Dear friends, good day to all of you! The year 2025 has come, and it's brought us new creations, new music. In addition, among the new wonderful musical creations, I want to write you now about the album of very famous band, they are Roz Vitalis and they are from St. Petersburg, and this album was created in the progressive rock style. The album "Dedication to BigNick" is the 12th in a row. This album is dedicated to the musical producer and big friend of the band - Nikolay Bogaychuk who died some time ago, it's so sad! Music of thе new album is rather similar to sound to the music of another creation of the main author of the idea of Roz Vitalis Ivan Rozmainsky - the Compassionizer project. But another similarity is that musicians from both projects who took part in the recording of the album live and work in different cities and some of them are even in different countries. Therefore, the album was recorded separately in different parts basically, and all the recordings were mixed together then. Also basically all the material was recorded in 2017-2024 years. This disc has both similarities that emphasize the signature style of the band, and differences. Similarities: different styles: yes, not all compositions are only prog rock. There is also salon piano music, piano sketches. The compositions are divided into several parts. Each track has topic. In addition, of course, using of special effects, which made studio music as it plays live. The differences are that there are almost no guitar parts on this records, fewer brass instruments, and much more various of keyboards. The length of the tracks is also not very long, and also we have two short pieces perhaps this is similar to the previous albums, but the absence of long tracks is a difference. The average length of the tracks is 4 - 6 minutes. Dear friends! This is a great album! You will really like it! Next I would like as I did before to tell you, dear friends and listeners, about each composition separately. The title composition "The Tragedy of The Ancient Spring (Extended Version)" lasts almost 6 minutes, many Roz Vitalis tracks have such length. It begins very lyrically. After the first sounds started to play we hear something as birds have fluttered in front of us, something is really connected with antiquity. We hear an orchestra, the romantic sound of brass instruments, we feel spring. But the music develops, keyboards are added, they sound separately and together with the brass instruments, then the drums are started, they have a rather "metallic" sound and their sound by the way even becomes a "rock-style", it is very interesting when the rhythm changes and a new melody cycle develops, the violoncello comes to the foreground. The melody approaches a certain overflow, the tragedy occurs and the first composition smoothly transfers into the second one. The second composition "Captivated (Atmospheric Version)" has a bit of a space music introduction, also it looks like something comes to us from ancient times. The rhythm of the drums at the beginning is a little bit, I would say, even like African. The guitar startes gently: first are single chords, then we listen to a solo. The drums begin to beat out a classic rock rhythm, the harpsichord is added very beautifully from time to time. Then various keyboards and brass instruments come to the fore, I counted about 3 different keyboards, and how many can you count? Yes, of course, a very pleasant track, I am really "enchanted" by these beautiful melodies and the arrangement! The third composition with the intriguing title "Target (LP Version)" begins smoothly and calmly: we hear keyboards and brass instruments. But after 1.5 minutes the melody "hardens": a restless rhythm of the drums is added, the melody begins to "load", the bass guitar begins to come to the foreground. Several times the rhythm calms down and the melody even becomes a little quieter, but then the melody starts to become fast and "loaded" to a certain limit again. At the end of the composition we hear a short culmination and that's it's final. We hear a gong strike and music stops! What? Perhaps the goal has been achieved? The fourth and sixth compositions "Teach me thy statutes (Part I)" and "Teach me thy statutes (Part II)" are essentially musical sketches on the piano. The first is short - about half of minute, the second is longer, about 1.5 minutes. In the first, the musical theme is outlined, in the second - it develops. In the second part, it is necessary to note rather complex and fast chords. Probably only a virtuoso can play them. On the previous album "Quia Nesciunt Quid Faciunt" (2023) there are also two musical compositions - sketches. Probably the musicians decided to continue using them on the new album, I will repeat my idea from the review of the previous album, so that you, dear listeners, could feel that the work of the Roz Vitalis band is very diverse! The name of the fifth track is "Loneliness-Bringing Power". The composition begins with electric keyboards, such a slightly ominous beginning, slide guitar and brass instruments are connected. At some point the melody stops, the sound of instrument is similar to an electric organ sound, it echoes with violins (or violoncellos), the melody develops again, goes in a spiral, acquires new special effects. Then it speeds up a little, changes a little and intensifies. It is worth noting the special role of the bass part in this composition, starting from the middle. The ending sounds unusual: the final chords, they are held back and then released, a strong sound is obtained like a beep, the rhythm stops. And that's all. The power that brings loneliness has come or has dried up, depending on what is felt more by each person. The seventh track "The Threesunny Light Power (Very Abridged Version)" also starts a bit harshly, we hear the electric organ again. It plays as if it were rocking on the waves! Gentle and beautiful! Then a bell sounds, the melody is picked up by the piano, a bit like a Chinese tea ceremony, like in the previous album in the composition "Beautiful", the notes sound very quickly, these notes of the melody echo are the chords that border it. It is very similar, you know, to a polka that sounds in a palace somewhere in the 18th-19th century. And in the third part of this nice composition we hear a bell that sounds with a different rhythm. The sound however is quite "metallic", it is divided by channels and the effect of transition from one channel to another is used. Ivan Rozmainsky recorded this bell 16 years ago. The composition by the way was recorded a long time ago in 2004 in an extended version, and its short version was produced in 2009, which sounds on the album in a specially adjusted version. The eighth track "Resilience (Expanded Version)" begins at a fairly fast tempo with classic drum rhythm, a repeating melody core that develops and acquires new sounds. At the end, the melody falls silent, special effects come to the foreground. The final iridescent chord hanging for 10 seconds and a break. You know, it seemed to me that this piece is like a person's life: it develops in many ways in a circle with an increase trend. These special effects are the moment of a person's transition to another dimension, maybe clinical death, when there is a choice to stay here or leave. And this final part of this track is unfortunately death, it is the transition of the soul to another state, to another dimension. And the final ninth composition, which is on this album, called "Silence is Waiting (Thy Statutes Version)", continues this mystical theme, which I spoke about, describing the previous track. The melody is gentle, calm, contemplative. You can hear long background keyboards, a strumming of short keyboard sounds in the foreground. There are no drums, this once again emphasizes the duration of the sounds. As in the track "Premonition" from the previous album, we hear the breath of the galaxy and the sounds of the space ether! You know, I have a feeling that this is an extraterrestrial melody. The soul is already there, it hovers, flies above the earth or is already in heaven, in space, in paradise! These 2 compositions: 8 and 9, it feels like they are about the earth and extraterrestrial life of Nikolay Bogaychuk, to whom this excellent album is dedicated. Dear friends! Thank you for your time and take care of yourself! Listen to wonderful well-done music!

