— First review of this album —

The Kingdom of a buffalo

I've been listening to King Buffalo for many years, and today they stand as one of the best stoner and psychedelic rock bands out there. With six albums, a handful of EPs, and several live recordings, King Buffalo has steadily carved out a path for themselves, maintaining a solid and evolving sound. The band is always led by their extraordinary guitarist, vocalist, and keyboardist Sean McVay, whose skills as both a musician and composer continue to grow with each release. Alongside him, Dan Reynolds on bass and keyboards, and Scott Donaldson on drums, complete this power trio?each member playing a fundamental role in shaping the band's sound.

Among their impressive discography, one album stands out as a bold leap forward: Dead Star, their third record and also their most progressive. Here, King Buffalo commits to crafting longer and more intricate compositions. "Red Star Part 1 & 2" opens the album with 17 minutes of mantric, meditative sound, as the band takes you on a journey through dark and dense space?layers of delay- and distortion-soaked guitars, deep Taurus pedal drones, and looping drums that echo the atmosphere of Obscured by Clouds-era Pink Floyd. At the same time, there's a certain emotional isolation reminiscent of 2112 by Rush, combined with the sheer weight and force of eternal Black Sabbath. It's an album that reveals how far the band is willing to push their sound while still staying true to their roots.

"Echo of a Warning Star" is a more meditative track, driven by vocals that faintly recall Simon & Garfunkel's Scarborough Fair, yet with a unique twist that makes it their own. "Ecliptic" dives into a 70's krautrock vibe, which is one of the most fascinating aspects of King Buffalo?they are unafraid to explore any sound they like, and they do so with substance and confidence. "Eta Carinae" leans more into classic Black Sabbath territory, with a heavy riff reminiscent of Tool, delivering a crushing song with incredible solos and textures. The title track, "Dead Star," feels like a mourning song, almost like a lullaby for a dying star, filled with melancholic and Rush-like atmospheres. The album closes with an edited reprise of the opening track, tying the journey together perfectly.

Dead Star is one of King Buffalo best work , showing their ability to blend stoner, psychedelic, progressive rock, and even krautrock into a emotional experience. It's an album that rewards multiple listens, revealing new layers each time.

— First review of this album —

Here we have the fifth album from Eclectic Maybe Band, a collective organised by Univers Zero bassist Guy Segers who brings together a pool of creative progressive musicians to either play and improvise on his compositions or collectively compose live in the studio, with further work then often taken by Segers later. The physical release contains not only the lyrics for those songs which have vocals but also details who plays on what track which is important given no two songs have the same line-up and there may be as many as a dozen musicians involved in one piece of music.

In some ways it is reminiscent of Øresund Space Collective and their approach to space rock, while the way the music is constructed and brought together is similar to the work undertaken by the late Robin Taylor, except in both cases this feels far more earthy and real with less emphasis on electric guitars and synthesisers. In some ways it feels like the clashing together of multiple worlds with RIO and free jazz on one hand, progressive rock and avant on another, all coming together in an album where one never knows what is going to happen next, and often that includes not only the listener but also those involved in the performance. There are nearly 30 musicians involved in this particular project, and while musically it does fit in well with the imagery conjured up by the album title and photos, it is also out of left field and quite different to what many in the genre are producing and is all the better for that. Overall this is a great piece of work which need to be played on headphones and really listened to, as this is an unusual and jagged piece of work which somehow is also rounded and surreal.

The Nucleus takeover is nearly complete: Soft Machine founder and only remaining original core member Mike Ratledge only participates on two of this album's eleven songs; newcomers Alan Wakeman and John Etheridge make their marks with bells on!

1. "Aubade" (1:51) the addition of guitars, courtesy of newcomer John Etheridge, is a game changer for this band--as demonstrated by this opening duet between Etheridge and Alan Wakeman, another newcomer. Sounds like the PAUL WINTER CONSORT to me. (4.375/5)

2. "The Tale of Taliesin" (7:17) piano arpeggi and symphonic rhythmic accents from drums and bass make this feel like a prog piece from a long-lost ELP-CAMEL collaboration. A three-part suite, upon hearing the fiery electric guitar work throughout the mid-section of this song is just weird (despite Allan Holdsworth's indomitable presence on Bundles): not the Soft Machine I think of when I conjure up the essence as my brain categorizes it. Interesting and well-made; it's very proggy (which is, in my opinion, quite a departure from the Jazz and Jazz-Rock Fusion explorations of the previous eight albums). (13.5/15)

