1. Void Meridian for this dark wave pulsar synth, the fat guitar riff reminiscent of those of ROGUE MALE; Sara captivates with her timbre, reminiscent of THE CURE or KILLING JOKE. Alberto and Marco's guitar solo sets the place on fire before the tune becomes monotonous again; a different sound that puts me on the lookout. 2. At Races draws on the work of THE GATHERING from the beginning, languid and addictive. An intoxicating post-punk sound with the heavy, metronomic rhythm; a whiff of SIOUXSIE in over-the-top mode; an addictive tune, again, it's starting to interest me strongly, a dark, haunting, post-metal wave track, singular and unique, I'm glued to it. 3. Fire on the Roof returns to the basic compulsive synth, bringing the strong, heavy rhythm with this dragging riff. A massive energy, a violent yet contained sound, hard, doomy for the heavy side; the violent, unstructured, dynamite solo with Rocco's machine-gun drum finale is strong, but there's creative energy. 4. Immolation for the electric piano arpeggio with Sara's gently melting bluesy voice; the ballad that suddenly drifts after a final piano stroke; a solo that comes out of nowhere, which struck me at Hellfest, Alberto's solo, astonishing because it's unique; the finale is intended to be calm and lets a few drops of prog blood seep through.

5. The Dress for the cyclothymic explosion from the start, a stoner, latent, ambient sound that lodges between the ears; there's something animal, something compulsive; a Floydian air, a Salvatiere air on this hidden crescendo. Halfway through, there's a break with the crashing bass, its reverberating sound, and then, and then, this trumpet that takes us with the guitar on a jazzy-western slope, a thriller film with the appropriate raincoat; the end with the return of contained violence, but the progressive atmosphere is definitely there. 6. Reveal continues to walk on the lands of Louisiana with these archaic cowboy notes; the guitar searches for its range and it's off for a musical wave full of devastating fury; a frantic blast beat, the sulfate bass, and Sara tames it all with her bewitching voice; a short break that searches for itself and the thunderous solo, in the style of incendiary BLACK SABBATH; the contained frenzy and Sara's screaming assassin vocal that lets loose, slaps. 7. Thicker Blood with the return of dark synth à la LACRIMOSA and a hint of SISTERS OF MERCY; crystalline guitar arpeggio and fragmented Sara, bleeding her words; the explosion allows to move on to a more constructive monolithic mode looking at the origin of black quite simply; the rise can be guessed, Sara imitating Amy overwhelming before her death in complete darkness; doom progressing with again, but what a pleasure, again a gripping, breathtaking guitar solo; a mantra appears, the voice confronts the heavy rhythm, again this invasive sound of ROGUE MALE, what a good memory; illuminating heaviness, musical climate also reminiscent of SAXON, a crescendic title which swells, and what I feared/hoped for finally arrives, a howled deluge of vocal hordes having the cathartic effect of freezing our ears. The silence is there again in the album, staggering.

I recently started going back to 2024 to check out some releases I really didnt pay attention to. This being one of them. I only had heard a couple of their older releases and found them relatively good but still fairly standard prog metal offerings. This release see the band stepping out of the typical progressive metal box. First track has great use of hammond organ and flute. Slowing things down for an atmospheric middle section with very cool sounding neo prog keyboard sounds. It seems the band has implemented more prog into their metal, and its not a bad thing.

Yes some of the AOR spice in in here too. Not sure why some proggers use it like a dirty word , nothing wrong with a bit of AOR influence IF done right. That is something DGM do get right. They have toned down the silly "duelling banjos" keyboardist and guitarists having a solo battle that has become obnoxious in almost all prog metal (yes Dream Theater I am talking about you). With second track actually coming across almost like a Spock's Beard song and to me thats never a bad thing.

Third track begins with a menacing atmospheric keyboard beginning. Once again the flute and hammond elevate this song. Then it hits with a cool middle eastern sounding riff and some mellotron, they have really upped their game here. Dynamics and light and shade are the name of the game on this release. Due to some of the melodic elements alot of the songs come across like some of the heavier neo prog bands. Also no complaints from me.

Tracks four and five continue with some nice retro synth and organ sounds that really break up what might have sounded like fairly (read overdone and tired) prog metal tropes. With the hammond doubling the guitar riff on track five elevates the song greatly. Track six has a cool middle section with flute that sounds almost like something Opeth would do. Track seven weighs things done a bit by being a typical prog metal ballad thing. The longest track , ends the release and has some violin and a nice slow opening and a nice almost symphonic prog ending. All of the songs have really catchy choruses and overall the lyrics are not silly. Huge step up for these guys and really hope their next release continues this vein. A solid four stars maybe four and half due to the artistic evolution the band shows here. I highly recommend this.

