A tale of two sounds

La Cruna del Lago from Tuscany formed in 2021 and consists of seasoned musicians Andrea Bruni, Matteo Tuci, Pino Polistina, and Carmelo Arena. These gentlemen have had a very successful launch of the band over the past few years since their debut album dropped. They have released some nice-looking deluxe yellow LPs along with CD/digital, been part of a prog DVD collection, and played to good-sized, enthusiastic crowds. Three of the band members had played with '70s RPI band Il Rovescio della Medaglia a few years back, so no doubt some good musical connections were made.

Their 2022 debut is another interesting entry blending a crisp modernity to the more traditional progressive rock tendencies. Their sound is often closest to "heavy prog" to my ear. I think they would appeal to fans of early '90s Rush or even Wilson's Insurgentes blending heaviness with atmospheric mood. Some of the most interesting diversions were the quieter, contemplative "electro/acoustic" moments that start with the third track "Illogica Distanza" and its lovely melody and harmony over acoustic guitar. "Interludio" is next and moves almost into a Battiato realm with environment effects, swirling, swelling, soft sounds---loved this. "Elettrodrama" is similarly experimental but with an accessible, almost Alan Parsons vibe. As usual, I have no idea what is happening lyrically, but Andrea wrote that the band has stated this is a "concept album dealing with the consequences of a declining society." Perfect timing then.

These guys have absolutely monster chops, their production is excellent, and the album's artwork is very cool. Those middle three songs are really good too, but I'm afraid I connected emotionally to only those middle three tracks. I was less convinced by the other half of the album, the heavier tracks, and thus this is a split decision for me. However, I think many progressive rock fans will likely dig the four heavier tracks as well. If that's the case, this album will knock your socks off.

3.5 stars. CREMATOR is the one man project of Matt Thompson. Matt will be known to some for being a founding member of GUAPO, and creating one of the most incredible recordings I have heard called "Five Suns". He also has a project called RASHOMON as well as ZOLTAN. He was also an original member of LITMUS along with his brother Andy who is the owner operator of Planet Mellotron. Andy by the way gave this album a 3.5 star rating as well.

CREMATOR is an electronic project and there's actually not much in the way of mellotron on the two side long pieces of this 2013 album. Very little in the way of sequencers as well. As Andy relates on his site, this album is more about textures and melodies than rhythm. There's just not a lot to latch onto into my opinion. I like this record but I wish there was more mellotron and rhythm. Matt says his influences for this project were HARMONIA, KRAFTWERK, HELDON and more. I probably thought of HELDON here the most, but without the guitar in play of course.

Two side long pieces beginning with the over 20 minute title track. This one has some sequencers early and mellotron around 8 minutes in or so, and is quite spacey throughout. Soundscape music. The second track is called "Catmaster" which is actually my unofficial title. Almost 18 minutes in length it really is a toss up which side I like better. This is more mood music to me. Not a lot happening although there are times on both tracks where there is so much going on with all the different electronic sounds and vintage equipment in play.

I do recommend this record, I just haven't warmed up to it much. For Matt's best check out "Five Suns" by GUAPO and "First Stage Zoltan" by ZOLTAN. Both are incredible mellotron albums.

What do you do when you are already in one acclaimed indie group and find yourself and a bandmate with a bunch of "leftover" material of better-than-leftover quality that just doesn't fit the upbeat energetic style of the band? If you are WILL SHEFF and JONATHAN MEIBURG in 1999, you start SHEARWATER, a parallel project to OKKERVIL RIVER. They shared vocal and songwriting duties, and both bands gained success and stability in the 2000s and beyond.

"The Dissolving Room" sets course in a more subdued folk, singer/songwriter direction, and at this stage eschews pop elements, with predominant acoustic guitar, banjo, fiddle, and accordion, but utterly lacking the bluegrass, country and rock and roll of the first band. The contrasting lyrical and vocal styles of both men are paradoxically compatible, Sheff being more narrative and with a gruffer voice that reminds me of New England folk singer ELLIS PAUL, and Meiburg being more introspective with a smoother, higher pitch that at times recalls TIM SMITH of MIDLAKE or the nigh forgotten DAVID GATES of BREAD in gentility if not in subject matter.

The bar is set high with the opener "Mulholland", a wistful ballad with arrangements to match, and the album doesn't really dip until the last 3 tracks, with my other recommendations being the wrenching "Angelina" and, in particular, the haunting "The Left Side" that might be the most proggy number here, hinting at the developments that were still close to a decade off.