3. "Ban-Ban Caliban" (9:22) establishing itself like a train starting up from a standing/loading position, this song has a foundational rhythm track that seems massive: like a blunt force projectile that has relentless and insidious power. Sax takes the first solo, then John Etheridge's soaring guitar. The song's power and drive is so like that of Jean-Luc Ponty's "Egocentric Molecules" (which is much more familiar to me) from his 1978 masterpiece, Cosmic Messenger that it adds fuel to my theory that Jean-Luc must have been a voracious devourer of music new to the Jazz and Jazz- Rock Fusion world and that he was not at all shy about borrowing ideas from others. Bass player Roy Babbington and drummer John Marshall even gets some shine in the third quarter before keys and rhythm guitar try to step in--but the rhythm section's momentum is simply too much for any interlopers or intruders. Monster song! (18.875/20)

4. "Song of Aeolus" (4:31) the sound of winds, bleeding over from the weather system that was the decay of "Ban-Ban Caliban," this song slowly establishes itself as a slow, emotive guitar-led song that foretells all guitar-centered New Age music of the next 20 years--especially that of Ray Gomez, Hiram Bullock, and Paul Speer. Beautiful if more Adult Contemporary/Smooth Jazz that Jazz-Rock Fusion. (9/10)

5. "Out of Season" (5:32) what starts out as piano and acoustic guitar duet that sounds a lot like the "New Age" music work of David Lanz and Paul Speer--even moreso as the song develops and the other musicians join in--as John Etheridge adds a track of electric guitar to the mix. Again: pretty and emotionally-engaging but a far stretch to call this either Jazz-Rock Fusion or Progressive Rock. (8.875/10)

6. "Second Bundle" (2:37) layered and looped keyboard experimentation that recalls some of the work Ratledge and Jenkins had done with their Terry Riley inspiration. Sounds nice. (4.4375/5)

7. "Kayoo" (3:27) another Five "D.I.S."-like display of percussion play from and for John Marshall. This one has a more defined transition to full-on drum kit play: John exhibiting more Billy Cobham-like skill at presenting "song" and "melody" than on previous solo attempts. Still, however, not a song that really stands well on its own. (8.667/10)

8. "The Camden Tandem" (2:01) John Etheridge's machine gun guitar spews forth a spray of notes to try to match/keep up with the snare play of Mr. Marshall. In the second half he pauses to inject some blues notes, chords, and scales before the two go off into machine gun territory again. (4.375/5)

9. "Nexus" (0:49) a bombastic lead in to . . .

10. "One over the Eight" (5:25) a funk jazz tune that Roy Babbington and John Marshall lead the band into so that Alan Wakeman can blow on his ultra-cool reverb sax. Etheridge and Jenkins's support is strongly aligned with what the funk requires as Wakeman kills it with his sax. If only Sanborn, Kenny G, and Najee had this kind of support crew--this kind of songwriting--and this kind of presence! What a great song! Makes me want to jump and dance till the cows come home! (9.75/10)

11. "Etika" (2:21) another acoustic guitar composition--this time performed on two guitars, over two tracks, by John Etheridge tout seul. I like the transition into John McLaughlin territory in the second half of the song. Well done! (4.75/5)

Total Time 45:13

The new members have helped The Soft Machine to usher in an entirely new and quite different sound. Here they have taken on a much more symphonic mantle manifesting a sound that is much more aligned with progressive rock than their old Canterbury or even Jazz-Rock Fusion leanings.

A-/five stars; another mixed bag of materiel that has some very new-feeling elements at use (including entering/pioneering the Adult Contemporary/New Age world as well as crossing over into more generic prog territory) but of a very high quality of compositional and performative maturity.

4.5 stars. COMPUTERCHEMIST is the project of British multi-instrumentalist Dave Pearson. A man who has been part of bands since the eighties. He decided to go solo in the mid 00's and has released around 9 studio albums since then. He has had guests helping out minimally in the past but on the two "Signature" albums he released in 2013 he collaboarated with drummer Zsolt Galantai. The first "Signature" release was good, but this second edition is so much better in my opinion.

