'Visions of the Beast' is a pretty extensive compilation of videos by British heavy metal icons Iron Maiden. Featuring over 30 music videos, as well as alternative, animated versions, and a number of interesting extras, there's plenty of material here for fans to sink their teeth into.

Of course, the problem with such DVD's is that they become outdated, with pretty much all of the material here being available on YouTube. But there's no denying the quality of the music. I mean, at the end of the day, it's Iron Maiden! One of the greatest metal bands of all time.

Featuring some classic metal anthems, such as 'Run to the Hills', 'Aces High', 'The Trooper', 'Fear of the Dark', 'The Number of the Beast', 'Can I Play With Madness', and countless others, despite being outdated, this is no-doubt a worthy addition to the collection.

I'd like to take the time to reminisce a little bit about Zappa, as I believe this is my final review of his music. It's been a ride! And "Dance Me This" is such a meaningful title for his final release. He finished this album in 1993, the year of his passing, and did it all pretty much on the synclavier. This is of course an archival recording, not being released until 2015. Who needs musicians when you have an electronic device that is like an electronic workstation for creating music. A digital synthesizer with a digital sampling system included.

I first heard of the synclavier when reviewing Zappa's 1984 album "The Perfect Stranger". Four of the tracks on that one were done by Frank on his synclavier, which he called "The Barking Pumpkin Digital Gratification Consort". The other three songs on it were done by a real mini orchestra with a conductor. That album was on the Classical music charts for almost a year. And hey, you could use the synclavier at home in your underwear if you wanted. In fact Frank says that album was recorded in the "The Utility Muffin Research Kitchen".

So on this final release it's all synclavier music, no musicians except for the addition of a brief guitar solo from Zappa that was overdubbed, and the use of vocals he recorded from the Tulvan Throat Singer from Siberia who happened to pay him a visit when doing a US tour. He promptly had them in the studio recording some of their vocals and using it here.

Memories? Not a lot. As far as Zappa's music goes "Hot Rats" stands alone in my opinion. I'm not sure when I first heard of Frank or his music but I do remember one Christmas my cousin Tim who would have been about 18, put on "Titties & Beer". I still remember the nervous laughter from my dad and uncles. Bold move Tim when pretty much that whole side of the family were church goers. I remember hanging out with this attractive Italian girl who played me her Zappa records.

But it would be much later in life before I would actually buy his music. I remember the business I had, and of course I played my music no matter what it was. And getting many interesting comments over the years. Not all positive believe me. This lady comes in while Zappa is playing. She turns her head, like she's listening intently to it. And comments about the incredible arrangements. "Who is this?" she asked. "Frank Zappa" I replied with a smile. I could tell by her non-reaction that she had no idea who he was.

This album is quite experimental with half of it being taken up with the "Wolf Harbour" suite which is divided into five sections. My favourite track is "Rykoniki" because it reminds me of UNIVERS ZERO. "Piano" is pretty good with that classical piano, but again it's all done on the synclavier. A good album but far short of 4 stars in my world. Check out "The Perfect Stranger" if you can. I found "Yellow Shark" to be disappointing as well.

I really dig this album. With the exception of the second song, "Fee-Fi-Fo-Fum" I consider each one of these songs to be supreme examples of the sublime, melodic jazz that bridged jazz's Kind of Blue and My Favorite Things era with the melodic beauty of albums like Bill Evans' Conversations with Myself and Vince Guaradli's A Charlie Brown Christmas (all for being very important, seminal albums for me). Also, I don't really know why, but I've never heard MIles Davis' trumpet as an engaging sound-maker, but I've always had an easy and very positive connection with the playing of Freddie Hubbard. Though I've had a lifelong love-hate relationship with Ron Carter's styles of bass playing, I've always respected it. Same for Herbie: his journey deep into the realms of electronic sounds and effects were never as engaging or alluring for me as his exquisite piano playing. And Elvin Jones is among the very best to every sit behind a kit. The most surprising thing about this album is how much I love the compositions: especially Wayne's amazing "touch" with creating long, drawn-out, BEAUTIFUL melodies. (Like Miles' trumpet play, Wayne's sax play within the Weather Report discography have never impressed or engaged me.) This combo makes for such a great unit, it's no wonder that three-fifths of them transferred so easily (so telepathically) into Miles' "Second Great Quintet" (right after the recording of this album!)

