This album starts with what seems to be a snippet from a film set in the Middle Ages. When the music starts, a wonderful tune emerges from the violin, which on a perfect moment gives space to a very sweet flute. For those not aware of what means the word 'hidromel', the title of this song, it's na alcoholic drink made of honey, water and yeast. The music and its title match incredibly well. Besides that, the rhythmic sections are spectacular. It's an instrumental piece, but on a brief passage there's some chatter on the background. The composition is starightforward symphonic prog, with some folk contributions once in a while. On its end bass tones start to prevail, execution becomes more fast-paced and rock-oriented, with some space-rock elements: the phrasings on guitar and drums are marvelous.

The track "Grilo" (Cricket) has the flavour, most of the time, of a walk in the park on the end of the afternoon. The style can be best described as a crossover prog with some jazzy approaches. Flute and flugel horn offers very pleasent notes. Sometimes there are dissonances, and more complex measures and harmonies, without changing the mood of the song.

"Saguim" is a very common animal, and very urban too, in the country where I live, Brazil. It's a little and quick monkey. He eats practically everything we humans ingest, and because of that, even though he's not domesticable, generally he doesn't stay too far from our houses and restaurants. For those who don't have much information about Brazil or never had been here, don't worry. I can assure they don't walk on the streets, and only very, very unoften seeks for food inside houses. Well, I made a little research, and found out this animal only belongs to South America. It's interesting that Mário Lopes used this specimen for a title of one of the songs. I won't consider possibilities about that, but now you can make, if you desire, make your own deductions. Going back to the music, this time there is a festive accent, almost circus-like sometimes. Rhythmic guitar and trumpet print a good dose of swing on the song, and this proposal is present in practically all its extention. In its middle, an elegant and delicious cavaquinho takes the lead, before some big band executions. This track is all instrumental.

I'm not sure about the meaning of the title "Kalinka Lady tu". I know that Kalinka is an antique russian folk tune. Moreover, that Kalinka could be easily associated with a female human name. And "tu" means "you" in english. On my impressions until now, I can't tell if this song has a russian or a spanish influence; probably from both. The mandolim seems hispanic, and so are the claps and the accordion on the background. A sensational trumpet completes the harmony on the beginning. The entrance of the tube, later, brings some bass tones, that precede great short vocalizations that appears to be celebrating and/or fraternizing. This is a tasty song with a slight sensuality.

"Uma espécie de chibo" is hard (for me) to translate. "Uma espécie de" means "A kind of a(n)", or "A type of a(n)". But "chibo" is a word used much more in Portugal than in Brazil, if my little research is correct. And what I understood is that it has several meanings, but the two major are: 1. a young goat; or 2. A whistleblower. Musically it has, since from the start, a very proeminent bass, with a funk-rock performance many times on the song. Eventually with some hard-rock pointings. Accordion is used in a very different way, transmitting what I'd call the felling of 'concern'. On its second half, this consistent track gets a little heavier, and some intriguing short vocal phrases are sang.

"Quimera" (Chimera) starts with a macabre voice whispering and then shouting 'Chimera'. A powerful guitar strikes the air. The viola and atabaques, along with the xylophone, gives an exuberant contour to this part of the suíte! At one point, a narrator, simulating a journalist trying to demonstrate tranquility, says that people have seen a mysterious creature , and that experts are taking care of it. Therefore, the song goes on, brilliantly crimsonian.

The suite's second part has an engaging rhythym, using many different kinds of percussion. When the piano joins, it's full of swing, dialoguing with wind instruments. Before the wind instruments make some dialogues between themselves. Richness can be undeniably attributed to this composition. Suddenly, on its middle, an arab touch is brought, and therefore they travel through some latin music influences. Surprising combinations that work! On the end the track becomes more robust ans intense.

Last track has a melancholic cello, before the arriving of calm rhythmic sections. The mood changes, not too much, becoming what made me think of a sad circus. On my first auditions, my impressions were that the executions gets a little confusing. But on my last auditions I captured the song. As a matter of fact, it has unusual cadences and a lot of changes of direction. I have only one criticism for this track: its completion isn't so well crafted.