John Lodge leads his 10,000 Light Years Band through an impressive set of Moody Blues songs that were recorded during the summer of 2019. Lodge took part of The Royal Affair Tour in the United States. Additional tracks were recorded during his US tour dates that followed.

The 44 minute set opens with Steppin' in a Slide Zone. Lodge and his band rock harder here than the Moodies typically did performing this song live. Duffy King's soaring guitar work really stands out. Saved by the Music quickly follows as an early highlight. This is Lodge's only solo track which is from the 1975 album Blue Jays released by Lodge and his Moody Blues bandmate Justin Hayward during the Moodies 5-year hiatus in the mid 1970s.

"Keeping Moody Blues music alive" with a series of tributes to his former Moody Blues bandmates, Lodge launches into Legend of A Mind (written by Ray Thomas). The trippiness of the original song's arrangement is perfectly captured by Jason Charboneau's cello and Alan Hewitt's keyboard mimicking the flute solo. The next three tracks Sunset (Mike Pinder), Late Lament (Graeme Edge) and Nights in White Satin (Justin Hayward) form a mini suite from Days of Future Passed. Sunset is energized by the sounds of tabla and tambura that blend perfectly with King's guitar soloing and Hewitt's orchestration. Lodge's voice also gets a little echo treatment. This is another standout. With guest narration from a pre-recording of Edge, and guest vocals from John Davison singing the Moodies signature song, there's a very different character from the originals but everything works for the most part.

Continuing with the 1981 hit song Gemini Dream that Lodge originally sung with Justin Hayward, the band does a fine job rocking out. From 1972's Seventh Sojourn is the hit Isn't Life Strange, another song where Lodge originally traded vocals with Hayward. Here, Lodge sings all the lines himself, and with his band, they do a magnificent job with this classic rock power ballad.

Coming near the end of the set is I'm Just a Singer (In a Rock and Roll Band), which retains all the energy of the original. For the encore, Lodge doesn't stray far from the Moodies tradition of closing the show with Ride My See-Saw. Lodge and his 10,000 Light Years Band sound like they've had a wonderful time, bringing back guest vocalist Jon Davison to join in to help sing the chorus.

