Karfagen's "OMNI" is not just an album it's a journey. A radiant, multi-layered voyage through soundscapes that feel both timeless and refreshingly new. From the very first notes, it's clear that this is a labor of love and vision, meticulously crafted by Antony Kalugin and the brilliant musicians involved.

What strikes me most about OMNI is its balance it manages to be both complex and accessible, grand yet intimate. The compositions weave in and out of symphonic prog, jazz-fusion, folk, and ambient textures, all while maintaining that unmistakable Karfagen identity.

Melodies soar with emotion, rhythms evolve organically, and the instrumental interplay is just stunning. There's a story in every track sometimes meditative, sometimes playful, often uplifting. The transitions are seamless, and the dynamics flow like a well-told narrative. It's cinematic, but never overwhelming. It breathes.

The production is crystal clear, giving every instrument its space. It feels like you're inside the music, not just listening from the outside. That's a rare thing.

And while I'm grateful for the YouTube upload (thank you again, Antony!), this is one of those albums that deserves to be held in your hands. The artwork, the liner notes, the tangible presence of the CD or vinyl it completes the experience.

In short: OMNI is a triumph. A modern prog gem that pays homage to the classics while boldly forging its own path. I'm already on my third listen and discovering new layers each time.

The mood of this album is contemplative and relaxed. It is instrumental percussion, as the guitar is really percussive and fits nicely with all the beats from the drums. Now over 40 years old but it sounds very fresh as it doesn't really fit in any genre, outside of world fusion or whatever you call alternative music. This is not rock or jazz, it's a lot of acoustic guitar and effects on the electric guitar. The theme is a journey and the cover shows the entrance or the exit. Steve Tibbets is an experimental musician who takes the guitar to interesting places. With this release he has three great percussionists and a bass player making up atmospheric tracks that seem to flow together. A very strong effort and quite nice.

KARFAGEN was initially noted for his MINIMUM VITAL and TRANSATLANTIC sounds, which brought a playful folk touch to his work. GENESIS, Mike OLDFIELD, UK, CAMEL, YES, GLASS HAMMER, and THE FLOWER KINGS are among his musical references, not to mention PROKOFIEV, GRIEG, and KORSAKOV for classical music.

"OMNI Part 1" on the first side features "Omni Overture," a clean synth from the GENESIS era, with thumping drums; a thunderous, airy intro that adds energy; it's sure to get people talking with its telltale brass. "Storyteller (Part 1)" follows, with Richard from CARAVAN and CAMEL singing with his suave voice on a marshmallowy track, aka melting, velvety, "Canterburyen." Softness and rhythm for new prog rather than symphonic prog: the important thing is to be carried. Michel ST-PÈRE (MYSTERY) and John HACKETT come to throw their notes to inflate the piece in modern mode. "Whispers from the Past" in folk variation with female voices and romantic choir; a flute, an air, a melody from medieval times. The interlude to settle down, in the vein of SUNCHILD. "The Spark" with Per MALMBERG (SALVA) as guest vocal, sound of ELO and again of GENESIS 3rd version. The brass amplifies the funky-groovy period of certain groups of the 80s, TOTO and the AOR which shines through, EARTH, WIND & FIRE on the other. The instrumental finale with Antony's keyboards shows his dexterity, his creation; FLOWER KINGS for the finale. "Masterplan" continues, keyboards in front; Soapy, cottony, apparently like Bodin, and Antony for me, singing too, in short, SUNCHILD with a rather common sound. The drift and the finale are worth much more, the nervous guitar setting this track alight before the flavor of the melting keyboard. "Mirror of Souls" concludes, a cinematic symphonic soundtrack with a grandiloquent baroque air; unrestrained prog with John's bucolic flute.

