2025 has already been quite a year for prog releases, with acts such as Dream Theater, Karmakanic, Steven Wilson and Pattern Seeking Animals, already having released very strong albums (which I have reviewed) along with releases on the horizon like (Alex Lifeson's) Envy of None and The Flower Kings, and lesser known acts that I have either reviewed or done a spotlight on like Andy Toomey, The Swan Chorus, Magic Pie, and Massimo Pieretti, either already releasing new material of about to do so.

Today, I will be reviewing the latest album, called "Seawater", from UK Prog-Folk stalwarts Mostly Autumn. They have been led by guitarist/vocalist/songwriter Bryan Josh since their founding in the mid-90s, and he has been the only consistent member throughout their history. MA has been described as a blend of Prog-Folk and harder edged Neo-prog with a lot of Pink Floyd influence (several of the original members played in a Pink Floyd Tribute band); in fact, not long before his passing, PF keyboardist Rick Wright mentioned that he liked their music. They even released a live PF tribute album in 2004. This is their 15th studio album since they began releasing them in the late 90s. While I have heard a fair amount of MA songs in the past, I am far from an expert. This will be the first album of theirs I will have listened to in its entirety. This line-up has been pretty stable for around a decade, with only one member change since 2015 (so far as I can discern) when Henry Rogers took over the drum throne in 2018 from Alex Cromarty.

Here is the line-up for the "Seawater" album:

- Bryan Josh / guitars, vocals - Olivia Sparnenn-Josh/ vocals - Iain Jennings / keyboards - Chris Johnson / guitars - Andy Smith / bass - Angela Gordon / flute, keyboards - Henry Rogers / drums

With: - Troy Donockley / uilleann pipes, low whistle (1,2) (he is a frequent MA collaborator)

Without further fanfare, let's dig in. This is a cold listen with the exception of having heard and really enjoying "If Only For a Day."

Track 1 - Let's Take a Walk (Featuring Troy Donockley)

It begins with a slow fade in of nature sounds, The instruments begin entering quietly by around 20 seconds. Just before the one minute mark some power chords are strummed, then Donockley enters with his pipes. The first vocals enter after the 2-minute point by Bryan Josh. Drums begin accenting as we get to the 3 minute point. This is getting a slightly Celtic flavor as we progress. The rhythm section enters along with a nice organ wash. By around 4:20 the instruments go back down to menial levels. Olivia Sparnenn-Josh sings harmonies with her husband (they married after she had been in the band for several years, first as a background singer, then a lead singer). The sound is very full and well-produced. At 5:44 Donockley re-enters. If it weren't for its 9 minute length, this could be a hit on country radio (that's NOT an insult, to be clear); it's a bit like something John Mellencamp would do (again, except the length) and he'd probably be considered country if he came out nowadays. Great guitar solo at the end from Josh. To sum up, I'd say it's a rockin' tune with a mixture of Celtic and country flavors. It's prog in its scope, if not in its execution. Regardless, I really like the song! It has a great energy to kick off the album.

Track 2 - Why Do We Remember all the Rain (Featuring Troy Donockley)

This one has a 6-6 Celtic lilt at the beginning with Donockley on his flute. Olivia takes the lead vocals here, and she sounds wonderful. The beat switches to 4 as the rest of the band kicks in. Henry Rogers is playing a cool drum part. A guitar solo begins around 2:40. This one has more of the sound I have come to associate with Mostly Autumn. I love how the guitar and flute lines intertwine around 4 minutes. Great track!

Track 3 - Be Something

Bryan Josh takes back over on lead vocals right off the bat with a strummed acoustic guitar. He has a bit of a gruff voice, but he makes it work! After the upbeat 4-4 opening chorus, he goes into a slower 6-8 for the verse. On the second chorus, Olivia joins him with some subtle playing from the rhythm section. The alternating meters keep happening in the same manner. The chorus is a bit of an earworm. It finally opens up to the full band around 2:45. They like to fill the sound with a big fat organ tone. There is a key change leading into the guitar solo, which is based on the choruses. This is a very inspirational song. Great song!