This is a solid set, through a little short with just 10 songs. Maybe there's a deluxe version in the works with more tracks.

Taking a moment to appreciate what the band Lifesigns have done with their self-titled debut album, a record of brilliant English melodic rock and a must-have for anyone who is even remotely interested in progressive rock. A John Young-led band, Lifesigns have seen several lineup changes over the years, but the musicians playing on the gorgeous debut album are Nick Beggs (bass, backing vocals) and Martin Beedle (drums, percussion), joined by co-producer Steven Rispin; the contributions of Steve Hackett, Thijs van Leer, Jakko Jakszyk and Robin Bouly are noteworthy, too. So this 2013 release is all about the long-form composition, made up of five intense and emotional as well as crushingly beautiful songs, always very melodic and compelling, with the main trio achieving a fine balance between excellent vocal melodies, vocal harmonies and masterful instrumentation - at times symphonic, at others more eclectic and atmospheric but somehow always very attractive and engaging for the listener.

Furthermore, 'Lifesigns' just oozes that English aesthetic - the music on here is simultaneously nostalgic, evocative of the classic era of prog (think of the most melodic ventures of Yes, Tull, Floyd or The Moody Blues), but also very modern, timely and intricate, which for me places Lifesigns in the same "nest" as artists like Steven Wilson, Big Big Train and Steve Hackett, recognizable for their distinctive style, melodic approach and overall eclectic inclinations. The keyboards are the leading instrument here, with John Young constructing these lush, embracive soundscapes that navigate the overall sonic journey, while the guitars, as occasional as they may be, provide for these textured, elegant wide notes (think of David Gilmour or Steve Rothery's playing), which is really reminiscent of many neo-prog records from the 90s. Nick Beggs' playing is as great as usual and his backing vocals as well as harmonic work here is quite pleasant, there is a fine interplay between his voice and Young's.

Each song on here is a treat, which also makes it difficult to pinpoint a particular highlight. 'Lifesigns' is an excellent prog record that draws inspiration from a vast array of styles in the genre, and the amalgamation of the members' excellent playing and overall approach has certainly contributed to this album being as impressive as it is - an accessible, intricate, unpredictable and melodic rock classic.

3.5 stars. While I have some stone cold favourites from Spain I will admit that I am not into that flamenco style at all. So that affects my enjoyment of a lot of bands from this great country. IMAN CALIFATO INDEPENDIENTE is a four piece band that play a symphonic/jazz style. Like their debut this is all instrumental pretty much save for the final track. And there's a big change after that 1978 debut as the bass player/vocalist leaves. Funny though that this significant change really has little influence on the sound of album number two, as this new musician plays bass and sings in a similar manner as the previous guy.

So a lot of synth led music here, with guitar leading the way often. But the bass and drums really drive this thing. I understand they were known as simply IMAN to a lot of the fans, and this word is highlighted on the album cover here. They sort of followed the blue print of their debut with four tracks and leaving the vocal song until last. Should have stuck it in the middle in my opinion as I feel the vocal tracks on both records are the weak links. This record is also quite shorter than the debut clocking in at just over 34 minutes.

My favourite track here is the opener. I like the melancholic synths that they use often, plus this song just seems to work no matter if it's the mellow and trippy bits, or the sections they let their hair down and play. Some nice contrasts on that 10 1/2 minute opener. I like the electric piano on track two as well as the guitar solo on track three which shows how talented this guitarist is, as this is fast and fluid. Not big on the vocal led closer though.

This band has a lot of fans and for good reason. I find this second album to be the best of the two simply because it's more consistent. No it doesn't reach the highs or the lows of the debut.

Review Nº 903

"Emerson Lake & Palmer In Concert" is the third live album of Emerson, Lake & Palmer and was recorded at the 26 August 1977 at the Olympic Stadium, Montreal, Canada, which is featured on the front cover of the album. However, "Emerson Lake & Palmer In Concert" was released in November 1979, following Emerson, Lake & Palmer's break up.

"Emerson Lake & Palmer In Concert" is an album taken from their "Works Vol. 2" live tour, the last live tour released by Emerson Lake & Palmer before the breakup of the band. So, this is a live album that, consequently, features essentially tracks that were released on their two last studio albums, at the time, "Works Vol. 1" and "Works Vol. 2", both of 1977.

