t seems we are living in a luxuriant period for the Italian progressive rock scene. Il Castello di Atlante is standing tall since 1974, Cherry Five released a new studio album after 40 years and Spettri have confirmed to be here to stay after their resurrection in 2011, originally formed in 1964 but fallen in hiatus during 1975. Lately RPI lovers have really been given many reasons to be elated. Someone up there is still feeling generous then, because Maxophone have just released their sophomore effort, a good 42 years having passed after the cult classic self-titled album was released.

Only two members were part of the founding line-up but, though there are definitely some key differences in sound, the Maxophone spirit is intact. For the genre, the songs aren't very long but they can still count on rich and eventful songwriting. Every instrument (voice included) has something to offer, harmoniously joining in a very focused sound in which Maxophone's trademark relatively heavy guitar-driven moments are seamlessly intertwined with bittersweet sections where melancholic vocals and keyboards lead the dreamy way. All of which is at times drifting to a symphonic flavor, supported by the presence of two keyboardists -on occasion also switching to acoustic guitars- and by the violin playing of the drummer. It's a sound that, as catchy as it can get, never leaves any doubts about the musicians' maturity and craftmanship.

The major change is the external influences from which the band draws from. On Maxophone there was a certain jazz vein which is now absent, traded for an overall gentler approach (no more swirling saxophones, sadly). In fact, La Fabbrica delle Nuvole is an album that can get quite intimate and folk-sounding in places. Furthermore the lyrics were penned by recently defunct poet Roberto Roversi, and are recited with notable emphasis giving birth to strong hooks. The shift in sound is adequately supported by an organic production job, making La Fabbrica a pleasure to listen to. The neat duration of 45 minutes just works as icing on the cake for an album this tight and memorable.

To say that Maxophone fans will surely like it too could be a little rushed because, even if the genre-bending attitude is there, it's a different beast. Familiar elements however are present, from the vocals to the reflective mood and incursions of cutting guitar riffs. Maxophone simply evolved and tried to adapt to the times, striking a good balance between old and fresh, creating something that's as progressive as it is accessible. Trading jazz for folky and poppy influences that better fit Italy of 2017. I recommend 4.0 great comeback after 42 years !

after having listened to their Zoldar and Clark LP I had to listen to this one eventually, just out of curiosity. After a spin or 2...I like it. Both the Jasper Wrath and Zoldar and Clark LP's are very appealing to my ears. So, we come to what is basically the 2nd album in the series, once again with a new band name. What we get is another evolution of the sound. Whereas Jasper Wrath was a Psychedelic LP with prog elements, Z&C was a proggish LP with more modern 80's tendencies. On side 1 of this at least, we get a couple 80's sounding pop-wave clunkers and a couple decent AOR rockers. Side 2 is much more a late 70's proggy sound closer to the vein of Zoldar and Clark with a dose of Horn/Downes era Yes in the mix (don't let that scare you). That makes me think this includes leftover tracks from different eras and would not surprise me on a tax scam label. Based on my tastes, I'd give this a borderline 4.0 for S2 for some over the top pompous space-synths and nice guitars on the longer tracks and a 3.0 for S1, and thus we split the difference on the whole affair at a 3.5 but after giving it more listening I'll give it a 4.0 One point to make here though, is that both of those aforementioned LP's are growers. These guys could definitely write a hook and a song, regardless of style.4.0 but leaning towards 3.5

Under The IQ Dominion

A music album is good when you don't have to listen to it multiple times to decide if it's good or bad. Most of the time, you either like the music or you don't right from the first listen.

IQ, one of the biggest prog bands, has released Dominion, an absolutely great record possibly one of the best the band has ever put out.

Like an oasis in the middle of nowhere, Dominion stands as one of the few truly great albums released by established bands in recent years. Classics or not, Dominion is the best record from a major band in this era. Think of Marillion, Yes, Jethro Tull, or Steven Wilson they've all released albums in recent times, but many of those efforts have left much to be desired in terms of quality.

IQ, on the other side of the fence, isn't trying to prove anything or discovering the fire . They're just smarter they simply made something good, something that follows the style they've been refining over the last two or three albums. And to be honest, it worked. In the end, Dominion is truly outstanding and goes beyond expectations.

Dominion is a kind of concept record, open to different interpretations, but it's a snapshot of what's happening today. The album touches on war, authoritarianism, life after a pandemic, and a society that refuses to be beaten or give up its consumerist lifestyle. The record is deeply emotional it moves every fiber of your soul. Dominion is about the worlds we create for ourselves our personal domains and the control we believe we hold. We are the dominant species.

The album opens with "The Unknown Door," a 20-minute-plus epic that perfectly embodies IQ's signature sound while leaning heavily into an ambient and atmospheric orientation. The track flows through intricate movements, blending haunting keyboard work and emotive guitar solos, capturing the essence of IQ's unique style. The song's expansive structure tells a compelling story, drawing you into the album's immersive world.

"One of Us" is an acoustic folk-influenced piece wrapped in IQ's unmistakable sound. The melancholic yet hopeful atmosphere feels like a gentle companion throughout the journey of Dominion. It's a reflective moment, offering a beautiful balance of intimacy and emotional simplicity with sophistication.

The lead single "No Dominion" leans into a more atmospheric and ambient vibe. While it's a great song, it's perhaps the least striking on the record?mainly because the rest of the album is just so exceptional. The song's brooding mood and immersive production make it memorable, but it doesn't quite reach the emotional heights of the other tracks.

"Far From Here" is the standout track my favorite on the album. It's a deeply emotional journey that showcases IQ at their absolute best. The emotional coda, soaked in deep feelings over a soft bed of pianos and synths, features Peter Nicholls touchingly recalling the passing of his mother two years ago. The song masterfully balances dynamic shifts, with brilliant keyboard work, an incredible vocal performance from Nicholls, and a seamless flow of complex arrangements. It's more than 12 minutes of pure captivation?an emotional masterpiece that may just be the band's finest song ever. Time will tell.

The album closes perfectly with "Never Land," a track that feels like the culmination of all the emotional weight carried throughout Dominion. It starts gently before building into a powerful, cathartic finale. This song embodies everything great about IQ?beautiful melodies, thoughtful lyrics, and a dramatic flair that wraps up this marvelous record on a high note.

According to Peter Nicholls, "Never Land" has nothing to do with the Neverland of J.M. Barrie's Peter Pan. Instead, Nicholls has explained that the focus is on a couple "who lived their life and did not give any thought as to how this would end."

The band sounds better than ever. Peter Nicholls' vocal performance is the best I've heard from him?his lyrics are truly outstanding, and his unique writing style remains extraordinary. Michael Holmes sounds fantastic here; his guitar skills have only improved over the years, and after a 44-year career, he's undeniably one of the great guitar players today.

Neil Durant, the "new guy" since his debut on The Road of Bones in 2014, has changed the band's sound in subtle but significant ways. He's an extraordinary keyboard player?more adventurous than his predecessors Martin Orford and Mark Westworth. Tim Esau, who played on IQ's first albums until Are You Sitting Comfortably?, returned to the band on The Road of Bones to fill the space left by the mighty John Jowitt. Esau's mastery not only fills that role but improves on it. Paul Cook remains one of the greatest drummers around, though heavily underrated. Here, he sounds clean and precise this might be one of his best work so far.

The production, handled by Peter Nicholls, is pristine and clear. Every instrument and detail is treated with care, as if under a magnifying glass nothing feels out of place.

The cover art of an old man with the sunset in his soul represents dominion?maybe because we are the owners of our destiny and believe our domains are eternal.

Dominion is a great record. To my ears, it's sentimental, dark, very personal, and atmospheric, with moments of instrumental brilliance great keyboards and guitar solos, outstanding drumming, and stellar vocals. It may not be the greatest IQ record ever, but it's definitely one of their best. Dominion feels good and surpasses everything done by established bands in recent years. Once again, IQ saves the day, and everyone is happy again.

Recently I shared my excitement about Kyros' latest studio album 'Mannequin', which to my ears and senses is an outstanding record, and I am excited that I will see them in concert in a few days at the Cruise to the Edge festival.

That same excitement has led me to play their music on repeat, including this two-track (or four-track) mini EP which is so far their latest release (Nov 2024), and that according to their notes, marks a switch of eras in the band's history. In this 14-minute (or 28-minute) release this UK quite talented band gives us 'Fear & Love', a short but great catchy song that gathers different musical realms, like 80s synth pop, alternative rock, or modern 2000' prog rock. This song is a step forward to the band's new cycle, so it is like an introduction to their incoming music, maybe to what would be their upcoming full-lenght album.

And the epic 'Duchess Desire' marks the farewell of their 'Mannequin' era, so it is like a tribute to themselves and a form to thank and respect all the process and work they did in the past years, working their asses off to produce that amazing album. Here they deliver another excellent song where we can appreciate their endless creativity and, of course, their amazing skills as performers. I like a lot how they sound so refreshing, so actual in spite of their intrinsic 80s essence.

Yeah, those are the two tracks, however, they morph into four, because Kyros also shared the instrumental versions for both songs, so go, click to listen and enjoy.

— First review of this album —

When it comes to introduce a band, I would start with a studio album, maybe their most representative, maybe my favorite; or I'd rather recommend some tracks from different albums, it might work. However, there is another not-so- typical way to introduce a band: to listen to their whole discography.

This is what 'We Blame Chicago' is about, a compillation (5-LP album) that gathers every single song released by 90 Day Men, a quite interesting band from the US (yeah, from Chicago, you can guess) whose first steps were given 30 years ago in 1995 and whose last studio album saw the light in 2004. Maybe an underground act that belongs to a certain niche.

This release's title is actually a song taken from their third studio album named 'To Everybody', which is also to my ears, their best work. But... what do 90 Day Men play? It is an interesting mixture because through their track you will find some hints of post-rock, alternative rock, progressive rock, experimental, psychedelic music, they belong to all and to none of those genres at the same time, which is part of what makes them an enigmatic act. There are lyrics, there are moments to sing, there are purely instrumental tracks or passages, a colorful journey, indeed.

So yeah, though this release would be aimed for their die-hard fans, I believe it might be a good fit for people who barely know them and want to explore what their music is about. Not for everyone, though, but to my ears and judgement, worth it.

— First review of this album —

Satiating Bread

Dick Hudson is a group of longtime friends from Messina, and Bolo is their debut recording. They describe the concept as follows: "Every track is a soundtrack to a trip. The title track BOLO is a three-part suite were we follow a piece of bread in its fantastic journey through the human body." So they do have a sense of humor. Musically this is definitely heavy and dense math rock instrumental music. It rarely lets up from a frantic pace that pushes hard, exploring different nooks and crannies. The mood of the music is slightly to the darker side, aggressive, industrial, gritty, at times even Crimsonesque. One of their main goals when they began recording was to make a very live-sounding album, so they self-produced to have total sound control, and they recorded always in the same room with no headphones and very few overdubs. All of the attention to detail worked swimmingly because this is one ferociously live-sounding album. Bolo is impressive, and yet the music is something that I appreciate occasionally more than I enjoy frequently. Still, it's certainly one to check out if you enjoy heavy math rock or instrumental rock with plenty of gutpunch. Since this album, three more singles were released through their Bandcamp page in 2018 and 2019. Hopefully this points to a forthcoming second album as these singles sound even more diverse and gonzo than Bolo. Cool band!

Anthemic, catchy prog rock with pop sensibility - this is what Yes was all about during the 1980s, and yes, Jon Anderson is a necessary prerequisite for a successful Yes album. '90125' is, of course, the iconic and divisive 1983 Yes release, one of the band's commercial successes, and an album packed with universal radio hits that are still in rotation nowadays. Beloved for its sing-along choruses, great melodies and gorgeous vocal harmonies, and despised by angry prog snobs who are only willing to pay attention to an eighteen-minute-long flute solo or concept albums about spaceships and dragons, this recording remains definitive of its age, exemplary of musical fads and above all a very strong studio exercise that had ultimately produced an excellent collection of accessible songs that are sufficiently intricate to keep even the most pretentious listeners attentive for all the playful, quirky little details sprinkled all over.

This is the album where Trevor Rabin jumped on board and completely "shattered" the Yes world, in a good sense that is, while Trevor Horn took up all production duties, chiseling the excellent ideas of Anderson, Squire and Kaye, resulting in an album that is equally impressive, enjoyable and memorable, packed with great playing and generous, vivid musical ideas, equal amounts rock and pop tropes and having just the right amount of that prog pomp, definitive of all previous releases by the band. Needless to mention the influence and scope of great songs like 'Owner of a Lonely Heart', 'Changes', 'Leave It' or 'It Can Happen' as these songs have been firmly embedded into the collective memory of the extravagant and unpredictable history of pop music during the eighties. Less popular but no less interesting offerings like the instrumental 'Cinema' or the epic 'Hearts' grace the second side of the LP, and we could only conclude that the then-new pop-oriented direction of Yes only expanded their vocabulary and affirmed that this group of musicians are among the masters of songwriting, production and melodic gutsiness.

Nekropolis is the artistic pseudonym of Peter Frohmader, a German electronic music composer who started out in the late 70s, releasing his debut album 'Musik aus dem Schattenreich' (or 'Music from the Darklands') in 1981, a recording that combines Frohmader's fascination with Tangerine Dream and Black Sabbath most of all, and while this album is a bit of a latecomer to the world of German electronic music, it offers a unique blend of influences that is rarely heard, and serves as a gritty soundtrack to one's horrid nightmare visions. The music is quite dark and has a strong gothic edge to it, full of washes of grizzly electronic hatches supported by a fascinating and ominous rhythm section, and while this goes to define most of Frohmader's work, it is this debut album that remains the most innovative and significant work of his.

The two sides of the original album are thematically divided as "scamper-cycle" and "night-cycle", but the entire LP is replete with nightmarish visions and sways of electronic horror, definitely containing some of the darkest electronic music of this decade, with significant amounts of eclecticism as Frohmader dares to experiment and anticipate drone music, gothic rock and dark ambient. The album starts off with this cold parade of sounds and effects, which is prevalent on the first two tracks, until one gets to the surprisingly groovy 'Unendliche Qual', featuring the drumming of Rudi Neuber, the only musician credited alongside Frohmader. The ghoulish soundscapes are extremely evocative and disconcerting, the entire atmosphere of the record is haunting and unnerving, and this is taken up by the 9-minute piece 'Krypta', an almost 'Zeit'-like composition. The second side is completely drab, metallic, and claustrophobic, the washes of sound are incredibly cold, and the album cover is perhaps a brilliant representation of the music composed by Frohmader here. Subsequent reissues reveal bonus material, which is much in the same vein but expands the overall sonic image of this lesser-known but vivid, haunting and audacious musical experience that is 'Musik aus dem Schattenreich'.

