Once very blue moon, a song appears out of the mist and just permeates your mind, humming the darn chorus like a child in a candy store. 'Come to me, my love', as I am a full-fledged sucker for romantic emoting, being a lifelong and devoted Roxy fan. When I heard "Grace", I feel immediately under its spell and fell to my knees in adoration. Now, I have enjoyed Tony Patterson's solo efforts (Equations of Meaning is a classic prog album), or collaborations with Brendan Eyre as well as his recent one with Doug Melbourne, mainly because his voice sort of reminds me of some archangel guy in the earliest days of the Bible.

This album is a collection of nine meaningful songs, deeply emotional as Tony has gone through incredible personal hardship and loss, using music as a healing process, which it certainly always has been. The melodies are scintillating examples of mood, atmosphere and feeling, kept in a relatively simple yet elegant vessel of dense keyboards, electronics and percussives. The focus is not on blazing soloing and braggart instrumental prowess but on maintaining a specific groove, letting the words and voice do the rest. Naturally, with such a seductive voice, the spotlight shines on Patterson's ability to express his inner most pain without resorting to hysterics or overt theatrics, yet in a highly cinematographic, almost film noir feel (a hint is the cover artwork) of underworld cloak and dagger Argy bargy (note: my favourite British word, by a mile), with a sprinkling of mystery, sorrow and seduction.

From the opening chapter "Don't Lose Your Soul", the die is cast, and the journey begins. A swirling lament with sparse instrumentation, the duo create a minimalist platform for some truly soulful world class singing, intense, heartfelt and honest. Soft and gentle, unyieldingly sentimental. The shrilling synth flutter is simply perfect, showing a high level of musicality. With the addition of mellotron, I am conquered there and then. Kalimba-notes emit a distinctive Caribbean feel on "Darkest Hours", a happy go lucky whistler walking on the dock of the bay, palm trees swaying in the nighttime breeze. A cameo piano etude adds a jazzy laid-back serenade to the arrangement, yet the lyrics paint the opposite picture, with torment, despair and sudden solitude in the air tonight expresses with surrender. Brilliant. On "Brighter than the Sun", the proggy pace remains utterly sedate, reflective of having to live under the constant threat of nuclear annihilation that collides with memories where everything looked cheerful and carefree before the tragedy. Suavely orchestrated and symphonic, a sizzling guitar from guest Stuart Colley comes wandering through the haze, brighter than the sun, providing fear and hope in equal doses. A compelling track that somehow comforts profoundly.

Floating on a mesmerizing vocal, "Small Boats" evokes the plight of fleeing refugees risking their lives on flimsy, often overloaded crafts that barely keep afloat, some even sinking with all hands-on board. Escaping persecution, fearing torture and even execution, hungry and afraid, as well as venturing into the unknown. A tragedy of staggering proportions and one faced by this author as a child by courageous parents who fled oppression. Truth is the world was more prepared and organized in 1956 than in the 21st century. Political lack of will and organizational ineptitude are to blame. The beach beckons on "Sandcastles", sonic footprints splashed by the gentle tide, hypnotic and impressive, with a style and vocal that rekindles memories of Sting and white regattas, handclaps in bikinis, daiquiri organ fluttering and the relaxed meandering of leisure and sunshine. Jazzy and pulsating. The mellotron-laced anthem "Grace" is a song for the ages, one that I fully intend to return to for inspiration and perhaps even salvation. If you can't find love in life, at least it can flourish in music. A tremendous anthem of lost shadows, beaming smiles, soaring emotions and an eternal yearning for affection. The genuinely heartfelt vocal is not only first-rate, but it also veers right into the soul like Cupid's arrow of love. Tony knows what a feeling passion really is. Masterful guitar solo by Steve Brown to seal the fate. Back to the sandy shore, crashing waves and squawking seagulls on "Oceans Apart", as well as a connection with "Small Boats", a mournful organ surge pointing at a scattered sadness, an ornate piano in the wavering spotlight. Another impossibly beautiful melody, and the impeccable interweaving of tracks into an entirety of reflection is an ear opener that surely cannot go unnoticed.

Perhaps an ideal James Bond theme of the future, "Spies" has all the dynamics of a 007 thriller, laden with lace, pace, seduction, action and thrills (pussy) galore, occasional wordplay, lots of casino innuendo, friend and foe, morse code PPK, and when the brass kicks in, John Barry must surely be smiling up in Secret Service heaven. The original snippets are clever and clearly an homage. Killer track, spectral? A sonic extravaganza on the finale, "Heal" is the definition of cool, chill music with dense electronics, a relatively minimalistic groove where mood and atmosphere dominate the restoring process, Tony's raspy voice nevertheless elevates easily into loftier sweetness, as the panacea kicks in. Dealing with pain and loss is the price humanity pays for caring and loving, where patience, fortitude, courage and devotion will always rule the day. The cinematic arrangement has just the right amount of pomp and ceremony to find the way to happiness. Eventually?

With sterling production values, profound sensibilities expressed with confidence, and lush melodies so attractive it boggles the mind, we have 9 gorgeous songs, each and everyone a highlight, a precious sonic gem, with enough sonic diversity to keep the listener hooked, lined and sinkered, whatever that means! 5 Patience patients

The re-recording absolutely butchered "Rhayader Goes To Town". The highlight of the song, its deeply memorable chorus (about 1 minute 14 seconds in), was completely neutered in this version. It's one thing for a remix to be indistinguishable from or add little to the original, and another for it to actually make it worse. It's just so lifeless by comparison.

That's basically the extent of my review. Of course if the original Snow Goose never existed and this were the original, then it would be a fine album taken as a whole. But I think it's fair game to judge a re-recording in more relative than absolute terms. I'm taking the rating scale very literally here: 2/5, for collectors and fans only. I listened to it once and will never go back.

As a teenager in the 1980s I was brought up on a diet of awful pop music and hair metal, so I gravitated towards the classic rock of the 70s and then on to prog, attracted by the dirtier sounding guitars and the impressive musicianship. Of course with the demise of Floyd and the apparent selling out of Yes, Genesis and Rush in favour of more radio friendly material I assumed that prog had died before I'd really discovered it and that all we had left was Phil Collins and his Motown covers (so nothing then). I also assumed that Marillion were alone in the Neo-prog world and so into the 90s I started listening to the next best thing (so I thought) - a bit of grunge and as much industrial metal as I could find. I guess its the heavy distortion of the guitars that I liked and I was blissfully unaware of what was happening in the prog world until the early 2000s when I happened across Porcupine Tree. After that I looked for other bands and discovered Experimental metal with Townsend, Green Carnation and of course Tool. From there the entire prog world finally revealed itself to me.

Lateralus was my first Tool album and I was instantly hooked as it had all the ingredients that I valued from distorted guitar to extreme bass, emotionally charged vocals and of course quality rhythm the likes of which I hadn't heard since Santana and the Grateful Dead. It is difficult to say what is most important to me here but suffice to say it really helps that these guys not only write original high quality stuff but they also play like demons. I wouldn't say that Lateralus is an album that needs to be played through but I certainly find it impossible to switch it off not wanting to miss a single beat. The emotive vocals along with the punchy guitar and bass backed up by the superb afro/middle eastern/rock rhythms hold you mesmerized and keep you locked up, all Rapunzel-like, until the start of the final spoken track, Faaip De Oiad where the spell is finally broken. Its almost as if Faaip De Oiad is the final twist of a complex hypnotic spell intended to lead you to the point where you might actually believe what is being said in that final piece. Its a real shame that the final track is somewhat over-acted because it does seem to break the trance and return you to an unwelcome reality. As complaints go, I really was struggling to find anything and settled on this last track as a bit of an over-indulgence.

The listener's involvement in the music is governed initially by the powerful rhythms and dramatic riffs but the final tipping point is the energy and emotion provided by the vocals which are delivered expertly throughout; we are not talking about a once in a lifetime voice here but we are talking about a delivery that does more than it says on the tin. The primary purpose of the vocals are to captivate the listener, not really to tell a story although, they also do that with aplomb, to envelop you in the moment. The progressive nature of post rock and post metal can sometimes feel a little lacking as the music tends to engage with high levels of foreground repetition whilst providing the interesting stuff with the rhythm and the backing instrumentation. A good example is in the track Schism which would appear to be quite standard in structure until you realize that it undergoes over 40 timing changes in less than 7 minutes.

The production of Lateralus is superb and I do find the music instantly accessible mostly because of the interesting drum work from the start and because I love the heavy distortion on the guitars that are pounding out some great riffs. I do accept that many will not find this work as accessible as me and my fellow guitar junkies do but for me this is simply one of the greatest prog albums of all time. Its main weakness, well there isn't one but I do wonder if a little ambience in places would further enhance it but as always I'd hate for them to try it for fear of destroying one of the best albums ever produced. This album is essential to any prog collection and I'd recommend it to the disaffected and angst-ridden of the world as a way to help dissipate or channel those raw emotions.