Emerson, Lake & Palmer hired a 70 piece orchestra for some concerts of this tour, but eventually they had to dismiss the orchestra due to budget constraints that almost bankrupted the band. On this live release, the orchestra performs on tracks "C'Est La Vie", "Knife Edge", Keith Emerson's "Piano Concerto No. 1" and on "Pictures At An Exhibition".

"Emerson Lake & Palmer In Concert" has eight tracks. The first track "Introductory Fanfare" is a very short track composed by Keith Emerson and Carl Palmer and represents the theme to open the concert and is pleasant enough to introduce the live show to the audience. The second track "Peter Gun (Henry Mancini)" is a version of a classic TV theme song of an American private eye television series which aired from 1958 to 1961. It was never released on any of their studio albums and frequently the band opened with this song on the "Works Vol. 2" live tour. A slightly edited version of this live recording was included on the 1980 "Best Of" compilation and released as a single in some countries. The third track "Tiger In A Spotlight" was originally released on their sixth studio album "Works Vol. 2". The fourth track "C'Est La Vie" was originally released on their fifth studio album "Works Vol. 1". The fifth track "The Enemy God Dances With The Black Spirits (Excerpt From "The Scythian Suite" 2nd Movement - Prokofiev)" was originally released on "Works Vol. 1". The sixth track "Knife Edge (Adapted From Janacek's "Sinfonietta" was originally released on their eponymous debut studio album. The seventh track "Piano Concerto No. 1 (Third Movement: Toccata Con Fuoco)" was originally released on "Works Vol. 1". The eighth track "Pictures At An Exhibition" was originally released on their debut live album with the same name "Pictures At An Exhibition".

We can analyse "Emerson Lake & Palmer In Concert" by two different and distinct perspectives, the choice of the tracks that were taken from their musical repertoire, and the live performance itself. So, in relation to "Introductory Fanfare" I don't have anything special to say about it except that it represents a very nice introduction to the show. About "Peter Gun" I really like it. This is a piece very interesting and pleasant to hear and represents a new and fresh way to represent a song so famous at the time that it was made. "Tiger In A Spotlight", is a live version leftover from the "Brain Salad Surgery" sessions and despite being taken from "Works Vol. 2" is a fun Rock'n'Roll and blues tune, interesting and pleasant to hear. Still, it doesn't bring anything new and exciting to this live show. "C'Est La Vie" is a great track, a very well known track, one of the most known of the band. As we know, this is a Lake's song, one of his best contributions to the band. It represents probably the highest point on the album and this live version is also, in my humble opinion, slightly better than the original studio version. "The Enemy God Dances With The Black Spirits" is, as I mentioned above the band's treatment of a Prokofiev's suite, is also a very nice track. This is a very storming and dramatic interpretation by the band. Although this isn't properly a brilliant piece, we can say that it brought, somehow, a breath of fresh air to the show. "Knife Edge" represents another great choice because finally we have a live version of a song chosen from one of their greatest masterpieces, his debut eponymous studio album. This always was a very exciting track to hear. "Piano Concerto No. 1 (Third Movement: Toccata Con Fuoco)" was also a great choice because it represents, for me, one of the few highest points on "Works Vol. 1". Sincerely, I always loved this piece. "Pictures At An Exhibition" undoubtedly represents another great moment on this live show. "Pictures At An Exhibition" represents one of their finest moments. This is a very interesting version because it's performed with the addition of the orchestra.

Conclusion: "Emerson Lake & Palmer In Concert" isn't really a bad album as some say. But, it has mainly three problems. First, it was released before the breakup of the band. Second, it was an obligated release by their record label. Third, it was taken from a "Works" live tour. And as we know, the "Works" albums aren't properly the best and most representative of their career. Still and despite all this, I really think that we are in the presence of a good live album. The choice of the songs is very good and balanced, since we are in the presence of a live album that represents a "Works" live tour. However, in my humble opinion, the live performance, despite being good and very professional, isn't as brilliant as it should be, lacking some energy and some ability to improvise. Still, I think it deserves 3 stars.