Jarrod Gosling is a chameleon of sorts when it comes to music. The man has been part of the Metal world, Electronic, Indie, Pop, Alternative and probably more. He's one half of the commercially successful I ROBOT, and part of a related band SKYWATCHERS. In 2013 he made a splash into our style of music with his first REGAL WORM offering "Use And Ornament" and also "Men Singing" by HENRY FOOL, a band he was asked to join. Lets just say Jarrod and his M400 mellotron got a good workout on these two albums.

And "Use And Ornament" is a mellotron album, with the 'tron on every track, and he uses all nine of the mellotron sounds on this album, a rare thing. He bought his mellotron in 2005, and it was originally owned by PALLAS. Gosling has a ton of analog equipment at his disposal, and that year he went crazy buying keyboard related stuff. Jarrod also plays bass, guitars, drums, recorder and on and on. He really doesn't need any help, but he has ten guests adding their talents. Two female singers and a male vocalist are included in this, but also violin, a lot of horns and more.

We get nine tracks over 61 minutes including a lot of short pieces complimented by the two 13 and 26 plus minute tracks. Gosling has a twisted sense of humour which you can see for yourself if you look at his discography here, with the track and album titles especially. That 26 plus minute piece is called "6:17PM The Aunt Turns Into An Ant" after death of course, as we get this dramatic story line of her entering her new life in the ant colony. The closer "Klara Till Slutet(Main Title Theme) is a short instrumental that is Zappa all the way.

The opener is a short 1 1/2 minute atmospheric piece that gets quite powerful. Followed by "Cherish That Rubber Rodent" that hits the ground running with good contrasts and chunky bass. The next three tracks are my favourites. "The Mardi Gras Turned Ugly In Seconds", "Apple Witch" and "Morning Sentinel". "Apple Witch" especially was an immediate favourite, while this album as a whole was a grower for me. It's just different I suppose, but man this is an album I highly recommend. Probably closer to 4.5 stars. I'm not sure if he can top this.

— First review of this album —

There is definitely an argument to be made that Christian (Dr) Koch's band are probably the finest psychedelic/krautrock rock band in Germany and have held that crown for more than 30 years. During that period they have released 22 studio albums, countless live albums, singles and EPs. 'Live At Finkenbach 2015' made it to No. 2 on the official German vinyl sales charts and 'Live At Rheinkaut Festival' stayed for several weeks in the Top 20 of the German CD sales charts. They have been releasing tracks on FdeM since 2009, covering bands such as covers of classic 60s tracks, including Can, Pink Floyd, Vanilla Fudge, Iron Butterfly and H.P. Lovecraft. This brings together many of those songs, but after the decision had been made regarding this collection, Christian went back to the band's original recordings and remastered them for the first CD, and then compiled a second CD comprising previously unreleased live recordings of some of the tracks from the first disc as well as more 60's covers from the massive Vibravoid back catalogue.

There is certainly an argument to be had that "Set The Controls For The Heart of the Sun" is the finest version ever, outside of the Floyd original, and they also approach "A Saucerful of Secrets" in. wonderfully respectful manner. However, the highlight for me is not those, but that we get two versions (the 2016 studio version plus a previously unreleased live recording from the Film Museum, Dusseldorf, 2017) of the mighty "In-A-Gadda-Da-Vida" and I am incredibly pleased that even the shorter version is still more than 10 minutes long. Also, any band who dares to record "Hole In My Shoe" will always be a hit in my book, as surely it is the pinnacle of psychedelia. This double CD is a wonderful trip down a psychedelic memory lane and is a wonderful introduction for those who are frightened of such a vast catalogue.

I am not sure what there is left to say about Tony Levin, except that he is one of the most highly regarded bass and stick players in the world, which is why he managed to get the following involved with his first solo album since 2007: Robert Fripp, Vinnie Colaiuta, Earl Slick, Mike Portnoy, Steve Gadd, Jerry Marotta, Gary Husband, L. Shankar, Pete Levin, Jeremy Stacey, David Torn, Pat Mastelotto, Larry Fast, Steve Hunter, Manu Katche, Alex Foster, Dominic Miller, Markus Reuter, Chris Pasin, Collin Gatwood, Josh Shpak, and Don Mikkelsen. The vast number of guests only play on one track, although his brother Pete plays on a few more while Jerry Marotta and Gary Husband are also involved more than the rest. The booklet is wonderful, a collection of photos and text as Tony talks about his friends, the instruments, what has happened to them and what tracks he uses them for on this.

Tony also provides vocals on the tracks which have them, and this is where his sense of humour really shines through on songs such as "Side B / Turn It Over" which is primarily multi-tracked vocals and a tiny section of bass which is not what one would necessarily expect. Having heard numerous albums involving Tony in recent years where he has been allowed to provide full voice to his talents, what I found most interesting on this one is that he has reined himself in somewhat so it is not as experimental as one might expect, although there are certainly elements of that, and he has consciously released something which is far removed from Stick Men for example. The bass is normally a foundation instrument providing support for others, but here Tony has brought it out of the shadows and into the spotlight.

He may be approaching eighty years of age, but Tony has lost none of the dexterity and style which has seen him play on excess of 500 albums with some of the most challenging artists around. It may not be as improvised as some of those, or as layered as others, but the result is something which shows the many different possibilities of the instrument as he shifts through different styles and approach and that is what this album is all about.

Oh Wow! only one review on this classic Japanese jazz-fusion album. what an incredible start for this multi-talented group. bright blue, red and purple - great fusion album with some amazing guitar and basslines. the album is full of nice melodies and unlike a lot of fusion it's not overly abstract. aka it just sounds nice. the guitar really shines on songs like "midnight rendezvous" and "swallow" and the basslines are always great. i went in to it expecting a bit more funk though. this is a great fusion LP I can see where Nintendo could take inspiration from this for the Mario kart OST's. 4.0 great bass

Here we have the fifth album from Tim Morse, and the fourth which I have reviewed (I missed out on the last release, 2022's 'Awaken' which was released under the band name Parallels). I first came across Tim in 2006 after the release of the debut, 'Transformation', but his solo albums until now have always included other musicians, yet here he has decided to embrace his full talents as a multi-instrumentalist and done everything himself, including vocals. Morse says, "There were no rules about the music itself, so Soundtracks is a diverse, eclectic mix of styles and genres. On this album you'll find a Beatles homage ('Blueberry Way'), instrumental electronic music ('Cityscape'), a ballad ('Lullaby'), and so much more. It was a blast to roll out of bed and think, 'I feel like recording bass this morning?' and not depend on anyone else to complete the project. It brought out a fun aspect of experimentation, especially with instruments I'd never played in the past."

The result is an album which is pleasant to listen to, firmly staying in the middle of the road, but its quality should not necessarily be negated due to that. There is the feeling that this will be used more as background music than actually listened to, but there are certainly some enjoyable moments within this and there is a lightness and Summery feel which is refreshing. One can certainly imagine some of the music being taken and used within films, and the cover photo certainly fits very well with what is taking place inside, as if Morse felt something needed more keyboards, or guitars, or even banjo then he delivered. There is not a lot of percussion, which leaves room for space, and it certainly works in this setting. It is not as progressive as some of his material, but there are times when he reminds us, he has written a highly acclaimed book on Yes. A nice way to wind down from some of the more intense music I listen to.

I do not believe that Tim is a relation to Neal, but again we havea Morse who is producing exciting and interesting prog music. Tim may be better known to some as an author of a best-selling book on Yes, so it is probably not surprising that there are a few Yes nods, but these are rare. This is all about the bringing together of Tim (mostly keyboards, plus some lead vocals and guitar) with Mark Dean (all other instruments) and then adding in the vocals of Richie Zeller. This is very much a prog album, with layers of keyboards and piano, but at the same time, it is also inherently a melodic rock album with plenty of guitar. It may be Tim's name above the door, but this is very much a group sound and not a keyboard workout. They have taken some Floyd, some Hackett, even some Kansas, that little bit of Yes, and thrown it all together and boy does it work. This is extremely polished, with enough time changes and little bits and pieces in the mix that brings a smile to the face. Richie appears to be approaching his vocals much more from a rock area than 'normal' prog (whatever that is), which gives the band a different flavour ? it is reminiscent in some ways of the approach of Damian Wilson, but these vocals are much earthier, with more balls. This is one that progheads and even melodic rock lovers will not want to miss.

Originally appeared in Feedback #86, Feb 2006

One of the many characteristics I love about Yes' music is that it blended classical elements into the rock format. It did take a while for Yes to catch on, as its first two albums were commercial failures and it was their third that basically ensured their lengthy career. The band's fourth, "Fragile" is their best for many groundbreaking reasons. It was the first to feature keyboard wizard Rick Wakeman (one of prog's best keyboardists ) and the first to introduce Roger Dean's surrealistic otherworldly artwork (after all, the two go hand-in-hand). A brave record, "Fragile" contained individual pieces that gave each member a chance to shine, as well as the group efforts such as "Roundabout" and "Heart of the Sunrise". The instrumentation was superb; I especially like Chris Squire's distorted bass on "The Fish" and Steve Howe is an exceptional guitarist whose instrumental showcases never cease to awe. "Mood For A Day" is a notable successor to the previous set's "Clap". "Fragile" deserves a place in every prog rock fan's collection and keep tabs on that splintering planet. for a fitting conclusion I say this, In the movie "School of Rock" a parent furious with the teacher (Jack Black) holds up a CD copy of Fragile and says "How is this homework". I would say because its a classic prog album that children around the world should hear. 4.5

Less than six months after the successful "Demons and Wizards" and still under the echoes of its resounding general acceptance, Uriah Heep released their fifth album, "The Magician's Birthday" (1972). A work that once again uses allegories and sorcery as a metaphorical thematic vehicle to transmit profound reflections on the existential questions of the human being and that have their correspondence with the surreal graphic design of the album (Roger Dean), loaded with symbolisms such as the confrontation between the Magician and the Devil and the expectant naked woman hiding behind the plants.

And despite respecting its hard rock roots in the intense and epic "Sunrise" with its Purplelian beginnings with Ken Hensley's keyboards and David Byron's powerful voice, the album has, on the one hand, a less aggressive orientation with more agile and direct tracks like the light blues rock of "Spider Woman", the semi-unplugged soft rock of "Blind Eye" and the lilting "Sweet Lorraine" and its catchy choruses. On the other hand, it tones down its revolutions to initiate a lysergic, dreamlike immersion with Mick Box's Floydian slide guitar on the hazy mid-tempo "Echoes In The Dark", with Hensley's emotive piano chords and Byron's mournful singing on the soulful "Rain", and with the atmospheric pedal steel guitar contributions of guest Brian Cole (renowned session musician) on the acoustic vaporousness of the introspective "Tales".

Finally, the Englishmen resort to changing harmonies in the convoluted "The Magician's Birthday", ranging from energetic hard rock, verses in ironic rhythm of the traditional Happy Birthday accompanied by the Kazoo (an informal 19th century wind instrument), intriguing sound effects preceding Box's lucid and generous guitar jams in counterpoint with Lee Kerslake's frenetic drumming, to Byron's falsetto voice to pompously close the most progressive piece of the album.

The very good "The Magician's Birthday" was the break point that imaginatively marks the end of Uriah Heep's most brilliant period, after which the band's musical proposals would gradually become duller.

3.5/4 stars

Steve Hillage begins his solo career with one of the greatest albums of the progressive and psychedelic rock era. Much of the material for this album was written years earlier, even before Hillage joined Gong for their classic "Radio Gnome Invisible" trilogy. Parts were originally meant to be on the sophomore Khan record, Hillage's earlier jazzy, Canterbury style band. Seeing as Hillage was still a member of Gong when recording this album, the rest of the band joins him to carve out his vision. The result is a jaw-dropping spaced out wonder.

The bulk of the record is taken up by three multi-part epics, starting with the highlight "Solar Musick Suite". This 17- minute opus developed from a song originally played with Khan and then Gong, and here it is in its fully fleshed out glory, taking up almost the entire first side of the LP. Hillage and the band move through many different moods, textures and tempos with graceful ease, playing with time in a way not many musicians can. Hillage's lyrics are idealistic new age spiritual hippy themes, which can be an aquired taste. The song moves through mellow parts, knotty parts and eases into great grooves that let Hillage rip on the Gitfish, culminating in a ferociously intense jam that brings to mind an extremely psychedelic Mahavishnu Orchestra. "Fish" and "Meditation of the Snake" serve as an interlude to the other mega compositions of the record, ending the first side or "Inglid".

The second side "Outglid" begins with the Hillage concert staple "The Salmon Song". If there was a radio single from this album, it's this 8 and a half minute aquatic rocker. With a straightforward rock riff this is the most conventional song on the record. Theres another mind-bending complex part in the middle before the main riff comes back in and Hillage once again takes it into the stratosphere with an amazing solo. The last song might be the most complex, with the 7 part "Aftaglid". This track moves through many different sections; loose jams, polyrhythmic chaos, pastoral acoustics, Middle-Eastern mantras, and glorious freak outs. The song builds to yet another intense jam and brings the album to a very satisfying conclusion.

Steve Hillage has created a masterpiece of a record, one of the last breaths of the original progressive and psychedelic rock era. His later albums would all follow the Zen filled vibes of this album, but never quite reach the psychedelic heights of this.4.5 great debut from one of the best canterbury guitarists. FISH

The following dialog was picked up by prog intelligence units: Sentry Post 12 to Base Commander- intruders detected! Please advise BC : Where exactly? SP12 : Third Quadrant , sir ! BC: What do you see ? SP12 : for now, Universal Circles , expertly concealed. What are your orders ? BC: Just listen for now and follow their every move, do not lose them!

Third Quadrant released albums in 1982 and 1988, promptly vanishing from the radar screens as if stealth technology had shown up to mask their movements, I actually have the latter "Layered" album and remember liking it without waving any white flag of surrender. Thirty-six years later, they reappear, three of the four original members showing up for rollcall. David Forster (guitars, bass and vocals), Chris Dunn (keyboards and vocals) and Chris Hare (drums) are now joined by Clive Mollart on added keyboards. The definition of patience, Sun Tzu would be proud!

"Relentless" sets the tone, a dual keyboard assault with intricate synthesizer weaving in and out of the bass and drum minefield, supported by guitar, piano, pipe organ and mellotron brigades and harangued by shrouded vocal work from the two commanding officers. Imagine a much proggier version of Ultravox, as every one of the 6 tracks are 8 minutes or more and arranged with clever transitional variations that still keep the fighting spirit unyielding! This is a stunning first salvo!