This conceptual work is growing on me at each hearing. My rating for it today is 4.6.

"Modern Masquerades" is the fourth full-length studio album by Northern Ireland, Belfast based progressive rock act Fruupp. The album was released through Dawn Records in November 1975. It´s the successor to "The Prince of Heaven's Eyes" from November 1974 and features one lineup change since the predecessor as keyboardist Stephen Houston has been replaced by John Mason (the former left to become a clergyman). "Modern Masquerades" was produced by Ian McDonald (King Crimson, McDonald and Giles, Foreigner), who also plays alto saxophone and percussion on the album as well as acting as arranger.

Releasing four album releases between October 1973 and November 1975 is quite the achievement in itself, but stylistically and quality wise Fruupp also kept a steady quality level and "Modern Masquerades" is overall a another good (if not exactly spectacular) progressive rock release from the band. They play a well composed, well performed, and relatively well produced type of progressive rock, which although it´s of a fairly good quality, doesn´t stand out much on the early- to mid-70s British progressive rock scene. But taking into consideration how hard the competition was, it´s no science figuring out that not all artists would break through and held against artists like Genesis, Yes, King Crimson, and Jethro Tull, Fruupp just couldn´t reach those heights.

After wrapping up their tour supporting "Modern Masquerades" in Manchester in February 1976, Fruupp started working on what was to be their fifth full-length studio album (tentatively titled "Doctor Wilde's Twilight Adventure"), but the album never materialized and Fruupp disbanded at the end of 1976 with no further releases under their belt. Citing poor album sales and a change in the musical climates as the reasons for their demise.

Upon conclusion "Modern Masquerades" is a good quality swansong for Fruupp and they can rightly be proud of the output they had in their active period from 1971-1976 (and the hundreds of concerts they played in Britain and in mainland Europe). But as described above there is a reason why they are seldom mentioned among the tier 1 progressive rock artists of the 70s. They just aren´t up there with the greatest. A 3 star (60%) rating is warranted.

— First review of this album —

14 years have passed since the eponymous debut of this Finnish group, so it came as a surprise they just released their second album. First off, very nice to see Eetu Pellonpää's excellent art on the cover. I think it was Eetu who brought the band to this site.

I was rather reserved in my review for the debut, and my initial impression on Metsälapsi wasn't entirely positive either. Having seen a glowing 5-star review on a Finnish site, I expected to enjoy the album much more. However, upon further listenings I am warming up for the band's personal and flexible style.

What particular genre they wish to belong to, seems totally irrelevant. Not necessarily very folky to me, I consider their music to be energetic and retro-minded jazz rock with some World Music reminding nuances -- and a strong emphasis on the vocals, although the compositions also contain plenty of instrumental soloing. Anyway Susan Karttunen has quite a piercing and ballsy voice (slightly resembling Elli from the pop- rock group Haloo Helsinki) that draws attention sometimes a bit more than is necessary.

However, musically the eleven tracks have a good amount of variety. '1930' has a hint of cabaret chanson in its melodies. The guest appearance of trumpet suits very well to the sunny atmosphere of 'Varpunen'. 'Lato' is (despite the vocals) an instrumentally oriented, groovy jazz rock piece with a seventies feel.

Sad to read the line "In loving memory, Jani Häggblom (1974 - 2022)"' in the leaflet. The keyboard player, often favouring electric piano in a jazzy style, was very essential to the group's sound, fully concerning also this album.

'Ritariperhonen' in the centre of the album is a beautiful little song with an acoustic guitar backing that shows that Susan is capable of delicacy, too. Perhaps the latter half of the album loses that lighter side to some extent, but 'Japanin laiva' has great emotional dynamics in that sense. Four tracks feature saxophones (alto and tenor), and even some funk ingredients are heard. The hippie-ish groove on 'Pelota' for example is pretty inviting. I can imagine the band would be awesome as a live act.