There is a glistening and expansive quality to Fates Warning's twelfth studio album, titled 'Theories of Flight', a very mature progressive metal opus that draws inspiration from the entirety of the band's catalogue and offers a relentless sound that portrays these veterans of the genre as one of the most creative and visionary metal groups to have come out of the United States. Released on Inside Out Music in July of 2016, this record offers a very vivid and emotive ride through the existential narratives of Ray Alder and Jim Matheos as well as exhibiting all the sweeping, moving and richly "decorated" progressive metal sounds that the band had been crafting and navigating for decades. 'Theories of Flight' offers this polished, compelling and dense sound that few bands achieve and the deep emotional resonance of the songs on here is what renders the album quite memorable, complex and rewarding.

With its eight tracks, 'Theories of Flight' explores both "the light and shade" of Fates Warning's music, delivering both the introspective lyrical content that one might expect from the band, and the fabulous melodies that have accompanies most if not all of their studio efforts. These are elevated by the stunning riffs and the gracious guitar work of Jim Matheos all throughout. The passageways between light and heavy are absolutely brilliant, especially on tracks like 'From the Rooftops', 'White Flag' or the masterful 10-minute piece 'The Light and Shade of Things'. Another longer composition explores the band's progressive side - 'The Ghosts of Home' has some of the most intricate and quirky instrumental passages of the entire album, while other fantastic songs on here have a more "marketable" metal sounds and instead impress with the excellent writing and all the memorable hooks within, think of 'Seven Stars' or 'SOS'. Closing off the album in the instrumental title track, a well-constructed and somewhat nostalgic piece.

'Theories of Flight' is exceptional and one can surely consider it a milestone for Fates Warning - from the bold and technical riffs to the elegant melodies and the darker, melancholic tones, there is very little left to ask for from an album that explores various forms of progressive metal. Nearly a decade-old as of 2025, this classic ranks among the finest FW releases.

Varjevndognsnatt is a beautiful album. Completely instrumental, but not to its detriment. The English album title is Night of the Spring Equinox, which is of course the subject of the album. This album is calming. It really feels like a break, but retains a healthy amount of complexity. At points the energy can pick up, but overall I think this is a great album to calm down with. Fun, sweeping synth sounds, as well as original and exciting guitar work (both electric and acoustic) make this album a joy to listen to. The percussion is all it needs to be, it's on beat, jammy, and well done. Really, for what it is, this album is pleasing to hear, and I don't think it could have served its purpose more effectively. I gave no gripes with this album. For that reason, I'll give it a 5 star review.

MAHTRAK were a four piece band out of Brazil who released "Panorama" their sole album in 2009. It's interesting that three of the band members here were practising for a new project that would eventually be called SOLARSHIFT. When guitarist Antonio Rodriguez joined them for some jams and took them in a new direction that had them all excited. So they put SOLARSHIFT on hold while they focussed on making music for this new band they would call MAHTRAK.

They clearly went into more of a Jazz mode with MAHTRAK. I recently read some comments by the keyboardist Paulo Viana who said his second instrument is the alto sax which he wanted to use on this album but was vetoed by the drummer who does not like sax. Cris the drummer is a Rock drummer and while I have no complaints with his performance here, in fact I quite like it, it would have been better to have a Jazz drummer on the stool, and sax.

I love that album cover, and it's too bad the picture on the site here wasn't more clear. Tornadoes and hot air balloons don't mix very well. My package opens to a three panel picture, kind of, with the middle one having the track listing and bunch of other information. The bass player Fabio Cesar is amazing by the way. He and the keyboardist really impress here. We get eleven tracks over 41 plus minutes.

The opener "Tempestade" was the first song they completed from those original rehearsals. In the liner notes they describe it as being in a 5/8 groove, perfect for soloing. A hammond organ and guitar duel later with electric piano leading early. "Breeza" is a 11/2 minute piece led by piano early before all come on board. "Nachos Y Tequila" explores latin rhythms and textures and played live they would extend it into a long jam. "Sinestesia" is the piano intro for "Mantra" a piece I like with the drumming and organ standing out.