Perhaps a code word for a specific maneuver, the camouflaged attack of "Delta Passing " suggests a resolute anthemic quality, melodically suave, with soaring vocal lamentations, and intensely cinematographic battle footage that has a palpable sense of courage under fire. Voice effects add to the sweeping mellotron and synth bombardments, as the shrieking electric guitar detonations blast through the smoke choked engagement, elevating the yearning for victory at all costs! Impressive. No time for R and R, as they rapidly lay siege to the fortress with the monumental "Spiral", a decidedly more electronic take, with pinging synths brutally ramming into ponging organs, a painstakingly effective groove laid down like suppressive artillery fire. Before long, the sweeping symphonic melody kicks through the battlements, twisting beyond the crumbling defenses, penetrating deep into the heart of the fight. Spinetingling and brazen, the bass guitar-led pulse shatters through the line, like tanks on a rampage. The pleading begins, "ooh, ooh, ooh" joining the "aah, aah, aah", the synthesizer flares exploding in air, the valiant determination bent on fearlessly forging on. Absolute slayer track, deserving of constant airplay.

There is mercy shown in triumph , prisoners taken and cared for humanely , "The Kindness of Strangers" is a harrowing symphonic ballad, with melancholic overtones, and orchestrated accordingly. The robust bass guitar has a New Order feel to it, boldly up near the frontlines, as the immense chanting vocal delivery showcases an astounding ability to wail each note as if pleading for some well-deserved peace. An ultra cool jazzy guitar swirl adds a sense of relief to all the sensorial overkill, with an extended organ, piano synth solo in particular, doing wonders of the aching ears. The bombastic finale is amazing, absolutely splendid playing by the entire platoon.

The heroic, nearly 13 minute long "Dim and Distant Futures" is the other eradicating highlight, with a surly Hammond and synth onslaught, throttling rhythmic support from the glorious bass and drum specialists only adding to the thrill. When the magnificent vocal line introduces the haunting melody, the tingling begins as the door opens into another realm altogether, a swooping shimmer, a faint glimmer ahead, a more forceful second breath, with athletic, brazen, and intricate variations. This is a full-on progressive delight with a timeless sound, effortlessly transporting the listener to somewhere else, the grandiose mellotron strings surely are to blame for the heart stopping cannonade one feels in their chest. This could become a classic , if given some airplay. I have surrendered !

Just like an endless beginning , the sprawling "Big Circle" seals the crimson wax on the armistice , weapons ultimately laid down, heads bowed in respect, ready to face the future once again, with hope for a truly better world. This solemn composition is another gliding anthem, a softer, longer and more poignant version of "Astradyne", the instrumental opener off the Ultravox Vienna album.

This 2024 release is a massive surprise that thoroughly deserves a wider audience, as the music expressed has all the inherent qualities that define a masterwork. Repeated listens have only verified and confirmed my immediate appreciation and ultimately love for this scintillating work. Do not miss out on this one, regret is a terrible burden.

5 Colossal orbs

After Gabriel had left the band, the remaining quartet developed in an incredible way and released two of their best albums. While A Trick of the Tail already was outstanding , Wind and Wuthering turned out to be one of their masterpieces after Peter Gabriel's exodus.

"One for the Vine" and "Blood on the Rooftops" are two epics belonging to the greatest prog songs ever, but all other tracks (maybe with the exception of the fairly nice, but very, very simple "Afterglow") follow quite close behind.

Master guitarist Steve Hackett left the band after this album. With "And Then There Were Three"(1978) Genesis managed to overplay this significant loss pretty sovereign, but thereafter it all started to go downhill in the prog point of view although they became more and more successful commercially.

I'm absolutely sure, that I will love this album as long as I live. Wonderful cover artwork, by the way. 5.0

Genesis' first album after the departure of Peter Gabriel . I actually like the close follow-up, Wind & Wuthering, even better, but I'm happy enough to admit that that's going to be a very personal preference. As with Wuthering, the main factor is the songwriting and melodic sense of Tony Banks, who is the only member of the band who gets writing credit on all eight tracks.

I think Phil Collins' voice does more justice to Banks' melodies than Gabriel's rougher-edged tones would have. My favorite here is 'Mad Man Moon', credited solely to Banks. Collins' vocals are nice to say the least one can also hear Collins' more straightforward, less prog-like, songwriting sense coming through in 'Ripples., which foreshadows the direction Genesis would take in years after. 5.0 My genesis to Genesis.

I have Pathfinder and Waters of Change, which I've owned for years, but I never got around to owning Act One, their debut, until now. I can see why. Too much of this album is focused on classical. They were an obvious ripoff of The Nice (I don't notice the Purple influence so much, except maybe in Ricky Gardiners guitar playing), but they took a more aggressive approach here. I guess I'd be less bothered if it weren't for their taste in classical. "Light Calvery" is that example and by far the worst offender on this album. How on Earth did I never hear of Franz von Suppe until now? Yet I've heard his "Light Calvery" constantly, it is severely overdone, heard constantly on Saturday morning cartoons. Beggars Opera giving it the rock treatment don't help change my opinion of this song. "Raymond's Road" I like much better, these guys really played like there was no tomorrow. Alan Park's organ and Ricky Gardiner's guitar playing is just off-the-charts wild and insane. You'd never knew they could play like this if hearing Waters of Change. "Memory" is much more original, and I think the band realized it would be better going on in this direction (as proved with Waters of Change). It's by far my favorite, but I wished I wasn't so short, or the band concentrated on original material on the rest of the album. "Poet and Painter" and "Passacaglia" are much like most of the album, mainly focusing on rocked-out-versions of classical. I guess the music on this album, for the most part, is no worse than Ekseption, except you don't have to deal with cheesy horns, and it's much more intense and aggressive. Imagine if the band stuck with strictly original material and went for that same no holds barred approach or perhaps focus on more obscure and less mainstream classical, I'd rate this as a masterpiece, but as it is, their choice in mainstream wasn't the best idea. It's no wonder the band ditched copying The Nice for something more original after this album. "Sarabande" and "Think" are bonus cuts from various CD reissues and comes from a non-album single they released in 1971. Let me tell you this is an improvement; they ditched copying the Nice and go for something more in the line of "Memory" here and it works! So, Act One is not a terrible album but you'd be advised to go check out Waters of Change first, then Pathfinder, then this one (the rest of their catalog apparently isn't worth investigating).

NORTH STAR were a US three piece out of Philadelphia forming in the late 70's . Last year I had delved into some obscurities this being one of them. Such melodic keyboards played on this album were most definitely inspired by Tony Banks from Genesis and Vocal effect were inspired by Peter Gabriel's vocals from Genesis and the likes of early 80's marillion. The LP recorded in 1985 with the help of the label "Synphonic" is quite a rarity however in 1991 it would be reissued as a CD with Synphonic taking an alternate cover as well. The Leonoard brothers do phenomenal keyboard work and it drives the whole album. 4.0

It's one of the times that I feel frustrated why this band hasn't gained more visibility. Perhaps they are too heavy for the pure prog fans and too jazz/funk/complex for the prog metal fans, who knows. The band's core (which consists of Oliver and Alex Holzwarth, bass and drums respectively) decided to replace Jogi Kaiser who sang on A Sense of Change with Greg Keller and the guitarist Markus Steffen with Wolfgang Zenk. No disservice to the former, but, to my ears, his voice was the weak link on ...Change. Still, the German pronunciation is occasionaly too evident, but overall I think it is a great improvement. So we have a world class line-up on the instruments, but this in itself means absolutely nothing because it is the music that matters. I'll take a stab and label it as prog metal with some jazz, funk and fusion touches. The changes of themes are almost constant, still they gel together so naturally that are mind- blowing. The longest composition barely passes the 7-minute mark, but the guys have crammed so many riffs in them that other bands would spred them in 20+ minute compositions. Unending, thrilling, terrific, to the point of terrifying, creativity. The drums are no less than seminal, the bass grooves at all times over the most complex rhythms and patterns and as regards the guitar I have a soft spot when Zenk goes for clean sound, absolutely precise playing. Everything is so, well, sophisticatedly crafted. I'm not exaggerating the slightest when I tell you this album has set new standards for me. To my aesthetic, only the cover falls short!

Since it is extremely hard to get this album, those confounded streaming services may come in handy for once to listen even that way to this flawless music.

Marc Moulin's third rendering of his compositions using the jazz-rock Placebo support crew--many of whom have remained with him since they started working for him in 1970 (Fissette, Rousselet, Scorier, and Weyer, in particular). New to the crew are virtuoso guitarist Philip Catherine, drummer Garcia Morales, and bass player Yvan de Souter.

1. "N. W." (6:38) a real bass player! Disco-lite drums. And some more dimensional and dynamic horn arrangements and playing. The problem here is that the band feels stuck in (trapped, confined, sentenced to) a warp of "Papa Was a Rolling Stone"-like intro--for the entire six-and-a-half minutes! And the explorations up top are quite minimal. What is Marc thinking with this one? Was this intended for a soundtrack to a Black Exploitation film? (17/20)

2. "Plotselling" (7:37) more music that sounds more appropriate to a soundtrack to a film--a section of coastal driving in which the protagonist detective has to work out some issues in his head--which, of course, would be narrated over the montage and soundtrack music. The usual repetitive left-hand electric piano chords drive this one ad nauseum, but then the muted trumpet, and tout seul drums get some solo time that feels incongruous with "background" soundtrack music. When the rest of the band re-emerges in the sixth minute it is with a different motif: guitars, bass, and horn section accents providing the minimalistic mathematical backdrop to trumpet, and then, synthesizer solos. (13.125/15)

3. "Bosso" (3:20) fast, driving, and dynamic despite still feeling constrained to the production of one very monotonous form. (8.75/10)

4. "Dag Madam Merci" (3:10) now we're gettin closer to the kind of music Marc produced that became so popular among the samplers in the Acid Jazz and Hip Hop world of the 1990s (the sounds that made French electronic band AIR so successful). And there's enough expansion of variety to start feeling like some of Herbie Hancock's early fusion work. (8.875/10)

5. "Hop Hop" (4:32) more two-chord music that benefits from having a Herbie Hancock pop-jazz feel and some nice performances from the collaborators (that are well-recorded, too). Marc's age-mate Philip Catherine's acoustic guitar soloing is not to my tastes but the music has some nice pep to it. (8.75/10)

6. "Tanga" (3:33) the presence of an uncredited accordion is a bit mystifying but I love me some accordion! Marc employs several new, odd synth sounds for his solo injections between the accordion and horn arrangements. Cute but inconsequential. (8.66667/10)

7. "Stomp" (7:35) monotonous bass synth riff with syncopated though-monotonous drumming and very monotonous rhythm guitar chord play, and B,S & T/Chicago-like horn section accents all peppered with annoying synth and trumpet solo riffing leads up to a section with more extended synth soloing (is that a Casiotone?) from Marc. And absolutely no variation or deviation from the main rhythm track from start to finish! Nauseating! (13/15)

8. "S. U. S." (4:22) though still built around a rather stiff, mechanical rhythm track, the light and flighty flute and horn work and flanged rhythm guitar and Latin-funky drum and percussion work make this song probably the most enjoyable of the album! (9/10)

Total Time: 42:37

C+/3.5 stars; an improvement over the two previous Placebo albums--including supported by much better sound engineering and production--there is still something quite stultifying about Marc's compositions that make me feel sorry for the restraints imposed upon his collaborators. I'm rating this up to four stars because of the greatly improved sound quality and slight increase in latitude offered Marc's musicians.

Invisible is one of the most acclaimed progressive rock bands from South America, with this being their debut album. Seeing how well all their albums are received, I was expecting something pretty good. However, while it delivered on the whole aspect of being a good album, it never rose above those standards when I heard it. The album is stuffed with melodic jazz rock and psychedelic prog, and while it sounds good on paper, it didn't click for me. The production and performance on these tracks are also good, but I feel they could've at least put something more exciting into their sound. Sure, at some points they show a performance of really high energy, but they never keep it going for the entire album. Moving on to the personnel, the band's lineup at the time is Luis Alberto Spinetta on guitar and vocals, Carlos Rufino on bass, and Héctor Lorenzo on drums. I personally do not quite like Luis Alberto Spinetta's singing, but his guitar talent makes up for it. I also thought Lorenzo's talent behind the kit was good.

The actual album consists of short tracks (each ranging from two to eight minutes) of varying quality. I felt like I could see a general direction the band was taking their sound, but at times they were switching between heavy blues-inspired songs and soft jazz passages every other song, so it could become hard to truly label them in a subgenre. My favorite song on the album Suspensión, which is a mix of the two different musical forms on the album. It has a very unique and distinctive form of power inside while still taking advantage of the mixed nature in the band's distinct sound. The next song, though it's only two minutes long, is titled Tema De Elmo Lesto, and it's an instrumental jam of fast-paced and quirky drums with hard-rocking guitar parts. The other songs can get quite forgettable at moments, with there being very few charms hidden within them. Especially when the band moves into more folk sections. The first song, Jugo de Lucuma, is still a standout, though. One more quick note, however, is that I appreciate their odd creativity when naming the songs.

In conclusion, I'm sure this band will get a lot better once I listen to their other albums. This is a good album that, while it has problems, could still be interesting to some people. The songs set themselves apart from other artists and find their own direction, so I will give them credit where credit is due. Overall, my rating for this record is a light 3.5/5, but for the Prog Archives system, I'll round it to a 3/5.

Marc Moulin's second studio album release of his keyboard-centric compositions while using the same trio of jazz-rock support musicians and an expanded horn & reed section to help express his funky jazz-rock bordering on Jazz-Rock Fusion musings.

