in this artist and this album, which will finish high on the 2025 totem pole.

5 water-colourists

There is a slight change of direction on the third album of Kansas. After two knee-deep prog albums, this time there are a couple more accessible songs, succumbing to the pressure of the label to deliver a hit-single. The thing is Kansas is an overly talented band and there is a distinct quality even when it comes to plainer songs. Therefore, even though It Takes a Woman's Love (To Make a Man) possesses this poppy slant, it is a song I have always enjoyed. Things get even better with Two Cents Worth largely due to the awesome lyrics although music-wise things remain mundane. But then Kansas put things in order with the majestic Icarus - Borne on Wings of Steel, an all-time fan favourite and a live staple for a very good reason. Nothing less but absolute perfection. All the World is along the same lines with numerous changes and dotted with wonderful melodies. On Child of Innocence Kerry Livgren revisits Dust in the Wind but only lyric-wise since it's rockier and more complex. One more shot for a hit single by Steve Walsh with the upbeat It's You which - you guessed- it has nothing to do with the typical hit-singles - obviously this is what Kansas thought a hit single might be. Mysteries and Mayhem although it starts out promisingly, it is one of the scarce times that the main melody of the hook and the chorus aren't too strong to maintain my interest. But Kansas left perhaps the best for the end, The Pinnacle which could be, well, the pinnacle of the album. For some reason Icarus.... is the most famous song here, but when you reach the final notes of the Pinnacle, pure bliss will flow through you, it is so gratifying.

I guess that the album rubbed many hard-core fans the wrong way since the band abandoned the pure prog style of the first two albums, but I don't see it this way. The catchier songs are delightful and perhaps they did their bit for the band to carry on. It is highly probable that the band would have to call it a day if it didn't reach a wider audience. But they did - in style, no less.

CD1 1. For Evermore for the ethereal bucolic opening to dream and leave its mark 2. On the Slopes of Sliabh Mis for the ambient prog at Solstice, folk trace for the flute and nostalgic Uilleann pipes; to delve into this universe so distinctive, so pure 3. Colour of Time for the hint of Asia, Yes even, then the digression with the guitar solo and the finale smelling of Neal Morse, ah, two believers, a coincidence? 4. That They May Be One for the beautiful ambient interlude where the guitar flirts with Brian May's on a velvety keyboard 5. On the Edge (of What Could Be) for the acoustic intro, folk world, then the backing vocals and the feeling of having a BBT or a FK. The island fiddle digression, on Iona and Genesis, with Troy's bagpipes still playing. 6. The Whispering of the Landscape for the guitar arpeggio plucked out notes on a revisited Horizons. 7. Hill of the Angels for the rustic prog intro, the female vocals, and a layered track riding the symphonic prog wave with bucolic breaks for a serene atmosphere, well-crafted but at risk of getting lost along the way.

CD2 1. Farther Up and Farther In for the bucolic electric instrumental where the synth brings freshness to this currently dated, beautiful but regressive sound. 2. Reilig Òdhrain for the Gaelic essence, Instruments of Time for the world prog fresco; flute with heavy reinforcements of bucolic atmosphere with divine backing vocals and a guitar that flirts with the works of Mike Oldfield. the latent finale, choirs, notes contracting for the Olympian atmosphere showing that the guests all have a foot in the prog of Big Big Train, Neal Morse, Iona and Genesis above all 3. Beyond the Plains of Earth and Time for the classical instrumental interlude with violin, viola and cello responding to the guitar to rise to the solemn 4. Fall Away with Sally singing a verse from Emily Brontë's poem; the symphonic Celtic folk piece that shakes up the codes with a recent sound reminiscent of the 70s and 80s and makes you review the scales heard 5. When All Will Be Bright with Rachel's Gaelic voice for the solemn finale, the invasive, soaring keyboards of Dave who is ultimately a little everywhere on this album.

During the pandemic of 2021 many artists and bands had to get creative when it came to playing live or recording together. After a long winter of isolation in Berlin, Germany two stoner rock bands based there decided to get together and make some music together. ELDER and KADAVAR would spend four months holed up in KADAVAR's Robotor Studios from March to June of that year. A six piece here as ELDER's bass player wasn't allowed to fly in from America. So two drummers but Tiger from KADAVAR spent almost all of his time on the synths early on during these sessions. He also recorded, mixed and mastered this record.

Interesting to see Kristof Hahn from SWANS adding some lap steel guitar on one track. That song is "El Matador" and it also features some female backing vocals. The only two guests on the album. You might think these two bands would be letting their hair down at this point, with Spring on the way and getting out of isolation etc. But no, this is a very reflective album. Quite spacey and atmospheric with FLOYD coming to mind a few times. It's an organic and warm record that seems to pulse with the ocean and earth at the same time.