While this might not be deserving of a five star rating for its contributions to progressive rock music, it is undeniably a masterpiece of incredible music.

In terms of what has been readily available for listening online, Bill Nelson has always been made somewhat of an enigma to me. I would happily call myself a 'fan', I'd figure, if I simply knew more. Last I seriously listened to his solo material, it was the absurdly gargantuan 6-disc boxset release Noise Candy (regrettably unreviewed, go figure). It's one of those moments where it's hard to say there's actual regret in the time expended... As per his discography here, Northern Dream, Nelson's '71 debut, came out a whopping 10 years before his post-Be-Bop Deluxe 'sophomore' solo release, Sounding the Ritual Echo; likewise this precedes the latter band's debut album by 3 years.

A cool little glitch-out effect at the end of "Photograph (A Beginning)" really introduces us to the album, this opening track a remarkably short 19 seconds long. "Everyone's Hero" is a swampy Blues Rock, which, while yes, muddy in quality, immediately struck me as 'Lo-fi', given away by this unnatural, likely unintended, shift in outputted volume heard at the very start. Lo-fi as a label I'm fairly certain was seldom used contemporarily, even post-Velvet Underground [Is this an apt overview take on early, noisy alternative music?]. It should go without saying, yet admittedly, I was surprised to find myself won over in the end. Its slow crescendo[wn] reads as psychedelia, pure and simple; Folk music aside, a throughline of the whole album.

I guess I do hear a sort of summery beachiness in [what I quickly took for bucolic Progressive Folk(?)] "House of Sand", a short Folk-Rock tune; at 1:38, the shortest track aside from its bookends. Got me thinking. Perhaps a nod to Roy Harper, hearing what I've understood to be his influence on tracks from Led Zeppelin and Pink Floyd (hadn't considered the latter band's relation to him much outside of his direct collaboration with them). Somehow stylistically a natural fit, though at least modernized, "End of the Seasons" is a sort of post-psychedelic dirge, simultaneously owing to that plenty older, killed-my-lady folk tradition ("Down in the Willow Garden" by the Everly Brothers often comes to mind). Loving the bridge, really bringing out its more overt psychedelic character, especially with that dark drone over this otherwise bright, optimistic section. The shift alone I reckon as progressive; I'm easy to please when it comes to overarching genre definitions. There are a few sonic touches that feel like pulls from, or nods to, The Beatles. Piano-drummer(?!) Richard Brown plays harmonium here, revealed neatly most clearly at the end [the origin of that aforementioned drone?], progressing finally in a white Raga. I like.

"Rejoice" was the first track I pretty immediately felt hooked to. I suppose more Progressive Folk broadly--an area of ignorance, no doubt--it's warmed effectively by flecks of psychedelia, surely rooted in its almost sluggish, lulling rhythm. The definitely-not-Jazz flute solo and drum circle percussion and jangling acoustic guitar certainly do a lot of work in this category as well. Joining the flute, really most tastefully, are some of those growling, lively guitar leads, the sound of which will definitely strike you as Bill Nelson; big impact before that instrument's own solo, played clear through till fade-out. All the while, unsurprising to note, I'm sure these vocal harmonies will be quite pleasing to the Lord ;) Very nice. Fadeout to "Love's A Way" was really done quite well. The hypnotic rhythm from past tracks continues here, and it sports a cool, just plain artful timelessness I find difficult to simply describe; [most simply] nostalgic and tender. All in all, it's extremely charming, beautiful. In '71, Bill would have been about 22, so I just feel there's something very exploratory and bold, albeit naïve, in its spirit. Interestingly contemporary to this album(!), hard for me not to compare it to Todd Rundgren's first couple albums post-Nazz, as much as I adore them (Todd's second being one of my all-time favorites... in a long list of favorites haha). I think the opening lines to the verses are melodically quite similar to the Bee Gees' early hit, "New York Mining Disaster". Given the folk influences alone, I can't say I'm too awful surprised if it was a direct inspiration on this. "Love's" is nothing like much of anything else that much more popular group did aside, but quite a bit in its compositional joie de vivre and instrumentation brings latter-days Beatles to mind (Ringo drag, as I call it, for one, and its daring change between sections evocative of Paul at his most adventurous and clever). Aptly titled, more American I guess, "Northern Dreamer" next is more of that lighthearted, pastoral folk influence. It closes with a happy, slithering backwards guitar solo.