Part of the appeal on this one is the guitar. It's almost like Dave decided with Zsolt on drums he could focus more on the guitar. He plays bass and of course electronics here too. The result is amazing. I love those guitar expressions that bring to mind RADIO MASSACRE INTERNATIONAL and Manuel Gottsching. Another long one at just under 70 minutes over eight tracks. This is a uniform sounding album which I really like, very consistent. The exception to the "uniform" sound is the opener "Strangeness In 13" where I'm reminded of "Tubular Bells" with that piano sound and style. We do get drums and guitar and some melancholy here.

The next two tracks are incredible and my top two. "Goodbye, Moszkva Ter" where we get more intensity with the drums pounding away as spacey synths and guitar play over top. Really good! "Floor Zero" opens with a sample of a woman speaking over a intercom, like at an airport. Heavy beats and sound take over. I like the drumming here, but man those guitar expressions starting before 4 minutes contain a lot of "wow" moments. "Commution" opens with some experimental sounds from the guitar I believe and whistling? Drums join in and a guitar melody comes out of this. Suddenly piano only but the guitar returns to lead. Synths play the same melody the guitar did earlier as synths and guitar take turns leading.

"Forgotten Memory" opens with sequencers and spacey sounds from the guitar. Drums and bass replace the sequencers. "Smeem" opens with sequencers and more. Almost a bluesy vibe here surprisingly. This trips along with synths and drums, then the guitar starts to solo before 5 minutes. Keys and guitar will take turns leading. "The Needs Of The Many" is all about the beats and pulses with spacey synths over top. Guitar around 3 1/2 minutes to the end. "Bongo In 4" ends it, and the start is interesting with the percussion, atmosphere and more. Guitar before 2 minutes. Just a feel good sound to this one.

This will be part of my "best of" electronic list if I get to it. I'm so impressed with the guitar playing on here, in fact it takes Dave's music to another level.

"Illuminate The Path" is the debut full-length studio album by Swedish progressive death metal act An Abstract Illusion. The album was independently released in July 2016. It follows the release of the August 2014 "Atonement Is Nigh" EP. An Abstract Illusion are down to a trio on "Illuminate The Path" and only lead vocalist/drummer Christian Bergl'nn, keyboard player/vocalist Robert Stenvall, and guitarist/bassist Karl Westerlund remain from the lineup who recorded the "Atonement Is Nigh" EP.

Stylistically the material on the 8 tracks, 69:42 minutes long album continues the atmospheric/progressive death metal style of the preceding EP. The keyboards are still very dominant in the soundscape but the growling and clean vocals also add to the sound when they appear. The guitars, bass, and drums more seldom take the frontseat and often function as backing to the keyboards and the vocals. There are exceptions though and it's not that you can't find strong riffs, beatiful leads- and harmonies, and powerful drumming on the album, but those instruments just aren't the focus of the music. Piano runs and epic and darkly symphonic keyboard atmospheres make "Illuminate The Path" a layered, busy, and massive listen. When you discuss progressive death metal it's always Opeth which comes up first, but An Abstract Illusion sounds only very little like Opeth. Instead I'd look towards the Danes in Iotunn but add more keyboards and a less extreme edge.

Most tracks are long and the album is a continuously adventurous listen. Three tracks exceed 10 minutes in length, "Skeletons of Light" being the longest featuring a 16:20 minutes long playing time. The quality is high for the duration of the album and as "Illuminate The Path" features high level musical performances, and a clear, professional, and detailed sound production it's upon conclusion a high quality debut album from An Abstract Illusion. It's maybe a bit too polished and lacks some bite/rawness, but if you enjoy atmospheric/melodic progressive death metal in the more polished (less brutal and gritty) end of the scale, "Illuminate The Path" could be right down your alley. A 3.5 star (70%) rating is deserved.

(Originally posted on Metal Music Archives).

Sigilu is a experimental/art rock band formed as a duo by Nacho Cuesta (vocals/vocals), formerly of Tierra de Cinco Minutos, and Pablo Saavedra (guitar/drums), from the indie pop band Técnicas Manuales. They currently perform as a trio, including bassist Ángel Boquete (drums).

Although they claim to be influenced by '70s progressive music and Tool, their sound is far from that of a so-called retro- prog band. As can be seen in the opening track, "Neuropa," which kicks off with an explosion of extremely distorted bass and a harmonizing vocal, this is a work with a distinctive and stimulating style, similar to the internationally known "Brutal Prog," where passionate post-rock/metal simmers and concentrates, while downtempo/dub/noise rock/hardcore are seamlessly blended. On the other hand, the vocals are surprisingly song-like, and along with the Spanish singing, can be considered a variation on the symphonic progressive/heavy metal that the Mylodon label specializes in. A band to watch, and a magnificent album, "Beta."