Track 4 - When We Ran

Soft, ethereal keyboards start this one out. A piano joins, beginning to establish a slow rhythm. Bryan is the lead vocalist as the singing begins. This is very quiet so far. The music comes to a pause at around 2:15, then a rhythmic synth part that reminds me of the synth part that begins "The Secret of My Success" by Night Ranger starts. The synth then adds a melodic part that almost seems Spanish or Mexican in nature (not sure why, but that's the impression it gives me). This has developed a bit of an 80s new wave synth vibe augmented by some power chords. Olivia joins in on harmonies in the next section and the bridge. At 5:00 the key goes up a step for the guitar solo. Following the solo, we have a "breakdown" section. The chorus returns at around 6:15. The melodies are very uplifting. Another key change happens at 6:40, then yet another for the next guitar solo at around 7:15. The song begins to fade out over the final minute while the guitar solo continues. However it doesn't fade entirely, there is a definite ending. I believe Angela Gordon doubles some of the guitar lines with flute towards the ending. Good track!

Track 5 - If Only For a Day

This is the one I have heard already, but only once before. It begins as a piano ballad in a minor key with Olivia singing. Her voice is very expressive. She jumps an octave on the 3rd verse. A subtle rhythm section starts on the second verse. This song is a slow burn. Power chords kick in half way through the verse and the rhythm section gets stronger. This song is heavy in a "Comfortably Numb" kind of way. Bryan Josh likes the "key change for guitar solos" thing. Olivia's singing is phenomenal on this! Another guitar solo follows. Bryan is really showing his Gilmour influence here. Lots of powerful sustained notes with emphasis on the feel. My favorite track on the album so far!

Track 6 - When Nations Collide

Soft keyboards and Olivia's voice start us off here. A strumming acoustic (12 string I believe) joins in at just before one minute. We are in a slow 6-8 here. The song gets a stronger rhythm starting at around 2:30 The guitar solo explodes in at around 3:35. This one is also Floydian, reminding me of "On the Turning Away." There are some interesting chord progressions in this one. The stunning voice of Olivia Sparnenn-Josh is the clear star of this song though. (I've been using her first name for much of the review though for "economy of typing." No disrespect meant.) Nice track.

Track 7 - My Home

This begins with some sound effects, joined by some clean electric guitar that sounds like its inside of a very large echoey bathroom. Bryan Josh is the singer here. 12-string acoustic is blended in. The song kicks in with power chords and it begins to have a slightly country vibe again. Bryan is singing in the lower ends of his range for the verses, then jumps up a register in the choruses. Nice key change for the bridge at around 2:40. They key changes for the guitar solo again. Bryan likes to sing the big, inspirational, pump-you-up kind of songs. This one almost has a Bon Jovi vibe to it in the chorus, but please don't hold that against it! It's a good track!

Track 8 - Mars

This one begins with a hymn kind of feel to it. Bryan is the lead vocalist again. This one's lyrics seem to be a call back to the previous song, when he sings "To think that I could lay down on Mars, and dream of my home? (Olivia joins in) So far away." At 2:20, the song suddenly gets "huge" sounding and Olivia takes over in dramatic fashion! Then, guess what? The key changes for the guitar solo! (It's all good though, Bryan! It's nice hearing key changes.) Some of the notes in the solo are excessively high, so I believe he is using a slide past the end of the neck, over the body of the guitar to get them, or he is using an effect pedal, but I believe it is the former. Olivia returns on vocals afterward. Her vocals are spectacular! Great track!

Track 9 - Future Is a Child

Keyboard tones and acoustic guitar enter with a very slight "Welcome to the Machine." vibe. Bryan starts the vocals by singing the title phrase. Olivia joins on the second verse, and there is a subtle rimshot rhythm in the drums. At one minute in or so, the music explodes and Olivia takes charge on the vocals! Bang! It reminds me of when Ann Wilson jumps an octave on "Alone" by Heart. Bryan takes back over on the verses, soon joined by Olivia on harmonies. The drums pick up the rhythm. Olivia does her fantastic dramatic thing again around 2:30. Nice vocal harmonies in the bridge. Bryan takes an acoustic lead at around 3:30?tasty. Olivia takes back over again afterward. A cool flute solo with Moody Blues vibes happens at around the 5 minute mark. Then Bryan takes over with a big descending riff behind his solo. The first time I have heard the bass stand out on the album is around the 6 minute point. Big solo from Bryan as the song reaches its conclusion. This is one of the better tracks on the album. Well done!