1. "Bolkwush" (4:40) continuing where he left off on 1971's Balls of Eyes, Marc combines Canterbury sounds and stylings with the horn-expanded jazz-rock of American bands like Chicago and Blood, Sweat & Tears. While the left- hand of his electric piano continues to be the main driver in his compositions, the complexity of the arrangements offered his complementary instrumentalists has increased. I still like very much his horn arrangements as well as the drumming and bass play of Nick Kletchkovski and Freddy Rottier, respectively. (8.875/10)

2. "Temse" (4:40) Again, an increase/improvement in compositional complexity is here--as well as Marc's signature synthesizer experimentations (he and Herbie Hancock's Pat Gleeson would've been fast friends!)--but the dominance of the fast repeating two-chord left-hand electric piano playing becomes quite annoying quite quickly: it's too loud, distracting and detracting from the performances of the other musicians! (8.75/10)

3. "Phalène" (7:50) the crowd noises (and sound quality of the recording) betray the possibility (fact?) that this is a live recording. Once again I find myself feeling quite strongly that this song is an experimental working out of one of Marc's mental mathematical problems--one of what I imagine were dozens (for each problem). Were the herd bells really necessary? The horn play is really the most redeeming element of this one. (13/15)

4. "Balek" (4:20) fast-pulsing synthesizer bass open this one, expressing in a two-note pattern, followed by standard, metronomic rock drums. Synthesizer, horn blasts, and electric piano join in along the way with some soloing done by Marc (using several keyboard sounds) and a saxophone. Yet another execution of a possible solution to one of Marc's math-musical ideations. (8.75/10)

5. "Polk" (3:20) finally a fairly loose and predominantly funk-marinated Jazz-Rock Fusion song. Motile electric piano, dynamic drums, congas, and rhythm electric guitar lend themselves to a much more lively, vibrant, and full core over which the offerings of the horn section and other solos (predominantly coming from Marc's keys) can shine. (8.875/10)

6. "Only Nineteen" (3:50) using the same sound palette of instruments (and sounds) as the previous song, the motif explored here feels like a variation on a riff from Paul Desmond's "Take Five" or Billy and Gene Page's "The 'In' Crowd" (or a combination of the two). Though it is lively and uptempo, Marc's electric piano is the dominant instrument throughout--which makes it, for me, get a little boring. (8.75/10)

7. "Red Net" (5:40) a slowed-down variation on the structure and melodies of Frank Sinatra's version of Ervin Drake's 1961 composition, "It Was a Very Good Year." Frank Rottier's drums are so far in the background and the horn section's inputs so minimal that this might as well have been a solo electric piano piece--and I'm just not that big of a fan of keyboard soloing. (8.6667/10)

8. "Re-union" (5:20) a single droning bass synth note opens this one before Marc adds a few more keys to create chord movements to the drone. By the time we're knee-deep into the second minute I'm convinced this is like a TANGERINE DREAM exploration of a BACH organ prelude. Interesting but, I have to repeat a complaint that I registered with another one of Marc's albums: couldn't these experimental explorations of possible solutions to the personal mental musical problems that Marc is obviously inundated (and fixated) with be left to his own private, in-home sessions? I mean, this is exactly the kind of playing around that my brother and I used to do with analog and computer keyboards we began acquiring in the 1980s--but we never felt we needed to publish them as a means to filling out a full album's worth of music! (8/10)

Total time: 39:40

I'm beginning to feel a little cheated by Marc Moulin--genius that he is--for making the public suffer unto his musical musings and experimental explorations to solutions of his mathematical quandaries. Most of the time, the performances of his supplemental musicians seems relegated to expression or extensions of things he himself could do (and would have done)--they feel that superfluous and expendable!

C/three stars; an inconsistent and often filler-feeling collection of renderings of Marc Moulin songs that leave me feeling sorry for the wasted time of the contingent of excellent supplemental musicians hired to deliver them.

An interesting album from creative composer and keyboard experimentalist Marc Moulin on which he surrounds himself with a group of competent musicians--including a full "big band" contingent of horn players--in order to manifest the full blown, three-dimensional explorations of his compositions--many of which feel like outward explorations of his own mental musical brain-teasers.

1. "Inner City Blues" (5:10) an awesome cover (and tribute) to one of the greatest artists and albums of the 1970s. The piano is not recorded very well, but the instrumental palette and unusual vocal performances (and engineering) by Guy Theisen are worth every penny spent on recording this one. (9.125/10)

2. "Planes" (3:01) jazzy and creative instrumental jazz-rock with interesting structure and experimental keyboard sounds and solo styling. Perhaps a little too mathematical and, therefore, simplistic in its construct, it is still quite interesting. (8.75/10)

3. "You Got Me Hummin'" (6:12) piano musings and mental (mathematical) experimentations accompanied by metronomic horns, drums, and bass. Again, this is interesting from a mathematical perspective. The sudden appearance of Guy Theisen's David Clayton-Thomas (Blood, Sweat & Tears)-like scratchy male vocal at 2:20 comes as quite an unexpected surprise. The bass and horn accents get a little funkier after Guy's first go-round, but the song plays out quite like a B,S & Tears song. (8.75/10)

4. "Humpty Dumpty" (2:35) this one has the lightness and sound palette of an early Canterbury Style song (shades of future COS) while the horn section provides accents and counterpoint to Marc's treated electric piano musings. (8.875/10)

5. "Aria" (4:48) This sounds very much like a continuation or variation on the music and theme of the previous song-- using the exact same instrumental sound palette with perhaps a little more creative freedom and volume given to Nick Kletchkovski's excellent bass play and a different timbre coming from the now-reed/woodwind-dominated horn section. Marc's electric piano is still ubiquitous--and he plays a wicked clavinet solo in the fourth and fifth minutes--but I like the dominance of the horns as the presenters of the main melody and several of the front-and-center solos. (9/10)

6. "Showbiz Suite" (7:28) more explorations of the typical Dave Stewart Canterbury sound palette with pretty cool horn arrangements jumping off of Marc and Nick's fairly constant one-chord bass anchor. Here Marc is definitely experimenting with several synthesizer sounds as well as a variety of effects applied to his electric piano. The thing that makes this special--exciting and interesting--is the looser, freer expression coming from all directions: Freddy Rottier's drumming is more enthusiastic and creative, as is Nick's bass play and several of the brass and reeds corps. The three movements of the suite are quite distinctive from one another: each driven by Marc's left hand chord play on his warm electric piano. Too bad the recording of the horns is so scratchy (bad mics?: all of the plug-in instruments seem fine). The group horn arrangement in the final movement is very similar to the style American band Chicago was (13.25/15)

7. "Balls Of Eyes" (2:02) Marc's solo piano musing here sounding like something Thelonious Monk might do just for practice or amusement. (4.25/5)

8. "Oh La La" (1:01) sounds like an excerpt from a live performance in which some full choir is singing over the band's Latin-infused big band Rockabilly. (4/5)

Total time: 32:17

B/four stars; a nice display of musical musings that are imitative variations on common Jazz-Rock and early Canterbury Style sounds, songs, and structures.

— First review of this album —

Sendelica were formed in Cardigan Bay in 2005, with Pete Bingham (guitars and electronics), Colin Consterdine (beats, synths) and Glenda Pescado (bass) but they often bring in guests when the need arises and that has happened again this time with the addition of Santtu Laakso on keyboards ("Chaos") and Calli on vocals ("Requiem For The Planet"). Their music has been described as blending the hypnotic pulse of Can, the atmospherics of Pink Floyd, the motorized proto-punk of Neu, the guitar pyrotechnics of Jimi Hendrix and the otherworldly ambiences of The Orb, but all I know is that every time I hear them I feel I am falling deep inside of a world I am not sure I ever want to escape.

Although this is a mostly instrumental album, it is also the fourth in a series of studio albums examining Man's relationship with religion, magic, myths, himself and the planet he inhabits. It commenced in 2021 with 'And Man Created God' which looked at man's relationship with religion, while 'One Man's Man' was released the following year, and examined the history of Homo Sapiens. 'Man, Myth & Magic' in 2023 explored man's myths and was originally designed to be the final album in the series until Pete Bingham decided it was not the right way to end things which is why we now have this. It contains six songs, but the double vinyl has been set so that each side is a continuous piece of music with Side Two featuring "Let There Be Light" and "Requiem for the Planet" and Side Four is "Chaos" and "Requiem for Mankind".

Lee Relfe has provided saxophone on the other albums in the series, but here we rely on the keyboards and guitars to provide the melodies as the layers of sound cause us to move away from the real world and into a different plane of reality. This is music which must be played on headphones when. One has time to drift into the psychedelic world of the Welsh Wizards. It feels like a musical comfort blanket, with elements of Ozric Tentacles here, Steve Hillage there, plenty of Floyd and some Can for good measure, all of which makes for a very interesting sonic experience which one never wants to end.

Fruits de Mer continue to be one of my very favourite labels, and Sendelica one of the standout performers on it, and long may their relationship continue. If you already know the band then you are aware of what this will be likely, and if not then you have something to look forward to and enjoy.

Sendelica have created a mighty reputation over the years with their highly improvised albums which create wonderful soundscapes, but when they started working on this in 2019, they decided to undertake a different approach, with just the members of the band being involved, Pete Bingham (guitars and noises), Colin Consterdine (beats, keyboards, electronics), Lee Relfe (sax) and Glenda Pescado (bass). Gone were the weekend sessions and instead they worked together to create something special, which then continued through the lockdowns of 2020, with everyone working remotely. The result was a double album, which as normal has already sold out from the label but may be available through other outlets, and is 76 minutes long, with Elfin Bow guesting on "Seren Golawr".

As with their other albums, this is music which enfolds the listener, wrapping around them so that nothing else exists, the world is the music, and the music is the world. The keyboards are often dominant, with the guitars adding other worldly sounds, the sax providing some nuances and the bass keeping it somewhat grounded. It is psychedelic, progressive, new age, dreamy, and designed to take the listener into areas of their mind they didn't know existed. One can certainly imagine this being played with a lava lamp lightshow in UFO, and when this is playing time no longer matters as it simply ceases to exist. Yet again Sendelica have created an album which transcends space and time and is something which needs to be played on headphones when the listener has the time to do just that, listen, and not be disturbed.

Quartet Diminished were formed in Iran in 2013 by guitarist Ehsan Sadigh: this is their fourth album, although their debut for Moonjune, and the third with the same core line-up of Sadigh (electric guitar), Soheil Peyghambar (woodwinds), Mazyar Younessi (piano, voice), and Rouzbeh Fadavi (drums) although here they have brought in guests bass guitarist/Chapman stick bassist Tony Levin, and touch guitarist Markus Reuter. The previous albums were all given Station numbers, but here the title 'Deerand' comes from a Persian musical term that means the duration of an instrument's tones. Levin and Reuter need no introduction, having both been at the cutting edge of music for decades, but I think this is the first time I have come across a band from Iran and yet again, if it were needed, this demonstrates just how important Leonardo Pavkovic is in getting world music out to a much wider audience.

Released towards the end of 2024, this album was recorded in just two days at La Casa Murada in December 2022. This 11th century farmhouse located just an hour west of Barcelona, has been converted into a studio by renowned Catalan bassist, composer and sound engineer Jesus Rovira and Moonjune often bring artists together to play in an environment where they can bounce ideas off each other and produce incredible results. That is what we have here in an album which in many ways feels scored, yet there are also areas for improvisation and for everyone to have their say, which is demonstrated in the way that both Reuter and Levin have been given full writing credits.

Only four songs on the album, but the first of these is a four-part suite which is more than 25 minutes long. There is no doubt this is the highlight of the album, a modern classical piece which brings in elements of avant garde, jazz and non-Western influences which take the music in unexpected directions. It is easy for listeners to become used to certain musical phrases, and when hearing music which comes from a totally different background it can be exciting, intriguing, and even a little magical, and that is what we have here. At times the arrangement is simple, allowing space to become a full member of the ensemble, but at others the layers are incredibly complex and tight as the notes weave between each other. There are blisteringly fast runs, or music which is languorous and taking its time as it works through the landscape.

I know Levin and Reuter are inspiring musicians who have very close ties, but for them to come into a close-knit band and then all six record this in just a couple of days is nothing short of remarkable. It is dynamic, compelling, enthralling and exciting all at once, different yet also comfortable and familiar, never stepping too far away from the mainstream yet somehow always being far from it. I have been lucky enough to hear many albums which have involved Reuter and here he is at his most restrained as he ensures he adds to the music without ever taking it away from the others, while Levin also holds back so they both add to the vision without ever making it theirs and moving it away from the concept. This is yet another fascinating release from the Moonjune stable which I highly recommend.

German guitarist Markus Glanz had become disillusioned with his experience of being part of two Metal bands, neither of which panned out, so he took a 2 year break from the industry. Upon returning he was fortunate to meet drummer Stefan Petzoid who had been a part of an early version of DREAMSCAPE. The two just hit it off, being into the same bands and albums. So they started writing songs with Markus' vision in mind. The next key addition was keyboardist Wolfgang Schneider which was huge.

Wolfgang was a Classical composer and player and had won Germany's prestigious MIDI award for composition in Classical music in 1991. So he brings a different flavour than what the duo was going for, but they couldn't pass on him being part of this. A bass player was added and they came up with the unfortunate name of KOYAANISQUATSY. Releasing their debut with the almost equally awkward name of "From The Yearning To Burst The Perpetual Circle". Okay? The band's name is like a saying among the Hopi Indians when someone's life is out of control. How about calling your band OUT OF CONTROL or CHAOS(lol).

But it's about the music in the end, and the music here is fantastic! This really surprised me. That Classical composer really changed their direction adding a lot of orchestral bits that are so impressive. I'm not usually big on Symphonic Metal but this is all instrumental and so well composed. These guys rock hard and the original duo were Power Metal fans and that drummer really brings that sub-genre to mind at times. Mainly this is catchy Metal with plenty of riffs, but adventerous too with some great ideas. They extend pieces a lot, so we get tracks ranging from 9 to 18 minutes after that 3 1/2 minute orchestral opening song.

This is a load at 66 1/2 minutes. The band formed in 1994 and self-released this their debut in 2000. I understand they broke up on New Years Day of 2001 over an incident. No idea. Some nice contrasts on "Memoria" where we get spacey, piano led sections contrasted with the heavy stuff. "Way Of Thoughts" is energetic with riffs early before that calm with acoustic guitar and hand percussion after 6 minutes. That is blown out of the water quickly. Lots of guitar and piano follow. "The Perfect Lie" might be my favourite. The opening atmosphere with distant samples of voices etc. makes this headphone music all the way. It turns more orchestral then we get hit with riffs and power before 4 minutes. Here we go! From here to the end of the song is so impressive. Catchy and repetitive but it works.

"Cosmic Space Dive" opens with piano but how good is this when the tempo picks up with drums and piano leading. Riffs and sweeping orchestral sounds follow but the contrasts of calms and power continue. "Golden Dawn" ends it. An 18 minute ride into the rising sun. This one has it all. Those Power Metal-like soundscapes, orchestral maneuvers on steroids, spacey moods, and the bass is even upfront at times. After 9 minutes we get a similar sounding atmosphere as on "The Perfect Lie" that I described as being headphone music. Like a mini album this massive track.

