This is apparently a lead-off song from the upcoming album, Legends of the Shires. And judging from it, after the more subdued and AOR-oriented For the Journey, we'll see a lot of the classic mid-period Threshold sound - epic hard rock with Pink Floydian breaks and melodic solos. And Threshold may also hold the distinction of having not only one, but two former vocalists returning to the mold (this time - Glynn Morgan). But despite the differences, they all suit this kind of music well. The 10-minute Lost in Translation may be the quintessential Threshold epic, if not for all the others. But despite the formulaic structure, it sure is catchy.

— First review of this album —

Back in 1990, three friends at music college formed a band, calling themselves Lost World. It took until 2003 for the debut album to be released, 'Trajectories', and after 'Awakening of the Elements' in 2006 the guys made a slight change to the name, and added 'Band'. Although there had been some slight changes over the years, the original three, Vassili Soloviev (flute), Andy Didorenko (acoustic and electric guitars, bass, acoustic and electric violins) and Alexander Akimov (keyboards, percussion, programming, sound design) are still there (and indeed all played on the most recent album, 2016's 'Of Things and Beings'). But 2011 saw the guys working with a new drummer, Konstantin Shtirlitz, and Andy's thoughts started to turn back to their second album, and wondered what it would sound like if they re-recorded the drums, added violins and then remixed it.

Well, it came out so well that they released it. I don't think I ever heard the original Musea CD, but I am so glad that Andy thought that I might like to hear this version! Russia has produced some amazing progressive rock bands, and Lost World Band have been a strong favourite of mine since I was sent the debut all those years ago (and looking among my racks I see I still have it). Influenced by the likes of King Crimson and UK, they can easily switch lead instruments from electric guitar to violin or flute, and given that they met at music college it is of course no surprise at all that they are all masters of their instruments. But, it is the arrangements and interplay that makes this album such a delight to listen to. There is a confidence and maturity that is pervasive, and Konstantin knows exactly what to add to provide emphasis and contrast to the melody. It can't have been an easy task taking on the role he was asked for, but the result is something that is complete, fresh, and totally enjoyable from beginning to end.

They can be bright and energetic, or laid back and thoughtful, while the opening title cut comes across as a mix of Kansas and Jethro Tull, with some more rocky guitar and a delightful Seventies feel as well as leads from both flute and violin. This is a great album, that flows and moves, so much so that the listener is never really sure where they are going to end up, but it doesn't matter as the journey is always so interesting. If you've never investigated Russian progressive rock then you should, and Lost World Band and this album are a great place to sta

— First review of this album —

I don't often receive CDs these days, a combination of many labels now using digital downloads for promotional purposes and living at the bottom of the world. So, I was pleased to firstly see a padded envelope, and even more pleased when I saw what was inside it as this is a beautifully put together release. A digipak, with great artwork, there is also a twelve-page booklet with all the lyrics, even more art, and details of who played on what song. This time Karibow have brought in some guests, but to all intents and purposes this isn't a band release but a project being run by Oliver R'sing, who on some numbers provides virtually all the instrumentation as well as the vocals. The clear majority of the songs feature Oliver and just one or two others, but as he is involved to such a high degree it does mean that there is continuity and a band feel.

The seventy-two-minute-long concept album is a neo-progressive masterpiece with great songs, wonderful vocals, and lots of different styles being displayed, with influences from IQ and U2 through Porcupine Tree and Steve Hackett. From the beginning to the end there is a feeling of direction and depth, with different effects being provided to provide emphasis. This could be the delicate use of saxophone, or wonderful duets between Oliver and Monique Van Der Kolk (Harvest). The result is a well-produced modern progressive rock album that will appeal to all fans of the genre.

I feel incredibly fortunate at present, as I am being introduced to many Russian progressive rock bands, and here is yet another that has passed me by in the past that I am grateful to hear now. Formed in St. Petersburg in 2006, they have been operating as an instrumental outfit since 2010 and this 2015 release was their third (and latest) album. The quartet of Alexey Vostrikov (drums), Dmitry Medvinsky (bass), Konstantin Ilin (guitar) and Roman Savelyev (keyboards) are obviously influenced by the jazz rock fusion boom of the Seventies, but here it is firmly within the realm of progressive rock, and there are also some metallic influences which bring it right up to date. There should also be a special mention here of the treatment of the drums within production, as it often feels that instead of four instruments being blended together, that it is three plus one. The drums and cymbals are vibrant, bright and direct and given the versatility and musicianship being displayed by Alexey there is a major impact on the overall feel of the album.

