The 90's were not good to a lot of sub-genres including RPI. Yet there are gems scattered throughout this decade from Italy with NUOVA ERA's "Il Passo Del Soldato" album from 1995 being the crown jewel. The nasty organ and powerful Italian vocals recall some of the legends of the past. IL TRONO DEL RICORDI formed in 1991 and released a 24 minute EP in 1993 as a four piece and all instrumental. For their only studio album released the next year in 1994 they would add a vocalist who will sing in english and he sounds a lot like Gabriel. They also brought in a new drummer as the original drummer exchanges his drum sticks for electronics and effects.

So a six piece here, and the two keyboardists mixed this record, and I should mention the bass player adds sax. There are orchestral bits which I assume are created by the electronics, but they take away from this album in my opinion. There's also a classical bent to the sound with the keyboards at times. Bombast too.

This is a Neo Prog album though not an RPI recording. That was clear during my very first spin of this album back in the summer of 2019. And this is where my expectations were crushed because I saw this as a high rated RPI album released during a pretty bleak time. But it's Neo Prog! And that's okay, I do have some favourites, but no this is not another NUOVA ERA trying to revive the RPI flame. Still, there so much to like here. I get the high ratings but for me 3 stars is just right.

Greco Bastián is somewhat unusual in that while he is a composer he does not actually play any instruments and instead relies on others to complete his vision. In 2022 he released his fifth album, 'With A Little Hell From My Friends', and now he has released his sixth in a similar vein, called 'With A Little Hell From More Friends'. This is quite a list, but is definitely worth including to show just who enjoys his vision: Matt Hollenberg (John Zorn, Titan To Tachyons), Markus Reuter (Stick Men, The Crimson Projekct), Patrick Gauthier (Magma, Weidorje), Marc Ducret (Tim Berne, Bobby Previte), Bernard Falaise (Miriodor, Ensemble Supermusique), Alan Benjamin (Advent, Pekka Pohjola), Paolo Botta (Yugen, Ske, French TV), Rémi Leclerc (Miriodor, Les Projectionnistes), Vincent Sicot-Vantalon (Unit Wail, Scherzoo), Anthony Beard (Ni, Piniol, Scherzoo), The Mercury Tree (Ben Spees, Oliver Campbell, Connor Reilly), Sterbus, Craig Walkner (Far Corner, William Kopecky), Ed Rosenberg III (Jerseyband, Kilter), Juan Belda (Juan Belda Bit Band, Skalectric), Steve Marek (Monobody, Loose Lips Sink Ships), Hakan Almkvist (Ensemble Nimbus, Hans Bruniusson), Jonathan Piña-Duluc Proyecto Piña-Duluc, El Trío), Samo Salamon (Quartet, Quintet), Ivan Rozmainsky (Roz Vitalis, Compassionizer), Salvador Govea (Salvador Govea), and The Villagers of the Legendary Town of San Jamás de los Jamases.

I mean, anyone would be pleased to get Markus Reuter involved, or anyone from French TV, or Ivan, or Alan, or Craig, or Anthony, or Jonathan (all of whom I have reviewed, multiple times) let alone all the above. Also, bear in mind that this is truly a worldwide project with the Mexican bringing together people from America, Europe, South America and Russia. Why Greco is unsigned is just beyond me as here we have a RIO/eclectic/experimental album which is off the wall and probably off the map. Anyone who enjoys this style of music will already know the names of many of those involved, and it is no surprise that we get an album which sounds as if it has been released by Cuneiform or Dur & Doux with influences from Present, King Crimson, Ni, Magma, Frank Zappa and more. It is experimental, it is fascinating, yet while there are different musicians and line-ups on every track there is also a consistency throughout which makes this very special indeed.

I do find it strange Greco has yet to be signed to a forward-thinking label as this is a work of some import which anyone with adventurous musical tastes will get a great deal from. I note that on his Bandcamp site he is offering his complete digital discography for just $18 USD. A bargain not to be missed.