Prog is my Ferrari. Jem Godfrey (Frost*)

"Cry Boudica" Arabic intro, Japanese sound, bewitching like a battle hymn; it starts with melodic prog metal with female vocals, a bit redundant. The break goes back on progressive paths calibrated with a well-delivered synth drum; the guitar solo shows great skill and impresses rebellion, good start. "The Final Redoubt" for these mysterious and catchy noises, bringing the rhythm with the breath and the pad; the most with a melodic metal band is this progression avoiding boredom on repetitive titles, in short it starts strong. Laura high warrior priestess harangues her troops, the guitar spleen on Riverside. "Footprints" crescendo, bells, this little something full of energy that makes the ear prick up. Mirko's solo is a plus to not plunge into repetition with the solo that unfolds; The bass is pulsating and the keyboards are fluffy. "All There Is to See" for the neo-classical cello intro, Laura sings divinely, supported by the electric piano. Clive does everything but doesn't put himself forward on his keyboard parts. A choice, a mistake? A beautiful, intimate, consensual ballad. "When My Eyes Are Closed" follows the same solemn hymn narrating tolerance, the vocal flirting with Bonnie Tyler; an acoustic solo from Simone doesn't really get going with this too-short symphonic finale.

"To the Victor Go the Spoils" superb cinematic intro from the time of Arabian Nights, with a church bell background and a tribal pad punctuating the attack, an Andalusian note with the acoustic arpeggio and Laura in a trance, an incantation of the Pythia. Volleys of violins and the band innovates with a classically tragic riff, howling, meowing like in Ulthar where you have to give milk to the cats. The captivating instrumental peak, forcing you into a trance; a violin finale with the sound of minstrels. "Never Burn the Cakes" for the medieval folk side with Clive and Laura on vocals, lacking breath. "The Last Arrow" in the Pendragon style with a rocky Clive-Nick on Mirko's martial drums; a solemn synth break, it feels like Arena; Simone's solo and the fade with the colorful final arrow, very beautiful. "Deep" with Laura singing divinely, a zest of Kate Bush. A sad tune on Clive's keyboard for the contemplative nursery rhyme. "Blood Moon" drums forward, Laura and Clive, it's a bit lacking. The red moon, symbol of the war scene, is featured with Simone's guitar solo stealing the show.

The second CD, with mixed covers, including "Dorian Grey (Re-Visit)" from 1992's Shadowland, may be a welcome addition to this good but repetitive album for fans of the deluxe editions. Originally released on Progcensor (3.5).

IMAN CALIFATO INDEPENDIENTE were a four piece band from Spain playing a symphonic/jazz style of music. This is their debut from 1978 and they would follow this one up with their final release in 1980 which I like better. There are vocals on here provided by the bass man but there's not a lot of them. This is very much synth led with an excellent bass player. Yes, there's plenty of guitar provided by Manuel Rodriguez who had previously been in GOMA who released one album in 1975.

The bio here states that the band's origins came at a convention by a meditation guru that they all attended. I would not connect this music with that dynamic, but hey they all lived in one house and it would certainly help that they were on the same page as far as their lifestyles goes. We get four tracks worth around 42 minutes.

The opener at almost 21 minutes really sets the tone for me. And it's not a good tone. From the almost silence to start this record off to distant children's choir that slowly increases in volume until I can at least hear it properly, I just found this whole suite like this. Those almost silent or very quiet calms. It's almost 3 minutes into this song before we get normal volume sounds. Starting off on the wrong foot as they say. This is so slow in developing that it's almost 7 minutes before we get a consistent melody.

"Darshan" at 8 1/2 minutes doesn't do a lot for me either. I do like that lush melody to start. This is mellow stuff but it will get more energetic with synths leading. "Cerro Alegre" is probably my favourite. Piano and acoustic guitar to start but when the electric guitar arrives I'm smiling. Piano and bass then lead after 3 minutes before it slows right down. I like the section where it picks back up with guitar leading again. It settles late. The closer is the shortest song at 5 1/2 minutes and it's fairly mellow to be honest, and features some reserved vocals. Both the vocals and sound turn more passionate before settling again. It's very symphonic sounding to end it.

I'm going against the grain here with the 3 stars but this is not a 4 star record in my music world. Their next record is closer to that rating though.