The aura of mystery and secrecy that forms part of the Tool universe began to build from their debut "Undertow" (1993), an album immersed in an introspective and complex subject matter (hypocrisy, sexual abuse, alcoholism and religious beliefs, among other delicate topics) and developed on an original instrumental base that combines outbursts of rough metal, glimpses of progressive rock and echoes of the grunge wave in full swing in those years.

The appealing proposal of the North Americans flows like a powerful and raw dark force, from the saturated and bogged down guitar riffs of Adam Jones and the heartbreaking and raging singing of Maynard James Keenan, in tracks like the disenchanted and realistic "Intolerance", the disturbing "Prison Sex", the excellent mid-tempo of the anguished "Sober", or the industrial and threatening "Crawl Away".

And on the other hand, the band also showed its experimental streak, still in the formative process, in the hypnotic middle section of the grunge "Bottom" including a Henry Rollins ('Black Flag') phrasing, in the oriental chords of the rough "4°", and above all in the somber "Flood", one of the album's best moments with its very long intro sustained by Paul D'Amour's bass (later replaced by Justin Chancellor) and Jones' thick, delay-filled riffs that lead to an intense instrumental group catharsis.

Maintaining the dense character that predominates throughout the album, "Undertow" concludes with the interminable digression "Disgustipated" that intermingles dialogues, dissonant sound effects and megaphonic arrangements, a sensorial exercise that Tool would also resort to in their following works.

Despite the fact that the evolution of the band made the relative importance of "Undertow" somewhat lag behind, it is undoubtedly one of the first stones on which one of the most experimental and corrosive currents of the progressive genre was built.

3/3.5 stars

Gerald MASSOIS, music with complex arrangements, a mix of instrumentation between the intimate and the epic. Reminiscences on ANGE, JPL on the French side; DREAM THEATER and PINK FLOYD for the concept.

"1939" with the symphonic intro, cinematic air and its dark strings, acoustic guitar and solemn piano, we are in it ready to face this damn war. "The enemies of yesterday" introduces the story unfolding a melodic, energetic prog metal with a beautiful languorous guitar solo; sound passing to symphonic hard-prog with a song made in France that will have to be adopted under penalty of blocking, always this more French and this less because of the understanding. "La bataille de l'Ebre PT1" follows, long instrumental with the guitar and drums in front, Nicolas's captivating keyboard can approach the sound of Léode des LAZULI, that is to say, immense also because the reminiscences on the great DREAM THEATER come to light. "La bataille de l'Ebre PT2" a capella piano with Gerald narrating the departure: 2 minutes for a high-flying progressive space, Gionatan keyboard of majestic PROFUSION, very jazzy-proggy with an emphatic sound. DREAM THEATER, Neal MORSE, on boosted JPL with less space on the voice, more musicality. The vocal phrasing mode explaining the horrors of war and the music back and forth on doubts and advances. A melancholic French prog mode with spleen, metal and playful progressive excursions; a point to explain the similarity with JPL for these enjoyable excursions and the typical voice that can slow down the musical journey, yes it is difficult to sing in our language. "Les trains d'ombres" arrives, smelling good because of the voice the melancholic songs of a certain CHRISTOPHE who would have chosen rock rather than pop. The melancholy of the title with the moving side leering at Death, the grandiloquent final crescendo which 'finally' gives French prog rock its letters of nobility flirting with the intimate and the meditative aspect.

"Une colline sans nom" in instrumental facsimile of 'La Bataille de l'Ebre' for its drifts, between hooks and progressive variations. A typical Breton sound coming from a zither, lute, hang, in short a Hispanic vibration inviting you to travel. The symphonic side put forward that we would like to keep until the end; the wild guitar break in stereo then the keyboard à la RUDESS or SHERINIAN choose. This title brightens up even more before settling again on a wind, a guitar arpeggio, sad beauty of Pierre-Emmanuel in action. Back to the original sound with the guitar solo and the spleen on all floors and the drums typical of a Saturday night ball where Hervé, a fan of prog before his time, passed by; the final vibration at the bottom of the trench. "L'encre des maux" with the explanation of the writings of the future shot, an acoustic on cloying and cruel words, is it better to know in French or hide these words in English? It looks at the famous Floydian 'Wish you' and it is worth it for the anthem of remembrance. "Demain à l'aube" eponymous with the sad intro of the cello announcing an imminent death; a calm space before the storm of bullets, a solemn piece where the voice here blends behind the piano. The voice rises and passes more easily, integrating into the musical framework as it goes. Drama, more emotion with the instruments highlighted, guitar and distorted Hammond putting on a show and giving it the finger to death. One of the brothers is going to die, the music then imposes itself with the rhythmic bass, the syncopated drums to trace a delightful harmonic line. The best thing about this album is the musical emotion that emerges from it, I repeat myself; the cello coming to die in the end like an endless wave. "Les passagers du vent" final title, melancholy in mid-tempo for the memory that remains. A contemplative ballad with Gérald whom I have not often named playing a last beautiful solo, drowned by a last eternal wave.

Gérald MASSOIS dares the French concept album par excellence! origin on PROFILPROG.

"Dionysos" is the second full-length studio album by Polish black metal act Lux Occulta. The album was released through Pagan Records in November 1997. It´s the successor to "Forever Alone, Immortal" from 1996.

Stylistically the material on "Dionysos" continues the symphonic black metal style of "Forever Alone, Immortal", but this time with more focus on the symphonic keyboards. It´s still pretty raw and basic black metal underneath the symphonic keyboards and the vocals are also pretty standard blackened snarling (with the occasional death metal grunt appearing to make the vocals more varied). Although Lux Occulta don´t reach the heights of Cradle of Filth, it´s the more well known British band I´m often reminded of while listening to "Dionysos".

While "Dionysos" is only slightly more professional and interesting than "Forever Alone, Immortal", there has been a lift in quality since the rather amatuerish debut album. "Dionysos" may not be the most intriguing or the most creative symphonic black metal album out there, but it´s overall a decent release featuring a decent quality sound production, relatively strong musicianship, and decent (but not excellent) songwriting, and a 2.5 star (50%) rating isn´t all wrong.

(Originally posted on Metal Music Archives).

The Prog Rogue has been following this band since day one, and I am overwhelmed to admire their ongoing evolution, as each and every album has been a deliberate and well thought out upgrade, in more ways than one. The duo of guitarist /keyboardist Krzysztof Wala and Andrzej Bielas on keyboards continue along their well-defined path of creating a melodic neo-prog version of symphonic rock, a chiseled style the Poles have perfected to the Nth degree (Collage, Believe, Satellite, Albion, and many others ?). Finalizing the line-up is the upfront bass work of Michal Wala and deft drummer Pawel Wietrzynski, with vocalist Daniel Kurtyka (having played guitar with Lizard and Strange Pop).

The seven-part title track suite spans nearly 13 minutes and finds inspiration from a novel by Jan Potocki (written in the 18th and 19th centuries) which was also turned into a 1964 Polish movie. The highly adventurous composition exposes a wide variety of stylistics that go way beyond the perhaps predictable at times neo-prog banner, delving into shades of classical, folk, rock, prog and world music, with a diversity of lyrical topics. No messing about here, the plunge is immediate with a melodic lead guitar leading the way, heavily supported by a constructive bass line, piano tinkling brightly, blooming into the main melody, where the grandiose arrangement shapes into place. No time is wasted in transitioning abruptly into an ambient and reflective mode, where the accented narration is a joy to witness, a ticking clock ominous in its determination. The groveling bass travels into another transition, aided by a choppy beat to further complicate matters, the restraint powerfully effective and hypnotic, as Kurtyka finally grasps the microphone and displays his vocal prowess. Krzysztof Wala decorates the syncopated murmur with a fluid electric guitar line that empowers the sustain pedal to the limit, searing and fiery like a laser beam. Experimental and decisive, the moment is immense. When the second vocal verse enters the fray, the bar is raised to a much loftier level of urgency and really hits the mark. Andrzej Bielas has his piano and synths on full duty, as the epic piece reaches its destination. Lovely entrée!

Billowing massive mellotron choirs greet the vision of "The Sea", another blistering e-guitar foray that accelerates the rhythm section into torrid course-plotting, with propeller urgency in the captain's bullhorn, casting the sails to the wind, as the whitecaps splash against the arrangement's hull. An exhilarating musical cruise, that also features a ripping synthesizer torpedo from Bielas that trashes forward into the wild blue yonder.