It's always wise to start the journey with a single step no matter how short or timid, before the sweet naivete of that moment yields to "corrupting" internal and external forces. This wispy piece may have dematerialized in the eyes of many long time fans, but is anything but skippable.

In the early seventies, a self-respecting progressive band that had earned a reputation and recognition in the mainstream for their early work had to subsequently 'graduate' with a concept album, whether it was sailing across topographical oceans, fighting evil in the form of an armoured armadillo or wandering the streets of New York as a Puerto Rican migrant. However, the English Haken decide to alter the order and start backwards, and at the beginning of 2010 they release as their debut album, the conceptual "Aquarius", the story of a mermaid found by a fisherman, who trades her to the circus to be exhibited as a rare specimen, then, in love, regrets his decision, and finally, before the eminence of a catastrophic flood, she sacrifices her life to save humanity.

"Aquarius" is a robust musical proposal, which feeds on the structures of traditional symphonic rock, adding touches of jazz, a bit of hard rock, and a lot of the vigorousness of progressive metal. The predilection for extended, dramatic passages very much in the vein of Dream Theater, tinged by brief, oxygenated pauses, are present throughout, starting with the somber "The Point of No Return" and the synthesizers of Richard Henshall and Diego Tejeida, the guttural imposition of Ross Jennings, and a suffocating instrumental improvisation in between, and also the intriguingly dark "Streams", the more emotive "Aquarium" and its watery introductory keyboards before dizzyingly derailing in its second half, the cybernetic "Eternal Rain" and the futuristic rasposities of "Drowning in the Flood".

And after so much sonic hyperactivity, the melancholic "Sun" is a peaceful semi-acoustic truce that precedes the portentous and very progressive "Celestial Elixir", a 17-minute emotional roller coaster that goes through moments of both euphoria, theatricality and despondency, always charged with an intense and deep musicality, an excellent song and an unbeatable ending to round off the presentation in society of the English band that already hinted that the best was yet to come.

4 stars

Dust, flutes, and polyrhythms.

When a legend like Ian Anderson takes the time to say that Edensong is "a great example of the contemporary face of Progressive Rock," you pay attention. And yeah — Our Road to Dust totally earns that attention. This new album is dense, emotional, and wildly eclectic, like the band decided to let it all out through complexity, telling something deep and real about our path to dust.

Right from the start — an acoustic intro that suddenly crashes into a choppy riff that immediately gives off Pain of Salvation vibes — the album makes its point clear: this is going to be unpredictable, but still cohesive. Heavy guitars and bass live side by side with flutes, melodic vocals —sometimes soft, sometimes raw— and an organic-sounding drum performance that flows with the music. There's a constant push and pull between darkness and beauty, chaos and harmony, folk and dissonance.

I really liked the lead vocals. At times, the tone reminds me of Drew Mailloux from Rishloo or Claudio Sánchez from Coheed and Cambria, standing out in both the intense parts and the more melodic ones. The backing vocals add extra layers of harmony that give the whole thing a rich, full atmosphere. There are even some electronic touches, like in Black Crow, where a digital vibe somehow blends seamlessly into the acoustic and folky elements.

Sometimes, the chaos takes the wheel, and those frantic Mars Volta-like moments hit with pure adrenaline and energy — yet they never feel out of place. It's part of the dynamic balance of the album, which never sits still or plays it safe.

According to the band, this album is about aging, loss, choosing the wrong path... but also about brotherhood, reevaluating what really matters, and deciding — maybe wrongly — to keep walking down that dusty road. And of course, it comes packed with odd time signatures, polyrhythms, and all the prog nerd stuff we love.

It's not an easy listen, but it's definitely one that pays off. And even though they've released other records before, I actually discovered them through this one — and what a great place to start.

Music: ★★★★★

Lyrics: ★★★★

Execution: ★★★★★

Emotion: ★★★★★

Production: ★★★★

Artwork: ★★★

Average: ★★★★

Recorded on June 1st, 2024 at COS Torwar in Warsaw, 'Live ID.' completes the 'ID.Entity' album cycle with a limited edition 2CD+Blu-ray Digipak, a gatefold 3LP on 180g vinyl or as digital album, but no matter how you get this, you will be treated to 12 songs and 110 minutes of music. Right from the off the band set out their stall with the Floydian and bass-driven "#Addicted" from 2015's 'Love, Fear and the Time Machine'. Singer and bassist Mariusz Duda is always in full control, providing basslines which often form the main melody, while the only other constant, drummer Piotr Kozieradzki, keeps it tight at the back, never over playing. The role of keyboard player Michał Łapaj is often to provide curtains of sound to wrap everything within, and then we get the attack of guitarist Maciej Meller which gives us the crunch and allows the band to become very heavy when the time is right.

