Lemme tell you, neo-prog is a struggle for me to get seriously invested in. Although I recognize Marillion's talent, I've lost interest in them as they're basically Peter Gabriel Genesis worshippers who got together and said, "What would Genesis sound like today is Gabriel didn't leave?" Truth is, I have to go back and re-evaluate much of the neo-prog I've given several shots, such as Magenta, Marillion and IQ. But first, I wanted to check out Arena's Immortal, considering its highly diversified genre-tagging on RYM. After this, I'll have to go back to Contagion, which I gave a 90/100 years ago.

I greatly favor albums that take many directions while maintaining a strong flow. This album kept me on my feet, thankfully. I suppose a part of me is already used to this more accessible form of prog, but there's a fine line between "accessible prog" and "flat-out pop rock pretending to be prog like Asia." Honestly, Marillion is close to the latter. THIS, however, is completely different. Immortal captures the full spirit of prog while maintaining that synthesizer-driven accessibility that makes the genre what it is. On top of that, this seems to be where they took a darker and more mature approach in general. I'd say the strongest example of the raw neo-prog sound is the fifth track, Climbing the Net, which shoves great synth melodies in your face. Previous tracks seemed to love diversifying. Much like King Crimson's Red (my favorite KC album), this starts out with a prog epic often tagged "metal," Chosen, and I was deeply impressed with its balance between proggy mutation and rock accessibility. Following that is a spirited acoustic rock song, a prog epic and then a darker and more electronic exercize in industrial, mystifying backing effects.

And then comes he 20-minute "Moviedrome." Now for a prog fan, a 20-minute epic shouldn't be daunting at all, but this is neo-prog we're talking about. Just how accessible could a 20-minute song be? I went into this one thinking that Arena had better pull the best ideas they've ever had out of their pants and get to work. For the most part, they did just that. This is where their visual lyricism comes into full force while the music uses its slow pacing and classic prog influence properly to keep the 20 minutes alive. After soaking all of that, it's only appropriate to end it all with a soft rock song.

I'd say this was a much stronger idea of what I was looking for in neo-prog. This blew the Marillion, IQ and Magenta albums I had heard before out of the water. This was just what I needed to restore my faith in an otherwise samey and overdone subgenre of prog.

I wasn't that impressed with the Rolf Zero debut album, and when I saw that the RYM ratings for this second album were worse, I expected this to be a much worse practice run than before. Imagine my surprise when I found myself encased in a magical aura that takes me all over the prog world. Now this is halfway to prog, maybe being more of an "art rock" album due to its constantly accessible melodies. But the genre-to-genre progression goes all over the 70's rock spectrum without ever losing the flow in anyway, shape or form. There are songs that take me to the medieval times in the same way Thick as a Brick did, and there are bits that are classical enough to put me in a ballroom, and there are even a couple jazzy bits that take me right into a coffee shop. And boy are the melodies much healthier. In fact, a few of them are genius when put together.

So basically, this album feels like a complete tribute to 60's and 70's classic rock. I think they really managed to accomplish something that might not be very original, but very spiritual. As far as prog goes, I would put this in the same league as Alan Parsons' Tales of Mystery and Imagination as well as King Crimson's Thrak.

A rather obscure band, Rolf Zero belted out several albums in 2022, which isn't necessarily a good sign. In my opinion, he only band that can potentially pull that five-album-a-year feat is maybe King Gizzard. So I wasn't surprised when I finished it and found it to be quite underdeveloped. For example, the seven minute epic, Courtiers in the Court of King Rolph, is made up of a few shorter songs; no, not parts of a song, several shorter songs. There are the pauses and total shifts in tone and sound. Most of these songs feel like repeated basic prog riffs for the sake of getting a practice run in. Obviously there's ability to play, especially considering that the album tried to tackle a lot of different areas of symphonic prog variety and maintained a fairly consistent flow, but in the end, this album ended up nothing short or long of "just okay."

Review Nº 873

As we all know, Dream Theater is an American progressive metal band that was founded in Boston in 1985 by John Myung, Mike Portnoy and John Petrucci while they were studying music at Berklee University. They became as one the pioneers of this style of prog with other bands like Fates Warning. Dream Theater is a very successful and charismatic band with fans all over the world. They released sixteen studio albums till now, including this new one, "Parasomnia".