"OMNI Part 2" opens with "Unchained," marking the beginning of the second side, like in the days of CDs, LPs, and cassettes. Jean Pageau (Mystery) adds his voice, a moment of latency over a piano coulis; a slow drift and the melting solo arrives; it's very bucolic, very culinary, very neo-prog too. This solo is just perfect, rising in intensity and emotion; from reliable sources, it's definitely Max Velichko (Inside the Sound) who's having a blast on it. Jean takes control for a while but the solo explodes the song musically; melancholic outro piano and keyboard calmly bringing "The Cards We Play" with a new change, flute from John, singer Marco GLÜHMANN (SYLVAN) with his stamped prog voice, Richard for his bass and Michel coming to deposit their progressive doses. Antony amalgamates everything as a conductor to make this title the central spearhead of this side worthy of a baroque rock opera without naming it. Dark outro flute, guitar, keyboard and "You and I" appears, Bartosz KOSSOVICZ (COLLAGE) working his voice between that of Steven WILSON and FISH; an intimate, spleen, captivating new prog. The guitar solo returns to the emotions of English neo prog, more languid, sweeping away the question of having so many beautiful voices on this side; very warm. "Storyteller (Part 2)" ends the album with a chorus of velvety voices for the bucolic, rustic track; Richard radiates the most, as does Antony; the tune seems to have come straight from a Robert Wyatt album.

KARFAGEN releases OMNI, a musical journey that takes Antony's personal work far back with this blend of symphonic, aesthetic, and fantastical rock. Originally on profilprog (4.5).

GLASS HAMMER's 23rd album, loaded with melodies, from space rock from the 70s to today, a beautiful progressive spectrum. A return to the roots with the story of a man's final journey, a temporal parable.

"What If?" shakes my ears, a return to the GLASS HAMMER of the past, more melodic, less heavy, sung with the fruity sounds of Yes, acoustic guitar, and electronic keyboard worthy of 80s BOSTON. The vibes of Mike OLDFIELD are compelling for this bright, airy, symphonic track with a bucolic guitar solo. "The Road South" opens with a tune by BARCLAY JAMES HARVEST, RADIOHEAD, and a soaring atmosphere of ALAN PARSONS; gone is the prog-metal sound that boosted me, back to the keyboard-laden sounds of 70s-80s YES and ELP. "Tomorrow" is a text oozing with religious hope, a tune leaning towards pop love song with velvety synths and a pervasive bass. A hint of Jon Anderson on the holiday air of these bucolic, marshmallow bells. "Pretty Ghost" continues, a few notes from the cruise s'amuse to emphasize the cheerful tune. Olivia takes the stage accompanied by the Yessian bass, a languid 80s pop tune and her Genesis-esque keyboards like in the band's early days. Fresh without overthinking it, but so far from the sound of the last two albums. "Sunshine" continues with Olivia, YES exploding into reminiscence with the pad and plaintive lap-steel guitar. A languid vocal ballad for 80s regression with this thoughtful keyboard smelling good of THE CARS. A progressive finale on a marshmallow slope hurtling down the notes of a country meadow. "I Will Follow" is a classic organ intro. YES, yes again, although U2 fans will have been listening for a while. The punchy rhythm, velvety keyboards, and diverse hooks give this track a measured power. Layers of vocals, Oliver's vibrant melancholic guitar solo, and Steve's keyboards amplify the progressive side.

"The Wonder of it All" is an 80s-style intro, reminiscent of The Cars; I insist on the fresh use of the keyboard. The cinematic intro lets the velvety vocals unfold on the slopes of Alan Parson's, oozing melting marshmallow over a serious lyric. The keyboards bring the AOR-oriented, alternative, nostalgic break, harking back to the original Glass Hammer, sumptuous even if it lacks pep for me; the final keyboard is redundant and hypnotic. "One Last Sunrise" with the interlude, YES-style, coming from the Centaur star; electronic atmosphere, which is moreover, easy to access, bordering on new age. The unfolding of the air in fade on a vulgar drum machine embellished with bewitching keyboards, chiming with the dark outro. "Terminal Lucidity" matrix-like intro, soaring, obvious on OZRIC TENTACLES. A title winking at 'The Return Of Daedalus' by Arise, with the spaceship coming out of a black hole... In short, space rock full of electronics bordering on krautrock where the sounds of TANGERINE DREAM come to light. Velvety, distorted, on 'Tron'. The heavy guitar solo spurts from this black hole precisely, immense; Ariel's keyboard solo a tad hypnotico-oriental, bluffing. A little space-time later it's a bewitching alien western. The piano sets the scene after 8 minutes, introducing a solemn symphonic aria where vocals were not required. A grandiloquent moment with choirs, bells, and piano blending into the space of our psychedelic memory. "All Good Things" closes the album, with Alan Parson's vocal phrasing, ELO, and The Beatles. A sad, languid aria that evolves with the instrumental parts of Ariel on keyboards and Oliver on guitars. The solemn piece, a testament to the hero's journey, is effectively brought to life by this divine, captivating, psychedelic break. Prog like the good old days, with melancholic sequences that make you cry with joy and realize that beautiful music is still present today.