Kurtyka can sing in hushed tones as well as bellowing forcefully as is the case on the piano-led "Wrath", a melancholic tirade that suddenly introduces a bullying Hammond organ barrage that adds layers of rage and anger to the piece. Krzysztof Wala then chooses a sizzling fretboard ride to raise the ferocity level even further, dueling mercilessly with a romantic synthesizer caress, an amazing example of extremes. With hints of Argent or Uriah Heep, this is another winning slice of picturesque prog that wanders delightfully into a wide variety of variations, as it injects a series of gentle ambiances that only serve to heighten the contrasts. A most enjoyable form of pulsating madness. Almost the same length as the opener, "Lady in the Glade" takes on a more overt acoustic slant, a folky, sun- shining, golden-haired, eyes sparkling ballad, that has simplicity as its main element. Tingling guitars, gently rolling organ and a voice, perhaps close to an Anthony Phillips vocal piece, pastoral and bucolic, sounding very British. The rubbery Michal Wala bass enters to take a bouncy bow, as the children play in the background, a symphonic synthesizer canopy that provides the necessary shade, comforted by the sublime melody. Staying resolutely in the same atmosphere does not mean the band does not seek out atmospheric alternatives, as both Walas express themselves clearly and majestically. The bells ring out in symphonic splendor, an ode to prog joy that would make Beethoven proud, as the enormous final string arrangement takes this eloquent composition into the realm of greatness.

The last track "By the Barrow" suggests a rather mellow ending, a passionate ballad with a languorous pace, initially mostly acoustic, with a keyboard heavy and splendorous disposition, unhurried as well as fully developed. It's a gorgeous lament that proves this Katowice band's evolution in joining the above grand masters from Poland's ongoing vibrant prog culture.

Perhaps it's now time to reconsider the neo-prog label, as the variety presented here goes way beyond the often stringent and hermetic parameters of that genre. Lovely artwork, amazing sound, polished (sorry!) technical mastery and a most inspirational effort. Their best yet.

4.5 Brown mountains

The most cinematic Opeth album of them all has to be 2019's 'In cauda venenum' and its brooding eclecticism and cosmic moodiness, the band's thirteenth studio album is the creative culmination of the so-called "prog rock era", even if this record remains a work defying any categorizations but inherently progressive in nature, if we have to consider this musical realm. 'In cauda venenum' encompasses a wide range of influences, sounds, moods and recording techniques, it sees the use of various instruments (some of which might not necessarily be typical for a metal band) as well as the wide usage of string arrangements, making it an incredibly demanding listen that shall even challenge avant-prog addicts, for example. Some might see this release as a summation of everything that Opeth stand for as there really is a bit of everything in what is to this day the band's longest album, an expansive listen that transcends genre and structure and subordinates itself more to the likes of a soundtrack or a score.

Released both in Swedish and English, this album ventures into psych-prog territories with ease, capturing some majestic moments of instrumental brilliance, combining lustrous riffage with melodically alluring acoustic arrangements. The immersive use of keyboards and effects adds a further layer of depth to the sound of the album, which would necessitate repeated listens in order to fully consume all that is being "served" here. A good suggestion would be trying out the Swedish-language version first (which is also the original one), perhaps offering the most authentic taste of this esoteric rendition of the Opeth sound. World music, folk music and art rock notches prevail on one of the most delirious, dreamy and memorable releases of 2019, and definitely one of the most consistent recordings from the band. With its evasive melancholic atmosphere, unorthodox sounds and infectiously satisfying shifts between light and dark as the songs' different sections ebb and flow with grace, 'In cauda venenum' deservedly remains a highly-rated album from a band that is free to experiment in every imaginable way; plus, it is difficult to discuss any highlights from an album that should be taken as a continuous whole.

Multi-instrumentalist José Pedro Beledo enjoys bringing in new musicians for virtually every album, so while he provides electric guitar, Spanish guitar, acoustic piano and violin he is joined this time by Jorge Pardo (flute, tenor sax), Carles Benavent (bass guitar), one of my favourite drummers in Asaf Sirkis along with guests Gary Husband (Fender Rhodes electric piano, Mimi Moog) and Ramón Echegaray who provides candombe percussion on one track. Most multi-instrumentalists are skilled at one type of instrument and not so much on others, but while Beledo is primarily a guitarist he is no slouch on the others either. It is interesting to note that there is one traditional song on here, plus four credited just to Beledo but the three songs with Gary Husband are credited to all five musicians.

Here we have a band who are really cooking solidly linked in with Beledo to create jazz rock fusion which is a delight from beginning to end. Sirkis is well-known for his wonderful solo albums, as well as plenty with others, and he has been a member of Soft Machine since 2023, and he revels in the opportunity to either keep it pared back or go full bore. Pardo is not as prevalent as one might expect, with Beledo taking much of the solos and main melody (although Husband is a key player when he is involved). I do need to also mention the stunning playing of Carles Benavent, as this album would be very different indeed if he was not involved as there are plenty of times when he is providing nuances and runs which make it seem as if he is really playing lead, such is the impact. He has been likened to Jaco Pastorius, while he has worked with the likes of Chick Corea, Miles Davis and Paco de Lucía, with the last of these being someone who he has worked with for more than 25 years.

This never feels like a multi-instrumentalist and some hired hands, but instead is a well-honed, well-practiced group of musicians who know what just the music needs and always delivers it in spades.

The Revealing Science of Dominic

This one is really good. I started listening to this guy last year, and his music left a strong impression on me. Dominic Sanderson, a multi-instrumentalist from the UK, draws influence from Pink Floyd, King Crimson, and Genesis, as well as more modern artists like Steven Wilson and Radiohead. He was joined by several talented musicians on this record, some of whom he met while studying at the University of Liverpool.

His latest release, Blazing Revelations, is set for February 2025. Dominic made quite a stir in the progressive rock world with his debut album, Impermanence, released in 2023. The album received great critical acclaim, and he was voted #8 Best New Artist in the 2023 Prog Magazine readers' poll.

Dominic's second album, Blazing Revelations, was recorded and mixed in an abandoned radio station over a period of 10 months in 2024. A labor of love for Dominic and his band, the album showcases an eclectic mix of styles, from symphonic prog to Canterbury excursions and acid folk.

Now, Blazing Revelations is more complex than its predecessor, taking strong steps in the vein of Steven Wilson's first three records while also paying tribute to Genesis's Peter Gabriel-era classics from 1972-1974. The album brings to mind the Refugee record with Patrick Moraz, as well as elements of National Health. It has a vintage, opaque sound that creates an intriguing atmosphere. The four songs on the record flow seamlessly from acoustic interludes and intros to powerful electric passages that add that classic prog touch we all love.

With just four songs spanning 45 minutes, the record kicks off with From the Weeping Cradle, a 12-minute suite, followed by Faithless Folly, a folk-prog track with great rhythmic changes. A Rite of Wrong is the shortest song at six minutes, and the album closes with the grand finale, Lullaby for a Broken Dream?a 16-minute epic filled with solos and dynamic shifts.

Blazing Revelations is a fantastic record?better than everything I've heard in 2024.

God, can the people on RYM stop tagging these dorky AOR albums as neo-prog just because they had a couple other neo-prog albums before? This is absolutely NOT prog, and that's probably the lead reason why this album gets so much hate. Having said that, this doesn't mean it's that good of an album. Likely because the studio told them to focus on radio singles before, the band takes a drastically AOR turn on this album with new wave and prog pop influences molded in the neo-prog influences. And the vocal melodies are the only really good thing about the album. The album goes for dense compositions, but the instruments will often have conflicting melodies that make everything too busy. Add that the to the fact that the production's a little lo-fi and doesn't do the constant reverb any justice, this really makes everything about the album look like a cash grab. It doesn't even touch up neo-prog until six tracks in. You should probably avoid this one. It's very basic. About 58/100 where the last one, The Sentinel, was more of a 68.

"Spectrum Of The Green Morning" was the first release by RETROSPECTIVE back in 2007. It's an under 35 minute EP that they self released. The followup "Stolen Thoughts" from 2008 is their first studio album and they got signed to the Polish label Lynx Records. The album covers for these two recordings have a similar theme but that's where the similarities stop. I'm really surprised at how different these two albums are.

RETROSPECTIVE are a six piece band from Poland bringing RIVERSIDE to mind more than any other band. So lets talk about the differences between their first two albums. The singer on the debut here gets more extreme at times but I didn't think of Eddie Vedder once, while I thought of Vedder a lot on "Stolen Thoughts". The production is much better on the studio album, maybe not so surprisingly. The studio album sounds like it belongs in Heavy Prog, while this EP is Prog Metal. The abrasive guitar at times, the heavy riffs, the more extreme vocals at times, this is much more metal sounding. The studio record is a concept album, the EP isn't.

My favourite song is the opener "Enemy World Vision" and it's my favourite from either of their first two recordings. I understand it was played often on local Polish radio stations. Very RIVERSIDE sounding to start with the bass and guitar but it turns quite heavy after 2 minute. Oh my! Vocals a minute later as it settles. I like the rebel yell later on. Great sounding guitar solo follows. At over 7 1/2 minutes this one is a keeper. The rest are hit and miss but more hit for sure.

