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 Somersault by JADIS album cover Studio Album, 1997
2.94 | 58 ratings

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Somersault
Jadis Neo-Prog

Review by Tarcisio Moura
Prog Reviewer

3 stars You know the kind of albuns where everything seems to be good and still you don´t fancy them that much? The same thing happens to me on titles like Uriah Heep´s Return To Fantasy, for example. Something´s missing and you can´t figure out what it is. For every time I put Somersault on I do like the songs. Especially if I listen carefully. But t me is one of Jadis least successful works. Ok, the line up changed but I believe it´s not the newbies fault. By the time the band have to record this CD both IQ members Martin Orford and Jon Jowitt had commitments to their main group and could not be around. Keyboardist Mike Torr took over Orford´s duties and bassist Steve Hunt replaced Jowitt. And the new duo does a fine job here.Sometimes they even excel and do have more room to show their skills then the previous ones. Gary Chandler and Steve Christey are in fine form. The production is also excellent. So I made an attempt to solve this case by carefully listening to the record exclusively for a few days.

To me Somersault´s main problem is about the songwriting: it´s their most dense and less accessible work to date. Like if they want to complicate things for the sake of it. Or so it seems. On the other hand it is also undeniable that there is no bad song here either. Upon listening carefully you discover that you like the album after all and that al the tracks have their charm. Some even deserved a little more attention by the public in general like Losing My Fear and Tomorrow Always Arrive. Certainly they are both the album´s highlights and, not coincidentally, the most melodic and the closest to their previous work. The other tracks are also good, with several strong moments on them. Chandlers guitar solos are maybe less inspired than before, but Torrs keyboards are very creative and quete unique. Still it looks like they tried to bit more than they could chew, some parts just dragging too long affecting the CD´s flow. Long tunes don´t mean necessarily good ones.

Conclusion: I still think that Somersault´s tracks are, individually, very good, buy their running order and maybe the lack of a really powerful, memorable song makes it sound less good then it is. So in the end I can say it sounds actually better than I initially thought. So my rating would be be something between 3,5 and 4 stars. Compared to their more popular albums this is surely a less pleasant one. So I guess 3 stars is a fair grade. It is good, most of the time very good, but not as striking and captive as the bands previous work, or its follow up, 2000´s Understand. .

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 Dracula Opera Rock by PREMIATA FORNERIA MARCONI (PFM) album cover Studio Album, 2005
3.53 | 157 ratings

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Dracula Opera Rock
Premiata Forneria Marconi (PFM) Rock Progressivo Italiano

Review by TenYearsAfter

3 stars Between 1972 and 1974 PFM produced five legendary albums, inspired by early King Crimson, Per Un Amico (1972) is generally considered as their finest effort. King Crimson ex-member Pete Sinfield even contributed with English lyrics to two PFM albums, and was the support-act (with Mel Collins) during their first European tour, in mid-1973. Then PFM started to sound more jazzrock inspired, and on this album from 2005 PFM even presents a blend of rock and opera! It took a few listening sessions before I go tinto this music, but gradually I started to appreciate PFM their musical adventure.

The shorter compositions sound elaborate, featuring compelling sumptuous parts (with classical orchestrations and The Bulgarian Symphony Orchestra), strong vocals (loaded with the typical opera pathos) and powerful soli on guitar and keyboards.

Some pieces are more mellow or dreamy, like Non Guardarmi (warm melancholical vocals, classical guitar and violins) and Terra Madre (emotional vocals and sensitive guitar). Remarkable is the track La morte Non Muore: swinging with fiery guitar and a female choir, reminding me of the musicals Hair and Jesus Christ Superstar.

The long final compositions Un Destino Di Rondine (just over 11 minutes) is my highlight of this album: compelling and bombastic with intense, almost desperate sounding vocals from Dolce Nera, and a strong build-up tot a splendid, sumptuous grand finale with howling guitar runs and fluent synthesizer flights.

If you are up to this captivating blend of rock and opera, this is an interesting album to discover from the Classic Italian Prog formation PFM, always in the mood for scouting musical borders.

My rating: 3,5 star.