In 2024, Antonis Adelfidis (acoustic & electric pianos, Hammond organ, combo organs, Mellotron, Hohner clavinet, digital & analogue synthesizers, Rheem Kee bass) returned to the world of Zantea. Again we have no bass or guitars, and George Katsanos (acoustic piano, Minimoog, theremin, tape effects) and The Swede (drums) are back on board, this time joined by Bob Katsionis (synth solo on "The Screaming Paradise"), Nikos Tzouannis (acoustic piano solo on "The Sword of Doom") and Apostolis Tsiolis (synth solo on "Take a Sip!"). Three singers return to reprise their roles from the debut album, George Katsanos (Ovaris), Moss "The Boss" Kordakis (Vosar) and Dimitra Preari (Nantou), while Irini Tiniakou takes on a new role, and in total there are nine singers involved this time instead of eight.

Although this is a direct continuation from the debut, with a similar style and approach, there is no doubt that this is a major step forward in all areas. The cover art is far more polished and aligned with music of this quality, and the same goes for the production and performances contained within. There is an improved use of space, the bass has been pulled back slightly in the mix, and overall this is a very different album indeed. With the debut the attention is drawn mostly to the novelty of having multiple layers of keyboards and less on the actual music, yet here it is a very different approach indeed. When the keyboards crunch, they really do, and there is never the feeling of something being missing, something which was far more prevalent with the debut.

This is a very different approach to progressive rock than we normally hear, and given the change between the two releases it will be fascinating to see what we get when Antonis next takes us to Zantea.

Forbidden Myth is a band put together by keyboard player Antonis Adelfidis who is proud to state there are no guitars or bass guitars on this album, which is instead the product of Adelfis (acoustic & electric pianos, Hammond organ, combo organs, Mellotron, Hohner clavinet, digital & analogue synthesizers, Rheem Kee bass), George Katsanos (acoustic & electric pianos, combo organs, digital & analogue synthesizers, vibradoneon, theremin), pianist Nikos Aravanis and drummer The Swede along with eight singers who play the different roles in the world of Zantea, based on a story by Myrto Gregoriadi.

Somehow, the Heavy Prog team on PA have decided that is the right genre for the band to be included, which seems somewhat strange given there are no guitars. Mind you, there is plenty of bass from the Rheem Kee Bass which was one of the first monophonic string bass emulators ? it is only possible to play one note at a time, as if more than one note is played then only the highest one will be heard. I presume this is an emulator given there are so few of these instruments around, but it certainly does not sound as if it is 60 years old. There is quite a dated feel to the album, with plenty of Atomic Rooster influences, and if someone said this was from the Seventies that would be quite believable. It certainly never comes across as a mostly keyboard album, as many of the lines are being interwoven in a way which sounds much more like a band, and in some ways is somewhat reminiscent of Death Organ who released a couple of very enjoyable albums in the Nineties.

What does let this down somewhat is the production and the quality of the vocals, as at the end of the day I listen for music for enjoyment not to recognise how clever it is. The Swede (whoever he is), is a fine drummer and he has an approach which often cuts through the layers to give real cut through, but I cannot help but wonder what would have happened if this had involved someone like Clive Nolan as in many ways it feels like one of his ensemble projects yet without that touch which takes it to the next level.

It is certainly an impressive understanding, and at more than 100 minutes in length there is a lot here to take in with the classic story of good v evil. The booklet details not only the lyrics but who is singing and the plot behind the song, and I am not sure if this is included in the digital version but certainly adds to the understanding. It is quite an epic for a debut.

Growing up, I loved bands like Yes, Genesis and Kansas. More recently, I have discovered other great keyboard- centric progressive rock bands like Glass Hammer and Magenta. I'm thrilled to now add Oddleaf to this select list of elite bands.