Another shorty, a simulated live pub performance, I take it, "Bloo Blooz" is a, what(?), Chicago Blues song(?), the first to feature Bill's distinctive, higher register voice, as I recognize in him all these years from Be-Bop. Although I don't recall anything quite this straight-up Blues from that band. Not bad. Where "Northern Dreamer" closes as such, "Sad Feelings" rolls softly in with another quick backwards guitar solo (I wasn't expecting it, but it works). Blues Folk? It's cute, but I also don't feel a whole lot for it. It's maybe reaching for Grateful Dead; there's a very familiar rootsy something in it not too dissimilar in effect. Really not to say he isn't unique, wearing his influences on his sleeves early on, "See It Through" feels like early James Taylor, and again, [even] more in my ignorance, Roy Harper (thinking of that sharp, tinny slide guitar off Zeppelin III) [So... is that Roy's influence? Please help and advise; prepared to be totally off-base]. Then rolling in to effectively close us out at near-10 minutes, "Smiles" is up next, a contemplative Psych Folk for starters. I'd love to figure out how to get this effect, this almost drunken psychedelic swagger; like I said before, it's hypnotic, and, in that, powerful. After just a minute, we switch moods to stripped-down, driving Rock, just for a good 30 seconds or so before our return to the melancholic drag from the start. Approaching minute 4, the next section is a softened reversed-tape trip, then we pick back up for some sunny guitarings; like a Be-Bop Deluxe just closer to those old Rock n' Roll roots in a very real, practical fashion. A whole lot of backwards tapes over this album, but in its simplicity as a tape manipulation trick it pulls its weight. If we need any reminders that Bill can play, he shreds bluesily for quite a while, before the final section, not quite as slowed and much more upbeat in vibe; at the track's very end, a nod to the Who? Finally, harmonics at the ready, "Chymepeace (An Ending)" is next. And last.

All in all, certainly a debut album I was impressed with. Anything to remind me that this dude is the man is worthwhile to me; I guess I should just spin on through all of Be-Bop again soon.

True Rate: 2.75/5.00

1. Salamander in Two Worlds for the musical hypotenuse between hard violence, the frippian riff, the sharp voices and the soft rock variation 2. Fanfare for the Last Human Being for that, with a squeaky violin to annoy, excite a little 3. El Evil devil or not I feel the raw voice of BOWIE, yes good at the beginning, then that of UNEXPECT for the uncontrolled musical fury, then the beat of all that mixed can disturb a little, the drums, the violin getting carried away; the growl voice becomes animal, the violin out of tune; 4. Bells for Kith and Kin for the saving interlude for those who are not too pro SGM; the disparate bells, the hell belle approaches launching 5. Silverfish Carla on her refined voice, trembling like BJORK, a pure moment of ethereal and meditative music, the violin tuning the various sound effects that pass on this piece like SGM, without apparent connection, a sort of creative sketch; the finale becoming medieval, on a Balkan air with the folk instrumentation 6. S.P.Q.R. for the title with the submersive intro that launches the rhythm of the tribal and avant, avant-garde, metallic piece in fact; the roaring bass being the most beautiful example; one would think oneself in an exercise of "make even more noise"; disconcerting 7. We Must Know More with a festive interlude... of fair with the trombone that suits, finally the big one, the funfair atmosphere gone wild; the POS vocal yes the PAIN OF SALVATION in a moving a capella, well the purists will not accept the link with the hoarse voice of Tom or Leonard.