The title track opens with organ and bass but is joined by drums and guitar quickly. This is relaxed and mid-paced. Organ and guitar lead the way. "Frankenstein Goes To Disneyland" is not so surprisingly experimental. A nice change actually. This dissonant vibe continues into the short next song that's a minute long. "Crystal Canyon" features the unique tone of an old fender telecaster guitar. There are several themes here. Another short piece follows at under 3 minutes that is quite mellow.

The closer is "Oraculo" and it might be my overall favourite. In the liner notes they mention the tribal drumming mid-way through and jungle affects. I find the synths emotional on this one, and they will come and go. This is a solid album but not the cream of the crop. Still, it was an enjoyable record to play each time I put it on.

Review Nº 902

SBB is a Polish progressive rock band that was formed in 1971 in Siemianowice, Upper Silesia, in Poland under the soviet occupation. The band's name SBB was initially an abbreviation of Silesian Blues Band, but a little later they changed to Polish, Szukaj Burz Buduj, in English, Search Break Build up. Still it can also be a provocation, reminding the SB the hated polish-soviet secret security service, Słuzba Bezpieczebstwa. SBB was one of the most important Polish prog rock bands of the 70's and against all odds, SBB performed behind the "Iron Curtain" in several Western countries and performed with many western prog acts. For instance, the band opened the show for the Olympic Games in Munich, Germany, where they shared the stage with John McLaughlin's Mahavishnu Orchestra and Charles Mingus.

Although basically a rock band, SBB was one of the front runners in the development of, what was later called, jazz rock or fusion along with Weather Report, Chick Corea, Herbie Hancock, John McLaughlin and Miles Davis. But, despite that, we may say the jazz elements aren't strongly present in the band's sound. Personally I classify them as symphonic progressive rock with some light hints of fusion, which makes the band's sound so unique. For those who don't know them, I would say that they sound like a less virtuous version of the Dutch group Focus, a lighter Focus version.

"Memento Z Banalnym Tryptykiem" is the tenth studio album of SBB and was released in 1981. The lineup on the album is Apostolis Antymos (electric and acoustic guitars), Slawomir Piwowar (acoustic and electric guitars, bass, Hohner clavinet and fender piano), Josef Skrzekn (vocals, bass, Mini-Moog synth, Micro-Moog synth, Poly-Moog synth, Sonic-six-Moog synth, Davolisint synth, Concert Spectrum synth, Hohner clavinet D6, Fender piano, Mellotron, Hammond organ, grand piano, church organ, harmonica, marimba, Japanese banjo and percussion) and Jerzy Piotrowski (drums and percussion). The album also had the participation of Jan Skrzek (harmonica and hand clapping), Alicja Piwowar (hand clapping) and Renata Szybka (hand clapping), as guests.

"Memento Z Banalnym Tryptykiem" became the last album of the original SBB before a long hiatus. It became a kind of summary of a decade full of events and achievements, a kind of summary in which the band searched, demolished, built and conquered all of Europe with its view of the progressive rock. It represents a kind of staple where, on one hand, it showed the new fascinations of the musicians by the fusion elements and, on the other hand, it summed up the search for the more classic progressive rock music with even elements of country. So, we can say that on "Memento Z Banalnym Tryptykiem", the band plays a blend of jazz and prog in a very clever way. The material is mostly instrumental and is performed in a stellar way. The singing is solid as well and is performed in their native language.

"Moja Ziemio Wysniona (My Land Of Dreams)" is a sublime piece very wide and varied lulling the audience with an orchestral prelude in a classical style. The music drives us to the progressive fusion rock demonstrating a technical and melodic expressive game imbued with surprisingly young energy. "Trojkąt Radosci (The Triangle Of Joy)" is a very beautiful piece that sounds great thanks to the great playing on the classical guitar. The composition is announced in the format of a duet. It's a guitar show of the band with the new addition of the second guitarist. It's a great patchwork. "Strategia Pulsu (Strategy Of Pulse)" is a small piece that is sustained in a purely jazz rock vein with no great frills or excessive lacy. We have only clarity and delineation of texture, multiplied by a great professionalism of the performers. The title track "Memento Z Banalnym Tryptykiem (Memento With A Banal Triptych)" fills the entire side two of the vinyl. It cannot be compared with anything from previous SBB work. It's full of contrasts and surprising fragments in the form of a collage, which is actually a characteristic of the entire album. It continues SBB's tradition of extended epics. This is a complex construction that serves as a benchmark for a perfectly balanced rock fantasy. The entire number seems surprisingly relaxed. In general, this is a piece with an absolutely amazing fresco and that despite the time that has passed not one drop has lost its relevance. The piece ends with the same symphony on the beginning of the album.