Before begin to talk about this new DT album I need to say something. In a very short time two of my favourite and most important prog bands released two new studio albums. I'm talking about "The Last Will And Testament" from Opeth released in the end of 2024 and this one "Parasomnia" of Dream Theater released this year. By itself, it's a noteworthy event for me. But there are two things that made of this an even most important event. In the case of Opeth we had the return of growls of Mikael Akerfeldt, a very much unexpected thing for many of their fans. In the case of Dream Theater we had the return of Mike Portnoy, a thing that many of us considered unlikely or even impossible after so many years.

So, with the return of the legendary drummer Mike Portnoy, the band released "Parasomnia", a conceptual album that reaffirms their status and shows that, despite the years, creativity and energy remain intact. The impact of this return is evident from the first seconds of the work. With its eight tracks, if there's one thing "Parasomnia" does well, it's finding a balance between instrumental sophistication and the ability to captivate listeners less accustomed to more complex structures. But the album is not limited to technical displays. There's room for different atmospheres full of contagious energy. With a very well balanced work and a band in a perfect shape with landscapes with a jazzy groove and others with a rock melancholy, Dream Theater, with its classic formation, proves, once again, why it's the leader of the genre.

"In The Arms Of Morpheus" is an instrumental track that sets the general tone of the album. This opener sets the dark atmospheric tone of the album with its instrumental prowess foreshadowing the themes and motifs to come. It's clear this is Dream Theater at their most grandiose. It's a powerful warm-up track for a concert opening. "Night Terror" is a classic progressive track, dark, eerie and heavy and where LaBrie's vocals are clear. It dives into the nightmarish theme with aggressive riffs and a memorable chorus, showcasing the chemistry between the band's members and where each member gets a moment to shine. "A Broken Man" has an astonishing energy and an emotional depth, a real descent into pain where Portnoy kill on the drums. The track balances between intense metal sections and more introspective moments, echoing the storytelling prowess of their past epics. It's one of the heaviest tracks of Dream Theater. "Dead Asleep" is one of the two lengthiest tracks on the all album. This is a pretty standard solid track with the classic Dream Theater's sound. It's one of the most focused tracks on the album, ominous, eerie and slightly oppressive. This track is an evolution of the band's ability to weave complex narratives with music. This is a masterclass dark prog metal track. "Midnight Messiah" is a concentrate of technique and power. Those who love "Train of Thought" will love it. The tempo changes and accelerations in particular, take the sound to another level, making us go wild. The interplay between the instruments shows the unchanged chemistry of the band's members. "Are We Dreaming?" is a very short interlude with atmospheric sounds and layered vocals, a moment of reflection with its minimalist approach. "Bend The Clock" is the most accessible track on the album, a beautiful power ballad. It showcases LaBrie's vocal range and the band's ability to craft emotional and melodic tunes. Despite LaBrie is a fine singer, are in these type of songs with a greater harmonic emphasis were he truly excels. "The Shadow Man Incident" is a 20-minute sprawling epic that encapsulates the album's themes and showcases the band's technical and compositional excellence. It has epic solos, hard riffs, quiet melodic sections, blazing fast keyboard work, great guitar solos and LaBrie singing in top form. The track moves through various moods and styles encapsulating everything Dream Theater does best a reminiscent of their long form classics.

Conclusion: "Parasomnia" marks a moment of renewal of Dream Theater. It's well known that the announcement of Portnoy's departure in 2010 marked one of the most dramatic moments in the band's history. With Mangini, the band released five great technical studio works but what lacked a certain creativity and innovation. Mike's return brought a new energy to the band and this is reflected in the way each song overflows with vitality and creativity. I agree with my colleague reviewer rdtprog when he says that what Portnoy has brought up to the band is more of an inspiration on the songwriting side than on the technical side. Besides, he is the real soul of Dream Theater. For me, "Parasomnia" is the best work of the band since "Black Clouds & Silver Linings". With each listen, the album grows on me, revealing new layers and intricacies. With this album, the band reinforces their position as one of the greats of the prog metal scene.