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 Ptah by PHAEDRA album cover Studio Album, 2010
3.53 | 22 ratings

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Ptah
Phaedra Rock Progressivo Italiano

Review by TenYearsAfter

3 stars Phaedra was an Italian musical company featuring 8 musicians,rooted in 1993. They did concerts and festivals, their setlist was a blend of own material and covers, from Genesis, Yes, Rush en Marillion. During the years Phaedra suffered from multiple changes in the line-up but gradually the situation became more stable. And in 2010 the band finally succeeded to produce a debut CD entitled Path , as an own production. In 2013 Phaedra released their second album named Beyond The Storm, I am not familiar with the music.

Their sound on Ptah is a very melodic and pleasant mix of classical, folk and symphonic rock. The vocals often reminds me of early Le Orme, but not on that level, a bit less powerful. The instrumentation is very varied, from violin, piano, acoustic guitar and flute to organ, harpsichord, harmonica and mandolin, tastefully blended into the 14 tracks.

In general the classical overtones are obvious, with subtle use of keyboards: a clavinet (swinging sound like Wakeman solo) in Il Ciello Stellato, Mellotron choirs in Preghiera and Hammond in Il Peso Del Rimorso.

The use of the distinctive mandolin gives a folky touch to some songs.

My highlight is the long and alternating Dilemma Interiore: the one moment classical with violin and flute, the other moment 24-carat symphonic rock featuring a Hammond solo and heavy church organ waves.

To me this album sounds as a very fine and promising first effort, especially recommended to fans of Italian Prog like Il Castello Di Atlante.

My rating: 3,5 star.

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 Arena by ASIA album cover Studio Album, 1996
3.32 | 147 ratings

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Arena
Asia Prog Related

Review by stefro
Prog Reviewer

4 stars Originally a highly-successful supergroup consisting of Yes' Steve Howe, The Buggles' Geoffrey Downes, Carl Palmer of ELP and the redoubtable ex-King Crimson, Roxy Music and Family vocalist/bassist John Wetton, Asia initially enjoyed enormous success following the release of their 1982 self-titled debut, shifting in excess of ten million copies globally and selling out stadiums across North America, Europe and Japan during subsequent promotional tours. It was a golden start for the quartet, the stuff of dreams, yet it wouldn't last. Follow-up album 'Alpha' sold around a quarter of the debut albums total, a huge drop-off, and various tensions between the members quickly surfaced, so much so, that by the time they were ready to tour Japan in support of 'Alpha' circa 1983, Wetton had been hastily replaced by former King Crimson frontman Greg Lake, the first of many changes that would render Asia a very different beast by the end of decade. Asia's success, such as it was, was originally based on a canny mixture of star persona, FM-friendly AOR tunes and clever marketing, and while at first it worked wonderfully well, the formula was soon exposed for what is reallly was - a corporate promotion, the music industry equivalent of a multi-million dollar blockbuster with little actual artistic merit. Therefore, it is no surprise that the group's popularity nose-dived quite spectacularly from around 1984 onwards, and even many a change in personel failed to arrest the slide. By 1996 the only remaining original member was keyboardist Geoffrey Downes, and the group was now led by vocalist-and-bassist John Payne, who, legend has it, gave up a spot working with Jeff Lynne's ELO to take the job with Asia. As a result, the history of Asia can be split into two distinct sections: the early corporately-charged prog-lite supergroup, and, whisper it, the far superior John Payne-led version who, unlike their predecessors, actually produced progressive-style music, which brings us to the 1996 album 'Arena'. Arguably the finest Asia album yet, 'Arena' featured a line-up comprised of Payne, Downes, guitarists Aziz Ibrahim and Elliott Randall, and drummer Michael Sturgis, hardly an all-star line-up and, on paper at least, a far less exciting proposition that the original quartet. But looks can be deceiving. Whilst the early albums sold well, musically they were the wrong side of appalling. Most music ages, yet the early albums of Asia now sound positively awful, making the lesser albums of Journey, Boston and even Survivor look like polished gems. Of course, Asia was never meant to be another Yes or King Crimson, it was a much more commercial project, yet the waste of talent was truly epic. The real irony is that, almost sixteen years later, Asia, with an almost completely-different line-up, were now making much better, much more complex and interesting music, which far less people were taking notice of. From it's catchy, percussion-led title-track intro, 'Arena' bristles with technically prowess. This is how it should have been from the very beginning. Highlights include the chest-thumping 'Into The Arena', with its huge chorus, the carefully-constructed and musically- eclectic 'Two Sides of The Moon', and the nine-minute 'The Day Before The War', which takes Asia beyond their AOR- based soundscapes and into to full prog-rock mode. At the core of Asia's improvement? John Payne. If you buy just one Asia album, then make sure it is 'Arena'.