Track 10 - Seawater

But one track remains, and it's a doozie! The 19 minute closing title epic! Quiet piano commences this one, then Olivia begins singing softly, sometimes doubled an octave lower by Bryan. There are thunder sound effects with the vocals & piano after 1:10. The music pauses briefly around 1:40 then a more rhythmic piano part takes over (Iain Jennings, I assume, although Angela Gordon also plays keys along with her flute skills). This is a well-played classical style piano part. The rhythm section kicks in near the 2 minute mark. Olivia resumes singing around 2:30. Nice harmonies around 3:30. Then Bryan kicks in with a guitar solo (without a key change). Once again, his Gilmour influence is apparent. I like the walk down at around 4:45. Sound effects of an ocean storm follow. Rhythmic keys and sustained bass begin to emerge from the effects. At around 5:50 choir-like vocals begin singing staccato "doot doot doots" in harmony, and a siren sound effect follows. This song is very cinematic in its approach. String orchestra-like synth sounds join in at around 6:40. Then there is a sudden shift to the distorted guitar bass and drums taking over the staccato theme that the vocals had been doing with all of the sound effects gone. At 7:10 the band locks into a moderately fast groove, then angelic voices join in backed by synth. Olivia begins singing lyrics again before the 8 minute mark. It is quite dramatic around 8:50. They are singing about tsunamis here. At 10:17 everything except a piano playing low notes and hushed vocals drops out. A high pitched piano note joins in and by 10:35 we have a synth solo; the first on the album. The tsunami chorus returns at around 11 minutes. By 11:30, acoustic guitar and drums tale over, playing the rhythmic motif from earlier along with wind sound effects. Synth- strings join in creating a churning ocean effect. The band crashes back in around 12:10 with Bryan taking over on vocals. Choir-like vocals return, backing him up with "ahhs" as the music builds in intensity. There is a loud crash of thunder around 13:30 that brings us to another pause for wind and ocean sound effects. A moderately slow 6-8 rhythm on 12-string acoustic guitar, bass and drums takes over by the 14 minute point. The Joshes join in singing vocals in octaves. Just after 15 minutes the music gets HUGE with orchestration--nice! Layers are being added as the music proceeds. Just prior to 18 minutes Bryan plays lead over the top. Then at 18:18, the music suddenly stops. We return to the quiet piano from the introduction, with post-storm birds chirping as this wonderful epic reaches its conclusion. This is definitely the flagship song of the album. Superbly done!

OVERALL IMPRESSIONS:

A solid album indeed. I enjoyed every track. However, if you're looking for odd-meters and lots of twiddly-bits, this may not be the album for you. The closing epic title track is definitely great prog, and overall, while the music is well-arranged, well-written, and well-performed, some of the tracks are not what most people would call prog. And that's ok. I just want to be clear about it. If you want some good song oriented music that is played and sung by wonderful musicians, that's what we have here. I'll give it a 4 out of 5 stars, as it is very good, but I was only blown away on a few tracks, especially "If Only for a Day," "Future is a Child" and "Seawater."

"KHAN" were a 4 piece made up of Canterbury-influenced musicians who later went on to their own projects, primarily guitarist Steve Hillage. He and keyboard virtuoso Dave Stewart dominate the album with better-than-average prog ideas that are intermittently interrupted by "far out" hippie rock cliches in the vocal verses of the song. Which is too bad, because it somewhat distracts and detracts from some creative instrumental work that is as playful as it is complex. I like what user Loserboy said that some of Dave Stewarts best Hammond work is on here, he's definitely right. Dave Stewart's keyboard sounds and arrangements make this album more detailed than spacy, despite the silly outer-space themes (especially compared to Hillage's subsequent work with the much more psychedelic band Gong). Whether playing rhythms, arrangements, or psych/hard rock leads, Hillage's guitar style is strong and unique. Many of the tendencies of prog rock, for better and/or worse, are abundant on this lesser-known release during its heyday. some of these tracks on their sophomore album ( that wouldn't be released) would be placed onto Steve hillage's solo debut "Fish Rising". 4.0 Canterbury classic