Conclusion: In contrast to their other Eastern bloc colleagues, like Omega, SBB showed a sophisticated way out of the New Wave dilemma with this album. Unfortunately, this was also their only 80's release, which was followed by the breakup of the band. Only after the fall of communism did they reappear at some festivals and it was only in this century that they returned with studio releases. This last official studio album is worth listening to because it's different from its predecessors. Still, SBB began the 80's still clinging to the ideals of the 70's music. There's something heroic in that. "Memento Z Banalnym Tryptykiem" is a great album, probably the best work of the entire SBB discography. It's an imperishable classic of Eastern European progressive rock. It's notably indicated to the adventurous prog fans.

Prog is my Ferrari. Jem Godfrey (Frost*)

Immersive, emotive and edgy, 'All the Wars' is a 2012 studio album from The Pineapple Thief, the Bruce Soord-led progressive band whose name has become synonymous with nostalgic rage and indie production values (occasionally), and this fantastic studio album confirms just how excellent of a songwriter Soord is, here joined by keyboard player Steve Kitch, longtime bassist Jon Sykes and now-former drummer Keith Harrison. A collection of nine new songs on the standard edition of the album, 'All the Wars' really takes up some of the aesthetic searchings of preceding TPT releases (especially their 2008 and 2010 albums) and expands them in a way that magnifies the group's scope as well as their progressive pedigree - at parts heavy and relentless, at others vulnerable and intimate, there is a great balance between these two forces that are necessarily at play in most of the band's music. The album is replete with gorgeous art rock anthems that take equal amounts of inspiration from Porcupine Tree and Muse but redirect this creative energy into a lush and stimulating presentation.

Of course, this album also utilizes the strength and profound sonic power of a 22-piece string section as well as a choir, adding a touch of symphonic goodness to the mix, intertwining brilliantly with the alt-rock riffs and the solid rock rhythms of the album. The entire album winds back and forth between gripping melancholia and atmospheric, angular guitars, topped by the always-recognizable vocal delivery style of Soord. And just like almost any other album by The Pineapple Thief, 'All the Wars' sounds very good, the production is excellent and vibrant, and you can discern the contribution of the different instruments. This is a less electronic record than its predecessor, which is probably why it is a little more straightforward, and I do believe that 'All the Wars' generally has greater commercial potential than some of the preceding albums from Soord. Some highlights on here definitely include 'Warm Seas', 'Give It Back', 'Someone Pull Me Out' and the magnificent 10-minute-long album closer 'Reaching Out'. The opening track has a punkier sound, while 'Last Man Standing' and 'Build a World' reflect upon a more existential strife, at least from what one could tell from the lyrics, with the entire album being quite honest, mature and richly emotional. Just an excellent work from an excellent band and a strong step forward towards the consolidation of the band's contemporary alternative-progressive sound.

A talented and young French band , Moonshine Blast has made a quantum leap forward in their short career, as their debut 2018 "Reality Fear" certainly showed a lot of promise, mixing modern progressive workouts with more pop/rock tendencies, a common occurrence with inaugural releases. With this album, the foursome rightfully and confidently shored up and tightened their focus, with a more linear style that, frankly, blew me away on first listen, talk about maturity! The quartet has keyboardist and lead vocalist Nicolas Duke shining throughout , Gabin Rock handling the electric guitar chores as well as backing vocals, all held together by a robust rhythm section of Renaud Lyabastre and the impeccable syncopation of Thomas Zecchinon. Any band getting support help from such luminary legends as Colin Edwin and Pat Mastelotto is a stamp of approval that should never go unnoticed. Obviously, the tracks have familiar influences that jump out at the listener, being easily detectable, so I won't bother mentioning them, just think of a stranded volleyball. A dozen tracks spanning 75 minutes, 'wait for the ricochet'. Note : both Moonshine Blast album covers are absolutely stunning , this one especially so.

The title track sets the tone, the key feature of most prog albums, a four-minute rumble into the intensity of muscular rock music, the guitars and drums in perfect unison, Duke's piano adding a tertiary alliance, giving the moody piece a tremendous amount of throttle and thrust. Gabin's whirlwind solo only accentuates the immediacy of a fantastic chorus, built up by ever-elevating verses that, all combined into a solid mass, just seals the deal. As tasty as that was, wait until you feast your ears on the spectacular "Cruel Immission", a world-class ambiance that spotlights a sure-handed piano and a vocal that would consecrate the 'dread of any empty sphere' (synonym time!). The initially forlorn mood eventually develops into murkier realms, the Gabin fretwork in particular rasping like a turbo charged engine in furious mode. The 7 plus minutes could have gone on much longer, it was that entrancing.