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 Complications - Trilogy Of Intricacy by AGE OF SILENCE album cover Singles/EPs/Fan Club/Promo, 2005
2.98 | 9 ratings

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Complications - Trilogy Of Intricacy
Age Of Silence Tech/Extreme Prog Metal

Review by martindavey87

2 stars 'Meh'.

I bought this CD in a shop in Germany for 50 cents or something equally daft. I'd never heard of Age of Silence (and apparently, neither had anyone else, since they were in the literal bargain bin), but it was a metal CD, so why not?

Labelled as avant-garde metal... whatever the hell that means... this sounds a lot like something Devin Townsend would do, complete with obscure, gloomy cover art and unusual song titles. Age of Silence have a big sound, with multiple-layered guitars overproduced to give each of the three tracks a huge feeling about them. But otherwise, these songs are fairly dull. The overbearing 'big' guitar chords are heard through each track, leaving me feel like there's been an ongoing chord played throughout the entire EP.

But it doesn't stop there. It starts to overshadow the vocals, any lead parts, the drums... the whole lot. I don't 'get' this kind of music. I understand it's based more on ambience and what-have-you, but for the most part this is just pretty boring and repetitive. There's one or two moments where something might sound catchy or interesting, but as a whole, considering this is only a three-song EP, it's not really anything I'd come back to.

The shop I'd bought it from was probably relieved to be rid of it.

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 Twilight Cinema by MAJOR PARKINSON album cover Studio Album, 2014
3.99 | 191 ratings

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Twilight Cinema
Major Parkinson Eclectic Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

5 stars This is the third of four studio albums released by this Norwegian band, and was released in 2014. I have only just come across this group, so this was all totally new to me, and having played it and then started working out what on earth I could try and say about it! They have been listed on PA as a progressive rock group, in the eclectic sub-genre, and I can understand why that is as these guys are truly trying to move music into new areas and are progressing the sound, as opposed to attempting to regress to something that was popular 40 or 50 years ago. Firstly, the music is incredibly theatrical, timeless and also dark, yet with levity and life coming through at different stages. So let's think Clive Nolan, but also throw in Alabama 3, some Nick Cave and possibly Tom Waits, while Johnny Cash would be stirring the pot. Then let's add some accordion-driven pirate metal just for the hell of it, and see what the punters make of it. Clive would be the only one that I've mentioned that people would generally think of as prog, but all of those named have been key players in their own musical fields and have never been afraid of stretching out into different areas.

If I was going to think of just one prog band, then the approach does remind me in some strange way of classic Twelfth Night, but of course they sound nothing like them at all! This really is an album where the more attention that is paid to it, the more rewards can be obtained as the music is incredibly dense, multi-layered and faceted, and the more I listen to it the more I find within it to enjoy it. There is a darkness thrown in, as if instead of performing on a stage, the guys are on a becalmed sailing galleon at night, with lanterns providing the only lighting. There is so much happening in each song, with switches in tempo and musical approach taking place so frequently that one often loses track as to what is going on, but who cares? It is a staccato abrupt journey both into the absurd and the unknown, and I am all the richer for having heard it. Miss this at your peril.

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 50 For 50 by JETHRO TULL album cover Boxset/Compilation, 2018
3.05 | 2 ratings

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50 For 50
Jethro Tull Prog Folk

Review by Matti
Prog Reviewer

3 stars - The first review for this compilation - As the title suggests, this 3-disc set celebrates the 50 years of Jethro Tull with 50 songs chosen by Ian Anderson himself. Each of 21 studio albums are represented. Anderson has written a one-page introduction to the set, and the 24-page booklet includes "A Tull Story" written by Martin Webb (adapted and updated from the 40th anniversary tour programme). The lay-out is very good and the track infos contain the source album, length and even the line-up. Things are really looking good. The track selection is not strictly chronological, but fortunately not wildly switching between the decades either. I'm not going to listen to all three discs for this review, since the majority of the material is familiar to me, only the third disc with an emphasis on the material from the 80's and onwards, as I haven't listened to several albums of the latter-day Tull.