Carina Taurer's compositions and keyboard playing are exceptional. Mathieu Rossi is a great flute player, although I wouldn't mind hearing more real flute and less e-flute. The instrumental flute and keyboard section on "Back In Time" is my favorite moment on the album. It should have lasted MUCH longer. Drums, bass and vocals are solid.

Carina's compositional superpower is constantly shifting time signatures within each song. 6/8, 7/8, 11/8, they are all there. The band is tight, and up to the challenge. Consistently good throughout. Easily my favorite album of 2024.

OPETH is a snub to the old progs who shouted at me at the beginning that it wasn't prog because it shouted... And then with time, they praised this group, turning their cutie! So when I heard for some time that it was growling again in the last one, I concocted an intense sequence to listen to it seriously on repeat!! Note that we are on a concept album listing a testament, so no titles just chapters.

1. §1 a clock time is running out, an old dated sound, a growl voice yes we were warned and it will thumb its nose at the progs who didn't like Opeth before, and who had been praising it for 3 or 4 albums; a tune that smells good however of Gentle Giant for the instrumental parts, the growl being soft, contained, the high choirs much more incisive; the symphonic finale to cast even more doubt, I love it, it's Opeth! 2. §2 continues, grandiloquent air, like a Mr Bungle bazaar, hilarious, festive on the circus; the growl that was the prerogative of the group comes back at a gallop, the pads and the riff are played at a gallop; it dies out, jazzy- bluesy air on the Albionesque nursery rhyme, well aren't they Swedish, the buggers? In short, surprise every minute or almost with a superb guitar solo 3. §3 continues, instrumental in the spearhead, a little orientalized; the low choirs come to give enthusiasm on a syncopated air, the Balkan violin imprinting the progressive fusion spirit that suits them well; the mix between the hard typed of yesteryear and the lively bass bordering on disco makes the sound diverse and captivating, on the edge of musical fury, controlled but evil; the cinematic outro with choirs a time just before the apocalypse in this soft non-growled title 4. §4 returns to basics, it's extreme tech prog metal as announced; noise and the Japanese, Achillean break that kills; we think of KITAJIMA, VOLLENWEIDER for these refined, crystalline notes; the pad and the keyboard continue to amaze with a jazzy air with a flute, hold on that of JETHRO TULL passing by; the wave rises and explodes growly-belching, I guess the fright of prog friends. Another ambient break sows doubt again for sharp ears before the heavy fruity experimental finale; a little wind and

5. §5 arrives, like the symphony that resembles it; Mikael speaks there and takes us on a mid-tempo title until the associated growly surge; a deep voice to take as an instrument under penalty of panicking before this musical maelstrom; it tinkers with a phrased voice and its assumed oriental air; wild guitar solo before the orchestral return, the folk-jazzy air worthy of a Zappa before the strong finale then in decrescendo bringing a tortured organ of time on 6. §6 which could be suitable on a Deep Purple, a symphonic Black Sabbath and the zen, ambient, atmospheric, progressive rise; vocal placed on the left, poof not long the growl returns at triple gallop; twirling synth halfway followed by a guitar, the voice settles, becomes musical; final break with the aerial guitar that stands out, the keyboard of time even more, the piano notes launched at the end even more 7. §7 frantic riff, progressive start, undergone break with opera vocal, spoken voice, one would think oneself in the lair of the extreme prog mountain, the one from which animal cries come out; here it is the cry, here it is the classical choir, this piece bewitches or captivates or both; the guitar at one time jazzy, at another time bluesy, the bass all the time heavy, heavy and heavy hard; one begins to get used to this ultimate sound when the bass strikes a metronomic pompous air that will rise again and again, the cinematic air in fashion since the new decade 8. A Story Never Told with the soft, ethereal crystalline guitar, I check yes it is indeed Opeth again on a title named there; flute, piano and syrupy voice for the ageless aerial ballad; a sweetness to clean the ears of those who do not know the true blood of OPETH surely. A beautiful guitar solo all in color comes to shine the cover.