I will remember fondly my time spent with this one. Especially the times I spun this in the evenings after work. Cranked up, and listening with a smile on my face. A solid 4 stars for this one-off. What could have been.

At this current time, this is the prog album the music community's focusing on right now, especially places like Progarchives. IQ helped to invent and flesh out the general neo-prog sound, and once they perfected it, they lightly played with it in different ways until they pretty much stuck with a specific sound that the fans would like. Truthfully, the short story is that IQ's been practically making this same album for the last 20 years, even though they still sound pretty good. I feel this is confirmed by the familiarity of their previous album which I listened to on this same day as the release of Dominion: Resistance. However, this is also why I consider this an upgrade.

Now Resistance was made up of the basic familiar traits of any IQ, or standard, neo-prog album with some healthy melodies and vibes, but the album was stretched out to two discs, and not in the optional way like The Road of Bones was. Dominion, however, is only one disc, and it also recollects some more familiar neo-prog traits and tricks that we may have heard before, but all together creates something a bit more eclectic than Resistance. The also recollect their taste for contemplative examinations of death, which is something they've been doing since the early days. Even the sole 20-minute track carries a bit more tricks and whatnot that help differentiate it from the last album. As well, there seems to be a stronger take on more progressive tectures, complete with stronger symphonics as well, so this doesn't take the blatant metal edge like many of their recent albums did.

This may be a familiar album, but it's also an enjoyable one. It makes for a good introduction to many of the things that make neo-prog tick, and even though it's a but familiar for a band that's been pioneering the genre they invented for 40 years, this one also shows that they still have plenty of spirit and life left. If anything, this has plenty of spirit which might make up for the generic elements.

The conclusion, or rather, resolution of the King Crimson dilemma during the 80s comes with 1984's 'Three of a Perfect Pair', the final album released by the four-piece band before its disbandment that same year, and an album that completes the virtual "Hegelian triad" within the group's discography. This is the tenth studio album from Robert Fripp and his compatriots, and of the three records released during the 1980s, this might as well be the most musically challenging one, ultimately presenting the two opposite sides making up the music of the band - the accessible and the excessive, the two conflicting directions that have supposedly navigated the musical musings of each and every member of the legendary band. Half of 'Three of a Perfect Pair' is instrumental, while subsequent remixes have seen the addition of a third side composed of bonus material, unanimously known as the "The Other Side" (with the two sides of the original LP being referred to as the "Right" and "Left" sides).

The music on this album generally tends to take up the stylistic thread of the two preceding albums, yet it dares to expand the Crimson sound into an almost-post-punk direction, with some catchy, more straightforward and rather stark entries like 'Model Man', 'Sleepless' and 'Man with an Open Heart', together with that magnificent title track, proving how progressive artists are simply better at writing pop tunes than pop artists are. At the same time, "The Right Side" of the album offers a dramatic influence from industrial music, with its cold, metallic and often alienated soundscapes, these unusual compositions definitely remain some of the most challenging and experimental instrumentals of the entire King Crimson catalog, retaining that ever-crescent philosophy of breaking the musical boundaries, definitive of Fripp's work. Needless to say, that some of the material on "The Other Side" is rather fascinating as well, with the long and winding passages of the 'Industrial Zone' variations being especially lacerating and provocative. This is an album of bold experimentation and strong songwriting, masterful playing and excellent vocal performances, a great way for the band to complete their trilogy of innovation and technique.

In the decade of excess and extravagance most of the classic rock bands of the 70s had been trying to "scrape their way through", to survive shifting trends and to remain relevant in one way or another. The reformed King Crimson had emerged in 1981 with the album 'Discipline' and an updated lineup featuring Tony Levin, Adrian Belew and Bill Bruford alongside main man Robert Fripp, presenting their invigorated and innovative take on progressive music, always with that abrasive and gritty 'Remain in Light' edge, brought on by Belew. This album's success indicated a clear new direction for the band, which went on to release their second album of the decade, 1982's 'Beat', the second installment of the "new wave" trilogy of Crimson, an album taking up the experimental edge of 'Discipline' and twisting it around with the soaring influence of post-punk, pop and avant-garde rock, resulting in an eclectic and brilliantly sharp work, both humorous and absurd.

If 'Discipline' had exhibited an almost-mathematical precision to its arrangements and a very structured, calculated sound, 'Beat' is the album that completely tried to disintegrate this tendency, in a way "negating" the progression. Thematically inspired by the publications and philosophy of the Beat generation, as suggested swiftly by Fripp, according to some sources, this 1982 album is a perfect example of surreal rock music, shapeless and unpredictable, cynical and comical at the same time, cutting-edge and challengingly difficult to enjoy at times, 'Beat' is a record which almost seems to have it all - the edge and the excess of the 80s as well as the ingenuity and mannerism of classic Crimson. The quirky, upbeat opener 'Neal and Jack and Me' sets the tone for this record, while the band explore their pop-sided tendencies with 'Heartbeat'. Instrumental entries like 'Sartori in Tangier' and 'Requiem' present the experimental Crimson, while the challenging and unconventional sounds of songs like 'Two Hands' and 'The Howler' can easily turn into a patience test even to the most open-minded of listeners. All the patterns of this album are equal amounts magical and atypical as 'Beat' presents an unthinkable blend of new wave, progressive rock and avant-garde, with an avalanche of rhythms and gorgeous harmonies. Infinitely interesting work that has remained underrated and overlooked, but no less impressive than some of the band's previous works.

Though I was first introduced to this music via a YouTube posting of the 2005 release with all of MEDIAMOTION's remixes, I decided to go back to the original vinyl for my definitive review.

A1. "Le Saure" (6:00) since this was before sampling existed, I am going to go out on a limb and guess that Marc himself took on the duties of laying down the awesome electric bass track. The rest of the music has wah-wah-volume- pedal-controlled Charles "Skip" Pitts/"Shaft"-like rhythm guitar and piano-like electric piano with a whole bunch of interesting experimental synthesizer sounds parading around on top. I surmise that it is Marc, as well, who undertook the guitar part as it is also uncredited as otherwise. Awesome rhythm track. (9/10)

A2. "Misterioso" (1:43) Marc and Placebo-mates Philippe Catherine (guitar) and Richard Rousselet (flugelhorn) playing an indiosyncratic tribute to Thelonious Monk over drummer Garcia Morales funky/syncopated drum play. (4.375/5)

A3. "From" (3:35) mysterious cinematic music performed by Marc with keyboard maestro Jasper Van 't Hof and Garcia Morales' orchestral percussion support. But who played the STEVE HILLAGE-like "floating" guitars and the autoharp? Interesting and effective--even memorable. (8.875/10)

A4. "La Bougie" (4:14) fast-panning heavily-reverbed electric piano chord play opens this before Marc's synth bass and Garcia Morales' solid, driving drum track establishes a funky and rhythmically-mathematical rhythm track. Here Marc toys around with a synthesizer for his initial leads before giving way to his solo Brian Auger-like (electric? or electrically-enhanced?) piano. Whereas the bass lines offered on some of the other songs must come from a stringed instrument, this one is obvious that it's a synthesizer bass being played by the keyboardist's left hand. (8.75/10)

A5. "Le Beau Galop" (1:58) bluesy piano and trumpet. N'Orleans here we are! (4.25/5)

A6. "Le Blouse" (4:37) a deeply-hypnotic EARTH, WIND & FIRE/BOBBY CALDWELL-like rhythm track that has my sampling-self salivating (I can understand the crowded lineup of Acid Rock and other 1990s and 2000s Hip Hop artists for sampling this.) Everybody will recognize this enticing groove for its presence in slightly adulterated form in "La femme d'argent" the massive hit from French band AIR's downtempo electronic classic 1998 debut/breakthrough album, Moon Safari. Steely Dan-like piano chord hits are peppered effectively throughout the song, over the amazing bass 'n' drum rhythm track, and the bass line is doubled up by a heavily-treated synth "boing! (spring)" sound in the main meaty sections of the song. Marc chooses an odd synth to quietly, almost unobtrusively, lead for the first half of the song, alternating with his "piano" for the choruses and electric piano for the solo in the extended instrumental passage that takes us to the end, but, otherwise, there's not much to this! (8.875/10)

B1. "Tohubohut" (17:20) (35.25/40) a. "Tohubohut I" (5:11) single piano chord hit, water in the tub-or-sink splashing sound, bass drum hits, toms, eventual awesome BARRY WHITE "(I'm Gonna Love You) Just a Little More Baby"-like solo drum track build before the synth bass and synth horns and, later, real trumpet form the meat of the tune. Nice Acid Jazz beat before there was such a thing as "acid jazz." If Bruno Castellucci is this good at imitating the drum patterns of Barry White songs (especially this, Barry's best song ever), it's no wonder that his drumming on Jan Akkerman's 1977 masterpiece, Jan Akkerman seduces me so. (9.25/10) b. "Tohubohut II" (4:09) 90 seconds of synth sound experimentation through chord progression hits, sounding exactly like the work of synth pioneer LARRY FAST on his early SYNERGY albums. Around the two-minute mark the music shifts into a funky Cobham-like drum, bass and reverberating Fender Rhodes groove over which Richard's "distant" wah-wahed muted trumpet solos. Then Marc steps to the fore with his right hand on the piano while his left continues to play the reverb Rhodes chord pattern (and funky synth bass line). (8.875/10) c. "Tohubohut III" (2:10) Richard Rousselet's trumpet soloing in what sounds like animal sounds (predominantly elephant) while something Marc is playing makes warthog grunting sounds--for two minutes! Quite playful, somewhat humorous, but, ultimately, selfish and masturbatory. Not sure I really wanted or needed to hear this! (4/5) d. "Tohubohut IV" (2:07) really fun, oddly-timed, hugely-spaced piano and trumpet hits. It's like performing (or being subjected to) one of Miles Davis disciplinary exercises--the ones that mess with your mind! I have to admit that it's kind of cool though not exactly the kind of music you want to listen to for relaxation, love-making, or background ambiance. (4.75/5) e. "Tohubohut V" (3:40) provides a return to the theme, palette, and style of the suite's opening movement. (8.875/10)

Total Time: 38:46

A lot of the music on this album feels quite experimental. In fact, I'd say Marc was more interested in fooling around with all of the new technologies in sound and sound engineering--especially with his synthesizers--than he was in creating new masterpieces of music that other musicians will want to emulate. It's all for entertainment: for both Marc and his perceived audience. (Witness the bass synthesizer throughout the album.) The music is smooth, funky (but not stanky), and quite serene, never really disturbing or grating. Marc's melody lines and chord progressions are, I'm sure, advanced and jazz-calculated but, like Bob James, they rarely stray outside the average, uneducated listener's comfort zone.

B/four stars; eminently entertaining and futuristic smooth jazz that is powered by Marc Moulin's creative curiosity and his drummers' considerable prowess. Just not the masterpiece other people are claiming (that I was sincerely hoping to find).

After producing only one studio album in the 80s, a couple in the 90s, largely not bothering with such releases in the 00s, and treating us to a couple in the early 2010s, Solstice have put out their third album of the 2020s in the form of Clann.

Did any of you expect that this decade would be the golden age in terms of brand-new Solstice material? I certainly didn't, but Clann finds the group going from strength to strength. Perhaps it's the consistency of the line-up which is the secret sauce which has added a bit more pep to their step, because this is the third album in a row with essentially the same lineup as made Sia, the first of this streak; Ebony Buckle and Dyanne Crutcher have come in to provide additional vocals, but the lead vocal duties still fall to Jess Holland, whose voice has been such an asset over this triptcyh of releases.

What does it sound like? Well, it sound a lot like Sia and Light Up, to be honest - laid-back, Yes-influenced, mellow neo-prog with Andy Glass's guitar work, Jenny Newman's violin, and Steven McDaniel's keyboards providing wonderful textures over the propulsive, tight rhythm section of Hemsley and Phillips. It's not revolutionary if you've been following the Solstice trail this long, but if you're a true believer then you'll probably be glad of more of what the band do best, and if you're new to them, it's as good a jumping-on point as any of their 2020s albums. The band really seem to be getting their flowers at last, and it's grand to see it - proof positive that gentle perseverance and careful quality control can win out in an age of hurry and hustle.

Wishbone Ash arrived on the scene in 1970 already displaying a level of skill and sophistication that they had no right to be able to. Through endless touring of the UK college and ballroom circuit they had already developed a sizeable following by the time their debut was released.

Wishbone Ash shows the band as a fully realised outfit that only needed fine adjusting to the sound that the band would make their own. Driven twin guitar rock with touches of boogie, jamming and progressive rock. Blind Eye, the opener, has always been a favourite of mine and is very spontaneous. Lady Whiskey has a dirty, bassy riff and extended work out. Errors of My Way is quite pastoral and almost folky in comparison and features some lovely twin playing. Queen of Torture isn't melodic enough to hold my attention on too many listens whilst Handy shows fully the talents of Ted Turner and Andy Powell and is often overlooked by fans and has, unfortunately, been missing from live sets for some years. Phoenix is the album's centrepiece as it still is in the band's live shows to this day. Regretably the band never really tried to repeat the songs structure fully.

For what was essentially a bunch of young kids the album shows great maturity and complexity and must be considered as an essential listen to any fan of seventies guitar rock. 4.5 Long live Wishbone Ash.

The debut album from this band from the former Yugoslavia. It's very melodic and ear-candy filled--not unlike the Easy Listening "Yacht Rock" that is becoming popular back in the States at this same time.