Normally one would expect the rhythm section to be more controlled in this style of line-up, but here just Dmitry has the that role, with Alexey doing his thing, and then Konstantin and Roman both taking it in turns to provide melody and lead lines. It certainly never feels like a self-released album, as it is vibrant and fresh, never too self-indulgent but twisting and changing in a manner that is always interesting and fascinating. The metallic approach that is brought to bear at times is never too over the top or intrusive, but has a part to play in creating dynamics and emotion. Overall this is an enjoyable album that is well worth discovering.

Found a used LP copy of this in a nearby Eugene, Oregon record store, and it really blew me away! I've been aware of Doctor Nerve since 1996, seen them described as something like "For those who no longer find Henry Cow challenging enough". I wouldn't say that, but it's still a wonderful and challenging listen like all the best in RIO. Armed Observation came out in 1987, on Cuneiform Records, a label which RIO seems to be a specialty (and it's nice to see Cuneiform Records is still around cranking out goodies). I remembered 1987 very well, being 14/15 that year. Mainstream music was pretty much a wasteland, you only needed to turn on to MTV or local rock station and get inundated with cheesy hair metal or synth pop. Debbie Gibson and Tiffany released their debuts, and Whitney Houston released her second album, which was equally popular as her debut. If, in the prog world, the best you can do is Big Generator by Yes, you're in trouble (Big Generator was a disjointed mess, and if you enjoyed 90125, you know that Big Generator just wasn't up to snuff). And of course Genesis still riding high from the previous year's Invisible Touch (but then Genesis hadn't really been prog since about the time Steve Hackett left, although you could argue about parts of Duke, though). Anyways, Armed Observation is just what I needed to hear from a 1987 release! Really twisted jazz-influenced RIO, that at times bring to mind the instrumental Zappa and Gentle Giant, both at their most "weird". The King Crimson influence has itself felt towards the end of the album with Fripp-like guitar. What I really love is the jazz approach. In the 1980s there was just way too much fuzak and smooth jazz infecting easy listening radio stations, and you can tell these guys wanted absolutely nothing to do with that, going for more of a late '60s/early '70s jazz influence. There's also a reminder of how Univers Zero may have ended up like if they were more jazz rock inclined. RIO is a genre that I don't always dig, as there is just way too much nonsense and messing about (too many groups trying to be "weird" for "weird's sake"), but I know good RIO when I hear it, and Doctor Nerve is one of those. This is just some crazy and demented stuff. The one Zappa song this album reminds me of is "The Eric Dolphy Memorial Barbecue" from Weasels Ripped My Flesh, which was clearly Zappa going full-on RIO before it ever existed! I also really appreciate that Doctor Nerve avoided synthesizers like the plague, as much as I enjoy the sounds of synths, you have to bear in mind this was 1987, and pretty dreadful digital synths were the rule of the day, and these guys clearly wanted nothing to do with that. So much '80s music ended up dated, and these guys avoided those dreaded '80s production tricks that dated so much of the music of the era badly. I can see why this music was called "Rock in Opposition" (I realize the name was coined by Chris Cutler for some 1978 music festivals featuring Henry Cow and similarly like- minded bands), as it was truly "in opposition" to what was popular, where they refused to dumb-down their music to follow fads. Anyways, Armed Observation is truly one of the best albums I have heard from the 1980s and if the description sounds great to you, this is a required album in your collection!

I'm not too surprised that there's no written reviews for this one as it is quite rare. Released back in 1982 this particular album was advertised as a Zeuhl/ New Wave cross and that's a pretty good description. I took the plunge because I am a fan of both, especially Zeuhl so I was intrigued to say the least. SUPER FREEGO were a French band with male and female vocals which are shared quite evenly and often singing together. The biggest surprise for me was seeing that the Guillard brothers are both on here playing sax and trumpet respectively. They certainly give this some authenticity in Zeuhl circles as these two guys played with MAGMA and were part of WEIDORJE as well.