A slap at the end of this year which demonstrates that prog does not belong to the 70s or the 80s but to Opeth, that's written!!

— First review of this album —

A Swarm of the Sun, a sound on post-rock, soft and hard, slow and fast, passing from one to the other over time; a hardcore rock with heavy and gripping crescendos. Smells of Godspeed You! Black Emperor, Sigur Ros, Cult Of Luna, Caspian and Solstafir.

'This Will End In Fire' for the liturgical crescendo, the bewitched voice, the progressive momentum that takes time to make us reach the firmament, an appetizer that flirts with Mono, Godspeed You and God is an Astronaut, full of Gods to reach the celestial. 'Heathen' follows, sounds elsewhere taking the time to settle, the rise is slower, solemn, on a fragile piano, Jakob using his vocal timbre like Jón of Sigur Ros as an instrument; it is the catalyst moment for the explosion of pads and post-typed guitars, leading to the musical mystical ether. A new world with the final trombone. 'The Pyre' for the funeral march with airy drums, in the third the guitars start moving on an emphatic, enjoyable, explosive rhythm, all in softness. The air vibrates, saturates, contracts, the pads are cut off for the apocalyptic finale.

'An Empire' for the perfect eponymous title, the solemn crescendic rise with the piano and the voice, recalling Sigur Ros for the calm beach which literally explodes in the second part in a deliberate cacophony. 'The Burning Wall' changes tempo, fast, louder and aggressive, leading with the use of varied instruments, an infernal musical Mr Cadbury making the speakers vibrate. 'Anthem' seven minutes will be the time to hear Jakob; before it was an oppressive atmosphere, a slow post rock derivation where instruments such as musical saw, organ and trombone were put in the spotlight. The title that reminds us that not every band can claim to be prog, that it takes listening time like here. The dreamlike crescendo is Dantesque in its duration and would not have had the same depth if it had been shorter; in short, an elegiac composition allowing us to be on first-name terms with those above.

A Swarm of the Sun offered a devastating symphony, a mixture of beautiful melancholic rises; pipe organ, trombone, synths and a unique sound for dreamlike crescendos cut with embers, excellent in the genre. Originally on Progcensor.

'The Great Unknown' formatted intro, airy and technical, on fresh Dream Theater that doesn't take itself too seriously; synths in front and Markus with a sensual, unique voice, a good FM rock riff in the distance. The guitar and keyboard solos including a vintage one that follow one another, perfect with this aggressive, heady riff and this progressive variation. 'Ghost Veil' fusion of Dream Theater and a Metallica ballad, Erik's keyboards very Rudessian. The dark tone rises, the syncopated rhythm prints a very pleasant ersatzian sound, fresher and younger than Dream Theater, astonishing. Markus with a high vocal, the swirling keyboard recalling 'Pull me Under'; wet outro. 'V23' launches, big symphonic piano intro, the eclectic keyboard on a typical airy ballad; a radio edit for the easily accessible consensual title with violins smelling of purple marshmallow; outro laughing seagull plunging 'Underwater' into an aquatic arpeggio intro; the keyboards, drums, nervous riff, to recalibrate and give pep. Nervous vocals, on Symphony X then Opeth for the growl voice; calm break redefining their musical creative facilities with a divine guitar solo from Luca. The final crescendo recalls the great hours of the best of Dream Theater without outrageously copying them.

'Mind Flayer' title gets into it with the riff, the prog metal atmosphere making reference; a catchy high voice, choirs, the metal riff, Ayreon's vintage keyboards, the intermezzo with Maciej's percussions and this guitar taken from the famous 'Seven son' by Maiden. A single with the dark outro leading to 'Black Sky: Final Frontier' in 6 parts, epic sequel to the previous album. Instrumental prog metal for 4 minutes with Exodus, an oriental atmosphere with a solo reminiscent of John Petrucci's on Arrival, a play between energetic vocals and explosive instrumentation on Architects, a magnificent cello resting in Lament seconding Markus with an ethereal voice; a thunderous muscular break to listen to, indescribable in Zero with the return of the millimetered growl and a grandiloquent cinematic finale slightly conventional on Rayons de lumière. A stack of drawers, cascading harmonies, tempo changes, effective solos and an imposing rhythmic fluidity for the epic title.