Prog is my Ferrari. Jem Godfrey (Frost*)

12 tracks with 6 on each CD, the LP on 3 vinyls, the Blu-Ray DVD with its 12 tracks piled up and a bonus with the pleasure of the video recorded in Poland: "#Addicted" as a well-rehearsed intro to 2015's 'Love', "Panic Room" for one of the two hits from 2007's 'Rapid'. "Landmine Blast" and "Big Tech Brother" from last year's ID' to really open the musical ball with this innovative sound from their latest album; a sound unique to them that has no equal and that the live performance transcends a little more, with a great DZIĘKI launched to the audience, in conquered territory. "Lost" from 'Love' for the dithyrambic crescendo, the very fat synth solo and this chorus taken up in unison, Maciej's solo who appropriates his space in a solemn and masterful way. Finally, "Left Out" from 'Anno' from 2009 concludes this first set with this bewitching, repetitive, trance-inducing tune, with a Floydian tune that repeats itself endlessly and the purely progressive metal break. A bit of DEEP PURPLE-style sound made to reprise Oh Oh Ohhhh, in his room in front of his stereo at the top of his lungs.

"Post-Truth" and the first track of 2023, which was not in the set at the Loreley; just for this heavy finale, a sound sticking to the skin that makes you get up and move endlessly on it while screaming; prog metal I say. "The Place Where I Belong" long track with its Floydian peregrination, its progressive variation taking you far, far, so far that time stops and melts any prog fan in need of a concert. "Egoist Hedonist" by Anno again, 2nd track in addition with a trumpet sample that is even more confusing live. "Friend or Foe?" follows for the es'80s track, to dance, sing, snap your fingers to, TEARS FOR FEARS, ULTRAVOX in sight. "Self-Aware" with the DEEP PURPLE intro and the reggae air, innovative, confusing and a finale worthy of a live performance. "Conceiving You" with this basic intro, reminiscent of the soundtrack of 'Silent Hill', I digress but it's the captivating atmosphere that strikes me every time. The pearl of their 2nd album with the radio hit, then the variation, the progressive deviance with Mariusz and his bass, yes it's not just RUSH, IRON MAIDEN, QUEEN, THIN LIZZY or DREAM THEATER who had great bassists. The title that puts the live CD back in the spotlight with its unique enjoyable digressions and the dialogue of the said DUDA in final communion with his audience, with you; go one, two, three, four, RIVERSIDE makes rock'n'roll.

RIVERSIDE recorded this live in June 2024 in Poland; 3 Lps, 2 Cds, the blu-ray for those who haven't seen them yet. At a time when concerts are becoming increasingly rare, throwing yourself on these pieces is a real plus showing the fluidity, the movement, the delicacy of prog rock of the new millennium. Arrangements boost the soul of Mariusz and his friends, half of the tracks coming from their latest album prove, if it were still necessary, that RIVERSIDE is indeed the band looking to the future. They offer new music, original music as he had so rightly told me a few years ago. An evolving sound that does not remain in the progressive straitjackets and a RIVERSIDE that continues to innovate with the perpetual search for recent sounds bathed in the flavors of yesterday. The pleasant musical association with a disconcerting and changing aspect of the beaten paths. The Blu-Ray offers a quarter-hour documentary to bathe in the backstage of the concert and to have this unspeakable pleasure: to see RIVERSIDE in concert at home comfortably installed, the musical pleasure is definitely priceless, no limit.