I'm not big on the piano/vocal closer. Even though there is some emotion there. "Waking Up In The Zoo" is the longest tune at over 8 minutes. It features some aggressive vocals but these guys always contrast sections well. I like the heavy sound 2 minutes in sans vocals. How about that guitar solo after 3 minutes as vocals return, but more passionate. Love the tribal rhythm on "Regret And Frightened Child" early on, and the guitar lighting it up late. A really good song.

I will be keeping these first two cds from RETROSPECTIVE beside each other on the shelf, as they work well as companion albums including the cover art. And both are 4 star records but not without their faults. And I really have a hard time picking one over the other despite their differences.

Because of historical context, I decided to check out the original 1982 release with some parts of the Atlantis Suite cut out, and I would check out the full version if I was interested enough. And was I interested enough in the end? Mmm, not really. Now these are all pretty decent hard rock and neo-prog tunes on their own. There's energy, there's bombast and the band's obviously having fun with what they do. That last one is probably the most important thing. However, while the instrumentation is pretty good, the melodies aren't very special. On top of which, some of the synthesizers feel a bit noisy and awkward for neo-prog that centers on something like a futuristic Atlantis for a concept. The danger of having synths in the early stages of neo-prog is that the cheap tech may sound like some awkward independent bandcamp dungeon synth releases. I've made this point a little while ago on another album. Although the tunes and synths get better as the album goes along, there's way too much focus on the synths and not enough on the other instruments. I can barely hear the drums sometimes. So in the end, this was pretty standard rock to me, not very special, and not as interesting as it could've been. I don't see any reason to check out the hour-long complete version released eight years later. Slightly better than Pendragon's Kowtow.

Norwegian proggers The Windmill are back with their fourth album. The line-up on their 2010 included Erik Borgen (lead & backing vocals, guitars), Jean Robert Viita (keyboards, lead & backing vocals), Morten Clason (sax, flutes, keyboards, guitars, lead & backing vocals), Arnfinn Isaksen (bass) while both Sam Arne Nøland (drums, percussion), and Stig André Clason joined in time for the second album. It was the same line-up on the third and would surely have been the same on this one, but sadly in the spring of 2018, drummer Nøland was diagnosed with cancer, and he died later that year. The band looked to Kristoffer Utby, who plays with Stig André Clason in Infringement to be the replacement, but although he has played on this release he has now decided to concentrate on that band instead and he in turn has been replaced by Nils Harsem.

Any band who kicks off an album with a 22-minute-long song are setting out their stall from the beginning, saying, "we know we will be roasted by the mainstream rock press but that is not who this is aimed at", which is exactly what they did last time as well. I love the approach, and very quickly am deep inside what is a very enjoyable Neo prog album indeed. They are listed on PA as Heavy Prog, and I fully understand why that is the case as they do crunch guitars, but this is one of those bands who would happily sit in more than one sub-genre, and I am sure the HP team were very pleased indeed to grab them first. Mind you, there are elements when these guys are overtly Crossover so probably it is best to describe them as modern commercial sounding progressive rock and leave it there.

They are not always heavy, there is a lot of light and shade on here, with plenty of acoustic guitars and piano, and one of the joys is not knowing what is coming next. With plenty of singers there are loads of harmonies and polish, and I feel there are more influences from The Flower Kings readily apparent on this release, and a little less Wakeman and Jadis. The flute sounds do make one think of Jethro Tull, but in a modern context and not Seventies (and to be honest, just the use of a flute in prog often makes one think of Tull given Anderson is so ubiquitous).

I have still yet to hear the debut, but I have thoroughly enjoyed the last two albums and yet again we find the Norwegians are taking loads of influences and melding the into something which is incredibly polished and enjoyable on the first time of playing and repeated listenings just makes it better. It has been six years since the last release, but at long last The Windmill are back with yet another delight.

Here we have the fourth in the series of six White Willow reissues being undertaken by Karisma Records. Originally released in 2004, it was their fourth album, and the original seven songs have been remastered by guitarist and bandleader Jacob Holm-Lupo. It was the first album which sold more than 10,000 copies for the Norwegian proggers as they became more metallic and heavier, but the intensity of the sessions had a major impact on those involved, with singer Sylvia Erichsen leaving the band for a few years and not appearing on the next release. "We wanted to create an album that felt like a storm ? a reflection of the turmoil in the world with climate change and political unrest, and also within our own lives," explains Lupo.

For some reason, and I have no idea why, I never heard this album when it came out although I reviewed both 2000's 'Sacrament' and 2006's 'Signal to Noise' when they were released. The album has been officially unavailable for some years, although there have been numerous reissues, so it is wonderfully to finally hear it. I have always been a fan of Erichsen's vocals, and the music here is grandiose, pompous and fulfilling which provides a wonderful backdrop as she rises above it all. There are times when it can be quite driving, others it is almost folklike with plenty of nods to Gabriel-era Genesis, and it seems quite strange to me that this album seems to have been overlooked by many as the most recent review on PA is from 2012. I remember when White Willow were being talked about as one of the new hopes out of Norway, and this album demonstrates clearly why that is the case as although it is immediate and enjoyable the very first time it is played, there is a lot going on and it takes multiple listens to get the most out of it.

The strings are sparing, but when they are utilised, it makes a real difference, and one can tell just how close arranger Tirill Mohn was with the band (she played on their debut), while the use of cello and flutes alongside multiple keyboards and twin guitarists provide for plenty of different musical avenues to be discovered while the rhythm section keeps it nailed to the floor. This is possibly my favourite release by the band, and I do wish I had come across it 20 years ago, and all thanks to Karisma for working with the band to get it remastered and reissued as this is a delight.

Somehow, I missed out on 2022's 'Isosessions', but I reviewed the four albums prior to that and have always been in awe of these Russian musicians who bring together loads of different styles in a way which somehow always makes perfect sense. There is less of the space rock which they were originally known for, although it is still present, while the violin often brings in a folk element, and the listener quickly understands here is a band who are refusing to stay inside any sort of musical pigeonhole but instead go where the muse takes them.

This album contains just two instrumental tracks, a part one and a part two (each slightly more than 20 minutes long), and Ivan Fedotov (drums & percussion), Arkady Fedotov (bass, synth, noises, sampler), Alexander Kuzovlev (guitars), Alexey Klabukov (keyboards, synths, sampler, trumpet, winds arrangement) and Vitaly Borodin (violin, kalimba, sampler) have again used the talents of guest Alexey Esin (tenor & soprano saxophones, flute) who has been on the last two releases as well. This is not a jam band as such, as there is way too much intricacy and duetting between the musicians, but there is the feeling these pieces started out that way and then they honed and worked together to create something which has that live and interactive feeling but also feels very rehearsed while also spontaneous. One of the highlights for me is also one of the simplest techniques they utilise. There are multiple sections here, with the guys returning to different motifs, but five minutes from the end we get a single low rumbling note on the keyboards which then forms the basis for the rest of the track, with pizzicato violin pitched against the drone, and lots of swirling sounds. It is quite mesmeric and compelling, setting us up well for the second song, which starts with picked electric guitar and cymbals, with the melancholic violin slowly coming in over the top.

This is highly atmospheric music and is an absolute delight from beginning through to the end, with a group of guys who trust each other implicitly and head into the studio with no preconceptions but instead know they will come out with something at the end which is often remarkable. Another very solid release indeed.

Lead singer Ruud Stoker and keyboard player Julian Driessen may be the only people still there from the line-up which released 'Louise Brooks' all the way back in 1992, but since the new line-up got together a few years back they have been incredibly consistent with this the third release with the same musicians. The only minor difference is that backing singer Laura Eradus has been allowed to take the lead role on one song, "Lost In Your Mind", and I would really like to hear more of that in the future as she is full of confidence and power, somewhat similar in some ways to a young Tracy Hitchings, although more in approach than sound.

I haven't heard the last album, 2023's 'Contemporary Vintage', but I did review 2022's 'Sygn Yn' and there is no doubt in my mind there has been a significant positive shift since then. Here is a band who have never moved too far away from their Neo roots, often mixing them with a more AOR flavour, and in many ways, this takes me back to the 90's when they were on SI Music (along with loads of other great bands, I do miss that label). One could argue they have not progressed much in their musical tastes, yet there are few bands who can really say to be ploughing this particular musical furrow as they have often moved into very different areas indeed, so it is nice to see a band sticking with what they know. No, it is not truly essential, but at the same time it is a very pleasant prog album and while never earth shattering is something which the listener can play and enjoy first time through without working too hard and there are times when it is really nice to be able to do just that.

— First review of this album —

This is an edited and adapted version of my review which appears on DPRP. Net https://www.dprp.net/reviews/2025/011#jethro-tull

In Jethro Tull's latest album, septuagenarian Ian Anderson ruminates, reflects, and ponders over a wide range of issues, including, the purpose of life, revenge/ betrayal, environmental concerns, and death and reconciliation.