Seventh Dimension signs a major album of progressive metal eyeing Dream Theater, Symphony X, Andromeda, Opeth, Circus Maximus, Forgotten Suns and Ayreon, that makes 7. Social texts, musical images on the hope of dreaming, of traveling thanks to this immortal current. An essential album for anyone who loves progressive metal, which I didn't know before this review, shame on me. Excellent. (4.5). Originally on Progcensor.

Few bands have so drastically transformed the canon of progressive music as Opeth has. Since the '90s, the Swedes have delivered work after work, perfecting their craft while navigating the vast influences that Mikael Åkerfeldt treasures as a devoted music aficionado and tireless innovator. With The Last Will and Testament, we are met with a fully bloomed Opeth?one that, after journeying through the majestic sounds of '70s progressive rock and the brutality of melodic death metal, manages to marry the best of both worlds in an indulgent, abundant masterpiece capable of reconciling their vast and divided fanbase.

Comparisons to Watershed (2008) are inevitable due to the album's intricate complexity, the heavy use of synthesizers, and the triumphant return of Mikael's growling vocals, which have never sounded better. The album's aesthetic, steeped in the 1920s, and its frosty sonic textures demonstrate the band's continued willingness to explore the elegant style first hinted at in In Cauda Venenum (2019). However, this record distances itself from its predecessor with a crisper production that amplifies every section and achieves a more balanced mix.

Yet, all comparisons pale in the face of this album's unpredictability. It traverses a vast range of emotions and tonalities befitting its theme: the melodramatic reading of a patriarch's will, filled with twisted mysteries and sinister plot twists. And who better to guide us through these calamities than Ian Anderson? His vocal and instrumental contributions infuse the album with the progressive spark that lights our way through each paragraph of the testament (§). His flute solo on "§4" is an eclectic moment of madness that contrasts sharply with the solemnity he brings to "A Story Never Told," the album's poignant finale.

Tracks like "§2" and "§5" keep us perpetually off balance with extreme and contrasting passages that perfectly illustrate Opeth's dual nature. From captivating melodies of solemn beauty to the most tense gatherings of diminished chords, the album encompasses acoustic instrumentals, clapping hands (olé!), and synthesizer solos. Joakim Svalberg shines throughout the record, wielding a palette of analog keyboards?Mellotrons, Hammond organs, and more?to craft dense and enveloping atmospheres like a shadowy architect.

The rhythmic duo of Waltteri and Méndez delivers aggressive grooves that elevate the album to another plane with unexpected syncopations, subtle ghost notes, and bass counter-melodies as beautiful as the primary motifs. Both "§1" and "§4" are fundamentally built on their work, generating hypnotic rhythms where bass and kick drum provide a tightly controlled foundation of tension and precision.

Euphoria will wash over fans as they hear the bombastic riffs and visceral growls in tracks like "§2" and "§7." These extreme passages intertwine with baroque sections, jazzy interludes, and moments of acoustic introspection, resulting in a rich, multifaceted musical experience. Every sonic choice breathes life into the vivid images Åkerfeldt envisioned for this musical narrative. The outcome is a wholly synesthetic, cinematic experience.

"§1" introduces all the elements that make this album an instant classic: supersonic grooves, Méndez's profound and contemplative basslines, and Åkesson's evocative guitar work, a wizard of melody. Major chords rising from the shadows establish the album's chiaroscuro tone, paired with the fervent chorus proclaiming, "The last will and testament of father." The echo of the growls?after 16 long years?is etched into memory as a moment of pure joy for Opeth's fans. The string arrangement closing the track is simply breathtaking, a testament to the meticulous detail poured into this masterpiece. Conceptually, the song serves as a framing device for the story, setting the stage in the patriarch's eerie mansion where the intricate narrative unfolds.