I have been a fan of the band ever since Artur Chachlowski gave me a copy of their debut album 20 years ago and told me this Polish outfit was going to be huge, and there is no doubt that to Western ears they have been the biggest prog band to come out of that country in the last few decades. They have a polished sound which only comes from bands full of experience and musicianship who have total faith in their own ability, and it is in the live environment where they really shine. The arrangements are tighter and there is a real punch, driven as always by the dynamic bass playing of Duda. It is his approach and style which makes Riverside what it is, providing the heft and cutting through the keyboards while also ensuring the guitar has something weighty to lean against. On top of that, he is one of the most melodic singers around, a combined role which few have managed to completely dominate the way he does.

I was not the biggest fan of 'ID.Entity', feeling it was somewhat smothering and that it was not worth the mass attention it had received which I felt was due more to it being the first album in five years as opposed to a great work, but here the songs from that set have a new life and vibrance. The result is a band who are really cooking, at the top of their game, in front of a home crowd who are more than happy to singalong when they are given the opportunity, which means this is a live album definitely worth investigating.

And so, here is Part One.

This band is truly impressive, and this album is excellent. I don't know what happened on ProgArchives that it went almost completely unnoticed. To me, it's something of a musical sacrilege that an album of this quality has been overlooked or omitted.

Perhaps it's because many listeners today are looking for more original bands groups that don't sound like the classics, that bring something entirely new. But even so, this album deserves more recognition. It's outstanding, and in my opinion, even better than Part Two. The influences from Genesis and early Marillion are more evident here, which, for someone like me, is a definite plus.

Yes, this album is closer to that strange Genesis sound the Genesis of 1973, just before The Lamb Lies Down on Broadway. I'm really enjoying this band. It feels like a time machine, bringing back the essence of that era, but it also has its own unique quality. That's what makes it even more appealing: it sounds fresh and up-to-date without ever being annoying or pretentious.

The production is warm and vintage. Maybe the cover art is a bit lacking, but musically, this is an extraordinary work. I found some information online that's worth sharing: the band is led by Gerard Freeman handles vocals and keyboards and guitars he is the creative mind behind the project and , with a virtuosic, gymnastic style full of flair. Paul Blackwell on bass, fellow prog fanatic like many of us here a master of the four strings. Joe Donegan, the drummer, has played in several tribute bands including, of course, a Genesis tribute. Chris Millwater, on keyboards and guitar, is a seasoned musician with a background in jazz who adds great atmosphere to the band's sound. Finally, Daniel Monaghan is a young and very talented guitarist who brings energy and freshness to the mix.

A very good listen and a strong addition to any progressive rock collection.

Every now and then a great band fails to hit the spot with one of their releases, which happens to be the case with Haken's 2016 studio effort titled 'Affinity' - despite being semi-conceptual in nature, and inspired by artificial intelligence and the relationship between man and machine, this record often feels aloof, spacey and sometimes even directionless, with the young British band trying out some new tricks, inspired by their fascination with the decade of the 80s and the prog rock heritage of this period (leaving us wondering whether they had in mind the neo-prog movement, the synth-heavy musings of Rush, or the lush art-pop vanguard of artists like Peter Gabriel, Kate Bush and Tears for Fears). Of course, Haken also expand upon their signature style of blending prog and metal, as it seems like they have achieved a fine balance between these two on 'Affinity'. After all, this record also gives us some really memorable and intriguing moments, too.

Kicking off with a brief instrumental, the first proper song 'Initiate' soon comes sweeping in with its acrobatic guitar playing and complex verses, despite being a more 'traditional' prog metal piece that works really well and introduces a dense, almost paranoid feel. '1985', which is third on the tracklist, is a strong composition that combines the complexity of Haken's music with their ability to write catchy melodies and playful hooks, and while the sonic intensity of this 9-minute piece might seem overwhelming, just wait until they hit you with the jarring 80s-inspired synth solo. Then comes 'Lapse', a moody but heavy number, that gives way to the album's centerpiece - the 15-minute opus 'The Architect', a complex, futuristic and driven piece of Haken glory that also features Einar Solberg of Leprous doing harsh vocals around the final third of the song. After this incredible first half, the second half of the album feels weaker and meeker in comparison, the songs are too spacey and filled to the brim with electronic instruments, and with the exception of 'The Endless Knot', it is all mostly forgettable and derivative, which can really make listening to 'Affinity' feel a little timid, especially when you get to those final songs. Still, the production is great all over and the playing is as technically proficient and astounding as ever, but some of the songs really miss something essential.