If you ever want to hear what it means to go beyond the typical rock format and get into philosophy, this album is something you should consider. The first side is a story about the different ways people combine their tribal energies to create a society. Using rational reasoning or the pursuit of pleasure, we cannot find a balance unless will merge our two directions into a unified whole. Rush decided to go full sci-fi fantasy with a story based on Greek mythology. Side two is basic prog rock with shorter songs and good hooks. After this album, the band never wanted to go into a total prog rock fantasy story again. This was their peak at being the reigning kings of rock fantasy. It is interesting and makes for an exceptional music experience. It also is self indulgent and pompous. Something prog rock excels at. This is Rush at the peak of prog rock.

This 2011 live set is more of a merch item than a major release (in fact it was originally advertised as "ready to pick up IMMEDIATELY after the concert and the moshing have finished." Do people really mosh at a Spock's Beard concert?). It offers five songs covering around 15 years of the band's catalogue and showcases some lineup changes.

While this is for the most part a good selection of strong Beard songs, there's little that is particularly revelatory and the performances are not the best available, so it does have an air of 'for completists.' Yet I find it an interesting listen because of the multiple intersection of phases that it represents. Three songs are from Spock's Beard/Morse Era, two are from Post-Morse/Pre-Leonard albums. Jimmy Keegan (here the tour drummer) and Ted Leonard (here guesting on vocals in D'Virgilio's absence) were soon to join the band formally, and Neal Morse returns here to join in for two tracks on vocals. The album therefore offers a concise aural venue for musing about the different versions of the band.

My own sense of the songs is that while A Perfect Day (from Spock's Beard, 2006) is an enjoyable enough song, The Emperor's Clothes (from X, 2010) does not quite hold up against the older material, and the attempts at Gentle Giant vocal moments in the latter song don't quite land in this version. The older songs seem richer, though one must grant that they are cherry-picked highlights (and allow for my general preference for and more time invested in older Beard).

As for the vocals, Leonard and Morse have very different voices, and personal taste weighs heavily. I enjoy Morse's vocal style and tone significantly more than Leonard's (not his fault). Thinking about why that might be as I listen here to Leonard doing covers of Morse, I am struck by how much Neal Morse typically inhabits songs, creating a strong sense of confessional presence and of direct address to the listener. He does more with his voice, and he was often a preacher while singing well before he more literally started preaching in some of his later material; the discontinuity between pre-Christian and Christian Morse is not complete. Leonard (particularly here) can sometimes sound more distant and diffident to me, as if he's performing the tune more than living the song, and his tighter, higher tone feels a less intimate part of the whole to my ears, though it works well enough for the opener and for passages that need some soaring. Of course, Leonard is here stepping into another band's material and can be forgiven for not quite being inside it; there are moments that sound hesitant.

The recording quality is quite acceptable (better than, say, Don't Try This at Home), but with some noticeable issues here and there. As another reviewer notes, A Perfect Day sounds a little muddy, but not massively so. The intro to The Doorway doesn't go well. Most obtrusively, an important keyboard section drops out almost completely (and sounds off key) at the start of The Light, significantly marring the opening passage. The harmonies on June sound a little warbly - there are several better versions. But it's a live show, an instant merch item with no overdubs, and I suspect not recorded on a big budget - I find the sound quite listenable in that context.

I enjoy the way this set invites comparison of the different songs and eras. It's an entertaining enough hour, but not one that I will prioritize over a slew of other Spock's Beard recordings, and no song stands out as having its finest moment here. It's enjoyable, but seems to belong in the "for fans" category, though for fans it's worth the listen.

— First review of this album —

The follow up to SHEARWATER's island arc of albums and their crossover folk prog masterpiece "The Golden Archipelago" cranks up the rock factor to maybe a 5 but, surprisingly, coming from this folkie, that's not where they lose points. The opener is like a "Talk to the Animals" for Doctor Dolittle's more eco-savvy great great grandchildren, and should have been a hit if that matters at all to anyone reading this, while "Breaking the Yearlings" is almost as catchy and even more raucous, with its pounding beats and throwback organ. For a bit of the old islands feeling we have the low key eerie "Believing makes it easy".

It's the hypnotically dull and morose paeans to the Lords of Languish TALK TALK that lose me in the core of this project. "Insolence" in particular could have been an average track at half its length, and the next couple are ploddingly soporific as well. While they may idolize TALK TALK for good reasons, in these instances Meiburg and co seem to forget that, while they have only only a tiny fraction of that band's listenership, their fans are just as passionate and listen for that singular and joyous, slightly fuzzy and cuddly Shearwater voice. .