"§2" begins brutally, allowing no time to breathe, accompanied by stunning poetry narrating the daughter's tale:

"A child in the night Cursed to survive Love like quicksand And deflowered maid in tow."

The lyrics stand out for their carefully crafted metrics and storytelling, recalling gems like "White Cluster" (1999). A dark melody materializes among the strings, introducing the lawyer (Ian Anderson) who reads the father's confessions?sins that will decisively shape the inheritance and the fate of his descendants. The song weaves between extreme guitars and Mellotrons that complement each other to form atmospheres steeped in malevolence, with Joey Tempest's arena- rock choirs adding a theatrical flair. Amid the misery, an acoustic and synthesizer interlude opens a quasi-psychedelic section reminiscent of The Beatles. Mikael bids farewell with a beautiful refrain, "There is a rising tide of sorrow," marking the 26th instance of the word "sorrow" in Opeth's discography?because why break the tradition?

The third paragraph ("§3") tells the story of the patriarch's polio-stricken daughter. Classy violin arrangements perfectly evoke the postwar era, marked by disease and upheaval. Mikael's vocal acrobatics are spine-chilling, with lines like, "Matrimonial locks, skeleton key," delivering some of the album's most iconic moments. Here, the most astounding atmospheric shifts unfold, and Mikael even takes time to tune his guitar between D and E standard during live performances. Abrasive Middle Eastern melodies and the baroque introduction elevate this track as an exemplar of the album's superior balance and versatility.

"§4" mesmerizes from its opening Mellotron-infused oriental riffs, gliding atop a liquid, modern groove. Mikael's vocals traverse styles, culminating in operatic choruses reminiscent of Freddie Mercury. Harp melodies infuse solemnity, underscoring the patriarch's revelation that the twins are not his sons after all. What follows is an incredible diminished E riff intertwined with Anderson's flute, painting a soundscape that is nothing short of masterful. Åkesson's solo is intentional and melodic, seamlessly blending with the composition. The track concludes with an extended hypnotic riff filled with diminished chords, syncopation, and double bass?a quintessential Opeth moment.

The album's orchestral malevolence continues into "§5," a monster of a track that opens with an energetic acoustic riff seamlessly transitioning into metallic grandeur. Growls emerge and recede amidst frantic transitions and jazzy guitar tinges reminiscent of "Häxprocess" (2011). Synthesizers and pads take the forefront here, massive Mellotrons swallowing the mix in a dramatic homage to Åkerfeldt's '70s influences like Queen and Gentle Giant. The tension reaches a peak as the twins, in despair, confront the presence of the legitimate heiress.

Joakim takes the spotlight on "§6." Its opening, with an epic melody and a hopeful Dm-F-G progression over an unstoppable groove, stands out as one of the album's rare "happy" moments?a welcome respite from the nocturnal miasma. Midway, brutal riffs harken back to Blackwater Park (2001), while a Mellotron choir underscores Åkerfeldt's admiration for Änglagård. A Dream Theater-esque synthesizer solo defies all expectations, culminating in a bipolar melody that oscillates between epic, sublime, and sinister, only to end softly with Gilmour-like acoustic picking.

"§7" enthralls with its deadly beauty, replete with oriental melodies and sheer brutality. Anderson narrates the patriarch's philanthropic gifts?purely sentimental family relics. The track incorporates guttural depth, complex solos, and jazz-infused keyboards, evoking hints of Riverside. Strings accentuate the climax, delivering a slow, painful, contemplative finale.

Finally, the sublime beauty of "A Story Never Told" is simply breathtaking. Without spoiling, it invites listeners to experience this magnificent track, reminiscent of "Isolation Years" (2005) or "Lovelorn Crime" (2019). A melody both familiar and liberating shatters the oppressive atmosphere of the desolate mansion, representing a break from all façades. Its concluding solo is destined for posterity, crowning a ballad that ranks among the finest in the band's 30- year career.