The overall style and mood of the album is vastly different from the bands previous album RökFlöte. Gone are the chug- guitar, head beating rhythms that dominated the leather-stained rock tunes like, Wolf Unchained and The Navigators. Instead, Curious Ruminant offers an altogether much more, intricate, and intimate approach. It is melodically rich and the compositions are beautifully constructed.

Flute, accordion, and various acoustic instruments are often to the fore. A range of outstanding electric guitar parts performed by Jack Clark add a swathe of bold intense colours when the need arises. This results in an album that is truly delightful on many different levels.

Curious Ruminant is an album that has many different layers and offers a variety of shades. It rewards repeated listens.

Clever diversions of pace and subtle melodic changes abound. Choruses are used to good effect, but these are never, hackneyed or one dimensional. A thoughtful twist in the lyrics, or a measured change of emphasis, , always keeps things interesting. This, attention to detail, frequently creates a set of tunes which are catchy and easy on the ear. Satisfyingly, the arrangements display a impressive range of complexity.

The thoughtful ordering of the pieces, ensures that the album goes from strength to strength, as it progresses towards a thought-provoking spoken word conclusion in the atmospheric Interim Sleep.

Compositions such as the magnificent Drink From The Same Well, and the beautifully crafted Savannah of Paddington Green can certainly be judged alongside some of Anderson's most persuasive works.

There is great artistic maturity to much of the songwriting on the album; the supportive instrumentation and excellent production values are equally engaging. A sense of space pervades the music. The lyrics and chosen instruments complement each other, and have a distinctive place in the mix. Satisfyingly, nothing seems cluttered lyrically, or musically, apart from a few aspects of the textured instrumentation of the fast-paced The Tipu House.

A fine example of Anderson's talents as a songsmith can be observed in the compelling melodies of Stygian Hand. In this piece, Anderson calls upon many of the nuances, stylistic traits and ploys that have become synonymous with his most rewarding compositions over the years. Stylistically, it sits somewhere within the foot tapping, morphing patterns of something that could have featured in Anderson's SLOB release. If that was not enough to make some Tull and Anderson aficionados curl their toes in delight, Stygian Hand is also textured with hints and tints of the sort of riffs that made Heavy Horses' Acres Wild so engaging.

The band sound cohesive and their empathetic contribution throughout the whole release is excellent. Their tasteful embellishments in Stygian Hand, coupled with Anderson's deft yet insistent mandolin lines, perfectly convey the atmospheric message of the tune. Anderson's stridently disconcerting and disturbing execution of the imposing line, "Crash! The Stygian hand, against my brow", adds to the overall impact of the piece. Indeed, Anderson's time ruffled voice; full of expression and aged gravitas works well in almost all the tracks of the album.

Over Jerusalem contains several different moods and has several distinctive melodic hooks. Overall, it is a fascinating piece. It begins with an acoustic passage and an astute lyric. The change of emphasis as Anderson emotes "Rocks upon rocks, ashes on ashes", is truly brilliant and must rank as one of Anderson's most beautiful transition points within a song. The delightful and gentle acoustic sections ensure, that when upbeat electric passages occur, they hit hard. Consequently, they have a stunning impact.

Drink From The Same Well is the perfect offspring of Divinities and SLOB. It arguably takes the best ingredients from both releases to create a sumptuous feast for the senses. Without a doubt, it is the most satisfying tune on the album. Certainly, it is a showcase, for what might be, Anderson's best recorded performance on the flute. It's lengthy duration provides lots of scope for a variety of musical themes to be explored. It also enables the piece to move through a series of distinctive phases or movements.

The tune begins with an enchanting and beguiling flute motif. This darts, wafts, and cascades from speaker to speaker, to drench and clasp the room in a gently spiralling ear caressing melody. The double tracking and call and responding of a variety of flutes including the transcendent and ethereal tones of a bamboo flute, is one of the standout features of several phases of the piece. The accordion has a significant role. It is skillfully used to link sections of the composition together and to herald changes of pace, rhythm, and direction.

The sung parts of the tune are enticing, and I was reminded at different junctures of the smile inducing melodies of Panama Freighter and the knee-tap, jiggle-toe structure of the Habanero Reel. The piece uses a variety of clever choruses, with noticeable hooks and recurring lyrics. The overall effect is gripping, mesmerising and utterly enchanting. These earworm elements burrow and anchor themselves; to be hummed and mouthed long after the album has ended.

Every aspect of Drink From the Same Well works superbly, and it is a fine addition to Ian Anderson's catalogue of outstanding tunes.

Mention must be made of the high quality of Anderson's flute playing throughout the release. His tonal control is excellent. His ability to shape and bend notes really shines through. Overall, it's a flautist master class.

If Curious Ruminant should prove to be Jethro Tull, or Ian Anderson's final recorded work, then it is safe to say that this excellent album has enhanced and enriched that musical legacy.

Live concert material recorded on May 3 & 4, 1973 while the band was touring in Japan, the "album" was only released on vinyl--as a triple album--in Japan--in May of 1974, in Europe in November of 1975, and the US in June of 1991--this latter version being the one I had access to for my listening experience--which came in the form of two-disc CD format.

Line-up / Musicians: - Carlos Santana / guitars, percussion, vocals - Doug Rauch / bass - Michael Shrieve / drums - Greg Walker / percussion, vocals - Leon Thomas / vocals, percussion - Tom Coster / keyboards [electric piano, Hammond and Yamaha organs] - Richard Kermode / keyboards [Hammond organ, electric piano] - Armando Peraza / percussion [timbales, congas] - Jose 'Chepito' Areas / timbales, congas, percussion

CD 1 (58:53) 1. "Going Home" (3:23) warm up, tuning, sound level adjustments, 2. "A-1 Funk" (3:13) continued warmup--especially for the synth player (Tom Coster?) (8/10)

3. "Every Step of the Way" (11:30) the first four minutes are just an extended intro/warmup for this song, it's not until 4:10 that the song becomes recognizable as the great tune from the band's 1972 album, Caravanserai. Then it's magical: a very spirited performance all around. (18.5/20)

4. "Black Magic Woman" (3:38) great bleed from "Every Step of the Way" to this. Weird to hear Leon Thomas' voice in the vocal position: he's so uniquely Leon Thomas! Also weird to hear Doug Rauch's bass playing to sound and feel so mechanical and laid back. I like it better when he feels like he's flying around the stage--as he does a little more with . . . (9.25/10)

5. "Gypsy Queen" (3:57) I can't remember if the album version of this song (from the band's album Abraxas--as are the songs preceding and following it) had the Jimi Hendrix homage riffs from Carlos (from "Third Stone from the Sun"), but I love it. The percussion interplay is awesome--and awesomely recorded and imaged. (9.5/10)

6. "Oye Como Va" (5:47) great with some fun group vocal and percussion performances beneath and between Carlos' screaming guitar leads. (Carlos letting the spirit of his dad's mariachi band flowing through him). Perhaps Doug's subdued bass play was due to his wanting to uphold the sacrosanctity of the originals, but you'd think with these percussionists and Carlos getting so fired up and expressive that it would light a little infectious fire in Doug's playing. Perhaps we just have to wait for the material from Caravanserai and Welcome that he helped to create. Anyway, this is an engaging and spirited song.(9.5/10)

7. "Yours Is the Light" (5:30) a song from Welcome attributed to keyboardist Richard Kermode, it's very melodic and smooth--perfect for every one to just groove to--especially the percussionists. Finally we get to hear the loose, engaged, and fully-expressive bass playing of Doug Rauch. (This alone may end up making this song a favorite from this concert album.) Also due to the excellent electric piano play. So smooth and hypnotic! (9.75/10)

8. "Batuka" (0:55) a percusssion jam interlude/bridge (that probably went on longer than what we've been given to hear here). (4.5/5)

9. "Xibaba" (4:13) another cover of the Airto Moreira composition that was first presented to the world on Donald Byrd's 1970 album, Electric Byrd (on which Airto was a contributing studio musician). (I've always thought that the main melody of this song sounded like it was borrowed from a television or radio advertizing jingle of the day--or vice versa.) (9/10)

10. "Stone Flower (introduction)" (1:14) (4.375/5)

11. "Waiting" (4:14) I've always adored this song ever since I first heard it as the opening song on Santana's debut album: great whole band "introduction" jam. I wish Carlos' guitar tone was a little more aligned with those of more traditional rhythm guitarists of the time: his is a little loud--plus, I don't really think he's very good as a rhythm guitarist: he's a melody-maker not an accent provider or rhythm sectionist, but, this awkwardness is resolved with A) some great organ play and B) the transition into the next song. (9/10)

12. "Castillos de Arena, Part 1 (Sand Castle)" (2:51) on which he returns to his natural place and role as the front man: making his melodies and making women's nipples erect. The song's second half sounds as if everybody has suddenly shifted into MAHAVISHNU mode! It's wild, crazy, cacophonous, and chaotic but AWESOME! (9.5/10)

