Phantom Limb is what happens when an amputee still feels their leg or arm after the amputation and it's not there. It's also the name of the third album by this Swedish jazz rock/prog band. It seems less fusion than say, Mahavishnu Orchestra, for example, and it's here it's not about how fast they can play, for those who thought fusion was technical showoffmanship, which Hooffoot isn't. Apparently, Bengt Wahlgren uses his share of authentic keyboards (the inner sleeve clearly sees him with a Hohner D-6 clavinet, as well as a Fender Rhodes electric piano. I think I also see a real Hammond organ as well, not a Clavia Nord Stage). This go around the album consists of four lengthy pieces, and they are all of equal quality. No filler, nothing that seems out of place, and if I love the sound and they keep that quality throughout, it deserves that five-star rating. The music is very retro sounding, and if I didn't know better, I would have guessed this was from 1972. I have a hard time describing the music, I can't be reminded of those big name American fusion acts, or the British jazz rock and Canterbury scene, but it clearly hearkens from that era of music and they even got that vibe (the problem I have with some retro-prog is they forgot that vibe, and some unwelcome modern elements creep in, but I can forgive a lot of them when many of those musicians weren't even alive during that era therefore not always getting the gist). My only gripe about this album, which hardly affect the rating and it's the vinyl. Nowhere any mention of side one and two on the label or any info. The only way to tell is the etching on the runoff that states "A" and "B". Also, side one both cuts are of similar length, but side two, the first cut is obviously shorter. Other than that, it's the music that matters. All the music on this album is of the highest quality and if you already own their previous two albums, you need to get this one!

— First review of this album —

What we have here is a new band formed by ¾ of Anchor and Burden, namely Markus Reuter (Touch Guitars S8 and AU8, Loops and Soundscapes), Alexander Paul Dowerk (Touch Guitars U8 Deluxe and S8) with Asaf Sirkis (drums and percussion, vocals). Bernhard Wöstheinrich is the person missing, but I have no idea where he would have been able to fit in his keyboards and electronics as this music is intense and comes at the listener like a solid slab of thought with no room at all for anything additional. The instruments and musicians are clearly defined, yet at the same time it feels as if they been synchronised and arranged in such a manner that all oxygen has been take out of the room. That is not to say there is no room for dynamics or the use of space, but it is all carefully controlled and massively intense.

All involved are known for their improvisational abilities, but this feels as if the guys started with ideas and have then finessed and rehearsed them to take it to a new level. It is quite heavy, without being metallic, and the shifts in tempos and polyrhythms take the listener's breath away, and if there was ever a bastard child of King Crimson and Robert Fripp then surely this is that band. This is British extreme progressive music being given a huge Berlin twist and turned into something which is futuristic and creative, somehow bringing together the mechanical and the emotion to create something which has the drama of Rammstein but the inventiveness and play of live free composition. It is an album I get more from each time I play it, and while this will not be for everyone, those who want their music to be more challenging and outside the mainstream prog will find much here to enjoy.

This French prog band hails from Rennes, and this is their second album. The foursome is led by David Chollet (guitars and vocals), Dominique Blanchard (guitars, vocals), bassist Benoit Toquet and drummer Lucas Planque, they sing in English BTW! Thank you, Anne-Claire Rallo of Bad Dog Promotions, for sending me this new discovery to review. The Rogue loves surprises!

Strangeness certainly shows its face on "Echo of a Silent Place", a modern guitar-driven tremor that holds back vigorously before convulsing into a streak of awareness. An ideal prelude (first French word) to the impressive "Earth Song ", the band shows off its style with aplomb (and a second), a gently rousing anthem that rocks back and forth between a gentle and aggressive guitar interweaving, a dual attack that works wonders both rhythmically as well as ensemble (and three) playing at peak level. The quality of the vocal delivery is on par with the immediacy of the melodic content. An exhilarating wake-up call.