Like the best films, this album concludes with an incredible plot twist, grandeur, and a clear, relatable message: blood is not always thicker than water. Every detail is executed with meticulous thought, inspired by Succession, yet only Mikael could convey such tragedy through music. Challenging but deeply rewarding, The Last Will and Testament showcases Opeth at the peak of their creativity, balancing their dualities with operatic drama and signature flair.

Guest contributions elevate the album further: Joey Tempest (Europe) on choirs in "§2"; Ian Anderson (Jethro Tull), whose voice and flute add new dimensions; and Dave Stewart (Canterbury scene), whose string arrangements provide an additional layer of sophistication. The revitalization of the band, attributed partly to Waltteri's unmatched chops and death metal roots, is palpable. The return of growls feels perfectly integrated into the album's refined style.

To be clear, every Opeth album since Heritage (2011) is excellent, each contributing elements to this magnum opus. Åkerfeldt and company have consistently followed their hearts, evolving with unparalleled artistic integrity. Growls and death metal neither make nor break Opeth. This album transcends such debates.

In conclusion, The Last Will and Testament is Opeth's finest work in 15 years?a living relic that encapsulates the mastery of one of the most significant bands in progressive music history.

Weather Systems, reincarnation of Anathema, offers an atmospheric, post-rock-prog journey.

First Steps: 'Synaesthesia' energetic electro sound, the flame is there; a catchy guitar, Daniel's drums, Soraia as Lee, the killer crescendo with the raging guitar halfway through; a nostalgic piece in continuity that invites you to travel; break with the rain, the piano, having confronted this renewal on a positive spleen. 'Do Angels Sing Like Rain?' repetitive shoegaze, helping to jump; the basic melody that is imprinted with Vincent in a dream on the vocal; the explosion is close to one of the albums from the beginning of the millennium; haunting and hypnotic with an idyllic finale. 'Untouchable Part 3' as a sequel to 'Weather Systems' on the same movement up to the vocals; a sad, moving ballad, with the classical orchestration amplifying everything; sharing nostalgia and progress; the final arpeggio delivering the fatal blow. 'Ghost In The Machine' looped on a metronomic hang; the vocal duo captivates with its harmonies; the hypnotic crescendo and the final haunting guitar. 'Are You There? Part 2' from 'A Natural Disaster' comes out 20 years later, juggling on nostalgia; as much as the original screamed its fragility and emotion in an intense way, here it is a facsimile boosted by Daniel's drums.

Learning to Fly: 'Still Lake' with the crystalline piano then the velvety synth in electro ambiance; Soraia with ethereal choirs on a new-wave air of the Cure before the wickedly cathartic explosion in which Daniel makes his heavy guitar scream on the atmospheric finale. 'Take Me With You' remains in the era of the natural disaster with the typical baby noise; a nostalgic message, her favorite period? Soraia presents this intimate ballad track lit by the echoing piano; to be taken as a sequel with this feeling of floating between memories and the present. 'Ocean Without A Shore' shoegaze atmosphere, distant sounds; a vocoder smelling of 'Closer', an intimate piece before the haunting electronic departure of Riverside where the heady beat gives light in this crescendic push; the fresh and hypnotic electronic prog creates an endless musical overloop. 'The Space Between Us' with 'Biko' or even 'In Your Eyes' in the background, a real work with the ASA as a musical signature from the time when Anathema still existed; a tribal harmony completed with an atmospheric post-rock sound reinforcing dreams, the hope of a new beginning.

Weather Systems released a hypnotic album of alternative prog, '. Daniel continues the adventure by distilling sounds filled with emotion to free himself from the torments of life; an album that gains volume over the course of listening, with an impressive spleen. Originally on progcensor.