The long title track, beginning with birdsong and a slow first movement leading into tight jazz rock energy. is a great album closer as the most progressive piece, graced by the fantastic guest appearance of Janina Lehto's flute. Wish there were some flute elsewhere as well!

Selling... is considered (and it is) an iconic album in prog rock. Hundreds of people have grown with it and swear by it, but personally I got to know Genesis later in my life through this album. Although I love it, I wouldn't rate it among my ever-favourites because the songs it contains are separated in my mind in two categories: the first one includes the masterpieces (Dancing With the Moonlight Knight, Firth of Fifth, and the final triad which I think of as one song) and the second which includes the remaining three (I Know What I Like, More Fool Me, The Battle of Epping Forest) that haven't clicked, each for its own reasons. In that sense, it isn't perfect to my ears, but then again the masterpieces are so luminous that they may outshine any flaws. The instrumental sections of Firth of Fifth and The Cinema Show alone could claim it.

Herbert F. Bairy is the pseudonym of German artist Ferdinand Forsch. He would release one album in his lifetime, but what an album! I have never seen so many reviewers use the word "unique" for an album in all my life. Released in 1980 Ferdinand created this album called "Dream-games", and like dreams there are no rules here of any kind. My friend Guldbamsen gave this 5 stars and you have to read his review. And while we have a mutual love for psychedelic/krautrock styled music, David has more of an appetite for the ethnic vibe than I do. And there's lots of that here.

I am actually more mesmerized by this recording than I am loving it. And talk about avant and experimental at times. I found that I needed a lot of patience with this record, the emotional connection just isn't there. We get four tracks worth around 40 minutes. And yes lots of atmosphere and exotic sounds. Some vocals. Tons of guests are helping Ferdinand create his dream album. I recognize two of them and both are from the hard rocking German band called ODIN from the early seventies. Jeff Beer adds a lot with electric guitar, harmonium, synths, drums, bass and voice. He also painted the cover art. Talented man. And his buddy from ODIN Rob Terstall adds guitars.

I love Guldbamsen's comparison of this album to a mixture of SHAKTI, CLIVAGES "Mixtus Orbis" and the "Atom Heart Mother Suite". This is not for the faint of heart. We even get some soprano female vocals. Ferdinand himself adds piano, percussion, zither, wind harp, harmonium and voice. But the ethnic sounds come mainly from tablas, tambura, african flutes and dilruba. Some horns too like clarinet, sax and trumpet. And a pocket-horn. Church organ on the opener along with cello. And like dreams the music changes on a dime. This really is something to hear.

While on the subject of one-man multi-instrumentalists, Frenchman Philippe Ogier has been a prolific and consistent artist, releasing an album on a near yearly basis since 2018, with "Elements" being his sixth offering, all displaying a wealth of superlative material anchored in the instrumental symphonic prog category. Highly talented on all the instruments at his disposal, Phog keeps delivering his craft, within the confines of his style and muse. He sprinkles his albums with epic pieces (10-to-22-minute range) as well as shorter ones (1, 2, 4 and 6 minutes when required), thus keeping the pace intriguing and adventurous. For diversity's sake let's us begin with tracks 2 and 8 which fall in the first category.

The playfully bright second track "New Land, New Blood" emits a very positive jazzy vibe, an aromatic groove is laid down by a highly enthusiastic bass line, as the keyboards and guitars weave the quilted melody. The theme alters its course for a more cinematographic pastoral form, flute sounds in abundance, a very Camel-like atmosphere (a trait that is noticeable through all is albums), that only serves to heighten the adventurous spirit of the arrangement. The instrumental scaffold is expertly constructed, so as to keep the tension moving ahead, led by that elastic and upfront bass guitar. Fans of Moonmadness or Rain Dances will find plenty of joy here. Tinges of medieval music are most welcome, furthering the timeless shimmer that permeates the various permutations. With a title like "The Last Call", we understand that there is a finality being asserted, and a grandiose ending it certainly can claim to be. The epic 12 minute + piece is an elaborate affair, infusing a magical flair, almost puerile and naïve but in a good sense, the prominent bass once again illuminating the pathway with some limber interventions, the Hackett-ish electric guitar glittering like a spectral night, bathing in the frothy organ surfs, synths coiling with delight. Refreshingly pure and seductive, the twists and turns are handled without any effort, evolving towards forever newer peaks and valleys, the slow-hand electric guitar solo is a gem of expressive restraint, slicing a melody that is reprised by a glowing synthesizer that seeks out emotion instead of technical dazzle. Again, the illustrious Dromedary comes to mind. I happen to be a huge fan of this unpretentious, overtly pleasurable soundtrack of instrumental progressive track that seeks neither fame nor fortune, just plain enjoyment.