"End of the Anger" stretches the boundaries even more, as the twin fretboards throttle forward without hesitancy, both separately carving their parallel paths, heading towards the same groove, the rhythm section fluctuating as need be, shifting gears where the opportunity demands, as both the limbering bass and choppy percussive attack the arrangement. It's always forceful, though never needlessly heavy, emitting an attractive dose of creativity that keeps the listener transfixed, as to what is next. Case in point, a sudden 'dub ah dah' vocal insertion that left me bemused. Bien joué! (and four).

Time for some insightful selections and "Green Eyes" prefers a more 'laissez-faire' (that would be five, now) epic that runs over 11 minutes, focused solely on expanse and melody, as well as a dreamier atmosphere, constructing harmony voices and orchestrations to set the tone. The mid-section presents a tremendous platform for jangling guitars to intertwine with filigree meticulousness, long enough for Toquet's burping bass to interfere rather brilliantly, no haste, no waste. The eventual set-up you can sense it coming all along, a blistering guitar solo ripples like an Atlantic gale, ratcheting up the tension , in full union with the expansive vocal work that started this amazing piece off. Toss in an acoustic guitar outro , 'you wake up from a gorgeous dream? wish it could have lasted longer'. Indeed! An exceptional discovery.

One must be dialed in to match the previous stroke of delight and "Reality of Dreams" simply stands up to the challenge, throwing in neo-jazzy guitar slashes that reek of Andy Summers's solo work, an even breezier melodic accoutrement (six) that highlights not only the duality of the voices but also the guitars, replacing the need for keyboards is not an easy choice, yet pull it off with unabashed talent. Offering acoustic and electric parallels is awe-inspiring.

The snarling initial brutality of "Never Again" was expected after all the previous luxuriance and Pryzme pull no punches, destroying any resistance (seven) until victory is achieved and no armistice (eight) to dwell on. Time to rest the weary bones after the strenuous battle, and ponder the future, the scat voice running under the shark guitars belly, long enough for the deliberate explosion to liberate the suppressed fury waiting to erupt. Other stories?True lies.

The longest track is the last, "Silent Place" suggesting a 12 minutes+ contemplation of some distant void, rambling electric slivers surfing over a galloping bass line, and a groove that will not let go. One guitarist drilling complex lines and another slashing wide berths , one soloing as if in a George Benson jazz-rock mode, the other extending long sustained notes. Crafty devils, these Breton lads! Smooth as Calvados, and intricate like a Bigoudène (look those up, that is what the internet is really for). 'Hope it's not too late , still got so much to do, taking a ride to somewhere'. Quite the moody and jazzy ride, wholly unexpected. Even more stunning is how it slowly evolves into a less subdued atmosphere, kicking into turbo charged gear, both vocally and instrumentally, with all the 'fioriture' (nine) left far behind, insistent and ultimately gloriously spun! The final minutes are sheer perfection.

A couple of radio edit of "Earth Song" and "End of Anger" complete the oeuvre (finally, ten). I just love first impression, and this is just plain 'magnifique' .

4.5 Crepes bretonnes

1. Void Meridian for this dark wave pulsar synth, the fat guitar riff reminiscent of those of ROGUE MALE; Sara captivates with her timbre, reminiscent of THE CURE or KILLING JOKE. Alberto and Marco's guitar solo sets the place on fire before the tune becomes monotonous again; a different sound that puts me on the lookout. 2. At Races draws on the work of THE GATHERING from the beginning, languid and addictive. An intoxicating post-punk sound with the heavy, metronomic rhythm; a whiff of SIOUXSIE in over-the-top mode; an addictive tune, again, it's starting to interest me strongly, a dark, haunting, post-metal wave track, singular and unique, I'm glued to it. 3. Fire on the Roof returns to the basic compulsive synth, bringing the strong, heavy rhythm with this dragging riff. A massive energy, a violent yet contained sound, hard, doomy for the heavy side; the violent, unstructured, dynamite solo with Rocco's machine-gun drum finale is strong, but there's creative energy. 4. Immolation for the electric piano arpeggio with Sara's gently melting bluesy voice; the ballad that suddenly drifts after a final piano stroke; a solo that comes out of nowhere, which struck me at Hellfest, Alberto's solo, astonishing because it's unique; the finale is intended to be calm and lets a few drops of prog blood seep through.