Is it basic to say Dark Side Of The Moon is one of the greatest albums of all time? Yes, but there's a reason, it's because it just is. DSOTM is one of the rare prog albums to have massive commercial success. That alone is good, but the music on it is unreal. It was Floyd's breakthrough album for good reasons, it's one of their most adventurous musically and thematically. Let's go in depth

Speak To Me/Breathe is one of the best ways to start an album. The heart beat with the screams that climaxes into that slow Dorian groove is nothing but iconic. Obviously we have to point of the vocals by Gilmour, nothing less than magical. (4/4)

On The Run is the transition and probably the only track I can realistically take off points, it serves it's purpose, and represents the stress of life fairly well, it's just maybe a tad long for me. (2/3)

Time is time, there's just nothing else to say, it's one of the greatest tracks of all time and you know it. I rarely give attention to lyrics, but this one it's a must. Gilmour's solo is arguably his greatest ever and the fact it's essentially the last time we ever hear Rick's vocals on a Floyd song make this even better (7/7)

The Great Gig In The Sky is obviously one of the greatest vocal performances ever and Rick's piano is nothing but extraordinary (5/5)

Money is the most Rock track on this album, and one of the rare instances of Floyd using odd time signatures. It's great, not necessarily perfect by all means but a good track that everybody knows (5/6)

Us and Them is my favorite, and in my opinion has the greatest chord progression I know. The fact every single chord in the verse uses the note D is genius (8/8)

Any Colour You Like is another transition song and technically the 3rd reprise of Breathe (though less obvious this time). It uses some cool sounds which I like but again it's mostly just a transition (2/3)

Brain Damage/Eclipse is still in my opinion the greatest way to end an album. The chromatic moves in Brain Damage and the epic reprise of all the theme in Eclipse makes this for the perfect finale to a perfect album (6/6)

FINAL SCORE: 40/43 = 93. Easy 5 stars, it's iconic for a reason

A highly creative, sophisticated, and far-more-advanced version of the 1990s' Grunge scene and its Tool and The Mars Volta spawn.

1. "Neuropa" (8:16) What the heck am I listening to? Reprocessed versions of Hendrix solos? Stripped down variations of songs/sounds from countrymates, ZA!? Maynard James Keenan and TOOL's latest expression of their wild, extra- visionary ideas? Whatever it is, they have my complete and undivided attention! And then, suddenly, out of the blue, at the five-minute mark, they go into the deep recesses of TOOL's inner world--a place I didn't know other humans were allowed to visit. Amazing! How do they enact much less envision this stuff? (18.875/20)

2. "Gracias Y Perdón" (5:56) sounds like something from NIRVANA or one of the other Grunge bands of the early 1990s. Very deeply impressive. (9.25/10)

3. "Sagitario A" (6:38) how do they do this? How can they get away with it? How can they so easily, so deftly, switch motifs while introducing entirely/completely new/fresh sound palettes and stylistic themes each time? (9.25/10)

4. "Tribu Virtual" (4:26) the first song that seems to get a little stuck in one universe (this one quite similar to those created by ALICE IN CHAINS, only evolved 30 years on). (8.75/10)

5. "SeñalRuido" (5:49) a song that feels quite conformist to the TOOL universe, despite its (usual) radical motif switches. What imaginations: both structurally (compositionally) but also--more--in terms of sound engineering choices and tricks! I feel as if I'm listening to a Jimi Hendrix of the engineering console: it's all so new, refreshing, and utterly astonishing to me! (9.125/10)

6. "Lloviembre" (5:00) a bare-bones, more starkly-laid out guitar palette that sounds much like Chris Isaak's "Wicked Ways," but then Layne Staley-like vocals and Danny Carey-like drum layout take us to the third minute's transition into guitar-bass-n-drum power trio heaven: like listening to a modern, more sophisticated ROBIN TROWER on heavy psychedelics! (Oh! Robin was on mind-altering substances already? Then he would appreciate this one!) The computer noise finish seems to prep us for the next tune--one that is focused on some of the issues of AI. (9/10)

7. "[i.4]" (5:26) though we start out in a world of simple blues-rock guitar, the technological sound manipulations begin in the second half of the second minute--and they really boggle my mind! What a brilliant (and great) enhancement to the stark guitar world. At the end of the third minute, then, we move into a motif with a base of heavily-distorted fuzz guitar which is then expanded with multiple other tracks of guitars, bass, drums, voices, and effects--piled on! So creative! (9.25/10)