"Realm of Possibilities" and the modern, alternative sound, more electric rock, an innovative and energetic nectar. "Cruel Immission" piano arpeggio and acoustic guitar, an air of CABREL felt at the beginning, delicacy. After this intimate intro the prog metal variation comes to light, acid, sharp, sharp dynamite, enjoyable, fat, catchy, a bit of OCEANSIZE in the distance. The metal riff comes to stick itself right in this piece that makes me sway my hips, my foot unbearable. "Only You" on a groove like PINEAPPLE THIEF, a zest of OSI and the PORCUPINE TREE from the start, it smells good of fresh blood. The break with incisive pad doubled with a guitar flash and the ear that remains on the lookout; it's just perfect this strangely and pleasantly disturbing sound. "No Exit" continues, WILSON in the line of fire but with a fluid air of raging pop love song and Nicolas' keyboard solo, yes there is not only the guitar here; amazed. "Liquid Feels I" in 2 phases, crooner air of a CANTAT at the best of NOIR DESIR; a good dirty and jerky rock sound that starts up all of a sudden, Thomas' pads very effective. Garage rock with a heavy touch that makes you frown, a rock current worthy of a grandson of LED ZEPPELIN with an atomic current. "Liquid Feels II" continues with the instrumental part, drums and airy piano, like a reincarnated Joe JACKSON. The synth pushes making its place, Nicolas' nervous guitar riff supports it. It lights up the stage before the jazzy, South American break; it grooves like on an uninhibited BRAND X with the return of the over-excited guitar this time. The slap for this alternative prog rock as it should be. "Broken Arrow" starts with jazzy soul to snap its fingers and go on rock, that of the 90s, a bit of Gabriel with prog consonances. Rhythm with the energy of despair, the hope of having a giant break; it arrives captivating, catchy. Almost indescribable, avant-garde with final Olympian bells. "Strangled" change of style with a dated 80s sound, the time of heavy metal. The riff makes you nod, we are electrified, hold on to the DEF LEPPARD for this reverberating chorus and these voice-overs. The foot is hot to move, we are on new hard 2025, we move and we stay on the lookout so as not to get lost in this bewitching progressive meander.

"Fractal" cut intro, fractal, the rhythm on the RAGE AGAINST THE MACHINE and the nervous sound of a SMASHING PUMPKINS for the hypnotic bass. We continue to move hard, that's the best thing about this album. The variation will require many listens to tame this piece like this break with Gregorian choirs based on didgeridoo and screams; in short, captivating. A long mantran crescendo, a keyboard like MANFRED MANN from the 80s, Nicolas' scream and this burning post-progressive rise. "Under Control" puts your feet back on the ground with this electronic variation, pop rock infused with a melody to melt a nun. The softness of the synth groove denoting on the album, making your ears prick up by breaking the markers of prog, rock, current music. The chopped break phrased with the heavy bass, a touch of new-wave electro, a tenacious riff, I'm under control; different and fabulous. "The Cell" for the epic piece, an electric, electro and progressive 'Anesthetize', ideal for immersing yourself; Pad and latency, Gilmourian guitar melting, soft vocal preparing for trance. The crescendo with the sound that swells and the synth that prints the rhythm; let's be clear, a musical melting pot, nervous, electric, eclectic, hypnotic. A zest of madness on LEPROUS with modern synth. The crescendo goes into post dark-wave, fabulous I invent musical drawers; the rise is easy, electro-compulsive. Halfway through and this Anglican prog rock mix boosted by a Teutonic rhythm; an energetic crescendo that swells, does not stop, the voice being an integral part of the title. The hypnotic bass and the fat synth look to a Gary NUMAN. The atmosphere becomes solemn, ethereal, doubled by a divine guitar solo. The adorable finale with so much beauty, a voice and a languorous choir drowning in yet another clear guitar solo, spleen. Prog and new-wave for the dream fusion. "When the Wind Blows" for the authentic acoustic ballad, raw with the feeling of the female voice, this Nicolas has a singular vocal organ. The final title to breathe after so much emotion; a sweet melancholic nursery rhyme brightened by a jazzy beat, warm choirs, on the edge of unplugged with the synth showing its importance. A last melting guitar solo leads to ecstasy, a little Jeff BUCKLEY in the distance to die drowned, happy after this discovery.

MOONSHINE BLAST understood it: in the realms of possibilities you have to take risks, they did it. After the sought-after reminiscences of a WILSON, PINEAPPLE THIEF or even a RADIOHEAD, we find an album dripping with musical life, creation, fusion. A modern, transcendent, ambitious sound that invites you to travel. Originelly on profilprog.

DREAM THEATER 16th album and the return of drummer Mike. A word for the title and this distressing perception of abandoning oneself in the arms of Morpheus with elegiac and hypnagogic images.