13. "Free Angela" (4:26) a song credited to "Bayeté" (keyboard player Todd Cochran). It starts out rather dynamically but then quiets down into something befitting a Herbie Hancock Mwandishi-lineup song. (I wonder if the song is politically-motivated--perhaps expressing some dismay at the treatment and arrest of Black Panther members like Angela Davis.) (9/10)

14. "Samba de Sausalito" (4:02) another great whole band Latin jam with some serious jazz-rock fusion roots. It was composed by percussionist Chepito Areas and recorded for the Welcome album. (9.333/10)

CD 2 (59:47) (113/125 = 90.40) 15. "Mantra" (7:17) opening with heavily-treated/effected/distorted percussion and keyboard sounds played as if in a Gamelan percussion orchestra, Doug and Michael join in after a bout 90-seconds, pushing the "oriental" percussionists back into rock mode as the two organists join in, weaving together an interesting and enjoyable tapestry between the rhythm section and the impending lead instrument. I know both Richard and Tom are soloing, they're just doing it so smoothly, so subtly, that it all falls into place among the rhythm section's hypnotic groove. At the very end of the fifth minute Carlos finally enters, using a minor key scale to explore a tension-filled melody. Here you can really tell how much John McLaughlin's pyrotechnical guitar playing style has affected Carlos. It's good! It's all good (no matter how improvisational it may be.) Surprising that this song appeared as a polished version on Welcome. (13.25/15)

16. "Kyoto" (9:58) Michael Shrieve's drum solo! Having the engineering imaging panning the sonic field is helpful in making it entertaining in the same way it would have been if I had been standing in front of the drums during the concert. Percussionists add subtle accents from a variety of odd instruments during Michael's trance-like performance. It's actually really good! Like sitting in on a very listenable drum exhibition. (I normally don't like drum solos very much.) Tom Coster joins Michael in the second half of the allotted time on an "alien" synthesized electric piano. (18.25/20)

17. "Castillos de Arena, Part 2 (Sand Castle)" (1:13) bleeding over from Micheal's drum solo to start another part of Carlos & company's Mahavishnu-ed jazz-rock fusion. (4.5/5)

18. "Incident at Neshabur" (15:57) using a two-chord blues-rock vamp to build over, this one sounds like something from BLIND FAITH or BRIAN AUGER, only more Latinized from Santana's percussion-rich ensemble. Again we get to hear some of Doug Rauch, Richard Kermode, and Tom Coster's adventurous spirits spilling over into the rhythm section's support of Carlos--who, in the meantime, is soloing dynamically while pleasantly sneaking a few well-known melodies and riffs into his lead performance, including "My Favorite Things," a little Chuck Berry, Jeff Beck, and many others that were probably lost on me. Expanded in the version I get to hear to triple the original 4:53 length on Abraxas, the original six-sided three-disc Japanese release from 1974 is over 17-minutes in length. By the time the eighth minute has rolled around it has become a sleepy, spacious place over which Carlos has even more unrestricted freedom to replicate some of his more favorite melodies--many of which are familiar to the lovers of his more iconic lead guitar songs--especially those from Caravanserai, but also some more from other artists. I must admit that this must have been a very fun--and entertaining--song to listen to as one of the concert attendees: listening, waiting, to see if you can guess the source of the artists' melody lines or riffs. By the end of the eleventh minute the song has re- ramped up to full speed, full participation of all band members--most of them flying at full speed with virtuous near- reckless abandon. Carlos's re-entry at 12:25 commands a "stop and make space" response from the other musicians. He then proceeds to fill the speakers with some long, slowly held and progressed notes while the rest of the band provides one of those "end of rock song" finishes--only this one prolonged over two and a half minutes. Still, I like this song very much: great entertainment for a live audience--especially a musically-aware audience. (27/30)

19. "Se a Cabo" (5:39) back to Abraxas, which was, at the time, the band's biggest selling album worldwide. Though it's a two-chord Latin vamp, Doug and the rest of the rhythm section feel very engaged and locked in. (8.875/10)

20. "Samba Pa Ti" (8:56) It seems as if everyone gets a chance to solo on this one. Too bad the mix and imaging of the instrumental stage isn't rendered more distinctly so that each and every instrument is clearly and cleanly distinguished from the others. The fans seem to love Carlos' "teasing" extended delay-pauses that he uses during the middle over the smooth dance grooves provided by the locked in band. (17.75/20)

21. "Mr. Udo" (3:07) a variation (or pre-version) of "Savor" that the band delivers with a very Japanese-sounding start (but then find it quickly devolve into another Latin-dominated tune) over which the real Leon Thomas sings using his full complement of vocal idiosyncracies (wordless vocal "noises"). (8.875/10)

22. "Toussaint L'Overture" (7:40) The only song representing the Santana III album! (Perhaps because the band was disintegrating at the time Santana III was being made.) Lots of great percussion play from the Latin ensemble and some very loud JIMI HENDRIX-like guitar shredding from over this four-chord "Don't Let Me Be Misunderstood"-like song. Awesome! Perhaps it was even intended as a tribute to the late great guitar god. (14.5/15)

Total Time 118:40

The first 18 minutes of Side One sounds totally like warmup and a space-jam of the sort that Stomu Yamash'ta would exploit in his upcoming (1976) Go Live in Paris album. Also, I don't know if other listeners had this experience, but I found the sound quality and imagery on the entire second CD disc to be thinner and flatter than that of the first disc-- with all of the instruments (except Carlos' guitars) mixed further into a flat background than the wonderfully three- dimensional feel of the first disc.

This album opportunity seemed like it could have been the perfect vehicle to hear the genius of bass phenom Doug Rauch at play but I have to say that his performances mostly felt subdued, reigned in, and less than enthusiastic--very tight and professional but totally lacking any of the flash and flare that I thought (and hoped) I'd hear.

A-/five stars; a very nice recording of a fan-pleasing concert that represents fairly well the free-wheeling jazz-tinged period of Santana's career.

— First review of this album —

A Prog All-Stars Project

Mikael Åkerfeldt of Opeth, Cristiano Roversi of Moongarden, Enrico Gabrielli of Calibro 35, Diego Petrini of Il Bacio della Medusa, Marco Croci of Maxophone/Jumbo, and, of course, Aronne Cereda of Dalton.

How often does one get to hear a heavy-hitter, Prog All-Star line-up like this assemble to record some vintage-era RPI? In one of the more unusual recent celebratory collaborations of classic work, Dalton original member Aronne Cereda is joined by some musical heavyweights to re-record two classic Dalton tracks in the studio. Apparently, Mikael Akerfeldt is a huge RPI fan (how cool is that?), and the other guys come from their own successful projects in the RPI realm. While only two songs were recorded here, ("Una Riflessione" and "Idea d'infinito" from 1973), each were offered with two versions, one with vocals and one instrumental. Both songs are cool and compare well to the originals. Any artistic review isn't the point here. This is about having fun.

These guys are all outstanding players, and the biggest difference is just the sound, the feel. The originals have that pleasing slightly hazy '70s vibe about them, while these new versions burst through with full modern production values. Possibly you could say they are slightly more muscular or aggressive than the originals. The highlight for me was the fantastic wordless female and choir vocals that they judiciously added atop the instrumental version of "Idea d'infinito," which really took a great song to an even better place. As cool as this EP is, this project is for fans of Dalton, fans of the guest artists, and RPI fans with deep collections. Definitely not essential for those just trying to assemble a modest collection of great titles. For those who are excited about it, they released a special orange vinyl to commemorate this recording. That would be a truly memorable birthday gift to drop on one of your vinyl-enthusiast RPI friends!

Building upon their rediscovered musical identity, Opeth released what is often considered the second installment of their "prog rock era" - 2014's 'Pale Commuion', a satisfyingly ominous album with a strong influence from classic rock and exuding this alienated sense of longing that defines many of the band's best works. For this album the keyboard duties are handed over to Joakim Svalberg who does a pretty fine job and provides a very brooding and solid Hammond organ sound to the album, which is at times incredibly acutely informed by hard rock and prog-folk from the early seventies, definitely two of the genres over which Mikael Åkerfeldt obsesses. Stylistically 'Pale Communion' takes up where the band had left off with the "shaky" 'Heritage' album but offers a much more focused sound, an overall better production and better writing as we have much more compelling compositions that often reminisce some of the classic albums like 'Damnation' or 'Ghost Reveries'.