Panting vocals are not always well rendered, but on "Only You", the contrast between the chaotic wordings and the smooth as silk chorus is pure genius. A catchy, in your face, radio-friendly and toe-tapping tune that comes across as a statement of maturity in confidence. It's also to the point and brief.

Influences really step up to the front of the stage on "No Exit", as Nicolas hushed intonations invoke past comfort zones, a no-nonsense 'Pineapple Tree' emotion (ok, so I cheated, sue me), and just when you expect a somber dive into an abyss, the opposite is offered, a breezy and uber-melodic chorus superbly delivered with both verve and authority, Duke is on fire here, proving the case with a delirious multi-layered synth spot.

The two part "Liquid Feels" dominates 8+ minutes, and as such, forms the heavy prog section of the album, I daresay the core, the initial part 1 broods in sonic despondence, with geometrically smooth bass grumbling and some wide guitar slashes , that briefly accelerate into sub-sonic spaces, acting like thrusters focused on vectors. The quartet valiantly tackles tectonic criss-crossing riffs, erupting volcanic beats, and a raging vocal display that will make anyone's blood boil. This then morphs into the second part, acting as an interim instrumental platform , showing off both coherence to the initial mode, as well as intricate musicianship, as we witness the piano and bass lovingly embrace (poetry again), the Gabin guitar acrobatically pirouetting like a lean gymnast and Zecchinon bashing his kit with glee. Simply breathtaking.

It comes as no surprise that a change of attitude is called for , and "Broken Arrow" delivers the goods in spades, a jazzier fragrance within a more conventional format, circular rhythms and melodic lines, easy to follow and simpler to enjoy, with a joyful sing-along quality that shows reverence to past glories of rock music in general (I am thinking along the lines of Traffic), another extensive synthesizer flurry to prickle the ears is most welcome. Loved the audacity to pull this off. Definitely a highlight track among so many!

Get the motor running , head up on the autoroute, "Strangled" has a tinge of punk nastiness, as wrath, frustration and sweat unite to oil up the fretboards, raise the volume on the amps, let Zecchinon beat the living crap out of his skins and Duke yelling like Huw Cornwell in the early days of the Stranglers (coincidence in the title?, non!). A barn- burning rebel scream in the night.

On the thrilling "Fractal" , the rowdy bass guitar takes the concrete lead, blasting moonshine everywhere, a deceptive introduction that will morph into echoing background choirs offering a neo-Gothic cathedral experience, a brusque synthesizer sortie scouring the space between the dome and the arches. The clever detailing is more than welcome, as these four lads sure know how to keep things exciting and adventurous, expertly navigating temper and circumstance, melody and rhythm, a river of constant change within well-defined contextual architecture. Throw in a gloriously expressive voice that never disappoints, and you wave the flag of surrender as far as any potential negatives are concerned. I could stop here and give my 5 stars without hesitation, but there is another 28 minutes of tremendous music left in the tank. Well, seven years is a long time, after all.

"Under Control" emanates a modern sheen that is undeniable, far from retro or cliché, just an insane vocal delivery again with all sorts of electronic accoutrements meant to carefully camouflage the inner rage at the controlling machine, a powerful rejection of the algorithmic dictator that permeates out tools. Fiery guitar sparkles amid mellotron waves can do no wrong.

Now I did warn you about premature climax, as the leviathan 16-minute epic shows up on "The Cell", a piece that you are not allowed to listen to on your phone, as your battery may fry. This convulsive chef-d'oeuvre captures the entire essence of this album as well as the development of the players involved. It possesses all the prerequisites of potential fame in the prog world. Impeccable pacing and preparation, blending all kinds of ingredients into the mix, but at a restrained pace, so as the flavours can permeate both the body and the soul, and creating a composition that encompasses so many prog standards. The entire scope is futuristic, cinematic, organic, eccentric and electronic, unrelenting in its grasp of various hi-tech tendencies, and deadly serious in its deliverance. Urgently passionate, verging on swelling delirium, the arrangement never falters for even one iota, the insistent synths doing nothing else but consolidating the groove. The ambient moments come along as panacea, a medicated form of atonement of past sins, yet still yearning for release. This is one of the finest 2025 epics and we are only halfway through the year. One is completely caught by surprise as the final section enhances a sense of imminent liberation, a breezy, joyful and exuberant vocal and guitar phrasing that throws away the punishing key for evermore. Free at last.