8. "Concursología" (5:22) back to the Grunge of the 1990s yet anchored in the heavy metal of the 1980s (Red Hot Chili Peppers, Metallica) and even 1970s (Black Sabbath and King Crimson). A truly mind-blowing (and mind-bending) song! How, I mean, HOW can they do this?!?!? And then they have to top it off with some sound-bending engineering tricks to bridge us into the next song! (10/10)

9. "Epílogo" (3:16) sounds like HYPNO5E's 2018 master class in cinematic adaptations, Alba - Los hombres errantes. But then the induction of electronic and engineered track manipulations renders it unto yet another parallel yet different universe. (8.875/10)

Total Time 50:09

This band is definitely taking Grunge and Tool-like tech Metal into new dimensions. Their ability to smoothly deceive us into letting them morph and apparate from one style and sound palette to another in the blink of an eye--over and over throughout the course of each and every song--is uncanny: akin to that of a master magician. Apparently, their previous album--their 2017 debut, Singularidad o barbarie was an exhibition of electronic experimentation, but this one is a demonstration of innovative sonic engineering unlike most anything you've ever heard! Beta is definitely an album that needs to be heard! Spread the word! Sigilu is ready to lead you into new and different dimensions of sound (and reality)!

A/five stars; a minor masterpiece of mind-blowingly-creative sound manipulation delivered in a musical style that might be called 21st Century Grunge TOOL-point-three-million-and-two.

I didn't know much about this band despite the high acclaim it has received for its two previous albums and a review of high praise I wrote in 2018 for their 2017 release, Son. I know they come from Ukraine. Whether or not they are made up of refugees living outside of their war-torn country and recording this in the relatively-safe studios of a neighboring country or trying to live and create while still within the hazardous confines of their homeland, I do not know. Achieving the release of an album of this quality, I would assume, would be quite challenging under the latter conditions.

1. "Діти / Children" (7:01) Hearing this beautiful song--an ode to humankind's insidious loss of innocence--I can definitely hear others' references to Québecois (prog) folk singer-songwriter SERGE FIORI. The slow build into progginess for the instrumental middle 90 seconds is what makes it prog. Amazing lyrics. Knowing what Volodymyr and his Ukrainian compatriots have been having to deal with while their homeland is being shredded by war and violence and how the realities of his friends, relatives, and fellow Ukranians must be skewed by the daily psycho- spiritual pressures and predicaments they're placed in only augments the weightiness of these lyrics. And then add into the mix the sincere and genuine feeling Voldoymyr manages to deliver in his singing and we have quite a powerful song here. (14.25/15)

2. "На відстані / At Distance" (5:08) sounds so much like Polish Heavy Proggers BELIEVE and their last couple of amazing albums. Volodymyr definitely has a great singing voice. The lyrics about living in a fog of death (ghosts), fatigue, and numbness are powerful. A nice song that I could see providing the balm of an anthem for his countrymates. (9/10)

3. "Буревій / Hurricane" (6:26) again I am struck by the similarities between Volodymyr's singing voice and those of Collage, Quidam, Satellite, Mr. Gil, and Believe: sometimes lead vocalists Robert Amirian and Karol Wróblewski. Here he uses Nature as a metaphor for the time and conditions in which the horrible effects of war can be left behind, even forgotten: in Nature the hurricane leaves behind . . . Nature. The lead guitar and chamber strings are great but are a bit drowned out by the prog rock mid-section and rock rhythm section. (8.875/10)

4. "Відрада / Refuge" (5:34) though populated with some threads of more delicately-played guitars (acoustic) and piano, the bass and drums--and vocals--still render this one a prog song, though lyrically it's more like a song of longing and future hope--the song has a kind of feel and structure that reminds me of American pop radio songs from the 1970s and 80s--the rock "power ballads" that classic rock and "hair bands" used to "crossover" into radio-friendly domains. A complex and well-designed tapestry. (9/10)

5. "Після війни / After the War" (4:44) sounds like Natalie Imbruglia's "Torn" mixed with Goo Goo Dolls' monster hit "Iris." The lyrics are rather self-explanatory but choose not to touch on the possibilities of scars, bitterness, regret, the need for vengeance, and future attitudes. (8.875/10)