5. The Dress for the cyclothymic explosion from the start, a stoner, latent, ambient sound that lodges between the ears; there's something animal, something compulsive; a Floydian air, a Salvatiere air on this hidden crescendo. Halfway through, there's a break with the crashing bass, its reverberating sound, and then, and then, this trumpet that takes us with the guitar on a jazzy-western slope, a thriller film with the appropriate raincoat; the end with the return of contained violence, but the progressive atmosphere is definitely there. 6. Reveal continues to walk on the lands of Louisiana with these archaic cowboy notes; the guitar searches for its range and it's off for a musical wave full of devastating fury; a frantic blast beat, the sulfate bass, and Sara tames it all with her bewitching voice; a short break that searches for itself and the thunderous solo, in the style of incendiary BLACK SABBATH; the contained frenzy and Sara's screaming assassin vocal that lets loose, slaps. 7. Thicker Blood with the return of dark synth à la LACRIMOSA and a hint of SISTERS OF MERCY; crystalline guitar arpeggio and fragmented Sara, bleeding her words; the explosion allows to move on to a more constructive monolithic mode looking at the origin of black quite simply; the rise can be guessed, Sara imitating Amy overwhelming before her death in complete darkness; doom progressing with again, but what a pleasure, again a gripping, breathtaking guitar solo; a mantra appears, the voice confronts the heavy rhythm, again this invasive sound of ROGUE MALE, what a good memory; illuminating heaviness, musical climate also reminiscent of SAXON, a crescendic title which swells, and what I feared/hoped for finally arrives, a howled deluge of vocal hordes having the cathartic effect of freezing our ears. The silence is there again in the album, staggering.

I recently started going back to 2024 to check out some releases I really didnt pay attention to. This being one of them. I only had heard a couple of their older releases and found them relatively good but still fairly standard prog metal offerings. This release see the band stepping out of the typical progressive metal box. First track has great use of hammond organ and flute. Slowing things down for an atmospheric middle section with very cool sounding neo prog keyboard sounds. It seems the band has implemented more prog into their metal, and its not a bad thing.

Yes some of the AOR spice in in here too. Not sure why some proggers use it like a dirty word , nothing wrong with a bit of AOR influence IF done right. That is something DGM do get right. They have toned down the silly "duelling banjos" keyboardist and guitarists having a solo battle that has become obnoxious in almost all prog metal (yes Dream Theater I am talking about you). With second track actually coming across almost like a Spock's Beard song and to me thats never a bad thing.

Third track begins with a menacing atmospheric keyboard beginning. Once again the flute and hammond elevate this song. Then it hits with a cool middle eastern sounding riff and some mellotron, they have really upped their game here. Dynamics and light and shade are the name of the game on this release. Due to some of the melodic elements alot of the songs come across like some of the heavier neo prog bands. Also no complaints from me.

Tracks four and five continue with some nice retro synth and organ sounds that really break up what might have sounded like fairly (read overdone and tired) prog metal tropes. With the hammond doubling the guitar riff on track five elevates the song greatly. Track six has a cool middle section with flute that sounds almost like something Opeth would do. Track seven weighs things done a bit by being a typical prog metal ballad thing. The longest track , ends the release and has some violin and a nice slow opening and a nice almost symphonic prog ending. All of the songs have really catchy choruses and overall the lyrics are not silly. Huge step up for these guys and really hope their next release continues this vein. A solid four stars maybe four and half due to the artistic evolution the band shows here. I highly recommend this.