Review Nº 885

"Avalon" is the eighth and last studio album of Roxy Music and was released in 1982. It was their greatest commercial success hitting the UK charts and staying there for over a year. "Avalon" is also the only Roxy Music's album to reach the platinum record in the USA. "Avalon" is one of their finest albums. Certainly, the lush and elegant soundscapes of "Avalon" are far removed from the edgy avant-pop of their early albums, yet it represents another landmark in their career. Ferry was never this romantic or seductive but "Avalon" shimmers with elegance in both its music and its lyrics.

The beautiful art cover of the album represents a figure wearing a medieval helmet and carrying a falcon, evoking King Arthur's last journey to the mysterious land of Avalon. The figure is Bryan Ferry's then girlfriend and future wife Lucy Helmore, a former model and London socialite, who posed as the cover model for the album, continuing the tradition of Roxy Music's albums to feature images of women on the cover artwork. The artwork was designed by Peter Saville too.

As on "Flesh + Blood" the line up are only the remaining three original members and some guest musicians. So, the line up is Bryan Ferry (vocals, keyboards and guitar synthesizer), Andy MacKay (saxophone), Phil Manzanera (guitar), Yanick Etienne (vocals), Fonzi Thornton (vocals), Neil Hubbard (guitar), Paul Carrack (piano), Kermit Moore (cello), Alan Spenner (bass), Neil Jason (bass), Andy Newmark (drums), Rick Marotta (drums) and Jimmy Maelen (percussion).

"Avalon" has ten tracks. All songs were written by Bryan Ferry except "While My Heart Is Still Beating" written by Bryan Ferry and Andy MacKay, "Take A Chance With Me" written by Bryan Ferry and Phil Manzanera and "Tara" written also by Bryan Ferry and Andy MacKay. The first track "More Than This" is the song released as the first single taken from this album and is of course one of the hits of this album. It's a great commercial pop song composed for easy radio listening. We may say this is a perfect hit pop song for the 80's. The second track "The Space Between" is a kind of a sexy song with clear influences of the disco sound, so in vogue at that time. It's a song that sounds to have been played in the night dance clubs all over the world in that time. It's a little bit repetitive and monotonous song. The third track, the eponymous title track, "Avalon", was the song released in the second place as a single and taken from this album. This is, without any doubt, a great song. It's a song with good and perfect classic lyrics and where the music is absolutely perfect and invites us to dance slowly like when the party is over. The voice of Bryan Ferry is absolutely fantastic and the female chorus is very warm and gives it a nice touch. The fourth track "India" is a very short and nice instrumental song with some influences of the oriental music. The fifth track "While My Heart Is Still Beating" is another great song. This is a very sophisticated art pop song with very interesting musical moments like the percussion and drums, the vocals and finally the sound of the saxophone. I think we can say this is the song on this album, more close to the original sound of the group. The sixth track "The Main Thing" is another highlight on this album. This is a song with a fantastic and very own musical atmosphere and where Bryan Ferry's vocals are some of the best on the album. It's a song with a great beat. The seventh track "Take a Chance With Me" is another great song of the album. It's also a song released as a single and was the last Roxy Music single released during the band's life. It's a very catch song with good and nice melody that sounds very fresh even today. The eighth track "To Turn You On" is a very simple and nice song that specially lives almost of the Bryan Ferry's voice. It's an interesting song with some tasteful guitar moments very well accompanied by piano. The ninth track "True To Life" is another interesting and nice song with good musical atmosphere and with a very calm rhythm. It has also different vocals by Bryan Ferry and good percussion all over the song. The tenth and last track "Tara" is another very short instrumental song like "India". It's a very beautiful song where the sound of Andy MacKay's saxophone is absolutely relaxing. This is a strange and beautiful way to end this album and is also probably a perfect and elegant farewell for this so special, interesting and unique prog rock band.