8. The Gift dark crimsonian atmosphere then a roll of pads, the voice screamed more than growl and the return to the uncontrollable sound on a sharp riff; a rumble, extreme death metal yes at this precise moment which is still disconcerting; since the start when it is strong we drive on the heavy highway 9. Hush, Hush for the most representative piece of the group oscillating between the hypnotic distressing murmur, the catchy vocal and the festive rhythm of a baroque opera in rut; in short it is astonishing to think of creating a sound of this ilk, its choppy disruptive singular not to write eruptive! 10. Save It! does not run away, PRINCE more than BOWIE, in the voice, the guitar, the beat and the explosive groovy air, the chopped choirs still a little UNEXPECT, ah how good they were too 11. Burn into Light continues to break down doors with a heavy sound, with distortions and heavy riffs like no other, moving further and further away from experimentation and developing modern hard rock. It is languid finally and hilarious until this crystalline riff that I discovered before in the PAIN OF SALVATION, a sign? 12. Old Grey Heron western banjo for intro, the cinematic linear air on an imagined duel, on the protagonists, the martial trumpet in the distance; we could almost see the sombreros, the gripping crescendo that never ends and launches 13. Rose-Colored Song with its musical saw and the old wooden piano of the time, a tune from 'Delicatessen', the sound of a boat, a sinister end that is being prepared, an end that is ultimately smooth, the moment for a debriefing.

I haven't felt even close to this satisfied with a FABIO ZUFFANTI associated release since HOSTSONATEN's gorgeous "Mirrorgames". I'm not going to rehash the reality of GENESIS idolatry as if these guys fell asleep in 1972 and recorded this immediately upon awakening. Instead I point to the works of Swiss Italians CLEPSYDRA, AISLES from Chile, and peripherally ANUBIS from Australia from the conceptual end. The "looney tunes" segment in the opening instrumental, however, is out of the KERRS PINK playbook.

The influence of classical music is also felt in the themes which recur in "Dive with Me" and "Temple", along with sublime oboe and cello that is not overused. The instrumentation and clear vocals like a lower key ALUSIO MAGGINI( Clepsydra) collaborate to convey atmosphere and changing moods effectively, with only "Embankment" and "Blackfriars" being of lesser quality. While sections rock, the overall impression is a gentle more dreamy experience.

Give this one a chance...it sounds like a run of the mill neo-crossover mix designed simply not to offend until the third or fourth time when it clicks. Add a half star for avoiding the Zuffanti homogenizer and you are set to soar.

Merging Cluster took form in Florence in 2010 on the initiative of two former members of Biofonia, Gabriele Marconcini and Emiliano Galli, both in love with modern prog and psychedelia. In 2014 the band managed to release a self produced demo EP with a line up featuring Gabriele Marconcini (vocals), Emiliano Galli (keyboards), Marco Casalini (drums), Gianfilippo Innocenti (guitars) and Roberto Manzani (bass). Then the project went through a long period of hibernation. Ten years after, with the same line up, Merging Cluster woke up and finally released their first official studio album, entitled Peak Of ephemeral Light, on the independent Lizard Records label. It contains the four tracks of the demo EP remixed and remastered and four brand new pieces. According to an interview with the band, "it is not a concept album in which a story is told but there are some recurring themes in the various pieces. All of them, in one way or another, tell of the moments of transition that make a person different from what he was before, or from what he believed or hoped he could be"...

The opener "Dysrationalia" every now and again could recall Marillion and is a long piece about the difficulty of thinking and behaving rationally when faced with even the most banal facts of life. The music and lyrics invite you to keep your eyes and mind open and vigil so as not to become prisoners of your emotions or victims of the conformism...

The title track, "Peak Of Ephemeral Light", comes from the old EP. It's a nice spacey piece that tells about the awareness that a man is nothing if compared to the immensity of the universe. The course of the galaxies in their race to the unknown can't be reversed and a human being is not immortal, he's just a kind of peak of energy soon destined to vanish into the void...

"Subjective Doubles Syndrome" is another old track from the 2014 EP. The atmosphere is disquieting and tense as the lyrics describe the feelings of a man on the brim of madness who believes that there's someone going around with his body and face, someone who is speaking with his voice. In fact, the title refers to a rare delusional misidentification syndrome in which the patient experiences the delusion that he has a double with the same appearance, but usually with different character traits, that is leading a life of its own...