There is a glistening and expansive quality to Fates Warning's twelfth studio album, titled 'Theories of Flight', a very mature progressive metal opus that draws inspiration from the entirety of the band's catalogue and offers a relentless sound that portrays these veterans of the genre as one of the most creative and visionary metal groups to have come out of the United States. Released on Inside Out Music in July of 2016, this record offers a very vivid and emotive ride through the existential narratives of Ray Alder and Jim Matheos as well as exhibiting all the sweeping, moving and richly "decorated" progressive metal sounds that the band had been crafting and navigating for decades. 'Theories of Flight' offers this polished, compelling and dense sound that few bands achieve and the deep emotional resonance of the songs on here is what renders the album quite memorable, complex and rewarding.

With its eight tracks, 'Theories of Flight' explores both "the light and shade" of Fates Warning's music, delivering both the introspective lyrical content that one might expect from the band, and the fabulous melodies that have accompanies most if not all of their studio efforts. These are elevated by the stunning riffs and the gracious guitar work of Jim Matheos all throughout. The passageways between light and heavy are absolutely brilliant, especially on tracks like 'From the Rooftops', 'White Flag' or the masterful 10-minute piece 'The Light and Shade of Things'. Another longer composition explores the band's progressive side - 'The Ghosts of Home' has some of the most intricate and quirky instrumental passages of the entire album, while other fantastic songs on here have a more "marketable" metal sounds and instead impress with the excellent writing and all the memorable hooks within, think of 'Seven Stars' or 'SOS'. Closing off the album in the instrumental title track, a well-constructed and somewhat nostalgic piece.

'Theories of Flight' is exceptional and one can surely consider it a milestone for Fates Warning - from the bold and technical riffs to the elegant melodies and the darker, melancholic tones, there is very little left to ask for from an album that explores various forms of progressive metal. Nearly a decade-old as of 2025, this classic ranks among the finest FW releases.

Varjevndognsnatt is a beautiful album. Completely instrumental, but not to its detriment. The English album title is Night of the Spring Equinox, which is of course the subject of the album. This album is calming. It really feels like a break, but retains a healthy amount of complexity. At points the energy can pick up, but overall I think this is a great album to calm down with. Fun, sweeping synth sounds, as well as original and exciting guitar work (both electric and acoustic) make this album a joy to listen to. The percussion is all it needs to be, it's on beat, jammy, and well done. Really, for what it is, this album is pleasing to hear, and I don't think it could have served its purpose more effectively. I gave no gripes with this album. For that reason, I'll give it a 5 star review.

MAHTRAK were a four piece band out of Brazil who released "Panorama" their sole album in 2009. It's interesting that three of the band members here were practising for a new project that would eventually be called SOLARSHIFT. When guitarist Antonio Rodriguez joined them for some jams and took them in a new direction that had them all excited. So they put SOLARSHIFT on hold while they focussed on making music for this new band they would call MAHTRAK.

They clearly went into more of a Jazz mode with MAHTRAK. I recently read some comments by the keyboardist Paulo Viana who said his second instrument is the alto sax which he wanted to use on this album but was vetoed by the drummer who does not like sax. Cris the drummer is a Rock drummer and while I have no complaints with his performance here, in fact I quite like it, it would have been better to have a Jazz drummer on the stool, and sax.

I love that album cover, and it's too bad the picture on the site here wasn't more clear. Tornadoes and hot air balloons don't mix very well. My package opens to a three panel picture, kind of, with the middle one having the track listing and bunch of other information. The bass player Fabio Cesar is amazing by the way. He and the keyboardist really impress here. We get eleven tracks over 41 plus minutes.