Conclusion: "Avalon" is, in my opinion, the most Bryan Ferry's album of the band. It's also their most well produced, most mature, most accessible, most commercial and the bestselling album of the band. This is really a unique album on the band's career that takes us to another musical dimension. It's true that "Avalon" isn't truly a progressive album but is only a pop rock album with only little reminiscences of progressiveness. However, of all the many pop rock albums made by many progressive rock groups in the 80's, like Genesis, Yes, Gentle Giant, Renaissance and even "Breakfast In America" of Supertramp, that I can remember, this is, in my opinion, the one that passed the test of time with best results. "Avalon" is a very charming album that still sounds fresh, cool and sophisticated after all these years and I can still hear it, even now, with great pleasure. So, "Avalon" is an album highly recommended for any art rock enthusiast.

Prog is my Ferrari. Jem Godfrey (Frost*)

What is there left to say about this masterpiece that hasn't already been said? It's incredible to think that this album was such a massive success, especially when compared to today's popular records. Could an album this ambitious still become a cultural phenomenon today? Unfortunately, I don't think so.

The strength of Dark Side of the Moon doesn't lie in a single track but in the harmony and seamless flow of all its pieces. The only real break in this journey comes with Money, which I find to be the weakest track. Yes, it's catchy, but its style and length make it stand out too much from the rest.

Aside from that, the album slowly immerses us in an almost astral voyage. It's a contemplative record, one that takes its time to convey a wide range of emotions. Probably the best album to unwind with after a stressful day!

Britain's gift of melodic positivity returns with another polished masterpiece of engaging and uplifting prog lite.

1. "Light Up" (5:39) great up-beat syncopated rhythm track with lots of prog sounds and great harmony group vocals over the top singing in their usual life- and love-affirming messages. I love the interplay in the fifth minute between Jenny Newman's violin and Jess Holland's wordless vocalese followed a similar interplay between Andy Glass's lead guitar and Steven McDaniel's organ in the final minute. Awesome! (9.125/10)

2. "Wongle No. 9" (7:14) Funk! Sounds like Leonid And Friends or Orgone/Say She She! There's that kind of joy and enthusiasm exuding from this music! The guitar and keyboard work from Andy and Steven sound so emotional and heart-felt--as are the amazing vocal performances from Jess Holland and her three Graces (Ebony, Jen, and Jenny, otherwise known as Aglaia [Radiance], Ephrosyne [Joy], and Thalia [Bloom]). Amazing song that holds its engaging energy from start to finish. (14.75/15)

3. "Mount Ephraim" (5:59) back to some folk roots with some acoustic violin leading the way, but then the rhythm section shoots in the funky undergrowth and we have more joy-dancing music to get excited for. Despite nice solos from Andy, Jenny and Steven the song never reaches another gear (which would have to be overdrive) nor offers much in the way of interesting diversions--but it's still so solid--so good! (9/10)

4. "Run" (8:14) endless reverb on several well-spaced opening electric guitar chords remind me a bit of Chirs Isaak or John Martyn. Jenny's plaintive electric violin and programmed drums join in before Jess enters singing in a delicate-though-passionate vocal. Beautiful. I'm reminded a bit of Jane Siberry and Sarah MacLachlan as well as IONA's Joanne Hogg. Such a beautiful voice. At the five-minute mark the drums, bass, keys, and violin kick in to support an instrumental passage. It's heavier and more insistent in its melancholy than the vocal section with Andy Glass's powerful lead guitar rousing our emotions from some lower and mid-range noteplaying while Jess and The Graces slowly creep into the mix with increasingly-more-prominent choir vocals. (13.75/15)

5. "Home" (6:42) this one definitely sounds as if it comes directly off of an IONA or Suzanne Vega-like album. Very nice music to support Jess Holland's typical stunning vocal performance. Please, let's not let ourselves grow accustomed to this amazing vocalist's extraordinary talents! Nice violin and keyboard doubling up in the second half of the fourth minute. Nor should I let an entire album go by without extolling the solid performances of the Robin Phillips-Pete Hemsley rhythm section: their contributions are so flawless that you're prone to want to take them for granted, yet the music would not/could not be this good without their professional performances. By no means is this a weka song, it's just not quite as powerful or (8.875/10)