6. "Час / Time" (5:29) powerful and emotional song that reminds me of some of Jimmy Webb's great songs from the 1960s & 70s again superimposed upon by a Goo Goo Dolls-like instrumental palette. How does humankind rise above the endless cycle of war and conflict? Is it possible? It's conceivable but given the way humans are wired, is it even practicable? Yaroslav Gladilin does a great job of grounding the song in rock foundations while the strings and piano move on to more chamber-like embellishments. And yet the song returns, over and over, to a delightful kind of chamber folk foundation (something that reminds me of ARCADE FIRE's classic Funeral album). It's as if Volodymyr & Company have something to teach us! The lyrics definitely flow from the present tense of future nows that was explored in the previous two songs into something more philosophical--about what possibilities lie ahead. Brilliant! (9.375/10)

7. "Істини / Truths" (8:57) piano, acoustic guitars, and strings open this song--a NOT A GOOD SIGN-like piano arpeggio motif--while Volodymyr sings in an impassioned Karol Wróblewski-like voice. The band amps up into a heavier, more full sonosphere in the the third minute with strings enhancing and further amplifying the two chords of the chorus. providing a gorgeous foundation for Volodymyr's public airing of his worries about the same issues I asked in "After the War" and "Time": Can humankind rise above the emotion-based cycles of war: heal the scars, get over the bitterness and regrets, sublimate the strong urges for vengeance and retribution--can they (we) ever achieve a "higher" state of detachment and universal love while still occupying these brute animal human bodyminds? With this heavy prog metal buildup and crescendo of the album's penultimate song Volodymyr & Company are not leaving me with much hope. A powerful song with a great, thick weave and some great guitar and vocal performances. (18.75/20)

8. "Не опускати руки / Don't Give Up" (6:16) the lyrics of this delightful and quirky final song are a bit fatalistic and cynical yet realistically pragmatic: make the most of now for tomorrow you (or your loved ones) may be gone. No, there's nothing new in Volodymyr's message but the music he chooses to deliver it in belies some hope and resignation to the process which does restore some hope. Live! It's life; it's just life, so live it while you've got it. Great song. Great finish--both the big chorus and the gorgeous chamber strings. (9.667/10)

Total Time 49:35

I respect Volodymyr and the band's gift for heart-wrenching Jimmy Webb-like melodies and unexpected hooks while, at the same, enriching and embellishing the musical weaves with layers of folk and classical themes and sounds. The musicians and engineers do a great job delivering some great BELIEVE-like prog rock while accommodating perfectly Volodymyr & Company's unique vision for thickly layered tapestries that are the end result. Mega kudos, señoras and señores! You have truly achieved something remarkable--something historical! Would that it helps you and your peoples persevere and heal!

A/five stars; an exceptional masterpiece of richly-textured progressive rock music that is greatly enhanced by carrying a relevant and meaningful message.

"Extracts" takes us straight to the mid-70s TANGERINE DREAM vibe with its dark, binary sound, embellished with distant reverberating guitar notes. Keyboards rule, followed by deep, ethereal choruses. These excerpts are a taster of her discography. "Interlocutor" is hypnotic, reverberating, and catchy, with its bouncy bass notes. "Regulo 75" with its syncopated pad, metronomic bass-keyboard-percussion, a slow derivation of the Mandarin sound with its dark aquatic sounds; the ending erases the oppression. "Primatonal" is an ephemeral ambient intro bringing the archaic flute to the forefront of the synth. "Shift" for its abrasive crescendo between the reverberating bass and its nostalgic sounds, flirting with JARRE, SCHULZE, and TANGERINE DREAM once again; an underwater finale.

"Corollary" brings a cheerful air to the whirring synths, reminiscent of the mid-70s mandarin era and its fade-in. "Vessel Redux" makes you close your eyes and try to figure out which TANGERINE DREAM track it is. As a fervent fan, I'll let you guess, but the slammed doors are a welcome clue. The sound could last an entire side: metronomic, hypnotic, captivating, Schulz-esque. "Flame" is an addictive electronic melting pot, a synthetic wave following the thread of old sounds with this recent ultrabass chord that makes you sway before the trance.

Brendan Pollard doesn't invent anything new, but keeps the electronic movement going: hypnotic, jerky, and syncopated. A tribute album immersed in the sounds of the aforementioned bands and keeping alive the hope of a revival. An ease of listening adorned with nostalgic technicality with flute, cinematic ambiances, Mellotron and Olympian choirs of the time.