From the 2014 EP is also the introspective, visionary "Gift Undeserved" that begins softly with guitar and bass that could recall Pink Floyd as the music and lyrics take you through fantastic landscapes. According to an interview with Gabriele Marconcini in the magazine Prog Italia, this piece describes "states of consciousness suspended between dream and reality and how we do not feel adequate or deserving of what is given to us by chance or by superior forces"...

The last track from the 2014 Ep is the beautiful "The Shadow Line". It was inspired by a novella of the same name by Joseph Conrad that depicts a young man becoming an adult, in particular a young man who boards a ship for the voyage of his life. He will become a captain and the shadow line of the title represents the threshold of this development. The tide is turning, the sea and the sky are changing while the protagonist approaches the line, his eyes are burning. Will his heart keep on pounding when he'll cross that line? Here the lyrics tell of the moment of transition between two phases of life...

"Planning The Renaissance" is a piece full of positive energy that kicks off with a hard electric guitar riff supported by the hammering rhythm section. It is an urgent request for change in individual and collective consciousness. The vocals express anger and indignation screaming the vital need for a new resolution. How can we plan a rebirth? We should find a way to learn how to create a new light, a new heart and find a new way of living in harmony with mother nature...

"Land Of The Wait" opens by a delicate piano intro, then the vocals evoke blind days that pass, one the same as the other, leaving behind empty promises and regrets. The atmosphere is melancholic, but then the perspective changes and old memories of seasons full of expectations come to the surface. In fact, this piece tells of the reality that clashes with expectations destined to never materialize and was inspired by another seminal novel, "The Tartar Steppe" by Dino Buzzati. The novel tells the story of a young officer, Giovanni Drogo, who spent all his life guarding the Bastiani Fortress, a remote stronghold overlooking a desolate desert. He waits for a war in which to obtain power and glory, but the enemy hordes never arrive...

The final track, "Over (You)", is dark and hypnotic. According to the band the lyrics are hermetic and esoteric but always focused on the experience of the passage. Sometimes we feel a strong sense of loss. Sometimes we lose our battles, sometimes our wars, sometimes we lose our body, sometimes our mind and identity. Then there comes a time when we feel that our future is over and we need a serpent kiss...

On the whole, a good work that deserves a try.

The Light In The Needle

Needlepoint, the Norwegian progressive act known for blending elements of Canterbury jazz, folk, and psychedelic rock with a vintage sound, has released The Remnants of Light, their latest album. The record features their signature 1960s-1970s psychedelic Canterbury jazz vibe, at times evoking bands like early Steely Dan, with Paul Simon-style vocals, but infused with a distinct Nordic flavor. Despite drawing from many influences, Needlepoint remains a highly original band, showcasing outstanding musicianship from Bjørn Klakegg (guitar, vocals), David Wallumrød (keyboards), Nikolai Hængsle (bass), and Olaf Olsen (drums).

The Remnants of Light feels similar to their last three records?Aimless Mary (2015), The Diary of Robert Reverie (2018), and Walking Up That Valley (2021)?but comes across as the weakest of the four. That said, it's still a well- executed album. The songs, however, feel slightly uninspired compared to their earlier works. This time around, the record leans more into melodic vocal interpretations, leaving much of the instrumental focus behind?a notable shift from their previous albums, where the sound was more instrumentally driven.

It sounds more commercial but still retains that signature jazz-infused vibe. Perhaps the band, in their maturity, is trying to explore a more accessible, commercial side? Regardless, it remains a compelling record, full of excellent solos, analog keyboards, and fantastic interplay between bass, drums, and guitar.

What if Paul Simon had been born in Norway and fronted a prog-Canterbury band? The result would undoubtedly be Needlepoint.