"In the Arms of Morpheus" with the cinematic, atmospheric intro that kills; drops of water in the distance, a synth behind that surprises, the invasive guitar, hard nauseating enjoyable, the typical drums of Mike. In short, the mechanics of the dream theater has awakened; John and his 8 strings already in the firmament accompanying the other John; symphonic air with the cello keyboard flirting on 'A Scene', 'Overture 1928', divine memory. "Night Terror" follows, intro of two explosive minutes with a powerful sound, even stronger as if to pass to the nightmare state of the hero in spite of himself; the complex instrumentation, between triplets and dry pads that change from the heavy fire of Mike the old; John assures by machine-gunning while Jordan covers with muffled notes; James assures his voice without going too high. The progressive development on LIQUID TENSION EXPERIMENT with a crazy dreamlike and wacky flamenco guitar; in short we wanted to know, I want to continue the dream. "A Broken Man" bursts forth on a monster tempo, aggressive, inquisitive, spatial with this metallic pad and its voiceovers of military veterans. A musical wall symbolizing the lack of sleep, the trying side with James singing like a God, more phrasing in fact and unfolding the story. The piano break à la Jerry LEE then the organ of a DEEP PURPLE then DREAM THEATER. A fruity bluesy break, illuminating before the return of the heavy artillery symbolized by the riff, the 10 fingers of the two Johns and the pad. Long but effective, trying like the state of this 'man'. "Dead Asleep" begins sleepwalking on tiptoe with these delicate strings; the metallic riff like 'Paralysed' or 'Awaken The Master' choose, setting the song and the atmosphere on fire. It is about murder anyway and this guitar-pad hammering indicates the passage reality and parasomnia. James comes after a marshmallow solo, understand fruity and melting. Brutality of the song coupled with the electric bluesy solo worthy of guitar heroes, energetic cover with a note reminiscent of the SAXONS at their best. Jordan throws his notes at full speed before starting again on the thunderous chorus, 40 seconds of outro on the evanescent piano cleaning our ears, close the door and sleep now.

"Midnight Messiah" with the sampled voice, the riff on a Gregorian choir then the rogue wave, it's fashionable in my notes at the moment. I nod like the two idiots in 'Wayne's World'. James signs the radio edit to the supercharged MUSE, the energetic piece bringing back to METALLICA, not the first time. A continuous fire of sounds with many samples. Let's note phrasing references from their albums of yesteryear, 'Home', 'Déja Vu' and the loop is made. The machine-gunning with James who pushes his strings, proving to his detractors that he can impose. Well the violent piece on the edge of thrash for grandpas is not bad at all, a long piece with the instrumental as a bonus. "Are We Dreaming?" arrives, a little atmospheric escapade, chimes, stereo muffled voices, solemn passage inside a cathedral and divine Jordan on the organ yes I assume; interlude to remain suspended, launching "Bend the Clock" bluesy from the start, a note of ANGEL is to say and not to laugh. James is sparkling on this sumptuous ballad putting him in the spotlight; heavy vintage hard US riff, a beautiful unfolding with John also brilliant, the chorus looks at 'Hollow Years' which I had trouble before conceiving that DREAM THEATER could make beautiful ballads. A Gilmourian solo comes along, enjoyable, orgasmic, over- excited, listened to in the car at full blast with one of my sons, time had stopped, I digress. James and John are having a blast, enjoying themselves, the final melancholic solo, enjoyable in fade out, it's done on purpose my son; I become a believer and hope that the hero will go back in time.

"The Shadow Man Incident" with the little dancer in the bottle, between dream, memory and reality. After the intro with proven reminiscence of 'A View from the Top of the World' and the sounds of the departure the ship takes off; five minutes to have a languid James with phrasing narrating the character of the cover; we have DREAM THEATER on the facade without a hitch, lacking a bit of madness. Halfway through the chorus is obvious, calm and the war machine starts up on the part 'Endless Nights'; struck pad at the gallop, Mike shows his talent; Jordan arrives, doing the same; John with his 12 fingers on bass, the same. The flight is a faultless course to demonstrate the talent of the musicians. A dark, tenacious riff accompanied by a South American keyboard, electric samba or bossa nova for the catch-all progression that drives you crazy: where do they get that from? It shreds, it machine-guns for a while before returning in fits and starts to the original sound that we had forgotten, James raising his voice, easily going into the studio. Pad in front, guitar that imposes itself in order to finally wake us up from this debilitating parasomnia. A last drum roll, silence is felt, a door, a car, a drop of water, it is indeed the awakening, wake up.