6. "Bulbul Tarang" (10:24) an exposition of absolutely perfect prog fusion: here taking a page from the George Harrison playbook with the cooption of some Indian themes, bringing them into an ascendent/transendent Jon Anderson/Yes-like form and style using the rich textures of their prog sound palette in cooperation with the extraordinary vocal talents of the entire cast and crew. (The live in the studio video version of this is quite extraordinary--perhaps even better than this version because it is so spirited.) Heart-wrenching performances from Steven McDaniel (on piano) in the sixth minute with the incredibly-delicate choir vocals behind him. Wow! I'm in tears! Then we get some first-rate lead guitar work from Andy Glass before the gentle choir vocals return to lull us into peaceful bliss before everybody steps up to blow us away with some whole-group power the likes of which is oh-so-rare in art. Then Andy's even-more-impassioned guitar licks and more BIG vocal bursts to take us to the end. Amazing finish to an amazing musical experience. (19.125/20)

Total Time 44:12

Though it may be common that a song or lyric can help elevate or transport the human spirit, it is rather rare that a whole album can achieve this. I'm not going to say that I feel blissed out the entire time I listen to this album, but a lot of it--and certainly a lot more when I watch the in-studio video releases of these songs. Even the live on-stage versions have some of this effect on me.

A/five stars; an unequivocal masterpiece of uplifting prog rock. HIGHLY recommended--especially to those who like an occasional injection of numinous light into your life.

Script for a Jester's Tear is a strong debut album from the neo-prog group Marillion that succeeds in foreshadowing the traits the band would employ in their magnum opus, Misplaced Childhood. The instrumental arrangements are sufficiently dense for most prog fans while even those like myself who aren't diehard fans of the genre can still find this a relativley accessible album. Most of the melodies here are keyboard or synth driven though there are some that feature more prominent lead guitar parts that could be more appealing to fans of the bands later works.

The album starts off well with the classic title track and the more straightforward "He Knows You Know". "He Knows You Know" might hold up better if it didn't feature the bizarre telephone sequence at the end but it's a small criticism. "The Web" through "Chelsea Monday" are too slow developing for my tastes but I'll concede that each track features an interesting instrumental portion and the playful synth line thorughout "Garden Party" keeps my attention. The final track, "Forgotten Sons" is more in the mold of "He Knows You Know" both in terms of how much guitar is present and the odd lyrical choices. What's missing here is the continuity of a story that showcases Fish's lyrical capabilities. This feature is what won me over on Misplaced Childhood and it is noticeably absent here. Still, this is an excellent album whose minor flaws don't impede enjoyment of the album. 4.0 this defiantly gives this six piece their sound.

Eight graceful hymns of gothic dread make up the contents of Dead Can Dance's third studio album 'Within the Realm of a Dying Sun', a work that sees the band honing their craft and completely embracing the ethereal beyond-ness of their branch of dark and folksy music. Taking up the experimental approach from 'Spleen and Ideal', it is the extraordinary scope of this album (together with the fantastic performances and production) that make this arguably the strongest offering of the duo of Lisa Gerrard and Brendan Perry, their most abundant and coherent recording from start to finish, the ideal example of a musical niche referred to as neoclassical darkwave, a slightly unsatisfactory descriptor of music that carries such strong emotional qualities as on '... a Dying Sun'.