Within the briefer pieces, the initial gloomy attraction of "Deep Wave" is a tremendous musical moment of symphonic ambient that is soothing yet mysterious, and when it blossoms into an elevated plane, the bass, guitars and drums initializing the riff, it is a successful transition. "The Lantern" has a slick flickering flame theme that finally sheds light on a quite the quirky arrangement, vivaciously innocuous, yet fuelled by a stoking bass guitar that keeps the heat on the mood.

The title track is perhaps the most hyperactive number here, a lightning quick keyboard flurry, a heckling bass rumble, jaunty piano pounding obsessively, infused with a slight Alan Parsons' The Raven hint. Midway through, it settles into an extended platform for the guitar and the synth to solo over a whopping mellotron carpet. The agile bass reinitializes another tangent, hereby recalling the initial groove and melody.

Throw in a trio of smaller tidbits, some ambient, playful or colourful, and you wind up with an album that could easily compete for a leisurely Sunday morning relaxation period, looking through a porthole, admiring the scenery and looking forward to discovering a new land. Come sail away with Phog. 4.5 constituents

Last Stand

I really wasn't expecting much when I stumbled on this video. It had a rather low-budget look about it coming from such a high profile band. Turns out, this is an excellent document of the band at the end of their period of peak ability and relevance. Just around the corner, Moon's decline and Pete's apathy towards the band would render them far less vital in my opinion, but that is not yet an issue here in Houston in November, 1975. Moonie is still working magic and Pete is still very much engaged, both appearing to be delightfully sober and in good spirits, although Pete has a few moments where one detects that moodiness. This is very much an exciting and powerful and well-rounded performance of a variety of their material.

The presentation and visual of this show is going to divide people. What you are going to see here is remarkably bare-bones, nuthin' fancy, basically zero "stage show." You will see four men standing on a stage that is no more extravagant than a high school gymnasium. It feels like it was filmed by a high school theater group using their cameras from a perch in maybe the 10th row. Almost zero lighting, almost zero fast-edit shifts, almost zero....everything, except music. For some viewers who are used to concerts having to be huge "events" with a big show and lots of excitement from things beyond music, this show may turn them off or bore them silly. If you *need* a show, you will be bored. For those of us who don't give two sh-ts about the stage show nonsense, this is exactly what a concert should be, a document of musicians playing together. The focus is the music, the quality of interplay, and to a lesser extent, how much you relate or connect with the band.

So having established that this is an old school, no-nonsense gig that is only about music, the question becomes how well do they deliver. Quite well, actually. The reviews of the tour were mostly positive, and Entwistle noted that "Moon and the Who reached their live performance peak during the tour." This film pretty much proves that to me: gutsy, aggressive, emotional, raw, and even playful at times. There are some nice moments captured here where Keith playfully badgers John, jokes around, and where Pete gives his "little speech" announcing the end of his drinking career. Sadly, while Keith was very good and behaved on this night, the wheels would begin coming off the wagon as the next year went on. His behavior became more erratic and dangerous, and his final public concert was less than a year away. They should have hung it up when Keith died and moved on, as Zeppelin had the class to do when Bonham died. Instead, Townshend/Daltrey chose to keep milking the name in a situation they've admitted wasn't very enjoyable. This wasn't the Grateful Dead where all of the members enjoyed each other and enjoyed jamming for their fans each night in a positive communal setting that made sense to continue. Anything but, yet they chose to continue the charade.