DREAM THEATER tells a journey into the meanders of our brain in the grip of sleep! 15 years after his departure, Hugh SYME's cover makes a nice nod to the revival of the group, go see 'Images and Words'. This sound of DREAM THEATER offers a nice melting pot of their discography, making this album a magnificent but not exceptional opus. (4.75) Originelly on Profilprog.

Perhaps the best thing about the 'Ummagumma' experiment is that Pink Floyd never repeated it, right? This is a fascinating musical document of the early development of one of Britain's legendary bands, and it also happens to be one of the most unorthodox double albums in the history of psychedelic rock, with one side comprised of live tracks, and the other comprised of the individual contributions of each band member. This is an ingenious approach, which is something that might not surprise us knowing who the artist is, but it also predisposes Floyd to ridiculous amounts of experimentation - something that can lead to music that is greatly overblown and occasionally even unlistenable, when lacking a clear objective. The live disc comes first and features four staples from the band's early shows. Of course, the sound of these recordings is quite rough and exploits the avant-garde and improvisational side of Floyd, which by all means defines their early works. Certainly, a fascinating piece of work, indicative of the unique and transcendent atmosphere of those early musical meanderings of Pink Floyd.

The second disc features the solo contributions of the band members, and this is where things get even more exhilarating. There is a daring peculiarity to all of these compositions, but they should be taken merely as experimental trials that do not reveal the full extent of each musician's capabilities in terms of playing or songcraft, since the band was occupied with presenting themselves as an obscure act that does not follow the norm. 'Sysyphus' is Rick Wright's part of the studio album - this 13-minute piece is an abstract composition on organ, piano and Mellotron that offers a somewhat promising beginning but derails into a hodgepodge of disconnected sounds, never really going anywhere. 'Grantchester Meadows' is one of the two Roger Waters compositions - a laid-back, acoustic and folky tune that proposes a more pastoral approach compared to the striking nature of Wright's piece. 'Furry Animals' is made up of various effects, with Waters manipulating his voice and the speed of the recordings, a weird but welcome entry on 'Ummagumma'. 'The Narrow Way' is Gilmour's contribution, perhaps the most consistent offering from the studio album, moody and melancholic, there is a greater sense of apprehension to this 12-minute-long suite. Finally, there is the 'The Grand Vizier's Garden Party' from Nick Mason - a drum piece with various effects that can sometimes be difficult to go through. As an isolated solo piece this does not work as well as all previous parts of the album.

'Ummagumma' is an album you can either be fascinated by or indifferent to. It is one of the most obscure offerings from Floyd and its rough, experimental nature serves as an obstruction to its complete appreciation. Punctuated by moments of sheer enthusiasm and occasionally ingenious ideas, this kind of music is a difficult listen nevertheless and only hints at the capacity of the band.