The music is often hyper which I have never liked. It's why I have had trouble getting into some of the Avant and Zeuhl bands from Japan who like to go a million miles an hour, just not my scene. Anyway it's mostly the vocals that turn me off especially when they turn theatrical and they are often the focus. Now having said that the instrumental work is faultless. Man the bass player kills on here as well as the drummer. Some inventive guitar playing here as well but as I said earlier it's hard to get past the vocals at times. It's catchy and uptempo with vocals in French.

Keep in mind this is rated fairly highly by a lot of music fans who know a lot more about music than I do, but all I know is that it doesn't suit my tastes more often than not despite being impressed many, many times throughout this 35 plus minutes of music. I just get irritated with the frenzied vocals and sound at times. And on a final note the album art is just plain bad in my opinion. Glad I got to finally spin this though.

So let it be played, so let it be heard, it was sent here by the chosen ones: 9/10

To call RIDE THE LIGHTNING revolutionary is an understatement. It is one of the most meaningful thrash metal albums, not only for its unmatchable quality but also for its genre-defining characteristic. Up to this point, thrash was an undefinable mishmash of violence and speed metal; now, thanks to those lads, it meant much more, requiring meaningful lyrics and more sculpted arrangements rather than raw aggression. Finally, thrash diverged from "the quick and craziest, the better" mentality.

It also represented METALLICA's maturation: no longer were they the "let's trash this hotel while drinking beer" as of KILL 'EM ALL. Starting here, some of their most celebrated characteristics began to develop: unusual complexity in their sound; rich lyrics that go beyond the usual (for the genre) "venting" purpose: rather than just expressing visible indignation, they are rather metaphorical and psychological about it; most importantly, we begin to see a shyly gritty sonority - no, not angry sonority, like death metal, neither a suffocating sonority like black metal. Gritty.

Honestly, all those characteristics, exactly for not fully ripening, are on point. RIDE THE LIGHTNING doesn't sound overly pessimistic as MASTER OF PUPPETS and neither as aggressive like in KILL 'EM ALL. Instead, virtus in medium est.

The most meaningful characteristic of RIDE THE LIGHTNING for me is the absolutely killer riffage and presence anthemic songs. Not a single track fall shorts on inspiration and energy, the title track and Creeping Death being unparalleled thrash hymns. METALLICA's unexpected burst of innovation brought us a gem. HIGHLY recommended for metal fans. If you didn't give this a shot, you should do. You will be?

? thunderstruck.

Unoriginal, YES, but not uninteresting or bad: 7/10

STARCASTLE is a controversial band; there is no way to deny that. It was born in 1969 in the United States, the nation that observed ecstatically the progressive juggling in progress in Europe. Many Americans looked to British bands as inspirations for their progressive attempts, STARCASTLE being perhaps the most? vigorously 'inspired'. They didn't spare any effort to mimic YES' sonority. The result was that, yes, STARCASTLE mirrored YES; but no, they didn't downright copy them.

The way I see it, it's really superficial to dismiss STARCASTLE as merely a copycat. For as much as both bands do sound alike, they are composed of different members. Therefore, the outputs are naturally different. STARCASTLE, roughly, is a diluted YES. They don't possess even one bit of the technical virtuosity or amazing composition creativity, yet they still resemble it. More than that, though, they add their own twist to their music ? you will, undoubtfully, think of YES through the entire album, but in the same way, you'll easily acknowledge it's a different band with different nuances. They created something similar, at best.

They're not just a copycat, no, because copycats often sound poor; this being the point that STARCASTLE fall shorts on the definition. They conserved YES' joviality, cheerfulness, lustful keyboards, and most importantly, enjoyability; they're far from poor. Their tracks are lighthearted and fun, with pinches ? exaggerated pinches ? of CLOSE TO THE EDGE and FRAGILE. In my opinion, Elliptical Seasons and Sunfield are the best demonstrations of STARCASTLE's potential. Potential translated into even a good attempt on Squire's unique bass line!

Terry Luttrell's voice has little to do with Jon Anderson's, whose vocal range is naturally more acute, whereas Luttrell clearly opts to remain on lower octaves. His voice sounds delicate as you'd expect from Anderson but still not imitative, which is one characteristic that also hinders to simply call them a bad replica.