All that said, this last stand on film transcends such criticisms as they clearly deliver the goods, a well-chosen mix of material dating back to the '60s right up through the current album. In my view, there's too much Tommy, my least favorite, and not enough Quadrophenia and By Numbers, but that's just a taste thing. I love the chunky punch that Pete gives the old '60s hits, and I loved the reserved yet committed performance John gives to "Boris the Spider." I loved the defiant embellishment they still managed to find on material they've played a million times. I truly was surprised at how good this video ended up being given that it flies below the radar of some of their other projects. If you are a Who fan and you don't mind the lack of a "stage show," then this really is an essential title to own.

Following on very closely to the format of 2004's 'Live At Budokan', 'Score: 20th Anniversary Tour' is a fantastic DVD for fans of progressive metal icons, Dream Theater.

The first disc features an almost three-hour concert. Beautifully shot, with excellent sound and clear visuals, the band are on top form as always. The set is interesting in that, while touring in support of their 'Octavarium' album, (represented here five times), the band also go through various tracks throughout their discography in chronological order. Ending with an orchestra and treating us to 'Octavarium', 'Six Degrees of Inner Turbulence' and 'Metropolis Pt. 1', the set list is fantastic, and certainly differs to other live releases.

Amidst a number of bonus tracks and animated visuals, the true gem on the second disc is an hour-long documentary on the history of the band. While it's a lot to cram into 60-minutes, this is still an interesting and enjoyable watch, and includes plenty of live footage, interviews and photos.

Rounding up the perfect trilogy of live albums/DVD's, along with 'Metropolis 2000?', and 'Budokan?', 'Score' is an exceptional release, sure to please fans, and is an absolutely essential addition to every prog collection.

The pressure from the label for hit singles got even bigger and so did the rows between Andy Latimer and Peter Bardens. The album is more accessible, but to my ears it is an incredible cross between progressive music and "pop" stuff. The uplifting title-track (where the vocals are provided by Sinclair) is an indicator of the direction of the album, but hold your horses; Echoes is the first true gem of the album, a genuine masterpiece. More beautiful melodies and more great bass lines come in bounds on Wing and a Prayer (where Bardens sings for one and only time here on Breathless), as well as Down on the Farm. I get a folk vibe from Starlight Ride which suits me fine. Great woodwind lines and also Bardens provides superb piano background. Side B opens with an almost disco song. That's right, but one of Andy's best solo ever (and there are plenty of them) really takes Summer Lightning to another level. I'm still surprised why I like so much such poppy stuff. It's a unique piece of music but You Make Me Smile although is just as poppy it doesn't share the quality of the previous tracks and it is the only flaw on the album. The Sleeper which is the album's sole instrumental track restores things and will also please those who swear by the first four Camel albums. As a closer comes the album's most poignant moment. The rows between Latimer and Bardens had come to the crunch and the latter would leave the band. Many fans view Breathless as the last essential Camel album since it was the last collaboration between those two genius musicians. If you read the lyrics of Rainbow's End you might think it is about two lovers, but it is Andy's farewell to his mate. It sent chills down my spine when I first heard it and so it does after all these years. No, Breathless is an album I love deeply. Sublime stuff.

Nobody talks about music that "shrinks on you", let alone proggers, because after all good prog might need some space to breathe before pouring that first glass, So why do I feel like if I keep listening to this mellow instrumental post rock group, it will eventually tumble down the ratings tree? "Another Second Chance" is their last album as of this writing, and, while it at least sounds like the musicians are awake this time, I'm not sure I have made it through a full 40 minute listen without reaching for any lustreless new object in the vicinity. In all seriousness though, the first three tracks are propelled by creative work from new drummer Esa Starck and a good deal more oomph in the guitars, while somehow remaining mostly suitable as background music. The best are "Why the World Sleeps" and "My Golden Cage", before full-on drowsies really set in. I admit when I set out to review all BAULTA albums I was expecting more growth by the 4th installment, but perhaps they will need one more audition if and when the time comes. Just above 2.5 stars.