I can't tell if I was feeling some Dream Theater's fatigue with the last albums since the departure of Mike Portnoy on drums or if the band was starting to run out of ideas with some predictable prog metal that they give us over the years. Sometimes using the same recipe can be too much for listeners expecting some fresh music. With Portnoy's return, many were excited or curious to see if the band would return to the glory days or give us something different. The first single was something that surprised me with the dark and heavy intro Black Sabbath style. The concept of the album about different experiences of sleep disorder can justify the dark atmosphere of the album. The heaviness is nothing new if we think of Six Degrees or Train of Thought. There are some groundbreaking parts throughout the album as the less exciting parts are rare. John Petrucci delivers some impressive guitar parts including many solos. After 3 strong tracks, "Dead Asleep" keeps the momentum with a nice interplay between John and Jordan. "Midnight Messiah" has a strong Metallica influence with the progressive rock complexity of the band. "Are We Dreaming"? is a cool ambient interlude as the next track has some acoustic guitar before Labrie vocals. We have here the beginning of a ballad with the piano. But then the tempo picks up with every member playing together. We are in a familiar territory here with 2 guitar solos from John. The last 19 minutes track reach another level like all of the epic songs of the band. The intro is an inspiration from the classic song "Mars, Bringer of War". Then the guitar takes us back to the greatness of "Scene from a Memory". James's singing brings the first break with the pace slowing down. There is some great vocal performance here. Mike is delivering his powerful drum parts and Jordan showcases his skill with the keys. The second break displays some impressive drum parts in this instrumental section with many twists which is the trademark of the band. Jordan's heroic keyboard parts and John doing his thing with another fast and furious guitar solo. Then the classical arrangement of another break brings things down before the vocals come back

This is a great album with a solid return to some of the best Dream Theater period. I can see that what Portnoy has brought up to the band is more of an inspiration on the songwriting side than on the technical side. 4.5 stars for sure

With the recent passing of Jamie Muir I felt inspired to write a review of what is one of my all time favorite albums and what I would have to say is my personal favorite King Crimson album.

Most of us probably know the back story of this album but I'll provide a brief summary anyway. In the summer of 1972 Bill Bruford decided to leave Yes and joined the rest of the latest iteration of King Crimson which also included Jamie Muir, John Wetton, David Cross and of course Robert Fripp. The previous incarnation had imploded after the Islands tour much like the lineup from the first album. Fripp was eager to explore darker music which was influenced by Bela Bartok and Igor Stravisky as well as music with a heavier edge such as what Jimi Hendrix was doing.

The album starts off with a thumb piano for "larks tongues in aspic part one" before a buzz saw sounding guitar is introduced giving the world an early taste of proto prog metal with a massive guitar riff that would make Tony Iommi and Ritchie Blackmore proud. The track is entirely instrumental and goes through various sections with each getting ostensibly more experimental until a lone violin is heard before a coda that contains unintelligible voices in the background. Next up is "book of saturday" which some might consider filler but to me is a very pleasant mellow track with clean and backwards guitar. After that we have "exiles" which also appeared on the USA live album. This is a rather pastoral sounding track that opens with what I always thought sounded like barnyard animals. I'm not really sure what thet sounds are (much like with other sounds on the album) but they fit in nicely. The track features a very fine vocal performance by John Wetton which showcases what a great singer he really was. "Exiles" also features some lovely acoustic guitar which harkens back to something you might hear on Lizard particularly "circus."

Side two opens up with Fripp's trademark distorted guitar again on "easy money" which features one of the best instrumental sections on the album complete with crazy background sounds. After the track ends we hear the sound of wind which introduces "the talking drum" which is a very rhythmic centric track focusing on the interplay between Wetton's bass and Bruford's drums with David Cross's violin and Fripp's guitar on top of them. At the end of the track we have what is probably the greatest segue in all of progressive rock (maybe rock in general too although "shooby doo" into "Candy O" by the Cars is up there also) when the screech sound finally gives way to Fripp's guitar for "larks tongues in aspic part two." To me this always sounded a bit like fusion mainly because of the violin. I don't know if Robert Fripp was listening to Mahavishnu Orchestra at the time but there are some similarities. The track ends with one of the longest and most climactic endings I think I've ever heard. It's almost as if the world is exploding and this is what it sounds like.

To sum it all up, this is one of the wildest albums I heard when I was still new to progressive rock. I'm sure there are weirder albums out there but this and relayer by Yes were very wild sounding to my ears when I first heard them in the mid 1980s and this one in particular still doesn't sound much like other stuff I heard (with few exceptions including the two King Crimson albums that came right after it). If you are brand new to progressive rock you might want to get your feet wet with In The Court of the Crimson King first but you should definitely hear this one soon after. If it doesn't blow your mind then quite simply nothing in the progressive rock genre will. One of my top five albums of all time and absolutely essential for any prog fan but espcially those who are ok with more adventurous material.

RIP Jamie Muir.