GLASS HAMMER returns to this gentle sound after their heavy trilogy, which had so much to talk about. A melodic album with a nod to the 80s, new wave to regress without getting too lost in the twists and turns of the Dinos. Original profilprog (4.5).

Here we have an album that finds the different sides of MMEB at their most balanced; and of course this means, Angel Station is not MMEB at their proggiest. But still, from the 6 minutes and 15 seconds of "Don't Kill It Carol" on, it is clear that the listener is not listening to a light pop album. There is a certain depth to the package, perhaps even underlined by the strange fact that possibly the best new and self-penned MMEB song here, "You Are ' I Am", is virtually derived from "Hollywood Town", a Harriet Schock cover that can be found earlier on this album. Also only two of the golden era MMEB members are here (Chris H Thompson and Manfred Mann himself).

Well, the covers. Manfred Mann's Earth Band always liked to cover either Bob Dylan ("It's All Over Now, Baby Blue", "Father of Day, Father of Night") or Bruce Springsteen ("Spirits in the Night", "Blinded by the Light"). So there is Dylan's "You Angel You" on Angel Station, and of course it sounds like anything but Dylan but its great how they did it nonetheless.. On the other hand, MMEB's famous covers have tended to be quite prog rock, but this one is mainly pop rock and can be considered a bridge towards the forthcoming Chance album in a way. There is also a Billy Falcon cover, "Waiting for the Rain", which is one of the several Angel Station tracks that simply sound great ' those include "'Belle' of the Earth" and "Resurrection" as well.

So, it is evident that Angel Station is a great album. And still it is just as natural that it is not an actual masterpiece. There never was one in the Manfred Mann's Earth Band catalogue. Amongst the late 1970s albums, I can place it beside Octave (The Moody Blues) and XII (Barclay James Harvest). I like all these three, I would mention each of these if having a longer discussion about the late 1970s prog pop, but not in the first sentence. 4.5

Unambiguously the best Supertamp record along with/after Breakfast In America. A lot of real progressive masterpieces can be found here. The opener 'School', 'Hide In Your Shell', the epic 'Rudy', 'If Everyone Was Listening', especially the closing 'Crime Of The Century' are among the best pieces of progressive music ever. The album's two most accessible tracks, 'Bloody Well Right' and 'Dreamer' are somewhat less inspiring in musical terms but it doesn't deduct from the quality of this record.

Supertramp's brand of prog rock always tended towards the slicker, more commercial, less idiosyncratic end of the pool, akin to post-Dark Side Pink Floyd, or the Alan Parsons Project, or Kayak. I don't think this is a bad thing by any means- but I think it means that Supertramp does better commercially in a progressive pop mold than when they're trying to do more ambitious prog stuff. The best songs on this album (Bloody Well Right, Dreamer) are, probably not coincidentally, the poppiest; and the most forgotten about(Hide in Your Shell, Rudy) are the most ambitious: big sweeping structurally ambitious mini-suites which come across to some as dull mid-tempo ballads at heart. 4.0

Well, Devin Townsend is surely one of the most impeccable composers of complex and quirky metal music that transcends genre and categorizations, and his latest work, 2024's 'PowerNerd' is yet another fascinating installment in the Canadian musician and prog maestro's enviably eclectic and unpredictable discography. The album is pretty tight and relatively straightforward, a stunning collection of songs that virtually celebrates the complete musical palette of the Devin Townsend microcosm. There are pacy and aggressive riffs as well as raging, rattling vocals all over, there are also some incredibly melodic and ambient-like washes of sound, intertwined with equal amounts of silliness or serious reflection upon the state of the world. Townsend does not shy away from adopting his usual "wall of sound" style of production here, which serves this powerful and manic album rather fittingly, so to say.