— First review of this album —

Joey Frevola, the L.A.-based award-winning film composer and guitarist, has recently released a new album titled Art Supplies and Pain. This album showcases his progressive rock influences and features a blend of intricate compositions and emotive performances. This record is not just prog?it ventures into jazz, art pop and avant-garde. You can find a variety of influences, perhaps some hints of Frank Zappa and Steve Hackett in the compositions. However, at its core, it remains very original music?extremely technical yet crafted with great taste. Frevola, best known as the guitarist for UK dance-prog outfit Kyros, has embarked on his second solo adventure following 2019's Gone. But where Gone was a conceptual piece, Art Supplies and Pain throws any concept out the window?intentionally or otherwise. It's one of the most unapologetically anti-conceptual albums I've encountered. In fact, calling it an "album" feels almost misleading; it's more of an exhaustive compilation of every musical thought Frevola's had over the past several years that didn't quite fit with Kyros' sound. The creative mantra here seems to have been, a philosophy that results in both moments of striking brilliance and a few ideas that feel, frankly, half- baked. Joey Frevola has created an unexpected masterpiece in Art Supplies and Pain. In a year when many bands failed to truly surprise me, I found in this album an eclectic collection of exceptional music. With its unique approach and numerous guest musicians, the record achieves a distinctive sound and complexity that left me thoroughly impressed. It's a sprawling, chaotic ride, but one that's undeniably worth taking.

A very great album that hurts me for its many ramifications, for its endless finales, for its 2 big titles with an intro of more than 5 minutes. It's just on the edge of annoying to see Neal's presence in composing old-time prog with such ease; it seems like it's the same the same time every time it's released....But there's a little change, a more substantial, faster crescendo, there's still his touch of a musician possessed by God, figuratively or not; Mike has gone to join his dream theater and it still hits just as well, the musicians here are little known to me, but it plays divinely, ah I had sworn that I wouldn't talk about religion anymore.

The album with 3 short tracks to get your hands dirty, a nice start before diving in, slipping into the tracks 'Eternity' of more than 20 minutes and 'No Hill' the eponymous title, long, captivating tracks that bore me I've already written it elsewhere; not that it's not good but because I feel engulfed in this bed of notes, in these convoluted drawers, in these barely admitted reminiscences; yes Neal must have really been touched by grace to release these tracks that don't leave anyone indifferent, except me. I don't have time anymore at the moment, but as soon as I have it I will find it energetic, complete, devilishly progressive.

2. Thief for its bluesy jazzy charlestonian side, for the atmosphere, the guitar solo, but not for the worn-out chorus; for the guitar solo which is divine, the return to the verse with languid brass and this finale which swells and leaves you speechless, breathe 3. All the Rage I pass, too much as mentioned above or just for the velvety finale 4. Ever Interceding for the acoustic guitar intro and the air which starts on a divine hymn, we want to take each other by the shoulders and dance around the table

1. Eternity in Your Eyes in 7 drawers with the symphonic reference intro; after that it's MORSE I pass for the points stated, good but redundant; up to 7 minutes with this moving vocoder in this break, this pierced balloon, this bluesy-groovy space with this angelic guitar; the moment at 12 minutes with the church organ, there it rocks in a solemn way; after that I drown again; 16 minutes and it starts again, good but repetitive, hey it sounds like SPOCK'S BEARD... for those who know the guy it's a bit disappointing even; the last minute is Dantesque for its decrescendo 5. No Hill for a Climber in 6 parts and the crystalline, oriental intro, the magic flute, in short a symphonic flight of almost 5 minutes magnificently orchestrated to fly very high, untellable; after that it's a tendency towards mawkish levels with a Neal who screams in stereo more than anything else, you have to get used to it; 7 and a half minutes and already the deliverance with this divine keyboard, damn I said I was stopping; there's even some VANGELIS in it, that's saying something and Philip and Joe's drums deliver; spoken break before a long sustained crescendo flirting with a prog metal from 1001 nights; halfway through and it suddenly goes up before leaving for another drawer, count which one; we come back to earth to have the sequence à la YES, yes I assume, the voice, the divine keyboard to touch the sun; keyboard break à la MORSE and its chorus, I pass! The rise is beautiful but grandiloquent; there are 5 minutes left, a music title in fact to have the long-awaited ceremony also predictable but confirming the inevitable end; a hidden outro with the True finale, ah the rascal, and the classical-romantic suite with violins to close your eyes and dream of this symphonic journey such as we could make during the 70s; yes it is indeed rock Dino that we have had to deal with.