Nevertheless, this 1987 release remains a great example of how spiritual and transcendent music can get, effectively divided in half between the vocal performances of Perry and Gerrard, the former of the two providing a warm, caressing and profound tone of solemn wisdom, while the female counterpart anticipates the great heights of the uplifting, enchanting elements of the Dead Can Dance sound, together forging a carefully-curated balance between opposites, bound by the orchestrated dignity of the music, performed with great panache at all times, embracing and idiosyncratic. This is a dark and atmospheric album of great quality, from the cryptic enchantments of opening track 'Anywhere Out of the World' to the haunting tones of the instrumental 'Windfall', or the complex soundscapes on 'Xavier', taken on and elevated by the second half of the record with ominous and ritualistic compositions like 'Dawn of the Iconoclast' and 'Cantara', or the absolutely triumphant closing opus 'Persephone', an exercise in orchestrated melancholy, bathed in medieval bliss. Simply an album without confinements, a work that stands on its own with its magical overtones and meticulous grip over the listener, there is an unparalleled scope to this record that renders it incredibly special and unique.

1. The Upside of Down is a typically UK sound, a prog-pop rock bordering on funky with its brass and catchy riff. 2. Got Religion, with the Blues Brothers rhythms and the energetic piano, a hint of Grease to further unnerve you, fresh, to be enjoyed on a mountain bike with the wind gently slapping your face; note the velvety and melting keyboard of the time. 3. Estus Pirkle Night opens with piano, yes, David does everything from electric to organ; there's a nostalgic air to this track with the arpeggio break taking me back to GENESIS; the final wild synth solo sets the place on fire and shows that you don't have to have a guitar hero for every song. 4. It's Not the End of the World, the intro is always polished, we understand better what kind of tribute they were; the vocals begin to have their effect and integrate into the instrumentation; The energetic rhythm reminds me of the heyday of AOR with BOSTON, and later TOTO; fresh progressive blood too with this development and its soaring violins, a bit of ELO, a bit of more recent HOGIA, ah, the acronyms are there. 5. Space Force and its warning siren, the fast pad, the piano even more, the synth à la 'Mars Attack', captivating this track, catchy, between jazzy and hi-hat, between cabaret freshness and festive rock bordering on heavy with its frenzied choirs, a breath of fresh air with the enjoyable hard outro. 6. Little Fools for the suave Asian ballad, vocals by Solaria or Natalie, melting the ballad; evolution for the typical crossover track which reveals its prog declination over the course of listening; hints of ELO in the distance for the velvety orchestral base. 7. You'll Never Get to Boston, a funfair organ intro with applause, a sort of "The Persuaders," or when the cinematic beauty lingers; acoustic guitar à la KANSAS, ethereal choirs, and a waltz solo; focused on the chorus.

8. World in Action, a direct attack, a meeting of rock and new wave by the CARS; an easy track with its marshmallow guitar solo, the other on a Japanese keyboard. 9. Watching, a GENESIS track; I'll let you search a bit for the fat and catchy keyboard; always rhythmic with the choirs that show themselves more, in short, it jerks. 10. The Dragon Who Swallowed the Sun, a 60s guitar intro, from the era of gangsters in dark glasses and Piaggios; a solemn air on layers of keyboards. 11. The Devil in ABQ, for its slide guitar sharpening the piano notes; A little harmonica and we find ourselves in Louisiana, a Cajun zone that sounds good with the jerky air inviting us to dance with its thunderous trumpets. 12. Open Minded intro à la COLLINS, a Japanese zest, on JAPAN then the sax reminiscent of Phil and it's off for the repetitive title; here we have to wait for the break to feel the frenzied rhythm. 13. Blame on You for a nervous bluesy rock with a strong 80s feel; lively with the fat synth and dynamite drums; more energetic melodic rock in fact. 14. What the Butler Saw superb dark intro, disturbing, fresh, electric, nervous, in short cinematic; well, the CARS keyboard I insist with its haunting stereo reverb, the guitar riff that comes in announcing a superb solo precisely, it spurts everywhere; fusion of a TOTO, YES, CARS, brief monolithic piece with the heady and rhythmic keyboard for the rest; a beautiful moment gradually becoming wild.

Anekdoten Live in Japan (1998)

Anekdoten is a Swedish progressive rock band composed of guitarist Nicklas Barker, cellist/keyboardist Anna Sofi Dahlberg, bassist/vocalist Jan Erik Liljeström, and drummer Peter Nordins.

Anekdoten is one of those Swedish bands that sparked a kind of new wave of prog in the nineties alongside Änglagård, Pain of Salvation, The Flower Kings, and the metalheads of Opeth and Meshuggah. Those years were very prolific in terms of music and creativity.