Side A: 1. "Dez" (3:55) opening with a driving jazz-rock infused palette, the song is quickly given over to some solo and group vocals rendered in a style akin to Western artists like Spencer Davis Band, Chicago, Blood, Sweat and Tears, Lighthouse, and Santana. The music is slightly simple and rudimentary, as if it might have been one of the band's early works, but it's polished and the solos (guitar) are quite refined. (8.875/10)

2. "Sprehod" (4:45) set up almost like a light, airy song carrying a little bit of mystery in it--just like something from The Zombies ("She's Not There") or The Association. This is, however, an instrumental. It contains some nice melodic electric guitar soloing from Peter Gruden, using a kind of Gregg Allman tone on his guitar, with that hypnotic "She's Not There" groove going on beneath. Nice! Not really jazz-rock or even close to Jazz-Rock Fusion, but it's nice in a Santana kind of way. (8.875/10)

3. "Razmisljanje" (4:40) melodic instrumental lounge jazz-rock (sounding very much like an instrumental cover of some more famous song or melody) with Andrej Pompe's "dirty" electric piano claiming lead position over the smooth and solid bass and drum rhythm track. At 2:45 Andrej takes a background support position behind Peter Gruden's equally- dirty electric guitar--which goes on to perform a pleasing and dextrous HIRAM BULLOCK-like guitar solo. A very pleasing song with some impressive performances (I really like the cohesive, easy-going parity and skills presented by drummer Janez Hvale and bass player Gabriejel Lah.) (9.125/10)

4. "Oaza" (4:45) sax, electric piano and bass open this before the band shifts into gear with a jazz-rock motif over which distorted and gritty saxophone and electric piano solo before Peter Gruden steps in with some pop singing. The klezmer-like chorus melody then gets picked up by the horns and guitar and repeated a few times before shifting back to the motif for the second verse. The instrumental passage after the second chorus has the dirty electric piano carrying the chorus melody forward before pausing to let Aleksander Malahovsky step in with his sonorous saxophone to play out on the top to the song's end. Like a jazzy-pop song from the live band in The Unbearable Lightness of Being film. (8.75/10)

Side B: 1. "Brez besed" (7:20) the guitar tone and sound in the opening seconds sounds more like a Dobro playing some Americana music, but then the full band shifts into gear and we have a pretty nice Jazz-Rock groove that is grounded by some excellent flamboyant funk bass and solid rock drumming. Sax, electric piano and prominent rhythm guitar fall into line with the compelling tracks put up by the rhythmatists, sax and electric piano taking the first two blues-rock solos before guitarist Peter Gruden takes over at 3:45. His John Tropea-like solo is quite nice--quite expressive--and definitely could have gone on longer, but the band feels that it has to stop at a traffic light, wait for permission to move forward, and then decide which direction it wants to go from there. (13.5/15) 2. "Svit" (5:10) long Mellotron intro with percussion incidentals for 90 seconds before rhythm guitar and rest of the band fall into a nice third-gear two-chord groove so that Peter and Andrej can express themselves in solo guitar and solo Mellotron (! Yes: I [&*!#] you not!) Electric piano solo follows in the fourth minute. Overall, the song is fairly simple: about as demanding on the rest of the band as a Zombies song. Pure ear-candy. (8.875/10)

3. "Sled sonca" (5:10) more melodic jazz-rock--here picking up a kind of hypnotic LARRY CORYELL sound playing something CHRIS REA-like that could easily be considered Yacht Rock. The main rhythm track with its own melody is like an island theme from Gilligan's Island. (8.875/10)

Total Time: 35:45

B/four stars; an excellent display of jazzy rock music founded on iconic songs and styles of the British and American hit makers of the late 1960s.

As a request via PM from Julian Martinez himself, He gave me two albums to listen to. Julian Martinez is a very talented multi instrumentalist and very good composer from Argentina.

His new album "LA DANZA DE LA LUNA" is a very experimental piece taking inspiration from the fathers of prog. He also takes vast inspiration from famed composers like Bach and Frédéric Chopin. El canto del bosque (3:49) it gives hints of some of Tim Blake's (aka Moonweed) work on the Moog, synth and such. i love the MediEvil-Futuristic vibe this entire album gives off. Caminos de cristal (4:24) starting off with the piano and multiple synth motifs Julian really does carry himself well as a up and comer of the prog scene. La danza de la luna (4:11) The title track presented the same formula used in the other tracks changing up the chords and notes a bit. he mixes produces and records all by himself, such talent reminds me of the talent Steven wilson displays. Refugio de sueños (2:20) honest interlude for the epic finale of masterful keyboard work.

Viejas sombras (3:49) stunning I must say its great, all of the sounds stack up on each other wonderfully bringing the album to a close. 4.5 great job Julian Martinez!

Some impressive Jazz-Rock Fusion from The Netherlands--this one containing musicians who, surprisingly, have no connection to any of the other renowned Dutch jazz, jazz-rock, fusion, or prog bands.

1. "Fretless Fret" (4:48) a loose, contemplative COLTRANE-like excursion through several slow, spacious motifs that, eventually, lead straight into the next more-developed and far more dynamic song. (8.875/10) 2. "Tiro Tiro" (4:50) there is the strong feeling/presence of Weather Report and, later, in cluding a rather loose passage in the middle that borders on "free jazz" Well composed and performed sophisticated J-RFuse. Perhaps could've used more hooks. (8.875/10)

3. "For You Too" (2:43) sounds like a fun, quirky, pop-radio-oriented attention-getting tune similar to those some of the funk bands (and Weather Report) and artists like David Sanborn, Average White Band, and Jay Beckenstein's Spyro Gyro produced around this time. Light and engaging. (8.75/10)

4. "Matthew Welname" (5:25) using synth bass, flute and synthesizers provided the main melody lines over the top of Frank Noya's synth bass and Nanning Van Der Hoop's proficient drums (which are recorded a little out of sync with the rest of the instruments). With the joinder of clavinet and jazz bass in the second half the band is trying really hard to get into the funk but kind of miss the mark a bit with performances that feel just a bit too-tight (especially the bass). There are some nice performances and ideas here but something just falls short. (8.75/10) 5. "Dune Tune" (3:35) five chord ascending progression around which is built another Weather Report funk tune. The bass synth just isn't working for me, but the drumming here is OUTSTANDING! Nanning has definitely been practicing (and, here: channeling) his Billy Cobham chops! Synthesizer tries to engage us with a solo as electric piano continues playing that five-chord sequence every so often. In the third or fourth minute we finally get some suitable leadership: some excellent saxophone play from Fred Leeflang. This has the potential to be one great Jazz-Funk tune were they to have chosen a lead instrument other than that weird saw-synth. (9/10)

6. "Depression" (7:05) more expert drumming on display as the synth bass fumbles his way over his keyboard trying to find a great melodic riff for the others to key into. So much potential here! Especially with the awesome gifts of Nanning Van Der Hoop's exquisite drumming and Fred Leeflang's disciplined and erudite sax phrases. At the end of the song I feel disappointed for having such a wonderful drum clinic go wasted like this. I am glad to see that of these musicians, Nanning Van Der Hoop managed to have a long and notable career in music. He is obviously quite gifted. (13.5/15)

7. "Go On" (4:54) the Weather Report-like jazz-funk on this one may present the audience with the most fully-formed, fully-developed, and satisfying song on the album. Even weak-link bass player Fred Noya nearly acquits himself of all previous crimes and deficiencies with his nearly-in-sync performance here! Great structure, melodies, chord progressions and key changes. I particularly enjoy the Jay Beckenstein-like performance of Fred Leeflang on the soprano sax. (9/10)

8. "Free At Last" (4:44) a two-part song that rocks, swings, and funks, giving Fred Leeflang the opportunity to show that he is, in the end, just another run-of-the-mill saxophone player: spitting out some truly despicable sounds and "melodies" with his considerable solo time. Too bad, cuz, once again, drummer Nanning Van Der Hoop shines and Fred Noya lays out another passable performance. (8.6667/10)

Total Time 38:04

A collection of very interesting songs that feel quite obviously inspired by Weather Report. It is unfortunate that the exceptional talents of drummer Nanning Van Der Hoop and wind player Fred Leeflang are brought down by the unpolished skills of composer, keyboard player (and co-producer) Peter Schon and the apparently-tone-deaf Fred Noya. There is some great talent here, unfortunately it's disproportionately allocated among the four individuals in the band.

B/four stars; an excellent attempt at some solid Jazz-Rock Fusion that is, unfortunately, marred by inconsistencies and inadequacies. I so want to like this album--due in most part to my astonishment at the skills and performance of drummer Nanning Van Der Hoop--but it's just too flawed.

This debut would ignite the explosion of creativity let off when Vincent Crane and Arthur Brown pooled their creative capabilities didn't leave behind much when it blew over, but this single album is one of the best of both their careers. Wild, uncontrolled, alternatingly crooning and shrieking, putting the listener in mind of both a terrified sinner and the very devil himself... and that's just Crane's organ, though Arthur's vocal performance is just as good. With side one being a theologically-themed epic on the subject of damnation and side two being a fine set of Brown/Crane originals and finely picked soul covers (when was the last time you heard a James Brown track on a proto prog album?), the album's unique fusion of Brown's crazy yet-philosophical lyrics and Crane's dark organ work would never be matched. Such a strange piece but an essential to the psychedelic collection. 4.0 stars crazy indeed.

— First review of this album —

Recorded & mixed at Tonstudio Bauer, Ludwigsburg September 1978 for Amayana Records, this is, unfortunately, the second and final offering from this band of talented, skilled musicians.

1. "Dance Lunatic" (8:49) setting up a Disco-ish Shaft-like jazz-rock motif from the opening notes, the band doesn't really fully serve the song up until the one-minute and then 90-second marks. Bass and hi-hat dominated drums with minimal synthesizer and guitar inputs allow for a broad spaciousness for the swirly, oscillating space synth to float around and the other instruments to add their exploratory accents. Guitarist Roland Bankel takes the first solo. At 3:48 everybody settles back into a late-nite open space motif over which saxophonist Mandi Reidelbauch solos quite beautifully as keys, bass, and guitar add their gentle but effective support accents. around the 5:25 mark the band start to increase their additions, finding a center in a groovy funky pattern while Mandi continues her solo unfazed. At the end of the seventh minute, then, everybody cuts out except for the "distant" "background" keyboard play of Hans Kraus-Hübner. Remember the gorgeous Yacht Rock classic, "Harbor Lights" from Boz Scaggs? This gently, floating keyboard sound, playing style, and mood here is reminiscent of the work of David Paich (TOTO) on "Harbor Lights." Some excellent, disciplined and understated Jazz-Rock Fusion in this song. At times it sounds like PASSPORT, at others SPYRO GYRA or even a little STEELY DAN-ish. (19/20)

2. "Burning John" (4:28) creative and inflective jazz-rock fusion that has just the right amount of funk, jazz, rock, melody, twists and turns to keep it both interesting and engaging. I find this drummer (Max Köhler) to be quite impressive with the way he achieves so much with his incredibly subtle stick play on the cymbals, hi-hat, and snare. Guitarist Roland Bankel gives one of the more impressive jazz-guitar performances I've ever heard. (I am not really much of a fan of the traditional Wes Montgomery and Charlie Christian "jazz guitar" sound or stylings.) (9/10)

3. "Drowsy Day" (4:53) this smooth, spacious, and fairly simple song exists to support the pop-jazz saxophone play of Mandi Reidelbauch--who feels, more and more as the album goes on, like the band's leader and chief composer. (He's not. Those credits go to keyboard player Hans Kraus-Hübner for all songs but the next,) Drummer Max Köhler continues to really impress with his skill for never dominating yet filling all spaces with his clever and constantly- shifting nuances. (8.875/10)

4. "Poly Whole" (3:53) a song that sounds and feels very influenced by the music of both Weather Report and Larry Coryell (among others). The tone used by guitarist Roland Bankel is quite familiar: similar to that of contemporary Larry Carlton and early Pat Metheny. Not as cohesive or accessible of a song as the previous ones. (8.75/10)

5. "Moonfever" (7:53) a two part song, the opening 90-seconds kind of wandering around on the dancefloor before the band settles into a kind of Van Morrison "Moondance" motif over and within which Roland jazz-guitar solos in some more traditional jazz-guitar tones and effects. I like Hans' piano support from beneath--which turns into a full blown solo in the fourth minute as the band turns to a completely different, more jazzy motif with fast-walking bass beneath him. Another 90-degree turn at the five-minute mark, slowing things down for a pretty awesome, if over-extended, space-saw synth solo from Hans--which takes us out to the song's end (a fadeout). Though this is not my favorite song or style exhibited by the band on this album, it is impressively composed and performed. (13.75/15)

6. "All These Nights" (5:23) very spacious, "late night" melodic and contemplative jazz opens this for the first couple minutes, then bass player Max Köhler creates a riff that draws all of the rest of the band members into a cool little "loose" groove. All the while, Mandi Reidelbauch is playing his alto sax up front and center, doing a great job of matching his mood with that of the shifting musical styles and tempos beneath him--which, at 3:36 move into a more vacuum-like spaciousness motif--one that reminds me of the structure of the famous Frank Sinatra version of Ervin Drake's "It Was a Very Good Year." Interesting and, ultimately, another impressive composition rendered with full mood effect. (9/10)

7. "Blue Time" (4:55) spaced-apart guitar and electric piano chords open this one, supported by injections of cymbal play and Vangelis-like synth sax and real flute. Eventually, the song opens up as an electric piano solo piece--one that is floating in and out of blues chords and riffs but never really going full blues. The sound palette, style, and timing of this opening three and a half minutes make me wonder if Vangelis ever heard this song (and borrowed from it) before or during his composition of the Blade Runner original soundtrack. After that it makes a meagre attempt to move into a rhythm-backed slow jazz piece but then fairly quickly disintegrates back into the spacious synth, electric piano, and bass palette and form of the opening--for its ending. Interesting but feeling less "finished" and less creative in its compositional form that the rest of the album's rather impressive displays. (8.75/10)

Total Time 40:14

Excellent sound engineering and smooth-on-the-verge-of-feeling-facile performances makes this music seem so satiny; it's just polished--by a great band of skilled professionals--a band that is on the verge of becoming a producer of Smooth Jazz, BUT they manage to deftly display their considerable jazz skills and creativity enough to keep themselves anchored in firmly in Jazz-Rock Fusion's Third Wave.

A-/five stars; I call this very much a masterpiece of late Third Wave Jazz-Rock Fusion. The skills exhibited by all of these performers feel to me similar to those of a master chef in a fine restaurant: engaging menu, great presentation, delicious, melt-in-your-mouth tastes with subtle yet very-satisfying undertones of flavor peppered with the perfect amount of never-over-done bursts of stimulation and character leaving a wonderfully-long-lasting glow of pleasure and contentedness. Highly recommended.

Every other song is a ballad. La Maschera di cera is one of my favorite bands among the 'newer' ones, and they play symphonic rock in the classic Italian tradition with plenty of melody, tempo changes, and unique elements. This album differs somewhat from their previous work as they seem to have an idea for a concept loosely connected to Le Orme's "Felona e Sorona," or rather, the album is supposedly seen as a sequel. It is not. The album is very scattered, and I miss a cohesive thread. As usual, there is a lot of good here, but the album falls short due to its inconsistency. Of the album's nine tracks, five are more or less ballads, or at least calm songs with vocals accompanied by acoustic guitar or piano. In between, they insert a couple of rockier tracks to keep the album's tempo from stalling completely.