I should mention that both of these bands began as trios, and it was only the year before these sessions that ELDER became a four piece, while KADAVAR would do the same and expand to four in 2023. And I do like that they combined their names to get ELDOVAR. My top three would include the 9 1/2 minute opener called "From Deep Within". Beautiful guitar melodies to start as the atmosphere swells. Keyboards follow then a second guitar arrives. Vocals at 1 1/2 minutes then beats and bass. It does get heavier after 3 minutes. Love that sound after 6 minutes bringing to mind ANEKDOTEN. Must be the mellotron. A spacey ending to this one.

Next top three is "Raspletin". The short track before it called "Rebirth Of The Twins" almost sounds like an intro to this one. Combined it's 8 minutes. Anyways I was thinking of early PORCUPINE TREE just after a minute as sounds echo. So psychedelic here. And so good! Guitar will come out of this around 2 minutes almost grinding away.

Final top three is the longest track called "Blood Moon Night" at 11 minutes. I wish this was the closer as the short "Cherry Trees" ends it and that's my least favourite song on here. Very cool to hear electronics end this long track. And the warmth of the way it starts. Some great contrasts here and how about the galloping rhythm? It becomes very FLOYD-like with vocals, including the guitar after 4 1/2 minutes. Some heaviness before 6 minutes is welcomed before electronics arrive to end it.

While "El Matador" and "In The Way" didn't make my top three they are right there, and if included would give me a great top five. Just a classy package overall with some nature pictures in black and white along with some pictures of the sessions also in black and white. Easily four stars for this apparent one-off.

Those who like jazz rock and Canterbury prog will like it with modern rock influence also. Heavy fusion passages make this eclectic prog suite for Metal/Fusion listener. The singer got a good voice with 90 grunge music influence but I don't really like the acoustic guitar song I Found a Dream. I think the highlight of this album is the first half of the album. The sounds of the keyboard seems all digital but make a good ambiance. The musicians are good but have nothing to do with an elite band like Area or Spastic Ink. 3.5 stars for this album because it's far to be to be in the category of my best prog band. They are usually vintage prog, but it got a English classic prog vibe.

"Skycontact" is the second full-length studio album by Dutch death/doom/progressive/avant-garde metal act Phlebotomized. The album was released through Cyber Music in February 1997. It´s the successor to "Immense Intense Suspense" from September 1994. There have been a couple of linuep changes since the first album as violinist Maarten Post and bassist Patrick Van Der Zee have left. They have been replaced by Jaro Stulrajter who performs both bass and violin on "Skycontact", making Phlebotomized a sextet on this release.

If Phlebotomized were already a relatively unconventional death/doom metal act with strong progressive leanings on the last couple of releases, "Skycontact" is a full-on progressive metal release with both avant-garde, alternative/goth rock, and death/doom metal leanings. They actually play a pretty strange combination of styles and it´s one of those adventurous releases where you almost can´t describe what you´re listening to in a coherrent and meaningful manner. The vocals are both growling and clean sung and the latter vocal style isn´t the most well performed. The clean vocals sound a bit weak and there isn´t much power in the way they are performed. While "Skycontact" may come off as impressive upon initial listens, it looses a bit of steam the more you listen to it. It´s not that the album isn´t loaded with intriguing songwriting ideas which are performed by a skilled band, but the lack of a musical direction and excursions into all sort of genre territories make for an uneven and stylistically inconsistent listen.

While I usually praise bold songwriting and adventurous music in general, "Skycontact" only partially hits the mark. It´s ultimately a more interesting listen than a great one. I´m often left wondering how Phlebotomized came up with some of their interesting songwriting ideas but when I evaluate the emotaional impact the music has on me there´s little here moving me or stiring up aggression or other emotions. "Skycontact" features a decent quality production job and as mentioned above the musicianship is overall on a high level (except the clean vocals which lack power and a distinct sounding voice to deliver them).

So, upon conclusion "Skycontact" is a difficult album to rate. I´m still intrigued enough to know that there is quality here to warrant a 3.5 star (70%) rating, but then again I´m not always sure how much I enjoy listening to the album...it´ll be a 3.5 star (70%) rating for now, but I´ll reserve the right to change that rating if I change my mind down the line.

(Originally posted on Metal Music Archives).

Beau Dommage is not a prog band, but this might as well be considered a full on prog album. This quebecois band had massive success in Quebec, being one of the few bands that competed with Harmonium. Unlike Harmonium, they are widely unknown outside of Quebec. This album is one of the greatest albums from Quebec, and should be known by most prog fans.