CD 1 focuses on the the timeline 1968 - 1971, with solitary pickings from the albums A Passion Play, Minstrel in the Gallery and Heavy Horses too. I don't much care for some songs, e.g. 'Sweet Dream', 'Cross-Eyed Mary' and 'Weathercock', but (if we don't mind the inclusion of mid- and late 70's material here) the disc gives a nice overview of the early years. 'Living in the Past' and 'Aqualung' are there, of course. 'Boure' (1969) starts the second CD, which as a whole is emphasizing on the timeline 1974 - 1978, again with some exceptions ('Dun Ringill' from Stormwatch and 'Pussy Willow' from The Broadsword and The Beast). War Child (1974) happens to be among the albums I haven't completely listened to, and therefor it's disappointing to see those boring songs 'Bungle in the Jungle' and 'Skating Away...' representing it, as always. 'Salamander' is a nice choice from Too Old to Rock'n'Roll, while the heavily overplayed title track definitely isn't. 'Ring Out Solstice Bells' and 'A Christmas Song' are The Jethro Tull Christmas Album versions (2003).

CD 3 is playing now as I write. The leaps in chronology are getting wider. For example Heavy Horses track 'One Brown Mouse' is followed by 'Rare and Precious Chain' from 1995. The maligned 1984 album Under Wraps is represented by 'Paparazzi' and 'European Legacy'. I am familiar with songs such as 'Steel Monkey', 'Budapest' (which I like a lot) and 'This Is Not Love' even if not with the source albums, which may indicate that they are rather uninteresting. 'Dot.com' (1999) is brand new to me, quite a pleasant song. 'Farm on the Freeway' is a highlight. However, this set hardly changes my half-prejudiced opinion that the latter- day Tull is often quite dull. But all in all Anderson has done a decent job in representing all 21 studio albums. With the well-done booklet this is pretty recommendable as a Jethro Tull compilation, but as Anderson points out, it's "less for the die-hard fan and more for the new and curious listener". On a rock magazine I'd give four stars, on a prog site perhaps three will do... concidering how much better, and more unpredictably, the space of three full-length CD's could be used.

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 War in the Night Before by UNDERGROUND SET, THE album cover Studio Album, 1971
3.12 | 7 ratings

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War in the Night Before
The UnderGround Set Heavy Prog

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

3 stars Calling Scooby-Doo and mystery lovers! There's been some cases in the past of Italian prog-related acts that released works under aliases or with anonymous credits, with `groups' such as Planetarium, Flea, Blue Phantom and the Braen's Machine being a few of them. The Underground Set is another fine example, a predominantly instrumental group that played a mix of heavy Hammond organ-drenched hard rock, acid-jazz and psychedelic pop, sounding not too far removed from groups such as Uriah Heep, Atomic Rooster, Deep Purple and so on (take your pick up any of what are often referred to as the `Proto-Prog' bands these days), with a touch of the earliest albums from Italian acts like Osanna and the New Trolls, and it's only fairly recently been revealed that they were none other than members of Nuova Idea!

Future Italian prog legends Nuova Idea would deliver a widely regarded RPI classic with their third album `Clowns' in 1973, but the two Underground Set albums ' the 1970 self-titled debut and this second work `War in the Night Before' a year later - both predate that proper group's `In the Beginning' and `Mr E Jones' LP's from both 1971 and '72.

Looking at some of the highlights, title-track `War in the Night Before' instantly blasts the listener with rattling drums, scuzzy n' sludgy guitar riffing over murky Hammond organ stabs and wailing voices for an opener that wouldn't have sounded out of place on Deep Purple's `In Rock' from the year before. `Top Invocation' has a lovely yet softly melancholic piano theme before some tasty fiery guitar soloing (the piece almost sounds like a cross between Goblin and early Osanna), and the seriously cool `Cronic Illness' is a raunchy dirty psych plodder with buzzsaw-like guitar spasms and lazily drifting flute. `Cool Paradise' is a slightly mournful theme, and `Car Driving' is a Led Zeppelin-like lusty bluesy guitar tantrum (but dig that scratchy Mellotron flute buried in there too!).

`Hard to Go Up' offers pounding piano and manic electric guitar soloing duelling back and forth over a Hammond-thick grooving bluesy saunter and bashing drums, but even more special is the Mellotron-flecked `Oblivion', a simply sublime mellow psychedelic come-down. `Libutum' is a sparkling up-tempo hip-shaking groover with plenty of runaway piano, the Osanna-like `Hot Paradise' is a dramatic theme with strident Black Sabbath-ish lead guitar work, a sighing vocal and thrashing drum spurts. `Useless Obsession' could be one of those killer instrumental tracks loaded with infernal Hammond slinging that popped up on all the classic Atomic Rooster discs, and infectiously groovy closer `Hopeless Train' adds some nice acoustic guitar strums for a change.