Here are my objections to the album: if we're going to listen to tear-jerking romantic ballads with a lot of heart and pain, I am not the target audience. Don't get me wrong, the songs are good, and the singer performs perfectly. After half the song, the whole group kicks in with the full arsenal of Mellotron and keyboards, and not a dry eye remains. But that's not why I listen to La Maschera di cera, to hear romantic ballads, at least not in five out of nine songs. Historically, the band is at their best when they blend Italian romanticism into their music and write well-balanced progressive rock, where they throw in a melodic tear-jerking ending with the singer performing as if his life depends on it. Here, they have cut it out into separate pieces, and I might as well listen to Adele.

The other problem I find with the album is that the rockier songs lack a cohesive thread. They often start impressively only to become sloppy and unfocused. Take the sixth song, for example. It starts off great, then comes an entirely unfocused part for a few minutes until it rocks a bit again, followed by a pretty good vocal part, and then the song ends. I get no sense of coherence, and it feels more like they have stacked a few parts together and called it good. There is really only one song that resembles their previous way of composing music, and that is the first track. After that, it's mostly ballads and unfocused rock songs without direction. The connection to Le Orme is heard woven into the first and last tracks where they play pieces from "Felona e Sorona," but otherwise, I find it hard to see the connection.

The band's weakest album to date, even though there are many good parts on it. I was very excited about this album since Le Orme is one of my favorite bands. What could go wrong then? Apparently, quite a bit. It's not a bad album, but I have high expectations for this group considering the level they can achieve, as shown on their previous albums. This doesn't feel entirely thought out. I've tried to like this album since it was released, and now, more than ten years later as I write this, I realize that this particular album will never become a favorite of mine.

It's hard for me to believe that it was way back in 2010 that the announcement was made that Mike Portnoy was no longer a part of DREAM THEATER. Of course we all know he's back now, but those years in between I sort of lost what Mike was up to. Yes, the Neal Morse stuff I was aware of, including FLYING COLORS which was a disappointment for me. But this was the one project he was in that peaked my interest. My only concern was the singer who I did not know, and concerned because it was Portnoy who suggested the singer for FLYING COLORS, which was not a good choice in my opinion. And he suggested the singer here.

Well, my concerns were wiped away fairly quickly on that opener. He has such a deep and rich voice, I can't believe he was with JOURNEY. His name is Jeff Scott Soto. We get Billy Sheehan on bass, and Portnoy's former DREAM THEATER mate Derek Sherinian on keyboards. Then add Ronald Jay Blumenthal on guitar. Some may know him by Ron Thal or Bumblefoot. An amazing talent. The DREAM THEATER boys co-produced this record and it sounds incredible. We get under an hour of music over nine tracks. And the opener and closer really set the bar high here. The only two songs over ten minutes although "Labyrinth" is close at 9 1/2 minutes.

We get a trio of string players guesting, with Derek coming up with the arrangements for those. We also get some guest ethnic sounds from Indian percussion and sitar. This album I believe has Sherinian's finger prints all over it. I'm such a fan of Derek's solo stuff where we get some barn storming music that is heavy and often straight forward sounding. Sure this isn't as complex as DREAM THEATER, but believe me it has plenty of complexity. But with the anthemic choruses, harmonies and such, this has a commercial quality about it, no doubt. I just love how heavy and catchy it is.

And sure I believe the not so high ratings on this site for this album have a lot to do with how proggy it isn't. Not a problem for me. Sherinian is not as prominent as I thought he would be but man that organ and the atmosphere he creates with the synths is all so good. Check out the short "Figaro's Whore" where it's all Derek. And the next track "Divine Addiction" where the opening organ kills. Is that title a shot at Neal Morse? Addicted? More like in love. I can relate. There is so much heavy music on here, so impressed with this one. And Ron Thal showed me some stuff on here I wasn't expecting. My appreciation for Bumblefoot only increases the more I experience his talents. You don't need that KFC bucket man, just play.

Flip a coin between the opener "God Of The Sun" and the closer "Opus Maximus" as far as my favourites go. But honestly other than those more commercial sounding moments and tracks, this is such a high end Prog Metal album. Highly recommended from where I sit. And another 2017 release I did not get to at the time. A solid 4 stars.

Steven Wilson's Space Rock Odyssey.

1. Objects Outlive Us (23:19) (25/25) I. No Monkeys Paw. Beautiful way to open the track, really pretty, it's like Floyd mixed with a bit of Harmony Codex and Future Bites. Gentle piece, nice intro.

II. The Buddha of the Modern Age. Some of my favourite vocal work Steven Wilson has ever put to record, that includes everything he did in Porcupine Tree. Gregorian chant-esque, mixing Pink Floyd and the intro of Revealing Science of God by Yes.

III. Objects: Meanwhile. Pure Floydian-Steven Wilson. The guitar playing, the keyboard sounds (maybe lacking in organs and rhodes but regardless), the atmosphere, even the Harmonies (which PF could never replicate). The verse is catchy, the chorus mixed Hand. Cannot. Erase. qualities and Floyd-esque mood, a little bit of complexity, and cool yet subtle use of Saxophone.

Also, Andy Partridge (XTC) having lyrical credits here is really cool.

IV. The Cicerones Nice little guitar part, feels like something off Deadwing or even Hand. Cannot. Erase again. Mellotrons to give that old prog feel to go directly into...

V. Ark. A vocal focused bit, almost polyrhythmic. Love the lyrical flow, love how Steven executes this part. Gorgeous, production holds up really well too. A bit of heaviness, a bit of beautiful harmonies... what's not to love?

VI. Cosmic Sons of Toil. A little space rock / jazz fusion focused prog in this bit. Steven has a way of phrasing guitar parts, sorta Floyd-esque but... it's also like Fripp-esque too. You get this Floydian Jazz bit with the Fripp like weirdness. Great part, love the angular nature, love the keyboards here.

VII. No Ghost on the Moor. Reprising 'No Monkeys Paw' Lyrics and 90% musically, just add some slow drums. Really nice way to tie the epic together. Once again, strong ties to HCE, TFB and THC.

VIII. Heat Death of the Universe Reprises the opening with even more emphasis on the Floydian (DSOTM or The Wall-esque) Space Rock elements and production. Beautiful way to close off this epic. Very Floydian, really spacey, awesome guitar solo. This ends so ominously too, spacey string section, creepy, fitting for the mood of the album. If you like Pink Floyd, this is the closest you will get in the 21st Century. Period.

2. The Overview (18:48) (19.5/20) I. Perspective. Trippy, Electronic Rock, a little bit of the Dark Side of the Moon and Sky Moves Sideways elements. Really cool, but this is the only part of the album I find overstays it's welcome. Creative though! Reminds of stuff he also did on his previous solo album 'The Harmony Codex', a little more Tangerine Dream influence. As much as it's not my favourite moment on the album, how much does this differ from the opening of Time on DSOTM? Plus, it's part of the concept and has cool keys....

II. A Beautiful Infinity I. Beatles-esque with the Classic Wilson Floydian touch. Reminds me a little bit of Porcupine Tree's 'Stupid Dream', cool space-oriented lyrics, Floydian Guitar slides (obviously reminiscent to David Gilmore), strong songwriting.

III. Borrowed Atoms. The closest thing you'll get to Pink Floyd harmonies in the 21st century. Period. It's 'The Great Gig in the Sky' musically and 'Goodbye Blue Sky' vocally in the 21st Century. Very pretty.

IV. A Beautiful Infinity II. We return to the Beatles-esque feel of A Beautiful Infinity, really beautiful like I said. Strong hints of the Psychedelia that inspired SW so much. Definitely something worth reprising. Slightly rough transition, but you may end up getting used to it (it's just a tad abrupt).

V. Infinity Meassured in Moments. Mixing the Tangerine Dream qualities, spoken word, into a more prog drumgroove. It's also weird how I can compare this to Dukes Travels in ways. We get some more great vocal work, followed by a truly electric Adam Holzman solo. The sequencers, the guitars, the sounds and fx, the drums, everything. Absolutely incredible. One of my favourite moments Steven has written in his career.

VI. Permanence. Richard Wright-esque chords, Saxophone, the mood, the way the keys sound... I love every moment. A little bit of Floyd, Jean-Luc Ponty, and just mood music. Some of the most serenely gorgeous 3 minutes ever put on a Steven Wilson record.

Total: (44.5/45) = 98.89% Grade : A+ Favourite Track: Objects Outlive Us Favourite Section: Infinity Meassured in Moments.

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So! The Overview... This is the Pink Floyd record that Pink Floyd never made. This is Animals meets Wish You Were Here, mixed with a little Tangerine Dream, Yes, Crimson, and some Jazz elements to keep you entertained.

Listen, if you are going into this thinking this is gonna be "The Raven That Refused to Sing" or "Grace for Drowning" or even "Hand. Cannot. Erase" you'll be disappointed. This is Steven's attempt at a Space Rock album and he made it clear that's what this album will be. 'Objects Outlive Us' is taking more from Floyd directly, more comparable to something like "The Sky Moves Sideways", a little bit of the classic Yes/Crimson influenced prog in there too. While the Title Track took from Psychedelic Rock like The Beatles, the 70s Floyd sound, and emphasis on the Harmony Codex "Tangerine Dream" qualities as well.

This is both an attempt to make a modern Floyd record, and recapturing a ton of Steven Wilson's career all on one disc. At a concise 41:44, this album doesn't waste your time... it just delivers exactly what's intended. My only real critiques are that a small few of moments feel cut and pasted together, like there wasn't enough time to write a proper transition (most notably A Beautiful Infinity II into Infinity Meassured in Moments), and how long 'Perspective' drones for.

Absolutely astounding record. The closest I've come to giving an album a 10/10 review so far.

PA Rating: 5 stars - Essential: a masterpiece of progressive rock music.

Motorpsycho is one of the most prolific bands in the modern prog scene. They're not quite King Gizzard, but they're not terribly far off, either. Including a handful of collaborations, their 2025 self-titled is their 28th full-length release. They've demonstrated a lot of range, both across their career and on individual records. Their 1991 debut is primarily a stoner metal album, for example. I wasn't introduced to Motorpsycho until their sprawling 2017 album The Tower.

Motorpsycho sees the now-duo take an approach somewhat similar to The Tower. This is a long record with a few songs where the band really stretches out. Textures are rich, dreamy, and psychedelic, but flashes of heavier stuff crop up every now and again.

Kicking things off is the nearly-11-minute "Lucifer, Bringer of Light". It's got a jumpy energy, and the buzzy and jangly guitars call to mind many alt-rock acts of the '90s. The rhythm is insistent and unflinching, channeling many krautrock and krautrock-adjacent acts; it's a strong complement to the lightly-folky guitar and vocal passages. Much of this song's midsection is occupied by an extended guitar solo. It's strongly in the vein of many classic psych acts, in that it cultivates an astral atmosphere. It can both serve as great background music and hold up under scrutiny.

"Laird of Heimly" is entirely psychedelic folk, with squonky synths burbling in the background. The occasional string embellishments and distant percussion give this cut a dreamlike atmosphere. In contrast, "Stanley (Tonight's the Night)" evokes the melodic hard rock of the mid-1970s. It's upbeat, catchy and fun. Maybe it's not the most experimental thing they've written, but it's simply a solid piece of smart songwriting.

The band dips into an off-kilter, bluesy guitar lick for "The Comeback". The guitars feel oh-so-slightly askew, but in a very controlled way, and that oddness helps elevate this song. "Kip Satie" quiets things down. This is a short, mildly creepy piano interlude that offers some breathing space and really helps with the flow of the record.

Their next long song, "Balthazar", kicks off with a pair of strange, monophonic synth lines. The specific tones and unusual patterns played call to mind certain strains of medieval European music, like one might hear from Gryphon. That soon fades away, though, and gives way to another relaxed and groovy psychedelic guitar line. Those odd, blaring synths reemerge briefly, and the blending of those two elements is an interesting experience. Much like Motorpsycho's opening song, this piece can be enjoyed either as spacey chill-out music or as something more actively listened to. Its conclusion is especially grand and triumphant-sounding, and the gradual increase in intensity is effective.

"Bed of Roses" has a creepy, groaning vocal line. Processed strings and acoustic guitar add to the haunting feeling.

Following that brief interlude, "Neotzar (The Second Coming)" occupies the entire third side of this album. This 21-minute piece opens with eerie, glassy keys and a female guest vocalist. The overall feeling is cold and isolated. Somewhat suddenly, the band jumps into their more usual sound. Motorik-inspired rhythms and big, crunchy guitars blast in and take control. Jittery electric piano adds to this section's tension and anxiety

Things drop out rather suddenly, and the song moves into a quiet and atmospheric section. Electric piano and harp lend an ethereal quality. Keeping with this cut's unsettling aura, as guitar and percussion rejoin the fray, it's chaotic and noisy with strong upward momentum.

Launching into the final major movement of this piece, light jazz flavors emerge as the band continues with more high-energy instrumental theatrics. Things threaten to dissolve into pure anarchy at points throughout this movement, but the band clearly knows how to control chaos.

"Core Memory Corrupt" features some nice, bright synthesizers under the guitar lines. Motorpsycho again dips back into the realm of '90s psychedelic alt-rock acts like Amplifier or Screaming Trees. It's melodic, catchy, and?if nothing else?fun. "The Frightened Monkeys" has some nice vocal harmonies and a krautry rhythm, but it is both longer than it needs to be and one of the less-essential cuts here. Had this shown up earlier in the album, I may have liked it more, but by the time this song arrived, I'd heard plenty of similar stuff.

The album ends on "Dead of Winter", which starts on a simple, stripped-back verse. A full backing band kicks in, and the sound is evocative of some '00s indie rock. It's not a bad way to end the album, but in isolation, it's not my favorite of the songs here.

Motorpsycho is a long album, but it's pretty digestible. The songwriting is sharp, dynamic, and engaging, and if the worst I can say about any song is, "it's alright," that makes for a pretty solid release.

Review originally published here: theeliteextremophile.com/2025/03/24/album-review-motorpsycho-motorpsycho/

Steven Wilson has described his new album, The Overview, as a return to longer-form writing. I'm not sure "return" is necessarily applicable here. Even To the Bone and The Future Bites had one song apiece that pushed 10 minutes. Though I suppose if he's talking more specifically about songs long enough to cover one whole side of an LP, it has been a while. The last one of such length was "Raider II" off Grace for Drowning in 2011. And this is the first album to feature two such massive songs since The Sky Moves Sideways (though disc one of The Incident is billed as one hour-long song cycle).

This is also the first Steven Wilson solo album in a while I've gone into with good hopes. He has explicitly cited Tangerine Dream and Pink Floyd as influences he channeled here, as well as stating that the concept of The Overview is well-suited to progressive rock. (The concept behind this album is "the overview effect," where astronauts viewing the Earth from above often report overwhelming emotion and a strong connection with all of humanity.)