Since they used an established band's music as foundations for them, they fall short on "progressive", being instead at best a symphonic rock band. I think it would be unfair to go anywhere above three stars on a band which doesn't put anything new on the table. Were it not for this, I would've solidly rated much more, because it is just so fun to listen to. Fans of FRAGILE and CLOSE TO THE EDGE, there's little reason why to avoid STARCASTLE's debut. Don't get scared by the "blatantly crappy replica" ? I think that's just (somewhat reasonable) outrage, being voiced over actual musical analysis.

— First review of this album —

BUCKETHEAD (as Bucketheadland) / Pike 268 - Sonar Rainbow / 25th release of 2017 / All instrumental / Contains 4 tracks / Clocks in at 29minutes 35seconds / everything played by Buck-buck-buckethead.

"Sonar Rainbow" (11:27) the longest track begins with an ambient flow and echoey clean guitar which insinuates a possible non-rock type of album but lo and behold a guitar jumps in and then like lemmings so does the bass and drum section. It continues to jam on building up a melody but slightly before the three minute mark slows down back to the echoey guitar type of intro but only for a while as a guitar solo erupts for a while. As it continues it becomes a repetitive sequence of guitar chords with a bluesy guitar solo around it. The production is pretty cool as the guitar sounds are processed in interesting ways that give a crisp unusual type of distortion to them, however the music is just like a gazillion other PIKEs that have this same jamming around a repetitive chord sequence. Personally i find it a bit boring

"The Maddening Of Mercury" (6:56) begins with a heavily distorted guitar riff that is downtrend and sounds rather monstrous with a few little squeals stuck in and then a guitar solo sputters all around it. The riff becomes a bit more chaotic. This one has a really cool hellish sound as it's all murky and highly cacophonous. When a guitar solo erupts again the riffs take a break but they come back soon enough. I like this one a lot. It has a rather loose compositional style with all kinds of different counterpoints that aren't predictable unlike the previous track. The bouncy distorted riffs have some jittery time signatures that seem a bit erratic as well. Half way through it changes it up and creates a more frenetic riff meets solo sequence. Lots of changes and dipping into strange surreal segments. Nice.

"Debris" (2:37) is a jittery little number that hops, skips and jumps around like a decapitated chicken but then settles into a steady beat and rhythm with crunchy guitars but also deviates into little dissonant segments that last a while before moving on. There is a dissonant relationship between the riffs and the lead guitar. Also very progressive in its time signature run. Another cool track.

"Venomous Fog" (8:35) starts out ambient like the first track but then jumps into a heavy guitar riff. After it properly introduces itself it quiets down for a few seconds. This one sounds much like the beginning track with a repetitive sequence of chords that allow the lead guitar to wank over although they appear less often at first and let the riffs simply do their rhythmic thang. It basically alternates between the heavier passages and then quiets things down for a while. The melodic development remains constant for the entire track. Another been there, done that a million times before type track. Not bad but fairly meh.

The first and last tracks are meh but i love the second two enough to give this three stars.

M'hldorf, Germany-based retro proggers Karakorum have been around for a few years now. The quintet heavily relies on the 1970s progressive rock, but they also borrow from other styles such Krautrock, psychedelia, classic rock, etc. In March 2016, the band released a self-titled demo album, and three compositions from that recording is what make their full-length titled Beteigeuze available in a vinyl format from Tonzonen Records.

The lengthy tracks simply titled as 'Beteigeuze Pt. I,' 'Beteigeuze Pt. II,' and 'Beteigeuze Pt. III' bring floating ominous keyboards and ethereal guitar work which dominate all around the record. 'Part 2" has a majestic soundtrack feel with some lazy distorted Manuel G'ttsching-like guitars accompanying the tripped-out keyboards. "Part 3,' clocking at around 23 minutes has it all, it is mellow, but complex and deep, very reminiscent of vintage King Crimson meets Yes. There is a mesmerizing keyboard madness that could have been lifted from any of the 1970's prog records.

Now that I've got you intrigued enough to check out an incredible obscure album, head over to the Tonzonen Records website and make sure to get it in a LP format, because this kind of record deserves to be heard in all its glory in an old-fashioned way.