But Anekdoten may have been the least popular, creating a unique, obscure, and incredibly original style? a mix of old Mellotron sounds blended with heavy tones. They crafted a kind of old King Crimson vibe with elements of classical music and alternative modern rock.

By 1997, Anekdoten had released two records: Vemod (1993) and Nucleus (1995). Both are arguably their best studio albums, with music that was darker and more haunting compared to their later work.

The band was in a period of reorganization, and it seemed they might consider making music a secondary pursuit. However, after their success European tour in 1996, they received exciting news they were invited to tour Japan, where the band enjoyed surprising popularity. This opportunity breathed new life into the band, giving them a second wind and a chance for a potential breakthrough.

Anekdoten's Official Bootleg - Live in Japan captures the band at their rawest. Recorded in 1997 during their Japanese tour, this live album is an energetic, unpolished collection that showcases the band's intensity and atmosphere, even surpassing their studio sound in some ways.

The setlist is a blend of tracks from Vemod and Nucleus, leaning heavily on the darker, heavier side of their sound. From the crushing riffs and tortured Mellotron of "Nucleus" to the ominous, creeping tension of "The Old Man and the Sea," the band conjures a mood of brooding menace that fans of King Crimson's early '70s era will feel right at home with.

The album's rough, bootleg-quality sound won't win over audiophiles?it's raw, and the mix can feel chaotic. But in the end, the listening experience is more than interesting; the rawness suits Anekdoten's sound, emphasizing the band's urgent energy. You can feel the sweat and intensity of the performance, with the crowd's enthusiasm bleeding into the recording. It's an authentic snapshot of a band at full throttle.

Nicklas Barker's guitar work cuts through with angular, jagged riffs and piercing solos, while Jan Erik Liljeström's bass throbs and snarls, carrying a weight that drives the band's darkest moments. The Mellotron?arguably Anekdoten's signature sound?is a constant, droning presence, wrapping tracks like "Karelia" and "Wheel" in a haunting, oppressive atmosphere. Drummer Peter Nordins is a force of nature, propelling the band with a mix of precision and aggression.

The album is a great listening experience in my opinion, one of the best live records I've ever heard. This record was my entry point to Anekdoten, and even today, I find everything else I've heard from them different and less enjoyable than this album. Don't misunderstand me I think their entire discography is amazing, but the energy displayed on this record is hard to match. That's why this album is so incredible.

While I have a huge appreciation for melancholic music that has a beauty to it, this isn't it. When the music drifts into that depressive state, I'm out. And of course their anti-God stance basically takes away any of that true light that humans are drawn to. This is a negatively dark album, like all of their music. And while I agree this is a huge upgrade over their debut, I'm just not into their cold and empty sound. That debut was extreme all the way. This second release at least has contrasts to that extreme side of their music. Clean guitars and vocals have a place here.

They were a five piece on that debut, but that one guest Martin Powell who added violin becomes the sixth member here on album number two. He also adds piano making him an important part of their change in sound. This record has plenty of violin and piano. We get just under an hour of music over seven tracks. This album is hugely influential. That doesn't mean it's good of course, it just means that a young band at the time like KATATONIA suddenly has new heroes, along with PARADISE LOST who were from this same period. Some bands mention early ANATHEMA as well, again this is all during the early nineties.

So we get lots of slow and repetitive music that has more in common with DEAD CAN DANCE than the Prog Metal going on at this time. They are about creating as depressing a mood as possible. Hopeless music. I think there are comparisons to be made between this band and KATATONIA. Both released debuts that were their most extreme, and both are my least favourites. Album number two for both would be what hard core fans consider their best. Their classic records in "Brave Murder Day" and "Turn Loose The Swans". Both bands bring in clean vocals and music that is less abrasive that at least create some good contrasts. But it's the third albums from both where they find their signature sound and where I feel they start releasing their best music.

Like KATATONIA's "Brave Murder Day", 3 stars is all I got for this one. Now "The Angel And The Dark River" is another story.