The first half of the album is the 23-minute, eight-part "Objects Outlive Us", which was co-written by Andy Partridge of XTC. Opening with some wispy, echoing falsetto vocals, things coalesce slowly, and the second part has a touch more urgency. Piano underpins a steady marching rhythm, and multilayered vocals add to the building tension. It grows louder and more oppressive before suddenly cutting out, seemingly evoking the growing weight of G-forces before arriving in a zero-gravity setting.

Pink Floyd is indeed a very obvious influence in this song, but it's all run through the filter of Wilson's songwriting style. Wilson has always drawn heavily from Floyd, and part three gives me strong echoes of Porcupine Tree circa the turn of the millennium. This phase then shifts into a heavier passage, and I really like the guitar tones here. The riffs are irregular and exciting.

Near the midpoint of "Objects Outlive Us", things quiet down, and piano and acoustic guitar again take the lead. As more textures enter, it lends the song a trancelike, hypnotic quality. Wilson again pulls off a powerful buildup before pulling back and letting blooping synth patterns push things along. There's a wiry, bluesy guitar solo that contrasts against the space-age retro-futurism of the backing in a really interesting way.

Heading into the final leg of this opus, Wilson revisits the subdued themes of this song's opening, underscoring the thesis laid out in this song's title: the persistence of things. A stretched-out guitar solo occupies most of this song's conclusion, gradually fading into an anxious swirl of effects.

The 18-minute, six-part title track comes next. Opening on radio static, it quickly shifts to bouncy electronica with outer-space words being narrated over top. Here are those Tangerine Dream influences he mentioned! This passage goes on for a bit longer than it needs to, but it's not too terribly dragged-out. The shifting textures beneath the narration do give this section some dynamism, and it does a good job at setting the tone. 

Part two starts as an acoustic song with a simple rhythm, and the Pink Floyd influences are again obvious, especially in the guitar flourishes. His vocal melodies are strong and catchy, and this is a good synthesis of his more pop-oriented writing with some of his prog influences. There is some nice twang here and there in the instrumental backing that I'm not sure I've ever heard from Wilson before. The mood is overall mellower and dreamier than on the prior epic. This piece takes its time a bit more, and that's a nice contrast between the two sides.

The opening narration reemerges, but this time the backing is more a blend of rock and electronic influences, rather than diverging into one or the other. After one last reprise of the preceding section's chorus, the song pushes into an ascendant, interstellar guitar solo.

There's an unexpected hard pivot to a rather sunny, bouncy section led by biting bass and punctuated by handclaps. Despite how different it is from the preceding passage, it fits in perfectly, and it serves as the backing for an exhilarating synthesizer solo. Delicate guitar and ukulele arpeggios evoke twinkling stars as things fade out.

"The Overview"'s final passage emerges from this void with gently wobbling electric piano and distant saxophone, calling to mind the emptiness of space. This resolution feels somewhat anticlimactic. Had, perhaps, this been shorter and flowed more immediately from the preceding passage, it may have worked better. But as it is, it simply lingers too long for my liking. That said, it's a fairly minor overall quibble.

It's nice to have Steven Wilson making music I like again. Where The Harmony Codex saw him bridging his electronic and rock influences, The Overview is where he has jumped fully back into prog. Who knows how long he'll stay there, but I'm enjoying it while I can. The two huge tracks here are both smart and striking, with distinct personalities. I've got minor gripes with each, but on the whole, this is quite the strong release.

Review originally published here: theeliteextremophile.com/2025/03/17/album-review-steven-wilson-the-overview/

Oh boy! Jethro Tull is back with a new album. I gave their last two releases middling-to-lukewarm coverage, so I didn't exactly have very high hopes for Curious Ruminant. Overall, though, I was pleasantly surprised. They leaned hard into folk music, and the album is mostly a success. It's not going to be a contender for my album of the year, but if you're looking for some decent, proggy folk rock, this is a good choice.

Curious Ruminant starts with "Puppet and the Puppet Master". Its opening passage is peppy and folky, with ample acoustic guitar and accordion. This is better than most of the band's recent output, and it strongly calls to mind Tull's output in the mid-to-late 1990s. Anderson's sing-talking isn't great, but with the state of his voice, this is really the best he can do.

The title track comes next, and it slows things down. There's a steady, crunching guitar line, and Anderson's flute playing is great. The band does a good job at keeping things tense, and this is more reminiscent of something off Broadsword and the Beast. I also like that the band's new guitarist has more character to his playing than the last one. He's still no Martin Barre, but it's an improvement. Despite everything positive I have to say about this song, it doesn't need to be six minutes long. Four-and-a-half would have been fine.

"Dunsinane Hill" returns to a folkier sound palette, with flute and accordion taking the lead in its opening. It is, however, also a step down from the prior two songs. Its glacial pace and unsubtle sing-talking makes me think of certain Roger Waters-penned songs. In its second half, the instrumental backing gets a bit more interesting, but this still isn't my favorite cut on the album.

The band returns to their '90s sound on "The Tipu House". It's a fun, high-energy cut, and I especially like the dark and swirling chorus. In contrast, "Savannah of Paddington Green" is a slow, sweet acoustic song. It's not bad, but it doesn't do much to stand out. Ian Anderson has written a lot of songs that sound like this one.

"Stygian Hand" sticks with the overall sound of the preceding cut, but it's got a lot more pep in its step. Mandolin, accordion, and flute give this cut a strangely pirate-y vibe, but it's not goofy. It's just got that "vaguely old-timey British nautical" feel to it, if that makes sense. However, it probably could have been trimmed down by about a minute.

The mood on "Over Jerusalem" is mellower and more whimsical. It's also a bit sappy, and the melody is somewhat awkward and unnatural. This isn't exactly Tull's strongest work.

"Drink from the Same Well" is the band's longest song since A Passion Play. (It clocks in two full seconds longer than "Baker St. Muse"!) The opening passage is a classical-influenced bit of piano, flute, and bass, and it's a pleasant instrumental moment. That introduction is followed by some bouncy folk flavors with the occasional bit of new age-y ambiance. It's pleasant enough, but some of this drags on for longer than it needs to; parts of this huge song can feel repetitious.

The instrumental first half of this song shifts abruptly to a verse. It's a bit wispy for my taste, but there are some good melodic ideas here. A bit more instrumental punch would have been nice, but Anderson's voice doesn't have the strength necessary for that. He needs the backing to be relatively light, or at least deliberately-paced. 

The second half of this song is unnecessarily dragged-out. Its length could have easily been trimmed to about 10-12 minutes without losing much. It kills the momentum of the album up to this point, and much of it just left me bored.

The final song on the album is also its shortest, "Interim Sleep", a brief spoken-word piece.

Curious Ruminant is both the folkiest and the best of Tull's post-reunion output. They sound a bit more like a band, rather than an Ian Anderson solo project. Anderson's voice is still a major hurdle for the band to overcome. He's learned to work within his limitations, but it's still a limitation. Aside from the overlong "Drink from the Same Well", the songs here are mostly focused and generally enjoyable.

Review originally published here: theeliteextremophile.com/2025/03/10/album-review-jethro-tull-curious-ruminant/

British NeoProg band IQ is back with their 16th studio album release since they formed in the early 1980s. It is amazing to me that four of the band's original quintet of membership return/remain . . . after 43+ years!

1. "The Unknown Door" (22:33) herald-like horns open this one before static-treated television (or radio) clips from old WW II British broadcasts float across the background. Then Peter Nicholls enters using the same voice to perform another lyric using the exact same melodic formula he's used for 40 years. The heraldry horns continue with Neil Durant's typical synth strings chord washes for a bit before other computer-generated (or -enhanced) instruments start to come out of their enclaves. This feels like an opening scene to a Disney film--like Beauty and the Beast or The Lion King--where the villagers or jungle animals all start to appear and congregate while the protagonist introduces the audience to the feel and look (new innovative wonders of animation) of the film. Finally, at 4:40 we have full introduction and, by the middle of the sixth minute, full display of all of the personnel and tricks that the producers/artists have. The thick bass and bass pedals are cool, the Hammond and drums nice (though, of course, quite stereotypic in their "requisite" presence) and the bouncing synth chords are nice while a slightly different, slightly more engaged Peter Nicholls continues his storytelling (of the British bravery and tragedy in the Second World War). At 8:38 the band launches into a protracted heavy prog power section (action and passion, Lads!) intended, I think, to represent the courageous, unbridled energy and resolve of the oppressed Brits in the face of Hitler's war machine. The changes in instrumental sounds are effective--and would be moreso had they thought to change the sound effects on Paul Cook's drums, but, alas! they remain the same as they were throughout the first half of the song. At the end of the thirteenth minute the action/onslaught ends, leaving a quiet patch in which to look over the post-battle wreckage through the morning mist. There are those distant herald horns again (or fox hunt horns). At the 15-minute mark, enter a nice strumming, two-chord David Gilmour "Dogs"-duplicate acoustic guitar motif to create the next passage for the band to build around--and for Peter to continue his narrative--which leads up to a majestic church organ breakout that definitely conjures up the royal monarchy and all that represents. This only serves as a bridge to the next section of impassioned performances from all five of the quintet. And here we here Mike Holmes' lead guitar for what feels like the first time but then, one phrase "spoken" and it's gone: receded back into the maelstrom of thick sound. But this, too, soon ends as the simple keyboard synth "grass" supports Peter's introduction to his summation--before the "I think it's gonna work out fine" GENESIS "Supper's Ready"-like dénouement of the moralistic conclusion of his story in the final two and a half minutes. Of course the song ends with the Regina Britannia church organ, but the effect of nationalistic pride chest-puffing is somewhat diminished by the pastoral guitar, synth strings chord wash, and statement of the song's title in Peter's last pronunciations. (I'm quite surprised that the heraldic horns failed to make a final appearance!) (40.333/45) 2. "One of Us" (3:10) nice Paul McCartney-like acoustic guitar play opens this, setting down the balnket over which Peter Nicholls will sing his "Blackbird" like vocal. Too bad for the entry of the synth wash chords at the one-minute mark: the guitar and voice duet was fully sufficient. Nice work Mike and Peter! More of this! (8.875/10)

3. "No Dominion" (6:25) bombast and the familiar instrumental sound palette we all know and, supposedly, love from 1976-77 GENESIS albums, A Trick of the Tail and Wind and Wuthering. while Peter Nicholls sings about something in the same monotone and ploddingly-pace vocal delivery as . . . always! The ending of the song is quite odd as instead of a buildup to a long instrumental passage with its crescendo and (more) bombast--as it definitely feels as if its going--it just fades out. Mid-phrase. As if the engineer, producer, or band said, "No! No! Enough of this!" and then slid down the volume paddles on the console of the soundboard! Since I don't hear lyrics (they're just another instrument in a song's weave), I can't comment or critique the song based on message, but in terms of exciting, refreshing, or innovative music? There is none here. (8.6667/10)

4. "Far from Here" (12:44) a construct that very quickly lost my attention--receded into the background as "another one of those." The sonic landscape is too thick and murky, the drumming too proscribed and rote, the main chord progressions too homogenous, and the few solos or individual performance breakouts too mashed up within the confines of the wall of sounds' overall murk. And Peter Nicholls melody choices are too borrowed (I hear so much of Jon Anderson's Yes vocal melodies in this song). Even the plaintive piano-based finale is just . . . dull. There is nothing I can store or retrieve from this song for future recalll--nothing that even remotely draws to want to try to do so. Before I can even ruminate if I could do this better--what changes I might make--I have to back up and realize that I would never even deign to give my time such a project. (21/25)

5. "Never Land" (8:16) I like the simplicity and near-spaciousness of the opening four minutes of this. Then the [&*!#] flies: watered down post-Hackett Genesis, gnarled and scuffed by distortion, overly-thick synth walls, and unnecessary bombast. At the same time, I do find myself, for some as-yet undetermined reason, inexplicably sympathetic to this one: the overall effect of the simplistic, straightforward "pop" chord progressions has an endearing emotional effect on me--one that is quite reminiscent of the way PREFAB SPROUT's "Desire As" has always held me under its spell. Thus, despite my inclination to negate this as a standout representative of progressive rock music, I like it! It makes me feel good! (18/20)

Total Time 53:08

Several reviewers have been commenting on the "new" sound or "reinvention" of IQ for this album, but I hear none of this; Dominion is nothing but more of the same solid, well-engineered NeoProg that the band have been turning out over the last fifteen years. I am so glad the band chose to not publish a two album release--with their now-usual "Bonus Disc" of unfinished, unpolished, second-rate cast-offs. 53 minutes of my time spent with this stuff is quite enough; in the past (and with many of today's NeoProg, RetroProg, and "Symphonic" bands [I'm referring to bands like The Flower Kings, Glass Hammer, Antony Kalugin, and Transatlantic here--not to mention all the "all-star" albums coming from Italian artists]), I've dreaded having to wade through the muck and dross of 70 to 140 minutes of music--especially when it never really presents anything new or exciting, so, thank you, IQ, for that small mercy. Despite its merciful length of 53 minutes, I had to spend some time with this album in order to accurately and record my sincere reactions and form my opinions. The problem with me reviewing any IQ release is the fact that I am disenchanted with the repetitious to the brink of monotony presentation of the same limited sound palette over the band's 43 years and, worse, the total and invariable predictability of Peter Nicholls' singing. The lyrics may change but the melodies and presentation is the same, nearly exactly the same, in every single song he's ever participated on. In the end, I do not hear any deviation from the band's formulae. (And I admit: Why should they? It has worked for a long time; the band has a very loyal and enthusiastic following. I am just not one of them.)

B/four stars; another solid and fairly consistent display of NeoProg mastery from one of the sub-genres' oldest and most consistent artists.

Moon Safari creates some of the most soothing progressive rock/pop possible. Plenty of melodies, positive feelings (lyrics), intricate vocals. Before I bought this album at a prog-rock festival, I was mainly thrilled by high band ratings here and their origin, as Sweden has generated an above-average number of prog acts per its population.

The main selling points are rich and often sweet vocals and quite good compositions. Subdued moments are alternated by well arrange keyboards and soloing though there are competent guitar moments and tasty instrumental intermezzos. I understand that positive music draws attention of many listeners and makes them happy. I appreciate the musicianship and inspiration by the band however upon repeated listens, it failed to capture my attention until the end of the album. I guess I miss more plot, dramatic and serious moments. While I don't regret buying this album, I don't consider it exceptional.