Confining himself to just eleven standard-length songs, Townsend has allowed himself to craft a cohesive and meticulous album that offers both an energizing and a somewhat nostalgic feel as his more recent albums have been leaning towards this lighter presentation and highlighting texture and nuance more. 'PowerNerd', on the other hand, is absolutely riff-heavy, blasting collection of well-structured songs with memorable, and occasionally anthemic, choruses - definitely some of the most sing-along material on a Devin Townsend album ever. An uplifting album that drags you in through the fast-paced opening track, allowing us to understand just how much Mr Townsend likes petting the cats (among other deeds), after which the album goes through the massive-sounding 'Falling Apart', the heavy rocker 'Knuckledragger', the prog metal hymn that is 'Gratitude' as well as the tricky and intricate heavy number 'Jainism'. 'Ubelia' and 'Glacier' once again bolster that rich and vibrant production style, where each instrument plays a part in the large wash of sound that serves as the song's backbone. Of course, closing track 'Ruby Quaker' should sum up brilliantly what this entire record is all about, that itchy Devin Townsend-ness that has compelled music fans for decades now.

German krautrock/ambient group Popol Vuh's second album possesses strong ethereal & cerebral qualities that slowly envelope the listener until you find yourself inside a huge pulsating wall of ambience that threatens to cave in on you with the tribal element leading you into an almost trance-like state. The title track takes a few different directions from Eno-style ambience to a more trippy, tribal feel before settling into a jazzier vibe towards the end. Both tracks are very spacey but "Vuh" is the stronger of the two & is seriously dark for something released in 1971. Don't expect to sit back & chill to this. Expect to find yourself engaged on a physical & emotional level that most music is not capable of. This is BIG music! I actually really enjoy the two bonus tracks on the re-release. An Eastern influence is very prevalent on "Kha-White Structures 1". It reminds me a lot of the more ambient works of modern minimal techno artists like Plastikman with it's use of subtlety & repetition. "Kha-White Structures 2" is a total headcase of the highest order & again hints at modern techno as well as dark ambient. "In den Garten Pharaos" is a timeless classic of epic proportions. I honestly feel that I would've reviewed this album exactly the same way had it been released yesterday.

The album misses any rocking attitude this is not a straightforward rocker. The first two tracks, which made up one side of the original LP each, are Ambient and Drone, partly with a thick carpet of percussion lying underneath. In particular the quality of the title track shines. Both bonus tracks are more in the direction of experimental electronic. The percussion is nearly completely missing here. Nevertheless they are an absolute enrichment of the original album. In total a very strong recording. 4.0

It didn't hit you as quickly as "Who's Next", "Leeds" or even "Tommy".But eventually, if you were a Who acolyte you got it. And make no mistake, this was a record meant for the true believers.Hardcore Who fans stood apart as torch bearers for a shared promise that took on an almost missionary zeal. There was a bond between The Who and their audience that was never equalled by any other top ranked group of that era. Back then two years between studio albums was an eternity, so when "Quad" finally arrived it was an event.

At least it was an event for Who fans. The casual Who fan would never really warm to this one, and even many older followers dismissed it as being impenetrable and overcooked. It wasn't radio friendly, the short US tour was poorly recieved, so why did this eventually succeed in scaling the heights?

It happened because their audience was willing to take the time required to fully understand this epic. I don't know if "Quad'" can still mean the same to fresh ears as it would have 35 years ago. Mods were a distant social movement even in 1973. But even in the parochial "Englishness" of it all there was still a spot on understanding what it was to be young, confused, angry and ectastic. Actually, the entire Mod backstory somehow made it more plausible because of its exotic nature.

Don't pick this one up first if you're new to The Who with fresh ears. But whenever you do encounter "Quad", you'll soon find it to be indispensable. 5.0 one of my favorites.

I have resisted listening to any Hiromi studio album releases since she abandoned her Sonicbloom format (for the trios). Isn't that crazy?! What the heck was I thinking?!!! This is Hiromi's second studio release with her new quartet. All of the same collaborators return from the 2023 eponymously-titled album.

1. "XYZ" (6:56) this opener certainly does a great job announcing the serious skills and chemistry of Hiromi's new band. This very complex and least-melody-friendly song on the album still manages to impress because of the display of talent necessary to play these sophisticated and fast-shifting chord, rhythm, and melody changes. Impressive--though not my favorite. (13.625/15)

2. "Yes! Ramen!!" (8:14) so much fun, quirk, stylistic soup (kind of like the ramen itself!): more from Hiromi's incredibly free-flowing playfulness. (14.5/15)

3. "Pendulum" (5:57) the spirit of my late beloved Ryuichi Sakamoto seems to be flowing through Hiromi's fingers and piano on this but more, the stunningly exquisite vocal performance of Michelle Willis is somehow perfectly matched to Hiromi's beautiful music. Even the poetic lyrics are a welcome, fitting, and, again, perfect enhancement--precisely because of the musical quality of the poetry. Hadrien, Gene, and, later, Adam's contributions in the second half are equally respectful of Hiromi's Sakamoto-like gift to the cosmos. (10/10)