After all the emotional warfare , a bucolic acoustic ballad arrives as a blessing ,"When the Wind Blows" is prettiness incarnate, a ballad of majestic melodic proportions, a vocal duet of crushing simplicity. Mellotron enters only to highlight the chorus, all fragility and swoon. As fine a song as one can hope for.

5 Empires of Options

Secret Oyster's third album fulfills the prog potential and direction that was suggested on their previous two albums.

Side One (The Astarte Suite) (what I call the "German" side):

1. "Intro" (2:10) all keyboard for the first 30 seconds, then flanged drums, electric bass, electric guitar and treated sax enter to give it a futuristic (though now dated) feel. Is this an indication that the band is moving more toward the progressive rock domain? (4.333/5)

2. "Stjernerne pa gaden (The Stars in the Street)" (5:41) veering away from the Popol Vuh-like Kosmische Musik they seemed to be exploring on the last album (especially on the second side), the band is still obviously deeply entranced by the new world of synthesizers and electronic effects. (8.75/10)

3. "Sirenerne (The Sirens)" (5:03) though elements here seem to indicate J-R Fusion, the song really comes across more as a dramatic/cinematic prog song akin to the music being made below the border by bands like The Eloy and Grobschnitt. This flow and constancy of this song is making it seem as if the band is trying to create a suite of Eloy-like space/psychedelic music. (8.875/10)

4. "Astarte" (6:28) the theme/suite continues, here developing into a futuristic smorgasbord of synthetics and odd associates (Moog, sitar, electric guitars, reverb saxophones) over hypnotic drum and bass (though still more proggy than Kosmische/Krautrock). I like the slow and insidious build up of tension and volume over the course of the entire six and a half minutes. (9/10)

Side Two (The "French" Side):

5. "Solitude" (4:07) Side Two starts with a SATIE-like piano piece that is supported by some synth and bass. Obviously we're finished with the single-flow theme that was Side One. Pretty and filled with mystery and uncertainty, even frailty, it's a beautiful piece that serves well as a transitional bridge. (9.333/10)

6. "Tango-bourgeoise" (2:47) an odd piece--like something from Kitaro or Tomita in which the band attempts to render some classical piece via electronics. (8.667/10) 7. "Bellevue" (3:20) more silliness made possible through the use of electronics. Nice funk-rock rhythm track. Inspired by the musical explorations of Jean Michel Jarre? (8.75/10)

8. "Valse du soir" (1:55) accordion music! (Or have I been duped into believing that a synthesizer-generated sound is an accordion?!) I love this type of music (as well as the accordion) but should I be impressed or perturbed that this sits pretty on a supposed-Jazz-Rock Fusion (or progressive rock) album? I guess Yes' seminal Fragile album gave rock artists a lot of license, grace, and leeway. (9/10)

9. "Outro" (5:06) back to the hard-driving ELOY-like space rock. Awesome foundation from the rhythm section--as well as awesome play from them--especially Jess Staehr and Ole Streenberg. The interwoven synths, guitar, and sax solos are nice, too. (9/10)

Total Time 36:37

The least Jazz-Rock Fusion of this band's supposed Fusion output. I've read that the band was literally recording the material for this album at the same time as that for Krakenhaus--sometimes splitting their days and nights between the two! Perhaps that is how/why this album comes across as

B+/four stars; an excellent display of two-sided split personalities: the Germanic Space/Psychedelic Prog of Side One and the ambiguous Gallic themes of Side Two. Definitely recommended to all prog lovers.

There is a new band out of South America, with ties to a couple of other wonderful artists. The new band is Chercán and the drummer was in both La Desooorden and Homínido. Both of these bands offered a wonderful RIO / rock setting, and coming from primarily, Chile, I believe.

Upon listening to this new project, and album, Chercán offers a similar sound, but modern and a bit heavier. Still the traditional format rock band, with saxophone, but this is something VERY special.

The overall sound is quite mature,and very complex, yet remaining completely accessible. Still there is that RIO influence, but this has a lot of heavier, modern rock feel to it. The vocals are sung in their native language, and perfectly fits the music. I basically no longer give 5 stars anymore, BUT! This is 5 star music and deserves the recognition of the highest order.

Bravo, Chercán , Bravo indeed!