Le blues d'la métropole was a massive pop hit in Quebec. It's one of the bands most iconic song. While Side 1 of this album isn't really prog, it's still amazing. (4/4)

Assis Dans Cuisine a short piano ballad with interesting chords. My only wish is that it was longer. (2/2)

Amène pas ta gang is a fairly good pop song, although not on the level of the others. (2/3)

Motel Mon Repos is another great but not amazing song. (2/3)

J'ai oublié le jour is very good and has some very cool chords. (3/3)

Bon debarras is the only instrumental on here, and probably the progiest song on side 1. It's fairly good, tho not amazing. (2/3)

Heureusement qu'il y a la nuit is a fairly soft song with an amazing groove, but it drags a bit. (5/6)

Now usually I make extensive analysis of every song. There's a reason I didn't here. It's because Un Incident à Bois- Des-Filion IS the reason you should listen to this album. Not only is it a prog track, it's in my opinion the greatest prog track in the history of Quebec's prog scene. Yes, better than anything Harmonium ever did. It's a masterpiece and I can't say enough how much I think it's a marvelous song. (20/20)

FINAL SCORE: 40/44 = 91. Easy 5 stars, go listen to Un Incident right now

John McLaughlin made a excellent album and it was created custom-made to blow the listener's mind. This is one of the most intense 40 minutes of music on record. "Meeting of the Spirits" and "The Dance of Maya" are particularly heavy, but even the quieter songs ("Dawn," "You Know You Know") have the same intensity.

Billy Cobham's drumming makes your jaw drop, it's so fluid, fast, and precise. A less experienced drummer would have made this music too heavy-handed, but Cobham sets up almost organic grooves for McLaughlin, Jan Hammer, and Jerry Goodman to emphasize the music way more.

The whole band moves with one purpose. I'm not sure they were all equally offering it up as a devotion to god (Mahavishnu John McLaughlin certainly was) as opposed to merely an extremely heavy album, but the music is amazingly focused and concentrated. You really can't enjoy this as background music -- if it isn't capturing your full attention, it'll likely just sound busy and loud. When you listen to it, though, there is something holy and sublime about it. The chords that open the record remind me of Gothic architecture, massive and towering, in the world but not of the world. And then a track like "A Lotus on Irish Streams" is just as focused but gentle, contemplative, and serene. Every track is like a meditation.

The flashiest part of this is "Meeting of The Spirits" but the apex of the album for me is the final section of "The Dance of Maya" where two musical lines -- one a raunchy blues, the other a hammering repeated motif -- come together -- totally different time signatures, totally different feels, but combining heavy energy and spirited musicianship

So intense, you definitely have to be in the mood for it, but if you are, this is one of the heaviest, most musically brilliant albums ever put together. Mahavishnu are some of the best to do it. 5.0

I still can recall that extremely hot Sunday when I first saw the video for Agropelter's "Levitator", mesmerizing me immediately with its Nordic beauty. Having found Agropelter's debut "The Book of Hours" this way, it turned out to become a kind of cooling, yet exciting summer soundtrack. The mastermind behind this new project is Norwegian multi-instrumentalist Kay Olsen, who composed the album and also played most of the instruments on it, getting support by some great guest musicians.

While "The Book of Hours" is an instrumental piece and doesn't follow a specific, sung story-line, the musical flow is amazing! Opener "Flute of Peril", whose theme we'll meet again later, sets a dreamy, melancholic mood with a light flute / strings intro accompanied by soaring guitar. Next up is the already mentioned "Levitator", a synth / bass-driven track with beautiful melody lines, that could also be part of an 80s movie soundtrack. The following "Burial Mound" comes along with a mystical atmosphere, guided by deep organ sounds, wild drumming, and a marvelous bass solo.

Over the next 33 minutes, Kay opens "The Book of Hours", which is divided in 4 parts, but nevertheless feels like a strong unit. We dive into a wealth of lush tones from piano, Mellotron, Hammond organs, ARP, cembalo, Minimoogs, and Taurus bass pedals, drifting through different musical landscapes from classical to contemporary, perfectly melted together with a great dynamic and variety.

Agropelter caught me totally unexpected, but I'm happy I came across their work. The way they weave together all those different instruments to colorful soundscapes with wonderful harmonies, dynamic rhythm patterns, and sparkling melodies is absolutely mesmerizing, invites to dream along for a while. Considering "The Book of Hours" being a debut makes it even more impressive. Highly recommended for fans of instrumental prog, 80s soundtracks and keyboard enthusiasts.

Released in 1995, 'In Your Multitude' is the third studio album by Norwegian progressive metal band Conception. It follows on from 1993's 'Parallel Minds' pretty closely, sounding almost identical in writing, sound and production, so much so that in all honesty, it's often hard to tell the two albums apart. And as a result, despite being on my playlist for over a year, I still don't really know what to say about it.

'In Your Multitude' isn't a bad album, by any stretch. There's some solid songwriting and excellent musicianship, in particular, with a strong emphasis on guitar acrobatics. And fans of Roy Khan (who would go on to front power metal legends Kamelot for a number of years) will enjoy hearing him in his earlier days.

The problem though, is that this is overall, a very average release. While there are a number of pretty decent songs, including 'Under a Mourning Star', 'Missionary Man', 'Carnal Comprehension' and 'A Million Gods', it just sounds too much like its predecessor, and in all honesty, there's countless other things I'd rather listen to.