4. "Out There: Takin' Off" (6:33) too much fun, too much joy gushing from these performers to not love this song! (9.125/10)

5. "Out There: Strollin'" (6:43) a little more grounded in a blend of both traditional, "classic" melodic jazz as well as the Pat Metheny approach to music-making, this song has again so many nostalgic references: from all three of Hiromi's collaborators as well as the bandleader herself. This feels to me like a walk through New York City circa 1965. I love it. Adam O'Farrill's trumpet play is so fun and playful! How could someone not just fall in love with this music. Makes me want to go watch old Woody Allen movies. (9.25/10) 6. "Out There: Orion" (8:10) on this song it feels as if we are stepping down another floor into more traditional jazz sounds and styles--especially in the melody-making department: I feel as if the main melodies and variations on the main melodies are more akin to that which supported Frank Sinatra and Nancy Wilson in the 1950s. Don't get me wrong: I LOVE it, but it's just a feeling I get. Especially when each of the four "Out There" suite members is compared to each other. (13.75/15) 7. "Out There: The Quest" (8:11) the spirit of Weather Report/Manahattan Transfer "Birdland" comes through quite strongly here, that is, the 1980s. Man! I sure love the sounds and playing styles of both trumpeter Adam O'Farrill and bassist Hadrien Feraud! The way Gene's drums are presented in the mix (separation and sound spectrum) bug me a little. Not as big of a fan of this song as the others. (I've never been much of a Weather Report or "Birdland" fan.) (8.875/10)

8. "Pendulum" (6:19) the instrumental, all-piano version of song #3. It's just as beautiful without the great vocal performance and lyrics of the other version: mostly because Hiromi's music is so damned perfect. I love the different liberties Hiromi takes with the main melody in the fourth and fifth minutes--just before she begins gently working some low end bass notes into the background (from 3:44 to the song's end). (9.75/10)

9. "Balloon Pop" (6:18) a lot of fun syncopated staccato interplay between Hiromi (more her left hand), Gene and Hadrien. Adam gets a few passages to inject his own ten cents--and they're lovely (if mixed a little too far back into the sonicsphere)--but it's Hadrien's Anthony Jackson-like solo in fourth minute that really blows me away! I'm an absolute sucker for this kind of disciplined staccato syncopation--especially when it's performed at such a high precision level as this is. Fun whistle-like synth solo around the five minute mark with nice background trumpet accents, then it's off to the land of duelling anjos for the final minute: everybody trading barbs and challenges around the circle, one after the other until the finish. (9.125/10)

Total Time 63:21

I am so surprised (and overwhelmed) to find my inner being exuding such joy and elation as I listen to and review this album. I feel so very privileged to be able to know and have this kind of joyful music in my life. If I have any complaints/criticisms of this album, they are very minor--and they have nothing to do with the compositions or performances. I find myself ever so slightly put off by the way Gene Coye's drums are recorded. At times all of the four instruments feel rather subtly separated, that is, the tracks devoted to Gene, Hadrien, Adam and even (sometimes) Hiromi feel as if they have plexiglass walls between them: as if they were recorded in separate rooms, separate cities, at separate times and then the engineers tried to make them feel together. I've been quite resistant to listening to much of Hiromi's discography since she fell into my life with her first Sonicbloom album back in 2007: I just was afraid that nothing else could ever be better much less compare to that. A few live performance videos with Anthony Jackson have recently softened my stubborn stance, and then, today, this album popped into my awareness! Am SO GLAD it did! Also, I've been so focused on "Classic Era" Jazz-Rock Fusion and 1960s Jazz that I'd completely ignored (like a righteous little snob) any modern Jazz-Rock Fusion. Okay: I now see the error of my ways. I'm going to open myself back up to 21st Century Jazz-Rock Fusion. Hiromi, Antoine Fafard, Kamasi Washington, Meshell Ngegeocello: watch out: I'm comin' for y'all!

P.S. I ADORE the album art of this album! Now that's what I'm talkin' about! A/five stars; a certifiable masterpiece of joy-filled upbeat Jazz-Rock Fusion. All hail the Queen! Highly, highly recommended. For anyone who professes to love music.