At the same time, 'Pale Communion' only reveals its novelties upon repeated listens as this is somewhat of a colder album, not necessarily among the more overwhelming Opeth releases; instead, this album requires a bit of effort from the listener who ought to be duly invested in the album in order to appreciate it for what it is. And with all this in mind, we have a really solid first half, containing the more straightforward tracks, some of which are truly magical and among the best pieces of this era of Opeth. The opening notes of 'Eternal Rains Will Come' are gorgeous and retro, almost as if they have come out of a Purple or a Uriah Heep album. The song then becomes quite moody and ethereal, followed by the monstrous 'Cusp of Eternity', this is a moment of sheer brilliance from the band. The 10-minute-long 'Moon Above, Sun Below' is another strong entry that is rather proggy and memorable. We also have the more acoustic 'Elysian Woes', a song that might have been influenced by Steven Wilson who mixed the album and the quirky instrumental 'Goblin', an ode to the namesake Italian band. The rest of 'Pale Communion' is more experimental but lacks the excitement of the typically longer Opeth compositions, wandering around between various ideas, some of which might seem too pastoral or too folky. The album is an ostentatious improvement over 'Heritage', occupying an interesting place in the discography - equally melancholic and moody, many of the ominous textures of 'Pale Communion' look back at past achievements, while trying to lead the contemporary band into unexplored territories.

Mostly Autumn : Un Voyage Musical Captivant

Le dernier opus de Mostly Autumn confirme la place du groupe comme l'une des formations les plus importantes de la scène rock progressif actuelle.

Avec ce nouvel album, le groupe britannique nous offre une collection de compositions riches et nuancées qui témoignent de leur évolution artistique tout en restant fidèles à leurs racines. Dès les premières notes, on reconnaît l'identité sonore distinctive de Mostly Autumn : des mélodies envoûtantes portées par la voix extraordinaire d'Olivia Sparnenn-Josh, des arrangements complexes mais accessibles, et cette capacité unique à créer des atmosphères qui évoquent tantôt les landes brumeuses du Yorkshire, tantôt des paysages cosmiques.

L'album se distingue par sa cohérence thématique et sa diversité musicale. Les compositions alternent passages méditatifs et explosions d'énergie, avec une maîtrise technique impressionnante. Bryan Josh, guitariste et principal compositeur, démontre une fois de plus son talent pour créer des solos mémorables et des riffs accrocheurs, tout en laissant de l'espace pour que chaque musicien puisse s'exprimer.

Les textes, introspectifs et poétiques, explorent des thèmes universels comme le temps qui passe, la connexion à la nature, et la quête de sens dans un monde en perpétuel changement. Cette profondeur lyrique, combinée à la richesse des arrangements, invite à l'écoute répétée pour en saisir toutes les subtilités.

Ce qui frappe également dans cet album, c'est l'équilibre parfait entre tradition et innovation. On y retrouve les influences folk et classic rock qui ont forgé l'identité du groupe, mais aussi une volonté d'explorer de nouveaux territoires sonores, notamment à travers l'utilisation judicieuse des claviers et des sections orchestrales.

Mostly Autumn prouve avec ce nouvel album qu'ils restent une force créative majeure du rock progressif contemporain, capable de toucher aussi bien les aficionados du genre que les nouveaux venus.

Une ?uvre ambitieuse et émouvante qui mérite amplement l'attention des amateurs de musique exigeante.

Gryphon was a band that took a while to get into. When I first listened to them in 2023, the only thing I knew about progressive rock was Pink Floyd, Rush, and some Nektar, so the weird medieval instruments and sound never sat well with me. However, over time I began to appreciate this album and band more after around a year after discovering them (I first heard them in 2023). Sure, still not the best record out there, but it's still a good one. Its subtle charm of the quirky woodwind and horn instruments combined with the short bar tunes is pleasant in itself, and though Gryphon would do much better later on in their career, it's an ok album. Moving on, the lineup includes Brian Gulland, Richard Harvey, Graeme Taylor, and David Oberlé. Three of the four men contribute to the medieval instruments, with David being the only one who doesn't play any of those instruments. 

The actual album consists of twelve songs, with each of the songs being a couple of minutes long. I feel like this is one of the main cons because it felt like this restrained the band from truly branching out and adding more to each song. When the songs do have room to breathe, it's a nice tune that I can enjoy. The storytelling on the tracks is also pretty interesting, as when a band has a sound as unique as Gryphon, it should come as no surprise that they pour tales from the Renaissance and medieval times into the lyrics. Some of the best examples of this include Kemp's Jig, Sir Gavin Grimbold, Three Jolly Butchers, and The Devil and the Farmer's Wife. However, my favorite song on the album is The Unquiet Grave. The way it sets the tone of a funeral, and yet at moments it keeps a jolly sound to stay true to the original theme of the album. Some sections sound as if they were a sea shanty from the eighteenth century while at the same time having an atmosphere similar to the Dark Ages. The lyrics are also above average for the album's standards, and in the end, the nearly six minutes of run time make for an overall great song. All the songs, though, have their own distinct moments, and you could practically just put the album on shuffle and find an ok track. Sure, they're far from perfect, but they're just relaxing songs for the most part. 

In conclusion, this album is pretty much skippable for most progressive rock and folk enjoyers. It's a good addition to the band's discography, but in the grand scheme of things, this is far from essential in the genre. This album is mainly fit for a very specific audience and perhaps even some adventurous listeners. Perhaps a 3/5 is the best fit for this record, and if the band were a bit bolder in the direction they would've taken their music instead of sticking to a more traditional and conventional form of folk, with the added tweaks of progressive and medieval styles.

— First review of this album —

I am sure many of us have purchased a reissue or boxed set because it contained unreleased material or rough ideas and come away massively disappointed at what was contained within. A few marvellous exceptions are Twelfth Night who have made some fascinating demos available, and Jethro Tull's '20th Anniversary Boxed Set' which was a revelation in what it contained. Now there is another which can be added to that list, not really so much for the music contained within but the explanations which are narrated by Peter throughout.

The expectation is that the purchaser will already know the debut album, 'Cocoon', and is interested in discovering more about the processes which Peter went through to record the album. We discover that some of the music is actually very old indeed, some recorded at school, the issues he had with his own narration, how it is difficult to write lyrics, and so much more. We discover how the band came together, and we even get some music from their very first performance. I am sure Peter has made this available separately from the reissue of 'Cocoon' as many would baulk at buying that album again if they already had it, so instead this has been made available with a DVD of an acoustic performance recorded at the Boerderij, Netherlands in2024 where Peter performs a selection of both Tiger Moth Tales and Genesis material.

One of the interesting elements is an interview he undertook with himself in 2013 trying to explain what he was doing and why he was doing it. I have found this CD absolutely enthralling, and it is interesting to hear him say he wasn't even sure there was a prog scene and had no interest at all in performing pop anymore, even though he had been on X Factor. This is a fascinating release, and one I can see me returning to many times as Peter is not only an amazing musician and composer but based on this he is a really interesting person indeed, someone I would love to have a beer with, as this album feels like the conversation has already started.

Having now heard Pete Jones talking at length about how he recorded this album I am even more in awe in how this came about. Let's put some context around this to start with. I have looked back over my TMT reviews to check that what I am saying next is correct, but I have never referenced that Pete is blind. The reason I have never said it is because a music review should be about the music, but now understanding that Pete was recording this in a bedroom, playing and singing virtually everything (there is a guest who provides the odd flugelhorn), with a great deal of self-doubt and often thinking this would never actually be released to the public but would just sit on his hard drive for ever, it is time to mention it as the dedication to this project is remarkable and should be recognised.

This album sounds as if a full band, influenced by mid-period Genesis, had gone into a full professional studio with engineers and producers to craft an amazing debut, when actually Pete was trying hard to get the correct sounds he wanted and feeling he was never going to get the spoken introduction to "The Isle of Witches" correct. He is also the genius who came up with the idea of creating a song based on the magical and wonderful childhood world which includes Trumpton, Camberwick Green and Chigley. Somewhat incredibly, I am amazed to discover there were only 13 episodes of each of these stop-go animated programs made, yet they were so very important indeed in my childhood (and every Brit of my generation, and younger given they were repeated for years, will certainly recognise the call "Pugh! Pugh! Barney McGrew! Cuthbert! Dibble! Grubb!" which sadly is not included here). Pete picks out the theme on acoustic guitar and somehow creates something which is both reminiscent of these childhood memories and "The Musical Box".

The album is a delight from beginning to end, and it is strange to think that these days Pete is in high demand as a session musician and bandmember, playing with the likes of Camel, but a long time ago he was just a musician attempting to create something he could be proud of which would never be released. I am so very glad indeed it was as this is an album that fans of Hackett and Genesis will undoubtedly enjoy a great deal.

— First review of this album —

I am convinced that if someone had approached Andy Glass a while back and told him that all his work and trials over the last 40+ years would be finally worth it, that his band, himself and one of the singers would all be voted #1 in the latest Prog Reader's Polls, with three others also getting in the Top Ten, while their latest albums would be highly acclaimed by both fans and critics he would have had a very good laugh indeed, as what has happened with Solstice in the last decade has been nothing short of remarkable, and highly deserved.