The opener "Tempestade" was the first song they completed from those original rehearsals. In the liner notes they describe it as being in a 5/8 groove, perfect for soloing. A hammond organ and guitar duel later with electric piano leading early. "Breeza" is a 11/2 minute piece led by piano early before all come on board. "Nachos Y Tequila" explores latin rhythms and textures and played live they would extend it into a long jam. "Sinestesia" is the piano intro for "Mantra" a piece I like with the drumming and organ standing out.

The title track opens with organ and bass but is joined by drums and guitar quickly. This is relaxed and mid-paced. Organ and guitar lead the way. "Frankenstein Goes To Disneyland" is not so surprisingly experimental. A nice change actually. This dissonant vibe continues into the short next song that's a minute long. "Crystal Canyon" features the unique tone of an old fender telecaster guitar. There are several themes here. Another short piece follows at under 3 minutes that is quite mellow.

The closer is "Oraculo" and it might be my overall favourite. In the liner notes they mention the tribal drumming mid-way through and jungle affects. I find the synths emotional on this one, and they will come and go. This is a solid album but not the cream of the crop. Still, it was an enjoyable record to play each time I put it on.

Review Nº 902

SBB is a Polish progressive rock band that was formed in 1971 in Siemianowice, Upper Silesia, in Poland under the soviet occupation. The band's name SBB was initially an abbreviation of Silesian Blues Band, but a little later they changed to Polish, Szukaj Burz Buduj, in English, Search Break Build up. Still it can also be a provocation, reminding the SB the hated polish-soviet secret security service, Słuzba Bezpieczebstwa. SBB was one of the most important Polish prog rock bands of the 70's and against all odds, SBB performed behind the "Iron Curtain" in several Western countries and performed with many western prog acts. For instance, the band opened the show for the Olympic Games in Munich, Germany, where they shared the stage with John McLaughlin's Mahavishnu Orchestra and Charles Mingus.

Although basically a rock band, SBB was one of the front runners in the development of, what was later called, jazz rock or fusion along with Weather Report, Chick Corea, Herbie Hancock, John McLaughlin and Miles Davis. But, despite that, we may say the jazz elements aren't strongly present in the band's sound. Personally I classify them as symphonic progressive rock with some light hints of fusion, which makes the band's sound so unique. For those who don't know them, I would say that they sound like a less virtuous version of the Dutch group Focus, a lighter Focus version.

"Memento Z Banalnym Tryptykiem" is the tenth studio album of SBB and was released in 1981. The lineup on the album is Apostolis Antymos (electric and acoustic guitars), Slawomir Piwowar (acoustic and electric guitars, bass, Hohner clavinet and fender piano), Josef Skrzekn (vocals, bass, Mini-Moog synth, Micro-Moog synth, Poly-Moog synth, Sonic-six-Moog synth, Davolisint synth, Concert Spectrum synth, Hohner clavinet D6, Fender piano, Mellotron, Hammond organ, grand piano, church organ, harmonica, marimba, Japanese banjo and percussion) and Jerzy Piotrowski (drums and percussion). The album also had the participation of Jan Skrzek (harmonica and hand clapping), Alicja Piwowar (hand clapping) and Renata Szybka (hand clapping), as guests.

"Memento Z Banalnym Tryptykiem" became the last album of the original SBB before a long hiatus. It became a kind of summary of a decade full of events and achievements, a kind of summary in which the band searched, demolished, built and conquered all of Europe with its view of the progressive rock. It represents a kind of staple where, on one hand, it showed the new fascinations of the musicians by the fusion elements and, on the other hand, it summed up the search for the more classic progressive rock music with even elements of country. So, we can say that on "Memento Z Banalnym Tryptykiem", the band plays a blend of jazz and prog in a very clever way. The material is mostly instrumental and is performed in a stellar way. The singing is solid as well and is performed in their native language.