Back in the day, there used to be a regular seller/trader on Wigan Market and he always had a good crate or two 'for those in the know' and his knowledge of all things esoteric, especially anything from mainland Europe, was second to none. Here is one he put my way...oh 44 years ago now! My Italian prog was just starting to expand beyond Banco and PFM and this gem showed me there was a lot else to discover. It is the Italian vox version I have. The first track touches several bases from the classical piano opening...which almost goes Locomotive Breath...before the heavy Crimson like riffage breaks the spell. The vocal style when they arrive is in the ELP camp and the only 'meh' section is a jaunty almost trad jazz passage which thankfully disappears and the track becomes an atypical mid 70's lush prog thing to fade... Fase has a hard rock guitar opening and a Kraan type sax break and a Familyesque vibes part with ELP hints re keys and phased guitar. It's all damned good but slightly incoherent as the changes seem almost random and even with years of listening I would have to come down on the side of 'for the sake of it' even though each part is meritorious...the jazz/latin flute bit included! Al Macanto has a folkier feel from the Spanish classical guitar opening via the perhaps first sustained melody lines from the accompanying flute before stacked vocals. The woodwind parts recall Gentle Giant and although my Italian is all but none existent, the vocals seem to flow in what is probably a more musical tongue than English. We do get a keys riff rock out to take the track forward and, again, as great as the convolution's that follow are, I would have preferred the opening part/s sustained throughout. Elzeviro starts off a bit symphonic but we get some very Crimson twisty turny rifferama and Yes/Nice keys and some very jazz rocky interludes. Err yes, they do seem to be doing more 'for the sake of it' changes but it is hard to argue when each change is a bit marvellous...am throwing in Refugee as a reference now! Mercanti even hauls in the harp...no, not a harmonica but the big Harpo Marx thing...and yup it works! A bit of Tull circa Heavy Horses (yes I know it came later) both pastoral and rockier elements and I hear John Abercrombie in the guitar. BJH must have popped in too. The closer has a more recognisable theme in the opening even with the prog keys barrage that drives it. The harmony vox are very Yes, maybe even CSNY and (yet another unfathomable PA omission) Heron and the track has a very JRF feel throughout with even a bit of cathedral type organ that screams Focus.

I didn't read any other reviews so I may go and scan to see if others get slightly hung up on all the random changes although it isn't a big criticism. Over 40 odd years of listening and it is still a keeper if not going to challenge a 5 star rating. Just over a 4.25 and worth finding!

Originally released in 1993, 'Live Shit: Binge & Purge' is an audio and visual tour de force of live music by Metallica. During the absolute peak of their world tour for 1991's 'Metallica', they released a monstrous box set featuring three different concerts, two on video (later DVD, thankfully) and one on three CD's.

Having become worldwide megastars with their 1991 self-titled release, the band would go on to tour the world, multiple times for over a staggering three years. Which brings us to the CD's and the first DVD; the live album part of it is from a show in Mexico City, whilst the DVD is of a similar show from San Diego. Both concerts are fantastic, with excellent performances, sound, and in the case of the DVD, great picture. However, one major downside is the endless "noodling" and messing around between songs.

Yeah, it's come to be expected, and is pretty harmless enough, but there's so many random solo spots, messing around, jams, and countless other bits of shameless banter, that after a while, it does wear a bit thin. At one point, there's 20 minutes of tomfoolery before they start another song, and during 'Seek and Destroy' James interacts with the crowd for over ten minutes. It's fun at first, but after repeated listens, it does get quite boring fast.

Then there's the second DVD, filmed in Seattle and taken from the bands 1989 tour in support of '?And Justice For All', and this is a fantastic concert. This was a great time for the band as they were still "on the way up". The playing is incredibly tight, the sound and picture are excellent, especially given the age of the footage, and with a great set list to boot, this random addition to the box set makes it totally worthwhile.

Everyone performs brilliantly on all three concerts. Even Lars, bless him, far from the best drummer in the world, but his boundless enthusiasm and excitement is infectious, and Jason Newsted's copious amounts of energy makes me sad for how things turned out for him. With around nine hours of content, 'Live Shit?' is certainly not for the faint of heart, but overall, any detriments aside, this is an absolute beast of a box set, and truly belongs in every Metallica fans collection.