(Curious future listeners, make sure to get the latest Cinedelic Records reissue on CD, LP and/or downloads that add plenty of bonus single tracks)

Dated, yes, perhaps a little repetitive and not holding much real depth, sure. But `War in the Night Before' is so easy to listen to if you dig that late 60's/early 70's acid rock sound, and it's simply addictive and melodic fuzzy ear candy. It's hardly essential, but those looking for related obscurities to add to their RPI collection, anyone with an interest in the formative years of the emerging Italian prog sound and maybe even fans of Nuova Idea may find much of value here.

Three stars.

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 FLUX By Belew Volume One by BELEW, ADRIAN album cover Studio Album, 2016
3.82 | 2 ratings

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FLUX By Belew Volume One
Adrian Belew Eclectic Prog

Review by WFV

4 stars Adrian Belew continues his later age creative renaissance with Flux by Belew Volume One. These are short snippets that range from folky to crunchy guitar to cabaret to a Ventures copy to everything in between. I love music like this and this record has reinforced my belief Adrian Belew belongs on the Mount Rushmore of accessible left field rock wierdness of which his former boss Frank Zappa has the largest bust. Singularly creative and decidedly non-conforming, Belew adds to his incredibly rich musical legacy. Fans of left field ideosyncratic rock will find a ton to like here, and this is a fine place to enter the solo world of a living master. I wish Belew got as much run with the media as Iggy Pop during his career-for some reason I put them in the same category as mad scientist weirdo geniuses

Dinosaur in my Trees is an excellent short goofy one here with great scrunching guitar accents

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 Inside The Gardens Of The Mind by MELTING EUPHORIA album cover Studio Album, 1997
3.73 | 6 ratings

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Inside The Gardens Of The Mind
Melting Euphoria Psychedelic/Space Rock

Review by wiz_d_kidd

4 stars The next time you want to Netflix and Chill, you might consider, as an alternative, Music and Chill. The album "Inside the Gardens of the Mind" by Melting Euphoria would be an excellent vehicle for that activity. Put your feet up, close your eyes, and let their music tell you a story.

Melting Euphoria is very good at weaving a flowing tapestry of sound waves that propel your imagination along endless mental trips. Their music is not aimlessly rambling, nor is it slow, arrhythmic and droning. Melting Euphoria's music is composed of well conceived, coherent passages with purpose and intent -- unlike many instrumental efforts that are a melange of random passages pasted incongruously together. Their expressed moods and ideas remain consistent throughout each track, taking the listener on a smooth, uninterrupted sonic journey. During your ride, you may hear influences of Secret Saucer, Ozric Tentacles, Hawkwind, or Oresund Space Collective, to name just a few.

Drumming by Michael Merrill is perfectly attuned with the energy of the rest of the band. It is neither flamboyant nor passive. Alas, Michael passed away in 2006. Bass play by Anthony Budziszewski is often forefront and outstanding -- in other words, it stands out! Guitar work by the duo of DeFM and Bob Clic is sublimely psychedelic, smooth, warm, spacey, and trippy, without too much (if any) fuzz, distortion, or overdrive. Moog playing by Zero Devilin keeps things spacey, with lots of atmospheric VCO sweeps and synth bubbles, in addition to the cosmic leads.

Two tracks, in particular are noteworthy. Firstly, the track entitled "Arwr Rhithwelediad" is Welsch for "Heroic Hallucination", which you will appreciate upon listening. And the track "To Shade My Mad Existence" begins with the echoing voices of a madhouse. The fun is in trying to decipher the psychotic babbling, before it evolves into a heavy psych piece with touches of Hawkwind, especially in bass and percussion.

Overall, there is lots of depth and character in this album. No player takes a back seat or hides in the background. You can listen a thousand times and hear something new and interesting each time. This album is engaging -- if you care to close your eyes and listen. Music and chill. Four stars.

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Tangerine Dream

Run To Vegas/Leviathan by Tangerine Dream album rcover
Run To Vegas/Leviathan

Tangerine Dream

The Eternal Presence by Grill album rcover
The Eternal Presence

Grill

iNNERVERSE by Unkh album rcover
iNNERVERSE

Unkh

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