"Moja Ziemio Wysniona (My Land Of Dreams)" is a sublime piece very wide and varied lulling the audience with an orchestral prelude in a classical style. The music drives us to the progressive fusion rock demonstrating a technical and melodic expressive game imbued with surprisingly young energy. "Trojkąt Radosci (The Triangle Of Joy)" is a very beautiful piece that sounds great thanks to the great playing on the classical guitar. The composition is announced in the format of a duet. It's a guitar show of the band with the new addition of the second guitarist. It's a great patchwork. "Strategia Pulsu (Strategy Of Pulse)" is a small piece that is sustained in a purely jazz rock vein with no great frills or excessive lacy. We have only clarity and delineation of texture, multiplied by a great professionalism of the performers. The title track "Memento Z Banalnym Tryptykiem (Memento With A Banal Triptych)" fills the entire side two of the vinyl. It cannot be compared with anything from previous SBB work. It's full of contrasts and surprising fragments in the form of a collage, which is actually a characteristic of the entire album. It continues SBB's tradition of extended epics. This is a complex construction that serves as a benchmark for a perfectly balanced rock fantasy. The entire number seems surprisingly relaxed. In general, this is a piece with an absolutely amazing fresco and that despite the time that has passed not one drop has lost its relevance. The piece ends with the same symphony on the beginning of the album.

Conclusion: In contrast to their other Eastern bloc colleagues, like Omega, SBB showed a sophisticated way out of the New Wave dilemma with this album. Unfortunately, this was also their only 80's release, which was followed by the breakup of the band. Only after the fall of communism did they reappear at some festivals and it was only in this century that they returned with studio releases. This last official studio album is worth listening to because it's different from its predecessors. Still, SBB began the 80's still clinging to the ideals of the 70's music. There's something heroic in that. "Memento Z Banalnym Tryptykiem" is a great album, probably the best work of the entire SBB discography. It's an imperishable classic of Eastern European progressive rock. It's notably indicated to the adventurous prog fans.

Prog is my Ferrari. Jem Godfrey (Frost*)

Immersive, emotive and edgy, 'All the Wars' is a 2012 studio album from The Pineapple Thief, the Bruce Soord-led progressive band whose name has become synonymous with nostalgic rage and indie production values (occasionally), and this fantastic studio album confirms just how excellent of a songwriter Soord is, here joined by keyboard player Steve Kitch, longtime bassist Jon Sykes and now-former drummer Keith Harrison. A collection of nine new songs on the standard edition of the album, 'All the Wars' really takes up some of the aesthetic searchings of preceding TPT releases (especially their 2008 and 2010 albums) and expands them in a way that magnifies the group's scope as well as their progressive pedigree - at parts heavy and relentless, at others vulnerable and intimate, there is a great balance between these two forces that are necessarily at play in most of the band's music. The album is replete with gorgeous art rock anthems that take equal amounts of inspiration from Porcupine Tree and Muse but redirect this creative energy into a lush and stimulating presentation.

Of course, this album also utilizes the strength and profound sonic power of a 22-piece string section as well as a choir, adding a touch of symphonic goodness to the mix, intertwining brilliantly with the alt-rock riffs and the solid rock rhythms of the album. The entire album winds back and forth between gripping melancholia and atmospheric, angular guitars, topped by the always-recognizable vocal delivery style of Soord. And just like almost any other album by The Pineapple Thief, 'All the Wars' sounds very good, the production is excellent and vibrant, and you can discern the contribution of the different instruments. This is a less electronic record than its predecessor, which is probably why it is a little more straightforward, and I do believe that 'All the Wars' generally has greater commercial potential than some of the preceding albums from Soord. Some highlights on here definitely include 'Warm Seas', 'Give It Back', 'Someone Pull Me Out' and the magnificent 10-minute-long album closer 'Reaching Out'. The opening track has a punkier sound, while 'Last Man Standing' and 'Build a World' reflect upon a more existential strife, at least from what one could tell from the lyrics, with the entire album being quite honest, mature and richly emotional. Just an excellent work from an excellent band and a strong step forward towards the consolidation of the band's contemporary alternative-progressive sound.