The debut came out in 1984, the second in 1992 and the third five years later before they went into hiatus. It wasn't until 2010 that the fourth album was released, and Solstice was by now gaining some continuity with the first appearance of Jenny Newman (violin), Pete Hemsley (drums), Robin Phillips (bass) and Steven McDaniel (keyboards, vocals). This was followed up with 'Prophecy' in 2013 with the same line-up (Emma Brown singing on both), but then there was a gap until 2020 and 'Sia'. Emma had been with the band since 1997's 'Circles', but for 'Sia' they now introduced singer Jess Holland, and the world finally stood up and paid attention. The second album of the 'Sia' trilogy, 'Light Up', was released in 2022 and now we come to the final part, 'Clann'. The harmony layered vocals have by now become an incredibly important part of the band's live performance, so much so that they have now become one of the very few prog bands who hit the road with three singers, with Jess now joined by Ebony Buckle and Dyanne Crutcher (plus Nick Burns also guests on vocals on one track).

Solstice were always be associated with the Neo Prog scene, they were one of the most important bands keeping the prog light alive back in the Eighties, but their heavy use of violin always gave them a different sound, and now they are far more into crossover, both the sub-genre itself and the way they approach music. There is the strong sensation that here is a band who are finding their own way, and it is exciting and new, even though they have history going back aeons. They even recognise that as there is a bonus on the CD which is a rearranged take on "Earthsong" which was originally on the debut. Here is a band who are mixing folk, rock, prog and even dance into something which always feels light, airy, and simply remarkable. The harmony vocals alone gives them a very different take on prog, while Andy often sits in the background (with a very big smile on his face), rarely taking the lead role (although he can be dynamic and punchy when the need arises). Jenny has a wonderfully delicate touch on violin, knowing when to lead the melody, when to slow it down and when to make it sing, while Steven either provides banks of sound for the others to play against or take the lead himself. As for Pete Hemsley and Robin Philipps, here they provide a masterclass in rhythm section, knowing when to provide plenty of space and also when to come back in and hold down the foundation, even providing counter melodies.

Then there is Jess. She has one of those voices which is effortless, and she can do whatever she likes with it, but here she is fronting one of the most impressive and relentless prog bands around. There is little doubt in my mind that Solstice have produced the most remarkable, intriguing and delightful album of their career to date, and it is great to see how everyone else has finally recognised what an amazing band they are. I first reviewed them some 30 years ago and have always been a fan, but this is next level and very special indeed.

— First review of this album —

I am not sure just how many albums have been released by the trio of Steve Dinsdale (keyboards, electronics, drums), Duncan Goddard (keyboards, electronics, bass), and Gary Houghton (guitar, keyboards) since they started playing together as 16-year old students, but it must be approaching 30, of which this is their fourth collaboration with Cuneiform. Their music is largely improvised and performed live, without overdubs, gathering shape via post recording editing, and this was recorded over the course of a week, in the middle of summer, in North Yorkshire. They were lent a cottage which had plenty of natural light and air and positioned a live microphone outside on the decking to capture sound, pointing towards woodland and countryside.

It is strange to think of a natural ambience being involved, as this is an album which seems very technical and clean, almost as if it had been created in a laboratory. There are only three instrumental tracks across this double CD, with playing times of 24 minutes, 36 minutes and 60 so this is not for the fainthearted (my version also includes a radio edit of the second track, cut all the way back to 9). This is music which has been hugely influenced by Tangerine Dream and is all about creating an atmosphere and bringing the listener deep inside their world. It is not something to be played in the background but instead is to be listened to solely on headphones when there is the time to focus on this and nothing else that is going on in the world. Having this as a physical product will be of high interest to fans of the band, given they release so much music as downloads only, but I suggest that those who are new to RMI take a trek to Bandcamp and listen to this prior to purchase as it will not be to everyone's tastes.

RETROSPECTIVE are a six piece band out of Poland, who have been releasing music since 2007 with that 35 minute EP called "Spectrum Of The Green Morning". "Stolen Thoughts" is from 2008, and is their first full studio album clocking in at under 47 minutes. I look at those two recordings as companion discs, with similar album art as well. The music is similar to RIVERSIDE as they touch on Prog Metal, but often this feels like Heavy Prog just like RIVERSIDE does to my ears. I was really glad to see they released their fifth studio album in 2022, meaning they are still current at least.

This is such an entertaining album and that all starts with the singer Jakub Roszak. I was so surprised to hear those Eddie Vedder-like vocals. I actually think I yelled something out like "Whaaat?" the first time I heard them. He has a deeper voice than Eddie and he certainly doesn't always sound like Vedder as he mixes it up well. This is a concept album about how children eventually lose that innocence and wonder as they grow into adults. The imagination seems to suffer as well. Sad but true. "Stolen Thoughts" is an interesting title for this process. Check out Jesus' words in Matthew 13:19 on stolen thoughts.

We get eight tracks here with "It's Time To Grow Up" the sixth song being the longest at 9 1/2 minutes. It comes across as a celebration of sorts starting with the tribal drumming. Catchy stuff and how much does Jakub sound like Eddie at 2 1/2 minutes. A cool tune with repeated themes and great contrasts of sound. I really like "Stupid Joke" that short second song with the fragile vocals and emotion. Melancholy. The opener "Defend Your Identity" starts off slow and atmospheric before we get a change before 3 minutes as it turns rhythmic. A nice heavy sound a minute later. RIVERSIDE comes to mind with "Sitting In The Red Train". Love the opening bass and determined sound. Check out the vocalist over the last 2 1/2 minutes. He is something!

He reminds me of the singer from MURKY RED with that husky voice on the next track called "Yesterday's Dream", but quickly turns Vedder on us as we get plenty of depth and atmosphere. Some intensity later. "Memories" is such a cool piece with the thunder throughout and reserved vocals. A storm of life. "Snoone" is interesting and mysterious. Spacey with spoken words to a catchy guitar led section. The closer "Asleep" is the second longest song at 8 1/2 minutes. Uptempo and catchy with some killer drumming. More Eddie too.

I'll let you know about their debut EP soon, as I've had it on "repeat" since I moved on from this one.

Bernard Xolotl's work typically lacks some of the complexities of other Berlin School devotees. Further, Xolotl comes in at the end of the 70s and thrives in the 80s, and like many at the time gravitates towards new synth timbres that are thinner, glassier. Some can feel that these tones lack the resonance of earlier synth work--Tangerine Dream's 80s work would be a good comparison.

However, this album has some more impressive keyboard variety and layering, which adds depth. On top of which, the compositions develop and evolve more creatively, suggesting a bit more effort in that department--less reliance on just atmosphere. It is less new agey. Additionally, there is light percussion sprinkled throughout, which adds momentum and texture. Finally, there is some evocative use of violin that really elevates the overall album. In places it is redolent of how Schulze uses cello in his final album, Deus Arrakis.

This is by a margin my most played Xolotl album, and well worth picking up.

Le Parc is a homage to multiple public spaces across the globe and unlike the extended experimental work that gave Tangerine Dream its identity and fanbase this is a group of more concise interpretations leading to a more relaxed and diverse album of music. A couple of the tracks do step far too close to those rather simple melodic arrangements that plagued 80s pop music and so there are a couple of jarring moments that for me at least, represent significant regret. However if you compare this work with the similar shortened creations of Froese, for example, then we do have a far more polished and expertly executed set here. Unfortunately almost all the tracks could easily be transformed into mediocre pop songs with the simple addition of a few repetitive lyrics.

There is a decent level of complexity brought to bear by the layers of sound employed but it simply isn't enough to elevate the work beyond forgettable pop or contemporary film soundtrack. Let's face it, in the 80s, TD really became a bit of a cliche as the kings of film soundtracks. The real value in this set boils down to whether or not the music captures the essence of those locations it is intended to represent and the only way to know that is if you have actually visited them. I am lucky to have experienced a couple of these places so I can see that the general arrangement of each track has been tempered in an attempt to evoke a similar ambience to reality but I can't really see it being anything more than a rather tenuous scratching of the surface. In addition to that, surely there are better subject matter to apply your considerable creative talents to than a short list of public places?

So I am not enamoured by the concept of this album and owing to the differing nature of some of these places, I am not even convinced that these tracks belong in the same place but this album is nothing if it is not inoffensive. I say that but I am a little upset by the Zen Parc interpretation; using a few oriental sounds is not enough to evoke my memories of this place especially when adding in a little symphonics and most especially when using what is obviously a non-Japanese vocalist in a kind of choral, almost ecclesiastical effect. Awful as an interpretation as far as I'm concerned. Like much of TDs later work, this is the kind of stuff that can be used to help you drift off at night or as a back drop to a quiet introspective moment on a rainy Sunday afternoon. I have listened to this a dozen times and haven't noticed any lyrics so far, so if they exist then they are completely forgettable.

The production quality really should be perfect but it isn't as it comes with a slight muffle.

Ok so if you know some of these places and you want a quick reminder of them in rapid succession then you might get something from this album. Unfortunately that probably excludes almost the entire planet especially since there is nothing new or innovative included in the album, so it is not even of significant interest to the Electronic prog community. Overall this is pleasant enough, really quite accessible but almost entirely without purpose or worth. TD are milking it by this stage, unfortunately.